Celtic Literature. Arnold Matthew

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СКАЧАТЬ now a man of considerable means; but those means had been sought by him for one purpose only, the purpose of his life, the dream of his youth,—the giving permanence and publicity to the treasures of his national literature.  Gradually he got manuscript after manuscript transcribed, and at last, in 1801, he jointly with two friends brought out in three large volumes, printed in double columns, his Myvyrian Archæology of Wales.  The book is full of imperfections, it presented itself to a public which could not judge of its importance, and it brought upon its author, in his lifetime, more attack than honour.  He died not long afterwards, and now he lies buried in Allhallows Church, in London, with his tomb turned towards the east, away from the green vale of Clwyd and the mountains of his native Wales; but his book is the great repertory of the literature of his nation, the comparative study of languages and literatures gains every day more followers, and no one of these followers, at home or abroad, touches Welsh literature without paying homage to the Denbighshire peasant’s name; if the bard’s glory and his own are still matter of moment to him,—si quid mentem mortalia tangunt,—he may be satisfied.

      Even the printed stock of early Welsh literature is, therefore, considerable, and the manuscript stock of it is very great indeed.  Of Irish literature, the stock, printed and manuscript, is truly vast; the work of cataloguing and describing this has been admirably performed by another remarkable man, who died only the other day, Mr. Eugene O’Curry.  Obscure Scaliger of a despised literature, he deserves some weightier voice to praise him than the voice of an unlearned bellettristic trifler like me; he belongs to the race of the giants in literary research and industry,—a race now almost extinct.  Without a literary education, and impeded too, it appears, by much trouble of mind and infirmity of body, he has accomplished such a thorough work of classification and description for the chaotic mass of Irish literature, that the student has now half his labour saved, and needs only to use his materials as Eugene O’Curry hands them to him.  It was as a professor in the Catholic University in Dublin that O’Curry gave the lectures in which he has done the student this service; it is touching to find that these lectures, a splendid tribute of devotion to the Celtic cause, had no hearer more attentive, more sympathising, than a man, himself, too, the champion of a cause more interesting than prosperous,—one of those causes which please noble spirits, but do not please destiny, which have Cato’s adherence, but not Heaven’s,—Dr. Newman.  Eugene O’Curry, in these lectures of his, taking as his standard the quarto page of Dr. O’Donovan’s edition of the Annals of the Four Masters (and this printed monument of one branch of Irish literature occupies by itself, let me say in passing, seven large quarto volumes, containing 4,215 pages of closely printed matter), Eugene O’Curry says, that the great vellum manuscript books belonging to Trinity College, Dublin, and to the Royal Irish Academy,—books with fascinating titles, the Book of the Dun Cow, the Book of Leinster, the Book of Ballymote, the Speckled Book, the Book of Lecain, the Yellow Book of Lecain,—have, between them, matter enough to fill 11,400 of these pages; the other vellum manuscripts in the library of Trinity College, Dublin, have matter enough to fill 8,200 pages more; and the paper manuscripts of Trinity College, and the Royal Irish Academy together, would fill, he says, 30,000 such pages more.  The ancient laws of Ireland, the so-called Brehon laws, which a commission is now publishing, were not as yet completely transcribed when O’Curry wrote; but what had even then been transcribed was sufficient, he says, to fill nearly 8,000 of Dr. O’Donovan’s pages.  Here are, at any rate, materials enough with a vengeance.  These materials fall, of course, into several divisions.  The most literary of these divisions, the Tales, consisting of Historic Tales and Imaginative Tales, distributes the contents of its Historic Tales as follows:—Battles, voyages, sieges, tragedies, cow-spoils, courtships, adventures, land-expeditions, sea-expeditions, banquets, elopements, loves, lake-irruptions, colonisations, visions.  Of what a treasure-house of resources for the history of Celtic life and the Celtic genius does that bare list, even by itself, call up the image!  The Annals of the Four Masters give ‘the years of foundations and destructions of churches and castles, the obituaries of remarkable persons, the inaugurations of kings, the battles of chiefs, the contests of clans, the ages of bards, abbots, bishops, &c.’ 5  Through other divisions of this mass of materials,—the books of pedigrees and genealogies, the martyrologies and festologies, such as the Féliré of Angus the Culdee, the topographical tracts, such as the Dinnsenchas,—we touch ‘the most ancient traditions of the Irish, traditions which were committed to writing at a period when the ancient customs of the people were unbroken.’  We touch ‘the early history of Ireland, civil and ecclesiastical.’  We get ‘the origin and history of the countless monuments of Ireland, of the ruined church and tower, the sculptured cross, the holy well, and the commemorative name of almost every townland and parish in the whole island.’  We get, in short, ‘the most detailed information upon almost every part of ancient Gaelic life, a vast quantity of valuable details of life and manners.’ 6

      And then, besides, to our knowledge of the Celtic genius, Mr. Norris has brought us from Cornwall, M. de la Villemarqué from Brittany, contributions, insignificant indeed in quantity, if one compares them with the mass of the Irish materials extant, but far from insignificant in value.

      We want to know what all this mass of documents really tells us about the Celt.  But the mode of dealing with these documents, and with the whole question of Celtic antiquity, has hitherto been most unsatisfactory.  Those who have dealt with them, have gone to work, in general, either as warm Celt-lovers or as warm Celt-haters, and not as disinterested students of an important matter of science.  One party seems to set out with the determination to find everything in Celtism and its remains; the other, with the determination to find nothing in them.  A simple seeker for truth has a hard time between the two.  An illustration or so will make clear what I mean.  First let us take the Celt-lovers, who, though they engage one’s sympathies more than the Celt-haters, yet, inasmuch as assertion is more dangerous than denial, show their weaknesses in a more signal way.  A very learned man, the Rev. Edward Davies, published in the early part of this century two important books on Celtic antiquity.  The second of these books, The Mythology and Rites of the British Druids, contains, with much other interesting matter, the charming story of Taliesin.  Bryant’s book on mythology was then in vogue, and Bryant, in the fantastical manner so common in those days, found in Greek mythology what he called an arkite idolatry, pointing to Noah’s deluge and the ark.  Davies, wishing to give dignity to his Celtic mythology, determines to find the arkite idolatry there too, and the style in which he proceeds to do this affords a good specimen of the extravagance which has caused Celtic antiquity to be looked upon with so much suspicion.  The story of Taliesin begins thus:—

      ‘In former times there was a man of noble descent in Penllyn.  His name was Tegid Voel, and his paternal estate was in the middle of the Lake of Tegid, and his wife was called Ceridwen.’

      Nothing could well be simpler; but what Davies finds in this simple opening of Taliesin’s story is prodigious:—

      ‘Let us take a brief view of the proprietor of this estate.  Tegid Voel—bald serenity—presents itself at once to our fancy.  The painter would find no embarrassment in sketching the portrait of this sedate venerable personage, whose crown is partly stripped of its hoary honours.  But of all the gods of antiquity, none could with propriety sit for this picture excepting Saturn, the acknowledged representative of Noah, and the husband of Rhea, which was but another name for Ceres, the genius of the ark.’

      And Ceres, the genius of the ark, is of course found in Ceridwen, ‘the British Ceres, the arkite goddess who initiates us into the deepest mysteries of the arkite superstition.’

      Now the story of Taliesin, as it proceeds, exhibits Ceridwen as a sorceress; and a sorceress, like a goddess, belongs to the world of the supernatural; but, beyond this, the story itself does not suggest one particle of relationship between Ceridwen and Ceres.  All the rest comes out of Davies’s fancy, and is established by reasoning of the force of that about ‘bald serenity.’

      It СКАЧАТЬ