Tuatha De Danann by wildelbenreiter

This post is full of unanswered questions. I hope it might start a conversation.

I’ve been living deep in mythology for the past couple of years. I believe the Mabinogi, in particular, holds an important message for us that I hope to share before too long. I feel like this way of looking at myth is a little out of step with what the majority of other Pagan writers have to say.

The psychological approach of Carl Jung and Joseph Campbell has primed us to read myth with an eye to self-analysis and personal development. Any story, old or new, can offer us inspiration and self-insight. Even characters in novels and films can influence and motivate us. That’s fine, and characters in myth, whether they are deities or mortals can do the same. But if that’s all we can gain from them, then we don’t really need myths at all, and I think that we do.
I’ve said before that I consider myth to be a deep distillation of human experience, and of our relationship with the gods. As such, it will always be open to individual interpretations. However, that isn’t the same thing as simply mining it for personal meaning or messages, valid as those may be.

We need to remember that we live in groups, in a society. We need to remember that all things are connected. It’s not all about me, and my suffering, and my dreams. It’s not all about my tribe’s happiness and survival. It’s not all about the human race, and its cultural productions and social ills. We need to consider what messages myth has for the greater us, and those of us who study myth need to be fearless in talking openly about what we think those messages are.

I sometimes hear people talking about the meaning they find in the story of Rhiannon, in the the Mabinogi. Often, in this type of discussion of deities and myths, they are finding identification with Rhiannon, and some useful motivation that helps them in their daily life. 

Of course I am pleased for them, because life is hard and if you can find something that helps you get through it, you are blessed. But in this case, I wonder whether they are necessarily blessed by the goddess Rhiannon, so much as by their own understanding of the story at a rather superficial level. (I’m basing that on how they talk about the story, not on my own assumptions.) It’s not up to me to judge someone else’s experience, but examining their interpretation is still worth doing. Especially if they are leading workshops, or publishing their thoughts.

The vast majority of the stuff which happens to female characters/deities in the Mabinogi (and to a bit lesser extent in Irish myth, too) isn’t good. In fact, I’d go so far as to say that women in 21st century developed countries are generally getting a better deal than the heroines/goddesses in these stories. If I felt I needed a figure to emulate, someone to inspire me to be a better person, I could find better models in both fiction and real life. Which brings us back to the question I asked at the start. What is mythology for?

Another question is that if the gods aren’t simply there as archetypes or examples to identify with, what are they doing in the myths at all? Are we to believe that these stories literally played out once upon a time among our gods? I admit that I struggle to believe that. I suspect that if more devotional polytheists gave this some thought, then they would also see some slight dissonance when it comes to this approach.

My best guess is that the deities came first, with certain attributes and associations, and that the myths grew up later, probably developed organically over time by the wise and the powerful, as a method of communicating certain ideas. What better way to get people to listen than to cast the gods in the starring roles of the stories? Does it make sense to first identify with a character in a story who possibly acts very badly, or at the other end of the spectrum, is pretty much a victim, and then to offer devotion to that deity as they are in their myth?

You’ll notice that this essay is riddled with unanswered questions. That’s partly because I’m thinking out loud, and also because I feel we need to question the 20th century, psychological, approach to the gods and their myths. Myths can help us to diagnose current problems, help us illustrate them to others, and help us find solutions. I also believe that reading the myths is one path to knowing the gods.

Both of these endeavours require the reading of myths at a deep level. Reading or hearing them repeatedly, not just once. Reading good translations before we go for the fanciful or romantic re-tellings. Comparing different versions of the same myth, or looking at all the stories about a specific deity. Reading them with the attention and respect due their antiquity. If you are not going to do that, then please listen to the voices of those who do, because they have worked on your behalf. And if you are delving deeply into the myths, please share what you are learning, because people need to hear it.

As my regular readers know, I am deeply interested in customs involving horse disguise, so I was excited when I heard that Kent-based Ozaru Books was bringing out a major work on the Kentish Christmas-horse custom known as hoodening. Along with similar customs like the Mari Lwyd, hoodening has experienced an upswing in recent years, with many groups adapting it to modern sensibilities and giving it new life.

This is not the first book to be written about hoodening. In 1909, Percy Maylam, a solicitor and folklore enthusiast from Canterbury published a small but important book on what appeared to him to be a dying tradition. Early 20th century modes of travel and communication made research on rural customs difficult, and the hooden horses were still a little more active than Maylam realised. Nevertheless, his book “The Hooden Horse: An East Kent Christmas Custom” preserved much information that would have otherwise been lost. Copies were much sought after during the folk revival of the 1950s and beyond, until in 2009 a new edition of Maylem’s original book was published by The History Press, making it available again.

Both instances of the publication of Maylam’s book helped to keep the tradition alive, and to enable revivals, but much material has surfaced about 19th century hoodeners since 1909. George Frampton’s new book “Discordant Comicals” fill in gaps in Maylam’s work and follows the progress of the tradition through the 20th century, and up to the present. As you can imagine, this is no small feat.

Frampton has been active on the folk scene for decades as a participant, organiser, and author, so the reader is in confident hands. I didn’t find this an easy book to read from cover to cover but it will be a gold mine for researchers and enthusiasts and is extremely well indexed. It is also liberally illustrated with both modern and historical photos, which helps to keep you entertained if you prefer to just leaf through and look for interesting bits. And there are plenty of interesting bits!

“Discordant Comicals” re-hashes Maylam’s work extensively, quoting long passages. Maylam’s writing was clear, and not overly florid, but otherwise all you would expect of an English solicitor writing in 1907. I’m not sure whether it’s intentional, but Frampton’s own writing style has a similar voice, so I found it useful that all the quotes are set off with indentations and coloured type, otherwise I think I would have had to constantly ask myself whether I was reading a quote or the author’s narrative.

As in many books on calendar customs, Frampton chooses to organise the material geographically, working his way around the area of east Kent that is hoodening’s natural home. Some maps would have been useful here, because I’m sure I’m not the only reader whose Kentish geography is sketchy, and I’m sure there will be interest in this book outside of Kent, because it is rich in new material.

One thing which gives the book depth is the extensive information about the hoodeners of St Nicholas-at-Wade, which has perhaps the most tenacious and best documented hooden horse tradition in Kent. Several lengthy interviews with Tom West and other members of the Trice family help to bring the tradition to life and get the reader into the heads of the performers, and away from the names and dates.

Hoodening is a living tradition, and therefore in a constant state of change. Like many similar customs it has passed from the casual, matter-of-fact hands of the working class, to the much more self-conscious hands of mostly middle-class professionals whose motivations are different from those of their predecessors. This book provides a fascinating look at how that came about, and how it has both altered the tradition and preserved it for new generations.

One morning last week I decided to do a candle meditation, instead of my usual "eyes shut" style. No sooner had I begun to gaze at the flame than I received this message/download or whatever name you want to give it. When it came to an end, I wondered whether I would be able to recall it to write it down, but that also seemed to be fairly easy. I am thinking about maybe recording it as an audio, later on. Let me know if you think that would be a good idea!

As my regular readers know, I have spent a lot of time thinking and writing about Bride and The Cailleach in Scotland. Over the years I have learned just how rich and varied the material we have about cailleachs is, but the more I read, the more I come to the conclusion that no folklorist has really made sense of things, and it isn't something that you can do justice to in a blog post, no matter how many citations you might include.

The modern Pagan practice of talking about "The Cailleach" as if she is one entity is prone to reduce her to a sort of archetype. (Archetypes aren't my favourite approach to spirituality and I consider them something of an insult to deity.) When I started looking at what both early and modern folklorists have to say about her, not to mention modern Pagan writers, I decided that attempting an overview would be a tangled mess I don't have the patience for. One that enough writers have either struggled with or glossed over. However, I have provided a plethora of links, both in the text and at the end, in case you want to explore further. 

If Celtic mythology is fragmented and confusing, folklore is even trickier. One reason it challenges us in these times is that by its nature folklore is more localised. People have always moved around, but the scale, frequency and distance are all increasing too fast for highly localised folklore to keep up. And cailleachs tend to belong to specific points in the landscape. Does that mean that cailleachs are an endangered species? I don't know. I don't think so, but I don't claim to understand their seeming resilience, and I am uncomfortable with the idea that human belief has the power to change the essence of the gods/not gods. All I can say is that perception of cailleachs/The Cailleach is certainly changing. Where a few centuries ago she was a character who was generally respected but dreaded, she seems to be moving inexorably toward something a little more benevolent. That's easy to believe, from the comfort of a 21st century lifestyle, where winter storms are no longer a threat to life or livelihood, but I think it's a long way from the truth.

My first encounter with The Cailleach was in folklore concerning The Island of Jura collected by Iain Og Ile (The folklorist John Francis Campbell of Islay). These, and the stories of The Cailleach washing her plaid in the Corryvreckin whirlpool off the coast of Jura were of special interest to me because I used to frequently visit Islay, which is very close to Jura, and from which one constantly sees The Paps of Jura. Then of course there were stories of The Cailleach and Bride, so elaborately told by D. A. Mackenzie, but very likely not an original piece of folklore in the form he published. Over time I came to know more folklore connecting cailleachs to deer, the weather, creation of the landscape, and so on. I came later to know about the Irish folklore of cailleachs, and it's fascinating, too.

Most people today first encounter cailleachs on the internet. A picture of a winter hag, a well or badly written blog post, and a general assumption that all cailleachs are just facets of The Cailleach. It is in the landscape that you will find her. Or Her. The one, the many. Perhaps that is cailleach nature - to be in many landscapes. To be there whether you recognise her or not.

So what of March 25th as Latha na Caillich (Day of the Cailleach)? This date has been important as The Feast of the Annunciation or Lady Day since at least medieval times, and was even used as the first day of the legal/taxation year for several centuries in England. It is an English "quarter day", but not a Scottish one. However, it is very close to the Vernal Equinox, no matter what religion or government you recognise, and this is generally a time of heavy spring storms in coastal Britain and Ireland. If the battle between winter and spring seems to begin in February, with a mixture of warmer days and harsh storms, the the final blow-out of the equinoctial gales of late March is the end. A few days after the actual date of the equinox usually sees more settled weather, and this is probably how Lady Day came to be Latha na Caillich.

You only have to read my poem Cailleach Rant to know that I feel great admiration and respect for her. And so I will honour her today, even though I'm not entirely sure that it is particularly traditional to do so. Like others, I have a tendency to conflate different cailleach stories and to honour a figure who was traditionally only feared. In Scotland, she has always been a personification of winter storms, and perhaps now that we have stupidly overheated our world we realise that we need her. I question, though, whether she has much interest in the desires of humanity. Before you paint her as a mother goddess, know this: She has always been a misanthrope. A guardian of deer and boar, of high, wild places, a fighter for wildness, a lover of stone and ice. We could use her on our side, indeed, but we would need to be on Hers, first.

Links
Some of these are also linked in the text above, but it seemed better to repeat them here.

Latha na Caillich A discussion of this day as a holiday from Brian Walsh

La na Caillich An in-depth look at the day from the excellent Tairis site, with many citations

Fools, Cuckoos, The Lady and The Devil - another discussion of La na Caillich, this time from Scott Richardson-Read, including citations

Cailleach folklore in John Francis Campbell's Popular Tales from the West Highlands, including the story of MacPhie and the Cailleach, set on Jura

Beira, Queen of Winter - D A Mackenzie's possibly fanciful telling of the story of Bride, Angus and The Cailleach

Bride and the Cailleach - a good exploration of their possible relationship, with many citations, at Tairis

The Cailleach, or Hag of Winter - a very interesting collection of cailleach stories from folklorist Stuart McHardy

Cailleach Beinn na Bric - translation of a Gaelic poem concerning the Cailleach, interesting for the concepts it contains.  You may need to scroll up one page for the introduction.

The Book of the Cailleach - this is a scholarly review of Gearóid Ó Crualaoich's book of the same name by folklorist John Shaw. Included because it provides an interesting discussion on Cailleach folklore in Ireland

The Witch of Jura - a brief telling of the MacPhie legend

Coming of the Cailleach in the British Isles - a mixed bag of information from Rachel Patterson

I've always loved the Uffington white horse. It was an important messagenger to me from Epona, a very long time ago, along with several of the more modern chalk horses which grace Wiltshire, where I spent a fair bit of time in the 1980s. At that time, I didn't know the history of any of these horses, or understand the vast difference in age between Oxfordshire's Uffington horse and the others. I certainly wasn't consciously devoted to Epona at that time, or involved with horses, either. But there is something about travelling down the road in a car, or on a bus, and suddenly you are looking at a large white horse in the landscape. Often it's distant and mysterious, occasionally up close and imposing. It just does something to me.

The Uffington Horse is about 3,000 years old. Britain's chalk hill figures are/were created by cutting away the upper layer of sod and soil and then are usually filled in with chalk rubble to make them uniformly white. This has to be renewed fairly regularly, or the sod will simly re-grow and the figure will disappear. It's possible that for every hill figure we see, there are many more which are lost forever, because if it takes a village to raise a child, the same can be said for maintaining a hill figure. Someone has to care enough to organise people to keep the figure looking good, and a lot more someones have to be willing to put in the hours to actually do the work. This makes the existence of the Uffington horse an amazing feat of continuity, if nothing else. Until sometime in the 19th century a fair was held during the scouring of the horse.

No one is sure who made the Uffington horse, or why. At over 300 metres long, it is too big to be appreciated from up close, but can be seen clearly from the other side of the valley, and from the air. It might be the symbol of a Bronze Age Celtic tribe, or devotional art to a deity (Epona, Rhiannon, and Bel/Beli Mawr have all been suggested). There are vaguely similar stylised horses on Celtic coins and in other Celtic art from the Iron Age, like the Silchester horse. If you look closely at these, you can get a sense of how the lower part of the face of the Uffington horse might have ended up so beak-like. There is evidence that the horse has changed shape and position quite a bit over time.

However, it's not the history I want to talk about, but the motivation that people have felt to keep it alive for so long, and since the 18th century, to start placing other horses in the landscape. And when I say in the landscape, that's what I mean. To carve something directly into a hillside seems  more imposing, to me, than just putting up a statue of a horse -- even a large one. As soon a one makes a realistic statue of something, it has a different impact on the psyche, I think, than something which is stylised and carved directly into the landscape, or which becomes a new feature of the landscape, like the 21st century Kelpies, in Scotland, or Sultan the Pit Pony, in Wales.

Another horse that intrigues me is The Black Horse of Bush Howe, in Cumbria. Whether it is wholly or partially a natural patch of black scree is among its mysteries, but there is folk memory of school children "trimming" it, to help keep its shape in the 1930s and 40s, and before that of local farmers setting aside a day to do the same. If that's the case, then people were either accepting of its shape being only vaguely horse-like, or it has deteriorated. I love this part of the world, which is home to semi-feral herds of Fell Ponies. Reading about the Bush Howe horse was part of the inspiration for my story The Wild Mare.

As I was thinking about this article, and wondering what to write, I was looking through images of some of these horse figures, and decided to post a few on facebook. It was just a few images and a couple of sentences of text, but it got huge attention. I wonder what people find so exciting, but it excites me, too, and I'm thrilled to see so many really beautiful and excellent new horses appearing.                                                                

In another piece of synchornicity, some friends were discussing Sultan this week, and wondering whether such places would appeal as new places of pilgrimage - especially to devotees of the horse goddesses. One or two people felt that they lacked meaning because there is no devotional intent behind their creation. Personally, I disagree. First, because I don't think devotional intent is limited to religious or Pagan devotion. Many people feel a kind of devotion to horses as an idea of beauty and wildness, or alternatively as allies of humans in ventures like agriculture, war or coal mining. They want to offer homage and thanks for what horses gave, and gave up, to do this. (I personally think this is a bit like thanking slaves, but we won't go down that road any further today.)

The second reason that I feel that these new horses make sense as pilgrimage and devotional sites, is that I believe that they must be very appealing to horse deities as potential places for us to go to honour them, and to commune with them. If you put a giant, attention grabbing horse in the landscape, why would a horse deity not find ways to take advantage of it? It fills the eye and it hits people in the pits of their stomachs. It's brought them halfway to something potentially spiritual or devotional already. If those of us who already feel some devotion add our intent to the mix, who knows what the overall effect will be?

Postscript: This evening as I was finishing up this post, I watched a documentary about the making of the Kelpies, and two things struck me. First, the enormous amount of negative environmental impact that went into the making of this installation has to be acknowledged. Scenes of excavation for the foundations, laying of vast amounts of concrete and other use of materials can't be denied, and I don't feel great about that. The second is the huge effort that was put into this project by so many people. And, yes, they were probably all paid handsomely, but years of effort, especially by the artist must be acknowledged. This is the reality of our anthropocentric view of the world. We do some harm, we create something amazing, and we rationalize it.

My early childhood spent playing on the lawn with dogs, and with daydreams, was overseen by tall, swaying elms. I used to lay on my back and looked up to where their crowns almost met, at the always-blue Colorado sky. I knew their trunks as individuals that I can still see.  The one nearest the back steps had an inverted V scar that wept sap on its west side. It occasionally shed a limb onto the roof, worrying my father. The one by the swings, with phlox growing under it, was small and slender with bark almost black. My father said it was a different species. For awhile, there was a washing line tied to it. The biggest one grew in the corner by the alley and seemed a giant to me. There were three more along the side of the yard by the street. Neatly spaced and similarly proportioned, they stood like brothers.

Elms ringed the whole house. They were responsible for keeping it cool in summer. In return, we watered our shaggy, eccentric, old-fashioned lawn, and the elms drank, too.

Near the driveway there was an old crone of a mulberry, making it risky to hang out washing or park cars when the berries were in season, because the birds shat a loose profusion of violet emulsion everywhere until the mulberries were gone. We never ate them.

Further out, toward the vegetable garden there were more elms, but they were wild, unkempt, brushy things with crooked branches. I had a tyre on a rope on one big horizontal branch which my father pronounced safe enough. Overlooking our little plum orchard there was a climbable one, although not being an athletic child I never got very high. When my pet turtle died my mother helped me bury it under that tree, in a tin box. Sometime later I secretly dug it up to see what had happened. It was red as rust, like the box. The climbing tree was my witness.

When the plums came ripe at the end of the summer my father and I picked them, filling buckets and baskets and bowls, and stuffing ourselves all day long. It must have been the perfect environment for them, because the only care they got was water. I don't remember anyone making jam or drying them. I think we just ate as many as we possibly could and gave the rest away. The cherries were a different story. I think there were two trees, maybe three. They produced something we called Black Rag cherries. They were seriously sour, which I considered a major disappointment, but my mother would be in a flurry of excitment, because she used them to make cherry pies.

My mother was a legend in her own mind at making cherry pie. We put the cherries through a mechanical cherry pitter which screwed to the kitchen table, and you turned a crank. What didn't go into pies then were frozen for more pies later. I've never liked fruit pie. They say my mother's pastry was first class, but I didn't care for that dry, flaky stuff. Still, it was a few days of diversion and I thanked the gods of the supermarket that we could go there and get some nice sweet cherries that could be eaten fresh, and not wasted in pie.

It was under the wild elms that I used to help my father cut firewood. As well as a good supply of fallen elm branches, he had a collection of massive pieces of cottonwood (the other main local tree) which we would try to split with metal wedges and big hammers. We had hand saws for cutting the elm branches. It was hard going, but I worked my apprenticeship from gathering and breaking kindling to carrying and stacking, taking one end of the two-man saw, through to solo sawing and taking the odd swing at those wedges with the hammer. Usually, we talk about the combined ages of two people working together, but in my father's case, I think you would need to subtract my age from his to really understand the situation. As I grew, and could do more, he was able to subtract my years from his own age, and continue cutting as much wood as he could at fifty, which was his age when I was born. At ten, I could take ten years off his fatigue level. At eighteen I left home, and when I came back for a visit, my father had bought his first chain saw.

So I've made it this far without mentioning the dreaded Dutch elm disease. I've always felt that it's unfair to define an entire genus of trees by a disease. Yes, Dutch elm disease has killed countless trees in Europe and North America, but plenty have survived, and people's unwillingness to plant them, or even tolerate them, has also contributed to their absence from the modern landscape. Since the 1920s, programmes in many countries have been working to finding resistant trees in the existing population as well as breeding new varieties with resistance. No elm tree is completely immune to Dutch elm disease, as far as we know, but there are beautiful and resistant varieties available in the US and in Britain.

It's also very likely that although there has been a surge in problems with the disease since the 1920s, it has always existed. Historically, there are reports of what sounds like the disease in the 17th and 19th centuries in England. Looking back much further, we know that there were big declines in elm populations in NW Europe around 4,000 BC and 1,000 BC. The first decline has been blamed on neolithic farmers, who probably were partly responsible, because they cleared land for agriculture, and also coppiced elms for animal feed. However, it appears that some form of the same disease we see today was also partly responsible. Perhaps the disease is in some way cyclical. Maybe it is more prevalent when elm trees become too numerous and crowded in an area. Maybe human activity has played a part, too, by moving the diseased wood around, by overplanting in the historical period (especially the 19th and 20th centuries), not to mention the added stresses that industrialisation and intensive agriculture put on nature.

In the area where I grew up, the Siberian elm (often wrongly called the Chinese elm) has become very common. It is now listed as an invasive species in many parts of the southwestern US, and there is no doubt that is has changed the landscape of plains and semi-desert areas, which are not known for large trees outside of riparian belts. Siberian elms are fast growing and extremely drought resistant, and these are the reasons that they were originally planted for shade around houses and along city streets. These are the same reasons that they are now considered to be invasive. Because they are extremely deep and wide rooted, Siberian elms find enough water to survive where few native trees can. This also means that they cause a lot of problems with underground water pipes, septic systems and the like. Most elms are a bit brittle and tend to shed limbs in storms, and Siberian elms are a bit worse than most. These facts, coupled with the huge number of little seed pods they shed in spring (think pale green snow) have earned them the derisive name of "junk trees". However, especially with climate change making shade and tree respiration more desireable than ever, biologists are beginning to suggest that maybe they are not so bad after all. And that green snow, it turns out, is pretty good in salads.

As a child, it never occurred to me that all this tree politics was going on, and when I did get to hear about it, it made me sad. I'd never doubted that trees were persons. I had relationships with them. Not "I shall now sit down and commune with this tree-being" type relationships, just unselfconscious relationships that happen when you spend a lot of time with another living being. That's still how I feel about trees today, and I still love elms.

He told me that I needed to strengthen my third chakra, and that Rhiannon would help me to do this. Well, I had never given chakras any thought, except one other time when this friend had mentioned them to me. To be honest, I had never given Rhiannon much thought, either. It had been many years since I had read the Mabinogi and probably thought of Rhiannon as more of a character in a story than a goddess. So I resisted a bit, but I thought about how valuable my friend's help had been in the past, and then I "happened" to find the perfect white horse figurine for an altar, and so I read the Mabinogi again . . .  That must have been five or six years ago now.

I like having a personal liturgy of prayers that are meaningful and easy to remember. Most of these I have borrowed from somewhere else, then adapted to suit my personal beliefs and needs so that I am completely comfortable with them. I soon found that I had created a prayer to Rhiannon concerning the seven chakras, which I had by that time studied a little. I always start my prayer with a series of epithets, like the ones I've given here, and the prayer goes like this:

Great and Blessed Rhiannon, Mother of Horses, Queen of the Land, Queen of the Starry Fillies, Great Mare of Sovereignty

I'm generally not drawn to "new age" things, but once I understood the basics, the chakra system made sense to me. Of course, it is and isn't a new concept, and this article describes its origins and some of the changes it has undergone in the west better than I ever could. Ultimately, I see it this way. Either we have chakras, or we don't. Either they exist, or they don't. Or perhaps they were always intended to be a metaphor. If they do exist, or indeed, if the metaphor works for you, then your cultural orientation isn't an issue.

Then last spring I got a drum, and began using it at my full moon rituals. That is blossoming into something very special, and I believe very healing for me, in which I find myself singing and sometimes dancing. In September, something new happened, and I was shown how to drum the chakras, which I believe is a much more vibrant and effective approach for me, and sometimes leads on to other bits and pieces of self-healing. Sometimes I also hear the voice of Macha and Epona joining in, encouraging me to heal myself. That is something I have been needing to hear.

As with any ritual, saying this prayer is more effective if I put energy and intent into it. I am prone to lapse on anything like this. I call it my "daily practice" - well, it is when I'm doing it! However, every day that I do it adds up to a bit of strength and depth that helps carry me through the lapses. And if I'm a bit short on energy and intent? I think it helps keep the pilot light lit. There is a spark of energy and intent even when I mumble the words with my mind half on other things. It is easier, by far, to light the furnace when the pilot light is working, just as it is easier to build a fire from a live spark than it is to begin by rubbing a couple of damp sticks together.

The other day I was meditating, and I wondered about Rhiannon's healing connection, and I heard Her speaking to me. "I am not as different from Bride as you might think. After all, I love the land and the little healing springs." In my mind's eye I saw the muzzle of a white horse, drinking from the smallest of springs.

It's starting. Can you feel it? The light has already changed so obviously here in Oregon. Something is waking up in me. I am not usually depressed around MIdwinter. I love the dark and the long nights, and don't mind being alone at this time like some people do. But I have been deeply depressed recently.

Yesterday morning was not the first day I noticed the change in the light, but it was the first morning that it broke through my gloom and touched me in some physical way. Got through my skin. As often happens around Imbolc, a new poem for Brigid came to me.

Yes, Imbolc is coming. We think of snowdrops, and increasing light, of Brigid and the Cailleach. Some consider it a time of ascendency for the Rowan tree. I have been wanting to share a little something about this poem, called "Song" by Seamus Heaney for awhile now.

I love this for many reasons.  Each mention of tree and flower seems to bring the spirit of that plant to me. The red berried rowan which has associations with witchcraft and protection, the alder which so often has its feet in the water, the rushes, the immortelles - which is another name for Helichrysum, those little button-like flowers that dry so beautifully. Then there is birdsong and "mud flowers" and dialect. It's a lot in eight lines! And the music of what happens. What about that? Well, it's referencing this:

So now you know. It's a bit Zen, isn't it? I find myself so frustrated by what is happening in our world. But I can only do what is given to me to do. Sometimes I have to accept that I am caught up in events much greater than myself, events not of my making. In the story, Stephens goes on the say that Fionn loved what happened and "would not evade it by the swerve of a hair". We spend a lot of time thinking about how to evade what might happen, not stopping to think that our energy is better spent dealing with whatever is before us. That we are better off responding to life with all the strength and beauty we can muster. That was always Fionn's way.

As the season of Imbolc comes, and Brigid walks the land, I always feel Her fiery inspiration. There is work to do.

I have recently created a chapbook of some of my other poems about Brigid and the Cailleach, written over the years. This little book is a handy size to use in rituals and devotional work.

I've had a small core of readers for years, and believe me, you are very close to my heart. However, I want to reach more people, and recently that has begun to happen. But why? I don't think that my writing has improved dramatically, but I am probably better at writing titles and choosing lead pictures, which is essential for social media (okay, facebook, because I can't be bothered to expand beyond it). Having a second blogging platform on Patheos has also boosted the Go Deeper blog. I will try to keep both blogs going, because I like to cover a wider array of topics and share poetry and things that don't feel like a good fit on Patheos.

Most Popular
Interestingly, my two most popular posts this year are my two most recent ones. I really hope that's the start of a trend! These were Ideas for Celebrating Epona’s Day, here, and Why You Should Be Wary of Celtic Facts on Patheos. I really poured my heart and soul into the Epona piece, and although it’s aimed at one day of the year, most of the content is applicable any time.

Back in January I was preparing to do a talk and a ritual for Imbolc. Reasearch for the talk inspired me to write Cailleach Rant, a prose poem that is also available in print now, along with some of my older poems about Imbolc.

In Making Friends with Celtic Mythology I offered what I hope is some useful advice to readers who aren’t sure how to approach this awfully big subject of study. I see a lot of questions about this on social media. Here are a few answers.

On Patheos I also have a couple of favourites. One is Mabon is a God, in which I try to explain that I don’t mind people honouring Mabon at the Autumnal Equinox, but why I do object to them using His name as the name for the day. The other is Moon Drum, in which I describe the events of a particularly potent full moon ritual.

Have a wonderful new year, dear readers!

Do you celebrate Epona's Day - or Eponalia, as some people call it? Are you thinking about celebrating it for the first time this year? Here are some ideas for December the 18th, or for any day that you would like to honour Epona, whether you're new to this, or a regular devotee.

There is a single reference to December 18th as the Feast of Epona on an early calendar in Guidizollo, in Northern Italy. We don't know whether this day was observed widely in the Roman (or Celtic) world as a day for Epona, or whether it was a local custom. However, many modern Pagans have adopted this as Epona's special day, so it is a new tradition now.

If you have an altar or shrine to Epona, today is the day to show respect. Clean and tidy it, and the room it is in. Perhaps choose live roses to decorate it, or offer a rose scented candle or rose incense. My ponies used to love to eat wild rose hips at this time of year, and so sometimes I use those on my Epona altar, too.

I always mark the day in some special way, but my practice might vary depending on the weather, my energy level, and my ability to spend time with horses. So I thought I'd share a few of my devotional practices here, so that you can pick and choose. All of these things can be done at any time, as a way to honour Epona and help do Her work, but they are especially appropriate on Her special day.

Spend time honouring Epona.
If you have your horses at home, perhaps it's time to think about a small Epona shrine in your barn or storage area. I used to have mine on a wall in my feed room. I didn't keep my horses in the barn, but the feed prep. area was a place I went daily, and the shrine reminded me to think of my time there as sacred. As a bonus, I think it really encouraged me to keep my feed room clean and tidy. I sensed disapproval when it wasn't!

If you already have an altar or shrine to Epona, wherever it is, today is the day to show respect. Clean and tidy it, and the room it is in. Perhaps choose live roses to decorate it, or offer a rose scented candle or rose incense. Rose hips are nice, too.  My ponies used to love to eat the wild ones at this time of year.

Say a prayer.
There are many devotional prayers to Epona on the internet that you can use, or you can write one yourself. You might also like this prayer, which I adapted from an old Gaelic charm to protect cattle. I used to say it every evening at sunset when I turned my horses out onto their night-time grazing. Sometimes I still say it, for all the horses everywhere.

Pastures smooth, long and spreading,
Grassy meads beneath your feet.
Epona's friendship to bring you home
To the field of the fountains,
    Field of the fountains.

Closed be every pit to you,
Smooth be every knoll to you,
Cosy every height to you.
Oh, the care of all the band,
    To protect you and to strengthen you.

Think more about horse welfare. Give to a horse charity.
Please excuse this digression on horse charities and horse welfare, but Epona is a protector of horses, and I believe that this is highly relevant. There are many charities that help horses. You may already have your favourite. Make sure you do research about the charity you choose. How much of your money actually goes where you want it to go? The bigger the charity, the more likely it is that a lot of money is going to pay someone a big salary, so check! I am drawn to charities that help wild and feral horse populations stay in nature where they belong, but other charities need help, too.

I would like to talk about the pitfalls I see with horse charities. This is only my opinion. You can take it or leave it! Most horse rescue organisations are overstretched. Only a few are in the business of keeping horses under great conditions on their own land for the rest of the horses' lives. The rest depend on re-homing the horses, either by giving them to adopters for a fee, or by fostering them out. The quality of the homes they choose for this varies, so satisfy yourself that their homing requirements include humane treatment of the horse both in how it is kept and how it is used for riding, etc. Many horses find themselves in a downward spiral of re-homing, abuse or neglect. Don't support charities which contribute to that.

Horses need more than food, water, shelter and medical attention. They need to be able to carry out their natural behaviours of free movement (like in a pasture) and natural grazing (health permitting). They need to be with other horses. Ideally, they need access to these things all day, every day. If they are used for something like riding or human therapy, they need for this to happen in a way which causes them the absolute minimum of mental and physical stress possible.

Sadly, not all "rescued" horses go to good facilities to begin with. Some rescues keep horses in small pens or stables most or all of the time. In my opinion, that's no life for any horse, but it is particularly stressful for horses who have been "wild" or had regular turnout in a pasture previously.

Saving horses from "meat men" and "kill buyers" also seems like a generous act, but please read this article and think about the implications before you make up your mind.

Spend time with your horses - on their terms!
If you do have horses, how can you make their day better? If you ride a lot, the answer might be to give them a day off. But whatever you do, let it be their day. Don't "pamper" them by grooming their tangled manes if they don't really enjoy that, or take them on a long "pleasure" ride if they aren't fit enough. Far better to give them a scratch in that one place that's always itchy, or chop an apple into their feed. I used to take my horses out in hand to browse on plants they didn't have access to in their pastures. In Britain at this time of year they might have eaten gorse, rose hips, or things like nettles and thistles which had been tenderized by the frost.

Make life better for your horse.
We all try, I know! But is there something you could change, large or small, that would make your horse's life better? More turnout? More appropriate feed? What about the right to have a choice about the activities you ask them to be a part of? The right to say "no".

Or maybe your horse needs you to change in some way. If you ride do you need to be fitter? Lighter? More balanced? Or maybe you need to learn some relaxation techniques, so that when you're around your horses they don't have to suffer your bad moods. Maybe you need to learn to control your temper better. (I'm not judging. That one was huge for me, back in the day.) Whatever you come up with, this is a great way to honour Epona, and your horses. 

Be a willing servant.
Caring for horses is hard work. Most of us do that work in a hurry, or in anger or frustration some of the time. Let this day be different. Think about how each task on your list of chores helps your horse. Owning horses is such a privilege. Deep down we know that, but it's easy to forget - especially in the winter. Give yourself enough time to get your work done right today, and do a great job. Then give yourself a pat on the back. Follow that with a nice hot (or alcoholic, if you prefer) drink to celebrate your relationship with your horse. Maybe pour a bit of it out as a libation to Epona.

What not to do.
Do not offer any food or treats to horses that are not in your care. Although they are strong and sturdy, some horses suffer from invisible illnesses and allergies, just like people do. Some are on special diets for special reasons. If you have a bunch of extra apples or carrots, or something else you'd like to give to horses in your neighbourhood, find the owner and ask. Or leave them somewhere the owner will find them, with a note. I used to love finding bags of windfall apples left by my gate, and I appreciated being able to decide how many to feed at a time!

Also, do not mess with anyone's horses, in any way, without their full permission. Depending on where you are, you may be breaking the law, but more importantly, you could frighten the horse, cause it to injure itself, or be injured yourself. It's just good manners. There is nothing worse than coming home from work and having your neighbour phone you to say, "I saw someone in your field today, messing with your horses." Believe me, it's right up there with someone coming into your garden and messing with your kids. People love their horses, and these things worry them. If they see you approaching their horses, they may get angry with you. That's mostly because they are worried. You do not have the right to approach a random horse because you want to feel some equine energy! If you want to spend time with horses, you can volunteer somewhere, and they will give you a shovel. (Which is another way you can honour Epona, if you don't have horses of your own!).

Have a lovely day!