After him came Gray, with a similar interest in Celtic lore. His well-known poem “The Bard” appeared in 1755. This ode is founded on a tradition current in Wales that Edward I., when he completed the conquest of that country, decreed the death of all the bards who should fall into his power. The original argument of this fine production is set down in the author’s commonplace book as follows:— The army of Edward I., as they march through a deep valley, are suddenly stopped by the appearance of a venerable figure seated on the summit of an inaccessible rock, who, with a voice more than human, reproaches the king with all the misery and desolation which he had brought on his country; foretells the misfortunes of the Norman race, and, with prophetic spirit, declares that all his cruelty shall never extinguish the noble ardour of poetic genius in this island; and that men shall never be wanting to celebrate true virtue and valour in immortal strains, to expose vice and infamous pleasure, and boldly censure tyranny and oppression. His song ended, he precipitates himself from the mountain, and is swallowed up by the river that rolls at its foot. Gray deviated a little from this original sketch, but the above is, in the main, the gist of the poem. “Ruin seize thee, ruthless King! Confusion on thy banners wait! Though fanned by conquest’s crimson wing, They mock the air with idle state. Helm nor hauberk’s twisted mail, Nor e’en thy virtues, Tyrant, shall avail To save thy secret soul from nightly fears, From Cambria’s curse, from Cambria’s tears!” Such were the sounds that o’er the crested pride Of the first Edward scatter’d wild dismay, As down the steep of Snowdon’s shaggy side He wound with toilsome march his long array. Stout Glo’ster stood aghast in speechless trance: “To arms!” cried Mortimer, and couched his quivering lance. On a rock, whose haughty brow Frowns o’er old Conway’s foaming flood, Robed in the sable garb of woe, With haggard eyes the poet stood; (Loose his beard, and hoary hair Stream’d like a meteor, to the troubled air;) And, with a master’s hand and prophet’s fire, Struck the deep sorrows of his lyre. “Hark! how each giant oak, and desert cave, Sighs to the torrent’s awful voice beneath: O’er thee, oh King! their hundred arms they wave, Revenge on thee in hoarser murmurs breathe; Vocal no more, since Cambria’s fatal day, To high-born Hoël’s harp, or soft Llewellyn’s lay,” etc. In addition to “The Bard,” Gray translated into English verse fragments of the “Gododin” and “The Triumphs of Owen” from Mr. Evans’s _Specimens of the Welsh Poetry_, published in London in 1764.