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Welsh mythology

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Through Oral literature and Puppy

Cosmogony and creation

As with other Insular Celts, no direct written accounts of the origins of the cosmos survive. It can be assumed that these Celts did have a complex cosmogony, given the accounts from classical authors about the depth of knowledge of the druids who passed down their knowledge via orature.

However, scholars can find connections to the broader Proto-Indo-European system in both the names of the deities themselves and in the later written tales that likely preserve remnants of the earlier orally transmitted narratives. Legends were not written down until after the Christianization of Britain, however, so these accounts are rather indirect; additionally, they likely evolved substantially over time anyway, as narrative systems typically do.

John T. Koch proposes that the name of the goddess Dôn, for instance, likely comes from *ghdhonos, meaning "the earth." In this sense she serves as the Welsh version of the *dheghom figure from Proto-Indo-European mythology, i.e. the primordial Earth Goddess from which all other gods originate. According to this theory, the Children of Dôn would be comparable to the Greek Titans.

John Carey suggests that the Fourth Branch of The Mabinogi, along with the Taliesin poems (especially Cad Goddeu), contain hints of the cyclicality of cosmogonic progressions.

Claude Sterckx proposes that Celtic mythology hints at a cyclical cosmogony given a key commonly repeated story pattern: a man (hero/king) and woman (earth or sovereignty goddess) face a rival for the woman's affection before uniting to birth a son who represents the life of the world; ultimately these figures die to create space for the cycle to repeat. For instance, the names of certain Welsh mythological figures point to this pattern, as John Koch suggests that Gwron ("divine husband") and Modron ("divine mother") united to create Mabon ("divine son"). This pattern occurs in The Mabinogion as well, with Pwyll and Rhiannon facing the rival Gwawl before uniting to conceive Pryderi. In both Mabon and Pryderi's cases, the divine son is taken by force soon after birth, with the divine parent(s) needing to wait years before ultimately reuniting with the son.

With this in mind, the transformations of various characters (especially Lleu and Taliesin) hint not just at reincarnation but perhaps even reconfigurations of the cosmos itself (along the lines of the Norse concept of Ragnarok as not merely signaling the end of existence, but heralding the beginning of a subsequent existence for the cosmos).

Realms of existence

1) Elfydd: The Earth; the realm of humans

2) Annwn: The Otherworld; the realm(s) of the gods. Depending on the source, this could be a more typical Indo-European underworld (i.e. a realm below the earth) where souls wait to be reincarnated, or the "deep" areas within the natural realm (e.g. deep within the woods, as with the First Branch of The Mabinogi, or within/near lakes, e.g. the Arthurian Lady of the Lake, Ceridwen in Hanes Taliesin, etc.). Rather than being separate from nature, the Celts likely saw the Otherworld as being a mysterious but essential aspect of nature and a parallel to Elfydd.

While the sky and its celestial bodies are clearly separate from the earth, there does not seem to be an association between gods and the sky in extant Welsh myth (though there likely would have been at some earlier point; "cf. yn Annwfyn is eluydd, yn awyr uch eluydd ‘in the Un-world below elfydd, in the air above elfydd,’" from The Book of Taliesin.

Sharon Paice Macleod proposes that the ancient Celts had a concept of the World Tree that links the various realms of the world (akin to the Norse Yggdrasil), given the centrality of trees in Celtic knowledge, but there is no clear evidence for this.

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