Poems

GLOSSARY AND NOTES

The Pronunciation of the Irish Words.—When I wrote the greater number of these poems I had hardly considered the question seriously. I copied at times somebody's perhaps fanciful phonetic spelling, and at times the ancient spelling as I found it in some literal translation, pronouncing the words always as they were spelt. I do not suppose I would have defended this system at any time, but I do not yet know what system to adopt. The modern pronunciation, which is usually followed by those who spell the words phonetically, is certainly unlike the pronunciation of the time when classical Irish literature was written, and, so far as I know, no Irish scholar who writes in English or French has made that minute examination of the way the names come into the rhythms and measures of the old poems which can alone discover the old pronunciation. A French Celtic scholar gave me the pronunciation of a few names, and told me that Mr. Whitley Stokes had written something about the subject in German, but I am ignorant of German. If I ever learn the old pronunciation, I will revise all these poems, but at present I can only affirm that I have not treated my Irish names as badly as the mediæval writers of the stories of King Arthur treated their Welsh names.

Mythological Gods and Heroes.—I refer the reader for such names as Balor and Finn and Usheen to Lady Gregory's "Cuchulain of Muirthemne" and to her "Gods and Fighting Men."

The Ballad of Father Gilligan.—A tradition among the people of Castleisland, Kerry.

The Ballad of Father O'Hart.—This ballad is founded on the story of a certain Father O'Hart, priest of Coloony, Sligo, in the last century, as told by the present priest of Coloony in his History of Ballisodare and Kilvarnet. The robbery of the lands of Father O'Hart was a kind of robbery which occurred but rarely during the penal laws. Catholics, forbidden to own landed property, evaded the law by giving a Protestant nominal possession of their estates. There are instances on record in which poor men were nominal owners of immense estates.

The Ballad of the Foxhunter.—Founded on an incident, probably itself a Tipperary tradition, in Kickham's Knockagow.

Bell-branch.—A legendary branch whose shaking casts all men into a sleep.

The Countess Cathleen.—I found the story of the Countess Cathleen in what professed to be a collection of Irish folk-lore in an Irish newspaper some years ago. I wrote to the compiler, asking about its source, but got no answer, but have since heard that it was translated from Les Matinées de Timothè Trimm a good many years ago, and has been drifting about the Irish press ever since. Léo Lespès gives it as an Irish story, and though the editor of Folklore has kindly advertised for information, the only Christian variant I know of is a Donegal tale, given by Mr. Larminie in his West Irish Folk Tales and Romances, of a woman who goes to hell for ten years to save her husband, and stays there another ten, having been granted permission to carry away as many souls as could cling to her skirt. Léo Lespès may have added a few details, but I have no doubt of the essential antiquity of what seems to me the most impressive form of one of the supreme parables of the world. The parable came to the Greeks in the sacrifice of Alcestis, but her sacrifice was less overwhelming, less apparently irremediable. Léo Lespès tells the story as follows:—

Ce que je vais vous dire est un récit du carême Irlandais. Le boiteux, l'aveugle, le paralytique des rues de Dublin ou de Limerick, vous le diraient mieux que moi, cher lecteur, si vous alliez le leur demander, un sixpense d'argent à la main.—Il n'est pas une jeune fille catholique à laquelle on ne l'ait appris pendant les jours de préparation à la communion sainte, pas un berger des bords de la Blackwater qui ne le puisse redire à la veillée.

Il y a bien longtemps qu'il apparut tout-à-coup dans la vielle Irlande deux marchands inconnus dont personne n'avait ouï parler, et qui parlaient néanmoins avec la plus grande perfection la langue du pays. Leurs cheveux étaient noirs et ferrés avec de l'or et leurs robes d'une grande magnificence.

Tous deux semblaient avoir le même âge; ils paraissaient être des hommes de cinquante ans, car leur barbe grisonnait un peu.

Or, à cette époque, comme aujourd'hui, l'Irlande était pauvre, car le soleil avait été rare, et des récoltes presque nulles. Les indigents ne savaient à quel sainte se vouer, et la misère devenait de plus en plus terrible.

Dans l'hôtellerie où descendirent les marchands fastueux on chercha à pénétrer leurs desseins: mais ce fut en vain, ils demeurèrent silencieux et discrets.

Et pendant qu'ils demeurèrent dans l'hôtellerie, ils ne cessèrent de compter et de recompter des sacs de pièces d'or, dont la vive clarté s'apercevait à travers les vitres du logis.

Gentlemen, leur dit l'hôtesse un jour, d'où vient que vous êtes si opulents, et que, venus pour secourir la misère publique, vous ne fassiez pas de bonnes œuvres?

—Belle hôtesse, répondit l'un d'eux, nous n'avons pas voulu aller au-devant d'infortunes honorables, dans la crainte d'être trompés par des misères fictives: que la douleur frappe à la porte, nous ouvrirons.

Le lendemain, quand on sut qu'il existait deux opulents étrangers prêts à prodiguer l'or, la foule assiégea leur logis; mais les figures des gens qui en sortaient étaient bien diverses. Les uns avaient la fierté dans le regard, les autres portaient la honte au front. Les deux trafiquants achetaient des âmes pour le démon. L'âme d'un vieillard valait vingt pièces d'or, pas un penny de plus; car Satan avait eu le temps d'y former hypothèque. L'âme d'une épose en valait cinquante quand elle était jolie, ou cent quand elle était laide. L'âme d'une jeune fille se payait des prix fous: les fleurs les plus belles et les plus pures sont les plus chères.

Pendant ce temps, il existait dans la ville un ange de beauté, la comtesse Ketty O'Connor. Elle était l'idole du peuple, et la providence des indigents. Dès qu'elle eut appris que des mécréants profitaient de la misère publique pour dérober des cœurs à Dieu, elle fit appeler son majordome.

—Master Patrick, lui dit elle, combien ai-je de pièces d'or dans mon coffre?

—Cent mille.

—Combien de bijoux?

—Peur autant d'argent.

—Combien de châteux, de bois et de terres?

—Pour le double de ces sommes.

—Eh bien! Patrick, vendez tout ce qui n'est pas or et apportez-m'en le montant. Je ne veux garder à moi que ce castel et le champ qui l'entoure.

Deux jours après, les ordres de la pieuse Ketty étaient exécutés et le trésor était distribué aux pauvres au fur et à mesure de leurs besoins.

Ceci ne faisait pas le compte, dit la tradition, des commis-voyageurs du malin esprit, qui ne trouvaient plus d'âmes à acheter.

Aidés par un valet infâme, ils pénétrèrent dans la retraite de la noble dame et lui dérobèrent le reste de son trésor ... en vain lutta-t-elle de toutes ses forces pour sauver le contenu de son coffre, les larrons diaboliques furent les plus forts. Si Ketty avait eu les moyens de faire un signe de croix, ajoute la légende Irlandaise, elle les eût mis en fuite, mais ses mains étaient captives—Le larcin fut effectué. Alors les pauvres sollicitèrent en vain près de Ketty dépouillée, elle ne pouvait plus secourir leur misère;—elle les abandonnait à la tentation. Pourtant il n'y avait plus que huit jours à passer pour que les grains et lea fourrages arrivassent en abondance des pays d'Orient. Mais, huit jours, c'était un siècle: huit jours nécessitaient une somme immense pour subvenir aux exigences de la disette, et les pauvres allaient ou expirer dans les angousses de la faim, ou, reniant les saintes maximes de l'Evangile, vendre à vil prix leur âme, le plus beau présent de la munificence du Seigneur tout-puissant.

Et Ketty n'avait plus une obole, car elle avait abandonné son châteux aux malheureux.

Elle passa douze heures dans les larmes et le deuil, arrachant ses cheveux couleur de soleil et meurtrissant son sein couleur du lis: puis elle se leva résolue, animée par un vif sentiment de désespoir.

Elle se rendit chez les marchands d'âmes.

—Que voulez-vous? dirent ils.

—Vous achetez des âmes?

—Oui, un peu malgré vous, n'est ce pas, sainte aux yeux de saphir?

—Aujourd'hui je viens vous proposer un marché, reprit elle.

—Lequel?

—J'ai une âme a vendre; mais elle est chère.

—Qu'importe si elle est précieuse? l'âme, comme le diamant, s'apprécie à sa blancheur.

—C'est la mienne, dit Ketty.

Les deux envoyés de Satan tressaillirent. Leurs griffes s'allongèrent sous leurs gants de cuir; leurs yeux gris étincelèrent—l'âme, pure, immaculée, virginale de Ketty!... c'était une acquisition inappréciable.

—Gentille dame, combien voulez-vous?

—Cent cinquante mille écus d'or.

—C'est fait, dirent les marchands: et ils tendirent à Ketty un parchemin cacheté de noir, qu'elle signa en frissonnant.

La somme lui fut comptée.

Des qu'elle fut rentrée, elle dit au majordome:

—Tenez, distribuez ceci. Avec la somme que je vous donne les pauvres attendront la huitaine nécessaire et pas une de leurs âmes ne sera livrée au démon.

Puis elle s'enferma et recommanda qu'on ne vint pas la déranger.

Trois jours se passèrent; elle n'appela pas; elle ne sortit pas.

Quand on ouvrit sa porte, on la trouva raide et froide: elle était morte de douleur.

Mais la vente de cette âme si adorable dans sa charité fut déclarée nulle par le Seigneur: car elle avait sauvé ses concitoyens de la morte éternelle.

Après la huitaine, des vaisseaux nombreux amenèrent à l'Irlande affamée d'immenses provisions de grains.

La famine n'était plus possible. Quant aux marchands, ils disparurent de leur hôtellerie, sans qu'on sût jamais ce qu'ils étaient devenus.

Toutefois, les pêcheurs de la Blackwater prétendent qu'ils sont enchainés dans une prison souterraine par ordre de Lucifer jusqu'au moment où ils pourront livrer l'âme de Ketty qui leur a échappé. Je vous dis la légende telle que je la sais.

—Mais les pauvres l'ont raconté d'âge en âge et les enfants de Cork et de Dublin chantent encore la ballade dont voici les derniers couplets:—

Pour sauver les pauvres qu'elle aime

Ketty donna

Son esprit, sa croyance même:

Satan paya

Cette âme au dévoûment sublime,

En écus d'or,

Disons pour racheter son crime,

Confiteor.

Mais l'ange qui se fit coupable

Par charité

Au séjour d'amour ineffable

Est remonté.

Satan vaincu n'eut pas de prise

Sur ce cœur d'or;

Chantons sous la nef de l'église,

Confiteor.

N'est ce pas que ce récit, né de l'imagination des poètes catholiques de la verte Erin, est une véritable récit de carême?

The Countess Cathleen was acted in Dublin in 1899, with Mr. Marcus St. John and Mr. Trevor Lowe as the First and Second Demon, Mr. Valentine Grace as Shemus Rua, Master Charles Sefton as Teig, Madame San Carola as Mary, Miss Florence Farr as Aleel, Miss Anna Mather as Oona, Mr. Charles Holmes as the Herdsman, Mr. Jack Wilcox as the Gardener, Mr. Walford as a Peasant, Miss Dorothy Paget as a Spirit, Miss M. Kelly as a Peasant Woman, Mr. T.E. Wilkinson as a Servant, and Miss May Whitty as The Countess Kathleen. They had to face a very vehement opposition stirred up by a politician and a newspaper, the one accusing me in a pamphlet, the other in long articles day after day, of blasphemy because of the language of the demons or of Shemus Rua, and because I made a woman sell her soul and yet escape damnation, and of a lack of patriotism because I made Irish men and women, who, it seems, never did such a thing, sell theirs. The politician or the newspaper persuaded some forty Catholic students to sign a protest against the play, and a Cardinal, who avowed that he had not read it, to make another, and both politician and newspaper made such obvious appeals to the audience to break the peace, that a score or so of police were sent to the theatre to see that they did not. I had, however, no reason to regret the result, for the stalls, containing almost all that was distinguished in Dublin, and a gallery of artisans alike insisted on the freedom of literature.

After the performance in 1899 I added the love scene between Aleel and the Countess, and in this new form the play was revived in New York by Miss Wycherley as well as being played a good deal in England and America by amateurs. Now at last I have made a complete revision to make it suitable for performance at the Abbey Theatre. The first two scenes are almost wholly new, and throughout the play I have added or left out such passages as a stage experience of some years showed me encumbered the action; the play in its first form having been written before I knew anything of the theatre. I have left the old end, however, in the version printed in the body of this book, because the change for dramatic purposes has been made for no better reason than that audiences—even at the Abbey Theatre—are almost ignorant of Irish mythology—or because a shallow stage made the elaborate vision of armed angels upon a mountain-side impossible. The new end is particularly suited to the Abbey stage, where the stage platform can be brought out in front of the proscenium and have a flight of steps at one side up which the Angel comes, crossing towards the back of the stage at the opposite side. The principal lighting is from two arc lights in the balcony which throw their lights into the faces of the players, making footlights unnecessary. The room at Shemus Rua's house is suggested by a great grey curtain—a colour which becomes full of rich tints under the stream of light from the arcs. The two or more arches in the third scene permit the use of a gauze. The short front scene before the last is just long enough when played with incidental music to allow the scene set behind it to be changed. The play when played without interval in this way lasts a little over an hour.

The play was performed at the Abbey Theatre for the first time on December 14, 1911, Miss Maire O'Neill taking the part of the Countess, and the last scene from the going out of the Merchants was as follows:—

(MERCHANTS rush out. ALEEL crawls into the middle of the room; the twilight has fallen and gradually darkens as the scene goes on.)

ALEEL

They're rising up—they're rising through the earth,

Fat Asmodel and giddy Belial,

And all the fiends. Now they leap in the air.

But why does Hell's gate creak so? Round and round.

Hither and hither, to and fro they're running.

(He moves about as though the air was full of spirits. OONA enters.)

Crouch down, old heron, out of the blind storm.

OONA

Where is the Countess Cathleen? All this day

Her eyes were full of tears, and when for a moment

Her hand was laid upon my hand, it trembled.

And now I do not know where she is gone.

ALEEL

Cathleen has chosen other friends than us,

And they are rising through the hollow world.

Demons are out, old heron.

OONA

God guard her soul.

ALEEL

She's bartered it away this very hour,

As though we two were never in the world.

(He kneels beside her, but does not seem to hear her words. The PEASANTS return. They carry the COUNTESS CATHLEEN and lay her upon the ground before OONA and ALEEL. She lies there as if dead.)

OONA

O, that so many pitchers of rough clay

Should prosper and the porcelain break in two!

(She kisses the hands of CATHLEEN.)

A PEASANT

We were under the tree where the path turns

When she grew pale as death and fainted away.

CATHLEEN

O, hold me, and hold me tightly, for the storm

Is dragging me away.

(OONA takes her in her arms. A woman begins to wail.)

PEASANTS

Hush!

PEASANTS

Hush!

PEASANT WOMEN

Hush!

OTHER PEASANT WOMEN

Hush!

CATHLEEN (half rising)

Lay all the bags of money in a heap,

And when I am gone, old Oona, share them out

To every man and woman: judge, and give

According to their needs.

A PEASANT WOMAN

And will she give

Enough to keep my children through the dearth?

ANOTHER PEASANT WOMAN

O, Queen of Heaven, and all you blessed saints,

Let us and ours be lost, so she be shriven.

CATHLEEN

Bend down your faces, Oona and Aleel;

I gaze upon them as the swallow gazes

Upon the nest under the eave, before

She wander the loud waters. Do not weep

Too great a while, for there is many a candle

On the High Altar though one fall. Aleel,

Who sang about the dancers of the woods,

That know not the hard burden of the world,

Having but breath in their kind bodies, farewell!

And farewell, Oona, you who played with me

And bore me in your arms about the house

When I was but a child—and therefore happy,

Therefore happy even like those that dance.

The storm is in my hair and I must go.

(She dies.)

OONA

Bring me the looking-glass.

(A woman brings it to her out of inner room. OONA holds glass over the lips of CATHLEEN. All is silent for a moment, then she speaks in a half-scream.)

O, she is dead!

A PEASANT

She was the great white lily of the world.

A PEASANT

She was more beautiful than the pale stars.

AN OLD PEASANT WOMAN

The little plant I loved is broken in two.

(ALEEL takes looking-glass from OONA and flings it upon floor, so that it is broken in many pieces.)

ALEEL

I shatter you in fragments, for the face

That brimmed you up with beauty is no more;

And die, dull heart, for you that were a mirror

Are but a ball of passionate dust again!

And level earth and plumy sea, rise up!

And haughty sky, fall down!

A PEASANT WOMAN

Pull him upon his knees,

His curses will pluck lightning on our heads.

ALEEL

Angels and devils clash in the middle air,

And brazen swords clang upon brazen helms.

Look, look, a spear has gone through Belial's eye!

(A winged ANGEL, carrying a torch and a sword, enters from the R. with eyes fixed upon some distant thing. The ANGEL is about to pass out to the L. when ALEEL speaks. The ANGEL stops a moment and turns.)

Look no more on the half-closed gates of Hell,

But speak to me whose mind is smitten of God,

That it may be no more with mortal things:

And tell of her who lies there.

(The ANGEL turns again and is about to go, but is seized by ALEEL.)

Till you speak

You shall not drift into eternity.

THE ANGEL

The light beats down; the gates of pearl are wide.

And she is passing to the floor of peace,

And Mary of the seven times wounded heart

Has kissed her lips, and the long blessed hair

Has fallen on her face; the Light of Lights

Looks always on the motive, not the deed,

The Shadow of Shadows on the deed alone.

(ALEEL releases the ANGEL and kneels.)

OONA

Tell them to walk upon the floor of peace,

That I would die and go to her I love;

The years like great black oxen tread the world,

And God the herdsman goads them on behind,

And I am broken by their passing feet.

Down by the Salley Gardens.—An extension of three lines sung to me by an old woman at Ballisodare.

Findrinny (Findruine).—A kind of white bronze.

Finvarra (Finbar).—The king of the faeries of Connaught.

Hell.—In the older Irish books Hell is always cold, and it may be because the Fomoroh, or evil powers, ruled over the north and the winter. Christianity adopted as far as possible the Pagan symbolism in Ireland as elsewhere, and Irish poets, when they spoke of "the cold flagstone of Hell," may have repeated Pagan symbolism. The folk-tales, and Keating in his description of Hell, make use, however, of the ordinary symbolism of fire.

The Lamentation of the Pensioner.—This poem is little more than a translation into verse of the very words of an old Wicklow peasant. Fret means doom or destiny.

The Land of Heart's Desire.—This little play was produced at the Avenue Theatre in the spring of 1894, with the following cast:—Maurteen Bruin, Mr. James Welch; Shawn Bruin, Mr. A.E.W. Mason; Father Hart, Mr. G.R. Foss; Bridget Bruin, Miss Charlotte Morland; Maire Bruin, Miss Winifred Fraser; A Faery Child, Miss Dorothy Paget. It ran for a little over six weeks. It was revived in America in 1901, when it was taken on tour by Mrs. Lemoyne. It has been played two or three times professionally since then in America and a great many times in England and America by amateurs. Till lately it was not part of the repertory of the Abbey Theatre, for I had grown to dislike it without knowing what I disliked in it. This winter, however, I have made many revisions and now it plays well enough to give me pleasure. It is printed in this book in the new form, which was acted for the first time on February 22, 1912, at the Abbey Theatre, Dublin. At the Abbey Theatre, where the platform of the stage comes out in front of the curtain, the curtain falls before the priest's last words. He remains outside the curtain and the words are spoken to the audience like an epilogue.

The Meditation of the Old Fisherman.—This poem is founded upon some things a fisherman said to me when out fishing in Sligo Bay.

Northern Cold.—The Fomor, the powers of death and darkness and cold and evil, came from the north.

Nuala.—The wife of Finvarra.

Rose.—The rose is a favourite symbol with the Irish poets, and has given a name to several poems both Gaelic and English, and is used in love poems, in addresses to Ireland like Mr. Aubrey de Vere's poem telling how "The little black rose shall be red at last," and in religious poems, like the old Gaelic one which speaks of "the Rose of Friday," meaning the Rose of Austerity.

Salley.—Willow.

Seven Hazel-trees.—There was once a well overshadowed by seven sacred hazel-trees, in the midst of Ireland. A certain woman plucked their fruit, and seven rivers arose out of the well and swept her away. In my poems this well is the source of all the waters of this world, which are therefore seven-fold.

The Wanderings of Usheen.—The poem is founded upon the middle Irish dialogues of S. Patric and Usheen and a certain Gaelic poem of the last century. The events it describes, like the events in most of the poems in this volume, are supposed to have taken place rather in the indefinite period, made up of many periods, described by the folk-tales, than in any particular century; it therefore, like the later Fenian stories themselves, mixes much that is mediæval with much that is ancient. The Gaelic poems do not make Usheen go to more than one island, but a story in Silva Gadelica describes "four paradises," an island to the north, an island to the west, an island to the south, and Adam's paradise in the east.

Printed in Great Britain by

UNWIN BROTHERS, LIMITED

WOKING AND LONDON

Transcriber's Notes:

Page 16: 'thictkes' changed to 'thickets'

Page 172: 'He brings in' could be 'She brings in'

Page 263: 'Before this duy' changed to 'Before this day'

Page 290: 'Far from the hazel and oak.' changed to 'Far from the hazel and oak,'

Page 295: 'move far off' could be 'move far oft'

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