We hear not of Brownies or Kobolds in the Welsh houses now, but Puck used to haunt Wales as well as Ireland. His Welsh name, Pwcca, is the same as his Irish one. In Brecon there is Cwm Pwcca, or Puck's Glen, and though an iron-foundry has in a great measure scared him from it, yet he occasionally makes his appearance. As a man was returning one night from his work, he saw a light before him, and thought he discerned some one that carried it. Supposing it to be one of his fellow-workmen with a lanthorn, he quickened his pace to come up with him, wondering all the while how so short a man as he appeared to be could get over the ground so fast. He also fancied he was not going the right way, but still thought that he who had the light must know best. At last, he came up with him, and found himself on the very edge of one of the precipices of Cwm Pwcca, down which another step would have carried him. The Pwcca, for it was he, sprang over the glen, turned round, held the light above his head, and then with a loud laugh put it out and vanished.
[BRITTANY.]
Mut unt este noble Barun
Cil de Bretaine li Bretun.
Marie de France.
Thise oldè gentil Bretons in hir dayes
Of diverse áventurès maden layes.
Chaucer.
Brittany, the ancient Armorica, retains perhaps as unmixed a population as any part of Western Europe. Its language has been, however, like the Welsh and the Celtic dialects, greatly affected by the Latin and Teutonic. The ancient intercourse kept up with Wales and Cornwall by the Bretons, who were in a great measure colonists from these parts of Britain, caused the traditions and poetry of the latter to be current and familiar in Little Britain, as that country was then called. To poetry and music, indeed, the whole Celto-Cymric race seem to have been strongly addicted; and, independently of the materials which Brittany may have supplied for the history of Geoffrey of Monmouth, many other true or romantic adventures were narrated by the Breton poets in their Lais. Several of these Lais were translated into French verse in the thirteenth century by a poetess named Marie de France, resident at the court of the English monarchs of the house of Plantagenet, to one of whom, probably Henry the Third, her Lais are dedicated.[469] This circumstance may account for the Lais being better known in England than in France. The only manuscript containing any number of them is in the Harleian Library; for those of France contain but five Lais. The Lai du Fresne was translated into English; and from the Lai de Lanval and Lai de Graelent—which last by the way is not in the Harleian Collection—Chestre made his Launfal Miles, or Sir Launfal. Chaucer perhaps took the concluding circumstance of his Dream from the Lai de Eliduc.
In some of these Lais we meet with what may be regarded as Fairy machinery. The word Fée, indeed, occurs only once;[470] but in the Lais de Gugemer, de Lanval, d'Ywenec, and de Graelent, personages are to be met with differing in nothing from the Fays of Romance, and who, like them, appear to be human beings endowed with superior powers.
The origin of the Breton Korrigan, as they are called, has been sought, and not improbably, in the Gallicenæ[471] or ancient Gaul, of whom Pomponius Mela thus writes:—"Sena,[472] in the British sea, opposite the Ofismician coast, is remarkable for an oracle of the Gallic God. Its priestesses, holy in perpetual virginity, are said to be nine in number. They are called Gallicenæ, and are thought to be endowed with singular powers, so as to raise by their charms the winds and seas, to turn themselves into what animals they will, to cure wounds and diseases incurable by others, to know and predict the future; but this they do only to navigators who go thither purposely to consult them."[473]
We have here certainly all the attributes of the Damoiselles of the Lais of Marie de France. The doe whom Gugemer wounds speaks with a human voice. The lady who loved Lanval took him away into an island, and Graelent and his mistress crossed a deep and broad river to arrive at her country, which perhaps was also an island in the original Breton Lai. The part most difficult of explanation is the secret manner in which these dames used to visit their lovers; but perhaps the key is to be found in the Lai d'Ywenec, of which, chiefly on that account, we give an analysis. The hero of that Lai differs not in point of power from these ladies, and as he is a real man, with the power of assuming at will the shape of a bird, so it is likely they were real women, and that it was in the bird-shape they entered the chambers of their lovers. Graelent's mistress says to him,[474]