Religious poetry comprised lyric fragments, which were introduced into the lives of the saints and there formed a kind of Christian saga, or else were based on Holy Writ, like the Lamentation of Eve; hymns in honor of the saints, like The Hymn to St. Michael, by Mael Isu; pieces such as the famous Hymn of St. Patrick; and philosophic poems like that keen analysis of the flight of thought which dates from the tenth century.
At a time when the poets of other lands seem wholly engrossed in the recital of the deeds of men, one of the great and constant distinguishing marks of poetry in Ireland, whether we have to do with a short note set down by a scribe on the margin of a manuscript or with a religious or profane poem, is a deep, personal, and intimate love of nature expressed not by detailed description, but more often by a single picturesque and telling epithet. Thus we have the hermit who prays God to give him a hut in a lonely place beside a clear spring in the wood, with a little lark to sing overhead; or we have Marban, who, rich in nuts, crab-apples, sloes, watercress, and honey, refuses to go back to the court to which the king, his brother, presses him to return. Now, we have the description of the summer scene, in which the blackbird sings and the sun smiles; now, the song of the sea and of the wind, which blows tempestuously from the four quarters of the sky; again, the winter song, when the snow covers the hills, when every furrow is a streamlet and the wolves range restlessly abroad, while the birds, numbed to the heart, are silent; or yet again the recluse in his cell, humorously comparing his quest of ideas to the pursuit of the mice by his pet cat. This deep love of inanimate and animate things becomes individualized in those poems in which every tree, every spring, every bird is described with its own special features.
If we remember that these original poems, which, before the twelfth century, expressed thoughts that were scarcely known to the literature of Europe before the eighteenth, are, besides, clothed in the rich garb of a subtle harmony, what admiration, what respect, and what love ought we not to show to that ancient Ireland which, in the darkest ages of western civilization, not only became the depositary of Latin knowledge and spread it over the continent, but also had been able to create for herself new artistic and poetic forms!
REFERENCES:
Hyde: Love Songs of Connacht (Dublin, 1893), Irish Poetry, an Essay in Irish with Translation in English and a Vocabulary (Dublin, 1902), The Religious Songs of Connacht (London, 1906); Meyer: Ancient Gaelic Poetry (Glasgow, 1906), a Primer of Irish Metrics with a Glossary and an Appendix containing an Alphabetical List of the Poets of Ireland (Dublin, 1909); Dottin-Dunn: The Gaelic Literature of Ireland (Washington, 1906); Meyer: Selections from Ancient Irish Poetry (2d edition, London, 1913); Best: Bibliography of Irish Philology and of Printed Irish Literature (Dublin, 1913); Loth: La métrique galloise (Paris, 1902); Thurneysen: Mittelirische Verslehren, Irische Texte III.; Buile Suibhne (Dublin, 1910).
IRISH HEROIC SAGAS
By ELEANOR HULL.
Ireland has the unique distinction of having preserved for mankind a full and vivid literary record of a period otherwise, so far as native memorials are concerned, clouded in obscurity. A few fragmentary suggestions, derived from ancient stone monuments or from diggings in tumuli and graves, are all that Gaul or Britain have to contribute to a knowledge of that important period just before and just after the beginning of our era, when the armies of Rome were overrunning western Europe and were brought, for the first time, into direct contact with the Celtic peoples of the West. Almost all that we know of the early inhabitants of these countries comes to us from the pens of Roman writers and soldiers—Poseidonius, Caesar, Diodorus, Tacitus. We may give these observers credit for a desire to be fair to peoples they sometimes admired and often dreaded, but conquerors are not always the best judges of the races they are engaged in subduing, especially when they are ignorant of their language, unversed in their lore and customs, and unused to their ways. Valuable as are the reports of Roman authorities, we feel at every point the need of checking them by native records; but the native records of Gaul, and in large part also those of Britain and Wales, have been swept away. Caesar is probably right in saying that the Druids, who were the learned men of their race and day, committed nothing to writing; if they did, whatever they wrote has been irrecoverably lost.
But Ireland was exempt from the sweeping changes brought about through long periods of Roman and Saxon occupation; no great upheaval from without disturbed the native political and social conditions up to the coming of the Norse and Danes about the beginning of the ninth century. Agricola, standing on the western coast of Britain, looked across the dividing channel, and reflected upon "the beneficial connection that the conquest of Ireland would have formed between the most powerful parts of the Roman Empire," but, fortunately for the literature of Ireland, if not for her history, he never came. The early incursions of the Scotti or Irish were eastward into England, Wales, and Gaul, and there seem to have been few return movements towards the west. Ireland pursued her path of native development undisturbed. It is to this circumstance that she owes the preservation of so much of her native literature, a great body of material, historical, religious, poetic, romantic, showing marks of having originated at a very early time, and of great variety and interest.