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1858.] Guest; a woman than whom very few archæologists are better acquainted with the Welsh language and its ancient literature. She is the author of that very learned work, “The Mabinogion,” a collection of early Welsh legends. This book was printed a few years since by the pale-faced, intelligent-looking man who is standing behind her chair,—Mr. Rees,—a printer in an obscure Welsh hamlet, named Llandovery. He has, with perfect propriety, been termed the Welsh Elzevir; and certainly a finer specimen of typography than that furnished by the “Mabinogion” can scarcely be produced.

The chairman is a pompous old nobody. Him I need not describe. The presiding and directing spirit of the place is a tall, slender gentleman with snow-white hair, dark, flashing eyes, and a graceful bearing; it is the Rev. Thomas Price, or, as his Welsh title has it, Carnuhanawc. He is a thorough believer in the ultra-excellence of everything Welsh,—Welsh music, Welsh flannels, Welsh scenery, Welsh mutton; and so far as regards the latter, I am quite of his opinion. After a very animated speech, he directs the competitors on the triple harp to stand forward and begin a harmonious contest.

There are three,—an old blind man, a young man, and a girl some fourteen years of age. Every one cheers the latter lustily, and “wishes she may get it.” So do I, of course; and I listen with great interest as Miss Winifred Jenkins commences her performance, which she does without blush or hesitation, and with quite an I-know-all-about-it sort of air. I forget the particular piece the young lady played; but upon it she extemporized so many variations, that long before she came to an ending I had lost all remembrance of the text from which she had deduced her melodious sermon. There was, I thought, more mechanical tact than expression in her performance, but it was enthusiastically applauded for all that; and with an awkward curtsy—much like Sydney Smith’s little servant-maid Bunch’s “bobbing to the centre of the earth”—the red-cheeked little harpist vanished.

Next came the young man; but several of the harp-strings at once snapped in consequence of his fierce fingering, and he broke down amidst howls of guttural disapprobation. So far as competition was concerned, be was, in sporting parlance, nowhere!

The old blind gentleman followed, and I do not think that I ever witnessed a more melancholy spectacle. Apollo playing on his stringed instrument presents a very graceful appearance; but fancy a Welsh Orpheus with a face all seamed and scarred by smallpox,—a short, fiery button in the middle of his countenance, serving for a nose,—a mouth awry and toothless,—and two long, dirty, bony hands, with claw-like fingers tipped with dark crescents,—and I do not think the picture will be a pleasant one. If the horrible-looking old fellow had concealed his ghastly eyes by colored glasses, the effect would not have been so disagreeable; but it was absolutely frightful to see him rolling his head, as he played, and every now and then staring with the whites of his eyes full in the faces of his unseen audience. At length, greatly to my relief, he gave the last decisive twang, and was led away by his wife. It is almost needless to say that the musical “Bunch” took the prize.

“Penillionn Singing” was the next attraction. This was something like an old English madrigal done into Welsh, and, as a specimen of vocalization, pleasing enough,—as pleasing, that is, as Welsh singing can be to an English ear; but how different from the soft, liquid Italian trillings, the flexible English warblings, the melodious ballads of Scotland, or the rollicking songs of Ireland! There was only one of the many singers I heard at the Festival who at all charmed me, and that was a little vocalist of much repute in Southern Wales for her birdlike voice and brilliancy of execution. Her professional name was pretty enough, —Eos Vach Morganwg,—“The Little