Free Crystal Cave by Mary Stewart

know music, but when he found that Olwen had taught me, he helped me to make myself a harp. This was a rude enough affair, I suppose, and small, made of hornbeam, with the curve and fore-pillar of red sallow from the Tywy, and strung with hair from my pony's tail, where the harp of a prince (said Galapas) should have been strung with gold and silver wire.
    But I made the string-shoes out of pierced copper coins, the key and tuning-pins of polished bone, then carved a merlin on the sounding-board, and thought it a finer instrument than Olwen's. Indeed it was as true as hers, having a kind of sweet whispering note which seemed to pluck songs from the air itself. I kept it in the cave: though Dinias left me alone these days, being a warrior while I was only a sucking clerk, I would not have kept anything I treasured in the palace, unless I could lock it in my clothes-chest, and the harp was too big for that. At home for music I had the birds in the pear tree, and Olwen still sang sometimes. And when the birds were silent, and the night sky was frosted with light, I listened for the music of the stars. But I never heard it.
    Then one day, when I was twelve years old, Galapas spoke of the crystal cave.

7

    It is common knowledge that, with children, those things which are most important often go unmentioned. It is as if the child recognizes, by instinct, things which are too big for him, and keeps them in his mind, feeding them with his imagination till they assume proportions distended or grotesque which can become equally the stuff of magic or of nightmare.
    So it was with the crystal cave.
    I had never mentioned to Galapas my first experience there. Even to myself I had hardly admitted what came sometimes with light and fire; dreams, I had told myself, memories from below memory, figments of the brain only, like the voice which had told me of Gorlan, or the sight of the poison in the apricot. And when I found that Galapas never mentioned the inner cave, and that the mirror was kept covered whenever I was there, I said nothing.
    I rode up to see him one day in winter when frost made the ground glitter and ring, and my pony puffed out steam like a dragon. He went fast, tossing his head and dragging at the bit, and breaking into a canter as soon as I turned him away from the wood and along the high valley. I had at length grown out of the gentle, cream-coloured pony of my childhood, but was proud of my little Welsh grey, which I called Aster. There is a breed of Welsh mountain pony, hardy, swift, and very beautiful, with a fine narrow head and small ears, and a strong arch to the neck. They run wild in the hills, and in past times interbred with horses the Romans brought from the East. Aster had been caught and broken for my cousin Dinias, who had overridden him for a couple of years and then discarded him for a real warhorse. I found him hard to manage, with rough manners and a ruined mouth, but his paces were silken after the jogging I was used to, and once he got over his fear of me he was affectionate.
    I had long since contrived a shelter for my pony when I came here in winter. The hawthorn brake grew right up against the cliff below the cave, and deep in the thickest part of it Galapas and I had carried stones to make a pen of which the back wall was the cliff itself. When we had laid dead boughs against the walls and across the top, and had carried a few armfuls of bracken, the pen was not only a warm, solid shelter, but invisible to the casual eye. This need for secrecy was another of the things that had never been openly discussed; I understood without being told that Galapas in some way was helping me to run counter to Camlach's plans for me, so — even though as time went on I was left more completely to my own devices — I took every precaution to avoid discovery, finding half a dozen different ways to approach the valley, and a score of stories to account for the time I spent there.
    I led Aster into the pen, took