he was the Welsh Horace, and wrote light, agreeable, sportive pieces, equal to any things of the kind composed by Horace in his best moods. But he was something more: he was the Welsh Martial, and wrote pieces equal in pungency to those of the great Roman epigrammatist, - perhaps more than equal, for we never heard that any of Martial's epigrams killed anybody, whereas Ab Gwilym's piece of vituperation on Rhys Meigan - pity that poets should be so virulent - caused the Welshman to fall down dead. But he was yet something more: he could, if he pleased, be a Tyrtaeus; he was no fighter - where was there ever a poet that was? - but he wrote an ode on a sword, the only warlike piece that he ever wrote, the best poem on the subject ever written in any language. Finally, he was something more: he was what not one of the great Latin poets was, a Christian; that is, in his latter days, when he began to feel the vanity of all human pursuits, when his nerves began to be unstrung, his hair to fall off, and his teeth to drop out, and he then composed sacred pieces entitling him to rank with - we were going to say Caedmon; had we done so we should have done wrong; no uninspired poet ever handled sacred subjects like the grand Saxon Skald - but which entitle him to be called a great religious poet, inferior to none but the protege of Hilda.
Before ceasing to speak of Ab Gwilym, it will be necessary to state that his amatory pieces, which constitute more than one-half of his productions, must be divided into two classes: the purely amatory and those only partly devoted to love. His poems to Dyddgu and the daughter of Ifor Hael are productions very different from those addressed to Morfudd. There can be no doubt that he had a sincere affection for the two first; there is no levity in the cowydds which he addressed to them, and he seldom introduces any other objects than those of his love. But in his cowydds addressed to Morfudd is there no levity? Is Morfudd ever prominent? His cowydds to that woman abound with humorous levity, and for the most part have far less to do with her than with natural objects - the snow, the mist, the trees of the forest, the birds of the air, and the fishes of the stream. His first piece to Morfudd is full of levity quite inconsistent with true love. It states how, after seeing her for the first time at Rhosyr in Anglesey, and falling in love with her, he sends her a present of wine by the hands of a servant, which present she refuses, casting the wine contemptuously over the head of the valet. This commencement promises little in the way of true passion, so that we are not disappointed when we read a little farther on that the bard is dead and buried, all on account of love, and that Morfudd makes a pilgrimage to Mynyw to seek for pardon for killing him, nor when we find him begging the popish image to convey a message to her. Then presently we almost lose sight of Morfudd amidst birds, animals and trees, and we are not sorry that we do; for though Ab Gwilym is mighty in humour, great in describing the emotions of love and the beauties of the lovely, he is greatest of all in describing objects of nature;indeed in describing them he has no equal, and the writer has no hesitation in saying that in many of his cowydds in which he describes various objects of nature, by which he sends messages to Morfudd, he shows himself a far greater poet than Ovid appears in any one of his Metamorphoses. There are many poets who attempt to describe natural objects without being intimately acquainted with them, but Ab Gwilym was not one of these. No one was better acquainted with nature; he was a stroller, and there is every probability that during the greater part of the summer he had no other roof than the foliage, and that the voices of birds and animals were more familiar to his ears than was the voice of man.
During the summer months, indeed, in the early part of his life, he was, if we may credit him, generally lying perdue in the woodland or mountain recesses near the habitation of his mistress, before or after her marriage, awaiting her secret visits, made whenever she could escape the vigilance of her parents, or the watchful of her husband, and during her absence he had nothing better to do than to observe objects of nature and describe them. His ode to the Fox, one of the most admirable of his pieces, was composed on one of these occasions.
Want of space prevents the writer from saying as much as he could wish about the genius of this wonderful man, the greatest of his country's songsters, well calculated by nature to do honour to the most polished age and the most widely-spoken language. The bards his contemporaries, and those who succeeded him for several hundred years, were perfectly convinced of his superiority, not only over themselves, but over all the poets of the past; and one, and a mighty one, old Iolo the bard of Glendower, went so far as to insinuate that after Ab Gwilym it would be of little avail for any one to make verses -"Aed lle mae'r eang dangneff, Ac aed y gerdd gydag ef.""To Heaven's high peace let him depart, And with him go the minstrel art."He was buried at Ystrad Flur, and a yew tree was planted over his grave, to which Gruffydd Gryg, a brother bard, who was at one time his enemy, but eventually became one of the most ardent of his admirers, addressed an ode, of part of which the following is a paraphrase:-"Thou noble tree, who shelt'rest kind The dead man's house from winter's wind;May lightnings never lay thee low;
Nor archer cut from thee his bow, Nor Crispin peel thee pegs to frame;But may thou ever bloom the same, A noble tree the grave to guard Of Cambria's most illustrious bard!"