THE STONES AND THE CHAIR - A HISTORY OF THE GORSEDD OF BARDS
by Kristoffer Hughes
The history and complexities of the Gorsedd of Bards of the Isle of Britain as an initiatory tradition is little understood outside the confines of Wales. Yet surprisingly it originated and first came to light in the City of London, a world apart from the gentle hills and valleys of Wales. The Gorsedd remains a mystery to those outside its ranks; the chosen few rarely speak or offer explanations as to the status and purpose of the Gorsedd, except in retaliation.
The Gorsedd frequently comes under attack from the outside world, a world which fails to see the truths behind the structure of this rather complicated organisation. An organisation so closely linked to the National Eisteddfod of Wales, that they seem to be the one and same thing, their borders melting into the other, yet they are not. What is the mystery behind the Gorsedd and its blue, green and white clad druids? What relation do these druids have to the neo-druids of the pagan world?
This article cannot hope to explore the complete history hidden within the Bardic movement of Wales and its association with the Gorsedd and the National Eisteddfod of Wales, there is simply too much information. The intention of this article is to provide a short reference to the history and development of both the Gorsedd and the Eisteddfod and their relation to modern Pagan Druidry. For further study please see the reference list provided at the end of this article.
To understand the Gorsedd of Bards we must travel back into the distant past and explore the Welsh cultural festival of the “Eisteddfod”.
THE EISTEDDFOD
Eisteddfod, the word is derived from the Welsh “Eistedd” meaning to sit, literally it is translated as “a sitting”, referring primarily to a sitting of bards and minstrels, and is also a reference to the elaborate hand carved chair which is awarded to the best bard of the festival. The Eisteddfod is the largest and oldest celebration of Welsh language and culture, an annual festival of music and poetry, literature and the arts. Its rituals are elaborate, colourful and moving, and seemingly, on the surface, pagan in nature and expression. The rituals are under the control of the Gorsedd of bards and it’s Archdruid. However the Gorsedd is a modern addition to the older Eisteddfod movement.
The history of the Eisteddfod has both its roots in facts and fiction, legends and myths abound of Eisteddfodau reaching back before the birth of Christ. Obviously these claims cannot be substantiated; no evidence has ever been discovered of an Eisteddfod held in the deep past, or during the time of the ancient druids. The first reliable account of an actual Eisteddfod was held during Christmastide of the year 1176. Rhys ap Gruffydd son of Gruffydd ap Rhys ap Tewdwr, prince of Deheubarth during the moving of his court to Cardigan is said according to Brut y Tywysogion to have held a “gwledd arbennig” (a special feast) in his new castle. During the feast he ordered that the Bards and musicians of the land compete against each other, and to the best he awarded chairs, one chair for the bards and one for the musicians. The feast was declared a year and a day prior to the occasion, a tradition still upheld by the modern Eisteddfod. Apparently “ There repaired all the musicians and bards of Wales and some also from England and Scotland.”
Whilst the event was considered important enough to have been mentioned in the Brut it seems rather peculiar that Giraldus Cambrensis, who had an admiration for the unique voice of the Welsh singers and storytellers, did not mention the Eisteddfod or feast of poets in his Itinerarium cambriae. However this does not in any way reflect on evidence given in the Brut, we can only assume it to be correct and that an Eisteddfod was held that Christmas in 1176. This initiated the Eisteddfodic movement, an event that was to influence the very fabric of Welsh culture for ever. Bards and minstrels would flock to the gatherings, for both recognition of their work and to validate and uphold their influence and position within society.
The Bards and minstrels became ever more competitive and developed a greater pride for their craft, even though a number of “Y gler” (meaning itinerant bards) increased, the Eisteddfod provided the bards with national recognition and status, an institution that would protect and guard the secrets of the bards, a place of discovery, of inspiration and of learning. The Eisteddfod and its chair rapidly developed, more and more bards flocked to the annual event in the hope of winning the prised chair, winning a place in history and in the hearts of the Welsh. But the “Y gler” threatened the very fabric of the Eisteddfod and its proud Bards, something had to be done, the Eisteddfod had to be regulated.
Hopes were crushed with the loss of Wales’ independence in 1282. The traditional Princes of Wales vanished into the mists of time and the bardic organisation ceased to exist. However the bards still held a position of power and respect within society and the nobility ensured that the craft of Bardism remained, its patronage respected, and although the Eisteddfod was not to reappear for centuries, the spirit of Bardism was retained, its flame kept alight. For the next three hundred years the Bards congregated, debated and discussed the sacred art of learning, and the mysteries of the tradition passed on from one generation to another. In-fighting and strong disputes erupted along the way, threatening the very core of the Bardic tradition, which became increasingly more and more secretive, much to the disagreement of many a scholar.
Dr. Sion Dafydd Rhys an eminent physician and grammarian criticised the Bards for keeping “their art hidden without revealing it to anyone except to some disciple who will swear that he will not teach it to anyone else, or to an occasional gentleman who promises upon his honour to keep it secret.” His concern was that the glory and richness of Welsh Bardism should be available to all throughout Europe and in a language that all could understand. The bards remained unmoved, and eventually brought about a system that would protect and safeguard the craft of Bardism. This was recorded in the hand of John Jones of Gellilyfdy in the early part of the seventeenth century known as “Y tri chov”, which stated:
The office and function of the British or Cambrian Bards was to keep and preserve Tri Chov Ynys Prydain: that is, the Three Records or Memorials of Britain, otherwise called the British antiquities…for the preservation whereof, when the bards were graduating at their commencements, they were trebly awarded:
The first of the Three Cov is the history of the notable acts of the Kings and Princes of Britain and Cambria.
The second of the Three Cov is the language of the Britons, of which the Bards were to give an account of every word and syllable therein, when demanded of them, in order to preserve the ancient language and to prevent its intermixture with any foreign tongue, or the introduction of any foreign word in it, to the prejudice of their own whereby it might be corrupted or extirpated.
The Third Cov is of the pedigrees or descent of the nobility, their division of lands and the blazoning of arms.
And so finally ground rules were set, the Eisteddfod had a structure, it was a start. However it was over a hundred years before the next Eisteddfod took place, held in the town of Caerfyrddin (Carmarthen) in the year 1451, declared a year and a day previously. The Eisteddfod required royal consent and so an application made by the poet Gruffudd ap Nicolas was submitted to the monarchy in 1450, consent was given and the Eisteddfod proceeded. The Caerfyrddin Eisteddfod was a landmark in the history of the organisation and responsible for the rise of some of Wales’ most renowned bards, namely Gruffudd ap Adda, the delightfully talented and immortal Dafydd ap Gwilym and Madog Benfras.
It is unclear of the actual events which took place at the revived Eisteddfod of Caerfyrddin, but the event was documented in transcripts by Robert ab Ifan in 1587 and by John Jones of Gellilyfdy in 1636. Here descriptions of the actual prizes are given, for example a silver harp was presented to the best minstrel, a silver tongue to the best singer, and a silver chair to the best bard.
It was as a result of the Caerfyrddin Eisteddfod that the original and historic twenty four metres of Welsh Bardism were rearranged and enhanced in such a manner that would render their use virtually impossible except to the most proficient bard. This was thought to further protect the lineage and status of the bard, separating the wheat from the chaff if you like, only the best would succeed and transform into initiates of the mysteries of the craft. This had a devastating effect on the lesser, but still talented bards and minstrels, without the Eisteddfod they were nothing.
The Eisteddfodau continued, if rather sporadic, and the subsequent Eisteddfod took place at Caerwys in Denbighshire, North Wales in the year 1523, followed by Caerwys again in 1567, and then Bala in 1663 and 1680, and Machynlleth in 1701. It was during the Machynlleth Eisteddfod that a plan of action was implemented to use the Eisteddfod movement to promote and preserve the richness of the Welsh language, the use of which had rapidly deteriorated since 1451. The Eisteddfod was to be transformed into a pillar of all things Welsh, the salvation of the Welsh language and culture would become dependant on its success.
Sion Rhydderch the eminent 18th century grammarian took the bull by the horn and devised a procedural outline that should be implemented in order to promote the Eisteddfod and its purpose; it would be translated as follows:
When the assembly is gathered, in response to a summons or call, at a particular town or village, they firstly will elect twelve men who are knowledgeable in the Welsh language, in poetry and verse. If there will be judges among them, they shall set the subjects for the composition of the bards, either for an englyn unodl union or a cywydd or any of the twenty four measures, but not for a lyric or carol or some poor verse which the chief bards will not as much as acknowledge because there are no established rules attached to them. The adjudicators shall warn the competitors that they must not satire or revile, one the other, and give them time to compose an englyn or cywydd as would seem appropriate. The names of competitors are taken so that each may be called by name and in the right order to the chair to recite his poem. And those who do not win the chair must concede defeat on paper and deliver it to the chief bard or to the chaired bard, and they must drink to the health of the chief bard and place six pence in the cup for him.
For the first time the Eisteddfod had a rough guideline of which it had to adhere to, but this neither encouraged the bards or prevented turbulence and bitter rivalry to spoil the ranks. What the Eisteddfod needed was an authority, a leader, and in 1819 it arrived, in the middle of the proceedings at the Caerfyrddin Eisteddfod, it appeared in the guise of Edward Williams, later to rise to infamy as Iolo Morgannwg.
THE RISE OF THE GORSEDD
The amalgamation of the established Gorsedd of Bards (1792) and the Eisteddfod took place at the Caerfyrddin Eisteddfod. Iolo Morgannwg apparently descended upon the festival and with a handful of pebbles proceeded to mark out the great circle of the bards, and with ritual and gesture initiated and invested bards and artists into the secrets of the Gorsedd. Of course those he invested were quite aware of his work, especially his book Cyfrinach Beirdd ynys Prydain (The secret of the bards of the isle of Britain), and were more than honoured to become members of the so called ancient Gorsedd! This event consequently developed into the merging of both the Gorsedd and the Eisteddfod, just what the Eisteddfod needed, and Iolo milked it for all its worth! For the first time in history invested bards would appear at the Eisteddfod, and they have been present ever since. Iolo’s invention complimented the pompousness and drama of the Eisteddfod, adding credibility to the lineage of bards and the apostolic succession of Iolo’s imagined ancient druidic wisdom.
Iolo invented a past onto which he could safeguard the future of the Welsh language, culture and the sacred craft of Bardism. He convinced the most eminent figures of Welsh society that an unbroken lineage to the ancient Druidic wisdom of the British Isles was alive and well in him. Iolo was a genius, an imaginer and fabricator of the truth but none the less a genius. Born in the parish of Llancarfan in 1747, he led a peculiar life, fraught with ill health and visions of laudanum. Primarily educated at home, he learnt Welsh in his teens and through various associates developed a great love for Welsh literature, prose and poetry and their preservation.
He was undoubtedly an exaggerator of the truth, a fabricator and forger, but his
abilities as a bard have never been subjected to ridicule or insult, he was pure genius and
inspirational figure that did more for Welsh culture than anyone else in history. Dillwyn Miles in
his book “The secret of the bards of the Isle of Britain” Gwasg Dinefwr 1992, offers this
description of Iolo:
“The Iolo the world knew was an irritable, case hardened romancer, an inveterate fabulist, a
drug addict, a hypochondriac, a mythomaniac who imagined, invented, fabricated, forged, contrived at
will to fit the occasion. Yet, he was not only the finest scholar of his time in Welsh history and
Welsh literature, but also extremely knowledgeable in other fields, including music, geology,
agriculture, horticulture, botany, theology, political theory, architecture and industrial
development, in addition to his craft as a stonemason”
After successfully enrolling numerous bards and eminent figures, especially from the Gwyneddogion Society of Bards, he proceeded to open the first ritual of the Gorsedd of Bards, upon Primrose Hill in the city of London in 1792. The Gorsedd was proclaimed and open, and would eventually bring calm and order to the chaos of the Eisteddfod. It is more than likely that he designated Primrose Hill as the location of the first Gorsedd owing to its use in 1717 by the Ancient Druid Order.
The ritual on Primrose Hill began with the laying of the twelve stones of the Great Circle, with a central stone known as the “Maen Llog” (altar stone). The Goddess of liberty was hailed and honoured, and Iolo called for an end to slavery. Upon the Maen Llog a naked sword was placed which was later sheathed by the bards. Although the rituals seem rather pagan on the surface, Iolo was in fact a devout Monotheist and active member of the Unitarian Church, yet, some of his ritualistic ideas and their obvious pagan attributions, suggest that not all his works were fiction, some were possibly from antiquity.
What we now refer to as the symbol for Awen: /|\ is an invention or at least condemned as an invention of Iolo, he propounded that “God created the world by the melodious utterance of his holy name, and that the form and figure of that name was /|\, being the rays of the rising sun at equinoxes and solstices conveying into focus the eye of light”. (Poems, Lyrics and Pastoral, Edward Williams, Welsh MSS Society. This symbol was known as the “Nod Cyfrin” (Mystical Mark) and is represented within the Great Circle of the Gorsedd, which continue to be erected in the same precise manner today. The “Maen Y Gyfamod” (Covenant Stone) stands a few feet outside the actual circle, marking as it does the eastern cardinal point, within the main circle and to the left and right of the “Maen Y Gyfamod” lie the portal stones. The North stone faces sunrise on the longest day, the South stone faces sunrise on the shortest day. This alignment in relation to the position of the “Maen Llog” mark out the three rays of the “Nod Cyfrin”, bestowing the circle with the voice of God and the vibration of his Holy name.
Gorsedd ceremonies were, according to Iolo’s alleged ancient tradition to be held at specific times of the year, namely the four solar festivals to which he attributed the title “Alban” signifying “high point of the year”. These were Alban Eilir (Spring Equinox), Alban Hefin (Summer Solstice), Alban Elfed (Autumn Equinox) and Alban Arthan (Winter Solstice). A sacred plant was attributed to correspond with each “Alban”, clover for Eilir, the blessed oak for Hefin, ears of corn for Elfed and finally the sacred mistletoe for Arthan.
There was now a ritual format for both honouring and glorifying the bards, however false these claims were, they were accepted, and soon became a vital component of Bardism in Wales. Iolo’s definition of a bard was one who had studied under an initiate of the Gorsedd until he became adequately conversant with rules and “…knew the mystery and the privilege and custom of the bards of the Isle of Britain, and also had knowledge of the three memorials and the three symbols of the bards of the Isle of Britain.” (Cyfrinach Beirdd Ynys Prydain, Edward Williams, Welsh MSS Society). Iolo basked in the glory of the newly created bardic organisation, and not until after his death was it to be revealed that the entire Gorsedd mythos and structure was pure imagination!
Ever since 1819 the National Eisteddfod of Wales and the Gorsedd of bards have become inseparable. Iolo Morgannwg’s vivid imagination would forever influence the structure and ritual of the Eisteddfod and its druids, he was however not to live to see it in its full glory.
Slowly but surely over the next few decades the works of Iolo Morgannwg became forever entwined with the Eisteddfod and its new found Gorsedd bards. In 1855 during a Gorsedd ceremony at Dinas Mawddwy Ab Ithel the rector of Llan-ym-mawddwy recited the following prayer:
Dyro, Dduw, dy nawdd;
Ac yn nawdd, nerth;
Ac yn nerth, deall;
Ac yn neall, gwybod;
Ac yng ngwybod, gwybod y cyfiawn;
Ac yng ngwybod y cyfiawn, ei garu;
Ac o garu, caru pob hanfod;
Ac ym mhob hanfod, caru duw;
Duw a phob daioni.Translation:
Grant, O God, thy protection;
And in protection, strength;
And in strength, wisdom;
And in wisdom, knowledge;
And in knowledge, knowledge of righteousness;
And in the knowledge of righteousness, it’s loving;
And in its loving, the love of all existence;
And in loving all existence, the love of God;
God and all goodness.
This prayer was attributed to the hand of the mythical Talhaearn Tad Tanwyn, it has since been adopted as the official Gorsedd prayer, used by both Christian and Pagan alike. Ab Ithel was responsible for the development of the work entitled “Barddas”, after receiving permission to examine Iolo’s personal papers. The extraction of materials evolved into that most famous of books. Iolo was never to see it published.
Over the coming decades, the Gorsedd of Bards was to become responsible for the complete running and administration of the Eisteddfod. In 1861 a decision was made that the festival would be held each year during the summer, and would alternate between North and South Wales as it does to this day. But this aroused disagreements and tension within the Eisteddfod and Gorsedd, and again frictions erupted into insubordination. In 1683, disgruntled by the decision that year to hold the Eisteddfod in Swansea, the North Wales bards set out to hold their own “Chair Eisteddfod” in Rhyl complete with Gorsedd ceremony and proclamation. Also in 1683 a rival Gorsedd was created by the bard Gwilym Cowlyd, called the “Taliesin Gorsedd” on the shores of Lake Geirionydd. The lake was believed to have been the location where Cerridwen gave birth to the bard Taliesin. The Gorsedd was not to prosper and eventually died with Cowlyd in 1904.
Contrary to popular belief the rank of “Druid” was not introduced into the Gorsedd system until 1876, Iolo Morgannwg only ever referred to himself as the “Bardd Gweinyddol” (Executive bard). It is believed that the role of Druids within the Gorsedd was inspired by the Druidical Society of Anglesey which formed in 1772, a charitable agricultural society, whose members eventually were to become bards of the Gorsedd. Ultimately, due to the influence of gentlemen members of other societies including the Ancient Druid Order, and their use of rank and club regalia during Gorsedd ceremonies, druids were officially introduced into the Gorsedd and subsequently the Eisteddfod.
In 1890 a constitution for the National Eisteddfod Association was formally adopted in Bangor, North Wales. This Association clearly defined the role of the Gorsedd and their position within the Eisteddfod, Gorsedd members would automatically be members of the association, and that all ceremonial responsibilities would be in the hands of the Gorsedd. Financial and organisational responsibilities would be handled by the association.
The Gorsedd implemented examinations during the latter part of the 19th century, examination that would test the skills of grammar, language, poetry, rhetoric and cultural knowledge of those seeking admittance into the ranks of the Gorsedd. Inspired by the ranks of Bard, Ovate and Druid as written in the old world, the Gorsedd set about examining and investing potential candidates into these ranks, but with a slight difference. The Ovate is the first rank, followed by Bard and finally by Druid. The title of Druid is an honorary title and normally only given to a minister of religion. The title of Ovate is given to those examined within the craft of music and the arts. The Bards are examined into the Gorsedd through their skill and knowledge of the Welsh language and the use of verse and metering.
Robes were first worn at the Caernarfon Eisteddfod in 1894, the Druids wear white, with the Archdruid ornately wearing additional decoration based upon the famous painting “An Archdruid in his judicial habit” by Samuel Rush Meyrick and Charles Hamilton Smith. The Archdruid wears a crown of solid gold oak leaves, bearing the symbol of the Gorsedd: /|\. The colour white embodies the uncompromising and unsullied truth of all their work, in accordance with their motto “Y gwir yn erbyn y byd” (The truth against the world).
The Bards wear blue to signify the blue of a summer’s sky, and as an indication of tranquillity and peace, and that all things visible are seen best in that light. The Vote’s green robes signify the initiate’s growth and increase in learning.
The ceremonies of the Eisteddfod as led by the Gorsedd are beautiful and touching, and somehow portray an antiquity to the organisation and its function, however illusionary that antiquity is, it is none the less deeply inspiring and promotes and protects the Welsh language and its use and celebration.
There are three main awarding ceremonies conducted by the Gorsedd during the week long festivities of the Eisteddfod, these are the Crowning of the barb, awarded to the best judges poet in free meter. The awarding of the prose medal for the winner of the prose competition. And finally the chairing of the bard, for the best long poem. To any pagan watching the proceedings it is as pagan as it can be! During the opening ceremony, the Archdruid brandishes a sword and partially removes it from its sheath, he asks the audience “A oes Heddwch!!” (Is there peace), to which the audience replies “Heddwch” (Peace). The horn of plenty is then presented to the Archdruid by a young maiden, who urges him to drink the wine of welcome. Another female presents the Archdruid with a large basket bearing the produce from the four corners of Wales, a typical earth Goddess figure.
During the chairing and crowning of the bard, the identity of the bard is stripped from him/her and as he is robed in his winning gown he/she is renamed utilising their bardic name, a typical death and rebirth ceremony ensues.
In actuality druids have only graced the National Eisteddfod and the Gorsedd in their present form only for the past 100 or so years. Prior to that, as has been explored the Eisteddfod was plagued by tension, arguments, disagreements and bitterness; it took almost two centuries for it to develop a cohesion that would allow its continuance. Furthermore it is interesting to note that in the modern neo-pagan movement, so much is borrowed from the National Eisteddfod and Gorsedd without the realisation of its conception and usage within the Welsh culture. Modern Druidry has indeed been inspired by the Gorsedd and its involvement with the Eisteddfod, a subject that would need further exploration in its own right.
The Eisteddfod and the Gorsedd is not Pagan, nor do they practise any form of Paganism, the display of druidic splendour is merely tradition, as inspired by the great Iolo Morgannwg. It is very much a Christian organisation. But more so it is a celebration of the Welsh language and culture, it brings the Welsh together in a celebration of tribe, land and culture, not too dissimilar from the pagan world view. That the National Eisteddfod has unknowingly inspired the modern neo-druid movement is ironic; they are neither aware nor appreciative of its influence the world over.
There are Gorsedd’s of Bards in Brittany, Cornwall and America; all are under the direct governance and supreme authority of the Welsh Gorsedd.
THE GORSEDD TODAY
Today the Gorsedd is stronger than it has ever been, but has increasingly come under attack from the world’s media and pagan organisations, owing mostly to ignorance by all parties involved, the Gorsedd in particular. For some unknown reason the Gorsedd has never been forthcoming of its purpose or practices and very little promotion of the Gorsedd is expressed outside the boundaries of the Welsh speaking communities. Since the beginning of its history it has offered honorary status to eminent figures of British society including royalty, the Prince of Wales was accepted as a member of the Gorsedd as was Queen Elizabeth the second who was initiated under the name of “Elisabeth o Windsor”. In 2002 the archbishop of Canterbury, Dr. Rowan Williams was given honorary druid status and initiated into the Gorsedd, much to the amusement of the press, who condemned him of associating with Pagan practices, he obviously is not.
Recently the Gorsedd, in particular its Archdruid Dr. Robyn Lewis has become the subject of anger and ridicule, in particular when speaking on a BBC Radio Wales programme he demanded that Stonehenge be returned to Wales where it belonged! Displaying his obvious ignorance of archaeology and history. Further more he attacked the so called “Incomers” to Wales who he claims are destroying our culture and language. He also instigated the proposal that portable plastic stones be created for the Bardic stone circle which can be moved from one location to another. Recently he has been attacked for his response to the city of Liverpool’s bid to host the 2007 Eisteddfod, bearing in mind that the Eisteddfod has made several visits to Merseyside. His claim was based on the fact that a North Wales village was drowned by Liverpool authorities to provide a reservoir for the people of that city.
In recent years the Eisteddfod has been plagued by financial difficulties, with debts of nearly half a million pounds. It has also, rightly, been accused of excluding any non Welsh speakers, making those who visit feel intimidated and unwelcome. The Archdruid has admitted that a radical change needs to occur within the organisation to safeguard its future. Allegedly it will make itself more accessible to non Welsh speakers and adopt a more welcoming approach. If the Eisteddfod take this approach and the event promoted throughout the world as a British cultural event with emphasis on the Welsh language, its success and financial stability might be safeguarded. The first stirrings of these new changes should be apparent at the next National Eisteddfod held at the Faenol Estate, Bangor North Wales this summer (2005).
As a Welshman, I am proud of the Eisteddfod and enjoy its pompousness and display of patriarchy and cultural identity, it is a week just for the welsh to celebrate all that is Welsh, but this should not be to the exclusion of others who wish to experience the event. We have all accepted that Iolo’s invention was part imagined, part inspired and part forged, but his creation is both beautiful and honorary, it honours our ancestors and that link we have to the past, and each year we celebrate this and express the spirit of Awen through song, music, and poetry.
As modern pagan druids we cannot deny the inspiration of the Eisteddfod and the Gorsedd upon our own tradition, and today, Eisteddfodau are held throughout the world in druid camps and meetings, all inspired by Iolo and his feats of imagination and Awen, we shouldn’t isolate or distance ourselves from the Gorsedd of Bards of the Isle of Britain, but reach out to them and honour them for their contribution to our way of life, for their inspiration. They may not understand our way, our path, and we may not truly understand theirs, but we cannot remain in the shadows with swords locked, knives at each others throats. I am convinced that a mutually beneficial relationship could be established between pagan druids and the druids of the Gorsedd, ok, they have condemned us as being “Pot smoking hippies who hang around Stonehenge” (Robin Lewis, Radio Wales), but should we hold that ignorance against them? Ignorance is not a virtue to either Pagan or Christian.
The Gorsedd’s complicated yet colourful history is an inspiration that we cannot deny, it has infiltrated our philosophies and belief systems, it is a part of us, whether we are Welsh speakers or not. If you live in Wales, learn the language, be a part of it, move with it and allow your song to meld with its song, in harmony, understanding and acceptance. And the next time you call on peace in your rituals, remember where it came from! So, let’s hope I will be seeing some of you at Bangor this summer, if you plan on coming, let me know, maybe one day amongst the numerous stalls of the Eisteddfod field, there may just be a pagan druid stall!! We can make it happen.
Kristoffer Hughes,
Welsh Co-ordinator, TDN,
Head, Anglesey Druidic Order/Urdd Derwyddig Môn.
cymru [at] druidnetwork [dot] org
Iolo Morganwg: G.J.Williams, Cardiff University of Wales Press, 1956
Iolo Morganwg: Prys Morgan, Cardiff University of Wales Press, 1975
Math o wallgofrwydd Iolo Morganwg, opiwm a Thomas Chatteron: Geraint Phillips, Cylchgrawn Llyfrgell Genedlaethol Cymru 29 (1996) 311-410
The Secrets of The Bards of the Isle of Brtain: Dilwyn Miles, Gwasg Dinefwr, 1992
Cyfrinach Beirdd Ynys Prydain: Edward Williams, Welsh MSS Society, 1829
Iolo MSS, Edward Williams, Welsh MSS Society 1888