Bres and Óengus are two figures that play prominent roles in early Irish mythology. Both appear in Cath Maige Tuired (CMT), a tale that is often said to be one of the most significant mythological works in the body of literature. While Óengus, or “the Mac Óc” as he is called in the epic, shares similar mythological qualities with his depictions in other works, this is not always the case. Bres, the half-Fomoire king of the Tuatha Dé Danann, acts as the primary antagonist in CMT. However, his appearances elsewhere do not always resonate with this villainous depiction. It has been argued that Bres was appropriated in order to make a larger political point and may reflect the possibility for established characters being altered in order to more effectively impact a contemporary audience. By comparing the two figures’ roles in CMT to that in other literature, their respective mythological attributes and functions can more fully be accounted for.
The account will be constructed by first outlining Bres’s role and functions as they pertain to CMT, which involves themes of kingship and the father/son relationship and historical allegory. This will be followed by a survey of Bres’s appearances outside of the famed story and what they potentially indicate concerning his mythological associations. The figure of Óengus will be handled in a similar manner regarding his role in CMT and the theme of the father/son relationship. An assessment of his more prominent attestations such as in Tochmarc Étaíne and Aislinge Óenguso and the corresponding mythological associations will follow. The discussion will culminate by examining the conclusions that can be drawn from the comparisons and their significance in interpreting these mytholo...
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Ó Cathasaigh, Tomás. 'Myth and saga: 'The Wooing of Étaín'', in B. Ó Conchubhair (ed.), Why Irish? Irish language and literature in Academia (Galway, 2008), pg. 55-69.
Swift, Catherine. ‘The gods of Newgrange in Irish literature and Romano-Celtic tradition’, in G. Burenhult and S. Westergaard (eds), Stones and Bones: formal disposal of the dead in Atlantic Europe during the Mesolithic-Neolithic interface 6000-3000 BC, BAR International Series 1201 (Oxford, 2003), pg. 53-63.
Included within the anthology The Penguin Book of Irish Fiction,1[1] are the works of great Irish authors written from around three hundred years ago, until as recently as the last decade. Since one might expect to find in an anthology such as this only expressions and interpretations of Irish or European places, events or peoples, some included material could be quite surprising in its contrasting content. One such inclusion comes from the novel Black Robe,2[2] by Irish-born author Brian Moore. Leaving Ireland as a young man afforded Moore a chance to see a great deal of the world and in reflection afforded him a great diversity of setting and theme in his writings. And while his Black Robe may express little of Ireland itself, it expresses much of Moore in his exploration into evolving concepts of morality, faith, righteousness and the ever-changing human heart.
Clark, Gorge. “The Hero and the Theme.” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
Bennett, Michael J. "The Historical Background" in A Companion to the Gawain-Poet, pp. 71-90. Derek Brewer and Jonathan Gibson, editors. Cambridge: D.S. Brewer, 1997.
Guerber, H. A. Myths of Greece and Rome. New York: American Book Company. 1921. Print.
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 .}
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.
Rosenberg, Donna. "The Creation of the Titans and the Gods." World Mythology. 3rd ed. Chicago: NTC/Contemporary Publishing Group, Inc., 1999. 82-89. Print.
Campbell, Joseph. The Masks of God: Occidental Mythology. New York: Penguin Books, 1964, pp. 9-10, 87-92.
Homer's two central heroes, Odysseus and Achilles, are in many ways differing manifestations of the same themes. While Achilles' character is almost utterly consistent in his rage, pride, and near divinity, Odysseus' character is difficult to pin down to a single moral; though perhaps more human than Achilles, he remains more difficult to understand. Nevertheless, both heroes are defined not by their appearances, nor by the impressions they leave upon the minds of those around them, nor even so much by the words they speak, but almost entirely by their actions. Action is what drives the plot of both the Iliad and the Odyssey, and action is what holds the characters together. In this respect, the theme of humanity is revealed in both Odysseus and Achilles: man is a combination of his will, his actions, and his relationship to the divine. This blend allows Homer to divulge all that is human in his characters, and all that is a vehicle for the idyllic aspects of ancient Greek society. Accordingly, the apparent inconsistencies in the characterization of Odysseus can be accounted for by his spiritual distance from the god-like Achilles; Achilles is more coherent because he is the son of a god. This is not to say that Achilles is not at times petty or unimaginative, but that his standards of action are merely more continuous through time. Nevertheless, both of Homer's heroes embody important and admirable facets of ancient Greek culture, though they fracture in the ways they are represented.
Mahin, Michael J. The Awakening and The Yellow Wallpaper: "An Intertextual Comparison of the "Conventional" Connotations of Marriage and Propriety." Domestic Goddesses (1999). Web. 29 June 2015.
“The Odyssey” is an epic poem that tells the story of Odysseus and the story of his many travels and adventures. The Odyssey tells the main character’s tale of his journey home to the island of Ithaca after spending ten years fighting in the Trojan War, and his adventures when he returns home and he is reunited with his family and close friends. This literary analysis will examine the story and its characters, relationships, major events, symbols and motifs, and literary devices.
Grant, Michael, and John Hazel. "Athena." Gods and Mortals in Classical Mythology. Springfield, MA: G. & C. Merriam, 1973. Print.
Bennett, Michael J. "The Historical Background" in A Companion to the Gawain-Poet, pp. 71-90. Derek Brewer and Jonathan Gibson, editors. Cambridge: D.S. Brewer, 1997.
Keenan, Sheila. Gods, Goddesses, and Monsters: An Encyclopedia of World Mythology. New York: Scholastic, 2000.
McCann et al. Belfast: Institute of Irish Studies, 1994, 95-109).