Dictionary of Welsh Biography

MORGAN, DEWI (Dewi Teifi; 1877 - 1971), poet and journalist encouraging and guiding young poets and prose writers as an adjudicator in local and national eisteddfodau and editor of the poetry column of Y Faner. Among those indebted to him include D. Gwenallt Jones, T. Ifor Rees, Caradog Prichard, T. Glynne Davies, J. M. Edwards, Iorwerth C. Peate and Alun Llywelyn-Williams. Dewi Morgan died aged 93 at Bronglais hospital Aberystwyth 1 April 1971 and he was buried in
MORGAN, DYFNALLT (1917 - 1994), poet, literary critic and translator School every day between 1928 and 1935. A number of his fellow pupils died from tuberculosis. His literary abilities came to the fore in the sixth form under the guidance of his Welsh teacher, Miss Hettie Morris. She introduced him to the works of T. H. Parry Williams and Gwenallt, two personal heroes whom he came to know as a student at the University College of Wales, Aberystwyth from 1935. He won a
PAGE, LESLIE ALUN (1920 - 1990), Minister (Cong.) Presbyterian Church at Banc-y-felin. Alun Page read widely and meditated in both English and Welsh literature. He was impressed by T. S. Eliot, Waldo and Gwenallt and often quoted from them. He spoke of the greatness of R. T. Jenkins as a writer, and praised D. J. Williams and his 'square mile.' Karl Barth was another influence and he was not unfamiliar with the thoughts of Freud and Marx. He was indebted to
ROBERTS, KATE (1891 - 1985), author School for Girls. She was a teacher of Welsh for some fifteen years in total and had a positive influence on a number of talented pupils, including the future poet, Gwenallt, who became a lifelong friend. In 1928 she married Morris T. Williams (1900-1946) also a native of Caernarfonshire and a fellow-supporter of the fledgling political party, Plaid Genedlaethol Cymru. Owing to the bar on married women
WILLIAMS, WALDO GORONWY (1904 - 1971), poet and pacifist ' (region of brotherhood). Although the poem's main thrust is clear it is more challenging and difficult in terms of imagery and expression than his earlier poems, confirming an emerging pattern in the post-1939 poetry, and reflecting the poet's wish to align with D. Gwenallt Jones and Saunders Lewis in breaking free from the conventional lyric and sonnet forms. But the period from 1939 onwards

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