This disfigurement of the women of Ulster in honour of their chosen heroes seems to point to a worship of these heroes as G.o.ds in the original legend. It may, however, be a sort of rough humour intentionally introduced by the author of the form of the story that we call the Antiquarian form; there are other instances of such humour in this form of the story.

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Line 2. "Like the cast of a boomerang." This is an attempt to translate the word taithbeim, return-stroke, used elsewhere (L.U., 63a., 4) for Cuchulain's method of capturing birds.

Line 8. "I deem it as being by me that the distribution was made."

The words "I deem it" are inserted, they are not in the text. It appears that what Ethne meant was that the distribution by Cuchulain was regarded by her as done by her through her husband.

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Line 9. "Dun Imrith nor yet to Dun Delga." Dun Imrith is the castle in which Cuchulain was when he met the War-G.o.ddess in the "Apparition of the Morrigan," otherwise called the "Tain bo Regamna." Dun Delga or Dundalk is the residence usually a.s.sociated with Cuchulain. The mention of Emer here is noticeable; the usual statement about the romance is that Ethne is represented as Cuchulain's mistress, and Emer as his wife; the mention here of Emer in the Antiquarian form may support this; but this form seems to be drawn from so many sources, that it is quite possible that Ethne was the name of Cuchulain's wife in the mind of the author of the form which in the main is followed.

There is no opposition between Emer and Ethne elsewhere hinted at.

Line 15. The appearance of Lugaid Red-Stripes gives a reason for his subsequent introduction in the link between the two forms of the story.

Line 18. "Near the entrance of the chamber in which Cuchulain lay."

It does not yet seem certain whether imda was a room or a couch, and it would seem to have both meanings in the Antiquarian form of this story.

The expression forsind airiniuch na imdai which occurs here might be rendered "at the head of the bed"; but if we compare i n-airniuch ind rigthige which occurs twice in "Bricriu's Feast," and plainly means "at the entrance of the palace," it seems possible that airinech is here used in the same sense, in which case imda would mean "room," as Whitley Stokes takes it in the "Bruiden da Derga." On the other hand, the word imda translated on page 63, line 11, certainly means "couches."

Line 27. "Ah Cuchulain, &c." Reference may be made for most of the verses in this romance to Thurneysen's translation of the greater part of it in Sagen aus dem alten Irland but, as some of his renderings are not as close as the verse translations in the text, they require to be supplemented. The poem on pp. 60, 61 is translated by Thurneysen, pp.

84 and 85; but the first two lines should run:--

Ah Cuchulain, under thy sickness not long would have been the remaining.

And lines 7 and 8 should be:

Dear would be the day if truly Cuchulain would come to my land.

The epithet "fair" given to Aed Abra's daughters in line 4 by Thurneysen is not in the Irish, the rest of his translation is very close.

Line 32. "Plain of Cruach." Cromm Cruach is the name of the idol traditionally destroyed by St. Patrick in the "Lives." Cromm Cruach is also described In the Book of Leinster (L.L. 213b) as an idol to whom human sacrifices were offered. The name of this plain is probably connected with this G.o.d.

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Line 30. "Hath released her," Irish ros leci. These words are usually taken to mean that Manannan had deserted Fand, and that she had then turned to Cuchulain, but to "desert" is not the only meaning of lecim.

In the second form of the story, Fand seems to have left Manannan, and though of course the two forms are so different that it is not surprising to find a contradiction between the two, there does not seem to be any need to find one here; and the expression may simply mean that Manannan left Fand at liberty to pursue her own course, which divine husbands often did in other mythologies. Manannan is, of course, the Sea G.o.d, the Celtic Poseidon.

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Line 3. Eogan Inbir (Yeogan the Stream) occurs in the Book of Leinster version of the Book of Invasions as one of the opponents of the Tuatha De Danaan, the Folk of the G.o.ds (L.L. 9b, 45, and elsewhere).

Line 15. "Said Liban." The text gives "said Fand." This seems to be a scribal slip: there is a similar error corrected on page 79, line 21, where the word "Fand" is written "Emer" in the text.

Line 16. "A woman's protection." The "perilous pa.s.sage," pa.s.sed only by a woman's help, occurs elsewhere both in Irish and in other early literatures. See Maelduin, para. 17; Ivain (Chretien de Troyes), vv.

907 sqq.; and Mabinogion, "Lady of the Fountain" (Nutt's edition, p.

177).

Line 28. "Labra." Labraid's usual t.i.tle, as given to him by Liban in both forms of the romance and once by Laeg in the second description of Fairyland, is Labraid Luath lamar-claideb, the t.i.tle being as closely connected with him as {Greek boh'n a?gao's Mene'laos}with Menelaus in Homer. It is usually translated as "Labraid quick-hand-on-sword," but the Luath need not be joined to lam, it is not in any of the places in the facsimile closely joined to it, and others than Liban give to Labraid the t.i.tle of Luath or "swift," without the addition.

The literal translation of the short pieces of rhetoric on pages 62, 63 are,

"Where is Labraid the swift hand-on-sword, who is the head of troops of victory?

(who) triumphs from the strong frame of his chariot, who reddens red spear-points."

"Labraid the son of swiftness is there, he is not slow, abundant shall be the a.s.sembly of war, slaughter is set when the plain of Fidga shall be full."

"Welcome to thee, O Laeg!

for the sake of her with whom thou hast come; and since thou hast come, welcome to thee for thyself!"

The metre of the first two pieces is spirited and unusual. The second one runs:

Ata Labraid luithe cland, ni ba mall bid immda tinol catha, cuirther ar, dia ba Ian Mag Fidgae.

PAGE 63

Line 24. "Fand." The derivations of the names of Fand and of Aed Abra are quite in keeping with the character of the Antiquarian form, and would be out of place in the other form of the romance. It may perhaps be mentioned that the proper meaning of Abra is "an eyelash," but the rendering "Aed Abra of the Fiery Eyebrows," which has been employed in accounts of this romance, would convey a meaning that does not seem to have been in the mind of the authors of either of the two forms.

For the literal translations of the three invocations to Labraid, on pp. 63, 66, Thurneysen (p. 87) may be referred to; but there would be a few alterations.

In the first, line 2 should be "heir of a little host, equipped with light spears," if Windisch's Dictionary is to be followed; line 5 would seem to begin "he seeketh out trespa.s.ses" (oirgniu); and line 7 should begin, "attacker of heroes," not "an attacking troop," which hardly makes sense.

In the second invocation the first line should alter Labraid's t.i.tle to "Labraid the swift hand-on-sword-of-battle;" line 3 should end with "wounded his side." In line 6 and again in the third line of the third invocation, Thurneysen translates gus as "wrath": Windisch gives the word to mean "strength."

Line 4 of the third invocation is rendered "he pierceth through men" by Thurneysen; the Irish is criathraid ocu. Criathraim is given by O'Reilly as meaning "to sift": "he sifteth warriors" seems a satisfactory meaning, if O'Reilly is to be relied on.

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Labraid's answer to the three invocations seems to run thus, but the translation is doubtful, many words are marked unknown by Windisch: "I have no pride or arrogance, O lady, nor renown, it is not error, for lamentation is stirred our judgment" (reading na ardarc nid mell, chai mescthair with the second MS.), "we shall come to a fight of very many and very hard spears, of plying of red swords in right fists, for many peoples to the one heart of Echaid Juil (?), (let be) no anbi of thine nor pride, there is no pride or arrogance in me, O lady." I can make nothing of Anbi.

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Thurneysen does not translate the rhetoric; the translation seems to run thus:

Great unprofitableness for a hero to lie in the sleep of a sick-bed; for unearthly women show themselves, women of the people of the fiery plain of Trogach, and they have subdued thee, and they have imprisoned thee, and they have chased thee away (?) amid great womanish folly.