The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). However, some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. In fact, many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, the sword Excalibur, Arthur's birth at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chretien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. The Sir James Knowles version of King Arthur is considered as the most accurate and well known original story of King Arthur and the Knights of the Round Table.

    But the sources of our knowledge about these societies are relatively few, leaving the gods of the North shrouded in mystery. In compiling this dictionary Rudolf Simek has made the fullest possible use of the information available -Christian accounts, Eddic lays, the Elder Edda, runic inscriptions, Roman authors (especially Tacitus), votive stones, place names and archaeological discoveries. He has adhered throughout to a broad definition of mythology which presents the beliefs of the heathen Germanic tribes in their entirety: not only tales of the gods, but beings from lower levels of belief: elves, dwarfs and giants; the beginning and end of the world; the creation of man, death and the afterlife; cult, burial customs and magic - an entire history of Germanic religion. RUDOLF SIMEK is Professor of Medieval German and Scandinavian literature at the University of Bonn in Germany.

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.

    The traditions of Celtic-speaking communities in particular offer a highly effective method, expressed through mythology (as in the symbolic apple branch) and implemented through seasonal rituals.Alexi Kondratiev outlines rules for Celtic-circle membership and shows how to become conversant with Celtic culture and mythology, and at least one of the surviving Celtic languages. He also provides the actual formula of words given for each of the Celtic rituals and visualization sequences. These rituals are closely connected with the passage of time, especially the four seasons, as well as other feast days. In this book the ancient traditions of all six Celtic nations are brought to life. Alexi Kondratiev, who knows sixty-four languages well enough to teach them, conducts classes in a variety of Celtic subjects at the Irish Arts Center in New York City, and has been a contributor to a number of magazines and journals, including Keltoi, Carn, and Keltria.

    The Book of Giants, like the Book of Enoch, concerns itself with the Nephilim, which are the offspring of fallen angels, who are called the Watchers. Two main versions of the text exist. The Dead Sea version is written in Aramaic. Another version has been found written in middle Persian, adapted from the Aramaic to fit into the Manichean religion. Both versions will be examined. Following theories speculating that the Book of Giants was once part of the Book of Enoch, we will attempt to place the two texts back together to render the complete story of the Watchers and the Nephilim. We will discover the history and contributions of these ancient scrolls and look carefully at their content and meaning. Throughout the combined texts of the Book of Giants and the Book of Enoch we will examine all the biblical and apocryphal references and parallels within the text and compare passages from books such as Jubilees, Jasher, and other apocryphal works. The result is an in-depth and panoramic view of the Angels, the Watchers, and the Nephilim, and how one of the giants of the Nephilim race may have survived the flood intended to cleanse the Earth of their horror.

    The Celts had a life-affirming, mystical way of viewing and living life, in tune with the forces of Nature and magic. Drawing upon Irish Celtic spiritual tradition, history, literature, and myth, this tried and true guidebook (formerly titled Glamoury, ) offers a holistic system that will help you reconnect with this enchanting realm--the Green World of the Celts.Magic of the Celtic Otherworld presents techniques for becoming attuned to the life forces of the Green World through seasonal rituals, visualizations, and practical magical workings. Learn how to find your way around the Otherworld, and gain an understanding of how each of us constantly shapes and affects the land on which we live. Most importantly, discover how to make contact with inhabitants of the Otherworld in order to deepen your spiritual practice and enrich your everyday life.

    In this book feature over two dozen stories taken from popular oral tradition and united with John D. Batten's black and white drawings, full of movement and energy. Many of the earliest children's books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality editions, using the original text and artwork so these works can delight another generation of children. John Dickson Batten (1860-1932) was a British painter, illustrator and print maker who was a leading light in the Art Nouveau movement. He illustrated a series of fairy tale books written by Joseph Jacobs as well as English language versions of Arabian Nights and Dante's Inferno. His illustrations are strongly influenced by the printmakers of Japan and are characterised by an intense romanticism and refined technique.

    Campbell stresses that the borders dividing the Earth have been shattered; that myths and religions have always followed the certain basic archetypes and are no longer exclusive to a single people, region, or religion. He shows how we must recognize their common denominators and allow this knowledge to be of use in fulfilling human potential everywhere.

    Through the use of diverse and rare literary sources, he shows Merlin to have been a historical figure--one of the last heirs to druidic tradition. 16 pages of black-and-white photos.

    This is the world of the Irish fairy tale, a magical realm kept alive by generations of storytellers and their avid listeners. As Alfred Perceval Graves, author of the ballad "Father O'Flynn" and a former president of the Irish Literary Society, wrote in the introduction, "The truth is that the Gaelic peasant, Scotch and Irish, is a mystic, and believes not only in this world, and the world to come, but in that other world which is the world of Faery, and which exercises an extraordinary influence upon many actions of his life." In The Irish Fairy Book, Graves has collected Ireland's best-loved fairy tales written by some of its favorite authors. Included are W.B. Yeats' "The Stolen Child," Lady Gregory's "Cuchulain of Muirthemne," Standish James O'Grady's "The Coming of Finn," Lady Wilde's "The Horned Women" and "The Demon Cat," and many more. Illustrations by George Dunham add a delightful touch to this charming collection.

    This groundbreaking book presents the findings of Rosemary Ellen Guiley and Philip J. Imbrogno's investigation into the powerful and mysterious interdimensional beings known as djinn or genies. It reveals what the djinn are, where they can be found--and their hidden agenda against the human race.Working with material compiled from a variety of sources--including their own case files, Middle Eastern lore, the Qur'an, teachings of Islamic scholars, and the latest theories in quantum physics--the authors explore the relationship between the djinn, demons, fairies, shadow people, and extraterrestrials. They discuss the military's interest in these clandestine beings, offer eyewitness accounts of modern human encounters with the djinn, and reveal the location of interdimensional entry points in North America.

    The most comprehensive survey of Druidry available, from their earliest history to the current renaissance--including a study of the shaping of their ideas, their principal deities and myths, their learning and social organization, and more.

    The space-age sounding title was suggested over 800 years ago by "The Blind Ones and the Elephant," a story immortalized in Rumi's Mathnavi.

    Even when it wasn't raining, it was about to rain, or had just rained. It's a very angry sky.” – Colin Hay Scotland is a fascinating and ancient land filled with history. It has produced explorers, warriors, inventors, writers, and more than a few murderers. For many centuries, it fought bitter wars against England to maintain its independence, and even when those wars were finally lost, Scotland retained its distinct culture and identity. Though a part of the United Kingdom, it would be a mistake to lump it in with England, Wales, and Northern Ireland, as Scotland has its own tales to tell and traditions to maintain. Not everything in Scotland is as it appears, however. Some Scots say this is a land haunted by spirits, a place of strange disappearances and unexplained phenomena. There is no shortage when it comes to the strange stories Scotland has to offer, and the legends and lore have compelled many to dig a little deeper and even explore this wonderful land for themselves. Some of those tales are downright grisly. Scotland has always been a rival to its southern neighbor, and the rivalry extends to the number of hauntings in its medieval castles, stately homes, and old cobblestone streets. While many Englishmen claim that their country is the most haunted, the Scots can point to their own stories of ghosts as evidence they may beat the English in this dubious distinction. The Ghosts of Scotland: A Collection of Ghost Stories across the Scottish Nation is a collection of such tales, just a few among the thousands of local legends and modern sightings that make Scotland one of the most haunted countries in the world. It is part of a collection of other books written by Sean McLachlan, including The Ghosts of England: A Collection of Ghost Stories across the English Nation and The Ghosts of Ireland: A Collection of Ghost Stories across the Emerald Isle. For other strange occurrences in Scotland, ranging from Nessie to jelly falling from the sky, check out another title in the series, Weird Scotland: Monsters, Mysteries, and Magic Across the Scottish Nation. Along with pictures of important people, places, and events, you will learn about the ghosts of Scotland like never before.

    This is a book that belongs in the library of every modern Druid, regardless of their particular path or style of Druidism.