Pwyll Prince of Dyfed – Celtic Archetypes in the Mabinogi

Every so often I like to take a break from reading fiction to enjoy some primary sources. This isn’t just for research. I like the primary sources, especially those in the Celtic and Arthurian realm.

Some of my favourite sources are the medieval Welsh tales assembled in what is known as the Mabinogi, translated by Lady Charlotte Guest in the mid-19^th century.

Lady Charlotte Guest

Some of the stories in the Mabinogi are retellings of the later medieval romances. However, some of the earlier tales, those known as the Four Branches of the Mabinogi, are believed to be more ancient tales from the days of the Celtic heroic age.

These Four Branches are the most interesting to me and are a true escape into a world of magical beasts and enchanted realms. They are also believed to have been teaching texts for young Welsh princes of the day, intended to show them the characteristics of good kingly rule and behaviour.

The Four Branches of the Mabinogi, which are tied together by the character of Pryderi, include the following tales:

Pwyll, Prince of Dyfed

Branwen, Daughter of Llyr

Manawydan, Son of Llyr

Math, Son of Mathonwy

Pwyll - by Alan Lee

Of the four branches, Pwyll, Prince of Dyfed is my absolute favourite. I have never tired of reading it since I first studied it in university. Not only is it full of magic, love, battles, monsters, and tales of honour and betrayal, but it is also a perfect illustration of Celtic archetypes. We’ll go over a few of these but first, here is the story in brief:

Pwyll, a mortal man, is a Prince of Dyfed who comes into contact with Arawn, King of Annwn, the Celtic Otheworld. The two become friends and switch places for a year so that Pwyll can help Arawn defeat a foe in his own world. Pwyll succeeds and becomes ‘Head of Annwn’. While he was away, Arawn ruled justly and fairly in his place, and Pwyll’s subjects ask him to continue the good rule, which he does.

Then, one day when Pwyll is out with his men, he is sitting on a magical hill when he sees a woman on a magical horse that cannot be caught up to. This is Rhiannon, a maiden from the Otherworld. On a third attempt to catch up to her, she stops for Pwyll whom she has been seeking. They are to marry but their marriage is delayed by another suitor to Rhiannon, Gwawl, who tricks Pwyll into giving Rhiannon to him. But Rhiannon saves Pwyll from himself by giving him a magic bag which he uses to capture Gwawl.

Arawn's Hounds

Pwyll and Rhiannon are married and after a while, they finally have a son. But on the night of his birth, the boy is taken from them. The frightened servants conspire to blame Rhiannon, and accuse her of eating her child. Pwyll, as a ruler, must assign a punishment to his wife for this, and orders her to carry visitors to the castle upon her back while telling them what she did. The land suffers after this.

Luckily, Teirnon, a man loyal to Pwyll, finds the child when the monstrous hand that is taking his horses also leaves a baby. Teirnon slays the hand and saves the baby whom he and his wife foster. After some years, Teirnon realizes that the child resembles his lord, Pwyll, and so he and his wife take the child back to his parents, thus redeeming Rhiannon, giving Pwyll back his heir and restoring the land once more.

This is a highly abbreviated version of the story and if it does spark some interest, you should definitely read it. Pwyll makes a good holiday read while curled up next to your hearth fire.

Of all the tales in the Mabinogi, this one feels like the neatest, if that makes sense. It has three sections – Pwyll in Annwn; Pwyll and Rhiannon; and the disappearance of Pwyll and Rhiannon’s son, Pryderi.

The number three and the occurrence of things in threes is a strong archetype in Celtic tradition.

Patterns of the number three occur in the number of Arawn’s dogs, and the number of times Rhiannon appears to Pwyll before she stops, for instance.

Magical animals are also common in Celtic tales; Arawn has three white hounds with red-tipped ears, and Rhiannon rides a magical white horse that cannot be caught. She is also followed by magical birds wherever she goes.

Rhiannon - by Alan Lee

The character of Rhiannon is one of my favourite things in Pwyll: her magic, her beauty, her strength. I also love her portrayal as the goddess Epona who also rode a white horse, was accompanied by birds, or foals, and carried a magical bag that symbolized her role as a fertility goddess.

The theme of contact between the natural world and the Celtic Otherworld is also strong. Pwyll meets Arawn in the forest, meets with Rhiannon who is from the Otherworld, and then there is the otherworldly monster that steals their child. There is a constant fluidity between the two worlds in the Four Branches of the Mabinogi.

The archetype of the magical hill is one that is strong in Celtic myth. Pwyll is sitting on a magical hill when Rhiannon appears to him. Hills were said to be gateways to the Otherworld. This reminds me of Glastonbury Tor which, in some traditions, is believed to be a gateway to Annwn.

In the second part of Pwyll, we see the themes of the feast and the rival suitor where Pwyll’s judgement is tested. With the help of Rhiannon and her magical bag, another archetype, the marriage of the mortal and otherworld being comes to fruition. This too is a common theme.

But there are more trials in the form of the demonization of Rhiannon which symbolizes the loss of the goddess’ power and the subsequent weakening of the land as Pwyll remains powerless to do anything but punish his wife in the face of the loss of their son.

Teirnon slays the Monster -
by Alan Lee

The finding and fostering of the lost child is also common to Celtic literature, and when Teirnon returns the child to Pwyll, Rhiannon is released from her bondage and the land blossoms once again.

Those of you with an Arthurian bent will spot the similarities right away in the fostering of Arthur with Sir Ector, and his teaching by Merlin. And when Guinevere is demonized in Arthurian tradition, Arthur falls into despair and the land suffers.

What is interesting in this tale is that Pwyll’s deficiencies are repaired by his contact with, and subsequent learning from, stronger figures than himself, namely Arawn, Rhiannon, and his loyal subject Teirnon. As the story progresses, we are witness to Pwyll’s growth in wisdom, courtesy and generosity – the things that make a king truly great.

The Celtic archetypes in this tale and others help to bridge the gap between the natural world and Otherworld, to educate the hero, and light the hero’s way to effective sovereignty.

If you have never done so, I recommend that you read the tales contained in the Mabinogi, especially the Four Branches, and especially Pwyll, Prince of Dyfed. Let them envelop and transport you to that time long ago when goddesses emerged from the woods and Fairy lords befriended their mortal counterparts.

I hope you find these tales as entertaining and educational as I have.

Thank you for reading.

You can download a FREE electronic version (all formats) of the Mabinogi at the Project Gutenberg website by clicking HERE.

You can also read a bit more about the Mabinogi on the Camelot Project web pages.

Arthur's Round Table Discovered!

The Winchester 'Round Table'

What? Really? When the hell did this happen? After about fifteen-hundred years, it has finally come to light. King Arthur’s Round Table has been found…in the gardens of Stirling Castle, Scotland.

Oh, come now. Really? I’m sorry to say that I heartily disagree with the Daily Telegraph which interviewed archaeologists from Glasgow University on this discovery. Talk about the media twisting things to get sensational headlines! Glasgow University has been working in the gardens of Stirling Castle and carried out geophysics on the circular part of the gardens called the ‘King’s Knot’. What the geophysics found was a much older, circular feature beneath the visible 17th century remains.



The 'King's Knot' Stirling Castle

 Yes, there has been reference in the past linking Stirling Castle with ‘King Arthur’. The same can be said of almost every other corner of Britain. Arthurian associations are everywhere; Colchester (Roman Camulodunum), South Cadbury, Winchester, Tintagel, Wroxeter (Roman Viroconium), Caerleon…the list is endless. That is not to say that none of these have any claims to linkages with the historical Arthur. On the contrary, my studies over the years (Arthurian studies was a main focus of mine) lead me to believe that a great many sites likely did have a link to Arthur, possessing archaeological, historical and toponymic evidence. This is a massive topic into which I can not delve here. This is just to say that all the claims for association with Arthur show, at the very least, what a powerful tale it is and how something that has its base in fact has been so embroidered and elaborated upon over the centuries. There is real power in the fusion of history and storytelling.

In my thesis work on theories about the location of Arthur’s ‘Camelot’, I looked at a variety of theories that placed Arthur at South Cadbury Castle in Somerset, Wroxeter in western England near the Welsh border, and Roxburgh Castle in the Scottish Borders. This was fascinating research and it showed how much archaeology contributes to such work. Pottery sherds don’t often lie. At the time, Cadbury Castle, a former Iron Age hill fort of the Durotriges, still comes closest with its finds of timber hall post holes and Mediterranean pottery. The period was right but still, one can never be certain. Wroxeter, a former Roman city with a Dark Age timber hall/villa seemed more likely to be the base of Vortigern rather than Arthur’s seat of power. The theory by a Scottish historian on Roxburgh castle, near Roman Trimontium, was also a bit of a stretch and had more Roman connections than anything. That said, Roman sites were often reused in the Dark Ages. A great deal of horse tack was found in the area of Roxburgh but other than that, the remains on the mound were of the medieval castle. Nothing is for certain, history being the most exciting kind of detective work, to my mind anyway.

South Cadbury Castle

But what about the Round Table? Well, that certainly is a catchy headline. However, a round feature could have been anything from a Roman signal tower, to an Iron Age roundhouse, to an oven of sorts. Stirling was definitely strategically positioned, being the gateway to the Highlands for centuries. Countless invading armies have marched through there in their attempts to conquer what is now Scotland. There are other round features with Arthurian associations, of what could be the correct date. In Cornwall, where there are a great many Arthurian sites, you’ve got Celliwig where, as mentioned in the Mabinogi, Arthur is said to have held court. Winchester castle contains the huge, oak Round Table that is on the wall. The painting on it is from the time of Henry VIII in order to back the Tudor claim to descent from Arthur. Though the table at Winchester is older than the paint, is it the Round Table? Doubtful but, what of it? It’s the symbol of the Round Table that was first mentioned by Robert Wace in the early 12th century that is important. Wace wrote that after twelve years of peace:

“Arthur had the Round Table made, about which the British tell many a tale. There sat the vassals, all equal, all served. None of them could boast he sat higher than his peer; all were seated near the place of honour, none far away.”

Roman Amphitheatre Caerleon, Wales

A shame he does not mention where it might have been. Another candidate for the Round Table, and a very likely one for a council of equals at the time of the historical Arthur is the Roman Amphitheatre at Caerleon in southern Wales, mentioned as the site of Arthur’s court by Geoffrey of Monmouth. That is a magnificent site, as are all mentioned above. It is likely that the historical Arthur spent some time Caerleon, where the II Augustan Legion was stationed. Was that the Round Table? Who knows?

The situation that Wace describes regarding tales of Arthur fits with our current dilemma:

“In this time of great peace that I speak of… the wondrous events appeared and the adventures were south out which, whether for love of his generosity, or for fear of his bravery, are so often told about Arthur that they have become the stuff of fiction: not all lies, not all truth, neither total folly not total wisdom. The raconteurs have told so many yarns, the story-tellers so many stories, to embellish their tales, that they have made it all appear fiction.”

This is where the historical novelist can let the imagination take over and fill in the gaps in the historical record. If you are going to write an Arthurian epic, there are more than enough romantic, mysterious and inspiring sites in every part of Britain. The trick would be to find the perfect blend of history and myth to make the world one creates authentic and entertaining at the same time. I’ll write more about this topic at a later date – I have loads of photos from visits to many of these sites that I can share with all of you.

For the moment I would like to say “Kudos!” to the Daily Telegraph for printing that story for in doing so, they have helped to rekindle interest in Arthurian studies (always a good thing) but have also helped to up the chances of further funding for the archaeological work going on at Stirling Castle.