I. Names of the great features, involving proper names and actions.

Cadair Idris and Cadair Arthur both involve more than a mere name. Idris and Arthur must have been invested with heroic qualifications to have been placed in such "seats."

II. Names of lesser features, as "Bryn y Saeth," Hill of the Dart; "Llyn Llyngclys," Lake of the Engulphed Court; "Ceven y Bedd," the Ridge of the Grave; "Rhyd y Saeson," the Saxons' Ford.

III. Names of mixed natural and artificial objects, as "Coeten Arthur," Arthur's Coit; "Cerrig y Drudion," the Crag of the Heroes; which involve actions. And such as embody proper names only, as "Cerrig Howell," the Crag of Howell; "Caer Arianrod," the Camp of Arianrod; "Bron Goronwy," the Breast (of the Hill) of Goronwy; "Castell mab Wynion," the Castle of the son of Wynion; "Nant Gwrtheyrn," the Rill of Vortigern.

The selection of names would demand much care and discretion. The translations should be indisputable, and, where known, the connexion of a name with a legend should be noted. Such a name as "Mochdrev," Swine-town, would be valueless unless accompanied by a legend.

It is always valuable to find a place or work called after an individual, because it may help to support some tradition of his existence or his actions. But it is requisite that care be taken not to push the etymological dissection too far. Thus, "Caer Arianrod" should be taken simply as the "Camp of Arianrod," and not rendered the "Camp of the silver circle," because the latter, though it might possibly have something to do with the reason for which the name was borne by Arianrod herself, had clearly no reference to its application to her camp.

It appears to me, then, looking back upon what has been advanced:-

I. That we have throughout Europe, at an early period, a great body of literature, known as Mediaeval Romance, which, amidst much that is wholly of Teutonic origin and character, includes certain well-marked traces of an older Celtic nucleus.

II. Proceeding backwards in time, we find these romances, their ornaments falling away at each step, existing towards the twelfth century, of simpler structure, and with less encumbered Celtic features, in the works of Wace, and other Bards of the Langue d'Oil.

III. We find that Geoffrey of Monmouth, Layamon, and other early British and Anglo-Saxon historians, and minstrels, on the one hand, transmitted to Europe the rudiments of its after romance, much of which, on the other hand, they drew from Wales.

IV. Crossing into Wales we find, in the Mabinogion, the evident counterpart of the Celtic portion of the continental romance, mixed up, indeed, with various reflex additions from beyond the border, but still containing ample internal evidence of a Welsh original.

V. Looking at the connexion between divers of the more ancient Mabinogion, and the topographical nomenclature of part of the country, we find evidence of the great, though indefinite, antiquity of these tales, and of an origin, which, if not indigenous, is certainly derived from no European nation.

It was with a general belief in some of these conclusions, that I commenced my labours, and I end them with my impressions strongly confirmed. The subject is one not unworthy of the talents of a Llwyd or a Prichard. It might, I think, be shown, by pursuing the inquiry, that the Cymric nation is not only, as Dr. Prichard has proved it to be, an early offshoot of the Indo-European family, and a people of unmixed descent, but that when driven out of their conquests by the later nations, the names and exploits of their heroes, and the compositions of their bards, spread far and wide among the invaders, and affected intimately their tastes and literature for many centuries, and that it has strong claims to be considered the cradle of European Romance.

C. E. G. DOWLAIS, August 29th, 1848.

THE LADY OF THE FOUNTAIN