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diff --git a/8109-h/8109-h.htm b/8109-h/8109-h.htm new file mode 100644 index 0000000..7381069 --- /dev/null +++ b/8109-h/8109-h.htm @@ -0,0 +1,2629 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Early Bardic Literature, Ireland, by Standish O'Grady + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +Project Gutenberg's Early Bardic Literature, Ireland, by Standish O'Grady + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Early Bardic Literature, Ireland + +Author: Standish O'Grady + +Release Date: August 4, 2009 [EBook #8109] +Last Updated: February 4, 2013 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK EARLY BARDIC LITERATURE, IRELAND *** + + + + +Produced by Ar dTeanga Fein, and David Widger + + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + EARLY BARDIC LITERATURE, IRELAND. + </h1> + <p> + <br /><br /> + </p> + <h2> + By Standish O'Grady + </h2> + <h4> + 11 Lower Fitzwilliam Street, Dublin + </h4> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <p> + Scattered over the surface of every country in Europe may be found + sepulchral monuments, the remains of pre-historic times and nations, and + of a phase of life will civilisation which has long since passed away. No + country in Europe is without its cromlechs and dolmens, huge earthen + tumuli, great flagged sepulchres, and enclosures of tall pillar-stones. + The men by whom these works were made, so interesting in themselves, and + so different from anything of the kind erected since, were not strangers + and aliens, but our own ancestors, and out of their rude civilisation our + own has slowly grown. Of that elder phase of European civilisation no + record or tradition has been anywhere bequeathed to us. Of its nature, and + the ideas and sentiments whereby it was sustained, nought may now be + learned save by an examination of those tombs themselves, and of the dumb + remnants, from time to time exhumed out of their soil—rude + instruments of clay, flint, brass, and gold, and by speculations and + reasonings founded upon these archaeological gleanings, meagre and + sapless. + </p> + <p> + For after the explorer has broken up, certainly desecrated, and perhaps + destroyed, those noble sepulchral raths; after he has disinterred the + bones laid there once by pious hands, and the urn with its unrecognisable + ashes of king or warrior, and by the industrious labour of years hoarded + his fruitless treasure of stone celt and arrow-head, of brazen sword and + gold fibula and torque; and after the savant has rammed many skulls with + sawdust, measuring their capacity, and has adorned them with some obscure + label, and has tabulated and arranged the implements and decorations of + flint and metal in the glazed cases of the cold gaunt museum, the + imagination, unsatisfied and revolted, shrinks back from all that he has + done. Still we continue to inquire, receiving from him no adequate + response, Who were those ancient chieftains and warriors for whom an + affectionate people raised those strange tombs? What life did they lead? + What deeds perform? How did their personality affect the minds of their + people and posterity? How did our ancestors look upon those great tombs, + certainly not reared to be forgotten, and how did they—those huge + monumental pebbles and swelling raths—enter into and affect the + civilisation or religion of the times? + </p> + <p> + We see the cromlech with its massive slab and immense supporting pillars, + but we vainly endeavour to imagine for whom it was first erected, and how + that greater than cyclopean house affected the minds of those who made it, + or those who were reared in its neighbourhood or within reach of its + influence. We see the stone cist with its great smooth flags, the rocky + cairn, and huge barrow and massive walled cathair, but the interest which + they invariably excite is only aroused to subside again unsatisfied. From + this department of European antiquities the historian retires baffled, and + the dry savant is alone master of the field, but a field which, as + cultivated by him alone, remains barren or fertile only in things the + reverse of exhilarating. An antiquarian museum is more melancholy than a + tomb. + </p> + <p> + But there is one country in Europe in which, by virtue of a marvellous + strength and tenacity of the historical intellect, and of filial + devotedness to the memory of their ancestors, there have been preserved + down into the early phases of mediaeval civilisation, and then committed + to the sure guardianship of manuscript, the hymns, ballads, stories, and + chronicles, the names, pedigrees, achievements, and even characters, of + those ancient kings and warriors over whom those massive cromlechs were + erected and great cairns piled. There is not a conspicuous sepulchral + monument in Ireland, the traditional history of which is not recorded in + our ancient literature, and of the heroes in whose honour they were + raised. In the rest of Europe there is not a single barrow, dolmen, or + cist of which the ancient traditional history is recorded; in Ireland + there is hardly one of which it is not. And these histories are in many + cases as rich and circumstantial as that of men of the greatest eminence + who have lived in modern times. Granted that the imagination which for + centuries followed with eager interest the lives of these heroes, beheld + as gigantic what was not so, as romantic and heroic what was neither one + nor the other, still the great fact remains, that it was beside and in + connection with the mounds and cairns that this history was elaborated, + and elaborated concerning them and concerning the heroes to whom they were + sacred. + </p> + <p> + On the plain of Tara, beside the little stream Nemanna, itself famous as + that which first turned a mill-wheel in Ireland, there lies a barrow, not + itself very conspicuous in the midst of others, all named and illustrious + in the ancient literature of the country. The ancient hero there interred + is to the student of the Irish bardic literature a figure as familiar and + clearly seen as any personage in the Biographia Britannica. We know the + name he bore as a boy and the name he bore as a man. We know the names of + his father and his grandfather, and of the father of his grandfather, of + his mother, and the father and mother of his mother, and the pedigrees and + histories of each of these. We know the name of his nurse, and of his + children, and of his wife, and the character of his wife, and of the + father and mother of his wife, and where they lived and were buried. We + know all the striking events of his boyhood and manhood, the names of his + horses and his weapons, his own character and his friends, male and + female. We know his battles, and the names of those whom he slew in + battle, and how he was himself slain, and by whose hands. We know his + physical and spiritual characteristics, the device upon his shield, and + how that was originated, carved, and painted, by whom. We know the colour + of his hair, the date of his birth and of his death, and his relations, in + time and otherwise, with the remainder of the princes and warriors with + whom, in that mound-raising period of our history, he was connected, in + hostility or friendship; and all this enshrined in ancient song, the + transmitted traditions of the people who raised that barrow, and who laid + within it sorrowing their brave ruler and, defender. That mound is the + tomb of Cuculain, once king of the district in which Dundalk stands + to-day, and the ruins of whose earthen fortification may still be seen two + miles from that town. + </p> + <p> + This is a single instance, and used merely as an example, but one out of a + multitude almost as striking. There is not a king of Ireland, described as + such in the ancient annals, whose barrow is not mentioned in these or + other compositions, and every one of which may at the present day be + identified where the ignorant plebeian or the ignorant patrician has not + destroyed them. The early History of Ireland clings around and grows out + of the Irish barrows until, with almost the universality of that primeval + forest from which Ireland took one of its ancient names, the whole isle + and all within it was clothed with a nobler raiment, invisible, but not + the less real, of a full and luxuriant history, from whose presence, + all-embracing, no part was free. Of the many poetical and rhetorical + titles lavished upon this country, none is truer than that which calls her + the Isle of Song. Her ancient history passed unceasingly into the realm of + artistic representation; the history of one generation became the poetry + of the next, until the whole island was illuminated and coloured by the + poetry of the bards. Productions of mere fancy and imagination these songs + are not, though fancy and imagination may have coloured and shaped all + their subject-matter, but the names are names of men and women who once + lived and died in Ireland, and over whom their people raised the swelling + rath and reared the rocky cromlech. In the sepulchral monuments their + names were preserved, and in the performance of sacred rites, and the + holding of games, fairs, and assemblies in their honour, the memory of + their achievements kept fresh, till the traditions that clung around these + places were inshrined in tales which were finally incorporated in the + Leabhar na Huidhré and the Book of Leinster. + </p> + <p> + Pre-historic narrative is of two kinds—in one the imagination is at + work consciously, in the other unconsciously. Legends of the former class + are the product of a lettered and learned age. The story floats loosely in + a world of imagination. The other sort of pre-historic narrative clings + close to the soil, and to visible and tangible objects. It may be legend, + but it is legend believed in as history never consciously invented, and + growing out of certain spots of the earth's surface, and supported by and + drawing its life from the soil like a natural growth. + </p> + <p> + Such are the early Irish tales that cling around the mounds and cromlechs + as that by which they are sustained, which was originally their source, + and sustained them afterwards in a strong enduring life. It is evident + that these cannot be classed with stories that float vaguely in an ideal + world, which may happen in one place as well as another, and in which the + names might be disarrayed without changing the character and consistency + of the tale, and its relations, in time or otherwise, with other tales. + </p> + <p> + Foreigners are surprised to find the Irish claim for their own country an + antiquity and a history prior to that of the neighbouring countries. + Herein lie the proof and the explanation. The traditions and history of + the mound-raising period have in other countries passed away. Foreign + conquest, or less intrinsic force of imagination, and pious sentiment have + suffered them to fall into oblivion; but in Ireland they have been all + preserved in their original fulness and vigour, hardly a hue has faded, + hardly a minute circumstance or articulation been suffered to decay. + </p> + <p> + The enthusiasm with which the Irish intellect seized upon the grand moral + life of Christianity, and ideals so different from, and so hostile to, + those of the heroic age, did not consume the traditions or destroy the + pious and reverent spirit in which men still looked back upon those + monuments of their own pagan teachers and kings, and the deep spirit of + patriotism and affection with which the mind still clung to the old heroic + age, whose types were warlike prowess, physical beauty, generosity, + hospitality, love of family and nation, and all those noble attributes + which constituted the heroic character as distinguished from the saintly. + The Danish conquest, with its profound modification of Irish society, and + consequent disruption of old habits and conditions of life, did not + dissipate it; nor the more dangerous conquest of the Normans, with their + own innate nobility of character, chivalrous daring, and continental grace + and civilisation; nor the Elizabethan convulsions and systematic + repression and destruction of all native phases of thought and feeling. + Through all these storms, which successively assailed the heroic + literature of ancient Ireland, it still held itself undestroyed. There + were still found generous minds to shelter and shield the old tales and + ballads, to feel the nobleness of that life of which they were the + outcome, and to resolve that the soil of Ireland should not, so far as + they had the power to prevent it, be denuded of its raiment of history and + historic romance, or reduced again to primeval nakedness. The fruit of + this persistency and unquenched love of country and its ancient + traditions, is left to be enjoyed by us. There is not through the length + and breadth of the country a conspicuous rath or barrow of which we cannot + find the traditional history preserved in this ancient literature. The + mounds of Tara, the great barrows along the shores of the Boyne, the raths + of Slieve Mish, and Rathcrogan, and Teltown, the stone caiseals of Aran + and Innishowen, and those that alone or in smaller groups stud the country + over, are all, or nearly all, mentioned in this ancient literature, with + the names and traditional histories of those over whom they were raised. + </p> + <p> + There is one thing to be learned from all this, which is, that we, at + least, should not suffer these ancient monuments to be destroyed, whose + history has been thus so astonishingly preserved. The English farmer may + tear down the barrow which is unfortunate enough to be situated within his + bounds. Neither he nor his neighbours know or can tell anything about its + ancient history; the removed earth will help to make his cattle fatter and + improve his crops, the stones will be useful to pave his roads and build + his fences, and the savant can enjoy the rest; but the Irish farmer and + landlord should not do or suffer this. + </p> + <p> + The instinctive reverence of the peasantry has hitherto been a great + preservative; but the spread of education has to a considerable extent + impaired this kindly sentiment, and the progress of scientific farming, + and the anxiety of the Royal Irish Academy to collect antiquarian trifles, + have already led to the reckless destruction of too many. I think that no + one who reads the first two volumes of this history would greatly care to + bear a hand in the destruction of that tomb at Tara, in which long since + his people laid the bones of Cuculain; and I think, too, that they would + not like to destroy any other monument of the same age, when they know + that the history of its occupant and its own name are preserved in the + ancient literature, and that they may one day learn all that is to be + known concerning it. I am sure that if the case were put fairly to the + Irish landlords and country gentlemen, they would neither inflict nor + permit this outrage upon the antiquities of their country. The Irish + country gentleman prides himself on his love of trees, and entertains a + very wholesome contempt for the mercantile boor who, on purchasing an old + place, chops down the best timber for the market. And yet a tree, though + cut down, may be replaced. One elm tree is as good as another, and the + thinned wood, by proper treatment, will be as dense as ever; but the + ancient mound, once carted away, can never be replaced any more. When the + study of the Irish literary records is revived, as it certainly will be + revived, the old history of each of these raths and cromlechs will be + brought again into the light, and one new interest of a beautiful and + edifying nature attached to the landscape, and affecting wholly for good + the minds of our people. + </p> + <p> + Irishmen are often taunted with the fact that their history is yet + unwritten, but that the Irish, as a nation, have been careless of their + past is refuted by the facts which I have mentioned. A people who alone in + Europe preserved, not in dry chronicles alone, but illuminated and adorned + with all that fancy could suggest in ballad, and tale, and rude epic, the + history of the mound-raising period, are not justly liable to this taunt. + Until very modern times, history was the one absorbing pursuit of the + Irish secular intellect, the delight of the noble, and the solace of the + vile. + </p> + <p> + At present, indeed, the apathy on this subject is, I believe, without + parallel in the world. It would seem as if the Irish, extreme in all + things, at one time thought of nothing but their history, and, at another, + thought of everything but it. Unlike those who write on other subjects, + the author of a work on Irish history has to labour simultaneously at a + two-fold task—he has to create the interest to which he intends to + address himself. + </p> + <p> + The pre-Christian period of Irish history presents difficulties from which + the corresponding period in the histories of other countries is free. The + surrounding nations escape the difficulty by having nothing to record. The + Irish historian is immersed in perplexity on account of the mass of + material ready to his hand. The English have lost utterly all record of + those centuries before which the Irish historian stands with dismay and + hesitation, not through deficiency of materials, but through their excess. + Had nought but the chronicles been preserved the task would have been + simple. We would then have had merely to determine approximately the date + of the introduction of letters, and allowing a margin on account of the + bardic system and the commission of family and national history to the + keeping of rhymed and alliterated verse, fix upon some reasonable point, + and set down in order, the old successions of kings and the battles and + other remarkable events. But in Irish history there remains, demanding + treatment, that other immense mass of literature of an imaginative nature, + illuminating with anecdote and tale the events and personages mentioned + simply and without comment by the chronicler. It is this poetic literature + which constitutes the stumbling-block, as it constitutes also the glory, + of early Irish history, for it cannot be rejected and it cannot be + retained. It cannot be rejected, because it contains historical matter + which is consonant with and illuminates the dry lists of the chronologist, + and it cannot be retained, for popular poetry is not history; and the task + of distinguishing In such literature the fact from the fiction—where + there is certainly fact and certainly fiction—is one of the most + difficult to which the intellect can apply itself. That this difficulty + has not been hitherto surmounted by Irish writers is no just reproach. For + the last century, intellects of the highest attainments, trained and + educated to the last degree, have been vainly endeavouring to solve a + similar question in the far less copious and less varied heroic literature + of Greece. Yet the labours of Wolfe, Grote, Mahaffy, Geddes, and + Gladstone, have not been sufficient to set at rest the small question, + whether it was one man or two or many who composed the Iliad and Odyssey, + while the reality of the achievements of Achilles and even his existence + might be denied or asserted by a scholar without general reproach. When + this is the case with regard to the great heroes of the Iliad, I fancy it + will be some time before the same problem will have been solved for the + minor characters, and as it affects Thersites, or that eminent artist who + dwelt at home in Hyla, being by far the most excellent of leather cutters. + When, therefore, Greek still meets Greek in an interminable and apparently + bloodless contest over the disputed body of the Iliad, and still no end + appears, surely it would be madness for any one to sit down and gaily + distinguish true from false in the immense and complex mass of the Irish + bardic literature, having in his ears this century-lasting struggle over a + single Greek poem and a single small phase of the pre-historic life of + Hellas. + </p> + <p> + In the Irish heroic literature, the presence or absence of the marvellous + supplies <i>no test whatsoever</i> as to the general truth or falsehood of + the tale in which they appear. The marvellous is supplied with greater + abundance in the account of the battle of Clontarf, and the wars of the + O'Briens with the Normans, than in the tale in which is described the + foundation of Emain Macha by Kimbay. Exact-thinking, scientific France has + not hesitated to paint the battles of Louis XIV. with similar hues; and + England, though by no means fertile in angelic interpositions, delights to + adorn the barren tracts of her more popular histories with apocryphal + anecdotes. + </p> + <p> + How then should this heroic literature of Ireland be treated in connection + with the history of the country? The true method would certainly be to + print it exactly as it is without excision or condensation. Immense it is, + and immense it must remain. No men living, and no men to live, will ever + so exhaust the meaning of any single tale as to render its publication + unnecessary for the study of others. The order adopted should be that + which the bards themselves deter mined, any other would be premature, and + I think no other will ever take its place. At the commencement should + stand the passage from the Book of Invasions, describing the occupation of + the isle by Queen Keasair and her companions, and along with it every + discoverable tale or poem dealing with this event and those characters. + After that, all that remains of the cycle of which Partholan was the + protagonist. Thirdly, all that relates to Nemeth and his sons, their wars + with curt Kical the bow-legged, and all that relates to the Fomoroh of the + Nemedian epoch, then first moving dimly in the forefront of our history. + After that, the great Fir-bolgic cycle, a cycle janus-faced, looking on + one side to the mythological period and the wars of the gods, and on the + other, to the heroic, and more particularly to the Ultonian cycle. In the + next place, the immense mass of bardic literature which treats of the + Irish gods who, having conquered the Fir-bolgs, like the Greek gods of the + age of gold dwelt visibly in the island until the coming of the Clan + Milith, out of Spain. In the sixth, the Milesian invasion, and every + accessible statement concerning the sons and kindred of Milesius. In the + seventh, the disconnected tales dealing with those local heroes whose + history is not connected with the great cycles, but who in the <i>fasti</i> + fill the spaces between the divine period and the heroic. In the eighth, + the heroic cycles, the Ultonian, the Temairian, and the Fenian, and after + these the historic tales that, without forming cycles, accompany the + course of history down to the extinction of Irish independence, and the + transference to aliens of all the great sources of authority in the + island. + </p> + <p> + This great work when completed will be of that kind of which no other + European nation can supply an example. Every public library in the world + will find it necessary to procure a copy. The chronicles will then cease + to be so closely and exclusively studied. Every history of ancient Ireland + will consist of more or less intelligent comments upon and theories formed + in connection with this great series—theories which, in general, + will only be formed in order to be destroyed. What the present age demands + upon the subject of antique Irish history—an exact and scientific + treatment of the facts supplied by our native authorities—will be + demanded for ever. It will never be supplied. The history of Ireland will + be contained in this huge publication. In it the poet will find endless + themes of song, the philosopher strange workings of the human mind, the + archeologist a mass of information, marvellous in amount and quality, with + regard to primitive ideas and habits of life, and the rationalist + materials for framing a scientific history of Ireland, which will be + acceptable in proportion to the readableness of his style, and the mode in + which his views may harmonize with the prevailing humour and complexion of + his contemporaries. + </p> + <p> + Such a work it is evident could not be effected by a single individual. It + must be a public and national undertaking, carried out under the + supervision of the Royal Irish Academy, at the expense of the country. + </p> + <p> + The publication of the Irish bardic remains in the way that I have + mentioned, is the only true and valuable method of presenting the history + of Ireland to the notice of the world. The mode which I have myself + adopted, that other being out of the question, is open to many obvious + objections; but in the existing state of the Irish mind on the subject, no + other is possible to an individual writer. I desire to make this heroic + period once again a portion of the imagination of the country, and its + chief characters as familiar in the minds of our people as they once were. + As mere history, and treated in the method in which history is generally + written at the present day, a work dealing with the early Irish kings and + heroes would certainly not secure an audience. Those who demand such a + treatment forget that there is not in the country an interest on the + subject to which to appeal. A work treating of early Irish kings, in the + same way in which the historians of neighbouring countries treat of their + own early kings, would be, to the Irish public generally, unreadable. It + might enjoy the reputation of being well written, and as such receive an + honourable place in half-a-dozen public libraries, but it would be + otherwise left severely alone. It would never make its way through that + frozen zone which, on this subject, surrounds the Irish mind. + </p> + <p> + On the other hand, Irishmen are as ready as others to feel an interest in + a human character, having themselves the ordinary instincts, passions, and + curiosities of human nature. If I can awake an interest in the career of + even a single ancient Irish king, I shall establish a train of thoughts, + which will advance easily from thence to the state of society in which he + lived, and the kings and heroes who surrounded, preceded, or followed him. + Attention and interest once fully aroused, concerning even one feature of + this landscape of ancient history, could be easily widened and extended in + its scope. + </p> + <p> + Now, if nothing remained of early Irish history save the dry <i>fasti</i> + of the chronicles and the Brehon laws, this would, I think, be a perfectly + legitimate object of ambition, and would be consonant with my ideal of + what the perfect flower of historical literature should be, to illuminate + a tale embodying the former by hues derived from the Senchus Mor. + </p> + <p> + But in Irish literature there has been preserved, along with the <i>fasti</i> + and the laws, this immense mass of ancient ballad, tale, and epic, whose + origin is lost in the mists of extreme antiquity, and in which have been + preserved the characters, relationships, adventures, and achievements of + the vast majority of the personages whose names, in a gaunt nakedness, + fill the books of the chroniclers. Around each of the greater heroes there + groups itself a mass of bardic literature, varying in tone and statement, + but preserving a substantial unity as to the general character and the + more important achievements of the hero, and also, a fact upon which their + general historical accuracy may be based with confidence, exhibiting a + knowledge of that same prior and subsequent history recorded in the <i>fasti</i>. + The literature which groups itself around a hero exhibits not only an + unity with itself, but an acquaintance with the general course of the + history of the country, and with preceding and succeeding kings. + </p> + <p> + The students of Irish literature do not require to be told this; for those + who are not, I would give a single instance as an illustration. + </p> + <p> + In the battle of Gabra, fought in the third century, and in which Oscar, + perhaps the greatest of all the Irish heroes heading the Fianna Eireen, + contended against Cairbry of the Liffey, King of Ireland, and his troops, + Cairbry on his side announces to his warriors that he would rather perish + in this battle than suffer one of the Fianna to survive; but while he + spoke— + </p> +<pre xml:space="preserve"> + "Barran suddenly exclaimed— + 'Remember Mall Mucreema, remember Art. + + "'Our ancestors fell there + By force of the treachery of the Fians; + Remember the hard tributes, + Remember the extraordinary pride.'" +</pre> + <p> + Here the poet, singing only of the events of the battle of Gabra, shows + that he was well-acquainted with all the relations subsisting for a long + time between the Fians and the Royal family. The battle of Mucreema was + fought by Cairbry's grandfather, Art, against Lewy Mac Conn and the Fianna + Eireen. + </p> + <p> + Again, in the tale of the battle of Moy Leana, in which Conn of the + Hundred Battles, the father of this same Art, is the principal character, + the author of the tale mentions many times circumstances relating to his + father, Felimy Rectmar, and his grandfather, Tuhall Tectmar. Such is the + whole of the Irish literature, not vague, nebulous, and shifting, but + following the course of the <i>fasti</i>, and regulated and determined by + them. This argument has been used by Mr. Gladstone with great confidence, + in order to show the substantial historical truthfulness of the Iliad, and + that it is in fact a portion of a continuous historic sequence. + </p> + <p> + Now this being admitted, that the course of Irish history, as laid down by + the chroniclers, was familiar to the authors of the tales and heroic + ballads, one of two things must be admitted, either that the events and + kings did succeed one another in the order mentioned by the chroniclers, + or that what the chroniclers laid down was then taken as the theme of song + by the bards, and illuminated and adorned according to their wont. + </p> + <p> + The second of these suppositions is one which I think few will adopt. Can + we believe it possible that the bards, who actually supported themselves + by the amount of pleasure which they gave their audiences, would have + forsaken those subjects which were already popular, and those kings and + heroes whose splendour and achievements must have affected, profoundly, + the popular imagination, in order to invent stories to illuminate + fabricated names. The thing is quite impossible. A practice which we can + trace to the edge of that period whose historical character may be proved + to demonstration, we may conclude to have extended on into the period + immediately preceding that. When bards illuminated with stories and + marvellous circumstances the battle of Clontarf and the battle of Moyrath, + we may believe their predecessors to have done the same for the earlier + centuries. The absence of an imaginative literature other than historical + shows also that the literature must have followed, regularly, the course + of the history, and was not an archaeological attempt to create an + interest in names and events which were found in the chronicles. It is, + therefore, a reasonable conclusion that the bardic literature, where it + reveals a clear sequence in the order of events, and where there is no + antecedent improbability, supplies a trustworthy guide to the general + course of our history. + </p> + <p> + So far as the clear light of history reaches, so far may these tales be + proved to be historical. It is, therefore, reasonable to suppose that the + same consonance between them and the actual course of events which + subsisted during the period which lies in clear light, marked also that + other preceding period of which the light is no longer dry. + </p> + <p> + The earliest manuscript of these tales is the Leabhar [Note: Leabar na + Heera.] na Huidhré, a work of the eleventh century, so that we may feel + sure that we have them in a condition unimpaired by the revival of + learning, or any archaeological restoration or improvement. Now, of some + of these there have been preserved copies in other later MSS., which + differ very little from the copies preserved in the Leabhar na Huidhré, + from which we may conclude that these tales had arrived at a fixed state, + and a point at which it was considered wrong to interfere with the text. + </p> + <p> + The feast of Bricrind is one of the tales preserved in this manuscript. + The author of the tale in its present form, whenever he lived, composed + it, having before him original books which he collated, using his judgment + at times upon the materials to his hand. At one stage he observes that the + books are at variance on a certain point, namely, that at which Cuculain, + Conal the Victorious, and Laery Buada go to the lake of Uath in order to + be judged by him. Some of the books, according to the author, stated that + on this occasion the two latter behaved unfairly, but he agreed with those + books which did not state this. + </p> + <p> + We have, therefore, a tale penned in the eleventh century, composed at + some time prior to this, and itself collected, not from oral tradition, + but from books. These considerations would, therefore, render it extremely + probable that the tales of the Ultonian period, with which the Leabhar na + Huidhré is principally concerned, were committed to writing at a very + early period. + </p> + <p> + To strengthen still further the general historic credibility of these + tales, and to show how close to the events and heroes described must have + been the bards who originally composed them, I would urge the following + considerations. + </p> + <p> + With the advent of Christianity the mound-raising period passed away. The + Irish heroic tales have their source in, and draw their interest from, the + mounds and those laid in them. It would, therefore, be extremely + improbable that the bards of the Christian period, when the days of rath + and cairn had departed, would modify, to any considerable extent, the + literature produced in conditions of society which had passed away. + </p> + <p> + Again, with the advent of Christianity, and the hold which the new faith + took upon the finest and boldest minds in the country, it is plain that + the golden age of bardic composition ended. The loss to the bards was + direct, by the withdrawal of so much intellect from their ranks, and + indirect, by the general substitution of other ideas for those whose + ministers they themselves were. It is, therefore, probable that the age of + production and creation, with regard to the ethnic history, ceased about + the fifth and sixth centuries, and that, about that time, men began to + gather up into a collected form the floating literature connected with the + pagan period. The general current of mediaeval opinion attributes the + collection of tales and ballads now known as the Tân-Bo-Cooalney to St. + Ciaran, the great founder of the monastery of Clonmacnoise. + </p> + <p> + But if this be the case, we are enabled to take another step in the + history of this most valuable literature. The tales of the Leabhar na + Huidhré are in prose, but prose whose source and original is poetry. The + author, from time to time, as if quoting an authority, breaks out with + verse; and I think there is no Irish tale in existence without these + rudimentary traces of a prior metrical cycle. The style and language are + quite different, and indicate two distinct epochs. The prose tale is + founded upon a metrical original, and composed in the meretricious style + then in fashion, while the old metrical excerpts are pure and simple. This + is sufficient, in a country like Ireland in those primitive times, to + necessitate a considerable step into the past, if we desire to get at the + originals upon which the prose tales were founded. + </p> + <p> + For in ancient Ireland the conservatism of the people was very great. It + is the case in all primitive societies. Individual, initiative, personal + enterprise are content to work within a very small sphere. In agriculture, + laws, customs, and modes of literary composition, primitive and simple + societies are very adverse to change. + </p> + <p> + When we see how closely the Christian compilers followed the early + authorities, we can well believe that in the ethnic times no mind would + have been sufficiently daring or sacrilegious to alter or pervert those + epics which were in their eyes at the same time true and sacred. + </p> + <p> + In the perusal of the Irish literature, we see that the strength of this + conservative instinct has been of the greatest service in the preservation + of the early monuments in their purity. So much is this the case, that in + many tales the most flagrant contradictions appear, the author or scribe + being unwilling to depart at all from that which he found handed down. For + instance, in the "Great Breach of Murthemney," we find Laeg at one moment + killed, and in the next riding black Shanglan off the field. From this + conservatism and careful following of authority, and the <i>littera + scripta</i>, or word once spoken, I conclude that the distance in time + between the prose tale and the metrical originals was very great, and, + unless under such exceptional circumstances as the revolution caused by + the introduction of Christianity, could not have been brought about within + hundreds of years. Moreover, this same conservatism would have caused the + tales concerning heroes to grow very slowly once they were actually + formed. All the noteworthy events of the hero's life and his + characteristics must have formed the original of the tales concerning him, + which would have been composed during his life, or not long after his + death. + </p> + <p> + I have not met a single tale, whether in verse or prose, in which it is + not clearly seen that the author was not following authorities before him. + Such traces of invention or decoration as may be met with are not suffered + to interfere with the conduct of the tale and the statement of facts. They + fill empty niches and adorn vacant places. For instance, if a king is + represented as crossing the sea, we find that the causes leading to this, + the place whence he set out, his companions, &c., are derived from the + authorities, but the bard, at the same time, permits himself to give what + seems to him to be an eloquent or beautiful description of the sea, and + the appearance presented by the many-oared galleys. And yet the last + transcription or recension of the majority of the tales was effected in + Christian times, and in an age characterised by considerable classical + attainments—a time when the imagination might have been expected to + shake itself loose from old restraints, and freely invent. <i>A fortiori</i>, + the more ancient bards, those of the ruder ethnic times, would have clung + still closer to authority, deriving all their imaginative representations + from preceding minstrels. There was no conscious invention at any time. + Each cycle and tale grew from historic roots, and was developed from + actual fact. So much may indeed be said for the more ancient tales, but + the Ultonian cycle deals with events well within the historic period. + </p> + <p> + The era of Concobar Mac Nessa and the Red Branch knights of Ulster was + long subsequent to the floruerunt of the Irish gods and their Titan-like + opponents of this latter period, the names alone can be fairly held to be + historic. What swells out the Irish chronicles to such portentous + dimensions is the history of the gods and giants rationalised by mediaeval + historians. Unable to ignore or excide what filled so much of the + imagination of the country, and unable, as Christians, to believe in the + divinity of the Tuátha De Danan and their predecessors, they rationalised + all the pre-Milesian record. But the disappearance of the gods does not + yet bring us within the penumbra of history. After the death of the sons + of Milesius we find a long roll of kings. These were all topical heroes, + founders of nations, and believed, by the tribes and tribal confederacies + which they founded, to have been in their day the chief kings of Ireland. + The point fixed upon by the accurate and sceptical Tiherna as the + starting-point of trustworthy Irish history, was one long subsequent to + the floruerunt of the gods; and the age of Concobar Mac Nessa and his + knights was more than two centuries later than that of Kimbay and the + foundation of Emain Macha. The floruit of Cuculain, therefore, falls + completely within the historical penumbra, and the more carefully the + enormous, and in the main mutually consistent and self-supporting, + historical remains dealing with this period are studied, the more will + this be believed. The minuteness, accuracy, extent, and verisimilitude of + the literature, chronicles, pedigrees, &c., relating to this period, + will cause the student to wonder more and more as he examines and + collates, seeing the marvellous self-consistency and consentaneity of such + a mass of varied recorded matter. The age, indeed, breathes sublimity, and + abounds with the marvellous, the romantic, and the grotesque. But as I + have already stated, the presence or absence of these qualities has no + crucial significance. Love and reverence and the poetic imagination always + effect such changes in the object of their passion. They are the essential + condition of the transference of the real into the world of art. AEval, of + Carriglea, the fairy queen of Munster, is one of the most important + characters in the history of the battle of Clontarf, the character of + which, and of the events that preceded and followed its occurrence, and + the chieftains and warriors who fought on one side and the other, are + identical, whether described by the bard singing, or by the monkish + chronicler jotting down in plain prose the fasti for the year. The reader + of these volumes can make such deductions as he pleases, on this account, + from the bardic history of the Red Branch, and clip the wings of the tale, + so that it may with him travel pedestrian. I know there are others, like + myself, who will not hesitate for once to let the fancy roam and luxuriate + in the larger spaces and freer airs of ancient song, nor fear that their + sanity will be imperilled by the shouting of semi-divine heroes, and the + sight of Cuculain entering battles with the Tuátha De Danan around him. + </p> + <p> + I hope on some future occasion to examine more minutely the character and + place in literature of the Irish bardic remains, and put forward here + these general considerations, from which the reader may presume that the + Ultonian cycle, dealing as it does with Cuculain and his contemporaries, + is in the main true to the facts of the time, and that his history, and + that of the other heroes who figure in these volumes, is, on the whole, + and omitting the marvellous, sufficiently reliable. I would ask the + reader, who may be inclined to think that the principal character is too + chivalrous and refined for the age, to peruse for himself the tale named + the "Great Breach of Murthemney." He will there, and in many other tales + and poems besides, see that the noble and pathetic interest which attaches + to his character is substantially the same as I have represented in these + volumes. But unless the student has read the whole of the Ultonian cycle, + he should be cautious in condemning a departure in my work from any + particular version of an event which he may have himself met. Of many + minor events there are more than one version, and many scenes and + assertions which he may think of importance would yet, by being related, + cause inconsistency and contradiction. Of the nature of the work in which + all should be introduced I have already given my opinion. + </p> + <p> + For the rest, I have related one or two great events in the life of + Cuculain in such a way as to give a description as clear and correct as + possible of his own character and history as related by the bards, of + those celebrated men and women who were his contemporaries and of his + relations with them, of the gods and supernatural powers in whom the + people then believed, and of the state of civilisation which then + prevailed. If I have done my task well, the reader will have been + supplied, without any intensity of application on his part—a + condition of the public mind upon which no historian of this country + should count—with some knowledge of ancient Irish history, and with + an interest in the subject which may lead him to peruse for himself that + ancient literature, and to read works of a more strictly scientific nature + upon the subject than those which I have yet written. But until such an + interest is aroused, it is useless to swell the mass of valuable critical + matter, which everyone at present is very well content to leave unread. + </p> + <p> + In the first volume, however, I have committed this error, that I did not + permit it to be seen with sufficient clearness that the characters and + chief events of the tale are absolutely historic; and that much of the + colouring, inasmuch as its source must have been the centuries immediately + succeeding the floruerunt of those characters, is also reliable as + history, while the remainder is true to the times and the state of society + which then obtained. The story seems to progress too much in the air, too + little in time and space, and seems to be more of the nature of legend and + romance than of actual historic fact seen through an imaginative medium. + Such is the history of Concobar Mac Nessa and his knights—historic + fact seen through the eyes of a loving wonder. + </p> + <p> + Indeed, I must confess that the blaze of bardic light which illuminates + those centuries at first so dazzled the eye and disturbed the judgment, + that I saw only the literature, only the epic and dramatic interest, and + did not see as I should the distinctly historical character of the age + around which that literature revolves, wrongly deeming that a literature + so noble, and dealing with events so remote, must have originated mainly + or altogether in the imagination. All the borders of the epic + representation at which, in the first volume, I have aimed, seem to melt, + and wander away vaguely on every side into space and time. I have now + taken care to remedy that defect, supplying to the unset picture the clear + historical frame to which it is entitled. I will also request the reader, + when the two volumes may diverge in tone or statement, to attach greater + importance to the second, as the result of wider and more careful reading + and more matured reflection. + </p> + <p> + A great English poet, himself a severe student, pronounced the early + history of his own country to be a mere scuffling of kites and crows, as + indeed are all wars which lack the sacred bard, and the sacred bard is + absent where the kites and crows pick out his eyes. That the Irish kings + and heroes should succeed one another, surrounded by a blaze of bardic + light, in which both themselves and all those who were contemporaneous + with them are seen clearly and distinctly, was natural in a country where + in each little realm or sub-kingdom the ard-ollav was equal in dignity to + the king, which is proved by the equivalence of their cries. The dawn of + English history is in the seventh century—a late dawn, dark and + sombre, without a ray of cheerful sunshine; that of Ireland dates reliably + from a point before the commencement of the Christian era luminous with + that light which never was on sea or land—thronged with heroic forms + of men and women—terrible with the presence of the supernatural and + its over-arching power. + </p> + <p> + Educated Irishmen are ignorant of, and indifferent to, their history; yet + from the hold of that history they cannot shake themselves free. It still + haunts the imagination, like Mordecai at Haman's gate, a cause of + continual annoyance and vexation. An Irishman can no more release himself + from his history than he can absolve himself from social and domestic + duties. He may outrage it, but he cannot placidly ignore. Hence the + uneasy, impatient feeling with which the subject is generally regarded. + </p> + <p> + I think that I do not exaggerate when I say that the majority of educated + Irishmen would feel grateful to the man who informed them that the history + of their country was valueless and unworthy of study, that the + pre-Christian history was a myth, the post-Christian mere annals, the + mediaeval a scuffling of kites and crows, and the modern alone deserving + of some slight consideration. That writer will be in Ireland most praised + who sets latest the commencement of our history. Without study he will be + pronounced sober and rational before the critic opens the book. So anxious + is the Irish mind to see that effaced which it is conscious of having + neglected. + </p> + <p> + There are two compositions which affect an interest comparable to that + which Ireland claims for her bardic literature, One is the Ossian of + MacPherson, the other the Nibelungen Lied. + </p> + <p> + If we are to suppose Macpherson faithfully to have written down, printed, + and published the floating disconnected poems which he found lingering in + the Scotch highlands, how small, comparatively, would be their value as + indications of antique thought and feeling, reduced then for the first + time to writing, sixteen hundred years after the time of Ossian and his + heroes, in a country not the home of those heroes, and destitute of the + regular bardic organisation. The Ossianic tales and poems still told and + sung by the Irish peasantry at the present day in the country of Ossian + and Oscar, would be, if collected even now, quite as valuable, if not more + so. Truer to the antique these latter are, for in them the cycles are not + blended. The Red Branch heroes are not confused with Ossian's Fianna. + </p> + <p> + But MacPherson's Ossian is not a translation. In the publications of the + Irish Ossianic poetry we see what that poetry really was—rude, + homely, plain-spoken, leagues removed from the nebulous sublimity of + MacPherson. + </p> + <p> + With regard to the other, the Germans, who naturally desire to refer its + composition to as remote a date as possible, and who arguing from no + scientific data, but only style, ascribe the authorship of the Nibelungen + to a poet living in the latter part of the twelfth century. Be it + remembered, that the poem does not purport to be a collection of the + scattered fragments of a cycle, but an original composition, then actually + imagined and written. It does not even purport to deal with the ethnic + times. <i>Its heroes are Christian heroes. They attend Mass.</i> The poem + is not true, even to the leading features of the late period of history in + which it is placed, if it have any habitat in the world of history at all. + Attila, who died A.D. 450, and Theodoric, who did not die until the + succeeding century, meet as coevals. + </p> + <p> + Turn we now from the sole boast of Germany to one out of a hundred in the + Irish bardic literature. The Tân-bo-Cooalney was transcribed into the + Leabhar na Huidhré in the eleventh century a manuscript whose date has + been established by the consentaneity of Irish, French, and German + scholarship. Mark, it was transcribed, not composed. The scribe records + the fact:— + </p> +<pre xml:space="preserve"> + "Ego qui scripsi hanc historian aut vero fabulam, quibusdam fidem + in hac historiâ aut fabulâ non commodo." +</pre> + <p> + The Tân-bo-Cooalney was therefore <i>transcribed</i> by an ancient penman + to the parchment of a still existing manuscript, in the century before + that in which the German epic is presumed, from style only, and in the + opinion of Germans, to have been <i>composed</i>. + </p> + <p> + The same scribe adds this comment with regard to its contents:— + </p> +<pre xml:space="preserve"> + "Qaedam autem poetica figmenta, quaedam ad delectationem + stultorum." +</pre> + <p> + Such scorn could not have been felt by one living in an age of bardic + production. That independence and originality of thought, which caused + Milton to despise the poets of the Restoration, are impossible in the + simple stages of civilisation. The scribe who appended this very + interesting comment to the subject of his own handiwork must have been + removed by centuries from the date of its compilation. That the tale was, + in his time, an ancient one, is therefore rendered extremely probable, the + scribe himself indicating how completely out of sympathy he is with this + form of literature, its antiquity and peculiar archaeological interest + being, doubtless, the cause of the transcription. + </p> + <p> + Again, a close study of its contents, as of the contents of all the Irish + historic tales, proves that in its present form, whenever that form was + superadded, it is but a representation in prose of a pre-existing metrical + original. Under this head I have already made some remarks, which, I shall + request the reader to re-peruse [Note: Pages 23 to 27] + </p> + <p> + Once more, it deals with a particular event in Irish history, and with + distinct and definite kings, heroes, and bards, who flourished in the + epoch of which it treats. In the synchronisms of Tiherna, in the metrical + chronology of Flann, in all the various historical compositions produced + in various parts of the country, the main features and leading characters + of the Tân-bo-Cooalney suffer no material change, while the minor + divergencies show that the chronology of the annals and annalistic poems + were not drawn from the tale, but owe their origin to other sources. + Moreover, this epic is but a portion of the great Ultonian or Red Branch + cycle, all the parts of which pre-suppose and support one another; and + that cycle is itself a portion of the history of Ireland, and pre-supposes + other preceding and succeeding cyles, preceding and succeeding kings. The + event of which this epic treats occurred at the time of the Incarnation, + and its characters are the leading Irish kings and warriors of that date. + Such is the Tân-bo-Cooalney. + </p> + <p> + This being so, how have the English literary classes recognised, or how + treated, our claim to the possession of an antique literature of peculiar + historical interest, and by reason of that antiquity, a matter of concern + to all Aryan nations? The conquest has not more constituted the English + Parliament guardian and trustee of Ireland, for purposes of legislation + and government, than it has vested the welfare and fame of our literature + and antiquities in the hands of English scholarship. London is the + headquarters of the intellectualism and of the literary and historical + culture of the Empire. It is the sole dispenser of fame. It alone + influences the mind of the country and guides thought and sentiment. It + can make and mar reputations. What it scorns or ignores, the world, too, + ignores and scorns. How then has the native literature of Ireland been + treated by the representatives of English scholarship and literary + culture? Mr. Carlyle is the first man of letters of the day, his the + highest name as a critic upon, and historian of, the past life of Europe. + Let us hear him upon this subject, admittedly of European importance. + </p> + <p> + Miscellaneous Essays, Vol. III., page 136. "Not only as the oldest + Tradition of Modern Europe does it—the Nibelungen—possess a + high antiquarian interest, but farther, and even in the shape we now see + it under, unless the epics of the son of Fingal had some sort of + authenticity, it is our oldest poem also." + </p> + <p> + Poor Ireland, with her hundred ancient epics, standing at the door of the + temple of fame, or, indeed, quite behind the vestibule out of the way! To + see the Swabian enter in, crowned, to a flourish of somewhat barbarous + music, was indeed bad enough, but Mr. MacPherson! + </p> + <p> + They manage these things rather better in France, <i>vide passim</i> "La + Révue Celtique." + </p> + <p> + Of the literary value of the bardic literature I fear to write at all, + lest I should not know how to make an end. Rude indeed it is, but great. + Like the central chamber of that huge tumulus [Note: New Grange anciently + Cnobgha, and now also Knowth.] on the Boyne, overarched with massive + unhewn rocks, its very ruggedness strikes an awe which the orderly + arrangement of smaller and more reasonable thoughts, cut smooth by + instruments inherited from classic times, fails so often to inspire. The + labour of the Attic chisel may be seen since its invention in every other + literary workshop of Europe, and seen in every other laboratory of thought + the transmitted divine fire of the Hebrew. The bardic literature of Erin + stands alone, as distinctively and genuinely Irish as the race itself, or + the natural aspects of the island. Rude indeed it is, but like the hills + which its authors tenanted with gods, holding dells [Note: Those sacred + hills will generally be found to have this character.] of the most perfect + beauty, springs of the most touching pathos. On page 33, Vol. I., will be + seen a poem [Note: Publications of Ossianic Society, page 303, Vol. IV.] + by Fionn upon the spring-time, made, as the old unknown historian says, to + prove his poetic powers—a poem whose antique language relegates it + to a period long prior to the tales of the Leabhar na Huidhré, one which, + if we were to meet side by side with the "Ode to Night," by Alcman, in the + Greek anthology, we would not be surprised; or those lines on page 203, + Vol. I., the song of Cuculain, forsaken by his people, watching the + frontier of his country— + </p> +<pre xml:space="preserve"> + "Alone in defence of the Ultonians, + Solitary keeping ward over the province" +</pre> + <p> + or the death [Note: Publications of Ossianic Society, Vol. I.] of Oscar, + on pages 34 and 35, Vol. I., an excerpt condensed from the Battle of + Gabra. Innumerable such tender and thrilling passages. + </p> + <p> + To all great nations their history presents itself under the aspect of + poetry; a drama exciting pity and terror; an epic with unbroken + continuity, and a wide range of thought, when the intellect is satisfied + with coherence and unity, and the imagination by extent and diversity. + Such is the bardic history of Ireland, but with this literary defect. A + perfect epic is only possible when the critical spirit begins to be in the + ascendant, for with the critical spirit comes that distrust and apathy + towards the spontaneous literature of early times, which permit some great + poet so to shape and alter the old materials as to construct a harmonious + and internally consistent tale, observing throughout a sense of proportion + and a due relation of the parts. Such a clipping and alteration of the + authorities would have seemed sacrilege to earlier bards. In mediaeval + Ireland there was, indeed, a subtle spirit of criticism; but under its + influence, being as it was of scholastic origin, no great singing men + appeared, re-fashioning the old rude epics; and yet, the very shortcomings + of the Irish tales, from a literary point of view, increase their + importance from a historical. Of poetry, as distinguised from metrical + composition, these ancient bards knew little. The bardic literature, + profoundly poetic though it be, in the eyes of our ancestors was history, + and never was anything else. As history it was originally composed, and as + history bound in the chains of metre, that it might not be lost or + dissipated passing through the minds of men, and as history it was + translated into prose and committed to parchment. Accordingly, no tale is + without its defects as poetry, possessing therefore necessarily, a + corresponding value as history. But that there was in the country, in very + early times, a high and rare poetic culture of the lyric kind, native in + its character, ethnic in origin, unaffected by scholastic culture which, + as we know, took a different direction; that one exquisite poem, in which + the father of Ossian praises the beauty of the springtime in anapaestic + [Note: Cettemain | cain ree! | ro sair | an cuct | "He, Fionn MacCool, + learned the three compositions which distinguish the poets, the TEINM + LAEGHA, the IMUS OF OSNA, and the DICEDUE DICCENAIB, and it was then Fionn + composed this poem to prove his poetry." In which of these three forms of + metre the Ode to the spring-time is written I know not. Its form + throughout is distinctly anapaestic.—S. O'G.] verse, would, even + though it stood alone, both by the fact of its composition and the fact of + its preservation, fully prove. + </p> + <p> + Much and careful study, indeed, it requires, if we would compel these + ancient epics to yield up their greatness or their beauty, or even their + logical coherence and imaginative unity—broken, scattered portions + as they all are of that one enormous epic, the bardic history of Ireland. + At the best we read without the key. The magic of the names is gone, or + can only be partially recovered by the most tender and sympathetic study. + Indeed, without reading all or many, we will not understand the + superficial meaning of even one. For instance, in one of the many + histories of Cuculain's many battles, we read this— + </p> + <p> + "It was said that Lu Mac AEthleen was assisting him." + </p> + <p> + This at first seems meaningless, the bard seeing no necessity for throwing + further light on the subject; but, as we wander through the bardic + literature, gradually the conception of this Lu grows upon the mind—the + destroyer of the sons of Turann—the implacably filial—the + expulsor of the Fomoroh—the source of all the sciences—the god + of the Tuátha De Danan—the protector and guardian of Cuculain—Lu + Lamfáda, son of Cian, son of Diancéct, son of Esric, son of Dela, son of + Ned the war-god, whose tomb or temple, Aula Neid, may still be seen beside + the Foyle. This enormous and seemingly chaotic mass of literature is found + at all times to possess an inner harmony, a consistency and logical unity, + to be apprehended only by careful study. + </p> + <p> + So read, the sublimity strikes through the rude representation. Astonished + at himself, the student, who at first thinks that he has chanced upon a + crowd of barbarians, ere long finds himself in the august presence of + demi-gods and heroes. + </p> + <p> + A noble moral tone pervades the whole. Courage, affection, and truth are + native to all who live in this world. Under the dramatic image of Ossian + wrangling with the Talkend, [Note: St. Patrick, on account of the tonsured + crown.] the bards, themselves vainly fighting against the Christian life, + a hundred times repeat through the lips of Ossian like a refrain— + </p> +<pre xml:space="preserve"> + "We, the Fianna of Erin, never uttered falsehood, + Lying was never attributed to us; + By courage and the strength of our hands + We used to come out of every difficulty." +</pre> + <p> + Again: Fergus, the bard, inciting Oscar to his last battle—in that + poem called the Rosc Catha of Oscar:— + </p> +<pre xml:space="preserve"> + "Place thy hand on thy gentle forehead + Oscar, who never lied." +[Note: Publications of Ossianic Society, p. 159; vol. i.] +</pre> + <p> + And again, elsewhere in the Ossianic poetry:— + </p> +<pre xml:space="preserve"> + "Oscar, who never wronged bard or woman." +</pre> + <p> + Strange to say, too, they inculcated chastity (see p. 257; vol. i.), an + allusion taken from the "youthful adventures of Cuculain," Leabhar na + Huidhré. + </p> + <p> + The following ancient rann contains the four qualifications of a bard:— + </p> +<pre xml:space="preserve"> + "Purity of hand, bright, without wounding, + Purity of mouth, without poisonous satire, + Purity of learning, without reproach, + Purity, as a husband, in wedlock." +</pre> + <p> + Moreover, through all this literature sounds a high clear note of + chivalry, in this contrasting favourably with the Iliad, where no man + foregoes an advantage. Cuculain having slain the sons of Neara, "thought + it unworthy of him to take possession of their chariot and horses." [Note: + P. 155; vol. i.] Goll Mac Morna, in the Fenian or Ossianic cycle, declares + to Conn Cedcathah [Note: Conn of the hundred battles.] that from his youth + up he never attacked an enemy by night or under any disadvantage, and many + times we read of heroes preferring to die rather than outrage their geisa. + [Note: Certain vows taken with their arms on being knighted.] + </p> + <p> + A noble literature indeed it is, having too this strange interest, that + though mainly characterised by a great plainness and simplicity of + thought, and, in the earlier stages, of expression, we feel, oftentimes, a + sudden weirdness, a strange glamour shoots across the poem when the tale + seems to open for a moment into mysterious depths, druidic secrets veiled + by time, unsunned caves of thought, indicating a still deeper range of + feeling, a still lower and wider reach of imagination. A youth came once + to the Fianna Eireen encamped at Locha Lein [Note: The Lakes of + Killarney.], leading a hound dazzling white, like snow. It was the same, + the bard simply states, that was once a yew tree, flourishing fifty + summers in the woods of Ioroway. Elsewhere, he is said to have been more + terrible than the sun upon his flaming wheels. What meant this yew tree + and the hound? Stray allusions I have met, but no history. The spirit of + Coelté, visiting one far removed in time from the great captain of the + Fianna, with a different name and different history, cries:— + </p> +<pre xml:space="preserve"> + "I was with thee, with Finn"— +</pre> + <p> + giving no explanation. + </p> + <p> + To MacPherson, however, I will do this justice, that he had the merit to + perceive, even in the debased and floating ballads of the highlands, + traces of some past greatness and sublimity of thought, and to understand, + he, for the first time, how much more they meant than what met the ear. + But he saw, too, that the historical origin of the ballads, and the + position in time and place of the heroes whom they praised, had been lost + in that colony removed since the time of St. Columba from its old + connection with the mother country. Thus released from the curb of + history, he gave free rein to the imagination, and in the conventional + literary language of sublimity, gave full expression to the feelings that + arose within him, as to him, pondering over those ballads, their + gigantesque element developed into a greatness and solemnity, and their + vagueness and indeterminateness into that misty immensity and weird + obscurity which, as constituent factors in a poem, not as back-ground, + form one of the elements of the false sublime. Either not seeing the + literary necessity of definiteness, or having no such abundant and ordered + literature as we possess, upon which to draw for details, and being too + conscientious to invent facts, however he might invent language, he + published his epics of Ossian—false indeed to the original, but true + to himself, and to the feelings excited by meditation upon them. This + done, he had not sufficient courage to publish also the rude, homely, and + often vulgar ballads—a step which, in that hard critical age, would + have been to expose himself and his country to swift contempt. The thought + of the great lexicographer riding rough-shod over the poor mountain songs + which he loved, and the fame which he had already acquired, deterred and + dissuaded him, if he had ever any such intention, until the opportunity + was past. + </p> + <p> + MacPherson feared English public opinion, and fearing lied. He declared + that to be a translation which was original work, thus relegating himself + for ever to a dubious renown, and depriving his country of the honest fame + of having preserved through centuries, by mere oral transmission, a + portion, at least, of the antique Irish literature. To the magnanimity of + his own heroes he could not attain:— + </p> +<pre xml:space="preserve"> + "Oscar, Oscar, who feared not armies— + Oscar, who never lied." +</pre> + <p> + Of some such error as MacPherson's I have myself, with less excuse, been + guilty, in chapters xi. and xii., Vol. I., where I attempt to give some + conception of the character of the Ossianic cycle. The age and the heroes + around whom that cycle revolves have, in the history of Ireland, a + definite position in time; their battles, characters, several + achievements, relationships, and pedigrees; their Dûns, and + trysting-places, and tombs; their wives, musicians, and bards; their + tributes, and sufferings, and triumphs; their internecine and other wars—are + all fully and clearly described in the Ossianic cycle. They still remain + demanding adequate treatment, when we arrive at the age of Conn [Note: See + page 20.], Art, and Cormac, kings of Tara in the second and third + centuries of the Christian era. All have been forgotten for the sake of a + vague representation of the more sublime aspects of the cycle, and the + meretricious seductions of a form of composition easy to write and easy to + read, and to which the unwary or unwise often award praise to which it has + no claim. + </p> + <p> + On the other hand, chapter xi. purports only to be a representation of the + feelings excited by this literature, and for every assertion there is + authority in the cycle. Chapter xii., however, is a translation from the + original. Every idea which it contains, except one, has been taken from + different parts of the Ossianic poems, and all together expressthe graver + attitude of the mind of Ossian towards the new faith. That idea, occurring + in a separate paragraph in the middle of the page, though prevalent as a + sentiment throughout all the conversations of Ossian with St. Patrick, has + been, as it stands, taken from a meditation on life by St. Columbanus, one + of the early Irish Saints—a meditation which, for subtle thought, + for musical resigned sadness, tender brooding reflection, and exquisite + Latin, is one of the masterpieces of mediaeval composition. + </p> + <p> + To the casual reader of the bardic literature the preservation of an + ordered historical sequence, amidst that riotous wealth of imaginative + energy, may appear an impossibility. Can we believe that forestine + luxuriance not to have overgrown all highways, that flood of superabundant + song not have submerged all landmarks? Be the cause what it may, the fact + remains that they did not. The landmarks of history stand clear and fixed, + each in its own place unremoved; and through that forest-growth the + highways of history run on beneath over-arching, not interfering, boughs. + The age of the predominance of Ulster does not clash with the age of the + predominance of Tara; the Temairian kings are not mixed with the + contemporary Fians. The chaos of the Nibelungen is not found here, nor the + confusion of the Scotch ballads blending all the ages into one. + </p> + <p> + It is not imaginative strength that produces confusion, but imaginative + weakness. The strong imagination which perceives definitely and realises + vividly will not tolerate that obscurity so dear to all those who worship + the eidola of the cave. Of each of these ages, the primary impressions + were made in the bardic mind during the life-time of the heroes who gave + to the epoch its character; and a strong impression made in such a mind + could not have been easily dissipated or obscured. For it must be + remembered, that the bardic literature of Ireland was committed to the + custody of guardians whose character we ought not to forget. The bards + were not the people, but a class. They were not so much a class as an + organisation and fraternity acknowledging the authority of one elected + chief. They were not loose wanderers, but a power in the State, having + duties and privileges. The ard-ollav ranked next to the king, and his eric + was kingly. Thus there was an educated body of public opinion entrusted + with the preservation of the literature and history of the country, and + capable of repressing the aberrations of individuals. + </p> + <p> + But the question arises, Did they so repress such perversions of history + as their wandering undisciplined members might commit? Too much, of + course, must not reasonably be expected. It was an age of creative + thought, and such thought is difficult to control; but that one of the + prime objects and prime works of the bards, as an organisation, was to + preserve a record of a certain class of historical facts is certain. The + succession of the kings and of the great princely families was one of + these. The tribal system, with the necessity of affinity as a ground of + citizenship, demanded such a preservation of pedigrees in every family, + and particularly in the kingly houses. One of the chief objects of the + triennial feis of Tara was the revision of such records by the general + assembly of the bards, under the presidency of the Ard-Ollav of Ireland. + In the more ancient times, such records were rhymed and alliterated, and + committed to memory—a practice which, we may believe on the + authority of Caesar, treating of the Gauls, continued long after the + introduction of letters. Even at those local assemblies also, which + corresponded to great central and national feis of Tara, the bards were + accustomed to meet for that purpose. In a poem [Note: O'Curry's Manners + and Customs, Vol. I., page 543.], descriptive of the fair [Note: On the + full meaning of this word "fair," see Chap. xiii., Vol. I.] of Garman, we + see this— + </p> +<pre xml:space="preserve"> + "Feasts with the great feasts of Temair, + Fairs with the fairs of Emania, + Annals there are verified." +</pre> + <p> + In the existing literature we see two great divisions. On the one hand the + epical, a realm of the most riotous activity of thought; on the other, the + annalistic and genealogical, bald and bare to the last degree, a mere + skeleton. They represent the two great hemispheres of the bardic mind, the + latter controlling the former. Hence the orderly sequence of the cyclic + literature; hence the strong confining banks between which the torrent of + song rolls down through those centuries in which the bardic imagination + reached its height. The consentaneity of the annals and the literature + furnishes a trustworthy guide to the general course of history, until its + guidance is barred by <i>a priori</i> considerations of a weightier + nature, or by the statements of writers, having sources of information not + open to us. For instance, the stream of Irish history must, for + philosophical reasons, be no further traceable than to that point at which + it issues from the enchanted land of the Tuátha De Danan. At the limit at + which the gods appear, men and history must disappear; while on the other + hand, the statement of Tiherna, that the foundation of Emain Alacha by + Kimbay is the first certain date in Irish history, renders it undesirable + to attach more historical reality of characters, adorning the ages prior + to B.C. 299, than we could to such characters as Romulus in Roman, or + Theseus in Athenian history. + </p> + <p> + I desire here to record my complete and emphatic dissent from the opinions + advanced by a writer in Hermathena on the subject of the Ogham + inscriptions, and the introduction into this country of the art of + writing. A cypher, i.e., an alphabet derived from a pre-existing alphabet, + the Ogham may or may not have been. I advance no opinion upon that, but an + invention of the Christian time it most assuredly was not. No sympathetic + and careful student of the Irish bardic literature can possibly come to + such a conclusion. The bardic poems relating to the heroes of the ethnic + times are filled with allusions to Ogham inscriptions on stone, and + contain some references to books of timber; but in my own reading I have + not met with a single passage in that literature alluding to books of + parchment and to rounded letters. + </p> + <p> + If the Ogham was derived from the Roman characters introduced by Christian + missionaries, then these characters would be the more ancient, and Ogham + the more modern; books and Roman characters would be the more poetical, + and inscriptions on stone and timber in the Ogham characters the more + prosaic. The bards relating the lives and deeds of the ancient heroes, + would have ascribed to their times parchment books and the Roman + characters, not stone and wood, and the Ogham. + </p> + <p> + In these compositions, whenever they were reduced to the form in which we + find them to-day, the ethnic character of the times and the ethnic + character of the heroes are clearly and universally observed. The ancient, + the remote, the archaic clings to this literature. As Homer does not + allude to writing, though all scholars agree that he lived in a lettered + age, so the old bards do not allude to parchment and Roman characters, + though the Irish epics, as distinguished from their component parts, + reached their fixed state and their final development in times subsequent + to the introduction of Christianity. + </p> + <p> + When and how a knowledge of letters reached this island we know not. From + the analogy of Gaul, we may conclude that they were known for some time + prior to their use by the bards. Caesar tells us that the Gaulish bards + and druids did not employ letters for the preservation of their lore, but + trusted to memory, assisted, doubtless, as in this country, by the + mechanical and musical aid of verse. Whether the Ogham was a native + alphabet or a derivative from another, it was at first employed only to a + limited extent. Its chief use was to preserve the name of buried kings and + heroes in the stone that was set above their tombs. It was, perhaps, + invented, and certainly became fashionable on this account, straight + strokes being more easily cut in stone than rounded or uncial characters. + For the same reason it was generally employed by those who inscribed + timber tablets, which formed the primitive book, ere they discovered or + learned how to use pen, ink, and parchment. The use of Ogham was partially + practised in the Christian period for sepultural purposes, being venerable + and sacred from time. Hence the discovery of Ogham-inscribed stones in + Christian cemeteries. On the other hand, the fact that the majority of + these stones are discovered in raths and forts, i.e., the tombs of our + Pagan ancestors, corroborates the fact implied in all the bardic + literature, that the characters employed in the ethnic times were Oghamic, + and affords another proof of the close conservative spirit of the bards in + their transcription, compilation, or reformation of the old epics. + </p> + <p> + The full force of the concurrent authority of the bardic literature to the + above effect can only be felt by one who has read that literature with + care. He will find in all the epics no trace of original invention, but + always a studied and conscientious following of authority. This being so, + he will conclude that the universal ascription of Ogham, and Ogham only, + to the ethnic times, arises solely from the fact that such was the + alphabet then employed. + </p> + <p> + If letters were unknown in those times, the example of Homer shows how + unlikely the later poets would have been to outrage so violently the whole + spirit of the heroic literature. If rounded letters were then used, why + the universal ascription of the late invented Ogham which, as we know from + the cemeteries and other sources, was unpopular in the Christian age. + </p> + <p> + Cryptic, too, it was not. The very passages quoted in Hermathena to + support this opinion, so far from doing so prove actually the reverse. + When Cuculain came down into Meath on his first [Note: Vol. I., page 155.] + foray, he found, on the lawn of the Dûn of the sons of Nectan, a pillar + stone with this inscription in Ogham—"Let no one pass without an + offer of a challenge of single combat." The inscription was, of course, + intended for all to read. Should there be any bardic passage in which + Ogham inscriptions are alluded to as if an obscure form of writing, the + natural explanation is, that this kind of writing was passing or had + passed into desuetude at the time that particular passage was composed; + but I have never met with any such. The ancient bard, who, in the + Tân-bo-Cooalney, describes the slaughter of Cailitin and his sons by + Cuculain, states that there was an inscription to that effect, written in + Ogham, upon the stone over their tomb, beginning thus—"Take notice"—evidently + intended for all to read. The tomb, by the way, was a rath—again + showing the ethnic character of the alphabet. + </p> + <p> + In the Annals of the Four Masters, at the date 1499 B.C., we read these + words:— + </p> + <p> + "THE FLEET OF THE SONS OF MILITH CAME TO IRELAND TO TAKE IT FROM THE + TUÁTHA DE DANAN," i.e., the gods of the ethnic Irish. + </p> + <p> + Without pausing to enquire into the reasonableness of the date, it will + suffice now to state that at this point the bardic history of Ireland + cleaves asunder into two great divisions—the mythological or divine + on the one hand, and the historical or heroic-historical on the other. The + first is an enchanted land—the world of the Tuátha De Danan—the + country of the gods. There we see Mananan with his mountain-sundering + sword, the Fray-garta; there Lu Lamfada, the deliverer, pondering over his + mysteries; there Bove Derg and his fatal [Note: Every feast to which he + came ended in blood. He was present at the death of Conairey Mor, Chap. + xxxiii., Vol. I.] swine-herd, Lir and his ill-starred children, Mac Mánar + and his harp shedding death from its stricken wires, Angus Og, the + beautiful, and he who was called the mighty father, Eochaidht [Note: + Ay-o-chee, written Yeoha in Vol. I.] Mac Elathan, a land populous with + those who had partaken of the feast of Goibneen, and whom, therefore, + weapons could not slay, who had eaten [Note: In early Greek literature the + province of history has been already separated from that of poetry. The + ancient bardic lore and primaeval traditions were refined to suit the new + and sensitive poetic taste. No commentator has been able to explain the + nature of ambrosia. In the genuine bardic times, no such vague euphuism + would have been tolerated as that of Homer on this subject. The nature of + Olympian ambrosia would have been told in language as clear as that in + which Homer describes the preparation of that Pramnian bowl for which + Nestor and Machaon waited while Hecamede was grating over it the goat's + milk cheese, or that in which the Irish bards described the ambrosia of + the Tuátha De Danan, which, indeed, was no more poetic and awe-inspiring + than plain bacon prepared by Mananan from his herd of enchanted pigs, + living invisible like himself in the plains of Tir-na-n-Og, the land of + the ever-young. On the other hand, there is a vagueness about the Feed Fia + which would seem to indicate the growth of a more awe-stricken mood in + describing things supernatural. The Faed Fia of the Greek gods has been + refined by Homer into "much darkness," which, from an artistic point of + view, one can hardly help imagining that Homer nodded as he wrote.] at the + the table of Mananan, and would never grow old, who had invented for + themselves the Faed Fia, and might not be seen of the gross eyes of men; + there steeds like Anvarr crossing the wet sea like a firm plain; there + ships whose rudder was the will, and whose sails and oars the wish, of + those they bore [Note: Cf. The barks of the Phoenicians in the Odyssey.]; + there hounds like that one of Ioroway, and spears like fiery flying + serpents. These are the Tuátha De Danan [Note: A mystery still hangs over + this three-formed name. The full expression, Tuátha De Danan, is that + generally employed, less frequently Tuátha De, and sometimes, but not + often, Tuátha. Tuátha also means people. In mediaeval times the name lost + its sublime meaning, and came to mean merely "fairy," no greater + significance, indeed, attaching to the invisible people of the island + after Christianity had destroyed their godhood.], fairy princes, Tuátha; + gods, De; of Dana, Danan, otherwise Ana and the Moreega, or great queen; + mater [Note: Cormac's Glossary] deorum Hibernensium—"well she used + to cherish [Note: Scholiast noting same Glossary.] the gods." Limitless, + this divine population, dwelling in all the seas and estuaries, river and + lakes, mountains and fairy dells, in that enchanted Erin which was theirs. + </p> + <p> + But they have not started into existence suddenly, like the gods of Rome, + nor is their genealogy confined to a single generation like those of + Greece. Behind them extends a long line of ancestors, and a history + reaching into the remotest depths of the past. As the Greek gods dethroned + the Titans, so the Irish gods drove out or subjected the giants of the + Fir-bolgs; but in the Irish mythology, we find both gods and giants + descended from other ancient races of deities, called the Clanna Nemedh + and the Fomoroh, and these a branch of a divine cycle; yet more ancient + the race of Partholan, while Partholan himself is not the eldest. + </p> + <p> + The history of the Italian gods is completely lost. For all that the early + Roman literature tells us of their origin, they may have been either + self-created or eternal. Rome was a seedling shaken from some old perished + civilisation. The Romans created their own empire, but they inherited + their gods. They supply no example of an Aryan nation evolving its own + mythology and religion. Regal Rome, as we know from Niebuhr, was not the + root from which our Rome sprang, but an old imperial city, from whose + ashes sprang that Rome we all know so well. The mythology of the Latin + writers came to them full-grown. + </p> + <p> + The gods of Greece were a creation of the Greek mind, indeed; but of their + ancestry, i.e., of their development from more ancient divine tribes, we + know little. Like Pallas, they all but start into existence suddenly + full-grown. Between the huge physical entities of the Greek theogonists + and the Olympian gods, there intervenes but a single generation. For this + loss of the Grecian mythology, and this substitution of Nox and Chaos for + the remote ancestors of the Olympians, we have to thank the early Greek + philosophers, and the general diffusion of a rude scientific knowledge, + imparting a physical complexion to the mythological memory of the Greeks. + </p> + <p> + In the theogony of the ancient inhabitants of this country, we have an + example of a slowly-growing, slowly-changing mythology, such as no other + nation in the world can supply. The ancestry of the Irish gods is not + bounded by a single generation or by twenty. The Tuátha De Danan of the + ancient Irish are the final outcome and last development of a mythology + which we can see advancing step by step, one divine tribe pushing out + another, one family of gods swallowing up another, or perishing under the + hands of time and change, to make room for another. From Angus Og, the god + of youth and love and beauty, whose fit home was the woody slopes of the + Boyne, where it winds around Rosnaree, we count fourteen generations to + Nemedh and four to Partholan, and Partholan is not the earliest. As the + bards recorded with a zeal and minuteness, so far as I can see, without + parallel, the histories of the families to which they were adscript, so + also they recorded with equal patience and care the far-extending + pedigrees of those other families—invisible indeed, but to them more + real and more awe-inspiring—who dwelt by the sacred lakes and + rivers, and in the folds of the fairy hills, and the great raths and + cairns reared for them by pious hands. + </p> + <p> + The extent, diversity, and populousness of the Irish mythological cycles, + the history of the Irish gods, and the gradual growth of that mythology of + which the Tuátha De Danan, i.e., the gods of the historic period, were the + final development, can only be rightly apprehended by one who reads the + bardic literature as it deals with this subject. That literature, however, + so far from having been printed and published, has not even been + translated, but still moulders in the public libraries of Europe, those + who, like myself, are not professed Irish scholars, being obliged to + collect their information piece-meal from quotations and allusions of + those who have written upon the subject in the English or Latin language. + For to read the originals aright needs many years of labour, the Irish + tongue presenting at different epochs the characteristics of distinct + languages, while the peculiarities of ancient caligraphy, in the defaced + and illegible manuscripts, form of themselves quite a large department of + study. Stated succinctly, the mythological record of the bards, with its + chronological decorations, runs thus:— + </p> + <p> + AGE OF KEASAIR. + </p> + <p> + 2379 B.C. the gods of the KEASAIRIAN cycle, Bith, Lara, and Fintann, and + their wives, KEASAIR, Barran and Balba; their sacred places, Carn Keshra, + Keasair's tomb or temple, on the banks of the Boyle, Ard Laran on the + Wexford Coast, Fert Fintann on the shores of Lough Derg. + </p> + <p> + About the same time Lot Luaimenich, Lot of the Lower Shannon, an ancient + sylvan deity. + </p> + <p> + AGE OF PARTHOLAN AND THE EARLIEST FOMORIAN GODS. + </p> + <p> + 2057 B.C. a new spiritual dynasty, of which PARTHOLAN was father and king. + Though their worship was extended over Ireland, which is shown by the many + different places connected with their history, yet the hill of Tallaght, + ten miles from Dublin, was where they were chiefly adored. Here to the + present day are the mounds and barrows raised in honour of the deified + heroes of this cycle, PARTHOLAN himself, his wife Delgna, his sons, Rury, + Slaney, and Laighlinni, and among others, the father of Irish hospitality, + bearing the expressive name of Beer. Now first appear the Fomoroh giant + princes, under the leadership of curt Kical, son of Niul, son of Garf, son + of U-Mor—a divine cycle intervening between KEASAIR and PARTHOLAN, + but not of sufficient importance to secure a separate chapter and distinct + place in the annals. Battles now between the Clan Partholan and the + Fomoroh, on the plain of Ith, beside the river Finn, Co. Donegal, so + called from Ith [Note: See Vol. I, p. 60], son of Brogan, the most ancient + of the heroes, slain here by the Tuátha De Danan, but more anciently known + by some lost Fomorian name; also at Iorrus Domnan, now Erris, Co. Mayo, + where Kical and his Fomorians first reached Ireland. These battles are a + parable—objective representations of a fact in the mental history of + the ancient Irish—typifying the invisible war waged between + Partholanian and Fomorian deities for the spiritual sovereignty of the + Gael. + </p> + <p> + AGE OF THE NEMEDIAN GODS AND SECOND CYCLE OF THE FOMORIANS. + </p> + <p> + 1700 B.C. age of the NEMEDIAN divinities, a later branch of the + PARTHOLANIAN <i>vide post</i> NEMEDIAN pedigree. NEMEDH, his wife Maca + (first appearance of Macha, the war goddess, who gave her name to Armagh, + i.e., Ard Macha, the Height of Macha), Iarbanel; Fergus, the Red-sided, + and Starn, sons of Nemedh; Beothah, son of Iarbanel; Erglann, son of + Beoan, son of Starn; Siméon Brac, son of Starn; Ibath, son of Beothach; + Britan Mael, son of Fergus. This must be remembered, that not one of the + almost countless names that figure in the Irish mythology is of fanciful + origin. They all represent antique heroes and heroines, their names being + preserved in connection with those monuments which were raised for + purposes of sepulture or cult. + </p> + <p> + Wars now between the Clanna Nemedh and the second cycle of the Fomoroh, + led this time by Faebar and More, sons of Dela, and Coning, son of Faebar; + battles at Ros Freachan, now Rosreahan, barony of Murresk, Co. Mayo, at + Slieve Blahma [Note: Slieve Blahma, now Slieve Bloom, a mountain range + famous in our mythology; one of the peaks, Ard Erin, sacred to Eiré, a + goddess of the Tuátha De Danan, who has given her name to the island. The + sites of all these mythological battles, where they are not placed in the + haunted mountains, will be found to be a place of raths and cromlechs.] + and Murbolg, in Dalaradia (Murbolg, i.e., the stronghold of the giants,) + also at Tor Coning, now Tory Island. + </p> + <p> + FIRBOLGS AND THIRD CYCLE OF THE FOMOROH. + </p> + <p> + 1525 B.C. Age of the FIRBOLGS and third cycle of the Fomorians, once gods, + but expulsed from their sovereignty by the Tuátha De Danan, after which + they loom through the heroic literature as giants of the elder time, + overthrown by the gods. From the FIRBOLGS were descended, or claimed to + have descended, the Connaught warriors who fought with Queen Meave against + Cuculain, also the Clan Humor, appearing in the Second Volume, also the + heroes of Ossian, the Fianna Eireen. Even in the time of Keating, Irish + families traced thither their pedigrees. The great chiefs of the + FIR-BOLGIC dynasty were the five sons of Dela, Gann, Genann, Sengann, + Rury, and Slaney, with their wives Fuad, Edain, Anust, Cnucha, and Libra; + also their last and most potent king, EOCAIDH MAC ERC, son of Ragnal, son + of Genann, whose tomb or temple may be seen to-day at Ballysadare, Co. + Sligo, on the edge of the sea. + </p> + <p> + The Fomorians of this age were ruled over by Baler Beimenna and his wife + Kethlenn. Their grandson was Lu Lamáda, one of the noblest of the Irish + gods. + </p> + <p> + The last of the mythological cycles is that of the Tuátha De Danan, whose + character, attributes, and history will, I hope, be rendered interesting + and intelligible in my account of Cuculain and the Red Branch of Ulster. + </p> + <p> + Irish history has suffered from rationalism almost more than from neglect + and ignorance. The conjectures of the present century are founded upon + mediaeval attempts to reduce to verisimilitude and historical probability + what was by its nature quite incapable of such treatment. The mythology of + the Irish nation, being relieved of the marvellous and sublime, was set + down with circumstantial dates as a portion of the country's history by + the literary men of the middle ages. Unable to excide from the national + narrative those mythological beings who filled so great a place in the + imagination of the times, and unable, as Christians, to describe them in + their true character as gods, or, as patriots, in the character which they + believed them to possess, namely, demons, they rationalized the whole of + the mythological period with names, dates, and ordered generations, + putting men for gods, flesh and blood for that invisible might, till the + page bristled with names and dates, thus formulating, as annals, what was + really the theogony and mythology of their country. The error of the + mediaeval historians is shared by the not wiser moderns. In the + generations of the gods we seem to see prehistoric racial divisions and + large branches of the Aryan family, an error which results from a neglect + of the bardic literature, and a consequently misdirected study of the + annals. + </p> + <p> + As history, the pre-Milesian record contains but a limited supply of + objective truths; but as theogony, and the history of the Irish gods, + these much abused chronicles are as true as the roll of the kings of + England. + </p> + <p> + These divine nations, with their many successive generations and + dynasties, constitute a single family; they are all inter-connected and + spring from common sources, and where the literature permits us to see + more clearly, the earlier races exhibit a common character. Like a human + clan, the elements of this divine family grew and died, and shed forth + seedlings which, in time, over-grew and killed the parent stock. Great + names became obscure and passed away, and new ones grew and became great. + Gods, worshipped by the whole nation, declined and became topical, and + minor deities expanding, became national. Gods lost their immortality, and + were remembered as giants of the old time—mighty men, which were of + yore, men of renown. + </p> +<pre xml:space="preserve"> + "The gods which were of old time rest in their tombs," +</pre> + <p> + sang the Egyptians, consciously ascribing mortality even to gods. Such was + Mac Ere, King of Fir-bolgs. His temple [Note: Strand near Ballysadare, Co. + Sligo], beside the sea at Iorrus Domnan [Note: Keating—evidently + quoting a bardic historian], became his tomb. Daily the salt tide embraces + the feet of the great tumulus, regal amongst its smaller comrades, where + the last king of Fir-bolgs was worshipped by his people. "Good [Note: + Temple—vide post.] were the years of the sovereignty of Mac Ere. + There was no wet or tempestuous weather in Ireland, nor was there any + unfruitful year." Such were all the predecessors of the children of Dana—gods + which were of old times, that rest in their tombs; and the days, too, of + the Tuátha De Danan were numbered. They, too, smitten by a more celestial + light, vanished from their hills, like Ossian lamenting over his own + heroes; those others still mightier, might say:— + </p> +<pre xml:space="preserve"> + "Once every step which we took might be heard throughout the + firmament. Now, all have gone, they have melted into the air." +</pre> + <p> + But that divine tree, though it had its branches in fairy-land, had its + roots in the soil of Erin. An unceasing translation of heroes into + Tir-na-n-og went on through time, the fairy-world of the bards, receiving + every century new inhabitants, whose humbler human origin being forgotten, + were supplied there with both wives and children. The apotheosis of great + men went forward, tirelessly; the hero of one epoch becoming the god of + the next, until the formation of the Tuátha De Danan, who represent the + gods of the historic ages. Had the advent of exact genealogy been delayed, + and the creative imagination of the bards suffered to work on for a couple + of centuries longer, unchecked by the historical conscience, Cuculain's + human origin would, perhaps, have been forgotten, and he would have been + numbered amongst the Tuátha De Danan, probably, as the son of Lu Lamfáda + and the Moreega, his patron deities. It was, indeed, a favourite fancy of + the bards that not Sualtam, but Lu Lamfáda himself, was his father; this, + however, in a spiritual or supernatural sense, for his age was far removed + from that of the Tuátha De Danan, and falling well within the scope of the + historic period. Even as late as the time of Alexander, the Greeks could + believe a great contemporary warrior to be of divine origin, and the son + of Zeus. + </p> + <p> + When the Irish bards began to elaborate a general history of their + country, they naturally commenced with the enumeration of the elder gods. + I at one time suspected that the long pedigrees running between those + several divisions of the mythological period were the invention of + mediaeval historians, anxious to spin out the national record, that it + might reach to Shinar and the dispersion. Not only, however, was such + fabrication completely foreign to the genius of the literature, but in the + fragments of those early divine cycles, we see that each of these + personages was at one time the centre of a literature, and holds a + definite place as regards those who went before and came after. These + pedigrees, as I said before, have no historical meaning, being + pre-Milesian, and therefore absolutely prehistoric; but as the genealogy + of the gods, and as representing the successive generations of that + invisible family, whose history not one or ten bards, but the whole bardic + and druidic organisation of the island, delighted to record, collate, and + verify—those pedigrees are as reliable as that of any of the regal + clans. They represent accurately the mythological panorama, as it unrolled + itself slowly through the centuries before the imagination and spirit of + our ancestors accurately that divine drama, millennium—lasting, with + its exits and entrances of gods. Millennium-lasting, and more so, for it + is plain that one divine generation represents on the average a much + greater space of time than a generation of mortal men. The former probably + represents the period which would elapse before a hero would become so + divine, that is, so consecrated in the imagination of the country, as to + be received into the family of the gods. Cuculain died in the era of the + Incarnation, three hundred years, if not more, before the country even + began to be Christianised, yet he is never spoken of as anything but a + great hero, from which one of two things would follow, either that the + apotheosis of heroes needed the lapse of centuries, or that, during the + first, second, third, and fourth centuries, the historical conscience was + so enlightened, and a positive definite knowledge of the past so + universal, that the translation of heroes into the divine clans could no + longer take place. The latter is indeed the more correct view; but the + reader will, I think, agree with me that the divine generations, taken + generally, represent more than the average space of man's life. To what + remote unimagined distances of time those earlier cycles extend has been + shown by an examination of the tombs of the lower Moy Tura. The ancient + heroes there interred were those who, as Fir-bolgs, preceded the reign of + the Tuáth De Danan, coming long after the Clanna Nemedh in the divine + cycle, who were themselves preceded by the children of Partholan, who were + subsequent to the Queen Keasair. Such then being the position in the + divine cycle of the Fir-bolgs, an examination of the Firbolgic raths on + Moy Tura has revealed only implements of stone, proving demonstratively + that the early divine cycles originated before the bronze age in Ireland, + whenever that commenced. Those heroes who, as Fir-bolgs, received divine + honours, lived in the age of stone. So far is it from being the case, that + the mythological record has been extended and unduly stretched, to enable + the monkish historians to connect the Irish pedigrees with those of the + Mosaic record, that it has, I believe, been contracted for this purpose. + </p> + <p> + The reader will be now prepared to peruse with some interest and + understanding one or two of the mythological pedigrees. To these I have at + times appended the dates, as given in the chronicles, to show how the + early historians rationalised the pre-historic record. + </p> + <p> + Angus Og, the Beautiful, represents the Greek Eros. He was surnamed Og, or + young; Mac-an-Og, or the son of youth; Mac-an-Dagda, son of the Dagda. He + was represented with a harp, and attended by bright birds, his own + transformed kisses, at whose singing love arose in the hearts of youths + and maidens. To him and to his father the great tumulus of New Grange, + upon the Boyne, was sacred. + </p> +<pre xml:space="preserve"> + "I visited the Royal Brugh that stands + By the dark-rolling waters of the Boyne, + Where Angus Og magnificently dwells." +</pre> + <p> + He was the patron god of Diarmid, the Paris of Ossian's Fianna, and + removed him into Tir-na-n-Og, when he died, having been ripped by the + tusks of the wild boar on the peaks of Slieve Gulban. + </p> + <p> + Lu Lamfáda was the patron god of Cuculain. He was surnamed Ioldana, as the + source of the sciences, and represented the Greek Apollo. The latter was + argurgurotoxos [Transcriber's Note: Greek in the original], but Lu was a + sling bearing god. Of Fomorian descent on the mother's side, he joined his + father's people, the Tuátha De Danan, in the great war against the + Fomoroh. He is principally celebrated for his oppression of the sons of + Turann, in vengeance for the murder of his father. + </p> +<pre xml:space="preserve"> + ANGUS OG, (circa 1500 B.C.) LU LAMFADA, (circa 1500 B.C.) + son of son of + THE DAGDA, (Zeus) Cian, + son of son of + Elathan, Diancéct, (god the healer) + son of son of + Dela, Esric, + son of son of + Ned, Dela, + son of son of + Indaei, Ned, + son of son of + Indaei, + son of ALLDAEI. +</pre> + <p> + Amongst other Irish gods was Bove Derg, who dwelt invisible in the Galtee + mountains, and in the hills above Lough Derg. The transformed children + alluded to in Vol. I. were his grand-children. It was his goldsmith Len, + who gave its ancient name to the Lakes of Killarney, Locha Lein. Here by + the lake he worked, surrounded by rainbows and showers of fiery dew. + </p> + <p> + Mananan was the god of the sea, of winds and storms, and most skilled in + magic lore. He was friendly to Cuculain, and was invoked by seafaring men. + He was called the Far Shee of the promontories. + </p> +<pre xml:space="preserve"> + BOVE DERG (circa 1500 B.C.) MANANAN (circa 1500 B.C.) + son of son of + Eocaidh Garf, Alloid, + son of son of + Duach Temen, Elathan, + son of son of + Bras, Dela, + son of son of + Dela, Ned, + son of son of + Ned, Indaei, + son of son of + Indaei, + son of ALLDAEI. +</pre> + <p> + The Tuátha De Danan maybe counted literally by the hundred, each with a + distinct history, and all descended from Alldaei. + </p> + <p> + From Alldaei the pedigree runs back thus:— + </p> +<pre xml:space="preserve"> + Alldaei + son of + Tath, + son of + Tabarn, + son of + Enna, + son of + Baath, + son of + Ebat, + son of + Betah, + son of + Iarbanel, + son of + NEMEDH (circa 1700 B.C.) +</pre> + <p> + Nemedh, as I have said, forms one of the great epochs in the mythological + record. As will be seen, he and the earlier Partholan have a common + source:— + </p> +<pre xml:space="preserve"> + NEMEDH + son of + Sera, + son of + Pamp, + son of + Tath, PARTHOLAN (2000 B.C.) + son of son of + Sera, + son of + Sru, + son of + Esru, + son of + Pramant. +</pre> + <p> + The connection between Keasair, the earliest of the Irish gods, and the + rest of the cycle, I have not discovered, but am confident of its + existence. + </p> + <p> + How this divine cycle can be expunged from the history of Ireland I am at + a loss to see. The account which a nation renders of itself must, and + always does, stand at the head of every history. + </p> + <p> + How different is this from the history and genealogy of the Greek gods + which runs thus:— + </p> +<pre xml:space="preserve"> + The Olympian gods, + Titans, + Physical entities, Nox, Chaos, &c. +</pre> + <p> + The Greek gods, undoubtedly, had a long ancestry extending into the depths + of the past, but the sudden advent of civilisation broke up the bardic + system before the historians could become philosophical, or philosophers + interested in antiquities. + </p> + <p> + But the Irish history corrects our view with regard to other matters + connected with the gods of the Aryan nations of Europe also. + </p> + <p> + All the nations of Europe lived at one time under the bardic and druidic + system, and under that system imagined their gods and elaborated their + various theogonies, yet, in no country in Europe has a bardic literature + been preserved except in Ireland, for no thinking man can believe Homer to + have been a product of that rude type of civilisation of which he sings. + This being the case, modern philosophy, accounting for the origin of the + classical deities by guesses and <i>a priori</i> reasonings, has almost + universally adopted that explanation which I have, elsewhere, called + Wordsworthian, and which derives them directly from the imagination + personifying the aspects of nature. + </p> +<pre xml:space="preserve"> + "In that fair clime, the lonely herdsman, stretched + On the soft grass through half a summer's day, + With music lulled his indolent repose, + And in some fit of weariness if he, + When his own breath was silent, chanced to hear + A distant strain far sweeter than the sounds + Which his poor skill could make, his fancy fetched, + Even from the blazing chariot of the sun, + A beardless youth who touched a golden lute + And filled the illumined groves with ravishment— + *** + "Sunbeams upon distant hills, + Gliding apace with shadows in their train, + Might, with small help from fancy, be transformed + Into fleet oreads, sporting visibly." +</pre> + <p> + This is pretty, but untrue. In all the ancient Irish literature we find + the connection of the gods, both those who survived into the historic + times, and those whom they had dethroned, with the raths and cairns + perpetually and almost universally insisted upon. The scene of the + destruction of the Firbolgs will be found to be a place of tombs, the + metropolis of the Fomorians a place of tombs, and a place of tombs the + sacred home of the Tuátha along the shores of the Boyne. Doubtless, they + are represented also as dwelling in the hills, lakes, and rivers, but + still the connection between the great raths and cairns and the gods is + never really forgotten. When the floruit of a god has expired, he is + assigned a tomb in one of the great tumuli. No one can peruse this ancient + literature without seeing clearly the genesis of the Irish gods, <i>videlicet</i> + heroes, passing, through the imagination and through the region of poetic + representation, into the world of the supernatural. When a king died, his + people raised his ferta, set up his stone, and engraved upon it, at least + in later times, his name in ogham. They celebrated his death with funeral + lamentations and funeral games, and listened to the bards chanting his + prowess, his liberality, and his beauty. In the case of great warriors, + these games and lamentations became periodical. It is distinctly recorded + in many places, for instance in connection with Taylti, who gave her name + to Taylteen and Garman, who gave her name to Loch Garman, now Wexford, and + with Lu Lamfáda, whose annual worship gave its name to the Kalends of + August. Gradually, as his actual achievements became more remote, and the + imagination of the bards, proportionately, more unrestrained, he would + pass into the world of the supernatural. Even in the case of a hero so + surrounded with historic light as Cuculain we find a halo, as of godhood, + often settling around him. His gray warsteed had already passed into the + realm of mythical representation, as a second avatar of the Liath Macha, + the grey war-horse of the war-goddess Macha. This could be believed, even + in the days when the imagination was controlled by the annalists and + tribal heralds. + </p> + <p> + The gods of the Irish were their deified ancestors. They were not the + offspring of the poetic imagination, personifying the various aspects of + nature. Traces, indeed, we find of their influence over the operations of + nature, but they are, upon the whole, slight and unimportant. From nature + they extract her secrets by their necromantic and magical labours, but + nature is as yet too great to be governed and impelled by them. The Irish + Apollo had not yet entered into the sun. + </p> + <p> + Like every country upon which imperial Rome did not leave the impress of + her genius, Ireland, in these ethnic times, attained only a partial unity. + The chief king indeed presided at Tara, and enjoyed the reputation and + emoluments flowing to him on that account, but, upon the whole, no Irish + king exercised more than a local sovereignty; they were all reguli, petty + kings, and their direct authority was small. This being the case, it would + appear to me that in the more ancient times the death of a king would not + be an event which would disturb a very extensive district, and that, + though his tomb might be considerable, it would not be gigantic. + </p> + <p> + Now on the banks of the Boyne, opposite Rosnaree, there stands a tumulus, + said to be the greatest in Europe. It covers acres of ground, being of + proportionate height. The earth is confined by a compact stone wall about + twelve feet high. The central chamber, made of huge irregular pebbles, is + about twenty feet from ground to roof, communicating with the outer air by + a flagged passage. Immense pebbles, drawn from the County of Antrim, stand + around it, each of which, even to move at all, would require the labour of + many men, assisted with mechanical appliances. It is, of course, + impossible to make an accurate estimate of the expenditure of labour + necessary for the construction of such a work, but it would seem to me to + require thousands of men working for years. Can we imagine that a petty + king of those times could, after his death, when probably his successor + had enough to do to sustain his new authority, command such labour merely + to provide for himself a tomb. If this tomb were raised to the hero whose + name it bears immediately after his death, and in his mundane character, + he must have been such a king as never existed in Ireland, even in the + late Christian times. Even Brian of the Tributes himself, could not have + commanded such a sepulture, or anything like it, living though he did, + probably, two thousand years later than that Eocaidh Mac Elathan, whenever + he did live. There is a <i>nodus</i> here needing a god to solve it. + </p> + <p> + Returning now to what would most likely take place after the interment of + a hero, we may well imagine that the size of his tomb would be in + proportion to the love which he inspired, where no accidental causes would + interfere with the gratification of that feeling. Of one of his heroes, + Ossian, sings— + </p> +<pre xml:space="preserve"> + "We made his cairn great and high + Like a king's." +</pre> + <p> + After that there would be periodical meetings in his honour, the + celebration of games, solemn recitations by bards, singing his aristeia + [Transcriber's Note: Greek in the original]. Gradually the new wine would + burst the old bottles. The ever-active, eager-loving imagination would + behold the champion grown to heroic proportions, the favourite of the + gods, the performer of superhuman feats. The tomb, which was once + commensurate with the love and reverence which he inspired, would seem so + now no longer. The tribal bards, wandering or attending the great fairs + and assemblies, would disperse among strangers and neighbours a knowledge + of his renown. In the same cemetery or neighbourhood their might be other + tombs of heroes now forgotten, while he, whose fame was in every bardic + mouth in all that region, was honoured only with a tomb no greater than + theirs. The mere king or champion, grown into a topical hero, would need a + greater tomb. + </p> + <p> + Ere long again, owing to the bardic fraternity, who, though coming from + Innishowen or Cape Clear, formed a single community, the topical hero + would, in some cases, where his character was such as would excite deeper + reverence and greater fame, grow into a national hero, and a still nobler + tomb be required, in order that the visible memorial might prove + commensurate with the imaginative conception. + </p> + <p> + Now all this time the periodic celebrations, the games, and lamentations, + and songs would be assuming a more solemn character. Awe would more and + more mingle with the other feelings inspired by his name. Certain rites + and a certain ritual would attend those annual games and lamentations, + which would formerly not have been suitable, and eventually, when the + hero, slowly drawing nearer through generations, if not centuries, at last + reached Tir-na-n-Og, and was received into the family of the gods, a + religious feeling of a different nature would mingle with the more secular + celebration of his memory, and his rath or cairn would assume in their + eyes a new character. + </p> + <p> + To an ardent imaginative people the complete extinction by death of a + much-loved hero would even at first be hardly possible. That the tomb + which held his ashes should be looked upon as the house of the hero must + have been, even shortly after his interment, a prevailing sentiment, + whether expressed or not. Also, the feeling must have been present, that + the hero in whose honour they performed the annual games, and periodically + chanted the remembrance of whose achievements, saw and heard those things + that were done in his honour. But as the celebration became greater and + more solemn, this feeling would become more strong, and as the tomb, from + a small heap of stones or low mound, grew into an enormous and imposing + rath, the belief that this was the hero's house, in which he invisibly + dwelt, could not be avoided, even before they ceased to regard him as a + disembodied hero; and after the hero had mingled with the divine clans, + and was numbered amongst the gods, the idea that the rath was a tomb could + not logically be entertained. As a god, was he not one of those who had + eaten of the food provided by Mananan, and therefore never died. The rath + would then become his house or temple. As matter of fact, the bardic + writings teem with this idea. From reason and probability, we would with + some certainty conclude that the great tumulus of New Grange was the + temple of some Irish god; but that it was so, we know as a fact. The + father and king of the gods is alluded to as dwelling there, going out + from thence, and returning again, and there holding his invisible court. + </p> +<pre xml:space="preserve"> + "Behold the <i>Sid</i> before your eyes, + It is manifest to you that it is a king's mansion." +[Note: O'Curry's Manuscript Materials of Irish History, page 505.] + + "Bove Derg went to visit the Dagda at the Brugh of Mac-An-Og." +[Note: "Dream of Angus," Révue Celtique, Vol. III., page 349.] +</pre> + <p> + Here also dwelt Angus Og, the son of the Dagda. In this, his spiritual + court or temple, he is represented as having entertained Oscar and the + Ossianic heroes, and thither he conducted [Note: Publications of Ossianic + Society, Vol. III., page 201.] the spirit of Diarmid, that he might have + him for ever there. + </p> + <p> + In the etymology also we see the origin of the Irish gods. A grave in + Irish is Sid, the disembodied spirit is Sidhe, and this latter word + glosses Tuátha De Danan. + </p> + <p> + The fact that the grave of a hero developed slowly into the temple of a + god, explains certain obscurities in the annals and literature. As a hero + was exalted into a god, so in turn a god sank into a hero, or rather into + the race of the giants. The elder gods, conquered and destroyed by the + younger, could no longer be regarded as really divine, for were they not + proved to be mortal? The development of the temple from the tomb was not + forgotten, the whole country being filled with such tombs and incipient + temples, from the great Brugh on the Boyne to the smallest mound in any of + the cemeteries. Thus, when the elder gods lost their spiritual + sovereignty, and their destruction at the hands of the younger took the + form of great battles, then as the god was forced to become a giant, so + his temple was remembered to be a tomb. Doubtless, in his own territory, + divine honours were still paid him; but in the national imagination and in + the classical literature and received history, he was a giant of the olden + time, slain by the gods, and interred in the rath which bore his name. + Such was the great Mac Erc, King of Fir-bolgs. + </p> + <p> + Again, when the mediaeval Christians ceased to regard the Tuátha De Danan + as devils, and proceeded to rationalise the divine record as the ethnic + bards had rationalised the history of the early gods; the Tuátha De Danan, + shorn of immortality, became ancient heroes who had lived their day and + died, and the greater raths, no longer the houses of the gods, figure in + that literature irrationally rational, as their tombs. Thus we are gravely + informed [Note: Annals of Four Masters.] that "the Dagda Mor, after the + second battle of Moy Tura, retired to the Brugh on the Boyne, where he + died from the venom of the wounds inflicted on him by Kethlenn"—the + Fomorian amazon—"and was there interred." Even in this passage the + writer seems to have been unable to dispossess his mind quite of the + traditional belief that the Brugh was the Dagda's house. + </p> + <p> + The peculiarity of this mound, in addition to its size, is the + spaciousness of the central chamber. This was that germ which, but for the + overthrow of the bardic religion, would have developed into a temple in + the classic sense of the word. A two-fold motive would have impelled the + growing civilisation in this direction. A desire to make the house of the + god as spacious within as it was great without, and a desire to transfer + his worship, or the more esoteric and solemn part of it, from without to + within. Either the absence of architectural knowledge, or the force of + conservatism, or the advent of the Christian missionaries, checked any + further development on these lines. + </p> + <p> + Elsewhere the tomb, instead of developing as a tumulus or barrow, produced + the effect of greatness by huge circumvallations of earth, and massive + walls of stone. Such is the temple of Ned the war-god, called Aula Neid, + the court or palace of Ned, near the Foyle in the North. Had the ethnic + civilisation of Ireland been suffered to develop according to its own + laws, it is probable that, as the roofed central chamber of the cairn + would have grown until it filled the space occupied by the mound, so the + open-walled temple would have developed into a covered building, by the + elevation of the walls, and their gradual inclination to the centre. + </p> + <p> + The bee-hive houses of the monks, the early churches, and the round towers + are a development of that architecture which constructed the central + chambers of the raths. In this fact lies, too, the explanation of the + cyclopean style of building which characterizes our most ancient + buildings. The cromlech alone, formed in very ancient times the central + chamber of the cairn; it is found in the centre of the raths on Moy Tura, + belonging to the stone age and that of the Firbolgs. When the cromlech + fell into disuse, the arched chamber above the ashes of the hero was + constructed with enormous stones, as a substitute for the majestic + appearance presented by the massive slab and supporting pillars of the + more ancient cromlech, and the early stone buildings preserved the same + characteristic to a certain extent. + </p> + <p> + The same sentiment which caused the mediaeval Christians to disinter and + enshrine the bones of their saints, and subsequently to re-enshrine them + with greater art and more precious materials, caused the ethnic + worshippers of heroes to erect nobler tombs over the inurned relics of + those whom they revered, as the meanness of the tomb was seen to + misrepresent and humiliate the sublimity of the conception. But the + Christians could never have imagined their saints to have been anything + but men—a fact which caused the retention and preservation of the + relics. When the Gentiles exalted their hero into a god, the charred bones + were forgotten or ascribed to another. The hero then became immortal in + his own right; he had feasted with Mananan and eaten his life-giving food, + and would not know death. + </p> + <p> + When the mortal character of the hero was forgotten, his house or temple + might be erected anywhere. The great Raths of the Boyne—a place + grown sacred from causes which we may not now learn—represented, + probably, heroes and heroines, who died and were interred in many + different parts of the country. + </p> + <p> + To recapitulate, the Dagda Mor was a divine title given to a hero named + Eocaidh, who lived many centuries before the birth of Christ, and in the + depths of the pre-historic ages. He was the mortal scion or ward of an + elder god, Elathan, and was interred in some unknown grave—marked, + perhaps, by a plain pillar stone, or small insignificant cairn. + </p> + <p> + The great tumulus of New Grange was the temple of the divine or + supernatural period of his spiritual or imagined career after death, and + was a development by steps from that small unremembered grave where once + his warriors hid the inurned ashes of the hero. + </p> + <p> + What is true of one branch of the Aryan family is true of all. Sentiments + of such universality and depth must have been common to all. If this be + so, the Olympian Zeus himself was once some rude chieftain dwelling in + Thrace or Macedonia, and his sublime temple of Doric architecture + traceable to some insignificant cairn or flagged cist in Greece, or some + earlier home of the Hellenic race, and his name not Zeus, but another; and + Kronos, that god whom he, as a living wight, adored, and under whose + protection and favour he prospered. + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Early Bardic Literature, Ireland, by +Standish O'Grady + +*** END OF THIS PROJECT GUTENBERG EBOOK EARLY BARDIC LITERATURE, IRELAND *** + +***** This file should be named 8109-h.htm or 8109-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/8/1/0/8109/ + +Produced by Ar dTeanga Fein, and David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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