DOCSLIB.ORG

KILWICH and OLWEN I Everybody Knew Good King Arthur and His Brave Knights of the Round Table

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KILWICH and OLWEN I Everybody Knew Good King Arthur and His Brave Knights of the Round Table УДК 373.167.1: 820/89 ББК 81.2 Англ-922 Л 93 Художник О. В. Воронова Л 93 Любимые герои: Книга для чтения на англий- ском языке/ Адаптация, комментарии, упраж- нения и словарь Ю. Б. Голицынского — СПБ.: КАРО, 2010. — 192 c.: илл. — (Серия «Reading with exercises»). ISBN 978-5-9925-0604-4. В пособие вошли отрывки из классических англоязычных произведений: «Оливер Твист» Чарльза Диккенса, «Джейн Эйр» Шарлотты Бронте, «Остров сокровищ» Роберта Льюиса Стивенсона, «Загадка Торского моста» Артура Конан Дойля, «Всадник без головы» Томаса Майн Рида, «Янки из Коннекти- кута при дворе короля Артура» Марка Твена. Сборник также содержит фрагменты британского эпоса о короле Артуре и ры- царях Круглого стола и отрывки из английских народных бал- лад о Робин Гуде. Тексты адаптированы для учащихся средней школы и снабжены вопросами для проверки понимания содер- жания. УДК 373.167.1:820/89 ББК 81.2 Англ-922 В дополнение к книге можно приобрести тематический аудиоматериал на диске в формате МР3, подготовленный издательством © КАРО, 2010 ISBN 978-5-9925-0604-4 Все права защищены King Arthur and the Knights of the Round Table In the 13th, 14th and 15th centuries people liked to read and tell long tales about brave knights and their fair ladies1. The brave knights rode on horseback from place to place about the country. When they met other knights, they had a fight to see who was stronger. Sometimes the knights left their own country and went to far-away places. They did not re- turn for years and years. Their fair ladies waited for them in big stone castles with high towers. These tales were called romances. The romances about King Arthur2 and his knights of the Round Table were well- known in England. The table at which King Arthur and his knights sat and had their feasts was circular. This showed that each knight was as good and brave as his neighbour, and even as King Arthur himself. KILWICH AND OLWEN I Everybody knew good King Arthur and his brave knights of the Round Table. People often came to their castle at Camelot3 to ask for help. One day a young knight came to Camelot. “What do you want?” asked King Arthur. 1 fair ladies ['fLA'leIdIz] — прекрасные дамы 2 King Arthur ['C:FA] — король Артур 3 Camelot ['kBmIlDt] — Камелот (резиденция короля Артура) 3 King Arthur and the Knights of the Round Table “I ask for help, my lord,” was the answer. “You may ask for anything you like1,” said King Arthur, “except my sword, my ship and my wife.” “My name is Kilwich2,” said the young man, “and I am looking for Olwen3, the daughter of Yspa- daden4, because she is destined to become my wife5. But I cannot fi nd her.” “I don’t know the young lady,” said King Arthur, “but we shall start at once and look for her.” All the knights of the Round Table were ready to go with King Arthur. He took Sir Kay6 and Sir Bedivere7, because they were very strong and brave. He took Gurhyr Gwalstatt8 because he could speak the languages of all people, animals, birds and fi sh. He also took some other brave knights to help them. They rode a long way. At last they saw a big castle. In front of the castle they saw a shepherd with a lot of sheep and asked him: “Whose is this castle and whose are these sheep?” “Don’t you know?” said the man. “They belong to Yspadaden. And who are you?” 1 anything you like — все, что хочешь 2 Kilwich ['kIlwItS] — Килвич 3 Olwen ['DlwAn] — Олвен 4 Yspadaden [Is'pBdAdAn] — Испададен 5 she is destined to become my wife — ей предназначе- но стать моей женой 6 Sir Kay [sA:'keI] — сэр Кэй 7 Sir Bedivere [sA:,bedI'vIA] — сэр Бедивер 8 Gurhyr Gwalstatt ['MurIA'MwC:lStC:t] — Гурир Гвалштат 4 Kilwich and Olwen “We are the knights of the Round Table and we are looking for Yspadaden’s daughter Olwen.” “Your task is hard. But come to my house: my wife and I will tell you about Yspadaden, that cruel man.” When they were in the shepherd’s house, his wife told them about Yspadaden. “That man is really terrible,” she said. “He has killed twenty- three of our sons. Now we have only one son. We are hiding him from Yspadaden.” She opened a door in the wall and out came a tall young man with yellow hair. “You must not hide such a fi ne strong boy,” said Sir Kay. “Let him come with us. I shall take care of him.” Then they asked about Olwen. The shepherd told them that she came to his house every Sat- urday. Kilwich was very happy to hear it: that day was Saturday. Soon Olwen came. She was very beautiful. She was wearing a red dress, her hair was like fl ax, her eyes were large and bright. She sat down near Kilwich and spoke to him. “I know why you are here,” she said. “I also know that you love me. If you really want to marry me, go at once to my father and speak to him. But he knows that when I marry, he will die.” And she went away. King Arthur and his knights went to the castle. But it was not easy for them to get in. They had to fi ght and kill nine warriors at the door and their 5 King Arthur and the Knights of the Round Table nine dogs. At last they came to the hall where Yspadaden was sitting. “So you want to marry my daughter?” the ter- rible old man said to Kilwich. “But fi rst you must fulfi l four tasks that I shall give you.” “I shall fulfi l them,” said Kilwich. “Wait till I tell you what the tasks are. Lis- ten. “Far away from here, in a very big castle lives a giant, Gwernach1 by name. You must kill this giant and bring me his sword. This is your fi rst task. “Next, you must go and fi nd Mabon2, the son of my forester Modron3. He disappeared many years ago, when he was only three days old. This is your second task. “Now, can you see that large fi eld through this window? “I sowed nine bags of fl ax there. Go to that fi eld, pick up the seeds and bring them to me. This is your third task. “Then you will go to the forest and catch two wolf cubs. You will bring these cubs to my castle on a rope which you must make from the beard of Dillus4 the robber. This is your fourth task. “Only if you fulfi l all my tasks, will Olwen be your wife.” 1 Gwernach ['MwA:nAtS] — Гвернач 2 Mabon ['meIbAn] — Мейбон 3 Modron ['mDdrAn] — Модрон 4 Dillus ['dIlAs] — Диллус 6 Kilwich and Olwen II King Arthur decided to help Kilwich and sent his knights to fulfi l the tasks. Sir Kay was the fi rst to go1. He went to look for the giant Gwernach. When he found the castle, he said to the guards at the door, “I know how to pol- ish swords. I can polish your master’s sword bet- ter than any other man. Let me in.2” Soon Sir Kay was sitting in front of the giant and polishing his sword. When the sword was very sharp, Sir Kay suddenly turned to Gwernach and killed him with it. Then he left the castle, got on his horse and rode back to King Arthur with the giant’s sword at his side. Gurhyr Gwalstatt went to fulfi l the second task. His task was to fi nd Mabon, the son of the forester Modron. He asked very many people, but nobody knew the man. Then he asked many animals and many birds. The animals and the birds could not tell him anything about Mabon, they were all too young. Then he went to the river to ask the fi sh. He asked many fi sh, big and small, but they could not tell him anything. At last one big fi sh said: “I know where the man is. He is a prisoner in a big castle far from here. I can take you there, but you must know that the castle has very thick walls and many warriors stand on guard3.” 1 was the fi rst to go — пошел первым 2 Let me in. — Впустите меня. 3 stand on guard — стоят на страже 7 King Arthur and the Knights of the Round Table Gurhyr Gwalstatt went back to King Arthur and told him what he had learned from the fi sh. Then King Arthur said, “Let us go and save Mabon.” As you know King Arthur and his knights were brave, they were not afraid of any warriors. They asked the big fi sh to take them to that castle. They fought the warriors who stood on guard, saved Mabon and went back. The next day Gurhyr Gwalstatt was walking about near Yspadaden’s castle. He saw an ant-hill around which the grass was burning. The ant-hill was already beginning to burn. Gurhyr Gwalstatt ran up to the ant-hill and quickly put out the fi re1. “Thank you very much, kind man!” cried the ants. “What can we do for you? Tell us your wish and we shall fulfi l it.” “Thank you,” said Gurhyr Gwalstatt in the ant language. “I want your help very much. Go to that fi eld and gather all the seeds of fl ax in it.
Load more

Recommended publications
  • King Arthur and Medieval Knights
    Renata Jawniak KING ARTHUR AND MEDIEVAL KNIGHTS 1. Uwagi ogólne Zestaw materiałów opatrzony wspólnym tytułem King Arthur and Medieval Knights jest adresowany do studentów uzupełniających studiów magisterskich na kierun- kach humanistycznych. Przedstawione ćwiczenia mogą być wykorzystane do pracy z grupami studentów filologii, kulturoznawstwa, historii i innych kierunków hu- manistycznych jako materiał przedstawiający kulturę Wielkiej Brytanii. 2. Poziom zaawansowania: B2+/C1 3. Czas trwania opisanych ćwiczeń Ćwiczenia zaprezentowane w tym artykule są przeznaczone na trzy lub cztery jednostki lekcyjne po 90 minut każda. Czas trwania został ustalony na podstawie doświadcze- nia wynikającego z pracy nad poniższymi ćwiczeniami w grupach na poziomie B2+. 4. Cele dydaktyczne W swoim założeniu zajęcia mają rozwijać podstawowe umiejętności językowe, takie jak czytanie, mówienie, słuchanie oraz pisanie. Przy układaniu poszczegól- nych ćwiczeń miałam również na uwadze poszerzanie zasobu słownictwa, dlatego przy tekstach zostały umieszczone krótkie słowniczki, ćwiczenia na odnajdywa- nie słów w tekście oraz związki wyrazowe. Kolejnym celem jest cel poznawczy, czyli poszerzenie wiedzy studentów na temat postaci króla Artura, jego legendy oraz średniowiecznego rycerstwa. 5. Uwagi i sugestie Materiały King Arthur and Medieval Knights obejmują pięć tekstów tematycznych z ćwiczeniami oraz dwie audycje z ćwiczeniami na rozwijanie umiejętności słucha- nia. Przewidziane są tu zadania na interakcję student–nauczyciel, student–student oraz na pracę indywidualną. Ćwiczenia w zależności od poziomu grupy, stopnia 182 IV. O HISTORII I KULTURZE zaangażowania studentów w zajęcia i kierunku mogą być odpowiednio zmodyfiko- wane. Teksty tu zamieszczone możemy czytać i omawiać na zajęciach (zwłaszcza z grupami mniej zaawansowanymi językowo, tak by studenci się nie zniechęcili stopniem trudności) lub część przedstawionych ćwiczeń zadać jako pracę domo- wą, jeżeli nie chcemy poświęcać zbyt dużo czasu na zajęciach.
    [Show full text]
  • The Early Arthur: History and Myth
    1 RONALD HUTTON The early Arthur: history and myth For anybody concerned with the origins of the Arthurian legend, one literary work should represent the point of embarkation: the Historia Brittonum or History of the British . It is both the earliest clearly dated text to refer to Arthur, and the one upon which most efforts to locate and identify a histor- ical fi gure behind the name have been based. From it, three different routes of enquiry proceed, which may be characterised as the textual, the folkloric and the archaeological, and each of these will now be followed in turn. The Arthur of literature Any pursuit of Arthur through written texts needs to begin with the Historia itself; and thanks primarily to the researches of David Dumville and Nicholas Higham, we now know more or less exactly when and why it was produced in its present form. It was completed in Gwynedd, the north-western king- dom of Wales, at the behest of its monarch, Merfyn, during the year 830. Merfyn was no ordinary Welsh ruler of the age, but an able and ruthless newcomer, an adventurer who had just planted himself and his dynasty on the throne of Gwynedd, and had ambitions to lead all the Welsh. As such, he sponsored something that nobody had apparently written before: a com- plete history of the Welsh people. To suit Merfyn’s ambitions for them, and for himself, it represented the Welsh as the natural and rightful owners of all Britain: pious, warlike and gallant folk who had lost control of most of their land to the invading English, because of a mixture of treachery and overwhelming numbers on the part of the invaders.
    [Show full text]
  • 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]
  • Introduction: to Be a Shapeshifter 1
    NOTES Introduction: To Be a Shapeshifter 1 . Sir Thomas Malory, Malory: Works , ed. Eugene Vinaver (Oxford: Oxford University Press, 1978 ), 716. 2 . Carolyne Larrington, for example, points out that “Enchantresses . sometimes . support the aims of Arthurian chivalry, at other times they can be hostile and petty-minded.” See King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition (New York: I. B. Taurus, 2007), 2. While Larrington’s book provides a review of many of Morgan’s literary appearances, my study focuses on close reading, attention to translation issues, and discussion of social concerns. In her review of Larrington’s King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition , Elizabeth Archibald laments that “it would have been interesting to hear more about the ways in which Arthurian enchantresses do or do not resemble their Classical precursors, or indeed Celtic ones, in their use of magic and in their challenges to male heroic norms.” See Elizabeth Archibald, “Magic School,” Times Literary Supplement (February 2, 2007), 9. My study answers this cri- tique by reexamining pivotal scenes in critical texts and by dismantling the archetypal approach that Larrington follows. 3 . Norris J. Lacy, ed., The Fortunes of King Arthur (New York: D. S. Brewer, 2005 ), 94–95. 4 . Helaine Newstead, Bran the Blessed in Arthurian Romance (New York: AMS Press, 1966 ), 149. 5 . Elisa Marie Narin, “‘Þat on . Þat oÞer’: Rhetorical Descriptio and Morgan La Fay in Sir Gawain and the Green Knight ,” Pacific Coast Philology 23 (1988): 60–66. Morgan only partly fits the description of a supernatural ‘enemy’ provided by Hilda Ellis Davidson and Anna Chaudri; see n.
    [Show full text]
  • Arthurian Personal Names in Medieval Welsh Poetry
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aberystwyth Research Portal ʹͲͳͷ Summary The aim of this work is to provide an extensive survey of the Arthurian personal names in the works of Beirdd y Tywysogion (the Poets of the Princes) and Beirdd yr Uchelwyr (the Poets of the Nobility) from c.1100 to c.1525. This work explores how the images of Arthur and other Arthurian characters (Gwenhwyfar, Llachau, Uthr, Eigr, Cai, Bedwyr, Gwalchmai, Melwas, Medrawd, Peredur, Owain, Luned, Geraint, Enid, and finally, Twrch Trwyth) depicted mainly in medieval Welsh prose tales are reflected in the works of poets during that period, traces their developments and changes over time, and, occasionally, has a peep into reminiscences of possible Arthurian tales that are now lost to us, so that readers will see the interaction between the two aspects of middle Welsh literary tradition. Table of Contents Acknowledgements ...................................................................................................... 3 Bibliographical Abbreviations and Short Titles ....................................................... 4 Introduction .................................................................................................................. 9 Chapter 1: Possible Sources in Welsh and Latin for the References to Arthur in Medieval Welsh Poetry .............................................................................................. 17 1.1. Arthur in the White Book of Rhydderch and the
    [Show full text]
  • John Cowper Powys's Porius: a Reader's Companion
    John Cowper Powys: Porius A Reader’s Companion Updated and Expanded Edition W. J. Keith April 2009 “Reader’s Companions” by Prof. W.J. Keith to other Powys works are available at: https://www.powys-society.org/Articles.html Preface The aim of this “Companion” is to provide background information that will enrich a reading of Powys’s novel/romance. It glosses Welsh, classical, biblical, and other allusions, identifies quotations, explains geographical and historical references, and offers any commentary that may throw light on the more complex aspects of the text. (When a quotation is involved, the passage is listed under the first word even if it is “a” or “the.”) It was first made available on the Internet and in booklet form in 2004, and has subsequently been updated and revised from time to time. The present version has been thoroughly reset and expanded. Numerous errors discovered in the intervening years have been corrected. All page-references are to Judith Bond and Morine Krissdóttir’s edition published by Overlook Duckworth in 2007, with those to Wilbur T. Albrecht’s 1994 edition from Colgate University Press following in square brackets. Since the latter contained many errors and inconsistencies, the words listed often appear there in somewhat different form. Moreover, because the editions are based on different copy-texts, some references appear only in one of the editions; when those occurring in only one version require separate annotation, they have been identified and glossed. References to other JCP books published during his lifetime will be either to the first editions or to reprints that reproduce the original pagination, with the following exceptions: Wolf Solent (London: Macdonald, 1961), Weymouth Sands (London: Macdonald, 1963), Maiden Castle (ed.
    [Show full text]
  • Morgan Le Fay: the Inheritance of the Goddess
    Brathair 15 (1), 2015 ISSN 1519-9053 Morgan le Fay: The Inheritance of the Goddess Ana Rita Martins English Lecturer Universidade de Lisboa, Faculdade de Letras (ULICES) [email protected] Enviado em: 30/05/2015 Aceito em: 07/07/2015 Resumo: “Morgan le Fay: A Herança da Deusa” faz uma breve análise da figura de Morgan le Fay nas narrativas arturianas na Idade Média. Começando por uma reflexão sobre os Celtas e a sua cultura, este estudo tem por objectivo demonstrar como a origem de Morgan le Fay poderá remontar às deusas célticas. Com efeito, Morgan possui características que a aproximam de A Morrígan e Modron. Todavia, é de salientar que esta personagem apenas surge pela primeira vez, em 1150, na obra Vita Merlini, de Geoffrey of Monmouth sob o nome Morgen. Suprema regente da ilha maravilhosa de Avalon, ela possui características exclusivamente benéficas. Assim, pretendemos também explicar as razões pelas quais esta se transformou numa das principais vilãs dos textos arturianos. Adicionalmente, serão considerados algumas das obras literárias medievais inglesas, bem como factores de ordem sociocultural. Palavras-chave: Morgan le Fay; Narrativas Arturianas; Mitos Célticos. Abstract: “Morgan le Fay: The Inheritance of the Goddess” will analyze Morgan le Fay’s character in Arthurian narrative during the Middle Ages. Starting from a research on the Celts and their culture, this article aims to prove that Morgan le Fay’s origin might be traced back to Celtic goddesses due to the characteristics she shares with the Celtic goddesses The Morrígan and Modron. However, Morgan is only mentioned for the first time, in 1150, in the work Vita Merlini by Geoffrey of Monmouth, where she is named Morgen.
    [Show full text]
  • The Arthur of 'Culhwch and Olwen' As a Figure of Epic-Heroic Tradition
    The Arthur of 'Culhwch and Olwen' as a figure of epic-heroic tradition Article Published Version Edel, D. (1983) The Arthur of 'Culhwch and Olwen' as a figure of epic-heroic tradition. Reading Medieval Studies, IX. pp. 3- 15. ISSN 0950-3129 Available at http://centaur.reading.ac.uk/85043/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: University of Reading All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online READIN'G MEDIEVAL STUDIES The Arthur of 'Culhwch and Olwen' as a Figure of Ep ie-Heroic Tredit ion 1 The Welsh tale Culhwch and Olwen is the oldest Arthurian tale that has been preserved in the manuscripts. The extant redaction has been dated to the second half of the eleventh century but its orthography, vocabulary, syntax, and, moreover, certain stylistic and narrative features, suggest that a written version of ports of it m':ly hove existed a century earlier . 2 The tole deserves the interest of the student of Arthurian I iteroture as it represents Arthurian tradition before the great developments which are seen in the Historic Regum Britannioe of Geoffrey of Monmouth and in continental Arthuri­ an literature. There ore however some compl icating factors.
    [Show full text]
  • The Quest for Olwen. Directed by Valeri Ugarov. Script by Gwyn Thomas
    The Quest for Olwen. Directed by Valeri Ugarov. Script by Gwyn Thomas. Produced by Metta (Llangolen, Wales) and Soyuzmultfilm (Moscow) for S4C and HTV (Wales), 1990. Videotape available from Films for the Humanities & Sciences, P.O. Box 2053, Princeton, NJ 08543–2053 (1–800–257–5126). 22 minutes. $89.95. Although animators have created more than fifty film treatments of the Arthurian legend, the matter of Wales has curiously all but escaped their notice. In 1990 Welsh television S4C corrected this oversight with The Quest for Olwen, a twenty-two-minute animated feature based squarely on Culhwch and Olwen from The Mabinogion. While purists will always find details to quibble over in any adaptation, they will also discover that scriptwriter Gwyn Thomas and the crew of Soviet artists who animated The Quest for Olwen do a reasonably faithful job of rendering Culhwch and Olwen for younger and/or less-sophisticated audiences that otherwise would be put off by some of the original tale’s difficulties. As such, the film can be a useful classroom adjunct when teaching the matter of Wales. The producers could not have found a more sympathetic author than Thomas for the task of simplifying the story to meet the exigencies of a short film. He has repeatedly streamlined the tale: as librettist for William Mathias’s 1971 twenty-eight- minute Welsh/English choral work for children, Culhwch ac Olwen: Difyrrwch, as author of a 1988 modern Welsh version of Culhwch for children, and as author of a 1988 English version as well, The Quest for Olwen, the immediate source behind this animated feature.
    [Show full text]
  • SIR KAY from CELTIC LORE to ARTHURIAN ROMANCE By
    SIR KAY FROM CELTIC LORE TO ARTHURIAN ROMANCE by PAUL LEE CAVIN (Under the Direction of Alexander Sager) ABSTRACT The focus of this thesis is to examine the transformation of Kay from his heyday in Celtic lore as a mighty warrior to his entry into Arthurian romance. A comparative analysis between the works of Chrétien de Troyes (the creator of Arthurian romance), and the later adaptations of the his tales by Hartmann von Aue and Wolfram von Eschenbach will shed light on Kay’s role (agent-provocateur , foil, court critic, etc.) throughout the various Arthurian romances in which he appears. INDEX WORDS: Arthurian romance, medieval literature, Sir Kay, Celtic lore, Hartmann, Wolfram, Chrétien SIR KAY FROM CELTIC LORE TO ARTHURIAN ROMANCE by PAUL CAVIN A.B. German, The University of Georgia, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Paul Cavin All Rights Reserved SIR KAY FROM CELTIC LORE TO ARTHURIAN ROMANCE by PAUL CAVIN Major Professor: Alexander Sager Committee: Martin Kagel Max Reinhart Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2005 ACKNOWLEDGEMENTS I would like to thank Dr. Alexander Sager for his enthusiasm and guidance throughout the course of my thesis. From start to finish his assistance was vil guot . I would also like to thank Dr. Martin Kagel and Dr. Max Reinhart for serving on my committee and helping make my thesis a success. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS..........................................................................................................
    [Show full text]
  • Ethnic Ideals of the British Isles
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Studies in Language, Literature, and Criticism English, Department of January 1920 Ethnic Ideals of the British Isles Constance Rummons University of Nebraska Follow this and additional works at: https://digitalcommons.unl.edu/englishunsllc Part of the English Language and Literature Commons Rummons, Constance, "Ethnic Ideals of the British Isles" (1920). University of Nebraska Studies in Language, Literature, and Criticism. 9. https://digitalcommons.unl.edu/englishunsllc/9 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Studies in Language, Literature, and Criticism by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. UNIVERSITY OF NEBRASKA STUDIES IN LANGUAGE, LITERATURE, AND CRITICISM NUMBER 3 ETHNIC IDEALS OF THE BRITISH ISLES BY CONSTANCE RUMMONS, A. M. EDITORIAL COMMITTEE l,oul8Il POUND, Ph. D., Department of English B. B.Au:xANDIB, Ph. D., Department of Philosophy B. B. VAUGHAN, Ph. D., Department of Romance Lango..- LINCOLN l' 20 I ETHNIC IDEALS OF THE BRITISH ISLES INTRODUCTION 1. The history of a people can be read truly only in the light of its ideals. To study only the recorded acts of men is to see only a series of phenomena that are often in­ comprehensible and apparently erratic. What a mad affair the Crusades must seem to one who knows nothing of medi­ aeval religious ideals! How inexplicable would appear the courageous resistance of Belgium to a student in a later age who should have no knowledge of contemporary thought, and should be unable to see the principles for which she stood! Any judgment of a human action which leaves out of account the ideas which prompted it must be vain: it is only by m~ns of a sYmpathetic comprehension of men's ideals that we may justly estimate their achievements and their fail­ \lres.
    [Show full text]
  • Shrine of Wisdom V21 N82 Winter 1939
    THE SHRINE o f WISDOM y o l . x x i . n o . 8 2 . W i n t e r S o l s t i c e 19 3 9 KULHWCH AND OLWEN OR THE TWRCH TRWYTH O f all the stories collected together under the general title of The Mabinogion Kulhwch and Olwen is the richest and most complex. In this respect it would be difficult to find its equal among all the known myths, and it bears witness to the depth of thought of the ancient British myth-makers. Its full signifi­ cance has been lost, for it is evident that the story as now known is incomplete; but even in its present form it indicates the original wealth of British mythology by the great number of heroes and Gods to which it refers by name, a large proportion of whom are now untraceable elsewhere, although they must all have had a real significance. No other reason can be assigned to the introduction into the story of a veritable catalogue of names which appear to have no direct bearing upon the myth itself. Not the least of its value is that it deals with King Arthur in the original pure British form, before the stories associated with him had been distorted at the hands o f the French minstrels and re-imported in the form of Mallory’s Morte d’Arthur. Because o f the complexity o f the myth it is impossible in this article to deal with more than its principal features, and the summary of the story given cannot convey an adequate idea of the profusion of subtle implications contained in the narrative nor of the grandeur of the epic hunt of the boar Twrch Trwyth.* * The Mabinogion was translated by Lady Guest in 1849, and there is also a recent translation by T.
    [Show full text]