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British Isles folklore & heritage Socials: https://linktr.ee/britslore
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THE SONG OF THE WOOD
a gravediggers guild
they left their posts
they set out for iron
and went to the north
they hired a crew
to cut down a wood
the wood was gone
so they shoveled the earth
they dug colosseums
and mined the ore
depleted the veins
and shipped their haul
the blacksmith turned the iron to steel
and crafted the head of a woodcutters axe
and the carpenter made a handle from wood
and crafted the helve of a woodcutters axe
the woodcutter took the new axe to a grove
and with a swing
he chopped down an ash
and with the wood from the lonely tree
the carpenter fashioned a body and neck
and with the steel he had leftover
the blacksmith forged a new set of strings
and with the neck and the body and strings
the luthier crafted a flawless lute
and with the lute a bard did go
back to the grove
where the tree was chopped
and on the stump
where the tree once stood
he played for the forest
the song of the wood
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Repost from Vanguard Britannica
On the day of her funeral,
Some Britons mourn,
Some of us shrug,
Discussing compliments & critiques.
Yet above our musings,
Rises a black chorus,
Of mockery and jubilation,
A foreign choir we've come to know,
Saharan hyenas & Oriental vultures.
Their malice not towards her coffin,
But unleashed upon the people,
No criticism of her reign,
Only of our existence.
As the sun sets on her Empire,
A new day breaks for us,
The death of our monarch,
Our nation's rebirth.
Hope & Glory!
- Tucker, National Director
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A beautiful genius lies dormant in the hearts of our people. Oh the things that could happen if this potential was again realized.
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MY BOOK âNIGHTWALKS IN LAIBACHâ IS OUT NOW
AVAILABLE ON AMAZON
PROCEEDS GO BACK TO OUR WORK IN PROJECTS DEDICATED TO THE PRESERVATION OF BRITISH HERITAGE
âA PATCHWORK OF INTERLACING SCENES SPAWNING FROM THE MIDSUMMER NIGHTWALKS OF A TRANSATLANTIC TRAVELLER IN A POST-YUGOSLAV CAPITAL AND A YEAR OF NOMADIC ESCAPADES AT THE HEART OF EUROPEAN RUIN. A KNOTWORK OF FUTURIST RAMBLINGS AND NOCTURNAL RUMINATIONS. A THEATRE OF WARâ
https://www.amazon.com/dp/B0BCQDMYX9/ref=cm_sw_r_api_i_P6CE5TRGV6VZH7ZXK9XC_0
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As autumn approaches and the harvest season begins, weâve assembled a way to exhibit your support for British folklore! đ
Go grab a John Barleycorn shirt now and support our work at Britslore :)
https://faust-6.creator-spring.com/listing/john-barleycorn-print?product=2
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John Barleycorn is a personification of barley and of the alcoholic beverages made from it: beer and whiskey. In the British folk song of the same name, he suffers indignities, attacks, and death that correspond to the various stages of barley cultivation, such as reaping and malting. John Barleycorn is to the harvest what Santa Claus is to Christmas. John Barleycorn is the spirit of the harvest and there are countless songs singing his praise. Corn in ancient times referred to any grain - rye, barley, wheat. That explains why when America was being colonized and they came across an unfamiliar grain (maize)-they simply referred to it as the generic "corn". The song may have its origins in ancient English or Scottish folklore, with written evidence of the song dating it at least as far back as the Elizabethan era.
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âPOST INDUSTRIAL TRENCHESâ
THE UNION JACK
UPON MY SHOULDERS
THE RED HAND
PINNED UPON MY COAT
THE RAIN FALLS DOWN
LIKE BOMBS FROM THE BLITZ
OUR BOOTS ARE WET
AND OUR TWEED IS SOAKED
WEâRE MARCHING THROUGH
THE EMERALD HILLS
ROLLING LIKE OUR LOVERS BREASTS
ONE THOUSAND BRITISH LEGIONARIES
WITH HEARTS OF IRON
AND SWORDS OF RED
WIELDING EXCALIBUR
ARTHURS SWORD
IN THE POST INDUSTRIAL TRENCHES
WEâRE MARCHING THROUGH
THE FORESTS OF STEEL
ENVELOPED BY FACTORY STENCHES
WEâRE SHROUDED IN
A SEA OF SMOKE
CLOUDING OVER
OUR PIES AND MASH
WEâRE SWALLOWING UP
OUR LONDON GIN
IN COUNTRY FIELDS
OF CINDER AND ASH
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Follow our offshoot account on instagram Britain Lives đŹđ§
https://www.instagram.com/invites/contact/?i=1ovbfrop2ks8l&utm_content=n1zxs6r
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Our Majesty, King Charles is not only a Perennialist, but has such a cogent, erudite understanding of the perennial tradition, it almost seems as if heâs directly quoting the texts of Guenon, or Evola themselves. His proficiency in sophia perennis, and blatant alignment against the deracinated ideology of modernism, is astonishing. Even if say, we reduce him to just some ineffectual figurehead of a dying, powerless order. His reverence and yearning for the sacred as our King, is such a powerful symbol. Thereâs simply no conceivable way he doesnât come to the same human conclusions that we all do when confronted with the unenviable horrors we face in our lives every day. Pretty big deal when the most important King in the world is by his own words- principally against the modern world.
