Irish Druids And Old Irish Religions
IRISH BARDS
The Bards proper occupied a high position in Ireland. The Ollamhs had
colleges at Clogher, Armagh, Lismore, and Tamar. On this, Walker's Historical
Memoirs, 1786, observes that "all the eminent schools, delectably
situated, which were established by the Christian clergy in the fifth century,
were erected on the ruins of those colleges." They studied for twelve years
to gain the barred cap and title of Ollamh or teacher. They were Ollamhain
Re-dan, or Filidhe, poets. They acted as heralds, knowing the
genealogy of their chiefs. With white robe, harp in hand, they encouraged warriors in
battle Their power of satire was dreaded; and their praise, desired.
There is a story of the Ard Ollamh, or Archdruid, sending to Italy after a
book Of skins, containing various chosen compositions, as the Cuilmeun,
&c. As heralds they were called Seanachies. As Bards they sang in a
hundred different kinds of verse. One Ollamh Fodhla was the Solon of Ireland;
Amergin, the singer, lived 500 B.C.; Torna Egeas, was last of the paean bards.
Long after, they were patriots of the tribes--
"With uncouth harps, in many-colour'd vest,
The Statutes of Kilkenny (Edward III.) made it penal to entertain any
Irish Bard; but Munster Bards continued to hold their annual Sessions to the
early part of last century. Carolan, the old blind harper, called last of the
Bards, died in 1738.
Their matted hair With boughs fantastic crown'd"
Bards sang in the Hall of Shells: shells being then the cups. There were
hereditary bards, as the O'Shiels, the O'Canvans, &c., paid to sing the
deeds of family heroes. A lament for Dallan ran--
"A fine host and brave was he, master of and Governor,
In the far-famed Trinity College Library is The Dialogue of the Two Sages,
in the Irish Fenian dialect, giving the qualifications of a true Ollamh. Among
the famous bards were, Lughar, "acute poet, Druid of Meidhbh"; Olioll,
King of Munster; Oisin, son of Cormac, King of Tara, now nearly unintelligible
to Irish readers; Fergus finbel of the Dinn Senchus; Oisin, the Fenian
singer; Larghaire, whose poem to the sun was famous; Lughaidh, whose poem of the death of his wife
Fail is of great antiquity; Adhna, once chief poet of Ireland; Corothruadh,
Fingin, &c. Fergus Finbheoil, fair lips, was a Fenian Bard.
Ulla!
Ullalu
We, thrice fifty Bards, we confessed him chief in song and war--
Ulla!
Ullalu!"
Ireland's Mirror, 1804, speaks of Henessey, a living seer, as the Orpheus
of his country. Amergin, brother of Heber, was the earliest of Milesian poets.
Sir Philip Sydney praised the Irish Bards three centuries ago. One, in Munster,
stopped by his power the corn's growth; and the satire of another caused a
shortness of life. Such rhymes were not to be patronized by the Anglo-Normans,
in the Statute of 1367. One Bard directed his harp, a shell of wine, and his
ancestor's shield to be buried with him. In rhapsody, some would see the images
of coming events pass before them, and so declare them in song. He was surely
useful who rhymed susceptible rats to death.
The Irish war odes were called Rosg-catha, the Eye of Battle. Was it
for such songs that Irish-Danes were cruel to Bards? O'Reilly had a
chronological account of 400 Irish writers. As Froude truly remarks, "Each
celebrated minstrel sang his stories in his own way, adding to them, shaping
them, colouring them, as suited his peculiar genius." It was Heeren who
said of the early Greek bards, "The gift of song came to them from the
gods." Villemarque held that Irish Bards were "really the historians
of the race."
Walker's Irish Bards affirms that the "Order of the Bards
continued for many succeeding ages invariably the same." Even Buchanan
found "many of their ancient customs yet remain; yea, there is almost
nothing changed of them in Ireland, but only ceremonies and rites of
religion." Borlase wrote, "The last place we read of them in the
British dominions is Ireland." Blair added, "Long after the Order of
the Druids was extinct, and the national religion changed, the Bards
continued to flourish, exercising the same
functions as of old in Ireland." But Walker claimed the Fingalians
as originally Irish. Sir I. Ferguson, in his Lays of the Western Gael,
says, "The exactions of the Bards were so intolerable that the early Irish
more than once endeavoured to rid themselves of the Order." Their arrogance
had procured their occasional banishment. Higgins, in Celtic Druids, had
no exalted opinion of them, saying, "The Irish histories have been most of
them filled with lies and nonsense by their bards." Assuredly a great
proportion of their works were destroyed by the priests, as they had been in
England, Germany, France, &c.
The harp, according to Bede, was common in the seventh century. St. Columba
played upon the harp. Meagor says of the first James of Scotland, "On the
harp he excelled the Irish or the Highland Scots, who are esteemed the best
performers on that instrument." Ireland was the school of music for Welsh
and Scotch. Irish harpers were the most celebrated up to the last century.
Ledwich thought the harp came in from Saxons and Danes. The Britons, some say,
had it from the Romans. The old German harp had eighteen strings; the old Irish,
twenty-eight; the modern Irish, thirty-three. Henry VIII. gave Ireland the harp
for an armorial bearing, being a great admirer of Irish music; but James I.
quartered it with the arms of France and England. St. Bernard gives Archbishop
Malachy, 1134, the credit of introducing music into the Church service of
Ireland.
The Irish cruit was the Welsh crwdd or crwth. Hugh Rose
relates, that "a certain string was selected as the most suitable for each
song." Diodorus Siculus recorded that "the bards of Gaul sang to
instruments like lyres." The cymbals were not Bardic, but bell cymbals of
the Church. They were hollow spheres, holding loose bits of metal for
rattling, and connected by a flexible shank. The corn was a metallic horn;
the drum, or tiompan, was a tabor; the piob-mela, or bagpipes,
were borrowed from the far East; the bellows to the bag thereof were not seen
till the sixteenth century. The Irish used foghair, or whole tones, and foghair-beg,
or semi-tones. The cor, or harmony, was chruisich, treble, and cronan,
base. The names of clefs were from the Latin. In most ancient languages the same
word is used for Bard and Sage. Lönnrot found not a parish among the Karelians
without several Bards. Quatrefages speaks of Bardic contests thus: "The two
bards start strophe after strophe, each repeating at first that which the other
had said. The song only stops with the learning of one of the two."
Walker ungallantly wrote, "We cannot find that the Irish had female
Bards," while admitting that females cried the Caoine over the dead.
Yet in Cathluina we read, "The daughter of Moran seized the harp,
and her voice of music praised the strangers. Their souls melted at the song,
like the wreath of snow before the eye of the sun."
The Court Bards were required, says Dr. O'Donovan, to have ready seven times
fifty chief stories, and twice fifty sub-stories, to repeat before the Irish
King and his chiefs. Conor Mac Neasa, King of Ulster, had three thousand Bards,
gathered from persecuting neighbouring chiefs.
"Musician, herald, bard, thrice may'st thou be renowned,
Brehons.--Breitheamhain - were legislative Bards; and, said
Walker, in 1786, they "promulgated the laws in a kind of recitative, or
monotonous chant, seated on an eminence in the open air." According to
McCurtin, the Irish Bards of the sixth century wore long, flowing garments,
fringed and Ornamented with needlework. in a Life of Columba, 1827,
it is written, "The Bards and Sennachees retained their office, and some
degree of their former estimation among the nobility of Caledonia and Ireland,
till the accession of the House of Hanover."
And with three several wreaths immortally be crowned."
"Nothing can prove," says O'Beirne Crowe, "the late
introduction of Druidism into our country more satisfactorily than the utter
contempt in which the name bard is held in all our records.--After the
introduction of our irregular system of Druidism, which must have been about the
second century of the Christian era, the Filis (bard) had to fall into
something like the position of the British Bards-- hence we see them, down to a
late period--practising incantations like the Magi of the continent, and in
religious matters holding extensive sway."
Ossianic literature had a higher opinion of the Bards; as, "Such were
the words of the Bards in the days of the Song; when the King heard the music of
harps and the tales of other times. The chiefs gathered from all their hills,
and heard the lovely sound.. They praised the voice of Cona, the first among a
thousand bards." Again, "Sit thou on the heath, O Bard! and let us
hear thy voice. It is pleasant as the gale of the spring, that sighs on the
hunter's ear, when he wakens from dreams of joy, and has heard the music of the
spirits of the hill.--The music of Cardil was like the memory of joys that are
past, pleasant, and mournful to the soul. The ghosts of departed Bards heard
it." "My life," exclaimed Fingal, "shall be one stream of
light to Bards of other times." Cathmor cried, "Loose the Bards. Their
voice shall be heard in other ages, when the Kings of Temora have failed."
Keating, amusingly credulous as an Irish historian records with
gravity the story of an ancient militia numbering nine thousand in time of
peace, who had both sergeants and colonels. Into the ranks of these Fine
Eirion no one was admitted unless proved to be a poetical genius, well acquainted
with the twelve books of poetry.
The Dinn Seanchas has poems by the Irish Bard of the second century,
Finin Mac Luchna; and it asserts that "the people deemed each other's
voices sweeter than the warblings of the melodious harp." On Toland's
authority we learn that, for a long time after the English Conquest, the judges,
Bards, physicians, and harpers held land tenures in Ireland. The O'Duvegans were
hereditary Bards of the O'Kellies; the O'Shiels were hereditary doctors; the
O'Brodins, hereditary antiquaries; the Maglanchys, hereditary judges. The Bards
were Strabo's hymn-makers.
Mrs. Bryant felt that "The Isle of Song was soon to become the Isle of
Saints;" and considered "Ireland of the Bards knew its Druids simply
as men skilled in all magical arts, having no marked relation either to a system
of theology, or to a scheme of ceremonial practice."
The Brehon Law gives little information respecting Druids, though the
Brehons were assumed to have been Originally Druid judges. St. Patrick has the
credit of compiling this record.
These Brehons had a high reputation for justice; and yet it is confessed that
when one was tempted to pass a false sentence, his chain of office would
immediately tighten round his neck most uncomfortably as a warning. Of the
Brehons, it is said by the editors--O'Mahony and Richey --"The learning of
the Brehons became as useless to the public as the most fantastic discussions of
the Schoolmen, and the whole system crystallized into a form which rendered
social progress impossible." Though those old Irish laws were so oppressive
to the common people, and so favourable to the hereditary chiefs, it was hard
indeed to get the people to relinquish them for English laws.
In 1522, English law existed in only four of the Irish counties; and Brehons
and Ollamhs (teachers) were known to the end of the seventeenth century.
The founding of the book of Brehon Law is thus explained:--"And when the
men of Erin heard--all the power of Patrick since his arrival in Erin--they
bowed themselves down in obedience to the will of God and Patrick. It was then
that all the professors of the sciences (Druids) in Erin were assembled, and
each of them exhibited his art before Patrick, in the presence of every chief in
Erin.--What did not clash with the Word of God in the written law, and in the
New Testament, and with the consciences of the believers, was confirmed in the
laws of the Brehons by Patrick, and by the ecclesiastics and the chieftains of
Erin."
