Welsh Journals

in mind the genius of the two languages. As a result of this controversy, early in our period, there appeared the New Bard (Y Bardd Newydd)," whose tendency was to reproduce the verbosity of the Cynghanedd poets without their music and skill, and to mistake the use of terms of the sublime for sublimity. Properly, this phase belongs to the preceding period, and its duration was not long. It was followed by a reaction towards Roman- ticism. This is noticeable even in the early poems of Elvet Lewis, but the move- ment actually began with the choice of romantic subjects for competition at the National Eisteddfod, and the publication of a joint volume of 11, Telynegion in 1901 by Silyn Roberts and W. J. Gruffydd. The significance of that little collection was twofold. It showed that the art of the best of the Cywydd poets had been regained, and that the difference between versification and poetry had been learnt. The poems are youthful, and the inspira- tion of many of them is easily traced, but in no case is the work mere imitation and in each case the expression is indivi- dual. The success of the authors is amply demonstrated in the vogue almost im- mediately obtained by their moods and methods. Mere romanticism is frequently attributed to poets who, perhaps using its phraseology and colour, are essentially philosophical or subjective, such as Williams Parry, J. J. Williams, and Parry Williams. The significance of Awdl yr Haf," by the former, does not seem yet to have dawned upon his critics, so busy are they with the consideration of access- ories. Up to the present, the romantic movement continues, much criticised- and as much imitated, for all that. The realistic tendency found expression in the earlier poems of R. A. Griffith. There is a still deeper note in his second volume. 0 For i Fynydd is a poem which strongly and yet pathetically mirrors the quest for truth, and Ymliw ag Angeu is a relentless exposure of the evils of modern civilisation." The poems and lyrics of Eifion Wyn are highly individual, healthy, direct and strong expressions of human feelings. Neither of these poets can properly be classed with the romantic school. The danger of being too exclusive in the use of terms is shown by the fact that at least some of the so-called romanticists have already developed into something more. Silyn Roberts, in his only collected volume, shows unmistakeable signs of a spiritual revolt, expressed in a slow, sad monotone, but not without bursts of his former lyric alertness. W. J. Gruffydd shows a con- tinuous development and increasing strength. His earlier lyrics are tinged with an impatient melancholy. His Trystan ac Esyllt was both romance and realism. His Caniadau a Cherddi mark a further step. In Ar yr Allt he wrestles with the problems of the centuries. No one has sung like him the tragedy of the lives of the Welsh peasant, the quarryman, the sailor. The value of much that passes for criticism in Wales can be judged by the fact that he has been charged with contempt of the very life which he, above all, has sympathetically and imperishably pictured. Morris Jones is held-and that not unjustly-to be the father of the romantic movement. For what it has accomplished, the so-called romantic school is, directly or indirectly, indebted to him to a greater extent than to anyone else. Still, he is, in spite of all uncritical judgments to the contrary, more realistic than romantic himself His romanticism, as indeed all romanticism must be, is largely imitative; but his "Cymru Fu Cymru Fydd," and his