He also gives “relish to his song,” {0f} by adopting “a diversity of structure in the metre;” for the lyric comes in occasionally to relieve the solemnity of the heroic, whilst at the same time the latter is frequently capable of being divided into a shorter verse, a plan which has been observed in one of the MSS. used on the present occasion; e. g. the twelfth stanza is thus arranged,— Gwyr a aeth Gattraeth gan ddydd Neus goreu } gywilydd O gadeu } Wy gwnaethant } gelorwydd Yn geugant } A llafn aur llawn anawdd ym bedydd Goreu yw hyn cyn cystlwn carennydd Ennaint creu } oe henydd Ac angeu } Rhag byddin } pan fu ddydd Wawdodyn } Neus goreu dan bwylliad neirthiad gwychydd. But though Aneurin survived the battle of Cattraeth to celebrate the memory of his less fortunate countrymen in this noble composition, he also ultimately met with a violent death. The Triads relate that he was killed by the blow of an axe, inflicted upon his head by Eiddin son of Einigan, which event was in consequence branded as one of “the three accursed deeds of the Isle of Britain.” {0g} His memory, however, lived in the Gododin, and the estimation in which the poem was held by his successors has earned for him the title of “medeyrn beirdd,” the king of Bards. Davydd Benvras 1190–1240, prays for that genius which would enable him “To sing praises as Aneurin of yore, The day he sang the Gododin.” {0h} Risserdyn 1290–1340 in an Ode to Hywel ab Gruffydd speaks of “A tongue with the eloquence of Aneurin of splendid song.” {0i} And Sevnyn 1320–1378 asserts that “The praise of Aneurin is proclaimed by thousands.” {0j} Such is the language in which the mediæval Bards were accustomed to talk of the author of the Gododin.