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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’). -
Journey Planet 57—January 2021 ~Table of Contents~ 2
Arthur, King of the Britons Editors Chris Garcia, Chuck Serface, James Bacon Journey Planet 57—January 2021 ~Table of Contents~ 2 Page 5 King Arthur Plays Vegas: The Excalibur Editorial by Christopher J. Garcia by Christopher J. Garcia Page 38 Page 7 In Time of Despair and Great Darkness Letters of Comment by Ken Scholes by Lloyd Penney Page 49 Page 12 Camelot Instant Fanzine Article: Arthur and Merlin by Laura Frankos by Christopher J. Garcia and Chuck Serface Page 55 Page 16 A Retro-Review: Monty Python’s Spamalot The Story of Arthur by Steven H Silver Retold by Bob Hole Page 58 Page 19 Arthurs for Our Time: Recent Interpretations Arthur, Alfred, and the Myth of England of the Legend by Julian West by Chuck Serface Page 62 Page 23 Lady Charlotte and King Arthur Two Cups of Blood: Dracula vs. King Arthur by Cardinal Cox by Derek McCaw Page 64 Page 29 From a Certain Point of View: Merlin & Nimue Knights of Pendragon: The Other Arthurian Comic by Steven H Silver by Helena Nash Page 31 Page 75 Interview with Dorsey Armstrong Tristan, Isolde, and Camelot 3000 by Christopher J. Garcia by Christopher J. Garcia Page 35 King Arthur in Fifteen Stamps Page 77 by Bob Hole “It’s Only a CGI Model”: Arthurian Movies of the Twenty-First Century Page 36 by Tony Keen Arthur, King of the Britons 3 ~Table of Contents~ Page 81 Cover by Vanessa Applegate Terry Gilliam's The Fisher King by Neil Rest Page 1—DeepDreamGenerator Combination of Page 84 King Arthur Tapestry of the Nine Worthies and My Barbarian’s “Morgan Le Fey” . -
Exploring Stories
Exploring Stories Overview Beyond Booked Up aims to inspire a love of reading in Year 7 and 8 students through engagement with high quality writing across a range of formats. Exploring Stories is the Beyond Booked Up autumn term resource for Year 8 students. This resource includes a range of ways to explore the story of King Arthur. The tale of King Arthur is one of the most enduring stories in Britain’s history. The various legends, along with the limited historical evidence, have combined to leave an indelible and intriguing narrative legacy. From 12th-century manuscripts, to 21st-century film and television, King Arthur, Merlin and the Knights of the Round Table have been reimagined and retold for over 800 years. Exploring Stories aims to support students to develop a love of reading by delving into these exciting myths, using a wide range of texts, forms and genres. This CD-Rom resource features a rich variety of extracts that are designed to provide a fun and accessible route into discussions about storytelling. Learning Objectives: Exploring Stories provides a great opportunity for students to widen their reading experiences by engaging with a range of different texts, forms and genres. Specifically, the Exploring Stories resource is intended to support students to: • develop a love of reading through exploring different forms of storytelling • increase familiarity with a wide range of books, including myths and legends Resources: The CD-Rom contains extracts from a range of different versions of the King Arthur story, with a focus on the retellings of the sword in the stone, Excalibur and the Lady in the Lake. -
King Arthur and His Knights
King Arthur and his Knights by George Gibson 1/23 Contents Chapter One: Young Arthur............................................................................3 Chapter Two: The sword in the stone............................................................. 4 Chapter Three: Britain has a King...................................................................5 Chapter Four: Excalibur.................................................................................. 6 Chapter Five: Arthur meets Guinevere........................................................... 7 Chapter Six: The five Kings............................................................................8 Chapter Seven: Lancelot............................................................................... 10 Chapter Eight: The Holy Grail...................................................................... 12 Chapter Nine: King Arthur goes to Aralon................................................... 14 Track 1: Was King Arthur Only a Legend?.................................................. 16 Track 2: Before Arthur's Time...................................................................... 17 Track 3: Knight............................................................................................. 18 Track 4: Page, Squire, Knight....................................................................... 19 Track 5: Castles.............................................................................................20 Track 6: Old Castle of Great Interest........................................................... -
Who Was King Arthur?
Exploring Stories – King Arthur Lesson 1 – Who was King Arthur? Learning objectives Students will learn to: • develop their understanding of King Arthur and Arthurian legend • explore the significance of different types of media texts in the representation of Arthurian legend • develop their understanding and analysis of the graphic novel form. Resources - Graphic novel extract: Excalibur: The Legend of King Arthur by Tony Lee and Sam Hart - Comic book extract: King Arthur and the Knights of the Round Table by Marcia Williams - Google images (Arthurian Legend) - Mind map template Possible additional resources: - Disney’s The Sword in the Stone (opening clip), available on YouTube - King Arthur trailer (2004), available on YouTube Starter Put up several different images relating to King Arthur and Arthurian legend on the whiteboard as students enter the room. Typing ‘Arthurian legend’ into Google images, for example, provides a wide variety. You could have the images timed to rotate on a PowerPoint. Consider showing as many different types of images as possible from historical paintings/drawings to more modern animation and film images. Elicit from students what they know about the content of the images. They could write down their thoughts to begin with on a blank piece of paper or on the mind map template provided. Then discuss as a whole group. Subsequently, you could then ask students to consider the different types of media that have been shown (eg film image, cartoon image, modern painting, historical drawing) and the ways in which Arthurian legend has been represented throughout history. You could ask students whether they think the type of media influences the type of representation in any way. -
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 -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
Medieval Beliefs in Arthur's Atlantic Voyages
3 MEDIEVAL BELIEFS IN ARTHUR’S ATLANTIC VOYAGES ARTHUR’S DEATH OVERSEAS IN GEOFFREY’S HISTORY Geoffrey’s Reconcilation of Two Traditions The thesis set out in this book, that Arthur sailed west to a distant land in the sixth century, here identified as North America, is not a new one. It was present at the time that Geoffrey of Monmouth wrote his famous History of the Kings of Britain in c. 1138. Geoffrey drew on a wide range of material to write his book and would have been familiar with the entry in the Annales Cambriae that Arthur died at the battle of Camlann along with Mordred (Medraut) in 537/539. Camlann was thought to be located in Britain. In his pseudo-history, Geoffrey expands this data into a tale of adultery and betrayal. He presents Mordred as Arthur’s nephew, usurping the crown and having a sexual relationship with Guinevere (Gwenhwyfar), while Arthur was fighting in Europe. Hearing this news, Arthur returns to Britain and engages Mordred in a series of battles until Mordred flees to Cornwall. There at the River Camblam (Geoffrey’s location for Camlann) the final battle took place, where Mordred is killed. However at this point Geoffrey inexplicably departs from the basic data of the Annales Cambriae. Instead of Arthur dying at Camlann, Geoffrey presents him as only being severely wounded and abruptly states that he was then carried off to the Isle of Avalon so that his wounds might be healed. No information or explanation concerning the Isle of Avalon is given. The key question of interest is why did not Geoffrey simply allow Arthur’s life to end at Camlann, as in the Annales Cambriae, dying a heroic death but winning the battle against the traitors and heathens opposed to him? The answer to this is that Geoffrey was aware of a different tradition that had Arthur dying at a distant place overseas. -
Challenging Teenage and Young Adult Reading in the UK: the Novels of Philip Reeve
Challenging teenage and Young Adult reading in the UK: the novels of Philip Reeve. Professor Jean Webb, Director of the International Forum for Research in Children's Literature, Institute of Humanities & Creative Arts, University of Worcester, UK. September 2013. The UK and American market in young adult and teen fiction is very buoyant with a considerable number of new books each year, not to mention those which are published in the American market and are available in the UK. I have therefore decided to focus on the work of Philip Reeve who is a particularly outstanding author who has won or been nominated for a number of major awards, including winning the Carnegie Medal and the Guardian Children’s Fiction Prize for No Such Thing As Dragons (2009). Reeve’s novels are wide ranging and challenge the thinking of teenage and young adult readers. His work includes science fiction in his Mortals Engines series (2001-2006) to heroic legend in Here Lies Arthur (2007) and touching on the essential components of fairy tale in No Such Thing As Dragons (2009). Reeve is a brilliant storyteller who challenges his readers to think whilst engaging them in a complex and evocative adventure. To date there has been very little academic consideration of his work. The extant book reviews do little other than re-tell the story to attract readers, yet Reeve makes his readers think about the contemporary world through imaginative and unusual situations raising practical questions about responsibility for the environment in his Mortal Engines series and philosophical and moral questions in Here Lies Arthur and No Such Thing As Dragons. -
Early Arthurian Tradition and the Origins of the Legend
Arthuriana Arthuriana Early Arthurian Tradition and the Origins of the Legend Thomas Green THE LINDES PRESS As with everything, so with this: For Frances and Evie. First published 2009 The Lindes Press Louth, Lincolnshire www.arthuriana.co.uk © Thomas Green, 2009 The right of Thomas Green to be identified as the Author of this work has been asserted in accordance with the Copyrights, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing of the Author. A catalogue record for this book is available from the British Library. ISBN 978 1 4452 2110 6 Contents Preface vii 1 The Historicity and Historicisation of Arthur 1 2 A Bibliographic Guide to the Welsh Arthurian Literature 47 3 A Gazetteer of Arthurian Onomastic and Topographic Folklore 89 4 Lincolnshire and the Arthurian Legend 117 5 Arthur and Jack the Giant-Killer 141 a. Jack & Arthur: An Introduction to Jack the Giant-Killer 143 b. The History of Jack and the Giants (1787) 148 c. The 1711 Text of The History of Jack and the Giants 166 d. Jack the Giant Killer: a c. 1820 Penny Book 177 e. Some Arthurian Giant-Killings 183 6 Miscellaneous Arthuriana 191 a. An Arthurian FAQ: Some Frequently Asked Questions 193 b. The Monstrous Regiment of Arthurs: A Critical Guide 199 c. An Arthurian Reference in Marwnad Gwên? The Manuscript 217 Evidence Examined d. -
Magic Weapons and Armour in the Middle Ages
1 ‘No weapon could bite him’ – Magic weapons and armour in the middle ages Magic weapons and armour are things we usually associate with the realms of myth or fantasy rather than history. And yet, in semi-historical and even historical sources throughout the medieval period we find accounts of magic weapons which bring down foes or inspire comrades, or of shields and armour which protect the wearer no matter what they faced. What is more, it is clear that there is a historical reality at play in such mythological accounts and we can see a clear development of how mundane equipment came to be considered magical. ‘I shall call thee …’ The tradition of named weapons The tradition of named weapons is well known – Siegfried’s sword Balmung (or Nothung), Thor’s hammer Mjölnir, Arthur’s Excalibur, or Attila’s ‘Sword of Mars’ (Jordanes Getica 35) and many, many others. As can be seen in these examples we can easily transition from myth to semi- historical, and into historical characters, all of whom had named weapons. Indeed, the history of named weapons dates back to antiquity and there are literally hundreds of them across all cultures where swords, and any other weapon type you care to name, were used: Scandanavian, Near Eastern, Indian, South-East Asian, Greek and Roman, Germanic and Celtic. In a similar vein, the history of named ships is an old one and one which continues today. In the medieval period we have Arthur’s ship, with the same name as his shield, Prydwen (meaning ‘fair-face’), and the Norse god Baldur’s ship Hringhorni, the greatest of all ships, and others. -
The Court of Camelot Arthurian Pantheon
The Court of Camelot Arthurian Pantheon “YET some men say in many parts of England that King Arthur is not dead, but had by the will of our Lord Jesu into another place; and men say that he shall come again, and he shall win the holy cross. I will not say it shall be so, but rather I will say: here in this world he changed his life. But many men say that there is written upon his tomb this verse: Hic jacet Arthurus, Rex quondam, Rexque futurus (Here lies Arthur the once and future king). “ - Le Morte D'Arthur by Thomas Malory “So there’s a few floors of military police, six confirmed sorcerers, a couple dozen spartoi, and an elite squad of werewolf warriors? I thought you said this was going to be hard.” -Joe Ortega, Lancelot OVERVIEW The gods often concern themselves with stories of creation, of times before men, when the divines and titans shaped the fabric of the world. If you look for primal tales at the dawn of eternity, keep looking: you will not find them here. The stories of Camelot are the stories of heroes, of those bound by fate and those who conquered it. The first court of Arthur was made up of Scions of the Welsh and Irish Pantheons, with a few from even stranger heritage. They gathered together in Britain to protect mortal men from wicked fairies, dragons, and the incursions of foreign Scions and Titanspawn. As their legend grew, so too did the breadth of their cause. At the height of their power, Arthur and his fellows took a solemn oath upon the Round Table.