\'Cernunnos\' The Horned One in Celtic Mythology PDF

Preview

Summary

This is a lecture note on World Literature, specifically the Celtic Mythology....

Description

Mythology and Folklore Cernunnos "The Horned One" in Celtic Mythology Introduction Arguably the most visually impressive and rather portentous of ancient Celtic gods, Cernunnos is actually the general name (theonym) given to the deity ‘Horned One’. As the horned god of Celtic polytheism, Cernunnos is often associated with animals, forests, fertility, and even wealth. His very depiction mirrors such attributes, with the conspicuous antlers of the stag on his head and the poetic epithets like ‘Lord of the Wild Things’. Etymology Cernunnos was an ancient Gaelic word meaning “horned” or “horned one.” The name shares its etymology with similar words across the Celtic world, including several Gallo-Roman cognates. The use of cern for “horned” was common in Indo-European languages, such as the Greek corn (the word unicorn, referring to the one-horned horselike creature) and several Latin taxonomic terms for antlered animals. In contemporary scholarship, Cernunnos has become a name used for other Celtic horned gods whose names have been lost to history. There is little evidence to suggest that the name Cernunnos was used outside of Gaul. Nevertheless, academic and religious scholars alike have used the name as a kind of catch-all for Celtic horned gods, as well as horned deities as far afield as India. Other titles have been added to Cernunnos over time—often by modern neopagans— such as “Lord of the Wilds” or “God of Wild Places.” Such titles have no historical basis, but have come into popular usage with the rise of neopagan traditions. Talking of etymology, befitting the mysterious nature of the forest god, his theonym ‘Cernunnos’ also has ambiguous origins. However, the similarsounding karnon from Gaulish (cognate with Latin cornu and Germanic *hurnaz), ultimately derived from Proto-Indo-European *kr no-, means ‘horn’. In that regard, 12th-century Eastern Roman scholar and archbishop Eustathius of Thessalonica referred to the animal-shaped Celtic military horn as the carnyx. Origins and History of Cernunnos Cernunnos is often identified with the horned deity of the Celtic mythology and folklore. Interestingly enough, the very theonym ‘Cernunnos’ is rather a general or conventional one often used in Celtic studies. As such the term is found only once in the historical context – mentioned in the Pillar of the Boatmen, a Roman column dating from circa 1st century AD, possibly erected by a guild of Celtic sailors. To that end, this column, dedicated to Emperor Tiberius, has inscriptions in Latin but with features of

Gaulish language that goes on to depict a ‘mix’ of Celtic deities and Roman mythical figures as bas-reliefs. However, quite intriguingly, the visual representations of the horned deity (as one of the Celtic gods) predate such inscriptions and names by centuries, including small figurines dating from circa 7th-4th century BC and 1st century BC, from different parts of Western Europe. Some have even conjectured how the horned deity was venerated as the shamanic god of the hunt since the prehistoric times. In essence, while we prescribe the theonym ‘Cernunnos’ to the Horned God of the Celts, the deity in itself is far older than the conventional name. As for the mythological side of affairs, given the Roman penchant for identifying foreign deities with their own (known as interpretatio Romana), Cernunnos was likened to Dis Pater, along with Mars and Mercury. That was because, according to the Romans, most of these entities were regarded as the rulers of the treasures of the underworld (possibly signifying mineral wealth). As for the Irish side of affairs, Cernunnos is also vaguely identified with Conall Cernach, the foster brother to the hero Cú Chulainn – with the Cernach epithet (sounding close to Cernunnos) alluding to ‘being victorious’ or ‘bearing a prominent growth’. Depictions As I mentioned in the earlier entry, there are representations of the Celtic Horned God that predate the Cernunnos on the Pillar of the Boatmen (where he is also depicted as a horned figure). Apt examples would pertain to an antlered human figure featured in a 7th-4th century BC dated petroglyph in Cisalpine Gaul and other related horned figures (included a deity with two faces) worshipped by the Celtiberians based in what is now modern-day Spain and Portugal. And the most well-known depiction of the deity (pictured above) can be found on the Gundestrup Cauldron (circa 1st century BC), discovered from Jutland – comprising portions of present-day Denmark and Germany. However, it should be noted that such depictions are not unique in their connection to Cernunnos, but were rather found in conjunction with other RomanoCeltic deities, like the Celtic (syncretic) versions of Mars and Mercury. As the Horned God of the Celtic polytheism, Cernunnos is often associated with the deity of animals, fertility, life, and even wealth (in his syncretic Romano-Celtic form, like we discussed earlier). Pertaining to animals and wildlife, Cernunnos has been offered poetic epithets like ‘Lord of Wild Things’ by many modern pagan movements. And from the historical perspective, the Horned God (or similar deities) was symbolically represented by the stag, along with a flurry of other critters, ranging from bulls, boars to rats and dogs. Relating to this association with animals and hunting, some have also conjectured how Cernunnos could be a god of the underworld (since hunting results in death). But once again, from the historical angle, there is no evidence to back up such a claim. As for his attribute of a life-endowing force, the scope might be related to the seasonal changes and their effects on forests and vegetation, with the spring and summer bringing forth the verdancy, regeneration, and lushness of the many trees and plants. The most famous image of Cernunnos—which may not depict him at all—was found on the Danish Gundestrup Cauldron. Dating back to the 1st century BCE, the

cauldron was believed to have originated near Greece (likely in Gaul or Thrace), due to the art style and metallurgic practices required to create it. The horned god depicted on the cauldron bore similarities to those seen on Celtic stones, statues, and books during the early Christian period. Myths of Cernunnos

Given the ambiguous scope of the Horned God in Celtic mythology, there are no recorded myths and ancient literary sources that directly pertain to the figure of Cernunnos. However, the imagery of horns and serpents do play their part in some mythical narratives of ancient Europe. For example, in the 8th-century Irish tale Táin Bó Fraích, the warrior-hero Conall Cernach bypasses a fort to confront a mighty serpent that is guarding the stronghold’s treasure. But instead of a valiant clash, the story turns anti-climatic – with the serpent surrendering itself by girdling itself along the hero’s waist. And like we mentioned before, the Cernach epithet could alternatively mean ‘angular, having corners’ or ‘bearing a prominent growth’, thus possibly referring to horn-like receptacles. Cernunnos was a particularly mysterious deity. His name appeared only once in historical sources, and none of his tales have survived from antiquity. Modern scholars and neopagans have nevertheless attributed a number of tales to the horned god. Historical Cernunnos The name Cernunnos has appeared only once—on the Pillar of the Boatman. Carved in Paris sometime during the 1st century CE, the pillar depicted a number of Roman and Gaelic gods, Cernunnos among them. In this depiction, Cernunnos’ torcs hung around his antlers, rather than his neck or hands. While it is unknown which tribes might have worshipped Cernunnos, it is clear that horned gods were commonly worshipped throughout the Celtic world. Now, in an intriguing manner, depictions of snakes and even ram-horned snakes were found in northern-eastern Gaul – the very same area known for its association to the ancient cult of Cernunnos (or the Horned God). Other similar depictions are also found outside of the area, including the famous Gundestrup Cauldron from Jutland.

Attributes Little is known of Cernunnos, for almost nothing was written about him. He was a god of wild places, and often appeared as a bearded man with antlers. Some scholars believed his name and characteristics originally belonged to a number of horned gods that were then mixed together. Others have suggested Cernunnos’ traits were taken from Greco-Roman deities of similar appearance. In any case, it is best to remember that these gods were not necessarily the same entity, but instead emerged from similar cultural origins.

Cernunnos was a god of the wild who ruled over pristine nature and uncivilized ways. Animals were his subjects, and free-growing fruits and vegetable his bounty. Classical depictions of the deity included gatherings of animals such as elk, wolves, snakes, and aurochs. Such gatherings were possible thanks to Cernunnos’ abillity to bring natural enemies into peaceful communion with one another. This ability may have cast Cernunnos as a protector and provider amongst rural tribes and hunters. Similarly, Cernunnos may have been a fertility god or god of life. In some classical societies, the natural world was the origin of all life. Under this schema, the god of the wilds would also have served as a god of life, creation, and fertility. Depictions Cernunnos was often shown with a torc—a traditional Celtic necklace that was made of metal. In some depictions he merely holds one, while in others he wears them either on his neck or antlers. Some scholars have connected Cernunnos to oak trees, which served as prominent symbols in Celtic lore and druidry. Cernunnos began a particularly active second life in the 19th century, when spiritual movements seeking to revive pre-Christian European beliefs grew in popularity. The deity appeared prominently in Margaret Murray’s The God of the Witches as the embodiment of horned deities; the text stated that Cernunnos was the god of witches during pre-Christian times, and that his worship continued in secret pockets throughout Europe following the spread of Christianity. Despite the books problematic nature and many generalizations (particularly in regard to Cernunnos), it did bring the horned god back into the public eye. Cernunnos, the Horned God of neopagan traditions, is lord of both life and death; he grows old as the year progresses before being reborn and starting the cycle anew. He exists in tandem with the divine feminine, the Goddess, who is at once both mother and lover; in many traditions, his power stems from her. Note that Cernunnos neopagan attributes do not necessarily reflect his pre-Christian characteristics. Modern Revival of Cernunnos The popular imagery of Cernunnos as the otherworldly horned figure residing within the depth of forests is arguably inspired by Margaret Murray’s 1931 book, the God of the Witches. Murray, who was a historian, anthropologist, and folklorist (famous for her Witch-Cult theory), surmised that Herne the Hunter, a post-Christianity deity from around the Berkshire region, was a localized version or aspect of Cernunnos. Interestingly enough, Herne was also mentioned by Shakespeare in The Merry Wives of Windsor – There is an old tale goes that Herne the Hunter, Some time a keeper here in Windsor Forest, Doth all the winter-time, at still midnight, Walk round about an oak, with great ragg’d horns; In any case, modern versions of Cernunnos are also prevalent in some traditions of Wicca (known as Kernunno in the Gardnerian Wicca), with the Horned God often regarded as a deity of fertility and renewal. To that end, Cernunnos is perceived in his death aspect at the onset of winter – who is once again resurrected to impregnate the earth goddess, thereby resulting in cyclic regeneration of life by the springtime. Now, of

course, it should be noted that such associations are a result of the culmination and combination of various horned entities that were venerated in ancient Europe and even other parts of the wo Marvel Comics, Cernunnos was one of the most prominent figures of the Celtic pantheon. Here, he was depicted as a man who had both the face and antlers of a deer, rather than just the antlers; The band Faith and the Muse recorded a song from the deity’s perspective called “Cernunnos.” Elsewhere, singer Monica Richards included a song about Cerunnos on her first solo album, entitled “The Antler King”; The band Borean Dusk used a drawing of Cernunnos on the cover of their self-titled album, Boren Dusk; Cernunnos has appeared in several video games: as a playable god in SMITE, a demon in the Megami Tensei series; and as a monster in Folklore; Cernunnos is a popular figure in modern art, though his appearances are often tied to neopagan interpretations of the deity instead of his Celtic origins. Cernunnos also appears frequently in neopagan literature....