I’ve been stop-starting my way happily through Celtic Fairy Tales and More Celtic Fairy Tales, two late-19thC collections by the great Australian folklorist Joseph Jacobs, combined in a plump Senate paperback and handsomely illustrated by John D. Batten:
Gearóid Mac Niocaill’s book Ireland before the Vikings (Gill and Macmillan, 1972) has an interesting passage on the names adopted on the island during the 4th, 5th and early 6th centuries. He refers to “a mosaic of peoples” who are “dimly perceptible” amid the settlements and political changes he has been discussing, and whose names appear in various forms:
ending in -raige (‘the people of’), or as Dál (‘the share of’) or Corco (perhaps ‘seed’) plus a second element, or as a collective noun ending in -ne. Some contain animal names, such as Artraige ‘bear-people’, Osraige ‘deer-people’, Grecraige ‘horse-people’, Dartraige ‘calf-people’, Sordraige ‘boar-people’; others, such as the Ciarraige, the Dubraige and Odraige, have a colour (ciar ‘black’, dub also ‘black’, odor ‘dun’) as the first element; others, such as the Cerdraige, seem to have an occupational term as the first element.
“Sometimes, in reading a poem, the hairs will bristle at an apparently unpeopled and eventless scene described in it, if the elements bespeak her unseen presence clearly enough: for example, when owls hoot, the moon rides like a ship through scudding cloud, trees sway slowly together above a rushing waterfall…”
This is Robert Graves describing the unseen presence of the White Goddess, in his fanciful and fascinating book of the same name, first published in 1948 and instructively subtitled “A Historical Grammar of Poetic Myth”.
What struck me upon reading the quoted passage is that it’s like a checklist of motifs for Twin Peaks. Every element – the hooting owls, clouded moon, trees swaying slowly, rushing waterfall – is recognisably a feature of the show’s iconography. I wonder if David Lynch or Mark Frost read Graves’s book, or is it just an occult coincidence?