When one is reading a novel, poem, or myth it is hard not to look for similar themes or patterns within the texts of the material; This is especially true when one is focused on something from the same country, and this remains true in the literature, myth, and legends that focus on swans in Ireland. The swan has been imbedded in the folklore of Ireland for centuries, one of the most notable legends of Ireland, “The Children of Lir,” has inspired poets throughout the centuries. One can look at the wonderful poet, Eavan Boland’s poem, “Elegy for a Youth Changed to a Swan,” and see the great effect this legend had upon Ireland and it’s people. In these stories the swan is a supernatural element, a transformation, with a sort of dark magic or dark theme surrounding it. The swan represents a supernatural element, a tie to magic and Kings, it is shrouded in Celtic mythology and history, and tangled in the tales of the druids; the swan represents the once polytheistic worship of the ancestors of Ireland and how the presence of their pagan past is represented in a dark light, that can only be saved by the cleansing force of Christianity.
The thinking that swans have a close relation to the Celt’s religion is not unheard of. Though the stories and poems speaking of it’s significance in a far more subtle way, the religion quite obviously favored the bird and thought it to hold some sort of supernatural power, as illuminated in the article, “Celtic Symbolism in Celtic Religion,” by Anne Ross,
“The transformation of superhuman beings into swans, and the wearing of chains, or linking together by chains of the metamorphosed beings, are thought-provoking. They are not paralleled elsewhere in the Irish tradition. 4 The Gallo-Roman and British...
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...swan and paganism, both being held in a negative light. The swan becomes a sort of eternal damnation, or exile for the innocent children of Lir, as they were exposed to the wicked ways Aoife, the druid of the tale. In consequence, magic and the belief system of the celt offers no help, not even to the God of the Sea, Lir himself. The only way the children of Lir can be saved is by the healing force of christianity. To conclude, the form of the swan in the is a clearly negative symbol of paganism and those who practiced it, by which can only be saved by the acceptance of christianity into the country and the people.
Works Cited
5. Kendall, Paul. "Mythology and Folklore of the Rowan." Caledonia Wild! Spring (2000): n. pag. Abstract. Trees for Life Magazine (n.d.): n. pag. Print.
6. Murray, M. A. "Divination by Witches Familiar." Man 18 (1918): 81-84. JSTOR. Web.
The following is a list of explications pointing towards British and Celtic myths and figures. While pursuing the Celtic influences of Middleton's novel, I found myself searching for the meaning of other present mysteries. This author's twist of two cultures creates a spectrum for possible explication. It seems that the Celtic material melds into British society throughout this novel. In search of specific markers I found myself concentrating mostly on Haydn Middleton's use of names.
The tile of the poem “Bird” is simple and leads the reader smoothly into the body of the poem, which is contained in a single stanza of twenty lines. Laux immediately begins to describe a red-breasted bird trying to break into her home. She writes, “She tests a low branch, violet blossoms/swaying beside her” and it is interesting to note that Laux refers to the bird as being female (Laux 212). This is the first clue that the bird is a symbol for someone, or a group of people (women). The use of a bird in poetry often signifies freedom, and Laux’s use of the female bird implies female freedom and independence. She follows with an interesting image of the bird’s “beak and breast/held back, claws raking at the pan” and this conjures a mental picture of a bird who is flying not head first into a window, but almost holding herself back even as she flies forward (Laux 212). This makes the bird seem stubborn, and follows with the theme of the independent female.
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
Pagan symbols such as ravens, dragons and monsters, and poison can be found throughout the epic of Beowulf. The raven was a symbol from Norse mythology; it was the messenger for a war god named Odin. We find the reference to this pagan symbol after Beowulf defeats Grendel's mother. He and "the Geats slept till a black-feathered raven sang his cheerful song" (Norton 1587). This reference to such a pagan symbol is just the first piece of evidence for the paganism of the epic. We also know that Beowulf is a story based on the defeat by a warrior hero of two monsters and a dragon. However, dragons and monsters are not part of the Christian religion, so if the story were Christian, there would be no Grendel, his mother, or the dragon at all. Yet the entire story is based around these three characters. We cannot dismiss the fact that these beings are present in the story, nor can we ignore the fact that these beings are in no way Christian. Fin...
The greatest part of these studies have involved the middle-English text Sir Gawain and the Green Knight. Extensive work has been done on this alliterative four-part poem written by an anonymous contemporary of Chaucer: feminists have attacked his diatribe against women at the end, or analyzed the interaction between Gawain and the women of Bercilak’s court; those of the D. W. Robertson school seek the inevitable biblical allusions and allegory concealed within the medieval text; Formalists and philologists find endless enjoyment in discovering the exact meaning of certain ambiguous and archaic words within the story. Another approach that yields interesting, if somewhat dated, results, is a Psychological or Archetypal analysis of the poem. By casting the Green Knight in the role of the Jungian Shadow, Sir Gawain’s adventure to the Green Chapel becomes a journey of self-discovery and a quest - a not entirely successful one - for personal individuation.
Abstract: This is an analysis of celtic mythological motifs or themes (usually found Arthurian romances) in the medieval romance Yvain and the victorian classic, Alice's Adventures in Wonderland .}
Before addressing the hero 's journey, Celtic symbolism in the poem will be examined. In the Celtic culture, a vegetation god, otherwise known as the green man, relates to the
For many centuries, Literature critics have constantly debated on whether it was more inspired by Pagan or Christian beliefs. These said critics have constantly been trying to differentiate between the symbolism used to describe the Pagan symbols and Christian symbols within the halls of Horathgar and the Castle lived in by the King of the Geats. These symbols can be argued to symbolize Pagan or Christian symbolism due to the fact that they can either describe the beliefs of Pagan or Christians. These include but don’t exclude; the heroic might of an epic hero, being portrayed as a Christian or Pagan hero. Examples of Pagan beliefs will include the following of Wyrd the Pagan belief in fate. Examples of Christianity will be Beowulf’s dislike
The ancient mythology of Ireland is one of its’ greatest assets. The glorious, poetic tales of battles, super humans, demigods and heroes ranks among the best of ancient literature. The book of the Dun Cow, (Lebor na huidre), was written around 1100 and contains stories from the eighth and ninth centuries. The Book of Invasions, (Lebor Gabala), tells how the mythical ancestors of the Irish, the God-like Tuatha Dé Danann, wrestled Ireland (or Erin) from misshapen Fir Bolg in fantastic battles. The Fir Bolg were traditionally linked to Gaul and Britain so the analogy between them and the invading English was complete.
The symbols of the scarecrows and birds of fine song and feather, the knitting, and the Gorgon’s head help with the theme because they demonstrate how man can be cruel and unfeeling toward his fellow citizen. The symbols help in understanding the theme that both the aristocrats and the peasants are capable of being apathetic and cruel. The symbols also aid in reading and understanding the plot. Both the symbols and the theme enhance the plot and help in comprehending the characters. In short, evil is present everywhere, and terrible things happen to bad and good people.
Fairy tales are one of the longest lasting forms of literature. Though now they bring to mind classic movies engendered by Disney, many of these stories were first passed on in an oral manner, meant to convey a message, moral, or lesson. Alison Lurie’s “What Fairy Tales Tell Us” covers a broad range of classic tales, discussing how under the guise of an entertaining story comes life lessons we would all do well to follow. To begin this paper, some of the tales Lurie examines in her article will be looked at and critically examined beyond what she discusses. This will then move the text towards its remaining sections, which will take Lurie’s ideas and have them applied to folk and fairy tales that have not yet been contemplated; for the purpose
Morford Mark, Lenardon Robert, and Sham Michael. Classical Mythology, International Edition. New York: Oxford University Press, USA, 2011. Print. 830 pages.
Christian symbolism in Beowulf is extremely obvious and prominent throughout the entirety of the poem. The author utilizes the Christian religion to symbolize the elements of good and evil and Heaven and Hell to help the spread of understanding of the religion throughout time.
The simplicity of fairy tales and non-specific details renders them ideal for manipulation allowing writers to add their own comments often reflecting social convention and ideology. Theref...
On the edge of a small wood, an ancient tree sat hunched over, the gnarled, old king of a once vast domain that had long ago been turned to pasture. The great, gray knees gripped the hard earth with a solidity of purpose that made it difficult to determine just where the tree began and the soil ended, so strong was the union of the ancient bark and grainy sustenance. Many years had those roots known—years when the dry sands had shriveled the outer branches under a parched sun, years when the waters had risen up, drowning those same sands in the tears of unceasing time.