Editor’s note: This article is an exerpt from "Early Bardic Literature, Ireland" By Standish O'Grady. It was originally published in 1879.
This dolmen sits with a mystic glow on the hill. Dolmen's are megalithic tombs with a large flat stone laid on upright ones, mainly found in Britain and France
Scattered over the surface of every country in Europe may be found sepulchral monuments, the remains of pre-historic times and nations, and of a phase of life will civilisation which has long since passed away. No country in Europe is without its cromlechs and dolmens, huge earthen tumuli, great flagged sepulchres, and enclosures of tall pillar-stones. The men by whom these works were made, so interesting in themselves, and so different from anything of the kind erected since, were not strangers and aliens, but our own ancestors, and out of their rude civilisation our own has slowly grown. Of that elder phase of European civilisation no record or tradition has been anywhere bequeathed to us. Of its nature, and the ideas and sentiments whereby it was sustained, nought may now be learned save by an examination of those tombs themselves, and of the dumb remnants, from time to time exhumed out of their soil - rude instruments of clay, flint, brass, and gold, and by speculations and reasonings founded upon these archaeological gleanings, meagre and sapless.
Remains of ruins in the mountains of Glencullen, Ireland
For after the explorer has broken up, certainly desecrated, and perhaps destroyed, those noble sepulchral raths; after he has disinterred the bones laid there once by pious hands, and the urn with its unrecognisable ashes of king or warrior, and by the industrious labour of years hoarded his fruitless treasure of stone celt and arrow-head, of brazen sword and gold fibula and torque; and after the savant has rammed many skulls with sawdust, measuring their capacity, and has adorned them with some obscure label, and has tabulated and arranged the implements and decorations of flint and metal in the glazed cases of the cold gaunt museum, the imagination, unsatisfied and revolted, shrinks back from all that he has done. Still we continue to inquire, receiving from him no adequate response, Who were those ancient chieftains and warriors for whom an affectionate people raised those strange tombs? What life did they lead? What deeds perform? How did their personality affect the minds of their people and posterity? How did our ancestors look upon those great tombs, certainly not reared to be forgotten, and how did they - those huge monumental pebbles and swelling raths - enter into and affect the civilisation or religion of the times?
Part of what remains of Kinbane Castle in Northern Ireland
We see the cromlech with its massive slab and immense supporting pillars, but we vainly endeavour to imagine for whom it was first erected, and how that greater than cyclopean house affected the minds of those who made it, or those who were reared in its neighbourhood or within reach of its influence. We see the stone cist with its great smooth flags, the rocky cairn, and huge barrow and massive walled cathair, but the interest which they invariably excite is only aroused to subside again unsatisfied. From this department of European antiquities the historian retires baffled, and the dry savant is alone master of the field, but a field which, as cultivated by him alone, remains barren or fertile only in things the reverse of exhilarating. An antiquarian museum is more melancholy than a tomb.
In the rest of Europe there is not a single barrow, dolmen, or cist of which the ancient traditional history is recorded; in Ireland there is hardly one of which it is not.
But there is one country in Europe in which, by virtue of a marvellous strength and tenacity of the historical intellect, and of filial devotedness to the memory of their ancestors, there have been preserved down into the early phases of mediaeval civilisation, and then committed to the sure guardianship of manuscript, the hymns, ballads, stories, and chronicles, the names, pedigrees, achievements, and even characters, of those ancient kings and warriors over whom those massive cromlechs were erected and great cairns piled. There is not a conspicuous sepulchral monument in Ireland, the traditional history of which is not recorded in our ancient literature, and of the heroes in whose honour they were raised. In the rest of Europe there is not a single barrow, dolmen, or cist of which the ancient traditional history is recorded; in Ireland there is hardly one of which it is not. And these histories are in many cases as rich and circumstantial as that of men of the greatest eminence who have lived in modern times. Granted that the imagination which for centuries followed with eager interest the lives of these heroes, beheld as gigantic what was not so, as romantic and heroic what was neither one nor the other, still the great fact remains, that it was beside and in connection with the mounds and cairns that this history was elaborated, and elaborated concerning them and concerning the heroes to whom they were sacred.
Stone arch in ruins that probably once acted as a window
On the plain of Tara, beside the little stream Nemanna, itself famous as that which first turned a mill-wheel in Ireland, there lies a barrow, not itself very conspicuous in the midst of others, all named and illustrious in the ancient literature of the country. The ancient hero there interred is to the student of the Irish bardic literature a figure as familiar and clearly seen as any personage in the Biographia Britannica. We know the name he bore as a boy and the name he bore as a man. We know the names of his father and his grandfather, and of the father of his grandfather, of his mother, and the father and mother of his mother, and the pedigrees and histories of each of these. We know the name of his nurse, and of his children, and of his wife, and the character of his wife, and of the father and mother of his wife, and where they lived and were buried. We know all the striking events of his boyhood and manhood, the names of his horses and his weapons, his own character and his friends, male and female. We know his battles, and the names of those whom he slew in battle, and how he was himself slain, and by whose hands. We know his physical and spiritual characteristics, the device upon his shield, and how that was originated, carved, and painted, by whom. We know the colour of his hair, the date of his birth and of his death, and his relations, in time and otherwise, with the remainder of the princes and warriors with whom, in that mound-raising period of our history, he was connected, in hostility or friendship; and all this enshrined in ancient song, the transmitted traditions of the people who raised that barrow, and who laid within it sorrowing their brave ruler and, defender. That mound is the tomb of Cuculain, once king of the district in which Dundalk stands to-day, and the ruins of whose earthen fortification may still be seen two miles from that town.
The English farmer may tear down the barrow which is unfortunate enough to be situated within his bounds. Neither he nor his neighbours know or can tell anything about its ancient history; the removed earth will help to make his cattle fatter and improve his crops, the stones will be useful to pave his roads and build his fences, and the savant can enjoy the rest; but the Irish farmer and landlord should not do or suffer this.
This is a single instance, and used merely as an example, but one out of a multitude almost as striking. There is not a king of Ireland, described as such in the ancient annals, whose barrow is not mentioned in these or other compositions, and every one of which may at the present day be identified where the ignorant plebeian or the ignorant patrician has not destroyed them. The early History of Ireland clings around and grows out of the Irish barrows until, with almost the universality of that primeval forest from which Ireland took one of its ancient names, the whole isle and all within it was clothed with a nobler raiment, invisible, but not the less real, of a full and luxuriant history, from whose presence, all-embracing, no part was free. Of the many poetical and rhetorical titles lavished upon this country, none is truer than that which calls her the Isle of Song. Her ancient history passed unceasingly into the realm of artistic representation; the history of one generation became the poetry of the next, until the whole island was illuminated and coloured by the poetry of the bards. Productions of mere fancy and imagination these songs are not, though fancy and imagination may have coloured and shaped all their subject-matter, but the names are names of men and women who once lived and died in Ireland, and over whom their people raised the swelling rath and reared the rocky cromlech. In the sepulchral monuments their names were preserved, and in the performance of sacred rites, and the holding of games, fairs, and assemblies in their honour, the memory of their achievements kept fresh, till the traditions that clung around these places were inshrined in tales which were finally incorporated in the Leabhar na Huidhré and the Book of Leinster.
Single standing stone, perhaps once a marker
Pre-historic narrative is of two kinds - in one the imagination is at work consciously, in the other unconsciously. Legends of the former class are the product of a lettered and learned age. The story floats loosely in a world of imagination. The other sort of pre-historic narrative clings close to the soil, and to visible and tangible objects. It may be legend, but it is legend believed in as history never consciously invented, and growing out of certain spots of the earth's surface, and supported by and drawing its life from the soil like a natural growth.
Such are the early Irish tales that cling around the mounds and cromlechs as that by which they are sustained, which was originally their source, and sustained them afterwards in a strong enduring life. It is evident that these cannot be classed with stories that float vaguely in an ideal world, which may happen in one place as well as another, and in which the names might be disarrayed without changing the character and consistency of the tale, and its relations, in time or otherwise, with other tales.
Stone statue, historically found at places of worship
Foreigners are surprised to find the Irish claim for their own country an antiquity and a history prior to that of the neighbouring countries. Herein lie the proof and the explanation. The traditions and history of the mound-raising period have in other countries passed away. Foreign conquest, or less intrinsic force of imagination, and pious sentiment have suffered them to fall into oblivion; but in Ireland they have been all preserved in their original fulness and vigour, hardly a hue has faded, hardly a minute circumstance or articulation been suffered to decay.
|Revisited - Early Bardic Literature in Ireland|
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|Letter From The Editor - Culture and Language, Again|
|Learning A Language Is Learning Its Culture|
|Revisited - Early Bardic Literature in Ireland|
|Languages in Peril - Save Medan Hokkien!|
|In Others' Words - Ulrike and Peter Rettig|
|At the Cinema - Monster Hunt|
|Where Are You?|
|Book Look - Language Alter Ego|
|Basic Guide to Italian|
|At A Glance|
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