There’s a lot of fantasy out there when it comes to women warriors, particularly where it relates back to those in the Irish or Celtic realm. To be fair, the subject is hardly a new one. Since the development of literature itself, writers and readers have been enamoured by tales of fighting women (particularly Herodotus with his notes on the inaccurately-named Amazons), probably because they’re such a rarity in ancient warfare, an area generally dominated by men.

That’s not to say, of course, that woman don’t or didn’t fight. There are numerous historical and contemporary examples of women fighting to defend themselves or, more often, fighting to protect the ones they love. And, in most cases, that’s the key difference. Men were most often portrayed as fighting for abstracts like patriotism or glory. Women, less so. Women’s role in ancient warfare obviously differed within cultures but, in a (very) general sense, women were portrayed as fighting only when it was absolutely necessary or when it was necessary for some other element in the tale. People have different opinions on whether that’s a product of biology, society, upbringing or something entirely different. Either way, it’d be foolish to ignore the patterns of millennia across ancient (and modern) societies.

When it comes to the concept of women warriors in the ancient Irish mythological context, there’s certainly a lot more literary references compared to other contemporary societies of the same period. Some people use this fact to argue that female fighters were common in early Irish society and that it was a far more ‘gender equal’ society but that’s a pretty big leap to make. In general, most academics tend to agree that this discrepancy is simply due to the fact that the Irish mythological narratives (and here you can loosely use the term ‘Celtic’ as it also covers modern-day Scotland) were much more successively conserved in Ireland than they were in the other, more directly colonised countries.

Whatever you believe, the ancient tales still have to be treated with a lot of caution. The writers/recorders of that time were not above a bit of creative licence or prejudice. People forget that just because something was written a long time ago, that doesn’t necessarily mean it’s true.

If we look at Irish mythology then, the best known women warriors tend to include:

• Scáthach – a woman warrior who appears in the Ulster Cycle who was based in modern-day Scotland. She instructs Cú Chulainn in a number of martial feats and when he catches her with her guard down, is forced to take him as a lover
• Aífe – a rival of Scáthach who Cú Chulainn forces to lie with him at swordpoint and subsequently bears him a son
• Neasa (Ness) – a woman warrior forced into marriage at swordpoint by the warrior/druid Cathbad and future mother of the famous Conchobhar mac Nessa
• Liath Luachra – a guardian of the young Fionn mac Cumhaill, briefly mentioned in the Fenian Cycle but for whom there’s very little information available

In the first three examples, one gets an overpowering impression from the literature that the character of the powerful woman warrior was created specifically to highlight the sexual accomplishment and domination of the male ‘hero’ who subsequently overpowers her (a pattern also found with other women warrior characters in the mythology). With the third example, Liath Luachra is actually a guardian to the young hero, a relationship that, in a sense, is desexualised.

Other women mentioned in the ancient Irish literature who are often offered as examples of women warriors include:

•  Meadhbh (also spelt Medb, Maeve etc.) – Queen of Connacht in the Táin (The Cattle Raid of Cooley)
•  The Morríghan (or Mór-ríoghain)

In fact, neither of these actually make the cut if you look at them in any kind of detail. All of the literary and archaeological evidence to date suggests the characters are personifications of female deities as opposed to warrior women. Articles or literary works suggesting that they are, generally indicates the author hasn’t done his/her homework or is pushing an argument that’s probably driven more by wish fulfilment than fact.

Over the last twenty years or so, representation of women warriors has become much more prevalent, particularly where entertainment aligns with more contemporary underlying themes of gender equality etc. Given the prevalence of characters in the Irish mythology, there’s also been a tendency to ‘borrow’ them for contemporary fictions but without any real consideration of the underlying cultural context. This occasionally results in works that are not only overly romanticised but which ignore some of the strong negative gender undercurrents associated with the characters, something of which the authors often seem – disturbingly – unaware.