ts,
singing the songs of their master at the castles he visited. But soon
they grew numerous and independent, and occupied a station varying from
that of our public entertainers to that of the humblest street musician.
Nothing came amiss to them,--singing, playing all instruments, dancing,
imitating the calls of animals and birds, and even the juggling that has
derived its name from them. In the wandering life that they led, they
were often forced to take their wives and children along, and thus women
grew accustomed to take some part in the performances.

The glee-maidens were essentially an English institution, and no doubt
they were more sure of courtesy and protection in that country than on
the Continent. They were by far the most romantic figures of the
minstrel world. Often they would wander about the country alone and
unguarded, braving or avoiding the dangers of the road. Sometimes their
only escort was a pet dog or a goat. They arrayed themselves in small
garments of bright colours, often adorned with silver, while on their
feet were leather buskins. They were at home in the courtyards of
castles and monasteries no less than in the midst of villages and towns,
and, mounting on some slight knoll, they would entertain gentles and
commoners with voice and violin. They are often introduced into the
romances of early England, and many famous glee-maidens are found on the
pages of history. One of the most celebrated was Adeline, who lived in
the time of William the Conqueror, and was successful enough to be
rewarded by him with an estate.

In the reign of Henry III. we find one really great figure among the
glee-maidens,--Marie de France. She was the _Jongleuse_ of William
Longsword, son of Henry II. and Fair Rosamond, and he certainly deserves
the gratitude of the literary world for discovering and fostering her
wonderful talent. Born probably in Brittany, her life and works
identified her with the English. She was familiar with the Breton
tongue, and also with Latin. Her first production was a set of lays in
French verse, that met with instant popularity throughout England. The
courts of the nobles reechoed with her praises, and ladies as well as
knights were never weary of listening to her songs. Twelve of them are
now in the British Museum, among them a beautiful one dealing with King
Arthur and the Round Table. These works are of rare charm, no less for
their pleasing style and depth of feeling than for their