Vessels or containers are as important for the space they contain as well as for any material they hold. Containers tend to be associated with women. As motifs running throughout a story they can also symbolise physical or emotional containment, either self-driven or imposed upon a character from outside.
The Promise and Intrigue of Containers
How to create optimal mystery? Promise something but don’t show it. This is why we wrap presents. It’s why artists show characters looking at something mysterious out of the frame. It’s why writers drip feed something gradually, slowly bringing a mysterious person or item into view, building up to the big reveal.
Containers are the symbolic embodiment of all that. An enclosed container holds something but we don’t know what. Not until we open it.
Across the history of storytelling, many narratives exist to teach less powerful people (including women) that if you find something locked away in a chest, you should just leave it there. The story of Adam and Eve is the stand-out example of this story, but we also have Pandora’s box. Bluebeard fairytales (and all their descendents) have the same message: If you know something is locked away LEAVE IT LOCKED AWAY. With the benefit of hindsight it’s easy to see why these cautionary tales existed: To leave power in the hands of those who already had it.
18th century children’s story Rosamund and the Purple Jar is anti-climactic precisely because the vessel holds something pretty, then disturbing, and ultimately contains nothing Rosamund wants. Her hopes are dashed. Victorian children were supposed to learn from this didactic story not to place too much hope on the unseen and the unknown. More generally, pretty appearances can disappoint by their lack of true substance.
If you think of ‘ark’, you’re probably thinking of Noah’s Ark, or possibly the Ark of the Covenant. An ark is a big container that holds very valuable objects. In this way, an ark symbolises a treasure chest. It might be massive (as in Noah’s) or it might be small (as in the ‘ark’ that Moses was found in, floating in the reeds). The commonality is that an ark’s contents are precious.
The Bag of Holding
The name of this trope comes from Dungeons and Dragons:
The Bag of Holding is a specific portable item which is Bigger on the Inside than it is on the outside. Much bigger. It may not look it, but that’s because it contains Hammer Space. Because the holding capacity of the bag comes from internal Hammer Space, a thoroughly-packed Bag of Holding will weigh no more than a full normal bag. Odds are, it will weigh no more than an empty normal bag.
Because of the sheer amount of goods you can store in one, trying to find something specific usually results in a Rummage Fail. Except, of course, in videogames where time itself will stop to let you go through your inventory in peace.
The Cabinet of Curiosities
The word ‘cabinet’ originally described a room rather than a cabinet (and is still used to mean ‘room’ when we’re talking about Parliament buildings). Originally, a cabinet of curiosities was a big room in a rich person’s house containing all kinds of treasures — sort of like a private museum. The first cabinets of curiosities appeared in the 16th century. In fact, these rooms were precursors to museums. People who travelled were in the best position to set them up, e.g. merchants.
When cabinets became collections held in pieces of furniture (today’s usual meaning of ‘cabinet’), they were designed to be as interesting to look at as possible. They were highly ornamental, decorative and housed many disparate things. The idea was to represent the entire world in miniature. Interest came from the juxtaposition of many different objects.
Cabinets of curiosities were also show-off items, showing how rich you were, how cultured, how well-travelled.
Over the centuries, artifacts from these collections have proven invaluable to historians, naturalists and archeologists.
In fiction, cauldrons have a special association with magic. Some such cauldrons are inherently magical, having some special power or another (an obvious one being the power to produce an endless supply of something you’d make in a more normal pot). Others are just used for magic (especially when Alchemy Is Magic), but apart from that, are just ordinary pots. They’re often black, and the contents are often inexplicably green, but both those things are optional.
Sometimes the cauldron is called a kettle. Cauldrons and kettles come in various shapes and sizes. Cauldrons can be terrible or wonderful, oftentimes both.
According to witch mythology, an iron cauldron or kettle was used to prepare Sabbat feasts, magical brews and potions. Sometimes the fire is kindled in the cauldron itself. Some witches in fact use ordinary household pots — consecrated, of course.
In public imagination, the cauldron (your own cooking pot) was equally a tool you could use to kill a witch. By performing folk magic you could force a witch down your chimney, where she will fall into your cooking pot and be scalded to death. In order for this to work, people had to imagine a witch small enough to fall down a chimney, so it was necessary to believe that witches could transmogrify. This made them even more scary, because now you believed a witch could get in through any tiny crack.
The shape of the cauldron resembles the belly of a pregnant woman, and is therefore a symbol of fertility. Its circular shape symbolises never-ending life and regeneration.
Things are heated inside a cauldron, transforming from one thing into another, hence the cauldron also symbolises germination and transformation.
Traditional cauldrons have three legs, representing the triple aspect of the Great Goddess or the three fates. Any cauldron with three legs has strong associations with divination.
But in Celtic tradition, the cauldron symbolises abundance, cornucopia, resuscitation and inexhaustible sustenance. In these stories the dead are frequently thrown into the cauldron and crawl out alive the next day. For this meaning, we can look to a fairytale such as The Magic Porridge Pot (generally illustrated as a mini cauldron in picture books). The pot saves a community from famine but also wreaks havoc, in line with the good and evil duplicity of mythological cauldrons. Likewise in China, the cauldron is a receptacle for offerings. but also a container for torture and capital punishment.
Norse legend is a bit different. According to Nordic tradition, the roaring cauldron is the source of all rivers.
A chalice is a cup or grail generally used in rituals. The Catholic church makes use of a highly decorated chalice in ceremony. Pagans used a much simpler one.
The chalice itself symbolises water. Like the cauldron, the chalice is associated with femininity because of its shape, and because of its use as a vessel (women were and still are considered vessels for carrying other humans). Women are also linked to water because women are linked to the moon — menstrually — and the moon influences tides. We all begin life in the womb in water. Like most associations, it’s a double-edged sword for women. Water, like women, is essential to life. (Women, eh? Can’t live with em, can’t live without em.)
The Holy Grail
As mentioned above, in mystical, pre-Christian times there was a magical cauldron of the Celtic Gods that never emptied and kept everyone satisfied, as mentioned above. This legend is the O.G. of mythology leading to the Holy Grail — the cup that Christ was meant to have drank from at the Last Supper, or maybe it was the container that caught his blood during his crucifixion… who knows?
This sacred vessel went missing (or never existed in the first place), so today ‘the Holy Grail’ means something unfindable but highly treasured. There’s a subcategory of King Arthur tales called Holy Grail Legends, which have kept the rumours alive.
According to Jung, the psychoanalyst, the grail is an emblem of the spirit and symbolises “the inner wholeness for which men have always been searching”. The Philosopher’s Stone, from alchemy, fulfils the same symbolic function — the search for something elusive within oneself.
Header painting is by Leslie Hunter: Kitchen Utensils, c.1914–18.