Who Is the God of Love in Irish Mythology? (Meet Aengus Óg, the Celtic Cupid)

While Cupid from Roman mythology and his predecessor Eros from Greek mythology may be the most famous deities devoted to romantic love, they are by no means the only divine beings capable of making us swoon.

Irish mythology is rife with tales of star-crossed lovers, and at the center of many of these tales—or, more often than not, hovering in the background—is Aengus Óg: the Irish god of love and youthful pleasures.

Pssst. You can watch a video adaptation of this essay right here. Text continues below.

What’s in a Name? The Etymology of Aengus Óg

Originally spelt with an “O” in Old Irish, the Gaelic/Goidelic Celtic name Oíngus (also: Óengus, Aenghus, Aengus, Angus, Aonghus, Aongus) is derived from a combination of the Proto-Celtic *oinos, meaning “one,” and possibly the Proto-Celtic *gus- meaning “choose,” but a more likely origin is the Proto-Celtic *gustus, meaning “force,” which would enter Old Irish as gus meaning “strength” or “vigor.”

Hence, Irish folklore professor Dáithí Ó hÓgáin asserted that:

“The name Aonghus means ‘true vigour’ and must in origin have been a description of a divinity,” (source: Myth, Legend & Romance: An Encyclopaedia of the Irish Folk Tradition).

As for the Óg epithet, linguists are in agreement that it means “young,” by way of the Old Irish óc.

And this leads us to Aengus Óg’s pseudonym, Mac ind Óc, which could mean something like “the son of youth,” but given the “curious” grammar, Ó hÓgáin suspects that the original form of the name was actually In mac Óc or Maccan Óc, meaning the “young boy” or “young son.” (Note: the name also sometimes appears as Mac ind Óg, Mac ind Óic, and Mac in Dá Óc).

Now, there is a mythical explanation for how Aengus earned that youthful appellation, which we’ll get to in a bit.

But first, I’d be remiss not to mention that the Gaelic/Goidelic Celtic figure Aengus a.k.a. Maccan Óc of Irish mythology fame has a potential cognate in the Brythonic/Brittonic Celtic figure Mabon ap Modron of Welsh mythology fame…

Who in turn would inspire multiple figures of Arthurian legend fame, including Mabonagrain, a young handsome knight who guards the Garden of Joy, and Mabuz, an enchanter and the original ruler of Beforet, i.e. the “belle forêt” or “beautiful forest.”

And both Aengus and Mabon have another potential cognate in the Gaulish Celtic and Romano-British figure Maponos of altar inscription fame…

And said altars sometimes conflated Maponos with the Greco-Roman god Apollo, namesake of the mythical, tree-filled Garden of Apollo, protector of the young, and the most beautiful of the twelve Olympians.

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Let’s Get Physical: What Does Aengus Óg Look Like?

In modern(ish) interpretations of Aengus Óg, he is renowned for his beautiful and youthful physical appearance.

Look no further than Scottish folklorist Donald Alexander Mackenzie’s 1917 description of the deity:

“He was clad in raiment of shining gold, and from his shoulders hung his royal robe of crimson which the wind uplifted and spread out in gleaming splendour athwart the sky.

“Angus hath come–the young, the fair,

The blue-eyed god with golden hair–”

(source: Wonder Tales from Scottish Myth and Legend).

But to be sure, in the earliest depictions of Aengus, such as those found in the 12th-century Dindshenchas (or Lore of Places), he’s more than just a pretty face. 

He’s “Oengus of the many exploits,” and the “red-armed Oengus mac ind Oc,” and the “mighty Mac Ind Óc” and the “stern Mac Ind Óc.” 

He’s also a “good son,” who “knew no hour of jealousy.”

Then there’s the tale Altram Tige Dá Medar (or The Nourishment of the Houses of Two Milk-vessels) from the 15th-century Book of Fermoy, in which Aengus Og is described as a “guardian,” a “horseman,” a “sailor,” and an “expert in arms.”

But the most distinguishing feature of Aengus Óg—apart from his beauty—has to be the flock of birds that is perpetually aflutter around his head.

And again, let’s start with a modern(ish) depiction (circa 1914), this one courtesy of English author Violet Russell and Irish artist Beatrice Elvery, whose illustration will accompany the following excerpt:

“Wherever [Angus] went a multitude of white birds flew with him, and the sweet singing of these birds brought love into the hearts of all who heard them,” (source: Heroes of the Dawn).

Meanwhile, in the Dindshenchas, Aengus’s birds aren’t always so innocent.

In one episode, they haunt and lampoon the Irish High King Cairbre Lifechair for “seven times fifty nights,” following him wherever he goes. 

The text explains the origins said feathered pests as follows:

“Now those birds were the Mac Oc’s four kisses. He had shaped them into the form of four birds that they might be girding at the nobles of Erin.”

So yeah, Aengus’s birds are the physical manifestations of his kisses. They’re sort of like Cupid’s arrows—only more persistent and annoying.

But annoying birds aren’t the only weapons in Aengus’s arsenal.

He also has a pair of swords and a pair of spears, which are gifted to him by the Irish sea-god Manannán mac Lir. 

Aengus’s swords are named Fraoch Mór a.k.a. Moralltach (Great Fury) and Fraoch Beag a.k.a. Beagalltach (Little Fury), while his spears are the Gae-Ruadh a.k.a. Gáe Dearg (Red Javelin or Red Spear) and Gáe Buide (Yellow Spear).

Aengus Óg would later pass these mythical weapons down to his foster-son, Diarmuid Ua Duibhne (Diarmuid of the Love Spot), a warrior of the Fianna.

Side note: If you want to learn more about the most wondrous weapons from Irish mythology, there’s an article (and video) for that.

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Family Affair: Aengus Óg’s Family Tree

Aengus is the son of the Dagda, the Irish god of druidism and father-figure of the Tuatha Dé Danann (the Irish gods), and Boann, a water-goddess whose name means “she of the white cattle.”

Boann, namesake of the River Boyne, is married to another god (Elcmar of the Bruig) when the Dagda begins feeling the warm-and-fuzzies toward her. 

So the Dagda does what any reasonable god would do and sends the husband away on an errand that lasts nine months but feels like one day. In the meantime, Boann and the Dagda get busy, and Boann gives birth to Aengus Óg. Boann’s husband, Elcmar, is none-the-wiser.

As a result of this unusual, time-bending origin, Boann dubs her newborn Maccan Óc, “young son,” saying:

“Young is the son who was begotten at break of day and born betwixt it an evening.”

(source: Peter Berresford Ellis, A Dictionary of Irish Mythology)

As mentioned earlier, Aengus the Young Son eventually becomes a foster father to Diarmuid of the Love Spot and famously aids him (and his forbidden love, Gráinne) during the events of The Pursuit of Diarmuid and Gráinne. 

When Diarmuid eventually meets his demise at the hands—or tusks, rather—of his step-brother (who had been turned into a magical boar), Aengus Óg places Diarmuid’s body on a gilded bier and, by breathing a soul into it, is able to temporarily resurrect his foster-son and engage in conversation with him.

Aengus Óg’s ability to resurrect the dead parallels the resurrection powers of his father, the Dagda. 

With one swing of his giant club, the Lorg Mór (or Great Staff), the Dagda could slay nine enemies—and with one touch from the handle of that same club, he could revive those slain.

Now, in Scottish folklore, Aengus has an entirely different parentage, as his mother is said to be Beira, queen of winter, a.k.a. the Cailleach. 

Want to learn more about her? Like a blanket of winter snow, I’ve got you covered.

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Home Is Where the Heart Is: Aengus Óg’s Abode

What does a palace fit for the Irish god of love look like? See for yourself.

After some wheeling and dealing with his dad the Dagda (we’ll get into it), Aengus Óg comes to permanently occupy Brú na Bóinne (“Palace of the Boyne” or “Mansion of the Boyne”) in what is now County Meath. 

The site sits in the bend of the River Boyne and features three massive passage tombs: Knowth, Dowth, and, the most famous of the trio, Newgrange.

But let’s back up a second.

According to the Lebor Gabála Érenn (or Book of the Taking of Ireland, commonly known as the Book of Invasions), when the invading Milesians—who represent the arrival of Ireland’s modern, human population—defeat the divine Tuatha Dé Danann, the latter are driven underground.

It is the Dagda’s job to assign each god a sídhe, or hill, that they can call home. 

Thus, the Tuatha Dé Danann become the people of the hills, or aes sídhe…better-known as fairies. 

The most famous of which is the bean sídhe, or banshee.

But I digress.

The Dagda refuses to designate Brú na Bóinne as Aengus’s official sídhe because he wants to keep it for himself. 

Aengus tentatively accepts his dad’s decision on the condition that he be allowed to spend a day and a night at the palace before vacating it.

The Dagda agrees to his son’s request, only to learn later that he’s been deceived. 

Through the use of some subtle, poetic wordplay, Aengus has actually gotten his dad to promise that he can live at Brú na Bóinne day and night, i.e., forever. 

So Aengus stays in his palace—and also solidifies his reputation as being a cunning poet and trickster.

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Finding the Girl of His Dreams: Aengus in Love

In the Irish myth Aisling Óengus (The Dream of Aengus), Aengus Óg dreams of a beautiful maiden and falls deeply in love with her. He then makes it his life’s mission to find her.

Of course, finding a literal dream-girl is no easy task, so he asks his mother Boann for help, who in turn enlists the help of her brother, the Irish god—and the Dagda’s successor as ruler of the Irish gods—Bodb Dearg. 

I should note that in some versions, Bodb, like Aengus, is a son of the Dagda, making the branches of Aengus’s family tree considerably more entangled. 

Moving on.

Bodb helps Aengus identify the maiden of his dreams as Cáer Ibormeith, daughter of Ethal Anubhail of the sídhe Uamuin in Connacht. 

At this point, Aengus asks the queen and king of Connacht, Medb and Ailill, to persuade Ethal to give him his daughter. 

What a romantic! 

But Ethal replies that it isn’t his decision to make—not because he has super-modern or enlightened notions of courtship, mind you, but because his daughter Cáer has shape-shifted into a swan. 

(How has this not been the plot of a rom-com yet?)

If Aengus wants to be with Cáer, he’ll need to go to the Loch Bel Dragon (Lake of the Dragon’s Mouth) on Samhain, identify her among a hundred and fifty other swans, and then convince her that he is her soulmate.

The smooth-talking god of love succeeds on all fronts, and Aengus and Cáer live happily ever after, together, at the palace by the Boyne.

Until Aengus drowns at the outlet of the Boyne.

This according to the Lebor Gabála Érenn.

A Fairytale Ending: Echoes of Aengus

Okay, no, we need a happy ending. 

In Scottish folklore, Aengus has his famous dream about someone else: Brigid, goddess of poetry and fertility (amongst other things).

And this dream compels Aengus to leave his otherworldly, paradisiacal home, Tír na nÓg, to search for her. 

He is successful, and Brigid and Aengus rule together as the Queen and King of Summer.

And Aengus definitely doesn’t grow power hungry and try to become King of the Universe, and his mother, the Cailleach, certainly doesn’t have to trap him between a bunch of boulders and curse him to an eternity of repeating everything he hears, thus explaining the origin of echoes.

Nope, don’t even look into it—let’s stick with our happy ending.

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P.S. Are you the romantic type?

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Not the romantic type? Learn about the darker side of Irish mythology…

Samhain in Your Pocket

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Neon Druid: An Anthology of Urban Celtic Fantasy

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