This custom probably comes to us from pre-Christian times. The cross in its varied forms is a very ancient symbol, sometimes representing the sun, sometimes the four winds of heaven. Schlieman discovered it on the pottery of the Troad; it is found in Egypt, India, China, and Japan, and among the people of the Bronze Period it appears frequently on pottery, jewellery, and coins.
Now, St. Bridget had a pagan predecessor, Brigit, a poetess of the Tuatha de Danann, and whom we may perhaps regard as a female Apollo. Cormac, in his "Glossary," tells us she was a daughter of the Dagda and a goddess whom all poets adored, and whose two sisters were Brigit the physician and Brigit the smith. Probably the three sisters represent the same divine or semi-divine person whom we may identify with the British goddess Brigantia and the Gaulish Brigindo.
May we not see, then, in these rush crosses a very ancient symbol, used in pagan times, and which was probably consecrated by early Christian missionaries, and given a new significance?
Plate V. [R. Welch, Photo.
HARVEST KNOTS.
The harvest knots or bows are connected with another old custom which was, until recently, observed at Maghera. When the harvest was gathered in, the last handful of oats, the corn of this country, was left standing. It was plaited in three parts and tied at the top, and was called by the Irish name "luchter." The reapers stood at some distance, and threw their sickles at the luchter, and the man who cut it was exempt from paying his share of the feast. Daniel McKenna told me he had seen some fine sickles broken in trying to hit the luchter. It was afterwards carried home; the young girls plaited harvest knots and put them in their hair, while the lads wore them in their caps and buttonholes. A dance followed the feast. The knots, with the ears of corn attached, are, I am told, the true old Irish type, while it is thought that the smaller ones were made after a pattern brought from England by the harvest reapers on their return home. I heard of the same custom at Portstewart and also in the Valley of the Roe, where the last sheaf of oats was called the "hare," and the throwing of the sickles was termed the "churn." In some places the last sheaf itself was called the "churn," but by whatever name it was known the man who hit it was regarded as the victor, and was given the best seat at the feast, or a reward of some kind. An old woman above ninety years of age repeated to me a song about the churn, or kirn, and she and many others remember well the custom and the feast which followed, when both whisky and tea were served.
In some districts the last sheaf is termed the "Cailleagh,"[11] or old wife.
A similar custom in Devonshire has been described by Mr. Pearse Chope in the London Devonian Year Book for 1910, p. 127. Here corn is wheat, and a sheaf of the finest ears, termed the "neck," is carried by one of the men to an elevated spot; the reapers form themselves into a ring, and each man holding his hook above his head, they all join in "the weird cry, 'A neck! a neck! a neck! We ha' un! we ha' un! we ha' un!' This is repeated several times, with the occasional variation: 'A neck! a neck! a neck! God sa' un! God sa' un! God sa' un!' After this ceremony the man with the neck has to run to the kitchen, and get it there dry, while the maids wait with buckets and pitchers of water to 'souse' him and the neck." Mr. Chope adds that in most cases the neck is more or less in the form of a woman, and undoubtedly represented the spirit of the harvest, and that "the main idea of the ceremony seems to have been that in cutting the corn the spirit was gradually driven into the last handful.... As it was needful to cut the corn and bury the seed, so it was necessary to kill the corn spirit in order that it might rise again in fresh youth and vigour in the coming crop."[12]