The Horse in Early Medieval Britain

By Elaine Moxon

In heraldry, the horse signifies readiness to act for one’s king and country or a readiness for duty. It is also a symbol of speed, intellect and virility. These attributes have their roots in very early history. Our affinity with this beast resonates throughout our pre-history. In Sub-Roman Britain our Celtic ancestors were riding horses as well as using them to pull chariots, which were themselves symbols of speed and agility. At Sutton Hoo there is a wealth of grave goods highlighting the importance of horses in Saxon noble culture from the 5th Century onwards (gilt-bronze decorated bridles, bran tubs, horses as symbols on metalwork and ceramics such as Pagan cremation urns, bow-brooches, footplates).

Sutton Hoo helmet
Picture courtesy of A.J. Pilkington

Detail of Sutton Hoo helmet
Picture courtesy of A.J. Pilkington

Aside from burials, archaeological evidence does exist to support horses used in Anglo-Saxon warfare between 650 – 899AD, although there are some who continue to dispute this. Wooden saddles and a step-rope for mounting (not a riding stirrup) were being used. The horse was incredibly useful as transport, scouting, a fast attack (as I used in my ‘Battle of Bathumtun’ in WULFSUNA) and, if an army came under siege, food. Whilst no direct evidence exists of warriors engaging in battle on horseback, that is not to say it could not have been the case and indeed, I made use of this grey area when writing my novel. Lack of archaeological evidence can often provide the writer room for fictional creativity!

Bede mentions the bearing of weapons and riding a stallion as ‘attributes of the elite male warrior class’ so to ignore this, even if it may be a social or cultural stereotype, would be to ignore at least an essence of the historical fact. Likewise, Sundkvist says the horse is ‘the most important animal of the Old Scandinavian cult’. They ‘played a part in sacrifices and divination, were emblems of sovereignty and symbolised a warrior-ideal’. To support these comments, an array of Old English words abound that refer to horses and their upkeep:

Stodfaldas – stud folds/paddocks
Stodmyra – stud mares
Stodhors – stud stallions
Stodðeofas – stud thieves
Hengest – stallion
Horsa – horse
Horsþegn – horse thegn/thane

There are also several mentions of the importance of horses in a variety of literature from, or in reference to, the Early Medieval period or thereabouts. These further substantiate horses as means of owning and showing wealth and a deeper spiritual connection with the divine. It is worth noting here that in Germanic culture white horses were linked to nobility and kingship, while red (chestnut) horses were linked to Frejya and fertility.

‘a saddle made fair with skill, adorned with gems...was the war-seat of the high-king.’~ Beowulf

(Horse) ‘is for leaders the joy of princes –
A steed proud in its hooves – where the hero
Wealthy in mounts exchanges speech –
And shall always be a comfort for the restless.’~ Old English Rune Poem, Exeter Book

‘Peculiar to that people, in contrast, is to try as well the portents and omens of horses: maintained at public expense in the groves and woods, they are white and untouched by any earthly task; when yoked to the sacred chariot, the priest and the king or leading man of the state escort them and note their neighs and snorts. To no other auspices is greater faith granted, not only among the common folk, but among the nobles and priests, for they see themselves as mere servants of the gods, but the horses as their intimates.’~ Tacitus (of horses and the Germanic people).

‘...all the blood from them was called hlaut (sacrificial blood), and hlautbolli, the vessel holding that blood; and hlauteiner, the sacrificial twigs (aspergills). These were fashioned like sprinklers, and with them were to be smeared all over with blood the pedestals of the idols and also the walls of the temple within and without; and likewise the men present were to be sprinkled with blood. But the meat of the animals was to be boiled and to serve as food at the banquet.’~ Snorri, Saga of Hákon the Good from Heimskringla

‘I know that I hung on the windy tree
For nine full nights, wounded with a spear, given to Oðinn,
Myself to myself,
On that tree of which no one knowsFor nine full nights, wounded with a spear, given to Oðinn,Myself to myself,On that tree of which no one knowsWhere the roots run.’~ Hávamál, from Prose Edda

Yggdrasil Tree
Wikimedia Commons [Public Domain]

That aforementioned tree is Yggdrasil, the World Tree connecting all the worlds in Norse (and Germanic) mythology. It is interesting to note that ‘Yggdrasil’ can be translated as Ygg’s Horse and ‘Ygg’ is another name for Odin. Odin, or the Saxon equivalent Woden, was the Chief of all the gods in later centuries (replacing Tiw as the all powerful leader of the gods). He of course rode ‘Sleipnir’ the famous eight-legged horse to enable him passage between the land of the living and the land of the dead, resonating with other cultures and legends like ‘Epona’. The same might be said of the mythical unicorn or Pegasus. All of these horse-like creatures link in some way to the divine and magical.

It is not uncommon to find that the eating of blood or flesh of animals, thought to be a link to the divine, is carried out as a way for people to connect with deities. For instance, on the Baltic island of Őland, hundreds of horse remains have been unearthed. The animals were stabbed for blood-letting and their bones split to remove the marrow. Feasts of horseflesh have also been uncovered from the Viking period at Lade and Maere in Trøndelag, Norway. In Denmark there are records of horse sacrifices every nine years, nine being a magical number for the Saxons and other Germanic people.

In conclusion, the Early Medieval age is steeped in horse mythology and the enduring image of warrior and horse irrevocably entwined; an image that would prevail for centuries after.

Bibliography 

Seven Ages of Britain – Justin Pollard
A Nobleman Should be on a Horse’s Back – Stephen Pollington
Woden’s Warriors – Paul Mortimer

Additional Attributions

Yggdrasil Tree By Unknown - AM 738 4to, 44r. Digitized version available from http://skaldic.arts.usyd.edu.au/db.php?table=images&id=22912. Image processing (crop, erase etc.) by Skadinaujo (talk · contribs), Public Domain, https://commons.wikimedia.org/w/index.php?curid=6049413

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Elaine Moxon writes historical fiction as ‘E S Moxon’. Her debut Wulfsuna was published January 21, 2015 and is the first in her Wolf Spear Saga series of Saxon adventures, where a Seer and one named ‘Wolf Spear’ are destined to meet.

She is currently writing her second novel, set once again in the Dark Ages of 5th Century Britain. You can find out more about Book 2 from Elaine’s website where she has a video diary charting her writing progress. She also runs a blog. Elaine lives in the Midlands with her family and their chocolate Labrador.

Blood, betrayal and brotherhood.
An ancient saga is weaving their destiny.
A treacherous rival threatens their fate.
A Seer's magic may be all that can save them.

Winter Crone Legends

by Elaine Moxon

"She who hardens the ground with the frost and ice, which quickens the dormant seeds in the earth's womb."

'VISIONS OF THE CAILLEACH' - Sonia d'Este & David Rankine

'The Cailleach' by Michael Hickey

Winter is almost upon us, the solstice looming as the nights lengthen and daylight becomes a rare and precious thing. To our ancient ancestors we are in 'Geimredh', the dark half of the year. The sun takes his leave of us for more and more hours, our lives increasingly illuminated by the moon. Writing Dark Ages historical fiction, it is important that I know what this time means to my characters, both Britonic and Saxon. Both cultures contain legends of the Crone or Winter Hag, a goddess of good or evil who shapes the land and controls the very forces of nature. She has many guises and names, including:-

• Death Goddess
• Wise Woman
• Frau Holle/Hel
• Valkyrie
• Cailleach
• Lady of the Beasts
• Hag of the Mist
• Harsh Spirit of Winter
• Hag of the Mill-Dust

Geimredh begins at 'Samhuinn' (1st November), which for the Celts marked the beginning of a new year, a beginning shrouded in darkness, where they believed the veil between the living and dead was at its thinnest, thus allowing ease of communion between the worlds. Incidentally, burial chambers and stone circles are often oriented to the midwinter solstice, aligning those buried and the winter rituals performed within them to the Otherworld. It is also the time of the last harvest where the pagan Lord dies with the cutting of the last sheaf and begins his journey through the underworld, laid to rest in the womb of the Great Mother. It is therefore fitting that his matrimonial partner, the Lady or Goddess, takes the helm to guide her people until he is re-born in the spring. Then she will be the virgin maiden, awaiting her lover. If the harvest was good, this final sheaf was fashioned into a 'kern maiden', referencing the fruitful spring goddess. However, if the harvest was poor, it was fashioned into the guise of the Crone and no, one farmer would wish to keep it long in his house for it brought bad luck. Such was the fear of the Crone's power.

Even before man cultivated grains and modelled kern maidens, the Crone was still venerated and was a symbol of death. The elder tree is sacred to the autumn equinoxe for pagans to this day, but as far back as the Megalithic period it was present. Known as the 'tree of death', representations of elder leaves have been found carved onto funerary flints at Megalithic burial sites. There is also evidence of Welsh and Manx Celts planting elders on new graves. Winter continues to be a harsh time for many in our modern world. Death is never far away. The old or infirm, people or animals, can perish. For our ancestors, living so close to the land, tied by their dependency upon it, this was moreso. As in death, the world around them was bereft of light. Devoid of life, it must have seemed as though the Otherworld had taken over; the world of the Crone. In winter, fodder is scarce and our ancestors slaughtered weaker animals to save feed for the stronger beasts, and to feed themselves through the winter.

In such a barren landscape, any fruits borne during this time were considered sacred. Apples, a symbol of the sun and immortality, would be stored as long as possible. These remain in our modern psyche when we bob for apples at Hallowe'en, chew toffee apples or wassail our apple trees. When cut crossways an apple forms a 5-pointed star or 'pentacle' and this referred to the 5 sacred roles of the Lady or Goddess: birth, initiation, consummation, repose and death. Blackberries, with their growing cycle of green-red-black as the fruits turn, signifies the 3 stages of the goddess as maid-mother-crone and was sacred to the Celts. They also revered the hazelnut tree, as in autumn it produces flowers for beauty and fruit (nuts) for wisdom. Eating the nuts was said to impart knowledge and wisdom to those who ate them. Its association with water (the entrance to the Otherworld) made it a popular offering and has been found in lakes, wells and springs - once again the domain of female deities. This is further confirmed by 'Coll', the bardic number nine - hazel trees fruit after 9 years of growth. Nine is sacred to the aspect of the triple goddess (3 x 3 = 9). Finally, elder berries, indeed any berries remaining through winter, were deemed by the Druids to be a gift from the 'Earth Mother' or Crone and would be gathered to make ceremonial wines. In other rituals, married Celtic women would paint their naked bodies in woad to honour 'the veiled one'. Again, this is a reverence of the Winter Crone, She who controls the veil to the Otherworld, She who folds the elderly and 'tired children into her cloak of death to await another dawn'.

'White Wolf' courtesy of wallpapercave.com

The Crone can be found throughout many cultures in both a benevolent and malevolent form. You may recognise some of them!

"It is written that before the Norman invasion of England, Gyrth had a dream that a great witch stood on the island, opposing the King's fleet with a fork and trough. Tord dreamed that before the army of the people of the country was riding a huge witch-wife upon a wolf, and she tossed the invading soldiers into its mouth."

FROM BRANSTON'S DESCRIPTION OF A FAILED INVASION ATTEMPT BY HAROLD HARDRADA IN 1066 IN 'THE LAST GODS OF ENGLAND'.

Here we see resemblance to the Norse Valkyrie, Frau Holle or Hel - goddesses associated with death.

She rides through the sky on the back of a wolf, striking down signs of growth with her wand, spreading winter across the land. If she sees you, she will keep her mantle of snow over the land, so you must remain still.

"The man held the Druid wand first over his head and then over hers, at which she dropped down as if dead. He then mourned for her, dancing about her body to the changing music. Then he raised her left hand, touched it with the wand, and the hand came alive, and began to move up and down. The man became overjoyed and danced about. Next he would bring her other arm and her legs to life. Then he knelt over her, breathed into her mouth and touched her heart with the wand. She leapt up fully alive, and both danced joyously."

THE 'CAILLEACH AN DUDAIN' DANCE OR 'HAG OF THE MILL-DUST', APPROPRIATELY DANCED AT THE AUTUMN EQUINOXE, FROM THE ORDER OF BARDS, OVATES AND DRUIDS FOR 'ALBAN ELUED'.

Here we see 'the death of the fertile Mother of Life in the barren months that were to come and the promise of her resurrection in springtime'.

Other familiar representations of the Winter Crone are the Hag witches in Disney's 'Snow White' and 'Sleeping Beauty', where the aforementioned princesses are the spring-like maidens and the evil Crones their nemeses. We can also find similarities between the 'Snow Queen' in C. S. Lewis' 'The Lion, the Witch and the Wardrobe', who is reminiscent of Hans Christian Andersen's 'The Snow Queen'. Meanwhile, Queen Elsa of Disney's 'Frozen' provides us with a more benevolent Winter Witch. She holds swathe over the land that is plunged into an eternal winter, building a palace of ice and a giant, boulder-like creature. As Beowulf hunts Grendel's mother in her watery cave (another Crone legend), so Elsa is hunted. It takes her sister Anna, another representation of the spring goddess, to persuade Arundel's population their Snow Queen has a good heart and can, if she wants to, remove winter from the land.

'The Snow Queen' by Elena Ringo

In conclusion, we are never far from these legends. Despite the many years separating us from our Megalithic or Dark Age ancestors, the legends persist and continue to permeate our so-called 'modern' lives. In reality, we are closer to our forebears than we imagine!

BIBLIOGRAPHY:

'Pagan Feasts' - Anna Franklin & Sue Phillips

'Visions of the Cailleach' - Sonita d'Este & David Rankine

'Alban Elued' - Order of Bards, Ovates & Druids

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Elaine has always loved writing and history. When she decided to combine the two, she wrote her Dark Ages debut 'WULFSUNA', which was published in January 2015 through SilverWood Books. She enjoys baking, knitting and gardening and lives in the Midlands with her family and their mad Labrador. She is currently writing the second book in her ‘Wolf Spear Saga’ series.

'Sacred Fire'

by E S Moxon

After publishing Wulfsuna, the first in my Wolf Spear Saga series, in January 2015 I took a break for a few months before embarking on the planning for my next book. Writing often sparks the necessity for research when we happen upon a circumstance and need more detail. However at other times research can spark ideas for writing. For this reason I enjoy researching for my novels, hoping to find something unusual that provides inspiration for part of the current work in progress. My research comes from many places: books on my shelves, libraries, reenactors and the World Wide Web. My gem of a find this time was an article entitled ‘St Anthony’s Fire’ courtesy of Pearson College, CA and a website called ‘iamshaman’ both from 2004.

Known as ‘Sacred Fire’ and ‘Invisible Fire’ the claviceps purpura fungus, or ‘ergot’, germinates on rye in warm, damp conditions but is dormant in severe cold. Growth is therefore more prevalent in a wet summer following a harsh winter. The fungus is poisonous and manifests in several ghastly forms:

• -          Gangrenous
• -          Convulsive
• -          Hallucinogenic

Each of these has particularly vulgar symptoms. For instance the gangrenous strain produces areas of the body that become numb to touch or pain, known in medieval times as ‘witch spots’. Vein and artery walls contract, stemming blood flow and limbs literally break off at the joints! If the central nervous system becomes infected the body is thrown into violent convulsive fits and twitches (the convulsive form) and the ergot component lycergic acid (also in LSD) gives the sufferer hallucinations.

As you can imagine, in medieval times the causes of these symptoms would have been beyond the comprehension of most and assumptions of witchcraft were attributed. Both the afflicted and those attempting to heal (family members or healers) were accused. The sick were either seen as witches themselves who were being punished by god for spell casting, or as the victims at the hands of others’ dark deeds. Other factors that did little to assuage these accusations were the illness of cattle and other animals (falling ill as a result of grazing on infected rye) and that ground infected rye turns red, blood being a further sign that witchcraft was involved.

Consequently, witch trials increased during outbreaks of ergot poisoning and many met their deaths unjustifiably, as a cause of the ergot fungus. As a writer of historical fiction, with elements of magic and fantasy running through my sagas, I could not help but be intrigued by this phenomenon that can exist today where humid, wet summers and poor grain storage create the right conditions. Unable to resist using this newly acquired information, it is now part of a plotline in my next novel!

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Elaine (E S Moxon) is currently writing Book 2 in her Wolf Spear Saga series. Her debut novel Wulfsuna is published by SilverWood Books and is also available from most retail outlets. You can find out more about E S Moxon and her novels from her website here