CROTHERS WOODS COMPLEX

Portion of southern section, February 2008

The Todmorden site lies at, or just beyond, the southern extent of what is commonly referred to as Crothers Woods. "Crothers" is, of course, a variant of the Scottish surname Carruthers, which the ONC has deriving from Caer Ruther, an ancient British toponym meaning "fort of Ruther" — itself a name likely descended from the Gaelic ruaidhri or "red king" — and, indeed, if one ventures further north into the heart of Crothers Woods proper (along a bend on the east bank of the Don, in an area recently branded as "Cottonwood Flats"), you will find many scattered remnants of what one could imagine as some bygone fortification.

We are told this property, too, was once the site of a mill. Then, a century-or-so later, an insulation factory stood somewhere in this vicinity. From the 1960s until 2009 this area was largely vacant, used only to hold snow plowed from local streets during the winter. None of these purposes, however, quite recommend themselves to what we find. Ruined stacks of concrete slabs near the south Bala rail crossing very much resemble what might have been a complex of bunkers, while similar rubble further north along the riverside suggests the remains of an erstwhile defensive wall. One might also, in seeking a megalithic analogue to the nearby Todmorden site, summon images of the various dolmens or gallery graves found throughout prehistoric Europe (certain formations at Locmariaquer, in particular, come to mind).

Northern formation, November 2016

As for dimensions, the northern wall measures about 30 meters by 4, standing 5 slabs tall on average (or roughly 5 feet high). The "bunker complex", meanwhile, covers an even larger, if somewhat more amorphous area; measuring about 60 meters in length to upwards of 20 meters in width, all while breaking off into various uncovered and semi-covered chambers (some being directly connected, with others standing slightly off in isolated adjacency). Together these constructions form what is possibly the most extensive set of ruins in the city, running approximately 250 meters along the river, end to end, with numerous scattered remnants found between the two main structures, suggesting a once much greater "fort of the red king."

As to the "red king" in question, historical suspects (with regards to the surname, at least) would include Rhydderch Hael, Brittonic king of Alt Clut (present-day Strathclyde, c. 580-614); William Rufus, Norman king of England (c. 1056-1100); and Ruaidrí (Rory) O'Connor, the last High King of Ireland (c. 1116-1198) — with the "redness" of each king generally assumed to be describing some physical characteristic, either red hair or a ruddy complexion. At this early juncture, however, it might prove hasty to limit ourselves to such commonplace explanations (with regards to the ruins, at least). Continuing with our conjectural approach, if one looks outside the annals of conventional history one notes that the title of "red" or "crimson king" has often been applied to the aforementioned Lucifer, as well as many lesser tyrants of a devilish nature (be they factual or fictitious), with red variously symbolizing blood, hateful rage, or the flames of infernal hellfire. Indeed, the concepts of monarchy, tyranny, and the colour red were often so intertwined as to be held in virtual synonymity. In early heraldry red and purple (the official colour of royalty since, at least, Roman times) were generally interchangeable under such headings as "French red," "vermillion," or "gules" — and, as we learn from the Llyfr Dysgread Arfau, a Welsh heraldic treatise of the late 14th century:

This colour is forbidden by civil law to be worn without permission, except by a prince; and whoever transgresses may be executed. And why is this colour ordained to a prince more than white or black or blue or gold? Because this colour represents cruelty, and a prince ought to be cruel to his enemies as it behoves him to punish disorder.


Interstitial rubble, 2016

That said, we should also make mention here of that most benevolent of Welsh princes, Arthur, who has, at times, been heralded a "red king" by association with the Red Dragon of Wales (as opposed to the White Dragon of the Saxons). Then, of course, there was King Henry VI, instituted under the Red Rose of Lancashire, who vied with the White Rose kings of York for the throne of England in a war which resulted in the establishment of the Welsh House of Tudor. Even further afield, one might point to the mythical reign of Horus, and the subsequent dynasty of "red kings" who wore the deshret, or "red crown" of Lower Egypt (as opposed to the hedjet, or "white crown" of Upper Egypt). And then we may note that the pseudo-historical Egyptian sage Hermes Trismegistus, in symbolizing the filius philosophorum, is often depicted as the product of an alchemical wedding between a Red King (representing sulphur and the sun) and a White Queen (representing mercury and the moon).

As talk of alchemy so often precedes talk of Tarot, astrology, or some allied esoteric diversion, let us also briefly note that The Emperor of the Major Arcana is traditionally depicted in red or crimson vestments, while in a standard (i.e. English pattern) deck of playing cards the two "red kings" are made conspicuous by certain peculiar distinguishing features: the King of Diamonds being the only king to appear in profile, as well as the only king to wield an axe instead of a sword; and the King of Hearts being the only king to appear without a moustache, while seeming to plunge his sword directly into his own head, thus earning him the colloquial epithet of "Suicide King." Returning now to the topic of alchemy, we note how the hermetic Red King, prior to his meeting with the White Queen, is often said to undergo a suicidal purification by drowning, as exemplified in such texts as the Splendor Solis. This red and white union has also been portrayed in the form of two lions, while another common alchemical motif is that of a lion devouring the sun (i.e. the Red King). We now observe that the sun is the "ruling planet" of Leo in the zodiac, while the primary star in the constellation Leo, Alpha Leonis, is known also by its traditional name Regulus, Latin for "little king."

Within the realm of literature and legend, a Red King (or, rather, his three piscine sons) appears in the Thousand & One Nights, during the tale of Judar and His Brethren, as keepers of the treasure of Al-Shamardal. Another Red King, and his three sons, appears in the Romani fable of the Red King and the Witch, wherein his youngest son seeks and finds immortality, only to lose it upon opening a treasure from the past. Finally, we might make passing reference to Lewis Carroll's Red King (again, the counterpart of a "white" rival) who sleeps his way through Through the Looking-Glass, leaving Alice (and the reader) to speculate who, after all, might be but a figment of whom's dream.

Southern formation, November 2016

Such a list, of course, is not meant to implicate any one of these varied, often implausible "red kings" as the Red King of either the surname or the site. It is only meant to demonstrate how prevalent this archetype seems to be. As a recent paper on The Origin of Robin Hood Mythology (Moxon, 2012) states: "the‘red king’ is an apparently generic mythological figure (though proper scholarship on this appears rare): the annual sacrificial victim, whose blood is spilt on the ground to ensure its fertility." Here the author traces the roots of the name "Robin Hood" back to an etymological conflation of said "red king," a "maiden-queen," and the devil.

If we were now to expand the role of "king" to include both celestial and terrestrial rulers, that is to say permit a "red god," this list grows exponentially. Given the Celtic nature of the name in question let us sate ourselves here with just one example: Dá Derga, titular deity of the Irish tale of Togail Bruidne Dá Derga (The Destruction of Da Derga's Hostel), who's name literally translates as "Red God." This tale is part of the Ulster Cycle of stories, otherwise known as the Cróeb Derg or "Red Branch" Cycle, a name referring to one of three royal houses belonging to the mythical king of Ulster during the times of these legends. We bring this particular example up not necessarily to draw associations between our "red king" and this "red god," but rather to draw a certain distinction; for one of the other houses of Ulster was the Cróeb Ruad, also meaning "Red Branch" as we have seen with ruaidhri above. It now becomes clear that we are dealing with two different types of "red." The first (derg) being a bright red, the "colour of blood, flame; also of orange or tawny hue as of ale, gold, etc." in the words of the Royal Irish Academy's Dictionary of the Irish Language. The second (ruad) being "red, of a brownish or dark red (opp. to derg = bright red), oft. of blood-stains." Indeed, the very designation "red" may be somewhat misleading as the ancient Irish may not have even viewed these as related shades of the same colour, but rather as completely different pigments, much like how English speakers tend to view "pink" not merely as some shade of "light red," but rather as a separate colour all of its own. We can, at very least, say these terms were conflicting on a certain level as we note another famed "red king" of Irish myth, Rechtaid Rígderg, who was so-called for having the blood of his predecessor, Queen Macha Mong Ruad ("red haired"), on his hands. In any case, it would seem that the specific "red" of Crothers Woods falls somewhere within the crimson-garnet-maroon spectrum, rather than any vibrant scarlet, or candy-apple tone.