Sprites, Naiads, and Nymphs: Exploring Water Spirits in Folklore and Mythology

Across ancient folklore and mythology, water sprites have fascinated cultures as mystical guardians of freshwater realms. Known by many names, they are most famously depicted in Greek mythology as Naiads, the nymphs of streams, rivers, and fountains. These beings were seen not just as protectors but as embodiments of the water’s life-giving and destructive powers. Often revered for their beauty and charm, they played pivotal roles in rituals, myths, and daily life, symbolizing the close bond between humanity and nature’s sacred waters. Whether inspiring ancient offerings or passing into cultural memory as alluring yet unpredictable figures, sprites like Naiads reveal humanity’s timeless respect for the elemental forces that sustain life.

Watch a related video on Naiads and their captivating myths

Understanding Water Sprites in Folklore

Water sprites are fascinating entities that have held a place in folklore for centuries. Representing the duality of water—both life-sustaining and treacherous—these supernatural spirits have captivated human imagination across cultures. Below, we’ll explore what water sprites are, how they’re perceived worldwide, and their symbolic importance in myths.

What Are Water Sprites?

Water sprites are mythical spirits tied to aquatic environments like rivers, lakes, and springs. Often described as ethereal and alluring, these beings are typically portrayed with enchanting beauty and a graceful demeanor. In folklore, sprites are often thought to be immortal, with a strong connection to nature that enables them to influence their surroundings.

While their appearances vary depending on the legend, they are generally regarded as protectors or guardians of water, embodying its purity and unpredictability. Some stories suggest that interacting with these spirits could lead to blessings, while others warn of dangerous, seductive qualities. This dual nature mirrors humanity’s experience with water itself—essential, yet capable of destruction.

For more information on their diverse appearances across myths, check this overview of water sprites and their cultural context.

Water Sprites Across Cultures

Water sprites feature prominently in stories from around the world, though they take on different names and characteristics depending on the region. Below are some notable examples:

• Slavic Folklore: Rusalkas are Slavic water spirits associated with lakes and rivers. These figures are often depicted as the restless souls of women who died near water, oscillating between protective and vengeful roles.
• Irish Mythology: Selkies, found in Celtic tales, are shapeshifting sea creatures that transform from seals into humans. These beings are deeply tied to themes of love, longing, and transformation.
• Japanese Legends: Japanese Kappas are water creatures that embody trickery and danger. Unlike the graceful sprites of Europe, Kappas are mischievous entities with a reptilian appearance.

Each iteration of water sprites reflects the broader cultural values and attitudes toward water, illustrating a universal recognition of its power. Read more about their cultural variations here: Water spirit across cultures.

Symbolic Significance of Water Sprites

Water sprites carry rich symbolic meanings that reveal humanity’s complex relationship with water. Purity is one of the most common associations, as these spirits are often linked to clear, life-giving springs and rivers. Many myths cast them as protectors of fertility, ensuring the well-being of crops, animals, and humans alike.

Interestingly, water sprites also embody danger and mystery. Their allure can lead people into treacherous waters or spiritual lessons. This tension between beauty and peril symbolizes the dual role water plays in human life as both a sustainer and destroyer.

These spirits also carry broader metaphysical implications, illustrating how water links the natural, human, and spiritual worlds. To gain a deeper understanding of their layered symbolism, visit this analysis of water sprites and cultural connections.

Water sprites, in their many forms, are a testament to the enduring connection between myth and the environment. By examining their stories, we glimpse how ancient cultures sought to explain and venerate the life-sustaining forces around them.

The Naiads: Freshwater Nymphs of Greek Mythology

In Greek mythology, Naiads are among the most enchanting figures, embodying the essence of freshwater sources. They’re more than mythical beings; they represent the vitality and perils of natural waters that sustain human existence. Their stories span across rivers, lakes, and springs, linking humanity’s relationship with freshwater to divine reverence.

Origins and Taxonomy of Naiads

The Naiads trace their lineage as daughters of the river gods, often springing from Oceanus, the primordial titan of the seas, or individual river deities. These freshwater nymphs were grouped by the specific bodies of water they governed, leading to classifications like:

• Limnades: Nymphs of lakes and marshes.
• Potameides: Guardians of rivers and streams.
• Pegaeae: Spirits of natural springs.
• Crinaeae: Protectors of small fountains and wells.
• Eleionomae: Nymphs linked to wetlands.

Their classification reflects the varied freshwater ecosystems they inhabited and safeguarded. Understanding this taxonomy helps in viewing how Greeks personified and honored their environment. Find more details on classifications here.

Roles and Attributes of Naiads

Naiads carried roles that extended beyond myth, deeply impacting how ancient Greeks viewed water. As guardians of freshwater sources, they were believed to maintain the vitality of the waters they embodied. Their attributes reflect their semi-divine nature:

• Beauty: Naiads were described as stunningly beautiful, akin to the pristine clarity of the waters they symbolized. Their allure played a significant role in mythological tales, often leading mortals and gods alike into their realm.
• Immortality: While they were ageless, their lives were intrinsically tied to the health of their waters. Polluted or dried-up sources could lead to their demise.
• Healing and Life-Giving Powers: Beyond their physical allure, the Naiads were also considered powerful healers. Their waters were thought to have restorative properties, making them essential to local rituals.

Their attributes cemented their place in both mythology and communal life. Learn more about their divine essence here.

Cultural Importance of Naiads in Greek Society

Naiads were not mere mythological entities; they held a profound place in ancient Greek life. Local communities worshiped them, attributing the health of their freshwater sources and agricultural prosperity to these nymphs. Offerings were made at their springs, particularly during droughts or agricultural festivals.

Their significance extended beyond worship into cultural expressions:

• Town Names: Many ancient Greek towns and cities were named after prominent Naiads, showcasing their esteem. For example, fountains like Arethusa were central to both myth and local identity.
• Art and Literature: Naiads were frequent subjects in sculptures and frescoes, appearing in flowing forms that mirrored the fluidity of water. Poets such as Hesiod and Homer celebrated their beauty and mystique.

Ultimately, the Naiads shaped a unique interplay between myth and ecology. Dive deeper into their cultural prominence by exploring this article.

Enchanting Yet Complex: Naiads’ Dual Nature

The Naiads’ portrayal in mythology goes beyond idealized beauty, dipping into complexity and contrast. They could be generous, offering blessings like fertility, good health, or even hero guidance. However, their connection to water’s volatility made them unpredictable and potentially dangerous.

Their duality stems from the reality of water itself: it sustains life but can also destroy it. Stories, such as those warning against wandering too close to streams at night, highlight this peril. Naiads, while enchanting, were known to drown those who polluted their waters or arrogance that led them to trespass sacred boundaries.

This dual nature made Naiads a vivid symbol of water’s dichotomy—life-giving and life-taking, depending on how humans interacted with it. For more on their intricate character, read this piece.

Each story and attribute of the Naiads weaves together threads of admiration, respect, and caution. Their enduring presence in Greek mythology underscores the ancients’ acknowledgment of water’s invaluable, yet paradoxical, role in life.

Comparison with Other Water Spirits in Greek Mythology

Greek mythology presents a rich tapestry of deities and spirits, with water nymphs forming a captivating subset. Among them, Naiads, Nereids, and Oceanids stand out as prominent water-associated figures, each with distinct roles and habitats. Understanding their differences and examining their connections to river gods, the Potamoi, sheds light on the depth of ancient Greek beliefs.

Naiads versus Nereids and Oceanids: Distinctions in Habitat, Roles, and Mythology

Naiads, Nereids, and Oceanids are collectively categorized as water nymphs, yet their habitats and mythological narratives set them apart. Each spirit is tied to a specific type of aquatic environment, reflecting the Greeks’ nuanced relationship with water.

• Habitats:
  • Naiads: These spirits presided over freshwater sources such as springs, rivers, lakes, and fountains. Their existence was deeply tied to the vitality of their waters; a dried-up spring could signify the demise of its Naiad.
  • Nereids: Dwelling in the Mediterranean Sea, Nereids represented the guardianship and fertility of the ocean. They were seen as benevolent spirits aiding sailors and calming storms, highlighting the Greeks’ reliance on the sea for trade and travel.
  • Oceanids: Oceanids hailed from the vast, primordial ocean, embodying its boundlessness and mystery. They were often considered daughters of Oceanus and Tethys, pivotal figures in Greek cosmology.
• Roles in Myths:
  • Naiads often acted as intermediaries, facilitating interactions between mortals and the divine. In some cases, they were known for their influence on fertility and well-being, especially in agricultural contexts.
  • Nereids were celebrated for aiding heroes in great adventures, such as Thetis’ role as mother to Achilles or Galatea’s enduring mythology.
  • Oceanids, like Styx, the spirit of a boundary river, symbolized deeper, universal allegories linked to the cosmos and oaths between gods.
• Cultural Depictions: Naiads were often depicted as serene yet mischievous figures connected to their local environment. On the other hand, Nereids exuded a serene elegance reflective of maritime beauty, while Oceanids presented a more ethereal, celestial quality.

Their distinctions emphasize the Greeks’ recognition of both the specific and universal significance of water. For further exploration of how nymphs like Naiads, Nereids, and Oceanids intertwine in mythology, read this comprehensive guide to water nymphs in Greek mythology.

Connections to the Potamoi: Familial and Symbolic Relationships

Naiads are frequently described as the daughters of the Potamoi, river gods who personified individual rivers in Greek mythology. These familial ties deepen the symbolic relationship between water nymphs and Greek natural landscapes.

The Potamoi themselves were divine sons of Oceanus and Tethys, positioning them as central figures within the aquatic pantheon. Each Potamos governed a specific river, granting it spiritual significance. Examples include Achelous, considered the largest river of Greece, and Scamander, closely tied to the Trojan War.

• Symbolic Connections:
  • Naiads, as progeny of the Potamoi, represented the life-giving potential of rivers. Their presence symbolized the continuation of life, fertility, and abundance.
  • In myths, these familial links often underscored the interconnectedness of waterways, reflecting how rivers nourished distant lands and unified civilizations.
  • The protective qualities of the Naiads were seen as inherited traits, passed on from their Potamoi fathers who embodied the strength and vitality of rivers.
• Cultural Worship: The Potamoi and their Naiad daughters were frequently revered in local practices. Rituals involving offerings at riverbanks sought to appease these spirits, ensuring bountiful harvests and water clarity.

These nymphs’ direct ties to living waterways mirrored the Greeks’ dependency on rivers for agriculture, trade, and sustenance. Ancient Greeks saw rivers and their spirits as both nurturing and temperamental, a delicate balance that had to be respected. Learn more about the Potamoi and their roles as river gods here.

Naiads’ link to the Potamoi and their differences from other nymphs reflect a broader narrative about the natural environment’s spiritual significance in ancient Greece. This contrast and symbolism forge a vivid picture of how water spirits encapsulate both mythology and ecology.

Water Sprites in Modern Interpretations

Water sprites continue to captivate the imagination, evolving beyond folklore and becoming symbols of nature, ecology, and spirituality in modern culture. From literature and media to environmental awareness, these ethereal spirits reflect humanity’s changing perspective on water and its importance.

Water Sprites in Literature and Popular Media

Water sprites have made their way into books, films, and TV series, often transcending their mythological roots to embody new themes. Perhaps the most iconic modern incarnation is Hans Christian Andersen’s “The Little Mermaid,” which was famously adapted by Disney. While Andersen’s tale features a mermaid rather than a freshwater sprite, it shares characteristics with Naiads through its focus on the relationship between water beings and humanity.

Other works, like Oscar Wilde’s “The Fisherman and His Soul,” put a darker twist on the water-spirit archetype, showcasing the complexities of love and sacrifice. In television, shows like Charmed and The Witcher depict water spirits or nymphs as mystical beings with the power to manipulate water or guide fateful events. These portrayals echo the allure and danger associated with sprites in folklore, drawing obvious parallels with Naiads’ myths.

Modern video games also feature water sprites inspired by mythology, such as the reflective nature spirits found in RPG titles. These interpretations often serve as allegories for environmental wisdom, underscoring the intrinsic link between water and life. Learn more about their role in literature and media here and here.

Environmental Symbolism and Relevance Today

In today’s age of environmental awareness, water sprites have become poignant symbols of humanity’s fragile connection to natural ecosystems. These spirits, rooted in the rivers, springs, and lakes of old folklore, serve as reminders of water’s sacredness—a resource that demands respect and careful stewardship.

Water sprites often embody water’s life-giving and purifying qualities, making them perfect metaphors for ecological balance. They symbolize the interconnectedness of human life and natural cycles, reminding us that pollution or neglect of water sources directly impacts our world. Basia Irland, an environmental artist, even uses water as a central theme in projects addressing water scarcity and ecological preservation. This creative environmental lens transforms the romanticized image of water sprites into a call for action against climate change. Dive deeper into this concept here.

Moreover, water sprites evoke a sense of reverence for the unseen forces in nature, encouraging mindfulness toward how we interact with water sources. By highlighting the dual nature of water—its ability to nurture and destroy—they compel us to develop a sustainable relationship with our environment.

The continued presence of water sprites in modern contexts bridges ancient reverence with present-day ecological consciousness. Explore this intersection of mythology and environmentalism here.

Conclusion

Water sprites, Naiads, and nymphs persist as powerful symbols in folklore, bridging humanity’s ancient reverence for water with modern environmental consciousness. Their mythology captures the dual essence of water—sustainer of life and harbinger of danger—while reflecting cultural values and ecological dependence across eras.

These spirits transcend mythology, resonating through literature, media, and contemporary discussions on conservation. They stand as reminders of our shared responsibility to protect the life-giving waters they embody.

By honoring the lessons embedded in these myths, we both celebrate the cultural heritage they represent and acknowledge the pressing need to safeguard our natural ecosystems.

Brucero Fee a la riviere postcard 2007
https://technotink.net/treasure/?post_type=product&p=10899

The Hag of Beara Stone or An Chailleach Bhéara
by Thomas Baurley, Folklorist and Archaeologist, Techno Tink, LLC
https://technowanderer.com/hag-of-beara-stone/
https://technotink.net/photography/?p=14442
https://archaeologyfinds.com/?p=305

Ring of Beara, County Kerry/County Cork, Ireland

Driving the Ring of Beara in West Cork/County Kerry, Ireland I came across the infamous “Hag of Beara” stone – also known as An Chailleach Bhéara or the White nun of Beara, The Cailleach, “Hag”, “Old Crone”, or Old Woman of Dingle. In Irish lore, she is known as the Cally Berry or Cailleach Bheara.  

This boulder is a fabled petrified stone of the Divine Hag or Cailleach, the Irish Goddess of Winter. The Queen of Winter.  Of course my visit to her was a rainy cold winter day and very tributing to that connutation.

Beara is also connected with the other Goddess/ poetesses: Brigit, Liadan, and Uallach.  She is seen as one of Ireland’s oldest aspects of the Great Goddess trinity, alongside younger incarnations as a maiden and mother. She is sometimes called the second side or winter half of the Goddess Brigid. She is said to rule the months between Samhain (around Nov 1^st) until Beltane (around May 1^st), while Brigid rules the summer months.  She is described to be an old crone who brings winter with her when she appears and wields powers over life and death. She could control the weather and many of her worshippers had a mixture of reverence with fear in tribute and respect for outcomes of their winter crops. She is the bringer of winter, goddess of Destruction, Goddess of Creation, and the weather witch.

Said to have been born on Samhain in the “Teach Mor” or Great House in what is now known as “Tivore” on the  Dingle peninsula in county Kerry. Her house was known as “the house farthest west in Ireland.” Cailleach Bheara was originally named “Boi” a variant of the word for a cow “‘bó’”.  The ‘Oileán Baoi’ (Boi Island), or Dursey Island, was named after her maiden image of “Bo”.  She is known as a Goddess of Creation, nick-named the hag or hooded one, and is a special Deity to the Beara Peninsula of County Cork, Ireland which her Beara name is associated. She is described as having worn a hood or a veil given to her by Saint Cummine for a hundred years. She welcomed the winter weather every winter in this area overlooking the sea. Imprisoned as petrified to stone for centuries past and to come. She holds special attribution to the countryside of County Cork (elder age) and County Kerry (childhood). Rumored to be a mother or foster mother to ancestors of many clans in these counties, including Corca Loighdhe and Corca Dhuibhne.  She has been referenced as either being the wife or daughter of Manannan Mac Lir, the Irish God of the Sea. It is said she had seven periods of youth one after another, that every man that lived with her died of old age and is why her descendants are many, making up entire tribes and races extending from Ireland to Scotland. She was also said to have had many lovers, including the Fenian warrior “Fothad Donainne”.

Originally a Pagan Deity, she was intermingled into Christian mythology with the arrival of Saint Caithighearn, who came to Kilcatherine and the surrounding area preaching Christianity. Caithighearn was seen as a threat to the Hag of Beara.  Cailleach never related to Christian wisdom but was curious about it for its threat to her. It is said that after a day of food gathering on the peninsula, the hag returned to Kilcatherine to find the saint asleep, approached her, and stole her prayer book. A cripple nearby saw this theft and awoke the Saint who saw the Hag running away. As the saint ran after her, caught up with her in Ard na Cailli, she took the prayer book back and turned the hag to stone with her back to the hill and face the sea. This is the “Hag of Beara” stone, which I visited on this rainy day of December 19th, 2023. I could feel the sorrow, the loneliness, the solitude, and the magic surrounding the stone. I could also feel the rumored “warmth” and inner dampness of the stone, which is said to remain moist despite the warmth of summer months because of the life force it contains. In her youth, she was called the “Daughter of the Sun,” and she was powerful during the summer months and weakened towards the winter months.  By spring, she loses her strength, overcome by the powers of the Spring Equinox.   She is said to visit a hidden Well of Youth that she drinks from as the sun rises, and this is how she transforms into the young, beautiful Bride or Brigid Goddess, her other half.

The Scottish also honor and tribute the Cailleach as a mother of all Gods and Goddesses in Scotland, as powerful as most Gaelic myths profess her to be. There, she is often called the Cailleach Bheur, Beira, or Carlin. She is said to predate Celtic Mythology. She has existed “from the long eternity of the world.”   Some have placed her in the realms of the Fomorians and Titans, but that is another tale.  Some have quoted her as a Spanish princess named Beara, and others have attributed her to being a bastardized version of Kali, the great Hindu Goddess brought to Britain by Indian immigrants. She is internationally seen as a crone Goddess, dressed in grey with dun-colored plaid wrapped around her shoulders, with faces wan and blue like a corpse with long white or grey hair speckled with frost. A single eye in the center of her forehead, a being who can see beyond this world and into the next – and likened to the Fomorians because of this depiction. She sometimes appears in myth wearing an apron or a creel strapped to her back and carrying a wooden staff. Other sources describe the staff as a wand or hammer, potentially a shillelagh or walking stick/club made from the wood of the blackthorn tree associated with the crone and witches. Some say we get the modern depiction of the hagly witch in our Halloween imagery as that from the Cailleach. She is well known through the mythology and legends of the British Isles.

The British called her the Black Annis and the Cailleach ny Groamch or Cailleach Groarnagh on the Isle of Man. Other names for her are said to be the Blue Hag of Winter, Bone Mother, Woman of Stones, Cailleach Nollaig (The Christmas old wife), and Cailleach Mhor Nam Fiadh (the great old woman of the deer), and Cailleach Beinne Breac (old woman of the speckled mountain).

One Scottish legend is Cailleach as the winter Goddess ushering in the cold and dark winter months beginning at Samhain, keeping the lands cold until Imbolc (St Brigid Day). It is said on Samhain that she goes to the Corryvreckan whirlpool just north of the Isle of Jura to wash her great plaid. When the plaid emerges from the clean and shining white waters, she uses it to cover Scotland in a blanket of snow. Through winter, she walks the land, striking the ground and trees with her staff, crushing any sign of growth appearing.

In one myth, she imprisons the young virginal Brid, the personification of Spring, inside Ben Nevis on Samhain. Her son Angus, King of Summer, learns about Brid’s imprisonment in a dream and consults the king of the Green Isle for her whereabouts – the king replies, “The fair princess whom you saw is Brid, and in the days when you will be king of summer, she will be your queen. Your mother has full knowledge of this, and she wishes to keep you away from Brid so that her reign may be prolonged.”   He then sets out seeking his beloved and frees her from the confines of the mountain on the eve of Imbolc. Once the Cailleach learns of this, She immediately chases after the couple, and a great fight ensues. The battle continues through the night until Cailleach escapes her son’s potentially fatal blow by turning her into a standing stone – the Hag of Beara. She is to remain in that form until the following Samhain where she will appear again to usher in the winter and imprison Brid within Ben Nevis as an eternal cycle of light and dark, changing of the seasons, and fertility of the land.

In the Carmina Gadelica, Alexander Carmichael refers to Cailleach as “the first week of April, represented as a wild hag with a venomous temper, hurrying about with a magic wand on her withered hand, switching the grass and keeping down the vegetation to the detriment of man and beast. When, however, the grass upborne by the warm sun, the gentle dew, and the fragrant rain overcomes the “Cailleach,” she flies into a terrible temper, throwing her wand into the roots of a whin bush, and disappears in a whirling cloud of angry passion til the beginning of April comes again.”

Another Pagan tale is that she encountered two huntsmen while transformed into a deer. She appears to them as the crone and points them toward the best hunting grounds, and the two young men kill an immense stag they drag home to their father. Upon reaching the cottage, the stag disappears, and the father scolds them for not having the meat as the Cailleach had instructed and let the fairies take it from them. She is associated with various creatures, including birds found in Ireland. She, in particular, is associated with the deer she safeguards, wolves, black cats, wild cattle, and goats.

She is also written as the narrator for “The Lament of the Hag of Beara,” an Irish medieval poem in which she bitterly laments the passing of her youth and her decrepit old age. She is also written about in the collection of stories within the Great Book of Lecan which is dated approximately 1400 C.E. In the 12th century, she is named the White Nun of Beare in the Vision of Mac Conglinne. In the Lament of the Hag of Beara, she narrates a world ruled by the flow and ebb of the sea tide, with the turn of which life will dwindle, as with the coming tide, it waxes to its full powers and energy, according to folklorist Eleanor Hull in the interpretation of the medieval poem. The Hag of Beara somberly reminisces about their youth when she drank mead and wine with kings and now lives a lonely abandoned life amongst the “gloom of a prayer” and “shriveled old hags.”  This is befitting for my journey here this week as I myself embrace the onsets of “old age” still working through my divinity from youth to father to old man. I embrace a solitary Winter Solstice holiday and solitude averse to my younger wild parties and adventurous days. I sat, peering over the Bay from her stone, contemplating my state of being and aging as I feel its effects on my body.

I am the Hag of Beare,
An ever-new smock I used to wear;
Today—such is my mean estate—-
I wear not even a cast-off smock.

The maidens rejoice
When May-day comes to them,
For me, sorrow is meeter,
I am wretched; I am an old hag.

Amen! Woe is me!
Every acorn has to drop.
After feasting by shining candles
To be in the gloom of a prayer.

I had my day with Kings,
Drinking mead and wine;
Today, I drink whey water
Among shriveled old hags.

~ excerpts from a 1919 translation by Lady Augusta Gregory, Trinity College, Dublin.

According to mythology, she dropped or threw stones from her apron as she passed around Ireland through Scotland. Each of these stones grew into rock formations or mountains associated with her, which are recognizable places of worship for her tribute and prayers. Her name, “Boi,” gave rise to the Oilean Baoi or Dursey Island located at the tip of the Beara peninsula, said to be her home.

She has several landmarks attributed to her throughout Ireland, Scotland, and the British Isles, such as the (1) Hag’s Head in County Clair, the Ceann Cailli rock formation on the southernmost point of the Cliffs of Moher, Co. Claire. (2) the “Hag of Beara” Rock chair, a natural boulder in Kilcatherine, Beara, Co. Cork claimed to be her fossilized remains on a chair which she sits overlooking the sea awaiting Manannan mac Lir, the God of the Sea, sometimes defined as her husband or father. (3) Sliabh na Cailli or “The Hag’s Mountain” in County Meath. (4)  This stone here, the “Hag of Beara” – a large rock overlooking Coulagh Bay, close to Eyeries in County Cork, represents her face turned to stone as she stared out to sea, awaiting for Manannan mac Lir to return to her. It’s the (5) Beinn na Caillich on the Isle of Skye in Scotland.  (6) The scarred path down the side of Schiehallion bears her name, Sgriob na Calliach, or “furrows of the Cailleach,” where she lost footing and slid down the mountain. (7) the Ailsa Craig supposed was created from a dropped boulder when a fisherman sailed his boat underneath the Cailleach, and the sail of his boat brushed the inside of her thigh, frightening her and causing her to drop the boulder. (8) the Cailleach stone on Gigha and (9) the Callanais stones on the Isle of Lewis. (10) Loch Awe on the banks of Ben Cruachan was a great well on the summit from which the Cailleach drew her water daily; it was covered by a heavy stone slab; this slab was to be replaced by sunset or the water inside the well would spill out and flood the world – one tiring evening she removed the stone slab to draw her water. She sat down to rest before walking home. Exhausted, she fell into a deep sleep on the hillside, and the water tumbled from the well in vast torrents and streamed down the mountainside – the roar of water awoke her. She quickly replaced the slab in enough time to prevent the world from being flooded, but the once fertile Vale of Tempe got covered and became Loch Awe.

(11) The House of the Cailleach, Taigh na Cailleach at the head of Glen Lyon, is situated by Glen Cailleach and is seen as a shrine to her for hundreds if not thousands of years involving a Beltane rite where the stones stacked at its entrance were removed, roof freshly thatched, and a family of water-worn stones resembling figures of the Cailleach, the Bodach (old man), and the Nighean (daughter) were brought outside for the summer months. Samhain placed the stones back inside the house before the entrance was sealed until the next summer when the rite repeated. Some say that the (12) Megalithic tombs at Carrowmore were created from stones falling from her apron. (13) The same is true of the passage tombs on the Coolera Peninsula outside of Sligo. (The stones that created these were supposedly collected by the Cailleach from the megalithic tombs at Lough crew) (14), and in the Dartry Mountains, there is even the Cailleach’s house. I’ve been to this house, and it resonates so well with her legend.

At each location, pilgrims, visitors, spiritualists, and tourists often leave coins, clooties, and other offerings for her tribute and request prayers. It is said that she is the stone “Hag of Beara” when she presides over the winter months, but come summer, when Brigid rules, she transforms back into her human shape on Samhain.

She is celebrated on various feast days, including February 1^st, the Feast Day of St. Bridgit, the day the Cailleach is supposed to transfer her power to Bridgit, who brings forth the spring and summer months. Suppose this day (also known as Groundhog’s Day in the Americas) has favorable weather. In that case, this is taken as a bad omen that the Cailleach can collect extra firewood and draw the winter out, but if the weather is bad, the Cailleach will remain asleep, and winter will be shortened. Some associate this with the American celebration of Groundhog’s Day and determination if we’ll have a longer winter or an earlier spring. The American spinoff is about a bad weather day, limiting the collection of firewood to whether or not the groundhog sees his shadow based on the weather of the day.

March 25^th in Scotland is the Latha na Cailliche (Day of the Old Woman), which celebrates the transition of winter into summer. This was also the atypical “New Year’s Day” in Scotland until it changed to the present attribution of January 1^st during the 17^th century. Competitions and festivities were often held on this day to see who could drive the winter hag away. During Beltane celebrations, around May 1^st, on the Isle of Man, many competitions occur where staged battles between summer and winter take place, with summer always triumphing.

Location: Traveling from Ardgroom to Eyeries along the Beara Way Cycle route or Ring of Beara, follow south past the Kilcatherine Church. It is on the right side overlooking Coulagh Bay and is marked by a signpost. There is limited parking available. It’s a small walk down the hill. During winter, it is wet and boggy, so I recommend wellies.

References:

• Augusta, Lady Gregory 1919 The Kiltartan Poetry Book. G. Putnam’s: New York.
• Daly, Eugene 2021 “The Hag of Beara” from the westcorkpeople.ie website referenced 5/9/24 at https://westcorkpeople.ie/columnists/the-hag-of-beara/.
• Fergus  2017  “The Cailleach Beara or the Hag of Beara.”  The Irish Place. Website referenced 6/9/24 at https://www.theirishplace.com/heritage/the-cailleach-beara-or-the-hag-of-beara/.
• Hull, Eleanor  1927   “Legends and Traditions of the Cailleach Bheara or Old Woman (Hag) of Beare”. Folklore, Vo 38, no 3, Sept 30, 2937. Pgs 225-254.
• Monumental Ireland  2024  An Chailleach Bhearra – the Hag of Beara.  Monumental Ireland website, referenced 6/9/24 at https://monumentalireland.ie/the-hag-of-beara/.
• O’Sullvan, Leanne   2013   “On the Beara Peninsula: Written in Stone.” New Hibernia Review: Iris Éireannach Nua, Volume 17, No. 3 2013. pp. 9–14
• Rainbolt, Dawn   2017  “Irish Folklore, Myths & Legends: The Hag of Beara” in Wilderness Ireland. Website referenced 6/9/24 at https://www.wildernessireland.com/blog/hag-beara-irish-myths-legends/.
• Wee White Hoose  2021  “Older than Time: The Myth of the Cailleach, the Great Mother”. Website referenced 6/9/24 at https://weewhitehoose.co.uk/study/the-cailleach/.
• Wikipedia  2024   “The Hag of Beara” Wikipedia article referenced 6/9/24 at https://en.wikipedia.org/wiki/The_Hag_of_Beara.
• Yeats, W.B.  1964  “Modern Ireland: An Address to American Audiences, 1932-1933.” The Massachusetts Review, Vo. 5, no 2, 1964.
• Zucchelli, Christine 2016  Sacred Stones of Ireland, Cork: Collins Press, 2016.

Ballycrovane Ogham Stone or Beara Ogham Stone
(Béal A’Chorraigh Bháin)
Co. Cork, Southern Ireland
Irish grid ref: V 6569 5291

At this point in my journey, I was bouncing between West Cork and County Kerry, so I apologize for any content stating that this standing stone is in Kerry – it’s in West Cork. As I spied on the map, an Ogham Stone was outside of the Ballycrovane quay, so I took a gander. It is in the backyard of a private cottage with very few parking places without blocking the residents. They have an iron gate with a 2 Euro donation box to wander up to see the stone firsthand. It is a massive pointed granite monolith atop a hillock overlooking the Ballycrovane Harbour, standing approximately 17 feet tall. The Ogham inscription purports to say, “Son of Deich descendant of Torainn” (MAQUI DECCEDDAS AVI TURANIAS). There is also a modern national monument declaration plaque below.

The monument is a carved thin pillar-stone tall granite standing stone with an estimated age of over 2,000 years before the present. It is across the Ballycrovane Quay / Kenmare Bay from the Hag of Beara along the Ring of Beara on the Beara Peninsula. It is a few hundred yards southeast of the “Faunkill and the Woods” road and the coastguard station. This has been stated to be the tallest Ogham stone in Ireland and possibly Europe at 17 feet (5.3 meters), with another approximately several feet below the ground. The Ogham inscription is at the eastern edge, which is hard to see due to weathering.

The language Ogham was known as the only written language of the early Celts, a mnemonic device with an alphabetic interpretation that existed pre-Roman times until approximately the 5th century C.E. The script consists of a series of short notches or strokes carved vertically and slanting on the edges in other instances. A Latin translation of Ogham is believed to have allowed scholars to read the Ogham script alphabet. It is 30 letters of straight lines and notches carved on the edge of a piece of stone or wood, divided into four categories of five sounds. These symbols are found mainly on standing stones, though examples on wood and above lintels also exist. Most Ogham is found in Ireland (heavy in southern Ireland), but others are found in Great Britain, the Isle of Man, Cornwall, Scotland, and Wales.

Sources:

Ancient Stones 2012 Hags, Cats, and Stones on the Beara Peninsula. Website http://ancientstones.blogspot.com/2012/02/drumlave-stones-with-hungry-hill-in.html referenced 5/13/24.

Iles, Susanne 2007 The Ring of Beara Blog: Ballycrovane Ogham Stone. Website referenced https://ringofbeara.wordpress.com/2007/11/03/ballycrovane-ogham-stone/ on 5/13/24.

Journal of Antiquities. Website referenced https://thejournalofantiquities.com/2014/09/07/ballycrovane-ogham-stone-co-cork-southern-ireland/ on 5/13/24.

Oxford Press 1998 Dictionary of Celtic Mythology, Oxford University Press, New York, 1998.

Readers Digest 1992 Illustrated Guide to Ireland. The Reader’s Digest Association Limited, London.

Roaring Water 2014 Ballycrovane Ogham Stone. Website https://roaringwaterjournal.com/tag/ballycrovane-ogham-stone/ referenced on 5/13/24.

Scherman, Katherine 1981 The Flowering Of Ireland, Victor Gollancz Ltd., London.

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It is also believed that the Cave of the Cats is the actual physical birthplace of Queen Medb. The legend states that the Fairy Queen/Goddess Étain who was fleeing her human husband with her fairy lover Midir came here. Midir wanted to visit a relative named Sinech (the large breasted one) who lived in the cave. Within the cave was said to be a great otherworldly palace where a maidservant named Crochan Crogderg (“Blood Red Cup”) lived, and she had granted Midir and Etain entrance. It was here that Crochan was believed to have given birth to a daughter named “Medb“.

Coming Soon!

 

Oweynagat Cave – Cave of the Cats

– Gateway to the Underworld and the Morrigan’s Palace.
Rathcrohan / Roscommon, Ireland

GPS: 53.79677, -8.31038
Article/Research by Thomas Baurley/Leaf McGowan
Techno Tink Media and Research, 10 October 2017

One of my most favorite sites in Ireland is the “Cave of the Cats” underneath the realm of “Rathcrohan“. It is officially called “Oweynagat” and pronounced “Owen-ne-gatt”.

The Cave is also labeled “Uaimh na gCat”, Irish translating to “Cave of the Cats”. When I first visited this site we had a tremendously hard time finding it. We found where it was supposed to be, but it lay behind fencing on a farmer’s field. We knocked on the farmer’s door, and there was no answer. A neighbor saw us, asked what we were doing and who we were, and he showed us the entrance, giving us permission to enter.

It was a small hole under some Fairy thorn trees. The Site is actually a natural narrow limestone cave that hosts a man-made souterrain at its entrance. This is seen by all as the official entrance to the Otherworld and home to the Morrigan or Medh. In the Medieval Period of Ireland, it was labeled “Ireland’s Gate to Hell”. It is a particular sacred site for the Pagan holiday and festival of “Samhain” or Halloween.

It is said that during the Feast of Samhain, the dead, their God/desses, and Spirits, would rise from their graves and walk the Earth. This cave is one of the main places where Spirits and the dead associated with the Fae and/or the Morrigan, would re-surface including creatures, monsters, and the un-dead. There exists an Irish legend based on the “Adventures of Nera” where a warrior is challenged to tie a twig around the ankle of a condemned man on Samhain eve, after agreeing to get him some water would discover strange houses and wouldn’t find water until the third house. Upon returning him back to captivity would witness Rathcroghan’s royal buildings destroyed by the spirits. After this, he must follow the fairy host to the Sidhe where he meets a woman who tells him the vision he saw will happen a year from now unless his mortal comrades are warned. He leaves the Sidhe and informs Ailill of his vision who destroys the Sidhe in response.

Some believe the “síd” or the Sidhe of this tale is either the Mound of Rathcroghan or Oweynagat, the Cave of the Cats. It makes the most sense that the Cave of the Cats is where the destructive creatures and fae emerged. There was a triple-headed monster called the Ellen Trechen that went on a rampage across the country before being killed by Amergin, father of Conal Cernach. There have been tales of small red birds emerging from the cave withering every plant they breathed on before being hunted to their death by the Red Branch. There are also legends of herds of pigs with similar powers of decay emerging from the cave until hunted and killed by Ailill and Medb.

The name itself, “Oweynagat” is believed to refer to the Magical wild cats featured in the tale of “Bricriu’s Feast” that emerge from this cave to attack the three Ulster warriors before being tamed by Cúchulainn. Some also claim that the cave was named after Irusan, the King of the Cats, who is featured in Irish fairy tales and hailed from a cave near Clonmacnoise (her home). Another tale from the 18th century CE tells of a woman trying to catch a runaway cow that fell into this cave (nevermind the entrance being too small) and followed it into this cave. It is said the cow and woman emerged miles away in County Sligo, near Keshcorran. There is also a legend of a woman that was told to have killed a monster cat in this cave, turning the woman into a great warrior, and this is why it’s called “Oweynagat”, Cave of the Cats.

The Birthplace of Medb

It is also believed that this cave is the actual physical birthplace of Queen Medb. The legend states that the Fairy Queen/Goddess Étain who was fleeing her human husband with her fairy lover Midir came here. Midir wanted to visit a relative named Sinech (the large breasted one) who lived in the cave. Within the cave was said to be a great otherworldly palace where a maidservant named Crochan Crogderg (“Blood Red Cup”) lived, and she had granted Midir and Etain entrance. It was here that Crochan was believed to have given birth to a daughter named “Medb“.

The Entrance

Nestled under a fairy tree in a farmer’s field (private property) is a small opening that really only looks large enough for a house cat to fit through. But if a human gets down on their hands and knees, can shimmy into this small hole, they will be presented with a small chamber that connects to a passageway that continually increases to a massive tunnel wider and higher than one could fathom. At the inner lintel of this entrance is an Ogham inscription that bears the words “VRAICCI…MAQI MEDVVI” translating to “FRAECH” and “SON OF MEDB”. Some also translate this to mean “The Pillar of Fraech son of Madb”. This is also seen as the birthplace of Medb. A second ogham inscription, barely visible, reads “QR G SMU” but has not been translated.

This beginning chamber is actually a man-made souterrain at the entrance to a natural narrow limestone cave. The souterrain was originally contained within an earthen mound that was later damaged by a road construction project in the 1930s. The souterrain is made of dry stone walling, orthostats, lintels, and stones that measure approximately 10.5 meters from the entrance to the natural cave’s opening.

The Tunnel

After crawling on one’s hands and feet, the passage increases in width and height, eventually one can stand up, and eventually, the tunnel becomes wide and tall enough that a small Giant could move through it. This is the passage of the Fae and leads to the Morrigan’s Lair. As one continues down, they’ll find a caved in shamble that is behind a muddy pool of water. If one successfully climbs up and over it, the passage continues to another area that is caved in. Apparently, workers on the surface planted a utility pole that collapsed this section of the tunnel. Beyond this is believed to be the Entrance to the Otherworld, and the Morrigan’s Lair. This is actually a natural limestone cave that has been mapped approximately 37 meters deep.

The Morrigan

The Queen of the Dark Fae, the Goddess of the Underworld, of Darkness, and Battle, rules the world of the Fae from this place. It is believed that every Samhain, is pulled on a chariot out of the Cave of the Cats by a one-legged chestnut horse alongside various creatures such as those mentioned above. Some also say on occasion she leaves the cave with a cow, guided by a giant with a forked staff, to give to the Bull of Cúailgne. She is also known to take the bull of a woman named Odras who follows her into the cave before falling under an enchanted sleep upon awakening to see the Morrigan who repeatedly whispers a spell over her, turning her into a river, the same river that feeds the muddy pool at the shamble.

Apparently, the cave is seen as a portal through which the Morrigan would pass in order to work with Medb as Goddess of Battle. She drove her otherworldly cattle into the cave every sunset. The Morrigan was blamed to have stolen a herd of cattle who belonged to a woman named Odras, and upon following to Morrigan to retrieve them, was turned into a lake by the Goddess. As is the story of Nera, a servant of Medb who met a Fairy woman here in this cave. He married her, and she warned him of Medb’s palace being burnt to the ground next to Samhain by the creatures of the otherworld. Upon hearing this, Medb stationed her forces in the cave each Samhain to protect Cruachan from destruction.

Rathcrohan is the legendary burial grounds of the Kings of Connaught. The region covers approximately 518 hectares hosting more than 20 ring forts, burial mounds, megalithic tombs such as the Relig na Ri (burial ground of the Kings), Rath na dTarbh (For the Bulls), and the Rathbeg. The archaeological site is massive, with earthworks spread over the region with the Grave of King Dathi (Last Pagan King of Ireland) as a 2 meter high standing stone being one of the few physical landmarks left that can be seen.

This is also the site of the mythical battle of the “Tain Bo Cuailgne” that remains in the hearts, minds, and folklore of the people of Tulsk and Rathcroghan recorded in the Ancient Irish Epic of the Tain Bo Cuiailgne, the “Cattle Raid of Cooley”. The Tain Bo tells the story of Queen Maeve of Connaught and her armies that pursued the Grat Brown Bull of Cooley, the mighty warrior Cuchulain who does battle with the armies here, and his foster brother Erdia as he defends the Brown Bull and the province of Ulster. There are a “Tain Trail Cycling and Touring Route” that re-traces the journey that Queen Maeve and her armies traveled from her Royal Palace at Rathcroghan across Ireland to the Cooley Peninsula in County Louth, the home of the Brown Bull. Rathcrohan hosts over 60 National Monuments here.

Bibliography/References:

• Druid School: Oweynagat Cave of the Cats. Website referenced January 2012.

• Fenwick, J. et al 1977 “Oweynagat”. Irish Speleology 16, 11-14.

• Hannon, Ed 2012 “Visions of the Past: Oweynagat Cave”. Website referenced 10/10/17 at https://visionsofthepastblog.com/2012/10/01/oweynagat-cave-souterrain-co-roscommon/.

• Mulranney, R. n.d “Caves of Ireland: Oweynagat Cave of the Cats”. Website referenced 10/10/17 at https://cavesofireland.wordpress.com/home/caves/oweynagat-cave-of-the-cats-co-roscommon/.

• Waddell, J. 1983 “Rathcroghan – A Royal Site”. Journal of Irish Archaeology 1.

• Wikipedia n.d. “Rathcroghan”. Website referenced 10/10/17 at https://en.wikipedia.org/wiki/Rathcroghan.

 

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Niamh
by Leaf McGowan, Techno Tink, LLC.

“Niamh of the lovely hair” was the daughter of the Irish Sea God, Manannon Mac Lir. She was the Queen of the Tir na n-Og, the mythological race of Faeries who lived in the Land of the Eternal Youth. She would often ride on her Faerie steed “Embarr” across the waves to the West Coast of Ireland. On one of these trips, she met members of the warrior group known as the Fianna. One of the warriors, a bard named Oisin, she came to have a liking for. He fell for her with love at first sight. She quickly took him on her horse with her back to Tir na n-Og.

She was most notorious for having been the Faerie princess who lured off the great Bard Oisin to Faerieland, where they were married, and she had hoped he would have been fine residing in the Land of the Eternal Youth. After three years in Faerie, He grew weary and tired, missing his family, and asked to return to his land to see them. She set him off on the same white magical steed that she brought him to the land of Faerie on, the horse “Embarr” (which means “Imagination”), and warned him not to step foot off his horse when he returned to the human world. He discovered three years in Faerie was three hundred years in Human.

He accidentally fell off Embarr while trying to help some farmers move a big stone, and Embarr ran home across the waves. Poor Oisin immediately became a blind old man who wandered Ireland searching for his family and Niamh. He could never find the entrance to Tir na n-Og again. Niamh waited and waited for him, but Oisin never returned. She had become pregnant with his daughter, Plur na mBan, a beautiful Faerie princess known as “The Flower of the Lady.”

After many years, Niamh returned to the mortal world to search Ireland high and low for her sweet Oisin. She was too late; Oisin had died and disappeared forever. His tomb is somewhere up in Northern Ireland near the Giant’s Causeway. While searching for Oisin, she meets Brittany’s faeries, who invite her to join them. She didn’t but rather sent them a magical moving picture of herself. This upset Brittany Faeries, who placed her in a deep wood where she wandered for a long time with a light on her forehead, eternally lost. After discovering her escape, she experienced great disappointment and anger with Brittany Fae. She returned to Tir na n-Og, presumably casting a magic spell that took all of Brittany’s faerie children with her in revenge.

Wishing Trees
“Wishing Trees” are very common throughout Ireland, England, and Scotland. They are usually individual trees upon which “folk magic”, “folk spells”, “faerie offerings”, or “prayers” are offered. Sometimes it is particular to a specific species, where the tree lives, or how it looks. Many times they are associated with faeries or a particular Deity. They are very common alongside sacred wells in Ireland and the UK. The practice usually involves petitions or offerings made to the tree, a nature spirit associated with the tree, a Saint, a God/dess, or the ancestors with a request for a wish to be fulfilled.

Coin trees involve the offering of coins to a particular tree. These are often hammered into an old trunk, branch, or small tree. Sometimes these are oaks, rowan trees, hawthorns, ash, or thorn trees. Some hawthorns serve for fertility magic such as a common one in Argyll, Scotland by the Ardmaddy House. Sometimes hundreds of coins are hammered into the bark and wood with the belief that a wish will be granted for each of the coins added. A similar one that is well known is the sacred well of ST. Maree in Loch Maree, Gairloch, Scotland has hundreds of coins hammered into it. Also all over the Yorkshire Dales, such as in the pictures shown here I took during a hike, are found hundreds of coins offered to nature spirits and/or faeries for a granting of a wish.

Clootie Wish Trees (a.k.a. Cloughtie or Rag Trees) are found next to sacred wells throughout England, Scotland, and Ireland. This involves the practice of tying a piece of cloth, often called “clouties”, “clooties”, or “cloughties” to ask for an answer to a prayer, a wish, and/or a petition. As the rag decays, so will the illness; or so will the petition come true. It is a form of sympathetic magic. One of the most well-known “wishing trees” is the Madron Well in Cornwall. With the Madron well, a sacred well of healing, it is believed that as the cloth rots, the ailment that one is seeking a cure for disappears. Even Charles Darwin recorded the finding of a “wishing tree” in his travels in Argentina called “Walleechu” which was treated by the local inhabitants as a Deity. It was festooned with offerings such as cigars, food, water, and cloth hung from the branches by bright strips of colored thread. A popular wishing tree in Hong Kong is the “Lam Tsuen Wishing Tree” near the “Tin Hau Temple” in Lam Tsu where paper is tied to an orange and thrown up in the trees that stick will grant the petitioner a wish. The wishing tree next to Brigid’s Well in Kildare is a common tree for petitioning healing requests.

The Wishing Tree at Tobar Ghobnatan Holy Well
not only consists of rags, but trinkets, rosaries, jewelry, prayer cards, toys, personal effects, and other items given as offerings. You can see these at Tobar Ghobnatan Wishing Trees. The concept is to leave behind something of yourself or someone that you love who is in need of prayers, healing, or petitions. The concept with the rags is that when it decays so will the illness that it represents. This is a kind of sympathetic magical rite.

Unfortunately, some pilgrims to the sites don’t realize how the spell or magic works. You can see this when they tie a piece of a plastic bag on the tree. Plastic will take forever to decay, and so will the illness it is to represent. If only they knew! In addition to the rags, others leave coins, jewelry, rings, prayer cards, figurines, toys, personal effects, and clothing items such as belts, shoes, garments, and trinkets. The cloutie and Wish trees found at Tobar Ghobnatan are considered to be dedicated to the Matron Saint of Ballyvourney and sacred Bee-Keeping mistress, Saint Ghobnatan holy pilgrimage site and monastic settlement known as “Tobar Ghobnatan”. This is the legendary home of St. Gobnait/Ghobnatan. It is located a kilometer south of the village of Ballyvourney where her church Móin Mór (a.k.a. Bairnech) was built.

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Faerie Trees
United Kingdom and Ireland
Faerie trees are mythical hotspots of otherworldly and/or faerie activity. Faerie trees are seen as the haunts of Faeries. They are fiercely protected by the Fae. It is believed that any human foolish enough to pass by a host-tree late at night will find their arms bruised or pinched by small faerie fingers. Three thorn trees growing closely together are especially potent. Thorn trees hung with ribbons or rags are good gifts to faeries of the tree. Faerie trees are most associated with the Oak, Ash, and Thorn. Sometimes it is associated with the Rowan tree. Others claim its the Elder, Blackthorn, Hazel, and/or Alder. The trees most twisted together are the most notorious of faerie trees – and this is common amongst the Elder. If two thorns and an elder are found together it warns of great danger as do Oak, Ash, and Thorn. In the British Isles, the Rowan is believed to protect one from witchcraft and enchantment. Its berries opposite its stalk display tiny five pointed stars or pentagrams which are notable protective symbols. Color red, as in the flavor of the berry, is also seen as a protection against enchantment. The tree is believed to afford protection to the dwellings by which it grew and often people would take branches of the tree to be carried for personal protection from witchcraft. The belief in them go back to classical mythology, whereas legends tell us that ‘Hebe’, the Goddess of youth, once dispensed rejuvenating ambrosia to the Gods from her magical chalice. When she lost this cup to demons, the Gods sent an eagle to recover the cup. The feathers and drops of blood which the eagle bled in the fight, fell to the earth, whereas each one of them turned into a Rowan tree – the legendary Faerie Tree. It is because of this it is believed that the Rowan derived the shape of its leaves from eagle’s feathers and its berries look like the droplets of blood. The Rowan is also prominent in Norse mythology as being the tree from where the first woman was made. The Mountain Ash were also associated as Faerie Trees which are the most well-known of the Rowan. The wood of the Rowan is often used for staves, wands, divining rods, and walking sticks. Berries are often used to make alcoholic drinks.

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Gillighans World
* Tel / Fax 00 353 (0)71 30286 / 00 353 (0)71 84100 * Mobile 087 6811690 / 087 6780831 * e-mail [email protected] * Registered Office: Baroncourt, Kilmacowen, Ballysadare, County Sligo * Sligo, Ireland *
Gilligan’s World is a hidden little Faerie theme park, farm, and botanical gardens in the heart of Sligo County in the rolling countryside at the base of the famed Tuatha de Danaan battle mound, the “Knocknashee” the Legendary “Hill of the Faeries”, one of Irelands 7 sacred hills. Mainly centered around children, the park can be a bit of fun for adults and kids alike, especially for those in the faerie persuasion. This little magical kingdom was created by the Baronness of Leyny, the Lady Melody Urquhart (Ph.D) as a faerie habitat to capture the true spirit of Ireland and its mythological/archaeological past. In 1993, she left fame and fortune behind in England as a choreographer / producer / director/ and owner of a finishing school in order to build this sanctuary. Attracted to the Knocknashee, the Mullinabreena, the Hill of the Fairy Mansion or Palace. Complete with miniature model villages, enchanted glades, streams, botanical gardens, a petting zoo, snack shop, gift shop, library, restrooms, car park, picnic areas, and an inn. Streams, forests, wildlife ponds, an aquatic cave, play facilities, with games, quizzes, and puzzles to achieve. The staff is well educated about faerie lore and history. Great place for the kids, schools, coach tours, birthday parties, family groups, and overseas tourists. It has a stone tunnel entrance, with dolmen, an amphitheater, lush green lawns, and inspiration for the wild, wacky, kitch, artistic, imaginative, and fantasy. Its open 7 days a week, Easter through September from 12 to 6 pm on mondays thru fridays, 2 pm to 7 pm on saturdays and sundays. While very kitchy and centered around children, as an adult with a faerie fascination, I enjoyed the park very much – and hope to go back to actually explore the actual Knocknashee. Rating: 4.5 stars out of 5.
 

 
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Newgrange:
Brú na Bóinne, Ireland
One of Ireland’s most infamous monuments and archaeological sites, Newgrange is amongst the Bru na Boinne World Heritage sites next to Knowth and Dowth. It is popular like Stonehenge with its Solstice astronomical line-ups and viewing of the sun as it appears through its portal. The monument is a large mound complex shaped like a giant kidney covering an area of about an acre of land and is surrounded by 97 kerbstones most of which are decorated by megalithic rock art. Newgrange is one of the best examples in Ireland and Western Europe of a passage grave or tomb. Constructed around 3200 BCE, this site is older than the Egyptian pyramids and a 1,000 years older than Stonehenge. Located along a elongated ridge on the Boyne River, five miles west of Drogheda, and close to the location where the Battle of the Boyne took place in 1690. Built entirely wih stone tools the Faerie Sidhe (folklore) or Passage Grave (Archaeology) is an impressive monument: The purpose of the monument is disputed greatly as there is no evidence that Newgrange was used as a repository for bodies, bones, burial artifacts or ash. Mythology tells us that the Tuatha Dé Danann, legendary first rulers of Ireland, built Newgrange as a burial place for their chief – the Dagda Mór with his three sons. The site is also believed to be where the hero Cúchulainn was conceived by his mother Dechtine. Also listed in mythology as a Faerie Mound, it was believed to have been the home of Oenghus, the God of Love. Other theories are that it was a place of worship for a “cult of he dead” or for astronomically-based faiths. Visitors can only access Newgrange via bus shuttle from the visitor center at Brú na Bóinne and those wishing to see the Winter Solstice sunrise light-up has to be awarded via lottery for the experience with a select few other lottery winners. A 19 meter long inner passage leads to a cruciform chamber with a corbelled roof. At the end of the passage are three small chambers off the larger central chamber. Each of the smaller chambers has a large flat ‘basin stone’ which is where it is believed the bones of the dead were originally deposited. During the Winter Solstice, lights of the rising sun enters the roofbox – lighting up the passage, and shining onto the floor of the inner chamber – illuminating the room for 17 minutes. Megalithic Rock Art surrounds the monument with some world notable pieces such as the triskel carved on the entrance stone, Kerbstone 1 and 52. Other rock art carvings fit into one of ten categories, five of which are curvilinear (circles, spirals, arcs, serpentiniforms, and dot-in-circles), and the other five are rectilinear (chevrons, lozenges, radials, parallel lines and offsets). Intriguing archaeological finds were found throughout the site, including Roman coins, an iron wedge, and a stone phallus. It is believed to have taken 20 years to build with a work force dedicated all of those years full time of 300 individuals. Under the burial tomb theory, it is believed to have been sealed and closed for several millenia after which the local folklore and mythology of the faeries were believed to be assigned to the mound. The site was used for ritual purposes well into the Iron Age. The Passage tomb was re-discovered in 1699 when material for road building was being harvested from the mound. A large excavation of the mound took place in 1962 as well as the rebuilding of the original facade of sparkling white quartz stones found at the site. Newgrange has been compared to the Gavrinis passage tomb in Brittany for which it is very similar to. The Gavrinis cairn is 5,500 years old; 60 meters in diameter, and covers a passage and chamber that is lined with elaborately engraved stone. Newgrange is built of alternating layers of earth and stone with grass growing atop, and the front reconstructed facade is of flattish white quartz stone studded at intervals with large rounded cobbles covering the circumference.
 

 
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