Dal gyda Bob Delyn, yn yr erthygl hon gan Meic Llewellyn, mae’r awdur yn defnyddio “Seans Watcyn Wynn” fel enghraifft o’r ffyrdd mae cerddorion Cymraeg modern yn “ail-ddyfeisio” traddodiad er mwyn creu eu negeseuon cyfoesol. (Rhyw brith gof ’da fi mod i wedi blogo hyn o’r blaen. Sdim ots, mae’n sdwff da.)

So dense is this work, both in language and musical structure, as well as in the range and variety of its allusions and references, that an approach to it in the space available here is bound to be no more than a scratching of the surface; but however incomplete the analysis, I print the lyrics and a translation in full below, to enable some of its richness and flow to be appreciated. Even to non-Welsh speakers, the linguistic and metrical complexity and exactness of the third verse, for example, must be striking; there are three feminine rhymes, followed by five masculine (the letter ëyí in Welsh, when at the end of a word, makes a sound very close to ëuí – both could be rendered into English as ëeeí). The wandering, bell-like patterns of double and triple internal alliteration, assonance and half-assonance, known in Welsh literature as cynghanedd, are in Twmís own words ëimmensely difficult to learn, but once youíve mastered them, they give you such freedom…í (interview with the author on videotape ëRockiní a Small Boatí, undistributed, 1996).

Dw i’n mynd i weld Bob Delyn heno.