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Chapter 8.3: The
contamination of historical features with
mythological material
Fabio P.
Barbieri
|
As I argued from the moment when I
identified its influence in Gildas (who wrote
only a few decades after), we have to see L as a
historical, contemporary document; but there is
plenty of evidence that the Arthur of Geoffrey
has suffered severe contamination from purely
legendary sources. He carries the great sword Caliburnus,
Welsh Caledfulch, Excalibur, which has the
same name as the great sword of Irish epic, Caledbolg;
he is married to Guinevere, Geoffreys Ganhumara,
the Gwennhwyvar of the Welsh whose name
turns up in the same Irish epic cycle as that of Caledbolg,
worn by another femme fatale, Findabair.
The legend or legends of King
Arthur, qua legend, is too enormous a
subject to tackle even in the vast confines of
this study; I intend to deal with it in a future
series of studies about Indo-European epic
traditions. I can, however, dedicate some pages
to pointing out the most obvious similarities
between the great king and another great king,
part of the other great Celtic epic: to
demonstrating that Arthur of Britain, taking his
legends as a whole, has a great deal of points in
common with Fergus mac Roich, the exiled king of
Ulster from the legend-cycle of CuChulainn.
1) Fergus is the
rightful king of Ulster in the greatest
epic legend-cycle of Ireland. |
1) Arthur is the
rightful king of Britain in the greatest
epic legend-cycle of Britain. |
2) Fergus carries
the famous sword Caledbolg. |
2) Arthur carries
the famous sword Caledfwlch, or
Excalibur[1]. |
3) The great war
of the Tain has two aspects: the
clash between Ulster and the other four
Fifths of Ireland, and the exile and
revenge of Fergus, who lost his throne to
Conchobar, through the treachery of
Fergus' own bride Ness and with the
consent of the men of the province, and
was then driven out altogether by the
treason of Conchobar with respect to
Deirdre (a woman whom Conchobar violently
claims) and the sons of Noisiu, whose
safety involves Fergus' honour. |
3) At the
dramatic climax of his career, Arthur is
involved in two clashes at once: the
great war with the empire of Rome, which
dominates all Europe except for his
kingdom, and the treacherous revolt of
Medrawt/Mordred, who takes over Britain
while Arthur is away from his kingdom
with the consent of the barons and people
left in the island[2], and then
violently claims Arthur's wife
Gwennhwyvar-Guinevere[3]. |
4) When Fergus
re-enters Ulster in pursuit of his
vengeance against Conchobar, he is at the
head of all the armies of Ireland. |
4) When Arthur
re-enters Britain in pursuit of his
vengeance against Mordred, he is in
command of the whole Roman Empire. |
5) The greatest
champion of the opposite side,
CuChulainn, is bound to Fergus by a deep
bond of personal affection and loyalty as
foster-son. |
5) The greatest
of Arthur's enemies, Lancelot, is bound
to him by a deep bond of personal
affection and loyalty as vassal.[4] |
6)
CuChulainns youth is stressed; he
is a wonder, the most terrible warrior in
the world at the age of a mere boy. His
son Connla - the product of a casual
relationship with the warrior sage Aife -
is however even greater than himself at
an even younger age. |
6)
Lancelots youth is sometimes
stressed, and more so that of his son
Galahad - the product of a casual
relationship with Elen, the daughter of
the sage king Pelles - who, as I have
argued elsewhere[5], is in effect
another self of his, even "his
better self", the greatest of all
heroes, and who soon dies. |
7) CuChulainn is
the son, or even the avatar, of Lug, the
Celtic supreme god. |
7) Lancelot has
been authoritatively identified with Lug[6]. |
8) While others
seem blind to the menace of Cu Chulainn,
Fergus makes grim and accurate forecasts
about his power, and laments the war
between them. |
8) Arthur makes
grim and accurate forecasts about
Lancelot's power and menace, and laments
the need for war between them. |
9) Findabair
daughter of Medb, a major figure in the
war and the reason why many Irish
warriors go to their deaths against
CuChulainn[7], is connected by
her name[8] to... |
9)...Guinevere,
Welsh Gwennhwyvar, Galfridian
Latin Ganhumara, a major figure in
the war and the reason why many British
warriors go to their deaths against
Lancelot and again against Mordred. |
10) Though
offered with their parents' approval to
many heroes, Findabair is never
legitimately offered to CuChulainn; her
father pretends to, but in fact sends a
clown dressed in her clothes to make sure
that no real promise is given. CuChulainn
has no right to her; when he finds that
out, he returns the maiden to her
parents, sexually untouched but
humiliated. The war then goes on with
increased fury. |
10) Lancelot (who
has Guinevere with himself at the start
of the war) returns her to her legitimate
husband Arthur, untouched if humiliated,
recognizing that he has no right to her,
and swearing that he has not laid a
finger on her. The oath is certified by
the Pope and must be regarded as
truthful. Nevertheless, the war continues
with increased fury. |
11) CuChulainn
has a peculiarly hostile relationship
with the Morrigan, whose attentions he
scorned, and who causes him great damage
in return[9]. All this
happens in the first part of the war (the
part equivalent to Arthurs war
against Lancelot), as CuChulainn is
singly fighting champions seduced by the
promise of Findabair. |
11) Lancelot has
a peculiarly hostile relationship with
Morgaine le Fay, whose attentions he
scorned and who causes him great harm in
return: she captures him
inconceivable that anyone else could -
and causes King Arthur to find out about
his love for Guinevere[10]. This is one of
the antefacts to the war for Guinevere. |
12) After
CuChulainn has returned Findabair, her
stage of the war has its climax in the
most horrendous and awesome duel by far,
between CuChulainn and his former friend
Fer Diad, who has magic powers of his
own, and who disastrously insists on
fighting him, even though CuChulainn
would bend over backwards not to. Fer
Diad is older than CuChulainn, who was
his follower when they studied fighting
with Scathach. The struggle ends with
CuChulainn's agonized victory, but he
laments the loss of the noblest warrior
and best friend he knew. |
12) After
Lancelot has returned Guinevere, his
former friend Gawain (who is considerably
older than him, and whose liegeman he
offers to become) insists on continuing
the war; climaxing in a horrendous and
awesome duel between them, by far the
greatest ever seen, which Lancelot bends
over backwards to avoid. Gawain is
overcome and mortally wounded in spite of
his own magic powers, which put Lancelot
in great danger. Lancelot laments his own
victory and the loss of the noblest
knight and best friend he knew. |
13) Considering
the distinction pointed out above between
the two strands of the great war (the
rest of Ireland vs.Ulster, and Fergus
vs.Conchobar), it is significant that the
story is so arranged as not to allow any
real clash between Ulster and the other
provinces until CuChulainn has
ignominously returned Findabair and
fought the great duel. |
13) The story is
so arranged as not to allow the rebellion
of Mordred to happen until Guinevere has
been returned to Arthur and Lancelot and
Gawain have fought their great duel:
Mordred has to possess her for an
effective claim to the throne[11]. Therefore the
highly personal struggle between Arthur
and Lancelot, though practically
contiguous in time
|
14) It is only
after this that the agonizing birth-pains
leave the men of Ulster, and they are
able to fight., turning the lonely
struggle of CuChulainn into a war of
provinces. |
14)
is
separate from the struggle between Arthur
and Mordred, when Arthur returns from the
Continent with a great army and fights a
war of nations. |
15) Findabair
dies of a broken heart because of the
massacre she has caused. |
15) Guinevere
dies in a cloister, lamenting and
repenting the massacre she has caused. |
When compared with the analogous
points in the British epic, the reasons for
points 14 and 15 in the Tain Bo Cuailnge
appear flagrantly contrived. The birth-pangs of
the men of Ulster do not appear in any other
story, and seem designed for the purpose of
forcing CuChulainn to fight alone until the great
duel with Fer Diad. Likewise, to make Findabair -
who, unlike Guinevere, had certainly not caused
the main war - die of heartbreak, a
never-before-heard-from Ulaid love of hers, one
Reochaid, must be wheeled out, to make nine kings
of Munster, in true farce style, realize that
they have been fooled, and start a civil war
within Medb's camp. This, not the big war - let
alone the many heroes individually sent to their
deaths out of desire for her - is "the
slaughter she has caused" and which breaks
her heart. How consistent is this with the
heartless, doll-like beauty regularly wheeled out
to make hero after hero go and make a victim of
himself under CuChulainn's terrible arms? The
sequence of events concerning Guinevere, on the
other hand, is comparatively clear and logical,
and always sticks close to the main issues. It is
clear that the character of Findabair has lost a
great deal of ground in Ireland, being quite
secondary to her formidable mother and treated,
throughout, as no more than a disastrous trap for
heroes; compared to the Arthurian Guinevere, she
is neither tragic nor interesting.
The very evidence for Findabair's
decline, however, underlines the fact that their
common prototype must have been a very important
character indeed. One passage in the Vulgate
Lancelot suggests that Guinevere was in fact
defined as something like a standard or even
spirit of beauty. "The queen was so
beautiful that everyone marvelled at her, for at
that time she was at least fifty years old,
but... her equal could not be found anywhere in
the world. Because of this, and
since her beauty never failed her, certain
knights said that she was the fountain of all
beauty[12]."
Fountain of all beauty, eh? This
sort of anonymous but authoritative definition
often hints at an original view of the nature of
a person or thing, toned down in view of
Christian and rationalistic presumptions; in
fact, it reminds me of such disaster-making
beauties as the Indian Draupadi in the
Mahabharata and Helen of Troy, who are the most
beautiful women in the world - and fated, indeed
created, to cause gigantic wars that put an end
to whole heroic ages. If Arthur is married
to such a figure, it must be because he is
envisaged as being the same kind of hero as their
husbands, the bridegroom of the terrible beauty,
the protagonist of the greatest epic of the
culture, and of the greatest war the world will
ever see, the greatest and final struggle of the
Age of Heroes.
So far, so good. There can
be no doubt that the Arthur of the romances is
exactly that, that the battle of Camlann has the
same resonance as the war of Troy and the great
struggle of Kuruksetra - the climax and end of a
golden world of heroes. King Arthur may,
like Charlemagne and Roland, have become the
protagonist of the greatest epic cycle of his
culture, but we have already seen several
undeniably historical figures - Magnus Clemens
Maximus, Vitalinus, St.Patrick, St.Germanus,
Loegaire, Taliesin; also, perhaps, Catellus of
Powys, Conn Hundred-battles and Art mac Conn -
similarly inserted in largely pre-existent
legendary schemes. Just as
Vitalinus/Vortigern became the protagonist of the
saga of the seduced and ruined king - a saga that
pertains to Art mac Conn in Ireland - so, no
doubt, Arthur was married to the ancient
legendary figure Findabair/
Gwennhwyvar/Guinevere: a variation on the
favourite Celtic theme of the sovereignty
marriage.
Indeed, the description is
inadequate: we should speak not of a sovereignty,
but of a destiny marriage. Patriarchs marry
female figures who pertain to their particular
areas of power or activity, to their destiny.
Cunedda may marry Stradwawl, incarnation of the
Roman roads that lead to and beyond the Wall;
Niall may lie with the Sovereignty of Ireland;
but what Vortigern and Muirchertach mac Ercae
marry is not their sovereignty, but their death,
their destiny of violence and ruin. The
ancestor of a famous medical family in Myddvai
married a fairy who bestowed on his descent their
destiny as healers; and fairy-stolen figures such
as Connla or Lanval marry destinies so high and
mysterious the power of Connlas
fairy is greater even than that of Conns
court druid, and the beauty of Lanvals
bride is greater even than that of Guinevere,
Fountain of All Beauty - that no mortal ever sees
them again. And so Arthur, like Vortigern
but in a different way, has been married to the
goddess or spirit who defines his destiny: the
irresistible, ruinously beautiful allure of the
destiny and doom of the greatest of warrior
kings. It is no coincidence that there is a
doubt whether there is one, two or even three
Guineveres, good or bad, faithful or destructive:
the same is true of Helen of Troy, ultimate
beauty, who was perhaps but only perhaps
a divine spirit made of clouds and sent to
bewilder and drive the heroes to their doom,
while the real Helen, good and faithful and true,
remained hidden in Egypt (the sacred and ancient
land) waiting for her one true bridegroom. Guinevere
is the frightful, dazzling allure of glory and
doom and it is quite possible that that
allure may be deceptive.
In other words,
Guinevere/Gwennhwyvar existed independently of
Arthur, a legendary presence waiting to be
attached to whoever drew to himself the name of
the greatest, most dazzling of warrior kings, the
one of highest doom. Even in Welsh
tradition, she is not always connected with the
hero: in at least one poem, surviving in two
widely divergent versions, she is nothing to do
with Arthur (though he is mistakenly mentioned in
the traditional title, Ymddiddan Gwennhwyvar
ac Arthur, the dialogue of Guinevere
and Arthur), but is the teasing, provoking
object of a violent contention between Cei and
Melwas. Cei is a hero who, in Welsh
accounts but not in Continental romances
has a peculiar position at Arthurs
court and is ranked the greatest of his heroes;
Melwas is, in many versions of the
Gwennhwyvar/Guinevere legend, the dark, abducting
lover from distant regions (one or two
fourteenth-century love poems suggest that he had
the powers of a love wizard), who comes to claim
the Fountain of All Beauty from Cei, Arthur, even
Lancelot. But in this poem,
it is Cei, not Arthur, who is the legal husband
from whom Melwas takes Gwennhwyvar.
Nor was Arthur always known as
Gwennhwyvar/Guineveres husband: both a wife
and a great love are known. The burlesque
Arthurian tale Cullhwch and Olwen[15],which contains a
great deal of very ancient lore, suggests that
Arthur was legally married to one Eleirch
daughter of Iaen, whose brothers Caradoc and
Siawn are (according to the tales editors,
Rachel Bromwich and D.Simon Evans) his in-laws.
Cullhwch and Olwen is not very clear about
this, et pour cause, since it also shows
Gwennhwyvar ensconced as Arthurs queen;
clearly its author was in receipt of two
contradictory traditions. Another (poetic)
source speaks of a great love
affair with a woman called Creirwy daughter of
Garwy Hir.
Another feature which places this
poem in the earliest, possibly historical layer
of Arthurian tradition is that it describes
Arthur as coming from the highlands of
Pictland. The evidence connecting any
possible historical Arthur to the North, to
present-day Scotland, has been rehearsed time and
again. His supposed cousin Cullhwch is the
grandson of Celiddon Wledig, Caledon
the High King, obviously a figure of the
Caledonians, who were Picts. All his feuds
which can be placed geographically pertain to the
North. Arthur is the enemy of Hueil, son
Caw of Prytdyn or Pictland; Arthur is opposed to
the house of Edern, a dynasty of the British Old
North. Likewise, the only recognizable one
of Arthurs battles in Nennius took place in
the wood of Caledon, where Geoffrey
also places one of Arthurs important early
campaigns. Other northern items, not
related to Pictland, include the Arthurian
allusion in the Gododdin, which Rachel
Bromwich suspected meant that the
Gododdin heroes saw themselves as Arthurs
successors: The oldest allusions to Arthur
associate him with North Britain. It is
claimed of one of the warriors in the Gododdin
that he performed great deeds of valour ceni
bei ef Arthur, though he was not
Arthur. Even if this line did not
belong to the original composition, it formed
part of the written text of the poem by the ninth
century. Finally,
the name of Camlann cries out to be recognized as
Camboglanna, Birdoswald, a fortress on
Hadrians Wall.
According to Rachel Bromwich,
Gwennhwyvar as bride of Arthur is unknown to the gogynfeirdd,
the Welsh poets of the second-earliest
age, about 900 to 1200, whom the wise old
scholar T.Gwynn Jones thought were in receipt of
ancient and basically historical accounts of the
king. In view of Gwennhwyvar/Guinevere/
Ganhumara/Findabairs admittedly legendary
nature, the fact that these Welsh traditions did
not regard her as his wife suggest, at least,
that they might have a better rooting in actual
history than Geoffrey, where, in view of her
admittedly mythological nature, her presence is a
clear symptom of contamination from purely
romantic/epic/ mythological material.
Geoffrey, we have seen, did not
speak Welsh; but there is evidence, in his own
work, for the existence of an account of the legend
of Arthur as opposed to a historical
account such as L - written in Latin by someone
who understood Welsh or Breton, and earlier than
anything we have. According to the linguistic
authority of Bromwich and Evans, Geoffrey
of Monmouth must have derived [the form Caliburnus
for Caledfwlch/ Excalibur] from a written
text earlier than any which has survived, since
must have been one in which [the second half of
the name] bulch was as yet
unlenited, that is its b- had not yet
turned into a f-. However, it is not
quite as easy as that: Evans and Bromwich
themselves point out that the still higher
authority of Joseph Vendryes, a great historical
linguist, argues that the Galfridian name Ganhumara
for Guinevere suggests a written
misinterpretation of Old Welsh Guenhuiuar,
meaning that its author misunderstood the middle
w- of the heroines name as
coming, like many Welsh w- sounds,
from an earlier m- (e.g. Rhuuein
from Roma and Rhufawn
from Romanus).
But it was a misunderstanding, as the parallel of
Findabair
shows. The name Ganhumara,
therefore, come from someone who knew it in Welsh
and tried to artificially archaize it.
Both Gwennhwyvar and Caledfulch
are features of the legendary rather than
historical account of Arthur, shared with Irish
epic. Therefore they go together; their
evidence goes together. In this case, it
proves that the author of this one among
Geoffreys sources spoke Old Welsh rather
than an earlier, unlenited Old Celtic language;
but that he knew just enough to apply the
historical lenition to the ancient names, in
reverse, to achieve more archaic forms
even where they do not apply.
Caliburnus/Excalibur appears,
along with other weapons mentioned in Welsh
Arthurian material, at the battle of Badon and
elsewhere in Geoffrey; being only a weapon, with
no personality of its own, it may be easily
intruded at any point in the story of a warrior
king. Queen Guinevere, however, is another
matter; and it is notable that, until
Arthurs last wars, she never does anything
at any time except to look decorative at a court
function whose details are certainly
Geoffreys own intention. This is in
marked contrast with the epic/ romance material,
in most of which, from short Breton lais to
titanic compilations such as Perslevaus
and the Vulgate cycle, Guinevere is a visible
presence, active in some way in almost every
episode, sometimes at the centre of the action.
But as for Geoffrey, it is only in his long and
elaborate concluding cycle of wars that Guinevere
comes into her own. She affects the action
in the most dramatic and decisive way possible,
by deserting Arthur for Mordred, and
precipitating the latters usurpation.
The centre of Ganhumaras
being is her capricious and truly fateful (femme
fatale) motion from one to another lover,
taking with her that dazzling beauty that drives
men to fight and die for her; therefore, where
that centre can be found, that is where she must
have come from. It was from the account of
Arthurs final wars that the Fountain of All
Beauty entered Geoffreys composite account
of the hero. And it follows that this
account, which I have called Group 3 and seen
reason to separate from the notice about the date
of Camlann (Group 2), is at the very least
heavily dependent on the epic tradition rather
than on any historically based notice. It
is easy enough to point out the ways in which
Geoffreys account of the war with the
Romans is partly based on the war which the
legendary Arthur and Gawain fight against
Lancelot, and that it is connected to the war
with Mordred in the same way.
1)- The war with
the Romans is a war de imperio,
about whether Arthur or the Romans are
ultimate sovereigns over Britain and
Gaul. |
1)- The war with
Lancelot is about Guinevere, who is
however clearly connected with the
sovereignty of Britain. According to the
Vulgate Death of King Arthur, the
elders of Britain tell her that she must
marry Mordred (Arthur being supposed
dead) "...because the man to whom
God gives the honour of this kingdom must
certainly marry you". |
2)- King Arthur
crosses the sea to fight the Romans in
Armorica. |
2)- King Arthur
crosses the sea to fight Lancelot in
Benwick, a land recognizable as part of
Armorica. |
3)- Arthurs
opponent in the war is the Roman emperor
Leo, but the enemy hero, commander of the
army and apparently invincible, is Lucius
Hiberus, whose name is oddly similar
to
|
3)-
Irish Lug,
Welsh Lleu, the name of the Celtic
supreme god who has been identified both
with Lancelot and with his Irish
equivalent Cu Chulainn. In the Irish
epic, CuChulainn is not the true enemy
(that is Conchobar) but rather his
champion and foremost hero, and, if not
the commander of the army, at least its
first fighter. |
4)- Lucius
Hiberus fights a great duel with Gawain,
which he does not lose; Gawain dies
shortly after, though the story claims
that it was at Mordreds hands that
he died. |
4)- Lancelot
fights and wins a great duel with Gawain. |
5)- As Arthur is
about to conquer the whole Empire (but
has not yet conquered it), he is called
back home by news of Mordred and
Guineveres treachery. |
5)- Although the
Vulgate Death of King Arthur
interpolates a Roman invasion in
deference to Geoffrey, it is clear that
the war against Mordred actually
interrupts Arthurs wars against
Lancelot. |
It is, in other words, quite clear
that Geoffrey modelled his account of
Arthurs final wars on the epic template
which produced all the Deaths of King
Arthur including the Vulgate and Malory,
and which also gave us the story of Fergus mac
Roich. It has no basic relationship with history,
and was no part of the original L. We may be
sure, from the divergent mentions in Geoffrey and
the Annales Kambriae, that Arthur died in
battle in a place called Camlann; but the battles
of Camlann known to us both from Geoffrey and
from the romances are all based on legend.
On the other hand, the theme of a
clash between Arthur and Roman ways does seem
connected with the contents of L, if we can put
any trust in Zosimus. We may allow that
Zosimus' book is unfinished and that what we have
is in effect a first draft; certainly the 6.5
passage is astoundingly ill-written, with
repetitions and stylistic stutters that even a
half-trained heir of classical literary tradition
would surely have smoothed out in revision.
"As they advanced, the barbarians [who
lived] over the Rhine gained control of
everything, and reduced the inhabitants of the
British island and some of the peoples who lived
among the Celts to the necessity of revolting
from the Roman government and managing their own
affairs without observing the laws of the Romans.
Consequently, the people of Britain armed
themselves and took their lives in their hands in
order to rid their poleis of the
barbarians who were menacing them, and all
Armorica and other provinces of the Gauls
followed the example of the Britons and in a
similar way made themselves independent, throwing
out the Romans' officials and setting up their
own independent government." This
could be said in half the space, and, had Zosimus
managed to revise it, it probably would have
been. But there seems to be a parallel
between the stages of Arthur's career in Geoffrey
and Zosimus' description of the British war
against the barbarians:
1)- The British
arm and run terrible risks to clear their
poleis of barbarians. The plural
emphasizes that there is a plurality of
political powers in Britain. |
1)- Crowned
like Constantine II and Ambrosius
- in threatening circumstances, the young
Arthur takes arms against the Saxons
against such terrible odds that he has to
call in his relative Hueil from across
the sea. This stage of Geoffreys
hero's career, and this alone, is tied to
Nennius' account of Arthur as
battle-leader of the kings of Britain,
emphasizing a plurality of political
powers. The wars are against non-Roman
peoples and lands, not only the Saxons,
but the outer islands. |
2)- The war then
spreads to Armorica and unspecified other
regions of Gaul. |
2)- After twelve
years of peace, Arthur invades Norway and
Gaul, which he quite subdues in nine
years of war. To emphasize his complete
and legal control over these countries,
he summons a parliament in Paris. |
3)- As part or
result of the war, the British expel the
Roman magistrates and refuse to obey
Roman laws and pay Roman taxes, reverting
instead to "their own" laws,
followed by the Armoricans and other
Gauls. Zosimus seems conscious of a
Celtic identity common to Britain and
Gaul. |
3)- After five
years of peace, Roman envoys beard the
king at a great royal assembly and demand
tribute and the return of the invaded
Gaul. Arthur refuses, in the name of
ancient British heroic deeds in Gaul and
even in Italy, where Brennius (whom he
takes to be a British king) once seized
Rome. |
It is clear that if we eliminate
the division in time between Arthurs first
invasion and conquest of Gaul, and his clash with
the ius Romanum, then the two structures
become much closer: first a stage of desperate
struggle within the bounds of Britain itself,
with stress put on the plurality of British poleis
or reges; then expansion into Armorica and
unspecified other Gaulish regions (to which
Geoffrey adds, surprisingly, Norway); involving
at some point a radical break with Rome and Roman
things, in the name of a glorious Celtic British
past that involved wars in Gaul and Italy. The
motor of this is the war against the
barbarians over the Rhine, who, to
judge from Zosimus phrasing, occupy both
Britain and Gaul: a war, in other words, that
transcends the mere struggle against the Saxons
whose climax is Mons Badonicus, and reaches out
to strike the barbarians from beyond the
Rhine who had occupied Gaul - that is, the
Franks.
My theory is that Geoffrey
separated Arthurs insurrection against ius
Romanum, from the first invasion of Gaul,
removing it to the second. Indeed, a second
invasion of Gaul seems an entirely unnecessary
hypothesis; and if we take Zosimus
expression to be precise, it seems fairly clear
that he not only thought the anti-Roman revolt
and the liberation of Armorica and adjacent
Gaulish provinces from the barbarians
settled over the Rhine to be
contemporaneous, but that the revolt against
Roman law was probably the earlier.
That Geoffrey manipulated the
story is at any rate pretty obvious. Nowhere
are his fingerprints more evident; whatever
previous account of Arthur's wars existed has
been almost wholly overlain with the man's
learning, attitudes and points of view. Geoffrey's
literary art is nearly as long-range as that of
Gildas. He prepares his points with care
and springs them upon us unexpectedly; and there
never are more pay-off lines than in these
chapters. For instance: it is clear that
one of his purposes in his redaction of the
legend of King Arthur is to trash Gildas' account
of the British past and character, as thoroughly
and extensively as he can. So, one of the
things he does is to inform us, twice, that the
Saxons always arrayed their armies in wedges.
Why insist on such a minor point? Because,
in his account of the battle of Sessia,
Arthur's ultimate triumph, he brings crashing on
us the fact that the British "always",
as a habit, arrayed their own hosts in a central
square with a left and a right wing; which is
exactly what Gildas said they had not been able
to do after the leaena dolosa's murders - nec
quadratum agmen neque dextrum cornu aliiue belli
apparatus (The Ruin 6). Geoffrey
even corrects - with what inward delight, we can
only imagine - an obvious blunder of the Saint,
who does not seem to have realized that a quadratum
agmen must have not only a dexter cornu
but a sinister too. Gildas, he may
have chuckled to himself, may have been a Saint,
but a soldier he clearly was not.
Where, however did this quite
unhistorical Emperor Leo come from? His
name is a well-known crux. No Roman Emperor
named Leo ever ruled in the West. Leo I
ruled in Constantinople from 457 to 474, but on
Geoffreys chronology, Arthur is a
contemporary of Anastasius I (491-518), Justin I
(518-527), and Justinian I (527-565), the latter
being contemporary with his Gallic wars, triumph,
and death. The idea of a clash between
Arthur and Justinian does indeed tickle the
imagination, but that is not what we have here.
And the use of an unchronological name for a
Roman emperor is far out of keeping with
Geoffrey's very high standard of historical
knowledge and chronology; all his strutting of
learning for his public's benefit was not just
show.
We have seen that there are
grounds to suspect that the heroic commander
Lucius had a role parallel to that of Lancelot
and CuChulainn; he is the main enemy, who, in the
first part of the war or in the first war
fights a great duel with Gawain which he
does not lose; but he is the champion of the
enemy rather than the king or leader. There
are a few other points which also tend to place
him in a category of heroes of Lug,
representing or even incarnating the great god.
That Lucius dies shortly after, in battle, by an
unknown hand, might perhaps represent
Geoffreys saving of British sensitivities;
but I have demonstrated, that the swift fall of
the hero who incarnates the fighting and avenging
aspect of Lug is a structural and necessary part
of his career. The Norman poet Wace adds
that Lucius died by a spear-blow; and another
thing I have shown is that at least one hero who
represents if in a different fashion
the power of Lug, falls in battle by a
spear thrown by no known hand, and that it is
necessary that he should. Lucius Hiberus,
too, is not himself a sovereign, but the servant
and chief champion of one, like Cu Chulainn or
Lancelot; this seems to be part of the template
for a Lug hero; and the fact that he
is the champion of the great kings enemy
as is, if we look at it the right way,
CuChulainn reminds us of the role of the
legendary Taliesin in my interpretation,
another Lug hero as champion
of Elphin, the otherwise defenceless and defeated
opponent of the great king Maelgwn.
Now the ultimate enemy of whom
CuChulainn is the champion is Conchobar; and, in
my scheme, his equivalent is not Leo but
Medrawt/Mordred (whose name, so sinister-sounding
in all Romance and Teutonic languages, must have
been a positive blessing to French, English,
German, Italian and Spanish romancers!). And
in both the Irish and the Welsh legend, this
enemy is not of a higher rank than the
great king: to the contrary, the presence of the
Lug hero by their side seems almost a diagnostic
of inferior rank, as with Elphin against Maelgwn.
The legend has no place for an imperial superior
to the Great King.
It follows that Leos name
and character are a free-standing item, with no
legendary correspondence or explanation. And this
corresponds to a notorious Galfridian crux: the
relationship between Leo and Lucius[23] is practically
inextricable in Geoffreys account, and may
indeed reflect confusion or contradiction in his
sources. Leo is Emperor in Rome (not
Constantinople), and never appears; Lucius, the
effective head of Roman forces, is given the
unhistorical title of Procurator (perhaps calqued
on that of Pontius Pilate in the Vulgate). It is
curious, and possibly significant, that the full
name of the Procurator is Lucius Hiberus,
L. the Spaniard or Irishman; it might
suggest confusion with some story of Arthur
invading Ireland.
It is well to insist that what we
are dealing with are two entirely separate
entities: L, the historical account of
Arthurs wars; and the epic template in
which a Great King of the legendary past battles
opposing powers among which though not as
king - there is an incarnation of the god Lug
Lancelot, CuChulainn. The data woven by
Geoffrey into his own account come from more than
one source. Lucius Hiberus certainly, Frollo
probably, belong to a definite, well-structured
legendary source; the Emperor Leo does not seem
to. But neither does he come from history known
to us.
It is Geoffreys known
methods that come to our help. Leo was not the
only dubious Roman emperor known to Geoffrey; and
he had already felt the need to modify the
accounts he had received in certain specific
ways, I mean in the legend of the Seven Emperors.
Nennius regarded the Seven Emperors as sovereigns
of Roman race who had ruled Britain, and Britain
alone; Geoffrey, fed on Classical historiography
and prose, and quite conscious that there was
only one Roman Empire and that its core was in
Italy, revised the whole legend, drawing a strong
line between kings of Britain and Roman emperors.
Seven emperors, he says, came to Britain
and resided there; but they were still Roman
emperors, ruling over the whole Roman Empire.
Between them, he fills the spaces with kings of
Britain - of British race - and Roman usurpers.
He is careful to rule out figures who come to
Britain but whom he does not regard as actual
emperors, like Carausius, Allectus and
Constantius, involved not in the succession of
the imperial title, but of the prestigious but
vassal kingship of Britain. Nevertheless, careful
reading of his "Roman" chapters will
show that, after Caesar, there are exactly seven
figures who either come to or from Britain, and
who are Roman emperors: Claudius, Vespasian,
Severus, Geta, Bassianus, Constantine and
Maximianus. That he ignores Nennius' "good
Maximus" is interesting, but not unexpected,
since we have seen that the division of Good
Maximus and Bad Maximianus was a deliberate and
artificial genealogical fiction which Nennius
fully understood; Geoffrey, however, had as
little interest in acquiescing to that pretension
as in collaborating in Nennius' other little
hobby-horse, the whitewashing of Vortigern.
Geoffrey transferred the Seven
Emperors from Britain to Rome. He turned their
life-spans from superhuman to human: according to
Nennius, the Seven Emperors had ruled over
Britain for 409 years, which gives an improbable
average of more than 58 years of reign, but
Geoffrey placed large spaces between their
various "visits" to Britain, which he
filled with British kings. In short, he made the
legend credible and inserted it in a learned
framework of Roman history, including byways as
obscure as the usurpation of Gratianus municeps
and the adventures of Carausius and Allectus.
What if he had done the same
with the Roman Emperor defeated by Arthur?
What if the unhistorical Emperor Leo was in fact
a British Roman emperor, like all the other
legendary figures of emperors that lie at the
back of his would-be historical sovereigns? What
if the story was in fact the struggle of Arthur
with a successor to the imperial pretensions of
Constantine III - a "Roman emperor" in
the line of the Mild King, Vitalinus, and
Ambrosius (or his brother)?
I think that the enormous
significance of King Arthur in Welsh and Breton
legend has to do with this: that he became a
culture hero because, with him, the Celtic ways
of the North triumphed. He is the head of the
Celticizing revolution described by Zosimus
source, that swept through Britain to Gaul to
establish a temporary power remembered only in
Procopius fable of the Arborychan
princess married to a Frankish king, but that
left behind, as a permanent monument, the new
nation of Brittany. All through this research we
have been moving closer to that moment of
decision, which produced A as its charter and L
as its proud history, when leaders arose who were
disposed to rule not as Romans but as Northern
chiefs, identifying Northern ways with native
British ways in spite of the fact that central
and southern Britain was still, not only then but
a century after and as late as the English
conquest, the home of people who could be defined
as Romani or Wealhas.
Notes
History
of Britain, 407-597 is copyright © 2002, Fabio
P. Barbieri. Used with permission.
Comments
to: Fabio P.
Barbieri
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