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-Once upon a time, -a young boy played on this beach. | 0:00:33 | 0:00:36 | |
-Porth Ceiriad beach at the far end -of the Lleyn Peninsula. | 0:00:36 | 0:00:40 | |
-"He throws stones -on Porth Ceiriad beach. | 0:00:44 | 0:00:48 | |
-"They dance as they hit the water. | 0:00:48 | 0:00:50 | |
-"Is the same boy -who climbed the rocks, | 0:00:51 | 0:00:55 | |
-"Now looking on, as a man?" | 0:00:55 | 0:00:59 | |
-"Why does a boy from a '50s summer -come to play here? | 0:01:01 | 0:01:06 | |
-"Making his way here and there. | 0:01:06 | 0:01:09 | |
-"Why don't his shoes -leave tracks, | 0:01:09 | 0:01:12 | |
-"As he walks and runs -along the beach? | 0:01:12 | 0:01:15 | |
-"I try to call him. | 0:01:17 | 0:01:19 | |
-"But a voice from his future -greets his past. | 0:01:19 | 0:01:22 | |
-"I appear mute. | 0:01:22 | 0:01:25 | |
-"The words of tomorrow cannot reach -the young boy who remains here. | 0:01:25 | 0:01:31 | |
-"I follow his tracks -but he runs away. | 0:01:32 | 0:01:35 | |
-"He disappears -every time I approach. | 0:01:35 | 0:01:39 | |
-"Two time dimensions separate us. | 0:01:39 | 0:01:43 | |
-"And with every year -they both grow further apart." | 0:01:43 | 0:01:47 | |
-The boy on the beach -was called Alan Lloyd Roberts. | 0:01:49 | 0:01:52 | |
-There is no entry under 'Father' -on his birth certificate. | 0:01:52 | 0:01:56 | |
-Of the many adjectives he could have -used to describe his predicament... | 0:01:56 | 0:02:00 | |
-..he decided to describe himself -as an illegitimate child. | 0:02:00 | 0:02:05 | |
-When you become more aware -of yourself... | 0:02:07 | 0:02:09 | |
-..and get older -and start asking questions... | 0:02:10 | 0:02:13 | |
-..you wonder why -you're different from everyone else. | 0:02:13 | 0:02:18 | |
-Then, you realise -that you're an illegitimate child. | 0:02:18 | 0:02:21 | |
-Amongst some people, there used -to be a stigma about such things. | 0:02:22 | 0:02:25 | |
-It's all changed now. | 0:02:26 | 0:02:28 | |
-I don't think I ever felt inferior -because of it... | 0:02:28 | 0:02:33 | |
-..although some people -would make you feel inferior. | 0:02:34 | 0:02:37 | |
-I did feel I was different. | 0:02:39 | 0:02:42 | |
-That was the only way to be... | 0:02:43 | 0:02:46 | |
-..especially when you were -surrounded by aunts and uncles... | 0:02:46 | 0:02:51 | |
-..who weren't real aunts and uncles. | 0:02:51 | 0:02:55 | |
-From the age of five onwards Alan -Lloyd Roberts was raised... | 0:02:58 | 0:03:01 | |
-..by his aunt and uncle on Nant y -Big farm, near Pont Ceiriad beach. | 0:03:01 | 0:03:05 | |
-They became his mother and father. | 0:03:05 | 0:03:09 | |
-John, his cousin, -became his brother. | 0:03:09 | 0:03:11 | |
-In his poem 'Gwynedd', he pays -tribute to his adopted father. | 0:03:12 | 0:03:19 | |
-It also recalls the complex and -unusual nature of that inheritance. | 0:03:19 | 0:03:24 | |
-"The succession of his lineage -and his surroundings fell to me. | 0:03:26 | 0:03:31 | |
-"I felt connected among -the strangeness of my uncles. | 0:03:31 | 0:03:37 | |
-"I felt an affinity among strangers. | 0:03:38 | 0:03:42 | |
-"They were the veins of belonging." | 0:03:42 | 0:03:44 | |
-My situation -could be problematic, at times. | 0:03:46 | 0:03:50 | |
-It was more than -just a feeling of embarrassment. | 0:03:51 | 0:03:54 | |
-It caused me great pain. | 0:03:55 | 0:03:57 | |
-I remember very little about -the early years at Ysgol Botwnnog. | 0:03:58 | 0:04:01 | |
-I only remember one thing -about the first day. | 0:04:02 | 0:04:06 | |
-That one thing -has remained with me ever since. | 0:04:06 | 0:04:09 | |
-A teacher was quizzing the pupils -to get to know them better. | 0:04:09 | 0:04:13 | |
-He asked whether they had -brothers or sisters in the school. | 0:04:13 | 0:04:17 | |
-I innocently said that I had. | 0:04:18 | 0:04:20 | |
-He asked my name. -"Alan Lloyd Roberts," I replied. | 0:04:20 | 0:04:24 | |
-The teacher asked me -if I had a brother or sister. | 0:04:24 | 0:04:28 | |
-I said, "Yes, John Gwilym Jones". | 0:04:28 | 0:04:30 | |
-I didn't think twice about it. -It was the truth. | 0:04:30 | 0:04:34 | |
-He hit me and said, "Don't try -to be funny with me, boy!" | 0:04:34 | 0:04:37 | |
-That was a harrowing experience... | 0:04:40 | 0:04:43 | |
-..for a shy boy -on his first day at school. | 0:04:43 | 0:04:46 | |
-He has more pleasant memories -of his time at Ysgol Botwnnog. | 0:04:48 | 0:04:53 | |
-He discovered -a new, exciting world... | 0:04:53 | 0:04:56 | |
-..when he was taught 'cynghanedd' -by his Welsh teacher... | 0:04:56 | 0:05:00 | |
-..T Emyr Pritchard. | 0:05:00 | 0:05:02 | |
-'Cynghanedd', and poetry -in general, were in his blood. | 0:05:03 | 0:05:09 | |
-It came naturally to him. | 0:05:09 | 0:05:12 | |
-The rules of 'cynghanedd' -and the finer points of poetry... | 0:05:12 | 0:05:17 | |
-..flowed through his veins. | 0:05:17 | 0:05:20 | |
-It was quite frightening, -to be honest. | 0:05:20 | 0:05:23 | |
-You were in the presence -of something and someone... | 0:05:23 | 0:05:28 | |
-..whom you didn't fully understand. | 0:05:28 | 0:05:31 | |
-The boy was a genius - -a genius in the making. | 0:05:33 | 0:05:38 | |
-You had a shock at times. | 0:05:40 | 0:05:42 | |
-Here's an example. | 0:05:43 | 0:05:45 | |
-I was marking some books one morning -before the morning service. | 0:05:46 | 0:05:51 | |
-Someone knocked on my door. | 0:05:52 | 0:05:54 | |
-This boy walked in - it was Alan. | 0:05:54 | 0:05:57 | |
-He had a sheet of paper in his hand. | 0:05:58 | 0:06:01 | |
-He was in the fourth form -at the time. | 0:06:01 | 0:06:04 | |
-I asked him what he had in his hand. | 0:06:04 | 0:06:07 | |
-His response was astonishing. | 0:06:07 | 0:06:09 | |
-"An awdl", he replied. | 0:06:11 | 0:06:12 | |
-After learning the rules -of 'cynghanedd'... | 0:06:13 | 0:06:16 | |
-..I composed 'cynganeddion' -and 'englynion' myself. | 0:06:16 | 0:06:22 | |
-It all started from there. | 0:06:22 | 0:06:24 | |
-I had an enthusiastic interest -in poetry at this point. | 0:06:24 | 0:06:30 | |
-I read every book available to me -in school. | 0:06:30 | 0:06:34 | |
-I bought a library of books. | 0:06:34 | 0:06:36 | |
-Abersoch library was selling -its entire collection. | 0:06:36 | 0:06:40 | |
-I bought the lot and I read the lot. | 0:06:40 | 0:06:43 | |
-I had an infectious enthusiasm. | 0:06:43 | 0:06:46 | |
-During his college days, -and after he'd started working... | 0:06:49 | 0:06:53 | |
-..he matured as a poet. | 0:06:53 | 0:06:55 | |
-He won the Chair and the Crown... | 0:06:55 | 0:06:57 | |
-..at the Dyffryn Clwyd -National Eisteddfod in 1973. | 0:06:58 | 0:07:02 | |
-He was the first person -to achieve the double... | 0:07:02 | 0:07:05 | |
-..since T H Parry-Williams in 1912. | 0:07:05 | 0:07:07 | |
-After the National Eisteddfod... | 0:07:07 | 0:07:10 | |
-..Alan Lloyd Roberts -became Alan Llwyd. | 0:07:10 | 0:07:13 | |
-He changed his identity... | 0:07:13 | 0:07:15 | |
-..and according to some, he changed -the direction of Welsh poetry... | 0:07:15 | 0:07:20 | |
-..through his column in Y Cymro. | 0:07:20 | 0:07:22 | |
-His column in Y Cymro -was essential. | 0:07:22 | 0:07:25 | |
-It inspired -a number of young poets. | 0:07:26 | 0:07:30 | |
-It was also the inspiration... | 0:07:30 | 0:07:33 | |
-..for a number of 'ymryson y beirdd' -- poetry challenges. | 0:07:33 | 0:07:37 | |
-It was Alan's idea to establish -an 'ymryson y beirdd' league. | 0:07:38 | 0:07:44 | |
-He didn't see that through -but it was his idea. | 0:07:46 | 0:07:50 | |
-The 'talwrn' has developed -over the last few years. | 0:07:51 | 0:07:55 | |
-We now have a 'stomp' - -and 'ymrysonau' are held in pubs. | 0:07:55 | 0:07:59 | |
-He started it all. | 0:07:59 | 0:08:01 | |
-"I am here now, -because I'm a fool!" | 0:08:02 | 0:08:06 | |
-LAUGHTER | 0:08:06 | 0:08:08 | |
-Following the success -of his column in Y Cymro... | 0:08:12 | 0:08:15 | |
-..the Barddas Society was formed. | 0:08:16 | 0:08:18 | |
-When Barddas was formed in 1976... | 0:08:19 | 0:08:21 | |
-..I was responsible -for Y Cymro's poetry column. | 0:08:21 | 0:08:24 | |
-The idea for Barddas -came from that poetry column. | 0:08:25 | 0:08:29 | |
-I wanted to rein in -all the enthusiasm... | 0:08:30 | 0:08:32 | |
-..that had been created through -the column and create a society... | 0:08:32 | 0:08:37 | |
-..on a par with -the Cerdd Dant society. | 0:08:37 | 0:08:40 | |
-Strict metre poetry, with -the exception of the 'englyn'... | 0:08:40 | 0:08:45 | |
-..was stuck in a rut at the time. | 0:08:45 | 0:08:48 | |
-Something needed to be done. | 0:08:48 | 0:08:50 | |
-Some critics were predicting -the death of 'cynghanedd'. | 0:08:50 | 0:08:55 | |
-Euros Bowen was experimenting -with poetic styles. | 0:08:55 | 0:08:59 | |
-They weren't very successful. | 0:08:59 | 0:09:01 | |
-I was hoping to revive -'cynghanedd' in Barddas. | 0:09:02 | 0:09:06 | |
-I was hoping to see strict metre -and free verse poetry... | 0:09:06 | 0:09:14 | |
-..of the very highest standard. | 0:09:14 | 0:09:17 | |
-I opened it up to free verse -in the early days. | 0:09:18 | 0:09:21 | |
-Alan played a large part in -the revival of strict metre poetry. | 0:09:22 | 0:09:27 | |
-To a great extent, -it's all because of Alan's work. | 0:09:27 | 0:09:31 | |
-There's so much interest in the -craft and that interest is growing. | 0:09:31 | 0:09:36 | |
-Establishing Barddas -wasn't his only highlight... | 0:09:39 | 0:09:42 | |
-..in the Cardigan Eisteddfod. | 0:09:42 | 0:09:44 | |
-After winning the Crown earlier -in the week... | 0:09:44 | 0:09:47 | |
-..he was offered the Chair. | 0:09:47 | 0:09:50 | |
-Alan's 'awdl' was a close second -to Dic Jones'. | 0:09:50 | 0:09:53 | |
-But Dic Jones had broken one of the -Eisteddfod's fundamental rules... | 0:09:54 | 0:09:58 | |
-..by competing whilst a member -of the Eisteddfod's working party. | 0:09:58 | 0:10:02 | |
-Alan Llwyd was persuaded to accept -the Chair against his own wishes. | 0:10:02 | 0:10:06 | |
-He accepted, after presenting -the Eisteddfod's officials... | 0:10:07 | 0:10:10 | |
-..with a number of conditions. | 0:10:11 | 0:10:12 | |
-The Eisteddfod declined to honour -any of his conditions. | 0:10:13 | 0:10:17 | |
-The Eisteddfod in Cardigan -was an awkward Eisteddfod for me. | 0:10:19 | 0:10:24 | |
-It was also an exciting -and a strange Eisteddfod for me... | 0:10:24 | 0:10:28 | |
-..and it was also the year -I got married. | 0:10:29 | 0:10:31 | |
-I did have one pleasant occasion -that year. | 0:10:32 | 0:10:35 | |
-Otherwise, -it was a very strange year. | 0:10:35 | 0:10:38 | |
-Two years later, Alan and Janice -started to raise a family. | 0:10:41 | 0:10:46 | |
-In 1978, their son Ioan was born. | 0:10:46 | 0:10:49 | |
-Four years later, Dafydd was born. | 0:10:49 | 0:10:52 | |
-On a high, -during the year of Dafydd's birth... | 0:10:53 | 0:10:56 | |
-..he would soon -be courting controversy once more. | 0:10:56 | 0:10:59 | |
-Alan Llwyd published a critical -appraisal of Euros Bowen's poetry. | 0:10:59 | 0:11:05 | |
-Euros Bowen attacked -Alan Llwyd's publication... | 0:11:05 | 0:11:08 | |
-..in a number of articles -in Y Faner and then in a book. | 0:11:08 | 0:11:12 | |
-Euros Bowen was a joker, and he -liked to play up to the gallery. | 0:11:13 | 0:11:17 | |
-That was Euros's other side. | 0:11:17 | 0:11:20 | |
-Having someone dissect his poetry -was always going to create a stir. | 0:11:20 | 0:11:26 | |
-The whole episode affected Alan. | 0:11:28 | 0:11:30 | |
-I've appraised the work of many -poets and they've thanked me. | 0:11:30 | 0:11:34 | |
-Even Euros Bowen thanked me once. | 0:11:34 | 0:11:37 | |
-I wrote a book about his poetry. | 0:11:37 | 0:11:39 | |
-I attracted people's attention -to his poetry. | 0:11:39 | 0:11:43 | |
-I wrote an introduction to the book -- he loved the introduction. | 0:11:43 | 0:11:48 | |
-I discussed his poetry with him. | 0:11:48 | 0:11:51 | |
-I said, "This is what I can see -in your poetry." He agreed with me. | 0:11:52 | 0:11:56 | |
-When it was published, he used it -as an excuse for self-publicity. | 0:11:56 | 0:12:01 | |
-He belittled me after agreeing -with everything we'd discussed. | 0:12:01 | 0:12:05 | |
-He claimed that -my interpretations were wrong. | 0:12:05 | 0:12:08 | |
-What's interesting about Alan's book -is the message behind the book. | 0:12:09 | 0:12:13 | |
-This is his message. | 0:12:14 | 0:12:15 | |
-He was trying to point out that -Euros's poetry wasn't as dark... | 0:12:15 | 0:12:21 | |
-..as other critics had claimed. | 0:12:21 | 0:12:24 | |
-That was in line with one -of Alan's greatest contributions. | 0:12:24 | 0:12:27 | |
-He wanted to make poetry -accessible to all. | 0:12:27 | 0:12:30 | |
-He wanted to eradicate a trend -that's still dominant in Wales... | 0:12:30 | 0:12:35 | |
-..that poets whose work -is difficult to read are dark poets. | 0:12:35 | 0:12:40 | |
-This is Alan's abiding contribution. | 0:12:40 | 0:12:44 | |
-With a little extra effort, -you can understand these poets. | 0:12:44 | 0:12:47 | |
-The controversy in Cardigan -and the squabble with Euros Bowen... | 0:12:49 | 0:12:54 | |
-..had created a pattern. | 0:12:54 | 0:12:56 | |
-More controversy would soon follow. | 0:12:56 | 0:12:58 | |
-888 | 0:13:04 | 0:13:04 | |
-888 - -888 | 0:13:04 | 0:13:06 | |
-After leaving Bangor University, -Alan worked at Awen Meirion in Bala. | 0:13:13 | 0:13:18 | |
-He then moved to the Christopher -Davies Press in Swansea in 1976. | 0:13:18 | 0:13:24 | |
-He found city life difficult -until he met Janice. | 0:13:24 | 0:13:28 | |
-The young Alan Llwyd -experienced many highs... | 0:13:30 | 0:13:33 | |
-..but he also attracted -a lot of trouble. | 0:13:33 | 0:13:36 | |
-Other poets would create -those troubles. | 0:13:36 | 0:13:39 | |
-Alan Llwyd built a reputation -for being controversial. | 0:13:39 | 0:13:43 | |
-During those difficult years, -he found solace with his family. | 0:13:44 | 0:13:48 | |
-Many of Alan Llwyd's poems -were inspired by his family life. | 0:13:48 | 0:13:53 | |
-He found his voice -in 'Cerddi'r Cyfannu'. | 0:13:53 | 0:13:57 | |
-These poems were written -about his wife's pregnancy. | 0:13:57 | 0:14:00 | |
-She was the object -of all his romantic poetry. | 0:14:00 | 0:14:03 | |
-Another series of poems -dedicated to his wife... | 0:14:03 | 0:14:06 | |
-..would create a stir some years -later - 'Sonedau i Janice'. | 0:14:07 | 0:14:10 | |
-"I saw your nudity every day, | 0:14:13 | 0:14:17 | |
-"Since the days of passion -of a 28-year-old. | 0:14:17 | 0:14:21 | |
-"Your breasts accept -my tender touch forever more. | 0:14:21 | 0:14:29 | |
-"I am familiar -with your tight thighs. | 0:14:30 | 0:14:33 | |
-"Your flesh awakens my passion, | 0:14:34 | 0:14:37 | |
-"As I smell the aroma -of your secret havens, | 0:14:38 | 0:14:41 | |
-"And taste the nectar -of your dampness." | 0:14:41 | 0:14:44 | |
-When I published 'Sonedau i Janice -A Cherddi Eraill'... | 0:14:47 | 0:14:51 | |
-..I was somewhat surprised. | 0:14:52 | 0:14:54 | |
-Surprised at the narrow attitudes -that existed... | 0:14:55 | 0:14:58 | |
-..among readers of Welsh poetry. | 0:14:58 | 0:15:00 | |
-The publication had created -embarrassment for some reason. | 0:15:00 | 0:15:04 | |
-I thought I'd stepped back a century -or two when I published it! | 0:15:04 | 0:15:09 | |
-Most people applauded it... | 0:15:09 | 0:15:11 | |
-..but one correspondent from Y Llan, -an ecclesiastical paper... | 0:15:11 | 0:15:16 | |
-..wanted to prohibit the publication -and burn it! | 0:15:16 | 0:15:20 | |
-You have to move on - -you can't remain in the old days. | 0:15:20 | 0:15:25 | |
-I like his romantic poetry. | 0:15:25 | 0:15:29 | |
-It's romantic poetry of the flesh. | 0:15:29 | 0:15:32 | |
-The flesh is acknowledged -as the inspiration of the poems. | 0:15:32 | 0:15:37 | |
-The flesh excites the imagination. | 0:15:37 | 0:15:42 | |
-That imagination -is free-flowing and unbridled. | 0:15:43 | 0:15:48 | |
-It's both challenging -and adventurous. | 0:15:48 | 0:15:51 | |
-The images are almost -an exaggeration. | 0:15:51 | 0:15:57 | |
-The references to the body -and the way he depicts the body. | 0:15:57 | 0:16:02 | |
-There are very few examples -of this type of romantic poetry. | 0:16:02 | 0:16:07 | |
-I consider these poems -to be pioneering. | 0:16:07 | 0:16:10 | |
-After working for the WJEC -and the Christopher Davies Press... | 0:16:12 | 0:16:16 | |
-..he had the opportunity -to work for himself in 1982... | 0:16:17 | 0:16:20 | |
-..when he started working -full-time for Barddas. | 0:16:20 | 0:16:23 | |
-He edited the magazine and took -responsibility for its publication. | 0:16:23 | 0:16:28 | |
-He was also one of Barddas' -most prolific poets. | 0:16:31 | 0:16:35 | |
-When 'Barddoniaeth y Chwedegau' -was published... | 0:16:35 | 0:16:39 | |
-..it created much debate in -magazines such as Llais Llyfrau... | 0:16:39 | 0:16:43 | |
-..and on radio and TV, by people -such as Derec Llwyd Morgan. | 0:16:44 | 0:16:47 | |
-It went on to win -three literary awards. | 0:16:47 | 0:16:50 | |
-Alan spoke a great truth -when he described himself... | 0:16:51 | 0:16:54 | |
-..as a poet who deals with poets. | 0:16:55 | 0:16:57 | |
-Inevitably, a poet who deals -with other poets... | 0:16:58 | 0:17:02 | |
-..offers an insight -into his own poetry. | 0:17:03 | 0:17:07 | |
-Much of Alan's work on Euros Bowen -and '60s poetry is a revelation... | 0:17:08 | 0:17:13 | |
-..of the themes and obsessions -Alan has as a poet. | 0:17:13 | 0:17:20 | |
-By now, Alan Llwyd was tired -of being a controversial figure. | 0:17:22 | 0:17:26 | |
-The biggest storm was yet to come. | 0:17:27 | 0:17:29 | |
-It arrived as he was trying -to defend himself from such storms. | 0:17:29 | 0:17:34 | |
-In the May 1985 edition -of Barddas... | 0:17:34 | 0:17:37 | |
-..a poem was included -by an unknown poet. | 0:17:37 | 0:17:41 | |
-People inquired after -this Meilir Emrys Owen. | 0:17:41 | 0:17:44 | |
-It later transpired that Meilir -Emrys Owen was Alan Llwyd himself. | 0:17:45 | 0:17:50 | |
-Fed up of being -talked about so much... | 0:17:50 | 0:17:53 | |
-..he changed his name, and with it, -his identity, once again. | 0:17:53 | 0:17:59 | |
-One by one, -his poems appeared in Barddas. | 0:18:01 | 0:18:05 | |
-A picture of the imaginary poet -appeared in one edition. | 0:18:05 | 0:18:09 | |
-People began to praise his poetry. | 0:18:09 | 0:18:11 | |
-Dr Dafydd Evan Morris described -'Yr Hen Wr A'r Ddau Wr Ifanc'... | 0:18:12 | 0:18:16 | |
-..by Meilir, as one of the most -powerful poems written that year. | 0:18:16 | 0:18:21 | |
-The same was the response -when another poem was published... | 0:18:21 | 0:18:25 | |
-..in the anthology 'Glasnos'. | 0:18:25 | 0:18:27 | |
-What interests me about it... | 0:18:29 | 0:18:31 | |
-..is how it is an expression -of Alan's awareness... | 0:18:31 | 0:18:37 | |
-..that he has a multiple identity. | 0:18:37 | 0:18:40 | |
-In the same way that he created -Alan Llwyd, he later created... | 0:18:40 | 0:18:45 | |
-..under the pressure -of special circumstances... | 0:18:45 | 0:18:49 | |
-..a new identity for himself. | 0:18:49 | 0:18:51 | |
-Through this, he also created -a new opportunity for himself. | 0:18:51 | 0:18:55 | |
-I believe him when he says -it helped him discover a new voice. | 0:18:55 | 0:18:59 | |
-I respect someone who tries -to break out of the norm... | 0:19:00 | 0:19:03 | |
-..and destroy convention. | 0:19:04 | 0:19:06 | |
-Then, you arrive at the way -he dealt with that. | 0:19:06 | 0:19:09 | |
-That's where the problems start. | 0:19:10 | 0:19:12 | |
-That's the other side of Alan. | 0:19:12 | 0:19:14 | |
-It almost seems as if -he looks for trouble... | 0:19:14 | 0:19:19 | |
-..or that he's too naive -to understand... | 0:19:19 | 0:19:23 | |
-..the problems he could create. | 0:19:23 | 0:19:25 | |
-Alan created quite a stir... | 0:19:26 | 0:19:28 | |
-..when he revealed -that he was Meilir Emrys Owen... | 0:19:28 | 0:19:32 | |
-..after he'd included poems -by the imaginary poet... | 0:19:32 | 0:19:36 | |
-..in his anthology -of twentieth century Welsh verse. | 0:19:36 | 0:19:38 | |
-I thought Alan had gone too far -when he did that. | 0:19:39 | 0:19:43 | |
-That's my own personal opinion. | 0:19:43 | 0:19:46 | |
-I was concerned about him -at the time. | 0:19:46 | 0:19:49 | |
-You shouldn't be that sensitive -when it comes to criticism. | 0:19:49 | 0:19:54 | |
-I don't know how much he was goaded. | 0:19:54 | 0:19:56 | |
-He answered the accusations -against him on Y Byd Ar Bedwar. | 0:19:56 | 0:20:02 | |
-Those are my poems - -I will be publishing them. | 0:20:02 | 0:20:06 | |
-It might be my final publication, -or the last one for a long time. | 0:20:06 | 0:20:11 | |
-I'm going to stop writing poetry. | 0:20:11 | 0:20:14 | |
-Meilir Emrys Owen's poems are mine. | 0:20:14 | 0:20:17 | |
-The notes on the poems -are legitimate. I should know. | 0:20:17 | 0:20:21 | |
-The poems exist, as does the poet. | 0:20:21 | 0:20:24 | |
-The poet is a protest -against the public's behaviour. | 0:20:24 | 0:20:27 | |
-The best thing at the time... | 0:20:28 | 0:20:32 | |
-..was to include this poet -in a respected publication... | 0:20:33 | 0:20:37 | |
-..so that the public would accept -him as a legitimate person. | 0:20:37 | 0:20:42 | |
-Unfortunately, that was -the worst thing I ever did. | 0:20:42 | 0:20:46 | |
-That's how people discovered -I was that poet. | 0:20:46 | 0:20:50 | |
-It was wrong of me to include his -poetry in a respected publication. | 0:20:50 | 0:20:54 | |
-That's one mistake -I readily accept I made. | 0:20:55 | 0:21:00 | |
-Hiding behind Meilir Emrys Owen... | 0:21:03 | 0:21:05 | |
-..was the highpoint of Alan's battle -against frustration and persecution. | 0:21:06 | 0:21:10 | |
-After all this furore... | 0:21:10 | 0:21:12 | |
-..he felt he needed to change -the direction of his life... | 0:21:12 | 0:21:16 | |
-..in an attempt -to avoid the literary world. | 0:21:16 | 0:21:20 | |
-He applied for a job -in the academic world. | 0:21:20 | 0:21:23 | |
-I've taught myself -so many different things. | 0:21:25 | 0:21:31 | |
-I taught myself 'cynghanedd', -how to write poetry... | 0:21:31 | 0:21:35 | |
-..and so many other things. | 0:21:35 | 0:21:37 | |
-I always had the urge to share -that knowledge and enthusiasm. | 0:21:38 | 0:21:45 | |
-He is a poet, a teacher -and a critic... | 0:21:45 | 0:21:50 | |
-..when he offers advice to those -who submit their work anonymously... | 0:21:50 | 0:21:58 | |
-..in the magazine's monthly column. | 0:21:58 | 0:22:01 | |
-That's where Alan's creative mind -is at work. | 0:22:01 | 0:22:06 | |
-You gain from -having your work assessed... | 0:22:06 | 0:22:10 | |
-..by someone who understands -the craft and the art of poetry. | 0:22:11 | 0:22:15 | |
-Very few academic -literary critics... | 0:22:15 | 0:22:20 | |
-..approach poetry -from that direction. | 0:22:20 | 0:22:24 | |
-He assesses the work -as someone who also writes. | 0:22:24 | 0:22:27 | |
-That's priceless. | 0:22:28 | 0:22:30 | |
-He applied for posts -at two Welsh universities. | 0:22:31 | 0:22:35 | |
-Swansea and Cardiff. | 0:22:35 | 0:22:37 | |
-By now, he was a prominent poet -and critic in Wales. | 0:22:37 | 0:22:41 | |
-Many academics were sure... | 0:22:42 | 0:22:45 | |
-..that he would be offered -one of the posts - but he wasn't. | 0:22:45 | 0:22:49 | |
-Consider his academic work -or his literary criticisms. | 0:22:49 | 0:22:55 | |
-You have a nucleus of solid books... | 0:22:56 | 0:23:01 | |
-..where Alan Llwyd is at his best. | 0:23:01 | 0:23:06 | |
-That's the type of work -that corresponds... | 0:23:06 | 0:23:09 | |
-..to a Doctorate of Literature. | 0:23:09 | 0:23:12 | |
-The DLitt in the university. | 0:23:12 | 0:23:15 | |
-That's the standard -and the amount of work expected. | 0:23:16 | 0:23:21 | |
-But that's not his main work. | 0:23:21 | 0:23:24 | |
-That's not his main contribution. | 0:23:25 | 0:23:27 | |
-That's not how we know Alan Llwyd. | 0:23:27 | 0:23:30 | |
-We know him as a poet. | 0:23:30 | 0:23:32 | |
-I think Alan Llwyd would have made -an excellent university lecturer. | 0:23:33 | 0:23:39 | |
-He has the necessary qualities. | 0:23:40 | 0:23:43 | |
-The ability to do research, -to be productive and to teach. | 0:23:43 | 0:23:50 | |
-On the other hand, -having said that... | 0:23:50 | 0:23:53 | |
-..I'm glad, to some extent, -that he became a publisher. | 0:23:53 | 0:23:59 | |
-If he'd become -a university lecturer... | 0:23:59 | 0:24:02 | |
-..I'm not sure if he could have -produced so much work. | 0:24:02 | 0:24:06 | |
-We'd be all the poorer for that. | 0:24:06 | 0:24:09 | |
-I've got Helen's books, yes. | 0:24:09 | 0:24:11 | |
-There's a new collected poems -there... | 0:24:11 | 0:24:14 | |
-As one door slammed shut -in his face, another soon opened. | 0:24:14 | 0:24:20 | |
-I turned my back on -the traditional ways of writing... | 0:24:20 | 0:24:26 | |
-..such as literary criticisms, -poetry and book publications... | 0:24:26 | 0:24:31 | |
-..and started writing for the media. | 0:24:32 | 0:24:34 | |
-I had to change direction. | 0:24:34 | 0:24:36 | |
-I'd had enough of working -in the literary world. | 0:24:37 | 0:24:40 | |
-Anything I wrote would either be -met with a sense of indifference... | 0:24:40 | 0:24:47 | |
-..or a barrage of criticism. | 0:24:47 | 0:24:51 | |
-Cinematic film -is a medium for poets... | 0:24:51 | 0:24:54 | |
-..even in Hollywood but especially -in European countries. | 0:24:54 | 0:24:59 | |
-Screenwriters are poets. | 0:24:59 | 0:25:03 | |
-Poets often direct films, too. | 0:25:03 | 0:25:05 | |
-When Alan told me about his idea... | 0:25:05 | 0:25:08 | |
-..of writing the script -for the film 'Hedd Wyn'... | 0:25:09 | 0:25:13 | |
-..I couldn't think -of a better person to write it. | 0:25:14 | 0:25:17 | |
-Cinematic film -is a medium for images. | 0:25:18 | 0:25:21 | |
-As a poet, -Alan could find the images. | 0:25:21 | 0:25:25 | |
-More than that, you need -to be a master craftsman... | 0:25:27 | 0:25:30 | |
-..when you write for television. | 0:25:31 | 0:25:34 | |
-If Alan's anything, -he's a master craftsman. | 0:25:35 | 0:25:41 | |
-Alan Llwyd revisited his early roots -with his first project for S4C. | 0:25:41 | 0:25:47 | |
-The film 'Hedd Wyn'. | 0:25:47 | 0:25:49 | |
-888 - -888 | 0:26:02 | 0:26:04 | |
-Alan Llwyd's roots -were in Hedd Wyn's country. | 0:26:10 | 0:26:12 | |
-He learned about the poet of the -black chair from his grandparents. | 0:26:13 | 0:26:16 | |
-They raised Alan -until he was five years old... | 0:26:17 | 0:26:20 | |
-..at 1, Belle Vue, Llanffestiniog. | 0:26:21 | 0:26:23 | |
-When his grandmother died, he moved -to live with his aunt in Lleyn. | 0:26:24 | 0:26:29 | |
-He has fond memories of his time -with Nain and Taid. | 0:26:29 | 0:26:32 | |
-It's a strange experience -to see it like this... | 0:26:48 | 0:26:51 | |
-..in the middle of renovation work. | 0:26:51 | 0:26:53 | |
-I expected to see the parlour room -on the left as we came in. | 0:26:54 | 0:26:58 | |
-This is where the living room -used to be. | 0:26:58 | 0:27:01 | |
-It's a bigger house -than I remember. | 0:27:01 | 0:27:07 | |
-I remember this bedroom -and that bedroom. | 0:27:09 | 0:27:13 | |
-That's where I saw Nain -when she'd died. | 0:27:14 | 0:27:17 | |
-My uncle told me, a young child, -that she was sleeping. | 0:27:17 | 0:27:21 | |
-I remember that. | 0:27:21 | 0:27:22 | |
-I don't remember this room so well. | 0:27:24 | 0:27:27 | |
-I remember one thing - -that's where I used to sleep. | 0:27:27 | 0:27:31 | |
-I remember these stairs. | 0:27:31 | 0:27:33 | |
-I'd forgotten -it was a three-storey house. | 0:27:33 | 0:27:36 | |
-I remember these little stairs -that led to my bedroom. | 0:27:36 | 0:27:40 | |
-I didn't remember that until now. | 0:27:40 | 0:27:43 | |
-It's strange being back here. | 0:27:44 | 0:27:46 | |
-From these beginnings, his life -took him in many directions. | 0:27:46 | 0:27:51 | |
-My first memory -is of walking along the railway. | 0:27:52 | 0:27:59 | |
-That was in Llanffestiniog -or in Meirionnydd, near my home. | 0:28:00 | 0:28:04 | |
-I was holding someone's hand - -my real mother, perhaps. | 0:28:04 | 0:28:08 | |
-I remember walking along the railway -and seeing houses in the distance. | 0:28:09 | 0:28:13 | |
-I don't know why -that's stayed in my mind. | 0:28:13 | 0:28:16 | |
-That's where my journey begins - -without a train along the railway. | 0:28:16 | 0:28:20 | |
-That image stayed with him and it -reappeared in one of his poems... | 0:28:23 | 0:28:28 | |
-..'Einioes Ar Ei Hanner'. | 0:28:28 | 0:28:30 | |
-"By now, I am halfway -through my life journey. | 0:28:30 | 0:28:36 | |
-"Half a lifetime, from that -first memory to this moment, | 0:28:37 | 0:28:43 | |
-"Has passed. | 0:28:43 | 0:28:45 | |
-"The memory of the sun -on the railway, | 0:28:45 | 0:28:48 | |
-"And the grey village -in the distance. | 0:28:49 | 0:28:51 | |
-"Its houses shimmering -in the day's heat. | 0:28:51 | 0:28:54 | |
-"One moment -from a different world... | 0:28:55 | 0:28:58 | |
-"That doesn't exist any more." | 0:28:58 | 0:29:03 | |
-In that world -that doesn't exist any more... | 0:29:06 | 0:29:10 | |
-..his grandfather, William Roberts, -was very influential in his life. | 0:29:10 | 0:29:15 | |
-He hated everything about war. | 0:29:15 | 0:29:18 | |
-A battalion marched through -Llanffestiniog during the Great War. | 0:29:18 | 0:29:24 | |
-They were being led by an officer -who had a map in his hand. | 0:29:24 | 0:29:28 | |
-They asked Taid if they were on -the right road to a military camp. | 0:29:28 | 0:29:33 | |
-He told them they should go -in another direction. | 0:29:33 | 0:29:36 | |
-The officer said, -"My map says otherwise." | 0:29:36 | 0:29:39 | |
-"Well, follow your bloody map," -he replied! | 0:29:39 | 0:29:42 | |
-The khaki colour was enough for Taid -- he hated war. | 0:29:42 | 0:29:45 | |
-The grandson inherited -his grandfather's hatred of war. | 0:29:47 | 0:29:51 | |
-A lot of his work, -as a poet and a critic... | 0:29:51 | 0:29:54 | |
-..is based on the two World Wars -of the twentieth century. | 0:29:54 | 0:29:58 | |
-There was a newspaper cutting -in one of his books... | 0:29:59 | 0:30:02 | |
-..about a solider who had died -in the Great War. | 0:30:02 | 0:30:07 | |
-Taid knew him. | 0:30:07 | 0:30:08 | |
-That's the first 'englyn' I learnt -without trying to learn it. | 0:30:09 | 0:30:13 | |
-"Oscar Phillips is no more, | 0:30:13 | 0:30:16 | |
-"The pleasant lad is gone. | 0:30:16 | 0:30:18 | |
-"His excellence remains, | 0:30:18 | 0:30:20 | |
-"His memory will linger on." | 0:30:21 | 0:30:23 | |
-His interest in the Great War -manifested itself in Hedd Wyn. | 0:30:25 | 0:30:30 | |
-A film was produced, -a biography was written... | 0:30:30 | 0:30:34 | |
-..and a collection of Hedd Wyn's -poems was published. | 0:30:34 | 0:30:36 | |
-Taid knew Hedd Wyn or Ellis -Yr Ysgwrn, as he called him. | 0:30:37 | 0:30:42 | |
-I listened to Hedd Wyn's story... | 0:30:42 | 0:30:44 | |
-..while sitting on his lap -as a young child. | 0:30:44 | 0:30:49 | |
-The story has stayed with me -throughout my life. | 0:30:49 | 0:30:52 | |
-Nain was good friends -with Jini Owen. | 0:30:52 | 0:30:56 | |
-I remember a story -about a torrential downpour... | 0:30:56 | 0:31:00 | |
-..and Jini Owen -was in the street, sobbing. | 0:31:00 | 0:31:03 | |
-Nain invited her in and asked her, -"What's wrong, Jini?" | 0:31:04 | 0:31:07 | |
-She said, "Ellis has been killed." | 0:31:07 | 0:31:10 | |
-That story is still very much alive -in my memory. | 0:31:10 | 0:31:14 | |
-I feel it's what started my interest -in the Great War, in Hedd Wyn... | 0:31:14 | 0:31:18 | |
-..and all sorts of things - -it's been there from the start. | 0:31:18 | 0:31:22 | |
-As it happened, one of our most -talented directors, Paul Turner... | 0:31:43 | 0:31:48 | |
-..had shown an interest -in making a film about Hedd Wyn. | 0:31:49 | 0:31:53 | |
-It was quite easy for me to say, -"Alan Llwyd, meet Paul Turner. | 0:31:53 | 0:31:59 | |
-"Talk about it." | 0:31:59 | 0:32:01 | |
-That's how it all came about. | 0:32:01 | 0:32:04 | |
-WHISPERING VOICE | 0:32:04 | 0:32:06 | |
-Paul Turner and Alan Llwyd's film -was seen around the world. | 0:32:22 | 0:32:26 | |
-It won one of the most coveted -British television awards. | 0:32:30 | 0:32:36 | |
-Its greatest achievement -was its Oscar nomination. | 0:32:36 | 0:32:40 | |
-Alan Llwyd had discovered -a new medium. | 0:32:46 | 0:32:49 | |
-He's written over 200 scripts, -including scripts for Pobol y Cwm. | 0:32:49 | 0:32:56 | |
-Alan's often asked -how he fulfils his commitments... | 0:32:57 | 0:33:02 | |
-..as a poet and scriptwriter. | 0:33:02 | 0:33:04 | |
-What drives him on? He answers these -questions in his autobiography... | 0:33:04 | 0:33:09 | |
-..'Glaw ar Rosyn Awst'. | 0:33:10 | 0:33:11 | |
-"To be honest, -the explanation is complex. | 0:33:12 | 0:33:16 | |
-"I learnt from an early age -that I was different. | 0:33:16 | 0:33:19 | |
-"I had to prove myself to myself, -come what may. | 0:33:19 | 0:33:24 | |
-"I learnt that life was a battle -to establish one's 'self'. | 0:33:25 | 0:33:30 | |
-"A battle against people's -prejudices and self-righteousness." | 0:33:30 | 0:33:35 | |
-Here, in Lleyn, -on Porth Ceiriad beach... | 0:33:41 | 0:33:44 | |
-..Alan learnt that he was different. | 0:33:44 | 0:33:47 | |
-Many themes in his poetry... | 0:33:55 | 0:33:57 | |
-..come from that acceptance -that he was different... | 0:33:58 | 0:34:01 | |
-..and his battle against people's -prejudices and self-righteousness. | 0:34:01 | 0:34:05 | |
-Alan Llwyd often identifies -with minorities. | 0:34:05 | 0:34:09 | |
-People on the outside, -people who are persecuted. | 0:34:09 | 0:34:13 | |
-These themes can be seen in one of -Meilir Emrys Owen's poems. | 0:34:13 | 0:34:17 | |
-"Our nation stretches -across the world. | 0:34:30 | 0:34:34 | |
-"We are everyone. | 0:34:35 | 0:34:38 | |
-"Our family is everyone hounded -by a government, state or tyranny. | 0:34:39 | 0:34:47 | |
-"Our land is Europe's graveyard. | 0:34:47 | 0:34:51 | |
-"There are no nations, -or populations or boundaries | 0:34:52 | 0:34:56 | |
-"Between country and country. | 0:34:56 | 0:34:58 | |
-"Or inheritance or affinity. | 0:34:58 | 0:35:00 | |
-"Or one language -which separates us from each other. | 0:35:01 | 0:35:06 | |
-"Or lineage. | 0:35:06 | 0:35:08 | |
-"Our language is our torment. | 0:35:08 | 0:35:12 | |
-"I am not me myself." | 0:35:14 | 0:35:18 | |
-I've written many poems -about oppressed people. | 0:35:27 | 0:35:31 | |
-Especially the Jews. | 0:35:31 | 0:35:33 | |
-Until recently, that was -the worst example of humankind. | 0:35:33 | 0:35:39 | |
-Humanity at its worst, -in its most barbaric form. | 0:35:39 | 0:35:44 | |
-Poets shouldn't always write -light-hearted poetry. | 0:35:45 | 0:35:50 | |
-We live in a complex world. -Poets should protest. | 0:35:50 | 0:35:54 | |
-Poets should stand up -and voice their dissatisfaction. | 0:35:54 | 0:36:00 | |
-This is evident -in the poem 'Cynnau Canhwyllau'. | 0:36:01 | 0:36:05 | |
-It was a poem written for S4C... | 0:36:05 | 0:36:08 | |
-..to commemorate the end of World -War II, 50 years earlier. | 0:36:08 | 0:36:12 | |
-"Tonight, your candles burn -in memory of the living dead | 0:36:15 | 0:36:20 | |
-"Who were buried in a pitiful grave. | 0:36:20 | 0:36:23 | |
-"The dead who will affect -your lives. | 0:36:23 | 0:36:26 | |
-"The living skeletons -that drag their bones | 0:36:26 | 0:36:29 | |
-"Through your troubled sleep and -open their arms in the underworld." | 0:36:29 | 0:36:38 | |
-Alan Llwyd is most definitely -a poet of his time. | 0:36:41 | 0:36:44 | |
-Some accused him of being too -pessimistic when he published... | 0:36:45 | 0:36:49 | |
-..'Ffarwelio a Chanrif'. It was, -however, a prophetic collection. | 0:36:49 | 0:36:53 | |
-Since I published that collection... | 0:36:53 | 0:36:56 | |
-..the Twin Towers have been -attacked, Beslan's happened... | 0:36:56 | 0:37:01 | |
-..and since publishing it, -people have come to me and said... | 0:37:01 | 0:37:05 | |
-.."They were in that collection". | 0:37:05 | 0:37:08 | |
-I wasn't being dark and pessimistic. | 0:37:08 | 0:37:11 | |
-I believe I am a poet of my time... | 0:37:12 | 0:37:14 | |
-..and I see my time as it is. | 0:37:14 | 0:37:17 | |
-This ability to identify -with society's victims... | 0:37:17 | 0:37:21 | |
-..was behind his portrayals -of people like Rachel Roberts... | 0:37:21 | 0:37:24 | |
-..in the series Adar Drycin. | 0:37:24 | 0:37:26 | |
-Rachel was a minister's daughter -from Llanelli. | 0:37:27 | 0:37:29 | |
-She had a troubled life. | 0:37:29 | 0:37:31 | |
-Significantly, she was rejected -by her mother, too. | 0:37:33 | 0:37:37 | |
-Five weeks before she died, while -receiving psychiatric treatment... | 0:37:50 | 0:37:55 | |
-..she could hear her mother's voice -vividly from her childhood days. | 0:37:56 | 0:38:00 | |
-BABY WHIMPERS | 0:38:00 | 0:38:01 | |
-"Take her away from me - -I don't want to see her!" | 0:38:02 | 0:38:05 | |
-888 | 0:38:14 | 0:38:14 | |
-888 - -888 | 0:38:14 | 0:38:16 | |
-Janice and the children -are a constant strength to Alan. | 0:38:25 | 0:38:28 | |
-Many of his past battles -are behind him. | 0:38:29 | 0:38:31 | |
-His complex background -only bothers him once in a while. | 0:38:31 | 0:38:35 | |
-When his biological mother died, -he didn't attend her funeral. | 0:38:40 | 0:38:44 | |
-He experienced many -strange feelings at the time. | 0:38:46 | 0:38:49 | |
-To make matters worse, -she died on Alan's birthday. | 0:38:49 | 0:38:54 | |
-February the 15th. | 0:38:54 | 0:38:56 | |
-He wrote a poem to express -his complex and mixed feelings... | 0:38:56 | 0:39:01 | |
-..'Ar Ddydd Fy Mhenblwydd'. | 0:39:01 | 0:39:03 | |
-"I refuse to grieve for her -even though she was my mother. | 0:39:11 | 0:39:16 | |
-"She was the one who gave me -the breath to live. | 0:39:16 | 0:39:22 | |
-"I am her flesh and blood. | 0:39:22 | 0:39:24 | |
-"Why should I grieve for her -this day, | 0:39:24 | 0:39:29 | |
-"When she refused to raise me? | 0:39:29 | 0:39:31 | |
-"She left me with the ones -who raised her. | 0:39:32 | 0:39:34 | |
-"She unloaded the burden of raising -a son she refused to acknowledge, | 0:39:35 | 0:39:39 | |
-"To her own parents. | 0:39:39 | 0:39:41 | |
-"Parents who were almost too old -to raise one so young. | 0:39:41 | 0:39:45 | |
-"After burying my grandmother, -in the darkness of one January, | 0:39:45 | 0:39:51 | |
-"Taid became my father and mother. | 0:39:51 | 0:39:55 | |
-"The flowers of her death -adorned the birthday cake. | 0:39:56 | 0:40:02 | |
-"The candles burnt like flesh. | 0:40:02 | 0:40:06 | |
-"The day she brought me to this -world was the day she left it. | 0:40:07 | 0:40:12 | |
-"We felt a gentle breeze -at the celebration. | 0:40:14 | 0:40:16 | |
-"A layer of dust -settled on the feast. | 0:40:17 | 0:40:21 | |
-"The sparks which jumped -from her coffin, | 0:40:22 | 0:40:25 | |
-"Lit the flames -of the celebratory candles." | 0:40:26 | 0:40:32 | |
-During this period, however, -he received recognition. | 0:40:44 | 0:40:48 | |
-He was finally honoured -by the University of Wales. | 0:40:49 | 0:40:53 | |
-He was made an Honorary Fellow -at his old college in Bangor. | 0:40:53 | 0:40:57 | |
-He then received further -recognition. | 0:40:58 | 0:41:02 | |
-Two close friends, Elwyn Edwards and -Dafydd Islwyn, Barddas Secretary... | 0:41:02 | 0:41:06 | |
-..were very supportive of him -during these years. | 0:41:06 | 0:41:09 | |
-They decided, -together with Barddas' committee... | 0:41:09 | 0:41:12 | |
-..to honour Alan by dedicating an -anthology of work to him in 2001... | 0:41:13 | 0:41:17 | |
-..on the occasion of the -Society's 25th year celebrations. | 0:41:17 | 0:41:22 | |
-Now, after 25 years of activity... | 0:41:23 | 0:41:25 | |
-..Alan has mixed feelings about -the future of Welsh poetry. | 0:41:26 | 0:41:29 | |
-I don't think Barddas was as -successful as I hoped it would be... | 0:41:30 | 0:41:35 | |
-..not only as a publication -but also as a Society. | 0:41:35 | 0:41:39 | |
-The enthusiasm exists but I -don't think we've always reached... | 0:41:40 | 0:41:44 | |
-..the required standard -with strict metre poetry. | 0:41:44 | 0:41:47 | |
-There are plenty of young poets -plying their trade. | 0:41:48 | 0:41:51 | |
-There are plenty of promising poets. | 0:41:51 | 0:41:54 | |
-But the poetry has become more -light-hearted and less substantial. | 0:41:54 | 0:41:59 | |
-That isn't exactly -what I'd hoped for. | 0:41:59 | 0:42:02 | |
-The 'stomp' and the 'talwrn' -do still have a key role to play. | 0:42:02 | 0:42:07 | |
-I've taken part myself. | 0:42:08 | 0:42:10 | |
-But people think it's the acceptable -standard in mainstream Welsh poetry. | 0:42:10 | 0:42:15 | |
-Dic Jones said the 'talwrn' -was today's mainstream Welsh poetry. | 0:42:15 | 0:42:20 | |
-If so, things are looking bleak. | 0:42:20 | 0:42:22 | |
-What is mainstream poetry? | 0:42:23 | 0:42:26 | |
-If it's poetry that appeals -to everyone, we should be proud... | 0:42:26 | 0:42:31 | |
-..that the 'talwrn' -and the 'stomp' are popular. | 0:42:31 | 0:42:35 | |
-A lot of good work is produced -at these sessions. | 0:42:37 | 0:42:43 | |
-There will always be poetry -that only appeals to some people. | 0:42:43 | 0:42:48 | |
-Poetic forms, like everything else, -change with the times. | 0:42:49 | 0:42:53 | |
-They fall in and out of favour. | 0:42:53 | 0:42:55 | |
-Imagine how poor and -one-dimensional poetry would be... | 0:42:56 | 0:42:59 | |
-..without Barddas -and without Alan's leadership. | 0:43:00 | 0:43:03 | |
-I don't think the standards -have dropped. There's more variety. | 0:43:03 | 0:43:08 | |
-I can see why Alan thinks he hasn't -changed the world with Barddas. | 0:43:08 | 0:43:14 | |
-The question is - -where would we be without Barddas? | 0:43:14 | 0:43:19 | |
-What about Alan Llwyd's poetry? | 0:43:23 | 0:43:27 | |
-I'm deadly serious when I say -that I don't think my poetry... | 0:43:28 | 0:43:34 | |
-..will be widely read in -fifty to a hundred years' time. | 0:43:34 | 0:43:39 | |
-Our language is changing, -as is our poetry. | 0:43:39 | 0:43:45 | |
-Ultimately, I think -I'll be seen as a dinosaur! | 0:43:45 | 0:43:48 | |
-That's something I've accepted. | 0:43:48 | 0:43:51 | |
-It was difficult -to accept initially. | 0:43:51 | 0:43:54 | |
-His intensity towards his work -and the seriousness of that work... | 0:43:55 | 0:43:59 | |
-..hasn't adhered him -to the popular vote. | 0:44:00 | 0:44:03 | |
-That isn't important, in my opinion. | 0:44:03 | 0:44:06 | |
-The question is - is he -a significant and important poet? | 0:44:06 | 0:44:10 | |
-The answer is yes. | 0:44:10 | 0:44:11 | |
-Alan and Janice have settled -in Morriston for the past few years. | 0:44:16 | 0:44:21 | |
-That's where their sons, -Ioan and Dafydd, have grown up. | 0:44:21 | 0:44:24 | |
-Alan Llwyd is middle-aged, -and busier than ever. | 0:44:26 | 0:44:29 | |
-If he is remembered in the future, -for what will he be remembered? | 0:44:30 | 0:44:34 | |
-As a poet, he's produced -13 volumes of poetry. | 0:44:34 | 0:44:39 | |
-He claims that the first four -are the work of an apprentice. | 0:44:40 | 0:44:46 | |
-Other poets would be very proud -to have written them. | 0:44:46 | 0:44:51 | |
-Alan can afford to place them -to one side. | 0:44:51 | 0:44:55 | |
-There are nine volumes left... | 0:44:55 | 0:44:57 | |
-..starting with 'Cerddi'r Cyfannu', -going on to 'Ffarwelio A Chanrif'. | 0:44:58 | 0:45:02 | |
-This poetry is of great importance. | 0:45:03 | 0:45:05 | |
-He is Wales' greatest 'cywyddwr' -since the Middle Ages. | 0:45:06 | 0:45:11 | |
-The greatest 'englynwr' ever. | 0:45:11 | 0:45:15 | |
-That's not the most important part -of his work. | 0:45:17 | 0:45:21 | |
-His greatest work, written in -vers libre or 'cynghanedd'... | 0:45:21 | 0:45:26 | |
-..describes the anguish -of the twentieth century. | 0:45:26 | 0:45:30 | |
-He's one of the few 'cynganeddwyr' -who looks forward... | 0:45:30 | 0:45:34 | |
-..and looks to the present -without always looking to the past. | 0:45:34 | 0:45:39 | |
-Alan Llwyd has long since left -the little boy behind... | 0:45:55 | 0:45:58 | |
-..on the beach in Lleyn. | 0:45:59 | 0:46:00 | |
-He's changed his name -and his identity more than once. | 0:46:01 | 0:46:04 | |
-"I am not me myself." | 0:46:04 | 0:46:07 | |
-What of the future? | 0:46:07 | 0:46:09 | |
-With Alan Llwyd's ability -to reinvent himself constantly... | 0:46:09 | 0:46:13 | |
-..no-one could ever -answer that question. | 0:46:14 | 0:46:17 | |
-"I try to call him, but a voice -from his future greets his past. | 0:46:20 | 0:46:26 | |
-"I am mute. | 0:46:27 | 0:46:28 | |
-"The words of tomorrow cannot reach -the young boy who remains here." | 0:46:29 | 0:46:36 | |
-S4C Subtitles by Rh Sion Morgan | 0:47:18 | 0:47:21 |