“It is well, then,” said Sir Piercie Shafton; “we will dispute this matter to-morrow morning with our swords. Let the time be daybreak, and do thou assign the place. We will go forth as if to strike a deer.”
“Content,” replied Halbert Glendinning: “I will guide thee to a spot where an hundred men might fight and fall without any chance of interruption.”
“It is well,” answered Sir Piercie Shafton. “Here then we part.—Many will say, that in thus indulging the right of a gentleman to the son of a clod-breaking peasant, I derogate from my sphere, even as the blessed sun would derogate should he condescend to compare and match his golden beams with the twinkle of a pale, blinking, expiring, gross-fed taper. But no consideration of rank shall prevent my avenging the insult thou hast offered me. We bear a smooth face, observe me, Sir Villagio, before the worshipful inmates of yonder cabin, and to-morrow we try conclusions with our swords.” So saying, he turned away towards the tower.
It may not be unworthy of notice, that in the last speech only, had Sir Piercie used some of those flowers of rhetoric which characterized the usual style of his conversation. Apparently, a sense of wounded honour, and the deep desire of vindicating his injured feelings, had proved too strong for the fantastic affectation of his acquired habits. Indeed, such is usually the influence of energy of mind, when called forth and exerted, that Sir Piercie Shafton had never appeared in the eyes of his youthful antagonist half so much deserving of esteem and respect as in this brief dialogue, by which they exchanged mutual defiance. As he followed him slowly to the tower, he could not help thinking to himself, that, had the English knight always displayed this superior tone of bearing and feeling, he would not probably have felt so earnestly disposed to take offence at his hand. Mortal offence, however, had been exchanged, and the matter was to be put to mortal arbitrement.
The family met at the evening meal, when Sir Piercie Shafton extended the benignity of his countenance and the graces of his conversation far more generally over the party than he had hitherto condescended to do. The greater part of his attention was, of course, still engrossed by his divine inimitable Discretion, as he chose to term Mary Avenel; but, nevertheless there were interjectional flourishes to the Maid of the Mill, under the title of Comely Damsel, and to the Dame, under that of Worthy Matron. Nay, lest he should fail to excite their admiration by the graces of his rhetoric, he generously, and without solicitation, added those of his voice; and after regretting bitterly the absence of his viol-de-gamba, he regaled them with a song, “which,” said he, “the inimitable Astrophel, whom mortals call Philip Sidney, composed in the nonage of his muse, to show the world what they are to expect from his riper years, and which will one day see the light in that not-to-be-paralleled perfection of human wit, which he has addressed to his sister, the matchless Parthenope, whom men call Countess of Pembroke; a work,” he continued, “whereof his friendship hath permitted me, though unworthy, to be an occasional partaker, and whereof I may well say, that the deep afflictive tale which awakeneth our sorrows, is so relieved with brilliant similitudes, dulcet descriptions, pleasant poems, and engaging interludes, that they seem as the stars of the firmament, beautifying the dusky robe of night. And though I wot well how much the lovely and quaint language will suffer by my widowed voice, widowed in that it is no longer matched by my beloved viol-de-gamba, I will essay to give you a taste of the ravishing sweetness of the poesy of the un-to-be-imitated Astrophel.”
[Original]
So saying, he sung without mercy or remorse about five hundred verses, of which the two first and the four last may suffice for a specimen—
“What tongue can her perfections tell,
On whose each part all pens may dwell.
Of whose high praise arid praiseful bliss,
Goodness the pen. Heaven paper is;
The ink immortal fame doth send,
As I began so I must end.”
As Sir Piercie Shafton always sung with his eyes half shut, it was not until, agreeably to the promise of poetry, he had fairly made an end, that looking round, he discovered that the greater part of his audience had, in the meanwhile, yielded to the charms of repose. Mary Avenel, indeed, from a natural sense of politeness, had contrived to keep awake through all the perplexities of the divine Astrophel; but Mysie was transported in dreams back to the dusty atmosphere of her father's mill. Edward himself, who had given his attention for some time, had at length fallen fast asleep; and the good dame's nose, could its tones have been put in regulation, might have supplied the bass of the lamented viol-de-gamba. Halbert, however, who had no temptation to give way to the charms of slumber, remained awake with his eyes fixed on the songster; not that he was better entertained with the words, or more ravished with the execution, than the rest of the company, but rather because he admired, or perhaps envied, the composure, which could thus spend the evening in interminable madrigals, when the next morning was to be devoted to deadly combat. Yet it struck his natural acuteness of observation, that the eye of the gallant cavalier did now and then, furtively as it were, seek a glance of his countenance, as if to discover how he was taking the exhibition of his antagonist's composure and serenity of mind.