The 1st day of February (the 12th/13th by the old Julian Calendar) in Ireland is marked by two coincident ancient religious festivals – the Gaelic Celtic feast of Imbolc and the feast day if St Brigit (Bride) of Kildare.
It signifies the days when new life starts to become visible in the winter world – the appearance of the first flowers of the new year, the first buds on trees, and the mating and nesting of birds, and the birth of the first lambs of the year.
To the ancient Greeks, this ‘event’ of nature – new life starting push through from the dead soil – was given special significance in the very ancient myth of the maiden (Kore) Persephone who, after being abducted by the god of the dead, Hades, was allowed to make an annual return to stay with her mother – the fertile earth, personified as Demeter (literally meaning ‘mother goddess’). This myth had a central part in the ancient Greek mystery religions, most notably that at Eleusis, near Athens in Attica. It was one of the most fundamental myths of ancient Greek religion, with origins traceable into the Bronze Age.
As a mythic drama celebrating a returning junior fertility goddess, we have few clues that the old Celtic festival of Imbolc (first attested in writing in the 10thC Irish text known as ‘Cormac’s Glossary’) was a goddess festival – there are no references in medieval Irish manuscripts linking a festival named Imbolc to a ‘Persephone’ themed myth. However, the early Irish Christian church created a festival of their own on this day which was an explicit celebration of a maiden – that of Brigdhe (Bride) or Brigit of Kildare, whose early hagiographic tale begins with her adoption into a christian household as a child where she immediately causes an increase in the family’s food supplies through a number of miracles. This tale echoes the practical medieval (probably much older) practice of re-hiring servants on the first quarter day of the new solar year, when farm work begins again, it having been suspended at Samhain or St Martin’s day by ancient Atlantic European tradition. The period between Samhain and Imbolc was a time of relative ease in the pre-modern empirically-minded subsistence world: harvests had been gathered and stored, animals slaughtered and their meat cured and preserved. There was little need of servants or slaves to manage the heavier manual work and they were alleviated of their duties until the restarting of the Atlantic agricultural cycle, which undertook its first ploughing of fields from the start of the Imbolc quarter. This theme is echoed in the ancient Roman festival of Saturnalia (where slaves feasted with freemen) and at the Greek Summer Kronia (when it was too hot to work) and Winter Dionysia which was held around the same period as the Saturnalia. Nature was the book which gave the instructions!
Of course, we have little evidence that Greek religion directly influenced northern Europe’s Celtic peoples, although every reason to suspect from the galvanising cultural and military explosion of the ‘Belgic’ movement of the Celts into the Balkans and Greek territories from the 4thC BCE that they expressed some notable sympathy with certain Greek myths, and the iconography of the Eleusinian myths (pine trees and ears of corn) appears upon the coins of British kings of the Augustan period. Caesar Augustus was an Eleusinian initiate who fostered many British Celtic nobles at his court in order to acculturate them ahead of further Roman plans at expansion. The Irish did not apparently mint coins, or play much part in the Roman scheme of conquest, except during its christian phase when they rose meteorically in prominence. It appears then, that the ancient legends Irish monks enthusiastically wrote down may have shared a common root with those of the Greeks, lost in the mists of the late stone ages and their mysterious megalithic religious cultures.
Of course, Brigit was originally a pagan goddess. The author of Cormac’s Glossary (10thC) states this, and annotators of one of the surviving manuscripts (version ‘B)’ claimed that all of the Irish pagan goddesses were in fact Brigit, who had a typically celtic triple form. Here we have John O’Donovan’s translation of this:
“Brigit i.e. a poetess, daughter of the Dagda. This is Brigit the female sage, or woman of wisdom, i.e. Brigit the goddess whom poets adored, because very great and very famous was her protecting care. It is therefore they call her goddess of poets, by this name. Whose sisters were Brigit the female physician (woman of leech craft), Brigit the female smith (woman of smith work), from whose names with all Irishmen a goddess was called Brigit.”
It was a simple step for christians to appropriate her as their most important female saint and ‘holy virgin’ who passed her apprenticeship as a cowherd, dairy maid and household servant. Because of her triple-form she was therefore characterised hailed in the hagiographies as one of the ‘Three Maries of Ireland’. In the continental medieval biblical narrative, the ‘Three Maries’ of the Bible (the ones at the tomb of Jesus) appeared to have subsumed another pagan triplicity – a common theme in the middle ages. Legends attached to Saintes-Maries-de-la-Mer in Provence in the south of France claim these three Maries (Mary Magdalene, Mary mother of James and Mary Salome) landed by boat there. Southern Gaul was, of course, a Celtic province with strong early links to Greek and Roman culture. It was also important in the development and spread of christianity among the Celtic peoples.
Bride and Aine, Persephone and Demeter:
In order to draw a clearer comparison between Bride and Persephone, we need to look at Persephone’s mother: Demeter. Is there evidence of an Irish equivalent?
Demeter represented the fruitful and fertile earth, and her child was therefore an example of her own self-begetting nature, and their legend an expression of the eternal (maternal) tragedy and joy of death an rebirth. As such, she an Persephone are two phases of the same idea, and it is to this concept we must link with the the triune nature by which the Celts conceived their gods. In fact, Demeter and Persephone were actually part of a mythological triplicity, completed by a third feminine goddess, Hekate, who was the sage ‘aid-woman’ who assisted Demeter in her search for her daughter. In later Greco-Roman art, she was depicted as ‘Hecate Triformis’ after the style of the Celtic divinities. Scholars have identified the cult of Demeter-Persephone-Hekate (the Eleusinian triad) and Artemis (sister of Apollo the Healer) with religious traditions extending back to the older ‘Potnia Theron’ goddess-character depicted so frequently in the art of the Minoan and Mycenaean ages.
How could this ancient Greek triplicity be considered coterminous with the Irish Iron Age triple-goddess Brigit, as described in Cormac’s Glossary? On the surface, Cormac’s triadic goddess expresses a function of knowledge and wisdom, healing and creative dexterity – a set of values more appropriate to Athena, Artemis and the Muses, and possibly to Aphrodite as wife of Hephaistos.
Brigit the Craftswoman/Woman of Smithcraft:
To make such a connection, we must understand how the ancient Gaels viewed the ‘blacksmith’ or ‘artifex’ archetype: This was essentially as the active process involved in reforging the world of nature – the ‘hidden craftsperson’ behind the ‘seasonal drama’.
Such a character exists in a profusion of forms in Ireland’s post-Christian mythology: As the smith known variously as Chullain/Cuillin/Gullion (an important character of the Ulster Cycle), as the Gobán Saor (an archetypal ancient smith and builder credited with raising many ancient structures, sometimes enjoying a legendary plasticity with the Cailleach Bheara), the high-literary ‘god-character’ Goibniu (smith of the Tuatha De Danann) and the euhemerised saints Gobban of Leighlin, Gobnait and the related St Latiaran of Cullin.
Even though most of these smith-archetypes of Irish Christian-era myth are male, the female is ever in attendance with them. In the case of St Laitiaran of Cullen’s sister saint, Gobnait, there is an explicit link with Brigit – her feast day falls on the 11th of February (Matyrology of Oengus), within a Julian calendar’s throw of the feast of Imbolc. Laitiaran and Gobnait were legendarily associated with a third sister-saint, again completing the ‘Brigitine’ triadic form.
In the famous medieval ‘Mythological Cycle’ tales of Ireland’s god-like ancestors, the male triad Goibniu, Creidhne and Luchta (the Trí Dé Dána – Three Gods of Craft) are said in the tale Immacallam in dá Thúarad to be sons of Brigit of the Tuatha Dé Danann, and she the daughter of An Dagda. In the tale Tochmarch Etaine the Trí Dé Dána are said to have instead been Dagda, Lugh and Ogma, suggesting these were possibly of an older order, before the Age of metals. Goibniu was a master of blacksmithing, Creidhne a master of jewel-making and Luchta a craftsman in wood or builder (I.e. – a user of metal tools).
Slieve Gullion in County Armagh evokes the name of the smith-king of the Ulster Cycle tales from whom the hero Cuchullain is named. His daughter Tiobhal is described as ‘Princess of the Ocean’ in some late renditions of the myths linking Gullion/Cuillean to the Isle of Man and suggesting a connection with Manannan. At Slieve Gullion, St Brigit’s fosterling and acolyte, St Moninna (a reflex of the name of the Lake Lady of Arthurian legend, Niniane), was said by tradition to have founded the abbey at Kileavy on the slopes of the mountain, during the ‘reign’ of St Patrick. According to legend, she raised a foster-son called Luger, a name reminiscent of that of Lugh. The name ‘Kileavy’ may well be a rendering of the name of the site’s former pagan temple – Kil Aoife, after one of the names of Ireland’s famous ‘Fairy Queens’. Slieve Gullion is famously associated with the legendary folk-character Cailleach Beara, as well as the Lake Lady who turns Fionn into an old man when she bids him dive into the summit lake to find her ring. It was here Cuchullain fought the armies of the Fairy Queen Medb. Curiously, there are few legends of a ‘male’ Gullion or Cuillain the smith, but more linking the named place to the aquatic otherworld female of Atlantic religious myth.
The healer and the poetess:
Whereas Brigit the Smith can be seen as a forger or re-forger and mystical renewer of life from the death processes of nature, Brigit the Healer fulfils a similar role within the world of the living – renewing from disease and allaying death. The same function is ascribed to the Delphic Greek god Apollo (often known among the ancient Celts as Belenos), brother of the ‘virgin huntress’ goddess Artemis. Artemis was herself not unlike the younger aspect of the Gaelic ‘Cailleach’ – a ‘mistress of animals’ and herds which was appended freely to the qualities of St Brigit of Kildare. Artemis has been likened to a ‘wild’ version of the ‘agricultural’ triad of Demeter-Persephone-Hekate and in some regards can be seen as a female likeness of Dionysus.
In the Delphic myth, Apollo symbolically conquered death and decay with the mystical act of slaying Python, from whose rotting corpse arose the inspiring fumes of prophecy and the fertility of the dead. Both he and his son Asclepius (the name implying the ancient onomatopoeic Indo-European word for ‘snake’) were the Greek divinities most often associated with the semantic field of the active healing arts and prophecy. Apollo was also strongly associated with the Muses – Greek goddesses of poetic inspiration, and it can be seen that there is an apparent similitude to the semantic fields of the Brigitine Triad mentioned in Cormac, in the form Brigit, Goddess of Poets. Of course, this represents a closer similarity in many ways to the Delphic religion of Apollo than the Eleusinian religion of Demeter and Persephone, although the Irish system shows evidence of links to both.
Artemis, Diana and Ireland’s Aine:
The Roman equivalent to ancient Artemis was Diana, whose name appears to be a composite of ‘Dea’ and ‘Anna’, meaning ‘Goddess of the Year’. Another Roman goddess possibly linked to her was ‘Anna Perenna’ and the Demeter-like ‘Dea Dia’, worshipped at Rome’s agricultural festival of Ambarvalia, in honour of Ceres. She was considered part of a ‘virgin triad’ of goddesses along with Minerva (Athena) and Vesta (Hestia). The name Diana has, as I have previously discussed, distinct etymological similarities with an Irish goddess: Áine (‘Awnya’) attested in both folklore and medieval written mythology, making her a figure of considerable interest to those studying ancient Irish paganism.
The name ‘Áine’ has connotations of the Irish word for ‘circle’: ain. The goddess was associated with the seasons and agriculture, and to the moon and the tides associated with them, and thus somehow to the mystical Gaelic ‘otherworld cycle’ linked to mountains, spring wells, lakes, rivers and the oceans. Apart from her similarity to the Roman Diana (whose cult was centred at Lake Nemi and supervised by the Rex Nemorensis – a priest taken from slave stock, probably Gaulish) she also was also a Gaelic fulfilment of the idea of Demeter/Ceres: The seasonal repetition of the fertility cycle. Just as Persephone was an aspect of Demeter, this makes the likelihood of Brigit relating to Áine in the same way quite high. Another aspect of Áine worth mentioning is her traditional role as a ‘sovereignty goddess’, from whom certain clans claimed ancestry – the Eoghanacht Aine, for instance: Such claims are based upon the link between the nurturing fertile land and the people – held to have been united at a far unspecifiable point in ancient history. Just like the Nile fed Egypt, the Irish (and indeed Celtic) concepts linking goddess and fertility revolved around springs and rivers, whose branching and snaking nature reflected the growth of plants. The etymology of the name of the river Shannon contains words for ‘Ancient’ and the goddess’ name – Seann Aine.
The Gaelic ‘goddesses’ of the pagan age were triform – one identity hid a multiplicity of names and aspects. The Gaels (and no doubt the wider body of Atlantic European Celtic peoples) were essentially duotheists, worshipping a male and female entity who can be identified through careful exegesis and critical appraisal of folklore, archaeology, literature and tradition, and from the names of places and land features.