Among the most enigmatic and fascinating of early Welsh poems are the sequences of stanzas commonly categorized as gnomic. In their most typical form they juxtapose vivid natural description with generalisations about the physical world and about human life, combining an evident delight in weather and the changing seasons, landscapes and seascapes, and birds, beasts and plants with a serious and often witty concern for the moral and practical aspects of daily life. The origin and function of these stanzas remains a puzzle; some may be associated with particular situations in narratives now lost, but as a whole they appear to have developed at an early stage into a recognised genre of their own. They may be supposed to have a philosophical purpose, serving to assert a continuity between the natural and moral orders; on the other hand they may be read simply as a repository of folk-wisdom. While their interpretation remains a matter for discussion, their language is comparatively simple, and they thus provide an engaging window on the ordinary conceptual world of mediaeval Wales. This volume presents texts of the gnomic stanzas from the most important collection, that in Red Book of Hergest, and from some other manuscripts, with a few other poems containing related material, some of them edited in English for the first time, together with a literary and linguistic introduction, explanatory commentary and extensive glossary. Nicolas Jacobs is an Emeritus Fellow of Jesus College, Oxford.

Kenneth Jackson examines nature poetry that was produced in Ireland and Wales in the twelfth and thirteenth centuries.

The saga englynion are among the most appealing medieval Welsh poems. Despite some difficulties, their style is generally direct and their contents interesting to modern readers. In these poems the anonymous poets speak as characters from story. The full narrative setting has been lost, but enough can be reconstructed to appreciate the poetry. This selection includes dramatic dialogues and monologues exploring the acceptable limits of heroism. The old warrior, Llywarch Hen, mourns his sons’ death in battle and his lonely old age full of regrets. Heledd, the only major female character in the saga poetry, laments the loss of her family and her country to the invading English. A Selection of Early Welsh Saga Poems, the fifth volume of the Library of Medieval Welsh Literature Series, presents edited texts from the main manuscripts. The introduction offers a guide to interpretation, dating, and metrics, while a full glossary and explanatory notes make these poems readily accessible to the reader.

Edition and translation of this important genre of Old Welsh poetry.The "Stanzas of the Graves" or "Graves of the Warriors of the Island of Britain", attributed to the legendary poet Taliesin, describe ancient heroes' burial places. Like the "Triads of the Island of Britain", they are an indispensable key to the narrative literature of medieval Wales. The heroes come from the whole of Britain, including Mercia and present-day Scotland, as well as many from Wales and a few from Ireland. Many characters known from the Mabinogion appear, often with additional information, as do some from romance and early Welsh saga, such as Arthur, Bedwyr, Gawain, Owain son of Urien, Merlin, and Vortigern. The seventh-century grave of Penda of Mercia, beneath the river Winwæd in Yorkshire, is the latest grave to be included. The poems testify to the interest aroused by megaliths, tumuli, and other apparently man-made monuments, some of which can be identified with known prehistoric remains.This volume offers a full edition and translation of the poems, mapped with reference to all the manuscripts, starting with the Black Book of Carmarthen, the oldest extant book of Welsh poetry. There is also a detailed commentary on their linguistic, literary, historical, and archaeological aspects. translation of the poems, mapped with reference to all the manuscripts, starting with the Black Book of Carmarthen, the oldest extant book of Welsh poetry. There is also a detailed commentary on their linguistic, literary, historical, and archaeological aspects. translation of the poems, mapped with reference to all the manuscripts, starting with the Black Book of Carmarthen, the oldest extant book of Welsh poetry. There is also a detailed commentary on their linguistic, literary, historical, and archaeological aspects. translation of the poems, mapped with reference to all the manuscripts, starting with the Black Book of Carmarthen, the oldest extant book of Welsh poetry. There is also a detailed commentary on their linguistic, literary, historical, and archaeological aspects.

This book is a comprehensive single-volume history of literature in the two major languages of Wales from post-Roman to post-devolution Britain.

Early Welsh and Old English poetry are rarely spoken of together, but when they are, they have been described as like or different from one another. Sarah Higley breaks this cycle of mutual marginalization by examining what it means to read otherness or sameness into a text, concluding that too much of our reading is "anglo-centric" in its expectations and dictated by invisible ideological agendas. Examinations of the Llywarch Hen Corpus, for instance, have sought comparisons among the Old English elegies, but mainly for the purpose of demonstrating how the Welsh are of a color with them: derived from the same penitential genre merely less explicit in their penitential thrust. Scholars have been reluctant to acknowledge the secular nature of these Welsh laments, which are discomfitingly silent about divine solace and which, like the Old English poems, do not cooperate with our efforts to categorize them. The author reexamines notions of genre, category, and poetic "explicitness" and how they snare us. Higley sees the English and Welsh traditions as foils to one another rather than as template and variation, and she starts with the connection of natural image and emotion, employed differently in these two contiguous but separate traditions. She shows how the English poems, long thought to be disjointed and cryptic, are invested in explanation and disclosure to a degree that the Welsh are not. The Welsh "omissions" might be better understood as dynamic juxtapositions wherein other poetic aspects (metrics, imagery, context) serve to link ideas, perhaps even to disrupt them. She sees difficulty, ambiguity, and dialogism as loci of power - neither accidents of our reading distance nor defects in other classical standards of wholeness. Reading the English and the Welsh together with a respect for the mutual differences helps us to get beyond some of the cliche's about what is English and "familiar" and what is Celtic and "other." Her argument revolves around the plight of the lone human as he or she is depicted in these texts in a precarious state of connection with the rest of the world: caught between society and wilderness, inside and outside, sacred and secular, meaning and nonmeaning. This focus on connection informs the title as well: "between languages" expresses our position as readers reading two different cultures together, reading ancient literature mediated through modern poetic theory, and the position of medieval scholarship in its struggle between traditional and postmodern approaches. Between Languages brings obscure and moving poems into a wider academic orbit, offering new editions and translations of Old English and Early Welsh elegies, wisdom poems, and enigmata, including one of the few complete English translations in this century of a vatic text from The Book of Taliesin.

For over a thousand years, Arthur has had widespread appeal and influence like no other literary character or historical figure. Yet, despite the efforts of modern scholars, the earliest references to Arthurian characters are still shrouded in uncertainty. They are mostly found in poetic texts scattered throughout the four great compilations of early and medieval Welsh literature produced between 1250 and 1350. Whilst some are thought to predate their manuscript sources by several centuries, many of these poems are notoriously difficult to date. None of them are narrative in nature and very few focus solely on Arthurian material but they are characterised by an allusiveness which would have been appreciated by their intended audiences in the courts of princes and noblemen the length and breadth of Wales. They portray Arthur in a variety of roles: as a great leader of armies, a warrior with extraordinary powers, slayer of magical creatures, rescuer of prisoners from the Otherworld, a poet and the subject of prophecy. They also testify to the possibility of lost tales about him, his father, Uthr, his son, Llachau, his wife, Gwenhwyfar, and one of his companions, Cai, and associate him with a wide array of both legendary and historical figures. Arthur in Early Welsh Poetry, the fourth volume in the MHRA Library of Medieval Welsh Literature series, provides discussion of each of the references to Arthurian characters in early Welsh poetic sources together with an image from the earliest manuscript, a transliteration, a comprehensive edition, a translation (where possible) and a word-list. The nine most significant texts are interpreted in more detail with commentary on metrical, linguistic and stylistic features.