The honor-code within the Mabinogi, The Tain, and Gantz’s Early Irish Myths and Sagas underlines the ethos of the traditional Celtic hero. Yet, the compliance of the honor-code could be better observed as serving the identity and reputation of the hero rather than a deeper code of morality as it might suggest. The gae bolga, Efnisien, Mider’s love for Etain, and Rhiannon’s magic bag are all instruments of unworldly power, making the impossible possible for each of the heroes. It is because of these supernatural influences that the heroes are both blessed and cursed by power’s perfection. The compliance to the honor-code plays less a role in truly enabling the hero and yet it’s essential in the development of the hero’s identity and reputation among his allies and enemies. Within The Tain, the warrior Cuchulainn is characterized as a flawless hero, destined to die young. Cuchulainn’s honor to Ulster could easily be measured by the uncountable number of warriors he’s killed with his various skills and gae bolga, yet the killing of his only son Connla and his Foster-brother Ferdia proves to be his most difficult and heroic task. Despite Emer’s plea for Cuchulainn to spare his only son, Cuchulainn provokes the boy to fight him, using his gae bolga to kill him. Cuchulainn’s honor to Ulster through the sacrifice of his son not only grieves him, but all the men of Ulster. (The Tain, p.45) Tragically, the boy expresses the essence of a warrior’s honor to the men of Ulster and to Cuchulainn in obeying his wishes to refuse no man in combat (The Tain, p.33). The boy bids his farewell to the men of Ulster saying, “If only I had five years among you I would slaughter the warriors of the world for you. . . But since it is like this, point me o... ... middle of paper ... ...n’s kingdom for a year and killing Hafgan for Arawn. (The Mabinogi, p.38) And his honor in not talking or sleeping with Arawn’s wife earns him an enduring friendship, gaining him otherworld treasures and the kingship of Annwfn. (The Mabinogi, p.41-42) Even when his wife Rhiannon’s child is abducted and everyone wants him to divorce his wife, he loves her and see’s no fault in her, letting the teachers and men of wisdom decided her punishment. (The Mabinogi, p.51) Underlining all of the heroes of the Celtic stories is how human they are. Even Taliesin, the divinely inspired poet did not become who he was without stealing the three drops of wisdom. (The Mabinogi, p.163) The Celtic stories not only depict their successes and failures in warfare, discernment, and love, but also their painful sacrifices in attempting to keep the admiration and trust of their kingdoms.
The structure of stories, on which Campbell’s Hero’s Journey and Booker’s Seven Basic Plots elaborated, is actually only a portion of the field of study it is under. Comparative mythology not only studies the structure of hero stories, but also origins, themes, and characteristics of myths from various religions and cultures. They study the language, psychology, history, and anthropology in order to identify a common theme or beginning point. Even without delving into religion, many common elements have come to light. For instance, many cultures have tales of people with strange supernatural abilities, others speak of similar creatures that reside in water, air or land, while still others extol the importance of talisman and religious symbols. Despite cultures existing on different ends of the earth and having little contact for much of their existence, they share these common
In The Saga of the Volsungs, a paradoxical notion of the value of life emerges from almost every action that the characters perform. One’s corporeal death is almost of no concern in the sometimes harsh and cruel society of the saga. The importance of honor over almost anything else can explain many of the seemingly contradictory and nonsensical actions of characters in the saga. This obsession with honor constitutes the basis for an honor society—a culture where pain, death, and other earthly concerns fall short in significance to one’s good name and honor. Many of the actions inspired by this fixation with honor seem foolish, but considered within the context of how the culture in the saga views reputations and honor make perfect sense.
The hostile and boisterous nature of Celtic warriors is depicted in tales of the Ulster Cycle, and hence explains common practices between characters and Celtic warriors. The Celt’s temper is illustrated in the tales of the Ulster Cycle: “the love of feasting and drinking, the boastful and quarrelsome nature of Celtic warriors and their love of spectacle and feats are daring and amply illustrated in these hero tales . . . these customs closely mirror the tales of the Ulster Cycle . . . in which the champion’s portion are central themes” (403-404). Cu Chulainn exemplifies the Celtic warrios’ loud and rambunctious behavior. The Tain is the most notorious mythology in the Ulster Cycle and illustrates through Cu Chulainn the ideal warrior and the champion’s portion that is so valued in the ancient Celtic warrior society. Simon Young in “Celtic Myths: Celtic History” argues that “recent research on early Celtic culture suggests that legends might be able to offer us a privi...
The three heroes discussed here, Beowulf, Sir Gawain and King Arthur, are heroes for different reasons. Beowulf, our earliest hero, is brave but his motivation is different than then other two. To Sir Gawain personal honor and valor is what is important. King Arthur, Sir Gawain's uncle, is naturally the quintessential king of the medieval period. Though all men to a certain extent share the same qualities, some are more pronounced than in the others. It is important to see how these qualities are central to their respective stories and how it helps (or hinders) them in their journeys.
The Arthurian legends of Iwein and Gawain and the Green Knight are two examples of the medieval initiation story: a tale in which a character, usually in puberty or young adulthood, leaves home to seek adventures and, in the process, maturity. Through the course of their adventures, including a meeting with the man of the wilderness, temptations at the hands of women, and a permanent physical or mental wounding, the character grows from adolescent awkwardness and foolishness to the full potential knightly honor. While both Arthurian legends fit this format, the depth of character development, specifically in terms of relationships, is vastly different. Whereas Gawain and the Green Knight does little more with relationships than demonstrate the evils of female temptations, Iwein effectively explores the formation, destruction, and resurrection of numerous male and female relationships.
Though often extensive detail may be condemned as mere flowery language, in understanding Sir Gawain and the Green Knight one must make special emphasis on it. In color and imagery itself, the unknown author paints the very fibers of this work, allowing Sir Gawain to discern the nuances of ritualistic chivalry and truth. His quest after the Green Knight is as simple as ones quest toward himself. Through acute awareness of the physical world he encounters Gawain comes to an understanding of the world beyond chivalry, a connection to G-d, the source of truth. He learns, chivalry, like a machine, will always function properly, but in order to derive meaning from its product he must allow nature to affect him.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
Reading through Beowulf I began to compare it to the last great epic I read, Homer’s Odyssey. While the Odyssey and Beowulf are each examples of both historic and modern ideas of heroism, the acts of Beowulf’s hero seem to fit better within its context.
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
In Gordon M. Shedd’s “Knight in Tarnished Armour: The Meaning of Sir Gawain and the Green Knight”, he argues that Sir Gawain and the Green Knight is truly about the strength and weaknesses of human nature. One particularly interesting part of his argument asserts that Gawain’s humanity broke medieval romance tradition.
Abstract: This is an analysis of celtic mythological motifs or themes (usually found Arthurian romances) in the medieval romance Yvain and the victorian classic, Alice's Adventures in Wonderland .}
guilt, greed, betrayal, and murder are no strangers. In this story an honorable warrior and
The ancient mythology of Ireland is one of its’ greatest assets. The glorious, poetic tales of battles, super humans, demigods and heroes ranks among the best of ancient literature. The book of the Dun Cow, (Lebor na huidre), was written around 1100 and contains stories from the eighth and ninth centuries. The Book of Invasions, (Lebor Gabala), tells how the mythical ancestors of the Irish, the God-like Tuatha Dé Danann, wrestled Ireland (or Erin) from misshapen Fir Bolg in fantastic battles. The Fir Bolg were traditionally linked to Gaul and Britain so the analogy between them and the invading English was complete.
Sir Gawain and the Green Knight is a medieval poem by an unknown author, written in Middle English in the 14th century. This poem is uncanny to most poems about heroism and knightly quests as it doesn’t follow the complete circle seen in other heroism tales. This poem is different to all the rest as it shows human weaknesses as well as strengths which disturbs the myth of the perfect knight, or the faultless hero. The author uses symbolism as a literary device in Sir Gawain and the Green Knight to give the plot a deeper and more significant meaning. Symbolism is used to emphasise the difference of this heroism story against others and therefore symbolism is of great importance in this poem. The importance of the following symbols will be discussed in this paper; the pentangle, the colour green, the Green Knight, the exchange of winnings game, the axe and the scar. This paper argues the significance of the use of symbolism as a literary device in the poem Sir Gawain and the Green Knight.
The writer acquaints the reader with the idea of myth. While recognizing that researchers contrast enormously on the exact definition, Oswalt demands that this should not discourage the single person from looking for a decent meaning of the saying. While trying to help characterize the saying, he records four essential qualities of a myth. These qualities conclude that people have practically zero natural worth, they are relatively absence of enthusiasm toward history, they are fascinated with magic and the occult, and they refuse to acknowledge obligation regarding individual