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They made for the mound, together with the horse. As they were about to sit down they saw the lady on the same horse, and wearing the same garment, coming along the same road. ‘Here is yesterday’s rider,’ said Pwyll. ’ With that the rider drew level with them. Then the young lad mounted the horse, but before he had settled himself in his saddle she had gone past, putting a fair distance between them. Her pace was no different to the day before. He set his horse to amble, and he thought that although his horse was going slowly, he would catch up with her.

In each case the modern authors have interpreted the tales according to their own personal vision, tangible proof of their lasting significance and resonance. More recent ventures in re-creating the Mabinogion have included a foray into film: 2002 saw the release of a ninety-minute animated version of the Four Branches under the title Y Mabinogi (Otherworld in the English-language version), produced by Cartw ˆ n Cymru for the Welsh television channel S4C. The scriptwriters decided that the animated version should not only entertain but also educate and 13 André Lefevere, Translation, Rewriting, and the Manipulation of Literary Fame (London, 1992), back cover.

And the young lad did that. They made for the mound, together with the horse. As they were about to sit down they saw the lady on the same horse, and wearing the same garment, coming along the same road. ‘Here is yesterday’s rider,’ said Pwyll. ’ With that the rider drew level with them. Then the young lad mounted the horse, but before he had settled himself in his saddle she had gone past, putting a fair distance between them. Her pace was no different to the day before. He set his horse to amble, and he thought that although his horse was going slowly, he would catch up with her.

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