The gentle and pensive maiden has the power to tame the unicorn, fresco, probably by Domenico Zampieri, c. 1602 (Palazzo Farnese, Rome)
|Similar creatures||Qilin, Re'em, Indrik, Shadhavar, Camahueto, Karkadann|
A unicorn (from Latin unus 'one' and cornu 'horn') is a mythological creature. Though the modern popular image of the unicorn is sometimes that of a horse differing only in the horn on its forehead, the traditional unicorn also has a billy-goat beard, a lion's tail, and cloven hooves—these distinguish it from a horse. Marianna Mayer has observed (The Unicorn and the Lake), "The unicorn is the only fabulous beast that does not seem to have been conceived out of human fears. In even the earliest references he is fierce yet good, selfless yet solitary, but always mysteriously beautiful. He could be captured only by unfair means, and his single horn was said to neutralize poison."
An animal called the Re’em (Hebrew: רְאֵם) is mentioned in several places in the Hebrew Bible, often as a metaphor representing strength. "The allusions to the re'em as a wild, un-tamable animal of great strength and agility, with mighty horn or horns (Job 39:9-12, Ps 22:21, 29:6, Num 23:22, 24:8, Deut 33:17 comp. Ps 92:11), best fit the aurochs (Bos primigenius). This view is supported by the Assyrian rimu, which is often used as a metaphor of strength, and is depicted as a powerful, fierce, wild mountain bull with large horns." This animal was often depicted in ancient Mesopotamian art in profile, with only one horn visible.
The translators of the Authorized King James Version of the Bible (1611) followed the Greek Septuagint (monokeros) and the Latin Vulgate (unicornus) and employed unicorn to translate re'em, providing a recognizable animal that was proverbial for its un-tamable nature. The American Standard Version translates this term "wild ox" in each case.
Unicorns are not found in Greek mythology, but rather in accounts of natural history, for Greek writers of natural history were convinced of the reality of the unicorn, which they located in India, a distant and fabulous realm for them. The earliest description is from Ctesias who described them as wild asses, fleet of foot, having a horn a cubit and a half in length and colored white, red and black. Aristotle must be following Ctesias when he mentions two one-horned animals, the oryx (a kind of antelope) and the so-called "Indian ass". Strabo says that in the Caucasus there were one-horned horses with stag-like heads. Pliny the Elder mentions the oryx and an Indian ox (perhaps a rhinoceros) as one-horned beasts, as well as "a very fierce animal called the monoceros which has the head of the stag, the feet of the elephant, and the tail of the boar, while the rest of the body is like that of the horse; it makes a deep lowing noise, and has a single black horn, which projects from the middle of its forehead, two cubits in length." In On the Nature of Animals (Περὶ Ζῴων Ἰδιότητος, De natura animalium), Aelian, quoting Ctesias, adds that India produces also a one-horned horse (iii. 41; iv. 52), and says (xvi. 20) that the monoceros (Greek: μονόκερως) was sometimes called cartazonos (Greek: καρτάζωνος), which may be a form of the Arabic karkadann, meaning "rhinoceros".
Though the qilin (Chinese: 麒麟), a creature in Chinese mythology, is sometimes called "the Chinese unicorn", it is a hybrid animal that looks less unicorn than chimera, with the body of a deer, the head of a lion, green scales and a long forwardly-curved horn. The Japanese version (kirin) more closely resembles the Western unicorn, even though it is based on the Chinese qilin. The Quẻ Ly of Vietnamese myth, similarly sometimes mistranslated "unicorn" is a symbol of wealth and prosperity that made its first appearance during the Duong Dynasty, about 600 CE, to Emperor Duong Cao To, after a military victory which resulted in his conquest of Tây Nguyên.
Cosmas Indicopleustes, a merchant of Alexandria, who lived in the 6th century, and made a voyage to India, and subsequently wrote works on cosmography, gives a figure of the unicorn, not, as he says, from actual sight of it, but reproduced from four figures of it in brass contained in the palace of the King of Ethiopia. He states, from report, that "it is impossible to take this ferocious beast alive; and that all its strength lies in its horn. When it finds itself pursued and in danger of capture, it throws itself from a precipice, and turns so aptly in falling, that it receives all the shock upon the horn, and so escapes safe and sound." It is noteworthy that this mode of escape is attributed, at the present day, to the Oryx, the Ibex, the musk ox and the Argali (Ovis Ammon).
The predecessor of the medieval bestiary, compiled in Late Antiquity and known as Physiologus (Φυσιολόγος), popularized an elaborate allegory in which a unicorn, trapped by a maiden (representing the Virgin Mary), stood for the Incarnation. As soon as the unicorn sees her, it lays its head on her lap and falls asleep. This became a basic emblematic tag that underlies medieval notions of the unicorn, justifying its appearance in every form of religious art. The two major interpretations of the unicorn symbol hinge on pagan and Catholic symbolism. The pagan interpretation focuses on the medieval lore of beguiled lovers, whereas some Catholic writings interpret the unicorn and its death as the Passion of Christ. The unicorn has long been identified as a symbol of Christ by Catholic writers, allowing the traditionally pagan symbolism of the unicorn to become acceptable within religious doctrine. The original myths refer to a beast with one horn that can only be tamed by a virgin maiden; subsequently, some Catholic scholars translated this into an allegory for Christ's relationship with the Virgin Mary.
The unicorn also figured in courtly terms: for some 13th century French authors such as Thibaut of Champagne and Richard de Fournival, the lover is attracted to his lady as the unicorn is to the virgin. With the rise of humanism, the unicorn also acquired more orthodox secular meanings, emblematic of chaste love and faithful marriage. It plays this role in Petrarch's Triumph of Chastity.
The royal throne of Denmark was made of "unicorn horns". The same material was used for ceremonial cups because the unicorn's horn continued to be believed to neutralize poison, following classical authors.
The unicorn, tamable only by a virgin woman, was well established in medieval lore by the time Marco Polo described them as
scarcely smaller than elephants. They have the hair of a buffalo and feet like an elephant's. They have a single large black horn in the middle of the forehead... They have a head like a wild boar's… They spend their time by preference wallowing in mud and slime. They are very ugly brutes to look at. They are not at all such as we describe them when we relate that they let themselves be captured by virgins, but clean contrary to our notions.
It is clear that Marco Polo was describing a rhinoceros. In German, since the 16th century, Einhorn ("one-horn") has become a descriptor of the various species of rhinoceros.
The ancient Norwegians were said to believe the narwhal to have affirmed the existence of the unicorn. The unicorn horn was believed to stem from the narwhal tooth, which grows outward and projects from its upper jaw.
In popular belief, examined wittily and at length in the seventeenth century by Sir Thomas Browne in his Pseudodoxia Epidemica, unicorn horns could neutralize poisons. Therefore, people who feared poisoning sometimes drank from goblets made of "unicorn horn". Alleged aphrodisiac qualities and other purported medicinal virtues also drove up the cost of "unicorn" products such as milk, hide, and offal. Unicorns were also said to be able to determine whether or not a woman was a virgin; in some tales, they could only be mounted by virgins.
One traditional method of hunting unicorns involved entrapment by a virgin.
In one of his notebooks Leonardo da Vinci wrote:
The unicorn, through its intemperance and not knowing how to control itself, for the love it bears to fair maidens forgets its ferocity and wildness; and laying aside all fear it will go up to a seated damsel and go to sleep in her lap, and thus the hunters take it.
The famous late Gothic series of seven tapestry hangings The Hunt of the Unicorn are a high point in European tapestry manufacture, combining both secular and religious themes. The tapestries now hang in the Cloisters division of the Metropolitan Museum of Art in New York City. In the series, richly dressed noblemen, accompanied by huntsmen and hounds, pursue a unicorn against mille-fleur backgrounds or settings of buildings and gardens. They bring the animal to bay with the help of a maiden who traps it with her charms, appear to kill it, and bring it back to a castle; in the last and most famous panel, "The Unicorn in Captivity," the unicorn is shown alive again and happy, chained to a pomegranate tree surrounded by a fence, in a field of flowers. Scholars conjecture that the red stains on its flanks are not blood but rather the juice from pomegranates, which were a symbol of fertility. However, the true meaning of the mysterious resurrected Unicorn in the last panel is unclear. The series was woven about 1500 in the Low Countries, probably Brussels or Liège, for an unknown patron. A set of six engravings on the same theme, treated rather differently, were engraved by the French artist Jean Duvet in the 1540s.
Another famous set of six tapestries of Dame à la licorne ("Lady with the unicorn") in the Musée de Cluny, Paris, were also woven in the Southern Netherlands before 1500, and show the five senses (the gateways to temptation) and finally Love ("A mon seul desir" the legend reads), with unicorns featured in each piece.
In heraldry, a unicorn is depicted as a horse with a goat's cloven hooves and beard, a lion's tail, and a slender, spiral horn on its forehead. Whether because it was an emblem of the Incarnation or of the fearsome animal passions of raw nature, the unicorn was not widely used in early heraldry, but became popular from the 15th century. Though sometimes shown collared, which may perhaps be taken in some cases as an indication that it has been tamed or tempered, it is more usually shown collared with a broken chain attached, showing that it has broken free from its bondage and cannot be taken again.
It is probably best known from the royal coat of arms of Scotland and the United Kingdom: two unicorns support the Scottish arms; a lion and a unicorn support the UK arms. The arms of the Worshipful Society of Apothecaries in London has two golden unicorn supporters (although, as emblazoned on its homepage, they have horses', not lions', tails).
Royal coat of arms of Scotland. The two supporters are unicorns.
Hunts for an actual animal as the basis of the unicorn myth, accepting the conception of writers in Antiquity that it really existed somewhere at the edge of the known earth, have added a further layer of mythologizing about the unicorn. These have taken various forms, interpreted in a scientific, rather than a wonder-filled manner, to accord with modern perceptions of reality.
Among numerous finds of prehistoric bones found at Unicorn Cave in Germany's Harz Mountains, some were selected and reconstructed by the mayor of Magdeburg, Otto Von Guericke, as a unicorn in 1663 (illustration, right). Guericke's so-called unicorn had only two legs, and was constructed from fossil bones of a Woolly rhinoceros and a mammoth, with the horn of a narwhal. The skeleton was examined by Gottfried Leibniz, who had previously doubted the existence of the unicorn, but was convinced by it.
Baron Georges Cuvier maintained that, as the unicorn was cloven-hoofed, it must therefore have a cloven skull (making the growth of a single horn impossible); as if to disprove this, Dr. W. Franklin Dove, a University of Maine professor, artificially fused the horn buds of a calf together, creating the external appearance of a one-horned bull.
The first objects unearthed from Harappa and Mohenjo-Daro were small stone seals inscribed with elegant depictions of animals, including a unicorn-like figure in upper left, and marked with Indus script writing which still baffles scholars. These seals are dated back to 2500 B. C. Source: North Park University, Chicago, Illinois.(Image : A Harappa Seals.)
This seal is a close-up of the unicorn-like animal found in Mohenjo-daro, measures 29 mm (1.14 inches) on each side and is made of heated Steatite. "Steatite is an easily carved soft stone that becomes hard after firing. On the top are four pictographs of an as yet undeciphered Indus script, one of the first writing systems in history." Image source Dept. of Archaeology and Museums, Govt. of Pakistan.(Image : A Harappa Unicorn.)
One suggestion is that the unicorn is based on the extinct animal Elasmotherium, a huge Eurasian rhinoceros native to the steppes, south of the range of the woolly rhinoceros of Ice Age Europe. Elasmotherium looked little like a horse, but it had a large single horn in its forehead. It became extinct about the same time as the rest of the glacial age megafauna.
However, according to the Nordisk familjebok (Nordic Familybook) and science writer Willy Ley the animal may have survived long enough to be remembered in the legends of the Evenk people of Russia as a huge black bull with a single horn in the forehead.
In support of this claim, it has been noted that the 13th century traveller Marco Polo claimed to have seen a unicorn in Java, but his description makes it clear to the modern reader that he actually saw a Javan Rhinoceros.
The connection that is sometimes made with a single-horned goat derives from the vision of Daniel:
And as I was considering, behold, a he-goat came from the west over the face of the whole earth, and touched not the ground: and the goat had a notable horn between his eyes. (Daniel 8:5)
Antiquities researcher Timothy Zell also produced artificial unicorns dubbed "the Living Unicorn", remodelling the "horn buds" of goat kids in such a way that their horns grew together into a single one. Zell theorized that this process might have been used in the past to create court curiosities and natural herd leaders, because the goat was able to use this long straight horn effectively as a weapon and a tool. Medieval art often depicts unicorns as small, with cloven hooves and beards, sometimes resembling goats more than horses with horns. This process is possible only with animals that naturally have horns. For a time, a few of these unicorns travelled with the Ringling Brothers Circus.
The unicorn horns often found in cabinets of curiosities and other contexts in Medieval and Renaissance Europe, were very often examples of the distinctive straight spiral single tusk of the narwhal (Monodon monoceros), an Arctic cetacean, as Danish zoologist Ole Worm established in 1638. They were brought south as a very valuable trade, and sold as horns from the legendary unicorn; being of ivory, they passed the various tests intended to spot fake unicorn horns. As these 'horns' were considered to have magic powers, Vikings and other northern traders were able to sell them for many times their weight in gold. Elizabeth I of England kept a "unicorn horn" in her cabinet of curiosities, brought back by Arctic explorer Martin Frobisher on his return from Labrador in 1577. The usual depiction of the spiral unicorn horn in art, derives from these.
The truth of the tusk's origin developed gradually during the Age of Exploration, as explorers and naturalists began to visit regions themselves. In 1555, Olaus Magnus published a drawing of a fish-like creature with a "horn" on its forehead.
The oryx is an antelope with two long, thin horns projecting from its forehead. Some have suggested that seen from the side and from a distance, the oryx looks something like a horse with a single horn (although the 'horn' projects backward, not forward as in the classic unicorn). Conceivably, travellers in Arabia could have derived the tale of the unicorn from these animals. However, classical authors seem to distinguish clearly between oryxes and unicorns. The Peregrinatio in terram sanctam, published in 1486, was the first printed illustrated travel-book, describing a pilgrimage to Jerusalem, and thence to Egypt by way of Mount Sinai. It featured many large woodcuts by Erhard Reuwich, who went on the trip, mostly detailed and accurate views of cities. The book also contained pictures of animals seen on the journey, including a crocodile, camel, and unicorn—presumably an oryx, which they could easily have seen on their route.
In Southern Africa the eland has somewhat mystical or spiritual connotations, perhaps at least partly because this very large antelope will defend itself against lions, and is able to kill these fearsome predators. Eland are very frequently depicted in the rock art of the region, which implies that they were viewed as having a strong connection to the other world, and in several languages the word for eland and for dance is the same; significant because shamans used dance as their means of drawing power from the other world. Eland fat was used when mixing the pigments for these pictographs, and in the preparation of many medicines.
This special regard for the eland may well have been picked up by early travellers. There is a purported unicorn horn in the castle of the chief of the Clan MacLeod in Scotland, which has been identified as that of an eland.
A new possibility for the inspiration of the unicorn came in 2008 with the discovery of a roe deer in Italy with a single horn. Single-horned deer are not uncommon; however, the placement of the horn in the middle is very unusual. Fulvio Fraticelli, scientific director of Rome's zoo, has said "Generally, the horn is on one side (of the head) rather than being at the center. This looks like a complex case." Fraticelli also acknowledges that the placement of the horn could have been the result of some type of trauma in the life of the deer.
According to Gilberto Tozzi, director of the Center of Natural Science in Prato, “this single-horn deer is conscious to its uniqueness and does not come out a lot, always hiding.”
UNICORN (Lat. unicornis, for Gr. povOKEpws, having one horn; Fr. licorne; Ital. alicorno), a fabulous beast, usually having the head and body of a horse, the hind legs of an antelope, the tail of a lion (sometimes horse's tail), sometimes the beard of a goat, and as its chief feature a long, sharp, twisted horn, similar to the narwhal's tusk, set in the middle of its forehead. The earliest description is that of Ctesias, who (Indica opera, ed. Baehr, p. 254) states that there were in India white wild asses celebrated for their fleetness of foot, having on the forehead a horn a cubit and a half in length, coloured white, red and black; from the horn were made drinking cups which were a preventive of poisoning. Aristotle mentions (Hist. anim. ii. t; De part. anim. iii. 2) two one-horned animals, the oryx, a kind of antelope, and "the so-called Indian ass." In Roman times Pliny (N.H. viii. 30; xi. 106) mentions the oryx, the Indian ass, and an Indian ox as one-horned; Aelian (De nat. anim. iii. 41; iv. 52), quoting Ctesias, adds that India produces also a one-horned horse, and says (xvi. 20) that the Monoceros was sometimes called Carcazonon, which may be a form of the Arabic Carcadan, meaning rhinoceros (see Rev. W. Haughton, "On the Unicorn of the Ancients," in Annals and Mag. of Natural History for 1862, p. 363). Strabo (lib. xv.) says that in India there were one-horned horses with stag-like heads. The origin of all these statements is probably to be found partly in the rhinoceros, which was well known to the ancients, and partly in the narwhal, specimens of the long tusk of which were probably brought home by travellers. The theory of a one-horned oryx would probably be drawn from the remembrance of a passing glimpse of an antelope in silhouette, or even of one which had broken one horn off short in fighting, and E. Schrader (Sitzungsberichte d. kgl. preuss. Akad. zu Berlin, 1892,1892, pp. 573-5 81, and pl. 5) traces the idea of a one-horned ox to the sculptures of Persepolis and other places, which Ctesias would probably have seen, in which the ox, represented in silhouette, has apparently only one horn. As India became better known, and it was realized that the unicorn was not found there, its place of abode was changed to Africa.
The medieval conception of the unicorn as possessing great strength and fierceness may have been partly due to the fact that in certain passages of the Old Testament (e.g. Num. xxiii. 22; Deut. xxxiii. 1 7; Job xxxix. 9-10) the Hebrew word Rem, now translated in the Revised Version "wild ox," was translated in the Septuagint ,uovexEpws, in the Vulgate unicornis or rhinoceros, and in the Authorised Version "unicorn," though in Deut. xxxiii. 17 it obviously refers to a two-horned animal. The early commentators applied to this beast the classical attributes of the ,uoeo, epws (e.g. Isidore xii. 2, 12 tells how the unicorn has been known to worst the elephant in combat). There is also the passage in Aelian xvi. 20 which says that though as a rule savage and quarrelsome, even with females, the unicorn at mating time becomes very gentle to his mate, which is supposed to have given rise to the medieval idea that the unicorn is subdued to gentleness at the sight of a virgin, and will come and lay his head in her lap, which is the only means by which he can be caught on account of his swiftness and ferocity. This story is illustrated in the tapestry figured in Plate II. Fig. to of Embroidery, also on Pisanello's medal of Cecilia Gonzaga (see J. de Foville, Pisanello et les medailleurs italiens, 'goo, p. 40), on the reverse of which is a young girl with a unicorn lying by her side, the unicorn here being represented as a beautiful long-haired goat, with the long horn in the middle of his brow. The idea was widely spread in the middle ages, and Lauchert (Geschichte des Physiologus, 1889) gives instances of its allegorical use, as typical not only of Christ and the Virgin, but also of the softening influence of love upon the fiercest of men, and a symbol of purity. As a decoration of drinking cups it symbolized the ancient belief in the efficacy of the unicorn's horn against poison, which in England remained even in the time of Charles II., though Sir E. Ray Lankester (Science from an Easy Chair, London, 1910,1910, p. 127) mentions that a cup made of rhinoceros horn was then handed over to the Royal Society for experiment, with the result of entirely disproving the superstition. In the court ceremonial of France as late as 1789 instruments of "unicorn's" horn were still used for testing the royal food for poison. So-called unicorns' horns, or articles made of unicorn's horn, have always been sought after as "curiosities"; some of them, like the cup mentioned above, were of rhinoceros horn; others, like the horn seen at Windsor by Heutzner, a German traveller, in 1598 (see E. Phipson, Animal-lore of Shakespeare's Time, p. 456), were probably narwhals' tusks. Another medieval legend about the unicorn is that when it stooped to drink from a pool its horn, dipping into the water, purified and rendered it sweet. The traditional rivalry of the lion and the unicorn, which is generally considered to date at earliest from the Union of England and Scotland, when the lion and the unicorn appeared as the supporters of the royal arms, is referred to, curiously enough, in Spenser's Faery Queene, ii. 5.
In heraldry the unicorn was sometimes used as a device (see Heraldry, where two English families are enumerated who used the unicorn on their arms), but more frequently as a supporter, and subsists to the present day as the left-hand supporter of the royal arms. This position it assumed at the Union, the Scottish royal arms having previously been supported by two unicorns. The origin of these is uncertain. The unicorn first appears (c. 1480), as a single supporter, on two gold coins of James III. of Scotland, hence known as "unicorns" and "half-unicorns" (see Lindsay, Coinage of Scotland, pp. 135-137 and plate xiii. figs. 22-27). It is represented in a sitting posture, having round its neck a crown, to which is attached a chain and ring, and holding the shield between its front feet. Seton (Law and Practice of Heraldry in Scotland, Edinburgh, 1863, p. 274, foot-note) suggests that the unicorn as a supporter may have been introduced into Scotland by the marriage of James I. with Jane Beaufort, the Beauforts as dukes of Somerset having used it as such.' However this may be, the unicorn became established by the end of the 15th century. J. A. Smith in "Notes on Melrose Abbey" (Proceedings of Society of Antiquaries of Scotland, ii. 257) describes a table dated 1505 on which are sculptured the royal arms supported by two unicorns. The royal arms are also supported by unicorns on the Great Seals of Scotland from the time of Queen Mary onwards (see Anderson, Diplomata Scotiae, plate lxxxviii. xc. xci.). At the Union, when the unicorn became a supporter of the royal arms both of England and Scotland, a royal crown was added on the head of the unicorn, in addition to the crown with chain and ring round its neck (see Great Seal of James I. and VI. in Anderson, pl. xciii.), but this crown was removed after the Hanoverian succession. In England after the Union the unicorn became the left-hand supporter, but in Scotland, as late as 1766, it was still put on the right (Seton, p. 442), and Scotland displayed great reluctance to alter this, or to remove the crown from the head of the unicorn. Seton tells us how in 1853 a petition was made in favour, among other things, of retaining the crown on the unicorn, but without success. The rule, however, that the unicorn is to be the left-hand supporter, uncrowned, is still sometimes ignored, and Seton states (1863) that in the case of seals, such as that of the Board of Manufactures, which bear the Scottish arms alone, the two unicorns are still kept as supporters.
There are many treatises on the unicorn and other fabulous beasts, from the 16th century onwards. Of these, good bibliographies are given by Drexler, s.v. Monokeros, in Roscher's Lexicon, and by Rev. W. Haughton in Annals and Magazine of Natural History for 1862, p. 363, "On the Unicorn of the Ancients." (C. B. P.)
Species: U. argentina - U. catleyi - U. chacabuco - U. huanaco - U. socos - U. toconao
described as an animal of great ferocity and strength (Num 23:22, R.V., "wild ox," marg., "ox-antelope;" Num 24:8; Isa 34:7, R.V., "wild oxen"), and untamable (Job 39:9). It was in reality a two-horned animal; but the exact reference of the word so rendered (reem) is doubtful. Some have supposed it to be the buffalo; others, the white antelope, called by the Arabs rim. Most probably, however, the word denotes the Bos primigenius ("primitive ox"), which is now extinct all over the world. This was the auerochs of the Germans, and the urus described by Caesar (Gal. Bel., vi.28) as inhabiting the Hercynian forest. The word thus rendered has been found in an Assyrian inscription written over the wild ox or bison, which some also suppose to be the animal intended (comp. Deut 33:17; Ps 2221; Ps 296; Ps 9210).
what mentions this? (please help by turning references to this page into wiki links)
[[File:|thumb|200px|A girl with a unicorn]]
Unicorns are in many stories from different parts of the world. Its blood and horn usually have mystical powers. Its horn is said to have power (often called alicorn in medieval literature) to heal wounds and sickness, and to neutralize poison.
In On the Nature of Animals (Περὶ Ζῴων Ἰδιότητος, De natura animalium), Aelian, quoting Ctesias, adds that India has also a one-horned horse (iii. 41; iv. 52), and says (xvi. 20) that the monoceros (Greek: μονόκερως) was sometimes called cartazonos (Greek: καρτάζωνος), which may be a kind of the Arabic karkadann, meaning "rhinoceros".
|Error creating thumbnail: sh: convert: command not found|