Book of Taliesin

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Book of Taliesin
Aberystwyth, NLW, Peniarth MS 2
Book.of.Taliesin.facsimile.png
facsimile, folio 13
Also known asLlyfr Taliesin
DateFirst half of the 14th century
Size38 folios
Contentssome 60 Welsh poems

The Book of Taliesin (Welsh : Llyfr Taliesin) is one of the most famous of Middle Welsh manuscripts, dating from the first half of the 14th century though many of the fifty-six poems it preserves are taken to originate in the 10th century or before.

Contents

The volume contains some of the oldest poems in Welsh, possibly but not certainly dating back to the sixth century and to a real poet called Taliesin (though these, if genuine, would have been composed in the Cumbric dialect of Brittonic-speaking early medieval north Britain, being adapted to the Welsh dialect of Brittonic in the course of their transmission in Wales).

Date and provenance of the manuscript

The manuscript, known as Peniarth MS 2 and kept at the National Library of Wales, is incomplete, having lost a number of its original leaves including the first. It was named Llyfr Taliessin in the seventeenth century by Edward Lhuyd and hence is known in English as "The Book of Taliesin". The palaeographer John Gwenogvryn Evans dated the Book of Taliesin to around 1275, but Daniel Huws dated it to the first quarter of the fourteenth century, and the fourteenth-century dating is generally accepted. [1] :164

The Book of Taliesin was one of the collection of manuscripts amassed at the mansion of Hengwrt, near Dolgellau, Gwynedd, by the Welsh antiquary Robert Vaughan (c. 1592–1667); the collection was eventually donated by Sir John Williams in 1907 to the newly established National Library of Wales as the Peniarth or Hengwrt-Peniarth Manuscripts. [2]

It appears that some "marks", presumably awarded for poems, measuring their "value", are extant in the margin of the Book of Taliesin.

Contents by topic

Titles adapted from Skene.

Praise poems to Urien Rheged

Other praise-songs

Elegies

Hymns and Christian verse

Prophetic

Philosophic and gnomic

Date and provenance of contents

Many of the poems have been dated to the twelfth and thirteenth centuries and are likely to be the work of poets adopting the Taliesin persona for the purposes of writing about awen (poetic inspiration), characterised by material such as:

I have been a multitude of shapes,
Before I assumed a consistent form.
I have been a sword, narrow, variegated,
I have been a tear in the air,
I have been in the dullest of stars.
I have been a word among letters,
I have been a book in the origin.

A few are attributed internally to other poets. A full discussion of the provenance of each poem is included in the definitive editions of the book's contents poems by Marged Haycock. [3] [ page needed ] [4] [ page needed ]

Earliest poems

Twelve of the poems in the manuscript were identified by Ifor Williams as credibly being the work of a historical Taliesin, or at least 'to be contemporary with Cynan Garwyn, Urien, his son Owain, and Gwallawg', possibly historical kings who respectively ruled Powys; Rheged, which was centred in the region of the Solway Firth on the borders of present-day England and Scotland and stretched east to Catraeth (identified by most scholars as present-day Catterick in North Yorkshire) and west to Galloway; and Elmet. [5] These are (giving Skene's numbering used in the content list below in Roman numerals, the numbering of Evans's edition of the manuscript in Arabic, and the numbers and titles of Williams's edition in brackets):

Numbering byWilliams's title
(if any)
SkeneEvansWilliams
XXIII45ITrawsganu Kynan Garwyn Mab Brochfael
XXXI56II
XXXII57III
XXXIII58IV
XXXIV59V
XXXV60VIGweith Argoet Llwyfein
XXXVI61VII
XXXVII62VIIIYspeil Taliesin. Kanu Vryen
XXXIX65IXDadolwych Vryen
XLIV67XMarwnat Owein
XI29XIGwallawc
XXXVIII63XIIGwallawc

Poems 2, 3, 4, 5, 6, 8, and 9 (in Williams's numbering) close with the same words, suggesting common authorship, while 4 and 8 contain internal attributions to Taliesin. The closing tag runs

The precise dating of these poems remains uncertain. Re-examining the linguistic evidence for their early date, Patrick Sims-Williams concluded in 2016 that

evaluating the supposed proofs that poems in the Books of Aneirin and Taliesin cannot go back to the sixth century, we have found them either to be incorrect or to apply to only a very few lines or stanzas that may be explained as additions. It seems impossible to prove, however, that any poem must go back to the sixth century linguistically and cannot be a century or more later. [1] :217

Scholarly English translations of all these are available in Poems from the book of Taliesin (1912) and the modern anthology The Triumph Tree. [7]

Later Old Welsh poems

Among probably less archaic but still early texts, the manuscript also preserves a few hymns, a small collection of elegies to famous men such as Cunedda and Dylan Eil Ton and also famous enigmatic poems such as The Battle of Trees , The Spoils of Annwfn (in which the poet claims to have sailed to another world with Arthur and his warriors), and the tenth-century prophetic poem Armes Prydein Vawr . Several of these contain internal claims to be the work of Taliesin, but cannot be associated with the putative historical figure.

Many poems in the collection allude to Christian and Latin texts as well as native British tradition, and the book contains the earliest mention in any Western post-classical vernacular literature of the feats of Hercules and Alexander the Great.

Scholarship and Academic Commentary

Taliesin as Shaman & Shape-Shifter

The introduction to Gwyneth Lewis and Rowan Williams's translation of The Book of Taliesin suggests that later Welsh writers came to see Taliesin as a sort of shamanic figure. The poetry ascribed to him in this collection shows how he can not only channel other entities himself (such as the Awen) in these poems, but that the authors of these poems can in turn channel Taliesin as they both create and perform the poems that they ascribe to Taliesin's persona. This creates a collectivist, rather than individualistic, sense of identity; no human is simply one human, humans are part of nature (rather than opposed to it), and all things in the cosmos can ultimately be seen to be connected through the creative spirit of the Awen. [8]

Editions and translations

Facsimiles

Editions and translations

Related Research Articles

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<span class="mw-page-title-main">Ceridwen</span> Character from Welsh mythology

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<i>Y Gododdin</i> Medieval Welsh poem

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<span class="mw-page-title-main">Book of Aneirin</span>

The Book of Aneirin is a late 13th century Welsh manuscript containing Old and Middle Welsh poetry attributed to the late 6th century Northern Brythonic poet, Aneirin, who is believed to have lived in present-day Scotland.

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Awen is a Welsh, Cornish and Breton word for "inspiration".

<i>Preiddeu Annwfn</i>

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Gwallog ap Lleenog was a hero of the Hen Ogledd. He has long been considered a probable sixth-century king of the sub-Roman state of Elmet in the Leeds area of modern Yorkshire, though some more recent scholarship would identify him more tentatively simply as a 'king of an unidentified region in the north'.

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<span class="mw-page-title-main">Aeron (kingdom)</span>

Aeron was a kingdom of the Brythonic-speaking Hen Ogledd, presumed to have been located in the region of the River Ayr in what is now southwestern Scotland. It existed during the post-Roman era, perhaps earlier, and disappeared before or during the 7th-century conquest of the region by the ascendant Kingdom of Northumbria.

Talhaearn Tad Awen, was, according to medieval Welsh sources, a celebrated British poet of the sub-Roman period. He ranks as one of the earliest, if not the earliest, named poets to have composed and performed in Welsh. The better known poets Aneirin and Taliesin, who may have been slightly younger contemporaries, also belong to this early generation, the first of those known to modern scholars as the Cynfeirdd. Whereas medieval Welsh manuscripts preserve verse composed by or otherwise ascribed to the latter two figures, no such work survives for Talhaearn and in fact, his former fame seems to have largely vanished by the later Middle Ages.

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<i>Cyfoesi Myrddin a Gwenddydd ei Chwaer</i>

Cyfoesi Myrddin a Gwenddydd ei Chwaer is an anonymous Middle Welsh poem of uncertain date consisting of 136 stanzas, mostly in englyn form. Myrddin, the legendary 6th-century North British bard and warrior, is depicted as being encouraged by his sister Gwenddydd to utter a series of prophecies detailing the future history of the kings of Gwynedd, leading up to an apocalyptic ending. The mood of the poem has been described as "one of despair and of loss of faith and trust in this world".

Urien Yrechwydd is a late Old Welsh or Middle Welsh heroic poem found uniquely in the Book of Taliesin. It is among those poems in the manuscript thought by Ifor Williams possibly to have originated as part of a sixth-century corpus of Canu Taliesin, a series of poems really composed by the semi-legendary sixth-century court poet of Rheged, Taliesin.

References

  1. 1 2 Sims-Williams, Patrick (30 September 2016). "Dating the Poems of Aneirin and Taliesin". Zeitschrift für celtische Philologie. 63 (1): 163–234. doi:10.1515/zcph-2016-0008. S2CID   164127245.
  2. Jenkins, David (2002). A Refuge in Peace and War: The National Library of Wales to 1952. Aberystwyth: The National Library of Wales. pp. 99–111, 152–53. ISBN   1-86225-034-0.
  3. Haycock, Marged (2007). Legendary Poems from The Book of Taliesin. Aberystwyth: CMCS.
  4. Haycock, Marged (2013). Prophecies from The Book of Taliesin. Aberystwyth: CMCS.
  5. Williams, Ifor, ed. (1968). The Poems of Taliesin. Medieval and Modern Welsh Series. Vol. 3. Translated by Williams, J. E. Caerwyn. Dublin: The Dublin Institute for Advanced Studies. p. lxv.
  6. Koch, John T., ed. (2005). "Taliesin I the Historical Taliesin". Celtic Culture. Santa Barbara: ABC-CLIO. p. 1652.
  7. Clancy, Thomas Owen, ed. (1998). The Triumph Tree; Scotland's Earliest Poetry, AD 550–1350. Edinburgh: Canongate. pp. 79–93.
  8. Anonymous, trans. Gwyneth Lewis and Rowan Williams (2019). The Book of Taliesin: Poems of Warfare and Praise in an Enchanted Britain. London: Penguin Classics. pp. xxiii and following.

Further reading