More Celtic Fairy Tales Part 29

After that Manannan thrust his hand into his girdle and brought out a goblet and set it upon his palm. "This cup has this virtue," said he, "that when a false story is told before it, it makes four pieces of it, and when a true story is related it is made whole again."

"Those are very precious things you have, Manannan," said the king.

"They shall all be thine," said Manannan, "the goblet, the branch and the tablecloth."

Then they ate their meal, and that meal was good, for they could not think of any meat but they got it upon the table-cloth, nor of any drink but they got it in the cup. Great thanks did they give to Manannan.

When they had eaten their meal a couch was prepared for them and they laid down to slumber and sweet sleep.

Where they rose on the morrow morn was in Tara of the kings, and by their side were tablecloth, cup, and branch.

Thus did Cormac fare at the Court of Manannan, and this is how he got the fairy branch.

The Ridere of Riddles.

[Ill.u.s.tration: T]

There was a king once, and he married a great lady, and she departed on the birth of her first son. And a little after this the king married another wife, and she too had a son. The two lads grew up tall and strong. Then it struck the queen that it was not her son who would come into the kingdom; and she set it before her that she would poison the eldest son. And so she sent advice to the cooks that they should put poison in the drink of the heir; but as luck was in it, the youngest brother heard them, and he told his brother not to take the draught, nor to drink it at all; and so he did. But the queen wondered that the lad was not dead; and she thought that there was not enough of poison in the drink, and she asked the cook to put in more on the second night. It was thus they did: and when the cook made up the drink, she said that he would not be long alive after this draught. But his brother heard this also, and told him likewise. The eldest thought he would put the draught into a little bottle, and he said to his brother--"If I stay in this house I have no doubt she will do for me some way or other, and the quicker I leave the house the better. I will take the world for my pillow, and there is no knowing what fortune will be on me." His brother said that he would go with him, and they took themselves off to the stable, and they put saddles on two horses and they took their soles out of that.

They had not gone very far from the house when the eldest one said--"There is no knowing if poison was in the drink at all, though we went away. Try it in the horse's ear and we shall see." The horse did not go far before he fell. "That was only a rattle-bones of a horse anyway," said the eldest one, and they got up together on the other horse, and so they went forwards. "But," said he, "I can scarce believe that there is any poison in the drink; let's try it on this horse." That he did, and they went not far when the horse fell cold dead. They thought they'd take the hide off him, and that it would keep them warm at night which was close at hand. In the morning when they woke they saw twelve ravens come and light on the carcase of the horse, and they were not long there when they fell down dead.

They went and lifted the ravens, and they took them with them, and the first town they reached they gave the ravens to a baker, and they asked him to make a dozen pies of the ravens. They took the pies with them, and they went forward on their journey. About the mouth of night, and when they were in a great thick wood, there came four and twenty robbers who bade them to deliver up their purses; but they said that they had no purse, but only a little food which they were carrying with them. "Good is even meat!" said the robbers, and they began to eat it, but had not eaten much when they fell hither and thither, all stone dead. When they saw that the robbers were dead they ransacked their pockets, and got much gold and silver. They went forward till they reached the Knight of Riddles.

The house of the Knight of Riddles was in the finest place in that country, and if his house was pretty, his daughter was prettier, and she had twelve maidens with her only less fair than she. Her like was not on the surface of the world, altogether so handsome was she; and no one would get her to marry but the man who could put a question to her father that he could not solve. The brothers thought that they would go and try to put a question to him; and the youngest was to stand in place of gillie to the elder brother. They reached the house of the Knight of Riddles and this was the question they put to him--"One killed two, and two killed twelve, and twelve killed four and twenty, and two got out of it"; and they were to be kept in great majesty and high honour till he should solve the riddle.

They were thus a while with the Ridere, and try as he might he could not guess the riddle. On a day of days came one of the maidens who were with the knight's daughter to the gillie, and asked him to tell her the question. He took her plaid from her and let her go, but he told her nothing. The same thing happened to the twelve maidens, day after day, and the gillie said to the last one that no creature had the answer to the riddle but his master down below. One day after this came the knight's daughter to the eldest brother, and looking her finest and handsomest, and she asked him to tell her the question. And now there was no refusing her, and he told her, but he kept her plaid. The Knight of Riddles sent for him, and he gave him the answer of the riddle. And the knight said that he had two choices: to lose his head, or to be set adrift in a crazy boat without food or drink, without oar or scoop. The elder brother spoke, and he said--"I have another riddle to put to thee before all these things happen." "Say on," said the knight. "Myself and my gillie were one day in the forest shooting. My gillie fired at a hare, and she fell, and he took her skin off, and let her go; and so he did to twelve, he took their skins off and let them go. And at last came a great fine hare, and I myself fired at her, and I took her skin off, and I let her go." "Indeed thy riddle is not hard to solve, my lad,"

said the knight, and he knew the lad knew he had not really guessed the riddle, but had been told the answer. So he gave him his daughter to wife, to make him hold his peace, and they made a great hearty wedding that lasted a day and a year. The youngest one went home now that his brother had got so well on his way, and the eldest brother gave him every right over the kingdom that was at home.

Now there were near the march of the kingdom of the Knight of Riddles three giants, and they were always murdering and slaying some of the knight's people, and taking spoil from them. On a day of days the Knight of Riddles said to his son-in-law, that if the spirit of a man were in him, he would go to kill the giants, as they were always bringing such losses on the country. Well, so it was, he went and he met the giants, and he came home with the three giants' heads, and he threw them at the knight's feet. "Thou art an able lad doubtless, and thy name hereafter is the Hero of the White s.h.i.+eld." The name of the Hero of the White s.h.i.+eld went far and near.

[Ill.u.s.tration]

Meanwhile the brother of the Hero of the White s.h.i.+eld had wandered afar in many countries, and after long years had come to the land of the giants where the Hero of the White s.h.i.+eld was now dwelling, and the knight's daughter with him. His brother came and he asked to make a _covrag_ or fight as a bull with him. The men began at each other, and they took to wrestling from morning till evening. At last and at length, when they were tired, weak, and spent, the Hero of the White s.h.i.+eld jumped over a great rampart, and he asked the stranger to meet him in the morning. This leap put the other to shame, and he said to him, "Well may it be that thou wilt not be so supple about this time to-morrow."

The young brother now went to a poor little bothy that was near to the house of the Hero of the White s.h.i.+eld, tired and drowsy, and in the morning they dared the fight again. And the Hero of the White s.h.i.+eld began to go back, till he went backwards into a river. "There must be some of my blood in thee before that was done to me." "Of what blood art thou?" said the youngest. "'Tis I am son of Ardan, great King of the Albann." "'Tis I am thy brother." It was now they knew each other. They gave luck and welcome to each other, and the Hero of the White s.h.i.+eld now took him into the palace, and she it was that was pleased to see him--the knight's daughter. He stayed a while with them, and after that he thought that he would go home to his own kingdom; and when he was going past a great palace that was there he saw twelve men playing at s.h.i.+nny over against the palace. He thought he would go for a while and play s.h.i.+nny with them; but they were not long playing s.h.i.+nny when they fell out, and the weakest of them caught him and shook him as he would a child. He thought it was no use for him to lift a hand amongst these twelve worthies, and he asked them to whom they were sons. They said they were children of the one father, the brother of the Hero of the White s.h.i.+eld, who had not been heard of for many years. "I am your father," said he; and he asked them if their mother was alive. They said that she was. He went with them till he found the mother, and he took her home with him and the twelve sons; and I don't know but that his seed are kings on Alba till this very day.

The Tail.

[Ill.u.s.tration: T]

There was a shepherd once who went out to the hill to look after his sheep. It was misty and cold, and he had much trouble to find them. At last he had them all but one; and after much searching he found that one too in a peat hag, half drowned; so he took off his plaid, and bent down and took hold of the sheep's tail, and he pulled! The sheep was heavy with water, and he could not lift her, so he took off his coat and he _pulled!!_ but it was too much for him, so he spit on his hands, and took a good hold of the tail and he PULLED!! and the tail broke! and if it had not been for that this tale would have been a great deal longer.

[Ill.u.s.tration]

[Ill.u.s.tration: MAN OR WOMAN BOY OR GIRL THAT READS WHAT FOLLOWS 3 TIMES SHALL FALL ASLEEP AN HUNDRED YEARS

JOHN D. BATTEN DREW THIS: AUG. 19th, 1891 GOOD-NIGHT]

Notes and References.

I have scarcely anything to add to the general account of the collection of Celtic Fairy Tales which I gave in the predecessor to this volume, pages 237-42. Since the appearance of that volume in 1891, the publication of such tales has gone on apace. Mr. Curtin has published in the New York _Sun_ no less than fifty more Irish fairy tales, one of which he has been good enough to place at my disposal for the present volume. Mr. Larminie has published with Mr. E. Stock a volume of _West Irish Fairy Tales_, of which I have also the privilege of presenting a specimen. A slight volume of Welsh Fairy Tales, published by Mr. Nutt, and a few fairy anecdotes contained in the Prize Essay on Welsh Folk-lore by the Rev. Mr. Evans, sum up Cambria's contribution to our subject during the past three years. The fifth volume of the _Waifs and Strays of Celtic Tradition_, just about to appear at the moment of writing, is the sole addition to Celtic Fairy Tales from the country of J. F. Campbell. Taken altogether, something like a hundred previously unpublished tales from Celtdom have been rendered accessible to the world since I last wrote, a by no means insignificant outcome in three years. It is at any rate clear, that the only considerable addition to our folk-lore knowledge in these isles must come from the Gaelic area.

The time of harvest can be but short; may the workers be many, willing, and capable.

XXVII. THE FATE OF THE CHILDREN OF LIR.

_Sources._--Abridged from the text and translation published by the Society for the Preservation of the Irish Language in 1883. This merely follows the text and version given by Professor O'Curry in _Atlantis_, iv. He used three Dublin MSS., none of them, however, of earlier date than the eighteenth century. Dr. Joyce gives a free paraphrase in his _Old Celtic Romances_.

_Parallels._--For "Jealous Stepmother," see the bibliographical references in the list of incidents at the end of my paper on the "Science of Folk-tales" in the _Transactions of the Folk-lore Congress_, _sub voce_. Add Miss Roalfe c.o.x in _Folk-lore Journal_, vii. app. 37; also the same list _sub voce_ "Swan Maiden Transformation." In modern Irish literature Griffin has included the tale in his _Tales of the Jury-room_, and Tom Moore's "Song of Fiounala" beginning "Silent, O Moyle" is founded upon it.

_Remarks._--The "Fate of the Children of Lir" is always referred to along with "The Story of Deirdre" (_cf._ the _Celtic Fairy Tales_, ix.), and the "Children of Tuireann" as one of the Three Sorrowful Tales of Erin. But there is no evidence of equal antiquity to the other two stories, of which one is as old as the eleventh century. From the interspersed verse O'Curry concluded, however, that the story was at least of considerable antiquity, and the references to the unknown Saint Mochaomhog confirm his impression. The Hill of the White Field is near Newton Hannton, in the county of Armagh. The Lake of the Red Eye is Lough Derg, in the Shannon above Killaloe.

Fingula is Fair Shoulder. The tradition that swans are inviolable is still extant in Ireland. A man named Connor Griffin killed eleven swans: he had previously been a prosperous man, and shortly afterwards his son was drowned in the Shannon, his goods were lost, and his wife died (_Children of Lir_, Dublin edit., note, p. 87). In County Mayo it is believed that the souls of pure virgins are after death enshrined in the forms of swans; if anybody injures them, it is thought he will die within a year (Walter's _Natural History of the Birds of Ireland_, pp.

94-5). Mr. Gomme concludes from this that the swan was at one time a British totem (_Arch. Rev._, iii. 226-7).

At first sight the tale seems little more than an argument against the Bill for Marriage with a Deceased Wife's Sister, but the plaintive lays of Fingula, the touching detail of the swans flying over the desolate hill and White Field, give a touch of Celtic glamour to the whole story.

There is probably also a deep religious significance implied in the fact that the wicked Aunt Stepmother's spell is broken when the transformed Children of Lir come across the first Christian they meet.

Mr. Nutt has kindly communicated the following remarks on this tale:--

The Fate of the Children of Lir belongs formally to the so-called mythological cycle, the personages of which are the Tuatha de Danann.

The Irish annalists of the 10th-11th centuries described these as members of one of the races which possessed Ireland in pre-Christian times before the coming of the Milesians. But even in the most strongly euhemerised accounts the mythic nature of these beings is apparent, and most modern scholars are agreed that they are in fact the members of a Pagan Irish Pantheon. They live on to this very day in Irish folk-belief as chiefs and rulers of the fairies.

The MS. evidence for some of the stories concerning the Tuatha de Danann is as old as that for the oldest heroic cycle (the Ultonian of Conchobar and Cuchulainn). But the Tuatha de Danann legends have retained throughout Irish literature greater plasticity and vitality than those of the Ultonian cycle, and many stories are not older in their present state than the 14th and 15th centuries. This is probably the case with the present story. The oldest known MS. only goes back to 1718, but this and the MS. of 1721, used by O'Curry for his edition, are certainly copied from much older MSS.

The interesting question for storiologists is whether the themes of the story--the swan-metamorphosis consequent upon the stepmother's jealousy, and the protecting role a.s.signed to the sister--are of old native or of recent imported nature. In support of the first hypothesis, it may be noted that the theme of stepmotherly jealousy was current in Ireland in the 10th century at the latest, as it is woven into the saga of the Destruction of Daderga's Fort (see my article "_Folk-lore_," ii.). The final episode of the sudden aging of the miraculously long-lived swans is also genuinely Irish, but its true significance is obscured in our story in a way that sufficiently demonstrates the late and secondary character of the text. The idea is that the dwellers in Faery, whether fairy-folk or mortals penetrating thither, enjoy perpetual life, forfeited by the latter the moment they return to this earth. As children of the Tuatha de Danann, Fionngula and her brothers are deathless, and the episode as it stands in our text results from a contamination of the original form of the story in which the swan-metamorphosis was annulled under certain conditions (the removal of the chains), when the original shape was resumed, and the familiar story of the mortal returning from Faery after hundreds of years, which he deems to be but a short s.p.a.ce of time, shrinking into dust the moment he touches earth.

There is a well-known Continental folk-tale--the "Seven Swans" (or Ravens)--of which we possess several mediaeval (12th to 13th century) versions, all connected with the romance of the "Swan Knight." M. Gaston Paris has studied the whole story group (_Romania_, xix. 314, &c.) with the following results: The folk-tale of the seven swans had originally nothing to do with the saga of the swan-knight. The connection apparent in the 12th century texts is artificial; the swans owe their shape-s.h.i.+fting capacity to the superhuman nature of their mother; this trait has been almost effaced even in the oldest versions. The distinguis.h.i.+ng mark of the swans in all the versions is the possession of silver or gold chains, which are what may be called metamorphosis tokens; it follows from this that the contamination of the two story-types ("Seven Swans" and "Swan Knight") must be older than the oldest version of the first story, as these chains can only be derived from the one with which in the Swan Knight saga the swan draws the knight back.

In _Romania_ (xxi. 62, _seq._) M. Ferd. Lot examines the question in the light of our tale. He points out that it indicates clearly the superhuman nature of the mother, and that as the silver chains figure in the story, they cannot be due in the Continental versions to contamination with the Swan Knight saga, as M. Gaston Paris imagines. M.

Lot evidently inclines to look upon them as talismans, the abandonment of which was the original cause of the metamorphosis, and the handling of which at the end brings about the change back to human shape. He points out that these chains form an essential part of the gear of beings appearing in bird guise (especially if they belong to Faery); thus in the 10th-century "Sickbed of Cuchulainn" the G.o.ddesses Fand and Liban appear as two swans united by a golden chain; in the 8th to 9th century Conception of Cuchulainn, Dechtire, the mother of the hero by the G.o.d Lug, appears with her companions in the guise of many-hued birds linked together by chains of silver (or red gold in one version). The MS. evidence for these tales reaches back to the early 11th century.

Curiously enough, M. Lot has not cited the closest parallel to our tale from old Irish literature, and one which is certainly connected with it in some measure, the fine story called the "Dream of Angus." A story of this t.i.tle is cited in the epic catalogue of the Book of Leinster (which dates back to the early 11th century) as one of the introductory stories to the Tain bo Cuailgne. This a.s.sumed its present shape substantially between 650 and 750. The introductory stories had originally no connection with it, and were invented or re-shaped in the 8th to 10th centuries, after the Tain had taken undisputed place as the leading Irish epic. The tale may therefore be ascribed provisionally to the 9th century, if we can only be sure that the existing version, preserved in a single MS. of the 15th century, is a faithful copy of the original.

There need be no doubt as to this. The text is due to a Christian scribe, and, like nearly all portions of the mythological cycle, betrays signs of Christian influence, though not of Christian remodelling. Such influence is, however, far more likely to have exerted itself in the first stage of the written existence of these tales, when the memory of organised paganism was still tenacious, than later, when the tales had become subject-matter for the play of free poetic fancy. The story, printed and translated by Dr. E. Muller, _Rev. Celt._, iv. 342, &c., is as follows: Angus (the chief wizard of the Tuatha de Danann) is visited in sleep by a maiden whose beauty throws him into love sickness. The whole of Ireland is scoured to find her; the Dagda is appealed to in vain. At length, Bodb, fairy king of Munster, finds her at Loch bel Dracon (this is not the only trace of the impression which the story of Bel and the Dragon made upon the Irish mind). She lives there with 150 swans; one year they are in swan shape the next in human shape. They appear as white birds with silvery chains and golden caps around their heads. Angus changes himself into a swan to be with her, and it is recorded of the music they made that "people fell asleep for three days and three nights." The soporific power of music is that which is chiefly commended in old Irish literature.

I think it is obvious that the writer of our story was familiar with this and other legends in which swan-maids encircled with gold and silver chains appear, and that we may fairly draw the following conclusions from the preceding facts: There existed an Irish folk-tale of a king with two wives, one a water or sea fairy, whose children derive from her the capacity of shape-s.h.i.+fting dependent upon certain talismans; jealousy impels the human wife to tamper with these talismans, and the children are condemned to remain in their animal form. This folk-tale was, probably at some time in the 14th or 15th century, arbitrarily fitted into the _cadre_ of the Tuatha de Danann cycle, and entirely re-fas.h.i.+oned in a spirit of pious edification by a man who was in his way a great and admirable artist. The origin and nature of the story, all the elements of which are genuinely national, a.s.sured for it wide and lasting popularity. The evolution of the Irish folk-tale is in no way dependent upon that of the Continental folk-tale of the Seven Swans, but it is possible that the Celtic presentiment of the chain-girdled swans may have influenced it as well as the Swan Knight Romance.