These pages are intended to provide information — objective and subjective — about the Celtic goddess named the Morrighan (an Mhór Rioghain, Morrígan, Mórrigan, Morrigan, Morrigu). In them you will find my thoughts and feelings concerning her. You will also find links to other sites and pieces of writing concerning her, as well as artwork created by a wide variety of artists depicting her. These links are to be found on the right side of the page beneath her name.

Because the contents of this page has grown so lengthy over the course of the last few weeks I've provided the four links below to take you to the major sections of the page quickly and easily.

“Within the chariot was a woman, her eyebrows red and a crimson mantle round her. Her mantle fell behind her between the wheels of the chariot so that it swept along the ground...”

The Morrighan (in Gaelic Mhór Ríoghain; also Morrígan, Mórrigan, Morrigan and Morrigu) is an Irish-Celtic goddess whose worship is thought to date back to the Stone Age, though properly in this form she is more accurately portrayed as originating later in the Bronze Age. Her name means "Phantom Queen" or "Great Queen". She is often viewed as being a patron goddess of war, warriors, battle and strife, as well as sovereignty, fertility, prosperity and magick. Mytho-history tells us that she is a member of the Tuatha De Danann (People of the Goddess Danu) and may have been the consort of the Dagda or Lugh or both at different times. Danielle Ní Dhighe has this to say about her earliest origins:

The origins of the Morrígan seem to reach directly back to the megalithic cult of the Mothers. The Mothers (Matrones, Idises, Dísir, etc.) usually appeared as triple goddesses and their cult was expressed through both battle ecstasy and regenerative ecstasy. Later Celtic goddesses of sovereignty, such as the trio of Éire, Banba, and Fótla, also use magic in warfare (Ní Dhighe, 1996).

Incorrectly understood

Like many goddesses of the Celtic pantheons, she is perceived by certain groups of Neo-pagans to be triune, meaning, that she is composed or possessed of three aspects. These aspects are generally considered to be the archetypal maiden, mother and crone, and are linked to the three phases of the moon: waxing (maiden), full (mother), and waning (crone). The Morrighan is also often equated with the general Neo-pagan deity of the Goddess (a purposefully general term), as her crone aspect. Others mistakenly believe her to be composed of three crone goddesses. In general most of these Neo-pagan ideas are incorrect and stem from a watering-down of information that occurs as distinct and unique traditions are recklessly blended into one. Ultimately this process will lead to a Neo-pagan globalism that lacks all of the flavour and richness of its progenitor cultures.

The traditional (modern) understanding of the Morrighan as a goddess of war and of her triune nature comes from the writings of he nineteenth century writings of W. M. Hennessy. His article, 'The Ancient Irish Goddess of War' (1870), has remained until very recently one of the definitive pieces on her (Epstein, pg. 4, 1998). Later writers, expanding upon this work, increasingly emphasize the Morrighan as being the name for a trio of goddesses rather than any individual deity (Epstein, pg. 6, 1998).

Based upon primary sources and stories

According to numerous sources called glossaries the Morrighan is one of the daughters of Ernmas, sometimes referred to as the "three" daughters of Ernmas though in number they are often greater than that. This list can include Ériu, Banba, Fotla, Fea, Nemain, Anu/Danu, Badb, Macha and Morrighan. Of this group, Fea, Nemain, Badb, Macha and Morrighan are all thought to be war goddesses, or in some way connected to war, terror or death. Generally they are also referred to as a trio or war goddesses. It is possible that Fea and Nemain might refer to the same person, but this still leaves four women named as being part of the trio. Some evidence would seem to suggest that Nemain may stand outside of the trio, being associated with matters related to war and battle but not strictly speaking the same. In this case we are left with the three most common Irish goddesses associated with war: Badb, Macha and Morrighan (Epstein, pg. 48 - 68, 1998). A consideration and reconciliation of many sources presents us with the idea that it may be possible to look upon their relationship thusly: "Morrígan, Macha, Badb, and Danu or Anu grouped together regularly as sisters, along with Banba, Fotla, and Ériu, often their sisters or half-sisters. Nemain and Fea are associated with them by contiguity and perhaps genealogy" (Epstein, pg. 71, 1998).

One of the best known stories of the Morrighan deals with her association with the greatest Irish hero of the Ulster Cycle: Cú Chulainn. Their relationship was one of acceptance and rejection, love, indifference and hatred. The most common theme in their story is of her attempts to seduce him (thereby offering the ultimate greatness he desired) and his failure to recognize her or what she offered.

Another story of the Morrighan tells of an earlier time when she and the rest of the Tuatha De Dannans fought against the Fir Bolg for possession of Ireland. In the stories of this period of her life we see a member of a semi-mystical race who is a sorceress for her people, but has not yet been elevated to the status of a goddess. These passages seem to indicate that at this stage she is actively taking a part in physical conflicts, whereas later accounts of her cast her in the role of using more magickal means in battle, and even more frequently in the role of one who inspires warriors to greatness and then attends to them after the battle (dead and alive) but does not take a part in it.

In numerous occurrences both preceeding and during Cath Muige Tuired, "The Second Battle of Moytura," we see the Morrighan fulfilling the role of inspiring warriors to greatness and victory rather than physically taking part in the battle. This ties in to multiple aspects of the nature of Irish warfare and highlights her patronage/embodiment of war in an Irish-Celtic context (Epstein, pg. 80 - 86, 1998).

While I understand and mostly accept these historical and Neo-pagan beliefs, I have some additional ideas about her that are based upon other writings, my own meditations and intuition.

I see her aspects as the moods and feelings that all women experience throughout their lives. I don't picture her as three faces or three bodies, but as one face and one body that shows different moods, different emotions, and different feelings. She can be young and full of life and then old and nearing the passing, just as she can be calm one moment and then battle-enraged in the next. One must also remember that she is a shape-shifter and goddess of magick. Her nature is immensely mutable — swiftly adaptable to circumstance and situation — so that she can be the Battle Raven in one instant and a woman brimming with sexuality the next, or a loving, nurturing mother and then in the blink of an eye the Cailleach. You could say that her nature is as changeable as is the nature of conflict. She can display all the grand horror of carnage filled battles, or the graceful precision of two fencing masters at Heidelberg.

As a war goddess

Most people fail to understand the nature of the Morrighan — especially as a war goddess — because they don't understand the nature of war in the context of the ancient Irish. They think of war based upon our modern experience of immense battlefields, enormous armies and thousands upon thousands of dead. Understanding the Morrighan as an Irish-Celtic goddess of war requires understanding the nature of war as it was practiced by the ancient Irish. One of the most primary focuses of their wars was the cattle raid or táin. In fact in many cases the táin and war were indistinguishable from one another (Epstein, pg. 11, 1998).

A very important aspect of Celtic warfare was noise, sound, song and poetry. Warriors would give fierce battle cries, pound upon their shields and generally make as much noise as they could in order to intimidate their enemies. They would also sing songs and recite poetry to one another in order to build up their own courage and strength, or this service might be performed by a bard, whose words held magic and might. Recitations of heroic ancestors and valorous pasts reminded the warriors of their mighty blood and inspired them to live up to the mythic standards set by those who came before them. Following a battle or raid songs would be used to celebrate their victory and to immortalize the tale of their deeds (Epstein, pg. 14, 1998).

There is an abundance of evidence to support the idea that Celtic women fought in battles and led in them with equal or nearly-equal freedom as the men did. According to accounts set down at the time, Celtic women were to be more greatly feared than Celtic men in many cases. This is one reason why it is not so unusual that we see a Celtic goddess of war and not a god of war. War not being limited to the masculine gender does not necessitate a patron god.

As a wronged woman and a healer

Chris Thompson describes how later writings of the Christian era coloured modern perceptions of the Morrighan and influence the way most people view her.

She is, indeed, portrayed as wild and war loving. One late text describes her as 'shrieking triumphantly over fighting soldiers....a lean hag, speedily leaping over the points of their weapons and shields. So she comes down into our time as a figure presiding over death and destruction or dwindled into dark and fearful figure, leading spirits out of the Otherworld cave entrance of Cruachain at Samhain and the dark enemy of children's' stories (Thompson, 2000).

This is a powerful image and it is easy to see why it has captivated so many people. There is more to it than just that, though. Most people (and by this I am referring to Neo-pagans) understand the need for balance and the existence of duality in all things. But they apply this understanding the entire pantheon of gods rather to the individuals within it. So they choose the darker aspects of the Morrighan to balance out the other gods in whom they see only light, missing the truth that all of these beings are real people with real internal conflicts, and subject to the same warring natures that we are heirs to. But this does not change the fact that the Morrighan is a passionate woman and that she is often an angry one. Mr. Thompson offers an explanation for why this might be.

Maybe there are clues in the stories. Macha's secrets are raped and her gifts abused through pride and jealousy. When she is forced to race against her own natural cycles and to give birth before her time her blessing becomes a curse. When Cuchulain refuses the Morrigan's gifts he begins a cycle of competition rather than co-operation. Is it any wonder that she is perceived as angry? He wounds her in her shape shifted forms and is only healed when he consents to drink from the teats of her cow and offers a blessing. He accepts her nourishment and healing takes place.

It is clear that in the stories, conquest of the land becomes paramount. and therefore conquest of the Goddess by whatever name she is known. How can it be otherwise when She is the land. Where we seek to abuse, there we also fear. She has become the recipient of our fearful projections and so becomes fearful herself (Thompson, 2000).

Clearly her anger is that of a righteously enraged soul and not simply the spite of one which is hateful. My personal feelings and beliefs bear this out entirely. I understand her to have a hot temper and to be easily roused to wrathfulness. She experiences emotion deeply and purely, almost primitively, and her rage can easily rise over her. But at the same time she is capable of control and deadly precision, channeling and focusing her anger so that it is a powerful force of will.

I think it is also important to recognise that she is a goddess of the natural cycle. In her dominion lies life and death, growth and decay. Though her dual nature swings easily to the side of rage and destruction she is equally a creator of life and healer of hurts. Her passion can focus as easily on restoration as it can on tearing down. Through her and working with her the process of conflict and battle can become part of the greater process of healing, though it is not easy and it is not without its troubles.

It is as the patron goddess of warriors that I look to her specifically (for more on my views of what it is to be a warrior read this page).

I see her in all of her aspects and know that she is the most beautiful of all the goddesses I have known. She is the beauty of strong, real womanhood — not a marble goddess on a pedstal or an unattainable dream. As a maiden she seduces us with promises of glory in battle and with the beauty of her body. She promises us her honour and she never fails to deliver. As a mother she teaches us and protects us. She shows us the way to greater valour and helps us to achieve all that we desire. She is both our mother and our consort. As a crone she is old age and the loss of our prowess, but she is also experience and knowledge gained through loving life. She is our old friend, who promises us that when death takes us it will take us as warriors should be taken. She is the promise that never fails.

Everyone who fights under the Raven's standard knows that as long as we serve her faithfully she will never desert us, and someday we will hear the sounding of her horns in the cries of the carrion birds and she will come for us. She is loyal to us to the end.

She is the sweeping expanse of war.
She is the solitary contest of the duel.

She is glory earned in battle.
She is honour deserved in life.

She is a life filled with accomplished deeds.
She is death and rest at the end.

She is celebration in triumphant success.
She is comfort in goals never reached.

She is a wanton and passionate lover.
She is a compassionate and loving mother.

She is an ally who protects and supports us.
She is an adversary trusted and respected.

She is old friend.
She is new challenge.

She is the Battle Raven whose ebony wings mark every field where men have fought and died and lived their last moments bravely and in her service.

She is my dark and beautiful goddess.

The colour paintings and black and white sketches of the Morrighan found on these pages are the creations of an enormously talented artist named Frans Mensink. Born in 1959, Frans Mensink has been working as a freelance illustrator since 1989. He prefers to work digitally, finding it faster and better, not to mention much easier to deal with when he travels. Please visit his web site support his work.

1. Epstein, Angelique Gulermovich, 'The Morrígan and her Germano-Celtic Counterparts', University of California, Los Angeles, 1998
2. Ní Dhighe, Danielle, 'The Morrígan', http://www.morrigan.net/, 1996
3. Thompson, Chris, 'Morrigan Healing: An Exploration of an Archetype', Grove of Sinann, 2000

All contents copyright © 2000-2004 Reverend Gwynarion Elessacar aka Aaron G. Peabody

No materials contained herein may be duplicated or used in any way without the express permission of Aaron G. Peabody or his legal representatives. All of the text, unless otherwise cited, is the original work of Aaron G. Peabody and is protected under Title 17 of the United States Code — 'Copyright Law of the United States of America and Related Laws'. Any parties making illegal use of these materials are subject to prosecution under the laws of the United States of America and are subject to retribution under the code of the Warrior. We know who you are, we know where you live, no you can't hide there, and we will be over shortly.

The graphics on this site were created using elements from a variety of sources including selected images from the no longer extant Paganforest.com, selected images by John Howe, 'The Morrigan' colour studies and concept sketches by Frans Mensink, free fonts including Tengwar Quenya by Dan Smith, and Raven Knotwork by Jen Delyth.