To ring in the summer of 2024, Deuce Richardson from DMR Books suggested this post on the mythological significance of May the first for Senchas Claideb’s initial post of the month. May 1st, May Day, or Beltaine as it is traditionally known in Gaelic-speaking communities of Ireland, Scotland, and the Isle of Man is traditionally considered the first day of summer. It stands opposite to Samhain (October 31st – November 1st), which is considered the first day of winter in the Celtic calendar. Like its darker opposite, Beltaine is referenced in the mythic cycles of Ireland and holds special significance in the broader tradition of Gaelic folklore. It is the time when the sun is welcomed back after the snow’s retreat, bonfires are lit upon hilltops, and cattle are released into the blooming, buzzing pastures. Beltaine has long since been held as the beginning of new life and opportunities as can be seen in the ancient stories.
Fionn’s First Poem
The Fenian Cycle and folkloric stories of the nomadic warriors, the fíana, are held in the greatest esteem among traditional Gaelic communities of Ireland, Scotland, and Atlantic Canada. At the center of them is the hero Fionn mac Cumhaill (Anglicized as “Fin McCool”), a man whose adventures and deeds go far beyond the scope of this post. Among other things, he is an accomplished warrior, hunter, and master poet. During the course of his boyhood deeds, Fionn undertakes an apprenticeship with the poet Finnéces who “…had been on the Boyne [river], watching the salmon of Fec’s Pool…” (Meyer, 1901). The Boyne river in Ireland itself holds mythological significance as it is named after the Irish goddess Boann and is fed by the otherworldly spring Segais. The salmon of Fec (more commonly known as the Salmon of Wisdom or Knowledge) grants the power of prophecy to whomever eats it, which happens to be Fionn. In addition to this power, Fionn later completes his poetic training by mastering “…the three things that constitute a poet: teinm láida [chewing of the pith], imbas forosna [poetic inspiration or prophecy], and dichetul dichenaib [chanting from the head].” The exact functions of teinm láida and dichetul dichenaib are mysterious but imbas forosna is referenced in other myths and is utilized by prophets who draw upon this ability when making predictions and often deliver them in verse. Fionn’s first poem after completing his training goes as follows:
“May-day, season surpassing! Splendid is colour then. Blackbirds sing a full lay, if there be a slender shaft of day.
The dust-colored cuckoo calls aloud: Welcome, splendid summer! The bitterness of bad weather is past, the boughs of the wood are a thicket.
Summer cuts the river down, the swift herd of horses seeks the pool, the long hair of the heather is outspread, the soft white bog-down grows.
Panic startles the heart of the deer, the smooth sea runs apace — season when ocean sinks asleep — blossom covers the world.
Bees with puny strength carry a goodly burden, the harvest of blossoms; up the mountain-side kine take with them mud, the ant makes a rich meal.
The harp of the forest sounds music, the sail gathers — perfect peace. Colour has settled on every height, haze on the lake of full waters.
The corncrake, a strenuous bard, discourses; the lofty virgin waterfall sings a welcome to the warm pool; the talk of the rushes is come.
Light swallows dart aloft, loud melody reaches round the hill, the soft rich mast buds, the stuttering quagmire rehearses.
The peat-bog is as the raven's coat, the loud cuckoo bids welcome, the speckled fish leaps, strong is the bound of the swift warrior.
Man flourishes, the maiden buds in her fair strong pride; perfect each forest from top to ground, perfect each great stately plain.
Delightful is the season's splendour, rough winter has gone, white is every fruitful wood, a joyous peace in summer.
A flock of birds settles in the midst of meadows; the green field rustles, wherein is a brawling white stream.
A wild longing is on you to race horses, the ranked host is ranged around: A bright shaft has been shot into the land, so that the water-flag is gold beneath it.
A timorous tiny persistent little fellow sings at the top of his voice, the lark sings clear tidings: surpassing May-day of delicate colours!” (Meyer, 1901)
Considering the story of Fionn’s youth concerns his passage into manhood and initiation into a Fenian warrior, this poem may indicate the young hero’s transition into a new period of his life. The contents of the poem are not merely bucolic images of springtime, but an collection of the elements that compose fíanaigecht (lore of the fíana), which usually involve hunting, warfare, and the natural world. It is, as well, an overall great example of Irish nature poetry and how Gaelic-speakers appreciated and found deep beauty in the natural world of their homelands.
The Fenians’ Hunting Period
According to legend, the fíanna (or Fenians) hunt and quest in the months between May 1st and November 1st, while the other half of the year is spent resting, feasting, and reveling indoors. Practically, the summer and late autumn seasons are ideal for roving the wilderness to find game and opportunities to gain glory in open combat or other quests. These stories are a favorite among traditional Gaelic communities to the point where my folklore professor in graduate school likened them as having similar cultural significance as superhero films do today. The act of telling stories about the fíana or singing lays related to them have their own sacred customs many tradition-bearers follow. For instance, storytellers may remove their hats as a sign of respect for Fionn and his men as they tell their tales. More significantly, it is customary to tell stories of the fíana during the months between November 1st and May 1st, and they can only be told at night. The repercussions for breaking this custom are unclear other than potentially bringing about a spell of bad luck. The act of telling these stories during the winter months reflects the Fenians’ period of rest when they likely would have been telling their own stories indoors by roaring fires and drinking horns of wine. The summer months following Beltaine are relegated as the time for work, and for a society as reliant on farming as Gaelic society this means long hours outside in the summer heat. Although it is forbidden to tell the tales of Fenians during the summer, the stories are no doubt on the minds of tradition-bearers for when the time comes to tell them again.
Cú Chulainn’s “No Hit” May-Day Challenge
Tochmarc Emire (“The Wooing of Emer”) is the tale where the chief hero of the Ulster Cycle Cú Chulainn meets his romantic match Emer, daughter of Forgall the Wily, and gains the mentorship of the warrior woman Scathach.1 During the couple’s first encounter, they speak to one another in riddles to test each other’s wit and to mask their intentions from Emer’s father. In one of her exchanges, Emer says, “ ‘No one comes to this plain,’ said she, ‘who does not meet Benn Suain, the son of Roscmelc, from summer's end to the beginning of spring, from the beginning of spring to May-day, from May-day to the beginning of winter.’ ” (Meyer trans., 1910). Cú Chulainn later clarifies the meaning of this riddle:
‘Bend Suain, son of Rosc Mele, which she said this is the same thing, viz., that I shall fight without harm to myself from Samuin, i.e., the end of summer. For two divisions were formerly on the year, viz., summer from Beltaine (the first of May), and winter from Samuin to Beltaine. Or sainfuin, viz., suain (sounds), for it is then that gentle voices sound, viz., sám-son 'gentle sound'. To Oimolc, i.e., the beginning of spring, viz., different (ime) is its wet (folc), viz the wet of spring, and the wet of winter. Or, oi-melc, viz., oi, in the language of poetry, is a name for sheep, whence oibá (sheep's death) is named, ut dicitur coinbá (dog's death), echbá (horse's death), duineba (men's death), as bath is a name for 'death'. Oi-melc, then, is the time in which the sheep come out and are milked, whence oisc (a ewe), i.e., oisc viz., barren sheep. To Beldine, i.e. Beltine, viz., a favouring fire. For the druids used to make two fires with great incantations, and to drive the cattle between them against the plagues, every year. Or to Beldin, viz., Bel the name of an idol. At that time the young of every neat were placed in the possession of Bel. Beldine, then Beltine.’ (Meyer trans., 1910)
The etymological elements are due to medieval Irish authors’ love for the meaning of words, and having them here proves handy for any readers looking for obscure linguistic lore for Celtic-inspired fiction. Essentially, Emer is telling Cú Chulainn that only a warrior who can “take zero hits” (to use video game terminology) for an entire year would be worthy of marrying her. Although the mentions of those holy days are simply to mark the full course of the year, the case can also be made that this is a new phase of Cú Chulainn’s life in terms of his development as a man and warrior, and is thus a showcase of his growth into his societal and mythological roles. This challenge from Emer is made all the more difficult when he goes to learn martial arts from the warrior woman Scáthach in Scotland for a year and a day. Beltaine as well may have been a chance for young men to show off feats of speed, strength, and agility to impress their female peers, which is also the case for Emer’s conditions for who is worthy to court her in the first place; Cú Chulainn ends up being the only man who can match her expectations for a partner after greatly maturing during his time with Scáthach.
The Landing of the Milesians
I would be remiss not to talk about a Gaelic festival concerning new beginnings without talking about the Gaels themselves and their new beginning in Ireland, or their mythic ancestors as referenced in the Lebor Gabála Érenn (“The Book of Invasions”) the Milesians. The month of May is referenced twice in “The Book of Invasions”, first when the Túatha dé dannan (the alleged pre-Christian gods of Ireland) invade Ireland: “[T]hey came to Ireland, on Monday, the kalends of May, in ships [and vessels]. And they burn[ed] their ships…” (Macalister trans., 1938). The act of burning the ships is usually interpreted as the Túatha dé refusing to surrender, but when we look at the date assigned to their landing and the fact that bonfires were utilized in Beltaine rituals, there could be some symbolism there of new beginnings or purification of the land and people to inhabit it through fire. The Túatha dé wrest control of Ireland from the wave of invaders who preceded them (the Fir Bolg) in a battle on the plain of Mag Tuiread (usually anglicized as “Moytura”).
The second mention of May comes during the section of “The Book of Invasions” when the Milesians or Gaelic people arrive in Ireland:2
“The seventeenth, a Thursday,
was found the battle-plain of warrior men,
they took, in an attack on the land,
on the kalends of May in the solar month.” (Macalister trans., 1938)
Although the Milesian’s arrival is not exactly on Beltaine, the fact it is in the month of May at all should not be overlooked as it parallels the arrival of the previous invaders (the Túatha dé) and coincides with the month’s symbolic meaning of new beginnings and flourishing life. This directly contrasts the start of the second major battle the Túatha dé have concerning the right for control over Ireland; the second battle of Moytura, wherein the Túatha fought against the monstrous Fomorians, begins on the eve of Samhain. The advent of this battle coinciding with the death of summer may symbolize the coming finality of the Túatha’s reign over the isle, while the coming of the Milesians in May is indicative of the new era leading to prosperity and growth of a new people.
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For a more in-depth overview of this story, as well as its adaptation in a dark fantasy graphic novel, check out this part of my review on Paul J. Bolger’s Hound:
On the topic of the Gaels’ arrival in Ireland, last month I wrote a short analysis on the first poem said to have been spoken by a Gael on Ireland: