Selections from Ancient Irish Poetry

by Unknown

It was only on the outskirts of the Continental world, and beyond the sway and influence of the Roman Empire, that some vigorous nations preserved their national institutions intact, and among them there are only three whom letters reached early enough to leave behind some record of their pagan civilisation in a vernacular literature. These were the Irish, the Anglo-Saxons, and, comparative latecomers, the Icelanders.

Again, when Christianity came with the authority of Rome and in the Latin language, now imbued with an additional sanctity, there ensued in all nations a struggle between the vernacular and the foreign tongue for obtaining the rank of a literary language—a struggle from which the languages of the Continental nations, as well as of Britain, emerged only slowly and late. It is not till the end of the eleventh century that we find the beginnings of a national literature in France and Germany. In Ireland, on the other hand, which had received her Christianity not direct from Rome but from Britain and Gaul, and where the Church, far removed from the centre of Roman influence and cut off from the rest of Christendom, was developing on national lines, vernacular literature received a fresh impulse from the new faith. A flourishing primitive Christian literature arose. The national language was employed not only for the purposes of instruction and devotion, in tombstone or other inscriptions, but also in religious prose and poetry, and, still more remarkable, in learned writings. There can, I think, be little doubt that we should hardly have any early records of Anglo-Saxon literature if the English had not in the first instance received Christianity from the Irish. It had been the influence and example of those Irish missionaries who converted Northumberland that taught the Anglian monk to preserve and cultivate his national literature.

Ireland had become the heiress of the classical and theological learning of the Western Empire of the third and fourth centuries, and a period of humanism was thus ushered in which reached its culmination during the sixth and following centuries, the Golden Age of Irish civilisation. The charge that is so often levelled against Irish history, that it has been, as it were, in a backwater, where only the fainter wash of the larger currents reaches, cannot apply to this period. For once, at any rate, Ireland drew upon herself the eyes of the whole world, not, as so often in later times, by her unparalleled sufferings, but as the one haven of rest in a turbulent world overrun by hordes of barbarians, as the great seminary of Christian and classical learning, 'the quiet habitation of sanctity and literature,' as Doctor Johnson called her in a memorable letter written to Charles O'Connor. Her sons, carrying Christianity and a new humanism over Great Britain and the Continent, became the teachers of whole nations, the counsellors of kings and emperors. For once, if but for a century or two, the Celtic spirit dominated a large part of the Western world, and Celtic ideals imparted a new life to a decadent civilisation until they succumbed, not altogether to the benefit of mankind, before a mightier system—that of Rome.

It was during this period that the oral literature, handed down by many generations of bards and story-tellers, was first written down in the monasteries. Unfortunately, not a single tale, only two or three poems, have come down to us from these early centuries in contemporary manuscripts. In Ireland nearly all old MSS. were destroyed during the Viking terror which burst upon the island at the end of the eighth century.[1] But, from the eleventh century onward, we have an almost unbroken series of hundreds of MSS. in which all that had escaped destruction was collected and arranged. Many of the tales and poems thus preserved were undoubtedly originally composed in the eighth century; some few perhaps in the seventh; and as Irish scholarship advances, it is not unlikely that fragments of poetry will be found which, from linguistic or internal evidence, may be claimed for the sixth century.

The Celtic nations stand almost alone in this, that they did not employ poetry for epical narrative. There are no ancient Irish epics or ballads. So much was prose the natural vehicle of expression for Gaelic narrative, that when in later centuries the Arthurian epics were done into Gaelic, they were all turned from poetry into prose. At the same time, most Irish tales and stories are interspersed with lyrics put into the mouth of the principal heroes, after the manner of the cante fable, most familiar to modern readers from the French story of Aucassin et Nicolete. My collection begins with a few specimens of such poems.

The purely lyrical poetry of ancient Ireland may be roughly divided into two sections—that of the professional bard attached to the court and person of a chief; and that of the unattached poet, whether monk or itinerant bard.

From the earliest times we know the names of many famous bards of ancient Ireland and Scotland. Their songs are interwoven with the history of the dynasties and the great houses of the country whose retainers they were, and whose joys and sorrows they shared and expressed. Thus they became the chroniclers of many historical events. Of the oldest bardic poetry very little has as yet been published, and less translated. But many fine examples of a later age will be found in Standish Hayes O'Grady's Catalogue of Irish Manuscripts in the British Museum, a book which makes one realise more clearly than any other that the true history of Ireland has never yet been written. My own specimens from the earlier centuries include several laments and a sword-song, a species of bardic composition which the Gaels share with the Norse.

Religious poetry ranges from single quatrains to lengthy compositions dealing with all the varied aspects of religious life. Many of them give us a fascinating insight into the peculiar character of the early Irish Church, which differed in so many ways from the rest of the Christian world. We see the hermit in his lonely cell, the monk at his devotions or at his work of copying in the scriptorium or under the open sky; or we hear the ascetic who, alone or with twelve chosen companions, has left one of the great monasteries in order to live in greater solitude among the woods or mountains, or on a lonely island. The fact that so many of these poems are fathered upon well-known saints emphasises the friendly attitude of the native clergy towards vernacular poetry.

In Nature poetry the Gaelic muse may vie with that of any other nation. Indeed, these poems occupy a unique position in the literature of the world. To seek out and watch and love Nature, in its tiniest phenomena as in its grandest, was given to no people so early and so fully as to the Celt. Many hundreds of Gaelic and Welsh poems testify to this fact.[2] It is a characteristic of these poems that in none of them do we get an elaborate or sustained description of any scene or scenery, but rather a succession of pictures and images which the poet, like an impressionist, calls up before us by light and skilful touches. Like the Japanese, the Celts were always quick to take an artistic hint; they avoid the obvious and the commonplace; the half-said thing to them is dearest.

Of ancient love-songs comparatively little has come down to us. What we have are mostly laments for departed lovers. He who would have further examples of Gaelic love-poetry must turn to modern collections, among which the Love-Songs of Connaught, collected and translated by Douglas Hyde, occupy the foremost place.