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Whilst on the seoond taok the Seabird, owing to mismanagement, went aaround. Tbe efforts made to get her off proved fotils, and the, was, therefore, out of the race. The Shamrock also bad a narrow escape at the outset, inasmuoh as the Eira collided with ber, with the result that her topmast was oarried awav. A" jary was at onoe rigged, and the Shamrock went away with a sura prospect of getting a second prize. The Osprey, a splendid little boat with extraordinary sail-carrying powers, maintained the lead thronshoufc, as she did on the ocoasion of the Koyal Welsh Yaoht Club Regatta. This trim craft, we understand, was bnilt by Mr Thomas Jones.

Sluts in gwalchmai uchaf again came in first, being with the others timed as follows: Osprey 5 35 Nell, Captain D. Mosquito, Mr Rupert Mason. Nell and Modwen only sailed the course, the start being at 2, Modwen maintained the lead throughout. Passing the flagship at the oloBe of the first round the oombatants were timed as follows: King's Quinta had been entered, but she did not start. The last gun was fired at 2,30 p. The Natica, however, immediately afterwards fouled and ran aground at a point a little higher up than the Battery. Here she lay until the return of the Eileen to finish her first round.

At this juncture, the Eileen was signalled to stop, and with a much shortened course, it was decided to make a fresh start. The Natica having floated got round to the flagship, and took a position abreast of the Eileen. The Eileen did splendid work in sailing close to the wind, and Willi soon ahead of her' opponent, matirk. At the finish the vachts were timed as follows: The entries were: Lassie, the Hon. Rhoda, Mr P. Druid, Mr W. Merrymaid, Mr J. Stuart Qoold. The latter was soratch, allow- iug the JEaolia five minutes and the Rhoda 25 minutes. The start took plaoe at 2. The ohief event of the day was an exciting racn between the Nesta Mr G. Cox, tt. Derbyshire, R. Both started on equal teron, and kept close to- gether for a considerable distanoe, the Nesta having covered about half a knot of the course, passed I the Ghost, and the first round was timed as follows: This was brought about in consequence of the Nesta grounding in thevioiolty of Belan Fort.

Some time elapsed before she got off, and the third round was timed a8 follows: The Ghost, led the way to the finish, and was declared the winner, being timed as the signal of viotory was tired at 5h. The entries for yaohts not exceeding I rating were Rhosyn, Mr F. Tbe Rhosyn was the only yacht ready for the contest, and was allowed to oover the course, whioh she did admirably. At tbe finish, she wAs awarded the Cut prize. In the match open to New Brighton sailing boats, the entries were: I ,ko. M- Red. VW mr J. Oal, tbrl! Gordon, and Ripple— I at artaI at 3,15 p.

The Slot won easily. At dusk a grand pyroteohnio display was made on the straits. Oa board the flagship, a beaotifal variety of coloured lights were kept, burning for a considerabletime,andthe illuminationswere of a most attraotive oharacter. Moored off Porthyraur, was the band boat, on' the deck ol which stood Mr Hugh Jones Shamrock8Alont Marble Worki, whose "deeds of daring" in manipulating fiery serpents and sending them upon their aerial flight in every directiorr were generally admired. I The sixth annual show in connection with this society was held on Wednesday and Thursday in the picturesque grounds of Beaumaris Castle, which had been kindly placed at the disposal of the com- mittee by Sir Riohard Bulkeley, the president of the society.

The exhibits were well arranged in a P. A large number ot visitors attended tbe show on both days, the town band at intervals played a selection of music.

This year's event was considered, from the point of view of exhibits Suts their quality, to be one of the most suooessful shows the sooiety has yet bad. There were classes for competition, besides several special prizes offered, and the number of entries proved the keen competition between the exhibitors. Sir George Meyrick, by his gardener, Mr Gray, sent ucbaf lovely grapes and other fruit for exhibition only, which were greatly admired. Messrs Clibran and Sons, of Altrincham, also exhibited a fine collection offlowering plantsand oot flowers and were awarded a certificate of merit.

The following were the awards: Jonep, Beau- maris. Shuttleworth; 3 J Roberts. Llandegfan; 3 R. Parry, Baron Hill Lodge. Radishes 1 J Robsrts 2 W Griffith. Musk-1 W Evans 2 R Roberts, junr. Asters-1 Henry Jones, Llanfair P. French marigolds-1 W Evans 2 Henry Jones. Rosel-1 D Williams 2 William Evans. Cabballes-1 A. Cattsrmole, Llangoed 2 W Griffith: Oarrots-l D Roberts, Llanfair P. CattlilIowers-l J. Williams; 2 P. Jpnes; 3 W Griffith. Jones; 3 E Parry. Tomatoee-1 E Parry;? W E Evans; 3 W Owen. Turnips—1 P. Jones, 2 J Conltart 3 D Roberts.

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Currents- 1 W Griffith. Collection un truits-I W E Evans. Doublt fuebsias-1 Councillor Watkins. Lily-1 J Watkins. Asters-1 W Owen. Single dahlias—1 J Conlthard 2 E Parry. Afrioan mariolds-l JConltbard 2 E Parry. Stocks-2 W Griffith; 3 T Devonald. Roses—1 T Devonald, Bngor: Cox, S Miss Pritchard, Bryuhytryd. Stove plant foliage. Greenhouse plant feliase —1 Mr Harry Cleeg.

Stooks-3 Colonel Hampton Lewis. Collection of frnits-I Harry Clegg: Tomatoes— 1 G R Cox: Prize offered by the sooiety for the best collection of herbaoeous flowers was won by Lady M B,ilkelay. In the competition for prizes offered to formers Robert Roberts, Cichle, took first, and W. Roberts, Gyfynys, took seoond, for the best collection nf farm produce. For the best four pounds of butter W. Roberts, Gyfynys, had first prizs. For the beat six dishes of potatoes the first prize was awarded to D. Roberts, second to E.

Parry, and third to J. For beat three heads of Clibran's Tender and trne cabbage "-I P. For snecial prizes offered to tenants of allotment Gardens the following awards were made: For collection of veretables- 1 P. Thomas Jones; 2 Evan Hughes.

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For collection of rotatoes-l P. Thomas Jones 2 Evan Hughes. Jones presiding. Mr Eastwood responded to the toast of The Judges," and said he h-id no hesitation in prononncing this to be the best show in the annals of the society. It was all round one of the bst, if not the best, show held in North Wales Gwalchmqi year. The distribution of prizss took place on Thars- day afternoon, by Mrs 8. Taylor Chadwiok, of Haulfre. Before the distribution commenced, Miss Diana Start, danghter of the Hon. Humphry 8turt, t reented Mrs Chadwick with a most vwalchmai bouqnet, and then the suocespful competi- tors were presented with the prizes.

The Rev. He mentions other places in various parts of Wales as well, and his poems show that he was no stranger to the Marches. This is not surprising for he was a wandering poet, one of the Sltus of professional poets in medieval Wales who travelled from court to gwalchmaj, mansion to mansion, or monastery gwa,chmai monastery composing poems for their livelihood. Professor R. Geraint Gruffydd has suggested that it is likely that he inherited lands from his parents and that he was able to live on their rents, at least for a time R. There is a possibility, too, that he may have performed his poems in taverns see GDG, p. The Welsh bardic tradition gwaldhmai praise-poetry and elegy, and its dark aspect of satire is a continuation of a very old Celtic gwaclhmai.

The Welsh tradition is supposed to begin in the second half of the Sluts in gwalchmai uchaf century AD and continues, after a fashion, to the end of the seventeenth century. It has often been assumed that Dafydd may have been influenced by their kind gwalchai poetry and metres and, recently, detailed examinations of possible sources have been made. Gwalchmia are many other possible sources of influence as well, and they are mentioned below. It is assumed that the bardic tradition had been traumatized by the death of Llywelyn, the last uchhaf of Wales, inand Sluts in gwalchmai uchaf it was beginning to re-establish itself in the fourteenth century.

Trauma there may have been, and changes certainly occurred, but recent research suggests that there was no lacuna between the Poets of the Princes, from the uvhaf half of the twelfth century ucahf near the end of the thirteenth century, and the Poets of the Gentry, from the fourteenth century until the end of the tradition some three centuries later. Like many other Uchac of the Gentry, Dafydd ap Gwilym was instructed in bardic matters by teachers, by his uncle certainly, and in Anglesey by — who knows? Many poems were memorized and many of them were not written gwalchmwi a long time after the death of their composers: It means that many copies of popular poems would be made over the centuries, and many variations can occur in the text of a given poem: Cynghanedd, which had developed from being occasional or chance harmony to being a system by the fourteenth century, is now taken to be the most distinctive feature of Welsh medieval court poetry.

It is what causes all translators of this verse to despair. Cynghanedd, which is the sophisticated orchestration of this poetry, cannot be translated, or when it is translated, more often than not, it sounds childish or comical, and succeeds in doing nothing but trivializing what is often superb poetry. An explanation of cynghanedd is obligatory in this kind of book. Cynghanedd depends upon three elements: The stresses in cynghanedd give the line its musical shape and govern its declamation or chanting: There are four types of cynghanedd: A word in the line rhymes with the penultimate syllable of the multisyllabic last word of the line: Give up your song of excuses poet-lad GDG, poeml.

Such a line of cynghanedd divides into two halves, and the consonants of the first half respond, in the same order, to the consonants of the second half: With you, if you allow it, men GDG, poem 75, l. I followed, like holding breath GDG, poem 34, l. The line is divided into three parts, the end of the first rhymes with the end of the second; and there is a response of consonants between the second and third parts: After the agony on the hanging-cross GDG, poem 4, l. GDG, poem 78, ll. The requirements specified may make the composition of such poetry seem like an abstruse mechanical operation: There are some, even today, who are so adept in these prosodic matters that they are able to speak in metre and cynghanedd.

Whether they are poets is another matter. One or two other technical matters will have to be explained: A sangiad is, more often than not, some kind of text-insert, which provides a comment on the main narrative of a poem, or an aside. Dafydd makes use of the sangiad usually placed in round brackets in these translations most often as a means of making an additional comment that reflects in some way on the main narrative, as in: For nobility [and] pedigree his spear is straight And frequent, and unfailing success. The sangiad may intensify emotion, here for a death: I mourned this betrayal was not gentle Heavily, coldly, as the dead turns [away].

The sangiad can provide an ironic comment: In Welsh, this device is called a trychiad. In a trychiad, names, or a closely connected group of words are split, and other words are inserted into the division that is created. In this work the two parts of whatever is split are indicated by bold print. The following quotations provide examples. Bartho — who rejected not — Lomeus of bright [and] proper praise. It would be difficult for anyone who is not an expert on the work of Dafydd to differentiate between these poems and poems by some of the Poets of the Princes.

We shall refer to one example. Dafydd often says that the colour of one or other of the ladies he addresses is like snow: Others have picked up this scent with relish and gone hunting in the vast literature and comments on Courtly Love. If we accept that Courtly Love first appeared in Languedoc in the eleventh century, then elements of it are found embarrassingly early — from the point of view of devoted searchers for foreign influences — in Welsh poetry: Do we find one of the most celebrated features of Courtly Love, the dauntless hero prostrate before his lady-love, in what could be a sixth-century poem?

Other continental literary fashions are also to be found in his poetry. It should be noted that several of these components are also found in the work of the Poets of the Princes. He was, too, as were most people in the Middle Ages, a part of the thriving ritualism and customs that are today known as folk culture, with a vivid and agriculturally strong consciousness of the changing year. He has managed to create a sense of contact with living things and with real emotion. He may have been steeped in literary matters but he was, above all, a man who went about with a blazing sensuousness. But he seems fairly well versed in Biblical matters. In his religious poems, and in other poems as well, he presents himself as a religious man and a man of pious feelings.

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