I
I THINK this book is the best that has come out of Ireland in my time. Perhaps I should say that it is the best book that has ever come out of Ireland; for the stories which it tells are a chief part of Ireland's gift to the imagination of the world--and it tells them perfectly for the first time. Translators from the Irish have hitherto retold one story or the other from some one version, and not often with any fine understanding of English, of those changes of rhythm for instance that are changes of the sense. They have translated the best and fullest manuscripts they knew, as accurately as they could, and that is all we have the right to expect from the first translators of a difficult and old literature. But few of the stories really begin to exist as great works of imagination until somebody has taken the best bits out of many manuscripts. Sometimes, as in Lady Gregory's version of Deirdre, a dozen manuscripts have to give their best before the beads are ready for the necklace. It has been necessary also to leave out as to add, for generations of copyists, who had often but little sympathy with the stories they copied, have mixed versions together in a clumsy fashion, often repeating
one incident several times, and every century has ornamented what was once a simple story with its own often extravagant ornament. We do not perhaps exaggerate when we say that no story has come down to us in the form it had when the storyteller told it in the winter evenings. Lady Gregory has done her work of compression and selection at once so firmly and so reverently that I cannot believe that anybody, except now and then for a scientific purpose, will need another text than this, or than the version of it the Gaelic League is about to publish in Modern Irish. When she has added her translations from other cycles, she will have given Ireland its Mabinogion, its Morte d'Arthur, its Nibelungenlied. She has already put a great mass of stories, in which the ancient heart of Ireland still lives, into a shape at once harmonious and characteristic; and without writing more than a very few sentences of her own to link together incidents or thoughts taken from different manuscripts, without adding more indeed than the story-teller must often have added to amend the hesitation of a moment. Perhaps more than all she had discovered a fitting dialect to tell them in. Some years ago I wrote some stories of mediæval Irish life, and as I wrote I was sometimes made wretched by the thought that I knew of no kind of English that fitted them as the language of Morris's prose stories--the most beautiful language I had ever read--fitted his journeys to woods and wells beyond the world. I knew of no language to write about Ireland in but raw modern English; but now Lady Gregory has discovered a speech as beautiful as that of Morris, and a living speech into the bargain.
As she moved about among her people she learned to love the beautiful speech of those who think in Irish, and to understand that it is as true a dialect of English as the dialect that Burns wrote in. It is some hundreds of years old, and age gives a language authority. We find in it the vocabulary of the translators of the Bible, joined to an idiom which makes it tender, compassionate, and complaisant, like the Irish language itself. It is certainly well suited to clothe a literature which never ceased to be folk-lore even when it was recited in the Courts of Kings.
II
Lady Gregory could with less trouble have made a book that would have better pleased the hasty reader. She could have plucked away details, smoothed out characteristics till she had left nothing but the bare stories; but a book of that kind would never have called up the past, or stirred the imagination of a painter or a poet, and would be as little thought of in a few years as if it had been a popular novel.
The abundance of what may seem at first irrelevant invention in a story like the death of Conaire, is essential if we are to recall a time when people were in love with a story, and gave themselves up to imagination as if to a lover. We may think there are too many lyrical outbursts, or too many enigmatical symbols here and there in some other story, but delight will always overtake us in the end. We come to accept without reserve an art that is half epical, half lyrical, like that of the historical parts of the Bible, the art of a time when perhaps men passed more readily than they do now from one mood to another, and found it harder than we do to keep to the mood in which we tot up figures or banter a friend.
III
The Church, when it was most powerful, taught learned and unlearned to climb, as it were, to the great moral realities through hierarchies of Cherubim and Seraphim, through clouds of Saints and Angels who had all their precise duties and privileges. The story-tellers of Ireland, perhaps of every primitive country, created as fine a fellowship, only it was aesthetic realities that they would have us tell for kin and fellow. They created, for learned and unlearned alike, a communion of heroes, a cloud of stalwart witnesses; but because they were as much excited as a monk over his prayers, they did not think sufficiently about the shape of the poem and the story. We have to get a little weary or a little distrustful of our subject, perhaps, before we can lie awake thinking how to make the most of it. They were more anxious to describe energetic characters, and to invent beautiful stories, than to express themselves with perfect dramatic logic or in perfectly ordered words. They shared their characters and their stories, their very images, with one another, and handed them down from generation to generation; for nobody, even when he had added some new trait, or some new incident, thought of claiming for himself what so obviously lived its own merry or mournful life. The image-maker or worker in mosaic who first put Christ upon the Cross would have as soon claimed as his own a thought which was perhaps put into his mind by Christ himself. The Irish poets had also, it may be, what seemed a supernatural sanction, for a chief poet had to understand not only innumerable kinds of poetry, but how to keep himself for nine days In a trance. Surely they believed or half-believed in the historical reality of their wildest imaginations. And as soon as Christianity made their hearers desire a chronology that would run side by side with that of the Bible, they delighted in arranging their Kings and Queens, the shadows of forgotten mythologies, in long lines that ascended to Adam and his Garden. Those who listened to them must have felt as if the living were like rabbits digging their burrows under walls that had been built by Gods and Giants, or like swallows building their nests in the stone mouths of immense images, carved by nobody knows who. It is no wonder that we sometimes hear about men who saw in a vision ivy-leaves that were greater than shields, and blackbirds whose thighs were like the thighs of oxen. The fruit of all those stories, unless indeed the finest activities of the mind are but a pastime, is the quick intelligence, the abundant imagination, the courtly manners of the Irish country people.
IV
William Morris came to Dublin when I was a boy, and I had some talk with him about these old stories. He had intended to lecture upon them, but "the ladies and gentlemen"--he put a Communistic fervour of hatred into the phrase--knew nothing about them. He spoke of the Irish account of the battle of Clontarf, and of the Norse account, and said that we saw the Norse and Irish tempers in the two accounts. The Norseman was interested in the way things are done, but the Irishman turned aside, evidently well pleased to be out of so dull a business, to describe beautiful supernatural events. He was thinking, I suppose, of the young man who came from Aebhen of the Grey Rock, giving up immortal love and youth, that he might fight and die by Murrugh's side. He said that the Norseman had the dramatic temper, and the Irishman had the lyrical. I think I should have said epical and romantic rather than dramatic and lyrical, but his words, which have so great authority, mark the distinction very well, and not only between Irish and Norse, but between Irish and other un-Celtic literatures. The Irish story-teller could not interest himself with an unbroken interest in the way men like himself burned a house, or won wives no more wonderful than themselves. His mind constantly escaped out of daily circumstance, as a bough that has been held down by a weak hand suddenly straightens itself out. His imagination was always running off to Tir-nan-oge, to the Land of Promise, which is as near to the country-people of to-day as it was to Cuchulain and his companions. His belief in its nearness cherished in its turn the lyrical temper, which is always athirst for an emotion, a beauty which cannot be found in its perfection upon earth, or only for a moment His imagination, which had not been able to believe in Cuchulain's greatness, until it had brought the Great Queen, the red eye-browed goddess, to woo him upon the battlefield, could not be satisfied with a friendship less romantic and lyrical than that of Cuchulain and Ferdiad, who kissed one another after the day's fighting, or with a love less romantic and lyrical than that of Baile and Aillinn, who died at the report of one another's deaths, and married in Tir-nan-oge. His art, too, is often at its greatest when it is most extravagant, for he only feels himself among solid things, among things with fixed laws and satisfying purposes, when he has re-shaped the world according to his heart's desire. He understands as well as Blake that the ruins of time build mansions in eternity, and he never allows anything that we can see and handle to remain long unchanged. The characters must remain the same, but the strength of Fergus may change so greatly that he, who a moment before was merely a strong man among many, becomes the master of Three Blows that would destroy an army, did they not cut off the heads of three little hills instead, and his sword, which a fool had been able to steal out of its sheath, has of a sudden the likeness of a rainbow. A wandering lyric moon must knead and kindle perpetually that moving world of cloaks made out of the fleeces of Manannan; of armed men who change themselves into sea-birds; of goddesses who become crows; of trees that bear fruit and flower at the same time. The great emotions of love, terror, and friendship must alone remain untroubled by the moon in that world, which is still the world of the Irish country-people, who do not open their eyes very wide at the most miraculous change, at the most sudden enchantment. Its events, and things, and people are wild, and are like unbroken horses, that are so much more beautiful than horses that have learned to run between shafts. We think of actual life, when we read those Norse stories, which were already in decadence, so necessary were the proportions of actual life to their efforts, when a dying man remembered his heroism enough to look down at his wound and say, "Those broad spears are coming into fashion"; but the Irish stories make us understand why the Greeks call myths the activities of the daemons. The great virtues, the great joys, the great privations come in the myths, and, as it were, take mankind between their naked arms, and without putting off their divinity. Poets have taken their themes more often from stories that are all, or half, mythological, than from history or stories that give one the sensation of history, understanding, as I think, that the imagination which remembers the proportions of life is but a long wooing, and that it has to forget them before it becomes the torch and the marriage-bed.
V
I THINK this book is the best that has come out of Ireland in my time. Perhaps I should say that it is the best book that has ever come out of Ireland; for the stories which it tells are a chief part of Ireland's gift to the imagination of the world--and it tells them perfectly for the first time. Translators from the Irish have hitherto retold one story or the other from some one version, and not often with any fine understanding of English, of those changes of rhythm for instance that are changes of the sense. They have translated the best and fullest manuscripts they knew, as accurately as they could, and that is all we have the right to expect from the first translators of a difficult and old literature. But few of the stories really begin to exist as great works of imagination until somebody has taken the best bits out of many manuscripts. Sometimes, as in Lady Gregory's version of Deirdre, a dozen manuscripts have to give their best before the beads are ready for the necklace. It has been necessary also to leave out as to add, for generations of copyists, who had often but little sympathy with the stories they copied, have mixed versions together in a clumsy fashion, often repeating
one incident several times, and every century has ornamented what was once a simple story with its own often extravagant ornament. We do not perhaps exaggerate when we say that no story has come down to us in the form it had when the storyteller told it in the winter evenings. Lady Gregory has done her work of compression and selection at once so firmly and so reverently that I cannot believe that anybody, except now and then for a scientific purpose, will need another text than this, or than the version of it the Gaelic League is about to publish in Modern Irish. When she has added her translations from other cycles, she will have given Ireland its Mabinogion, its Morte d'Arthur, its Nibelungenlied. She has already put a great mass of stories, in which the ancient heart of Ireland still lives, into a shape at once harmonious and characteristic; and without writing more than a very few sentences of her own to link together incidents or thoughts taken from different manuscripts, without adding more indeed than the story-teller must often have added to amend the hesitation of a moment. Perhaps more than all she had discovered a fitting dialect to tell them in. Some years ago I wrote some stories of mediæval Irish life, and as I wrote I was sometimes made wretched by the thought that I knew of no kind of English that fitted them as the language of Morris's prose stories--the most beautiful language I had ever read--fitted his journeys to woods and wells beyond the world. I knew of no language to write about Ireland in but raw modern English; but now Lady Gregory has discovered a speech as beautiful as that of Morris, and a living speech into the bargain.
As she moved about among her people she learned to love the beautiful speech of those who think in Irish, and to understand that it is as true a dialect of English as the dialect that Burns wrote in. It is some hundreds of years old, and age gives a language authority. We find in it the vocabulary of the translators of the Bible, joined to an idiom which makes it tender, compassionate, and complaisant, like the Irish language itself. It is certainly well suited to clothe a literature which never ceased to be folk-lore even when it was recited in the Courts of Kings.
II
Lady Gregory could with less trouble have made a book that would have better pleased the hasty reader. She could have plucked away details, smoothed out characteristics till she had left nothing but the bare stories; but a book of that kind would never have called up the past, or stirred the imagination of a painter or a poet, and would be as little thought of in a few years as if it had been a popular novel.
The abundance of what may seem at first irrelevant invention in a story like the death of Conaire, is essential if we are to recall a time when people were in love with a story, and gave themselves up to imagination as if to a lover. We may think there are too many lyrical outbursts, or too many enigmatical symbols here and there in some other story, but delight will always overtake us in the end. We come to accept without reserve an art that is half epical, half lyrical, like that of the historical parts of the Bible, the art of a time when perhaps men passed more readily than they do now from one mood to another, and found it harder than we do to keep to the mood in which we tot up figures or banter a friend.
III
The Church, when it was most powerful, taught learned and unlearned to climb, as it were, to the great moral realities through hierarchies of Cherubim and Seraphim, through clouds of Saints and Angels who had all their precise duties and privileges. The story-tellers of Ireland, perhaps of every primitive country, created as fine a fellowship, only it was aesthetic realities that they would have us tell for kin and fellow. They created, for learned and unlearned alike, a communion of heroes, a cloud of stalwart witnesses; but because they were as much excited as a monk over his prayers, they did not think sufficiently about the shape of the poem and the story. We have to get a little weary or a little distrustful of our subject, perhaps, before we can lie awake thinking how to make the most of it. They were more anxious to describe energetic characters, and to invent beautiful stories, than to express themselves with perfect dramatic logic or in perfectly ordered words. They shared their characters and their stories, their very images, with one another, and handed them down from generation to generation; for nobody, even when he had added some new trait, or some new incident, thought of claiming for himself what so obviously lived its own merry or mournful life. The image-maker or worker in mosaic who first put Christ upon the Cross would have as soon claimed as his own a thought which was perhaps put into his mind by Christ himself. The Irish poets had also, it may be, what seemed a supernatural sanction, for a chief poet had to understand not only innumerable kinds of poetry, but how to keep himself for nine days In a trance. Surely they believed or half-believed in the historical reality of their wildest imaginations. And as soon as Christianity made their hearers desire a chronology that would run side by side with that of the Bible, they delighted in arranging their Kings and Queens, the shadows of forgotten mythologies, in long lines that ascended to Adam and his Garden. Those who listened to them must have felt as if the living were like rabbits digging their burrows under walls that had been built by Gods and Giants, or like swallows building their nests in the stone mouths of immense images, carved by nobody knows who. It is no wonder that we sometimes hear about men who saw in a vision ivy-leaves that were greater than shields, and blackbirds whose thighs were like the thighs of oxen. The fruit of all those stories, unless indeed the finest activities of the mind are but a pastime, is the quick intelligence, the abundant imagination, the courtly manners of the Irish country people.
IV
William Morris came to Dublin when I was a boy, and I had some talk with him about these old stories. He had intended to lecture upon them, but "the ladies and gentlemen"--he put a Communistic fervour of hatred into the phrase--knew nothing about them. He spoke of the Irish account of the battle of Clontarf, and of the Norse account, and said that we saw the Norse and Irish tempers in the two accounts. The Norseman was interested in the way things are done, but the Irishman turned aside, evidently well pleased to be out of so dull a business, to describe beautiful supernatural events. He was thinking, I suppose, of the young man who came from Aebhen of the Grey Rock, giving up immortal love and youth, that he might fight and die by Murrugh's side. He said that the Norseman had the dramatic temper, and the Irishman had the lyrical. I think I should have said epical and romantic rather than dramatic and lyrical, but his words, which have so great authority, mark the distinction very well, and not only between Irish and Norse, but between Irish and other un-Celtic literatures. The Irish story-teller could not interest himself with an unbroken interest in the way men like himself burned a house, or won wives no more wonderful than themselves. His mind constantly escaped out of daily circumstance, as a bough that has been held down by a weak hand suddenly straightens itself out. His imagination was always running off to Tir-nan-oge, to the Land of Promise, which is as near to the country-people of to-day as it was to Cuchulain and his companions. His belief in its nearness cherished in its turn the lyrical temper, which is always athirst for an emotion, a beauty which cannot be found in its perfection upon earth, or only for a moment His imagination, which had not been able to believe in Cuchulain's greatness, until it had brought the Great Queen, the red eye-browed goddess, to woo him upon the battlefield, could not be satisfied with a friendship less romantic and lyrical than that of Cuchulain and Ferdiad, who kissed one another after the day's fighting, or with a love less romantic and lyrical than that of Baile and Aillinn, who died at the report of one another's deaths, and married in Tir-nan-oge. His art, too, is often at its greatest when it is most extravagant, for he only feels himself among solid things, among things with fixed laws and satisfying purposes, when he has re-shaped the world according to his heart's desire. He understands as well as Blake that the ruins of time build mansions in eternity, and he never allows anything that we can see and handle to remain long unchanged. The characters must remain the same, but the strength of Fergus may change so greatly that he, who a moment before was merely a strong man among many, becomes the master of Three Blows that would destroy an army, did they not cut off the heads of three little hills instead, and his sword, which a fool had been able to steal out of its sheath, has of a sudden the likeness of a rainbow. A wandering lyric moon must knead and kindle perpetually that moving world of cloaks made out of the fleeces of Manannan; of armed men who change themselves into sea-birds; of goddesses who become crows; of trees that bear fruit and flower at the same time. The great emotions of love, terror, and friendship must alone remain untroubled by the moon in that world, which is still the world of the Irish country-people, who do not open their eyes very wide at the most miraculous change, at the most sudden enchantment. Its events, and things, and people are wild, and are like unbroken horses, that are so much more beautiful than horses that have learned to run between shafts. We think of actual life, when we read those Norse stories, which were already in decadence, so necessary were the proportions of actual life to their efforts, when a dying man remembered his heroism enough to look down at his wound and say, "Those broad spears are coming into fashion"; but the Irish stories make us understand why the Greeks call myths the activities of the daemons. The great virtues, the great joys, the great privations come in the myths, and, as it were, take mankind between their naked arms, and without putting off their divinity. Poets have taken their themes more often from stories that are all, or half, mythological, than from history or stories that give one the sensation of history, understanding, as I think, that the imagination which remembers the proportions of life is but a long wooing, and that it has to forget them before it becomes the torch and the marriage-bed.
V
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