Song of Arthur and Merlin Arthurian Sourcebook for Song of Blades and Heroes, V.1.1 Written by Daniel Mersey

Total Page:16

File Type:pdf, Size:1020Kb

Song of Arthur and Merlin Arthurian Sourcebook for Song of Blades and Heroes, V.1.1 Written by Daniel Mersey Song of Arthur and Merlin Arthurian Sourcebook for Song of Blades and Heroes, v.1.1 Written by Daniel Mersey Credits Copyright © 2008 Daniel Mersey/Ganesha Games Playtesting, helpful suggestions, and thanks: Simon ‘Lancelot Slayer’ Bell; Damian Beamish; Simon Egan- Payne; Pascal Saradjan; Rich Jones; Shaun McTague; Ponders End Wargames Club; Guy and Guy for their differing opinions on Arthur; James and Steve for reigniting my interest in Arthurian gaming; the Song of Blades and Heroes Yahoo group (http://games.groups.yahoo.com/group/songofblades/), from whom I’ve learned a lot about how to play the game; and the many, many people who have beaten me at my own games over the years. Most importantly, thanks to Andrea for asking me to write this book and for his contributions to the High Medieval special items. www.ganeshagames.blogspot.com Table of Contents Introduction 3 Special Scenarios 18 Scenario Generator 27 Page References Drawing the Sword from the Stone Kill the Monster! Which King Arthur to Play The Strife of Camlann Magical Cattle Raid Grail Quest Campaign Kidnap Within Camelot’s Hinterland 19 The Hunt 28 Into the Perilous Forest Culhwch and Olwen Campaign The Desolate Desert Wrnach the Giant’s Sword Special Rules 4 The Grail Castle 20 The Cauldron of Diwrnach 29 Bard Finding the Grail The Hunt for the Giant Boar Chivalry Grail Tests The Very Black Witch Dogged 5 Hero’s Horse The Welsh King Background 21 The Historical King Background 30 Inconvenient Special Items Designing Your Warband Jouster Arthur’s Mantle 22 Warband Advances Knight 6 Arthur’s Weapons Angons Legendary Wizard Cauldron of Ceridwen Boar’s Snout Protect 7 Cauldron of Champions Flags and Horns Solar Force Dart of True Flight Host of Riders Stubborn Enchanted Weapon Roman Equipment Unique Faerie Cloak Rustlers Special Situations Lion-Skin Shield Sea Raider Herds Magical Torc Shieldwall Veterans Jousting Mead Successor 31 Raiding 8 Padarn’s Tunic Historical King Rosters The High Medieval King Background 9 Pendragon’s Helmet 23 Dismounting Chieftains and Champions 33 Special Items Prydery and Manawyddan’s Shields Scenario Generator 34 The Adventurous Shield Rydderch Hael’s Sword Raid Balin’s Broadsword Standing Stones Marauders Blessed Armor Terrifying War Horn Fight at the Ford Bor’s Sword 10 Tudwal Tudelud’s Whetstone Special Scenarios: the Fifth Century AD Damsel’s Ribbon Weasel Venom The Battle of Badon Excalibur Warbands Groups in Historical Games 35 Galatine Designing Your Warband Zone of Control Golden Harness Triad Tale The Ride of the Gododdin The Grail Welsh King Warband Advances 24 Hermit’s Potion 11 Befriended by Eagles Designer’s Notes 36 Lancelot’s Ring Druid’s Favor Miniature Lists and Further Reading Magical Ring Host of Riders Perceval’s Sword Knowledge of Folklore Priamus’ Sword Mead Relic Sword Raven Feeders Sacred Vision Rustlers The Spear of Vengeance Sailing to Avalon Terror Tree Shapechanger Viviane’s Shields 12 Welsh King Rosters 25 Water of Paradise Warbands Designing your Warband Games Between Bands of Knights Questing Knights 13 High Medieval Warband Advances Champion’s Challenge Knights of the Round Table Knowledge of Folklore Sailing to Avalon Valorous High Medieval Rosters 14 Scenario Generator 16 None Shall Pass! Blood Feud 17 Rescue Tournament Introduction This is an Arthurian sourcebook for Song of Blades and Heroes, rather than a new set of stand-alone rules. You’ll need to refer back to the original rulebook, Song of Gold and Darkness and Song of Wind and Water to learn the game and identify most special rules and some rosters used in this supplement. The special rules, objects, terrain, and game mechanisms outlined in SBH and other supplements are usable with this book if you wish to expand your Arthurian setting. Each section of this book contains new items and warband advances relevant to three different Arthurian worlds; feel free to include these ideas in non-Arthurian games. Rosters include models from previous supplements where applicable to the Arthurian setting; this is to clearly indicate what models most suit an Arthurian setting. If you fancy introducing other monsters, that’s fine so long as your gaming pals agree. Page References To prevent repetition of rules, references to pre- existing rules are noted as SBH (Song of Blades Which King Arthur to Play? and Heroes), SGD (Song of Gold and Darkness), Stories of Arthur have been around for many or SWW (Song of Wind and Water) followed generations, maybe from as early as the sixth by the page number in that book. References century and definitely from the ninth century, including a page number only are references to intertwining many different settings and this book. characters. Depending on your take on the legend or history, you may decide to play games set in the classic Arthurian setting of an enchanted medieval world (High Medieval King), or prefer the equally enchanted but slightly grittier setting of earlier Celtic folklore and old school history (Welsh King). Some players wish to re-enact the real life battles in Britain of the fifth and sixth centuries – the historical era in which a real life Arthur might have lived – bereft of magic and monsters, but still full of tactical choices and tough warbands (Historical King). The same miniatures can be used for the Welsh and Historical King games, using models from the many existing Dark Ages ranges; for High Medieval games, look to plunder fantasy ranges and historical models from the medieval period 1100-1500. Arthurian Special Rules Standard Chivalry Chart Bard As one action, a Bard may temporarily make any Good one friendly model within Medium distance into +?? As specified by scenario or agreed by a Hero during that model’s next turn. The target players in game (awarded at end of model may be changed each turn, but a Bard may game) only make one Hero per turn. If a Bard uses this +1 Moving to fight enemy with higher power on a model with the Hero special rule, that Combat rating (each time the model hero receives two automatic successes. A Bard is moves into hand to hand) a Personality model. +1 Not striking at an opponent who has Fallen Down when the opportunity arises (each time) +1 Unhorsing an opponent in a joust (once per opponent) +1 Backing out of a combat so that opponent is no longer outnumbered (each time) +1 Slaying a model with the Terror special rule (once per slaying) Bad Chivalry -?? As specified by scenario or agreed by A Chivalry rating is given to any model with the players in game (awarded at end of Knight special rule – wizards, brigands, peasants, game) and creatures don’t live their lives by a chivalrous -1 Killing opponent who has Fallen Down code of honor. Chivalry reflects the heroic or evil (once per opponent) deeds a knight accomplishes, judged against the standards of the Round Table. Chivalry is not -1 Using a missile weapon (each time) affected by Morale; a negative score represents a rogue or evil knight rather than a coward. -1 Using an Ambush (each time) All knights begin with a Chivalry of 0, but may carry over their Chivalry score from game to -1 Using poison or spells – but not using game. Every time a model performs a good act or magic weapons or armor (each time) a bad act in the game, they add or subtract points -1 Joining a fight where the enemy is of Chivalry (this is one of the few bits of record already outnumbered (each time) keeping you’ll need in the game – and if you’re playing one off scenarios, you can leave this rule out). The Standard Chivalry Chart shows what When a model attains certain Chivalry points, constitutes a good or bad act. Some scenarios’ the warband may go on a Quest scenario to find a Victory Conditions allow the player to choose Special item of the player’s choosing; see Special whether to take positive or negative Chivalry, Items in the High Medieval King section for more depending on which is most beneficial to the details. models in his warband. Given the epic nature of the Arthurian setting, Inconvenient you might wish to make your campaigns longer A player spends points on this model as usual than the usual 4-5 games when using the Chivalry and may choose to place it in his opponent’s rules – the longer your campaign, the greater warband rather than his own (at no points cost your chance of questing for some seriously good to the opponent). The model becomes part special items. of the opponent’s warband for the entirety of Chivalry costs no extra points. the scenario, and one Knight on that warband (nominated by the Knight’s owning player) gains Dogged the Protect special rule for the Inconvenient model, for 0 points. Only one Inconvenient model Once entering into combat with an opponent, the may be given to an opponent in any scenario. model cannot leave that combat or start a fight with a new opponent until his current enemy has Example: Simon chooses to add an Inconvenient been killed or fled from the table. Other models damsel to his warband for 8 points, so that he may join the fight, but the original opponent can place her in his opponent’s warband before must remain the Dogged model’s target on his either warband deploys on the table. This means own attacks. If the original opponent breaks off that his total points value is now 292 compared combat, the Dogged model must pursue until the to his opponent’s 308 – although both still count opponent is dead or off the table.
Recommended publications
  • Queen Guinevere
    Ingvarsdóttir 1 Hugvísindasvið Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir June 2011 Ingvarsdóttir 2 Háskóli Íslands Hugvísindasvið Enskudeild Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir Kt.: 060389-3309 Supervisor: Ingibjörg Ágústsdóttir June 2011 Ingvarsdóttir 3 Abstract This essay is an attempt to recollect and analyze the character of Queen Guinevere in Arthurian literature and movies through time. The sources involved here are Welsh and other Celtic tradition, Latin texts, French romances and other works from the twelfth and thirteenth centuries, Malory’s and Tennyson’s representation of the Queen, and finally Guinevere in the twentieth century in Bradley’s and Miles’s novels as well as in movies. The main sources in the first three chapters are of European origins; however, there is a focus on French and British works. There is a lack of study of German sources, which could bring different insights into the character of Guinevere. The purpose of this essay is to analyze the evolution of Queen Guinevere and to point out that through the works of Malory and Tennyson, she has been misrepresented and there is more to her than her adulterous relation with Lancelot. This essay is exclusively focused on Queen Guinevere and her analysis involves other characters like Arthur, Lancelot, Merlin, Enide, and more. First the Queen is only represented as Arthur’s unfaithful wife, and her abduction is narrated. We have here the basis of her character. Chrétien de Troyes develops this basic character into a woman of important values about love and chivalry.
    [Show full text]
  • Models of Time Travel
    MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
    [Show full text]
  • Actions Héroïques
    Shadows over Camelot FAQ 1.0 Oct 12, 2005 The following FAQ lists some of the most frequently asked questions surrounding the Shadows over Camelot boardgame. This list will be revised and expanded by the Authors as required. Many of the points below are simply a repetition of some easily overlooked rules, while a few others offer clarifications or provide a definitive interpretation of rules. For your convenience, they have been regrouped and classified by general subject. I. The Heroic Actions A Knight may only do multiple actions during his turn if each of these actions is of a DIFFERENT nature. For memory, the 5 possible action types are: A. Moving to a new place B. Performing a Quest-specific action C. Playing a Special White card D. Healing yourself E. Accusing another Knight of being the Traitor. Example: It is Sir Tristan's turn, and he is on the Black Knight Quest. He plays the last Fight card required to end the Quest (action of type B). He thus automatically returns to Camelot at no cost. This move does not count as an action, since it was automatically triggered by the completion of the Quest. Once in Camelot, Tristan will neither be able to draw White cards nor fight the Siege Engines, if he chooses to perform a second Heroic Action. This is because this would be a second Quest-specific (Action of type B) action! On the other hand, he could immediately move to another new Quest (because he hasn't chosen a Move action (Action of type A.) yet.
    [Show full text]
  • King Arthur and Medieval Knights
    Renata Jawniak KING ARTHUR AND MEDIEVAL KNIGHTS 1. Uwagi ogólne Zestaw materiałów opatrzony wspólnym tytułem King Arthur and Medieval Knights jest adresowany do studentów uzupełniających studiów magisterskich na kierun- kach humanistycznych. Przedstawione ćwiczenia mogą być wykorzystane do pracy z grupami studentów filologii, kulturoznawstwa, historii i innych kierunków hu- manistycznych jako materiał przedstawiający kulturę Wielkiej Brytanii. 2. Poziom zaawansowania: B2+/C1 3. Czas trwania opisanych ćwiczeń Ćwiczenia zaprezentowane w tym artykule są przeznaczone na trzy lub cztery jednostki lekcyjne po 90 minut każda. Czas trwania został ustalony na podstawie doświadcze- nia wynikającego z pracy nad poniższymi ćwiczeniami w grupach na poziomie B2+. 4. Cele dydaktyczne W swoim założeniu zajęcia mają rozwijać podstawowe umiejętności językowe, takie jak czytanie, mówienie, słuchanie oraz pisanie. Przy układaniu poszczegól- nych ćwiczeń miałam również na uwadze poszerzanie zasobu słownictwa, dlatego przy tekstach zostały umieszczone krótkie słowniczki, ćwiczenia na odnajdywa- nie słów w tekście oraz związki wyrazowe. Kolejnym celem jest cel poznawczy, czyli poszerzenie wiedzy studentów na temat postaci króla Artura, jego legendy oraz średniowiecznego rycerstwa. 5. Uwagi i sugestie Materiały King Arthur and Medieval Knights obejmują pięć tekstów tematycznych z ćwiczeniami oraz dwie audycje z ćwiczeniami na rozwijanie umiejętności słucha- nia. Przewidziane są tu zadania na interakcję student–nauczyciel, student–student oraz na pracę indywidualną. Ćwiczenia w zależności od poziomu grupy, stopnia 182 IV. O HISTORII I KULTURZE zaangażowania studentów w zajęcia i kierunku mogą być odpowiednio zmodyfiko- wane. Teksty tu zamieszczone możemy czytać i omawiać na zajęciach (zwłaszcza z grupami mniej zaawansowanymi językowo, tak by studenci się nie zniechęcili stopniem trudności) lub część przedstawionych ćwiczeń zadać jako pracę domo- wą, jeżeli nie chcemy poświęcać zbyt dużo czasu na zajęciach.
    [Show full text]
  • Family Tree Maker
    Descendants of Beli Mawr Beli Mawr LLud Caswallon [1] [2] [2] [1] Penardun Llyr Adminius Llyr Penardun [3] Bran the [3] Bran the Blessed Blessed [4] [4] Beli Beli [5] [5] Amalech Amalech [6] [7] [6] [7] Eudelen Eugein Eudelen Eugein [8] [9] [8] [9] Eudaf Brithguein Eudaf Brithguein [10] [11] [10] [11] Eliud Dyfwyn Eliud Dyfwyn [12] [13] [12] [13] Outigern Oumun Outigern Oumun [14] [15] [14] [15] Oudicant Anguerit Oudicant Anguerit [16] [17] [16] [17] Ritigern Amgualoyt Ritigern Amgualoyt [18] [19] [18] [19] Iumetal Gurdumn Iumetal Gurdumn [20] [21] [20] [21] Gratus Dyfwn Gratus Dyfwn [22] [23] [22] [23] Erb Guordoli Erb Guordoli [24] [25] [24] [25] Telpuil Doli Telpuil Doli [26] [27] [26] [27] Teuhvant Guorcein Teuhvant Guorcein [28] [29] [28] [29] Tegfan Cein Tegfan Cein [30] [31] [30] [31] Guotepauc Tacit Guotepauc Tacit [32] Coel [33] [34] [32] Coel [33] [34] Hen Ystradwal Paternus Hen Ystradwal Paternus [35] [36] [37] [38] [39] [35] [36] [37] [38] [39] Gwawl Cunedda Garbaniawn Ceneu Edern Gwawl Cunedda Garbaniawn Ceneu Edern [40] Dumnagual [41] [42] [43] [44] [45] [36] [35] [40] Dumnagual [41] [42] [43] [44] [45] [36] [35] Moilmut Gurgust Ceneu Masguic Mor Pabo Cunedda Gwawl Moilmut Gurgust Ceneu Masguic Mor Pabo Cunedda Gwawl [46] Bran [47] [48] [49] [50] [51] [52] [53] [54] [55] [56] [57] Tybion ap [58] Edern ap [59] Rhufon ap [60] Dunant ap [61] Einion ap [62] Dogfael ap [63] Ceredig ap [64] Osfael ap [65] Afloeg ap [46] Bran [47] [48] [49] [50] [51] [52] [53] [54] [55] [56] [57] Tybion ap [58] Edern ap [59] Rhufon ap [60] Dunant
    [Show full text]
  • The Early Arthur: History and Myth
    1 RONALD HUTTON The early Arthur: history and myth For anybody concerned with the origins of the Arthurian legend, one literary work should represent the point of embarkation: the Historia Brittonum or History of the British . It is both the earliest clearly dated text to refer to Arthur, and the one upon which most efforts to locate and identify a histor- ical fi gure behind the name have been based. From it, three different routes of enquiry proceed, which may be characterised as the textual, the folkloric and the archaeological, and each of these will now be followed in turn. The Arthur of literature Any pursuit of Arthur through written texts needs to begin with the Historia itself; and thanks primarily to the researches of David Dumville and Nicholas Higham, we now know more or less exactly when and why it was produced in its present form. It was completed in Gwynedd, the north-western king- dom of Wales, at the behest of its monarch, Merfyn, during the year 830. Merfyn was no ordinary Welsh ruler of the age, but an able and ruthless newcomer, an adventurer who had just planted himself and his dynasty on the throne of Gwynedd, and had ambitions to lead all the Welsh. As such, he sponsored something that nobody had apparently written before: a com- plete history of the Welsh people. To suit Merfyn’s ambitions for them, and for himself, it represented the Welsh as the natural and rightful owners of all Britain: pious, warlike and gallant folk who had lost control of most of their land to the invading English, because of a mixture of treachery and overwhelming numbers on the part of the invaders.
    [Show full text]
  • The Story of the Twrch Trwyth 27 the Lady of the Lake & the Physicians of Myddfai
    Myth and Mystery This land has inspired storytellers for thousands of years. Legendary tales, passed down by word of mouth from our ancient ancestors have added to the sense of magic and mystery that we feel about this place. It’s for you to decide where fact ends and fiction begins. The Stories 3 Arthur and his Knights Awaiting the Call 13 The Story of the Twrch Trwyth 27 The Lady of the Lake & The Physicians of Myddfai 2 Arthur and Awaiting the his Knights Call Arthur and his Knights Awaiting the Call 3 Some say the golden age of chivalry ended with the passing of King Arthur and his Knights of the Round Table. But for others they are only sleeping, concealed in a special place, ready for the call to arms when our country’s need is greatest. 4 Legend has it that the special hiding place is Craig y Ddinas (Dinas Rock) at Pontneddfechan. 5 A Welshman in London was once challenged by a wise man to lead him to the place from whence had come his hazel walking stick. They returned to Wales and mighty Craig y Ddinas. The wise man found a particular rock, which together they lifted, uncovering the entrance to a great cavern. In the musty dark was a host of sleeping warriors, King Arthur with his Knights, awaiting the call that would be sounded by a bell inside the cave’s entrance. 6 At the clang of that bell they would rise up to repulse our enemies and establish the crown in Caerleon once again.
    [Show full text]
  • Writing and Literary Study Spring 2010 the Chivalrous Sir Gawain If
    Ahmed 1 Sarin Taslima Ahmed College Writing II: Writing and Literary Study Spring 2010 The Chivalrous Sir Gawain If a man does not open the door for a woman, she may think chivalry is dead or forget that it ever existed at all. Today's woman is not a damsel in distress, but rather stands on equal ground with her masculine counterpart. She has no need to acknowledge that there was ever a time when men lived and died for the sake of honor. However, around 1066 a.d. to 1485 a.d., that was exactly what European knights, and those around the world, did (Achlin). Of these brave soldiers, the most famous were the Knights of the Round Table, subjects of Camelot and King Arthur. Perhaps the most acclaimed knights are dubbed Sir Lancelot and Sir Gawain. Lancelot is still known as the greatest of all knights, the perfect knight, but based on Gawain's actions in Sir Gawain and the Green Knight by the Pearl Poet and those of Lancelot in The Once and Future King by T.H. White, I've come to the conclusion that Gawain is a greater model of chivalry than Lancelot. Following the code of chivalry, Gawain is faithful to God, his King, and he is respectful to women. Lancelot is very talented, but he does not feel the need to follow the laws of knighthood, and ends up disregarding King Arthur, Queen Guinevere and even God because of it. "Two virtues above all else were held to mark the good knight and bring him honor.
    [Show full text]
  • A Welsh Classical Dictionary
    A WELSH CLASSICAL DICTIONARY DACHUN, saint of Bodmin. See s.n. Credan. He has been wrongly identified with an Irish saint Dagan in LBS II.281, 285. G.H.Doble seems to have been misled in the same way (The Saints of Cornwall, IV. 156). DAGAN or DANOG, abbot of Llancarfan. He appears as Danoc in one of the ‘Llancarfan Charters’ appended to the Life of St.Cadog (§62 in VSB p.130). Here he is a clerical witness with Sulien (presumably abbot) and king Morgan [ab Athrwys]. He appears as abbot of Llancarfan in five charters in the Book of Llandaf, where he is called Danoc abbas Carbani Uallis (BLD 179c), and Dagan(us) abbas Carbani Uallis (BLD 158, 175, 186b, 195). In these five charters he is contemporary with bishop Berthwyn and Ithel ap Morgan, king of Glywysing. He succeeded Sulien as abbot and was succeeded by Paul. See Trans.Cym., 1948 pp.291-2, (but ignore the dates), and compare Wendy Davies, LlCh p.55 where Danog and Dagan are distinguished. Wendy Davies dates the BLD charters c.A.D.722 to 740 (ibid., pp.102 - 114). DALLDAF ail CUNIN COF. (Legendary). He is included in the tale of ‘Culhwch and Olwen’ as one of the warriors of Arthur's Court: Dalldaf eil Kimin Cof (WM 460, RM 106). In a triad (TYP no.73) he is called Dalldaf eil Cunyn Cof, one of the ‘Three Peers’ of Arthur's Court. In another triad (TYP no.41) we are told that Fferlas (Grey Fetlock), the horse of Dalldaf eil Cunin Cof, was one of the ‘Three Lovers' Horses’ (or perhaps ‘Beloved Horses’).
    [Show full text]
  • Bangor University DOCTOR of PHILOSOPHY Image and Reality In
    Bangor University DOCTOR OF PHILOSOPHY Image and Reality in Medieval Weaponry and Warfare: Wales c.1100 – c.1450 Colcough, Samantha Award date: 2015 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 BANGOR UNIVERSITY SCHOOL OF HISTORY, WELSH HISTORY AND ARCHAEOLOGY Note: Some of the images in this digital version of the thesis have been removed due to Copyright restrictions Image and Reality in Medieval Weaponry and Warfare: Wales c.1100 – c.1450 Samantha Jane Colclough Note: Some of the images in this digital version of the thesis have been removed due to Copyright restrictions [i] Summary The established image of the art of war in medieval Wales is based on the analysis of historical documents, the majority of which have been written by foreign hands, most notably those associated with the English court.
    [Show full text]
  • CELTIC MYTHOLOGY Ii
    i CELTIC MYTHOLOGY ii OTHER TITLES BY PHILIP FREEMAN The World of Saint Patrick iii ✦ CELTIC MYTHOLOGY Tales of Gods, Goddesses, and Heroes PHILIP FREEMAN 1 iv 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Philip Freeman 2017 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. CIP data is on file at the Library of Congress ISBN 978–0–19–046047–1 9 8 7 6 5 4 3 2 1 Printed by Sheridan Books, Inc., United States of America v CONTENTS Introduction: Who Were the Celts? ix Pronunciation Guide xvii 1. The Earliest Celtic Gods 1 2. The Book of Invasions 14 3. The Wooing of Étaín 29 4. Cú Chulainn and the Táin Bó Cuailnge 46 The Discovery of the Táin 47 The Conception of Conchobar 48 The Curse of Macha 50 The Exile of the Sons of Uisliu 52 The Birth of Cú Chulainn 57 The Boyhood Deeds of Cú Chulainn 61 The Wooing of Emer 71 The Death of Aife’s Only Son 75 The Táin Begins 77 Single Combat 82 Cú Chulainn and Ferdia 86 The Final Battle 89 vi vi | Contents 5.
    [Show full text]
  • King Arthur and His Knights
    King Arthur and his Knights by George Gibson 1/23 Contents Chapter One: Young Arthur............................................................................3 Chapter Two: The sword in the stone............................................................. 4 Chapter Three: Britain has a King...................................................................5 Chapter Four: Excalibur.................................................................................. 6 Chapter Five: Arthur meets Guinevere........................................................... 7 Chapter Six: The five Kings............................................................................8 Chapter Seven: Lancelot............................................................................... 10 Chapter Eight: The Holy Grail...................................................................... 12 Chapter Nine: King Arthur goes to Aralon................................................... 14 Track 1: Was King Arthur Only a Legend?.................................................. 16 Track 2: Before Arthur's Time...................................................................... 17 Track 3: Knight............................................................................................. 18 Track 4: Page, Squire, Knight....................................................................... 19 Track 5: Castles.............................................................................................20 Track 6: Old Castle of Great Interest...........................................................
    [Show full text]