I have endeavoured as far as possible to preserve in my translations both the character of these poems and their metrical form. But the latter attempt can be only a mere approximation owing to the strict rules of early Irish verse both as regards alliteration and vowel consonance. Still the use of the "inlaid rhyme" and other assonantal devices have, it is to be hoped, brought my renderings nearer in vocal effect to the originals than the use of more familiar English verse methods would have done.
The same metrical difficulties have met me when translating the Welsh sacred and spiritual poems which form the second division of this volume. But they have been more easy to grapple with--in part because I have had more assistance in dealing with the older Cymric poems from my lamented friend Mr. Sidney Richard John and other Welsh scholars, than I had in the case of the early Irish lyrics--in part because the later Welsh poems which I have rendered into English verse are generally in free, not "strict," metres, and therefore present no great difficulty to the translator.
The poems in the Welsh section are, roughly speaking, arranged in chronological order. The early Welsh poets Aneurin and Llywarch Hen are represented by two singular pieces, Llywarch Hen's curious "Tercets" and Aneurin's "Ode to the Months." In both of these, nature poetry and proverbial philosophy are oddly intermingled in a manner reminiscent of the Greek Gnomic Poets. Two examples are given of the serious verse of Dafydd ab Gwilym, a contemporary of Chaucer, who though he did not, like Wordsworth, read nature into human life with that spiritual insight for which he was so remarkable, yet as a poet of fancy, the vivid, delicate, sympathetic fancy of the Celt, still remains unmatched. Amongst Dafydd's contemporaries and successors, Iolo Goch's noble poem, "The Labourer," very appropriate to our breadless days, Lewis Glyn Cothi's touching elegy on his little son John, and Dr. Sion Cent's epigrammatic "The Noble's Grave" have been treated as far as possible in the metres of the originals, and I have gone as near as I could to the measures of Huw Morus' "The Bard's Death-Bed Confession," Elis Win's "Counsel in view of Death," and the Vicar Pritchard's "A Good Wife."