The Wind (poem)

For other meanings, see The Wind.
An anonymous 19th century imaginary portrait of Dafydd ap Gwilym.

"The Wind" (Welsh: Y Gwynt) is a 64-line love poem in the form of a cywydd by the 14th-century Welsh poet Dafydd ap Gwilym. Dafydd is widely seen as the greatest of the Welsh poets,[1][2][3][4] and this is one of his most highly praised works. Rachel Bromwich called it "one of the greatest of all his poems",[5] while the academic critic Andrew Breeze has hailed it as "a masterpiece" and "a work of genius", noting especially its "rhetorical splendour".[6]

Summary

The first lines of the poem in a manuscript dating from c. 1520.

The poet opens by addressing the wind, calling it a strange being, going where it wills, and subject to none of the physical or legal restraints of ordinary human life. After praising it for its power the poet goes on to compare it to an author, a sower of leaves, and a jester. Then he asks the wind to visit Uwch Aeron [the northern part of Ceredigion, from where Dafydd came],[7] and, paying no heed to her husband Bwa Bach[7] to visit the poet's lover Morfudd, on whose account he is an exile from his native land. The wind is to send the poet's sighs to Morfudd, to assure her of his continued love, and to return safely.[8]

Sources

There are some verbal resemblances between this poem and "The Song of the Wind", a poem found in the Book of Taliesin: Taliesin, or whoever was that poem's author, describes the wind as a "powerful creature" without foot or head, flesh or bone, while Dafydd calls it a "strange being…without foot or wing". This strongly suggests to some scholars that Dafydd knew the older poem,[9][10] though in recent years doubt has been cast on this line of argument.[11]

Andrew Breeze finds, in a passage describing the wind in Jean de Meun's continuation of the Roman de la Rose, no less than 16 motifs which also appear in Dafydd's poem, though re-arranged and re-imagined. He concludes that Dafydd is likely to have known and been influenced by the Roman de la Rose.[12]

Poetic art

"The Wind" is one of the classic examples[13][14] of the use of what has been called "a guessing game technique"[15] or "riddling",[16] a technique known in Welsh as dyfalu comprising the stringing together of imaginative and hyperbolic similes and metaphors. Sometimes Dafydd used dyfalu pejoratively; less often, as in this poem, to express his wonder at one of the great forces of nature.[17] The display of Dafydd's virtuosity in this technique has been seen as his prime motivation for writing the poem.[18]

Lines 9–24 of the poem all begin with the letter N, and in the succeeding 14 lines a similar use is made of the letters R, S, D, and finally H. Dafydd took this poetic device, known as cymeriad, from the older poetic form of awdl, a kind of poem much used by court poets of the preceding centuries for poems of praise addressed to their patrons. He employed it in several of his cywyddau.[19]

Genre and themes

"The Wind" is cast in a form closely associated with Dafydd, the poem in which a messenger or llatai, usually a bird or animal, is sent to the poet's lover.[20] It is a good example of how Dafydd's works in this form can include a close and warmly-appreciative description of a llatai, even when, as is often the case in Dafydd's poems, he is describing nature in one of its harsher aspects.[5][21] The careering course of the wind is embodied in the headlong pace of the poem.[22] Rachel Bromwich called "The Wind" one of "the outstanding expressions of Dafydd's wonder and awe at the mysteries of the cosmic forces", but pointed out that in the end Dafydd curbs this force to act as a love-messenger to Morfudd.[23] The poet Gwyneth Lewis sees the poem as "a hymn to the havoc that art can work in the world",[22] while for the scholar Helen Fulton the wind is a metaphor for "freedom and autonomy from the laws of governing society".[11] This political aspect of the poem is particularly apparent in lines 19–22 (13–16 in some editions):

…though you winnow leaves
no one indicts you, you are not restrained
by any swift troop, nor officer's hand
nor blue blade…[24]

This has been interpreted as an implicit comparison with the king's official messengers, who were immune from legal consequences should they trample their way through standing crops in the line of duty.[23] Andrew Breeze finds in these same lines a reminder that Dafydd was living in a land occupied by foreigners.[25] On the other hand, for Anthony Conran the freedom celebrated in the poem is an essentially personal one, the expression of his own ungovernable character.[26] Likewise Richard Morgan Loomis sees the wind as Dafydd's "glorious alter-ego", the poem being "the paradoxical fantasy of a frustration that would speak through an uncontrollable freedom".[27]

English translations

Footnotes

  1. ↑ Koch, John T. (2006). Celtic Culture: A Historical Encyclopedia. Volume 5. Santa Barbara: ABC-CLIO. p. 1770. ISBN 1851094407. Retrieved 19 July 2015.
  2. ↑ Bromwich 1979, p. 112.
  3. ↑ Baswell, Christopher; Schotter, Anne Howland, eds. (2006). The Longman Anthology of British Literature. Volume 1A: The Middle Ages (3rd ed.). New York: Pearson Longman. p. 608. ISBN 0321333977.
  4. ↑ Kinney, Phyllis (2011). Welsh Traditional Music. Cardiff: University of Wales Press. p. 6. ISBN 9780708323571. Retrieved 18 July 2015.
  5. 1 2 Bromwich 1979, p. 125.
  6. ↑ Breeze 2008, pp. 311, 319.
  7. 1 2 Bell & Bell 1942, p. 316.
  8. ↑ Bromwich 1985, pp. 104, 106.
  9. ↑ Bromwich 1985, pp. 104, 120.
  10. ↑ Edwards, Huw M. (1996). Dafydd ap Gwilym: Influences and Analogues. Oxford: Clarendon Press. p. 142. ISBN 0198159013. Retrieved 20 July 2015.
  11. 1 2 Breeze 2008, p. 319.
  12. ↑ Breeze 2008, pp. 311–321.
  13. ↑ Koch, John T. (2006). Celtic Culture: A Historical Encyclopedia. Volume 2. Santa Barbara: ABC-CLIO. p. 545. ISBN 1851094407. Retrieved 20 July 2015.
  14. ↑ Hirsch, Edward (2014). A Poet's Glossary. Boston: Houghton Mifflin Harcourt. p. 188. ISBN 9780151011957. Retrieved 20 July 2015.
  15. ↑ Roberts, Sara Elin (2008). "Dafydd ap Gwilym (fl. 14th century)". In Sauer, Michelle M. The Facts on File Companion to British Poetry Before 1600. New York: Facts on File. p. 138. ISBN 9780816063604. Retrieved 1 July 2015.
  16. ↑ Thomas, Gwyn (Spring 1973). "Dafydd ap Gwilym the nature-poet". Poetry Wales 8 (4): 31. Retrieved 3 July 2015.
  17. ↑ Bromwich 1985, pp. xviii-xix.
  18. ↑ Davies, Morgan Thomas (1997). "Plowmen, patrons and poets: Iolo Goch's "Cywydd y Llafurwr" and some matters of Wales in the fourteenth century". Medievalia et Humanistica. NS 24: 63–64. Retrieved 20 July 2015.
  19. ↑ Bromwich 1985, p. xvii.
  20. ↑ Rowe, David (1995). A House of Leaves. Castell Newydd Emlyn: Gweithdy’r Gair. p. 13. ISBN 0952462605.
  21. ↑ Bell & Bell 1942, p. 34.
  22. 1 2 Lewis 2014.
  23. 1 2 Bromwich 1985, p. 120.
  24. ↑ Johnston, Dafydd. "English Version – Y Gwynt". Gwaith Dafydd ap Gwilym. Welsh Department, Swansea University. Retrieved 20 July 2015.
  25. ↑ Breeze 2008, p. 312.
  26. ↑ Conran, Anthony, ed. (1967). The Penguin Book of Welsh Verse. Harmondsworth: Penguin. p. 55.
  27. ↑ Loomis, Richard Morgan, ed. (1982). Dafydd ap Gwilym: The Poems. Binghamton: Medieval & Renaissance Texts & Studies. ISBN 0866980156. Retrieved 20 November 2015.

References

External links

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