Myths and Legends of the Celtic Race
Page: 19Yet, if this ruling race had some of the vices of untamed strength, they had also many noble and humane qualities. They were dauntlessly brave, fantastically chivalrous, keenly sensitive to the appeal of poetry, of music, and of speculative thought. Posidonius found the bardic institution flourishing among them about [pg 58] 100 B.C.,and about two hundred years earlier Hecatæus of Abdera describes the elaborate musical services held by the Celts in a Western island—probably Great Britain—in honour of their god Apollo (Lugh).
Arthur G. Bell
There were three peoples, said Cæsar, inhabiting Gaul when his conquest began; “they differ from each other in language, in customs, and in laws.” These people he named respectively the Belgæ, the Celtæ, and the Aquitani. He locates them roughly, the Belgæ in the north and east, the Celtæ in the middle, and the Aquitani in the west and south. The Belgæ are the Galatæ of Bertrand, the Celtæ are the Celts, and the Aquitani are the Megalithic People. They had, of course, all been more or less brought under Celtic influences, and the differences of language which Cæsar noticed need not have been great; still it is noteworthy, and quite in accordance with Bertrand's views, that Strabo speaks of the Aquitani as differing markedly from the rest of the inhabitants, and as [pg 59] resembling the Iberians. The language of the other Gaulish peoples, he expressly adds, were merely dialects of the same tongue.
The Religion of Magic
This triple division is reflected more or less in all the Celtic countries, and must always be borne in mind when we speak of Celtic ideas and Celtic religion, and try to estimate the contribution of the Celtic peoples to European culture. The mythical literature and the art of the Celt have probably sprung mainly from the section represented by the Lowland Celts of Bertrand. But this literature of song and saga was produced by a bardic class for the pleasure and instruction of a proud, chivalrous, and warlike aristocracy, and would thus inevitably be moulded by the ideas of this aristocracy. But it would also have been coloured by the profound influence of the religious beliefs and observances entertained by the Megalithic People—beliefs which are only now fading slowly away in the spreading daylight of science. These beliefs may be summed up in the one term Magic. The nature of this religion of magic must now be briefly discussed, for it was a potent element in the formation of the body of myths and legends with which we have afterwards to deal. And, as Professor Bury remarked in his Inaugural Lecture at Cambridge, in 1903:
The ultimate root of the word Magic is unknown, but proximately it is derived from the Magi, or priests of Chaldea and Media in pre-Aryan and pre-Semitic times, who were the great exponents of this system of thought, so strangely mingled of superstition, philosophy, and scientific observation. The fundamental conception of magic is that of the spiritual vitality of all nature. This spiritual vitality was not, as in polytheism, conceived as separated from nature in distinct divine personalities. It was implicit and immanent in nature; obscure, undefined, invested with all the awfulness of a power whose limits and nature are enveloped in impenetrable mystery. In its remote origin it was doubtless, as many facts appear to show, associated with the cult of the dead, for death was looked upon as the resumption into nature, and as the investment with vague and uncontrollable powers, of a spiritual force formerly embodied in the concrete, limited, manageable, and therefore less awful form of a living human personality. Yet these powers were not altogether uncontrollable. The desire for control, as well as the suggestion of the means for achieving it, probably arose from the first rude practices of the art of healing. Medicine of some sort was one of the earliest necessities of man. And the power of certain natural substances, mineral or vegetable, to produce bodily and mental effects often of a most startling character would naturally be taken as signal evidence of what we may call the “magical” conception of the universe.35 The first magicians were those who attained a special knowledge of healing or poisonous herbs; but “virtue” of some sort being attributed to every natural object and phenomenon, [pg 61] a kind of magical science, partly the child of true research, partly of poetic imagination, partly of priestcraft, would in time spring up, would be codified into rites and formulas, attached to special places and objects, and represented by symbols. The whole subject has been treated by Pliny in a remarkable passage which deserves quotation at length:
Pliny on the Religion of Magic
“In the East, doubtless, it was invented—in Persia
and by Zoroaster. (Sergi)
Another singular and as yet unexplained feature which appears in many of these monuments, from Western Europe to India, is the presence of a small hole bored through one of the stones composing the chamber. Was it an aperture intended for the spirit of the dead? or for offerings to them? or the channel through which revelations from the spirit-world were supposed to come to a priest or magician? or did it partake of all these characters? Holed stones, not forming part of a dolmen, are, of course, among the commonest relics of the ancient cult, and are still venerated and used in practices connected [pg 66] with child-bearing, &c. Here we are doubtless to interpret the emblem as a symbol of sex.
Besides the heavenly bodies, we find that rivers, trees,
mountains, and stones were all objects of veneration
among this primitive people. Stone-worship was particularly
common, and is not so easily explained as the
worship directed toward objects possessing movement
and vitality. Possibly an explanation of the veneration
attaching to great and isolated masses of unhewn stone
may be found in their resemblance to the artificial
dolmens and cromlechs.40 No superstition has proved
more enduring. In A.D. 452 we find the Synod of
Arles denouncing those who “venerate trees and wells
and stones,” and the denunciation was repeated by
Charlemagne, and by numerous Synods and Councils
down to recent times. Yet a drawing, here reproduced,
which was lately made on the spot by Mr. Arthur Bell
(After Sir J. Simpson)
Another singular emblem, upon the meaning of which no light has yet been thrown, occurs frequently in connexion with megalithic monuments. The accompanying illustrations show examples of it. Cup-shaped hollows are made in the surface of the stone, these are often surrounded with concentric rings, and from the cup one or more radial lines are drawn to a point outside the circumference of the rings. Occasionally a system of cups are joined by these lines, but more frequently they end a little way outside the widest of the rings. These strange markings are found in Great Britain and Ireland, in Brittany, and at various places in [pg 68] India, where they are called mahadéos.42 I have also found a curious example—for such it appears to be—in Dupaix' “Monuments of New Spain.” It is reproduced in Lord Kingsborough's “Antiquities of Mexico,” vol. iv. On the circular top of a cylindrical stone, known as the “Triumphal Stone,” is carved a central cup, with nine concentric circles round it, and a duct or channel cut straight from the cup through all the circles to the rim. Except that the design here is richly decorated and accurately drawn, it closely resembles a typical European cup-and-ring marking. That these markings mean something, and that, wherever they are found, they mean the same thing, can hardly be doubted, but what that meaning is remains yet a puzzle to antiquarians. The guess may perhaps be hazarded that they are diagrams or plans of a megalithic sepulchre. The central hollow represents the actual burial-place. The circles are the standing stones, fosses, and ramparts which often surrounded it; and the line or duct drawn from the centre outwards represents the subterranean approach to the sepulchre. The apparent “avenue” intention of the duct is clearly brought out in the varieties given below, which I take from Simpson. As the sepulchre was also a holy place or shrine, the occurrence of a representation of it among other carvings of a sacred character is natural enough; it would seem symbolically to indicate that the place was holy ground. How far this suggestion might apply to the Mexican example I am unable to say.
The Tumulus at New Grange
One of the most important and richly sculptured of European megalithic monuments is the great chambered tumulus of New Grange, on the northern bank of the Boyne, in Ireland. This tumulus, and the others which occur in its neighbourhood, appear in ancient Irish mythical literature in two different characters, the union of which is significant. They are regarded on the one hand as the dwelling-places of the Sidhe (pronounced Shee), or Fairy Folk, who represent, probably, the deities of the ancient Irish, and they are also, traditionally, the burial-places of the Celtic High Kings of pagan Ireland. The story of the burial of King Cormac, who was supposed to have heard of the Christian faith long before it was actually preached in Ireland by St. Patrick and who ordered that he should not be buried at the royal cemetery by the Boyne, on account of its pagan associations, points to the view that this place was the centre of a pagan cult involving more than merely the interment of royal personages in its precincts. Unfortunately these monuments are not intact; they were opened and plundered by the Danes in the ninth century,
Photograph by R. Welch, Belfast
The Ship Symbol at New Grange
Another remarkable and, as far as Ireland goes, unusual figure is found sculptured in the west recess at New Grange. It has been interpreted by various critics as a mason's mark, a piece of Phoenician writing, a group of numerals, and finally (and no doubt correctly) by Mr. George Coffey as a rude representation of a ship with men on board and uplifted sail. It is noticeable that just above it is a small circle, forming, apparently, part of the design. Another example occurs at Dowth.[pg 72]
The significance of this marking, as we shall see, is
possibly very great. It has been discovered that on certain
stones in the tumulus of Locmariaker,
in Brittany,47 there occur a
number of very similar figures, one
of them showing the circle in much
the same relative position as at
New Grange. The axe, an Egyptian
hieroglyph for godhead and
a well-known magical emblem, is
also represented on this stone.
Again, in a brochure by Dr. Oscar
Montelius on the rock-sculptures of
Sweden (After Ferguson)
The Ship Symbol in Egypt
Now this symbol of the ship, with or without the actual portrayal of the solar emblem, is of very ancient and [pg 74] very common occurrence in the sepulchral art of Egypt. It is connected with the worship of Rā, which came in fully 4000 years B.C. Its meaning as an Egyptian symbol is well known. The ship was called the Boat of the Sun. It was the vessel in which the Sun-god performed his journeys; in particular, the journey which he made nightly to the shores of the Other-world, bearing with him in his bark the souls of the beatified dead. The Sun-god, Rā, is sometimes represented by a disk, sometimes by other emblems, hovering above the vessel or contained within it. Any one who will look over the painted or sculptured sarcophagi in the British Museum will find a host of examples. Sometimes he will find representations of the life-giving rays of Rā pouring down upon the boat and its occupants. Now, in one of the Swedish rock-carvings of ships at Backa, Bohuslän, given by Montelius, a ship crowded with figures is shown beneath a disk with three descending rays, and again another ship with a two-rayed sun above it. It may be added that in the tumulus of Dowth, which is close to that of New Grange and is entirely of the same character and period, rayed figures and quartered circles, obviously solar emblems, occur abundantly, as also at Loughcrew and other places in Ireland, and one other ship figure has been identified at Dowth
In Egypt the solar boat is sometimes represented as containing the solar emblem alone, sometimes it contains the figure of a god with attendant deities, sometimes it contains a crowd of passengers representing human souls, and sometimes the figure of a single corpse on a bier. The megalithic carvings also sometimes show the solar emblem and sometimes not; the boats are sometimes filled with figures and are sometimes empty. When a symbol has once been accepted and understood, any conventional or summary representation of it is sufficient. I take it that the complete form of the megalithic symbol is that of a boat with figures in it and with the solar emblem overhead. These figures, assuming the foregoing interpretation of the design to be correct, must clearly be taken for representations of the dead on their way to the Other-world. They cannot be deities, for representations of the divine powers under human aspect were quite unknown to the Megalithic People, even after the coming of the Celts—they first occur in Gaul under Roman influence. But if these figures represent the dead, then we have clearly before us the origin of the so-called “Celtic” doctrine of immortality. The carvings in question are pre-Celtic. They are found where no Celts ever penetrated. Yet they point to the existence of just that Other-world doctrine which, from the time of Cæsar [pg 76] downwards, has been associated with Celtic Druidism, and this doctrine was distinctively Egyptian.
In connexion with this subject I may draw attention to the theory of Mr. W.C. Borlase that the typical design of an Irish dolmen was intended to represent a ship. In Minorca there are analogous structures, there popularly called navetas (ships), so distinct is the resemblance. But, he adds, “long before the caves and navetas of Minorca were known to me I had formed the opinion that what I have so frequently spoken of as the ‘wedge-shape’ observable so universally in the ground-plans of dolmens was due to an original conception of a ship. From sepulchral tumuli in Scandinavia we know actual vessels have on several occasions been disinterred. In cemeteries of the Iron Age, in the same country, as well as on the more southern Baltic coasts, the ship was a recognised form of sepulchral enclosure.”49 If Mr. Borlase's view is correct, we have here a very strong corroboration of the symbolic intention which I attribute to the solar ship-carvings of the Megalithic People.
The Ship Symbol in Babylonia
The ship symbol, it may be remarked, can be traced to about 4000 B.C. in Babylonia, where every deity had his own special ship (that of the god Sin was called the Ship of Light), his image being carried in procession on a litter formed like a ship. This is thought by Jastrow