At a first glance the literature of Wales is divided into three perfectly distinct distinct branches: the bardic or lyric, which shines forth in splendour in the sixth century by the works of Taliessin, of Aneurin, and of Liware'h Hen, and continues through an uninterrupted series of imitations up to modern times; the Mabinogion, or literature of romance, fixed towards the twelfth century, but linking themselves in the groundwork of their ideas with the remotest ages of the Celtic genius; finally, an ecclesiastical and legendary literature, impressed with a distinct stamp of its own. These three literatures seem to have existed side by side, almost without knowledge of one another. The bards, proud of their solemn rhetoric, held in disdain the popular tales, the form of which they considered careless; on the other hand, both bards and romancers appear to have had few relations with the clergy; and one at times might be tempted to suppose that they ignored the existence of Christianity. To our thinking it is in the Mabinogion that the true expression of the Celtic genius is to be sought; and it is surprising that so curious a literature, the source of nearly all the romantic creations of Europe, should have remained unknown until our own days. The cause is doubtless to be ascribed to the dispersed state of the Welsh manuscripts, pursued till last century by the English, as seditious books compromising those who possessed them. Often too they fell into hands of ignorant owners whose caprice or ill-will sufficed to keep them from critical research. The Mabinogion have been preserved for us in two principal documents--one of the thirteenth century from the library of Hengurt, belonging to the Vaughan family; the other dating from the fourteenth century, known under the name of the Red Book of Hergest, and now in Jesus College, Oxford. No doubt it was some such collection that charmed the weary hours of the hapless Leolin in the Tower of London, and was burned after his condemnation, with the other Welsh books which had been the companions of his captivity. Lady Charlotte Guest has based her edition on the Oxford manuscript; it cannot be sufficiently regretted that paltry considerations have caused her to be refused the use of the earlier manuscript, of which the later appears to be only a copy. Regrets are redoubled when one knows that several Welsh texts, which were seen and copied fifty years ago, have now disappeared. It is in the presence of facts such as these that one comes to believe that revolutions--in general so destructive of the works of the past--are favourable to the preservation of literary monuments, by compelling their concentration in great centres, where their existence, as well as their publicity, is assured.