The Mab reviewed: An updated classic that will entrance a new generation

Dr Shân Morgain

I approached reviewing The Mab in fear and trembling. Talk of ‘modernisation’ struck ice into my heart. What distorted monstrosity would this be?

Other modernisers have not won my approval, and the shade of WJG with his yanking reconstruction still lingers.

But to my great relief this is a lovely work, silk underpants ‘n all. It fills a much needed place as an easy, bright introduction which carries the spirit of the original.

Please note I only feel qualified to talk about the Mabinogi, the Four Branches, not the whole Mabinogion of eleven tales. The distinction throws up my first criticism as the publisher’s blurb refers to ‘all eleven stories of the Mabinogi’- oh dear.

I was quickly drawn in to this light but skilful reinterpretation of these our beloved old tales. Nonetheless I disagree the Libraries 4 Schools’ review: “the original stories are simply not ideal reading for most children.” For infants I’d agree, but I’ve known as young as seven engrossed, and nines, tens reading happily for themselves.

Perhaps one blessing of The Mab is that it overcomes such assumption, skipping past our prejudices about ‘old stuff’. The title is itself genius. ‘The Mab’ is already spoken in my own circle, and this colourful book will hopefully bring ‘the Mab’ into everyday talk where it belongs.

A small mistake crops up in Teyrnon’s heroic rescue of baby horse and baby human. (It’s a neat tweak twinning them together.)

The Mab puts Teyrnon’s mare in the stable. This common mistake in the live storytelling community. In the original Mabinogi Teyrnon brings his precious mare into his house to protect her, touchingly showing us just how much he cares – and how terrifyingly invasive the Claw is.

It is a big issue how much we are justified in changing an ancient story for our times. Evangeline Walton, in her unrivalled interpretation, vowed ‘never to alter’. which is not a bad guide. She splendiferously added and expanded into a profound mythos.

William Sullivan III called for ‘conscientious use’. I speak of ‘unfolding’. In this fraught arena The Mab holds up very well. Much is merrily added but the original people and places we know and love are still there.

Mythology, magic and amazement

The Mab comes firmly down on the side of mythology, of magic and amazement. It’s not the approach I prefer, but I can see why modern, live storytellers like to use the gosh wow! factor to beguile their audiences.

I cannot speak for the other tales but the Mabinogi (Four Branches) has remarkably little to do with mythology. It is a strikingly secular work. Granted its Magicians are powerful plot shapers in every Branch. But each of their magics can be easily clipped out without violation.

Rhiannon’s (magical) horse might be simply outstanding, as is Teyrnon’s mare, like the horses of incomparabili velocitate (incomparable speed) according to Giraldus. Her space-warping bag might simply be an actual badger trap. Blodeuedd might be a superb metaphor for feminine beauty. We lose the dimension of wonder, but the Mab remains intact.

It seems a shame to reinforce the old, crusty emphasis on myths and deities which crushed the Mabinogi for most of the 20thC. Its politics, the psychology of its characters, its wordplay, and its superbly sustained plot, all deserve recognition as a literature of genius.

The later tales of the Mabinogion are far more about enchantments. A useful contrast could be made between those, bursting with spells and curses, and the Mabinogi with its more ‘grown up’ fare.

A classic

I love The Mab, and I am confident it will become a classic. It’s grand it includes a Cymraeg version (translating its modern text, not giving the original). Maybe later, placing the two languages side by side would help familiarity, and follow Pughe’s excellent example.

I do have one major criticism to make. As I observed above what The Mab adds, is not a problem. Its flaw is what it leaves out.

The Mab begins with Pwyll meeting Rhiannon, bouncing from falling in love straight into marriage. Pwyll’s whole adventure in Annwfn is cut. So is Rhiannon’s reverberating choice between Pwyll and Gwawl.

That choice must then be clumsily dragged in via a footnote to explain the whole Third Branch and its Desolation of Dyfed. It is far too momentous to be squished into a footnote. I assume the first author cut Rhiannon’s choice, leaving the later author little option but the clumsy footnote workaround.

It is not only awkward. Rhiannon’s choice is what links First and Third Branch in a mighty narrative of doom. It is the spine that holds the Branches together.

Here is how looking at the work as a literature gives such an important difference to the looser dancing of mythology.

I argue Rhiannon chooses Pwyll precisely because he is ‘Pwyll Pen Annwfn’, the acclaimed hero of the day. Gwawl, though princely and courteous, cannot compete. Cutting Annwfn deflates the momentum of the First Branch, and then the Third Branch Desolation. For Rhiannon causes it by her Gwawl machinations.

The storytelling movement is dedicated to myth and enchantment. It ran parallel for several decades with scholarly Mabinogi Studies which hailed the work as literature. Peter Stevenson’s festivals (2017, 2018) began to join the two streams.

The Mab cuts the narrative spine of the Mabinogi, a painful surgery. It is the fruit of the storytellers’ side of the tree. The illustrations use the best of modern skills to offer yet more angles of view.

The Mab frolics delightfully with great skill, giving tales for the young which will entrance a new generation.

Pick up your copy in paper or hardback at Waterstones and all good book shops.