Celtic Literature by Matthew Arnold
page 54 of 134 (40%)
page 54 of 134 (40%)
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is not known what is the nature of its meat and its fish.' It is
very well to say that these assertions 'we may fairly ascribe to the poetic fancy of a Christian priest of the thirteenth century.' Certainly we may; the last of Taliesin's assertions more especially; though one must remark at the same time that the Welshman shows much more fire and imagination than the Anglo-Saxon. But Taliesin adds, after his: 'I was in Canaan when Absalom was slain,' 'I WAS IN THE HALL OF DON BEFORE GWYDION WAS BORN;' he adds, after: 'I was chief overseer at the building of the tower of Nimrod,' 'I HAVE BEEN THREE TIMES RESIDENT IN THE CASTLE OF ARIANROD;' he adds, after: 'I was at the cross with Mary Magdalene,' 'I OBTAINED MY INSPIRATION FROM THE CAULDRON OF CERIDWEN.' And finally, after the mediaeval touch of the visit to the buttery in the land of the Trinity, he goes off at score: 'I have been instructed in the whole system of the universe; I shall be till the day of judgment on the face of the earth. I have been in an uneasy chair above Caer Sidin, and the whirling round without motion between three elements. Is it not the wonder of the world that cannot be discovered?' And so he ends the poem. But here is the Celtic, the essential part of the poem: it is here that the 'formative pressure' has been really in operation; and here surely is paganism and mythology enough, which the Christian priest of the thirteenth century can have had nothing to do with. It is unscientific, no doubt, to interpret this part as Edward Davies and Mr. Herbert do; but it is unscientific also to get rid of it as Mr. Nash does. Wales and the Welsh genius are not to be known without this part; and the true critic is he who can best disengage its real significance. I say, then, what we want is to KNOW the Celt and his genius; not to exalt him or to abase him, but to know him. And for this a |
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