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?"