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.380 Some of these incidents occur also in the stories of Fionn and Mongan, and those of the mysterious begetting of a wonder child and his final disappearance into fairyland are local forms of a tale common to all branches of the Celts.381 This was fitted to the history of the local god or hero Arthur, giving rise to the local saga, to which was afterwards added events from the life of the historic Arthur. This complex saga must then have acquired a wider fame long before the romantic cycle took its place, as is suggested by the purely Welsh tales of Kulhwych and the Dream of Rhonabwy, in the former of which the personages (gods) of the Mabinogion figure in Arthur's train, though he is far from being the Arthur of the romances. Sporadic references to Arthur occur also in Welsh literature, and to the earlier saga belongs the Arthur who spoils Elysium of its cauldron in a Taliesin poem.382 In the Triads there is a mingling of the historic, the saga, and the later romance Arthur, but probably as a result of the growing popularity of the saga Arthur he is added to many Triads as a more remarkable person than the three whom they describe.383 Arthurian place-names over the Brythonic area are more probably the result of the popularity of the saga than that of the later romantic cycle, a parallel instance being found in the extent of Ossianic place-names over the Goidelic area as a result of the spread of the Fionn saga.
The character of the romance Arthur—the flower of knighthood and a great warrior—and the blending of the historic war-leader Arthur with the mythic Arthur, suggest that the latter was the ideal hero of certain Brythonic groups, as Fionn and Cúchulainn of certain Goidelic groups. He may have been the object of a cult as these heroes perhaps were, or he may have been a god more and more idealised as a hero. If the earlier form of his name was Artor, "a ploughman," but perhaps with a wider significance, and having an equivalent in Artaius, a Gaulish god equated with Mercury,384 he may have been a god of agriculture who became a war-god. But he was also regarded as a culture-hero, stealing a cauldron and also swine from the gods' land, the last incident euhemerised into the tale of an unsuccessful theft from March, son of Meirchion,385 while, like other culture-heroes, he is a bard. To his story was easily fitted that of the wonder-child, who, having finally disappeared into Elysium (later located at Glastonbury), would reappear one day, like Fionn, as the Saviour of his people. The local Arthur finally attained a fame far exceeding that of any Brythonic god or hero.
Merlin, or Myrddin, appears in the romances as a great magician who is finally overcome by the Lady of the Lake, and is in Geoffrey son of a mysterious invisible personage who visits a woman, and, finally taking human shape, begets Merlin. As a son who never had a father he is chosen as the foundation sacrifice for Vortigern's tower by his magicians, but he confutes them and shows why the tower can never be built, namely, because of the dragons in the pool beneath it. Then follow his prophecies regarding the dragons and the future of the country, and the story of his removal of the Giant's Dance, or Stonehenge, from Ireland to its present site—an ætiological myth explaining the origin of the great stone circle. His description of how the giants used the water with which they washed the stones for the cure of sickness or wounds, probably points to some ritual for healing in connection with these megaliths. Finally, we hear of his transformation of the lovelorn Uther and of his confidant Ulfin, as well as of himself.386 Here he appears as little more than an ideal magician, possibly an old god, like the Irish "god of Druidism," to whose legend had been attached a story of supernatural conception. Professor Rh^ys regards him as a Celtic Zeus or as the sun, because late legends tell of his disappearance in a glass house into the sea. The glass house is the expanse of light travelling with the sun (Merlin), while the Lady of the Lake who comes daily to solace Merlin in his enchanted prison is a dawn-goddess. Stonehenge was probably a temple of this Celtic Zeus "whose late legendary self we have in Merlin."387 Such late romantic episodes and an ætiological myth can hardly be regarded as affording safe basis for these views, and their mythological interpretation is more than doubtful. The sun is never prisoner of the dawn as Merlin is of Viviane. Merlin and his glass house disappear for ever, but the sun reappears every morning. Even the most poetic mythology must conform in some degree to actual phenomena, but this cannot be said of the systems of mythological interpretation. If Merlin belongs to the pagan period at all, he was probably an ideal magician or god of magicians, prominent, perhaps, in the Arthur saga as in the later romances, and credited with a mysterious origin and an equally mysterious ending, the latter described in many different ways.
The boastful Kei of the romances appears already in Kulhwych, while in Geoffrey he is Arthur's seneschal.388 Nobler traits are his in later Welsh poetry; he is a mighty warrior, fighting even against a hundred, though his powers as a toper are also great. Here, too, his death is lamented.389 He may thus have been a god of war, and his battle-fury may be poetically described in a curious passage referring to him in Kulhwych: "His breath lasted nine days and nine nights under water. He could remain without sleep for the same period. No physician could heal a wound inflicted by his sword. When he pleased he could make himself as tall as the tallest tree in the wood. And when it rained hardest, whatever he carried remained dry above and below his hand to the distance of a handbreadth, so great was his natural heat. When it was coldest he was as glowing fuel to his companions."390 This almost exactly resembles Cúchulainn's aspect in his battle-fury. In a curious poem Gwenhyvar (Guinevere) extols his prowess as a warrior above that of Arthur, and in Kulhwych and elsewhere there is enmity between the two.391 This may point to Kei's having been a god of tribes hostile to those of whom Arthur was hero.
Mabon, one of Arthur's heroes in Kulhwych and the Dream of Rhonabwy, whose name, from mab (map), means "a youth," may be one with the god Maponos equated with Apollo in Britain and Gaul, perhaps as a god of healing springs.392 His mother's name, Modron, is a local form of Matrona, a river-goddess and probably one of the mother-goddesses as her name implies. In the Triads Mabon is one of the three eminent prisoners of Prydein. To obtain his help in hunting the magic boar his prison must be found, and this is done by animals, in accordance with a Märchen formula, while the words spoken by them show the immense duration of his imprisonment—perhaps a hint of his immortality.393 But he was also said to have died and been buried at Nantlle,394 which, like Gloucester, the place of his prison, may have been a site of his widely extended cult.395
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Taken as a whole the various gods and heroes of the Brythons, so far as they are known to us, just as they resemble the Irish divinities in having been later regarded as mortals, magicians, and fairies, so they resemble them in their functions, dimly as these are perceived. They are associated with Elysium, they are lords of fertility and growth, of the sea, of the arts of culture and of war. The prominent position of certain goddesses may point to what has already been discovered of them in Gaul and Ireland—their pre-eminence
