CHAPTER VI.
THE MINSTRELS OF THE NORTH.
PON many accounts the development of minstrelsy by the Celtic singers and harpers was one of the most important of all the forces operative in the transformation of the art from the monody of the ancients to the expressive melody and rich harmony of modern music. As it is to a considerable extent one side of the direct course of this history, which hitherto has dealt largely with the south of Europe, the present is the most convenient time for giving it the consideration its importance deserves. I do this more readily because English influence upon the development of music has generally been underrated by continental writers, the erudite Fétis alone excepted; while their own national writers, even, have not shown themselves generally conscious of the splendid record which was made by their fathers.
The Celts appear upon the field of history several centuries before the Christian era. Cæsar's account of them leaves no doubt of the place which music held in their religion, education and national life. The minstrel was a prominent figure, ready at a moment's notice to perform the service of religion, patriotism or entertainment. There is a tradition of one King Blegywied ap Scifyllt, who reigned in Brittany about 160 B.C., who was a good musician and a player upon the harp. While we have no precise knowledge of the music they sang in the oldest times, it was very likely something like the following old Breton air, which is supposed to have come down from the Druids. It is full of a rude energy, making it impressive even to modern ears. By successive migrations of Angles, Danes and Northmen, the Celts were crowded into Wales, where they still remain. The harp has always been their principal instrument, and for many centuries a rude kind of violin called the crwth, of which there will be occasion to speak in connection with the violin, at a later period in this work.