The Poem-Book of the Gael. Various
lot.
In the clouds' bosoms the water-gates of heaven are
flung wide; small pools are turned by it to seas,
all its destructiveness hath the firmament spewed
out.
A pain to me that Hugh Maguire to-night lies in a
stranger's land, 'neath lurid glow of lightning-bolts
and angry armed clouds' clamour;
A woe to us that in the province of Clann Daire (Southwest
Munster) our well-beloved is couched, betwixt
a coarse cold-wet and grass-clad ditch and the
impetuous fury of the heavens."[4]
But it is not, after all, the verses of the bards, even of the best of them, that will survive. It is the tender religious songs, the passionate love-songs, the exquisite addresses to nature; those poems which touch in us the common ground of deep human feeling. Whether it came to us from the sixth century or from the sixteenth, the song of Crede for the dead man, whom she had grown to love only when he was dying, would equally move us; the passionate cry of Liadan after Curithir would wring our hearts whatever century produced it. The voice of love is alike in every age. It has no date.
Having written so far, we begin to wonder whether it was wise or necessary to set so much prose between the reader and the poems which, as we hope, he wishes to read. In an ordinary anthology, the interruption of a long preface is a mistake and an intrusion, for, more than any other good art, good poetry must explain itself. The mood in which a poem touches us acutely may be recorded, but it cannot be reproduced in or for the reader. He must find his own moment. For the most part, these Irish poems need no introduction. We need no one to explain to us the beauty of the lines in the "Flower of Nut-brown Maids":
"I saw her coming towards me o'er the face of the mountain,
Like a star glimmering through the mist";
or to remind us of the depth of Cuchulain's sorrow when over the dead body of his son he called aloud:
"The end is come, indeed, for me;
I am a man without son, without wife;
I am the father who slew his own child;
I am a broken, rudderless bark
Tossed from wave to wave in the tempest wild;
An apple blown loose from the garden-wall,
I am over-ripe, and about to fall;"
or to tell us that the "Blackthorn," or "Donall Oge," or "Eileen Aroon," are exquisite in their pathos and tenderness. But there are, besides these enchanting things, which we are prepared to expect from Irish verse, also [Pg xxxiii] things for which we are not prepared; unfamiliar themes, treated in a new manner; and to judge of these, some help from outside may be useful. The reader who does not know Ireland or know Gaelic, is ready to accept softness, the almost endless iteration of expressions conveying the sense of woman's beauty and of man's affection, in phrases that differ but little from each other; what he is not prepared for is the sudden break into matter-of-fact, the curt tone that cuts across much Irish poetry, revealing an unexpected side of life and character. Even the modern Irishman is tripped up by the swift intrusion of the grotesque; the cold, cynical note that exists side by side with the most fervent religious devotion, especially in the popular poetry, displeases him. He resents it, as he resents the tone of the "Playboy of the Western World"; yet it is the direct modern representative of the tone of mind that produced the Ossianic lays.
We find it in all the popular poetry; as an example take the argument of the old woman who warns a young man that if he persists in his evil ways, there will be no place in heaven for such as he. The youth replies:
"If no sinner ever goes to Paradise,
But only he who is blessed, there will be wide empty places in it.
If all who follow my way are condemned
Hell must have been full twenty years and a year ago,
And they could not take me in for want of space."
The same chill, almost harsh tone is heard in the colloquy between Ailill of Munster and the woman whom he has trysted on the night after his death,[5] or in the poem, "I shall not die for you" (p. 286), or in the verses on the fairy-hosts, published by Dr. Kuno Meyer, where, instead of praise of their ethereal loveliness, we are told:
"Good are they at man-slaying,
Melodious in the ale-house,
Masterly at making songs,
Skilled at playing chess."[6]
Could anything be more matter-of-fact than the clever chess-playing of the shee-folk and their pride in it?
A collection of translations must always have some sense of disproportion. It is natural that translators should, as a rule, have been attracted, not only to the poems that most readily give themselves to an English translation, but to those which are most easily accessible. The love-songs, such as those collected by Hardiman and Dr. Douglas Hyde, have been attempted with more or less success by many translators, while much good poetry, not so easily brought to hand, has been overlooked. Dr. Kuno Meyer's fine translations of a number of older pieces, which came out originally either in separate publications,[7] or in the transactions of the Arts Faculty of University College, Liverpool, have now been rendered more accessible in a separate collection; but the English ear is wedded to rhyme, and a prose translation, however careful and choice, often misses its mark with the general reader. Long ago, Miss Brooke (in her Reliques of Irish Poetry) and Furlong (in Hardiman's Irish Minstrelsy) essayed the translation of a number of the longer "bardic remains"; and these earlier collectors and translators will ever retain the gratitude of their countrymen for rescuing and printing, at a time when little value was placed upon such things, these stores of Irish song.
But the translations suited better the taste of their own day than of ours; we cannot read them now, nor do they in the slightest way represent the verse they are intended to reproduce. Naturally, too, it is easier to give the spirit and language of a serious poem than that of a humorous one in another tongue, so that the more playful verse has been neglected.
It may be thought that this book is overweighted by religious and love poems; but in a collection essentially lyrical, religion and love must ever be the two chief themes. In Ireland, the inner spirit of the national genius ever spoke, and still speaks, through them.
Among the people of the quiet places where few strangers come, and where night passes into day and day again to night with little change of thought or outward emotion, simple sorrows and simple pleasures have still time to ripen into poetry. The grief that came to-day will not pass away with a new grief to-morrow; it will impress its groove, straight and deep, upon the heart that feels it, lying there without hope of a summer growth to hide its furrow. The long monotonous days, the dark unbroken evenings are the nurseries of sorrow; the white open roads are the highways of hope or the paths for the wayfaring thoughts of despair. The stranger who came one day comes again no more, though we watch the long white track never so earnestly; the boy or girl who went that way to foreign lands has not thrown his or her shadow across the road again. Where the turf fire rises curling and blue into the air, where the young girl stands waiting by the winding "boreen," where the old woman croons over the hearth, there we shall surely find, if we know how to draw it forth, that a well of poetry has been sunk, and that half-unconsciously the thought of the heart has expressed itself in simple verse, or in rhythmic prose almost more beautiful than verse. The minds that produced the touching melodies that wail and croon and sing to us out of Ireland, have not the less expressed themselves in melodious poetry. Here, if anywhere,