The Betrothed

impatient of long repose, and full of hatred against their neighbours; and he almost dreaded the consequences of the inactivity to which a long truce might reduce them. The risk was now incurred, however; and to display even more than his wonted splendour and liberality, seemed the best way of reconciling the wavering affections of his subjects.

A Norman would have despised the barbarous magnificence of an entertainment, consisting of kine and sheep roasted whole, of goat's flesh and deer's flesh seethed in the skins of the animals themselves; for the Normans piqued themselves on the quality rather than the quantity of their food, and, eating rather delicately than largely, ridiculed the coarser taste of the Britons, although the last were in their banquets much more moderate than were the Saxons; nor would the oceans of Crw and hydromel, which overwhelmed the guests like a deluge, have made up, in their opinion, for the absence of the more elegant and costly beverage which they had learnt to love in the south of Europe. Milk, prepared in various ways, was another material of the British entertainment, which would not have received their approbation, although a nutriment which, on ordinary occasions, often supplied the Avant of all others among the ancient inhabitants, whose country was rich in flocks and herds, but poor in agricultural produce.

The banquet was spread in a long low hall, built of rough wood lined with shingles, having a fire at each end, the smoke of which, unable to find its way through the imperfect chimneys in the roof, rolled in cloudy billows above the heads of the revellers, who sat on low seats, purposely to avoid its stifling fumes.[8] The mien and appearance of the company assembled was wild, and, even in their social hours, almost terrific. Their prince himself had the gigantic port and fiery eye fitted to sway an unruly people, whose delight was in the field of battle; and the long mustaches which he and most of his champions wore, added to the formidable dignity of his presence. Like most of those present, Gwenwyn was clad in a simple tunic of white linen cloth, a remnant of the dress which the Romans had introduced into provincial Britain; and he was distinguished by the Eudorchawg, or chain of twisted gold links, with which the Celtic tribes always decorated their chiefs. The collar, indeed, representing in form the species of links made by children out of rushes, was common to chieftains of inferior rank, many of whom bore it in virtue of their birth, or had won it by military exploits; but a ring of gold, bent around the head, intermingled with Gwenwyn's hair—for he claimed the rank of one of three diademed princes of Wales, and his armlets and anklets, of the same metal, were peculiar to the Prince of Powys, as an independent sovereign. Two squires of his body, who dedicated their whole attention to his service, stood at the Prince's back; and at his feet sat a page, whose duty it was to keep them warm by chafing and by wrapping them in his mantle. The same right of sovereignty, which assigned to Gwenwyn his golden crownlet, gave him a title to the attendance of the foot-bearer, or youth, who lay on the rushes, and whose duty it was to cherish the Prince's feet in his lap or bosom.[9]

Notwithstanding the military disposition of the guests, and the danger arising from the feuds into which they were divided, few of the feasters wore any defensive armour, except the light goat-skin buckler, which hung behind each man's seat. On the other hand, they were well provided with offensive weapons; for the broad, sharp, short, two-edged sword was another legacy of the Romans. Most added a wood-knife or poniard; and there were store of javelins, darts, bows, and arrows, pikes, halberds, Danish axes, and Welsh hooks and bills; so, in case of ill-blood arising during the banquet, there was no lack of weapons to work mischief.

But although the form of the feast was somewhat disorderly, and that the revellers were unrestrained by the stricter rules of good-breeding which the laws of chivalry imposed, the Easter banquet of Gwenwyn possessed, in the attendance of twelve eminent bards, one source of the most exalted pleasure, in a much higher degree than the proud Normans could themselves boast. The latter, it is true, had their minstrels, a race of men trained to the profession of poetry, song, and music; but although those arts were highly honoured, and the individual professors, when they attained to eminence, were often richly rewarded, and treated with distinction, the order of minstrels, as such, was held in low esteem, being composed chiefly of worthless and dissolute strollers, by whom the art was assumed, in order to escape from the necessity of labour, and to have the means of pursuing a wandering and dissipated course of life. Such, in all times, has been the censure upon the calling of those who dedicate themselves to the public amusement; among whom those distinguished by individual excellence are sometimes raised high in the social circle, while far the more numerous professors, who only reach mediocrity, are sunk into the lower scale. But such was not the case with the order of bards in Wales, who, succeeding to the dignity of the Druids, under whom they had originally formed a subordinate fraternity, had many immunities, were held in the highest reverence and esteem, and exercised much influence with their countrymen. Their power over the public mind even rivalled that of the priests themselves, to whom indeed they bore some resemblance; for they never wore arms, were initiated into their order by secret and mystic solemnities, and homage was rendered to their Awen, or flow of poetic inspiration, as if it had been indeed marked with a divine character. Thus possessed of power and consequence, the bards were not unwilling to exercise their privileges, and sometimes, in doing so, their manners frequently savoured of caprice.

This was perhaps the case with Cadwallon, the chief bard of Gwenwyn, and who, as such, was expected to have poured forth the tide of song in the banqueting-hall of his prince. But neither the anxious and breathless expectation of the assembled chiefs and champions—neither the dead silence which stilled the roaring hall, when his harp was reverently placed before him by his attendant—nor even the commands or entreaties of the Prince himself—could extract from Cadwallon more than a short and interrupted prelude upon the instrument, the notes of which arranged themselves into an air inexpressibly mournful, and died away in silence. The Prince frowned darkly on the bard, who was himself far too deeply lost in gloomy thought, to offer any apology, or even to observe his displeasure. Again he touched a few wild notes, and, raising his looks upward, seemed to be on the very point of bursting forth into a tide of song similar to those with which this master of his art was wont to enchant his hearers. But the effort was in vain—he declared that his right hand was withered, and pushed the instrument from him.

A murmur went round the company, and Gwenwyn read in their aspects that they received the unusual silence of Cadwallon on this high occasion as a bad omen. He called hastily on a young and ambitious bard, named Caradoc of Menwygent, whose rising fame was likely soon to vie with the established reputation of Cadwallon, and summoned him to sing something which might command the applause of his sovereign and the gratitude of the company. The young man was ambitious, and understood the arts of a courtier. He commenced a poem, in which, although under a feigned name, he drew such a poetic picture of Eveline Berenger, that Gwenwyn was enraptured; and while all who had seen the beautiful original at once recognized the resemblance, the eyes of the Prince confessed at once his passion for the subject, and his admiration of the poet. The figures of Celtic poetry, in themselves highly imaginative, were scarce sufficient for the enthusiasm of the ambitious bard, rising in his tone as he perceived the feelings which he was exciting. The praises of the Prince mingled with those of the Norman beauty; and 'as a lion,' said the poet, 'can only be led by the hand of a chaste and beautiful maiden, so a chief can only acknowledge the empire of the most virtuous, the most lovely of her sex. Who asks of the noonday sun, in what quarter of the world he was born? and who shall ask of such charms as hers, to what country they owe their birth?'

Enthusiasts in pleasure as in war, and possessed of imaginations which answered readily to the summons of their poets, the Welsh chiefs and leaders united in acclamations of applause; and the song of the bard went farther to render popular the intended alliance of the Prince, than had all the graver arguments of his priestly precursor in the same topic.

Gwenwyn himself, in a transport of delight, tore off the golden bracelets which he wore, to bestow them upon a bard whose song had produced an effect so desirable; and said, as he looked at the silent and sullen Cadwallon, 'The silent harp was never strung with golden wires.'

'Prince,' answered the bard, whose pride was at least equal to that of Gwenwyn himself, 'you pervert the proverb of Taliessin—it is the flattering harp which never lacked golden strings.'

Gwenwyn, turning sternly towards him, was about to make an angry answer, when the sudden appearance of Jorworth, the messenger whom he had despatched to Raymond Berenger, arrested his purpose. This rude envoy entered the hall bare-legged, excepting the sandals of goat-skin which he wore, and having on his shoulder a cloak of the same, and a short javelin in his hand. The dust on his garments, and the flush on his brow, showed with what hasty zeal his errand had been executed. Gwenwyn demanded of him eagerly, 'What news from Garde Doloureuse, Jorworth ap Jevan?'

'I bear them in my bosom,' said the son of Jevan; and, with much reverence, he delivered to the Prince a packet, bound with silk, and sealed with the impression of a swan, the ancient cognizance of the House of