The Doom of the GriffithsGaskell, Elizabeth Cleghorn
General
The Doom of the Griffiths
Gaskell, Elizabeth Cleghorn
England -- Social life and customs -- 19th century -- Fiction; Horror tales, English
Owen, partly from good-natured compliance with his hostess’s implied
wish, and partly from curiosity, lounged to the passage which led to the
kitchen—not the every-day, working, cooking kitchen, which was behind,
but a good-sized room, where the mistress sat, when her work was done,
and where the country people were commonly entertained at such
merry-makings as the present. The lintels of the door formed a frame for
the animated picture which Owen saw within, as he leaned against the wall
in the dark passage. The red light of the fire, with every now and then
a falling piece of turf sending forth a fresh blaze, shone full upon four
young men who were dancing a measure something like a Scotch reel,
keeping admirable time in their rapid movements to the capital tune the
harper was playing. They had their hats on when Owen first took his
stand, but as they grew more and more animated they flung them away, and
presently their shoes were kicked off with like disregard to the spot
where they might happen to alight. Shouts of applause followed any
remarkable exertion of agility, in which each seemed to try to excel his
companions. At length, wearied and exhausted, they sat down, and the
harper gradually changed to one of those wild, inspiring national airs
for which he was so famous. The thronged audience sat earnest and
breathless, and you might have heard a pin drop, except when some maiden
passed hurriedly, with flaring candle and busy look, through to the real
kitchen beyond. When he had finished his beautiful theme on “The March
of the men of Harlech,” he changed the measure again to “Tri chant o’
bunnan” (Three hundred pounds), and immediately a most unmusical-looking
man began chanting “Pennillion,” or a sort of recitative stanzas, which
were soon taken up by another, and this amusement lasted so long that
Owen grew weary, and was thinking of retreating from his post by the
door, when some little bustle was occasioned, on the opposite side of the
room, by the entrance of a middle-aged man, and a young girl, apparently
his daughter. The man advanced to the bench occupied by the seniors of
the party, who welcomed him with the usual pretty Welsh greeting, “Pa sut
mae dy galon?” (“How is thy heart?”) and drinking his health passed on to
him the cup of excellent _cwrw_. The girl, evidently a village belle,
was as warmly greeted by the young men, while the girls eyed her rather
askance with a half-jealous look, which Owen set down to the score of her
extreme prettiness. Like most Welsh women, she was of middle size as to
height, but beautifully made, with the most perfect yet delicate
roundness in every limb. Her little mob-cap was carefully adjusted to a
face which was excessively pretty, though it never could be called
handsome. It also was round, with the slightest tendency to the oval
shape, richly coloured, though somewhat olive in complexion, with dimples
in cheek and chin, and the most scarlet lips Owen had ever seen, that
Public-domain text, read in full here on John Shaqi.
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