Line 16. "A woman's protection." The "perilous passage," passed only by a woman's help, occurs elsewhere both in Irish and in other early literatures. See Maelduin, para. 17; Ivain (Chretien de Troyes), vv. 907 sqq.; and Mabinogion, "Lady of the Fountain" (Nutt's edition, p. 177).
Line 28. "Labra." Labraid's usual title, as given to him by Liban in both forms of the romance and once by Laeg in the second description of Fairyland, is Labraid Luath lamar-claideb, the title being as closely connected with him as {Greek boh`n a?gaðo`s Mene'laos}with Menelaus in Homer. It is usually translated as "Labraid quick-hand-on-sword," but the Luath need not be joined to lam, it is not in any of the places in the facsimile closely joined to it, and others than Liban give to Labraid the title of Luath or "swift," without the addition.
The literal translation of the short pieces of rhetoric on pages 62, 63 are,
"Where is Labraid the swift hand-on-sword, who is the head of troops of victory? (who) triumphs from the strong frame of his chariot, who reddens red spear-points."
"Labraid the son of swiftness is there, he is not slow, abundant shall be the assembly of war, slaughter is set when the plain of Fidga shall be full."
"Welcome to thee, O Laeg! for the sake of her with whom thou hast come; and since thou hast come, welcome to thee for thyself!"
The metre of the first two pieces is spirited and unusual. The second one runs:
Ata Labraid luithe cland, ni ba mall bid immda tinol catha, cuirther ar, día ba Ian Mag Fidgae.
PAGE 63
Line 24. "Fand." The derivations of the names of Fand and of Aed Abra are quite in keeping with the character of the Antiquarian form, and would be out of place in the other form of the romance. It may perhaps be mentioned that the proper meaning of Abra is "an eyelash," but the rendering "Aed Abra of the Fiery Eyebrows," which has been employed in accounts of this romance, would convey a meaning that does not seem to have been in the mind of the authors of either of the two forms.
For the literal translations of the three invocations to Labraid, on pp. 63, 66, Thurneysen (p. 87) may be referred to; but there would be a few alterations.
In the first, line 2 should be "heir of a little host, equipped with light spears," if Windisch's Dictionary is to be followed; line 5 would seem to begin "he seeketh out trespasses" (oirgniu); and line 7 should begin, "attacker of heroes," not "an attacking troop," which hardly makes sense.
In the second invocation the first line should alter Labraid's title to "Labraid the swift hand-on-sword-of-battle;" line 3 should end with "wounded his side." In line 6 and again in the third line of the third invocation, Thurneysen translates gus as "wrath": Windisch gives the word to mean "strength."
Line 4 of the third invocation is rendered "he pierceth through men" by
Thurneysen; the Irish is criathraid ocu. Criathraim is given by
O'Reilly as meaning "to sift": "he sifteth warriors" seems a
satisfactory meaning, if O'Reilly is to be relied on.
PAGE 65
Labraid's answer to the three invocations seems to run thus, but the translation is doubtful, many words are marked unknown by Windisch: "I have no pride or arrogance, O lady, nor renown, it is not error, for lamentation is stirred our judgment" (reading na ardarc nid mell, chai mescthair with the second MS.), "we shall come to a fight of very many and very hard spears, of plying of red swords in right fists, for many peoples to the one heart of Echaid Juil (?), (let be) no anbi of thine nor pride, there is no pride or arrogance in me, O lady." I can make nothing of Anbi.
PAGE 66
Thurneysen does not translate the rhetoric; the translation seems to run thus:
Great unprofitableness for a hero to lie in the sleep of a sick-bed; for unearthly women show themselves, women of the people of the fiery plain of Trogach, and they have subdued thee, and they have imprisoned thee, and they have chased thee away (?) amid great womanish folly.
Rouse thyself from the contest of distress (Gloss, "the sickness sent by the fairy women") for all is gone of thy vigour among heroes who ride in chariots, and thou sittest (?) in the place of the young and thou art conquered (? condit chellti if connected with tochell), and thou art disturbed (?) in thy mighty deeds, for that which Labraid's power has indicated rise up, O man who sittest (?) that thou mayest be great.
"Chased thee away" in line 7, for condot ellat, perhaps connected with do-ellaim (?).
PAGE 67
Thurneysen's translation (p. 91) of Emer's lament may be referred to, but he misses some strong points. Among these are:
Line 5. "Woe to Ulster where hospitality abounds."
Line 12. "Till he found a Druid to lift the weight."
Line 25. "Were it Furbaide of the heroes."
Line 27. "The hound would search through the solid earth."
Line 29. "The hosts of the Sid of Train are dead."
Line 30. "For the hound of the Smith of Conor."
Line 34. "Sick for the horseman of the plains."
Note the familiarity with the land of the fairies which Laeg is asserted to have in the first verse of the poem: this familiarity appears more than once in the Literary form of the story. Laeg speaks of the land of Labraid as "known to him" in his- first description of that land, again in the same description Laeg is recognised by Labraid by his five-folded purple mantle, which seems to have been a characteristic fairy gift. Also, Laeg seems at the end of the tale to be the only one to recognise Manannan. There is no indication of any familiarity of Laeg with the fairy country in the Antiquarian form.
The different Ulster heroes alluded to are mostly well-known; all
except Furbaide are in "Mae Datho's Boar." Furbaide was a son of
Conor; be is one of the eighteen leaders who assemble on the Hill of
Slane in the "Tain bo Cuailgne."
The Smith of Conor is of course Culann, from whom Cuchulain got his name.
PAGES 68, 69
A translation of Emer's "Awakening of Cuchulain" may be found in Thurneysen, p. 92 but there are one or two points that seem to be noted as differing from the rendering there given.
Lines 3 and 4 seem to mean: "Look on the king of Macha, on my beauty / does not that release thee from deep sleep?" Thurneysen gives "Look on the king of Macha, my heart! thy sleep pleases him not." Mo crath can hardly mean "my heart."
Line 6 is in the Irish deca a churnu co comraim! "see their horns for the contest!" Instead of comraim Thurneysen seems to prefer the reading of the second MS., co cormaim, and translates "their horns full of beer." Churnu may mean trumpets as well as drinking-horns, and Emer would hardly call on Cuchulain to throw off a drunken sleep (line 21) and then take to beer!
The following translation of lines 17 to 20 seems preferable to
Thurneysen's:
"Heavy sleep is decay, and no good thing; it is fatigue against a heavy war; it is 'milk for the satiated,' the sleep that is on thee; death-weakness is the tanist of death."
The last line is tanaisi d'ec ecomnart. The tanist was the prince who stood next to the king; the image seems too good a one to be lost; Thurneysen translates "weakness is sister to death."
Line 14 seems to mean "see each wonder wrought by the cold"; Emer calls Cuchulain's attention to the icicles which she thinks he is in danger of resembling.
PAGE 69
For the literal translation of Liban's invitation see Thurneysen, p. 93.
Line 14 should run: "Colour of eyes his skin in the fight;" the allusion is, apparently, to a bloodshot eye.
PAGE 71
Line 4. The Plain of Speech (Mag Luada) and the Tree of Triumphs (Bile Buada) are apparently part of the Irish mythology; they appear again in Laeg's second description of Fairyland, which is an additional reason for keeping this poem where it is in the second version, and not following Thurneysen in transferring it to the first. Mag Luada is sometimes translated as "moving plain," apparently deriving the word from luath, "swift."
Laeg's two descriptions of the Fairyland are (if we except the voyage of Bran) the two most definite descriptions of that country in Irish literature. There is very little extravagance in these descriptions; the marvellously fruitful trees, the ever-flowing vat of mead, and the silver-branched tree may be noted. Perhaps the trees of "purple glass" may be added, but for these, see note on line 30. The verse translation has been made to follow the original as closely as possible; for a literal translation Thurneysen's versions (pp. 94 and 88) may be referred to, but some alterations may be made.
The first description seems to begin thus:
I went with noble sportiveness to a land wonderful, yet well-known; until I came to a cairn for twenty of troops where I found Labraid the Long-haired.
There I found him on that hill sitting among a thousand weapons, yellow hair on him with beautiful colour, an apple of gold for the confining of it.
And it ends thus:
Alas I that he went not long ago, and each cure (should come) at his searching, that he might see how it is the great palace that I saw.
Though all Erin were mine and the kingship of yellow Bregia, I would resign it; no slight trial; for knowledge of the place to which I came.
The following points should also be noted:
Line 30 of this first description is tri bile do chorcor glain. This undoubtedly means "three trees of purple glass"; but do chorcor glan would mean "of bright purple"; and this last rendering, which is quite a common expression (see Etain, p. 12), has been adopted in the verse translation. The order of the words in the expression in the text is unusual, and the adoption of them would give an air of artificiality to the description which is otherwise quite absent from it.
Lines 37 and 38 run thus:
There are there thrice twenty trees, their tops meet, and meet not.
Lines 43, 44, rendering: "Each with splendid gold fastening well hooked through its eye," are literally "and a brooch of gold with its splendour in the 'ear' of each cloak." The ears of a cloak, usually described as made of the peculiar white bronze, occur elsewhere in the tales, and there are different speculations as to their use and meaning. The most probable explanation is that they were bronze rings shaped like ears, and sewn into the cloak; a brooch to fasten the cloak being passed through the rings. This explanation has been suggested by Professor Ridgeway, and seems to fit admirably the passages in which these "ears" occur. Compare Fraech, line 33, in the second volume; also the "Courtship of Ferb" (Nutt), p. 6.
There are also a few corrections necessary to Thurneysen's translation of the second description.
Lines 13 to 20 should run thus:
A beautiful band of women;—victory without fetters;— are the daughters of Aed Abra; the beauty of Fand is a rushing sound with splendour, exceeding the beauty of a queen or king.
(The last line is more literally, "not excepting a queen or, &c.")
I will say, since it hath been heard by me, that the seed of Adam was sinless; but the beauty of Fand up to my time hath not found its equal.
For the allusion to Adams sin, compare Etain, p. 26. Allusions like these show that the tales were composed in Christian times. There seems no reason to suppose them to be insertions, especially in cases like this one, where they come in quite naturally.
Line 21 is literally "with their arms for slaying"; not "who warred on each other with weapons" as in Thurneysen.
PAGE 76
For the cooling of Cuchulain's battle-frenzy with water compare the similar treatment in the account of his first foray (L.U., 63a; Miss Faraday's translation, p. 34).
For a literal translation of Faud's triumph song over Cuchulain's return see Thurneysen's translation on page 97 Of the work already referred to. Thurneysen's translation is very close; perhaps the last verse should run: "Long rain of red blood at the side of the trees, a token of this proud and masterful, high with wailing is the sorrow for his fiend-like frenzy."
The description of Cuchulain's appearance in verses 5 and 6 seems to point to a conception of him as the sun-god. Compare the "sunlike" seat of his chariot on page 79.
PAGE 78
The literal translation of Liban's rhetoric in welcome to Cuchulain seems to be, "Hail to Cuchulain! King who brings help, great prince of Murthemne! great his mind; pomp of heroes; battle-triumphing; heart of a hero; strong rock of skill; blood-redness of wrath; ready for true foes of the hero who has the valour of Ulster (?); bright his splendour; splendour of the eyes of maidens; Hail to Cuchulain!"
Torc in the second line is glossed in the MS. by "that is, a king."
Cuchulain's account of his own battle is omitted by Thurneysen, possibly because the account that he gives differs from that in the text, as is pointed out by Windisch, Ir. Text., vol. i. p. 201). But it is quite in keeping with the hero's character that he should try to lessen his own glory; and the omission of this account destroys one of the features of the tale.
The literal rendering is:
I threw a cast with my light spear into the host of Eogan the Stream; not at all do I know, though renowned the price, the victory that I have done, or the deed.
Whether he was better or inferior to my strength hitherto I chanced not on for my decision, a throw, ignorance of the man in the mist, certainly he came not away a living man.
A white army, very red for multitudes of horses, they followed after me on every side (?), people of Manannan Mac Lir, Eogan the Stream called them.
I set out in each manner when my full strength had come to me; one man to their thirty, hundreds, until I brought them to death.
I heard the groan of Echaid Juil, lips speak in friendship, if it is really true, certainly it was not a fight (?), that cast, if it was thrown.
The idea of a battle with the waves of the sea underlies the third verse of this description.
PAGE 79
Five pieces of rhetoric follow, all of which are translated by Thurneysen. A few alterations may be made, but all of them would be small ones. The verse translations given are, it is believed, a little closer to the text than Thurneysen's. The metres of the first three pieces are discussed by Professor Rhys in Y Cymmrodor for 1905 (pages 166, 167). Professor Rhys reduces the second of these to a hexameter followed by three pentameters, then a hexameter followed by a pentameter. The other two reduce to hexameters mixed with curtailed hexameters and pentameters. The last two pieces of the five, not mentioned by Professor Rhys, show a strophic correspondence, which has been brought out in the verse translation; note especially their openings, and the last line of Emer's speech, cia no triallta, as balancing the last line but four of Cuchulain's speech, cia no comgellta. The last of these five pieces shows the greatest differences between the verse and literal translations. A literal translation of this would run:
"Wherefore now, O Emer!" said Cuchulain, "should I not be permitted to delay with this lady? for first this lady here is bright, pure, and clear, a worthy mate for a king; of many forms of beauty is the lady, she can pass over waves of mighty seas, is of a goodly shape and countenance and of a noble race, with embroidery and skill, and with handiwork, with understanding, and sense, and firmness; with plenty of horses and many cattle, so that there is nothing under heaven, no wish for a dear spouse that she doth not. And though it hath been promised (?), Emer," he said, "thou never shalt find a hero so beautiful, so scarred with wounds, so battle-triumphing, (so worthy) as I myself am worthy."
PAGE 81
Line 11. "Fair seems all that's red, &c.," is literally "fair is each red, white is each new, beautiful each lofty, sour is each known, revered is each thing absent, failure is each thing accustomed."
For a translation of the poem in which Fand resigns Cuchulain reference may be made to Thurneysen (p. 101). A more accurate translation of the first verse seems to run thus:
I am she who will go on a journey which is best for me on account of strong compulsion; though there is to another abundance of her fame, (and) it were dearer to me to remain.
Line 16 of poem, translated by Thurneysen "I was true and held my word," is in the original daig is misi rop iran. Iran is a doubtful word, if we take it as a form of aur-an, aur being the intensitive prefix, a better translation may be, "I myself was greatly glowing."
PAGE 82
Line 26. "The lady was seized by great bitterness of mind," Irish ro gab etere moir. The translation of etere is doubtful.
PAGE 83
For the final poem, in which Fand returns to Manannan, reference may as before be made to Thurneysen's translation; but a few changes may be noted:
Line 1 should be, "See the son of the hero people of the Sea."
Line 5 seems to be, "Although" (lit. "if") "it is to-day that his cry is excellent."
Line 7 is a difficult one. Thurneysen gives, "That indeed is the course of love," apparently reading rot, a road, in place of ret; but he leaves eraise untranslated; the Irish is is eraise in ret in t-serc. Might not eraise be "turning back," connected with eraim, and the line run: "It is turning back of the road of love"?
Lines 13 to 16 are omitted by Thurneysen. They seem to mean:
When the comely Manannan took me, he was to me a fitting spouse; nor did he at all gain me before that time, an additional stake (?) at a game at the chess.
The last line, cluchi erail (lit. "excess") ar fidchill, is a difficult allusion. Perhaps the allusion is to the capture of Etain by Mider as prize at chess from her husband. Fand may be claiming superiority over a rival fairy beauty.
Lines 17 and 18 repeat lines 13 and 14.
Lines 46 and 47 are translated by Thurneysen, "Too hard have I been offended; Laeg, son of Riangabra, farewell," but there is no "farewell" in the Irish. The lines seem to be: "Indeed the offence was great, O Laeg, O thou son of Riangabra," and the words are an answer to Laeg, who may be supposed to try to stop her flight.
PAGE 85
Line 24. "That she might forget her jealousy," lit. "a drink of forgetfulness of her jealousy," deoga dermait a heta. The translation seems to be an accepted one, and certainly gives sense, but it is doubtful whether or not eta can be regarded as a genitive of et, "jealousy "; the genitive elsewhere is eoit.
There is a conclusion to this romance which is plainly added by the compiler: it is reproduced here, to show the difference between its style and the style of the original author:
"This then was a token given to Cuchulain that he should be destroyed by the People of the Mound, for the power of the demons was great before the advent of the Faith; so great was that power that the demons warred against men in bodily form, and they showed delights and secret things to them; and that those demons were co-eternal was believed by them. So that from the signs that they showed, men called them the Ignorant Folk of the Mounds, the People of the Sid."
THE EXILE OF THE SONS OF USNACH
PAGE 91
The four pieces of rhetoric, at the beginning of this text are translated by Thurneysen, Sagen aus dem alten Irland, pp. 11 and 12. In the first, third, and fourth of those, the only difference of any importance between the text adopted and Thurneysen's versions is the third line of the third piece, which perhaps should run: "With stately eyes with blue pupils," segdaib suilib sellglassaib, taking the text of the Yellow Book of Lecan.
The second piece appears to run as follows:
Let Cathbad hear, the fair one, with face that all love, the prince, the royal diadem, let he who is extolled be increased by druid arts of the Druid: because I have no words of wisdom to oppose (?) to Feidlimid, the light of knowledge; for the nature of woman knows not what is under her body, (or) what in the hollow of my womb cries out.
These rhetorics are remarkable for the great number of the alliterations in the original.
PAGE 93
Thurneysen omits a verse of Cathbad's poem. A translation of the whole seems to run thus:
Deirdre, great cause of destruction, though thou art fair of face, famous, pale, Ulster shall sorrow in thy time, thou hidden (?) daughter of Feidlimid.
Windisch's Dict. gives "modest daughter" in the last line; the original is ingen fial. But the word might be more closely connected with fial, "a veil." "Modest" is not exactly the epithet that one would naturally apply to the Deirdre of the Leinster version, and the epithet of "veiled" or "hidden" would suit her much better, the reference being to her long concealment by Conor.
There shall be mischief yet afterwards on thy account, O brightly shining woman, hear thou this! at that time shall be the exile of the three lofty sons of Usnach.
It is in thy time that a violent deed shall be done thereupon in Emain, yet afterwards shall it repent the violation of the safeguard of the mighty son of Rog.
Do foesam is read in the last verse, combining the Leinster and the
Egerton texts.
It is through thee, O woman with excellence, (is) the exile of Fergus from the Ulstermen, and a deed from which weeping will come, the wound of Fiachna, the son of Conor.
Fiachna. is grandson to Conor in the Book of Leinster account of the battle. Fiacha is Conor's son in the Glenn Masain version.
It is thy fault, O woman with excellence, the wound of Gerrc son of Illadan, and a deed of no smaller importance, the slaying of Eogan mac Durthacht.
There is no account of the slaying of Eogan in the Book of Leinster version; and Eogan appears on the Hill of Slane in the Ulster army in the War of Cualgne. The sequel to the Glenn Masain version, however, describes Eogan's death at the hand of Fergus (Celtic Review, Jan. 1905, p. 227).
Thou shalt do a deed that is wild and hateful for wrath against the king of noble Ulster; thy little grave shall be in that place, thy tale shall be renowned, O Deirdre.
PAGE 95
Line 13. "Release me, O my wife!" eirgg uaim a ben. It is suggested that the vocative ben is "wife," not "woman." It occurs in seven other places besides this in Windisch's Dictionary, and in six of these it means wife (Emer is addressed as wife of Cuchulain in a deig-ben, in "Sick-bed," 44). In the remaining case ("Fled Bricrend," 31) the word is abbreviated, and stands b in the text, which might be for be, "O lady," though we should have then expected the accent. I suggest that Naisi, by giving to Deirdre the name of "wife," accepts her offer, for no other sign of acceptance is indicated, and the subsequent action shows that she is regarded as his wife afterwards.
Line 30. "Near to Ballyshannon," and "which men to-day call the
Mountain of Howth," are inserted as the modern names of the places.
The words correspond to nothing in the Irish.
PAGE 97
Line 13. "Fiacha." Fiacha, the son of Fergus, corresponds to Illan in the better known version. There is no one in this version who corresponds to the traitor son, Buinne.
PAGE 98
The "Lament of Deirdre," one of the finest of the older Irish poems, has been rendered by Thurneysen and by others, among which should be specially mentioned Miss Hull, in the Cuchullin Saga, pp. 50-51. O'Curry's and O'Flanagan's versions seem to be very far from correct, and it will be more convenient to give that literal translation which seems nearest to the original, instead of indicating divergencies. The literal translation adopted runs as follows:
Though fair to you seems the keen band of heroes who march into Emain that they lately left (lit "after departing"), more stately was the return to their home of the three heroic sons of Usnach.
Naisi, with mead of delicious hazel-nuts
(came), to be bathed by me at the fire,
Ardan, with an ox or boar of excellence,
Aindle, a faggot on his stately back.
Though sweet be the excellent mead to you which is drunk by the son of Ness, the rich in strife, there has been known to me, ere now, leaping over a bank, frequent sustenance which was sweeter.
Line 3 of the above stanza seems to be baithium riam reim for bra, taking reim from the Egerton text. The allusion is to a cascade.
When the noble Naisi spread out a cooking-hearth on hero-board of tree, sweeter than any food dressed under honey[FN#69] was what was captured by the son of Usnach.
[FN#69] For "food dressed under honey" compare Fraech, line 544, in the second volume.
Though melodious to you each month (are the) pipers and horn-blowers, it is my open statement to you to-day I have heard melody sweeter far than these.
For Conor, the king, is melody pipers and blowers of horns, more melodious to me, renowned, enchanting the voice given out by the sons of Usnach.
Like the sound of the wave the voice of Naisi, it was a melodious sound, one to hearken to for ever, Ardan was a good barytone, the tenor of Aindle rang through the dwelling-place.
Naisi is laid in his tomb, sad was the protection that he got; the nation by which he was reared poured out the cup of poison by which he died.
Dear is Berthan, beautiful its lands, stately the men, though hilly the land, it is sorrowful that to-day I rise not to await the sons of Usnach.
Dear the mind, firm, upright, dear the youth, lofty, modest, after going with him through the dark wood dear the girding (?) at early morning.
Dear his gray eye, which women loved, it was evil-looking against enemies, after circuit of the wood (was) a noble assembly, dear the tenor through the dark wood.
I sleep not therefor, and I stain not my nails with red, joy comes not to my wakefulness, for the sons of Usnach return not.
The last line is the Egerton reading.
I sleep not for half the night on my bed, my mind wanders amidst clouds of thoughts, I eat not, nor smile.
There is no leisure or joy for me in the assemblies of eastern Emain; there is no peace, nor pleasure, nor repose in beholding fine houses or splendid ornaments.
What, O Conor, of thee? for me only sorrow under lamentation hast thou prepared, such will be my life so long as it remains to me, thy love for me will not last.
The man who under heaven was fairest to me, the man who was so dear thou hast torn from me; great was the crime; so that I shall not see him until I die.
His absence is the cause of grief to me, the shape of the son of Usnach shows itself to me, a dark hill is above his white body which was desired before many things by me.
His ruddy cheeks, more beautiful than meadows (?), red lips, eyebrows of the colour of the chafer, his teeth shining like pearls, like noble colour of snow.
Well have I known his splendid garb among the warrior men of Alba; mantle of crimson, meet for an assembly, with a border of red gold.
His tunic of satin of costly price, on it a hundred pearls could be counted, goodly the number (lit. "a smooth number" ? a round number), for its embroidery had been used, it was bright, fifty ounces of findruine (i.e. white bronze).
A gold-hilted sword in his hand, two green spears with terrible points (?), a shield with border of yellow gold, and a boss of silver upon it.
Fair Fergus brought injury upon us when inducing us to cross the sea; he has sold his honour for ale, the glory of his high deeds is departed.
If there were upon this plain the warriors of Ulster in the presence of Conor, all of them would I give up without a struggle for the companionship of Naisi, the son of Usnach.
Break not to-day my heart (O Conor!), soon shall I reach my early grave, stronger than the sea is my grief, dost thou not know it, O Conor?
PAGE 103
For the literal translations of the poems in the Glenn Masain version
see
Whitley Stokes in Irische Texte, ii. 2, 172 sqq.
Stanzas 13 to 16 are not in LVI. (the manuscript which is the second authority used by Stokes for this version, and is the chief authority for this part of the version). They are in the manuscript that Stokes calls II. (the version used by O'Flanagan), which, like LVI., agrees pretty closely with the Glenn Masain text so far as the latter manuscript extends.
Stanza 22 is also from O'Flanagan's manuscript. This verse is not translated by Stokes, but it seems worth inserting. The literal translation of it is:
I am Deirdre without joy, it is for me the end of my life; since to remain behind them is the worst thing, not long life to myself.
PAGE 107
Line 21. Two passages, one describing Fergus' sons born in Connaught, the other summing up his deeds, are omitted, as it is not intended to reproduce this version in full.
THE COMBAT AT THE FORD
The well-known translation by O'Curry of this part of the Book of Leinster version of the "Tain bo Cuailgne" is given in the third volume of his "Manners and Customs," pp. 414-463. There are, as has often been pointed out, many inaccuracies in the translation, and the present version does not claim to correct all or even the greater part of them; for the complete version of the Great Tain by Windisch which has so long eagerly been expected should give us a trustworthy text, and the present translation is in the main founded on O'Curry; to whose version reference may be made for literal translations for such parts of the verse passages as are not noted below. A few more obvious corrections have been made; most of those in the prose will appear by comparing the rendering with O'Curry's; some of the corrections in the literal versions adopted for the poems are briefly indicated. Two poems have been literally translated in full: in these the renderings which have no authority other than O'Curry's are followed by a query, in order to give an indication of the extent to which the translation as given may for the present be regarded as uncertain. For all the more valuable of the corrections made to O'Curry's translation I am indebted to the kindness of Mr. E. J. Quiggin, Fellow of Caius College, Cambridge.
PAGE 118
Line 7 Of the first stanza. O'Curry gives this as "Thou hast come out of every strife," which seems to be an impossible rendering; "Take whatever is thy will" seems to be nearer the sense of the passage, and has been adopted.
Lines 5 to 8 of the fourth stanza are very uncertain; and the translation given, which is in part based upon O'Curry, is very doubtful; a more trustworthy one has not, however, been arrived at.
Line 4 of the fifth stanza in O'Curry's rendering means "Here is what thou wilt not earn," i.e. "We can pay more than a full reward for thy services."
Lines 5 and 6 of the sixth stanza should be, "If my request be granted me I will advance, though I am not his match."
Line 2 Of the eighth stanza, "Not thine a pleasant smile for a consort." Brachail in the next line is "guardian."
Line 10 of the last stanza. Elgga is one of the names of Ireland.
PAGE 121
Line 1. Maeth n-araig, "in an easy task," the force of which O'Curry seems to miss, translating it "as he thought."
There are several changes to make in O'Curry's rendering of the dialogue between Fergus and Cuchulain. It should run thus:
F. O Cuchulain, manifest is the bargain,
I see that rising is timely for thee;
here comes to thee in anger
Ferdiad, son of Daman, of the ruddy face.
C. I am here, it is no light task valiantly delaying the men of Erin; I have not yielded a foot in retreat to shun the combat of any one man.
F. Fierce is the man in his excited (?) rage because of his blood-red sword: a horny skin is about Ferdiad of the troops, against it prevails not battle or combat.
C. Be silent, urge not thy story, O Fergus of the powerful weapons! on any field, on any ground, there is no unequal fight for me.
F. Fierce is the man, a war for twenties, it is not easy to vanquish him, the strength of a hundred in his body, valiant his deed (?), spears pierce him not, swords cut him not.
C. Should we happen to meet at a ford (i.e. a field of battle), I and Ferdiad of well-known valour, the separation shall not be without history, fierce shall be our edge-combat.
F. Better would it be to me than reward, O Cuchulain of the blood-stained sword, that it was thou who carried eastward the spoils (coscur, not corcur) of the proud Ferdiad.
C. I give thee my word with boasting, though I am not good at bragging, that it is I who shall gain the victory over the son of Daman, the son of Dare.
F. It is I who gathered the forces eastwards in revenge for my dishonour by the men of Ulster; with me they have come from their lands, their champions and their battle warriors.
C. If Conor had not been in his sickness hard would have been his nearness to thee; Medb of Magh in Scail had not made an expedition of so loud boastings.
F. A greater deed awaits thy hand, battle with Ferdiad son of Daman, hardened bloody weapons, friendly is my speech, do thou have with thee, O Cuchulain!
PAGE 124
Line 7 of O'Curry's rendering of the first stanza should run: "So that he may take the point of a weapon through him."
Stanza 2 of the poem should run thus:
It would be better for thee to stay, thy threats will not be gentle, there will be some one who shall have sickness on that account, distressful will be thy departure to encounter the Rock of Ulster; and ill may this venture turn out; long will be the remembrance of it, woe shall be to him who goeth that journey.
Line 4 of the next stanza, "I will not keep back to please you."
PAGE 126
The literal rendering of the poem seems to be:
I hear the creaking of a chariot with a beautiful silver yoke, the figure of a man with perfection (rises) from the wheels of the stout chariot; over Breg Row, over Braine they come (?), over the highway beside the lower part of the Burg of the Trees; it (the chariot?) is triumphant for its victories.
It is a heroic (?) hound who drives it, it is a trusty charioteer who yokes it, it is a noble hawk who scourges his horses to the south: he is a stubborn hero, he is certain (to cause) heavy slaughter, it is well-known that not with indexterity (?) is the bringing of the battle to us.
Woe for him who shall be upon the hillock waiting for the hound who is fitly framed (lit. in harmony"); I myself declared last year that there would come, though it be from somewhere, a hound the Hound of Emain Macha, the Hound with a form on which are hues of all colours, the Hound of a territory, the Hound of battle; I hear, we have heard.
As a second rendering of the above in a metre a little closer to the original than that given in the text, the following may be suggested:
Shrieks from war-car wake my hearing,
Silver yokes are nigh appearing;
High his perfect form is rearing,
He those wheels who guides!
Braina, Braeg Ross past it boundeth,
Triumph song for conquests soundeth,
Lo! the roadway's course it roundeth,
Skirting wooded sides.
Hero Hound the scourge hard plieth,
Trusty servant yoke-strap tieth,
Swift as noble hawk, he flieth,
Southward urging steeds!
Hardy chief is he, and story
Soon must speak his conquests gory,
Great for skilful war his glory;
We shall know his deeds!
Thou on hill, the fierce Hound scorning,
Waitest; woe for thee is dawning;
Fitly framed he comes, my warning
Spoke him thus last year:
"Emain's Hound towards us raceth,
Guards his land, the fight he faceth,
Every hue his body graceth:"
Whom I heard, I hear.
PAGE 127
In O'Curry's rendering of the dialogue between Ferdia and his servant, line 3 should be, "That it be not a deed of prophecy," not "a deferred deed"; and line 6, With his proud sport."
Last stanza of the poem:
It seems thou art not without rewards, so greatly hast thou praised him; why else hast thou extolled him ever since I left my house? they who now extol the man when he is in their sight come not to attack him, but are cowardly churls.
PAGE 128
Line 34. "As a hawk darts up from the furrow." O'Curry gives "from the top of a cliff." The word in the Irish is claiss.
PAGE 129
The metre of this poem, which is also the metre of all the preceeding poems except the second in this romance, but does not occur elsewhere in the collection, may be illustrated by quoting the original of the fifth verse, which runs as follows:
Re funiud, re n-aidchi
Madit eicen airrthe,
Comrac dait re bairche,
Ni ba ban in gleo:
Ulaid acot gairmsiu,
Ra n-gabartar aillsiu,
Bud olc doib in taidbsiu
Rachthair thairsiu is treo.
Literal translation of the first two stanzas:
What has brought thee here, O Hound, to fight with a strong champion? crimson-red shall flow thy blood over the breaths of thy steeds; woe is thy journey: it shall be a kindling of fuel against a house, need shalt thou have of healing if thou reach thy home (alive).
I have come before warriors who gather round a mighty host-possessing prince, before battalions, before hundreds, to put thee under the water, in anger with thee, and to slay thee in a combat of hundreds of paths of battle, so that thine shall the injury as thou protectest thy head.
Line 2 of the fifth stanza, "Good is thy need of height."
Line 8 of the seventh stanza, "Without valour, without strength."
PAGE 133
Line 3. Literally: "Whatever be the excellence of her beauty." A similar literal translation for page 138, line 10, of the dialogue; the same line occurs in verse 3 on page 148, but is not rendered in the verse translation.
PAGE 134
Line 18. "O Cuchulain! for beautiful feats renowned." O'Curry gives this as prose, but it is clearly verse in the original.
PAGE 138
Lines 5, 6 of dialogue. "O Cuchulain! who art a breeder of wounds" (lit. "pregnant with wounds"); "O true warrior! O true" (?accent probably omitted) "champion!"
Lines 7, 8. "There is need for some one" (i.e. himself) "to go to the sod where his final resting-place shall be." The Irish of line 7 is is eicen do neoch a thecht, which O'Curry translates "a man is constrained to come," and he is followed by Douglas Hyde, who renders the two lines:
Fate constrains each one to stir,
Moving towards his sepulchre.
But do neoch cannot possibly mean "every man," it means "some man;" usually the person in question is obvious. Compare page 125 of this romance, line 3, which is literally: "There will be some one who shall have sickness on that account," biaid nech diamba galar, meaning, as here, Ferdia.
The line is an explanation of Ferdia's appearance, and is not a moral reflection.
Line 29. "O Cuchulain! with floods of deeds of valour," or "brimming over with deeds, &c."
PAGE 141
Line 9. "Four jewels of carbuncle." This is the reading of H. 2, 17; T.C.D; which O'Curry quotes as an alternative to "forty" of the Book of Leinster. "Each one of them fit to adorn it" is by O'Curry translated "in each compartment." The Irish is a cach aen chumtach: apparently "for each one adornment."
PAGE 144
Line 8 of poem. "Alas for the departing of my ghost."
PAGE 146
Lines 1, 2. "Though he had struck off the half of my leg that is sound, though he had smitten off half my arm."
PAGE 148
Line 5. "Since he whom Aife bore me," literally "Never until now have I met, since I slew Aife's only son, thy like in deeds of battle, never have I found it, O Ferdia." This is O'Curry's rendering; if it is correct, and it seems to be so substantially, the passage raises a difficulty. Aife's only son is, according to other records, Conlaoch, son of Cuchulain and Aife, killed by his father, who did not at the time know who Conlaoch was. This battle is usually represented as having taken place at the end of Cuchulain's life; but here it is represented as preceding the War of Cualgne, in which Cuchulain himself is represented to be a youth. The allusion certainly indicates an early date for the fight with Conlaoch, and if we are to lay stress on the age of Cuchulain at the time of the War, as recorded in the Book of Leinster, of whose version this incident is a part, the "Son of Aife" would not have been a son of Cuchulain at all in the mind of the writer of this verse. It is possible that there was an early legend of a fight with the son of Aife which was developed afterwards by making him the son of Cuchulain; the oldest version of this incident, that in the Yellow Book of Lecan, reconciles the difficulty by making Conlaoch only seven years old when he took up arms; this could hardly have been the original version.
Line 23 of poem is literally: "It is like thrusting a spear into sand or against the sun."
The metre of the poem "Ah that brooch of gold," and of that on page 144, commencing "Hound, of feats so fair," are unique in this collection, and so far as I know do not occur elsewhere. Both have been reproduced in the original metre, and the rather complicated rhyme-system has also been followed in that on page 148. The first verse of the Irish of this is
Dursan, a eo oir a Fhirdiad na n-dam a belc bemnig buain ba buadach do lamh.
The last syllable of the third line has no rhyme beyond the echo in the second syllable of the next line; oir, "gold," has no rhyme till the word is repeated in the third line of the third verse, rhymed in the second line of the fourth, and finally repeated at the end. The second verse has two final words echoed, brass and maeth; it runs thus
Do barr bude brass ba cass, ba cain set; do chriss duillech maeth immut taeb gu t-ec.
The rhymes in the last two verses are exactly those of the reproduction, they are cain sair, main, laim, chain, the other three end rhymes being oir, choir, and oir.
Line 3 of this poem is "O hero of strong-striking blows."
Line 4. "Triumphant was thine arm."
PAGE 149
Lines 11 and 12 of the poem. "Go ye all to the swift battle that shall come to you from German the green-terrible" (? of the terrible green spear).
PAGE 150
Line 12. The Torrian Sea is the Mediterranean.
PAGE 151
Line 15. Literally: "Thou in death, I alive and nimble."
Line 23. "Wars were gay, &c." Cluchi cach, gaine cach, "Each was a game, each was little," taking gaine as gainne, the known derivative of gand, "scanty." O'Curry gives the meaning as "sport," and has been followed by subsequent translators, but there does not seem any confirmation of this rendering.
PAGE 153
Line 10. Banba is one of the names of Ireland.