Some of the Ossianic poems relate the exploits of the Fenians, others describe conflicts between members of that body and worms, wild beasts and dragons, others fights with monsters and with strangers come from across the sea; others detail how Finn and his companions suffered from the enchantments11 of wizards and the efforts made to release them, one enumerates12 the Fenians who fell at Cnoc-an-áir, another gives the names of about three hundred of the Fenian hounds, another gives Ossian's account of his three hundred years in the Land of the Young and his return, many more consist largely of semi-humorous dialogues between the saint and the old warrior13; another is called Ossian's madness; another is Ossian's account of the battle of Gabhra, which made an end of the Fenians, and so on.[2]
The Lochlannachs, or Norsemen, figure very largely in these poems, and it is quite evident that most of them—at least in the modern form in which we now have them—are post-Norse productions. The fact that the language in which they have for the most part come down to us is popular and modern, does not prove much one way or the other, for these small epics15 which, more than any other part of Irish literature, were handed down from father to son and propagated orally, have had their language unconsciously adjusted from age to age, so as to leave them intelligible16 to their hearers. As a consequence the metres have in many places also suffered, and the old Irish system, which required a certain number of[Pg 500] syllables17 in each line, has shown signs of fusing gradually with the new Irish system, which only requires so many accented syllables.
It is, however, perfectly18 possible—as has been supposed by, I think, Mr. Nutt and others—that after the terrible shock given to the island by the Northmen, this people usurped19 in our ballads20 the place of some older mythical22 race; and Professor Rhys was, I believe, at one time of opinion that Lochlann, as spoken of in these ballads, originally meant merely the country of lochs and seas, and that the Lochlanners were a submarine mythical people, like the Fomorians.
The spirit of banter23 with which St. Patrick and the Church are treated, and in which the fun just stops short of irreverence24, is a medi?val, not a primitive25, trait, more characteristic, thinks Mr. Nutt, of the twelfth than of any succeeding century. We may remember the inimitable felicity with which that great English-speaking Gael, Sir Walter Scott, has caught this Ossianic tone in the lines which Hector McIntyre repeats for Oldbuck—
"Patrick the psalm-singer,
Since you will not listen to one of my stories,
Though you have never heard it before,
I am sorry to tell you
You are little better than an ass3;"
to which the saint, to the infinite contempt of the unbelieving antiquary, is made to respond—
"Upon my word, son of Fingal,
While I am warbling the psalms26,
The clamour of your old woman's tales
Disturbs my devotional exercises."
Whereat the heated Ossian replies—
"Dare you compare your psalms
To the tales of the bare-armed Fenians,
I shall think it no great harm
To wring27 your bald head from your shoulders."
[Pg 501]
Here, however, is a real specimen28 from the Irish, which will give some idea of the style of dialogue between the pair. St. Patrick, with exaggerated episcopal severity, having Ossian three-quarters starved, blind, and wholly at his mercy, desires him to speak no more of Finn or of the Fenians.
"OSSIAN.
"Alas29, O Patrick, I did think that God would not be angered thereat; I think long, and it is a great woe30 to me, not to speak of the way of Finn of the Deeds.
"PATRICK.
"Speak not of Finn nor of the Fenians, for the Son of God will be angry with thee for it, he would never let thee into his court and he would not send thee the bread of each day.
"OSSIAN.
"Were I to speak of Finn and of the Fenians, between us two, O Patrick the new, but only not to speak loud, he would never hear us mentioning him.
"PATRICK.
"Let nothing whatever be mentioned by thee excepting the offering of God, or if thou talkest continually of others, thou, indeed, shalt not go to the house of the saints.
"OSSIAN.
"I will, O Patrick, do His will. Of Finn or of the Fenians I will not talk, for fear of bringing anger upon them, O Cleric, if it is God's wont31 to be angry."
In another poem St. Patrick denounces with all the rigour of a new reformer.
"PATRICK.
"Finn is in hell in bonds, 'the pleasant man who used to bestow32 gold,' in penalty of his disobedience to God, he is now in the house of pain in sorrow....
"Because of the amusement [he had with] the hounds and for attending the (bardic35) schools each day, and because he took no heed36 of God, Finn of the Fenians is in bonds....
"Misery37 attend thee, old man, who speakest words of madness; God is better for one hour than all the Fenians of Erin.
[Pg 502]
"OSSIAN.
"O Patrick of the crooked38 crozier, who makest me that impertinent answer, thy crozier would be in atoms were Oscar present.
"Were my son Oscar and God hand to hand on Knock-na-veen, if I saw my son down it is then I would say that God was a strong man.
"How could it be that God and his clerics could be better men than Finn, the chief King of the Fenians, the generous one who was without blemish39?
"All the qualities that you and your clerics say are according to the rule of the King of the Stars, Finn's Fenians had them all, and they must be now stoutly40 seated in God's heaven.
"Were there a place above or below better than heaven, 'tis there Finn would go, and all the Fenians he had....
"Patrick, inquire of God whether he recollects41 when the Fenians were alive, or hath he seen east or west, men their equal in the time of fight.
"Or hath he seen in his own country, though high it be above our heads, in conflict, in battle, or in might, a man who was equal to Finn?
"PATRICK.
"(Exhausted with controversy42 and curious for Ossian's story.)
"'Ossian sweet to me thy voice,
Now blessings43 choice on the soul of Finn!
But tell to us how many deer
Were slain44 at Slieve-na-man finn.'
"OSSIAN.
"'We the Fenians never used to tell untruth, a lie was never attributed to us; by truth and the strength of our hands we used to come safe out of every danger.
"'There never sat cleric in church, though melodiously45 ye may think they chant psalms, more true to his word than the Fenians, the men who shrank never from fierce conflicts.
"'O Patrick, where was thy God the day the two came across the sea who carried off the queen of the King of Lochlann in ships, by whom many fell here in conflict.
"'Or when Tailc mac Treoin arrived, the man who put great slaughter46 on the Fenians; 'twas not by God the hero fell, but by Oscar in the presence of all.
"'Many a battle victory and contest were celebrated47 by the Fenians of Innisfail. I never heard that any feat48 was performed by the king of saints, or that he reddened his hand.'
[Pg 503]
"PATRICK.
"'Let us cease disputing on both sides, thou withered49 old man who art devoid50 of sense; understand that God dwells in heaven of the orders, and Finn and his hosts are all in pain.'
"OSSIAN.
"'Great, then, would be the shame for God not to release Finn from the shackles51 of pain; for if God Himself were in bonds my chief would fight on his behalf.
"'Finn never suffered in his day any one to be in pain or difficulty without redeeming52 him by silver or gold or by battle and fight, until he was victorious53.
"'It is a good claim I have against your God, me to be amongst these clerics as I am, without food, without clothing or music, without bestowing54 gold on bards55,
"'Without battling, without hunting, without Finn, without courting generous women, without sport, without sitting in my place as was my due, without learning feats56 of agility57 and conflict,'" etc.
Many of these poems contain lyrical passages of great beauty. Here, as a specimen, is Ossian's description of the things in which Finn used to take delight. It is a truly lyrical passage, in the very best style, rhyme, rhythm and assonance are all combined with a most rich vocabulary of words expressive59 of sounds nearly impossible to translate into English. It might be thus attempted in verse, though not quite in the metre of the original. Finn's pursuits as depicted60 here by Ossian show him to have been a lover of nature, and are quite in keeping with his poem on Spring; his are the tastes of one of Matthew Arnold's "Barbarians61" glorified62.
"FINN'S PASTIMES.
"Oh, croaking63 Patrick, I curse your tale.
Is the King of the Fenians in hell this night?
The heart that never was seen to quail65,
That feared no danger and felt no spite.[3]
[Pg 504]What kind of a God can be yours, to grudge66
Bestowing of food on him, giving of gold?
Finn never refused either prince or drudge67;
Can his doom68 be in hell in the house of cold.[4]
The desire of my hero who feared no foe69
Was to listen all day to Drumderrig's sound,
To sleep by the roar of the Assaroe,
And to follow the dun deer round and round.
The warbling of blackbirds in Letter Lee,
The strand70 where the billows of Ruree fall,
The bellowing71 ox upon wild Moy-mee,
The lowing of calves72 upon Glen-da-vaul.
The blast of a horn around Slieve Grot,
The bleat73 of a fawn74 upon Cua's plain,
The sea-birds scream in a lonely spot,
The croak64 of the raven75 above the slain.
The wash of the waves on his bark afar,
The yelp76 of the pack as they round Drumliss,
The baying of Bran upon Knock-in-ar,
The murmur77 of fountains below Slieve Mis.
The call of Oscar upon the chase,[5]
The tongue of the hounds on the Fenians' plain,
Then a seat with the men of the bardic race,
—Of these delights was my hero fain.
But generous Oscar's supreme78 desire,
Was the maddening clashing of shield on shield,
[Pg 505]And the hewing80 of bones in the battle ire,
And the crash and the joy of the stricken field."[6]
In entire accordance with this enthusiastic love of nature is Ossian's delightful81 address to the blackbird of Derrycarn, a piece which was a great favourite with the scribes of the last century.[7] Interpenetrated with the same almost sensuous[Pg 506] delight at the sights and sounds of nature, are the following verses which the Scotsman, Dean Macgregor, wrote down—probably from the recitation of a wandering harper or poet—some three hundred and eighty years ago.
"Sweet is the voice in the land of gold,[8]
And sweeter the music of birds that soar,
When the cry of the heron is heard on the wold,
And the waves break softly on Bundatrore.
Down floats on the murmuring of the breeze
The call of the cuckoo from Cossahun,
The blackbird is warbling amongst the trees,
And soft is the kiss of the warming sun.
The cry of the eagle at Assaroe
O'er the court of Mac Morne to me is sweet;
And sweet is the cry of the bird below,
Where the wave and the wind and the tall cliff meet.
Finn mac Cool is the father of me,
Whom seven battalions82 of Fenians fear,
When he launches his hounds on the open lea,
Grand is their cry as they rouse the deer."
Caoilte [Cweeltya] too, the third great Fenian poet, was as impressionable to the moods of nature as his friends Ossian and Finn. Compare with the foregoing poems his lay on the Isle83 of Arran, in Scotland.[9]
THE ISLE OF ARRAN.
"Arran of the many stags, the sea inpinges upon her very shoulders! An isle in which whole companies were fed, and with ridges84 among which blue spears are reddened.
"Skittish85 deer are on her pinnacles86, soft blackberries on her[Pg 507] waving heather; cool water there is in her rivers, and musk87 upon her russet oaks.[10]
"Greyhounds there were in her and beagles, blackberries and sloes of the dark blackthorn, dwellings88 with their backs set close against her woods, while the deer fed scattered89 by her oaken thickets90.
"A crimson91 crop grew on her rocks, in all her glades92 a faultless grass; over her crags affording friendly refuge leaping went on, and fawns93 were skipping.
"Smooth were her level spots, fat her wild swine, cheerful her fields ... her nuts hung on the boughs94 of her forest hazels, and there was sailing of long galleys96 past her.
"Right pleasant their condition, all, when the fair weather set in. Under her river-banks trouts lie; the seagulls wheeling round her grand cliff answer one the other—at every fitting time delectable97 is Arran!"
In another poem that Caoilte is fabled to have made after he met and consorted98 with St. Patrick is a vivid description of a freezing night as it appeared to a hunter. A great frost and heavy snow had fallen upon the whole country, so that the russet branches of the forest were twisted together, and men could no longer travel. "A fitting time it is now," said Caoilte, "for wild stags and for does to seek the topmost points of hills and rocks; a timely season for salmons99 to betake them into cavities of the banks," and he uttered a lay.
"Cold the winter is, the wind is risen, the high-couraged unquelled stag is on foot, bitter cold to-night the whole mountain is, yet for all that the ungovernable stag is belling.[11]
[Pg 508]
"The deer of Slievecarn of the gatherings101 commits not his side to the ground; no less than he, the stag of frigid102 Echtgé's summit who catches the chorus of the wolves.
"I, Caoilte, with Brown Diarmuid,[12] and with keen, light-footed Oscar; we too in the nipping nights' waning103 end, would listen to the music of the [wolf] pack.
"But well the red deer sleeps that with his hide to the bulging104 rock lies stretched, hidden as though beneath the country's surface, all in the latter end of chilly105 night.
"To-day I am an aged100 ancient, and but a scant106 few men I know; once on time, though, on a cold and icebound morning I used to vibrate a sharp javelin107 hardily108.
"To Heaven's King I offer thanks, to Mary Virgin's Son as well; often and often I imposed silence on [daunted] a whole host, whose plight109 to-night is very cold [i.e., who are all dead now]."
It is curious that in the more modern Ossianic pieces, such as the scribes of the seventeenth and eighteenth centuries delighted in transcribing110, there is little mention made of Caoilte, and the complaints about surviving the Fenians and being vexed111 by the clerics are more usually put into the mouth of Ossian.
Here is one of the moans of Ossian in his old age, when fallen on evil times, and thwarted112 at every turn by St. Patrick and his monks113.
Long was last night in cold Elphin,[13]
More long is to-night on its weary way,
Though yesterday seemed to me long and ill,
Yet longer still was this dreary114 day.
[Pg 509]
And long for me is each hour new born,
Stricken, forlorn, and smit with grief
For the hunting lands and the Fenian bands,
And the long-haired, generous, Fenian chief.
I hear no music, I find no feast,
I slay115 no beast from a bounding steed,
I bestow no gold, I am poor and old,
I am sick and cold, without wine or mead116.
I court no more, and I hunt no more,
These were before my strong delight,
I cannot slay, and I take no prey117:
Weary the day and long the night.
No heroes come in their war array,
No game I play, there is nought118 to win;
I swim no stream with my men of might,
Long is the night in cold Elphin.
Ask, O Patrick, thy God of grace,
To tell me the place he will place me in,
And save my soul from the Ill One's might,
For long is to-night in cold Elphin."
There is a considerable thread of narrative running through these poems and connecting them in a kind of series, so that several of them might be divided into the various books of a Gaelic epic of the Odyssic type, containing instead of the wanderings and final restoration of Ulysses, the adventures and final destruction of the Fenians, except that the books would be rather more disjointed. There is, moreover, splendid[Pg 510] material for an ample epic in the division between the Fenians of Munster and Connacht and the gradual estrangement119 of the High-king, leading up to the fatal battle of Gabhra; but the material for this last exists chiefly in prose texts, not in the Ossianic lays. It is very strange and very unfortunate that notwithstanding the literary activity of Gaelic Ireland before and during the penal33 times, no Keating, or Comyn, or Curtin ever attempted to redact the Ossianic poems and throw them into that epic form into which they would so easily and naturally have fitted. These pieces appear to me of even greater value than the Red Branch sagas, as elucidating120 the natural growth and genesis of an epic, for the Irish progressed just up to the point of possessing a large quantity of stray material, minor episodes versified by anonymous121 long-forgotten folk-poets; but they never produced a mind critical enough to reduce this mass to order, coherence122, and stability, and at the same time creative enough to itself supply the necessary lacun?. Were it not that so much light has by this time been thrown upon the natural genesis of ancient national epics, one might be inclined to lay down the theory that the Irish had evolved a scheme of their own, peculiar123 to themselves, and different altogether from the epic, a scheme in which the same characters figure in a group of allied124 poems and romances, each of which, like one of Tennyson's idylls, is perfect in itself, and not dependent upon the rest, a system which might be taken to be a natural result of the impatient Celtic temperament125 which could not brook126 the restraints of an epic.
The Ossianic lays are almost the only narrative poems which exist in the language, for although lyrical, elegiac, and didactic poetry abounds127, the Irish never produced, except in the case of the Ossianic épopées, anything of importance in a narrative and ballad21 form, anything, for instance, of the nature of the glorious ballad poetry of the Scotch Lowlands.
The Ossianic metres, too, are the eminently128 epic ones of Ireland. It was a great pity, and to my thinking a great[Pg 511] mistake, for Archbishop Mac Hale not to have used them in his translation of Homer, instead of attempting it in the metre of Pope's Iliad—one utterly129 unknown to native Ireland.
I have already observed that great producers of literature as the Irish always were—until this century—they never developed a drama. The nearest approach to such a thing is in these Ossianic poems. The dialogue between St. Patrick and Ossian—of which there is, in most of the poems, either more or less—is quite dramatic in its form. Even the reciters of the present day appear to feel this, and I have heard the censorious self-satisfied tone of Patrick, and the querulous vindictive130 whine131 of the half-starved old man, reproduced with considerable humour by a reciter. But I think it nearly certain—though I cannot prove it[14]—that in former days there was real acting132 and a dialogue between two persons, one representing the saint and the other the old pagan. It was from a less promising133 beginning than this that the drama of ?schylus developed. But nothing could develop in later Ireland. Everything, time after time, was arrested in its growth. Again and again the tree of Irish literature put forth134 fresh blossoms, and before they could fully135 expand they were nipped off. The conception of bringing the spirit of Paganism and of Christianity together in the persons of the last great poet and warrior of the one, and the first great saint of the other, was truly dramatic in its conception, and the spirit and humour with which it has been carried out in the pieces which have come down to us are a strong presumption136 that under happier circumstances something great would have developed from it. If any one is still found to repeat Macaulay's hackneyed taunt137 about the Irish race never having produced a great poem, let him ask himself if it is likely that a country, where, for a hundred years after Aughrim and the Boyne, teachers who for long before that[Pg 512] had been in danger, were systematically138 knocked on the head, or sent to a jail for teaching; where children were seen learning their letters with chalk on their father's tombstones—other means being denied them; where the possession of a manuscript might lead to the owner's death or imprisonment139, so that many valuable books were buried in the ground, or hidden to rot in walls[15]—whether such a country were a soil on which an epic or anything else could flourish. How, in the face of all this, the men of the seventeenth and eighteenth centuries preserved in manuscript so much of the Ossianic poetry as they did, and even rewrote or redacted portions of it, as Michael Comyn is said to have done to "Ossian in the Land of the Ever-Young," is to me nothing short of amazing.
Of the authorship of the Ossianic poems nothing is known. In the Book of Leinster are three short pieces ascribed to Ossian himself, and five to Finn, and other old MSS. contain poems ascribed to Caoilte, Ossian's companion and fellow survivor140, and to Fergus, another son of Finn; but of the great mass of the many thousand lines which we have in seventeenth and eighteenth century MSS. there is not much which is placed in Ossian's mouth as first hand, the pieces as I have said generally beginning with a dialogue, from which Ossian proceeds to recount his tale. But this dramatic form of the lay shows that no pretence141 was kept up of Ossian's being the singer of his own exploits.[16] From the paucity142 of the pieces attributed to him in the oldest MSS. it is probable that the Gaelic race only gradually singled him out as their typical pagan poet, instead of Fergus or Caoilte or any other of his[Pg 513] alleged143 contemporaries, just as they singled out his father Finn, as the typical pagan leader of their race; and it is likely that a large part of our Ossianic lay and literature is post-Danish, while the great mass of the Red Branch saga2 is in its birth many centuries anterior144 to the Norsemen's invasion.[17]
********
[1] In Irish Oisín, pronounced "Esheen," or "Ussheen." However, the Scotch Gaelic form has, thanks to the genius of Macpherson, so overshadowed the Irish one that it may be allowed to remain.
[2] Standish Hayes O'Grady, in the third vol. of the Ossianic Society, gives the names of thirty-five of these poems, amounting to nearly 11,000 lines. The Ossianic Society printed about 6,000 lines. The Franciscans have shown me a MS. with over 10,000 lines, none of which has been printed.
[3] In the original Ossian asks—
"An éagcóir nár mhaith le Dia
ór a's biadh do thabhairt do neach?
Nior dhiultaigh Fionn treun ná truagh
Ifrionn fuar má 's é a theach."
[4] Irish writers always describe Hell as cold, not hot. This is so even in Keating. The "cold flag of hell."
[5] In the original—
"Glaodh Oscair ag dul do sheilg
Gotha gadhar ar leirg na bh Fiann
Bheith 'na shuidhe ameasg na ndámh
Ba h-é sin de ghnáth a mhian.
Mian de mhianaibh Oscair fhéil
Bheith ag éisteacht re béim sgiath,
Bheith i gcath ag cosgar cnámh
Ba h-é sin de ghnáth a mhian."
[6] Literally145: "O Patrick, woful is the tale that the Fenian king should be in bonds, a heart devoid of spite or hatred146, a heart stern in maintaining battles.
"Is it an injustice147 at which God is not pleased to bestow gold and food on any one? Finn never refused either the strong or the wretched, although cold Hell is his house.
"It was the desire of the son of Cúmhal of the noble mien148 to listen to the sound of Drumderg, to sleep by the stream of the Assaroe, and to chase the deer of Galway of the bays.
"The warbling of the blackbird of Letter Lee, the wave of Ruree [Dundrum Bay in the County Down] lashing79 the shore, the bellowing of the ox of Moy Meen, the lowing of the calf149 of Glendavaul.
"The cry of the hunting of Slieve Grot, the noise of the fawns around Slieve Cua, the scream of the seagulls over yonder Irris, the cry of the ravens150 over the host.
"The tossing of the hulls151 of the barks by the waves, the yell of the hounds at Drumlish, the voice of Bran at Knockinar, the murmur of the streams around Slieve Mis.
"The call of Oscar, going to the chase, the cry of the hounds at Lerg-na-veen—(then) to be sitting amongst the bards: that was his desire constantly.
"A desire of the desires of generous Oscar, was to be listening to the crashing of shields, to be in the battle at the hewing of bones: that was ever his desire." (See Ossianic Society, vol. iv. The Colloquy between Ossian and Patrick.)
[7] Printed by O'Flanagan in the "Transactions of the Gaelic Society," 1808, and translated by Dr. Sigerson in his "Bards of the Gael and Gall95." I cannot refrain from the pleasure of quoting the following verses from his beautiful translation:—
"The tuneful tumult152 of that bird,
The belling deer on ferny steep:
This welcome in the dawn he heard,
These soothed153 at eve his sleep.
Dear to him the wind-loved heath,
The whirr of wings, the rustling154 brake;
Dear the murmuring glens beneath,
And sob34 of Droma's lake.
The cry of hounds at early morn,
The pattering deer, the pebbly155 creek156,
The cuckoo's call, the sounding horn,
The swooping157 eagle's shriek158."
[8] See p. 59 of the Gaelic part of the book of the Dean of Lismore. The first verse runs thus in modern Gaelic:—
"Binn guth duine i dtir an óir,
Binn an glór chanaid na h-eóin,
Binn an nuallan a gnidh an chorr,
Binn an tonn i mBun-da-treóir."
[9] See "Silva Gadelica," p. 109 of the English, p. 102 of the Irish volume. I retain Mr. O'Grady's beautiful translation of this and the following piece.
[10] "Oighe baetha ar a bennaib
Monainn maetha ar a mongaib,
Uisce fuar ina h-aibhnib,
Mes ar a dairghib donnaib."
Note the exquisite159 metre of this poem of which the above verse is a specimen.
[11] This, like most of the couple of thousand verses scattered throughout the "Colloquy of the Ancients," is in Deibhidh metre, which would thus run in English:—
"Cold the Winter, cold the Wind,
The Raging stag is Ravin'd,
Though in one Flag the Floodgates cling,
The Steaming Stag is belling."
[12] This was Diarmuid of the Love-spot, who eloped with Gráinne, and was killed by the wild boar, from whom the Campbells of Scotland claim descent, as is alluded160 to in Flora161 Mac Ivor's song in "Waverley":—
"Ye sons of Brown Diarmuid who slew162 the wild boar."
[13] "Is fada anocht i n-Ailfinn,
Is fada linn an oidhche aréir,
An lá andhiu cidh fada dham,
Ba leór-fhad an lá andé."
See p. 208 of my "Religious Songs of Connacht" for the original of this poem, which I copied from a MS. in the Belfast Museum. The Dean of Lismore in Argyle jotted163 this poem down in phonetic164 spelling nearly four hundred years ago, but the name of Elphin, being strange to him, he took the words to be na neulla fúm, "the clouds round me," ni nelli fiym he spells it. Elphin is an episcopal seat in the county Roscommon, where St. Patrick abode165 for a while when in Connacht. I often heard in that county the story of Ossian meeting St. Patrick when drawing stones in Elphin, but always thought that the people of Roscommon localised the legend in their own county. But the discovery of the Belfast copy—and I believe there is another one in the British Museum—shows that this was not so, and the Dean of Lismore's book proves the antiquity166 of the legend. That Ailfinn (Elphin) was the original word is proved by rhyming to linn, sinn and Finn, which Fiym (= fúm) could not do.
[14] I once saw a letter in an Irish-American paper by some one whose name I forget, in which he alleged that in his youth he had actually seen the Ossianic lays thus acted.
[15] Like the Book of Lismore and others. See Sullivan's preface to O'Curry's "Manners and Customs."
[16] "Ich vermuthe," says Windisch ("Irische Texte," I. i. p. 63), "dass Ossin (Ossian) auf dieser Wege zu einer Dichtergestalt geworden ist. Die Gedichte die ihm in der Sage58 in den14 Mund gelegt werden, galten als sein Werk und wurden allm?hlig zum Typus einer ganzen Literaturgattung." But the same should hold equally true of Caoilte, in whose mouth an equal number of poems are placed.
[17] The following Ossianic poems have been published in the "Transactions of the Ossianic Society." In vol. iii., 1857, "The Lamentation167 of Ossian after the Fenians," 852 lines. In vol. iv., 1859, "The Dialogue between Ossian and Patrick," 684 lines: "The Battle of Cnoc an áir," 336 lines; "The Lay of Meargach," 904 lines; "The Lay of Meargach's Wife," 388 lines; "The names of those fallen at Cnoc an áir," 76 lines; "The Chase of Loch Léin," 328 lines; "The Lay of Ossian in the Land of the Ever-Young," 636 lines; and some smaller pieces. Vol. vi., 1861, contains: "The Chase of Slieve Guilleann," 228 lines; "The Chase of Slieve Fuaid," 788 lines; "The Chase of Glennasmóil," 364 lines; "The Hunt of the Fenians on Sleive Truim," 316 lines; "The Chase of Slieve-na-mon," 64 lines; "The Chase of the Enchanted168 Pigs of Angus of the Boyne" [son of the Dagda], 280 lines; "The Hunt on the borders of Loch Derg," 80 lines; "The Adventures of the Great Fool" [which, however, is not an Ossianic poem], 632 lines.
I have in my own possession copies of several other Ossianic poems, one of which, "The Lay of Dearg," in Deibhidh metre, consisting of 300 lines, is ascribed to Fergus, Finn's poet, not to Ossian.
"Is mé Feargus, file Fhinn
De gnáith-fhéinn Fhinn mhic Cúmhail,
O thásg na bhfear sin nár lag
Trian a ngaisge ni inneósad."
In the library of the Franciscans' Convent in Dublin there is a seventeenth-century collection of Ossianic poems, all in regular classical metres, containing, as I have computed169, not less than 10,000 lines. Not one of these poems has been, so far as I know, ever published. The poems printed by the Ossianic Society are not in the classical metres, though I suspect many of them were originally so composed, but they have become corrupted170 passing from mouth to mouth.
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1
sagas
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| n.萨迦（尤指古代挪威或冰岛讲述冒险经历和英雄业绩的长篇故事）( saga的名词复数 )；（讲述许多年间发生的事情的）长篇故事；一连串的事件（或经历）；一连串经历的讲述（或记述） | |
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2
saga
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| n.(尤指中世纪北欧海盗的)故事，英雄传奇 | |
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3
ass
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| n.驴；傻瓜，蠢笨的人 | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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fabled
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| adj.寓言中的，虚构的 | |
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colloquy
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| n.谈话，自由讨论 | |
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9
extraordinarily
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| adv.格外地；极端地 | |
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10
scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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11
enchantments
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| n.魅力( enchantment的名词复数 )；迷人之处；施魔法；着魔 | |
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12
enumerates
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| v.列举，枚举，数( enumerate的第三人称单数 ) | |
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13
warrior
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| n.勇士，武士，斗士 | |
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den
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| n.兽穴；秘密地方；安静的小房间，私室 | |
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epics
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| n.叙事诗( epic的名词复数 )；壮举；惊人之举；史诗般的电影（或书籍） | |
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16
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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17
syllables
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| n.音节( syllable的名词复数 ) | |
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18
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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19
usurped
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| 篡夺，霸占( usurp的过去式和过去分词 )； 盗用； 篡夺，篡权 | |
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20
ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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21
ballad
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| n.歌谣，民谣，流行爱情歌曲 | |
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22
mythical
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| adj.神话的；虚构的；想像的 | |
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23
banter
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| n.嘲弄，戏谑；v.取笑，逗弄，开玩笑 | |
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24
irreverence
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| n.不尊敬 | |
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25
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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26
psalms
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| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
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27
wring
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| n.扭绞；v.拧，绞出，扭 | |
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28
specimen
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| n.样本，标本 | |
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29
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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30
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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31
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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32
bestow
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| v.把…赠与，把…授予；花费 | |
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33
penal
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| adj.刑罚的；刑法上的 | |
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34
sob
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| n.空间轨道的轰炸机；呜咽，哭泣 | |
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35
bardic
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| adj.吟游诗人的 | |
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36
heed
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| v.注意，留意；n.注意，留心 | |
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37
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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38
crooked
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| adj.弯曲的；不诚实的，狡猾的，不正当的 | |
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39
blemish
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| v.损害；玷污；瑕疵，缺点 | |
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40
stoutly
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| adv.牢固地，粗壮的 | |
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41
recollects
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| v.记起，想起( recollect的第三人称单数 ) | |
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42
controversy
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| n.争论，辩论，争吵 | |
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43
blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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44
slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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45
melodiously
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46
slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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47
celebrated
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| adj.有名的，声誉卓著的 | |
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48
feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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49
withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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50
devoid
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| adj.全无的，缺乏的 | |
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51
shackles
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| 手铐( shackle的名词复数 )； 脚镣； 束缚； 羁绊 | |
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52
redeeming
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| 补偿的，弥补的 | |
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53
victorious
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| adj.胜利的，得胜的 | |
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54
bestowing
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| 砖窑中砖堆上层已烧透的砖 | |
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55
bards
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| n.诗人( bard的名词复数 ) | |
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56
feats
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| 功绩，伟业，技艺( feat的名词复数 ) | |
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57
agility
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| n.敏捷，活泼 | |
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58
sage
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| n.圣人，哲人；adj.贤明的，明智的 | |
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59
expressive
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| adj.表现的，表达…的，富于表情的 | |
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60
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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61
barbarians
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| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
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62
glorified
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| 美其名的，变荣耀的 | |
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63
croaking
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| v.呱呱地叫( croak的现在分词 )；用粗的声音说 | |
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64
croak
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| vi.嘎嘎叫，发牢骚 | |
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65
quail
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| n.鹌鹑；vi.畏惧，颤抖 | |
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66
grudge
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| n.不满，怨恨，妒嫉；vt.勉强给，不情愿做 | |
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67
drudge
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| n.劳碌的人；v.做苦工，操劳 | |
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68
doom
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| n.厄运，劫数；v.注定，命定 | |
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69
foe
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| n.敌人，仇敌 | |
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70
strand
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| vt.使（船）搁浅，使（某人）困于（某地） | |
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71
bellowing
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| v.发出吼叫声，咆哮（尤指因痛苦）( bellow的现在分词 )；（愤怒地）说出（某事），大叫 | |
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72
calves
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| n.(calf的复数)笨拙的男子，腓；腿肚子( calf的名词复数 )；牛犊；腓；小腿肚v.生小牛( calve的第三人称单数 )；（冰川）崩解；生（小牛等），产（犊）；使（冰川）崩解 | |
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73
bleat
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| v.咩咩叫，(讲)废话，哭诉；n.咩咩叫，废话，哭诉 | |
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74
fawn
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| n.未满周岁的小鹿；v.巴结，奉承 | |
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75
raven
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| n.渡鸟，乌鸦；adj.乌亮的 | |
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76
yelp
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| vi.狗吠 | |
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77
murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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78
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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79
lashing
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| n.鞭打；痛斥；大量；许多v.鞭打( lash的现在分词 )；煽动；紧系；怒斥 | |
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80
hewing
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| v.（用斧、刀等）砍、劈( hew的现在分词 )；砍成；劈出；开辟 | |
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81
delightful
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| adj.令人高兴的，使人快乐的 | |
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82
battalions
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| n.（陆军的）一营（大约有一千兵士）( battalion的名词复数 )；协同作战的部队；军队；（组织在一起工作的）队伍 | |
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83
isle
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| n.小岛，岛 | |
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84
ridges
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| n.脊( ridge的名词复数 )；山脊；脊状突起；大气层的)高压脊 | |
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85
skittish
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| adj.易激动的，轻佻的 | |
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86
pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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87
musk
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| n.麝香, 能发出麝香的各种各样的植物，香猫 | |
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88
dwellings
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| n.住处，处所( dwelling的名词复数 ) | |
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89
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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90
thickets
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| n.灌木丛( thicket的名词复数 )；丛状物 | |
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91
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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92
glades
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| n.林中空地( glade的名词复数 ) | |
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93
fawns
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| n.（未满一岁的）幼鹿( fawn的名词复数 )；浅黄褐色；乞怜者；奉承者v.（尤指狗等）跳过来往人身上蹭以示亲热( fawn的第三人称单数 )；巴结；讨好 | |
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94
boughs
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| 大树枝( bough的名词复数 ) | |
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95
gall
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| v.使烦恼，使焦躁，难堪；n.磨难 | |
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96
galleys
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| n.平底大船，战舰( galley的名词复数 )；（船上或航空器上的）厨房 | |
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97
delectable
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| adj.使人愉快的；美味的 | |
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98
consorted
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| v.结伴( consort的过去式和过去分词 )；交往；相称；调和 | |
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99
salmons
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| n.鲑鱼，大马哈鱼( salmon的名词复数 ) | |
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100
aged
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| adj.年老的，陈年的 | |
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101
gatherings
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| 聚集( gathering的名词复数 )； 收集； 采集； 搜集 | |
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102
frigid
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| adj.寒冷的，凛冽的；冷淡的；拘禁的 | |
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103
waning
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| adj.（月亮）渐亏的，逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 )；（月）亏；变小；变暗淡 | |
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104
bulging
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| 膨胀； 凸出（部）； 打气； 折皱 | |
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105
chilly
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| adj.凉快的，寒冷的 | |
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106
scant
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| adj.不充分的，不足的；v.减缩，限制，忽略 | |
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107
javelin
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| n.标枪，投枪 | |
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108
hardily
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| 耐劳地，大胆地，蛮勇地 | |
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109
plight
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| n.困境，境况，誓约，艰难；vt.宣誓，保证，约定 | |
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110
transcribing
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| （用不同的录音手段）转录( transcribe的现在分词 )； 改编（乐曲）（以适应他种乐器或声部）； 抄写； 用音标标出（声音） | |
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111
vexed
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| adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论 | |
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112
thwarted
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| 阻挠( thwart的过去式和过去分词 )； 使受挫折； 挫败； 横过 | |
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113
monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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114
dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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115
slay
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| v.杀死，宰杀，杀戮 | |
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116
mead
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| n.蜂蜜酒 | |
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117
prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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nought
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| n.／adj.无，零 | |
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estrangement
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| n.疏远，失和，不和 | |
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elucidating
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| v.阐明，解释( elucidate的现在分词 ) | |
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anonymous
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| adj.无名的；匿名的；无特色的 | |
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coherence
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| n.紧凑；连贯；一致性 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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allied
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| adj.协约国的；同盟国的 | |
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temperament
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| n.气质，性格，性情 | |
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brook
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| n.小河，溪；v.忍受，容让 | |
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abounds
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| v.大量存在，充满，富于( abound的第三人称单数 ) | |
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eminently
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| adv.突出地；显著地；不寻常地 | |
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utterly
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| adv.完全地，绝对地 | |
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vindictive
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| adj.有报仇心的，怀恨的，惩罚的 | |
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whine
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| v.哀号，号哭；n.哀鸣 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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promising
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| adj.有希望的，有前途的 | |
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forth
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| adv.向前；向外，往外 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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presumption
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| n.推测，可能性，冒昧，放肆，[法律]推定 | |
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taunt
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| n.辱骂，嘲弄；v.嘲弄 | |
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systematically
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| adv.有系统地 | |
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imprisonment
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| n.关押，监禁，坐牢 | |
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survivor
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| n.生存者，残存者，幸存者 | |
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pretence
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| n.假装，作假；借口，口实；虚伪；虚饰 | |
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paucity
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| n.小量，缺乏 | |
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alleged
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| a.被指控的，嫌疑的 | |
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anterior
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| adj.较早的；在前的 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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hatred
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| n.憎恶，憎恨，仇恨 | |
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injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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mien
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| n.风采；态度 | |
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calf
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| n.小牛，犊，幼仔，小牛皮 | |
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ravens
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| n.低质煤；渡鸦( raven的名词复数 ) | |
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hulls
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| 船体( hull的名词复数 )； 船身； 外壳； 豆荚 | |
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tumult
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| n.喧哗；激动，混乱；吵闹 | |
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soothed
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| v.安慰( soothe的过去式和过去分词 )；抚慰；使舒服；减轻痛苦 | |
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rustling
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| n. 瑟瑟声，沙沙声 adj. 发沙沙声的 | |
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pebbly
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| 多卵石的，有卵石花纹的 | |
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creek
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| n.小溪，小河，小湾 | |
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swooping
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| 俯冲，猛冲( swoop的现在分词 ) | |
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shriek
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| v./n.尖叫，叫喊 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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flora
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| n.(某一地区的)植物群 | |
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slew
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| v.（使）旋转；n.大量，许多 | |
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jotted
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| v.匆忙记下( jot的过去式和过去分词 )；草草记下，匆匆记下 | |
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phonetic
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| adj.语言的，语言上的，表示语音的 | |
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abode
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| n.住处，住所 | |
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antiquity
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| n.古老；高龄；古物，古迹 | |
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lamentation
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| n.悲叹，哀悼 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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computed
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| adj.[医]计算的，使用计算机的v.计算，估算( compute的过去式和过去分词 ) | |
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corrupted
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| （使）败坏( corrupt的过去式和过去分词 )； （使）腐化； 引起（计算机文件等的）错误； 破坏 | |
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