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BEVAN THOMAS

~ Writer, editor, storyteller

BEVAN THOMAS

Category Archives: Welsh Folklore

Fairy Tale Flash Fiction: Owain and Modron

06 Tuesday May 2025

Posted by Bevan Thomas in Flash Fiction, Speculative Fiction, Welsh Folklore

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Arthurian, Celtic, fairytaleflash, fantasy, flashfiction, folklore, King Arthur, Wales

For this week, the prompt for flash fiction submitted to #FairyTaleFlash is “mothers (human or animal) or fairy godmothers or stepmothers.” I decided to explore the birth of Owain, one of King Arthur’s warriors in the Welsh stories. The late French authors renamed him “Ywain,” and made him the son of Morgan le Fey. However, in the Welsh stories, Owain is the son of Modron, a mysterious entity who seems to have been a Celtic mother goddess.

May 6, 2025

My father lay with my mother by a river. Less than a year later, she gave to him me and my twin brother. Then she left. They say she was Modron, a mother goddess our people worshipped long ago. If she was a mother goddess, why was she not a mother to me?
#FairyTaleFlash

Image is a statue of Matrona, the Gaulish equivalent of Modron.

The Changing Merlin

06 Sunday Feb 2022

Posted by Bevan Thomas in Speculative Fiction, Welsh Folklore

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comics, Excalibur, Geoffrey of Monmouth, King Arthur, Marvel comics, Merlin, T. H. White

Merlin in Sword in the Stone

With the exception of King Arthur himself, Merlin is the most famous character from Arthurian folklore. He defines the wizard archetype so perfectly that whenever an English story references some wizard, it’s usually Merlin, even if otherwise King Arthur doesn’t make an appearance. He’s part of the backstory in everything from children’s fantasy such as Harry Potter and The Talking Parcel to superhero tales such as Black Knight and The Demon. Like King Arthur, Merlin’s name is so well-known and so linked to an archetype that people often don’t realize how little they know about the character. They just think “yeah, Merlin – he’s an important wizard. I know what wizards are like – big white beard, staff, pointed hat, and either a traveler’s cloak or a robe full of stars. He can do all sorts of crazy magic and is a benevolent mentor to heroes.” However, Merlin’s origins are a lot more complex. Appropriately for a shapeshifter, Merlin’s story has taken on many forms.

Merlin in History of the Kings of Britain

Like many legendary figures, King Arthur originally existed in a largely oral tradition. It was the 12th century that gave us the first cohesive biography of Arthur, with his prominent appearance in Geoffrey of Monmouth’s History of the Kings of Britain. This book was also the first appearance of Merlin. His mother was a virgin princess and his father some sort of spirit (a demon or a fairy – it’s not proven which), which has granted him the gift of prophecy. As a boy, Merlin reveals to the British tyrant Vortigern that his tower keeps falling because underneath it a red dragon battles a white dragon, which predicts how Vortigern will be defeated by Ambrosius, whose throne Vortigern has usurped. After Vortigern’s defeat, Merlin becomes the advisor of King Ambrosius. Later Merlin transports Stonehenge from Ireland to Britain to serve as a memorial for the British slain by Saxon treachery, prophecies Ambrosius’ death and the coming of King Arthur, and finally disguises Ambrosius’ brother Uther Pendragon as Gorlois in order to sleep with Gorlois’ wife Igraine and produce Arthur.

In many ways, this Merlin is similar to the later one of more familiar stories. He is already performing many of his most memorable feats, such as moving Stonehenge and transforming Uther. He prophecies King Arthur. He is half-human. However, this Merlin never meets Arthur directly and he isn’t really a wizard. Merlin’s only explicitly supernatural ability is prophecy, and he transports Stonehenge through vaguely defined “machinery” and uses “medicine” to change Uther’s appearance. You’re supposed to view him as scholar and scientist rather than a magic-user – a startling notion to appear in a medieval text.

Merlin in Le Morte d’Arthur

Later authors would turn Merlin into a full-blown wizard as well as have him stick around long enough to guide King Arthur in his early years. Not only would he transport Stonehenge and transform Uther through magic, but he would also perform numerous other supernatural feats – many of them involving changing his own form or others. These authors also made Merlin a more morally ambiguous figure – presumably because they felt any wizard (even one whose ultimate goal was good) could not be entirely virtuous. He’s still on the right side, King Arthur’s side, but behaves horribly when not on his mission. This Merlin loves to toy with people, refusing to explain himself and only telling people what he needs to in order to get them to do what he wants. He chuckles when he gazes at people’s future and sees they’ll die an ironic death. He sexually harasses his apprentice Nimue until she entombs him in a tree. This is the Merlin of the Arthurian romances, and especially Sir Thomas Malory’s Le Morte d’Arthur – the most famous Arthurian text.

Merlin in Excalibur

The character of Merlin gets transformed again in modern stories, such as T. H. White’s novel The Once and Future King and John Boorman’s movie Excalibur. These authors smooth out a lot of the rough elements of Arthurian heroes, such as King Arthur’s vengeful pride, Lancelot’s berserker rage, and Merlin’s disquieting nature, making them unequivocally heroic. Now Merlin is an entirely benevolent wizard, King Arthur’s kindly mentor, and surrogate father figure. In the Sword in the Stone installment of Once and Future King, Merlin is even Arthur’s tutor, transforming him into various animals to teach him about life. This is the Merlin most modern people think of – friendly bearded guy giving useful advice and casting some fancy spells. This is the Merlin that inspires Gandalf.

Sometimes earlier versions of the character still make appearances. Mary Stewart’s series of Arthurian historical fiction leans into Merlin being a prophet and scientist instead of a wizard, and the first book (The Crystal Caves) closely adapts Merlin’s appearances in History of the Kings of Britain. Mark Twain’s A Connecticut Yankee in King Arthur’s Court features Merlin as a manipulative charlatan and Phyllis Ann Karr’s Idylls of the Queen has him as a fanatical lunatic.

Merlin in Marvel Comics

Perhaps the most complex exploration of these different versions of the character is Merlyn in Marvel Comics’ Captain Britain and Excalibur – when he first appears to give Captain Britain his power, Merlyn (or “Merlin”) appears as the benevolent father figure of Once and Future King to Brian “Captain Britain” Braddock, but later this proves to be a façade as the true Merlyn is a far more amoral manipulator, like the Merlin of Malory and the Romances. It’s implied he went all T. H. White because that surrogate father-figure and tutor is who Brian would most respond to, fulfilling a hole in the lonely boy’s life and appealing to his childhood fantasies of being a knight and belonging to something greater than himself. A Malory Merlin pretending to be a White Merlin to manipulate someone into doing what he wants is very on-brand. Later, the character seems to be invoking the original Geoffrey of Monmouth scientist Merlin as a lot of the character’s “magic” is revealed to be alien science – he’s even linked with the Doctor, the hero from the British science fiction show Dr. Who. It’s hard to know how much of this is intentional, especially because figures such as Geoffrey of Monmouth are rarely read these days except by medieval scholars. However, it is intriguing that these Marvel comics do seem to be engaging with all versions of Merlin, whether accidentally or on purpose.

Many King Arthur characters are vastly different from themselves in different interpretations – Queen Guinevere in particular has a talent for appearing as a virtuous hero or a sinister villain or anything in between, depending upon the needs of a particular story. But I’m especially fascinated by how different these versions of Merlin are. If the Merlins of Geoffrey, Malory, and White all hung out together, they probably wouldn’t like each other very much.

One of the reasons I love the stories of King Arthur is that they’re so mutable, able to be changed into whatever purpose they’re needed. It’s fitting that one of the changeable parts is the nature of Merlin, the shapeshifting wizard who is most famous for helping Uther Pendragon take on a different form.

Coping with Mental Health Issues: King Arthur’s Men

12 Sunday May 2019

Posted by Bevan Thomas in Mental Issues, Welsh Folklore

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depression, Geraint, King Arthur, Lancelot, Myrddin, Owain

Howard Pyle, “Geraint”

“Ah, Geraint,” said Gwalchmai, “is it thou that art here?”
“I am not Geraint,” said he.
“Geraint thou art, by Heaven,” he replied, “and a wretched and insane expedition is this…. Come thou and see Arthur; he is thy lord and thy cousin.”
“I will not,” said he, “for I am not in a fit state to go and see any one.”
Thereupon, behold, one of the pages came after Gwalchmai to speak to him. So he sent him to apprise Arthur that Geraint was there wounded, and that he would not go to visit him, and that it was pitiable to see the plight that he was in. And this he did without Geraint’s knowledge, inasmuch as he spoke in a whisper to the page. “Entreat Arthur,” said he, “to have his tent brought near to the road, for Geraint will not meet him willingly, and it is not easy to compel him in the mood he is in.”

– “Geraint ap Erbin,” The Mabinogion

The stories of King Arthur is one of those funny things that have conjured so many cultural tropes and images that a lot of people think they know more about it than they actually do. For example, I’ve heard people comment that they prefer characters who are more complicated and flawed, and so perfect heroes such as King Arthur and his knights are not interesting.

But King Arthur and his knights are so deeply flawed. One of the most regular themes in the Arthurian Romances is how great ideals and moral codes crumble and break eventually. The whole arc of Arthur is that he created the perfect kingdom but it was inevitably destroyed – not by an outside force, but rotting from within due to the sins and weaknesses of the knights. Infidelity, petty jealousy, incest, betrayal, feuds, vengeful murder – all of these help to shatter the Round Table. So does madness.

It is fascinating to look at how older cultures viewed mental issues, especially things like anxiety or depression, where it is often ambiguous whether the person is suffering from a disorder or if that’s just their personality. In King Arthur stories, characters are frequently pushed to the breaking point by traumatic events, when their views of themselves are destroyed.

Innes Fripp, “Sir Lancelot in his Madness”

The most famous break is with Lancelot. He is seduced by the princess Elaine when she’s disguised as Guinevere, and once Lancelot realizes that she wasn’t the woman he thought she was, he leaps out of a window and runs screaming into the forest. It’s an ironic scene, for if he had had sex with Guinevere, that would have been the supreme betrayal of his vows to King Arthur, and yet it is having sex with Elaine that shakes Lancelot to the core. He feels he cheated on the queen, sullied himself with someone he didn’t love, and so he lives like an animal in the wild for several years.

The theme of trauma reducing a man to an animal shows up in several Welsh Arthurian stories as well. In the Welsh version of the “Lady of the Fountain,” the hero Owain temporary leaves his fairy wife, the Lady of the Fountain, to return to King Arthur’s court. He becomes so wrapped up in Arthurian adventures that he forgets to return to her, and after waiting months for his return, the Lady eventually discards him as he discarded her – appearing to him in court to deride his faithlessness and then using her magic to hide her valley from him forever. Owain goes mad with the guilt and loneliness, and he spends the next few years living naked in the forest, eating raw meat. Similarly, the semi-historical Myrddin (who the Arthurian Merlin was partly inspired by) in “The Life of Myrddin” was traumatized by his involvement in a great battle, and so fled naked into the forest, where he ate moss and apples, befriended the beasts, and refused to return to human society, snarling like a wolf whenever someone tried. It is perhaps problematic to identify someone in the middle of a nervous breakdown as akin to a wild beast, but a storm of emotions causing someone to flee into their head and into the wilderness is a feeling I can strongly identify with. Sometimes so much force is exerted on the self that one wishes for the self to be blotted out.

“Geraint ap Erbin” is another Welsh Arthurian story in which the warrior suffers from mental issues, but in a dramatically different way. The first half of the story is about Geraint winning the lady Enid by impressing her in a tournament, a pretty traditional Arthurian Romance. The second half involves Geraint being forced to leave Arthur’s court to take charge of his father’s domain in Devon, giving up his adventures to instead become a ruler and bureaucrat. Geraint hates this, constantly yearning for Arthur’s court, and eventually shuts himself in his room, too depressed to deal with any part of the court. Geraint believes that since he can no longer be a warrior and adventurer, he’s a failure as a man, and so he starts to suspect his wife Enid of infidelity – deciding that there’s no way that she could ever love a failure like him. In a storm of envy and depression, he drags Enid with him out of Devon, determined to fight battle after battle in order to prove to her and himself that he is still a man… or die in the attempt.

Geraint’s suicidal obsession and his verbal abuse of Enid ring much more realistically than the other characters’ descent into animalism, which makes it especially shocking to read. There’s an intense moment where Arthur finds Geraint almost dead from numerous wounds, both he and Enid dressed in tatters, and the king is angry and frightened – demanding to know why Geraint is putting himself and Enid through hell. It is very hard for people who don’t suffer from depression or anxiety to understand exactly why we who do are acting the way we are – it seems illogical, bizarre, and self-destructive (and often is); this moment in the “Geraint” Romance is startling for its psychological realism.

There are various examples in stories all over the world of characters struggling with mental issues. What makes the Arthurian stories that struggle with this topic especially striking is that King Arthur and his knights are supposedly archetypes of masculine heroism and strength, perfect paladins pure of thought and deed. By showing them being undone by their guilt, self-hating and self-destructive because they fall short of their ideals, it reminds us that depression can strike down all of us. All of us are vulnerable, even the greatest knights of the world.

Welsh King Arthur vs Seven Soldiers of Victory

28 Monday Jan 2019

Posted by Bevan Thomas in Welsh Folklore

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Grant Morrison, King Arthur, Shining Knight

One of my favourite comic book authors is Grant Morrison. He writes with so much energy and creativity, such a sense of fun, that so many of his comics are a psychedelic thrill ride exploring so many crazy ideas. One of Morrison’s most ambitious projects was DC’s Seven Soldiers of Victory, seven interlocking miniseries about seven different DC heroes who independently fight against an invasion of demonic fairies known as the Sheeda.

One of these heroes is a reinvented version of the Shining Knight, a champion of King Arthur’s court who reawakens in modern times. While the original version of the Shining Knight was from the Dark Ages and the pseudo-historical King Arthur, Morrison’s version instead comes from a fantastical “ur-Arthur” thousands of years before recorded history. Basically, the archetypes of King Arthur and his champions appear over and over again in this world, each time in a different form.

This prehistoric fantasy Arthur first appears in Shining Knight #1, which retells the famous Taliesin poem “The Spoils of Annwn”: “before the spoils of Annwn woefully he sang, / And thenceforth till doom he shall remain a bard. / Thrice enough to fill Arthur’s ship we went into it; / Except seven, none returned from Castle Revolving.” In the comic, Arthur’s army is at war with the Sheeda, and they battle to the Sheeda’s capital of Castle Revolving to steal their enchanted cauldron which is the Castle’s heart. Of Arthur’s men, none but seven return.

Shining Knight #1 starts off powerfull and mythic: “From the far, unspeakable land of the Vampire Sun they came, from Eternal Summer’s End on Sheeda-Side….” It is clearly not some faux historical tale in the remnants of Rome nor a stiff and courtly Romance. It’s old myths, wild and fantastical. Sadly, beyond the basic premise of the poem (Arthur’s men go into Fairyland to steal the cauldron heart of Castle Revolving), Morrison is not especially interested in engaging with the original folktales.

It feels like he skimmed the poem, but never Welsh prose — didn’t actually take a look at the Mabinogian. Firstly, the fairies are called the “Sheeda” — a clear derivative from the Irish “Sidhe” — instead of the “Tylwyth Teg” or the “Fair Folk.” Merlin gets referenced as “royal were-dragon from Celtic mythology” whose name is also “Gwydion,” which is utter nonsense (Morrison’s earlier idea of Merlin being a renegade Sheeda sorcerer would have felt much more authentic). The warriors dress like knights, when having stranger, more primal costumes would suit the Welsh folklore and the pre-historic narrative far better. Morrison’s list of Arthur’s champions is especially telling:

“Against the Sheeda, Gawain, the Silent Knight, attended by his wondrous hawks. And Lancelot, defender of the faith so long with such a broken heart. Mighty Caradoc, who loved peace most of all. Peredur, blinded by the light of the Holy Cup, yet possessed of celestial senses unknown to ordinary men. Bors, the Laughing Knight. And Galahad next. Galahad, the Giant Killer. The Perfect Knight. Warriors all, of the Shattered Table. But first… Lancelot.”

The idea that each knight has his own special power or trait is straight out of “Culhwch & Olwen,” of course. There are some other Welsh touches here. Gawain’s hawks probably reference his Welsh name, Gwalchmai (“Hawk of May”). “Peredur” is the Welsh name for Percival, the star of one of the Welsh Romances. The name “Caradoc” is very Welsh, though I haven’t heard of any prominent members of Arthur’s court called that. Olwen later shows up in the story.

However, in folklore Gwalchmai’s defining trait is his politeness, whereas this Gawain is silent. This Peredur is obsessed with the Holy Grail (a Romance invention). Perhaps most prominently, Lancelot, Bors, and Galahad were all creations of the French Romances, and thus utterly alien to Welsh myths. Conversely, the comic has no references to Cai or Bedwyr, Arthur’s most devoted companions in the Welsh cycle.

Morrison’s Shining Knight is a lot of fun, and its description of Castle Revolving and the epic raid has a lot of strength to it. Certainly it captures a lot of the fantastical spirit of Welsh folklore, that is sadly missing in most Arthurian retellings. That said, it would have been more compelling and much more mythic if it engaged more with the original Welsh folktales. If the scene were to feature a fully Welsh retinue of warriors, I would describe them thusly:

“Against the Teg, Cai, defender of the faith so long with such a broken heart. Owain, attended by his black lion and his wondrous ravens. Mighty Bedwyr One-Handed, wielder of the Living Spear. Gwalchmai the Golden-Tongued, whose strength waxed and waned with the sun. Geraint the Seafarer. Menw, son of Three-Cries, the Warrior-Wizard. And Peredur next. Peredur, the Monster Killer. The Perfect Champion. Warriors all, of the Shattered Table. But first… Cai.”

Welsh D&D 1: Races

08 Monday Oct 2018

Posted by Bevan Thomas in Role-Playing, Uncategorized, Welsh Folklore

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Dungeons & Dragons, fairies, giants

Here are three (or rather four) different races for a version of Dungeons & Dragons 5th Edition based in Welsh folklore. Though these are the most obvious ones, other races could be selected as well with the DM’s will. For example, the triton from Volo’s Guide to Monsters could work well as merfolk and the shifter from the D&D website could be a good fit for werewolves and even Saxon werebears and strange Annwn wereboars.

Note that the language “Annwn” is that of the fey of the Otherworld, and thus replaces the normal D&D language “Sylvan.”

Half-Giant

Before humans ruled, Britain and Ireland belonged to the giants. Then the Picts came, but these folk saw the wisdom with allying with the lords of the land. Even marriages were made, with giant chieftains taking Pictish brides and Pictish chieftains taking giant brides. Then Brutus the Trojan brought his people to the island and warred against giants and Picts alike until he conquered the giant king Albion and claimed the island for his people – who became known as the “Brythons” in his honour. However, there are still giants in Britain – especially in the far north above Hadrian’s Wall. Most despise the Brythons, though are content to be left alone in the wild places. Still, some do make they wrath known.

And then there are the half-giants.

Between Human and Giant

Though many half-giants are the product of a human and a giant parent, the bloodlines of Picts and giants have been so intermingled that it is not uncommon for a half-giant to have two Pictish parents or two giant ones. Though much shorter than regular giants, half-giants are still tall, imposing figures with powerful bodies and long limbs. Their hair and eyes can be a variety of colours, but are most often black or dark brown. Though not as prone to mutation as regular giants, some are still born with a single eye or leg, huge tusks, or unusual coloration. They often dress like the community they’re trying to fit in with – like a giant when with giants, like a Pict when with Picts.

Hermits and Tribesfolk

There are not enough half-giants to form their own communities, so if they wish the company of others, they must associate with either giants or humans. In some tribes they are welcomed, though in others they face derision – this is especially true among giants, who value physical strength so highly. Scornful giants call them “half-breeds” or “runts.” They frequently receive more respect among Picts – Caw, one of the greatest Pictish kings, was a half-giant. It is often easier to be perceived as an unusually large, powerful human than an unusually small, weak giant. Occasionally a half-giant gets raised by humans who are not Picts – for example, King Arthur’s wife Gwenhuvar was raised a Brython by Lord Cador despite being the daughter of Ogrfran the Giant.

Like many giants, many half-giants become hermits. In some ways they can do it far more effectively, for the smaller half-giants can disappear into the wilderness much better than their larger cousins can. They adapt well to heights and the cold, and so are most often found in mountain ranges, though they also make their homes in dense forests and hidden valleys.

Half-Giant Characters

Barbarian is by far the most common character class for half-giants, as it is not only common in giant and Pictish cultures, but also gives them useful wilderness survival skills and voice to the rage and frustration that often dwells within them. Certain half-giants who develop a more spiritual approach to the natural world may become rangers instead; these often befriend creatures of great physical power: boars, bears, and giant serpents. Not surprisingly, an unusually large proportion of giant-soul sorcerers are half-giants. Druids and warlocks are not uncommon either. The druids will often be shamans in the Pictish tradition that follow the Circle of the Shepherd, but mountain or forest Circle of the Land are frequent too. Warlocks will usually have pacts with the Archfey or the Undying (spirits of dead giants and Picts). Other character classes are rare and often involve contact with other cultures.

HALF-GIANT TRAITS

Half-giants share a number of traits in common with each other.

  • Ability Score Increase. Your Strength score increases by 2, and your Constitution score increases by 1.
  • Giant: Half-giants are giants not humanoids.
  • Age. Though not as long-lived as many other giants, half-giants can still live longer than humans. They reach maturity at 15 and often live to at least 200 years.
  • Alignment. Their raging spirits and solitary natures means that most half-giants tend more towards chaos than law. Chaotic evil half-giants are pitiless raiders who attack others to get what they want, whereas chaotic neutral ones are usually either solitary recluses or wanderers. However the more tranquil hermits among them are often true neutral.
  • Size. “Runts” compared to regular giants, half-giants are generally between 7 and 9 feet tall and weigh between 280 and 400 pounds. However, certain ones (such as Queen Gwenhuvar) are even shorter, perhaps a mere 6 feet tall. Your size is Medium.
  • Speed. Your base walking speed is 30 feet.
  • Menacing. You gain proficiency in the Intimidation skill.
  • Savage Attacks. When you score a critical hit with a melee weapon attack, you can roll one of the weapon’s damage dice one additional time and add it to the extra damage of the critical hit.
  • Long-Limbed. When you make a melee attack on your turn, your reach for it is 5 feet greater than normal.
  • Powerful Build. You count as one size larger when determining your carrying capacity and the weight you can push, drag, or lift.
  • Mountain Born. You’re acclimated to high altitude, including elevations above 20,000 feet. You’re also naturally adapted to cold climates, as described in chapter 5 of the Dungeon Master’s Guide.
  • Languages. You can speak, read, and write either Brythonic and Giant or Brythonic and Pict (depending upon which culture you were raised in). Many learn both Pict and Giant.

Ellylon

There exists a world beside the moral one, a world often reached through mysterious mist and hollow hills, across the ocean and deep under the earth. This world is Annwn, the Otherworld. It is not above Earth like Heaven or below it like Hell – it is beside it and through it. It is the realm of the fey.

The lords of Annwn find the words “fey” and “fairy” offensive (as well as the Saxon term “elf”), so various euphemisms are used instead: the Good Neighbours, the Fair Folk, the Shining Ones, the Lords and the Ladies, or most commonly the Tylwyth Teg – the “Beautiful Family.” Their term for themselves is the “Ellylon.” They are often curious about humans, and so cross-over to the mortal to visit them, while others prefer instead to draw mortals into their own world.

The Fair Folk

Ellylon appear as tall, lithe humanoids of unearthly beauty. In their natural form, their hair is always yellow (though depending on the ellylon, it may be a shining gold, the rich colour of wheat, or a paler platinum) and their eyes are hypnotic and golden. Their skin is pale, often almost white, and their features are angular and pointed, including their ears. Ellylon clothes are usually rich and elegant, coloured white and gold. However, they all possess the power to appear perfectly human, and often will wander among mortals in that form.

Lords of the Otherworld

As befits many of their titles, the ellylon are the lords of the fey. Their mightiest include Arawn, Gwyn ap Nudd, Morgen and her sisters, and other rulers of Annwn. Lesser ellylon are the courtiers, warriors, and hunters of the courts, following the dictates of their masters. They are known for their whimsy and for their pride, for most ellylon consider other beings – giants, humans, goblins – to be their clear inferiors. Many grow bored of the Otherworld, and seek to enter the mortal plane for sport. Most will only engage in brief sojourns but some choose to remain among humanity. These are usually the least influential ellylon, who believe they will be prominent among mortals than among other fey.

Ellylon Characters

Ellylon are masters of magic, and produce many powerful fey-born sorcerers, fey-pact warlocks, and bards of all sorts. Those more martially inclined are generally ancient-oathed paladins or rangers, or fighters that become arcane archers or eldritch knights. However, they are ruled by whim, and could end up taking on almost any class. However, no ellylon can become a mystic or a devoted-0athed paladin. They do not have souls as mortals do and cannot comprehend the ways of God.

ELLYLON TRAITS

Ellylon share a number of traits in common with each other.

  • Ability Score Increase. Your Charisma score increases by 2, and your Dexterity score increases by 1.
  • Fey: Ellyllon are fey not humanoids.
  • Age. Ellyllon reach physical maturity at the about the same age as humans. As fey, they will never get old or die of old age. An ellyllon 1000 years old is just as healthy as she was at 20.
  • Alignment. The lords of the fey have little concept of good and evil and their moods can be as changeable as a breeze, compassionate at one moment and cruelly vengeful the next. Most are chaotic neutral and they are almost never lawful.
  • Size. Ellyllon are tall, usually from under 6 to over 7 feet, and with slender builds. Your size is Medium.
  • Speed. Your base walking speed is 30 feet.
  • Darkvision. Accustomed to twilit forests and the night sky, you have superior vision in dark and dim conditions. You can see in dim light within 60 feet of you as if it were bright light, and in darkness as if it were dim light.
  • Unnatural Beauty. You have proficiency in the Persuasion skill. Whenever you make a Charisma (Persuasion) check that takes particular advantage of your physical attractiveness, add double your proficiency bonus to the check instead of your normal proficiency bonus. Though you always possess the Persuasion skill no matter what form you take, the second option can only be employed in your natural ellyllon form.
  • Human Form. You can at will change your form to appear human. Whenever you use this ability, you take the same unique human form – it resembles you though with all fey traits replaced by human ones and your beauty is no longer unnatural (though still striking). The only thing that you can vary when you transform is your coloration – eye, hair, and skin colour. You can stay in your human form as much as you wish, but it is a magical transformation, and so is affected by dispel magic and similar effects.
  • Age Immunity. You are immune to any aging magic.
  • Cantrips. You know two cantrips of your choice from the bard and/or warlock spell lists, as well as the cantrip Otherworldly Door. Charisma is your spellcasting ability for them.
  • Languages. You can speak, read, and write Brythonic and Annwn.

Goblin

While the ellylon rule and hunt, the goblins serve. By far the most populous kind of fey, they perform all the various tasks that the Fair Folk consider too degrading or dull to perform. The two most prominent kinds are the hearth goblins (“booka”) and the mine goblins (“coblynau”).

Rough and Crude

In appearance, the goblins are the opposite of the ellylon. Instead of being tall and graceful, they are short and awkward. Instead of being inhumanly beautiful, they are inhumanly ugly. Their faces are wide, their mouths huge, their voices high-pitched, their eyes large and goggling. They look like caricatures of humanity, and even though they are actually very dexterous, when they move it often seems animalistic, like a scurrying rat or lopping rabbit. Some have animal features, such as horns, fangs, or tails. Their behaviour is generally blunt and unsophisticated, with a strong liking for practical jokes.

Many goblins seek self-expression through their costumes, wearing garish outfits that combine particular clashing styles. Those who live around mortals will frequently combine the looks of those individuals they admire.

Fey Servants

In Annwn, the goblins are menial servants. Booka are house servants – maids, butlers, cooks – while coblynau are miners. Many are content to serve their ellylon masters, but others flee to the mortal realm. After all, though their magic is considered insignificant in the Otherworld, it can produce respect and fear among mortals.

Goblins in the mortal realm generally fall into one of fours categories. There are goblins being sent on missions by their fey masters. There are those (especially booka) who seek to serve humans as they did ellylon, believing that these masters will give them more respect. There are those who instead toy with mortals for their own amusement, playing tricks on them. And there are those goblins that instead strive to be treated as equals, such as the warrior-bard Eiddilig, who joined King Arthur’s court.

Goblin Characters

Goblins favour classes that reward stealth and cunning. They are frequently rogues and bards, and sometimes rangers or fey-pact warlocks. Though in theory they could be almost any other class, they cannot be mystics or devoted-oathed paladins. Like all fey, they cannot channel the power of God.

GOBLIN TRAITS

Goblins share a number of traits in common with each other.

  • Ability Score Increase. Your Dexterity score increases by 2.
  • Fey. Goblins are fey not humanoids.
  • Age. Goblins reach maturity surprisingly early, often at 10. As fey, they never die of old age. Very old goblins (such as 500 or 600 years) will often be very wrinkled and wizened, but they are still just as healthy as they ever were.
  • Alignment. Goblins are often less whimsical than ellyllon and can be neutral as often as chaotic neutral. Those who travel to the mortal realm frequently form a bond with humans, either helping them in the home (for booka) or in the mines (for coblynau) – these goblins are most often neutral good. However, others realize they can toy with humans like the ellyllon toy with them, becoming chaotic neutral or even chaotic evil.
  • Size. Goblins are between 3 and 4 feet tall and average around 40 pounds. Your size is Small.
  • Speed. Your base walking speed is 25 feet.
  • Age Immunity. You are immune to any aging magic.
  • Naturally Stealthy. You have proficiency in the Stealth skill.
  • Languages. You can speak, read, and write Brythonic and Annwn.
    Subraces. Two subraces exist: booka (hearth goblins) and coblynau (mine goblins).

Booka

  • Ability Score Increase. Your Wisdom score increases by 1.
  • Cantrips. You know the Mending and Otherworldly Door cantrips. Wisdom is your spellcasting ability for them.
  • Dark Vision. You can see in dim light within 60 feet of you as if it were bright light, and in darkness as if it were dim light.
  • Tool Proficiency. You gain proficiency with two artisan’s tools of your choice: brewer’s, carpenter’s, cobbler’s, or cook’s. If you then acquire one of these proficiencies a second time (such as through a background), add double your proficiency bonus to the check.
  • Speak with Small Beasts. Through sounds and gestures, you can communicate simple ideas with Small or smaller beasts.

Coblyn

  • Ability Score Increase. Your Constitution score increases by 1.
    Cantrips. You know the Mold Earth and Otherworldly Door cantrips. Wisdom is your spellcasting ability for them.
  • Superior Dark Vision. You can see in dim light within 120 feet of you as if it were bright light, and in darkness as if it were dim light.
  • Tool Proficiency. You gain proficiency with mason’s tools. If you then acquire this proficiency again (such as through a background), add double your proficiency bonus to the check.
  • Stonecunning. Whenever you make an Intelligence (History) check related to the origin of stonework, you are considered proficient in the History skill and add double your proficiency bonus to the check instead of your normal proficiency bonus

Half-Demon

Some times demons or the Evil One himself will seduce mortals for their own dark purposes. Such unions will sometimes produce children, beings generally known as “half-demons.” Such wretched creatures are treated as tieflings from the Player’s Handbook with the following exceptions:

  • Depending upon their demon sire, the exact nature of the half-demon varies. You can use any of the tiefling variants from Mordenkainen’s Tome of Foes. 
  • All half-demons are proficient with the disguise kit.  
  • Half-demons look much more human than conventional tieflings, and will generally only have one or two demonic traits that can be hidden with a successful disguise kit proficiency roll. Such traits might include small horns, reddish skin, pointed ears, fangs, a forked tongue, or other small yet disquieting features.

Welsh Folklore in “Call of Cthulhu”

04 Wednesday Jul 2018

Posted by Bevan Thomas in Role-Playing, Welsh Folklore

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Call of Cthulhu

Call of Cthulhu is the role-playing game based on H. P. Lovecraft’s series of famous short stories of nihilistic dark gods and monstrous aliens. Here’s how I would link the various forces of Lovecraft’s universe with Welsh mythology.

THE GODS

CTHULHU

There are references to the gods Llyr and Dylan ruling undersea kingdoms off the cost of Britain, likely linked to the deep ones and Cthulhu, and specifically to Ahu-Y’hloa, the mighty deep one city off the coast of Cornwall. The fact that Bran the Blessed, mightiest son of Llyr, was a giant in folklore suggests not entirely human blood – perhaps he was an unusual deep one mutation.

GWYN AP NUDD, Great One. It is not possible to hunt the boar Trwyth without Gwyn, the son of Nudd, whom God has placed over the brood of devils in Annwn, lest they should destroy the present race.
– “Culhwch and Olwen,” The Mabinogion

Gwyn the son of Nudd, Gwyn the White, Gwyn the Hunter, Gwyn the Master of the Wild Hunt, Gwyn the Lord of Castle Revolving. Of all the rulers of the Tylwyth Teg, it is said the Gwyn ap Nudd is the mightiest, save perhaps for his brother Arawn the Gray. In his true form he looks like an especially beautiful fey, with hair of shining silver and skin of purest white. He often wears a crown of flowers and stag’s antlers, and war will blacken his face with charcoal.

Though, like all Tylwyth Teg, Gwyn pursues numerous schemes in a desperate attempt to escape boredom, his favourite diversion is always hunting. On certain dark nights he will lead the Wild Hunt across the sky, pursuing any poor mortals he finds, but Gwyn prefers mightier, more monstrous prey. He claims to be the son of Nodens (“Nudd”), the greatest hunter of them all, and dedicates many of his kills in that elder god’s name. None know for sure if King Gwyn is telling the truth, but he does seem to have great mastery over the nightgaunts.

Nyarlathotep often takes Gwyn ap Nudd’s form, so it is very dangerous to have dealings with the fey king. Though it is often hard to tell if an encounter with Gwyn was truly with him, it is generally assumed that the Gwyn ap Nudd who stole away Creiddylad and join King Arthur in his hunt for the boar Trwyth was the real being.

CULT: Few worship Gwyn ap Nudd as such, but offerings are still often left for the fairies in various parts of Britain. Certain sorcerers do invoke him in the hopes that he will lead the Wild Hunt against their enemies.

THE WILD HUNT: When vengeful or just bored Gwyn ap Nudd will often gather a great hunt to pursue someone who has angered him or to bring to heel some glorious quarry. The Wild Hunt usually happens in the Dreamlands, but if King Gwyn’s quarry is on Earth, he will pursue it then.

The Wild Hunt is led by Gwyn himself and generally includes 2D10+10 hounds of Annwn in dog form, 1D6+3 mounted Tylwyth Teg, and 2D6+3 Tylwyth Teg hunters on foot. However, sometimes other beings are drawn into the hunt as well, such as ghosts, nightgaunts, or hounds of Tindalos. Viewing the Wild Hunt causes a Sanity loss, as does even just hearing the terrifying wails, howls, and hooves across the sky.

ATTACKS: Gwyn ap Nudd acts with his weapons. He prefers not to use magic in combat, instead giving his prey a sporting chance. If he is facing a more dangerous foe, then Gwyn will use special arrows that cause madness (1/1D8 Sanity points with each hit). Then if things become especially dangerous, he can summon hounds of Annwn and Dreamlands monsters for protection.

GWYN AP NUDD, King of the Fairies
STR 21 CON 53 SIZ 12 INT 25 POW 25
DEX 25 APP 25 MOVE 12 HP 31

Damage Bonus: +2D6
Weapons: Sword 90%, damage 1D10 + db
Spear 90%, damage 1D10 + db
Arrows 90%, damage 1D8 + db + Sanity loss

Spells: Gwyn ap Nudd can summon Hounds of Annwn at the rate of one hound per magic point expended. In addition, he can summon any creature native to the Dreamlands that is either not connected to another deity or is loyal to Nodens by expending 1 magic point per SIZ point of the being summoned. He also knows all Contact Spells for any Tylwyth Teg Great Ones, Contact Nyarlathotep, Contact Nodens, and Summon Nightgaunt.

Sanity Loss: 0/1D10 Sanity points to see Gwyn ap Nudd in his true form. Seeing the Wild Hunt costs 1/1D8 Sanity (may be higher if the Hunt includes other Mythos creatures or entities). Just hearing the Wild Hunt costs 0/1D2 Sanity.

NODENS

Among the humans of Earth, probably none worshipped Nodens as much as did the Celts. As the great hunter of monsters, slayer of dragons, there was much to recommend Nodens to them. In fact, the mainland Celts worshipped Nodens under his real name, though the Brythons more often referred to him as “Nudd.” The relationship between him and Gwyn ap Nudd is open to debate.

NYARLATHOTEP

The messenger and soul of the Outer Gods has numerous avatars, some of which are of particular prominent to the British.

  • Black Man. A Satanic figure that is often the leader of witches’ sabbats, including many in the British Isles. In this form he is frequently referred to simply as the “Evil One.”
  • Dark Demon. This black pig-faced demon sometimes appears at the sabbats if Nyarlathotep wants something a little more dramatic than the Black Man.
  • Gwyn ap Nudd. Though the king of Caer Sidi is a separate being, Nyarlathotep also will sometimes take his form as a personal avatar (enjoying the irony of pretending to be the self-proclaimed “son of Nodens”). It is often to know if one is talking with the real Gwyn ap Nudd or Nyarlathotep in disguise.
  • Horned Man. Known as Herne the Hunter by certain cultists in east England, as well as the Wild Huntsman and Master of the Wild Hunt. A relatively recent persona created to mock Gwyn ap Nudd (as Gwyn was the traditional Brythonic commander of the Wild Hunt).
  • Wicker Man. The embodiment of pagan sacrifice, who sometimes appears as part of certain rituals.

Note that he will frequently appear attended by Our Ladies of Sorrow, or sometimes they will be his heralds and messengers, delivering his commands.

SHUB-NIGGARATH

Numerous fertility cults have built up around her, and in various forms she was a favoured source of veneration for druids and Pictish shamans. As a result, many of her dark young have walked the island and some still remain in hidden forests.

  • Green Man. Contrary to some reports, this is an avatar of Shub-Niggarath, not Nyarlathotep. Like the Great God Pan, the Green Man is Shub-Niggarath’s fertility embodied in a male form. He appears as a man made of leaves, vines, fruits, and other plant material all mixed together to form a humanoid figure. An ancient god of the druids, the Green Man has proven surprisingly tenacious despite Britain’s official Christianity. For example, his face is still carved in numerous churches and displayed on the sign of numerous inns, and his effigy (as “Jack-in-the-Green”) is danced around at May Day. The Green God, a Great Old One worshiped in the British village of Warrendown, is linked to the Green Man, and certain individuals worship them as the same being.
  • Modron. The “Mother,” her most common avatar in Britain and the spiritual head of her ancient fertility cult. She appears as a large, voluptuous heavily pregnant woman whose features have a disquieting resemblance to the viewer’s own mother. As Modron Shub-Niggarath is relatively benign, content to receive worship and savour her sacrifices, and be served by her most beloved child, Mabon ap Modron (“Son, son of the Mother”). However, if she is ever angered or threatened, she will quickly transform into a more monstrous form.

SHUDDE M’ELL

King of the chthonians, called the “Great Dragon” or the “God of the Mound” in ancient texts. He was long worshiped by Picts, giants, and Little Folk, an embodiment of the wrath of the Earth and the powers of the tunnels. Numerous cairns, dolmens, and standing stones all over Britain are dedicated to the Great Dragon, many inscribed with various runes.

YOG-SOTHOTH

The Brythons have traditionally identified Yog-Sothoth not so much with a being but with a concept: the Awen. This is the spirit of inspiration that is the source of poetry, prophecy, and magic, but also madness, which can enter anyone at any opportunity to fill them with visions. Some scholars have related to this to the Christian Holy Spirit, but it has a far older origin. There are certain mountains, especially in Wales (such as Cadair Idris), that are considered close to the Awen, and it is said that any who sleep there come down either a poet or a lunatic. Some who sleep there also become pregnant with the “soul of the Awen,” — the most famous of these children of Yog-Sothoth were Merlin and Taliesin.

OTHER GREAT OLD ONES

  • Byatis, Glaaki, and Eihort are all imprisoned in England’s Severn Valley and written about in the Book of Black Earth. Certain cultists enter Eihort’s labyrinth in the hopes of gaining occult power. Few return.
  • Lilith, as the “queen of the witches,” is frequently worshipped alongside the Black Man at sabbats.
  • Our Ladies of Sorrow. They often accompany Nyarlathotep, but also appear independent of him. They are always together and frequently spinning and weaving some strange design as they speak cryptic words to their guest. Our Ladies of Sorrow enjoy the fear and uncertainty that their prophecies cause.
  • Saaitii the Hog, lord of the swine folk, has sometimes been summoned to Britain and is spoken of in certain rituals.
  • Tru’nembra. The so-called “angel of music” that appears as a living sound, is also sometimes identified with the Awen.

THE MONSTERS

DRAGONS

Though the term “dragon” has been applied to numerous creatures, the most common ones are the chthonians and the lloigor. The chthonians are monstrous centipede-like monsters that burrow deep into the earth and cause numerous earthquakes. In ancient times, their worshippers often erected dolmens and burial mounds over the entrances to the chthonian tunnels, burying their greatest champions beside them so that their ghosts would be alongside the dragons forever. This connection with the cairns of ancient warriors (buried with their treasure) as well as the general link to the underworld with its minerals and gems, was what inspired the stories that dragons would guard great treasure troves. Indeed, certain gemstones seemed to have powers or ritual significance to the chthonians, and they would guard them jealously. They also known as the “worms of the earth” or the “black serpents of the barrow,” and are still worshipped by certain tribes.

Confusingly, the lloigor also inhabit their own tunnels underneath the earth, nursing their fading energies there, hoarding various minerals that they feel would help recharge their fading energies and taking humans are slaves. Many of them are found under the mountains of Wales, and as their physical form (when it manifests) resembles a great reptile, they have also contributed to many dragon tales. In fact, in pre-Roman times, many lloigor (who called themselves the “Dragon Kings”) demanded blood sacrifices be given to their stone oracles and statues. Some believe that Merlin’s vision of two dragons battling was actually a chthonian wrestling with a lloigor for control of a mountain.

Other reptilian monsters have also added to the stories, such as the hunting horrors of Nyarlathotep (presenting the image of dragons as flying predators).

GIANTS, Lesser Independent Race.

He is not smaller in size than two of the men of this world… and he has a club of iron, and it is certain that there are no two men in the world together who could lift that club unburdened. And he is not a comely man, but on the contrary he is exceedingly ill-favoured, and he is the woodward of that wood.
– “The Lady of the Fountain,” The Mabinogion

It is said that before the first humans came to Britain, the giants ruled. Some say in ages past they were human, but that somewhat caused their size to swell. Others believe that the giants are the descendants of blasphemous cross-breeding between humans and gugs or that they are the descendants of Atlantis or originally came from the Dreamlands or were indeed the figures mentioned in Genesis: “There were giants in the Earth in those days; and also after that, when the sons of God came in unto the daughters of men…” Whatever their origins they have been living alongside humans, and warring with them, for many ages. Of course, not every encounter with a “giant” is with an actual giant. Gugs, trolls, voormis, and many others have been confused for them.

Though millennia ago they were the masters of all survey, humanity has pushed back giants to the edges of civilization. Those few that remain on Britain are found on isolated islands or the mountains and hidden valleys of Scotland and Wales, or have moved to subterranean tunnels. They have ancient pacts with the Little Folk and the Worms of the Earth, and many giants worship the Mother (Shub-Niggurath) and the Great Dragon (Shudde M’ell), and some even the Piper (Nyarlathotep). Most dream of a day when they can drive humanity from Britain and reclaim it for their own.

The “average” giant appears as a rough and savage figure twice the size of a regular human, though it is a species prone to mutation. Some giants are much bigger, others have a single eye and/or a single leg, some have horns, etc. They breed true with humans and their bloodlines have been so mixed with humanity that many giants give birth to humans and some humans will give birth to giants.

ATTACKS: most carry giant clubs, though some have metal weapons. Many also throw stones.

GIANTS, Original Lords of the Island
char.   rolls         average
STR     3D6+20  30-31
CON    3D6+8    18-19
SIZ       5D6+10  27-28
INT      3D6         10-11
POW    3D6         10-11
DEX     3D6         10-11
Move 12 HP 23

Av. Damage Bonus: +2D6
Weapons: Club 50% 2D6 + db
Punch 50% 1D8 + db
Thrown Rock 40% 2D6 + db
Armor: 2-point hide

Spells: Giant wizards known 1D10 spells
Skills: Hide 30%, Spot Hidden 40%
Sanity Loss: 0/1D8 Sanity points to see a giant.

GOBLINS

These are more properly known as the “gof’nn hupadgh Shub-Niggurath” — the blessed of Shub-Niggurath, or as they are called in Welsh, the Bendith y Mamau (“Blessing of the Mothers”). They are beings who have been sacrificed to Shub-Niggurath and then “birthed” again from her body. Though conventionally most goblins have goatish features, those birthed by Modron are more likely to have pig or deer traits (tusks, curly tails, antlers, etc.), but others have other strange deformities. The goblins are sometimes accompanied by the “treeherds,” which are in fact the dark young of Shub-Niggurath.

HOUNDS OF ANNWN, Lesser Servitor Race.

He heard the cry of other hounds, a cry different from his own…. Of all the hounds that he had seen in the world, he had never seen any that were like unto these. For their hair was of a brilliant shining white, and their ears were red, and as the whiteness of their bodies shone, so did the redness of their ears glisten.
– “Pwyll, Prince of Dyved,” The Mabinogion

A species of shape-shifters that hunts through the Dreamlands was domesticated by the Tylwyth Teg. In their true form, they appear as a shifting mass of white mist in which various body parts form at random moments. These beings have been domesticated by the Tylwyth Teg, who have them transform into both the Teg’s hounds and their steeds, and they are utterly devoted to their fey masters.

The howl of the hounds of Annwn on the hunt is incredibly disturbing and reverberates across the sky. The strangest thing about the sound is that it actually gets quieter the closer the hound gets, so that if you are right beside one, the howling sounds only like a murmur.

INVISIBILITY: Hounds of Annwn can turn invisible at will by spending only a single magic point. However, they can only attack when visible.

SHAPE-SHIFTING: Hounds of Annwn can make themselves appear as any beast (never a human-like form). The Tylwyth Teg find them most useful as horses or dogs, so they will generally appear as such. No matter what form they take, they are always white with red eyes and red in the insides of their ears.

TRACK: When they scent their prey, they can follow the scent to any part of the Dreamlands or Earth. The only way to escape the scent is to travel to another planet. Or to either kill the hound or convince its fey master to call off the hunt.

TRAVEL: A hound can run across the sky as easily as on land, and can at will move between Earth and the Dreamlands, taking its rider with it.

ATTACKS: A hound of Annwn uses whatever attack is appropriate for its form, but always inflicts the same damage. If in dog form when facing an especially dangerous foe, the hound will often grow to horse-sized but still keep its hound appearance. If panicked, it will take its natural form.

HOUNDS OF ANNWN, Fey beasts
char.  rolls          average
Str       3D6+20   30-31
CON   3D6+12    22
SIZ      2D6+1      8
(4D6+12) (24)*
INT     3D6          12
POW   4D6          14
DEX    4D6          14
Move 20 / 20 flying HP 15 (23)*
*The number outside the brackets is when dog-sized, inside is horse-sized

Av. Damage Bonus: +2d6
Weapons: Bite/hoof 90% 1D10 + db
Armor: 2-point hide
Skills: Dodge 50%, Hide 70%, Spot Hidden 80%, Track by Smell to the Ends of the Earth 120%
Sanity Loss: 0/1D2 Sanity points to see it disguised or to hear its howl upon the wind; 1D3/1D20 Sanity points to see it in its true form.

MEN OF THE BARROW

Certain warriors, shamans, and other devottees to the Old Gods, especially Shudd M’ell, are buried in tombs and barrows. Because they have been “blessed” by their deities, they are not dead, but merely sleeping. If their tombs are broken into, the men of the barrow will attack. Treat as mummies.

MERFOLK

The merfolk from the sea seducing mortals and leading them to their doom comes from stories of the deep ones. In fact one of the three major cities of the deep ones is Ahu-Y’hloa, off the coast of Cornwall.

SWINE FOLK

These subterranean piggish humanoids make their home in some parts of Wales, dwelling under certain of the mounds and worshipping Saaitii.

TYLWYTH TEG, Lesser Independent Race.

While he sat there, they saw a lady on a large pure white horse, and with a garment of shining gold around her, coming along the road that led from the mound. The horse seemed to move at a slow and even pace… and he followed as fast as he could [but] the greater was his speed, the further was she from him.
– “Pwyll, Prince of Dyved,” The Mabinogion

The Tylwyth Teg or the “Fair Family” — beings later known as the “fairies” — are a civilization of human-like beings who inhabit the Dreamlands (which the Brythons call Annwn – the “Otherworld”). Some believe that the Tylwyth Teg were original human thousands of years ago, but if they were, they are not quite human anymore. They do appear, in their natural form, as beings of almost impossible beauty with thin, graceful bodies, shining golden hair, golden eyes, and pure white skin. So strangely beautiful are they that it is difficult on them. Each Tylwyth Teg also has a specific human form they can take, which they use to walk among mortals.

The Tylwyth Teg never grow old. As the centuries go by, they merely become more powerful and more jaded, with their leaders being Great Ones (the gods of the Dreamlands). Though the Tylwyth Teg pretend to not worship any gods besides themselves, as lords of the Dreamlands they are ultimately subservient to Nyarlathotep and also venerate Hypnos, the king of dreams, and Nodens the Hunter (whom they call “Nudd”). It amuses Nyarlathotep to sometimes masquerade as Teg rulers, especially Gwyn ap Nudd.

Pride and boredom are the two defining traits of the Fair Family. They are all very old and very powerful, and have done so many things many times that to do almost anything again would be a horrible burden. Thus they are obsessed with novelty. The Tylwyth Teg scorn regular humans as their inferiors but they also seek to play games with them in order to try new things. The Tylwyth Teg often kidnap humans and force them to entertain them or will develop complicated schemes that they ensnare humans in, just to see what they will do. The Tylwyth Teg are too far-gone from any mortal perspective to fully comprehend why encounters with the Mythos cause humans to go mad, but many of the fey do find such reactions amusing, and so sometimes lead victims into a monster’s web. However, just as many Tylwyth Teg are hungry for hunting, and battling alien monstrosities to the death is one of the few things left that gives a certain zest to existence.

ANNWN: Though the name “Annwn” can refer to the entire Dreamlands, it can also refer to the domains of the Tylwyth Teg in particular. There are entrances to Annwn all over Britain, often marked by a hill, a cairn, a standing stone, or a ring of mushrooms. Any Tylwyth Teg who stands at one of those entrances can open it with a magic point, allowing him and his companions to enter the Otherworld. He can also return from Annwn to that place with a magic point as well.

The cities of the Fair Folk can look like whatever they want, but often appear white and gold. Time runs differently there, so sometimes a mortal might spend a day in Annwn and return to find a hundred years have passed or spend a year in Annwn but no time has passed on Earth.

ATTACKS: They attack with various regular weapons, favouring elegant swords, spears, and longbows. All Tylwyth Teg known sorcery, and they are not afraid to use it against their enemies. Many of them dip their weapons (especially their arrows) into a certain poison that can bring madness to those it infects (0/1D6 Sanity points with each hit).

TYLWYTH TEG, the Fey Folk
char.   rolls      average
STR     2D6+6   13
CON    2D6+6   13
SIZ       3D6       10-11
INT      2D6+12 19
POW    2D6+12  19
DEX     2D6+8   15
APP      2D6+12 19
Move 8 HP 11-12

Av. Damage Bonus: +1D6
Weapons: Sword 40% 1D8 + db
Spear 40% 1D8 + db
Arrows 60% 1D8 + db + potential Sanity loss
Armor: none natural, but they may carry armour

Skills: Hide 60%, Listen 40%, Sneak 60%, Spot Hidden 40%
Spells: all know at least 1D6 spells. Furthermore, any Tylwyth Teg can spend 1 magic point to appear human – each Teg has a very specific human form that they can take.
Sanity Loss: 0/1D6 Sanity points to see a Tylwyth Teg in their natural form.

OTHER FEY

At various times other beings besides the Tylwyth Teg have been confused for fairies:

  • Little People. A stunted humanoid race that has been pushed back into the edges of the wilderness (especially the mountains and valleys of Wales). Contrary to some claims, these are not the Picts, but they have shared the island with the Picts for a very long time and there has been a certain amount of interbreeding. They worship a pantheon that has the Mother (Shub-Niggurath) at the head, but also includes the Piper (Nyarlathotep), the Hunter (Nodens), the Seer (Yog-Sothoth), and the Dragon (Shudde Me’ll). They often kidnap human children for their dark rituals. Some are halfbreeds with the serpentine worms of the earth.
  • Worms of the Earth. Though this is a term frequently applied to Chthonians, it can also refer to remnants of the serpent people who turned to worship Tsathoggua and so were cursed by Father Yig. These “worms of the earth” or “children of the night” still worship Tsathoggua and a mysterious Black Stone, and are responsible for many of the curses identified with the fairies in folklore. Like the Little People, they also kidnap children for their rituals.

VOORMIS

Though many wild men are humans who have gone insane, there are also voormis prowling the wilderness, mistaken for men who have gone made and animalistic.

WEREWOLVES

Shub-Niggarath in her avatars of Modron and the Green Man, as well as Nyarlathotep as the Horned Man all enjoy punishing mortals by transforming them into ravening beasts. Fey lords such as Gwyn ap Nudd also enjoy this. They in particular enjoy unleashing their victim upon his friends, so that the werewolf (or werebear, wereboar, etc.) destroys those closes to him. Some also seek to become werewolves willingly, such as Gurgi Rough-Grey and his pack, who dedicated their victims to Shub-Niggarath and then devoured their hearts.

Welsh King Arthur vs Mary Stewart

11 Monday Jun 2018

Posted by Bevan Thomas in Welsh Folklore

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Crystal Caves, Geoffrey of Monmouth, Mary Stewart, Merlin

 If you told people you were looking for a modern retelling of the original version of King Arthur, they’d likely assume you meant a pseudo-historical one and would most likely direct you towards Mary Stewart’s Arthurian series: The Crystal Caves, The Hollow Hills, The Last Enchantment, and The Wicked Day. The first three star Merlin while the final one focuses on Mordred, and they’re the most famous Arthur stories that are grounded in the actual 5th century rather than Mallory’s pseudo-middle ages with knights and tournaments and whatnot.

So, how “Welsh” are they? Most “historical” takes on Arthur (such as Jack Whyte’s Dream of Eagles series, Marion Zimmer Bradley’s Mists of Avalon, or that abysmal 2004 King Arthur movie) have utterly no interest in incorporating the original sources, instead either just placing the Mallory stories in a more historical context or going off in their own direction – basically just telling a piece of historical fiction and then slapping the “Arthur” tag on it. However, Mary Stewart’s jump-off point actually is a medieval text, though not really a Welsh one: Geoffrey of Monmouth’s History of the Kings of Britain.

The Crystal Caves is a pretty faithful adaptation of all the Merlin parts from the History, with various extra bits that explore Merlin’s childhood and education, presenting a compelling figure who is basically a proto-scientist. As with the History, basically Merlin’s only supernatural abilities and all his other “magic” is accompanied through knowledge of engineering and herbalism, and the occasional exploitation of superstition. Its various references to Welsh culture and folklore feel valid, and its reliance on pre-Romantic sources does mean that even if doesn’t always feel quite mythological, it doesn’t usually feel very Mallory.

The later books do move away from the History (mainly because they are about Merlin’s relationship with Arthur, even though Geoffrey never had them meet), and thus draw more on the later Arthurian Romances, though Stewart also incorporates elements from Welsh folklore, such as the idea of there being more than one Guinevere, that Mordred was not entirely villainous, and that King Arthur’s sword was previously Emperor Macsen’s (an interesting choice, especially because “The Dream of Macsen Wledig” is actually the one native tale from the Mabinogion that normally has nothing to do with King Arthur). However, some of the Welsh elements are merely window dressing, such as Stewart changing Lancelot’s name to “Bedwyr,” so that she can still have the Lancelot-Guenevere-Arthur triangle but feature a warrior with a more authentically Celtic name.

Though reading Mary Stewart’s books won’t give you a good feel for early Arthurian mythology, it does a good job exploring the culture of that time period and adding various tidbits of folklore when it suits her purpose. In fact, with the exception of direct adaptation of folklore, such as Dr. Gwyn Thomas’ marvelous Quest for Olwen, Mary Stewart’s works is probably the most authentic stuff out there, and certainly some of the most well-written.

Welsh King Arthur vs Le Morte d’Arthur

14 Monday May 2018

Posted by Bevan Thomas in Welsh Folklore

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King Arthur, Le Morte d'Arthur, Roger Lancelyn Green, Thomas Mallory

Here is the first in a series of articles where I analyze various King Arthur stories and contrast them with the original Welsh stories. At first let’s start with the most famous one, Sir Thomas Mallory’s Le Morte d’Arthur as well as the related Roger Lancelyn Green’s King Arthur and his Knights of the Round Table. 

Le Morte d’Arthur

Le Morte d’Arthur – a tome vast in size (almost 1,000 pages) and vast in significance. It is the first novel ever printed in English on the printing press, and continues to be phenomenally popular. It could be considered the bridge between King Arthur as folklore and King Arthur as literature, collecting a wide variety of tales into a single book and serving as the defining force for all later King Arthur stories to respond to. Every Arthur tale after Le Morte d’Arthur is either inspired by it or is defined in opposition to it, the author either saying “how can I use Mallory?” or “how is my story different from Mallory?”

That being the case: “how Welsh are the Mallory stories?” The answer is a simple one: “not Welsh at all.” Mallory defines the Romance Arthur strain, contrasting with both the Pseudo-Historical Arthur and the Welsh Arthur. Any story or interpretation of the “Welsh King Arthur” is defined mainly by how unlike Mallory it is, for the following reasons:

  1. French Names: Lancelot du Lac, Mogan la Fey, Beaumains, La Cote Male Tayle, the very title itself “Le Morte d’Arthur.” As a book largely based on the French Romances, French names appear throughout Le Morte d’Arthur. As Lancelot himself is supposedly from France, “du Lac” may make sense, but Morgan was raised in Cornwall and then moved to Wales — so why exactly is she “la” Fey? The predominance of such names, along with all the courtly imagery, makes the whole thing feel like French folktales as opposed to Brythonic ones.
  2. Lancelot and other French heroes: Lancelot and Galahad are characters created by the French romancers, and are treated as the greatest knights of King Arthur’s court. Conversely, many of the early Brythonic champions, such as Kay (Cai) and Gawaine (Gwalchmai) instead become bad-tempered foils for the “real heroes,” while others such as Bedivere (Bedwyr) have become forgetfully minor figures. Having Gawaine as a savage vengeful figure is especially odd, as in the Welsh stories, Gwalchmai’s defining trait is his courtesy. Tristan and Percival are authentically Welsh and treated with respect, but they’re still very clearly second banana to the French figures – Tristan being the second greatest worldly knight after Lancelot and Percival the second holiest knight after Galahad. The Holy Grail itself is not present in any Welsh story, and so its defining role in Mallory (as well as Galahad and Lancelot’s relationship to it) moves the story in a very different direction.
  3. Courtly Chivalry: The Mallory stories are very much set in the Middle Ages. No mention is given of invading Saxons or Picts, no appearances of Ambrosius, Vortigern, or other semi-historical figures. Furthermore, there is an obsession with tournaments and courtly love, and especially champions jousting against knight after knight, causing each to declare loyalty to the champion and King Arthur. Very different from the much wilder giant-slaying and tribal wars of the earlier native tales.
  4. Lack of Fantasy: Perhaps the most surprising element of the Mallory stories is the general lack of fantasy elements. They are clearly not the focus. Though there is Merlin, most of his magic is confined to vague prophecies of doom and creating monuments to the knights’ failures. There are very few dragons and giants, barely any fey — most of the more fantastical King Arthur stories (“The Green Knight,” “The Loathley Lady,” etc.) are missing. Though Mallory does include various Christian miracles, including, naturally, the Holy Grail, he is clearly uninterested in most other flights of fancy. For him, much more drama is found in knights tilting against each other than in encountering sorcerers and monsters. This is, of course, very different from the Welsh stories. Most of the Welsh champions have super powers, and they rarely fight human adversaries — giants, dragons, werewolves, witches, fey warriors, talking animals — these are who Arthur and his court pit themselves against.

King Arthur and His Knights of the Round Table.

Roger Lancelyn Green was a member of the Inklings, a close friend to J. R. R. Tolkien and C. S. Lewis, and the man who most encourage Lewis to publish his Narnia series. Green is best known for his series of mythology adaptations (Greek, Norse, King Arthur, Robin Hood, etc.) and for trying to draw upon as wide variety of sources for his books. That’s why Robin Hood gets his treacherous servant Worman and battles the Witch of Papplewick while his take on Norse myths references Saxo Grammaticus and a Faroe Island folktale.

Green freely admits that his main inspiration  for King Arthur was Mallory, but he also brings in stuff from other sources, including:

  1. Saxon References. Though Green doesn’t give any focus to any of the pseudo-historical King Arthur’s Saxon wars, he does reference them at various times, clearly placing his tales in their timeline, even though he doesn’t shy away from knights, tournaments, and other medieval trappings.
  2. Welsh Romance. Green includes “Geraint and Enid,” one of the three Welsh romances from the Mabinogian.
  3. Sense of Fantasy. Green adds “The Green Knight,” “The Loathley Lady,” and a non-Mallory version of Tristan. Though none of these are based on specific Welsh stories, they are still stories of heroes wrestling with monsters and enchantment rather than jousts and tournaments. They feel more primal, inspired by old and wild folktales from an old and wild people.
  4. Less Tournaments and French.  Just the fact that Green’s book is far shorter than Mallory’s and adds a lot that Mallory doesn’t include means that a huge amount of Mallory gets cut. A lot of the repetitive jousts after jousts are removed with their variously coloured knights and many of the French names (such as “La Cote Male Tayle” and “Le Morte d’Arthur”) are gone. Tristan, in particular, feels much more like an Celtic folk hero than a Norman knight.

So Green’s book is more “Brythonic” than Mallory’s (it could hardly be less), but still firmly on the Romance side of the Romance vs Welsh divide. Next time we’ll take a look at how some more modern books compare.

The Welsh Arthur

08 Tuesday May 2018

Posted by Bevan Thomas in Welsh Folklore

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King Arthur

Culhwch meets King Arthur

When I started doing research for Wizards of Wales (which I have now renamed Enchanters of Britain), I started taking a look at a lot of Welsh folktales a lot more closely than I had done before. In exploring them, especially the bizarre romp “Culhwch & Olwen,” I discovered a version of King Arthur that I hadn’t previously known existed, despite being a big King Arthur fan ever since I was a child. Sadly, the original Welsh version of King Arthur has been eclipsed by the knightly romances of Chrétien de Troyes and Sir Thomas Mallory, and by the modern obsession with finding the “real” King Arthur, some British or perhaps Sarmatian warchief fighting against the Saxons back in the 5th century of history. Even the rpg supplement GURPS Camelot, when describing the different interpretations of King Arthur, talked about the historical Arthur, the Arthur of the Romances, and the Arthur of modern pop culture, but never mentioned the Arthur of Welsh myth.

But if you look back at the original surviving Welsh fragments, they are more fantastical than Mallory not less, presenting a folk hero in the style in Heracles or Sigurd, rather than a historical general. “Culhwch & Olwen” is the only early Arthurian folktale that survives in its (more-or-less) entirety, and it presents a court of Arthur filled with demigods, such as the fairy king Gwyn ap Nudd and Manawydan ap Llyr, and with superpowered heroes, with powers ranging from being able to stamp mountains flat to setting themselves on fire.

So what defines the original Welsh Arthurian stuff?

  1. Fantastical. Fantasy elements surround the characters. Arthur’s champions (even his dog!) have superpowers and they battle fairies and demigods. There are talking animals, armies of werewolves, dragons, numerous giants, and wide variety of wizards and magical artifacts. Not all the stories even take place in the regular world — the heroes travel into hidden enchanted valleys all the time and frequently enter Annwn, the Otherworld.
  2. Pre-Chivalry. Though the time period of the original stuff is not really defined, it is still clearly not the Middle Ages. There are no tournaments or courtly love, no jousting knights. It’s dark ages warriors going on strange personal quests, contending with the remnants of pre-Christian imagery and slaying monsters less for chivalric reasons and more for personal glory. The later pseudo-historical writings of Geoffrey of Monmouth and others has Arthur battling the invading Saxons and Angles; though not part of the original stories, it still fits very well with it.
  3. Welsh. The heroes are not English and they certainly do not have the French names and titles that appear in the Romances (Lancelot du Lac, Morgan la Fey, Beaumains, etc.). They are Brythons, the people who became the Welsh and the Cornish, and they have a strong cultural identity.

Perhaps the last is the most important point about the early Arthur stories. They were cultural stories presenting the heroes of the Brythonic people, heroes that defined Welsh and Cornish identity. Though the English later appropriated Arthur for their own purposes, in the original stories he was clearly Brythonic and Celtic. A hero of my ancestors rather than my ancestors’ conquerors.

Welsh King Arthur

02 Wednesday May 2018

Posted by Bevan Thomas in Welsh Folklore

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King Arthur, Wizards of Wales

Culhwch & Olwen

I haven’t been posting much here recently, largely due to all the numerous projects I’ve been engaged with. I was working on a novel last year and thinking to myself that I really hoped to get it done soon because the thing I really wanted to work on was “Wizards of Wales,” an adaptation of Welsh myths looking at various wizards and enchanters. Then I realized “why I am I working on a book I’m not interested in when I could be focusing on the one I am interested in?” Thus I switched over from Guardian of the Garden City to Wizards of Wales. Then while researching for that book, I got really interested in the Welsh version of King Arthur, which has surprisingly little influence on later King Arthur retellings. Even stories that claim to be about the “real” King Arthur are more interested in simply moving the events of Le Morte d’Arthur into a more historical time period (Mists of Avalon) or adapting Geoffrey of Monmouth or other early pseudo-historical Arthurian works but ignoring the actual Welsh stuff (Mary Stewart’s Crystal Caves series).

This is a real shame, as the original Welsh stuff is fascinating. Its champions possess bizarre powers and strange personalities, fighting giants and monsters in mysterious quests. In Culhwch & Olwen, the only original Welsh Arthurian story to survive in its entirety, Arthur’s court includes various demigods, such as Manawyddan ap Llyr (of the Mabinogi), Gwyn ap Nudd (king of the fairies), and Morvran (son of the goddess-witch Ceridwen), as well as figures with such a range of powers as superspeed, superstrength, flight, fire-generation, and lips so long that the top lip can be curled back and worn like a hat. It feels less like a court of medieval knights and more as a more bizarre version of the Argonauts of Greek myths or the Avengers. It is crazy and awesome, full of magic and passion — truly the folktales of the Welsh people’s most famous folkhero, rather than Norman-style knights in armour.

Trying to piece together all the old Welsh stories and fragments, combining them together into a coherent narrative, has been a really fascinating experience, and resulted in what was originally going to be one book on Welsh myths splitting into two: Wizards of Wales and Arthur, King of the Brythons. It’s something I’ll be exploring further in this blog, looking at aspects of King Arthur that sadly are rarely explored.


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