Part 13

IN my renderings of the three famous ancient Gaelic tales, collectively known as “The Three Sorrows of Story-Telling” (_Tri Thruaighe na Scéalaigheachta_), I have followed Professor Eugene O’Curry (_In Atlantis_, _Manners and Customs_, and _MS. Materials_); Dr. Douglas Hyde (_The Three Sorrows of Story-Telling_, translated into English verse); Dr. Joyce (_Old Celtic Romances_); Dr. Cameron (_Reliquiæ Celticæ_); Alexander Carmichael (_Trs. Gael. Socy. of Inverness_); Dr. Angus Smith (_Loch Etive and the Sons of Uisnach_).

These tales have often been retold in prose and verse; and particular intention should be made of the metrical versions of Dr. Douglas Hyde, Dr. Robert Joyce (_Deirdre_), and, I believe, of Dr. John Todhunter.

In “The Children of Lir” I have closely followed the version of the original, as translated by Dr. P. W. Joyce (_Old Celtic Romances_), and in “The Sons of Usna” the literal prose rendering by Dr. Cameron and the metrical translation of Dr. Douglas Hyde. These two stories are told more completely than that of “The Sons of Turenn,” which in the original extends to great length, as there the narrative of the world-wide quest of the Sons of Turenn is given with great detail.

Naturally in these retold ancient tales I have often followed the Scoto-Gaelic variants, both because of familiarity and by preference, and this particularly in the tale of “Darthool and the Sons of Usna.”

Much the most ancient of the “Three Sorrows” is the tale of the Sons of Turenn. Professor O’Curry’s version in _Atlantis_ is the basis of all other modern renderings. The period of this tale belongs to mythological times. “The Children of Lir” may be taken as a connecting link between the mythological and prehistoric and Christian periods. The tale of “Deirdre,” or “Darthool,” is by far the best known in Gaelic Scotland, and is still the favourite ancient tale throughout all Gaeldom.

The reader who wishes further information should consult in particular Professor Eugene O’Curry; Dr. Cameron, in _Reliquiæ Celticæ_; Dr. Joyce, in _Old Celtic Romances_; and Dr. Douglas Hyde, in his delightful and deservedly popular little volume.

II

The quatrains and other metrical pieces interpolated here, and those in the text of the first and third of these tales, are generally free renderings of the originals. Occasionally they are almost literal. But, both in the matter of selection and rejection, I have taken certain slight advisable liberties with the original versions. It may be as well to add, although already explained in the footnote at page 122, that the “Song to Macha” is here adapted from another poem known as “Crede’s Lament” (_vide Silva Godelica_, Professor Sullivan’s translation, etc.).

III

“Darthool and the Sons of Usna.” Readers familiar only with the Irish versions of this beautiful old tale should also consult the important variants given by Dr. Cameron and Mr. Alexander Carmichael. Dr. Angus Smith also gives a good digest, and readers interested in the Scottish wayfarings of Darthool and Nathos will find the details given there more or less specifically.

IV

In the story of “The Sons of Turenn” it is possible that some injustice has been done to the character of Lugh, the foremost personage in it, best known in all the Gaelic chronicles as Lu-Lamfada--Lugh of the Long Hand. In this version he is represented uniformly as sternly cruel; but it must be borne in mind that his inveterate hostility to the Sons of Turenn was not due to insatiable revenge alone, but to his belief (as prophesied by his father) that any clemency in the fulfilment of the great eric demanded would result in terrible disaster to Erin itself. Throughout this ancient tale, indeed, we recognise Lu-Lamfada as an impersonation of Destiny or Nemesis. It may at the same time be added that in the story of “Darthool” Fergus is shown more obviously culpable than the old chronicles indicate, where he appears rather as a too innocent and trustful tool of King Concobar.

V

A few notes as to the less familiar of the Gaelic names introduced in the foregoing pages may aptly be given here, and the more conveniently in alphabetical order.

AÉ. Pronounced as rhyming to day: equivalent to Hugh.

AILNE. The older forms are _Ailna_ and _Ainlé_. The latter (pronounced Anlă) is probably the right name. It is said to signify beauty.

ALBA. The Gaelic for Scotland. The genitive of this word is Alban, whence the familiar English word for Scotland, Albyn.

BANBA. This was one of the three ancient names of Ireland--Banba, Fola, and Eiré--the names of three famous queens of antiquity. It is from the last that Ireland derives its best known Gaelic name.

BOVE DERG (_Bodbh Dearg_). This semi-mythical king was one of the old Dedannan race, and stands, as it were, midway between the elder gods and the historic heroes. His name in Ireland is commonly pronounced Bove-d’Yarrag; and in Scotland as Bove Derg.

CONOR (_Connachar_). The oldest form of this famous Gaelic name, so common in Ireland, is Concubair, or Concobar. Dr. Hyde says that Concubair is properly pronounced Cunnhoor, but doubtless Concobar is closer to the ancient usage.

CUCHULAIN. The oldest form of the name of this great Gaelic hero is Cuchulaind. The name is pronounced Coo-hoolin, whether spelled according to any of the Irish-Gaelic variants or as to the Scottish Cuthullin--but sometimes, as in Skye, Coolin. It is not the real name of the hero in question. The word signifies the hound of Culainn, and innumerable references to Cuchulain are found throughout early Irish literature simply as The Hound. He was a native prince of Ulster, and lord of the district of Muirthemne, lying between and including the present towns of Dundalk and Drogheda, now called the County of Louth, where his chief residence was named Dun Delga (Dundalk). This celebrated hero, the champion of the knights of the great order of Gaelic chivalry, known as the Red Branch, was the son of Soalte, or Sualtam, and of Decteré, sister of the celebrated Irish king, Concobar mac Nessa (a contemporary of Christ). His name was Setanta, but he was commonly known as Cu-Culainn, the Hound of Culaan, who was his instructor and war-smith to King Concobar. The most famous of the Knights of the Red Branch at this time were the heroes known as Fergus mac Róigh, Conall Cearnach, Fergus mac Leité, Curoi mac Dairé, and Cuchulain mac Soalte.

DAGDA, or THE DAGDA. This is a purely mythical personage, and is one of the ancient Gaelic divinities, among whom he occupies a place somewhat akin to that of Jupiter in the Latin Pantheon.

DEDANNAN. Pronounced Day-Donnan. This is the colloquial form of the Tuatha-De-Danann; that is, the elder semi-divine inhabitants of Ireland, mostly mythical, and in some cases euhemerised. They became the Hidden People, or People of the Hills, of ancient Gaelic legend, and later the Fairies of popular tradition, though now the drift of poetic thought is towards a restoration of the Tuatha-De-Danann to their old spiritual significance and empery. The term signifies the Divine Progeny of Ana, a mysterious and perhaps supreme ancient goddess. The Dedannans were also called The Deena-Shee (Daoine-Sidhe), or Fairy Folk; the Aes-She, or People of the Hills; the Marcra-Shee, or Fairy Cavalcade; and the Sloo-She (Sluagh-Sidhe), or Fairy Host.

DUN. This word is properly pronounced Doon, though in Gaelic Scotland generally Dun. It signifies a fortress or great fortified dwelling or encampment, and should not be confused with Rath, which is more what we would call the homestead, hamlet, village, or township, according to circumstances; or, with Lis, or Lios, a smaller fort probably corresponding to what we call a keep.

EILIDH. The name Eilidh is pronounced Eily (_Isle-ih_), and is said to be the Gaelic equivalent of Helen.

EMANIA. This is simply the Latinized form of _Emhain_, or _Emain_, the capital of North Ireland in the ancient days. The name is variously pronounced as Emain, Avvin, and Yew-an or Yow-an.

ERIC. Originally eiric, pronounced ay-ric. Signifies literally a fine or blood-money, and is perhaps best rendered in English by the word ransom.

FELIM. This name is more familiar as Phelim. The modern Gaelic is Phelimy, and the older, Pedlimid.

GEASA. Pronounced Gassa. It is the plural of _geis_ (often written _geas_), and signifies oath-bound injunctions or undertakings. In the old days for a man to be under _geasa_ meant that he was solemnly bound to do such and such a thing, or, as it might be, to refrain; and the bond once taken could not be broken without loss of honour.

ILDANNA. The old Irish word is best represented by Il-danach, that is, the Master of Craft, or Master of the Many Arts, and is a name which is specifically given to Lugh Lamfada, Lugh the Long-Handed.

ILLANN. This frequent name of Illann, or Illan, is identical with Ullin, so familiar in Scotland through the famous poem of “Lord Ullin’s Daughter.”

LIR. Pronounced sometimes Lirr, but generally Lear.

LOCHLANN. A general name for the whole of Scandinavia, including, of course, Denmark, and not, as sometimes stated, of Norway only.

LUGH. This name is pronounced Lu, or Loo, and I have so given it in the text.

MANANNAN. Pronounced Mon-on-awn. He is the Neptune of Gaelic mythology, but holds a more mysterious and more potent position in the Gaelic Pantheon than his classical congener.

MAEV. The name of this most famous queen of antiquity is variously spelt. The original is Meadb, or Medbh, and is properly pronounced Mave (rhyming with wave).

MURHEMNE. The original of this is Magh Muirteimne, pronounced Moy-mwir-hev-na. It is the plain from the Boyne to near Carlingford.

MOYLE. This is the commonest pronunciation of the old Gaelic Maol, though the word is best known in Scotland as Mull (from the Mull of Cantyre). It is applied to the sea between Cantyre and Ulster.

MEKWEEN. The original of this difficult name is Miodcaoin. I do not know what it means.

NATHOS. Originally Naisi; later Naoise; and commonly pronounced Neeshă.

NUADH. Pronounced Noo-ă.

OGAM, or OGHAM. The ancient Cryptic method of writing, like the Northern Runes, chiefly graven on funeral stones or monuments. The word is sometimes pronounced _Oo-am_, or _oom_, but Ogam is probably right according to ancient usage.

SHEE FINNAHA. The old Gaelic is Fhionncaid, and is properly pronounced Sheeh-Innăchee.

TAILKENN, or TAILCINN. This name for St. Patrick signifies Adze-Head (probably from his monkish tonsure).

TURENN. The old form is Tuireann, and is pronounced Tirran or Toorenn.

ULAD, or ULADH. The old name of Ulster, of which Ultonia is the Latinized form. Ulad is properly pronounced Ulla.

UR. This name is pronounced _oo-ar_ (Gaelic, Uar). The name in its old form is Iuchar, as that of his brother is Iucharba, which I have given as Urba. It is probable, however, that Ur is the modern equivalent of Iucharba, and Yukar, or Yooch-ar (which I have given as Urba), of the third of the Sons of Turenn. There is great confusion and diversity in these old names.

Butler & Tanner, The Selwood Printing Works, Frome, and London.

By FIONA MACLEOD

Green Fire

_Crown 8vo. 6s._

“A brilliant romance of Celtic life, partly in an old chateau in Brittany, partly in an island in the Hebrides.”--_St. James’ Gazette._

“Besides William Morris, now gone, there are few in whose hands the pure threads have been so skilfully and delicately woven as they have in Fiona Macleod’s.”--_Pall Mall Gazette._

“The fuller revelation that was looked for from Miss Macleod’s earlier works has been amply fulfilled in this volume.”--_Western Mail._

“The descriptive passages vibrate with colour and sound, at once delicate and vivid.”--_Daily News._

“Fiona Macleod carries us away at once from the modern realism into the realms of romance and mysticism. She is essentially the bard of the Celt.”--_The Gentlewoman._

“This clever exponent of Celtic legend and story is at her best in ‘Green Fire.’”--_Literary World._

“Once again has this clever author enchanted us.”--_Publishers’ Circular._

“A gifted writer of Celtic romance.”--_Morning Post._

“The two scenes we have noted prove her to be a writer of rare ability.”--_New Saturday Review._

“The style of this book is sustained throughout at a very high level.”--_Daily Telegraph._

“She stands quite alone in her particular realm of fancy, and hardly less so in her method of giving it words.”--_Saturday Review._

“Full of poetry, passion, and beautiful descriptions.”--_The Guardian._

“The book possesses a weird fascination of its own: its pages are illuminated ever and anon by brilliant flashes of genius.”--_The Lady._

“Miss Macleod has rarely poured herself out more fully in profuse strains of rhythmic prose than in this Celtic tale.”--_Athenæum._

ARCHIBALD CONSTABLE & CO 2, WHITEHALL GARDENS, WESTMINSTER, S.W.

Songs for Little People

By NORMAN GALE Profusely Illustrated by HELEN STRATTON _Large Crown 8vo, 6s._

“A delightful book.”--_Scotsman._

“We cannot imagine anything more appropriate as a gift-book for children.”--_Glasgow Daily Mail._

“This book, in truth, is one of the most tasteful things of its kind.”--_Whitehall Review._

“Mr. Norman Gale is to be congratulated.”--_Black and White._

“A delightful book in every way.”--_Academy._

Tales from Hans Anderson

With Forty Illustrations by HELEN STRATTON _Imperial 16mo, 2s. 6d.; gilt extra, 3s. 6d._

“Very acceptable to all young people.”--_Gentlewoman._

“We congratulate Miss Stratton.... Excellent work.”--_Pall Mall Gazette._

The Kitchen Maid

OR

Someone we know very well

A Play for children in Two Acts. By MARY F. GUILLEMARD With Illustrations by BERNARD PARTRIDGE, E. M. HALE, MARGERY MAY and HELEN STRATTON _Foolscap Quarto, 3s. 6d._

“The old story presented with a freshness which gives it a new charm altogether.”--_Pall Mall Gazette._

“With a proper regard for the tastes and intelligences of children.”--_The Scotsman._

“Very effectively illustrated by Bernard Partridge and others.”--_The Record._

CONSTABLE’S LIBRARY OF

Historical Novels and Romances

EDITED BY G. LAURENCE GOMME _Crown 8vo, 3s. 6d., cloth extra._ After a Design by A. A. TURBAYNE.

With Illustrations of all the principal features, which include reproductions of royal and historical signatures, coins, seals, and heraldic devices.

The first three volumes are:--

HAROLD: Lord Lytton’s _Harold, the Last of the Saxons_, 1848. WILLIAM I: Macfarlane’s _Camp of Refuge_, 1844. WILLIAM II: _Rufus or the Red King_, 1838 (Anonymous).

The King’s Story Book

Edited by G. LAURENCE GOMME. With numerous full-page Illustrations by C. HARRISON MILLAR. _Crown 8vo, cloth gilt, 6s._

A Houseful of Rebels

A Fairy Tale. By WALTER H. E. RHODES. Illustrated by PATTEN WILSON. _Crown 8vo, cloth gilt, 6s._

Beyond the Border

Fairy Tales for Old and Young. By WALTER DOUGLAS CAMPBELL. With nearly 200 Illustrations by HELEN STRATTON. _Crown 8vo, cloth gilt, 6s._

Adventures in Legend

Tales of the West Highlands. By the MARQUIS OF LORNE, K.T., M.P.

Westward Ho!

By CHARLES KINGSLEY. (Vol. 3 of Constable’s Historical Novels.) Edited by G. LAURENCE GOMME.

_Illustrated, crown 8vo, cloth gilt, 3s. 6d., and handsomely bound with cover design in gold, all gilt, 5s._

London Impressions

A Series of Pictures in Photogravure by WILLIAM HYDE, and Essays by ALICE MEYNELL.

Imperial Quarto, strictly limited to 250 signed copies. For particulars see Prospectus.

Through China with a Camera

By JOHN THOMSON, F.R.G.S. With about 100 Illustrations. Foolscap 4to. This work contains the finest series of pictures of China ever published.

By the Roaring Reuss

Tales of a Simple Folk. By W. BRIDGES BIRTT. With Illustrations. _Crown 8vo, cloth gilt, 6s._

The Dark Way of Love

By CHARLES LE GOFFIC Translated by EDITH WINGATE RINDER.

Medals and Decorations of the British Army and Navy

By JOHN HORSLEY MAYO. Profusely Illustrated with Coloured and other Plates. _2 vols., Royal 8vo, cloth gilt, £3 3s. net._

The Paston Letters

Edited by JAS. GAIRDNER. A New Issue in three styles. _3 vols., Foolscap 8vo. Paper label and cloth, 16s. net; Cloth gilt, 16s. net; Half-vellum, 21s. net._

The Principles of Local Government

By G. LAURENCE GOMME. _Demy 8vo, cloth gilt._

The Pupils of Peter the Great

By J. NISBET BAIN. With Portraits. _Demy 8vo, cloth gilt._

Fidelis and other Poems

By C. M. GEMMER. _Foolscap 8vo, cloth gilt._

A Tale of Boccaccio and Other Poems

By ARTHUR COLES ARMSTRONG. _Crown 8vo, cloth gilt, 5s. net._

Songs of Love and Empire

By E. NESBIT. _Crown 8vo, cloth gilt._

FOOTNOTES:

[1] In Gaelic, the name of Lir’s daughter is _Fionnghuala_, and is variously given in English as Fionula, Fionnuola, Finoola, and Finola.

[2] Now Loch Derravaragh, in West Meath.

[3] That is, between the north-east of Ireland (the Giant’s Causeway) and the south-west of the Scottish Highlands (the Mull of Cantire).

[4] The Tailcen: a name given by the early Irish to St. Patrick.

[5] Coineag, Gaelic for “rabbit.” The common English equivalent, Bunny, is a Gaelic derivative, from _Bun_, a stump or tail.

[6] St. Patrick. (Druidic name.)

[7] With the advent of St. Kemoc, the story comes within historical times. Lairgnen and Finghin were kings of Connaught and Munster, who flourished in the seventh century A.D.

[8] It was the wont among the early Celtic peoples to bury their dead erect, particularly in the case of kings, and great warriors, and sons and daughters of kings.

[9] _i.e._, from the north of Norway to the coasts of Denmark.

[10] Probably Isberna is Hispania (Spain), and the apples the golden apples of the Hesperides.

[11] _Alba._ That is, Gaelic Scotland, and in particular Argyll.

[12] _Naois_ in the old Irish Gaelic.

[13] Ulster.

[14] This song, adapted to Macha, is founded upon a portion of the poem by Coel O’Neamhain, in honour of a beautiful queen named Crede, as translated by Professor Sullivan and others.

[15] Given as in the Gaelic: _ciugear agus tri fichead agus tri chead_. Large numbers are in Gaelic invariably built up thus (instead of, for example, as here, four hundred and sixty). In an old Irish-Gaelic version the particular number here is given as “five and three score above six hundred and one thousand” (_i.e._, 1,760).

[16] In old Irish Gaelic, _Derdriu_, then _Deirdrê_, sometimes _Darethra_. In Scotland, _Dearduil_ (pronounced Dart’weel, Darth-uil, or “Darthool,” whence Macpherson’s “Darthula,” who rather loosely says the name is _Dart’huile_, a woman of beautiful eyes). The oldest name is said to signify alarm.

[17] The Gaelic original is _Beanchaointeach (Banchainte) Conchubhar fein_, etc., and means literally Concobar’s Conversation-woman, which perhaps might be rendered as “gossip.”

[18] I have adopted here, as more euphonious, the name given to the eldest of the sons of Usna (Uisneach) by Macpherson in “Darthula.” The old spelling is _Naoise_. _Ainnle_ (Ailne, Ailthos) means “beautiful,” and _Ardan_, “pride.”

[19] The Cruithne, or Picts, had their chief stronghold at Beregonium, overlooking the Bay of Selma, not far from the mouth of Loch Etive, below the Falls of Lora, in West Argyll.

[20] To this day, the Highlander of Western Argyll and of Inverness-shire is familiar with the Fort of the Sons of Usna, above one of the lochs which constitute what is now known as the Caledonian Canal.

[21] Western India.

[22] This is a free paraphrase of the original as given by Dr. Cameron in the _Reliquiæ Celticæ_. The original consists of nine short quatrains. In the second, the names mentioned are Dun Fiodha, Dun Fionn, Innis Droighin, and Dun Suibhne. In the following quatrains the old and modern names are practically identical. The modern Glendaruel was formerly Glendaruay (Gleann da Ruadh), the Glen of the Two Roes, or Glennaruay (Gleann na Ruadh), the Glen of the Roes. Innis Droighin is again alluded to in the last verse. It is now called Innis Draighneach, meaning the Island of Thorns, and is situate in Loch Awe.

[23] Literally “O d’chuala Feargus sin, do rinneadh rothnuall corcra dhe O bhonn go bathas.” (When Fergus heard this, he became a crimson mass from the foot-sole to the face.)

[24] This sentence is literal after the old Gaelic as translated by Dr. Cameron. Apropos of the mention of the chessboard in the next sentence (as once before), it may be added that the ancient Celtic kings and lords had a passion for chess.

[25] _Agus d’ibh deoch, agus tainigh amach aris_, etc., “and he drank a drink,” etc.

[26] Scandinavia.

TRANSCRIBER NOTES:

There are a number of blank pages in the original text of this book. To conserve space, especially for handheld devices, blank pages have been left out of this ebook.

This book contains Scoto-Gaelic variants. To retain the intended flavor of the book, spelling and punctuation in dialect text have not been altered.

Spelling of non-dialect wording in the text was made consistent when a predominant preference was found in this book; if no predominant preference was found, or if there is only one occurrence of the word, spelling was not changed, unless noted below.

Single, oddly spelled words that could not be confirmed as typographical errors were left unchanged. On page 159, “slao” was considered to be a typographical error and changed to “slay”, which fits the context.

Original punctuation has been retained.

Variations in hyphenation and compound words have been preserved with the following exception: Page 247 -- chess-board was changed to chessboard. All seven other occurrences of the word chessboard that were not end-of-line hyphens did not have a hyphen.

The name “Ae” is used twice and “Aé” used once within the text. The name “Taillken” was used once in the text and “Taillkenn” used twice. No change was made in either because it could not be confirmed that they were typographical errors.

End of Project Gutenberg's The Laughter of Peterkin, by Fiona Macleod