Strigine symbolism

As an undergraduate I was fortunate enough to spend three years living in the same room in a university college with beautiful grounds (St Hild & St Bede, Durham) which was within a building on the edge of the countryside, not far from the remains of the Iron-Age fort of Maiden Castle. I used to find it consoling to hear the hoots of an owl that must have made its home in one of the trees a few yards from my top-floor window. There is something very special about this bird, something that makes it stand out from any other avian species. It is not only in its characteristic appearance -and each of the 200 odd varieties of owl are distinct, shown in the beautiful photographs below taken by Tim Flach- but also in the fact that it is nocturnal and has evolved to have silent flight enabling the fearsome predator to swoop down on its prey, catching it unawares.

ImageThe word we use for this bird of prey is also distinctive, for the owl belongs to a small category of animals whose call has onomatopoeically developed into its name. It is testimony to the bird’s singularity that this is the case in many languages, such as hibou in French. The Latin word, strix, does not cut the mustard and our current English term has many affinities with an older Indo-European word, being similar to Hebrew and Indian-language names. Somehow, owl-like is much more electrifying than strigine. For once, Latin, you come in second place.

It is not only in its name and physical attributes that the bird can claim a certain uniqueness, for its symbolism is equally unusual. Famously, the owl represents wisdom and was the emblem of the goddess Athena and of the city of Athens itself. This carries on today in the collective noun for the creature; a group of them is a parliament of owls. Rejecting this positive association, it was a portent of doom for the Romans; Julius Caesar and Augustus had their deaths indicated by daytime sightings of the animal. Christian strigine symbolism has inherited this mythological schizophrenia, for the bird has variously been held as an allegory of Christ, relentlessly seeking out lost souls in the darkness (of sin and error), or of Satan, being aligned with dark forces and cunning. In any case, it is not used often in Christian symbolism, though sometimes finds itself in Crucifixion scenes; it was more common in the Middle Ages as seen in 14th-century manuscript illumination below (Reims, MS 993, fol. 153r):

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In popular folklore and superstition, the bird conjures up largely negative imagery, such as in Grimms’ tale The Owl, which relates how an owl is trapped in a barn and a “brave” villager goes in to tackle it only to flee in terror when he hears it hoot. The story ends with the barn being burnt down and the unfortunate bird being roasted (though not, presumably, eaten since it is one of the long list of fowl prohibited in Leviticus, along with cuckoos, gulls, and ostriches). There are some notable exceptions; Madame d’Aulnoy’s La Belle aux cheveux d’or turns the unlucky diurnal appearance on its head, as the adventurer in the tale, Avenant, releases an owl trapped in a net who later helps him, and reflects on humans’ inhumanity towards the vulnerable. Edward Lear provides the redemptive tale of an owl marrying a cat with the aid of a ring taken from a pig’s snout in the whimsical and surreal The Owl and the Pussycat. I always stay at his house in London, located in Marble Arch and now a hotel. Lear is one of those rare breed of people who look as they should look, and the image below does rather depict a fellow who would pen a poem about the mixed marriage between a bird and a feline, though at the same time definitely not someone to whom you would entrust money, children, or pets.

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It has been suggested by some recent critics that the curious, alternate world he created in the self-styled nonsense verse expresses the feelings of alienation from Victorian society that he felt as a gay man, though the most powerful literary expression of similar sentiments has to be found in Hans Christian Andersen’s delightfully dark fairy tales, particularly The Little Mermaid and The Ugly Duckling. For my part, I think it’s about time to reclaim the owl and to reject its sinister reputation. It is not always a morbid bird as seen in the magnificently named Owl Nebula (M97), below.

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The owl also featured consistently in designs produced during the Eames Era, in the mid-twentieth century, perhaps a trope for the movement mirroring the bird itself and finding something beautiful that was not universally accepted thus.

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Today’s cufflinks date from the late 1960s and their abstract and brutalist shape suggests an owl to me. They are crafted by Gilles “Guy” Vidal, a Quebec artist who saw himself foremost as a pewtersmith; they are made out of his own formula of a very pure tin-based pewter plated with silver and bear his maker’s mark of GV within a check mark. Vidal is my favourite designer. I love all of the designs of his 44 known cufflinks and possess 15 of them. I think that I can best describe the attraction of his work with reference to the owl itself. It may not possess the evident beauty of the eagle or the sweet song of the nightingale, yet its mysterious nature endows it with a very special kind of draw.

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