Chapter VIII: Front Matter (8)

Dj ïăr sjee ansjin nă tjrï wall. “Kee nă tjrï wall ïad?” er sjisjăn. “Taa qor ăn oiĕ ăn xirj, qam in oiĕ ăn xæm, acăs bæærtj ăn oiĕ nă cancĕdje.” Hig sjï ansjin nax ducett sjeeăd erj æsj ă xïe, mar djicett sjï nă foqle-sjŏ.

“Taa nă tjrï wall ins ă xooră sjin hïs, ă ducenn sjïad, qor ăn oiĕ in xirj, qam in oiĕ ăn xam, acăs bæærtj in oiĕ nă cancedje.” Xuuă sjï sjïs acăs doscel sjï ăn xooră, acăs duuertt sjï lesj feen ă qromu sjïs co tuunj ă xooră,—cŏ rŏ sji feen ĕnnjïsjăl. Xrom sjee sjïs, acăs anuuirj fuuirj sjï qrom ee, xa sjï stjæx ins ă xoor’ ee, acăs çridj sjï ăn xooră erj, acăs duuertt sjï lesj co wanitt sjee ansjin co djicu Cobaan ooc acăs sjæn Cobaan ă walje, acăs luuăx ă sïhirj. Xor sjï qontăs ec Balăr Beemăn co ro waq a _confinement_, eki co dj icu Cobaan ooc acăs sjæn Cobaan a walje. Xor sjee lljoofwe llonc acăs xirj sjee a walj iăd feen acăs ă paaiĕ; acăs lig sjisje maq Walăr Beemann erj æsj egesăn. Nuuirj ă vï sjïăd ec imæxt ă walje, dj ïări Balăr Beemăn cŏ Cobaan, kee ăn gouĕ jofitt sjee ă xirju ïărĕnaxă lee hï ăn xuuirtj. “Nïl eeăn gou’ in Eerinn is fæær nææ Cavidjïn Coo.” Nuuirj ă hænik sjæn Cobaan ă walje duuĕrtt sjee lee Cavidjïn Coo căn eeăn paai erj bih ă claqu wuui, erj ïărenaxă ă jaanu con quuirtj, ææx ă çlas:—çaa curti fuuiĕ fïhje barillje co lïnitt sjï lee bannjĕ nă fïhje barillje.

Sjkrïu ansjin Balăr Beemăn co djï an Cavidjïn Coo, co dooritt sjee çoo ăn çlas, ææx ă ïĕrănaxa ă jaanu con quuirtj: ææx njï huc sjee ăn wuuĕrăx çoo nuuirj ă xirj sjee egĕ ăn çlăs; acăs vïs egĕ co nnjimoott sjï wuuă, nuuirj næx duc sjee çoo ăn wuuĕrăx.

Sjee ăn marăcu jaanitt Cavidjïn Coo ănsjin lee hole Cæsjkiăx ă hicu ege;—æn çlas ærje acăs ă hoort egĕ slaan ă walje ă trænoona; jaanitt sjee qlæve cŏ holĕ cæsjkiăx ă dj ærju ï. Dj ïsitt sjï feeŭr Qruuăxaan Qonăxtă ăn laa, acăs d’ oolitt sjï djox ă Lax Eeăxirj ă Cuuicălu ă trænoona.

Hænig Kïăn waq Qaantje egĕ, cŏ waadd sjee qlave djaanti. Duuert sjee lesj cŏ nnjaanu, ææx cur ă bee ă warăcu ă vee egĕ, co coihitt sjee ăn çlas ærje ăn laa sjin. “Næ măr rŏ sjï læt ă walje acăm trænoona, qoihi tuu do hjinn ă ligin sjïs erj anj ïnuur co mani mee an kinn jïĕt, lee do xlave feen.”

Dj imi Kïan waq Qaantje acăs ruc sjee grjim robel orhi. Nuuirj ă hænik sjee ă walje trænoonă, “Sjo ï, mwihj, ă çlas” er sjesjăn lee Cavidjïn Cou. Vï Cæsjkiăx esti ins ă hjæærtă, Ridjirje ăn çaairje. Rjih sjee ămax, acăs duuĕrtt sjee lee Kïan waq Qaantje, “tææ ’n cou ă xirj ăn ouĕrtj in dŏ xlave, acăs măr rŏ grjim acăd erj njï bee buui imăru acăd.” Nuuirj ă xuui Kïan waq Qaantje estjæx njï q)ivne sjee ăn çlas ă xirj estjæx. Dj ïări Cavidjïn Cou çe “Kee wil ăn çlas?” “Sjo ï amwihj ec an doras ï.” “Xirj estjæx ï” er sjesjăn. Nuuirj ă xuui sjee amax, vï sjï imi. “Lig sjïs do hjinn erj ănj ïnuur, co mani mee ăn konn dïĕt.” “Tææ mee ïări onoorj hjrï laa ort lee col ă hïări.” “Veerhi mee sjin ditj” er sjesjan.

Dj imi sjee lesj ansjin acas vï sjee lljænuintj ă lorăc co dænik sjee co djï ăn ærige. Vï sjee sjïr acăs enjïăr erj ă traai, dææ tærentj ă cruuĕgĕ daa xlæcenn lee buuĕrhe enjeei nă clasjĕ. Vï fær amwihj erj ăn ærige in ă xorăx. Dj omirj sjee estjæx co djï ee, acas vï ăn fær sjin Mananaan bwï maq ă Ljirj. Dj ïări sjee çe “Kee ă taa ort ennju?” Dj ini sjee çoo. “Keeărd ă veerhaa con tjie d’ aaqu huu ins ăn aatj ă wil ăn çlas?” “Nïl dædi acăm lee toortj çoo.” “Njïr iări mee ort ææx lljæh ă ncruui tuu co djige tuu erj æsj.” “Veerhi mee sjin ditj” ers ă Kïăn waq Qaantje. “Bï ’s estjih ins ă xorăx.” Lee locen do huul, d’ aac sjee ee herj ă riaxtă nă fuuăriaxt; njir brjïhu eeăn grjim erjïu erj ăn ilaan-sjŏ, ææx djih sjïăd ă hole hoort bï fuuăr. Rjinn Kïăn waq Qaantje tjini, acăs hesji sjæ brjïh ăn vï. Nuuirj ă xuăli Balăr Beemănn co rŏ lehidj onn, hooc sjee estjæx na qookerje, acăs nă sjgeeăli, acăs ănj ær tjini ee. _Well_; vï ææn ïen ăwaain ec Balăr Beemann acăs rjinnju taricerææxt cur bee ăn maq eki ă warahu ăn t-æherj woor. Xoi sjee ănsjin in ă _confinement_ ï, fwatjïs co ræhi anj ær dææ xooirj, acăs ee feen ă veeuv lee vïa eki; acăs sjee ăn _companion_ eki, _dummy_ mra̧a̧. D’aac Mananaan buui co Kïan waq Qaantje—clas erj bih ă luqett sjee la̧a̧u erj fwosceltj acăs dridj nă jeei. Vï sjee c’ ouărq erj Balăr Beemann ă çol co djï ăn tjæx-sjo donnj ïĕn lee bïa eki; acăs xuuă ’sjee feen nă jeei co djï ăn tjæx; acăs loc sjæ la̧a̧u erj ăn clas, acăs doscĕl ăn dorăs; njï wuuirj sjee æx ăn vertj wan onn. Rjinn sjee tjinni çoofwe. Vï sjee tjææxt onn erjïu, cur qasu dinĕ qlanne orhi. Vï sjee col ec imææxt ansjin nuuirj ă rucu ă paasjdje. Xuuă sjee cŏ djï ăn rjï acăs duuĕrtt sjee lesj cŏ coihitt sjee imæxt. “Tige n imæhă?” er sjesjăn. “Taa, djeerji mælhoo çam oo hænik mee in ăn ilaan-sjo. Qoihi mee imæxt.” “Kee an mælhu ee?” er sjesjan. “Qasu dine xlanne orrăm.”

Vï bertj waq çoo erj ăn ilaan elĕ fjoolăm drïaxta. Hænik sjïăd ă waljĕ erj xuuirtj ec ăn æherj. “Æherj” ers ă fær aqu, “xirji dŏ sjgeeăli, dŏ qookerjĕ acăs d’ ær tjinu dŏ haai feric ort.” Vï Kïăn waq Qaantje c eesjtjæxt çaa rææitj, xuuă sjee cŏ djï ăn ïĕn Walăr Beemann, acăs dj’ ini sjee ăn sjgeeăl dih ă d’inisj ă drïhaar. “_Well!_” er sjisje, “taa sjee ăn am acăd ă veeh c’imææxt anisj. Sjin ï, qruuăxt erj ă walle, buuărax ăn clasje, acăs beei ăn çlas xoo luuă læt; acăs toor læt ăn paasjdje.” Dj imi sjee acăs ănuuirj ă hænik sjee co djï ăn _spot_ ă xirj Mananaan ămax ee vï Mananaan onn erj ă _spot_. “Bï estih ins a xoræx” ers ă Mananaan; “acăs djaan djefirj, nææ baaihi Balăr Beemann sjinn maa hig lesj ee; ææx is muu ăn drïăxtă taa acamsă naa ege,” ers ă Mananaan Bwï waq ă Ljirj. Lljeem sjee estjæx ins ă xorăx acăs lljeem ăn çlas estjæx xoo lluuă lesj. Lljæn Balăr Beemann ïăd, acăs hooc sjee ăn ærige in ă stirm, rive acăs nă jeei: njï rjinn Mananaan ææx ă la̧a̧u ă hïnu amax acăs rjinn sjee ăn ærige kuun. Lljæs Balăr ăn ærige rive, duul lee co nuuihitt sjee ïăd; ææx xoih Mananaan amax qlox acăs xirj sjee es ăn ærige.

“Nisj, ă Hhjïan waq Qaantje, tææ tuu slaan, saawalti ins ă walje; acăs keeărd ă verhis tuu ljom erj ă hon?”

“Njïl dædi acăm lee toortj ditj ææx ă paasjdje acăs nji rææhimwidj ă djaanu çaa llje çe, ææx verhim çitj ĕlig ee.”

“Tææ mee bwïăx ditj: sjin ee ăn rud ă vï mee ïări. Njï veei eeăn cæsjkiăx ins ă doun qoo maih lesj,” ers ă Mananaan.

Hooc sjee suuăs lee klæs luu acăs cæsjqu ee. Sjee ăn tænim ă waasjtje Mananaan erj, ă Doll Daana. Vï sjee acăs Mananaan laa amwihj erj ăn ærige, acăs hænik sjïăd _fleet_ Walăr Beemănn ă sjoolu.

Xirj Doll Daană faainnje, erj a huul, acăs hænik sjee ăn t-æher moor erj ă _deck_, a spasjdooræxt. Njï rou ’s ege cur bee ee ăn t-æher moor. Losjk sjee lesj _dart_ es ă fooqă acăs warĕ sjee ee. Vï ăn tærăcerææxt _fulfil_-aaltji ănsjin.

BRJEEĂXT ĂN DOONJ.

_Dialect of Glencolumkille, co. Donegal._

Vi rjï ănsjin acăs njï roo egĕ æx ăn maq ăwaain. Vï sjee ’mwih ă sjelig. Vï sjee col hæært nă relig. Vï kærher ins ă relig acăs qorp aqu. Vï feeăx erj ă xorp. Xuui maq rjï estjæx. Dj’ esă sjee cŏdjee vï orhu. Ers ă fær “Tææ feeăxă oinnjĕ erj ănj ’ær ă tææ maru. Nïl mee sææsta qorp ă xor, cŏ nnjææli çææ waq tææ ănsjŏ cŏ nnjïŏli sjeeăd nă feeăxă.” “Nil sjinn ææbŭlt ă nnjïŏl” ers ă fær aqu. “Tææ quuig font oimsă” ers ă maq ă rjï. “Veerhi mee çïv ee erj ă qorp ă xor.” Huc sjee çooif na quuig font. Qwirju ăn qorp. Dj ’imi maq ă rjï nă helig. Xuuă sjee ă walje trænoonă. Madjin laar nă waarăx vï sjnææxt ann. Xuuă sjee ămax ă helig erj ă tjrææxtă. Warĕ sjee prjeeăxaan duh. Hæs sjee nă hjonn acăs d’ ouĕr sjee erj. Duur sjee n intjin heen nææx boositt sjee væn ă xïĕ æx ă væn ă meeu ă kinn qoo duh lee kletj anj eein, noo qrækonn qoo gæl lesj ă tjrææxtă, gruuie qoo djærăc lesj ăn il. Hæne sjee ă walje. Laarnă waarăx nuuirj ă dj eerji sjee njï sjee heen acăs dj imi sjee lesj cŏ waadd sjee ăn væn-sjo. Nuuirj ă vï sjee sjuul lesj tæmăl, qæsu buuăxoll ruuă doo. Væni ă buuăxŏll doo. Dj esă sjee qææd ă vï sjee col. Dj inisj maq ă rjï doo çŏ ră sjee col cŏ vekitt sjee ăn ouĕrq ăwaain erj ă væn sjin. “’S fæær misj’ æsdoo” ers a buuăxol ruuă: “Codjee ăn tuu-ărăsdăl vees tuu ïări?” “Lljæh ă sïræhæmwidj konn laa acăs blïĕn.” Hjuul ă vertj lljoofwĕ cŏ roo ’n træænoon’ ann. Ers ăn fær ruuă “tææ fær mwintjĕræx duusă nă xooni ’s ă xillj-sjŏ hïs. Fan his’ ănsjŏ cŏ dj ige misje nïs.” Xuui ăn fær ruuă sjïs cŏ tjæx ăn æhi. Vï ăn faahăx nă hïe erj qahirj ec ăn tjini. “Onkĕl jïlisj” ers ăn fær ruuă “mar sjoo tææ tuu?” “Sjææ çine wintjerje jïlisj; cŏdjee tææ tjææxt orrăm?”

Ers ăn fær ruuă “Rjï ăn Doon hirj woor-wantjrææt tjææxt nuuăs ănsjin lee dŏ waruĕ. Coo ă walăx ă hileshuu.” (?) “Tææ tjææx ïĕrennj oim mwïh ănsjŏ. Clasææl mee stjæx ann.” Clasææl sjee ăn fær estjæx. Xuuă sjee insjerj ă woisjter. Huc sjee ă woisjter huuas cŏ tjæx ăn æhi. Rinn sjee roi ă supæær. Xuuă sjeeăd ă llïĕ.

Sjee ăn jeemnæx vï ec ăn æhăx erj madjin “Woscel ïăd.” Xuui ă fær ruuă insjerj. Dj esă sjee cŏdjee vï erj? “Tææ mee xooirj ă veeh reei lesj ăn oqrăs. Lig ămax es sjo mee klisju.” (?) “Njï liki mee ’max huu” ers ă fær ruuă co nj insji tuu duh qou’l ă qlooxă dorăxă.” “Sjin rud næx n’ insji mee don ’ine cŏ brææ.” “_Well!_ maa’s fæær læt căn insje noo veeh ănsjin co waa tuu baas.”

“Ol ă ră mee nïs fwidj ann, tææ sjee qroxt in ă lljeehidd-sjŏ _room_.”

“Tææ ’s oimsă” ers ă fær ruuă, “qou’l sjee; bï hise ănsjin ætts tol læt.” Nuuirj ă xooli ăn fahax næx wïtt sjee ămax, huc sjee lljeem ’max edjirj çææ ronqă don tjæx ïărenj. Rinnju çææ lljeh doo. Hitj lljæh ămwih acăs lljæh estih. Xuui ă fær ruuă cŏ tjæx ăn æhi. Rinn sjee reei ă mrikwast. Huc sjee lljoofwe nnjært ooirj acăs ærigidj;—çææ jæræn acas çææ jïŏlledj. Dj imi sjeeăd lljoofwe co ro ’n trænoon’ ann, co d’æni sjeeăd estjæx ă collj elĕ.

[In this wood is another giant, from whom in the same fashion he obtains the “broocă sjlouănă”; and then they go on to another wood, in which is another giant, from whom they obtain the “qelev solaste.”]

“Nisj” ers an fær ruuă, lee nă woisjter “bïmwidj ă tjæxt ă welje: tææ ăr sææih oinnj. Nææ coo ăn tasi nïs fwidje. Væn ă wil tuu tærentj orhi—nïl æn xrænn ins ă xollj næx wil konn dine qroxt erj, æx æn qrænn ăwaain tææ fwirjææxt lee dŏ hjonn-să. Pilamwidj ă walje” ers ă fær ruuă. “Njï rææhe mee ă walje xïĕ” ers ă maq ă rjï “co veki mee ’n ouĕrq ăwaain erj ă væn sjin.”

Xo sjeeăd ăn tasi co djæhi sjæd (co) tjæx ă rjï. Rinn ăn rjï fwaruætje woor rive. Claq sjeeăd ăn ïneerj. Xa sjeeăd ăn ïh ec ool acăs lee _sport_. Nuuirj ă vï sjïăd nă sïĕ ec nă supæær hæne sjisj ănuuăs ă tjæx baar. Vï ăn konn qoo duh lee etje ănj eein, qrækon qoo gæl lesj ă tjrææxtă acăs cruuïe qoo djærăc lesj ăn il. Hæne sjï æd lljoofwe ’n ææitj ă ră sjeeăd ec ïhĕ. Xa sjï qïăr insjerj. Duur sjï lesj mar meeu qïărsăn egĕ lee toortj dih maarăx co mwinett sjï ăn konn dih. Ruc sjee erj ă xïăr. Xor sjee sjïs in ă fooq’i. Nuuirj ă vï sjeeăd ă col ă llïĕ, ers ăn fær ruuă lesj “ouărq ă wil ă xïăr oiăd.” Xor sjee veeur in ă fooqă.

Njï ro ăn xïăr ege. Hilh nă djooră. “Truuă nær ă (c)laqĕ mee dŏ xoorlje, nuuirj a dj ïăr tuu orram pillju welje.” “Beedjirj co wïmisj buui ălig erj” ers ă fær ruuă. “Vï sjee ă vlandăr cŏ wuuirj sjee co llï ee. Nuuirj ă xirj ă fær ruuă ă llï ee xor sjee erj ă qlooxă dorraxă. Huc sjee lesj nă broocă sjlouănă, acăs ă qelĕv salăstĕ. Xo sjee ămax acăs hæs sjee ’s ă _wack-yard_. Hæne sjisj’ amax. Rinn sjï sjïs erj ăn ærige. Hæne sjï æd lesj ăn ærigĕ. Xa sjï blïăsq es ă fooqă. Rinn sjï baad dih. Xo sjï stjæx s ă waad. Wuuil sjï ’c imăru lee cææ fædĕl, co d’æne sjï sjtjæx erj ăn ilææn vï ins ăn ærige. Vï fæhăx moor erj ă xladăx. “Wil dædi læt huum ănoxt?” “Nïl” er sjisje, “æx beei sjee ’s ăn ïh maarăx ljom. Tææ maq rjï Eerinnĕ ’noxt oim. Beei sjee ljom insj’ ortsă maarăx.”

Xuuă sjeeăd nă tïă; “Sjoudj qïăr huc misje çoosăn noxt. Tææ sjï hisï.” D’æscel ă fæhax qooră. D’ aac sjee ăn xïăr erj hoonj ă xooră. Vï ăn fær ruuă ă hæsu erj konn nă xooră. Nuuirj ă d’ aac ăn faahăx ăn xïăr ins ă xooră ruc ă fær ruu’ orhi nuu cur xŏ sjee nă fooq’ï. Vï ăn tjæx laan cooirj. Xŏ sjï blïe nă ncooirj cur vlï sjï tjrïăn muunj acăs folĕ. Rinn sjï reei ă supæær. Claq sjeeăd ă _stuff_ sjin. Hærnă fahăx ege kleeŏrsi ïarĕnnj acăs qrækon laarje baannje. Llï sjeeăd ansjin cŏ madjin.

Nuuirj ă hænik ăn laa, dj eerji sjisje acăs dj imi sjï tærentj erj ăn ærigĕ. Lljæn ă fær ruua ï. Nuuirj ă xŏ sjï æd lesj ă waad xor sjï ăn baad erj ăn isjgĕ. Xuuă sjï heen estjæx inti. Lljæn ă fær ruua ï erj ăn ærige. Vï sjee sjkeetææl insj’ orhi lesj ă qlev salăstă. Njï roo ’s egĕ codjee vï ă flehu. Nuuirj ă xo sjïăd æd lesj ă walje xuui ă fær ruuă insjerj ă woisjter. Dj esi sjee ră sjee nă xollu. Duurtj maq ă rjï næx roo. “Hææwăl misje dŏ hjonn ănoxt. Sjoudj ă xïr. Qwirj in dŏ fooq’ ï.” Xor sjee ăn xïr in ă fooqă. Xuui ăn fær ruuă ă llïe. Nuuirj ă vï ăn brikwastă reei erj madjin _ring_-ææl ăn _bell_. Dj eerji sjeeăd acăs njï sjeeăd ïăd heen. Nuuirj ă vï sjeeăd claqu mrikwastă hæni sjisj’ ănuuăs ăn tjæx baar. “Wil ă xïr oiăd huc misj ĕreeirj?” Xor sjee veer in ă fooqă. Xă sjee ăn xïr insj orhi. Nuuirj ă hæne sjï co roo ăn xïr lee faail egĕ, hæne sjï hæært lee _sweep_ awaain. Vrjisj sjï lljæh ă vï erj ă taabĕlĕ. “Tææ tjrïăn don ïne bontj oiăm” ers ă maq rjï Eerinne. “Tææ” ers ăn rjï. “’S tuu ăn cæsjkiăx is fæær ă hænik in mŏ hï erjïu.”

Xo sjeeăd ă helig ăn laa sjin. Nuuirj ă hæni sjeeăd a walje vï sjeeăd djænu grinn acăs qodjæætă cŏ d’ænik æm supæærĕ. Nuuirj a vï sjeeăd claqu supæær hænik ă væn vrjee æd lljoofwe. Xa sji sjisuur insjerj. “Mar roo’sj oiăd lee toortj duuh maarăx beei dŏ hjonn oiăm.” Ruc sjee erj a tj-isuur. Xirj sjee na fooq ee. Nuuirj ă vï sjeeăd ă col ă llïĕ “ouĕrq” ers ă fær ruuă lee na woisjter “wil ă sjisuur oiăd.” “Nïl” ers ă moisjter. “S dæn ă halj tuu ee.” Xo sjee ă x)ïnu. Vï ’n fær ruuă ă vlandăr cŏ wuuirj sjee llï ee. Nuuirj ă xollĕ sjee, xuui ă fær ruuă ămax. Xor sjee erj ă qlooxă dorrăxă acăs nă Broocă sjlouĕnĕ, acăs huc sjee qelev salăste.

[The visit to the giant in the island is repeated, the red man bringing back the scissors as the comb.]

Nuuirj ă vï an brikwasta reei hæne sjï nuuăs ăn tjæx waar. Vï sjï flox, baaitjï. Djesă sjï dih ro ’n sjisuur ege lee toortj dïh. Xor sjee ă veer in ă fooqă, xa sjee insj’ orhi ăn sjisuur. Huc sjï ăn _sweep_ awaain, njïr aac sjï grim _delf_ erj ă taabele nær vrjisj sjï lee mïhæsu. Duurtj maq ă rjï cŏ roo çææ djrïĕn ăn ïnĕ bontj enjuh egĕ. “Tææ” ers ă rjï “acăs tææ huul oiăm co mwinĕ tuu’ lig ï: tææ misje torsaail lehi.”

Xa sjeeăd ă laa sjin ă sjelig, cŏ d’ænik ăn ïhĕ. Nuuirj ă vï ă supæær reei, hæne sjisj’ anuuăs lee _flight_. “Mar roo nă pushini djerinææhă fooqăs misj’ anoxt, beei dŏ hjonn oiăm.” “S deli duusă” ers ă maq ă rjï, “fis ă veeh oimsă codjee nă pushini djerinææhă fooqăs tise.” Vï sjee cŏ buuerhĕ næx roos ege codjee jæænitt sjee. Vï ’n fær ruuă dæ vlandăr cŏ wuuirj sjee nă llï ee.

[The red man goes with the cloak, &c., as before, and follows her to the island.]

Nuuirj ă xo sjï ă djirj erj ăn ilææn, vï ăn fahăx ă buuĕrfi erj ă xladăx. “Wil dædi læt insj’ orram?” ers ăn fahăx. “Njï huuri mee ăn dæh xï insj ort. Lig tuu erj sjuul ă xïr. Lig tuu erj sjuul ă sjisuur. Vï ăn dææ qidj egĕ lee toort duuh erj madjin. Xirj misje gæs anoxt erj næx mïĕn egĕ lee toortj duuh. Sjin ï nă pusjini djerinææha fookinj ănoxt acăs sjin hisĕ.”

Xo sjï nă vlïĕ nă ncooirj. Wuun tjrïĕn fală acăs tjrïĕn muunj. Rinn sjï reei nă hupæære. Dj ïh sjeeăd acăs ool sjeeăd ă sææih doo. Fuuirj sjee qleeŏrsă ïărenj, qrækon laairje baannje. Llï sjeeăd ansjin co madjin. Nuuirj ă hænik ăn laa laarnă waarăx fooc sjisje tjrï h-uuirje. “Sjin ï nă pusjini djerinææhă fooqas misje. Njï veei sjeeăd sjin egĕ lee toort ditj maarăx.”

Dj eerji sjï acăs dj imi sjï. Nuuirj ă xo sjï ’max, sjgib ă fær ruuă konn don æhăx. Xor sjee gæd in ă xluĕsj. Xa sjee erj ă çooălenj ee. Vï sjee erj ă xladăx qoo luuă leehi-sje. Xo sjisj estjæx ’s ă waad. Vï sjï tærentj erj ă walje. Xo sjesjăn amax na djeei. Erj veeăd ă lljox sjee ï nă hïhe hele lljox sjee çææ huuirj qoo moor ăn ïhĕ sjĕ. Xuuă sjeeăd ă walje. Xuui ă fær ruuă ’n ææitj ă roo ’n moisjter ă llïĕ. “Will tuu dŏ xollu, ă woisjter?” “Nïl mee anisj” ers ă maq ă rjï. “Sjoudj nă pusjini djerinææhă fooc sjisj nă reeirj, acăs, lljooca, ba cræænă nă pusjini ïad ec _lady_ ă veeh boocu.” Ruc sjee erj ă konn acăs xa sjee fwï ’n lljæbwi ee. Nuuirj ă vï ’n brikwasta reei erj madjin hæne sjisj’ ănuuăs lee _flight_. Djesă sjï çih “qoul nă pusjini djerinææhă fooc misj ĕreejrj?” Xor sjee la̧a̧u hærisj fwï ’n lljæbwi. Ruc sjee ăn konn ăn æhi. Xa sjee ’nonns nă qasi. Nuuirj ă hæne sjisje cŏ roo faahax maru, huc sjï _sweep_ awaain; njïr aac sjï taabĕl noo qahirj, noo dædi ă roo erj ă taabele næx djær sjï smolocă dih, vï sjï qoo mïhæstă. “Tææ do nïn ălig buntj oiăm” ers ă maq ă rjï. “Tææ: acăs is tuu ăn cæsjkiăx ’s fæær ă hænik foo mŏ hæx erjïu.”

“_Well!_ ræhæmwidj ă helig enjuh” ers ăn fær ruuă. Xuuă sjeeăd ă helig. Win ăn fær ruuă tjrï buĕltjïn. Rinn sjee tjrï huusjtĕ. Nuuirj ă xŏ sjeeăd ă walje “nisj” ers ă fær ruuă, “tuurj amax do nïn ănsjo.” Huc ă rjï ămax ï. “Kæncel ă qos acăs ă la̧a̧we” ers a fær ruua: “faac na llï ănsjo ï.” D’aac ă rjï nă llï ï. Huc ăn fær ruuă suustje don rjï acas konn dŏ woisjter. “Buuil hise ăn hjeeăd wullje.” Wuuil ă rjï ăn hjeeăd wullje. Vï ăn tjruur ă buuĕlu erj feg tæmăl fadă. Djimi bloirje tjinu ’max æs ă beeăl. “Buuelici liv tjilu. Tææ tjilu intji.” Wuuil sjeeăd lljoofwe cur imi kræp elĕ tjinu ’max æs ă beeăl. “Buuĕlici lif” ers ă fær ruuă. “Tææ konn elĕ intji?” Wuuel sjeeăd lljoofwe cur imi ăn tjrïwe konn. “Nææ buuelici nïs mo̧o̧” ers ăn fær ruua. “Sjin tjrï jïăwăl djimi esjtje. Scïlici ï ’nisj. Tææ sjï qoo saqirj lee æn væn erj a walje.” Scïl sjeeăd ï acăs xor sjeeăd ă llï ï. Vï sjï torsaax ă njeei ă buuelu.

Fuui ă soiert meesje acăs kleerjăx qloihje. Poosu ’n laanawin. D’æn ă fær ruua aqu laa acas blïĕn. Ruucu maq ooc çooif. Nuuirj ă vï ăn laa acăs blïĕn ’stih duuertj ă fær ruua—cur vïhidj lesj ă veeh ’c imææxt. “Nïl is oims” ers ă maq ă rjï cŏdjee jæænhăs misje dŏ jeei. “Oh! njï vee mwillj ort” ers ă fær ruuă; “is qooirj ăn saqru.” “S qooirj” ers a maq ă rjï. “Xoo (?) sjee çææ lljeh dææ wuuirj sjee ă d’æsdoo sjee ee.” “Veerhi mee ăn paaisjdje ălig ’itj” ers ă maq ă rjï: “tææ truui orm ă col ă jæru.” “Njï claqi mee ălig ee” ers ă fær ruuă: “njï claqi mee æx mo warăcă.” Ruc maq a rjï erj ă sjgon (? sjgian) col a jæru. “_Stop_ dŏ laau” ers ă fær ruuă. “Vï tuu heen fuuăscoltjæx. A qiminæx læt ă laa vï tuu col hært lesj ă relig. Vï kærherj ins ă relig acăs qorp ooqu, acăs ïăd ec ærigæl. Vï feeăx erj a xorp. Njï roo sjeeăd sæstă ă xorp ă xor co nnjïălti nă feeăxă. Vï quuig font oiădsă. Huc tuu çooif ee ă xorp a xor. Misje vï ’s ă xooră ăn laa sjin. Nuuirj ă hæne misje hise col ă konn ă _journey_ hænik misj insj ort lee do hææwăl, măr vï tuu heen qoo moih sjin. Pronam do faaisjdj’ ort acăs dŏ xidj ærigidj. Slaan acăs bænææt oiăd. Njï eki tuu æn ouărq orramsă nïs mo̧o̧.”

[_Note._—English words or parts of words retaining their pronunciation are in italics.]

_NOTES._

The spelling of the names in the English is English phonetic,
with the exception of the use of J to denote slenderness or
softness of the consonant. English readers are now familiar
with a similar use of J in the Norwegian name Björnsen. It is
equivalent to the consonantal use of English y.

Page 1. The “Gloss Gavlen” means simply the Grey (cow) of the Smith, gavlen being properly gavnen—(gaibhnenn) according to O’Donovan. The first part of the story has no real connection with the second. The Gobaun seer, meaning the Smith-builder, was the famous mythic architect, to whom was attributed the erection of various actual edifices,—of which I can only recall at present the Round Tower of Killala. The latter part of the narrative is a genuine folk-reminiscence of some of the most striking characters and events in the oldest Irish mythology. Balar of the Blows (Bemann) was the leader of the Fohmors, the powers of darkness and evil, in the great battle of the northern Moytura, fought near Sligo, in which they were defeated by Lugh, Balar’s daughter’s son, also called Ildauna—that is “of all arts and sciences,” the Irish Apollo, or culture-hero. Of this name, the appellation of Dul Dauna, the Blind-Stubborn, here bestowed on him, appears to be a curious corruption. It is interesting to compare the whole of this account with that found by O’Donovan in Donegal. (See note to Annals of the Four Masters—year of the world 3330.) It contains no reference to the education by Mananaun Mac Lir, the sea-god. It represents the Gloss as originally the property of the smith, Gavida, which appears to be correct.

Page 5. “Cruahaun of Connaught,” in the modern county of Roscommon, being separated from the nearest part of Ulster by the county of Leitrim, we gain an idea of what a formidable task it was to herd the Gloss. There is no mention of Ulster in the Irish version, but McGinty told me the lake was in that province.

Page 6. “The Kingdoms of the Cold.” This indicates a different geography from that of the opening, in which Balar is located in the East. It seems to identify Balar with the powers of the cold. For a full development of this idea, see the writer’s poem “Moytura,” in “Fand and Other Poems.”

Page 10. “Morraha.” The title is curious. Binn Edin has not been identified (it can hardly be Binn Eadar, Howth), though the mention at the end of “Bioultach” places it on the coast. It occurs in other tales, Connal Gulban for example, and it seems to be famous in this kind of literature. The present tale has, so far as I know, only one printed variant, the “Fis fá an aon Sgeul” of Kennedy, not so interesting, I think, as this. The story having two parts, I have ventured to give the best version of each from two different narrators. Substantially both are alike throughout. In the Renvyle version of the opening, the hero is Brian Boru, the victor of Clontarf, and the enchanter is named Flauheen O’Neill. The woman is Flauheen’s wife. The tone is prosy, all the picturesque incidents relating to the horse being absent. The “story,” however, is better told than in the Achill version, except as regards one point, which supplies the wife’s motive for treating her husband as she did. He had found in the woods a wild-man (geltj), whom he took into his house, cleaned and shaved, and made a servant of. This man became his wife’s lover, and on his detecting the fact, she struck him with a rod of druidism, turning him first into a kitchen block, continually kicked and maltreated. I should have stated in the text that the brief conversation preceding the “story” is from the Achill version. Anshgayliacht, the name of the one-eyed monster who stole the children, was the brother of the champion who came in the currach. This name is strange, as it is simply an sjgeeliaxt—_i.e._, “the story telling.” In the Renvyle version of the conclusion, the hero baffles the enchanter, by pretending to notice some writing on the sword after he has given it to Flauheen. The latter could not read, and gives it back to the other, who immediately cuts his head off. The Achill pretext for not giving the sword up at all,—“though I promised to bring it as far as you, I did not promise to bring it for you,”—is a favourite device in the island. It will be found again in “King Mananaun,” and twice in “The King who had Twelve Sons.”

The word translated “thistles” is snæhĕdi, which usually means needles. The narrator said it meant thistles here.

Page 14. The bells rang: cf.,

“And when in Salamanca’s cave
Him listed his magic wand to wave,
The bells would ring in Notre Dame.”

Page 15. Diversion. The word was so pronounced—not divarsion.

Page 31. “The Ghost and his Wives.” The word translated churchyard usually means “church” only.

Page 35. I know of no parallel to this story as a whole. “Bioultach” probably means “Yellow-hair”—“bwï-oltax.” Is he a solar hero? There is true painting of certain sides of Irish character in this tale; the mutual affection of the brothers, their indifference to larger interests, must be noted.

Page 50. This sea-run is a fairly good specimen of this style of composition. There are several words I am unable to translate. As regards the style of the runs in general in Celtic tales, I am unable to accept the view that it has anything in common with the well-known corrupt literary Irish style. There is this fundamental difference between the two. The bombast and exaggeration of the written literature is seriously given, seriously meant. In the “runs” of the oral literature the whole description is obviously fantastic, and meant for such. Popular taste would never have endured the laboured exaggeration which the pedantry of half-educated scribe composers thought so fine; nor would the outrageous accumulation of alliterative adjectives, in which such persons indulged, have been possible of invention by oral reciters on the spur of the moment. The first of the runs here given shows, by the unintelligibility of part of it, that the narrator was not inventing, but merely giving an imperfect version to the best of his ability. He did not know the meaning of half of it. I now add the Irish of this run, and for the purposes of comparison two others:—

“Hoog sjïĕd suuăs sjoolti mooră, bă qoodjăxi, baa qoodjăxi, maan-jærăcă, mar ă craainj, njïr aaci sjee tjee-tjïrjĕ căn talhu naa hælămoodj căn rooiv lesj nă heegeeălti (?), n’ aaitj ă ră ro̧o̧ntji, mïălti mooră, llopĭdaan acas llapidaan, behi vĕăcă bee-il djærăcă nă farigĕ ec eirji erj wuuesj acăs erj wasj ă wadje ra̧a̧we ă djïĕna kool sjï acăs keluaj çooif feen; cur eirji ăn ærigĕ nă tonni tjreeănă, sa̧a̧v lee sjï, sa̧a̧v lee cloori cafi; lee meedj ăcăs lee bjrææxtje vï ă llonc ă sjoolu, cur sjtrïqaalj sjï quuăn ăcăs’qalhu ĕstjæx cŏ Krjih-nă-Sorrăxă.”

The next is from “King Mananaun” (see page 67):—

“hlljeeăs sjï llonc woor-woxtăx woor-waxtăx cur aardi sjï sjoolti mooră bă qoodjăxĕ baa qoodăxĕ xoo fadă xoo haardj lee barră nă crænn, nær aac sjï tjee-tjïrje can brjisju, madje ra̧a̧we căn reebu, llopidaan acăs llapidaan ec mïalti bĕăcă, mialti mooră nă farige hïr tjææxt enjïr erj qos acăs bos a wadje ra̧a̧we, cŏ duc sjï daa djrïĕn erj sjuul ăcăs tjrïĕn sqoodj, cŏ ră nă æsconi ruuæædăli, quur enjïăxtăr doo ăcăs cannjiv in uuăxtar, cŏ meerhitt sjï erj ă çï ruuă Wart dŏ vï rimpi acăs năx meerhu ăn çi ruuă Wart vï nă djeei orhi; acăs dŏ vï sjï sjoolu nï mï hol dŏ hænik sjï tælu.”

The third is from “The Champion of the Red Belt” (see page 86):—

“Xŏ sjee amax ă hætă; rinn sjee llonc dŏ hæta, qrænn dŏ wată, brată dŏ ljeeni. Hooc sjee hoolti, bŏqĕdje, baqĕdje, cŏ baar nă crann djïrjĕ. Huc sjee oi-i erj mwirj acăs djerju lee tjïrj, njïr aac sjee tjee-tjïrje căn brjisju noo qaabĕlĕ căn reebu, cŏ ră sjee ’c ïsjtjæxt lee sjeetjvææx nă ro̧o̧ntji ăcăs geemnæx nă beesjtji mooră, lee sjcrædi nă wilin; cŏ ro ïăsci bĕăcă beelj djæric nă færige ec eerji erj hosj acăs erj wasj ă wadje raawĕ, cur sjtjuur sjïăd seeăx stjæx fwï xuuirtj acăs xahirj rjï Faahinj.”

Page 48. “The molten torrent,” hile nă rïăxăn. The translation is conjectural. From the context here something fiery is evidently meant. The expression occurs again in “King Mananaun” (page 74), where the narrator thought something very cold was intended.

Page 64. “King Mananaun.” The opening resembles a story of Curtin’s. Mananaun, the sea-god, was a great enchanter; hence, no doubt, the name of the King in this story.

Page 67. “The sea-run.” See note to “Bioultach.”

Page 68. “Faugauns and Blue-Men.” The first word appears to mean outlaws, and to be the origin of the word “fachan” in the Scotch stories, which has hitherto not been understood. Does Blue-men mean men stained with woad?

Page 74. “Nă riaxan.” See note to “Bioultach,” page 48.

Page 76. “Blauheen Blöye” appears to mean simply “smooth blossom.” “The Amber Bracelet.” Amber is not found in Ireland. It was formerly believed to have magical qualities. Pliny says, “True it is that a collar of amber beads worn about the necks of young infants is a singular preservative to them against secret poison, and a counter-charm for witchcraft and sorceries”; also, “The price of a small figure of it exceeds that of a healthy living slave.”

Page 77. “Owas.” The “owas” must be regarded as a distinct personage in Gaelic mythology. They appear to have been human in shape at least. They are met with several times in the Scotch stories, where the word is written “amhus,” pronounced “owas.” They have sometimes definite names, of which an example occurs a little farther on.

Page 78. “Criers” (of the kitchen). I am not sure this is the meaning of “clafirj.” It may mean “gluttons.”

Page 82. This makes the fourth time the hero is killed and revived.

Page 86. “The Champion of the Red Belt.” The general tone of the story is wild and barbarous.

Page 86. “Providence.” The Irish is “an rjï,” a word frequently used in these Donegal stories in this sense.

Page 87. Lochlann is usually supposed to mean Denmark, but is by some held to be a purely mythical country.

Page 91. Another sea-run. See note to Bioultach.

Page 95. “Yard round the court.” Yard is the word in the original; it means wall apparently. There are numbers of English words in this story, such as strain (of music), bride, cupboard, apron, destroy, alley playing ball, slaughter.

Page 100. The description of the hag corresponds closely with that of the “fachan” in the Scotch stories. It is interesting to compare the brief popular description of this monster with the laboured style of the written literature, as may be seen in the description of the hags in the “Cave of Keshcorran,” Mr. S. H. O’Grady’s “Silva Gadelica.”

Page 106. The story of “Jack” has been given as a sample of the humorous story—quite different, it will be seen, from the style of Kennedy, or of any writer who uses “broken English.” I have many others. I do not understand how they come so often to be called “Jack,” as they are, in the Irish.

Page 107. Cleeve, an Irish word for basket.

Page 115. “The Servant of Poverty.” This curious story, with its prosaic details, is chiefly remarkable for the variant it contains of the Cymbeline legend. A version much wilder than this is found in Campbell’s “The Chest.” The tale is thus seen to belong to the three kingdoms. A parallel to the opening incident of the betrothal of two children born at the same time will be found in the story of “The Wicked Greek Girl,” given in Latin in “Silva Gadelica.” Mr. O’Grady says it is not an Irish story.

Page 121. “Collegian.” This is the word in the original, and seems to mean “a swell.” The three sayings about bridge, house, and nag, also occur in Campbell’s “Baillie Lunnain.”

Page 125. “Covered the money”—_i.e._, with her hand: accepted it.

Page 139. “The Son of the King of Prussia.” Perhaps the most remarkable thing in this story is the name. I think if the tale had been written down twenty-five years ago, the name would not have occurred. I believe it to be not older than 1870. In that year Prussia was intensely unpopular in Ireland, owing to the sympathy felt for France; and some one, perhaps M’Grale himself, took this method of showing his dislike for the former country by substituting this name for some other previously borne by the coward.

Page 149. “Crooked-mouth” is simply “Camp-bell,” the order of adjective and noun—Beeăl-qam—being reversed.

Page 152. “Bird-Serpent”—unique, I think.

Page 155. “Beauty of the World.” There is nothing new except in some of the details in this story; but the compact energy of the style is surely remarkable as coming from an unlettered peasant of eighty. Part of the story corresponds with the King of Ireland’s son (Hyde’s Collection). There is also a parallel in Curtin. With regard to the red, white, and black incident, it is worth noting that all primitive ideas of beauty depend on colour alone.

Page 156. “The red-haired young man” ought perhaps to be “the strong young man,” in accordance with Mr. O’Grady’s view.

Pages 160 and 164. “Part of milk and part of blood.” The full meaning is “one-third of milk, one-third of blood, and one-third of urine.”

Page 168. What the meaning of this strange tale may be I cannot conjecture. It is either an allegory—the name “Grig” (gruig) signifies churlishness—or it is a fragment of a rather ghastly piece of mythology. Several things in the translation are conjectural; for the Irish is full of difficulties, as the narrator, before I began to write, warned me would be the case.

Page 172. “Cornelius” is a translation of despair. The Irish is “qornjili.”

Page 173. The word translated “hellebore” is “dææhooh.”

Page 174. This little tale has a close parallel in Grimm, which is why I have printed it. There is also a version in Kennedy.

Page 179. The end of the story is like Kennedy’s “Twelve Wild Geese,” and it has also a close parallel in Grimm. But all the earlier portion has no parallel in either.

Page 187. The names of the three brothers are a little puzzling, as “Inn” seems to be only the aspirated form—the vocative of Fionn which means fair, white; while Glégil means Clear-Bright.

Page 188. This touching tale has a curious far-away resemblance to certain classic legends. A good deal must be lost, and in consequence the long struggle of the young man with the devil has much that requires explanation. It is unique among Celtic stories.

Page 196. “The Djachwi.” I am not sure that this word is anything more than “deachmhadh,” a tithe, which has been turned into a person, the meaning being forgotten. After the briefly told Andromeda episode the story takes a quite novel turn. Its resemblance in structure, as is the case also with some of the other stories, to many a modern novel is very apparent.

Page 203. “The skin of the wild pig.” The Irish of the two last words is “mwike tuusjke.” I am doubtful as to the translation which was given by M’Ginty. In the story of the “Fate of the Children of Tuireann,” one of the tasks imposed on the three brothers is to obtain the skin of a pig having marvellous qualities, which has to be taken from the King of Greece, whose name is Tuis. There appears to be some connection.

Page 211. “The Red Pony.” The word translated pony is, in this tale, “klebisjtjïn”; in the preceding tale it is “plebisjtjïn.” Wonderful “horse-beasts” thus occur four times in this volume. In two stories it will be noted that they are merely human beings, enchanted; in the other two this is apparently not the case. The word rendered “healing water” is, in this, as in all the other stories in which it occurs, “ïqlæntj” (Donegal pron.), which literally means, “cure-health.”

Page 219. “The Nine-legged Steed.” The opening resembles a story of Curtin’s, in which, however, the stepmother acts from the motive of hate instead of, as here, from affection. The words translated “transforming caps” are “qahal” (cochal), which also means a cloak, and “qantræltje,” the translation of which is a guess. It must be inferred that of the three maidens, who came as swans, one was the nine-legged steed, another the lady in the greenawn. The third is not accounted for. “Greenawn” (grïănaan) means “sunny chamber.” In Irish tales the ladies are generally described as occupying such apartments; a more general use of the word is found on page 179.

THE END.

_Elliot Stock, 62, Paternoster Row, London._

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