Monday, 7 March 2011

The Conversation between Myrddin and Taliesin






The Ymddiddan Myrddin a Thaliesin (The conversation between Myrddin and Taliesin) is a poetic conversation between Myrddin and Taliesin, considered to be one of the Poems of Myrddin. It can be found in the Black Book of Carmarthen and, either in full or partially, in Pen. 26, Pen. 59, Pen. 54, Llanst. 119 and MA. 45. The date of the poem is difficult to determine, but A.O.H. Jarman estimates it to be around the end of the eleventh century. The poem can be divided into two parts, which differ from each other in metre and contents. In the first part of the poem, l. 1-22, Myrddin and Taliesin discuss the attack made by Maelgwn Gwynedd on Dyfed and the second part, l. 23-38, consists of prophecies concerning the battle of Arfderydd.


The conversation of Myrddin and Taliesin

How sad by me, how sad
that Cedfwy and Cadfan fell,
the battle was fiery and loud,
the shields were speckled and noisy.

It was Maelgwn who I saw fighting,
His war-band was not silent before the host.

Before two men they crowded together ineutur,
Before Errith and Gurrith on a pale white horse
Light brown horses came certainly,
Quickly the host will be seen with Elgan,
Woe for his death, they came a great journey.

Rhys Undant, a span was his shield,
To you came the blessing of the battle,
Cyndur was killed, beyond measure they mourn,
Men who were noble whilst they lived, were killed,
Three men of distinction, their fame was great by Elgan.

Over and over, host after host they came,
Yonder and yonder came to me fear for Elgan,
Killing Dywel in their last battle,
The son of Erbin and his men did.

The host of Maelgwn, it was brave that they came,
Soldiers of battle, brightness of the battlefield;
The battle of Arfderydd, that is the reason,
During their life they prepared.

Hosts of spearmen of bloodshed and slaughter
Hosts of strong men frail weaklings
Hosts when they are wounded, hosts when they are put to flight.
Hosts of their retreat, in their battle.

Seven sons of Eliffer, seven men when it is proved
They will not avoid seven spears in their seven divisions.

Seven blazing fires, seven opposing hosts.
The seventh one, Cynfelyn, every time in the front line of the battle.

Seven piercing spears, seven full rivers,
They will fill with the blood of the leaders.

A hundred and forty noblemen who went intro madness
In the Caledonian forest they perished.
Since I, Myrddin, am after Taliesin,
My prophecy will be just


A translation of A.O.H. Jarman’s Ymddiddan Myrddin a Thaliesin, 2nd edition, Cardiff, 1967

Wednesday, 2 March 2011

Camelot Series

Camelot, created by Chris Chibnall, is envisioned as being a series that begins with the birth of Arthur and runs through the Arthurian legend. According to recent reports such as this one, the series is based specifically on Sir Thomas Malory's Le Morte Darthur, published by William Caxton in 1485 and considered to be the most authoritative English version of the Arthurian legend. However, in light of comments made by Chris Chibnall concerning the inclusion of graphic sex scenes, as well as the fact that Morgana, Arthur's half-sister and a very minor figure in Malory's text, will play a prominent role in the series, it appears that the adaptation will be taking liberties with its stated source material.

Casting

Although full casting details are not yet available, the major cast for Camelot has recently been announced. Jamie Campbell Bower, who was featured in Harry Potter and the Deathly Hollows and Twilight: New Moon, will be playing the role of King Arthur, and Tamsin Egerton, heretofore unknown to American audiences, will portray Guinevere. Joseph Fiennes, most recently seen in in the canceled series Flashforward and best-known for his portrayal of William Shakespeare in Shakespeare in Love, will be playing Merlin, and former Bond girl Eva Green is featured as Morgana. Other casting decisions that have been announced include Clive Standen as Gawain, Claire Forlani as Igraine, Arthur's mother, Peter Mooney as Kay, and James Purefoy as King Lot. In addition to these character roles, a number of stunt doubles has been cast as well.


Wednesday, 12 May 2010

Robin Hood ready to launch Cannes - BBC News

Robin Hood ready to launch Cannes - BBC News
by Google.co.uk external link on May 12, 2010
Robin Hood ready to launch CannesBBC NewsCate Blanchett and Russell Crowe will bring some red carpet glamour to the south of France later as Robin Hood opens the 63rd Cannes Film Festival. The latest retelling of the legendary outlaw, from director Sir Ridley Scott, is showing out of ...Cannes 2010 preview: 'A festival for our troubled times'The GuardianRobin Hood: First review of Ridley Scott film by Chris TookeyDaily...





Tuesday, 4 May 2010

Royal Shakespeare Company to present major re-telling of Malory's great English epic - Morte d'Arthur




RSC to present major re-telling of Malory's great English epic

Le Morte D'Arthur


14 April 2010


Morte d'Arthur By Sir Thomas Malory in a new adaptation by Mike Poulton The legend of King Arthur and his Knights of the Round Table A New RSC Commission The Courtyard Theatre, Stratford-upon-Avon Previews from 11 June and runs in repertoire until 28 August 2010 Press Night: Thursday 17 June 2010 at 7pm Box Office: 0844 800 1110, www.rsc.org.uk

Gregory Doran, the Royal Shakespeare Company’s Chief Associate Director, is to stage Mike Poulton's new version of Thomas Malory’s epic, Morte d’Arthur, the story of King Arthur’s attempts to unite his country. From the sword in the stone to the establishment of the Round Table and the quest for the Holy Grail,Morte d’Arthur traces the adultery of Lancelot and Guenever and ultimately the death of the ‘once and future king.’ Blending myth and magic, this is the first major re-telling of the cycle in the English language. Mike Poulton, who worked with Gregory Doran on the RSC’s production of The Canterbury Tales in 2005, has adapted Morte d’Arthur. ‘We’ve worked together long and hard to make this prose epic into a piece of theatre,’ said Doran. ‘Mike Poulton has used Malory’s text, but has been very clever at creating a modern dialogue whilst still retaining a sense of medieval dignity.’ Talking about why he wanted to stage Morte d’Arthur for the RSC, Gregory Doran said: ‘Malory wrote it whilst in prison during the time of the Wars of the Roses. It was printed by Caxton in 1485, and Shakespeare would have known of the work. ‘This epic has therefore been at the centre of our culture for over 500 years, and it’s a project that’s been around at the RSC for a long time. The director John Barton has done many workshops and explorations of the text over the years. I asked him about taking it one step further with a dramatization and he graciously said to me it was ‘completely impossible.’ That’s maybe why I’m trying to do it.’ ‘Also in the context of the recent history of the RSC, with its 2006/07 staging of Michael Boyd’s award winning Histories cycle, it seems appropriate to see a story which was written at the time these events were actually happening performed on the same stage.’ Gregory Doran has been developing the project with the RSC’s current ensemble for the past two years, and it is his first time directing them in a production this season. Sam Troughton is Arthur, with Forbes Masson as Merlin, Jonjo O’Neill as Launcelot and Kirsty Woodward as Guenever. The cast also includes: Joseph Arkley (Kay, Pellieas and Angel), David Carr (Leodegrance and Accolon), Dyfan Dwyfor (Lamorack, Percival and Lavaine), Noma Dumezweni (Morgan Le Fay), Christine Entwisle (Margawse), Mariah Gale (Lady of the Lake, Ettard and Elaine of Astolat), Gruffudd Glyn (Gareth), James Howard (Ector, Bernard of Astolat and Lionel), Richard Katz (Pellinor, Nacien and Cardinal), Debbie Korley (Nimue), Dharmesh Patel (Agravain), Peter Peverley (Mordred), Patrick Romer (Archbishop of Canterbury), David Rubin (King Uriens and Lucan), Oliver Ryan (Gawain), Simone Saunders (Queen Igraine and Lynet) and James Traherne (King Lot, Red Knight, Baudwin and Bedevere). Morte d’Arthur will be staged in three distinct acts over one evening. Katrina Lindsay has designed the production, with lighting by Tim Mitchell, music by Adrian Lee and movement by the RSC’s Head of Movement, Struan Leslie. Steve Tiplady, puppeteer and exponent of shadow puppetry has been brought in to evoke some of the magic in the piece. Composer Adrian Lee is a long time collaborator of Gregory Doran’s, and previously composed music for his productions ofMacbeth, Antony and Cleopatra and The Canterbury Tales. ‘What I love about Adrian,’ said Doran ‘is that he manages to create a real medieval sound with traditional instruments with something very wild thrown in too. And he’s using Joji Hirota, the amazing Japanese drummer who worked with us on Macbeth in 2001.’ In 2008 Gregory Doran directed Love’s Labour’s Lost and an award winning production of Hamlet with David Tennant in the title role. The latter he also directed as a film which was broadcast at Christmas on BBC2. His most recent production for the RSC wasTwelfth Night with Richard Wilson as Malvolio.

For further information and interviews, please contact Nada Zakula in the RSC press office on 01789 412622, 07831 766086 ornada.zakula@rsc.org.uk For regional interviews and press tickets please contact Dean Asker in the RSC press office on 01789 412660 ordean.asker@rsc.org.uk

April 2010


Notes to Editors:

• The RSC Literary Department is generously supported by THE DRUE HEINZ TRUST • Production photographs will be available from www.epo-online.com from 15 June 2010. • Tickets for the production range from £5 - £45 • Gregory Doran discusses his creative choices at a Director Talk on Wednesday 16 June (5.15pm – 6pm) at the Courtyard Theatre, Stratford-upon-Avon. Tickets £5 • Post Show Talk Back on 26 June. Audience members can stay on after the show and put questions to the acting ensemble. • Sunday Brunch – Authoring Arthur on Sunday 27 June. A Round Table discussion looking at how the tales of King Arthur have been interpreted and reinvented through the ages by artists and writers. Brunch served from 10am to 11.30am, discussion at 1pm. Tickets £15 • Unwrapped on Saturday 10 July, 10am. Members of the Creative Team and Acting Ensemble demonstrate some of the skills that go into making the production. Tickets £5 • www.rsc.org.uk


http://www.rsc.org.uk/press/420_9805.aspx


Friday, 23 April 2010



Happy St. George's Day to everyone!!!


My friend Clark John Fenney wrote this beautiful epic poem for me, and I feel very honoured reading this poem, and gladly sharing it to everyone!!!!

St. George and the Dragon (For Edileide Brito)



This is my St Georges day,
And on it i will write a lay,
About fair Damosel Edileide
And the events that will be played.

Hailing from the island of Hy-Brasil
She is travelling still
But will dwelleth for a time in Albion
Where the mighty St George haileth from.

So it was on that day of rain and sun
The adventure had begun
And tears of rainfall are in her eyes
Caused by events strange and wild

He came from the North to slake his fill
To where the Southern dwellers dwell
Up upon a lonely crag
With elemental vision spied a hag

But she was not for him
Maiden food was only good for him
He took his flight into the night
And came upon a tower high and built with might

But there was no castle in sight
No protector to fight the fight
His prey was spotted, her fair hair
He would take her there.

If he be bold he could take her now
But he was cunning so he’d wait somehow
The spring night was a little bright
But guards let down at the coming of night

So he flew into the sky
Flying ever high and high
Swooping down out of the evening
His appetite was keening

She saw him coming not a jot
Brushing her hair atop the tower of Escalot
He stifled his raw that sneaky cad
Lest he make the Southern dwellers mad

But when he snatched her he let out a roar
Breathed fire from his lungs, it poured
Out into the errant night
And so he took again to flight

His cave was cold and dank and dark
There was no sign of a friendly skylark
Piles of treasure lay arounder
Sacrificed to this abhorred bounder

Edil felt the shock and awe
Of this invasive carnivore
But she bit her lip
Resolve set on, to hell with it!

For she knew he’d not yet taste flesh
This would be a harsh test
His desire for jewels and gold
Mere hunger overrode

Word got out of the kidnapping
While the Southerners were a napping
Two and two was put together
The clues were there – a flying creature without feathers

Who had been spotted far and near
He had been to here
And what were these inhabitants to do?
They had not a clue

But good fortune would find a way
For Holy St George was passing that way
A dragon slayer born and true
He would provide the egress, the wherewithal to

He resolved to track the wyrmling down
Divest him of maiden, treasure and stolen crowns
Defeat the dragon and rescue Edil,
He’d play the hand that fate would deal

The spoor of sin was everywhere
He found a lock of Edilaide’s hair
A discarded bracelet, a ring or two
But no shed blood – phew!

His stratagem was in his mind
He’d draw the creature outside
It did suit his fighting style
Room to manoeuvre, outsmart and get behind

Boldly approaching the wyrm’s foul lair,
In order to rescue the lady fair
He banged sword on shield and cried ‘Come hither’
And after a while the dragon did slither

Both opponents sized up the other
And Faustus the dragon thought he could smother
With flames this impudent mortal, first strike
But deftly aside parrying with shield George evaded as he might

Faustus did bellow
At this impudent fellow
Moved closer and lashed out with tail
But swiftly George dodged aside, and again the dragon did fail

He cried out in pain – a sword had bit deep
And Faustus retaliated with sharp pointy teeth
George had been blooded, was also in pain
But his mind was clear, in battle he’d been trained

Now both had suffered
They circled each other
Wary but not in retreat
Still both on their feet

But Faustus took to the air
To gain advantage of height there
And George did let fly his spear
It flew upwards seeking weak spot now clear

Dragon wounded again and weakened once more
He let fly with hot steam with a mighty roar
And this attack did find its mark
Filled lungs with poison but did not strike the heart

Sensing weakness now, Faustus knew somehow
His moment had come for the kill now
He swooped down to still choking George
And struck out with his gnarly claws

He sensed no ruse, no canny trick
George had recovered resilient as stone or brick
He plucked up his weapon
Said a prayer to Heaven

And struck the spot the spear had pierced before
And the dragon gave an almighty pained roar
St George had made his score
And the Demonborne Faustus would cry no more

But dragons are dragons and and danger when dead
Out of the wounds inflicted did the acid ichor bleed
The spray was wide and flowing fast
Could not be avoided a hopeless task

George cried out as it burned skin to a crisp
Eating through armour and melting it to a whisp
Brave George fell. Passed out through malady
But hope was here, here came the lady

Amongst the caves treasure was a healing balm
It worked its magic and made a cooling body warm
Bringing life back into him
St George would live again!

Here endeth this tale – a short summary
Edilaide returned home and in good company
St George his task accomplished here
Left to wander a land and cleanse more fear

And what of the lady from Hy-Brasil?
She recovered from her ordeal and is dwelling here still
Brushing her hair in the moonlight
Before retiring to sleep sweet dreams at night

Now no more rainfall in her eyes
She feared not threat from sky
And with calm repose did think of him
Thoughts of adventure and this godly man

A Hero who came and saved both soul and skin
Now left a-travelling
But in times of need she could call on him
- And the Hero would come again!


Clark John Fenney Friday, 23 April 2010, St George's Day Albion




Sunday, 4 April 2010

IV SIMPÓSIO NACIONAL E III INTERNACIONAL DE ESTUDOS CELTAS E GERMÂNICOS IV SIMPÓSIO NACIONAL E III INTERNACIONAL DE ESTUDOS CELTAS E GERMÂNICOS: MITOL

IV SIMPÓSIO NACIONAL E III INTERNACIONAL DE ESTUDOS CELTAS E GERMÂNICOS
IV SIMPÓSIO NACIONAL E III INTERNACIONAL DE ESTUDOS CELTAS E GERMÂNICOS:
MITOLOGIA E RELIGIOSIDADE



http://celtasgermanos2010.blogspot.com/2010/03/iv-simposio-nacional-e-iii.html

Friday, 26 December 2008

Cambridge Colloquium in Anglo-Saxon, Norse and Celtic

Cambridge Colloquium in Anglo-Saxon, Norse and Celtic
Cambridge Colloquium in Anglo-Saxon, Norse and CelticSaturday, 7 March 2009"Hidden Depths"Call for PapersThe Department of Anglo-Saxon, Norse and Celtic at the University ofCambridge invites paper proposals for its annual interdisciplinarypostgraduateconference, the theme of which is: "Hidden Depths."We are pleased to announce that this year's keynote speaker shall beMichael Winterbottom, Professor Emeritus of Classics at the University ofOxford. Professor Winterbottom will be discussing 'The Style of Bede'sHistoria Ecclesiastica: How Simple is it?'Papers should take no more than twenty minutes to deliver. Please submita 250-word abstract of your paper by 9 January 2009 to ccasnc@yahoo.co.ukRegistration shall be £5

Thursday, 25 December 2008

In the Midst of Legend : Igrayne's Weeping

by Ian Grigor

Gorlois' failure to return confirmed the Duke could no longer live
smiling to himself Uther eased himself from Igraines sleeping clutch
with sunrise approaching Uther took care to dress silently
kissing her gently he wondered if she could ever love his caressing touch

Morgana fought the urge to scream as the stranger left the room
for deceit had been the knife in her fathers back this passed night
looking across ti her Mother Morganas heart broke, Igraine was love blind
for Magic was the shroud of Darkness to those without the sight

***

The abrupt knock on the bedroom door startled Igraine...
placing her youngest daughter back in the crib she called 'Yes!'
the door opened to reveal Cenmin, his armour stained and dented
shaking her head she stated 'If Gorlois looks as bad as you it will not impress!'

Those words of Igraines made Cenmins task so much harder
looking uneasy he said 'My Lady...you had better follow me...'
the ice cold fingers of alarm crept up Igraines spine 'What has happened?'
'My Lady...'said Cenmin '...it were a trap...you had best come and see!'

***

Igraine ran to and knelt by her dead husbands side
tears flowing she gripped Gorlois' hand 'When did he die?'
Gorlois had been like a brother to Cenmim 'Just after nightfall, My Lady'
Igraine turned on Cenmin sharply 'That is not true...you lie!'

'On my life, My Lady, he was one of the first to fall!'
Igraine shook her head 'Impossible! He was here..in my bed!'
Cenmin closed his eyes and could once more see Gorlois' death
'Believe me, My Lady..i saw it happen...your name was the last he said'

Igraine turned back to Gorlois and tenderly kissed his forehead
laying her head on his blood stained chest she whispered 'Things are so unclear...
whose arms were i in last night, my love, if they were not yours...'
Morgana rested her head next to Igraines ' Magic blinded you Mother...father was not here'

Cenmin stepped forward and placed his hand on Igraines shoulder
'My Lady, we have preparations to make. We must send out word...
..telling of the Dukes death must be sent out, Druids must be summoned'
Igraine continued weeping. She chose these words not to be heard.

Cenmim raised his voice 'My Lady, Hear me, please! We must...'
Igraine stood and placed her hand on his chest 'My heart breaks and reason i lose...
..the heavy curtain of doubt clouds all and is stained by the blood of sorrow
Gorlois, the Father of my children lies dead behind me..it is not what i choose!'

'My Lady Igraine..' spoke Cenmin '..it is not my choice either, but it happened..
Gorlois fought for your honour, your name, the innocence of your love..
..i loved the Duke like a Brother, My Lady..i would gladly take his place
but the Gods decided otherwise..his love for you was all..he held nothing above!'

Igraine took Cenmins hand in hers '..and i his love, Cenmin...
..send out word and summon those Druids..will you do me this courtesy?'
Cenmin nodded his head 'I am your loyal servant, My Lady..
..i will summon all who need know..i will lay waste to this travesty.'

'But would that be enough, Young Knight?' it was Morgana who had spoken
Cenmin looked across to Morgana and smiled 'You have an Opinion, child?'
'How you you lay ruin to the fact my Father is dead? He remains so whatever..
your words, however sincere, are hollow. Our grief is not diminished, it remains wild!'

With a brief shadow of contempt on his face Cenmin looked back at Igraine
'Your Daughter speaks wise words, My Lady. Counsel of one twice her age..
could i speculate at the thought of her being an enchanted one?'
'An unfair burden strikes her..' stated Igraine '..she fights pain with rage'

Saturday, 20 December 2008







Tuesday, 16 December 2008

The Yule Cat



The oldest written sources on the Yule Cat are from the Nineteenth Century. These refer to the fact that those who do not get a new item of clothing for Yule are destined to become offerings for the Yule Cat. It may sound strange that the deprived ones will also become the sacrifices, but this tradition is based on the fact that every effort was made to finish all work with the Autumn wool before Yule. The reward for those who took part in the work was a new piece of clothing. Those who were lazy received nothing. Thus the Yule Cat was used as an incentive to get people to work harder.

A woman describes a scene from her youth in the last century thus: "We were lazy doing this chore. Then we were reminded of the Yule Cat. We thought that was some terrible beast and the last thing we wanted was to be one of his offers".

One of Iceland's most beloved poets in this century, Jóhannes úr Kötlum, wrote a lay about the Yule Cat. It follows in the translation of Vignir Jónsson, who says: "You'll have to forgive me but I didn't make it rhyme - I'm not much of a poet."




You all know the Yule Cat
And that Cat was huge indeed.
People didn't know where he came from
Or where he went.

He opened his glaring eyes wide,
The two of them glowing bright.
It took a really brave man
To look straight into them.

His whiskers, sharp as bristles,
His back arched up high.
And the claws of his hairy paws
Were a terrible sight.

He gave a wave of his strong tail,
He jumped and he clawed and he hissed.
Sometimes up in the valley,
Sometimes down by the shore.

He roamed at large, hungry and evil
In the freezing Yule snow.
In every home
People shuddered at his name.

If one heard a pitiful "meow"
Something evil would happen soon.
Everybody knew he hunted men
But didn't care for mice.

He picked on the very poor
That no new garments got
For Yule - who toiled
And lived in dire need.

From them he took in one fell swoop
Their whole Yule dinner
Always eating it himself
If he possibly could.

Hence it was that the women
At their spinning wheels sat
Spinning a colorful thread
For a frock or a little sock.

Because you mustn't let the Cat
Get hold of the little children.
They had to get something new to wear
From the grownups each year.

And when the lights came on, on Yule Eve
And the Cat peered in,
The little children stood rosy and proud
All dressed up in their new clothes.

Some had gotten an apron
And some had gotten shoes
Or something that was needed
- That was all it took.

For all who got something new to wear
Stayed out of that pussy-cat's grasp
He then gave an awful hiss
But went on his way.

Whether he still exists I do not know.
But his visit would be in vain
If next time everybody
Got something new to wear.

Now you might be thinking of helping
Where help is needed most.
Perhaps you'll find some children
That have nothing at all.

Perhaps searching for those
That live in a lightless world
Will give you a happy day
And a Merry, Merry Yule.