BOOK III
Fled foam underneath us, and around us, a wandering and milky smoke,
High as the saddle girth, covering away from our glances the tide;
And those that fled, and that followed, from the foam-pale distance broke;
The immortal desire of immortals we saw in their faces, and sighed.
I mused on the chase with the Fenians, and Bran, Sgeolan, Lomair,
And never a song sang Niam, and over my finger-tips
Came now the sliding of tears and sweeping of mist-cold hair,
And now the warmth of sighs, and after the quiver of lips.
Were we days long or hours long in riding, when rolled in a grisly peace,
An isle lay level before us, with dripping hazel and oak?
And we stood on a sea's edge we saw not; for whiter than new-washed fleece
Fled foam underneath us, and round us, a wandering and milky smoke.
And we rode on the plains of the sea's edge; the sea's edge barren and gray,
Gray sand on the green of the grasses and over the dripping trees,
Dripping and doubling landward, as though they would hasten away
Like an army of old men longing for rest from the moan of the seas.
But the trees grew taller and closer, immense in their wrinkling bark;
Dropping; a murmurous dropping; old silence and that one sound;
For no live creatures lived there, no weasels moved in the dark:
Long sighs arose in our spirits, beneath us bubbled the ground.
And the ears of the horse went sinking away in the hollow night,
For, as drift from a sailor slow drowning the gleams of the world and the sun,
Ceased on our hands and our faces, on hazel and oak leaf, the light,
And the stars were blotted above us, and the whole of the world was one.
Till the horse gave a whinny; for, cumbrous with stems of the hazel and oak,
A valley flowed down from his hoofs, and there in the long grass lay,
Under the starlight and shadow, a monstrous slumbering folk,
Their naked and gleaming bodies poured out and heaped in the way.
And by them were arrow and war-axe, arrow and shield and blade;
And dew-blanched horns, in whose hollow a child of three years old
Could sleep on a couch of rushes, and all inwrought and inlaid,
And more comely than man can make them with bronze and silver and gold.
And each of the huge white creatures was huger than fourscore men;
The tops of their ears were feathered, their hands were the claws of birds,
And, shaking the plumes of the grasses and the leaves of the mural glen,
The breathing came from those bodies, long-warless, grown whiter than curds.
The wood was so spacious above them, that He who had stars for His flocks
Could fondle the leaves with His fingers, nor go from His dew-cumbered skies;
So long were they sleeping, the owls had builded their nests in their locks,
Filling the fibrous dimness with long generations of eyes.
And over the limbs and the valley the slow owls wandered and came,
Now in a place of star-fire, and now in a shadow place wide;
And the chief of the huge white creatures, his knees in the soft star-flame,
Lay loose in a place of shadow: we drew the reins by his side.
Golden the nails of his bird-claws, flung loosely along the dim ground;
In one was a branch soft-shining, with bells more many than sighs,
In midst of an old man's bosom; owls ruffling and pacing around,
Sidled their bodies against him, filling the shade with their eyes.
And my gaze was thronged with the sleepers; no, not since the world began,
In realms where the handsome were many, nor in glamours by demons flung,
Have faces alive with such beauty been known to the salt eye of man,
Yet weary with passions that faded when the seven-fold seas were young.
And I gazed on the bell-branch, sleep's forebear, far sung by the Sennachies.
I saw how those slumberers, grown weary, there camping in grasses deep,
Of wars with the wide world and pacing the shores of the wandering seas,
Laid hands on the bell-branch and swayed it, and fed of unhuman sleep.
Snatching the horn of Niam, I blew a lingering note;
Came sound from those monstrous sleepers, a sound like the stirring of flies.
He, shaking the fold of his lips, and heaving the pillar of his throat,
Watched me with mournful wonder out of the wells of his eyes.
I cried, "Come out of the shadow, king of the nails of gold!
"And tell of your goodly household and the goodly works of your hands,
"That we may muse in the starlight and talk of the battles of old;
"Your questioner, Usheen, is worthy, he comes from the Fenian lands."
Half open his eyes were, and held me, dull with the smoke of their dreams;
His lips moved slowly in answer, no answer out of them came;
Then he swayed in his fingers the bell-branch, slow dropping a sound in faint streams
Softer than snow-flakes in April and piercing the marrow like flame.
Wrapt in the wave of that music, with weariness more than of earth,
The moil of my centuries filled me; and gone like a sea-covered stone
Were the memories of the whole of my sorrow and the memories of the whole of my mirth,
And a softness came from the starlight and filled me full to the bone.
In the roots of the grasses, the sorrels, I laid my body as low;
And the pearl-pale Niam lay by me, her brow on the midst of my breast;
And the horse was gone in the distance, and years after years 'gan flow;
Square leaves of the ivy moved over us, binding us down to our rest.
And, man of the many white croziers, a century there I forgot;
How the fetlocks drip blood in the battle, when the fallen on fallen lie rolled;
How the falconer follows the falcon in the weeds of the heron's plot,
And the names of the demons whose hammers made armour for Conhor of old.
And, man of the many white croziers, a century there I forgot;
That the spear-shaft is made out of ashwood, the shield out of ozier and hide;
How the hammers spring on the anvil, on the spearhead's burning spot;
How the slow, blue-eyed oxen of Finn low sadly at evening tide.
But in dreams, mild man of the croziers, driving the dust with their throngs,
Moved round me, of seamen or landsmen, all who are winter tales;
Came by me the kings of the Red Branch, with roaring of laughter and songs,
Or moved as they moved once, love-making or piercing the tempest with sails.
Came Blanid, Mac Nessa, tall Fergus who feastward of old time slunk,
Cook Barach, the traitor; and warward, the spittle on his beard never dry,
Dark Balor, as old as a forest, car borne, his mighty head sunk
Helpless, men lifting the lids of his weary and death-making eye.
And by me, in soft red raiment, the Fenians moved in loud streams,
And Grania, walking and smiling, sewed with her needle of bone,
So lived I and lived not, so wrought I and wrought not, with creatures of dreams,
In a long iron sleep, as a fish in the water goes dumb as a stone.
At times our slumber was lightened. When the sun was on silver or gold;
When brushed with the wings of the owls, in the dimness they love going by;
When a glow-worm was green on a grass leaf, lured from his lair in the mould;
Half wakening, we lifted our eyelids, and gazed on the grass with a sigh.
So watched I when, man of the croziers, at the heel of a century fell,
Weak, in the midst of the meadow, from his miles in the midst of the air,
A starling like them that forgathered 'neath a moon waking white as a shell.
When the Fenians made foray at morning with Bran, Sgeolan, Lomair.
I awoke: the strange horse without summons out of the distance ran,
Thrusting his nose to my shoulder; he knew in his bosom deep
That once more moved in my bosom the ancient sadness of man,
And that I would leave the immortals, their dimness, their dews dropping sleep.
O, had you seen beautiful Niam grow white as the waters are white,
Lord of the croziers, you even had lifted your hands and wept:
But, the bird in my fingers, I mounted, remembering alone that delight
Of twilight and slumber were gone, and that hoofs impatiently stept.
I cried, "O Niam! O white one! if only a twelve-houred day,
"I must gaze on the beard of Finn, and move where the old men and young
"In the Fenians' dwellings of wattle lean on the chessboards and play,
"Ah, sweet to me now were even bald Conan's slanderous tongue!
"Like me were some galley forsaken far off in Meridian isle.
"Remembering its long-oared companions, sails turning to thread-bare rags;
"No more to crawl on the seas with long oars mile after mile,
"But to be amid shooting of flies and flowering of rushes and flags."
Their motionless eyeballs of spirits grown mild with mysterious thought
Watched her those seamless faces from the valley's glimmering girth;
As she murmured, "O wandering Usheen, the strength of the bell-branch is naught,
"For there moves alive in your fingers the fluttering sadness of earth.
"Then go through the lands in the saddle and see what the mortals do,
"And softly come to your Niam over the tops of the tide;
"But weep for your Niam, O Usheen, weep; for if only your shoe
"Brush lightly as haymouse earth's pebbles, you will come no more to my side.
"O flaming lion of the world, O when will you turn to your rest?"
"I saw from a distant saddle; from the earth she made her moan;
"I would die like a small withered leaf in the autumn, for breast unto breast
"We shall mingle no more, nor our gazes empty their sweetness lone.
"In the isles of the farthest seas where only the spirits come.
"Were the winds less soft than the breath of a pigeon who sleeps on her nest,
"Nor lost in the star-fires and odours the sound of the sea's vague drum?
"O flaming lion of the world, O when will you turn to your rest?"
The wailing grew distant; I rode by the woods of the wrinkling bark,
Where ever is murmurous dropping, old silence and that one sound;
For no live creatures live there, no weasels move in the dark;
In a reverie forgetful of all things, over the bubbling ground.
And I rode by the plains of the sea's edge, where all is barren and gray,
Gray sands on the green of the grasses and over the dripping trees,
Dripping and doubling landward, as though they would hasten away,
Like an army of old men lounging for rest from the moan of the seas.
And the winds made the sands on the sea's edge turning and turning go,
As my mind made the names of the Fenians. Far from the hazel and oak,
I rode away on the surges, where, high as the saddle bow,
Fled foam underneath me, and round me, a wandering and milky smoke.
Long fled the foam-flakes around me, the winds fled out of the vast,
Snatching the bird in secret; nor knew I, embosomed apart,
When they froze the cloth on my body like armour riveted fast,
For Remembrance, lifting her leanness, keened in the gates of my heart.
Till fattening the winds of the morning, an odour of new-mown hay
Came, and my forehead fell low, and my tears like berries fell down;
Later a sound came, half lost in the sound of a shore far away,
From the great grass-barnacle calling, and later the shore-weeds brown.
If I were as I once was, the strong hoofs crushing the sand and the shells,
Coming out of the sea as the dawn comes, a chaunt of love on my lips,
Not coughing, my head on my knees, and praying, and wroth with the bells,
I would leave no saint's head on his body from Rachlin to Bera of ships.
Making way from the kindling surges, I rode on a bridle-path
Much wondering to see upon all hands, of wattles and woodwork made,
Your bell-mounted churches, and guardless the sacred cairn and the rath,
And a small and a feeble populace stooping with mattock and spade.
Or weeding or ploughing with faces a-shining with much-toil wet;
While in this place and that place, with bodies unglorious, their chieftains stood,
Awaiting in patience the straw-death, croziered one, caught in your net:
Went the laughter of scorn from my mouth like the roaring of wind in a wood.
And because I went by them so huge and so speedy with eyes so bright,
Came after the hard gaze of youth, or an old man lifted his head:
And I rode and I rode, and I cried out, "The Fenians hunt wolves in the night,
So sleep thee by daytime." A voice cried, "The Fenians a long time are dead."
A whitebeard stood hushed on the pathway, the flesh of his face as dried grass,
And in folds round his eyes and his mouth, he sad as a child without milk;
And the dreams of the islands were gone, and I knew how men sorrow and pass,
And their hound, and their horse, and their love, and their eyes that glimmer like silk.
And wrapping my face in my hair, I murmured, "In old age they ceased";
And my tears were larger than berries, and I murmured, "Where white clouds lie spread
"On Crevroe or broad Knockfefin, with many of old they feast
"On the floors of the gods." He cried, "No, the gods a long time are dead."
And lonely and longing for Niam, I shivered and turned me about,
The heart in me longing to leap like a grasshopper into her heart;
I turned and rode to the westward, and followed the sea's old shout
Till I saw where Maive lies sleeping till starlight and midnight part.
And there at the foot of the mountain, two carried a sack full of sand,
They bore it with staggering and sweating, but fell with their burden at length:
Leaning down from the gem-studded saddle, I flung it five yards with my hand,
With a sob for men waxing so weakly, a sob for the Fenian's old strength.
The rest you have heard of, O croziered one; how, when divided the girth,
I fell on the path, and the horse went away like a summer fly;
And my years three hundred fell on me, and I rose, and walked on the earth,
A creeping old man, full of sleep, with the spittle on his beard never dry.
How the men of the sand-sack showed me a church with its belfry in air;
Sorry place, where for swing of the war-axe in my dim eyes the crozier gleams;
What place have Caolte and Conan, and Bran, Sgeolan, Lomair?
Speak, you too are old with your memories, an old man surrounded with dreams.
S. PATRIC
Where the flesh of the footsole clingeth on the burning stones is their place;
Where the demons whip them with wires on the burning stones of wide hell,
Watching the blessed ones move far off, and the smile on God's face,
Between them a gateway of brass, and the howl of the angels who fell.
USHEEN
Put the staff in my hands; for I go to the Fenians, O cleric, to chaunt
The war-songs that roused them of old; they will rise, making clouds with their breath
Innumerable, singing, exultant; the clay underneath them shall pant,
And demons be broken in pieces, and trampled beneath them in death.
And demons afraid in their darkness; deep horror of eyes and of wings,
Afraid their ears on the earth laid, shall listen and rise up and weep;
Hearing the shaking of shields and the quiver of stretched bowstrings,
Hearing hell loud with a murmur, as shouting and mocking we sweep.
We will tear out the flaming stones, and batter the gateway of brass
And enter, and none sayeth "No" when there enters the strongly armed guest;
Make clean as a broom cleans, and march on as oxen move over young grass;
Then feast, making converse of wars, and of old wounds, and turn to our rest.
S. PATRIC
On the flaming stones, without refuge, the limbs of the Fenians are tost;
None war on the masters of Hell, who could break up the world in their rage;
But kneel and wear out the flags and pray for your soul that is lost
Through the demon love of its youth and its godless and passionate age.
USHEEN
Ah, me! to be shaken with coughing and broken with old age and pain,
Without laughter, a show unto children, alone with remembrance and fear;
All emptied of purple hours as a beggar's cloak in the rain,
As a hay-cock out on the flood, or a wolf sucked under a weir.
It were sad to gaze on the blessed and no man I loved of old there;
I throw down the chain of small stones! when life in my body has ceased,
I will go to Caolte, and Conan, and Bran, Sgeolan, Lomair,
And dwell in the house of the Fenians, be they in flames or at feast.
GLOSSARY AND NOTES
The Pronunciation of the Irish Words.– When I wrote the greater number of these poems I had hardly considered the question seriously. I copied at times somebody's perhaps fanciful phonetic spelling, and at times the ancient spelling as I found it in some literal translation, pronouncing the words always as they were spelt. I do not suppose I would have defended this system at any time, but I do not yet know what system to adopt. The modern pronunciation, which is usually followed by those who spell the words phonetically, is certainly unlike the pronunciation of the time when classical Irish literature was written, and, so far as I know, no Irish scholar who writes in English or French has made that minute examination of the way the names come into the rhythms and measures of the old poems which can alone discover the old pronunciation. A French Celtic scholar gave me the pronunciation of a few names, and told me that Mr. Whitley Stokes had written something about the subject in German, but I am ignorant of German. If I ever learn the old pronunciation, I will revise all these poems, but at present I can only affirm that I have not treated my Irish names as badly as the mediæval writers of the stories of King Arthur treated their Welsh names.
Mythological Gods and Heroes.– I refer the reader for such names as Balor and Finn and Usheen to Lady Gregory's "Cuchulain of Muirthemne" and to her "Gods and Fighting Men."
The Ballad of Father Gilligan.– A tradition among the people of Castleisland, Kerry.
The Ballad of Father O'Hart.– This ballad is founded on the story of a certain Father O'Hart, priest of Coloony, Sligo, in the last century, as told by the present priest of Coloony in his History of Ballisodare and Kilvarnet. The robbery of the lands of Father O'Hart was a kind of robbery which occurred but rarely during the penal laws. Catholics, forbidden to own landed property, evaded the law by giving a Protestant nominal possession of their estates. There are instances on record in which poor men were nominal owners of immense estates.
The Ballad of the Foxhunter.– Founded on an incident, probably itself a Tipperary tradition, in Kickham's Knockagow.
Bell-branch.– A legendary branch whose shaking casts all men into a sleep.
The Countess Cathleen.– I found the story of the Countess Cathleen in what professed to be a collection of Irish folk-lore in an Irish newspaper some years ago. I wrote to the compiler, asking about its source, but got no answer, but have since heard that it was translated from Les Matinées de Timothè Trimm a good many years ago, and has been drifting about the Irish press ever since. Léo Lespès gives it as an Irish story, and though the editor of Folklore has kindly advertised for information, the only Christian variant I know of is a Donegal tale, given by Mr. Larminie in his West Irish Folk Tales and Romances, of a woman who goes to hell for ten years to save her husband, and stays there another ten, having been granted permission to carry away as many souls as could cling to her skirt. Léo Lespès may have added a few details, but I have no doubt of the essential antiquity of what seems to me the most impressive form of one of the supreme parables of the world. The parable came to the Greeks in the sacrifice of Alcestis, but her sacrifice was less overwhelming, less apparently irremediable. Léo Lespès tells the story as follows: —
Ce que je vais vous dire est un récit du carême Irlandais. Le boiteux, l'aveugle, le paralytique des rues de Dublin ou de Limerick, vous le diraient mieux que moi, cher lecteur, si vous alliez le leur demander, un sixpense d'argent à la main. – Il n'est pas une jeune fille catholique à laquelle on ne l'ait appris pendant les jours de préparation à la communion sainte, pas un berger des bords de la Blackwater qui ne le puisse redire à la veillée.
Il y a bien longtemps qu'il apparut tout-à-coup dans la vielle Irlande deux marchands inconnus dont personne n'avait ouï parler, et qui parlaient néanmoins avec la plus grande perfection la langue du pays. Leurs cheveux étaient noirs et ferrés avec de l'or et leurs robes d'une grande magnificence.
Tous deux semblaient avoir le même âge; ils paraissaient être des hommes de cinquante ans, car leur barbe grisonnait un peu.
Or, à cette époque, comme aujourd'hui, l'Irlande était pauvre, car le soleil avait été rare, et des récoltes presque nulles. Les indigents ne savaient à quel sainte se vouer, et la misère devenait de plus en plus terrible.
Dans l'hôtellerie où descendirent les marchands fastueux on chercha à pénétrer leurs desseins: mais ce fut en vain, ils demeurèrent silencieux et discrets.
Et pendant qu'ils demeurèrent dans l'hôtellerie, ils ne cessèrent de compter et de recompter des sacs de pièces d'or, dont la vive clarté s'apercevait à travers les vitres du logis.
Gentlemen, leur dit l'hôtesse un jour, d'où vient que vous êtes si opulents, et que, venus pour secourir la misère publique, vous ne fassiez pas de bonnes œuvres?
– Belle hôtesse, répondit l'un d'eux, nous n'avons pas voulu aller au-devant d'infortunes honorables, dans la crainte d'être trompés par des misères fictives: que la douleur frappe à la porte, nous ouvrirons.
Le lendemain, quand on sut qu'il existait deux opulents étrangers prêts à prodiguer l'or, la foule assiégea leur logis; mais les figures des gens qui en sortaient étaient bien diverses. Les uns avaient la fierté dans le regard, les autres portaient la honte au front. Les deux trafiquants achetaient des âmes pour le démon. L'âme d'un vieillard valait vingt pièces d'or, pas un penny de plus; car Satan avait eu le temps d'y former hypothèque. L'âme d'une épose en valait cinquante quand elle était jolie, ou cent quand elle était laide. L'âme d'une jeune fille se payait des prix fous: les fleurs les plus belles et les plus pures sont les plus chères.
Pendant ce temps, il existait dans la ville un ange de beauté, la comtesse Ketty O'Connor. Elle était l'idole du peuple, et la providence des indigents. Dès qu'elle eut appris que des mécréants profitaient de la misère publique pour dérober des cœurs à Dieu, elle fit appeler son majordome.
– Master Patrick, lui dit elle, combien ai-je de pièces d'or dans mon coffre?
– Cent mille.
– Combien de bijoux?
– Peur autant d'argent.
– Combien de châteux, de bois et de terres?
– Pour le double de ces sommes.
– Eh bien! Patrick, vendez tout ce qui n'est pas or et apportez-m'en le montant. Je ne veux garder à moi que ce castel et le champ qui l'entoure.
Deux jours après, les ordres de la pieuse Ketty étaient exécutés et le trésor était distribué aux pauvres au fur et à mesure de leurs besoins.
Ceci ne faisait pas le compte, dit la tradition, des commis-voyageurs du malin esprit, qui ne trouvaient plus d'âmes à acheter.
Aidés par un valet infâme, ils pénétrèrent dans la retraite de la noble dame et lui dérobèrent le reste de son trésor … en vain lutta-t-elle de toutes ses forces pour sauver le contenu de son coffre, les larrons diaboliques furent les plus forts. Si Ketty avait eu les moyens de faire un signe de croix, ajoute la légende Irlandaise, elle les eût mis en fuite, mais ses mains étaient captives – Le larcin fut effectué. Alors les pauvres sollicitèrent en vain près de Ketty dépouillée, elle ne pouvait plus secourir leur misère; – elle les abandonnait à la tentation. Pourtant il n'y avait plus que huit jours à passer pour que les grains et lea fourrages arrivassent en abondance des pays d'Orient. Mais, huit jours, c'était un siècle: huit jours nécessitaient une somme immense pour subvenir aux exigences de la disette, et les pauvres allaient ou expirer dans les angousses de la faim, ou, reniant les saintes maximes de l'Evangile, vendre à vil prix leur âme, le plus beau présent de la munificence du Seigneur tout-puissant.
Et Ketty n'avait plus une obole, car elle avait abandonné son châteux aux malheureux.
Elle passa douze heures dans les larmes et le deuil, arrachant ses cheveux couleur de soleil et meurtrissant son sein couleur du lis: puis elle se leva résolue, animée par un vif sentiment de désespoir.
Elle se rendit chez les marchands d'âmes.
– Que voulez-vous? dirent ils.
– Vous achetez des âmes?
– Oui, un peu malgré vous, n'est ce pas, sainte aux yeux de saphir?
– Aujourd'hui je viens vous proposer un marché, reprit elle.
– Lequel?
– J'ai une âme a vendre; mais elle est chère.
– Qu'importe si elle est précieuse? l'âme, comme le diamant, s'apprécie à sa blancheur.
– C'est la mienne, dit Ketty.
Les deux envoyés de Satan tressaillirent. Leurs griffes s'allongèrent sous leurs gants de cuir; leurs yeux gris étincelèrent – l'âme, pure, immaculée, virginale de Ketty!.. c'était une acquisition inappréciable.
– Gentille dame, combien voulez-vous?
– Cent cinquante mille écus d'or.
– C'est fait, dirent les marchands: et ils tendirent à Ketty un parchemin cacheté de noir, qu'elle signa en frissonnant.
La somme lui fut comptée.
Des qu'elle fut rentrée, elle dit au majordome:
– Tenez, distribuez ceci. Avec la somme que je vous donne les pauvres attendront la huitaine nécessaire et pas une de leurs âmes ne sera livrée au démon.
Puis elle s'enferma et recommanda qu'on ne vint pas la déranger.
Trois jours se passèrent; elle n'appela pas; elle ne sortit pas.
Quand on ouvrit sa porte, on la trouva raide et froide: elle était morte de douleur.
Mais la vente de cette âme si adorable dans sa charité fut déclarée nulle par le Seigneur: car elle avait sauvé ses concitoyens de la morte éternelle.
Après la huitaine, des vaisseaux nombreux amenèrent à l'Irlande affamée d'immenses provisions de grains.
La famine n'était plus possible. Quant aux marchands, ils disparurent de leur hôtellerie, sans qu'on sût jamais ce qu'ils étaient devenus.
Toutefois, les pêcheurs de la Blackwater prétendent qu'ils sont enchainés dans une prison souterraine par ordre de Lucifer jusqu'au moment où ils pourront livrer l'âme de Ketty qui leur a échappé. Je vous dis la légende telle que je la sais.
– Mais les pauvres l'ont raconté d'âge en âge et les enfants de Cork et de Dublin chantent encore la ballade dont voici les derniers couplets: —
Pour sauver les pauvres qu'elle aime
Ketty donna
Son esprit, sa croyance même:
Satan paya
Cette âme au dévoûment sublime,
En écus d'or,
Disons pour racheter son crime,
Confiteor.
Mais l'ange qui se fit coupable
Par charité
Au séjour d'amour ineffable
Est remonté.
Satan vaincu n'eut pas de prise
Sur ce cœur d'or;
Chantons sous la nef de l'église,
Confiteor.
N'est ce pas que ce récit, né de l'imagination des poètes catholiques de la verte Erin, est une véritable récit de carême?
The Countess Cathleen was acted in Dublin in 1899, with Mr. Marcus St. John and Mr. Trevor Lowe as the First and Second Demon, Mr. Valentine Grace as Shemus Rua, Master Charles Sefton as Teig, Madame San Carola as Mary, Miss Florence Farr as Aleel, Miss Anna Mather as Oona, Mr. Charles Holmes as the Herdsman, Mr. Jack Wilcox as the Gardener, Mr. Walford as a Peasant, Miss Dorothy Paget as a Spirit, Miss M. Kelly as a Peasant Woman, Mr. T.E. Wilkinson as a Servant, and Miss May Whitty as The Countess Kathleen. They had to face a very vehement opposition stirred up by a politician and a newspaper, the one accusing me in a pamphlet, the other in long articles day after day, of blasphemy because of the language of the demons or of Shemus Rua, and because I made a woman sell her soul and yet escape damnation, and of a lack of patriotism because I made Irish men and women, who, it seems, never did such a thing, sell theirs. The politician or the newspaper persuaded some forty Catholic students to sign a protest against the play, and a Cardinal, who avowed that he had not read it, to make another, and both politician and newspaper made such obvious appeals to the audience to break the peace, that a score or so of police were sent to the theatre to see that they did not. I had, however, no reason to regret the result, for the stalls, containing almost all that was distinguished in Dublin, and a gallery of artisans alike insisted on the freedom of literature.
After the performance in 1899 I added the love scene between Aleel and the Countess, and in this new form the play was revived in New York by Miss Wycherley as well as being played a good deal in England and America by amateurs. Now at last I have made a complete revision to make it suitable for performance at the Abbey Theatre. The first two scenes are almost wholly new, and throughout the play I have added or left out such passages as a stage experience of some years showed me encumbered the action; the play in its first form having been written before I knew anything of the theatre. I have left the old end, however, in the version printed in the body of this book, because the change for dramatic purposes has been made for no better reason than that audiences – even at the Abbey Theatre – are almost ignorant of Irish mythology – or because a shallow stage made the elaborate vision of armed angels upon a mountain-side impossible. The new end is particularly suited to the Abbey stage, where the stage platform can be brought out in front of the proscenium and have a flight of steps at one side up which the Angel comes, crossing towards the back of the stage at the opposite side. The principal lighting is from two arc lights in the balcony which throw their lights into the faces of the players, making footlights unnecessary. The room at Shemus Rua's house is suggested by a great grey curtain – a colour which becomes full of rich tints under the stream of light from the arcs. The two or more arches in the third scene permit the use of a gauze. The short front scene before the last is just long enough when played with incidental music to allow the scene set behind it to be changed. The play when played without interval in this way lasts a little over an hour.
The play was performed at the Abbey Theatre for the first time on December 14, 1911, Miss Maire O'Neill taking the part of the Countess, and the last scene from the going out of the Merchants was as follows: —
(MERCHANTS rush out. ALEEL crawls into the middle of the room; the twilight has fallen and gradually darkens as the scene goes on.)
ALEEL
They're rising up – they're rising through the earth,
Fat Asmodel and giddy Belial,
And all the fiends. Now they leap in the air.
But why does Hell's gate creak so? Round and round.
Hither and hither, to and fro they're running.
(He moves about as though the air was full of spirits. OONA enters.)
Crouch down, old heron, out of the blind storm.
OONA
Where is the Countess Cathleen? All this day
Her eyes were full of tears, and when for a moment
Her hand was laid upon my hand, it trembled.
And now I do not know where she is gone.
ALEEL
Cathleen has chosen other friends than us,
And they are rising through the hollow world.
Demons are out, old heron.
OONA
God guard her soul.
ALEEL
She's bartered it away this very hour,
As though we two were never in the world.
(He kneels beside her, but does not seem to hear her words. The PEASANTS return. They carry the COUNTESS CATHLEEN and lay her upon the ground before OONA and ALEEL. She lies there as if dead.)
OONA
O, that so many pitchers of rough clay
Should prosper and the porcelain break in two!
(She kisses the hands of CATHLEEN.)
A PEASANT
We were under the tree where the path turns
When she grew pale as death and fainted away.
CATHLEEN
O, hold me, and hold me tightly, for the storm
Is dragging me away.
(OONA takes her in her arms. A woman begins to wail.)
PEASANTS
Hush!
PEASANTS
Hush!
PEASANT WOMEN
Hush!
OTHER PEASANT WOMEN
Hush!
CATHLEEN (half rising)
Lay all the bags of money in a heap,
And when I am gone, old Oona, share them out
To every man and woman: judge, and give
According to their needs.
A PEASANT WOMAN
And will she give
Enough to keep my children through the dearth?
ANOTHER PEASANT WOMAN
O, Queen of Heaven, and all you blessed saints,
Let us and ours be lost, so she be shriven.
CATHLEEN
Bend down your faces, Oona and Aleel;
I gaze upon them as the swallow gazes
Upon the nest under the eave, before
She wander the loud waters. Do not weep
Too great a while, for there is many a candle
On the High Altar though one fall. Aleel,
Who sang about the dancers of the woods,
That know not the hard burden of the world,
Having but breath in their kind bodies, farewell!
And farewell, Oona, you who played with me
And bore me in your arms about the house
When I was but a child – and therefore happy,
Therefore happy even like those that dance.
The storm is in my hair and I must go.
(She dies.)
OONA
Bring me the looking-glass.
(A woman brings it to her out of inner room. OONA holds glass over the lips of CATHLEEN. All is silent for a moment, then she speaks in a half-scream.)
O, she is dead!
A PEASANT
She was the great white lily of the world.
A PEASANT
She was more beautiful than the pale stars.
AN OLD PEASANT WOMAN
The little plant I loved is broken in two.
(ALEEL takes looking-glass from OONA and flings it upon floor, so that it is broken in many pieces.)
ALEEL
I shatter you in fragments, for the face
That brimmed you up with beauty is no more;
And die, dull heart, for you that were a mirror
Are but a ball of passionate dust again!
And level earth and plumy sea, rise up!
And haughty sky, fall down!
A PEASANT WOMAN
Pull him upon his knees,
His curses will pluck lightning on our heads.
ALEEL
Angels and devils clash in the middle air,
And brazen swords clang upon brazen helms.
Look, look, a spear has gone through Belial's eye!
(A winged ANGEL, carrying a torch and a sword, enters from the R. with eyes fixed upon some distant thing. The ANGEL is about to pass out to the L. when ALEEL speaks. The ANGEL stops a moment and turns.)
Look no more on the half-closed gates of Hell,
But speak to me whose mind is smitten of God,
That it may be no more with mortal things:
And tell of her who lies there.
(The ANGEL turns again and is about to go, but is seized by ALEEL.)
Till you speak
You shall not drift into eternity.
THE ANGEL
The light beats down; the gates of pearl are wide.
And she is passing to the floor of peace,
And Mary of the seven times wounded heart
Has kissed her lips, and the long blessed hair
Has fallen on her face; the Light of Lights
Looks always on the motive, not the deed,
The Shadow of Shadows on the deed alone.
(ALEEL releases the ANGEL and kneels.)
OONA
Tell them to walk upon the floor of peace,
That I would die and go to her I love;
The years like great black oxen tread the world,
And God the herdsman goads them on behind,
And I am broken by their passing feet.
Down by the Salley Gardens.– An extension of three lines sung to me by an old woman at Ballisodare.