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Er ei fod yn lletchwith a hirwyntog ar brydiau defnyddir yr enw llawn John Gwilym Jones trwy gydol y drafodaeth. Buasai defnyddio John neu John Gwilym yn awgymru agwedd bersonol anghymwys; buasai Mr neu Dr Jones neu J Gwilym Jones yn orffurfiol; a hyfdra dibarch fuasai defnyddio JGJ (ond feli defnyddir yn y nodiadau). Hepgorir teitlau (Mr, Dr, Yr Athro, Syr) yn gyfan gwbi. Er mwyn gwahaniaethu rhwng defnydd John Gwilym Jones a llenorion eraill o goll geiriau ( ... ) yn eu testunau alm toriadau fy hun defnyddiais goll geiriau rhwng bachau petryal i ddynodi fy nhoriadau fy hun fel rheol. Cedwais ddyfyniadau o'r Saesneg yn yr iaith wreiddiol a chyfieithiadau o ieithoedd eraill ilr Gymraeg neulr Saesneg yn iaith y cyfieithiad.

This PhD dissertation examines narrative in early Welsh and English poetry, and more particularly how, where, and why we find temporal progression and radiality in the poetic narrative of both literatures. The term ‘radiality’ is discussed by Joseph Clancy, who, in introducing his translations of medieval Welsh poems, describes them as generally having ‘“radial” structure, circling about, repeating, and elaborating the central theme’. In making this investigation, this PhD dissertation is informed by narrative theory, particularly the model proposed by William Labov, and it contains a detailed methodological section, highlighting how I adapt this model to make it work better with my corpus. The model is further developed so as to enable the creation of some statistical data, which is deployed alongside close reading in looking at trends over a corpus and between different corpora. My corpus consists on the one hand in all Welsh poems composed before c. 1250 with significant narrative elements or containing a list-like narrative. These are set in contrast with English poems composed before c. 1250 narrating the same subjects or containing the same stylistic features. Although the comparison is primarily between Welsh and English poetry, I also compare texts to their sources or analogues, primarily in Latin or French, as looking at how the poems depart from shared traditions is key in examining the particular tendencies of each literature. Following the model developed by Sarah Higley, the Welsh and English texts are contrasted with one another to highlight the idiosyncracies of both. In the first chapter, I examine the role temporal markers and direct speech play in the progression and radiality of early Welsh and English secular battle poetry. In most but not all cases, there is a clear opposition between extended and clearly marked narrative in the English and shorter narratives with less temporal deixis in the Welsh. Following this, Chapter 2 moves to the future to look at narrative at the End of Days, where markedly different patterns of contrast are found between the poems. I seek to explain why this is the case, looking in particular at the role of time-reference in determining narrativity. Chapter 3 begins with a detailed study of Iesu a Mair a’r Cynhaeaf Gwyrthiol (‘Jesus and Mary and the Miraculous Harvest’) and compares the way it tells its story with the narration found in its analogues, noting how and why this Welsh text has particularly clear, in some ways almost prose-like, narrative. The chapter then expands to compare narratives of Christ’s birth and early life in early Middle Welsh and Middle English poetry more generally, while investigating their relative absence in Old English. IChapter 4 moves away from thematic comparison to examine a particular structure: the list. Y Gofeiss6ys Byt, an early Welsh narrative poem in many ways exceptional, is studied in detail, and the way in which listing interacts with narrative in that text serves as a springboard for a wider discussion of list/narrative interplay in early Welsh and English poetry.

This project explores the ways in which several Welsh writers, and English writers of Welsh descent, respond to and reconstruct the related notions of Britishness and Welshness during the late 19th and 20th centuries. Gerard Manley Hopkins, Saunders Lewis, David Jones, and Kate Roberts each reveal nuances in perspective during this period in which the British Empire reached its peak and required popular justification for doing so. Each author also participates in a form of Modernism, whether mainstream or specific to literary trends in Wales; in each case, such Modernisms are defined by an embracing of Welshness as an alternative to Anglocentric modernity. Through employing Judith Butler’s theory of performativity as it relates to ethnicity, this project contribute to the fields of Postcolonial Theory and Welsh Studies through evaluating how these authors construct and perform identity markers in the late 19th and 20th centuries for political purposes. Applying these critical paradigms to the four authors shows how constructions of ethnic identity serve political ends – particularly in relation to how collective national identity responds, whether through resistance, participation or some combination of the two, to the broader aims of the British Empire. / Department of English

Now as to what are the ends to be attained; there will be an attempt to compare and contrast the outstanding Shelleyan qualities which have been quite generally accepted with those of the Cymric Celts. But it is quite evident by the very limitation of time and space at our disposal, that the present treatment of style in the Celt and Shelley must be somewhat restricted.

Studies of William Blake's poetry have historically paid little attention to the Welsh literary context of his time, especially the bardic lore (barddas), in spite of the fact that he considered himselfto be a bard and created an epic cosmos in which the bardic had exalted status. Of particular importance is the Welsh concept of the awen, which can be thought of as "the muse," but which must not be limited to the Greek understanding of the term For the Welsh, the awen had to do with the Christian concept of the Holy Spirit, and beyond that, with the poet's connection with his inspiration, or genius, whether Christian of otherwise. This study explores the idea of inspiration as it evolves from the Greek idea of the Muse, as it was perceived in the Middle Ages by Welsh writers, and as it came to be understood and utilized by writers in the Age of Blake.

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