Showing posts with label Arthurian. Show all posts
Showing posts with label Arthurian. Show all posts

Wednesday, 10 February 2010

Revealing King Arthur


'Many tales are told and many legends have been invented about King Arthur and his mysterious ending. In their stupidity the British people maintain that he is still alive. Now that the truth is known......The fairy tales have been snuffed out, and the true and indubitable facts are made known, so that what really happened must be made crystal clear to all and separated from the myths that have accumulated on the subject.'
[1]

Did King Arthur really exist? Does the Arthur that we read of in the ninth-century sources have any link to a real leader of the fifth or sixth century? Was Arthur a powerful king or a Dark Age general co-cordinating the British resistance to Saxon invaders?

In an attempt to answer these perpetual questions The Reign of Arthur: From History to Legend by Christopher Gidlow (The History Press 2004) takes a fresh look at the early sources describing Arthur's career and compares them to the reality of Britain in the fifth and sixth centuries. Gidlow presents, for the first time, both the most up to date scholarship with a convincing case for the existence of a real sixth-century British general called Arthur.

Gidlow carefully examines the source-material for Arthur as far as Geoffrey of Monmouth's "History of the Kings of Britain", and presents a lucid and compelling case for Arthur's historical existence, whilst acknowledging the progressive accretion of folkloric and legendary material around that name.

Detailed analysis of the key Arthurian sources, contemporary testimony and archaeology reveals the reality of fragmented British kingdoms uniting under a single military command to defeat the Saxons. There is plausible and convincing evidence for the existence of their war-leader, and, in this challenging and provocative work, Gidlow concludes that the Dark Age hypothesis of Arthur, War-leader of the Kings of the Britons, not only fits the facts, but it is the only way of making sense of them.

Contents
List of Illustrations
Acknowledgements
Introduction: Who was King Arthur?

Part One: From History
1. In the Reign of King Arthur...
2. Arthur Fought against Them in those Days
3. The Strife of Camlann
4. The Destruction of Britain
5. Tyrants and Kings
6. The King of the Britons

Part Two: Into Legend
7. Arthur's Brave Men
8. Lives of the Saints
9. Geoffrey of Monmouth
10. Arthur, King of Britian

Epilogue: Digging Up Arthur - Glastonbury 1990
Conclusion: The Reign of Arthur?
Bibliography
Index

The first part of The Reign of Arthur, “From History”, examines the source material in chronological order, Gildas, Nennius, the Welsh Annals and such, in the light of the latest historical research the author comes up with several surprising and persuasive insights.

The second part of the book, "To Legend," discusses later, rather dubious, source material, from the Mabinogion to the Saints' Lives through to Geoffrey of Monmouth, including the magical deeds of the legendary Arthur, turning him into a figure first of folklore, then eventually of chivalric romance, adding to our understanding of how Arthur came to be viewed primarily as a figure out of legend.

Christopher Gidlow, an Oxford history graduate and honorary life member of the Oxford Arthurian Society, has his second Arthurian book Revealing King Arthur: Swords, Stones and Digging for Camelot due Publication on 1st May 2010 by The History Press.

Notes:
1. Gerald of Wales, Speculum Ecclesiae, 1216 - (translated by Richard White in King Arthur in Legend and History) From the Back cover: The Reign of Arthur: From History to Legend by Christopher Gidlow , The History Press 2004.

* * *

Wednesday, 11 November 2009

Arthuriana: Early Arthurian Tradition and the Origins of the Legend

Thomas Green

ISBN 978-1-4452-2110-6
Published by The Lindes Press
29 October 2009
290 pages - Perfect Bound

Following the publication of 'Concepts of Arthur' by Tempus in January 2008, Thomas Green has now issued a hard copy collection of the academic and popular articles which have appeared on his ‘Arthurian Resources’ website since 1998.

Arthuriana: Early Arthurian Tradition and the Origins of the Legend was published by The Lindes Press on 31 October 2009. This book has been created in response to requests from readers for a print version of the material on the website, for both ease of reading and referencing of the material archived online; as such, the articles from the website are reproduced with the minimum of alteration but have been professionally typeset and formatted.

However, be warned, if you are looking for yet another identification for the historical King Arthur you won't find him in Green's work, who concentrates on the Arthur before Geoffrey of Monmouth, pre-Galfridian, the Arthur of early welsh poetry who was accompanied on his adventures by an early mythological pantheon of Gods. This Arthur is far removed from the knight in shining armour of Mallory's tales.

This work on Green's Arthurian Resources website was the precursor to the book 'Concepts of Arthur', published last year, presenting a detailed study of the ultimate origins of Arthur and the nature and development of the early Arthurian legend, providing a comprehensive overview of recent scholarship, including the author's own academic research into the sources of the early Arthurian tradition.

Fundamentally, 'Concepts of Arthur' provides an analysis of the entire non-Galfridian Arthurian legend. Unlike many previous studies of Arthur, it avoids a priori assumptions about the origin and development of the Arthurian legend, preferring to argue from first principles. Most importantly, it considers the 'historical Arthur' as a genuine part of the tradition itself, to be treated alongside – and not artificially separated from – all the rest of the early source material.

Green knocks down the myths of later Arthurian Romance, without ever 'poo-pooing' them, and presents a stripped down, originally folkloric or mythical figure who became historicised in the 9th century, but in doing so never comes across as negative or anti-Arthur, and produces the most common sense approach yet to the eternal enigma of Arthur.

Arthuriana: Early Arthurian Tradition and the Origins of the LegendThomas Green
Contents:

Preface
1. The Historicity and Historicisation of Arthur
2. A Bibliographic Guide to Welsh Arthurian Literature
3. A Gazetteer of Arthurian Onomastic and Topographic Folklore
4. Lincolnshire and the Arthurian Legend
5. Arthur and Jack and the Giant-killer
* Jack & Arthur: An introduction to Jack the Giant Killer
* The History of Jack and the Giants (1787)

* The 1711 text of The History of Jack and the Giants
* Jack the Giant Killer: a c.1820 Penny Book
* Some Arthurian Giant Killings
6. Miscellaneous Arthuriana
* An Arthurian FAQ - Some frequently asked questions.
* The Monstrous Regiment of Arthurs - A critical guide.
* An Arthurian Reference in Marwnad Gwên? - the manuscriopt evidence examined.
* The Other Early Arthurian Cycle: the Tale of Tristan and Isolt.
* Myrddin & Merlin - a guide to the early evolution of the Merlin Legend.

* 'But Arthur's Grave is Nowhere Seen' - Twelfth-century and later solutions to Arthur's current whereabouts.
* Bibliographic guide to the characters of the Pre-Galfridian Arthurian legend.
* A Guide to Arthurian Archaeology



>> Thomas Green's Arthurian Resources website


Arthuriana: Early Arthurian Tradition and the Origins of the Legend is available online as a 'Print on Demand' book and can be either purchased directly from the print company Lulu (from October 2009 onwards) or from Amazon (from January 2010).


* * *


Sunday, 22 March 2009

Gwydion’s Eagle

Lud’s Church (XIII)

Eagle, being on the top of the oak
If thou beest of the race of birds

Thou canst not be either domestic or tame
 
[1]

Gwydion’s Eagle
As we have seen in the poem the Battle of the Trees, which I have proposed as an allusion to the tales of the Mabinogi and specifically the episode of Fourth Branch, although Gwydion and Math are, Lleu is not mentioned directly but there may be an reference to him in the form of an Eagle in the line: “I have been a course, I have been an eagle.”

The poem’s association with the cycle of tales included in the Mabinogi would appear to be confirmed by the lines immediately preceding this:

“I have been a continuing bridge, Over three score Abers”

This could well be a reference to Bran the Blessed, (= Bendigeidfran, meaning literally "Blessed Crow”) who stretches himself to form a bridge over a river (Aber = river mouth) in the Second branch tale "Branwen daughter of Llyr". The poem goes on to mention the construction of Blodueudd from flowers by Math and Gwydion and even Goronwy appears in the later stages just as he does at the ending of the Fourth Branch.

There is a further allusion to Lleu as an eagle in the Dark Age poem Y Gododdin of Aneirin.
Aneirin, referred to as Aneirin of Flowing Verse, is named as one of the five bards famous for their poetry in the Historia Brittonum, attributed to Nennius, c.829AD, and is generally regarded as a genuine historical character. The poem Y Gododdin, or Canu Aneirin (the Song of Aneirin) is claimed to record a historical, disastrous event when a war band of three hundred men set out from the northern British kingdom of Gododdin, to attack the northern Angles of Deira and Bernicia at a place named Catraeth, (claimed to be modern Catterick) c. 595 - 600 AD. Some accounts say only three Britons survived the encounter, others only Aneirin himself lived to tell the tale.

There has been considerable debate amongst scholars over the location of the battle, the opponents, the use of Brittonic cavalry, the date, transmission of the poem to Wales and of course the poem may contain the earliest reference to Arthur the Warrior. Intriguing as it may be, a full discussion of the contents of Y Gododdin and the Battle of Catraeth is beyond the scope of this work and will have to wait for another day, for now we are primarily concerned with the allusion to Lleu as an eagle in Y Gododdin: “y am wyr eryr Gwydyen”

This obscure passage has been variously translated:

For a feast, most sad, most precious,
For settled, for desolate land,

For the falling of hair from the head,

Among soldiers, an eagle, Gwydyen.

With his spear he fought for Gwyddug,

A Planner, a tiller, its owner.

Three bristled boars, bent on destruction,

Morien carried off with his spear,

Myrddin of song, sharing the best
Part of his wealth, our strength and support.
Ramparts ringing, the war-band fighting

With the Saxons and Irish and Picts,

He bore the stiff red corpse of Bradwen,

Deft-handed Gwenabwy fab Gwen
. 
[2]

Compare with another translation of the same passage:

For the piercing of the skilful and most learned man,
For the fair corpse which fell prostrate on the ground,

For the failing of the hair from off his head,

From the grandson of the eagle of Gwydien,

Did not Gwyddwg defend with his spear,

Resembling and honouring his master?

Morieu of the sacred song defended

The wall, and deposed the head

Of the chief in the ground, both our support and our sovereign

Equal to three men, to please the maid, was Bradwen,

Equal to twelve was Gwenabwy the son of Gwen
. 
[3]

A O H Jarman translates this line as “For his warriors, Gwyddien was an eagle” [4]

At first glance it would appear alarming that these scholars could vary so much in their translations, however archaic Welsh is notoriously difficult language and we can forgive any apparent shortcomings of the translators when we consider that the poem in its current manuscript form, Cardiff MS 2.81, dating from the mid-13th Century, would appear to be a muddle of at least two different versions as indicated by the repetition of certain elegies, distinguished respectively as “A” and “B” texts. This was recognised by Skene over a hundred years ago in his Four Ancient Books of Wales which contained a second Gododdin which was thought to be a second redaction of The Gododdin, immediately following the Gwarchan of Maelderw.

The Book of Aneirin
There is only one extant early manuscript of Y Gododdin, “The Book of Aneirin”, (Llyfr Aneirin), kept in Cardiff Central Library, thought to date to c.1265. It is generally accepted that this manuscript contains the work of two scribes, referred to as Scribe A and Scribe B. Scribe A wrote down 88 stanzas of the poem, leaving a blank page before continuing with four poems known as Gorchanau. Scribe A recorded the 88 awdlau [5] and the Gorchanau in Middle Welsh. Later Scribe B added material to the same manuscript, and must have had access to an earlier manuscript since the material he added was in Old Welsh. Scribe B added some 35 awdlau, some being variants of the awdlau already written down by Scribe A, and some of these had been omitted by Scribe A.

Three folios appear to be missing from the end of the manuscript, indicating some material has been lost, this would appear to be confirmed by the incompleteness of the last awdl which breaks off short. This is further complicated within the material added by Scribe B which is inconsistent. The first 23 awdlau of the B material display partial modernisation, while the remaining material appears to retain the Old Welsh features. This was given the explanation that Scribe B started modernising the orthography as he copied the awdlau, but tired of this and copied the rest of the awdlau as they appeared in the older manuscript. This being an unsatisfactory explanation, Graham Isaac, noting the orthographic practice used by the B Scribe changes radically between B1.23 and B2.24 has suggested that Scribe B was using two source texts, namely B1 (awdlau B.1- 23) and B2 (awdlau B.24 – 42), thereby proposing that the material in the extant manuscript of The Book of Aneirin is from three sources. Therefore we have three textual versions, A, B1, and B2; these variants of Y Gododdin portrayed in awdlau A.48 = B1.3 = B2.24, suggesting that the original first awdl of each version posing a related variant. [6]

John T Koch [7] has taken this a stage further and attempted to untangle this mess and reconstruct the separate Y Gododdin texts. Koch argues that the most archaic text, reflecting the first, or Leech Leud=ud recension, deriving from the original oral tale, remained in the North, possibly Strathclyde, while the AB1 text, The Srath Caruin Recension, moved to Gwynedd following the Battle of Winwaed, which the Anglo Saxon Chronicle records in 655AD, fought between the Anglo-Saxon kingdoms of Northumbria and Mercia-Gwynedd alliance. British/Welsh accounts refer to "Maes Gai". Although the exact location has been lost, the most likely site is likely to be close to Leeds, probably Whinmoor in Yorkshire. From the AB1 text derived the separate A and B1 texts.

Koch has reconstructed three reconstructed texts, variants A, B1 and B2, categorised as follows:

B2 – the most archaic surviving text, reflecting the first, or Leech Leud=ud recension, deriving from the original oral tale, was absent of Christian influence and does not contain attribution to Aneirin or indeed mention of Aneirin as the sole survivor of the battle, or even the Bernicians (Northern English) as the enemies.

B1 – this text derives from the second or The Srath Caruin recension (AB1), a Christian collection attributed to Aneirin.

A – also derived from the second or The Srath Caruin recension (AB1), but through third and fourth recensions; Kayawc Kynhorawc, and Greddyf Gwr respectively; again a Christian collection attributed to Aneirin, has the Bernicians as the enemy and displays interests in Gwynedd, the Coeling and in the personae of Talysessin and Myrdin.

The AB1 text diverged and the A text in particular, now in Gwynedd, became subject to later additions and interpolations which would seem to account for the reference to Lleu as Gwydion’s eagle and also includes allusion to characters known to us from Culhwch ac Olwen and the Gorchan of Cynvelyn mentions Twrch Trwyth, the boar hunted by Arthur and his men. Gwydion, as the father of Lleu, occurs as Gwydyen in this obscure passage where we have “eryr Gwydyen”, which, as meaning Gwydion's Eagle, would exactly describe Lleu, his son, in the episode after being struck with the spear thrown by Goronwy. Koch interprets this line as a reference to the Fourth Branch’s account of Lleu’s transformation to an eagle, [8]

There is a further allusion to Lleu in the Gododdin poem, awdl B1.18 = A.26: “no one’s horses could match Marchleu” this is a direct reference to the steed of Lleu. In Irish tradition it is Lugh who invented horse racing and in Welsh tradition Lleu’s steed is noted as one of The Bestowed Horses Of The Island Of Britain:

"Melyngan Mangre, march Lleu Law Gyffes"
(Pale Yellow of the Stud, horse of Lleu Skilful-Hand)

Melyngan, Rachel Bromwich, translates this as literally “Pale-White” and mangre as “stud” or “stallion”. [9] We are reminded that the colour white in Celtic mythology usually refers to Otherworldly, or supernatural, qualities.

Lleu’s horse receives a further mention in the poem The Song of the Horses, from the Book of Taliesin XXV, “the steed of Lleu half domesticated”. This poem lists the steeds of heroes of Celtic mythology, Caradawg, Gwythur, Gwarddur, Arthur, and Taliesin amongst others, and is reminiscent of the Triads of the Horses. Worthy of note here is that it is the warrior Gwarddur who is mentioned in Y Gododdin and compared to Arthur, as we have seen the earliest reference to Arthur in extant literature.

However, the line alluding to Lleu is A.40 – line 462, being embroiled in the confusion of awdlau B1.5, A.40, = B1.6, A41, whose relationship is complex and obscure: all four begin with versions of the same line, and three end with versions of the same line, it being impossible to determine the correct original from these four awdlau. Although Koch states that there is no reason to attribute this reference, or anything like it, to the older Srath Caruin Recension, AB1 text (mid 7th Century), it is possibly 9th or 10th Century which significantly predates the Fourth Branch of Mabinogi in its extant manuscript form, providing evidence that the tale of Lleu was known in oral tradition at least.

Of course, Koch’s re-constructed texts have not been without criticism [10] but he should be applauded for attempting what other scholars have shied away from.

Lleu’s Mountain
Significantly the opening stanza to the most archaic Y Gododdin B2 text, derived from the Leech Leud=ud recension, is named from the translation of the opening line The rock of Lleu’s tribe, B2 text awdl B2.24:

The rock of Lleu’s tribe,
the folk of Lleu’s mountain stronghold at Gododdin’s frontier;

the frontier was held. Counsel was taken,
storm gathering;
the vessel from over the Firth of a warband from over the Firth.

[A man] who nurtures warbands came to us out of Din Dywyd to be an obstruction to the king’s warband.

The shield of Grugyn before the bull of battle had a broken bos
s.


As we have seen above B2.24 exists in three variants; B2.24=B1.3=A.48; denoting the archaic provenance of this singular awdl, which, according to Koch, is “primary material, pre-Christian, linguistically Archaic” and regards the opening lines as referring to a hill fort on Gododdin’s frontier probably Din Eidin (modern Edinburgh), [11] this was the chief citadel of the Britons of Gododdin.

Koch posits Leech Leu-dud interprets as ‘the rock of the tribe of Lugus’ (Celtic *luga-touta) would be a circumlocution for Tut Leu-ure ‘the tribe of Lleu’s hill fort’ suggesting *Lugu-dunon as an ancient alternative name for Din Eidin. [12] We saw in Part VI – Lludd’s City that according to Geoffrey of Monmouth the City of London was named from ‘Caerlud’. London has clear associations with Lludd, a variant form of the name of the god Lug; lugudunon could easily have become corrupted to London and presents a more credible etymology.

There is an entry in the Roman Ravenna Cosmography, c.700AD, listing Lugudunum, as apparently located somewhere in the north of Britain. We have seen the same name as Dinlleu (same elements reversed) in the Fourth Branch of the Mabinogi as Lleu’s fortress in North Wales. This name is well known among the Continental Celts, the best known being modern Lyon, generally agreed upon as the ‘fortress of the god Lugus’ (Lug in later Celtic tradition, Lleu in Welsh). [13]

Arthur's Seat
The rock of Lleu’s tribe at Din Eidin ( Lugudunum) can be no other than Arthur’s Seat (Suidhe Arthair), an ancient volcano, towering over Edinburgh and linked with the stories of Arthur the Warrior. Local folklore states that Arthur and his men are sleeping inside the hill, awaiting the call to come forth in time of the Country’s need. This reminds us of the legend of The Iron Gates, near Alderley Edge in Cheshire, discussed in Lud’s Church - Part I. In the earliest records the origin of the name is simply “the Crag” and it has been suggested that this may be a corruption either of the Gaelic Ard-na-Said, meaning “height of arrows”, or Ard Thor, meaning the “height of the thunderer”. [14]

The Lothian Line
The equinox sunrise (21st March and 21st September) is visible over Arthur’s Seat when viewed from Cairnpapple, nearly 29 kilometres to the west. If this line is extended to the east a further 30 kilometres, it crosses over Traprain Law. Therefore the sunrise on the spring and autumn equinoxes when viewed from Arthur’s Seat can be seen to rise over Traprain Law and set over Cairnpapple Hill. This solar phenomenon, presented by the east-west alignment of these three naturally positioned hills, roughly equidistant apart, has been termed “The Lothian line”, being a natural occurrence, similar to the Leek Double Sunset mentioned in Lud’s Church - Part I. This ‘sacred’ Lothian alignment straddles the east-west axis, and gives clear indication as a key calendar marker, the movement of the sun appearing to rotate around the equinoxes, creating an East-West axis when day and night are of equal length. [15]

Lleuddinyawn
The old Brittonnic kingdom of Gododdin extended from south-east Scotland to north-east England, identified as the region of modern Lothian, bordered on the west by the Brythonic Kingdom of Strathclyde, to the north by the Picts, and as far south the English River Tyne. Gododdin included three territories: Manaw Gododdin, (near Stirling), Lleuddinyawn (Lothian), and Berneich, (later to become Anglian Bernicia).

The claim that Din Eidin equates with Lugudunum is supported as the earliest recorded form of "Lothian" is from a 12th Century poem by the Welsh bard, Hywel ap Owain, as “Neu dreitsy tra lliw Lleudinyawn dreuyt”. Lleudinyawn in modern form Lleuddiniawn, means literally, the "land of Lleu's fortress", constructed from the elements lleu (personal name), din (fortress), and -iawn (land of). [16]

We find further evidence of the former size of Lleudinyawn (Lothian), as just north of Dinguaroy, a Celtic coastal fortress in the southerly territory of the Gododdin kingdom, now the site of Bamburgh castle, opposite the Farne Islands, are the rivers of the North and South Low. These were identified on early maps as the North and South Llew, [17] which, as we have previously discussed is the medieval Welsh rendition for Lleu, used in the Mabinogion tradition.

Traditionally the mouth of the River Low (Aber Lleu - "the river-mouth of the god Lug/Lleu") is the site where the Celtic King Urien, Lord of Catraeth, was treacherously killed, after he beseiged Theodoric, “flame-bearer” on the Isle of Metcaut, being the original Brythonic name for Holy Island, Lindisfarne, as told in the Northern History section of the Historia Brittonum, attributed to Nennius, c.829AD:

“….. Hussa reigned seven years. Against him fought four kings, Urien, and Ryderthen, and Guallauc, and Morcant. Theodoric fought bravely, together with his sons, against that Urien. But at that time sometimes the enemy and sometimes our countrymen were defeated, and he shut them up three days and three nights in the island of Metcaut; and whilst he was on an expedition he was murdered, at the instance of Morcant, out of envy…” -. Translation by J.A. Giles, in Six Old English Chronicles.

The story is told in the Llwyarch Hen cycle of poems, contained within the Red Book of Hergest, known as the Death of Urien:

A head I bear by my side,
The head of Urien, the mild leader of his army-

And on his white bosom the sable raven is perched.


A head I bear in my shirt,

The head of Urien who governed a court in mildness-

And on his white bosom the sable raven gluts.
………

Eurdyl will be sorrowful from the tribulation of this night,

And from the fate that is to me befallen;

That her brother should be slain at Aber Lleu.


The poet is clearly carrying Urien’s head, leading to suggestions that it was taken as a trophy or more likely so as the enemy did not retrieve it. The Triads calls the death of Urien one of the "three unfortunate assassinations" and describes Urien as one of the three great battle leaders of Britain. It has puzzled historians for years the location Catraeth, if it was on the border of the Gododdin’s territory it cannot have been Catterick, even more if Urien Rheged was the Lord of Catraeth, why the Gododdin should attack it. Perhaps the poetry of Llywarch Hen and the archaic B2 text hold the answer.

Traprain Law
East Lothian is the location of Traprain Law, considered one of the most important archaeological sites in Scotland, the site of an Iron Age hill fort, thought to have been the capital of the Gododdin, before moving to Din Eidin (Lleu’s fortress). The people of Gododdin (earlier name Gutodin) were known to Romans as the Votadini, an Iron Age tribe, their territory was either side on the Northern Walls providing a buffer zone to the Roman Frontier, tradition states that it is from Manaw Gododdin that Cunedda was moved by Magnus Maximus, into North Wales and founded Gwynedd. The native tale The Dream of Macsen Wledig, included in Charlotte Guest’s Mabinogion, is a romanticised story about the Roman Commander Magnus Maximus, proclaimed Emperor by his army in Britain in AD 383, after recovering Britain from incursions by the Picts and Scots in AD 381.

The Loth Stone is found about 300m south-west of Traprain Law, standing 8 feet high and said to mark the grave of the mythical King Loth, traditionally after whom the Lothians were said to be named, although excavations have not revealed any evidence of a grave in the vicinity of the stone.

Traprain Law, at 725 feet in height, is the site of an ancient hill fort, with evidence of occupation and signs of ramparts dated from c.1000 BC. Following the Roman withdrawal from Southern Scotland to the line of Hadrian's Wall, Traprain Law was occupied from c.200AD almost continuously until c.400AD. East Lothian’s absence of Roman military camps has been interpreted as an indication that authority was maintained from Traprain Law. It would appear probable, that the Votadini had allied with the Romans and historians suspect, acted as a buffer state between the Northern Walls on the Empire frontier. However, c.400AD a final rampart was erected at Traprain Law, and soon after the site abandoned, perhaps related to the break down of Roman rule in Britain. [18]

In 1919 a silver treasure hoard was found by Traprain Law, conjectured to be payment from the Romans to their local allies the Votadini. Following a fire on Traprain Law in 2003, a number of finds where made including 5,000-year-old Neolithic rock art and Bronze Age axes.
This hill was only known as Traprain Law from the late 18th century, prior to that it is found on old maps as “Dunpendyrlaw”, still known locally as Dunpelder. A suggested translation has been Gaelic, Dun, from Brythonic Din ‘fort’ and Brythonic, paladur , or pelydr ‘spear shaft’, owing to the Brythonic origin of this name it may have been called Dinpaladur. [19]



*
To recap;

In Part IV - The Search for Lud we discussed how Gwalchmei/Gawain’s mother appears to be one and the same persona albeit substituted with different epithets and it is evident that his father’s name persisted as Lot, Llew or Lleu. According to Geoffrey of Monmouth Gawain’s father was Lot, which as Loth, appears to been have based on the name for a ruler of the Scottish region known as Lothian. As previously discussed, this may have been based this notion on a Northern tradition of Lot which Geoffrey confused with the Lot Luwddoc (of the Host) possibly based on the semi-legendary Leudonus, a late 5th century post-roman ruler of the Gododdin.

In Part III - The Hawk of May we saw how the redactor of the Brut y Brenhinedd - the Welsh translation of Geoffrey of Monmouth's History of the Kings of Britain –confuses Lot Luwddoc with Llew ap Cynfarch, the brother of Urien Rheged, the most powerful king in Northern Britain at that time. Llew ap Cynfarch is a historical character, mentioned in the Northern genealogies, one of six brothers of the dynasty of Cynfarch Oer "The Dismal" King of North Rheged but features about one hundred years after Lot Luwddoc (Leudonus). Lot was certainly confused with the historical character by the redactor of the Brut who substitutes Llew ap Cynfarch for him in the Brut.

We can now see the reason for the confusion with the name Lew/Lleu and Lot should not be confused with Llew ap Cynfarch, king of Caer Guendoleu.

At the Battle of Arfderydd in AD 573, Gwenddolew ap Ceidio, the King of Caer-Guendoleu, died fighting against the opposing forces led by Ebrauc and Dunoting. Having no heir, Caer-Guendoleu passes into the hands of his cousin, Urien Rheged and is ruled by his two brothers; Llew ap Cynfarch and Arawn ap Cynfarch.

The same stanza of Y Gododdin that mentions Lleu as Gwydyen’s Eagle, there also is an allusion to Myrddin, who went mad after the Battle of Arfderydd and fled to become a Wildman of the woods.

Continued in Part XIV - Wizards and Wildmen


*Edited 08/12/19 - Ten years after publication an error has been pointed to me (see comment below dated 07/12/19), so I have removed the offending illustration.


*

Notes:
1. Dialogue of Arthur and the Eagle, 16th Century manuscript, Jes. MS 3.
2. Joseph P.Clancy Earliest Welsh Poetry. Macmillan, London & New York, 1970. Medieval Welsh Poems, published by Four Courts Press 2003.
3. The Four Ancient Books of Wales. ed. by William F. Skene. Edinburgh, 1868.
4. A O H Jarman, Aneirin: Y Gododdin line 440, p30, Gomer Press, 1990.
5. Awdl (plural = awdlau), pronounced “ode,” “lay”. The most highly regarded form of Welsh bardic composition. The word, originally a variant of the Celtic term for rhyme, odl, came to mean a run of monorhyming lines, a complete poem in monorhyme.
6. G R Isaac, Canu Aneirin and awdl LI, Journal of Celtic Linguistics 2, 1993
7. John T Koch, The Gododdin of Aneirin: Text & Context from Dark Age North Britain, University of Wales Press, Cardiff, 1997.
8. Ibid. p160
9. Rachel Bromwich, Trioedd Ynys Prydein, The Triads of the Island of Britain, 3rd Edition, University Of Wales Press, 2006, p104.
10. G R Isaac, "Readings in the history and transmission of the Gododdin". Cambrian Medieval Celtic Studies 37, 1999. pp. 55-78
11. Koch, op cit. p131.
12. Ibid. p131.
13. A.L.F. Rivet and C. Smith, The Place-names of Roman Britain, Batsford, London (1979) 401-2).
14. Philip Coppens, Land of the Gods; Lothian’s Scared Landscape
15. Ibid.. Coppens states that Steve Sweeney-Turner (see note 16 below) first proposed that there might be “a kind of symmetrical plan underlying the whole of Gododdin/Lothian, dating back from the pre-Celtic period and throughout it.” Sweeney-Turner thought the shape was that of a diamond, from Cairnpapple in the West to Traprain Law in the East, and with Arthur’s Seat at its epicentre.
16. Steve Sweeney-Turner, Ancient Lothian website, lleu of lleuddiniawn 
17. Alexander and William McCall, Artur, Gwenwhyvawr and Myrddin: Ancient Brythons of the North, Pentland Press, 1997, p.172.
18. British Archaeology magazine, Issue 57, February 2001
19. Bethany Fox ,  The P-Celtic Place-Names of North-East England and South-East Scotland, The Heroic Age, A Journal of Early Medieval Northwestern Europe Issue 10 (May 2007)

* * *

Saturday, 22 November 2008

Return of the King


The Sleep of Arthur in Avalon – Edward Burne-Jones


“Some men yet say that King Arthur is not dead,
......and men say that he will come again”



Edward Burne-Jones last and greatest work The Sleep of Arthur in Avalon has come home and returns to Britain for exhibition at the Tate Britain, London for a limited period only, from April 2008 to February 2009. Burne-Jones spent 17 years on the canvas and he was still painting it on the day before his death in June 1898.

Following the artist's death the painting with its magnificent frame with Latin inscription passed to a neighbour of Burne-Jones's whose descendents, John and Penryn Monck, sold the work at Christie's on 26 April 1963. Even at a time when Victorian art was unfashionable, the sale was considered a significant loss to Britain.

Tragically, Burne-Jones last work was allowed to leave Britain in 1963 after being sold at auction when the Tate had the opportunity to buy it for £1,000. It was purchased for the Museo de Arte de Ponce in Puerto Rico by the island's governor and founder of the museum, Don Luis Ferré, in 1963.

This enormous painting, measuring 21ft by 10ft, is being loaned to Tate Britain with Frederic Leighton's masterpiece Flaming June (1895) from the Museo de Arte de Ponce, Puerto Rico, while its galleries undergo a major renovation and expansion programme during 2008.

The subject of the painting is taken from the fifteenth century work Thomas Malory’s Le Morte d’Arthur, Book 21, Chapters 5 and 6. Mortally wounded in the Battle of Camlann, Arthur is taken way to the isle of Avalon and tended by Morgan and her sisters, where he would enter a dream like sleep until summoned again.

Burne-Jones painting shows the King laid out in a cloister, capped by a canopy embossed with panels showing the story of the Holy Grail, three queens keeping vigil; Morgan le Fay in white; the queens of Northgallis and the Wastelands by his feet. In the foreground, playing instruments, are Nimue (The Lady of the Lake), the queens of Sothian Orkney, Eastland and the Outer Isles. Amazons hold the kings’ armour, while Watchers look out into the distance ready to raise the alarm should the King awake.

If you appreciate fine Arthurian art see it now while you can - it returns for a limited period only, you will not be disappointed.

Flaming June

Also on loan from the Museo de Arte de Ponce, Puerto Rico, Flaming June, was last shown in the UK in 1996 and has become an iconic work in Puerto Rico. The picture was one of the artist's final works and shows a woman in a state of total relaxation, with brilliant orange drapery stretched across her body, as she sleeps in the heat of the Mediterranean sun.


The theme of sleep and its associations with death and unconsciousness was important to both Leighton and Burne-Jones, and has additional resonance in these two works that were painted towards the end of the artists' lives.


Tate Britain
Millbank
London
SW1P 4RG


* * *

Saturday, 13 September 2008

The Search for Lud

Lud's Church  IV

We have identified Lud’s Church in the Roaches as the Green Chapel from the medieval tale Sir Gawain and the Green Knight, but who was Lud and why was this cleft in the Staffordshire hillside named after a character from the dawn of time in Celtic mythology?

A Most Ancient Book
Around AD.1136 Geoffrey of Monmouth produced The History of the Kings of Britain (Historia Regum Brittaniae) which he claimed he had translated from "a most ancient book" ("librum vetustissimum"), written in the British language and given to him by Walter, archdeacon of Oxford. This pseudo-history was undoubtedly a work of fiction but was a master piece of medieval literature at the time, some claim he put King Arthur on the map, but it must be recognised that he corrupted Arthurian history forever with his fables and tales, which some even derided at the time:

"it is quite clear that everything this man wrote about Arthur ….. was made up, partly by himself and partly by others, either from an inordinate love of lying, or for the sake of pleasing the Britons." - William of Newburgh, c.1190

"If the evil spirits oppressed him too much, the Gospel of St. John was placed on his bosom, when, like birds, they immediately vanished; but when the book was removed, and the History of the Britons by "Geoffrey Arthur" (as Geoffrey named himself) was substituted in its place, they instantly reappeared in greater numbers, and remained a longer time than usual on his body and on the book." - Gerald of Wales, recounting the experience of a man possessed by demons in The Journey through Wales/The Description of Wales, edited by Lewis Thorpe.

The impact of Geoffrey’s History of the Kings of Britain (Historium Regnum Britanniae - Galfridus Monemutensis) cannot be understated. At the time it was something of an equivalent to the modern day best seller, perhaps like the impact of today’s bestselling Dan Brown’s Da Vinci Code. Geoffrey appears to have been in possession of some traditional sources, probably Breton, and changed the face of Arthurian literature for ever. Like Brown, who turned a non-fiction theory into bestselling fiction, [1] Geoffrey, probably used some traditional sources to spin a yarn around Arthur, perhaps maintaining the kernel of the tale but manipulating the rest to fill in the gaps. By the time Geoffrey had finished Arthur had become the emperor of Europe, whereas in tradition he was the defender of Britain, the greatest of warriors, the Dux Bellorum the leader of battles who according Nennius fought alongside the Kings of Britain. For this reason it is essential when studying Arthurian literature, particularly in searching for Arthur’s origins to establish if it is free of Geoffrey of Monmouth’s influence, termed Pre-Galfridian, at least pre-1136.

Geoffrey of Monmouth’s work seemed to confuse many traditional names in translation into Latin, or deliberately changed them like good fiction writers do to fit the story; the Welsh writers attempted to correct these ‘mistranslations’ when they produced their own version of Geoffrey’s story, known collectively as the Bruts. The Welsh word brut is derived from Brutus's name, the mythical founder of the Britain, up to the time of Cadwaladr Fendigaid and originally meant "a history of Brutus" and then became known as "a chronicle history".

The origins of Gawain seem to lie in the pre-Galfridian native champion Gwalchmei of Welsh tradition. However, his parentage becomes confused, like so much of the Arthurian legend, through Geoffrey of Monmouth’s translation into Latin and then into Welsh by the redactors of the Bruts. We have an original work, perhaps in Breton, possibly Geoffrey’s source, that he translated into Latin, which was then translated into Welsh, and then the French Romancers added their own versions too - no wonder it becomes confused !

In The Brut y Brenhinedd (Chronicle of the Kings) - the Welsh translation of Geoffrey of Monmouth's fictional History of the Kings of Britain – the redactor [2] substitutes Gwalchmei for Gualguanus - Geoffrey’s name for Gawain. The redactors the of the Brut, may have been following an early welsh tradition as we have seen as Gwalchmei’s son of Gwyar, and confused Geoffrey name for his father as Lot (Luwddoc) with Llew ap Cynfarch. .

The Brut y Tywysogion (Chronicle of the Princes) originates in a Latin chronicle compiled sometime in the late thirteenth century. Unfortunately this original Latin chronicle has not survived; it was however translated into Welsh and therefore exists in several separate versions, each of which is considered, probably an independent translation of the original work Intended as the sequel to The Brut y Brenhinedd, Brut y Tywysogion was therefore the Chronicle of the Princes or the history of the Kings of Wales, from the death of Cadwaladr Fendigaid in the year 682 to the death of Llywellyn ap Gruffudd, the last native ruler of Wales in 1282.

In the Bruts we find the Welsh counterpart of Gawain referred to constantly as Gwalchmei ap Gwyar, that is "Gwalchmei son of Gwyar”.

Throughout the romances Gawain’s father was maintained at Lot (or Loth) and according to Geoffrey his mother was called Anna, though in nearly all other Romances she was Morgause and Mordred was his brother. Geoffrey seems to have confused Gawain’s father with the Northern tradition of Lot Luwddoc (of the Host) who is possibly based on the semi-legendary Leudonus, a late 5th century post-roman ruler of the Gododdin. The redactor of the Bruts rendered Gualguanus (Gawain) into Gwalchmei son of Gwyar of Welsh tradition and as the son of Llew ap Cynfarch, from the Northern genealogies, thereby maintaining that tradition.

With the English Romancers he remained the most courageous of knights and in Sir Gawain and the Green Knight he replaced Cúchulainn, the Irish champion in the beheading contest of Bricriu’s Feast, the archetypal warrior of the Irish epics.

Gawain, however, was no ordinary knight; he seemed to possess supernatural powers, and although he fell from grace with the French Romancers who replaced him with Lancelot as the “best of knights”, these powers persisted throughout, Gawain’s strength waxing and waning with the power of the sun, he knew the healing qualities of herbs and his mother was fairy.

Son of Gwyar
Gwalchmei being the origin of Gawain, who featured in (Pre-Galfridian) Welsh tradition prior to Geoffrey of Monmouth’s stories, possibly meaning Hawk of May, due to his strength being connected to the power of the sun seems to point to him originating as a pagan sun deity associated with the Beltain festival on 1st May. As Gwalchmei vab Gwyar he was the son of Gwyar, who appeared as his parent in Peredur, Gereint and Enid, The Dream of Rhonabwy, The Triads and the Bruts.
In Welsh tradition Gwyar has another child, a brother to Gwalchmai, who appears in Culhwch as Gwalhauet mab Gwyar, the precursor of Galahad, a suggested etymology for his name could be ‘Battle Hawk’ but he is usually referred to as the “Falcon (or Hawk) of Summer”. He is possibly synonymous with Gwalchmei, although traditionally may have been an independent figure. [3]

It may have been assumed that Gwyar was possibly Gwalchmei’s father in the earlier welsh tradition as a patronymic ( son of Gwyar = i.e. the father’s name) and when welsh writers became aware of the Contintental Romances, following Geoffrey, making Lot his father, they simply changed Gwyar’s gender and subsequently to Gawain’s mother. It has been suggested that Lot was not a real name but a title meaning ‘Lothian Ruler’ his name could have been Gwyar. However, the use of the matronymic is not unheard of, in fact both Math vab Mathonwy and his nephew Gwydion vab Dôn from the fourth branch of the Mabinogi, they both take their mother’s name. [4]

In Bonedd y Saint (Descent of the Saints) Gwyar is listed as one on the many daughters of Amlawdd Wledig (the epithet 'gwledig' being equivalent to the Latin title 'protector'). Bonedd y Saint is generally thought to have been compiled around the middle of the 12th century and therefore may be contemporary with Geoffrey of Monmouth. It is complied from material that closely resembles the Royal Genealogies and deals mainly with saints from north and central Wales and seems to be copies of a variety of compositions of earlier date, significantly the Old Welsh form of some names suggests that the material is much older in origin.

In the fourteenth-century Welsh tale The Birth of Arthur, an attempt is made to reconcile the earlier tradition with that of Geoffrey by substituting Gwyar for Anna as Arthur’s sister. In this story Gwyar is a widow and marries Lleu ap Cynarch, they had two sons, Mordred and Gwalchmai and three daughters, Gracia, Graeria and Dioneta. It seems evident therefore that Gwyar represents a woman’s name and traditionally she is Gwalchmei’s mother.

Whatever their reasoning the redactor(s) of the Bruts conform to Geoffrey’s account of Gwalchmei’s parentage of Lot and Anna but respond to the native tradition by dividing the character into two; Gwalchmei the boy who is son of Lleu ap Cynarch and Anna; and Gwalchmei ap Gwyar, such as in the tradition of Culwch and Olwen, who’s name is used to represent that of Gualguanus in the later tales. [5]

Gwyar seems to have been some kind of heroic title meaning literally 'Blood', John Rhys states that Gwyar is a term used by Welsh poets in a sense to “shed blood” or “gore” and equates her with the Irish war fury the Morrigan. [6] According to Malory, Morgan retired to Gore (Gwyr) and then to her Castle of Tauroc; coincidentally Gwyar is sometimes referred to as the Goddess Gore.

Geoffrey does not appear to know of Gwyar as the parent of his Galuganus and he causes considerable confusion amongst the welsh sources by using the name ‘Anna’ for his mother. In the French medieval Arthurian Romances Morgan becomes further confused with Anna, possibly because they are both listed as Arthur’s sister. Lucy Paton suggests that this association goes back to possibly when they were both Celtic war-goddesses. [7]

As a Celtic Goddess from Irish tradition Anna, Anann or Anu, as Danu she is known as the greatest of all goddesses. She is the Earth Goddess of fertility and plenty. Sometimes Anna appears as an aspect in a trinity with Badb and Macha as the goddess known collectively as the Morrigan. [8] Her widespread appeal is indicated by the suggestion that the river Danube is named after her. As mother of the faeries she is close to the land and waters.

As Danu she is the mother of the Irish gods, synonymous to the goddess Dôn in early Welsh tradition. She is the mother of the Tuatha Dé Danann, the People of the Goddess Danu or Ana, who invaded Ireland on the first of May, battled the Fir Bolg, and eventually won an uneasy peace. The Tuatha Dé Danann were in turn displaced by the Milesians, a mortal race, and retreated to the sídhe, or hollow hills, to become the Faery Folk of legend. As Anann, her dark side, like the Morrigan, forms a battle triad with Badb and Macha. This suggests she was probably a mixture of Danu and Morrigan.

Gwalchmei’s mother, Gwyar according to early Welsh tradition, then appears to be synonymous with Danu, as Anu or Anna, the goddess of the fairies and the war-fury the Morrigan, also known in the Medieval Romances as Arthur’s sister Morgan le Fay. [9]

We can summarise the similarities of Gwalchmei/Gawain’s mother as listed in their respective traditions:

Gwyar
• Arthur’s sister in early Welsh Tradition,
• Wife of Lleu,
• Name equates to gore or blood-shed,
• Appears as a war-frenzy, along with Badb and Macha, forming a triple goddess with the Morrigan

Anna
• Arthur’s sister in Geoffrey of Monmouth,
• Wife of Lot in Geoffrey, confused with Lot Luwddoc (Leudonus), Llew ap Cynfarch,
• Name equates to Danu (Anu) - mother of the Tuatha Dé Danann, Irish Goddess of the Faeries,
• As Anann, forms a battle triad with Badb and Macha, like the Morrigan.

It should therefore be of no surprise to us that Gawain maintained his supernatural qualities throughout the medieval Arthurian romances, as Gwalchmei his roots seem to be firmly planted in the Celtic Mythology of early Welsh and Irish tradition. When Geoffrey of Monmouth named his mother as Anna it appeared to be at odds with the Welsh tradition who knew her Gwyar and the other romancers who called her Morgause. [10] Either way she maintained her connection to Arthur as his sister and wife of Lot or Lew/Lleu. Her roots can be traced back to being associated with the pantheon of early Irish gods of the Tuatha Dé Danann and has clear links with the battle goddess, the war-fury, The Morrigan. Perhaps Gwain’s pagan roots were well known to the medieval romancers and that is why his popularity weakened and he became replaced with Lancelot as later writers tended to Christianise the grail stories after Chretien’s overtly pagan works.
Son of Lot
We have established that Gwalchmei’s mother as Gwyar in the earlier welsh tradition, as we have seen above, whether following Geoffrey of Monmouth’s version or early Welsh tradition Gwalchmei/Gawain’s mother appears to be one and the same albeit substituted with differing epithets and it would appear that his father’s name persisted as Lot, Llew or Lleu.

According to Geoffrey of Monmouth Gawain’s father was Lot, which as Loth, appears to been have based on the name for a ruler of the Scottish region known as Lothian. As previously discussed, this notion may have been based on a Northern tradition of Lot which became confused with the Lot Luwddoc (of the Host) in later versions, possibly based on the semi-legendary Leudonus, a late 5th century post-roman ruler of the Gododdin. Was this the reason for the confusion with the name Leu/Lleu ?

Lot was certainly confused with a historical character by the redactor who substitutes Llew ap Cynfarch for him in the Brut. Llew ap Cynfarch would appear to be an historical character mentioned in the Northern genealogies as the brother of Urien Rheged, the most powerful king in Northern Britain at that time. Does he have any relevance in the quest for Gwalchmei/Gawain origins?

Who were these men, all identified in various sources as Gwalchmei/Gawain's father, who always carried the name of Lot, Llew or Lleu, and as with his mother, do they all lead to the same mythological figure?



Notes:
1. Compare the Da Vinci Code to The Holy Blood and the Holy Grail by Michael Baigent, Henry Lincoln, and Richard Leigh, which provides a more in depth explanation of the theory put forward in the fictional Dan Brown bestseller. The popularity of Geoffrey’s Historia is demonstrated by the fact that over 200 manuscripts survive, for a work produced in 1136 this is phenomenal – see Julia C. Crick, The Historia Regum Britannie of Geoffrey of Monmouth III: A Summary Catalogue of the Manuscripts - Cambridge: D. S. Brewer, 1989.
2. The task of the Redactor was to prepare for publication; edit or revise, particularly in multiple source texts which are combined together, subjected to minor alteration to make it appear that they are a single work. The redactor may add brief elements of his own, possibly to adjust the underlying conclusions of the text to suit the redactor's opinion, or simply to provide a suitable frame for the tale.
3. Little information survives on the goddess Mathonwy but she generally is referred to in as the Mother part of a triple diety; and the goddess Dôn is Mother of the Welsh gods. In early Irish tradition the matronymic is also used for Conchobor mac Nessa and Fergus mac Roich.
4. Rachel Bromwich, The Triads, 2006 Third Edition, pp.369-70
5. John Rhys, Studies in the Arthurian Legend, pp 72 & pp 169. See chapter. VIII - "Galahad and Gwalchaved".
6. John Rhys, Studies in the Arthurian Legend,
7. Lucy Paton, Studies in The Fairy Mythology of Arthurian Romance, pp 141-144.
8. Kevin Saunders, Wiccan Spirituality p 191.
9. The Morrigan is the goddess of fertility, battle, and strife. Her name meaning "Phantom Queen." She can appear as a single goddess, or as part of a trio of goddesses with Badb and Macha. The Morrigan often appears as a hooded crow. She is considered the original of Morgan Le Fay, ('le fay' meaning “the fairy”).
10. Morgause may have been confused with Murigen, in Irish mythology a goddess of lakes and clearly very close to Morrigan. Lancelot of the Lake came to replace Gawain in many of the continental Arthurian stories and his mother was the Lady of the Lake. Either way, in early tradition Gwalchmei’s mother was without doubt a goddess from the Celtic pantheon.

Picture credits:
1. The Death of Arthur by John Mulcaster Carrick
2. Morgan le Fay by Sir Edward Burne-Jones
3. La Mort d'Arthur by James Archer


***


Tuesday, 12 August 2008

The Green Knight's Chapel

Lud's Church II

It is notoriously difficult to positively identify geographical sites from Arthurian literature: there are allusions in the landscape from Cornwall to Scotland; but one site that does seem to fit is Lud’s Church as the location of the Green Chapel from the late 14th century poem Sir Gawain and the Green Knight.

Sir Gawain and The Green Knight
Gawain is King Arthur's nephew and a Knight of the Round Table who appears early in the development of the Arthurian legend. Gawain is a major character in the Arthurian section of Geoffrey of Monmouth's Historia Regum Britanniae, where he is a superior warrior and potential heir to the throne until he is tragically struck down by Mordred's forces.

Sir Gawain and The Green Knight is a late 14th-century verse romance, 2,530 lines long surviving in only one manuscript, written by an anonymous author usually referred to as the Pearl-Poet, (or the Gawain poet) because it is found in the same manuscript as other works Patience, Cleanness, and Pearl. Another unattached poem, St. Erkenwald, may also be by the same poet. The author was a well read man and he’s moral consciousness of sin, guilt, penance, and forgiveness suggest he was probably a cleric, possibly a monk from nearby Dieulacres Abbey, just North of Leek; the dialect suggests a North Staffordshire location.

Sir Gawain and the Green Knight features the beheading game, which became popular in French Arthurian literature around the time of Chretien's Perceval and a similar version features in Livre de Caradoc, but the tale has its roots in much earlier Irish tale Bricriu's Feast. The poem also has elements of the chastity test which featured in the tradition of Arthurian literature in tales such as Robert Biket’s Lai du Cor (Lay of the Horn, ca. 1250-1300). Another, later version of the tale is The Boy and the Mantle, in which a magical item is brought to the Arthur’s court which can only be used by a woman who is faithful to her husband.

Bricriu's Feast appears in early Irish Knights of the Red Branch literature, part of the Ulster Cycle, and has been dated to the early 8th Century, by far outdating any French grail literature so we can be certain the beheading theme has its roots firmly in Celtic mythology.

In brief Bricriu’s Feast is a series of episodes describing various tests of valour which the three bravest warriors, Cu Chulainn, Conall and Loegaire, have to undergo to determine who is most worthy to receive the Champions portion at a feast prepared by Briciu of the Poison tongue:

Cu Chulainn, Conall and Loegaire were the most courageous fighters in Ireland so to decide which of these was the greatest and who would take the Champion's Portion at Bricriu's Feast. To determine who was the greatest warrior a giant named Uath, termed a Bachlach, challenged them into a beheading game. Each warrior in turn would be allowed to behead the giant, but face his axe the next day. Conall and Loegaire did not accept this challenge but Cú Chulainn did and beheaded the giant. The giant stood up and retrieved his head and left. The next day, the giant returned with his axe and demanded that Cú Chulainn kept to his word. Cú Chulainn placed his head on the chopping block but twice the Bachlach could not behead because his neck was too short and the chopping block too small. On the third attempt he swung his axe but brought it down on Cú Chulainn’s neck but blunt side down. He declared Cú Chulainn was the bravest of the warriors then disappeared. The bachlach turns into Cu Roi in disguise who had come to fulfil his promise to Cú Chulainn [1]

Cu Roi appears in several Irish Tales as a semi-supernatural figure, scorcer and shapeshifter, most frequently in the guise of a giant or herdsman. He helped the Ulstermen on a raid of the Underworld.

The beheading game would later reappear in the tale of the Arthurian legend as Sir Gawain and the Green Knight and has many similarities with Bricriu’s Feast and Morgan le Fay, the scorcer, is substituted in the English tale in place of Cu Roi.

The poem is set in the days of King Arthur at the New Year's feast at Camelot:

The feast is interrupted by a huge green knight who challenges any member of the court to deal him a blow that is to be returned at his home, the Green Chapel, twelve months later. Sir Gawain beheads the knight, who picking up his head reminds Gawain of their agreement and leaves. At Michaelmas, Gawain sets off for the Green Chapel. He journeys through North Wales, through the Wirral to the North Midlands. On Christmas Eve, he is invited by Sir Bertilak to stay at his castle which is near the Green Chapel. Sir Bertilak and Gawain agree to tell each other each evening what they have gained during the day. Sir Bertilak goes hunting and Gawain has to resist the temptations of the seductive Lady Bertilak. On the third day, Bertilak has only managed to catch a fox while hunting, so gives Gawain the pelt. Gawain does not present the lady's gift, a magic green girdle which makes him invulnerable. On New Year’s day, Gawain rides to the chapel to meet the green knight who takes two swings with the axe but only nicks Gawain. On the third swing he cannot cut off Gawain's head because of the magic girdle. The knight reveals to him that he is Sir Bertilak and that the whole episode was planned by Morgan le Fay.

The tale gives graphic detail of the butchering of a deer caught while out hunting. The poem also contains pagan elements with reference to the annual cycle of death and rebirth and the three attempted axe cuts may be referring to the triple death associated with merlin or druids, the Celtic obsession for the number three.

The Green Chapel has been identified as Lud’s Church because of the poet’s use of dialect words and rare topographical terms used in the poem appear in place-names all very local to the Roaches and this area of the Staffordshire Moorlands [2]There is further evidence in the poem:

“…..Then the lord quoth, laughing, "Now must ye needs stay, for I will show you your goal, the Green Chapel, ere your term be at an end, have ye no fear! But ye can take your ease, friend, in your bed, till the fourth day, and go forth on the first of the year and come to that place at mid-morn to do as ye will. Dwell here till New Year's Day, and then rise and set forth, and ye shall be set in the way; 'tis not two miles hence.

Then the knight spurred Gringalet, and rode adown the path close in by a bank beside a grove. So he rode through the rough thicket, right into the dale, and there he halted, for it seemed him wild enough. No sign of a chapel could he see, but high and burnt banks on either side and rough rugged crags with great stones above…..

………Then he drew in his horse and looked around to seek the chapel, but he saw none and thought it strange. Then he saw as it were a mound on a level space of land by a bank beside the stream where it ran swiftly, the water bubbled within as if boiling. The knight turned his steed to the mound, and lighted down and tied the rein to the branch of a linden; and he turned to the mound and walked round it, questioning with himself what it might be. It had a hole at the end and at either side, and was overgrown with clumps of grass, and it was hollow within as an old cave or the crevice of a crag; he knew not what it might be……” [3]

• High banks on either side:
the valley of the Black Brook between the north side of Back Forest ridge and Gradbach Hill,

• Rough rugged crags with great stones above:
this fits the general location of the area, the Roaches perfectly,

• a bank beside the stream where it ran swiftly, the water bubbled within as if boiling:
The confluence of the River Dane and the Black Brook runs swiftly and appear to bubble over rocks,

• The mound:
Lud’s Church is on the spur of the hill, not easily seen amongst the vegetation but appearing as a mound from the path

• had a hole at the end and at either side:
Lud’s Church has openings at both ends,

• was overgrown with clumps of grass:
Lud’s Church is overgrown with clumps of grass and vegetation clinging to its rocky sides,

• it was hollow within as an old cave or the crevice of a crag:
Lud’s Church is hollow inside like a cave or the crevice of a crag and is in fact marked on OS maps as a cave,

• 'tis not two miles:
Swythamley Hall is less than two miles from Lud’s Church.

Gwalchmei: the Hawk of MayIn Welsh Arthurian literature, Gawain is considered synonymous with the native champion Gwalchmei ap Gwyar, who appears in the Welsh Triads and in Culhwch and Olwen, an 11th century Arthurian tale but probably much earlier, making him along with Cai and Bedwyr amongst the earliest characters associated with Arthur. Here Gwalchmei, like Gawain, is Arthur's nephew and one of his chief warriors; Arthur sends him and five other champions with Culhwch to find Olwen.

It has been said that the the sun only shines directly into Lud's Church at midday on the summer solstice. But the poem refers to an event on New Years day, so it is referring to an event around the winter solstice, which would, however, appear directly opposite the summer alignment.
Gwalchmei may have originated as a Sun God of Celtic myth; in the later Romances Gawain is shown to have the extraordinary ability to grow stronger towards midday before waning in the afternoon; his might triples by noon, but fades as the sun sets. Gwalchmai has been translated as the Hawk of May.

Also contained in the early Arthurian story Culhwch and Olwen, is Gwynn ap Nudd, Lord of the Underworld, who abducted a maiden called Creiddylad after she eloped with Gwythr ap Greidawl, Gwyn's long-time rival. King Arthur settles the feud by arranging for the two to battle every May Day until Doomsday, Gwyn and Gwythr's fight, which began on May Day, represented the contest between summer and winter. This sounds very similar to Gwalchmei as the Hawk of May waxing and waning with the power of the sun and may demonstrate his origin in the pantheon of Celtic gods.

Knight’s Lowe
Knight’s Lowe in the grounds of Swythamley Hall has been suggested as a possible site of Gawain’s grave. However, William of Malmesbury said that the tomb of Walwen (Latinised version of Gawain) was discovered on the sea-shore, in a certain province of Wales called Rhos, which is understood to be that still known by the same name, in the county of Pembroke, where there is a district called in Welsh Castell Gwalchmai [4] and in English Walwyn's Castle.

“At that time [1066-87] in the province of Wales known as Ros was found the tomb of Walwen [Gawain], who was the by no means degenerate nephew of Arthur through his sister. He ruled in that part of Britain which is still called Walweitha and was a warrior most famous for his courage; but he was driven from his rule by the brother and the nephew of Hengist, though he made them pay dearly for his exile. He shared deservedly in his uncle’s praise, because for several years he postponed the collapse of his tottering homeland.

However, the tomb of Arthur is nowhere to be found—that man whose second coming has been hymned in the dirges of old. Yet the sepulcher of Walwen…is fourteen feet long. It is said by some that Walwen’s body was cast from a shipwreck after he had been wounded by his enemies, while others say that he was murdered by his fellow citizens at a public feast.” [5]

Walwyn's Castle was built within an Iron Age hillfort at the head of a long narrow valley running north for 3 miles from the Cleddau estuary, Rhos, in the modern day waterway of Milford Haven. Built on an inland promontory formed by the divergence of the valley, the roughly triangular site had steep slopes on two of its three sides and steep rampart on the third. It was later re-fortified by as a Norman motte and bailey.

In the Stanzas of the Graves a similar locality is indicated:

"The grave of Gwalchmai is in Pyton,
Where the ninth wave flows." [6]


Maybe Gawain was beheaded after all, Caxton, in his preface to Malory's Morte Darthur, writes:

"In the castle Dover, ye may see Gawaine's skull"





Notes:
1. Ancient Irish Tales. ed. and trans. by Tom P. Cross & Clark Harris Slover. NY: Henry Holt & Co., 1936
2. A Companion to the Gawain-Poet, “Landscape and Geography" - R Elliott pp. 105–117, DS Brewer; 1997.
3. Sir Gawain and the Green Knight - prose by Jessie L. Weston, used for ease of reading.
4. Gwalchmai was the original name from Welsh tradition which appears in some of the earliest welsh literature such a s Culwch ac Olwen before the French romancers changed it to Gawain.
5. William of Malmesbury: De rebus gestis regum Anglorum. (Book 3, chapter 287) in Arthur’s Britain, E K Chambers.
6. Pyton is considered to be Perditon, or Perrydon, in South Wales.

***