"Ay. There's no call to name names. One day she told me that she had been bidden to go over to them. If she didn't, the monks would kill her, they said. The monks are still the strongest here, they told her, or she me, I forget which. That is, except over by Staonaig. Up between Sgéur Iolaire and Cnoc Druidean there's a path that no monk can go. There, in the old days, they burned a woman. She was not a woman, but they thought she was. She was one o' the Sorrows of the Sheen, that they put out to suffer for them, an' get the mortal ill. That's the plague to them. It's ill to any that brings harm on them. That's why the monks arena strong over by Staonaig way. But I told my girl not to mind. She was safe wi' me, I said. She said that was true. For weeks I heard no more o' that monk. One night Elsie came in smiling an' pluckin' wild roses. "Breisleach!" I cried, "what's the meanin' o' roses in January?" She looked at me, frighted, an' said nothin', but threw the things on the fire. It was next day she went away."
"And——"
"An' that's all. Here's the tea. Ay, an' for sure here's my good man. Whist, now! Rob, do you see who's here?"
Nothing is more strange than the confused survival of legends and pagan faiths and early Christian beliefs, such as may be found still in some of the isles. A Tiree man, whom I met some time ago on the boat that was taking us both to the west, told me there's a story that Mary Magdalene lies in a cave in Iona. She roamed the world with a blind man who loved her, but they had no sin. One day they came to Knoidart in Argyll. Mary Magdalene's first husband had tracked her there, and she knew that he would kill the blind man. So she bade him lie down among some swine, and she herself herded them. But her husband came and laughed at her. "That is a fine boar you have there," he said. Then he put a spear through the blind man. "Now I will take your beautiful hair," he said. He did this and went away. She wept till she died. One of Colum's monks found her, and took her to Iona, and she was buried in a cave. No one but Colum knew who she was. Colum sent away the man, because he was always mooning and lamenting. She had a great wonderful beauty to her.
It is characteristic enough, even to the quaint confusion that could make Mary Magdalene and St. Columba contemporary. But as for the story, what is it but the universal Gaelic legend of Diarmid and Grania? They too wandered far to escape the avenger. It does not matter that their "beds" are shown in rock and moor, from Glenmoriston to Loch Awe, from Lora Water to West Loch Tarbert, with an authenticity as absolute as that which discovers them almost anywhere between Donegal and Clare; nor that the death-place has many sites betwixt Argyll and Connemara. In Gaelic Scotland every one knows that Diarmid was wounded to the death on the rocky ground between Tarbert of Loch Fyne and the West Loch. Every one knows the part the boar played, and the part Finn played.
Doubtless the story came by way of the Shannon to the Loch of Shadows, or from Cuchullin's land to Dûn Sobhairce on the Antrim coast, and thence to the Scottish mainland. In wandering to the isles, it lost something both of Eiré and Alba. The Campbells, too, claimed Diarmid; and so the Hebrideans would as soon forget him. So, there, by one byplay of the mind or another, it survived in changing raiment. Perhaps an islesman had heard a strange legend about Mary Magdalene, and so named Grania anew. Perhaps a story-teller consciously wove it the new way. Perhaps an Iona man, hearing the tale in distant Barra or Uist, in Coll or Tiree, "buried" Mary in a cave of Icolmkill.
The notable thing is, not that a primitive legend should love fantastic raiment, but that it should be so much alike, where the Syrian wanders from waste to waste, by the camp-fires of the Basque muleteers, and in the rainy lands of the Gael.
In Mingulay, one of the south isles of the Hebrides, in South Uist, and in Iona, I have heard a practically identical tale told with striking variations. It is a tale so wide-spread that it has given rise to a pathetic proverb, "Is mairg a loisgeadh a chlarsach dut," "Pity on him who would burn the harp for you."
In Mingulay, the "harper" who broke his "harp" for a woman's love was a young man, a fiddler. For three years he wandered out of the west into the east, and when he had made enough money to buy a good share in a fishing-boat, or even a boat itself, he came back to Mingulay. When he reached his Mary's cottage, at dusk, he played her favourite air, an "oran leannanachd," but when she came out it was with a silver ring on her left hand and a baby in her arms. Thus poor Padruig Macneill knew Mary had broken her troth and married another man, and so he went down to the shore and played a "marbh-rann," and then broke his fiddle on the rocks; and when they came upon them in the morning he had the strings of it round his neck. In Uist, the instrument is more vaguely called a "tiompan," and here, on a bitter cold night in a famine time, the musician breaks it so as to feed the fire to warm his wife—a sacrifice ill repaid by the elopement of the hard woman that night. In Iona, the tale is of an Irish piper who came over to Icolmkill on a pilgrimage, and to lay his "peeb-h'yanna"[5] on "the holy stones"; but, when there, he got word that his young wife was ill, so he "made a loan of his clar," and with the money returned to Derry, only to find that his dear had gone away with a soldier for the Americas.