immorchor ṅdelend: ‘use of charioteer’s wand to sight a straight course and to hold the chariot on this course over long distances’; foscul ṅdíriuch (‘straight / level cleaving or sundering’); léim dar boilg (‘leaping across a gorge / gap / chasm’ as compliment to the other two skills).
ad G. Dumézil, Mythe et épopée III (1973), pp. 21-89; examines the aquatic and equine motifs occurring in the dindshenchas of Bóand, and discusses their relation to the Celtic and Scandinavian mythical figure of the water-horse.
ad Tochmarc Emire p. 48, §64 (as ed. by A. van Hamel 1933 [Best² 1161]). Argues that the mention of an Ulbecán Saxae is a reference to the musical reputation of Wulfstan the Cantor (fl. 996).
Discusses the etymology of Hib.-Lat. ludarius (only attested in Máedóc’s vita), and its relationship to the phrase mart maol-odhar occurring in the second Irish life.
Expands on B. Ó Buachalla, Aodh Eanghach and the Irish king-hero, in FS Carney, pp. 200-232. Discusses the motif of the ‘inclination of Tara’, resulting from the collapse of one side of the royal fortress at Tara during the reign of Lugaid mac Con as a punishment for unjust rule.
Analyses the structure of Togail bruidne Da Derga with the aim of verifying D. Miller's analysis (in Shadow 9 (1992), pp. 13-22) of G. Dumézil’s trifunctional model.
Discusses the significance of lists of personal names within narratives, culminating in suggestion that alliteration and syllable count are used to help build up background atmosphere foreshadowing narrative and may illustrate aspects of pre-Christian heritage.
Argues that the early Irish tradition of descriptions of chariot and team was influenced by Isidore’s authoritative account on horses. Includes an appendix listing the Old Irish terms used in the descriptions, with
references to texts.
A better understanding of the medieval hazel coppice, the inscription of Irish Ogam along the edges of stone or wood, and the Ogam letters coll ‘hazel’ and uillenn 'honeysuckle’ aids in our appreciation of Marie’s `lai as fundamentally concerned with the transformative, commemorative artistic process.
The several anomalies of the Joie de la cort episode in Chrétien de
Troyes’s Érec et Énide are addressed through the dual semantics of Irish
síd, the equation of radiance and joy in the Celtic languages, and Mabon’s
imprisonment in the ‘Bright Fortress’ of Caer Loyw.
Reasons and means are outlined for students and scholars of Arthurians letters to familiarize themselves with a unique and rich corpus of medieval literature.
Proposes that E boondoggle derives from a hypothetical Ir. or Hib.-Engl. nautical term *buntógáil ‘the act of taking up the free or cut end of a rope or leather cord and fitting it with a pin or cross-piece’; also on the Ir. origin of E curmudgeon.
Discusses the topographical position of the Irish Otherworld, arguing it was displaced upwards and beyond in a 90º degree shift from an original subterranean and submarine location.
Complements the information on ideology and material culture in the Introduction and Notes of Gregory Toner's 2007 edition (particularly on points concerning gessa, war chariots and weaponry, sovereignty figures, performative utterances, and the bruiden).