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Updated: May 14, 2025
The Welsh, as I have said on a former occasion, call the owl Dylluan. Amongst the cowydds of Ab Gwilym there is one to the dylluan. It is full of abuse against the bird, with whom the poet is very angry for having with its cry frightened Morfydd back, who was coming to the wood to keep an assignation with him, but not a little of this abuse is wonderfully expressive and truthful.
And now thou art awaiting Morfydd, the wanton, the wife of the Bwa Bach; thou art awaiting her beneath the tall trees, amidst the underwood; but she comes not; no Morfydd is there. Quite right, Ab Gwilym; what wantest thou with Morfydd?
Blackstone kept company with Ab Gwilym—the polished English lawyer of the last century, who wrote long and prosy chapters on the rights of things—with a certain wild Welshman, who some four hundred years before that time indited immortal cowydds or odes to the wives of Cambrian chieftains—more particularly to one Morfydd, the wife of a certain hunch-backed dignitary called by the poet facetiously Bwa Bach—generally terminating with the modest request of a little private parlance beneath the greenwood bough, with no other witness than the eos, or nightingale; a request which, if the poet may be believed, rather a doubtful point, was seldom, very seldom, denied.
But now thou art actually with Morfydd; yes, she has stolen from the dwelling of the Bwa Bach and has met thee beneath those rocks she is actually with thee, Ab Gwilym; but she is not long with thee, for a storm comes on, and thunder shatters the rocks Morfydd flees!
Go to, Ab Gwilym, with thy pseudo-amatory odes, to Morfydd, or this or that other lady, fair or ugly; little didst thou care for any of them, Dame Nature was thy love, however thou mayest seek to disguise the truth. Yes, yes, send thy love- message to Morfydd, the fair wanton.
But another form is nigh at hand, that of red Reynard, who, seated upon his chine at the mouth of his cave, looks very composedly at thee; thou startest, bendest thy bow, thy cross-bow, intending to hit Reynard with the bolt just about the jaw; but the bow breaks, Reynard barks and disappears into his cave, which by thine own account reaches hell and then thou ravest at the misfortune of thy bow, and the non-appearance of Morfydd, and abusest Reynard.
"I don't think so," said I; "after braving a thousand tempests, it was meeter for it to fall of itself than to be vanquished at last. But to return to Ab Gwilym's poetry, he was above culling dainty words, and spoke boldly his mind on all subjects. Enraged with the thunder for parting him and Morfydd, he says, at the conclusion of his ode:
Go to, thou carest neither for thy bow nor for Morfydd, thou merely seekest an opportunity to speak of Reynard; and who has described him like thee? the brute with the sharp shrill cry, the black reverse of melody, whose face sometimes wears a smile like the devil’s in the Evangile.
And now thou art awaiting Morfydd, the wanton, the wife of the Bwa Bach; thou art awaiting her beneath the tall trees, amidst the underwood; but she comes not; no Morfydd is there. Quite right, Ab Gwilym; what wantest thou with Morfydd?
But another form is nigh at hand, that of red Reynard, who, seated upon his chine at the mouth of his cave, looks very composedly at thee; thou startest, bendest thy bow, thy cross-bow, intending to hit Reynard with the bolt just about the jaw; but the bow breaks, Reynard barks and disappears into his cave, which by thine own account reaches hell and then thou ravest at the misfortune of thy bow, and the non-appearance of Morfydd, and abusest Reynard.
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