Medieval Welsh literature in the context of "Gwyn ap Nudd"

In prosody, alliterative verse is a form of verse that uses alliteration as the principal device to indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, Layamon's Brut and the Alliterative Morte Arthur all use alliterative verse.

While alliteration is common in many poetic traditions, it is 'relatively infrequent' as a structured characteristic of poetic form. However, structural alliteration appears in a variety of poetic traditions, including Old Irish, Welsh, Somali and Mongol poetry. The extensive use of alliteration in the so-called Kalevala meter, or runic song, of the Finnic languages provides a close comparison, and may derive directly from Germanic-language alliterative verse.

Welsh mythology, also known as Y Chwedlau (Welsh for 'the legends'), consists of both folk traditions developed in Wales, and traditions developed by the Celtic Britons elsewhere before the end of the first millennium. As in most of the predominantly oral societies Celtic mythology and history were recorded orally by specialists such as druids (Welsh: derwyddon). This oral record has been lost or altered as a result of outside contact and invasion over the years. Much of this altered mythology and history is preserved in mediaeval Welsh manuscripts, which include the Red Book of Hergest, the White Book of Rhydderch, the Book of Aneirin and the Book of Taliesin. Other works connected to Welsh mythology include the ninth-century Latin historical compilation Historia Brittonum (History of the Britons) and Geoffrey of Monmouth's 12th-century Latin chronicle Historia Regum Britanniae (History of the Kings of Britain), as well as later Welsh folklore, such as the materials collected in The Welsh Fairy Book by William Jenkyn Thomas (1908).

The Old North (Welsh: Hen Ogledd, Welsh pronunciation: [ˌheːn ˈɔɡlɛð]) is the term used in modern scholarship for the historical and literary space which was inhabited by Brittonic-speaking peoples of modern Northern England and southern Scotland in the Early Middle Ages. The people of Wales and those of the Old North considered themselves to be one people, and both were referred to as Cymry ('fellow-countrymen') from the Brittonic word combrogi. The Old North was distinct from the parts of Great Britain inhabited by the Picts, Anglo-Saxons, and Scoti.

The major kingdoms of the Old North were Elmet, Gododdin, Rheged, and the Kingdom of Strathclyde (Welsh: Ystrad Clud). Smaller kingdoms included Aeron and Calchfynydd. Eidyn, Lleuddiniawn, and Manaw Gododdin were evidently parts of Gododdin. The later Anglian kingdoms of Deira and Bernicia both had Brittonic-derived names, suggesting they may have been Brittonic kingdoms originally. All the kingdoms of the Old North except Strathclyde were gradually either integrated or subsumed by the emerging Anglo-Saxon kingdoms, Gaelic Scots and fellow Brittonic Picts by about 800; Strathclyde was eventually incorporated into the rising Middle Irish-speaking Kingdom of Scotland in the 11th century.

Laudine is a character in Chrétien de Troyes's 12th-century romance Yvain, or, The Knight with the Lion. The character is unnamed in the Welsh version of the tale, Owain, or the Lady of the Fountain, but is named as Laudine in both Chrétien's romance and the German adaptation, Iwein by Hartmann von Aue. Known as the Lady of the Fountain, she becomes the wife of the poem's protagonist, Yvain, one of the knights of King Arthur's Round Table, after he kills her husband, but later spurns the knight-errant when he neglects her for heroic adventure, only to take him back in the end.

Chrétien calls her "la dame de Landuc", i.e. the noblewoman in command of the territory and castle of "Landuc", located near a supernatural fountain within the enchanted forest of Brocéliande. The lady Laudine's fountain, which magically generated a powerful storm when its water was poured into a nearby basin, was guarded by her husband, Esclados the Red, until his defeat by Yvain. After learning about his cousin Calogrenant's encounter with Esclados, in which the former was attacked and beaten for using the well to create a storm, Yvain took revenge on behalf of his kinsman by slaying Esclados in single combat. He then followed the mortally wounded warrior back to the castle, where he fell instantly in love with his victim's widow. Though distraught over her husband's death, Laudine was convinced by her vassals (especially her servant and confidante Lunete) to marry Yvain to ensure the protection of her lands.

The gods and goddesses of the pre-Christian Celtic peoples are known from a variety of sources, including ancient places of worship, statues, engravings, cult objects, and place or personal names. The ancient Celts appear to have had a pantheon of deities comparable to others in Indo-European religion, each linked to aspects of life and the natural world. By a process of syncretism, after the Roman conquest of Celtic areas, most of these became associated with their Roman equivalents, and their worship continued until Christianization. Epona was an exception and retained without association with any Roman deity. Pre-Roman Celtic art produced few images of deities, and these are hard to identify, lacking inscriptions, but in the post-conquest period many more images were made, some with inscriptions naming the deity. Most of the specific information we have therefore comes from Latin writers and the archaeology of the post-conquest period. More tentatively, links can be made between ancient Celtic deities and figures in early medieval Irish and Welsh literature, although all these works were produced well after Christianization.

The locus classicus for the Celtic gods of Gaul is the passage in Julius Caesar's Commentarii de Bello Gallico (The Gallic War, 52–51 BC) in which he names six of them, together with their functions. He says that Mercury was the most honoured of all the deities and many images of him were to be found. Mercury was regarded as the inventor of all the arts, the patron of travellers and of merchants, and the most powerful deity in matters of commerce and gain. After him, the Gauls honoured Apollo, who drove away diseases, Mars, who controlled war, Jupiter, who ruled the heavens, and Minerva, who promoted handicrafts. He adds that the Gauls regarded a god he likened to Dis Pater as their ancestor.

Cunobeline or Cunobelin (Common Brittonic: *Cunobelinos, "Dog-Strong"), also known by his name's Latin form Cunobelinus, was a king in pre-Roman Britain from about AD 9 to about AD 40. He is mentioned in passing by the classical historians Suetonius and Dio Cassius, and many coins bearing his inscription have been found. He controlled a substantial portion of southeastern Britain, including the territories of the Catuvellauni and the Trinovantes, and he was called "King of the Britons" (Britannorum rex) by Suetonius. Cunobeline may have been a client king of Rome, based on the images and legends appearing on his coins. Cunobeline appears in British legend as Cynfelyn (Welsh), Kymbelinus (medieval Latin) or Cymbeline, as in the play by William Shakespeare.