DOCSLIB.ORG

3.Mythologie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3.Mythologie DIPLOMARBEIT Titel der Diplomarbeit Die keltischen Elemente im Artusroman Verfasserin Daniela Elisabeth Jancsik angestrebter akademischer Grad Magistra (Mag.) Wien, 2014 Studienkennzahl lt. Studienblatt: 057 327 Studienrichtung lt. Studienblatt: Individuelles Diplomstudium Keltologie Betreuer: Univ.-Ass. Dr. Aaron Griffith 2 Inhaltsverzeichnis 1.Einleitung ........................................................................................................................................7 1.1 Allgemeines ..............................................................................................................................7 1.2 Vorgehensweise ........................................................................................................................8 1.3 Keltischer Schamanismus..........................................................................................................9 1.4 Resümee .................................................................................................................................13 2. Die keltischen Elemente in der Kultur ...........................................................................................13 2.1 Die keltischen Elemente ..........................................................................................................13 2.2 Der Gral und der Schädelkult ..................................................................................................14 2.3 Das Wasser und die Göttin ......................................................................................................17 2.4 Schwellengebiete ....................................................................................................................19 2.5 Schwellenzeit und Jahresfeste..................................................................................................21 2.5.1Samhain ............................................................................................................................21 2.5.2 Alban Arthuan, das Yulfest, die Wintersonnenwende........................................................23 2.5.3 Imbolc..............................................................................................................................25 2.5.4 Alban Eiler, die Frühlingstagundnachtgleiche ...................................................................26 2.5.5 Beltaine............................................................................................................................26 2.5.6 Alban Hevin, Beltaine, Mitsommer...................................................................................28 2.5.7 Lughnasadh ......................................................................................................................31 2.5.8 Alban Elved, Mabon, Herbstäquinoktium .........................................................................32 2.6 Die Musik ...............................................................................................................................33 2.7 Die Zahlen...............................................................................................................................34 2.8 Gestaltwandel und Tiere..........................................................................................................36 2.8.1 Hunde...............................................................................................................................36 2.8.2 Fische...............................................................................................................................37 2.8.3 Hirsch...............................................................................................................................37 2.8.4 Pferd ................................................................................................................................38 2.8.5 Löwe ................................................................................................................................38 2.8.6 Drache und Schlange........................................................................................................38 2.8.7 Vögel ...............................................................................................................................39 3.Mythologie ....................................................................................................................................40 3 3.1Die Tuatha Dé Danann .............................................................................................................40 3.1.1 Allgemeines .....................................................................................................................40 3.1.2 Die Síds in Irland..............................................................................................................41 3.1.3 Dagda...............................................................................................................................41 3.1.4 Die Schlachten von Mag Tuired........................................................................................41 3.2 Die Schätze der Tuatha Dé Danann .........................................................................................42 3.3 Die Waffen der Sonnengötter und deren Schmiede ..................................................................44 3.3.1 Himmelswaffen ................................................................................................................44 3.3.2 Goibniu ............................................................................................................................44 3.3.3 Crédne..............................................................................................................................44 3.3.4 Gavida..............................................................................................................................45 3.3.5 Brigit................................................................................................................................45 3.3.6 Cú Chulainn .....................................................................................................................47 3.3.7 Midir ................................................................................................................................48 3.3.8 Die numerologische Deutung von Midirs Erscheinungsbild ..............................................49 3.3.9 Die Zahlen in der Mythologie ...........................................................................................51 3.3.10 Lleu................................................................................................................................52 3.4 Der keltische Kessel ................................................................................................................53 3.4.1 Dagdas Kessel der Wiedergeburt ......................................................................................53 3.4.2 Brans Kessel und Kopf .....................................................................................................53 3.4.3 Dagdas Kessel in der Erschaffung Irlands .........................................................................54 3.4.4 Der Kessel der Auszahlung...............................................................................................56 3.4.5 Der Kessel der Wahrheitsprüfung .....................................................................................56 3.4.6 Der Kessel der Lähmung ..................................................................................................57 3.4.7 Der Kessel der Inspiration.................................................................................................57 3.5 Gestaltwandel..........................................................................................................................58 3.5.1 Das Motiv ........................................................................................................................58 3.5.2 Das Lied des Amairgin .....................................................................................................58 3.5.3 Das Lied des Taliesin........................................................................................................60 3.5.4 Tuan mac Cairill...............................................................................................................61 3.5.5 Tadg mac Cein .................................................................................................................62 3.6 Midirs Lied von der Anderswelt ..............................................................................................63 4. Die kymrischen Sagen um König Artus.........................................................................................65 4.1 Walisische Heldenepik ............................................................................................................65 4.2 Taliesin ...................................................................................................................................66 4 4.3 Culhwch ac Olwen ..................................................................................................................67 4.4 Preiddeu Annwn......................................................................................................................74 4.5 Aneirin....................................................................................................................................76 4.6 Pa gur
Load more

Recommended publications
  • The 'Dirty Middle Ages': Bathing and Cleanliness in the Middle Ages
    Albrecht Classen The ‘Dirty Middle Ages’: Bathing and Cleanliness in the Middle Ages. With an Emphasis on Medieval German Courtly Romances, Early Modern Novels, and Art History: Another Myth-Buster Modern Misconceptions About the Middle Ages Most medievalists are only too aware about the many myths that blur ordinary people’s understanding and conceptualization of the Middle Ages, that is, both negative and positive views. Extreme and miserable conditions in everyday life seem to have existed then, since everything must have been so much worse than today, at least according to the global, but certainly wrong, notion that history, hence also cultural history, is determined by a linear, or progressive, develop- ment.1 We can often only shake our heads considering the extent to which mis- 1 See the illuminating discussion by Otto Borst, Alltagsleben im Mittelalter. insel taschenbuch, 513 (Frankfurt a. M.: Insel, 1983); this is now impressively complemented by Peter Dinzelbach- er, Lebenswelten des Mittelalters 1000–1500. Bachmann Basiswissen, 1 (Badenweiler: Wissen- schaftlicher Verlag Bachmann, 2010); see now also Albrecht Classen, “Survey of Fundamental Reference Works in Medieval Studies,” Handbook of Medieval Studies: Terms – Methods – Trends, ed. id., vol. 1 (Berlin and New York: Walter de Gruyter, 2010), XXV–LXVI. See also Philosophy of History After Hayden White, ed. Robert Doran. Bloomsbury Studies in American Philosophy (London and New York: Bloomsbury Academic, 2013); Progress, Apocalypse, and Completion of History and Life After Death of the Human Person in the World Religions, ed. Peter Koslowski (Dor- drecht and London: Kluwer Academic, 2002). The discussion about progress in human history is legion, of course.
    [Show full text]
  • A Lost Medieval Manuscript from North Wales: Hengwrt 33, the Hanesyn Hên
    04 Guy_Studia Celtica 50 06/12/2016 09:34 Page 69 STUDIA CELTICA, L (2016), 69 –105, 10.16922/SC.50.4 A Lost Medieval Manuscript from North Wales: Hengwrt 33, The Hanesyn Hên BEN GUY Cambridge University In 1658, William Maurice made a catalogue of the most important manuscripts in the library of Robert Vaughan of Hengwrt, in which 158 items were listed. 1 Many copies of Maurice’s catalogue exist, deriving from two variant versions, best represented respec - tively by the copies in Aberystwyth, National Library of Wales [= NLW], Wynnstay 10, written by Maurice’s amanuenses in 1671 and annotated by Maurice himself, and in NLW Peniarth 119, written by Edward Lhwyd and his collaborators around 1700. 2 In 1843, Aneirin Owen created a list of those manuscripts in Maurice’s catalogue which he was able to find still present in the Hengwrt (later Peniarth) collection. 3 W. W. E. Wynne later responded by publishing a list, based on Maurice’s catalogue, of the manuscripts which Owen believed to be missing, some of which Wynne was able to identify as extant. 4 Among the manuscripts remaining unidentified was item 33, the manuscript which Edward Lhwyd had called the ‘ Hanesyn Hên ’. 5 The contents list provided by Maurice in his catalogue shows that this manuscript was of considerable interest. 6 The entries for Hengwrt 33 in both Wynnstay 10 and Peniarth 119 are identical in all significant respects. These lists are supplemented by a briefer list compiled by Lhwyd and included elsewhere in Peniarth 119 as part of a document entitled ‘A Catalogue of some MSS.
    [Show full text]
  • 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 Matter of Britain
    THE MATTER OF BRITAIN: KING ARTHUR'S BATTLES I had rather myself be the historian of the Britons than nobody, although so many are to be found who might much more satisfactorily discharge the labour thus imposed on me; I humbly entreat my readers, whose ears I may offend by the inelegance of my words, that they will fulfil the wish of my seniors, and grant me the easy task of listening with candour to my history May, therefore, candour be shown where the inelegance of my words is insufficient, and may the truth of this history, which my rustic tongue has ventured, as a kind of plough, to trace out in furrows, lose none of its influence from that cause, in the ears of my hearers. For it is better to drink a wholesome draught of truth from a humble vessel, than poison mixed with honey from a golden goblet Nennius CONTENTS Chapter Introduction 1 The Kinship of the King 2 Arthur’s Battles 3 The River Glein 4 The River Dubglas 5 Bassas 6 Guinnion 7 Caledonian Wood 8 Loch Lomond 9 Portrush 10 Cwm Kerwyn 11 Caer Legion 12 Tribuit 13 Mount Agned 14 Mount Badon 15 Camlann Epilogue Appendices A Uther Pendragon B Arthwys, King of the Pennines C Arthur’s Pilgrimages D King Arthur’s Bones INTRODUCTION Cupbearer, fill these eager mead-horns, for I have a song to sing. Let us plunge helmet first into the Dark Ages, as the candle of Roman civilisation goes out over Europe, as an empire finally fell. The Britons, placid citizens after centuries of the Pax Romana, are suddenly assaulted on three sides; from the west the Irish, from the north the Picts & from across the North Sea the Anglo-Saxons.
    [Show full text]
  • The Aeneid with Rabbits
    The Aeneid with Rabbits: Children's Fantasy as Modern Epic by Hannah Parry A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 Acknowledgements Sincere thanks are owed to Geoff Miles and Harry Ricketts, for their insightful supervision of this thesis. Thanks to Geoff also for his previous supervision of my MA thesis and of the 489 Research Paper which began my academic interest in tracking modern fantasy back to classical epic. He must be thoroughly sick of reading drafts of my writing by now, but has never once showed it, and has always been helpful, enthusiastic and kind. For talking to me about Tolkien, Old English and Old Norse, lending me a whole box of books, and inviting me to spend countless Wednesday evenings at their house with the Norse Reading Group, I would like to thank Christine Franzen and Robert Easting. I'd also like to thank the English department staff and postgraduates of Victoria University of Wellington, for their interest and support throughout, and for being some of the nicest people it has been my privilege to meet. Victoria University of Wellington provided financial support for this thesis through the Victoria University Doctoral Scholarship, for which I am very grateful. For access to letters, notebooks and manuscripts pertaining to Rosemary Sutcliff, Philip Pullman, and C.S. Lewis, I would like to thank the Seven Stories National Centre for Children's Books in Newcastle-upon-Tyne, and Oxford University. Finally, thanks to my parents, William and Lynette Parry, for fostering my love of books, and to my sister, Sarah Parry, for her patience, intelligence, insight, and many terrific conversations about all things literary and fantastical.
    [Show full text]
  • The Element of List in Thirteenth-Century Courtly Romances, with Emphasis on Heinrich Von Dem Türlin’S Diu Crône
    “MIT GRÔZEN LISTEN WART GESTALT”: THE ELEMENT OF LIST IN THIRTEENTH-CENTURY COURTLY ROMANCES, WITH EMPHASIS ON HEINRICH VON DEM TÜRLIN’S DIU CRÔNE by Gary C. Shockey Within the greater corpus of courtly romance in the thirteenth century, the concept of list, or cunning, assumes a particularly alluring position. Poets and philosophers throughout the whole of the Middle Ages were clearly fascinated by the notion of a knight, a king, a lady of the court, a seneschal, or a scoundrel twisting others in such a manner as to achieve remarkable success in some venture. The ambiguities of the human condition most likely led men and women to exploit weaknesses in others for personal or professional gain, as well as for the benefit of the realm or sovereign. Clever cunning, guile, and the substance of the quick-thinking man or woman proved to be riveting material for both courtly audiences and the emerging bourgeoisie in the cities and towns, and we are blessed with a variety of texts which demonstrate the art of perspicacity in a myriad of forms. Cognizant of their influence, poets readily employed many of these attributes as socially acceptable vehicles of change, both in a positive and negative sense. The individual bard deliberately chose a path for his protagonists: he or she could use guile in a decidedly evil way, or perhaps in a manner designed to effect a positive outcome. Thus, arguments on the moral underpinnings of list remained the domain of the writer; the poets themselves offer a variety of views on this subject.
    [Show full text]
  • Invisible Ink: the Recovery and Analysis of a Lost Text from the Black Book of Carmarthen (NLW Peniarth MS 1)
    Invisible Ink: The Recovery and Analysis of a Lost Text from the Black Book of Carmarthen (NLW Peniarth MS 1) Introduction In a previous volume of this journal we surveyed a selection of the images and texts which can be recovered from the pages of the Black Book of Carmarthen (NLW Peniarth MS 1) when the manuscript and high-resolution images of it were subject to a series of digital analyses.1 The present discussion focuses on one page of the manuscript, fol. 40v. Although the space was once filled with text dating to just after the compilation of the Black Book, it was obliterated at some stage in the manuscript’s ‘cleansing’.2 In fact, it is possible that this page was erased more than once, and that the shadow of a large initial B which we initially believed to be the start of a second poem is instead evidence of palimpsesting.3 The particular exuberance of the erasure in the bottom quarter of the page may support this view. As it stands, faint traces of lines of text can be seen on the page in its original, digitised and facsimile forms;4 in fact, of these Gwenogvryn Evans’s facsimile preserves the most detail.5 Minims and the occasional complete letter are discernible, but on the whole the page is illegible. Nevertheless, enough of the text of this page is visible for it to feel tantalizingly recoverable, and the purpose of what follows is first to show what can be recovered using modern techniques 1 Williams, ‘The Black Book of Carmarthen: Minding the Gaps’, National Library of Wales Journal 36 (2017), 357–410.
    [Show full text]
  • The Thirteenth Mt Haemus Lecture
    THE ORDER OF BARDS OVATES & DRUIDS MOUNT HAEMUS LECTURE FOR THE YEAR 2012 The Thirteenth Mt Haemus Lecture Magical Transformation in the Book of Taliesin and the Spoils of Annwn by Kristoffer Hughes Abstract The central theme within the OBOD Bardic grade expresses the transformation mystery present in the tale of Gwion Bach, who by degrees of elemental initiations and assimilation becomes he with the radiant brow – Taliesin. A further body of work exists in the form of Peniarth Manuscript Number 2, designated as ‘The Book of Taliesin’, inter-textual references within this material connects it to a vast body of work including the ‘Hanes Taliesin’ (the story of the birth of Taliesin) and the Four Branches of the Mabinogi which gives credence to the premise that magical transformation permeates the British/Welsh mythological sagas. This paper will focus on elements of magical transformation in the Book of Taliesin’s most famed mystical poem, ‘The Preideu Annwfyn (The Spoils of Annwn), and its pertinence to modern Druidic practise, to bridge the gulf between academia and the visionary, and to demonstrate the storehouse of wisdom accessible within the Taliesin material. Introduction It is the intention of this paper to examine the magical transformation properties present in the Book of Taliesin and the Preideu Annwfn. By the term ‘Magical Transformation’ I refer to the preternatural accounts of change initiated by magical means that are present within the Taliesin material and pertinent to modern practise and the assumption of various states of being. The transformative qualities of the Hanes Taliesin material is familiar to students of the OBOD, but I suggest that further material can be utilised to enhance the spiritual connection of the student to the source material of the OBOD and other Druidic systems.
    [Show full text]
  • Conjunctive Personal Pronouns in Middle Welsh Elena Parina
    Coherence Markers: Conjunctive Personal Pronouns in Middle Welsh Elena Parina Welsh has a complicated personal pronoun system, which has been classified by scholars in a number of different ways. For example, D. Simon Evans in his Middle Welsh Grammar (1964, 49-58) makes the following classification, which is presented here in a slightly more formalized way: 1. Independent pronouns 1.1. simple: mi, ti, ef… 1.2. reduplicated: miui, tidi, efo… 1.3. conjunctive: minheu, titheu, ynteu… 2. Dependent pronouns 2.1. possessive pronouns 2.1.1. unstressed possessive pronouns (with further subdivisions) 2.1.2. stressed possessive pronouns: meu, teu, eidaw… 2.2. infixed pronoun object:’m, ’th, ’y… 2.3. affixed pronouns 2.3.1. simple: ui, di, ef… 2.3.2. conjunctive: inneu, ditheu, ynteu… (For a different classification see, for example, Watkins 1977, 146-165). A number of theoretical arguments leads us to suggest that it is most reasonable to distinguish between clitics and independent pronouns, the first class being divided into three sub-classes, i.e. possessive and object proclitics and auxiliary postclitics. Both the auxiliary and independent forms have within them a morphologically distinctive class of pronouns, termed in Welsh cysylltiol (from cysylltu ‘to bind’), and in English ‘conjunctive’.3 The most important syntactic positions in which these pronouns are found in the classic Middle Welsh prose text Pedeir Keinc y Mabinogi (PKM) are listed below.4 1. topicalised subject: (1) Ynteu aL lunywys yr esgidyeu [PKM 80.03] C:3SGM P fashion:PRT3SG A shoe:PL ‘He fashioned the shoes’ 3 H. Pedersen uses the unsatisfactory term zusammengesetzte in his Vergleichender Grammatik (1909-13), which does not say anything about their function.
    [Show full text]
  • Der Garel-Zyklus Auf Schloss Runkelstein
    Diplomarbeit Titel der Diplomarbeit: Der Garel-Zyklus auf Schloss Runkelstein Verfasserin: Verena Hilber Angestrebter akademischer Grad: Magistra der Philosophie (Mag. phil.) Wien, im April 2008 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin: Ao. Prof. Monika Dachs-Nickel 1 2 Inhaltsverzeichnis: Vorwort S. 5 Einleitung S. 7 I. Schloss Runkelstein: Geschichte und Freskenausstattung 1. Geschichte des Schlosses S. 11 2. Die Fresken auf Schloss Runkelstein im Überblick S. 16 2.1 Das Sommerhaus S. 16 2.2 Das Westpalas S. 18 2.3 Die Schlosskapelle S. 19 II. Historischer Kontext: Zur geschichtlichen Einordnung der Auftraggeber 1. Abriss der Geschichte des Landes Tirol S. 20 2. Die Stellung des Bürgers und die Bedeutung des Handels S. 24 3. Die Vintler S. 26 III. Darstellungen von Ritterepen im alpinen Raum und Oberitalien 1. Freskenzyklen mit Themen aus der Artussage S. 29 2. Minne-, Kampf- und Monatsbilder: Freskenzyklen mit nicht-arturischen Sujets S. 34 IV. Zum künstlerischen Stellenwert des Garel-Zyklus 1. Der literarische Kontext: Kurze Übersicht zur Entwicklung des klassischen Artus-Romans und die literarische Einordnung des „Garel vom blühenden Tal“ S. 42 2. Überlegungen zur Bilderzählung: Der Roman „Garel vom blühenden Tal“ und die dargestellten Szenen auf Runkelstein S. 46 3. Die Meisterfrage S. 73 4. Die Raumgestaltung und Bildkomposition der Szenenkulisse im Garel-Zyklus S. 78 5. Motivtradition des Artusromans im Garelzyklus S. 83 5.1 Bilderfelder mit zeremoniellem Inhalt S. 86 5.2 Kampf und Schlachtenszenen S. 88 Zusammenfassung S. 91 Bibliographie S. 93 Abbildungsnachweis S. 100 Lebenslauf S. 106 3 4 Vorwort Nachdem mir bereits vor mehreren Jahren vorgeschlagen worden war, ein Diplomarbeitsthema zu wählen, das mit Schloss Runkelstein in Verbindung steht, entschloss ich im März 2006 – nach mehreren Arbeitstitel-Vorschlägen von Seiten des Kurators Mag.
    [Show full text]
  • Celtic Folklore Welsh and Manx
    CELTIC FOLKLORE WELSH AND MANX BY JOHN RHYS, M.A., D.LITT. HON. LL.D. OF THE UNIVERSITY OF EDINBURGH PROFESSOR OF CELTIC PRINCIPAL OF JESUS COLLEGE, OXFORD VOLUME II OXFORD CLARENDON PRESS 1901 Page 1 Chapter VII TRIUMPHS OF THE WATER-WORLD Une des légendes les plus répandues en Bretagne est celle d’une prétendue ville d’ls, qui, à une époque inconnue, aurait été engloutie par la mer. On montre, à divers endroits de la côte, l’emplacement de cette cité fabuleuse, et les pecheurs vous en font d’étranges récits. Les jours de tempéte, assurent-ils, on voit, dans les creux des vagues, le sommet des fléches de ses églises; les jours de calme, on entend monter de l’abime Ie son de ses cloches, modulant l’hymne du jour.—RENAN. MORE than once in the last chapter was the subject of submersions and cataclysms brought before the reader, and it may be convenient to enumerate here the most remarkable cases, and to add one or two to their number, as well as to dwell at some- what greater length on some instances which may be said to have found their way into Welsh literature. He has already been told of the outburst of the Glasfryn Lake and Ffynnon Gywer, of Llyn Llech Owen and the Crymlyn, also of the drowning of Cantre’r Gwaelod; not to mention that one of my informants had something to say of the sub- mergence of Caer Arianrhod, a rock now visible only at low water between Celynnog Fawr and Dinas Dintte, on the coast of Arfon.
    [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]