Interrogative sentences are formed with the interrogative particle a, or by the use of some interrogative pronoun or adverb.  In all cases the inflected form of the main verb or auxiliary (usually the latter) follows the particle, pronoun, or adverb, and usually with its initial in the second state.  Thus:—

A wrîgough why besca gwelas?  Did you ever see?

A wreugh why agan gwelas?  Do you see us?

Fatla wreugh why crŷa hedna?  How do you call that?

Fraga wreugh why gwîl hebma?  Why do you do this?

A vednough why môs genev vî?  Will you go with me?

The particle a is often omitted colloquially, but its effect is perceptible in the change of the initial of the verb.  If the verb begins with a vowel, a is always omitted.

With interrogative sentences should come the answers to them.  It must be understood that by nature no Celt can ever say a plain “yes” or “no.”  There are “dictionary words” for “yes” and “no” in Welsh and Cornish, and they are used a very little in translations from other languages; but they do not “belong” to be used in speaking or writing Welsh or Cornish.  In Gaelic there are not even “dictionary words” for them.  In Breton ia and nan are used freely for “yes” and “no,” as in French, but that is probably quite modern French influence.  The Celtic practice is to repeat the inflected verb of the question, affirmatively or negatively, in the necessary person.  Thus:—

’Ellough why cowsa Kernûak?  Can you speak Cornish?

Gellam or mî ellam.  I can (yes).  Ni ellam, or (less correctly) nag ellam, I cannot (no).

A vednough why dôs genev vî?  Will you come with me?

Mednav.  I will (yes).  Ni vednav.  I will not (no).

A wrîg ev môs dhô Benzans?  Did he go to Penzance?

Gwrîg.  He did.  Ni wrîg.  He did not.

’Esta ajŷ?  Art thou at home?

Thoma.  I am.  Nynsov, or nynsoma, or (less correctly), nag ov.  I am not.

In the case of a negative interrogative sentence the verb is immediately preceded by na= + a, whether it begins the sentence or is itself preceded by an interrogative conjunction.  Thus:—

Na wrîsta gwelas?  Didst thou not see?

Fraga na wrîsta crejy?  Why didst thou not believe?

§ 3.  Dependent Sentences or Subordinate Clauses.

These are of three kinds:—

1.  Those introduced by conjunctions, such as if, that, as, etc., or by a relative pronoun.

2.  Those analogous to the “accusative with the infinitive” of Latin.

3.  The absolute clause.

1.  The ordinary dependent clause introduced by a conjunction has its verb in the indicative, unless the so-called subjunctive is required to express uncertainty or contingency, without reference to any preceding conjunction.  The verb is always in the simple inflected or inflected auxiliary form.  The verb which follows the conjunction mar or mara, if, has its initial in the fourth state, and tre, tro, or dro, that, governs the second state.

A dependent sentence may sometimes precede its principal sentence, as in English.  A very good instance of two sorts of dependent clauses may be seen in the following sentence from Boson’s Nebbaz Gerriau.  The English is:—

“If that learned wise man [John Keigwin] should see this [i.e. this essay], he would find reason to correct it in orthography, etc.”

Boson’s Cornish, the spelling and division of words assimilated to that of the present grammar, is:—

Mar qwressa an dên deskes fîr-na gwelas hemma,
If should [do] that man learned wise see this,
ev a venja cavos fraga e ewna en scrîfa-composter.
he would find why it to amend in writing-correctness.

In this sentence qwressa is for gwressa (third person singular of the conditional or pluperfect of the auxiliary gwîl, to do), with the initial in its fourth state after mar.  Boson writes it markressa, all in one word.  Fraga e ewna is an example of a variant of the second form of dependent sentence.  The principal verb ev a venja cavos is in the impersonal auxiliary form, and of the two dependent clause verbs, one, qwressa an dên deskes fîr-na gwelas, is in the inflected auxiliary form, and the other, ewna, is infinitive.

In a relative sentence, if the relative pronoun is the subject, the verb appears to be in the impersonal form.  That is to say, it is always in the form of the third person singular, and does not show any agreement with its antecedent, whatever person or number that may be in.  The other peculiarities of relative sentences are given in Chapter VII. §4.

2.  “Instead of using the conjunction that with another verb in the indicative mood, as in most European languages, it is usual to put the second verb in the infinitive preceded by the personal pronoun, as is common in Latin.”  Thus says Norris, speaking in a manner perhaps rather less clear than usual, of an idiom found in the Dramas.  This idiom, analogous to the “accusative with the infinitive” of Latin, is found down to the latest period of Cornish literature, though not to the complete exclusion of a finite clause beginning with that.  The instances given by Norris are:—

Ha cous ef dhe dhasserhy, and say that he is risen.

Marth a’m bues ty dhe leverel folneth, I have wonder that thou shouldst speak folly.

Nyns a y’m colon why dhe gewsel, it goes not into my heart (i.e. I do not believe) that you have spoken.

Del won dhe bos, as I know thee to be.

Here are some later instances:—

Ny a wel an tîs younk dho e clappya leh ha leh, [164] we see that the young people speak it less and less (Nebbaz Gerriau).

Dre wrama crejy hedna dho bos gwîr yu serîfes enna, that I do believe that that is true that is written therein (Nebbaz Gerriau).

Nevertheless, one finds in the same piece:—

Ev a lavarras drova gever ǒl, he said that it was Goats All.

Bes mî a or hemma, dhort e hoer an Kernuak, drova talves bes nebbas, but I know this, by her sister the Cornish, that it is worth but little.

And in Keigwin’s translation of Genesis i.:—

Ha Dew a wellas trova da, and God saw that it was good.

A somewhat similar construction is sometimes used after dreven, because, and treba, until:—

Dreven tî dhô wîl hemma, because thou hast done this (Kerew’s Genesis, iii. 14).

Dreven tî dhô wolsowas dhô dalla dha wrêg, [165] because thou didst listen to the voice of thy wife (Gen. iii. 17).

Treba tî dhô draylya dhô’n nôr, until thou turn again to the earth (Gen. iii. 19).

Yet even there one finds

Dreven o hy dama a ŏl bewa, because she was the mother of all living (Gen. iii. 20).

Lhuyd mentions a similar construction after rag own, for fear, lest:—

Rag own whŷ dho gôdha po an rew dho derry ha whŷ dho vos bidhes, lest you fall or the ice break and you be drowned (literally, for fear you to fall or the ice to break and you to be drowned).

With fraga, why, one finds a similar form:—

Ev a venja cavos fraga e ewna, he would find why to amend it.

But when fraga introduces an interrogative sentence, an ordinary finite verb is used:—

Fraga (or rag fraga, “for why,”) na grejeth dhô’ m lavarow?  Why dost thou not believe my words?

When “that” signifies “in order that,” the ordinary finite verb is used after it.

There is a peculiar construction, found chiefly in Jordan’s Creation, but also in the Ordinalia (e.g. Pass. Chr. 1120), for expressing “that I am.”  It consists of the infinitive bos, to be, preceded by a possessive pronoun and followed by a pronominal suffix:—

Me a vyn mav fo gwellys ow bosaf Dew heb parow, I will that it may be seen, that I am God without equals.

And a still more confused one of the second person with the verbal particle y before bos, the pronominal suffix ta and the pronoun ge=:—

Me ny allaf convethas, y bosta ge ow hendas, I cannot understand that thou art my ancestor.

The first is analogous to the Welsh “infinitive construction,” as Rowland calls it, e.g. gwyr fy mod i yn dyfod, he knows that I am coming (lit. he knows my being in coming), only the Cornish form uses the pronominal suffix instead of the redundant personal pronoun.

3.  The Absolute Clause.  This construction, which answers more or less to the ablative absolute of Latin, and the genitive absolute of Greek, is common to all the Celtic languages.  It is translated into English by a sentence introduced by when, while, whilst, or though, with a verb generally in the continuous form of the present or past tense, or by a participle.  In the Celtic languages the absolute clause has two forms.

a.  The affirmative, generally consisting of the conjunction and, a subject, noun or pronoun, and generally a participle.  Rowland calls the conjunction, a, ac, of the Welsh form “the absolute particle,” and Professor Anwyl identifies it with a, ag, with, in an archaic form.  But in Cornish ha or hag is used, and in Gaelic agus, and, in exactly the same way.  The following are examples in Cornish, Welsh, and Gaelic:—

Cornish.  An jy a ve gwarnes gan Dew, ha ’n jy ow cusca, [166] they were warned by God, and they sleeping, or, while they slept (Kerew’s translation of St. Matth. ii. 12, Gwav. MS.).

El a’n leverys dethy haneth, ha hy yn gwely pur thyfun, an angel said it to her this night, and she in her bed quite awake (Pass. Chr. 2202-4).

Welsh.  Pa ham, a mi yn disgwyl iddi dwyn grawn-win, y dug hi rawn gwylltlon?  Wherefore, and I looking to it to bring forth grapes [Auth. Vers., when I looked that it should bring forth grapes], brought it forth wild grapes?  (Isaiah v. 4).

Gaelic.  Do chonnaic Seaghán an duine, agus é ag teacht a-bhaile, John saw the man, and he coming home, i.e. when he was coming home.

b.  The negative, in which not is expressed in Welsh and Cornish by heb, and in Gaelic by gan, both meaning without, followed by an infinitive:—

An delna ema stel ow tegy warnodha, heb wara dhodha teller vîth, [167] so it is still closing in upon it without leaving it any place (Boson’s Nebbaz Gerriau).

In many such cases this negative clause can be translated literally into English, and it is the usual form of negation with an infinitive or present participle.

A somewhat similar absolute clause of a descriptive character occurs occasionally:—

An golom, glas hy lagas, yn mes gura hy delyfre, the dove, blue her eyes, do set her free (Origo Mundi, 1105-6).

Un flogh yonk, gwyn y dhyllas, a young child, white his raiment (Passion, 254, 3).

In a similar construction in Welsh the adjective here agrees with the first noun, and the translation would be rather “The dove blue [as to] her eyes,” but in Cornish this is not so, for in this sentence golom (second state of colom) is feminine, so that the adjective would be las, not glas, if it agreed with it.

§ 4.  The Infinitive or Verbal Noun.

The infinitive of a verb is treated almost exactly like a noun.  If its object is a pronoun, this precedes the infinitive in the possessive form and governs its initial as it would that of a noun.  If the object is not a pronoun, it follows the infinitive without change of initial, after the manner of an appositional genitive.

Very often the infinitive is governed by dhô, to, as in English, and under much the same circumstances, except that it is not so governed when it comes as the subject of another verb, and of course dhô is not used after auxiliary verbs.  It is especially used after verbs implying motion.

Mî a vedn môs dhô ’gas gwelas, I will go to see you.

Mî eth dhô vetya an trên, I went to meet the train.

Lowen on ny dhô ’gas gwelas why, we are glad to see you.

When the sense of “to” is “in order to,” or the preceding verb implies an intention, the infinitive is generally preceded by rag or rag dhô, “for to,” or by a dhô, “of to.”

§ 5.  Some Idioms and Expressions.

1.  To have is expressed in three ways.

a.  By the verb bos, to be, with the thing possessed as subject and the possessor in the dative form, i.e. preceded by dhô, to; cf. est mihi in Latin.

Affirmative.  Ema levar dhem, there is a book to me.

Negative.  Nynsyu levar dhem, there is not a book to me.

Interrog.  ’Es levar dhem?  Is there a book to me?

This is the common form in late Cornish.

b.  By the verb cafos or cavos, to find, to obtain, used as an ordinary transitive verb with the possessor as subject and the thing possessed as object.  This is not used for the present tense.  Lhuyd gives a past tense, mî a gavaz or mî ’rig gavaz, I had, and a future, mî ven gavaz, I will have, but he, Norris, and Williams are all inclined to confuse this with the third form.

c.  By a peculiar idiom compounded of a form of the verb bos, to be, and the third form of the personal (or else the possessive) pronouns.  The explanation, as far as it goes, of this verb is to be found in Breton.  Even there it has been confused a good deal, though its use is plain enough.  Legonidec calls it “le verbe kaout [=Cornish cavos], avoir,” which he distinguishes from kavout or kaout, trouver; Maunoir, whose Breton, according to a picture in Quimper Cathedral, was received miraculously from an angel, wisely does not commit himself, but calls the verb, Latin fashion, after the first person singular of the present.  Prof. Loth rightly speaks of it as “le verbe dit avoir,” and M. Ernault calls it “Verbe beza [to be] au sens de ‘avoir,’” and he explains it to be the verb to be, combined with the “pronoms régimes,” which is just what it is.  In Breton it is not only used as the ordinary verb to have=to possess, but also as an auxiliary verb in the same manner as avoir, have, haben, are used in French, English, and German.  This verb came to be used in Breton with or without the nominative pronoun being expressed.  In Cornish the expressed nominative pronoun is less usual, except in the second person singular, where it is the rule.  That it should be used at all in either language is a sign that in practice the original formation of the verb has been forgotten.  Occasionally in Cornish this oblivion has resulted even in the application of pronominal inflections to the verb.

This form is found frequently in the Ordinalia and in the Poem of the Passion; it is fairly common in the Life of St. Meriasek, it is rarer in the Creation, and is not found at all in Cornish of the latest period (except in a doubtful and muddled form in Keigwin’s version of the Commandments), though Lhuyd gives a fragment of it in his Grammar, evidently taken from the earlier Dramas and not from oral tradition, for he takes the g of geffi and gefyth to be a hard g, whereas it is plainly a soft g for a d, as the analogy of tevyth, and of the Breton deveuz, devez, etc., shows.  Moreover, it is sometimes written ieves, which is intended to represent jeves.

It will be well, by way of making this form clearer, to give not only the Cornish but also the corresponding Breton.

The tenses that are found are as follows:—

I.  The Present.

Singular.

Cornish.

Breton.

1.  [] am bes [bus, bues, bues].

[me] em euz.

2.  [] ath ĕs (thues).

[te] ec’h euz.

3.  m.  [ev] an jeves (for deves).

[hen] en deuz or deveuz.

3.  f.  [hy] as teves.

[he] e deuz.

Plural.

1.  [ny] an bes.

[] hon euz.

2.  [why] as bes.

[c’houi] hoch euz.

3.  [y] as teves.

[] ho deuz or deveuz.

This tense is formed on us, eus, es (Breton euz), one of the forms of the third person singular of the verb substantive.  To this is prefixed the verbal particle a, with the letter which is the third form of the personal pronoun, ’m, ’th, ’n, ’s, ’n, ’s, ’s, with the peculiar addition of jev and tev to the third persons and b to the others.  The ’th of the second person singular is found written in this but not always in the other tenses, for it was probably often silent before f by a sort of assimilation.  Its effect is observable in the initial mutation.  Of this tense the first, second, and third persons singular and the second person plural are found.  But for the existence of the form as bes [bues] for the last, one might suppose, with Williams, that the b of am bes was only the addition of a cognate letter to the m.  But cf. the addition of b to oa and oe of the same verb in Breton.

II.  The Future.

Singular.

Cornish.

Breton.

1.  [] am bedh (byth, beth).

[me] em (or am) bez.

2.  tî a [th] fedh (fyth).

[te] ez (or az) pez.

3.  m.  [ev] an jevedh (for devedh).

[hen] en devez.

3.  f.  [hy] as tevedh.

[he] e devez.

Plural.

1.  [ny] an (or agan) bedh.

[ni] hor bez.

2.  [why] as (or agas) bedh.

[c’houi] ho pez.

3.  [y] as tevedh.

[] o devez.

It will be seen here and in the other tenses that the pronouns in Breton do not produce exactly the same mutations as in Cornish.  The dh of Cornish is always written z in Breton, though that is pronounced dh in some dialects.  The whole of this tense is found in the MSS.

III.  The Preterite.

Singular.

Cornish.

Breton.

1.  [] am bê [bue].

[me] em (or am) boe.

2.  tî ath fê.

[te] ez (or az) poe.

3.  m.  [ev] an jeve.

[hen] en devoe.

3.  f.  [hy] as teve.

[he] e devoe.

Plural.

1.  [ny] an (or agan) .

[ni] hor boe.

2.  [why] as (or agas) .

[c’houi] ho poe.

3.  [y] as teve.

[] o aevoe.

Only part of this tense is found in the MSS., but the rest is easily formed by analogy.

IV.  The Subjunctive (or Optative).

Singular.

Cornish.

Breton.

1.  [] am bo.

r’ am bezo, bo.

2.  tî ath fo, fetho.

r’ az pezo, po.

3.  m.  [ev] an jevo (for devo, written gefo or geffo).

r’ en devezo, devo.

3.  f.  [hy] as tevo.

r’ e devezo, devo.

Plural.

1.  [ny] an (or agan) bo.

r’ hor bezo, bo.

2.  [why] as (or agas) bo.

r’ ho pezo, po.

3.  [y] as tevo (written teffo, tefo).

r’ o devezo, devo.

In this tense the Breton does not use the nominative personal pronoun, except when it is a form of the future, but prefixes r’ (ra).  In Cornish re is used to make the optative and perfect, and in this case the ’th of the second person singular is not omitted, for re’ th fo and re ’th fê are the forms found.

A rather doubtful second tense (secondary present or imperfect), equivalent to the Breton am boa, may be conjectured in am beua (St. Mer. 47, 1686), am bethe may be the equivalent of the Breton imperfect subjunctive, am bize, bije, befe, and the third person singular of this may be the an geffa of St. Mer. 20, 159.  Dr. Whitley Stokes gives both these forms as secondary presents.  There is also a possible pluperfect te ny vea, and nyn gyfye, found in the second and third persons singular.

One finds such forms as am buef, as bethough, may ’stefons, etc., as instances of pronominal inflections added to this verb, showing how completely its derivation was forgotten, and it is further confused by being perhaps mixed up with the verb pewa (Welsh piau, Breton piaoua), to possess, a verb which in all three languages requires rather more disentangling than it has as yet received.

There are very full examples of this verb in Zeuss’s Grammatica Celtica (ed. 1871, p. 565).

2.  Besides to have, certain other verbs are expressed with bos and the preposition dhô.  Thus:—

Ma cov dhem [pron. ma códhem], I remember, lit. there is remembrance to me.

Ma whans dhem, I want, lit. there is want to me.

Ma whêr dhem, I am sorry, lit. there is grief to me.

Ma own dhem, I fear, lit. there is fear to me.

Ma dout dhem, I doubt, lit. there is doubt to me.

Ma reys dhem, or reys yw dhem, I must, lit. there is need to me.

Another expression for “to remember” is perthy cov, to bear memory.  The imperative was sometimes written perco in one word.  Perthy is used similarly with other nouns: na berth medh, be not ashamed, na berth own, be not afraid, na berth whêr, be not sorry, an vuscogyon orto a borthas avy, the fools hated him (Passion, 26, 3), na berth dout, do not doubt.  The literal meaning is to bear shame, fear, sorrow, envy, doubt, etc.

Similarly nouns and adjectives are used with gan, with, as in Welsh, to represent states of mind.  Thus:—

Da yu genev, I like, lit. it is good with me.

Drôg yu genev, I am sorry, lit. it is bad with me.

Gwell yu genev, I prefer, lit. it is better with me.

Marth yu genev, I am astonished, lit. wonder is with me.

Cas yu genev, I hate, lit. hate is with me.

The verbs dal and goth, signifying ought, it behoves, are used either impersonally or, though this is a late corruption, as ordinary verbs.

Ni dal dhen ny / Ni goth dhen ny } we ought not.

Or:—

Mî a dal / Mî a goth } I ought.

3.  Gwyn an bês.  This poetical expression is common to Cornish, Welsh, and Breton.  It signifies, “fair the world,” i.e. happy, and is used with possessive pronouns and appositional genitives.

Gwyn ow bês, fair my world, happy I.

Gwyn dha vês, happy thou.

Gwyn e vês, happy he.

Gwyn bês an den na wrîg cerdhes en cŏsŏl an gamhin-segyon, blessed is the man who hath not walked in the counsel of the ungodly.

In Welsh, when the possessor of this “fair world” is expressed by a noun, there is a redundant possessive pronoun before byd (bês).  Thus Psalm i. begins Gwyn ei fyd y gwr, fair his world of the man.  But this is not the Cornish form, which uses the simple appositional genitive in such cases.  There is a contrary expression, drôg pês, found in the Ordinalia (Passio Christi, 3089), drok pys of, unhappy am I.  In this case drôg seems to put the initial of bês in its fourth state.

4.  The following phrases are in common use, and are generally run into one or two words in pronunciation.

Mêr ’ras dhô Dhew (pron. merásthadew).  Great thanks be to God.

Mêr ’ras dheugh why (pron. merásdhawhy).  Great thanks to you.

Dew re dala dheugh why (pron. Durdladhawhy).  God repay to you.

Dew re sona dheugh why (pron. Dursónadhawhy).  God sain you.

Bennath Dew genough why (pron. Bénatew génawhy).  The blessing of God be with you.

Dew genough why (pron. Dew génawhy).  God be with you.

Pandráma (i.e. pa’n dra wrama).  What shall I do?

Pandréllen (i.e. pa’n dra wrellen).  What should I do?

Pándres (i.e. pa’n dra es).  What is there?

Pandryu (i.e. pa’n dra yu).  What is?

Pandresses (i.e. pa’n dra wresses).  What shouldst thou do?

Fatla genough why (pron. fatla génawhy).  How are you?

Trova (i.e. tre o-va), that he was.

§ 6.  Rules for Initial Mutations.

1.  The Second State.

aA feminine singular or masculine plural noun (or adjective used as a noun) preceded by the definite article an, the, or the numeral idn, one, has its initial in the second state.

b.  An adjective which follows and qualifies a feminine singular noun, has its initial in the second state.

c.  A noun preceded by an adjective qualifying it, of whatever gender or number, has its initial in the second state.

d.  If the adjective preceding and qualifying a feminine singular noun follows the article an, the, the initial of the adjective is also in the second state.

e.  A noun in the vocative preceded by the particle a, O (expressed or omitted for the sake of verse), has its initial in the second state.

f.  The possessive pronouns dha, thy, and e, his, are followed by words, whether nouns, adjectives, or verbal nouns (infinitives) in the second state.  The form ’th, thee or thy, generally puts the word which follows in the second state, but sometimes in the fourth, or changes b to f, not v.

g.  The verbal prefix ă (older y, yth), is generally followed by a verb in the second state.

h.  The verbal particles a and re and the interrogative particle a are followed by a verb in the second state.

i.  The prepositions a, der or dre, dhô, heb, re, and war, and compound prepositions ending in any of them, are followed by words in the second state.

k.  The conjunctions tre, tro, that, pan, when, erna, until, hedre, whilst, are followed by the second state.

l.  The adverbial particle en is followed generally by an adjective in the second state.

m.  The adverbs pŭr, very, ni, na, not, fraga, why, fatla, how, are followed by initials in the second state.

2.  The Third State.

a.  The possessive pronouns ow, my, î, her, and aga, their, are followed by words in the third state.

bMa, may, that, are sometimes followed by verbs in the third state, and sometimes by a variant, g becoming h, and gw becoming wh.

3.  The Fourth State.

a.  The particle ow, which forms the present participle, is followed by a verbal noun (or infinitive) in the fourth state.

b.  The conjunctions a, mar, mara, if, are followed by verbs in the fourth state.

c.  The adverb maga, as (in “as well,” etc.) is followed by an adjective in the fourth state.

d.  Sometimes an adjective beginning with d, when preceded by the adverbial particle en, has its initial in the fourth state, and rarely a noun beginning with d, when it follows in the appositional genitive a word ending in th.

e.  The verbal prefix ă (y), when followed by verbs whose radical initial is d, often changes that initial to the fourth state, and in the case of those beginning with gw to wh.  The conjunction ken, though, does the same.

f.  The third form of the second personal pronoun singular ’th not infrequently changes the initial of a verb beginning with d to the fourth state, and that of one beginning with g or gw to wh.  It also sometimes changes b to f.

The exact usage of the mutations is not very clear, for even the older writers used them rather wildly, but the above rules are the general principles of them.  There are valuable notes on their phonetic principles in Dr. Whitley Stokes’s notes to St. Meriasek, and in a paper of additional notes which he published later.  In the latest Cornish there was a tendency to use the second state after nearly anything, especially prepositions, except the few words which govern the other two mutations.

CHAPTER XV—PROSODY

The prosody of the Celtic languages is often very elaborate, but the more modern tendency has generally been in the direction of assimilating it to the prosody of English, or, in the case of Breton, to that of French.  In Welsh two systems exist at the present day, and the rules of them are known respectively as y Rheolau Caethion and y Rheolau Rhyddion, the bond or strict rules and the free rules.  The former are founded on elaborate rules of Cynghanedd or consonance, which term includes alliteration and rhyme, and every imaginable correspondence of consonant and vowel sounds, reduced to a system which Welsh-speaking Welshmen profess to be able to appreciate, and no doubt really can, though it is not easily understood by the rest of the world.  The rules of Cynghanedd are applied in various ways to the four-and-twenty metres of the Venedotian (Gwynedd or North Wales) school, and to the metres of the Dimetian (Dyfed or South-West Wales) and the Glamorgan schools.  Modern Welsh bards, however, though they often use the strict rules as tours-de-force for Eisteddfod purposes, as often compose poetry according to the free rules, which are mostly the ordinary go-as-you-please metres of the Saxon.  The Bretons follow the ordinary French rules as to the strict number of syllables, the cæsura, and the rhyming, taking very little account of the stress accent either of words or sentences.

The prosody of the older Cornish literature has little in common with the strict system of Welsh.  Though one does find alliterations and “internal” rhyming and correspondence of consonants, they do not seem to be at all systematic, but are only either introduced as casual ornaments or purely accidentally.  The rules of the older Cornish prosody have more in common with those of Breton, except that, but for one case in the Dramas of a five-syllabled couplet, and the rather irregular Add. Charter fragment in the British Museum, there are only two lengths of lines, seven or four syllables, and the cæsura is not very definite.

The seven-syllabled lines are the more common.  The whole of the Poem of the Passion is in stanzas of eight seven-syllabled lines, rhyming alternately, but written as fourteen-syllabled lines; and the greater part of the Dramas is in lines of the same length, though with varying arrangements of rhymes.  Sometimes whole passages of four-syllabled lines occur, and frequently four-syllabled lines occur in the same stanza with those of seven syllables.  The rhythmic accent seems to be trochaic, and the heptasyllabic line to consist of three trochees and a long syllable, but as the stress accent of words is absolutely disregarded, and the strong beats of the rhythm sometimes fall on monosyllables which out of poetry would probably be enclitic or proclitic, or at any rate very slightly accented, one can only be sure of the fact that the poet of the Ordinalia was careful to count his syllables exactly, and to make the last syllable of every line rhyme with the last syllable of some other line.  The author of the Poem of the Passion was not quite so careful, and Jordan was still less so.  Diphthongs, as in Breton, are occasionally counted as two syllables, a y followed by another vowel is sometimes a vowel and sometimes a consonant, and there are occasional elisions and perhaps contractions, understood but not expressed, [180a] but with these few exceptions the number of syllables to a line is strictly accurate, and in the Ordinalia is never varied by the unaccented and uncounted syllables that often occur in English verse.  The rhymes are quite strict to the eye, but that is no doubt because in the days when one could spell as one pleased, the writer might arrange his spelling to suit, but there appear to be cases where the dh and th, both written th, as final consonants are made to rhyme together, and the three sounds of u (oo and the French u and eu) are sometimes confused.  Though the rhymes are always “masculine” (i.e. of one syllable), there are occasionally cases where, unless one counts the rhymes as “feminine” (i.e. of two syllables), they would not be rhymes at all, and yet feminine rhymes would throw out the rhythm. [180b]

The metres of late Cornish were usually rather more assimilated to English, but apparently some memory of Celtic prosody lingered on.  Lhuyd quotes a proverb, of which he gives two versions, in the old three-lined metre known in Welsh as the Triban Milwr, or Warrior’s Triplets, which is found as early as Llywarch Hen’s Laments for Geraint ap Erbyn and for the Death of Cynddylan, in the sixth century.  Lhuyd himself wrote a Cornish Lament for William of Orange in what he claimed as the same metre, a singularly inappropriate subject for the language of a nation of loyal Jacobites, as the Cornish certainly were as late as 1715.  Boson (Gwavas MS., f. 7) wrote a short elegy on James Jenkins of Alverton, also in rhyming triplets.  The curious little song, which is all that remains of Jenkins’s poetry, seems to show indications of a feeling for internal rhymes and something like a rudimentary Cynghanedd, but there is not enough of it to reduce to any definite rules.  Even in Boson’s verses and in those of Gwavas and Tonkin of St. Just (not the historian), in the Gwavas MS., the old system of counting syllables and taking very little account of the stress accents of words, is occasionally found, but generally in the later verse the extra unaccented syllables freely introduced show that a sense of accent and beats of rhythm had come in.

Specimens of Cornish Verse.

I.  Five- (or four) syllabled lines, with occasional six-syllabled, rhyming A A B C C B.  From the fragment on the back of Additional Charter 19,491 in the British Museum, late fourteenth century.

Golsow ty cowedh, (5)
Byth na borth medh, (4)
   Dyyskyn ha powes (6)
Ha dhymo dus nes. (5)
Mar codhes dhe les; (5)
   Ha dhys y rof mowes, (6)
Ha fest unan dek (5)
Genes mar a plek. (5)
   Ha tanha y; (4)
Kemmerr y dhoth wrek, (5)
Sconye dhys ny vek (5)
   Ha ty a vydh hy. (5) [181]

Hearken, thou comrade,
Never be ashamed,
   Alight and rest
And to me come near.
If thou knowest thy advantage;
   And to thee I will give a girl,
And truly a fair one
To thee if she is pleasing.
   Go take her now;
Take her to thy wife,
Refuse thee she will not
   And thou shalt have her.

It is probable that this metre is intended to be five-syllabled throughout, except that a “feminine” or double rhyme is occasionally allowable (e.g. powes-mowes), and that the light first syllable of a line may be omitted.  This accounts for the two six-syllabled and two four-syllabled lines respectively.  In the rest of the poem there are lines of four, five, seven, eight, and even nine syllables.  The whole fragment of forty-one lines, though not much earlier than the Ordinalia, is much less regular in rhythm, and is much less syllabic.

II.  One of the commonest metres of the Dramas, and indeed of much mediæval verse in other languages, consists of seven-syllabled lines rhyming A A B C C B, or A A B A A B.

From the Passio Domini Nostri Jesu Christi, the second of the Ordinalia, fifteenth century.  (Our Lord’s speech to the Pueri Hebræorum.)

Ow benneth ol ragas bo
Ow tos yn onor thymmo
   Gans branchis flowrys kefrys.
Un deyth a thue yredy
Ma’n talvethaf ol thywhy
   Kemmys enor thym yu gwrys.

My blessing be all upon you
Coming in honour to me
   With branches and flowers likewise.
A day shall soon come
When I shall repay it all to you
   As much honour as is done to me.

This is the metre of the well-known Whitsunday Sequence, Veni Sancte Spiritus (Come, thou Holy Spirit, come).

Note that gwrys (gwres in Modern Cornish) is a monosyllable, and that the ue of dhue is a single vowel=eu.  This metre is varied by being made into eight-lined stanzas, rhyming A A A B C C C B.

III.  Another very common metre in the Dramas consists of stanzas of eight lines of seven syllables, rhyming alternately.  Usually the stanza only contains two rhymes, but sometimes, especially if four lines of the eight are given to one character and four to another, the rhymes of the two quatrains are independent of one another.

From the Ordinale de Origine Mundi, fifteenth century.  (Eve’s speech to Adam after gathering the apple.)

My pan esen ou quandre
   Clewys a’n nyl tenewen
Un el ou talleth cane
   A ughaf war an wethen.
Ef a wruk ow husullye
   Frut annethy may torren
Moy es Deu ny a vye
   Bys venytha na sorren.

I when I was wandering
   Heard on the one side
An angel beginning to sing
   Above me on the tree.
He did counsel me
   Fruit from it that I should break;
More than God we should be
   Nor be troubled for ever.

Note the apparent “feminine” rhymes, torren-sorren, which are really rimes riches in the French style.

The whole Poem of the Passion is in this metre, but is written in lines of fourteen syllables.

IV.  Four-syllabled lines, often written as eight-syllabled, rhyming alternately.  Thus (Passio D. N. J. C. in the Ordinalia, 1. 35):—

A mester whek·  gorthys re by
Pan wreth mar tek·  agan dysky.
Asson whansek·  ol the pysy,
Lettrys na lek·  war Thu mercy!

O sweet master, glorified be thou,
When thou dost so sweetly teach us.
How we desire all to pray,
Learned and lay, to God for mercy!

The same two rhymes run through a stanza of eight (written as four) lines.

V.  Four-syllabled lines in six-lined stanzas, rhyming A A B A A B (Passio D. N. J. C., 169).

Gorthyans ha gras
The Dew ow thas
   Luen a verci,
Pan danvonas
Yn onor bras
   Thym servysi.

Glory and thanks
To God my Father,
   Full of mercy,
When he sent
In great honour
   Servants to me.

VI.  Sometimes a mixture of the last two forms of stanza is found extended to ten lines.  Thus (Origo Mundi, 1271):—

Dyvythys of
The’th volungeth,
Arluth porth cof
Yn deyth dyweth
   A’m enef vy.
Lavar thymmo
Pandra wrama;
Y’n gwraf ytho
Scon yn tor-ma
Yn pur deffry.

Come am I
To thy will.
Lord remember
In the last day
   My soul.
Tell me
What I shall do;
I will do it now
Soon in this turn
   Very seriously.

VII.  Mixed seven and four syllabled lines.  Sometimes these are only the metre of II., with the third and sixth lines four-syllabled instead of seven-syllabled.

Thus in Origo Mundi, 911, we find:—

Ou banneth theughwhy pub prys,
Mar tha y wreugh ou nygys
   Prest yn pub le.
Gorreugh an fals nygethys
Gans Abel a desempys
   The yssethe.

My blessing to you always,
So well you do my business
   Quickly everywhere.
Put the false flier
With Abel immediately
   To sit.

VIII.  Sometimes alternations of stanzas of four and seven-syllabled lines are found.  A very remarkable and effective set opens the Drama of The Passion.  It is in stanzas of thirteen lines, eight lines of four syllables (written as four of eight syllables), rhyming A B A B A B A B, one line of seven syllables with rhyme C, three lines of seven syllables with rhyme D, and a seven-syllabled line with rhyme C.

Thyugh lavara·  Ow dyskyblyon,
Pyseygh toythda·  Ol kescolon
Deu dreys pup tra·  Eus a huhon
Theygh yn bys-ma·  Ygrath danvon
   Yn dyweth may feugh sylwys.
Gans an eleth yu golow,
Yn nef agas enefow
Neffre a tryg hep ponow
   Yn joy na vyth dywythys.

To you I say, my disciples,
Pray quickly, all of one heart
God above everything, who is on high
To you in this world His grace to send
   In the end that ye may be saved.
With the angels there is light,
In heaven your souls
Ever shall dwell without pains
   In joy that shall not be ended.

IX.  In the Drama of St. Meriasek there are no less than ten classes of stanza, counting by the number of lines to the stanza, and these may be considerably multiplied by alternating or mixing seven-syllabled with four-syllabled lines in various orders, and by varying the number of sets of rhymes to a stanza and the order of those rhymes.  Perhaps one of the most elaborated (1. 168-180) will serve as a specimen.  It is a thirteen-lined stanza of twelve seven-syllabled lines, and one (the ninth) four-syllabled line, with four sets of rhymes, rhyming A B A B A B A B C [four syllables] D D D C.

Gelwys ydhof Conany,
   Mytern yn Bryton Vyan;
Han gulascor pur yredy
   Me a beu ol yn tyan.
Der avys ou arlydhy
   Mones y fannaf lemman
The Duk pen a chevalry,
   Nesse dhymmo yn certan
      Par del yu ef
Yma maryag galosek
Cowsys dhyn rag Meryasek
Mergh dhe vyghtern gallosek,
   Nynses brassa yn dan nef.

Called am I Conan,
   King in Little Britain;
And the kingdom very readily
   I own all entirely.
Through the advice of my lords
   I will go now
To the Duke the chief of knighthood.
   Second to me certainly
      Like as he is.
There is a mighty marriage
Spoken to us for Meriasek
Of the daughter to a mighty king,
There is not a greater under heaven.

It is evident that by varying the number of lines and rhymes to a stanza, varying the distribution of the rhymes, and mixing lines of different length, an almost infinite variety may be obtained, even with only two forms of line.

X.  The metres of Jordan’s Drama of The Creation (1611) do not differ materially in intention from those of the Ordinalia, on which they are evidently modelled.  But in this play one begins to find signs of a tendency to a less accurate ear for exact syllabic rhythm.  About eighty lines out of the 2548 of which the play consists have eight syllables, about twenty have only six, and in each case these ought to be seven-syllabled.  Also there are two cases of three and six of five syllables in what ought to be four-syllabled lines, and there are several cases of nine syllables in a line, and one case of ten.  No doubt some of these discrepancies may be accounted for by elisions and contractions not expressed in writing (as is often the case in Latin), and some of the short lines contain diphthongs which may be meant to count as two syllables, but by no means all are explainable by anything but the influence of English, or, as is less probable, a reversion to some such archaic idea of rhythm as that of the Add. Charter fragment.

After this we come to the verses of late Cornish.  These are few, poor, corrupt, and illiterate, and for the most part without value for metrical purposes.  The strictly syllabic metres of the older Cornish have nearly disappeared, and though the tonic accent is still disregarded when convenient, extra unaccented syllables, as often in inferior, and sometimes in good English verse, are freely introduced by way of anacrusis, etc., in a manner that shows that accent was considered in a sort of way, and that the accents of a line rather than the syllables were counted.  John Boson wrote a few lines in three-lined stanzas somewhat after the fashion of the Welsh Triban Milwr, and Lhuyd’s artificial elegy on William of Orange is another instance of the same.  The only poem remaining of James Jenkins of Alverton (printed by Pryce and Davies Gilbert) is a sort of irregular ode, which refuses to be satisfactorily analysed.  The lines are all sorts of lengths, they may begin with an accent or they may have one or two light syllables before the first strong beat, the rhymes may be single or double.  The principle of the first part seems to be little lines of two beats, varying from three to seven syllables rhyming in couplets.  Thus:—

Ma léeaz gwréag

There are many wives

Lácka vel zéag,

Worse than grains [i.e. brewers’ refuse],

Gwéll gerrés (or gwéll gérres)

Better left

Vel kommeres (or vél komméres),

Than taken,

Ha ma léeaz bénnen

And there are man women

Pókar an gwénen

Like the bees,

Ey vedn gwérraz de go tées

They will help their men

Dendle péath an béaz.

To earn the goods of the world.

Fléhaz heb skéeans

Children without knowledge

Vedn guíl go séeanz;

Will do [according to] their sense;

Buz mar crówngy predery

But if they do consider

Pan dél go gwáry

What their play is like,

Ha mádra tá

And consider well

Pandrig séera ha dámma,

What did father and mother,

Na ra hens [wrans?] móaz dan cóoz

They will not go to the wood

Do kúntle go bóoz. [188]

To gather their food.

 

The latter part has lines of four beats, with a very variable number of unaccented syllables, which in reading were probably hurried over rather vaguely.  This rhythm may be compared with the “new principle” (as the author calls it in his preface) of Coleridge’s Christabel. [189a]

Boson’s triplets are mostly of ten-syllabled lines, Lhuyd’s are generally of eight syllables, but sometimes of nine or even ten and eleven.

Tonkin of St. Just, a tailor, wrote two songs, which are in the Gwavas MS.  They are in four-lined stanzas generally of seven-syllabled lines, though as often as not having an extra light syllable to begin with.  Thus:—

Pa wrîg ev gŏrra trâz war tîr

Ev vê welcombes me ôr gwîr.

Ha devethes dhô Caresk

Maga saw besca vê pesk. [189b]

When he [i.e. William of Orange] did put foot on land

He was welcomed I know well.

And having come [came] to Exeter

As safe as ever was fish.

The epigrams printed by Pryce and Davies Gilbert were mostly composed by Boson and Gwavas.  Eight-syllabled lines are frequent among them, but they are of little or no value, and are altogether on English models, and not very good models at that.

Should any one wish to attempt verse-writing in Cornish, it would be best either to use one of the seven or four syllabled (or mixed) metres of the Dramas, using their purely syllabic methods, which undoubtedly work all right in modern Breton, or to extend the same principles, as the Bretons do, to lines of other lengths.  The triplets of old Welsh and perhaps of very old Cornish are effective metres, but are not so easy as they look, for it is not enough merely to write rhyming triplets.  Lhuyd in his one attempt has produced a peculiar though allowable metre, with lines of all sorts of lengths, and the old specimens, Llywarch Hen’s Marwnad Geraint ap Erbin, and the Englynion called Eiry Mynydd, are largely in lines of seven syllables, and some of them, such as the Song of the Death of Cynddylan, and the curious ninth-century poem in the Cambridge Juvencus, seem to have also the gair cyrch, that strange little tag to the first line of the triplet, outside of the rhyme but not outside of the assonance or alliteration, which is so marked a characteristic of the four-lined Englyn, while in most of them there are alliterations, vowel correspondences, and internal rhymes, which are not so haphazard as they look.  It is well not to attempt to force a Celtic language into a Teutonic mould.  Some of the most beautiful metres that the world has ever known are to be found among the works of English poets, but they are no more suitable to Cornish than hexameters, sapphics, and alcaics on strict quantity lines would be to English.  It is possible, however, to write ten-syllabled blank verse in Cornish, provided a fair amount of alliteration is used.

One word about inversions of the order of words in poetry.  This should be done very sparingly, and it is not easy to lay down very definite rules as to what is allowable and what not.  It is best not to deviate from the usual order of words unless one can find a precedent in one of the Dramas.  Some inversions, however, are quite allowable.  Thus one may put the complement of a predicate, e.g. an infinitive, an accusative, or a participle, at the beginning of a phrase:—

bewa ythesaf pub eare (Creation, 1667), living I am always.

banna ny allaf gwelas (Creation, 1622), a drop I cannot see.

defalebys os ha cabm (Creation, 1603), deformed thou art, and crooked.

yn bushes ow crowetha (Creation, 1606), in bushes lying.

gans dean pen vo convethys (Creation, 1618), by man when it is discovered.

worthaf ve sertan ny dale (Creation, 1619), with me, certainly, ought not.

determys ove dha un dra (Creation, 236), determined I am of one thing.

mos then menythe me a vyn (Creation, 1082), go to the mountain I will.

These are all taken from Jordan’s Creation, and mostly at random from the same page.  Still, the less one inverts the normal order of words the better.

CHAPTER XVI—NOTE ON THE INTERPRETATION OF CORNISH NAMES

One of the practical interests in the study of Cornish is in the interpretation of place-names.  As quite ninety per cent. of the place-names of Cornwall are Celtic, and as a very large proportion of these are descriptive names, usually in a fairly uncorrupted state, this gives much opportunity of research.  There are, however, certain considerations, grammatical and topographical, which should be kept carefully in mind in attempting to discover the meanings of these names, and it is a disregard of these considerations that has made most of the published works on the subject so singularly valueless.  The great majority of Cornish names are composed of epithets suffixed to certain nouns, such as tre, trev, a town; pol, a pool; pen or pedn, head or top; rôs, often written rose, a heath; car, a fort or camp; lan, an enclosure, or a church; eglos, a church; bal, a mine; whêl or wheal, a work (i.e. a mine); chy, ty, a house; park, a field; forth, a creek or harbour; nans, a valley; carn, a cairn or heap of rocks; hal, a moor; gûn, goon, a down; gwêl, gweal, a field; bod, bos, be, a dwelling; les, a court, a palace; carrack, a rock; creeg, a tumulus; crows, a cross; din, dun, a hill-fort; fenton or venton, a spring; kelly, killy, a grove; cos, coose, a wood; mên, a stone; tol, a hole; triga, trigva, a dwelling-place; melan, mellan, vellan, a mill; zawn, zawns, a cove; bron, bryn, a hill; bar, bor, bur, a summit; tor, a hill.  These are the commonest of the nouns.  The epithets may be:—

1.  Adjectives, signifying size, colour, position, etc., e.g. mêr, mear, vcar, great; bîan, bean, vean, little; glas, blue; dew, black; gwin, gwidu, widn, white; gwartha, wartha, gwarra, upper; gollas, gullas, wollas, lower, etc., in agreement with the noun.

2.  Other nouns in the appositional genitive.

3.  Proper names.

4.  Adjectives or nouns preceded by the article an, the, or by a preposition such as war, on.

The following points should be considered:—

1.  The gender of the noun.  Of the nouns mentioned above, tre, ros, car, lan, whêl, hal, goon, carrack, crows, fenton, kelly, trigva, mellan, bron, tor, are feminine, so that the initial of the adjective epithet is changed to the second state.  This may often, more or less, determine whether the epithet is an adjective or a noun in the genitive.  Thus, in the name Tremaine, we may be sure that the second syllable is not an adjective or it would be Trevaine, so the meaning is not, as one would think, “the stone house,” not a very distinguishing epithet in Cornwall, but probably the “house of the stones,” i.e. of some stone circle or other prehistoric remains.  Sometimes, however, the initial of an appositional genitive, and sometimes that of an epithet of a masculine noun is irregularly changed in composition.

2.  The stress accent of the compound.  This is of great importance, especially in determining whether an article or preposition intervenes between the noun and its epithet, and also, in the rare cases in which it occurs, in deciding whether the epithet may not precede the noun.  The stress accent is almost invariably on the epithet, and it is astonishing to see how even in East Cornwall, where the language has been dead for three centuries, this accentuation is still preserved.  If the epithet suffix is a monosyllable, the accent of the compounded word is on the last syllable; if not, the accent is usually on the last but one, but the intervening article or preposition is always a proclitic, and is disregarded as to accent.  The same sort of thing happens in English.  Thus, even if it were the custom to write Stratfordonavon all in one word, we should know by the accent that it meant Stratford-on-Avon; but one, say some German philologist, who had never heard it pronounced, and knew nothing of British topography and the distribution of surnames, might conjecture that it was Stratfor Dónavon, might compare it with Lydiard Tregoze, Stoke Dabernon, Sutton Valence, or Compton Wyniates, and might build thereon a beautiful theory of an Irish settlement in Warwickshire.  Things every whit as absurd as this have been done with Cornish names.

3.  The position and general features of the place.  Thus when we find that a rather important town is situated at the innermost point of a bay called in Cornish (cf. Boson’s Pilchard Song) Zans Garrak Loos en Kûz, we may doubt whether its name signifies “the holy head or headland,” and not “the head of the bay.”  In this case there is a slight complication, because there is actually something of a headland about the Battery Rocks, and the town arms are St. John Baptist’s head in a charger; but when we find that Tremaine is some ten miles, as the crow flies, from the nearest point of the coast, we may be quite justified in doubting whether Pryce is right in calling it “the town on shore or sea coast.”

The following specimens of names about whose meaning there can be no doubt, will serve as examples of the construction of Cornish place-names:—

1.  Epithet following noun.

a.  Masculine.  Porthmear (in Zennor), the great porth or creek.  (Murray’s Handbook says that it means the “sea-port,” but Murray’s interpretations are intricately and ingeniously wrong-headed).

b.  Feminine.  Trevean, the little town.  Tre signifies town in the modern Cornish and old English sense, a farmhouse with its out-buildings.  It is the commonest of these generic prefixes.  In Brittany, though it is occasionally found, its place is usually taken by Ker (Cornish Car, Welsh Caer), probably the Latin castrum, a fortified town or camp, a difference which has its historical significance.

2.  Epithet preceding noun.

Hendrea, the old town (in Sancreed).  Note that this is Héndrea, not Hendréa.  Note also the change of initial in tre.

3.  Intervening particles.

a.  The definite article.  Crows-an-wra, the witch’s cross.  (Murray says that it means “the wayside cross,” but gwragh, gwrah, gwra, Breton gwrac’h, certainly means a hag or witch, and the change of initial after the article shows that the noun is feminine.)  Chy-an-dowr, the house of the water.