Opening for Second Sunday ~
Begin this second Sunday by lighting your first candle which you lit last Sunday, and your second candle, going around sunwise.
Recite this Flame Lighting Prayer ~
“Brìde, Excellent, Exalted One,
Bright, golden, quickening flame ~
Shine Your blessings on us from the Otherworld,
You, Radiant Fire of the Sun.”
Inspirational Reading & Song ~
St. Briget of the Shores
From Where the Forest Murmurs by Fiona MacLeod
I have heard many names of St. Briget, most beloved of Gaelic saints, with whom the month of February is identified—the month of “Bride min, gentle St. Bride”—Brighid boitiheach Muime Chriosd, Bride the Beautiful, Christ’s Foster Mother . . . but there are three so less common that many even of my readers familiar with the Highland West may not know them. These are “the Fair Woman of February,” “St. Bride of the Kindly Fire,” and “St. Bride (or Briget) of the Shores.” They are of the Isles, and may be heard in some of the sgeulachdan gàidhealach, or Gaelic tales, still told among seafaring and hill folk, where the curse of cheap ignoble periodicals is unknown and books are rare. True, in several of the isles—Colonsay, Tirce, the Outer Hebrides—“St. Bride of the Shores” is not infrequent in songs and seasonal hymns, for when her signals are seen along the grey beaches, on the sandy machars, by the meadow path, the glen-track, the white shore-road, the islanders know that the new year is disclosed at last, that food, warmth, and gladness are coming out of the south. As “the Fair Woman of February,” though whatever other designation St. Bride goes by, she is often revealed. Her humble yellow fires are lit among the grasses, on the shore-ways, during this month. Everywhere in the Gaelic lands “Candlemas-Queen” is honoured at this time. An Fheill Bhride, the Festival of St. Briget, was, till recently a festival of joy throughout the west, from the Highland Line to the last weedy shores of Barra or the Lews: in the isles and in the remote Highlands, still is.
It is an old tale, this association of St. Briget with February. It goes further back than the days of the monkish chroniclers who first attempted to put the disguise of verbal Christian raiment on the most widely-loved and revered beings of the ancient Gaelic pantheon. Long before the maiden Brigida (whether of Ireland or Scotland matters little) made her fame as a “daughter of God”; long before to Colum in Iona or to Patrick “the great Cleric” in Ireland “Holy St. Bride” revealed in a vision the service she had done to Mary and the Child in far-away Bethlehem in the East; before ever the first bell of Christ was heard by startled Druids coming across the hills and forest lands of Gaul, the Gaels worshiped a Brighde or Bride, goddess of women, of fire, of poetry. When, to-day, a Gaelic islesman alludes to Briget of the Songs, or when a woman of South Uist prays to Good St. Bride to bless the empty cradle that is soon to be filled, or when a shennachie or teller of tales speaks of an oath taken by Briget of the Flame, they refer, though probably unconsciously, to a far older Brighid than do they who speak with loving familiarity of Mume Chriosd, Christ’s Foster Mother, or Brighid-nam-Bratta, St. Bride of the Mantle. They refer to one who in the dim, far-off days of the forgotten pagan world of our ancestors was a noble and great goddess. They refer to one to whom the women of the Gael went with offerings and prayers, as went the women of ancient Hellas to the temples of Aphroditê, as went the Syrian women to the altars of Astarte, as went the women of Egypt to the milk-fed shrines of Isis. They refer to one whom the Druids held in honour as a torch bearer of the eternal light, a Daughter of the Morning, who held sunrise in one hand as a little yellow flame, and in the other held the red flower of fire without which men would be as the beasts who live in caves and holes, or as the dark Fómor who have their habitations in cloud and wind and the wilderness. They refer to one whom the bards and singers revered as mistress of their craft, she whose breath was a flame, and that flame song: she whose secret name was fire and whose inmost soul was radiant air, she therefore who was the divine impersonation of the divine thing she stood for, Poetry.
“St. Bride of the Kindly Fire,” of whom one may hear to-day as “oh, just Bhrighde min Muim (gentle St. Bride the Foster Mother), she herself an’ no other,” is she, that ancient goddess, whom our ancestors saw lighting the torches of sunrise on the brows of hills, or thrusting the quenchless flame above the horizons of the sea: whom the Druids hailed with hymns at the turn of the year, when, in the season we call February, the firstcomers of the advancing Spring are to be seen on the grey land or on the grey wave or by the grey shores: whom every poet, from the humblest wandering singer to Oisin of the Songs, from Oisin of the Songs to Angus Òg on the rainbow or to Midir of the Under-world, blessed, because of the flame she put in the heart of poets as well as the red life she put in the flame that springs from wood and peat. None forgot that she was the daughter of the ancient God of the Earth, but greater than he, because in him there was but earth and water, whereas in her veins ran the elements of air and fire. Was she not born at sunrise? On the day she reached womanhood did not the house wherein she dwelled become wrapped in a flame which consumed it not, though the crown of that flame licked the high unburning roof of Heaven? In that hour when, her ancient divinity relinquished and she reborn a Christian saint, she took the white veil, did not a column of golden light rise from her head till no eyes could follow it? In that moment when she died from earth, having taken mortality upon her so as to know a divine resurrection to a new and still more enduring Country of the Immortal, were there not wings of fire seen flashing along all the shores of the west and upon the summits of all Gaelic hills? And how could one forget that at any time she had but to bend above the dead, and her breath would quicken, and a pulse would come back into the still heart, and what was dust would arise and be once more glad.
The Fair Woman of February is still loved, still revered. Few remember the last fading traditions of her ancient greatness: few, even, know that she lived before the coming of the Cross: but all love her, because of her service to Mary in Her travail and to the newborn Child, and because she looks with eyes of love into every cradle and puts the hand of peace on the troubled hearts of women: and all delight in her return to the world after the ninety days of the winter-sleep, when her heralds are manifest.
What, then, are the insignia of St. Briget of the Shores? They are simple. They are the dandelion, the lamb, and the sea-bird, popularly called the oyster-opener. From time immemorial, this humble, familiar yellow plant of the wayside has been identified with St. Bride. To this day shepherds, on Am Fheill Bhrighde, are wont to hear among the mists the crying of innumerable young lambs, and this without the bleating of ewes, and so by that token know that Holy St. Bride has passed by, coming earthward with her flock of the countless lambs soon to be born on all the hillsides and pastures of the world. Fisherfolk on the shores of the west and on the far isles have gladdened at the first prolonged repetitive whistle of the oyster-opener, for its advent means that the hosts of the good fish are moving towards the welcoming coasts once more, that the wind of the south is unloosened, that greenness will creep to the grass, that birds will seek the bushes, that song will come to them, and that everywhere a new gladness will be abroad. By these signs is St. Briget of the Shores known. One, perhaps, must live in the remote places, and where wind and cloud, rain and tempest, great tides and uprising floods are the common companions of day and night, in order to realise the joy with which things so simple are welcomed. To see the bright sun-sweet face of the dandelion once more—am dealan Dhé, the little flame of God, am bearnan Bhrighde, St. Bride’s forerunner—what a joy this is. It comes into the grass like a sunray. Often before the new green is in the blade it flaunts its bright laughter in the sere bent. It will lie in ditches and stare at the sun. It will climb broken walls, and lean from nooks and corners. It will come close to the sands and rocks, sometimes will even join company with the seapink, though it cannot find footing where later the bind-weed and the horned poppy, those children of the sea-wind who love to be near and yet shrink from the spray of the salt wave, defy wind and rain. It is worthier the name “Traveller’s Joy” than the wild clematis of the autumnal hedgerows: for its bright yellow leaps at one from the roadside like a smile, and its homeliness is pleasant as the gladness of playing children.
It is a herald of Spring that precedes even the first loud flute-like calls of the misselthrush. When snow is still on the track of the three winds of the north it is, by the wayside, a glad companion. Soon it will be everywhere. Before long the milk-white sheen of the daisy and the moon-daisy, the green-gold of the tansy, the pale gold of the gorse and the broom, the yellow of the primrose and wild colchicum, of the cowslip and buttercup, of the copse-loving celandine and meadow-rejoicing crowsfoot, all these yellows of first spring will soon be abroad: but the dandelion comes first. I have known days when, after midwinter, one could go a mile and catch never a glimpse of this bright comrade of the ways, and then suddenly see one or two or three, and rejoice forthwith as though at the first blossom on the blackthorn, at the first wild-roses, at the first swallow, at the first thrilling bells of the cuckoo. We are so apt to lose the old delight in familiar humble things. So apt to ignore what is by the way, just because it is by the way. I recall a dour old lowland gardener in a loch-and-hill-set region of Argyll, who, having listened to exclamations of delight at a rainbow, muttered, “Weel, I juist think naethin ava’ o’ yon rainbows; ye can see one whenever ye tak the trouble to look for them hereaboots.” He saw them daily, or so frequently that for him all beauty and strangeness had faded from these sudden evanescent Children of Beauty. Beauty has only to be perceptible to give an immediate joy; and it is no paradoxical extravagance to say that one may receive the thrilling communication from “the little flame of God” by the homely roadside, as well as from these leaning towers built of air and water which a mysterious alchemy reveals to us on the cloudy deserts of heaven. “Man is surprised,” Emerson says, “to find that things near and familiar are not less beautiful and wondrous than things remote.” Certainly no Gaelic lover of St. Bride’s Flower, of the Flower of February, but rejoices to see its welcome face after the snow and sleet of winter have first sullenly receded, if only for a time, and to know that St. Bride of the Shores wears it at her breast, and that when she throws it broadcast the world is become a green place again and the quickening sunlight a gladsome reality.
In these desolate far isles where life is so hard, where the grey winds from the north and east prevail for weeks at a time on the grey tempestuous seas, and where so much depends on such small things—a little driftwood, a few heaps of peat, a few shoal of fish now of one kind now of another, a few cartloads of seaweed, a rejoicing sound is that in truth when the Gille-Bhride is heard crying along the shores. Who that has heard its rapid whirling cry as its darts from haunt to haunt but will recognise its own testimony to being “Servant of Breed” (the common pronunciation of the Gaelic Brighid or Bride)—for does it not cry over and over again with swift incessant iterance, Gilly-breed, gilly-breed, gilly-breed, gilly-breed, gilly-breed?
“White may my milking be,
White as thee;
Thy face is white, thy neck is white,
Thy hands are white, thy feet are white,
For thy sweet soul is shining bright—
O dear to me,
O dear to see,
St. Briget White!
Yellow may my butter be,
Firm, and round:
Thy breasts are sweet,
Firm, round, and sweet,
So may my butter be:
So may my butter be, O
Safe thy way is, safe, O
Safe, St. Bride:
May my kyne come home at even,
None be fallin’, none be leavin’,
Dusky even, breath-sweet even,
Here, as there, where O
St. Bride thou
Keepest tryst with God in heav’n,
Seest the angels bow
And souls be shriven—
Here, as there, ’tis breath-sweet even
Far and wide—
Singeth thy little maid
Safe in thy shade
When the first lambs appear, many are the invocations among the Irish and Hebridean Gaels to good St. Bride. At the hearth-side, too, the women, carding wool, knitting, telling tales, singing songs, dreaming—these know her whether they name her in thought, or have forgotten what was dear wisdom to their mothers of old. She leans over cradles, and when babies smile they have seen her face. When the cra’thull swings in the twilight the slow rhythm, which is music in the mother’s ear, is the quiet clapping of her hushing hands. St. Bride, too, loves the byres or the pastures when the kyne are milked, though now she is no longer “the Woman of February,” but simply good St. Bride of the yellow hair.
Listen to, and try to use the given lyrics and pronunciation key to sing along with, a traditional song for Brìde, Gabhaim Molta Brìghde:
Recitation of relevant passage of the Four Fires of Brìde prayer ~
“Brighid, my hands are on fire for you-
Kindle thou my creation, as you skillfully do.”
Prayer, Offering, and Silent Meditation ~
The hands on fire is a reference to both smithing, as Brigid in Ireland was traditionally said to consist of three sisters, one of whom was a blacksmith, and to crafting, as the Romans related the Gaulish Brigindo to their Minerva, goddess of arts and crafts. Consider this Sunday how your hands create and craft in your life, and how they might use those skills to bring Brìde’s light into the world.
Close your eyes and take three cleansing breaths, breathing space into yourself, and sinking into yourself as you exhale.
Hold up a plate of cheese, bowl of yogurt, or cup of milk as an offering for Brìde:
“Brìde, Giver of Light and Life, I offer You this gift of nourishment in gratitude and joy for Your many blessings.
Glory of kindred,
Queen of Summer,
She of the high heavens,
Support of strangers,
Spark of wisdom,
Daughter of an Daghda,
The living one of life.”
~ adapted from In Praise of Brigit, from the Old Irish
Warm hands over the lit flame, imagining her energy and essence collecting there, and blessing your hands with her light—
“Brighid, may your bright fire and warmth bless my hands with Your spark of creativity, Your power of creation, and Your light of life. May Your flame be kindled in my hands.
“I honor Your smith’s gift of artistry and creating. I pray for Your inspiration and guidance to please show me how I might best use crafting to bring Your Light into the world at this time. How would you like me, in this moment, to keep Your Living Flame alight?”
Make yourself like an earthen temple of the Sun, directed towards and welcoming within its rays of light and illumination. Sit and allow Brìde’s light to work within you, to guide and inspire you. You might hum or play the song above to aid your meditation. If your attention wanders, recite or repeat the word, ‘welcome,’ or ‘fàilte,’ in the Gaelic.
When you feel you have received some kind of guidance, insight, or inspiration, close the meditation with thanks—
“Brìde, Constant Companion and Maker of Song, I thank you for your inspiration and insight. May Your Flame remain within me, lighting my way, and blessing my work. May I remain ever open to your signs and whispers. Mar a bha, mar a tha, mar a bhitheas gu brath.”
Release the meditation with this recitation and breath, three times—
“The fire is in the temple, (breath in)
The light shines forth.” (breathe out)
Journal the signs, insights, and inspirations received, and share them with your Brighidine community, along with any plans you have for manifesting them. Watch and listen over the week for further guidance which may come, journaling that, also. Lastly, consider and journal the power of art, and how you might use your artistry and crafting in the coming year to bring more light to both the world around you, and those with whom you interact.