A word or two about these famous Welsh writers: Huw Morus (Hugh Morris) was the leading Welsh poet of the seventeenth century and a staunch Royalist, who during the Civil War proved himself the equal if not the superior of Samuel Butler as a writer of anti-Republican satire. He was also an amatory lyrist, but closed his career as the writer of some fine religious verses, notably this "Death-Bed Confession." Elis Win (Ellis Wynne) was not only an excellent writer of verse but one of the masters of Welsh prose. His "Vision of the Sleeping Bard" is, indeed, one of the most beautifully written works in the Welsh language. Though in many respects indebted to "Quevedo's Visions," the matter of Elis Win's book is distinctly original, and most poetically expressed, though he is none the less able to expose and scourge the immoralities of his age.
The Vicar Pritchard, otherwise the Rev. Rhys Pritchard, was the author of the famous "Welshmen's Candle," "Cannwyll y Cymry," written in the free metres, first published in 1646--completed in 1672. This consisted of a series of moral verses in the metres of the old folk-songs (Penillion Telyn) and remained dear to the hearts of the Welsh people for two centuries. Next may be mentioned Goronwy Owen, educated by the poet Lewis Morris, grandfather of the author of "Songs of Two Worlds" and "The Epic of Hades." As the Rev. Elvet Lewis writes of him: "Here at once we meet the true artist lost in his art. His humour is as playful as if the hand of a stern fate had never struck him on the face. His muse can laugh and make others laugh, or it can weep and make others weep." A specimen is given of one of his best known poems, "An Ode on the Day of Judgment," reproducing, as far as my powers have permitted, its final and internal rhymes and other metrical effects.
We now reach the most individual of the modern Welsh religious and philosophical poets, Islwyn (William Thomas), who took his Bardic title from the hill of Islwyn in his native Monmouthshire. He was greatly influenced by the poetry of Wordsworth, but was in no sense an imitator. Yet whilst, in the words of one of the Triads, he possessed the three things essential to poetic genius, "an eye to see nature, a heart to feel nature: and courage that dares follow nature"--he steadfastly refused to regard poetry as an art and, by declining to use the pruning-knife, allowed the finest fruits of his poetic talents to lie buried beneath immense accumulations of weedy and inferior growth. Yet what his powers were may not be ill judged of, even in translation, by the passage from his blank verse poem, "The Storm," entitled "Behind the Veil," to be found on p. 94.