Translation:—
My mourning is grievous this night, Weeping is my condition, As I think of the fierce fight, Fought with red, squint-eyed Cairbre, That son of Cormac O Chuinn; Woe to them fell into his hands, Hero who knew no coward fear, Whose hand took delight in the arrow, etc.
The composition is very much the same with that of the Dean, but in many portions contains lines which the latter wants, and in others is comparatively defective. Although frequently superior in force, it is not, upon the whole, so smooth and regular as the Dean’s edition. It will be given at greater length in the Appendix to this volume.
[ [108] Fergus the Bard was one of the sons of Finn, and consequently brother to Ossian. He was, from all we can learn, the chief Poet of the Feinn. Ossian was both warrior and poet; Fergus was chiefly poet. Fergus was probably somewhat like a modern Gaelic Bard, John Macdonell, commonly called Ian Lom, who, on being urged to fight at the battle between Montrose and Argyle at Inverlochy, replied with well-assumed indignation, “Cha-n e sin mo ghnothuch, cathaichibh sibhse ’us innsidh mise,” that is not my business,—fight you and I’ll relate. In one of the odes preserved in the Dean’s MS., Fergus is called “Filidh Feinn Eirinn,” Bard of the Feinn of Erin.
[ [109] This composition is usually called, “Rosg Ghuill,” or the Ode to Gaul. Gaul was chief of one branch of the Feinn, the branch denominated “Clann Moirn,” or the children of Morn, as Finn was chief of the other branch, called “Clann Baoisgne,” or the children of Boisgne. The word “Gall” means a foreigner; “muirn” means a body of men, or beauty, elegance, in either sense giving a marked significance to the name. This poem represents a difference between Gaul and Finn, the cause of which will appear as the poem proceeds. Fergus, as was customary with the Bards, interposes as peacemaker, and represents to his father, whom he manifestly holds to be in the wrong, the danger of a difference with Gaul. The ode is a very remarkable one, having a striking resemblance to Ossian’s eulogy on Finn, as given already in this volume. Both bear decided marks of genuineness and antiquity. The language is peculiar, many of the words being obsolete. Indeed, the phonetic orthography of the Dean, the peculiar handwriting, and the discoloration and bad condition of the MS., with the obsoleteness of many of the words, made it a matter of no little labour to decipher the composition at all. There is an edition of it in Miss Brooks’ “Reliques of Irish Poetry,” from which, however, the present differs considerably in many of the lines, besides having several additional lines, and several deficient in some parts. The peculiar rhythm of the original, with the alliterations and vocalic concords, give it remarkable smoothness and force. The rhythm has, as far as possible, been retained in the translation. But besides the language, the sentiment of the piece is strong evidence of its antiquity. Those features of character are commended which have always been in favour in a rude age. Bodily strength, courage, manliness, and size, are dwelt on with all the warmth of an ardent admiration; while as much of literary cultivation is pointed out and commended, as would show the acquaintance of the hero with the traditions of his race. Gaul is said to have been “eagnaidh a stair,” learned in history. This and the ode to Finn have internal evidence of being compositions belonging to a very remote age.
[ [110] It would appear from this latter part of the poem, that the difference between Finn and Gaul concerned the right to hunt. It would appear that such a cause of controversy is no modern affair, but that game and game-laws had their place among human interests and human contentions from the earliest period of our country’s history. Finn seems to have claimed the right of chase over the whole territory of the Feinn. Gaul resisted and claimed a share for the race of Morn. Hence the contest giving Gaul the appellation of “Fear cogaidh Fhinn,” or resister of Finn. Fergus’s intervention resulted in Gaul’s obtaining from Finn, with good will, one-third of the territory called here “fiodh,” or wooded territory, and one-third of the hounds. There is a curious reference to these hunting rights in one of the poems in praise of the M’Gregors, given in an after-part of this volume, in which it is said that Finn himself dare not hunt without leave.
[ [111] This is another of the compositions of Fergus, the son of Finn, and brother of Ossian. It will be found to be an account of the death of Oscar at the battle of Gaura. One composition on this subject by Allan M’Rory has been given already. M’Rory’s appears to be the more modern of the two, besides being inferior in many respects to this. The account of Oscar’s death given here, is in the way of reply to an inquiry of Finn.
[ [112] Here we have in this very ancient composition reference to the Feinn of Britain, Britain including then as now England, Scotland, and Wales. If the Feinn belonged to Britain as well as Ireland, they could not have been a mere Irish militia.
[ [113] This is the composition of a Poet of whom we know nothing save what we find in this volume. From a poem of his in praise of the M’Gregors, he would appear to have been a Scotchman. The name signifies Malcom, the son of the chief bard or the physician. It is found still in the form of M’Inally. This poem is the Celtic edition of the Persian tale of Zohrab and Rustum. The incidents are so similar, that the two tales must have had a common origin. Whether the Persians received the tale from the Celts, or the Celts from the Persians, or both from some other and older source, it is hard to say. The composition is in Gaelic, usually called, “Bàs Chonlaoich,” or The death of Conlach.
[ [114] Clann Rughraidh, a powerful race, who occupied the province of Ulster at an early period, after having expelled the Clann Deaghaidh, or the Dalcassians, afterwards of Munster.