Oona's Law

Oona, a water nymph longed to travel. It was not as her father thought because she had fallen in love with a man. She wanted to see peoples and lands different to her own watery home, but her father was reluctant to let her go for in order she do so she had to possess a human soul and to do that she had to take a husband. Once pledged to a mortal she could never return, and if her spouse was unfaithful she would die; treated badly otherwise she would survive and remain bound. Those were the terms.
How was he to find a man whom his daughter didn't wish to love, yet would care enough to treat her well and stay faithful? He couldn't think of such a man, a human man, and his daughter, although dutiful and kind, was no angel. She had firm opinions of her own and was apt to release these at inopportune times, particularly if she was goaded. She was a tricky one and that troubled him for if a man's needs are not met he'll look elsewhere but knew his daughter would not be prepared to give an inch. She said she would do her best to be a wife in every regard except that one; human love was stifling. He could only comply and hope she did succumb to that someone; grow to love whom he found.
In this her father was nothing but methodical, he made a list according to what he knew of man and what might be a man's employment:

• Missionary - posted around the world helping others in the name of Christ; usually desire children and a supportive wife.
• Government Official - confined to a jurisdiction; promotion likely; tend to be corrupt and easily bribed; prefer a stay-at-home wife.
• Doctor - work long hours; movement within district; prefer home-makers.
• Farm Labourer - a hard and unrewarding life; restricted to humble living on a patch of land.
• Sailor - see the world; have a woman of every age, shape and size in every port.
• Lieutenant - stationed all over; being caught up in war is never pleasant whichever side fought for.
• Pirate - do they still exist? greedy; can have foul tempers; not to be trusted with loot, alcohol or women.
• Young Boy – not yet developed into a man and not yet interested in girls.

Of these, the last was a clutching of straws and yet seemed the easiest to bring about and the one that would cause the least trouble. A young boy could be trained, he supposed, to serve and be faithful, but how long before that natural urge would not be crushed? None of those he'd listed were a guarantee and each would no doubt want something else in return once they realised what was at stake.

Was his daughter to die so soon having sacrificed her immortal life for a human soul?
If her motivation was due to love he would understand it better. But distant lands and people who spoke in foreign tongues, no that he could not understand.

Could he forestall this finding of a mate? If he tried, Oona would only take matters into her own hands and 1) that wasn't customary, and 2) she'd likely marry the first man she set her eyes on so desperate was she to see the world.

Would any mortal man be agreeable to marriage and take a vow of celibacy?
The whole impossible situation was a conundrum. 

But it so happened that as he was still trying to find a solution, a man who was a poor swimmer was lost at sea, and so indebted was he to the water spirits that saved him that upon hearing about the father's dilemma regarding Oona he unconditionally offered half his soul. And since there were no clauses that did not state that this was not allowed, the contracts were drawn up and signed: Oona became half-mortal and half-water. This proved so successful it eventually passed into common law and made other girls like Oona free to roam whenever they chose to go without having to sacrifice their life or their natural home.

 

Picture Credit: Undine by Arthur Rackham

Haze

Some experiences have shaped who I am that I'll have to learn to live with as best I can. Or learn to make use of, channel them into an area of work or creativity.
I had thought that you weren't, couldn't be, defined by events and occurrences, but I've come to realise that you are. Whether you like it or not. Whether you choose to open or bury them. Whether you use them constructively or negatively. Whether you claim or refuse to be a victim.
I've always disliked that word: Victim, regardless of its truth or if the alleged is the genuine article, for its overuse. In one way or another we are all victims. We all hurt one another and seek recompense for that hurt. Life makes victims of us all: the wholly innocent and the guilty offenders. At some point, we all create the cause and feel the rippling effects. There is no escape from that for this is a vast, deep pool, and individually we are only drops. Drops that flow and form a vaster ocean.
Does claiming to be a victim empower or weaken? It can do both, but I fear we are too willing to shout it from the rooftops of our house. Far too willing to use that word as a powerful weapon or a defence mechanism. Neither are easy to do; one demands courage, and the other destroys strength, but both chain you to that title, and once there it's difficult to break those binds.
I speak as I find. I use the 'I' in a sense to hide, preferring it to dreaming up a named character. Yet I know you're trying to guess right now whether this is purely narrative or the real me – the author. That, I am not going to reveal. Fact or fictional, it's observational. What this 'I' sees, how this 'I' conceives it.
Every single one of us has a story to tell, a story that casts our landscape. A tale full of twists and turns that leads us to our present, and where we have suffered crushing blows, euphoric highs and mediocre times. That landscape is our own and like everything surrounding us it changes, but mostly there is a default position in accordance with our outlook. Mine for the most part, and like my vision, is hazy, but is nonetheless rich and beautiful, and when the mist lifts it's glorious. A bright day with blue sky and a few motionless clouds, or a sky that captures my sight as it moves. And of course, the mist doesn't always rise, sometimes it gets denser and muddier; there's a darker mood, a gathering storm sometimes within, sometimes without, or sometimes evident in both. Darkness has to meet, has to kiss the light for they are opposites and equals, and all shades in-between.
None of us are perfect beings; those that shout are no better than those that hide or those that try to cope in a more private manner. My landscape may be ill-defined for the lenses in the vessel lacks far-sight, but the 'I' behind is not unequal or dissimilar to others.
I could play the role of 'victim'. I could wallow in it, pound my fists against a wall and scream IT'S NOT FAIR! Let tears fall unchecked, why me? why me? Or I could use that energy to help others. Or I could find a way for me to live and be at peace, without taking anyone into my confidence. I don't have this overwhelming need to share or to justify my actions to others. And nor do I wish to right wrongs or dole out historical punishments. What the 'I' knows is all that matters, and how that 'I' amalgamates or acts it out.
There is never a slate to wipe clean. What ultimately shapes the 'I' cannot be erased. The 'I' can pretend for an indefinite time that such and such didn't happen, everything's fine, but that can lead down self-destructive paths. There's only one person you have to make it right with and that's yourself.
Talk or don't talk. Do or be. Reform if that's what you need. And realise that the 'I' doesn't have to be a prisoner, a perpetrator or a mute witness.

Picture Credit: Hazy Landscape (view to Faroe Islands), William Heinesen, 1962

Two is Worth More

My mother claims that whatever she says I always do the opposite. As soon as she agrees with me, I swiftly jump to defend the other option. Champion it with a sharpened sword. Lunge with a babble of barbed words. Immediately see potential rather than danger in the object I had, an instant ago, been attempting to fend off. And yet, to my knowledge, she's never tried reverse psychology because in all honesty I think, and she knows, I would outwit her.
If she tells me what I want to hear, I wonder why she didn't tell me the other. If she supports the opposing view, I think she's criticising my judgement and I question her own. Is she saying I'm not capable or that I'm foolish to consider it? whatever that IT happens to be. But then if she reprimands me for being fault-finding I think she's delusional, clearly playing the Mother card: my daughter's the BEST. There's nothing she couldn't turn her hand to! Refusing to see or choosing to ignore what I regard as glaring flaws, or else giving me the answers she thinks I want, not need.
I dislike having choices and yet I often reject the bird I'm offered, if not in deed, then in words or thought; one not enough, I have to catch another by enticing it to a flowering or fruit-laden tree, then crossing my dry palm with mixed seed and copying its warble. Wait...imitate...it will come...
A flutter of wings, a rustle as it lands in the foliage and studies me with its inquisitive bead eyes, its small perfectly-formed head tilted to one side as it returns my whistle. Its call, of course, much more beautiful and plaintive than my own. Dawn passed a few hours ago and it's well before dusk, why do I sing thus? the notes of its music convey. That much I have learned to read, but some solos have a complexity quite beyond me to which I can't reply.
A soundless language then develops; a comfortable stillness as if I were a statue on a plinth in a peopled square put there to be befriended by lonely or resting birds. The birds gradually cease to be scared, take briefly to the air in a circling flight, flitting across my line of vision to find a lofty spot to alight and settle. Tentatively they will hop from my shoulder, down the length of my extended arm to my open palm speckled with seed, and each time one dares to feed, that seemingly friendly hand closes over their winged body in a lax grip.
My intention not to harm or cause undue stress, but to feel life pulsating for its beat is stronger than mine. Beneath my curled fingers, a tiny bird appears subdued and calm, yields to my touch as if it understands my need. The eyes, like full stops, are firm and trusting, dark dots of compassion, and the heart caged within the warm feathered body has a robust, yet rapid motion. Livelifelivelifelivelifelivelivelive...goes the beat of bravery.
If I was kind, I'd release it, but the urge to collect, to keep for a short time, has a will of its own, so in it goes into a grey shoebox with a crude perforated lid. I had one, now I have two. One, a risk; two, better odds for unfocused individuals who give refuge to the obstinate belief that two is worth more, and little convinces them otherwise. What if...how do I know...should I stay...should I go...should I say yes...should I say no...should I...should I...should I...
To weigh up, to compare, to assess, to analyse gives the impression of autonomy; I have choices I can control, I am the deciding factor. A false notion as the birds trapped are always free, regardless of their marked similarities or differences. I am not their master or their keeper. I can capture but I cannot make them stay. They will fly or fade away at some point, sometimes for good, sometimes to return when the moment is ripe. My ego might like to think I'm the Governor of my circumstances, but outside of my being there's an influence more far-reaching than I can ever hope to interpret.
And yet a hunter will always attempt to make a pair.

Picture Credit: Weaver Birds, William de Morgan