GURPS Classic Celtic Myth
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The Role of Cú Chulainn in Old and Middle Irish Narrative Literature with Particular Reference to Tales Belonging to the Ulster Cycle
The role of Cú Chulainn in Old and Middle Irish narrative literature with particular reference to tales belonging to the Ulster Cycle. Mary Leenane, B.A. 2 Volumes Vol. 1 Ph.D. Degree NUI Maynooth School of Celtic Studies Faculty of Arts, Celtic Studies and Philosophy Head of School: An tOllamh Ruairí Ó hUiginn Supervisor: An tOllamh Ruairí Ó hUiginn June 2014 Table of Contents Volume 1 Abstract……………………………………………………………………………1 Chapter I: General Introduction…………………………………………………2 I.1. Ulster Cycle material………………………………………………………...…2 I.2. Modern scholarship…………………………………………………………...11 I.3. Methodologies………………………………………………………………...14 I.4. International heroic biography………………………………………………..17 Chapter II: Sources……………………………………………………………...23 II.1. Category A: Texts in which Cú Chulainn plays a significant role…………...23 II.2. Category B: Texts in which Cú Chulainn plays a more limited role………...41 II.3. Category C: Texts in which Cú Chulainn makes a very minor appearance or where reference is made to him…………………………………………………...45 II.4. Category D: The tales in which Cú Chulainn does not feature………………50 Chapter III: Cú Chulainn’s heroic biography…………………………………53 III.1. Cú Chulainn’s conception and birth………………………………………...54 III.1.1. De Vries’ schema………………...……………………………………………………54 III.1.2. Relevant research to date…………………………………………………………...…55 III.1.3. Discussion and analysis…………………………………………………………...…..58 III.2. Cú Chulainn’s youth………………………………………………………...68 III.2.1 De Vries’ schema………………………………………………………………………68 III.2.2 Relevant research to date………………………………………………………………69 III.2.3 Discussion and analysis………………………………………………………………..78 III.3. Cú Chulainn’s wins a maiden……………………………………………….90 III.3.1 De Vries’ schema………………………………………………………………………90 III.3.2 Relevant research to date………………………………………………………………91 III.3.3 Discussion and analysis………………………………………………………………..95 III.3.4 Further comment……………………………………………………………………...108 III.4. -
Celtic Solar Goddesses: from Goddess of the Sun to Queen of Heaven
CELTIC SOLAR GODDESSES: FROM GODDESS OF THE SUN TO QUEEN OF HEAVEN by Hayley J. Arrington A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Women’s Spirituality Institute of Transpersonal Psychology Palo Alto, California June 8, 2012 I certify that I have read and approved the content and presentation of this thesis: ________________________________________________ __________________ Judy Grahn, Ph.D., Committee Chairperson Date ________________________________________________ __________________ Marguerite Rigoglioso, Ph.D., Committee Member Date Copyright © Hayley Jane Arrington 2012 All Rights Reserved Formatted according to the Publication Manual of the American Psychological Association, 6th Edition ii Abstract Celtic Solar Goddesses: From Goddess of the Sun to Queen of Heaven by Hayley J. Arrington Utilizing a feminist hermeneutical inquiry, my research through three Celtic goddesses—Aine, Grian, and Brigit—shows that the sun was revered as feminine in Celtic tradition. Additionally, I argue that through the introduction and assimilation of Christianity into the British Isles, the Virgin Mary assumed the same characteristics as the earlier Celtic solar deities. The lands generally referred to as Celtic lands include Cornwall in Britain, Scotland, Ireland, Wales, and Brittany in France; however, I will be limiting my research to the British Isles. I am examining these three goddesses in particular, in relation to their status as solar deities, using the etymologies of their names to link them to the sun and its manifestation on earth: fire. Given that they share the same attributes, I illustrate how solar goddesses can be equated with goddesses of sovereignty. Furthermore, I examine the figure of St. -
Friday, July 2, 2010 the Red and White Dragons Mara Spoke of The
Friday, July 2, 2010 Gull in flight, over Anglesey The Red and White Dragons Mara spoke of the magic of dragons at our morning discussion after an excellent breakfast. She told us that dragons were an ancient symbol in Celtic mythology, and in fact, world mythology, throughout Europe and Asia. They represented the earth’s forces. In Britain, ley lines are often called dragon tracks. The white horse of Uffington looks in fact, more like a dragon that a horse. The adjacent hill, called Dragon Hill has a bare spot that was blasted by a dragon’s breath, on which nothing can grow. The Norse recognized dragons in their myth of the Midgard serpent. In India, the Kundalini is seen as two snakes (who are a version of dragon) that form a helix as they rise along our spine – our own internal dragon energy (also, the double helix of DNA). Greeks had two snakes twisting up the caduceus. In Gaelic, the word nathair or nathrach means both snake and dragon. In the movie, Excalibur, John Boorman’s Merlin raises the dragon’s breath with the spine tingling invocation, “Anail Nathrach!” In Avalonian magic, the colors red and white are especially sacred, and show up in mythology in several ways – the red and white streams emanating from Glastonbury Tor, the red and white of the Tudor rose (probably an ancient symbol), and the red and white dragons of the Merlin myth. All of these images are probably much older, with a deeper significance buried in the folklore for us to discover. -
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. -
The Fates of the Princes of Dyfed Cenydd Morus (Kenneth Morris) Illustrations by Reginald Machell
Theosophical University Press Online Edition The Fates of the Princes of Dyfed Cenydd Morus (Kenneth Morris) Illustrations by Reginald Machell Copyright © 1914 by Katherine Tingley; originally published at Point Loma, California. Electronic edition 2000 by Theosophical University Press ISBN 1- 55700-157-x. This edition may be downloaded for off-line viewing without charge. For ease of searching, no diacritical marks appear in the electronic version of the text. To Katherine Tingley: Leader and Official Head of the Universal Brotherhood and Theosophical Society, whose whole life has been devoted to the cause of Peace and Universal Brotherhood, this book is respectfully dedicated Contents Preface The Three Branches of the Bringing-in of it, namely: The Sovereignty of Annwn I. The Council of the Immortals II. The Hunt in Glyn Cuch III. The Slaying of Hafgan The Story of Pwyll and Rhianon, or The Book of the Three Trials The First Branch of it, called: The Coming of Rhianon Ren Ferch Hefeydd I. The Making-known of Gorsedd Arberth, and the Wonderful Riding of Rhianon II. The First of the Wedding-Feasts at the Court of Hefeydd, and the Coming of Gwawl ab Clud The Second Branch of it, namely: The Basket of Gwaeddfyd Newynog, and Gwaeddfyd Newynog Himself I. The Anger of Pendaran Dyfed, and the Putting of Firing in the Basket II. The Over-Eagerness of Ceredig Cwmteifi after Knowledge, and the Putting of Bulrush-Heads in the Basket III. The Circumspection of Pwyll Pen Annwn, and the Filling of the Basket at Last The First Branch of it again: III. -
Storytelling in Medieval Wales
Oral Tradition, 7/2 (1992):231-57 Storytelling in Medieval Wales Sioned Davies The Storyteller Very little is known of the storyteller and his functions in medieval Welsh society. Welsh sources imply that tales were recited in prose by professional storytellers—the cyfarwyddiaid (singular cyfarwydd). In medieval Ireland, there is evidence to suggest that the composition of both prose and poetry was linked to the fili, the poet, although storytelling was not one of his main functions.1 In Wales, however, there is no direct evidence regarding the relationship between the bardd (poet) and cyfarwydd (storyteller). One much quoted passage in an eleventh-century tale tells of Gwydion and his companions visiting the court of Pryderi in the guise of poets2— They were made welcome. Gwydion was placed beside Pryderi that night. “Why,” said Pryderi, “gladly would we have a tale [cyfarwyddyd] from some of the young men yonder.” “Lord,” said Gwydion, “it is a custom with us that the first night after one comes to a great man, the chief bard [pencerdd] shall have the say. I will tell a tale gladly.” Gwydion was the best teller of tales [cyfarwydd] in the world. And that night he entertained the court with pleasant tales and storytelling [cyfarwyddyd] till he was praised by everyone in the court. —while on another occasion Gwydion, in the guise of a poet from Glamorgan (in South Wales) is made welcome at a North Wales court and narrates cyfarwyddyd (stories) after feasting (Jones and Jones 1949:67). Both passages are open to interpretation regarding the role and significance 1 Mac Cana 1980; see also Bromwich 1978:lxxxiii-lxxxvi. -
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. -
The Wooing of Emer and Other Stories
The Ulster Cycle: The Wooing of Emer and other stories by Patrick Brown The fullest version of The Wooing of Emer is found in the Book of Leinster (c.1160) in a text dating from the tenth or eleventh century. An earlier, fragmentary version is found in several manuscripts, including Lebor na hUidre (the Book of the Dun Cow, c.1106). This retelling is based on both versions. Cú Chulainn’s Shield is an anecdote found in the manuscript H.3.17. This is my own translation, with thanks to Breandán Dalton, Dennis King, and especially David Stifter for their help and suggestions. The Death of Aífe’s Only Son is found in the Yellow Book of Lecan, compiled about 1390, but the language of the story dates from the ninth or tenth century. The Death of Derbforgaill is found in the Book of Leinster. The Elopement of Emer comes from the late 14th Century Stowe MS No 992. The Training of Cú Chulainn is a late, alternative version of Cú Chulainn’s travels and training. It is found in no less than eleven different manuscripts, the earliest being Egerton 106, dated to 1715. The Ulster Cycle: The Wooing of Emer and other stories © Patrick Brown 2002/2008 The Wooing of Emer A great and famous king, Conchobor son of Fachtna Fathach, once ruled in Emain Macha, and his reign was one of peace and prosperity and abundance and order. His house, the Red Branch, built in the likeness of the Tech Midchuarta in Tara, was very impressive, with nine compartments from the fire to the wall, separated by thirty-foot-high bronze partitions. -
Double-Consciousness in the Work of Dylan Thomas
University of Notre Dame Australia ResearchOnline@ND Theses 2011 ‘One Foot in Wales and My Vowels in England’: Double-Consciousness in the work of Dylan Thomas Karl Powell University of Notre Dame Australia Follow this and additional works at: http://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The am terial in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Powell, K. (2011). ‘One Foot in Wales and My Vowels in England’: Double-Consciousness in the work of Dylan Thomas (Honours). University of Notre Dame Australia. http://researchonline.nd.edu.au/theses/69 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Chapter One: ‘To Begin at the Beginning’ Be thou silent, As to the name of thy verse, And to the name of thy vaunting; And as to the name of thy grandsire Prior to his being baptised. And the name of the sphere, And the name of the element, And the name of thy language, And the name of thy region. Avaunt, ye bards above, Avaunt, ye bards below! - The Reproof of the Bards (Taliesin) Sometimes it seems our lives are already somehow mapped out for us. Almost like Sophocles’ great tragedy, Oedipus Rex, where we see the forces of Fate pitted against the human condition, it can feel as if external factors play a crucial role in determining who we are.32 Take for example the names given to Dylan Thomas. -
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’). -
Nationalist Adaptations of the Cuchulain Myth Martha J
University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 The aW rped One: Nationalist Adaptations of the Cuchulain Myth Martha J. Lee Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Lee, M. J.(2019). The Warped One: Nationalist Adaptations of the Cuchulain Myth. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5278 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Warped One: Nationalist Adaptations of the Cuchulain Myth By Martha J. Lee Bachelor of Business Administration University of Georgia, 1995 Master of Arts Georgia Southern University, 2003 ________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in English College of Arts and Sciences University of South Carolina 2019 Accepted by: Ed Madden, Major Professor Scott Gwara, Committee Member Thomas Rice, Committee Member Yvonne Ivory, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Martha J. Lee, 2019 All Rights Reserved ii DEDICATION This dissertation and degree belong as much or more to my family as to me. They sacrificed so much while I traveled and studied; they supported me, loved and believed in me, fed me, and made sure I had the time and energy to complete the work. My cousins Monk and Carolyn Phifer gave me a home as well as love and support, so that I could complete my course work in Columbia. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title The Supernatural and the Limits of Materiality in Medieval Histories, Travelogues, and Romances From William of Malmesbury to Geoffrey Chaucer Permalink https://escholarship.org/uc/item/9ck303t5 Author McGraw, Matthew Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The Supernatural and the Limits of Materiality in Medieval Histories, Travelogues, and Romances From William of Malmesbury to Geoffrey Chaucer A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Matthew Theismann McGraw December 2013 Dissertation Committee: Dr. John M. Ganim, Chairperson Dr. Deborah Willis Dr. Andrea Denny-Brown Copyright by Matthew Theismann McGraw 2013 The Dissertation of Matthew Theismann McGraw is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION The Supernatural and the Limits of Materiality in Medieval Histories, Travelogues, and Romances From William of Malmesbury to Geoffrey Chaucer by Matthew Theismann McGraw Doctor of Philosophy, Graduate Program in English University of California, Riverside, December 2013 Dr. John M. Ganim, Chairperson The supernatural, broadly defined as magic, marvels, wonders, and miracles, might at first seem to be wholly separate from material goods and the cultural practices surrounding material objects; miracles occur solely through divine grace, and magic would logically seem to involve making things happen without using physical force. Yet, in the depiction of the supernatural in medieval texts, miracles, marvels, wonders, and magic all depend in some way or another upon material goods. At the same time, the supernatural has a recursive effect upon materiality in the texts in this study; it functions as an amplifier of signification.