The selections are divided into three sections: the first is classical authors on the ancient celts - a huge selection including both the well known Herodotos, Plato, Aristotle, Livy, Diogenes Laertius, and Cicero - and the obscure-Pseudo-Scymnus, Lampridius, Vopsicus, Clement of Alexandria and Ptolemy I. The second is early Irish and Hiberno-Latin sources including early Irish dynastic poetry and numerous tales from the Ulster cycle and the third consists of Brittonic sources, mostly Welsh. This edition includes three new early Irish tales, translated by Mairin Ni Dhonnchadha: The Birth of Aed Slaine; Fingal Ronain, and the Story of Mis and Dubh Rois.

    A unique body of medieval literature, the Sagas rank with the world’s great literary treasures – as epic as Homer, as deep in tragedy as Sophocles, as engagingly human as Shakespeare. Set around the turn of the last millennium, these stories depict with an astonishingly modern realism the lives and deeds of the Norse men and women who first settled in Iceland and of their descendants, who ventured farther west to Greenland and, ultimately, North America. Sailing as far from the archetypal heroic adventure as the long ships did from home, the Sagas are written with psychological intensity, peopled by characters with depth, and explore perennial human issues like love, hate, fate and freedom.

    Noted French scholar and linguist discusses the gods of the continental Celts, the beginnings of mythology in Ireland, heroes, and the two main categories of Irish deities: mother-goddesses — local, rural spirits of fertility or of war — and chieftain-gods: national deities who are magicians, nurturers, craftsmen, and protectors of the people.

    Covering 150 years in the lives of the inhabitants of the community of Laxriverdale, the saga focuses primarily upon the story of Gudrun Osvif's-daughter: a proud, beautiful, vain and desirable figure, who is forced into an unhappy marriage and destroys the only man she has truly loved - her husband's best friend. A moving tale of murder and sacrifice, romance and regret, the Laxdaela Saga is also a fascinating insight into an era of radical change - a time when the Age of Chivalry was at its fullest flower in continental Europe, and the Christian faith was making its impact felt upon the Viking world.

    Spanning the centuries from the first wars of the ancient Irish kings through the Celtic Renaissance of Yeats to our own time, they are set in cities, villages, fields and forestsfrom the wild Gaelic western coast to the modern streets of Dublin and Belfast.Part of the Pantheon Fairy Tale and Folklore Library

    

    The mythic legacy of the Scandinavians includes a cycle of stories filled with magnificent images from pre-Christian Europe. Gods, humans, and monstrous beasts engage in prodigious drinking bouts, contests of strength, greedy schemes for gold, and lusty encounters. The Norse pantheon includes Odin, the wisest and most fearsome of the gods; Thor, the thundering powerhouse; and the exquisite, magic-wielding Freyja. Their loves, wars, and adventures take us through worlds both mortal and divine, culminating in a blazing doomsday for gods and humans alike. These stories bear witness to the courage, passion, and boundless spirit that were hallmarks of the Norse world.“Kevin Crossley-Holland retells the Norse myths in clear, attractive prose . . . An excellent introduction, notes, and a glossary provide mythological and historical backgrounds and suggest parallels with myths in other parts of the world.”–The Denver Post

    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.

    The first account of the gods of Irish myth to take in the whole sweep of Irish literature in both the nation's languages, the book describes how Ireland's pagan divinities were transformed into literary characters in the medieval Christian era--and how they were recast again during the Celtic Revival of the late nineteenth and early twentieth centuries. A lively narrative of supernatural beings and their fascinating and sometimes bizarre stories, Mark Williams's comprehensive history traces how these gods--known as the Tuatha De Danann--have shifted shape across the centuries, from Iron Age cult to medieval saga to today's young-adult fiction.We meet the heroic Lug; the Morrigan, crow goddess of battle; the fire goddess Brigit, who moonlights as a Christian saint; the mist-cloaked sea god Manannan mac Lir; and the ageless fairies who inspired J.R.R. Tolkien's immortal elves. Medieval clerics speculated that the Irish divinities might be devils, angels, or enchanters. W. B. Yeats invoked them to reimagine the national condition, while his friend George Russell beheld them in visions and understood them to be local versions of Hindu deities. The book also tells how the Scots repackaged Ireland's divine beings as the gods of the Gael on both sides of the sea--and how Irish mythology continues to influence popular culture far beyond Ireland.An unmatched chronicle of the Irish gods, Ireland's Immortals illuminates why these mythical beings have loomed so large in the world's imagination for so long.

    A member of one of the leading Norman families involved in the invasion of Ireland, he first visited there in 1183 and later returned in the entourage of Henry II. The resulting Topographia Hiberniae is an extraordinary account of his travels. Here he describes landscapes, fish, birds and animals; recounts the history of Ireland's rulers; and tells fantastical stories of magic wells and deadly whirlpools, strange creatures and evil spirits. Written from the point of view of an invader and reformer, this work has been rightly criticized for its portrait of a primitive land, yet it is also one of the most important sources for what is known of Ireland during the Middle Ages.

    This magnificent book is a collection of stories, anecdotes, and legends from all six of the regions where celtic ways have persisted in the modern world.

    Paradoxically characterized as both barbaric and innocent, the Celts appeal to the modern world as a symbol of a bygone era, a world destroyed by theambition of empire and the spread of Christianity throughout Western Europe. Despite the pervasive cultural and literary influence of the Celts, shockingly little is known of their way of life and beliefs, because very few records of their stories exist. In this book, for the first time, PhilipFreeman brings together the best stories of Celtic mythology.Everyone today knows about the gods and heroes of the ancient Greeks, such as Zeus, Hera, and Hercules, but how many people have heard of the Gaulish god Lugus or the magical Welsh queen Rhiannon or the great Irish warrior C� Chulainn? We still thrill to the story of the Trojan War, but the epicbattles of the Irish T�in B� Cuailgne are known only to a few. And yet those who have read the stories of Celtic myth and legend-among them writers like J. R. R. Tolkien and C. S. Lewis-have been deeply moved and influenced by these amazing tales, for there is nothing in the world quite like them.In these stories a mysterious and invisible realm of gods and spirits exists alongside and sometimes crosses over into our own human world; fierce women warriors battle with kings and heroes, and even the rules of time and space can be suspended. Captured in vivid prose these shadowy figures-gods, goddesses, and heroes-come to life for the modern reader.

    It follows Parzival from his boyhood and career as a knight in the court of King Arthur to his ultimate achievement as King of the Temple of the Grail, which Wolfram describes as a life-giving Stone. As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. Yet this is not simply a tale of chivalry, but an epic quest for spiritual education, as Parzival must conquer his ignorance and pride and learn humility before he can finally win the Holy Grail.

    M. Synge achieved both notoriety and lasting fame with The Playboy of the Western World. The Aran Islands, published in the same year, records his visits to the islands in 1898-1901, when he was gathering the folklore and anecdotes out of which he forged The Playboy and his other major dramas.Yet this book is much more than a stage in the evolution of Synge the dramatist. As Tim Robinson explains in his introduction, "If Ireland is intriguing as being an island off the west of Europe, then Aran, as an island off the west of Ireland, is still more so; it is Ireland raised to the power of two." Towards the end of the last century Irish nationalists came to identify the area as the country's uncorrupted heart, the repository of its ancient language, culture and spiritual values. It was for these reasons that Yeats suggested Synge visit the islands to record their way of life. The result is a passionate exploration of a triangle of contradictory relationships – between an island community still embedded in its ancestral ways but solicited by modernism, a physical environment of ascetic loveliness and savagely unpredictable moods, and Synge himself, formed by modern European thought but in love with the primitive.

    Aneirin's poem is a universal celebration of the undying theme of the ideal hero. O'Grady's belief that what Aneirin wrote of his war is true of all wars informs the purpose of his version, which is to give a `reading' of the poem as one way in which it might have been written today. With magnificent brush drawings by Louis Le Brocquy.