Chapter VIII: Part 8

Before the written word existed, the people strove to express their creed and history in symbols. Divine nations, like the Greeks, made the symbols beautiful, and these the uncultured tribes may afterwards have distorted into grotesque and rude imitations; but the same idea can be traced through all forms by which humanity has tried to represent history, nature, and God.

And the old Pagan customs of the early world seem to have an enduring vitality, and to have become fixed, even in the usages of the enlightened nineteenth century. The Persian Magi and the Druid priest exacted a tribute of the firstlings of the flock as a burnt-offering to the Sun-god on the day of his festival; so in modern times, we sacrifice a lamb at Easter and an ox at Christmas, retaining the pagan rite while we honour the Christian legend. The Christmas-tree is still lighted to guide the Sun-god back to life; and the spotted cake, anciently made in his honour, of corn and fruit, still finds its place on our tables, as the plum pudding of civilization, even as its primitive prototype was laid on the sacred altars of the Persians as an offering of gratitude to the Lord of Light and Life.

The widespread range of the same traditional customs and superstitions amongst all peoples and through every age is a most interesting study, as showing the primitive unity of the human race and the subsequent divergence of the nations, even as recorded in the Biblical narrative; but it would be endless to follow the lines of affinity that run through all the creeds, legends, usages and superstitions of the world. Thus the Algonquil Indians, according to Mr. Leland, held the ash-tree and the elm as sacred and mystical, because these trees were made human. Of the ash was made man, of the elm, woman.

So in the Edda, we read of the mighty ash-tree whose summit reaches to heaven, and whose roots go down to hell. Two fountains sprang from beneath it—one the knowledge of all that is; the other of all that shall be. And out of the wood man was created.

The Irish also hold the ash-tree as all-powerful against witchcraft; therefore branches of it were wreathed rounds the horns of the cattle, and round the child’s cradle to keep off evil influence; while in all their weird tales of the fairy dances with the dead, the mortals drawn into their company are infallibly safe if they get possession of a branch of the ash-tree, and hold it safely till out of reach of the evil spell.

The alder is another of the mystical trees of Ireland, held sacred, as in Persia, on account of its possessing strange mysterious properties and powers to avert evil; and the hawthorn likewise was sacred to the Irish fairies, therefore a libation of milk was poured over the roots on May Day, as the Hindus poured milk on the earth round the sacred tree as an offering to the manes of the dead.

In the Transylvanian legends and superstitions, of which Madame Gerard has recently given an interesting record, many will be found identical with the Irish; such as these—Friday is the most unlucky day of all the week; evil spirits are strongest between sunset and midnight; it is ill-luck to have your path crossed by a hare; on entering a strange house sit down a moment, or a death will happen; spitting is at all times most efficacious against the influence of the devil; an infant’s nails should be bitten, not cut; never rock an empty cradle; the robin and the swallow bring luck; never kill a spider; the crow and a black hen are ominous of evil. The dead are only in a trance; they hear everything but can make no sign. The Irish also believe that the dead are allowed at certain times to visit their living kindred. A whirlwind denotes that a devil is dancing with a witch; so the Irish believe that the fairies are rushing by in the whirlwind intent on carrying off some mortal victim to the fairy mansions; and the only help is to fling clay at the passing wind, when the fairies will be obliged to drop the mortal child, or the beautiful young girl they have abducted.

But the Roumanians are a mixed race—Greek, Slav, Teuton, Gypsey—and many of their superstitions are dark and gloomy, especially those relating to vampires, wolves, and terrible demons, evil spirits, and fearful witches. The Irish legends rarely deal with anything terrible or revolting. They circle, in general, round the mythus of the fairy, a bright and beautiful creation, only living for pleasure, music, and the dance, and rarely malignant or ill-natured, except when their dancing grounds are interfered with, or when they are not treated with proper generous consideration in the matter of wine.

The strange dance practised at Midsummer in Ireland round the Baal fires can clearly be traced from the East to Erin; and in its origin was evidently a religious symbol and rite. The Greeks practised it from the most ancient times. It was called the Pyrrhic dance—from _pur_ fire—and simulated the windings of a serpent.

The _Syrtos_, the great national dance of the Ægean Islands, so well described by Mr. Bent in his interesting book on the Cyclades, also resembles the winding of a serpent. The dancers hold hands and circle round in tortuous curves precisely as in Ireland, where the line of dancers with joined hands, always moving from east to west, extends sometimes for a mile in length. It was probably a mystic dance symbolic of the path of the sun, though the esoteric meaning has now been entirely lost; part of the primal range of ideas out of which man first formed a religion and ritual of worship.

Many other practices and superstitions of the Greek islanders strongly resemble the Irish. The Nereids of the Ægean play the part of the Irish fairies, and are as capricious though often more malignant. If a child grows wan and weak the Nereids have struck it; and it is laid naked for a night on the altar steps to test the truth of the suspicion. If the poor child dies under the trial, then it certainly was bewitched by the evil spirits, and the parents are well content to be rid of the unholy thing.

The funeral wail over the dead also closely resembles the Irish, when the hired mourning women sit round the corpse, tear their hair, beat their breast and rock to and fro, intoning in a monotone chant the praises of the deceased, the cries at times rising to a scream, in a frenzy of grief and despair.

The islanders likewise use many charms and incantations like the Irish, while the old women amongst them display wonderful knowledge of the mystic nature and power of herbs, and are most expert in the cure of disease. It is indeed remarkable that, amongst all primitive tribes and nations, women have always shown the highest skill in the treatment of disease, and have been rightly accounted the best doctors, and the most learned in mystic medicinal lore.

The Marquis of Lorne, in his graphic and instructive “Canadian Pictures,” speaks of the wonderful skill of the Indian women, and the remarkable cures effected by the squaws through their knowledge of the varied properties of herbs. The Indians also have a sweating bath for the sick, such as was used by the ancient Irish. A bath is made by stones covered over with branches; hot water is then poured on the stones, and the patient crouches over the heated vapour evolved until a violent perspiration is produced, which carries off the disease, or the pains in the members, without fail. The sweating bath of the Irish was made quite on the same principles, and is the most effective cure known for pains in the bones and feverish disorders. It is still used in the Western Islands. “The Sweating House,” as it is called, is made of rough stones with a narrow entrance, through which the patient creeps on all-fours; when inside, however, he can stand up. A peat fire is kindled, and divesting himself of all clothing, he undergoes the process of sweating in a profuse perspiration as he lies on the stone floor. The place is heated like a baker’s oven, but there is sufficient ventilation kept up by means of chinks and apertures through the stone work of the walls.

The cures effected by this process are marvellous. As the people say of it themselves, “Any disease that has a hold on the bones can’t stand before it no time at all, at all.”

THE POWER OF THE WORD.

The belief in the malific influence of the Evil Eye pervades all the Greek islands, and the same preventive measures are used as in Ireland. An old woman is employed to spit three times at the person affected, if she is a person learned in the mysteries and accounted wise. Salt and fire are also used as safeguards, precisely as the Irish peasant employs them to guard his cattle and children from the evil influence. But no superstition is more widely spread; it seems to pervade all the world, and to be instinctive to humanity. The educated are as susceptible to it as the illiterate, and no nerves are strong enough, apparently, to resist the impression made by an envious, malicious glance, for a poison that blights and withers seems to emanate from it. Reason appeals in vain; the feelings cannot be overcome that the presence and glance of some one person in a room can chill all the natural flow of spirits, while the presence of another seems to intensify all our mental powers, and transform us for the moment into a higher being.

But a malific power, stronger even than the glance of the Evil Eye, was exercised by the Bards of Erin: whom they would they blessed, but whom they would they also banned; and the poet’s malison was more dreaded and was more fatal than any other form of imprecation—for the bard had the mystic prophet power: he could foresee, and he could denounce. And no man could escape from the judgment pronounced by a poet over one he desired to injure; for the poet had the knowledge of all mysteries and was Lord over the secrets of life by the power of The Word. Therefore poets were emphatically called the tribe of _Duars_, that is, THE MEN OF THE WORD; for by a word the poets could produce deformities in those they disliked, and make them objects of scorn and hateful in the sight of other men.

THE POET AND THE KING.

Nuadhé, the celebrated poet, is remembered in history by a memorable exercise of his malific power, and the punishment that fell on him in consequence; for Heaven is just, and even a bard cannot escape the penalty due for sin.

He was nephew to Caer, the king of Connaught, who reared him with all kindness and gentleness as his own son. But by an evil fate the wife of Caer the king loved the young man; and she gave him a silver apple in proof of her love, and further promised him the kingdom and herself if he could overthrow Caer and make the people depose him from the sovranty.

“How can I do this?” answered Nuadhé, “for the king has ever been kind to me.”

“Ask him for some gift,” said the queen, “that he will refuse, and then put a blemish on him for punishment, that so he can be no longer king;” for no one with a blemish was ever suffered to reign in Erin.

“But he refuses me nothing,” answered Nuadhé.

“Try him,” said the queen. “Ask of him the dagger he brought from Alba, for he is under a vow never to part with it.”

So Nuadhé went to him, and asked for the dagger that came out of Alba as a gift.

“Woe is me!” said the king. “This I cannot grant; for I am under a solemn vow never to part with it, or give it to another.”

Then the poet by his power made a satire on him, and this was the form of the imprecation—

“Evil death, and a short life
Be on Caer the king!
Let the spears of battle wound him,
Under earth, under ramparts, under stones,
Let the malediction be on him!”

And when Caer rose up in the morning he put his hand to his face and found it was disfigured with three blisters, a white, a red, and a green. And when he saw the blemish he fled away filled with fear that any man should see him, and took refuge in a fort with one of his faithful servants, and no one knew where he lay hid.

So Nuadhé took the kingdom and held it for a year, and had the queen to wife. But then grievous to him was the fate of Caer, and he set forth to search for him.

And he was seated in the king’s own royal chariot, with the king’s wife beside him, and the king’s greyhound at his feet, and all the people wondered at the beauty of the charioteer.

Now Caer was in the fort where he had found shelter, and when he saw them coming he said—

“Who is this that is seated in my chariot in the place of the champion, and driving my steeds?”

But when he saw that it was Nuadhé he fled away and hid himself for shame.

Then Nuadhé drove into the fort in the king’s chariot, and loosed the dogs to pursue Caer. And they found him hid under the flagstone behind the rock even where the dogs tracked him. And Caer fell down dead from shame on beholding Nuadhé, and the rock where he fell flamed up and shivered into fragments, and a splinter leaped up high as a man, and struck Nuadhé on the eyes, and blinded him for life. Such was the punishment decreed, and just and right was the vengeance of God upon the sin of the poet.

THE SIDHE RACE.

The Sidhe dwell in the Sifra, or fairy palace of gold and crystal, in the heart of the hill, and they have been given youth, beauty, joy, and the power over music, yet they are often sad; for they remember that they were once angels in heaven though now cast down to earth, and though they have power over all the mysteries of Nature, yet they must die without hope of regaining heaven, while mortals are certain of immortality. Therefore this one sorrow darkens their life, a mournful envy of humanity; because, while man is created immortal, the beautiful fairy race is doomed to annihilation.

One day a great fairy chief asked Columb-Kille if there were any hope left to the Sidhe that one day they would regain heaven and be restored to their ancient place amongst the angels. But the saint answered that hope there was none; their doom was fixed, and at the judgment-day they would pass through death into annihilation; for so had it been decreed by the justice of God.

On hearing this the fairy chief fell into a profound melancholy, and he and all his court sailed away from Ireland, and went back to their native country of Armenia, there to await the coming of the terrible judgment-day, which is fated to bring the fairy race certain death on earth, without any hope of regaining heaven.

The West of Ireland is peculiarly sacred to ancient superstitions of the Sidhe race. There is a poetry in the scenery that touches the heart of the people; they love the beautiful glens, the mountains rising like towers from the sea, the islands sanctified by the memory of a saint, and the green hills where Finvarra holds his court. Every lake and mountain has its legend of the spirit-land, some holy traditions of a saint, or some historic memory of a national hero who flourished in the old great days when Ireland had native chiefs and native swords to guard her; and amongst the Western Irish, especially, the old superstitions of their forefathers are reverenced with a solemn faith and fervour that is almost a religion. Finvarra the king is still believed to rule over all the fairies of the west, and _Onagh_ is the fairy queen. Her golden hair sweeps the ground, and she is robed in silver gossamer all glittering as if with diamonds, but they are dew-drops that sparkle over it.

The queen is more beautiful than any woman of earth, yet Finvarra loves the mortal women best, and wiles them down to his fairy palace by the subtle charm of the fairy music, for no one who has heard it can resist its power, and they are fated to belong to the fairies ever after. Their friends mourn for them as dead with much lamentation, but in reality they are leading a joyous life down in the heart of the hill, in the fairy palace with the silver columns and the crystal walls.

Yet sometimes they are not drawn down beneath the earth, but remain as usual in the daily life, though the fairy spell is still on them; and the young men who have once heard the fairy harp become possessed by the spirit of music which haunts them to their death, and gives them strange power over the souls of men. This was the case with Carolan, the celebrated bard. He acquired all the magic melody of his notes by sleeping out on a fairy rath at night, when the fairy music came to him in his dreams; and on awaking he played the airs from memory. Thus it was that he had power to madden men to mirth, or to set them weeping as if for the dead, and no one ever before or since played the enchanting fairy music like Carolan, the sweet musician of Ireland.

There was another man also who heard the fairy music when sleeping on a rath, and ever after he was haunted by the melody day and night, till he grew mad and had no pleasure in life, for he longed to be with the fairies again that he might hear them sing. So one day, driven to despair by the madness of longing, he threw himself from the cliff into the mountain lake near the fairy rath, and so died and was seen no more.

In the Western Islands they believe that the magic of fairy music is so strong that whoever hears it cannot choose but follow the sound, and the young girls are drawn away by the enchantment, and dance all night with Finvarra the king, though in the morning they are found fast asleep in bed, yet with a memory of all they had heard and seen; and some say that, while with the fairies, the young women learn strange secrets of love potions, by which they can work spells and dangerous charms over those whose love they desire, or upon any one who has offended and spoken ill of them.

It is a beautiful idea that the Irish airs, so plaintive, mournful, and tear-compelling, are but the remembered echoes of that spirit music which had power to draw souls away to the fairy mansions, and hold them captive by the sweet magic of the melody.

MUSIC.

Music formed the chief part of education in ancient Ireland as in Greece, where the same word signified a song and a law. Laws, religion, sciences, and history were all taught in music to the Irish people by the _Ollamhs_, or learned men. The Poets chanted the _Ros-Catha_, or song of battle, to incite the warriors to deeds of bravery. The Bards recited the deeds of the chiefs, or pleasant tales of love, at the festivals, and struck the harp to sustain the voice. The Brehons intoned the law in a recitative or monotone chant, seated on an eminence in the open air, while all the people were gathered round to listen. The Senachie chanted the history, genealogies, and traditions of the tribe, and the female mourners were instructed by the poets in the elegiac measure, or funeral wail over the dead.

The poet-power was also believed to confer the gift of prophecy; and no great expedition was undertaken by the tribe without the advice and sanction of the bard, and especially of the poet-priestess of the tribe. Thus Ethna the poetess stood on a high stone at the battle of Moytura, and gave inspiration by her chants to the warriors of the Tuatha-de-Dananns, and stimulated their courage by her prophecies of victory; and the stone she stood on is in existence to this day on the plain of the battle, and is still called by the people “the Stone of the Prophetess.”

POET INSPIRATION. EODAIN THE POETESS.

The _Leanan-Sidhe_, or the spirit of life, was supposed to be the inspirer of the poet and singer, as the _Ban-Sidhe_ was the spirit of death, the foreteller of doom.

The Leanan-Sidhe sometimes took the form of a woman, who gave men valour and strength in the battle by her songs. Such was Eodain the poetess, by whom Eugene, king of Munster, gained complete victory over his foes. But afterwards he gave himself up to luxury and pleasure, and went away to Spain, where he remained nine years, and took to wife the daughter of the king of Spain. At the end of that time he returned to Ireland with a band of Spanish followers. But he found his kingdom plundered and ruined, and the revellers and drunkards were feasting in his banquet hall, and wasting his revenues for their pleasures while the people starved. And the whole nation despised the king, and would not hear his words when he sat down in his golden chair to give just judgment for iniquity. Then Eugene the king, in his deep sorrow and humiliation, sent for Eodain the poetess to come and give him counsel. So Eodain came to him, and upheld him with her strong spirit, for she had the power within her of the poet and the prophet, and she said—

“Arise now, O king, and govern like a true hero, and bring confusion on the evil workers. Be strong and fear not, for by strength and justice kings should rule.”

And Eugene the king was guided by her counsel and was successful. And he overthrew his enemies and brought back peace and order to the land. For the strength of the Leanan-Sidhe was in the words of Eodain, the power of the spirit of life which is given to the poet and the prophet, by which they inspire and guide the hearts of men.

THE BANSHEE.

The Banshee means, especially, the woman of the fairy race, from _van_, “the Woman—the Beautiful;” the same word from which comes _Venus_. Shiloh-Van was one of the names of Buddha—“the son of the woman;” and some writers aver that in the Irish—_Sullivan_ (Sulli-van), may be found this ancient name of Buddha.

As the Leanan-Sidhe was the acknowledged _spirit of life_, giving inspiration to the poet and the musician, so the Ban-Sidhe was the _spirit of death_, the most weird and awful of all the fairy powers.

But only certain families of historic lineage, or persons gifted with music and song, are attended by this spirit; for music and poetry are fairy gifts, and the possessors of them show kinship to the spirit race—therefore they are watched over by the spirit of life, which is prophecy and inspiration; and by the spirit of doom, which is the revealer of the secrets of death.

Sometimes the Banshee assumes the form of some sweet singing virgin of the family who died young, and has been given the mission by the invisible powers to become the harbinger of coming doom to her mortal kindred. Or she may be seen at night as a shrouded woman, crouched beneath the trees, lamenting with veiled face; or flying past in the moonlight, crying bitterly: and the cry of this spirit is mournful beyond all other sounds on earth, and betokens certain death to some member of the family whenever it is heard in the silence of the night.

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The Banshee even follows the old race across the ocean and to distant lands; for space and time offer no hindrance to the mystic power which is selected and appointed to bear the prophecy of death to a family. Of this a well-authenticated instance happened a few years ago, and many now living can attest the truth of the narrative.

A branch of the ancient race of the O’Gradys had settled in Canada, far removed, apparently, from all the associations, traditions, and mysterious influences of the old land of their forefathers.

But one night a strange and mournful lamentation was heard outside the house. No word was uttered, only a bitter cry, as of one in deepest agony and sorrow, floated through the air.

Inquiry was made, but no one had been seen near the house at the time, though several persons distinctly heard the weird, unearthly cry, and a terror fell upon the household, as if some supernatural influence had overshadowed them.

Next day it so happened that the gentleman and his eldest son went out boating. As they did not return, however, at the usual time for dinner, some alarm was excited, and messengers were sent down to the shore to look for them. But no tidings came until, precisely at the exact hour of the night when the spirit-cry had been heard the previous evening, a crowd of men were seen approaching the house, bearing with them the dead bodies of the father and the son, who had both been drowned by the accidental upsetting of the boat, within sight of land, but not near enough for any help to reach them in time.

Thus the Ban-Sidhe had fulfilled her mission of doom, after which she disappeared, and the cry of the spirit of death was heard no more.

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At times the spirit-voice is heard in low and soft lamenting, as if close to the window.

Not long ago an ancient lady of noble lineage was lying near the death-hour in her stately castle. One evening, after twilight, she suddenly unclosed her eyes and pointed to the window, with a happy smile on her face. All present looked in the direction, but nothing was visible. They heard, however, the sweetest music, low, soft, and spiritual, floating round the house, and at times apparently close to the window of the sick room.

Many of the attendants thought it was a trick, and went out to search the grounds; but nothing human was seen. Still the wild plaintive singing went on, wandering through the trees like the night wind—a low, beautiful music that never ceased all through the night.

Next morning the noble lady lay dead; then the music ceased, and the lamentation from that hour was heard no more.

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There was a gentleman also in the same country who had a beautiful daughter, strong and healthy, and a splendid horsewoman. She always followed the hounds, and her appearance at the hunt attracted unbounded admiration, as no one rode so well or looked so beautiful.

One evening there was a ball after the hunt, and the young girl moved through the dance with the grace of a fairy queen.

But that same night a voice came close to the father’s window, as if the face were laid close to the glass, and he heard a mournful lamentation and a cry; and the words rang out on the air—

“In three weeks death; in three weeks the grave—dead—dead—dead!”

Three times the voice came, and three times he heard the words; but though it was bright moonlight, and he looked from the window over all the park, no form was to be seen.

Next day, his daughter showed symptoms of fever, and exactly in three weeks, as the Ban-Sidhe had prophesied, the beautiful girl lay dead.

The night before her death soft music was heard outside the house, though no word was spoken by the spirit-voice, and the family said the form of a woman crouched beneath a tree, with a mantle covering her head, was distinctly visible. But on approaching, the phantom disappeared, though the soft, low music of the lamentation continued till dawn.

Then the angel of death entered the house with soundless feet, and he breathed upon the beautiful face of the young girl, and she rested in the sleep of the dead, beneath the dark shadows of his wings.

Thus the prophecy of the Banshee came true, according to the time foretold by the spirit-voice.

QUEEN MAEVE.

A remarkable account is given in the Bardic Legends of a form that appeared to Maeve, queen of Connaught, on the eve of battle.

Suddenly there stood before the queen’s chariot, a tall and beautiful woman. She wore a green robe clasped with a golden bodkin, a golden fillet on her head, and seven braids for the Dead of bright gold were in her hand. Her skin was white as snow that falls in the night; her teeth were as pearls; her lips red as the berries of the mountain ash; her golden hair fell to the ground; and her voice was sweet as the golden harp-string when touched by a skilful hand.

“Who art thou, O woman?” asked the queen, in astonishment.

“I am Feithlinn, the fairy prophetess of the Rath of Cruachan,” she answered.

“’Tis well, O Feithlinn the prophetess,” said Maeve; “but what dost thou foresee concerning our hosts?”

“I foresee bloodshed; I foresee power; I foresee defeat!” answered the prophetess.

“My couriers have brought me good tidings!” said the queen; “my army is strong, my warriors are well prepared. But speak the truth, O prophetess; for my soul knows no fear.”

“I foresee bloodshed; I foresee victory!” answered the prophetess the second time.

“But I have nothing to fear from the Ultonians,” said the queen, “for my couriers have arrived, and my enemies are under dread. Yet, speak the truth, O prophetess, that our hosts may know it.”

“I foresee bloodshed; I foresee conquest; I foresee _death_!” answered the prophetess, for the third time.

“To me then it belongs not, thy prophecy of evil,” replied the queen, in anger.

“Be it thine, and on thy own head.”

And even as she spoke the prophet maiden disappeared, and the queen saw her no more.

But it so happened that, some time afterwards, Queen Maeve was cruelly slain by her own kinsman, at Lough Rea by the Shannon, to avenge the assistance she had given in war to the king of Ulster; there is an island in the lake where is shown the spot where the great queen was slain, and which is still known to the people as—_the stone of the dead queen_.

Maeve, the great queen of Connaught, holds a distinguished place in Bardic Legends. When she went to battle, it is said, she rode in an open car, accompanied by four chariots—one before, another behind, and one on each side—so that the golden _assion_ on her head and her royal robes should not be defiled by the dust of the horses’ feet, or the foam of the fiery steeds; for all the sovereigns of Ireland sat crowned with a diadem in battle, as they drove in their war-chariots, as well as in the festal and the public assemblies.

DEATH SIGNS.

In one Irish family a cuckoo always appears before a death. A lady who arrived on a visit at a house observed one morning a cuckoo perched on the window-sill, but she felt no alarm, for there was no sickness in the family. Next day, however, one of the sons was carried home dead. He had been thrown from his horse when hunting, and killed on the spot.

In another family a mysterious sound is heard like the crashing of boards, and a rush of wind seems to pass through the house, yet nothing is broken or disturbed. The death of an officer in the Crimea was in this way announced to his family, for the news came immediately after the warning sound, and then they knew that the rush of the wind was the spirit of the dead which had passed by them, but without taking any visible form.

THE HARTPOLE DOOM.

There is a tradition concerning the Hartpole family of Shrule Castle in the Queen’s County (called the castle on the bloody stream, from the sanguinary deeds of the owner) that every male member of the family is doomed and fated to utter three screeches terrible to hear when dying. As to the origin of this doom the story goes that Sir Richard Hartpole about 300 years ago, in the time of the Elizabethan wars, committed many savage acts against the Irish, he being an upholder of the English faction.

One day a priest named O’More, having come to the castle on some friendly mission, the savage Hartpole ordered his retainers to seize him and hang him up in the courtyard.

“Good God!” exclaimed the priest. “Give me at least a moment to pray!”

“Go then,” said Hartpole, “you may pray.”

The priest kneeled down apart from the crowd. But Hartpole grew impatient, and ordered him to rise.

“You have prayed long enough,” he said, “prepare for death.”

And when the priest heard the order for his death, and saw the man approach to seize him, he swayed from right to left and gave three fearful screams.

“Why do you screech?” asked the tyrant.

“So shall you scream, and all your descendants in your last agony,” exclaimed O’More, “as a sign of the doom upon your race. You have murdered my people, you are now going to take my life; but I lay the curse of God on you and yours—your property shall pass away; your race shall perish off the earth; and by the three death screeches all men shall know that you and your posterity are accursed.”

The words of O’More only made the tyrant more furious, and the priest was hung at once in the courtyard before the eyes of Hartpole. But the prophecy of doom was fulfilled—the property perished, the castle became a ruin. The last Hartpole died miserably of want and hunger, and the whole race finally has become extinct.

SUPERSTITIONS.

The two great festivals of the ancient Irish were _Lá Baal Tinné_, or May Day (sacred to the Sun), and _Lá Samnah_, or November Eve (sacred to the Moon).

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Food should be left out on November Eve for the dead, who are then wandering about. If the food disappears, it is a sign that the spirits have taken it, for no mortal would dare to touch or eat of the food so left.

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Never turn your head to look if you fancy you hear footsteps behind you on that night; for the dead are walking then, and their glance would kill.

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In November a distaff is placed under the head of a young man at night to make him dream of the girl he is destined to marry.

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If a ball of worsted is thrown into a lime-kiln and wound up till the end is caught by invisible hands, the person who winds it calls out, “Who holds the ball?” and the answer will be the name of the future husband or wife. But the experiment must be made only at midnight, and in silence and alone.

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Whitsuntide is a most unlucky time; horses foaled then will grow up dangerous and kill some one.

* * * * *

A child born at Whitsuntide will have an evil temper, and may commit a murder.

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Beware also of water at Whitsuntide, for an evil power is on the waves and the lakes and the rivers, and a boat may be swamped and men drowned unless a bride steers; then the danger ceases.

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To turn away ill-luck from a child born at that time, a grave must be dug and the infant laid in it for a few minutes. After this process the evil spell is broken, and the child is safe.

* * * * *

If any one takes ill at Whitsuntide there is great danger of death, for the evil spirits are on the watch to carry off victims, and no sick person should be left alone at this time, nor in the dark. Light is a great safeguard, as well as fire, against malific influences.

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In old times at Whitsuntide blood was poured out as a libation to the evil spirits; and the children and cattle were passed through two lines of fire.

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On May morning the Skellig rocks go out full sail to meet the opposite rocks, which advance half way to meet them, and then slowly retire like retreating ships.

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At Midsummer the fairies try to pass round the Baal fires in a whirlwind in order to extinguish them, but the spirits may be kept off by throwing fire at them. Then the young men are free to leap over the burning embers and to drive the cattle through the flames, while coals of fire must also be passed three times over and three times under the body of each animal.

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Foot-worship was a homage to Buddha, and it was also a Christian ceremony to wash the feet of the saints. The Irish had many superstitions about foot-water, and no woman was allowed to wash her feet in the sacred wells though the lavation was permitted to men.

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If a child is fairy-struck, give it a cup of cold water in the name of Christ and make the sign of the cross over it.

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On St. Martin’s Day when blood is spilt, whoever is signed with the blood is safe, for that year at least, from disease.

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For the Evil Eye, a piece cut from the garment of the evil-eyed, burned to tinder and ground to powder, must be given to the person under the baneful spell, while his forehead is anointed with spittle thrice. So the Greeks spat three times in the face of the evil-eyed to break the spell.

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Pass a red-hot turf three times over and under the body of an animal supposed to be fairy-struck, singeing the hair along the back. This drives off the fairies.

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The Irish always went westward round a holy well, following the course of the sun, and creeping on their hands and knees. So did the ancient Persians when offering homage at the sacred fountains.

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Red-haired people were held to be evil and malicious and unlucky, probably because Typhon, the evil principle, was red; and therefore a red heifer was sacrificed to him by the Egyptians.

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In the mystic, or snake dance, performed at the Baal festival, the gyrations of the dancers were always westward, in the track of the sun, for the dance was part of the ancient ritual of sun worship.

THE FAIRY RATH.

The ancient rath, or fort, or liss, generally enclosed about half an acre, and had two or more ramparts, formed by the heads of the tribe for defence. But when the race of the chieftains died out, then the Sidhe crowded into the forts, and there held their councils and revels and dances; and if a man put his ear close to the ground at night he could hear the sweet fairy music rising up from under the earth.

The rath ever after is sacred to the fairies, and no mortal is allowed to cut down a tree that grows on it, or to carry away a stone. But dangerous above all would it be to build on a fairy rath. If a man attempted such a rash act, the fairies would put a blast on his eyes, or give him a crooked mouth; for no human hand should dare to touch their ancient dancing grounds.

It is not right, the people say, to sing or whistle at night that old air, “The pretty girl milking her cow;” for it is a fairy tune, and the fairies will not suffer a mortal to sing their music while they are dancing on the grass. But if a person sleeps on the rath the music will enter into his soul, and when he awakes he may sing the air he has heard in his dreams.

In this way the bards learned their songs, and they were skilled musicians, and touched the harp with a master hand, so that the fairies often gathered round to listen, though invisible to mortal eyes.

FAIRY NATURE.

The _Siodh-Dune_, or the Mount of Peace, is also a favourite resort of the fairies. It is an ancient, sacred place, where the Druids in old time used to retire to pray, when they desired solitude; and the fairies meet there every seven years to perform the act of lamentation and mourning for having been cast out of heaven.

Earth, lake, and hill are peopled by these fantastic, beautiful gods of earth; the wilful, capricious child-spirits of the world. The Irish seem to have created this strange fairy race after their own image, for in all things they strangely resemble the Irish character.

The Sidhe passionately love beauty and luxury, and hold in contempt all the mean virtues of thrift and economy. Above all things they hate the close, niggard hand that gathers the last grain, and drains the last drop in the milk-pail, and plucks the trees bare of fruit, leaving nothing for the spirits who wander by in the moonlight. They like food and wine to be left for them at night, yet they are very temperate; no one ever saw an intoxicated fairy.

But people should not sit up too late; for the fairies like to gather round the smouldering embers after the family are in bed, and drain the wine-cup, and drink the milk which a good housewife always leaves for them, in case the fairies should come in and want their supper. A vessel of pure water should also be left for them to bathe in, if they like. And in all things the fairies are fond of being made much of, and flattered and attended to; and the fairy blessing will come back in return to the giver for whatever act of kindness he has done to the spirits of the hill and the cave. Some unexpected good fortune or stroke of luck will come upon his house or his children; for the fairy race is not ungrateful, and is powerful over man both for good and evil.

Therefore be kind to the wayfarer, for he may be a fairy prince in disguise, who has come to test the depth of your charity, and of the generous nature that can give liberally out of pure love and kindliness to those who are in need, and not in hope of a reward.

If treated well, the fairies will discover the hidden pot of gold, and reveal the mysteries of herbs, and give knowledge to the fairy women of the mystic spells that can cure disease, and save life, and make the lover loved.

All they ask in return is to be left in quiet possession of the rath and the hill and the ancient hawthorn trees that have been theirs from time immemorial, and where they lead a joyous life with music and dance, and charming little suppers of the nectar of flowers, down in the crystal caves, lit by the diamonds that stud the rocks.

But some small courtesies they require. Never drain your wine-glass at a feast, nor the poteen flask, nor the milk-pail; and never rake out all the fire at night, it looks mean, and the fairies like a little of everything going, and to have the hearth comfortable and warm when they come in to hold a council after all the mortal people have gone to bed. In fact, the fairies are born aristocrats, true ladies and gentlemen, and if treated with proper respect are never in the least malignant or ill-natured.

All the traditions of the fairies show that they love beauty and splendour, grace of movement, music and pleasure; everything, in fact, that is artistic, in contradistinction to violent, brutal enjoyment. Only an Aryan people, therefore, could have invented the Sidhe race.

IRISH NATURE.

The Irish show their Aryan descent by the same characteristics as the Fairy race, for they also love everything that is artistic—the fascinations of life, beauty of form, music, poetry, song, splendour, and noble pleasures. Their kings in ancient times were elected for their personal beauty as much as for their chivalrous qualities. No man with a blemish or a deformity was allowed to reign. Then, their appreciation of intellect proved the value they set on the spiritual and ideal above the material and the brutal. The poet ranked next to the princes of the land. His person was sacred in battle; he was endowed with an estate, so that his soul might be free from sordid cares; and his robe of many colours, and the golden circlet on his brow at the festivals, showed his claim and right to rank next to royalty, and to sit at the right hand of the king. Poetry, learning, music, oratory, heroism, and splendour of achievement—these were the true objects of homage and admiration amongst the ancient Irish.

There was nothing brutal in their ideal of life; no hideous images or revolting cruelties; and the beautiful and graceful Sidhe race, with their plaintive music and soft melancholy, and aspirations for a lost heaven, is the expression in a graceful and beautiful symbol of the instinctive tendencies of the Irish nature to all that is most divine in human intellect, and soft and tender in human emotion.

Ireland is a land of mists and mystic shadows; of cloud-wraiths on the purple mountains; of weird silences in the lonely hills, and fitful skies of deepest gloom alternating with gorgeous sunset splendours. All this fantastic caprice of an ever-varying atmosphere stirs the imagination, and makes the Irish people strangely sensitive to spiritual influences. They see visions and dream dreams, and are haunted at all times by an ever-present sense of the supernatural. One can see by the form of the Irish head—a slender oval, prominent at the brows and high in the region of veneration, so different from the globular Teutonic head—that the people are enthusiasts, religious, fanatical; with the instincts of poetry, music, oratory, and superstition far stronger in them than the logical and reasoning faculties. They are made for worshippers, poets, artists, musicians, orators; to move the world by passion, not by logic. Scepticism will never take root in Ireland; infidelity is impossible to the people. To believe fanatically, trust implicitly, hope infinitely, and perhaps to revenge implacably—these are the unchanging and ineradicable characteristics of Irish nature, of Celtic nature, we may say; for it has been the same throughout all history and all ages. And it is these passionate qualities that make the Celt the great motive force of the world, ever striving against limitations towards some vision of ideal splendour; the restless centrifugal force of life, as opposed to the centripetal, which is ever seeking a calm quiescent rest within its appointed sphere.

The very tendency to superstition, so marked in Irish nature, arises from an instinctive dislike to the narrow limitations of common sense. It is characterized by a passionate yearning towards the vague, the mystic, the invisible, and the boundless infinite of the realms of imagination. Therefore the _Daine-Sidhe_, the people of the fairy mansions, have an irresistible attraction for the Irish heart. Like them, the Irish love youth, beauty, splendour, lavish generosity, music and song, the feast and the dance. The mirth and the reckless gaiety of the national temperament finds its true exponent in the mad pranks of the _Phouka_ and the _Leprehaun_, the merry spirits that haunt the dells and glens, and look out at the wayfarer from under the dock-leaf with their glittering eyes. The inspiration that rises to poetry under the influence of excitement is expressed by the belief in the _Leanan-Sidhe_, who gives power to song; while the deep pathos of Irish nature finds its fullest representation in the tender, plaintive, spiritual music of the wail and lamentation of the _Ban-Sidhe_.

LEGENDS OF ANIMALS.

There are no traces in Irish legend of animal worship, but many concerning the influence of animals upon human life, and of their interference with human affairs.

The peasants believe that the domestic animals know all about us, especially the dog and the cat. They listen to everything that is said; they watch the expression of the face, and can even read the thoughts. The Irish say it is not safe to ask a question of a dog, for he may answer, and should he do so the questioner will surely die.

The position of the animal race in the life scheme is certainly full of mystery. Gifted with extraordinary intelligence, yet with dumb souls vainly struggling for utterance, they seem like prisoned spirits in bondage, suffering the punishment, perhaps, for sin in some former human life, and now waiting the completion of the cycle of expiation that will advance them again to the human state.

The three most ancient words in the Irish language are, it is said, _Tor_, a tower; _Cu_, a hound, and _Bo_, a cow. The latter word is the same as is found in the Greek _Bosphorus_, and in the nomenclature of many places throughout Europe.

CONCERNING DOGS.

Some very weird superstitions exist in Ireland concerning the howlings of dogs. If a dog is heard to howl near the house of a sick person, all hope of his recovery is given up, and the patient himself sinks into despair, knowing that his doom is sealed. But the Irish are not alone in holding this superstition. The Egyptians, Hebrews, Greeks, and Romans all looked on the howling of the dog as ominous. The very word _howling_ may be traced in the Latin _ululu_, the Greek _holuluzo_, the Hebrew _hululue_, and the Irish _ulluloo_. In Ireland the cry raised at the funeral ceremony was called the _Caoin_, or keen, probably from χυων, a dog. And this doleful lamentation was also common to other nations of antiquity. The Hebrews, Greeks, and Romans had their hired mourners, who, with dishevelled hair and mournful cadenced hymns, led on the melancholy parade of death. Thus the Trojan women keened over Hector, the chorus being led by the beautiful Helen herself.

The howling of the dog was considered by these nations as the first note of the funeral dirge and the signal that the coming of death was near.

But the origin of the superstition may be traced back to Egypt, where dogs and dog-faced gods were objects of worship; probably because Sirius, the Dog-star, appeared precisely before the rising of the Nile, and thereby gave the people a mystic and supernatural warning to prepare for the overflow.

The Romans held that the howling of dogs was a fatal presage of evil, and it is noted amongst the direful omens that preceded the death of Cæsar. Horace also says that Canidia by her spells and sorceries could bring ghosts of dogs from hell; and Virgil makes the dog to howl at the approach of Hecate.

It is remarkable that when dogs see spirits (and they are keenly sensitive to spirit influence) they never bark, but only howl. The Rabbins say that “when the Angel of Death enters a city the dogs do howl. But when Elias appears then the dogs rejoice and are merry.” And Rabbi Jehuda the Just states, that once upon a time when the Angel of Death entered a house the dog howled and fled; but being presently brought back he lay down in fear and trembling, and so died.

This strange superstition concerning the howling of dogs, when, as is supposed, they are conscious of the approach of the Spirit of Death, and see him though he is shrouded and invisible to human eyes, may be found pervading the legends of all nations from the earliest period down to the present time; for it still exists in full force amongst all classes, the educated, as well as the unlettered peasantry; and to this day the howling of a dog where a sick person is lying is regarded in Ireland in all grades of society with pale dismay as a certain sign of approaching death.

The Irish may have obtained the superstition through Egypt, Phœnicia, or Greece, for it is the opinion of some erudite writers that the Irish wolf-dog (_Canis gracius Hibernicus_) was descended from the dogs of Greece.