The Irish Otherworld
Introduction
In Irish literature, there are many aspects of the supernatural. Indeed, there are entire genres based on specifi c supernatural occurrences, such as supernatural lovers in tochmarca. However, what is possibly the most known and enjoyed genre within traditional Irish literature is that of echtra. All genres have their own tropes, and those of echtra are many. You could probably spend several books discussing each one individually; the history of it, it's use within various stories; exceptions that prove the rule.
In this post, we will only handle the story of Echtra Chonnlai and the traditional themes of the Otherworld therein. This story can be found in many manuscripts; including Lebor na hUidre, The Yellow Book of Lecan, Rawlinson B 512, Egerton 1782, Egerton 88, R.I.A. 23 N 10, Harley 5280, TCD H. 1. 13.2 I will be using a translation that seems to be based off of Lebor na hUidre, edited by Tom P. Cross and Clark Harris Slover, as is it includes the beginning text: "Why was Art the Lone One so called? Not hard to say." Not all the manuscripts seem to have this opening line, but they do all seem to tell the same story. Does Echtra Chonnlai fit in to the standard of its genre? Does it gives us the idea of where the Irish folk traditionally thought the Otherworld was?
The story of Echtra Chonnlai fulfills a variety of requirements for the genre of echtra. One of the attributes of a story in the genre of echtra is the meddling of supernatural creatures. Women or men who are either people of the otherworld or possible fairies. A more note-worthy attribute in this genre is how one gets to the so-called Otherworld. Here shows a long trait within these classic tales is the invitation. This is not a unique pattern in Irish legends that the hero requires an invitation from someone of the Otherworld. In this story, Connla sees first a woman no one else can see, and from her receives something like an RSVP. An apple which was so nourishing, so delicious, that Connla ate nothing but it for the rest of the month after the woman had left. Such an invitation is not unusual, and apples seem to appear often within Irish literature. Though the color of this apple is not mentioned, apples appear often in the special metals of gold or silver. Indeed, everything that comes from the Otherworld is made out of precious materials, such as the boat at the end which will whisk Connla away, which is made of crystal. In all these ways, does this story fit perfectly in to the tradition of the genre of echtra.
But perhaps we are putting too much on this one story? In John Carey's article "The Location of the Otherworld in Irish Tradition", he proposes that the journey in the boat at the end is tacked on. Such boundaries as between water and earth, or between cultivated fields and wild forest are seen as gateways to the Otherworld in Irish tradition. While many stories do seem to suggest that the otherworld in Irish literature may be across the sea, John Carey thinks that the ending has been added as "an after-thought". According to John Carey, in fact, the whole idea appears in only "two problematical texts [that] are ... the only Old Irish sources in which the overseas Otherworld appears". The other text of which he speaks is Immram Brain. So it would seem that in the case of the location of the Otherworld, Echtra Chonnlai is an exception rather than a follower of the rule. While it does continue the idea that the boundary between land and water leads one to the other world, it takes it a step further and is possibly a later addition to the story that the Otherworld is across the sea. Carey postulates that is was via "the Ulster literary movement which produced them [the tales of Bran and Connla] which introduced this topos into Irish literature; that it was foreign to the native tradition at every stage appears evident" With that in mind, while Connla's tale still conforms to the basic idea of the genre of echtra, it is perhaps not wise to take it into consideration when one is looking to give a location of the Irish Otherworld in it's native tradition. It seems more likely that a story was perhaps later changed to fit a new a foreign fad in storytelling.
In this post, we will only handle the story of Echtra Chonnlai and the traditional themes of the Otherworld therein. This story can be found in many manuscripts; including Lebor na hUidre, The Yellow Book of Lecan, Rawlinson B 512, Egerton 1782, Egerton 88, R.I.A. 23 N 10, Harley 5280, TCD H. 1. 13.2 I will be using a translation that seems to be based off of Lebor na hUidre, edited by Tom P. Cross and Clark Harris Slover, as is it includes the beginning text: "Why was Art the Lone One so called? Not hard to say." Not all the manuscripts seem to have this opening line, but they do all seem to tell the same story. Does Echtra Chonnlai fit in to the standard of its genre? Does it gives us the idea of where the Irish folk traditionally thought the Otherworld was?
Echtra Chonnlai
The story of Echtra Chonnlai fulfills a variety of requirements for the genre of echtra. One of the attributes of a story in the genre of echtra is the meddling of supernatural creatures. Women or men who are either people of the otherworld or possible fairies. A more note-worthy attribute in this genre is how one gets to the so-called Otherworld. Here shows a long trait within these classic tales is the invitation. This is not a unique pattern in Irish legends that the hero requires an invitation from someone of the Otherworld. In this story, Connla sees first a woman no one else can see, and from her receives something like an RSVP. An apple which was so nourishing, so delicious, that Connla ate nothing but it for the rest of the month after the woman had left. Such an invitation is not unusual, and apples seem to appear often within Irish literature. Though the color of this apple is not mentioned, apples appear often in the special metals of gold or silver. Indeed, everything that comes from the Otherworld is made out of precious materials, such as the boat at the end which will whisk Connla away, which is made of crystal. In all these ways, does this story fit perfectly in to the tradition of the genre of echtra.
But perhaps we are putting too much on this one story? In John Carey's article "The Location of the Otherworld in Irish Tradition", he proposes that the journey in the boat at the end is tacked on. Such boundaries as between water and earth, or between cultivated fields and wild forest are seen as gateways to the Otherworld in Irish tradition. While many stories do seem to suggest that the otherworld in Irish literature may be across the sea, John Carey thinks that the ending has been added as "an after-thought". According to John Carey, in fact, the whole idea appears in only "two problematical texts [that] are ... the only Old Irish sources in which the overseas Otherworld appears". The other text of which he speaks is Immram Brain. So it would seem that in the case of the location of the Otherworld, Echtra Chonnlai is an exception rather than a follower of the rule. While it does continue the idea that the boundary between land and water leads one to the other world, it takes it a step further and is possibly a later addition to the story that the Otherworld is across the sea. Carey postulates that is was via "the Ulster literary movement which produced them [the tales of Bran and Connla] which introduced this topos into Irish literature; that it was foreign to the native tradition at every stage appears evident" With that in mind, while Connla's tale still conforms to the basic idea of the genre of echtra, it is perhaps not wise to take it into consideration when one is looking to give a location of the Irish Otherworld in it's native tradition. It seems more likely that a story was perhaps later changed to fit a new a foreign fad in storytelling.
Conclusion
So, perhaps now we have an idea of an answer to our questions at the beginning. In the tradition of Irish storytelling, does Echtra Chonnlai fit in to the pattern of stories of the Otherworld? From the aspects we have looked at, it does seem to. Connla receives the appropriate invitation from a supernatural woman, he eats of the magical food, and eventually, in a boat, leaves his people to join hers in the "the Lands of the Living, where there is neither death nor want nor sin".
However, can this story give us an idea of where the Irish thought the Otherworld actually was? No, I think that it should not be taken as a sure sign that the Irish tradition actually considered the Otherworld was over the sea. While there is little doubt that they thought there was something special about the borders of the civilized and uncivilized, the land and the water, it is not suggested to say with con dence that the Otherworld mentioned in this story was originally across the sea.
Carey, John. "The location of the otherworld in the Irish Tradition." The Otherworld Voyage in early Irish literature (2000).
Cross, Tom Peete and Clark Harris Slover, eds. Ancient Irish Tales. Barnes & Noble, Inc., 1996.
Wiley, Dan M. "The Cycles of the Kings" (2004).
However, can this story give us an idea of where the Irish thought the Otherworld actually was? No, I think that it should not be taken as a sure sign that the Irish tradition actually considered the Otherworld was over the sea. While there is little doubt that they thought there was something special about the borders of the civilized and uncivilized, the land and the water, it is not suggested to say with con dence that the Otherworld mentioned in this story was originally across the sea.
Carey, John. "The location of the otherworld in the Irish Tradition." The Otherworld Voyage in early Irish literature (2000).
Cross, Tom Peete and Clark Harris Slover, eds. Ancient Irish Tales. Barnes & Noble, Inc., 1996.
Wiley, Dan M. "The Cycles of the Kings" (2004).
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