In Gallo-Roman religion, Epona was a protector of horses, ponies, donkeys, and mules. She was particularly a goddess of fertility, as shown by her attributes of a patera, cornucopia, ears of grain, and the presence of foals in some sculptures. [1] She and her horses might also have been leaders of the soul in the after-life ride, with later literary parallels in Rhiannon of the Mabinogion. [2] The worship of Epona, "the sole Celtic divinity ultimately worshipped in Rome itself", [3] as the patroness of cavalry, [4] was widespread in the Roman Empire between the first and third centuries AD; this is unusual for a Celtic deity, most of whom were associated with specific localities.
Although known only from Roman contexts, the name Epona ('Great Mare') is from the Gaulish language; it is derived from the inferred Proto-Celtic *ekʷos 'horse', [5] which gives rise to modern Welsh ebol 'foal', together with the augmentative suffix -on frequently, although not exclusively, found in theonyms (for example Sirona, Matrona) and the usual Gaulish feminine singular -a. [6] In an episode preserved in a remark of Pausanias, [7] an archaic Demeter Erinys (Vengeful Demeter) too had also been a Great Mare, who was mounted by Poseidon in the form of a stallion and foaled Arion and the Daughter who was unnamed outside the Arcadian mysteries. [8] Demeter was venerated as a mare in Lycosoura in Arcadia into historical times.
Fernand Benoît found the earliest attestations of a religion of Epona in the Danubian provinces and asserted that she had been introduced in the limes of Gaul by horsemen from the east. [9] That suggestion has not been generally taken up.
Although the name is Gaulish, dedicatory inscriptions to Epona are in Latin or, rarely, Greek. They were made not only by Celts, but also by Germans, Romans, and other inhabitants of the Roman Empire. An inscription to Epona from Mainz, Germany, identifies the dedicator as Syrian. [10]
A long Latin inscription of the first century BC, engraved in a lead sheet and accompanying the sacrifice of a filly and the votive gift of a cauldron, was found in 1887 at Rom, Deux-Sèvres, the Roman Rauranum. Olmsted reads the inscription as invoking the goddess with an archaic profusion of epithets: Eponina 'dear little Epona', Atanta 'horse-goddess', Potia 'powerful Mistress' (compare Greek Potnia ), Dibonia (Latin, the 'good goddess')", Catona 'of battle', noble and good Vovesia.[ citation needed ] However, Olmsted's interpretation has not been generally accepted by other scholars; Meid interprets the same inscription as an invocation of Dibona in vulgar Greek for aid in a romantic dispute. [11]
Epona's feast day in the Roman calendar was given as December 18 on a rustic calendar from Guidizzolo, Italy, [12] although this may have been only a local celebration. She was incorporated into the imperial cult by being invoked on behalf of the Emperor, as Epona Augusta or Epona Regina.
The supposed autonomy of Celtic civilization in Gaul[ clarification needed ] suffered a further setback with Fernand Benoît's study [13] of the funereal symbolism of the horseman with the serpent-tailed ("anguiforme") daemon, which he established as a theme of victory over death, and Epona; both he found to be late manifestations of Mediterranean-influenced symbolism, which had reached Gaul through contacts with Etruria and Magna Graecia. Benoît compared the rider with most of the riders imaged around the Mediterranean shores.
Perceptions of native Celtic goddesses had changed under Roman hegemony: only the names remained the same. As Gaul was Romanized under the early Empire, Epona's sovereign role evolved into a protector of cavalry. [14] The cult of Epona was spread over much of the Roman Empire by the auxiliary cavalry, alae , especially the Imperial Horse Guard or equites singulares augustii recruited from Gaul, Lower Germany, and Pannonia. A series of their dedications to Epona and other Celtic, Roman, and German deities was found in Rome, at the Lateran. [15] Her cult is said to have been "widespread also in Carinthia and Styria". [16]
As Epane she is attested in Cantabria, northern Spain, on Mount Bernorio, Palencia; [17] as Iccona Loiminna[ dubious – discuss ] in Portugal on the Lusitanian inscription of Cabeço das Fráguas.
A euhemeristic account of Epona's origin occurs in the Parallela Minora, which were traditionally attributed to Plutarch (but are now classed as "Pseudo-Plutarch"):
Fulvius Stellus hated women and used to consort with a mare and in due time the mare gave birth to a beautiful girl and they named her Epona. She is the goddess that is concerned with the protection of horses. So Agesilaüs in the third book of his Italian History. [18]
The tale was passed along in the context of unseemly man-beast coupling in Giambattista Della Porta's edition of Magia naturalis (1589), a potpourri of the sensible and questionable, erroneously citing Plutarch's Life of Solon. [19] It may represent some recollection of Indo-European horse sacrifice, such as the Vedic ashvamedha and the Irish ritual described by Giraldus Cambrensis, both of which have to do with kingship. In the Celtic ritual, the king mates with a white mare thought to embody the goddess of sovereignty. [20] [21]
Sculptures of Epona fall into five types, as distinguished by Benoît: riding, standing or seated before a horse, standing or seated between two horses, a tamer of horses in the manner of potnia theron , and the symbolic mare and foal. In the Equestrian type, common in Gaul, she is depicted sitting side-saddle on a horse or (rarely) lying on one; in the Imperial type (more common outside Gaul) she sits on a throne flanked by two or more horses or foals. [22] In distant Dacia, she is represented on a stela (now at the Szépmüvézeti Museum, Budapest) in the format of Cybele, seated frontally on a throne with her hands on the necks of her paired animals: her horses are substitutions for Cybele's lions.
Epona is mentioned in The Golden Ass by Apuleius, where an aedicular niche with her image on a pillar in a stable has been garlanded with freshly picked roses. [23]
In his Satires , the Roman poet Juvenal also links the worship and iconography of Epona to the area of a stable. [24] Small images of Epona have been found in Roman sites of stables and barns over a wide territory.
Epona is indirectly referenced in Victor Hugo's Les Misérables through the name of the character Éponine.[ citation needed ]
In The Legend of Zelda franchise, the main character Link's horse is named Epona. The horse is always shown as a brown or chestnut mare with a white mane.
Artist Enya's namesake album of 1987 contains a track titled Epona, as part of the soundtrack of the BBC documentary The Celts. [25]
In 2017, Swiss Folk Metal band Eluveitie released a Gaulish-language song called “Epona” as part of their Evocation II: Pantheon album, praising the goddess
The probable date of c. 1380–550 BC ascribed to the giant chalk horse carved into the hillside turf at Uffington, in southern England, may be too early to be directly associated with Epona and may not actually represent a horse at all. The West Country traditional hobby-horse riders parading on May Day at Padstow, Cornwall and Minehead, Somerset, which survived to the mid-20th century, despite Morris dances having been forgotten, was thought by folklorists through the 20th Century to have deep roots in the veneration of Epona, as may the British aversion to eating horsemeat. [26] At Padstow, at the end of the festivities, the hobby-horse was formerly ritually submerged in the sea. [27] However, there is no firm evidence of the festival before the 18th century.
A provincial, small (7.5 cm high) Roman bronze of a seated Epona, flanked by an "extremely small" mare and stallion, was found in England. [28] Lying on her lap and on the patera raised in her right hand are disproportionately large ears of grain; ears of grain also protrude from the mouths of the ponies, whose heads are turned toward the goddess. On her left arm she holds a yoke, which curves up above her shoulder, an attribute unique to this bronze statuette. [29]
In the medieval Welsh collection of stories known as the Mabinogion , the regal figure of Rhiannon rides a white horse, whose slow, effortless gait supernaturally outpaces all pursuit. Wrongly accused of killing her offspring, Rhiannon has to play the role of horse for seven years as punishment, offering to carry travellers to the court and telling them her story; she also wears the work-collar of an ass. She and her son, who is fathered by the sea-god (cf Romano-Greek Poseidon, god of horses and the sea), are sometimes described as mare and foal [30] Ronald Hutton is skeptical of connections claimed between Epona and Rhiannon; the latter is a much later, literary creation, though it also draws on oral traditions now lost. [31] A south Welsh folk ritual called Mari Lwyd (Grey Mare) is still undertaken in December, which some folklorists likewise have held up as an apparent survival of the veneration of Epona, but again there is no firm evidence to support the age, origins or purpose of the practice.
On Mackinac Island, Michigan, Epona is celebrated each June with stable tours, a blessing of the animals and the Epona and Barkus Parade. Mackinac Island does not permit personal automobiles; the primary source of transportation remains the horse, so celebrating Epona has special significance on this island in the upper midwest. [32] The "Feast of Epona" involves the blessing of horses and other animals by a local churchman. [33]
Epona is also worshipped today by neo-druids [34] and other pagans and polytheists. [35]
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The Celts or Celtic peoples were a collection of Indo-European peoples in Europe and Anatolia, identified by their use of Celtic languages and other cultural similarities. Major Celtic groups included the Gauls; the Celtiberians and Gallaeci of Iberia; the Britons, Picts, and Gaels of Britain and Ireland; the Boii; and the Galatians. The interrelationships of ethnicity, language and culture in the Celtic world are unclear and debated; for example over the ways in which the Iron Age people of Britain and Ireland should be called Celts. In current scholarship, 'Celt' primarily refers to 'speakers of Celtic languages' rather than to a single ethnic group.
In ancient Greek religion and mythology, Demeter is the Olympian goddess of the harvest and agriculture, presiding over crops, grains, food, and the fertility of the earth. Although Demeter is mostly known as a grain goddess, she also appeared as a goddess of health, birth, and marriage, and had connections to the Underworld. She is also called Deo. In Greek tradition, Demeter is the second child of the Titans Rhea and Cronus, and sister to Hestia, Hera, Hades, Poseidon, and Zeus. Like her other siblings except Zeus, she was swallowed by her father as an infant and rescued by Zeus.
Poseidon is one of the Twelve Olympians in ancient Greek religion and mythology, presiding over the sea, storms, earthquakes and horses. He was the protector of seafarers and the guardian of many Hellenic cities and colonies. In pre-Olympian Bronze Age Greece, Poseidon was venerated as a chief deity at Pylos and Thebes, with the cult title "earth shaker"; in the myths of isolated Arcadia, he is related to Demeter and Persephone and was venerated as a horse, and as a god of the waters. Poseidon maintained both associations among most Greeks: he was regarded as the tamer or father of horses, who, with a strike of his trident, created springs. His Roman equivalent is Neptune.
Erecura or Aerecura was a goddess worshipped in ancient times, often thought to be Celtic in origin, mostly represented with the attributes of Proserpina and associated with the Roman underworld god Dis Pater, as on an altar from Sulzbach. She appears with Dis Pater in a statue found at Oberseebach, Switzerland, and in several magical texts from Austria, once in the company of Cerberus and once probably with Ogmios. A further inscription to her has been found near Stuttgart, Germany. Besides her chthonic symbols, she is often depicted with such attributes of fertility as the cornucopia and apple baskets. She is believed to be similar to Greek Hecate, while the two goddesses share similar names. She is depicted in a seated posture, wearing a full robe and bearing trays or baskets of fruit, in depictions from Cannstatt and Sulzbach. Miranda Green calls Aericura a "Gaulish Hecuba", while Noémie Beck characterizes her as a "land-goddess" sharing both underworld and fertility aspects with Dis Pater.
Rhiannon is a major figure in Welsh mythology, appearing in the First Branch of the Mabinogi, and again in the Third Branch. Ronald Hutton called her "one of the great female personalities in World literature", adding that "there is in fact, nobody quite like her in previous human literature". In the Mabinogi, Rhiannon is a strong-minded Otherworld woman, who chooses Pwyll, prince of Dyfed, as her consort, in preference to another man to whom she has already been betrothed. She is intelligent, politically strategic, beautiful, and famed for her wealth and generosity. With Pwyll she has a son, the hero Pryderi, who later inherits the lordship of Dyfed. She endures tragedy when her newborn child is abducted, and she is accused of infanticide. As a widow she marries Manawydan of the British royal family, and has further adventures involving enchantments.
In Gallo-Roman religion, Arduinna was the eponymous tutelary goddess of the Ardennes Forest and region, thought to be represented as a huntress riding a boar. Her cult originated in the Ardennes region of present-day Belgium, Luxembourg, and France. She was identified with the Roman goddess Diana.
Borvo or Bormo was an ancient Celtic god of healing springs worshipped in Gaul and Gallaecia. He was sometimes identified with the Graeco-Roman god Apollo, although his cult had preserved a high degree of autonomy during the Roman period.
Esus, Esos, Hesus, or Aisus was a Celtic god who was worshipped primarily in ancient Gaul and Britain. He is known from two monumental statues and a line in Lucan's Bellum civile.
Lugos (Gaulish) or Lugus (Latin), also known by other names, is a god of the Celtic pantheon. His name is rarely directly attested in inscriptions, but his importance can be inferred from place names and ethnonyms and status as king of the gods. His nature and attributes are deduced from the distinctive iconography of Gallo-Roman inscriptions to Mercury, who is widely believed to have been identified with him, and from the quasi-mythological narratives involving his later cognates, Welsh Lleu Llaw Gyffes and Irish Lugh Lámhfhada.
The Regni were a Celtic tribe or group of tribes living in Britain prior to the Roman Conquest, and later a civitas or canton of Roman Britain. They lived in what is now Sussex, as well as small parts of Hampshire, Surrey and Kent, with their tribal heartland at Noviomagus Reginorum.
Lusitanian mythology is the mythology of the Lusitanians, an Indo-European speaking people of western Iberia, in what was then known as Lusitania. In present times, the territory comprises the central part of Portugal and small parts of Extremadura and Salamanca.
Ancient Celtic religion, commonly known as Celtic paganism, was the religion of the ancient Celtic peoples of Europe. Because there are no extant native records of their beliefs, evidence about their religion is gleaned from archaeology, Greco-Roman accounts, and literature from the early Christian period. Celtic paganism was one of a larger group of polytheistic Indo-European religions of Iron Age Europe.
Gallo-Roman religion is a fusion of the traditional religious practices of the Gauls, who were originally Celtic speakers, and the Roman and Hellenistic religions introduced to the region under Roman Imperial rule. It was the result of selective acculturation.
Horse worship is a spiritual practice with archaeological evidence of its existence during the Iron Age and, in some places, as far back as the Bronze Age. The horse was seen as divine, as a sacred animal associated with a particular deity, or as a totem animal impersonating the king or warrior. Horse cults and horse sacrifice were originally a feature of Eurasian nomad cultures. While horse worship has been almost exclusively associated with Indo-European culture, by the Early Middle Ages it was also adopted by Turkic peoples.
Despoina or Despoena was the epithet of a goddess worshipped by the Eleusinian Mysteries in Ancient Greece as the daughter of Demeter and Poseidon and the sister of Arion. Surviving sources refer to her exclusively under the title Despoina alongside her mother Demeter, as her real name could not be revealed to anyone except those initiated into her mysteries and was consequently lost with the extinction of the Eleusinian religion. Writing during the second century A.D., Pausanias spoke of Demeter as having two daughters; Kore being born first, before Despoina was born, with Zeus being the father of Kore and Poseidon as the father of Despoina. Pausanias made it clear that Kore is Persephone, although he did not reveal Despoina's proper name.
According to classical sources, the ancient Celts were animists. They honoured the forces of nature, saw the world as inhabited by many spirits, and saw the Divine manifesting in aspects of the natural world.
The gods and goddesses of the pre-Christian Celtic peoples are known from a variety of sources, including ancient places of worship, statues, engravings, cult objects, and place or personal names. The ancient Celts appear to have had a pantheon of deities comparable to others in Indo-European religion, each linked to aspects of life and the natural world. Epona was an exception and retained without association with any Roman deity. By a process of syncretism, after the Roman conquest of Celtic areas, most of these became associated with their Roman equivalents, and their worship continued until Christianization. Pre-Roman Celtic art produced few images of deities, and these are hard to identify, lacking inscriptions, but in the post-conquest period many more images were made, some with inscriptions naming the deity. Most of the specific information we have therefore comes from Latin writers and the archaeology of the post-conquest period. More tentatively, links can be made between ancient Celtic deities and figures in early medieval Irish and Welsh literature, although all these works were produced well after Christianization.
Gallo-Roman culture was a consequence of the Romanization of Gauls under the rule of the Roman Empire. It was characterized by the Gaulish adoption or adaptation of Roman culture, language, morals and way of life in a uniquely Gaulish context. The well-studied meld of cultures in Gaul gives historians a model against which to compare and contrast parallel developments of Romanization in other less-studied Roman provinces.
The Gauls were a group of Celtic peoples of mainland Europe in the Iron Age and the Roman period. Their homeland was known as Gaul (Gallia). They spoke Gaulish, a continental Celtic language.