Horses Weeping For Their Masters

In three stories, two ancient and one not so much, the horses were aware that their masters were soon to meet their ends.

In Shakespeare's Play, Julius Caesar, The horses belonging to Caesar wept because they knew his death was drawing nigh.  This was a sign, along with many others that foretold Caesar's death in the Senate.

Achilles' horse Xanthus, foretold Achilles' death.  Xanthus was not a normal horse, he was an immortal horse and he spoke aloud.

The Gray of Macha

Cu Chulainn's horse, the Gray of Macha, knew his master would die if he rode out to battle that day and refused to be hitched to the chariot until Cu Chulainn came and spoke to him. The Gray submitted in tears of blood:  "Cu Chulainn went to him. And thrice did the horse turn his left side to his master....Then Cu Chulainn reproached his horse, saying that he was not wont to deal thus with his master.
Thereat the Gray of Macha came and let his big round tears of blood fall on Cu Chulainn's feet. And then Cu Chulainn leaped into the chariot, and drove it suddenly southwards along the Road of Midluachar."  (An Anthology of Irish Literature, vol. I, by David Greene)
In this case, I'm not sure if the Gray was foretelling the future, he may have just been aware of the circumstances.  Other events foretold the death of Cu Chulainn, and the Gray could have been privy to some of them.

But why horses? I have several ideas, which are merely speculations:
Perhaps because they are man's "second" best friend.  Like dogs, horses are man's companion more so than most other creatures. People bond with their dogs and horses, and this bond is celebrated in many stories.
Mythology about Cu Chulainn, and Greek mythology are steeped in omens and prophecies, so why not have the horses involved?  
Additionally, animals have a keen sense of the approach of danger. Their senses are much keener then ours. A dog knows when someone is approaching before a person does. They also can supposedly sense when someone is good or bad. People can sometimes tell too.  Nothing really has to happen, but certain people make us uncomfortable: it's either women's intuition (if you're a gal) or else a fine reading of body language, tone, and the eyes.  There are also stories from WWII were the fighter pilots knew who wasn't coming back just before a flight. If people and animals have such keen senses, then why not exaggerate in a story and make the horses cry or talk? Mayhap these legends were born from an exaggeration of the amazing abilities of animals coupled with the horse's tendency to freak at things they perceive as threats.

Cu Chulainn and Achilles: Famous but Dead

Cu Chulainn (pronounced "Coo Chullen," ch as in loch) is the greatest hero in Irish lore. He is from the Ulster cycle of Irish lore/mythology and has some surprising similarities with Achilles, the Greek hero. In fact, David Greene's An Anthology of Irish Literature calls him "the Achilles of the Ulster cycle."

Both Achilles and Cu Chulainn were sons of a god and a royal human. Thetis (goddess) and Prince Peleus (mortal) were Achilles' parents. Cu Chulainn's mother was Deichtire, sister to King Conchubar. Some say his father was Lug, the Celtic god of light, while others say his father was an Irish chieftain.

Cu Chulainn

At any rate, he was not a normal human. The Boyhood Deeds of  Cuchulain says, "Now the stripling who by the time seven years were completed since his birth, had done such deeds: had destroyed the champions by whom two-thirds of the Ulstermen had fallen unavenged." 

Both had special horses.  As a wedding gift, Peleus and Thetis received two immortal horses named Balius and Xanthus. They came to be Achilles' horses.  Xanthus spoke to Achilles before his death. 

Cu Chulainn was found as a baby by the men of Ulster, and as they were taking him home, they heard a horse whinnying nearby. They stopped to check it out and found a mare who had just dropped her foal.  They took the newborn  horse, saying he was meant for the special baby.  The Gray of Macha, as the horse came to be called, served the warrior well in battle and was cognizant on an almost human level. Born the same day, they died the same day.

And now, moving on to the most important part. The greatest similarity between the warriors is their mindset and their fates.

In History 261, I learned that Achilles had a choice. He could become the greatest and most renowned warrior ever and live a short life, or live a peaceful, normal, and long life.  He chose renown and died in the Trojan War.  The funny things is, Cu Chulainn had the same choice.

When Cu Chulainn was just seven years old, he heard Cathbad the Druid tell his pupils that whoever took up arms that day would become the greatest warrior ever but lead a short life. Immediately he took up arms.

Cu Chulainn explained,  "For when they asked him what special virtue lay in this day, he told them that the name of whatsoever youth should therein for the first time take arms, would top the fame of all Erin's men; nor thereby should he suffer resulting disadvantage, save that his life must be fleeting short."

Cathbad confirmed his words, "noble and famous indeed thou shalt be, but transitory, soon gone."

"Little care I," said Cu chulainn, "nor though I were but one day or one night in being, so long as after me the history of myself and doings may endure."  The quotes are from The Boyhood Deeds of Cu Chulainn.

And so, the great Greek warrior Achilles and the great Celtic warrior Cu Chulainn faced the same decision, made the same choice, and died young but are still remembered today.

Sources:

The Cu Chulainn stories (except the story of Cu Chulainn's birth) are from David Greene's An Anthology of Irish Literature, vol. 1 
James Hunter's Achilles article
Thetis and Peleus
Xanthus
The picture of Cu Chulainn was cropped by Edana A. Click on the caption to see the original.

The Secret of Kells: The Artwork

The artwork in the 2009 film, The Secret of Kells, (director Tom Moore, co-director, Nora Twomy, art director, Ross Stewart,) reflects the beauty of The Book of Kells. The images in both are rich in color, iconic, and play with perspective.

The Book of Kells features "zoomorphic" designs. Basically, animals that are twisted, stretched, and bent into 2-D designs.  A bird might be chewing on his foot, his toes and beak woven like a piece of cloth. A dog's neck is stretched longer than a giraffe's and interlaces with those of four other dogs just like it to form a Celtic knot.   "Zoo" for "animal." "Morphic" for "formed/morphed/changed."

And of course, intricate Celtic knots and swirling designs of many colors fill the pages.

 The only real zoomorphic design in the film, (although certain creatures morph into other forms) appears when Crom Crúiagh is chasing Brendan. 

 The film has iconic images, like the book. Some people are lumps or rectangles with heads. Aiden has squared-off fingers.  The edge of the forest is very organized: the tallest trees form arches for the ones beneath.
This images are also highly detailed and contain Celtic designs, like The Book of Kells.

The film also plays with perspective: A person in the distance will pass behind a tree and suddenly they are much, much closer. This depiction represents the actions going on. It's not meant to be taken literally, it's art. It's similar to changing angles on a film camera, except it all happens in the same frame. 

In order to respect copyright laws, I have not put pictures in this post. However, here are some links so you can see the features I discussed:  

The Chi Rho page, (mentioned in the film!): The Book of Kells
Besides Celtic designs, the page of the manuscript contains a zoomorph man, iconic figures, and animals.

See the gallery, it contains the images I was talking about: The Secret of Kells 

This is an informative video on The Book of Kells:  http://www.youtube.com/watch?v=HMvfMVBhUXI

On a side note:
Symbolism is found in the depiction of certain characters. The presence of monks from all over the world (Africa, Asia, Italy, and Ireland) at Kells symbolizes the fact that Ireland was an important center for Christianity during the period. It was a beacon of light in the Dark Ages. (See previous post for more on dark and light).

The Secret of Kells

Brendan and Aisling, picture from Matthew Sernett, Fantasty Film Review

 The Secret of Kells is a 2009 film about The Book of Kells and its creation.

This film is unbelievably rich for those who have learned a bit about Irish history and culture. The creators blend Irish history and legend together in a way that is befitting. In an Anglo-Irish literature class, I was told that it's hard to know what is true about Irish history because history and myth are thoroughly mixed together.
Can you separate the ingredients of a cake after it is baked? No, but the cake sure is delicious. So it is with Irish history.

Just like the history of Ireland, myth and reality intermingle in the film.The boy, Brendan, befriends a fairy girl in the woods.  Cromm Crúaich, a monster Brendan believes to be a myth is very real and dangerous.  Brendan's knowledge of Irish lore helps him find "the eye of Columkille," which is also the eye of the monster that the monks use as a crystal magnifying glass.

Brother Aiden tells a tale about St. Columkille, also known as St. Columba, the man attributed with bringing Christianity to Scotland. He was also a trouble maker, and was in fact sent to Scotland by his superiors because he got involved with a war between Irish chieftains.  As Aiden speaks, the tale is told in pictures. These pictures are comical and frank. When Columkille dies, his tongue slides out of his mouth and his eyes turn into Xs. Seems irreverent, but in this situation it works because it fits with the persona of Columkille as portrayed in lore: an ambiguous legendary figure, a Saint who was hot-headed and got into trouble.

This scene also demonstrates how tall tales are created. Brother Aiden says that St. Columkille was given "a third eye" to help him create the intricate designs in The Book of Kells.  The other monks chime in, saying he had a third hand, or a whole host of hands.  Aiden continues with his story about the third eye and St. Columkille.  It turns out the "eye" is actually a crystal that is quite simply used to magnify the images. It isn't magical and it isn't a third eyeball in Columkille's head. 

That said, the crystal is the eye of Cromm Crúaich. This monster apparently has crystals for eyes. Brendan needs a crystal, so he takes the monster's eye. And so, the legend of St. Columkille is mixed with the lore of Cromm Crúaich. Both are real in the film, not parts of alternate realities.

Aisling, the fairy, uses a famous Irish saying in a scene. Brendan provides the English translation for us.  This is symbolic: Aisling uses the native language and represents the old ways of Ireland before St. Patrick, the time when fairies and Celtic gods walked the land. Brendan represents life post-Patrick. Not a complete loss of the old way of life, but a new outlook. (By the way, this is NOT how English became the dominate language of Ireland. Here the use of the two languages is symbolic). When St. Patrick came, the worship of Celtic gods was diminished and they were relegated to the realm of stories. The Irish monks wrote down the ancient Irish legends (heretofore only in oral form) and thus preserved Irish "history." They tweaked some, adapting them to the Christianity, but not altogether discarding them because Patrick recognized the beauty and value of these colorful tales.

The Giant's Causeway

The beauty of nature is a backdrop for many scenes of the movie. This too is an important ingredient because the nature of Ireland is celebrated by Irish poets and people around the world.  Through the iconic and stylized designs the wonder of the forest is portrayed. Additionally, there is a quick scene with the Giant's Causeway, a distinctly Irish landmark.




Play around on: 
The Secret of Kells website

Full movie available here:
IMBd review