Old Celtic Romances Part 1

Old Celtic Romances.

by Unknown.

PREFACE.

Among the Celtic people of Ireland and the north-west of Scotland, story-telling has always been a favourite amus.e.m.e.nt. In the olden time, they had professional story-tellers, variously designated according to rank--ollaves, shanachies, files, bards, etc.--whose duty it was to know by heart a number of old tales, poems, and historical pieces, and to recite them at festive gatherings, for the entertainment of the chiefs and their guests. These story-tellers were always well received at the houses of princes and chiefs, and treated with much consideration; and on occasions when they acquitted themselves well, so as to draw down the applause of the audience, they were often rewarded with costly presents.

To meet the demand for this sort of entertainment, ingenious "men of learning," taking legends or historical events as themes, composed stories from time to time; of which those that struck the popular fancy were caught up and remembered, and handed down from one generation of story-tellers to another. In course of time, a body of romantic literature grew up, consisting chiefly of prose tales, which were cla.s.sified, according to subject, into Battles, Voyages, Tragedies, Military Expeditions, Cattle-Raids, Courtships, Pursuits, Adventures, Visions, etc.[I.]

Some of these tales were historical, _i.e._ founded on historical events, and corresponded closely with what is now called the historical romance; while others were altogether fict.i.tious--pure creations of the imagination. But it is to be observed that even in the fict.i.tious tales, the main characters are always historical, or such as were considered so. The old ollaves wove their fictions round Conor Mac Nessa and his Red Branch Knights, or Finn and his Fena, or Luga of the Long Arms and his Dedannans, or Conn the Hundred-fighter, or Cormac Mac Art; like the Welsh legends of Arthur and his Round Table, or the Arabian romances of Haroun-al-Raschid and his Court.

The greater number of the tales were, as I have said, in prose. But some were in poetry; and in many of the prose tales the leading characters are often made to express themselves in verse, or some striking incident of the story is repeated in a poetical form. Not unfrequently the fragments of verse introduced into a prose tale are quotations from an older poetical version of the same tale; and hence it often happens that while the prose may be plain enough, the poetry is often archaic and obscure.

At some very early period in Ireland--how early we have now no means of determining with certainty--Celtic thought began to be committed to writing; and as everything seems to have been written down that was considered worth preserving, ma.n.u.scripts acc.u.mulated in course of time, which were kept either in monasteries, or in the houses of the hereditary professors of learning. But in the dark time of the Danish ravages, and during the troubled centuries that followed the Anglo-Norman invasion, the ma.n.u.script collections were gradually dispersed, and a large proportion lost or destroyed. Yet we have remaining--rescued by good fortune from the general wreck--a great body of ma.n.u.script literature. Our two most important collections are those in Trinity College and in the Royal Irish Academy, Dublin; where we have ma.n.u.scripts of various ages, from the year 1100 down to the present century, on every conceivable subject--Annals, History, Biography, Theology, Romance, Legend, Science, etc. These ma.n.u.scripts, which, it should be remarked, are nearly all copies from older books, contain a vast collection of romantic literature: it may, indeed, be said that there is scarcely one important event in our early history, or one important native personage or native legend, that has not been made the subject of some fanciful story.

The volume I now offer to the notice of the public contains eleven tales, selected and translated from the ma.n.u.scripts of Trinity College and of the Royal Irish Academy. Some have been already published, with original text and _literal_ translation, and are to be found in the Transactions of various literary societies, where, however, they are inaccessible to the general run of readers; and even if they were accessible, they are almost unreadable, the translations having been executed, not for literary, but for linguistic purposes. Others have never been translated or given to the public in any shape or form till now.

Of the whole collection of eleven tales, therefore, it may be said that they are quite new to the general ma.s.s of the reading public. And furthermore, this is the first collection of the old Gaelic prose romances that has ever been published in fair English translation.

Sc.r.a.ps and fragments of some of these tales have been given to the world in popular publications, by writers who, not being able to read the originals, took their information from printed books in the English language. But I am forced to say that many of these specimens have been presented in a very unfavourable and unjust light--distorted to make them look _funny_, and their characters debased to the mere modern conventional stage Irishman. There is none of this silly and odious vulgarity in the originals of these fine old tales, which are high and dignified in tone and feeling--quite as much so as the old romantic tales of Greece and Rome.[II.]

A translation may either follow the very words, or reproduce the life and spirit, of the original; but no translation can do both. If you render word for word, you lose the spirit; if you wish to give the spirit and manner, you must depart from the exact words, and frame your own phrases. I have chosen this latter course. My translation follows the original closely enough in narrative and incident; but so far as mere phraseology is concerned, I have used the English language freely, not allowing myself to be trammelled by too close an adherence to the very words of the text. The originals are in general simple in style; and I have done my best to render them into simple, plain, homely English. In short, I have tried to tell the stories as I conceive the old shanachies themselves would have told them, if they had used English instead of Gaelic.

In the originals, the stories run on without break or subdivision;[III.]

but I have thought it better to divide the longer ones into chapters, with appropriate headings.

In almost all cases I had at my command several copies of the same story, some of them differing in phraseology and in minor points of detail, though agreeing, in the main, in narrative and incident. I found this a considerable advantage, as it gave me more freedom in the choice of expression.

I have made full use of the literal translations of those tales that have been already published in the Transactions of the Ossianic Society, in the _Atlantis_, in the Proceedings of the Royal Irish Academy, and in the Journal of the Royal Historical and Archaeological a.s.sociation of Ireland. But, in order to secure the advantage of various readings, I compared, in every case, the published text with at least one copy of the story, in the Royal Irish Academy, in Trinity College, or in my own private ma.n.u.script collection.

The ancient inst.i.tution of professional story-telling held its ground both in Ireland and in Scotland down to a very recent period; and it is questionable if it be even yet quite extinct. Within my own memory, this sort of entertainment was quite usual among the farming cla.s.ses of the south of Ireland. The family and workmen, and any neighbours that chose to drop in, would sit round the kitchen fire after the day's work--or perhaps gather in a barn on a summer or autumn evening--to listen to some local shanachie reciting one of his innumerable Gaelic tales. The story-teller never chose his own words--he always had the story by heart, and recited the words from memory, often gliding into a sort of recitative in poetical pa.s.sages, or when he came to some favourite grandiose description abounding in high-sounding alliterative adjectives. And very interesting it was to mark the rapt attention of the audience, and to hear their excited exclamations when the speaker came to relate some mighty combat, some great exploit of the hero, or some other striking incident. Three years ago, I met a man in Kilkee, who had a great number of these stories by heart, and who actually repeated for me, without the slightest hitch or hesitation, more than half--and if I had not stopped him would have given me the whole--of "Cuirt an Mheadhon-Oidhche" ("The Midnight Court"), a poem about six times as long as Gray's "Elegy."

I will now proceed to give a few particulars concerning these tales, including a short account of the ma.n.u.script or ma.n.u.scripts from which each has been translated.

THE THREE TRAGIC STORIES OF ERIN.

Among the ancient Gaelic tales, three were known as "the three most sorrowful (tales) of story-telling," or "The Three Tragic Stories of Erin;" viz., "The Fate of the Children of Usna," "The Fate of the Children of Lir," and "The Fate of the Children of Turenn." I have not included the first in this volume, but a poetical version of it has been written and published by my brother.[IV.]

THE FATE OF THE CHILDREN OF LIR.

Two translations of this tale have been published: one literal, with the Gaelic text, by Professor O'Curry, in the _Atlantis_ (Nos. vii. and viii.); and another, less literal, by Gerald Griffin, in his "Tales of a Jury-Room."

The oldest known copies of the tale are, one in the Catholic University, Dublin, made by Andrew Mac Curtin, a well-known Gaelic scholar and scribe of the county Clare, who lived between 1680 and 1740; one in Trinity College, Dublin, made by Hugh O'Daly, in 1758; and one in the British Museum, made by Richard Tipper of Dublin, in 1718.[V.] There is also a very good copy in the Royal Irish Academy (23. C. 26), of which I made considerable use, written in or about 1782, by Peter O'Connell, a good Gaelic scholar of the county Clare. From a comparison of several of these versions, O'Curry made his copy of the text as published in the _Atlantis_.

There may be, and there probably are, older copies, in Trinity College, in the British Museum, or elsewhere, if we knew only where to find them.

And this observation applies to several of the tales that follow, of which we have at hand only modern copies.

THE FATE OF THE CHILDREN OF TURENN.

In the Book of Lecan (folio 28), which was compiled by the Mac Firbises, about A.D. 1416, is a short account, partly in prose and partly in verse, of the celebrated eric-fine imposed on the three sons of Turenn, by Luga of the Long Arms, for killing his father Kian; but this old book does not give the story of the quest for the fine. The full tale, text and literal translation, has been published by O'Curry in the _Atlantis_. There are several good copies in the Royal Irish Academy: one in 23. G. 10, transcribed by Patrick Brown of the county Clare, in 1805; another in 23. E. 16, written out by Michael Oge O'Longan, in 1797; and a third (imperfect) in 23. M. 47, copied by Andrew Mac Curtin, in 1734.

There are references to these three sons of Turenn, and to the manner of their death, in two very old authorities, viz., Cormac's "Glossary"

(about A.D. 900); and a poem by Flann of Monaster-boice (who died A.D.

1056), a copy of which is in the Book of Leinster, written about A.D.

1130.

In the older references to the sons of Turenn, they are called Brian, Iuchar, Iucharba; but in some comparatively modern copies of the tale the names are a little different--for instance, Peter O'Connell calls them Uar, Iuchar, and Iucharba; and they vary still further in other copies. I have taken advantage of this variety to give the names in a more p.r.o.nounceable form in my translation.

In the original, this tale is introduced by an anecdote of Nuada of the Silver Hand and the two great Dedannan leeches, Midac and Armedda (see page 92, _infra_), which has nothing whatever to do with the story, and which I have omitted.

THE OVERFLOWING OF LOUGH NEAGH.

"Leabhar na h-Uidhre," or "The Book of the Dun Cow," from which this and the two following tales are taken, is the oldest ma.n.u.script of miscellaneous Gaelic literature we possess. It was transcribed from older books by Maelmuire Mac Ceilechair, who died A.D. 1106; and it is now deposited in the Royal Irish Academy, Dublin--or rather, I should say, a large fragment of it, for the book has suffered much mutilation.

This venerable book may now be said to be in the hands of the public, as it has been lately reproduced in lithograph fac-simile, and published by the Council of the Royal Irish Academy, at the Government expense.

The story of "The Overflowing of Lough Neagh" (called in the original "The Destruction of Eocho Mac Mairedo") has been published, with text and literal translation, by the late J. O'Beirne Crowe, in the Kilkenny Archaeological Journal volume for 1870-1.

In this story I have been obliged to make a few transpositions in the mere order of the incidents, for the narrative in the original is in some places very ill arranged.

It is now nearly eight hundred years since this story was _transcribed_ from some old authority into "The Book of the Dun Cow;" and it is singular that the tradition of the formation of Lough Neagh, by the overflow of an enchanted well which was neglected by the woman in charge of it, still maintains a vivid existence among the peasantry. (See on this subject the author's "Origin and History of Irish Names of Places,"

Series I. 4th edition, page 176.)

CONNLA OF THE GOLDEN HAIR, AND THE FAIRY MAIDEN.

This tale (called in the original "Echtra Condla Cain," "The Adventures of Connla the Comely") is taken from "The Book of the Dun Cow." It has been published, with text and literal translation, by the late J.

O'Beirne Crowe, in the Kilkenny Archaeological Journal (volume 1874-5, page 128).

This is one of the many tales that ill.u.s.trate the ancient and widespread superst.i.tion that fairies sometimes take away mortals to their palaces in the fairy forts and pleasant green hills;[19] of which the last story in this book--"Oisin in Tirnanoge"--is another example. This superst.i.tion prevailed in Ireland and the Scottish Highlands as far back as either history or tradition reaches; it flourished in full vigour within my own memory; and it is scarcely quite extinct--in Ireland at least--at the present day.[VI.] In connection with the antiquity of this superst.i.tion, it must be borne in mind that the present story was transcribed into "The Book of the Dun Cow" in or about the year 1100, from some older book; and that it relates to the time of Conn the Hundred-fighter, king of Ireland, who reigned in the second century of the Christian era.

THE VOYAGE OF MAILDUN.

Of this tale (which is now given to the public for the first time) the oldest copy is in "The Book of the Dun Cow" (about the year 1100); but it is imperfect at both beginning and end--a portion having been torn away when the book was mutilated at some former time. There is a perfect copy in the Yellow Book of Lecan, in Trinity College, Dublin, and another in the British Museum (MS. Harl. 5280).

After I had made a rough translation of the greater part of this piece, I discovered a good literal translation in ma.n.u.script in the Royal Irish Academy, made by the late J. O'Beirne Crowe, which was of great use to me, as it helped to explain some strange terms, and to clear up some obscure pa.s.sages.

This voyage would appear from internal evidence to have been made in the beginning of the eighth century (O'Curry says about the year 700); for I think it likely that Maildun did actually go on a voyage, which was afterwards made the framework of the story. On my translation of this tale, Lord Tennyson founded his poem "The Voyage of Maeldune."

Of the _Imrama_ or voluntary sea expeditions (to which the present story belongs) there are, according to O'Curry (Lect. MS. Mat. 289), only four remaining, all very ancient. Of these the best known is the "Voyage of St. Brendan," undertaken in the sixth century, which was at one time celebrated all over Europe, and which has been lately made the theme of a fine poem by Denis Florence McCarthy.

Another of these _Imrama_ is the "Voyage of the Sons of O'Corra," which has been described at some length by Professor O'Curry (Lect. MS. Mat.