Creation of a Bibliography of Welsh-Celtic Literature: a Case Study on the Suitability of Using Online Catalogues for Bibliographic Research
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“The Prophecies of Fferyll”: Virgilian Reception in Wales
“The Prophecies of Fferyll”: Virgilian Reception in Wales Revised from a paper given to the Virgil Society on 18 May 2013 Davies Whenever I make the short journey from my home to Swansea’s railway station, I pass two shops which remind me of Virgil. Both are chemist shops, both belong to large retail empires. The name-boards above their doors proclaim that each shop is not only a “pharmacy” but also a fferyllfa, literally “Virgil’s place”. In bilingual Wales homage is paid to the greatest of poets every time we collect a prescription! The Welsh words for a chemist or pharmacist fferyllydd( ), for pharmaceutical science (fferylliaeth), for a retort (fferyllwydr) are – like fferyllfa,the chemist’s shop – all derived from Fferyll, a learned form of Virgil’s name regularly used by writers and poets of the Middle Ages in Wales.1 For example, the 14th-century Dafydd ap Gwilym, in one of his love poems, pic- tures his beloved as an enchantress and the silver harp that she is imagined playing as o ffyrf gelfyddyd Fferyll (“shaped by Virgil’s mighty art”).2 This is, of course, the Virgil “of popular legend”, as Comparetti describes him: the Virgil of the Neapolitan tales narrated by Gervase of Tilbury and Conrad of Querfurt, Virgil the magician and alchemist, whose literary roots may be in Ecl. 8, a fascinating counterfoil to the prophet of the Christian interpretation of Ecl. 4.3 Not that the role of magician and the role of prophet were so differentiated in the medieval mind as they might be today. -
Storytelling in Medieval Wales
Oral Tradition, 7/2 (1992):231-57 Storytelling in Medieval Wales Sioned Davies The Storyteller Very little is known of the storyteller and his functions in medieval Welsh society. Welsh sources imply that tales were recited in prose by professional storytellers—the cyfarwyddiaid (singular cyfarwydd). In medieval Ireland, there is evidence to suggest that the composition of both prose and poetry was linked to the fili, the poet, although storytelling was not one of his main functions.1 In Wales, however, there is no direct evidence regarding the relationship between the bardd (poet) and cyfarwydd (storyteller). One much quoted passage in an eleventh-century tale tells of Gwydion and his companions visiting the court of Pryderi in the guise of poets2— They were made welcome. Gwydion was placed beside Pryderi that night. “Why,” said Pryderi, “gladly would we have a tale [cyfarwyddyd] from some of the young men yonder.” “Lord,” said Gwydion, “it is a custom with us that the first night after one comes to a great man, the chief bard [pencerdd] shall have the say. I will tell a tale gladly.” Gwydion was the best teller of tales [cyfarwydd] in the world. And that night he entertained the court with pleasant tales and storytelling [cyfarwyddyd] till he was praised by everyone in the court. —while on another occasion Gwydion, in the guise of a poet from Glamorgan (in South Wales) is made welcome at a North Wales court and narrates cyfarwyddyd (stories) after feasting (Jones and Jones 1949:67). Both passages are open to interpretation regarding the role and significance 1 Mac Cana 1980; see also Bromwich 1978:lxxxiii-lxxxvi. -
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. -
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’). -
The Figure of Taliesin in Charles Williams' Arthuriad
Volume 10 Number 1 Article 4 4-15-1983 The Figure of Taliesin in Charles Williams' Arthuriad Richard Woods Stritch School of Medicine, IL Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Woods, Richard (1983) "The Figure of Taliesin in Charles Williams' Arthuriad," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 10 : No. 1 , Article 4. Available at: https://dc.swosu.edu/mythlore/vol10/iss1/4 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Discusses Taliesin as a historical personage and as a legendary and mythological figure, and specifically the sources for Williams’s portrayal of Taliesin in his Arthurian poetry. Speculates on why Williams chose Taliesin as the “romantic focus” of his poems, how he conceived his role, and why he departed from traditional sources. -
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. -
Facsimile & Text of the Book of Taliesin
•J--. msm^mmM u THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES GIFT OF FREDERIC THOMAS BLANCHARD FOR THE ENGLISH READING ROOM (5\0JLJi oiiL..<3L- I(j)bj)r Caltessin. Polumc \x. of tt)e : Eight hundred Copies of this IVorh were printed at the Pri-jate Press of the Editor in igoo-04; Nos. I—125 on Japanese Vellum paper; 126—^75 on toned linen-made paper; 2j6—4^0 on deckled-edgepaper 4SI—800 have Text only. mj^ii jTacsimile t Ce^t of tf)t i^oofe of Caliesm KcproDuceD $ oBDitcD l|?on. i«.a.. t t?on. D. Litt. (a^xon.) l^on, 3D, titt. (MaaUfl). Keis a vedrich, ac a eliteh guna. tlanficDtog, J^. CQales : JooucO to stubjjcribrrjj onlj». i-ft.D^cac.x. Withdrawn <:li'hi is deserted, & taliesin is jettisoned. There is no oracle left to Pre- consult, and no lecture-room open that face names the name of Taliesin. The learned who write in Encyclopedias are like the bards at the Court of Deganwy — in the presence of Taliesin they become mute mutterers of Blerwm, hlerwm.^ This is very remarkable when we recall the fact that our earlier and better poets esteemed Taliesin as their ' chief,' and most assuredly they were right. What then is the explanation of the neglect, not to say bo)xot, of our time? The mtinuscript*' which contains his poetical works is beautifully' written, and 2} one of the easiest to read. Alas, it is also one of the most difificult to understand, because it is among the least faithful of transcripts. -
La Recepción De La Narrativa Francesa Medieval En El País De Gales Durante La Edad Media: Los Casos De Chwedyl Iarlles Y Ffynnawn Y Cân Rolant
La recepción de la narrativa francesa medieval en el País de Gales durante la Edad Media: Los casos de Chwedyl Iarlles y Ffynnawn y Cân Rolant Cordo, Luciana Russo Delpy, María Silvia 2015 Tesis presentada con el fin de cumplimentar con los requisitos finales para la obtención del título Doctor de la Universidad de Buenos Aires en Letras Universidad de Buenos Aires Facultad de Filosofía y Letras Carrera de Letras Tesis doctoral The reception of medieval French narrative in medieval Wales: the case of Chwedyl Iarlles y Ffynnawn and Cân Rolant Directora de tesis: María Silvia Delpy Co-directora de tesis: Sioned Mair Davies Doctoranda: Luciana Mabel Cordo Russo DNI: 31.380.063 Expediente: 860.803/10 Tel. 15-6531-1555 E-mail: [email protected] - 2014 - Universidad de Buenos Aires Facultad de Filosofía y Letras Carrera de Letras Tesis doctoral The reception of medieval French narrative in medieval Wales: the case of Chwedyl Iarlles y Ffynnawn and Cân Rolant Directora de tesis: María Silvia Delpy Co-directora de tesis: Sioned Mair Davies Doctoranda: Luciana Mabel Cordo Russo - 2014 - Acknowledgements .............................................................................................................. v PART I ................................................................................................................................... 1 1.1 Definitions ..................................................................................................................... 2 1.2 Translating in Medieval Wales: Research Questions -
Hanes Taliesin Taliesin's Tale Christopher Painter
CHRISTOPHER PAINTER HANES TALIESIN TALIESIN’S TALE ORIANA DIGITAL DOWNLOAD ORIANA PUBLICATIONS LIMITED CWMNI CYHOEDDI ORIANA Commissioned by Sioned Eleri Roberts with funds made available by the Arts Council of Wales, National Assembly for Wales and the National Lottery First performance: Pair Dadeni - Powis Hall, Bangor - October 6th 2011 (The Cauldron of Rebirth) Gwion yn hedfan a genidigaeth Taliesin - Theatr Cymru, Mold - February 7th 2012 (Gwion's Flight and the Birth of Taliesin) Mordaith Taliesin - Riverfront Centre, Newport - March 3rd 2012 (The Voyage of Taliesin) Myfi, Taliesin - Riverfront Centre, Newport - March 3rd 2012 (I, Taliesin) Hanes Taliesin - Riverfront Centre, Newport - March 3rd 2012 (Taliesin's Tale) Duration: 15' 30" With thanks to the following: Gyda diolch i'r canlynol: Arts Council of Wales Cyngor Celfyddydau Cymru The National Lottery Y Loteri Genedlaethol Welsh Assembly Government Llywodraeth Cynulliad Cymru European Social Fund Cronfa Gymdeithasol Ewrop Knowledge Economi Skills Scholarship Sgiliau ar gyfer yr Economi Wybodaeth Ensemble Cymru Ensemble Cymru Bangor University Prifysgol Bangor Welsh Music Guild Cymdeithas Cerddoriaeth Cymru HANES TALIESIN TALIESIN’S TALE Taliesin’s Tale is a work for solo clarinet which may be performed as a solo concert item, as a work with improvisatory dance elements for the performer or as a work for clarinettist and dancer, either choreographed (by the performers) or improvised by the dancer – it is intended that when performed as a duo, the dance element should be organic and should flow from the performers and not be pre- defined by the score. The work may be performed either in its entirety or as individual, distinct, movements. -
Ttu Mac001 000055.Pdf (6.020Mb)
i.^'<mt.:i^.'-M.:,.s^^iii , • CELTIC LITERATURE THE STUDY OF CELTIC LITERATURE BY MATTHEW ARNOLD Ipopular l65(t(on LONDON SMITH, ELDER, cS: CO., 15 WATERLOO PLACE 1891 [Alt rights reserved] INTRODUCTION. THE following remarks on the study of Celtic Literature formed the substance of four lectures given by me in the chair of poetry at Oxford. They were first published in the Cornhill Magazine, and are now reprinted from thence. Again and again, in the course of them, I have marked the very humble scope intended ; which is, not to treat any special branch of scientific Celtic studies (a task for which I am quite incompetent), but to point out the many direc tions in which the results of those studies offer matter of general interest, and to insist on the benefit we may all derive from knowing the Celt and things Celtic more thoroughly. It was impossible, however, to avoid touching on certain points of ethnology and philology, which can be securely handled only by those who have made these sciences the object of special study. Here the mere literary critic must owe his whole safety to his tact in choosing authorities to follow, and whatever he advances must be vi THE STUDY OF CELTIC LITERATURE understood as advanced with a sense of the insecurity which, after all, attaches to such a mode of proceeding, and as put forward provisionally, by way of hypothesis rather than of confident assertion. To mark clearly to the reader both this provisional character of much which I advance, and my own sense of it, I have inserted, as a check upon some of the positions adopted in the text, notes and comments with which Lord Strangford has kindly furnished me. -
28 Winter 1982
The Charles Williams Society NEWSLETTER No. 28, WINTER 1982 MEEr1NGSOFTHECHARLESiULLIA,J.:SSOC1ErY II June 1983: Annual General I,~eeting. Professor Barbara Reynolds will speak on 'Charles Williams, Dorothy L. Sayers and Dante'. 10 September 1983:.'/e will hold our annual day conference in the church of St Andrew-by-the-~.7a.rdrobe,London EC4. Professor de Mello 1.~oserwill speak on the theme of his book 'Charles :'Tilliams, A ~st, Vision and l!yth'; Brian Horne will lead the discussion following, and after lunch we will read from the Taliessin poems. 19 November1983 ) on one of these dates we will be having an outside speaker ) and on the other will be reading from l~y Dimensions. 25·February 1984 ) All meetings (except the conference) will be held at Liddon I{ouse, 24 South Audley street, London W.I. LONDONREADDlGGROUP Sunday 29 ray 1983 at Ipm at st Basil's ~ouse, 52 Ladbroke Grove, London d.II. Coffee and tea are provided but sandwiches should be brou&}1t. 1.:3 we make a donation of £.5 to the House funds for the use of the room, each memberwill be asked for a contribution on the day. Wewill continue reading Arthurian Torso. OXFORDRZA.J!]GGROUP For details contact either Brenda Bou&~ton(Oxford 55589) or Anne Scott (53891). L.AIGJ.:1C3IG.ANAREAR3AD11:GGROUP For details please contact Charles Hattar, 188 "J.IIth st., Holland, l':ichigan 49423, USA. Telephone (616) 396 2260. David Dodds' production of ThomasCra.m:ierof Canterbury announced in the previous Newsletter has been postponed until 10, II, 12 and 14 l!a.y.