As I walked through the shadowed wood
I came to where an old Oak stood
Underneath it’s cool green shade
I made a bed and silently laid

I watched as squirrels lept through it’s limbs
And listened as birds sang Nature’s hymns
I breathed the sweetly scented air
And wondered if the old tree knew I was there

I looked into the old Oak’s face
and gazed up at it’s leafy lace
I knew in my heart there and then
There were such things greater than men

The theme of shapeshifting is found in Celtic myth regardless of the specific country one invesigates. Throughout my studies of Celtic lore I have found that there were very specific reasons or circumstances for shapeshifting. These reasons fall into at least four different categories, they are punishment, survival, protection or as a means to facilitate rebirth. Sometimes a story will fall into more than one of these categories, such  as the Welsh story of Llew Llaw Gyffes.

Shapeshifting for Survival and Rebirth

In the Welsh story of Taliesin, who as Gwion Bach transforms himself into various animal shapes to escape the wrath of the goddess Ceridwen. Gwion transforms himself into a hare, a fish, a bird and finally a grain of wheat. Ceridwen in an attempt to catch him also transforms herself. She becomes a greyhound, an otter, a falcon and a hen. It is as a hen that she finally
catches Gwion, who is at this stage a grain of wheat, she swallows Gwion and by so doing becomes pregnant and eventually gives birth to Taliesin.

The story of Taliesin has many similarities with the Irish story of Tuan mac Cairill. Tuan is the great-grandson of Partholon who was the leader of one of the five invading races of Ireland. Tuan is the lone survivor of this race and lives out many lives on the island as a stag, a boar, a hawk and finally as a salmon. It is as a salmon that he is caught by a fisherman and served
to the wife of Cairill. The lady becomes pregnant and gives birth to Tuan. The similarity of these two myths strikes home when we understand that both Tuan and Taliesin had full memories of their previous lives as humans. In both cases, their second lives as a human were both brought about by a woman eating them and becoming pregnant. This theme too echoes throughout Celtic myth.

There is a common misconception concerning these two myths that I wish to clarify. One may think that these two stories relate to reincarnation. That is not accurate; in both instances the main characters maintain their identities in every form. John and Caitlin Matthews have provided us with some insight into the Celtic view of stories of this type. They quote Cormac’s
Glossary that gives an definition of transmigration, which in the Gaelic is tuirgin, “a birth that passes from every nature into another… a transitory birth which has traversed all nature from Adam and goes through every wonderful time down to the world’s doom.”

The Matthews’ go on to explain that these “transitory births” often traverse the realms of animals while the subjects retain their original memories and intelligence. But not only do they retain their original memories, they also
retain the knowledge and experiences of their lives as animals. Therefore, it could be said that the act of transformation granted them knowledge they wouldn’t otherwise be able to attain.

Sometimes, the shapeshifter undergoes the change in order to survive some great disaster. And this sometimes goes hand in hand with the rebirth senario, but not always.

We can look at the story of Llew for an example of transformation following a personal disaster. After Blodeuwedd and her lover attempt to kill Llew, he is transformed into the shape of an eagle. Gwydion find him perched on a tree, decomposing flesh falling from him, which is eaten by a sow. Gwydion then uses his Druidic wand to transform Llew back to his human shape. As a punishment for her treacherous ways, Gwydion transforms Blodeuwedd into an owl.

There are many more instances of rebirth and survival in the manner described above. In fact, Celtic myth is full of them,  but I haven’t the space to address them all. The Celts believed that everything was possessed of a spirit and great care was taken by Celtic women not to partake of certain foods or plants for the fear of becoming pregnant.

Transformation as Punishment

As with Blodeuwedd’s transformation into an owl, a person could be transformed to inflict some sort of punishment for transgressions, real or perceived. Ossian’s mother was one such person. She was transformed into the shape of a deer by the Druid Fer Doirche. In this story, she is turned into a doe while pregnant with him. He is born of her while she is in deer form and retained throughout life a patch of “fawn’s hair” on his forehead where she licked him. Ossian becomes a member of the Fianna and later comes face to face with his mother while out hunting. She is able to show him her true form and thus prevent Ossian from shooting her. Ossian then
warns to to flee, for the Fianna would not show her the same mercy.

The children of Lir were transformed into the shapes of swans by their stepmother Aoife because she was jealous of Lir’s love for them. The children were doomed to remain in this shape for many years until finally they resumed their human shapes and died old and tired.

The Welsh story of Math ap Mathonwy we find another example of transformation used as a punishment. Gwydion and his brother Gilfaethwy create problems for Math when they start a war with Pryderi, King of Annwn. This war is all to draw Math away from his royal foot holder Goewin. Gwydion kills Pryderi and Gilfaethwy rapes Goewin. Math in a rage over these transgressions changes Gilfaethwy and Gwydion into deer. Gwydion a stag and Gilfaethwy a doe. In these bodies they are forced to live as mates until death at which time they are again transformed, this time Gwydion becomes a sow and Gilfaethwy a boar.

Again, they live life as mates and produce many off spring. After the “incarnation” as pigs they live again as wolves. Gwydion the he-wolf and Gilfaethwy as the she-wolf.

Shapeshifting for Protection

The father of Lugh, Cian mac Cainte encounters his sons enemies. Since Cian was outnumbered he strikes himself with his wand and changes himself into a boar.

One of Lugh’s enemies, Brian mac Tuirenn, derides his brothers for not being able to distinguish a real boar from a druidical boar. Thus, he strikes his brothers with his wand, changing them into hounds. In this shape they pursue Cian and mortally wound him. Cian then resumes his human shape before he dies. This form of transformation for protection didn’t work, but there are other examples.

There is in Highland Scotland folklore a specific spell used to affect the transformation of an individual. This type of spell is known as fith-fath (fee-faw) and as most Celtic spells was chanted verse. The folklore behind the fith-fath states that it was employed to bring about invisibility by transforming the subject into a different form. Alexander Carmichael informs
us that the fith-fath was applied to circumstances where a person needed to walk unseen, which was usually done in the shape of an animal, or when one wished to transform one object into another. Hunters would use this spell when hunting, as it afforded them the luxury of hiding from their prey, and hiding the slain prey from any who would steal it. One can imagine a hunter chanting the fith-fath and taking on the shape of a deer, how better to approach their quarry unseen and unsuspected.

Carmichael has provided us with a translated fith-fath spell meant to ensure that the person whom it was chanted over would become invisible to all the animals and beings recited in the verse.

A magic cloud I put on thee,
From dog, from cat,
From cow, from horse,
From man, from woman,
From young man, from maiden,
And from little child.
Till I again return.

The “magic cloud” could easily be a invocation of the powers of the god Manannan, who being the god of the sea had control over the mists and fogs. These mists and fogs were controlled by the god with his magic cloak or mantle. This same mantle was shaken between Fionn and his Fae lover,
so that they would forget each other. So, what the chanter of this verse is asking is that the subject be covered by the cloak of Manannan. This same spell could be used to transform the subject into an animal or some other object.

The Matthew’s find a correlation between the fith-fath and the spell known as the lorica in Irish lore. They translate the words fith-fath as “deer’s aspect” and give a similar translation for the Irish feth-faidha. The feth-faidha is another name for the chant known as “St. Patrick’s Breastplate.” The breastplate was used by the Irish saint to confuse the soldiers of King Loegaire, thus changing Patrick and his attendants into deer. The breastplate runs thus:

I arise day
Through the strength of heaven,
Light of sun,
Radiance of moon,
Splendour of fire,
Speed of lightening,
Swiftness of wind,
Depth of sea,
Stability of earth,
Firmness of rock.

Conclusion

As I stated above the people who were transformed were able to gain some knowledge from living as animals. Through this experience they were able to better appreciate nature and gained a closer affinity for nature. So we see several instances from Celtic myth where transformation was used as a means of survival or of protection. Taliesin and Tuan both used transformation as a means of survival and to bring about their eventual rebirth. Hunters and even the Irish Saints used transformation to protect
themselves or cause them to become “invisible.”

John Matthews presents a theory that states that some transformations were necessary for an exchange of knowledge between otherworld beings and a seeker or shaman. These transformations required the seeker to confront a threshold guardian or to become that guardian themselves. In a later essay I will address this theory in greater detail.

References:
The Encyclopedia of Celtic Wisdom by Caitlin and John Matthews
The Celtic Tradition by Caitlin Matthews
Fire in the Head by Tom Cowan
The Magic Arts in Celtic Britain by Lewis Spence
An introduction to Celtic Mythology by David Bellingham
The Druids by P.B. Ellis
The Druids-Magicians of the West by Ward Rutherford

Another
year gone, leaving everywhere
its rich spiced residues: vines, leaves,

the uneaten fruits crumbling damply
in the shadows, unmattering back

from the particular island
of this summer, this NOW, that now is nowhere

except underfoot, moldering
in that black subterranean castle

of unobservable mysteries – roots and sealed seeds
and the wanderings of water. This

I try to remember when time’s measure
painfully chafes, for instance when autumn

flares out at the last, boisterous and like us longing
to stay – how everything lives, shifting

from one bright vision to another, forever
in these momentary pastures.

~~ Mary Oliver ~~
(House of Light)

“Autumn
begins with a subtle change in the light,
with skies a deeper
blue,

and nights that become suddenly clear
and chilled.
The season comes full with the first frost,
the
disappearance of migrant birds,
and the harvesting of the season’s
last crops.”

~~ Jerry Dennis & Glenn Wolff ~~

Mabon, (pronounced MAY-bun, MAY-bone, MAH-boon, or MAH-bawn) is
the Autumn Equinox. The Autumn Equinox divides the day and night equally, and we all take a moment to pay our respects to the impending dark. We also give thanks to the waning sunlight, as we store our harvest of this year’s crops. The Druids call this celebration, Mea’n Fo’mhair, and honor the The Green Man, the God of the Forest, by offering libations to trees. Offerings of ciders, wines, herbs and fertilizer are appropriate at this time. Wiccans celebrate the aging Goddess as she passes from Mother to Crone, and her consort the God as he prepares for death and re-birth.

Various other names for this Lesser Wiccan Sabbat are The Second Harvest Festival, Wine Harvest, Feast of Avalon, Equinozio di Autunno (Strega), Alben Elfed (Caledonii), or Cornucopia. The Teutonic name, Winter Finding, spans a period of time from the Sabbat to Oct. 15th, Winter’s Night, which is the Norse New Year.

At this festival it is appropriate to wear all of your finery and dine and celebrate in a lavish setting. It is the drawing to and of family as we prepare for the winding down of the year at Samhain. It is a time to finish old business as we ready for a period of rest, relaxation, and reflection.

–Adapted by Akasha Ap Emrys to share with all her friends
and those of a like mind.
© 1997-99 Akasha, Herne and The Celtic Connection
wicca.com. All rights reserved.
http://www.wicca.com/celtic/akasha/mabon.htm

” Autumn is the eternal corrective.
It is ripeness and color
and a time of maturity;
but it is also breadth, and depth,
and distance.
What man can stand with autumn on a hilltop

and fail to see the span of his world
and the meaning of
the rolling hills that reach to the far horizon?”

~~ Hal Borland ~~

I.
Thus, not the thing held in memory, but this:
The fruit tree with its scars, thin torqued branches;
The high burnished sheen of morning light
Across its trunk; the knuckle-web of ancient knots,

II.
The swift, laboring insistence of insects—
Within, the pulse of slow growth in sap-dark cores,
And the future waiting latent in fragile cells:
The last, terse verses of curled leaves hanging in air—
And the dry, tender arc of the fruitless branch.

III.
Yes: the tree’s spine conditioned by uncountable
Days of rain and drought: all fleeting coordinates set
Against a variable sky—recounting faithfully
The thing as it is—transient, provisional, changing
Constantly in latitude—a refugee not unlike
Us in this realm of exacting, but unpredictable, time.

IV.
And only once a branch laden with perfect
Fruit—only once daybreak weighed out perfectly by
The new bronze of figs, not things in memory,
But as they are here: the roar and plough of daylight,
The perfect, wild cacophony of the present—
Each breath measured and distinct in a universe ruled

V.
By particulars—each moment a universe:
As when under night heat, passion sparks—unique,
New in time, and hands, obedient, divine,
As Desire dilates eye—pulse the blue-veined breast,
Touch driving, forging the hungering flesh:
To the far edge of each moment’s uncharted edge—

VI.
For the flesh too is earth, desire storm to the marrow—
Still—the dream of simplicity in the midst of motion:
Recollection demanding a final tallying of accounts,
The mind, loyal clerk, driven each moment to decide—
Even as the tree’s wood is split and sweat still graces
The crevices of the body, which moment to weigh in,
For memory’s sake, on the mobile scales of becoming.

~~ Ellen Hinsey ~~
(Poetry, February 2003)

The equinoxes are the seasonal time of balance and harmony when the days and nights are equal in length. During the equinoxes, the Earth’s auric or magnetic field is affected by the Sun’s alignment with the Earth’s equator. Twice each year, at the equinoxes, the Sun rises and sets exactly over
the equator remaining closely aligned there for approximately 48 hours.

The equinox solar affect produces a reduction in the magnetic field of the Earth, allowing us to connect more easily with other dimensions. The equinox effect begins around 24 hours before, and ends around 24 hours after, the exact Equinox point. Thus, the Sun’s annual rhythmic cycle is intimately wired to our experience of the seasons.

Certain seasonal cycles are optimum timings for connecting with Earth’s sacred sites all over the planet. Doorways into the mysteries are more easily accessed during this time and when we consciously engage this energy we have an even greater opportunity to activate our own experience of these sacred timings and what they have to offer us.

The ancient architects and builders of Chaco Canyon (in New Mexico)  were inspired to build what is essentially now explained as some sort of equinox
corridor in their main building complex. This corridor marks the equinox Sunrise, tracks the Sun’s journey through the sky, and then marks the equinox Sunset.

This corridor was designed to capture the So Below experience of this As Above bi-annual event, giving us another potent clue about the importance
of this seasonal timing. This understanding may inspire each of us to tune
in and discover what significance the equinox timings represent for us individually and collectively.

September Equinox Details

It is fascinating to note that the Zero Libra point, marking the September Equinox, is currently aligned with the North Galactic Pole. The North Galactic Pole lies 90 degrees north of the Galactic Plane in the constellation of Coma Berenices. This particular near exact alignment only happens for 144 years, during a 26,000 year cycle as the equinox and solstice points
move one degree every 72 years. The exact alignment is happening now. One interpretation of the constellation Coma Berenices is that it represents long beautiful hair.

Anne Wright’s website on Fixed Stars gives
this mythic description:

This is “a classical story concerning the hair of Berenice, the wife of Ptolemy III of Egypt.

It happened that Ptolemy had to fight against the Assyrians. Berenice feared for his life and went to the temple to pray that her husband would emerge victorious from the fray.

In her anxiety she promised to sacrifice her hair to Venus, the Goddess of Love, if Ptolemy were to return safely. Berenice was very famous for her beauty. She had beautiful long amber-colored hair, which she was really proud of. She asked the royal oracle, Conon, what to do. Conon advised the queen to offer her beautiful hair to Aphrodite (Venus the goddess of love and beauty) for the safe return of her husband. Berenice did not hesitate; she was willing to sacrifice anything for her dear husband.

After weeks of tension and waiting Ptolemy returned safe and sound. The nation rejoiced but when Berenice told
Ptolemy about her promise to sacrifice her hair, Ptolemy was very upset because it was the crowning glory of his queen; it was looked after with loving care by Berenice’s ladies-in-waiting, it had the admiration of the nation, and it gave inspiration to the poets.

Nothing, however, would change Berenice’s mind. She went to the temple where her beautiful locks were cut off and laid on the altar by the priests. The next day when the king went to the temple to have a look at his wife’s hair, he was furious to find the hair had been stolen. He summoned the priests and would have put them to death, then and there, had not the court
astrologer intervened in the nick of time.

“No, no, your majesty, do not blame the priests, it is not their fault, wait until it is dark and I will show you where your wife’s hair is”.

So when day turned into night the astronomer took the king to look at the night sky “Look! Dost thou not see the clustered curls of thy queen, too beautiful for a single temple to possess, placed there by the gods for all the world to see? Look! They glitter like a woven net, as golden as they were on Berenice’s head”.

And there, between Canes Venatici, Bootes, Leo and Virgo, twinkled a mass of very faint stars. The astronomer declared that Jupiter had descended from Heaven the night before to take the golden locks up to the heavens where they could be admired by the whole world, not only by one nation. The king was satisfied with this explanation and Berenice was delighted that Venus had so honored her.

Coma Berenice seems to have been first alluded to by Eratosthenes as Arladne’s Hair in his description of
Ariadne’s Crown. It was not known till about 243 BCE, in the reign of the 3rd (Euergetes), the brother and husband of Berenice, whose amber hair we now see in the sky figure. It was the happy invention of
this constellation by Conon of Samos (the royal astrologer) that consoled the royal pair after the theft of the tresses from the temple of Arsinoe.

The word Berenice, is from the Macedonian form of the purer Greek – Victory – bearing… Christians also called
this constellation “The Veil of Veronica,” probably because the Herodian Beronica has a Latin name that is equivalent to Berenice (“v” and “b” are closely related). Some Christians saw it as Flagellum, “The Whip,” the
Latin word from which the English word flagellate is derived, which describes the instrument used to whip Christ.

Bayer also mentioned Rosa, a Rose, or a Rose Wreath; but he figured it on his plate of Bootes as a Sheaf of
wheat, in reference to the Virgo Ceres close by; indeed, Karsten Niebuhr, at Cairo in 1762, heard it called Al Rusat, the Arabic term for that object, or for a Pile of Fruit, Grain, or Wood.

The Dresden globe has it as an Ivy Wreath, or, just as probably, a Distaff held in the Virgin’s hand, which
has been designated Fusus vel Colus, Fila et Sta,nina, the Distaff, Thread, and Wool.

The Arabian astronomers knew Coma as Al Ralbah, or Al Dafirah, the Coarse Hair, or Tuft, in the tail of the
Lion of the zodiac, thus extending that figure beyond its present termination at the star Denebola.

Coma probably was known in early Egypt as the Many Stars. The naked eye can really see a wealth of glitter in the area of Coma Berenices, but a small telescope reveals an even more glorious display of astral abundance. (Robson).”

The rising Sun at the September Equinox obscures our view of this constellation and the North Galactic Pole.
Astronomers consider this region of the sky one of the best for studying other galaxies, because the conditions here are favorable, in essence creating a clear window to see other galaxies. This gives us further clues about what we can tune into during this timing as the brightness of the Sun, also seen as a “doorway (or window?) into the knowing” according to the Upanishads, activates the North Galactic Pole and the constellation of Coma Berenices. This timing then may be an excellent opportunity to more clearly experience our intergalactic  connections, and to receive a greater understanding of our relationship to time and space.

The constellation of Coma Berenices also gives us some important clues about this area of the sky. The symbol of hair conjures up many images and mythical stories. In some traditions hair symbolizes our connection to personal power, life force, and strength, i.e. Samson. In the story of Rapunzel her hair symbolized a link to the outside world, and the sacred masculine (Prince) who intended to free her from her prison tower. Other traditions
see hair as a symbolic link to the power of thought, spiritual knowing and inspiration, and higher powers. The black hair of Kali symbolizes Time, the matted hair of Siva symbolizes the ascetic, the curled hair of the Buddha symbolizes mastery of life force in a tranquil and serene state. (Sourced from  An Illustrated Encyclopaedia of Traditional Symbols by J.C. Cooper)

These images provide additional dimensions to the significance of the Autumnal Equinox (as it is experienced in the Northern Hemisphere, or the seasonal point of the year marking the crossing of the return threshold from the journey that began at Winter Solstice, and the seasonal time of final harvest and preparation before a new cycle begins.

In essence, this begins an in-between the worlds experience (represented by crossing through the return gateway), not of the world of the previous quest and not fully of the world where the quest began because so much has grown and changed.

The alignment of this seasonal point with the North Galactic Pole lets us know that we are truly becoming more multi-dimensional,
as we learn how to consciously exist in many realms
simultaneously.

Accessing the mysteries from this multi-dimensional perspective enhances our ability to consciously dream the dream onward.
There are no rules about how to engage this timing. Indeed, it may be time to create new ways that are alive and significant for us now when we ceremonially participate with the mysteries of the turning of the seasons.

Tuning into your own guidance is the best way to align with what is true for you at this time and how best you can connect with these mysteries. Blessed Be!

Abbots Bromley, UK
Wakes Monday, the first Monday after September 4

Originally this was danced during the Yuletide on Twelfth Day (January 6) at Abbots Bromley, Staffordshire, England. Now the Abbots Bromley Horn is danced on the first Monday after September 4, the date having been moved in the 18th Century. Six male dancers hold white and brown-painted (formerly red and white) genuine reindeer antlers on wooden poles.

The antlers were obtained from reindeer that were castrated, or domesticated during the eleventh century. As reindeer are believed to have become extinct in the British Isles by then, and we know of no domesticated herds, the antlers were possibly of Scandinavian origin. In 1976, a small
splinter was  radiocarbon dated to around 1065. (At Star Carr in Yorkshire,

Mesolithic antler ‘frontlets’, apparently meant to be worn, have been dated to 7600 BCE.) Since 1981, the Abbots Bromley horns have been legally the property of Abbots Bromley Parish Council and for 364 days of the year, they are on display in St Nicholas Church.

The dance starts at 7 am with a service of Holy Communion in St Nicholas Church, where the horns are housed. The dance begins on the village green, then passes out of the village to Blithfield Hall, currently owned by Lady Bagot.

The dancers hold the antlers to their heads as they dance. They go round neighbouring farms before the event (a distance of about 16 kilometres, or ten miles), which is possibly left over from a more ancient fertility dance. At the end of the day, the antlers are returned to the church. The Horn Dancers comprise six ‘Deer-men’, a Fool, Hobby Horse, Bowman (Robin Hood) and Maid Marion, performing their dance to a traditional tune provided by a melodion player.

The sight of a bowman following men wearing antlers is reminiscent of scenes in the celebrated cave paintings of Lascaux, France, which date to Paleolithic times 20,000 years ago, which depict men wearing antler head-dresses being stalked by archers (pictured at left). The Kalahari Bushmen’s ritual mimicry of hunters stalking antelopes also comes to mind, as does the Apache horn dance.

The dancers return to the village in the early afternoon, and make their way around the pubs and houses. Finally, at about 8 pm, the horns are returned to the church, and the day is completed with the church service of Compline.

Reminiscent of other antler rituals

The ancient rite is held two weeks before the Vernal Equinox and no doubt has pagan origins despite its Christian associations today. Ostensibly held to commemorate the acquisition by the local people of hunting rights to the
nearby Needwood Forest, the Abbots Bromley Horn Dance is similar to the Yakut dance of Russia and certain dances of Finno-Ugranian tribes, and it might have originally been a Scandinavian/Viking ritual dedicated to Frey,
god of fertility and Lord of the Light Elves of Alfheim. In the Celtic world of the Iron Age, the Horned One is most commonly called Cernunnos, the Stag Lord, or the Horned God, and this custom might hark back to the pre-1st century CE times when his cult was widespread.

Source:
Wilson’s Almanac

I do not know if the seasons remember their history or if the
days and nights by which we count time remember their own passing.
I do not know if the oak tree remembers its planting or if the
pine remembers its slow climb toward sun and stars.
I do not know if the squirrel remembers last fall’s gathering
or if the blue jay remembers the meaning of snow.
I do not know if the air remembers September
or if the night remembers the moon.
I do not know if the earth remembers the flowers from last
spring
or if the evergreen remembers that it shall stay so.

Perhaps that is the reason for our births —
to be the memory for creation.
Perhaps salvation is something very different
than anyone ever expected.
Perhaps this will be the only question we will have to answer:
” What can you tell me about September?”

~~ Burton D. Carley ~~
(1997 UUMA Worship Materials Collection; contributed by Bob
Freund)

“It is clear’, said the Mac Óc, `that night and day
are the whole
world, and it is that which has been given to me.”

~~Book of Leinster~~

The Autumn Equinox, which usually falls around September 21st,
is often celebrated with harvest festivals, various games, and
Harvest Home rites. The most prominent Celtic customs surrounding the
harvest is that of the last sheaf, which becomes ‘the Cailleach’
and is taken in until the next spring’s ploughing (though there
are many other variations on Last Sheaf customs). Much of this days
symbolism is movable to correspond with the activities of the harvests
or placed on September 29th, Michaelmas.

The association of harvest with the Autumn Equinox is so strong
that many modern Pagans refer to the holiday as Harvesttide. However,
many American Wiccans, and Pagans who take their cue from them,
have come to call the Harvesttide, ‘Mabon’. Some have attributed
this association of the appellation `Mabon’ with Harvesttide, to
Aidan Kelly.

Regardless, calling Harvesttide, `Mabon’, began in the US in the
1970’s, and is an innovation that has increased in popularity,
spreading quickly among those who do not know anything about
the deity Mabon. A fact made more striking when the deity Mabon,
for whom this holiday is named, often does not figure in the `Mabon’
rites. There are many things that Mabon is, but currently there
is no evidence or indication that Mabon was ever a harvest god.

Mabon, is the Welsh name for the Continental Maponos or the Irish
Aengus Mac Oc (*Maccan*). Mabon’s role in Culhwch and Olwen,
his primary myth in the Welsh material, and the events that play
out there, have no harvest connections whatsoever.

A cursory study of this god and his cognates would indicate
that he is associated with healing, vitality, water sources, music,
dogs and horses, youth, beauty, love, dawn, and white birds. As well,
he is associated with hunting, especially the boar hunt, which may
have had some ritual connotations. In the Irish myths the Mac ind Oc
or Maccan is the son of the Fire god, Dagda, and the Water goddess,
Bóann and as such he embodies the union of opposites.
In the Welsh myths he is the ‘Son of the Mother’, Modron, and the ‘Son of
Lightning’. As Modron is most likely a river mother type (cf.
the  Continental Matronae), and Lightening is obviously celestial,
Mabon reconciles `below’ and `above’.

Given his associations, the most obvious rites to Mabon in Autumn
would most likely focus on his associations with hunting, and
would be best celebrated closer to Samhain, which marks the traditional
close of the hunting season in most Celtic lands.

However, since Mabon has no Harvest associations at all, I believe
it is better to celebrate Mabon (the god) at another time, leaving
the Autumn Equinox and its strong associations with harvest to
deities who actually have connections with the Harvest.

Returning to Mabon’s role in Culhwch and Olwen myth, his release from
imprisonment signals a return of vitality and life. These along
with many of his other themes are well suited to, and very much
in harmony with, the rites of early spring and Bealtaine, and, in my opinion,
would be the better time for celebrating Mabon and his Mysteries.

(2003, edited 2005)
First printed: http://groups.yahoo.com/group/newtara/message/16

In England, the Autumn Equinox is traditionally known as Harvest-Home;
in Scotland, Kirn. In the north of England, the name is Mell-Supper.

In the southern counties of England, labourers elected from among
themselves a lord’ who made all the terms for work with the farmers and took the lead with the scythe. He made all the rules and all addressed him as “My Lord”. Disobedience to the ‘lord’ was punished by fines, and he was first to eat and drink. In Buckinghamshire, a lady as well was elected. But the ‘lady’ was also one of the workmen.

The grain last cut was brought home in a wagon called the Hock Cart,
surmounted by a figure formed of a sheaf with festive dressings. “A presumable representation of the goddess Ceres”, notes the 19th -century English folklorist, Robert Chambers. There were musicians, singing and dancing.

In Lincolnshire, hand bells were rung by those riding on the last load, and singing:

The boughs do shake and the bells do ring,
So merrily comes our harvest in,
Our harvest in, our harvest in,
So merrily comes our harvest in!
Hurrah!

It was a favourite practical joke to ambush the cart and drench the party with water.

Competitions were held, in the north of England, for the best harvesters (called a mell, from Fr. mêlée).

The very last sheaf was laid down flat and cut by ‘the bonniest lass’ (the Har’st Queen) for a Corn Baby (corn doll). It was the centrepiece of festivities and at the table that night, and usually preserved in the farmer’s parlour for the coming year. Note the similarity to this and the ancient Latvian harvest ritual of Mikeli (September 22).

In Hertfordshire, the final sheaf was tied up and erected, called a Mare, and
reapers took turns at throwing their sickles at it, to cut it down. The successful reaper cried out “I have her!” “What have you?” cried the rest. “A
mare, a mare, a mare!” he replied. “What will you do with her?” was then asked. “We’ll send her to John Bloggs,” or whoever, referring to some neighbouring farmer who had not got his harvest in. This was called Crying
the Mare. The reference is to the wild horses that used to range over the commons and cause damage.

In Devonshire the reaper would call “Arnack! Arnack!” meaning ‘our nag’, and the last sheaf was called the ‘nack’.

In the Isle of Skye, the last handful at harvest was sent, under the name of Goabbir Bhacagh (‘the Cripple Goat’) to the next farmer who was still harvesting. The deliverer had to be able to escape the consequences of so embarrassing the neighbour.

At the feast following, the song was sung:

Here’s
a health to our master,
The lord of the feast;
God bless his endeavours,
And send him increase!

May prosper his crops, boys,
And we reap next year;
Here’s our master’s good health, boys,
Come, drink off your beer!

Now harvest is ended,
And supper is past;
Here’s our mistress’s health, boys,
Come, drink a full glass.

For
she’s
a good woman,
Provides us good cheer;
Here’s to your mistress’s good health, boys,
Come, drink off your beer!

The one elected lord went out, put on a disguise, came in again, crying “Lar-gesse!” He and some companions went about with a plate collecting money for further celebrations at the alehouse.

In Scotland, today was celebrated as the Kirn (supposed to be from the churn of cream usually presented at the supper). The threshers donned blue and pink ribbons. There was a haggis feast and much dancing to the sound of the fiddle.

All these festivities were antique by Chambers’s time, as Puritanism and commercialism killed off these and other natural feelings of the people.

Source:

Chambers, R, (Ed.), The
Book of Days: A miscellany of popular antiquities
in connection with the calendar, etc,
W & R Chambers, London, 1881 (1879
Edition is online; See
The English Year: A Personal
Selection from Chambers’ Book of Days)

The mighty mountains changeless stand.
Tireless the winds across them blow;
The shepherd’s song across the land
Sounds with the dawn so long ago.
Still around with rocks each day
The bright white daisies nod and climb.
Only the shepherds cannot stay
Upon those hills till end of time.

Old Welsh customs need must change
As years progress from age to age.
The generations each arrange
Their own brief patterns of the page.
After his long watch on the hill
Alun Mabon too has gone.
Yet lives the ancient language still,
And still the melodies play on.

~~ John Ceiriog Hughes – 1832 – 87 ~~
Images are of Snowdonia Mountains in NW Wales