The Welsh and Their Literature. Borrow George

      From the Lochlin ocean to Severn’s bed;

      Yes; the Cymric or British race were dispossessed of Britain with the exception of that part which they still emphatically call Cumrie, but which by other people is called Wales. There they remained independent for a long time, governed by their own princes; and there, though now under the sway of England, they still preserve their venerable language, the oldest in the world, with perhaps the exception of the Gaulic or Irish, with which it is closely connected. Wales is not a Cymric but a Saxon or Teutonic word, bestowed on the land of the Cymry by the seed of Hengist. Like the Gaelic word Alban, it means a hilly or mountainous region, and is connected with wall, wold, and wood. The Germans, from very early times, have called the Cymry Welsh or Waldenses, and the country where they happened to be, Welschland. They still apply to Italy the name of Welschland, a name bestowed upon it by their ancestors, because it was originally principally peopled by the Cymry, whom the Germans called Welsh from the circumstance of their inhabiting some mountainous or forest country in the far East, when they first came in contact with them.

      We now proceed to give some account of the literature of the Cymry. We commence with their poetry, and from a very early period, quoting from a Cymric Triad: – ‘These are the three artificers of poetry and record amongst the nation of the Cymry: Gwyddon Ganhebon, who first in the world invented vocal song; and Hu the Mighty, who first invented the means of recording and preserving vocal song; and Tydan, the father of the muse, who first gave rules to vocal song and a system to recording. From what these three men effected Bards and Bardism were derived; the dignities and customs pertaining to which were arranged systematically by the three original bards, Plenydd, Alon, and Gwbon.’ Three ranks or orders constituted what was called barddas, or bardism; that of bard or poet, that of ovydd or philosopher, and that of druid or instructor. The motto of this institution was – ‘Y Gwir yn erbyn y byd,’ or The Truth against the world; from which it would appear that bardism was instituted for the purpose of propagating truth. Bardism, or as it is generally though improperly styled, druidism, was the fount of instruction, moral and religious, in Britain and in Gaul. The vehicle by which instruction, or, as it was probably termed, truth, was propagated, was poetry. The bard wrought the philosophy of the ovydd into song, and the druid or instructor, who was also minister of such religion as the Celts and Cymry possessed, whatever that was, communicated to his pupils the result of the labours of the bard and ovydd. The Druidical verses then probably constituted the most ancient poetry of Britain. These verses were communicated orally, and were never written down whilst bardism or druidism lasted, though the bards and druids at a very early period were acquainted with the use of letters. Whether any genuine bardic poetry has been preserved, it is impossible to say; it is the opinion, however, of Cymric scholars of reputation, that certain ancient strains which the Welsh possess, which are composed in a measure called Englyn milwr, are either druidical strains or imitations of such. Each of these compositions is in three lines; the entire pith however of the triplet, generally consisting of a moral adage or a piece of wholesome advice, lies in the third line, the two first being composed of trivial and unconnected expressions. Many of these stanzas are called the stanzas of ‘The Mountain Snow,’ from the circumstance of their commencing with ‘Eiry Mynydd,’ which has that signification. The three lines rhyme together at their terminations; and a species of alliteration is observable throughout. A word or two here on Cymric rhyme and measures.

      In Welsh poetry rhyme is found in a twofold shape: there is alliteration, that is rhyme produced by the same letters following each other at certain distances in the body of the line, then there is the common rhyme, produced by two or more lines terminating with the same letters. In the older Welsh poetry, by which we mean that composed before the termination of the first millennium, both rhyme and alliteration are employed, but in a less remarkable manner than in the bardic effusions of comparatively modern times. The extent to which the bards of the middle ages, and those of one or two subsequent centuries, carried rhyme and alliteration seems marvellous to the English versifier. We English think we have accomplished a great feat in rhyme when we have made three lines consonant in their terminations; but Dafydd Benfras, or David of the Thick Head, would make fifty lines rhyme together, and not think that he had accomplished anything remarkable in rhyming either. Our English alliterative triumph is the following line, composed by a young lady in the year 1800, on the occasion of a gentleman of the name of Lee planting a lane with lilacs: —

      in which not only every word, but every syllable commences with the same letter —l.

      But what is this English alliterative triumph of the young lady compared with the Welsh alliterative triumph of Dafydd Nanmawr, who wrote a poem of twelve lines, every syllable of which commences with the letter g, with the exception of the last, which begins with n?

      The earliest Cymric or British metre seems to have been a triban or triplet, in each line of which there were in general six syllables. The bards of the sixth, seventh, and several succeeding centuries used this metre, and likewise others, invented by themselves, in which the lines are of various length. There was no regular system of prosody till the year 1120, when one was established under the auspices of Grufydd ap Cynan, prince of Gwynedd. This Ap Cynan, who, though of Welsh origin, was born in Dublin, and educated at the Danish Irish court, was passionately fond of poetry, and was not only well acquainted with that of the British bards, but with the strains of the Icelandic skalds and Irish fileas. Shortly after his accession to the throne of Gwynedd, of which he was the rightful heir, he proclaimed an eisteddfod, or poetical sessions. At this eisteddfod, which was numerously attended by poets of various nations, a system of prosody was drawn up by competent persons, at his instigation, for the use of the Welsh, and established by his authority. This system, in which Cymric, Icelandic, and Irish forms of verse are blended and amalgamated, has with a few unimportant variations maintained its ground to the present time. It contains three primary measures, termed respectively, englyn, cywydd, and awdl. Of the englyn, there are five kinds; of the cywydd, four; and of the awdl, fifteen. Each particular species of englyn, cywydd, and awdl has its appropriate name, which it is needless to give here. These three primary metres, with their modifications, make together twenty-four measures, which embrace the whole system of Welsh versification, in which, as somebody has observed, each line, word, and letter, are so harmonized by consonancy, chained so accurately, woven so closely and correctly, that it is impossible to extract one word or even letter without causing a hideous gap. Whoever has ventured to compose out of these measures, since the time of their establishment, has been considered by the Welsh scholar as unworthy of the name of poet.

      The earliest recorded poet of the Cymry, after the days of Gwyddon Ganhebon and the other personages mentioned with him in the triad, is Merddin, Beirdd Emrys Wledig, or Merddin, Bard of Prince Emrys. He flourished about the middle of the fifth century, the period when the Saxons arrived in Britain, under the command of Hengist and Horsa. Besides poetry he was skilled in mathematics, and is said by the Welsh to have been the architect of Stonehenge. He has been surnamed Ambrosius, which is the Latin modification of the name of his patron Emrys. He is the Merddin, or Merlin, who has had to father so many of the prophecies which since his death have been produced. None of his poems are extant.