He flung down the eels in a temper, and called aloud, in his strong voice, "Frija! Elgifu! Gruach!"
His cries brought no response, and he turned towards the fire in the centre of the stoke which was now but a red glow, and round which various people were sitting eating their evening meal.
He burst into the circle. "Where is Gruach?" he said to a young man who was dipping his hand into an earthen pot held between his knees.
This was Harl, an armourer's rivetter, who generally lived within the castle walls.
"Gruach is at the hut of Cerdic," he said, with some embarrassment, and, so it seemed to Hyla, with pity in his voice.
The men and women sitting by the fire turned their faces towards him without exception, and their faces bore the same expression as Harl's.
Hyla stared stupidly from one to the other. His eyes fell upon Cerdic himself, a kennel serf, and something of a veterinary surgeon. It was he who cut off two toes from each dog used for droving, so that they should not hunt the deer.
Fastened to his girdle was the ring through which the feet of the "lawed" dogs were passed, and he carried his operating knife in a sheath at his side.
"My woman is in your hut, Cerdic," said Hyla, "and why is she with?"
"She is with," said Cerdic, "because she is in sore trouble, and walks in fear of worse. Go you to her, Hyla, and hear her words, and then come you here again to me."
A deep sigh burst from all of them as Cerdic spoke, and one woman fell crying.
Hyla turned, and strode hastily to Cerdic's hut. He heard a low moaning coming from it, which rose and fell unceasingly, and was broken in upon by a woman's voice cooing kind words of comfort.
He pushed into the hut. It was quite dark and full of fœtid smoke and a most evil odour.
"Gruach," he said, "Gruach! why are you not home? What hurts you?"
The moaning stopped, and there was a sound of some one rising.
Then a voice, which Hyla recognised as belonging to Cerdic's wife, said, "Here is your man, Gruach! Rise and tell him what bitter things have been afoot."
Gruach rose, a tall woman of middle age, and came out of the hut into the twilight.
"Hyla!" she said, "Saints help you and me, for they have taken Elgifu and Frija to the castle."
The man quivered all over as if he would have fallen on the ground. Then he gripped his wife's arm. "Tell me," he said hoarsely, "To the castle? to the castle? Frija and Elgifu?"
"Aye, your maids and mine, and maids no longer. I had gone to Adelais to seek food for this night, and found you sent a-fishing. Frija and Elgifu were carrying the dung to the fields. Pierce was in the field speaking to our girls. Then came Huber and John from the castle with their pikes, and they took away our daughters, saying Lord Geoffroi and Lord Fulke had sent for them. Huber struck me in the face at my crying. 'Take care!' cwaeth he, 'old women are easily flogged; there is little value in you.' And I saw them holding my girls, and they took them in the great gate of the castle laughing, and I did not see them again."
Hyla said nothing for a minute, but remained still and motionless. The blow struck him too hard for speech.
"Get you home," he said at length, "if perchance you may fall asleep. I am going to talk with Cerdic. Take her home, wife, and God rest you for your comfort!"
He walked quickly across the open space back to the fire. The circle was broken up, and only Cerdic and Harl sat there waiting Hyla's return.
Stuck into the ground was a cow's horn full of ale, and as Hyla came into the circle of dim red light, Harl handed it to him.
He drank deep, and drank again till the comfort of the liquor filled his craving stomach, and his brain grew clearer.
"Sit here, friend," said Cerdic. "This is a foul thing that has been done."
CHAPTER II
"Coelum coeli Domino terram autem dedit filiis hominum."
In the fifth volume of an instructive work by Le Grand d'Aussy, who was, in his way, a kind of inferior Dean Swift, there is an interesting story, one of a collection of "Fabliaux."
There was once a genial ruffian who lived by highway robbery, but who, on setting about his occupation, was careful to address a prayer to the Virgin. He was taken at the end, and sentenced with doom of hanging. While the executioner was fitting him with the cord, he made his usual little prayer. It proved effectual. The Virgin supported his feet "with her white hands," and thus kept him alive two days to the no small surprise of the executioner, who attempted to complete his work with a hatchet. But this was turned aside by the same invisible hand, and the executioner bowed to the miracle, and unstrung the robber. With that—very naturally—the rogue entered a monastery.
In another tale the Virgin takes the shape of a nun, who had eloped from the convent where she was professed, and performs her duties for ten years. At last, tired of a libertine life, the nun returned unsuspected. This signal service was performed in consideration of the nun's having never omitted to say an Ave as she passed the Virgin's image.[1]
[1] These stories are perfectly fair examples of monastic teachings in the Twelfth Century. Roughly speaking, any one might do anything if he or she said an occasional Ave. Indeed, Dom Mathew Paris, the most pious and trustworthy monkish historian, and in his way a scourge to the laxity of his own order, has more than one story of this kind in which he evidently believes.
It may be therefore said, without exciting any undue surprise, that Geoffroi de la Bourne had a resident chaplain in the castle, one Dom Anselm, and that religious ceremonies were more or less regularly observed.
In the outer courtyard of the castle a doorway led into the chapel. This was a long room, with a roof of vaulted stone lit by windows on the courtyard side, full of some very presentable stained glass. The glass, which had far more lead in it than ours, was
in fact a kind of mosaic, and the continual lattice work of metal much obscured the pattern.
What could be seen of it, however, represented Saint Peter armed, and riding out to go hawking, with a falcon on his wrist.
Strips of cloth bandaged cross-wise from the ankle to the knee, and fastened over red stockings, were part of the saint's costume, and he wore black-pointed shoes split along the instep almost to the toes, fastened with two thongs.
In fact, the artists of that day were under the influence of a realistic movement, in much the same way as the exhibitors in the modern French salon, and what superficial students of Twelfth-Century manners put down as unimaginative ignorance was really the outcome of a widely understood artistic pose.
On a shrine by the chapel door stood an image of the Blessed Virgin, a trifle gaudy. The head was bound round with a linen veil, and a loose gown of the same material was laced over a tight-fitting bodice. Round the arms were wound gold snake bracelets, imitations, made by Lewin in the forge, of some old Danish ornaments in the possession of the Lady Alice de la Bourne. The foldings of the robe were looped up here and there with jewelled butterflies, differing not at all from a Palais Royal toy of to-day.
In front of the shrine hung two lamps, or "light vats" as they were called, of distinctly Roman type—luxuries which were rare then, and of which Dom Anselm was exceedingly proud. They dated from the time of King Alfred, that inventive monarch, who had adapted the idea of lamps from old Roman relics found in excavations.
Except