his identity from the ring which he wore. This is the well-known saga formula of Sohrab and Rustum, of Theseus and Hippolytus. On his return from Scathach's isle Cúchulainn destroyed Forgall's rath with many of its inmates, including Forgall, and carried off Emer. To the ten years which followed, during which he was the great champion of Ulster, belong many tales in which he figures prominently. One of these is The Debility of the Ultonians. This was caused by Macha, who, during her pregnancy, was forced to run a race with Conchobar's horses. She outran them, but gave birth immediately to twins, and, in her pangs, cursed the men of Ulster, with a curse that, in time of oppression, they would be overcome with the weakness of childbirth. From this Cúchulainn was exempt, for he was not of Ulster, but a son of Lug.404 Various attempts have been made to explain this "debility." It may be a myth explaining a Celtic use of the "couvade," though no example of a simultaneous tribal couvade is known, unless we have here an instance of Westermarck's "human pairing season in primitive times," with its consequent simultaneous birth-period for women and couvade for men.405 Others, with less likelihood, explain it as a period of tabu, with cessation from work and warfare, at a funeral or festival.406 In any case Macha's curse is a myth explanatory of the origin of some existing custom, the duration of which is much exaggerated by the narrator. To this period belong also the tale of Cúchulainn's visit to Elysium, and others to be referred to later. Another story describes his attack upon Morrigan because she would neither yield up the cows which she was driving away nor tell her true name—an instance of the well-known name tabu. Morrigan took the form of a bird, and was then recognised by Cúchulainn, who poured scorn upon her, while she promised to oppose him during the fight of the Táin in the forms of an eel, a wolf, and a cow, all of which he vowed to destroy.407 Like many others in the saga, this story is introductory to the main episode of the Táin. To this we now turn.
Medb had been wife of Conchobar, but, leaving him, had married in succession two chiefs called Ailill, the second of whom had a bull, Findbennach, the White-horned, which she resolved to match by one in every way its equal. Having been refused the Brown Bull of Cuailgne, she summoned all her forces to invade Ulster. The moment was inauspicious for Ulster, for all its men were suffering from their "debility." Cúchulainn, therefore, went out to encounter the host, and forced Medb to agree that a succession of her warriors should engage him in single combat. Among these was his old friend Ferdia, and nothing is so touching as his reluctance to fight him or so pathetic as his grief when Ferdia falls. The reluctance is primarily due to the tie of blood-brotherhood existing between them. Finally, the Ulstermen rose in force and defeated Medb, but not before she had already captured the bull and sent it into her own land. There it was fought by the Findbennach and slew it, rushing back to Ulster with the mangled body on its horns. But in its frenzy a rock seemed to be another bull, which it charged; its brains were dashed out, and it fell dead.
The Morrigan had warned the bull of the approach of Medb's army, and she had also appeared in the form of a beautiful woman to Cúchulainn offering him her love, only to be repulsed. Hence she turned against him, and described how she would oppose him as an eel, a wolf, and a red heifer—an incident which is probably a variant of that already described.408 In each of these shapes she was conquered and wounded by the hero, and knowing that none whom he hurt could be healed save by himself, she appeared to him as an old crone milking a cow. At each draught of the milk which he received from her he blessed her with "the blessing of gods and not-gods," and so her wounds were healed.409 For this, at a later time, she tried to ward off his death, but unsuccessfully. During the progress of the Táin, one of Cúchulainn's "fairy kinsmen," namely, Lug, who announced himself as his father, appeared to aid him, while others of the Tuatha Déa threw "herbs of healing" into the streams in which his wounds were washed.410
During the Táin, Cúchulainn slaughtered the wizard Calatin and his daughters. But Calatin's wife bore three posthumous sons and three daughters, and through their means the hero was at last slain. Everything was done to keep him back from the host which now advanced against Ulster, but finally one of Calatin's daughters took the form of Niamh and bade him go forth. As he passed to the fight, Calatin's daughters persuaded him to eat the flesh of a dog—a fatal deed, for it was one of his geasa never to eat dog's flesh. So it was that in the fight he was slain by Lugaid,411 and his soul appeared to the thrice fifty queens who had loved him, chanting a mystic song of the coming of Christ and the day of doom—an interesting example of a phantasm coincidental with death.412 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."413 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.414
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.415
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,416 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.417 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."418 Blindness befell all women who loved him, a reference to the difficulty of gazing at the sun.
