The story of the hunt, with its many marvels, is chiefly remarkable for its minute topographical and personal detail,--the topography being indeed so precise as to make it all but possible to trace on a modern map the route taken by the hunters.[60] The Boar is finally driven into Cornwall, and thence “straight forward into the deep sea; and thenceforth it was never known whither he went.” “Then,” says the story-teller, “Arthur went to Gelli Wic, in Cornwall, to anoint himself, and to rest from his fatigues.” He had, however, to assist Kulhwch in one further enterprise,--the obtaining of “the blood of the witch Orddu, of Pen Nant Govid (the Head of the Vale of Grief), on the confines of Hell.” He did so by slaying the hag with his own hand, cleaving her in twain “with Carnwennan, his dagger.” After that Kulhwch goes boldly to Yspaddaden and asks, “Is thy daughter mine now?” “She is thine,” said he, “but therefore needest thou not thank me, but Arthur, who hath accomplished this for thee.” _Kulhwch and Olwen_, it will be seen from this brief account of it, is in all essentials a fairy-tale, embodying a mass of fantastic, and even grotesque, folk-lore of an obviously pre-historic antiquity. It is to fairy-land, also, that we are transported in another of the Welsh tales, _The Dream of Rhonabwy_, composed probably during the latter half of the twelfth century. Both it and _Kulhwch_ have much in common with the mythic tales of Ireland. “We possess a considerable number of Irish sagas, which betray the same characteristics as the two Welsh tales: fondness for enumeration, triadic grouping, _bravura_ descriptive passages, and, notably in _Bricriu’s Feast_, a distinct semi-parodistic tone.” The _Dream_,--of which the central feature, the story of Owen and his ravens, must be very old,--is remarkable for a series of minutely detailed and richly coloured word-pictures of “Impresses quaint, caparisons and steeds, Bases and tinsel trappings.”[61]