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ML 4080 the Seal Woman in Its Irish and International Context

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Mar Gur Dream Sí Iad Atá Ag Mairiúint Fén Bhfarraige: ML 4080 the Seal Woman in Its Irish and International Context The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Darwin, Gregory R. 2019. Mar Gur Dream Sí Iad Atá Ag Mairiúint Fén Bhfarraige: ML 4080 the Seal Woman in Its Irish and International Context. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029623 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Mar gur dream Sí iad atá ag mairiúint fén bhfarraige: ML 4080 The Seal Woman in its Irish and International Context A dissertation presented by Gregory Dar!in to The Department of Celti# Literatures and Languages in partial fulfillment of the re%$irements for the degree of octor of Philosophy in the subje#t of Celti# Languages and Literatures (arvard University Cambridge+ Massa#husetts April 2019 / 2019 Gregory Darwin All rights reserved iii issertation Advisor: Professor Joseph Falaky Nagy Gregory Dar!in Mar gur dream Sí iad atá ag mairiúint fén bhfarraige: ML 4080 The Seal Woman in its Irish and International Context4 Abstract This dissertation is a study of the migratory supernatural legend ML 4080 “The Mermaid Legend” The story is first attested at the end of the eighteenth century+ and hundreds of versions of the legend have been colle#ted throughout the nineteenth and t!entieth centuries in Ireland, S#otland, the Isle of Man, Iceland, the Faroe Islands, Norway, S!eden, and Denmark. I explore a number of related questions concerning this legend: its development and dissemination throughout this geographi# area+ the meanings it conveys for its traditional audiences and performers, and its afterlife in contemporary media and literature4 The first chapter provides an overvie! of all the known versions of The Mermaid Legend, demographi# information about storytellers and colle#tors, its typi#al forms, and the motifs or subtypes whi#h are subje#t to geographi# variation. I argue that the legend originated in Ireland or Gaeli# S#otland and spread from Gaeli# S#otland to Shetland and Orkney, and from there to the rest of the Norse world. My se#ond chapter explores the relationship bet!een The Mermaid Legend and other Irish and S#ottish traditions about seals and mermaids4 I conclude that they represent a stable body of belief concerning s$#h beings+ and relate to broader concerns about the relationship bet!een humans and their environment. In my third chapter, I explore medie)al and early modern Irish literary depi#tions of seals and mermaids4 i) The fourth chapter explores the question of the possible functions and meanings of the legend, at both the colle#tive and individual le)el. I in#lude t!o individual case studies of versions of the legend re#orded from storytellers with large repetoires and s$"fi#ient biographi#al information: Éamonn a Búrc of Carna+ County Gal!ay, and Peig Sayers of Dún Chaoin, County ;erry. In the fi"th and final chapter, I explore a number of films and literary works by Irish #reators whi#h retell or dra! inspiration from this legend. I explore both the relationship bet!een these creators and oral tradition, as well as the ways in whi#h the legend is adapted to address #ontemporary issues and debates about transnationalism, gender, the environment, and more4 ) Table of Contents Abstra#t4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444iii Table of Contents44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444) Abbre)iations Used44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444vii A#kno!ledgements4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444ix edi#ation44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444xii 0. Introduction4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444- 0.1 The S#ope of the Problem and Previous Work4444444444444444444444444444444444444444444444444444444444444444444444< 0.2 Sources4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444= 0.3 Genres44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444. 0.4 Methodology and Outline4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444-- 0.5 Texts and Translations44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444414 1. Distribution and Demographi#s of The Mermaid Legend444444444444444444444444444444444444444444444444444444444-? 1.1 Si@e of Corpus and Geographi#al Distribution4444444444444444444444444444444444444444444444444444444444444444444-? 1.2 Sources44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444-= 1.2.1 Ireland4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444418 1.2.2 S#otland44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444,- 1.2.3 Isle of Man4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444,, 1.2.4 Norway444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444,< 1.2.5 S!eden444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444,< 1.2.6 Denmark444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444424 1.2.7 Faroe Islands444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444424 1.2.8 Iceland4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444,> 1.3 Length and Style44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444,? 1.4 Demographi#s44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444428 1.4.1 Colle#tor Demographi#s444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444428 1.4.2 Informant Demographi#s44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444430 1.4.3 Source Demographi#s44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444<- 1.5 A#tors and Obje#ts44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444<> 1.5.1 The Supernatural Woman.4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444<> 1.5.2 The Stolen Obje#t44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444<. 1.5.3 The Man4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444442 1.6 Encounter and Capture4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444 1.7 Marriage and cohabitation44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444450 1.8 Dis#overy and es#ape4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444>< 1.9 Subsequent events444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444>= 1.10 Stable texts44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444460 1.10.1 “Shiubhail mB an domhan”4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444?- 1.10.2 “3C mar sin atD tigh m’athar-sa644444444444444444444444444444444444444444444444444444444444444444444444444444444?> 1.10.3 “A Mhéirdrea#h Bhalbh!”444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444?= 1.10.4 “Súil UC Dhúda le hArd na Ria64444444444444444444444444444444444444444444444444444444444444444444444444444444468 1.10.5 “MBr er um og ó”444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444470 1.10.6 “Í kvöld verði eg konuleysur!”4444444444444444444444444444444444444444444444444444444444444444444444444444444444=, vi 1.10.7 “1are!ell444 I al!ays loved my first husband m$#h better4644444444444444444444444444444444444444=< 1.10.8 “Mairg a thugann cúl le cine644444444444444444444444444444444444444444444444444444444444444444444444444444444444474 -4-1 Conclusions44444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444=>
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    The Heroic Biography of Cu Chulainn

    THE HEROIC BIOGRAPHY OF CU CHULAINN. By Lisa Gibney B.A. NUl MAYNOOTH Ollicoil ni ft£ir«ann Mi ftuid FOR M.A IN MEDIEVAL IRISH HISTORY AND SOURCES, NUI MAYNOOTH, THE DEPARTMENT OF MEDIEVAL IRISH STUDIES, JULY 2004. DEPARTMENT HEAD: MCCONE, K SUPERVISOR: NI BHROLCHAIN,M 60094838 THE HEROIC BIOGRAPHY OF CU CHULAINN. By Lisa Gibney B.A. SPECIAL THANKS TO: Ann Gibney, Claire King, Mary Lenanne, Roisin Morley, Muireann Ni Bhrolchain, Mary Coolen and her team at the Drumcondra Physiotherapy Clinic. CONTENTS 1. Introduction 2 2. Heroic Biography 8 3. Conception and Birth: Compert Con Culainn 18 4. Youth and Life Endangered: Macgnimrada 23 Con Culainn 5. Acquires a wife: Tochmarc Emere 32 6. Visit to Otherworld, Exile and Return: 35 Tochmarc Emere and Serglige Con Culainn 7. Death and Invulnerability: Brislech Mor Maige 42 Muirthemne 8. Conclusion 46 9. Bibliogrpahy 47 i INTRODUCTION Early Irish literature is romantic, idealised, stylised and gruesome. It shows a tension between reality and fantasy ’which seem to me to be usually an irresolvable dichotomy. The stories set themselves in pre-history. It presents these texts as a “window on the iron age”2. The writers may have been Christians distancing themselves from past heathen ways. This backward glance maybe taken from the literature tradition in Latin transferred from the continent and read by Irish scholars. Where the authors “undertake to inform the audience concerning the pagan past, characterizing it as remote, alien and deluded”3 or were they diligent scholars trying to preserve the past. This question is still debateable. The stories manage to be set in both the past and the present, both historical Ireland with astonishingly accuracy and the mythical otherworld.
  • Literature and Learning in Early Medieval Meath

    Literature and Learning in Early Medieval Meath

    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Literature and learning in early medieval Meath Author(s) Downey, Clodagh Publication Date 2015 Downey, Clodagh (2015) 'Literature and Learning in Early Publication Medieval Meath' In: Crampsie, A., and Ludlow, F(Eds.). Information Meath History and Society: Interdisciplinary Essays on the History of an Irish County. Dublin : Geography Publications. Publisher Geography Publications Link to publisher's http://www.geographypublications.com/product/meath-history- version society/ Item record http://hdl.handle.net/10379/7121 Downloaded 2021-09-26T15:35:58Z Some rights reserved. For more information, please see the item record link above. CHAPTER 04 - Clodagh Downey 7/20/15 1:11 PM Page 1 CHAPTER 4 Literature and learning in early medieval Meath CLODAGH DOWNEY The medieval literature of Ireland stands out among the vernacular literatures of western Europe for its volume, its diversity and its antiquity, and within this treasury of cultural riches, Meath holds a prominence greatly disproportionate to its geographical extent, however that extent is reckoned. Indeed, the first decision confronting anyone who wishes to consider this subject is to define its geographical limits: the modern county of Meath is quite a different entity to the medieval kingdom of Mide from which it gets its name and which itself designated different areas at different times. It would be quite defensible to include in a survey of medieval literature those areas which are now under the administration of other modern counties, but which may have been part of the medieval kingdom at the time that that literature was produced.
  • Without Contraries There Is No Progression

    Without Contraries There Is No Progression

    Högskolan Dalarna Department of English h 05 English C Essay Supervisor: Ellen Matlok-Ziemann Sources for the Dualistic Role and Perception of Women in Celtic Legends Michal Matynia 820609-P459 Norra Järnvägsgatan 20 791 35 Falun [email protected] 1 Contents Introduction....................................................................................................................... 2 Chaos and Order, Religion and Social Structure. ......................................................... 5 Woman as Nature ............................................................................................................. 6 Woman as Goddess........................................................................................................... 9 Heterogeneity of Celtic Women in the World of Men................................................. 12 Women Within and Beyond the Binary Perspective. .................................................. 19 Conclusion ....................................................................................................................... 26 Bibliography .................................................................................................................... 28 2 INTRODUCTION There are two morphological archetypes…expression of order, coherence, discipline, stability on the one hand; expression of chaos, movement, vitality, change on the other. Common to morphology of outer and inner processes, there are basic polarities recurring in physical phenomena, in the organic world and in the human