From Harsh And Taunting Words They Soon Came To
Actions:
Hair was torn off, faces were scratched, blood flowed
from cheek and nose.
Whilst the tumult was at its fiercest Ab
Gwilym slipped away."
The writer merely repeats this story, and he repeats it as
concisely as possible, in order to have an opportunity of saying
that he does not believe one particle of it. If he believed it, he
would forthwith burn the most cherished volume of the small
collection of books from which he derives delight and recreation,
namely, that which contains the songs of Ab Gwilym, for he would
have nothing in his possession belonging to such a heartless
scoundrel as Ab Gwilym must have been had he got up the scene above
described. Any common man who would expose to each other and the
world a number of hapless, trusting females who had favoured him
with their affections, and from the top of a tree would feast his
eyes upon their agonies of shame and rage, would deserve to be -
emasculated. Had Ab Gwilym been so dead to every feeling of
gratitude and honour as to play the part which the story makes him
play, he would have deserved not only to be emasculated, but to be
scourged with harp-strings in every market-town in Wales, and to be
dismissed from the service of the Muse. But the writer repeats
that he does not believe one tittle of the story, though Ab
Gwilym's biographer, the learned and celebrated William Owen, not
only seems to believe it, but rather chuckles over it. It is the
opinion of the writer that the story is of Italian origin, and that
it formed part of one of the many rascally novels brought over to
England after the marriage of Lionel, Duke of Clarence, the third
son of Edward the Third, with Violante, daughter of Galeazzo, Duke
of Milan.
Dafydd Ab Gwilym has been in general considered as a songster who
never employed his muse on any subject save that of love, and there
can be no doubt that by far the greater number of his pieces are
devoted more or less to the subject of love. But to consider him
merely in the light of an amatory poet would be wrong. He has
written poems of wonderful power on almost every conceivable
subject. Ab Gwilym has been styled the Welsh Ovid, and with great
justice, but not merely because like the Roman he wrote admirably
on love. The Roman was not merely an amatory poet: let the shade
of Pythagoras say whether the poet who embodied in immortal verse
the oldest, the most wonderful, and at the same time the most
humane, of all philosophy was a mere amatory poet. Let the shade
of blind Homer be called up to say whether the bard who composed
the tremendous line -
"Surgit ad hos clypei dominus septemplicis Ajax" -
equal to any save ONE of his own, was a mere amatory songster.
Yet, diversified as the genius of the Roman was, there is no
species of poetry in which he shone in which the Welshman may not
be said to display equal merit. Ab Gwilym, then, has been fairly
styled the Welsh Ovid. But he was something more - and here let
there be no sneers about Welsh: the Welsh are equal in genius,
intellect and learning to any people under the sun, and speak a
language older than Greek, and which is one of the immediate
parents of the Greek. He was something more than the Welsh Ovid:
he was the Welsh Horace, and wrote light, agreeable, sportive
pieces, equal to any things of the kind composed by Horace in his
best moods. But he was something more: he was the Welsh Martial,
and wrote pieces equal in pungency to those of the great Roman
epigrammatist, - perhaps more than equal, for we never heard that
any of Martial's epigrams killed anybody, whereas Ab Gwilym's piece
of vituperation on Rhys Meigan - pity that poets should be so
virulent - caused the Welshman to fall down dead. But he was yet
something more: he could, if he pleased, be a Tyrtaeus; he was no
fighter - where was there ever a poet that was? - but he wrote an
ode on a sword, the only warlike piece that he ever wrote, the best
poem on the subject ever written in any language. Finally, he was
something more: he was what not one of the great Latin poets was,
a Christian; that is, in his latter days, when he began to feel the
vanity of all human pursuits, when his nerves began to be unstrung,
his hair to fall off, and his teeth to drop out, and he then
composed sacred pieces entitling him to rank with - we were going
to say Caedmon; had we done so we should have done wrong; no
uninspired poet ever handled sacred subjects like the grand Saxon
Skald - but which entitle him to be called a great religious poet,
inferior to none but the protege of Hilda.
Before ceasing to speak of Ab Gwilym, it will be necessary to state
that his amatory pieces, which constitute more than one-half of his
productions, must be divided into two classes: the purely amatory
and those only partly devoted to love. His poems to Dyddgu and the
daughter of Ifor Hael are productions very different from those
addressed to Morfudd. There can be no doubt that he had a sincere
affection for the two first; there is no levity in the cowydds
which he addressed to them, and he seldom introduces any other
objects than those of his love. But in his cowydds addressed to
Morfudd is there no levity? Is Morfudd ever prominent? His
cowydds to that woman abound with humorous levity, and for the most
part have far less to do with her than with natural objects - the
snow, the mist, the trees of the forest, the birds of the air, and
the fishes of the stream.
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