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21-495: The Wind may refer to: Poetry and literature [ edit ] "The Wind" (poem) , a 14th-century poem by Dafydd ap Gwilym "The Wind", a 1943 short story by Ray Bradbury appearing in Dark Carnival The Wind (novel) , a 1925 supernatural novel by Dorothy Scarborough Films [ edit ] The Wind (1928 film) , starring Lillian Gish, based on

42-477: A 2021 album by Balmorhea Songs [ edit ] "The Wind", a song by Cat Stevens on his 1971 album Teaser and the Firecat "The Wind", a song by Russ Freeman , also performed by Chet Baker, Keith Jarrett and Mariah Carey "The Wind" (Nolan Strong & The Diablos song) "The Wind" (Zac Brown Band song) "The Wind", a song by Amos Lee on his 2006 album Supply and Demand "The Wind",

63-510: A 64-line love poem in the form of a cywydd by the 14th-century Welsh poet Dafydd ap Gwilym . Dafydd is widely seen as the greatest of the Welsh poets, and this is one of his most highly praised works. Rachel Bromwich called it "one of the greatest of all his poems", while the academic critic Andrew Breeze has hailed it as "a masterpiece" and "a work of genius", noting especially its "rhetorical splendour". The poet opens by addressing

84-539: A frustration that would speak through an uncontrollable freedom". There are some verbal resemblances between this poem and "The Song of the Wind", a poem found in the Book of Taliesin : Taliesin , or whoever was that poem's author, describes the wind as a "powerful creature" without foot or head, flesh or bone, while Dafydd calls it a "strange being…without foot or wing". This strongly suggests to some scholars that Dafydd knew

105-421: A series of similar negative statements covertly accuses English law officers of oppressive practices. The 15th-century poet Maredudd ap Rhys wrote a cywydd on the wind which shows several similarities with the poem of his predecessor Dafydd; certainly more than can be accounted for by coincidence. For example, Dafydd writes Such as you none can stay, Nor fire burn nor guile betray, Nor water drown; vain

126-556: A song by Demon Hunter on the 2010 Christmas compilation Happy Christmas Vol. 5 "The Wind", a song by the Fray on their 2012 album Scars & Stories "The Wind", a song by Amorphis on their 2015 album Under the Red Cloud Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title The Wind . If an internal link led you here, you may wish to change

147-421: A technique known in Welsh as dyfalu , comprising the stringing together of imaginative and hyperbolic similes and metaphors . Sometimes Dafydd used dyfalu pejoratively; less often, as in this poem, to express his wonder at one of the great forces of nature. The display of Dafydd's virtuosity in this technique has been seen as his prime motivation for writing the poem. Lines 9–24 of the poem all begin with

168-588: The early 14th century, when it is believed to have been developed. This was the favourite metre of the Poets of the Nobility from the 14th to 17th centuries and is still used in the 21st. The cywydd consists of a series of seven-syllable lines in rhyming couplets , with all lines written in cynghanedd . One of the lines must finish with a stressed syllable, while the other must finish with an unstressed syllable. The rhyme may vary from couplet to couplet, or may remain

189-452: The laws of governing society". This political aspect of the poem is particularly apparent in lines 19–22 (13–16 in some editions): …though you winnow leaves no one indicts you, you are not restrained by any swift troop, nor officer's hand nor blue blade… This has been interpreted as an implicit comparison with the king's official messengers, who were immune from legal consequences should they trample their way through standing crops in

210-424: The letter N, and in the succeeding 14 lines a similar use is made of the letters R, S, D, and finally H. Dafydd took this poetic device, known as cymeriad , from the older poetic form of awdl , a kind of poem much used by court poets of the preceding centuries for poems of praise addressed to their patrons. He employed it in several of his cywyddau . "The Wind" is cast in a form closely associated with Dafydd,

231-414: The line of duty. Andrew Breeze finds in these same lines a reminder that Dafydd was living in a land occupied by foreigners . On the other hand, for Anthony Conran the freedom celebrated in the poem is an essentially personal one, the expression of his own ungovernable character. Likewise Richard Morgan Loomis sees the wind as Dafydd's "glorious alter-ego", the poem being "the paradoxical fantasy of

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252-400: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Wind&oldid=1240910821 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages The Wind (poem) " The Wind " (Welsh: Y Gwynt ) is

273-465: The novel The Wind (1934 film) , a Chinese silent film The Wind (1982 film) , a Malian film The Wind (1986 film) , an American horror film The Wind (2018 film) , an American western horror film Music [ edit ] Der Wind , ballet pantomime composition by Franz Schreker Albums [ edit ] The Wind (Warren Zevon album) , 2003 The Wind (Kayhan Kalhor and Erdal Erzincan album) , 2006 The Wind ,

294-635: The older poem, though in recent years doubt has been cast on this line of argument. Andrew Breeze finds, in a passage describing the wind in Jean de Meun 's continuation of the Roman de la Rose , no less than 16 motifs which also appear in Dafydd's poem, though re-arranged and re-imagined. He concludes that Dafydd is likely to have known and been influenced by the Roman de la Rose . An analogue to Dafydd's use of

315-404: The poem in which a messenger or llatai , usually a bird or animal, is sent to the poet's lover. It is a good example of how Dafydd's works in this form can include a close and warmly-appreciative description of a llatai , even when, as is often the case in Dafydd's poems, he is describing nature in one of its harsher aspects. The careering course of the wind is embodied in the headlong pace of

336-431: The poem. Rachel Bromwich called "The Wind" one of "the outstanding expressions of Dafydd's wonder and awe at the mysteries of the cosmic forces", but pointed out that in the end Dafydd curbs this force to act as a love-messenger to Morfudd. The poet Gwyneth Lewis sees the poem as "a hymn to the havoc that art can work in the world", while for the scholar Helen Fulton the wind is a metaphor for "freedom and autonomy from

357-429: The poet's lover Morfudd, on whose account he is an exile from his native land. The wind is to send the poet's sighs to Morfudd, to assure her of his continued love, and to return safely. "The Wind" shows great inventiveness in its choice of metaphors and similes, while employing extreme metrical complexity. It is one of the classic examples of the use of what has been called "a guessing game technique" or "riddling",

378-414: The quest Your bodiless being to arrest. And similarly Maredudd has Wave cannot drown thee, nor fire molest, Man's eye behold, men's force arrest. Cywydd There are a variety of forms of the cywydd, but the word on its own is generally used to refer to the cywydd deuair hirion ("long-lined couplet") as it is by far the most common type. The first recorded examples of the cywydd date from

399-437: The same. There is no rule about how many couplets there must be in a cywydd. The cywydd deuair hirion and the related cywydd deuair fyrion , cywydd llosgyrnog and the awdl-gywydd all occur in the list of the twenty four traditional Welsh poetic meters adopted in the later Middle Ages . This poetry -related article is a stub . You can help Misplaced Pages by expanding it . This Wales -related article

420-539: The wind as a llatai has been pointed out in the Middle English lyric "Blow, northerne wind, send thou me my sweting", one of the Harley Lyrics collected in a manuscript dated c. 1320. A passage from Iolo's cywydd " The Ploughman " in which the ploughman is defined by the faults he is not guilty of, with the implication that those in authority do, can be compared with the section of "The Wind" in which

441-407: The wind, calling it a strange being, going where it wills, and subject to none of the physical or legal restraints of ordinary human life. After praising it for its power the poet goes on to compare it to an author, a sower of leaves, and a jester. Then he asks the wind to visit Uwch Aeron [the northern part of Ceredigion , from where Parth came], and, paying no heed to her husband Bwa Bach to visit

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