Arthurian Literature XXI: Celtic Arthurian Material (v. 21) by Ceridwen Lloyd-Morgan

By Ceridwen Lloyd-Morgan

This exact variety of the well-established sequence Arthurian Literature is dedicated to Celtic fabric. Contributions, from major specialists in Celtic reviews, disguise Welsh, Irish and Breton fabric, from medieval texts to oral traditions surviving into glossy occasions. the quantity displays present tendencies and new ways during this box while additionally making on hand in English fabric hitherto inaccessible to these without interpreting wisdom of the Celtic languages.

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Extra info for Arthurian Literature XXI: Celtic Arthurian Material (v. 21)

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A. Widdowson, ‘Language and Performance: Dialect and Verbal Art in Newfoundland Oral Narrative’, in Fields of Folklore: Essays in Honor of Kenneth S. Goldstein, ed. R. D. Abrahams (Bloomington, 1995) pp. 311–29 (p. 313). See J. H. Delargy, ‘The Gaelic Story-Teller’, Proceedings of the British Academy 31 (1945), 172–221 (p. 206); Bromwich and Evans, Culhwch and Olwen, p. lxxi. E. Knott and G. Murphy, Early Irish Literature (London, 1966), pp. 98–9. B. F. Roberts, ‘Tales and Romances’, pp. 215–16.

For examples of this feature in other traditions see, for example, P. Zumthor, Histoire littéraire de la France médiévale (Paris, 1954); H. Eggers, Symmetrie und Proportion epischen Erzählens (Stuttgart, 1956); J. D. A. Widdowson, ‘Language and Performance: Dialect and Verbal Art in Newfoundland Oral Narrative’, in Fields of Folklore: Essays in Honor of Kenneth S. Goldstein, ed. R. D. Abrahams (Bloomington, 1995) pp. 311–29 (p. 313). See J. H. Delargy, ‘The Gaelic Story-Teller’, Proceedings of the British Academy 31 (1945), 172–221 (p.

Clust mab Clustueinat – pei cladhet seith vrhyt yn y dayar, deng milltir a deugeint y clywei y morgrugyn y bore pan gychwhynnei y ar lwth. ) Sometimes, however, as in the case of the place-names discussed earlier, the acoustic dimension takes over completely, as names are fabricated solely for the purpose of rhythm and sound. Again, I have divided the prose into ‘lines’ in an attempt to highlight the repetitive, alliterative and rhyming elements of the passage: Bwlch a Chyuwlch a Seuwlch, meibion Kledyf Kyuwlch, vyron Cledyf Diuwlch.

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