Welsh mythology in the context of "Medieval Welsh literature"

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⭐ Core Definition: Welsh mythology

Welsh mythology, also known as Y Chwedlau (Welsh for 'the legends'), consists of both folk traditions developed in Wales, and traditions developed by the Celtic Britons elsewhere before the end of the first millennium. As in most of the predominantly oral societies Celtic mythology and history were recorded orally by specialists such as druids (Welsh: derwyddon). This oral record has been lost or altered as a result of outside contact and invasion over the years. Much of this altered mythology and history is preserved in mediaeval Welsh manuscripts, which include the Red Book of Hergest, the White Book of Rhydderch, the Book of Aneirin and the Book of Taliesin. Other works connected to Welsh mythology include the ninth-century Latin historical compilation Historia Brittonum (History of the Britons) and Geoffrey of Monmouth's 12th-century Latin chronicle Historia Regum Britanniae (History of the Kings of Britain), as well as later Welsh folklore, such as the materials collected in The Welsh Fairy Book by William Jenkyn Thomas (1908).

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Welsh mythology in the context of King Arthur

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.

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Welsh mythology in the context of Celtic mythology

Celtic mythology is the body of myths belonging to the Celtic peoples. Like other Iron Age Europeans, Celtic peoples followed a polytheistic religion, having many gods and goddesses. The mythologies of continental Celtic peoples, such as the Gauls and Celtiberians, did not survive their conquest by the Roman Empire, the loss of their Celtic languages and their subsequent conversion to Christianity. Only remnants are found in Greco-Roman sources and archaeology. Most surviving Celtic mythology belongs to the Insular Celtic peoples (the Gaels of Ireland and Scotland; the Celtic Britons of western Britain and Brittany). They preserved some of their myths in oral lore, which were eventually written down by Christian scribes in the Middle Ages. Irish mythology has the largest written body of myths, followed by Welsh mythology.

The supernatural race called the Tuatha Dé Danann is believed to be based on the main Celtic gods of Ireland, while many Welsh characters belong either to the Plant Dôn ("Children of Dôn") or the Plant Llŷr ("Children of Llŷr"). Some figures in Insular Celtic myth have ancient continental parallels: Irish Lugh and Welsh Lleu are cognate with Lugus, Goibniu and Gofannon with Gobannos, Macán and Mabon with Maponos, and so on. One common figure is the sovereignty goddess, who represents the land and bestows sovereignty on a king by marrying him. The Otherworld is also a common motif, a parallel realm of the supernatural races, which is visited by some mythical heroes. Celtic myth influenced later Arthurian legend.

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Welsh mythology in the context of Annwn

Annwn ([ˈanʊn]), or Annwfn ([ˈanʊvn]), is the Otherworld in Welsh mythology. Ruled by Arawn (or, in Arthurian literature, by Gwyn ap Nudd), it is a world of delights and eternal youth where disease is absent and food is ever-abundant.

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Welsh mythology in the context of Culture of Wales

The culture of Wales encompasses the Welsh language, customs, festivals, music, art, cuisine, mythology, history, and politics. Wales is primarily represented by the symbol of the red Welsh Dragon, but other national emblems include the leek and the daffodil.

Although sharing many customs with the other nations of the United Kingdom, Wales has its own distinct traditions and culture, and from the late 19th century onwards, Wales acquired its popular image as the "land of song", in part due to the Eisteddfod tradition.

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Welsh mythology in the context of Jack the Giant Killer

"Jack the Giant Killer" is a Cornish fairy tale and legend about a man who slays a number of bad giants during King Arthur's reign. The tale is characterised by violence, gore and blood-letting. Giants are prominent in Cornish folklore, Breton mythology and Welsh Bardic lore. Some parallels to elements and incidents in Norse mythology have been detected in the tale, and the trappings of Jack's last adventure with the giant Galigantus suggest parallels with French and Breton fairy tales such as Bluebeard. Jack's belt is similar to the belt in "The Valiant Little Tailor", and his magical sword, shoes, cap, and cloak are similar to those owned by Tom Thumb or those found in Welsh and Norse mythology.

Jack and his tale are rarely referenced in English literature prior to the eighteenth century (there is an allusion to Jack the Giant Killer in William Shakespeare's King Lear, where in Act 3, one character, Edgar, in his feigned madness, cries, "Fie, foh, and fum,/ I smell the blood of a British man"). Jack's story did not appear in print until 1711. One scholar speculates the public had grown weary of King Arthur and Jack was created to fill the role. Henry Fielding, John Newbery, Samuel Johnson, Boswell, and William Cowper were familiar with the tale.

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Welsh mythology in the context of Geraint

Geraint (/ˈɡɛrnt/ GHERR-eyent) is a character from Welsh folklore and Arthurian legend, a valiant warrior possibly related to the historical Geraint, an early 8th-century king of Dumnonia. It is also the name of a 6th-century Dumnonian saint king from Briton hagiographies, who may have lived during or shortly prior to the reign of the historical Arthur. The name Geraint is a Welsh form of the Latin Gerontius, meaning "old man".

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Welsh mythology in the context of A Glastonbury Romance

A Glastonbury Romance was written by John Cowper Powys (1873–1963) in rural upstate New York and first published by Simon and Schuster in New York City in March 1932. An English edition published by John Lane followed in 1933. It has "nearly half-a-million words" and was described as "probably the longest undivided novel in English".

It is the second of Powys's Wessex novels, along with Wolf Solent (1929), Weymouth Sands (1934) and Maiden Castle (1936). Powys was an admirer of Thomas Hardy and these novels are set in Somerset and Dorset, parts of Hardy's mythical Wessex. The action occurs over roughly a year, and the first two chapters of A Glastonbury Romance take place in Norfolk, where the late Canon William Crow's will is read, and the Crow family learn that his secretary-valet John Geard has inherited his wealth. Also in Norfolk, a romance begins between cousins, John and Mary Crow. However, after an important scene at the ancient monument of Stonehenge, the rest of the action takes place in or near the Somerset town of Glastonbury, which is some ten miles north of the village of Montacute. Powys's father, the Reverend Charles Francis Powys (1843–1923), was parish priest of Montacute from 1885 to 1918, and it was here that Powys grew up. The grail legends associated with the town of Glastonbury are of major importance in this novel, and Welsh mythology has, for the first time, a significant role.

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Welsh mythology in the context of Dôn

Dôn (Welsh pronunciation: [ˈdoːn]) is an ancestor figure in Welsh legend and literature. She is typically given as the mother of a group known as the "Children of Dôn", including Gwydion, Arianrhod, and Gilfaethwy, among many others. However, antiquarians of the early modern era generally considered Dôn a male figure.

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