Echtra Condla, is an Old Irish echtra tale known in two variants from eight manuscripts, the earliest of, dated to the 12th C.. - the tale may have been written down first as early as the 8th C. The two variants do not diverge from one another, so that a single summary suffices for both; the tale tells of the'seduction' of Conle, son of Conn of the Hundred Battles by a woman of the Aos Si. In addition to what seems to be a story from pre-Christian tradition the story incorporates what has interpreted to be a post-Christian anti-druidic message from the woman herself, foretelling the coming of Christianity; the echtra contains most of what is known of Conle son of Conn of the Hundred Battles, aka Conle the Ruddy, or Conle the Fair. Summary derived from and, cf and Echtra Condla opens at the Hill of Uisneach, where the tale's eponymous hero, Conle, is sitting with his father, Conn of the Hundred Battles. A strangely dressed and woman appears, Conle asks of her where she is from, she explains that she is from the "Land of the Living", where people feast for without effort, live in peace without sin.
Conn asks Conle who he is talking to. The woman replies, stating she invites Conle to the "Plain of Delights" where the king is Bóadag, promising that Conle can stay for ever. All could not see here. Corann intoned a spell; the strange woman leaves, but as she does she tosses an apple to Conle. Conle survives off of this fruit for an entire month, eschewing all other drink. Underlining the Otherworldly nature of this apple, the apple remained whole after Conle eat from it. Conle becomes to long to see the woman again; the woman reappears after this time on the plain of Arcommin. She speaks to Conle and Conn calls for his druid again, but the woman reproaches him, saying he should not resort to druidry; the woman speaks to Conn describing his words as lies coming from a demon. Conn notes that Conle will not respond to anyone except the woman, asks if the woman's word have a hold on him. Conle responds that he is torn between the woman; the woman beckons Conle come with her, promising a happy land full only of women and maidens.
Conle jumps into the womans'crystal ship', those left watched it sail away until it was too far to see. In three manuscripts, a sort of postscript follows, explaining that Art mac Cuinn was called Art Óenfer because after Conle's departure he was Conn's only son. Linquistic analysis of the texts led McCone to derive that the tale has an 8th C. archetype, that the versions in the 12th C. Lebor na hUidre derive from 10th C. versions, whilst it is the 14th C. versions in the Yellow Book of Lecan, closer to the 8th C. "original". Oskamp 1974 states that the text should be understood as a literary production of the twelfth century, whatever older strata of tradition may have informed it; some scholars see a clear Christian message in this extract: Other translators render Tráig Máir not as "Great Strand" but as "Great High King", infer the text might refer to the Christian god and his "righteous one" to Jesus Christ, Oskamp argues that the interpretation with Jesus as the Great High King and the "righteous one" as Saint Patrick is good.
McCone has interpreted the woman as representing Christianity itself, while others finds that metaphor too extended. There is a related issue of interpretation of the Gaelic síd in the context of "people of the síd" - others such as and, have considered that the usage is a deliberate pun, or bridge between the two interpretations. Earlier translators such as and interpreted the text as Aos Si; the woman fulfills the role of the'Celtic' sovereignty goddess, as well as retaining the seductive qualities of a pre-Christian goddess. The tale has been retold in modernised form. A typical retelling can be found in as "Connla of the Golden Hair, the Fairy Maiden", or in: "Conn and the Fairy Maiden". Translated the tale into English in "The Adventures of Connla the Fair" in Ancient Irish Tales. Connla Cáem 2nd C. prince mentioned in Lebor Gabála Érenn Connla, the son of Cú Chulainn "Echtra Chondla", Irish Sagas Online, online editions "Echtrae Chonnlai, "The adventure of Connlae"", vanhamel.nl, primary sources
Cú Chulainn spelled Cú Chulaind or Cúchulainn and sometimes known in English as Cuhullin, is an Irish mythological hero who appears in the stories of the Ulster Cycle, as well as in Scottish and Manx folklore. He is believed to be an incarnation of the god Lugh, his father, his mother is sister of Conchobar mac Nessa. Born Sétanta, he gained his better-known name as a child, after killing Culann's fierce guard-dog in self-defence and offered to take its place until a replacement could be reared. At the age of seventeen he defended Ulster single-handedly against the armies of queen Medb of Connacht in the famous Táin Bó Cúailnge, it was prophesied that his great deeds would give him everlasting fame, but his life would be a short one. He is known for his terrifying battle frenzy, or ríastrad, in which he becomes an unrecognisable monster who knows neither friend nor foe, he fights from his chariot, driven by his loyal charioteer Láeg and drawn by his horses, Liath Macha and Dub Sainglend. In more modern times, Cú Chulainn is referred to as the "Hound of Ulster".
Cú Chulainn shows striking similarities to the legendary Persian hero Rostam, as well as to the Germanic Lay of Hildebrand and the labours of the Greek epic hero Heracles, suggesting a common Indo-European origin, but lacking in linguistic and archaeological material. There are a number of versions of the story of Cú Chulainn's miraculous birth. In the earliest version of Compert Con Culainn, his mother Deichtine is the daughter and charioteer of Conchobar mac Nessa, king of Ulster, accompanies him as he and the nobles of Ulster hunt a flock of magical birds; as snow begins to fall, Ulstermen seek shelter in a nearby house. As the host's wife goes into labour, Deichtine assists in the birth of a baby boy, while a mare gives birth to twin colts; the next morning, the Ulstermen find themselves at the Brug na Bóinde —the house and its occupants have disappeared, but the child and the colts remain. Deichtine takes the boy home and begins raising him as her own; the god Lug appears to her and tells her he was their host that night, that he has put his child in her womb, to be called Sétanta.
Her pregnancy turns into a scandal as she is betrothed to Sualtam mac Róich, the Ulstermen suspect Conchobar of being the father, so she aborts the child and goes to her husband's bed "virgin-whole". She conceives a son whom she names Sétanta. In the and better-known version of Compert Con Culainn, Deichtine is Conchobar's sister, disappears from Emain Macha, the Ulster capital; as in the previous version, the Ulstermen go hunting a flock of magical birds, are overtaken by a snowstorm and seek shelter in a nearby house. Their host is Lug, a member of the Tuatha Dé Danann, but this time his wife, who gives birth to a son that night, is Deichtine herself; the child is named Sétanta. The nobles of Ulster argue over which of them is to be his foster-father, until the wise Morann decides he should be fostered by several of them: Conchobar himself, he is brought up in the house of Amergin and Findchóem on Muirthemne Plain in modern County Louth, alongside their son Conall Cernach. The County Louth town of Dundalk has the motto Mé do rug Cú Chulainn cróga "I gave birth to brave Cú Chulainn".
The stories of Cú Chulainn's childhood are told in a flashback sequence in Táin Bó Cúailnge. As a small child, living in his parents' house on Muirthemne Plain, he begs to be allowed to join the boy-troop at Emain Macha. However, he sets off on his own, when he arrives at Emain he runs onto the playing field without first asking for the boys' protection, being unaware of the custom; the boys take this as a challenge and attack him, but he has a ríastrad and beats them single-handed. Conchobar puts a stop to the fight and clears up the misunderstanding, but no sooner has Sétanta put himself under the boys' protection than he chases after them, demanding they put themselves under his protection. Culann the smith invites Conchobar to a feast at his house. Before going, Conchobar goes to the playing field to watch the boys play hurling, he is so impressed by Sétanta's performance. Sétanta promises to follow the king later, but Conchobar forgets, Culann lets loose his ferocious hound to protect his house.
When Sétanta arrives, the enormous hound attacks him, but he kills it in self-defence, in one version by smashing it against a standing stone, in another by driving a sliotar down its throat with his hurley. Culann is devastated by the loss of his hound, so Sétanta promises he will rear him a replacement, until it is old enough to do the job, he himself will guard Culann's house; the druid Cathbad announces that his name henceforth will be Cú Chulainn—"Culann's Hound". One day at Emain Macha, Cú Chulainn overhears Cathbad teaching his pupils. One asks him what that day is auspicious for, Cathbad replies that any warrior who takes arms that day will have everlasting fame. Cú Chulainn, though only seven years old, asks for arms. None of the weapons given to him withstand his strength, but when Cathbad sees this he grie
Samhain is a Gaelic festival marking the end of the harvest season and the beginning of winter or the "darker half" of the year. Traditionally, it is celebrated from 31 October to 1 November, as the Celtic day began and ended at sunset; this is about halfway between the winter solstice. It is one of the four Gaelic seasonal festivals, along with Imbolc and Lughnasadh, it was observed throughout Ireland and the Isle of Man. Similar festivals are held at the same time of year in other Celtic lands. Samhain is believed to have Celtic pagan origins and there is evidence it has been an important date since ancient times; some Neolithic passage tombs in Ireland are aligned with the sunrise around the time of Samhain. It is mentioned in some of the earliest Irish literature and many important events in Irish mythology happen or begin on Samhain, it was the time when cattle were brought back down from the summer pastures and when livestock were slaughtered for the winter. As at Bealtaine, special bonfires were lit.
These were deemed to have protective and cleansing powers and there were rituals involving them. Like Bealtaine, Samhain was seen as a liminal time, when the boundary between this world and the Otherworld could more be crossed; this meant the Aos Sí, the'spirits' or'fairies', could more come into our world. Most scholars see the Aos Sí as remnants of the pagan gods and nature spirits. At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink were left outside for them; the souls of the dead were thought to revisit their homes seeking hospitality. Feasts were had, at which the souls of dead kin were beckoned to attend and a place set at the table for them. Mumming and guising were part of the festival, involved people going door-to-door in costume reciting verses in exchange for food; the costumes may have been a way of imitating, disguising oneself from, the Aos Sí. Divination rituals and games were a big part of the festival and involved nuts and apples.
In the late 19th century, Sir John Rhys and Sir James Frazer suggested that it was the "Celtic New Year", this view has been repeated by some other scholars. In the 9th century AD, the Western Christian church shifted the date of All Saints' Day to 1 November, while 2 November became All Souls' Day. Over time and All Saints'/All Souls' merged to create the modern Halloween. Historians have used the name'Samhain' to refer to Gaelic'Halloween' customs up until the 19th century. Since the 20th century, Celtic neopagans and Wiccans have observed Samhain, or something based on it, as a religious holiday. Neopagans in the Southern Hemisphere celebrate Samhain at the other end of the year. In Modern Irish as well as Scottish Gaelic the name is Samhain. Older forms of the word include the Scottish Gaelic spellings Samhuinn. In Manx Gaelic the name is Sauin; these are the names of November in each language, shortened from Mí na Samhna, Mì na Samhna and Mee Houney, meaning "month of Samhain". The night of 31 October—Halloween—is Oíche Shamhna, Oidhche Shamhna and Oie Houney, meaning "Samhain night".
The day of 1 November, or the whole festival, may be called Lá Samhna, Là Samhna and Laa Houney, meaning "Samhain day". These names all come from the Old Irish Samain or Samuin, the name for the festival held on 1 November in medieval Ireland; this comes from Proto-Indo-European *semo-. One suggestion is that the name means "summer's end", from sam and fuin, but this may be a folk etymology. In 1907, Whitley Stokes suggested an etymology from Proto-Celtic *samani, Joseph Vendryes suggested that it is unrelated to *semo-, because the Celtic summer ended in August; the Gaulish month name SAMON " Summer" on the Coligny calendar is related to the word Samhain. A festival of some kind may have been held during the'three nights of Samonios'; the Gaulish calendar seems to have split the year into two-halves: the first beginning with the month SAMON and the second beginning with the month GIAMONIOS, related to the word for winter, PIE *g'hei-men-, cf. Old Irish gem-adaig. Samonios may represent the beginning of the summer season and Giamonios the beginning of the winter season.
The lunations marking the middle of each half-year may have been marked by festivals. Samain or Samuin was the name of the feis or festival marking the beginning of winter in Gaelic Ireland, it is attested in some of the earliest Old Irish literature, from the 10th century onward. It was one of four Gaelic seasonal festivals: Samhain, Imbolc and Lughnasadh. Samhain and Bealtaine, at the witherward side of the year from each other, are thought to have been the most important. Sir James George Frazer wrote in The Golden Bough: A Study in Magic and Religion that 1 May and 1 November are of little importance to European crop-growers, but of great importance to herdsmen, it is at the beginning of summer that cattle are driven to the upland summer pastures and the beginning of winter that they are led back. Thus, Frazer suggests that halving the year at 1 M
An immram is a class of Old Irish tales concerning a hero's sea journey to the Otherworld. Written in the Christian era and Christian in aspect, they preserve elements of Irish mythology; the immrama are identifiable by their focus on the exploits of the heroes during their search for the Otherworld, located in these cases in the islands far to the west of Ireland. The hero sets out on his voyage for the sake of adventure or to fulfill his destiny, stops on other fantastic islands before reaching his destination, he may not be able to return home again. The immrama are confused with a similar Irish genre, the echtrae or "adventure". Both types of story involve a hero's journey to an "otherworld", whether a Christian paradise, a fairyland, the land of the gods or a utopia, they are distinguished by date. David Dumville argues that the immrama include more Christian thinking than the more pagan genre of echtrae, that, whereas the purpose of the echtrai is to enhance understanding of the old gods and the land in which they live, in an immram these pagan elements occur as a challenge to the hero's faith.
In an echtrae the protagonist only goes to one location and may arrive in the otherworld with no explanation of the journey, whereas in an immram the hero always has multiple adventures on several islands. There were seven recognised Immram listed in a list of ancient texts. Of those seven only three survive: The Voyage of Mael Dúin, The Voyage of the Uí Chorra, The Voyage of Snedgus and Mac Riagla; the Voyage of Bran is classified in these same lists as an echtrae, though it contains the essential elements of the immrama. The Latin Voyage of St. Brendan contains a voyage across the sea to various otherworldly islands. Immrama were first recorded as early as the 7th century by monks and scholars who fled Continental Europe before the barbarian invaders of the fifth century; these monks carried the learning of Western Europe and became the vanguard of the Christianizing of Europe. On this account it is expected that Immram have their origins in pre-existing Christian voyage literature, pre-existing Celtic legends, or classical stories the monks would have known.
The origins of these stories are attributed to three sources of preexisting stories: Irish myths, Christian genres, Classic Stories. The Otherworld in The Voyage of Bran is a distinctly Celtic feature but this is overlooked because the concept of the Christian paradise and the British and Irish otherworld are related; this difference is highlighted in the difference between sinless and sexless in the native and Christian mindset, like in the existing translation where an author may have turned the "Isle of Woman" into a chaste society, with some difficulty. Such an example was with a passage that described a man and a woman playing under a bush without sin or blame; this passage in light of several others emphasises a Christian effort to create a sinless and sexless Otherworld. Immrama may have borrowed from preexisting Christian genres, such as the sanctae vitae, the peregrinatio, the vision tales; as early as the 5th century Irish monks would go on a pilgrimage, a peregrination, sailing from island to island seeking isolation where they would meditate and purge themselves of their sins.
The source of inspiration behind the Immram may be the Christian punishment of sending people adrift for their crimes to be judged by God. The largest piece of evidence that immram are Christian works is that the characters in the story are wandering priests and nuns, or at least related to them. One of the first Celticists, Heinrich Zimmerman, attempted to link the immram with the Aeneid and the Odyssey; some of the parallels they make are between the immortal women in the tales who bestow immortality on their lovers for the time they remain with them and the giant sheep on islands in both stories. These parallels have since been debunked by William Flint Thrall. On top of their literary and mythological precedents, some scholars have argued that the immrama may be exaggerated retelling of historical voyages; the early Irish monks, were far travelled, reaching the Orkney, Faroe Islands at an early date and even reaching Iceland. Some places and things referenced in the immrama and the Brendan tale have been associated with real islands and real things, for instance Brendan's crystal pillar has been suggested to refer to an iceberg.
The Inrams have been proposed as part inspiration for both C. S. Lewis's The Voyage of the Dawn Treader, the poem Imram by contemporary J. R. R. Tolkien. Australian author Patrick Holland's novel Navigatio is a 21st Century Immram that re-imagines the Brendan Voyage, it accretes contradictory and repetitive episodes to create the impression of an unredacted collection of medieval texts. Anatole France satirised the Immram genre in the early part of his 1908 Penguin Island; the popularity of The Voyage of St. Brendan inspired Tim Severin to undertake a voyage using 5th century technology to demonstrate that the early Irish could have made it as far as North America. Visio Tnugdali Tractatus de Purgatorio Sancti Patricii
Saint Brendan of Clonfert referred to as "Brendan moccu Altae", called "the Navigator", "the Voyager", "the Anchorite", "the Bold", is one of the early Irish monastic saints and one of the Twelve Apostles of Ireland. He is renowned for his legendary quest to the "Isle of the Blessed" denominated "Saint Brendan's Island"; the Navigatio Sancti Brendani Abbatis can be described as an immram, i. e. Irish navigational narrative. Saint Brendan's feast day is celebrated on 16 May by the Roman Catholics and Orthodox Christians. There is little secure information concerning Brendan's life, although at least the approximate dates of his birth and death, accounts of some events in his life, are found in Irish annals and genealogies; the earliest mention of Brendan is in the Vita Sancti Columbae of Adamnan written between AD 679 and 704. The earliest mention of him as a seafarer appears in the Martyrology of Tallaght of the ninth century; the principal works regarding the saint and his legend are a "Life of Brendan" in several Latin and Irish versions and the better known Navigatio Sancti Brendani Abbatis.
The versions of the Vita and the Navigatio provide little reliable information of his life and travels. An additional problem is that the precise relationship between the Vita and the Navigatio traditions is uncertain; the date when the Vita tradition began is uncertain. The earliest surviving copies are no earlier than the end of the twelfth century, but scholars suggest that a version of the Vita was composed before AD 1000; the Navigatio was written earlier than the Vita in the second half of the eighth century. Saint Aengus the Culdee, in his Litany, composed in the end of the eighth century, invoked "the sixty who accompanied St. Brendan in his quest for the Land of Promise". Any attempt to reconstruct the facts of the life of Saint Brendan or to understand the nature of his legend must be based principally on Irish annals and genealogies and on the various versions of the Vita Brendani. Brendan was born in AD 484 in Tralee, in County Kerry, in the province of Munster, in the south-west of Ireland.
He was born among the Altraige, a tribe centred around Tralee Bay, to parents called Finnlug and Cara. Tradition has it, he was baptised at Tubrid, near Ardfert by Saint Erc, was to be called "Mobhí" but signs and portents attending his birth and baptism led to him being christened'Broen-finn' or'fair-drop'. For five years he was educated under Saint Ita, "the Brigid of Munster"; when he was six he was sent to Saint Jarlath's monastery school at Tuam to further his education. Brendan is one of the "Twelve Apostles of Ireland", one of those said to have been tutored by the great teacher, Finnian of Clonard. At the age of twenty-six, Brendan was ordained a Catholic priest by Saint Erc. Afterwards, he founded a number of monasteries. Brendan's first voyage took him to the Aran Islands, he visited Hinba, an island off of Scotland where he is said to have met Columcille. On the same voyage he traveled to Wales and to Brittany, on the northern coast of France. Between AD 512 and 530 Brendan built monastic cells at Ardfert, Shanakeel, at the foot of Mount Brandon.
From there he is supposed to have embarked on his famous voyage of 7 years for Paradise. The old Irish calendars assigned a feast for the "egressio familiae Sancti Brendani". Saint Brendan is renowned for his legendary journey to the Isle of the Blessed as described in the Navigatio Sancti Brendani Abbatis of the ninth century. Many versions exist that narrate how he set out on the Atlantic Ocean with 16 monks to search for the Garden of Eden. One of these companions is said to have been the namesake of Saint-Malo. If it happened, this would have occurred between AD 512–530, before his travel to the island of Great Britain. On his trip, Brendan is supposed to have seen Saint Brendan's Island, a blessed island covered with vegetation, he encountered a sea monster, an adventure he shared with his contemporary Saint Columba. The most illustrated adventure is his landing on an island which turned out to be a giant sea monster named "Jasconius" or "Jascon"; the earliest extant version of the Navigatio Sancti Brendani Abbatis was recorded c.
AD 900. There are over 100 manuscripts of the narrative throughout many translations; the Navigatio is plainly a Christian narrative, but narrates natural phenomena and fantastical events and places, which appealed to a broad audience. The Navigatio contains many parallels and inter-textual references to Bran and the Voyage of Máel Dúin. On the Kerry coast, Brendan built a currach-like boat of wattle, covered it with hides tanned in oak bark and softened with butter, set up a mast and a sail, he and a small group of monks fasted for 40 days, after a prayer on the shore, embarked in the name of the Most Holy Trinity. The narrative is characterized by much literary license, e. g. it refers to Hell where “great demons threw down lumps of fiery slag from an island with rivers of gold fire” and to “great crystal pillars.” Many speculate that these are references
The aos sí is the Irish term for a supernatural race in Irish mythology and Scottish mythology, comparable to the fairies or elves. They are said to live underground in fairy mounds, across the western sea, or in an invisible world that coexists with the world of humans; this world is described in the Lebor Gabála Érenn as a parallel universe in which the aos sí walk amongst the living. In the Irish language, aos sí means "people of the mounds". In modern Irish the people of the mounds are called daoine sídhe, they are variously said to be the spirits of nature, or goddesses and gods. Some secondary and tertiary sources, including well-known and influential authors such as W. B. Yeats, refer to aos sí as "the sídhe". In many Gaelic tales, the aos sí are literary versions of the Tuatha Dé Danann —the deities and deified ancestors of Irish mythology; some sources describe them as the survivors of the Tuatha Dé Danann who retreated into the Otherworld—the mortal Sons of Míl Espáine who, like many other early invaders of Ireland, came from Iberia.
As part of the terms of their surrender to the Milesians, the Tuatha Dé Danann agreed to retreat and dwell underground. Geoffrey Keating, an Irish historian of the late 17th century, equates Iberia with the Land of the Dead, providing a possible connection to the aos sí. In folk belief and practice, the aos sí are appeased with offerings, care is taken to avoid angering or insulting them, they are not named directly, but rather spoken of as "The Good Neighbors", "The Fair Folk", or "The Folk". The most common names for them, aos sí, aes sídhe, daoine sídhe and daoine sìth mean "people of the mounds"; the aos sí are described as stunningly beautiful, though they can be terrible and hideous. Aos sí are seen as fierce guardians of their abodes—whether a fairy hill, a fairy ring, a special tree or a particular loch or wood, it is believed that infringing on these spaces will cause the aos sí to retaliate in an effort to remove the people or objects that invaded their homes. Many of these tales contribute to the changeling myth in west European folklore, with the aos sí kidnapping trespassers or replacing their children with changelings as a punishment for transgressing.
The aos sí are connected to certain times of year and hours. Some festivals such as Samhain and Midsummer are associated with the aos sí. Sídhe are the tumuli that dot the Irish landscape. In modern Irish the word is sí. In a number of English-language texts, the word sídhe is incorrectly used both for the mounds and the people of the mounds; however sidh in older texts refers to "the palaces, halls or residences" of the otherworldly beings that inhabit them. The fact that many of these sídhe have been found to be ancient burial mounds has contributed to the theory that the aos sí were the pre-Celtic occupants of Ireland. Others present these stories as mythology deriving from Greek cultural influence, deriving arguments from Hesiod's Works and Days, which portrays the basic moral foundation and plantation techniques of the citizens of Greece and describes the races of men, created by the Greek deities. However, many of these views have been deemed unlikely, the influence can be explained by the similar moral foundations stemming from the two cultures' Indo-European background.
The banshee or bean sídhe, which means "woman of the sídhe", has come to indicate any supernatural woman of Ireland who announces a coming death by wailing and keening. Her counterpart in Scottish mythology is the bean sìth. Other varieties of aos sí and daoine sìth include the Scottish bean nighe: the washerwoman, seen washing the bloody clothing or armour of the person, doomed to die; the sluagh sídhe—"the fairy host"—is sometimes depicted in Irish and Scottish lore as a crowd of airborne spirits the cursed, evil or restless dead. The siabhra, may be a type of these lesser spirits, prone to mischief. However, an Ulster folk song uses "sheevra" to mean "spirit" or "fairy". Creideamh Sí is Irish for the "Fairy Faith", a collection of beliefs and practices observed by those who wish to keep good relationships with the aos sí and avoid angering them; the custom of offering milk and traditional foods—such as baked goods, apples or berries—to the aos sí have survived through the Christian era into the present day in parts of Ireland and the diaspora.
Those who maintain some degree of belief in the aos sí are aware to leave their sacred places alone and protect them from damage through road or housing construction. Daoine maithe Enchanted Moura Edmund Lenihan Fairy riding Fir Bolg Otherworld Strontian Lebor Gabála Érenn in Lebor Laignech Annala na gCeithre Mháistrí Leabhar Bhaile an Mhóta Lebor na hUidre Leabhar Buidhe Lecain Leabhar