Moon, or the horned Io, suggest a Persian object of worship. But the river of Antioch was famous for the Arthurian faith involved in the Thammuz, or Adonis.*

Leaving these doubtful points to be settled by or mixed with the fact of a copious infusion of the Persian in the British vocabulary, suggesting neighbourhood for a protracted period between the Zend and Cimric races, the scene must now be changed to the Euxine.† Many converging lines of migration seem to meet there, some of which have already been partly traced; some points are left to the proof in the chapter of records, or words of the Cimric race, or some other of their contemporaries, describing Cimric events or subjects.

• The Celtic relics give us no particulars (Part iii., c. ii.) of the Cimric voyagers en route from their original seats in Asia to the Isle of Britain, than that they came from Doffrabene over the hairy sea. This strange

hydrographical idea may be set right, as usual, by reference to the Aramitic, hair, being , Pharaoh. So they traversed the Mediterranean from some one point on its coast to some other. Of the other word, one limb may be Dover or Dovah, m, occurring frequently in British topography in case of swamp or flat land; the termination might be ben, , between. The whole seems descriptive of the Assyrian plain.

† As to Io and Taurus,-referring the latter to the idea of a mountainous corner, these would occur, as just said, to Aramitic emigrants journeying west or north, at the south-west of the Caspian, and at the south-east of Asia Minor. The Tauric Diana of the Chersonese may, with reference to the Caspian as bordering their outlet from Armenia, be synonymous with Cimric. The Cimric might be "Tauric," referred to either Taurus. From Lake Van the Caspian plain (of the Aras) would conduct by an easy transit to Trebizonde. From the Euphrates, for the other southern route, the journey across the plain to Antioch is one of two or three days only.

Daphne, at Antioch referred to , NORTH, suggests a rendezvous for southern migrations. The coins (Müller, "Antioch "), giving the Moon and Taurus, hint a Persian emblem. The "Io" there, with the Adonis, are of an age older than Abraham-Aramitic.

The chapter on the Crimea and Danube has been suppressed, to make more room for the concluding chapter.

CHAPTER II.

The Welsh Relics, § i.—A series of Paronomasia, short examples, and case of the Garter. § ii.-An original Cimric Poem, and a variety of Welsh specimens, with Re-translations, and Glossary at end.

THE time employed on the first part of this publication could not allow much more than a scattering of proofs or materials for a reconsideration of the Welsh relics. We now add, with few exceptions, all the remaining translated specimens of the above works. He has also to add a prima facie case from British Heraldry, a science quite new to him, but from which he has attempted to extract whatever had intrinsic evidence of a national origin. Our heraldry appears to have a pure Cimric character.

I. As to the Welsh relics.-A proof after or from the result can alone be pretended to here; an empirical practice can only look for assent upon accumulated cases. To multiply short examples under certain conditions or classification will be of the highest degree of proof, particularly when the examples take up and apply Names that are extant, unattempted by Celtic translation, v.g., Sidi, Hu, Bran, Urien, Arthur, Eliwold, Eideol Eidyn, Pryden and Pryderi, Cassivelyn, Anne, Mary, Twrc, and others, all being class words, or important titles in the Welsh traditions. Short passages, also, that illustrate the religion, heraldry, and form of government of the Britons, where, upon comparison of independent extracts, one result or one idea suitable to

the case appears consistently made out, these will be highly important. Even our vocabulary, where class-words-sea phrases, for instance-are consistently and generally referrible to the Cimric, will be as convincing as a volume of ethnology for the Cimri, the "Armoricans," or maritime neighbours of the Celt in Bretagne.

But, unless for peculiar cases, proof will be accumulated in proportion to the length of the example, pursuing puns throughout, and with a resolution of the same to render the presumed original. The Aramitic poetry, Job, the Song of Moses, the more archaic Psalms, v.g., the lxviii., arrange the matter by "parallelisms" (to use the word of Dr. Lee in his edition of Job), each consecutive member or paragraph echoing the idea, and sense, and accentuation of that nearest to it. It was a system of ideas or subjects in couplets, as modern verse responds to the next in rhyme. The Strophe and Antistrophe of the Attic drama presents a later form of the same arrangement. In the piece first given, there appears to be, in the classic sense, a scene or alternation of parts.

The aspect, however, of the case is this: the Welsh relics of the archaic form or period are generally coherent only in form. The insertion of a preposition or other copula gives apparent coherence to the text, but it pursues no subject for three consecutive lines, but has such an assemblage of figures and ideas, that successive editors have assumed every possible theory of laws, idolatry, immorality, savagery, and ignorance, as pertaining to Bardism, and the compositions that were sung to the Telen, or Harp, of Wales, the instrument and art of a dateless antiquity. The earliest specimens of Erse, Gaelic, and Saxon poetry have "method in their madness;" they are readable, and give Erse, Gael, or Celt in his scene and attitude.

It will be a favourable reckoning with the Bruts and other traditions in the following extracts, if we were to admit that one line in THREE, two in ten, or three in thirty, pursued one subject, or did not carry contradictions on the half-dozen,

dozen, or score of words, respectively contained in the single line, or couplet, or three consecutive lines.

But in the above calculation, the probabilities are a million to one against the production of a dozen consecutive lines by any re-rendering of these relics. Or, more general, from the result of the process in these relics, the chances are a million to one against successive punning, to the extent of ten or a dozen short lines. The Aramitic language presents facilities for the paronomasia, having double and triple alphabetic characters, as , and y, and 2, ♬ and , ✩ and 。, and y; and, are also interchangeable.

By occasionally splitting a word in two, or running two into one-but that is rarely practised, and by the insertion or omission of a short vowel, the "field of view" is enlarged for the optics of an inveterate or well-trained punster.

The reader will in the above list see the conversions of letters occasionally made use of; no others have been resorted to in the present process, i.e., of attaching new meanings to the Aramitic, which rendered literally the Welsh relics, than by changing one k, s, or t for the other, occasionally, but very seldom, a b for a p, and making free with a,, or y.

Now, under these conditions, it would appear from the Bardic results that they might have operated upon the whole bulk of a hundred epics to have obtained a veritable pun or consecutive ideas, and subject to the extent of ten or twelve lines short metre. But to have obtained a piece of the length of the "Wand of Moses " here given, the chances would have been a million multiplied into itself twenty-one times to one against such a result. That is supposing that the new rendering here given be coherent, and appear to pursue the original design of a poem, in strophes or corresponding parts, with introduction, and a due winding-up; to have produced this by a process of paronomasia, or by finding new ideas for the constituent words in the specimen, given with the above license only of convertible letters, would have been a sheer impossibility. Nay, has there ever been

a pun extended to the length of ten or a dozen of these lines, or to the length of the Lord's Prayer? But here we have not only a paronomasia pursued to the extent of that composition, we have the Lord's Prayer itself in two versions, or by the Strophe and Antistrophe of the scene. Now, has it ever been attempted, or would any person in his senses attempt, by translation or otherwise, out of any poem or composition, ancient or modern, to find consecutive words and ideas that can be packed or put together so as to present, with anything like a literal rendering, the Lord's Prayer?

The present writer never dreamed of detecting there the Lord's Prayer, nor could divine what any part of the "Wand of Moses" would turn out upon retranslation from a literal Aramitic version. He had no original intention of rendering the whole, but took up first a few lines about Hud, because that was a British name or character, and then a few about "May-father," because it must mean something, and had no meaning in its literal acceptation, nor any application or use, except as the Celts had a May-day celebration in their calendar.

One word more of introduction. It has been said the Welsh or Cimric Harp was not "married to immortal verse," even on a par with the Irish "clarseech," or Gaelic pipes, if these relics were so designed and composed as we read them; the five-stringed arpa of the Finns would have been too complicated for the head, hand, and art concocting such a farrago and jumble of ideas as they present. Now, let the reader consider the style of Aramitic poets-the Song of Moses, the Book of Job, and even the rocksculptured lines at Aden, before referred to (chap. i.), and he must admit a great desideratum to be before us on view of the blank presented by the Bruts and other Welsh traditions in the versions of the 12th century, and preceding dates.

In a system of punning, the uninflected words only are to