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    Irish Fairy Tales
    Irish Fairy Tales
    Irish Fairy Tales
    Ebook191 pages2 hours

    Irish Fairy Tales

    By Edmund Leamy

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    LanguageEnglish
    PublisherArchive Classics
    Release dateJan 1, 1978
    Irish Fairy Tales
    Author

    Edmund Leamy

    Edmund Leamy, born in Waterford, was educated there and in Tullabeg College. He was MP for Waterford and later for Kildare. He died in 1904.

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      Irish Fairy Tales - Edmund Leamy

      The Project Gutenberg EBook of Irish Fairy Tales, by Edmond Leamy

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Irish Fairy Tales

      Author: Edmond Leamy

      Illustrator: S. Fazoin

      Release Date: July 4, 2009 [EBook #29311]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK IRISH FAIRY TALES ***

      Produced by David Edwards, Dan Horwood and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive)

      IRISH FAIRY TALES

      [Textual content of the title page.]

      M. H. Gill & Son, Ltd.,

      Dublin.

      CONTENTS

      PREFACE.

      The author of the tales contained in this volume was one of the brightest and most poetic spirits who have appeared in Ireland in the last half century. It is needless to say that he was also one of the most patriotic Irishmen of his generation––patriotic in the highest and widest sense of that term, loving with an ardent love his country, its people, its historic traditions, its hills and plains, its lakes and streams, its raths and mounds. Like all men of his type, he lived largely in the past, and his fancy revelled much in fairy scenes of childhood and youth.

      The distractions of political life, into which he entered with characteristic enthusiasm, prevented Edmund Leamy from cultivating his favourite field of literature with that assiduity and sustained application necessary for the purpose of bringing out the really great intellectual powers with which he was endowed; otherwise, he would certainly have left to Ireland a large body of literature which would have been the delight of old and young. But in this volume he has given at least an indication of what he was capable of doing towards that end. No one can read these pages without feeling the charm of a fine and delicate fancy, a rare power of poetic expression, and a genuinely Irish instinct; without feeling also an intense regret that the mind and heart from which they proceeded were stilled in death long before the powers of his genius could have been exhausted.

      To myself, as one of the most intimate friends of Edmund Leamy, it is a melancholy pleasure to have the privilege of writing these few words of introduction to a volume which, for the purpose of preserving his memory amongst his countrymen, needs no introduction at all. The claims of a long friendship, the knowledge of as stainless a life as has ever been lived, and admiration for moral and intellectual endowments of the rarest character, render it easy to praise. But I do not think that I indulge in undue expectation in predicting that the new audience to which this volume will come will rise from its perusal with something of the feelings of love, admiration, and regret which those who knew Edmund Leamy personally will ever cherish in their hearts.

      J. E. REDMOND.

      Dublin, June 2nd, 1906.

      NOTE.

      When the friends of the late Edmund Leamy were considering ways of honouring his memory they agreed that one way should be to republish this little book of Irish fairy tales. They knew that nothing would have been more grateful to himself, and that, in a manner, it would be an act of justice to his remarkable gifts. It would introduce a characteristic specimen of Leamy’s work to a race of readers who have appeared since it was written and who ought to be in a mood more appreciative of such literature than the mood which prevailed in that day. For the book has long been out of print. These Irish Fairy Tales were written, and printed on Irish paper, and published through an Irish publisher––Leamy would not bring out a book in any other way––before the Celtic renaissance had arrived. This is one of the facts which make them interesting. Perhaps, as some would tell us, seventeen years ago was a benighted time; at any rate we must admit it was rather dark from an Irish literary, or even Irish Ireland, point of view. It was before the Gaelic movement, and before we had such things as intellectuals and the economic man, or even the Irish Literary Theatre. Leamy’s gentle and loyal soul could have taken no influence from the asperity of some of the intervening ferment, Parliamentarian though he was. Had the impulse to write this volume come to him in this later period he would only have drawn from the time the nourishment which the atmosphere of sympathy always brings to the artist. But the impulse came to him before this period, in an atmosphere which held little that could nourish the sentiment so abundant among us to-day. O’Curry’s and Dr. Joyce’s books were almost the only sources of Gaelic inspiration open to a writer who was not a professed student. Douglas Hyde, though always at work, had not yet brought the fruits of his researches to light; Miss Eleanor Hull had not collected into a handy volume the materials of The Cuchullin Saga; Kuno Meyer we did not know; Standish O’Grady, though he had published his Heroic Period, had not yet begun popularising the bardic tales in such volumes as Finn and his Companions. No one was reading anything about Ireland but political matter. I think one may fairly claim some respect from this later day for a writer who seventeen years ago, of his own motion, with scarce a word of encouragement

      save from his wife and a friend or two––perhaps only one friend––turned to our Gaelic past and strove to give to Irish children something which would implant in them a love for the beauty and dignity of their country’s traditions.

      The modest author would never have claimed for these little tales the interest which I think they deserve. He wrote them for children, for he loved children, and one can detect the presence of the child listener at nearly every line. He was not thinking of a literary audience; the child at his knee was enough. This is why we hear (occasionally) a certain naïve accent which will not, perhaps, please the contemporary critic; but (as there are many who again find pleasure in early Victorian furniture) it may please others; I confess it pleases me. And the absence of literary self-consciousness is itself pleasant; indeed, much of the charm of these stories is the charm of their unpremeditated art. But, though he did not write for the critics, Leamy was in spite of himself a man of letters. He was so genuinely an artist that he could not do the thing ill. Any one of these stories will prove his capacity: the first, for instance, about that princess on the bare, brown, lonely moor who was as sweet and as fresh as an opening rosebud, and her voice was as musical as the whisper of a stream in the woods in the hot days of summer. There is not a flaw in it. It is so filled with simple beauty and tenderness, and there is so much of the genuine word-magic in its language, that one is carried away as by the spell of natural oratory. It has, too, that intimate sympathy with nature which is another racial note in these stories. The enchanted moor, with its silence, where no sound is heard––the wind which shouted beyond the mountains, when it sped across the moor it lost its voice, and passed as silently as the dead––is affected by the fortune of the tale equally with its human and its elfin personages. When the knight arrives at last, wherever his horse’s hoofs struck the ground, grass and flowers sprang up, and great trees with leafy branches rose on every side.... As they rode on beneath the leafy trees from every tree the birds sang out, for the spell of silence over the lonely moor was broken for ever. This unpretentious story, a child’s story, is as engaging as a gem. And so, I think, are most of the others. One more example to illustrate the quality of Leamy’s style––say, the description of the contest of the bards before the High King at the Feis of Tara in the story called The Huntsman’s Son. The King gives the signal, the chief bard of Erin ascends the mound in front of the royal enclosure, and is greeted with a roar of cheers; but at the first note of his harp there is silence like that of night.

      As he moved his fingers softly over the strings every heart was hushed, filled with a sense of balmy rest. The lark, soaring and singing above his head, paused mute and motionless in the still air, and no sound was heard over the spacious plain save the dreamy music. Then the bard struck another key, and a gentle sorrow possessed the hearts of his hearers, and unbidden tears gathered to their eyes. Then, with bolder hand, he swept his fingers across his lyre, and all hearts were moved to joy and pleasant laughter, and eyes that had been dimmed by tears sparkled as brightly as running waters dancing in the sun. When the last notes had died away a cheer arose, loud as the voice of the storm in the glen when the live thunder is revelling on the mountain tops.

      As soon as the bard descends the mound the Skald from the northern lands takes his place, amid shouts of welcome.

      He touched his harp, and in the perfect silence was heard the strains of the mermaid’s song, and through it the pleasant ripple of summer waters on the pebbly beach. Then the theme was changed, and on the air was borne the measured sweep of countless oars and the swish of waters around the prows of contending galleys, and the breezy voices of the sailors and the sea-bird’s cry. Then his theme was changed to the mirth and laughter of the banquet hall, the clang of meeting drinking-horns and songs of battle. When the last strain ended, from the mighty host a great shout went up loud as the roar of winter billows breaking in the hollows of the shore.

      Then comes the hero of the tale, Fergus, the huntsman’s son.

      "He touched his harp with gentle fingers, and a sound, low and soft as a faint summer breeze passing through forest trees, stole out, and then was heard the rustle of birds through the branches, and the dreamy murmur of waters lost in deepest woods, and all the fairy echoes whispering when the leaves are motionless in the noonday heat; then followed notes, cool and soft as the drip of summer showers on the parched grass, and then the song of the blackbird sounding as clearly as it sounds in long silent spaces of the evening, and then in one sweet jocund burst the multitudinous voices that hail the breaking of the morn. And the lark, singing and soaring above the minstrel, sank mute and motionless upon his shoulder, and from all the leafy woods the birds came thronging out and formed a fluttering canopy above his head.

      When the bard ceased playing no shout arose from the mighty multitude, for the strains of his harp, long after its chords were stilled, held their hearts spell-bound.

      This passage reveals the poetry of the author’s style, and it shows how charged it is with qualities that are peculiar to the Celtic temperament: a style in which expressions like the song of the blackbird sounding as clearly as it sounds in long silent spaces of the evening, or she answered his salute by a wave of her little hand, that was as white as a wild rose in the hedges in June, spring up naturally, like daisies in the grass, at every turn. I have said enough, too, to indicate the type of Celtic temperament to which Leamy’s belonged. His habitual mood was the exquisitely sensitive, the tender, playful, reverent mood. He was, in this, the

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