THE APPARITION OF THE GREAT QUEEN TO CUCHULAIN
LITERAL TRANSLATION
When Cuchulain lay in his sleep at Dun Imrid, there he heard a cry from the north; it came straight towards him; the cry was dire, and most terrifying to him. And he awaked in the midst of his sleep, so that he fell, with the fall of a heavy load, out of his couch,[FN#116] to the ground on the eastern side of his house. He went out thereupon without his weapons, so that he was on the lawns before his house, but his wife brought out, as she followed behind him, his arms and his clothing. Then he saw Laeg in his harnessed chariot, coming from Ferta Laig, from the north; and "What brings thee here?" said Cuchulain. "A cry," said Laeg, "that I heard sounding over the plains. "On what side was it?" said Cuchulain. "From the north-west it seemed," said Laeg, "that is, across the great road of Caill Cuan."[FN#117] "Let us follow after to know of it (lit. after it, to it for us)," said Cuchulain.
[FN#116] Or "out of his room." The word is imda, sometimes rendered "bed," as here by Windisch sometimes also "room," as in the Bruidne da Derga by Whitley Stokes.
[FN#117] Lough Cuan was the old name for Strangford Lough.
They went out thereupon till they came to Ath da Ferta. When they were there, straightway they heard the rattle of a chariot from the quarter of the loamy district of Culgaire. Then they saw the chariot come before them, and one chestnut (lit. red) horse in it. The horse was one footed, and the pole of the chariot passed through the body of the horse, till a wedge went through it, to make it fast on its forehead. A red[FN#118] woman was in the chariot, and a red mantle about her, she had two red eye-brows, and the mantle fell between the two ferta[FN#119] of her chariot behind till it struck upon the ground behind her. A great man was beside her chariot, a red[FN#120] cloak was upon him, and a forked staff of hazel at his back, he drove a cow in front of him.
[FN#118] The above is the Egerton text: the text of Y.B.L. gives "A red woman there, with her two eyebrows red, and her cloak and her raiment: the cloak fell," &c.
[FN#119] It is not known certainly what the ferta were: Windisch translates "wheels," but does not give this meaning in his Dictionary: the ferta were behind the car, and could be removed to sound the depth of a ford. It is suggested that they were poles, projecting behind to balance the chariot; and perhaps could be adjusted so as to project less or farther.
[FN#120] This is the Egerton text; the Y.B.L. text gives "a tunic forptha on him the meaning of forptha is unknown.
"That cow is not joyful at being driven by you!" said Cuchulain. "The cow does not belong to you," said the woman, "she is not the cow of any friend or acquaintance of yours." "The cows of Ulster," said Cuchulain, "are my proper (care)." "Dost thou give a decision about the cow?" said the woman; "the task is too great to which thy hand is set, O Cuchulain." "Why is it the woman who answers me?" said Cuchulain, "why was it not the man?" "It was not the man whom you addressed," said the woman. "Ay," said Cuchulain, "(I did address him), though thyself hath answered for him:" "h-Uar-gaeth-sceo-luachair-sceo[FN#121] is his name," said she.
[FN#121] Cold-wind-and-much-rushes.
"Alas! his name is a wondrous one," said Cuchulain. "Let it be thyself who answers,[FN#122] since the man answers not. What is thine own name?" said Cuchulain. "The woman to whom thou speakest," said the man, "is Faebor-begbeoil-cuimdiuir-folt-scenbgairit-sceo-uath."[FN#123] "Do ye make a fool of me?" cried Cuchulain, and on that Cuchulain sprang into her chariot: he set his two feet on her two shoulders thereupon, and his spear on the top of her head. "Play not sharp weapons on me!" "Name thyself then by thy true name!" said Cuchulain. "Depart then from me!" said she: "I am a female satirist in truth," she said, "and he is Daire mac Fiachna from Cualnge: I have brought the cow as fee for a master-poem." "Let me hear the poem then," said Cuchulain. "Only remove thyself from me," said the woman; "it is none[FN#124] the better for thee that thou shakest it over my head." Thereon he left her until he was between the two poles (ferta) of her chariot, and she sang to him[FN#125] . . . . . . Cuchulain threw a spring at her chariot, and he saw not the horse, nor the woman, nor the chariot, nor the man, nor the cow.
[FN#122] Y.B.L. corrupt; Egerton version adopted here.
[FN#123]
Little-mouthed-edge-equally-small-hair-short-splinter-much-clamour.
[FN#124] Not is it better for thee that" is in Egerton alone.
[FN#125] See the introduction for the omission of the poem.
Then he saw that she had become a black bird upon a branch near to him. "A dangerous[FN#126] (or magical) woman thou art," said Cuchulain: "Henceforward," said the woman, "this clay-land shall be called dolluid (of evil,)" and it has been the Grellach Dolluid ever since. "If only I had known it was you," said Cuchulain, "not thus should we have separated." "What thou hast done," said she, "shall be evil to thee from it." "Thou hast no power against me," said Cuchulain. "I have power indeed," said the woman; "it is at the guarding of thy death that I am; and I shall be," said she. "I brought this cow out of the fairy-mound of Cruachan, that she might breed by the Black Bull[FN#127] of Cualnge, that is the Bull of Daire Mae Fiachna. It is up to that time that thou art in life, so long as the calf which is in this cow's body is a yearling; and it is this that shall lead to the Tain bo Cualnge." "I shall myself be all the more glorious for that Tain," said Cuchulain: "I shall slay their warriors: I shall break their great hosts: I shall be survivor of the Tain."
[FN#126] Windisch is doubtful about the meaning of this word. He gives it as "dangerous" in his translation; it may also mean "magical," though he thinks not. In a note he says that the meaning "dangerous" is not certain.
[FN#127] In Egerton "the Dun of Cualnge."
"In what way canst thou do this?" said the woman, "for when thou art in combat against a man of equal strength (to thee), equally rich in victories, thine equal in feats, equally fierce, equally untiring, equally noble, equally brave, equally great with thee, I will be an eel, and I will draw a noose about thy feet in the ford, so that it will be a great unequal war for thee." "I swear to the god that the Ulstermen swear by," said Cuchulain, "I will break thee against a green stone of the ford; and thou shalt have no healing from me, if thou leavest me not." "I will in truth be a grey wolf against thee," said she, "and I will strip a stripe[FN#128] from thee, from thy right (hand) till it extends to thy left."
[FN#128] This word is left doubtful in Windisch's translation. The word is breth in Y.B.L. and breit in Egerton. Breit may be a strip of woollen material, or a strip of land; so the meaning of a strip of flesh seems possible.
"I will beat thee from me," said he, "with the spear, till thy left or thy right eye bursts from thy head, and thou shalt never have healing from me, if thou leavest me not." "I shall in truth," she said, "be for thee as a white heifer with red ears, and I will go into a lake near to the ford in which thou art in combat against a man who is thine equal in feats, and one hundred white, red-eared cows shall be behind me and 'truth of men' shall on that day be tested; and they shall take thy head from thee." "I will cast at thee with a cast of my sling," said Cuchulain, "so as to break either thy left or thy right leg from under thee; and thou shalt have no help from me if thou leavest me not."
They[FN#129] separated, and Cuchulain went back again to Dun Imrid, and the Morrigan with her cow to the fairy mound of Cruachan; so that this tale is a prelude to the Tain bo Cualnge.
[FN#129] All this sentence up to "so that this tale" is from the Egerton version. The Yellow Book of Lecan gives "The Badb thereon went from him, and Cuchulain went to his own house, so that," &c.
TEXT OF LEABHAR NA H-UIDHRI
GIVING THE CONCLUSION OF THE "COURTSHIP OF ETAIN"
INTRODUCTION
The following pages give, with an interlinear word for word[FN#130] translation, the text of Leabhar na h-Uidhri, page 130 b. line 19 to the end of page 132 a. of the facsimile. The text corresponds to the end of the tale of the Court ship of Etain in vol. i., from page 27, line 21, to the end of the story; it also contains the poem which is in that volume placed on page 26, but occurs in the manuscript at the place where the first line of it is quoted on page 30 of vol. i.
[FN#130] The Irish idiom of putting the adjective after the noun is not always followed in the translation.
It is hoped that the text may be found to be convenient by scholars: special care has been taken to make it accurate, and it has not, with the exception of the poem just referred to, been published before except in the facsimile; the remainder of the text of the L.U. version of the Courtship of Etain, together with the poem, has been given by Windisch in the first volume of the Irische Texte.
The immediate object of the publication of this text, with its interlinear translation, is however somewhat different; it was desired to give any who may have become interested in the subject, from the romances contained in the two volumes of this collection, some idea of their exact form in the original, and of the Irish constructions and metres, as no Irish scholarship is needed to follow the text, when supplemented by the interlinear translation. The translation may be relied on, except for a few words indicated by a mark of interrogation.
The passage is especially well suited to give an idea of the style of Irish composition, as it contains all the three forms used in the romances, rhetoric, regular verse, and prose: the prose also is varied in character, for it includes narrative, rapid dialogue, an antiquarian insertion, and two descriptive passages. The piece of antiquarian information and the resume of the old legend immediately preceding the second rhetoric can be seen to be of a different character to the flowing form of the narrative proper; the inserted passage being full of explanatory words, conid, issairi, is aice, &c., and containing no imagery. The two descriptions, though short, are good examples of two styles of description which occur in some other romances; neither of these styles is universal, nor are they the only styles; the favour shown to one or the other in a romance may be regarded as a characteristic of its author.
The first style, exemplified by the description of Mider's appearance, consists of a succession of images presented in short sentences, sometimes, as in this case, with no verb, sometimes with the verb batar or a similar verb repeated in each sentence, but in all cases giving a brilliant word-picture, absolutely clear and definite, of what it is intended to convey. The second style, exemplified here by the description of the horses that Mider offers to Eochaid, consists of a series of epithets or of substantives, and is often imitated in modern Irish. These passages are usually difficult to translate, as many words appear to be coined for the purpose of the descriptions; but, in the best writings, the epithets are by no means arbitrary; they are placed so as to contrast sharply with each other, and in many cases suggest brilliant metaphors; the style being in this respect more like Latin than English. Absolutely literal translations quite fail to bring out the effect of such passages; for not only is the string of adjectives a distinctively Irish feature, but both in English and in Greek such metaphors are generally expressed more definitely and by short sentences. There is also a third style of description which does not appear in the prose of any of the romances in this collection, but appears often in other romances, as in the Bruidne da Derga, Bricriu's Feast, and the Great Tain; it resembles the first style, but the sentences are longer, yet it does not give clear descriptions, only leaving a vague impression. This style is often used for descriptions of the supernatural; it may be regarded as actual reproductions of the oldest pre-Christian work, but it is also possible that it is the result of legends, dimly known to the authors of the tales, and represented by them in the half-understood way in which they were apprehended by them: the Druidic forms may have been much more clear. Such passages are those which describe Cuchulain's distortions; the only passage of the character in this collection is in the verse of the Sick-bed, vol. i. page 77. Five of the romances in the present collection have no descriptive passages in the prose; the Combat at the Ford and the Tain bo Fraich show examples of both the first and the second form, but more often the first; the Tain bo Regamna, though a very short piece, also shows one example of each; for the description of the goblins met by Cuchulain is quite clear, and cannot be regarded as belonging to the third form. There is also one case of the second form in the Tain bo Dartada, and two other cases of the first in the Court ship of Etain-one in the Egerton, one in the Leabhar na h-Uidhri version. The best example of the first style is in the Egerton version of Etain (vol. i. page 12); the best example of the second is the description of Cuchulain's horses (vol. i. page 128); a still better example of contrasts in such a description is in the Courtship of Ferb (Nutt, page 23).
The piece of regular verse contained in the extract should give a fair idea of the style of this form of composition. Description is common in the verse, and it is in this case a prominent feature. It may be noted that lines 8, 16, 23, 26 will not scan unless the present diphthongs are divided, also that the poem has fewer internal rhymes than is usual in this regular verse.
The two passages in rhetoric, for so I take them to be, are good examples of the style. An attempt has been made to divide them into lines, but this division is open to criticism, especially as some lines in one of the two passages cannot be translated, and the translation of some other lines is doubtful: the division suggested does, however, appear to me to give a rough metre and occasional rhymes. It is possible that, if attention is called to those lines which are at present untranslatable, something may be done for them. The verse translations given in vol. i. pages 27 and 29, give the meaning that I take the Irish to bear where I can get any meaning at all.
As to the text, the usual abbreviation for n has in general not been italicized, nor has that for fri; all other abbreviations, including acht, final n in the symbol for con, and that for or in the recognized symbol for for, have been italicized. In the rhetorics, owing to their difficulty, the abbreviation for n has been italicized throughout; the symbol for ocus is not italicised. A few conjectures have been inserted, the text being given as a foot-note; a conjectured letter supposed to be missing has been inserted in brackets, and a restoration by Professor Strachan of a few letters where the MS. is torn are similarly placed in brackets. The rest of the text is carefully copied from the facsimile, including the glosses, which are inserted above the words in the same places that they occupy in the manuscript.