Bruce had previously4 affected5 to consider the senachie as still disordered by his last night’s excess, and ordering him from his presence for at least a day, commanded that the traveling minstrel should be summoned to supply his place.
The table was spread when Wallace entered, and several servants were in attendance. Bruce hastily rose and would have embraced him, so did his comforted heart spring to meet his friend; but before these people it would have been more than imprudent, and hailing him with only one of his love-beaming looks, he made a sign to him to take his place at a board near his own. To prevent suspicioin in the attendants (some of whom might be spies of Edward’s), during the repast he discoursed7 with Wallace on subjects relative to northern literature, repeating many passages apposite to his own heroic sentiments, from Ossian and other Scottish bards8.
The meal finished, Wallace, to maintain his assumed character while the servants were removing the table, was tuning9 his harp10 when the Earl of Gloucester entered the room. The earl told Bruce the king had required the attendance of the border minstrel, and that after searching over the castle, the royal seneschal had at last discovered he was in the keep with him. On this being intimated to Gloucester, he chose rather to come himself to demand the harper from his friend, than to subject him to the insolence11 of the royal servants. The king desired to hear “The Triumph,” with which the minstrel had so much pleased the queen. Bruce turned pale at this message; and was opening his mouth to utter a denial, when Wallace, who read in his countenance12 what he was going to say, and aware of the consequences, immediately spoke13:
“If my lord Bruce will grant permission, I should wish to comply with the King of England’s request.”
“Minstrel!” replied Bruce, casting on him a powerful expression of what was passing in his mind, “you know not, perhaps that the King of England is at enmity with me, and cannot mean well to any one who has been my guest, or servant! The Earl of Gloucester will excuse your attendance in the presence.”
“Not for my life or the minstrel’s!” replied the earl; “the king would suspect some mystery, and this innocent man might fall into peril14. But as it is, his majesty15 merely wishes to hear him play and sing, and I pledge myself he shall return in safety.”
Further opposition16 would only have courted danger, and with as good a grace as he could assume, Bruce gave his consent. A page who followed Gloucester took up the harp, and with a glance at his friend, which spoke the fearless mind with which he ventured into the power of his enemy, Wallace accompanied Gloucester out of the room.
The earl moved swiftly forward, and leading him through a double line of guards, the folding-doors of the royal apartment were thrown open by two knights17 in waiting, and Wallace found himself in the royal presence. Perforated with wounds which the chief’s own hand had given him, the king lay upon a couch overhung with a crimson-velvet canopy18, with long golden fringes which swept the floor. His crown stood on a cushion at his head, and his queen, the blooming Margaret of France, sat full of smiles at his feet. The young Countess of Gloucester occupied a seat by her side.
The countess, who from indisposition had not been at court the preceding day, fixed19 her eyes on the minstrel as he advanced into the middle of the room, where the page, by Gloucester’s orders, planted the harp. She observed the manner of his obeisance20 to the king and queen, and to herself, and the queen whispering her with a smile, said, while he was taking his station at the harp, “Have your British troubadours usually such an air as that? Am I right, or am I wrong?”
“Quite right,” replied the countess in as low a voice; “I suppose he has sung of kings and heroes till he cannot help assuming their step and demeanor21!”
“But how did he come by those eyes?” answered the queen. “If singing of Reuther’s ‘beamy gaze’ have so richly endowed his own, by getting him to teach me his art, I may warble myself into a complexion22 as fair as any northern beauty!”
“But then his must not be the subject of your song,” whispered the countess with a laugh, “for methinks it is rather of the Ethiop hue23!”
During this short dialogue, which was heard by none but the two ladies, Edward was speaking with Gloucester, and Wallace leaned upon his harp.
“That is enough,” said the king to his son-in-law; “now let me hear him play.”
The earl gave the word, and Wallace, striking the chords with the master hand of genius, called forth24 such strains and uttered such tones from his full and richly-modulated voice, that the king listened with wonder, and the queen and countess scarcely allowed themselves to breathe. He sung the parting of Reuther and his bride, and their souls seemed to pant upon his notes; he changed his measure, and their bosoms25 heaved with the enthusiasm which spoke from his lips and hand, for he urged the hero to battle, he described the conflict, he mourned the slain26, he sung the glorious triumph; as the last sweep of the harp rolled its lofty diapason on the ear of the king, the monarch27 deigned28 to pronounce him unequaled in his art. Excess of delight so agitated29 the more delicate frames of the ladies, that while they poured their encomiums on the minstrel, they wiped the glistening30 tears form their cheeks. The queen approached him, laid her hand upon the harp, and touching31 the strings32 with a light finger, said with a sweet smile, “You must remain with the king’s musicians, and teach me how to charm as you do!” Wallace replied to this innocent speech with a smile sweet as her own, and bowed.
The countess drew near. Though not much older than the youthful queen, she had been married twice, and being therefore more acquainted with the proprieties33 of life, her compliments were uttered in a form more befitting her rank, and the supposed quality of the man to whom the queen continued to pour forth her less considerate praises.
Edward desired Gloucester to bring the minstrel closer to him. Wallace approached the royal couch. Edward looked at him from head to foot before he spoke. Wallace bore his eagle gaze with an undisturbed countenance; he neither withdrew his eye from the king, nor did he allow a conqueror’s fire to emit from its glance.
“Who are you?” at length demanded Edward, who, surprised at the noble mien34 and unabashed carriage of the minstrel, conceived some suspicions of his quality.
Wallace saw what was passing in the king’s mind, and determining by a frank reply to uproot35 his doubts, mildly but fearlessly answered:
“A Scot.”
“Indeed!” said the king, satisfied that no incendiary would dare thus to proclaim himself. “And how durst you, being of that outlawed36 nation, venture into my court? Feared you not to fall a sacrifice to my indignation against the mad leader of your rebellious37 countrymen?”
“I fear nothing on earth,” replied Wallace. “This garb38 is privileged, none who respect that sacred law dare commit violence on a minstrel, and against them who regard no law but that of their own wills, I have this weapon to defend me.” As Wallace spoke he pointed39 to a dirk stuck in his girdle.
“You are a bold man, and an honest man, I believe,” replied the king; “and as my queen desires it, I order your enrollment40 in my traveling train of musicians. You may leave the presence.”
“Then follow me to my apartment,” cried the queen; “countess, you will accompany me, to see me take my first lesson.”
A page took up the harp; and Wallace, bowing his head to the king, was conducted by Gloucester to the anteroom of the queen’s apartments. The earl there told him, that when dismissed by the queen, a page he would leave would show him the way back to Lord Carrick.
The royal Margaret herself opened the door, so eager was she to admit her teacher; and placing herself at the harp, she attempted a passage of “The Triumph,” which had particularly struck her, but she played wrong. Wallace was asked to set her right; he obeyed. She was quick — he clear in his explanations; and in less than half an hour he made her execute the whole movement in a manner that delighted her.
“Why, minstrel,” cried she, looking up in his face, “either your harp is enchanted41, or you are a magician. I have studied three long years to play the lute42, and could never bring forth any tone that did not make me ready to stop my own ears. And now, countess,” cried she, again touching a few chords, “did you ever hear anything so enchanting43?”
“I suppose,” returned the countess, “all your former instructors44 have been novices45, and this Scot alone knows the art to which they pretended.”
“Do you hear what the countess says?” exclaimed the queen, affecting to whisper to him; “she will not allow of any spiritual agency in my wonderfully-awakened talent. If you can contradict her, do; for I want very much to believe in fairies, magicians, and all the enchanting world!”
Wallace, with a respectful smile, answered, “I know of now spirit that has interposed in your majesty’s favor but that of your own genius; and it is more efficient than the agency of all fairy-land.”
The queen looked at him very gravely, and said, “If you really think there are no such things as fairies and enchantments46, for so your words would imply, then everybody in your country must have genius, for they seem to be excellent in everything. Your warriors47 are so peerlessly brave — all, excepting these Scottish lords who are such favorites with the king! I wonder what he can see in their uncouth48 faces, or find in their rough indelicate conversation to admire. If it had not been for their besetting49 my gracious Edward, I am sure he never would have suspected ill of the noble Bruce!”
“Queen Margaret!” cried the Countess of Gloucester, giving her a look of respectful reprehension50; “had not the minstrel better retire?”
The queen blushed, and recollected51 that she was giving too free a vent6 to her sentiments; but she could not suffer Wallace to withdraw.
“I have yet to ask you,” resumed she —“the warriors of Scotland being so resistless, and their minstrels so perfect in their art — whether all the ladies can be so beautiful as the Lady Helen Mar2?”
The eagerness with which Wallace grasped at any tidings of her who was so prime an object of his enterprise at once disturbed the composure of his air, and had the penetrating52 eyes of the countess been then directed toward him, she might have drawn53 some dangerous conclusions from the start he gave at the mention of her name, and from the heightened color which, in spite of his exertions54 to suppress all evident emotion, maintained its station on his cheek.
“But, perhaps you have never seen her?” added the queen.
Wallace replied, neither denying nor affirming her question: “I have heard many praise her beauty, but more her virtues55.”
“Well, I am sorry,” continued her majesty, “since you sing so sweetly of female charms, that you have not seen this wonder of Scottish ladies. You have now little chance of that good fortune, for Earl de Valence has taken her abroad, intending to marry her amidst all the state with which my lord has invested him.”
“Is it to Guienne he has taken her?” inquired Wallace.
“Yes,” replied the queen, rather pleased than offended at the minstrel’s ignorance of court ceremony in thus familiarly presuming to put a question to her. She continued to answer: “While so near Scotland he could not win her to forget her native country and her father’s danger, who it seems was dying when De Valence carried her away. And, to prevent bloodshed between the earl and Soulis, who is also madly in love with her, my ever-gracious Edward gave the English lord a high post in Guienne, and thither56 they are gone.”
Before Wallace could reply to some remark which the queen laughingly added to her information, the countess thought it proper to give her gay mother-in-law a more decisive reminder57 of decorum, and, rising, she whispered something which covered the youthful Margaret in blushes. Her majesty rose directly, and pushing away the harp, hurryingly said: “You may leave the room;” and turning her back to Wallace, walked away through an opposite door.
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1
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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mar
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| vt.破坏，毁坏，弄糟 | |
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3
martial
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| adj.战争的，军事的，尚武的，威武的 | |
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previously
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| adv.以前，先前（地） | |
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affected
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| adj.不自然的，假装的 | |
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vent
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| n.通风口，排放口；开衩；vt.表达，发泄 | |
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7
discoursed
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| 演说（discourse的过去式与过去分词形式） | |
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8
bards
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| n.诗人( bard的名词复数 ) | |
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9
tuning
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| n.调谐，调整，调音v.调音( tune的现在分词 )；调整；（给收音机、电视等）调谐；使协调 | |
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10
harp
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| n.竖琴；天琴座 | |
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11
insolence
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| n.傲慢；无礼；厚颜；傲慢的态度 | |
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12
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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14
peril
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| n.(严重的)危险；危险的事物 | |
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15
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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opposition
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| n.反对，敌对 | |
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knights
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| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
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18
canopy
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| n.天篷，遮篷 | |
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19
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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20
obeisance
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| n.鞠躬，敬礼 | |
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21
demeanor
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| n.行为；风度 | |
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complexion
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| n.肤色；情况，局面；气质，性格 | |
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23
hue
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| n.色度；色调；样子 | |
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forth
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| adv.向前；向外，往外 | |
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25
bosoms
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| 胸部( bosom的名词复数 )； 胸怀； 女衣胸部（或胸襟）； 和爱护自己的人在一起的情形 | |
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26
slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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27
monarch
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| n.帝王，君主，最高统治者 | |
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28
deigned
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| v.屈尊，俯就( deign的过去式和过去分词 ) | |
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29
agitated
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| adj.被鼓动的，不安的 | |
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30
glistening
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| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
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31
touching
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| adj.动人的，使人感伤的 | |
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32
strings
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| n.弦 | |
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33
proprieties
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| n.礼仪，礼节；礼貌( propriety的名词复数 )；规矩；正当；合适 | |
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34
mien
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| n.风采；态度 | |
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35
uproot
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| v.连根拔起，拔除；根除，灭绝；赶出家园，被迫移开 | |
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36
outlawed
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| 宣布…为不合法（outlaw的过去式与过去分词形式） | |
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37
rebellious
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| adj.造反的，反抗的，难控制的 | |
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38
garb
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| n.服装，装束 | |
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pointed
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| adj.尖的，直截了当的 | |
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40
enrollment
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| n.注册或登记的人数；登记 | |
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41
enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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42
lute
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| n.琵琶，鲁特琴 | |
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43
enchanting
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| a.讨人喜欢的 | |
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44
instructors
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| 指导者，教师( instructor的名词复数 ) | |
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45
novices
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| n.新手( novice的名词复数 )；初学修士（或修女）；（修会等的）初学生；尚未赢过大赛的赛马 | |
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46
enchantments
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| n.魅力( enchantment的名词复数 )；迷人之处；施魔法；着魔 | |
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47
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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48
uncouth
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| adj.无教养的，粗鲁的 | |
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49
besetting
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| adj.不断攻击的v.困扰( beset的现在分词 )；不断围攻；镶；嵌 | |
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50
reprehension
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| n.非难，指责 | |
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51
recollected
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| adj.冷静的；镇定的；被回忆起的；沉思默想的v.记起，想起( recollect的过去式和过去分词 ) | |
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52
penetrating
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| adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的 | |
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53
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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54
exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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55
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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56
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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57
reminder
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| n.提醒物，纪念品；暗示，提示 | |
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