The Betrothed by Walter Scott (books to read this summer TXT) 📕

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. [Footnote: The Welsh houses, like those of the cognate tribes in Ireland and in the Highlands of Scotland, were very imperfectly supplied with chimneys. Hence, in the History of the Gwydir Family, the striking expression of a Welsh chieftain who, the house being assaulted and set on fire by his enemies, exhorted his friends to stand to their defence, saying he had seen as much smoke in the hall upon a Christmas even.] 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. [Footnote: See Madoc for this literal foot page's office and duties. Mr. Southey's notes inform us: "The foot-bearer shall hold the feet of the King in his lap, from the time he reclines at the board till he goes to rest, and he shall chafe them with a towel; and during all that time shall watch that no harm befalls the King. He shall eat of the shame dish from which the King takes his food; he shall light the first candle before the King." Such are the instructions given for this part of royal ceremonial in the laws of Howell Dha. It may be added, that probably upon this Celtic custom was founded one of those absurd and incredible representations which were propagated at the time of the French revolution, to stir up the peasants against their feudal superiors. It was pretended that some feudal seigneurs asserted their right to kill and disembowel a peasant, in order to put their own feet within the expiring body, and so recover them from the chill.]

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