Heather Buzbee

SG 225
15 December 2014
Finding a Place Among Women:
Analysis of C Chulainns interactions with women in The Wooing of Emer
Abstract:
In The Wooing of Emer, C Chulainn interacts with women constantly throughout the text. While
many scholars use The Wooing of Emer to analyze the relationship between C Chulainn and
Emer, C Chulainn has to negotiate his relationship with each woman in the text. This analysis
proves that although this tale is entitled The Wooing of Emer, this text can be read as more than
C Chulainn trying to win Emer but also how C Chulainn negotiates his place among women.
These interactions also reveal that rather than C Chulainn asserting his male dominance, as
many scholars argue, he has to constantly negotiate with women, sometimes even in contests for
his life, further illustrating the importance of women in society.
In The Wooing of Emer, C Chulainn has to find a woman to woo in order to bring
balance to society and produce an heir before his death. In addition to the remarkable Emer, C
Chulainn encounters many other females in the text; C Chulainn meets wives and potential
lovers, warrior women, and hag-like figures1. These women all fulfill different roles inside and
outside of society, and in all of these encounters C Chulainn directly interacts with these
women and has to figure out his relationship to each of them. Therefore, because of the wide
variety of women C Chulainn interacts with, this tale seems like more than just a wooing of
Emer but also C Chulainn negotiating his place among women both inside and outside of
society.
1

I have based my categorization of the women in this text on the following scholars interpretations. In Women in
early Irish Myths and Sagas, Muireann N Bhrolchin focuses her article on womens roles as mothers and wives,
sovereignty goddesses, and dangerous lovers (12). In The Land of Women: Tales of Sex and Gender from Early
Ireland, Bithel also discusses militant and magic-making women (205). And, still in the Celtic Heroic Age lecture
Heroic Women? in addition to sovereignty goddesses, Elizabeth Boyle categorizes women in heroic literature as
counsellor(s), visitor(s) from the Otherworld, prophetess/seer(s), and (human or Otherworldly) an object(s) of
mans lust (Boyle slide 8). Thus, my three categories for the women in this tale are based on these scholars
interpretations and the actions of the women in this text. Even though there are only three categories, many of
the roles laid out by these scholars are represented in the text, which adds to the significance of C Chulainns
various meetings.

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The text begins with C Chulainn as a threat to society in relation to women. Some of C
Chulainns flaws are in fact that he is too young and too beautiful (6). The text states, The men
of Ulster took counsel about Cuchulaind, for their women and maidens loved him greatly.they
would seek a woman whom Cuchulaind might choose to woo. For they were sure that a man who
had a wife to attend to him would less ravish their maidens and accept the love of their women
(7). Here, C Chulainn is threatening society by not having a wife2. From the beginning of the
tale, his place among women is in a state of unpredictability. Thus, it makes sense that for the
rest of the tale, especially before finally marrying Emer, C Chulainn has to constantly negotiate
his role with women.
As this is a wooing tale, C Chulainn meets wives and potential lovers. First, there is the
lovely Emer. Very much like Penelope and Odysseus, Emer and C Chulainn seem to be equals
not only in beauty and youth but also in intelligence and speech: Cuchulaind said that no
maiden should go with him but she who was his equal in age and shape and race, and skill and
deftness, who was the best handworker of the maidens of Erinn, and that none was a fitting wife
for him unless such were she (10). C Chulainn even says to Emer herself, Should it not be
fitting for us both to become one? For I have not hitherto found a maiden capable of holding
converse with me at a meeting in this wise (26). So, it is Emer that C Chulainn decides to
marry, and she who sets tasks for him in order to win her hand. However, C Chulainn also
meets Scathachs daughter, Uathach, and ends up becoming her husband for a time as well (72).
Later, near the end of the tale while C Chulainn is journeying home, he also meets a potential

This is also interesting because usually it is a womans sexuality that is threatening, such as the tragic lovers and
beautiful women, Deirdre and Grinne who bring about the death of their lovers (N Bhrolachin 17). Bithel also
comments on the threatening sexuality of warrior and magic-making women and in fact claims that sex could
transform and civilize battle goddesses and women warriors (205-6). However, here, it is C Chulainn whose
sexuality is uncontrolled and threatening and must be civilized through a sexual relationship acceptable to society.

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lover, Derbforgaill, the daughter of Ruad (82). However, he does not end up sleeping with her
(84).
These meetings are sexual negotiations that take place inside and outside of society. Emer
and C Chulainns encounter is a sexual negotiation inside of society since C Chulainn wants to
marry her, but even their interaction is sexual, particularly when C Chulainn comments on
Emers breasts (27). Yet, Emer sets tasks for C Chulainn, actively negotiating the sexual
relationship and forcing him to not only work for her but also adhere to the rules of society. At
the end of the tale, C Chulainn only receives a wedding gift for Emer as well as his honor price,
further signifying a relationship inside society ( 90). Uathach, on the other hand, takes place
outside of society, in part because she lives in another society of wildness and fierceness of the
warrior with her warrior mother, Scathach (57). Additionally, C Chulainn did not pay or
receive a wedding gift to be with Uathach (70). Because there is no bride price, this
negotiation seems to take place outside of society. Rather, Uathach3 seems to help C Chulainn
in exchange for sexual favors, which is also interesting since she directly negotiates this
exchange4. The other potential lover C Chulainn meets, Derbforgaill, is also somewhat outside
of society since she is supernatural, which is evident when she transforms herself into a bird
(84). This also seems outside of society because while C Chulainn does allow a tryst with

Emer and Uathach also fulfill the role of women giving good counsel since they end up helping C Chulainn in his
tasks. Although many scholars claim that the advice of women is something to be avoided, Toner points out in
Wise Women and Wanton Warriors in Early Irish Literature that in fact many women give good advice that help
the hero succeed (171-72). Emer and Uathach both give C Chulainn advice before they become his wife. Before
C Chulainn leaves on his journey, Emer warns him of Forgalls plan against C Chulainn: The maiden told him that
is was Forgall who had desired him in Emain to go to learn soldierly featsAnd she told him to be on his guard
wherever he went, lest he should destroy him (59). Utahach is also a helpful woman because she gives C
Chulainn detailed instructions on how to gain victory over Scathach and become her pupil (70). Here is also
evidence of another role for women represented in the text and also how C Chulainn needs women in order to
successfully complete his quest.
4
Though C Chulainn is promised to Emer, he does not seem able to refuse this exchange since Uathach tells him
how to become Scathachs pupil. This is also reminiscent of Odysseus being obligated to sleep with Circe and
Calypso in the Odyssey.

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Derbforgaill, he refuses a wedding-gift (82). However, he does not end up sleeping with her
because in order to save her, he consumes some of her blood (84). This seems to go against the
rules of society and, because Derbforgaill meets C Chulainn in his society, this could also be
read as C Chulainn back within society again. Thus, through these sexual encounters, C
Chulainn learns how to negotiate his role with women inside and outside society.
C Chulainn also meets two warrior women, Scathach and Aife, and these encounters
turn out to be a certain type of sexual negotiation as well. Scathach is most noted for her role as a
female warrior, but she can also be read as a helpful woman, because in addition to teaching C
Chulainn how to fight, Scathach is also a prophetess (70). In order to be taught by her, C
Chulainn has to place his sword between her two breasts (70). This graphic description can be
read as fairly sexual. In fact, the text claims that in another version, C Chulainn actually sleeps
with Scathach as well: Cuchulaind took Scathach with him to the shore, and lay with her there,
and slept with her, and it was then that she sang this, prophesying to him everything that would
befall him (71). In this case, C Chulainn has to use sex explicitly to gain knowledge and his
place among women. His second encounter with a warrior woman is Aife, the hardest womanwarrior in the world (75). Aife shattered Cuchulainds weapons so C Chulainn resorts to
trickery and overt sexuality to overtake Aife first by tricking her into believing her horses,
chariot, and charioteer had fallen and then by seiz[ing] her at her two breasts (76). Here, C
Chulainn is overtly sexual and establishes his male dominance. However, it is only once he has a
sword again that he can demand three wishes, just as he had done with Scathach, except this time
he wishes to sleep with Aife so that she bears him a son (76). In both of these negotiations, C
Chulainn has to use sexual action to establish his role among them, either by placing his sword
between the warrior womens breasts or in the case of Aife, actually seizing her breasts.

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Now, some scholars, such as Bithel in Land of Women: Tales of Sex and Gender from
Early Ireland, have argued that C Chulainn uses sex to civilize or tame warrior women.
Bithel argues that sex would reduce women warriors to docile concubines (211). And, in fact
later on in her article she claims, Although [the warrior women] triumphed for a time,
brandishing their spears and threatening men, eventually women warriors fell to rape or some
other retribution at a warriors hands (215). In this text, although C Chulainn uses sex to
establish his place among the warrior women and attain what he needs, this does not necessarily
mean that C Chulainn civilizes or reduces the warrior women in any way. In his negotiations
with Scathach, the use of his sexuality against hers is the only way to best her and become her
pupil. Furthermore, it is also not stated whether or not she was opposed to this sexual encounter.
In the negotiation with Aife, at first it is unclear why he demands to sleep with her. From this
point of view, Bithels argument makes sense. However, Aife did almost beat C Chulainn; it
was only through his trickery and sexuality that he wins in the end (76). Plus, we also know
Aife is the hardest woman warrior and even Scathach, C Chulainns teacher, was afraid of C
Chulainn facing her (75). Therefore, it is possible that he was impressed by Aifes skills and
knew if they had a son together, their son would be a magnificent warrior. But, the only way to
attain this heir from Aife would be through a demand. And, this makes sense in the context of the
tale as well since part of the reason he went on this quest to woo a woman was to produce an
heir. In addition, not only do these circumstances take place outside of society and in the throngs
of war, but the way C Chulainn receives his three demands from Scathach and Aife is exactly
the same. So, it is likely that in these circumstances using sex is how C Chulainn can negotiate
with these women and acquire what he needs. Thus, this sexual encounter may not necessarily
civilize Aife or Scathach as some scholars such as Bithel argue, but rather in this space run by

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women and outside of normal society, sex is how C Chulainn can obtain the knowledge and
heir he needs.
Of course, not all of the women C Chulainn meets are helpful or won over through
sexual negotiations. Along the way, he also encounters two hag-like women, who are both bent
on his destruction. As soon as C Chulainn sets out upon his quest to go to Scathach, he meets
Domnalls daughter Dornolla (60). Like the other girls, Dornolla falls in love with C Chulainn
right away; however, Dornolla is described like a hag: Her form was very gruesome, her knees
were large, her heels turned before her, her feet behind her, big dark-grey eyes in her head, her
face as black as a bowl of jet. She had a very strong forehead, her rough bright-red hair in
threads round her head (60). This description of Dornolla is very similar to other hags such as
the hag in The Destruction of Da Dergas Hostel and even the loathly lady in Echtra Mac
nEchach Muigmedoin. And, like other hags, Dornolla has the power to curse C Chulainn when
he refuses to sleep with her: The daughter of Domnall had raised that vision in order to sever
Cuchulaind from his companions to his ruin5 (60). Interestingly, later in the tale C Chulainn
also meets an old woman, who, though there is not a detailed description about her, is also
somewhat of a hag-like figure since she is old and blind in her left eye (77). Furthermore, just
as other hags threaten kings and heroes, she too makes an attempt on C Chulainns life. While
passing C Chulainn on a path, she tries to push him off a cliff. However, C Chulainn realizes
what she is trying to do and cuts off her head (77). The text reveals She was the mother of the
three last warriors that had fallen by him, viz., Esse Enchinde, and in order to destroy him had

The text also states it could have been Forgall (Emers father) who caused the vision to cut off Cu Chulainn from
his comrades (61); however, in the subsequent paragraph the text refers to the great power of the girl: For the
powers of the girl were great, and she wrought evil against him, and severed him from his companions (62).
Therefore, it is also safe to read this scene as the power of Dornolla.

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come to meet him (77). Thus, in the last encounter, not only does C Chulainn meet an old
woman but he also meets an old mother figure.
These meetings with Dornolla and the old women are significant because C Chulainn
still has to negotiate his relationship with them as women, and this time without the use of his
sexuality. Dornolla clearly represents a powerful hag, and unlike the other women in the tale, her
sexuality is a threat. Bithel comments on hags and old women stating, disaster arrived with the
words of a hideous old woman (209). Although Dornolla is not old, she is certainly hideous like
hags in other stories and threatens C Chulainn (62). Because of his initial refusal to Dornolla,
he is miserable6. Additionally, even though C Chulainns encounter with the old woman is not
sexual, she is still dangerous despite her old age and docile appearance. This old woman also
represents many of the mothers of warriors that he killed and will kill in battle, and although not
all of the mothers may try to kill him, his actions against the mothers of his enemies is something
C Chulainn will have to deal with every day in society. In addition, this old woman is
particularly interesting since in C Chulainns death tale, three witches who are blind in their left
eye bring about his ultimate demise (Kimpton 38 10). As these two encounters illustrate, C
Chulainn is once again negotiating his role among women even outside of a sexual negotiation.
There is also one more noteworthy woman that C Chulainn talks about in the text:
Macha Mongrad, the female king. In Machas story, she is also subverting the roles of females
in society and even plays off of the sovereignty goddess motif by dressing up like a hag to trick
the sons of Dithorba (30). Like C Chulainn, she is also negotiating her place in society, and it
is no accident that this story is placed in a tale with so many other strong women.

This is also significant because this is C Chulainn first encounter with an unmarried girl in the text who offers to
sleep with him right away, and when he refuses, he is miserable and alone for a little while. So, this initial sexual
encounter would set the pace for his future negotiations with women.

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Although many of the meetings with women end up being sexual encounters, these
women still have power over C Chulainn. Emer sets tasks for C Chulainn and gives him
advice. Without Uathachs advice, C Chulainn would not have been taught by Scathach and
likewise without Scathach, he would not know all the feats he is so famous for. Though C
Chulainn overtakes Aife with his male dominance, she cut down his weapon first and bested him
in battle. Additionally, even in the sexual encounter with Aife, she gives him something he
cannot give himself a son. And, although C Chulainn refuses to sleep with Dornolla, she still
has the power to curse him. Indeed, all of these women have powers of their own and can also
negotiate their place among men. The relationships between men and women tend to be overtly
sexual. Bithel argues, productive, legal sexual alliances between men and women formed the
basis of the early Irish family, community, and society (205). Thus, sexual encounters between
men and women were natural and unavoidable. However, it is important not to forget the power
of these female figures, not just as archetypes, muses, or mates, but as women.

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Works Cited
Bithel, L.M., Land of Women: Tales of Sex and Gender from Early Ireland. (Ithaca, NY, 1996).
Boyle, Elizabeth. Heroic Women? Lecture Power Point. Fall 2014. Moodle. Web. 9 Dec.
2014.
Mulligan, A. C., Playing for Power: Macha Mongrads Sovereign Performance, in
Constructing Gender in Medieval Ireland. Eds. S. Sheehan and A. Dooley (New York,
2013), 75-93.
Muireann, N Bhrolchin. Women in Early Irish Myths and Sagas. The Crane Bag. 4.1
(1980): 12-19. JSTOR. Web. 14 Oct. 2014.
The Wooing of Emer. CELT: The Corpus of Electronic Texts. 2008. Web. 10 Dec. 2014.
Toner, Gregory. Wise Women and Wanton Warriors in Early Irish Literature. Proceedings of
the Harvard Celtic Colloquim, 30 (2010). 259-272. JSTOR. Web. 20 Oct. 2014.
Kimpton, Bettina. The Death of C Chulainn: A Critical Edition of the Earliest Version of
Brislech Mr Maige Muirthemni with Introduction, Translation, Notes, Bibliography and
Vocabulary. School of Celtic Studies. (2009). 35-49.

Copyright Heather Buzbee 2015