The Ulster Cycle tells of the exploits of the warrior-caste the `Red Branch`, particularly the hero Cuchulainn. The main tale is Tain Bo Cuailgne (The Cattle Raid of Cooley). The myths themselves began to take shape before the second century CE, though it was not until the eleventh that they were written down. Tradition states that the reign of Conchobhar mac Nessa began in 30 BCE and ended in 33 CE (allowing some over enthusiastic monk to suggest that he died of a broken heart on hearing of the passion of Christ), and the short career of Cuchulainn takes place entirely within his reign.
The Fenian Cycle deals with the adventures of Finn mac Cumaill and the myths that built up around his exploits and those of his warrior band, the Fianna. The historical dates that form a backdrop to these tales take place between the Battle of Cnucha (174 CE) to the Battle of Gabhra (283 CE). It is highly probable that some of the tales that make up this cycle are of a more ancient pedigree and were grafted onto the tales of Finn.
The Historical Cycle deals with `historical` figures, particularly Kings said to rule between the Third and Eighth Centuries CE.
Several books compiled during the early Middle Ages provide us with
additional information regarding the characters and the events of the four
cycles. The Dindsenchas tells of the lore pertaining to geographical features
in Ireland. Lebor Gabala Erenn (The Book of the Taking of Ireland)
is a `history` of the peoples who have invaded Ireland, of Cessair, Partholon,
Nemed, the Fir Bolg and the Tuatha de Danann.
Poetry attributed to Taliesin and Aneirin, and
the countless unnamed bards who kept the tradition alive, captures a host
of human emotions and the intense love of nature which is descibed in incredible
detail.
Both Llywarch Hen (Old Llywarch) and the Heledd Cycle deal with the
grief of a single survivor of one of the battles with the encroaching Anglo-Saxons.
The battles also feature in the poems about Urien Rheged and the Armes
Prydein.
The metre used is the englyn (either the `englyn milwr` with three
lines of equal length or the more complex englyn penfyr with a long first
line and short second.) I won`t try to explain about Cynghanedd and Welsh
poetic forms, I`ll leave that for another day. What I will say is that
Welsh poetry has a different `feel` than that of English, the rhythm and
rhyme are emphasized in a different way, in some there is almost a mantric
feel.
The epic sixth century Y Gododdin also deals with one of the battles
in the Old North, the tale of the struggle between Y Gogledd (the Men
of the North) and the invading Angles.
After the Norman invasion, the power of the bard diminished, the praise-singers
began to lose their place in the halls of Kings, banned by the Norman overlords.
But the songs would survive, the Welsh Princes began `competitions` and
festivals, and thus began the Eisteddfod. The troubadors and poets of Medieval
Europe were influenced, with tales like `Tristrum and Isuelt` and
`Peredur` told in France, Spain, Italy and Germany.
The works of Dafydd ap Gwilym (famous for his `love` poems), Einion
Offeiriad and Dafydd Ddu Athro are considered the zenith of Welsh poetry.
The non-Celtic world world has sought inspiration from Celtic Literature.
Films such as DragonHeart, First Knight, Excalibur
and Highlander try to capture the `feel` of the Celtic mythos, though
obviously `Hollywood` influences are more to the fore.
Though influenced as much by Germanic myths, there is still a very
strong Celtic element in the works of Tolkien, David Eddings, and much
of modern `Fantasy` books. D&D has also drunk deep from the well of
Celtic lore.
Modern interpretations and re-writings of the myths continue a tradition
of the telling of these tales that often have their beginnings in the mists
of pre-history. Morgan Llywelyn`s `On Raven`s Wing` is a modern
telling of the Tain Bo Cuailgne and of Cuchulainn. In `The Mists of
Avalon` Marion Zimmer Bradley reworks the Arthurian myths. Stephen
Lawhead has also reworked the Arthurian tales with `Uther`, `Arthur`
and `Merlin`, and gives a detailed interpretation of life in the
Celtic British North in his `Song of Albion` Trilogy. Few myths
can be said to have spread as wide and influenced as much as the Arthurian
Legends.
To list all the modern books that have been influenced by the Celts or by Celtic Mythology would probably take a life time, and as I have other plans for this one........you`ll have to make do with this. :)
J. Craig Melia - 1998
A Brief Book Review
Pagan Celtic Britain - Dr Anne Ross
The Sacred Isle - Daithi O hOgain