Reading Notes: The Mabigonion, Part B

I was initially confused by the part about weirs, so I looked them up. Apparently it's a type of small dam that can trap fish. In this story, the fish are harvested yearly. Except when a baby is harvested instead.

One of the most striking things to me was the extensive use of religious language and references in Taliesin's songs. His story itself is reminiscent of the story of Moses, who was drawn up by a princess out of the water. In the last song he connects it to the history of the British (or Britons, or Brython, which comes from the Welsh spelling) in contrast with the Saxons. It's important to remember that British is not synonymous with English and originally meant the Celtic inhabitants and their languages. Well, some of the languages - the Gaelic ones are in a slightly different branch, though more closely related to the Brittonic languages than to say, English/Anglo-Saxon and the Germanic languages. 

Pre-Anglo-Saxon Britain, Brythonic area in red. Link.

I did not originally picture it, but when Taliesin was first singing to and about Elphin, he would have been a baby. How cute would a baby bard be, singing away far more intelligently than his age. I know there's a movie called Boss Baby - maybe I could write a sequel called Bard Baby. Though the original story reminds me of a musical, what with Taliesin bursting into song all the time. I don't know whether they sing in Boss Baby. People even get kidnapped, and there is a villain they have to outsmart.

The theme of boasting and honor is key to these stories. How is reneging on a word directly dishonorable but using magical means not? Like the bottomless bag or the hollies in the race? It is interesting that boasting in and of itself does not negate honor.

Bibliography: Lady Charlotte Guest's The Mabigonion, link.