Feast of the Morrighan Free
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The Dagda As Briugu in Cath Maige Tuired
Deep Blue Deep Blue https://deepblue.lib.umich.edu/documents Research Collections Library (University of Michigan Library) 2012-05 Following a Fork in the Text: the Dagda as briugu in Cath Maige Tuired Martin, Scott A. https://hdl.handle.net/2027.42/138967 Downloaded from Deep Blue, University of Michigan's institutional repository Following a Fork in the Text: the Dagda as briugu in Cath Maige Tuired Scott A. Martin, May 2012 The description of the Dagda in §93 of Cath Maige Tuired has become iconic: the giant, slovenly man in a too-short tunic and crude horsehide shoes, dragging a huge club behind him. Several aspects of this depiction are unique to this text, including the language used to describe the Dagda’s odd weapon. The text presents it as a gabol gicca rothach, which Gray translates as a “wheeled fork.” In every other mention of the Dagda’s club – including the other references in CMT (§93 and §119) – the term used is lorg. DIL gives significantly different fields of reference for the two terms: 2 lorg denotes a staff, rod, club, handle of an implement, or “the membrum virile” (thus enabling the scatological pun Slicht Loirge an Dagdai, “Track of the Dagda’s Club/Penis”), while gabul bears a variety of definitions generally attached to the concept of “forking.” The attested compounds for gabul include gabulgicce, “a pronged pole,” with references to both the CMT usage and staves held by Conaire’s swineherds in Togail Bruidne Da Derga. DIL also mentions several occurrences of gabullorc, “a forked or pronged pole or staff,” including an occurrence in TBDD (where an iron gabullorg is carried by the supernatural Fer Caille) and another in Bretha im Fuillema Gell (“Judgements on Pledge-Interests”). -
The Cath Maige Tuired and the Vǫluspá
Connections: the Cath Maige Tuired and the Vǫluspá Convergence of cultures, history and myth Angelina Kjerstad Johansen Master's Thesis History of Religion UNIVERSITY OF OSLO Autumn 2015 1 Copyright Angelina Kjerstad Johansen 2015 Connections: the Cath Maige Tuired and the Vǫluspá – Convergence of cultures, history and myth Angelina Kjerstad Johansen http://www.duo.uio.no Trykk: Reprosentralen, Universitetet i Oslo 2 3 Acknowledgements I would like to thank my supervisor, Jens Braarvig, for having the patience to deal with me and my strange ways of doing things. Thank you to Jan Erik Rekdal and Karl Johansson for giving me the idea for this thesis and to my fellow students for great discussions. To all my friends and my amazing family, you know who you are, I love you more and more each day. And to the artists and musicians that make my life bearable, you do not know who you are, but without you I would truly go insane. A special thanks goes to my sister, Monica, for being my co-conspirator and for helping me bore every other member of our family with our academic discussions. May we continue to do so in the future! To Rita, whom I miss beyond words. I dedicate all my triumphs to you 4 5 Introduction The topic of the thesis is the Irish myth Cath Maige Tuired - "The Second Battle of Mag Tuired", which is the story about the battle between the Túatha Dé Danann, the gods of pagan Ireland, and their enemies the Fomoire. What I wish to focus upon in the Cath Maige Tuired is not the battle in itself, which has been compared to the war between the Aesir and the Vanir in Scandinavian mythology1, but a passage at the end of this myth, where the goddess Mórrigan (here in the form of a mortal) comes with a prediction of the end of the world. -
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. -
The Plinian Races (Via Isidore of Seville) in Irish Mythology
Divine Deformity: The Plinian Races (via Isidore of Seville) in Irish Mythology Phillip A. Bernhardt-House Abstract: This article examines the characteristics of the Fomoiri in Irish mythological literature—particularly their being one-eyed, one-legged, and one- handed or one-armed—and rather than positing a proto-Indo-European or native Irish origin for these physical motifs, instead suggests that these characteristics may be derived from Isidore of Seville’s Etymologiae, which contains a catalogue of the ‘Plinian races’ of classical mythology and pseudo-ethnography within it. All of the Fomoiri’s characteristics can be compared to the physiological forms of the Giants, Sciopods, Cyclopes, and Blemmyae from the canonical list of Plinian races. Further omparison of Irish accounts of cynocephali (dog-headed humanoids) within texts like Lebor Gabála Érenn are also likely derived from Isidore. Irish pseudohistorical writings of the medieval period suggest that the isle of Ireland was invaded by successive waves of inhabitants, the first being a granddaughter of the biblical Noah called Cesair, who invaded Ireland shortly before the flood (Carey 1987), but died with the rest of her companions (apart from one, a long- lived shape-shifting survivor) in the flood itself. The next post-diluvial invasion was that of Partholón, and it was during this period when Partholón’s people were the principal inhabitants of Ireland that the first battle in Ireland occurred, which was against Cichol Grichenchos of the Fomoiri, a race described as ‘men with single arms and single legs’ in the first recension of the pseudohistorical textLebor Gabála Érenn, ‘The Book of the Taking of Ireland’ (The Book of Invasions, First Recension, 238 §38). -
The Mast of Macha: the Celtic Irish and the War Goddess of Ireland
Catherine Mowat: Barbara Roberts Memorial Book Prize Winner, 2003 THE 'MAST' OF MACHA THE CELTIC IRISH AND THE WAR GODDESS OF IRELAND "There are rough places yonder Where men cut off the mast of Macha; Where they drive young calves into the fold; Where the raven-women instigate battle"1 "A hundred generous kings died there, - harsh, heaped provisions - with nine ungentle madmen, with nine thousand men-at-arms"2 Celtic mythology is a brilliant shouting turmoil of stories, and within it is found a singularly poignant myth, 'Macha's Curse'. Macha is one of the powerful Morrigna - the bloody Goddesses of War for the pagan Irish - but the story of her loss in Macha's Curse seems symbolic of betrayal on two scales. It speaks of betrayal on a human scale. It also speaks of betrayal on a mythological one: of ancient beliefs not represented. These 'losses' connect with a proposal made by Anne Baring and Jules Cashford, in The Myth of The Goddess: Evolution of an Image, that any Goddess's inherent nature as a War Goddess reflects the loss of a larger, more powerful, image of a Mother Goddess, and another culture.3 This essay attempts to describe Macha and assess the applicability of Baring and Cashford's argument in this particular case. Several problems have arisen in exploring this topic. First, there is less material about Macha than other Irish Goddesses. Second, the fertile and unique synergy of cultural beliefs created by the Celts4 cannot be dismissed and, in a short paper, a problem exists in balancing what Macha meant to her people with the broader implications of the proposal made by Baring and Cashford. -
The Celtic Origins of Halloween Transcend Fear
happened during the winter months because cold and food shortages made the very old, young or sickly vulnerable. And livestock that couldn’t be fed over the winter had to be slaughtered, always an ambivalent process. Yet this also meant it was a time of feasting. The agricultural year was over, the produce stored, mead and ale fermented. Samhain/Halloween is the ultimate “best of times/worst of times” festival. Necessary evils Samhain also is a time when chaos and order vie for supremacy, according to the Cath Maige Tuired: The Second Battle of Mag Tuired, edited and translated by Elizabeth Gray. At Samhain eons ago, the Tuatha Dé Danann, forces of generosity, light and order, battled the Fomoire, forces of chaos. The latter’s ruler, Bres, was a bad king, and Lugh, the Tuatha Dé Danann war leader, prepared to slay him after vanquishing the foes. Bres begged for mercy and Lugh granted it in exchange for the secrets of cultivating the land because the Fomoire also controlled the land’s fertility. Lugh recognized that they were needed, but that their power must be controlled or it could manifest in evil ways. For example, physical death may be a necessary part of natural cycles, but murder isn’t. Folk traditions gave chaos — personified Staff member Nicol Innes poses in costume in April at a reconstructed Celtic roundhouse at the by teenagers — freer reign than normal on Archaeolink Prehistory Park, a living history site in Aberdeenshire, Scotland. He tends to a flame and Halloween night, hoping to keep it at bay cauldron, ritualistic components of Samhain, the ancient precursor of Halloween. -
The Patriarchal Devaluation of the Irish Goddess, the Mor-Rioghan Kelley Flannery Rowan Florida International University, [email protected]
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 1-19-2005 Monstrum in femine figura : the patriarchal devaluation of the Irish goddess, the Mor-rioghan Kelley Flannery Rowan Florida International University, [email protected] DOI: 10.25148/etd.FI14030210 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Religion Commons Recommended Citation Rowan, Kelley Flannery, "Monstrum in femine figura : the patriarchal devaluation of the Irish goddess, the Mor-rioghan" (2005). FIU Electronic Theses and Dissertations. 1058. https://digitalcommons.fiu.edu/etd/1058 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida MONSTRUM IN FEMINE FIGURA: THE PATRIARCHAL DEVALUATION OF THE IRISH GODDESS, THE MOR-RIOGHAN A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in RELIGIOUS STUDIES by Kelley Flannery Rowan 2005 To: Dean R. Bruce Dunlap College of Arts and Sciences This thesis, written by Kelley Flannery Rowan, and entitled Monstrum in Femine Figura: The Patriarchal Devaluation of the Irish Goddess, The Mor-rioghan, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Lesley Northup Erik Larson Christine Gudorf ajor Professor Date of Defense: January 19, 2005 The thesis of Kelley Flannery Rowan is approved. -
Following a Fork in the Text: the Dagda As Briugu in Cath Maige Tuired
Following a Fork in the Text: the Dagda as briugu in Cath Maige Tuired Scott A. Martin, April 2012 The description of the Dagda in §93 of Cath Maige Tuired has become iconic: the giant, slovenly man in a too-short tunic and crude horsehide shoes, dragging a huge club behind him. Several aspects of this depiction are unique to this text, including the language used to describe the Dagda’s odd weapon. The text presents it as a gabol gicca rothach, which Gray translates as a “wheeled fork.” In every other mention of the Dagda’s club – including the other references in CMT (§93 and §119) – the term used is lorg. DIL gives significantly different fields of reference for the two terms: 2 lorg denotes a staff, rod, club, handle of an implement, or “the membrum virile” (thus enabling the scatological pun Slicht Loirge an Dagdai, “Track of the Dagda’s Club/Penis”), while gabul bears a variety of definitions generally attached to the concept of “forking.” The attested compounds for gabul include gabulgicce, “a pronged pole,” with references to both the CMT usage and staves held by Conaire’s swineherds in Togail Bruidne Da Derga. DIL also mentions several occurrences of gabullorc, “a forked or pronged pole or staff,” including an occurrence in TBDD (where an iron gabullorg is carried by the supernatural Fer Caille) and another in Bretha im Fuillema Gell (“Judgements on Pledge-Interests”). The context of this latter is a discussion of three types of persons who are not awarded interest should a weapon that they have given in pledge be damaged: these three are a briugu, a filed, and “a man whom his perpetual injunction has forbidden it” (fer do-airgair a bith-erchuiliud), because “their ‘supporting staves’ are more important than their weapons;” if a “walking-stick” (gabal- lorg) is pledged and damaged, in contrast, the pledger is awarded interest of three séts (Kelly 1988: 37; Ancient Laws V 420-421). -
The Names of the Dagda Scott A
The Names of the Dagda Scott A. Martin, April 2008 “Aed Abaid Essa Ruaid misi .i. dagdia druidechta Tuath De Danann 7 in Ruad Rofhessa 7 Eochaid Ollathair mo tri hanmanna” “I am Aed Abaid of Ess Rúaid, that is, the Good God of wizardry of the Túatha Dé Danann, and the Rúad Rofhessa, and Eochaid Ollathair are my three names.” (Bergin 1927) This opening line from “How the Dagda Got His Magic Staff” neatly summarizes the names by which the Dagda is known in the surviving Irish manuscripts. Translations for these names begin to shed some light on the character of this deity: the “Good God,” the “Red/Mighty One of Great Knowledge,” and “Horseman Allfather.” What other information can be gleaned about the Dagda from the way in which he is named? This essay will examine the descriptions and appelations attached to the Dagda in various texts in an attempt to provide some further answers to this question. It should be emphasized at the outset that the conclusions below are intended to enrich our religious, rather than scholarly, understanding of the Dagda, and that some latitude should be afforded the interpretations on this basis. Cóir Anmann (The Fitness of Names) contains adjacent entries for the Dagda under each of his three names (Stokes 1897: 354-357): 150. Dagda .i. dagh dé .i. día soinemhail ag na geintíbh é, ar do adhradháis Tuatha Dé Danann dó, ar bá día talmhan dóibh é ar mhét a chumachta. 151. Eochaid Ollathair .i. uilliu é inna a athair. N[ó] Ollathair .i. -
Christianity, Paganism and Celtic Mythology in the Plays of JM Synge
! " # $ ! "%" &" $ ! "' ( ) * " + , " - . /# 0 / /1 2 2 / "' ( + ) " , "! - 1 3 ' * 4- 5 6 7 5 " & $ - & 6 89"' * $ # # & , " !!" !"!" # # ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-" % . %:=9: /- >:=9?4& )*5/ +) "3 " & :=9? CONTENTS Page No. Chapter One 3- 32 Introduction The Genesis of the Native Culture of Ireland: Birth of a Civilisation 3 The ‘Dark Ages’ of Irish Culture 12 Celtic Revival: The Phoenix Reborn 18 John Millington Synge and the New Theatre Movement 22 Chapter Two 33- 82 Synge’s Treatment of Christianity and Paganism: Return to the Primitive World of Rituals Pre-Christian Ireland: Celtic Paganism 33 Arrival of Christianity in Ireland 38 “The lord protect us from the saints of god”: -
Warriors for the Horse Goddess Dunsgathan.Net/Feannog/Horsewarriors.Html Copyright © 2015 Saigh Kym Lambert
Warriors for the Horse Goddess http:// dunsgathan.net/feannog/horsewarriors.html Copyright © 2015 Saigh Kym Lambert Warriors for the Horse Goddess Saigh Kym Lambert Published in Air n-Aithesc, Volume 2 Issue 2, Lughnasadh/Samhain 2015 It was Macha who called me back home. Horses are second only to dogs in the way they have been our companions, have shared our lives, worked with us and shaped who we are. At present, we know that humans and horses have been together for 9,000 years in what is now Saudi Arabia and that at least 5,500 years ago an apparently independent connection developed in the Eurasian Steppes.1 They have contributed to our survival, have hunted with us, have transported our belongings as well as us, have protected and fed us, have served with us in war; we learned to communicate with each other, to develop a partnership through the ages. Certainly, through our relationship with these creatures we became more than mere humans, they extended our own abilities and deep inside they built our spirits, too. I have always shared my life with these animals, except for a few torturous years, and in doing so have felt a deep connection to a primal pact forged by my ancestors. We have depended on them; today, perhaps more than ever, they depend on us. I was put on a horse before I could walk. I was fortunate, for while my family was “in the horse business” when I was very young, I was never expected or encouraged to show and I had no interest; I was allowed just to ride. -
University of Pardubice Faculty of Arts and Philosophy Celtic Mythology Revived in Selected Works by Lady Gregory Dana Novákov
University of Pardubice Faculty of Arts and Philosophy Celtic Mythology Revived in Selected Works by Lady Gregory Dana Nováková Bachelor Thesis 2020 Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Beru na vědomí, že v souladu s § 47b zákona č. 111/1998 Sb., o vysokých školách a o změně a doplnění dalších zákonů (zákon o vysokých školách), ve znění pozdějších předpisů, a směrnicí Univerzity Pardubice č. 7/2019 Pravidla pro odevzdávání, zveřejňování a formální úpravu závěrečných prací, ve znění pozdějších dodatků, bude práce zveřejněna prostřednictvím Digitální knihovny Univerzity Pardubice. V Pardubicích dne 30. listopadu 2020 Dana Nováková Acknowledgement I wish to record my deep gratitude to my supervisor Mgr. Olga Roebuck, Ph.D., M. Litt. for her valuable advice and inspiring guidance throughout my studies. I am also obliged to my family and friends for their unceasing support and encouragement.