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-*19thC *annwfn *character *coherent ​ *critique guest *cwn annwfn *death *gods  *goddess ​ *hunt *interweaving ​ *journal [Guest] *mabinogion ​ *magic *morality ​ ​*pryderi cycle *pughe ​ *romance *ruler ​ *status [of Mabinogi] *social status *structure *style *three themes ​ *voice ​ *women ​+*19thC *annwfn *character *coherent ​ *critique guest *cwn annwfn *death *gods  *goddess ​ *hunt *interweaving ​ *journal [Guest] *mabinogion ​ *magic *moral  ​*pryderi cycle *pughe ​ *romance *ruler ​ *status [of Mabinogi] *social status *structure *style *three themes ​ *voice ​ *women ​
  
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 |1834 est.|Guest\\ ​ //*19thC\\ *journal//​|'​Why should we disregard our own traditions ... because they have not been handed down in Greek or Latin? For my own part, I love the old Legends and Romances as they teach us so naturally the manners and opinions of those who were, in fact, much more nearly connected with us of the present day than were any of the heroes of Rome.' Visit to Warwick Castle. (Guest, R & John 2007 p. 103. Not dated.)| |1834 est.|Guest\\ ​ //*19thC\\ *journal//​|'​Why should we disregard our own traditions ... because they have not been handed down in Greek or Latin? For my own part, I love the old Legends and Romances as they teach us so naturally the manners and opinions of those who were, in fact, much more nearly connected with us of the present day than were any of the heroes of Rome.' Visit to Warwick Castle. (Guest, R & John 2007 p. 103. Not dated.)|
 |1835 Nov.|Guest\\ //*19thC\\ *journal//​|On meeting Elijah Waring ‘our conversation turned much on the superstitions and legends of Wales - I think it might be desirable to make a collection of them.' (S.Davies, '​Guest',​ p. 102)| |1835 Nov.|Guest\\ //*19thC\\ *journal//​|On meeting Elijah Waring ‘our conversation turned much on the superstitions and legends of Wales - I think it might be desirable to make a collection of them.' (S.Davies, '​Guest',​ p. 102)|
 +|1838|Guest\\ //*19thC *annwfn//| ‘Annwvyn, or Annwn is frequently rendered “Hell,” though, the Lower Regions would more aptly express the meaning the name conveys.’ (Guest, p. 289, Endn. to p. 14.|
 |1839 27 April|Guest\\ //*19thC\\ *journal//​|'​I cannot endure anything in a second grade. I am happy to see we are at the head of the iron trade. Otherwise I could not take pride in my house in the City and my Works at Dowlais, and glory (playfully) in being (in some sort) a tradeswoman. Then again, my blood is of the noblest and most princely in the Kingdom, and if I go into Society, it must be the very best and first. I can brook no other. If I occupy myself in writing, my book must be splendidly got up and must be, as far at least as decoration and typography are concerned, at the head of literature'​. (S.Davies, '​Guest',​ p. 170| |1839 27 April|Guest\\ //*19thC\\ *journal//​|'​I cannot endure anything in a second grade. I am happy to see we are at the head of the iron trade. Otherwise I could not take pride in my house in the City and my Works at Dowlais, and glory (playfully) in being (in some sort) a tradeswoman. Then again, my blood is of the noblest and most princely in the Kingdom, and if I go into Society, it must be the very best and first. I can brook no other. If I occupy myself in writing, my book must be splendidly got up and must be, as far at least as decoration and typography are concerned, at the head of literature'​. (S.Davies, '​Guest',​ p. 170|
-|1867|Arnold\\ ​ //*19thC\\ *status//​|'​The very first thing that strikes one, in reading the Mabinogion, is how evidently the mediaeval storyteller is pillaging an antiquity of which he does not fully possess the secret; he is like a peasant building his hut on the site of Halicarnassus or Ephesus; he builds, but what he builds is full of materials of which he knows not the history, or knows by a glimmering tradition merely — stones "not of this building,"​ but of an older architecture,​ greater, cunninger, more majestical. In the medieval stories of no Latin or Teutonic people does this strike one as in those of the Welsh.'​ (Part II, p. 61.)|+|1867|Arnold\\ ​ //*19thC\\ *status//​|'​The very first thing that strikes one, in reading the Mabinogion, is how evidently the mediaeval storyteller is pillaging an antiquity of which he does not fully possess the secret; he is like a peasant building his hut on the site of Halicarnassus or Ephesus; he builds, but what he builds is full of materials of which he knows not the history, or knows by a glimmering tradition merely — stones "not of this building,"​ but of an older architecture,​ greater, cunninger, more majestical. In the medieval stories of no Latin or Teutonic people does this strike one as in those of the Welsh.'​ (Part II, p. 61.) See WJG challenge, & Jones equiv.|
 |1901|Anwyl\\ //​*coherent\\ *style//​|The Mabinogi 'form a unified whole, worked together with considerable skill by a writer to whom the materials seem to have been thoroughly familiar from frequent narration'​. (Part IV, p. 123)| |1901|Anwyl\\ //​*coherent\\ *style//​|The Mabinogi 'form a unified whole, worked together with considerable skill by a writer to whom the materials seem to have been thoroughly familiar from frequent narration'​. (Part IV, p. 123)|
-|1911|E.J.Lloyd\\ //*annwfn// \\ |‘There is no suggestion in the Mabinogion that the dwellers of Annwn had anything necessarily to do with the spirits of the dead– thus the spirit of Llew Llaw Gyffes is represented as taking the form of an eagle, and it is quite possible that the conception of a spirit taking a winged form was fairly common.’ (Lloyd p. 244)| +|1911|Lloyd, ​E.J.\\ ​ //​*annwfn ​*death//|'​Annwn is the Celtic paradise, whose inhabitants possess a higher civilisation,​ and whence come the blessings of this world. The first, and only, reference to Annwn is found in Pwyll ... The inhabitants of Annwn are described as having the same pursuits as the dwellers of the upper world, to which they apparently have free access, and it is even possible for mortals such as Pwyll to sojourn in the mysterious other-world of Annwn occasionally. Perhaps the beautiful white dogs with red (p. 244) ears, which are described in the story of Pwyll, are those known in folklore as Cwn Annwn. There is no suggestion in the Mabinogion that the dwellers of Annwn had anything necessarily to do with the spirits of the dead' (pp. 243-44)| 
-|1911|E.J.Lloyd\\ //​*coherent\\ *pryderi cycle *structure *style//​|'​To appreciate fully the value of the Mabinogion as Literature',​ we must examine their structures and formation, we must study their plot and style',​ and ‘The first thing one notices about the Four Branches is that they form a complete and coherent whole, and seem to be four chapters in one story, the hero of which is Pryderi.'​. (p. 171) cf. Arnold, 1867| +|1911|Lloyd,​ E.J.\\  //​*annwfn *death//|‘There is no suggestion in the Mabinogion that the dwellers of Annwn had anything necessarily to do with the spirits of the dead– thus the spirit of Llew Llaw Gyffes is represented as taking the form of an eagle, and it is quite possible that the conception of a spirit taking a winged form was fairly common.’ (Lloyd p. 244)| 
-|1911|E.J.Lloyd\\ //​*mabinogion\\ *status\\ *gods\\ *goddess *style//​|Conclusion:​ 'Thus we see that the Mabinogion are of inestimable value as literary production, inasmuch as they mirror not only medieval ideas and customs, but also because they contain traces of old Celtic thought in the numerous traditions of gods and goddesses embodied in them. Their literary value is also enhanced by the finished and elegant style of the tales, and by the fact that the plot in most cases is exceptionally good. That Wales should have a literature such as this in the Middle Ages is a fact to be proud of because of its own intrinsic value, but also because of the marked influence it has had over the imaginative literature of Europe.'​ (p. 248)| +|1911|Lloyd, ​E.J.\\ //​*coherent\\ *pryderi cycle *structure *style//​|'​To appreciate fully the value of the Mabinogion as Literature',​ we must examine their structures and formation, we must study their plot and style',​ and ‘The first thing one notices about the Four Branches is that they form a complete and coherent whole, and seem to be four chapters in one story, the hero of which is Pryderi.'​. (p. 171) cf. Arnold, 1867| 
-|1911|E.J.Lloyd\\ //​*mabinogion//​|'​The term Mabinogion is an artificial one, and is used to denote the collection of tales embodied in the Red Book of Hergest, and translated by the Lady Charlotte Guest under that title, but, strictly speaking, the term refers exclusively to the Four Branches, though nowadays it is found a convenient designation for the Four Branches, Maxen Wledig, Lludd and Llevelys, Kulhwch and Olwen, and the Romances.'​ (p. 165)| +|1911|Lloyd, ​E.J.\\ //​*mabinogion\\ *status\\ *gods\\ *goddess *style//​|Conclusion:​ 'Thus we see that the Mabinogion are of inestimable value as literary production, inasmuch as they mirror not only medieval ideas and customs, but also because they contain traces of old Celtic thought in the numerous traditions of gods and goddesses embodied in them. Their literary value is also enhanced by the finished and elegant style of the tales, and by the fact that the plot in most cases is exceptionally good. That Wales should have a literature such as this in the Middle Ages is a fact to be proud of because of its own intrinsic value, but also because of the marked influence it has had over the imaginative literature of Europe.'​ (p. 248)| 
-|1911|E.J.Lloyd\\ //*gods\\ *goddess\\ *magic//​|'​the supernatural is treated as the most natural thing in the world.'​ (p. 164) 'We therefore see that the Mabinogi are made up of local legends, explanation of triads interwoven with traditions concerning ancient gods and goddesses. Magic is the chief machinery of the stories ...'​(p. 222, magic 'chief machinery'​ also 230) 'that peculiar, weird, and mysterious fascination which formed so large a feature of the Mabinogi and of Kulhwch and Olwen.'​ (p. 232)| +|1911|Lloyd, ​E.J.\\ //​*mabinogion//​|'​The term Mabinogion is an artificial one, and is used to denote the collection of tales embodied in the Red Book of Hergest, and translated by the Lady Charlotte Guest under that title, but, strictly speaking, the term refers exclusively to the Four Branches, though nowadays it is found a convenient designation for the Four Branches, Maxen Wledig, Lludd and Llevelys, Kulhwch and Olwen, and the Romances.'​ (p. 165)| 
-|1911|E.J.Lloyd\\ //*voice\\ *women//​|'​Nothing is more noticeable than the treatment of women in the Mabinogion, even in the tales which do not bear the stamp of chivalry. Great deference is paid to women, their opinion is respected, and their advice sought.'​ (p. 234)| +|1911|Lloyd, ​E.J.\\ //*gods\\ *goddess\\ *magic//​|'​the supernatural is treated as the most natural thing in the world.'​ (p. 164) 'We therefore see that the Mabinogi are made up of local legends, explanation of triads interwoven with traditions concerning ancient gods and goddesses. Magic is the chief machinery of the stories ...'​(p. 222, magic 'chief machinery'​ also 230) 'that peculiar, weird, and mysterious fascination which formed so large a feature of the Mabinogi and of Kulhwch and Olwen.'​ (p. 232)| 
-|1911|E.J.Lloyd\\ //*voice\\ *women / Manawydan//​|'​The value placed on conversational power is repeatedly emphasised in these tales; thus Pryderi mentions Rhiannon'​s skill in this direction when suggesting to Manawyddan the advisability of marrying her.' (p. 236)| +|1911|Lloyd, ​E.J.\\ //*voice\\ *women//​|'​Nothing is more noticeable than the treatment of women in the Mabinogion, even in the tales which do not bear the stamp of chivalry. Great deference is paid to women, their opinion is respected, and their advice sought.'​ (p. 234)| 
-|1911|E.J.Lloyd\\ //​*character//​|'​Pryderi and Manawyddan contrasted, the latter being described as a cautious and wary person, rather (p. 235) given to cunning, and prudent in all his negotiations. Pryderi, on the other hand, is more truly Celtic perhaps, being impulsive and hot-tempered,​ and easily driven to act rashly and thoughtlessly. The difference in their characters is revealed in the way Pryderi wishes to resort to arms immediately on learning that they were threatened by the saddlers and shoemakers, and his impetuosity is restrained by Manawyddan who points out the folly and futility of his proposal.'​ (pp. 234-35)| +|1911|Lloyd, ​E.J.\\ //*voice\\ *women / Manawydan//​|'​The value placed on conversational power is repeatedly emphasised in these tales; thus Pryderi mentions Rhiannon'​s skill in this direction when suggesting to Manawyddan the advisability of marrying her.' (p. 236)| 
-|1911|E.J.Lloyd\\ //​*character\\ *morality ​*women//​|'​Rhiannon is the perfect lady, who, rather than condescend to wrangle with the women who had wronged her, prefers to suffer in silence. Branwen, on the other hand, has no scruple about sending a message to her brother asking him to avenge her wrong, although the punishment inflicted upon her was not nearly so heavy as that which Rhiannon bore so quietly.'​ (p. 235)| +|1911|Lloyd, ​E.J.\\ //​*character//​|'​Pryderi and Manawyddan contrasted, the latter being described as a cautious and wary person, rather (p. 235) given to cunning, and prudent in all his negotiations. Pryderi, on the other hand, is more truly Celtic perhaps, being impulsive and hot-tempered,​ and easily driven to act rashly and thoughtlessly. The difference in their characters is revealed in the way Pryderi wishes to resort to arms immediately on learning that they were threatened by the saddlers and shoemakers, and his impetuosity is restrained by Manawyddan who points out the folly and futility of his proposal.'​ (pp. 234-35)| 
-|1911|E.J.Lloyd\\ //​*character\\ *morality//​|'​From the Mabinogion we see that justice, truthfulness,​ and straightforwardness seem to have been qualities greatly admired by the Welsh. Thus we see in the Mabinogi of Math, the justice and wisdom of Math contrasted with the wickedness of Gwydion and Gilvaethwy. ... the stress laid upon the faithfulness of Pwyll and Arawn ... Teyrnon unhesitatingly deciding to restore Gwri, ... showing a keen sense of duty and appreciation of what was fitting. ... But, after all, their code of morals was rather a strange one, for although they were so scrupulous over the sacredness of a promise, yet they sanctioned the disgraceful and mean treatment which Pwyll dealt to Gwawl, on the occasion of their second meeting' ​ (p. 235)| +|1911|.Lloyd, ​E.J.\\ //​*character *place//​|'​Although the story of Pwyll bears a very close relation to the Rhiannon legend, yet she herself was most probably not /p. 174 regarded as a native of Dyfed, for we are told that, after her marriage at her father'​s court, she and Pwyll set out towards Dyfed. It is quite possible that legends concerning Rhiannon prevailed in the districts of Maesyfed and Ardudwy, for Eveydd, the name of Rhiannon'​s father, still survives in the name Maesyfed, for Maes Hyveyd, and in the Mabinogi of Branwen the fabulous birds of Rhiannon are connected with Harlech in Ardudwy.'​ (pp. 173-74)| 
-|1911|E.J.Lloyd\\ //​*morality//​|'​Wrongdoing is everywhere in the Mabinogion harshly punished. There are two very prominent examples of this in the Four Branches in the case of Gwydion and Gilvaethwy, and in that of Gronwy Pefr.' (p. 236)| +|1911|.Lloyd, E.J.\\ //​*character\\ *moral *women//​|'​Rhiannon is the perfect lady, who, rather than condescend to wrangle with the women who had wronged her, prefers to suffer in silence. Branwen, on the other hand, has no scruple about sending a message to her brother asking him to avenge her wrong, although the punishment inflicted upon her was not nearly so heavy as that which Rhiannon bore so quietly.'​ (p. 235)| 
-|1911|E.J.Lloyd\\ //​*morality\\ *status//​|'​All these considerations tend to show that the ethics of the Mabinogion almost coincide with modern ideas of morals, and so betray an advanced stage of civilisation,​ and evince an artistic perception in the way they embody these ethical ideas in picturesque and pleasing form.' (p. 236)|  +|1911|Lloyd, ​E.J.\\ //​*character\\ *moral//​|'​From the Mabinogion we see that justice, truthfulness,​ and straightforwardness seem to have been qualities greatly admired by the Welsh. Thus we see in the Mabinogi of Math, the justice and wisdom of Math contrasted with the wickedness of Gwydion and Gilvaethwy. ... the stress laid upon the faithfulness of Pwyll and Arawn ... Teyrnon unhesitatingly deciding to restore Gwri, ... showing a keen sense of duty and appreciation of what was fitting. ... But, after all, their code of morals was rather a strange one, for although they were so scrupulous over the sacredness of a promise, yet they sanctioned the disgraceful and mean treatment which Pwyll dealt to Gwawl, on the occasion of their second meeting' ​ (p. 235)| 
-|1911|E.J.Lloyd\\ //*social status//​|'​the importance placed upon rank. Thus in the encounter between Pwyll and Arawn, we observe the deference with which Pwyll treats Arawn when he learns his status, and later when Pwyll visits Annwn in the guise of Arawn, he is received and attended to by pages and two knights, and we are told further that they sit at table in order of rank, an allusion which is also found in the account of Branwen'​s marriage feast at Aberffraw ... Rhiannon considers it unseemly that a lady of her position should argue with low and unprincipled women.'​ (p. 236) '​Manawyddan is repeatedly told how very unbecoming it is for a man of his rank to condescend to punish the mouse that has offended him.' )p. 240) Manawydan| +|1911|Lloyd, ​E.J.\\ //​*morality//​|'​Wrongdoing is everywhere in the Mabinogion harshly punished. There are two very prominent examples of this in the Four Branches in the case of Gwydion and Gilvaethwy, and in that of Gronwy Pefr.' (p. 236)| 
-|1911|E.J.Lloyd\\ //*social status\\ *ruler//​|'​the nobles taking counsel together to ask Pwyll to divorce his wife because she was childless is an interesting indication of the way the government of the country was carried on, as it proves that the prince was not an absolute ruler, for Pwyll does not deny their right to advise him in this way' (p. 237)| +|1911|Lloyd, ​E.J.\\ //​*morality\\ *status//​|'​All these considerations tend to show that the ethics of the Mabinogion almost coincide with modern ideas of morals, and so betray an advanced stage of civilisation,​ and evince an artistic perception in the way they embody these ethical ideas in picturesque and pleasing form.' (p. 236)|  
-|1911|E.J.Lloyd\\ //*annwfn\\ *death//|'Annwn is the Celtic paradisewhose inhabitants possess ​higher civilisation, and whence come the blessings of this world. The first, and onlyreference to Annwn is found in Pwyll ... The inhabitants of Annwn are described as having ​the same pursuits as the dwellers ​of the upper world, to which they apparently have free access, and it is even possible for mortals such as Pwyll to sojourn ​in the mysterious other-world of Annwn occasionallyPerhaps the beautiful white dogs with red (p. 244) earswhich are described ​in the story of Pwyllare those known in folklore as Cwn AnnwnThere is no suggestion in the Mabinogion that the dwellers ​of Annwn had anything necessarily to do with the spirits ​of the dead' (pp243-44)|+|1911|Lloyd, ​E.J.\\ //*social status//​|'​the importance placed upon rank. Thus in the encounter between Pwyll and Arawn, we observe the deference with which Pwyll treats Arawn when he learns his status, and later when Pwyll visits Annwn in the guise of Arawn, he is received and attended to by pages and two knights, and we are told further that they sit at table in order of rank, an allusion which is also found in the account of Branwen'​s marriage feast at Aberffraw ... Rhiannon considers it unseemly that a lady of her position should argue with low and unprincipled women.'​ (p. 236) '​Manawyddan is repeatedly told how very unbecoming it is for a man of his rank to condescend to punish the mouse that has offended him.' )p. 240) Manawydan| 
 +|1911|Lloyd, ​E.J.\\ //*social status\\ *ruler//​|'​the nobles taking counsel together to ask Pwyll to divorce his wife because she was childless is an interesting indication of the way the government of the country was carried on, as it proves that the prince was not an absolute ruler, for Pwyll does not deny their right to advise him in this way' (p. 237)| 
 +|1912|WJG\\ //*status//|Challenges Arnold. ​'So with the author of the Mabinogion, many were called to labour, a whole nation of historiansstory-tellers ​and bards, but only one was chosen to raise the superstructure, and to see that every stonelaid by the hands of those who knew not how their neighbours were workingfitted its position ​and filled its place in this enormous and intricate buildingHerein Matthew Arnold, in the simile already quoteddoes the greater builder no little injusticeHe was no peasant building his hut out of the material of ruined temples ; he was rather building ​the temple ​of a new and infinitely greater cult, using the stones which generations ​of toilers had moved from buried shrines. In this sense, ​the Mabinogion are doubly national.' (1912, //Cymm//p. 54)|
 |1929|Ellis & Lloyd\\ //*critique Guest//​|'​The intention of Lady Charlotte Guest appears to have been to produce a version which could be used for the instruction and amusement of her own children, with the result that parts of her translation are either inaccurate or bowdlerised.'​ (p. viii)| |1929|Ellis & Lloyd\\ //*critique Guest//​|'​The intention of Lady Charlotte Guest appears to have been to produce a version which could be used for the instruction and amusement of her own children, with the result that parts of her translation are either inaccurate or bowdlerised.'​ (p. viii)|
 |1929|Ellis & Lloyd\\ //*annwfn\\ *death *gods//​|Annwfn ‘originally conceived of as the abode of the gods, a pleasant, rich country, full of everything a man might need’ (p. 3) Welsh Hades, the abode of the dead. (p. 7, n. 15) Critiqued by Ifor Williams review| |1929|Ellis & Lloyd\\ //*annwfn\\ *death *gods//​|Annwfn ‘originally conceived of as the abode of the gods, a pleasant, rich country, full of everything a man might need’ (p. 3) Welsh Hades, the abode of the dead. (p. 7, n. 15) Critiqued by Ifor Williams review|
 |1948|Jones & Jones\\ //*critique Guest//​|Guest'​s text is ‘but a paraphrase’ and ‘not the beauties of the original.'​ (pp. 5-6)| |1948|Jones & Jones\\ //*critique Guest//​|Guest'​s text is ‘but a paraphrase’ and ‘not the beauties of the original.'​ (pp. 5-6)|
 +|1948|Jones & Jones\\ //​*status//​|Initially approves Arnold, but salvages national pride; alludes to Horace: ​ ‘natural and pious as it is to lament our lost heritage of story, we contemplate with the more pride and affection such treasures as are so happily preserved to us in the White Book and the Red.’ (p. xi) ‘artifex of a monument more lasting than brass, a classic of European literature, a glory of the Celtic world.'​ [cf. Horace ’I have erected a monument more lasting than brass, and loftier than the kingly elevation of pyramids’](p. xviii)|
 |1974|Bollard\\ //​*coherent//​|'​There is no incident or detail which remains isolated or superfluous in the Four Branches.'​ (In Sullivan, p. 168)| |1974|Bollard\\ //​*coherent//​|'​There is no incident or detail which remains isolated or superfluous in the Four Branches.'​ (In Sullivan, p. 168)|
 |1974|Bollard\\ //​*coherent\\ *structure//​|'​the author has utilized his material to create a work that is both meaningful and artistically unified. The intricate structure which can be seen throughout the Mabinogi is very closely woven, yet the author has sufficient control over his materials and over his own artistry to prevent the tales from becoming too complex in their interrelationships.'​ (In Sullivan, p. 192)| |1974|Bollard\\ //​*coherent\\ *structure//​|'​the author has utilized his material to create a work that is both meaningful and artistically unified. The intricate structure which can be seen throughout the Mabinogi is very closely woven, yet the author has sufficient control over his materials and over his own artistry to prevent the tales from becoming too complex in their interrelationships.'​ (In Sullivan, p. 192)|
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 |1986|Valente\\ //*women\\ *voice//​|'​I would now like to turn to the women, as Bollard suggested, and see what powers and significance they have in the story— and actually possessed in the medieval world— listening to what they are saying to the reader in their own words.'​ (p. 91. Cites Bollard, '​Structure'​ p. 132)| |1986|Valente\\ //*women\\ *voice//​|'​I would now like to turn to the women, as Bollard suggested, and see what powers and significance they have in the story— and actually possessed in the medieval world— listening to what they are saying to the reader in their own words.'​ (p. 91. Cites Bollard, '​Structure'​ p. 132)|
 |2004|S. Davies\\ //*19thC\\ *guest\\ critique//​|'​such critics seem to want it both ways: the translation is not scholarly and the fault lies with Lady Charlotte; on the other hand, she was heavily indebted to excellent Welsh scholars such as Carnhuanawc,​ Tegid and others.'​('​Guest',​ p. 167; also see White, ‘Crimes’,​ (1995), p. 247.)| |2004|S. Davies\\ //*19thC\\ *guest\\ critique//​|'​such critics seem to want it both ways: the translation is not scholarly and the fault lies with Lady Charlotte; on the other hand, she was heavily indebted to excellent Welsh scholars such as Carnhuanawc,​ Tegid and others.'​('​Guest',​ p. 167; also see White, ‘Crimes’,​ (1995), p. 247.)|
 +|2006|**Bollard**\\ //​*Place//​|Arberth:​ Town of Narberth in Dyfed [Pembs.] from yn Arberth, ‘in Arberth’. (Bollard p. 19, sidenote) Most likely the Iron-Age enclosure of Camp Hill, south of modern Narberth. Would have been more prominent in mediaeval period. Mound north of Cardigan less likely beause 3 reasons: known as Crug Muir (Great Hill/ Cairn) since 9thC; not in historical relam of Dyfed; requires different location for court. Nant Arberth stream runs by Cardigan site but closeness to Glyn Cuch does not fit the geog. of tale. (Bollard pp. 24-25, sidenote)|
 |2006|**Ferguson**,​ Anne Marie\\ //*Arts *Magic//​|'​Mystic realism':​ 'It is not fantasy, but organic reality, seen on occasion through an imaginative,​ poetic lens—the same way we experience the tarot.'​ Artist, Llewelyn Tarot, Arawn, Rhiannon, Bendigeidfran,​ Gwydion, Lleu images. [[0qu|Quote]] [[http://​tarotprophet.com/​everything-you-need-to-know-about-the-llewellyn-tarot-deck/​|Source]]| |2006|**Ferguson**,​ Anne Marie\\ //*Arts *Magic//​|'​Mystic realism':​ 'It is not fantasy, but organic reality, seen on occasion through an imaginative,​ poetic lens—the same way we experience the tarot.'​ Artist, Llewelyn Tarot, Arawn, Rhiannon, Bendigeidfran,​ Gwydion, Lleu images. [[0qu|Quote]] [[http://​tarotprophet.com/​everything-you-need-to-know-about-the-llewellyn-tarot-deck/​|Source]]|
 </​datatables>​ </​datatables>​
  
  
0qu.txt · Last modified: 2018/02/03 18:11 by admin