Book of Taliesin


The Book of Taliesin is one of the most famous of Middle Welsh manuscripts, dating from the first half of the 14th century though many of the fifty-six poems it preserves are taken to originate in the 10th century or before.
The volume contains some of the oldest poems in Welsh, possibly but not certainly dating back to the sixth century and to a real poet called Taliesin.

Date and provenance of the manuscript

The manuscript, known as Peniarth MS 2 and kept at the National Library of Wales, is incomplete, having lost a number of its original leaves including the first. It was named Llyfr Taliessin in the seventeenth century by Edward Lhuyd and hence is known in English as "The Book of Taliesin". The palaeographer John Gwenogvryn Evans dated the Book of Taliesin to around 1275, but Daniel Huws dated it to the first quarter of the fourteenth century, and the fourteenth-century dating is generally accepted.
The Book of Taliesin was one of the collection of manuscripts amassed at the mansion of Hengwrt, near Dolgellau, Gwynedd, by the Welsh antiquary Robert Vaughan ; the collection was eventually donated by Sir John Williams in 1907 to the newly established National Library of Wales as the Peniarth or Hengwrt-Peniarth Manuscripts.
It appears that some "marks", presumably awarded for poems, measuring their "value", are extant in the margin of the Book of Taliesin.

Contents by topic

Titles adapted from Skene.

Praise poems to Urien Rheged

  • XXXI "Gwaeith Gwen ystrad"
  • XXXII Urien Yrechwydd
  • XXXIII Eg gorffowys
  • XXXIV Bei Lleas Vryan
  • XXXV "Gweith Argoet Llwyfein"
  • XXXVI Arddwyre Reged
  • XXXVII "Yspeil Taliesin"
  • XXXIX "Dadolwch Vryen"

Other praise-songs

  • XII "Glaswawt Taliesin"
  • XIV "Kerd Veib am Llyr"
  • XV "Kadeir Teyrnon"
  • XVIII Kychwedyl am dodyw
  • XIX "Kanu y Med"
  • XX "Kanu y Cwrwf"
  • XXI "Etmic Dinbych"
  • XXIII "Trawsganu Kynon"
  • XXV Torrit anuyndawl
  • XXXVIII ''Rhagoriaeth Gwallawc''

Elegies

  • XL "Marwnat Erof"
  • XLI "Marwnat Madawg"
  • XLII "Marwnat Corroi ap Dayry"
  • XLIII "Marwnat Dylan eil Ton"
  • XLIV "Marwnat Owain ap Vryen"
  • XLV "Marwnat Aeddon"
  • XLVI "Marwnat Cunedda"
  • XLVIII "Marwnat Vthyr Pen"

Hymns and Christian verse

  • II Marwnat y Vil Veib
  • V Deus Duw
  • XXII "Plaeu yr Reifft"
  • XXIV Lath Moessen
  • XXVI Y gofiessvys byt
  • XXVII Ar clawr eluyd
  • XXVIII Ryfedaf na chiawr
  • XXIX Ad duw meidat
  • LI ''Trindawt tragywyd''

Prophetic

  • VI "Armes Prydein Vawr"
  • X "Daronwy"
  • XLVII "Armes Prydein Bychan"
  • XLIX Kein gyfedwch
  • LII "Gwawt Lud y Mawr"
  • LIII Yn wir dymbi romani kar
  • LIV "Ymarwar Llud Bychan"
  • LVII Darogan Katwal

Philosophic and gnomic

  • I "Priv Cyfarch"
  • III "Buarch Beird"
  • IV "Aduvyneu Taliesin"
  • VII "Angar Kyfyndawt"
  • VIII "Kat Godeu"
  • XI "Cadau Gwallawc"
  • IX "Mab Gyrfeu Taliesin"
  • XIII "Kadeir Taliesin"
  • XVI "Kadeir Kerrituen"
  • XVII "Kanu Ygwynt"
  • XXX "Preiddeu Annwfn"
  • LV "Kanu y Byt Mawr"
  • LVI "Kanu y Byt Bychan"

Date and provenance of contents

Many of the poems have been dated to the twelfth and thirteenth centuries and are likely to be the work of poets adopting the Taliesin persona for the purposes of writing about awen, characterised by material such as:
A few are attributed internally to other poets. A full discussion of the provenance of each poem is included in the definitive editions of the book's contents poems by Marged Haycock.

''Canu Taliesin''

The scholar Amy Mulligan states that only twelve of the poems, called the Canu Taliesin, mainly in praise of Urien, sixth century ruler of Rheged, "are accepted as canonical poems by a historical Taliesin". Ifor Williams similarly describes the Canu Taliesin as credibly being the work of Taliesin, or at least 'to be contemporary with Cynan Garwyn, Urien, his son Owain, and Gwallawg', possibly historical kings who respectively ruled Powys; Rheged, which was centred in the region of the Solway Firth on the borders of present-day England and Scotland and stretched east to Catraeth and west to Galloway; and Elmet. These are :
Poems 2, 3, 4, 5, 6, 8, and 9 close with the same words, suggesting common authorship, while 4 and 8 contain internal attributions to Taliesin. The closing tag runs
The precise dating of these poems remains uncertain. Re-examining the linguistic evidence for their early date, Patrick Sims-Williams concluded in 2016 that
evaluating the supposed proofs that poems in the Books of Aneirin and Taliesin cannot go back to the sixth century, we have found them either to be incorrect or to apply to only a very few lines or stanzas that may be explained as additions. It seems impossible to prove, however, that any poem must go back to the sixth century linguistically and cannot be a century or more later.

Scholarly English translations of all these are available in Poems from the book of Taliesin and the modern anthology The Triumph Tree.

Later Old Welsh poems

Among probably less archaic but still early texts, the manuscript also preserves a few hymns, a small collection of elegies to famous men such as Cunedda and Dylan Eil Ton and also famous enigmatic poems such as The Battle of Trees, The Spoils of Annwfn, and the tenth-century prophetic poem Armes Prydein Vawr. Several of these contain internal claims to be the work of Taliesin, but cannot be associated with the putative historical figure.
Many poems in the collection allude to Christian and Latin texts as well as native British tradition, and the book contains the earliest mention in any Western post-classical vernacular literature of the feats of Hercules and Alexander the Great.

Scholarship and academic commentary

Taliesin as shaman and shape-shifter

The introduction to Gwyneth Lewis and Rowan Williams's translation of The Book of Taliesin suggests that later Welsh writers came to see Taliesin as a sort of shamanic figure. The poetry ascribed to him in this collection shows how he can not only channel other entities himself in these poems, but that the authors of these poems can in turn channel Taliesin as they both create and perform the poems that they ascribe to Taliesin's persona. This creates a collectivist, rather than individualistic, sense of identity; no human is simply one human, humans are part of nature, and all things in the cosmos can ultimately be seen to be connected through the creative spirit of the Awen.

Editions and translations

Facsimiles

Editions and translations

  • Evans, J. Gwenogvryn, The Poems of Taliesin, ed. by Ifor Williams, trans. by J. E. Caerwyn Williams, Medieval and Modern Welsh Series, 3
  • , from the nineteenth-century translation by W.F. Skene