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Corineus
Corineus
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Corineus, in medieval British legend, was a prodigious warrior, a fighter of giants, and the eponymous founder of Cornwall.

Key Information

History of the Kings of Britain

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In Geoffrey of Monmouth's pseudo-history History of the Kings of Britain (1136), Corineus led the descendants of the Trojans who fled with Antenor after the Trojan War and settled on the coasts of the Tyrrhenian Sea.[note 1] He is described as "a modest man in matters of council, and of great courage and boldness", his giant-fighting prowess is also described, and later reinforced by boasts of having killed "heaps" of Tyrrhenian giants.

After Brutus, a descendant of the Trojan prince Aeneas, had been exiled from Italy and liberated the enslaved Trojans in Greece, he encountered Corineus and his people, who joined him in his travels. In Gaul, Corineus provoked a war with Goffarius Pictus, king of Aquitania, by hunting in his forests without permission; in the ensuing battle, Corineus single-handedly killed thousands with a battle-axe.[note 2] After defeating Goffarius, the Trojans crossed to the island of Albion, which Brutus renamed Britain after himself. Corineus settled in Cornwall, which was then inhabited by giants. Brutus and his army killed most of them, but their leader Goemagog was kept alive for a wrestling match with Corineus. During the fight, Goemagog broke three of Corineus' ribs; enraged, he picked Goemagog up, ran to the coast, and threw the giant from a high rock into the sea, with the craggy rocks below tearing him to pieces.[2]

Corineus was the first of the legendary rulers of Cornwall, which was named after him. After Brutus died the rest of Britain was divided between Brutus' three sons, Locrinus (Loegria), Kamber (Cambria) and Albanactus (Alba). Locrinus agreed to marry Corineus's daughter Gwendolen, but fell in love instead with Estrildis, a captured German princess. Corineus threatened war in response to this affront, and to pacify him Locrinus married Gwendolen, but kept Estrildis as his secret mistress. After Corineus died Locrinus divorced Gwendolen and married Estrildis, and Gwendolen responded by raising an army in Cornwall and making war against her ex-husband. Locrinus was killed in battle, and Gwendolen threw Estrildis and her daughter, Sabren, into the River Severn.[3]

Aeneid and other sources

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Geoffrey probably took the name from the character Corynaeus in the Aeneid, a Trojan follower of Aeneas.[4] Archbishop Michael Joseph Curley suggests that this name was chosen by Geoffrey due to its similarity to the word Cornwall, and his "naive (or ironic) fondness for eponymy as a form of historical research".[5]

Corineus (upper centre) sailing with Brutus to Gaul in a c. 1475 tapestry now in the Cathedral of the Savior of Zaragoza.

Curley also suggests there is a parallel between Corineus and Hercules in Lucan's Pharsalia, who defeated the giant Antaeus in a wrestling match by lifting him from the earth, the source of his strength.[5]

Geoffrey's main source for the History of the Kings of Britain was the Historia Brittonum.[6] It does not mention Corineus, but two parts of the Historia were used as sources for Corineus' location on "the shores" of the Tyrrhenian Sea, where he is found by Brutus. The first is the Historia's account of Brutus' banishment: unlike the History of the Kings of Britain, where Brutus immediately goes to Greece, Brutus instead first travels to "the islands of the Tyrrhenian Sea", where, instead of Corineus, he finds Greek colonists living, who expel him due to Aeneas' killing of Turnus.[7][note 3] The second is a variant of the story of Goídel Glas, in which the hero travels from Egypt to Iberia via a sequence of named places – Africa, then Aras Philaenorum, Lacus Salinarum, between Rusicada and the Mountains of Azaria, along the River Malua through Mauretania to the Pillars of Hercules, then the Tyrrhenian Sea – Geoffrey uses precisely the same sequence of locations for Brutus' journey after getting his prophecy from Diana, and even explains the backtracking from the Pillars of Hercules to the Tyrrhenian Sea by saying Brutus was fleeing from Sirens; it is at this point in the story of the History of the Kings of Britain that Brutus finds Corineus on "the shores" of the Tyrrhenian Sea.[9][10][11]

Gogmagog's Leap

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The fight between Corineus and Gogmagog is described in the History of the Kings of Britain as ending at a place called Saltus Goemagog or 'Goemagog's Leap', which Geoffrey says still retained the name.[2] John Milton's The History of Britain (1670) referred to the place as Langoëmagog, 'the Giants leap', which is sometimes changed to Langoënagog or Langnagog.[12][13] The Middle English prose Brut (c. 1419) places their fight "at Totttenes" (Totnes, Devon), where Corineus and Brutus had landed in the History of the Kings of Britain,[14] while Holinshed's Chronicles (1577) placed the "leape of Gogmagog" at Dover.[15]

Researcher Peter Bartrum suggests that the story may have been based on hill figures of two giants fighting carved into the grass at Plymouth Hoe.[4] The first known mention of these figures was in 1495, and contemporary records exist of them being periodically re-cut and cleaned, referring to them as Gogmagog.[16] Antiquary Richard Carew believed that the fight may have begun near Totnes, but ended at Plymouth Hoe, with the figures depicting Corineus and Gogmagog; he described them in his Survey of Cornwall (1602): "upon the Hawe at Plymmouth, there is cut out in the ground, the pourtrayture of two men, the one bigger, the other lesser, with Clubbes in their hands, (whom they terme Gog-Magog) and (as I have learned) it is renewed by order of the Townesmen, when cause requireth, which should inferre the same to bee a monument of some moment."[17] Later historians such as John Allen Giles followed this suggestion as the most likely location.[4]

The figures were destroyed by the construction of the Royal Citadel in 1665.[18] In 2021, artist Charles Newington painted Corineus and Gogmagog on a grassy bank below the Citadel, inspired by the earlier figures and the story of Corineus and Gogmagog.[19]

Later traditions

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The tale is preserved in the works of later writers, including Michael Drayton and John Milton.

John of Hauville's Architrenius (c. 1184) was dedicated to Archbishop Walter de Coutances, who claimed descent from Corineus.[20] The Architrenius changes Corineus into a greater figure than Brutus (who it says accompanied Corineus as his Achates), and describes him as "the world-conqueror", a second Hercules, who fought in the Trojan War: "the terror of Achilles and the Atrides, the cutter-down of giants and batterer of monsters". While "sojourning on the Tyrrhenian shores, Corineus destroyed the limbs of giants with a bone-crushing embrace. He was himself a giant, not in body but in his indomitable heroism. Though confined to medium stature, and with limbs not disproportionately thick, he seemed to assume a Titanic stature, massive and terrifying."[21] After massacring the Aquitanians he sets sail for Britain "favoured by gods and winds, and guided by Diana to his destined corner of the world, he enters safe harbour on the Cornish coast at Totnes";[22] Cornwall is described as "flowing with milk and honey. Hence the place, at first named Corineia, over the course of time assumed the corrupted name of Cornubia."[21] Arthur is later described as a descendant of Corineus.[23]

The 13th century Prose Merlin calls the character Corneus, a descendant of giants, who was "a mervilouse knyght, and was moche and stronge". In this version, he and Brutus were two barons who fled the destruction of Troy, but while Brutus travelled to Britain, Corneus travelled to Brittany instead, where he built towns and castles, and gave his name to Cornouaille. Corneus' descendants were the giants who troubled the Britons, and they survived until the time of King Arthur.[24]

Locrine (1595), a play attributed to Shakespeare, has Corineius [sic] as a major character, one of two brothers of Brutus, along with Assarachus, and is father to Gwendoline and Thrasimachus. Corineius is described as being found by Brutus at "the fields of Lestrigon", and subsequently having fought Gathelus, the brother of Goffarius of Gaul. He lives more than eighty-seven years, dying from a lingering wound he had received in battle with Humber the Hun, and returns as a ghost to witness Locrine's downfall.[25]

Corineus is also a major character in Henry Chettle and John Day's lost play The Conquest of Brute with the First Finding of the Bath which was performed by the Lord Admiral's Men at the Rose in December 1598.[26]

Oliver Mathews' Towne of Sallop (1616) refers to "Troenius, Duke of Cornwall, who was afterward called Coreneus".[27][4] Richard Williams Morgan expanded on this in The British Kymry (1857), calling him Troenius, and saying that he was assigned the "Western Keryn or promotory" of Britain (from Torbay to Land's End) by Brutus, and that "from the Keryn, Troenius changed his name into Keryn or Corineus". Morgan also attempted to explain Brutus' backtracking from the Pillars of Hercules to the Tyrrhenian Sea, by saying that he passed through the Pillars of Hercules, and came across Troenius on the south shore of Spain, where he was ruling four Trojan colonies, claiming that the Atlantic was then called the Tyrrhenian Ocean. He described Troenius as sovereign duke of Cornwall, with the same prerogatives over his land as the kings of Loegria, Cambria and Albany had over theirs, and said that Troenius was consigned the guardianship of his daughter Gwendolen's son Maddan.[28]

As to Corineus's stature, he is represented as being the largest of Brutus's crew in the Middle English prose Brut.[29] Holinshed's Chronicles comment that Corineus was not a giant, but in the 1587 edition mistakenly claims the Architrenius describes Corineus as a man 12 cubits (18 feet) tall.[30]

A local folk tradition says that Corineus founded the city of Quimper, the ancient capital of Cornouaille in France.[31]

See also

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Notes

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Corineus is a legendary figure in medieval British mythology, depicted as a Trojan warrior and close companion of Brutus, the mythical founder of Britain, renowned for his prodigious strength, prowess, and role in subduing giants during the Trojan of the island. Primarily introduced in Geoffrey of Monmouth's (c. 1136), Corineus leads a contingent of Trojan exiles who join Brutus's expedition, earning him the governance of , which is named after him, and establishing him as the eponymous of the . His most famous exploit involves wrestling and defeating the giant Goemagot in , breaking the monster's ribs before hurling him from a cliff known as Goemagot's Leap, an act symbolizing the triumph of Trojan settlers over the island's primordial inhabitants. In Geoffrey's narrative, Corineus is portrayed as a sober-minded and valorous leader, excelling in battles against forces and giants alike, including devising ambushes such as the one at Tours that secures victory for the Trojans. As Brutus's equal and chief , he contributes decisively to the conquest and division of Britain, receiving the western peninsula as his domain due to his affinity for combating giants there. This foundational role underscores themes of British identity, linking Cornish regional lore to the broader Trojan origin myth that Geoffrey popularized to legitimize medieval Welsh and English monarchies. Corineus's prominence wanes in later adaptations of the legend, such as Wace's (1155) and Layamon's Brut (c. 1200), where his exploits are often transferred to Brutus or diminished, reflecting evolving political agendas that centralized authority on the kingly figure. Despite this "fall from grace," his character endures in , inspiring place names like Goemagot's Leap near and serving as a prototype for Cornish leaders allied with British rulers, highlighting the intertwined cultural identities of and Britain in medieval .

Mythological Origins

Role in Geoffrey of Monmouth's

In Geoffrey of Monmouth's , composed around 1136 CE, Corineus emerges as a central figure in the pseudo-historical narrative that traces Britain's mythical origins through Trojan lineage, blending legendary elements with echoes of earlier Latin chronicles to assert a grand, continuous British heritage. Corineus is portrayed as one of the key Trojan exiles accompanying Brutus, the son of Aeneas's great-grandson , in their exodus from and eventual settlement of Britain in the mythical chronology of the BCE. As a trusted , he leads a contingent of warriors noted for their valor, proving indispensable to Brutus in naval and land engagements during the journey. Upon the Trojans' arrival and conquest of the giant-infested island, Corineus distinguishes himself through his exceptional strength and combat skills, particularly against the native giants, earning him renown as a formidable giant-slayer and loyal ally to Brutus. In recognition of these exploits, Brutus rewards Corineus by granting him dominion over the western region, which he names Corinea (later corrupted to Cornubia or ), where his followers become known as Corineans. Corineus's influence persists into the early kingship era following Brutus's death, as he actively safeguards his family's status by compelling Locrine, Brutus's son and successor, to marry his daughter , thereby intertwining his lineage with the royal line and underscoring his role as a steadfast guardian of Trojan-British alliances. This depiction cements Corineus's character as not only a of unparalleled boldness—who could overthrow even gigantic foes with ease—but also a prudent counselor whose actions bolster the foundational stability of the nascent realm.

Influences from Classical Sources

Geoffrey of Monmouth's portrayal of Corineus in the (c. 1136) draws heavily on classical precedents, particularly Virgil's (c. 19 BCE), to establish the Trojan origins of the Britons. Brutus, depicted as a great-grandson of , leads a band of exiled Trojans to Britain, mirroring Aeneas's own journey from to in search of a new homeland. Corineus emerges as a prominent Trojan warrior accompanying Brutus, embodying the valor of Aeneas's companions, and his name likely derives from Corynaeus, a Trojan follower of Aeneas mentioned in the (e.g., Book V, where Corynaeus participates in ). This etymological link underscores Geoffrey's adaptation of Virgilian to craft a British to the Roman foundation epic, positioning Corineus as a composite figure among Trojan heroes who aids in colonizing and civilizing the island. Additional classical influences appear in the motifs of giant-slaying and Trojan exile, borrowed from sources like Ovid's Metamorphoses (c. 8 CE) and Livy's Ab Urbe Condita (c. 27–9 BCE). The giant-slaying exploits attributed to Corineus echo Ovidian depictions of heroic battles against monstrous foes, such as Hercules's struggles in the Gigantomachy (Metamorphoses V.250–678), while the theme of exile resonates with Livy's brief references to Aeneas's wanderings as the precursor to Rome's founding (Ab Urbe Condita I.1–7). Geoffrey adapts these elements to localize the myth, transforming abstract classical tropes into specific British narratives where Corineus expels indigenous giants to clear land for Trojan settlement, thereby legitimizing Cornish identity as "Corineia" after its founder. This localization blends Virgilian destiny with Ovidian mythic vigor and Livian historical gravitas, elevating Britain's pre-Roman history to imperial stature. Medieval transmission of these influences is evident in earlier texts like Nennius's Historia Brittonum (9th century), which prefigures giant battles in Britain without naming Corineus. Nennius describes the island as inhabited solely by giants before Brutus's arrival, providing a foundational motif of conquest that Geoffrey expands with classical details. This progression from Nennius's sparse account to Geoffrey's elaborated Virgilian framework illustrates how classical sources were filtered through insular traditions to forge a cohesive British mythology.

The Legend of Gogmagog

The Wrestling Contest

In Geoffrey of Monmouth's , the island of Albion—later Britain—is depicted as sparsely inhabited by giants when the Trojan exile Brutus and his followers arrive to claim it as their new homeland. Among these giants, Gogmagog (variously spelled Goemagot or Goëmagot in early manuscripts) stands out as the most formidable, described as a twelve-cubit-tall figure capable of wielding an uprooted as a club. During a celebrating the Trojans' landing, Gogmagog leads twenty other giants in a sudden on Brutus's camp, inflicting heavy casualties before the invaders rally and subdue them, sparing Gogmagog for Corineus, who was a renowned wrestler of giants. Corineus, Brutus's trusted companion, eagerly volunteers for the match, driven by his passion for such feats. The wrestling contest unfolds as a brutal test of strength on the open ground near the Trojan encampment. Gogmagog seizes Corineus in a crushing embrace, breaking three of his ribs—two on the right side and one on the left. Enraged by the injury, Corineus retaliates with superhuman vigor, wrenching the giant around and hurling him from a nearby coastal cliff into the sea below, where Gogmagog perishes on the rocks. This climactic throw marks the giant's defeat, underscoring Corineus's prowess as a giant-slayer. Scholars interpret the bout as a symbolic clash between the civilizing forces of the Trojan settlers—representing order, lineage, and cultural foundation—and the chaotic barbarism embodied by Britain's indigenous giants, thereby legitimizing the Trojans' and Corineus's subsequent claim to the western territory that becomes . The narrative's variations across manuscripts, particularly in Gogmagog's name (e.g., Goemagot in some Latin copies), reflect minor textual divergences but preserve the core heroic motif.

Gogmagog's Leap and Aftermath

In the legend recounted by Geoffrey of Monmouth, the climactic moment of the wrestling match occurs when, after the giant Goemagot breaks three of Corineus's ribs in a crushing embrace, Corineus lifts and hurls his opponent from the summit of a nearby coastal cliff into the sea below, where Goemagot perishes on the sharp rocks and stains the waters with his blood. This dramatic event is said to have occurred at a promontory on the southwestern coast, traditionally identified as a site near Plymouth Hoe in Devon or the cliffs at Salcombe on the Cornwall-Devon border, marking the boundary of Corineus's granted territory. The location became known as Gogmagog's Leap, derived from Geoffrey's Latin "Saltus Goemagot" (Goemagot's Leap), a name later adapted in some manuscripts to "Lamgoemagot," where "lam" signifies "leap" in Cornish, Welsh, and Breton languages, reflecting a localized British tied to the event. Historical references to the site appear in 16th-century sources, including William Camden's (1586), which associates the cliff near Plymouth with the legend, and Edmund Spenser's (1590), which evokes the giant-slaying there; local traditions further preserved the story through turf-cut figures of Gogmagog and Corineus on from at least 1494 until 1575. Following Goemagot's defeat, the myth describes the Trojans under Brutus systematically clearing the remaining giants from Albion, driving them into mountain caverns and securing dominance over the land, thereby consolidating Trojan rule and enabling the island's renaming as Britain after Brutus. Corineus, rewarded for his prowess, received —named Corinea after himself—as his domain, a reputed for its abundance of giants that aligned with his delight in such combats, establishing him as its foundational ruler. In the , Cornish antiquarians and folklorists speculated that megalithic sites such as cromlechs (dolmens) and cairns represented remnants of these ancient giants, interpreting structures like Lanyon Quoit as "giant's coits" or tables and occasional large bone discoveries—such as those unearthed near Wendron in 1855—as evidence of Gogmagog's kin, though these claims lacked scientific validation and were later attributed to prehistoric activity.

Cultural Legacy

Medieval and Renaissance Adaptations

In the medieval period, the legend of Corineus gained wider circulation through Wace's (1155), an Anglo-Norman verse adaptation of Geoffrey of Monmouth's that versified the Trojan origins of Britain and popularized the tale of Corineus wrestling the giant Gogmagog. Wace's work, drawing directly from Geoffrey, depicted Corineus as a valiant Trojan companion of Brutus who received as his domain after defeating the giants, thereby embedding the story in courtly literature and influencing subsequent chronicles. This adaptation helped disseminate the narrative among Norman elites, framing Corineus as a foundational of British identity. During the , Corineus featured prominently in historical and poetic works that reinforced English antiquity against foreign claims. In Raphael Holinshed's Chronicles (1577), the story of Corineus and Gogmagog wrestling near Dover was retold as part of Britain's mythical founding, emphasizing Corineus's role in subduing giants and claiming , which served to legitimize Tudor narratives of a pre-Roman imperial heritage. Edmund Spenser's The Faerie Queene (1590) further mythologized Corineus in Book II, Canto X, where he is portrayed as a conqueror of giants like Goemot, whose victory led to the naming of after him, symbolizing British resilience and moral virtue in the poem's allegorical framework. These depictions positioned Corineus as an emblem of national strength, countering Roman historiographical dominance. Antiquarian interests in the linked Corineus to broader Arthurian traditions and Tudor propaganda, portraying him as a precursor to Britain's ancient . John Leland, the pioneering English , referenced Corineus in his topographic surveys and defenses of British history, integrating the giant-slayer into arguments for the of Trojan-Brutus lineages that connected to Arthurian lore, thereby supporting royal claims to a unified pre-Roman . Such writings fueled propagandistic uses, as in Elizabethan pageantry where Corineus embodied prowess and territorial entitlement. Corineus's legend also permeated Cornish folklore and place names, evolving him into a regional beyond Geoffrey's direct influence. In local traditions, he was celebrated as the eponymous founder of , with etymologies deriving the county's name from him and tales attributing to his bout with Gogmagog. Sites like Lamgoit (or "Gogmagog's Leap") near Plymouth preserved the wrestling motif in oral lore, linking Corineus to the landscape as a giant-subduer and protector of the southwest. These elements reinforced Cornish identity, portraying Corineus as an independent ancestral figure in medieval and early modern folk narratives.

Modern Depictions and Interpretations

In the 19th and early 20th centuries, scholars increasingly reevaluated Corineus through the lens of Celtic folklore and , dismissing the Trojan origins as a medieval rather than historical fact and interpreting him as a euhemerized embodying ancient British warrior traditions. This perspective aligned with emerging anthropological approaches, viewing Corineus's giant-slaying exploits as symbolic of tribal conquests and in the . During the , Corineus appeared sporadically in literature, often as a nod to mythic heritage amid broader Arthurian or fantasy narratives. employed "Corineus" as a for a skeptical interlocutor in his 1944 essay "Myth Became Fact," using the name to contrast ancient legends with modern , thereby invoking the figure's legendary status to defend the value of . In later fantasy, David Hair's Moontide Quartet (2012–2016) features the " of Corineus," a mystical artifact granting immense power, which draws directly on the warrior's renown as a giant-fighter to propel the series' epic conflicts across continents. These references blend Corineus into , emphasizing themes of ancient sovereignty and heroic legacy without altering the core medieval tale. Contemporary depictions maintain Corineus's cultural resonance primarily through public traditions and regional identity. In , the figures of Gogmagog and Corineus (often conflated with Magog) persist as giant effigies in the annual , a procession dating to but renewed in modern iterations with papier-mâché sculptures symbolizing 's ancient defenses and British resilience. In , the legend bolsters local heritage festivals and revivals, portraying Corineus as the eponymous founder and emblem of Celtic endurance, though scholarly consensus continues to frame him as mythic rather than ancestral progenitor.

References

  1. https://en.wikisource.org/wiki/Six_Old_English_Chronicles/Geoffrey%27s_British_History/Book_1_(Annotated)#12
  2. https://en.wikisource.org/wiki/Six_Old_English_Chronicles/Geoffrey%27s_British_History/Book_1_(Annotated)#16
  3. https://en.wikisource.org/wiki/Six_Old_English_Chronicles/Geoffrey%27s_British_History/Book_2_(Annotated)#2
  4. https://en.wikisource.org/wiki/Six_Old_English_Chronicles/Geoffrey%27s_British_History/Book_2_(Annotated)#4
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