Category Archives: Deities

Lady Epona


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By Ibex73Own work, CC BY-SA 4.0, Link

One of the Goddesses that I work with is Lady Epona, a Celtic Goddess associated with Horses from Gaul. Epona means Great Goddess of Horses. She is often depicted carrying a sheaf of wheat, a cornucopia, accompanied by birds, often ravens, dogs and snakes. She is an otherworld Goddess connected to sexual love and fertility. In this essay I will explore some of the interesting connections, speculations, gnostic revelations and researches that have come my way in working with the Lady.

As I am sure you will be aware, Horses were a very important part in the Celtic world from antiquity to the modern day. Goddesses associated with horses are, as well as Epona, Rhiannon from the Welsh pantheon, and Macha, Etain Echraide and Medhbh from the Irish world. What I have to say here will be of interest to those working with these other deities as well.


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By Frédéric Moreau et illustrations de Pilloy. Versement et modifications ː G.Garitan – Album Caranda, exemplaire de la B.M. de Reims., Public Domain, Link

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By Claus AbleiterOwn work, CC BY-SA 3.0, Link


What’s in a word?

I will start by exploring the word Mare, the modern English word for a female horse, and we will look at some other words associated with horses.

The word mare, as well as meaning a female horse, has a meaning connected to the sea, and water. For instance the latin mare, meaning sea, cognate with the old english “meer” meaning a lake or pond, and the first part of words such as “mermaid” and “marine”. The Goddess “Mary”, is of the same ilk as well, one of her traditional titles being “star of the sea”.

The same word Mare, has also a meaning of mother, as in “ma”.

We may find the same root in the word marriage as well, and in the latin word for a husband, marito.

So, Mother Mare of the Sacred Union, Goddess of the Sea.


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By Ecole d’Agassac (31)Own work, CC BY-SA 3.0, Link


Here we may ponder on the legends of the old Irish ways in which the King was married to the Goddess of Sovereignty, in her form as a mare – the sacred marriage of priest to priestess, of political head to the personified Earth, the source of abundance and natural wealth.

Relationship between the Goddesses Epona and Brighid.

In my personal work with these Goddesses, they each embody a different energy and presence. Just as the Lady Epona has left her mark in our language, so has the Lady Brighid, also connected with the intimate union of lovers. The marriage represents the union of Bride and Groom. Although most people don’t have the slightest curiosity about these terms, they suggest to me the memory of the sacred union of God and Goddess as the template for human unions. “Bride” is of course a name for her Ladyship. It was not so long ago that the most treasured possession of little girls was there “Bride Doll”. Traditionally the Bride doll was made of sheaves of wheat and carried about on Brighid’s day. And as well as being the guy getting married, the groom is the person who looks after a horse, making sure it is fed, watered, brushed and cared for. So if the the Bride and Groom are getting married, (mare-ied), then it stands to reason that the person the Groom is to care for, is a Horse, or at least the sacred horse Goddess. When a Groom leads a horse, he takes her by the bridal. The bridal, the tether of the Goddess Brighid.


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By SiannanOwn work, CC BY-SA 3.0, Link

So we have in the wedding ceremony and associated terminology an intriguing echo of the Celtic past in which the sacred union of God and Goddess, priest and priestess, played a pivotal part in ensuring blessing and abundance. To this day, the term for raising and breeding live stock for agriculture is known as animal husbandry, another intriguing echo of the sacred union that ensures abundance and prosperity.

We may also see the same root word, mare, in the word “May” for the month of may, traditionally the time for weddings, and of course the celebration of Beltaine, in which the sacred lovers come together to ensure the continued abundance of nature.

We note also that Brighid has another intimate connection with Horses, in that she is the patroness of Smiths. The main functions of Smiths were in shoeing horses, making ploughs and agricultural implements, and in making weapons. Here again we see the themes of horses, agriculture and battle reflected in an attribute of the Goddess Brighid.

Epona was the Great Mother of the British Celtic Kingdom of Brigantia, whose name resonates with that of the Goddess Brighid. She was said in some places to ride a Goose, and according to some is the original Mother Goose.

The Morrigan and Rhiannon
Macha, the Irish Goddess associated with Horses, is considered to be one of the three faces of the Morrigan. Here also, we have the same first syllable, “Mor”, or “mare”. Some consider her name to mean “Phantom Queen”, with the “Mor” part cognate with the mare in Nightmare. Epona is sometimes associated with Ravens, which also connects her to the Morrigan, a Goddess of Battle, sexuality and sovereignty. There is some suggestion that Epona may also have been a Goddess of Battle, being invoked with the words “Catona (of battle)” according to one contested interpretation of a latin votive inscription.This, as well as her care of Horses, may explain her popularity amongst the horse riding legionnaires of the Roman Army who adopted her. This would also align her to the Morrigan, and her less well known Great Mother Mare Aspect. Rhianon, the name of the Welsh Goddess who rides a white horse is said to mean Great Queen. There is some suggestion that she is also representative of the moon. The moon is not only the bringer of madness, but opens the gateway to the psychic realm, and has a dominion over the water, and growth, and symbolises the mother. Her association with horses does not end there however, for she was falsely accused of devouring her baby, and for penance had to carry travellers into the city on her back, in the manner of a horse. Rhiannon is also involved in a love tug a war between two suitors, associated with the upper world and the underworld.


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By IsarJoey – You may select the license of your choice., CC BY-SA 4.0, Link

</p>Lady Godiva

In the legend of Lady Godiva, who rode naked through the town on a white horse in order to save the populace from oppressive taxation, the tax in question was a tax on horses. Some have seen the resonance with fertility rights, and May day. This is further amplified by the fact that the oppressor, was none other than Lady Godiva’s husband. So the King, was married to the Horse Goddess, who rode naked, and cared for the people. Not surprisingly, Epona is sometimes depicted as a naked woman lying across the back of a horse.

Incidentally, the name Godiva, means Gift of God, or as we might better understand it, Gift of the Goddess. In one account, “Peeping Tom” who looked upon her nakedness, was the Lady’s Groom. And here we may have another echo of the sacred union between Bride and Groom, as of course, the Groom being in intimate connection with her Ladyship, may well look upon her.


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By CmgleeOwn work, CC BY-SA 3.0, Link

Welsh and Irish Folklore
Another resonance of the sacred marriage which brings fertility and abundance to the Earth, can be found in the Welsh folk tales of the Fairy Bride. The Fairy Bride has her home in a lake, and a farmer falls in love with her. He courts her, and they get married, she bringing her other worldly herds with her from the lake, which make the farmer very wealthy due to their health and fecundity. However there is a prohibition which he must observe. Sometimes, it is that he must never strike her, or perhaps never strike her with iron, or that he must never speak of her. After many years, the farmer foolishly, or due to some fatalistic circumstance, breaks this prohibition, and she returns to the lake with her herds, leaving him bereft, broken and impoverished. In one version of the tale, the farmer and his wife are out catching wild horses, and he throws her the bridal, which accidentally hits her in the face with the iron of its bit. Instantly she must return to the lake with her herds. In this story we have an association with the fairy wife (mare-age), water (mare), horses (mare), and fertility and abundance. Calamity strikes through not respecting the wishes of the Goddess, either deliberately or accidentally as in this case. This theme is repeated in the story of the Irish Goddess Macha, who appears at a farmer’s house after the death of his wife, and begins to keep his house, and then to sleep with him, ultimately becoming pregnant. She warns him never to speak of her. He foolishly becomes drunk, and boasts that his wife can run faster than any horse. The King causes her to be brought to him, and forces her to race his horses. She wins, giving birth to her twins on the finish line, and curses the men of Ulster to suffer pains as if of childbirth at the time of their greatest need. Macha, in legend, was the Goddess of Sovereignty of Ulster, mythologically married to the Kings, and at times, ruling in her own right, seeking vengeance on those who disrespected her, and using her sexuality not only to bring fertility and abundance, but to entrap those who disrespected her, and bring about her revenge.

In such stories the point is made very clear that the sexuality of Herself does not belong to any man, but is her own, and woe betide any man who thinks other wise.

The Mari Lwyd is a custom in some parts of Wales, in which a mare’s skull is placed upon a stick, and used in a wassailing festival, in which reveller’s compete in verses for the privilege of entering a house and drinking beer. It is variously said to mean “Grey Mary” or “Grey Mare”. As I have been saying here, it could quite easily mean both and in meaning both, have but one meaning, a remembrance of the the Great Mother Goddess associated with Horses and the Sea.

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By Thomas Christopher Evans (Cadrawd) – National Library of Wales Photo Album 929 A, Public Domain, Link

The White Horse of the Fairy Queen

Ride a cock-horse to Banbury Cross,
To see a fine lady upon a white horse;
Rings on her fingers and bells on her toes,
And she shall have music wherever she goes.

Here we have a resonance of the association of the Fairy Folk with white horses, and music, especially bells. A cock horse could be an uncastrated animal, or it could mean a hobby horse. Note that two horses are mentioned. The cock-horse which is part of the injunction to the listeners, and the the white horse upon which the fine lady rides. When I was growing up as a lad of Irish Catholic extraction, a game my mother taught us to pass time on tedious car trips was that we had to cross our fingers if ever we saw a white horse. They could only be uncrossed if we saw a dog. I believe this is a vestige of an old belief that the Fairy Queen, riding a white horse, may represent a danger by stealing away children.

The classical connection.

The winged white horse, pegasus, was said to be born of water. A sacred well was said to have formed from his hoof mark, the spring called Hippocrene, which rose on Mount Helicon, the home of the Muses. Robert Graves supposes that the well was originally struck by the “moon shaped hoof of Leucippe (‘White Mare’), the Mare-headed mother herself…” Graves also states that Demeter was worshipped under the name of Epona, or the three Eponae. The Goddess Demeter was also sometimes represented as riding a horse. And as the horse was the puller of the plough which was essential in tilling the earth and providing the harvest, this should not be surprising.

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By Stefan Kühn on de.wikipedia – Abbildung aus Meyers Konversationslexikon von 1888
Originally from de.wikipedia; description page is (was) here
19:24, 4. Aug 2003 Stefan Kühn 355 x 487 (38696 Byte) (Abbildung aus Meyers Konversionlexikon 1888 – Demeter (Relief aus Pompeji)), Public Domain, Link

Epona’s Singing birds.

Epona is to me the Goddess of the happy other world, whose birds bring ease to the souls of those who have suffered through war and trauma. See the entertaining of the head in the Mabinogian, where Bran’s men linger in the other world on Rhiannon’s Island, listening to the song of her birds and feasting until they forget their sorrows and are ready to return to the world.

In Conclusion
Our Lady Epona appears to represent an ancestral and ancient Goddess, Mother of the people, associated with the Sea, the Moon, and horses, and accompanied by dogs, snakes, doves and ravens, and other worldly singing birds. She is fierce in defence of those She loves, and, like a mother protecting her young, will fight fiercely for a just cause. She, with her horn of plenty, is the source of all abundance and fertility, and the image that has come to me is of her wild steed racing through the country side on a moonlit night, with her hoofs striking the ground, so that wherever they strike fruits and flowers spring up. She is the embodiment of our Mother Earth, and is deeply sensual and passionately sexual, belonging only to herself, and ready to revenge herself on men who scorn or spurn her, or fail to properly appreciate her gifts. She participates in the sacred marriage of Beltaine, with the Lord of Light, and rules beside the Lord of Dark, as his lover and consort during the dark half of the year. She embodies the mysteries of sexuality and desire, and the deep potentialities of relationships that are both sexual and loving, but embodies independence and belongs to no man. She is the bearer of the mysteries, depicted often with a head of wheat, resonating with the Eleussinian Mysteries, and She leads the Fare Folk from out of the Hollow Hills or the mountain lakes on holy nights.

The Three flames of Lady Brighid

One of the Deities that I work with is Lady Brighid, a Celtic Goddess of great antiquity, whose practices and lore passed into Irish Catholicism, and who is a much loved Goddess of many modern pagans, especially those with connections to things Celtic. She is of course the Lady of the blessed flame, and the holy well. According to the Fellowship of the Stag and Flame, the Flame may be expressed in triple form, as the flame in the belly, the flame in the heart, and the flame in the brow.

The flame in the belly is the flame of health and vitality. A strong flame in the belly gives one the power to digest food and absorb nutrients. In the olden days, the process of digestion was seen by some as “cooking” the food by the stomach. Today, in Chinese medicine and naturopathy, cooked food is regarded as easier to assimilate than raw food. You may have noticed when laughing a jolly belly laugh, that heat is generated in the lower abdomen around the naval area. This is also the flame in the belly, the energy of mirth and merriment, which is healing and restorative in so many ways. In Shiatsu, Japanes finger pressure massage, the hara, the region around the naval, is considered to be the key to healing transformation, and the energy is felt as heat moving in this region. In Tai Chi, and Chi Gung, the life energy is cultivated in the lower abdomen, at a point just below the naval, called the tien ten. In our own Australian English vernacular, people speak of the fire-in-the-belly possessed by certain go-getters who live with energy and passion, and who won’t countenance defeat or set-back. Behind these different expressions is an energetic secret of health and longevity, which I regard as the cultivation of the first of the three flames of Brighid.

This is the place to begin with cultivating the flame, as health and humour are the foundations upon which all else must build.

The flame in the heart is a symbol of western mysticism that goes back many years, perhaps most conspicuous as the symbol of the sacred heart of Jesus in the Catholic religion, which is depicted as a heart merged with a candle flame. While I don’t myself work specifically with the sacred heart of Jesus, as a pagan, the symbol is not out of place as Brighid is regarded in Ireland as the foster mother of Jesus. However the symbol of the flame in the heart transcends the Christian religion. It represents the flame of alchemical transformation. Just as the flame applied to the alchemical vessel results in transformation and change, hopefully in a positive direction towards the philosopher’s stone, so does the application of love to any situation result in positive transformation and change towards enlightenment.

But the flame in the heart is more than just a metaphor. It is an effective transformative symbol, a switch, which can be applied through visualisation, in order to bring love into a situation. The visualisation is the flame burning in the heart. The feeling is the opening of the heart chakra. The effect is the creation of loving energy which emerges into the energy field of the interaction, and which transforms negative energy in that same energy field. The effect is subtle, but powerful. It should be noted that the potential exists to misuse such loving energy in order to manipulate people. Needless to say, operating in this way is unethical, and will sooner or later re-bound upon the practitioner.

The fire in the brow represents the energy of creativity, and direct connection with divine creative energy. It is expressed through extemporisation in music and poetry, in which the greater consciousness has its opportunity to manifest its expression through the poet or musician, artist or writer. It is also associated with seeing through the inner window, or opening of the third eye. A basic technique in Yoga is to visualize a candle flame, while holding the attention lightly on the brow chakra. In druidic lore, the Awen is the stream of divine inspiration which moves the poet.

The three flames of Brighid are both a symbol of the threefold way of wisdom – a healthy body, a healthy heart, and a healthy mind, and an energetic presence that one can work with esoterically. In these days, in which individualism is taken as a matter of course, it is easy to forget that we are part of something greater than ourselves. The flame of Brighid is both a symbolic reminder and an esoteric technique for linking with and experiencing ourselves as part of a greater existence.

All who work with the healing energy of Brighid are linked by the matrix of the Goddess as she transmits and transmutes the healing energy. To meditate upon the flame of the heart is to invite an opening into the oneness of love. To work with the fire of the brow, the flow of the Divine inspiration, is to transmit and mediate the creative conscious expression of the spirit realms. In each case, these practices and experiences transcend the everyday conscious mind, and one becomes a part of something greater and all-embracing.

The up-side of such experiences is plain. These transcendental experiences are generally a peak experience for people, in which feelings of happiness and upliftment replace the habitual modes of being, and in which the usual mind chatter focussed on the efforts of the rational conscious identity to confirm its own existence, is swept aside by an experience of being that is deeper, wider, and more mysterious.

The down-side of these experiences is often over-looked. To taste the nectar of the Gods makes other food taste like cardboard. Things that ordinarily one would enjoy and find satisfying may pale by comparison into empty and hollow experiences. Activities where the individual rational consciousness is running the show seem to be devoid of the luminous depth and intensity of transcendental contact. One pines for these experiences once one has had the taste of them, yet mysteriously, or frustratingly, life seems to require one to put them aside – in order to carry out one’s mundane duties.

Thus commences the dark night of the soul. The knowledge of the darkness of one’s life is manifest, where perhaps it wasn’t before. With an experience of light, comes a knowledge of darkness. Living in this darkness is almost unbearable, when one has yet to find a way to structure one’s life around regular transcendental experience. The problem with our current society, is that there are so few ways in which transcendental experience can be expressed or encouraged on a regular daily basis. When people are working 50 and 60 hours a week, commuting a couple of hours a day, and doing their best to raise a family in the time that’s left, there is precious little time available for the cultivation of the transcendental connection. Yet once tasted, this transcendental contact is a necessity of life.

Perhaps one answer is to find a way to have that transcendental connection within one’s normal activities. This is not easy, but is the way of Zen – chopping wood, carrying water, with mindfulness. The problem for many people is that many of us are having to spend our day concentrating, focussing, thinking, planning, decision-making, and other forms of intellectual and rational activity – activities that require us to be in the seat of rational self-identity. With this necessity, the transcendental experience recedes. But perhaps there is a way to incorporate the transcendental awareness into these kinds of activities. The flame of Brighid need not be extinguished, but may burn steadily throughout each day – it is just a matter of holding an awareness of the flame, lightly in the background. In this way an element of numinous awareness may be present in the most mundane of activities.

Blessed Be


Lady Arianerhod

One of the deities that I work with is the Lady Arianerhod. She appears in the Welsh tales of the Mabinogion, where she plays the part of an independent noble woman, who lays a Geas on her son, that he won’t have a name until she herself gives it to him, nor will he have arms till she herself gives them to him, nor will he have a mortal wife. A geas is a bit like a curse, but is not necessarily a bad thing. More like a fateful obligation or necessary observance to keep the favour of the Gods. In some ways, a geas is also like a prophecy, as the geas usually indicates that some disaster will befall when the geas is broken. A Geas is typically pronounced at birth, or some other important occasion by a druid or sorceress.

Arianerhod’s son is being brought up by his uncle. In my reading of the story it represents at one level the historical struggle between the patriarchal new order and the matriarchal old order, with the crafty Gwydion, the main character in the story, outwitting his Sister Arianerhod, representing the old matriarchal order. In this reading, Arianerhod appears (from Gwydion’s point of view) as ungracious and ill-wishing, thinking first and foremost of her own social standing instead of the child’s welfare. However digging a little deeper, we may see on a personal level that Gwydion wants to hurry the natural order and processes of growth, and in his haste and pride deprives the Goddess of her rightful influence in the development of the child, and later young man. The consequence is tragic. Thus the story may be read as a warning against human pride and hubris that seeks to outwit fate, or the Gods.

In any case, we can use this story as a signpost to the qualities and attributes of the Goddess, even though in the story, those attributes are given a negative expression by Gwydion. For example, when first Gwydion and the boy encounter the Lady Arianerhod, she doesn’t recognise the boy as her own. When Gwydion insists that she is his mother, she declares that he will never get a name until she herself gives it to him.

While Gwydion interprets this as a denial, it is no more than Arianerhod’s insistence on her right to name the boy – in her own time, a right that both Gwydion and Arianerhod accept without question. So rather than naming the boy himself, Gwydion asserts his power and independence by resorting to trickery to extract a name out of the Goddess. He and the boy visit her keep in the guise of shoe makers. By a series of ruses, Gwydion causes Arianerhod to board their boat. There she sees the boy shoot a wren, so that the arrow pierces between the sinew and the bone of the leg. The shooting of the wren is a symbol of divine kingship, associated with yearly battle between the dark and bright lords, an association further underlined by the wound being to the leg, a symbol also associated with Kingship. Indeed, the resonance here is with the wounded king, and this is a clue that the boy is destined to become the wounded king, around which develops the wasteland. Arianerhod remarks that the boy is possessed of a skilful hand, and this becomes his name, Llew Law Gyffes. When Gwydion reveals the deception, Arianerhod is annoyed, and angrily pronounces a Geas that the boy shall have no arms, until she herself grants them to him.

The story, as recorded from Gwydion’s point of view, appears to be the story of a proud and curmudgeonly women who refuses to acknowledge her offspring, and Gwydion’s attempts to outwit her. However we may equally read it as the story of a proud and treacherous man who refuses to acknowledge the prerogative of the Goddess, and tries to rush the natural order of things through his trickery and devices, thinking he knows better than the Goddess. The angry Goddess, on a superficial reading appears to curse the newly named boy, however, on a deeper reading she is but asserting her prerogative once again. In spite of having been tricked out of her rightful name-giving, she now asserts her right of arms-giving, or presiding over the boys coming of age.

Once again, we are invited to interpret this, with Gwydion, as a curse by the Lady, with the expected outcome that no arms will be granted. But if this was the intended effect, why not deliver the curse directly? A similar episode follows, where Gwydion and Llew Law Gyffes go disguised to Arianerhod’s castle, and Gwydion conjures a fleet of invaders to appear in the harbour. Gwydion and Llew Law Gyffes promise to help defend the castle, and to do so, Arianerhod provides them both with arms. At this point the enchantment is lifted, and Gwydion declares that the boy has been armed, in spite of Arianerhod’s ill disposition towards him.

Arianerhod is furious. In the story, we are invited to suppose it is because she wished the boy to remain un-armed. However another possible reading is that she is furious because the arms were given inappropriately, without due ceremony, and therefore the occasion has been robbed of its numinous potential for conferring both power and wisdom, and deepening the connection with the spiritual source. The power of wielding arms, the personal power associated with personal combat, was once, at least in the old tales, taught by sorceress/priestesses, and the arms giving was an initiation into personal power. By tricking Arianerhod into giving arms, Gwydion actually robbed Llew Law Gyffes of this experience, which is not valued by the emerging patriarchal order. The story is one in which the role of the numinous, and the Goddess, is devalued, and replaced by man’s hubris, pride, and confidence in his own power and abilities.

In her anger, Arianerhod, pronounces that the boy shall now never have a women from the races who now inhabit the world, for a wife. In the story, we are invited to read this as an angry curse by a vindictive women. However a deeper reading is possible. Rather than a curse, it is a lament. It acknowledges that in bypassing his initiation at the hands of the matriarchy, hence foregoing his connection with the numinous, but claiming his adult role regardless, he is not a fit husband for any women. Women will see and know his shallowness, his hollowness, and turn him down. He is a man of violence and force, untamed and un-mastered by feminine guidance, and so can’t be trusted.

In spite of this final Geas, Gwydion and his Uncle contrive to create a wife, Bloduwedd, for Llew Law Gyffes by the enchantment of spring flowers – oak blossoms, broom, and meadowsweet. This however turns to tragedy, as we will see. Reading more deeply, we see a symmetry in this part of the story. As Bloduwedd is a contrived women, so also is Llew Law Gyffes a contrived man – both taking their form, in different ways, from the contrivances of Gwydion. Just as the wren was a mirror showing Llew Law Gyffe’s destiny, Bloduwedd is also a mirror for Llew Law Gyffes. As both are contrived, the match between these two beings is doomed to failure. Neither has the skill or maturity to allow love to flower. While Llew Law is away at the masculine court, occupying his mind with manly affairs unbalanced by the numinous, his beautiful wife is left at home, untended, and uncared for. She has an affair with a noble who ventures passed on a stag hunt. Once again, we have a resonance with Llew Law Gyffes, as the Stag represents the sacred King, and to kill him is to take his place. Thus the killing of the stag resonates with the illicit love that follows, and the plot to kill Llew Law Gyffes himself. Through trickery, Bloduwedd discovers how Llew may be killed, and passes the information on to her lover, who carries it out. Llew, grievously wounded, flies off as an eagle, and is discovered by Gwydion, roosting in a tree, where rotting flesh drops away from him, and is being eaten by a sow.

The sow is symbolic of the Goddess, and we may read this as the initiation of the Goddess – the dead flesh dripping away being the pride, arrogance and hubris which is devoured by the Sow, the Goddess, in this devouring form. Thus the initiation into the numinous that was ignored in Llew’s boy hood and youth, cannot be over-looked forever. It is a necessary transformation. In the end, the bitter circumstances of life will contrive to bring him to a numinous understanding of himself, or he will find death and/or despair.

Bloduwedd is banished to become an owl, a creature of the night, to be picked upon by the other birds.

So we can read this story in the Mabinogion as a tale that warns against the pride and hubris that causes men to usurp the rights and perogatives of the Goddess, and the old ways. It shows the consequence of such hubris – failed relationships, war, and bloodshed. And it is a pointer to the role of the Lady Arianerhod – as name giver, arms giver, and initiator. Three initiations are mentioned specifically – the giving of a name, the giving of arms, and the taking of a wife. A fourth initiation, that of bitter circumstances is a result of arrogantly refusing the first three. The Goddess cannot be refused. She is the mentor, the judge, she who bears the gift of contact with the numinous feminine. These pointers show how we may work with the Lady Arianerhod today. She may help with the seeking of the true name. She will mentor someone in the bearing of arms for a just cause. She will provide guidance in the conduct of love relationships, which respect the individuality and personal integrity of each party. She is concerned with coming of age ceremonies and life transitions, and may be invoked for her help in these matters. She may preside over such ceremonies, and provide the means for numinous contact with the true self.

While the story in the Mabinogion revolves the central character of Llew Law Gyffes, it provides a skeleton for contemplating on the spiritual journey, and the ever present danger of thinking that we know better than the Goddess. To put it in more psycho-spriritual terms, The rationo-centric sense of self, believing itself superior to the numinous collective consciousness, repudiates the role of the greater organism in the nurturing of the child of promise. Instead, it seeks to assert its own cleverness, its own agenda, forgetting that it is a servant of the whole. However this results in a person who is cut off from the numinous, the greater organism, and the best part of themselves. Their relationships and whatever they manifest must suffer. The wasteland grows around them. They trust the wrong people. They may suffer and be betrayed, or betray others. If they are to rise to their destiny, then life must intervene to bring them back in touch with the numinous – often this is through bitter circumstances which may as likely bring someone to personal and psychological ruin.

In the end, the rationcentric and the greater sense of the numinous must work together in a balance and harmony. Just as reason alone is barren, intuition can’t work in a vacuum. Both are needed in order to be whole. The balance of the individual and the greater consciousness. This is my reading of the tale, and I trust that it will make your reading deeper and more rewarding – though I don’t expect that all will agree with me! Whether it’s the intention of the original authors, I cannot say – however what we make of the story today is as important for us as what was originally meant. In the end, there is a sacred marriage here as well. The authors of antiquity have created a matrix, into which we project our our meaning, guided, however, by the symbols and narrative that have come down to us, and our own touch of the numinous.

The story of Math, son of Mathonwy, which contains the tale of Gwdion, Arianerhod, and Llew Law Gyffes, is one of the four branches of the Mabinogi. Links to online texts are available from the wikipedia entry.