Fel y gwyddai Parry-Williams yn dda, mae sawl llwybr yn arwain at gopa'r Wyddfa, a phob un ohonynt yn dadlennu gwahanol agweddau ar ogoniannau'r mynydd. Am ddegawdau ystyriwyd Parry-Williams ei hun yn un o'r copaon amlycaf yn nhirlun llenyddiaeth Gymraeg. Yn eu tro, ceisiodd llu o feirniaid glosio ato of a'i waith o liaws o gyfeiriadau gwahanol. Ceir ymgais yn y traethawd hwn i ailgerdded rhai o'r llwybrau hynny ynghyd ä thorri rhai llwybrau newydd yn y gobaith o gynnig arolwg mor gyflawn it pho5ib o waith y llenor amlochrog hwn. Yn y bennod gyntaf ceir arolwg o brentisiaeth farddol Parry-Williams gan gynnwys ei weithiau eisteddfodol. Rhoddir y pwyslais ar olrhain ei ymdrech i ddod o hyd i'w lais fel bardd. Neilltuwyd yr all bennod i drafod cyfres o ysgrifau beirniadol a luniodd Parry-Williams tra'n fyfyriwr yn Rhydychen. Ystyrir i ba raddau yr oeddynt yn amlygu rhai o syniadau a ffasiynau'r cyfnod. Y drydedd bennod yw'r gyntaf o dair sy'n canolbwyntio ar brif themäu Parry-Williams. Ynddi, ymdrin jr ä'r modd y lleisiwyd ganddo argyfwng ffydd ac ystyr a hynny yng ngoleuni ei fagwraeth grefyddol a'r cyd-destun cymdeithasol a syniadol. Yn y bedwaredd bennodI trafodir y cerddi a'r ysgrifau hynny sy'n ymdrin a gormes amser a darfodedigrwydd trwy olrhain gyrfa'r llenor o gyfnod i gyfnod. Gan gymryd y bryddest radio 'Esgyrn y Gynnen' fel ffräm, trafodir yn y burned bennod yr agweddau a amlygir yn y cerddi a'r ysgrifau tuag at Gymru a'r Gymraeg. Yn y chweched bennod trafodir syniadau beirniadol Parry-Williams ynghylch natur a swyddogaeth llenyddiaeth. Yn y seithfed bennod bwrir golwg fras ar gefndir yr ysgrif Gymraeg cyn ymdrin a'r modd y datblygodd Parry-Williams y ffurf yn gyfrwng addas i'w ymholi mewnol. Rhoddir sylw hefyd i ddatblygiad ei ysgrifau o ran crefft. Hoelir y sylw yn y bennod olaf ar grefft Parry-Williams fel bardd gan olrhain y datblygiad cynnil a welir o gyfrol i gyfrol. Ar ddiwedd y traethawd cynhwysir dau atodiad. Mae'r cyntaf yn cynnwys rhestr o eitemau na cheir mohonynt yn llyfryddiaethau David Jenkins, ynghyd ä detholiad o'r rhai mwyaf diddorol. Yn yr all atodiad ceir casgliad byr o lythyrau'r bardd ynghyd ag adysgrif o gyfweliad teledu rhyngddo ac Aneirin Talfan Davies.

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This thesis explores the role of historical narrative in the development and propagation of collective identities in the context of Irish and Scottish Gaelic literature pertaining to the Great War and 1916 Easter Rising. The comparative approach reveals strong parallels in regards to the phases of literary development in both nations, charting the progression from folk-based corpora linked closely to the oral tradition to modern - and frequently modernist - literature. Research questions consider the impact of literary style and techniques upon the historical interpretations and associated collective identities projected by the texts, highlighting clear patterns of correlation between content and form. The thesis is divided into three chapters. The first explores the development of historical representation and discourse in the Gaelic literatures across the genres of poetry, short-story, the novel and, autobiography. A key concern is the manner in which literary modernism has facilitated the revision of earlier. narratives and the articulation of more complex identities. Drawing upon White's theories, the role of the narrative medium in historical representation is also considered and attention drawn to modernist attempts to undermine this practice and thus subvert history itself. Chapter Two discusses the identities advanced in the texts in more detail with recourse to the various markers deployed to delineate group boundaries and distinguish members from outsiders. Of particular interest is the simultaneous co-existence of multiple identities in both Ireland and Scotland and the interaction - and particularly the discrepancy - between differing interpretations of identity. Finally, Chapter Three analyses the manner in which later works have contributed to a re-appraisal of earlier representations. This chapter also examines texts portraying the commemoration of the Great War and Easter Rising and queries the extent to which anniversaries serve as a forum for the questioning of both the contemporary state of the nation and dominant historical narratives.

Cyflwynir yn y traethawd hwn astudiaeth 0 agweddau ar ddiwylliant crefyddol Cymru'r bymthegfed ganrif yn bennaf, a sut yr addaswyd y diwylliant hwnnw at ddiben canu beirdd y cyfnod. Ystyrir cerddi sy'n ymdrin a phynciau defosiynol a didactig a'u cefndir; cerddi i gyrchfannau pererindod a'r gelfyddyd grefyddol a gysylltwyd a hwy, megis y crogau a delwau eraill 0 Grist; cerddi i Fair a'r saint, a'r canu am salwch a henaint. Rhoddir sylw penodol hefyd i wahanol fathau 0 ganu nad ydynt yn ymwneud yn uniongyrchol a chrefydd, ond yr amlygir ynddynt er hynny ddylanwad y bydolwg crefyddol cyfoes, y ddelweddaeth a'r gyfeiriadaeth a ddeilliodd ohono: sef y canu mawl, gofyn, diolch, dychan a marwnad. Craidd yr astudiaeth yw detholiad 0 bymtheg ar hugain 0 gerddi a dynnir 0 waith deg 0 feirdd 0 bob rhan 0 Gymru. Rhoddir y He blaenaf, fodd bynnag, i'r cerddi hynny a briodolir i Sion Cent ond y dylid eu hystyried yn apocryffaidd. Ceir trafodaeth fanwl a'r rhain ac ag awduraeth y cerddi eraill a briodolir iddo. Er mai gwaith beirdd y bymthegfed ganrif yn bennaf a gynrychiolir, gwelir hefyd fel y bu parhad, newid ac addasu ar bynciau crefyddol y ganrif honno yng ngherddi rhai 0 feirdd yr unfed ganrif ar bymtheg, a gymhwysodd eu themau, ac ar brydiau ei arddull hefyd, at ddiben eu canu hwythau.

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Gaelic society included a professional class of men of learning, whose origins go back to the prehistoric period. The learned men called filid were guardians of a native literature in prose and verse, transmitted by recitation and memory. Oral recitation is continuous and influential despite the introduction of writing. Within the narrative literature prose and verse maintain different roles. Narrative is in prose, while verse is reserved to heighten important utterances of the characters. Other dialogue is in realistic direct speech, terse and ironic. Verse was probably sung, prose spoken, and dialogue given dramatic expression, providing a variety of sounds in performance. The characteristic brevity of the dialogue was adapted in narrative prose by the monastic scribes, who first recorded the native tales for reference. In Middle Irish the narrative becomes fuller, as in modern oral recitation; which cultivates dialogue, though rarely verse. Conventional descriptive passages or 'runs' appear first in ninth century manuscript tales, but preserve ancient traditions. Some of the early types are found in archaic stressed metre, and the ornaments of alliteration and rhythmic repetition found in stressed verse become regular in prose descriptions. Many of the manuscript 'runs' are preserved in modern oral tradition, where they are spoken differently from the prose narrative, in a rapid chant. They are a highly esteemed part of the oral tellers' repertoire, recited word for word at an appropriate point in any tale. Such a usage would explain their exclusion from the early recordings of individual tales. In Early Modern Irish tales the style of the 'runs' influences the narrative, as the practice of reading aloud allowed whole tales to be transmitted in ornamental language. Nevertheless the variation of prose narrative, run, and dialogue, re-established in modern oral tales, appears to be, with the addition of poems, the oral style once cultivated by the filid.