The Bard (poem)

The Bard. A Pindaric Ode (1757) is a poem by Thomas Gray, set at the time of Edward I's conquest of Wales. Inspired partly by his researches into mediaeval history and literature, partly by his discovery of Welsh harp music, it was itself a potent influence on future generations of poets and painters, seen by many as the first creative work of the Celtic Revival and as lying at the root of the Romantic movement in Britain.

As the victorious army of Edward I marches along the slopes of the Snowdonian mountains near to the river Conwy they encounter a Welsh bard, who curses the king. The bard invokes the shades of Cadwallo, Urien and Modred, three of Edward's victims, who weave the fate of Edward's Plantagenet line, dwelling on the various miseries and misfortunes of his descendants. The bard goes on to predict the return of Welsh rule over Britain in the form of the house of Tudor, and the flowering of British poetry in the verse of Spenser, Shakespeare and Milton. Finally he tells Edward:

"With joy I see
The different dooms our Fates assign.
Be thine Despair, and sceptred Care;
To triumph, and to die, are mine.
He spoke, and headlong from the mountain's height
Deep in the roaring tide he plunged to endless night."

Gray was a keen student of mediaeval history, and in time came to make a particular study of the oldest Welsh poetry, though without actually learning the language. Several pages of his commonplace books are devoted to notes on Welsh prosody, and he also mentioned there a legend, now considered quite unhistorical, which he had come across in Thomas Carte's A General History of England (1747–1755). When Edward I conquered Wales, "he is said", wrote Gray, "to have hanged up all their Bards, because they encouraged the Nation to rebellion, but their works (we see), still remain, the Language (tho' decaying) still lives, and the art of their versification is known, and practised to this day among them". Gray also studied early Scandinavian literature, and found in one Old Norse poem the refrain "'Vindum vindum/ Vef Darradar'", which was to reappear in The Bard as "Weave the warp and weave the woof". In 1755 he began work on The Bard, and by August of that year had completed two thirds of the poem. Initially he worked with a speed and a sense of identification that were both unusual for him. "I felt myself the Bard", he declared. But composing the third and final strophe proved more difficult, and he eventually ground to a halt. For two years the poem remained unfinished, but then in 1757 he attended a concert by John Parry, a blind harpist who claimed that the traditional Welsh harp repertoire went back as far as the druids. Gray was so inspired by this experience that he returned to The Bard with new enthusiasm, and was soon able to tell his friend William Mason, "Mr Parry, you must know, has set my Ode in motion again, and has brought it at last to a conclusion." Gray sold the copyright of this poem and of his "The Progress of Poesy" to the publisher Robert Dodsley for 40 guineas, and Dodsley issued them together under the title Odes by Mr. Gray. The book was printed by Gray's friend Horace Walpole who had just set up a printing press at his home, Strawberry Hill, and who had set his heart on inaugurating the enterprise with Gray's poems. The Odes were published on 8 August 1757 as a handsome quarto, with a print run of 2000 copies priced at one shilling. Walpole prevailed on Gray to add four footnotes to The Bard for the first edition, though Gray told Walpole, "I do not love notes…They are signs of weakness and obscurity. If a thing cannot be understood without them, it had better not be understood at all." These proved, for many readers, inadequate to explain the poem, and Gray complacently wrote to Mason "nobody understands me, and I am perfectly satisfied." Rather against his will, he was persuaded to add a few more notes for the 1768 edition.

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