“One dark winter’s night, about seven o’clock, a large party of us,” he said, “young men and women, perhaps thirty or more, set out across the mountain to attend a wake at the house of a rich farmer, about three miles off. All the young men carried lighted torches, for the way was rugged5 and dangerous; and by their light we guided the women as best we could over the deep clefts6 and across the rapid streams, swollen7 by the winter’s rain. The girls took off their shoes and stockings and walked barefoot, but where the water was heavy and deep the men carried them across in their arms or on their backs. In this way we all arrived at last at the farmhouse8, and found a great assemblage in the large barn, which was hung throughout with branches of evergreen9 and festoons of laurel and holly10.
“At one end of the barn, on a bed decorated with branches of green leaves, lay the corpse11, an old woman of eighty, the mother of the man of the house. He stood by the head of the dead woman, while all the near relatives had seats round. Then the mourning women entered and sat down on the ground in a circle, one in the centre cloaked and hooded12, who began the chant or funeral wail13, all the rest joining in chorus. After an interval14 there would come a deep silence; then the chant began again, and when it was over the women rose up and went out, leaving the place free for the next comers, who acted a play full of ancient symbolic15 meaning. But, first, whisky was served round, and the pipers played; for every village had sent their best player and singer to honour the wake.
“When a great space was cleared in the centre of the barn, the first set of players entered. They wore masks and fantastic garments, and each carried a long spear and a bit of plaited straw on the arm for a shield. At once they began to build a fort, as it were, marking out the size with their spears, and using some rough play with the spectators. While thus engaged a band of enemies appeared, also masked and armed. And now a great fight began and many prisoners were taken; but to save slaughter17 a horn was blown, and a fight demanded between the two best champions of the hostile forces. Two of the finest young men were then selected and placed at opposite ends of the barn, when they ran a121 tilt18 against one another with their spears, uttering fierce, loud cries, and making terrible demonstrations19. At length one fell down as if mortally wounded; then all the hooded women came in again and keened over him, a male voice at intervals21 reciting his deeds, while the pipers played martial22 tunes23. But on its being suggested that perhaps he was not dead at all, an herb doctor was sent for to look at him; and an aged16 man with a flowing white beard was led in, carrying a huge bundle of herbs. With these he performed sundry24 strange incantations, until finally the dead man sat up and was carried off the field by his comrades, with shouts of triumph. So ended the first play.
“Then supper was served and more whisky drunk, after which another play was acted of a different kind. A table was set in the middle of the barn, and two chairs, while all the people, about a hundred or more, gathered round in a circle. Then two men, dressed as judges, took their seats, with guards beside them, and called on another man to come forth25 and address the people. On this a young man sprang on the table and poured forth an oration26 in Irish, full of the most grotesque27 fun and sharp allusions28, at which the crowd roared with laughter. Then he gave out a verse like a psalm29, in gibberish Irish, and bade the people say it after him. It ran like this, being translated—
“‘Yellow Macauly has come from Spain,
He brought sweet music out of a bag,
Sing See-saw, Sulla Vick Dhau,
Sulla, Sulla Vick Dhau righ.’
(That is, Solomon, son of David the King.)
“If any one failed to repeat this verse after him he was ordered to prison by the judges, and the guards seized him to cut off his head; or if any one laughed the judge sentenced him, saying in Irish, ‘Seize that man, he is a pagan: he is mocking the Christian30 faith. Let him die!’
“After this the professional story-teller was in great force, and held the listeners enchained by the wonders of his narration31 and the passionate32 force of his declamation33. So the strange revelry went on, and the feasting and the drinking, till sunrise, when many of the guests returned to their homes, but others stayed with the family till the coffin34 was lifted for the grave.”
Full details of these strange wake orgies can seldom be obtained, for the people are afraid of the priesthood, who have vehemently35 denounced them. Yet the peasants cling to them with a mysterious reverence36, and do not see the immorality37 of many of the wake practices. They accept them as mysteries, ancient usages of their122 forefathers38, to be sacredly observed, or the vengeance39 of the dead would fall on them.
According to all accounts an immense amount of dramatic talent was displayed by the actors of these fantastic and symbolic plays. An intelligent peasant, who was brought to see the acting40 at the Dublin theatre, declared on his return: “I have now seen the great English actors, and heard plays in the English tongue, but poor and dull they seemed to me after the acting of our own people at the wakes and fairs; for it is a truth, the English cannot make us weep and laugh as I have seen the crowds with us when the players played and the poets recited their stories.”
The Celts certainly have a strong dramatic tendency, and there are many peasant families in Ireland who have been distinguished41 for generations as bards42 and actors, and have a natural and hereditary43 gift for music and song.
On the subject of wake orgies, a clever writer observes that they are evidently a remnant of paganism, and formed part of those Druidic rites meant to propitiate44 the evil spirits and the demons20 of darkness and doom45; for the influence of Druidism lasted long after the establishment of Christianity. The Druid priests took shelter with the people, and exercised a powerful and mysterious sway over them by their magic spells. Druid practices were known to exist down to the time of the Norman invasion in the twelfth century, and even for centuries after; and to this Druidic influence may be traced the sarcasms46 on Christianity which are occasionally introduced into the mystery plays of the wake ceremonial. As in the one called “Hold the Light,” where the passion of the Lord Christ is travestied with grotesque imitation. The same writer describes the play acted at wakes called “The Building of the Ship,” a symbolic rite2 still older than Druidism, and probably a remnant of the primitive47 Arkite worship. This was followed by a scene called “Drawing the Ship out of the Mud.” It was against these two plays that the anathemas48 of the Church were chiefly directed, in consequence of their gross immorality, and they have now entirely ceased to form any portion of the wake ceremonial of Ireland. Hindu priests would recognize some of the ceremonies as the same which are still practised in their own temples; and travellers have traced a similarity also in these ancient usages to the “big canoe games” of the Mandan Indians.
In the next play, the Hierophant, or teacher of the games, orders all the men out of the room; a young girl is then dressed with a hide thrown over her, and horns on her head, to simulate a cow, while her maidens49 form a circle and slowly dance round her to music, on which a loud knocking is heard at the door. “Who wants to enter?” asks the Hierophant. He is answered, “The guards demand admittance for the bull who is without.” Admit123tance is refused, and the maidens and the cow affect great alarm. Still the knocking goes on, and finally the door is burst open and the bull enters. He also is robed with a hide and wears horns, and is surrounded by a band of young men as his guards. He endeavours to seize the cow, who is defended by her maidens, forming the dramatic incidents of the play. A general mock fight now takes place between the guards and the maidens, and the scene ends with uproarious hilarity50 and the capture of the cow.
There are other practices mentioned by writers on the subject, who trace in the Irish observances a tradition of the Cabyric rites, and also a striking similarity to the idolatrous practices of Hindustan as described in the “Asiatic Researches,” and in Moore’s “Hindu Pantheon.”
It is remarkable51 also that in the Polynesian Islands the funeral rites were accompanied by somewhat similar ceremonies. These the early missionaries52 viewed with horror, and finally succeeded in extirpating53 them.
These ancient funeral rites have now disappeared in Ireland; still the subject remains54 one of intense interest to the ethnologist and antiquary, who will find in the details indications of the oldest idolatries of the world, especially of that primitive religion called Arkite, as in the dramatic performance called “The Building of the Ship,” where one man prostrates55 himself on the ground as the ship, while two others sit head and foot to represent the prow56 and stern. This ship drama is, perhaps, a fragment of the earliest tradition of humanity represented by a visible symbol to illustrate57 the legend of the Deluge58.
点击收听单词发音
1 rites | |
仪式,典礼( rite的名词复数 ) | |
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2 rite | |
n.典礼,惯例,习俗 | |
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3 monstrous | |
adj.巨大的;恐怖的;可耻的,丢脸的 | |
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4 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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5 rugged | |
adj.高低不平的,粗糙的,粗壮的,强健的 | |
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6 clefts | |
n.裂缝( cleft的名词复数 );裂口;cleave的过去式和过去分词;进退维谷 | |
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7 swollen | |
adj.肿大的,水涨的;v.使变大,肿胀 | |
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8 farmhouse | |
n.农场住宅(尤指主要住房) | |
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9 evergreen | |
n.常青树;adj.四季常青的 | |
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10 holly | |
n.[植]冬青属灌木 | |
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11 corpse | |
n.尸体,死尸 | |
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12 hooded | |
adj.戴头巾的;有罩盖的;颈部因肋骨运动而膨胀的 | |
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13 wail | |
vt./vi.大声哀号,恸哭;呼啸,尖啸 | |
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14 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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15 symbolic | |
adj.象征性的,符号的,象征主义的 | |
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16 aged | |
adj.年老的,陈年的 | |
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17 slaughter | |
n.屠杀,屠宰;vt.屠杀,宰杀 | |
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18 tilt | |
v.(使)倾侧;(使)倾斜;n.倾侧;倾斜 | |
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19 demonstrations | |
证明( demonstration的名词复数 ); 表明; 表达; 游行示威 | |
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20 demons | |
n.恶人( demon的名词复数 );恶魔;精力过人的人;邪念 | |
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21 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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22 martial | |
adj.战争的,军事的,尚武的,威武的 | |
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23 tunes | |
n.曲调,曲子( tune的名词复数 )v.调音( tune的第三人称单数 );调整;(给收音机、电视等)调谐;使协调 | |
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24 sundry | |
adj.各式各样的,种种的 | |
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25 forth | |
adv.向前;向外,往外 | |
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26 oration | |
n.演说,致辞,叙述法 | |
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27 grotesque | |
adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物) | |
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28 allusions | |
暗指,间接提到( allusion的名词复数 ) | |
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29 psalm | |
n.赞美诗,圣诗 | |
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30 Christian | |
adj.基督教徒的;n.基督教徒 | |
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31 narration | |
n.讲述,叙述;故事;记叙体 | |
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32 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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33 declamation | |
n. 雄辩,高调 | |
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34 coffin | |
n.棺材,灵柩 | |
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35 vehemently | |
adv. 热烈地 | |
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36 reverence | |
n.敬畏,尊敬,尊严;Reverence:对某些基督教神职人员的尊称;v.尊敬,敬畏,崇敬 | |
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37 immorality | |
n. 不道德, 无道义 | |
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38 forefathers | |
n.祖先,先人;祖先,祖宗( forefather的名词复数 );列祖列宗;前人 | |
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39 vengeance | |
n.报复,报仇,复仇 | |
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40 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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41 distinguished | |
adj.卓越的,杰出的,著名的 | |
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42 bards | |
n.诗人( bard的名词复数 ) | |
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43 hereditary | |
adj.遗传的,遗传性的,可继承的,世袭的 | |
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44 propitiate | |
v.慰解,劝解 | |
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45 doom | |
n.厄运,劫数;v.注定,命定 | |
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46 sarcasms | |
n.讥讽,讽刺,挖苦( sarcasm的名词复数 ) | |
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47 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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48 anathemas | |
n.(天主教的)革出教门( anathema的名词复数 );诅咒;令人极其讨厌的事;被基督教诅咒的人或事 | |
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49 maidens | |
处女( maiden的名词复数 ); 少女; 未婚女子; (板球运动)未得分的一轮投球 | |
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50 hilarity | |
n.欢乐;热闹 | |
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51 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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52 missionaries | |
n.传教士( missionary的名词复数 ) | |
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53 extirpating | |
v.消灭,灭绝( extirpate的现在分词 );根除 | |
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54 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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55 prostrates | |
v.使俯伏,使拜倒( prostrate的第三人称单数 );(指疾病、天气等)使某人无能为力 | |
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56 prow | |
n.(飞机)机头,船头 | |
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57 illustrate | |
v.举例说明,阐明;图解,加插图 | |
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58 deluge | |
n./vt.洪水,暴雨,使泛滥 | |
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