Differences Between Irish and Celtic Mythology

Summary

This script explores the distinctions and connections between Irish and Celtic mythologies, clarifying that while they are related, they are not synonymous. It delves into the pantheon of deities in both mythologies, highlighting figures like Cernunnos and the Tuatha Dé Dannan. The video discusses the evolution of these mythologies, their potential common origins, and how they've been preserved, particularly in Irish texts. It also touches on the influence of Christianity on these stories and categorizes Irish myths into four cycles, providing examples of key narratives and characters.

Takeaways

• 🏔 Irish mythology and Celtic mythology are not the same, but they are connected.
• 🌳 Celtic mythology can be interpreted in two ways: focusing on Gaulish mythology or considering it as an umbrella term for all Celtic tribes' mythologies.
• 🦌 The Gaulish pantheon includes deities like Cernunnos, Taranis, and Epona, with many depictions found in northeastern Gaul.
• 🏰 Irish mythology is distinct, originating from Ireland with its own pantheon of deities known as the Tuatha Dé Dannan.
• 🌉 There are possible parallels between Irish and Gaulish deities, suggesting a common Celtic mythology or proto-Celtic mythology.
• 📚 Irish mythology is often considered the best-preserved form of Celtic mythology, thanks to the efforts of Irish monks in copying and preserving texts.
• 📖 Irish mythology is organized into four cycles: the Mythological Cycle, the Ulster Cycle, the Fenian Cycle, and the King Cycle.
• 🌊 The Mythological Cycle focuses on the various races that inhabited Ireland, including the Tuatha Dé Danann and the Milesians.
• 🐉 The Ulster Cycle, also known as the Red Branch Cycle, revolves around the warriors of the Red Branch and the epic Táin Bó Cúailnge.
• 🌲 The Fenian Cycle chronicles the adventures of Fionn Mac Cumhail and the Fianna, while the King Cycle blends history and myth, featuring both historical and mythological figures.

Q & A

Are Irish mythology and Celtic mythology the same thing?

No, they are not the same, but they are connected. Irish mythology is specific to Ireland and its own pantheon of deities, while Celtic mythology can be seen as an umbrella term that includes the mythologies of various Celtic tribes.

What is the primary difference between Irish and Gaulish mythology?

Irish mythology originates from Ireland and features its own pantheon of deities known as the Tuatha Dé Dannan, whereas Gaulish mythology, often associated with the depiction of Cernunnos, is centered in Gaul and includes a different set of deities.

Who is Cernunnos in the context of this script?

Cernunnos is an ancient Celtic/Gallo-Roman nature god, often depicted with gigantic antlers, wearing a torc, and sitting cross-legged. He is primarily associated with Gaulish mythology.

What is the significance of the torc in Celtic mythology?

A torc is a neck ring or collar that was commonly worn by individuals of high status in ancient Celtic societies. In the script, it is mentioned as a typical adornment for the nature god Cernunnos.

How does the script describe the relationship between the Gaulish and Irish pantheons of deities?

The script suggests that there are possible parallels or cognates between some Irish gods and the Gaulish gods, indicating a shared heritage or influence, despite the distinct differences in their mythologies.

What is the role of the Tuatha Dé Dannan in Irish mythology?

The Tuatha Dé Dannan are a group of Irish deities who play a central role in Irish mythology. They include various gods such as Ogma, Lugh, and the Dagda, who are distinctly Irish and separate from the Gaulish pantheon.

How does the script explain the concept of an 'umbrella term' in relation to Celtic mythology?

The script uses the term 'umbrella term' to describe Celtic mythology as encompassing all the mythologies of the different Celtic tribes, not just the Gaulish or Irish, but also including those of the Brittonic, Boii, Celtiberians, Gallaeci, Galatians, and Lepontii tribes.

What is the significance of the shared linguistic heritage in the development of Celtic mythologies?

The script highlights that all Celtic tribes spoke languages that originated from a common proto-Celtic language, suggesting that language is fundamental to the shared cultural identity and mythology of the Celts.

How did the Irish monks contribute to the preservation of Irish mythology?

Irish monks, by copying and preserving important texts during the collapse of the Roman Empire, played a crucial role in keeping Irish mythology alive. However, their Christian influence is also evident in the texts they preserved.

What are the four cycles of Irish mythology mentioned in the script?

The four cycles of Irish mythology are the Mythological Cycle, the Ulster Cycle, the Fenian Cycle, and the King Cycle. Each cycle represents a different chronological phase or aspect of Irish mythological stories.

How does the script describe the evolution of the categorization of Irish myths?

The script explains that prior to the four cycles approach, Irish myths were categorized into two main categories: prim-scéil (chief tales) and fo-scéil (minor tales), which included different types of stories such as battles, voyages, and pursuits.

What is the Táin Bó Cúailnge, and why is it significant in Irish mythology?

The Táin Bó Cúailnge, also known as the Irish Iliad, is a central story of the Ulster Cycle. It narrates the war waged by Queen Medb and King Ailill against Ulster over the Brown Bull of Cooley and features the hero Cú Chulainn.

Outlines

00:00

🏰 Irish and Celtic Mythology: Distinct Yet Connected

This paragraph explores the relationship between Irish and Celtic mythology, clarifying that they are not the same but are interconnected. It explains that Celtic mythology can refer to the Gaulish pantheon, which includes deities like Cernunnos, Taranis, and Epona, primarily centered in Gaul. The paragraph also discusses the Irish pantheon, the Tuatha Dé Dannan, with gods like Ogma and Lugh, emphasizing their distinct origins in Ireland. The connection between the two mythologies is highlighted through possible parallels and cognates between their deities, suggesting a shared Celtic heritage.

05:00

🌳 Celtic Mythology as an Umbrella Term

This paragraph delves into the broader concept of Celtic mythology, suggesting it can be an umbrella term encompassing the mythologies of various Celtic tribes. It mentions the Gaulish, Gaelic, and Brittonic-speaking Celts, as well as other tribes like the Boii, Celtiberians, Gallaeci, Galatians, and Lepontii. The paragraph emphasizes the importance of language in defining Celtic identity and discusses the spread of Celtic culture and religion, known as Celtic paganism. It also highlights the similarities between Irish and Welsh mythologies, indicating a common Celtic mythological background.

10:02

📚 Preservation and Evolution of Irish Mythology

This paragraph discusses the preservation of Irish mythology, particularly through the efforts of Irish monks who copied and preserved important texts during the collapse of the Roman Empire. It mentions the influence of Christianity on the recorded myths, as seen in texts like the Lebor Gabála Érenn. The paragraph also outlines the four cycles of Irish mythology: the Mythological Cycle, the Ulster Cycle, the Fenian Cycle, and the King Cycle, each with its own set of stories and characters. The Mythological Cycle, in particular, is highlighted for its tales of various races and gods inhabiting Ireland.

15:03

🌊 The Four Cycles of Irish Mythology: A Deeper Look

This paragraph provides a detailed look at the four cycles of Irish mythology, explaining their significance and the stories they encompass. It describes the Mythological Cycle's focus on the invasions of Ireland by different races, the Ulster Cycle's tales of the Red Branch warriors and the epic Táin Bó Cúailnge, the Fenian Cycle's adventures of Fionn Mac Cumhail and the Fianna, and the King Cycle's blend of historical and mythological figures. The paragraph also touches on the earlier categorization of Irish myths into prim-scéil and fo-scéil, highlighting the complexity and richness of Irish storytelling.

🌲 The Celtic Wild Man and the Influence of Irish Mythology

In this final paragraph, the focus shifts to the character Suibhne Geilt from the King Cycle and his potential influence on the Arthurian figure Merlin. The paragraph discusses the motif of the Celtic wild man and its prevalence in Celtic cultures, including in Normandy, which was historically home to Gaulish tribes. The paragraph concludes with a call to action, encouraging viewers to engage with the content and explore more about Irish and Celtic paganism through the creator's book and website.

Keywords

💡Irish mythology

Irish mythology refers to the collection of myths and stories from Ireland, which are distinct from but related to the broader category of Celtic mythology. The video emphasizes that while Irish mythology is from Ireland and features its own pantheon of deities known as the Tuatha Dé Dannan, it shares connections with other Celtic mythologies due to a common cultural heritage. Examples from the script include the gods Ogma, Lugh, and the Dagda, which are central figures in Irish mythological tales.

💡Celtic mythology

Celtic mythology is an overarching term that can refer to the mythologies of various Celtic tribes, including but not limited to the Irish, Gaulish, and Brittonic-speaking Celts. The video explains that Celtic mythology is not synonymous with Irish mythology, yet they are interconnected. The script discusses how Celtic mythology can be seen as an umbrella term encompassing the mythologies of different Celtic tribes, with Gaulish mythology being one of the prominent examples.

💡Gaulish mythology

Gaulish mythology is the mythological tradition of the Gauls, who were Celtic speakers in regions that include modern-day France, Belgium, and other parts of Europe. The video describes how Gaulish mythology features a pantheon of deities such as Cernunnos and Taranis, which were influential in the region but distinct from the Irish pantheon. The script uses the example of Cernunnos, depicted with antlers, to illustrate the unique characteristics of Gaulish mythological figures.

💡Cernunnos

Cernunnos is an ancient Celtic/Gallo-Roman nature god often depicted with antlers and a torc, symbolizing his association with wildlife and the natural world. The video script mentions Cernunnos as a key figure in Gaulish mythology, indicating the prevalence of his depictions in northeastern Gaul and highlighting the cultural significance of such figures in the pantheon of Celtic gods.

💡Tuatha Dé Dannan

The Tuatha Dé Dannan is the pantheon of Irish deities that features in Irish mythology. The video explains that these gods, including Ogma and the Dagda, are distinct from the Gaulish gods and are central to the stories and myths that originated from Ireland. The script uses the Tuatha Dé Dannan to illustrate the unique elements of Irish mythology and its divergence from other Celtic mythologies.

💡Celtic tribes

The term 'Celtic tribes' in the video refers to the various groups of people who spoke Celtic languages and shared cultural traits across Europe. The script discusses how these tribes, such as the Gauls, Gaels, Britons, Boii, Celtiberians, Gallaeci, Galatians, and Lepontii, each had their own mythological traditions, contributing to the diversity under the umbrella of Celtic mythology.

💡Proto-Celtic

Proto-Celtic is the hypothetical common ancestor language from which all Celtic languages are believed to have evolved. The video script suggests that a common Celtic mythology, or proto-Celtic mythology, may have existed alongside this proto-Celtic language, influencing the mythological traditions of various Celtic tribes, including Irish, Gaulish, and Brittonic.

💡Celtic paganism

Celtic paganism, also known as the Ancient Celtic religion, refers to the religious beliefs and practices of the Celtic people before the spread of Christianity. The video script mentions that all Celtic tribes practiced some form of this religion, which is an important context for understanding the mythological stories and deities that are central to the video's discussion.

💡Ulster Cycle

The Ulster Cycle, also known as the Red Branch Cycle, is one of the four cycles into which Irish mythology is organized. The video script highlights the Táin Bó Cúailnge, the central epic of this cycle, which tells the story of the warrior Cú Chulainn and the war over the Brown Bull of Cooley. This cycle is crucial for understanding the heroic narratives within Irish mythology.

💡Fenian Cycle

The Fenian Cycle, also known as the Ossianic Cycle, is another of the four cycles of Irish mythology and focuses on the adventures of the hero Fionn Mac Cumhail and his band of warriors, the Fianna. The video script describes stories from this cycle, such as the Pursuit of Diarmuid and Gráinne, to illustrate the narrative richness and the heroic exploits that are characteristic of Irish mythological tales.

💡Cultural heritage

Cultural heritage in the context of the video refers to the legacy of knowledge, beliefs, and traditions that are passed down through generations. The script discusses how Irish and Celtic mythologies are part of the cultural heritage of the Celtic people, reflecting their beliefs, values, and history, and how this heritage has been preserved and interpreted over time.

Highlights

Irish mythology and Celtic mythology are not the same, but they are connected.

Celtic mythology is often associated with Gaulish mythology, featuring deities like Cernunnos.

Gaulish pantheon includes gods like Taranis, Toutatis, Ogmios, and Epona, with many depictions in northeastern Gaul.

Irish mythology originates from Ireland and features a separate pantheon known as the Tuatha Dé Dannan.

Irish deities such as Ogma, Lugh, and the Dagda have no direct connection to Gaulish gods but share a common Celtic heritage.

Irish mythology was influenced by the arrival of Gaelic-speaking Celts during the Iron Age.

Celtic mythology can be considered an umbrella term for mythologies of different Celtic tribes.

Celtic identity is based on culture and language rather than race or ethnicity.

Archaeological evidence and surviving manuscripts provide insights into ancient Celtic paganism.

Irish and Welsh mythologies share similarities, suggesting a common Celtic mythological experience.

J. R. R. Tolkien was inspired by Celtic mythology, including characters like Nuada and Nodens.

Irish monks played a crucial role in preserving Irish mythology after the fall of the Roman Empire.

Christian scribes influenced the Irish myths, incorporating elements like the Lebor Gabála Érenn.

Irish mythology is organized into four cycles: Mythological, Ulster, Fenian, and King Cycle.

The Mythological Cycle focuses on the invasions of Ireland by various races, including the Tuatha Dé Danann.

The Ulster Cycle, featuring Cú Chulainn, is compared to the Irish Iliad and revolves around the Táin Bó Cúailnge.

The Fenian Cycle follows the adventures of Fionn Mac Cumhail and the Fianna, including the famous Pursuit of Diarmuid and Gráinne.

The King Cycle blends history and myth, featuring stories of rulers like Brian Boru and mythological figures.

An alternative categorization of Irish myths includes prim-scéil for major tales and fo-scéil for minor tales.

Lake-bursts, a supernatural phenomenon, are a common story category across the Celtic world.

Transcripts

While you often hear the two terms used interchangeably, are Irish mythology and Celtic mythology the

same thing?

The short answer: no. They're different

The longer answer: While they’re not synonyms, Irish mythology and Celtic mythology are connected.

There are two ways we can think about this, and that's because there are two ways one

can interpret the meaning of Celtic mythology.

Now, if the first thing that pops into your head when you think of Celtic mythology is

a dude with gigantic antlers sprouting out of his skull then you're effectively interpreting

Celtic mythology to mean Gaulish mythology.

Ancient Gaul, which consisted of modern-day France, Belgium, northern Italy, western Switzerland

and parts of the Netherlands and Germany, was the home turf of the Gaulish or Gallic

speaking Celts.

That dude with the antlers, who's often depicted wearing a torc and sitting cross-legged?

He's the ancient Celtic/Gallo-Roman nature god Cernunnos.

And while there are dozens of depictions of Cernunnos spread across Europe the overwhelming

majority of them appear in northeastern Gaul.

Indeed there is a whole pantheon of deities centered in Gaul, including Taranis, god of

thunder, who’s been called the Gaulish Jupiter;

Toutatis, tribal protector-god, a.k.a. the Gaulish Mars;

Ogmios, god of eloquence/club-wielding hero who’s been described as an older version

of Hercules;

Lugus, the many-skilled god who's been called the Gaulish Mercury;

Belenus, who may or may not be a sun-god but regardless he’s been called the Gaulish

Apollo;

Gobannus, the smithing god, comparable to Vulcan;

Sucellus, god of agriculture and prosperity who’s been called the Gaulish Dis Pater;

And Epona the horse goddess—and possible leader of souls (a.k.a. psychopomp)—whose

cult became so popular that, between the first and third centuries CE, she was worshiped

not only across the Roman Empire but in Rome itself.

Now, it is absolutely valid to refer to the aforementioned gods as Celtic gods. And by

extension it's valid to refer to stories about said gods as Celtic mythology.

The ancient Gauls were Celtic-speakers after all.

What's more, for much of antiquity, the Gauls were the Celts. At least according to their

Greco-Roman neighbors.

As archaeologist Barry Cunliffe notes in his book Druids: A Very Short Introduction, in

Classical texts, “the names ‘Gauls’ and ‘Celts’ were often used interchangeably.”

Granted, the ancient Gauls didn't really write much down, which was due in large part to

a druid-enforced taboo on writing down sacred knowledge.

So most of the information we have concerning the mythical exploits and interminglings of

Gaulish deities—like the horned god Cernunnos and the horse goddess Epona and the agricultural

god Succelus, from whom, the Gauls believed, all Gauls were descended (will that be factoid

relevant in a few seconds? maybe…)—comes from surviving inscriptions and descriptions

given by Classical writers and conquerors, like Julius Caesar.

Source material aside, when we take this view of Celtic mythology, with its focus on the

Gaulish pantheon, it's easy to see what makes it different from Irish mythology:

Irish mythology is…from Ireland.

Its stories are set, for the most part, in and around Ireland.

And it has its own pantheon of Irish deities, separate from the Gaulish ones, known as the

Tuatha Dé Dannan.

Members of the Tuatha Dé Dannan include Ogma, the god of language and eloquence; Lugh, the

god of many talents; Bilé, god of death; Goibniu, the smith god; the Dagda, the father

of the Irish gods, from whom all the gods were descended; the Morrígan, triple goddess

and goddess of battle; Manannán mac Lir, the sea-god; and Nuada Airgetlam, the silver-handed

leader of the Tuatha Dé Dannan.

You know, deities that are distinctly Irish with no…uh…wait, what's happening? What's

going on with that chart?

Oh, right.

You see, some of the Irish gods have possible parallels or cognates with the aforementioned

Celtic gods.

Which makes sense given that the mythology of Ireland, or at least the version we inherited,

was created by…Celts.

Different Celts. These were Gaelic- or Goidelic speakers. Not Gaulish- or Gallic-speaking

Celts. But Celts nonetheless.

And when their Celtic language and culture arrived in Ireland, likely during the Iron

Age, new meanings were attached to the dolmens and tumuli that had adorned the Irish landscape

since the Stone Age.

These megaliths became the homes of the gods and portals to the Otherworld.

That’s essentially how Irish mythology was born.

And that leads us to the second way one can think about Celtic mythology.

Because if Irish mythology is also an ancient Celtic storytelling tradition concerning the

activities of divine beings, which it is, then one could easily make the argument that

Irish mythology is a form of or subcategory of Celtic mythology.

And I wouldn't argue with that.

In fact, I’ll gladly make the argument for that.

Celtic Mythology: The Ultimate Umbrella Term

At the end of the day, or the Iron Age, as it were, Irish mythology can be considered

a branch of Celtic mythology similar to how Catholicism is a branch of the broader religious

tradition of Christianity.

No, that's not a perfect analogy, but the takeaway is that Celtic mythology can be used

as an umbrella term to refer to all of the mythologies of the different Celtic tribes.

So in addition to the Gaulish-speaking Celts who lived in Gaul and the Gaelic-speaking

Celts who settled in Ireland, Scotland, and the Isle of Man, you’ve got the Brittonic-speaking

Celts who settled in Wales, Cornwall, and Brittany; the Boii who lived in what is now

Northern Italy and Austria and Hungary and the Czech Republic; the Celtiberians who lived

in what is now central Spain; the Gallaeci in Portugal and Galicia and western Asturias;

the Galatians in Turkey; and the Lepontii up in the Alps.

Yes, all of those tribes spoke Celtic languages—languages that originated with a common proto-Celtic

progenitor.

And language, of course, is elemental to what it means to be Celtic.

Remember, the Celts were not a continuous lineage of people, meaning, for example, that

the Gaelic-speakers who settled in Ireland were not genetic descendants of the original,

proto-Celtic peoples who emerged in Central Europe in the Late Bronze Age.

Celtic isn't a race or ethnicity—it's a culture.

And we can map the spread of that culture both through language and mythology.

The Gauls, the Gaels, the Britons, the Boii, the Celtiberians, the Gallaeci, the Galatians,

the Lepontii—they all practiced some form of what scholars call the Ancient Celtic religion,

more commonly known as Celtic paganism.

And while in the majority of cases (don’t worry, we’ll get to the exceptions), there

are no surviving written accounts of the Celtic mythologies (plural) associated with these

religions, we can still glean their existence from archaeological evidence.

And, we can speculate based on what we find in the manuscripts that have survived—specifically

those associated with the Irish and Welsh traditions.

Indeed when we look at Irish mythology and Welsh mythology side by side, we find many

similarities between their characters and narratives, despite the fact that one came

from a Gaelic Celtic tradition and the other from a Brittonic Celtic tradition.

For example, the famed Irish hero Fionn mac Cumhaill has a parallel in the Welsh hero

Gwynn ap Nudd.

In Old Irish Fionn meant white or fair, while in Old Welsh Gwynn meant the same thing (white

or fair). Same word, different Celtic language.

This pattern continues with the Irish sea-god Manannán mac Lir ("Mac Lir" meaning "son

of the sea") who has a watery Welsh doppelganger in Manawydan fab Llŷr.

Then there's the leader of the Irish gods Nuada Airgetlam (Nuada of the Silver Arm or

Hand) who has a parallel in the Welsh character Nudd Llaw Ereint, Nudd of the Silver Arm or

Hand, who, in the myths, ruled all of Britain.

It's likely that Nuada and Nudd (later called Lludd) were both derived from an earlier Celtic

god Nodens who was worshiped in pre-Roman Britain.

And I’d be remiss not to mention that a one mister Mr. J. R. R. Tolkien once visited

the ruins of a temple to Nodens located at Dwarf’s Hill, a site known for its network

of tunnels and iron deposits and inscriptions that talk about a cursed ring.

You can’t make this up. Well, I mean, you can. You know what I mean.

As far as I can tell, it was Tolkien who first drew the connection between Nodens and the

Irish Nuada of the Silver-Hand, who in turn inspired Tolkien's character Celebrimbor,

the Elven-smith, whose name means—you guessed it—silver hand.

Anyway the point I was trying to make before I went off down this hobbit hole is that there

is clearly some connective tissue between Welsh and Irish and Gaulish mythologies.

Back to the chart.

The Welsh Eufydd fab Dôn, the Irish Ogma, the Gaulish Ogmios: possible cognates.

The Welsh Llew, the Irish Lugh, the Gaulish Lugus: possible cognates.

The Welsh Beli Mawr, the Irish Bile, the Gaulish Belenus: possible cognates.

The Welsh Gofannon, the Irish Goibniu, the Gaulish Gobannus: possible cognates.

The Welsh Rhiannon, the Irish Morrigan, the Gaulish Epona: possible cognates.

Now, originally I envisioned the Gauls as sort of being the founders of Celtic mythology,

who then passed the torch onto the Irish and Welsh.

However, when we look at how the different Celtic languages actually evolved, branching

off from proto-Celtic, regardless of whether you go with the P-/Q-Celtic classification

system or the insular/continental classification system, the end result is the same:

Like the Irish language itself, which evolved independently of the Gaulish language, Irish

mythology likely evolved independently of Gaulish mythology.

And this points to the likelihood that there was once a common Celtic mythology—or proto-Celtic

mythology—that went hand-in-hand (or word-for-word?) with the proto-Celtic language.

To quote historian Peter Berresford Ellis's A Dictionary of Irish Mythology:

“The fact that one can see relationships and counterparts demonstrates that Irish mythology

is not a separate entity from the rest of the Celtic world. In it we find echoes of

a common Celtic mythological, religious and, perhaps, historical experience.”

Irish Mythology: The Best-Preserved Form of Celtic Mythology

Historian Thomas Cahill famously argued that following the collapse of the Roman Empire,

the Irish effectively saved Western Civilization by copying and preserving important texts.

Imagine an Irish monk, up in his stone tower, surrounded by ink and vellum. He’s pulled

up his ladder to prevent Viking marauders from getting inside.

It’s probably no exaggeration to say that actions such as these helped preserve Irish

mythology for future generations.

Now, did the Christian scribes who recorded the Irish myths we now know and love today

take a few liberties here and there?

Of course they did.

The Christian influence is readily apparent in the texts.

Just take a look at the Lebor Gabála Érenn, or "The Book of the Taking of Ireland"—often

referred to as the Book of Invasions.

Dated to the 11th century, the book details the arrivals of the different mythical races

of Ireland and concludes with the Milesians—Celtic-speakers from Spain—displacing the Irish gods, the

Tuatha De Dannan, and sending them underground.

But interestingly, the Lebor Gabála Érenn tells us that Ireland's very first wave of

settlers is led by Noah's granddaughter, Cessair, who also lends that group their name: the

Cessair.

And yes by Noah I mean Old Testament Noah with the flood and the ark and the animals.

In other texts it's shown that the hero Fionn mac Cumhaill's lineage can be traced back

to Míl Espáne King of Spain, namesake of the Milesians, and back to Queen Scota of

Egypt, namesake of the country Scotland, and all the way back to Adam and Eve.

Later, Fionn's son Oisín, Ireland's greatest poet who disappeared to Tir na nÓg (the land

of youth or the land of promise) for 300 years, can be found rubbing elbows with none other

than Saint Patrick.

So yeah, while Christian monks did much to preserve Irish mythology, it's obvious that

what they handed down to us isn't the purest form of this Celtic storytelling tradition.

As with other Celtic peoples, it seems the Gaels in Ireland--and specifically their druid

class--had a taboo against writing down sacred knowledge. Thus, their religious stories were

only shared orally prior to the arrival of Christianity.

To quote Celtic scholar Georges Dottin:

“It is probable that the most ancient pieces of the epic literature of Ireland were written

before the middle of the seventh century; but how long previously they had been preserved

by oral tradition — this is a point that is difficult to estimate.”

The Four Cycles of Irish Mythology

Today, scholars organize Irish mythology into four distinct chronological phases, or cycles:

The Mythological Cycle, the Ulster Cycle, the Fenian Cycle, and the King Cycle.

Let's run through them one by one:

1. The Mythological Cycle

Stories in the Mythological Cycle concern themselves primarily with the various races

of gods and god-like people who successively invade and inhabit Ireland in the pre-Christian

era.

These are, in order, the Cessair, the Partholónians, the Nemedians, the Fir Bolg, the Tuatha Dé

Danann, and the Milesians.

And of course just like a phase in a modern cinematic universe, every storytelling cycle

needs its big bad.

In the case of the Mythological Cycle, that’s Balor of the Evil Eye, a monster with a humongous

fiery eye that can vaporize entire armies.

Balor is the leader of the Fomorians, who originated from beneath the earth and yeah

if this is all starting to sound familiar it’s because Tolkien read all of this stuff

too.

Think about it: the Tuatha Dé Danann are the mystical Elves who recognize that the

Age of Men (the Milesians) is upon them so they must go to Valinor, "the Undying Lands",

which sounds an awful lot like Tir nan Og, the land of youth.

Anyway, the survival of these myths hinges largely on two medieval manuscripts: the aforementioned

Lebor Gabála Érenn and the Metrical Dindshenchas (Lore of Places).

Popular stories from the Mythological Cycle include the Children of Lir, which sees the

titular Tuatha Dé Danann sea-god (and inspiration for Shakespeare’s King Lear) fathering four

children who are turned into swans by his jealous second wife; and The Wooing of Étain,

in which the titular princess falls in love with the god Midir of the Tuatha Dé Danann

but then his angry ex transforms Étain into a bejeweled fly.

Yeah, there’s a whole lot of transforming into animals in this cycle and in Irish mythology

in general.

Speaking of animals: Étain is sometimes given the epithet Echraide, meaning "horse rider",

suggesting a possible connection to the Gaulish Epona and the Welsh Rhiannon.

2. The Ulster Cycle

The Ulster Cycle a.k.a. the Red Branch Cycle concerns the warriors, known as the Red Branch,

who defend Ulster during the reign of Conchobhar Mac Nessa.

The main stories of the cycle comprise the epic Táin Bó Cúailnge, which has been described

as the Irish Illiad.

The Táin, as it’s known for short, sees Queen Medb and her husband King Ailill of

Connacht wage war against Ulster all for the sake of the prized stud Donn Cúailnge, the

Brown Bull of Cooley.

The primary hero of this cycle is Cú Chulainn, the Hound of Culann, also called the Hound

of Ulster, who is sometimes compared to Achilles but who is definitely more like the Irish

hulk.

The myths of the Ulster Cycle are preserved in two 12th-century texts: the Leabhar n hUidre

(Book of the Dun Cow) and the Leabhar Laigeneach (Book of Leinster).

3. The Fenian Cycle

The Fenian Cycle chronicles the adventures of the hero Fionn Mac Cumhail and the Fenians,

also known as the Fianna, who were a band of warriors responsible for guarding the High

King of Ireland.

Within the Fenian Cycle we find the Macgnímartha Finn, or boyhood deeds of Fionn, a collection

of stories chronicling the hero’s rise from forced exile and fosterhood to his feasting

on a supernatural fish (the Salmon of Knowledge), to him—as a ten-year-old!—defeating a

fire-breathing, literally Otherworldly monster with a magical spear on Samhain, thus saving

Tara (the seat of the High King) from certain destruction.

But arguably the most famous story from the Fenian Cycle, the Pursuit of Diarmuid and

Gráinne, is set chronologically much later, when Fionn is an old man.

In the story, Gráinne, Fionn’s betrothed, runs off with a young, dashing warrior of

the Fianna, Diarmuid Ua Duibhne, or Diarmuid of the Love Spot, foster-son of the love-god

Aengus.

Shenanigans ensue.

Including Diarmuid meeting his demise at the sword, no, sorry make that at the tusk of

his step-brother who had been turned into a magical boar.

Note: The Fenian Cycle is also known as the Ossianic Cycle after the cycle’s alleged

author, the aforementioned Oisín.

4. The King Cycle

Also known as the Cycle of the Kings or the Historical Cycle, the King Cycle blurs the

lines between history and myth more so than any of the earlier cycles.

Geared toward providing examples of how to be a good ruler, the cycle features the likes

of real historical figures, such as the Irish king Brian Boru, born in 941 CE, as well as

purely mythological ones, such as Labraid Loingsech (or Loinseach), the Mariner Who

Speaks, who, according to Irish legend, was an exiled High King of Ireland who lost the

ability to speak after eating his father’s heart.

Yum.

One of the most popular stories of the cycle is Buile Shuibhne: The Frenzy of Sweeny (or

The Madness of Sweeney).

The story tells of a king of the Dál Riada, Suibhne Geilt, who, after fleeing a battle

journeys through Ireland’s wild places in search of peace of mind.

This Irish character might have helped inspire Merlin from Arthurian Legend but it's still

up for debate.

FYI: I wrote a series of essays about Sweeney and Merlin and Myrridin and the origins of

the Celtic wild man of the woods motif over at IrishMyths.com.

Another Approach to Categorizing Irish Myths

While the four cycles approach to Irish myth categorization has become ubiquitous in the

study of Irish mythology, it can be a bit confusing since the Irish gods i.e., the Tuatha

de Danann and their descendants can and do appear across multiple cycles.

The Morrigan, for example, after playing a significant role in the Mythological Cycle,

goes on to effectively haunt the hero Cu Chullain during the Ulster Cycle, and is a witness

to his death.

True, while some particular stories may veer more into legend or folktale or even history

territory, myths (naturally) abound across all four cycles of Irish mythology.

Which is why it's so weird that the first cycle of Irish mythology is called the mythological

cycle.

And here's the thing: it hasn't always been like this.

Prior to the adoption of the four cycles, chroniclers of Irish mythology organized stories

into two main categories, prim-scéil (chief tales) and fo-scéil (minor tales).

According to Ellis, prim-scéil stories included battles, voyages, tragedies, adventures, military

expeditions, courtships, elopements, concealments, destructions, sieges, feasts, slaughters,

and cattle-raids—there were a lot of cattle-raids.

Whereas the fo-scéil included pursuits, visions, exiles or banishments, and lake-bursts.

The lake-burst or tomhaidhm in Irish is both a natural—make that supernatural—phenomenon

as well as a genre of bardic story in which a lake or bay or other body of water just

sort of bubbles up out of nowhere, often when someone is digging a grave.

Granted the most famous lake-burst from Irish mythology, arguably, occurs at Lough Neagh

as a result of a giant magical horse, a gift from the aforementioned love-god Aengus, taking

a pee.

Which reminds me: Aengus, son of the Dagda, also goes by the moniker Mac Óg ("young son"),

and has a likely cognate in the Welsh mythical figure Mabon ap Modron, as well as in the

Gaulish god Maponos, a.k.a. the Great Son.

But back to the lake eruptions.

Turns out they're a pretty common story category across the Celtic world—or at least the

Atlantic Celtic world—with examples appearing in medieval manuscripts in Wales, Cornwall,

Brittany, and Normandy.

And no while Normandy is not considered a bastion of Celtic culture in the same way

that Ireland, Wales, Cornwall, and Brittany are, (alongside Scotland and the Isle of Man

and occasionally Galicia and Asturias they're considered the six or eight modern Celtic

nations), Normandy was, for much of its history, teeming with Gaulish tribes.

So once again we find another possible link connecting the mythologies of Gaulish-speaking

Celts, Brittonic-speaking Celts, and Gaelic-speaking Celts.

And once again we catch a glimpse of a theoretical common Celtic mythology that would ultimately

seed the creation of Irish mythology.

If you enjoyed this video, please like and comment and basically just tap all of the

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That really, really helps.

And if you want to learn more about Irish and Celtic paganism, check out my book Samhain

in Your Pocket, a Tiny Little Book About the Celtic Origins of Halloween.

My name is I. E. Kneverday, editor of the short story collection Neon Druid and creator

of IrishMyths.com.

Thanks for comin' out.