the red signified burning, the blue coldness. Then he threw the holy water over them, and nothing was left but the bare hillside.365 Though Gwyn's court on Glastonbury is a local Celtic Elysium, which was actually located there, the story marks the hostility of the Church to the cult of Gwyn, perhaps practised on hilltops, and this is further seen in the belief that he hunts souls of the wicked and is connected with Annwfn in its later sense of hell. But a mediant view is found in Kulhwych, where it is said of him that he restrains the demons of hell lest they should destroy the people of this world. In the Triads he is, like other gods, a great magician and astrologer.366
Another group, unknown to the Mabinogion, save that Taliesin is one of the bearers of Bran's head, is found in the Book of Taliesin and in the late story of Taliesin. These, like the Arthur cycle, often refer to personages of the Mabinogion; hence we gather that local groups of gods, originally distinct, were later mingled in story, the references in the poems reflecting this mingling. Late as is the Hanes Taliesin or story of Taliesin, and expressed as much of it is in a Märchen formula, it is based on old myths about Cerridwen and Taliesin of which its compiler made use, following an old tradition already stereotyped in one of the poems in the Märchen formula of the Transformation Combat.367 But the mythical fragments are also mingled with traditions regarding the sixth century poet Taliesin. The older saga was perhaps developed in a district south of the Dyfi estuary.368 In Lake Tegid dwell Tegid Voel, Cerridwen, and their children—the fair maiden Creirwy, Morvran, and the ugly Avagddu. To give Avagddu knowledge, his mother prepares a cauldron of inspiration from which three drops of inspiration will be produced. These fall on the finger of Gwion, whom she set to stir it. He put the finger in his mouth, and thus acquired the inspiration. He fled, and Cerridwen pursued, the rest of the story being accommodated to the Transformation Combat formula. Finally, Cerridwen as a hen swallows Gwion as a grain of wheat, and bears him as a child, whom she throws into the sea. Elphin, who rescues him, calls him Taliesin, and brings him up as a bard.369
The water-world of Tegid is a submarine Elysium with the customary cauldron of inspiration, regeneration, and fertility, like the cauldron associated with a water-world in the Mabinogion. "Shall not my chair be defended from the cauldron of Cerridwen," runs a line in a Taliesin poem, while another speaks of her chair, which was probably in Elysium like that of Taliesin himself in Caer Sidi.370 Further references to her connection with poetry show that she may have been worshipped by bards, her cauldron being the source of their inspiration.371 Her anger at Gwion may point to some form of the Celtic myth of the theft of the elements of culture from the gods' land. But the cauldron was first of all associated with a fertility cult,372 and Cerridwen must therefore once have been a goddess of fertility, who, like Brigit, was later worshipped by bards. She may also have been a corn-goddess, since she is called a goddess of grain, and tradition associates the pig—a common embodiment of the corn-spirit—with her.373 If the tradition is correct, this would be an instance, like that of Demeter and the pig, of an animal embodiment of the corn-spirit being connected with a later anthropomorphic corn-goddess.
Taliesin was probably an old god of poetic inspiration confused with the sixth century poet of the same name, perhaps because this boastful poet identified himself or was identified by other bards with the gods. He speaks of his "splendid chair, inspiration of fluent and urgent song" in Caer Sidi or Elysium, and, speaking in the god's name or identifying himself with him, describes his presence with Llew, Bran, Gwydion, and others, as well as his creation and his enchantment before he became immortal.374 He was present with Arthur when a cauldron was stolen from Aunwfn, and basing his verses on the mythic transformations and rebirths of the gods, recounts in highly inflated language his own numerous forms and rebirths.375 His claims resemble those of the Shaman who has the entree of the spirit-world and can transform himself at will. Taliesin's rebirth is connected with his acquiring of inspiration. These incidents appear separately in the story of Fionn, who acquired his inspiration by an accident, and was also said to have been reborn as Mongan. They are myths common to various branches of the Celtic people, and applied in different combinations to outstanding gods or heroes.376 The Taliesin poems show that there may have been two gods or two mythic aspects of one god, later combined together. He is the son of the goddess and dwells in the divine land, but he is also a culture-hero stealing from the divine land. Perhaps the myths reflect the encroachment of the cult of a god on that of a goddess, his worshippers regarding him as her son, her worshippers reflecting their hostility to the new god in a myth of her enmity to him. Finally, the legend of the rescue of Taliesin the poet from the waves became a myth of the divine outcast child rescued by Elphin, and proving himself a bard when normal infants are merely babbling.
The occasional and obscure references to the other members of this group throw little light on their functions, save that Morvran, "sea-crow," is described in Kulhwych as so ugly and terrible that no one would strike him at the battle of Camlan. He may have been a war-god, like the scald-crow goddesses of Ireland, and he is also spoken of in the Triads as an "obstructor of slaughter" or "support of battle."377
Ingenuity and speculation have busied themselves with trying to prove that the personages of the Arthurian cycle are the old gods of the Brythons, and the incidents of the romances fragments of the old mythology. While some of these personages—those already present in genuinely old Welsh tales and poems or in Geoffrey's History—are reminiscent of the old gods, the romantic presentment of them in the cycle itself is so largely imaginative, that nothing certain can be gained from it for the understanding of the old mythology, much less the old religion. Incidents which are the common stock of real life as well as of romance are interpreted mythologically, and it is never quite obvious why the slaying of one hero by another should signify the conquest of a dark divinity by a solar hero, or why the capture of a heroine by one knight when she is beloved of another, should make her a dawn-goddess sharing her favours, now with the sun-god, now with a "dark" divinity. Or, even granting the truth of this method, what light does it throw on Celtic religion?
We may postulate a local Arthur saga fusing an old Brythonic god with the historic sixth century Arthur. From this or from Geoffrey's handling of it sprang the great romantic cycle. In the ninth century Nennius Arthur is the historic war-chief, possibly Count of Britain, but in the reference to his hunting the Porcus Troit (the Twrch Trwyth) the mythic Arthur momentarily appears.378 Geoffrey's Arthur differs from the later Arthur of romance, and he may have partially rationalised the saga, which was either of recent formation or else local and obscure, since there is no reference to Arthur in the Mabinogion—a fact which shows that "in the legends of Gwynedd and Dyfedd he had no place whatever,"379 and also that Arthur the god or mythic hero was also purely local. In Geoffrey Arthur is the fruit of Igerna's amour with Uther, to whom Merlin has given her husband's shape. Arthur conquers many hosts as well as giants, and his court is the resort of all valorous persons. But he is at last wounded by his wife's seducer, and carried to the Isle of Avallon to be cured of his wounds, and nothing more is ever heard of him.
