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Welsh Mythology:     more books (100)

Welsh Fairy Tales by Peter Henry Emerson, 1894-09-01 THE CHILDREN OF LLYR Hero Tales and Legends of the Rhine (The Mythology classic!) by Lewis Spence, 2009-08-02 British Goblins: Welsh Folklore, Fairy Mythology, Legends, and Traditions by Wirt Sikes, 1973-01-01 The Song of Rhiannon by Evangeline Walton, 1974 BRITISH GOBLINS: Welsh Folk-Lore, Fairy Mythology, Legends and Traditions Stories From Wales: Oxford Children's Myths and Legends by Gwyn Jones, 2010-01-25 Tales from Wales (Oxford Myths & Legends) Welsh Fairy Tales by William Elliot Griffis, 2010-05-23 The Mythology of Imperialism: A Revolutionary Critique of British Literature and Society in the Modern Age by Jonah Raskin, Bruce Robbins, 2009-08-01 Classical Mythology in the Plays, Masques, and Poems of Ben Jonson by Charles Francis Wheeler, 1938-06 A Private Mythology: The Manuscripts and Plays of John Whiting by Gabrielle Robinson, 1988-12 Elizabethan Mythologies: Studies in Poetry, Drama and Music (Volume 0) by Robin Headlam Wells, 2006-12-14 Cefn Gwlad (Welsh Edition) by Dai Jones, 2002-11

lists with details

61. Who's Who Guide
    Cymru prints and sculpture based on ancient welsh mythology. Alchemy and herbalist symbols scroll. designed and crafted in Britain.Dragonesque clothing vamp  
    http://www.whoswhoguide.com/links/crafts.html

62. Orbit Forum - Is Maith Liom Tolkien
    the Welsh back in the brief AngloWelsh wars, with some welsh mythology and between the Border Lords and the Welsh rebels, with welsh mythology and  
    http://www.orbitbooks.co.uk/orbit/forum2/topic.asp?TOPIC_ID=55&whichpage=16

63. View Topic - Ocean Names?
    From the Welsh elements dy great and llanw sea. In welsh mythology, Dylan was a god of the sea, the son of Aranrhod.) ~Glyndwr (Welsh.  
    http://www.babynamesworld.com/forum/topic37391.html

64. Re: New Lisp ?
    The language was named for a character from welsh mythology (ie, Dylan), Gwydion is also a character from Celtic/welsh mythology, hence the name of the  
    http://people.csail.mit.edu/gregs/info-dylan-archive-html-2001/msg00968.html

65. Celtic World > Celtic Deities > H To M
    In welsh mythology, Llyr is the father of Bran, Branwen, and Manawydan. In welsh mythology, Lleu Llaw Gyffes, of the Skillful Hand, is the son of  
    http://www.applewarrior.com/celticworld/celticdeities/htom.html
    
    Extractions: Celtic sea-god and father of Manannan mac Lir, the Manx sea god, magician and god of healing. The Manx sea-god, Lir has given his name to many places, including Leicester, and his Welsh counterpart is Shakespeare's King Lear. In Welsh mythology, Llyr is the father of Bran, Branwen, and Manawydan. Luchtaine (Luchtar)

66. What Do I Need To Learn Medieval Welsh?
    If you are at all serious about welsh mythology, you will want Rachel Bromwich s Triodd Ynys Prydein. Bromwich has a super introduction, all the triads,  
    http://www.digitalmedievalist.com/faqs/medwelsh.html
    
    Extractions: I'm posting this FAQ, not because I'm an expert teacher (I've never taught Welsh), but because I'm an expert learner, having made most of the mistakes students can make in learning a language. My comments are based on the Welsh classes I've had, and my own trials and errors. I assume that you are primarily interested in learning Medieval Welsh in order to read the Mabinogi and the other medieval texts, and that you already have an understanding of English grammar, including conjugations, declensions, subjects, objects, and indirect objects. I've included a book list at the end of this page listing all the books mentioned here. They are all available from Books for Scholars Medieval Welsh is similar to Modern Welsh, or at least more similar than Medieval Irish is to Modern Irish. If you know one, you can probably read much of the other, much like the way a fluent English speaker can read Chaucer without too much difficulty. There's a fairly good Medieval Welsh Grammar, A Grammar of Middle Welsh by D. Simon Evans. The Evans

67. Page29
    The title is taken from welsh mythology and means White Queen . Annwyn, Beneath the Waves, which is about welsh mythology and even describes herself as  
    http://www.rozznet.com/collins/faithandthemuse/page29.html
    
    Extractions: William Faith was born in Los Angeles to a family with a long Celtic connection and in fact William acknowledges himself to be "half Irish". His father is Welsh and taught William old folk songs at an early age. This instilled in William a deep love and fascination with world music and particularly music made in earlier civilizations. He was given his first guitar when he was 12 years old and soon learned how to make a tune. He studied jazz and classical music and at the same time started to listen to rock music and glam bands. Kiss would be a particular favourite, together with such groups as Queen, The New York Dolls, Alice Cooper. Then came punk rock which William also took an interest in, especially the music of The Sex Pistols, The Buzzcocks, The Damned, Crass, Conflict and The Subhumans. When the punk scene came to an end, he would begin listening to Gary Numan and Ultravox, but it was at this time that William became involved into much darker music, and his first steps into a musical career. Monica Richards was brought up on the opposite coast, in Washington DC. Monica herself is half Welsh and has family living

68. Master Of Wiccan Studies Course By ULC - UNIVERSAL LIFE CHURCH SEMINARY
    Celts are what we are looking at in Tara, and welsh mythology seems to have more One example of this from welsh mythology is the story of Pwyll.  
    http://www.ulcseminary.org/wiccan.php
    
    Extractions: List of Site Pages Online Ordination ULC Seminary Online Sermons Sunday School Minister Training About Us ULC Testimonials Contact Page Church Store Free Newsletter Discussion Board Minister Chat Visitor Comments ULC Announcements Religious Live News FAQs about ULC Minister Directory Absolution of Sins Online Ceremonies Poetry Ministry Stories Related Resources Request Prayer Wiccan Basic Training Mythology Lesson #13 ULC Seminary Program www.ulcseminary.org brought to you by Lord Starwalker Hello. Welcome to Lesson thirteen of the Dr. of Wiccan Studies Program. This is the study of Paganism in general and the study of Wicca more specifically. Each week, you will receive an email in your mailbox discussing different aspects of Wicca and of life in general. In this segment, we will look at some basics of Mythology, Gods and Goddesses. Mostly, what one needs to understand when looking into mythology to any extent is, that all mythology, from Christianity and the Bible, to Islamic and the Koran to the Druids and the Tain Bo and the Mabinogion, is that these are stories. That's all. They are representations of a lesson to be learned, or a character to be explained, qualities to be pontificated on and so forth. This is a point that is in considerable debate amongst many people.

69. THE DEATH OF LLEW A Seasonal Interpretation
    In welsh mythology in particular, there is a startling vindication of the 180 The Welsh myth concludes with Gwydion pursuing the faithless Blod euwedd  
    http://crypt.eldritchs.com/tome/0179.txt
    
    Extractions: T H E D E A T H O F L L E W A Seasonal Interpretation ================================= by Mike Nichols * * * * * * * * * * * * * * * Not of father, nor of mother Was my blood, was my body. I was spellbound by Gwydion, Prime enchanter of the Britons, When he formed me from nine blossoms. 'Hanes Blodeuwedd' R. Graves, trans. * * * * * * * * * * * * * * * In mostPagan cultures, thesun godis seen assplit betweentwo rival personalities: the god of light and his twin, his 'weird', his 'other self', the god of darkness. They are Gawain and the Green Knight, Gwyn and Gwythyr, Llew and Goronwy, Lugh and Balor, Balan and Balin, the Holly King and the Oak King, etc. Often they are depicted as fighting seasonal battles for the favor of their goddess/lover, such as Creiddylad or Blodeuwedd, who represents Nature. The god of light is always born at the winter solstice, and his strength waxes with the lengthening days, until the moment of his greatest power, the summer solstice, the longest day. And, like a look in a mirror, his 'shadow self', the lord of darkness, is born at the summer solstice, and his strength waxes with the lengthening nights until the moment of his greatest power, the winter solstice, the longest night. Indirect evidence supporting this mirror-birth pattern is strongest in the Christianized form of the Pagan myth. Many writers, from Robert Graves to Stewart Farrar, have repeatedly pointed out that Jesus was identified with the Holly King, while John the Baptist was the Oak King. That is why, 'of all the trees that are in the wood, the Holly tree bears the crown.' If the birth of Jesus, the 'light of the world', is celebrated at mid-winter, Christian folk tradition insists that John the Oak King (the 'dark of the world'?) was born (rather than died) at mid-summer. Itis at this pointthat I must divergefrom the opinion of Robert Graves and other writers who have followed him. Graves believes that at midsummer, the Sun King is slain by his rival, the God of Darkness; just as the God of Darkness is, in turn, slain by the God of Light at midwinter. And yet, in Christian folk tradition (derived from the older Pagan strain), it is births, not deaths, that are associated with the solstices. For the feast of John the Baptist, this is all the more conspicuous, as it breaks the rules regarding all other saints. John is the ONLY saint in the entire Catholic hagiography whose feast day is a commemoration of his birth, rather than his death. A generation ago, Catholic nuns were fond of explaining that a saint is commemorated on the anniversary of his or her death because it was really a 'birth' into the Kingdom of Heaven. But John the Baptist, the sole exception, is emphatically commemorated on the anniversary of his birth into THIS world. Although this makes no sense viewed from a Christian perspective, it makes perfect poetic sense from the viewpoint of Pagan symbolism. (John's earlier Pagan associations are treated in my essay on Midsummer.) 179 So if births are associated with the solstices, whendo the symbolic deaths occur? When does Goronwy slay Llew and when does Llew, in his turn, slay Goronwy? When does darkness conquer light or light conquer darkness? Obviously (to me, at least), it must be at the two equinoxes. At the autumnal equinox, the hours of light in the day are eclipsed by the hours of darkness. At the vernal equinox, the process is reversed. Also, the autumnal equinox, called 'Harvest Home', is already associated with sacrifice, principally that of the spirit of grain or vegetation. In this case, the god of light would be identical. In Welsh mythology in particular, there is a startling vindication of the seasonal placement of the sun god's death, the significance of which occurred to me in a recent dream, and which I haven't seen elsewhere. Llew is the Welsh god of light, and his name means 'lion'. (The lion is often the symbol of a sun god.) He is betrayed by his 'virgin' wife Blodeuwedd, into standing with one foot on the rim of a cauldron and the other on the back of a goat. It is only in this way that Llew can be killed, and Blodeuwedd's lover, Goronwy, Llew's dark self, is hiding nearby with a spear at the ready. But as Llew is struck with it, he is not killed. He is instead transformed into an eagle. Putting thisin the form of a Bardic riddle, it would go something like this: Who can tell in what season the Lion (Llew), betrayed by the Virgin (Blodeuwedd), poised on the Balance, is transformed into an Eagle? My readers who are astrologers are probably already gasping in recognition. The sequence is astrological and in proper order: Leo (lion), Virgo (virgin), Libra (balance), and Scorpio (for which the eagle is a well-known alternative symbol). Also, the remaining icons, cauldron and goat, could arguably symbolize Cancer and Capricorn (representing summer and winter), the signs beginning with the two solstice points. So Llew is balanced between cauldron and goat, between summer and winter, on the balance (Libra) point of the autumnal equinox, with one foot on the summer solstice and one foot on the winter solstice. This, of course, is the answer to a related Bardic riddle. Repeatedly, the 'Mabinogion' tells us that Llew must be standing with one foot on the cauldron and one foot on the goat's back in order to be killed. But nowhere does it tell us why. Why is this particular situation the ONLY one in which Llew can be overcome? Because it represents the equinox point. And the autumnal equinox is the only time of the entire year when light (Llew) can be overcome by darkness (Goronwy). It should now come as no surprise that,when it is time for Llew to kill Goronwy in his turn, Llew insists that Goronwy stands where he once stood while he (Llew) casts the spear. This is no mere vindictiveness on Llew's part. For, although the 'Mabinogion' does not say so, it should by now be obvious that this is the only time when Goronwy can be overcome. Light can overcome darkness only at the equinox this time the vernal equinox. (Curiously, even the Christian tradition retains this association, albeit in a distorted form, by celebrating Jesus' death near the time of the vernal equinox.) 180 The Welsh myth concludes with Gwydion pursuing the faithless Blod- euwedd through the night sky, and a path of white flowers springs up in the wake of her passing, which we today know as the Milky Way. When Gwydion catches her, he transforms her into an owl, a fitting symbol of autumn, just as her earlier association with flowers (she was made from them) equates her with spring. Thus, while Llew and Goronwy represent summer and winter, Blodeuwedd herself represents both spring and fall, as patron goddess of flowers and owls, respectively. Although it is far more speculative than the preceding material, a final consideration would pursue this mirror-like life pattern of Llew and Goronwy to its ultimate conclusion. Although Llew is struck with the sunlight spear at the autumnal equinox, and so 'dies' as a human, it takes a while before Gwydion discovers him in his eagle form. How long? We may speculate 13 weeks, when the sun reaches the midpoint of the sign (or form) of the eagle, Scorpio on Halloween. And if this is true, it may be that Llew, the sun god, finally 'dies' to the upper world on Halloween, and now passes through the gates of death, where he is immediately crowned king of the underworld, the Lord of Misrule! (In medieval tradition, the person proclaimed as 'Lord of Misrule' reigned from Halloween to Old Christmas or, before the calender changes, until the winter solstice.) Meanwhile, Goronwy (withBlodeuwedd athis side) is crowned kingin the upper world, and occupies Llew's old throne, beginning on Halloween. Thus, by winter solstice, Goronwy has reached his position of greatest strength in OUR world, at the same moment that Llew, now sitting on Goronwy's old throne, reaches his position of greatest strength in the underworld. However, at the moment of the winter solstice, Llew is born again, as a babe, (and as his own son!) into our world. And as Llew later reaches manhood and dispatches Goronwy at the vernal equinox, Goronwy will then ascend the underworld throne at Beltane, but will be reborn into our world at midsummer, as a babe, later to defeat Llew all over again. And so the cycle closes at last, resembling nothing so much as an intricately woven, never-ending bit of Celtic knotwork. So Midsummer (to me, at least) is a celebration of the sun god at his zenith, a crowned king on his throne. He is at the height of his power and still 1/4 of a year away from his ritual death at the hands of his rival. However, at the very moment of his greatest strength, his dark twin, the seed of his destruction, is born just as the days begin to shorten. The spear and the cauldron have often been used as symbols for this holiday and it should now be easy to see why. Sun gods are virtually always associated with spears (even Jesus is pierced by one), and the midsummer cauldron of Cancer is a symbol of the Goddess in her fullness. If we have learned anything from this story from the fourth branch of the 'Mabinogion', it is about the power of myth how it may still instruct and guide us, many centuries after it has passed from oral to written tradition. And in studying it, we have barely scratched the surface.

70. Montpelier Summer 1997
    literature are rooted in welsh mythology, some of which go back to pagan times. What happened was the Normans were fascinated with the Welsh folklore,  
    http://www.jmu.edu/montpelier/issues/summer97/arthur.html
    
    Extractions: Father and Son Explore the King Arthur Mystery by Teresa Brumback Throughout history, fathers and sons have shared those special moments that have made them buddies for life - baseball practices, computer games, bike riding, school projects and story times. Fascinated since childhood by tales from ancient history, both Joe and John found themselves wanting to dissect stories, separate fact and fiction and make their own conclusions about what was real and what was not - an appropriate trait for evolving scientists. So it was natural for John to share his high school history paper on the identity of King Arthur with his father. That moment began a three-year, father-son foray into a maze of myth, legend and history. Along their research journey these myth chasers have pored over old texts gathered from libraries across the nation and carried on Internet discussions with other Arthurians - all in an attempt to discover finally and exactly who King Arthur was. While most people recall fragments of stories about King Arthur - the sword in the stone, Merlin the magician and the Knights of the Round Table - King Arthur, the man, has not been identified or connected convincingly with any historically known figure. Yet to this day in England, Wales and Scotland, Arthur continues to garner his share of fame and superstardom, while his identity is hotly debated worldwide in scholarly circles, journals and over the Internet. Was he a real hero that modern-day Britain can claim? Or was he simply concocted through the imagination of the literati in ancient days to give solace and comfort to descendants of war-ravaged lands? The Rudmins believe their research has offered an answer, and it comes as something of a shock to Arthur enthusiasts.

71. The Prydain Guide - Wisdom For Your Poor, Tender Head
    Drawing in part from welsh mythology and, to a lesser extent, geography, Prydain is not a retelling of Welsh myth, but a tale in its own right;  
    http://www.enkwiri.com/prydain/welcome.asp
    
    Extractions: An Introduction to Prydain "It is rare that high excitement yields such quiet wisdom." These words, written by The New York Times Book Review in regards to the novel Taran Wanderer, book four in The Prydain Chronicles, sum up in a single sentence everything meaningful that can possibly be said about Lloyd Alexander's masterpiece series of fantasy, adventure, philosophy, and truth. The books relate the various quests of Taran, Assistant Pig-Keeper, as he learns the true meaning of heroism and adulthood while working against the forces of Arawn Death-Lord. Along the way Taran is joined by many colorful companions and meets an even greater number of memorable, often quirky, fellow inhabitants of the magical land of Prydain, some of whom may be helpful, and others deadly. The deftly crafted and briskly paced narrative is full of action and excitement, but it is in the books' elusive mix of humor and gravitas that the series finds its particular charm. As Lloyd Alexander explains in his Author's Note to The Black Cauldron, "If a darker thread runs through the high spirits, it is because the happenings are of serious import not only to the Land of Prydain but to Taran, the Assistant Pig-Keeper, himself. Although an imaginary world, Prydain is essentially not too different from our real one, where humor and heartbreak, joy and sadness are closely interwoven. The choices and decisions that face a frequently baffled Assistant Pig- Keeper are no easier than the ones we ourselves must make. Even in a fantasy realm, growing up is accomplished not without cost."

72. Welsh Literature. The Columbia Encyclopedia, Sixth Edition. 2001-05
    Songs in praise of heroes (many preChristian and mythological) and elegiac poems of interest in welsh mythology, and a turning away from earlier Welsh  
    http://www.bartleby.com/65/we/Welshlit.html
    
    Extractions: Select Search All Bartleby.com All Reference Columbia Encyclopedia World History Encyclopedia Cultural Literacy World Factbook Columbia Gazetteer American Heritage Coll. Dictionary Roget's Thesauri Roget's II: Thesaurus Roget's Int'l Thesaurus Quotations Bartlett's Quotations Columbia Quotations Simpson's Quotations Respectfully Quoted English Usage Modern Usage American English Fowler's King's English Strunk's Style Mencken's Language Cambridge History The King James Bible Oxford Shakespeare Gray's Anatomy Farmer's Cookbook Post's Etiquette Bulfinch's Mythology Frazer's Golden Bough All Verse Anthologies Dickinson, E. Eliot, T.S. Frost, R. Hopkins, G.M. Keats, J. Lawrence, D.H. Masters, E.L. Sandburg, C. Sassoon, S. Whitman, W. Wordsworth, W. Yeats, W.B. All Nonfiction Harvard Classics American Essays Einstein's Relativity Grant, U.S. Roosevelt, T. Wells's History Presidential Inaugurals All Fiction Shelf of Fiction Ghost Stories Short Stories Shaw, G.B. Stein, G. Stevenson, R.L. Wells, H.G. Reference Columbia Encyclopedia PREVIOUS NEXT ... BIBLIOGRAPHIC RECORD The Columbia Encyclopedia, Sixth Edition. Welsh literature literary writings in the Welsh language.

73. Fortean Times - Iain Sinclair Interview
    You mentioned The Light and welsh mythology, is this where Arthur Machen s influence comes in? Well the thing with Machen is that he spent so many years  
    http://www.forteantimes.com/articles/147_iainsinclair.shtml
    
    Extractions: City Brain: Iain Sinclair interview "A fter Lights out for The Territory, a man sent me an X ray of his brain tumour. He'd superimposed it over a map of London and was trying to heal himself by walking out its routes through the city." Iain Sinclair's dense and feverish explorations of London have made him one of Britain's most respected authors. From the word storms of White Chapell, Scarlet Tracings , which interweaves dark tales of the contemporary book trade with channelled glimpses of the Ripper murders, to the all-encompassing, microscopic sprawl of the essays in Lights Out For the Territory , Sinclair's vision is unique. For his latest book, Landor's Tower , Sinclair has gone West, to Wales, incorporating Alfred Watkins, Arthur Machen and the 25 unsolved defence industry 'suicides' of the early 1980s. MARK PILKINGTON and PHIL BAKER met him in his East London Home.

74. The Identity: Rhys Taliesin
    Taliesin is the name of a bard, mage, and generally clever person in welsh mythology. welsh mythology, from my brief acquaintance, seems to have an affinity  
    http://www.ics.uci.edu/~jmadden/middle.html
    
    Extractions: When Megan and I decided to change our last names from Foster and Madden to O'Madadhain , I decided that, if I were going to go through this legal process anyway, I was going to change my middle name from "Christian" as well. While, in combination with several other factors, this name allowed me to make a great joke about my essential nature, I have for years felt uncomfortable with bearing a name which means "of or pertaining to Christianity" when in fact I have not been a Christian in that sense since I was about 10. (There are tenets of Christianity with which I agree, but I am an agnostic by policy.) So in the spring of 2001, I started seriously thinking about to what I would change my middle name. This took a while, in part because there were several properties that I wanted such a replacement to possess. I wanted it to mean, or be associated with, something of significance to me, such as a quality that I felt was central to who I was, or a person who had qualities that I admired and identified with. I wanted it to be at least loosely associated with my heritage (which is known to be at least Irish, English, Scots, and German). And I wanted to like the way that it looked and sounded. I looked at a lot of names; in particular, I read the entirety of

75. Untitled1
    Throughout this piece he refers to welsh mythology, Irish and French Madron a Welsh mother goddess. In welsh mythology, Madron is the mother of  
    http://www.nd.edu/~ndr/issues/ndr5/madrone/madrone.html
    
    Extractions: The following notes will hopefully clarify some of the historical allusions John Montague uses in his poem "Madron" from "Conversations with David Jones." Throughout this piece he refers to Welsh mythology, Irish and French geography and historical happenings in Ireland. Aisling a poetic representation of a vision Patrick Sarsfield Patrick Sarsfield was born around 1655 and died in his thirties due to a wound incurred in battle. He was known for his ability to inspire allegiance in the Irish Jacobite war and was the most written about Irish rebel before Wolfe Tone. He is known to the Irish as "Father of the Nation" and united the Palesmen and the Gaels to fight against the English republic's redistribution of Irish land; his followers could be found among all classes of Irishmen. Since he died young, he never commanded the Irish army in battle or he may have surpassed the Duke of Marlborough to become the greatest soldier of his age. Fuit Ilium they fled (Latin). Fuseliers gunmen.

76. The Original Florentine Boar
    The Boar in Celtic and welsh mythology. Animals in Celtic and welsh mythology are tied in with fertility and vitality, because they are living, moving,  
    http://www.derbyarboretum.co.uk/old_boar.htm
    
    Extractions: The Original Boar Arboretum Home Page Right: is a marble copy of the Florentine Boar which now resides at the Louvre. This probably looks more like the Arboretum's Boar than Tacca's Boar (below). The original boar was carved from marble during the centuries BC by a Greek sculptor. This sculpture was either lost or destroyed. During the 17th century the Italians made a marble copy 'Cinghiale' housed in the Uffizi Gallery in Florence. It has been suggested the original ancient Greek marble Boar was thought to be a part of a larger group representing a hunting scene, where he was just awakening having been disturbed by the hunt. Tacca's original bronze (fountain), circa 1612 Pietro Tacca (sculptor, 1577-1640) T housands of visitors have rubbed this Boar's nose for good luck over the centuries, causing damage, so the statue was recently replaced by an identical copy click here for full story Free JavaScripts provided by The JavaScript Source A Bronze casting was made by Pietro Tacca in 1612 who changed the base of the simple Greek statue by adding a pool surrounded by plants, snakes, frogs and turtles, this now sits in the Marketo Nuovo (New Market) in Florence. This is a fountain with water exiting through the boar's mouth, visitors place coins in his mouth, which fall out into the drain grate, and make a wish.

77. Book Review #10 By Eric Weeks
    Several key characters (but not Taran) are taken directly from welsh mythology, although I don t know anything about welsh mythology so I can t comment.  
    http://www.physics.emory.edu/~weeks/if/review10.html
    
    Extractions: weeks@physics.emory.edu In 1998 we have a a brand new book by Alfred Bester, who died in 1987, and Roger Zelazny, who died in 1995. This makes sense, as the characters in the book do a lot of time traveling too. Bester started this novel, and Zelazny finished it after Bester's death. Anone can buy anything in the "Psychoshop" love potions, personality improvements, anything. In particular, people come to swap aspects of themselves for improvements. Alf Noir is assigned by his late-20th century magazine to investigate this shop, and discovers its unusual nature. Alf's essentially a normal guy from our world. The first half of this book is light and frothy, rapidly examining various interesting people (such as Edgar Allen Poe) who come to the shop to trade for things they need. Somewhat to my surprise, the trades are all beneficial; this isn't a story about people who find that what they want isn't what they need, or about people who learn their lesson after it's too late. No, everybody goes away happy, and it's all fun and interesting. In the second half of this book, we learn that there is reason to believe that Alf actually isn't a normal guy, that he is potentially in conflict with the shop's owner, Adam. The book is told from Alf's point of view, and in fact he learns these facts just as we do. The second half of the book is Alf's self-discovery and a showdown of sorts between Adam and Alf, and isn't as light hearted as the first half. The book also has a love interest, Glory, who is attracted to Alf but fiercely loyal to Adam, and this adds to the story.

78. Welcome To Beddgelert In Snowdonia, North West Wales
    The story of Beddgelert, myth or fact? Beddgelert (Meaning the grave of Gelert was set and also for being the site of two wonders of welsh mythology,  
    http://www.snowdonia.org/
    
    Extractions: Beddgelert (Meaning the grave of Gelert ) was once described as "a few dozen hard grey houses ... huddled together in some majestic mountain scenery". This village, just south of Snowdon, owes its fame to the story of Prince Llewelyn ap Iorwerth who decided on a hunting trip and left his infant son in the charge of his faithful dog Gelert. On his return, the Prince was greeted by Gelert, who noticed the dog's muzzle was soaked in blood, and his son was nowhere to be seen. Llewelyn attacked the dog, and it fell to the ground gravely injured. However, within minutes he heard a cry and stumbled through nearby bushes to find his son, safe in his cradle. Beside the cradle lay the body of a giant wolf covered with wounds, the result of a fight to the death with hound Gelert. Llewelyn strode back to his faithful dog and watched it die from his actions. The truth is that this story was made up by local traders some time ago in an attempt to lure Snowdon's visitors to their village. It appears the place name actually refers to Gelert, a sixth century saint from the area. This legend was well known by the time George Borrow visited Beddgelert in 1854 as part of the journey through the country the results of which he published in 1862 in his book tilted 'Wild Wales'.

79. Kerlan Newsletter Archive - Fall 1998
    Years ago Donna R. White read welsh mythology in the Kerlan and then traveled to Wales to complete her study. She honed her doctoral dissertation into a  
    http://special.lib.umn.edu/clrc/fall98.htm

80. Project MUSE
    English and American authors have previously drawn on welsh mythology to Contemporary AngloWelsh fantasies often employ Welsh myths and history as  
    http://muse.jhu.edu/journals/lion_and_the_unicorn/v023/23.1pandolfo_briggs.html
    
    Extractions: In 1986 Anglo-Welsh author Jenny Nimmo published The Snow Spider This phenomenon forms a "third wave" of English-language writing based on Welsh Celtic mythology, primarily the Mabinogi . For most of the twentieth century, Anglo-Welsh children's literature has meant first Kenneth Morris, and then authors such as Alan Garner, Lloyd Alexander, Susan Cooper, Evangeline Walton, and Nancy Bond. Significantly, not [End Page 67] one of...

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