Lynton and Lynmouth: A Pageant of Cliff & Moorland

by John Presland

But at least we may assume that the accurate astronomical arrangements of these Druid stones connected human sacrifice with the movements of the sun, and the tradition which sends the young men of the countryside up Dunkery Beacon on Easter morn is certainly older than the first Roman galley that beached in our bays.

Dunkery Beacon is the highest peak in the West of England; it rises above Exmoor black and bold above bog and heather, commanding a view from the Malvern Hills of Worcestershire on the north to the high lands of Plymouth on the south-west, two hundred miles distant the one from the other. The great sweep of the Bristol Channel shines below it on the west, and beyond that lie the blue hills of Monmouthshire and Pembrokeshire; eastward the counties of Somerset, Devon, and Dorset lie under the eyes, and on a clear day it has been computed that no fewer than fifteen counties can be seen from this one eminence.

Dunkery Beacon, from Horner Woods

So notable a height might well have been chosen by those Druid peoples as a fitting stage for the celebration of their worship, and the tradition which holds it "lucky" to climb the Beacon on a spring morning is just such a memory and faint superstition as lingers from an old and forgotten faith. The country-folk round Keswick used to drive their cattle up to the Druid circle on the hill-top near on the first of May, light a fire within the circle, and drive their cattle through the smoke "for luck," unconscious that they were remembering the worship of the god Moloch, to whom beasts and human beings were sacrificed at his Asiatic shrines by passing them through the fire.

On Dunkery Beacon, so far as I can ascertain, there are no remains of a Druid circle, but only two stone platforms arranged for beacon fires. As a beacon it has been used for many hundred years. In the time of Alfred the Great it flamed a warning of the coming of the Danes; it was doubtless lighted at the coming of William the Conqueror into the West; when the Armada went beating up the Channel; time and again when the rumour ran that Napoleon had started for these shores; the country-folk lighted it several times as a warning that the Doones were out on one of their raids, till one night they climbed the beacon and threw the watchman on the fire, after which it was left black and silent for all the evil that the Doones did, until in due course retribution overtook them and their stronghold was seized. So that I conjecture that the circle of stones (if there were one) was pulled down to build the beacon fires.

But the "Hunting of the Earl of Rone" which takes place at Combe Martin on Ascension Day is probably the most interesting of all ancient survivals in North Devon. It is a curious ceremony, partaking something of the nature of a Guy Fawkes mummery, something, I consider, of a much older and traditional character.

The "Earl of Rone," actually, was the son of the Earl of Tyrone, the "Red Hand of Erin," who, in the reign of James I, fled from Ireland and landed at Combe Martin, wandered about the countryside with a band of companions, and was finally pursued and captured in Lady Wood, outside the village. In the Ascensiontide sports the Earl wears a grotesque costume: a mask, and a smock padded with straw, and round his neck a chain of biscuits. He has with him a hobby-horse and buffoon covered with fantastic trappings, and carrying a small article called a "mapper" (which is conjectured to be a misreading for "snapper"), and representing the teeth and jaws of a horse. The Earl has also a donkey, decorated with flowers and with a necklace of biscuit, and the hunters wear a sort of fantastic grenadier costume. For a week before Ascension Day this strange cortege goes in procession round the neighbourhood. The ceremony on Ascension Day is as follows: The Earl of Rone hides in Lady Wood, and is there pursued by the soldiers, fired upon, and captured. He is then placed on the donkey, with his face towards the tail, and led into the village, accompanied by the fool with his hobby-horse. They make several halts, at each of which the Earl is again fired upon and falls wounded from his donkey, mourned by the fool, but amid the general rejoicing of the spectators. Finally he is replaced by the fool, and the affair becomes a mere matter of buffoonery without special significance. Contributions are levied from the public, and enforced by the "mapper," by which they are seized and held until they have paid. The fool also has a besom, which he dips in the gutter, and with which he sprinkles the recalcitrant.

But among much that is mere horseplay, and common to all popular celebrations which have no religious significance to keep in check a natural holiday exuberance, we can discover two distinct traditions. The one is the actual Guy Fawkes celebration of the capture of the rebel and outlaw Shane O'Neill; the other is much older, going back into the remote past of unwritten history, and connected with those strange religious ceremonies which a study of comparative religions has shown us to be a natural development of the mind of primitive peoples, struggling out of the darkness of mere barbarism. Over and over again we find, among the customs of savage tribes, or behind the elaborate ceremonial of such civilized nations as the Greeks and Romans, or lingering in strange and now meaningless ceremonies such as the one I have just described, this primitive idea of the individual who is harmful to the community. From being baleful he became sacred. They cast him out of their city, as the Jews did their scapegoat, to wander in desert places, and as the Greeks did in a city festival which was older than the Homeric gods among them, and which symbolized, in classical times, the days when they had literally stoned a man and a woman from their midst, bound, and with chaplets of flowers on their heads and necklaces of black figs around their necks. It is recorded, among the South Sea Islands, that a traveller once witnessed such a sacrifice as this memorized in the classic Greek festival. Then, by a queer but common inversion of idea, this baleful but sacred individual is fetched back into the community, as the outcast, hidden in Lady Wood, was brought back into Combe Martin, being beaten and reviled, and yet keeping his sacred character as a being set apart from the rest of men. His mask and traditional dress, his necklace of biscuit, and the decking of the donkey with flowers and bread, all point to the sacrificial character of this ceremony, though long ago forgotten and become the opportunity for frolic and holiday-making.