Elfennau Beirniadaeth Lenorol/Ymarferiadau cyffredinol mewn beirniadaeth lenorol

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XII
CANONAU BEIRNIADAETH LENOROL

1. Y mae i'r gair canon ystyr. a hanes diddorol. Fel hyn:

I.—Kάνών I. Any straight rod or bar: in Homer, Kάνώνες are two rods running across the hollow of the shield, through which the arm was passed, to hold it. 2. A rod used in weaving; the shuttle or quill by which the threads of the woof were passed between the threads of the warp. 3. A carpenter's rule: metaph.: A rule or level ray of light. 4. A beam or tongue of the balance: pl.—the keys or stops of a flute.

II.—Metaph. like Lat. norma, a rule or standard of excellence: so, the old Greek authors were called Kάνώνες, rules or models of excellence, classics; and the books received by the Church as a rule of faith and practice are called the Canon or Canonical Scriptures.—(LIDDELL AND SCOTT).

2. Ymdriniwyd eisoes ag ystyr ffigurol, bennaf y gair,—patrymau rhagoriaeth, y clasuron,—mewn penodau blaenorol: e.e., gwêl Pen. II: Safonau Beirniadaeth Lenorol, a Phen. IV: Clasuryddiaeth. Yn y bennod hon, defnyddir y gair yn yr ystyr arall, sef Rheolau Beirniadaeth Lenorol.

Fel yr awgrymwyd lawer gwaith yn y llyfr hwn, nid yw Beirniadaeth Lenorol, hyd yn hyn, wedi ymddatblygu'n wyddor fel Fferylleg nac yn gelfyddyd, fel Cerddoriaeth; h.y., nid ydyw'n meddu ar egwyddorion na deddfau pendant, a gydnabyddir gan bawb fel deddfau a barnedigaethau'r Mediaid a'r Persiaid. Er hynny, rhoddir nifer o awgrymiadau gwerthfawr gan Feirniaid Llenorol o brofiad helaeth a barn aeddfed, a brawf, efallai, o fudd i'r myfyriwr ieuanc. Dyma rai o honynt:

(i) Na fernwch wrth y golwg, eithr bernwch farn gyfiawn.—IOAN 7:24.

A gwnewch hynny â'ch meddwl eich hun; bernwch drosoch eich hunan. "Never take any critic on trust; it is blasphemy to the Spirit of Criticism to do that?"—G. SAINTSBURY.

(ii) Ymdrechwch ddeall pob gwaith cyn ei feirniadu,—ei safbwynt, ei gynllun, ei amcan; ac fe lwyddwch cyn hir i weled megis wrth reddf, y gwahaniaeth rhwng y gwir a'r gau, y glân a'r aflan, y prydferth a'r hagr mewn darn o lenyddiaeth.

A sensible person can easily distinguish between that which he cannot understand and that in which there is nothing to understand."—COVENTRY PATMORE.

(iii) Beirniedwch bob gwaith llenyddol yn ei ddosbarth,—Awdl, Pryddest, Arwrgerdd, Telyneg, Emyn, Traethawd, Araith, Nofel, Stori, Drama.

Yn gyntaf oll, wrth gwrs, beirniedwch y gwaith ar ei ben ei hun; chwilier am ei werth fel y mae ynddo ei hunan; ac yna beirniader ef yn ei berthynas â'i rywogaeth. O bosibl y ceir ef o rywogaeth newydd,—sui generis, fel y digwydd gwaith athrylith newydd bron bob amser.

(iv) Beirniedwch heb na chas na serch, heb na dicter na thosturi, heb na rhagfarn na mympwy. Ni ddylai Beirniad Llenorol gael ei feddiannu gan ysbryd, glân nac aflan—unrhyw "ysgol".

(a) Candid criticism should be neither benevolent nor adverse; its function is to give a just judgment, without partiality or bias."—E. GOSSE.

(b) A false or malicious criticism had better never have been written.—M. ARNOLD.

(:c) Beware of that "eternal enemy of Art,—Caprice."—M. ARNOLD.

(d) Neither personal friendship, nor personal enmity should be allowed to bias one's judgment.—G. SAINTSBURY.

(e) The lesson of criticism is the lesson of tolerance.—G. SAINTSBURY.

(f) In criticism likes and dislikes are free; and that man who, however unfortunately, still honestly dislikes what the consensus of good criticism approves is entitled to say so, and had better say so. But he gives his reasons, descends upon particulars, at his peril.—G. SAINTSBURY.

(v) En art tout est faux qui n'est pas beau.—ANOTOLE FRANCE.
"Mewn Celfyddyd gau yw popeth nad yw brydferth.

(vi) Nid rhaid i gelfyddyd wrth fanylion.

"Ce n'est jamais par l'exactitude des détails que l'artiste obtient la ressemblance de l'ensemble." —ANATOLE FRANCE.
'Nid drwy gywirdeb manylion y tyn artist ddarlun o wrthrych yn ei gyfanrwydd."

(vii) Bywyd ydyw maen praw pob ffurf ar lenyddiaeth,—a phob ymgais at Feirniadaeth Lenorol.

"The great art of criticism is to get oneself out of the way, and let humanity decide."—M. ARNOLD.

(viii) Cedwch feddwl rhydd, agored, ar bob pwnc. Na ddalier chwi dan iau caethiwed o unrhyw fath.

"Criticism must not subserve interests other than its own, no class interest, no political interest, no religious interests, no social interests, no polemical interests."—M ARNOLD.

(ix) Rhoddwch eich barn yn ddiamwys ac yn ddiffuant.

Criticism must be sincere, simple, flexible, ardent, ever-increasing its knowledge."—M. ARNOLD.

(x) Nac anwybyddwch orchestweithiau llenyddiaeth y gorffennol,—yn arbennig mewn Barddoniaeth.

"Use the poetry of the great classics as a sort of touchstone."—M. ARNOLD.

(xi) Cofiwch fod iaith llên, bob amser, yn wahanol i iaith y Werin.

"As to matter of style, I have this to say: the language of the age is never the language of Poetry".—THOMAS GRAY.

(xii) Ymgydnabyddwch â llenyddiaeth gwledydd eraill; canys oni ŵyr awdur a beirniad rywbeth am lenyddiaeth heblaw eiddo'i wlad ei hun, ni all roi'r gwerth iawn ar ei waith; rhaid wrth gymharu a chyferbynnu mewn beirniadaeth fuddiol. Dyma un o wendidau gwaith Aristotl ar Feirniadaeth Lenorol; seiliwyd ei waith yn y maes hwn, o angenrheidrwydd, ar lenyddiaeth gwlad Groeg yn unig. Wrth gofio hynyma, gwelir bod llawer o wirionedd yn sylw Dryden, a ddyfynnwyd eisoes."If Aristotle had seen ours :(h.y., y ffurf Seisnig ar drasiedi) he might have changed his mind."

Gyda llaw, mynnwch wybodaeth am lenyddiaeth cenhedloedd eraill, o leiaf un o honynt, yn y gwreiddiol; nac ymfodlonwch ar gyfieithiadau'n unig.

"Second-hand accounts of literature are absolutely devoid of any value whatever."—G. SAINTSBURY.

(xiii) Ni ddylai cydymdeimlad â mater, na gwrthwynebiad iddo, ymyrryd â barn am ffurf unrhyw waith llenyddol.

(xiv) Cofier mai rhoddi mwynhad, nid addysg, ydyw prif amcan Celfyddyd.

"Literature in general, poetry in particular, should of course, instruct; but it 'must' delight."—G. SAINTSBURY.

(xv) Nid yw newydd-deb llenyddol, ynddo ei hun, na gwall na gwelliant. Barner pob ffurf newydd mewn llenyddiaeth ar ei theilyngdod.

"In dealing with new literary forms we must use new literary measures."—G. SAINTSBURY.

(xvi) Dylid cadw mewn cof yr amrywia teithi athrylith ac ieithoedd gwahanol genhedloedd. Fel rheolau Gramadeg, y mae i bob iaith neilltuolion Arddull mewn Rhyddiaith, a deddfau cynghanedd mewn Barddoniaeth. Arall yw godidowgrwydd y Roeg, ac arall yw godidowgrwydd y Lladin, ac arall yw godidowgrwydd ieithoedd diweddar: canys y mae rhagor rhwng iaith ac iaith mewn godidowgrwydd. Felly, hefyd, arall yw gogoniant Homer, ac arall yw gogoniant Esaia, ac arall yw gogoniant Dafydd ap Gwilym.

(a)" To select the favourite critical fancy of any time as the unum necessarium is fatal."

(b) "One literature or one language cannot prescribe anything to another; it may teach much."—G. SAINTSBURY.

(xvii) Ymhob dadl ynglŷn â ffurfiau mynegiant llenyddol, ystyrier yn fanwl werth pob ffurf ynddi hi ei hun, cyn eu cymharu a'u cyferbynnu â'i gilydd. Gocheler y cyfeiliornad o wrthod y naill er mwyn derbyn y llall. Er enghraifft, meddylier am y dadleuon:

(a) Araith v. Traethawd; :(b) Arwrgerdd v. Drama; :(c) Odl v. Mesur Moel; :(d) Mesur Rhydd v. Meur Caeth; :(e) Telyneg v. Englyn; :(f) Soned v. Toddaid; :(g) Nofel v. Stori Fer: :(h) Hanesgerdd v. Myfyrdraith.

Cofier holiad awgrymiadol Samuel Daniel :(1562—1619) yn y ddadl :(c): "Why condemn this thing in order to establish that?"

(xviii) Gofaler bob amser am y ffeithiau; na chamgymerer daliadau damcaniaethol am danynt.

"Distinguish fact and your opinion."—G. SAINTSBURY.

(xix) Chwiliwch yn gyntaf am werth llen—yddol y gwaith a fernwch,—chwiliwch am yr ennaint a ddichon fod yn y blwch cyn dechrau chwilota am y gwybed meirw a ddigwydd fod ynddo.

(a) "To the young I would remark that it is always unwise to judge of any—thing by its defects: the first attempt ought to be to discover its excellences."—S. T. COLERIDGE.

(b) "A determination to pick holes . . . always vitiates a critique, no matter what learning and genius be bestowed on it.—G. SAINTSBURY.

(xx) Bydded eich beirniadaeth yn glir ac yn bendant; gochelwch ddatganiadau cyffredinol. Siaredwch neu ysgrifennwch i'r pwynt. Cofiwch sylw miniog Blake:

"To generalise is to be an idiot; to particularise is the great distinction of merit."

(xxi) Cofier bod pob awdur a'i waith, i raddau helaeth, yn gynhyrchion eu hoes; ond y dichon Athrylith, er hynny, ymryddhau, ambell dro, o hualau Etifeddeg, ac ymddyrchafu goruwch ei Chylchfyd, a thrwy hynny herio Ysbryd yr Oes, a chreu ffurf newydd, a hyd yn oed gychwyn cyfnod newydd, mewn llenyddiaeth.

(a) Criticism must never forget for a moment that the artist is the child of his time".—WALTER PATER.

(b) "Estimate every intellectual creation in its connexion with the age from which it proceeds."—WALTER PATER.

(c) "Ages are all equal; but genius is always above its age."—W. BLAKE.

(d) "A genius has the power to create an environment for himself."—EMILE HENNEQUIN.

(xxii) Na fyddwch gaethwas i Glasuryddiaeth nac ysglyfaeth i Rhamantyddiaeth. Nac addolwch eilunod, hen na diweddar, duwiau nadd na duwiesau roeth. Gwrandewch ar eu horaclau; profwch a ddywedant, a deliwch yr hyn a fo da ynddynt.

Despise nothing which the past can teach; reject nothing which the present offers."—J. A. SYMONDS.

(xxiii) Cofiwch y Pum Ffordd, yn ôl Aristotl, y gellir beirniadaeth gondemniol ar ryw waith llenyddol:

"There are five sources from which critical objections are drawn: things censured as impossible, or irrational, or morally hurtful, or contradictory, or contrary to artistic correctness."—Cyf. BUTCHER.

(xxiv) Ni ddylid ysgar na gair na brawddeg na meddwl na ffigur oddiwrth eu cyd-destun. Cyll aelod cerflun ei ystyr pan ysgarer ef oddiwrth y corff. Trig gwerth a llawer o brydferthwch pethau, yn arbennig mewn llenyddiaeth, yn eu cyd-berthynas.

(xxv) Uwchlaw pob dim, nac anghofiwch ddeddfau a safonau Estheteg. Dyma'r maen praw terfynol ym mhob Beirniadaeth Lenorol o werth; dyma'r Cesar y gwneir yr apêl olaf ato. Fel y dywaid G. Saintsbury:

"The cardinal principle of sound criticism is this,—a book is to be judged, not according to arbitrary rules laid down 'ex cathedra for the class of book to which it is supposed to belong, but according to the scheme of its author in the first place, and in the second to the general laws of Aesthetics."—:(Hist. French Lit., td. 462).

(xxvi) The critic, by methodical study of himself, should determine his personal equation, and when it is determined should make allowance for it.—T. M. COAN.

(xxvii) The test of a good critic is suspension of judgment in cases which are not convincingly proven.—J. A. SYMONDS.

XIII
YMARFERIADAU CYFFREDINOL MEWN BEIRNIADAETH LENOROL[G. & S. Gayley and Scott, Literary Criticism.

1

A. 1. Beth ydyw Beirniadaeth Lenorol? Pa sawl math o Feirniaid y sydd?

2. Beth o olygir wrth Safonau a Chanonau Beirniadaeth?

3. A ydyw'n bosibl anwybyddu'r cyfryw safonau a chanonau a chynhyrchu gwaith gorchestol mewn llenyddiaeth?

4. Beth ydyw gwerth :(a) Barn y Cyhoedd :(b) Praw Amser :(c) Hawl Athrylith, mewn llenyddiaeth?

5. Beth ydyw'r gwahaniaeth rhwng Gwyddor a Chelfyddyd? Pa un ydyw Beirniadaeth Lenorol?

6. Pa fudd ydyw Beirniadaeth Lenorol?

B. Cyfieithwch a beirniedwch:

(a) The temper and conditions of the age encourage the critical habit. Literature is no longer the affair of patron or coterie, but of the public. The public reads for itself and estimates.—(G. & S.).

(b) Literary criticism has not yet reached the scientific, still less the cocksure period of its development.—(G. & S.).

(c) A study of the canons of literary judgment becomes a study of the prin—ciples of literature. —(G. & S.).

(d) The principles of literary judgment are akin to all aesthetic principles, they are in fact, only the application in a par—ticular field of the general laws of art. —(G. & S.).

(e) For the creation of a master—work of literature, two powers must concur, the power of the man and the power of the movement, and the man is not enough without the movement; the creative power has, for its happy exercise, appointed elements, and those elements are not in its own control. —M. ARNOLD.

(f) The real work of criticism is to interpret the workings of the human spirit by its movements in art and letters. —J. A. SYMONDS.

A. 1. Beth a olygir wrth Glasuryddiaeth a Rhamantyddiaeth? Rhoddwch enghreifftiau o feirdd a Beirniaid, hen a diweddar Cymraeg a Saesneg, a berthyn rhai i'r naill ac eraill i'r llall.

2.

A ydyw Beirniadaeth yn gymorth neu'n rhwystr i wreiddioldeb llenyddol?

cf.

(a) "Criticism tends to crush out originality," medd rhai.

(b) "The literary movement is never stayed in the least or arrested by Criticism," medd eraill.

(c) "An age of fine creation cannot also be an age of fine Criticism."—MACAULAY.

3. A ddichon yr un gŵr fod yn fardd ac yn Feirniad?

4. A all Beirniadaeth ei hun fod yn llenyddiaeth yn ddarn o gelfyddyd a ddyry fwynhad esthetig i'r darllenydd?

B. Cyfieithwch a beirniedwch:

(a) The function of criticism is to act on public opinion, on authors, and upon the general direction of literature and art. —F. BRUNETIÉRE (G. & S.).

(b) By maintaining literary traditions criticism perpetuates from age to age the literary consciousness of the nation.—F. BRUNETIÉRE (G. & S.).

(c) Criticism cannot be reduced to a science, but as an art it is susceptible of high cultivation. The old idea of criticism was the application of tests by which it was possible to ascertain the value of the work; modern criticism means the impres—sion produced on certain minds by certain products. ROBERT BUCHANAN (G. & S.).

(d) Criticism has changed from an appli—cation of external rules to an interpretation of inward life.—E. P. WHIPPLE (G. & S.). :(e) Law of Criticism: Every scripture is to be interpreted in the same spirit which gave it forth.—R. W. EMERSON.

(f) The critic . . . is a failed poet. —R. W. EMERSON.

(g) La critique est un exercice méthodique du discernement; h.y., Ymarferiad trefnus mewn dirnadaeth ydyw Beirniadaeth :(Lenorol). —JOUBERT.

3

A. 1. Rhoddwch restr o gymwysterau Beirniad Llenorol?

2. Ennwch rai o brif Feirniaid Llenorol, hen a diweddar :(a) Groeg, :(b) Rhufain :(c) Lloegr, :(d) Cymru.

3. Pa elfennau llenyddol a wna waith yn glasur "?

4. Ennwch rai o brif glasuron Barddoniaeth a Rhyddiaith :(a) Groeg :(b) Rhufain :(c) Lloegr :(d) Cymru.

5. Beth a olygir wrth waith llenyddol gwreiddiol?

6. Rhoddwch enghreifftiau o weithiau gwreiddiol, mewn Barddoniaeth a Rhyddiaith, yn llenyddiaeth Cymru oddiar ddechrau Cyfnod Dadeni'r Brifysgol :(h.y., oddiar 1900), gan nodi'r elfennau gwreiddiol y sydd ynddynt.

B. Cyfieithwch a Beirniedwch:

(a) The Scientific method, as understood by men of letters :(that is, as misunderstood), has not been of much service to modern literary criticism.—E. DROZ (G. & S.).

(b) Aesthetic criticism judges a work in its relation to other works by comparing it with literature of the same kind, and on the basis of such judgment and com—parison assigns it to its proper place in literary history.—KARL ELZE (G. & S.). :(c) The most profitable criticism is that broad and philosophical general discussion which is illustrated by such authors as Coleridge or Arnold which brings us into contact with a more theoretical and aesthetic range of ideas, and so widen our intellectual and artistic world. —E. T. MCLAUGHLIN.

(d) The test of good writing is the author's contribution to the spiritual wealth of mankind.—GEORGE ELIOT.

(e) The use of criticism in periodical writing is to sift, not to stamp a work.—MARGARET S. FULLER.

(f) The only criticism worth reading or writing is that which narrates the adventures of an ingenious and educated mind in contact with masterpieces.—A. LANG.

Nodyn:4 A. 1. Beth ydyw'r gwahaniaeth rhwng Celfyddyd a Natur?

cf.

(a) "Art is a part of Nature."—Yr Athro R. G. MOULTON.

(b) "Art is called art because it is not Nature."—GOETHE.

2. Beth ydyw perthynas Personoliaeth awdur a'i waith, ac yn arbennig â'i Arddull?

3. A ddylid cymharu a chyferbynnu pobl o Athrylith â'i gilydd?

cf.

(a) Eich barn chwi ar y mater.

(b) Barn Renan: "Each order of greatness has its own eminence and should not be contrasted with another."

4. Beth ydyw prif nodweddion Athrylith?

Rhoddwch enghreifftiau.

5. A ydyw'r dywediad hwn yn wir: Genius knows no law"?

B. Cyfieithwch a beirniedwch:

(a) There are certain forms of beauty for the appreciation of which it is not possible to give intelligible reasons; it is, therefore, hopeless to expect that a general canon of criticism will ever be framed.—MACMILLAN (G. & S.).

(b) Criticism aims to discover the things which are true and abiding. —F. D. MAURICE (G. & S.).

(c) The aim of criticism is to regulate our intellectual pleasures, to free literature from the tyranny of the notion that there is no disputing about tastes, to constitute an exact science, intent rather on guiding than gratifying the mind.—D. NISARD.

(d) A critic should distinguish a writer's method, his creative power, and his personality.—G. H. PAGE.

(e) The individuality of the writer is his divergence from the typical man. ibid.

(f) The personality of the writer may appear in his work both unconsciously and self-consciously. ibid.

(g) The writer may be held accountable for the effect produced by his personality. ibid.

5

A. 1. Eglurwch ddywediad Aristotl ynghylch Dechrau, Canol a Diwedd" gwaith llenyddol.

2. Nodwch wendidau clasuryddiaeth. A fodolant yn llên Cymru?

3. A oes berthynas rhwng cyfnod Beirniadol a Chyfnod Creadigol yn hanes llenyddiaeth? Q cf.

(a) Critics set in motion the ideas which the creative power makes use of when its turn comes. —M. ARNOLD.

(b) The critic can do no more than convince his generation. —J. M. ROBERTSON.

4. A oes berthynas rhwng Beirniadaeth ag Athroniaeth y Beirniad?

5. A rydd Beirniadaeth egwyddorion a deddfau i Lenyddiaeth? neu—A rydd Llenyddiaeth egwyddorion a deddfau i Feirniadaeth? Pa un sydd hynaf?

6. A ellir cymhwyso'r "Dull Gwyddonol" at Feirniadaeth Lenorol?

B. Cyfieithwch a beirniedwch:

(a) The critic may work upon one principle, the artist whom he criticises upon another. (G. & S.).

(b) In the middle ages there was little criticism, because mediaeval man, being a part of his caste or corporation, was not master of his ideas.—F. BRUNETIÈRE (G. & S.).

(c) The whole history of criticism has been the triumph of authors over critics.—R. G. MOULTON.

(d) Criticism, as it advances in the history of every nation's literature, passes through the following stages:

(i) Naïve feeling;

(ii) Reflection;

(iii) Theories of Criticism, which may be drawn (a) from experience, or (b) from speculative views, as to the means and end of art.—H. J. G. PATIN (G. & S.).

(e) The characteristic of the classic criticism was that it made rigid application of fixed laws and formulas. The romantic criticism, taking the historical point of view, interprets literature as a picture of society.—G. PELLISSIER (G. & S.).

(f) Inductive criticism must give way in time to a new process of judgment, founded on comparative aesthetics and comparative sociology.—J. M. ROBERTSON (G. & S.).

6

A. 1. Beth ydyw egwyddorion sylfaenol Celfyddyd? Ennwch y Celfyddydau Cain.

2. Beth ydyw Estheteg? Rhoddwch :(a) rai ffeithiau :(b) rai egwyddorion :(c) rai damcaniaethau ynglŷn ag Estheteg.

3. Pa ran a gymer synhwyrau'r corff a chynheddfau'r meddwl mewn cynhyrchu a mwynhau pleserau esthetig? Eglurwch eich ateb ag enghreifftiau o bob un o'r Celfyddydau Cain.

4. Beth ydyw'r gwahaniaeth rhwng pleserau corfforol a phleserau Esthetig?

5. Cymherwch olygiadau Aristotl ag eiddo Plato ar Estheteg. Pa un a fernwch chwi sydd yn agosaf at y gwir? Rhoddwch resymau dros eich barn.

6. A amrywia teipiau Prydferthwch mewn gwahanol gyfnodau, ac mewn gwahanol ffurfiau ar Wareiddiad? Paham?

B. Cyfieithwch a beirniedwch:

(a) Study of the underlying principles of literature leads the student back inevitably to the principles of art. The principles of literature, he finds, are but special applications of the broader principles which lie at the base of all the arts. —(G. & S.).

(b) The theory of Beauty as an intrinsic quality in the object is difficult to maintain.—(G. & S.).

(c) Alexander Bain regards aesthetic emotions as a sublimation of the simpler feelings.—(G. & S.).

(d) The function of art is to make all men feel alike, and so develop social sympathy.—M. J. GUYON.

(e) Art creates regularly without conscious law, designedly without conscious aim. —HELMHOLTZ.

(f) Each one's field of aesthetic judgment is his relatively permanent pleasure—field of revival. —H. R. MARSHALL.

(g) Consciously, or unconsciously, all idealism draws its inspiration from Plato.

—Yr Athro KNIGHT. :(h) If we were more used to deformity than Beauty, deformity would then lose the the idea now annexed to it, and take that of Beauty. —JOSHUA REYNOLDS.

(i) Art is the manifestation of the Beautiful.—HEGEL.

7

A. 1. Beth ydyw Prydferthwch llenyddol? Ennwch ei brif elfennau, gan egluro eich ateb â dyfyniadau o weithiau beirdd Cymru, hen a diweddar.

2. Rhoddwch rai o nodweddion y mwynhad esthetig a bair llenyddiaeth dda.

3. Eglurwch gyd-berthynas Dirnadaeth a Dychymyg mewn Estheteg.

4. Pa un a rydd y mwynhad esthetig mwyaf—gwrthrychau Natur ai cynhyrchion Celfyddyd? Rhoddwch resymau dros eich ateb.

5. I ba raddau y mae rhyddid yn hanfodol i'r artist er cynhyrchu gwaith da?

6. Beth ydyw perthynas Celfyddyd a Moesoldeb? A oes raid i artist da fod yn ddyn da? A raid i wir fardd fod yn sant? A raid i'w waith, bob amser, feddu'r un naws â Salm 23, neu eiddo emyn Newman —"Lead, Kindly Light," etc.?

B. Cyfieithwch a beirniedwch:

(a) Art is the Outgrowth of an Imitative Instinct.

(b) Art is the Outgrowth of an Instinct for Self-Expression.

(c) Art is the Outgrowth of the Play-Impulse.

(d) Art is the Outgrowth of an instinct for Order.

[Under the guise of rhythm, measure, proportion, harmony, and other similar terms, this principle of aesthetic origins has been a favourite.]

(e) Art is the Outgrowth of an Instinct to Attract others.

(f) Art is the Outgrowth of an Attempt to Repel or Terrify.

(g) Art is the Outgrowth of an Impulse to Communicate.

(h) Art is the Outgrowth of Festal or Ceremonial Celebrations.

(i) Art is the Outgrowth of a Desire to Obtain an Image of the Intangible or Spiritual Part of Man.

[(a)—(i)—(G. & S.).

(j) Art has to fulfil its functions through sensuous presentation.—J. A. SYMONDS.

(k) Without being didactic, art must be moralised, because the normal man is moralised.—J.A.S.

8

A. 1. A oes Safon ddiamodol i Chwaeth? Is there an absolute Standard of Taste?

2. Ennwch achosion dirywiad Chwaeth lenyddol mewn gwahanol gyfnodau, e.e., yn hanes Llên Cymru.

3. Beth ydyw'r gwahaniaeth rhwng realydd a delfrydydd?

4. Eglurwch:

(a) Cyn y gall awdur gyflwyno ffeithiau bywyd mewn gwaith llenyddol y mae'n amlwg y bydd yn rhaid iddo ddethol.

(b) Pa egwyddor sydd i lywodraethu wrth ddethol?

(c) Daw'r delfrydydd a'r realydd ymlaen bob un â'i syniad; ond y mae gwir gelfyddyd, yn ôl ei harfer, yn dueddol i ddewis y ffordd ganol rhwng y ddau.—DUNCAN C. MACTAVISH :(Cyf. T. BASSETT).

B. Cyfieithwch a beirniedwch:

(a) The sole arbiter of poetry is Taste.—E. A. POE.

(b) Knowledge, and even good taste, are not sufficient for perfect criticism without the infusion of a still rarer quality,—breadth of sympathy.—E. GOSSE.

(c) Y mae'r delfrydydd yn rhoddi pwys arbennig ar ochr weddus bywyd, ac o fwriad, fe baentia ef bethau yn well nag y maent. —D. C. MACTAVISH.

(d) Y mae'r realydd yn cynrychioli'r adwaith yn erbyn yr athroniaeth gyfforddus hon, ac yn proffesu delio â'r gwirionedd, hynny yw, â bywyd fel y mae—D.C.M.

(e) Y mae amryw ysgrifenwyr ym mhlaid yr adwaith yn portreadu bywyd fel pe baent o'r farn mai un peth yn unig sydd deilwng o ystyriaeth ddifrifol, sef budredd,—corfforol, meddyliol a moesol. —D.C.M.

(f) Gofyn y delfrydydd braidd yn grintachlyd a ydyw budreddi yn ddefnydd cyfreithlon i lenyddiaeth. —D.C.M.

(g) Y mae ffordd lân o ddelio â budreddi.—D.C.M.

9

A. 1. Beth yw Llenyddiaeth? Dosberthwch y ffurfiau ar Lenyddiaeth.

2. Pa ffurf neu ffurfiau ar Lenyddiaeth a berthyn i'r Celfyddydau Cain?

3. Pa un o'r golygiadau canlynol a dderbyniwch? Paham?

(a) Literature is a variety of fine art, co-ordinate with music and painting.

(b) A single branch of literature, namely, poetry, may be classed with the fine arts; prose is not a fine art but a useful art.

(c) Either poetry or prose may be classed as fine art, provided it is an embodiment of the beautiful; otherwise it is useful art.

(d) Literature is not an art at all, but is a product, sui generis, of the mind of man, touching art at one or two points.—(G. & S.).

B. Cyfieithwch a beirniedwch:

(a) All knowledge that reaches us through books is literature. —M. ARNOLD.

(b) Literature consists of the written thoughts and feelings of intelligent men and women, arranged in a way that shall give pleasure, to the reader. —STOPFORD BROOKE.

(c) By letters or literature is meant the expression of thought in language, where by "thought" I mean the ideas, feelings, views, reasonings, and other operations of the human mind.—J. H. NEWMAN.

(d) The representation . . . of a specific personality in its preference, its volition and power. Such is the matter of imagi—native or artistic literature, this trans—cript, not of mere fact, but of fact in its infinite variety, as modified by human preference in all its infinitely varied forms.—W. PATER.

(e) Literature consists of all books . . . where moral truth and human passion are touched with a certain largeness, sanity, and attractiveness of form. —J. MORLEY

(f) Literature is the effort of man to indemnify himself for the wrongs of his condition—EMERSON.

(g) La littérature est l'art de la parole: :(a) la poésie :(b) l'art oratoire :(c) la prose écrite. —GAUCKLER.

A. 1. Pa feddyliau a theimladau a ellir eu mynegi mewn llenyddiaeth na ellir eu mynegi yn y Celfyddydau eraill?

2. Beth ydyw perthynas Mater a Ffurf mewn llenyddiaeth?

3. Beth ydyw perthynas y Gelfyddyd lenyddol â Natur.

4. A ellir ysgar Meddwl oddiwrth Iaith? h.y. a ellir meddwl heb gymorth geiriau?

5. Eglurwch:

I Mewn Mater ac Iaith y mae i'r ddwy gelfyddyd :(barddoniaeth a rhyddiaith) gryn lawer o'r un defnyddiau. Ond gwahaniaethant yn hollol yn eu Ffurf. Y mae barddoniaeth yn fydryddol, rhyddiaith yn ddifydr; yma y mae'r gwahanfur yn glir a phendant. —J. MORRIS JONES. [Cerdd Dafod, § 187 :(3).]

B. Cyfieithwch a beirniedwch:

(a) In the substance of literature invention plays no part; all is commonplace. Originality inheres only in the form. —F. BRUNETIÈRE (G. & S.).

(b) Thought and language are identical.—MAX MÜLLER.

(c) The purpose of speech is to express thought; and thoughts are expressed for comprehension either by the understanding or by the imagination. If by the former, we have prose; if by the latter, poetry.—AUGUST BOECKH.

(d) Now we understand that criticism cannot be restricted to form alone, or thought alone, or to one kind of form or one kind of thought. It is of both, and of all kinds of each. Form and thought are as in—separable in literature as in life; the expression is inherent in the idea; and to understand literary expression one must be capable of appreciating all sides of the literary idea. —(G. & S.).

(e) The material in which the literary artist works is no more a creation of his own than the sculptor's marble, nor the instrument which he uses his own,—Language. —W. PATER.

11

A. 1. Beth a olygir wrth Arddull lenyddol?

2. Beth ydyw prif nodweddion Arddull Goeth?

3. Beth ydyw perthynas Arddull â Phersonoliaeth?

4. A ellir cadw Arddull gwaith gwreiddiol yn y cyfieithiad o hono? Rhoddwch enghraifft i egluro'ch ateb.

5. Ai yr un ydyw nodweddion Arddull dda ymhob iaith?

6. A oes berthynas rhwng Mater ag Arddull?

7. Beth a olygir wrth "Ffigurau Ymadrodd"? A oes a fynnont ag Arddull? Rhoddwch enghreifftiau eglurhaol.

8. Beth yw Rhythm? A ellir ei gael mewn Rhyddiaith yn ogystal ag mewn Barddoniaeth a Cherddoriaeth?

B. Cyfieithwch a beirniedwch:

(a) Le style est de l'homme même.—BUFFON.

[Y dyfyniad traddodiadol ydyw,—le style c'est l'homme. :(a) yw'r geiriad cywir.]

(b) Six Canons of good style; Self-command, brevity and simplicity, emphatic and clear utterance, spontaneity, melody, spiritual content. —J. RUSKIN.

(c) That language is most forcible which best economizes the mental energies and the mental sensibilities. —HERBERT SPENCER.

(d) Style is the relation between speech and the thing expressed.—H. STEINTHALL.

(e) The truth of art and the truth of logic and nature are not the same.—W. BASIL WORSFOLD.

(f) Figures removed from the ordinary method of speaking should be regarded as ornamental affectations.—DU MARSAIS.

(g) Style is the method of representation possible to language according to the conditions imposed by the personality of the artist, and by the content and purpose of the object represented.WACKERNAGEL.

12

A. 1. Beth ydyw'r gwahaniaeth rhwng artist llenyddol a rhyw artist arall,—e.e., cerddor, cerflunydd, arlunydd? Mewn pa bethau'r ymdebygant oll?

2. A oes raid i awdur brofi'r teimladau a ddarlunir ganddo?

3. Ar ba seiliau y gellir dosbarthu Llenyddiaeth? e.e., ar ba sail y gorffwys dosbarthiad August Boeckh:

	Objective.	Subjective.	Subjective-Objective.
Poetry	Epic	Lyric	Dramatic
Prose	Historical	Philosophical	Rhetorical

(a) (i) Prose is the literature of Knowledge.

neu

(ii) Poetry is the literature of Power.—DE QUINCEY.

(iii) Prose is the literature of Fact.

(iv) Poetry is the literature of Fancy.

(b) Metre is the proper form of poetry; and poetry is imperfect and defective without metre,—as shown by the instinct of seeking unity by harmonious adjust—ment, and the practice of the best poets of all countries and of all ages.—S. T. COLERIDGE.

(c) Poetry, and the language appropriate to it, is a regular "panther-quest," an elaborate and painful toil.—DANTE.

(d) Poets either find things delightful or make them so.—HAZLITT.

(e) Il n'y a de poésie que dans le desir de l'impossible ou dans le regret de l'irréparable.—ANATOLE FRANCE.

h.y., Nid oes farddoniaeth namyn yn y dyhead am yr hyn sydd amhosibl, neu yr atgof am yr hyn sydd anadferadwy.

13

A. 1. A ydyw mesur, corfan, odl, a rhythm yn hanfodol i Farddoniaeth?

2. Beth ydyw'r gwahaniaeth rhwng rhythm mewn Barddoniaeth, Rhyddiaith Cherddoriaeth? Rhoddwch enghreifftiau eglurhaol.

3. Eglurwch y dywediad hwn: "There is a distinction between the objective poet and the subjective poet."—(G. & S.).

4. Eglurwch yr ymadrodd the poetry of words"—POE.

5. Beth ydyw sail corfannu yn y Gymraeg a'r Saesneg? Ai hyd sillafau neu eu haceniad? Rhoddwch enghreifftiau.

6. Beth a olygir wrth "Y Mesur Moel"? Ennwch enghreifftiau, yn y Gymraeg a'r Saesneg, o gerddi yn y mesur hwn.

7. Pa un a rydd fwyaf o fwynhad i chwi—cerddi yn y Mesur Moel neu mewn mesurau odlog? Paham?

B. Cyfieithwch a beirniedwch:

(a) The rhythms of metres, though chosen with the ease and indifference of conven—tionality, have their roots as firmly

embedded in the rhythm of nature and of thought as have other qualities of poetry, whether objective or subjective. (G. & S.).

(b) In its full development, poetry unquestionably demands metre. As distinguished from the other arts, its material is metrical or rhythmical language, and always a particular language.—B. BOSANQUET (G. & S.).

(c) The one essential characteristic of verse—the language of poetry—in English is rhythm.—J. W. DAVIDSON.

(d) Versified prose gives us not poetry, but merely verse.—HEGEL.

(e) Metre or rhyme is undoubtedly indispensable to poetry.—HEGEL.

(f) Indeed, metre is more necessary than picturesque or so-called elegant diction.—HEGEL.

(g) By "poetry of words" is meant "the rhythmical creation of beauty."—E. A. POE.

(h) Metrical rhythm is imposed on, not latent in speech.—E. GURNEY.

(2) Verse arises from the regularity of accents, not from their presence. ibid.

(j) Time-relation is the basis of modern rhythms.—S. LANIER.

14

A. 1. A ellir dangos y gweithreda Deddf Datblygiad yn hanes Llên? Eglurwch eich ateb ag enghreifftiau o Lenyddiaeth unrhyw genedl.

2. Sut yr hanoedd Barddoniaeth?

cf.

(a) Early poetry is of communal origin.—JACOB GRIMM.

(6) Early poetry is individual in origin.—WM. SCHERER.

(c) The conte-fable is probably the proto-plasm out of which both ballad and folk-lore have been differentiated.—JOSEPH JACOBS.

(d) Folk-tales are a degenerate form amid a low civilization of something which was composed amid a high civilization. —NEWELL.

(e) Is there not a dualism in generative poetics. . . of chorus and solo, of throng and poet, of community and artist?—GUMMERE.

B. Cyfieithwch a beirniedwch:

(a) The question of the evolution of literary types resolves itself into five subsidiary

questions: :(i) The reality and inde—pendence of types; :(ii) The differentiation of types; :(iii) The stability of types; :(iv) Modifying influences; :(v) The transformation of types.—FERD. BRUNETIÈRE (G. & S.).

(b) The main modifying influences are three:

(i) Heredity, or race.

(ii) Environments, divided into geographical or climatic conditions, social conditions, and historical conditions.

(iii) Individuality. ibid.

(c) During a healthy, sound, progressive period of national existence, there is, in general, no literature at all.—T. CARLYLE.

(d) The struggle for existence, natural selection, survival of the fittest, hereditary transmission, and atavism are illustrated in literature as clearly as in biology.—G. CHECCHIA (G. & S.).

(e) There is no Volkgeist in literature; each literary product is first invented by an individual, then imitated by the people.—M. KAWCZYNSKI (G. & S.).

(f) Popular literature can be traced to a communal origin.—F. B. GUMMERE (G. & S.).

15

A. 1. Beth yw Barddoniaeth?

2. Ai esthetig, moesol, ai addysgol ydyw amcan Barddoniaeth?

3. Eglurwch a ganlyn:

'No definition of poetry is adequate which does not characterise :(1) the subject of treatment; :(ii) the form of expression; and :(iii) the process of execution.—(G. & S.).

4. Ai Mater, Mydryddiaeth, Awenyddiaeth, neu Ddull yr ymdriniaeth ydyw elfen nodweddiadol, hanfodol, Barddoniaeth?

5. Dysgwch a chyfieithwch y deffiniad canlynol:

"Absolute poetry is the concrete and artistic expression of the human mind in emotional and rhythmical language."—T. WATTS—DUNTON :(Encyc. Brit.).

B. Cyfieithwch a beirniedwch:

(a) The aim of poetry is to express the glow of emotion, the thrill of joy.—SHAIRP.

(b) Poetry is so contrived and executed as to soothe the ear, surprise and delight the fancy, mend and melt the heart, elevate the mind, and please the understanding.—GOLDSMITH.

(c) Poetry is the presentment in musical form, to the imagination, of noble grounds for the noble emotions.—RUSKIN.

(d) The poetical' resides not in the theme and material which constitute the subject of treatment, but rather in the poet's conception of that subject. (G. & S.).

(e) Poetry is the only verity, the expression of a sound mind speaking after the ideal, not after the apparent.—EMERSON.

(f) Poetry is the art of the mind ex—patiating in the inner space and in the inner time of the ideas and feelings. —HEGEL.

(g) Poetry is the art of doing by words what the painter does by means of colours.—MACAULAY.

(2) Poetry is any composition in verse.—WHATELY.

16

A. 1. Beth ydyw perthynas Barddoniaeth â Bywyd?

cf.

(a) Poetry is at bottom a criticism of life.—M. ARNOLD.

(b) Poetry must transfigure life.—AUSTIN. :(c) Poetry must assimilate life.——BAIN. :(d) Poetry must penetrate life.—SHAIRP. :(e) Poetry must produce a new and artificial concrete.—MASSON.

(f) Poetry must do nothing that can be formulated, it must simply elude.—SWINBURNE (G. & S.).

2. Beth ydyw swyddogaeth y Dychymyg mewn cyfansoddi Barddoniaeth a Nofel? Gwahaniaethwch,—os yn bosibl.

B. Cyfieithwch a beirniedwch:

(a) It is not the poet's business to relate what occurred, but what might occur.—ARISTOTL.

(b) The greatness of a poet lies in his powerful and beautiful application of ideas to life—to the question: How to live?—M. ARNOLD.

(c) Poetry is a transfiguration of life; in other words, an imaginative representation of whatever men perceive, feel, think, or do.—AUSTIN.

[A ydyw pob gwaith Dychymyg yn Farddoniaeth?]

(d) The elements of poetry lie in natural objects and in the experiences, emotions and relations of human life.—W. C. BRYANT (G. & S.).

(e) The poet is he who sees life newly, assimilates it emotionally, and contrives to utter it musically.—R. BUCHANAN (G. & S.).

(f) Poetry is an expression of the universalelement in human life.—ARISTOTL :(cyf. BUTCHER).

(g) Poetry is the art of producing pleasure by the just expression of imaginative thought and feeling in metrical language.—W. J. COURTHOPE.

(h) Poetry has ever recognised these two great offices, distinct though allied,—the one, that of representing the actual world; the other, that of creating an ideal region, into which spirits whom this world has wearied may retire.—AUBREY DE VERE.

17

A. 1. A oes berthynas rhwng Barddoniaeth ag Athroniaeth?

2. Eglurwch:

(a) The truth of poetry is essentially different from the truth of fact.

(b) Greek tragedies, though "founded on fact"—as the phrase goes—transmute that fact into imaginative truth.

(c) It is the privilege, nay, the duty of the poet ψευδή λέγειν ὡς δεῖ " to tell lies skilfully".

(d) Poetic truth passes the bounds of reality; but does not wantonly violate the laws which make the real world rational.—S. H. BUTCHER.

3. Rhoddwch enghraifft o'r peth hwn:

"The poet while he seems to be concerned only with the particular is in truth concerned with 'quod semper quod ubique'."—S.H.B.

B. Cyfieithwch a beirniedwch:

(a) The best poetry is that which is informed by the soundest philosophy.—J. DEWEY (G. & S.).

(b) :(i) Philosophy is the theory of life; poetry, the exposition of life.

(ii) The philosopher demonstrates the truth; the poet envisages.

(iii) The poet is nature's instrument, a seer, not a creator of new truth.

(iv) He creates only the form of that which he tells.

(v) He has the substance of the philosopher, but he sings uplifted by his message, not held down by its weight.G. S. MORRIS (G. & S.).

(c) All poets who have not been merely the playthings of their sensations have been philosophers.—ANON.

(d) Truth illuminates and gives joy; and it is by the bond of joy, not of pleasure, that men's spirits are indissolubly held.—M. ARNOLD.

(e) Il y a une vérité littéraire, ainsi qu'une vérité scientifique, et savez—vous le nom de la vérité littéraire? Elle s'appelle la poésie. —ANATOLE FRANCE.

h.y., Y. mae gwirionedd llenyddol, megis ag y mae gwirionedd gwyddonol; A wyddoch chwi enw'r gwirionedd llenyddol? Gelwir ef yn Farddoniaeth.

18

A. 1. Eglurwch:

(a) The artist's work is real in so far as it is always true; ideal in that it is never actual.—GOETHE.

(b) The work of the poet consists in presentations to sense.—GOETHE.

(c) No material is, strictly speaking, unpoetical as soon as the poet knows what to do with it.—GOETHE.

(d) The poet does not represent scientific, but artistic concepts. —GOETHE (G. & S.).

2. A ellir gwahaniaethu gwerth meddyliol Prydferthwch, Gwirionedd, a Daioni?

cf.
"Herder fails to distinguish between the sphere of beauty and those of truth and goodness." (G. & S.).

B. Cyfieithwch a beirniedwch:

(a) Poetry is the art of uniting pleasure with the truth by calling imagination to the help of reason.—S. JOHNSON.

(b) The function of poetry is to enchant the hearer with the changing and inex—haustible delight of beauty, freshness, and meaning; but the poetic appreciation varies with the sensitiveness of the hearer himself.

—JOUBERT (G. & S.). :(c) The poetic faculty is the power of intellectually producing a new or artificial concrete.—D. MASSON.

(d) Poetry is feeling confessing itself to itself in moments of solitude, and embodying itself in symbols which are the nearest possible representations of the feeling in the exact shape in which it exists in the poet's mind.—J. S. MILL.

(e) What is poetry but the thought and words in which emotion spontaneously embodies itself?—J. S. MILL.

(f) The noblest poetry is impersonal.—E. C. STEDMAN (G. & S.).

(g) Poetry should be the utterance of the Zeitgeist.—VON GOTTSCHALL.

[Zeitgeist = Time-Spirit—Ysbryd yr Oes.]

1. 1. aaa ##
   2. bbb ##

19

A. 1. Eglurwch:

(a) If it were not for the beautiful, the strife between sense and reason could not be allayed.

(b) If it were not for the sublime, we should be wedded by beauty to things of this world.

(c) If it were not for the pathetic, the sublime could not be elicited, nor tested, nor represented.

(d) All these aesthetic values are prerequisite to poetry.—SCHILLER (G. & S.).

2. Eglurwch:

(a) Beauty is truth, truth beauty,—that is all

Ye know on earth, and all ye need to know.

(b) What the imagination seizes as Beauty must be truth.

(c) A thing of beauty is a joy for ever.—KEATS.

B. Cyfieithwch a beirniedwch:

(a) Poetry in its matter and form is natural imagery, or feeling combined with passion and fancy.—HAZLITT.

(b) The end of poetry is to produce excitement in co-existence with an over-balance of pleasure.—WORDSWORTH.

(c) By exquisite analysis, the artist attains clearness of idea; then, through many stages of refining, clearness of expression.—W. PATER.

(a) Of all the fine arts, painting and sculpture only are imitative.—KAMES.

(e) In literature, the one aim of art is the beautiful.—JOUBERT.

(f) There is a sense, and a very proper sense, that, in a certain general way, style must suit subjects; that you ought not to write to a child of quality, aged five, as you would to queen Anne, aged fifty.—G. SAINTSBURY.

(g) Am Chateaubriand: Il s'était peint dans tous ses livres.—ANATOLE FRANCE.

h.y., Fe'i darluniai ei hun yn ei holl lyfrau.

1. 1. aaa ##
   2. bbb ##

20

A. 1. Rhoddwch restr o elfennau Rhyddiaith Dda.

2. Eglurwch y dyfyniadau canlynol o weithiau M. Arnold:

(i) Asiatic Prose; Extravagant, rich, imaginative, overloaded with metaphors full of caprices.

(ii) Attic Prose: warm glow, blithe movement, soft pliancy of life.

(iii) Corinthian Style: Glitter without warmth, rapidity without ease, effec—tiveness without charm. It has no soul. All it exists for is to get its ends, to make its points, to damage its adversaries, to be admired, to triumph.

3. Rhoddwch enghreifftiau o 2. :(i) :(ii) a :(iii) uchod o Lên Cymru.

B. Cyfieithwch a beirniedwch:

(a) The distinction between poets and prose writers is a vulgar error.—SHELLEY.

(b) On exécute mal ce qu'on n'a pas conçusoi—même.—CHARLOTTE CORDAY.

h.y., Gwael y mynegir yr hyn nas amgyffredwyd gan berson ei hun.

(c) No individual can be wholly original in the sense of being independent of his progenitors and predecessors.—J. A. SYMONDS.

(d) Il est impossible, en effect, de rien inventer. Toute notre imagination est faite de souvenirs.—ANATOLE FRANCE.

h.y., Yn wir, y mae'n amhosibl dyfeisio dim newydd. Cyfansoddir ein holl ddychymyg gan atgofion.

(e) Very polished languages are generally deficient in strength.—E. BURKE.

(f) Beth a olygai Voltaire wrth yr ymadrodd nombre et harmonie de la prose"?

(g) The needful qualities for a fit prose are regularity, balance, uniformity, precision,—M. ARNOLD.

1. 1. aaa ##
   2. bbb ##

21

A. 1. Eglurwch:

The three Laws of Literature are:

(i) The Intellectual form is the Principle of Vision.

(ii) The Moral form is the Principle of Sincerity.

(iii) The Aesthetic form is the Principle of Beauty.—G. H. LEWES.

2. Rhoddwch enghreifftiau i brofi a ganlyn:

"Poetry instinctively shrinks from colorless and abstract talk. Prose con—cerns itself with the sense alone; but poetry always seeks a concrete image."—GUMMERE.

(a) It is evident that none of the rules of Composition are fixed by reasonings a priori.—D. HUME.

(b) In all ancient critics there are two deficiencies:

(i) Limitation of the point of view.

(ii) The hamper of the scheme.

A yw hyn yn wir am danynt oll? e.e., Aristotl a Longinus.

(c) Selon lui :(Guy de Maupassant), il n'existe aucune règle pour produire une ouvre originale, mais il existe des règles pour la juger.—ANATOLE FRANCE.

h.y., Yn ôl Guy de Maupassant, nid oes unrhyw reol i gynhyrchu gwaith gwreiddiol, eithr y mae rheolau i'w farnu.

(d) As there are many beauties of poetry so the beauties of prose are many, and it is the business of criticism to estimate them as such.—W. PATER.

(e) Prose is words in good order; poetry the best words in the best order.—S. T. COLERIDGE.

(f) Le naturel dans l'art est ce qu'il y a de plus rare.—ANATOLE FRANCE.

h.y., Y peth prinnaf mewn celfyddyd ydyw naturioldeb.

22

A. 1. Beth ydyw prif brofion o Werth Esthetig darn o lenyddiaeth?

cf.
All the tests of Aesthetic Worth may be reduced. to three:

(i) Does the work possess qualities of ideal worth?

(ii) Does the work possess qualities of universal acceptability?

(iii) Does the work possess qualities of permanent vitality?—(G. & S.).

2. Sut y gwna'r Awen ei gwaith? Dyma ateb y Syr John Davies:

Thus does she, when from individual states She doth abstract the universal kinds, Which then reclothed in divers names and fates Steal access through the senses to our minds.

Eglurwch feddwl y llinellau,—ag enghreifftiau.

B. Cyfieithwch a beirniedwch:

(a) The absolute aesthetic worth of a literary production is decided on its own merits, purely, without reference to the stage of culture which it occupies, its artistic environment, or the value of similar productions past or present. A work of absolute aesthetic worth has universal import; it belongs to the litera—ture of the world.—(G. & S.).

(b) The stage of culture which it occupies, its artistic environment, or the value of similar productions past or present. A work of absolute aesthetic worth has universal import; it belongs to the litera—ture of the world.—(G. & S.).

(b) The relative aesthetic value of a literary production is determined by comparing it with similar productions of the nation, and especially of the period. (G. & S.).

(c) Aesthetic Criticism is always liable to personal bias or prejudice. (G. & S.).

(d) Fancy leaps and frisks, and away she's gone; while reason rattles the chain and follows after.—RYMER.

(e) Am Fyron: "Sobald er reflectirt ist er Kind."—GOETHE.

h.y., Y foment y dechrau ystyried, plentyn yw.

(f) Purely intellectual and purely sensual poetry fail alike by contradicting the law of poetry's existence.—J. A. SYMONDS.

(g) O for a life of sensations rather than of thoughts!—KEATS.

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A. 1. Beth ydyw cyflwr presennol Beirniadaeth Lenorol yng Nghymru?

cf. :(a) Literary Criticism has outgrown the stage of unquestioning acquiescence in tradition, authority, personal bias or prejudice. —(G. & S.).

(b) English Criticism is still largely personal, capricious, traditional, some—times mechanical, sometimes ignorant, and too frequently unregulated by control of any kind. —(G. & S.).

2. Pa un, :(a) neu :(b) uchod, sy'n wir am Feirniadaeth yng Nghymru heddiw? Rhoddwch enghreifftiau i ategu'ch barn.

3. Eglurwch:

(a) "Literary science is in a transitional stage; no longer static, nor yet organic, but genetic."—(G. & S.)

(b) "In periods of transition, mono-maniacs are forces."—(G. & S.).

B. Cyfieithwch a beirniedwch:

(a) It is evident that the attempt to limit the practice or the theory of criticism to one method or one school would end in formalism. —(G. & S.).

(b) In such a small territory as Wales criticism has peculiar difficulties.—SAUNDERS LEWIS.

e.e., (i) In no other branch of writing has the provincialism of the last hundred years left so deplorable a taint.—S. L.

(ii) Some enmity or pique or the memory of bitterness deflects the minds even of our best writers.—S. L.

(iii) The corrosion of provincialism shows itself generally in a certain freakishness, a lack of balance, a lack of that broad culture and matured humanism and European education which give criticism its value. The early criticism of Mr. W. J. Gruffydd betrayed many of these marks of provincialism.—S. L.

(c) But it is one of the signs of his constantly widening mind that more and more he casts them from him, so that there is no better reviewing in Welsh today than his own work in the pages of the "Llenor".—S. L.

(d) But certainly the writer who has done most to reveal and to foster the critical attitude in life and in literature is R. T. Jenkins.—S. L.

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A. I. "The more a critic the poet is, the more he injures his poetry."

A ydyw hyn yn wir am feirdd yn gyffredinol? A ydyw yn wir am feirdd Cymru'n neilltuol?

2. Eglurwch: Il faut aussi que les pauvres d'esprit aient leur idéal.—ANATOLE FRANCE.

h.y., Rhaid i dlodion o ysbryd hefyd feddu ar eu delfryd.

3. A oes berthynas rhwng datblygiad Gwareiddiad a datblygiad Llenyddiaeth? Pa fodd yr effeithiant ar ei gilydd? Rhoddwch enghreifftiau.

B. Cyfieithwch a beirniedwch:

(a) As civilization advances the literary imagination suffers a decline.—MACAULAY.

(b) Every singer is a new miracle . . . no growth developed out of preceding poets, but something sprung from an impulse which is not reducible to law.—MRS. OLIPHANT.

(c) The ideal and the beautiful are complements of each other. —(G. & S.).

(d) Credo lenyddol y bardd a'r beirniad Dryden:

(i) Poetry is not a copy, but a lively imitation of nature.

(ii) Its field is as broad as human life.

(iii) The final test of its excellence is its fidelity to that which is essential in nature and in life.

(iv) Its end is to teach man by way of pleasing him.

(v) The means available to this end are knowledge of nature, justness of imitation, equality' of thought, propriety of expression, and sweetness of numbers.—(G. & S.).

(e) The heroic poem is the greatest work which the soul of man is capable to perform.—DRYDEN.

(f) Every good poet includes a critic; the reverse will not hold. SHENSTONE.

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A. 1. Eglurwch:

(a) By losing tradition, we lose our hold on the present. —T. S. ELIOT.

(b) No man can invent a literary form, create a taste for it, and perfect it too.——T. S. E.

2. Ennwch rywrai, yn hanes Llên Cymru, a greodd ryw ffurf newydd ar Farddoniaeth neu Rhyddiaith. A arferir y ffurf honno heddiw? Nodwch enghreifftiau.

3. Beth ydyw ffaeleddau cyffredin arloeswyr ym mhob maes,—ac yn arbennig ym maes Beirniadaeth Lenorol?

4. A welir rhai o'r ffaeleddau hyn ym Meirniadaeth Lenorol Cymru heddiw?

B. Cyfieithwch a beirniedwch:

(a) Criticism is a process that goes on over all the field of human knowledge, being simply comparison, or clash of opinions.—J. M. ROBERTSON.

(b) The critics of the Romantic period were pioneers, and exhibit the fallibility of discoverers.T. S. ELIOT.

(c) If you think you are to write, you will never write anything worth hearing. I write because I cannot help it.—MOZART.

(d) When one creative mind is better than another, the reason often is that the better is the more critical.—T. S. ELIOT.

(e) In the drama the poetic imitation of life attains its perfect form.—S. H. BUTCHER. :(f) Men of genius obey a movement quite as much as they control it, and even more than they create it.—J. A. SYMONDS.

(g) Celui qui crée est un homme libre, celui qui juge est un ilote.—ANATOLE FRANCE.

h.y., Dyn rhydd yw'r gŵr a grea, caeth—was yw'r gŵr a farn.

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A. 1. Eglurwch:

(a) The Drama is a typical representation of human action; its mainspring is motive; what is motiveless or uncaused is alien to it.—S. H. BUTCHER.

(b) Action is the differentia of Drama, and must ever remain the primary and controlling principle.—S.H.B.

(c) The Drama is Will or Emotion in Action.—S.H.B.

(d) The emotions must harden into will, and will express itself in deed.—S.H.B.

2. Beth ydyw anhepgorion Plot mewn Drama neu Nofel?

B. Cyfieithwch a beirniedwch:

(a) Plot is artistically the first necessity of the Drama. For the Drama, in its true idea, is a poetical representation of a complete and typical action, whose lines converge on a determined end; which evolves itself out of human emotion and human will in such a manner that action and character are each in turn the outcome of the other.—S.H.B.

(b) The Dramatic action forms a complete whole; it is a coherent series of events, standing in organic relation to one another and bound together by the law of cause and effect. The internal centre, the pivot round which the whole system turns, is the Plot.—S.H.B.

203 :(c) The characters are Dramatic only so far as they are grouped round this centre, and work in with the movement of events towards an appointed end. Free and self-determined though they are, they exercise their freedom within a sphere which is prescribed by this primary condition of Dramatic Art.—S.H.B.

[T.S.E.=T. S. ELIOT, "The Sacred Wood" =Essays on Poetry and Criticism.]

A. 1. Eglurwch:

(a) Eriger en lois ses impressions per—sonelles, c'est le grand effort d'un homme s'il est sincère. —:(Lettres â l'Amazone.)

h.y., Dyrchafu ei argraffiadau personol yn ddeddf,—dyna ymdrech fawr dyn os ydyw'n ddiffuant.

(b) Poetry is the highest objectification of the idea of man.—SCHOPENHAUER.

(c) Poetry represents everything for which verbal signs have been invented.—S. COLVIN.

2. There have been many poets of more promise than performance, medd Saintsbury.

A ydyw hyn yn wir am rai o feirdd Cymru,—hen a diweddar?

(a) Arnold, it must be admitted, gives us often the impression of seeing the masters whom he quotes, as canonical literature, rather than as masters.—T.S.E.

(b) One must be firmly distrustful of accepting Aristotle in a canonical spirit; this is to lose the whole living force of him.—T.S.E.

(c) In matters of importance the critic must not coerce, and he must not make judgments of worse and better; he must simply elucidate; the reader will form the correct judgment for himself.—T.S.E.

(d) Our critics are often interested in extracting something from their subject which is not fairly in it.—T.S.E.

(e) The only cure for Romanticism is to analyse it. What is permanent and good in Romanticism is curiosity.—T.S.E.

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A. 1. Beth ydyw'r gwrthddadleuon yn erbyn Rhamantyddiaeth? A ellwch eu hateb hwynt?

2. Eglurwch y dywediadau canlynol:

(i) A critic is often the victim of his temperament.

{{nop}]

(ii) The works of a living author should not be judged by the canons of dead critics. A living dog is better than a dead lion."

(iii) The progress of an artist is a continual self—sacrifice, a continual extinction of personality.—T.S.E.

3. Beth ydyw perthynas Rhamantyddiaeth â Thraddodiad? Beth ydyw lle Traddodiad mewn Beirniadaeth Lenorol?

B. Cyfieithwch a beirniedwch:

(a) Romanticism is a short cut to strangeness without reality, and it leads its disciples only back upon themselves.—T.S.E.

(b) There may be a good deal to be said for Romanticism in life, there is no place for it in letters.—T.S.E.

(c) The important critic is the person who is absorbed in the present problems of art, and who wishes to bring the forces of the past to bear upon the solution of these problems.—T.S.E.

(d) It is part of the business of the critic to preserve tradition,—where a good tradition exists.—T.S.E.

(e) Honest criticism and sensitive apprecia—tion is directed not upon the poet, but upon the poetry.—T.S.E.

(f) By maintaining literary traditions, Criticism perpetuates from age to age the literary consciousness of the nation.—BRUNETIÈRE.

(g) Il est plus facile de railler que d'égaler.—ANATOLE FRANCE. h.y., Haws goganu na gwneuthur cystal.

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A. 1. Eglurwch:

(a) The great ages did not perhaps produce much more talent than ours; but less talent was wasted.—T.S.E.

(b) Every work of imagination must havea philosophy.—T.S.E.

2. Beth ydyw perthynas artist—bardd, arlunydd, cerflunydd, cerddor, llenor, beirniad â'r teimladau a fynegir ganddo? A raid iddo feddu ar brofiad personol o honynt cyn y gall eu mynegi gyda chywirdeb ac effeithiolrwydd?

B. Cyfieithwch a beirniedwch:

(a) The business of the poet is not to find new emotions, but to use the ordinary ones and, in working them up into poetry, to express feelings which are not in actual emotions at all.—T.S.E.

(b) Emotions which he has never experienced will serve his turn as well as those familiar to him.—T.S.E.

(c) Poetry is not a turning loose from emotion, but an escape from emotion; it is not an expression of personality, but an escape from personality.—T.S.E.

(d) There are many people who appreciate the expression of sincere emotion in verse, and there is a smaller number of people who can appreciate technical excellence.—T.S.E.

(e) The emotion of art is impersonal.—T.S.E.

(f) Ton secret pour te faire entendre, C'est de laisser parler ton cœur.—FLORIAN.

h.y., Dy gyfrinach er peri i bobl dy ddeall ydyw,—gadael i'th galon siarad.

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A. 1. Ai fel beirdd Rhamantus neu fel beirdd Clasurol y disgrifiwch a ganlyn?—

Dafydd ap Gwilym; Williams, Pantycelyn; Wordsworth; John Morris-Jones; R. Williams-Parry; Cynan. Goronwy Owen; Milton; Browning; J. J. Williams; T. Gwynn Jones; Elfed.

2. A ydyw Rhamantyddiaeth wedi effeithio ar Rhyddiaith Ddiweddaraf Llên Cymru,—oddiar 1900, dywedwch? Rhoddwch enghreifftiau.

3. Beth a olygir wrth "y Traddodiad Llenyddol Cymreig " y cyfeirir ato mor fynych?

B. Beirniedwch:

(a) Am Ddafydd ap Gwilym: Dafydd's claim to fame is based on his treatment of nature and out-of-door life . . . and Welsh literature may claim the distinction of having had its Wordsworth in the 14th century.—W. J. GRUFFYDD (Encyc. Brit., v. td. 644).

(b) Gwelaf fod yr Athro Abercrombie yn ei gyfrol olaf, Romanticism, yn gwadu mai bardd rhamantus oedd Wordsworth, ac yn ei roi ym mysg y beirdd clasurol. Credaf ei fod yn gwbl iawn.—SAUNDERS LEWIS (Williams Pantycelyn, td. 235).

(c) Williams :(Pantycelyn) oedd y bardd rhamantus, a'r bardd modern, cyntaf yn Ewrop. ibid. (td. 17).

(d) Traddodiad yw hanfod pob addysg. ibid. (td. 16).

(e) Prin iawn y dechreuwyd eto astudioestheteg ein clasuron :(Cymreig). ibid. (td. 16).

(f) A heb hynny, gellir mentro dweud, ni cheir gennym fyth feirniadaeth ddiogel na gwreiddiol yng Nghymru. ibid (td. 16).

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[S.L. Saunders Lewis (Williams Pantycelyn.]

A. 1. Pa gyfnod a olygir wrth y Cyfnod Clasurol yn Llên Cymru?

2. Beth oedd egwyddorion beirniadaeth y Cyfnod Clasurol hwnnw?

3. A oes y fath beth ag Estheteg Gymreig? Os oes, rhoddwch rai o'i hegwyddorion a'i nodweddion gwahaniaethol, a dyfynnwch enghreifftiau eglurhaol.

4. Eglurwch, yn ofalus, ddywediad cynhwysfawr Simwnt Fychan; "Ni wnaed cerdd ond er melyster i'r glust ac o'r glust i'r galon."

5."Creu ceinder, symbol o berffeithrwydd, oedd delfryd y beirdd clasurol."—S.L.

Beth a olygir wrth "geinder" a "pherffeithrwydd" yn y frawddeg hon?

B. Beirniedwch:

(a) Un rheswm dros alw'r cyfnod 1330-1640 yn Gyfnod Clasurol yw mai dyna'r cyfnod a welodd grisialu y meddwl Cymreig am farddoniaeth.—S.L.

(b) Dyma gyfnod y gwŷr wrth gerdd, y llenorion proffesedig, amseroedd ysgolion y beirdd a'r athrawon mewn prydyddiaeth a beirniadaeth.—S.L.

(c) Fe dyfodd ac fe addfedodd yn yr ysgolion hynny gorff o feirniadaeth lenyddol a damcaniaethau am lenyddiaeth sy'n ddifwlch o Einion Offeiriad hyd at Simwnt Fychan.—S.L.

(d) Y damcaniaethau hyn yw prif gyfraniad Cymru i feddwl esthetig Ewrop.—S.L.

(e) Williams :(Pantycelyn) yw'r bardd pwysig cyntaf ar ôl y Cyfnod Clasurol, ac yr oedd ei ffilosoffi ef, ei dyb am natur ac amcanion barddoniaeth, yn groes i holl ddamcaniaethau'r Estheteg Gymreig.—S.L.

(f) Dwy gelfyddyd gain yn unig a gydnabuwyd yn yr Oesoedd Canol, sef, cerdd dafod a cherdd dant.—S.L.

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A. 1. Beth ydyw perthynas profiad esthetig â'r mynegiant o hono? A ydyw profiad yn gyflawn, ac yn eiddo personol sicr, pan nas mynegir o gwbl?

2. Eglurwch:

(a) Cynnyrch ewyllys bardd oedd y farddoniaeth glasurol, ac yntau bob Amser yn feistr, yn bensaer, yn cyllunio harddwch.—S.L.

(b) Goddef profiadau, eu trysori a'u mynegi yn eu cyflwr cyntefig niwlog, ceisio awgrymu mewn geiriau ryfeddod [sic] tywyll a dïeithr ei weledigaeth, dyna duedd aml fardd rhamantus.—S.L.

B. Beirniedwch:

(a) Deil Benedetto Croce, yr athronydd o'r Eidal, yn ei lyfr ar Estheteg," fod mynegi profiad yn rhan o'r profi, yn foddion i feddiannu'r profiad yn llawn".—S.L.

(b) Fe sylla'r artist, a syllu'n hir oni welo, a gweld yn llawn. A'i weledigaeth yw ei fynegiant. Trwy fynegi'r peth fe'i deil yn bendant ac yn fanwl o flaen ei feddwl. Y mae'n meistroli a meddiannu ei brofiad.—S.L.

(c) Gwaith y meddwl yn ei reoli ei hun yw beirniadaeth.—S.L.

(d) Gorwedd unoliaeth gwaith y beirdd clasurol yn eu hewyllys a'r delfryd artistig a'u llywodraethai.—S.L.

(e) Wrth astudio bardd fel Goronwy Owen, sy'n grefftwr yn y dull clasurol, pwysig yw chwilio o ble y cafodd ef ddeunydd ei waith, a pheth a fenthyciodd ef gan eraill.—S.L.

(f) Gwrthryfel yn erbyn clasuraeth y ddeunawfed ganrif oedd rhan fawr o waith Pantycelyn.

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A. 1. Eglurwch:

(a) Teipiau oedd testunau beirdd y Cyfnod Clasurol yng Nghymru.—S.L.

(b) Meithrinwyd cerdd dafod i drin teipiau perffaith yr ideâu Platonaidd a'r dogmâu Cristnogol.

(c) Yn yr Oesoedd Canol, oesoedd meddwl synthetig, yr oedd y berthynas rhwng llên ac athroniaeth Cyfnod yn agos iawn.—S.L.

2. Beth ydoedd effeithiau Clasuryddiaeth Gymraeg ar yr iaith,—ei chystrawen, ei geirfa, ei phriod-ddulliau?

3. Pa beth a gyfrif am brinder termau Gwyddonol yn y Gymraeg?

B. Beirniedwch:

(a) Ar sylfeini athronydd yr adeiladwyd beirniadaeth lenyddol a barddoniaeth Gymraeg, a dyna'u gogoniant hwynt.—S.L.

(b) Sylweddau, nid pethau diflan, oedd deunydd barddoniaeth. Pethau tragy—wydd, nid pethau amser. Dyna'r allwedd i'r Traddodiad llenyddol.—S.L.

(c) Colled bob amser yw astudio llên cyfnod heb sylwi hefyd ar athroniaeth a syniadau cyffredin y cyfnod.—S.L.

(d) Ni allesid codi cynghanedd ond ar sail athroniaeth a syniadau beirniadol yr Oesoedd Canol.—S.L.

(e) Nid symud ymlaen tuag at feddyliau newydd yw dull canu'r beirdd clasurol Cymreig, ond troi mewn cylch,—cylch perffeithrwydd y planedau—a gorffen yn y fan a'r gair y cychwynnwyd, celfyddyd y bardd yn arwyddo natur dragywydd ei destun. Dyna gynllun cyson awdlau Dafydd Nanmor.—S.L.

(f) Yr oedd un peth na bu erioed raid ar y traddodiad llenyddol Cymraeg na'r iaith Gymraeg eu haddasu eu hunain iddo, peth a esgeuluswyd yn ormod yn yr Oesoedd Canol: sef Gwyddoniaeth. Yn yr ail ganrif ar bymtheg y daeth Gwyddoniaeth i'w chyfoeth yn Ewrop, ac erbyn hynny darfuasai ysgolion y beirdd Cymraeg—S.L.

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A. 1. Eglurwch:

(a) Bardd cyntaf y meddwl modern yw Pantycelyn.

(b) Yr oedd yn amddifad o feddwl metaffysegol a synthetig.

(c) Yr oedd yn hyddysg mewn seryddiaeth ac yn gyfarwydd â syniadau gwyddonol ei oes mewn bywydeg a meddygiaeth.

(d) Ac yn fwy na'r cwbl yr oedd yn arloesydd disglair yr wyddoniaeth ieuangaf, sef eneideg.—S.L.

2. Beth ydyw nerth a gwendid :(i) Iaith Lenyddol :(ii) Iaith Werinol pob cyfnod? A ddylanwada'r naill ar y llall? A pha un y mae a fynno Beirniadaeth Lenorol? [Gwêl Williams Pantycelyn, td. 215—216.]

B. Beirniedwch:

(a) Ni bu fardd erioed mewn unrhyw wlad yn berchen athrylith wyddonol lwyrach nag ef :(Pantycelyn).—S.L.

(b) Hynny a gyfrif am ryfeddod eneideg—ol Theomemphus, y testun pwysicaf a gyflwynodd llenyddiaeth hyd yn hyn i wyddoniaeth.—S.L.

(c) Yr oedd yr iaith lenyddol fel y daeth hi i Williams (Pantycelyn), drwy'r Beibl a'r cyfieithwyr ac Ellis Wynne a Theophilus Evans, yn sialens enbyd i'w fedr.—S.L.

(d) Ger ei law, fodd bynnag, yr oedd iaith arall,—Cymraeg tafodiaith, gwytnach na'i chwaer, yr iaith lenyddol.—S.L.

(e) Y peth a wnaeth ef oedd cymysgu'r ddwy iaith a'u defnyddio'n gyfrodedd â'i gilydd, a thrwy hynny greu iaith lenyddol newydd a phriodol iddo'i hun.—S.L.

(f) Yr oedd Pantycelyn yn awdur mwy toreithiog nag Ellis Wynne. Yr oedd hefyd yn llai beirniadol, hynny yw, yn llai artist.—S.L.

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A. I. Ai mantais neu anfantais i lenyddiaeth, fel celfyddyd, ydyw cadw y gwahaniaeth rhwng Iaith Lenyddol ac Iaith Werinol?

2. Beth a olygir wrth "ganu rhydd"? ac with "dechneg" canu rhydd? A oes i ganu rhydd" egwyddorion heblaw eiddo Mesur, Acen, Corfan, Rhythm, ac Odl?

Os oes, eglurwch hwynt âg enghreifftiau yn y Gymraeg,—o ddrama fydryddol Saunders Lewis—"Blodeuwedd"—efallai.

3. Eglurwch: "Nid oes i'r emyn unrhyw egwyddorion artistig ond y sy'n gyffredin i bob math arall o farddoniaeth rydd."—S.L.

B. Beirniedwch:

(a) Gwaith artist traddodiadol yn y bôn yw'r "Bardd Cwsg," a'r darnau tafodiaith yn y llyfr wedi eu dethol yn ôl bwriad artistig.—S.L.

(b) Gweu dulliau ac ymadroddion llafar gwlad i mewn i frethyn yr iaith lenyddol a wnaeth Ellis Wynne, a thrwy hynny gychwyn traddodiad mewn rhyddiaith Gymraeg a erys hyd heddiw, tyst o straeon byr Miss Kate Roberts sydd yn ei olyniaeth ef.—S.L.

(c) Ys gwir bod beirdd a beirniaid hyd heddiw yng Nghymru, a rhai o honynt yn wŷr o bwysau, yn cyfrif sillafau mewn canu rhydd. Ni all y rheini ddeall crefft Pantycelyn.—S.L.

(d) Nid oes gan Williams ddim i'w ddysgu am grefft y canu rhydd gan neb a'i dilynodd.—S.L.

(e) Gellir dysgu egwyddorion y mesurau rhyddion yn unig o astudio ei waith ef. —S.L.

(f) Iaith Pantycelyn yw cyfrwng y farddoniaeth hynotaf a sgrifennir heddiw, a mawr yw dyled y ddrama iddi.—S.L.

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A. 1. Ym mha beth y trig gwerth pennaf Emyn? Yn ei farddoniaeth? Ei gyfriniaeth? Ei ddiwinyddiaeth? Ei ysbrydolrwydd? Ei symlrwydd? Ei brofiad? Ei ffurf? neu ei fater?

2. Beth ydoedd dylanwad Pantycelyn a'i waith ar grefydd, emynyddiaeth, a llenyddiaeth gyffredinol Cymru?

3. Beth ydyw safle Pantycelyn yn hanes Rhamantyddiaeth yng Nghymru, ac yn Ewrop?

4. Eglurwch: "Tuedd y meddwl rhamantus yw gwneud yr unigolyn a'i brofiad eithriadol yn unig awdurdod mewn bywyd ac unig sylfaen bywyd."—S.L.

B. Beirniedwch:

(a) Cymerwyd emynau Pantycelyn, aethant yn rhan o fywyd y genedl, yn rhan—sylwer—o fywyd ymarferol y genedl. Nid barddoniaeth mohonynt mwy, ond offerynnau ymarferol bywyd crefyddol, moddion gras" fel y gelwid. —S.L.

(b) Bu ganddo effaith ar waith emynwyr ar ei ôl, ond nid effeithiodd ef ddim ar grynswth llenyddiaeth, na dim ar ddamcaniaethau llenyddol nac ar feirniadaeth.—S.L.

(c) Nid oes i Bantycelyn ran uniongyrchol o gwbl yn natblygiad llenyddol y ganrif ddiwethaf.—S.L.

(d) Byddai'n dda pe cofiai rhai o elynion llenyddiaeth ifanc heddiw hynny, pheidio mwyach â'n cynghori ni i "gofio Pantycelyn yr un pryd."—S.L.

(e) Les plus beaux mots du monde ne sont que de vains sons, si on ne les comprend pas. Voilâ une vérité dont la jeune littérature n'est pas assez pénétrée.—ANATOLE FRANCE.

h.y., Nid ydyw'r geiriau prydferthaf yn y byd namyn seiniau ofer, onis deëllir hwynt. Dyna wirionedd nad yw llenydd—iaeth ieuanc wedi ei thrwytho'n ddigonol ag ef.

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37

A. 1. Eglurwch:

(a) Cymwynas Williams i'r byd modern, yn neilltuol i Gymru fodern, oedd rhoi raison d'être i farddoniaeth.

(b) Goronwy Owen, drwy ei farddoniaeth a'i lythyrau, a sylfaenodd lenyddiaeth Gymraeg y ganrif ar ei ôl.

2. Cymherwch gyfraniadau Goronwy Owen ac eiddo Williams Pantycelyn i lenyddiaeth Cymru, a'u dylanwad ar fywyd y genedl fel cyfangorff.

3. Cymherwch fywgraffiad awen ac enaid Pantycelyn ag eiddo Goethe.

B. Beirniedwch:

(a) Onid un o brif achosion tlodi barddoniaeth y ganrif ddiwethaf oedd cefnu ohoni ar Bantycelyn?—S.L.

[cf. 36 B. :(d).]

(b) Condemniodd Goronwy Owen y byd newydd :(modern). Derbyniodd Williams ef ynghyd â'i holl unigoliaeth, a chael ynddo sylfaen ddisigl i farddoniaeth o fath newydd.—S.L.

(c) A ddylid dadlau mai Rhamantiaeth yw'r syniad terfynol am natur llenyddiaeth yn y byd modern? Ni chredaf hynny o gwbl, a thybiaf fod hanes a gwaith Pantycelyn yn tystio yn erbyn hynny.—S.L.

(d) Perygl y bardd rhamantus yw ymŵyro dros ddrych ei feddwl ef ei hun a chyfrif holl dueddiadau'i natur yn gydwerth, rhoi mynegiant i'w brofiadau heb geisio effeithio arnynt na newid ei gymeriad ei hun.—S.L.

(e) Darllener cofiannau'r beirdd rhamantus yn Ewrop, ac fe welir mor eithriadol yw gyrfa Pantycelyn. Nid oes ond hanes Goethe yn hafal i'w hanes ef, a bardd oedd Goethe hefyd a dyfodd drwy rhamantiaeth i wastadrwydd a chytgord.—S.L.

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38

A. 1. Eglurwch:

(a) Croniclo y mae'r hanesydd, ond y mae'r bardd yn efelychu natur trwy greu fel hi ei hun.—J. MORRIS-JONES.

(b) Y mae'r dychymyg yn efelychu natur trwy ddarparu tanwydd i'r enaid; ond pan gyneuo yn yr enaid, tân natur ei hun yw hwnnw. —J.M.J.

(c) Ni ellir dysgu hanfod arddull i neb.—J.M.J.

2. Rhoddwch enghreifftiau i brofi a ganlyn:

(a) Ar fesur syml rheolaidd y mae caniadau mawr y byd.—J.M.J.

(b) Gwaith a diben celfyddyd ydyw efelychu natur a gwella arni.—J.M.J.

B. Beirniedwch:

(a) Trosedd llenyddol ydyw dilyn tafodiaith lle bo safon llên yn glir.—J.M.J.

(b) Y mae'r Beibl yn cadw'r hen draddodiad yn llawer cywirach na'r un o'r tafodieithoedd yng Ngogledd na Deau; ac y mae'n awdurdod uwch na'r un o honynt yn y peth hwn.—J.M.J.

(c) O natur y cad dulliau pob crefft, ond y mae'r crefftwr yn etifedd profiad oesoedd o'u dethol a'u harfer.—J.M.J.

(d) Dawn natur ydyw'r gallu i ganfod prydferthwch iaith, ac yn arbennig i dderbyn ei argraff, a'i atgynyrchu mewn meddyliau newydd.—J.M.J.

(e) Ond y mae cyneddfau dyfnach na dawn ymadrodd yn llunio'r arddull: deall, dychymyg, teimlad; a llygad, a chlust; ac, yn llywodraethau'r cwbl, barn.—J.M.J.

(f) Yng ngair y profiad y mae hedyn y delyneg; yn yr adroddiad y mae hedyn y gerdd hanes; ac yn yr efelychiad y mae hedyn y ddrama.—J.M.J.

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39

A. 1. Eglurwch:

(a) Pobl y meddyliau duon sy'n medru ysgrifennu barddoniaeth orau.—KATE ROBERTS.

(b) Tueddir ni i gredu wrth ddarllen rhai o'r Naw Stori :(o "Gors y Bryniau") fod Miss Roberts yn dibynnu weithiau ar y cof yn hytrach nag ar y dychymyg, ei bod yn rhy barod i wneuthur ffotograff yn lle paentio darlun.—W. J. GRUFFYDD.

(c) Nid yw gweled pobl fel y maent yn beth hawdd: ni all llygad cyffredin diawen ganfod y gwrthrych fel y mae.—W.J.G.

2. Beth ydyw'r gwahaniaeth rhwng nofel a stori fer?

B. Beirniedwch:

(a) Pryderon a meddyliau duon sydd wedi gweu'r defnydd i Miss Roberts hefyd, a gallodd drin y defnydd hwnnw yn ei ffurf grai. Y mae hyn yn beth hollol newydd yn hanes y nofel yng Nghymru.—W. J. GRUFFYDD.

(b) O flaen Miss Roberts ni allodd neb yng Nghymru drin ei ddefnydd yn uniongyrchol. Bu raid iddynt i gyd ei basio drwy ffatri oedd wedi arfer â thrin y defnydd yn ei ffurf gyntaf, a chymryd cynnyrch honno fel sylwedd eu straeon.—W.J.G.

(c) "Y capel ac Achos crefydd" oedd y ffatri honno. . . O'r capel y cymerodd Daniel Owen a Dewi Williams eu defnyddiau, ar ôl i un broses weithredu arnynt, a'u gwneuthur o gymaint â hynny'n ystwythach ac yn haws eu trin.—W.J.G.

(d) Y mae barn wedi bod arnynt, a phob cwestiwn yn eu cylch wedi ei ateb pa un a oedd yr ateb yn gywir ai peidio, nid yw hynny'n gwneuthur dim gwahaniaeth.—W.J.G.

(e) Nid oes dim ôl na rhith o ddim proses o'r fath ar broblemau Miss Roberts; nid yw'r capel na barn ardal na rhagfarn cenedl na dim arall wedi llyfnhau dim ar y garw.—W.J.G.

40

A. 1. Eglurwch:

(a) Y ddrama yw'r cyfrwng gorau i gyflwyno curiad y galon genedlaethol i'r wlad ac i'r byd.—D. R. DAVIES.

(b) Gan iddi ddyfod o ffrydiau crefyddol, anodd ydyw deall yr elyniaeth a ddangosid tuag ati yn y gorffennol, ac hyd yn oed heddiw, a hithau'n beth mor hanfodol genedlaethol yn ei chymeriad.—D.R.D.

(c) Yn y ddrama, dylid arddangos bywyd yn ei brydferthwch noeth, ac nid yn ei goeg degwch.—D.R.D.

2. Ymha faes y ceir y deunydd cyfaddasaf i gyfoethogi a datblygu'r Ddrama yng Nghymru?—

(i) Cyfieithiad?

(ii) Efelychiad?

(iii) Chwedloneg Cymru?

(iv) Hanes Cymru?

(v) Bywyd Cymdeithasol Cymru?

(vi) Bywyd Dynoliaeth yn gyffredinol?

B. Beirniedwch:

(a) Nid oes gennym :(yng Nghymru) un ddrama genedlaethol odidog, ac nid oes gennym ychwaith un ddrama glasurol.—D. R. DAVIES.

(b) Gall Cyfieithiad, hyd yn oed ar ei orau, wneuthur mwy o ddrwg na daioni i ddrama sydd yn ei mebyd.—D.R.D.

(c) Y mae cyfieithiad sâl yn waeth na bod heb gyfieithiad o gwbl.—D.R.D.

(d) Y mae efelychiad nid yn unig yn ddichonadwy ond yn gyfreithlon, buddiol, a chymeradwy; ond gall gormodedd o hono andwyo tyfiant ein drama genedlaethol.—D.R.D.

(e) Nid cyfieithiad ac nid efelychiad ydyw'r meysydd priod i ddramâwyr Cymru, eithr ein hanes,—gyda'r digwyddiadau cyffrous a phwysig. Y mae angen hanesydd—ddramâwr arnom.—D.R.D.

(f) Erys inni y ddrama sy'n ymdrin â chymdeithas yn ei gwahanol agweddau, a dyma'r maes ehangaf.

—D.R.D.

(g) Y mae yn nrama cymdeithas bosibilrwydd rhoddi i'r bobl gelwydd dichonadwy, a gwirionedd annichonadwy.—D.R.D.