The Minstrels Or Musicians of the Sidhe
Not only did the fairy-folk of more ancient times enjoy wonderful palaces full of beauty and riches, and a life of eternal youth, but they also had, even as now, minstrelsy and rare music—music to which that of our own world could not be compared at all; for even Patrick himself said that it would equal the very music of heaven if it were not for ‘a twang of the fairy spell that infests it’.[242] And this is how it was that Patrick heard the fairy music:—As he was travelling through Ireland he once sat down on a grassy knoll, as he often did in the good old Irish way, with Ulidia’s king and nobles and Caeilte also: ‘Nor were they long there before they saw draw near them a scológ or “non-warrior” that wore a fair green mantle having in it a fibula of silver; a shirt of yellow silk next his skin, over and outside that again a tunic of soft satin, and with a timpán (a sort of harp) of the best slung on his back. “Whence comest thou, scológ?” asked the king. “Out of the sídh of the Daghda’s son Bodhb Derg, out of Ireland’s southern part.” “What moved thee out of the south, and who art thou thyself?” “I am Cascorach, son of Cainchinn that is ollave to the Tuatha De Danann, and am myself the makings of an ollave (i. e. an aspirant to the grade). What started me was the design to acquire knowledge, and information, and lore for recital, and the Fianna’s mighty deeds of valour, from Caeilte son of Ronan.” Then he took his timpán and made for them music and minstrelsy, so that he sent them slumbering off to sleep.’ And Cascorach’s music was pleasing to Patrick, who said of it: ‘Good indeed it were, but for a twang of the fairy spell that infests it; barring which nothing could more nearly than it resemble Heaven’s harmony.’[243] And that very night which followed the day on which the ollave to the Tuatha De Danann came to them was the Eve of Samain. There was also another of these fairy timpán-players called ‘the wondrous elfin man’, ‘Aillén mac Midhna of the Tuatha De Danann, that out of sídh Finnachaidh to the northward used to come to Tara: the manner of his coming being with a musical timpán in his hand, the which whenever any heard he would at once sleep. Then, all being lulled thus, out of his mouth Aillén would emit a blast of fire. It was on the solemn Samain-Day (November Day) he came in every year, played his timpán, and to the fairy music that he made all hands would fall asleep. With his breath he used to blow up the flame and so, during a three-and-twenty years’ spell, yearly burnt up Tara with all her gear.’ And it is said that Finn, finally overcoming the magic of Aillén, slew him.[243]
Perhaps in the first musician, Cascorach, though he is described as the son of a Tuatha De Danann minstrel, we behold a mortal like one of the many Irish pipers and musicians who used to go, or even go yet, to the fairy-folk to be educated in the musical profession, and then come back as the most marvellous players that ever were in Ireland; though if Cascorach were once a mortal it seems that he has been quite transformed in bodily nature so as to be really one of the Tuatha De Danann himself. But Aillén mac Midhna is undoubtedly one of the mighty ‘gentry’ who could—as we heard from County Sligo—destroy half the human race if they wished. Aillén visits Tara, the old psychic centre both for Ireland’s high-kings and its Druids. He comes as it were against the conquerors of his race, who in their neglectfulness no longer render due worship and sacrifice on the Feast of Samain to the Tuatha De Danann, the gods of the dead, at that time supreme; and then it is that he works his magic against the royal palaces of the kings and Druids on the ancient Hill. And to overcome the magic of Aillén and slay him, that is, make it impossible for him to repeat his annual visits to Tara, it required the might of the great hero Finn, who himself was related to the same Sidhe race, for by a woman of the Tuatha De Danann he had his famous son Ossian (Oisin).[244]
In Gilla dé, who is Manannan mac Lir, the greatest magician of the Tuatha De Danann, disguised as a being who can disappear in the twinkling of an eye whenever he wishes, and reappear unexpectedly as a ‘kern that wore garb of yellow stripes’, we meet with another fairy musician. And to him O’Donnell says:—‘By Heaven’s grace again, since first I heard the fame of them that within the hills and under the earth beneath us make the fairy music, ... music sweeter than thy strains I have never heard; thou art in sooth a most melodious rogue!’[245] And again it is said of him:—‘Then the gilla decair taking a harp played music so sweet ... and the king after a momentary glance at his own musicians never knew which way he went from him.’[246]
Social Organization and Warfare among the Sidhe
So far, we have seen only the happy side of the life of the Sidhe-folk—their palaces and pleasures and music; but there was a more human (or anthropomorphic) side to their nature in which they wage war on one another, and have their matrimonial troubles even as we moderns. And we turn now to examine this other side of their life, to behold the Sidhe as a warlike race; and as we do so let us remember that the ‘gentry’ in the Ben Bulbin country and in all Ireland, and the people of Finvara in Knock Ma, and also the invisible races of California, are likewise described as given to war and mighty feats of arms.
The invisible Irish races have always had a very distinct social organization, so distinct in fact that Ireland can be divided according to its fairy kings and fairy queens and their territories even now;[247] and no doubt we see in this how the ancient Irish anthropomorphically projected into an animistic belief their own social conditions and racial characteristics. And this social organization and territorial division ought to be understood before we discuss the social troubles and consequent wars of the Sidhe-folk. For example in Munster Bodb was king and his enchanted palace was called the Síd of the Men of Femen;[248] and we already know about the over-king Dagda and his Boyne palace near Tara. In more modern times, especially in popular fairy-traditions, Eevil or Eevinn (Aoibhill or Aoibhinn) of the Craig Liath or Grey Rock is a queen of the Munster fairies;[249] and Finvara is king of the Connaught fairies (see p. [42]). There are also the Irish fairy-queens Cleeona (Cliodhna, or in an earlier form Clidna [cf. p. [356]]) and Aine (see p. [79] above).
We are now prepared to see the Tuatha De Danann in their domestic troubles and wars; and the following story is as interesting as any, for in it Dagda himself is the chief actor. Once when his own son Oengus fell sick of a love malady, King Dagda, who ruled all the Sidhe-folk in Ireland, joined forces with Ailill and Medb in order to compel Ethal Anbual to deliver up his beautiful daughter Caer whom Oengus loved. When Ethal Anbual’s palace had been stormed and Ethal Anbual reduced to submission, he declared he had no power over his daughter Caer, for on the first of November each year, he said, she changed to a swan, or from a swan to a maiden again. ‘The first of November next,’ he added, ‘my daughter will be under the form of a swan, near the Loch bel Draccon. Marvellous birds will be seen there: my daughter will be surrounded by a hundred and fifty other swans.’ When the November Day arrived, Oengus went to the lake, and, seeing the swans and recognizing Caer, plunged into the water and instantly became a swan with her. While under the form of swans, Oengus and Caer went together to the Boyne palace of the king Dagda, his father, and remained there; and their singing was so sweet that all who heard it slept three days and three nights.[250] In this story, new elements in the nature of the Sidhe appear, though like modern ones: the Sidhe are able to assume other forms than their own, are subject to enchantments like mortals; and when under the form of swans are in some perhaps superficial aspects like the swan-maidens in stories which are world-wide, and their swan-song has the same sweetness and magical effect as in other countries.[251]
In the Rennes Dinnshenchas there is a tale about a war among the ‘men of the Elfmounds’ over ‘two lovable maidens who dwelt in the elfmound’, and when they delivered the battle ‘they all shaped themselves into the shapes of deer’.[252] Midir’s sons under Donn mac Midir, in rebellion against the Daghda’s son Bodh Derg, fled away to an obscure sídh, where in yearly battle they met the hosts of the other Tuatha De Danann under Bodh Derg; and it was into this sídh or fairy palace on the very eve before the annual contest that Finn and his six companions were enticed by the fairy woman in the form of a fawn, to secure their aid.[253] And in another tale, Laeghaire, son of the king of Connaught, with fifty warriors, plunged into a lake to the fairy world beneath it, in order to assist the fairy man, who came thence to them, to recover his wife stolen by a rival.[253]
The Sidhe as War-Goddesses or the Badb