THE WELSH BARDS.

...middle of the tenth century, a period illuminated by the laws of Howel original: "Howel"; refers to Hywel Dda, or Hywel the Good (c. 880–950), who codified Welsh law. In these laws we do not find the musical or poetical establishment of the national Bards; but they contain such injunctions respecting the Bard of the Palace and the Chief Bard of Wales as in some measure compensate for that lack of information.

When the Chief Bard appeared at the court of the Welsh princes, he sat next to the judge of the palace. None but himself and the Bard of the Palace were allowed to perform in the presence of the prince. When the prince desired to hear music, the Chief Bard sang to his harp two poems: one in praise of the Almighty, and the other concerning kings and their heroic exploits. After this, a third poem was sung by the Bard of the Palace. The Chief Bard obtained his high rank through a poetical contest, which was decided by the judge of the palace. On this occasion, the judge received from the successful candidate an honorary fee of a bugle-horn, a gold ring, and a cushion for his chair of dignity. The Chief Bard's poetical rights and authority were not subject to the control of the prince, and his privilege of protection lasted from the beginning of the first song in the hall of the palace to the conclusion of the last. original note z: King Howel's Laws, p. 68, 69. But what remains to be said of the manner of his election and the nature of his office I must defer until the institutes of Gruffudd ap Cynan enable me to speak more extensively and with greater certainty of this dignified person.

The Bard of the Palace, who was ranked as the eighth officer of the prince's household, received at his appointment a harp and an ivory chess-board from the prince, and a gold ring from the princess. On the same occasion, he presented a gold ring to the judge of the palace. At the prince's table during the three great festivals of Christmas, Easter, and Whitsuntide, he sat next to the master of the palace and publicly received from that officer's hands the harp on which he performed. When he went with other Bards upon his Clera original: "Clera"; a circuit or journey made by bards to perform for payment or musical journey, he was entitled to a double fee. He was obliged, at the queen's request, to sing three pieces of poetry to his harp, but in a low voice so that the court might not be distracted from their duties. He accompanied the army when it marched into an enemy's country. While the army was preparing for battle or dividing the spoils, he performed an ancient song called Unbennaeth Prydain original: "Unbennaeth Prydaia"; The Monarchy of Britain:

"The Bard who first adorned our native tongue,
"Tuned to his British lyre this ancient song."

Dryden.

And for this service, once the prince had received his share of the spoils, the Bard was rewarded with the most valuable beast that remained. original note b: King Howel's Laws, p. 35, 36, 37.

In these constitutions we find the first account of the Clera, or triennial circuit original: "triennial circuit"; a tour occurring every three years of the Bards, just as we previously traced the origin of the Eisteddfod (their triennial assembly) in the annals of Cadwaladr. We likewise find that a vassal, through the practice of poetry and music (which he could not adopt without the permission of his lord or prince), acquired the privileges of a freeman and an honorable rank in society. Nothing can display more powerfully the high regard and influence the Bards enjoyed at this early period than their remarkable prerogative of petitioning for presents original: "petitioning for presents"; the right to request specific gifts in exchange for a poem through occasional poems. This custom they later carried to such excess—and such respect was constantly paid to their requests—that in the time of Gruffudd ap Cynan, it became necessary to control them by a law. This law restrained them from asking for the prince's horse, hawk, or greyhound, or any other possession beyond a certain price, or anything that was particularly valued by the owner or could not be replaced. Many poems from the following centuries still exist today, written to obtain a horse, a bull, a sword, a rich garment, and so on.

About the year 1070, Prince Bleddyn ap Cynfyn, the author of another code of Welsh laws, established some regulations regarding the musical Bards and revised and enforced those that were already in place.

^y See The Laws of Hywel the Good and Others, or Welsh Laws original: "Cyfreithieu Hywel Dda ac Eraill, or Leges Wallicæ", translated into Latin by Dr. Wotton and Mr. Moses Williams, and published with a learned preface by Mr. Clarke. Folio. London, 1730.
^z King Howel's Laws, p. 68, 69.
^a Howel's Laws, p. 35, 36, 37.
^b "Dr. Wotton, the learned editor of Howel's Laws, in a note on this passage, suggests that only the title and subject were required, and that the choice and composition of the poetry was left to the Bard. The Welsh, he says, always preserved a tradition that the whole island had once been possessed by their ancestors, who were driven into a corner of it by their Saxon invaders. When they raided the English borders, they justified their incursions with the pretext of recovering their hereditary rights. Their poets, therefore, entertained them with descriptions and praises of the splendor and courage with which the monarchy of Britain was maintained by its ancient heroes, and inspired them with a passion for imitating their glorious example.

If anything can be added to the suggestions of such a discerning critic as Dr. Wotton, it is that probably an excellent old poem called Unbennaeth Prydain was constantly recited on the battlefield and accompanied by a tune of the same antiquity. Eventually, due to a long period of peace or some other accident, they were both forgotten, and the Bards later supplied what had been lost from their own inventions." — Translated Specimens of Welsh Poetry in English Verse. 1782. p. 33.

But heed, ye Bards, that for the sign of onset
Ye sound the oldest of all your rhymes,
Whose birth tradition does not note, nor who framed
Its lofty strains.

Mason's Caractacus.

^c Howel's Laws, p. 37, § 11, 12.
^d Howel's Laws, p. 307, 31st Triad.
^e Howel's Laws, p. 37. § 12.
^f Dr. Rhys's Grammatical Institutes of the Welsh Language, p. 295.