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| **O'Coiledin**, Sean, ‘A Thematic Study of the Tale Pwyll Pendeuic Dyuet’, pp. 145 -151.\\ | **O'Coiledin**, Sean, ‘A Thematic Study of the Tale Pwyll Pendeuic Dyuet’, pp. 145 -151.\\ | ||
| **Hanson-Smith**, Elizabeth, ‘Pwyll Prince of Dyfed': the narrative structure’, pp. 153-164.\\ | **Hanson-Smith**, Elizabeth, ‘Pwyll Prince of Dyfed': the narrative structure’, pp. 153-164.\\ | ||
| - | **Bollard**, John K., ‘The Structure of the Four Branches of the Mabinogi’, pp. 165 -196.\\ | + | **[[s:bollard|Bollard]]**, John K., ‘The Structure of the Four Branches of the Mabinogi’, pp. 165 -196.\\ |
| **Ford**, Patrick K., ‘Prolegomena to a Reading of the Mabinogi: Pwyll and Manawydan’, pp. 197 -216.\\ | **Ford**, Patrick K., ‘Prolegomena to a Reading of the Mabinogi: Pwyll and Manawydan’, pp. 197 -216.\\ | ||
| **Jones**, R.M., ‘Narrative Structure in Medieval Welsh Prose Tales’, pp. 217 -262.\\ | **Jones**, R.M., ‘Narrative Structure in Medieval Welsh Prose Tales’, pp. 217 -262.\\ | ||
| # THEMATIC\\ | # THEMATIC\\ | ||
| **Gantz**, jeffrey, ‘Thematic Structure of the Four Branches of the Mabinogi’, pp. 265-275.\\ | **Gantz**, jeffrey, ‘Thematic Structure of the Four Branches of the Mabinogi’, pp. 265-275.\\ | ||
| - | **Bollard**, John K., ‘The Role of Myth and Tradition in the Four Branches of the Mabinogi’, pp. 277 -302.\\ | + | **[[s:bollard|Bollard]]**, John K., ‘The Role of Myth and Tradition in the Four Branches of the Mabinogi’, pp. 277 -302.\\ |
| **McKenna**, Catherine, ‘The Theme of Sovereignty in Pwyll, pp. 303 -330.\\ | **McKenna**, Catherine, ‘The Theme of Sovereignty in Pwyll, pp. 303 -330.\\ | ||
| **Valente**, Roberta, ‘Gwydion and Aranrhod: Crossing the Borders of Gender’, pp. 331 -345.\\ | **Valente**, Roberta, ‘Gwydion and Aranrhod: Crossing the Borders of Gender’, pp. 331 -345.\\ | ||
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| **The Introduction by Sullivan** gives an overview up to the date of publication (1996) which stands the test of time very well.\\ | **The Introduction by Sullivan** gives an overview up to the date of publication (1996) which stands the test of time very well.\\ | ||
| - | **The first section** lays down the historical background. **Bromwich** on the formidable 19thC Charlotte **Guest** is dated in places but still a good summary. It has one of the best accounts around on William **Pughe**, the real pioneer of modern Mabinogi publications. (Bromwich takes most of her information from Phillips (1921). For the best recent summary of Guest see Sioned Davies, 2004.)\\ | + | **The first section** lays down the historical background. **Bromwich** on the formidable 19thC Charlotte **[[s:guest|Guest]]** is dated in places but still a good summary. It has one of the best accounts around on William **[[s:pughe|Pughe]]**, the real pioneer of modern Mabinogi publications. (Bromwich takes most of her information from Phillips (1921). For the best recent summary of Guest see Sioned Davies, 2004.)\\ |
| **Charles-Edwards on dating** is a classic, detailed and venerable, but in places, dated; reference should be made to Rodway (2012) pp. 5-13. Charles-Edwards' level of detail is really only for the advanced student.\\ | **Charles-Edwards on dating** is a classic, detailed and venerable, but in places, dated; reference should be made to Rodway (2012) pp. 5-13. Charles-Edwards' level of detail is really only for the advanced student.\\ | ||
| **Folklore**, tale types and motifs held a strong place through the 20thC. **Wood’s** 'Calumniated Wife' analysis is a standard classic, although in my view, the application of the motif fails as Rhiannon and Branwen deviate from the pattern in too many ways (as Wood herself mkes clear). Nonetheless this kind of analysis was a standard part of the field in the second half of the 20thC, so needs to be included. **Keefer’s** contribution looks at selkie legends to expand the Dylan fragments.\\ | **Folklore**, tale types and motifs held a strong place through the 20thC. **Wood’s** 'Calumniated Wife' analysis is a standard classic, although in my view, the application of the motif fails as Rhiannon and Branwen deviate from the pattern in too many ways (as Wood herself mkes clear). Nonetheless this kind of analysis was a standard part of the field in the second half of the 20thC, so needs to be included. **Keefer’s** contribution looks at selkie legends to expand the Dylan fragments.\\ | ||
| - | Almost all the rest of the articles demonstrate just how powerful the **new structural analysis** was (and is) which **Bollard** (1974) pioneered. The development is well represented additionally by **Gantz, Ford, Welsh, O’Coileain, Hanson-Smith, and R.M.Jones**. I would especially recommend **Jones**' article to explain the structural approach. | + | Almost all the rest of the articles demonstrate just how powerful the **new structural analysis** was (and is) which **[[s:bollard|Bollard]]** (1974) pioneered. The development is well represented additionally by **Gantz, Ford, Welsh, O’Coileain, Hanson-Smith, and R.M.Jones**. I would especially recommend **Jones**' article to explain the structural approach. |
| **The structural method looks at how events in the tales form patterns**, not just in timed sequence as a 'natural' telling, but in multiple connections of resemblane, rather like clicking links on a website for a similar example. Parallels can be traced like this which enrich our understanding. An example is the similar forms which Pwyll’s two relationships with Arawn and Rhiannon take.\\ | **The structural method looks at how events in the tales form patterns**, not just in timed sequence as a 'natural' telling, but in multiple connections of resemblane, rather like clicking links on a website for a similar example. Parallels can be traced like this which enrich our understanding. An example is the similar forms which Pwyll’s two relationships with Arawn and Rhiannon take.\\ | ||
| - | The contemporary audience would have been used to recognising these parallels as a sophisticated game. The ‘messages’ of this example are first, that Rhiannon is implicitly of the Otherworld of Annwfn, like Arawn, though this is not anywhere actually stated. The bracketing of a woman with a crowned king of the powerful land of Annwfn, demonstrates how eminent she also is, and how powerful a woman in this world could be. **Bollard** suggests the overall themes of these ‘interlaced’ patterns are ‘marriage, friendship, and feud.’ **Gantz** also suggests a broadly moral message. (**Miles-Watson** (2009) is a powerful recent application of the technique.)\\ | + | The contemporary audience would have been used to recognising these parallels as a sophisticated game. The ‘messages’ of this example are first, that Rhiannon is implicitly of the Otherworld of Annwfn, like Arawn, though this is not anywhere actually stated. The bracketing of a woman with a crowned king of the powerful land of Annwfn, demonstrates how eminent she is, and how powerful a woman in this world could be. **[[s:bollard|Bollard]]** suggests the overall themes of these ‘interlaced’ patterns are ‘marriage, friendship, and feud.’ **Gantz** also suggests a broadly moral message. (**Miles-Watson** (2009) is a powerful recent application of the technique.)\\ |
| Sullivan divides these structural essays into Thematic and Structural sections, but as he notes in his useful and succinct Introduction, the split overlaps, so is only an approximation. | Sullivan divides these structural essays into Thematic and Structural sections, but as he notes in his useful and succinct Introduction, the split overlaps, so is only an approximation. | ||
