Until recent years Dafydd ap Gwilym was the only Welsh poet with a high reputation outside Wales. This was not so strange. He fitted into the conventional picture of medieval poetry. He shared themes and modes with Guido Cavalcanti and with Thibaut de Champagne. He stretched a hand to Rutebeuf and another to the early Chaucer. Sir Idris Bell tackled English translations; Stern treated him as a Welsh minnesänger; a Dutch scholar, Theodor Chotzen, killed later in a Nazi prison, had in 1927 published his Recherches sur la poésie de Dafydd ap Gwilym, a large volume which remains still a most valuable survey of much of the poetry of Northern Europe in the fourteenth century. Now Professor Parry, of the University College of Bangor, gives us the long-awaited edition which is based on a study of all the manuscript sources. One must not speak of a final edition, for the simple reason that oral tradition admits of very little finality} but here are the text and critical apparatus that will be the starting point of study for the rest of this century. What I propose to attempt now is to give English readers a glimpse of Dafydd ap Gwilym from the point of view of the Welsh literary tradition.

This is no longer too difficult. The first volume of The Growth of “Literature by H. M. and N. K. Chadwick—a great and noble work despite necessary lacunae and some errors—has revealed to English students the tradition of heroic panegyric that is the main stream of Welsh poetry from the sixth century onwards. The Welsh poets themselves used to call it the tradition of Taliesin, from the sixth-century poet of that name.