in the thirteenth century, and its author knew scores of Fionn legends. Making use of the tradition that Caoilte and Oisin had met S. Patrick, he makes Caoilte relate many of the tales, usually in connection with some place-name of Fian origin. The saint and his followers are amazed at the huge stature of the Fians, but Patrick asperges them with holy water, and hosts of demons flee from them. At each tale which Caoilte tells, the saint says, "Success and benediction, Caoilte. All this is to us a recreation of spirit and of mind, were it only not a destruction of devotion and a dereliction of prayer." But presently his guardian angel appears, and bids him not only listen to the tales but cause them to be written down. He and his attendant clerics now lend a willing ear to the recital and encourage the narrator with their applause. Finally, baptism is administered to Caoilte and his men, and by Patrick's intercessions Caoilte's relations and Fionn himself are brought out of hell. In this work the representatives of paganism are shown to be on terms of friendliness with the representatives of Christianity.
But in Highland ballads collected in the sixteenth century by the Dean of Lismore, as well as in Irish ballads found in MSS. dating from the seventeenth century onwards, the saint is a sour and intolerant cleric, and the Fians are equally intolerant and blasphemous pagans. There is no attempt at compromise; the saint rejoices that the Fian band are in hell, and Oisin throws contempt on the God of the shaven priests. But sometimes this contempt is mingled with humour and pathos. Were the heroes of Oisin's band now alive, scant work would be made of the monks' bells, books, and psalm-singing. It is true that the saint gives the weary old man hospitality, but Oisin's eyes are blinded with tears as he thinks of the departed glories of the Fians, and his ears are tormented "by jangling bells, droning psalms, and howling clerics." These ballads probably represent one main aspect of the attitude of the Church to Celtic paganism. How, then, did the more generous Colloquy come into being? We must note first that some of the ballads have a milder tone. Oisin is urged to accept the faith, and he prays for salvation. Probably these represent the beginning of a reaction in favour of the old heroes, dating from a time when the faith was well established. There was no danger of a pagan revival, and, provided the Fians were Christianised, it might be legitimate to represent them as heroic and noble. The Colloquy would represent the high-water mark of this reaction among the lettered classes, for among the folk, to judge by popular tales, the Fians had never been regarded in other than a favourable light. The Colloquy re-established the dignity of the Fian band in the eyes of official Christianity. They are baptized or released from hell, and in their own nature they are virtuous and follow lofty ideals. "Who or what was it that maintained you in life?" asks Patrick. And Caoilte gives the noble reply, "Truth that was in our hearts, and strength in our arms, and fulfilment in our tongues." Patrick says of Fionn: "He was a king, a seer, a poet, a lord with a manifold and great train; our magician, our knowledgeable one, our soothsayer; all whatsoever he said was sweet with him. Excessive, perchance, as ye deem my testimony of Fionn, although ye hold that which I say to be overstrained, nevertheless, and by the King that is above me, he was three times better still." Not only so, but Caoilte maintains that Fionn and his men were aware of the existence of the true God. They possessed the anima naturaliter Christiana. The growing appreciation of a wider outlook on life, and possibly acquaintance with the romances of chivalry, made the composition of the Colloquy possible, but, again, it may represent a more generous conception of paganism existing from the time of the first encounter of Christianity with it in Ireland.
The strife of creeds in Ireland, the old order changing, giving place to new, had evidently impressed itself on the minds of Celtic poets and romancers. It suggested itself to them as providing an excellent "situation"; hence we constantly hear of the meeting of gods, demigods, or heroes with the saints of the new era. Frequently they bow before the Cross, they are baptized and receive the Christian verity, as in the Colloquy and in some documents of the Cúchulainn cycle. Probably no other European folk-literature so takes advantage of just this situation, this meeting of creeds, one old and ready to vanish away, the other with all the buoyant freshness of youth.
Was MacPherson's a genuine Celtic epic unearthed by him and by no one else? No mortal eye save his has ever seen the original, but no one who knows anything of the contents of the saga can deny that much of his work is based on materials collected by him. He knew some of the tales and ballads current among the folk, possibly also some of the Irish MS. versions. He saw that there was a certain unity among them, and he saw that it was possible to make it more evident still. He fitted the floating incidents into an epic framework, adding, inventing, altering, and moulding the whole into an English style of his own. Later he seems to have translated the whole into Gaelic. He gave his version to the world, and found himself famous, but he gave it as the genuine translation of a genuine Celtic epic. Here was his craft; here he was the "charlatan of genius." His genius lay in producing an epic which people were willing to read, and in making them believe it to be not his work but that of the Celtic heroic age. Any one can write an epic, but few can write one which thousands will read, which men like Chateaubriand, Goethe, Napoleon, Byron, and Coleridge will admire and love, and which will, as it were, crystallise the aspirations of an age weary with classical formalism. MacPherson introduced his readers to a new world of heroic deeds, romantic adventure, deathless love, exquisite sentiments sentimentally expressed. He changed the rough warriors and beautiful but somewhat unabashed heroines of the saga into sentimental personages, who suited the taste of an age poised between the bewigged and powdered formalism of the eighteenth century, and the outburst of new ideals which was to follow. His Ossian is a cross between Pope's Homer and Byron's Childe Harold. His heroes and heroines are not on their native heath, and are uncertain whether to mince and strut with Pope or to follow nature with Rousseau's noble savages and Saint Pierre's Paul and Virginia. The time has gone when it was heresy to cast doubt upon the genuineness of MacPherson's epic, but if any one is still doubtful, let him read it and then turn to the existing versions, ballads, and tales. He will find himself in a totally different atmosphere, and will recognise in the latter the true epic note—the warrior's rage and the warrior's generosity, dire cruelty yet infinite tenderness, wild lust yet also true love, a world of magic supernaturalism, but an exact copy of things as they were in that far-off age. The barbarism of the time is in these old tales—deeds which make one shiver, customs regarding the relations of the sexes now found only among savages, social and domestic arrangements which are somewhat lurid and disgusting. And yet, withal, the note of bravery, of passion, of authentic life is there; we are held in the grip of genuine manhood and womanhood. MacPherson gives a picture of the Ossianic age as he conceived it, an age of Celtic history that "never was on sea or land." Even his ghosts are un-Celtic, misty and unsubstantial phantasms, unlike the embodied revenants of the saga which are in agreement with the Celtic belief that the soul assumed a body in the other world. MacPherson makes Fionn invariably successful, but in the saga tales he is often defeated. He mingles the Cúchulainn and Ossianic cycles, but these, save in a few casual instances, are quite distinct in the old literature. Yet had not his poem been so great as it is, though so un-Celtic, it could not have influenced all European literature. But those who care for genuine Celtic literature, the product of a people who loved nature, romance, doughty deeds, the beauty of the world, the music of the sea and the birds, the mountains, valour in men, beauty in women, will find all these in the saga, whether in its literary or its popular forms. And through it all sounds the undertone of Celtic pathos and melancholy, the distant echo
"Of old unhappy, far-off things
And battles long ago."
454. See Joyce, OCR 447.
455. Montelius, Les Temps Préhistoriques, 57, 151; Reinach, RC xxi. 8.
456. The popular versions of this early part of the saga differ much in detail, but follow the main outlines in much the same way. See Curtin, HTI 204; Campbell, LF 33 f.; WHT iii. 348.
457. In a
