about to depart in a great rage, thinking much evil of Sir John de
Courcy. While he was thus musing, Sir John came forth in surly mood, for
memory of all the ill usage that had been wrought on him; and he stalked
straight on, looking neither to the right nor to the left, and doing no
reverence to anyone: and so back to his tent.
Then the trumpets sounded the first charge, for the champions to
approach. Forth they came, and passing by slowly, viewed each other
intently without a word. And when the foreign champion noted De Courcy's
fierce look, and measured with his eyes his great stature and mighty
limbs, he was filled with dread and fell all a-trembling. At length the
trumpets sounded the last charge for the fight to begin; on which De
Courcy quickly drew his sword and advanced; but the Frenchman, turning
right round, "ranne awaie off the fielde and betooke him to Spaine."
Whereupon the English trumpets sounded victory; and there was such
shouting and cheering, such a-clapping of hands and such a-throwing of
caps in the air as the like was never seen before.
When the multitude became quiet, King Philip desired of King John that
De Courcy might be called before them to give a trial of his strength by
a blow upon a helmet: to which De Courcy agreed. They fixed a great
stake of timber in the ground, standing up the height of a man, over
which they put a shirt of mail, with a helmet on top. And when all was
ready, De Courcy, drawing his sword, looked at the kings with a grim and
terrible look that fearful it was to behold; after which he struck such
a blow as cut clean through the helmet and through the shirt of mail,
and down deep in the piece of timber. And so fast was the sword fixed
that no man in the assembly, using his two hands with the utmost effort,
could pluck it out; but Sir John, taking it in one hand, drew it forth
easily.
The princes, marvelling at so huge a stroke, desired to understand why
he looked so terrible at them before he struck the blow: on which he
answered:--
"I call St. Patrick of Down to witness, that if I had missed the mark I
would have cut the heads off both of you kings on the score of all the
ill usage I received aforetime at your hands."
King John, being satisfied with all matters as they turned out, took his
answer in good part: and he gave him back all the dominions that before
he had in Ireland, as Earl of Ulster and lord of Connaught; and
licensed him to return, with many great gifts besides. And to this day
the people of Ireland hold in memory Sir John de Courcy and his mighty
deeds; and the ruins of many great castles builded by him are to be seen
all over Ulster.
XLVIII.
THE GREAT EARL OF KILDARE AND THE EARL OF ORMOND.
The great lords who settled in Ireland in the time of Henry II. became
so powerful that they ruled in the land like so many kings. It was so
hard to reach Ireland in those times, or even to get from one part of
Ireland to another, that their master, the king of England, had
generally very little control over them: and he often found it hard
enough even to find out what was going on among them. So those mighty
barons did very much as they liked. They imposed taxes, raised armies,
and made war on each other, just as if they were independent sovereigns.
The Fitzgeralds, or Geraldines, were among the most illustrious of those
families. They intermarried with the families of the native Irish kings
and princes, such as the O'Neills and O'Conors; and altogether they fell
in so well with the ways of the country, that the Irish people came to
love them almost better than they loved their own old native kings and
chiefs. And for hundreds of years those Geraldines took a leading part
in the government of Ireland for the kings of England.
In the time of Henry VII., who became king in the year 1485, Garrett
Fitzgerald, earl of Kildare--the "Great Earl" as he was called--was Lord
Deputy, or chief ruler of Ireland, for the king: and he was the leading
man of his day in Ireland.[204-1] We are told in the old accounts of him
that he was tall of stature, of goodly presence, very liberal and
merciful; of strict piety; mild in his government; very easily put into
a passion, but just as easily appeased; a knight in valour, and princely
in his words and judgments.
[204-1] A further account of the Great Earl, and of some of his
proceedings, will be found in the "Child's History of
Ireland."
Once he got into a great rage with one of his servants for some blunder.
It happened that two of the gentlemen of his household were looking on:
and one of them whispered to the other, whose name was Boice, that he
would give him a good Irish hobby if he went and plucked a hair out of
the earl's beard. Boice took him at his offer, and knowing well the
earl's good nature, he went up to him, while he still fumed with anger,
and said:--
"If so it please your good lordship, one of your horsemen promised me a
choice horse if I snip one hair from your beard." "Well," quoth the
earl, "I agree thereto; but if you pluck more than one, I promise you to
bring my fist away from your ear!"
And Boice plucked the hair, and won the hobby: but he took good care to
pluck only one, so that his ear escaped the earl's big fist.
At this time the chief man of the Butlers was James, earl of Ormond: and
he and the Deputy were at enmity, each working with might and main to
put down the other. The earl of Ormond, who was a deep and far reaching
man, not being strong enough to oppose his adversary openly, devised a
plan to entrap him by means of submission and courtesy. Certain charges
had, it seems, been made against Ormond, and he now wrote to the deputy,
who was, of course, in authority over him, asking permission to come to
Dublin to disprove them; which the deputy granted. Accordingly, in the
year 1492, he marched to Dublin with a numerous army, and encamped near
the city.
Now Kildare's councillors, and the citizens in general, disliked the
presence of so great an army, suspecting some evil design: and besides,
the soldiers used the people ill, often beating and robbing them; so
that instead of peace, this visit of Ormond made all the greater
discord. Yet still, with an air of great respect and humility, he
persisted in asking to be heard, saying he would show that the evil
stories about him were all false. At length, Lord Deputy Kildare
agreed, and the meeting was held in St. Patrick's Church.
But this meeting was not a quiet or peaceful one; for the two earls,
instead of speaking gentle words of forgiveness, began to accuse each
other of all the damages inflicted on both sides. The citizens too, who
were in great crowds around the church, complained with loud voices of
all the ill usage they had suffered from the soldiers; whereupon they
and the soldiers fell to jars and quarrels, and the whole city was soon
in an uproar. At last, a body of Dublin archers, enraged that such a
disturbance should be raised by "this lawless rabble," rushed into the
church, shouting out that they would kill Ormond, as the leader of them,
and they shot at random hither and thither, leaving their arrows
sticking in the timbers and ornaments of the church, but doing no harm
otherwise. It is probable, indeed, that out of respect to the place,
notwithstanding their rage, they took care to shoot over the heads of
the crowd, so as to kill no one.
On this, the Earl of Ormond, fearing with good reason for his safety,
fled with a few of his followers to the chapter-house, and slamming the
door, bolted and barred it strongly. Kildare followed and called to him
to come out, promising upon his honour that he should receive no harm.
Ormond replied that he would come forth if the deputy gave him his hand
that his life should be safe; so "a cleft was pierced in a trice
through the chapter-house door," to the end that the earls might shake
hands and be reconciled. But Ormond, still suspecting treachery, refused
to put forth his hand, fearing it might be chopped off, till at last
Kildare stretched in his arm to him through the hole, and they shook
hands. Then the door was opened and the two earls embraced, and the
storm was appeased.
[Illustration: Old Chapter-house Door, now in St. Patrick's Cathedral,
Dublin.]
But though this quarrel was patched up, it was only for the time.
Kildare suspected that Ormond had brought his army with evil intent "to
outface him and his power in his own countrie"; while "Ormond mistrusted
that this treacherous practice of the Dublinians was by Kildare
devised." So that, as the old writer goes on to say, "their quarrels
were not ended, but only for the present discontinued: like unto a green
wound, rather bungerlie botcht, than soundlie cured. And these and the
like surmises, with many stories carried to and fro, and in their ears
whispered, bred and fostered a malice betwixt them and their posterity,
many years incurable, which caused much stir and unquietnesse in the
realm."
The old chapter-house door, which is pictured on last page, still
remains in St. Patrick's Cathedral, where it may be seen leaning against
one of the walls, with the very "cleft" in it through which the two
earls shook hands more than four hundred years ago.
XLIX.
ANCIENT IRISH MUSIC.
From the most remote times the Irish took great pleasure in music: and
they studied and cultivated it so successfully that they became
celebrated every where for their musical skill. Irish teachers of this
art were thought so highly of that from about the seventh to the
eleventh century, or later, they were employed in colleges and schools
in Great Britain and on the Continent, like Irish professors of other
branches of learning (see p. 47). Many of the early missionaries took
great delight in playing on the harp, so that some brought a small harp
with them on their journeys through the country, which no doubt
lightened many a weary hour at their homes in the evenings, during the
time of hard missionary work. In our oldest manuscript books, music is
continually mentioned: and musicians are spoken of with respect and
admiration.
The two chief instruments used in Ireland were the harp and the bagpipe.
The harp was the favourite with the higher classes, many of whom played
it as an accomplishment, as people now play the piano. The professional
Irish harpers were more skilful, and could play better, than those of
any other country: so that for hundreds of years it was the custom for
the musicians of Great Britain to visit Ireland in order to finish their
musical education; a custom which continued down to about a century and
a-half ago.
The bagpipe was very generally used among the lower classes of people.
The form in use was what we now call the Highland or Scotch pipes--slung
from the shoulder: the bag inflated by the mouth. But this form of pipes
took its rise in Ireland: and it was brought to Scotland in early ages
by those Irish colonists already spoken of (page 5). There is another
and a better kind of bagpipes, now common in Ireland, resting on the lap
when in use, and having the bag inflated by a bellows: but this is a
late invention.
The Irish musicians had various "_Styles_," three of which are very
often mentioned in tales and other ancient Irish writings: of these many
specimens have come down to the present day. The style they called
"Mirth-music" consisted of lively airs, which excited to merriment and
laughter. These are represented by our present dance tunes, such as
jigs, reels, hornpipes, and other such quick, spirited pieces which are
known so well in every part of Ireland. The "Sorrow-music" was slow and
sad, and was always sung on the occasion of a death. We have many airs
belonging to this style, which are now commonly called _Keens_, i.e.,
laments, or dirges. The "Sleep-music" was intended to produce sleep; and
the tunes belonging to this style were plaintive and soothing. Such airs
are now known as lullabies, or nurse tunes, or cradle songs, of which
numerous examples are preserved in collections of Irish music. They were
often sung to put children to sleep. Though there are, as has been said,
many tunes belonging to these three classes, they form only a small part
of the great body of Irish music.
Music entered into many of the daily occupations of the people. There
were special spinning-wheel songs, which the women sang, with words, in
chorus or in dialogue, when employed in spinning. At milking time the
girls were in the habit of chanting a particular sort of air, in a low
gentle voice. These milking songs were slow and plaintive, something
like the nurse tunes, and had the effect of soothing the cows and of
making them submit more gently to be milked. This practice was common
down to fifty or sixty years ago; and many people now living can
remember seeing cows grow restless when the song was interrupted, and
become again quiet and placid when it was resumed. While ploughmen were
at their work they whistled a sweet, slow, and sad strain, which had as
powerful an effect in soothing the horses at their hard work as the
milking songs had on the cows: and these also were quite usual till
about half a century ago.
Special airs and songs were used during working time by smiths, by
weavers, and by boatmen. There were besides, hymn tunes; and young
people had simple airs for all sorts of games and sports. In most cases
words suitable to the several occasions were sung with lullabies,
laments, and occupation tunes. The poem at page 82 may be taken as a
specimen of a lament. Examples of all the preceding classes of melodies
will be found in the collections of Irish airs by Bunting, Petrie, and
Joyce.
The Irish had numerous war-marches, which the pipers played at the head
of the clansmen when marching to battle, and which inspired them with
courage and dash for the fight. This custom is still kept up by the
Scotch; and many fine battle-tunes are printed in Irish and Scotch
collections of national music.
From the preceding statement we may see how universal was the love of
music in former days among the people of Ireland. Though Irish airs,
compared with the musical pieces composed in our time, are generally
short and simple, they are constructed with such skill, that in regard
to most of them it may be truly said that no composer of the present
day can produce airs of a similar kind to equal them.
There are half a dozen original collections of Irish music, containing
in all between 1000 and 2000 airs: other collections are mostly copied
from these. But numerous airs are still sung and played among the people
all through Ireland, which have never been written down; and many have
been written down which have never been printed. Thomas Moore composed
his beautiful songs to old Irish airs; and his whole collection of songs
and airs--well known as "Moore's Melodies"--is now published in one
small cheap volume.
Of the entire body of Irish airs that are preserved, we know the authors
of not more than about one tenth; and these were composed within the
last 200 years. Most of the remaining nine tenths have come down from
old times. No one now can tell who composed "The Coolin," "Savourneen
Dheelish," "Shule Aroon," "Molly Asthore," "Garryowen," "The Boyne
Water," "Patrick's Day," "Langolee," "The Blackbird," or "The Girl I
left behind me"; and so of many other well-known and lovely airs.
The national music of Ireland and that of Scotland are very like each
other, and many airs are common to both countries: but this is only what
might be expected, as we know that the Irish and the Highland Scotch
were originally one people.
NOTES AND EXPLANATIONS.
I.--Page 1.
Ancient, very old, belonging to old times.
Fabulous, not true.
Magician, one skilled in magic or witchcraft; an enchanter.
Spell, a charm, something done by enchantment.
Wizard, an enchanter, a magician.
Consult, to advise with.
Druid. The druids were the learned men among the pagan Irish: they
were believed to be wizards, or magicians.
Seer, one who can foresee events, a prophet.
Destiny, lot, what is to come to pass.
Wistfully, thoughtfully, attentively, longingly.
Cairn, a great pile of stones heaped up in memory of some person or
some event. A cairn was very often raised over the grave of some
important person. See page 97.
Missionary, one sent to preach religion.
Hostage, a person given as a pledge, or security, for carrying out
some agreement.
Possessing mighty power over people, able to persuade them by his
earnestness and his powerful language.
II.--Page 7.
Gallantly, boldly, bravely.
Destined home: the druid had foretold that Inisfail, or the Isle of
Destiny, was to be their final home.
Emerald, a precious stone of a green colour. Ireland, from its
greenness, is often called the Emerald Isle.
Day god, the sun. Some of the pagan Irish worshipped the sun.
Omen, a sign of what is to come.
III.--Page 8.
Perpetual, lasting always.
Allure, to entice, coax, or persuade.
Book of the Dun Cow: see page 118.
Conn the Hundred-fighter, or, as he is often called, Conn of the
Hundred Battles, was King of Ireland from A.D. 177 to 212.
Crystal, a sort of transparent mineral: glass, or anything like
glass.
Marvelled, wondered.
Chant, a slow, sweet song.
Azure, a bright blue.
Verdurous, green, full of verdure.
Imprecation, a curse.
Mace, here means a heavy-headed club used in fighting, generally for
striking.
IV.--Page 14.
Noxious, hurtful, injurious.
Gigantic, very large, giant-like.
Fertile, fruitful, yielding good crops.
Wickerwork, basket-work of woven twigs.
Hospitality, kindness to strangers, free and generous entertainment
of visitors.
Expensive, costly.
Establishment, the whole house, and all belonging to it.
Liberal, plentiful.
Gorget, an ornamental collar for the neck: the Irish gorgets were
mostly of gold.
Bronze, a mixed metal made of copper and tin melted together. The
ancient Irish used a sort of white or whitish bronze, which they
called _findruine_ [_finn´-drin-a_].
Enamel, a beautiful glassy substance, of various colours, used in
metal work.
Museum, a place where curiosities of all kinds are kept, especially
objects belonging to ancient times.
Artificer, an artist, a worker in metals, bone, wood, &c.
Old Irish Laws: these were called the Brehon Laws.
Commerce, trade with foreign nations.
V.--Page 22.
Enmity, hatred, malice, ill feeling.
Gall, bitterness and sourness of heart.
Treachery, breach of faith, wickedness.
Chariot, a kind of carriage.
Druidical, made by the druids, who were believed to be enchanters,
like the Dedannans.
Clamorous, noisy, screaming.
Repented, grew sorry.
Gaelic speech, the Irish language, which all the people of Ireland
then spoke.
Plaintive, sad.
Lay, a song, a poem.
A husk of gore, withered up with grief.
Anguish, great trouble and misery.
Anthem, a song, a hymn: anthem of praise, _i.e._ of praise to God.
VI.--Page 27.
Amazement, astonishment, wonder.
Horror, terror mixed with dislike.
Lamentation, great sorrow.
Malignant, full of evil and badness.
Adventurous, spirited, daring, courageous.
Abhor, to hate, to detest, to have a horror of.
Transform, to change the form or shape.
Society, company.
The dreadful day of doom, "that day of woe," _i.e._ the Day of
Judgment. The children of Lir had some obscure foreknowledge of
the coming of Christianity.
Desolate, waste and solitary.
Tempestuous, stormy.
VII.--Page 32.
Abode, a dwelling.
Plight, an evil and unpleasant state.
Endure, to bear, to suffer.
Chain of repose: as if the breezes were bound down and kept at rest
by a chain.
Darkness: the darkness of paganism.
Pure light, and Day star: Christianity.
Wreathed, twisted, curled.
Hazel-mead, a kind of mead with hazel nuts put into it to flavour
it. For mead, see p. 17.
Lullaby, a nurse song: a song to put a person to sleep; see p. 210.
Mannanan, or Mannanan Mac Lir, a Dedannan chief, the Pagan Irish god
of the sea.
Angus, a Dedannan or fairy chief, who had his palace under one of
the great mounds on the Boyne between Drogheda and Slane.
VIII.--Page 39.
Matin time, very early in the morning: before day: the time of
first prayer.
Anchoret, a hermit.
Matins, very early morning prayers.
Transformed, changed, turned.
Waxed, grew, became: waxed very wroth, became very angry.
Cleric, a clergyman.
Radiant, bright, joyful, happy looking.
Lament, a sort of sad song.
IX.--Page 45.
Enlightenment, knowledge, education, intelligence.
Community, a number of persons living together in the same dwelling
or in the same place.
Encounter, to meet with, to go against.
Interpreter, a person who explains in one language what a speaker
says in another. The interpreter has to know both languages.
X.--Page 50.
Rampart, a wall or high bank for defence.
Structure, a building.
Household, all the people that live in one house.
Standard, a pole with a flag, banner, or colours, on top.
Transfer, to change from one to another.
Romantic stories, tales of fictitious adventures.
Diadem, a crown, or a band like a crown, worn round the head.
Spell of feebleness, weakness brought on by some sort of
enchantment.
XI.--Page 55.
Pondering, thinking deeply.
Meet, fit, proper, becoming.
Ultonians, the Ulstermen.
Gainsay, to speak against, to contradict.
Ridge of the world, a usual expression in Irish writings.
Gracious, kind and gentle in manner.
Attendant, a person who attends, a servant.
Military service, service as soldiers under pay.
Betimes, in good time, early.
Booth, a hut or tent.
XII.--Page 60.
Pledge, security.
Submission, yielding, coming under a person's authority.
Knighthood. Knight, a soldier of high dignity: a champion:
knighthood, the dignity of a knight. The ancient Irish often
received knighthood at seven years of age.
Obligation, a promise, a bond, something one is bound to do.
Galley, a low flat vessel with oars and sails.
Chessboard, a board with black and white squares on which chess was
played. The ancient Irish were very fond of chess.
Re-assure, to make a person sure that things are right, to
encourage.
XIII.--Page 66.
Resort, to go often to a place.
Curragh, a light boat made of wickerwork covered with hides.
Persist, to continue without ceasing.
Perplexity, doubt, anxiety of mind.
Clan, a number of families or a race of people all more or less
related to each other.
Slieve Fuad, a mountain near Newtownhamilton in Armagh: the name is
now forgotten.
Baleful, evil, very bad or wicked.
Disaster, mishap, misfortune.
Meditate, to plan, to intend.
Handwood, a piece of wood to serve as a knocker, kept in a niche
outside the door.
Battalion, a body of foot soldiers.
Alluring, very good, tempting a person to eat.
Viands, food, victuals.
XIV.--Page 72.
Looming, appearing darkly and dimly in the distance.
Steadfast, firm, fixed, determined.
Valorous, brave, fearless, valiant.
Your dear charge, Deirdre.
Assailants, persons assailing or attacking.
Misgivings, doubts and fears of something wrong.
Unwittingly, without knowing.
Unerring, with a straight aim so as not to miss.
XV.--Page 75.
Hireling troops, soldiers serving for pay: they were not Ultonians
and did not belong to the Red Branch. The troops of the Red
Branch could not be got to attack the Sons of Usna.
Shouts of defiance, shouts challenging and threatening.
Assault, a violent attack.
Marshalling, arranging.
Treason, treachery, foul play.
Circuit, a journey around.
Fissure, a split or chasm.
Solemn, awful, serious, grave.
Response, answer, reply.
XVI.--Page 80.
Deeming, believing, thinking.
Onslaught, a fierce attack.
Mannanan Mac Lir, the Pagan Irish sea-god.
XVII.--Page 84.
Billows of war, the tide or onward press of battle.
Wreak, to inflict, to execute.
XVIII.--Page 85.
Incensed, very angry.
Anguish, great grief, pain.
Descendants, children, grand-children, &c.
Spoil, to plunder and pillage.
Illustrious, famous, noble, great.
Marauding, plundering, robbing.
Ravage, to lay waste and plunder.
XIX.--Page 87.
Magic, witchcraft, spells.
Mighty, of wonderful skill.
Distinguish, to tell one from another.
Shadowy, uncertain, legendary.
Historic times, when there are true accounts of things that
happened.
Professional, following some profession or calling.
Remuneration, payment, salary.
Attached, joined to.
XX.--Page 89.