Magic Tree House is a popular book series written by Mary Pope Osborne. The first book in the series is titled "Dinosaurs Before Dark" and was published in 1992. The story revolves around siblings Jack and Annie, who discover a magical treehouse filled with books. The treehouse has the ability to transport them to different times and places. In "Dinosaurs Before Dark," the treehouse takes the children back to the time of the dinosaurs. As Jack and Annie explore the prehistoric world, they encounter various dinosaurs and learn about their behavior and habits.
Although assumed to be, there is actually no definitive proof that Sheela-na-gigs are pagan. There were very few Celtic symbols left to study, and those that do exist do not have any resemblance to this crude figure. Their attribution to paganism may have come from the Victorians, whose prudish morals would have rejected them even being considered Christian.
The horse beside the Sheela-na-gig in Royston Cave is shown with a phallus and has been compared to the 360 foot Uffington White Horse, a prehistoric hill figure made from chalk. Originally, the term pagan was used as an insult for those who continued to worship the old Greek and Roman gods, rather than embracing Christianity.
As Jack and Annie explore the prehistoric world, they encounter various dinosaurs and learn about their behavior and habits. They also face challenges and dangers, but with the help of their intelligence and the magical gifts they receive from Morgan le Fay, a mystical librarian, they are able to overcome obstacles and find their way back home. The book combines adventure, fantasy, and educational elements to create an engaging and educational reading experience for young readers.
Pagan Fertility Symbols
Originally, the term pagan was used as an insult for those who continued to worship the old Greek and Roman gods, rather than embracing Christianity. Technically, a pagan is a person holding any religious beliefs contrary to those of the main world religions, although today it is more often associated with people who worship the Earth.
On the western side of Royston Cave are the carvings of a horse and an earth goddess, known as a Sheela-na-gig. These are said to be pagan fertility symbols and are thought to be the only non-Christian carvings in the cave. Their style appears to be contemporary with the rest of the site but their presence has never been explained.
The carvings of horse and an Earth Goddess, known as a Sheela-na-gig. © Royston CaveAlthough confusing, it’s not that uncommon to find pagan symbols alongside Christian ones. Sheela-na-gigs, for instance, are often found carved into the stonework of churches, particularly from the Norman era. As in the cave, they are depicted as crude representations of a female figure, naked and displaying their genitals. They are linked with fertility because of the sexual nature of their image, but though some do have enlarged breasts or sit beside men with erections, many are flat chested and hag like, and none are ever shown pregnant or with a child. These differences have made it difficult to determine their original meaning. Their presence on churches may have been to warn the parish against lust or sin, or used as a protection symbol against evil spirits, while some suggest it was to promote the fertility of the land in the area, which the community would have relied on for food and money.
Although assumed to be, there is actually no definitive proof that Sheela-na-gigs are pagan. There were very few Celtic symbols left to study, and those that do exist do not have any resemblance to this crude figure. Their attribution to paganism may have come from the Victorians, whose prudish morals would have rejected them even being considered Christian.
The horse beside the Sheela-na-gig in Royston Cave is shown with a phallus and has been compared to the 360 foot Uffington White Horse, a prehistoric hill figure made from chalk. Horses, particularly those that were white, have been revered by many civilisations, including the ancient Greeks, who associated them with warfare, and the Romans, for whom horses were symbols of strength and power. With the rise of Christianity, horse worship declined but the new saints were still sometimes depicted with one.
Both the horse's and Sheela-na-gig’s genitals do not appear in drawings of the cave made by William Stukeley in 1742, or by Joseph Beldam in 1858. This may be because they were later additions or, more likely, because the carvings were censored. Stukeley believed the scene represents the conversion of St Paul instead, depicting the moment that he fell from his horse after being blinded by the sight of God. Rev. Charles Parkin argued that these carvings show the martyrdom of St Hippolite, who was torn apart by wild horses.
There are two sets of concentric circles in the cave; one by the pagan symbols, the other by St George. © Royston Cave
Beside the Sheela-na-gig are the carvings of a sword and a set of concentric circles, another example of which can be seen on the southern side of the cave by the carving of St George. Concentric circles have carried various meanings throughout history. To Druids, who were leaders in the ancient Celtic religion, concentric circles represented three different worlds: Annwn, Arbred and Gwynvyd. The middle ring, Arbred, symbolised the physical world we live in, and the outer ring, Gwynvyd, was a shining realm, a place only glimpsed when in a state of superconsciousness or bliss. At the end of life, the soul may spiral inwards to Annwn, the inner ring, to be reborn, or spiral out to the realm of wisdom or light. Perhaps this carving was to represent a portal to these other worlds. The geomantic and physical position of the cave, situated on the crossing of two ancient highways, has leant itself to the theory that the cave itself was a sacred entrance to the underworld.
To Ley line enthusiasts, patterns such as these, carved onto surfaces, can affect the flow of earth energies in the area. They believe that people used these techniques to manipulate the landscape and concentrate the forces. To others, the positioning of the concentric circles next to swords in the cave suggests a military connection or protection symbol. Similar markings have been found in Chateau Chinon, in France, a prison known to have held Knights Templar.
The horse beside the Sheela-na-gig in Royston Cave is shown with a phallus and has been compared to the 360 foot Uffington White Horse, a prehistoric hill figure made from chalk. Horses, particularly those that were white, have been revered by many civilisations, including the ancient Greeks, who associated them with warfare, and the Romans, for whom horses were symbols of strength and power. With the rise of Christianity, horse worship declined but the new saints were still sometimes depicted with one.
It introduces children to different historical periods and encourages curiosity and imagination. Overall, the first book in the Magic Tree House series sets the stage for Jack and Annie's future adventures and appeals to readers of all ages with its mixture of fantasy and educational content..
Reviews for "The Magic Treehouse: A Gateway to Imagination and Exploration"
1. Jane - 2/5 - I was really disappointed with "Magic Treehouse 1". The story was incredibly predictable and lacked any sort of depth or creativity. The characters were one-dimensional and their dialogue felt flat. The writing style was also quite basic and didn't engage me as a reader. Overall, I found it to be a very lackluster and uninspiring read.
2. Mike - 3/5 - I wasn't a huge fan of "Magic Treehouse 1". While I appreciate the concept of transporting children to different historical eras, I felt that the execution was lacking. The plot felt rushed and superficial, and the time spent in each era was too brief to fully appreciate or understand them. Additionally, the characters were not well-developed and I didn't feel a strong connection to them. Overall, I think there are better children's books out there that offer more depth and engagement.
3. Lisa - 2/5 - I found "Magic Treehouse 1" to be a mediocre read. The plot was predictable and lacked any real excitement or tension. The historical references felt superficial and didn't provide enough educational value. Additionally, the writing style was simplistic and didn't engage my imagination or curiosity. While I understand that this series is targeted towards young readers, I believe that children's literature can offer more intellectually stimulating and immersive experiences.