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The
quest for Arthurs Holy Grail properly begins with
the cauldron of the Irish king Odgar son of Aodh and his
steward Diwrnach. This cauldron, which in the Arthurian
poem The Spoils of Annwn belonged to the Chief the
Underworld, was stolen from Odgar by Arthur and his men
in the early Welsh Mabinogion tale, "Culhwch and
Olwen." Odgars cauldron is
taken to the house of Llwydeu son of Cil Coed at Porth
Cerddin in Dyfed. Llwydeu is the magician Llwyd son of
Cil Coed, the owner of an Otherworld basin in "Manwydan
Son of Llyr". Pryderi and his mother Rhiannon become
stuck fast to this basin, which resides in a typical
fairy-mound castle. When Geoffrey of
Monmouth (in his Life of Merlin) populated Avalon,
he placed there nine goddesses, reflective both of the
nine maidens who warm the cauldron in The Spoils of
Annwm and of the nine virgin priestesses who
inhabited the Ile de Sein off the coast of Brittany,
according to the 1st century geographer Pomponius Mela. The
Ile de Sein priestesses could cure the sick, foretell the
future, control the weather and assume animal disguises. I have elsewhere written
about Glastonburys misidentification with
Arthurs Avalon. As mentioned above,
Glastonbury was, through false etymology, thought to be
the Caer Wydr or Glass Fort of The Spoils of Annwn. The
true Avalon is the Aballava/Avallana Roman fort at Burgh-By-Sands
in Cumbria, not far west of the Camboglanna/Camlann Roman
fort at Castlesteads, the scene of Arthurs last
fatal battle. While the Spoils of Annwn
underworld is not localized, its association with Avalon
may not be coincidental. Cauldrons like those of
Gundestrup, Duchcov, Llyn Cerrig Bach and Llyn Fawr were
used as deposits in sacred lakes and bogs. Lakes,
like caves and chambered tombs, were considered entrances
to the Underworld. If an actual cauldron were ever
present at the true Arthurian Avalon, i.e. Burgh-By-Sands,
it would most certainly have been deposited in Burgh
Marsh, the once extensive moss that
surrounded the Avalon fort. However, in my article on
Arthur's battles, I have shown that the actual lake of
the Lady of the Lake would appear to be the one at
Lochmaben in Dumfries, just a few miles NNW of Aballava. The proper
identification of Odgar and Diwrnach (variants Dyrnwch,
Dyrnfwch, Drynog, Tyrnog) is of importance, therefore,
only in that it would help us gain understanding of this
particular cauldron. There is no reason to give the
cauldron of the Culhwch and Olwen story precedence
over the one found in The Spoils of Annwn. Odgar, given that his
father is said to be Aodh, i.e Aedh, "Fire",
looks to be the Leinster king Aedh Cerr son of Colman son
of Cairbre who died c. 591. Diwrnach, as has been
surmised before, it a Welsh form of the Irish name
Tigernach. As Aedh Cerr is recorded as a king of Leinster
and Kildare in Leinster had a 6th century bishop named St.
Tigernach, it is probably this saint who is intended as
the cauldron-keeper. We have seen that in the
Arthur story the cauldron of Diwrnach/Dyrnog/Tigernach is
taken to Dyfed, where it is left at the house of Llwydeu
son of Cil Coed. Once again, it has long been recognized
that this Llwydeu is the Llwyd son of Cil Coed of the
Mabinogion tale "Manawydan Son of Llyr". Llwyd
owns a magical golden basin in a typical Otherworld fairy
mound castle (sidh). Llwyd has been linked to
Ludchurch, Welsh Eglwys Llwyd, hard by the stream of Cil
Coed in Pembroke. But the Porth Cerddin, "Port of
the Rowan", where Arthur disembarks with the
cauldron, has not been found in any of the extant local
place-names in this part of Dyfed. Supposedly, the Mesur-y-pair
or "Measure of the Cauldron," is to be found at
Porth Cerddin. This Otherworld castle
of Llwyd of Cil Coed is probably the ancient fort that
stands atop the hill overlooking Ludchurch. The notion that Llwyd
may be a Welsh version of the Irish hero Liath son of
Celtchair, whose name is preserved in the famous fairy
hill in County Longford called Bri Liath, is certainly
significant. Bri Leith was for a time the home of
the goddess Etaine Echraide, that is, Etain "Horse-rider. Midir
(*Medio-rix, King of the Middle, i.e. of
Midhe; see J. Uhlich Einige britannische Lehnnamen
im Irischen: Brenainn, Cathair/Cathaer und Midir, Zeitschrift
fur Celtische Philologie, 49-50, 1997, 894), the god
who owned Bri Liath, possessed a magical cauldron, which
was stolen from him by Cu Roi. The fortified hill
at Ludchurch may well have been thought of as the Welsh
counterpart of Bri Liath in Ireland and, hence, became
the respository of the horse goddesss patera. It is true that Bri
Leith is not in the Leinster of Aedh Cerr, nor is it
anywhere near Tigernachs Kildare, Clones or Clogher.
However, the author of Culhwch and Olwen probably
utilized these two Irish figures solely because they were
roughly contemporary with Arthur. Of course, it must be
remembered that the Culhwch and Olwen tale
essentially identifies the cauldron brought from Ireland
with the patera of Rhiannon/Epona Regina in Dyfed. And
it was Epona who was worshipped by Roman cavalrymen. A patera was a shallow
dish used to offer food or drink to the gods and
goddesses in Roman times. Often the patera is shown
over an altar and it is known that libations could be
poured from a patera onto an altar. The Christian
transformation of the cauldron/patera into the Grail (from
medieval Latin gradale, a serving platter or dish, at
first holding either Christ as a fish or Christ as a Mass
wafer, i.e. the body of Christ), then into the cup that
held Christs blood (the prototypical chalice of the
Mass service, something made plain in the Perlesvaus,
which has Arthur introduce the chalice into the Mass
after observing the Grail) and finally into a stone
(Wolfram von Eschenbachs lapsit exillis, which
draws its power from a Mass-wafer brought down from
heaven each year on Good Friday and placed on the stone
by the Holy Spirit in the guise of a dove). Robert de Boron, the
first writer of a Grail romance, properly hints that the
Christian Grail, a substitute for the patera of Epona,
was conveyed to the vales of Avaron, i.e.
Avalon. But the Grail romances soon altered this
story, having the precious object housed instead in the
Castle of Corbenic. From Corbenic the Grail is
returned to the Holy Land, where it ascends into heaven
and is never seen again by mortal men. Even earlier
versions of the story, like that of the Manessier
Continuation of Chretiens Conte Du Graal,
inform us that the Grail was taken up to heaven. Yet
modern-day questors continue to look for the Grail. Of Corbenic itself, I am
in total agreement that this word derives from the French
word for raven. Long ago it was
suggested that Castell Dinas Bran in northern Wales might
be meant, this place being associated by the romance
writers with the pagan Bran of cauldron fame (see below).
I am now able to prove by analysis of place-names found
in the romances that Corbenic is, in fact, Dinas Bran. Corbenic is in Listenois
or Listinois, which itself is either in or the same as La
Terre Foraine, the "Land Beyond". In the
Land Beyond is a city called "Malta". Corbenic
has a church of "Notre Dame", i.e. of St. Mary. "Malta" was
the clue to unraveling this mystery. This is Mold in
Flintshire, Wales. As Corbenic is founded for Alan son of
Bron or Brons (= the Welsh Bran), it is surely not a
coincidence that Mold is encircled on three sides by the
Afon Alun or Alyn (from Celtic *alauna). Le Terre Foraine
or the "Land Beyond" is this part of Wales to
the west of the March of Wales, or Marchia Wallia, as it
was called. For most of the period when the March of
Wales (the boundary between England and Wales) existed,
the fringe of Flintshire was "beyond" it to the
west, in Pura Wallia. Listinois is a slightly corrupt
form of the Welsh Dinas, preceded by the Old French
definite article. Hence the "isle of Listinois"
(isle being, as is often the case, "valley" in
the medieval sense) of the valley of the dinas. The dinas
or "fort" in question is, of course, Dinas Bran,
also called Castell Dinas Bran. Corbenic, then, is indeed
derived from Old French corbin, "raven", a
substitute for the Welsh bran, "raven". Notre Dame or "Our
Lady" Mary is a reference to Valle Crucis Abbey hard
by Castell Dinas Bran. In 1200 Madog ap Gruffydd, Lord of
Powys Fadog, established Valle Crucis Abbey. It was this
same Madog or his son Gruffydd Maelor II who built the
medieval castle of Dinas Bran. According to G. Vernon
Price, 'Originally the Church at Chirk was regarded as a
chapel attached to the Llangollen Church. The benefice
was recognised as under the control of the abbey by
Bishop Anian II when he visited Oswestry in 1275.' In the
Taxation of Pope Nicholas in 1291 the Church at Chirk is
reported as Eglwys y waen ("Church of the Moor")
and with the appropriation of the Church by Valle Crucis
Abbey it was re-dedicated to St. Mary. The Fisher King himself,
the object of Perceval's quest, has remained an enigmatic
figure, although some (see Roger Sherman Loomis) have
identified this figure with the Celtic god Bran, the Bron/s
(Christianized form, Hebron) of later Grail romance. Such
an identification makes a great deal of sense, given the
presence of the decapitated head in Peredur son of
Efrawg's grail procession and the god's laming in Branwen
daughter of Llyr - or emasculation, if the Morddwyd
Tyllion/"Pierced Thigh" is, as seems probable,
a designation for Bran. Chretien's Fisher King had been,
after all, "struck by a javelin through both thighs"
during the course of a battle. Finally, we will
see that a magical cauldron plays a major role in Bran's
story. Unfortunately, no source
presents Bran as a fisherman. How, then, do we account
for Chretien's Fisher King? I thought at first Roi
Pescheur was a French attempt at King Pisear, an owner of
a lightning-spear later given to the god Lugh in the
Irish story The Fate of the Children of Tuirenn.
Pisear, however, lacks the qualities assigned to the
Fisher King, especially the sacred laming. It is possible
that Chretien or his source took the name Bran to be the
Welsh word brenin, "king", equivalent to OFr.
roi. Bran's title Bendigeid, "Blessed, Holy",
may have been given an opposite meaning at some point by
substituting Old French pecheur, "sinner".
Pecheur itself would later have been replaced - perhaps
as a pun - by the very similar OFr. pescheur,"fisherman".
Bendigeid Vran/Bran thus became "Roi Pescheur".
Other famous cauldrons
are spoken of in Welsh tradition. The first is that
belonging to Ceridwen. It was this cauldron
from which Taliesin stole the gift of prophecy, poetry
and transformation. Modern scholars claim that
Ceridwen is from two Old Welsh words meaning "Bent
or Crooked Woman. The Irish goddess
Cliodhna, in addition to her two sacred rocks (one near
Ross Carbery and the other near Mallow), had a palace on
Lough Derg, the lake of the god Eochaid ("Horse-rider")
of the Red Eye, i.e. of the sun. Tadg ("Poet")
son of Cian visited the goddess at her palace and was
given the three birds and an emerald cup. She told
Tadg that the birds would guide him home and keep him
from sadness, while the cup would turn water into wine.
If he parted from the cup, he would die and she would
bury him. His soul would then come to reside at her
palace by the apple tree. The French romancers
borrowed the story of Brans cauldron (Brons the
Fisher King or Maimed King) and
linked it improperly to Arthur. As we have seen,
Arthurs cauldron did not have anything to do with
the one found in the Mabinogion story of Branwen
Daughter of Llyr. Sarras The land or city of
Sarras "on the confines of Egypt", the last
resting place of the Grail, would seem to be the Biblical
land of Seir. We could make a case for this by examining
the name of a king of Sarras, Evelake or Mordrain.
Evelake/Mordrain, as has been surmised before, is the
Welsh Avallach/Aballac, father of the goddess Modron. His
name is found spelled Amalech in the Nennius genealogies,
where he is a son of Beli Mawr. A form like Amalech was,
in turn, related to the Biblical Amalek, eponymous
founder of the Amalekites: Here are the
descendents of Esau, the father of Edom, in the
mountainous region of Seir... Eliphaz... The sons of
Eliphaz were... Amalek. GENESIS 36:9-12 Here are the chiefs
of the sons of Esau... the sons of Eliphaz... chief
Amalek.GENESIS 36:15-16 However, the name of the
king of Sarras in the time of Galahad is significant and
may point in another direction for this final earthly
resting place of the Grail. He is called (Es)corant or (Es)corante.
This is very similar to that of the 6th century St.
Corentin (called Corenti in a medieval document which
refers to the church of Cury near Helston in Cornwall).
Corentin was of Plomodiern, 30 km NNE of Quimper. He
later became the first bishop of Quimper, at that time
called Cornugallia, i.e. Cornouaille. St. Gildas, in one of
his two Lives, is said to have established a monastery at
Rhuys in Cornouaille. He died at Rhuys and was buried
there, while the other Life has him dying and being
buried at Glastonbury. It is surely not a coincidence
that Rhuys is in the parish of Sarzeau. Indeed,
Gildass monastery of Rhuys is on the tip of the
Sarzeau peninsula. In my opinion, "Sarras" is
an error or substitution for this very Sarzeau, with its
"king" being Saint Corentin, the first bishop
of Cornouaille. Corentin himself may
have been associated with the Grail because of the
miraculous fish he sustained himself with at his well in
the forest of Nevet (Nevet = Nemet; cf. Nemetona above, i.e.
"holy grove"). He would eat of this fish every
day, and the next day it would be alive again. This motif
if very similar to what we find in some accounts of the
Fisher King. If I am right, then the
final resting place of the Grail assuming it is a
physical object that did not ascend into heaven with
Galahads soul, as the literary tradition insists,
and assuming it was not subsequently relocated with
Gildass relics to Berry is to be found at
Saint-Gildas-de-Rhuys in Sarzeau. Gildas himself, however,
was quite possibly confused with a Breton saint named
Gueltas. There are those who hold that the true
founder of the religious establishment at Rhuys was,
therefore, not Gildas, but Gueltas.I once thought Gildas/Gueltas
was the prototype for the Arthurian Galahad or Galaad,
but I now realize this is wrong. A great deal of mystery
has surrounded the nature of the Christian object called
the Holy Grail. The authors of the various Grail romances
doubtless intended to convey such mystery and they have,
to a remarkable extent, been successful. Today theories
range from the Grail being a Christianized version of an
ancient Celtic cauldron of plenty, a medieval relic, an
archetype, a symbol of the ecstatic vision of God. New
Age and neopagan tendancies are further blurring whatever
meaning the Grail may once have had. This kind of
blurring is made that much easier by the fact that the
Grail authors often employed different symbols and
different contexts for their Grails. Is there any way to make
the Grail a little less slippery for modern questors? I
believe so. What follows is a brief comparative analysis
of the so-called "procession scenes" found in
the Grail romances. I have tried to avoid allowing
mystical or religious feeling from interfering with what
aims to be a straight-forward, logical attempt to
interpret the nature of Grail symbology. I am here
concerned neither with the theological nor psychological
applications of the Grail. Yet at the same time I have
tried to remain true to what the objects themselves may
have represented to a people who were pre-scientific in
their outlook. A. Chretien's Procession
The white lance dripping
blood is, as is evidenced by similar weapons in Celtic
mythology, a typical lightning-weapon. While I can in no
way prove it, I suspect the blood symbolizes rays of
sunlight (see below under the discussion of Manessier's
Continuation), which "bleed" from the sun. The
flames of the candles on the candelabra represent the
stars. The golden grail is the sun. The silver carving
dish is the moon. Chretien tells us that the grail so
brightly illumined the hall "that the candles
lost their brilliance like stars and the moon when the
sun rises." In other words, he tells us in no
uncertain terms that three of the objects present - the
candles, the grail and the carving dish- represent the
stars, sun and moon, respectively. Gold is known to be
the color and metal of the sun, while silver is sacred to
the moon. We have seen that the
word grail, or rather, graal, is well attested in the
medieval period, being applied to a serving dish or
platter. The Fisher King's Grail contains a single Holy
Wafer (= the body of Christ) and this wafer alone
sustains the Fisher King. Chretien may be punning when he
says that the Grail does not hold a pike, salmon or
lamprey: Christ's symbol was the fish, and since Christ's
body is contained in the Grail, in essence there is a
fish there after all. It is a solar fish on a lunar
platter. B. Peredur Son of Efrawg
The spear is the same
lightning-spear of Chretien's account, the platter the
lunar vessel and the bloody head a distinctly Welsh
substitute for the solar grail. The Welsh author was
probably thinking of the god Bran's head, also a solar
symbol. Though a bloody head as a religious symbol may
seem overtly pagan, the Christians had their own version
of Bran's head on a lunar platter: the head of St. John
the Baptist on a dish. C. Robert de Boron Robert first made
Chretien's solar grail into the cup of the Last Supper,
used by Joseph of Arimathea to catch the blood that fell
from the Crucified Christ. This cup has been recognized
as the prototype of the Mass chalice. Because the chalice
holds Christ's blood, it is probably symbolic of Christ's
solar body. D. Pseudo-Wauchier Continuation of Chretien
The bier may be lunar in
nature, as was the platter bearing the solar god's head.
The body in this context is that of the dead/lame/emasculated
solar king. The broken sword here replaces the lightning-lance,
which is elsewhere in the romance referred to as the
lance of Longinus. The Roman Longinus used this lance to
pierce Christ's side during the Crucifixion. Thus Christ
the Fisher of Souls is identified with the solar Fisher
King. The silk cloth may
represent the cloud which veils or hides the sun and moon
(for the cloud as the Holy Spirit, see the discussion of
Wolfram Von Eschenbach's Parzival below). E. Manessier's Continuation
Holy Blood
Holy Grail (sun),
trencher (moon) and lance (lightning) accompany Perceval's
soul to heaven. Because the lunar trencher is used here
to "cover" the solar grail and prevent the Holy
Blood from being exposed, we can be fairly certain that
the Holy Blood is indeed a symbol for the sun's light. In
a solar eclipse, the sun is indeed covered by the moon
and its light shielded from our view. F. Queste del Saint Graal silver table
Here the silver table is
a lunar object, the grail the sun, the candles the stars,
the cloth of red samite the cloud, the bleeding lance the
lightning-weapon. G. Heinrich Von Dem Turlin
for the lunar ark) H. Didot-Perceval
I. Perlesvaus
J. Grand St. Graal A very long, tiresome
list of "hallows" which I will not attempt to
identify. Besides the holy dish of blood, there are the
nails of the Crucifixion, the Cross, the vinegar sponge,
a scourge, a separate vessel of gold, a man's head,
bloody swords, tapers, Christ himself, angels, holy water
and a watering pot, a bloody lance head, white cloths and
a red samite cloth, basins, towels, gold censors, and a
man all in red. A nice touch is the
wooden ark which is built to hold the holy dish. This
object was borrowed from the Bible's ark of the covenant,
the latter being essentially a portable throne for Yahweh
in his solar aspect. Because the throne of the Egyptian
pharoah, who was himself considered a human incarnation
of the sun god, was the moon goddess Isis, it is likely
the ark of the covenant was also lunar in nature. The
cherubim which were mounted on either end of the ark of
the covenant and spread their protective wings over the
mercy seat were typical stormcloud angels. A stormcloud
angel or cherub guarded the Garden of Eden with its
flaming lighting-sword. K. Wolfram Von Eschenbach Wolfram's grail is the
strangest of them all: it is a stone called the lapsit
exillis. From Roger Sherman Loomis's The
Grail: From Celtic Myth to Christian Symbol: Supposedly the Grail-stone's
power is derived from a Holy Wafer (the solar Body of
Christ) that is brought down from heaven every year on
Good Friday. The Host is at this time placed on the stone
by a dove. What is this dove?
Origen, in his Homilies on Exodus (5.1, 5) says that
"What the Jews... believe to be a cloud, Paul says
is the Holy Spirit..." In the Old Testament the
angel or spirit of Yahweh is the cloud. A comparison of
the Baptism and Transfiguration from the Gospel of
Matthew is enlightening in this regard: As soon as Jesus was
baptized he came up from the water, and suddenly the
heavens opened and he saw the Spirit of God descending
like a dove and coming down on him. And a voice spoke
from heaven, "This is my Son..." (Mt. 3:16) He was still speaking
when suddenly a bright cloud covered them with shadow,
and from the cloud there came a voice which said, "This
is my Son..." (Mt. 17:5) So if the dove is the
cloud, the Host or Body of Christ is the sun, then what
is the Grail-stone? I find it interesting that the
Gral-stone of Wolfram is said to be the stone the Phoenix
uses to light the fire that consumes this magical solar
bird. Medieval bestiaries either had the sun's rays
or the stone start the fire. However, many
Egyptologist's think the benben stone of the bennu bird
(= the Phoenix) is to be related to benbenet or the
obelisk, and especially to the pyramidal shaped top of an
obelisk. The best guess for the symbolic
significance of the obelisk is that it represents a ray
of the sun, atop which the sun-bird perched. If this last view is correct,
then the stone as a ray of the sun starting the fire and
the sun's rays starting the fire are but two different
versions of the same mythical story. Egyptologists have also
determined that all obelisks were quarried from Syene/Aswan
and were of a special pink granite. Wolframs descent of the
neutral angels onto the Gral-stone during the War in
Heaven sounds suspiciously like the descent of angels
from heaven onto the upright pillar-stone of Jacob.
Such a pillar-stone could easily have represented
something similar to that which an obelisk symbolized or
have been confused for an obelisk. Lastly, there is the business
about the Holy Wafer being set on the stone every Good
Friday. There can be no doubt that this refers to
the Cross, which has here been related to both the
obelisk/benben stone of the Phoenix and the pillar-stone
of Jacob. We would then have these apparent
correspondences: 1) Benben Stone or Obelisk +
Bennu Bird or Phoenix 2) Jacob's pillar-stone + angels 3) Gral-stone + the neutral
angels 4) The Cross + Christ What Wolfram is trying to tell us, in other words, is that the Gral-stone is the source of eternal life - or, at least, of eternal rebirth. It represents, literally, the ray (or rays) of the sun, which provides us with food, drink, etc., just as occurs during the Gral feast. The sun is the source of the ray (or rays), and can be portrayed as perching, ascending/descending or crucified on whatever symbol is used to represent the said ray (or rays). When Wolfram claims that the Gral-stone
derives its power from the Holy Wafer placed upon it
every Good Friday, he is simply stating the obvious: the
benben stone/Cross or ray of the sun derives
its power from the sun. The Magic of the Cauldron is Copyright © 2005, August Hunt. All rights reserved. Used with permission. Comments to: August Hunt |
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