Chapter 2

But his most serious rival in his own part of the country was Callinan, the well-to-do farmer who lived near Craughwell, of whom the old women in the workhouse spoke. I have heard some of Callinan's poems and songs; but I do not find the imaginative power of Raftery in them. He seems, in distinction to him, to be the poet of the domestic affections, of the settled classes. His songs have melody and good sentiments; and they are often accompanied by a rhymed English version, made by his brother, a lesser poet. The favourite among them is a song on a wooden beetle, lost by his wife when washing clothes at the river. She is made to lament the loss of 'so good a servant' in a sort of allegory; and then its journey is traced from the river to the sea. An old man gives me a little memory of him: 'I saw Callinan one time when we went to dig potatoes for him at his own place, the other side of Craughwell. We went into the house for dinner; and we were in a hurry, and he was sitting by the hearth talking all the time; for he was a great talker, so that the veins of his neck swelled up. And he was telling us about the song he made about his own Missus when she was out washing by the river. He was up to eighty years at that time.' And there are accounts of the making of some of his songs that show his kindly disposition and amiability. 'One time there was a baby in the house, and there was a dance going on near, and Mrs. Callinan was a young woman; and she said she'd go for a bit to the dance-house; and she bid Callinan rock the cradle till she'd come back. But she never came back till morning, and there he was rocking the cradle still; and he had a song composed while she was away about the time of a man's life, and the hours of the day, and the seasons of the year; how when a man is young he is strong, and then he grows old and passes away, and goes to the feast of the Saviour; and about the day, how bright the morning is, and the birds singing; and a man goes out to work, and he comes in tired out, and sits by the fire to talk with his neighbour; and the night comes on, and he says his prayers, and thinks of the feast of the Saviour; and about the seasons, the spring so nice, and the summer for work; and autumn brings the harvest, and winter brings Christmas, the feast of the Saviour. In Irish and English he made that.' And this is another story: 'A carpenter made a plough for Callinan one time, and when it came, it was the worst ever made; and he said to his brother: "I'll make a song that will cut him down altogether." But his brother said: "Do not, for if you cut him down, it will take his means of living from him, but make a song in his praise." And he did so, for he wouldn't like to do him any harm.' I have asked if he made any love-songs, and was told of one he had made 'about a girl he met going to a bog. He praised herself first, and then he said he had information as well that she had fifty gold guineas saved up.'

His having been well off seems to make his poetic merit the greater in the eyes of farmers; for one says: 'He was as good a poet, for he had a plough and horses and a good way of living, and never sang in any public-house; but Raftery had no way of living but to go round and to mark some house to go to, and then all the neighbours would gather in to hear him.' Another says: 'Raftery was the best poet, for he had nothing else to do, and laid his mind to it; but Callinan was a strong farmer, and had other things to think of;' and another says: 'Callinan was very apt: it was all Raftery could do to beat him;' and another sums up by saying: 'The both of them was great.' But a supporter of Raftery says: 'He was the best; he put his words so strong and stiff, following one another.'

I had been often told, by supporters of either side, that there was one contest between the two, at which Callinan 'made Raftery cry tears down;' and I wondered how it was that his wit had so far betrayed him. It has been explained to me lately. Raftery had made a long poem, 'The Hunt,' in which he puts 'a Writer' in the place of the fox, and calls on all the gentlemen of Galway and Mayo, and even on 'Sarsfield from Limerick,' to come and hunt him through their respective neighbourhoods with a pack of hounds. It contains many verses; and he seems to have improvised others in the different places where he sang it. In the written copy I have seen, Burke is the 'Writer' who is thus hunted. But he probably put in the name of any other rival from time to time. This is the story: 'He and the Callinans were sometimes vexed with one another, but they'd make friends after; but there was one day he was put down by them. There was a funeral going on at Killeenan, and Raftery was there; and he was asked into the corpse-house afterwards, and the people asked him for the song about Callinan, and he began hunting him all through the country, and the people were laughing and making him go on; but Callinan's brother had come in, and was listening to him, and Raftery didn't see him, being blind; and he brought him to Killeenan at last, and he said: "Where can the rogue go now, unless he'll swim the turlough?" And at that Callinan's brother stood up and said, "Who is it you are calling a rogue?" And Raftery tried to laugh it off, and he said, "You mustn't expect poetry and truth to go together." But Callinan said: "I'll give you poetry that's truth as well;" and he began to say off some verses his brother had made on Raftery; and Raftery was choked up that time, and hadn't a word.' This story is corroborated by an eye-witness who said to me: 'It was in this house he was on the night Callinan made him cry. My father was away at the time; if he had been there, he never would have let Callinan come into the house unknown to Raftery.' I have not heard all of Callinan's poem, but this is part of it:--

'He left the County Mayo; he was hunted up from the country of the brothons' (thick bed-coverings, then made in Mayo) 'without any for the night, nor any shift for bedding, but with an old yellow blanket with a thousand patches; he had a black trouser down to the ground with two hundred holes and forty pieces; he had long legs like the shank of a pipe, and a long great coat, for it is many the dab he put in his pocket. His coat was greasy, and it was no wonder, and an old grey hat as grey as snuff as it was many the day it was in the dunghill.'

It is said that 'Raftery could have answered that song better, but he had no back here; and Callinan was well-to-do, and had so many of his family and so many friends.' But others say there were some allusions in it to the poverty of his home, that had become known through a servant girl from Raftery's birth-place. But I think even Callinan's friends are sorry now that Raftery was ever made to 'cry tears down.'

IV.

A man near Oranmore says: 'There used to be great talk of the Fianna; and everyone had the poems about them till Raftery came, and he put them out. For when the people got Raftery's songs in their heads, they could think of nothing else: his songs put out everything else. I remember when I was a boy of ten, I was so taken up with his rhymes and songs, I had them all off. And I heard he was coming one night to a stage he had below there where he used to come now and again. And I begged my father to bring me with him that night, and he did; but whatever happened, Raftery didn't come that time, and the next year he died.'

But it is hard to judge of the quality of Raftery's poems. Some of them have probably been lost altogether. There are already different versions of those written out in manuscript books, and of these books many have disappeared or been destroyed, and some have been taken to America by emigrants. It is said that when he was on his deathbed, he was very sorry that his songs had not all been taken down; and that he dictated one he composed there to a young man who wrote it down in Irish, but could not read his own writing when he had done, and that vexed Raftery; and then a man came in, and he asked him to take down all his songs, and he could have them for himself; but he said, 'If I did, I'd always be called Raftery,' and he went out again.

I hear the people say now and then: 'If he had had education, he would have been the greatest poet in the world.' I cannot but be sorry that his education went so far as it did, for 'he used to carry a book about with him--a Pantheon--about the heathen gods and goddesses; and whoever he'd get that was able to read, he'd get him to read it to him, and then he'd keep them in his mind, and use them as he wanted them.' If he had been born a few decades later, he would have been caught, like other poets of the time, in the formulas of English verse. As it was, both his love poems and his religious poems were caught in the formulas imported from Greece and from Rome; and any formula must make a veil between the prophet who has been on the mountain top, and the people who are waiting at its foot for his message. The dreams of beauty that formed themselves in the mind of the blind poet become flat and vapid when he embodies them in the well-worn names of Helen and Venus. The truths of God that he strove in his last years, as he says, 'to have written in the book of the people,' left those unkindled whose ears were already wearied with the well-known words 'the keys of Heaven,' 'penance, fasts, and alms,' to whom it was an old tale to hear of hell as a furnace, and the grave as a dish for worms. When he gets away from the formulas, he has often a fine line on death or on judgment; the cheeks of the dead are 'cold as the snow that is at the back of the sun;' the careless--those who 'go out looking at their sheep on Sunday instead of going to Mass'--are warned that 'on the side of the hill of the tears there will be Ochone!'

His love songs are many; and they were not always thought to bring ill luck; for I am told of a girl 'that was not handsome at all, but ugly, that he made a song about her for civility; for she used to be in a house where he used to lodge, and the song got her a husband; and there is a son of hers living now down in Clare-Galway.' And an old woman tells me, with a sigh of regret for what might have been, that she saw Raftery one time at a dance, and he spoke to her and said: 'Well planed you are; the carpenter that planed you knew his trade.' 'And I said: "Better than you know yours;" for there were two or three of the strings of his fiddle broke. And then he said something about O'Meara, that lived near us; and my father got vexed at what he said, and would let him speak no more with me. And if it wasn't for him speaking about O'Meara, and my father getting vexed, he might have made words about me like he did for Mary Hynes and for Mary Brown.'

'Bridget Vesach,' which I have heard in many cottages, as well as from the old woman in Gort Workhouse, begins: 'I would wed courteous Bridget without coat, shoe, or shirt. Treasure of my heart, if it were possible for me, I would fast for you nine meals, without food, without drink, without any share of anything, on an island of Lough Erne, with desire for you and me to be together till we should settle our case.... My heart started with trouble, and I was frightened nine times that morning that I heard you were not to be found.... I would sooner be stretched by you with nothing under us but heather and rushes, than be listening to the cuckoos that are stirring at the break of day.... I am in grief and in sorrow since you slipped from me across the mearings.'

Another love poem, 'Mairin Stanton,' shows his habit of mixing comparisons drawn from the classics with those drawn from nature:--

'There's a bright flower by the side of the road, and she beats Deirdre in the beauty of her voice; or I might say Helen, Queen of the Greeks, she for whose sake hundreds died at Troy.

'There is light and brightness in her as in those others; her little mouth is as sweet as the cuckoo on the branch. You would not find a mind like hers in any woman since the pearl died that was in Ballylee.

'To see under the sky a woman settled like her walking on the road on a fine sunny day, the light flashing from the whiteness of her breast would give sight to a man without eyes.

'There is the love of hundreds in her face, and there is the promise of the evening star. If she had been living in the time of the gods, it is not Venus that would have had the apple.

'Her hair falls down below her knees, waving and winding to the mouth of her shoes; her locks spread out wide and pale like dew, they leave a brightness on the road behind her.

'She is the girl that has been taught the nicest of all whose eyes still open to the sun; and if the estate of Lord Lucan belonged to me, on the strength of my cause this jewel would be mine.

'Her slender lime-white shape, her face like flowers, her neck, her cheek, and her amber hair; Virgil, Cicero, and Homer could tell of nothing like her; she is like the dew in the time of harvest.

'If you could see this plant moving or dancing, you could not but love the flower of the branch. If I cannot get a hundred words with Mairin Stanton, I do not think my life will last long.

'She said "Good morrow" early and pleasantly; she drank my health, and gave me a stool, and it not in the corner. At the time that I am ready to go on my way I will stay talking and talking with her.'

The 'pearl that was at Ballylee' was poor Mary Hynes, of whom I have already spoken. His song on her is very popular; 'a great song, so that her name is sung through the three parishes.' She must have been beautiful, for many who knew her still speak of her beauty, of her long, shining hair, and the 'little blushes in her cheeks.' An old woman says: 'I never can think of her but I'll get a trembling, she was so nice; and if she was to begin talking, she'd keep you laughing till daybreak.' But others say: 'It was the poet that made her so handsome'; or, 'whatever she was, he made twice as much of it.' I give one or two verses of the song:--

'There was no part of Ireland I did not travel: from the rivers to the tops of the mountains, to the edge of Lough Greine, whose mouth is hidden; but I saw no beauty but was behind hers.

'Her hair was shining, and her brows were shining too; her face was like herself, her mouth pleasant and sweet. She is the pride, and I give her the branch. She is the shining flower of Ballylee.'

Even many miles from Ballylee, if the _posin glégeal_--the 'shining flower'--is spoken of, it is always known that it is Mary Hynes who is meant.

Raftery is said to have spent the last seven years of his life praying and making religious songs, because death had told him in a vision that he had only seven years to live. His own account of the vision was given me by the man at whose house he died. 'I heard him telling my father one time, that he was sick in Galway, and there was a mug beside the bed, and in the night he heard a noise, and he thought it was the cat was on the table, and that she'd upset the mug; and he put his hand out, and what he felt was the bones and the thinness of death. And his sight came to him, and he saw where his wrapper was hanging on the wall. And death said he had come to bring him away, or else one of the neighbours that lived in such a house. And after they had talked a while, he said he would give him a certain time before he'd come for him again, and he went away. And in the morning when his wife came in, he asked where did she hang his wrapper the night before, and she told him it was in such a place, and that was the very place he saw it, so he knew he had had his sight. And then he sent to the house that had been spoken of to know how was the man of it, and word came back that he was dead. I remember when he was dying, a friend of his, one Cooney, came in to see him, and said: "Well, Raftery, the time is not up yet that death gave you to live." And he said: "The Church and myself have it made out that it was not death that was there, but the devil that came to tempt me."

His description of death in his poem on the 'Vision,' is vivid and unconventional:--

'I had a vision in my sleep last night, between sleeping and waking, a figure standing beside me, thin, miserable, sad, and sorrowful; the shadow of night upon his face, the tracks of the tears down his cheeks. His ribs were bending like the bottom of a riddle; his nose thin, that it would go through a cambric needle; his shoulders hard and sharp, that they would cut tobacco; his head dark and bushy like the top of a hill; and there is nothing I can liken his fingers to. His poor bones without any kind of covering; a withered rod in his hand, and he looking in my face. It is not worth my while to be talking about him; I questioned him in the name of God.'

A long conversation follows; Raftery addresses him:--

'Whatever harbour you came from last night, move up to me and speak if you can.' Death answers: "Put away Hebrew, Greek and Latin, French, and the three sorts of English, and I will speak to you sweetly in Irish, the language that you found your verses in. I am death that has hidden hundreds: Hannibal, Pompey, Julius Cæsar; I was in the way with Queen Helen. I made Hector fall, that conquered the Greeks, and Conchubar, that was king of Ireland; Cuchulain and Goll, Oscar and Diarmuid, and Oisin, that lived after the Fenians; and the children of Usnach that brought away Deirdre from Conchubar; at a touch from me they all fell." But Raftery answers: "O high Prince, without height, without followers, without dwelling, without strength, without hands, without force, without state: all in the world wouldn't make me believe it, that you'd be able to put down the half of them."'

But death speaks solemnly to him then, and warns him that:--

'Life is not a thing that you get a lease of; there will be stones and a sod over you yet. Your ears that were so quick to hear everything will be closed, deaf, without sound, without hearing; your tongue that was so sweet to make verses will be without a word in the same way.... Whatever store of money or wealth you have, and the great coat up about your ears, death will snap you away from the middle of it.'

And the poem ends at last with the story of the Passion and a prayer for mercy.

He was always ready to confess his sins with the passionate exaggeration of St. Paul or of Bunyan. In his 'Talk with the Bush,' when a flood is threatened, he says:--

'I was thinking, and no blame to me, that my lease of life wouldn't be long, and that it was bad work my hands had left after them; to be committing sins since I was a child, swearing big oaths and blaspheming. I never think to go to Mass. Confession at Christmas I wouldn't ask to go to. I would laugh at my neighbour's downfall, and I'd make nothing of breaking the Ten Commandments. Gambling and drinking and all sorts of pleasures that would come across me, I'd have my hand in them.'

The poem known as his 'Repentance' is in the same strain. It is said to have been composed 'one time he went to confession to Father Bartley Kilkelly, and he refused him absolution because he was too much after women and drink. And that night he made up his "Repentance"; and the next day he went again, and Father Pat Burke, the curate, was with Father Bartley, and he said: "Well, Raftery, what have you composed of late?" and he said: "This is what I composed," and he said the Repentance. And then Father Bartley said to the curate: "You may give him absolution, where he has his repentance made before the world."'

It is one of the finest of his poems. It begins:--

'O King, who art in heaven, ... I scream to Thee again and again aloud, For it is Thy grace I am hoping for.

'I am in age, and my shape is withered; many a day I have been going astray.... When I was young, my deeds were evil; I delighted greatly in quarrels and rows. I liked much better to be playing or drinking on a Sunday morning than to be going to Mass.... I was given to great oaths, and I did not let lust or drunkenness pass me by.... The day has stolen away, and I have not raised the hedge until the crop in which Thou didst take delight is destroyed.... I am a worthless stake in a corner of a hedge, or I am like a boat that has lost its rudder, that would he broken against a rock in the sea, and that would be drowned in the cold waves.'

But in spite of this self-denunciation, people who knew him say 'there was no harm in him'; though it it is added: 'but as to a drop of drink, he was fond of that to the end.' And in another mood, in his 'Argument with Whisky,' he claims, as an excuse for this weakness, the desire for companionship felt by a wanderer. 'And the world knows it's not for love of what I drink, but for love of the people that do be near me.' And he has always a confident belief in final absolution:--"I pray to you to hear me, O Son of God; as you created the moon, the sun, the stars, it is no task or trouble for you to ready me."

There are some fine verses in a poem made at the time of an outbreak of cholera:--

'Look at him who was yesterday swift and strong, who would leap stone wall, ditch and gap, who was in the evening walking the street, and is going under the clay on the morrow.

'Death is quicker than the wave of drowning or than any horse, however fast, on the racecourse. He would strike a goal against the crowd; and no sooner is he there than he is on guard before us.

'He is changing, hindering, rushing, starting, unloosed; the day is no better to him than the night; when a person thinks there is no fear of him, there he is on the spot laid low with keening.

'Death is a robber who heaps together kings, high princes, and country lords; he brings with him the great, the young, and the wise, gripping them by the throat before all the people.

'It is a pity for him who is tempted with the temptations of the world; and the store that will go with him is so weak, and his lease of life no better if he were to live for a thousand years, than just as if he had slipped over on a visit and back again.

'When you are going to lie down, don't be dumb. Bare your knee and bruise the ground. Think of all the deeds that you put by you, and that you are travelling towards the meadow of the dead.'

Some of his poems of places, usually places in Mayo, the only ones he had ever looked on--for smallpox took his sight away in his childhood--have much charm. 'Cnocin Saibhir,' 'the Plentiful Little Hill,' must have sounded like a dream of Tir-nan-og to many a poor farmer in a sodden-thatched cottage:--

'After the Christmas, with the help of Christ, I will never stop if I am alive; I will go to the sharp-edged little hill; for it is a fine place, without fog falling; a blessed place that the sun shines on, and the wind doesn't rise there or any thing of the sort.

'And if you were a year there, you would get no rest, only sitting up at night and eternally drinking.