- Chapter Thirty-Nine -
Math son of Mathonwy is lord over Gwynedd, and must rest his feet in the lap of a
virgin unless he is at war. His sister's son, Gilfaethwy son of Don, falls in love
with the virgin, and through trickery and magic Gilfaethwy's brother Gwydion
succeeds in waging war between Math and Pryderi in order to free the virgin.
(Pryderi is actually tricked into giving Gwydion pigs which his father received as a
present from Arawn, king of Annwfn.) She is raped, and Gwydion and Gilfaethwy
are punished -Math transforms them into animals for three years. At the end of each
year they produce an offspring until finally their own human form is restored to
them. Arianrhod, daughter of Don, is the new virgin foot-holder offered to Math,
but as she steps over Math's magic wand as a test of her virginity she gives birth to
two sons. The first is named Dylan Eil Ton (Dylan son of Wave) - he immediately
makes for the sea whereupon 'he received the sea's nature and swam as well as the
best fish in the sea' Gones and Jones 1976: 63-4). Arianrhod places three curses on
the other boy: he is to have neither a name nor arms unless provided by her, nor a
wife of humankind. Through Gwydion's magic (including shape-shifting), she is
tricked into giving him a name, Lieu LIaw Gyffes (The Bright One of the Skilful
Hand - cognate with the Irish Lugh), and also arms. With the help of Math,
Gwydion finally conjures up a wife for him out of flowers who is called Blodeuwedd
(Flower-face). She, however, proves unfaithful to Lieu and plots to kill him with her
lover although Lieu is almost immortal. Lieu is transformed into an eagle, but
Gwydion succeeds in disenchanting him. The lover is killed by Lieu and Gwydion
transforms Blodeuwedd into an owl.
It is apparent, therefore, that the author of the Four Branches is drawing on
traditional stories ultimately derived from earlier primary Celtic mythology.
However, the author is using these tales and traditions from the past as a vehicle
for his own ideas - underneath the magic and enchantment we are aware of his
emphasis on a moral code of conduct which he tries to communicate to his medieval
audience. The Four Branches have, in their turn, inspired twentieth-century novelists
and playwrights who have interpreted them according to their own personal vision.
This is proof of the lasting appeal of these medieval tales and ultimately of Celtic
mythology itself.
REFERENCESBromwich, R. (1983) 'Celtic elements in Arthurian Romance: a general survey', in P.B. Grout,
R.A. Lodge, C.E. Pickford and E.K.C. Varty (eds) The Legend of Arthur in the Middle
Ages, Cambridge: D.S. Brewer, 41-55.
Chadwick, N. (1970) The Celts, Harmondsworth: Pelican Books.
Davies, S. (1992) Pedeir Keinc y Mabinogi -The Four Branches of the Mabinogi, Llandysul:
Gomer Press.
Green, M.J. (1986) The Gods of the Celts, Gloucester and New Jersey: Alan Sutton.
--(1992) Dictionary of Celtic Myth and Legend, London: Thames & Hudson.
Gruffydd, W.J. (1953) Rhiannon, Cardiff: Wales University Press.
--(1958) Folklore and Myth in the Mabinogion, Cardiff: Wales University Press.
Hamp, E.P. (1975) 'Mabinogi', Transactions of the Honourable Society of Cymmrodorion,
243-9·790