There is an old tale goes that Herne the Hunter, Sometime a keeper here in Windsor Forest, Doth all the winter-time, at still midnight, Walk round about an oak, with great ragg'd horns; And there he blasts the tree, and takes the cattle, And makes milch-kine yield blood, and shakes a chain In a most hideous and dreadful manner. You have heard of such a spirit, and well you know The superstitious idle-headed eld Receiv'd, and did deliver to our age, This tale of Herne the Hunter for a truth.
"The Merry Wives of Windsor" Act 4 Scene 4 Bill Shakespeare
The image of the Stag has appeared throughout all pagan cultures. Naming him Cernunnos, or "the horned one", the Celts believed he balanced with the female fertility symbol Epona - commonly depicted as a Mare.
Petroglpyhs, cave paintings and bronze-age statues often depict man donning antlers and wearing deerskins. Some images show man copulating with a deer to presumably ensure successful hunting or abundant fertility for the nearby herd. Man depended on deer for food and skins and therefore based many rituals on them - providing a basis for the first belief systems.
Conquering Romans quickly discovered the Epona-worshipping Epidae and the Ceinae clans, using them as expert horse trainers, farriers and breeders. Both clans were responsible for the chalk carvings on the hillsides throughout England and Europe. The Ceinae reportedly fled their captors - possibly to Caledonia, where carvings also exist.
Early Christians promoted their belief systems by adapting pagan rituals and local icons - twisting them to their own ends. Thus the goddess became ultimately stylized as Madonna, Celtic designs were incorporated into stonework and stained-glass designs - knotwork even adorned crucifixes! And worship of Cernunnos continued...
Considered a threat, early Christians thus adopted Cernunnos as an image of evil - a symbol to be reviled. Years have simplified and stripped away at the true meaning behind "the horned one".Today he reflects the symbolic representation of all that is not controlled by the Christian God.
Picture Details: Cave painting representing coitus between human and animal (possibly a deer). Image from the Val Comonica region, Italy. Circa 7th Century BCE. (Image Source: The Kinsey Institute for Sex Research. Bloomington. Indiana. USA)
Many modern writers have identified Cernunnos, the celtic Horned (or antlered) God with the figure of Herne, leader of the "Wild Hunt", a band of the Sidhe (or of spirits of the dead, depending on the source) who ride the wind on Samhain night (All Hallow's Eve).
While academic and archaeological evidence for this identification may be somewhat thin (celtic scholar John Matthews even questions the attribution of the name "Cernunnos" to this godform), the connection seems a natural one, and the popular image of Cernunnos or Cerne/Herne as a stag-god of the hunt has certainly been confirmed and cemented by a certain british television series which portrayed "Herne the Hunter", a stag-headed god, as the spiritual father of Robin Hood, who may well be a form of the green folk.
The Legend of the Wild Hunt
Europe abounds with stories of The Wild Hunt, and Herne is just one of the Wild Huntsmen. Others include Arawn the Welsh god of the dead, Charlemagne, Frederick the Great, King Arthur, the saxon god Woden, the early British King Herla, The Devil, Sir Francis Drake, Father Christmas and Odin. The origins of the widespread legend of The Wild Hunt are so buried under centuries of mythic detritus that they will never be known.
What is known for certain is that a remarkably consistent image exists in the mythic subconscious of Europe: the image of the wild, nocturnal, horned huntsman, his coming announced by the baying of his hounds and the blast of his horn above the din of the storm, in search of souls to carry away.
Invocation ;
A wind comes soughing through the trees Carrying an ancient song of bone, The dance of leaves turned red or gold The baying of the Autumn Hounds, the Winter Wolf.
We call to you, Blood-berry Crowned Royal Stag, come to us from your eternal grove Hunter, protect our power's fane Shield our circle of flickering light Help us see past the long shadows cast in the sacred forest.
Oh stag of seven tines Guardian of secrets held within Annwn's veil Bough of knife-sharp evergreen Antlered King, we call you.
Be with us, Herne, In the Darkness that is come Give us eyes to see in shadow, that we may never fear, or lose the memory of light.
-- Edited by Avalin at 10:59, 2006-10-01
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nothing is the same, since the house fell on my sister...
One of the most popular characters in English folklore of the last thousand years has been the faerie, goblin, devil or imp known by the name of Puck or Robin Goodfellow.
The Welsh called him Pwca, which is pronounced the same as his Irish incarnation Phouka, Pooka or Puca. These are far from his only names.
Parallel words exist in many ancient languages - puca in Old English, puki in Old Norse, puke in Swedish, puge in Danish, puks in Low German, pukis in Latvia and Lithuania -- mostly with the original meaning of a demon, devil or evil and malignant spirit ... Because of this similarity it is uncertain whether the original puca sprang from the imaginative minds of the Scandinavians, the Germans or the Irish.
-Gillian Edwards, Hobgoblin and Sweet Puck p.143
Indeed, Pouk was a typical medieval term for the devil. For example, Langland once called Hell "Pouk's Pinfold." And the Phouka was sometimes pictured as a frightening creature with the head of an ass. Truly a devil to behold. The Welsh Pwca also did not match our modern conception of dainty tinkerbell fairies. According to Louise Imogen Guiney, a peasant drew the Pwca as "a queer little figure, long and grotesque, and looked something like a chicken half out of his shell".
As a shape-shifter, Puck has had many appearances over the years. He's been in the form of animals, like how the Phouka can become a horse, eagle or ass. He's been a rough, hairy creature in many versions. One Irish story has him as an old man. He's been pictured like a brownie or a hobbit. In some paintings, he looks like Pan from Greek mythology. In others he looks like an innocent child. And a modern cartoon show portrays him as a silver-haired elf.
Puck used his shape-shifting to make mischief. For example, the Phouka would turn into a horse and lead people on a wild ride, sometimes dumping them in water. The Welsh Pwca would lead travels with a lantern and then blow it out when they were at the edge of a cliff. Being misled by a Puck (sometimes the legends speak of Pucks, Pookas and Robin Goodfellows in the plural) was known in the Midlands as being "pouk-ledden."
That's a lot like the phrase Pixy-led, which described a similar action on the part of the Somerset faeries known as pixies. Some believe the term Pixy is derived from Puck. Yet another expression for being lost is "Robin Goodfellow has been with you tonight." There's a reference to this at least as early as 1531.
Robin Goodfellow is one of the faeries known as hobgoblins or just hobs. Hob is a short form for the name Robin or Robert ("the goblin named Robin".) Robin itself was a medieval nickname for the devil. Robin Goodfellow was not only famous for shape-shifting and misleading travellers. He was also a helpful domestic sprite much like the brownies. He would clean houses and such in exchange for some cream or milk. If offered new clothes, he'd stop cleaning. There are stories of the Phouka and Pwca doing similar deeds.
Ironically, Reginald Scot wrote in 1584 that belief in Robin Goodfellow was not as strong as it had been a century earlier. In fact, Robin was about to get some big breaks in Renaissance show business.
There's a record for a Robin Goodfellow ballad in 1588. And a little less than a decade later, William Shakespeare gave his Puck the name and nature of the more benevolent Robin Goodfellow. However, Shakespeare's Puck is more closely tied to the fairy court than most Pucks or Robin Goodfellows. Here's a long quotation from A Midsummer Night's Dream. It's from a meeting between Puck and one of Titania's fairies. I think it sums up Robin Goodfellow's nature better than I could.
FAIRY Either I mistake your shape and making quite, Or else you are that shrewd and knavish sprite Called Robin Goodfellow. Are not you he That frights the maidens of the villagery, Skim milk, and sometimes labour in the quern, And bootless make the breathless housewife churn, And sometime make the drink to bear no barm, Mislead night-wanders, laughing at their harm? Those that Hobgoblin call you, and sweet Puck, You do their work, and they shall have good luck. Are you not he?
PUCK Thou speakest aright; I am that merry wanderer of the night. I jest to Oberon, and make him smile When I a fat and bean-fed horse beguile, Neighing in likeness of a filly foal; And sometime lurk I in a gossip's bowl In very likeness of a roasted crab, And when she drinks, against her lips I bob And on her withered dewlap pour the ale. The wisest aunt, telling the saddest tale, Sometime for three-foot stool mistaketh me; Then slip I from her bum, down topples she, And 'tailor' cries, and falls into a cough; And then the whole quire hold their hips and laugh, And waxen in their mirth, and neeze, and swear A merrier hour was never wasted there.
-- A Midsummer Night's Dream, Act II, scene i
Having Shakespeare as a publicist certainly did not hurt Puck or Robin Goodfellow's career. Prior to Shakespeare, who may have been influenced by the Welsh Pwca, Puck and Robin Goodfellow were considered separate creatures. Now they are considered the same creature.
Robin Goodfellow appeared in more plays around 1600. And there were many 17th century broadside ballads about him. Click here to see two of these ballads. In these ballads, Robin Goodfellow is the son of Oberon, the fairy king, and a mortal woman. He pulls pranks, shape-shifts into various animals and the foolish fire known as the Will O' The Wisp, gets into trouble and does the kind of thing described in Shakespeare's play. Robin's trademark laugh is "Ho Ho Ho!" One 1628 ballad song may have written by Shakespeare's drinking buddy, the great Jacobean (in the reign of James I, the king after Elizabeth I) playwright Ben Jonson.
And Ben Jonson certainly knew his tricksters. The Puck-Hairy or Robin-Goodfellow is a character in his unfinished Robin Hood play, The Sad Shepherd.
There may be a connection between Robin Hood and Robin Goodfellow. Many Pagans feel Robin Hood was originally a faerie or Pagan God. I think that case is overstated, as there is little magic in the earliest Robin Hood tales. But still, the two Robin have some things in common. Both had a penchant for giving travellers a hard time. Puck was a shape-shifter, and Robin Hood a master of disguise. And Gillian Edwards notes that the Goodfellow in Robin Goodfellow's name could either mean a boon companion or thief. "If you were one of Hood's archers and looked upon him as a boon companion, or the Sheriff of Nottingham and pursued him as a thief, you might consider him equally well-named Robin Goodfellow." Since the Robin Goodfellow ballads appear later than the Robin Hood ones, it's possible that the faerie may have taken his name from the outlaw -- not the other way around.