Heroic Romances of Ireland | Page 8

the weaker mortal woman who has a better claim upon him is quite modern in its tone.
The nearest parallel to the longer version of the "Sick-bed" is the Egerton version of "Etain," which is a complete one, and makes a stately romance. It is full of human interest, love being its keynote; it keeps the supernatural element which is an essential to the original legend in the background, and is of quite a different character to the earlier Leabhar na h-Uidhri version, although there is no reason to assume that the latter is really the more ancient in date. In the Leabbar na h-Uidhri version of "Etain," all that relates to the love-story is told in the baldest manner, the part which deals with the supernatural being highly descriptive and poetic. I am inclined to believe that the antiquarian compiler of the manuscript did here what he certainly did in the case of the "Sick-bed of Cuchulain," and pieced together two romances founded upon the same legend by different authors. The opening of the story in Fairyland and the concluding part where Mider again appears are alike both in style and feeling, while the part that comes between is a highly condensed version of the love-story of the Egerton manuscript, and suggests the idea of an abstract of the Egerton version inserted into the story as originally composed, the effect being similar to that which would be produced upon us if we had got Aeschylus' "Choaphorae" handed down to us with a condensed version of the dialogue between Electra and Chrysothemis out of Sophocles' "Electra" inserted by a conscientious antiquarian who thought that some mention of Chrysothemis was necessary. This version of the legend, however, with its strong supernatural flavour, its insistence on the idea of re-birth, its observation of nature, and especially the fine poem in which Mider invites Etain to Fairyland, is a most valuable addition to the literature, and we have to lament the gap in it owing to the loss of a column in that part of the Leabhar na h-Uidhri manuscript which has been preserved.
The last piece to be mentioned is the extract from the "Tain be Cuailnge" known as the "Combat at the Ford." This seems to me the finest specimen of old Irish work that has been preserved for us; the brilliance of its descriptions, the appropriate changes in its metres, the chivalry of its sentiments, and the rapidity of its action should, even if there were nothing to stand beside it in Irish literature, give that literature a claim to be heard: as an account of a struggle between two friends, it is probably the finest in any literature. It has been stated recently, no doubt upon sound authority, that the grammatical forms of this episode show it to be late, possibly dating only to the eleventh century. The manuscript in which it appears, however, is of the earlier part of the twelfth century; no literary modem work other than Irish can precede it in time; and if it is the work of an eleventh-century author, it does seem strange that his name or the name of some one of that date who could have written it has not been recorded, as MacLiag's name has been as the traditional author of the eleventh-century "Wars of the Gaedhill and the Gaill," for the names of several Irish authors of that period axe well known, and the Early Middle Irish texts of that period are markedly of inferior quality. Compare for example the Boromaean Tribute which Stokes considers to take high rank among texts of that period (Revue Celtique, xiii. p. 32). One would certainly like to believe that this episode of the "Combat at the Ford" belongs to the best literary period, with which upon literary grounds it seems to be most closely connected.
But, whether this comparative lateness of the "Combat at the Ford" be true or not, it, together with all the varied work contained in this collection, with the possible exception of the short extract from the Glenn Masain "Deirdre," is in the actual form that we have it, older than the Norman Conquest of Ireland, older than the Norse Sagas. Its manuscript authority is older than that of the Volsunga Saga; its present form precedes the birth of Chretien de Troyes, the first considerable name in French literature, and, in a form not much unlike that in which we have it, it is probably centuries older than its actual manuscript date. The whole thing stands at the very beginning of the literature of Modern Europe, and compares by no means unfavourably with that which came after, and may, in part, have been inspired by it. Surely it deserves to be raised from its present position as a study known only