Eachtra an Amadáin Mhóir‘The adventures of the Great Fool’
- Early Modern Irish
- Irish Arthurian romances
Irish tale about the adventures of a Perceval-like hero known simply as An Amadán Mór ‘The Great Fool’, a name he earns in the course of the narrative.
- Ridire neartmhar nós-oirdhearc cródha céillíghe cuimhnech menmnach maisech mallrosgach díoghuin déidghel fosaidh foisdionach fír-ghlic badh dhearbhráthair do Rígh an Domhuin, agus is é do b'ainm do'n ridire sin .i. Ridire an Fhearainn Áluinn, do bhrígh go raibh fearann áluinn aige, agus as í badh ben do .i. inghíon Iarla Chornubas do Bhrethnachuibh
- Dublin, Trinity College, MS 1297 (H 2. 6) = Leabhar Bhriain Mhe Guidhir [c. 1716]ff. 223r–241v
- Dublin, National Library of Ireland, MS G 145 pp. 108–176A copy of the text in TCD 1297.
- Dublin, National Library of Ireland, MS G 137 [c.1730]pp. 125–164
- Dublin, National Library of Ireland, MS G 145 pp. 108–176
- Early Modern Irish
Poetic composition which relates a version of the Irish comedic tale known in prose as Eachtra an Amadáin Mhóir, or more precisely, an expanded version of the concluding adventures of that tale. Texts of the lay are known in both Irish and Scottish Gaelic, and variants are known from the oral tradition.Perceval ou le conte du GraalPerceval ou le conte du Graal
Primary sources Text editions and/or modern translations – in whole or in part – along with publications containing additions and corrections, if known. Diplomatic editions, facsimiles and digital image reproductions of the manuscripts are not always listed here but may be found in entries for the relevant manuscripts. For historical purposes, early editions, transcriptions and translations are not excluded, even if their reliability does not meet modern standards.
Secondary sources (select)
Probably the least studied of the group of texts ultimately indebted to Chrétien de Troyes' Perceval is an Irish prose tale, Eachtra an Amadáin Mhóir (The Story of the Great Fool). The Arthurian content of its opening section has undoubted links to the work of Chrétien, and in this article I hope to demonstrate that the overall relationship of the two stories is closer than may previously have been appreciated; also that the perceptive and witty response of the Irish work to its celebrated predecessor well repays careful attention.
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