The origin of the names Wales and Welsh has been much canvassed2. Some writers make them a derivation from Gael or Gaul, which names are said to signify “woodlanders;” others observe that Walsh, in the northern languages, signifies a stranger, and that the aboriginal3 Britons were so called by those who at a later era invaded the island and possessed4 the greater part of it, the Saxons and Angles.
The Romans held Britain from the invasion of Julius C?sar till their voluntary withdrawal5 from the island, A.D. 420,—that is, about five hundred years. In that time there must have been a wide diffusion6 of their arts and institutions among the natives. The remains7 of roads, cities, and fortifications show that they did much to develop and improve the country, while those of their villas8 and castles prove that many of the settlers possessed wealth and taste for the ornamental9 arts. Yet the Roman sway was sustained chiefly by force, and never extended over the entire island. The northern portion, now Scotland, remained independent, and the western portion, constituting Wales and Cornwall, was only nominally10 subjected.
Neither did the later invading hordes11 succeed in subduing12 the remoter sections of the island. For ages after the arrival of the Saxons under Hengist and Horsa, A.D. 449, the whole western coast of Britain was possessed by the aboriginal inhabitants, engaged in constant warfare13 with the invaders14.
It has, therefore, been a favorite boast of the people of Wales and Cornwall that the original British stock flourishes in its unmixed purity only among them. We see this notion flashing out in poetry occasionally, as when Gray, in “The Bard15,” prophetically describing Queen Elizabeth, who was of the Tudor, a Welsh race, says:
“Her eye proclaims her of the Briton line;”
and, contrasting the princes of the Tudor with those of the Norman race, he exclaims:
“All hail, ye genuine kings, Britannia’s issue, hail!”
THE WELSH LANGUAGE AND LITERATURE
The Welsh language is one of the oldest in Europe. It possesses poems the origin of which is referred with probability to the sixth century. The language of some of these is so antiquated16 that the best scholars differ about the interpretation17 of many passages; but, generally speaking, the body of poetry which the Welsh possess, from the year 1000 downwards18, is intelligible19 to those who are acquainted with the modern language.
Till within the last half-century these compositions remained buried in the libraries of colleges or of individuals, and so difficult of access that no successful attempt was made to give them to the world. This reproach was removed after ineffectual appeals to the patriotism20 of the gentry21 of Wales, by Owen Jones, a furrier of London, who at his own expense collected and published the chief productions of Welsh literature, under the title of the Myvyrian Arch?ology of Wales. In this task he was assisted by Dr. Owen and other Welsh scholars.
After the cessation of Jones’ exertions22 the old apathy23 returned, and continued till within a few years. Dr. Owen exerted himself to obtain support for the publication of the Mabinogeon or Prose Tales of the Welsh, but died without accomplishing his purpose, which has since been carried into execution by Lady Charlotte Guest. The legends which fill the remainder of this volume are taken from this work, of which we have already spoken more fully24 in the introductory chapter to the First Part.
THE WELSH BARDS25
The authors to whom the oldest Welsh poems are attributed are Aneurin, who is supposed to have lived A.D. 500 to 550, and Taliesin, Llywarch Hen (Llywarch the Aged), and Myrddin or Merlin, who were a few years later. The authenticity26 of the poems which bear their names has been assailed28, and it is still an open question how many and which of them are authentic27, though it is hardly to be doubted that some are so. The poem of Aneurin entitled the “Gododin,” bears very strong marks of authenticity. Aneurin was one of the Northern Britons of Strath-Clyde, who have left to that part of the district they inhabited the name of Cumberland, or Land of the Cymri. In this poem he laments29 the defeat of his countrymen by the Saxons at the battle of Cattraeth, in consequence of having partaken too freely of the mead30 before joining in combat. The bard himself and two of his fellow-warriors31 were all who escaped from the field. A portion of this poem has been translated by Gray, of which the following is an extract:
“To Cattraeth’s vale, in glittering row,
Twice two hundred warriors go;
Every warrior’s manly32 neck
Chains of regal honor deck,
Wreathed in many a golden link;
From the golden cup they drink
Nectar that the bees produce,
Or the grape’s exalted33 juice.
Flushed with mirth and hope they burn,
But none to Cattraeth’s vale return,
Save A?ron brave, and Conan strong,
Bursting through the bloody34 throng35,
And I, the meanest of them all,
That live to weep, and sing their fall.”
The works of Taliesin are of much more questionable36 authenticity. There is a story of the adventures of Taliesin so strongly marked with mythical37 traits as to cast suspicion on the writings attributed to him. This story will be found in the subsequent pages.
THE TRIADS
The Triads are a peculiar38 species of poetical39 composition, of which the Welsh bards have left numerous examples. They are enumerations of a triad of persons, or events, or observations, strung together in one short sentence. This form of composition, originally invented, in all likelihood, to assist the memory, has been raised by the Welsh to a degree of elegance40 of which it hardly at first sight appears susceptible41. The Triads are of all ages, some of them probably as old as anything in the language. Short as they are individually, the collection in the Myvyrian Arch?ology occupies more than one hundred and seventy pages of double columns. We will give some specimens42, beginning with personal triads, and giving the first place to one of King Arthur’s own composition:
“I have three heroes in battle:
Mael the tall, and Llyr, with his army,
And Caradoc, the pillar of Wales.”
“The three principal bards of the island of Britain:—
Merlin Ambrose
Merlin the son of Morfyn, called also Merlin the Wild,
And Taliesin, the chief of the bards.”
“The three golden-tongued knights43 of the court of Arthur:—
Gawain, son of Gwyar,
Drydvas, son of Tryphin,
And Eliwlod, son of Madag, ap Uther.”
“The three honorable feasts of the island of Britain:—
The feast of Caswallaun, after repelling44 Julius C?sar from this isle45;
The feast of Aurelius Ambrosius, after he had conquered the Saxons;
And the feast of King Arthur, at Carleon upon Usk.”
“Guenever, the daughter of Laodegan the giant,
Bad when little, worse when great.”
Next follow some moral triads:
“Hast thou heard what Dremhidydd sung,
An ancient watchman on the castle walls?
A refusal is better than a promise unperformed.”
“Hast thou heard what Llenleawg sung,
The noble chief wearing the golden torques?
The grave is better than a life of want.”
“Hast thou heard what Garselit sung,
The Irishman whom it is safe to follow?
Sin is bad, if long pursued.”
“Hast thou heard what Avaon sung,
The son of Taliesin, of the recording46 verse?
The cheek will not conceal47 the anguish48 of the heart.”
“Didst thou hear what Llywarch sung,
The intrepid49 and brave old man?
Greet kindly50, though there be no acquaintance.”
点击收听单词发音
1 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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2 canvassed | |
v.(在政治方面)游说( canvass的过去式和过去分词 );调查(如选举前选民的)意见;为讨论而提出(意见等);详细检查 | |
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3 aboriginal | |
adj.(指动植物)土生的,原产地的,土著的 | |
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4 possessed | |
adj.疯狂的;拥有的,占有的 | |
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5 withdrawal | |
n.取回,提款;撤退,撤军;收回,撤销 | |
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6 diffusion | |
n.流布;普及;散漫 | |
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7 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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8 villas | |
别墅,公馆( villa的名词复数 ); (城郊)住宅 | |
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9 ornamental | |
adj.装饰的;作装饰用的;n.装饰品;观赏植物 | |
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10 nominally | |
在名义上,表面地; 应名儿 | |
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11 hordes | |
n.移动着的一大群( horde的名词复数 );部落 | |
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12 subduing | |
征服( subdue的现在分词 ); 克制; 制服; 色变暗 | |
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13 warfare | |
n.战争(状态);斗争;冲突 | |
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14 invaders | |
入侵者,侵略者,侵入物( invader的名词复数 ) | |
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15 bard | |
n.吟游诗人 | |
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16 antiquated | |
adj.陈旧的,过时的 | |
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17 interpretation | |
n.解释,说明,描述;艺术处理 | |
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18 downwards | |
adj./adv.向下的(地),下行的(地) | |
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19 intelligible | |
adj.可理解的,明白易懂的,清楚的 | |
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20 patriotism | |
n.爱国精神,爱国心,爱国主义 | |
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21 gentry | |
n.绅士阶级,上层阶级 | |
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22 exertions | |
n.努力( exertion的名词复数 );费力;(能力、权力等的)运用;行使 | |
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23 apathy | |
n.漠不关心,无动于衷;冷淡 | |
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24 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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25 bards | |
n.诗人( bard的名词复数 ) | |
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26 authenticity | |
n.真实性 | |
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27 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
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28 assailed | |
v.攻击( assail的过去式和过去分词 );困扰;质问;毅然应对 | |
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29 laments | |
n.悲恸,哀歌,挽歌( lament的名词复数 )v.(为…)哀悼,痛哭,悲伤( lament的第三人称单数 ) | |
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30 mead | |
n.蜂蜜酒 | |
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31 warriors | |
武士,勇士,战士( warrior的名词复数 ) | |
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32 manly | |
adj.有男子气概的;adv.男子般地,果断地 | |
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33 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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34 bloody | |
adj.非常的的;流血的;残忍的;adv.很;vt.血染 | |
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35 throng | |
n.人群,群众;v.拥挤,群集 | |
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36 questionable | |
adj.可疑的,有问题的 | |
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37 mythical | |
adj.神话的;虚构的;想像的 | |
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38 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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39 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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40 elegance | |
n.优雅;优美,雅致;精致,巧妙 | |
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41 susceptible | |
adj.过敏的,敏感的;易动感情的,易受感动的 | |
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42 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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43 knights | |
骑士; (中古时代的)武士( knight的名词复数 ); 骑士; 爵士; (国际象棋中)马 | |
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44 repelling | |
v.击退( repel的现在分词 );使厌恶;排斥;推开 | |
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45 isle | |
n.小岛,岛 | |
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46 recording | |
n.录音,记录 | |
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47 conceal | |
v.隐藏,隐瞒,隐蔽 | |
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48 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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49 intrepid | |
adj.无畏的,刚毅的 | |
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50 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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