1614630844894.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

1614630844894.Pdf Goedwig An adventure for characters of 1st-3rd level Written by Brent Ault All Illustrations are Creative Commons Inspired by the King Raven Trilogy written by Stephen R. Lawhead This product is an independent production by Gallows Bird Games and is not affiliated with Lamentations of the Flame Princess. Lamentations of the Flame Princess is a registered trademark owned by James Edward Raggi IV 2 3 Cymru: The Backstory Former royal heir Bran – or Rhi Bran, as his remaining loyalists call him – has taken to banditry and poaching to survive, driven deep into the dense, ancient goedwig (coyd-wig) after witnessing his father brutally slain and having his lands seized by the English. Joined over many months by dissidents, outlaws, and loyal people of the region, Bran and his men have made the appointed local sheriff Robert’s duties a nightmare. With the petulant Royal Prince breathing down his neck and led by desperation, the Sheriff has offered copious silver to any group of men and women willing to enter the goedwig and hunt down Bran and his thieving flock. Any valuables discovered along the way are for the party’s keeping, so long as this part of the deal is kept quiet. The Adventure Goedwig provides players an opportunity to enter an ancient Welsh forest in search of a usurped former prince turned outlaw. The forest is riddled with traps, natural dangers, wildlife, and pagan magick. Upon meeting Bran and his flock, the party will likely come to a moral dilemma: Attempt to slay the vengeful thief and his fellow outlaws for silver and aide the occupying English forces, or assist Bran in his rebellious efforts to reclaim his lands and people. 4 Author’s Notes Goedwig is heavily inspired by the King Raven Trilogy written by Stephen R. Lawhead. Set in 11th century Wales during the Norman invasion, it is a gritty retelling of the Robin Hood mythology. The books are fantastic reads in themselves, and I highly recommend them to fans of darker, historical fantasy. I have chosen to place the adventure in a non-specified, fictional era of historical Wales (known locally as Cymru) to better mesh with other Lamentations of the Flame Princess adventures. Wales was conquered by the English well before the 17th century, so historical accuracy should be taken lightly. Magick in this time is viewed as evil; fit only for outcast pagans and witches. Practitioners should be wary of displaying their abilities, lest the deeply superstitious and religious common-folk deem them heretics. Lastly, this setting is written as a human-centric adventure. Referees wishing to including demihumans can easily reskin them into the following classes, with little adjustment: • Halfling: As a Ranger or Hunter. Simply remove weapon size restrictions. • Dwarf: As a Barbarian or Nord. Optionally replace the Architecture bonus with Bushcraft. • Elf: As a Spellsword or Dabbler. No gameplay adjustments are necessary. That being said, Referees running traditional fantasy adventures should find little trouble in converting characters and settings to fit their campaign. 5 The Goedwig The goedwig is overgrown and densely sprawling, containing only a single primitive road for travel. When not on this road, movement through these woods is reduced by half. During the day, minimal sunlight breaks through the canopy above, leaving much of the terrain visible but shaded. At night, the goedwig is impossibly dark, and without proper lighting PCs will inevitably find themselves lost and vulnerable to predators. Food is abound in the goedwig, and any player rolling Bushcraft to forage or hunt for game does so with a +2 skill advantage (see: Rules & Magic pg. 34). d8 Rumors of the Goedwig T/F A beautiful woman will lead willing men to a 1 F paradise below the waters The pagans still practice their rituals and magick 2 T deep within the goedwig 3 A sorrowful spirit cries for the dead and dying T 4 Using fire in the goedwig will curse its creator F 5 An old druid healer lives alone in the goedwig T Men and women of the cloth are cursed within the 6 F goedwig The Sheriff will be executed if the situation isn’t 7 F resolved soon 8 A man-sized raven haunts the goedwig T 6 Encounters Each time the party enters a new hex, the Referee must check to see if there's a described encounter. If there is an encounter listed for the hex, then the Referee presents it to the group, automatically assuming that they have stumbled across the event of interest. While some encounters contains secrets (which are later revealed through searching), the encounters themselves are automatic, and should be presented to the players without requiring any effort on their part. If there is no description for the hex, roll 1d6. The result tells you how many hexes the party can travel before they have a random encounter. If they move that number of hexes without running across a hex encounter that is described in this book, roll on the following table. Start over again each time the players have any kind of encounter. Note that when they enter a hex they've already explored, it counts as "no encounter." 7 d12 Random Encounter Number 1 Afanc (ah-vahnk) 1 2 Bramble Beast 1 3 Cath Palug (kath-palig) 1 4 Cherub 2d4 5 Feral Knight 1 6 Gwyllgi (gwishkey) 1 7 Outlaw 2d4 8 Pagan Outcast 1d6 9 Pwca (pooka) 1d3 10 Rhi Bran y Hud 1 11 The Skulk 1 12 Spriggan 1d3 “I have seen the lone canny fox outwit the hunter often enough to know that it matters little how many horses and men you have. All the wealth and weapons in the world will not catch the fox that refuses to be caught.” - Wil Scarlet 8 The Cyhyraeth A ghostly spirit called the Cyhyraeth (kuh-huh-raith) haunts the goedwig, lamenting the mortals facing death in her forest. Any time a human character reaches half their HP or less, the unnatural wail of a woman can be heard in the distance. At 0 HP this wail returns, only louder and more sorrowful. Upon reaching death, a piercing scream will be heard echoing through the forest. There is a 1-in-6 chance the Cyhyraeth will appear after combat. She will make no attempt to engage with or attack the PCs, and will only silently watch from the distance. If attacked however, she will retaliate. Cyhyraeth Armor 19, Movement 60’, 7 Hit Dice, 32 hp, special attack, Morale 9. If attacked (and only if attacked) the Cyhyraeth’s wail will reach a hideous crescendo, and anyone within a 50’ radius who hears this must save vs. Magic or die in 2d6 rounds. The touch of the Cyhyraeth is frigid, but deals no damage; instead it drains 1d4 levels. Due to her incorporeal form, the Cyhyraeth can only be hit by magic weapons. She is undead, and thus immune to Sleep, Charm, and Hold spells. She can however be Turned by a Cleric. The Cyhyraeth can walk on water, but cannot cross running water such as streams or rivers; she loses the ability to drain energy or to wail for 7 days if she does. 9 10 The Outlaws Aside from their listed weapons, Bran and his flock carry simple antler-handled daggers (1d4) and 1d6×10 sp apiece. All are wearing basic Leather armor, excluding Tuck and Mairwen who wear simple robes. Rhi Bran y Hud: 4th level Specialist Armor 17, Movement 90’, 4 Hit Dice, 16 hp, longbow 1d8+1, Morale 12. Bran wears a full-headed mask resembling a black raven’s skull that provides a +1 AC, as well as a cloak fashioned from hundreds of black feathers that provides a +1 to Stealth in forested areas. Iwan: 4th level Fighter Armor 16, Movement 90’, 4 Hit Dice, 22 hp, greatsword 1d10, Morale 12. Bran’s closest friend and an imposing figure, despite his nickname roughly translating to “Little John”. On an 18 or higher, Iwan receives a free attack on any enemy within 10’. Wil Scarlet: 3rd level Specialist Armor 15, Movement 90’, 4 Hit Dice, 15 hp, sword 1d8, Morale 11. Spared from the gallows by Bran and his flock, Wil is a loyal follower and skilled thief. On an 18 or higher, Wil receives a free attempt at Sleight of Hand (4-in-6 chance) to pilfer a small item on the PC’s belt, such as a dagger or vial. 11 Tuck: 4th level Cleric Armor 12, Movement 90’, 4 Hit Dice, 14 hp, quarterstaff 1d4+1, Morale 9. A Catholic Friar with no loyalty to a crown he sees as morally bankrupt, Tuck is a formidable man with an insatiable love of mead. He has prepared the spells Bless, Cure Light Wounds, Sanctuary, and Heat Metal. Mairwen: 4th level Magic-User Armor 13, Movement 90’, 4 Hit Dice, 12 hp, spear 1d6, Morale 11. Bran’s lover, and daughter of a nobleman who surrendered to the English rather than face execution. In her time in the goedwig, she has become an effective user of magick. She has memorized the spells Charm Person, Sleep, Change Self, and Wall of Fog. 12 Outlaws: 1st level Fighters Armor 14, Movement 90’, 1 Hit Dice, 8 hp, shortsword (1d6), Morale 10. These are Bran’s dedicated followers that make up the majority of his flock. When needed, roll on the table below to generate a name and character trait. d12 Male Female Character Trait 1 Arvel Aderyn Deeply religious 2 Cadfan Carwyn Discourteous 3 Cadoc Ceri Facial scarring 4 Dwyn Delyth Superstitious 5 Ifan Efa Missing 1d3 fingers 6 Madog Eleri Missing an arm 7 Morgan Glenys Mute 8 Olwyn Lyn Elderly 9 Rhodri Morgana Piercing Eyes 10 Rolant Nerys Quiet and demure 11 Siarl Nimue Tattooed Forearms 12 Wyn Seren Young 13 1.
Recommended publications
  • The Significant Other: a Literary History of Elves
    1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee.
    [Show full text]
  • 'Fairy' in Middle English Romance
    'FAIRY' IN MIDDLE ENGLISH ROMANCE Chera A. Cole A Thesis Submitted for the Degree of PhD at the University of St Andrews 2014 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/6388 This item is protected by original copyright This item is licensed under a Creative Commons Licence ‘FAIRY’ IN MIDDLE ENGLISH ROMANCE Chera A. Cole A thesis submitted for the degree of Doctor of Philosophy at the School of English in the University of St Andrews 17 December 2013 i ABSTRACT My thesis, ‘Fairy in Middle English romance’, aims to contribute to the recent resurgence of interest in the literary medieval supernatural by studying the concept of ‘fairy’ as it is presented in fourteenth- and fifteenth-century Middle English romances. This thesis is particularly interested in how the use of ‘fairy’ in Middle English romances serves as an arena in which to play out ‘thought-experiments’ that test anxieties about faith, gender, power, and death. My first chapter considers the concept of fairy in its medieval Christian context by using the romance Melusine as a case study to examine fairies alongside medieval theological explorations of the nature of demons. I then examine the power dynamic of fairy/human relationships and the extent to which having one partner be a fairy affects these explorations of medieval attitudes toward gender relations and hierarchy. The third chapter investigates ‘fairy-like’ women enchantresses in romance and the extent to which fairy is ‘performed’ in romance.
    [Show full text]
  • Rewriting a Mythic Nation: Welsh Women Writers Recovering Welsh Myth and Folklore
    REWRITING A MYTHIC NATION: WELSH WOMEN WRITERS RECOVERING WELSH MYTH AND FOLKLORE BETHAN LOUISE COOMBS A submission presented in partial fulfilment of the requirements of the University of South Wales/Prifysgol De Cymru for the degree of Doctor of Philosophy September 2015 ABSTRACT This thesis examines the function of Welsh mythology, fairy tale and folklore in a selection of works by twentieth- and twenty-first-century Anglophone Welsh women writers who choose to engage with such source material. Its aim is to provide a critical response to those recoveries through feminist and postcolonial theoretical readings. Spanning a century, between 1914 and 2013, its chapters discuss novels by two canonical Welsh writers – Hilda Vaughan, whose work belongs to the first half of the twentieth century, and Alice Thomas Ellis, writing in the second half – followed by two further chapters analysing relevant material drawn from the short story and poetry genres. The final two chapters interrogate novellas by women contributors to Seren Press’s recent series, New Stories from The Mabinogion (2009 – 2013) and thus provide an inaugural critical response to that series: I examine contributions by Gwyneth Lewis, Fflur Dafydd, Trezza Azzopardi, and Tishani Doshi. Throughout this thesis I argue that in the act of recovering and retelling the source narratives, these writers both draw out issues of gender and nationhood embedded in the originals and explore contemporary issues of gender and nationhood emerging from within their socio-historic contexts. When Welsh women writers select Welsh myth, fairy tales and folklore as mediums through which to comment on those issues as paradigms of gender and nationhood, those paradigms are doubly interrogated.
    [Show full text]
  • Notes Towards a History of the English
    People, Politics, and Print: Notes Towards a History of the English-Language Book in Industrial South Wales up to 1900 Thesis submitted for the degree of PhD at Cardiff University July 2010 Jonathan Evans UMI Number: U517037 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U517037 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 WE SHALL RISE AGAIN. iv Summary In Wales the histories of book production and industry started following the sixteenth century Acts of Union. In 1586 print production in Wales was a collateral victim of the Star Chamber ban on regional printing. When the printing press finally arrived in Wales in the eighteenth century it was closely associated with the iron trade. The Industrial Revolution started in Wales in 1759 on the undeveloped northern rim of the South Wales coalfield basin. The iron industry had two phases of development, when the second phase started in the 1780s South Wales was the largest iron producing region in the UK. At this time Edmund Jones wrote An Account of the Parish of Abervstruth (1779) and Apparitions of Spirits (1780), both of which document the narratives of a pre-industrial community.
    [Show full text]
  • The Nature of the British Fairies of Medieval and Folk Literature an Annotated Bibliography 1900-1983
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-1985 The Nature of the British Fairies of Medieval and Folk Literature an Annotated Bibliography 1900-1983 Constance Reik Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Folklore Commons Recommended Citation Reik, Constance, "The Nature of the British Fairies of Medieval and Folk Literature an Annotated Bibliography 1900-1983" (1985). Master's Theses. 1388. https://scholarworks.wmich.edu/masters_theses/1388 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE NATURE OF THE BRITISH FAIRIES OF MEDIEVAL AND FOLK LITERATURE AN ANNOTATED BIBLIOGRAPHY 1900-1983 by Constance Reik A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts The Medieval Institute Western Michigan University Kalamazoo, Michigan August 1985 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE NATURE OF THE BRITISH FAIRIES OF MEDIEVAL AND FOLK LITERATURE AN ANNOTATED BIBLIOGRAPHY 1900-1983 Constance Reik, M.A. Western Michigan University, 1985 This thesis f i l l s the need for a bibliography of works on the British fairies. It is essentially an annotated bibliography with an introduction which will help illuminate the fairies of the ancient and medieval literature (through Shakespeare) and the folk literature of Britain.
    [Show full text]
  • Brownies and Bogles
    Brownies and Bogles By Louise Imogen Guiney BROWNIES AND BOGLES. CHAPTER I. WHAT FAIRIES WERE AND WHAT THEY DID. A FAIRY is a humorous person sadly out of fashion at present, who has had, nevertheless, in the actors' phrase, a long and prosperous run on this planet. When we speak of fairies nowadays, we think only of small sprites who live in a kingdom of their own, with manners, laws, and privileges very different from ours. But there was a time when "fairy" suggested also the knights and ladies of romance, about whom fine spirited tales were told when the world was younger. Spenser's Faery Queen, for instance, deals with dream-people, beautiful and brave, as do the old stories of Arthur and Roland; people who either never lived, or who, having lived, were glorified and magnified by tradition out of all kinship with common men. Our fairies are fairies in the modern sense. We will make it a rule, from the beginning, that they must be small, and we will put out any who are above the regulation height. Such as the charming famous Melusina, who wails upon her tower at the death of a Lusignan, we may as well skip; for she is a tall young lady, with a serpent's tail, to boot, and thus, alas! half-monster; for if we should accept any like her in our plan, there is no reason why we should not get confused among mermaids and dryads, and perhaps end by scoring down great Juno herself as a fairy! Many a dwarf and goblin, whom we shall meet anon, is as big as a child.
    [Show full text]
  • A Welsh Classical Dictionary
    A WELSH CLASSICAL DICTIONARY GADEON ap CYNAN. See Gadeon ab Eudaf Hen. GADEON ab EUDAF HEN. (330) Gadeon is probably the correct form of the name which appears in the tale of ‘The Dream of Macsen Wledig’ as Adeon ab Eudaf, brother of Cynan ab Eudaf. According to the tale, Adeon and Cynan followed Macsen to the continent and captured Rome for him. After that Macsen gave them permission to conquer lands for themselves, (see s.n. Cynan ab Eudaf), but Adeon returned to his own country (WM 187, 189-191, RM 88, 90-92). According to Jesus College MS.20 the wife of Coel Hen was the daughter of Gadeon ab Eudaf Hen (JC 7 in EWGT p.45), and this is probably correct although later versions make her the daughter of Gadeon (variously spelt) ap Cynan ab Eudaf, and she is given the name Ystradwel (variously spelt) (ByA §27a in EWGT p.90). Also in the various versions of the ancestry of Custennin ap Cynfor and Amlawdd Wledig we find Gadeon (variously spelt) ap Cynan ab Eudaf (JC 11, ByA §30b, 31, ByS §76 in EWGT pp.45, 93, 94, 65). Similarly in MG §5 in EWGT p.39, but Eudaf is misplaced. The various spellings show that the name was unfamiliar: Gadean, Gadvan, Gadiawn, Kadeaun, Cadvan, Kadien, Kadiawn. See EWGT passim. It seems probable that Gadeon ab Cynan is an error for Gadeon ab Eudaf, rather than to suppose two such persons (PCB). GAFRAN ab AEDDAN. He appears in Bonedd Gwŷr y Gogledd (§11 in EWGT p.73) as Gafran ab Aeddan Fradog ap Dyfnwal Hen.
    [Show full text]
  • Changeling Child
    The Changeling Child BY HEATHER TISDALE LONG AGO AND far away on the banks of the river Tywi, there lived a young widow and her infant son. The poor woman’s husband had drowned in the river when the boy was but a babe, and the child was all she had left in the world. They lived in the wild country of Wales, which was called Cymru in the language of the people who lived there. Cymru was a magical place. Caves were often inhabited by dragons, and the land was overrun by fairy folk, whom her son well, making sure to hang a nail above the Welsh called the tylwyth teg. These fairies the baby’s cot, for everyone knows that a fairy were famous for many things, but were known cannot touch iron. best for their beautiful music and their love of Years passed, and the boy grew bonny mischief. The tylwyth teg could play a tune and braf, his limbs sturdy and straight. With on a fiddle so sweet that it could charm the his sun-browned skin and hair the color of a legs off a man. You might think this made jackdaw’s wing, he was the very image of his them lovable rogues, but people feared the father. fairy folk. If the fairies saw a beautiful child, One summer evening, the widow was they might lure it away from its mother and cooking a pot of cawl over the fire when she leave a changeling in its place quicker than heard a splash and a shout.
    [Show full text]
  • The Fiction of Hilda Vaughan (1892-1985): Negotiating the Boundaries of Welsh Identity
    The Fiction of Hilda Vaughan (1892-1985): Negotiating the Boundaries of Welsh Identity by Lucy Thomas This thesis is submitted to Cardiff University in partial fulfilment of the requirements for the degree of Doctor of Philosophy. December 2008 UMI Number: U585268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U585268 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. Signed., ............ D a t e . ? ....... Statement 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed.. fvSrfc .oM-'VrtEV.-;........... ............ Date...< Statement 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed.. .. p t Date. m . j . Q i . j m .......................... Statement 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title summary to be made available to outside organisations.
    [Show full text]
  • In Fairyland Or Thereabout: the Fairies As Nationalist Symbol in Irish Literature by and After Willaim Allingham
    Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2009 In Fairyland Or Thereabout: The Fairies as Nationalist Symbol in Irish Literature by and after Willaim Allingham Cassandra M. Schell Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Recommended Citation Schell, Cassandra M., "In Fairyland Or Thereabout: The Fairies as Nationalist Symbol in Irish Literature by and after Willaim Allingham" (2009). Electronic Theses and Dissertations. 169. https://digitalcommons.georgiasouthern.edu/etd/169 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. “IN FAIRYLAND OR THEREABOUT”: THE FAIRY AS NATIONALIST SYMBOL IN IRISH LITERATURE BY AND AFTER WILLIAM ALLINGHAM by CASSANDRA M. SCHELL (Under the Direction of Howard Keeley) ABSTRACT This essay is a look at a little known Irish poet, William Allingham, who invokes the fairy as a vehicle for a political change in Ireland. It offers a close reading of a few of his poems as well as historically approaches the use of fairies in the popular culture of the nineteenth century. In Chapter I, I use an historical approach to discuss the biography of William Allingham and his place in Irish literature as “a poet we have neglected.” I also discuss a cultural study of the portrayal and use of the fairy in the nineteenth century.
    [Show full text]
  • British Goblins: Welsh Folk-Lore, Fairy Mythology, Legends and Traditions
    British Goblins: Welsh folk−lore, fairy mythology, legends and traditions Wirt Sikes British Goblins: Welsh folk−lore, fairy mythology, legends and traditions Table of Contents British Goblins: Welsh folk−lore, fairy mythology, legends and traditions........................................................1 Wirt Sikes.......................................................................................................................................................1 Fairy Tales and the Ancient Mythology........................................................................................................1 Classification of Welsh Fairies......................................................................................................................5 Lake Fairies..................................................................................................................................................13 Mountain Fairies..........................................................................................................................................18 Changelings..................................................................................................................................................20 Living with the Tylwyth Teg.......................................................................................................................24 Fairy Music..................................................................................................................................................32 Fairy Rings...................................................................................................................................................36
    [Show full text]
  • The Fairy-Faith in Celtic Countries
    The Fairy−Faith in Celtic Countries W.Y. Evans Wentz The Fairy−Faith in Celtic Countries Table of Contents The Fairy−Faith in Celtic Countries.......................................................................................................................1 W.Y. Evans Wentz.........................................................................................................................................1 Preface............................................................................................................................................................1 Dedication......................................................................................................................................................3 Introduction....................................................................................................................................................4 Environment (section I, chapter I)...............................................................................................................11 Taking of Evidence (Section I Chapter II part 1).........................................................................................19 Taking Evidence (Section I, Chapter II, part 2)...........................................................................................63 Taking Evidence (Section I, Chapter II, part 3)...........................................................................................83 Taking Evidence (Section I, Chapter II, part 4)...........................................................................................96
    [Show full text]