How do we understand the innocence of Blodeuwedd as the Flower Maiden, and her punishment as the Owl-Faced Old Maid? In the web of life in which everything has a proper and harmonious place as part of a greater dynamic balance, those beings who wander aimlessly without place or purpose — or who refuse to submit to their fate as decreed by the greater order of things — can potentially pose a threat to that balance, causing disruption and harm in their desperate desire to survive. Love of life can lead us astray. In the utter innocence and fierce love of the goddess there exists a lurking danger, where wildness shades into chaos and disharmony. Blodeuwedd is a goddess created in the image of the human being, for a very human purpose: to love and be loved. And yet she retains (as do we all) the undeniable influences of the natural world from which she was made, a more-than-human world in which love and life-force intermingle and overwhelm as the indomitable eros of passion. She exists in a liminal state, very much like our own species. She is a goddess of exile and displacement, and for that reason she is also a goddess of invasion.