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| CHARACTERS LIST Arianrhod (35, 78), Bendigeidfran (37), Branwen (Implicit, 53, 95), Caradawc (13), Caswallawn (35, 38), Goronwy (30), Gwydion (28), Lleu (67), (Mabon, 52), Manawydan (8, 67), Math (27, 28), Pendaran (26), Pryderi (26), Pwyll (26). | CHARACTERS LIST Arianrhod (35, 78), Bendigeidfran (37), Branwen (Implicit, 53, 95), Caradawc (13), Caswallawn (35, 38), Goronwy (30), Gwydion (28), Lleu (67), (Mabon, 52), Manawydan (8, 67), Math (27, 28), Pendaran (26), Pryderi (26), Pwyll (26). | ||
| + | In the account below numbers in [square brackets] refer to a Branch, e.g. [1] = First Branch. | ||
| ===== SUMMARY ===== | ===== SUMMARY ===== | ||
| - | Numbers in [square brackets] refer to the Branch, e.g. [1] = First Branch. | + | What has survived is a mixed bag only partly matching prominent characters of the Mabinogi. |
| - | + | ||
| - | What has survived is a mixed bag only partly matching prominent characters of the Mabinogi.\\ | + | |
| {{ ::triskele_multicoloured.png?200|}} | {{ ::triskele_multicoloured.png?200|}} | ||
| **Pryderi** [4] seems a good match as Triad 26 is the ‘longest and most informative’, just as Pryderi is the most persistent Mabinogi character through all four Branches. However this Triad relates only to Pryderi’s death episode, while not actually referring to it, only the pigs at the heart of it. There is no mention of Pryderi’s birth, childhood [1], his fame as a war leader [1, 2] and his captivity [3], though these narratives may have appeared in Triads not extant.\\ | **Pryderi** [4] seems a good match as Triad 26 is the ‘longest and most informative’, just as Pryderi is the most persistent Mabinogi character through all four Branches. However this Triad relates only to Pryderi’s death episode, while not actually referring to it, only the pigs at the heart of it. There is no mention of Pryderi’s birth, childhood [1], his fame as a war leader [1, 2] and his captivity [3], though these narratives may have appeared in Triads not extant.\\ | ||
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| **The //cyfarwyddiaid//, storytellers**, were concerned with negotiations and diplomacy which could avoid war, with hidden manipulators (enchanters), and much more inclusive of women as agents of drama,. Gwydion’s strategy of adopting the role of a //cyfarwydd// [4] indicates a nomadic, freelancer craft, with leaders at least educated in court graces enough to converse with princes. They were warmly welcomed at courts but lacked the official status in the Laws which bards had. They were paid by piecework, not a regular ‘wage’(cf. Rhiannon calls for the 'minstrels' to be paid off the morning of her wedding. [1]) They transmitted traditional stories rather than authored new ones, so while some may have been popular presenters (like folk singers) their names did not survive into long term records. | **The //cyfarwyddiaid//, storytellers**, were concerned with negotiations and diplomacy which could avoid war, with hidden manipulators (enchanters), and much more inclusive of women as agents of drama,. Gwydion’s strategy of adopting the role of a //cyfarwydd// [4] indicates a nomadic, freelancer craft, with leaders at least educated in court graces enough to converse with princes. They were warmly welcomed at courts but lacked the official status in the Laws which bards had. They were paid by piecework, not a regular ‘wage’(cf. Rhiannon calls for the 'minstrels' to be paid off the morning of her wedding. [1]) They transmitted traditional stories rather than authored new ones, so while some may have been popular presenters (like folk singers) their names did not survive into long term records. | ||
| - | **The Triads certainly overlap in places with Mabinogi people and events**, suggesting some exchange between the two classes of bard and //cyfnarwydd//. But the Triads have only a small amount to add to what is already there in the Mabinogi itself, while the Mabinogi offers a wealth of information about its chosen protagonists. It therefore seems to be an independent work of art by a composer who was not a bard, not established at any one court, but a freelancer of this other interestingly mobile craft, who moved between the courts of Gwent, Dyfed, Gwynedd, and elsewhere. They seem to know something of the bardic techniques of Triads (and //englyn// poetry [2, 4]) which they show off just a little, but this is very far from their main concern. | + | **The Triads certainly overlap in places with Mabinogi people and events**, suggesting some exchange between the two classes of bard and //cyfnarwydd//. But the Triads have only a small amount to add to what is already there in the Mabinogi itself, while the Mabinogi offers a wealth of information about the same characters. It therefore seems to be an independent work of art by a composer who was not a bard, not established at any one court, but a freelancer of this other interestingly mobile craft, who moved between the courts of Gwent, Dyfed, Gwynedd, and elsewhere. They seem to know something of the bardic techniques of Triads (and //englyn// poetry [2, 4]) which they show off just a little, but this is very far from their main concern. |
| - | **The key Mabinogi message is about peace and diplomacy between kindreds, complexities much at odds with the elite, male bards and their warring princes. The bards, attached to a fixed 'side' for their living and honour, understandably have a polarised vuew.** | + | **The key Mabinogi theme is about peace and diplomacy between kindreds, complexities very different to the elite, male bards and their warring princes. The bards, attached to a fixed 'side' for their living and their honour, understandably take a polarised vuew.** |
| Shan Morgain (c) 4/02/2017 | Shan Morgain (c) 4/02/2017 | ||
