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Ieuan Deulwyn (fl. c. 1460) was a Welsh language poet or bard. ==Poetry== A collection of fifty of the poems of Ieuan Deulwyn were published in 1909 under the auspices of the Bangor Welsh Manuscripts Society, thanks to Ifor Williams.〔Ifor Williams, ''(Casgliad o Waith Ieuan Deulwyn )'', Bangor Welsh MSS Society, 1909〕 Ieuan Deulwyn belonged to the school of Dafydd ap Gwilym, as did Bedo Brwynllys, Dafydd ab Edmwnd and others. Because they have similar styles, their work is constantly attributed to each other, which makes definitive identification of Ieuan’s poetry difficult. Williams used the evidence of multiple manuscripts as a determination of which poems to include in his collection, which may have resulted in some of Deulwyn’s poems being excluded, but we are fortunate indeed in the edition that was published, complete with explanatory footnotes, notes about many of the subjects, and indexes of both people and places. Ieuan clings to one metre, the ''cywydd''. There are several types of cywydd, each with strictly defined rules that were well established by Ieuan’s time. In the less rigid forms of poetry to which we are accustomed in English, strict rules might seem to result in a staid or dry poetry. But, as Glanmor Williams says, “Far from being fetters which intolerably shackle the poet’s ability to express himself freely, (rules of cynghanedd and cywydd ) become adornments which add to the power as well as the elegance of the verse”.〔Glanmor Williams, ''Recovery, Reorientation and Reformation, Wales, c.1415-1642'', University of Wales Press, 1987, p151〕 No wonder it took at least nine years to become a master poet! Of course these rules developed around the Welsh language, complicating translation of the poetry into English. One poem that has been translated into English is an elegy for Dafydd Fychan ap Dafydd of Llyn-went, Llanbister, Radnorshire, and his friend Ieuan ap Gruffudd ap Hywel Llwyd of Cloch-faen, Llangurig, Montgomeryshire.〔J.Y.W. Lloyd, ''(The History of the Princes, the Lords Marcher and the Ancient Nobility of Powys Fadog, vol. 2 )'', London, 1882, pp 274-6〕 The friends were slain in an ambush during the reign of Henry VI. Ieuan’s best work is considered to be in his love poems, which comprise the majority of his collected works (22 of 50 poems). Williams says that he is “above all a poet of love.” And George Borrow opines that “Ieuan Deulwyn’s most beautiful production is his cywydd to a birch tree.” Borrow suggests this might have some relation to the “deulwyn” part of his name,〔Clement Shorter, ''(The Works of George Borrow: Wild Wales Cancelled Passages and Other Writings on Wales )'', Constable & Co. Ltd., 1926, p203〕 but the word for birch, ''bedwen'', can also mean a symbol of constancy in love. For Ieuan, this quality apparently superseded marriage, as one of his poems, “To a Cuckold,” implies. This poem is also described as a “poem to his love who had alienated him after marrying a wealthy churl.” The expectation that a married woman would remain faithful to her former lover might reveal something about the society in which he lived or perhaps the character of the poet. After all, his teacher was Dafydd ap Gwilym. Deulwyn’s poems have the usual romantic references, but his melancholy laments are even better: “What of love? What does it matter? Taste is the craving of men. Sweet is thy kiss If the bruise of a strawberry is sweet.” As Professor Williams observes, Deulwyn complains about the waiting, the longing, and his aching, like every lover. He knows well how to turn a sweet verse, but understanding the puzzling personality of Gwen is too much for him. Like his skilled teacher, he jokes about the deplorable condition to which he was driven by love, even to the loss of his hair! Deulwyn sometimes borders on what might be considered blasphemy in other ages. In praise of the generosity of Sion ap Dafydd of Llysnewydd, he says in his elegy: “If he is in his () home, God will not be without a drink of wine.” “Do not be so treacherous” writes a later copyist in the margin, but Deulwyn says, “His treatment of his guests made a saint of Sion’s soul.” In his elegy to Sir Richard Herbert, Ieuan compares the sorrow at the news of his death to the crucifixion of Christ, and the betrayal at Banbury as exceeded only by the betrayal of God. Similarly, in his elegy to Dafydd Fychan and Ieuan ap Gruffydd: “As Mary mourned, beneath the cross, her son’s fell wounds, so I their loss.” His poems of praise are loaded with genealogy, “until they bore the poet,” but they are a treat for the historian and genealogist. The subjects of these poems are generally the heroes of the Wars of the Roses. He was a contemporary of Lewys Glyn Cothi, and they frequently wrote of the same people, with the benefit that one poet often supplements the other in clarifying relations of local families. Although Ieuan, like Lewys, was able to flatter his patrons, he was unfortunate enough to anger two who were worthy of reconciliation. And indeed he humbles himself in seeking that reconciliation. At the same time this presents a perfect opportunity for him to paint a picture of the slanderer: Dau dafod a'm hathrodant Two tongues of me they do detract, Ag yn yr un genau yr ânt. And in the same mouth they move. Mwyn o beth i'm wyneb oedd What was value to my face Ymlidiwr i'm ol ydoedd. Has become my persecutor. Fortunately the poet was successful enough in his work to have his poetry survive the ravages of time. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ieuan Deulwyn」の詳細全文を読む スポンサード リンク
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