Welsh-language literature in the context of "Literature of Scotland"

King Arthur (Welsh: Brenin Arthur; Cornish: Arthur Gernow; Breton: Roue Arzhur; French: Roi Arthur) was a legendary king of Britain. He is a folk hero and a central figure in the medieval literary tradition known as the Matter of Britain.

In Welsh sources, Arthur is portrayed as a leader of the post-Roman Britons in battles against the Anglo-Saxons in the late-5th and early-6th centuries. He first appears in two early medieval historical sources, the Annales Cambriae and the Historia Brittonum, but these date to 300 years after he is supposed to have lived, and most historians who study the period do not consider him a historical figure. His name also occurs in early Welsh poetic sources, such as Y Gododdin. The character developed through Welsh mythology, appearing either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, and was sometimes associated with the Welsh otherworld Annwn.

British literature is a body of literature from the United Kingdom of Great Britain and Northern Ireland, the Isle of Man, and the Channel Islands. This article covers British literature in the English language. Anglo-Saxon (Old English) literature is included, and there is some discussion of Anglo-Latin and Anglo-Norman literature, where literature in these languages relate to the early development of the English language and literature. There is also some brief discussion of major figures who wrote in Scots, but the main discussion is in the various Scottish literature articles.

The article Literature in the other languages of Britain focuses on the literatures written in the other languages that are, and have been, used in Britain. There are also articles on these various literatures: Latin literature in Britain, Anglo-Norman, Cornish, Guernésiais, Jèrriais, Latin, Manx, Scottish Gaelic, Welsh, etc.

Scottish literature is literature written in Scotland or by Scottish writers. It includes works in English, Scottish Gaelic, Scots, Brythonic, French, Latin, Norn or other languages written within the modern boundaries of Scotland.

The earliest extant literature written in what is now Scotland, was composed in Brythonic speech in the sixth century and has survived as part of Welsh literature. In the following centuries there was literature in Latin, under the influence of the Catholic Church, and in Old English, brought by Anglian settlers. As the state of Alba developed into the kingdom of Scotland from the eighth century, there was a flourishing literary elite who regularly produced texts in both Gaelic and Latin, sharing a common literary culture with Ireland and elsewhere. After the Davidian Revolution of the thirteenth century a flourishing French language culture predominated, while Norse literature was produced from areas of Scandinavian settlement. The first surviving major text in Early Scots literature is the fourteenth-century poet John Barbour's epic Brus, which was followed by a series of vernacular versions of medieval romances. These were joined in the fifteenth century by Scots prose works.

Welsh art is the traditions in the visual arts associated with Wales and its people. Most art found in, or connected with, Wales is essentially a regional variant of the forms and styles of the rest of the British Isles, a very different situation from that of Welsh literature. The term Art in Wales is often used in the absence of a clear sense of what "Welsh art" is, and to include the very large body of work, especially in landscape art, produced by non-Welsh artists in Wales (or with a Welsh subject) since the later 18th century.

In addition to English, literature has been written in a wide variety of other languages in Britain, that is the United Kingdom, the Isle of Man and the Channel Islands (the Isle of Man and the Bailiwicks of Guernsey and Jersey are not part of the United Kingdom, but are closely associated with it, being British Crown Dependencies). This includes literature in Scottish Gaelic, Welsh, Latin, Cornish, Anglo-Norman, Guernésiais, Jèrriais, Manx, and Irish (but the last of these only in Northern Ireland after 1922). Literature in Anglo-Saxon (Old English) is treated as English literature and literature in Scots as Scottish literature.

The Kingdom of Powys (Welsh pronunciation: [ˈpowɪs]; Latin: Regnum Poysiae) was a Welsh successor state, petty kingdom and principality that emerged during the Middle Ages following the end of Roman rule in Britain. It very roughly covered the northern two-thirds of the modern county of Powys and part of today's English West Midlands (see map). More precisely, and based on the Romano-British tribal lands of the Ordovices in the west and the Cornovii in the east, its boundaries originally extended from the Cambrian Mountains in the west to include the modern West Midlands region of England in the east. The fertile river valleys of the Severn and Tern are found there, and this region is referred to in later Welsh literature as "the Paradise of Powys" (an epithet retained in Welsh for the modern UK county).

The Celtic Revival (also referred to as the Celtic Twilight) is a variety of movements and trends in the 19th, 20th and 21st centuries that see a renewed interest in aspects of Celtic culture. Artists and writers drew on the traditions of Gaelic literature, Welsh-language literature, and Celtic art—what historians call insular art (the Early Medieval style of Ireland and Britain). Although the revival was complex and multifaceted, occurring across many fields and in various countries in Northwest Europe, its best known incarnation is probably the Irish Literary Revival. Irish writers including William Butler Yeats, John Millington Synge, Lady Gregory, "Æ" Russell, Edward Martyn, Alice Milligan and Edward Plunkett (Lord Dunsany) stimulated a new appreciation of traditional Irish literature and Irish poetry in the late 19th and early 20th century.

In aspects the revival came to represent a reaction to modernisation. This is particularly true in Ireland, where the relationship between the archaic and the modern was antagonistic, where history was fractured, and where, according to Terry Eagleton, "as a whole [the nation] had not leapt at a bound from tradition to modernity". At times this romantic view of the past resulted in historically inaccurate portrayals, such as the promotion of noble savage stereotypes of the Irish people and Scottish Highlanders, as well as a racialized view that referred to the Irish, whether positively or negatively, as a separate race.