Cynghanedd

The cynghanedd ( [ kəŋ̊'haneð ] ) ( "Harmony " ) is a building block of Welsh prosody, based on a strictly defined combination of consonants matches ( consonance ) and internal rhyme within the line based. In the earlier periods of Welsh poetry consonance and internal rhyme were optional elements that have been used to decorate the verses and for connecting Versabschnitten. During the 13th century it developed into a strictly defined system and were during the 14th century to become an obligatory part of the coming into fashion cywydd - metrical. The cynghanedd was codified as part of the Eisteddfods of Caerwys in 1523 and is still the characteristic element of Welsh poetry in the strict metrics. To date, it is required to compete for the grand prize of the annual national Eisteddfods in a poem of up to two hundred lines in length.

There are four main types of cynghanedd distinguished: cynghanedd lusg, cynghanedd sain, cynghanedd groes and cynghanedd draws.

3.3.1 Basic form
3.3.2 Selected special forms

3.4.1 Basic form
3.4.2 Selected special forms

4.1 Internal rhyme
4.2 consonance

Stress pattern

When cynghanedd sain, large and draws four different stress patterns can be distinguished. To determine the stress pattern is crucial if the last syllable of the line and the last syllable stressed before the caesura or unstressed. In Welsh, the word stress usually falls on the penultimate syllable ( penultimate ).

Stresses - stresses: unstressed - unstressed: stressed - unstressed: unstressed - stressed:

Cytbwys acennog " emphasizes equal weight " cytbwys diacen " unstressed weighted equally " anghytbwys disgynedig "falling unequally weighted " anghytbwys dyrchafedig "rising unevenly weighted "

The stress pattern anghytbwys dyrchafedig occurs almost exclusively on the cynghanedd sain. Alternative names for anghytbwys disgynedig "falling unequally weighted " and anghytbwys dyrchafedig "rising unevenly weighted " are anghytbwys diacen " unstressed non- weighted " or anghytbwys acennog " emphasizes equal weighted ".

Prifacen " main emphasis "

The last stressed syllable before the caesura and before the end of the line carries the so-called main accent (Welsh prifacen ) of the respective line section and plays a special role in the correspondence of consonants. The position of corresponding consonants left and right of the main accent should always match in rows sections:

Cynghanedd

The cynghanedd groes and draws are as cynghanedd gytsain Focus ( " consonant harmony " ) in a group because they do not contain rhyme. In addition to the presented below basic and special forms, there is a heavy manageable wealth of other special shapes. Also, the meeting of certain consonants and in the treatment of groups of consonants, semi-vowels, consonants, as well as the specific individual to observe special rules of internal rhyme.

The line is a turning point (Welsh Gorffwysfa " place of rest, pause " ) into two parts or sections (Welsh rhan " part, portion") divided at the cynghanedd sain but by two turning points in three parts. For special shapes such as the cynghanedd sain deirodl ( " dreireimige sound harmony " ) or the cynghanedd sain gadwynog ( " chained sound harmony " ), the line three turning points and therefore four sections. The number of syllables of the line is in principle of the meter chosen for the poem depends. However, the siebensilbige cywydd deuair hirion Da ( " long double-spaced cywydd " ) is the most popular by far meter to which the applied cynghanedd and is, one finds with seven syllables most lines.

Cynghanedd lusg " drag harmony "

The cynghanedd lusg requires an internal rhyme, but no consonance. The line ends at a polysyllabic word, which carries the internal rhyme of cynghanedd lusg stressed on the syllable, so that the rhyme of the line may not coincide with the internal rhyme. Another word on the inside of the line carries the Internal rhyme either unstressed or stressed syllable. This internal rhyme may in principle be on any syllable between the first and fifth syllable of the line, where the rhyme word but always directly precedes the caesura.

In simple terms, the last syllable before the caesura rhymes with the last syllable of the line:

He Duw an Radd | a'i áddef Mae Hywel | fab Llywelyn

Cynghanedd sain " sound harmony "

Basic form

The line has two turning points and thus three parts. The first part of the line is connected by internal rhyme with the second. The second part is connected to the third through consonantal correspondence.

Unlike the cynghanedd groes and draws only the consonantal equivalent is required with the right to the last stressed vowel of the line preceding consonants in cynghanedd sain. Usually also consonant clusters, the-l and-r as the last element included (such as br- in the first example ), fully implemented. Any additional consonantal correspondences are optional, but come as the second ( - chfr ) and third ( ll ) Example frequently.

( cytbwys acennog ) ( cytbwys diacen ) ( anghytbwys disgynedig ) ( anghytbwys dyrchafedig )

Selected special forms

The cynghanedd sain deirodl ( " dreireimige sound harmony " ) has three turning points and four sections. The first three sections have internal rhyme, the last two consonantal correspondence.

RHOI rhodd | o rodd, | górmodd | gwést

The cynghanedd sain gadwynog ( " chained sound harmony " ) also has three turning points and four sections. The first and third sections have internal rhyme, the second and fourth consonantal correspondence.

Gan dant | glýwed | moliant | Glan

In the cynghanedd sain drosgl ( " awkward sound harmony " ), the rhyme word in the second line section has more than two syllables. His first consonant is consistent with the corresponding consonants in the third line portion. Thus, contrary to the usual pattern is a match between an unstressed and a stressed syllable.

RhAG bod, | nid cydnábod | Cain

Cynghanedd groes " Cross harmony "

Basic form

In the cynghanedd groes all consonants of the first line section correspond to consonants in the second line section in the same order. Only the last consonant of the row ( in the examples below, -n,- f,- l) need not be met. In its place must at the cynghanedd groes gytbwys acennog (first example below) and the cynghanedd groes gytbwys ddiacen (second example ) before the caesura are any consonant, any group of consonants or no consonant in the first part of the line.

Ewyllys dUw | yw dyn verything Teg édrych | TUAG ADREF Gwanhaur WYF | gan hir ófal

( cytbwys acennog ) ( cytbwys diacen ) ( anghytbwys disgynedig )

The two equally weighted forms ( cynghanedd groes gytbwys acennog and cynghanedd groes gytbwys ddiacen ), where you could swap the two lines sections without that this would incorrectly cynghanedd, are also under the generic term cynghanedd groes rywiog ( " fine cross harmony " or " veritable cross harmony " ) summarized.

Selected special forms

One speaks of coll n ( " lost n ") if a standing at the beginning of a line n or directly to the break of a line following n is not followed. Although that's not all consonants are met in the regular manner required, such a cynghanedd is still considered cynghanedd groes. An unanswered at the beginning of line n is called n wreiddgoll ( " at the root of n lost "), a turning point to the following unanswered n as n ganolgoll ( "lost in the center N").

ANllywódraeth | a lládrad Llwyth or cálch | yN llethur Coed

( n wreiddgoll ) ( n ganolgoll )

Rare also occur r or m as r wreiddgoll or m wreiddgoll.

When cynghanedd groes o gyswllt ( " cross -linked harmony " ), compliance with the consonants of the second line section begins before the caesura. Consonants concerned are sometimes counted in both the first and the second line portion (for example, in the second example).

Y GWR a DDU ( g | arwydd iach Del dál in ( | y on dólur

Cynghanedd draws " bridge harmony "

Basic form

The basic principle of cynghanedd draws is the same as that of cynghanedd groes. When cynghanedd draws but the caesura directly following consonants without correspondence may remain in the first part of the line.

Dagrau gwáed | ar (deg Eiry Gwyn Dy ẃyneb | fal ( od únnos GWYs ym Món | mai ( GWAS mýnaich

( cytbwys acennog ) ( cytbwys diacen ) ( anghytbwys disgynedig )

Selected special forms

The principle of the coll n ( "lost n" ) in the cynghanedd draws corresponds to the coll s on the cynghanedd groes, however, occurs in the cynghanedd draws only the n wreiddgoll at the beginning of the line, since the correspondence of consonants of the turning point directly follow, is not provided in the cynghanedd draws.

Nid yw Boen | eisiau ( as BYD

The "lost n" in the cynghanedd draws classified by Simwnt Fychan, an authority of the 16th century, when foul. However, it is well documented in works of the 14th and 15th century.

A cynghanedd draws gytbwys acennog in which the caesura follows an first or rare second syllable is called cynghanedd draws fantach ( " zahnlückige bridge harmony ").

Drud | yr adwaenwn dy (DRO

A cynghanedd draws gytbwys ddiacen in which the caesura of the second syllable follows, ie in which the first and match the last two syllables of the line, ie cynghanedd draws gyferbyn ( " opposing harmony bridge ").

Éisiau | on gymwyn ( áswr

Special Rules

The large number of special rules, especially for the correspondence of consonants may complicated to the novice, if not arbitrary act. However, it is in very few cases are real exceptions or licenses. Instead, they serve to bridge the gap between phonetic and orthographic reality and this especially in the context of assimilation processes in clash of consonants. Here is only given a choice.

Internal rhyme

When cynghanedd lusg a form of semi- Reims is approved, in which a diphthong rhymes with its own umlaut product. Thus ai shall rhyme with egg and with au eu. Comparable in German would be about, "lazy" to rhyme with " horses ." A cynghanedd lusg with this sort of half- rhyme cynghanedd lusg wyrdro ( " twisted tow Harmony" ) is called.

Pum canwaith | y gobeithiwn Lle aur bu | on y deurudd

The rhymes of y and u is allowed, except y is in the stressed syllable ( penultimate ) of a polysyllabic word, where it is pronounced as a schwa ( [ ə ] ).

Ni bydd | wedi Gruffudd Gryg

Nid annhebyg, | ddiddig | ddydd

Consonance

In the Welsh alphabet ch, dd, ff, ng, ngh, ll, mh, nh, ph, rh and th represent separate phonemes dar. With dd, ff and ll it so do not are double consonants.

Processes in which a voiced consonant is unvoiced are called calediad ( " hardening "). It is usually caused by contact with a voiceless fricative. Induration, which is triggered when a voiced plosive or Reiblelaut meets his voiceless counterpart is ceseiliad ( "assimilation" ) called. There is a process in which a voiceless consonant is voiced, it is called meddalu ( " soften, soften ").

Multiple -called direct result identical consonants may an identical consonants mentioned only once in the other lines correspond to section, as long as the multiple -called consonants follow each other directly or separated by no more than one vowel from each other.

Mae Eryr llwyd | on Wyr Llên

H need not, but may be answered.

R [r] and rh [R ] must correspond to each other. Part will be the case with n and nh [n ], m and mh [ m], and ng ngh [n ] as well.

Ar Gydweli | RhAG dolur Ym mhob pen | y mae piniwn

Ff and ph are merely orthographic variants of the same text ( [ f] ) and therefore equivalent.

Sb and sp (both [ sb] ) and sg and sc (both [ sg ] ) are also orthographic variants, the s and b / g correspond to each other or calling the single consonants.

The -c in ac and nac, the [g ] is pronounced, should be answered with g.

Arian ac aur | hyn a gaf

Ng [ ŋ ] (as in angel " Angel"; German as " Tang " ) and ng [ ŋɡ ] (as in Dangos " show "; German example "Tango" ) does not correspond to each other.

Does a voiced plosive (b, d, g ) directly to a subsequent h -, s-, f- [ f] ll [ ɬ ] or rh- [R ], the shutter sound is unvoiced (p, t, c ) counted.

-b,- d,- g h = p, t, c -b,- d,- g s = p, t, c -b,- d,- g FF = p, t, c -b,- d,- g LL = p, t, c -b,- d,- g rh = pr, tr, cr

Example: Bwrw plyg | ar barabl hygar Example: Fy llew cryf, | a Lloegr hefyd

If two identical voiced plosives each other, they are scored as unvoiced.

-b b -, d d, - g g = p, t, c

Example: Dal Tŷ | ag adeilad as

Meeting voiced plosives on her voiceless counterpart, they are counted as unvoiced ( ceseiliad "assimilation" ).

- b p-, d t, g or c p b, t d, C G = p, t, c

Example: Breuddwyd tost | oedd briddio'u tad

Meeting voiced fricatives ( dd [ ð ], f [ v] ) to their voiceless counterpart (th [ θ ], ff [ f] ), they are scored as unvoiced ( ceseiliad "assimilation" ).

-f ff-, -dd th - or -ff f -,- dd th = ff, th

Example: Praff fonedd | pure a ffyniant

Does l [ l] to ll [ ɬ ] it is seen as the voiceless fricative ( [ ɬ ] ) ( ceseiliad "assimilation" ).

CAWN ' i lliw | fel cannwyll read

T is in the consonant clusters ct, cht, fft, falls, pt and st counted as voiced (d). This does not apply when a word space between -c,- ch, -ff, -ll, -p and- s and t - is.

Dy Braving aur | i dwyllo dyn Trist yw 'r cwyn | tros awdur cerdd

Analysis example

The following six lines are the beginning of the poem Y Dylluan " The Owl " by Dafydd ap Gwilym in the meter cywydd deuair hirion. The cywydd deuair hirion consists of an arbitrarily long sequence of siebensilbigen line pairs with rhyme in alternating male and female cadence, ie one line of the pair ends in a stressed, the other unstressed on a syllable. The succession of cadences within the pairs of lines is not mandatory.

In the analysis of cynghanedd the row is searched first by internal rhymes, with the possibility of cynghanedd lusg must be considered in a polysyllabic word at the end of the line. Can not identify the rhyming cynghanedd forms, one looks to the last stressed syllable of the line as a starting point from back to front to be appropriate consonants.

Truan i'r dylluan dég Ar ddistial na rydd ósteg: Ni ad ym ganu ' mháder, Ni thau tra fo siamplau Ser. Ni chaf - och o'r goráfun! - Gysgu, na heddychu, hun. ...

C. sain anghytbwys ddyrchafedig c. groes gytbwys ddiacen ( n ganolgoll ) c. lusg c. sain anghytbwys ddyrchafedig c. lusg c. sain drosgl

It is a misery with the beautiful owl, The rest are not on a branch: Makes me not my father, our talk, Will not remain silent as long as stars are in the sky. I can not - oh dear, what a problem! - Peaceful sleep nor rest. ...

Itemization

Umlaut (linguistics) Fricative consonant Cadence (poetry)

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