The first and second parts of this piece have simply been a brief re-telling of the story of Becuma of the White Skin. There I have followed and quoted James Stephens' version of the story, which is considerably longer than my synopsis, but a very entertaining read. I believe that the oldest written source for this story is the fourteenth century "Book of Fermoy". Here is a link to a Gaelic transcription and English translation of the story.
Unravelling the strands of the tale
I have written a bit in the past about liminal places, and "Wild Child?" in particular, explores the meeting of land and water. There is also quite a good article on liminality in good old Wikipedia, if you don't feel that you are up to speed. Liminal times and places occur where two things meet. Land and water, day and night, two seasons, and so on. These points can act as thresholds to other worlds, and a beach is a classic place of liminal space. If we look at the behaviour of the three main characters in this story: Conn, Becuma and Art - each of them is in trouble, and each of them seem, instinctively, to seek out this liminal space in the hope of finding a solution, and of effecting change.
Conn goes to Ben Edair seeking to get a grip on himself. He meets Becuma, gets distracted and makes a seemingly poor choice. While Conn has come from the land to the beach, Becuma comes from the sea, but why is she there? What does liminal space have to offer her, other than somewhere to land? Why does she call herself Delvcaem, of all the names she might choose?
Conn goes to Ben Edair seeking to get a grip on himself. He meets Becuma, gets distracted and makes a seemingly poor choice. While Conn has come from the land to the beach, Becuma comes from the sea, but why is she there? What does liminal space have to offer her, other than somewhere to land? Why does she call herself Delvcaem, of all the names she might choose?
Howth Inlet, by Dan Butler
Howth Head, which is known in Gaelic as Ben Edair, is part of Dublin harbour.
Howth Head, which is known in Gaelic as Ben Edair, is part of Dublin harbour.
My theory is that Delvcaem is Becuma's other self, her true, or best self. A self trapped by forces she hasn't been able to overcome. Becuma has been unfaithful to her husband - something which might not be taken so seriously in a world other than The Many Coloured Land. Stephens tells us: "In the Shi' the crime of Becuma would have been lightly considered, and would have received none or but a nominal punishment, but in the second world a horrid gravity attaches to such a lapse, and the retribution meted is implacable and grim." So, while in one sense she may have little choice, her coracle takes her exactly to the place she most needs to go. For, in some ways, this is really Becuma/Delvcaem's story. By seeking the liminal space of Ben Edair, Becuma sets in motion the events needed to reclaim herself as Delvcaem, and to find her destiny as Art's queen, an intention she actually states on her arrival. Let's not forget that Conn's troubles exist because of the loss of a queen, after all.
Both Conn and Art depart and arrive through this same liminal space repeatedly in the story. Perhaps the change they are really effecting is a transfer of power. Having lost Eithne, it seems that Conn's life force is on the wane, and no matter what he tries, things seem to get steadily worse in Ireland. In fact, when describing the fight between Art and Morgan, toward the end of the story, Stephens says, "But when the wife's time has come the husband is doomed. He is required elsewhere by his beloved." Perhaps the time has come when the best solution to Conn's trouble and grief is to hand power to his son. However, it is really Becuma's arrival which set the wheels in motion to make this possible. The quest provided by Becuma/Delvcaem transforms Art from an untried youth to a hero who has proved both his mettle and his committment to the kingdon of Ireland.
The replacement of Becuma/Delvcaem with "the real Delvcaem" who is beautiful, virtuous and powerful, and who is willingly joined to Art, fills the final requirement for Art's successful kingship. The thing that Conn is now lacking. A suitable queen.
Both Conn and Art depart and arrive through this same liminal space repeatedly in the story. Perhaps the change they are really effecting is a transfer of power. Having lost Eithne, it seems that Conn's life force is on the wane, and no matter what he tries, things seem to get steadily worse in Ireland. In fact, when describing the fight between Art and Morgan, toward the end of the story, Stephens says, "But when the wife's time has come the husband is doomed. He is required elsewhere by his beloved." Perhaps the time has come when the best solution to Conn's trouble and grief is to hand power to his son. However, it is really Becuma's arrival which set the wheels in motion to make this possible. The quest provided by Becuma/Delvcaem transforms Art from an untried youth to a hero who has proved both his mettle and his committment to the kingdon of Ireland.
The replacement of Becuma/Delvcaem with "the real Delvcaem" who is beautiful, virtuous and powerful, and who is willingly joined to Art, fills the final requirement for Art's successful kingship. The thing that Conn is now lacking. A suitable queen.
 from an Illustration by Arthur Rackham |  Becuma arriving on Ben Edair - Arthur Rackham |
A further word on the Beach card, and liminal space.
 Beach - The meeting of two entities. The need for constant change. Departure on a quest. The arrival of something beautiful yet problematic. | To seek out the beach, or liminal space, is also to seek out the involvement of the gods. We do this because we seek change. Often, we complain that the gods don't speak to us, or that we can't hear them. Yet, when the communication is clear, very often we don't like the answers we are given. The truth is that we rarely end up at the beach looking for answers unless things need to change, unless we need to change, and change is rarely comfortable or convenient. We come looking for a "beautiful" answer, and before we know it, we're dealing with sea monsters and toads, and although they are largely an illusion, they are still scary. Stories like this one are here to show us the way, and most of all to give us courage. I believe that the best readings are also stories which should have this effect. That is certainly what I try to achieve when I do a reading. The Beach card in my oracle deck describes this process, this moment, to help us see what is happening. We are at a turning point, we are about to get some help, even though it may not feel like help at the time. We need change, even though we may fear it, or may feel resistent to the form it takes. We are being invited to put our foot in the coracle. |
| You can now buy this three part series of posts (The Beach) in a newly edited version, along with my allegorical short story The Story Shawl, and a new poem about the goddess Macha. All in this beautifully illustrated chapbook entitled Mythology. See product page for more information. |
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