2ndC CE Roman historian Cassius Dio famously mentions details of the ill-fated revolt of the Iceni and their allies against Nero’s legions in southern Britain during 60/61CE. His compendium ‘The Roman History’ may well have relied upon on first-hand accounts of the events of this episode, but Dio uses a certain creative licence regaling us with a rousing speech made by queen Boudica to her people before their battles. Indeed, it largely functions to portray Nero as a weak and effete figure of ridicule, but is of interest to religious historians, as he has the queen call upon a British goddess referred to as ‘Andraste’:
“…When she had finished speaking, she employed a species of divination, letting a hare escape from the fold of her dress; and since it ran on what they considered the auspicious side, the whole multitude shouted with pleasure, and Buduica, raising her hand toward heaven, said: “I thank thee, Andraste, and call upon thee…” (The Roman History, Boook 62 -trans. Bill Thayer)
Whoever Andraste was, she seems to have inspired the Britons with a confidence matched only by the fear which drove the Roman legions to eventually overcome them. Little else is known about Andraste save for this account. However, the reason for this might be because the ‘name’ given by Cassius Dio was a misunderstanding of ‘An Dras De’ – which is simply the Brythonic phrase meaning ‘The Tribal God’, ‘Dras’ being an old Welsh word meaning ‘kindred’. Consider the Irish god known as ‘An Dag De’ – the Dagda – a similar composite term is therefore possible.
Cassius Dio goes on to describe the rampage of revenge and humiliation wreaked upon the hapless Romans at Camulodunum (Colchester) and Londinium (London):
“… Having finished an appeal to her people of this general tenor, Buduica led her army against the Romans; for these chanced to be without a leader, inasmuch as Paulinus, their commander, had gone on an expedition to Mona, an island near Britain. This enabled her to sack and plunder two Roman cities, and, as I have said, to wreak indescribable slaughter. Those who were taken captive by the Britons were subjected to every known form of outrage. The worst and most bestial atrocity committed by their captors was the following. They hung up naked the noblest and most distinguished women and then cut off their breasts and sewed them to their mouths, in order to make the victims appear to be eating them; afterwards they impaled the women on sharp skewers run lengthwise through the entire body. All this they did to the accompaniment of sacrifices, banquets, and wanton behaviour, not only in all their other sacred places, but particularly in the grove of Andate. This was their name for Victory, and they regarded her with most exceptional reverence… “
It is possible that ‘Andraste’ and ‘Andate’ were simply kennings for the same female divinity, but another possibility arises: that Cassius Dio got it wrong, and that ‘Andate’ was actually the male deity known in Ireland as ‘An Dagdae’ or ‘Eochaidh Ollathair‘. This is reasonably within the bounds of Celtic language pronunciation where consonantal sounds within words are readily dropped. Here is my reasoning:
An Dagda and the Morrigan in Cath Magh Turedh:
The Irish mythological cycle tale known as Cath Magh Turedh (possibly a composite of different tellings of an original) contains a number of mysterious, poorly elucidated ‘scenes’ featuring the Dagda.
Firstly, it mentions his ‘cauldron of plenty’. Next it mentions his role doing heavy work as a builder of the fortress of Bres of the Fomorians. He seems unusually trusting and a bit simple, and gives some of his vast meal portions away to a man who demands the best part each sitting, causing him to weaken. He forms a triplicity with Lugh and Ogma, and they go to ‘three gods of Danu’ (one of whom is stated to be the Morrigan) who give weapons to Lugh. Dagda then has sexual intercourse with the Morrigan at a ford of the River Unshin in Connacht, an act of heiros-gamos ensuring the victory of the Tuatha De Dannan in the coming battle with the Fomorians. In another curious scene, with distinct parallels with to the Siege of Troy described in Homer’s Iliad, the Dagda enters the camp of the Fomorians to spy, seemingly in the guise of a horse. The Fomorians force him to eat a prodigious meal (again demonstrating his great equine appetite) so as to dull his wit.
The story continues (CELT version):
“…Then he went away from them to Tráigh Eabha. It was not easy for the warrior to move along on account of the size of his belly. His appearance was unsightly: he had a cape to the hollow of his elbows, and a grey-brown tunic around him as far as the swelling of his rump. He trailed behind him a wheeled fork which was the work of eight men to move, and its track was enough for the boundary ditch of a province. It is called ‘The Track of the Dagda’s Club’ for that reason. His long penis was uncovered. He had on two shoes of horse-hide with the hair outside. As he went along he saw a girl in front of him, a good-looking young woman with an excellent figure, her hair in beautiful tresses. The Dagda desired her, but he was impotent on account of his belly. The girl began to mock him, then she began wrestling with him. She hurled him so that he sank to the hollow of his rump in the ground.
He looked at her angrily and asked, ‘What business did you have, girl, heaving me out of my right way?’ ‘This business: to get you to carry me on your back to my father’s house.’ ‘Who is your father?’ he asked. ‘I am the daughter of Indech, son of Dé Domnann,’ she said. She fell upon him again and beat him hard, so that the furrow around him filled with the excrement from his belly; and she satirized him three times so that he would carry her upon his back. He said that it was a ges for him to carry anyone who would not call him by his name. ‘”What is your name?’ she asked. ‘Fer Benn,’ he said. ‘That name is too much!’ she said. ‘Get up, carry me on your back, Fer Benn.’ ‘That is indeed not my name,’ he said. ‘What is?’ she asked. ‘Fer Benn Brúach,’ he answered. ‘Get up, carry me on your back, Fer Benn Brúach,’ she said. ‘That is not my name,’ he said. ‘What is?’ she asked. Then he told her the whole thing. She replied immediately and said, ‘Get up, carry me on your back, Fer Benn Brúach Brogaill Broumide Cerbad Caic Rolaig Builc Labair Cerrce Di Brig Oldathair Boith Athgen mBethai Brightere Tri Carboid Roth Rimaire Riog Scotbe Obthe Olaithbe
[gap: meaning of text unclear]
Get up, carry me away from here!’ ‘Do not mock me any more, girl,’ he said. ‘It will certainly be hard,’ she said. Then he moved out of the hole, after letting go the contents of his belly, and the girl had waited for that for a long time. He got up then, and took the girl on his back; and he put three stones in his belt. Each stone fell from it in turn—and it has been said that they were his testicles which fell from it. The girl jumped on him and struck him across the rump, and her curly pubic hair was revealed. Then the Dagda gained a mistress, and they made love. The mark remains at Beltraw Strand where they came together.
Then the girl said to him, ‘You will not go to the battle by any means.’ ‘Certainly I will go,’ said the Dagda. ‘You will not go,’ said the woman, ‘because I will be a stone at the mouth of every ford you will cross.’ ‘That will be true,’ said the Dagda, ‘but you will not keep me from it. I will tread heavily on every stone, and the trace of my heel will remain on every stone forever.’ ‘That will be true, but they will be turned over so that you may not see them. You will not go past me until I summon the sons of Tethra from the síd-mounds, because I will be a giant oak in every ford and in every pass you will cross.’ ‘I will indeed go past,’ said the Dagda, ‘and the mark of my axe will remain in every oak forever.’ …”
The scene is certainly saucy, but also weird – almost a retelling of the Dagda’s encounter with the Morrigan in an earlier passage, albeit with more salacious detail. The picture painted of the Dagda is a half-man, half-stallion: His horse-hide brogues, his great round belly, his large penis, his propensity to create lots of dung: all are heavily suggestive of this, as is one of his other names, Eochu Ollathair. The heiros-gamos with a feisty fighty female (similar to Fand in Serglige Con Chullain) is again used to precede a victory in battle. What is more, the marks of his hoof/foot upon rocks appears to be a reference to cup-marks, bullauns and petrosomatoglyphs of feet, common to the archaeology of the Atlantic world.
The suggestion that can be drawn from this is that victory was ensured by the sexual coupling of the Otherworld masculine god and the worldy goddess. Dagda represents, as the horse, the fertility, power and energy on offer from the Otherworld, albeit a force that was a bit simple. The Morrigan was the warrior aspect of the feminine triplicity – their combination would allow peace to be determined through warfare. Lugh (the battlefield hero of the Cath Maigh Tured) was the active warrior aspect of the masculine triplicity, and Ogmios was the wise thinking part.
The horse seems so prevalent on Europe’s late Iron Age celtic coinage that it must have had special importance, beyond just being a copy of the coins of those Macedonian-Thracian leaders of the Hellenic world – the horse-loving ‘Phillip’ and, of course, the solar warrior-king, Alexander whose legend was celebrated among the proud warriors of the Celtic world. By invoking the Morrigan aspect of the triple-goddess (the tribal ancestor or sovereignty queen, who Cassius Dio called ‘Andraste’), Boudica set her on a course for her liason with the peace-lord of the Otherworld, a drama possibly acted out in the groves of ‘Andate’ by the seemingly victorious Britons, shortly before General Paulinus reappears bearing the ‘Gorgon’s Head’, taken on Anglesey…