Mabinogion

by Charlotte Guest, Anonymous, Colin Jones, et al.

Book Overview

Celtic mythology, Arthurian romance, and an intriguing interpretation of British history--these are just some of the themes embraced by the anonymous authors of the eleven tales that make up the Welsh... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0880290390
• ISBN13: 9780880290395
• Release Date: October 1985
• Publisher: Dorset Press
• Length: 310 Pages
• Weight: 2.55 lbs.

Customer Reviews

The photo with the "illustrations by Allen Lee" is false.

The book is a wonderful old collection of stories, DO NOT BUY IF YOU ARE HOPING FOR THE ALLEN LEE illustrations. They use it as a stock photo and highly inaccurate. I received a 1949 version not the 1982 version. They refused a refund. Buyer beware when looking at the cover photo.

Ordered a specific ISBN, but was sent a different one.

When I search for the ISBN my professor required the correct book comes up, but a different version was sent to me. My order says I ordered the correct version but that’s not what I received.

Ian Myles Slater on: More Victorian than Medieval?

Lady Charlotte Guest was a daughter of the ninth Earl of Lindsey, and so a member of the English upper class. Born in 1812, she came to Wales as the wife of John Guest, an ironmaster and member of parliament, and while residing there began to work on translating a number of stories from medieval and early modern Welsh manuscripts, eventually published in seven volumes, 1838-1845, as "The Mabinogion." (The title is itself a mistake, but now so embedded in usage that it may never be eradicated.) It was very aristocratic way of involving herself in Welsh culture, and certainly avoided many of the grubby realities, although that may not have been what she intended. She was not the first translator of some of the stories, and she had assistance, but, considering that she was starting from learning Welsh to begin with, her industry is impressive, and the literary success of her project well deserved -- Tennyson was only one of her admirers. The stories she translated have, with minor variations, become a canonical set: she used pretty much every example of early secular Welsh narrative that wasn't either plainly historical or clearly a straightforward translation from another language. Her version was, and is, widely read, and has helped form a vision of Welsh (and generally Celtic) literature of considerable influence -- not all of it good. Her husband's death, and her involvement in managing his business, another extraordinary effort for a proper early-Victorian Lady, took Charlotte Guest away from medieval Welsh studies; from the Middle Ages to the Industrial Revolution. After her remarriage to Charles Schreiber (her son's tutor, another interesting story), she turned her energies in a third direction, the collection of ceramics. (To my considerable annoyance, the modern editor of her journals considered this of far, far more importance than either the iron industry or that Welsh literature stuff, and omitted much of both to make room for descriptions of buying fine porcelain ... .) She then went on to become on expert on fans, as well. Much more ladylike, I'm sure; except that she also became an authority on their construction. A really remarkable person, deserving of respect. This is relevant because, although she lived until 1895, her work on medieval Welsh effectively came to an end a half-century before, and was that of a devoted amateur even then. The translation was not only based on poorly-edited texts, imperfectly understood: in accordance with the practice of the time, she omitted, or at least veiled in obscure phrasing, whatever she found morally offensive, and cut or expanded descriptions, and, generally produced a work that, except on the level of graceful writing, has not stood up well. Add that early nineteenth-century Welsh studies were plagued by the hand of Iolo Morganwg, who combined real learning with a taste for fraud, and you will realize that what she says may be not only obsolete, but a good-faith repetition of falsif

Ian Myles Slater on: Beautiful and Puzzling Tales

The publishing history of this edition, and its relationship to other translations of what is commonly known as "The Mabinogion," is a little complicated, and I think that is worth clearing up, although it may be a little tedious. However, my explanation of it should serve as "buyer's guide" if you are hesitating over exactly what to order. In 1948 the Golden Cockerel Press issued an "edition-de-luxe" of translations from Medieval Welsh prose tales, made by Gwyn Jones and Thomas Jones, under the title of "The Mabinogion." This was the direct ancestor of the present Everyman volume. The translators, besides sharing a common Welsh name, were both distinguished academics: Thomas Jones was Professor of Welsh at Aberystwyth, and Gwyn Jones was Professor of English at Aberystwyth and Cardiff. This title of the book was, as the translators pointed out, an erroneous form, a mere scribal error turned into a comprehensive title for stories with quite diverse histories. It was established in the public mind in the nineteenth century by Lady Charlotte Guest, who issued the first complete English translation of the stories, with Welsh texts, published in seven volumes, 1838-1845. The English text and notes of the shorter 1848 edition of her version had been included in the "Everyman's Library" series since 1906. This fat (432 pages) little volume furthered its position with the literary public interested in Welsh matters, general Celtic literature, or Arthurian stories, despite enormous advances in Welsh studies in the intervening century before the Jones and Jones translation. (I have separately reviewed some of its recent editions, with more on the translator's remarkable life.) A more accurate translation by T.P. Ellis and J. Lloyd, "The Mabinogion: A New Translation," had been published by Oxford University Press in 1929, and seems to have made little impact. (One wonders: did the Depression play a role?) It had some useful annotations, and I have often wondered why it has never been reprinted, while Guest has gone into a variety of fuller or shorter versions (including the stories-only Dover Thrift edition, and one, apparently with the notes, illustrated by Alan Lee) of her bowdlerized and otherwise truncated rendering. Ellis and Lloyd continued to use Guest's title, and omitted one story, "Taliesin," a practice which Jones and Jones followed with no clear explanation. (I will offer one below.) Otherwise, the narrative contents of all three of these translations are the same. They contain stories in four categories. (Note that preferred spellings of proper names vary, and I have not tried to be fully consistent.) First, "The Four Branches of the Mabinogi," from which the collective title was derived, consisting of "Pwyll, Prince of Dyved," Branwen Daughter of Llyr," "Manawydan Son of Llyr," and "Math Son of Mathonwy." These begin with a story about the conception and birth of Pwyll's son, Pryderi, whose death is one of the early events in the "Fourt

An Excellent Account of Welsh Celtic Mythology

The Mabinogion is an excellent collection of Welsh Celtic myths/legends. Certain tales are difficult to follow because of a large cast of characters and long list of events/deeds. Nevertheless, the Mabinogion portrays Celtic (Welsh) mythology well. There is an excellent summary of each tale, a guide to pronunciation of names and a map of the region. Together with the tales, these additions make this book exciting and easily accessible.

Excellent translation of an under-read classic

Jeffrey Gantz's translation of The Mabinogion is not only the most readable to the modern man, unlike Guest, he doesn't delete passages thought "indelicate" by Victorian society. This is the best representation of these Welsh classics, and includes Gantz's own study of the mythology of these texts, a book in it's own right, as a prologue and at the beginning of each tale. A must for every library.