When we seek to determine the precise moment in the history of the
Celtic races at which we ought to place ourselves in order to
appreciate their genius in its entirety, we find ourselves led back
to the sixth century of our era. Races have nearly always a
predestined hour at which, passing from simplicity to reflection,
they bring forth to the light of day, for the first time, all the
treasures of their nature. For the Celtic races the poetic moment of
awakening and primal activity was the sixth century. Christianity,
still young amongst them, has not completely stifled the national
cult; the religion of the Druids defends itself in its schools and
holy places; warfare against the foreigner, without which a people
never achieves a full consciousness of itself, attains its highest
degree of spirit. It is the epoch of all the heroes of enduring
fame, of all the characteristic saints of the Breton Church;
finally, it is the great age of bardic literature, illustrious by
the names of Taliessin, of Aneurin, of Liwarc'h Hen.
To such as would view critically the historical use of these half-
fabulous names and would hesitate to accept as authentic, poems that
have come down to us through so long a series of ages, we reply that
the objections raised to the antiquity of the bardic literature--
objections of which W. Schlegel made himself the interpreter in
opposition to M. Fauriel--have completely disappeared under the
investigations of an enlightened and impartial criticism. [Footnote:
This evidently does not apply to the language of the poems in
question. It is well known that mediaeval scribes, alien as they
were to all ideas of archaeology, modernised the texts, in measure
as they copied them; and that a manuscript in the vulgar tongue, as
a rule, only attests the language of him who transcribed it.] By a
rare exception sceptical opinion has for once been found in the
wrong. The sixth century is in fact for the Breton peoples a
perfectly historical century. We touch this epoch of their history
as closely and with as much certainty as Greek or Roman antiquity.
It is indeed known that, up to a somewhat late period, the bards
continued to compose pieces under the names--which had become
popular--of Aneurin, Taliessin, and Liwarc'h Hen; but no confusion
can be made between these insipid rhetorical exercises and the
really ancient fragments which bear the names of the poets cited--
fragments full of personal traits, local circumstances, and
individual passions and feelings.
Such is the literature of which M. de la Villemarque has attempted
to unite the most ancient and authentic monuments in his "Breton
Bards of the Sixth Century." Wales has recognised the service that
our learned compatriot has thus rendered to Celtic studies. We
confess, however, to much preferring to the "Bards" the "Popular
Songs of Brittany." It is in the latter that M. de la Villemarque
has best served Celtic studies, by revealing to us a delightful
literature, in which, more clearly than anywhere else, are apparent
these features of gentleness, fidelity, resignation, and timid
reserve which form the character of the Breton peoples. [Footnote:
This interesting collection ought not, however, to be accepted
unreservedly; and the absolute confidence with which it has been
quoted is not without its inconveniences. We believe that when M. de
la Villemarque comments on the fragments which, to his eternal
honour, he has been the first to bring to light, his criticism is
far from being proof against all reproach, and that several of the
historical allusions which he considers that he finds in them are
hypotheses more ingenious than solid. The past is too great, and has
come down to us in too fragmentary a manner, for such coincidences
to be probable. Popular celebrities are rarely those of history, and
when the rumours of distant centuries come to us by two channels,
one popular, the other historical, it is a rare thing for these two
forms of tradition to be fully in accord with one another. M. de la
Villemarque is also too ready to suppose that the people repeats for
centuries songs that it only half understands. When a song ceases to
be intelligible, it is nearly always altered by the people, with the
end of approximating it to the sounds farmliar and significant to
their ears. Is it not also to be feared that in this case the
editor, in entire good faith, may lend some slight inflection to the
text, so as to find in it the sense that he desires, or has in his
mind?]
The theme of the poetry of the bards of the sixth century is simple
and exclusively heroic; it ever deals with the great motives of
patriotism and glory. There is a total absence of all tender
feeling, no trace of love, no well-marked religious idea, but only a
vague and naturalistic mysticism,--a survival of Druidic teaching,--
and a moral philosophy wholly expressed in Triads, similar to that
taught in the half-bardic, half-Christian schools of St. Cadoc and
St. Iltud. The singularly artificial and highly wrought form of the
style suggests the existence of a system of learned instruction
possessing long traditions. A more pronounced shade, and there would
be a danger of falling into a pedantic and mannered rhetoric. The
bardic literature, by its lengthened existence through the whole of
the Middle Ages, did not escape this danger. It ended by being no
more than a somewhat insipid collection of unoriginalities in style,
and conventional metaphors. [Footnote: A Welsh scholar, Mr.
Stephens, in his History of Cymric Literature (Llandovery, 1849),
has demonstrated these successive transformations very well.]
The opposition between bardism and Christianity reveals itself in
the pieces translated by M. de la Villemarque by many features of
original and pathetic interest. The strife which rent the soul of
the old poets, their antipathy to the grey men of the monastery,
their sad and painful conversion, are to be found in their songs.
The sweetness and tenacity of the Breton character can alone explain
how a heterodoxy so openly avowed as this maintained its position in
face of the dominant Christianity, and how holy men, Kolumkill for
example, took upon themselves the defence of the bards against the
kings who desired to stamp them out. The strife was the longer in
its duration, in that Christianity among the Celtic peoples never
employed force against rival religions, and, at the worst, left to
the vanquished the liberty of ill humour. Belief in prophets,
indestructible among these peoples, created, in despite of faith the
Anti-Christian type of Merlin, and caused his acceptance by the
whole of Europe. Gildas and the orthodox Bretons were ceaseless in
their thunderings against the prophets, and opposed to them Elias
and Samuel, two bards who only foretold good; even in the twelfth
century Giraldus Cambrensis saw a prophet in the town of Caerleon.
Thanks to this toleration bardism lasted into the heart of the
Middle Ages, under the form of a secret doctrine, with a
conventional language, and symbols almost wholly borrowed from the
solar divinity of Arthur. This may be termed Neo-Druidism, a kind of
Druidism subtilised and reformed on the model of Christianity, which
may be seen growing more and more obscure and mysterious, until the
moment of its total disappearance. A curious fragment belonging to
this school, the dialogue between Arthur and Eliwlod, has
transmitted to us the latest sighs of this latest protestation of
expiring naturalism. Under the form of an eagle Eliwlod introduces
the divinity to the sentiment of resignation, of subjection, and of
humility, with which Christianity combated pagan pride. Hero-worship
recoils step by step before the great formula, which Christianity
ceases not to repeat to the Celtic races to sever them from their
memories: There is none greater than God. Arthur allows himself to
be persuaded to abdicate from his divinity, and ends by reciting the
Pater.
I know of no more curious spectacle than this revolt of the manly
sentiments of hero-worship against the feminine feeling which flowed
so largely into the new faith. What, in fact, exasperates the old
representatives of Celtic society are the exclusive triumph of the
pacific spirit and the men, clad in linen and chanting psalms, whose
voice is sad, who preach asceticism, and know the heroes no more.
[Footnote: The antipathy to Christianity attributed by the Armorican
people to the dwarfs and korigans belongs in like measure to
traditions of the opposition encountered by the Gospel in its
beginnings. The korigans in fact are, for the Breton peasant, great
princesses who would not accept Christianity when the apostles came
to Brittany. They hate the clergy and the churches, the bells of
which make them take to flight. The Virgin above all is their great
enemy; she it is who has hounded them forth from their fountains,
and on Saturday, the day consecrated to her, whosoever beholds them
combing their hair or counting their treasures is sure to perish.
(Villemarque, Chants populaires, Introduction.)] We know the use
that Ireland has made of this theme, in the dialogues which she
loves to imagine between the representatives of her profane and
religious life, Ossian and St. Patrick. [Footnote: See Miss Brooke's
Reliques of Irish Poetry, Dublin, 1789, pp. 37 et seq., PP. 75 et
seq.] Ossian regrets the adventures, the chase, the blast of the
horn, and the kings of old time. "If they were here," he says to St.
Patrick, "thou should'st not thus be scouring the country with the
psalm-singing flock." Patrick seeks to calm him by soft words, and
sometimes carries his condescension so far as to listen to his long
histories, which appear to interest the saint but slightly. "Thou
hast heard my story," says the old bard in conclusion; "albeit my
memory groweth weak, and I am devoured with care, yet I desire to
continue still to sing the deeds of yore, and to live upon ancient
glories. Now am I stricken with years, my life is frozen within me,
and all my joys are fleeting away. No more can my hand grasp the
sword, nor mine arm hold the lance in rest. Among priests my last
sad hour lengtheneth out, and psalms take now the place of songs of
victory." "Let thy songs rest," says Patrick, "and dare not to
compare thy Finn to the King of Kings, whose might knoweth no
bounds: bend thy knees before Him, and know Him for thy Lord." It
was indeed necessary to surrender, and the legend relates how the
old bard ended his days in the cloister, among the priests whom he
had so often used rudely, in the midst of these chants that he knew
not. Ossian was too good an Irishman for any one to make up his mind
to damn him utterly. Merlin himself had to cede to the new spell. He
was, it is said, converted by St. Columba; and the popular voice in
the ballads repeats to him unceasingly this sweet and touching
appeal: "Merlin, Merlin, be converted; there is no divinity save
that of God."