Among the Celtic people of Ireland and the north-west of Scotland, story-telling has always been a favourite amusement. In the olden time, they had professional story-tellers, variously designated according to rank—ollaves, shanachies, filÈs, bards, etc.—whose duty it was to know by heart a number of old tales, poems, and historical pieces, and to recite them at festive gatherings, for the entertainment of the chiefs and their guests. These story-tellers were always well received at the houses of princes and chiefs, and treated with much consideration; and on occasions when they acquitted themselves well, so as to draw down the applause of the audience, they were often rewarded with costly presents.

To meet the demand for this sort of entertainment, ingenious "men of learning," taking legends or historical events as themes, composed stories from time to time; of which those that struck the popular fancy were caught up and remembered, and handed down from one generation of story-tellers to another. In course of time, a body of romantic literature grew up, consisting chiefly of prose tales, which were classified, according to subject, into Battles, Voyages, Tragedies, Military Expeditions, Cattle-Raids, Courtships, Pursuits, Adventures, Visions, etc.[I.]

Some of these tales were historical, i.e. founded on historical events, and corresponded closely with what is now called the historical romance; while others were altogether fictitious—pure creations of the imagination. But it is to be observed that even in the fictitious tales, the main characters are always historical, or such as were considered so. The old ollaves wove their fictions round Conor Mac Nessa and his Red Branch Knights, or Finn and his Fena, or Luga of the Long Arms and his Dedannans, or Conn the Hundred-fighter, or Cormac Mac Art; like the Welsh legends of Arthur and his Round Table, or the Arabian romances of Haroun-al-Raschid and his Court.

The greater number of the tales were, as I have said, in prose. But some were in poetry; and in many of the prose tales the leading characters are often made to express themselves in verse, or some striking incident of the story is repeated in a poetical form. Not unfrequently the fragments of verse introduced into a prose tale are quotations from an older poetical version of the same tale; and hence it often happens that while the prose may be plain enough, the poetry is often archaic and obscure.

At some very early period in Ireland—how early we have now no means of determining with certainty—Celtic thought began to be committed to writing; and as everything seems to have been written down that was considered worth preserving, manuscripts accumulated in course of time, which were kept either in monasteries, or in the houses of the hereditary professors of learning. But in the dark time of the Danish ravages, and during the troubled centuries that followed the Anglo-Norman invasion, the manuscript collections were gradually dispersed, and a large proportion lost or destroyed. Yet we have remaining—rescued by good fortune from the general wreck—a great body of manuscript literature. Our two most important collections are those in Trinity College and in the Royal Irish Academy, Dublin; where we have manuscripts of various ages, from the year 1100 down to the present century, on every conceivable subject—Annals, History, Biography, Theology, Romance, Legend, Science, etc. These manuscripts, which, it should be remarked, are nearly all copies from older books, contain a vast collection of romantic literature: it may, indeed, be said that there is scarcely one important event in our early history, or one important native personage or native legend, that has not been made the subject of some fanciful story.

The volume I now offer to the notice of the public contains eleven tales, selected and translated from the manuscripts of Trinity College and of the Royal Irish Academy. Some have been already published, with original text and literal translation, and are to be found in the Transactions of various literary societies, where, however, they are inaccessible to the general run of readers; and even if they were accessible, they are almost unreadable, the translations having been executed, not for literary, but for linguistic purposes. Others have never been translated or given to the public in any shape or form till now.

Of the whole collection of eleven tales, therefore, it may be said that they are quite new to the general mass of the reading public. And furthermore, this is the first collection of the old Gaelic prose romances that has ever been published in fair English translation.

Scraps and fragments of some of these tales have been given to the world in popular publications, by writers who, not being able to read the originals, took their information from printed books in the English language. But I am forced to say that many of these specimens have been presented in a very unfavourable and unjust light—distorted to make them look funny, and their characters debased to the mere modern conventional stage Irishman. There is none of this silly and odious vulgarity in the originals of these fine old tales, which are high and dignified in tone and feeling—quite as much so as the old romantic tales of Greece and Rome.[II.]

A translation may either follow the very words, or reproduce the life and spirit, of the original; but no translation can do both. If you render word for word, you lose the spirit; if you wish to give the spirit and manner, you must depart from the exact words, and frame your own phrases. I have chosen this latter course. My translation follows the original closely enough in narrative and incident; but so far as mere phraseology is concerned, I have used the English language freely, not allowing myself to be trammelled by too close an adherence to the very words of the text. The originals are in general simple in style; and I have done my best to render them into simple, plain, homely English. In short, I have tried to tell the stories as I conceive the old shanachies themselves would have told them, if they had used English instead of Gaelic.

In the originals, the stories run on without break or subdivision;[III.] but I have thought it better to divide the longer ones into chapters, with appropriate headings.

In almost all cases I had at my command several copies of the same story, some of them differing in phraseology and in minor points of detail, though agreeing, in the main, in narrative and incident. I found this a considerable advantage, as it gave me more freedom in the choice of expression.

I have made full use of the literal translations of those tales that have been already published in the Transactions of the Ossianic Society, in the Atlantis, in the Proceedings of the Royal Irish Academy, and in the Journal of the Royal Historical and ArchÆological Association of Ireland. But, in order to secure the advantage of various readings, I compared, in every case, the published text with at least one copy of the story, in the Royal Irish Academy, in Trinity College, or in my own private manuscript collection.

The ancient institution of professional story-telling held its ground both in Ireland and in Scotland down to a very recent period; and it is questionable if it be even yet quite extinct. Within my own memory, this sort of entertainment was quite usual among the farming classes of the south of Ireland. The family and workmen, and any neighbours that chose to drop in, would sit round the kitchen fire after the day's work—or perhaps gather in a barn on a summer or autumn evening—to listen to some local shanachie reciting one of his innumerable Gaelic tales. The story-teller never chose his own words—he always had the story by heart, and recited the words from memory, often gliding into a sort of recitative in poetical passages, or when he came to some favourite grandiose description abounding in high-sounding alliterative adjectives. And very interesting it was to mark the rapt attention of the audience, and to hear their excited exclamations when the speaker came to relate some mighty combat, some great exploit of the hero, or some other striking incident. Three years ago, I met a man in Kilkee, who had a great number of these stories by heart, and who actually repeated for me, without the slightest hitch or hesitation, more than half—and if I had not stopped him would have given me the whole—of "CÚirt an Mheadhon-Oidhche" ("The Midnight Court"), a poem about six times as long as Gray's "Elegy."

I will now proceed to give a few particulars concerning these tales, including a short account of the manuscript or manuscripts from which each has been translated.

THE THREE TRAGIC STORIES OF ERIN.

Among the ancient Gaelic tales, three were known as "the three most sorrowful (tales) of story-telling," or "The Three Tragic Stories of Erin;" viz., "The Fate of the Children of Usna," "The Fate of the Children of Lir," and "The Fate of the Children of Turenn." I have not included the first in this volume, but a poetical version of it has been written and published by my brother.[IV.]

THE FATE OF THE CHILDREN OF LIR.

Two translations of this tale have been published: one literal, with the Gaelic text, by Professor O'Curry, in the Atlantis (Nos. vii. and viii.); and another, less literal, by Gerald Griffin, in his "Tales of a Jury-Room."

The oldest known copies of the tale are, one in the Catholic University, Dublin, made by Andrew Mac Curtin, a well-known Gaelic scholar and scribe of the county Clare, who lived between 1680 and 1740; one in Trinity College, Dublin, made by Hugh O'Daly, in 1758; and one in the British Museum, made by Richard Tipper of Dublin, in 1718.[V.] There is also a very good copy in the Royal Irish Academy (23. C. 26), of which I made considerable use, written in or about 1782, by Peter O'Connell, a good Gaelic scholar of the county Clare. From a comparison of several of these versions, O'Curry made his copy of the text as published in the Atlantis.

There may be, and there probably are, older copies, in Trinity College, in the British Museum, or elsewhere, if we knew only where to find them. And this observation applies to several of the tales that follow, of which we have at hand only modern copies.

THE FATE OF THE CHILDREN OF TURENN.

In the Book of Lecan (folio 28), which was compiled by the Mac Firbises, about a.d. 1416, is a short account, partly in prose and partly in verse, of the celebrated eric-fine imposed on the three sons of Turenn, by Luga of the Long Arms, for killing his father Kian; but this old book does not give the story of the quest for the fine. The full tale, text and literal translation, has been published by O'Curry in the Atlantis. There are several good copies in the Royal Irish Academy: one in 23. G. 10, transcribed by Patrick Brown of the county Clare, in 1805; another in 23. E. 16, written out by Michael Oge O'Longan, in 1797; and a third (imperfect) in 23. M. 47, copied by Andrew Mac Curtin, in 1734.

There are references to these three sons of Turenn, and to the manner of their death, in two very old authorities, viz., Cormac's "Glossary" (about a.d. 900); and a poem by Flann of Monaster-boice (who died a.d. 1056), a copy of which is in the Book of Leinster, written about a.d. 1130.

In the older references to the sons of Turenn, they are called Brian, Iuchar, Iucharba; but in some comparatively modern copies of the tale the names are a little different—for instance, Peter O'Connell calls them Uar, Iuchar, and Iucharba; and they vary still further in other copies. I have taken advantage of this variety to give the names in a more pronounceable form in my translation.

In the original, this tale is introduced by an anecdote of Nuada of the Silver Hand and the two great Dedannan leeches, Midac and Armedda (see page 92, infra), which has nothing whatever to do with the story, and which I have omitted.

THE OVERFLOWING OF LOUGH NEAGH.

"Leabhar na h-Uidhre," or "The Book of the Dun Cow," from which this and the two following tales are taken, is the oldest manuscript of miscellaneous Gaelic literature we possess. It was transcribed from older books by Maelmuire Mac Ceilechair, who died a.d. 1106; and it is now deposited in the Royal Irish Academy, Dublin—or rather, I should say, a large fragment of it, for the book has suffered much mutilation. This venerable book may now be said to be in the hands of the public, as it has been lately reproduced in lithograph fac-simile, and published by the Council of the Royal Irish Academy, at the Government expense.

The story of "The Overflowing of Lough Neagh" (called in the original "The Destruction of Eocho Mac Mairedo") has been published, with text and literal translation, by the late J. O'Beirne Crowe, in the Kilkenny ArchÆological Journal volume for 1870-1.

In this story I have been obliged to make a few transpositions in the mere order of the incidents, for the narrative in the original is in some places very ill arranged.

It is now nearly eight hundred years since this story was transcribed from some old authority into "The Book of the Dun Cow;" and it is singular that the tradition of the formation of Lough Neagh, by the overflow of an enchanted well which was neglected by the woman in charge of it, still maintains a vivid existence among the peasantry. (See on this subject the author's "Origin and History of Irish Names of Places," Series I. 4th edition, page 176.)

CONNLA OF THE GOLDEN HAIR, AND THE FAIRY MAIDEN.

This tale (called in the original "Echtra Condla Cain," "The Adventures of Connla the Comely") is taken from "The Book of the Dun Cow." It has been published, with text and literal translation, by the late J. O'Beirne Crowe, in the Kilkenny ArchÆological Journal (volume 1874-5, page 128).

This is one of the many tales that illustrate the ancient and widespread superstition that fairies sometimes take away mortals to their palaces in the fairy forts and pleasant green hills;[19] of which the last story in this book—"Oisin in Tirnanoge"—is another example. This superstition prevailed in Ireland and the Scottish Highlands as far back as either history or tradition reaches; it flourished in full vigour within my own memory; and it is scarcely quite extinct—in Ireland at least—at the present day.[VI.] In connection with the antiquity of this superstition, it must be borne in mind that the present story was transcribed into "The Book of the Dun Cow" in or about the year 1100, from some older book; and that it relates to the time of Conn the Hundred-fighter, king of Ireland, who reigned in the second century of the Christian era.

THE VOYAGE OF MAILDUN.

Of this tale (which is now given to the public for the first time) the oldest copy is in "The Book of the Dun Cow" (about the year 1100); but it is imperfect at both beginning and end—a portion having been torn away when the book was mutilated at some former time. There is a perfect copy in the Yellow Book of Lecan, in Trinity College, Dublin, and another in the British Museum (MS. Harl. 5280).

After I had made a rough translation of the greater part of this piece, I discovered a good literal translation in manuscript in the Royal Irish Academy, made by the late J. O'Beirne Crowe, which was of great use to me, as it helped to explain some strange terms, and to clear up some obscure passages.

This voyage would appear from internal evidence to have been made in the beginning of the eighth century (O'Curry says about the year 700); for I think it likely that Maildun did actually go on a voyage, which was afterwards made the framework of the story. On my translation of this tale, Lord Tennyson founded his poem "The Voyage of Maeldune."

Of the Imrama or voluntary sea expeditions (to which the present story belongs) there are, according to O'Curry (Lect. MS. Mat. 289), only four remaining, all very ancient. Of these the best known is the "Voyage of St. Brendan," undertaken in the sixth century, which was at one time celebrated all over Europe, and which has been lately made the theme of a fine poem by Denis Florence M^cCarthy.

Another of these Imrama is the "Voyage of the Sons of O'Corra," which has been described at some length by Professor O'Curry (Lect. MS. Mat. 289). Of this I have a copy which I made from the MS. 23. M. 50, Royal Irish Academy (and which I afterwards carefully compared with another copy lent me by my friend, Mr. W. M. Hennessy). I made a translation of this story, intending to print it in the present volume; but as there is a much older and better copy in the ancient "Book of Fermoy," which I had not time to consult in detail, I have thought it better to hold back for the present the strange adventures of the sons of O'Corra. A beautiful poetical translation of the whole tale has been made by Mr. T.D. Sullivan of Dublin, and published in his volume of Poems.

THE FAIRY PALACE OF THE QUICKEN TREES.

The "Bruighean Caerthainn," or "The Fairy Palace of the Quicken Trees," which is now translated for the first time, is one of the most popular of the Gaelic romances. I had three of the Royal Irish Academy MSS. before me when translating it—viz., 23. C. 30, transcribed in 1733, by the Irish writer and lexicographer, Andrew Mac Curtin of the county Clare; 24. B. 15, written in 1841; and 23. L. 24, copied in 1766, by Dermot O'Mulqueen of the county Clare.

This is one of a type of stories very common in Gaelic romantic literature:—One or more of the heroes are entrapped by some enchanter and held under a spell in a castle, or a cave, or a dungeon; till, after a series of adventures, they are released by the bravery or mother-wit of some of their companions. "The Chase of Slieve Fuad" and "The Chase of Slieve Cullinn" are two other examples of this class of Gaelic tales.

THE PURSUIT OF THE GILLA DACKER AND HIS HORSE.

This is a humorous story of a trick—a very serious practical joke—played by Avarta, a Dedannan enchanter, on sixteen of the Fena, whom he carried off to "The Land of Promise;" and of the adventures of Finn, Dermat O'Dyna, and the others, in their pursuit of Avarta (who had taken the shape of the Gilla Dacker) to recover their companions. It may be regarded as belonging to the same class as the last story.

O'Curry described the opening of this tale in his Lectures (MS. Mat. 316); and he was the first, so far as I know, to draw attention to it. I think it strange that such a story should not have been noticed before by writers on Gaelic literature; for as a work of imagination, it seems to me a marvellous and very beautiful creation.

The battles fought by the king of Sorca, aided by Finn and his Fena, against the King of the World, are described at much length in the original; but I have cut them down to a very short compass; and I have omitted altogether a long episode towards the end, which travels away from the main story.

This tale has never been translated till now. I translated it chiefly from the Royal Irish Academy MS., 24. B. 28, a well-written manuscript, which was copied out by Edmond Terry, in 1728: but I kept another good copy beside me for comparison, viz., that contained in the Royal Irish Academy MS., 23. G. 21, written in 1795, by Michael Oge O'Longan of Cork, father of Mr. Joseph O'Longan, now the Irish scribe in the Royal Irish Academy, and the transcriber in fac-simile of "Leabhar na h-Uidhre," "Leabhar Breac," and "Leabhar Laighneach."

THE PURSUIT OF DERMAT AND GRANIA.

This tale is one of those mentioned in the list contained in the Book of Leinster, which was written about a.d. 1130 (see note, page iv.); but though this proves the tale to be an ancient one, I have never come across a copy older than the last century.

"The Pursuit of Dermat and Grania" has been published, with text and a very racy idiomatic literal translation, by Mr. Standish Hayes O'Grady, in the Transactions of the Ossianic Society for 1855, from a comparison of two manuscripts, one of 1780 and the other of 1842. In addition to Mr. O'Grady's published text, I made use of another good copy (MS. Royal Irish Academy, 23. G. 21) written in 1795, by Michael Oge O'Longan, already spoken of.

I cannot help believing that this fine story originally ended with the death of Dermat; though in all the current versions (including Mr. O'Grady's printed text) there is an additional part recounting the further proceedings of Grania and her sons, after the death of the hero. But this part is in every respect inferior to the rest—in language, in feeling, and in play of imagination. It seems to me very clear that it was patched on to the original story by some unskilful hand; and I have accordingly omitted it, and ended the story with the death of Dermat. I have also omitted two short episodes—that of the cnumh or reptile of Corca Divna, as a mere excrescence; and Finn's expedition to Scotland for aid against Dermat. And, for the sake of clearness, I have slightly changed the place of that part of the tale which recounts the origin of the Fairy Quicken Tree of Dooros. There are one or two other trifling but very necessary modifications, which need not be mentioned here.

THE CHASE OF SLIEVE CULLINN: THE CHASE OF SLIEVE FUAD: OISIN IN TIRNANOGE.

In the original Gaelic these are three poetical tales. All three have been printed, with Gaelic text and literal translation, in the Transactions of the Ossianic Society: the two first by the late John O'Daly, and "Oisin in Tirnanoge" by Professor O'Looney. There are many good copies of these tales in the manuscripts of the Royal Irish Academy; though of not one of them have I seen a copy older than the last century.

"The Chase of Slieve Cullinn" (commonly known as "The Poem of the Chase") has been translated into English verse by Miss Brooke; and there is another metrical translation in the Irish Penny Journal (page 93). And of "Oisin in Tirnanoge," Mr. T.D. Sullivan has given a graceful poetical rendering in his volume of Poems, already mentioned.

PREFACE TO THE THIRD EDITION.

In this edition there is an additional tale, "The Fate of the Sons of Usna," a notice of which will be found at page x, above.