Pennod 5 Cerys Matthews a'r Goeden Faled
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Transcript
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-I'm Cerys Matthews. | 0:00:00 | 0:00:02 | |
-I've been collecting music -all my life. | 0:00:02 | 0:00:05 | |
-Music covers the spectrum -of human experience. | 0:00:06 | 0:00:09 | |
-It reveals secrets -and opens amazing doors... | 0:00:10 | 0:00:13 | |
-..when we travel back to its roots. | 0:00:13 | 0:00:16 | |
-# There stands the magnificent oak | 0:00:16 | 0:00:20 | |
-# Tw rymdi-ro rymdi radl-idl-al | 0:00:20 | 0:00:23 | |
-# I shall shelter in its shadow | 0:00:24 | 0:00:29 | |
-# Until my sweetheart -comes to meet me | 0:00:29 | 0:00:33 | |
-# Fal-di radl-idl-al | 0:00:33 | 0:00:35 | |
-# Fal-di radl-idl-al | 0:00:35 | 0:00:38 | |
-# Tw rymdi-ro rymdi radl-idl-al # | 0:00:38 | 0:00:41 | |
-# I hear Thy welcome voice | 0:00:43 | 0:00:48 | |
-# That calls me, Lord, to Thee # | 0:00:48 | 0:00:53 | |
-I've been singing Gwahoddiad -for many years. | 0:00:54 | 0:00:56 | |
-I learnt it here, at Tabernacle -chapel in Cardiff, as a child. | 0:00:56 | 0:01:00 | |
-I couldn't wait to record the song -with American musicians... | 0:01:00 | 0:01:04 | |
-..when I lived in Nashville. | 0:01:04 | 0:01:06 | |
-I was saying, "Just wait until -you hear this Welsh hymn." | 0:01:06 | 0:01:10 | |
-I couldn't believe it -when someone turned around... | 0:01:10 | 0:01:13 | |
-..and said, -"Gwahoddiad comes from America." | 0:01:13 | 0:01:16 | |
-# For cleansing -in Thy precious blood | 0:01:18 | 0:01:20 | |
-# That flowed on Calvary # | 0:01:22 | 0:01:26 | |
-So how did the hymn come to Wales? | 0:01:26 | 0:01:29 | |
-Gwahoddiad crossed the Atlantic... | 0:01:29 | 0:01:31 | |
-..as part of the repertoire -of two inspired men. | 0:01:31 | 0:01:34 | |
-Ira Sankey and Dwight Moody -were American evangelicals. | 0:01:35 | 0:01:39 | |
-Moody was a preacher -and Sankey was a singer. | 0:01:40 | 0:01:44 | |
-Sankey would usually sing -at meetings... | 0:01:44 | 0:01:48 | |
-..before and after Moody's sermon. | 0:01:48 | 0:01:51 | |
-They held large meetings. | 0:01:51 | 0:01:55 | |
-They appealed to new audiences... | 0:01:55 | 0:01:59 | |
-..outside the usual circles -of chapels and churches. | 0:01:59 | 0:02:03 | |
-Sankey's hymns appealed to people -because they were relatively simple. | 0:02:05 | 0:02:11 | |
-They tended to be quite memorable. | 0:02:12 | 0:02:14 | |
-There were refrains -and verses that were repeated. | 0:02:14 | 0:02:18 | |
-Their appeal was also... | 0:02:19 | 0:02:22 | |
-..a very kind and gentle theology. | 0:02:22 | 0:02:27 | |
-People found them quite touching. | 0:02:27 | 0:02:29 | |
-One of the songs in their set -was "I hear Thy welcome voice." | 0:02:30 | 0:02:35 | |
-It was the work -of Lewis Hartsough... | 0:02:35 | 0:02:37 | |
-..an evangelical Methodist -from New York State. | 0:02:37 | 0:02:41 | |
-Lewis moved to Iowa -with the ministry in 1871. | 0:02:41 | 0:02:46 | |
-He composed the melody -and the lyrics... | 0:02:46 | 0:02:49 | |
-..to be sung at the end -of religious meetings. | 0:02:49 | 0:02:52 | |
-The hymn was published -in a periodical, Guide To Holiness. | 0:02:53 | 0:02:57 | |
-A copy was sent to Sankey... | 0:02:58 | 0:03:00 | |
-..when he was on one of his -campaigns in England in 1873. | 0:03:00 | 0:03:05 | |
-Sankey could see straight away -that it was a hymn he could use. | 0:03:06 | 0:03:11 | |
-He adopted the hymn very quickly. | 0:03:11 | 0:03:15 | |
-The English version -appeared in Sankey's collection... | 0:03:15 | 0:03:18 | |
-..Sacred Songs and Solos. | 0:03:19 | 0:03:20 | |
-One man who was influenced -by the two Americans... | 0:03:22 | 0:03:25 | |
-..was a man from Cwmrheidol -near Aberystwyth, John Roberts. | 0:03:25 | 0:03:29 | |
-His bardic name was Ieuan Gwyllt. | 0:03:29 | 0:03:33 | |
-Ieuan Gwyllt -was a minister and a musician. | 0:03:34 | 0:03:36 | |
-He did a lot of work on music -as well as being a minister. | 0:03:36 | 0:03:42 | |
-He collected hymn tunes -and published them in 1859... | 0:03:43 | 0:03:46 | |
-..in a book called Llyfr Tonau -Cynulleidfaol. | 0:03:46 | 0:03:49 | |
-He came under Sankey and Moody's -influence in the 1870s. | 0:03:49 | 0:03:54 | |
-He went to listen to them -in Liverpool. | 0:03:54 | 0:03:57 | |
-He was influenced greatly by them. | 0:03:57 | 0:04:01 | |
-He asked Sankey for permission -to publish some of the hymns... | 0:04:02 | 0:04:06 | |
-..and put together a collection -translated into Welsh. | 0:04:06 | 0:04:10 | |
-We know that Sankey -gave permission because... | 0:04:11 | 0:04:14 | |
-..when the hymns were published... | 0:04:14 | 0:04:16 | |
-..Ieuan Gwyllt published -the letter he received from Sankey. | 0:04:16 | 0:04:20 | |
-This is what Sankey said -in that letter. | 0:04:21 | 0:04:24 | |
-October 9th, 1874. | 0:04:24 | 0:04:27 | |
-Dear brother Roberts... | 0:04:27 | 0:04:29 | |
-Forgive my accent, -but I can't resist! | 0:04:29 | 0:04:32 | |
-"I have so many asking permission -to publish my hymns... | 0:04:32 | 0:04:36 | |
-"..that I hardly know -what I should do. | 0:04:36 | 0:04:39 | |
-"I have as yet given no permission." | 0:04:39 | 0:04:42 | |
-"But seeing that my wife -is the daughter of a Welshman... | 0:04:43 | 0:04:46 | |
-"..who lived at Swansea -many years ago... | 0:04:46 | 0:04:49 | |
-"..I cannot refuse you permission to -translate into the Welsh language... | 0:04:49 | 0:04:54 | |
-"..any of my hymns -which you may desire." | 0:04:55 | 0:04:57 | |
-"May God bless -the singing of his truth... | 0:04:58 | 0:05:01 | |
-"..by the sweet singers of Wales. | 0:05:01 | 0:05:04 | |
-"Yours, in the best of bonds, -Ira D Sankey." | 0:05:05 | 0:05:10 | |
-What a blessing -for the Welsh nation! | 0:05:11 | 0:05:13 | |
-That's how Gwahoddiad appeared -in one of the six collections... | 0:05:13 | 0:05:19 | |
-..published by Ieuan Gwyllt -under the title Swn y Jiwbili. | 0:05:19 | 0:05:23 | |
-Ieuan Gwyllt -was also instrumental... | 0:05:27 | 0:05:29 | |
-..in publishing affordable music -for Welsh people. | 0:05:29 | 0:05:32 | |
-He used a new method - -the tonic sol-fa notation. | 0:05:33 | 0:05:37 | |
-John Roberts, or Ieuan Gwyllt... | 0:05:38 | 0:05:39 | |
-..was undoubtedly one of the most -influential figures in Wales... | 0:05:40 | 0:05:44 | |
-..in the 19th century. | 0:05:44 | 0:05:45 | |
-He was particularly influential... | 0:05:46 | 0:05:48 | |
-..in relation to hymns, choral -singing and the use of tonic sol-fa. | 0:05:48 | 0:05:52 | |
-For the first time, -the works of the masters... | 0:05:57 | 0:06:01 | |
-..were available to ordinary folk. | 0:06:01 | 0:06:03 | |
-Sol-fa could be published -much more cheaply... | 0:06:03 | 0:06:08 | |
-..than staff notation. | 0:06:08 | 0:06:10 | |
-That was important in the historical -and social context of this era. | 0:06:11 | 0:06:17 | |
-One consequence of learning sol-fa -was that it became easier... | 0:06:18 | 0:06:21 | |
-..to pass on songs -to other cultures around the world. | 0:06:22 | 0:06:25 | |
-Gwahoddiad is a fantastic example -of a song travelling in this way. | 0:06:25 | 0:06:29 | |
-Once translated into Welsh... | 0:06:29 | 0:06:31 | |
-..it became very popular -with missionaries abroad. | 0:06:31 | 0:06:34 | |
-They used it to spread the message -of the Gospel through song. | 0:06:34 | 0:06:38 | |
-Welsh missionaries | 0:06:40 | 0:06:43 | |
-Reverend Aneurin Owen -was born in Mizoram, North India. | 0:06:45 | 0:06:49 | |
-His father, Owen William Owen... | 0:06:49 | 0:06:52 | |
-..was a missionary there -in the middle of the last century. | 0:06:52 | 0:06:56 | |
-We must remember -that missionary work... | 0:06:56 | 0:07:00 | |
-..included medical, educational and -pastoral work as well as preaching. | 0:07:01 | 0:07:05 | |
-Part of developing worship -in this new church on the hills... | 0:07:06 | 0:07:10 | |
-..was developing the singing. | 0:07:11 | 0:07:13 | |
-The main medium of teaching in -Mizoram was Miss Katie Hughes... | 0:07:13 | 0:07:17 | |
-..who was from Talysarn -in the Nantlle Valley. | 0:07:18 | 0:07:20 | |
-She had gone out there in 1934. | 0:07:21 | 0:07:23 | |
-She taught sol-fa as part -of her work in Sunday schools. | 0:07:24 | 0:07:28 | |
-When Katie Hughes was transported -from one village to another... | 0:07:28 | 0:07:33 | |
-..she would teach those who carried -her to sing sol-fa in harmony. | 0:07:34 | 0:07:38 | |
-If four men -travelled with Katie Hughes... | 0:07:38 | 0:07:40 | |
-..they would all be able to sing in -harmony by the end of the journey! | 0:07:41 | 0:07:44 | |
-People in Mizoram can now read -sol-fa as easily as a newspaper. | 0:07:45 | 0:07:49 | |
-That is exceptional. | 0:07:49 | 0:07:51 | |
-That means that their hymn books... | 0:07:52 | 0:07:54 | |
-..are a mixture of traditional -folk songs from the area... | 0:07:55 | 0:07:59 | |
-..Sankey and Moody gospel songs -and Welsh hymn tunes. | 0:07:59 | 0:08:03 | |
-# 'Tis Jesus calls me on # | 0:08:04 | 0:08:07 | |
-I have been in touch personally with -people from Mizoram since the 1990s. | 0:08:07 | 0:08:12 | |
-I have been back to the hospital -where I was born in Durtlang. | 0:08:12 | 0:08:16 | |
-I had the honour -of going there with CF1 choir. | 0:08:16 | 0:08:21 | |
-Hearing the choir -singing Gwahoddiad... | 0:08:21 | 0:08:24 | |
-..about cleansing through blood, -reconciliation... | 0:08:24 | 0:08:29 | |
-..and the peace -that comes through Jesus... | 0:08:29 | 0:08:33 | |
-..on the hospital ward was a moment -that will remain with me forever. | 0:08:33 | 0:08:38 | |
-It was really touching. | 0:08:39 | 0:08:40 | |
-I think it will remain with the -choir and with the hospital staff. | 0:08:41 | 0:08:45 | |
-It has certainly remained with me. | 0:08:45 | 0:08:47 | |
-# That flowed on Calvary! # | 0:08:48 | 0:08:50 | |
-Back in Wales at the beginning -of the 20th century... | 0:08:52 | 0:08:55 | |
-..another religious revival -was afoot. | 0:08:55 | 0:08:58 | |
-Songs from Swn y Jiwbili -and Ieuan Gwyllt's translations... | 0:08:58 | 0:09:01 | |
-..became an important part -of worship. | 0:09:01 | 0:09:04 | |
-Indeed, by 1934, over half a million -copies had been sold. | 0:09:04 | 0:09:10 | |
-Ieuan Gwyllt died on 14 May 1877. | 0:09:14 | 0:09:18 | |
-He was 54 years old. | 0:09:18 | 0:09:21 | |
-He was buried in the cemetery -at Caeathro chapel near Caernarfon. | 0:09:21 | 0:09:26 | |
-In the South Wales Daily News, -these words appeared. | 0:09:26 | 0:09:29 | |
-"At last, at the proper time, -his book appeared. | 0:09:29 | 0:09:32 | |
-"So far as Wales is concerned... | 0:09:32 | 0:09:34 | |
-"..it has been the greatest -literary success of the century." | 0:09:34 | 0:09:38 | |
-# I hear Thy welcome voice | 0:09:48 | 0:09:52 | |
-# That calls me, Lord, to Thee | 0:09:53 | 0:09:56 | |
-# For cleansing -in Thy precious blood | 0:09:57 | 0:10:01 | |
-# That flowed on Calvary | 0:10:02 | 0:10:05 | |
-# 'Tis Jesus calls me on | 0:10:10 | 0:10:12 | |
-# To perfect faith and love | 0:10:13 | 0:10:16 | |
-# To perfect hope, -and peace and trust | 0:10:17 | 0:10:21 | |
-# For earth and heav'n above | 0:10:22 | 0:10:25 | |
-# I am coming, Lord! | 0:10:27 | 0:10:30 | |
-# Coming now to Thee! | 0:10:31 | 0:10:34 | |
-# Wash me, cleanse me in the blood | 0:10:35 | 0:10:39 | |
-# That flowed on Calvary! | 0:10:39 | 0:10:44 | |
-# All hail! Atoning blood! | 0:10:46 | 0:10:50 | |
-# All hail! Redeeming grace! | 0:10:51 | 0:10:54 | |
-# All hail! -The gift of Christ our Lord | 0:10:55 | 0:10:59 | |
-# Our Strength and Righteousness | 0:11:00 | 0:11:03 | |
-# I am coming, Lord! | 0:11:04 | 0:11:08 | |
-# Coming now to Thee! | 0:11:09 | 0:11:11 | |
-# Wash me, cleanse me in the blood | 0:11:13 | 0:11:16 | |
-# That flowed on Calvary! | 0:11:17 | 0:11:20 | |
-# I am coming, Lord! | 0:11:22 | 0:11:25 | |
-# Coming now to Thee! | 0:11:26 | 0:11:29 | |
-# Wash me, cleanse me in the blood | 0:11:30 | 0:11:34 | |
-# That flowed on Calvary! # | 0:11:35 | 0:11:41 | |
-. | 0:11:42 | 0:11:42 | |
-Subtitles | 0:11:53 | 0:11:53 | |
-Subtitles - -Subtitles | 0:11:53 | 0:11:55 | |
-# Sleep, my baby, on my bosom # | 0:11:56 | 0:12:03 | |
-It's interesting to follow -the journey of Welsh songs... | 0:12:05 | 0:12:08 | |
-..to see which ones are most -successful at finding a home abroad. | 0:12:09 | 0:12:12 | |
-Some have appeared in Hollywood -films - Men of Harlech in Zulu... | 0:12:13 | 0:12:17 | |
-..Lisa Lan in Crash... | 0:12:17 | 0:12:19 | |
-..and Llwyn Onn and Myfanwy -in How Green Was My Valley? | 0:12:19 | 0:12:22 | |
-But in the 1980s, one folk song -came to the attention... | 0:12:22 | 0:12:25 | |
-..of director Steven Spielberg. | 0:12:26 | 0:12:28 | |
-That was Suo Gan. | 0:12:28 | 0:12:31 | |
-The film was Empire of the Sun. | 0:12:31 | 0:12:33 | |
-A little boy from Wales, -Christian Bale... | 0:12:34 | 0:12:37 | |
-..starred as a young British lad... | 0:12:37 | 0:12:39 | |
-..imprisoned in Japan -during the Second World War. | 0:12:39 | 0:12:42 | |
-I often play this on the harp -in concerts. | 0:12:43 | 0:12:47 | |
-Some people come up to me -afterwards. | 0:12:47 | 0:12:50 | |
-They think it's Japan's national -anthem after watching the film. | 0:12:50 | 0:12:55 | |
-It's nice to be able to explain that -it's actually a Welsh folk song. | 0:12:56 | 0:13:01 | |
-Is this Wales' most famous lullaby? | 0:13:07 | 0:13:10 | |
-Quite possibly. | 0:13:10 | 0:13:11 | |
-Several versions -of it exist now... | 0:13:12 | 0:13:15 | |
-..including recordings by the -Vienna Boys' Choir and Bryn Terfel. | 0:13:15 | 0:13:18 | |
-Lullabies | 0:13:19 | 0:13:20 | |
-The Welsh word for lullaby -is hwiangerdd. | 0:13:20 | 0:13:23 | |
-The first part of the word, hwian... | 0:13:23 | 0:13:25 | |
-..makes a similar sound -to the strange language... | 0:13:26 | 0:13:29 | |
-..adults tend to use with a baby -we are trying to rock to sleep. | 0:13:29 | 0:13:33 | |
-Owen Edwards -says that our lullabies... | 0:13:34 | 0:13:37 | |
-..tend to be a collection -of extracts from harp verses... | 0:13:38 | 0:13:42 | |
-..and memorable parts of songs... | 0:13:43 | 0:13:46 | |
-..passed from one person to another -and woven together over time. | 0:13:46 | 0:13:51 | |
-Lest anyone underestimate -these poems, he believes... | 0:13:52 | 0:13:56 | |
-..that the literature of a nation -relies in great part... | 0:13:57 | 0:14:01 | |
-..on its lullabies. | 0:14:02 | 0:14:03 | |
-Further, he says that if you want to -gain an insight to a nation... | 0:14:04 | 0:14:08 | |
-..you should start -by looking at their lullabies. | 0:14:08 | 0:14:11 | |
-We use the same word to describe -light verses full of mischief... | 0:14:17 | 0:14:23 | |
-..as if the one reciting -or singing them... | 0:14:24 | 0:14:27 | |
-..is enamoured -of the sound of the words. | 0:14:27 | 0:14:30 | |
-That is true -of the earliest lullaby we have... | 0:14:30 | 0:14:32 | |
-..which dates -from the 7th century. | 0:14:33 | 0:14:35 | |
-It's from Canu Aneirin -and starts with the words... | 0:14:35 | 0:14:38 | |
-.."Pais Dinogad, fraith fraith." | 0:14:38 | 0:14:40 | |
-There are some fabulous lines, -such as "Chwid, chwid, chwidogaeth." | 0:14:40 | 0:14:44 | |
-Or "Gochanwn, gochenyn', wythgeith." | 0:14:44 | 0:14:47 | |
-"Giff, gaff, daly, daly, dwg, dwg" | 0:14:47 | 0:14:49 | |
-There's some bragging -about the child's father... | 0:14:49 | 0:14:53 | |
-..who goes up the mountain to hunt -and out in his coracle to fish. | 0:14:53 | 0:14:58 | |
-You can hear the laughter -between the adult and the child... | 0:14:59 | 0:15:03 | |
-..in these wonderful lines. | 0:15:03 | 0:15:05 | |
-We can therefore trace back -child-rearing traditions... | 0:15:08 | 0:15:12 | |
-..as far back -as the 6th or 7th century. | 0:15:12 | 0:15:15 | |
-But what about more recent -traditions relating to babies? | 0:15:15 | 0:15:18 | |
-One tradition considered important -when a child was young... | 0:15:19 | 0:15:22 | |
-..was to place some iron or salt -in the baby's hand... | 0:15:22 | 0:15:26 | |
-..to stop the fairies... | 0:15:27 | 0:15:29 | |
-..from swapping the pretty baby -for an ugly one! | 0:15:29 | 0:15:32 | |
-They certainly -didn't want that to happen. | 0:15:32 | 0:15:36 | |
-A lot has been written -about these traditions. | 0:15:36 | 0:15:39 | |
-Memoirs written by various authors -or parish stories. | 0:15:39 | 0:15:43 | |
-Collections of such beliefs often -featured in Eisteddfod competitions. | 0:15:43 | 0:15:48 | |
-One of these was a collection of -Carmarthenshire folk literature... | 0:15:48 | 0:15:52 | |
-..by Reverend D G Williams. | 0:15:53 | 0:15:55 | |
-He mentions -many different beliefs... | 0:15:55 | 0:15:57 | |
-..some of them -linked to childbirth. | 0:15:57 | 0:15:59 | |
-For example, -if a child is born with teeth... | 0:16:00 | 0:16:04 | |
-..he will become -an exceptional person. | 0:16:04 | 0:16:07 | |
-If a child has teeth at a young age, -another baby will be born soon. | 0:16:07 | 0:16:11 | |
-When babies smile in their sleep... | 0:16:12 | 0:16:14 | |
-..it is because -they can see angels. | 0:16:14 | 0:16:16 | |
-A question often asked is what came -first - the melody or the words? | 0:16:17 | 0:16:22 | |
-The history of Suo Gan -is quite special. | 0:16:22 | 0:16:25 | |
-Suo Gan appears in print -for the first time... | 0:16:26 | 0:16:29 | |
-..in Edward Jones' Musical and -Poetical Relicks of the Welsh Bards. | 0:16:30 | 0:16:34 | |
-This was published -at the end of the 18th century. | 0:16:34 | 0:16:37 | |
-But it is a very short version -of the melody that appears there. | 0:16:37 | 0:16:42 | |
-It is only half of the song -as we know it today. | 0:16:43 | 0:16:45 | |
-But there is a firm echo -of the melody known to us. | 0:16:46 | 0:16:50 | |
-This is how it goes. | 0:16:50 | 0:16:52 | |
-The lyrics are a bit different -as well. | 0:16:55 | 0:16:57 | |
-It begins with "Hwi hwi plentyn -bach" instead of "Huna blentyn". | 0:16:57 | 0:17:01 | |
-# Hwi hwi hwi | 0:17:03 | 0:17:09 | |
-# Hwi hwi little child # | 0:17:09 | 0:17:15 | |
-During the 19th century, the song -was added to and it became longer. | 0:17:16 | 0:17:22 | |
-This is when the second part -of the song was introduced. | 0:17:23 | 0:17:28 | |
-That is this part. | 0:17:28 | 0:17:30 | |
-The song then repeats -the beginning again. | 0:17:45 | 0:17:48 | |
-This familiar version -was first published... | 0:17:49 | 0:17:51 | |
-..in Alawon y Celt -by Robert Bryan. | 0:17:52 | 0:17:54 | |
-He discovered the traditional -melody that is the second part... | 0:17:54 | 0:17:58 | |
-..in the manuscript -of Orwig Williams from Llanberis. | 0:17:58 | 0:18:02 | |
-He wrote new words -for the first two verses. | 0:18:02 | 0:18:05 | |
-He came from Caernarfon -and was fully aware... | 0:18:05 | 0:18:09 | |
-..of the rich folk tradition -in this area. | 0:18:09 | 0:18:13 | |
-He was a cultured man -and obviously had close links... | 0:18:13 | 0:18:17 | |
-..to men like J Lloyd Williams, an -important man in the folk tradition. | 0:18:17 | 0:18:22 | |
-Because of this, he was inspired -to start collecting melodies... | 0:18:22 | 0:18:27 | |
-..in his local area. | 0:18:27 | 0:18:29 | |
-He eventually published this very -valuable collection, Alawon y Celt. | 0:18:30 | 0:18:35 | |
-Because of illness... | 0:18:36 | 0:18:37 | |
-..Robert Bryan went to live in Egypt -with his brothers. | 0:18:38 | 0:18:41 | |
-They opened several clothes shops -there. | 0:18:41 | 0:18:45 | |
-The move had no effect -on his creative abilities. | 0:18:45 | 0:18:50 | |
-He competed in eisteddfodau, -he wrote poetry... | 0:18:50 | 0:18:54 | |
-..and composed music. | 0:18:54 | 0:18:56 | |
-With his brothers, -he opened a chain of shops... | 0:18:57 | 0:19:00 | |
-..not only in Cairo, -but also in Alexandria. | 0:19:00 | 0:19:03 | |
-In each place, they would -always hold an annual eisteddfod. | 0:19:03 | 0:19:09 | |
-If you walk along the streets -of Cairo, even today... | 0:19:10 | 0:19:14 | |
-..in the St David shopping centre, -you'll see the eisteddfod sign... | 0:19:14 | 0:19:19 | |
-..but also a coat of arms... | 0:19:20 | 0:19:22 | |
-..with the words "Gwir yn erbyn y -byd" - the truth against the world. | 0:19:22 | 0:19:28 | |
-Rather than forgetting -the Welsh tradition... | 0:19:28 | 0:19:32 | |
-..Robert Bryan and his brothers -educated the people of Egypt... | 0:19:32 | 0:19:37 | |
-..about our musical -and poetical traditions. | 0:19:37 | 0:19:41 | |
-They ensured that Wales, both for -its language and its traditions... | 0:19:41 | 0:19:46 | |
-..were given due respect, even -in a country as far away as Egypt. | 0:19:47 | 0:19:51 | |
-Suo Gan may have been performed -in eisteddfodau in Egypt. | 0:19:52 | 0:19:57 | |
-It has travelled far. | 0:19:57 | 0:19:58 | |
-It is also believed that the song -was sung to the son of Edward 1... | 0:19:59 | 0:20:02 | |
-..by his nurse who was Welsh. | 0:20:03 | 0:20:05 | |
-The melody was obviously "fit for -a king" and enchanted all babies. | 0:20:05 | 0:20:10 | |
-# Sleep, my baby, on my bosom | 0:20:16 | 0:20:21 | |
-# Warm and cosy will it prove | 0:20:22 | 0:20:27 | |
-# Around thee -mother's arms are folding | 0:20:28 | 0:20:33 | |
-# In the heart is a mother's love | 0:20:34 | 0:20:38 | |
-# Nothing shall tonight alarm you | 0:20:39 | 0:20:44 | |
-# None shall harm you, have no fear | 0:20:45 | 0:20:51 | |
-# Lie contented, calmly slumber | 0:20:53 | 0:20:58 | |
-# On your mother's breast, my dear | 0:20:59 | 0:21:05 | |
-# Mmm | 0:21:07 | 0:21:12 | |
-# Mmm | 0:21:13 | 0:21:19 | |
-# A smile I see in slumber deep | 0:21:20 | 0:21:24 | |
-# What visions -make your face bright? | 0:21:25 | 0:21:30 | |
-# Are the angels above us smiling? | 0:21:32 | 0:21:35 | |
-# At you in your peaceful rest? | 0:21:37 | 0:21:42 | |
-# Are you beaming back -while sleeping? | 0:21:44 | 0:21:49 | |
-# Peaceful slumber -on mother's breast | 0:21:50 | 0:21:56 | |
-# Do not fear, it is but a leaf | 0:21:58 | 0:22:03 | |
-# Knocking on the door | 0:22:04 | 0:22:09 | |
-# Do not fear one sole wave | 0:22:10 | 0:22:14 | |
-# Whispering gently on the seas | 0:22:15 | 0:22:20 | |
-# Sleep my baby, for there is not | 0:22:21 | 0:22:26 | |
-# Anything for you to fear | 0:22:27 | 0:22:33 | |
-# Smile peacefully on my breast | 0:22:35 | 0:22:41 | |
-# At the white angels high above | 0:22:42 | 0:22:49 | |
-# Mmm # | 0:22:50 | 0:22:59 | |
-S4C Subtitles by Testun Cyf. | 0:23:19 | 0:23:21 | |
-. | 0:23:21 | 0:23:21 |