Celtic literature is the body of literature written in one of the Celtic languages, or else it may popularly refer to literature written in other languages which is based on the traditional narratives found in early Celtic literature.
Celtic literature is the body of literature written in one of the Celtic languages, or else it may popularly refer to literature written in other languages which is based on the traditional narratives found in early Celtic literature.
In the strictly academic context of Celtic studies, the term Celtic literature is used by Celticists to denote any number of bodies of literature written in a Celtic language, encompassing the Irish, Welsh, Cornish, Manx, Scottish Gaelic, and Breton languages in either their modern or earlier forms. [1] [2]
Alternatively, the term is often used in a popular context to refer to literature that is written in a non-Celtic language but originates nonetheless from the Celtic nations or else displays subjects or themes identified as "Celtic". Examples of this literature include the medieval Arthurian romances written in the French language, which drew heavily from Celtic sources, or in a modern context literature in the English language by writers of Irish, Welsh, Cornish, Manx, Scottish or Breton extraction. Literature in Scots and Ulster Scots may also be included within the concept. In this broader sense, the applicability of the term "Celtic literature" can vary as widely as the use of the term "Celt" itself.
For information on the development of particular national literatures, see: Irish literature, Scottish literature, Welsh literature, Literature in Cornish, Breton literature and Manx literature.
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The Gaelic Revival reintroduced Celtic themes into modern literature. The concept of Celticity encouraged cross-fertilisation between Celtic cultures.
There have been modern texts based around Celtic literature. Bernard Cornwell writes about the Arthurian legends in his series The Warlord Chronicles . Other writers of Celtic literature in English include Dylan Thomas and Sian James.
Within many Arthurian texts, one can see the influence of Celtic literature and folklore. Arthurian legends with these components include Marie de France's Lanval, the tale of Sir Gawain and the Green Knight, and Perceval, The Story of the Grail. In his work "Celtic Elements in Lavenal and Graelent," Cross claims that Lanval is a medieval narrative called, "Brenton Lays" [3] otherwise known as works that claim descent from Celtic tradition. [3] Sir Gawain and the Green Knight is said to contain traditions from early Irish Lore, such as the Beheading test. [4] In addition to Sir Gawain and the Green Knight and Lanval, Perceval, The Story of the Grail contains a combination of these two Celtic themes. While there are other tales whose Celtic elements can be examined, these three are most likely among the best examples.
A major aspect of Celtic literature within "Lanval" is the theme itself, the story of a fairy mistress who falls in love with a mortal. In the story Lanval by Marie de France, an unpopular knight of the court becomes the lover of a mysterious and otherworldly woman. Though he breaks his promise to keep their love a secret, he is eventually reunited with her (Marie de France 154-167).[ citation needed ] Cross states that, "The influence one medieval romance of Celtic stories involving both the fairy mistress and the Journey to the Otherworld has long since been recognized". [5] While we are never told whether or not Lanval's lover is a fairy, it is most certain that she is a woman of supernatural origin. You can even find a very similar example to the story of "Lanval" in the Irish story called "Aidead Muirchertaig maic Erca". [6] One of the only differences between the original Irish stories and that of "Lanval" is the fact that Marie de France's story is more Christianized and erases any overtly Pagan elements. There are also many other examples of a fairy mistress bestowing favor upon a mortal man within Irish folklore. After providing many examples of this theme within early Celtic literature, Cross states that, "Those given (examples) above demonstrate beyond the possibility of doubt that stories of fee who hanker after mortal earth-born lovers and who visit mortal soil in search of their mates existed in early Celtic tradition…". [7]
In "Sir Gaiwan and the Green Knight" the theme of the Beheading Test is prevalent. According to Alice Buchanan's article: "The Irish Framework of Sir Gawin and the Green Knight," she states: the theme of Beheading texts, which occurs in Arthurian Romances, French, English, and German, from about 1180 – 1380, is derived from an Irish tradition actually existent in a MS. Written before 1106" [4] In "Sir Gaiwan and the Green Knight," it's Gawain's head which is at stake. This is where the "Beheading Game" comes into place. This is when a supernatural challenger offers to let his head be cut off in exchange for a return blow. [8] It is said that the first texts in which the "Beheading Game" is shown is in the Middle Irish tale of Bricriu's Feast. However, the Gawain poets put a spin on the simple beheading game by linking it with themes of truth. It is also frequently stated that the Gawin poet was the first to unite the beheading game with the themes of temptation. [9]
The Celtic motifs of the "Beheading Game" and temptation are also apparent in the French romance, Perceval, The Story of the Grail and the following continuations of the story by Chretien which are believed to parallel Sir Gawain and the Green Knight in plot (Grant 7).[ citation needed ] The early French character known as Caradoc is thought to be one of the first Arthurian characters to use the beheading game as a means to figure out whom his birth father is. The theme of temptation falls into place as many characters fall into the trap of seduction by other people and also by wizards and other mythological creatures that are known to be of Celtic origin (Chrétien).[ citation needed ]
Celtic mythology also displays itself in "Sir Gaiwain and the Green Knight." Looking at Gaiwan, we see him as the leading leader at the Primary Table in which he is tested by the rulers of the otherworld in terms of his fitness for fame in this world and the next. With this in mind, the "rulers of the otherworld" have a mythical nature to them; there are references to sun gods, and old and new gods. It might seem as though that would be taking the mythological concept and simplifying it, however in Celtic mythology, the traits of individual and groups of gods are not so distinct. [10]
Excalibur is the mythical sword of King Arthur that may be attributed with magical powers or associated with the rightful sovereignty of Britain. Traditionally, the sword in the stone that is the proof of Arthur's lineage and the sword given him by a Lady of the Lake are not the same weapon, even as in some versions of the legend both of them share the name of Excalibur. Several similar swords and other weapons also appear within Arthurian texts, as well as in other legends.
Guinevere, also often written in Modern English as Guenevere or Guenever, was, according to Arthurian legend, an early-medieval queen of Great Britain and the wife of King Arthur. First mentioned in popular literature in the early 12th century, nearly 700 years after the purported times of Arthur, Guinevere has since been portrayed as everything from a fatally flawed, villainous and opportunistic traitor to a noble and virtuous lady. Many records of the legend also feature the variably recounted story of her abduction and rescue as a major part of the tale.
Gawain, also known in many other forms and spellings, is a character in Arthurian legend, in which he is King Arthur's nephew and a Knight of the Round Table. The prototype of Gawain is mentioned under the name Gwalchmei in the earliest Welsh sources. He has subsequently appeared in many Arthurian tales in Welsh, Latin, French, English, Scottish, Dutch, German, Spanish, and Italian, notably as the protagonist of the Middle English poem Sir Gawain and the Green Knight. Other works featuring Gawain as their central character include De Ortu Waluuanii, Diu Crône, Ywain and Gawain, Golagros and Gawane, Sir Gawain and the Carle of Carlisle, L'âtre périlleux, La Mule sans frein, La Vengeance Raguidel, Le Chevalier à l'épée, Le Livre d'Artus, The Awntyrs off Arthure, The Greene Knight, and The Weddynge of Syr Gawen and Dame Ragnell.
Lancelot du Lac, also written as Launcelot and other variants, is a character in some versions of Arthurian legend where he is typically depicted as King Arthur's close companion and one of the greatest Knights of the Round Table. In the French-inspired Arthurian chivalric romance tradition, Lancelot is an orphaned son of King Ban of the lost kingdom of Benoic, raised in a fairy realm by the Lady of the Lake. A hero of many battles, quests and tournaments, and famed as a nearly unrivalled swordsman and jouster, Lancelot becomes the lord of the castle Joyous Gard and personal champion of Arthur's wife, Queen Guinevere, despite suffering from frequent and sometimes prolonged fits of madness. But when his adulterous affair with Guinevere is discovered, it causes a civil war that, once exploited by Mordred, brings an end to Arthur's kingdom.
The Matter of Britain is the body of medieval literature and legendary material associated with Great Britain and Brittany and the legendary kings and heroes associated with it, particularly King Arthur. The 12th-century Welsh cleric Geoffrey of Monmouth's Historia Regum Britanniae, widely popular in its day, is a central component of the Matter of Britain.
The Knights of the Round Table are the legendary knights of the fellowship of King Arthur that first appeared in the Matter of Britain literature in the mid-12th century. The Knights are an order dedicated to ensuring the peace of Arthur's kingdom following an early warring period, entrusted in later years to undergo a mystical quest for the Holy Grail. The Round Table at which they meet is a symbol of the equality of its members, who range from sovereign royals to minor nobles.
Morgan le Fay, alternatively known as Morgan[n]a, Morgain[a/e], Morg[a]ne, Morgant[e], Morge[i]n, and Morgue[in] among other names and spellings, is a powerful and ambiguous enchantress from the legend of King Arthur, in which most often she and he are siblings. Early appearances of Morgan in Arthurian literature do not elaborate her character beyond her role as a goddess, a fay, a witch, or a sorceress, generally benevolent and connected to Arthur as his magical saviour and protector. Her prominence increased as the legend of Arthur developed over time, as did her moral ambivalence, and in some texts there is an evolutionary transformation of her to an antagonist, particularly as portrayed in cyclical prose such as the Lancelot-Grail and the Post-Vulgate Cycle. A significant aspect in many of Morgan's medieval and later iterations is the unpredictable duality of her nature, with potential for both good and evil.
Red Knight is a title borne by several characters in Arthurian legend.
In Arthurian legend, the Siege Perilous is a vacant seat at the Round Table reserved by Merlin for the knight who would one day be successful in the quest for the Holy Grail.
The Green Knight is a heroic character of Arthurian legend, originating in the 14th-century poem Sir Gawain and the Green Knight and the related medieval work The Greene Knight. His true name is revealed to be Bertilak de Hautdesert in Sir Gawain, while The Greene Knight names him "Bredbeddle". The Green Knight later features as one of Arthur's greatest champions in the fragmentary ballad "King Arthur and King Cornwall", again with the name "Bredbeddle".
Sir Launfal is a 1045-line Middle English romance or Breton lay written by Thomas Chestre dating from the late 14th century. It is based primarily on the 538-line Middle English poem Sir Landevale, which in turn was based on Marie de France's lai Lanval, written in a form of French understood in the courts of both England and France in the 12th century. Sir Launfal retains the basic story told by Marie and retold in Sir Landevale, augmented with material from an Old French lai Graelent and a lost romance that possibly featured a giant named Sir Valentyne. This is in line with Thomas Chestre's eclectic way of creating his poetry.
This is a bibliography of works about King Arthur, his family, his friends or his enemies. This bibliography includes works that are notable or are by notable authors.
Lanval is one of the Lais of Marie de France. Written in Anglo-Norman, it tells the story of Lanval, a knight at King Arthur's court, who is overlooked by the king, wooed by a fairy lady, given all manner of gifts by her, and subsequently refuses the advances of Queen Guinevere. The plot is complicated by Lanval's promise not to reveal the identity of his mistress, which he breaks when Guinevere accuses him of having "no desire for women". Before Arthur, Guinevere accuses Lanval of shaming her, and Arthur, in an extended judicial scene, demands that he reveal his mistress. Despite the broken promise, the fairy lover eventually appears to justify Lanval, and to take him with her to Avalon. The tale was popular, and was adapted into English as Sir Landevale, Sir Launfal, and Sir Lambewell.
Sir Gawain and the Carle of Carlisle is a Middle English tail-rhyme romance of 660 lines, composed in about 1400. A similar story is told in a 17th-century minstrel piece found in the Percy Folio and known as The Carle of Carlisle. These are two of a number of early English poems that feature the Arthurian hero Sir Gawain, the nephew of King Arthur, in his English role as a knight of the Round Table renowned for his valour and, particularly, for his courtesy.
Sir Perceval of Galles is a Middle English Arthurian verse romance whose protagonist, Sir Perceval (Percival), first appeared in medieval literature in Chrétien de Troyes' final poem, the 12th-century Old French Conte del Graal, well over one hundred years before the composition of this work. Sir Perceval of Galles was probably written in the northeast Midlands of England in the early 14th century, and tells a markedly different story to either Chretien's tale or to Robert de Boron's early 13th-century Perceval. Found in only a single manuscript, and told with a comic liveliness, it omits any mention of a graal or a Grail.
Caradoc Vreichvras was a semi-legendary ancestor to the kings of Gwent. He may have lived during the 5th or 6th century. He is remembered in the Matter of Britain as a Knight of the Round Table, under the names King Carados and Carados Briefbras.
The Land of Maidens is a motif in Irish mythology and medieval literature, especially in the chivalric romance genre. The latter often also features a castle instead of an island, sometimes known as the Castle of Maidens.
Guiomar is the best known name of a character appearing in many medieval texts relating to the Arthurian legend, often in relationship with Morgan le Fay or a similar fairy queen type character.
The beheading game is a literary trope found in Irish mythology and medieval chivalric romance. The trope consists of a stranger who arrives at a royal court and challenges a hero to an exchange of blows: the hero may decapitate the stranger, but the stranger may then inflict the same wound upon the hero. The supernatural nature of the stranger, which makes this possible, is only revealed when he retrieves his severed head. When the hero submits himself to the return blow, he is rewarded for his valor and is left with only a minor wound. The hero is seen as coming of age by undergoing the exchange of blows, and his symbolic death and rebirth is represented by the feigned return blow. Originating in the Irish legend of the Fled Bricrenn, the beheading game appears in several Arthurian romances, most notably Sir Gawain and the Green Knight.
The Gwerz Santes Enori is a Breton gwerz, a type of folk song that combines literary with musical characteristics. The song, which is preserved in many versions and fragments, tells a story that resembles a saint's life, a 14th-century version of the hagiography of the Breton saint Budoc. Its general theme has been called that of "the girl with a golden breast", as told in stories throughout the Celtic world and surviving in oral form into the 20th century.
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