#aelwyd

[dungeonsanddragonsfifthedition]

would you let her set you on fire? be honest.

[hellosunnycore]

🌻 Aelwyd 💐

[lexiconofhope]

Found another Welsh band to be obsessed with!

[queerwelsh]

E. Prosser Rhys won the Crown in Pontypool National Eisteddfod with 'Atgof' in 1924.

Influential in his life as a poet, editor, journalist and publisher, Prosser Rhys is remembered today for winning the Crown in the National Eisteddfod of Wales in 1924. As influential as his winning poem, ‘Atgof’ was, and continues to be, Prosser even more profoundly affected Welsh-language writing in his life than is remembered today.

Edward Prosser Rees was born on the 4th of March 1901 in Trefenter, Mynydd Bach in Ceredigion, and christened on the 9th of March at Capel Bethel. His father was a blacksmith, David Rees, and his mother was Elizabeth Rees. Prosser came from a family of blacksmiths, and they later moved to Morfa Du in Trefenter (after Prosser had moved away, in March 1918). Previously, they had lived in Llainffwlbert until 1900, where they had their previous six children.

Prosser Rhys attended Cofadail Primary School in Trefenter then Ardwyn Grammar School in Aberystwyth in 1914. Other writers, academics and politicians were educated here, who were known as 'Old Ardwynians'. His early academic success was then marred by ill health - he was diagnosed with Tuberculosis at a young age, in 1915, which affected him for the rest of his life, but immediately kept him home for the next 3 years of his life. 

Still, his name started appearing in Welsh writing as early as 1916, with the poem ‘Y Fam a’i Baban’ (The Mam and her Baby) in Baner ac Amserau Cymru, where he was published as E. Prosser Rees (under the pseudonym/ffugenw Eiddwenfab) from Trefenter, Llangwyryfon, Ceredigion. In 1917, he wrote eloquent letters to ‘Y Darian,’ a radical Welsh-language paper, where he first wrote briefly about joining a patriotic union, and the Eisteddfod. The latter was fitting as he next appeared in Y Darian in 1918 for his early Eisteddfod wins, then in local Eisteddfodau, listed within the winners from Ceredigion. He then appeared several times in Y Darian as a part of ‘Aelwyd y Beirdd,’ where he’s described as a young poet with great potential, at only 17, the brother of Reverend Wyre Rees.

Clearly, Prosser wrote, competed and performed his poetry quite a lot as a teenager. One of his early poems appears in ‘Cymru,’ a monthly Welsh-language journal founded by O.M. Edwards in 1891. It was in 1919 that ‘Canu’r Merched’ by E. Prosser Rhys appeared in the journal ‘Cymru’. This is the earliest (that I found) of his poetry appearing published under this name. Note that there are occasionally mentions of ‘Prosser Rees,’ his birth name, as well. As Prosser Rees, he also published a poem in 1917 in The Cambrian News and Merionethshire Standard in sympathy to Mr and Mrs Thomas Evans of Penbont, who lost their son, David Morgan, in France during the First World War.

Prosser worked as a clerk at Western Ocean Colliery in Nant-y-Moel, Ogmore Valley, before his community saw him coming back from the ‘sowth’ (south) as a journalist. He was at Nantymoel, apparently living with one of his brothers, John, who was a coal miner. He was still receiving treatment for tuberculosis and apparently then returned to this family in their new home in Morfa-Du. He then worked at the Liberal newspapers of the Welsh Gazette in Aberystwyth and Herald Cymraeg in Caernarfon in 1919 (where he worked with Morris T. Williams). He moved back to Aberystwyth in 1921 and became the editor of Baner ac Amserau Cymru in 1923, when they moved their offices from Denbigh to Aberystwyth.

In 1923, Prosser's poetry was first published in a book - Gwaed Ifanc with another poet J.T. Jones (John Tudor Jones). As the title suggests, they were proud of being the ‘new blood’ of Welsh poetry and writing, with Prosser then being 22 and J.T. Jones being 19 years old. There was certainly some backlash to that and the book was met with some controversy, also for their poetry being more sexual than older poets of the time. There was already a tradition of the new kind of Welsh writing, started by T H Parry-Williams’ win in the Eisteddfod in 1915 with ‘Y Ddinas,’ and Rhys was aware of these new ideas of challenging Welsh writing, the Eisteddfod and therefore Welsh-language society, which he was inspired by and sought to be a part of - and succeeded. This was an attempt to challenge the writing of older poets, as well as bring attention to the newer crop of younger writers, the men who’d survived the First World War and demanded attention.

He of course especially challenged the status quo of the Eisteddfod when he won the Crown in 1924 in  the Pontypool National Eisteddfod with his poem ‘Atgof’ (Memory - or also sometimes translated as Reminiscence). This long ‘pryddest’ poem, follows a ‘llanc synhwyrus’/‘sensible lad’s journey into exploring his sexuality, from seeing ‘Sex’ ruin his parents’ relationship, to exploring his sexuality with women, and then with a man as well (who was likely Morris T. Williams), while struggling against the morals and virtues of Welsh society and religion. The judges of the Eisteddfod were at odds, one finding it to be immoral and the others praising it. 

Of course, when Prosser won, the reactions were scandalized and ‘Atgof’ became quite controversial, for its explicit discussions of sex and of course the same-sex part of the poem. It has since been called ‘homoerotic’ by many writers, while today may be seen more as a bisexual poem, or queer one. Mihangel Morgan, writing in Queer Wales, finds this to be a negative depiction of homosexuality and downplays the significance of ‘Atgof’ as a gay poem.

A’n cael ein hunain yn cofleidio ‘dynn;

A Rhyw yn ein gorthrymu; a’i fwynhau; A phallu’n sydyn fel ar lan y llyn…

And finding ourselves in a tight embrace With Sex overwhelming us; and enjoying it;

And suddenly stopping as above the lake…

These lines describe the same-sex interaction and indeed it doesn’t take up a large amount of the poem, but Mihangel Morgan’s disappointment seems to come from the poem not being homosexual enough. And indeed it isn’t, but reads as a bisexual poem that takes us through Rhys’s whole journey of realising and battling with his sexuality at this age. It still resonates with much of the LGBTQ+ community, especially when realising how explicit it was for 1924 (or it wouldn't have been so controversial), 40 years before the decriminalization of homosexuality, and its win in the Eisteddfod was well, well ahead of its time.

On the other hand, later on in Prosser’s life, it was suggested that he was so shocked by sodomy in the writing of someone else to not publish them. There is the possibility of Prosser’s viewpoints and own sexuality changing in his life, though this is merely speculation that Prosser was ‘shocked’ by writing of homosexuality. There are many possibilities here when it comes to Prosser’s own feelings and sexuality, but it is certain that they have had a great influence on LGBTQ+ writing and the community in Wales and particularly in Welsh. 

‘Atgof’ and Prosser were also mentioned in US Time Magazine in 1924, adding to evidence of the influence and legacy of this poem. Internationally, we see links in the poems to the sexology and psychiatry of the time - the psychoanalyst Ernest Jones (and possibly abusive husband of the composer Morfydd Llwyn Owen) mentioned the poem in a letter to Sigmund Freud, though it’s unclear that either actually read the poem.

Caradog Pritchard wrote in his autobiography that as a friend of Prosser’s and Morris T. Williams’ that he believed the man Prosser wrote about was Morris Williams, and this has been accepted as likely the truth since then (though there were always rumours about this). Morris T. Williams was close to Prosser, when they were roommates in Twthil near Caernarfon, while working at 'Herald Cymraeg,' and they exchanged letters after which show their close relationship - this was before Morris married Kate Roberts and they together bought Gwasg Gee. All three remained close, being friends and remaining in the same social circles as poets, as well as in Welsh publishing. More recently, it has been theorized that Kate Roberts also was queer, based on her own personal writing, as well as her short stories which are about romantic relationships between women (such as 'Christmas' and 'The Treasure'). Morris T. Williams died in 1946, a year after Prosser Rhys, after a long struggle with alcoholism.

‘Atgof’ was published as a booklet, with a translation ‘Memory’ by Hywel Davies also published as a booklet. The poem reads less explicitly than the Welsh version, though it was praised at the time. It can be read here - though a modern English translation is definitely needed. 'Atgof' can also be read here.

In 1928, Prosser married Mary Prudence Hughes in Aberystwyth, which was when both he and she took the surname ‘Rhys’. They had one daughter, Eiddwen Rhys. He founded Gwasg Aberystwyth also in 1928 and began publishing books, with Gwasg Aberystwyth growing significantly in years to come. 

As editor of Baner ac Amserau Cymru, Prosser encouraged more poets to write and publish their work. Rhys founded Y Clwb Llyfrau Cymraeg/The Welsh Books Club in 1937. This was a subscription of Welsh books, where readers would receive 4 books a year for half a crown, and which published 45 volumes up until 1945.  As successful as it was under Prosser, after his death, it was decided that there were not enough Welsh-language writers to continue it.

(Executive committee of 'Plaid Genedlaethol Cymru,' 1927- Lewis Valentine, Ambrose Bebb, D. J. Williams, Mai Roberts, Saunders Lewis, Kate Roberts, H. R. Jones, Prosser Rhys.) Prosser Rhys was a founding member of Plaid Cymru, founded in 1925. He was also the editor of ‘Y Ddraig Goch’ with Saunders Lewis and Iorwerth C. Peate, which Prosser also helped to form with H. R. Jones, though he was initially opposed to the idea due to lack of funds. However, Prosser became vocally opposed to Saunders Lewis’ right wing views. He wrote in Y Faner that many of Plaid Cymru’s members had come from the Labour party or Liberal party, or were radicals who came from no political party, where none were supportive of the views appearing in the Daily Mail, implying that Saunders Lewis’ views were too close to the matter, but that most Plaid Cymru supporters were personally too loyal to voice their concerns over this. The expulsion of Prosser from the party was discussed and suggested but Saunders Lewis opposed this. 

Following his many successes, Prosser and his family moved to 33 North Parade, Aberystwyth, where he lived until his death.

After his health had deteriorated again from 1942, Prosser died in 1945 - at the age of 43, and less than a month before his 44th birthday. He is buried at Llanbadarn Fawr Cemetery, with his grave quoting T. Gwynn Jones: “Gwyrodd êfo î’r drugaredd fawr, Ni wyr namyn Duw ddirgelwch ei wên.” Here Mary Prudence Rhys, his wife, is also buried, who died in 1991, at the age of 87. They are also buried with William Dewi Morris Jones, who died in 1983, aged 56. Rhys’s death was certainly a loss to Welsh publishing and writing.

Gwasg Aberystwyth was bought by J. D. Lewis & Sons from Llandysul after Prosser’s death, the founder of Gwasg Gomer, who continued the Welsh Books Club and took over publishing of the club’s books until 1952. This, however, did follow a legal disagreement between Mary Prudence Rhys and Morris T. Williams, who was supposed to get the first offer and chance at refusal for Gwasg Aberystwyth, according to legal documents that Prosser and Morrisagreed upon, which Morris Williams did not feel like he had gotten.

Cerddi Prosser Rhys was published in 1950 by Gwasg Gee, Morris’s first collection entirely of his own poems - published 5 years after his death. Edited by J.M. Edwards, a fellow poet who competed in Eisteddfodau and was from a similar area to Rhys, Edwards also writes the introduction of the poetry collection. He notes that he decided that 4 years after Prosser’s death was enough time to finally publish a whole collection of Prosser’s best poems (the introduction was written in July, 1949, with the book published in February, 1950.) He writes that his previous poetry collection, in ‘Gwaed Ifanc’, was ‘a volume that attracted a lot of attention and also brought a new, daring note to the world of Welsh poetry of the period, something that was urgently needed.’ His memories of Prosser while growing up show he was a well-known poet even in his youth, who Edwards and others in his own school had heard of before meeting, who was known for competing and finding success in many local Eisteddfodau around Wales. 

Of his poetry found in Cerddi Prosser Rhys, Edwards notes that ‘Y Gof’ (The Memory) is a tribute to his parents and his early life in rural Wales. His two sonnets he most praises are ‘Y Pechadur’ (The Sinner) and ‘Duw Mudan’ (Mute God). Of ‘Atgof,’ Edwards significantly notes that it was "a bold poem that created a lot of excitement and was praised by some but damned by others. The saddest feature of the whole event was that it reflects an attitude of thought in Wales which is too ready to judge the values of the world of the arts by the wrong standards." The introduction finishes by repeating what many others have said about the premature loss of Prosser to the world of Welsh writing and publishing. Edwards also hoped that there would also be a collection of Prosser’s prose, which unfortunately has not yet come to be. 

‘Mab ei Fam’ (His Mother's Son) is to "M.T.W," likely Morris T. Williams - similarly to Strancio, which was translated by Mihangel Morgan as ‘Fooling About,’ which is to: ‘I gyfaill annwyl a fu’n cyd-letya â mi’ (To a dear friend who lodged with me)

Do, bûm yn flin. Ond weithian gwybydd di Fod Fflam yn llosgi ynof, ac aml dro Yn llamu ar draws fy nghorff materol i, A’m hysu hyd fy nghyrru i maes o’m co’,

A strancio a wnaf eto rhag fy ffawd Nes torro’r Fflam ei ffordd o’i charchar cnawd.

Yes, I was angry. But sometimes you must know That a Flame burned within me, and often Sprang from my material body Plaguing me until it drove me mad And I would taunt my fate Until the Flame broke free of its prison of flesh.

-Mostly translated by Mihangel Morgan.

As with ‘Atgof,’ Mihanel Morgan downplays Strancio by stating it to be cryptic and guarded - while I'd argue that the confession of his feelings towards a man in the 1920s is explicit for its time, especially following on from the Victorian poetry that was popular before the ‘New blood’. While Mihangel Morgan says it is ‘assumed’ to be about Morris T. Williams, the dedication at the start of the poem is clear enough, at least historically, to Morris T. Williams, especially when a previous poem also is dedicated to him.

It wasn’t until 1980 that Prosser Rhys was celebrated with a book about his life, by Rhisiart Hincks. T. Robin Chapman wrote in Y Traethodydd in 2006 that Hincks probably knew of the nature of Rhys’s relationship with Morris T. Williams yet it was omitted, from the only whole biography of Prosser Rhys. This is a sign of the times in which it was written and published but shows the need now to write biographies of Rhys that include what was previously excluded, his queer identity. Hincks mentions how Williams quickly became Prosser's best friend ('ei gyfaill pennaf') when they met in Caernarfon, that they moved together to 15 Eleanor Street and that it was Prosser who introduced Williams to literature. ‘Cyfeillgarwch clos’. He also mentions that such closeness led to spats, once when they fought all night, which does show the intensity of their relationship. Perhaps, this subtext Hincks hoped to be understood by the audience of the time. Of ‘Atgof,’ Hincks notes that Prosser had previously expressed that there was a lack of sex in Welsh in recent poetry, which he blamed on the chapel. This biography remains the most detailed on Prosser’s life.

A monument on Mynydd Bach, overlooking Llyn Eiddwen near to Trefenter, where Prosser was born and lived in his childhood, was unveiled in 1992, during the National Eisteddfod in Aberystwyth. Including Rhys, the monument, ‘Cofeb i Feirdd y Mynydd Bach’ celebrates 4 poets from the local area. J.M. Edwards from Llanrhystud also won the Crown in the National Eisteddfod, in 1937, 1941 and in 1944, and wrote the introduction to Cerddi Prosser Rhys. All 4 of the poets named on the plaque of the monument were successful in the Eisteddfod. B. T. Hopkins (Benjamin Thomas Hopkins) was a successful poet from Ceredigion, who lived and farmed on Mynydd Bach. T Hughes Jones (Thomas Hughes Jones) was a Welsh poet and writer from Ceredigion who won a medal in the National Eisteddfod of 1940 for a short story, ‘Sgweier Hafila,’ which was partly judged by Kate Roberts.

Interest in Prosser, his life and career, has been renewed by research into Welsh LGBTQ+ history and writing. Notably, in 1998, a historical docudrama called ‘Atgof’ aired on S4C, directed by Ceri Sherlock, which depicted Prosser writing the poem and his relationship with Morris T. Williams, which was represented as a sexual and romantic one. There was controversy around the film, similarly to 'Atgof' the poem, with some questioning how they depicted the relationship (with some speculated, fictional details) and some also questioning whether it should be depicted or speculated about at all. Despite the discourse, Prosser Rhys had already become an inspiration to the Welsh LGBTQ+ community.

In 2019, the show ‘Corn Gwlad’ was performed at the National Eisteddfod in Llanrwst, created by Seiriol Davies, which celebrated Prosser’s win at the Eisteddfod and depicted his feelings towards Morris T. Williams. It was then a work-in-progress show, with comedy and music, and part of the ‘Mas ar y Maes’ programme of events at the National Eisteddfod, which are especially for the LGBTQ+ community, or which may be relevant to the LGBTQ+ community. Prosser was also featured in ‘Mas ar y Maes’ events with ‘Cariad yw Cariad,’ and is of course heavily featured in the 2024 National Eisteddfod in Pontypridd, on the centenary of Prosser Rhys winning the Crown with 'Atgof.' 'Atgof' was also the theme of the poems submitted to the 'Coron' - which was won by Gwynfor Dafydd.

The lasting legacy of Prosser Rhys is to be a significant voice of this community from 20th century Wales, and an icon especially for Welsh language LGBTQ+ people, queer men and bisexual people. This is what has significantly brought Prosser Rhys back into the public eye in the 1990s, with the film Atgof, and in the 2010s with LGBTQ+ History Month, and in the 2020s around the 100th anniversary of his Eisteddfod Crown winning with ‘Atgof’. Prosser also had a significant impact in Welsh publishing, Welsh society, in his article writings, in politics. Prosser Rhys was a fascinating, complicated person, a passionate advocate for Welsh poetry, writing and publishing and is a hero of the communities to which he belonged, including the local community in Ceredigion and West Wales.

[sipofsnips]

Week 50 and 51 sips!

You can reblog this post and do em all now, save 'em and find 'em as you have the energy/time, or just use it as a heads up for what's comin'.

Up to you!

All I ask is that you use the #sipofsnips tag so people can find each other's snips and get excited about writing.

--

Welcome to a very special edition of Sip of Snips!

Wherein we have two weeks in a row of words posted at once. You are encouraged to use these words as prompts to write something new, no matter what it is. Poetry, flash fiction, a drabble, whatever you wish to do to answer the holiday poets.

Mari Lwyd has come seeking spirits for the holidays, and to warm herself by your hearth--she's willing to sing for the privilege.

She's said her starting line already. Now it's your turn.

--

Below the cut you will find the 'Cân y Fari Lwyd', or 'The Mari Lwyd Song', in case you wish to know it. Though only the outside part. You can deal with her on your own once she's inside.

Cân y Fari Lwyd

(Oddi allan) Wel dyma ni'n dwad Gyfeillion diniwad I ofyn am gennad i ganu.

Os na chawn ni gennad, Cewch glywed ar ganiad Beth fydd ein dymuniad - nos heno.

Agorwch y dryse, Mae'r rhew wrth ein sodle, Mae'r rhew wrth ein sodle - nos heno.

Os oes gennych atebion, Wel, dewch a nhw'n union I ateb prydyddion y gwylie.

(Ateb oddi mewn) O, cerwch ar gered, Mae'ch ffordd yn agored, Mae'r ffordd yn agored - nos heno.

(Oddi allan) Nid ewn ni ar gered Heb dorri ein syched, Heb dorri ein syched - nos heno.

(Oddi mewn) Mae ffynnon yn tarddu Ym mhistyll y Beili, Trwy ffafwr cewch lymed i brofi.

(Oddi allan) Nid yfwn o'r ffynnon I oeri ein calon I fagu clefydon - y gwylie.

(Oddi mewn) Rhowch glywad, wyr doethion, Pa faint y'ch o ddynion A beth yn wych union, (x3) yw'ch enwau.

(Oddi allan) Rhyw bump o wyr hawddgar, Rhai gorau y ddaear Yn canu mewn gwir air (x3) am gwrw.

(Oddi mewn) Os llymaid bach melys A geisiwch dros wefus Dewch atom yn hwylus (x3) i'r aelwyd.

The Mari Lwyd song

(From outside) Well, here we come Innocent friends To ask may we have leave to sing.

If we don’t have leave, You can listen to the song that tells of our leaving - tonight.

Open the doors, There’s ice under our heels, There’s ice under our heels - tonight.

If you have answers, Well, bring them exactly To answer the holidays poets.

(Answer from inside) Oh, go walk, Your way is open, Your way is open - tonight.

(From outside) We won’t walk away Without breaking our thirst, Without breaking our thirst - tonight.

(From inside) The fountain originates In the Bailey’s spring, As a favour have a drink to taste.

(From outside) We won’t drink from a fountain To colden our hearts To breed fever - [of] the holiday.

(From inside) Listen, wise men, What size is your party (of men) And what exactly is great, (x3) are your names.

(From outside) Some five pleasant men, Some of the best on Earth Singing true words (x3) for beer.

(From inside) If there’s a small sweet swig [of beer] That you can try on your lips Come to us in good spirits (x3) to the hearth.

[the-kingofdoritos]

Llwch ar yr aelwyd - mechanisms fanfiction

There were only the two of them left. Only two Mechanisms left. Just Brian and The Toy Soldier.

The others had all left, died or had gone missing without a trace. It had been horrible, but after a milenia Brian had gotten used to it. He had almost gotten used to the overwhelming loneliness that penetrated through his whole brass body. Even with the toy soldier as company, it just made him miss the others even more. He knew it was almost his time.

And so he had decided to land the Aurora on a small planet in the middle of nowhere. It was warm, there were flowers, and it was very pretty. And a nice place to spend his last day alive. The toy soldier had the good idea to go and watch the sunrise, as it seemed to realise what Brian was about to do.

And so they find an old battered blanket, it's covered in blood (Jonnys) and what seem to be a few other substances, and it smells familiar. They end up sitting down on that to watch the sunrise one last time.

“It's very beautiful isn't it, old chap?” the toy soldier pipes up. It's sitting cross legged, its wooden arms perched on either of its knees. The permanently painted smile seems much more downcast than usual.

“It is,” Brain agrees, though he doesn't look away from the sky to answer it’s question.

The sky is bathed in a bright orange, yellow, dark blue and a plethora of colours that seem too vibrant to be real. The sun peaks up from behind a dull mountain rage. He can't help but think that jonny and tim would complain about how boring it would be to watch a sunrise, but how they wouldn't move and would lay there in the grass next to him, small smiles on their faces.

How ashes would compare it to a raging fire.

How Marius would be playing his violin, one he would have pulled out of thin air.

How Raphaella would be trying to explain the scientific reason for a sunrise, and how the sky’s colours changed and other scientist things.

How ivy would be reading a book, not even listening or watching the others. But she would remark that the sky is incredibly pretty, and how she wished he had done something like this before.

Brian wished he could cry, but Carmilla hadn't given him tear ducts. At one time he was incredibly grateful for this, but now it just seems like a cruel joke. He can't even cry about his friend's family’s death.

He wishes they had more time. But he knows that would be cruel. None of them were ever truly happy, and they hadn't been since Nastya left. She almost seems like a fever dream now, and Brian can't say he even remembers much about her. And that hurts, stings and breaks his human heart.

“Toy soldier,” he speaks with a wavering voice, one of the only ways he can show emotion.

“Yes Brian?” it asks.

“Can… Can I have a hug?” he whispers it, because if he speaks any louder he will break down into ugly sobs. And then jonny would make fun of him because it would be a waste of a perfectly good morning.

“Of course you can,” its wooden arms wrap around his brass body, and he leans into it. Carmilla did put in nerves, and for that he is grateful. He cant feel temperature though, but if he could he knows the toy soldier is wooden and would be quite cold.

And there the two last Mechanisms stay, wrapped up in each other's arms.

The sun is gracing the sky with its brightness by the time either of them move.

Going back onto the cold and silent starship, back onto the Aurora who had stopped responding to them when Nastya had left. It almost feels like a deathwish, but Brian nor the Toy Soldier hesitate when entering the ship one last time. It feels like one last goodbye. And Brian knows it's the end.

That night, the airlock is open and waiting for him. A cup of tea on a table by it. His heart swells with joy for one last time as he drinks the warm beverage. He doesn't see the toy soldier, but he knows the tea is its way of saying goodbye. He can't think of what will happen to it when he’s gone, because that would be cruel.

The airlock is familiar, it's cold, and it's his death. And for one final time, he feels warm. And then it's gone as the coldness of space digs into his brass skin freezing him from the outside in as he completes the cycle. One last time.

The first mechanism died in space, and so did the last one. He became a mechanism in the vast coldness of space and ended his time as a mechanism in the vast coldness of space. The cycle is complete, one last time.

~He's not for heaven, nor yet for hell~

~Lost in the cosmos, Lonely~

[ecosine]

sylvas and kairii 69 teehee

thank u! i put under cut bc its long eheh

69. how would they describe their party members?

sylvas

aeon: sylvas was intimidated by aeon at first but found out how nice he was very quickly :) he considers them a friend although they don’t know eachother too too well yet, and intends to get to know him better (although realistically, under the pretense of research)

echo: scary not because he thinks she’s going to hurt or betray him or anything, but because she’s hard for him to read. he hasn’t met anyone who just says exactly what they’re thinking the way she does before, and he can never tell if it’s genuine or not. 

áine: he just met her recently but already very much enjoys how laid-back they’ve been around him. another person who he was intimidated by at first but wants to get to know better! also making friends with her so fast was essential for his confidence after a series of intense social nerfs

ymira: right off the bat sylvas probably felt most welcomed by ymira! she’s kind of helping him understand that you don’t have to fake being nice all the time around friends lol. also thinks her flower game is so so epic and that she has a lot of swag.

thyme: sylvas also thinks thyme has a lot of swag. he holds a lot of importance in physical comforts like a comfy bed and a warm meal, so thymes cooking has made him feel very happy and welcomed. tho he thinks she is a little eccentric he feels a weird urge to get his approval

uo: babies first friend! uo makes him feel very safe and protected.i think there is a lot more to their dynamic than sylvas realizes; uo is so enigmatic as is its right and sylvas feels the need to understand everything about its motivations just to satisfy his own curiosity- which is academic in nature and therefore carries its own set of repercussions lol.

kairii

aelwyd: a friend that she wants to see survive. genuinely respects that aelwyd acts in self interest and is a little, just a little scared of her, only because they know she’s got a really powerful boss and know better than to mess around when it comes to that. trusts her to tell them the truth when it really matters. does not intend to get any more on her bad side than he already is.

aria: aria rubbed her the wrong way at first but i think became really loyal to her really quickly. she was a friend. no matter how suspicious she acted at the end of the day she helped the party and did her best to make them comfortable. he feels like he failed her hugely.

blank: kai also has a lot of respect for blank because they really empathize with them and know they’re capable of taking care of their self even if they don’t know who they are. genuinely terrified of the implication of having to come to blows with them because they know in their heart they can’t hurt him. blank knows some of the parts of kairii that she thinks are gross, and they still respect her, which he can’t really process.

chini: kai owes everything she knows about herself to chini. she’s more than a friend but they both know relationships don’t start this way. the thought of coming here and exposing them to this kind of mercenary work irked them enough and now he has, again, failed her hugely. she’s still chini, but they’re a different chini and it’s scary. :(

ira: ira is kind and genuine and makes kairii feel safe. to him she’s kind of like a little sunbeam and the fact that she has come so close to ceasing to exist over this is enough 2 make kairii start raging. she also looks up to her for sure, because she hasn’t really had a good role model in a long time 

stras: stras is complicated to kairii. she’s coming to terms with the fact that they possess the same blind devotion and it’s almost unsettling. it wasnt until recently he realized that if they had met under different circumstances they probably would have been fast friends. they respect stras enough to be honest with him and are mad relieved that at least someone else has similar priorities.

[javid-shamash]

69 for stras and aeon :-)

man. thisll be a long one. Stras first cause itll be a little shorter

aelwyd cannot be trusted. she's self serving and will sell out anyone if it gives her any sort of edge, no matter how small. he's pretty sure she can be trusted to hate bela but he does not trust her with literally anything else. everytime he's given her a chance to prove herself trustworthy she's immediately betrayed it

blank is so fucking naive and so easily manipulated its embarrassing. theyll listen to literally anything anyone says and that makes them so easy to use as a tool for ulterior purposes, and as such, cannot be trusted. also theyre obviously getting used like a goddamn puppet by probably vecna. whatevers going on, theyre not in total control, and as such is even MORE of a threat

chini is a threat fullstop. bela's in her fuckign BRAIN. absolutely cannot be trusted. he'll try to help kairii break her out of it but. man. whatever happens happens. if that means working with her, if that means getting rid of her. stras knows things will most likely break bad

kairii is... interesting. stras did not really think much of them except as a good fighter, but now that he's getting to know them, hes realizng theyre WAY more similar than he thought, and is kind of vibing?? they both know what theyre about. stras is beginning to think. there might be someone here who actually understands him

ira is. as she's always been. a nice, comfortable enigma. she's nice and helpful and he has no fucking clue what's up with her. he doesn't know where she will fall when the chips are down, but knows she helped him get the truth from that shadow thing in the last battle. he's hoping they can reach a consensus but. she's a mystery to him

Aeon time.

Thyme is... odd. theres really no other way to put it. aeon just categorically does not understand thyme at all. they dont understand thyme's priorities, thyme's motivations, why thyme cares so much about making things fancy, about being the one to win people over... thyme is. weird. theyre also not helpful with literally anything

sylvas!!!! bugboy. uhm. whats happening with you <3. aeon is confused by sylvas but in a different way than thyme because aeon does not know or understand what academics are and why sylvas cares about it. aeon wants to be supportive but is. confused. and also maybe theyre a teeny tiny bit a little jealous that they can get along with uo so well when aeon feels like they barely know how to interact with uo on a good day despite caring about them so much. the social anxiety swag

ymira is fun! she's really interesting and cool to talk and hang out with and is a nice cook. but also. aeon doesnt really. know how to talk to her. they feel like everytime theyve tried, its petered out and theyve just. completely failed to talk to her. plus when aeon asked her advice and she couldnt help at all they just. felt so dissappointed and they dont want to blame ymira for that. its not her fault. but there's a bit of bitterness that the one person he thought would understand. didnt

aine is some kind of creature of some sort. another one that aeon. doesnt really know how to interact with. but also aeon feels some solace in that. aine the most feels like someone aeon could sit in a room in silence with for hours and not feel like the silence is awkward or uncomfortable. which aeon just. really appreciates? aeon sort of likes not knowing much about aine because it means he can maintain this sort of. communal silence without worrying about personal shit interrupting

uo is aeon's first friend, and as i alluded earlier, aeon has no idea how to interact with them and feels very very embarrassed by it. they should know! they were in a similar environment, they have similar builds and fighting styles, theyve got similar interests... but aeon just. does not know how to talk to uo and it feels like uo says things that are important and necessary but aeon doesnt understand them at all. so. aeon feels. awkward. they care about uo a lot and appreciate them greatly. but it sucks not knowing how to talk to them. also there's some lingering issues with getting such a stark reminder of Woods Time but he's. mostly over it

echo goldaline. man. what a card. aeon has such a myriad of feelings about echo that he has no fucking clue what to do about. theyve been trying to like. sort and dissect their thoughts but everything keeps happening always and forever. so they never get a chance to just. think. and put their feelings into words. so its just a mess of confusion and bitterness and affection that cannot build into something concrete. they think theyre friends with echo. they dont want anything else. but beyond that. they dont know

[mysterioussinkhole]

21 32 58 59 for special blank :)

Always happy to talk about that little dude

21. do they follow their head, their heart, or their body?

Blank is kind of just existing. they follow their heart in the sense that they follow their instincts and the vibes people give them, but for telepath reasons those vibes are pretty accurate.

32. do they seek control, or do they want less of it?

They want agency. They want to be able to self determine and to know themself. They don't want to be responsible for the fate of the world.

58. what do they think their role in the party is? what is their role in actuality?

They believe that they're a silent protector, looking out for everyone and keeping them safe. Really they're more like team baby guy who everyone handles with kid gloves.

59. what is a quiet passion of theirs?

They really like pretty things, like the flowers aelwyd grows. I could see them starting a crow-type collection of little nice things they find.

[cerdd]

Edward H Dafis: Dathlu'r 50

[llyfrenfys]

At least one person, aight here we go:

Picture this- I was doing a module for better Welsh grammar and writing. I'd gotten my bases covered with revision but had been stumped with idioms (I struggle with idioms in every language, including my native tongue).

So, I'd gotten 3/4s of the way through the exam paper when I arrived at the section which tested on idioms. The question was, essentially "here's an idiom, write a short story including the idiom in the story somewhere to show you understand its meaning. (Spoiler: I did not understand the meaning of the idiom. I merely *thought* I did).

The idiom was this:

"Cynnal tân mewn hen aelwyd" (lit. To light a fire in an old buidling)

Now, I (incorrectly) thought this meant to resolve a quarrel with a family member. Don't ask why or how, idk how my brain came to that conclusion either. Exam nerves do things to a mf. Maybe vaguely at the back of my head neurons were connecting "getting on like a house on fire" to this?

Anyway, aparently the correct meaning is to rekindle an old relationship (romantic) and is similar to the English idiom "to rekindle an old flame" (which I hadn't come across much before so I didn't join the dots).

So, the exam paper. Time is short. I need to write a short story on the spot using an unfamiliar idiom I can only guess the meaning of. So I write a story.

Only, its quite possibly the worst story I could have possibly chosen to write. Bearing in mind, I thought the idiom was about family quarrels, making up and doing some light arson with your sibling or something to smooth the ice.

So my story opens. It's night time in the woods. A brother and sister are lost and have been arguing over the right route back to camp. After walking hopelessly for hours, they come across an abandoned house and decide to camp there for the night. It's over the campfire that they apologise to each other and resolve to find a way out of the forest. The next morning, after the sun rose, they manage to exit the woods and find their family at camp. The End.

So, imagine my horror when days later (after the amnesia around exam questions wears off) I remembered the idiom and went to Google it, out of interest. I wanted the ground to swallow me at that moment when I realised I'd accidentally used an idiom with ROMANTIC IMPLICATIONS for a story about a Brother And A Sister. Fml

I seriously hope that whoever marked my exam paper realised I misunderstood the idiom because my god - aaaaaaaagh!

And thus ends my tale of woe. Please tell me I'm not the only person who misreads idioms This Badly...

Should I tell the story of how I misunderstood a Welsh idiom in a Welsh exam? It's funny (well, at least to me). Leave a note on this post if you want to hear it os gwelwch chi'n dda.

[dungeonsanddragonsfifthedition]

trying to get out of an art block so it's costume time... here are some mockups for aelwyd, my funny cracked druid/monk build who i love so much. she sucks!

[kinzaibatsu91]

The Aelwyd family

For context? I guess?

Ko-fi | Patreon

[queerwelsh]

Enillodd E. Prosser Rhys y Goron yn Eisteddfod Genedlaethol Pontypŵl gydag ‘Atgof’ yn 1924.

Yn ddylanwadol yn ei fywyd fel bardd, golygydd, newyddiadurwr a chyhoeddwr, mae Prosser Rhys yn cael ei gofio heddiw am gipio’r Goron yn Eisteddfod Genedlaethol Cymru 1924. Mor ddylanwadol ag oedd ei gerdd fuddugol, ‘Atgof,’ a’n parhau i fod, cafodd Prosser mwy fyth o effaith ar lenyddiaeth Gymraeg yn ei fywyd nag a gofir heddiw.

Ganed Edward Prosser Rees ar y 4ydd o Fawrth 1901 yn Nhrefenter, Mynydd Bach yng Ngheredigion, a'i fedyddio ar y 9fed o Fawrth yng Nghapel Bethel. Gof (blacksmith) oedd ei dad, David Rees, a'i fam oedd Elizabeth Rees. Daeth Prosser o deulu o ofaint (blacksmiths), a symudasant yn ddiweddarach i’r Morfa Du yn Nhrefenter (wedi i Prosser symud i ffwrdd, ym mis Mawrth 1918). Cyn hyn, buont yn byw yn Llainffwlbert hyd 1900, lle bu iddynt eu chwe phlentyn blaenorol.

Aeth Prosser Rhys i Ysgol Gynradd Cofadail yn Nhrefenter ac yna Ysgol Ramadeg Ardwyn yn Aberystwyth yn 1914. Aeth llenorion, academyddion a gwleidyddion eraill yma, a elwid yn 'Hen Ardwyniaid'. Cafodd ei lwyddiant academaidd cynnar ei atal wedyn gan afiechyd - cafodd ddiagnosis o dwbercwlosis yn ifanc, yn 1915, a effeithiodd arno am weddill ei oes, ond ar unwaith fe'i cadwodd adref am y 3 blwyddyn nesaf.

Dechreuodd ei enw ymddangos ym myd ysgrifennu Cymraeg mor gynnar â 1916, gyda'r gerdd 'Y Fam a'i Baban' yn y Baner ac Amserau Cymru, lle cyhoeddwyd fel E. Prosser Rees (o dan y ffugenw Eiddwenfab) o Drefenter, Llangwyryfon, Ceredigion. Yn 1917, ysgrifennodd lythyrau huawdl at ‘Y Darian’, papur radicalaidd, lle ysgrifennodd am ymuno ag undeb gwladgarol a’r Eisteddfod. Roedd hyn yn addas gan iddo ymddangos nesaf yn Y Darian yn 1918 oherwydd ei fuddugoliaethau cynnar yn yr Eisteddfod, yna yn Eisteddfodau lleol, a restrwyd o fewn yr enillwyr o Geredigion. Ymddangosodd yn aml yn Y Darian fel rhan o ‘Aelwyd y Beirdd,’ lle caiff ei ddisgrifio fel bardd ifanc â photensial mawr, ond yn 17 oed, a brawd y Parchedig Wyre Rees.

Yn amlwg, roedd Prosser yn aml yn ysgrifennu, cystadlu a’’n perfformio ei farddoniaeth yn ei arddegau. Ceir un o’i gerddi cynnar yn ‘Cymru,’ cylchgrawn misol a sefydlwyd gan O.M. Edwards yn 1891. Yn 1919 ymddangosodd ‘Canu’r Merched’ gan E. Prosser Rhys yn y cylchgrawn ‘Cymru’. Dyma'r tro gyntaf, mae’n debyg, o'i farddoniaeth i ymddangos dan yr enw hwn. Roedd ‘Prosser Rees,’ ei enw genedigol, yn ymddangos hefyd. Fel Prosser Rees, cyhoeddodd hefyd gerdd yn 1917 yn The Cambrian News and Merionethshire Standard i gydymdeimlo â Mr a Mrs Thomas Evans, Penbont, a gollodd eu mab, David Morgan, yn Ffrainc yn y Rhyfel Byd Cyntaf.

Gweithiodd Prosser fel clerc yn Western Ocean Colliery yn Nant-y-Moel, Cwm Ogwr, cyn dychwelyd yn ôl o’r ‘sowth’ fel newyddiadurwr. Yn Nantymoel yr oedd, yn ôl pob tebyg yn byw gydag un o'i frodyr, John, a oedd yn löwr. Roedd yn dal i dderbyn triniaeth ar gyfer twbercwlosis ac mae'n debyg wedyn wnaeth dychwelyd i'r teulu yn eu cartref newydd ym Morfa-Du. Gweithiodd wedyn ym mhapurau Rhyddfrydol y Welsh Gazette yn Aberystwyth a'r Herald Cymraeg yng Nghaernarfon yn 1919 (lle cyfarfodd Morris T. Williams). Symudodd yn ôl i Aberystwyth yn 1921 a daeth yn olygydd Baner ac Amserau Cymru yn 1923, pan symudasant eu swyddfeydd o Ddinbych i Aberystwyth.

Ym 1923, cyhoeddwyd barddoniaeth Prosser mewn llyfr am y tro yn Gwaed Ifanc gyda bardd arall, J.T. Jones (John Tudor Jones). Fel mae’r teitl yn awgrymu, roedden nhw’n falch o fod yn ‘waed newydd’ i farddoniaeth ac ysgrifennu Cymraeg, gyda Prosser bryd hynny yn 22 a J.T. Jones yn 19 oed. Yn sicr bu bu cryn ddadlau am y gyfrol, hefyd am fod eu barddoniaeth yn fwy rhywiol na beirdd hŷn y cyfnod. Roedd traddodiad o’r math newydd o ysgrifennu Cymraeg eisoes, a ddechreuwyd gan fuddugoliaeth T H Parry-Williams yn Eisteddfod 1915 gyda ‘Y Ddinas,’ ac roedd Prosser yn ymwybodol o’r syniadau newydd hyn o herio ysgrifennu Cymraeg, yr Eisteddfod ac felly cymdeithas iaith Gymraeg, y cafodd ei ysbrydoli ganddi a cheisiodd bod yn rhan ohoni - a llwyddo. Ymgais oedd hon i herio ysgrifennu beirdd hŷn, yn ogystal â thynnu sylw at y cnwd mwy newydd o lenorion iau, y dynion oedd wedi goroesi’r Rhyfel Byd Cyntaf ac yn mynnu sylw.

Wrth gwrs, heriodd yn arbennig status quo yr Eisteddfod pan enillodd y Goron yn 1924 yn Eisteddfod Genedlaethol Pont-y-pŵl gyda’i gerdd ‘Atgof’. Mae’r pryddest yn dilyn taith ‘llanc synhwyrus’ sy’n profi ei rywioldeb, o weld ‘Rhyw’ yn difetha perthynas ei rieni, i archwilio ei rywioldeb gyda merched, ac yna gyda dyn hefyd (Morris T. Williams, mae’n debyg), tra yn ymdrechu yn erbyn moesau a rhinweddau cymdeithas a chrefydd Cymru. Roedd beirniaid yr Eisteddfod yn groes, yn ei chael hi'n anfoesol a’n ei chanmol.

Wrth gwrs, pan enillodd Prosser, roedd yr ymateb yn sgandal a daeth ‘Atgof’ yn bur ddadleuol, oherwydd ei drafodaethau amlwg am ryw ac wrth gwrs y rhan cyfunrywiol o’r gerdd. Ers hynny, mae wedi cael ei galw’n ‘homoerotig’ gan lawer o lenorion, acheddiw yn cael ei hystyried yn fwy fel cerdd ddeurywiol, neu gerdd cwiar. Mae Mihangel Morgan, yn ysgrifennu yn Queer Wales, yn gweld ‘Atgof’ yn ddarlun negyddol o gyfunrywioldeb ac yn bychanu ei arwyddocâd fel cerdd hoyw.

A’n cael ein hunain yn cofleidio ‘dynn;

A Rhyw yn ein gorthrymu; a’i fwynhau;

A phallu’n sydyn fel ar lan y llyn…

Mae’r llinellau hyn yn disgrifio’r rhan cyfunrywiol ac mae’n wir nad yw’n cymryd llawer iawn o’r gerdd, ond mae’n ymddangos bod siom Mihangel Morgan yn deillio o’r ffaith nad yw’r gerdd yn ddigon hoyw. Ac yn wir nid yw, ond mae’n darllen fel cerdd ddeurywiol sy’n mynd â ni drwy holl daith Prosser o sylweddoli a brwydro yn erbyn ei rywioldeb yn yr oes hon. Mae’n dal i atseinio gyda llawer o’r gymuned LHDTC+, yn enwedig wrth sylweddoli pa mor amlwg ydoedd ar gyfer 1924 (neu ni fyddai wedi bod mor ddadleuol), 40 mlynedd cyn dad-droseddoli cyfunrywioldeb, ac roedd ei fuddugoliaeth yn yr Eisteddfod ymhell o blaen ei amser.

Ar y llaw arall, yn ddiweddarach ym mywyd Prosser, awgrymwyd ei fod wedi cael cymaint o sioc gan sodomiaeth yn ysgrifen rhywun arall i beidio â’u cyhoeddi. Mae’n bosibl y newidiodd safbwyntiau Prosser a’i rywioldeb ei hun yn ei fywyd, er mai dim ond dyfalu yw hyn bod Prosser wedi’i ‘syfrdanu’ wrth ysgrifennu am gyfunrywioldeb. Mae yna lawer o bosibiliadau yma o ran teimladau a rhywioldeb Prosser ei hun, ond mae’n sicr eu bod wedi cael dylanwad mawr ar ysgrifennu LHDTC+ a’r gymuned yng Nghymru ac yn enwedig yn y Gymraeg.

Soniwyd hefyd am ‘Atgof’ a Prosser yn Time yn 1924, gan ychwanegu at dystiolaeth o ddylanwad ac etifeddiaeth y gerdd hon. Yn rhyngwladol, gwelwn gysylltiadau yn y cerddi â rhywoleg a seiciatreg y cyfnod – soniodd y seicdreiddiwr (ac o bosibl gŵr sarhaus y gyfansoddwraig Morfydd Llwyn Owen) Ernest Jones am y gerdd mewn llythyr at Sigmund Freud, er nad yw’n glir bod y naill na’r llall wedi darllen y gerdd.

Ysgrifennodd Caradog Pritchard yn ei hunangofiant y credai mai’r gŵr yr ysgrifennodd Prosser amdano oedd Morris Williams, fel ffrind i’r dau, ac mae hyn wedi’i dderbyn fel y gwir tebygol ers hynny. Roedd Morris T. Williams yn agos i Prosser, pan oeddynt yn gyd-letywyr yn Twthil ger Caernarfon tra yn gweithio yn yr ‘Herald Cymraeg,’ a chyfnewidiasant lythyrau wedi hynny sy’n dangos eu perthynas agos — roedd hyn cyn i Morris briodi Kate Roberts a phrynu Gwasg Gee gyda’i gilydd. Arhosodd y tri yn agos, gan fod yn ffrindiau ac yn yr un cylchoedd cymdeithasol â llenyddol, yn ogystal ag ym myd cyhoeddi Cymraeg. Yn fwy diweddar, damcaniaethwyd bod Kate Roberts hefyd yn cwiar, yn seiliedig ar ei hysgrifennu personol â'i straeon byrion am berthnasoedd rhamantus rhwng merched (fel ‘Nadolig' a ​​'Y Trysor'). Bu farw Morris T. Williams ym 1946, flwyddyn ar ôl Prosser Rhys, ar ôl brwydr hir ag alcoholiaeth.

Cyhoeddwyd ‘Atgof’ fel llyfryn, gyda chyfieithiad o’r enw ‘Memory’ gan Hywel Davies hefyd wedi’i gyhoeddi fel llyfryn. Mae'r gerdd yn darllen yn llai amlwg na'r fersiwn Gymraeg, er ei bod yn cael ei chanmol ar y pryd. Gellir ei ddarllen yma - er bod angen cyfieithiad Saesneg modern.

Ym 1928, priododd Prosser â Mary Prudence Hughes yn Aberystwyth, a dyna pryd y cymerodd ef a hi y cyfenw ‘Rhys’. Bu iddynt un ferch, Eiddwen Rhys. Sefydlodd Wasg Aberystwyth hefyd yn 1928 a dechreuodd gyhoeddi llyfrau, gyda Gwasg Aberystwyth yn tyfu'n sylweddol yn y blynyddoedd i ddod.

Fel golygydd Baner ac Amserau Cymru, anogodd Prosser fwy o feirdd i ysgrifennu a chyhoeddi eu gwaith. Sefydlodd Y Clwb Llyfrau Cymraeg yn 1937; tanysgrifiad o lyfrau Cymraeg, lle byddai darllenwyr yn derbyn 4 llyfr y flwyddyn am hanner coron, ac a gyhoeddodd 45 o gyfrolau hyd at 1945. Mor llwyddiannus ag y bu o dan Prosser, wedi ei farwolaeth, penderfynwyd nad oedd digon o lenorion iaith-Cymraeg i'w barhau.

(Pwyllgor gwaith Plaid Genedlaethol Cymru, 1927- Lewis Valentine, Ambrose Bebb, D. J. Williams, Mai Roberts, Saunders Lewis, Kate Roberts, H. R. Jones, Prosser Rhys.) 

Roedd Prosser Rhys yn un o aelodau sylfaenol Plaid Cymru, a sefydlwyd yn 1925. Ef hefyd oedd golygydd ‘Y Ddraig Goch’ gyda Saunders Lewis ac Iorwerth C. Peate - y bu Prosser hefyd yn gymorth i’w ffurfio gyda H. R. Jones, er ei fod yn wrthwynebus i ddechrau oherwydd diffyg arian. Daeth Prosser yn lleisiol yn erbyn safbwyntiau adain dde Saunders Lewis. Ysgrifennodd yn Y Faner fod llawer o aelodau Plaid Cymru wedi dod o'r blaid Lafur neu'r blaid Ryddfrydol, neu'n radicaliaid a ddaeth o ddim plaid wleidyddol, lle nad oedd yr un yn gefnogol i'r safbwyntiau a ymddangosodd yn y Daily Mail, gan awgrymu bod barn Saunders Lewis yn rhy agos at y mater, ond bod y rhan fwyaf o gefnogwyr Plaid Cymru yn rhy deyrngar i leisio eu pryderon am hyn. Trafodwyd ac awgrymwyd diarddel Prosser o'r blaid ond roedd Saunders Lewis yn gwrthwynebu hyn. 

Yn dilyn ei lwyddiannau niferus, symudodd Prosser a’i deulu i 33 North Parade, Aberystwyth, lle bu’n byw hyd ei farwolaeth.

Wedi i'w iechyd ddirywio eto o 1942, bu farw Prosser Rhys yn 1945 - yn 43 oed, a llai na mis cyn ei ben-blwydd yn 44 oed. Fe’i claddwyd ym Mynwent Llanbadarn Fawr, a’i fedd yn dyfynnu T. Gwynn Jones: “Gwyrodd êfo î’r drugaredd fawr, Ni wyr namyn Duw ddirgelwch ei wên.” Yma hefyd y claddwyd Mary Prudence Rhys, ei wraig, a fu farw yn 1991, yn 87 oed. Maent hefyd wedi eu claddu gyda William Dewi Morris Jones, a fu farw yn 1983, yn 56 oed. Bu marwolaeth Rhys yn sicr yn golled i gyhoeddi ac ysgrifennu Cymraeg.

Prynwyd Gwasg Aberystwyth gan J. D. Lewis & Sons o Landysul ar ôl marwolaeth Rhys, sylfaenydd Gwasg Gomer, a barhaodd â’r Clwb Llyfrau Cymraeg a chymerodd drosodd y gwaith o gyhoeddi llyfrau’r clwb hyd 1952. Daeth hyn, fodd bynnag, yn dilyn anghytundeb cyfreithiol rhwng Mary Prudence Rhys a Morris T. Williams, a oedd i fod i gael y cynnig cyntaf a’r cyfle o wrthod i Wasg Aberystwyth, yn ôl dogfennau cyfreithiol y cytunodd Prosser a Morris arnynt - nad oedd Morris Williams yn teimlo ei fod wedi’i gael.

Cyhoeddwyd Cerddi Prosser Rhys yn 1950 gan Wasg Gee, casgliad cyntaf Prosser yn gyfan gwbl o’i gerddi ei hun – a gyhoeddwyd 5 mlynedd ar ôl ei farwolaeth. Wedi’i olygu gan J.M. Edwards, cyd-fardd a fu’n cystadlu mewn Eisteddfodau ac a oedd o ardal debyg i Rhys, mae Edwards hefyd yn ysgrifennu cyflwyniad y casgliad barddoniaeth. Mae'n nodi iddo benderfynu bod 4 blynedd ar ôl marwolaeth Rhys yn ddigon o amser i gyhoeddi o'r diwedd gasgliad cyfan o gerddi gorau Rhys (ysgrifennwyd y rhagymadrodd ym mis Gorffennaf, 1949, a chyhoeddwyd y llyfr ym mis Chwefror, 1950.) Mae'n ysgrifennu bod ei farddoniaeth flaenorol casgliad, yn ‘Gwaed Ifanc’, yn gyfrol a ddenodd gryn dipyn o sylw ac a ddaeth hefyd â nodyn newydd, beiddgar i fyd barddoniaeth Gymraeg y cyfnod, rhywbeth yr oedd dirfawr ei angen. Ei atgofion o Rhys wrth dyfu i fyny dangos ei fod yn fardd adnabyddus hyd yn oed yn ei ieuenctid, y clywodd Edwards ac eraill yn ei ysgol ei hun amdano cyn cyfarfod, a oedd yn adnabyddus am gystadlu a chael llwyddiant mewn nifer o Eisteddfodau.

O’i farddoniaeth a geir yn Cerddi Prosser Rhys, noda Edwards fod ‘Y Gof’ yn deyrnged i’w rieni a’i fywyd cynnar yng nghefn gwlad Cymru. Ei ddau soned y mae’n eu canmol fwyaf yw ‘Y Pechadur’ a ‘Duw Mudan’. O 'Atgof,' noda Edwards yn arwyddocaol ei bod yn gerdd feiddgar a greodd gryn gyffro ac a ganmolwyd gan rai ond a gafodd ei damnio gan eraill, a’i nodwedd tristaf yr holl ddigwyddiad oedd ei bod yn adlewyrchu agwedd meddwl yng Nghymru sef rhy barod i farnu gwerthoedd byd y celfyddydau yn ôl y safonau anghywir. Mae’r rhagymadrodd yn gorffen drwy ailadrodd yr hyn y mae llawer o bobl eraill wedi’i ddweud am golled gynamserol Rhys i fyd ysgrifennu a chyhoeddi Cymraeg. Roedd Edwards hefyd yn gobeithio y byddai yna hefyd gasgliad o ryddiaith Rhys, nad yw wedi dod i fod, yn anffodus.

Mae ‘Mab ei Fam’ i “M.T.W,” Morris T. Williams mae’n debyg – fel Strancio: ‘I’d disgwyl a fu’n cyd-letya â mi.’

Do, bûm yn flin. Ond weithian gwybydd di Fod Fflam yn llosgi ynof, ac aml dro Yn llamu ar draws fy nghorff materol i, A’m hysu hyd fy nghyrru i maes o’m co’,

A strancio a wnaf eto rhag fy ffawd Nes torro’r Fflam ei ffordd o’i charchar cnawd.

Fel yn achos ‘Atgof,’ mae Mihanel Morgan yn bychanu Strancio drwy ddatgan ei fod yn cryptig a gochel - tra byddwn yn dadlau bod cyfaddefiad ei deimladau tuag at ddyn yn y 1920au, yn enwedig yn dilyn y farddoniaeth Fictoraidd honno oedd yn boblogaidd cyn y 'Gwaed Newydd'. Tra y dywed Mihangel Morgan y tybir mai am Morris T. Williams, y mae’r cysegriad ar ddechrau’r gerdd yn ddigon clir, yn hanesyddol, i Morris T. Williams, yn enwedig pan gyflwynir cywydd blaenorol iddo hefyd.

Nid tan 1980 y dathlwyd Prosser Rhys gyda llyfr am ei fywyd, gan Rhisiart Hincks. Ysgrifennodd T. Robin Chapman yn Y Traethodydd yn 2006 fod Hincks yn ôl pob tebyg yn gwybod am natur perthynas Prosser â Morris ond eto fe gadodd allan - o unig gofiant cyfan Prosser Rhys. Mae hyn yn arwydd o'r amserau y cafodd ei ysgrifennu a'i gyhoeddi ond mae'n dangos yr angen nawr i ysgrifennu cofiannau Rhys sy'n cynnwys yr hyn a eithriwyd yn flaenorol, ei hunaniaeth cwiar. Mae Hincks yn sôn, fel y daeth Morris yn gyflym ‘ei gyfaill pennaf’i pan gyfarfuant yng Nghaernarfon, iddynt symud gyda'i gilydd i 15 Stryd Eleanor ac mai Prosser a gyflwynodd Williams i lenyddiaeth. ‘Cyfeillgarwch clos’. Mae hefyd yn crybwyll bod agosrwydd o'r fath wedi arwain at cwympo mas, unwaith pan oeddent yn cwympo mas drwy'r nos, sy'n dangos dwyster eu perthynas. Efallai, yr is-destun hwn y gobeithiai Hincks ei ddeall gan gynulleidfa’r oes. O ���Atgof,’ noda Hincks fod Prosser wedi mynegi o’r blaen fod diffyg rhyw yn y Gymraeg mewn barddoniaeth ddiweddar, rhywbeth y mae’n ei feio ar y capel. Mae'r cofiant hwn yn parhau i fod y mwyaf manwl ar fywyd Prosser.

Dadorchuddiwyd cofeb ar y Mynydd Bach, yn edrych dros Lyn Eiddwen ger Trefenter, lle cafodd Rhys ei eni a byw yn ei blentyndod, yn 1992, yn ystod yr Eisteddfod Genedlaethol yn Aberystwyth. Gan gynnwys Prosser, mae ‘Cofeb i Feirdd y Mynydd Bach’ yn dathlu 4 bardd o’r ardal leol. Enillodd J.M. Edwards o Lanrhystud y Goron yn yr Eisteddfod Genedlaethol hefyd, yn 1937, 1941 ac yn 1944, ac ysgrifennodd y rhagymadrodd i Cerddi Prosser Rhys. Bu pob un o'r 4 bardd a enwir ar blac y gofeb yn llwyddiannus yn yr Eisteddfod. Bardd llwyddiannus o Geredigion oedd B. T. Hopkins (Benjamin Thomas Hopkins), a oedd yn byw ac yn ffermio ar y Mynydd Bach. Bardd a llenor Cymraeg o Geredigion oedd T Hughes Jones (Thomas Hughes Jones) a enillodd fedal yn Eisteddfod Genedlaethol 1940 am stori fer, ‘Sgwier Hafila,’ a feirniadwyd yn rhannol gan Kate Roberts.

Mae diddordeb yn Rhys, ei fywyd a’i yrfa, wedi’i adnewyddu gan ymchwil i hanes ac ysgrifennu LHDTC+ Cymru. Yn nodedig, ym 1998, darlledwyd dogfen hanesyddol o’r enw ‘Atgof’ ar S4C, a gyfarwyddwyd gan Ceri Sherlock, a oedd yn darlunio Prosser yn ysgrifennu’r gerdd a’i berthynas â Morris T. Williams, a gynrychiolwyd fel un rhywiol a rhamantus. Bu dadlau o gwmpas y ffilm, fel ‘Atgof’ y gerdd, gyda rhai’n cwestiynu sut yr oedden nhw’n darlunio’r berthynas (gyda rhai manylion ffuglennol) a rhai hefyd yn cwestiynu a ddylid ei darlunio neu ei ddyfalu o gwbl. Er gwaethaf y disgwrs, roedd Prosser Rhys eisoes wedi dod yn ysbrydoliaeth i gymuned LHDTC+ Cymru.

Yn 2019, perfformiwyd y sioe ‘Corn Gwlad’ yn Eisteddfod Genedlaethol Llanrwst, a grëwyd gan Seiriol Davies, a oedd yn dathlu buddugoliaeth Prosser yn yr Eisteddfod ac yn darlunio ei deimladau tuag at Morris T. Williams. Roedd hi wedyn yn sioe waith ar y gweill, gyda chomedi a cherddoriaeth, ac yn rhan o raglen o ddigwyddiadau ‘Mas ar y Maes’ yn yr Eisteddfod Genedlaethol, sy’n arbennig ar gyfer y gymuned LHDTC+, neu a allai fod yn berthnasol i’r cymuned LHDTC+. Cafodd Prosser sylw hefyd mewn digwyddiadau ‘Mas ar y Maes’ gyda ‘Cariad yw Cariad,’ ac wrth gwrs mae’n cael sylw mawr yn Eisteddfod Genedlaethol Pontypridd 2024, ar ganmlwyddiant i Prosser ennill y Goron gydag Atgof. ‘Atgof’ oedd hefyd eto pwnc barddoniaeth i’r Goron - a enillwyd gan Gwynor Dafydd.

Etifeddiaeth barhaol Prosser Rhys yw bod yn llais i’r gymuned hon o Gymru’r 20fed ganrif, ac yn eicon yn arbennig i bobl LHDTC+ Cymraeg eu hiaith, dynion queer a phobl ddeurywiol. Dyma sydd wedi dod â Prosser Rhys yn ôl i lygad y cyhoedd yn y 1990au, gyda’r ffilm Atgof, ac yn y 2010au gyda Mis Hanes LHDTC+, ac yn y 2020au tua 100 mlynedd ers iddo ennill Coron yr Eisteddfod gydag ‘Atgof’. Cafodd Prosser hefyd effaith sylweddol ym myd cyhoeddi yng Nghymru, y gymdeithas Gymreig, yn ei ysgrifau erthyglau, mewn gwleidyddiaeth. Roedd Prosser Rhys yn berson hynod ddiddorol, cymhleth, yn eiriolwr brwd dros farddoniaeth, ysgrifennu a chyhoeddi Cymraeg ac mae’n arwr y cymunedau y perthynai iddynt, gan gynnwys y gymuned leol yng Ngheredigion a Gorllewin Cymru.

Darllenwch Atgof yma.

[artoriyasart]

I don't remember if I posted but I feel compelled to do so as I keep forgetting myself in fics. I may also change them at any point but this helps me in story and RP.

My OCs Sexual orientations:

High/Blood/void elf OCs:

Tinuviele: Lesbian, Demiromantic

Falesshi: Lesbian, Polyamourus

Luthaena: Biromantic

Lucanse: Polyromantic

Syleeria: Aromatic/Asexual

Mycha: Lesbian, Polyamourus

Ash: Asexual

Orkyd: Demisexual

Failuna: Heterosexual

Floridormi: Trans, Panromantic

Lucastrasza: Aromantic

Vera: Lesbian, Ace

Aravannis: Lesbian, Polyamourus

Night elf/Nightborne OCs:

Artoriya: Bisexual

Satszuo: Pansexual, Polyamourus

Sylveriss: Biromantic

Beren: Trans, Asexual

Luthiene (Nightborne): Lesbian

Ysalra: Not known yet

Mariligosa: Not known yet

Teen OCs:

*Luthiene: Not known yet

Luscinia: Biromantic

Male OCs:

Kytherian: Gay, Asexual

Valerian: Heteroromantic (is that what it's called?)

Aelwyd: Trans, Gray Ace

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OCs not included are the night elf twins and Adarial Wrynn as it's not something I've thought about with them yet.

Other Characters: unknown because I have not played or written about them as much.

* denotes the character with the same name.

I have two Luthiene characters.

Luthiene Nightstrider: A nightborne Spellbow and sister to Beren and Satszuo. She is also dating Falesshi. She is around nine thousand years old.

Luthiene Windrunner: A high elf orphan who was recently adopted by Sylvanas Windrunner in the series: Dark Lady and her Companion. She's Thirteen years old.

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Note on Luscinia: Currently she has a crush on anduin but that may change once she meets Tess. Hence Biromantic. Though that may change too.

I do have non-binary characters in the works.

I have headcanons of lore characters but that's for another post.

You may ask about these characters if you want or even my head canons.

Most of the characters are Asespec

[my-special-sim]