Celtic Mythology: The Nature and Influence of Celtic Myth from Druidism to Arthurian Legend

by Ward Rutherford, John Matthews (Foreword by)

Overview

This is a lively and absorbing account of the world of Celtic myth and the role it has played in the development of western culture. Included here are:

1. The world of the Celts, including an historical overview from their emergence as an identifiable people around 1000 B.C. Also included is an exploration of their social structure.
2. The contents of Celtic myths and the differences and similarities between their manifestation in Britain and Ireland.
3. The topography of the supernatural world of Celtic myth, including discussion of Druidism, Shamanism, and the meaning of Celtic myths.
4. The influence of Celtic myth in English literature from Arthurian legend to the Grail legends.

This highly literate, lively, and absorbing exploration of one of the jewels of European cultural heritage demonstrates how deeply Celtic mythology has become embedded in Western consciousness. It is for anyone interested in history, mythology, spirituality, and culture.

Product Details

ISBN-13:	9781609259914
Publisher:	Red Wheel/Weiser
Publication date:	05/01/2015
Series:	Mind, Body, Knowledge
Sold by:	Barnes & Noble
Format:	eBook
Pages:	160
File size:	2 MB

About the Author

Ward Rutherford was a well-known author of many books on historical subjects including The Druids and their Heritage and Pythagoras: Lover of Wisdom. He lived in England.

Read an Excerpt

Celtic Mythology

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By Ward Rutherford

Red Wheel/Weiser, LLC

Copyright © 2015 John Matthews
All rights reserved.
ISBN: 978-1-60925-991-4

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CHAPTER 1

THE INFLUENCE OF CELTIC MYTH

The mythology of the Celts can justly be claimed as one of the jewels of the European cultural heritage.

It is, to begin with, a supreme literary achievement. Particularly in the Irish stories, abundance of incident and liveliness of characterization shine through even the late, decayed, and often bowdlerized versions that have come down to us.

They show, too, a wide range of mood. There is comedy, as for instance when King Ailill, discovering his queen extending what the Celts euphemistically called 'the friendship of the thighs' to her champion Fergus, symbolically exchanges his steel sword for one of wood. In the Irish Bricriu's Feast, the character of the title, as notorious a joker and mischief-maker as the Norse Loki, separately tells each of the three greatest beauties of Ulster that if she comes first to his feast, she will be queen of the province thereafter. He has so arranged matters that all arrive at precisely the same moment. As they enter the first forecourt of his palace they are models of ladylike decorum, lifting dainty feet in measured tread. At the next their gait becomes quicker. By the third it is a stride, then a run. By the time they reach his door their skirts are hitched up over their hips.

There are moments of supreme psychological insight. When Cu Chulainn becomes besotted with the sidh-woman Fand, his wife Emer, discovering it, pleads that 'What's new is bright; what's familiar is dull' and reminds him of their happy past lives together. Her plea moves Fand herself to abandon her lover, though she knows she will mourn his loss forever.

Some love scenes are more explicit, for, as the French Celticist Jean Markale says, the Celtic poet uses his characters as the means of expressing the erotic without prudery or inhibition. When Cu Chulainn catches a glimpse of Emer's breasts over her dress the first time they meet, he is impelled to comment: 'I see a sweet country there—a place I could rest my weapon.' In Bricriu's Feast the poet urges that 'lively naked women with fine, white, pointed breasts' should welcome the warriors home from the fray, that there should be not only fresh water for them to bathe in and good ale for them to drink, but that beds should be made ready, too.

Nor is it one sided. More than in any other literature, women, too, were recognized as having sexual desire. The breathtakingly lovely Derdriu—she of the Sorrows—can curse, writhe, and roll on the ground in amorous madness when deprived of her lover.

Derdriu is the exemplar of another theme: the peril of beauty. Such is hers that the Druid Cathbad warns her at birth that it would bring sorrow and the death of heroes. So it proved, though her ageing husband, King Conchobhar, has her sequestered from the world in a remote peasant's hut.

There is, besides, pathetic irony, as when Cu chulainn kills his only son by Aife, daughter of the Amazon Scathach, or when he finds himself pitted in single combat with Ferdia, his fellow-student in the martial arts. Forced to kill his old friend, he carries his corpse to the burial place there to lament over him:

All play, all sport,
until Ferdia came to the ford.
I thought beloved Ferdia
would live forever after me
—yesterday, a mountain-side;
today, nothing but a shade ...

Of course, one can always speak of great literature as 'living,' but there is a special way in which Celtic myth has remained alive.

In the 1870s Sir John Rhys began collecting Welsh and Manx folklore. He was neither the first nor the last to do so. The Revd Martin Martin did the same in the Western Isles of Scotland in the early eighteenth century. What distinguished Rhys was both his academic credentials—he was professor of Celtic at Oxford and later principal of Jesus College—and his thoroughness. He came across dozens of folk-stories of Other World hunts, magic islands, underwater cities, abductions by Other World beings, and similar prodigies all of which are to be found in the mythology, but which, for his informants, were intimately and vividly linked with the places in which they lived. Many claimed to have had personal experience of such things, or to know those who had.

Often, during Rhys's researches, a mythical character would turn up as a kind of next door neighbour. He was told by an elderly blacksmith how an old house called Castellmarch in Cardigan Bay had at one time been the home of a man so intemperate that a disgruntled servant had run away to join a man-of-war. The man succeeded in persuading its captain to anchor in the roadsteads of the bay and turn his ship's guns on the house, as proof of which the locals would show visitors what purported to be bullets.

Pressed by Rhys, the old man reluctantly admitted to an aspect of the story to which he himself gave no credence: it was said that the evil owner of Castellmarch had ass's ears. There are, in fact, two mythological equineeared characters, one of whom is the cuckolded king in the story of Tristan and Isolt, whose name is given by the medieval storytellers as 'Mark.' This is plainly a misreading of the Welsh 'March,' which means 'a steed' and which is present as a suffix in the name 'Castellmarch.' It was explained to Rhys as being due to the fact horses had once been stabled on the estate. The old blacksmith probably knew nothing of Tristan, Isolt, or King 'Mark,' but wooden-built men-of-war were still being used by the Royal Navy in his lifetime, so he was telling, as if the horse-eared property-owner had been a recent neighbour, a story whose true antecedents go far back into Celtic paganism.

In any case, as the location of the Tristan story is usually taken to be Cornwall rather than Wales, the displacement is occurring not only in time but also in space This, too, is far from unusual and is further evidence of how far the mythology was regarded as a common Celtic heritage. One finds the same thing with other stories in the Arthurian cycle. Not only are they known and told across the entire European continent and even on the far shores of the Mediterranean and Aegean, but they have been 'adopted' by the inhabitants of widely separated areas, who solemnly claim theirs as the site of this or that incident. In the Middle Ages, Cornish and Breton monks would come to blows over just such issues. Even modem Bretons will assure you that the Forest of Broceliande and the Valley of No Return lie within the purlieus of their province, and they are even shown on some maps.

In Savoy and round Lake Geneva is an area where Arthurian place-names abound. There is a story of a woodcutter who encountered a hunting-party at a spot called Mont du Chat. They identified themselves as members of Arthur's court and invited him back to their palace, where he was regally fed, entertained, and offered hospitality which included the favours of a beautiful woman. He awoke to find himself lying uncomfortably on a pile of firewood. The vanishing castle occurs in the Irish story of 'The Birth of Cu Chulainn.'

And as to the king's tomb, it has been sited in places as far apart as Edinburgh and Mount Etna. Nor is this the sole Sicilian connection. A species of phantom island sometimes seen off its coast is described as 'Morgan le Fay's' island.

The original transmitters of this material on the continent were those British nobles and their households who, in the fifth century, began settling in what was then Neustria and later was to become known as Brittany or Petit Bretagne, to distinguish it from the main island, or Grand Bretagne. None of their original material has survived, but there are allusions in the work of medieval European writers which hint at material lost in the British versions.

By the eleventh century Arthurian incidents were even being incorporated into church architecture as far south as Italy. A sculpture on an archivolt over the north doorway of Modena Cathedral, north-west of Bologna, shows the deliverance of a woman named Winlogee from her fortress-prison. Her rescuers are four knights identified as Artus, Isdernus, Galvaginus, and Che. It is plain who is intended. 'Artus' can only be Arthur; 'Galvaginus,' Gawain, while 'Che' would be a logical Italian transliteration of Kai, Arthur's seneschal, and, as R. S. Loomis points out, 'Winlogee' is Guinevere, the form being a compromise between the Breton 'Winlowen' and the French 'Guinloie.' With slight differences the incident portrayed occurs in two early versions of the legends, Durmart le Gallois and the Vulgate Lancelot.

Among those who made enthusiastic use of the legends were the twelfth-century troubadours of southern France whose chansons were soon to contain more material drawn from the Arthurian legend than from any other single source. By the twelfth century they had carried it into the Po valley, once itself a Celtic region. Here they established such a vogue that, as several charters of the times show, 'Arthur' and 'Gawain' became popular as boys' names.

In the thirteenth and fourteenth centuries jousts and feastings, believed by their participants to be a continuation of Arthurian custom, were held annually at locations as far apart as Acre in Palestine, Prague in Bohemia, Saragossa in Spain, Falkirk in Scotland, Magdeburg in Germany, and Tournai in France.

It is its wide distribution that sets Celtic mythology apart from any other. That of the Greeks, splendid as it is, belongs indisputably to its Aegean homeland and, insofar as there is rivalry for the venues of this or that event, it is within the purlieus of the Hellenic world. The abduction of Persephone by Hades may have occurred at Eleusis in Attica or at Hermionis in the Peloponnese, as the inhabitants of each claim; no one suggests it took place beyond these confines.

Much of Celtic myth as we have it was intended to be sung, or at any rate chanted, to the strains of the harp. It was, in other words, epic poetry. Accustomed to reading them either in their prose retellings or in the metrical versions of Macpherson's spurious Ossianic poems or Tennyson in his Idylls of the King, admirable in itself, we can lose sight of the starker lines of the originals, whose austerity makes their metaphor all the more telling.

Cold, cold,
how cold is Lugh's great plain this night,
the snow is higher than the hills,
the buck finds no more food ...
or
The treasure of her teeth
is winter snow ...

One is reminded of Old English poetry as for instance in:

Cuckoo's dirge drags out my heart, whets will to the whales beat across wastes of water ...

—from The Seafarer

It is noteworthy that the Nordic skalds, predecessors of the Anglo-Saxon scops, the earliest English poets, like the Celtic bards, enjoyed a quasi-magical reputation and that, as the patron of the latter was Lugh, so the former's was another solar-deity, Woden.

It is more than ubiquity or artistic merit that commends and makes Celtic mythology unique. It is more even than the fact it is a mine of information about pagan Celtic society with its love of spectacle, colour, good food, and wine. It has fundamentally shaped our ideas and ideals. For example, it was the strict rules of martial conduct by which the great heroes comported themselves that provided the basis of the medieval codes of chivalry.

Celtic society was a kind of early 'consultative democracy' in which no major decision was taken save with the consent of the assembled freemen, in practice the land-owning, warrior aristocracy. The king or rig, whose functions included presiding at such assemblies, was not an autocrat who made the law. The law was divinely ordained and, like Arthur, he ruled in conformity with it. Thus, Celtic kingship could, in a sense, be said to have provided the model for the principle of 'constitutional' monarchy. While the Arthurian 'Round Table,' which having neither head nor foot ensured that all who sat at it did so as equals, may have been a late interpolation, its introduction is itself informative of an attitude of mind. It first occurs in the Roman de Brut written by the Jerseyman Wace, possibly at the instance of Henry II (1154-89).

A sizable proportion of the knights who sailed with William of Normandy's invading forces were, in fact, not Normans, but the descendants of those very Welsh emigrés, the Bretons, as they had come to be called, expelled by the Saxons and who threw in their lot with the Conqueror in the hope of restitution. Among those who may have returned to his ancestral home, perhaps as a member of a knightly retinue, was the forefather of Geoffrey of Monmouth, author of the Historia Regum Britanniae. Whatever else he might have been ignorant of, Geoffrey seems to have known Brittany for, as Geoffrey Ashe points out, where he manages to make a hash of other names, he usually gets the Breton ones right.

Geoffrey's aim was to give the British what they had hitherto lacked: a history. And, having an eye to the main chance, he decided to make it one that would be acceptable and popular rather than factual, not scrupling to plagiarize other writers or simply to invent when invention might serve. In this respect Tolstoy is quite right to see him as Britain's first best-selling author.

In the Historia the British monarchy is given a prestigious and classical lineage. It is traced back to Brutus, grandson of Aeneas of Troy, who, after his city's defeat by the Greeks, took refuge in Cornwall. It was from his stock that Arthur sprang, and it is the account of his life and exploits that form the culminating chapters of the work.

Though there are numerous similarities between Wace and the earlier Geoffrey, some elements, including the Round Table, do not occur in the Historia. Whether the Round Table came from Waces sources or was his own invention is debated, but it may well have been inserted for political reasons. Henry II, his principal patron, had usurped the throne and needed to reassure a restive nobility that he intended to rule like Arthur as first among equals.

There was another event connected with the Arthurian story which occurred, if not literally during Henry's reign, then very soon after. In 1191 monks at Glastonbury Abbey in Somerset claimed they had discovered two deeply buried bodies, those of a tall man and a slighter woman, bearing the inscription, 'HERE LIES BURIED THE RENOWNED KING ARTHUR IN THE ISLE OF AVALON, WITH GUINEVERE, HIS SECOND WIFE' Even the wounds found on the male skeleton coincided with those which were said to have led to Arthur's death at the Battle of Camlann and the Glastonbury area is widely believed to be the site of the legendary Isle of Avalon, the place to which, according to myth, the royal corpse was borne on its funeral barge.

Plausible as this may sound, it has not silenced scepticism and it must be admitted that there is a basis for it. Part of it surrounds the queen herself and whether she could ever have existed. There is controversy about the exact meaning of her name, but the most common interpretations give 'The White Ghost' or 'The White Shadow,' hardly convincing as the name for a real person. Furthermore, a woman named Finnabair, an exact Irish counterpart for Guinevere, figures in the Cu Chulainn cycle, and she, indisputably, belongs to the Other World. This suggests that the queen may represent the vestiges of a practice common to the Celts of both Ireland and Britain—ritual marriage of the king to a territorial goddess.

Doubts such as this have led to the charge that the bones were buried and then 'discovered' by the monks themselves, who hoped thereby to attract pilgrims and contributions towards the rebuilding of their abbey seriously damaged by fire in 1184.

Strong as their motives might appear, the monks may be innocent. It has recently been shown that they actually had dug where they claimed to have done—an exercise which would surely itself have been supererogatory if the whole thing was fraudulent. What is more, their excavation took them down to a level at which there were a number of burials of the right period. And, as Geoffrey Ashe asks, why did they pick on Arthur? If it was all specious, why did they not also claim to have found the grave of the scriptural Joseph of Arimathea, also associated by legend with Glastonbury? If the abbey was, as has been claimed, a centre of religious propaganda, such a discovery would surely have been highly appropriate.

But if Arthur's Glastonbury tomb was counterfeit there was another person with a motive for perpetrating it. Apart from problems with his nobles, Henry II had others, including a threatened revolt in his Welsh domains, and the proof that the greatest of Welsh heroes was buried in England rather than Wales would be a serious blow to national morale.

Though he had died two years before the discovery of the bodies, it had been he who produced the substantive evidence of their presence and so inspired the exhumation. He had had it, he claimed, from a Welsh bard encountered during one of his whirlwind royal progresses. The question of Arthur's true burial place, as vexed a question then as now, apparently arose in conversation. His informant surprised him by telling him that it had always been known, at least to the bardic cognoscenti, that it was at Glastonbury Abbey, thereby confirming what the monks claimed to have known for centuries: that someone of great distinction—though they did not know who—was buried within its precincts. All this sounds too good to be true, and perhaps it is not entirely surprising that it has failed to silence counter-claims for the site of the royal tomb.

(Continues...)

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Excerpted from Celtic Mythology by Ward Rutherford. Copyright © 2015 John Matthews. Excerpted by permission of Red Wheel/Weiser, LLC.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Contents

List of Illustrations,
Pronouncing Glossary of Celtic Names,
Foreword by John Matthews,
PART I: THE WORLD OF THE CELTS,
Chapter 1 The Influence of Celtic Myth,
Chapter 2 The Celts,
Chapter 3 The Bards,
PART II: THE CONTENTS OF THE MYTHS,
Chapter 4 The Surviving Versions and Their Sources,
Chapter 5 The Matter of Ireland,
Chapter 6 The Matter of Britain,
PART III: THE TOPOGRAPHY OF A SUPERNATURAL WORLD,
Chapter 7 Druidism,
Chapter 8 Neighbours, Forefathers, and Cousins,
Chapter 9 Shamanism and the Myths,
Chapter 10 What the Myths Tell Us,
Chapter 11 Heirs of an 'Ancient Wisdom'?,
PART IV: MYTHS AND THE LATER HISTORY OF THE CELTS,
Chapter 12 The Arthurian Cycle,
Chapter 13 The Royal Company,
Chapter 14 Epilogue: Celtic Myth and Us,
Select Bibliography,
Index,

Editorial Reviews

"A good source book, filled with lots of interesting insights, information." Transformation Times

Reviews

"A good source book, filled with lots of interesting insights, information." Transformation Times

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