The Project Gutenberg eBook, The High Deeds of Finn and other Bardic Romances of Ancient Ireland, by T. W. Rolleston, et al, Illustrated by Stephen Reid

THE HIGH DEEDS OF FINN

AND OTHER BARDIC ROMANCES
OF ANCIENT IRELAND

BY

T. W. ROLLESTON

WITH AN INTRODUCTION
BY
STOPFORD A. BROOKE M.A. LL.D.

AND
WITH SIXTEEN ILLUSTRATIONS
BY
STEPHEN REID

New York
Thomas Y. Crowell & Company
Publishers

AR
CRAOIBH CONNARTHA NA GAEDHILGE
I NGLEANN FHAIDHLE BRONNAIM AN LEABHAR SEO:
BEANNACHT AGUS BUAIDH
LIBHSE GO DEO

THE HIGH DEEDS OF FINN

[Preface]

[Introduction]
[COIS NA TEINEADH]

Illustrations

["FINN HEARD FAR OFF THE FIRST NOTES OF THE FAIRY HARP"] (see [here])
["THERE SAT THE THREE MAIDENS WITH THE QUEEN"]
["THEY MADE AN ENCAMPMENT AND THE SWANS SANG TO THEM"]
["BEAR US SWIFTLY, BOAT OF MANANAN, TO THE GARDEN OF THE HESPERIDES"]
["THERE DWELT THE RED-HAIRED OCEAN-NYMPHS"]
["THEY ALL TROOPED OUT, LORDS AND LADIES, TO VIEW THE WEE MAN"]
["FERGUS GOES DOWN INTO THE LAKE"]
["A MIGHTY SHOUT OF EXULTATION AROSE FROM THE ULSTERMEN"]
["THEY ROSE UP IN THE AIR"]
["SHE HEARD HER OWN NAME CALLED AGAIN AND AGAIN"]
["AND THAT NIGHT THERE WAS FEASTING AND JOY IN THE LONELY HUT"]
["THEY RAN HIM BY HILL AND PLAIN"]
["DERMOT TOOK THE HORN AND WOULD HAVE FILLED IT"]
["'FOLLOW ME NOW TO THE HILL OF ALLEN'"]
["THEY RODE UP TO A STATELY PALACE"]
["THE WHITE STEED HAD VANISHED FROM THEIR EYES LIKE A WREATH OF MIST"]

Preface

The romantic tales here retold for the English reader belong neither to the category of folk-lore nor of myth, although most of them contain elements of both. They belong, like the tales of Cuchulain, which have been similarly presented by Miss Hull,[^[1]] to the bardic literature of ancient Ireland, a literature written with an artistic purpose by men who possessed in the highest degree the native culture of their land and time. The aim with which these men wrote is also that which has been adopted by their present interpreter. I have not tried, in this volume, to offer to the scholar materials for the study of Celtic myth or folk-lore. My aim, however I may have fulfilled it, has been artistic, not scientific. I have tried, while carefully preserving the main outline of each story, to treat it exactly as the ancient bard treated his own material, or as Tennyson treated the stories of the MORT D'ARTHUR, that is to say, to present it as a fresh work of poetic imagination. In some cases, as in the story of the Children of Lir, or that of mac Datho's Boar, or the enchanting tale of King Iubdan and King Fergus, I have done little more than retell the bardic legend with merely a little compression; but in others a certain amount of reshaping has seemed desirable. The object in all cases has been the same, to bring out as clearly as possible for modern readers the beauty and interest which are either manifest or implicit in the Gaelic original.

For stories which are only found in MSS. written in the older forms of the language, I have been largely indebted to the translations published by various scholars. Chief among these (so far as the present work is concerned) must be named Mr Standish Hayes O'Grady—whose wonderful treasure-house of Gaelic legend, SILVA GADELICA, can never be mentioned by the student of these matters without an expression of admiration and of gratitude; Mr A.H. Leahy, author of HEROIC ROMANCES OF IRELAND; Dr Whitly Stokes, Professor Kuno Meyer, and M. d'Arbois de Jubainville, whose invaluable CYCLE MYTHOLOGIQUE IRLANDAIS has been much in my hands, both in the original and in the excellent English translation of Mr R.I. Best. Particulars of the source of each story will be found in the Notes on the Sources at the end of this volume. In the same place will also be found a pronouncing-index of proper names. I have endeavoured, in the text, to avoid or to modify any names which in their original form would baffle the English reader, but there remain some on the pronunciation of which he may be glad to have a little light.

The two most conspicuous figures in ancient Irish legend are Cuchulain, who lived—if he has any historical reality—in the reign of Conor mac Nessa immediately before the Christian era, and Finn son of Cumhal, who appears in literature as the captain of a kind of military order devoted to the service of the High King of Ireland during the third century A.D. Miss Hull's volume has been named after Cuchulain, and it is appropriate that mine should bear the name of Finn, as it is mainly devoted to his period; though, as will be seen, several stories belonging to other cycles of legend, which did not fall within the scope of Miss Hull's work, have been included here.[^[2]] All the tales have been arranged roughly in chronological order. This does not mean according to the date of their composition, which in most cases is quite indiscoverable, and still less, according to the dates of the MSS. in which they are contained. The order is given by the position, in real or mythical history, of the events they deal with. Of course it is not practicable to dovetail them into one another with perfect accuracy. Where a story, like that of the Children of Lir, extends over nearly a thousand years, beginning with the mythical People of Dana and ending in the period of Christian monasticism, one can only decide on its place by considering where it will throw most light on those which come nearest to it. In this, as in the selection and treatment of the tales, there is of course room for much difference of opinion. I can only ask the critic to believe that nothing has been done in the framing of this collection of Gaelic romances without the consideration and care which the value of the material demands and which the writer's love of it has inspired.

T. W. ROLLESTON

Introduction

Many years have passed by since, delivering the Inaugural Lecture of the Irish Literary Society in London, I advocated as one of its chief aims the recasting into modern form and in literary English of the old Irish legends, preserving the atmosphere of the original tales as much as possible, but clearing them from repetitions, redundant expressions, idioms interesting in Irish but repellent in English, and, above all, from absurdities, such as the sensational fancy of the later editors and bards added to the simplicities of the original tales.

Long before I spoke of this, it had been done by P.W. Joyce in his OLD CELTIC ROMANCES, and by Standish O'Grady for the whole story of Cuchulain, but in this case with so large an imitation of the Homeric manner that the Celtic spirit of the story was in danger of being lost. This was the fault I had to find with that inspiring book,[^[3]] but it was a fault which had its own attraction.

Since then, a number of writers have translated into literary English a host of the Irish tales, and have done this with a just reverence for their originals. Being, in nearly every case, Irish themselves, they have tried, with varying success, to make their readers realize the wild scenery of Ireland, her vital union with the sea and the great ocean to the West, those changing dramatic skies, that mystic weather, the wizard woods and streams which form the constant background of these stories; nor have they failed to allure their listeners to breathe the spiritual air of Ireland, to feel its pathetic, heroic, imaginative thrill.

They have largely succeeded in their effort. The Irish bardic tales have now become a part of English literature and belong not only to grown up persons interested in early poetry, in mythology and folk-customs, but to the children of Ireland and England. Our new imaginative stories are now told in nurseries, listened to at evening when the children assemble in the fire-light to hear tales from their parents, and eagerly read by boys at school. A fresh world of story-telling has been opened to the imagination of the young.

This could not have been done in the right way if it had not been for the previous work of Celtic scholars in Ireland, and particularly on the Continent, in France and Germany. Having mastered medieval Irish, they have translated with careful accuracy many of the ancient tales, omitting and changing nothing; they have edited them critically, collating and comparing them with one another, and with other forms of the same stories. We have now in English, French, and German the exact representation of the originals with exhaustive commentaries.

When this necessary work was finished—and it was absolutely necessary—it had two important results on all work of the kind Mr Rolleston has performed in this book—on the imaginative recasting and modernizing of the ancient tales. First, it made it lawful and easy for the modern artist—in sculpture, painting, poetry, or imaginative prose—to use the stories as he pleased in order to give pleasure to the modern world. It made it lawful because he could reply to those who objected that what he produced was not the real thing—"The real thing exists; you will find it, when you wish to see it, accurately and closely translated by critical and competent scholars. I refer you to the originals in the notes to this book. I have found the materials of my stories in these originals; and it is quite lawful for me, now that they have been reverently preserved, to use them as I please for the purpose of giving pleasure to the modern world—to make out of them fresh imaginative work, as the medieval writers did out of the original stories of Arthur and his men." This is the defence any re-caster of the ancient tales might make of the lawfulness of his work, and it is a just defence; having, above all, this use—that it leaves the imagination of the modern artist free, yet within recognized and ruling limits, to play in and around his subject.

One of those limits is the preservation, in any remodelling of the tales, of the Celtic atmosphere. To tell the Irish stories in the manner of Homer or Apuleius, in the manner of the Norse sagas, or in the manner of Malory, would be to lose their very nature, their soul, their nationality. We should no longer understand the men and women who fought and loved in Ireland, and whose characters were moulded by Irish surroundings, customs, thoughts, and passions. We should not see or feel the landscape of Ireland or its skies, the streams, the woods, the animals and birds, the mountain solitudes, as we feel and see them in the original tales. We should not hear, as we hear in their first form, the stormy seas between Scotland and Antrim, or the great waves which roar on the western isles, and beat on cliffs which still belong to another world than ours. The genius of Ireland would desert our work.

And it would be a vast pity to lose the Irish atmosphere in the telling of the Irish tales, because it is unique; not only distinct from that of the stories of other races, but from that of the other branches of the Celtic race. It differs from the atmosphere of the stories of Wales, of Brittany, of the Highlands and islands of Scotland. It is more purely Celtic, less mixed than any of them. A hundred touches in feeling, in ways of thought, in sensitiveness to beauty, in war and voyaging, and in ideals of life, separate it from that of the other Celtic races.

It is owing to the careful, accurate, and critical work of continental and Irish scholars on the manuscript materials of Irish Law, History, Bardic Tales, and Poetry; on customs, dress, furniture, architecture, ornament, on hunting and sailing; on the manners of men and women in war and peace, that the modern re-teller of the Irish tales is enabled to conserve the Irish atmosphere. And this conservation of the special Irish atmosphere is the second result which the work of the critical scholars has established. If the re-writer of the tales does not use the immense materials made ready to his hand for illustration, expansion, ornament and description in such a way that Ireland, and only Ireland, lives in his work from line to line, he is greatly to be blamed.

Mr Rolleston has fulfilled these conditions with the skill and the feeling of an artist. He has clung closely to his originals with an affectionate regard for their ancientry, their ardour and their distinction, and yet has, within this limit, used and modified them with a pleasant freedom. His love of Ireland has instilled into his representation of these tales a passion akin to that which gave them birth. We feel, as we read, how deep his sympathy has been with their intensity, their love of wild nature, their desire for beauty, their interest in humanity and in character, their savagery and their tenderness, their fairy magic and strange imaginations that suddenly surprise and charm. Whenever anything lovely emerges in the tale, he does not draw attention to it, but touches it with so artistic a pencil that its loveliness is enhanced. And he has put into English verse the Irish poems scattered through the tales with the skill and the temper of a poet. I hope his book will win what it deserves—the glad appreciation of old and young in England, and the gratitude of Ireland.

The stories told in this book belong to three distinct cycles of Irish story-telling. The first are mythological, and are concerned with the early races that are fabled to have dwelt and fought in Ireland Among these the Tuatha De Danaan were the final conquerors, and held the land for two hundred years They were, it is supposed, of the Celtic stock, but they were not the ancestors of the present Irish. These were the Milesians (Irish, Scots or Gaelic who, conquering the Tuatha De Danaan, ruled Ireland till they were overcome by the English.) The stories which have to do with the Tuatha De Danaan are mythical and of a great antiquity concerning men and women, the wisest and the best of whom became gods, and who appear as divine beings in the cycle of tales which follow after them They were always at war with a fierce and savage people called Fomorians, whom they finally defeated and the strife between them may mythically represent the ancient war between the good and evil principles in the world.

In the next cycle we draw nearer to history, and are in the world not of myth but of legend. It is possible that some true history may be hidden underneath its sagas, that some of its personages may be historical, but we cannot tell. The events are supposed to occur about the time of the birth of Christ, and seventeen hundred years after those of the mythical period. This is the cycle which collects its wars and sorrows and splendours around the dominating figure of Cuchulain, and is called the Heroic or the Red Branch or the Ultonian cycle. Several sagas tell of the birth, the life, and the death of Cuchulain, and among them is the longest and the most important—the Táin—the Cattle Raid of Cooley.

Others are concerned with the great King Conor mac Nessa, and the most known and beautiful of these is the sorrowful tale of Deirdré. There are many others of the various heroes and noble women who belonged to the courts of Conor and of his enemy Queen Maev of Connaght. The Carving of mac Datho's Boar, the story of Etain and Midir, and the Vengeance of Mesgedra, contained in this book belong to these miscellaneous tales unconnected with the main saga of Cuchulain.

The second cycle is linked to the first, not by history or race, but by the fact that the great personages in the first have now become the gods who intervene in the affairs of the wars and heroes of the second. They take part in them as the gods do in the Iliad and the Odyssey. Lugh, the Long-Handed, the great Counsellor of the Tuatha De Danaan, is now a god, and is the real father of Cuchulain, heals him of his wounds in the Battle of the Ford, warns him of his coming death, and receives him into the immortal land. The Morrigan, who descends from the first cycle, is now the goddess of war, and is at first the enemy and afterwards the lover of Cuchulain. Angus, The Dagda, Mananan the sea-god, enter not only into the sagas of the second cycle, but into those of the third, of the cycle of Finn. And all along to the very end of the stories, and down indeed to the present day, the Tuatha De Danaan appear in various forms, slowly lessening in dignity and power, until they end in the fairy folk in whom the Irish peasants still believe. They are alive and still powerful in the third—the Fenian—cycle of stories, some of which are contained and adorned in this book. In their continued presence is the only connexion which exists between the three cycles. No personages of the first save these of the gods appear in the Heroic cycle, none of the Heroic cycle appears in the Fenian cycle. Seventeen hundred years, according to Irish annalists, separate the first from the second, more than two hundred years separate the second from the beginning of the third.

The third cycle is called Fenian because its legends tell, for the most part, of the great deeds of the Féni or Fianna, who were the militia employed by the High King to support his supremacy, to keep Ireland in order, to defend the country from foreign invasion. They were, it seems, finally organized by Cormac mac Art, 227 A.D.(?) the grandson of Conn the Hundred Fighter. But they had loosely existed before in the time of Conn and his son Art, and like all mercenary bodies of this kind were sometimes at war with the kings who employed them. Finally, at the battle of Gowra, they and their power were quite destroyed. Long before this destruction, they were led in the reign of Cormac by Finn the son of Cumhal, and it is around Finn and Oisín the son of Finn, that most of the romances of the Fenian cycle are gathered. Others which tell of the battles and deeds of Conn and Art and Cormac and Cairbre of the Liffey, Cormac's son, are more or less linked on to the Fenians. On the whole, Finn and his warriors, each of a distinct character, warlike skill and renown, are the main personages of the cycle, and though Finn is not the greatest warrior, he is their head and master because he is the wisest; and this masterdom by knowledge is for the first time an element in Irish stories.

If the tales of the first cycle are mythological and of the second heroic, these are romantic. The gods have lost their dreadful, even their savage character, and have become the Fairies, full often of gentleness, grace, and humour. The mysterious dwelling places of the gods in the sea, in unknown lands, in the wandering air, are now in palaces under the green hills of Ireland, or by the banks of swift clear rivers, like the palace of Angus near the Boyne, or across the seas in Tir-na-n-Óg, the land of immortal youth, whither Niam brings Oisín to live with her in love, as Morgan le Fay brought Ogier the Dane to her fairyland. The land of the Immortals in the heroic cycle, to which, in the story of Etain and Midir in this book, Midir brings back Etain after she has sojourned for a time on earth, is quite different in conception from the Land of Youth over the far seas where delightfulness of life and love is perfect. This, in its conception of an unknown world where is immortal youth, where stormless skies, happy hunting, strange adventure, gentle manners dwell, where love is free and time is unmarked, is pure romance. So are the adventures of Finn against enchanters, as in the story of the Birth of Oisín, of Dermot in the Country under the Seas, in the story of the Pursuit of the Gilla Dacar, of the wild love-tale of Dermot and Grania, flying for many years over all Ireland from the wrath of Finn, and of a host of other tales of enchantments and battle, and love, and hunting, and feasts, and discoveries, and journeys, invasions, courtships, and solemn mournings. No doubt the romantic atmosphere has been deepened in these tales by additions made to them by successive generations of bardic singers and storytellers, but for all that the original elements in the stories are romantic as they are not in the previous cycles.

Again, these Fenian tales are more popular than the others. Douglas Hyde has dwelt on this distinction. "For 1200 years at least, they have been," he says, "intimately bound up with the thought and feelings of the whole Gaelic race in Ireland and Scotland." Even at the present day new forms are given to the tales in the cottage homes of Ireland. And it is no wonder. The mysterious giant forms of the mythological period, removed by divinity from the sympathy of men; the vast heroic figures of Cuchulain and his fellows and foes, their close relation to supernatural beings and their doings, are far apart from the more natural humanity of Cormac and Finn, of Dermot and Goll, of Oisín and Oscar, of Keelta, and last of Conan, the coward, boaster and venomous tongue, whom all the Fenians mocked and yet endured. They are a very human band of fighting men, and though many of them, like Oisín and Finn and Dermot, have adventures in fairyland, they preserve in these their ordinary human nature. The Connacht peasant has no difficulty in following Finn into the cave of Slieve Cullinn, where the witch turned him into a withered old man, for the village where he lives has traditions of the same kind; the love affairs of Finn, of Dermot and Grania, and of many others, are quite in harmony with a hundred stories, and with the temper, of Irish lovers. A closer, a simpler humanity than that of the other cycles pervades the Fenian cycle, a greater chivalry, a greater courtesy, and a greater tenderness. We have left the primeval savagery behind, the multitudinous slaughtering, the crude passions of the earlier men and women; we are nearer to civilization, nearer to the common temper and character of the Irish people. No one can doubt this who will compare the Vengeance of Mesgedra with the Chase of the Gilla Dacar.

The elaborate courtesy with which Finn and his chief warriors receive all comers, as in the story of Vivionn the giantess, is quite new, even medieval in its chivalry; so is the elaborate code of honour; so also is, on the whole, the treatment of women and their relation to men. How far this resemblance to medieval romance has been intruded into the stories—(there are some in which there is not a trace of it)—by the after editors and re-editors of the tales, I cannot tell, but however that may be, their presence in the Fenian cycle is plain; and this brings the stories into a kindlier and more pleasurable atmosphere for modern readers than that which broods in thunderous skies and fierce light over dreadful passions and battles thick and bloody in the previous cycles. We are in a gentler world.

Another more modern romantic element in the Fenian legends is the delight in hunting, and that more affectionate relation of men to animals which always marks an advance in civilization. Hunting, as in medieval romance, is one of the chief pleasures of the Fenians. Six months of the year they passed in the open, getting to know every part of the country they had to defend, and hunting through the great woods and over the hills for their daily food and their daily delight. The story of the Chase of the Gilla Dacar tells, at its beginning, of a great hunting and of Finn's men listening with joy to the cries of the hunters and the loud chiding of the dogs; and many tales celebrate the following of the stag and the wild boar from early dawn to the evening. Then Finn's two great hounds, Bran and Sceolaun, are loved by Finn and his men as if they were dear friends; and they, when their master is in danger or under enchantment wail like human beings for his loss or pain. It is true Cuchulain's horses weep tears of blood when he goes forth to his last battle, foreknowing his death; but they are immortal steeds and have divine knowledge of fate. The dogs of Finn are only dogs, and the relation between him and them is a natural relation, quite unlike the relation between Cuchulain and the horses which draw his chariot. Yet Finn's dogs are not quite as other dogs. They have something of a human soul in them. They know that in the milk-white fawn they pursue there is an enchanted maiden, and they defend her from the other hounds till Finn arrives. And it is told of them that sometimes, when the moon is high, they rise from their graves and meet and hunt together, and speak of ancient days. The supernatural has lessened since the heroic cycle. But it is still there in the Fenian.

Again, the Fenian cycle of tales is more influenced by Christianity than the others are. The mythological cycle is not only fully pagan, it is primeval. It has the vastness, the savagery, the relentlessness of nature-myths, and what beauty there is in it is akin to terror. Gentleness is unknown. There is only one exception to this, so far as I know, and that is in the story of The Children of Lir. It is plain, however, that the Christian ending of that sorrowful story is a later addition to it. It is remarkably well done, and most tenderly. I believe that the artist who did it imported into the rest of the tale the exquisite tenderness which fills it, and yet with so much reverence for his original that he did not make the body of the story Christian. He kept the definite Christian element to the very end, but he filled the whole with its tender atmosphere.

No Christianity and very little gentleness intrude into the heroic cycle. The story of Christ once touches it, but he who put it in did not lose the pagan atmosphere, or the wild fierceness of the manners of the time. How it was done may be read in this book at the end of the story of the Vengeance of Mesgedra. Very late in the redaction of these stories a Christian tag was also added to the tale of the death of Cuchulain, but it was very badly done.

When we come to the Fenian cycle there is a well-defined borderland between them and Christianity. The bulk of the stories is plainly pagan; their originals were frankly so. But the temper of their composers is more civilized than that of those who conceived the tales of the previous cycles; the manners, as I have already said, of their personages are gentler, more chivalrous; and their atmosphere is so much nearer to that of Christianity, that the new Christian elements would find themselves more at home in them than in the terrible vengeance of Lugh, the savage brutality of Conor to Deirdré, or the raging slaughterings of Cuchulain. So much was this the case that a story was skilfully invented which linked in imagination the Fenian cycle to a Christianized Ireland. This story—Oisín in the Land of Youth—is contained in this book. Oisín, or Ossian, the son of Finn, in an enchanted story, lives for 300 years, always young, with his love in Tir-na-n-Óg, and finds on his return, when he becomes a withered old man, St Patrick and Christianity in Ireland. He tells to Patrick many tales of the Fenian wars and loves and glories, and in the course of them paganism and Christianity are contrasted and intermingled. A certain sympathy with the pagan ideas of honour and courage and love enters into the talk of Patrick and the monks, and softens their pious austerity. On the other hand, the Fenian legends are gentled and influenced by the Christian elements, in spite of the scorn with which Oisín treats the rigid condemnation of his companions and of Finn to the Christian hell, and the ascetic and unwarlike life of the monks.[^[4]] There was evidently in the Fenian cycle of story-telling a transition period in which the bards ran Christianity and paganism in and out of one another, and mingled the atmosphere of both, and to that period the last editing of the story of Lir and his Children may be referred. A lovely story in this book, put into fine form by Mr Rolleston, is as it were an image of this transition time—the story or How Ethne quitted Fairyland. It takes us back to the most ancient cycle, for it tells of the great gods Angus and Mananan, and then of how they became, after their conquest by the race who live in the second cycle, the invisible dwellers in a Fairy country of their own during the Fenian period, and, afterwards, when Patrick and the monks had overcome paganism. Thus it mingles together elements from all the periods. The mention of the great caldron and the swine which always renew their food is purely mythological. The cows which come from the Holy Land are Christian. Ethne herself is born in the house of a pagan god who has become a Fairy King, but loses her fairy nature and becomes human; and the reason given for this is an interesting piece of psychology which would never have occurred to a pagan world. She herself is a transition maiden, and, suddenly finding herself outside the fairy world and lost, happens on a monastery and dies on the breast of St Patrick. But she dies because of the wild wailing for her loss of the fairy-host, whom she can hear but cannot see, calling to her out of the darkened sky to come back to her home. And in her sorrow and the battle in her between the love of Christ and of Faerie, she dies. That is a symbol, not intended as such by its conceiver, but all the more significant, of the transition time. Short as it is, few tales, perhaps, are more deeply charged with spiritual meaning.

Independent of these three cycles, but often touching them here and there, and borrowing from them, there are a number of miscellaneous tales which range from the earliest times till the coming of the Danes. The most celebrated of these are the Storming of the Hostel with the death of Conary the High King of Ireland, and the story of the Boru tribute. Two examples of these miscellaneous tales of a high antiquity are contained in this book—King Iubdan and King Fergus and Etain and Midir. Both of them have great charm and delightfulness.

Finally, the manner in which these tales grew into form must be remembered when we read them. At first, they were not written down, but recited in hall and with a harp's accompaniment by the various bardic story-tellers who were attached to the court of the chieftain, or wandered singing and reciting from court to court. Each bard, if he was a creator, filled up the original framework of the tale with ornaments of his own, or added new events or personages to the tale, or mixed it up with other related tales, or made new tales altogether attached to the main personages of the original tale—episodes in their lives into which the bardic fancy wandered. If these new forms of the tales or episodes were imaginatively true to the characters round which they were conceived and to the atmosphere of the time, they were taken up by other bards and became often separate tales, or if a great number attached themselves to one hero, they finally formed themselves into one heroic story, such as that which is gathered round Cuchulain, which, as it stands, is only narrative, but might in time have become epical. Indeed, the Táin approaches, though at some distance, an epic. In this way that mingling of elements out of the three cycles into a single Saga took place.

Then when Christianity came, the Irish who always, Christians or not, loved their race and its stories, would not let them go. They took them and suffused them with a Christian tenderness, even a Christian forgiveness. Or they inserted Christian endings, while they left the rest of the stories as pagan as before. Later on, while the stories were still learned by the bards and recited, they were written down, and somewhat spoiled by a luxurious use of ornamental adjectives, and by the weak, roving and uninventive fancy of men and monks aspiring to literature but incapable of reaching it.

However, in spite of all this intermingling and of the different forms of the same story, it is possible for an intelligent and sensitive criticism, well informed in comparative mythology and folklore, to isolate what is very old in these tales from that which is less old, and that in turn from that which is still less old, and that from what is partly historical, medieval or modern. This has been done, with endless controversy, by those excellent German, French, and Irish scholars who have, with a thirsty pleasure, recreated the ancient literature of Ireland, and given her once more a literary name among the nations—a name which, having risen again, will not lose but increase its brightness.

As to the stories themselves, they have certain well-marked characteristics, and in dwelling on these, I shall chiefly refer, for illustration, to the stories in this book. Some of these characteristic elements belong to almost all mythological tales, and arise from human imagination, in separated lands, working in the same or in a similar way on the doings of Nature, and impersonating them. The form, however, in which these original ideas are cast is, in each people, modified and varied by the animal life, the climate, the configuration of the country, the nearness of mountain ranges and of the sea, the existence of wide forests or vast plains, of swift rivers and great inland waters.

The earliest tales of Ireland are crowded with the sea that wrapt the island in its arms; and on the west and north the sea was the mighty and mysterious Ocean, in whose far infinities lay for the Irish the land of Immortal Youth. Between its shining shores and Ireland, strange islands—dwelt in by dreadful or by fair and gracious creatures, whose wonders Maeldun and Brendan visited—lay like jewels on the green and sapphire waters. Out of this vast ocean emerged also their fiercest enemies. Thither, beyond these islands into the Unknown, over the waves on a fairy steed, went Oisín with Niam; thither, in after years, sailed St Brendan, till it seemed he touched America. In the ocean depths were fair cities and well-grassed lands and cattle, which voyagers saw through water thin and clear. There, too, Brian, one of the sons of Turenn, descended in his water-dress and his crystal helmet, and found high-bosomed maidens weaving in a shining hall. Into the land beneath the wave, Mananan, the proud god of the sea brought Dermot and Finn and the Fianna to help him in his wars, as is told in the story of the Gilla Dacar. On these western seas, near the land, Lir's daughters, singing and floating, passed three hundred years. On other seas, in the storm and in the freezing sleet that trouble the dark waves of Moyle, between Antrim and the Scottish isles, they spent another three centuries. Half the story of the Sons of Usnach has to do with the crossing of seas and with the coast. Even Cuchulain, who is a land hero, in one of the versions of his death, dies fighting the sea-waves. The sound, the restlessness, the calm, the savour and the infinite of the sea, live in a host of these stories; and to cap all, the sea itself and Mananan its god sympathise with the fates of Erin. When great trouble threatens Ireland, or one of her heroes is near death, there are three huge waves which, at three different points, rise, roaring, out of the ocean, and roll, flooding every creek and bay and cave and river round the whole coast with tidings of sorrow and doom. Later on, in the Fenian tales, the sea is not so prominent. Finn and his clan are more concerned with the land. Their work, their hunting and adventures carry them over the mountains and plains, through the forests, and by the lakes and rivers. In the stories there is scarcely any part of Ireland which is not linked, almost geographically, with its scenery. Even the ancient gods have retired from the coast to live in the pleasant green hills or by the wooded shores of the great lakes or in hearing of the soft murmur of the rivers. This business of the sea, this varied aspect of the land, crept into the imagination of the Irish, and were used by them to embroider and adorn their poems and tales. They do not care as much for the doings of the sky. There does not seem to be any supreme god of the heaven in their mythology. Neither the sun nor the moon are specially worshipped. There are sun-heroes like Lugh, but no isolated sun-god. The great beauty of the cloud-tragedies of storm, the gorgeous sunrises and sunsets, so dramatic in Ireland, or the magnificence of the starry heavens, are scarcely celebrated. But the Irish folk have heard the sound of the wind in the tree-tops and marked its cold swiftness over the moor, and watched with fear or love the mists of ocean and the bewilderment of the storm-driven snow and the sweet falling of the dew. These are fully celebrated.

These great and small aspects of Nature are not only celebrated, they are loved. One cannot read the stories in this book without feeling that the people who conceived and made them observed Nature and her ways with a careful affection, which seems to be more developed in the Celtic folk than elsewhere in modern Europe. There is nothing which resembles it in Teutonic story-telling. In the story of The Children of Lir, though there is no set description of scenery, we feel the spirit of the landscape by the lake where Lir listened for three hundred years to the sweet songs of his children. And, as we read of their future fate, we are filled with the solitude and mystery, the ruthlessness and beauty of the ocean. Even its gentleness on quiet days enters from the tale into our imagination. Then, too, the mountain-glory and the mountain-gloom are again and again imaginatively described and loved. The windings and recesses, the darkness and brightness of the woods and the glades therein, enchant the Fenians even when they are in mortal danger. And the waters of the great lakes, the deep pools of the rivers, the rippling shallows, the green banks, the brown rushing of the torrents, are all alive in the prose and song of Ireland. How deep was the Irish love of these delightful things is plain from their belief that "the place of the revealing of poetry was always by the margin of water." And the Salmon of Knowledge, the eating of which gave Finn his pre-eminence, swam in a green pool, still and deep, over which hung a rowan tree that shed its red berries on the stream. Lovely were the places whence Art and Knowledge came.

Then, as to all good landscape lovers, the beasts, birds, and insects of Nature were dear to these ancient people. One of the things Finn most cared for was not only his hounds, but the "blackbird singing on Letterlee"; and his song, on page 114, in the praise of May, tells us how keen was his observant eye for animal life and how much it delighted him. The same minute realisation of natural objects is illustrated in this book when King Iubdan explains to the servant the different characteristics of the trees of the forest, and the mystic elements that abide in them. It was a habit, even of Teutonic poets, to tell of the various trees and their uses in verse, and Spenser and Drayton have both done it in later times. But few of them have added, as the Irish story does, a spiritual element to their description, and made us think of malign or beneficent elements attached to them. The woodbine, and this is a strange fancy, is the king of the woods. The rowan is the tree of the magicians, and its berries are for poets. The bramble is inimical to man, the alder is full of witchcraft, and the elder is the wood of the horses of the fairies. Into every tree a spiritual power is infused; and the good lords of the forest are loved of men and birds and bees.

Thus the Irish love of nature led them to spiritualise, in another way than mythical, certain things in nature, and afterwards to humanise, up to a certain point, the noble implements wrought by human skill out of natural materials. And this is another element in all these stories, as it is in the folk-lore also of other lands. In the tale of the Sons of Turenn, the stones of the wayside tell to Lugh the story of the death of his father Kian, and the boat of Mananan, indwelt by a spirit, flies hither and thither over the seas, obeying the commands, even the thought, of its steersman. The soul of some famed spears is so hot for slaughter that, when it is not being used in battle, its point must stand in a bath of blood or of drowsy herbs, lest it should slay the host. The swords murmur and hiss and cry out for the battle; the shield of the hero hums louder and louder, vibrating for the encouragement of the warrior. Even the wheels of Cuchulain's chariot roar as they whirl into the fight. This partial life given to the weapons of war is not specially Celtic. Indeed, it is more common in Teutonic than in Celtic legend, and it seems probable that it was owing to the Norsemen that it was established in the Hero tales of Ireland.

This addition of life, or of some of the powers of life, to tree and well and boulder-stone, to river and lake and hill, and sword and spear, is common to all mythologies, but the special character of each nation or tribe modifies the form of the life-imputing stories. In Ireland the tree, the stream were not dwelt in by a separate living being, as in Grecian story; the half-living powers they had were given to them from without, by the gods, the demons, the fairies; and in the case of the weapons, the powers they had of act or sound arose from the impassioned thoughts and fierce emotions of their forger or their wielder, which, being intense, were magically transferred to them. The Celtic nature is too fond of reality, too impatient of illusion, to believe in an actual living spirit in inanimate things. At least, that is the case in the stories of the Hero and the Fenian Cycles.[^[5]]

What the Irish of the Heroic, and still more of the Fenian Cycle, did make in their imagination was a world, outside of themselves, of living spiritual beings, in whose actuality they fully believed, and in whom a great number of them still believe. A nation, if I may use this term, dwelt under the sea. Another dwelt in the far island of the ocean, the Isle of the Ever-Young. Another dwelt in the land, in the green hills and by the streams of Ireland; and these were the ancient gods who had now lost their dominion over the country, but lived on, with all their courtiers and warriors and beautiful women in a country underground. As time went on, their powers were dwarfed, and they became small of size, less beautiful, and in our modern times are less inclined to enter into the lives of men and women. But the Irish peasant still sees them flitting by his path in the evening light, or dancing on the meadow round the grassy mound, singing and playing strange melodies; or mourns for the child they have carried away to live with them and forget her people, or watches with fear his dreaming daughter who has been touched by them, and is never again quite a child of this earth, or quite of the common race of man.

These were the invisible lands and peoples of the Irish imagination; and they live in and out of many of the stories. Cuchulain is lured into a fairy-land, and lives for more than a year in love with Fand, Mananan's wife. Into another fairy-land, through zones of mist, Cormac, as is told here, was lured by Mananan, who now has left the sea to play on the land. Oisín, as I have already said, flies with Niam over the sea to the island of Eternal Youth. Etain, out of the immortal land, is born into an Irish girl and reclaimed and carried back to her native shore by Midir, a prince of the Fairy Host. Ethne, whose story also is here, has lived for all her youth in the court of Angus, deep in the hill beside the rushing of the Boyne.

These stories are but a few out of a great number of the loves and wars between the men and women of the human and the fairy races. Curiously enough, as the stories become less ancient, the relations between men and the fairies are more real, more close, even more affectionate. Finn and the Fianna seem to be almost in daily companionship with the fairy host—much nearer to them than the men of the Heroic Cycle are to the gods. They interchange love and music and battle and adventure with one another. They are, for the most part, excellent friends; and their intercourse suffers from no doubt. It is as real as the intercourse between Welsh and English on the Borderland.

There was nothing illusive, nothing merely imaginary, in these fairy worlds for the Irish hero or the Irish people. They believed the lands to be as real as their own, and the indwellers of fairyland to have like passions with themselves. Finn is not a bit surprised when Vivionn the giantess sits beside him on the hill, or Fergus when King Iubdan stands on his hand; or St Patrick when Ethne, out of fairyland, dies on his breast, or when he sees, at his spell, Cuchulain, dead some nine hundred years, come forth out of the dark gates of Sheol, high in his chariot, grasping his deadly spear, driven as of old by his well-loved charioteer, drawn by the immortal steeds through the mist, and finally talking of his deeds and claiming a place in the Christian heaven—a place that Patrick yields to him. The invisible worlds lived, loved, and thought around this visible world, and were, it seems, closer and more real to the Celtic than to other races.

But it was not only these agreeable and lovely folk in pleasant habitations whom the Irish made, but also spirits of another sort, of lesser powers and those chiefly malignant, having no fixed dwelling-place, homeless in the air and drifting with it, embodying the venomous and deadly elements of the earth and the angers and cruelty of the sea, and the hypocrisy of them all—demons, some of whom, like the stepmother of the children of Lir, have been changed from men or women because of wicked doings, but the most part born of the evil in Nature herself. They do what harm they can to innocent folk; they enter into, support, and direct—like Macbeth's witches—the evil thoughts of men; they rejoice in the battle, in the wounds and pain and death of men; they shriek and scream and laugh around the head of the hero when he goes forth, like Cuchulain, to an unwearied slaughter of men. They make the blight, the deadly mist, the cruel tempest. To deceive is their pleasure; to discourage, to baffle, to ruin the hero is their happiness. Some of them are monsters of terrific aspect who abide in lakes or in desolate rocks, as the terrible tri-formed horse whom Fergus mac Leda conquered and by whom he died.

Naturally, as a link between these supernatural worlds and the natural world, there arose a body of men and women in Irish legend who, by years of study, gained a knowledge of, and power over, the supernatural beings, and used these powers for hurt to the enemies of their kingdom, or for help to their own people. Some were wise, learned, and statesmanlike, and used their powers for good. These were the high Druids, and every king had a band of them at his court and in his wars. They practiced what the Middle Ages called white magic. Others were wizards, magicians, witches, who, like the children of Cailitin, the foes of Cuchulain, or the three mutilated women whom Maev educated in evil craft to do evil to her foes, or the dread band that deceived Cuchulain into his last ride of death, practised black magic—evil, and the ministers of evil. Magic, and the doing of it, runs through the whole of Irish story-telling, and not only into pagan but also into Christian legend; for it was easy to change the old gods into devils, to keep the demonic creatures as demons, to replace the wise Druids by the priests and saints, and the wizards by the heretics who gave themselves to sorcery. Thus the ancient supernaturalism of the Irish has continued, with modern modifications, to the present day. The body of thought is much the same as it was in the days of Conor and Finn; the clothing is a bit different.

Another characteristic of the stories, especially in the mythological period, is the barbaric brutality which appears in them. Curiously mingled with this, in direct contrast, is their tenderness. These extreme contrasts are common in the Celtic nature. A Gael, whether of Ireland or the Western Isles, will pass in a short time from the wildest spirits, dancing and singing and drinking, into deep and grim depression—the child of the present, whether in love or war; and in the tales of Ireland there is a similar contrast between their brutality and their tenderness. The sudden fierce jealousy and the pitiless cruelty of their stepmother to the children of Lir is set over against the exquisite tenderness of Fionnuala, which pervades the story like an air from heaven. The noble tenderness of Deirdre, of Naisi and his brothers, in life and death, to one another, is lovelier in contrast with the savage and treacherous revenge of Conor. The great pitifulness of Cuchulain's fight with his dear friend Ferdia, whom he is compelled to slay; the crowning tenderness of Emer's recollective love in song before she dies on Cuchulain's dead body, are in full contrast with the savage hard-heartedness and cruelties of Maev, and with the ruthless slaughters Cuchulain made of his foes, out of which he seems often to pass, as it were, in a moment, into tenderness and gracious speech. Even Finn, false for once to his constant courtesy, revenges himself on Dermot so pitilessly that both his son and grandson cry shame upon him.

Of course this barbaric cruelty is common to all early periods in every nation; and, whenever fierce passion is aroused, to civilised nations also. What is remarkable in the Irish tales is the contemporary tenderness. The Vikings were as savage as the Irish, but the savagery is not mingled with the Irish tenderness. At last, when we pass from the Hero Cycle into the Cycle of Finn, there is scarcely any of the ancient brutality to be found in the host of romantic stories which gather round the chivalry of the Fenians.

There are other characteristics of these old tales on which I must dwell. The first is the extra-ordinary love of colour. This is not a characteristic of the early German, English or Scandinavian poems and tales. Its remarkable presence in Scottish poetry, at a time when it is scarcely to be found in English literature, I have traced elsewhere to the large admixture of Celtic blood in the Lowlands of Scotland. In early Irish work it is to be found everywhere. In descriptions of Nature, which chiefly appear in the Fenian Cycle and in Christian times, colour is not as much dwelt on as we should expect, for nowhere that I have seen is it more delicate and varied than under the Irish atmosphere. Yet, again and again, the amber colour of the streams as they come from the boglands, and the crimson and gold of the sunsetting, and the changing green of the trees, and the blue as it varies and settles down on the mountains when they go to their rest, and the green crystal of the sea in calm and the dark purple of it in storm, and the white foam of the waves when they grow black in the squall, and the brown of the moors, and the yellow and rose and crimson of the flowers, and many another interchanging of colour, are seen and spoken of as if it were a common thing always to dwell on colour. This literary custom I do not find in any other Western literature. It is even more remarkable in the descriptions of the dress and weapons of the warriors and kings. They blaze with colour; and as gold was plentiful in Ireland in those far-off days, yellow and red are continually flashing in and out of the blue and green and rich purple of their dress. The women are dressed in as rich colours as the men. When Eochy met Etain by the spring of pure water, as told in this book, she must have flashed in the sunlight like a great jewel. Then, the halls where they met and the houses of the kings are represented as glorious with colour, painted in rich patterns, hung with woven cloths dyed deep with crimson and blue and green and yellow. The common things in use, eating and drinking implements, the bags they carry, the bed-clothing, the chess-men, the tables, are embroidered or chased or set with red carbuncles or white stones or with interlacing of gold. Colour is everywhere and everywhere loved. And where colour is loved the arts flourish, as the decorative arts flourished in Ireland.

Lastly, on this matter, the Irish tale-tellers, even to the present day, dwell with persistence on the colour of the human body as a special loveliness, and with as much love of it as any Venetian when he painted it. And they did this with a comparison of its colour to the colours they observed in Nature, so that the colour of one was harmonised with the colour of the other. I might quote many such descriptions of the appearance of the warriors—they are multitudinous—but the picture of Etain is enough to illustrate what I say—"Her hair before she loosed it was done in two long tresses, yellow like the flower of the waterflag in summer or like red gold. Her hands were white as the snow of a single night, and her eyes as blue as the dark hyacinth, and her lips red as the berries of the rowan-tree, and her body as white as the foam of the sea-waves. The radiance of the moon was in her face and the light of wooing in her eyes." So much for the Irish love of colour.[^[6]]

Their love of music was equally great; and was also connected with Nature. "The sound of the flowing of streams." said one of their bardic clan, "is sweeter than any music of men." "The harp of the woods is playing music," said another. In Finn's Song to May, the waterfall is singing a welcome to the pool below, the loudness of music is around the hill, and in the green fields the stream is singing. The blackbird, the cuckoo, the heron and the lark are the musicians of the world. When Finn asks his men what music they thought the best, each says his say, but Oisín answers, "The music of the woods is sweetest to me, the sound of the wind and of the blackbird, and the cuckoo and the soft silence of the heron." And Finn himself, when asked what was his most beloved music, said first that it was "the sharp whistling of the wind as it went through the uplifted spears of the seven battalions of the Fianna," and this was fitting for a hero to say. But when the poet in him spoke, he said his music was the crying of the sea-gull, and the noise of the waves, and the voice of the cuckoo when summer was at hand, and the washing of the sea against the shore, and of the tide when it met the river of the White Trout, and of the wind rushing through the cloud. And many other sayings of the same kind this charming and poetic folk has said concerning those sweet, strong sounds in Nature out of which the music of men was born.

Again, there is not much music in the Mythological Tales. Lugh, it is true, is a great harper, and the harp of the Dagda, into which he has bound his music, plays a music at whose sound all men laugh, and another so that all men weep, and another so enthralling that all fall asleep; and these three kinds of music are heard through all the Cycles of Tales. Yet when the old gods of the mythology became the Sidhe,[^[7]] the Fairy Host, they—having left their barbaric life behind—became great musicians. In every green hill where the tribes of fairy-land lived, sweet, wonderful music was heard all day—such music that no man could hear but he would leave all other music to listen to it, which "had in it sorrows that man has never felt, and joys for which man has no name, and it seemed as if he who heard it might break from time into eternity and be one of the immortals." And when Finn and his people lived, they, being in great harmony and union with the Sidhe, heard in many adventures with them their lovely music, and it became their own. Indeed, Finn, who had twelve musicians, had as their chief one of the Fairy Host who came to dwell with him, a little man who played airs so divine that all weariness and sorrow fled away. And from him Finn's musicians learnt a more enchanted art than they had known before. And so it came to pass that as in every fairy dwelling there was this divine art, so in every palace and chieftain's hall, and in every farm, there were harpers harping on their harps, and all the land was full of sweet sounds and airs—shaping in music, imaginative war, and sorrows, and joys, and aspiration. Nor has their music failed. Still in the west and south of Ireland, the peasant, returning home, hears, as the evening falls from the haunted hills, airs unknown before, or at midnight a wild triumphant song from the Fairy Host rushing by, or wakes with a dream melody in his heart. And these are played and sung next day to the folk sitting round the fire. Many who heard these mystic sounds became themselves the makers of melodies, and went about the land singing and making and playing from village to village and cabin to cabin, till the unwritten songs of Ireland were as numerous as they were various. Moore collected a hundred and twenty of them, but of late more than five hundred he knew not of have been secured from the people and from manuscripts for the pleasure of the world. And in them lives on the spirit of the Fianna, and the mystery of the Fairy Host, and the long sorrow and the fleeting joy of the wild weather in the heart of the Irish race.

As to the poetry of Ireland, that other Art which is illustrated in this book, so fully has it been dwelt on by many scholars and critics that it needs not be touched here other than lightly and briefly. The honour and dignity of the art of poetry goes back in Irish mythology to a dim antiquity. The ancient myth said that the nine hazels of wisdom grew round a deep spring beneath the sea, and the hazels were the hazels of inspiration and of poetry—so early in Ireland were inspiration and poetry made identical with wisdom. Seven streams of wisdom flowed from that fountain-head, and when they had fed the world returned to it again. And all the art-makers of mankind, and of all arts, have drunk of their waters. Five salmon in the spring ate of the hazel nuts, and some haunted the rivers of Ireland; and whosoever, like Finn, tasted the flesh of these immortal fish, was possessed of the wisdom which is inspiration and poetry. Such was the ancient Irish conception of the art of poetry.

It is always an art which grows slowly into any excellence, and it needs for such growth a quieter life than the Irish lived for many centuries. Poems appear but rarely in the mythological or heroic cycles, and are loosely scattered among the prose of the bardic tales. A few are of war, but they are chiefly dirges like the Song of Emer over the dead body of Cuchulain, or that of Deirdre over Naisi—pathetic wailings for lost love. There is an abrupt and pitiful pain in the brief songs of Fionnuala, but I fancy these were made and inserted in Christian times. Poetry was more at home among the Fianna. The conditions of life were easier; there was more leisure and more romance. And the other arts, which stimulate poetry, were more widely practised than in the earlier ages. Finn's Song to May, here translated, is of a good type, frank and observant, with a fresh air in it, and a fresh pleasure in its writing. I have no doubt that at this time began the lyric poetry of Ireland, and it reached, under Christian influences, a level of good, I can scarcely say excellent, work, at a time when no other lyrical poetry in any vernacular existed in Europe or the Islands. It was religious, mystic, and chiefly pathetic—prayers, hymns, dirges, regrets in exile, occasional stories of the saints whose legendary acts were mixed with pagan elements, and most of these were adorned with illustrations drawn from natural beauty or from the doings of birds and beasts—a great affection for whom is prominent in the Celtic nature. The Irish poets sent this lyric impulse into Iceland, Wales, and Scotland, and from Scotland into England; and the rise of English vernacular poetry instead of Latin in the seventh and eighth centuries is due to the impulse given by the Irish monasteries at Whitby and elsewhere in Northumbria. The first rude lyric songs of Cædmon were probably modelled on the hymns of Colman.

One would think that poetry, which arose so early in a nation's life, would have developed fully. But this was not the case in Ireland. No narrative, dramatic, didactic, or epic poetry of any importance arose, and many questions and answers might be made concerning this curious restriction of development. The most probable solution of this problem is that there was never enough peace in Ireland or continuity of national existence or unity, to allow of a continuous development of any one of the arts into all its forms. Irish poetry never advanced beyond the lyric. In that form it lasted all through the centuries; it lasts still at the present day, and Douglas Hyde has proved how much charm belongs to it in his book on the Love Songs of Connacht.

It has had a long, long history; it has passed through many phases; it has sung of love and sorrow, of national wars and hopes, of Ireland herself as the Queen of Sorrow, of exile regrets from alien shores, of rebellion, of hatred of England, of political strife, in ballads sung in the streets, of a thousand issues of daily life and death—but of world-wide affairs, of great passions and duties and fates evolving in epic or clashing in drama, of continuous human lives in narrative (except in prose), of the social life of cities or of philosophic thought enshrined in stately verse, it has not sung. What it may do in the future, if Irish again becomes a tongue of literature in lofty poetry, lies on the knees of the gods. I wish it well, but such a development seems now too late. The Irish genius, if it is to speak in drama, in narrative poetry or in an epic, must speak, if it is to influence or to charm the world beyond the Irish shore, in a world-language like English, and of international as well as of Irish humanity.

These elements on which I have dwelt seem to me the most distinctive, the most Irish, in the Tales in this book. There are many others on which a more minute analysis might exercise itself, phases of feeling concerning war or love or friendship or honour or the passions, but these are not specially Irish. They belong to common human nature, and have their close analogies in other mythologies, in other Folk-tales, in other Sagas. I need not touch them here. But there is one element in all the Irish tales which I have not yet mentioned, and it brings all the others within its own circumference, and suffuses them with its own atmosphere. It is the love of Ireland, of the land itself for its own sake—a mystic, spiritual imaginative passion which in the soul of the dweller in the country is a constant joy, and in the heart of the exile is a sick yearning for return. There are not many direct expressions of this in the stories; but it underlies the whole of them, and it is also in the air they breathe. But now and again it does find clear expression, and in each of the cycles we have discussed. When the sons of Turenn are returning, wounded to death, from the Hill of Mochaen, they felt but one desire. "Let us but see," said Iuchar and Iucharba to their brother Brian, "the land of Erin again, the hills round Telltown, and the dewy plain of Bregia and the quiet waters of the Boyne and our father's Dún thereby, and healing will come to us; or if death come, we can endure it after that." Then Brian raised them up; and they saw that they were now near by under Ben Edar; and at the strand of the Bull they came to land. That is from the Mythological Cycle.

In the Heroic Cycle it appears in the longing cry for return to Ireland of Naisi and his brothers, which drives them out of Alba to their death; but otherwise it is rarely expressed. In the Fenian Cycle it exists, not in any clear words, but in a general delight in the rivers, lakes, woods, valleys, plains, and mountains of Ireland. Every description of them, and of life among them, is done with a loving, observant touch; and moreover, the veil of magic charm is thrown over all the land by the creation in it of the life and indwelling of the fairy host. The Fianna loved their country well.

When Christianity came, this deep-set sentiment did not lessen. It grew even stronger, and in exile it became a passion. It is illustrated by the songs of deep regret and affection Columba made in Iona, from whose rocky shores he looked day after day towards the west while the mists rose over Ireland. One little story of great beauty enshrines his passion. One morning he called to his side one of his monks, and said, "Go to the margin of the sea on the western side of our isle; and there, coming from the north of Ireland, you will see a voyaging crane, very weary and beaten by the storms, and it will fall at your feet on the beach. Lift it up with pity and carry it to the hut, nourish it for three days, and when it is refreshed and strong again it will care no more to stay with us in exile, but to fly back to sweet Ireland, the dear country where it was born. I charge you thus, for it comes from the land where I was born myself." And when his servant returned, having done as he was ordered, Columba said, "May God bless you, my son. Since you have well cared for our exiled guest, you will see it return to its own land in three days." And so it was. It rose, sought its path for a moment through the sky, and took flight on a steady wing for Ireland. The spirit of that story has never died in the soul of the Irish and in their poetry up to the present day.

Lastly, as we read these stories, even in a modern dress, an impression of great ancientry is made upon us, so much so that some scholars have tried to turn Finn into a mythical hero—but if he be as old as that implies, of how great an age must be the clearly mythic tales which gather round the Tuatha de Danaan? However this may be, the impression of ancientry is deep and agreeable. All myths in any nation are, of course, of a high antiquity, but as they treat of the beginning of things, they mingle an impression of youth with one of age. This is very pleasant to the imagination, and especially so if the myths, as in Ireland, have some poetic beauty or strangeness, as in the myth I have referred to—of the deep spring of clear water and the nine hazels of wisdom that encompass it. This mingling of the beauty of youth and the honour of ancientry runs through all the Irish tales. Youth and the love of it, of its beauty and strength, adorn and vitalize their grey antiquity. But where, in their narrative, the hero's youth is over and the sword weak in his hand, and the passion less in his and his sweetheart's blood, life is represented as scarcely worth the living. The famed men and women die young—the sons of Turenn, Cuchulain, Conall, Dermot, Emer, Deirdre, Naisi, Oscar. Oisín has three hundred years of youth in that far land in the invention of which the Irish embodied their admiration of love and youth. His old age, when sudden feebleness overwhelms him, is made by the bardic clan as miserable, as desolate as his youth was joyous. Again, Finn lives to be an old man, but the immortal was in him, and either he has been born again in several re-incarnations (for the Irish held from time to time the doctrine of the transmigration of souls), or he sleeps, like Barbarossa, in a secret cavern, with all his men around him, and beside him the mighty horn of the Fianna, which, when the day of fate and freedom comes, will awaken with three loud blasts the heroes and send them forth to victory. Old as she is, Ireland does not grow old, for she has never reached her maturity. Her full existence is before her, not behind her. And when she reaches it her ancientry and all its tales will be dearer to her than they have been in the past. They will be an inspiring national asset. In them and in their strange admixture of different and successive periods of customs, thoughts and emotions (caused by the continuous editing and re-editing of them, first in oral recitation and then at the hands of scribes), Ireland will see the record of her history, not the history of external facts, but of her soul as it grew into consciousness of personality; as it established in itself love of law, of moral right, of religion, of chivalry, of courtesy in war and daily life; as it rejoiced, and above all, as it suffered and was constant, in suffering and oppression, to its national ideals.

It seems as if, once at least, this aspect of the tales of Ireland was seen by men of old, for there is a story which tells that heaven itself desired their remembrance, and that we should be diverted and inspired by them. In itself it is a record of the gentleness of Irish Christianity to Irish heathendom, and of its love of the heroic past. For one day when Patrick and his clerks were singing the Mass at the Rath of the Red Ridge, where Finn was wont to be, he saw Keelta, a chief of the Fianna, draw near with his companions, and Keelta's huge hounds were with him. They were men so tall and great that fear fell on the clerks, but Patrick met with and asked their chieftain's name. "I am Keelta," he answered, "son of Ronan of the Fianna." "Was it not a good lord you were with," said Patrick, "Finn, son of Cumhal?" And Keelta said, "If the brown leaves falling in the wood were gold, if the waves of the sea were silver, Finn would have given them all away." "What was it kept you through your lifetime?" said Patrick. "Truth that was in our hearts, and strength in our hands, and fulfilment in our tongues," said Keelta. Then Patrick gave them food and drink and good treatment, and talked with them. And in the morning the two angels who guarded him came to him, and he asked them if it were any harm before God, King of heaven and earth, that he should listen to the stories of the Fianna. And the angels answered, "Holy Clerk, these old fighting men do not remember more than a third of their tales by reason of the forgetfulness of age, but whatever they tell write it down on the boards of the poets and in the words of the poets, for it will be a diversion to the companies and the high people of the latter times to listen to them."[^[8]] So spoke the angels, and Patrick did as he bade them, and the stories are in the world to this day.

STOPFORD A. BROOKE

ST PATRICK'S DAY, 1910

COIS NA TEINEADH

(By the Fireside.)

Where glows the Irish hearth with peat
There lives a subtle spell— The faint blue smoke, the gentle heat,
The moorland odours, tell

Of long roads running through a red
Untamed unfurrowed land, With curlews keening overhead,
And streams on either hand;

Black turf-banks crowned with whispering sedge,
And black bog-pools below; While dry stone wall or ragged hedge
Leads on, to meet the glow

From cottage doors, that lure us in
From rainy Western skies, To seek the friendly warmth within,
The simple talk and wise;

Or tales of magic, love and arms
From days when princes met To listen to the lay that charms
The Connacht peasant yet.

There Honour shines through passions dire,
There beauty blends with mirth— Wild hearts, ye never did aspire
Wholly for things of earth!

Cold, cold this thousand years—yet still
On many a time-stained page Your pride, your truth, your dauntless will,
Burn on from age to age.

And still around the fires of peat
Live on the ancient days; There still do living lips repeat
The old and deathless lays.

And when the wavering wreaths ascend,
Blue in the evening air, The soul of Ireland seems to bend
Above her children there.

BARDIC ROMANCES

CHAPTER I

The Story of the Children of Lir

Long ago there dwelt in Ireland the race called by the name of De Danaan, or People of the Goddess Dana. They were a folk who delighted in beauty and gaiety, and in fighting and feasting, and loved to go gloriously apparelled, and to have their weapons and household vessels adorned with jewels and gold. They were also skilled in magic arts, and their harpers could make music so enchanting that a man who heard it would fight, or love, or sleep, or forget all earthly things, as they who touched the strings might will him to do. In later times the Danaans had to dispute the sovranty of Ireland with another race, the Children of Miled, whom men call the Milesians, and after much fighting they were vanquished. Then, by their sorceries and enchantments, when they could not prevail against the invaders, they made themselves invisible, and they have dwelt ever since in the Fairy Mounds and raths of Ireland, where their shining palaces are hidden from mortal eyes. They are now called the Shee, or Fairy Folk of Erinn, and the faint strains of unearthly music that may be heard at times by those who wander at night near to their haunts come from the harpers and pipers who play for the People of Dana at their revels in the bright world underground.

At the time when the tale begins, the People of Dana were still the lords of Ireland, for the Milesians had not yet come. They were divided it is said, into many families and clans; and it seemed good to them that their chiefs should assemble together, and choose one to be king and ruler over the whole people. So they met in a great assembly for this purpose, and found that five of the greatest lords all desired the sovranty of Erin. These five were Bóv the Red, and Ilbrech of Assaroe, and Lir from the Hill of the White Field, which is on Slieve Fuad in Armagh; and Midir the Proud, who dwelt at Slieve Callary in Longford; and Angus of Brugh na Boyna, which is now Newgrange on the river Boyne, where his mighty mound is still to be seen. All the Danaan lords saving these five went into council together, and their decision was to give the sovranty to Bóv the Red, partly because he was the eldest, partly because his father was the Dagda, mightiest of the Danaans, and partly because he was himself the most deserving of the five.

All were content with this, save only Lir, who thought himself the fittest for royal rule; so he went away from the assembly in anger, taking leave of no one. When this became known, the Danaan lords would have pursued Lir, to burn his palace and inflict punishment and wounding on himself for refusing obedience and fealty to him whom the assembly had chosen to reign over them. But Bóv the Red forbade them, for he would not have war among the Danaans; and he said, "I am none the less King of the People of Dana because this man will not do homage to me."

Thus it went on for a long time. But at last a great misfortune befell Lir, for his wife fell ill, and after three nights she died. Sorely did Lir grieve for this, and he fell into a great dejection of spirit, for his wife was very dear to him and was much thought of by all folk, so that her death was counted one of the great events of that time.

Now Bóv the Red came ere long to hear of it, and he said, "If Lir would choose to have my help and friendship now, I can serve him well, for his wife is no longer living, and I have three maidens, daughters of a friend, in fosterage with me, namely, Eva and Aoife [^[9]] and Elva, and there are none fairer and of better name in Erin; one of these he might take to wife." And the lords of the Danaans heard what he said, and answered that it was true and well bethought. So messengers were sent to Lir, to say that if he were willing to yield the sovranty to Bóv the Red, he might make alliance with him and wed one of his foster-children. To Lir, having been thus gently entreated, it seemed good to end the feud, and he agreed to the marriage. So the following day he set out with a train of fifty chariots from the Hill of the White Field and journeyed straight for the palace of Bóv the Red, which was by Lough Derg on the river Shannon.

Arriving there, he found about him nothing but joy and glad faces, for the renewal of amity and concord; and his people were welcomed, and well entreated, and handsomely entertained for the night.

And there sat the three maidens on the same couch with the Danaan Queen, and Bóv the Red bade Lir choose which one he would have to wife.

"The maidens are all fair and noble," said Lir, "but the eldest is first in consideration and honour, and it is she that I will take, if she be willing."

"The eldest is Eva," said Bóv the Red, "and she will wed thee if it be pleasing to thee." "It is pleasing," said Lir, and the pair were wedded the same night. Lir abode for fourteen days in the palace of Bóv the Red, and then departed with his bride, to make a great wedding-feast among his own people.

In due time after this Eva, wife of Lir, bore him two fair children at a birth, a daughter and a son. The daughter's name was called Fionnuala of the Fair Shoulder, and the son's name was Hugh. And again she bore him two sons, Fiachra and Conn; and at their birth she died. At this Lir was sorely grieved and afflicted, and but for the great love he bore to his four children he would gladly have died too.

When the folk at the palace of Bóv the Red heard that, they also were sorely grieved at the death of their foster-child, and they lamented her with keening and with weeping. Bóv the Red said, "We grieve for this maiden on account of the good man we gave her to, and for his friendship and fellowship; howbeit our friendship shall not be sundered, for we shall give him to wife her sister, namely Aoife."

Word of this was brought to Lir, and he went once more to Lough Derg to the palace of Bóv the Red and there he took to wife Aoife, the fair and wise, and brought her to his own home. And Aoife held the children of Lir and of her sister in honour and affection; for indeed no one could behold these four children without giving them the love of his soul.

For love of them, too, came Bóv the Red often to the house of Lir, and he would take them to his own house at times and let them spend a while there, and then to their own home again. All of the People of Dana who came visiting and feasting to Lir had joy and delight in the children, for their beauty and gentleness; and the love of their father for them was exceeding great, so that he would rise very early every morning to lie down among them and play with them.

Only, alas! a fire of jealousy began to burn at last in the breast of Aoife, and hatred and bitter ill-will grew in her mind towards the children of Lir. And she feigned an illness, and lay under it for the most of a year, meditating a black and evil deed. At last she said that a journey from home might recover her, and she bade her chariot be yoked and set out, taking with her the four children. Fionnuala was sorely unwilling to go with her on that journey, for she had a misgiving, and a prevision of treachery and of kin-slaying against her in the mind of Aoife. Yet she was not able to avoid the mischief that was destined for her.

So Aoife journeyed away from the Hill of the White Field, and when she had come some way she spoke to her people and said, "Kill me, I pray ye, the four children of Lir, who have taken the love of their father from me, and ye may ask of me what reward ye will." "Not so," said they, "by us they shall never be killed; it is an evil deed that you have thought of, and evil it is but to have spoken of it."

When they would not consent to her will, she drew a sword and would have slain the children herself, but her womanhood overcame her and she could not. So they journeyed on westward till they came to the shores of Loch Derryvaragh, and there they made a halt and the horses were outspanned. Aoife bade the children bathe and swim in the lake, and they did so. Then Aoife by Druid spells and witchcraft put upon each of the children the form of a pure white swan, and she cried to them:—

"Out on the lake with you, children of Lir!
Cry with the water-fowl over the mere!
Breed and seed of you ne'er shall I see;
Woeful the tale to your friends shall be."

Then the four swans turned their faces towards the woman, and Fionnuala spoke to her and said, "Evil is thy deed, Aoife, to destroy us thus without a cause, and think not that thou shalt escape punishment for it. Assign us even some period to the ruin and destruction that thou hast brought upon us."

"I shall do that," said Aoife, "and it is this: in your present forms shall ye abide, and none shall release you till the woman of the South be mated with the man of the North. Three hundred years shall ye be upon the waters of Derryvaragh, and three hundred upon the Straits of Moyle between Erinn and Alba,[^[10]] and three hundred in the seas by Erris and Inishglory, and then shall the enchantment have an end."

Upon this, Aoife was smitten with repentance, and she said, "Since I may not henceforth undo what has been done, I give you this, that ye shall keep your human speech, and ye shall sing a sad music such as no music in the world can equal, and ye shall have your reason and your human will, that the bird-shape may not wholly destroy you." Then she became as one possessed, and cried wildly like a prophetess in her trance:—

"Ye with the white faces! Ye with the stammering Gaelic on your tongues!
Soft was your nurture in the King's house—
Now shall ye know the buffeting wind!
Nine hundred years upon the tide.

"The heart of Lir shall bleed!
None of his victories shall stead him now!
Woe to me that I shall hear his groan,
Woe that I have deserved his wrath!"

Then they caught and yoked her horses, and Aoife went on her way till she reached the palace of Bóv the Red. Here she and her folk were welcomed and entertained, and Bóv the Red inquired of her why she had not brought with her the children of Lir.

"I brought them not," she replied, "because Lir loves thee not, and he fears that if he sends his children to thee, thou wouldst capture them and hold them for hostages."

"That is strange," said Bóv the Red, "for I love those children as if they were my own." And his mind misgave him that some treachery had been wrought; and he sent messengers privily northwards to the Hill of the White Field. "For what have ye come?" asked Lir. "Even to bring your children to Bóv the Red," said they. "Did they not reach you with Aoife?" said Lir. "Nay," said the messengers, "but Aoife said you would not permit them to go with her."

Then fear and trouble came upon Lir, for he surmised that Aoife had wrought evil upon the children. So his horses were yoked and he set out upon his road south-westward, until he reached the shores of Loch Derryvaragh. But as he passed by that water, Fionnuala saw the train of horsemen and chariots, and she cried to her brothers to come near to the shore, "for," said she, "these can only be the company of our father who have come to follow and seek for us."

Lir, by the margin of the lake, saw the four swans and heard them talking with human voices, and he halted and spoke to them. Then said Fionnuala: "Know, O Lir, that we are thy four children, and that she who has wrought this ruin upon us is thy wife and our mother's sister, through the bitterness of her jealousy." Lir was glad to know that they were at least living, and he said, "Is it possible to put your own forms upon you again?" "It is not possible," said Fionnuala, "for all the men on earth could not release us until the woman of the South be mated with the man of the North." Then Lir and his people cried aloud in grief and lamentation, and Lir entreated the swans to come on land and abide with him since they had their human reason and speech. But Fionnuala said, "That may not be, for we may not company with men any longer, but abide on the waters of Erinn nine hundred years. But we have still our Gaelic speech, and moreover we have the gift of uttering sad music, so that no man who hears it thinks aught worth in the world save to listen to that music for ever. Do you abide by the shore for this night and we shall sing to you.

So Lir and his people listened all night to the singing of the swans, nor could they move nor speak till morning, for all the high sorrows of the world were in that music, and it plunged them in dreams that could not be uttered.

Next day Lir took leave of his children and went on to the palace of Bóv the Red. Bóv reproached him that he had not brought with him his children. "Woe is me," said Lir, "it was not I that would not bring them; but Aoife there, your own foster-child and their mother's sister, put upon them the forms of four snow-white swans, and there they are on the Loch of Derryvaragh for all men to see; but they have kept still their reason and their human voice and their Gaelic."

Bóv the Red started when he heard this, and he knew that what Lir had said was true. Fiercely he turned to Aoife, and said, "This treachery will be worse, Aoife, for you than for them, for they shall be released in the end of time, but thy punishment shall be for ever." Then he smote her with a druid wand and she became a Demon of the Air, and flew shrieking from the hall, and in that form she abides to this day.

As for Bóv the Red, he came with his nobles and attendants to the shores of Loch Derryvaragh, and there they made an encampment, and the swans conversed with them and sang to them. And as the thing became known, other tribes and clans of the People of Dana would also come from every part of Erinn and stay awhile to listen to the swans and depart again to their homes; and most of all came their own friends and fellow-pupils from the Hill of the White Field. No such music as theirs, say the historians of ancient times, ever was heard in Erinn, for foes who heard it were at peace, and men stricken with pain or sickness felt their ills no more; and the memory of it remained with them when they went away, so that a great peace and sweetness and gentleness was in the land of Erinn for those three hundred years that the swans abode in the waters of Derryvaragh.

But one day Fionnuala said to her brethren, "Do ye know, my dear ones, that the end of our time here is come, all but this night only?" Then great sorrow and distress overcame them, for in the converse with their father and kinsfolk and friends they had half forgotten that they were no longer men, and they loved their home on Loch Derryvaragh, and feared the angry waves of the cold northern sea. But early next day they came to the lough-side to speak with Bóv the Red and with their father, and to bid them farewell, and Fionnuala sang to them her last lament. Then the four swans rose in the air and flew northward till they were seen no more, and great was the grief among those they left behind; and Bóv the Red let it be proclaimed throughout the length and breadth of Erin that no man should henceforth presume to kill a swan, lest it might chance to be one of the children of Lir.

Far different was the dwelling-place which the swans now came to, from that which they had known on Loch Derryvaragh. On either side of them, to north and south, stretched a wide coast far as the eye could see, beset with black rocks and great precipices, and by it ran fiercely the salt, bitter tides of an ever-angry sea, cold, grey, and misty; and their hearts sank to behold it and to think that there they must abide for three hundred years.

Ere long, one night, there came a thick murky tempest upon them, and Fionnuala said, "In this black and violent night, my brothers, we may be driven apart from each other; let us therefore appoint a meeting-place where we may come together again when the tempest is overpast." And they settled to meet at the Seal Rock, for this rock they had now all learned to know.

By midnight the hurricane descended upon the Straits of Moyle, and the waves roared upon the coast with a deafening noise, and thunder bellowed from the sky, and lightning was all the light they had. The swans were driven apart by the violence of the storm, and when at last the wind fell and the seas grew calm once more, Fionnuala found herself alone upon the ocean-tide not far from the Seal Rock. And thus she made her lament:—

"Woe is me to be yet alive!
My wings are frozen to my sides.
Wellnigh has the tempest shattered my heart,
And my comely Hugh parted from me!

"O my beloved ones, my Three,
Who slept under the shelter of my feathers,
Shall you and I ever meet again
Until the dead rise to life?

"Where is Fiachra, where is Hugh?
Where is my fair Conn?
Shall I henceforth bear my part alone?
Woe is me for this disastrous night!"

Fionnuala remained upon the Seal Rock until the morrow morn, watching the tossing waters in all directions around her, until at last she saw Conn coming towards her, and his head drooping and feathers drenched and disarrayed. Joyfully did the sister welcome him; and ere long, behold, Fiachra also approaching them, cold and wet and faint, and the speech was frozen in him that not a word he spake could be understood. So Fionnuala put her wings about him, and said, "If but Hugh came now, how happy should we be!"

In no long time after that they saw Hugh also approaching them across the sea, and his head was dry and his feathers fair and unruffled, for he had found shelter from the gale. Fionnuala put him under her breast, and Conn under her right wing and Fiachra under her left, and covered them wholly with her feathers. "O children," she said to them, "evil though ye think this night to have been, many such a one shall we know from this time forward."

So there the swans continued, suffering cold and misery upon the tides of Moyle; and one while they would be upon the coast of Alba and another upon the coast of Erinn, but the waters they might not leave. At length there came upon them a night of bitter cold and snow such as they had never felt before, and Fionnuala sang this lament:—

"Evil is this life.
The cold of this night,
The thickness of the snow,
The sharpness of the wind—

"How long have they lain together,
Under my soft wings,
The waves beating upon us,
Conn and Hugh and Fiachra?

"Aoife has doomed us,
Us, the four of us,
To-night to this misery—
Evil is this life."

Thus for a long time they suffered, till at length there came upon the Straits of Moyle a night of January so piercing cold that the like of it had never been felt. And the swans were gathered together upon the Seal Rock. The waters froze into ice around them, and each of them became frozen in his place, so that their feet and feathers clung to the rock; and when the day came and they strove to leave the place, the skin of their feet and the feathers of their breasts clove to the rock, they came naked and wounded away.

"Woe is me, O children of Lir," said Fionnuala, "we are now indeed in evil case, for we cannot endure the salt water, yet we may not be away from it; and if the salt water gets into our sores we shall perish of it." And thus she sang:—

"To-night we are full of keening;
No plumage to cover our bodies;
And cold to our tender feet
Are the rough rocks all awash.

"Cruel to us was Aoife,
Who played her magic upon us,
And drove us out to the ocean,
Four wonderful, snow-white swans.

"Our bath is the frothing brine
In the bay by red rocks guarded,
For mead at our father's table
We drink of the salt blue sea.

"Three sons and a single daughter—
In clefts of the cold rocks dwelling,
The hard rocks, cruel to mortals.
—We are full of keening to-night."

So they went forth again upon the Straits of Moyle, and the brine was grievously sharp and bitter to them, but they could not escape it nor shelter themselves from it. Thus they were, till at last their feathers grew again and their sores were healed.

On one day it happened that they came to the mouth of the river Bann in the north of Erinn, and there they perceived a fair host of horsemen riding on white steeds and coming steadily onward from the south-west "Do ye know who yon riders are, children of Lir?" asked Fionnuala. "We know not," said they, "but it is like they are some party of the People of Dana." Then they moved to the margin of the land, and the company they had seen came down to meet them; and behold, it was Hugh and Fergus, the two sons of Bóv the Red, and their nobles and attendants with them, who had long been seeking for the swans along the coast of the Straits of Moyle.

Most lovingly and joyfully did they greet each other and the swans inquired concerning their father Lir, and Bóv the Red, and the rest of their kinsfolk.

"They are well," said the Danaans; "and at this time they are all assembled together in the palace of your father at the Hill of the White Field, where they are holding the Festival of the Age of Youth.[^[11]] They are happy and gay and have no weariness or trouble, save that you are not among them, and that they have not known where you were since you left them at Lough Derryvaragh."

"That is not the tale of our lives," said Fionnuala.

After that the company of the Danaans departed and brought word of the swans to Bóv the Red and to Lir, who were rejoiced to hear that they were living, "for," said they, "the children shall obtain relief in the end of time." And the swans went back to the tides of Moyle and abode there till their time to be in that place had expired.

When that day had come, Fionnuala declared it to them, and they rose up wheeling in the air, and flew westward across Ireland till they came to the Bay of Erris, and there they abode as was ordained. Here it happened that among those of mortal MEN whose dwellings bordered on the bay was a young man of gentle blood, by name Evric, who having heard the singing of the swans came down to speak with them, and became their friend. After that he would often come to hear their music, for it was very sweet to him; and he loved them greatly, and they him. All their story they told him, and he it was who set it down in order, even as it is here narrated.

Much hardship did they suffer from cold and tempest in the waters of the Western Sea, yet not so much as they had to bear by the coasts of the ever-stormy Moyle, and they knew that the day of redemption was now drawing near. In the end of the time Fionnuala said, "Brothers, let us fly to the Hill of the White Field, and see how Lir our father and his household are faring." So they arose and set forward on their airy journey until they reached the Hill of the White Field, and thus it was that they found the place: namely, desolate and thorny before them, with nought but green mounds where once were the palaces and homes of their kin, and forests of nettles growing over them, and never a house nor a hearth. And the four drew closely together and lamented aloud at that sight, for they knew that old times and things had passed away in Erinn, and they were lonely in a land of strangers, where no man lived who could recognise them when they came to their human shapes again. They knew not that Lir and their kin of the People of Dana yet dwelt invisible in the bright world within the Fairy Mounds, for their eyes were holden that they should not see, since other things were destined for them than to join the Danaan folk and be of the company of the immortal Shee.

So they went back again to the Western Sea until the holy Patrick came into Ireland and preached the Faith of the One God and of the Christ. But a man of Patrick's men, namely the Saint Mochaovóg,[^[12]] came to the Island of Inishglory in Erris Bay, and there built himself a little church of stone, and spent his life in preaching to the folk and in prayer. The first night he came to the island the swans heard the sound of his bell ringing at matins on the following morn, and they leaped in terror, and the three brethren left Fionnuala and fled away. Fionnuala cried to them, "What ails you, beloved brothers?" "We know not," said they, "but we have heard a thin and dreadful voice, and we cannot tell what it is." "That is the voice of the bell of Mochaovóg," said Fionnuala, "and it is that bell which shall deliver us and drive away our pains, according to the will of God."

Then the brethren came back and hearkened to the chanting of the cleric until matins were performed. "Let us chant our music now," said Fionnuala. So they began, and chanted a solemn, slow, sweet, fairy song in adoration of the High King of Heaven and of Earth.

Mochaovóg heard that, and wondered, and when he saw the swans he spoke to them and inquired them. They told him they were the children of Lir. "Praised be God for that," said Mochaovóg. "Surely it is for your sakes that I have come to this island above every other island that is in Erinn. Come to land now, and trust in me that your salvation and release are at hand."

So they came to land, and dwelt with Mochaovóg in his own house, and there they kept the canonical hours with him and heard mass. And Mochaovóg caused a good craftsman to make chains of silver for the swans, and put one chain between Fionnuala and Hugh and another between Conn and Fiachra; and they were a joy and solace of mind to the Saint, and their own woe and pain seemed to them dim and far off as a dream.

Now at this time it happened that the King of Connacht was Lairgnen, son of Colman, and he was betrothed to Deoca, daughter of the King of Munster. And so it was that when Deoca came northward to be wedded to Lairgnen she heard the tale of the swans and of their singing, and she prayed the king that he would obtain them for her, for she longed to possess them. But Lairgnen would not ask them of Mochaovóg. Then Deoca set out homeward again, and vowed that she would never return to Lairgnen till she had the swans; and she came as far as the church of Dalua, which is now called Kildaloe, in Clare. Then Lairgnen sent messengers for the birds to Mochaovóg, but he would not give them up.

At this Lairgnen was very wroth, and he went himself to Mochaovóg, and he found the cleric and the four birds at the altar. But Lairgnen seized upon the birds by their silver chains, two in each hand dragged them away to the place where Deoca was; and Mochaovóg followed them. But when they came to Deoca and she had laid her hands upon the birds, behold, their covering of feathers fell off and in their places were three shrunken and feeble old men and one lean and withered old woman, fleshless and bloodless from extreme old age. And Lairgnen was struck with amazement and fear, and went out from that place.

Then Fionnuala said to Mochaovóg, "Come now and baptize us quickly, for our end is near. And if you are grieved at parting from us, know that also to us it is a grief. Do thou make our grave when we are dead, and place Conn at my right side and Fiachra at my left, and Hugh before my face, for thus they were wont to be when I sheltered them on many a winter night by the tides of Moyle."

So Mochaovóg baptized the three brethren and their sister; and shortly afterwards they found peace and death, and they were buried even as Fionnuala had said. And over their tomb a stone was raised, and their names and lineage graved on it in branching Ogham [^[13]]; and lamentation and prayers were made for them, and their souls won to heaven.

But Mochaovóg was sorrowful, and grieved after them so long as he lived on earth.

CHAPTER II

The Quest of the Sons of Turenn

Long ago, when the people of Dana yet held lordship in Erinn, they were sorely afflicted by hordes of sea-rovers named Fomorians who used to harry the country and carry off youths and maidens into captivity. They also imposed cruel and extortionate taxes upon the people, for every kneading trough, and every quern for grinding corn, and every flagstone for baking bread had to pay its tax. And an ounce of gold was paid as a poll-tax for every man, and if any man would not or could not pay, his nose was cut off. Under this tyranny the whole country groaned, but they had none who was able to band them together and to lead them in battle against their oppressors.

Now before this it happened that one of the lords of the Danaans named Kian had married with Ethlinn, daughter of Balor, a princess of the Fomorians. They had a son named Lugh Lamfada, or Lugh of the Long Arm, who grew up into a youth of surpassing beauty and strength. And if his body was noble and mighty, no less so was his mind, for lordship and authority grew to him by the gift of the Immortals, and whatever he purposed that would he perform, whatever it might cost in time or toil, in tears or in blood. Now this Lugh was not brought up in Erinn but in a far-off isle of the western sea, where the sea-god Mananan and the other Immortals nurtured and taught him, and made him fit alike for warfare or for sovranty, when his day should come to work their will on earth. Hither in due time came the report of the grievous and dishonouring oppression wrought by the Fomorians upon the people of Dana, and that report was heard by Lugh. Then Lugh said to his tutors "It were a worthy deed to rescue my father and the people of Erinn from this tyranny; let me go thither and attempt it." And they said to him, "Go, and blessing and victory be with thee." So Lugh armed himself and mounted his fairy steed, and called his friends and foster-brothers about him, and across the bright and heaving surface of the waters they rode like the wind, until they took land in Erinn.

Now the chiefs of the Danaan folk were assembled upon the Hill of Usnach, which is upon the western side of Tara in Meath, in order to meet there the stewards of the Fomorians and to pay them their tribute. As they awaited the arrival of the Fomorians they became aware of a company on horseback, coming from the west, before whom rode a young man who seemed to command them all, and whose countenance was as radiant as the sun upon a dry summer's day, so that the Danaans could scarcely gaze upon it. He rode upon a white horse and was armed with a sword, and on his head was a helmet set with precious stones. The Danaan folk welcomed him as he came among them, and asked him of his name and his business among them. As they were thus talking another band drew near, numbering nine times nine persons, who were the stewards of the Fomorians coming to demand their tribute. They were men of a fierce and swarthy countenance, and as they came haughtily and arrogantly forward, the Danaans all rose up to do them honour. Then Lugh said:

"Why do ye rise up before that grim and ill-looking band and not before us?"

Said the King of Erinn, "We needs must do so, for if they saw but a child of a month old sitting down when they came near they would hold it cause enough to attack and slay us."

"I am greatly minded to slay them," said Lugh; and he repeated it, "very greatly minded."

"That would be bad for us," said the King, "for our death and destruction would surely follow."

"Ye are too long under oppression," said Lugh, and gave the word for onset. So he and his comrades rushed upon the Fomorians, and in a moment the hillside rang with blows and with the shouting of warriors. In no long time all of the Fomorians were slain save nine men, and these were taken alive and brought before Lugh.

"Ye also should be slain," said Lugh, "but that I am minded to send you as ambassadors to your King. Tell him that he may seek homage and tribute where he will henceforth, but Ireland will pay him none for ever."

Then the Fomorians went northwards away, and the people of Dana made them ready for war, and made Lugh their captain and war-lord, for the sight of his face heartened them, and made them strong, and they marvelled that they had endured their slavery so long.

In the meantime word was brought to Balor of the Mighty Blows, King of the Fomorians, and to his queen Kethlinn of the Twisted Teeth, of the shame and destruction that had been done to their stewards, and they assembled a great host of the sea-rovers and manned their war-ships, and the Northern Sea was white with the foam of their oarblades as they swept down upon the shores of Erinn. And Balor commanded them, saying, "When ye have utterly destroyed and subdued the people of Dana, then make fast your ships with cables to the land of Erinn, and tow it here to the north of us into the region of ice and snow, and it shall trouble us no longer." So the host of Balor took land by the Falls of Dara [^[14]] and began plundering and devastating the province of Connacht.

Then Lugh sent messengers abroad to bring his host together, and among them was his own father, Kian, son of Canta. And as Kian went northwards on his errand to rouse the Ulster men, and was now come to the plain of Murthemny near by Dundealga,[^[15]] he saw three warriors armed and riding across the plain. Now these three were the sons of Turenn, by name Brian and Iuchar and Iucharba. And there was an ancient blood-feud between the house of Canta and the house of Turenn, so that they never met without bloodshed.

Then Kian thought to himself, "If my brothers Cu and Kethan were here there might be a pretty fight, but as they are three to one I would do better to fly." Now there was a herd of wild swine near by; and Kian changed himself by druidic sorceries into a wild pig and fell to rooting up the earth along with the others.

When the sons of Turenn came up to the herd, Brian said, "Brothers, did ye see the warrior wh' just now was journeying across the plain?"

"We saw him," said they.

"What is become of him?" said Brian.

"Truly, we cannot tell," said the brothers.

"It is good watch ye keep in time of war!" said Brian; "but I know what has taken him out of our sight, for he struck himself with a magic wand, and changed himself into the form of one of yonder swine, and he is rooting the earth among them now. Wherefore," said Brian, "I deem that he is no friend to us."

"If so, we have no help for it," said they, "for the herd belongs to some man of the Danaans; and even if we set to and begin to kill the swine, the pig of druidism might be the very one to escape."

"Have ye learned so little in your place of studies," said Brian, "that ye cannot distinguish a druidic beast from a natural beast?" And with that he smote his two brothers with a magic wand, and changed them into two slender, fleet hounds, and they darted in among the herd. Then all the herd scattered and fled, but the hounds separated the druidic pig and chased it towards a wood where Brian awaited it. As it passed, Brian flung his spear, and it pierced the chest of the pig and brought it down. The pig screamed, "Evil have you done to cast at me."

Brian said, "That hath the sound of human speech!"

"I am in truth a man," said the pig, "and I am Kian, son of Canta, and I pray you show me mercy."

"That will we," said Iuchar and Iucharba, "and sorry are we for what has happened."

"Nay," said Brian, "but I swear by the Wind and the Sun that if thou hadst seven lives I would take them all."

"Grant me a favour then," said Kian.

"We shall grant it," said Brian.

"Let me," said Kian, "return into my own form that I may die in the shape of a man."

"I had liefer kill a man than a pig," said Brian. Then Kian became a man again and stood before them, the blood trickling from his breast.

"I have outwitted you now," cried he, "for if ye had killed a pig ye would have paid a pig's eric,[^[16]] but now ye shall pay the eric of a man. Never was greater eric in the land of Erinn than that which ye shall pay; and I swear that the very weapons with which ye slay me shall tell the tale to the avenger of blood."

"Then you shall be slain with no weapons at all," said Brian; and they picked up the stones on the Plain of Murthemny and rained them upon him till he was all one wound, and he died. So they buried him as deep as the height of a man, and went their way to join the host of Lugh.

When the host was assembled, Lugh led them into Connacht and smote the Fomorians and drove them to their ships, but of this the tale tells not here. But when the fight was done, Lugh asked of his comrades if they had seen his father in the fight and how it fared with him. They said they had not seen him. Then Lugh made search among the dead, and they found not Kian there. "Were Kian alive he would be here," said Lugh, "and I swear by the Wind and the Sun that I will not eat or drink till I know what has befallen him."

On their return the Danaan host passed by the Plain of Murthemny, and when they came near the place of the murder the stones cried aloud to Lugh. And Lugh listened, and they told him of the deed of the sons of Turenn. Then Lugh searched for the place of a new grave, and when he had found it he caused it to be dug, and the body of his father was raised up, and Lugh saw that it was but a litter of wounds. And he cried out: "O wicked and horrible deed!" and he kissed his father and said, "I am sick from this sight, my eyes are blind from it, my ears are deaf from it, my heart stands still from it. Ye gods that I adore, why was I not here when this crime was done? a man of the children of Dana slain by his fellows." And he lamented long and bitterly. Then Kian was again laid in his grave, and a mound was heaped over it and a pillar-stone set thereon and his name written in Ogham, and a dirge was sung for him.

After that Lugh departed to Tara, to the Court of the High King, and he charged his people to say nothing of what had happened until he himself had made it known.

When he reached Tara with his victorious host the King placed Lugh at his own right hand before all the princes and lords of the Danaan folk. Lugh looked round about him, and saw the sons of Turenn sitting among the assembly; and they were among the best and strongest and the handsomest of those who were present at that time; nor had any borne themselves better in the fight with the sea-rovers. Then Lugh asked of the King that the chain of silence might be shaken; and the assembly heard it, and gave their attention to Lugh. And Lugh said:

"O King, and ye princes of the People of Dana, I ask what vengeance would each of you exact upon a man who had foully murdered your father?"

Then they were all astonished, and the King answered and said:

"Surely it is not the father of Lugh Lamfada who has thus been slain?"

"Thou hast said it," said Lugh, "and those who did the deed are listening to me now, and know it better than I."

The King said, "Not in one day would I slay the murderer of my father, but I would tear from him a limb day by day till he were dead."

And so spake all the lords of the Danaans, and the Sons of Turenn among the rest.

"They have sentenced themselves, the murderers of my father," said Lugh. "Nevertheless I shall accept an eric from them, and if they will pay it, it shall be well; but if not, I shall not break the peace of the King's Assembly and of his sanctuary, but let them beware how they leave the Hall Tara until they have made me satisfaction."

"Had I slain your father," said the High King, "glad should I be to have an eric accepted for his blood."

Then the Sons of Turenn whispered among themselves. "It is to us that Lugh is speaking," said Iuchar and Iucharba, "let us confess and have the eric assessed upon us, for he has got knowledge of our deed."

"Nay," said Brian, "but he may be seeking for an open confession, and then perchance he would not accept an eric."

But the two brethren said to Brian, "Do thou confess because thou art the eldest, or if thou do not, then we shall."

So Brian, son of Turenn, rose up and said to Lugh: "It is to us thou hast spoken, Lugh, since thou knowest there is enmity of old time between our houses; and if thou wilt have it that we have slain thy father, then declare our eric and we shall pay it."

"I will take an eric from you," said Lugh, "and if it seem too great, I will remit a portion of it."

"Declare it, then," said the Sons of Turenn.

"This it is," said Lugh.

"Three apples.

"The skin of a pig.

"A spear.

"Two steeds and a chariot.

"Seven swine.

"A whelp of a dog.

"A cooking spit.

"Three shouts on a hill."

"We would not consider heavy hundreds or thousands of these things," said the Sons of Turenn, "but we misdoubt thou hast some secret purpose against us."

"I deem it no small eric," said Lugh, "and I call to witness the High King and lords of the Danaans that I shall ask no more; and do ye on your side give me guarantees for the fulfilment of it."

So the High King and the lords of the Danaans entered into bonds with Lugh and with the Sons of Turenn that the eric should be paid and should wipe out the blood of Kian.

"Now," said Lugh, "it is better for me to give you fuller knowledge of the eric. The three apples that I have demanded of you are the apples that grow in the garden of the Hesperides, in the east of the world, and none but these will do. Thus it is with them: they are the colour of bright gold, and as large as the head of a month-old child; the taste of them is like honey; if he who eats them has any running sore or evil disease it is healed by them; they may be eaten and eaten and never be less. I doubt, O young heroes, if ye will get these apples, for those who guard them know well an ancient prophecy that one day three knights from the western world would come to attempt them.

"As for the skin of the pig, that is a treasure of Tuish, the King of Greece. If it be laid upon a wounded man it will make him whole and well, if only it overtake the breath of life in him. And do ye know what is the spear that I demanded?"

"We do not," said they.

"It is the poisoned spear of Peisear, the King of Persia, and so fierce is the spirit of war in it that it must be kept in a pot of soporific herbs or it would fly out raging for death. And do ye know what are the two horses and the chariot ye must get?"

"We do not know," said they.

"The steeds and the chariot belong to Dobar, King of Sicily. They are magic steeds and can go indifferently over land and sea, nor can they be killed by any weapon unless they be torn in pieces and their bones cannot be found. And the seven pigs are the swine of Asal, King of the Golden Pillars, which may be slain and eaten every night and the next morning they are alive again.

"And the hound-whelp I asked of you is the whelp of the King of Iorroway, that can catch and slay any beast in the world; hard it is to get possession of that whelp.

"The cooking spit is one of the spits that the fairy women of the Island of Finchory have in their kitchen.

"And the hill on which ye must give three shouts is the hill where dwells Mochaen in the north of Lochlann. Now Mochaen and his sons have it as a sacred ordinance that they permit not any man to raise a shout upon their hill. With him it was that my father was trained to arms, and if I forgave ye his death, yet would Mochaen not forgive it.

"And now ye know the eric which ye have to pay for the slaying of Kian, son of Canta."

Astonishment and despair overcame the Sons of Turenn when they learned the meaning of the eric of Lugh, and they went home to tell the tidings to their father.

"This is an evil tale," said Turenn; "I doubt but death and doom shall come from your seeking of that eric, and it is but right they should. Yet it may be that ye shall obtain the eric if Lugh or Mananan will help you to it. Go now to Lugh, and ask him for the loan of the fairy steed of Mananan, which was given him to ride over the sea into Erinn. He will refuse you, for he will say that the steed is but lent to him and he may not make a loan of a loan. Then ask him for the loan of Ocean Sweeper, which is the magic boat of Mananan, and that he must give, for it is a sacred ordinance with Lugh not to refuse a second petition."

So they went to Lugh, and it all fell out as Turenn had told them, and they went back to Turenn.

"Ye have done something towards the eric," said Turenn, "but not much. Yet Lugh would be well pleased that ye brought him whatever might serve him when the Fomorians come to the battle again, and well pleased would he be that ye might get your death in bringing it. Go now, my sons, and blessing and victory be with you."

Then the Sons of Turenn went down to the harbour on the Boyne river where the Boat of Mananan was, and Ethne their sister with them. And when they reached the place, Ethne broke into lamentations and weeping; but Brian said, "Weep not, dear sister, but let us go forth gaily to great deeds. Better a hundred deaths in the quest of honour than to live and die as cowards and sluggards." But Ethne said, "ye are banished from Erinn—never was there a sadder deed." Then they put forth from the river-mouth of the Boyne and soon the fair coasts of Erinn faded out of sight. "And now," said they among themselves, "what course shall we steer?"

"No need to steer the Boat of Mananan," said Brian; and he whispered to the Boat, "Bear us swiftly, Boat of Mananan, to the Garden of the Hesperides"; and the spirit of the Boat heard him and it leaped eagerly forward, lifting and dipping over the rollers and throwing up an arch of spray each side of its bows wherein sat a rainbow when the sun shone upon it; and so in no long time they drew nigh to the coast where was the far-famed garden of the Golden Apples.

"And now, how shall we set about the capture of the apples?" said Brian.

"Draw sword and fight for them," said Iuchar and Iucharba, "and if we are the stronger, we shall win them, and if not, we shall fall, as fall we surely must ere the eric for Kian be paid."

"Nay," said Brian, "but whether we live or die, let not men say of us that we went blind and headlong to our tasks, but rather that we made the head help the hand, and that we deserved to win even though we lost. Now my counsel is that we approach the garden in the shape of three hawks, strong of wing, and that we hover about until the Wardens of the Tree have spent all their darts and javelins in casting at us, and then let us swoop down suddenly and bear off each of us an apple if we may."

So it was agreed; and Brian struck himself and each of the brothers with a druid wand, and they became three beautiful, fierce, and strong-winged hawks. When the Wardens perceived them, they shouted and threw showers of arrows and darts at them, but the hawks evaded all of these until the missiles were spent, and then seized each an apple in his talons. But Brian seized two, for he took one in his beak as well. Then they flew as swiftly as they might to the shore where they had left their boat. Now the King of that garden had three fair daughters, to whom the apples and the garden were very dear, and he transformed the maidens into three griffins, who pursued the hawks. And the griffins threw darts of fire, as it were lightning, at the hawks.

"Brian!" then cried Iuchar and his brother, "we are being burnt by these darts—we are lost unless we can escape them."

On this, Brian changed himself and his brethren into three swans, and they plunged into the sea, and the burning darts were quenched. Then the griffins gave over the chase, and the Sons of Turenn made for their boat, and they embarked with the four apples. Thus their first quest was ended.

After that they resolved to seek the pigskin from the King of Greece, and they debated how they should come before him. "Let us," said Brian, "assume the character and garb of poets and men of learning, for such are wont to come from Ireland and to travel foreign lands, and in that character shall the Greeks receive us best, for such men have honour among them." "It is well said," replied the brothers, "yet we have no poems in our heads, and how to compose one we know not."

Howbeit they dressed their hair in the fashion of the poets of Erinn, and went up to the palace of Tuish the King. The doorkeeper asked of them who they were, and what was their business.

"We are bards from Ireland," they said, "and we have come with a poem to the King."

"Let them be admitted," said the King, when the doorkeeper brought him that tale; "they have doubtless come thus far to seek a powerful patron."

So Brian and Iuchar and Iucharba came in and were made welcome, and were entertained, and then the minstrels of the King of Greece chanted the lays of that country before them. After that came the turn of the stranger bards, and Brian asked his brethren if they had anything to recite.

"We have not," said they; "we know but one art—to take what we want by the strong hand if we may, and if we may not, to die fighting."

"That is a difficult art too," said Brian; "let us see how we thrive with the poetry."

So he rose up and recited this lay:—

"Mighty is thy fame, O King,
Towering like a giant oak;
For my song I ask no thing
Save a pigskin for a cloak.

"When a neighbour with his friend
Quarrels, they are ear to ear;
Who on us their store shall spend
Shall be richer than they were.

"Armies of the storming wind—
Raging seas, the sword's fell stroke—
Thou hast nothing to my mind
Save thy pigskin for a cloak."

"That is a very good poem," said the King, "but one word of its meaning I do not understand."

"I will interpret it for you," said Brian:—

"Mighty is thy fame, O King,
Towering like a giant oak."

"That is to say, as the oak surpasses all the other trees of the forest, so do you surpass all the kings of the world in goodness, in nobleness, and in liberality.

"A pigskin for a cloak."

"That is the skin of the pig of Tuish which I would fain receive as the reward for my lay."

"When a neighbour with his friend
Quarrels, they are ear to ear."

"That is to signify that you and I shall be about each other's ears over the skin, unless you are willing to give it to me. Such is the sense of my poem," said Brian, son of Turenn.

"I would praise your poem more," said the King, "if there were not so much about my pigskin in it. Little sense have you, O man of poetry, to make that request of me, for not to all the poets, scholars, and lords of the world would I give that skin of my own free will. But what I will do is this—I will give the full of that skin of red gold thrice over in reward for your poem."

"Thanks be to you," said Brian, "for that. I knew that I asked too much, but I knew also thou wouldst redeem the skin amply and generously. And now let the gold be duly measured out in it, for greedy am I, and I will not abate an ounce of it."

The servants of the King were then sent with Brian and his brothers to the King's treasure-chamber to measure out the gold. As they did so, Brian suddenly snatched the skin from the hands of him who held it, and swiftly wrapped it round his body. Then the three brothers drew sword and made for the door, and a great fight arose in the King's palace. But they hewed and thrust manfully on every side of them, and though sorely wounded they fought their way through and escaped to the shore, and drove their boat out to sea, when the skin of the magic pig quickly made them whole and sound again. And thus the second quest of the Sons of Turenn had its end.

"Let us now," said Brian, "go to seek the spear of the King of Persia."

"In what manner of guise shall we go before the King of Persia?" said his brothers.

"As we did before the King of Greece," said Brian.

"That guise served us well with the King of Greece," replied they; "nevertheless, O Brian, this business of professing to be poets, when we are but swordsmen, is painful to us."

However, they dressed their hair in the manner of poets and went up boldly to the palace of King Peisear of Persia, saying, as before, that they were wandering bards from Ireland who had a poem to recite before the King; and as they passed through the courtyard they marked the spear drowsing in its pot of sleepy herbs. They were made welcome, and after listening to the lays of the King's minstrel, Brian rose and sang:—

"'Tis little Peisear cares for spears,
Since armies, when his face they see,
All overcome with panic fears
Without a wound they turn and flee.

The high deeds of Finn, and other bardic romances of ancient Ireland

THE HIGH DEEDS OF FINN

AND OTHER BARDIC ROMANCES
OF ANCIENT IRELAND

BY

T. W. ROLLESTON

WITH AN INTRODUCTION
BY
STOPFORD A. BROOKE M.A. LL.D.

AND
WITH SIXTEEN ILLUSTRATIONS
BY
STEPHEN REID

New York
Thomas Y. Crowell & Company
Publishers

THE HIGH DEEDS OF FINN

Contents

[BARDIC ROMANCES]