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coincidental with death.⁴⁶⁴ This and other Christian touches show that the Christian redactors of the saga felt tenderly towards the old pagan hero. This is even more marked in the story in which he appears to King Loegaire and S. Patrick, begging the former to believe in God and the saint, and praying Patrick to "bring me with thy faithful ones unto the land of the living."⁴⁶⁵ A similar Christianising appears in the story of Conchobar's death, the result of his mad frenzy on hearing from his Druid that an earthquake is the result of the shameful crucifixion of Christ.⁴⁶⁶

      In the saga, Cúchulainn appears as the ideal Celtic warrior, but, like other ideal warriors, he is a "magnified, non-natural man," many of his deeds being merely exaggerations of those common among barbaric folk. Even his "distortion" or battle frenzy is but a magnifying of the wild frenzy of all wild fighters. To the person of this ideal warrior, some of whose traits may have been derived from traditional stories of actual heroes, Märchen and saga episodes attached themselves. Of every ideal hero, Celtic, Greek, Babylonian, or Polynesian, certain things are told—his phenomenal strength as a child; his victory over enormous forces; his visits to the Other-world; his amours with a goddess; his divine descent. These belong to the common stock of folk-tale episodes, and accumulate round every great name. Hence, save in the colouring given to them or the use made of them by any race, they do not afford a key to the mythic character of the hero. Such deeds are ascribed to Cúchulainn, as they doubtless were to the ideal heroes of the "undivided Aryans," but though parallels may be found between him and the Greek Heracles, they might just as easily be found in non-Aryan regions, e.g. in Polynesia. Thus the parallels between Cúchulainn and Heracles throw little light on the personality of the former, though here and there in such parallels we observe a peculiarly Celtic touch. Thus, while the Greek hero rescues Hesione from a dragon, it is from three Fomorians that Cúchulainn rescues Devorgilla, namely, from beings to whom actual human sacrifice was paid. Thus a Märchen formula of world-wide existence has been moulded by Celtic religious belief and ritual practice.⁴⁶⁷

      It was inevitable that the "mythological school" should regard Cúchulainn as a solar hero. Thus "he reaches his full development at an unusually early age," as the sun does,⁴⁶⁸ but also as do many other heroes of saga and Märchen who are not solar. The three colours of Cúchulainn's hair, dark near the skin, red in the middle, golden near the top, are claimed to be a description of the sun's rays, or of the three parts into which the Celts divided the day.⁴⁶⁹ Elsewhere his tresses are yellow, like Prince Charlie's in fact and in song, yet he was not a solar hero. Again, the seven pupils of his eyes perhaps "referred to the days of the week."⁴⁷⁰ Blindness befell all women who loved him, a reference to the difficulty of gazing at the sun.⁴⁷¹ This is prosaic! The blindness was a compliment paid to Cúchulainn the blind, by women who made themselves blind while talking to him, just as Conall Cernach's mistresses squinted as he did.⁴⁷² Cúchulainn's blindness arose from his habit of sinking one eye into his head and protruding the other—a well-known solar trait! His "distortion," during which, besides this "blindness," blood shot upwards from his head and formed a magic mist, and his anger caused showers of sparks to mount above him, points to dawn or sunset,⁴⁷³ though the setting sun would rather suggest a hero sinking calmly to rest than a mad giant setting out to slaughter friend and foe. The "distortion," as already pointed out, is the exaggerated description of the mad warrior rage, just as the fear which produced death to those who saw him brandish his weapons, was also produced by Maori warrior methods.⁴⁷⁴ Lug, who may be a sun-god, has no such "distortion." The cooling of the hero in three vats, the waters of which boil over, and his emergence from them pinky red in colour, symbolise the sun sinking into the waters and reappearing at dawn.⁴⁷⁵ Might it not describe in an exaggerated way the refreshing bath taken by frenzied warriors, the water being supposed to grow warm from the heat of their bodies?⁴⁷⁶ One of the hero's geasa was not to see Manannan's horses, the waves; which, being interpreted, means that the sun is near its death as it approaches the sea. Yet Lug, a sun-god, rides the steed Enbarr, a personification of the waves, while Cúchulainn himself often crossed the sea, and also lived with the sea-god's wife, Fand, without coming to grief. Again, the magic horses which he drives, black and grey in colour, are "symbols of day and night,"⁴⁷⁷ though it is not obvious why a grey horse should symbolise day, which is not always grey even in the isles of the west. Unlike a solar hero, too, Cúchulainn is most active in winter, and rests for a brief space from slaughtering at midday—the time of the sun's greatest activity both in summer and winter.

      Another theory is that every visit of the hero to a strange land signifies a descent to Hades, suggested by the sun sinking in the west. Scathach's island may be Hades, but it is more probably Elysium with some traits borrowed from the Christian idea of hell. But Emer's land, also visited by Cúchulainn, suggests neither Hades nor Elysium. Emer calls herself ingen rig richis garta, translated by Professor Rh^ys as "daughter of the coal-faced king," i.e. she is daughter of darkness. Hence she is a dawn-maiden and becomes the sun-hero's wife.⁴⁷⁸ There is nothing in the story to corroborate this theory, apart from the fact that it is not clear, even to the hypothetical primitive mind, why dawn and sun should be a divine pair. Emer's words probably mean that she is "daughter of a king" and "a flame of hospitality" (richis garta.)⁴⁷⁹ Cúchulainn, in visiting her, went from west to east, contrary to the apparent course of the sun. The extravagance of the solar theory is further seen in the hypothesis that because Cúchulainn has other wives, the sun-god made love to as many dawn-maidens as there are days in the year,⁴⁸⁰ like the king in Louys' romance with his 366 wives, one for each day of the year, leap-year included.

      Further examples of the solar theory need not be cited. It is enough to see in Cúchulainn the ideal warrior, whose traits are bombastic and obscure exaggerations of actual custom and warfare, or are borrowed from folk-tale motifs not exclusively Celtic. Possibly he may have been a war-god, since he is associated with Badb⁴⁸¹ and also with Morrigan. But he has also some traits of a culture hero. He claims superiority in wisdom, in law, in politics, in the art of the Filid, and in Druidism, while he brings various things from the world of the gods⁴⁸². In any case the Celts paid divine honours to heroes, living or dead,⁴⁸³ and Cúchulainn, god or ideal hero, may have been the subject of a cult. This lends point to the theory of M. D'Arbois that Cúchulainn and Conall Cernach are the equivalents of Castor and Pollux, the Dioscuri, said by Diodorus to be worshipped among the Celts near the Ocean.⁴⁸⁴ Cúchulainn, like Pollux, was son of a god, and was nursed, according to some accounts, by Findchoém, mother of Conall,⁴⁸⁵ just as Leda was mother of Castor as well as of Pollux. But, on the other hand, Cúchulainn, unlike Pollux, was mortal. M. D'Arbois then identifies the two pairs of heroes with certain figures on an altar at Cluny. These are Castor and Pollux; Cernunnos and Smertullos. He equates Castor with Cernunnos, and Pollux with Smertullos. Smertullos is Cúchulainn, and the name is explained from an incident in the Táin, in which the hero, reproached for his youth, puts on a false beard before attacking Morrigan in her form as an eel. This is expressed by smérthain, "to attach", and is thus connected with and gave rise to the name Smertullos. On the altar Smertullos is attacking an eel or serpent. Hence Pollux is Smertullos-Cúchulainn.⁴⁸⁶ Again, the name Cernunnos signifies "the horned one," from cernu, "horn," a word found in Conall's epithet Cernach. But this was not given him because he was horned, but because of the angular shape of his head, the angle (cern) being the result of a blow.⁴⁸⁷ The epithet may mean "victorious."⁴⁸⁸ On the whole, the theory is more ingenious than convincing, and we have no proof that the figures of Castor and Pollux on the altar were duplicates of the Celtic pair. Cernunnos was an underworld god, and Conall has no trace of such a character.

      M. D'Arbois also traces the saga in Gaul in the fact that on the menhir of Kervadel Mercury is figured with a child, Mercury, in his opinion, being Lug, and the child Cúchulainn.⁴⁸⁹ On another altar are depicted (1) a woodman, Esus, cutting down a tree, and (2) a bull on which are perched three birds—Tarvos Trigaranos. The two subjects, as M. Reinach points out, are combined on another altar at Trèves, on which a woodman is cutting down a tree in which are perched three birds, while a bull's head appears in the branches.⁴⁹⁰ These represent, according to M. D'Arbois, incidents of the Táin—the cutting down of trees by Cúchulainn and placing them in the way of his

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