John Bruno Hare, creator of the Archive, passed away on April 27, 2010. His vision included a sacred text archive of largely Public Domain works that would remain accessible worldwide, and would be forever free to read.

The vision of John Bruno Hare is alive and well. Plans for new texts, new products and mobile applications, and new versions of the site itself have been underfoot for some time, and patiently await birth.

In memory of JBH’s passing, ISTA presents the first new content ever added to the Archive since April 2010, along with some featuring of existing content. The theme, loosely, is Remembering Bruno, the Afterlife, and Being Present.

[source]

Many wonderful new titles are offered in this remembrance including “Yogic Alchemy in Taijiquan” , Wallace Budge’s translation of the Egyptian “Book of the Dead“, the “Mayan Calendar” by John Bruno Hare himself and, or particular interest to us in the Celtic community, “Ulster Folklore” by Elizabeth Andrews. As you know, without the Sacred Texts Archive and the inestimable work of John Bruno Hare, the production of this show would have been well-nigh impossible and almost certainly wouldn’t have taken place. We owe him, his friends and associates - past, present and future - a great debt! Thank you guys, and may you travel in peace John.

Souterrain at Ardtolle, Co. Down Pic: Gutenberg

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Handster at http://www.handster.com/celtic_myth.html or by using the QR code opposite. It’s als found on the Opera Marketplace as well as AppBrain in the US.
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This is a first for us. Our very first interview in the field of Celtic Mythology and what a great interview it is! We are very privileged to bring you an interview with famous authors and podcasters, Rhonda R. Carpenter and Arlene Radasky. You may remember in yesterday’s post we brought you news of these two podcasters releasing the novels of their great books on Amazon. To coincide with their release of The Mark of a Druid and The Fox they have graciously answered some of our eager questions. Let’s have a little about these two amazing ladies before we plunge into our questions:

Rhonda R. Carpenter is an award winning Clinical Hypnotherapist specializing in Past Life Regression as well as a renowned Psychic, the 5th generation in a long line of powerfully clairvoyant women. Her first fiction fantasy novel was released in 2008. She lives and works in the mountains of Southern California. Arlene lives in the small town of Goleta, situated next to Santa Barbara, California with her husband and two cats. Ancient history has always been a love of hers and after seeing two bog bodies, one in Denmark and one in London, their voices pooled together in her imagination to form the story of The Fox. She believes she has lived many lives and can feel other voices coming to the surface. The Fox is her first novel and she knows there will be others.

The Interview

Gary: Ladies, welcome to the Celtic Myth Podshow! Ruth: Yes, and thank you for giving us and our readers some of your valuable time. Arlene: You’re welcome. Rhonda: It’s a pleasure to be here.

Rhonda

Gary: We would both like to congratulate you not only on podcasting your exciting stories of life among the ancient Celts but having your books published. I wonder whether you’d like to tell us a little about your books? Arlene: Surely. The Fox is the life story of a first century young man who escapes death by the Romans, falls in love, creates a family, and then has to make a life changing decision to save them from the encroaching Roman troops. A modern woman archaeologist is also searching for the connection she feels with the ancient couple and to make sense of her life after an abusive marriage. Rhonda: The Mark of a Druid has been a wild ride for me. Basically this is a story that combines my love of the Celts with my work, Clinical hypnotherapy. The novel is set around a research project to discover if reincarnation can be proven in hard fact. The book deals with revenge and prophecy, love and loss, a spirit walker and a shape shifter who must come to terms with each other and their situation in the ancient world and the present.

Arlene

Ruth: I was wondering where did you both get the inspiration to write your novels? Rhonda: This novel for me started as a very vivid dream that I thought would make a good story and it evolved from there. Arlene: About ten years ago, I read a book about research on a body found in a bog. After several life-changing events in my life, along with his and other ancient peoples’ voices telling me it was time to tell the world about them, I knew I had to try to put his story into words.

I started, formally researching and writing The Fox about three and one-half years ago. Gary: I think your research shows in your work as well! I am particularly impressed with the way that all of the imagery and description of ancient times relies on ancient objects to describe things. It really keeps you in the story. Ruth: How did you come up with the titles for the books? Arlene: The Fox was the young man’s name in the research book I read and it was his story I was telling. I had no other choices. Rhonda: The title? Well, the Mark is actually in the story and its theme carries through to the next two books in the series. You see in the past the main character has a birthmark that has been prophesied about and in the present the main character wakes up with this mark where she never had one before.

The Mark of a Druid

Gary: We are deeply in love with the Celtic Mythos; its’ histories and its stories but I realise that not everyone has the same sense of belonging to Celtic history. Why did you both choose the Celtic period in particular to set your novels? Rhonda: I too am personally drawn to Celtic Myth and lore. I love the culture and especially when it comes to the spiritual beliefs of the people who lived then and how their beliefs molded our civilization. For me few other cultures hold the mystery and intrigue that the Celtic culture does for me. It is like coming home for me. I feel a connection with their stories and way of living, with their tenacity and there ability to court nature and love they held for all things natural. Ruth: I’ve just got to agree with that! Arlene?

Arlene: I chose this time period because it coincided with the information in the book I read for inspiration, but I have always been fascinated by the Celts and jumped right into my research eagerly. Ruth: I do a lot of reading and the question I’ve always wanted to ask authors is: how much do you personally identify with your novel’s main character? Arlene: Ah! I have three main characters, Lovern, The Fox, Jahna, his wife and Aine, the archaeologist. I wish I had studied archaeology. I would love to be one of the searchers of the way ancient people lived. I have a background in Advanced First Aid and our community hospice so Jahna also seems close to me, too. Rhonda: (laughing) Well as a clinical hypnotherapist I would say I totally get Eve better than she gets herself. While she has some of me in her mannerisms and work that is where the similarity’s stop. Eve is willing to go out and ask for funding she is willing to push the envelope in a public way. I on the other hand prefer to stay in the background of ground braking hypnosis work for the most part. She looks nothing like me but she does have love her cat Cosmo and I can totally relate to that unconditional exchange of effecting from animal to human and vice versa.

Gary: Yes, I love the way that Cosmo seems to be the wisest of them all! I think the strength of your professional experience, Rhonda, comes out marvellously with Eve. The way she goes through a wide variety of states of human consciousness and the impact of her ‘experiences’ upon her body in present day is striking! Ruth: Many of our readers and listeners feel the creative fires themselves and they often tell us that they are writing or want to write about the Celts. On their behalf, may I ask you what sources for research did you use in your novels? Rhonda: Libraries, the Old Myths in book form and reprint, the internet and believe it or not hypnosis was a big research tool for the character development aspect of the writing. I love to research so anywhere I could pick up a tidbit or a direction I jumped on it. Arlene: I extensively researched my book and the full resource list is found at the end of this interview.

The Fox

Continued in later post…

Originally posted 2009-02-01 02:00:08. Republished by Blog Post Promoter

The Morrighan Pic: Esther Remmington

The Morrigan is best known as a goddess of battle. In Irish mythology if there is conflict and strife, chances are you’ll find the black-winged Morrigan there, too. But the Morrigan fills many roles and had many guises, all of which are discussed in detail in my book, Celtic Lore & Spellcraft of the Dark Goddess: Invoking the Morrigan.While we think of her today as a queen of battle, she is more accurately the “Great Queen” and a goddess of sovereignty.Celtic mythology is filled with powerful, enigmatic queens, both mortal and divine. Some, like Maeve and Rhiannon, began as goddesses but were eventually demoted to mortal queens within their myths. While in most myths the Morrigan’s divine nature remains intact, in some cases, as when she appears in the guise of Macha, her statue is diminished as she appears as a mortal queen.

Regardless, the roles of these queens remained constant. They personify power, authority, and strength. They were goddesses of the land, and only through a union with them could kings win the right to rule. To modern seekers they offer the gift of empowerment and self-knowledge. They challenge us to reclaim sovereignty over our lives, and lead us towards wholeness.

But before we can examine what role the goddess of sovereignty can play in our lives today, it is important to understand who she was to those who worshiped her in the past, the Pagans. To the Celts sovereignty was not simply the right to rule over a clan or country; sovereignty was a divine power that was granted by the goddess of the land. The goddess and the land were one and the same, and thus sovereignty took on the guise of a mystical or divine woman. It was only through a union—either a marriage or sexual encounter—with her that the king could rule. By joining with the goddess of the land, he in turn became connected to the land and its people. It was believed that a blemish to a king would manifest in the land; if a king was disfigured in anyway, he could no longer remain king, lest he risk transferring his disfigurement to the land. Thus when the king of the Irish Gods, Nuada, lost his hand in battle he was forced to abdicate the throne.

Because kings had to enter into a symbolic marriage with the goddess of the land, there are many references to goddesses of sovereignty also being queens. The Morrigan is no exception; her name means “Great Queen,” inferring a connection to sovereignty, and as Macha (one of the three goddesses who form the Morrigan) she appeared as a mortal queen who goes to battle to retain the right to rule. Macha’s father had reigned along with two other kings, each taking turns to rule for a span of seven years. When her father died and his allotted time came to rule she demanded to take his place. The other kings refused, not wishing to rule alongside a woman. Macha swiftly went to war against them and won her crown on the battlefield. It is important to notes the other kings could not rule without her. When they reject her, they reject the power of sovereignty she holds. And as they find out on the battlefield, they can not hold onto power without the goddess’s consent.

Like other goddesses of sovereignty, the Morrigan has a strong connection to the land. While we think of her today as a goddess of battle, her name appears in connection to numerous earth works and features of the land, making her origins most likely that of an earth goddess. In County Meath there are a pair of hills called The Dá Chich na Morrigna (The Two Breasts of the Morrigan), in County Louth we find Gort na Morrigna (Morrigan’s Field), and in the Boyne Valley there is the earthwork Mur na Morrigna (Mound of the Morrigan). “The Bed of the Couple” is a depression along the river Unius that marking the spot where Morrigan mated with the god Dagda. The places she makes her home also point toward her connection to the land and sovereignty. Before she made her home in the Cave of Cruachan she was said to dwell at Tara, where Ireland’s high kings were inaugurated. The Cave of Cruachan, also said to be her home, stood not far away from Cruachan, the royal seat of power for the kings and queens of Connacht.

The gift of sovereignty was not shared; instead, it was conveyed from the goddess to the king, who acted as her representative. This relationship was not always permanent; if the king became too old to rule or was unjust the goddess could leave the union and replace him with a younger, more fitting ruler.We can find this theme in the stories of Maeve, Rhiannon, and Guinevere. Although demoted to a mortal queen, Maeve’s abilities and the impossible tasks she performs point to her divine origins. She takes many consorts, replacing them when she sees fit. Despite this Maeve always retains Queenship over Connacht, while the men in her life can only become kings through a union with her. Similarly, it is not until the Morrigan’s union with Dagda, one of the kings of the Túatha De Danann, that the Irish gods could defeat their enemies the Fir Bolg and take over rulership of Ireland.

Joanne Marriott as The Morrighan, in The Spirit of Albion Pic: Lusete

Like other kings, it is not until Dagda engaged in a sexual union or marriage with the goddess of the land that he (and the other Irish gods) could truly rule Ireland.

In Rhiannon’s story we find her willfully leaving an engagement and seeking out a worthier mate, prince Pwyll, who eventually ruled as a just king with Rhiannon at his side. It is also interesting to note that like the Morrigan, Rhiannon’s name also translates to “Great Queen” from a similar root, “rigani,” meaning “queen.” Similarly, in the love triangle between Guinevere, Arthur, and Lancelot we find the sovereign figure (here represented by the mortal queen Guinevere) seeking out a mate more to her liking. Their story is most likely a distorted version of the sovereign goddess’s myth. As a mortal woman she is reduced to a lustful, cheating wife, but when we return her to her original form, seeing her instead as the goddess of sovereignty, she is maintaining her right to choose her lovers and confer sovereignty to a younger, worthier mate. She acts in the best interest of the land, giving the power to rule to someone she feels is better suited to its prosperity and protection.

This same theme is mirrored in the interactions between Morgan Le Fay and her sometimes-lover brother, when she attempts to have her young lover Accolon replace Arthur as king. It is debatable if Morgan Le Fay and the Morrigan are the same, but they share many traits. The character of Morgan Le Fay is derived from the goddess Modron, who is the Morrigan’s Welsh equivalent, suggesting a connection between the two. Certainly they share similar roles as sovereignty figures within Celtic lore.

The goddess of sovereignty, like the Morrigan, was somewhat of a shape-shifter; she could take the form of a young beautiful woman or a monstrous hag. When she appears as the hag it is usually to test the king or to remove him from his position, while as the maiden she grants him her loving support and gifts. At times the two themes are combined and the king must face the hag in order for her to transform into the lovely maiden.

The sovereign-hag usually appears in a story when the king has broken his vows to the goddess in some way. Usually this is after he has violated a taboo, or geis. Kings and heroes often had several geis placed upon them by a goddess or Otherworldly female. Breaking a geis brought bad luck and in most cases caused the hero or king’s death. When the king broke one of his geis, the sovereign-hag would appear, tempting him to break his remaining taboos. This functioned as a sort of divine checks and balances system. If he broke his taboo, he was unworthy and the goddess relinquished the power of sovereignty, which he had abused.

We often find the Morrigan filling the role of the sovereign-hag who brings unworthy kings low. In the The Destruction of Da Derga’s Hostel the Morrigan (here in her guise as Badb) appeared at king Conaire’s door after he had broken several of his taboos. Disguised as a hideous hag she tricked him into breaking his final geis, to never admit a single female into his house after dark, and by the morning Conaire was dead. Conaire could have chosen to not break his taboo, but he willing does so, failing the goddess’s test.

The Morrigan is best known as a goddess of battle. In Irish mythology if there is conflict and strife, chances are you’ll find the black-winged Morrigan there, too. But the Morrigan fills many roles and had many guises, all of which are discussed in detail in my book, Celtic Lore & Spellcraft of the Dark Goddess: Invoking the Morrigan. While we think of her today as a queen of battle, she is more accurately the “Great Queen” and a goddess of sovereignty. The Morrigan’s interactions with Cúchulain follows a similar pattern, except Cúchulain, unlike Dagda, refuses to acknowledge the goddess’s power. Cúchulain may not have been a king, instead being the champion of Ulster, but by protecting and defending the land against Maeve’s army he acts in much the same way as a king would.

The Morrighan Artist unknown Pic: Akem’s Revenge

The Morrigan, charmed by his prowess in battle, appears to him as a beautiful maiden. She offers him her love, but he rudely turns down her offer. By refusing the goddess’s offer of a sexual union, he in turn is refusing her offer of conferred sovereignty, and fails to acknowledge the power of the goddess who personifies the land. When she offers to aid him in battle instead, he again insults her. Fueled by his ego he believes he does not need her aid to win his battles. Like other kings who the sovereign goddess tests and find unworthy, the Morrigan takes actions against him. She attacks him in the form of a heifer, an eel, and a wolf, hindering him in battle.

Like her interaction with Conaire, she attempts to make the hero break his geis. Before Cúchulain’s final battle she appears as a hag alongside the road cooking dog flesh. She offers him some of the meat, which puts him in a precarious situation. Cúchulain had two taboos, to never eat the flesh of his name sake the dog, and to never refuse food offered to him. No matter what he does, refuse the food or eat it, he will break a geis. He eats the food, and like Conaire, dies shortly after.

In mythology the goddess of sovereignty is a mighty queen; she dispenses justice and aids the worthy, all in service to the land and its people. But how does this figure of the divine queen translate in today’s spirituality? The Great Queen, in all her forms, may not be testing kings in today’s world; instead she offers us a different challenge. As the goddess of sovereignty, the Morrigan challenges us to champion ourselves, to claim the sovereignty of self.

Too often in life we forget to recognize our own power, our right to steer the directions of our lives. Sometimes we hand our power over to others; perhaps we have been learned to rely on other people and not ourselves, or we are afraid to take control of our lives, or maybe we have handed our power over to another out of love. Perhaps we feel too shy to speak our true feelings, or feel like the course of our lives is out of our control. Whether we have relinquished our personal power within a relationship, in our careers, or just in life in general, the Great Queen calls to us to reclaim our sovereignty.

Beverly Moon and Elisabeth Benard relate the world “sovereign” to the Sanskrit sva-raj, which means “self-rule” or “self-ruler.” Another meaning of raj is “luminous” or “radiance,” thus there is a connotation that sovereignty is not only ruling over one’s self but being in the state of “self-luminescence” or letting our inner radiance shine through. When we self-rule our lives we do not leave our fates up to others. Empowered by this aspect of the goddess we can bravely reshape ourselves and our lives into what we desire.

As the sovereign-hag she appears to us when we need to break down the barriers that hold us back in life. She tests our strength, and teaches us to rely on the power within. As the queen she teaches us the necessity of action. If we wish to bring change into our lives, then at times, like Macha, we must go to battle and stand up for what we believe in. When we have learned to call upon our inner strength, she appears as the beautiful maiden, offering us the wealth of the land and the fruits of our hard earned labors.

While the great queens of mythology are often cast as villains, they teach us a vital truth. When we embrace the mysteries of the sovereign queen we embrace our own inner power, letting it shine radiantly into all aspects of our lives. The ancient queens of myth and legend took power into their own hands, and fought fiercely to maintain it. No matter the situations they remained resolutely true to themselves. Through self-rule they shaped the course of their stories, just as we can re-shape our own.

About the Author

Stephanie Woodfield (Brookfield, CT) has been a practicing Witch for over fourteen years and a Priestess for ten years. Her lifelong love of Irish mythology led to a close study of Celtic Witchcraft. A natural clairvoyant and empath, she has worked as a tarot card reader and is ordained as a minister with the Universal Life Church.

The original article can be found in the Llewellyn Journal.

Article Copyright 2012 Llewellyn Worldwide Ltd. All rights reserved.

Celtic Lore & Spellcraft of the Dark Goddess

Invoking the Morrighan Pic: Llewellyn Books

Invoke the Morrigan—the Celtic embodiment of the victory, strength, and power of the Divine Feminine—and be transformed by her fierce and magnificent energy.In this comprehensive, hands-on guide to Celtic Witchcraft, Stephanie Woodfield invites you to explore the Morrigan’s rich history and origins, mythology, and magic. Discover the hidden lessons and spiritual mysteries of the Dark Goddess as you perform guided pathworkings, rituals, and spells compatible with any magical path. Draw on the unique energies of the Morrigan’s many expressions — her three main aspects of Macha, Anu, and Badb; the legendary Morgan Le Fay; and her other powerful guises.

From shapeshifting and faery magic to summoning a lover and creating an Ogham oracle, the dynamic and multifaceted Dark Goddess will bring empowering wisdom and enchantment to your life and spiritual practice.

Stepahnie’s book is available from Llewellyn.

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Handster at http://www.handster.com/celtic_myth.html or by using the QR code opposite. It’s als found on the Opera Marketplace as well as AppBrain in the US.
If you come to the site and listen or listen from one of our players – have you considered subscribing? It’s easy and you automatically get the episodes on your computer when they come out. If you’re unsure about the whole RSS/Subscribing thing take a look at our Help page.

The above video is Part 1 of a presentation of the Celtic and Prehistoric museum collection by founder and owner Harris Moore. You can find Part 2 below. The Celtic and Prehistoric museum is on the Slea Head road west of Ventry, west of Dingle, Kerry. Kerry is as close as you’ll get to the mythical Ireland; that Celtic Kingdom of misty mountains promised by glossy brochures, Hollywood and our daydreams. Between the county’s snow-capped summits are medieval ruins, glacial lakes, coastal peninsulas, blustery beaches, deserted archipelagos, secluded hamlets, and larger towns where live music sparks up every night.

If you follow the YouTube link on the video, you’ll find that the video was uploaded by celticways. John of the wonderful tour company, Celtic Ways, does a great deal for the Celtic community – much more than ferry people around Ireland

Celtic Ways

Based in Co. Sligo, John of Celtic Ways says:

During the days we offer a variety of guided tours, adventures and experiences around local ancient sacred sites. Be surrounded by the mythology and spiritual stories of Brigid, Morrigan, Maeve, The Tuatha De Dannan, Lughad, Dagda and many more in places high enough to see up to a third of Ireland, around our many beautiful lakes and along our beautiful coastline.

Enjoy sharing some time discovering traditions that have been here since ancient times such as making Brigid crosses, walking our labyrinth garden, learning tree lore and ogham language, songs and music with harp, storytelling and lunches in our traditional restored thatched cottage.

A wonderful way to launch your vacation in Ireland, or stay here longer if you wish!

As far as I’m aware, the Museum does not have a website I can point you to, but you can find John on the Celtic Ways website. He has also started a Celtic story-telling podcast with wonderful music from his partner, Claire Roche called the Celtic Dreamtime Podscape but we’ll have more about that in the future.

Last Minute Updates

Thanks to John of Celtic Ways, we now have a link to the Celtic & Prehistoric Museum.

Originally posted 2010-01-26 07:59:36. Republished by Blog Post Promoter

Pic Wikipedia

The triple spiral or triskele is a Celtic and pre-Celtic symbol found on a number of Irish Megalithic and Neolithic sites, most notably inside the Newgrange passage tomb, on the entrance stone, and on some of the curbstones surrounding the mound.

Believed by many to be an ancient symbol of pre-Celtic and Celtic beliefs, the triple spiral appears in various forms in pre-Celtic and Celtic art, with the earliest examples having been carved on pre-Celtic stone monuments, and later examples found in the Celtic Christian illuminated manuscripts of Insular art. The triple spiral was possibly the precursor to the later triskele design found in the manuscripts.

The triple spiral is one of the main symbols of Celtic Reconstructionist Paganism, often standing for the "three realms" – Land, Sea and Sky, or for one of a number of deities who are described in the lore as "threefold" or triadic.^[1] The god Manannán is probably most often the one symbolized by the triskele, though some also use it for the goddess Brighid. Some Celtic-inspired Wiccans also use the triple spiral symbol, most often to represent the concept of the triple goddess.

According to Uriel’s Machine by Knight and Lomas (2003) the triple spiral may represent the nine month period of human pregnancy, since the sun takes a fourth of a year to go from the celestial equator (an equinox) to extreme north or south declination (a solstice), and vice versa. During each three-month period, the sun’s path across the sky appears to form a closely-wound quasi-helical shape, which can be likened to a spiral, so that three spirals could represent nine months, providing an explanation for a link between fertility and the triple-spiral symbol.

Source

Originally posted 2009-10-14 11:20:42. Republished by Blog Post Promoter

Hawthorns in blossom Pic: Tom00la

Marking the dawn of the Celtic pastoral year, the vernal equinox celebrates the Otherworld in the moment of balance which occurs as the sun crosses the celestial equator. For the Celts, the solstice and equinox observations may have enjoyed less celebrity than the festivals of Samhain, Imbolc, Beltine and Lughnasadh. However, the semi-annual equinox was carefully noted, as it also brought increased visitation from the Otherworld.

On the equinox, when day and night are momentarily equal, the busy activity  which keeps the human and Otherworld separate momentarily subsides. In that time of suspended activity, the conduit between the worlds yawns, the “veil becomes thin.” As the contents of both worlds mingle, the resulting tumult offers an opportunity for a renewed relationship with the unseen.

An open mind is required for transacting with the Otherworld. As Yeats writes

“If he is sceptical about them, and would fain reduce them one after another to
the rules of probability, this sort of crude philosophy will take up all his
time.”

Keep in mind that such meetings occur in a fleeting instant — longer dalliances in the world of mythos can lead to madness. It must be noted though, that those singular moments of insight can last a lifetime.

Whether one believes such encounters are an external journey or an internal experience, they can be considered similarly. In both instances the contents and symbols of the Otherworld are approaching the individual from without or within.

The equinox is just such a time when an association between worlds can be broached. By engaging in a simple ritual, perhaps a few minutes of silence, the frenetic conversations of everyday life recede, consciousness is reduced and the underlying song of the Otherworld has an opportunity to be heard.

The symbols which cluster around the Celtic observances of the vernal equinox and St. Patrick’s Day are particularly evocative in creating associations which are as useful to us as they were for our ancestors.

Through symbols like the leprechaun and the magic shillelagh, one can visit the fairy kingdom of the Tuatha De Dannan. Wise and giving, lusty and tempestuous, they offer their myths and enduring company. The snake and the trefoil shamrock give evidence of the presence of the Goddess, wrapped in her verdant cloak of Spring.

The four-leaf clover reminds us of the later solar worshipping invaders of Ireland, just as the leprechaun’s pot of gold recalls the educated, priestly class of Druids who controlled the gold trade routes connecting Erin to continental Europe.

T. L. Markey writes

“In the so-called primitive stage of many societies, websof associations, highly symbolic in nature, are frequently woven between periodsof the day, cardinal points, seasons, colours and social-spiritual values.”

The “primitive” dialect of symbols which was created by our ancestors stillexists in our unconscious minds. These symbols are composed of both personal and universal matter, and it is our association with those symbols which allows us
to hear the language of our soul.

Tending to those associations tends to the soul and renews the ligature that binds mortal to mythos. This year as you celebrate St. Patrick’s Day or the equinox, take a moment to enjoy the multi-layered experience of our ancestors.

Source

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
If you come to the site and listen or listen from one of our players – have you considered subscribing? It’s easy and you automatically get the episodes on your computer when they come out. If you’re unsure about the whole RSS/Subscribing thing take a look at our Help page.

As the sun set, the hilltops became alive with fire. The warm spring air filtered gently through the trees and caressed the lush green landscape as a blanket of night fell over the land. Happiness, hope and passion filled the night as the people danced and celebrated this sacred time, taking time to explore the forests, meadows and even each other. This night, known as Beltaine, has been celebrated in many cultures and in many different ways. Today, it remains as one of the two most important holidays to modern pagans, the other being Samhain.

Also known as May Day or May Eve, Beltaine falls on the first evening of May, or on the last evening of April, as people once considered that the beginning of a new day occurred at dusk. Beltaine, a fertility Sabbat, marks the last day of the planting season, once a very important time before the advent of modern conveniences and inconveniences. Beltaine also celebrates life and renewal and a time of hope; from this time, things started would tend toward their fruition. Continue Reading »

Originally posted 2008-05-01 13:14:45. Republished by Blog Post Promoter

The CMP Logo

In this show, released on St. Patrick’s Day, we follow the birth of the young Spring Maiden with some fascinating information about the Irish Saint Brigit and the Goddess Bride, as well as a beautiful section from The Druid Isle by Ellen Evert Hopman which is a follow-on from The Priestess of the Forest excerpt we read in SP06, a great piece of poetry accompanied by the wonderful harp of the much-loved Scott Hoye, and another 5 superb pieces of music.

You can hear the inspiring Damh the Bard, the high-energy Spiral Dance, the evocative and traditional Jennifer Cutting’s Ocean Orchestra and lastly, the atavistic Amergin by the MIGHTY Dolmen!! Is this all going to fit into one show? Only time will tell!

Hope you enjoy it,

Gary & Ruthie x x x

How to Listen

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Hope you enjoy it,

Gary & Ruthie x x x

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Pic: Storm Crypt

Our ancestors saw this other form of reality as the workings of mind and separate from the thought process of the physical brain; mind as a detached entity. This of course begs the question “what is reality?”

and that question can not be answered by any of our modern technology or science. For each of us in a lifetime may face many different realities, collectively or individually, reality can only ever be our subjective perception of it.

On surviving evidence the early Celtic peoples saw all life forms existing on three levels, three integrated but separate beings co-habiting as a single being, the realms of body and mind linked to the all pervading life force, ‘Spirit’. At this point we must disassociate from the new age thinking of transcending the physical to become linked with the spiritual. Spirit itself is the unifying force interwoven through all levels of existence as symbolized by the triple knot, or the triple spiral. A brilliant example of this is illustrated in a story by Fiona MacLeod entitled: “The Divine Adventure”, well worth reading.

Today most of us mock as ignorance the practises of these early people as we now live in a world where the conscious mind rules in logic. Science has for us pushed back the dark shadows of ancestral night. With smug superiority yesterday’s mysteries are nearly all explained, the very nature of our planet understood, superstition replaced by knowledge. Yet how many of us, if wrenched from the security of our modern well lit and warm environment to be suddenly faced with being lost alone in a dark forest wilderness, could spend the dark hours totally free from the ancestral demons of the mind that haunted these early people? Rubbish, you may say. I would reply “try it”. In many respects we still differ little from our early progenitors.

As is well documented, all of the Celtic type peoples were ancestor worshippers. This is to say that the Deities were also the ancestors of the clan. Many early legends are primarily concerned with the explanation of how the ancestors made adventurous journeys into the Otherworld realms to claim a place in the great Duns of the pre-diluvian Goddess Cessair, and in so doing they became a guide and refuge in death for the future generations of this people. The Irish legend of Donn the first man to die in Ireland being deified as the god of death is an excellent example of this. It is very natural that then as now the mysteries of death were foremost in the minds of these people.

If you can perceive life on three levels – physical, mental and spiritual interlaced as one – then the concept of the Otherworld will become less difficult to understand. This does mean that you must see that in the oneness of being, no part of it can be greater or lesser. In Celtic beliefs true vision of spirit can only be achieved when you find the central harmony of body, mind and spirit. Spirit does not only exist in higher planes. Spirit exists in all. This conflicts totally with the imported Eastern philosophy of transcending the material to attain the higher realms of spirit.

The Otherworld and the realms of spirit are with us always. We live equally as part of them and they of us. The portals to these realms lie at the centre of our being. Perhaps sometime while you are relaxed and at one with yourself and creation the mists will clear, revealing the other part of your existence to you. Then may you journey to the many coloured lands in the elemental kingdoms of Tir-fo-Thonn, Tir-na-Bea, Tirtaingiri, Tir-nan-Og and Tir-na-Moe.

S. McSkimming, Dalriada Magazine, 1993

Source

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
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An image of Lugh/Lugus, from the website Pic: http://users.frii.com/asacat/dr.htm

[Originally published in An Tríbhís Mhór: The IMBAS Journal of Celtic Reconstructionism #1, Lúnasa 1997.] Copyright © 1997 Alexei Kondratiev. All Rights Reserved. May be reposted as long as the above attribution and copyright notice are retained. Of all the divinities known to have been worshipped in the Celtic world, the god whom the Continental Celts called Lugus and the Irish called Lúgh is one of the best documented and best understood. The sheer volume and widespread range of evidence related to him testifies to the importance of this god in Celtic tradition.

The evidence includes: iconography from the pre-Roman period; toponymy; iconography and epigraphy from the period of Roman occupation; testimony of Greek and Roman writers; literary traditions of the Insular Celts in the Middle Ages; modern folk narratives in Celtic languages; and ritual practices of conservative rural Celtic-speaking communities.

Each of these bodies of evidence provides only fragmentary information; yet when all are taken together and interpreted in the light each can shed on the other, a detailed and consistent picture emerges, which can direct us with a high degree of certainty to an understanding of what the worship of Lugus/Lúgh entails.

Continuity of Indo-European Heritage

Beginning around 500 BCE, and following on the sudden expansion of both wealth and territory it had experienced in the Early Iron Age, the Celtic world entered into a period of comfort and self-confidence where it took great interest in the cultures and artistic expressions of its neighbours and borrowed freely from them, yet always adapted such borrowings to native Celtic tastes and values. This blend of innovation and tradition gave rise to the unique La Tène style of Celtic art, and doubtless had repercussions at all levels of Celtic culture, particularly in the realm of religion. A whole vocabulary of religious symbols of Oriental origin began to be depicted on art objects during this period, suggesting a renewed interest in religious ideas as a result of exposure to foreign traditions, although there does not seem to have been any break with the fundamental Indo-European heritage.

Many of these imported symbols, as well as some other new ones of native origin, are found in association with one particular god whose sudden and widespread rise to prominence must have been one of the most important events in La Tène religion. This god is shown together with birds; horses; the Oriental Tree of Life motif; dogs or wolves; and twin serpents. But the imagery most intimately connected to him is the mistletoe leaf or berry. Most often the mistletoe leaves are shown at either side of his head, like horns or ears; but sometimes the symbolism is reversed, and the god’s head appears as the berry of a mistletoe plant. During the 300′s the mistletoe-leaf motif combines with that of the twin serpents (portrayed as facing S’s) into a new motif archaeologists call the “palmette”. This shape, crowning the god’s head or attached to some animal figure, is common (especially on coins) until ca. 200 BCE. Thereafter the twin serpents appear alone in what is still clearly a glyph representing this particular divinity. The fact that representations of the god and of his symbols appear most frequently on objects related to formal aristocratic banquets (such as the famous wine flagons from the Basse-Yutz burial in the Rhineland) strongly suggests that he was in some way associated with sacral kingship.[1]

Lugh, the Roman Mercury?

Because the Iron Age Celts did not use writing in religious contexts, we have no direct evidence of this god’s name. Toponymy, however, gives us a very strong clue. The name Lugudunon was given to a very large number of sites (Lyons, Loudun, Laon, Liegnitz, probably Leiden, etc.) from the later Iron Age. In Old Celtic dunon means “fort” (the word has modern cognates in Irish dún “fort” and Welsh din(as) “city”), but the Lugu- element can only be explained by a proper name. We have no dedications to a god by that name at those sites, yet the existence of mythological figures named Lúgh and Lleu in the later literary tradition of the Insular Celts makes it clear that a similar figure bearing the name Lugus must have existed in the Iron Age. In fact, a famous dedication to the Lugoues by the shoemakers’ guild of Uxama (Osma) in Spain; another inscription mentioning the Lugoues from Avenches in Switzerland;[2] and dedications to Lugubus Arquienobus from Orense and Lugo in Galicia (northwest Spain)[3] all indicate that the name Lugus was indeed known. Interestingly, in all these cases the name is given in the plural, as though it referred to a group of divinities rather than to a single god. We shall have some suggestions later as to why this may have been the case.

Why, if Lugus had played such an important role in Iron Age Celtic religion, was his name so little used in the period of Roman occupation that followed? Most scholars agree that it was the result of a successful interpretatio Romana, an identification of the Celtic god with a figure from the official Roman cult. In De Bello Gallico, VI, 17, Julius Caesar, commenting on Celtic society and culture even as he was crushing the life out of it, stated that “Mercury” was the most popular Celtic god, the creator of all arts and crafts, the protector of travelers, and a great patron of trade and wealth.

He was following the common Roman practice of forcing foreign religions into the categories and terminology of Roman state religion (in the same passage he uses the name “Minerva” to refer to a goddess obviously related to Irish Brigit, and known independently by native Celtic names), and in this case the identification certainly struck a chord in the conquered Celtic population, as dedications and representations of “Mercury” began to proliferate in the Romanized Celtic world and retained their preeminence right to the period of Christianization. Well over 400 dedications to “Mercury” or one of his common native titles have been found: his importance in Gaul and Britain far exceeded anything that the role of Mercury in Roman religion could have warranted. Clearly “Mercury” was the new, “modern” disguise of Lugus, and because the two names were seen to be precisely equivalent the native one was virtually never used in the Latin of official inscriptions.

Roman Classical Attributes

While Romano-Celtic images of “Mercury” often depicted him with his well-known Classical attributes — the winged cap (reminiscent of the earlier mistletoe crown), the caduceus (echoing the ubiquitous Iron Age twin serpents), the bag of money, the cockerel, the ram, the tortoise shell, etc. — many representations of him diverged considerably from Graeco-Roman canons. Some statues (e.g. the one from Lezoux) show him not as the usual clean-shaven ephebos but as a bearded old man wrapped in a Celtic shawl.[4] We will, however, single out three of these purely native traits as particularly important: his association with heights; his tendency to have multiple (usually triple) forms; and his role as sovereign protector, with warrior attributes.

Celtic “Mercury” is unambiguously linked with the high places of each tribal territory in which he was worshipped. Montmartre in Paris, the Puy-de-Dôme in the Auvergne, the Mont de Sène in the land of the Ædui — to name just a few out of scores of possible examples — were all originally Mercurii montes. Shrines crowned these heights, and one conventional depiction of “Mercury” was to have him sitting on a mountain.[5] The Aruerni commissioned (for a fabulous price) the Greek sculptor Xenodorus to make a gigantic statue of “Mercury” seated atop their sacred mountain, the Puy-de-Dôme: it was one of the famous sights of Roman Gaul.[6] Clearly the location of a temple to “Mercury” on a high place was of theological importance.

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