Название: CELTIC MYTHOLOGY (Illustrated Edition)
Автор: T. W. Rolleston
Издательство: Bookwire
Жанр: Документальная литература
isbn: 4064066399948
isbn:
The folk-versions of the saga, though resembling the literary versions, are less elaborate and generally wilder, and perhaps represent its primitive form.444 The greatest differences are found in versions of the Táin and of Cúchulainn's death, which, separate in the saga, are parts of one folk-tale, the death occurring during the fighting over the bull. The bull is his property, and Medb sends Garbh mac Stairn to take it from him. He pretends to be a child, goes to bed, and tricks Garbh, who goes off to get the bull. Cúchulainn arrives before him and personates the herdsman. Each seizes a horn, and the bull is torn in two.445 Does this represent the primitive form of the Táin, and, further, were the bull and Cúchulainn once one and the same—a bull, the incarnation of a god or vegetation spirit, being later made anthropomorphic—a hero-god whose property or symbol was a bull? Instances of this process are not unknown among the Celts.446 In India, Indra was a bull and a divine youth, in Greece there was the bull-Dionysos, and among the Celts the name of the divine bull was borne by kings.447 In the saga Morrigan is friendly to the bull, but fights for Medb; but she is now friendly, now hostile to Cúchulainn, finally, however, trying to avert his doom. If he had once been the bull, her friendliness would not be quite forgotten, once he became human and separate from the bull. When she first met Cúchulainn she had a cow on whom the Brown Bull was to beget a calf, and she told the hero that "So long as the calf which is in this cow's body is a yearling, it is up to that time that thou art in life; and it is this that will lead to the Táin."448 This suggests that the hero was to die in the battle, but it shows that the Brown Bull's calf is bound up his life. The Bull was a reincarnation of a divine swineherd, and if, as in the case of Cúchulainn, "his rebirth could only be of himself,"449 the calf was simply a duplicate of the bull, and, as it was bound up with the hero's life, bull and hero may well have been one. The life or soul was in the calf, and, as in all such cases, the owner of the soul and that in which it is hidden are practically identical. Cúchulainn's "distortion" might then be explained as representing the bull's fury in fight, and the folk-tales would be popular forms of an old myth explaining ritual in which a bull, the incarnation of a tree or vegetation spirit, was slain, and the sacred tree cut down and consumed, as in Celtic agricultural ritual. This would be the myth represented on the bas-reliefs, and in the ritual the bull would be slain, rent, and eaten by his worshippers. Why, then, should Cúchulainn rend the bull? In the later stages of such rites the animal was slain, not so much as a divine incarnation as a sacrifice to the god once incarnated in him. And when a god was thus separated from his animal form, myths often arose telling how he himself had slain the animal.450 In the case of Cúchulainn and the bull, the god represented by the bull became separate from it, became anthropomorphic, and in that form was associated with or actually was the hero Cúchulainn. Bull sacrifices were common among the Celts with whom the bull had been a divine animal.451 Possibly a further echo of this myth and ritual is to be found in the folk-belief that S. Martin was cut up and eaten in the form of an ox—the god incarnate in the animal being associated with a saint.452 Thus the literary versions of the Táin, departing from the hypothetical primitive versions, kept the bull as the central figure, but introduced a rival bull, and described its death differently, while both bulls are said to be reincarnations of divine swine-herds.453 The idea of a fight for a bull is borrowed from actual custom, and thus the old form of the story was further distorted.
The Cúchulainn saga is more coherent than the Fionn saga, because it possesses one central incident. The "canon" of the saga was closed at an early date, while that of Fionn has practically never been closed, mainly because it has been more a saga of the folk than that of Cúchulainn. In some respects the two may have been rivals, for if the Cúchulainn saga was introduced by conquerors from Britain or Gaul, it would not be looked on with favour by the folk. Or if it is the saga of Ulster as opposed to that of Leinster, rivalry would again ensue. The Fionn saga lives more in the hearts of the people, though it sometimes borrows from the other. This borrowing, however, is less than some critics, e.g. Zimmer, maintain. Many of the likenesses are the result of the fact that wherever a hero exists a common stock of incidents becomes his. Hence there is much similarity in all sagas wherever found.
401. IT i. 134; Nutt-Meyer, ii. 38 f.; Windisch, Táin, 342; L. Duvau, "La Legende de la Conception de Cúchulainn," RC ix. 1 f.
402. Windisch, Táin, 118 f. For a similar reason Finnchad was called Cú Cerca, "the hound of Cerc" (IT iii. 377).
403. For the boyish exploits, see Windisch, Táin, 106 f.
404. RC vii. 225; Windisch, Táin, 20. Macha is a granddaughter of Ler, but elsewhere she is called Mider's daughter (RC xvi. 46).
405. Rh^ys, CFL ii. 654; Westermarck, Hist. of Human Marriage, ch. 2.
406. Miss Hull, Folk-Lore, xii. 60, citing instances from Jevons, Hist. of Religion, 65.
407. Windisch, IT ii. 239.
408. Windisch, 184, 312, 330; cf. IT iii. 355; Miss Hull, 164 f.; Rh^ys, HL 468.
409. LL 119a; RC iii. 175.
410. Windisch, 342.
411. RC iii. 175 f.
412. Ibid. 185.
413. Crowe, Jour. Kilkenny Arch. Soc. 1870-1871, 371 f.