STUDIA CELTICA, XXXV (2001), 325–340

Issues in Dating the Repertory of Cerdd Dant

SALLY HARPER University of Wales, Bangor

Secular music in late medieval Wales largely falls under the umbrella term of cerdd dant, literally ‘the art of the string’, which implies performance on harp or crwth.1 Because such music was largely reliant on improvisation, there are few written sources, and the nature and extent of the repertory therefore remain somewhat elusive.2 This essay offers a preliminary survey of issues relating to the dating of cerdd dant, exploring the periods of formulation, decline and proliferation. Given their implied etymological association, one might expect cerdd dant and cerdd dafod, its poetic sister art, to share broadly similar chronological parameters, with the set forms of string music blossoming concurrently with the strict-metre cywydd from the early fourteenth century until the mid 1520s, when it is generally agreed that the great era of cerdd dafod had drawn to a close.3 But this can by no means be proved. The ear- liest extant document associated with cerdd dant is a scarcely legible page of twenty-two titles in NLW MS Peniarth 55, copied around 1496.4 Copies of more substantial docu- ments dealing with theoretical aspects of the art – some of which imply that cerdd dant was conceived as early as 1100 – date only from after 1550, and even then the evidence is partial and often confused.5 There are no musical sources to match the comprehen-

1 This piece would not have been possible without 4 NLW MS Peniarth 55, p. 106, a list of cerdd dant the invaluable groundwork undertaken in the area of pieces without heading. This page is unrelated to the cerdd dant by the late Peter Crossley-Holland rest of the book, which contains poetry. Daniel Huws (1916–2001). His death occurred shortly before the dates the manuscript at c.1496 on the basis of one of text went to press, and the article is fondly dedicat- the cywyddau. A facsimile of p. 106 appears in Dafydd ed to his memory. I am also grateful to Bethan Miles, Wyn Wiliam, ‘Ifan ab y Gof, Llywelyn ab Ifan ab y Dafydd Wyn Wiliam and Daniel Huws for generous Gof a Dafydd ab y Gof (Dafydd Athro): Tri chyfan- advice on various aspects of the discussion. soddwr cerddoriaeth o Fôn?’ (‘Three Anglesey com- 2 Some of the most important early studies of cerdd posers?’), Welsh Music History/Hanes Cerddoriaeth dant include T. Gwynn Jones, ‘Bardism and romance’, Cymru, 4 (2000), 29. Transactions of the Honourable Society of Cymmodorion 5 Claims for the origins of the art appear in the the- (1913–14), 207–312; W. S. Gwynn Williams, Welsh oretical document Cadwedigaeth Cerdd Dannau, and in National Music and Dance (London, 1932); Peter some versions of the related treatise, Dosbarth Cerdd Crossley-Holland, ‘Secular homophonic music in Dannau. Sources for both texts are collated by Bethan Wales in the Middle Ages’, Music and Letters, 23 (1942), Miles in ‘Swyddogaeth a chelfyddyd y crythor’ 135–62. A collection of more recent essays appears in (University of Wales Aberystwyth, MA thesis), ii, Welsh Music History/Hanes Cerddoriaeth Cymru, 3 (1999). 557–69. The earliest known version of the 3 Signalled by the Caerwys Eisteddfod of 1523 and Cadwedigaeth is NLW MS 17116-B (Gwysaney 28) of the death of Tudur Aled some two years later. See, c.1560. For a fuller discussion, see Sally Harper, ‘So Eurys Rowlands, ‘Tudur Aled’, A Guide to Welsh how many Irishmen went to Glyn Achlach? Early Literature 1282–c.1550, ii, ed. A. O. H. Jarman and accounts of the formation of Cerdd Dant’, Cambrian G. R. Hughes; rev. D. Johnston (Cardiff, 1997), 298. Medieval Celtic Studies (forthcoming, 2001). 326 SALLY HARPER sive fourteenth-century bardic grammars. Indeed, most of what we know of the musi- cal characteristics of cerdd dant derives from a much later document: the harp tablature copied by Robert ap Huw (c.1580–1665) in c.1613.6 Robert ap Huw was himself a pencerdd (master craftsman) on the harp,7 but apparently one of the last to play music within this tradition, and his unique manuscript may primarily have been an attempt to preserve an archaic and fast-disappearing repertory. The remnants of the cerdd dant tradition are thus poor competition for the wealth of extant poetry produced by the beirdd yr uchelwyr from the time of Dafydd ap Gwilym (fl. 1330–50) onwards. But they form part of what was once a considerable corpus of music. Around 1500, a fashion emerged for compiling long inventories of cerdd dant titles, and extant lists provide evidence of over 300 items additional to those notated in Robert ap Huw’s book.8 The earliest surviving list is that in Peniarth 55 mentioned above, but this was soon followed by more complete lists, which classify items in accordance with genre. Some were drawn up by collector-copyists or bardic genealogists: at least one such doc- ument may have derived from a lost original compiled by the poet and genealogist Gruffudd Hiraethog (d. 1564).9 Robert ap Huw was to make two similar inventories of titles in the back of his own manuscript in the early seventeenth century.10 The earliest comprehensive lists of cerdd dant items occur in the manuscript Gwysaney 28, copied c.1560. In addition to several pages of genealogical information and various inventories of tunes, there are two parallel lists of athrawon (masters) of the harp and crwth (see Table 3),11 a version of the Statute of Gruffudd ap Cynan, and a copy of the theoretical treatise Cadwedigaeth Cerdd Dannau, which opens with an account of how cerdd dant was formulated. This account is discussed in more detail elsewhere,12 and it is suf- ficient to note here the most significant of its claims: namely, that the rules of cerdd dant and the associated twenty-four measures were first codified in Ireland around 1100. There is nothing in the music of Robert ap Huw’s manuscript or in the inventories to confirm such an auspicious pedigree, although certain etymological features of the meas- ures do suggest Irish or possibly Norse etymology. The Cadwedigaeth claims might lead us to assume that cerdd dant covers an impressive chronological span of some 500 years, given that it was still being played by Robert ap Huw in the seventeenth century. But what is striking about Robert ap Huw’s reperto- ry is that it apparently contains no music created during his own lifetime. This is an entirely retrospective compilation, where all of the pieces seem to have been in exis-

6 It is usually maintained that the music in the inventories as vol. ii of ‘Swyddogaeth’. Robert ap Huw manuscript (BL MS Add. 14905) was 9 Ibid., ii, 637. copied in or around 1613, since these figures appear 10 BL MS 14905, pp. 102–4 and 106. in a pattern of decorative semi-circles after the piece 11 NLW MS 17116–B (Gwysaney 28), fo. 65v (crwth ‘Caniad Tro Tant’ on p. 69; pp. 23–34 are reputed- list) and fo. 61r (harp list). A facsimile of the latter ly copied from a lost text belonging to the harper appears in Welsh Music History/Hanes Cerddoriaeth Wiliam Penllyn, who graduated pencerdd at the Cymru, 3 (1999), 196. Transcriptions of both lists Caerwys Eisteddfod of 1567. Robert ap Huw was a appear in ibid., 156–7 (crwth) and 196 (harp), and in grandson of the Anglesey poet Siôn Brwynog Miles, ‘Swyddogaeth’, ii, 702–4. See also Peter (1510–62). Crossley-Holland, The Composers in the Robert ap Huw 7 See Robert ap Huw’s own englyn of c.1615 in BL Manuscript (Bangor, 1998), 3. A summary version of MS Add. 14898, p. 79, quoted in D. W. Wiliam, Robert the text appears in Welsh Music History/Hanes ap Huw (1580–1665): Astudiaeth o’i Gefndir, ei Fywyd a’i Cerddoriaeth Cymru, 3 (1999), 183–205 (Welsh version, Waith (Denbigh, 1975), 33. 206–16). 8 Bethan Miles transcribes and collates most of the 12 Sally Harper, ‘How many Irishmen’. ISSUES IN DATING THE REPERTORY OF CERDD DANT 327

TABLE 1: The Earliest Extant List of Cerdd Dant Items (NLW MS Peniarth 55) NLW MS Peniarth 55, p. 106 The Robert ap Huw Manuscript (BL MS Add. (item nos. are editorial) 14905) 1. [Iok]yn voyl 2. y gvyn pibydd kaniad y gwyñ bibydd, pp. 36–7 3. y Kanvad ar gein K aiddegvn 4. y Kanvad ar geink sisana kaniad suwsana, pp. 54–5 5. barnod Ivan ab y gov kaniad barnad Ifan ab y goo, pp. 71–6 6. barnod ddavydd ab y gov 7. barnod ddav/barnod ddavvdd ab gvilym 8. Kanyad ar geink ddavydd ab gwilym 9. Kanyad genvrevydd kaniad gwen frewu (listed, p.106) 10. Anrreg ddevi anrheg ddewi (listed, p.104) 11. gsteg Ian ab yg ov yr osteg fawr ne osteg Ifan fab y gof, pp. 20–2 12. gos deg ddavydd ab y gov = gosteg dafydd athro, pp. 15–17 13. gos deg bedn trevddvn = gosteg lwyteg, p. 22 14. pibe morvydd kaniad pibe morfydd, pp. 90–6 15. y Kanyad Krych geink ovydd 16. y Kanyad ar geink havddvyd 17. tvrch trvyth 18. Hvn venllian kaniad hun wenllian, pp. 84–9 19. Kanyad y marchog gvyddyl 20. Barnod syrys 21. Kanyad ar geink ryffydd [cf. kaingk Ryffydd ab adda ab dafydd, p. 57] 22. y Kanyad nevydd ar y Krras gyweir tence in some form for at least a century before they were copied. Almost every item is listed in an earlier inventory: Peniarth 55, the earliest of the extant lists (c.1496), includes eight of Robert ap Huw’s surviving pieces with two more that he had copied into anoth- er book, now lost. Some appear under slightly different names, but are clearly synony- mous (see Table 1).13 Although none of the inventories offers direct information about dating, there is much to be gleaned from the titles. In several cases the title contains an integral reference to a named individual, often the musician initially associated with that piece. Such musi- cians were not necessarily composers in the conventional sense, since one must allow for the process of individual realization inherent to improvised and orally transmitted music, but this does not detract from the regard in which they were held by their own or a subsequent generation.14 Robert ap Huw’s manuscript names eight (possibly nine) such ‘composer-musicians’ (Table 2):15

13 The table follows the original orthography of adding the phrase ‘o waith’ (the work of). NLW MS both MSS. 2023-B Panton 56 (c.1758–85) lists ‘Caniad Gwenfrewi 14 Robert ap Huw himself occasionally provided . . . o waith Cynwrig Bencerdd’ (p. 55), and ‘Caniad separate ‘composer’ ascriptions before or after an K Mar. Cynf. Ben o waith Rhys B[wtling?]’ (p. 62). item, as in the ‘Profiad Chwith’ and the ‘Profiad 15 Several of these names and pieces occur in other Fforchog’, both attributed to Ifan ap y Gof. A few of lists with variant spellings. Table 2 adopts modern the inventories also provide similar information by orthography for the sake of consistency. 328 SALLY HARPER

TABLE 2: Robert ap Huw’s Composer-musicians and Works associated with Them Dafydd Athro: Gosteg Dafydd Athro (pp. 15–17) Ifan ap y Gof: Yr osteg fawr neu Gosteg Ifan ap y Gof (pp. 20–2); Profiad chwith Ifan ap y Gof (pp. 60–1); Profiad fforchog Ifan ap y Gof (pp. 61–2) Cadwgan: Caniad Cadwgan (pp. 42–3) Cynwrig Bencerdd: Caniad Cynwrig Bencerdd (pp. 46–50) Llywelyn ab Ifan ap y gof: Caniad Llywelyn ab Ifan ap y Gof (pp. 50–3) Llywelyn Delynor: Caniad Llywelyn Delynor (pp. 97–101) Gruffudd ab Adda ap Dafydd: Cainc Ruffudd ab Adda ap Dafydd (p. 57) [Y] Brido: Profiad yr eos Brido (pp. 57–8); Profiad y botwm (pp. 62–3); Profiad Y Brido ar is gower (pp. 63–4); Profiad Y Brido ar uwch gower (pp. 64–5) Y Llwyteg: Gosteg y Llwyteg (p. 22) Yr Eos [? = Siôn Eos]: Profiad yr eos (pp. 58–9)

Fifteen of the thirty-two pieces in the book imply association with one or other of these musicians, and a fine seminal exploration of possible identities was published by the late Peter Crossley-Holland in 1998.16 His findings are summarized briefly below. The poet-musician Gruffudd ab Adda ap Dafydd (fl. c.1340–70) was the subject of a fic- titious elegy by his contemporary Dafydd ap Gwilym.17 Cynwrig Bencerdd was active about a century later: he won the ariandlws at the Carmarthen Eisteddfod in the 1450s.18 Cadwgan’s identity remains obscure, but he is said to have come from the Uwch Gwyrfai (Caernarfonshire), and to have built a Capel Cadwgan near Shrewsbury.19 Y Brido and Y Llwyteg were both lauded by the poets. Crossley-Holland notes fifteenth-century ref- erences to Y Brido by Lewys Glyn Cothi (c.1420–89)20 and Guto’r Glyn (fl. c.1450–90),21 with later references by Siôn Tudur (c.1522–1602)22 and Simwnt Fychan (c.1530–1606).23 Y Llwyteg is mentioned in a cywydd by Dafydd Trefor (fl. 1495, d.1528), asking for a harp from Edward Sirc (or Chirk): Edward, who attended the first Caerwys eisteddfod in 1523, was Y Llwyteg’s grandson.24 Y Llwyteg is also invoked in a cywydd addressed

16 Crossley-Holland, Composers. (no. 116) and ‘Marwnad Meredudd ap Morgan’ 17 ‘Marwnad Gruffudd ab Adda’, Thomas Parry (no. 136). (ed.), Gwaith Dafydd ap Gwilym (Cardiff, 1952; 3rd 21 John Llywelyn Williams and Ifor Williams (eds.), edn., 1979), no. 17 (pp. 50–2; n. 460–1). Gwaith Guto’r Glyn (Cardiff, 1961), ‘Moliant i Ddafydd 18 NLW MS Peniarth 267, p. 64: ‘ag yn yr Abad Glyn Egwestl’ (no. 112), ll. 57–9. eisteddfod honno yr enillodd Cynrig Bencerdd o 22 Enid P. Roberts, Gwaith Siôn Tudur (Bangor, Dreffynnon, y Delyn arian’. Transcribed in G. J. 1978), i, 343, ll. 65–9. Williams, ‘Eisteddfod Caerfyrddin’, Y Llenor, 5 (1926), 23 Simwnt Fychan, ‘Marwnad a Ifan Delynior’, 94–102. NLW MS 9170-B, p. 25. 19 NLW Gwysaney MS 28, fo. 61r: ‘kydwgan a/chy- 24 BL MS Add. 14875. See also H. C. Jones (ed.), lyelyn y nail oedd vwch gwrfai ar llalt oedd is gwrfai Gwaith Huw Ceiriog ac Edward Maelor (Cardiff, 1990), ond yn wir kydwgan a fv yn trigo ym hentref p. xx. The cywydd refers to ‘Edward Sirk’ as ‘wyr y ymwythig ag awnaeth kapel yr hwn aelwir heddiw llwydteg’ (grandson of Y Llwyteg). Both ‘y llwydto’ kapel kadwgan’. and ‘ed sirk’ appear in the pedigree of the poet 20 Dafydd Johnston (ed.), Gwaith Lewys Glyn Edward Maelor, grandson to Edward Chirk (NLW Cothi (Cardiff, 1995), ‘Moliant William ap Morgan’ MS 15551C, fos. 53v–54r). ISSUES IN DATING THE REPERTORY OF CERDD DANT 329 to Maredudd ap Tomos of Porthamal by the Anglesey poet Syr Dafydd Trefor (fl. 1495; d.1528);25 he was probably active somewhere between 1470 and 1500. Ifan ap y Gof, Dafydd Athro, and Llywelyn ab Ifan ap y Gof were apparently all related and probably also belong to the later fifteenth century.26 The provisional dates attributed to these musicians thus offer a rough chronology for a small proportion of the music in Robert ap Huw’s book. The ‘Cainc Ruffudd ab Adda ap Dafydd’ may have been created as early as the fourteenth century, perhaps during the lifetime of Dafydd ap Gwilym, but a much larger proportion of the music apparently originated around or after 1450. Two lists of musical masters or athrawon in the manuscript Gwysaney 28 (c.1560), one comprising eighteen crwth players, the other fourteen harpers (Table 3, below), offer important additional evidence.27 Both lists were probably drawn up not long after the Caerwys Eisteddfod of 1523, since both end with eisteddfod winners. The range of names suggests that the anonymous sixteenth-century compiler was attempting a broadly chronological sweep of the leading figures within cerdd dant. The harp list concludes

TABLE 3: Athrawon listed in NLW MS 17116-B (Gwysaney 28) (numbers are editorial) Harpers (fo.61r) Crwth players (fo.65v) 1 Hildir 1 Rhydderch Foel 2 Adda ap Hildir 2 Oloff 3 Ie[ua]n ap y Gof 3 Kabwlca Grythor 4 Dafydd Athro 4 Gwas Dewi 5 Ll[ywel]yn ap Ie[ua]n ab y Gof 5 Ankws 6 Gwil[y]m ap Ll[ywely]n Ddu 6 Llef Gw^r 7 Gronw bach o Gefn y Rros 7 Gwrnerth Grythor 8 Hwlkyn Dylynor o Fwlch Coed y Mynydd 8 Gruff[udd] Grythor 9 Kydwgan 9 Y Pasant 10 Cyhelyn 10 Athro Nant 11 Y Llwyteg ach 11 E[i]nion ap Adda 12 Kynverig Ben Kerdd 12 Gruff ap E[i]nion ap Adda 13 Edward Cherke 13 Madoc Krythor 14 Davydd Nancklyn 14 Ll[y]welyn Grythor hen 15 R[h]einallt Grythor 16 Hoell Llanfor Penllyn 17 Bedo ap Madoc Grythor 18 Thomas ap Madoc

25 NLW MS Wynnstay 1, p. 128, and NLW MS that Y Llwyteg was synonymous with Maredudd of Peniarth 112, p. 161; opening transcribed in D. W. Treuddyn (Flintshire). Wiliam, ‘Tri chyfansoddwr cerddoriaeth o Fôn?’ 26 See Crossley-Holland, Composers, 18–42, and (Welsh Music History/Hanes Cerddoriaeth Cymru, 4 D. W. Wiliam, ‘Tri chyfansoddwr cerddoriaeth o Fôn’. (2000), 25–6 (English, 35–6). D. W. Wiliam argues 27 See n. 11 above. 330 SALLY HARPER with the names Edward Sirc and Dafydd Nanclyn, both of whom were confirmed at Caerwys in 1523 as pencerdd athro and pencerdd respectively; Dafydd Nanclyn also won the ariandlws.28 The crwth list ends with Thomas ap Madog, whose status as pencerdd was also confirmed in 1523; he also worked for Henry VIII.29 Neither list includes any of the musicians who attended the second Caerwys Eisteddfod in 1567.30 The figures at the end of each list must have been perceived as modern masters dur- ing the compiler’s liftetime, but there is one crucial difference from those who precede them in the lists: none of the later musicians lent their names to pieces within the reper- tory. The implication is that the later athrawon were eminent as performers and teach- ers, but they did not compose in the traditional manner.31 This suggests that active creation of new pieces in the cerdd dant canon had more or less ceased by 1500, an extraordinary fact when one considers that Robert ap Huw’s book preserves a reperto- ry which had, by the date of copying in the early seventeenth century, already been frozen for over a century. Had more recent pieces existed, they would surely have found their way into one of Robert ap Huw’s books. It would be easier to establish tentative dates for certain pieces within the repertory if one could rely on the precise chronological ordering of the lists, but the harp list seems particularly flawed. The two Caerwys harpists are immediately preceded by anoth- er eisteddfod figure, Cynwrig Bencerdd, who was at Carmarthen in the 1450s: he must therefore have flourished some seventy years earlier than Edward Sirc and Dafydd Nanclyn. This leaves a hiatus: either the copyist decided to group all three eisteddfod winners together irrespective of their date, or he simply confused the chronological ordering of individuals who were active before his own lifetime. He – or perhaps anoth- er, later hand – also inserted the word ‘ach’ between Y Llwyteg and Cynwrig, implying kinship, but it seems more likely that this word should come between Y Llwyteg and his grandson Edward Sirc. The order of Cynwrig Bencerdd and Y Llwyteg, at the very least, should thus perhaps be reversed. The figures who occupy the middle of the list remain elusive, although there is some circumstantial evidence that Gronw Bach o Gefn y Rhos may be the ‘Gron’ Telynnior’ of Llifon, Anglesey, who was, among many oth- ers, fined 2s. in 1406 for supporting the campaign of Owain Glyndw^r.32 Nothing is yet

28 ‘Dai nan klyn a wnaethpwyd yn athro a Rroddi chaniadav E hunan yn warantedic). For a complete ariandlws telyn iddaw. Edwart Sirk/Thomas transcription and translation of the Statute, see David amhadoc/Edñ grythor/a morys llanvair/a raddiessid or Klausner, ‘Statud Gruffudd ap Cynan’, Welsh Music blaen mewn neithiorav Reiol yn benkerddiaid ac yno History/Hanes Cerddoriaeth Cymru, 3 (1999), 282–98. i sikrawyd drwy i kanhiadv ai konffyrmio’: NLW MS 32 See Glyn Roberts, ‘The Anglesey Submissions of Peniarth 155, p. 94. Transcribed in D. J. Bowen, 1406’, Bulletin of the Board of Celtic Studies, 15 (1952–4), ‘Graddedigion Eisteddfodau Caerwys, 1523 a 1567/8’, 39–61 (45). I am most grateful to Bethan Miles for Llên Cymru, 2 (1952), 129–34. sharing her findings that an Ordnance Survey map 29 NLW MS Mostyn 131, p.107, names him as ‘cry- of 1838 shows a Cefn y Rhos in the parish of thor a gwas i’r brenin Harri wythfed’. See Miles, Llanddeusant, near to the border between Llifon and ‘Swyddogaeth’, i, 160. Talybolion. A ‘k[aniad] gronw bach o gefn y reos’ is 30 Names are listed by D. J. Bowen, ‘Graddedigion listed by Robert ap Huw on p. 106 of BL MS Add. Eisteddfodau Caerwys’, 131–3. 14905; the same piece is also listed in Gwysaney 28 31 This is in spite one of the requirements of the (fos. 68r and 71r). This may be synonymous with the Statute of Gruffudd ap Cynan, that ‘an athro should ‘can[iad] Gronwy Bach o Gefn y Rhos modd arall compose clymau and caniadau himself under guaran- Marwnad Rhys ap Tewder’ listed in Panton 56 (pp. tee’ (Athro o gerdd dant a ddyly gwnaeth kwlmav a 55 and 62). ISSUES IN DATING THE REPERTORY OF CERDD DANT 331 known of Gwilym ap Llywelyn Ddu and Hwlcyn Dylynor o Fwlch Coed y Mynydd.33 There is also an interesting distinction between the figures who head these two lists of master musicians. The crwth list begins with Rhydderch Foel and Oloff, both of whom allegedly attended the twelfth-century Glendalough conference described in the Cadwedigaeth Cerdd Dannau. Neither can be equated with a real historical figure; ‘Oloff’ may simply be a corruption of ollamh, the Irish equivalent of athro.34 By contrast, the harp list is headed by Hildir, who was more likely a real musician: he is lauded in ‘Y Gainc’ by Dafydd ap Gwilym,35 perhaps his contemporary. The repertory lists contain no clear evidence that Hildir ‘composed’, although a ‘Caniad Crych i Hildir’ occurs in Gwysaney 28.36 The ambiguous preposition ‘i’ may imply possession in Welsh (‘Hildir’s caniad’),37 but the piece might alternatively have been created in honour of Hildir (‘a caniad to Hildir’): there are many such tribute pieces within the cerdd dant repertory. The ‘Cwlwm Adda ap Hildir’, associated with Hildir’s son Adda, is similarly ambigu- ous.38 But whatever their origin, it seems likely that both items, together with the ‘Cainc Ruffudd ab Adda’ copied by Robert ap Huw, and the ‘Barnod Ddavydd ab gvilym’ list- ed in Peniarth 55, were more or less contemporary with the individuals named in the title. This would make them among the earliest known pieces in the repertory, dating from anywhere between 1340 and 1400. Adda ap Hildir himself had a son who con- tinued the family tradition: Panton 56 includes a ‘Caniad marwnad Ieuan ab Adda ap Hildir’,39 although Ieuan ab Adda does not feature in the list of master harpers. The compiler may have confused him with Ieuan (or Ifan) ap y Gof, whose name he chose to enter immediately after that of Adda ap Hildir. However, Ifan ap y Gof seems to have been active in the later fifteenth century (see below), and may well belong further down the list. The ap y Gof family is problematic, for although ignored by the cywyddwyr (in com- parison with other cerdd dant musicians, such as Y Brido, Y Basant, and Y Llwyteg, who are all lauded in several poems), Ifan ap y Gof, Dafydd ap y Gof (more commonly known as Dafydd Athro), and Llywelyn ab Ifan ap y Gof are associated with impressive quan- tities of music (see Table 4).40 Once the likely duplicates are accounted for, some twenty pieces in the lists are asso- ciated with the ap y Gof group, suggesting a mix of some items created by the musi- cians themselves, and some created in their honour. Peter Crossley-Holland has established that the ‘Gosteg Dafydd Athro’ listed in several manuscripts bears the alter-

33 Bethan Miles notes a ‘Bwlch coed y mynydd’, in Composers, 6.) the township of Trefechan, on the border between 36 NLW MS Peniarth 60, p. 42, also lists a ‘Cruch the parishes of Nannerch and Ysgeifiog in Flintshire. i Hildir’, apparently a non-canonical measure. The name apparently first appears in a document of 37 I am grateful to Daniel Huws for this observa- c.1592. See Enid P. Roberts, Gwaith Siôn Tudur, ii, tion. As comparison, he notes ‘Llyfr Gwyn i Rydderch’ 155–6. (the old name for Llyfr Gwyn Rhydderch) and ‘Llyfr 34 Oloff and Rhyddech are discussed more fully in Cyntaf i Samuel’ in the 1588 Bible. Sally Harper, ‘So how many Irishmen went to Glyn 38 BL MS Add. 14905, p. 104. The same piece also Achlach?’. See also Patrick Sims-Williams, ‘Cú occurs in Gwysaney 28, pp. 67v, 71v and Panton 56, Chulainn in Wales: Welsh Sources for Irish pp. 55, 75, 79. Onomastics’, Celtica 21 (1990), 620–33. 39 Panton 56, pp 78, 79. 35 ‘O ddysg Hildr oddis cildant,/ Gormodd cerdd, 40 For further detail, see Crossley-Holland, gwr meddw a’i cant’. (Parry, Gwaith Dafydd ap Gwilym, Composers,18–42. no. 142, pp. 375–6; eee also Crossley-Holland, 332 SALLY HARPER TABLE 4: Pieces Associated with the ap y Gof Family Ifan (or Ieuan) ap y Gof Gosteg Ifan ap y Gof [survives complete in Robert ap Huw] Profiad chwith Ifan ap y Gof [survives complete in Robert ap Huw] Profiad fforchog Ifan ap y Gof [survives complete in Robert ap Huw] Caniad Ifan ap y Gof Y caniad bach i Ifan ap y Gof Caniad newydd o waith Ifan ap y Gof Cwlwm dirgelch Ifan ap y Gof Cell Ifan ap y Gof Caniad marwnad Ifan ap y Gof (o waith Dafydd Athro) Caniad marwnad Ifan ap y Gof (o waith Llywelyn ei fab) Dafydd Athro (Dafydd ap y Gof) Gosteg Dafydd Athro [survives complete in Robert ap Huw] Cwlwm Dafydd Athro [listed by Robert ap Huw, p. 102] Caniad newydd o waith Dafydd Athro Caniad marwnad Ifan ap y Gof o waith Dafydd Athro Cwlwm marwnad Dafydd Athro (?= ‘Barnod Dafydd ap y Gof’) Llywelyn ab Ifan ap y Gof Caniad Llywelyn ab Ifan ap y Gof [survives complete in Robert ap Huw] Caniad marwnad Ifan ap y Gof (o waith Llywelyn ei fab) Caniad marwnad Llywelyn ab Ifan ap y Gof (o waith Llywelyn) Cwlwm marwnad Lewys ab Ieuan ap y Gof Gwyn ap y Gof Caniad Gwyn ap y Gof [Gwysaney 28, fo. 72r] Y caniad mawr i Wyn ap y gof [Gwysaney 28, fo. 72r] Cwlwm Gwyn ap y Gof [listed by Robert ap Huw, p. 103, and in Panton 56, p. 57] Cwlwm bach y [= i?] Wyn ap y Gof [Peniarth 62, p. 1] Caniad marwnad Gwyn ap y Gof [Panton 56, pp. 55, 62, 75] Deulwyn ap y Gof Cwlwm Deulwyn ap y Gof [Peniarth 77, p. 189]

Source: MS references for Ifan, Dafydd Athro and Llywelyn ap Ifan ap y Gof are in Crossley- Holland, Composers, tables 3, 5–7. native title ‘Gosteg Dafydd ap y Gof’ in Peniarth 55; Dafydd Athro was apparently Ifan’s brother.41 Initial research suggested that these musicians might be synonymous with a Ieuan ab y Gof and a Dafydd ab y Gof Du named in the Extent of Anglesey of 1352,42 but a more recent argument by the Anglesey scholar Dr Dafydd Wyn Wiliam is more convincing.43 This turns on a Dafydd Athro who witnessed a whole succession of Anglesey deeds between 1476 and 1486: his name appears beside those of several exalted Anglesey patrons, including Maredudd ap Tomos of Porthamal to whom the cywydd mentioning Y Llwyteg (cited earlier) was addressed. This Dafydd Athro was also contemporary with

41 Ibid., 26–8. 1971–2, 150–272. 42 A. D. Carr, ‘The Extent of Anglesey, 1352’ 43 D. W. Wiliam, ‘Tri chyfansoddwr’. Anglesey Antiquarian Society and Field Club Transactions, ISSUES IN DATING THE REPERTORY OF CERDD DANT 333 a ‘Jenn ap Goo’, probably from Penhwnllys near Llanddona, who witnessed two deeds in 1481. If these two late fifteenth-century Anglesey witnesses were indeed the master harpers, it would throw the apparent chronological framework of the Gwysaney list into disar- ray. However, the list has already been seen to contain at least one other anomaly, and a late fifteenth-century floruit for the three members of the ap y Gof family (Ifan, Dafydd, and Llywelyn) would accord better with the implications of their large musical output. The lists suggest that there are relatively few items associated with the generation of Dafydd ap Gwilym and his immediate successors; pieces rather tend to revolve around a small number of much later musicians. One other important feature in this consideration of dating is the marwnad, or elegy (see Table 5). Although ‘fictitious’ poetic marwnadau were sometimes conceived while the subject was still alive, no marwnad could ever predate the lifetime of the individual con- cerned, and this offers a reliable terminus post quem for some works. Musical marwnadau tend to fall into one of two categories: the cwlwm marwnad and the caniad marwnad. Extant titles suggest that clymau marwnad were mostly composed in honour of musicians, and some seem to be late creations. The pieces to Dafydd Athro and Y Llwyteg were prob- ably conceived well after 1480 if these figures were indeed active right at the end of the century. The caniad marwnad was apparently more varied as regards dedication. There are ‘late’ pieces for musicians such as Ifan ap y Gof and his son Llywelyn, and also one to the poet-harper Siôn Eos, hanged in the later fifteenth century and lamented in a famous cywydd by Dafydd ab Edmwnd (fl. 1450–97).44 However, at least one caniad marwnad in this category commemorates a historical figure: Rhys ap Tewdwr came to Wales from Ireland in 1070, and the musical elegy may well have been conceived centuries after his death. Glorification of historical figures was by no means restricted to the marwnad (see Table 6). There are historical caniadau to Llywarch Hwlbwch (chamberlain and treasurer to Gruffudd ap Llywelyn, the king of Gwynedd and Powys who died in 1063),45 and Y Brenin Lawgoch, who was assassinated by an English agent in 1378.46 There are also caniadau to saints, including Beuno,47 Dewi,48 Gwenfrewi,49 Silin,50 and ‘Y Brenin Yswalld’, the latter apparently synonymous with St Oswald, associated with Oswestry.51 Such dedications presumably reflected the locality of the musician concerned. It may be significant that Silin, Oswallt, and Gwenfrewi are all mentioned in rapid succession in a cywydd by Guto’r Glyn (d. 1490):52 both the saints and the poet himself are associated with the border region of Oswestry, Wrexham and Holywell, and it could be that the

44 ‘Marwnad Siôn Eos’, in The Oxford Book of Welsh 1991), 53–8. Verse ed. Thomas Parry (Oxford), 1962), no. 75, pp. 47 BL MS Add 14905, 106; Gwysaney 28, fo. 67v; 138–41; T. Roberts, Gwaith Dafydd ab Edmwnd Panton 56, pp. 55, 64. (Bangor, 1914), 80. 48 BL MS add 14905, 104; Panton 56, 55, 75. 45 ‘Llywarch Hwlbwrth’ appears in a list of caniadau 49 BL MS 14905, p. 106; Gwysaney 28, fo. 68r; in NLW Panton MS 56, p. 70. See also K. L. Maund, Panton 56, pp. 55, 62. Ireland, Wales and England in the Eleventh Century 50 BL MS Add. 14905, pp 69–71, p. 106. (Woodbridge, 1991), 164–8. 51 Panton 56, pp. 70, 78. 46 Gwysaney 28, fo. 72r. See also A. D. Carr, Owen 52 ‘I Hywel o Foelfyrch pan friwiasai ei lin’, Gwaith of Wales: The End of the House of Gwynedd (Cardiff, Guto’r Glyn, no. xliv, 118–20. 334 SALLY HARPER

TABLE 5: The Marwnadau of Cerdd Dant The Cwlwm Marwnad Cwlwm marwnad a thribena Cwlwm marwnad Dafydd Athro (= ‘Barnod ddavydd ab y gov’) [Cwlwm?] marwnad Dafydd ap Gwilym Cwlwm marwnad Gwyn ap y Gof Cwlwm marwnad Lewys ap Ieuan ap y Gof [Cwlwm] marwnad Llywelyn Ddu [Cwlwm] marwnad Llwyteg [Cwlwm] marwnad yr athrawon [Cwlwm] marwnad Athro nant [Cwlwm] marwnad yr athro o fedd The Caniad Marwnad (associated with musicians) Caniad marwnad Cynwrig Bencerdd Caniad marwnad i Ronw ap Seisyllt [Caniad] marwnad Gruffudd Grythor Caniad marwnad Gwyn ap y Gof Caniad marwnad Ieuan ab Adda ap Hildir Caniad marwnad Ifan ap y gof (‘o waith ddafydd athro’) Caniad marwnad Llywelyn ap Ieuan ap y Gof (‘o waith llywelyn’) Caniad marwnad Rhydderch Caniad marwnad Siôn Eos Caniad marwnad yr Athrawon Other Caniadau Marwnad Caniad Gronwy Bach o Gefn y Rhos modd arall Marwnad Rhys ap Tewdwr Caniad marwnad Ruffudd Caniad marwnad Gruffudd bach Caniad marwnad Wenllian Caniad marwnad Susanna Caniad marwnad Syr Rhys a The triban was a poetic metre commonly used by the clêr; early written examples (many from Glamorganshire) are recorded from the sixteenth century. caniadau were the work of a musician from the same area. Daniel Huws suggests that such pieces probably originated in association with cywyddau or other poems sung on the saint’s feast day.53 A definitive chronology for these lost cerdd dant pieces remains elusive, but certain patterns begin to emerge. Analysis of titles underlines the necessity of distinguishing between items that celebrate well-known figures – poets, saints, and heroes from the Welsh past – and those that incorporate genuine musicians’ names in their titles. A full list of pieces commemorating musicians is given as Appendix 1. Saints and heroes were clearly celebrated long after their death, but exaltation of more obscure musicians who were probably little known outside their immediate circle suggests that pieces in their honour more likely date from the lifetime of the eponymous creator or dedicatee. Some

53 Private correspondence. ISSUES IN DATING THE REPERTORY OF CERDD DANT 335 TABLE 6: ‘Historical’ Caniadau and Clymau Saints Caniad Beuno [Gwysaney 28, fo. 67v] Caniad Brochwel [Panton 56, pp. 78, 80] Caniad Brothen [Gwysaney 28, fo. 67rv; Panton 56, pp. 55, 63] [Caniad] Byrnach [= Brynach] [Panton 56, p. 70] Caniad anrheg Dewi [Gwysaney 28, fo. 71v; Panton 56, pp. 55, 75] Caniad Gwenfrewi [Gwysaney 28, fo. 68r; Panton 56, pp. 55, 62, also listed by Robert ap Huw, p. 106] Caniad Gwenog [Panton 56, pp. 70, 78, 79] Cwlwm yr hen Badarn [Peniarth 77, p. 190] Caniad San Silin [survives complete in Robert ap Huw] Caniad y brenin Yswallt [Panton 56, pp. 70, 78] Caniad y sant [Panton 56, pp. 55, 64, also listed by Robert ap Huw, p. 106] Cwlwm y sant [Gwysaney 28, fo. 66r; Peniarth 155, p. 77; Panton 56, p. 75, also listed by Robert ap Huw, p. 103] Historical Figures Cwlwm anrheg Elffin [listed by Robert ap Huw, p. 104] Caniad Cyfnerth was Maelgwn [Gwysaney 28, fo. 72r] Caniad Hwfa [Panton 56, pp. 78, 79] Caniad moliant Iago [Panton 56, p. 71] Caniad ar gainc Kachwlyn [Gwysaney 28, fo. 71r] [Caniad] Llywarch Hwlbwch [Panton 56, p. 70] [Cwlwm] Marchog Rhys [Panton 56, p. 57] Caniad Wiliam Browys [Gwysaney 28, fo. 67rv] Caniad ‘keredd [hun] y brenin llowgoch’ [Gwysaney 28, fo. 72r] of the named musicians achieved a greater degree of fame than others. Hildir, Y Brido, Y Basant, Llef Gw^r and Y Llwyteg were all lauded by the poets although, interesting- ly, these virtuosi were not necessarily the most prolific ‘composers’. Of this group, only Y Basant and Y Brido are associated with more than one named piece: no musical trib- ute to Y Brido is listed, and for some reason he is also omitted from the Gwysaney list of athrawon. By contrast, those whose names occur most frequently in the tune lists – the ap y Gof family, Gronw ap Seisyllt, and the crwth player Gwrnerth – seem not to have attracted the attention of the major cywyddwyr, and their identity thus remains the more obscure. It remains a matter of priority to comb through the works of the more minor poets for references to these figures. Archival material can also yield significant references, as the exhaustive research of Dr Dafydd Wyn Wiliam in relation to Anglesey has shown: a comparable search of materials for other areas of Wales would be invalu- able. As I have argued elsewhere, the Carmarthen Eisteddfod of the 1450s may have had a particular impact on the composition of cerdd dant.54 In the succeeding decades the musical repertory seems to have become fixed and ‘closed’, suggesting that most of the

54 Sally Harper: ‘The Robert ap Huw manuscript Welsh Music History/Hanes Cerddoriaeth Cymru, 3 and the canon of sixteenth-century harp music’, (1999), 130–61 (Welsh version, 162–82). 336 SALLY HARPER material was codified – if not created – in the third quarter of the fifteenth century. This is confirmed by the bardic syllabus outlined in the Statute of Gruffudd ap Cynan, which indicates that the most advanced pieces to be learned by a pencerdd (the colofn, the cadair and the gosteg) were all grouped uniformly in fours, and never exceeded four in number. The repertory lists reflect this limited quadruple arrangement with remark- able consistency, save for occasional regional variants. What seems clear is that some of these eisteddfodic pieces are late creations: one of the four colofnau for crwth is named after the crwth player Llef Gw^r, lauded by Dafydd ab Edmwnd,55 while the four goste- gion include contributions by Y Llwyteg and the two ap y Gof brothers. If these figures belong to the late fifteenth century, as has been suggested, codification and ‘completion’ of the eisteddfod repertory cannot have occurred until well after 1450.

TABLE 7: Towards a Tentative Chronology for Cerdd Dant mid 14th c. Cainc Ruffudd ab Adda ap Dafydd (fl. 1340–70) Cainc Dafydd ap Gwilym (fl. 1330–50) later 14th c. Caniad crych i Hildir (contemporary of Dafydd ap Gwilym) [Cwlwm?] marwnad Dafydd ap Gwilym late 14th/early 15th c. Cwlwm Adda ap Hildir Caniad Adda ap Hildir Caniad y Brenin Lawgoch (d. 1378) Cainc Syr Gruffudd Llwyd (fl. c.1380–c.1420)a Caniad marwnad Ieuan ab Adda ap Hildir Caniad Gronwy Bach o Gefn y Rhos (fl. 1400?) ‘modd arall Marwnad Rhys ap Tewder’ mid 15th c. Caniad Cynwrig Bencerdd (Carmarthen, 1450s) [copied by Robert ap Huw] Profiadau by Y Brido (fl. c.1450?) [copied by Robert ap Huw] later 15th c. Works by Ifan (Ieuan) ap y Gof (fl. 1480?) Works by Dafydd Athro (= Dafydd ap y Gof) (fl. 1480?) Works by Y Llwyteg (fl. 1480?) Caniad mawr i Lef Gw^r Grythor (musician cited by Dafydd ab Edmwnd, d. 1497) Caniad bach i’r Pasant (musician cited by Dafydd ab Edmwnd, d. 1497) Caniad marwnad Siôn Eos (musician cited by Dafydd ab Edmwnd, d. 1497) [Cwlwm] marwnad Y Llwyteg Caniad marwnad Ifan ap y Gof Cwlwm marwnad Dafydd Athro c.1500 Cwlwm marwnad Lewys ab Ifan ap y Gof Caniad marwnad Llywelyn ab Ifan ap y Gof (‘o waith Llywelyn’)

aPossibly the poet Gruffudd Llwyd ap Dafydd ab Einion Lygliw of Llangadfan, Montgomeryshire (fl. c.1380–c.1420). See The New Companion to the Literature of Wales, ed. Meic Stephens (Cardiff, 1998), 285; Rhiannon Evans, Gwaith Gruffudd Llwyd a’r Llygliwiaid Eraill (Aberystwyth, 2000), 75–89, though neither of these discussions refers to cerdd dant as an aspect of the poet Gruffudd Llwyd’s activity. Alternatively, Sir Gruffudd Llwyd could refer to the important historical figure of the early fourteenth century, or to a priest of that name.

55 ‘Bu’n dwyn dan bob wein dant/Bysedd llef gwr neu basant’ in ‘Marwnad Siôn Eos’ (see n. 44). ISSUES IN DATING THE REPERTORY OF CERDD DANT 337 Table 7 offers a speculative chronology for some of the key pieces named in the inven- tories. The ceinciau at the head of the list, associated with the two fourteenth-century poets, were probably no more than short tunes. It is not unreasonable to speculate that the lament for Dafydd ap Gwilym came soon after his death sometime after 1350, while the caniad crych honouring his contemporary Hildir is perhaps of similar date. Items associated with Hildir’s son Adda must be from the following generation, perhaps around 1380, with the Caniad Brenin Lawgoch conceived around the time when Owain Lawgoch’s assassination in 1378 was still topical. The lament on Ieuan, Hildir’s grandson, would take us into the early fifteenth century, together with the lament on Rhys ap Tewdwr by Gronw Bach o Gefn y Rhos, if he is indeed synonymous with ‘Gron Telynnior’ of Llifon, listed in the Anglesey Submissions of 1406. Cynwrig Bencerdd, known to have been at Carmarthen in the early 1450s, is placed in mid-century, while Lewys Glyn Cothi’s references to Y Brido suggest that he flourished at a similar period. Those named by Dafydd ab Edmwnd (Llef Gw^r Grythor and Y Basant) may have been contempo- raries of Siôn Eos, who, as noticed already, was hanged in the second half of the fif- teenth century. Dafydd Athro, if he was indeed the Anglesey man witnessing deeds in the 1480s, would, with his brother Ifan, be roughly contemporary with Y Llwyteg, given that the latter was grandfather of Edward Sirc, who was at Caerwys in 1523. All three could therefore have been active right up to the last years of the fifteenth century. The laments on these three musicians apparently close the repertory, followed only by the lament on Ifan’s son Llywelyn. One source attributes this marwnad to another, uniden- tified, Llywelyn, perhaps one of very few composer-musicians active after 1500. On the whole, it seems that most of the items within the cerdd dant repertory played during the sixteenth and early seventeenth centuries were produced by relatively anony- mous musicians during the fifteenth century, and especially after 1450. A much small- er number of items listed probably date from the fourteenth century, but there is no evidence that any of the music recorded in the sixteenth-century lists or in Robert ap Huw’s early seventeenth-century manuscript predates this. This is not to deny that cer- tain features of cerdd dant may have derived from much earlier practice: the account of the formation of the twenty-four measures in Ireland around 1100 cannot easily be dis- missed as entire fabrication. But it is clear that there are some important distinctions between the main phases of creativity within cerdd dafod and cerdd dant. The extant antecedents of cerdd dafod extend way back before the age of Dafydd ap Gwilym, at least to the poetry of the gogynfeirdd, while the strict-metre cywydd flourished consistently until the1520s, and even well after, albeit at a reduced level of excellence. By contrast, the main compositional phase of cerdd dant – or at least cerdd dant as it was perceived and recorded in the sixteenth and early seventeenth centuries – occupies a far narrower chronological span. This seems to have been an art which crystallized into a distinctive style only in the mid-fourteenth century, perhaps in partnership with the cywydd, with the most crucial period of creativity occurring much later, in the last half – or even the last quarter – of the fifteenth century. By 1500 composition had all but ceased: it had become exclusively the preserve of master performers and teachers, ending with the generation of Robert ap Huw in the first half of the seventeenth century. 338 SALLY HARPER Appendix 1: Musical Tributes to the Musicians of Cerdd Dant

Ancws Y Caniad mawr i Ancws Grythor [Gwysaney 28, fo. 67r]

Cadwgan C[aniad] bach i Gadwgan [Panton 56, p. 80] Y caniad mawr i Gadwgan [Gwysaney 28, fo. 72r]

Cynwrig Bencerdd Caniad marwnad Cynwrig Bencerdd (o waith Rhys B[wtling]) [Panton 56, pp. 55, 62]

Dafydd Athro (= Dafydd ap y Gof) Cwlwm marwnad Dafydd Athro (?=Marwnad Dafydd ap y Gof) [Panton 56, p. 61]

Gronw ap Seisyllt Caniad bach i Ronw ap Seisyllt [Gwysaney 28, fo. 71v] Caniad mawr i Ronw ap Seisyllt [Gwysaney 28, fo. 71v] Y trydydd caniad i Ronw ap Seisyllt [Gwysaney 28, fo. 71v] C[aniad] M[arwnad] i Ronw ap Seisyllt [Panton 56, p. 71]

Gruffudd Grythor Marwnad Gruffudd Grythor [Gwysaney 28, fo. 68r]

Gwrnerth Y caniad mawr i Wrnerth [Gwysaney 28, fo. 67r] Y golofn ddu i Wrnerth [Cardiff MS 43, p. 7] Y cwlwm mawr i Wrnerth [Gwysaney 28, fo. 62] Alban mawr i Wrnerth [Cardiff MS 43, p. 8]

Gwyn ap y Gof Caniad Gwyn ap y Gof [Gwysaney 28, fo. 72r] Y caniad mawr i Wyn ap y Gof [Gwysaney 28, fo. 72r] Cwlwm bach y [= i?] Wyn ap y Gof [Peniarth 62, p. 1] Caniad marwnad Gwyn ap y Gof [Panton 56, p. 68] ISSUES IN DATING THE REPERTORY OF CERDD DANT 339 Hildir Caniad crych i Hildir [Gwysaney 28, fo. 72v]

Ifan [Ieuan] ap y Gof Y caniad bach i Ifan ap y Gof [Gwysaney 28, fo. 71v] Caniad marwnad Ifan ap y Gof (o waith Dafydd Athro) [listed in Panton 56, p. 55]

Ieuan ab Adda ap Hildir C[aniad] mar[wnad] Ieuan ab Adda ap Hildir [Gwysaney 28, fos. 67v, 71r]

Llywelyn ab Ieuan [Ifan] ap y Gof Caniad marwnad Llywelyn ab Ifan ap y Gof [various sources] Cwlwm marwnad Lewys ab Ieuan ap y Gof [Panton 56, p. 59]

Rhydderch Caniad marwnad Rhydderch [listed by Robert ap Huw, p. 106; Panton 56, pp. 55, 62, 78, 79]

Siôn Eos Caniad marwnad Siôn Eos [listed by Robert ap Huw, p. 106; Panton 56, pp. 55, 62]

Yr Athrawon Marwnad yr athrawon [Panton 56, pp. 55, 64, 75, 78]

Yr Athro o Fedd Marwnad yr athro o fedd [listed by Robert ap Huw, p. 103]

Yr Athro Nant Barnad Athro nant [Gwysaney 28, fo. 66r]

Y Llwyteg Marwnad y Llwyteg [several sources] 340 SALLY HARPER Y Pasant (Y Basant) Caniad bach i’r Pasant [Gwysaney 28, fo. 67rv] Y caniad mawr i’r Pasant [Gwysaney 28, fo. 67r] Anhreg y Pasant [Gwysaney 28, fo. 66r]