DOCSLIB.ORG

The Souls of Animals: Evolution of the Combative Ideal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Souls of Animals: Evolution of the Combative Ideal Volume 14 Number 3 Article 2 Spring 3-15-1988 The Souls of Animals: Evolution of the Combative Ideal Dee Anne Westbrook Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Westbrook, Dee Anne (1988) "The Souls of Animals: Evolution of the Combative Ideal," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 3 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol14/iss3/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines two stages in the life of the Northern European hero—initiation, and “end of his career, when he becomes victim.” Associates this with the mythology of animals and the hunter/warrior. Additional Keywords Animals—Religious aspects; Beowulf; Hunting mythology in literature; Initiation in literature; The Mabinogion; Northern European mythology; Sir Gawain and the Green Knight This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol14/iss3/2 MYTHLORE 53: Spring 1988 The Souls of Animals Evolution of the Combative Ideal Dee Anne Westbrook More monsters have been met on the It is only by seeing the Celtic and Germanic moors of that land myths and early literature against such a backdrop Than anywhere else I know of since that one can begin to understand the worldview of earliest times. these ancient men of the North and the legacy of metaphors they have bequeathed us, metaphors in (S ir Gawain and the Green Knight, I, 2, which life is viewed as a scheme of naturally ordained • 22-3) combat and fight to the death, where self and other are mystically one, and each participant plays only a For some of theses, temporary role as killer or killed, hero or adversary, It could not be the place human or animal. It is, without blood. These hunt, as they have done With the insights provided by the mythologies of But with claws and teeth grown perfect, the hunt, we can begin to understand why, among the More deadly than they can believe. Indo-European tribes, it is especially in the North —where hunting as a way of life, together with its (Janes Dickey, "The Heaven of Animals” ) associated mythology, survived long after they ■ had been transformed in the South by agriculture and The ritual and mythology of the great hunt lie myths of the earth —that the combative ideal endures behind the worldview of the North, helping to shape long enough to enter history and literature as an its religions, cultural metaphors, and enduring images. organizing metaphor. It is in the North too that the Early European manifestations of this belief system hunter-become-warrior serves as the measure of man. are to be found in the paleolithic temple caves of And it is in the North that one finds Odin (Woden), Spain and France (17000-12000 b.c.e.) It is a shaman- the Indo-European god of wind and furious leader of istic, phallicist (associating phallus with weapons and the wild hunt, evolved into the chief deity of the horns) system which structured, supported, and cele­ pantheon, the Allfather, leader of souls, god of war­ brated the labor, courage, danger, and life’s progress riors, and selector of heroes for his own exclusive of the hunter, the man whose landscape was the great paradise, Valhalla, the home of the slain. Within the plain and dense forest of the European North, whose societies of the North, the privilege held by the hun­ opponent, mystical guide, brother, and indeed other ter-warrior was not relinquished, even after agricul­ self was the animal whose flesh he survived. This ture and domestication of animals rendered hunting, hunter inhabited a world in which the first law of and the use of weapons for hinting or plundering survival was, as Joseph Campbell says, "to eat or be unnecessary.1 These Northern aristocrats never beat eaten" (1983, p. 51), or, put another way, to eat and their swords into plowshares, for to have done so be eaten. would have been unthinkable: The class of hunter- warriors, the ancient elect whose combative ideal The pictorial and plastic evidence of ancient hunt­ served to define the aristocracy, would find too many ing cultures reveals a system of ritual and, one sup­ cultural pressures to maintain their ways, even poses, accompanying mythic narratives, in which the against Christianity’s and the agriculturist’s espoused central theme was the mysterious and magic hunt in politics of peace. which hunter and hunted were experienced as sharing both a physical and psychological identity. The human A grim but logical progression may be traced in figures in such scenes are typically depicted as par­ the evolution of the paleolithic hunter-nomad (repre­ tially theriomorphic, and the abundant beasts of the sented most prominently by the shamanistic animal- hunt swarm about as their willing victims. Campbell master as priest and leader of the hunt) to hunter- explains: warrior (whose weapons of the hunt are now turned against human foes), to warrior-hunter, the true child In such a context, the hunter and the of the ruthless, doomed, divine leader of the wild hunted beast — in ritual terms, the priest hunt and god of heroes. As the patterns of the and his sacrifice — would have to have been hunter’s ritual and myths survive and evolve, they experienced in some psychological dimension find their way into both literature and history —there as one and the same —• even as the mixed to provide archetypes for heroic life and metaphors form of the presiding presence of the Sanc­ for existence. tuary, the semi-human, semi-animal, dancing Animal Master... suggests." (1983, p. 76) An illustrative (perhaps apocryphal, but no less telling) episode occurs in King's Harald’s Saga, Snorri Here the animal prey is interpreted as "a knowing Sturluson’s biography of an eleventh-century king of participant in a covenanted sacred act wherein the Norway, whose life and career exemplifies the ease mystery of life, which lives on life, is comprehended with which the ancient mythological ideal of the hun­ in its celebration" (76). The shamanistic leader of both ter-warrior is transported into "history." As a three- ritual and hunt demonstrates such identity through year-old, the future king and his two brothers were his donning of animal skins, feathers, masks, and asked by King Olaf, "What would you like to have horns, a practice reflected in much later rites which most of?" The older brothers said that they would like included ritual costuming in bear-skins, wolf-skins, farm land and cattle. Harald, however, replied that he boars’ tusks and so forth. would like to have warriors, "so many that they would MYTHLORE 53: Spring 1988 P a g e 11 eat all of [his brother’s] cattle in one meal." King animalian or semi-human. It is clear that for many Olaf’s response indicates that he recognizes here the centuries — even into historic times — the taxonomic aristocratic ideal when he says to the boy’s mother, barriers of modern science had not yet been erected "That’s a king you’re bringing up...! (31). King Harald between species; and both hero and opponent had fulfilled his childhood ambition and led a life of attributes of beasts; both had, in a sense, the souls unremitting warfare and plundering — on the assump­ of animals. tion, it appears, that such activities are by their nature kingly. He - eventually met his fate in 1066 at A most useful source of information about the Stamford Bridge in England. religions of early peoples of the North in the period of the Great Migrations exists, as Margaret Arent King Harald's Saga reveals the nature of the king, shows, in the pictorial representations on weaponry defined by tradition, and-pronounced as history. The and armor from archaeological finds in Sweden, south kingly nature is given similar expression in the myth­ Germany, and England. She argues persuasively that ological "Lay of Rig," a tale recounted as myth by such depictions focus on and illuminate two crucial Snorri Sturluson. There the genesis of the earls events in the life of the hero, first his initiation rites (yarls), the aristocratic stratum of Northern society, is as a full-fledged member of the adult male group, and shown to have occurred in the birth of the prototypi­ secondly his responsibility and fate. The ritual scenes, cal warrior-hunter. He is the child of the god Rig and in other words, depict the beginning of the hero’s a clearly superior human mother. During his childhood career, when he proves himself as hunter or warrior, Earl displays the attributes of his class. He began to and on the end of his career, when he becomes victim.
Load more

Recommended publications
  • 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]
  • 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]
  • God Is Transgender
    GOD IS TRANSGENDER In what was an intellectual high for the New York Times, the Gray Lady printed an op- ed article titled “Is God Transgender?” by a New York rabbi named Mark Sameth. Related to a man who “transitioned to a woman” in the 1970s, Sameth contends that “the Hebrew Bible, when read in its original language, offers a highly flexible view of gender.” He puts forward many historical examples of gender fluidity in the Hebrew scriptures, in order to maintain that religion should not be put in service of “social prejudices” against transgendering. His treatment of the Bible amounts to excellent scholarship. Proposing that the God of Israel was worshipped originally as “a dual-gendered deity,” the rabbi asserts, that the etymological derivation of Yahweh is “He/She” (HUHI). His argument requires that the Tetragrammaton be read, not from right to left (as Hebrew always is), but from left to right: The four-Hebrew-letter name of God, which scholars refer to as the Tetragrammaton, YHWH, was probably not pronounced “Jehovah” or “Yahweh,” as some have guessed. The Israelite priests would have read the letters in reverse as Hu/Hi—in other words, the hidden name of God was Hebrew for “He/She.” Some biblical scholars say that “Yahweh” is derived from the third-person singular of the verb “to be” (hayah), whether a qal imperfect (“he is” or “he will be”) or the causative hiphil imperfect (“he causes to come into being, he creates”). This view is confirmed by numerous lines of evidence: the interpretation given in Exod 3:14 (“Say to the sons of Israel, ‘ehyeh [‘I am’ or ‘I will be’ (who I am/will be)] sent me to you”); the use of shortened forms of Yahweh at the end (“Yah” or “Yahu”) or beginning (“Yeho” or “Yo”) of Hebrew names; the spelling “Yabe” known to the Samaritans; and transliterations “Yao,” “Ya-ou-e,” and “Ya-ou-ai” in some Greek texts.
    [Show full text]
  • Chapter on History of the Otherworld
    PERCEPTIONS OF ANNWN: THE OTHERWORLD IN THE FOUR BRANCHES OF THE MABINOGI Rhian Rees MA Celtic Studies Dissertation Department of Welsh and Bilingual Studies Supervisor: Dr Jane Cartwright University of Wales Trinity Saint David, Lampeter 2012 2 ABSTRACT There is little description or positive information about the realm of Annwn in the Four Branches, and relatively few publications have explored the Otherworld in the Mabinogi in any depth. The redactor presumably did not deem such detail necessary since in his time the Otherworld was a place familiar to his audience from many other stories and folk-tales which have not survived to inform our own times. The objective of this thesis, therefore, is to establish the perceived location of the Celtic Otherworld, its nature and topography, and to obtain descriptions of its people, buildings and animals and any distinctive objects or characteristics pertaining to it. The ways in which Annwn influences each of the Four Branches are also considered. Some sketchy evidence is available in Welsh poetry, mostly various descriptive names reflecting different aspects of Annwn, but for more detailed information it is necessary to trawl the waters of early Irish literature. The Irish poems and stories give much fuller particulars of all characteristics of the Celtic Otherworld, though they do suggest that there was more than one such other world. Some parallels from Norse literature and the Lais of Marie de France also reinforce certain themes of this thesis, such as magical tumuli and magical bags and
    [Show full text]
  • Encyclopedia of CELTIC MYTHOLOGY and FOLKLORE
    the encyclopedia of CELTIC MYTHOLOGY AND FOLKLORE Patricia Monaghan The Encyclopedia of Celtic Mythology and Folklore Copyright © 2004 by Patricia Monaghan All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Monaghan, Patricia. The encyclopedia of Celtic mythology and folklore / Patricia Monaghan. p. cm. Includes bibliographical references and index. ISBN 0-8160-4524-0 (alk. paper) 1. Mythology, Celtic—Encyclopedias. 2. Celts—Folklore—Encyclopedias. 3. Legends—Europe—Encyclopedias. I. Title. BL900.M66 2003 299'.16—dc21 2003044944 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K. Arroyo Cover design by Cathy Rincon Printed in the United States of America VB Hermitage 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. CONTENTS 6 INTRODUCTION iv A TO Z ENTRIES 1 BIBLIOGRAPHY 479 INDEX 486 INTRODUCTION 6 Who Were the Celts? tribal names, used by other Europeans as a The terms Celt and Celtic seem familiar today— generic term for the whole people.
    [Show full text]
  • Cyfarwydd As Poet in the Fourth Branch of the Mabinogi
    Cyfarwydd as Poet in the Fourth Branch of the Mabinogi The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation McKenna, Catherine. 2017. Cyfarwydd as Poet in the Fourth Branch of the Mabinogi. North American Journal of Celtic Studies 1, no. 2: 107-20. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41687324 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP Cyfarwydd as Poet in the Fourth Branch of the Mabinogi In ‘The poet as cyfarwydd in early Welsh tradition’, Patrick Ford discusses the semantic range of the term cyfarwydd and the vexed question of whether it denoted, in medieval Welsh, a storyteller. Ford contests translations of the Fourth Branch of the Mabinogi that render the term cyfarwydd, as applied to the character Gwydion, as ‘storyteller’ or ‘teller of tales’. He objects as well to the translation of cyfarwyddyd as ‘story’ or ‘tale’ (Ford 1975: 152—7). As he has described that article, I claimed that the older meaning of cyfarwyddyd in Math was 'lore; stuff of stories' and not the stories themselves.' The corollary is that the poet in early Wales was not a cyfarwydd (storyteller) but someone whose performances were informed and amplified by his acquired knowledge of such matters. (Ford 2013: 238) For Ford, the figure of Gwydion as he appears in the Fourth Branch of the Mabinogi is cyfarwydd, not because he tells stories, but because as a poet he is necessarily in possession of cyfarwyddyd, the kind of lore that was an essential component of the ‘stuff’ of poetry, as well as of stories.
    [Show full text]
  • Introduction
    Introduction The word mabinogi applies properly to only the first four tales collected and translated here.1 They are otherwise known as the “four branches,” a designa- tion whose precise meaning is as yet not clear. For that matter, neither is the term mabinogi understood clearly, although we shall try to shed some light on it. “Lludd and Lleuelys” and “Culhwch and Olwen” are purely native tales; the former reaches back into Celtic antiquity and has analogues in Irish mytho- logical tradition, and the latter, despite its resemblance to international types of this tale and its well-known folktale motifs, is firmly rooted in native tradition. “The Tale of Gwion Bach” and its sequel “The Tale of Taliesin” come from late manuscripts, but together they are a mine of information about the archetypal poet of Welsh tradition. A fair amount of attention has been given to purely external aspects of some of these tales, that is, to problems of dating, social customs, language, and so on, but they have been slighted more than most works of medieval literature in the matter of criticism.2 There are good reasons why they have been ignored, and it is one of the purposes of the present intro- duction to offer some critical perspectives on the tales as literature. All of these tales with the exception of the Gwion Bach and Taliesin narra- tives occur in more or less complete versions in the White Book of Rhydderch (Llyfr Gwyn Rhydderch, a.d. 1300–1325) and the Red Book of Hergest (Llyfr 1. The formmabinogion (ms mabynnogyon) occurs only at the end of “Pwyll.” Mab- inogi and its variant spellings occurs at the end of the other three branches, and it is clear that mabinogion is a scribal error.
    [Show full text]
  • The Fourth Branch of the Mabinogi: Structural Analysis Illuminates Character Motivation
    Volume 19 Number 4 Article 6 Fall 10-15-1993 The Fourth Branch of the Mabinogi: Structural Analysis Illuminates Character Motivation Corinne Larsen Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Larsen, Corinne (1993) "The Fourth Branch of the Mabinogi: Structural Analysis Illuminates Character Motivation," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 19 : No. 4 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol19/iss4/6 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Uses structural analysis (from Levi-Strauss) of the Fourth Branch (the story of Lleu and Gwydion) to discover information about character motivations. Attempts to answer the apparent riddle of why Lleu sets up his own death. Additional Keywords The Mabinogion; Structural analysis (method of Claude Levi-Strauss) This article is available in Mythlore: A Journal of J.R.R.
    [Show full text]
  • Four Branches Davies Ford
    The Mabinogi The Mabinogion and Other Welsh Tales! For 2021’s epic storytelling event, the Seattle Storytellers Guild is joining forces with the Puget Sound Welsh Association to present the Welsh epic, the Mabinogion and other Welsh Tales. The Mabinogion contains the earliest stories of all of the literature of Great Britain that continues to inspire us today! The manuscripts in which these tales are found was written in Middle Welsh about seven hundred years ago, (12 -13th century) but the stories existed way before that as the oral tradition and artistry of Welsh and Celtic storytellers who wandered Britain and beyond, swapping these stories for board and lodging. These tales offer drama, philosophy, romance, tragedy, fantasy and humor with classic hero quests and glimpses of a far off age. Some of the stories are pre- Christian, with glimpses of magicians and the old Celtic gods. They're set in a magical landscape which corresponds geographically to Wales, sometimes even with specific place names. The stories are full of giants, talking animals, dastardly and kind rulers, shape shifters, heroic men and intelligent women. Some tales portray a very different King Arthur from the later popular versions but all agree that these first tales of Arthur arose in Wales! Also included is the legend of one of the most famous bards of Wales, Taliesin. The Tales of the Mabinogion Strictly speaking, however, the term Mabinogi – Mabinogion was mistakenly taken as the plural of Mabinogi by Lady Charlotte Guest. The First Branch of the Mabinogi begins with the tale of Pwyll, Prince of Dyfed .
    [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]
  • The Significance of Shape-Shifting and Transformation in Medieval Welsh and Icelandic Literature
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-1999 The Significance of Shape-Shifting and rT ansformation in Medieval Welsh and Icelandic Literature: The Ingenuity of Medieval Writers Samanatha J. Cairo Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Medieval Studies Commons Recommended Citation Cairo, Samanatha J., "The Significance of Shape-Shifting and rT ansformation in Medieval Welsh and Icelandic Literature: The Ingenuity of Medieval Writers" (1999). Master's Theses. 4207. https://scholarworks.wmich.edu/masters_theses/4207 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 SIGNIFICANCEOF SHAPE-SHIFTINGAND TRANSFORMATION IN MEDIEVALWELSH ANDICELANDIC LITERATURE: THEINGENUITY OF MEDIEVALWRITERS by Samantha J. Cairo A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements forthe Degreeof Master of Arts The Medieval Institute WesternMichigan University Kalamazoo, Michigan August 1999 Copyright by Samantha J. Cairo 1999 ACKNOWLEDGMENTS There are a number of people I would like to thank in helping me get this completed. First of all, I would like to thank my parents, Anthony and Sandra Cairo, my sister Amanda, and my grandparents, Joseph and Billie White for all of their support in my pursuit of knowledge. Furthermore I would like to thankmy thesis committee: Dr. Thomas Amos, Dr. Larry Syndergaard, and Dr. Mary-Ann Constantine. I would also like to thank both Dr.
    [Show full text]
  • Celtic Mythology in the Arthurian Legend Master’S Diploma Thesis
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Lucie Duzbabová Celtic Mythology in the Arthurian Legend Master’s Diploma Thesis Supervisor: prof. Mgr. Milada Franková, CSc., M.A. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor prof. Mgr. Milada Franková, CSc., M.A. for her patience and kind help, as well as for her helpful suggestions and valuable advice. Table of Contents 1. Introduction ................................................................................................................. 1 2. Celtic Mythology ......................................................................................................... 4 2.1 The World of the Celts ......................................................................................... 4 2.1.1 The Origin of the Celtic people .................................................................... 5 2.1.2 Celtic Society ................................................................................................. 7 2.2 The Role of Religion and Mythology in the Life of the Celts ............................ 9 3. Irish Mythology ......................................................................................................... 15 3.1 The Mythological Cycle .....................................................................................
    [Show full text]