al beings and
superstitious objects. Poetry is most powerful in the infancy of
civilization, and enjoys a license of idea and language which would shock
the taste of more advanced times. The Hindustani poetry as furnished by
Sir William Jones, that of the Persian Hafiz, the early ballads of the
Arabians, Moors and Spaniards, the poems of Ossian, besides the primitive
Saxon ballads, and the triads of Wales, all indicate the extravagant
imagery and rude license of poetry in the early ages of society. The
history of those several nations also attests the magical influence of
their early poetry upon the peoples. We find that Tallifer the Norman
trouvere, who accompanied William to the invasion of England, went before
his hosts at Hastings, reciting the Norman prowess and might, and flung
himself upon the Saxon phalanx where he met his doom. We read that the
example of the trouvere aroused the Norman hosts to an enthusiasm which
precipitated them upon the Saxon ranks with unwonted courage and frenzy.
We also find that the Welsh bard always accompanied his prince to battle,
and rehearsed in song the ancient valour and conquests of the chieftain
and army in front of the enemy.

The progress of philosophy and science dissipates the myths and spectres
of the poetical creation, just as the advance of a July sun dispels the
mist and cloud which hung over the earlier hours of day and veiled the
mountains and valleys from the eye of man. Poetry becomes now shorn of
its greatest extravangancies and wildest flights, instead of soaring with
the eagle to the extremities of space, it flies like the falcon within
human sight. In lieu of a Homer, a Shakespeare and a Milton, we have a
Pope, a Thomson and a Campbell.

The poetry of Wales may be classified into six parts, viz.: the sublime,
the beautiful, the patriotic, the humourous, the sentimental and
religious. Much of the poetry of the Principality consists of the first
class, and is specially dedicated to description and praise of the
Supreme Being, the universe and man. As the great objects of creation,
like the sun and moon, the planetary world and stars first attract the
attention of man and always enlist his deepest feelings, so they furnish
the great themes for the poetry of all nations, more especially in its
ruder stages. The Welsh poet is no exception to the rule. On the
contrary, he indulges in the highest flights of imagination, and borrows
the grandest imagery and