Mabinogi Keltské Pověsti
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Mabinogion Mélodrame Gallois, Pour Quatuor À Cordes Et Voix
DOSSIER D’ACCOMPAGNEMENT Mabinogion Mélodrame gallois, pour quatuor à cordes et voix Quatuor Béla, Elise Caron Ma 13 déc 14:30 / me 14 déc 19:30 je 15 déc 14:30 Théâtre Charles Dullin Espace Malraux scène nationale de Chambéry et de la Savoie Espace Malraux scène nationale de Chambéry et de la Savoie – Saison 2016-2017 Mabinogion Durée 1h01 Chant, récit Elise Caron, violons Julien Dieudegard, Frédéric Aurier, alto Julian Boutin, violoncelle Luc Dedreuil, texte Arthur Lestrange, composition Frédéric Aurier, sonorisation Emile Martin production L’Oreille Droite / Quatuor Béla coproduction Espace Malraux scène nationale de Chambéry et de la Savoie, le Festival d’Ile de France Espace Malraux scène nationale de Chambéry et de la Savoie – Saison 2016-2017 Mabinogion Le spectacle Les Manibogion ou Les quatre Branches du Manibogion sont une série de quatre contes dont on trouve la trace dans deux manuscrits, rédigés en langue galloise au quatorzième siècle. Leur origine est sans doute bien plus ancienne encore que cela. Ces histoires faisaient partie du corpus de légendes que les bardes médiévaux (car la fonction de barde s’est conservée très longtemps au pays de Galles), poètes de cour et détenteurs officiels de la tradition se devaient d’avoir à leur répertoire. On trouve dans ces récits les traces et le parfum de personnages mythologiques, de divinités des anciens celtes, peut-être même de grands archétypes indo- européens. Tombés petit à petit dans l’oubli, il faudra attendre le XIXème siècle pour que des érudits passionnés comme Lady Charlotte Guest, redonnent une vie à ces histories et les traduisent en anglais. -
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. -
Myths and Legends of the Celtic Race by Thomas William Rolleston
The Project Gutenberg EBook of Myths and Legends of the Celtic Race by Thomas William Rolleston This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Myths and Legends of the Celtic Race Author: Thomas William Rolleston Release Date: October 16, 2010 [Ebook 34081] Language: English ***START OF THE PROJECT GUTENBERG EBOOK MYTHS AND LEGENDS OF THE CELTIC RACE*** MYTHS & LEGENDS OF THE CELTIC RACE Queen Maev T. W. ROLLESTON MYTHS & LEGENDS OF THE CELTIC RACE CONSTABLE - LONDON [8] British edition published by Constable and Company Limited, London First published 1911 by George G. Harrap & Co., London [9] PREFACE The Past may be forgotten, but it never dies. The elements which in the most remote times have entered into a nation's composition endure through all its history, and help to mould that history, and to stamp the character and genius of the people. The examination, therefore, of these elements, and the recognition, as far as possible, of the part they have actually contributed to the warp and weft of a nation's life, must be a matter of no small interest and importance to those who realise that the present is the child of the past, and the future of the present; who will not regard themselves, their kinsfolk, and their fellow-citizens as mere transitory phantoms, hurrying from darkness into darkness, but who know that, in them, a vast historic stream of national life is passing from its distant and mysterious origin towards a future which is largely conditioned by all the past wanderings of that human stream, but which is also, in no small degree, what they, by their courage, their patriotism, their knowledge, and their understanding, choose to make it. -
Estudios Humanísticos 36.Indd
Carlos Alberto Sanz Mingo ¿HABLANDO CON MIRLOS? EL USO DE LA PERSONIFICACIÓN DE LOS ANIMALES EN LA LEYENDA ARTÚRICA CARLOS ALBERTO SANZ MINGO1 Universidad de Cardiff (Reino Unido) Resumen Aunque los textos que conforman la literatura artúrica no suelen presentar rasgos fabulescos, sino, más bien, mitol ógicos, algunas narraciones artúricas usan características propias de las fábulas para desarrollar sus ideas moralistas. Este artículo se centra en el estudio de un texto medieval galés y uno contemporáneo en inglés para demostrar cómo se hace uso y aplican las técnicas de la fábula a la leyenda artúrica. Palabras clave: Literatura artúrica, fábula, mitología, Mabinogion, animales. Abstract Even when Arthurian literature does not usually present characteristics of fables but, rather, mythological qualities, some texts make use of fable features in order to develop a moralistic viewpoint. This article deals with the study of a Welsh medieval text and a contemporary one in English to show how the technique of the fable is used and applied to the Arthurian legend. Key words: Arthurian literature, fable, mythology, Mabinogion, animals. 1. INTRODUCCIÓN De acuerdo con el prestigioso Dictionary of Literary Terms and Literary Theory, publicado por Penguin, se defi ne fábula como una historia breve que indica una enseñanza moral para la que se utilizan criaturas no humanas o seres inanimados y, a veces, hombres y hasta dioses. Lo importante es el carácter moral que la fábula contiene. Kurt Spang ha defendido la idea de que las similitudes entre fábula y otros tipos de texto, como el cuento o el mito, han dado lugar a la desaparición de los límites entre estos. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
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. -
Mabon Ap Modron 2006
Caer Australis Occasional Papers : Mabon ap Modron 2006 Mabon ap Modron The story of the Divine Son Mabon ap Modron , the Son of the Mother, in his story from birth to kingship, is a recurring theme found throughout Celtic mythological and legendary literature. Presented here is an insight into his story as found in the myths of "the Mabinogion" collection in the White and Red Books, and from this the reader will recognise the theme as it occurs in the Welsh, the Irish and in the ancient Gaullish traditions. The Mabon theme is that of the birth of a miraculous - divine - boy, born to a remarkable or significant - divine - mother, who is lost to her, performs amazing feats to attain manhood, and wins the hand of a beautiful - also divine - maiden. Mabon is the Celtic child solar deity; his mother the Celtic tripartite goddess in her mother aspect and the maiden the goddess as maiden. His story has a seasonal aspect, for we can identify the time of birth of the Celtic god's nativity, and also of his union with the goddess: these are recorded in the myths quite clearly. Mabon literally means 'son' and comes from the Celtic 'maponos' now found in 'map', 'mab' and 'mac' (meaning 'son of') in the extant Celtic languages. Likewise, Modron literally means 'mother', from 'matronae', 'the Mothers', the Celtic tripartite Goddess. The ultimate meaning of "the Mabinogion" relates to this, and the Four Branches together appear to have originally formed a 'Myth of the Son'. While the White Book of Rhydderch (1325) and the Red Book of Hergest (1400) were compiled from redactions quite late, the stories themselves are much older, and the themes ancient. -
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 -
The Mammoth Book of Celtic Myths and Legends
PETER BERRESFORD ELLIS is a foremost authority on the Celts and the author of many books in the field including The Celtic Empire (1990), Celt and Saxon (1993), Celt and Greek (1997), Celt and Roman (1998) and The Ancient World of the Celts (1998).Under the pseudonym Peter Tremayne he is the author of the bestselling Sister Fidelma murder mysteries set in Ireland in the seventh Century. Praise for Celtic Myths and Legends ‘For those interested in our Celtic past this selection will be a tremendous source of enjoyment and instruction.’ Contemporary Review ‘The introduction is the most comprehensive and lucid explanation of Celtic lore.’ Alan Lambert, The New Humanity ‘Peter Berresford Ellis brings to bear not only his extensive knowledge of the source material but also his acclaimed skills of storytelling to produce an original and enthralling collection.’ Ipswich Evening News Also available The Mammoth Book of Awesome Comic Fantasy The Mammoth Book of Best New Erotica The Mammoth Book of Best New Horror 2000 The Mammoth Book of Best New Science Fiction 14 The Mammoth Book of Bridge The Mammoth Book of British Kings & Queens The Mammoth Book of Chess The Mammoth Book of Comic Fantasy The Mammoth Book of Endurance and Adventure The Mammoth Book of Erotica (New Edition) The Mammoth Book of Erotic Photography The Mammoth Book of Fantasy The Mammoth Book of Gay Erotica The Mammoth Book of Great Detective Stories The Mammoth Book of Gay Short Stories The Mammoth Book of Haunted House Stories The Mammoth Book of Hearts of Oak The Mammoth Book -
Round 8 1. According to One Late Tradition, He Married a Daughter Of
Round 8 1. According to one late tradition, he married a daughter of Minyas named Clymene that bore him Arcesilaus, the father of Laertes. He was awarded the island of Samos during the war against the Teleboans, which was renamed for him. Apollodorus describes how this man was actually a son of Herse and Hermes who fathered Tithonos when he was (*) kidnapped by Eos. This man’s wife was bribed with a golden crown to have sex with Pteleon. Afterwards, she fled to the court of King Minos. When his wife sang a hymn invoking Nephele, he used a weapon he had received from her to impale her, that weapon was a spear that never missed. For 10 points, name this consort of Procris. ANSWER: Cephalus 2. In The Book of the Heavenly Cow, this god pours an alcoholic substance that floods the “four meadows of paradise” and orders Hathor to destroy evil humans. He is sometimes depicted as being merged with Horus of the Double Horizon, during which he is conflated with Horakhty. In a text named after him, this god is bitten by a snake that was created when his daughter used his saliva to create it - that text sees (*) Isis try to learn this god’s true name. This god constantly does battle with the primordial dragon Apophis during the tenth hour of the night, only to emerge victorious every day. Hathor is often said to be the eye of this figure. For 10 points, name this god of the sun who was conflated with Atum. ANSWER: Ra 3. -
Ttu Mac001 000055.Pdf (6.020Mb)
i.^'<mt.:i^.'-M.:,.s^^iii , • CELTIC LITERATURE THE STUDY OF CELTIC LITERATURE BY MATTHEW ARNOLD Ipopular l65(t(on LONDON SMITH, ELDER, cS: CO., 15 WATERLOO PLACE 1891 [Alt rights reserved] INTRODUCTION. THE following remarks on the study of Celtic Literature formed the substance of four lectures given by me in the chair of poetry at Oxford. They were first published in the Cornhill Magazine, and are now reprinted from thence. Again and again, in the course of them, I have marked the very humble scope intended ; which is, not to treat any special branch of scientific Celtic studies (a task for which I am quite incompetent), but to point out the many direc tions in which the results of those studies offer matter of general interest, and to insist on the benefit we may all derive from knowing the Celt and things Celtic more thoroughly. It was impossible, however, to avoid touching on certain points of ethnology and philology, which can be securely handled only by those who have made these sciences the object of special study. Here the mere literary critic must owe his whole safety to his tact in choosing authorities to follow, and whatever he advances must be vi THE STUDY OF CELTIC LITERATURE understood as advanced with a sense of the insecurity which, after all, attaches to such a mode of proceeding, and as put forward provisionally, by way of hypothesis rather than of confident assertion. To mark clearly to the reader both this provisional character of much which I advance, and my own sense of it, I have inserted, as a check upon some of the positions adopted in the text, notes and comments with which Lord Strangford has kindly furnished me. -
Mito, Poder Y Género En El Mabinogi
UNIVERSIDAD DE MÁLAGA Facultad de Filosofía y Letras Departamento de Ciencias Históricas MITO, PODER Y GÉNERO EN EL MABINOGI Tesis Doctoral Autor: Elena Ortuño Rodríguez Director: Dr. Gonzalo Cruz Andreotti Programa de doctorado: “La Tradición Clásica en el Campo de la Religiosidad y el Mito” [2015] AUTOR: Elena Ortuño Rodríguez http://orcid.org/0000-0002-9193-193X EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es El avance del conocimiento es una progresión infinita hacia una meta en constante alejamiento. James George Frazer, La Rama Dorada. Be silent for as long as you like, said Rhiannon. Never has a man been more stupid than you have been. Rhiannon, Primera Rama del Mabinogi. It was through the deceit of a woman that I did to you what I did. Gronw Pebr, Cuarta Rama del Mabinogi. ÍNDICE INTRODUCCIÓN ___________________________________________________________ 1 CAPÍTULO I. ALGUNAS ACLARACIONES PREVIAS ____________________________ 7 1.1 Términos clave: Mabinogion, Mabinogi y ramas ____________________________ 7 1.2 Autor _____________________________________________________________ 21 1.3 Cronología _________________________________________________________ 27 1.4 Ediciones y traducciones utilizadas ______________________________________ 33 1.5 Transcripción de los nombres __________________________________________ 36 CAPÍTULO II.