(Image description: A grayed out photo of a young person in a jacket holding a torch and looking at the viewer. The blue-white flame blows to the left and curls upward.) Credit: Photo by M.T ElGassier on Unsplash
I had been looking at this poetry form for a bit and wanted to experiment with it. The first is inspired by a meditation I did a few years ago, when I saw Brighid as being completely made of fire. The second one is inspired by the season, and the last one reflects how I imagine Brighid might be feeling in the face of current events. They each follow the tetractys form of five lines and twenty syllables total, with a syllable sequence of 1, 2, 3, 4, and 10. The form was created by Ray Stebbing to create a structure similar to the haiku.
(Image description: A black and white drawing of an altar with an inscription made to Bregans and the divinity of the Emperor.) Credit: R.C.G, 1936.
With February being a month I associate with Brighid, I wanted to delve into a deity that shares etymology with Brigantia. Other than an inscription, Bregans has no iconography or remaining mythology. Since He is linked with the divinity of an Emperor, He likely had high significance in the local religion.
Since that’s not much to go on, I’ve attempted to delve more into who Bregans is and what realms He has influence over. As such, this entry will fit under the category of UPG and is highly speculative.
Recently, I re-watched a presentation given by Morgana about Etruscan Polytheism through Toutâ Galation’s channel. In the discussion, the topic of gender fluidity was brought up with various deities, but not Menrva. She served as one of the influences for the Roman goddess Minerva, who was syncretized with Brigantia.
In contrast to the other Etruscan deities, She’s nearly always depicted wearing robes. This could easily relate to Minerva’s unmarried, virginal state, but I think it could also lean toward gender ambiguity. Loose clothing can disguise physical features that would normally have the viewer decide if the figure is masculine or feminine.
With Her connections to martial strategy, wisdom, the arts, and weather, that can function as a starting point for Bregans’ domains. Also, even with strict Roman classifications of gods and goddesses, I think there can still be an undercurrent of that same gender fluidity.
The main tool I had at hand to search for Bregans’ identity is through divination, specifically ogam. I did a three fid reading and pulled Coll, Nion, and Beith. As with any reading, interpretations can vary from reader to reader.
Coll has connections with wisdom, liminality, the World Tree, divination, the senses, and second sight, and these can connect with Brigantia’s Minerva epithet through the clarity of thought and wisdom. Also, Brigantia can be seen as a figure of defense and not outright aggression. The liminality can tie to diplomacy as well. Additionally, I see the topic of liminality connected to the masculine name of Bregans and His feminine counterpart; this characteristic of both deities’ roles transcends gender.
With His capacity to cross borders, that leads into Nion, which has links to weaving, writing, contracts, and connections between women and friends. Being able to network and form bonds between peoples and communities is a major aspect of preventing conflict.
Weaving is also one of Minerva’s patronages and a traditional craft done by women. It’s not typically something you would associate with a god, so that also jumps the line between masculine and feminine. Given weaving can also be tied to fate, this is a realm frequently given to goddesses and may tie back to Bregans’ liminal nature.
Lastly, Beith represents purification, protection, creativity, writing, eloquence, and deities. I see this letter as strongly associated with Brighid and Her siblings.
Based on the Birrens’ relief, Brigantia stands in a doorway, holding a spear and a globe of victory. She is a protective deity, frequently of the home and safe spaces. With Beith’s purification meaning, cleansing is a baseline for promoting physical and spiritual health. I get the sense that Bregans would have similar interests, despite not having any matching iconography.
Within these places, the arts can flourish and can be a thing meant to bring joy, comfort, and deep meaning to creators and their audiences. However, such works and sanctuaries have to be protected, which can most optimally done through strong communities and networks.
This post is only an initial exploration into this deity, who could be seen as nearly forgotten. From what I can see, He shares Brighid and Brigantia’s liminial natures and many of their interests. I imagine there can be more inquiring into Bregans’ nature, so I think this is a good start.
Also, who knows? Archaeology may always find more inscriptions or actual depictions of Bregans, which will fill in the picture even more.
As there probably aren’t any ancient prayers to Him (or even modern ones), I wrote this one to honor Him.
(Image description: A photo of my altar. From left to right, a black lantern sits in the corner. Next to it, there are three images of Brighid as a healer, a poet, and a smith. A couple drawstring pouches are off the the side with the bell branch near them. A Brighid doll rests in a bed with a copper sun disc, a couple Brighid’s crosses, and other devotional items near Her. A couple candles are seen to the right. A spiral finger labyrinth, incense burner, and a wand lighter rest on the altar cloth. A pair of pinecone clusters are at each end of the display.) Credit: My own work.
Brighid’s Day has come, and spring is slowly approaching. However, I don’t think winter is over yet. From what I remember reading, a day of snow or rain meant that spring was on its way, while a sunny day indicated that winter would linger around for a while. On February 1st, the day was chilly and cloudy without any precipitation. I suppose that would be considered something of a toss-up for upcoming weather.
After lighting my lantern, it was time to hang the Brighid mantles out for the evening. Most of the ones I have were given to me through Clann Bhride’s Imbolc Exchange. I also left out a length of ribbon that normally stays in my travel altar.
Later that night, I offered Brighid a glass of milk, some vanilla incense, and a poem. The tone of the poem felt slightly similar to the line from the Nighttime Prayer in the Clann Bhride Book of Hours, “Oh Brighid of the Starlight, be ever near to me, so close that I cannot see where You and I begin”, due to theme of spiritual closeness. Also, the thought of plaiting Brighid’s hair was inspired by the epithet “Brigit of the Twining Hair” in the Descent of Brigit from the Carmina Gadelica.
May I Plait Your Hair, O Lady?
As You rest on Your journey,
let me braid Your hair for You.
Linger here for a time, O Lady,
to bless me a threefold with Your presence.
I wish to know and feel You as much as I can,
as I am able.
May the plaiting bring You joy
as You bring me joy.
Strand over strand,
piece over piece,
the braid like the trunk
of the Tree of Life.
I know You must go,
to bring spring in Your wake,
so that life may flourish.
May Your visit with me
be one that spirits You on
along the path.
Lastly, I did the three fid reading and received Ceirt, Dair, and Ngétal. I was surprised to see the first letter show up in the reading, mainly because of some of its negative meanings. However, a second look at it brings to mind a need to rest but also not to be timid with myself in my path. There’s a need forgentleness in my overall well-being.
Dair, with its word kennings, feels like elevation is a key focus as the middle letter. It is a strengthening link between the first and last letter in the reading.
The overarching theme of Ngétal is healing. Given that Brighid and Nodens have connections to healing, They may both be calling me to focus on healing in a variety of ways that affect the body, mind, and spirit.
I have some understanding of what I need to contemplate over the next three months, and I imagine that more will reveal itself with time.
(Image description: A photo of a gold Brighid’s floating in a small pool. A white flower rests on a reddish-brown stone surface. There are a pair of light-skinned feet next to the pool, with a knotwork-lined robe hanging over the feet. A rainbow-colored reflection bounces off the pool.) Credit: Photo by Haley Owens on Unsplash
The festival is nearly here! In a weird sort of way, there’s a certain excitement when Brighid’s Day happens. It’s a bit like the thrill you might’ve felt when you were waiting Christmas as a child, and you were waiting for Santa to visit. However, the only gifts She leaves are the blessings on the mantles and crosses that are made and Her overall presence with the waking of spring.
Lately, spring definitely feels like it’s own its way here. There was a spell of frigid and then rainy weather, and now it feels like spring will occur at any time. However, this might be an illusion, as there’s usually another round of cold weather that nips the plants back into a dormant state until later on.
As of writing this post, my most recent flamekeeping shift is happening a couple days before the holiday. It gives a sacred time to devote to getting ready for the occasion. However, it’s also a busy week for me, so fitting in activities will be slightly difficult. Thankfully, this is the beginning of a season, rather than a specific day.
During this time, I’m ironing out the details of what I’m doing, and even then, there may be activities that are more sporadic and will be done when there’s adequate time.
I do know my celebrations will combine Brythonic and Gaelic elements. I plan to loosely use a Brythonic ritual because of its overall casual and simple flow. I will lay the various Brighid’s mantles outside for Her blessing, make a new Brighid’s cross, write some poetry, and give other offerings to Her.
Additionally, I will do my usual three fid reading to see what to meditate on for the next few months until Bealtaine/Lá Bealltainn. I don’t feel like I completed what was set out for me during the last reading in its entirety, so it’s possible the themes of the previous three months will continue over to the next ones.
I’m not sure how much time I’ll have to do this, but I would also like to attempt to do the Nine Days for Brighid that starts on February 1st. I feel like it might be time to potentially broaden my practice, so that could be a good time to start that addition.
Brighid’s blessings to you and yours for Imbolc/La Féill Bríd!
Phyllida Anam-Áire’s book offers spiritual knowledge on the matters of dying, but some of it may not be relevant to all readers.
(Image description: A screenshot of the e-book. An intricate circle of spirals is shown on a brown, carved surface with rays of light shining through. The title text reads, A Celtic Book of Dying: The Path of Love in the Time of Transition, along with the author’s name Phyllida Anam-Áire.) Credit: My own work.
Published by Findhorn Press in 2022, Phyllida Anam-Áire’s book offers beneficial advice and rituals regarding the process of dying for caretakers, the terminally ill, loved ones, and those who seek to confront the spiritual matters of death before it is their time; however, there are some caveats that may make readers hold off from buying it.
Anam-Áire discusses the different passageways of birth, death, and rebirth, referred to as Áite, which is shown as an equivalent to the Tibetan bardo. They mark different transition periods in the transmigration of the soul. The core goal is to eventually shed hatred, loss, sorrow, abuse, and other conflicting issues that keep a soul from finding a resting place of peaceful, universal love. Personal anecdotes from her family life and her experiences in caring for the dying are provided and supply reflective questions to delve into how we want to live our lives to their fullest, as well as rituals to aid the dying, ancestors, and the living. She stresses that processing these issues before death in vital so that souls don’t have to linger restlessly in these stages.
These are a few points that detracted from the book, and it is up to the reader whether these faults reduce from the overall intent of helping the dying and their loved ones through an incredibly difficult time. Namely, a mixture of watered down concepts from Irish, Welsh, and Gaulish mythologies and insertion of New Age concepts without significant acknowledgment to these cultural ties dampens any Celtic connections (outside of Brighid in prayers and rituals) she’s attempting to make.
The word seábhean is listed in a glossary at the beginning of the book, given the definitions of “female shaman, saying yes to life, or old wise woman”; however, this word doesn’t exist as an actual term for a wise or elderly woman. As a reference point, there was another book titled The Way of the Seabhean by Amantha Murphy released in 2021, and it was met with criticism because of its use of the pseudo-Irish word seabhean and New Age ideas being presented as part of an ancient Irish tradition. The author states she was instructed not to consult any books on Celtic death rites and to only adhere to the teachings she learned at the Newbold House Community in Scotland.
Besides the inaccurate word, supposed claims of what ancient Celts did to help in the birthing process are treated as fact. Also, LGBTQIA+ people in said rituals are removed from the possibility of conceiving children and are awkwardly shoehorned into the important roles of astrologer, poet, storyteller, and so on in an attempt at inclusivity. The terms used today didn’t exist thousands or even hundreds of years ago, but such romantically, sexually, and gender diverse people did exist even then.
Even with these problems, I did find parts of her book worthwhile. Firstly, I enjoyed her anecdotes with her family and in her interactions with the dying. She clearly cares about those she comes in contact with, always making sure they are comfortable and does whatever she can to aid in a gentle passage through seeking the permission of the patient if at all possible; however, she does indicate there should be healthy boundaries between the watcher and the dying patient.
Secondly, the creative exercises are helpful for those who may not be near death, and they give the reader pause to contemplate the answers to these questions and meditations before their eventual passing. Some queries do ask the reader to possibly forgive those who have wronged them in some way. The questions encourage people to seek out what brings them the greatest joy and fulfillment, rather than goals determined by other people. Another appropriate meditation is the use of a visualized tree to connect with one’s ancestors.
Overall, my feelings toward the book are mixed. On one hand, Anam-Áire demonstrates her ability to show care and consideration for the dying, and offers soulful meditations to prepare them and ourselves for what comes after we die. On the other, there’s not any specific references to keening (given that Brighid created this practice while mourning Her son, Ruadan) or other activities found within Irish wakes. I’m not sure why she didn’t delve deeper into this rich practice and only stuck with meditations described in the book. As such, I give A Celtic Book of Dying 3 stars out of 5.
(Image description: A photo of footprints in snow. The sun shines through trees and casts their shadows on the snow.) Credit: Photo by Isaac Mehegan on Unsplash
(Image description: A photo of a white, lit candle on a wooden table. Some small, dried white flowers are near it. In the background, the sun rises over the horizon, as seen through a window.) Credit: Photo by Sixteen Miles Out on Unsplash
Surprisingly, Imbolc/La Féill Bríd is three and a half weeks away. It feels like it was just the winter solstice, but time flies more and more. Winter is here in full stride, while the days are incrementally lengthening.
As a note, I’m in a transition period and will be using a couple terms for festivals for the time being. It’s a slow weaning off of a strictly Irish perspective and toward a more cross-cultural one. Eventually, I will probably use mainly Scottish terms. We’ll see how this develops. It’s something specific to my practice, and it works for me.
During the last Imbolc/La Féill Bríd, the mood was very different. My father was in the last few months of his life, so there was a heaviness to the previous season. A joyous celebration of Brighid’s return was considerably lessened. It’s difficult to embrace spring when Brighid the Keener is your Companion.
However, things have been slowly improving. Grief is still felt, but dawn still manages to shine through in bringing joy into my life.
With that shift, my religious focus has been broadened beyond a Gaelic influence. As I have researched, I find more Brythonic influences seeping in my practice, due to Scotland having other cultural connections. I’m embracing Brigantia and Nodens into it. It’s an interesting balance of incorporating similar, yet distinct influences and seeing what works for me.
Now, that influence is sure to affect how I decorate my altar for the coming festival. I can’t say with any certainty how my more ancient ancestors would have celebrated the changes between winter and spring, especially with shifts in time and continental climates.
There are modern sources for how this holiday can be observed, since older ones didn’t survive from Brythonic-speaking cultures in Scotland. Some searching around Sepânioi Rotî’s website shows some commonalities that can seamlessly be practiced in my personal festivities, such as candles, meditating, crafting, poetry, and other hearth-based activities.
With the festival’s approach, I feel the need to finish up the contemplative tasks asked of me during Samhain/Samhuinn. Some of that involves Self-work, and I also need to finish reading A Celtic Book of Dying, both as a resource for myself and Clann Bhríde. You can expect a book review for that later this month.
The finer details of food and ritual will be hammered out (pun intended) over the next few weeks. They’ll still be simple, as that’s a continuous cornerstone within my religious routine. I will discuss those in the future entries on the blog.
(Image description: A photo of a large labyrinth carved into the earth and grass. Green trees surround the space.) Credit: Photo by Erik Mclean on Unsplash
A while ago, I had a dream that I was an archaeologist working in a dig at an ancient temple belonging to Nodens. Now, as far as I know, the mosaic labyrinth I saw has no historical counterpart, so it falls under the category of UPG (unverified personal gnosis). He didn’t directly appear in the dream, but it felt like the sacred site belonged to Him.
However, finding a way to incorporate labyrinths into my practice is beneficial. I recently received a pack of finger labyrinth cards during the Solstice, and I figured this would be a good way to honor Nodens, as well a method to help me relax before bed. It’s not an ancient practice, but it functions as a modern one that connects to through the healing power of sleep.
(Image description: A photo of a dandelion seed head is lit from behind by the setting sun, with a hand holding it by its stem.) Credit: Photo by Marina Prodanović on Unsplash
(Image description: A photo of sunlight shining through tall trees. A light dusting of snow covers the forest floor.) Credit: Photo by Greg Rosenke on Unsplash
Yuletide Stillness Prayer
May the threefold stillness of the winter solstice
follow me in the lengthening days.
In the stillness, may I know the wisdom of my ancestors,
