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The Turn, the Cauldron, and the Scapegoat: a Study of the Second

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The Turn, the Cauldron, and the Scapegoat: a Study of the Second Hope College Digital Commons @ Hope College 13th Annual Celebration for Undergraduate Celebration for Undergraduate Research and Research and Creative Performance (2014) Creative Performance 4-11-2014 The urT n, the Cauldron, and the Scapegoat: A Study of the Second Branch of the Mabinogi Through the Mythological Theories of René Girard and J. R. R. Tolkien Rebecca Fox Follow this and additional works at: http://digitalcommons.hope.edu/curcp_13 Recommended Citation Repository citation: Fox, Rebecca, "The urT n, the Cauldron, and the Scapegoat: A Study of the Second Branch of the Mabinogi Through the Mythological Theories of René Girard and J. R. R. Tolkien" (2014). 13th Annual Celebration for Undergraduate Research and Creative Performance (2014). Paper 70. http://digitalcommons.hope.edu/curcp_13/70 April 11, 2014. Copyright © 2014 Hope College, Holland, Michigan. This Poster is brought to you for free and open access by the Celebration for Undergraduate Research and Creative Performance at Digital Commons @ Hope College. It has been accepted for inclusion in 13th Annual Celebration for Undergraduate Research and Creative Performance (2014) by an authorized administrator of Digital Commons @ Hope College. For more information, please contact [email protected]. The Turn, the Cauldron, and the Scapegoat Efnysien as a Scapegoat What is the Mabinogion? A Study of the Second Branch of the Mabinogi Through the ! For Girard, myths are retellings of the In 1838, William Pughe and Lady Charlotte Guest’s original mimetic crisis and scapegoat events, told collection of translated Welsh Medieval prose, which Guest dubbed Mythological Theories of René Girard and J. R. R. Tolkien from the “distorted view” of the “violent mob.” ‘the Mabinogion’ was published for the first time. This work and its In order for the self-deception of the mob to take subsequent translations are now considered by many--however Rebecca Fox For more information, contact: place--because the mob must unanimously Rebecca Fox unfairly--to be a sort of essential canon of Welsh myth. However, Hope College, Holland, MI accept that a random victim’s sacrifice will Andrew W. Mellon Program and (920) 841-1020 before Guest and Pughe, many of these texts had not been directly [email protected] reconcile the community--the mob’s view of the linked and should not be considered to be so, since they were from Department of English Literature, Hope College victim will have to be deluded by the different eras and in different styles. Modern Welsh translator and scapegoating mechanism. Girard calls this student of the Mabinogion Will Parker explains that not only were “méconaissance,” which can be translated as Brân, the gigantic king of Efnisien's self-sacrifice these texts not related, they also had a history beyond the Middle by T. Prytherch Britain, negotiates the “mis-knowing.” The community Ages authors who put them on paper: Efnysien sacrifices “mis-knows” the sacrifice of the scapegoat as the just punishment marriage of his beautiful To placate the Irish, Brân The Welsh army comes himself and destroys the of the perpetuator of the crisis, instead of the murder of an The Mabinogion texts are concerned with the heroic age or sister, Brânwen, to gives Matholwch a magic to Ireland, in the peace Cauldron, allowing the innocent. mythological past of the British Isles. They were not original Matholwch, the king of Cauldron that can bring talks, Efnysien murders British to win, but with compositions, drawing as they did on pre-existing traditional Ireland. back the dead. Gwern. By applying this theory to the Second Branch, we see that material, whether from oral or written sources. But these traditions only 7 survivors. Efnysien, is “mis-known” as an unstable villain. He fulfills all of were reworked, often to reflect contemporary concerns. We might Girard’s criteria for a scapegoat: he is is socially abnormal (as a read the Mabinogion as both an interpretation of a mythological past prince he is an easy target) and has committed (or is believed to and a commentary on the medieval present. Within the Mabinogion have committed) crimes which, as Girard puts it, “attack the very are a group of four stories, the eponymous ‘Four Branches of the foundation of cultural order, the family and the hierarchical Matholwch and his Mabinogi;’ these tales tell of members of two legendary, interrelated Efnysien, Brânwen’s War ensues, but the Irish Brân is wounded, so his differences without which there would be no social order.” As the people mistreat Brânwen Celtic dynasties that were supposed to have ruled Britain before the contentious half-brother, cannot be defeated head is removed. The chosen scapegoat, Efnysien’s death is therefore necessary for the and her son, Gwern, so Roman invasion. is angry that he was not because of the Cauldron talking head takes the crisis to be resolved, which is, indeed, what happens (see fig. #). she sends a message to consulted and dishonors of Rebirth. survivors to a magic her brother. Matholwch by feasting hall, where their mutilating his horses. sorrows are eased by singing birds for 80 years. Magic and Enchantment Girard’s Mimetic Theory in the Second Branch The basic concept of the theory is that all human desire is imitative, or In the Second Branch there are examples of both Magic copied from a model. In other words, a and Enchantment. The Cauldron of Rebirth is a Magical object; man unknowingly rates the desirability of it is a tool for domination and war, used to make a supernatural an object on its perceived value to others. change in the Primary World: bringing back the dead. However, Desire therefore leads to rivalry and Brân’s head is an Enchanted object: it brings his mourning men violence, since these are usually finite ease for their sorrow and even joy through the grief-erasing resources. music of the Birds of Rhiannon and the community of the Let us say that there is an object, feasting hall in Annwn. The Head brings them into a tangible which a model desires. A subject sees the sub-creation, where time passes without note and joy reigns. model’s desire and imitates it. Now the Even after the Enchantment of the hall fades and the Head goes two are in rivalry for the object. The silent, it still protects its people from danger, guarding the isle rivalry escalates when the two subjects begin to model each other in from invasion. Another example of Enchantment is in an ever-intensifying desire. This is called “doubling” because the Brânwen’s messenger to her brother: a starling who she teaches two are mirroring each other until all differentiation between them to speak. Tolkien believes that when animals speak to a human breaks down. The rivalry then escalates until the community is in a Fairy-Story, it represents a desire for “communion with drawn into it. Finally, the object disappears, meaning that the other living things,” and is, therefore, Enchantment. participants in the conflict stop caring about the object itself and are only focused on their antagonism. Eventually, this erupts into a “mimetic crisis,” where, Girard says, the only “effective form of reconciliation--that would stop this crisis, and save the community from total self-destruction--is the convergence of all collective anger and rage towards a random victim, a scapegoat... unanimously adopted as such” (see fig. 1 and 2). Brânwen and the Starling from Guest’s translation Tolkien’s Fairy-Story Theory Consolation in the Second Branch In his essay On Fairy-Stories, Tolkien lays out the two kinds of The Enchantment of the Noble Head and its Assembly supernatural power found in Fairy- are the Consolation of the story. It “a sudden and miraculous Stories, which are guided by two kinds of grace” which “does not deny the existence” of the “sorrow and desire. The first comes from a desire for failure” of Brân’s death and the carnage of war, but instead power that is--like Girard’s concept of “denies...universal final defeat....giving a fleeting glimpse of desire--envious, possessive, and violent Joy.” The feast is a communal comfort for the displaced which seeks to, as Tolkein puts it, warriors who are returning to a newly hostile land. It is a “Joy “produce, or pretend to produce, an beyond the walls of the world,” and is as poignant as [the] grief” Conclusion that these men bear for their fallen lord and lost home. It is an alteration in the Primary World.” This Girard and Tolkien’s theories bring out radically different interpretations of Tolkien calls “Magic.” Tolkien’s Theories event much like the Last Supper: the loyal followers are sharing the Second Branch. Girard’s views are able to give an explanation for the a feast in community with their lord before he must be separated The second type of desire is a incomprehensible violence of this myth. They also reveal Efnyssien’s possible yearning “to hold communion with other living things” and to have from them. Underlying the community of both situations is the innocence and offer redemption and understanding to this baffling villain. knowledge of future grief. “the realization, independent of the conceiving mind, of imagined However, Tolkien’s views highlight the community of Enchantment, the wonder” made corporeal through sub-creation. Sub-creation refers eucatastrophic nature of Brân’s death, and the enigmatic beauty of the myth. Each to the desire of man to imitate their creator by making their own has the opposite weakness. If Girard’s theory is wholly embraced, the solemn joy of worlds. When this is achieved through supernatural means, Tolkien the story and its supernatural aspects are left without explanation.
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