West Irish Folk-Tales and Romances. AnonymousЧитать онлайн книгу.
the four Irish counties in which it has been discovered. Still less would this be maintained regarding the other. The tale, which has proved its popularity by flourishing in three quarters of the globe, shows the same quality on a smaller scale by flourishing in at least three provinces of Ireland.
And perhaps this is the best place to note that the theory of independent origin is contrary to one of the closest analogies to be observed in nature. When animals and plants of the same species are found in wide-distant regions, no naturalist assumes for a moment that they originated separately. However puzzling the problem may be, the student of nature seeks to solve it by explanations of a very different kind; and already many of the most difficult cases have yielded their secret to patient investigation. It will assuredly turn out to be the same with folk-tales. As regards Ireland we see that there is a presumption, which will scarcely be contested, in favour of the view that certain entire tales were dispersed from a common centre, thus showing on a small scale the working of the whole process. When, however, we come to parts of tales, such as special phrases, rhymes, etc., the evidence of a common origin is beyond question. There are plenty of minor examples in this volume; but here I would direct special attention to the three sea-runs which occur in “Bioultach,” “King Mananaun,” and “The Champion of the Red Belt,” found in Galway, Mayo, and Donegal respectively (see Note, pp. 253–4). I think it difficult for any one who reads these and notes their likenesses and their differences, not to believe that they were originally composed by one person. The variations are easily accounted for by imperfect recollection, substitutions for forgotten phrases, and all the gradual alterations sure to arise in the case of irregular oral transmission among peasant narrators.
The evidence, then, seems so far to show that the fairy belief is common to all Ireland; that of the more elaborate traditional narratives, a certain small proportion seems to be widely diffused, while the larger portion separates into divisions peculiar to certain districts, the greatest divergence between one locality and another occurring when the localities are most widely separated.
Now, that there should be any considerable divergence seems surprising when the facts are fully taken into account. Ireland is not a large country. For centuries—we do not know how many—before the Norman invasion, the inhabitants had spoken Gaelic. The absence of political unity, the ceaseless wars and forays, must all have tended to fuse the population and obliterate original differences much more than a settled state of society. Yet they exist. The differences in folk-lore are not greater than other differences. Ethnologists know that the so-called Gaelic race is really a compound one, containing in addition to the true Celtic (Aryan) element probably two that are not Aryan—a Mongolian or Finnish element, and an Iberian element. Very little attempt has hitherto been made to settle in what parts of the country these elements respectively preponderate; but that there must be some preponderance of different races in different localities is shown clearly enough by the varying physical types. It is beyond question that Donegal differs from Connaught, and that both differ from Munster; and when we find that, in spite of a coexistence of at least two thousand years in the same island, and the possession of a common language, different districts have a different folk-lore, is it extravagant to surmise that these different bodies are due to varying racial deposits?
Let us now compare Ireland as a whole with the Scotch Highlands. The language of both is still, as for fifteen hundred years, practically the same. The inhabitants are of closely-allied race, in part identical, and for many centuries a constant communication was kept up between both countries. The folk-lore is partly alike, partly unlike. The similarity is occasionally very great. There are entire tales which are all but identical as told on both sides of the sea. There is identity of phrases and sentences. In Campbell’s version of the “far-travelled tale,” “The Battle of the Birds,” occurs a striking phrase, in which the raven is said to have carried a man “over seven benns and seven glens and seven mountain moors.” Nearly the same phrase occurs in Kennedy’s version—“seven mountains (benns), seven glens and seven moors,” which is the more surprising, as this story had passed, one does not know how long before, from its Gaelic into its English dress. Compare the phrase from “Morraha” in the present volume—“he sat down and gave a groan and the chair broke in pieces”—with Campbell’s “The King of Assaroe”—“his heart was so heavy the chair broke under him.” Many other examples could be given. We have before our eyes, so far as Irish and Scotch folk-lore are similar, an example of how two branches of a race originally so closely united as almost to form one, have for some hundreds of years drifted or been forced apart, the process being thus unfolded to us in the full light of history by which a body of folk-lore, originally one, has separated into divisions showing distinct characteristics, while it retains the strongest tokens of its original unity.
But it seems as if there was a large amount of folk-literature in each country which the other never possessed. To this I shall come presently, after I have first brought forward a comparison with German folk-lore. But before attempting that, it is desirable first to offer a few remarks on the style of the stories in this volume.
It will, I hope, be observed that the style is not uniform, but that it differs considerably from one story to another, and not so much in accordance with the narrator as with what he narrates. I must of course partially except the case of P. Minahan, whose individuality is stamped on everything that comes from him; but this is not so with the other narrators. If “The Gloss Gavlen” be compared with the only other tale of M’Ginty’s, “The King who had Twelve Sons,” it will be seen that the style of the two is quite distinct, the first being noticeable for a certain archaic simplicity of which there is no trace in the other. Again, the style of “Bioultach” is surely quite different from that of T. Davis’s other contribution, “The Story,” in “Morraha,” while the opening of the latter from M’Grale is easily distinguishable from that of “The Little Girl who got the better of the Gentleman,” or “Gilla of the Enchantments.” Even Minahan varies with his subject, as will appear from a comparison of “The Woman who went to Hell” with “The Champion of the Red Belt.” It seems from this as if some of the tales had a certain indestructibility of style, an original colour which passed unaltered through the minds of perhaps generations of reciters, this colour being determined at first by the character of the subject. In general, the tales of fierce fighting champions, of the more terrible monsters, sorcerers and the like, have a certain fierceness, if one may use the word, of style; while those of more domestic incident are told with quietness and tenderness.
Let me now briefly compare the folk-tales of Germany with those of the Scotch Highlands.
It cannot, I think, escape notice in reading Grimm’s collection, that a very large number of the tales bear a strong impress of quiet domesticity. They are very properly named “household” in more senses than one. And this is a matter not merely of style but of substance. The incidents are, to a vast extent, domestic in character. There is no occasion to give a long list of the tales I refer to. I may mention as types “The Three Spinners,” which turns entirely on the results of domestic drudgery to the female figure; and “Thrush-Beard,” a tale analogous to “The Taming of the Shrew” legend. But this domestic stamp becomes more fully apparent when we bring into contrast the Highland stories. Among these there are indeed parallels to Grimm; but they are relatively few, and there is a whole class of incidents and stories of which little trace is found in the German collection. The domestic incident all but disappears. The tales are more romantic, picturesque, extravagant. The giants and monsters are more frequent and fearful. The stories of helping animals—and this is very characteristic—though not entirely absent, are far less numerous than in Grimm.
Now, turning to Ireland, we find that both classes of story meet upon Irish soil. Without making any allowance for the imperfect collection of our folk-lore, and the quantity that must have been lost owing to the lateness of our attempts to rescue it, it must be admitted that we have the domestic story fairly well developed. The two tales from Grimm that I have named, as well as many others, have the closest possible parallels in Kennedy, and I have myself met with additional examples on the coast of Connaught. The romantic and extravagant class of tales which flourish in the Highlands have also good representatives in our oral literature. Some specimens may be read in this volume. In one story, “Gilla of the Enchantments,” is found a striking combination