By Ceridwen Lloyd-Morgan
This unique variety of the well-established sequence Arthurian Literature is dedicated to Celtic fabric. Contributions, from major specialists in Celtic experiences, disguise Welsh, Irish and Breton fabric, from medieval texts to oral traditions surviving into sleek occasions. the quantity displays present developments and new ways during this box when additionally making on hand in English fabric hitherto inaccessible to these without interpreting wisdom of the Celtic languages.
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Extra resources for Arthurian Literature XXI: Celtic Arthurian Material (v. 21)
The Battle of Mag Mucrumma Irish Texts Society 50 (Dublin, 1975). 22 ARTHUR OF THE IRISH Although the Irish translation (LB) does not choose to include what it most likely had, the name of Arthur’s dog, Cafal, the equine associations of the animal may have provided the key for the Fenian retelling of a tale that exchanges dogs and horses. 52 The immediate internal context for this tale of a Fenian Arthur can also be explained along these lines. The Acallam, I would argue, is a work that is deeply engaged with the immediate social issues of concern to the ecclesiastical world of the late twelfth century.
Culhwch’s birth Stepmother’s curse Culhwch’s journey to Arthur’s court 2. Ac y dyuu Glewlwyt y’r neuad. Amkawd Arthur vrthaw ... (And Glewlwyt came into the hall. Arthur said to him . ) The porter Glewlwyd’s oration Arthur welcomes Culhwch to court lines 175–357 3. Asswynaw y gyuarws ohonaw ar Kei a Bedwyr . . (He invoked his gift from him in the name of Cai and Bedwyr . ) Culhwch lists Arthur’s men lines 358–73 4. Y am Wenhwyuar, Penn Rianed yr Ynys honn . . (As well as Gwenhwyfar, the Leading Lady of this Island .
Roberts, ‘Tales and Romances’, pp. 215–16. 35 SIONED DAVIES he may have felt that certain episodes were better-known than others, and that there was no need to write them out in full. One can certainly argue that the first two sections of the tale are more ‘fixed’ with a chronological, rational structure to the narrative. The redactor is here at his most creative, pushing conventional storytelling techniques to their limit. Several passages draw attention to themselves, in particular Glewlwyd’s oration, and the two long lists.