From the very heart of the Welsh past, a grand collection emerged, woven from the scattered threads of ancient manuscripts, presenting itself as a testament to the enduring spirit and rich literary heritage of Wales. This monumental endeavor, born from the fervent dedication of Owen Jones, known as Owain Myfyr, sought to gather and preserve the wisdom, poetry, and history that had long resided in fragile, handwritten form. It was a painstaking labor of love, spanning years and requiring immense personal fortune, all in the service of illuminating the literary soul of a nation.
The first volume, unveiled in 1801, unfurled a vast tapestry of early Welsh poetry. Here lay the verses of the Cynfeirdd, the primordial bards, and the Gogynfeirdd, those poets who sang under the independent Welsh princes, their voices echoing from the sixth to the fourteenth centuries. It was a deliberate effort to present the poetic bedrock of Wales, a profound testament to the lyrical genius that had flourished across generations, with the singular exception of Dafydd ap Gwilym, whose celebrated works had already found their way into print.
Following swiftly in the same year, the second volume delved into the realm of history and ancient lore. Within its pages were enshrined the venerable Welsh Triads, concise groupings of three related individuals, events, or concepts that offered a unique insight into early Welsh thought and tradition. Alongside these appeared the chronicles, including various renditions of the *Brut y Brenhinedd* and *Brut y Tywysogion*, which traced the lineage of kings and princes, narrating the tumultuous saga of the Britons and the Welsh. These prose documents provided a foundational historical narrative, shaping understanding of the land and its people.
The final volume, which saw the light in 1807, completed this ambitious triptych, embracing didactic literature, the ancient laws, and even the notation of traditional music. It presented the moral compass and legal framework that governed early Welsh society, alongside the very melodies that once filled their halls and hillsides. This wide-ranging inclusion underscored the comprehensive ambition of the collection: to capture not merely the words, but the very essence of Welsh civilization as recorded through the ages.
This entire undertaking, published by the Gwyneddigion Society, stood as one of the earliest printed collections of medieval Welsh literature, a beacon for scholars and enthusiasts alike. It became an indispensable source text for countless translators, a window into a world previously accessible only through rare and scattered manuscripts. The vision was clear: to forge a tangible link to a glorious past, thereby affirming a distinct Welsh identity in the modern era and contributing to a burgeoning sense of national pride.
Yet, as with many grand historical endeavors, this collection was not without its complexities. While Owen Jones poured his resources and passion into its creation, aided by the editorial hand of William Owen Pughe, the inclusion of Edward Williams, better known as Iolo Morganwg, as a manuscript gatherer introduced an element of later controversy. Some of Morganwg's contributions, notably certain series of the Triads and specific chronicles, have since been identified as forgeries, woven into the genuine fabric of the ancient texts.
Despite these later revelations, the vast majority of the material within these volumes remains authentic and invaluable. The sheer scale and meticulous effort involved in compiling and printing such a wealth of Welsh language texts, without translation, solidified its place as a cornerstone of Welsh literary history. It stands as a powerful testament to the unwavering dedication of those who sought to safeguard and celebrate the ancient voices of Wales, offering future generations a profound connection to their enduring heritage.
