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| |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.| | |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.) See WJG challenge.| | + | |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|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|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)| | ||
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| |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|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|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|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|.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|.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|.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|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|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)| | ||
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| |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)| | ||
