Guest
🎯 Загружено автоматически через бота: 🚫 Оригинал видео: 📺 Данное видео является собственностью канала Metatron. Оно представлено в нашем сообществе исключительно в информационных, научных, образовательных или культурных целях. Наше сообщество не утверждает никаких прав на данное видео. Пожалуйста, поддержите автора, посетив его оригинальный канал: @metatronyt. ✉️ Если у вас есть претензии к авторским правам на данное видео, пожалуйста, свяжитесь с нами по почте support@, и мы немедленно удалим его. 📃 Оригинальное описание: If you like my work please consider supporting me on Patreon Alternatively you can join this channel! If the figure of Celtic warrior women is a “trope“ now rooted in the collective imagination, partly due to cinematography, we are probably dealing with a forced and specious interpretation of historical sources in this specific case. These sources certainly offer us the image of female figures who were more independent compared to those of the classical world, but who did not embrace a true widespread warrior tradition. Warrior Women in Irish Myth The warrior woman is a recurring figure in Irish mythology. However, upon closer analysis, it quickly becomes clear that this is not a realistic element, but rather something pregnant with allegorical and initiatory characteristics. To begin with, the majority of warrior women in Irish myths are never originally from Ireland, but always come from another nation or territory: from Scotland, Britain, or even Scythia, to emphasize a sense of otherness. Moreover, most warrior women always present physical characteristics that separate them from normal human beings and link them more to fairy creatures, semi-divine beings, or mythological entities. For example, the warrior Dornolla, who falls in love with the Celtic hero Cù Chulaìnn, Scáthach, originally from Scotland, has her feet reversed, with her heels facing outward and her toes inward, a characteristic that recalls inversion and which in Celtic folklore is typical of fairy beings. In short: these are not real women, but mythological and archetypal creatures. In particular, in myth, the function of the warrior woman is almost always to instruct the hero, the protagonist of the story, in particular martial arts, secret moves, and superlative and unknown combat techniques. Through their teaching, the warrior is reborn a hero; from a common fighter, he becomes a heroic fighter, a champion, and therefore necessarily the figure that allows the warrior to carry forward this path must be female, as it is a second birth. So, on closer inspection, these warrior women do not reflect a reality of the Irish world, but on the contrary, are indeed allegorical figures typical of legend. Celtic and Germanic Women in Classical Chronicles The accounts of the Classics have certainly contributed to some extent to the creation of the figure of the Celtic warrior woman. Celtic women, more independent in some respects than Greek and Roman women, had struck the imagination of the Mediterranean peoples, who in some cases describe them in great detail. However, if we analyze their writings in detail, we realize that the Classics never explicitly speak of a properly warrior woman as far as the Celts are concerned. The first figure that stands out from the chronicles is certainly that of Boudica, the queen of the Iceni, a Celtic people of Britain whom she leads into battle revolting against the Romans Boudica is described by Tacitus as haranguing her troops from the top of her war chariot and leading them into battle, but rather than a warrior woman, the picture that emerges is that of a woman leader. Moreover, we are talking about a queen, therefore an exponent of the noble class, not a common Celtic woman, and who is also a widow and has become at the moment the only point of reference for her people in an exceptional moment of crisis, which has led the Iceni to clash against their previous allies, namely the Romans. So a very particular figure in a very particular context. There is then a passage, which is often used to leverage the interpretation of Celtic warrior women, by Ammianus Marcellinus: “Almost all the Gauls are of tall stature, fair and ruddy, terrible for the fierceness of their eyes, fond of quarrelling, and of overbearing insolence. In fact, a whole band of foreigners will be unable to cope with one of them in a fight, if he calls in his wife, stronger than he by far and with flashing eyes; least of all when she swells her neck and gnashes her teeth, and poising her huge white arms, proceeds to rain punches mingled with kicks, like shots discharged by the twisted cords of a catapult“ Ammianus Marcellinus, Histories, XV, 12, 1-2 Ammianus writes in the 4th century AD and speaks of the Gauls of Tra
