#eisteddfod

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/young 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.