🧚 Early Bardic Literature, Ireland., part 6

If letters were unknown in those times, the example of Homer shows how unlikely the later poets would have been to outrage so violently the whole spirit of the heroic literature.1 If rounded letters were then used, why the universal ascription of the late invented Ogham which, as we know from the cemeteries and other sources, was unpopular in the Christian age.2

Cryptic, too, it was not.3 The very passages quoted in Hermathena to support this opinion, so far from doing so prove actually the reverse.4 When Cuculain came down into Meath on his first [Note: Vol. I., page 155.] foray, he found, on the lawn of the Dun of the sons of Nectan, a pillar stone with this inscription in Ogham--"Let no one pass without an offer of a challenge of single combat."5 The inscription was, of course, intended for all to read.6 Should there be any bardic passage in which Ogham inscriptions are alluded to as if an obscure form of writing, the natural explanation is, that this kind of writing was passing or had passed into desuetude at the time that particular passage was composed; but I have never met with any such.7 The ancient bard, who, in the Tan-bo-Cooalney, describes the slaughter of Cailitin and his sons by Cuculain, states that there was an inscription to that effect, written in Ogham, upon the stone over their tomb, beginning thus--"Take notice"--evidently intended for all to read.8 The tomb, by the way, was a rath--again showing the ethnic character of the alphabet.9

In the Annals of the Four Masters, at the date 1499 B.C., we read these words:--10

"THE FLEET OF THE SONS OF MILITH CAME TO IRELAND TO TAKE IT FROM THE TUATHA DE DANAN," i.e., the gods of the ethnic Irish.11

Without pausing to enquire into the reasonableness of the date, it will suffice now to state that at this point the bardic history of Ireland cleaves asunder into two great divisions--the mythological or divine on the one hand, and the historical or heroic-historical on the other.12 The first is an enchanted land--the world of the Tuatha De Danan--the country of the gods.13 There we see Mananan with his mountain-sundering sword, the Fray-garta; there Lu Lamfada, the deliverer, pondering over his mysteries; there Bove Derg and his fatal [Note: Every feast to which he came ended in blood.14 He was present at the death of Conairey Mor, Chap. xxxiii., Vol. I.] swine-herd, Lir and his ill-starred children, Mac Manar and his harp shedding death from its stricken wires, Angus Og, the beautiful, and he who was called the mighty father, Eochaidht [Note: Ay-o-chee, written Yeoha in Vol. I.] Mac Elathan, a land populous with those who had partaken of the feast of Goibneen, and whom, therefore, weapons could not slay, who had eaten [Note: In early Greek literature the province of history has been already separated from that of poetry.15 The ancient bardic lore and primaeval traditions were refined to suit the new and sensitive poetic taste.16 No commentator has been able to explain the nature of ambrosia.17 In the genuine bardic times, no such vague euphuism would have been tolerated as that of Homer on this subject.18 The nature of Olympian ambrosia would have been told in language as clear as that in which Homer describes the preparation of that Pramnian bowl for which Nestor and Machaon waited while Hecamede was grating over it the goat's milk cheese, or that in which the Irish bards described the ambrosia of the Tuatha De Danan, which, indeed, was no more poetic and awe-inspiring than plain bacon prepared by Mananan from his herd of enchanted pigs, living invisible like himself in the plains of Tir-na-n-Og, the land of the ever-young.19 On the other hand, there is a vagueness about the Feed Fia which would seem to indicate the growth of a more awe-stricken mood in describing things supernatural.20 The Faed Fia of the Greek gods has been refined by Homer into "much darkness," which, from an artistic point of view, one can hardly help imagining that Homer nodded as he wrote.] at the the table of Mananan, and would never grow old, who had invented for themselves the Faed Fia, and might not be seen of the gross eyes of men; there steeds like Anvarr crossing the wet sea like a firm plain; there ships whose rudder was the will, and whose sails and oars the wish, of those they bore [Note: Cf.21 The barks of the Phoenicians in the Odyssey.]; there hounds like that one of Ioroway, and spears like fiery flying serpents.22 These are the Tuatha De Danan [Note: A mystery still hangs over this three-formed name.23 The full expression, Tuatha De Danan, is that generally employed, less frequently Tuatha De, and sometimes, but not often, Tuatha.24 Tuatha also means people.25 In mediaeval times the name lost its sublime meaning, and came to mean merely "fairy," no greater significance, indeed, attaching to the invisible people of the island after Christianity had destroyed their godhood.], fairy princes, Tuatha; gods, De; of Dana, Danan, otherwise Ana and the Moreega, or great queen; mater [Note: Cormac's Glossary] deorum Hibernensium--"well she used to cherish [Note: Scholiast noting same Glossary.] the gods."26 Limitless, this divine population, dwelling in all the seas and estuaries, river and lakes, mountains and fairy dells, in that enchanted Erin which was theirs.27

But they have not started into existence suddenly, like the gods of Rome, nor is their genealogy confined to a single generation like those of Greece.28 Behind them extends a long line of ancestors, and a history reaching into the remotest depths of the past.29 As the Greek gods dethroned the Titans, so the Irish gods drove out or subjected the giants of the Fir-bolgs; but in the Irish mythology, we find both gods and giants descended from other ancient races of deities, called the Clanna Nemedh and the Fomoroh, and these a branch of a divine cycle; yet more ancient the race of Partholan, while Partholan himself is not the eldest.30

The history of the Italian gods is completely lost.31 For all that the early Roman literature tells us of their origin, they may have been either self-created or eternal.32 Rome was a seedling shaken from some old perished civilisation.33 The Romans created their own empire, but they inherited their gods.34 They supply no example of an Aryan nation evolving its own mythology and religion.35 Regal Rome, as we know from Niebuhr, was not the root from which our Rome sprang, but an old imperial city, from whose ashes sprang that Rome we all know so well.36 The mythology of the Latin writers came to them full-grown.37

The gods of Greece were a creation of the Greek mind, indeed; but of their ancestry, i.e., of their development from more ancient divine tribes, we know little.38 Like Pallas, they all but start into existence suddenly full-grown.39 Between the huge physical entities of the Greek theogonists and the Olympian gods, there intervenes but a single generation.40 For this loss of the Grecian mythology, and this substitution of Nox and Chaos for the remote ancestors of the Olympians, we have to thank the early Greek philosophers, and the general diffusion of a rude scientific knowledge, imparting a physical complexion to the mythological memory of the Greeks.41

In the theogony of the ancient inhabitants of this country, we have an example of a slowly-growing, slowly-changing mythology, such as no other nation in the world can supply.42 The ancestry of the Irish gods is not bounded by a single generation or by twenty.43 The Tuatha De Danan of the ancient Irish are the final outcome and last development of a mythology which we can see advancing step by step, one divine tribe pushing out another, one family of gods swallowing up another, or perishing under the hands of time and change, to make room for another.44 From Angus Og, the god of youth and love and beauty, whose fit home was the woody slopes of the Boyne, where it winds around Rosnaree, we count fourteen generations to Nemedh and four to Partholan, and Partholan is not the earliest.45 As the bards recorded with a zeal and minuteness, so far as I can see, without parallel, the histories of the families to which they were adscript, so also they recorded with equal patience and care the far-extending pedigrees of those other families--invisible indeed, but to them more real and more awe-inspiring--who dwelt by the sacred lakes and rivers, and in the folds of the fairy hills, and the great raths and cairns reared for them by pious hands.46

The extent, diversity, and populousness of the Irish mythological cycles, the history of the Irish gods, and the gradual growth of that mythology of which the Tuatha De Danan, i.e., the gods of the historic period, were the final development, can only be rightly apprehended by one who reads the bardic literature as it deals with this subject.47 That literature, however, so far from having been printed and published, has not even been translated, but still moulders in the public libraries of Europe, those who, like myself, are not professed Irish scholars, being obliged to collect their information piece-meal from quotations and allusions of those who have written upon the subject in the English or Latin language.48 For to read the originals aright needs many years of labour, the Irish tongue presenting at different epochs the characteristics of distinct languages, while the peculiarities of ancient caligraphy, in the defaced and illegible manuscripts, form of themselves quite a large department of study.49 Stated succinctly, the mythological record of the bards, with its chronological decorations, runs thus:--50