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Britannica Concise Encyclopedia:
Ulster Cycle |
For more information on Ulster cycle, visit Britannica.com.
Irish Literature Companion:
Ulster cycle |
Ulster cycle, a group of heroic tales relating to the Ulaid, a powerful prehistoric people of the north of Ireland, from whom the name of Ulster derives. Their territory extended from Donegal to the mouth of the Boyne and their traditional seat was at Emain Macha, now Navan fort near Armagh. Their opponents were the Connachta, associated with the province of that name, who had their seat at Cruachain in Co. Roscommon. The conflict between the Ulaid and Connachta forms the basis of the tales grouped in this cycle, the most famous of which is Táin Bó Cuailnge, where the Ulster hero is Cú Chulainn. At the time in which the cycle of tales is set, Conchobor mac Nessa is King of the Ulaid and Medb, wife of Ailill, is Queen of the Connachta. The tales reflect a dynastic struggle between these two peoples, while Medb retains associations with the goddess of sovereignty [see Irish mythology]. The world depicted in the tales reflects the culture of pre-Christian Celtic Gaul and Britain as described in classical writers such as Diodorus Siculus: it is warlike; combat is often from chariots, manned by warrior and charioteer; the heads of opponents are cut off and used as trophies; the hero gets the finest cut of meat; druids, magic and prophecy are central to society; and the otherworld is always close [see Celts]. Cú Chulainn is Lug's son [see mythological cycle]; Conall Cernach is related to Gaulish Cernunnos, the horned god depicted on the Gundestup Cauldron from the 1st cent. BC. Tales in this cycle include: Aided Chon Culainn, Fled Bricrenn, Longes mac nUislenn, Scéla Mucce Maic Dathó, Serglige Con Chulainn, Tochmarc Emire, and Togail Bruidne Da Derga.
Archaeology Dictionary:
Ulster Cycle |
Series of Irish tales relating the exploits of the king and warrior-heroes of Ulster in their struggle against other Irish kingdoms. The best known and longest of these tales is ‘The Cattle Raid of Cooley’, which concerns an expedition from Connaught to steal the famous bull of Cooley and the deeds of the champion of Ulster, Cúchulain, who, as a child prodigy, tragically chooses a valiant but short life.
Celtic Mythology:
Ulster Cycle |
A large body of prose and verse romances as well as the only Irish prose epic, Táin Bó Cuailnge [Cattle Raid of Cooley], centring on the traditional heroes of the Ulaid in what is now eastern Ulster. One of the four major cycles of Irish literature, along with the Mythological and Fenian Cycles and the Cycle of Kings. In most Ulster Cycle stories, Conchobar mac Nessa is king, reigning at his capital, Emain Macha. Cúchulainn is the supreme hero, Deirdre a peerless tragic lover. Often compared with the Arthurian legends, the Ulster Cycle portrays a proud, even haughty people often at war with their neighbours, especially those in Connacht. Set a century before the time of Christ, the Ulster stories posit an older world than any known in other European vernaculars. Ulster stories, both in Irish and in frequent English translation and adaptation, enjoy the greatest prestige of the four Irish cycles, often mixing beauty with sorrow in both romance and epic.
The name Red Branch Cycle, favoured by 19th-century translators and romantic nationalists, is an English rendering of Cráebruad, the name for one of Conchobar's three residences, so called for the large red roof beam or ‘branch’ visible in the interior. This phrasing was supported by a reading of Clanna Rudraige, the name which the Ulaid, for whom Ulster was named, applied to themselves; Rudraige was thought to contain the element ruad [red]. The confusion existed only in the minds of commentators of the last three centuries. In early Ireland literature was not consciously divided into cycles, but instead was classed by tale type, such as the Aided: a story of a sorrowful death, or a Tochmarc: the story of a wooing. Thus not every story set in Ulster is a part of the Cycle, e.g. Buile Shuibhne [The Frenzy of Sweeney] in the Cycle of Kings.
Narrative materials in the Ulster Cycle were transcribed as early as the 8th century, continued to be a part of living literature until the 18th, and extended to Scotland and the Isle of Man. Transmission was mostly through the pens of learned scribes rather than oral tradition. Although all recording of Ulster stories has taken place after the introduction of Christianity, their setting is always perceived to be a century before the birth of Christ. A certain bowdlerization and sanitizing must be assumed, but the prevailing religion of the stories includes sun worship and the veneration of natural objects. The belief in magic is ever-present, and pre-Christian divinities interfere in the affairs of mortal men and women. The society portrayed holds slaves without censure from the narrator and engages in frequent and brutal warfare, often for the possession of cattle. Physical evidence of the Ulaid's past glory would have been present to text redactors and copyists, as the ruins of Emain Macha still stood, as indeed they do to the present.
The prestige of the Ulster Cycle within Irish tradition does not rely on wealth or numbers. Ulster was historically less affluent than regions further south, e.g. the Boyne valley, Brega, or the Liffey valley, and stories from the Fenian Cycle were more widely known. Neither do the narratives present an idealized portrait of a life without pain or misery; literary Ulster may be pastoral but it lacks idyllic sentiment. Instead there is a grandeur of epic literature, of life lived to the fullest in extremes of bravery and love. Esteem for the Ulster Cycle passed into English during the 19th century, when nationalists searched ancient literature for heroes to replace those imposed on Irish children by English-run schools. The warriors of Emain Macha, who routinely decapitated slain enemies, came to be known as the ‘Red Branch knights’ in the poetry of Thomas Moore (1779–1852). Standish James O'Grady (1846–1928) extrapolated an even more heroic history, which in turn fostered widespread adaptation in English of Ulster stories during the generation of Lady Gregory, William Butler Yeats, and John Millington Synge.
Important personages frequently mentioned in the Ulster Cycle, along with the hero Cúchulainn, the king Conchobar mac Nessa, and the tragic lover Deirdre, include: Achall, Áed Ruad, Amairgin
See also AIDED FERGUSA [The Violent Death of Fergus]; AIDED ÓENFHIR AÍFE [The Tragic Death of Aífe's Only Son]; ECHTRA NERAI [The Adventure of Nera]; FLED BRICRENN [Briccriu's Feast]; Longas mac nUislenn [The Exile of the Sons of Uisnech] or the Deirdre story; MESCA ULAD [The Intoxication of the Ulstermen]; SCÉLA MUCCE MEIC DA THÓ [The Story of Mac Da Thó's Pig]; SERGLIGE CON CULAINN AGUS ÓENÉT EMIRE [The Wasting Sickness of Cúchulainn and The Only Jealousy of Emer]; TÁIN BÓ CUAILNGE [Cattle Raid of Cooley]; TOGAIL BRUIDNE DA DERGA [The Destruction of Da Derga's Hostel].
Bibliography
Wikipedia:
Ulster Cycle |
The Ulster Cycle, formerly known as the Red Branch Cycle, one of the four great cycles of Irish mythology, is a body of medieval Irish heroic legends and sagas of the traditional heroes of the Ulaid in what is now eastern Ulster and northern Leinster, particularly counties Armagh, Down and Louth.
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The Ulster Cycle stories are set in and around the reign of king Conchobar mac Nessa, who rules the Ulaid from Emain Macha (now Navan Fort near Armagh). The most prominent hero of the cycle is Conchobar's nephew Cú Chulainn. The Ulaid are most often in conflict with the Connachta, led by their queen, Medb, her husband Ailill, and their ally Fergus mac Róich, a former king of the Ulaid in exile. The longest and most important story of the cycle is the Táin Bó Cúailnge or "Cattle Raid of Cooley", in which Medb raises an enormous army to invade the Cooley peninsula and steal the Ulaid's prize bull, Donn Cúailnge, opposed only by the seventeen year old Cú Chulainn. Perhaps the best known story is the tragedy of Deirdre, source of plays by W. B. Yeats and J. M. Synge. Other stories tell of the births, courtships and deaths of the characters and of the conflicts between them.
The stories are written in Old and Middle Irish, mostly in prose, interspersed with occasional verse passages. They are preserved in manuscripts of the 12th to 15th centuries, but in many cases are much older: the language of the earliest stories is dateable to the 8th century, and events and characters are referred to in poems dating to the 7th.[1] The tone is terse, violent, sometimes comic, and mostly realistic, although supernatural elements intrude from time to time. Cú Chulainn in particular has superhuman fighting skills, the result of his semi-divine ancestry, and when particularly aroused his battle frenzy or ríastrad transforms him into an unrecognisable monster who knows neither friend nor foe. Evident deities like Lugh, the Morrígan, Aengus and Midir also make occasional appearances.
Unlike the majority of early Irish historical tradition, which presents ancient Ireland as largely united under a succession of High Kings, the stories of the Ulster Cycle depict a country with no effective central authority, divided into local and provincial kingdoms often at war with each other. The civilisation depicted is a pagan, pastoral one ruled by a warrior aristocracy. Bonds between aristocratic families are cemented by fosterage of each other's children. Wealth is reckoned in cattle. Warfare mainly takes the form of cattle raids, or single combats between champions at fords. The characters' actions are sometimes restricted by religious taboos known as geasa.
The events of the cycle are traditionally supposed to take place around the time of Christ. The stories of Conchobar's birth and death are synchronised with the birth and death of Christ,[2] and the Lebor Gabála Érenn dates the Táin Bó Cúailnge and the birth and death of Cú Chulainn to the reign of the High King Conaire Mor, who it says was a contemporary of the Roman emperor Augustus (27 BC — AD 14).[3] However, some stories, including the Táin, refer to Cairbre Nia Fer as the king of Tara, implying that no High King is in place at the time.
The presence of the Connachta as the Ulaid's enemies is an apparent anachronism: the Connachta were traditionally said to have been the descendants of Conn Cétchathach, who is supposed to have lived several centuries later. Later stories use the name Cóiced Ol nEchmacht as an earlier name for the province of Connacht to get around this problem. However, the chronology of early Irish historical tradition is an artificial attempt by Christian monks to synchronise native traditions with classical and biblical history, and it is possible that historical wars between the Ulaid and the Connachta have been chronologically misplaced.[4]
Some scholars of the 19th and early 20th centuries, such as Eugene O'Curry and Kuno Meyer, believed that the stories and characters of the Ulster Cycle were essentially historical; T. F. O'Rahilly was inclined to believe the stories were entirely mythical and the characters euhemerised gods; and Ernst Windisch thought that the cycle, while largely imaginary, contains little genuine myth.[5] Elements of the tales are reminiscent of classical descriptions of Celtic societies in Gaul, Galatia and Britain. Warriors fight with swords, spears and shields, and ride in two-horse chariots, driven by skilled charioteers drawn from the lower classes.[6] They take and preserve the heads of slain enemies,[7] and boast of their valour at feasts, with the bravest awarded the curadmír or "champion's portion", the choicest cut of meat.[8] Kings are advised by druids (Old Irish druí, plural druíd), and poets have great power and privilege. These elements led scholars such as Kenneth H. Jackson to conclude that the stories of the Ulster Cycle preserved authentic Celtic traditions from the pre-Christian Iron Age.[9] Other scholars have challenged that conclusion, stressing similarities with early medieval Irish society and the influence of classical literature,[10] but it is likely that the stories do contain genuinely ancient material.
It is probable the oldest strata of tales are those involving the complex relationship between the Ulaid and the Érainn, represented in the Ulster Cycle by Cú Roí and the Clanna Dedad, and later by Conaire Mór. It was observed a century ago by Eoin MacNeill [11] and other scholars that the historical Ulaid, as represented by the Dál Fiatach, were apparently related to the Clanna Dedad. T. F. O'Rahilly later concluded that the Ulaid were in fact a branch of the Érainn.[12] Perhaps most notably a number of the Érainn appear to have been powerful Kings of Tara, with a secondary base of power at the now lost Temair Luachra "Tara of the Rushes" in West Munster, where some action in the Ulster Cycle takes place and may even have been transplanted from the midland Tara. Additionally it may be noteworthy that the several small cycles of tales involving the early dominance of the Érainn in Ireland generally predate the majority of the Ulster Cycle tales in content, if not in their final forms, and are believed to be of a substantially more pre-Christian character. Several of these do not even mention the famous characters from the Ulster Cycle, and those that do may have been slightly reworked after its later expansion with the Táin and rise in popularity.
Here follows a list of tales which are assigned to the Ulster Cycle, although it does not claim to be exhaustive. The classification according to 'genre' followed here is merely a convenient tool to bring clarity to a large body of texts, but it is not the only possible one nor does it necessarily reflect contemporary approaches of classifying texts.
Most of the important Ulster Cycle tales can be found in the following publications:
The Ulster Cycle provided material for Irish writers of the Gaelic revival around the turn of the twentieth century. Augusta, Lady Gregory's Cuchulain of Muirthemne (1902) retold most of the important stories of the cycle,[14] as did Eleanor Hull for younger readers in The Boys' Cuchulain (1904).[15] William Butler Yeats wrote a series of plays - On Baile's Strand (1904), Deirdre (1907), The Green Helmet (1910), At the Hawk's Well (1917), The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) - and a poem, Cuchulain's Fight with the Sea (1892), based on the legends, and completed the late John Millington Synge's unfinished play Deirdre of the Sorrows (1910), in collaboration with Synge's widow Molly Allgood.[16]
More recent literary adaptations include Rosemary Sutcliff's children's novel The Hound of Ulster (1963) and Vincent Woods' play A Cry from Heaven (2005). Cartoonist Patrick Brown is adapting the cycle as a webcomic, beginning with the story of Conchobar's mother Ness, now complete, and continuing with "The Cattle Raid of Cooley", adapting Táin Bó Cúailnge.[17] Oghme Comics also are in the process of adapting the story of Cúchulainn in graphic novel format, as a series of webcomics,[18] as well as Illustrations of Characters[19] from the Ulster cycle.
The dramatic musical program "Celtic Hero" in the Radio Tales series for National Public Radio, was based on the Ulster Cycle story Tochmarc Emire.
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