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THE FOUR BRANCHES OF THE MABINOGI.

THE FOUR BRANCHES OF THE MABINOGI. THE FOUR BRANCHES Chapter L Introductory. THE MABINOGL Readers of the ' Mabinogion' both in the original and in translations and adaptations have again and again been charmed by their exquisite grace and delicate naivete. The delineation of human character is often masterly in its vivid, terse and suggestive brevity, and this remarkable skill is nowhere more visible than in the charming manner in which the women of the Mabinogion are brought upon the canvas. In all the stories, belonging äs they do to widely different strata of narrative, this feature is ever present \Ve find it in the Rhiannon and the Branwen of the 'Pedair Caingc', äs well äs in the Elen of Maxen Wledig, the Luned of the Lady of the Fountain and in Enid the wife of Geraint. In the Mabinogion, too, in the Arthurian Romances äs well äs in the stories with which we are especially concerned here, the element of pathos enters largely. The pathetic continually appeals to the Celtic spirit. Suffering ever meets with its ready sympathy. The tragedies of life always make a vivid Impression upon the higWy responsive emotions of the Celt, and, if we look closely into the stories http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Zeitschrift für celtische Philologie (ZcP) de Gruyter

THE FOUR BRANCHES OF THE MABINOGI.

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Publisher
de Gruyter
Copyright
Niemeyer
ISSN
0084-5302
eISSN
1865-889X
DOI
10.1515/zcph.1897.1.1.277
Publisher site
See Article on Publisher Site

Abstract

THE FOUR BRANCHES Chapter L Introductory. THE MABINOGL Readers of the ' Mabinogion' both in the original and in translations and adaptations have again and again been charmed by their exquisite grace and delicate naivete. The delineation of human character is often masterly in its vivid, terse and suggestive brevity, and this remarkable skill is nowhere more visible than in the charming manner in which the women of the Mabinogion are brought upon the canvas. In all the stories, belonging äs they do to widely different strata of narrative, this feature is ever present \Ve find it in the Rhiannon and the Branwen of the 'Pedair Caingc', äs well äs in the Elen of Maxen Wledig, the Luned of the Lady of the Fountain and in Enid the wife of Geraint. In the Mabinogion, too, in the Arthurian Romances äs well äs in the stories with which we are especially concerned here, the element of pathos enters largely. The pathetic continually appeals to the Celtic spirit. Suffering ever meets with its ready sympathy. The tragedies of life always make a vivid Impression upon the higWy responsive emotions of the Celt, and, if we look closely into the stories

Journal

Zeitschrift für celtische Philologie (ZcP)de Gruyter

Published: Jan 1, 1897

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