A book I picked up a few years back, that I like to dip in and out of. Ireland has a long, long history of producing ‘wild women’ and there are some incredible stories in here.
I’m disappointed that Bernadette McAliskey (nee Devlin) isn’t included but I guess the book would be a massive tome if everyone worth including was added in.
I’ve included the story of Queen Maeve of Connacht, as detailed in the book, below the cut 👇
Queen Maeve of Connacht
Pre-Christian, Celtic queen/goddess
Maeve (or Medb, or Meadhbh, or Maev) is known primarily as a mythological figure, although she did have a historical counterpart. The Maeve of legend was a warrior-queen and the main villain in the great seventh-century epic, Táin Bó Cuailgne (The Cattle Raid of Cooley), which is part of the Ulster Cycle of stories and it centres mainly on the conflict between the greedy and ambitious Queen Maeve and the superhero Cú Chulainn.
According to the tale, Maeve and her husband, Ailill, are arguing one night in bed over who has the most wealth. Maeve is infuriated when she discovers that Ailill wins because he is the owner of a magnificent white bull. She determines to obtain an even better bull, known as "an Donn" (the Brown Bull), which is in Ulster.
First she asks the Donn's owners nicely if she can have him, and then, when she is refused, she gathers a huge army, rampages across the country from her castle at Rathcroghan and takes the bull by force. The Ulster warriors were out of action after being cursed with labour pains for nine days, so the rest of the epic centres on the heroic efforts of Cú Chulainn to single-handedly rescue the bull and return it to its rightful owners.
In her legendary incarnation, Maeve's purpose was not only to inspire warriors but actually to participate in war as a fighter skilled in the use of spear and slingshot. This is a mythological interpretation of a common custom in prehistoric Ireland (and France and Britain), where women were often active participants in war (200 years after the introduction of Christianity in the fifth century, a law was passed imposing fines on men who allowed their womenfolk onto the battlefield).
The real Maeve seems to have been a rather ambitious woman. She was born in Rathcroghan, County Roscommon, possibly in the third century, the daughter of Eochaid, king of Connacht. When her sister, Clothra, became queen of Connacht after Eochaid's death (in ancient times royal women were not barred from becoming leaders of their people), the jealous Maeve was furious. She killed her pregnant sister and took her crown by force. The tales of her greed and acquisitiveness in the Táin probably stem from the frequency of Maeve's raids into neighbouring counties and her attempts to set up a matriarchy in Connacht.
It appears that the real Maeve was married several times and bore many sons and daughters. Her first husband was Conor, king of Ulster. whom she left. Her last husband was Ailill, the seventeen-year-old prince of Leinster who features in the Táin legend as her henpecked husband. Mythological Maeve was also known for her predatory sexual appetite - she was said to enjoy up to thirty lovers in a single night.
The Annals of the Four Masters claim the historical Maeve lived to be 120 years old. Even then she did not die a natural death - she was killed in a long-awaited revenge attack by her sister's son while taking a bath in the River Shannon. She is reputed to be buried at Knocknarea, a cairn in Sligo, but it's more likely she is buried near her old stomping ground at Rathcroghan.
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Ok, listen, LISTEN, can I please rave about Huartan for like, 50 million hours? Belfast based ‘tradtronica’ collective (Irish trad music and electronica.
If you like pagan imagery, slightly unsettling vibes, anti-colonialism, anti-capitalism and feminism; these are your new faves.
Info about the video/song below the cut 👇
Taken from the YT description:
“Dúlamán” is the first single from Huartan’s recent self-titled debut album. The video, which was filmed on the North Antrim Coast, was directed by Anna Poloni and shot by Sean McMahon. It was choreographed and features contemporary dancer Roísín Harten.
In the original Irish-language song, a young woman playfully teases and turns away each of her suitors, each named after different types of seaweed. Building on this, and with a nod to the myth of the selkies, the video explores the themes of women’s bodily autonomy, sensuality, and connection to the natural world.
The track opens with the echo of the Angelus bell, a hint at the enduring influence of histories of colonial, religious, and patriarchal control in Ireland. Lead vocalist Múlú reinterprets the song entirely, replacing the original Irish melody with one she learned while exchanging songs with Baul folk musicians from the Bengal region of India. Breaking the boundaries of the Irish tradition by connecting cultures and fusing genres, Huartan understand that Irish songs are most alive when they are allowed to transform.”
so fun fact in ancient Ireland it was a custom to suck on the kings nipples as a sign of submission/respect. archaeologists have found bog bodies of men with their nipples cut off and the main theory is that they were nobles and that cutting off their nipples ruined their chances at becoming king.
"Lughnasadh: The Master of All Trades and the Harvest of Grief"
Modern society has a deep, slightly obsessive reverence for the specialist. We frequently weaponize the phrase "Jack of all trades, master of none" to insult generalists, forgetting that in this Irish tale, possessing many skills was not treated as a failure to specialize. It was Lugh's defining strength.
There is a famous story of the god Lugh arriving at the heavily guarded royal court at Tara. The doorkeeper demanded his trade, rejecting him as a smith, a champion, a harper, and a poet because Tara already possessed specialists in those fields. Finally, Lugh asked: "But do you have one man who possesses all of these arts simultaneously?"
He was admitted as the Samildánach—the man of each and every art.
But the most profound piece of Lugh's lore isn't his vast resume. It is the great Gaelic seasonal festival of Lughnasadh. It bears Lugh's name, but its grieving heart belongs to someone else.
According to the Dindshenchas, his foster mother Tailtiu cut down a vast forest, roots and all, until it became the open plain of Brega so the land could be cultivated and sustain her people. The poem says the strain burst her heart, leaving her sick and exhausted after the labor.
Lugh did not honor her death with military conquest or by showing off his own magical prowess. He answered her final request with funeral games and a great assembly held around her grave as the harvest season opened.
He understood the fundamental truth of the tavern: Lugh's greatness was not that he possessed every useful skill. It was that those skills could be placed in service of something beyond himself.
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