Showing posts with label Merlin. Show all posts
Showing posts with label Merlin. Show all posts

Thursday, November 24, 2022

Geoffrey of Monmouth

Geoffrey of Monmouth may have been born in Monmouth, Wales, since he refers to himself that way (in Latin, he writes it "Galfridus Monemutensis"). He is called by some contemporaries "Galfridus Arturus" (Geoffrey Arthur), which may allude to his father's name or be a nickname based on his interests, since he writes about King Arthur. We assume he was born between 1090 and 1100. We don't really know his country of origin, and some assume his parents came over with William the Conqueror, but Galfridus and Arthur were common names among the Bretons.

A half-dozen charters in Oxford between 1129 and 1151 were witnessed by him, so he was definitely in the Oxford area during that time. He was ordained Bishop of St. Asaph by Archbishop Theobald of Bec in 1152, although he doesn't seem to have ever actually spent time at St. Asaph's because of the wars of Owain Gwynedd. He likely died by Christmas 1154, when he was succeeded by Bishop Richard.

His importance to the modern world was the time he spent writing, especially the Historia Regum Britanniae ("The History of the Kings of Britain"). Although he claimed it was a translation of an ancient book—a common boast of medical writers to give authenticity to their work, which was more important than claiming originality—it is a combination of the works of Bede, Gildas, the Historia Britonum, anecdotes from oral tradition, and his own powers of invention. Future writers like Henry of Huntingdon drew on it without question, and from Geoffrey's time until the 16th century it was accepted as accurate history. (To be fair to medieval historians, William of Newburgh (1136 - 1198) did declare that everything Geoffrey said about Vortigern and Arthur was made up.)

He starts his history with Brutus the Trojan, the great-grandson Æneas, founding (and giving his name to) Britain, and Corineus the Trojan founding (and giving his name to) Cornwall. One of his descendants, Leir, divides his kingdom between his three daughters (General, Regan, and Cordelia), giving a later Shakespeare fodder for one of his tragedies. Books Five and Six deal with Vortigern and Merlin, then Book Seven breaks up the history with a series of prophecies by Merlin, setting up not only the later chapters, but also events in Geoffrey's own time. Books Eight, Nine, and Ten tell the Arthurian story, ending with the return of the Saxons after Arthur's death.

Geoffrey's Historia was enormously popular, with about 200 extant manuscripts known as of the 20th century. His section on Arthur—and the Prophetiae Merlini ("Prophecies of Merlin") and the (attributed to him) poem Vita Merlini ("Life of Merlin")—have provided modern retellings of the Arthurian myth in story and cinema with plenty of dramatic details.

As mentioned above, there were historians like William of Newburgh who were more critical when it came to selecting their material and relating it to an audience. William, however, was not immune to relating stories whose interest for the audience was more important than his ability to confirm them. Medieval clickbait? Let's find out tomorrow.

Wednesday, November 16, 2022

Prophetic Death

Prophetic death is a staple of mythology and legend. One classic trope is the "threefold death" in which a prophecy claims three different manners of a person's death, all of which somehow come true.

One example is a Welsh legend of Merlin, who is asked to prophesy a boy's death; he says the boy will fall from a rock. The boy is then dressed in different clothing and brought before Merlin and asked about the manner of his death; Merlin says he will hang. The boy is then disguised as a girl and brought again; Merlin prophesies drowning. Later, while on a hunt, the boy slips from a rock, is caught on a tree and suspended upside-down, with his head in a lake, where he drowns.

Diarmait Mac Cerbaill was a real historical figure, and yet we are told he suffered the threefold death of legends. According to the Life of Columba by Adomnán of Iona, he is told by an Irish seer that his foster-son, Áed Dub ("Black Áed"), will kill him; Diarmait banishes Áed Dub. Then, St. Ruadán prophesies that he would be killed by the roof beam of his hall at Tara; Diarmait has the roof beam removed and thrown into the sea.

With those dangers removed, Diarmait continues his quest to avoid death by asking druids how he will die. They predict a threefold death, "by iron, water, and fire." This would mean slain with a weapon, drowning, and burning. Further, they are him that there will be signs of his impending death: a shirt grown from a flax seed, a woolen mantle made from a single sheep, ale brewed from a single grain of corn, bacon from a sow that has never farrowed.

Diarmait, satisfied that his death by anything other than old age is unlikely, visits the hall of Banbán, where he is shown a shirt, a mantle, and bacon that satisfy the conditions of his imminent death. He decides to immediately leave the hall, but Áed Dub is waiting at the door, stabs him and sets fire to the hall. Prevented from leaving the burning hall, Diarmait climbs into a vat of ale to survive the heat. The burning hall collapses, and the roof beam, which Banbán had found in the sea and used to build his hall, falls and crushes Diarmait.

It is curious to have a prophetic and threefold death attributed to an actual person. The Annals of Tigernach, in the entry for 563, merely states "Diarmaid son of Cearbhall was killed in Ráth Bec in Magh Line by Aodh Dubh son of Suibne Araidhe, king of Ulster, and his head was taken to Cluain and his body was buried in Connere."

Adomnán, for his own reasons, was clearly embellishing. Perhaps his knowledge that Diarmait was dabbling in Christianity was the emphasis, since legend says that Áed Dub suffered a similar threefold death, which Adomnán attributes to divine justice after killing Diarmait. Adomnán would have been drawing from several sources for his Life of St. Columba, including the saga Aided Diarmata ("Death of Diarmait").

One more look at Diarmait, the king who bridged the pagan and Christian eras in Irish kingship, before we move on to something else. This next look will be from the angle of St. Ruadán.

Wednesday, August 3, 2022

Merlin the Madman

I've mentioned before that this blog is about discussing the things about the Middle Ages that are outside the mainstream, so no talking about the things "everyone knows": jousting, King Arthur, "wiping your hands on the dog because they had no napkins" (sorry, inside joke). Merlin has been mentioned in passing several times, but never discussed in any sort of detail. For those readers who have an image of Merlin in their heads from literature and cinema, here's a fresh (and authentic) take.

In short, Merlin spent time as a madman, acting like a beast in the wilderness. Mary Stewart's wonderful Arthurian take on post-Roman Britain has him "lost" for several months after being drugged.

In truth, this may be Merlin's "natural state"; that is, originally, the character who comes down to us as the Merlin of legend may be based on a real figure whose chief feature was being not quite sane. This is the story of Myrddin Wyllt.

Myrddin Wyllt (pronounced like "murthin wilt") is a character in medieval Welsh legend (where many Arthurian stories originate). The name means "Myrddin the Wild"; he is also known as Myrddin Emrys (Emrys=Ambrosius), Merlinus Caledonensis ("of Caledonia"), and Merlin Sylvester's ("of the woods"). Born supposedly c.540CE, he was a bard (perhaps the chief bard) who goes mad after the Battle of Arfderydd. Having become irrational for some reason, he takes to the forest (some versions say the Caledonian Forest in Scotland). There he gains the power of prophecy (often associated with being not quite right in the head).

The "Life of Saint Kentigern" tells of the saint (also known as St. Mungo) encountering a madman in the Caledonian Forest named Lailoken or Laleocen in the late 6th century. A later (15th century) story about "Lailoken and Kentigern" includes the line "...some say he was called Merlynum." This link between the two names may have been influenced by a 12th (?) century poem, a dialogue between Myrddin and his sister (?) Gwendydd in which his sister calls him Llallwgan, the Welsh form of Lailoken.

Some scholars assume a conflation of several different characters:one in Wales, one in Scotland, maybe more. The Merlin story is convoluted, obscure, and largely probably untrue, but much of it starts with a mad bard. Because of the time period, his legend much later became linked to Arthur's court as a wise man and prophet. But in the beginning, his chief feature is his sudden madness.

Why did he go mad after the Battle of Arfderydd? It was an important turning point, one of the "Three Futile Battles of the Island of Britain," which I'll explain next time.

Tuesday, August 2, 2022

Nature vs. Nurture

The English polymath Francis Galton (1822 - 1911) framed the debate calling the terms

...a convenient jingle of words, for it separates under two distinct heads the innumerable elements of which personality is composed. Nature is all that a man brings with himself into the world; nurture is every influence that affects him after his birth.

He could not have known that in the year of his death a French manuscript from six centuries earlier would surface that used the same terms (although it spelled one of them "Noreture"). It tells the story of Cador of Cornwall, whose just-born daughter would not be allowed to inherit property and title, so he decides to raise her as a boy. Named Silentius (Silence), she turns out to be the equal of any boy in various chivalric pursuits.

Throughout her life there are two personifications, Nature and Nurture, who address Silentius with their opinions on her lifestyle. Nature tries to convince her to act like the woman she was born as. Nurture supports Silentius' desire to be what she wants to be. Silentius knows that if she reveals herself to be a woman, her parents will be dishonored.

Ultimately, in a Twelfth Night-style twist, the "young man" travels to the court of King Eban, whose queen, Eufeme, falls in love with the talented and beautiful young Silentius. Silentius, not willing to betray the king by having an affair, and of course not willing to have her true sex discovered, rebuffs the queen's advances. The queen, enraged, decides silence must die, and sends her/him off to capture Merlin, an impossible task, since Merlin "cannot be captured by a man."

Silence succeeds, and brings Merlin back to court. Merlin reveals that Silentius is actually female. Silence reveals that the queen was in love with her, etc., causing King Eban to execute Queen Eufeme for faithlessness and cruelty and make the now-named Silentia his new queen.

I have severely abbreviated the story, which has many more details and events. The ultimate lesson is that Nature wins out. This may be perfectly natural for a culture that believed some were born royal and some were not, and there was a difference between the two.

Here's a question that might be raised after this story: why would anyone try to (or need to) capture Merlin? Because Merlin was a mad beast running wild, that's why. If you didn't know that about Merlin, you should read tomorrow's post.

Sunday, April 17, 2022

Robert de Boron

Robert de Boron was a French poet of the late 12th/early 13th centuries. There are two texts in Old French that are definitively attributed to him: Joseph d’Arimathie and Merlin. Two other texts are attributed to him with uncertainty, although similar in style: Perceval and Mort Artu ("Perceval" and "Death of Arthur"). Together they are called the Robert Cycle, or The Romance of the History of the Grail.

In Joseph d’Arimathie, de Boron merged the legend of the grail with Christian concepts. The magical grail first appeared in Chrétien de Troyes' Perceval, le Conte du Graal in about 1190, but it was not a Christian item. de Boron explained it as the cup used at the Last Supper, and then used by Joseph of Arimathea to catch Christ's blood at the Crucifixion. Later, Joseph creates a company that brings the grail to Britain to Avaron, called Avalon by later writers, and then identified with Glastonbury; Joseph himself does not come to Britain. (Why a French poet would have the precious grail and its contents go to Britain is a mystery.)

The story of Merlin introduces several new elements to the Arthurian legend. One is that the poem purports to be from a book by Blaise, who was dictated to by Merlin himself. (The illustration above shows Merlin dictating while Blaise writes.) The element that most interests us right now is that of the last part of the poem: Arthur's fitness to be king results from being the only one who can withdraw a sword that has been sunk into a stone. This is the first time such an event was introduced into the Arthur story. It is not, however, the first time we have seen the image of a sword in a stone.

Yesterday's post on Saint Galgano told the miracle of the sword in the stone, and that the sword is still in the stone and viewable by all. This would have taken place by 1181, the year of Galgano's death. de Boron is most likely to have been writing after that date. Stories of a miraculous sword embedded in stone would certainly have spread, and since de Boron (and other writers about Arthur) seem to have no difficulty in adding fanciful elements to the legend, it is highly likely that de Boron took a legend that was spreading throughout Europe and imagined it as a test of fitness sent by divine powers.

But while we are in the subject of the Grail, did you know it was once thought to be a stone? One more dip into the fanciful before we return to more grounded topics.