Miranda Green:

Cernunnos The name 'Cernunnos' means 'horned' or 'peaked one'. On a monument dedicated by Parisian sailors in the reign of Tiberius, the name is inscribed above the head and shoulders of a balding, bearded elderly god wearing antlers, from each of which hang a TORC: or neck ring. In addition to the antlers, the god has the ears of a stag. Although the association of name and antlered image occurs only on this one monument, 'Cernunnos' has served to identify numerous other images of an antlered deity which occur before and during the Romano Celtic period in the Celtic world. Cernunnos is remarkable in that, unlike most Celtic divinities, he appears in the pre-Roman, free Celtic period. The earliest recorded manifestation is on a 4th c. H(: rock carving at Paspardo in Camonica Valley in North Italy, where an antlered god bears a torc on each arm and is accompanied by a ram-horned snake and a small ithyphallic being. On the Gundestrup Cauldron, which could date as early as the 4th-3rd c. B(:, Cernunnos appears cross-legged, with two twisted torcs and antlers; he is accompanied by a stag, a ram-horned snake and other creatures. So already, in the pre-Roman period, there are associations between certain symbols: stags, multiple torcs, ram-horned snakes and fertility, all of which are reflected by imagery which appears in the Romano Celtic world. It is the images, of Cernunnos which occur in Gaul that present the most striking symbol ism. Here, the god is lord of animals (just as he is on the Gundestrup Cauldron), fertility, abundance and regeneration. In terms of monument distribution, Cernunnos was most popular in north-central Gaul, but he was venerated also in the Charente region of western France, at Saintes, and in Britain. In Romano-Gaulish imagery, Cernunnos is repeatedly associated with ram-horned snakes (see SNAKE, RAM-HORNED) and there are other recurrent motifs. On a relief at Sommerécourt (Haute-Marne), the god is depicted feeding a ram-horned snake from a bowl of gruel on his lap; there are holes on the god's head for the insertion of metal or real antlers. This imagery is repeated at Etang-sur-Arroux in Burgundy on a bronze statuette, but here, an interesting feature is the presence of two subsidiary heads attached to the main head of the god. This links Cernunnos with the distinctive groups of triple-headed or three-faced images so popular among the Remi and elsewhere (see TRIPLISM; HER-, TRIPLE). Cernunnos is associated with this triplistic symbolism elsewhere in Burgundy: at Nuits-Saint-Georges he is triple-faced; and at Beaune nearby, whilst Cernunnos is himself not triple-faced, his companion depicted on a carved stone is thus shown. On both these monuments, the dominant symbolism is that of fertility. The separate and removable antlers noted above may reflect seasonal ritual, where the antlers were inserted or removed in imitation of spring growth and autumn shedding of antlers on a stag. Other Gaulish images reinforce his association both with animals and with the symbol ism of abundance: on a relief at Reims, Cernunnos appears as a cross-legged, seated deity, flanked by Mercury and Apollo. He has a large bag or sack on his lap from whose open mouth pour coins or grain, consumed by a stag and bull at his feet; a rat crouching on the pediment above Cernunnos' head may symbolize an underworld association for the god. At Saintes, Cernunnos appears twice on one monument: on the main surface, he is accompanied by a female consort; on the reverse of the stone the god sits cross-legged, in company with bull images. This link with a female partner is interesting, especially because we know of a female equivalent of Cernunnos: at Clermont-Ferrand (Puy-de-Dome) and Besançon (Doubs) bronze figurines represent antlered goddesses. A final Gaulish depiction of especial note comes from Vendoeuvres (Indre), where Cernunnos appears as a young boy flanked by two older youths who balance on snakes and each grasp one of the central god's antlers. The striking thing about this carving is that the snakes, though not ram-horned, have human faces, in reverse balance to the zoomorphic imagery of Cernunnos himself. Two British representations of the antlered deity deserve mention. First, from Cirencester, there is a small stone relief of the god whose legs are actually replaced by two large ram-horned snakes which rear up their heads, tongues protruding, next to two open purses of money on either side of the god. The second object is a recent discovery of a Celtic silver coin, dating from around AD 20, from Petersfield in Hampshire, which displays on its obverse the head of an antlered being between whose horns is a solar wheel. Cernunnos is one of the most striking examples of a semi-zoomorphic Celtic god, perhaps one of those beings who, regularly underwent transmogrification or shape-shifting from human to animal form, mentioned so frequently in the vernacular literature. His close affinity with his forest companion, the STAC, is demonstrated by his adoption of antlers, and sometimes cervine ears or hooves. His other intimate associate is the snake, frequently ramhorned, which wraps itself around his body, eats from his hand and, at Cirencester, actually merges with the image of the god himself. The SNAKE was a symbol of renewal or regeneration; the stag a woodland animal, fast and aggressive in its sexuality. In many of his images, Cernunnos displays a role as god of abundance and fertility, with cornucopiae, fruit, bowls of grain or money, and at Camonica, his small companion is ithyphallic. Cernunnos' link with ordinary people may be shown by his cross-legged pose: Mediterranean writers remark that the Gauls commonly sat on the floor (Diodorus V, 28, 4; Athenaeus VI, 38). Finally, Cernunnos is above all lord of animals. In addition to his stag and snake, he is sometimes depicted in company with many different species of beast, wild and domesticated, all enhancing his symbolism as a god of the wild and tamed nature, fecundity and a Noah-like beneficence. His intimate rapport with the animal world is displayed above all by his image, whereby he is both man/god and beast.

CERNUNNOS/HERNE Celtic-L archiv

Herne is English form of the Horned God known also as Cernunnos and Cernein Celtic lands. Herne is associated with the Wild Hunt, just as the GodGwynn ap Nudd is in Welsh mythology. While certainly some stories havecaptitalised on the Pagan elements of the story of Robin of Locksley,it is not that improbable that some form of Paganism or at least Paganelements remained in the thirteenth century. Occasionally throughoutthe Middle Ages the Church and States throughout Europe found it necessaryto issue warnings about making sacrifices, dancing at Pagan festivals, etc.While the Church tried to incorporate as much Pagan tradition as possibleinto a Christian framework, it was at times taken about with the robustabandon with which parishoners practiced the Old Faith, especially inanything to due with planting or fertility. It is difficult to getpeople to give up tried and true methods which have worked for generations.Also, our very words "pagan" and "heathen" refer to rural people (i.e.,people of the country, people of the heath), indicating that theChristianisation of Europe began in the cities and with the ruling classand only slowly made its way down and out. The fact that Pagan festivalsstill made it to the eighteenth, nineteenth, and twentieth century (fancifulVictorian recreations not included) makes it plausible for a strongercurrent in thirteenth century England, which is only a century or two sincethe coalation of Christianity through orthodoxing synods and the Crusades.(And after all, Robin is supposed to be a supporter of Richard I, whowas in fact particiapating in this process). The age of heresy andInquisition which followed reflected this concept of correctness--prior to it there was a lot of leeway on belief, and as long as parishionerstithed or made it to the Church occasionally, and baptised and marriedwithin it, the priests were happy. And in fact they while they did notprefer so-called "Greenwood" marriages (made alone by the couple) theysupported them once they were told, especially if there was issue. Two excellent renditions of Herne are the BBC _Robin Hood_ with MichaelPraed (and later Sean Connery's son, Jason), and Susan Cooper's booksfor children _The Dark is Rising_ (_Over Sea, Under Stone_, _The Darkis Rising_, _Greenwitch_, _The Grey King_, and _Silver on the Tree_).The BBC Robin has him chosen by Herne to protect the forest and thepeople from tyranny. Cooper's books blend myth and magic brilliantly,not only that of Herne, but of Arthur, Myrddin (Merlin), Wayland theSmith, and the Drowned lands, and like the BBC Robin, celebrate thepower of ordinary mortals (and a few chosen ones) in the eternalstruggle between Light and Darkness. Cooper's books were my firstwindow into the beauty of Wales and Cornwall, the Old Gods, andBritish legends, and my love of things Celtic, long before I reallyrealised that it was my heritage as well.

Herne is an anglo-saxon name for a horned male divinity. Cernunnos would be a Celtic name to use, but this is known only from one inscription from Paris.Many horned divinities are known from Britain, but their names arem ostlyunknown

> I recently rekindled my interest in things Celtic after seeing Richard> Carpenter's "Robin of Sherwood." My question is about the reference in this> program to the god "Herne." What references in Celtic mythology could this> be based upon? Cernunnos perhaps? And would there have been paganism still> surviving in the 1290's?>> MaryAnnMcKinnonThe following reply is fron lessions taught me by a friend of the wiccanfaith and not necessarily based upon published fact. Hearne or Herne isthe Seax Wica Diety of the forest Warriors. The Equivelent of the GoidhealCearnnu' The Guerilla type Warrior tradition of the Gael. Hearne was notthe God but the High Priest of the Seax Cult of the Forest people. and theThe "Robin" was the Oak King. The Dauntless Pursuer of Justice. or moreaccuratly of over turn. Just as the Robin King of the Oak slays the Wrenthe King of the Holly Tree at Yule. The Robin never comes to rule. He onlyDestroys the Elder Rulership to enthrone the New Ruler. Herne is theSource of all Vision and knowledge. If The Omne who is the "Robin" shoulddie then a New "Robin" is Chozen. It is upon this Forest dweller's secretsociety that the Carpenter Series is based. The Elk hearted Warrior andthe Horned Diety are older than the Rites of Herne for there exist in theroot of the Celtic tradition in which I was taught the Rite of theCearnnu No/s The rite of Warriorhood and the rites are simular to thoseimplied

Cernunnos was a horned Celtic god, usually pictured seated,and often surrounded by forest animals. There is a seated horned figure on the broken North Cross atClonmacnois (? 10th century). There is a horned figure surroundedby animals on the Kells Market Cross (9-10th century scripturecross.) There is a horned figure on one of the side pillars ofthe (7th century) Carndonagh Cross, and on an adjacent face of thesame pillar is a male figure remarkably like the Boa Island figure,which is usually assigned to pre-Christian times. The settings ofthese horned figures are not such that they seem to representdevils. It seems likely that the conversion of the Irish toChristianity was not as rapid as we are sometimes led to believe,and that pockets of paganism persisted until quite late, perhapsthe 12th century. This is likely since the conversion was donewithout martyrs.

When we are talking of cernunnos two things should be kept in mind: 1. The name Cernunnos is found only in one monument from Paris, whereit is inscribed above the head and ahoulders of a balding, beardedelderly man wearing antlers, from each of which hang a neck ring(torc). He also have the ears of a stag.Images of horned and antlered human beings are very common in Celtictradition, but we do not know if they refer to the same divinity(i.e. Cernunnos). There has been suggestions that only those withantlers should be called Cernunnos and all other horned figuresrepresent other divinities. On the other hand, even the antlereddivinities are of different age, using different kind of clothes andadditional iconography. We even have some images depicting a female'Cernunnos'. Therefore, among the scholars this name is used morelike a generic term describing a certain divinity-type imagery in theCeltic world. Horns as such had a deep symbolic meaning for Celts andthey can have attached them to one or more of their local gods todepict , e.g., their power or fertility etc. 2. The name 'Cernunnos' itself is a scholarly construction. In themonument mentioned above the name has survived only fragmentary as'...ernunnos'. The 'C' was added by scholars because of the hornedimage connected with the name. This addition was based on theargument that in Gaulish the word 'horn' would be '*cern' (Cf. Welsh'carn'; Breton 'korn'; Irish 'adharc'), and that the god in questionwould be named after his horns - i.e. 'The Horned One'. However, asLe Roux and Guyonvarc'h have argued the etymologies of wordsrefering to horns in different Celtic languages appears to bedifferent, despite the apparent similarity.Accordingly, it is possible that the name of this divinity is not'Cernunnos' at all, it might by anything. We should remeber thatalthough we might view horns as something special and so peculiarthat they will function as grounds for naming a god, the early Celtsthemselves might have thought differently and they could have namedthe god on basis of some other characteristic or power.Moreover, even if 'Cernunnos' is the right form of the name, itwon't have to mean 'The Horned One'. It could mean also. e.g. 'TheVictorious' (Cf. Conall Cernach), a quite suitable name for a god. Naturally, the problems connected with the name do not counter thefacts that antlered and horned images of divinities and possibledivinities is one of the most freaquently used images in the Celticiconography , and it is certainly one of the oldest one's going backto the pre-Roman Iron Age, the earliest image of certain Celticprovenance coming from the 4th century BC (Naturally, images ofhorned human-like beings are much older and go back to the OldEuropean traditions and the Stone Age (In Europe they are foundeverywhere, also outside the areas of later Celtic cultures - we havethem even in Finland). Tom Sj=F6blomCeltic Studies ProgramDepartment of the Study of ReligionsUniversity of HelsinkiFINLAND
Greetings and salutations fellow list members, I am a new member of the Celtic-l list. I have enjoyed the content thus far. I wish to address two points of discussion. Cernunnos: AKA Herne the Horned, Herne the HunterIt is my understanding that Cernunnos the god of Annwvyn, the Celticunderworld. He is the leader of the wild hunt , a spectral flight throughthe evening skies to sweep the souls from the bodies of the dead and guidethem on there journey. The celebration of this hunt occurred as the old yearpassed into the new.It is contended that both British and continental Celts honored Cernunnos. Sources: The Religion of the Ancient Celts J.A . MacCulloch and CelticMythology W. Rutherford Secondarily, the young woman seeking to use Celtic knot work on her weddingdress. I might suggest that she obtain a copy of George Bain s Celtic Artthe Methods of Construction ISBN 0-486-22923-8. I hope that this information is of use. TDT

To Shae, Sharon, and other celtic calendar fans... The dates on the celtic calander will be different from year to yearwhen matching it up to our modern calendar. Calendars are eithersolar, lunar, or stellar (of some sort)...before calendars folksmeasured time in other ways...say the occurrrence of feathers ona peacock or antlers on a stag, and so forth. IMHO the key tounderstanding the celtic calendar is in calculating Samhain.Although we pagans often celebrate it on a specific day each year,the actual, or traditional, day (or days) isn't always the same dayon our modern (solar) calendars. Now that was an awk. sentence. To Tom and the other horny fans... Yes the name _.ernunnos_ is found in only one spot, and yes the nameis itself ('cause of the C) a *scholarly construction* The namemakes it easy to refer to the principle figure of the prehistoricstag (or deer) cult. Like odin, cernunnos goes by many names.If one chooses to attach various names to each ot the various hornedfigures, it's of no consequence...the figure still represents theenergy of the stag. It is this that many of us are devoted to, notthe name per se. To Angela and the other *anti-roman-ization* fans... It's the normans, not the english, sez I. The northumbrian folksweren't so bad, it's those damned (and i'm one) normans that kickedoff the whole romanticization of celtic culture through retellingthe myths and legends. Remember, after the normans hit the island,the celts were third on the food chain. It's not like they had anypower. I see the same scenerio happening here in the states...the(american) indian myths are being retold for the mainstream (readwasp) audience. One must separate the shell from the nut, i.e.if one has a taste for nuts. So who are these idiots saying thatceltic culture does not exsist? It's a tribal culture, as aremany others, w. tribal gods dressed up in fancy garb, but it's stilla *culture* n'est-ce pas? Blessings of Bealtaine on your number-crunching, horny, extant heads... \<*> Adios from Dave, your best-est pal in so. Cal., <dave.andersen \ @bbs.cavix.org>, via Calif. Academic & Vocational Info. eXchange.

LITHUANIAN: Marija, is there a horned God in Lithuanian or Baltic/Slavic mythology?

There are actually two deities which can be associated with your question :-)First, there is Velnias (who later on became associated with the Judeo-Christian devil…but that’s a long story). Velnias was the polar opposite to Perkunas, who was a sky-god, and associated with thunder and justice. Velnias, along with his twin Velona (the sources don’t say if they are husband and wife, or siblings…I just call them twins, since they are associated with same basic functions), is the protector of the Veles (shades of the ancestors). Before the indo-european invasions, as some scholars believe, there was no such thing as an underworld in the Lithuanian mythos…..just protectors of the ancestors. It was believed that the ancestors didn’t go into an underworld, but into the trees, and the rest of nature.

Anywho, Velnias, not only being a Lord of the Dead, was also the god of magic. A young maiden tricked him into teaching her all of his magicks, and this young woman became the goddess of magic, who’s name is Ragana. Her name quite literally means Horned-One. I think it was because she got her magicks from Velnias, who is a horned god.
Even though Velnias is Lord of the Dead, he is still very much associated with fertility. Since the ancient Lithuanians didn’t believe in an underworld, they believed that the veles were protected until they entered either nature itself or a new body. As well, there are many stories in which Velnias and Perkunas squabble over various harvests, maidens, trees etc. He isn’t PIE, in my opinion, but part of the old chthonic pantheon.

One of the sacred sites for Lithuanians is called Sventaragis, which is located near Vilnius (the capital city). The name means “Sacred Horn”. The present pagan movement, Romuva, gets its name from a sacred site in Prussia. Along with Lithuanian and Latvian, the original Prussian language was of the Baltic branch of the IE languages, but in the 1700s the culture was wiped out by the invading germans..so Romuva calls itself that, in honour of the fallen Balts. Romuva means gathering :-)
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Here’s the story of how she got her magic, it’s from my friend’s website (she’s and Elder of Romuva, for Canada):

Once upon a time, a young woman went off into the woods to pick mushrooms and with her she took her new hope chest. While she was searching for mushrooms it began to rain very hard. She quickly removed her clothes and placed them in her hope chest; then stood naked under a tree, until the rains subsided. Later, she dressed and continued picking mushrooms, until she was spotted by Velnias, (Lithuanian Horned God of the Underworld). Velnias asked if she had been picking mushrooms during the rainstorm, and if so, how had she remained dry?
The young woman replied that she had a secret that prevented rain from touching her.
Velnias was intrigued and pressed the woman for her secret. The young woman agreed to tell Him, but only if He revealed all His magical arts. So a bargain was struck and Velnias taught the woman all that He knew of magic and healing.
It was then that the woman told Velnias how she had avoided the rain. Velnias spit and þew away, raging and screaming that He had been tricked.
Thus, the woman became the Þrst witch and passed on her teachings to others from that time on. And so, witches þourished. ++++++++++++++++++++++++++++++++
Hope this wasn’t too long :-)Marija

James MacKillop:

Cernunnos [L. the horned one]. An important (perhaps principal) god of the Continental Celts, a lord of nature, animals, fruit, grain, and prosperity. He is portrayed as having a man's body and the horns of a stag; his figure is seen in a squatting position. and he wears or carries the sacred torc often associated with the Continental Celts.

Although his name is known from only one inscription (and is there partially obliterated,'-ernunnos'). the evidence for Cernunnos' widespread worship is impressive; he is. for example, portrayed on the Gundestrup Cauldron. More than thirty other representations survive, dispersed from what is today Romania to Ireland.

There are convincing traces of him in the literary traditions of both Wales and Ireland; and in later illuminated manuscripts, figures evoking Cernunnos are symbolic of devilish and anti-Christian
forces. The Breton pseudo-saint *Korneli, a patron of horned creatures, also shows traces of Cernunnos. In Gaulish representation he has a *ramheaded servant. Julius *Caesar identified him with the Roman god *Dis Pater. Later commentators have sought to link him with *Conall Cernach and the Hindu Pashupati. a 'lord of the beasts'. His posture has also been compared to that of Buddha, but it may only reflect the fact that Continental Celts squatted on the floor and did not use chairs. See P. B. Bober, 'Cernunnos: Origin and Transformation of a Celtic Divinity'. American Journal of Archaeology. 55 (I95I). 13-5I; also the dissertation of Dorothea Kenny, 'Cernunnos' (UCLA. I975), Dissertation Abstracts. 36 (I975), 30I6A.