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 simply 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 as 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 synchronicity, 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.