The High Deeds of Finn and other Bardic Romances of Ancient Ireland | Page 5

but into those of the third, of the cycle of Finn. And all along to the very end of the stories, and down indeed to the present day, the Tuatha De Danaan appear in various forms, slowly lessening in dignity and power, until they end in the fairy folk in whom the Irish peasants still believe. They are alive and still powerful in the third--the Fenian--cycle of stories, some of which are contained and adorned in this book. In their continued presence is the only connexion which exists between the three cycles. No personages of the first save these of the gods appear in the Heroic cycle, none of the Heroic cycle appears in the Fenian cycle. Seventeen hundred years, according to Irish annalists, separate the first from the second, more than two hundred years separate the second from the beginning of the third.
The third cycle is called Fenian because its legends tell, for the most part, of the great deeds of the Féni or Fianna, who were the militia employed by the High King to support his supremacy, to keep Ireland in order, to defend the country from foreign invasion. They were, it seems, finally organized by Cormac mac Art, 227 A.D.(?) the grandson of Conn the Hundred Fighter. But they had loosely existed before in the time of Conn and his son Art, and like all mercenary bodies of this kind were sometimes at war with the kings who employed them. Finally, at the battle of Gowra, they and their power were quite destroyed. Long before this destruction, they were led in the reign of Cormac by Finn the son of Cumhal, and it is around Finn and Oisín the son of Finn, that most of the romances of the Fenian cycle are gathered. Others which tell of the battles and deeds of Conn and Art and Cormac and Cairbre of the Liffey, Cormac's son, are more or less linked on to the Fenians. On the whole, Finn and his warriors, each of a distinct character, warlike skill and renown, are the main personages of the cycle, and though Finn is not the greatest warrior, he is their head and master because he is the wisest; and this masterdom by knowledge is for the first time an element in Irish stories.
If the tales of the first cycle are mythological and of the second heroic, these are romantic. The gods have lost their dreadful, even their savage character, and have become the Fairies, full often of gentleness, grace, and humour. The mysterious dwelling places of the gods in the sea, in unknown lands, in the wandering air, are now in palaces under the green hills of Ireland, or by the banks of swift clear rivers, like the palace of Angus near the Boyne, or across the seas in Tir-na-n-óg, the land of immortal youth, whither Niam brings Oisín to live with her in love, as Morgan le Fay brought Ogier the Dane to her fairyland. The land of the Immortals in the heroic cycle, to which, in the story of Etain and Midir in this book, Midir brings back Etain after she has sojourned for a time on earth, is quite different in conception from the Land of Youth over the far seas where delightfulness of life and love is perfect. This, in its conception of an unknown world where is immortal youth, where stormless skies, happy hunting, strange adventure, gentle manners dwell, where love is free and time is unmarked, is pure romance. So are the adventures of Finn against enchanters, as in the story of the _Birth of Oisín_, of Dermot in the Country under the Seas_, in the story of the Pursuit of the Gilla Dacar_, of the wild love-tale of Dermot and Grania, flying for many years over all Ireland from the wrath of Finn, and of a host of other tales of enchantments and battle, and love, and hunting, and feasts, and discoveries, and journeys, invasions, courtships, and solemn mournings. No doubt the romantic atmosphere has been deepened in these tales by additions made to them by successive generations of bardic singers and storytellers, but for all that the original elements in the stories are romantic as they are not in the previous cycles.
Again, these Fenian tales are more popular than the others. Douglas Hyde has dwelt on this distinction. "For 1200 years at least, they have been," he says, "intimately bound up with the thought and feelings of the whole Gaelic race in Ireland and Scotland." Even at the present day new forms are given to the tales in the cottage homes of Ireland. And it is no wonder. The mysterious giant forms of the mythological period, removed by divinity from the sympathy of men; the vast heroic figures of Cuchulain and his