LORE
Legends of the County Clare.—How Ussheen (Ossian) visited the Land of "Thiernah Ogieh" (the Country of perpetual Youth).—Once upon a time, when Ussheen was in the full vigour of his youth, it happened that, fatigued with the chace, and separated from his companions, he stretched himself under a tree to rest, and soon fell asleep. "Awaking with a start," he saw a lady, richly clothed and of more than mortal beauty, gazing on him; nor was it long until she made him understand that a warmer feeling than mere curiosity had attracted her; nor was Ussheen long in responding to it. The lady then explained that she was not of mortal birth, and that he who wooed an immortal bride must be prepared to encounter dangers such as would appal the ordinary race of men. Ussheen, without hesitation, declared his readiness to encounter any foe, mortal or immortal, that might be opposed to him in her service. The lady then declared herself to be the queen of "Thiernah Ogieh," and invited him to accompany her thither and share her throne. They then set out on their journey, one in all respects similar to that undertaken by Thomas the Rhymer and the queen of Faerie, and having overcome all obstacles, arrived at "the land of perpetual youth," where all the delights of the terrestrial paradise were thrown open to Ussheen, to be enjoyed with only one restriction. A broad flat stone was pointed out to him in one part of the palace garden, on which he was forbidden to stand, under penalty of the heaviest misfortune. One day, however, finding himself near the fatal stone, the temptation to stand on it became irresistible, and he yielded to it, and immediately found himself in full view of his native land, the existence of which he had forgotten from the moment he had entered the kingdom of Thiernah Ogieh. But alas! how was it changed from that country he had left only a few days since, for "the strong had become weak," and "the brave become cowards," while oppression and violence held undisputed sway through land. Overcome with grief, he hastened to the the queen to beg that he might be restored to his country without delay, that he might endeavour to apply some remedy to its misfortunes. The queen's prophetic skill made her aware of Ussheen's transgression of her commands before he spoke, and she exerted all her persuasive powers to prevail upon him to give up his desire to return to Erin, but in vain. She then asked him how long he supposed he had been absent from his native land, and on his answering "thrice seven days," she amazed him by declaring that three times thrice seven years had elapsed since his arrival at the kingdom of Thiernah Ogieh; and though Time had no power to enter that land, it would immediately assert its dominion over him if he left it. At length she persuaded him to promise that he would return to his country for only one day, and then come back to dwell with her for ever; and she gave him a jet-black horse of surpassing beauty, from whose back she charged him on no account to alight, or at all events not to allow the bridle to fall from his hand. She farther endued him with wisdom and knowledge far surpassing that of men. Having mounted his fairy steed, he soon found himself approaching his former home; and as he journeyed he met a man driving before him a horse, across whose back was thrown a sack of corn: the sack having fallen a little to one side, the man asked Ussheen to assist him in balancing it properly; Ussheen instantly stooped from his horse, and catching the sack in his right hand, gave it such a heave that it fell over on the other side. Annoyed at his mistake, he forgot the injunctions of his bride, and sprung from his horse to lift the sack from the ground, letting the bridle fall from his hand at the same time: instantly the horse struck fire from the ground with his hoofs, and uttering a neigh louder than thunder, vanished; at the same instant his curling locks fell from Ussheen's head, darkness closed over his beaming eyes, the more than mortal strength forsook his limbs, and, a feeble helpless old man, he stretched forth his hands seeking some one to lead him: but the mental gifts bestowed on him by his immortal bride did not leave him, and, though unable to serve his countrymen with his sword, he bestowed upon them the advice and instruction which flowed from wisdom greater than that of mortals.
SHAKSPEARE CORRESPONDENCE
On "Run-awayes" in Romeo and Juliet.—
"Gallop apace, you fiery-footed steedes,
Towards Phœbus' lodging such a wagoner
As Phaeton would whip you to the west,
And bring in cloudie night immediately.
Spred thy close curtaine, Love-performing night,
That run-awayes eyes may wincke, and Romeo
Leape to these armes, vntalkt of and vnseene."
Your readers will no doubt exclaim, is not this question already settled for ever, if not by Mr. Singer's substitution of rumourer's, at least by that of R. H. C., viz. rude day's? I must confess that I thought the former so good, when it first appeared in these pages, that nothing more was wanted; yet this is surpassed by the suggestion of R. H. C. As conjectural emendations, they may rank with any that Shakspeare's text has been favoured with; in short, the poet might undoubtedly have written either the one or the other.
But this is not the question. The question is, did he write the passage as it stands in the first folio, which I have copied above? Subsequent consideration has satisfied me that he did. I find the following passage in the Merchant of Venice, Act II. Sc. 6.:
"– but come at once,
For the close night doth play the run-away,
And we are staid for at Bassanio's feast."
Is it very difficult to believe that the poet who called the departing night a run-away would apply the same term to the day under similar circumstances?
Surely the first folio is a much more correctly printed book than many of Shakspeare's editors and critics would have us believe.
—– Rectory, Hereford.
The Word "clamour" in "The Winter's Tale."—Mr. Keightley complains (Vol viii., p. 241.) that some observations of mine (p. 169.) on the word clamour, in The Winter's Tale, are precisely similar to his own in Vol. vii., p. 615. Had they been so in reality, I presume our Editor would not have inserted them; but I think they contain something farther, suggesting, as they do, the A.-S. origin of the word, and going far to prove that our modern calm, the older clame, the Shakspearian clamour, the more frequent clem, Chaucer's clum, &c., all of them spring from the same source, viz. the A.-S. clam or clom, which means a band, clasp, bandage, chain, prison; from which substantive comes the verb clæmian, to clam, to stick or glue together, to bind, to imprison.
If I passed over in silence those points on which Mr. Keightley and myself agreed, I need scarcely assure him that it was for the sake of brevity, and not from any want of respect to him.
I may remark, by the way, on a conjecture of Mr. Keightley's (Vol. vii., p. 615.), that perhaps, in Macbeth, Act V. Sc. 5., Shakspeare might have written "till famine clem thee," and not, as it stands in the first folio, "till famine cling thee," that he is indeed, as he says, "in the region of conjecture:" cling is purely A.-S., as he will find in Bosworth, "Clingan, to wither, pine, to cling or shrink up; marcescere."
—– Rectory, Hereford.
Three Passages in "Measure for Measure."—H. C. K. has a treacherous memory, or rather, what I believe to be the truth, he, like myself, has not a complete Shakspeare apparatus. Collier's first edition surely cannot be in his library, or he would have known that Warburton, long ago, read seared for feared, and that the same word appears in Lord Ellesmere's copy of the first folio, the correction having been made, as Mr. Collier remarks, while the sheet was at press. I however assure H. C. K. that I regard his correction as perfectly original. Still I have my doubts if seared be the poet's word, for I have never met it but in connexion with hot iron; and I should be inclined to prefer sear or sere; but this again is always physically dry, and not metaphorically so, and
