[184] Yr Wyddfa, the Welsh name of Snowdon, said to mean the conspicuous place, or object.
[185] Dinas Emrys, (the fortress of Ambrose,) a celebrated rock amongst the mountains of Snowdon, is said to be so called from having been the residence of Merddin Emrys, called by the Latins Merlinus Ambrosius, the celebrated prophet and magician: and there, tradition says, he wrote his prophecies concerning the future state of the Britons.
There is another curious tradition respecting a large stone, on the ascent of Snowdon, called Maen du yr Arddu, the black stone of Arddu. It is said, that if two persons were to sleep a night on this stone, in the morning one would find himself endowed with the gift of poetry, and the other would become insane.—Williams’s Observations on the Snowdon Mountains.
[186] It is believed amongst the inhabitants of these mountains, that eagles have heretofore bred in the lofty clefts of their rocks. Some wandering ones are still seen at times, though very rarely, amongst the precipices.—Williams’s Observations on the Snowdon Mountains.
[187] This sanguinary deed is not attested by any historian of credit. And it deserves to be also noticed, that none of the bardic productions since the time of Edward make any allusion to such an event.—Cambro-Briton, vol. i., p. 195.
[188] At the time of the supposed massacre of the Welsh bards by Edward the First.
[189] Aneurin, one of the noblest of the Welsh bards.
FOR THE MELODY CALLED THE “WELSH GROUND.”
[The Bard of the Palace, under the ancient Welsh princes, always accompanied the army when it marched into an enemy’s country; and, while it was preparing for battle or dividing the spoils, he performed an ancient song, called Unbennaeth Prydain, the Monarchy of Britain. It has been conjectured that this poem referred to the tradition of the Welsh, that the whole island had once been possessed by their ancestors, who were driven into a corner of it by their Saxon invaders. When the prince had received his share of the spoils, the bard, for the performance of this song, was rewarded with the most valuable beast that remained.—Jones’s Historical Account of the Welsh Bards.]
[190] Ynys Prydain was the ancient Welsh name of Britain, and signifies fair or beautiful isle.
[It is an old tradition of the Welsh bards, that on the summit of the mountain Cader Idris, is an excavation resembling a couch; and that whoever should pass a night in that hollow, would be found in the morning either dead, in a a frenzy, or endowed with the highest poetical inspiration.]
[“The Welsh Melodies, which first introduced Mrs Hemans to the public as a song-writer, had already made their appearance. Some of them are remarkable for the melody of their numbers—in particular, the song to the well-known air, ‘Ar hyd y nos.’ Her fine feeling for music, in which, as also in drawing, she would have signally excelled, could she have bestowed the time and patient labour requisite for obtaining mastery over the mechanical difficulties of these arts, assisted her not only in her choice of measures, but also of her words; and, although in speaking of her songs, it must be remarked that some of the later ones are almost too full of meaning to require the further clothing of sweet sound, instead of their being left, as in outline, waiting for the musician’s colouring hand, they must be all praised as flowing and expressive; and it is needless to remind the reader how many of them, united with her sister’s music, have obtained the utmost popularity. She had well studied the national character of the Welsh airs, and the allusions to the legendary history of the ancient Britons, which her songs contain, are happily chosen. But it was an instinct with Mrs Hernans to catch the picturesque points of national character, as well as of national music: in the latter she always delighted.”—Chorley’s Memorials of Mrs Hemans, p. 80-1.]
[191] Transcriber’s Note: Footnote not found for original page 153 footnote 1.
A TRAGEDY, IN FIVE ACTS.
[“Mrs Hemans was at this time (1821) occupied in the composition of her tragedy, ‘The Vespers of Palermo,’ which she originally wrote without any idea of offering it for the stage. The sanguine recommendations, however, of Mr Reginald Heber, and the equally kind encouragement of Mr Milman, (to whose correspondence she was introduced through the medium of a mutual friend, though she had never the advantage of his personal acquaintance,) induced her to venture upon a step which her own diffidence would have withheld her from contemplating, but for the support of such high literary authorities. Indeed, notwithstanding the flattering encomiums which were bestowed upon the tragedy by all who read it, and most especially by the critics of the green-room, whose imprimatur might have been supposed a sufficiently safe guarantee of success, her own anticipations, throughout the long period of suspense which intervened between its acceptance and representation, were far more modified than those of her friends. In this subdued tone of feeling she thus wrote to Mr Milman:—‘As I cannot help looking forward to the day of trial with much more of dread than of sanguine expectation, I most willingly acquiesce in your recommendations of delay, and shall rejoice in having the respite as much prolonged as possible. I begin almost to shudder at my own presumption, and, if it were not for the kind encouragement I have received from you and Mr Reginald Heber, should be much more anxiously occupied in searching for any outlet of escape, than in attempting to overcome the difficulties which seem to obstruct my onward path.’”—Memoir, p. 81-2.]
Scene I.—A Valley, with vineyards and cottages.
Groups of Peasants—Procida, disguised as a Pilgrim, among them.
Eribert, Vittoria.
Raimond di Procida, Constance.