Customer Reviews

Celtic Heritage

5 star:		(5)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

Celtic Heritage is not intended as a collection of the ancient myths and legends of Ireland and Wales, a simple glance at the cover copy and the introduction should make that clear, nor is it one of those currently faddish, cobbled together New Age warm fuzzy spirituality entertainments supposedly based on secret Celtic lore.

It is a book that explains the ancient cultural traditions that gave birth to and passed on a literature that continues to interest and inspire the average reader as well as writers and artists. The Rees are experts in their field, not popularizers, however their book is not an arcane tome intended for Ph.D candidates. If after you have read the stories of the Red Branch and Finn and the Fianna elsewhere you want to know more about their world, this may well be the book for you. Anyone of moderate intelligence and a serious curiosity about the subject will have no problem dealing with the writing style.

If you only buy one book on Celtic culture, make it this one. I've already worn out two copies. Indespensible material on the background and basis of Celtic mythology. Absolutely necessary to understanding the Celtic world view. Definitely not New Age fluffy bunny by a LONG shot. Advanced work and well worth the reading.

If you have already read some of the medieval sagas of Ireland and Wales (like the Tain or the Mabinogi) and you want to know more about the cultures that gave birth to those tales, then this is the book for you. Although this classic volume is not recent, its content remains factual, reliable, and fascinating. This is not a book to be read at one sitting. Give yourself time to consider each chapter carefully. Perhaps you'll want to read or reread some of the tales before going on. For those who follow this approach, this book can be a source of inspiration as well as information.

TThis mythic study is considered by many as a must-read on the subject of Celtic Mythology. Meticulously detailing Irish and Welsh myths in terms of cycles and themes, this book examines the key Celtic epics and tales which shape Celtic culture even today. A classic for over 40 years, this book is well worth serious study for the student of Celtic traditions.

The introduction begins by introducing us to the storyteller, secular incarnations of the bards of old, the role stories played in society, and the esteem held by the ancient bards and poets. And, in a somewhat wordy paragraph that is nevertheless worth quoting, the authors state the reasons why this study is important: "A religious tradition consists of a ritual and an art as well as a mythology, and each of the components is intelligible in terms of the others. Symbols whether they be myths or ceremonies or objects, reveal their full significance only within a particular tradition; one must be part and parcel of that tradition to experience fully the power and illumination of the myth. Such participation in the old Celtic tradition is no longer possible. For these reasons we do not consider it enough to re-tell the tales as they stand, without comment. In pondering upon these fragments of tradition, it is not enough for modern man to disabuse his mind of the preconceptions of the historian, the prejudices of the scientist, and the asceticism of those who read the Bible as `literature'. He needs all the clues he can find. Although the full meaning can never be fathomed, we believe that a comparative study of the stories, combined with some acquaintance with the myths, rituals and doctrines of other lands and other ages, may help us to obtain glimpses of the tradition of which the stories, even in their original form, were but one expression."

In Part Two, the authors then take us through an introduction to the bulk of the stories and their composition into the Irish four cycles of Mythological, Ulster, Fenian and Historical as well as the four Welsh Mabinogi. The chapter "Darkness and Light" introduces us to themes of dichotomy and separation like day and night, and seasonal divisions. "Coming Into Existence" traces how, though without an original creation myth, tales of successive invasions tell of the creation of Ireland. "A Hierarchy of Provinces" analyzes the four (and five provinces) of Ireland into categories of certain elements of society and demonstrates how they are an example of Georges Dumezil's system of functions. And, the chapter "Involutions" cautions the reader, however, that divisions are not rigid, but fluid, with functions, etc., bleeding from one to another.

There then follows a chapter called "The Centre" which delineates the spiritual importance of the center provinces in some of the previously discussed geographical and metaphorical divisions in various cosmological and ritual ways. "Five Peaks" switches to the Welsh focus on the importance of hills and mounds in story and in ritual practice. "Numbers" then proceeds to catalog the ritual and spiritual importance of certain numbers (such as 7, 9, etc.) and closes Part Two of the book.

Part Three begins with "The Storyteller's Repertoire", a short introductory chapter which shows how the ancient bards and storytellers grouped and learned their material thematically rather than in "historical" or cycle order.

Choosing a few of these themes to analyze, we proceed to the chapter called "Births" which traces the extraordinary circumstances of a hero's conception and/or birth, for instance via a worm in water, supernatural father, etc. Additionally, the birth of the hero is almost inevitably a product of destiny or fate. The hero is often unwanted or an embarrassment, resulting in abandonment or attempted murder. From there we turn to "Youthful Exploits", childhood stories which are, in fact, initiatory journeys into manhood. These typical initiation motifs include a new name, acquisition of arms, and victory over a wild beast. These rites also usually include sexual initiation with a significant woman.

In "Wooings" heroes are tasked with seemingly impossible quests which they nevertheless complete in order to win a bride. But even these adventures have deeper metaphorical meaning. As the authors state, "Wooings are thus a variant of the quest for `the treasure hard to obtain' which man needs for his wholeness and fulfillment, a treasure which must be wrested from the grasp of an indefatigable foe." In contrast to Wooings, we then read of "Elopements", as the authors write, "The Elopements and Wooings of Celtic tradition seem to constitute...a pair of contraries. In the Wooings man is the suitor, while the role of the maiden is largely passive, but in the Elopements it is the woman who chooses the man and compels him to do her will." The woman is usually trapped in a loveless or arranged marriage to a man (usually older) not of her own choosing. "Just as the Wooings depict the mythological inversion of marriage from the male standpoint, so the Elopements may be described as the mythological inversion of marriage from the female standpoint."

Proceeding on to "Adventures", the hero encounters various members of the Otherworld and/or acquires certain magical objects. The authors say "Visits to a strange land and experiences among a strange race constitute a substantial part of Celtic mythology, and, as in modern fiction, a whole class of tales are known as `adventures.' But whereas the adventures of fiction are concerned with escapades among the natives of distant lands or planets in this world, the adventures of mythology are experienced among the mysterious denizens of the supernatural world."

In "Voyages": "The theme of the otherworld voyage is one of the most distinctive in Celtic tradition... Like other types of tales we have described, the immram has its own function. It is to teach the craft of dying and to pilot the departing spirit on a sea of perils and wonders." (One can't help but compare these with "The Odyssey". While Odysseus' voyage is not an immram on the surface, perhaps there are some of the same themes underneath?) The authors continue, "The metaphysical implication would appear to be that Whiteness, Blackness, Fire, Water, Joy, Sorrow, Femininity, Masculinity, Youth, Age, Life, Death and so on, exist as abstract principles over and above the objects or people in which they are manifested... In addition to the elements that constitute the corporeal world, human attitudes or behaviors also are depicted on the islands (of the Voyages)."

In the chapter "Deaths", even here the hero meets his fate in extraordinary circumstances via violation of multiple gessa, partaking a last sacred meal (this and the importance of twelve warriors and leader being themes incorporated in the Christ mythos) and strange or sexual encounters with women. The authors again, "The myths do not mitigate the impact of death with soothing words; they present it in its grimmest brutality. And yet...they elevated death to the plane of the tragic and heroic."

The epilogue finally closes out the book by saying, "In diverse ways myth and ritual loosen the grip of the temporal world upon the human spirit. Under the spell of the storyteller's art, the range of what is possible in this world is transcended: the world of magic becomes a present reality and the world of every-day is deprived of its uniqueness and universality. The storyteller...by convincingly actualizing the impossible, renders the actual world less real. When the spell is over, the hearer `comes back to earth' but the earth is now not quite so solid as it was before, the cadence of time is less oppressive and its laws have only relative validity." And yet I find that Celtic myth has a way of untangling imponderables while presenting new enigmas. It straddles both worlds, being itself "betwixt and between", leaving both worlds richer in mystery.

Overall, I found this book to be fantastic and anyone who considers themselves a part of the Celtic Hearth should read this. But, since this is a study of mythology, rather than a presentation of myths, I would caution the reader to be familiar with the stories comprising Celtic myth before starting this work. While sometimes the authors do paraphrase a myth before proceeding to analysis, oftentimes they do not, so it would be helpful to be familiar with the sometimes off hand references. I also disagree with authors detailing of "feats of memory" wherein they claim stories have been handed down for generations or even centuries without error. More recent studies of memory have shown that memory can be proven false even moments after an incident and Ronald Hutton, in "How Myths Are Made" in his book Witches, Druids, and King Arthur, shows how myths can be altered even within a generation. I also find fault with the often meandering Part Two, especially the chapters "The Centre" and "Numbers." Metaphorically tangled and challenging, the authors argument about their importance often feels stretched.

Otherwise, I think this is a very important book for the true Celtic Druid to read. It is not a stretch to say that these stories are important to know and understand in order that we may use our own mythos for power and growth in our own lives.

Celtic Heritage is an in-depth study of the myths of Ireland and Whales, interpreting the myths, identifying key themes, and determining the impact of pre-Christiain Celtic society on the myths. The Rees brothers provide an overview of the branches of Irish and Welsh mythology, explore themes such as darkness and light, creation stories, hierarchy, religious/cultural centers, and the use of numbers as they appear in the myth and therefore as the influenced Celtic society, and then analyze the aspects of the different kind of stories, including births, wooings, adventures, and deaths, that make up the Irish and Welsh myths. Their analysis closely follows the original texts and shows a great deal of research into Celtic history and ancient culture. Ultimately, by working backward from the myths and using archaeological and cultural research as a guide, they are able to draw conclusions about the pre-Christian Celtic society itself: structure, beliefs, and practices. It is a scholarly text and can be dense and difficult to read it at times; there are also too many comparisons made to Indian religion, and the Reeses are to willing to use these comparative studies to imply or infer parts of Celtic religion and mythical interpretation. However, on the whole this is a scholarly, in-depth, eye opening book with useful information and brilliant, logical analysis. I highly recommend it. If you're having trouble finding a copy, college libraries seem to stock this book fairly consistently.

No doubt about it, Celtic Heritage is a dense scholarly text. The myths they draw on are complex and contradictory, our cultural knowledge is limited and requires explanation, and the conclusions that that the authors draw come from significant research and analysis. As a result, this can be a challenging, time-consuming read. However, don't let the book's complexities prevent you from reading it: the Rees brothers are fairly talented writers and bring a lot of clarity to these complex subjects, and the more you read of it the more familiar you will become with the myths and Celtic culture and the easier the book will be to understand. Furthermore, the information within this book is more than valuable enough to spend the time and energy to follow the analysis and unpack the text. The book is not as difficult to read as it may seem. Give it the time and thought that it deserves, and you'll learn a lot from it.

More than its denseness, the real problem with this book is the frequent comparisons between Celtic and Indian myth and culture. Comparative religious studies is a double-edged sword: comparing similar religions may provide new depth and fill in gaps of our knowledge about both religions, but we run the risk of assuming that one similarity always indicates another. In the study of polytheistic religions, the differences are often as important, if not more important, than the similarities. Indian religion, myths, practices, and gods may share a number of similarities to Celtic religion, and some of the Indian references provided by the Rees brothers puts Celtic aspects in context or allows us to make assumptions where there is a gap in our knowledge, but they rely too heavily on using the Indian religion for this purpose. It is brought up multiple times a chapter, and the authors never remind the audience about the dangers of assuming that the Celtic and Indian religions are identical.

Nonetheless, this is a superb text. Rather than stating their conclusions as dry fact, the Rees brothers walk the reader through their evidence and analysis; the conclusions themselves are logical and incredibly useful for interpreting Celtic myth and understanding Celtic culture. The authors fully explore concepts such as the self-contradictory, inverted, asocietal nature of the otherworld, the conception of directions and cultural centers which place the here and now as a cardinal but hidden direction, and the use of culturally and religiously significant numbers which are often important multiples (4x2, 3x4, etc) plus one. For the dedicated Celtic scholar, this is an invaluable, interesting, useful text. I highly recommend it to those interested in Celtic myth and religion--not just the stories, but also the meaning found within them. This is a book worth reading careful, buying, and coming back to again.

This book is to be highly recommended. Among strict Celtic scholars, this book is always near the top of the "Must Get" list. The stories and commentary by the authors are excellent. A worthy addition to any student of the Celtic World.

In this book, Alywn and Brinley explore the myths of the ancient Celts in order to undertsand their culture, values and beliefs through the stories they told. They offer an explanaation of the different cycles ie Ulster, Fenian and the symbls used in the myths.

I found it very useful in understanding the diffrent cycles, the one thing about Celtic mythology that alluded me up until now. This books gives you a very simple explanaton and then folows up with a pretty good exploration and run down of each cycle.

I also really liked the section on different tyes of stories and their meaning for the Celtic people, such as the tales about death and the love stories. There's now a lot of stories I want to find some actual prose version of as opposd to scholarly reiterations so I can memorise them and explore them for myelf.

The main thing I disliked about this book was its tendency to slip into a kind of "Then they did this, then they did that," kind of reiteration of the stories. It was frustrating and tedious, especially for one who is used to more clever story telling. I also found the chapters explaining numbers and directions to be tedious at times.

Overall, I found this book interesting and while occasionally a little dry, very readable. I definitely recommend it to anyone who wants to learn the basic concepts of Celtic mythology.

This work has become the classic work on the structure of Celtic mythology. The work consists of three parts, each of which is an important work in itself.

The first part is an overview of Irish and Welsh mythology, as well as a demonstration that some of the material which first appears in Irish Christianity is of pagan origin (this is demonstrated by showing a common origin of themes with the Vedic tradition, suggesting a common root going back to the early Indo-Europeans.

The second part is a look at various themes in the mythology, such as the dualism of darkness and light, the five divisions of the provinces, and the like.

The third is a look at the main elements of hero cycles in the Irish and Welsh traditions.

For comparative studies, this work provides a tremendous amount of information, which could be used to push the boundaries of our knowledge both regarding the Celts and also other Indo-European peoples.

The only fault I can find with the book is that the authors often assume that the reader understands the use of the comparative method between Indo-European traditions. However, the analysis does seem solid to me and I would highly recommend this book to anyone studying Celtic material.

It does a good job on showing the similarities of Irish, Welsh and Indian mythology and social groups.

One can easily imagine a more engaging text than the Rees' now-standard reference (and one that doesn't include the imaginatve expansion of Dumezil), but this volume is worth its full price for the index alone.