Note (return) — Chapter VI

Taliesin was probably an old god of poetic inspiration confused with the sixth century poet of the same name, perhaps because this boastful poet identified himself or was identified by other bards with the gods. He speaks of his "splendid chair, inspiration of fluent and urgent song" in Caer Sidi or Elysium, and, speaking in the god's name or identifying himself with him, describes his presence with Llew, Bran, Gwydion, and others, as well as his creation and his enchantment before he became immortal.426 He was present with Arthur when a cauldron was stolen from Aunwfn, and basing his verses on the mythic transformations and rebirths of the gods, recounts in highly inflated language his own numerous forms and rebirths.427 His claims resemble those of the Shaman who has the entree of the spirit-world and can transform himself at will. Taliesin's rebirth is connected with his acquiring of inspiration. These incidents appear separately in the story of Fionn, who acquired his inspiration by an accident, and was also said to have been reborn as Mongan. They are myths common to various branches of the Celtic people, and applied in different combinations to outstanding gods or heroes.428 The Taliesin poems show that there may have been two gods or two mythic aspects of one god, later combined together. He is the son of the goddess and dwells in the divine land, but he is also a culture-hero stealing from the divine land. Perhaps the myths reflect the encroachment of the cult of a god on that of a goddess, his worshippers regarding him as her son, her worshippers reflecting their hostility to the new god in a myth of her enmity to him. Finally, the legend of the rescue of Taliesin the poet from the waves became a myth of the divine outcast child rescued by Elphin, and proving himself a bard when normal infants are merely babbling.