I can hear the sound of singing floating across the courtyard from the big barn, thin and faint yet warmly comforting, like the last wisps of a happy dream to a man waking from deep slumber. I have left the remnants of the wedding party to their pleasures, leaving the bride Marie and her new husband Osric and dozens of their friends and neighbours to carouse long into the dark night. I have provided ale and wine, more than they could ever drink at half a dozen nuptials, and I slaughtered two of my sheep and a great sow, and all three carcasses spent the afternoon roasting over slow fires in the courtyard so that there might be plenty of meat for the newly joined couple and all their boozy well-wishers. But I slipped away from the throng when the serious drinking began and the wine-flushed carollers began to loosen their belts; I did not wish to be asked to perform alongside them. My voice is a little weaker, as is natural, now that I have reached almost sixty years of age, but I am still proud of my talent as a trouvere, a maker of fine music, and I husband my delicate throat-cords and do not choose to bellow like a cow in calf for the amusement of country-wedding drunks — I who have traded verses with a king, and held noble lords and prelates across Christendom spellbound with my skill.

But, in truth, there is another quiet reason why I have withdrawn here to my private chamber at the end of the great hall of Westbury, where, with a freshly sharpened quill and new-made oak gall ink, I am committing these words to parchment — I do not like Osric, the bridegroom.

There: I have admitted it. It is difficult to say exactly why I do not like him: he is a plain, ordinary man, round in the belly and with a pointed, peering, mole-like face and short chubby arms, and he will, I believe, make my widowed daughter-in-law Marie a good husband.