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Myths and Legends of the Celtic Race - Knowledge Rush

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297which has since been considered <strong>the</strong> most essential motive in aromantic tale is almost entirely lacking. This is <strong>the</strong> element <strong>of</strong>love, or ra<strong>the</strong>r <strong>of</strong> woman-worship. The Continental fabulist feltthat he could do nothing without this motive <strong>of</strong> action. But <strong>the</strong>“lady-love” <strong>of</strong> <strong>the</strong> English, French, or German knight, whosefavour he wore, for whose grace he endured infinite hardship<strong>and</strong> peril, does not meet us in Gaelic literature. It would haveseemed absurd to <strong>the</strong> Irish Celt to make <strong>the</strong> plot <strong>of</strong> a seriousstory hinge on <strong>the</strong> kind <strong>of</strong> passion with which <strong>the</strong> mediaevalDulcinea inspired her faithful knight. In <strong>the</strong> two most famous<strong>and</strong> popular <strong>of</strong> Gaelic love-tales, <strong>the</strong> tale <strong>of</strong> Deirdre <strong>and</strong> “The [346]Pursuit <strong>of</strong> Dermot <strong>and</strong> Grania,” <strong>the</strong> women are <strong>the</strong> wooers, <strong>and</strong><strong>the</strong> men are most reluctant to commit what <strong>the</strong>y know to be<strong>the</strong> folly <strong>of</strong> yielding to <strong>the</strong>m. Now this romantic, chivalric kind<strong>of</strong> love, which idealised woman into a goddess, <strong>and</strong> made <strong>the</strong>service <strong>of</strong> his lady a sacred duty to <strong>the</strong> knight, though it neverreached in Wales <strong>the</strong> height which it did in Continental <strong>and</strong>English romances, is yet clearly discernible <strong>the</strong>re. We can traceit in “Kilhwch <strong>and</strong> Olwen,” which is comparatively an ancienttale. It is well developed in later stories like “Peredur” <strong>and</strong> “TheLady <strong>of</strong> <strong>the</strong> Fountain.” It is a symptom <strong>of</strong> <strong>the</strong> extent to which,in comparison with <strong>the</strong> Irish, Welsh literature had lost its pure<strong>Celtic</strong> strain <strong>and</strong> become affected—I do not, <strong>of</strong> course, say to itsloss—by foreign influences.Gaelic <strong>and</strong> Cymric Mythology: NuddThe oldest <strong>of</strong> <strong>the</strong> Welsh tales, those called “The Four Branches<strong>of</strong> <strong>the</strong> Mabinogi,” 216 are <strong>the</strong> richest in mythological elements, but<strong>the</strong>se occur in more or less recognisable form throughout nearlyall <strong>the</strong> mediaeval tales, <strong>and</strong> even, after many transmutations,in Malory. We can clearly discern certain mythological figurescommon to all <strong>Celtic</strong>a. We meet, for instance, a personage calledNudd or Lludd, evidently a solar deity. A temple dating from216 “Pwyll King <strong>of</strong> Dyfed,” “Bran <strong>and</strong> Branwen,” “Math Sor <strong>of</strong> Māthonwy,”<strong>and</strong> “Manawyddan Son <strong>of</strong> Llyr.”

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