The Poetry of Wales | Page 3

distribute the prizes. This yearly gathering of the rank, beauty, wealth and talent of the Principality, to commemorate their nationality and foster native genius, edified and delighted by the gems of Welsh oratory, music and song, cannot but be a laudable institution as well as pleasant recreation. Some of the foremost English journals, who devote columns of their best narrative talent to record a horse race, a Scottish highland wrestle, or hideous prize fight with all their accompaniments of vice and brutality, may surely well spare the ridicule and contempt with which they visit the pleasant Welsh eisteddfod. Their shafts, howsoever they may irritate for the time, ought surely not to lower the Welshman's estimate of his eisteddfod, seeing the antiquity of its origin, the praiseworthiness of its objects, the good it has done, the talent it has developed,--as witness, a Brinley Richards and Edith Wynne,--and the delight it affords to his country people. Enveloped in the panoply of patriotism, truth and goodness, he may well defy the harmless darts of angry criticism and invective, emanating from writers who are foreign in blood, language, sympathy and taste. When the Greeks delighted in their olympic games of running for a laurel crown, the Romans witnessed with savage pleasure the deadly contentions of their gladiators, the Spaniards gazed with joy on their bloody bull fights, and the English crowded to look at the horse race or prize fight, the Cymry met peaceably in the recesses of their beautiful valleys and mountains to rehearse the praises of religion and virtue, to sing the merits of beauty, truth and goodness, and all heightened by the melodious strains of their national lyre.
It is often asked, what is poetry? Prose, we assume to be a simple or connected narrative of ordinary facts or common circumstances. Poetry, on the other hand, is a grouping of great, grand or beautiful objects in nature, or of fierce, fine or lofty passions, or beautiful sentiments, or pretty ideas of the human heart or mind, and all these premises expressed in suitable or becoming language. Poetry is most indulged in the infancy of society when nature is a sealed book, and the uneducated mind fills creation with all sorts of beings and phantoms. There is then wide scope for the rude imagination to wander at will through the unknown universe, and to people it with every description of mythical beings and superstitious objects. Poetry is most powerful in the infancy of civilization, and enjoys a license of idea and language which would shock the taste of more advanced times. The Hindustani poetry as furnished by Sir William Jones, that of the Persian Hafiz, the early ballads of the Arabians, Moors and Spaniards, the poems of Ossian, besides the primitive Saxon ballads, and the triads of Wales, all indicate the extravagant imagery and rude license of poetry in the early ages of society. The history of those several nations also attests the magical influence of their early poetry upon the peoples. We find that Tallifer the Norman trouvere, who accompanied William to the invasion of England, went before his hosts at Hastings, reciting the Norman prowess and might, and flung himself upon the Saxon phalanx where he met his doom. We read that the example of the trouvere aroused the Norman hosts to an enthusiasm which precipitated them upon the Saxon ranks with unwonted courage and frenzy. We also find that the Welsh bard always accompanied his prince to battle, and rehearsed in song the ancient valour and conquests of the chieftain and army in front of the enemy.
The progress of philosophy and science dissipates the myths and spectres of the poetical creation, just as the advance of a July sun dispels the mist and cloud which hung over the earlier hours of day and veiled the mountains and valleys from the eye of man. Poetry becomes now shorn of its greatest extravangancies and wildest flights, instead of soaring with the eagle to the extremities of space, it flies like the falcon within human sight. In lieu of a Homer, a Shakespeare and a Milton, we have a Pope, a Thomson and a Campbell.
The poetry of Wales may be classified into six parts, viz.: the sublime, the beautiful, the patriotic, the humourous, the sentimental and religious. Much of the poetry of the Principality consists of the first class, and is specially dedicated to description and praise of the Supreme Being, the universe and man. As the great objects of creation, like the sun and moon, the planetary world and stars first attract the attention of man and always enlist his deepest feelings, so they furnish the great themes for the poetry of all nations, more especially in its ruder stages. The Welsh poet is no exception to the rule. On the contrary,