Three sons to Rossa Ruddy-faced as children Magach bore;
To Carbre sons again she gave, the count of these was four;
And three white shoots of grace were hers, on these no shame shall fall;
To Cathbad children three she bare, and these were daughters all.
To Cathbad, who in wizard lore and all its arts had might,
Three daughters lovely Magach bore, each clothed in beauty white;
All maids who then for grace were famed in grace those maids surpassed,
And Finuchoem,[FN#49] Ailbhe twain he named, and Deithchim named the
last.
[FN#49] Pronounced Finn-hoom, Ail-vy, and Die-himm.
To Finnchoem, wizard Cathbad's child, was born a glorious son,
And well she nursed him, Conall wild, who every field hath won;
And Ailbhe glorious children bare in whom no fear had place,
These Ardan, Ainnle, Naisi were, who came of Usnach's race.
A son to Deithchim fair was born, a bright-cheeked mother she;
She bore but one: Cuchulain of Dun Delga's hold was he:
Of those whom Cathbad's daughters reared the names full well ye know,
And none of these a wound hath feared, or therefore shunned a foe.
The sons of Usnach, who like shields their friends protected well,
By might of hosts on battle-field to death were borne, and fell;
And each was white of skin, and each his friends in love would hold,
Now naught remains for song to teach, the Third of Griefs is told.
THE COMBAT AT THE FORD
INTRODUCTION
This version of the "Combat at the Ford," the best-known episode of the Irish romance or romantic epic, the "War of Cualnge," will hardly be, by Irish scholars, considered to want a reference. It is given in the Book of Leinster, which cannot have been written later than 1150 A.D., and differs in many respects from the version in the fourteenth-century Book of Lecan, which is, for the purposes of this text, at least equal in authority to the Leabbar na h-Uidhri, which must have been written before 1100 A.D. Mr. Alfred Nutt has kindly contributed a note on the comparison of the two versions, which has been placed as a special note at the end of the translation of the "Combat." To this note may be added the remark that the whole of the Leabhar na h-Uidhri version of the "War of Cualnge" seems, to be subject to the same criticisms that have to be passed on the "Sickbed" and the "Courtship of Etain" in the same volume, viz. that it is a compilation from two or three different versions of the same story, and is not a connected and consistent romance, which the version in the Book of Leinster appears to be. As an illustration of this, the appearance of Conall Cernach as on the side of Connaught in the early part of the L.U. version may be mentioned; he is never so represented in other versions of the "War." In the description of the array of Ulster at the end of L.U., he is noted as being expected to be with the Ulster army but as absent (following in this the Book of Leinster, but not a later manuscript which agrees with the Book of Leinster in the main); then at the end of the L.U. version Conall again appears in the Connaught army and saves Conor from Fergus, taking the place of Cormac in the Book of Leinster version. Miss Faraday, in her version of the "War" as given in L.U., notes the change of style at page 82 of her book. Several difficulties similar to that of the position of Conall could be mentioned; and on the whole it seems as if the compiler of the manuscript from which both the Leabhar na h-Uidhri and the Yellow Book of Lecan were copied, combined into one several different descriptions of the "War," one of which is represented by the Book of Leinster version.
This version shows no signs of patchwork, at any rate in the story of the "Combat at the Ford;" which has, ever since it was reintroduced to the world by O'Curry, been renowned for the chivalry of its action. It forms one of the books of Aubrey de Vere's "Foray of Queen Meave," and is there well reproduced, although with several additions; perhaps sufficient attention has not. been paid to the lofty position of the character, as distinguished from the prowess, that this version gives to Cuchulain. The first verse, put in Cuchulain's mouth, strikes a new note, contrasting alike with the muddle-headed bargaining of Ferdia and Maev, and the somewhat fussy anxiety of Fergus. The contrast between the way in which Cuchulain receives Fergus's report of the valour of Ferdia, and that in which Ferdia receives the praises of Cuchulain from his charioteer, is well worked out; Cuchulain, conscious of his own strength, accepts all Fergus's praises of his opponent and adds to them; Ferdia cannot bear to hear of Cuchulain's valour, and charges his servant with taking a bribe from his enemy in order to frighten him. Ferdia boasts loudly of what he will do, Cuchulain apologises for his own confidence in the issue of the combat, and gently banters Fergus, who is a bit of a boaster himself, on the care he had taken to choose the time for the war when king Conor was away, with a modest implication that he himself was a poor substitute for the king. Cuchulain's first two stanzas in the opening dialogue between himself and Ferdia show a spirit quite as truculent as that of his opponent; the reason of this being, as indicated in the first of these stanzas and more explicitly stated in the preceding prose, that his anxiety for his country is outweighing his feeling for his friend; but in the third stanza he resumes the attitude of conscious strength that marks all his answers to Fergus; and this, added to a feeling of pity for his friend's inevitable fate, is maintained up to the end of the tale. In the fourth stanza, which is an answer to a most insulting speech from Ferdia, he makes the first of those appeals to his former friend to abandon his purpose that come from him throughout the first three days of the fight; even in the fatal battle of the fourth day, he will not at first put forward all his strength, and only uses the irresistible Gae-Bulg when driven to it by his foe. The number of Cuchulain's laments after the battle—there are five of these (one in prose), besides his answers to Laeg—has been adversely criticised; and it is just possible that one or more of these come from some other version, and have been incorporated by a later hand than that of the author; but the only one that seems to me not to develop the interest is the "brooch of gold," which it may be noticed is very like the only lament which is preserved in the Book of Lecan text of the L.U. version. Cuchulain's allusion to Aife's only son in the first verse lament is especially noticeable (see note, p. 196).