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It will be asked-Why has not the Bard mentioned Hengist, and his British partizans, by name? To this it may be answered, that Aneurin, at the time when he composed most of his songs, was a prisoner of war in the hands of the Saxons. The introduction of names might have subjected him to personal danger: he therefore chose the safer way of gratifying his resentment, by giving such bold hints of the affairs, and the individuals to which he alluded, that they could not be mistaken; and this method afforded him an opportunity of painting his indignation more forcibly, by sarcastic epithets, than he could have done it by explicit attacks upon the person of Hengist.

Against the locality of Aneurin's subject, as referred to the temple of Stonehenge, it may be objected, that the term Gododin, in Nennius, implies the region of the Ottadini, between the rampart of Antonine, and the wall of Severus: whilst in several passages of this poem, we find that Gododin means the same as Cattraeth, the place where the nobles assembled at the feast, and where they fell.

This is certainly an ambiguity; and it was probably intended as such, for the same prudential reason which I have mentioned above. But if we attend to the composition, and the actual application of the name, we shall find that it furnished a fair opportunity for a double interpretation.

Godo is a partial covering, and Din a fence or outwork As applied to the region of the Ottadini, it means that dis trict which is partly covered or protected by the Northern rampart; and the word is equally descriptive of the British temples or sanctuaries, which were open at top, yet protected by a surrounding rampart or bank.

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And that the name of Godo was actually appropriated to these temples, we have already seen, in treating of the family of the British Ceres: for Seithin Saidi, Janis or Saturn, the representative of the patriarch, is styled Porthawr Godo, the guardian of the gate of Godo, or the uncovered sanctuary.

Catfraeth, or, according to the older orthography, Catraith, is liable to the same objection, and admits of the same solution. This name has some similarity to Catarick, near Richmond, in Yorkshire, the Cataracton of the ancients. Yet it is not hence to be suspected, that by Gododin and Cattraeth, our author meant to point out an Ottadinian town of that name; for Cataracton was not within, or very near the borders of the Ottadini; so that some other meaning must be sought.

In the preceding section, to which I have just referred, it is remarked, that the same Seithin Saidi had a son, named Cadeiriaith, the language of the chair or presidency; and also Cadraith or Catraith, which seems to be only a contraction of the former. This mythological character certainly represents the laws, &c. of the Druids, pronounced from the chair of presidency, or Bardic cathedral, hence figuratively applied to the great temple itself. And, from many passages of Aneurin's work, it is evident that this is the precise import of his Catraith."

Having, as I have already stated, obtained such a general view of the nature and subject of the Gododin, as enabled me to estimate the value of most of the various readings, I sat down patiently to re-translate the whole as closely as possible, without sacrificing perspicuity to the mere idiom of my author, and with the most minute atten

tion to Mr. Owen's explanation of obsolete words, even in those passages which seemed most intelligible. And, I think, I have made out Aneurin's meaning with tolerable clearness, considering the nature of the work, and the state of the copy; though it may be admitted as probable, that a careful examination of our original historians would reflect some additional light upon several passages.

I had some thoughts of adding the British text, as accurately as it can be obtained, from a collation of the various copies; but as it is of considerable length, I have omitted it, in compassion to the English reader.

The division of the songs in this work, was the result of my own observation and conjecture; and therefore, though it be generally confirmed by Mr. Jones's ancient copy, I submit it to the censure of the critical reader, who, by passing over that division, may read the Gododin as one entire

poem.

THE GODODIN.

SONG I.

"*-W. Archaiol. p. 1.

66 GREDYF GWR OED GWAS."*-W.

Aneurim commemorates the young Bard, his Associate, whom Hengist had slain at the Feast. See the Poem of Cuhelyn, in the former Part of the Section, and No. 16 and 25, of the present Series.

MANLY was the soul of the youth, whose merit I record with sorrow. A swift thick-maned steed was under the thigh of the fair youth. His shield, light and broad, hung upon the slender courser. His blue and unspotted weapon was the assuager of tumult.

With me shall remain no hatred towards thee. I will do better for thee-in poetry will I praise thee. The floor will be stained with blood, before thou shalt enjoy the genial

Gredyf gwr oed gwas,
Gwrhyt a'm dias.

The clean weapon of the Bard, like the Hasta Pura of the Romans, seems to have been an emblem of peace. The Bards were regarded as heralds of peace.-Sec song 25, where this Bard is introduced by the name of Owen. For Ethy aur a Phan, I read Ethyawr Aphan.

feast. The raven shall have his food, before thou wilt lift the hostile spear, O Owen, my dear companion!

There is sorrow in the plain, where the son of Marro was slaughtered!

SONG II.

CAEAWC CYNHAIAWC."—p. 1.

The Bard descants upon the Manners of Hengist, and touches upon some Particulars of the Plot, which he appears to have concerted, in Part, with Vortigern, the British King.

ADORNED with his wreath, the chief of the rustics announced, that upon his arrival, unattended by his host, and in the presence of the Maid,† he would give the mead; but he would strike the front of his shield,‡ if he heard the din of war, and to those whom he pursued, he would give no quarter.

But against those who would not retreat from battle, till their blood flowed like rivulets-against the heroes who

Caeawe, wearing a wreath-This was a wreath of amber beads, as appears from the subsequent paragraphs, which also prove that the Bard means Hengist. I recollect no authority for ascribing wreaths of amber to the native Britons; but the costume appears upon many of the old Saxon coins, published by Camden.

+ Bún, the maid, a name of Llywy, the British Proserpine, at whose festivals contention and tumult were deemed sacrilegious. See song 25.

The phrase, Twl tal y rodawc repeatedly occurs. It has been translated, "the front of whose shield was pierce;" but it evidently implies, making a signal, by striking the shield.

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