Notes Notes for Introduction 1. C.S. Lewis, 'Preface' to George Macdonald, George MacDonald: An Anthology, ed. C.S. Lewis. New York: Macmillan, 1947. 2. Clarissa Pinkola Estes, Women Who Run with the Wolves. London: Rider: 1992. Notes for Chapter 1 1. See Sally Roberts Jones, 'News from the Land of Youth: Anglo-Welsh Children's Literature- A Tradition in the Making' The New Welsh Review 2:4, 1990, 6-10; and in the same issue, Norma Bagnell, 'An American Hero in Welsh Fantasy: the Mabinogion, Alan Gamer and Lloyd Alexander' 25-29. 2. See C.W. Sullivan III, Welsh Celtic Myth in Modern Fantasy (New York: Greenwood Press, 1989). This is an important study which will, I hope, be the first of many dealing with the topic of Welsh myth and its contemporary relevance. Sullivan discusses thematic and aesthetic concerns, while I have concentrated upon the polemic, a concern com­ plementary to those of Sullivan's. 3. See Kath Filmer, Scepticism and Hope in Twentieth Century Fantasy Literature. Bowling Green, Ohio: Bowling Green State University Popular Press, 1992. 4. Davies' article appears in The Journal ofMyth, Fantasy and Romanticism 2:1, April 1993, 25-35. 5. John Ackerman, Dylan Thomas: his life and work. New edition. Basing­ stoke: Macmillan, 1991. 6. Glyn Jones, Selected Poems: Fragments and Fictions. Bridgend: Poetry Wales Press, 1988. 7. Llanfairpwllgwyngyllgogerychwymdrobwllllantysiliogogogoch: St Mary's church in the hollow of the white hazel near to the rapid whirlpool of Llantysilio (church of Tysilio) of the red cave. 8. John Tripp, Loss of Ancestry. Llandybie: Christopher Davies, 1969. 9. Gwyn Williams, Choose Your Stranger. Port Talbot: Alun, 1979. 10. Raymond Garlick, ed., Welsh Airs. Bridgend: Poetry Wales Press, 1988. 11. See The Plays of Saunders Lewis, Vol. I (of three vols), translated from the Welsh by Joseph P. Clancy. Llandybie: Christopher Davies, 1985. 12. Raymond Garlick and Roland Matthias, eds. Anglo-Welsh Poetry 1480- 1980. Bridgend: Poetry Wales Press, 1984. 13. Tony Curtis, ed., The Poetry of Snowdonie. Bridgend: Seren Books, 1989. 14. See George Borrow, Wild Wales. London: Collins rpt. ca 1930. Fp 1862. 167 168 Notes 15. Both essays are in C.S. Lewis, Of This and Other Worlds, ed. Walter Hooper. London: Collins, 1982. 16. George Orwell, 'Boys' Weeklies' in his Inside the Whale and Other Essays. Harmondsworth: Penguin, 1957. 17. See, for example, Esther de Waal, A World Made Whole: Rediscovering the Celtic Tradition (London: Fount, 1991), which gives a lively and sympathetic account of Celtic Christianity. 18. It should be noted here that I have avoided, for the most part, the inclusion of the vast amount of popular Arthurian material in my study. The simple reason for this is that it is so vast; at least one critic has said that there are thousands of such works. On the other hand, I have made an exception of Lawhead's trilogy, since it specifically uses other sources - historical data, the Four Branches, the Triads - as well. Notes for Chapter 2 1. Louise Lawrence, The Earth Witch. New York: Ace, 1986; fp New York: Harper and Row, 1981. 2. See Catharine R. Stimpson, J R R Tolkien. New York: Columbia Uni­ versity Press, 1969. Tolkien, is, she writes, 'irritatingly, blandly, tra­ ditionally masculine' (3); his bloodthirsty female monster the Shelob suggests something of his 'subtle contempt [for] and hostility toward women' (18-19). 3. Spelled 'Tregaron' in South Wales. 4. Often spelled 'Ceridwen'. 5. Rosalind Miles, The Rites of Man: Love, Sex and Death in the Making of the Male. London: Grafton, 1991. 6. Alan Gamer, The Owl Service. London: Lion's Tracks, 1990; fp Collins 1967. 7. Liane Jones, The Dreamstone. London: Mandarin, 1992. 8. Gwyn A. Williams, Madoc: The Making of A Myth. London: Eyre Methuen, 1979. 9. The cynghanedd is a strict form of poetry consisting of a series of englynion, in which alliterative metre and internal rhyme are arranged in strict sequence. This is the form for which bardic chairs are awarded at Welsh eisteddfodau. 10. To write cynghanedd in Welsh is difficult; would-be bards attend classes in order to master the art. To attempt to mimic the cynghanedd form in English is to multiply the difficulty many times. Jones does not seem to realise the depth of the task she has set for her character. Notes for Chapter 3 1. Madeleine L'Engle, A Swiftly Tilting Planet. London: Souvenir, 1978. 2. Gwyn A. Williams, When Was Wales? London: Black Raven, 1985. 3. Jan Morris, The Matter of Wales. Harmondsworth: Penguin, 1984. 4. L'Engle's Welsh is incorrect. It should read: Notes 169 ... ymdroi gyda diflastod ac anobaith [ ... ] Madog wrth ystyried cyflwr gwlad ei enedigaeth, lle'r oedd brawd yn ymladd yn erbyn brawd hyd nes yr oedd petai Duw ei hun wedi peidio a gofalu am feibion dynion (247; emphases and ellipses indicate corrections). Although L'Engle has provided a translation, it too is slightly inac­ curate. According to Frank Owen Davies, a better translation is: Madoc lingered with disgust and despair as he reflected upon the plight of the country of his birth where brother was fighting against brother until it was as though God himself had ceased to care for the sons of men. Davies points out, too, that there is no mention in the Welsh of Madoc's actually leaving Wales. 5. See Thomas Jones and Gwyn Jones, eds., The Mabinogion. London: Everyman, 1989. 6. C.S. Lewis, The Problem of Pain. London: Geoffrey Bles, 1940. Notes for Chapter 4 1. There are two literals in the reproduction of the words; the Welsh word for 'died' is marw, and the word ydiw should be ydyw. 2. Again, there are literal errors in the transcription of the Welsh: the passage should read: 'Rwyf yn oer' (I'm cold) ... 'Peidiwch os gwelwch yn dda' (Please don't). The translation is also slightly incorrect. It should read, 'Gruffydd, I'm cold, afraid (or perhaps the ofn is an interrupted ofnadwy, 'very much'). I would like to stay. Don't make me go. Please don't'. Caswell's text reads, '"She says she's tired (but the Welsh for tired, wedi blino, does not appear) and cold and she doesn't want to go. She's pleading with someone called Gruffydd to let her stay."' 3. See C.S. Lewis, Perelandra (London: The Bodley Head, 1943}; and his short story, 'The Forms of Things Unknown' in his The Dark Tower and Other Stories, ed. Walter Hooper (London: Collins, 1977) 124-32. The epigraph to the short story is taken from the novel: ' ... that what was myth in one world might always be fact in some other' (FlU 124). Both pieces of fiction treat the same theme, the novel in relation to the possibility that a paradise lost on this earth might be a paradise retained on the planet Venus (Perelandra in the novel), the story in relation to the Medusa myth. 4. So great was the competition between Sydney and Melbourne for the honour of becoming Australia's Federal Capital that the nation's wise men decided to build a new city, Canberra, almost exactly midway between Sydney and Melbourne. 5. See Abraham H. Maslow, Motivation and Personality, 2nd edition. New York: Harper and Row, 1970. 170 Notes Notes for Chapter 5 1. Lloyd Alexander, 'Truth About Fantasy' in Top of the News, January 1968, 168-174. 2. Lloyd Alexander: The Book of Three (1964) The Castle of Llyr (1966) The High King (1968) Taran Wanderer (1967) New York: Yearling, 1990. The Black Cauldron (1965). London: Lions, 1991. 3. Norma Bagnall,'An American Hero in Welsh Fantasy: The Mabinogion, Alan Garner and Lloyd Alexander'. The New Welsh Review 8 (Chil­ dren's Literature issue) II:4. Spring 1990. 4. My reference for these is the seminal work Trioedd Ynys Prydein: The Welsh Triads, edited with introduction, translation and commentary by Rachel Bromwich (Cardiff: University of Wales Press, 1961). Since the first of Alexander's Prydain series, The Book of Three, appeared three years later in 1964, Alexander might well have had access to Bromwich's work. In any case, even the title, The Book of Three, sug­ gests the strong influence of the Triads upon the Prydain series. Incidentally, many of the triads celebrate personal attributes from sexual prowess (the three Well-Endowed Men of the Island of Brit­ ain: Gwalchmai son of Gwyar, and Llachau son of Arthur, and Rhiwallawn Broom-Hair [8]) to nobility and honour. 5. Abraham H. Maslow. Motivation and Personality, 2nd edition. New York: Harper and Row, 1970. 6. See Robert Graves, The White Goddess. London: Faber and Faber, 1961. 7. Peter Beagle. The Last Unicorn. London: Unwin, 1983. (Fp 1968). 8. The Welsh word 'gwrgi' means 'man-dog'; presumably, that is what the Gurgi is. 'Gurgi' is also the name of Alexander's creature. 9. Gwyn Jones and Thomas Jones (translators), The Mabinogion, revised edition. London: Dent, 1989. Notes for Chapter 6 1. W.A. Cummins. King Arthur's Place in Pre-History: The Great Age of Stonehenge. Phoenix Mill: Sutton, 1992. 2. Michael Senior, 'Introduction' to Sir Thomas Malory's Tales of King Arthur, edited and abridged with an introduction by Michael Senior. London: Guild, 1980, 9-28. 3. Patrick Sims-Williams, 'The Early Welsh Arthurian Poems' in The Arthur of the Welsh: The Arthurian Legend in Medieval Welsh Literature, edited by Rachel Bromwich, A.O.H. Jarman, Brynley Roberts. Car­ diff: University of Wales Press, 1991. 4. Englynion (Welsh, plural) are short verses written according to a strict, determined metre. 5. Brynley Roberts, 'Culhwch ac Olwen, The Triads, Saints' Lives', in The Arthur of the Welsh, cit.