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Hello! When researching Conall I read some description of him (can't remember what or where) where they described his one black eye as being completely black (as in, the iris and the sclera are both black), but in all other descriptions (mainly thinking of Da Derga's Hostel, the retelling of Conall's death by Candlelit tales pod, and the Championship of Ulster) where he is described with one black and one blue eye (just the iris I assume?). What are your thoughts on the completely black sclera?

(I'm sorry if this post is a bit stifled or weird, I had a few reflexive Ctl-Z's that have had me rewriting chunks of this post several times) Heya!

As far as I am aware, that description of Conall is only found in that portion of Togail Bruidne Da Derga (which, for those unfamiliar, I provide an excerpt from Stoke's translation) that you mention. ‘There I beheld in a decorated room the fairest man of Erin's heroes. He wore a tufted purple cloak. White as snow was one of his cheeks, the other was red and speckled like foxglove. Blue as hyacinth was one of his eyes, dark as a stag-beetle's back was the other. The bushy head of fair golden hair upon him was as large as a reaping-basket, and it touches the edge of his haunches. It is as curly as a ram's head. If a sackful of red-shelled nuts were spilt on the crown of his head, not one of them would fall on the floor, but remain on the hooks and plaits and swordlets of that hair. A gold hilted sword in his hand; a blood-red shield which has been speckled with rivets of white bronze between plates of gold. A long, heavy, three-ridged spear: as thick as an outer yoke is the shaft that is in it. Liken thou that, O Fer rogain!’

Now, this is a very interesting description. What stands out to me is the description of his curly hair catching nuts, which is obviously connected to descriptions elsewhere of warriors' hair (or in one instance, a boar's razorback) being so spiky that falling apples are spiked on it. And then, a similar description appears in Fled Bricrenn (which I'm assuming is the Championship of Ulster you mention there?) which I will provide the incomplete ITS translation (which you can read in full here).

The scribe of Fled Bricrenn is probably borrowing from Togail Bruidne Da Derga or from another earlier source (which Togail Bruidne Da Derga would also be drawing on), because we know that whoever composed this story originally was very well versed with Ulster Cycle material. For example, the description of Bricriu's Hall is based on the description of Conchobar's Hall in Tochmarc Emire. If we look at the death of Conall Cernach (Aided Ailella 7 Chonaill Chernaig, which has been edited and translated by my Academic Big Sister for her PhD right here) we can see that there is no reference to Conall's eyes (similarly, the older translation by Meyer also doesn't have this detail). So, what appears to be the case is Candlelit Tales was expanding on the actual source material by incorporating elements from other stories. But, on to your question: What do I think about this eye? Well, because I am an academic I will apologize that before we get to my thoughts, we must cover the previous scholarship on the topic. This has only been discussed once, in an article entitled 'Portraits of the Ulster hero Conall Cernach: a case for Waardenburg’s syndrome?' in Emania 20 (2006) pages 75-80, by William Sayers. As you likely can guess based on the title, in this article Sayers argues that this description of Conall is modeled on Waardenburg's Syndrome. Now, of course, this isn't impossible. However, I am generally of the opinion that attempting to diagnose historical or literary figures is a very challenging thing to do. While it can certainly be done (particularly when combined with archaeological finds), when dealing with a literary figure we would need to take into account contemporary medical knowledge, and I'm unsure if we have any examples of medieval Ireland being aware of such a syndrome. If they were, we should be interpreting it through their medical knowledge rather than our own. That aside, I actually do have my own opinion on the matter. I think this is an artistic flourish intended to communicate how terrific (in both senses) Conall is, which I would argue is apparent when we take into account another notable example of a described heroic body. As mentioned above, this description of Conall is already incorporating visual elements from the 'Apple Hair' scenes in other stories. And then, we can take into account descriptions such as this of Cú Chulainn from O'Rahilly's Translation of Táin Bó Cúailnge Recension 1: ‘In the chief place in that chariot is a man with long curling hair. He wears a dark purple mantle and in his hand he grasps a broadheaded spear, bloodstained, fiery, flaming. It seems as if he has three heads of hair, to wit, dark hair next to the skin of his head, blood-red hair in the middle and the third head of hair covering him like a crown of gold. Beautifully is that hair arranged, with three coils flowing down over his shoulders. Like golden thread whose colour has been hammered out on an anvil or like the yellow of bees in the sunshine of a summer day seems to me the gleam of each separate hair. Seven toes on each of his feet; seven fingers on each of his hands. In his eyes the blazing of a huge fire. His horses' hoofs maintain a steady pace.'

Now, this scene (another example of it is found in Recension 2 but it is different in some elements) often confuses people I am teaching this material. This is supposed to be a description of how wonderful or beautiful Cú Chulainn is, but his body appears strange or different. Burning eyes, seven toes, seven fingers. In Recension 2 he has four multi-coloured dimples, seven pupils in each eye, so on and so forth. This doesn't seem beautiful, it seems... awesome, both in the more recent positive sense, and the older more 'overwhelming' sense. I have been asked before if Cú Chulainn always looks like this, or if this is a transformation, or something else. And, well, it is not entirely clear. We have descriptions of Cú Chulainn where this clearly isn't the case and others where it isn't established. For Conall, we don't get many descriptions of his complete body (as an adult, we have one of him as an old man which is quite different). What we can say, though, is it clashes with the idealized flawless heroic body discussed by McMannus (McMannus, Damian, 'Good-Looking and Irresistible: the Hero from Early Irish Saga to Classical Poetry,' Éiru 59 (2009): 57-109). With this in mind, I think that these scenes aren't really literal, but more figurative descriptions going into luscious, awesome, terrific depth to establish the seriousness of the moment, the glory of the hero, and so on. The hero isn't as much transformed as being cast in a different light to communicate the moment. And this! I have a great analogy for. In animation, artists often distort or change a character to similarly communicate 'feeling' in the moment. Take three examples from the television show One Punch Man, all of the same character, Sitama.

In these scenes, the character Sitama isn't 'transforming'. These changes in his body aren't something 'seen' by people inside the story world. It is a visual effect intended to communicate things to us, the audience. In the first, we have a standard illustration of Sitama. In the second, a serious moment where we see him putting his complete effort into something. In the last, a comic moment. I think these descriptions of Conall, Cú Chulainn, and other ones for other heroes are similar to this. They're intended to communicate the feeling, the sense, and the emotion in the moment, rather than something we are intended to understand is how they 'always' look. However! What remains in this is to ask, if this is some sort of literary trick to communicate tone or feeling or the like, what do the individual parts mean? What's with the Apple-Hair stuff? Why the fire in the eyes? Why the seven fingers? So on and so forth. Well, a lot of this is lost to us, but parts we can identify. Personally, I think the Apple-Hair thing is a reference to Boar's Razorbacks (in the scene with Conall, this is being riffed on and changed to work with curly hair) connecting warriors to boar. The 'fire in the eyes' thing is just an Indo-European motif for warriors (see: McCone, Kim, 'Warrior's Blazing Heads and Eyes, Cú Chulainn and Other Firy Cyclopes, 'Bright' Balar, and the Etymology of Old Irish Cáech 'One Eyed',' Zeitshrift fur Celtische Philogie 69 (2022): 183-200). Exactly what the situation with Conall's eye is, I'm unsure. But, I think it exists within the broader literary tradition as a 'tone setter' rather than necessarily a literal fact of his appearance.

And all of that to say! What do I think of the difference between Conall having a black Iris v. a fully black eye? The one text of which I'm aware where it is mentioned doesn't clearly state what it means in regards to the eye. In the original language (Knott's edition) it reads: duibithir druimne duíl in t-súil aile. I think both interpretations of the eye are valid, but I expect that it is just intended to be 'iris' based on the description of Étaín's blue eyes at the start of the text using a similar grammatical construction (glasithir buga na dí súil, compare with the description of Conall's blue eye, glaisidir buga indala súil).

#mythology #celtic #irish mythology #celtic mythology #cu chulainn #celtic myth #conall cernach #medieval irish

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