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the subject. Traditional contemporary poetry traditionally kept the poet far removed from the scene. Dafydd's work, in contrast, is full of his own feelings and experiences, and he is a key figure in this transition from a primarily social poetic tradition into one in which the poet's own vision and art is given precedence. Dafyddâs poetry was also unique in its expressions of religion and nature. In âPraise of Summer,â Dafydd praises both the divine and the changing of summer as connected and benevolent. Reference to the divine in prior and contemporary literature usually depicted strong themes of judgement and virtue. With Dafyddâs poetry, we see these forces as a gift worth celebrating.
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Mantes yn
Ffrainc,â one can see other influences in Welsh literary culture. The poem praises an English lord in the same manner of classic heroes such as Arthur. God is also mentioned as an omnipotent protector. Glynâs poem demonstrates a much more traditional approach of gallantry and chivalry popular in continental European literature. Glyn also demonstrates the principle of assimilation in the sense that the English are viewed as equals or interchangeable with the Welsh. Despite taking influence from a previous Welsh figure in Dafydd, Glyn also demonstrates the effect outside influences had in shaping Welsh literary culture.
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attributed to warfare, there is also an apparent spread of cultural traditions peacefully. The argument is taken further by Carol Llyod Wood, who demonstrates how intermarriage and architectural similarity amongst various regions also support an idea of passive cultural diffusion. Although, when looking at architecture from after the
Edwardian conquests, the narratives of the polarized views tend to be amplified. Architecture tended to reflect the cultures of either the Welsh or English based on the level of authority of either group in the region.
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territories saw a large expansion of
English influence. The English made large investments into Welsh infrastructure and instituted new laws that would align more similarly to English law. This period of Welsh history saw Welsh culture physically dominated by English occupation; however, the peace brought under English rule allowed for Welsh culture to manifest in more artistic means. Poetry, like Dafyddâs, became a more popular expression of Welsh culture because there was less of a united interest on warfare and defense.
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Goldsmith,â Dafydd praises his devotion to a woman who creates attire out of her hair and natureâs bristle. In the poem, the woman crafts a belt for Dafydd. In this poem, the metaphor of sexual desire is drawn from the proximity of the womanâs hair to Dafyddâs waist. The belt itself stands as the sexual connection between this woman and Dafydd. In contrast, traditional courtly love literature tended to shy away from praising sexual desire in favor of patience and virtuous romance.
260:, is seen as a significant influence on Dafydd's poetry. Courtly love was not a unique theme of Dafyddâs poetry. While courtly love is primarily associated with the literature of mainland Europe, its elements can be found in works across the British Isles. Elements of courtly love have been noted in Welsh literature well before the Dafyddâs active days, suggesting that courtly love grew as a culturally connected phenomena across European literature.
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275:" and first to use it for praise. Dafydd also has been credited for popularizing the meter form known as âcynghanedd.â The continued use of cynghanedd and cywydd by Welsh poets after Dafyddâs active years is a testament to the effect Dafydd had on shaping Welsh literary culture. Dafyddâs poetry provided a framework for which Welsh literary culture could grow its own unique traditions.
137:. Dafyddâs poetry also offers a unique window into the transcultural movement of cultural practices and preservation of culture in the face of occupation. Dafydd also helps answer questions that linger over the spread of culture. Even though it has been given less attention, cultural development in Wales differed slightly than in other parts of Europe during the same time.
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Some contend still that cultures developed as a product of their internal audiences. In the case of Dafydd, Helen Fulton argues that his poetry reflected the values admired by Welsh audiences and reflected values of the cultureâs uniqueness. In this context, Welsh culture is formed outside of outside
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Dafyddâs poetry reflected the individuality of his own personal as well as Welsh cultural expression through his unique expression of common literary practices, as well as his individual voice in his poetry. One aspect that differed from conventional poetry in Dafyddâs works was the use of himself as
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While it may be difficult to trace the exact years Dafydd was active, it is clear he wrote after the
Edwardian conquests of Wales. Despite living under English authority, Dafyddâs poetry presents ways in which Welsh culture continued to distinguish itself and prevail. Some of Dafyddâs poetry outright
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Others place their arguments somewhere on a spectrum of these two extremes. Andrew Breeze has noted that from even the earliest evidence of Welsh literature, there are many similarities between works of cultures from close and far proximity to the Welsh. While some of these similarities are directly
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In 1277, after multiple attempts to gain more local authority by the Welsh, Edward I began his conquests of the Welsh territories to firmly plant control in
English hands. Within 5 years of the conquestâs start, most of Wales was under English control. Under English control, the newly acquired Welsh
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While Dafyddâs work displays the role literature played in forming Welsh culture in the early 14th century, artistic expression of culture was not as prevalent in the centuries prior. A large majority of cultural expression was demonstrated militarily, as the Welsh suffered many incursions by Norman
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Although Dafydd wrote comparatively conventional praise poetry, he also wrote love poetry and poetry expressing a personal wonderment at nature; Dafydd's poetry on the latter subject in particular is largely without precedent in Welsh or
European literature in terms of its depth and complexity. His
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As the
English kingdom fell to William Iâs Norman conquest, Welsh holdings that were already contested by the English fell to Norman power. Immediately, William I placed William fitz Osbern in charge of managing the defense of the holdings. Quickly, Norman and trusted Anglo-Saxon nobility were put
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It is fair to say Dafydd was important in establishing certain customs that would become popular among Welsh literary culture. Although literary culture was very prevalent in the identities of
Medieval cultures, it often gets overlooked in larger debates about the spread of culture. By looking at
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When looking at a successor of Dafydd, Gutoâr Glyn, one is able see to how these forces that control culture interact in a different context. Like Dafydd, Glyn used cywydd meter and referenced himself in his poetry; however, in Glynâs âMoliant i Syr
Rhisiart Gethin ap Rhys Gethin o Fuellt, capten
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Dafyddâs poetry reflects the multiple avenues in which cultural exchange manifested in
Medieval Europe. Dafydd had clear influences by traditions of foreign origin that became used often in his poetry. Some of Dafyddâs poetry also reflects the assimilation and domination present by the Edwardian
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In the following decades, the Norman advance grew slow, as the Welsh had time to plan defenses unlike their English counterparts. As the campaigns drew on, marcher lordships were established on the border of Wales to help facilitate a defense against any counter-incursions. Due to the relative
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Dafyddâs poetry also differs from the conventions of other love poetry in its use of sexual metaphor. Some of Dafyddâs poetry, such as âA Poem in Praise of the Penisâ display explicit connection to sexual desire. Yet, Dafydd was also well adept at keeping his metaphors subtle. In âThe Lady
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The development of culture has been a topic of discussion for many years. As Robert Bartlett argues, European cultures formed in a homogeneous nature, primarily through conquest and settlement. This view has a favorable outlook if you take Wales in the time of Dafydd. The Welsh had become
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freedom granted to marcher lords, local marcher lords would often compete over territory. The lack of pressure exercised on Welsh authorities during the period of marcher lordships allowed Welsh cultural authority to strengthen in regions not controlled by the Normans or English.
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to mark the site in the churchyard at Talley where a deeply-rooted tradition asserts that the poet Dafydd ap Gwilym lies buried. For many centuries the rival claims of Talley and Ystrad Fflur have been debated as the burialplace of Walesâ foremost
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conquests. Yet, Dafydd also displays poetic structure that would become part of the Welsh literary identity. Scratching the surface of Dafyddâs poetry reveals that culture was defined and controlled by many aspects, and not just one major force.
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Gutoâr Glyn, âMoliant i Syr Rhisiart Gethin ap Rhys Gethin o Fuellt, capten Mantes yn Ffrainc,â Center for Advanced Welsh and Celtic Studies, http://www.gutorglyn.net/gutorglyn/poem/?poem-selection=001&first-line=008, lines
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predominantly subservient to the English after the Edwardian conquests. Bartlett might argue that the cultural developments that came in the period of peace after the conquests is evidence for this principle of assimilation.
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It is believed that about one hundred and seventy of his poems have survived, though many others have been attributed to him over the centuries. His main themes were love and nature. The influence of wider European ideas of
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popularity during his own historic period is testified by the fact that so many of his poems were selected for preservation in texts, despite a relatively short career compared to some of his contemporaries.
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families. As one of noble birth it seems Dafydd did not belong to the guild of professional poets in medieval Wales, and yet the poetic tradition had been strong in his family for generations.
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The first recorded observation that Dafydd ap Gwilym was buried in Talley was made in the sixteenth century. Talley is located about 30 miles from Strata Florida (Welsh: Ystrad Fflur).
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into centers of control within Welsh lands. The Norman Invasions began a long period where the preservation of Welsh culture coincided with the need for military defense.
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reflects rejection of the standards of English authority, like in one poem where he draws attention to the state of housing after English subjugation of Wales.
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479:. Medieval and Renaissance Texts and Studies, Center for Medieval and Early Renaissance Studies, Binghamton, New York, 1982. English translations.
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Many of his poems are addressed to women, but particularly to two of them, Morfudd and Dyddgu. His best-known works include the following poems:
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are a German translation and adaption of a dream-vision poem supposedly by Dafydd, though not to be found among his works or in his apocrypha.
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Dafydd ap Gwilym, literary culture appears as just as an important part of Welsh cultural identity as resistance to occupation was.
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According to Charles Johnston's explanatory notes on the Astrée / Naïve CD 'Beethoven: Irish, Welsh & Scottish Songs' (2001).
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Robert Bartlett, The Making of Europe: Conquest, Colonization and Cultural Exchange (Princeton: Princeton Press, 1993), 3.
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493:(Cardiff, University of Wales Press, 2001). Includes a complete translation of the poems and an introduction.
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Translations into English verse from the poems of Davyth ap Gwilym, a Welsh bard of the fourteenth century
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Translations into English Verse from the Poems of Davyth ap Gwilym, a Welsh Bard of the Fourteenth Century
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444:, Writers of Wales series. (Cardiff, 1974, University of Wales Press). An introduction in English.
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888:. Buchreihe der Zeitschrift fĂŒr Celtische Philologie, 19. TĂŒbingen: Max Niemeyer. p. 278.
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merchant who seems to have had a long affair with Dafydd, and whom he addressed in many poems;
329:(The Rattle Bag), in which Dafydd's intercourse with a young girl is cruelly interrupted; and
486:(2nd revised ed., Caerdydd, 1963, Gwasg Prifysgol Cymru). Edited texts with extensive notes.
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He was an innovative poet who was responsible for popularising the metre known as the "
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Later tradition has it that Dafydd was born at Brogynin, Penrhyn-coch (at the time
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According to R. Geraint Gruffydd he died in 1350, a possible victim of the
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theory who contend that burial took place in the Talley Abbey Churchyard:
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1036:â Two English translations of Dafydd ap Gwilym's 'Trafferth Mewn Tafarn'
323:), a poem in which Dafydd asks a seagull to carry a message to his love;
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1042:â An English translation of Dafydd ap Gwilym's 'Mis Mai a Mis Ionawr'
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612:. Parochial Church Council of St Michael & All Angels, Talley.
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335:(A Poem in Praise of the Penis), a risqué piece of pure medieval
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On Saturday 15 September 1984 a memorial stone was unveiled by a
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ed. Gwyn Thomas (Cardiff: Wales University Press, 2001), 80-81.
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ed. Gwyn Thomas (Cardiff: Wales University Press, 2001), 59-60.
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186:. Tradition says that he was buried within the precinct of the
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1350 as the poet's dates; others place him a little later from
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Max Lieberman, âThe Medieval âMarchesâ of Normandy and Wales,
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150 Jahre "Mabinogion": Deutsch-Walisische Kulturbeziehungen
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197:. This burial location is disputed by supporters of the
465:, Welsh Classics series (Llandysul, 1996, Gomer Press).
458:, Welsh Classics series (Llandysul, 2003, Gomer Press).
421:(1834). By a translator only identified as Maelog, the
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An Overview of Welsh Poetry Before the Norman Conquest
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by a team of academics from the University of Wales
633:(Cambridge: Cambridge University Press, 1990), 126.
133:poets and amongst the great poets of Europe in the
967:(Cardiff: University of Wales Press, 2011), 183-4.
289:(Morfudd Like the Sun), a poem to the wife of an
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954:, (Lampeter: The Edwin Mellen Press, 1996), 1-4.
1234:To the Yew Tree Above Dafydd ap Gwilym's Grave
463:Selections from the Dafydd ap Gwilym Apocrypha
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1046:A new edition of the work of Dafydd ap Gwilym
1004:Dafydd ap Gwilym and Welsh literary tradition
129:1350/1370) is regarded as one of the leading
884:; Zimmer, Stefan; Batke, Christiane (eds.).
759:Dafydd ap Gwilym, âIn Praise of Summer,â in
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772:Dafydd ap Gwilym, âThe Lady Goldsmith,â in
472:(Cardiff. 1989, University of Wales Press).
451:(Cardiff, University of Wales Press, 1986).
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222:Welsh literature after the Norman invasion
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926:Dafydd ap Gwilym and the European Context
646:(Dublin: Four Courts Press, 1997), 117-8.
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470:Dafydd ap Gwilym and the European Context
449:Aspects of the Poetry of Dafydd ap Gwilym
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592:. Banbury, Oxfordshire: The Piers Press.
431:A sketch of the life of Davyth ap Gwilym
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986:Dafydd ap Gwilym, 1. cent. (1834).
963:R.A. Griffiths and P.R. Schofield,
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619:from the original on 26 April 2012.
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1010:Works by or about Dafydd ap Gwilym
965:Wales and Welsh in the Middle Ages
361:Dafydd's window into Welsh culture
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846:Cambridge Medieval Celtic Studies
37:Sculpture of Dafydd ap Gwilym by
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607:"Y Llychau Issue 6, 2007; p. 16"
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774:Dafydd ap Gwilym: His Poems,
761:Dafydd ap Gwilym: His Poems,
590:25 Poems by Dafydd ap Gwilym
491:Dafydd ap Gwilym: His Poetry
401:List of Welsh language poets
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1126:The Poet and the Grey Friar
1025:(public domain audiobooks)
1006:on the BBC History website.
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406:Dafydd ap Gwilym Society
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475:Richard Morgan Loomis,
456:Dafydd ap Gwilym: Poems
454:Rachel Bromwich (ed.),
301:The Girls of Llanbadarn
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1271:People from Ceredigion
876:Cowan, Martha (2001).
801:"The Literary Context"
408:, University of Oxford
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307:Trafferth mewn tafarn
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95:Trafferth mewn Tafarn
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1040:Mis Mai a Mis Ionawr
990:. London: H. Hooper.
842:by Dafydd ap Gwilym"
482:Thomas Parry (ed.),
461:Helen Fulton (ed.),
351:Ludwig van Beethoven
191:Strata Florida Abbey
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1256:14th-century births
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1112:The Magpie's Advice
489:Gwyn Thomas (ed.),
427:Arthur James Johnes
353:'s 1810 collection
311:Trouble at a Tavern
287:Morfudd fel yr haul
146:R. Geraint Gruffydd
107:Morfudd fel yr Haul
39:W Wheatley Wagstaff
950:Carol Llyod Wood,
808:dafyddapgwilym.net
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840:Cywydd y Gal
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18:
1211:The Maypole
1140:The Seagull
423:bardic name
321:The Seagull
291:Aberystwyth
184:Black Death
135:Middle Ages
81:Love poetry
1250:Categories
1119:The Mirror
1105:His Shadow
895:3484429194
852:18 October
848:(9): 72â73
575:References
256:poetry of
254:troubadour
195:Ceredigion
188:Cistercian
173:Ceredigion
58:Occupation
16:Welsh poet
1179:The Dream
787:His Poems
750:, xx-xxi.
748:His Poems
566:full text
555:full text
544:full text
533:full text
522:full text
511:full text
258:Provençal
171:parish),
164:1370-80.
148:suggests
72:1340â1370
1193:The Snow
1154:The Wind
1133:The Ruin
1023:LibriVox
937:Breeze,
812:Archived
785:Thomas,
746:Thomas,
720:Breeze,
707:Walker,
694:Walker,
668:Walker,
655:Walker,
614:Archived
390:See also
317:Yr wylan
207:Prifardd
1221:Related
1012:at the
941:, 7-10.
821:29 June
429:, with
337:erotica
160:1320-40
85:erotica
977:40-58.
901:2 June
892:
789:, xiv.
724:, 119.
711:142-7.
273:cywydd
66:Period
880:. In
815:(PDF)
804:(PDF)
672:, 44.
659:, 21.
617:(PDF)
610:(PDF)
498:Notes
210:poet.
177:noble
152:1315-
131:Welsh
77:Genre
53:Wales
903:2024
890:ISBN
854:2015
823:2018
698:126.
346:Lied
141:Life
61:Poet
50:Born
1021:at
425:of
41:at
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598:^
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162:c.
158:c.
154:c.
150:c.
127:c.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
