The opening chapters are devoted to a concise historical account of English minstrelsy, from the earliest Saxon times to its gradual extinction in the reigns of Edward IV. and Queen Elizabeth; and while presenting in a condensed form all that is valuable in Percy and others, the author has interwoven in the narrative much curious and interesting matter derived from his own careful studies. Much of romantic interest clusters around the history of the minstrels of England. They are generally supposed to have been the successors of the ancient bards, who from the earliest times were held in the highest veneration by nearly all the people of Europe, whether of Celtic or Gothic origin. According to Percy, "Their skill was considered as something divine; their persons were deemed sacred; their attendance was solicited by kings; and they were everywhere loaded with honors and rewards." Our Anglo-Saxon ancestors, on their migration into Britain, retained their veneration for poetry and song, and minstrels continued in high repute, until their hold upon the people gradually yielded to the steady advance of civilization, the influence of the printing-press, and the consequent diffusion of knowledge. It is to be borne in mind that the name, minstrel, was applied equally to those who sang, and accompanied their voices with the harp, or some other instrument, and to those who were skilled in instrumental music only. The harp was the favorite and indeed the national instrument of the Britons, and its use has been traced as far back as the first invasion of the country by the Saxons. By the laws of Wales, no one could pretend to the character of a freeman or gentleman, who did not possess or could not play upon a harp. Its use was forbidden to slaves; and a harp could not be seized for debt, as the simple fact of a person's being without one would reduce him to an equality with a slave. Other instruments, however, were in use by the early Anglo-Saxons, such as the Psaltery, the Fiddle, and the Pipe. The minstrels, clad in a costume of their own, and singing to their quaint tunes the exploits of past heroes or the simple love-songs of the times, were the favorites of royalty, and often, and perhaps usually, some of the better class held stations at court; and under the reigns of Henry I. and II., Richard I., and John, minstrelsy flourished greatly, and the services of the minstrels were often rated higher than those of the clergy. These musicians seem to have had easy access to all places and persons, and often received valuable grants from the king, until, in the reign of Edward II., (1315,) such privileges were claimed by them, that a royal edict became necessary to prevent impositions and abuses.