Preface
As some of my readers know, I have been experimenting with readings on relationships with animals. In one of the first readings I did, the Beach card came up. The Beach is one of several cards which describes a "thin place" or a liminal space where two entities converge. In Celtic spirituality, such places are particularly magical or prone to "supernatural" happenings. As I considered this reading I realised that there are points in human-animal relations that have this powerful, liminal quality, and that both animals and humans may experience this. I am talking about something different than simply sharing love or affection, companionship and mutual support. I think these experiences draw their power from the essential differences between the human and the animal involved. While the opportunity for such moments may always be there, many of us don't experience them, or only rarely, although part of our attraction to animals may be that we recognise the potential for them at a deep level.

I once did a reading for someone who was constantly plagued by feelings of both anger and anxiety. This card was central to her reading. It turned out that her husband was somewhat verbally abusive, but what she found most hurtful was that he never took her seriously. No matter what she did or said, he'd consider it childish or silly. The Shetland Pony is a card of the misunderstood, of the one not taken seriously. Frequently the response is to avoid eye contact and just put up with things, or to find an outlet in rebellion.

This failure to understand, and to think we know best, carries over into impatience when we find that the other person has dug their heels in over "something silly". But we're all afraid of something silly! I know people who would rather jump out of a plane than give a speech in public and others who would prefer to have a tooth pulled than learn to use a computer. Just as we might see someone's refusal to do something as stubborn, when they are really afraid, so we may make the same misjudgement about ourselves. Then we come up with phrases like "It's just the way I am, " or "No way am I doing that, it's stupid!" because these positions feel less threatening than simply saying, "I'm scared. You'd have to be really patient with me for me to even try that."

This is the obvious and "top layer" meaning of the card. It's the one I would probably focus on when it comes up in someone's reading. However, I knew there was more to this card, and for days, I have caught glimpses of it and wrestled with it, but there were missing pieces. I hope that I have found, if not all the missing pieces, at least enough of them to show us the way...

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Some readers will recognise the Scottish/Irish Kelpie, or "water horse", in this description. (Forget the whole 2007 movie of the same title - just forget it. We're talking about someone's traditional beliefs here, not about Hollywood.) There are certainly parallels all over Britain, Ireland and Scandinavia, where such creatures are sometimes called the nøk, or nyk, etc. Etymologists tell us that this may well be the origin of referring to the devil as "Auld Nick" as well as possibly relating to sea gods like the Celtic god Nechtan, and even Neptune (who created the horse, in some myths). Horses and water are frequently linked in both myth and folklore.  I've also noticed that if you remove the letter N from the names Nechtan and Neptune, it is possible to see the relationship of both words to early word roots denoting the horse including the Latin equos/equus, the Greek hippos, and the Gaulish epos. These roots gave us words like Epona, pony, and the Gaelic word for horse: each.

Back in Shetland, another common prank of the njuggle was to inhabit the space under mill wheels and stop the wheel when it took their fancy. Maybe they were jealous, as the tails of some njuggles were said to be like wheels, which they used to propel themselves through the water. Or maybe they simply wanted to halt the wheels of "progress" which would eventually drive them into a kind of extinction. In these cases, they could be scared away with fire, like so many of the things we once feared.

At the liminal point between land and water there is a field of energy which at once repels and attracts - where we fear and yet desire to enter the wildness of the water, to give up control of the wildness in us to a greater wildness. The Irish mystic writer,John Moriarty, talked in an interview, about this need for wildness ~

For some reason horses offer us a way to make this connection, but not by harnessing and forcing them into our control. Not by "knocking and shaping and re-shaping" them. It is only when we find a way to merge our wildness with theirs, or have the merger thrust upon us, that it actually does us any good. Still, this involves some danger. Swimming or putting a small boat out into wild water, riding a horse galloping out of control, both must be similar on the scale of dangerous things to do. There is always vulnerability in liminal experiences. The danger of getting stuck "in limbo", of not finding our way back...of somehow falling through the cracks of our own experience.

Modern people, I think, lack the liminal experiences which were once achieved through ritual, through feeling themselves a part of nature, through rites of passage and though belief in the supernatural. Yet these are things we long for. How and whether modern people manage to recover this part of life may just be the defining questions of our survival, and whether, if we survive, we thrive or we languish. Yet simply having a liminal experience may not be enough if we don't have points of reference for it. In "traditional" cultures, points of reference were marked by the rituals and prescriptions surrounding various life events, both the pivotal and the routine. They gave an assurance of success to the experience, if not a guarantee. Many folk beliefs, and their associated tales, offer advice as to how to avoid unwanted outcomes within liminal experiences or how to deal with them if they overtake us, and many heroic myths have grown up around dealing with such things.

Much has been written in the past twenty years about our spiritual connections with horses. Throughout human history they have been repeatedly raised as icons of something wild, free, powerful and supernatural. Perhaps only the sea, itself, shares a similar place in our deepest ideas of power and mystery. In northwest Europe, early peoples tended to gravitate to the coastline. Much of the land was boggy, steep or heavily wooded, making travel by sea much easier than by land, and the sea shore provided a bounty. The little primitive horses were probably only interesting as an occasional source of red meat. The sea was everything.

As populations grew and moved slowly inland, and farming and land travel became more important, so did the horse and its many uses. Yet most horses remained essentially wild animals, with many more being "owned" than were ever tamed, and this is still the case today with most of the mountain and moorland breeds of the British Isles, where many are still allowed to breed in semi-wild conditions and only some are tamed. As this shift was made, and men turned more toward the land and less toward the sea, perhaps the horse both replaced, and became mixed with the sea as the ultimate symbol of unknowable power and wildness. Spiritually, the horse led us back toward the water, and toward our wildness.

The small ponies of Shetland, a land hovering in its own liminal position between Scotland and Scandinavia, are the closest horses we have to the first horses to walk the earth. They are shaped to the earth, and not so much by the hand of man, as most animals we call domestic. As such, I think they are truly an ideal symbol of our longing  toward our own inner wildness and a guide into the waters of liminal experience.

Today, the njuggle is often thought of as a story for children. Which may be to say "Something thought to be childish is entirely misunderstood..."


More on the ideas in this post -
Liminality - This article contains more than you ever wanted to know about the concept of liminaltiy, which I didn't explain very thoroughly.

Njuggles - My thanks to Adam Grydehøj's paper "The Dead Began to Speak" for insight into the etymology of njuggles, as well as some great insights into folklore studies. (p 139 for njuggles, nøks, etc.) And thanks to Adam for agreeing to make the entire text available on the internet.

The John Moriarty interview link

Radio Essay on Britain's wild ponies
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If you enjoyed this post, you might also like The Beach, a series of posts exploring liminal space through myth, or Rambles with the Mari Lwyd, about horse traditions in British culture.

I've had a growing admiration for John Moriarty's ideas over the past year or so. My first introduction to him was via a short video interview with him, during which I constantly found myself nodding in excited agreement with most everything he said. One moment I would either think "Wow! I thought I was the only one who had felt this or noticed that - but he gets it, too." Then, he would say something else and I would be floored by its originality and complete aptness, and it would be an angle on something I had never thought of.

So began my occasional reading of an interview here, an obituary there (John Moriarty died in 2007), some small pieces of his writing available on line and so on. His books were a little hard to locate for a price that I felt I could justify, and maybe I was put off by warnings about the obscurity of his prose, too. So I was happy to discover that the Lilliput press had copies of Invoking Ireland - supposedly his most accessible work - on offer for just €7.50 (just under US $10). Even with shipping from Ireland it was a bargain compared to the usual online booksellers like Amazon.

The book has been a joy, and not such heavy going as I had feared. You would find some basic knowledge of Irish mythology useful, it's true, and maybe a smattering of Irish history, as well. However, the worst that could happen is that you may have to detour to Wikipedia to check a few things out, and the book also has a glossary. The first couple of chapters drew me in.  The theme of our existence in various realms of reality, how they mesh or exist in parallel - what this means for our shapeshifting nature between human soul and animal soul, is introduced with gentle enticement.

For my personal daily card draw I have my meditation and prayer cards shuffled in with my oracle deck. Today, this card came up. I thought it was interesting and appropriate, with all the thinking and writing I have been doing about the Cailleach and Bride. At the winter solstice, this card felt particularly appropriate, with the short days, and so on. However, it feels equally appropriate now, at Imbolc, with its theme of the natural cycles of death and rebirth in nature and in our lives. Looking at the cycles of nature and of the seasons we can all have certainty of rebirth to come.