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Ill-met, Ferdia, like this -- you crimson and pale in my sight, stretched in a bed of blood, and I with my weapon unwiped. When we were beyond the sea, Scathach's and Uathach's pupils, who thought of such pale lips or a weapon-struggle between us? I remember when Scathach lifted her sharp harsh cry: "German Garbglas is coming! Foreward to the furious fray!
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Nudity in combat

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Woodard Cambridge University Press , M01 28 0 Reviews This book examines the figure of the returning warrior as depicted in the myths of several ancient and medieval Indo-European cultures. In these cultures, the returning warrior was often portrayed as a figure rendered dysfunctionally destructive or isolationist by the horrors of combat. This mythic portrayal of the returned warrior is consistent with modern studies of similar behavior among soldiers returning from war. Roger Woodard's research identifies a common origin of these myths in the ancestral proto-Indo-European culture, in which rites were enacted to enable warriors to reintegrate themselves as functional members of society. He also compares the Italic, Indo-Iranian and Celtic mythic traditions surrounding the warrior, paying particular attention to Roman myth and ritual, notably to the etiologies and rites of the July festivals of the Poplifugia and Nonae Caprotinae and to the October rites of the Sororium Tigillum. Account Options Sign in. My library Help Advanced Book Search.
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‘warrior’ stories

After a while, this turned into piracy, attacking and looting any English vessels she found in the coastal waters, from Connacht to Munster. Her son was named Tibbot na Long Tibbot of the Ships to reflect the circumstances of his arrival in the world. She was caught and imprisoned a couple of times, but always resurfaced to fight again.
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Sheela na gigs are figurative carvings of naked women displaying an exaggerated vulva. They are architectural grotesques found all over Europe [1] [2] on cathedrals , castles , and other buildings. The highest concentrations can be found in Ireland, Great Britain, France and Spain, sometimes together with male figures. Ireland has the greatest number of surviving sheela na gig carvings; Joanne McMahon and Jack Roberts cite examples in Ireland and 45 examples in Britain.
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