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Celtic Heritage, by Alwyn Rees
Ebook Free Celtic Heritage, by Alwyn Rees
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Product details
Paperback: 430 pages
Publisher: Thames and Hudson; Revised ed. edition (May 1, 1989)
Language: English
ISBN-10: 0500270392
ISBN-13: 978-0500270394
Product Dimensions:
5.2 x 0.9 x 8 inches
Shipping Weight: 1 pounds (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
18 customer reviews
Amazon Best Sellers Rank:
#621,332 in Books (See Top 100 in Books)
Reprint of the 1961 classic by the Rees brothers on Celtic Heritage vis-a-vis storytelling and culture among the Celtic people. Scholarly and intended (at least in my case) for class participation and study. I'd forgotten what a lovely book this is to read, despite being a scholarly work. Very happy with the product and getting it faster (giving me more time to prepare for class) is a bonus.
TThis mythic study is considered by many as a must-read on the subject of Celtic Mythology. Meticulously detailing Irish and Welsh myths in terms of cycles and themes, this book examines the key Celtic epics and tales which shape Celtic culture even today. A classic for over 40 years, this book is well worth serious study for the student of Celtic traditions.The introduction begins by introducing us to the storyteller, secular incarnations of the bards of old, the role stories played in society, and the esteem held by the ancient bards and poets. And, in a somewhat wordy paragraph that is nevertheless worth quoting, the authors state the reasons why this study is important: "A religious tradition consists of a ritual and an art as well as a mythology, and each of the components is intelligible in terms of the others. Symbols whether they be myths or ceremonies or objects, reveal their full significance only within a particular tradition; one must be part and parcel of that tradition to experience fully the power and illumination of the myth. Such participation in the old Celtic tradition is no longer possible. For these reasons we do not consider it enough to re-tell the tales as they stand, without comment. In pondering upon these fragments of tradition, it is not enough for modern man to disabuse his mind of the preconceptions of the historian, the prejudices of the scientist, and the asceticism of those who read the Bible as `literature'. He needs all the clues he can find. Although the full meaning can never be fathomed, we believe that a comparative study of the stories, combined with some acquaintance with the myths, rituals and doctrines of other lands and other ages, may help us to obtain glimpses of the tradition of which the stories, even in their original form, were but one expression."In Part Two, the authors then take us through an introduction to the bulk of the stories and their composition into the Irish four cycles of Mythological, Ulster, Fenian and Historical as well as the four Welsh Mabinogi. The chapter "Darkness and Light" introduces us to themes of dichotomy and separation like day and night, and seasonal divisions. "Coming Into Existence" traces how, though without an original creation myth, tales of successive invasions tell of the creation of Ireland. "A Hierarchy of Provinces" analyzes the four (and five provinces) of Ireland into categories of certain elements of society and demonstrates how they are an example of Georges Dumezil's system of functions. And, the chapter "Involutions" cautions the reader, however, that divisions are not rigid, but fluid, with functions, etc., bleeding from one to another.There then follows a chapter called "The Centre" which delineates the spiritual importance of the center provinces in some of the previously discussed geographical and metaphorical divisions in various cosmological and ritual ways. "Five Peaks" switches to the Welsh focus on the importance of hills and mounds in story and in ritual practice. "Numbers" then proceeds to catalog the ritual and spiritual importance of certain numbers (such as 7, 9, etc.) and closes Part Two of the book.Part Three begins with "The Storyteller's Repertoire", a short introductory chapter which shows how the ancient bards and storytellers grouped and learned their material thematically rather than in "historical" or cycle order.Choosing a few of these themes to analyze, we proceed to the chapter called "Births" which traces the extraordinary circumstances of a hero's conception and/or birth, for instance via a worm in water, supernatural father, etc. Additionally, the birth of the hero is almost inevitably a product of destiny or fate. The hero is often unwanted or an embarrassment, resulting in abandonment or attempted murder. From there we turn to "Youthful Exploits", childhood stories which are, in fact, initiatory journeys into manhood. These typical initiation motifs include a new name, acquisition of arms, and victory over a wild beast. These rites also usually include sexual initiation with a significant woman.In "Wooings" heroes are tasked with seemingly impossible quests which they nevertheless complete in order to win a bride. But even these adventures have deeper metaphorical meaning. As the authors state, "Wooings are thus a variant of the quest for `the treasure hard to obtain' which man needs for his wholeness and fulfillment, a treasure which must be wrested from the grasp of an indefatigable foe." In contrast to Wooings, we then read of "Elopements", as the authors write, "The Elopements and Wooings of Celtic tradition seem to constitute...a pair of contraries. In the Wooings man is the suitor, while the role of the maiden is largely passive, but in the Elopements it is the woman who chooses the man and compels him to do her will." The woman is usually trapped in a loveless or arranged marriage to a man (usually older) not of her own choosing. "Just as the Wooings depict the mythological inversion of marriage from the male standpoint, so the Elopements may be described as the mythological inversion of marriage from the female standpoint."Proceeding on to "Adventures", the hero encounters various members of the Otherworld and/or acquires certain magical objects. The authors say "Visits to a strange land and experiences among a strange race constitute a substantial part of Celtic mythology, and, as in modern fiction, a whole class of tales are known as `adventures.' But whereas the adventures of fiction are concerned with escapades among the natives of distant lands or planets in this world, the adventures of mythology are experienced among the mysterious denizens of the supernatural world."In "Voyages": "The theme of the otherworld voyage is one of the most distinctive in Celtic tradition... Like other types of tales we have described, the immram has its own function. It is to teach the craft of dying and to pilot the departing spirit on a sea of perils and wonders." (One can't help but compare these with "The Odyssey". While Odysseus' voyage is not an immram on the surface, perhaps there are some of the same themes underneath?) The authors continue, "The metaphysical implication would appear to be that Whiteness, Blackness, Fire, Water, Joy, Sorrow, Femininity, Masculinity, Youth, Age, Life, Death and so on, exist as abstract principles over and above the objects or people in which they are manifested... In addition to the elements that constitute the corporeal world, human attitudes or behaviors also are depicted on the islands (of the Voyages)."In the chapter "Deaths", even here the hero meets his fate in extraordinary circumstances via violation of multiple gessa, partaking a last sacred meal (this and the importance of twelve warriors and leader being themes incorporated in the Christ mythos) and strange or sexual encounters with women. The authors again, "The myths do not mitigate the impact of death with soothing words; they present it in its grimmest brutality. And yet...they elevated death to the plane of the tragic and heroic."The epilogue finally closes out the book by saying, "In diverse ways myth and ritual loosen the grip of the temporal world upon the human spirit. Under the spell of the storyteller's art, the range of what is possible in this world is transcended: the world of magic becomes a present reality and the world of every-day is deprived of its uniqueness and universality. The storyteller...by convincingly actualizing the impossible, renders the actual world less real. When the spell is over, the hearer `comes back to earth' but the earth is now not quite so solid as it was before, the cadence of time is less oppressive and its laws have only relative validity." And yet I find that Celtic myth has a way of untangling imponderables while presenting new enigmas. It straddles both worlds, being itself "betwixt and between", leaving both worlds richer in mystery.Overall, I found this book to be fantastic and anyone who considers themselves a part of the Celtic Hearth should read this. But, since this is a study of mythology, rather than a presentation of myths, I would caution the reader to be familiar with the stories comprising Celtic myth before starting this work. While sometimes the authors do paraphrase a myth before proceeding to analysis, oftentimes they do not, so it would be helpful to be familiar with the sometimes off hand references. I also disagree with authors detailing of "feats of memory" wherein they claim stories have been handed down for generations or even centuries without error. More recent studies of memory have shown that memory can be proven false even moments after an incident and Ronald Hutton, in "How Myths Are Made" in his book Witches, Druids, and King Arthur, shows how myths can be altered even within a generation. I also find fault with the often meandering Part Two, especially the chapters "The Centre" and "Numbers." Metaphorically tangled and challenging, the authors argument about their importance often feels stretched.Otherwise, I think this is a very important book for the true Celtic Druid to read. It is not a stretch to say that these stories are important to know and understand in order that we may use our own mythos for power and growth in our own lives.
I have begun reading this and find pouring myself over it to really grab the essence of it. It takes me there to the earlier times of how people approached the handing down of lore and the basis from which instills a matter of history from places people can no longer go except through time. The treating of the gathering of the material is one of the ways I feel it attempts to give us as real of a view of the area of subject matter as can ever be expected in a corridor of time. It is very real in reaching out to observe the ways.I highly recommend this book for the portion that I have had time to read it. I happened to get very lucky and bought it as a first edition that someone had apparently left in their basement of books. It even had a slight mold smell to it, so I know it was authentic :) I am very pleased with this find and this publication. It is an old edition that I have, but any of them will do just nicely to relate the information which feels very authentic and is well written, although it may be a tad dry reading for some folks. I have no problem getting on with reading it.
As the name might hint, this book is about Celtic mythology is it relates to the religious practices ancient Ireland, Scotland, and Wales. It contains a lot of insights, but those insights all but require a good understanding of the mythology to really understand. The author's do their best to explain everything in such a manner that a complete laymen can pick it up and understand, but the sheer amount of material surely makes it difficult.At any rate, it's a very nice little book. I enjoyed it. :)
Excellent writing and I loved how they looked at Celtic myths through multiple culture lenses. Organized well, too, by myth and time periods.
It does a good job on showing the similarities of Irish, Welsh and Indian mythology and social groups.
Scholarly, well-researched.
I would give five stars if I read it myself. I bought it for my son who says he enjoyed it and learned much.
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