Qui cum ex fratribus quatuor germanis pariter et uterinis natu minor existeret, tribus aliis nunc castra nunc oppida nunc palatia puerilibus, ut sole… - Gerald of Wales

Giraldus mingles in the crowd, catches its accents, is borne along by its changing passions, and thus becomes a very mirror of that fighting, chaffering, praying age.

It is only in the case of musical instruments that I find any commendable diligence in the [Irish] people. They seem to me to be incomparably more skilled in these than any other people that I have seen. The movement is not, as in the British instrument to which we are accustomed, slow and easy, but rather quick and lively, while at the same time the melody is sweet and pleasant. It is remarkable how, in spite of the great speed of the fingers, the musical proportion is maintained. The melody is kept perfect and full with unimpaired art through everything – through quivering measures and the involved use of several instruments – with a rapidity that charms, a rhythmic pattern that is varied and a concord achieved through elements discordant.

I have thought it relevant to include here an exemplum found in the answer which Richard, King of the English, made to Fulk, a virtuous and holy man…This saintly man had been talking to the King for some time. "You have three daughters," he said, "and, as long as they remain with you, you will never receive the grace of God. Their names are Superbia, Luxuria nd Cupiditas." For a moment the King did not know what to answer. Then he replied: "I have already given these daughters of mine away in marriage. Pride I gave to the Templars, Lechery I gave to the Black Monks and Covetousness to the White Monks".