No one, whether an Irishman or a stranger, can look on the vast mound and vast earthen ramparts that mark the home of him whom the most trustworthy of Irish annalists, Tighearnach, calls fortissimus heros Scottorum, without feelings of indignation and shame—indignation at the way one of the greatest and most interesting monuments of Irish antiquity has been profaned, and shame that so little reverence for their country’s past should be found among the Irish people. If the Copts and Arabs of Egypt sell and uproot the antiquities of that country, they can, at least, say that they are not the descendants of the men who lived under the sway of the Pharaos; but those who have, in recent times, done most to obliterate and profane the most historic monuments of Ireland are the lineal descendants of the men who raised them. Nothing that ancient Irish monuments have suffered, and they have suffered a great deal, can exceed the wrong committed by him who built a horrible, modern, vulgar, gewgaw house on top of the dun of Cuchulainn! To show how utterly obtuse, and how unsympathetic with his country’s past the person was who built the vulgar structure on one of the most curious and interesting historic monuments in Ireland, he has actually engraved his name and the date of the erection of the house on its front wall! seeming to glory in the vandalism he committed. The legend on the wall says that the house was built in 1780 by a person named Patrick Byrne for his nephew.
CUCHULAINN’S DESECRATED DUN.
About a mile from the Dundalk railway station, crowning the summit of a hill that rises amid green fields and rich pastures, stands all that remains of the dun on which the wooden dwelling of Cuchulainn stood wellnigh two thousand years ago. Before it was partially levelled to build the gewgaw house that now stands on it, it must have been the finest monument of its kind in Ireland. It is quite different from the remains of Tara, Knock Aillinn, Emania, or Dinrigh. Those places were evidently intended to accommodate large numbers of people; but Cuchulainn’s dun was evidently that of one person or one family. It answered to the Norman keep that some lords of the soil built for their own private protection in later times. Cuchulainn’s dun was immense, and its remains are even still immense in spite of the way it has been ruined. It is yet over forty feet in perpendicular height, and, like most structures of its kind, is perfectly round. It has an area of over half an acre on its summit. The enceinte outside the central dun encloses fully two acres, and where it has not been levelled, is still colossal, being thirty feet high in some parts. The immense labour it must have taken to raise such a gigantic mound, and to dig such vast entrenchments on so high a hill, strikes one with astonishment. If it had not been ruined and partially levelled by the utterly denationalised and soulless person who built the vulgar structure on it, it would be the finest thing of its kind in Ireland, and would attract antiquarians from all parts of these islands and from the Continent.
The existence of this fort is another collateral proof of the general truth of what has been called Irish bardic history. It says that Cuchulainn lived at Dundealgan, or Dundalk, and there his dun is found. He can hardly be said to figure in what are generally known as Irish authentic annals. The “Annals of the Four Masters” do not mention him at all, although they do mention some of his contemporaries. Tighearnach, who lived in the eleventh century, is the only one of the Irish annalists who mentions him. His annals have not yet been translated or published; but the following passage occurs in them: “Death of Cuchulainn, the most renowned champion of Ireland, by Lughaidh, the son of Cairbre Niafer [chief king of Ireland]. He was seven years old when he began to be a champion, and seventeen when he fought in the Cattle Spoil of Cooley, and twenty-seven when he died.” Tighearnach makes Cuchulainn and Virgil contemporary. He and Queen Meave are the two great central figures in the longest and greatest prose epic in the Irish language, the Tain Bo Cuailgne, or Cattle Spoil of Cooley, which Sir Samuel Ferguson has made familiar to the English reader in his poem, “The Foray of Meave.”
Cuchulainn is the Hercules of Irish romantic history; but in spite of all the fabulous tales of which he is the hero, there cannot be any doubt that he was an historic personage, that his dwelling-place was on the dun that has been described, and that he lived shortly before the Christian era. The name Cuchulainn is a sobriquet; it means “the hound Culann.” This Culann was chief smith to Connor, King of Ulster. He had a fierce dog that he used to let out every night to watch and guard his premises, which were in the vicinity of Emania, the palace of the Ulster kings. Cuchulainn, who was nephew to Connor, was going to some entertainment at his uncle’s; but having been out later than usual, was attacked by Culann’s fierce hound. He had no weapon with which to defend himself save his hurling ball; but he cast it with such force at the dog that he killed him on the spot. Culann complained to King Connor about the loss of his great watch dog, and Cuchulainn, who was then only a boy of eight or nine years old, said that he would act as watch dog for the smith and be Culann’s hound, or dog. Whether he did so or not is left untold.
It is very curious that in all the romantic tales in which Cuchulainn figures, and in spite of his incredible strength and prowess, there does not seem to be a passage in any tract that has been translated about him up to the present where anything is mentioned about his size or stature. We are left under the impression that he was no bigger than ordinary men; and it may have been that he was not. Size and strength do not always go together. Some of the feats that he is said to have performed are utterly incredible; such as flinging his spear haftwise, and killing nine men with the cast; and pulling the arm from its socket out of a giant whom he was unable to get the better of with weapons. It is very natural that such impossible feats would, in a credulous age, be attributed to any one who was possessed of more than ordinary prowess. Things quite as impossible are found in the classics relative to Hercules. The Irish had just as good a right to relate impossibilities about Cuchulainn as the Greeks had to do the same about Hercules. But Cuchulainn figures in Celtic legend and romance in a manner in which Hercules does not figure in the legends of Greece, for the Irish hero was more of a ladies’ man than was the giant of the Greeks.
If Cuchulainn did not fill such an important place in what may be called classic Gaelic literature, the total ignorance about him in the very place where he was born and where he lived would not be such a national disgrace as it is. The mere remnant of Gaelic literature in which he is the central figure is immense. No other race in Europe would have so totally lost sight of a personage that was the hero of so many tracts and stories, and who was, besides, an historic character, and not a myth. Even sixty years ago, during the Ordnance Survey of Louth, the parties employed on it found that no one in the neighbourhood of Castletown, the modern name of the place in which Cuchulainn’s fort is situated, knew or heard anything about him. They were told by the peasantry that the fort was made by the Danes! Some said it was the work of Finn Mac Cool; but of the real owner of it, they knew nothing.
It is evident that the Irish monks of early mediæval times were much more broad-minded and liberal than their countrymen of the same class of more recent years. It is to monks and inmates of monasteries that we owe nine-tenths of the Gaelic literature that has come down to us. They produced more books in proportion to their numbers than perhaps any class of men of their kind that lived in ancient times. They were sincere Christians, but, like patriots, they loved to record the deeds of their pagan ancestors. Just as soon as national decay set in they were succeeded by men of their own calling, who appear to have thought little worth recording except the works of saints, or at least of those who professed Christianity. If the monks of the early centuries of Christian Ireland were as narrow-minded as the Four Masters, we never, probably, would know anything about Cuchulainn, Queen Meave, Conall Carnach, or any of the heroes of pagan Ireland, round whom there is woven such a wondrous web of legend, romance, and song. Every patriotic Irishman should revere the memories of those liberal-minded monks who handed down to us the doings of their pagan forefathers. To show how much those men valued the literature, and loved to recount the exploits of their pagan ancestors, it will only be necessary to give the words of the dear old soul who copied the Tain Bó Cuailgne, the great epic of pagan times, into the “Book of Leinster”: “A blessing on every one who will faithfully remember the Tain as it is [written] here, and who will not put another shape on it.”
Cuchulainn, above all men who figure in ancient Irish literature, seems to have been “grádh ban Eireann,” the darling of the women of Ireland. While yet in his teens, the nobles of Ulster came together to determine who should be a fitting wife for him. After a long search they found a lady named Eimir, accomplished in all the feminine education of the time; but her father, a wealthy chief or noble who lived near Lusk, in the present County of Dublin, did not like to give his daughter to a professional champion. Cuchulainn had seen her, and had succeeded in gaining her love. She was guarded for a year in her father’s dun; and during all that time, Cuchulainn vainly strove to see her. At last he lost patience and became desperate, scaled the three fences that encircled her father’s fort, had a terrible fight for her; killed three of her brothers; half killed half-a-dozen others who opposed him, and carried her and her maid northward in his chariot to his home in Dundalk.