LITMIR.BIZ

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been regarded in other than a favourable light. The Colloquy re-established the dignity of the Fian band in the eyes of official Christianity. They are baptized or released from hell, and in their own nature they are virtuous and follow lofty ideals. "Who or what was it that maintained you in life?" asks Patrick. And Caoilte gives the noble reply, "Truth that was in our hearts, and strength in our arms, and fulfilment in our tongues." Patrick says of Fionn: "He was a king, a seer, a poet, a lord with a manifold and great train; our magician, our knowledgeable one, our soothsayer; all whatsoever he said was sweet with him. Excessive, perchance, as ye deem my testimony of Fionn, although ye hold that which I say to be overstrained, nevertheless, and by the King that is above me, he was three times better still." Not only so, but Caoilte maintains that Fionn and his men were aware of the existence of the true God. They possessed the anima naturaliter Christiana. The growing appreciation of a wider outlook on life, and possibly acquaintance with the romances of chivalry, made the composition of the Colloquy possible, but, again, it may represent a more generous conception of paganism existing from the time of the first encounter of Christianity with it in Ireland.

      The strife of creeds in Ireland, the old order changing, giving place to new, had evidently impressed itself on the minds of Celtic poets and romancers. It suggested itself to them as providing an excellent "situation"; hence we constantly hear of the meeting of gods, demigods, or heroes with the saints of the new era. Frequently they bow before the Cross, they are baptized and receive the Christian verity, as in the Colloquy and in some documents of the Cúchulainn cycle. Probably no other European folk-literature so takes advantage of just this situation, this meeting of creeds, one old and ready to vanish away, the other with all the buoyant freshness of youth.

      Was MacPherson's a genuine Celtic epic unearthed by him and by no one else? No mortal eye save his has ever seen the original, but no one who knows anything of the contents of the saga can deny that much of his work is based on materials collected by him. He knew some of the tales and ballads current among the folk, possibly also some of the Irish MS. versions. He saw that there was a certain unity among them, and he saw that it was possible to make it more evident still. He fitted the floating incidents into an epic framework, adding, inventing, altering, and moulding the whole into an English style of his own. Later he seems to have translated the whole into Gaelic. He gave his version to the world, and found himself famous, but he gave it as the genuine translation of a genuine Celtic epic. Here was his craft; here he was the "charlatan of genius." His genius lay in producing an epic which people were willing to read, and in making them believe it to be not his work but that of the Celtic heroic age. Any one can write an epic, but few can write one which thousands will read, which men like Chateaubriand, Goethe, Napoleon, Byron, and Coleridge will admire and love, and which will, as it were, crystallise the aspirations of an age weary with classical formalism. MacPherson introduced his readers to a new world of heroic deeds, romantic adventure, deathless love, exquisite sentiments sentimentally expressed. He changed the rough warriors and beautiful but somewhat unabashed heroines of the saga into sentimental personages, who suited the taste of an age poised between the bewigged and powdered formalism of the eighteenth century, and the outburst of new ideals which was to follow. His Ossian is a cross between Pope's Homer and Byron's Childe Harold. His heroes and heroines are not on their native heath, and are uncertain whether to mince and strut with Pope or to follow nature with Rousseau's noble savages and Saint Pierre's Paul and Virginia. The time has gone when it was heresy to cast doubt upon the genuineness of MacPherson's epic, but if any one is still doubtful, let him read it and then turn to the existing versions, ballads, and tales. He will find himself in a totally different atmosphere, and will recognise in the latter the true epic note—the warrior's rage and the warrior's generosity, dire cruelty yet infinite tenderness, wild lust yet also true love, a world of magic supernaturalism, but an exact copy of things as they were in that far-off age. The barbarism of the time is in these old tales—deeds which make one shiver, customs regarding the relations of the sexes now found only among savages, social and domestic arrangements which are somewhat lurid and disgusting. And yet, withal, the note of bravery, of passion, of authentic life is there; we are held in the grip of genuine manhood and womanhood. MacPherson gives a picture of the Ossianic age as he conceived it, an age of Celtic history that "never was on sea or land." Even his ghosts are un-Celtic, misty and unsubstantial phantasms, unlike the embodied revenants of the saga which are in agreement with the Celtic belief that the soul assumed a body in the other world. MacPherson makes Fionn invariably successful, but in the saga tales he is often defeated. He mingles the Cúchulainn and Ossianic cycles, but these, save in a few casual instances, are quite distinct in the old literature. Yet had not his poem been so great as it is, though so un-Celtic, it could not have influenced all European literature. But those who care for genuine Celtic literature, the product of a people who loved nature, romance, doughty deeds, the beauty of the world, the music of the sea and the birds, the mountains, valour in men, beauty in women, will find all these in the saga, whether in its literary or its popular forms. And through it all sounds the undertone of Celtic pathos and melancholy, the distant echo

      "Of old unhappy, far-off things

       And battles long ago."

      CHAPTER IX.

      GODS AND MEN.

       Table of Contents

      Though man usually makes his gods in his own image, they are unlike as well as like him. Intermediate between them and man are ideal heroes whose parentage is partly divine, and who may themselves have been gods. One mark of the Celtic gods is their great stature. No house could contain Bran, and certain divine people of Elysium who appeared to Fionn had rings "as thick as a three-ox goad."⁵¹⁶ Even the Fians are giants, and the skull of one of them could contain several men. The gods have also the attribute of invisibility, and are only seen by those to whom they wish to disclose themselves, or they have the power of concealing themselves in a magic mist. When they appear to mortals it is usually in mortal guise, sometimes in the form of a particular person, but they can also transform themselves into animal shapes, often that of birds. The animal names of certain divinities show that they had once been animals pure and simple, but when they became anthropomorphic, myths would arise telling how they had appeared to men in these animal shapes. This, in part, accounts for these transformation myths. The gods are also immortal, though in myth we hear of their deaths. The Tuatha Dé Danann are "unfading," their "duration is perennial."⁵¹⁷ This immortality is sometimes an inherent quality; sometimes it is the result of eating immortal food—Manannan's swine, Goibniu's feast of age and his immortal ale, or the apples of Elysium. The stories telling of the deaths of the gods in the annalists may be based on old myths in which they were said to die, these myths being connected with ritual acts in which the human representatives of gods were slain. Such rites were an inherent part of Celtic religion. Elsewhere the ritual of gods like Osiris or Adonis, based on their functions as gods of vegetation, was connected with elaborate myths telling of their death and revival. Something akin to this may have occurred among the Celts.

      The divinities often united with mortals. Goddesses sought the love of heroes who were then sometimes numbered among the gods, and gods had amours with the daughters of men.⁵¹⁸ Frequently the heroes of the sagas are children of a god or goddess and a mortal,⁵¹⁹ and this divine parentage was firmly believed in by the Celts, since personal names formed of a divine name and -genos or -gnatos, "born of," "son of," are found in inscriptions over the whole Celtic area, or in Celtic documents—Boduogenos, Camulognata, etc. Those who first bore these names were believed to be of divine descent on one side. Spirits of nature or the elements of nature personified might also be parents of mortals, as a name like Morgen, from Morigenos, "Son of the Sea," and many others suggest. For this and for other reasons the gods frequently interfere in human affairs, assisting their children or their favourites. Or, again, they seek the aid of mortals or of the heroes of the sagas in their conflicts or in time of distress, as when Morrigan besought healing from Cúchulainn.

      As in the case of early Greek and Roman kings, Celtic kings who bore divine names were probably believed to be representatives or incarnations of gods. Perhaps this explains why a chief of the Boii

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