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Ellis Wynne, 1671-1734, was a rector, poet, translator and royalist, but he's primarily known as the author of Gweledigaethau y Bardd Cwsg which was first published in London in 1703. The Sleeping Bard is led through three visions following the path of sinners on their way to hell. Filled with imagination, originality and satire, Wynne's visions are written in the natural and idiomatic language of Meirionnydd at the turn of the 18th century. This volume contains three books, as well as Gweledigaethau y Bardd Cwsg edited by D. Silvan Evans there are two English translations, The Visions of the Sleeping Bard by Gwyneddon Davies and The Sleeping Bard by George Borrow.
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ELLIS WYNNE was born in 1671 at Glasynys, nearHarlech; his father, Edward Wynne, came of the familyof Glyn Cywarch (mentioned in the second Vision), hismother, whose name is not known, was heiress ofGlasynys. It will be seen from the accompanying tablethat he was descended from some of the best families inhis native county, and through Osborn Wyddel, from theDesmonds of Ireland. His birth-place, which still stands, and is shown in the frontispiece hereto, is situate abouta mile and a half from the town of Harlech, in thebeautiful Vale of Ardudwy
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
The Bardd Cwsc is not only the most popular of Welsh prose works, but it has also retained its place among the best of our classics. No better model exists of the pure idiomatic Welsh of the last century, before writers became influenced by English style and method. Vigorous, fluent, crisp, and clear, it shows how well our language is adapted to description and narration. It is written for the people, and in the picturesque and poetic strain which is always certain to fascinate the Celtic mind. The introduction to each Vision is evidently written with elaborate care, and exquisitely polished-"ne quid possit per leve morari," and scene follows scene, painted in words which present them most vividly before one's eyes, whilst the force and liveliness of his diction sustain unflagging interest throughout. The reader is carried onward as much by the rhythmic flow of language and the perfect balance of sentences, as by the vivacity of the narrative and by the reality with which Ellis Wynne invests his adventures and the characters he depicts.