Epona, a revered goddess within Celtic mythology, derives her name from the Celtic word “epos,” meaning “horse,” with the suffix “-ona” indicating a sense of possession or agency. Identified as the protector of mares and foals, Epona’s significance is evidenced in early writings, notably in Juvenal’s Satires, where he highlights her unique standing among deities associated with horses. Additionally, Minucius Felix references Epona, showing that this goddess was worshipped and acknowledged in various contexts.
Inscribed artifacts dedicated to Epona have been unearthed across the regions of ancient Gaul, extending into areas that comprise modern Germany and the Danubian provinces, with findings even in Rome. The majority of these inscriptions appear to be from soldiers, suggesting a non-indigenous military cult dedicated to her, particularly prominent in Eastern regions.
The Gallic culture held horses in high esteem, which naturally extended to the veneration of Epona. The cavalry played a crucial role in the resistance against Roman forces, and the goddess’s worship carried on within military traditions. Despite her military connections, evidence indicates that Epona was also adored by rural folk, although formal worship or public rites in urban centers appear scarce.
Epona’s artistic representations vary considerably based on geographical origins. Typically depicted in the company of horses, she is often shown dressed, symbolizing various aspects of her divinity. One common portrayal found in the northeastern regions depicts Epona seated on a mare, frequently accompanied by a foal. This imagery can also serve as a funerary symbol, representing the voyage of the soul to the afterlife, which aligns with common themes in ancient religious practices.
Another prevalent form of Epona’s representation includes scenes where she is surrounded by horses, sometimes displaying acts of nurturing, particularly in central Gaul. Additionally, unique depictions can be observed, such as Epona reclining on a steed, partially unclothed, with attributes including a cornucopia or a peg. She is occasionally illustrated with a dog and other deities, including local representations of Mars, Hercules, or Silvanus.
In examining Epona’s character, it is beneficial to juxtapose her with deities from the Celtic literary tradition, particularly those identified in Irish mythology. While documentation from Celtic mythology emerged predominantly in Medieval times and is largely associated with the British Isles, parallels can be discerned with older Celtic traditions.
Epona shows notable similarities to the goddess Rhiannon from Welsh mythology, whose name translates to “great queen” and whose tales are recounted in the Mabinogi. Rhiannon’s swiftness on horseback and her role as a divine figure at feasts mirrors some attributes associated with Epona. Both goddesses share connections to horses and an influence over the dead, but they also exhibit distinct differences. While Epona is portrayed as an independent deity, Rhiannon is integrated into royal narratives, having had various marriages.
While similarities exist between Epona and Rhiannon, it is crucial to acknowledge their unique cultural contexts and respective roles within their mythologies. Epona enjoyed widespread popularity, particularly among military and civilian patrons, whereas Rhiannon was primarily celebrated in literary narratives.
