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Celtic Literature
by Matthew Arnold
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That is why, when our hymns betray a false tendency by losing a power which accompanies the poetical work of our race on our other more suitable lines, the indication thus given is of great value and instructiveness for us. One of our main gifts for poetry deserts us in our hymns, and so gives us a hint as to the one true basis for the spiritual work of an Indo-European people, which the Germans, who have not this particular gift of ours, do not and cannot get in this way, though they may get it in others. It is worth noticing that the masterpieces of the spiritual work of Indo-Europeans, taking the pure religious sentiment, and not the imaginative reason, for their basis, are works like the Imitation, the Dies Irae, the Stabat Mater—works clothing themselves in the middle-age Latin, the genuine native voice of no Indo-European nation. The perfection of their kind, but that kind not perfectly legitimate, they take a language not perfectly legitimate; as if to show, that when mankind's Semitic age is once passed, the age which produced the great incomparable monuments of the pure religious sentiment, the books of Job and Isaiah, the Psalms,—works truly to be called inspired, because the same divine power which worked in those who produced them works no longer,—as if to show us, that, after this primitive age, we Indo-Europeans must feel these works without attempting to re-make them; and that our poetry, if it tries to make itself simply the organ of the religious sentiment, leaves the true course, and must conceal this by not speaking a living language. The moment it speaks a living language, and still makes itself the organ of the religious sentiment only, as in the German and English hymns, it betrays weakness;—the weakness of all false tendency.

But if by attending to the Germanism in us English and to its works, one has come to doubt whether we, too, are not thorough Germans by genius and with the German deadness to style, one has only to repeat to oneself a line of Milton,—a poet intoxicated with the passion for style as much as Taliesin or Pindar,—to see that we have another side to our genius beside the German one. Whence do we get it? The Normans may have brought in among us the Latin sense for rhetoric and style,—for, indeed, this sense goes naturally with a high spirit and a strenuousness like theirs,—but the sense for style which English poetry shows is something finer than we could well have got from a people so positive and so little poetical as the Normans; and it seems to me we may much more plausibly derive it from a root of the poetical Celtic nature in us.

Its chord of penetrating passion and melancholy, again, its Titanism as we see it in Byron,—what other European poetry possesses that like the English, and where do we get it from? The Celts, with their vehement reaction against the despotism of fact, with their sensuous nature, their manifold striving, their adverse destiny, their immense calamities, the Celts are the prime authors of this vein of piercing regret and passion,—of this Titanism in poetry. A famous book, Macpherson's Ossian, carried in the last century this vein like a flood of lava through Europe. I am not going to criticise Macpherson's Ossian here. Make the part of what is forged, modern, tawdry, spurious, in the book, as large as you please; strip Scotland, if you like, of every feather of borrowed plumes which on the strength of Macpherson's Ossian she may have stolen from that vetus et major Scotia, the true home of the Ossianic poetry, Ireland; I make no objection. But there will still be left in the book a residue with the very soul of the Celtic genius in it, and which has the proud distinction of having brought this soul of the Celtic genius into contact with the genius of the nations of modern Europe, and enriched all our poetry by it. Woody Morven, and echoing Sora, and Selma with its silent halls!—we all owe them a debt of gratitude, and when we are unjust enough to forget it, may the Muse forget us! Choose any one of the better passages in Macpherson's Ossian and you can see even at this time of day what an apparition of newness and power such a strain must have been to the eighteenth century:-

'I have seen the walls of Balclutha, but they were desolate. The fox looked out from the windows, the rank grass of the wall waved round her head. Raise the song of mourning, O bards, over the land of strangers. They have but fallen before us, for one day we must fall. Why dost thou build the hall, son of the winged days? Thou lookest from thy towers to-day; yet a few years, and the blast of the desert comes; it howls in thy empty court, and whistles round thy half-worn shield. Let the blast of the desert come! we shall be renowned in our day.'

All Europe felt the power of that melancholy; but what I wish to point out is, that no nation of Europe so caught in its poetry the passionate penetrating accent of the Celtic genius, its strain of Titanism, as the English. Goethe, like Napoleon, felt the spell of Ossian very powerfully, and he quotes a long passage from him in his Werther. But what is there Celtic, turbulent, and Titanic about the German Werther, that amiable, cultivated, and melancholy young man, having for his sorrow and suicide the perfectly definite motive that Lotte cannot be his? Faust, again, has nothing unaccountable, defiant and Titanic in him; his knowledge does not bring him the satisfaction he expected from it, and meanwhile he finds himself poor and growing old, and baulked of the palpable enjoyment of life; and here is the motive for Faust's discontent. In the most energetic and impetuous of Goethe's creations,—his Prometheus,—it is not Celtic self-will and passion, it is rather the Germanic sense of justice and reason, which revolts against the despotism of Zeus. The German Sehnsucht itself is a wistful, soft, tearful longing, rather than a struggling, fierce, passionate one. But the Celtic melancholy is struggling, fierce, passionate; to catch its note, listen to Llywarch Hen in old age, addressing his crutch:-

O my crutch! is it not autumn, when the fern is red, the water. flag yellow? Have I not hated that which I love?

O my crutch! is it not winter-time now, when men talk together after that they have drunken? Is not the side of my bed left desolate?

O my crutch! is it not spring, when the cuckoo passes through the air, when the foam sparkles on the sea? The young maidens no longer love me.

O my crutch! is it not the first day of May? The furrows, are they not shining; the young corn, is it not springing? Ah! the sight of thy handle makes me wroth.

O my crutch! stand straight, thou wilt support me the better; it is very long since I was Llywarch.

Behold old age, which makes sport of me, from the hair of my head to my teeth, to my eyes, which women loved.

The four things I have all my life most hated fall upon me together,- -coughing and old age, sickness and sorrow.

I am old, I am alone, shapeliness and warmth are gone from me; the couch of honour shall be no more mine: I am miserable, I am bent on my crutch.

How evil was the lot allotted to Llywarch, the night when he was brought forth! sorrows without end, and no deliverance from his burden.

There is the Titanism of the Celt, his passionate, turbulent, indomitable reaction against the despotism of fact; and of whom does it remind us so much as of Byron?

The fire which on my bosom preys Is lone as some volcanic isle; No torch is kindled at its blaze; A funeral pile!

Or, again:-

Count o'er the joys thine hours have seen, Count o'er thy days from anguish free, And know, whatever thou hast been, 'Tis something better not to be.

One has only to let one's memory begin to fetch passages from Byron striking the same note as that passage from Llywarch Hen, and she will not soon stop. And all Byron's heroes, not so much in collision with outward things, as breaking on some rock of revolt and misery in the depths of their own nature; Manfred, self-consumed, fighting blindly and passionately with I know not what, having nothing of the consistent development and intelligible motive of Faust,—Manfred, Lara, Cain, what are they but Titanic? Where in European poetry are we to find this Celtic passion of revolt so warm-breathing, puissant, and sincere; except perhaps in the creation of a yet greater poet than Byron, but an English poet, too, like Byron,—in the Satan of Milton?

. . . What though the field be lost? All is not lost; the unconquerable will, And study of revenge, immortal hate, And courage never to submit or yield, And what is else not to be overcome.

There, surely, speaks a genius to whose composition the Celtic fibre was not wholly a stranger!

And as, after noting the Celtic Pindarism or power of style present in our poetry, we noted the German flatness coming in in our hymns, and found here a proof of our compositeness of nature; so, after noting the Celtic Titanism or power of rebellious passion in our poetry, we may also note the Germanic patience and reasonableness in it, and get in this way a second proof how mixed a spirit we have. After Llywarch Hen's:-

How evil was the lot allotted to Llywarch, the night when he was brought forth -

after Byron's:-

Count o'er the joys thine hours have seen -

take this of Southey's, in answer to the question whether he would like to have his youth over again:-

Do I regret the past? Would I live o'er again The morning hours of life? Nay, William, nay, not so! Praise be to God who made me what I am, Other I would not be.

There we have the other side of our being; the Germanic goodness, docility, and fidelity to nature, in place of the Celtic Titanism.

The Celt's quick feeling for what is noble and distinguished gave his poetry style; his indomitable personality gave it pride and passion; his sensibility and nervous exaltation gave it a better gift still, the gift of rendering with wonderful felicity the magical charm of nature. The forest solitude, the bubbling spring, the wild flowers, are everywhere in romance. They have a mysterious life and grace there; they are nature's own children, and utter her secret in a way which makes them something quite different from the woods, waters, and plants of Greek and Latin poetry. Now of this delicate magic, Celtic romance is so pre-eminent a mistress, that it seems impossible to believe the power did not come into romance from the Celts. {133} Magic is just the word for it,—the magic of nature; not merely the beauty of nature,—that the Greeks and Latins had; not merely an honest smack of the soil, a faithful realism,—that the Germans had; but the intimate life of nature, her weird power and her fairy charm. As the Saxon names of places, with the pleasant wholesome smack of the soil in them,—Weathersfield, Thaxted, Shalford,—are to the Celtic names of places, with their penetrating, lofty beauty,— Velindra, Tyntagel, Caernarvon,—so is the homely realism of German and Norse nature to the fairy-like loveliness of Celtic nature. Gwydion wants a wife for his pupil: 'Well,' says Math, 'we will seek, I and thou, by charms and illusions, to form a wife for him out of flowers. So they took the blossoms of the oak, and the blossoms of the broom, and the blossoms of the meadow-sweet, and produced from them a maiden, the fairest and most graceful that man ever saw. And they baptized her, and gave her the name of Flower-Aspect.' Celtic romance is full of exquisite touches like that, showing the delicacy of the Celt's feeling in these matters, and how deeply nature lets him come into her secrets. The quick dropping of blood is called 'faster than the fall of the dewdrop from the blade of reed-grass upon the earth, when the dew of June is at the heaviest.' And thus is Olwen described: 'More yellow was her hair than the flower of the broom, and her skin was whiter than the foam of the wave, and fairer were her hands and her fingers than the blossoms of the wood-anemony amidst the spray of the meadow fountains.' For loveliness it would be hard to beat that; and for magical clearness and nearness take the following:-

'And in the evening Peredur entered a valley, and at the head of the valley he came to a hermit's cell, and the hermit welcomed him gladly, and there he spent the night. And in the morning he arose, and when he went forth, behold, a shower of snow had fallen the night before, and a hawk had killed a wild-fowl in front of the cell. And the noise of the horse scared the hawk away, and a raven alighted upon the bird. And Peredur stood and compared the blackness of the raven, and the whiteness of the snow, and the redness of the blood, to the hair of the lady whom best he loved, which was blacker than the raven, and to her skin, which was whiter than the snow, and to her two cheeks, which were redder than the blood upon the snow appeared to be.'

And this, which is perhaps less striking, is not less beautiful:-

'And early in the day Geraint and Enid left the wood, and they came to an open country, with meadows on one hand and mowers mowing the meadows. And there was a river before them, and the horses bent down and drank the water. And they went up out of the river by a steep bank, and there they met a slender stripling with a satchel about his neck; and he had a small blue pitcher in his hand, and a bowl on the mouth of the pitcher.'

And here the landscape, up to this point so Greek in its clear beauty, is suddenly magicalised by the romance touch:-

'And they saw a tall tree by the side of the river, one-half of which was in flames from the root to the top, and the other half was green and in full leaf.'

Magic is the word to insist upon,—a magically vivid and near interpretation of nature; since it is this which constitutes the special charm and power of the effect I am calling attention to, and it is for this that the Celt's sensibility gives him a peculiar aptitude. But the matter needs rather fine handling, and it is easy to make mistakes here in our criticism. In the first place, Europe tends constantly to become more and more one community, and we tend to become Europeans instead of merely Englishmen, Frenchmen, Germans, Italians; so whatever aptitude or felicity one people imparts into spiritual work, gets imitated by the others, and thus tends to become the common property of all. Therefore anything so beautiful and attractive as the natural magic I am speaking of, is sure, now-a- days, if it appears in the productions of the Celts, or of the English, or of the French, to appear in the productions of the Germans also, or in the productions of the Italians; but there will be a stamp of perfectness and inimitableness about it in the literatures where it is native, which it will not have in the literatures where it is not native. Novalis or Ruckert, for instance, have their eye fixed on nature, and have undoubtedly a feeling for natural magic; a rough-and-ready critic easily credits them and the Germans with the Celtic fineness of tact, the Celtic nearness to nature and her secret; but the question is whether the strokes in the German's picture of nature {136} have ever the indefinable delicacy, charm, and perfection of the Celt's touch in the pieces I just now quoted, or of Shakspeare's touch in his daffodil, Wordsworth's in his cuckoo, Keats's in his Autumn, Obermann's in his mountain birch-tree, or his Easter-daisy among the Swiss farms. To decide where the gift for natural magic originally lies, whether it is properly Celtic or Germanic, we must decide this question.

In the second place, there are many ways of handling nature, and we are here only concerned with one of them; but a rough-and-ready critic imagines that it is all the same so long as nature is handled at all, and fails to draw the needful distinction between modes of handling her. But these modes are many; I will mention four of them now: there is the conventional way of handling nature, there is the faithful way of handling nature, there is the Greek way of handling nature, there is the magical way of handling nature. In all these three last the eye is on the object, but with a difference; in the faithful way of handling nature, the eye is on the object, and that is all you can say; in the Greek, the eye is on the object, but lightness and brightness are added; in the magical, the eye is on the object, but charm and magic are added. In the conventional way of handling nature, the eye is not on the object; what that means we all know, we have only to think of our eighteenth-century poetry:-

As when the moon, refulgent lamp of night -

to call up any number of instances. Latin poetry supplies plenty of instances too; if we put this from Propertius's Hylas:-

. . . manus heroum . . . Mollia composita litora fronde togit -

side by side with the line of Theocritus by which it was suggested:-

[Greek verse] -

we get at the same moment a good specimen both of the conventional and of the Greek way of handling nature. But from our own poetry we may get specimens of the Greek way of handling nature, as well as of the conventional: for instance, Keats's:-

What little town by river or seashore, Or mountain-built with quiet citadel, Is emptied of its folk, this pious morn?

is Greek, as Greek as a thing from Homer or Theocritus; it is composed with the eye on the object, a radiancy and light clearness being added. German poetry abounds in specimens of the faithful way of handling nature; an excellent example is to be found in the stanzas called Zueignung, prefixed to Goethe's poems; the morning walk, the mist, the dew, the sun, are as faithful as they can be, they are given with the eye on the object, but there the merit of the work, as a handling of nature, stops; neither Greek radiance nor Celtic magic is added; the power of these is not what gives the poem in question its merit, but a power of quite another kind, a power of moral and spiritual emotion. But the power of Greek radiance Goethe could give to his handling of nature, and nobly too, as any one who will read his Wanderer,—the poem in which a wanderer falls in with a peasant woman and her child by their hut, built out of the ruins of a temple near Cuma,—may see. Only the power of natural magic Goethe does not, I think, give; whereas Keats passes at will from the Greek power to that power which is, as I say, Celtic; from his:-

What little town, by river or seashore -

to his:-

White hawthorn and the pastoral eglantine, Fast-fading violets cover'd up in leaves -

or his:-

. . . magic casements, opening on the foam Of perilous seas, in fairy lands forlorn -

in which the very same note is struck as in those extracts which I quoted from Celtic romance, and struck with authentic and unmistakeable power.

Shakspeare, in handling nature, touches this Celtic note so exquisitely, that perhaps one is inclined to be always looking for the Celtic note in him, and not to recognise his Greek note when it comes. But if one attends well to the difference between the two notes, and bears in mind, to guide one, such things as Virgil's 'moss-grown springs and grass softer than sleep:' -

Muscosi fontes et somno mollior herba -

as his charming flower-gatherer, who -

Pallentes violas et summa papavera carpens Narcissum et florem jungit bene olentis anethi -

as his quinces and chestnuts:-

. . . cana legam tenera lanugine mala Castaneasque nuces . . .

then, I think, we shall be disposed to say that in Shakspeare's -

I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine -

it is mainly a Greek note which is struck. Then, again in his:-

. . . look how the floor of heaven Is thick inlaid with patines of bright gold!

we are at the very point of transition from the Greek note to the Celtic; there is the Greek clearness and brightness, with the Celtic aerialness and magic coming in. Then we have the sheer, inimitable Celtic note in passages like this:-

Met we on hill, in dale, forest or mead, By paved fountain or by rushy brook, Or in the beached margent of the sea -

or this, the last I will quote:-

The moon shines bright. In such a night as this, When the sweet wind did gently kiss the trees, And they did make no noise, in such a night Troilus, methinks, mounted the Trojan walls -

. . . in such a night Did Thisbe fearfully o'ertrip the dew -

. . . in such a night Stood Dido, with a willow in her hand, Upon the wild sea-banks, and waved her love To come again to Carthage.

And those last lines of all are so drenched and intoxicated with the fairy-dew of that natural magic which is our theme, that I cannot do better then end with them.

And now, with the pieces of evidence in our hand, let us go to those who say it is vain to look for Celtic elements in any Englishman, and let us ask them, first, if they seize what we mean by the power of natural magic in Celtic poetry; secondly, if English poetry does not eminently exhibit this power; and, thirdly, where they suppose English poetry got it from?

I perceive that I shall be accused of having rather the air, in what I have said, of denying this and that gift to the Germans, and of establishing our difference from them a little ungraciously and at their expense. The truth is, few people have any real care to analyse closely in their criticism; they merely employ criticism as a means for heaping all praise on what they like, and all blame on what they dislike. Those of us (and they are many) who owe a great debt of gratitude to the German spirit and to German literature, do not like to be told of any powers being lacking there; we are like the young ladies who think the hero of their novel is only half a hero unless he has all perfections united in him. But nature does not work, either in heroes or races, according to the young ladies' notion. We all are what we are, the hero and the great nation are what they are, by our limitations as well as by our powers, by lacking something as well as by possessing something. It is not always gain to possess this or that gift, or loss to lack this or that gift. Our great, our only first-rate body of contemporary poetry is the German; the grand business of modern poetry,—a moral interpretation, from an independent point of view, of man and the world,—it is only German poetry, Goethe's poetry, that has, since the Greeks, made much way with. Campbell's power of style, and the natural magic of Keats and Wordsworth, and Byron's Titanic personality, may be wanting to this poetry; but see what it has accomplished without them! How much more than Campbell with his power of style, and Keats and Wordsworth with their natural magic, and Byron with his Titanic personality! Why, for the immense serious task it had to perform, the steadiness of German poetry, its going near the ground, its patient fidelity to nature, its using great plainness of speech, poetical drawbacks in one point of view, were safeguards and helps in another. The plainness and earnestness of the two lines I have already quoted from Goethe:-

Es bildet ein Talent sich in der Stille, Sich ein Character in dem Strom der Welt -

compared with the play and power of Shakspeare's style or Dante's, suggest at once the difference between Goethe's task and theirs, and the fitness of the faithful laborious German spirit for its own task. Dante's task was to set forth the lesson of the world from the point of view of mediaeval Catholicism; the basis of spiritual life was given, Dante had not to make this anew. Shakspeare's task was to set forth the spectacle of the world when man's spirit re-awoke to the possession of the world at the Renaissance. The spectacle of human life, left to bear its own significance and tell its own story, but shown in all its fulness, variety, and power, is at that moment the great matter; but, if we are to press deeper, the basis of spiritual life is still at that time the traditional religion, reformed or unreformed, of Christendom, and Shakspeare has not to supply a new basis. But when Goethe came, Europe had lost her basis of spiritual life; she had to find it again; Goethe's task was,—the inevitable task for the modern poet henceforth is,—as it was for the Greek poet in the days of Pericles, not to preach a sublime sermon on a given text like Dante, not to exhibit all the kingdoms of human life and the glory of them like Shakspeare, but to interpret human life afresh, and to supply a new spiritual basis to it. This is not only a work for style, eloquence, charm, poetry; it is a work for science; and the scientific, serious German spirit, not carried away by this and that intoxication of ear, and eye, and self-will, has peculiar aptitudes for it.

We, on the other hand, do not necessarily gain by the commixture of elements in us; we have seen how the clashing of natures in us hampers and embarrasses our behaviour; we might very likely be more attractive, we might very likely be more successful, if we were all of a piece. Our want of sureness of taste, our eccentricity, come in great measure, no doubt, from our not being all of a piece, from our having no fixed, fatal, spiritual centre of gravity. The Rue de Rivoli is one thing, and Nuremberg is another, and Stonehenge is another; but we have a turn for all three, and lump them all up together. Mr. Tom Taylor's translations from Breton poetry offer a good example of this mixing; he has a genuine feeling for these Celtic matters, and often, as in the Evil Tribute of Nomenoe, or in Lord Nann and the Fairy, he is, both in movement and expression, true and appropriate; but he has a sort of Teutonism and Latinism in him too, and so he cannot forbear mixing with his Celtic strain such disparates as:-

'Twas mirk, mirk night, and the water bright Troubled and drumlie flowed -

which is evidently Lowland-Scotchy; or as:-

Foregad, but thou'rt an artful hand!

which is English-stagey; or as:-

To Gradlon's daughter, bright of blee, Her lover he whispered tenderly - BETHINK THEE, SWEET DAHUT! THE KEY!

which is Anacreontic in the manner of Tom Moore. Yes, it is not a sheer advantage to have several strings to one's bow! if we had been all German, we might have had the science of Germany; if we had been all Celtic, we might have been popular and agreeable; if we had been all Latinised, we might have governed Ireland as the French govern Alsace, without getting ourselves detested. But now we have Germanism enough to make us Philistines, and Normanism enough to make us imperious, and Celtism enough to make us self-conscious and awkward; but German fidelity to Nature, and Latin precision and clear reason, and Celtic quick-wittedness and spirituality, we fall short of. Nay, perhaps, if we are doomed to perish (Heaven avert the omen!), we shall perish by our Celtism, by our self-will and want of patience with ideas, our inability to see the way the world is going; and yet those very Celts, by our affinity with whom we are perishing, will be hating and upbraiding us all the time.

This is a somewhat unpleasant view to take of the matter; but if it is true, its being unpleasant does not make it any less true, and we are always the better for seeing the truth. What we here see is not the whole truth, however. So long as this mixed constitution of our nature possesses us, we pay it tribute and serve it; so soon as we possess it, it pays us tribute and serves us. So long as we are blindly and ignorantly rolled about by the forces of our nature, their contradiction baffles us and lames us; so soon as we have clearly discerned what they are, and begun to apply to them a law of measure, control, and guidance, they may be made to work for our good and to carry us forward. Then we may have the good of our German part, the good of our Latin part, the good of our Celtic part; and instead of one part clashing with the other, we may bring it in to continue and perfect the other, when the other has given us all the good it can yield, and by being pressed further, could only give us its faulty excess. Then we may use the German faithfulness to Nature to give us science, and to free us from insolence and self-will; we may use the Celtic quickness of perception to give us delicacy, and to free us from hardness and Philistinism; we may use the Latin decisiveness to give us strenuous clear method, and to free us from fumbling and idling. Already, in their untrained state, these elements give signs, in our life and literature, of their being present in us, and a kind of prophecy of what they could do for us if they were properly observed, trained, and applied. But this they have not yet been; we ride one force of our nature to death; we will be nothing but Anglo-Saxons in the Old World or in the New; and when our race has built Bold Street, Liverpool, and pronounced it very good, it hurries across the Atlantic, and builds Nashville, and Jacksonville, and Milledgeville, and thinks it is fulfilling the designs of Providence in an incomparable manner. But true Anglo- Saxons, simply and sincerely rooted in the German nature, we are not and cannot be; all we have accomplished by our onesidedness is to blur and confuse the natural basis in ourselves altogether, and to become something eccentric, unattractive, and inharmonious.

A man of exquisite intelligence and charming character, the late Mr. Cobden, used to fancy that a better acquaintance with the United States was the grand panacea for us; and once in a speech he bewailed the inattention of our seats of learning to them, and seemed to think that if our ingenuous youth at Oxford were taught a little less about Ilissus, and a little more about Chicago, we should all be the better for it. Chicago has its claims upon us, no doubt; but it is evident that from the point of view to which I have been leading, a stimulation of our Anglo-Saxonism, such as is intended by Mr. Cobden's proposal, does not appear the thing most needful for us; seeing our American brothers themselves have rather, like us, to try and moderate the flame of Anglo-Saxonism in their own breasts, than to ask us to clap the bellows to it in ours. So I am inclined to beseech Oxford, instead of expiating her over-addiction to the Ilissus by lectures on Chicago, to give us an expounder for a still more remote-looking object than the Ilissus,—the Celtic languages and literature. And yet why should I call it remote? if, as I have been labouring to show, in the spiritual frame of us English ourselves, a Celtic fibre, little as we may have ever thought of tracing it, lives and works. ALIENS IN SPEECH, IN RELIGION, IN BLOOD! said Lord Lyndhurst; the philologists have set him right about the speech, the physiologists about the blood; and perhaps, taking religion in the wide but true sense of our whole spiritual activity, those who have followed what I have been saying here will think that the Celt is not so wholly alien to us in religion. But, at any rate, let us consider that of the shrunken and diminished remains of this great primitive race, all, with one insignificant exception, belongs to the English empire; only Brittany is not ours; we have Ireland, the Scotch Highlands, Wales, the Isle of Man, Cornwall. They are a part of ourselves, we are deeply interested in knowing them, they are deeply interested in being known by us; and yet in the great and rich universities of this great and rich country there is no chair of Celtic, there is no study or teaching of Celtic matters; those who want them must go abroad for them. It is neither right nor reasonable that this should be so. Ireland has had in the last half century a band of Celtic students,—a band with which death, alas! has of late been busy,—from whence Oxford or Cambridge might have taken an admirable professor of Celtic; and with the authority of a university chair, a great Celtic scholar, on a subject little known, and where all would have readily deferred to him, might have by this time doubled our facilities for knowing the Celt, by procuring for this country Celtic documents which were inaccessible here, and preventing the dispersion of others which were accessible. It is not much that the English Government does for science or literature; but if Eugene O'Curry, from a chair of Celtic at Oxford, had appealed to the Government to get him copies or the originals of the Celtic treasures in the Burgundian Library at Brussels, or in the library of St. Isidore's College at Rome, even the English Government could not well have refused him. The invaluable Irish manuscripts in the Stowe Library the late Sir Robert Peel proposed, in 1849, to buy for the British Museum; Lord Macaulay, one of the trustees of the Museum, declared, with the confident shallowness which makes him so admired by public speakers and leading-article writers, and so intolerable to all searchers for truth, that he saw nothing in the whole collection worth purchasing for the Museum, except the correspondence of Lord Melville on the American war. That is to say, this correspondence of Lord Melville's was the only thing in the collection about which Lord Macaulay himself knew or cared. Perhaps an Oxford or Cambridge professor of Celtic might have been allowed to make his voice heard, on a matter of Celtic manuscripts, even against Lord Macaulay. The manuscripts were bought by Lord Ashburnham, who keeps them shut up, and will let no one consult them (at least up to the date when O'Curry published his Lectures he did so), 'for fear an actual acquaintance with their contents should decrease their value as matter of curiosity at some future transfer or sale.' Who knows? Perhaps an Oxford professor of Celtic might have touched the flinty heart of Lord Ashburnham.

At this moment, when the narrow Philistinism which has long had things its own way in England, is showing its natural fruits, and we are beginning to feel ashamed, and uneasy, and alarmed at it; now, when we are becoming aware that we have sacrificed to Philistinism culture, and insight, and dignity, and acceptance, and weight among the nations, and hold on events that deeply concern us, and control of the future, and yet that it cannot even give us the fool's paradise it promised us, but is apt to break down, and to leave us with Mr. Roebuck's and Mr. Lowe's laudations of our matchless happiness, and the largest circulation in the world assured to the Daily Telegraph, for our only comfort; at such a moment it needs some moderation not to be attacking Philistinism by storm, but to mine it through such gradual means as the slow approaches of culture, and the introduction of chairs of Celtic. But the hard unintelligence, which is just now our bane, cannot be conquered by storm; it must be suppled and reduced by culture, by a growth in the variety, fulness, and sweetness of our spiritual life; and this end can only be reached by studying things that are outside of ourselves, and by studying them disinterestedly. Let us reunite ourselves with our better mind and with the world through science; and let it be one of our angelic revenges on the Philistines, who among their other sins are the guilty authors of Fenianism, to found at Oxford a chair of Celtic, and to send, through the gentle ministration of science, a message of peace to Ireland.



Footnotes:-

{0a} See p. 28 of the following essay. [Starts with "It is not difficult for the other side . . . "—DP.]

{0b} See particularly pp. 9, 10, 11, of the following essay.

{4} Lord Strangford remarks on this passage:- 'Your Gomer and your Cimmerians are of course only lay figures, to be accepted in the rhetorical and subjective sense. As such I accept them, but I enter a protest against the "genuine tongue of his ancestors." Modern Celtic tongues are to the old Celtic heard by Julius Caesar, broadly speaking, what the modern Romanic tongues are to Caesar's own Latin. Welsh, in fact, is a detritus; a language in the category of modern French, or, to speak less roughly and with a closer approximation, of old Provencal, not in the category of Lithuanian, much less in the category of Basque. By true inductive research, based on an accurate comparison of such forms of Celtic speech, oral and recorded, as we now possess, modern philology has, in so far as was possible, succeeded in restoring certain forms of the parent speech, and in so doing has achieved not the least striking of its many triumphs; for those very forms thus restored have since been verified past all cavil by their actual discovery in the old Gaulish inscriptions recently come to light. The phonesis of Welsh as it stands is modern, not primitive its grammar,—the verbs excepted,—is constructed out of the fragments of its earlier forms, and its vocabulary is strongly Romanised, two out of the six words here given being Latin of the Empire. Rightly understood, this enhances the value of modern Celtic instead of depreciating it, because it serves to rectify it. To me it is a wonder that Welsh should have retained so much of its integrity under the iron pressure of four hundred years of Roman dominion. Modern Welsh tenacity and cohesive power under English pressure is nothing compared with what that must have been.'

{14} Here again let me have the pleasure of quoting Lord Strangford:- 'When the Celtic tongues were first taken in hand at the dawn of comparative philological inquiry, the tendency was, for all practical results, to separate them from the Indo-European aggregate, rather than to unite them with it. The great gulf once fixed between them was narrowed on the surface, but it was greatly and indefinitely deepened. Their vocabulary and some of their grammar were seen at once to be perfectly Indo-European, but they had no case-endings to their nouns, none at all in Welsh, none that could be understood in Gaelic; their phonesis seemed primeval and inexplicable, and nothing could be made out of their pronouns which could not be equally made out of many wholly un-Aryan languages. They were therefore co- ordinated, not with each single Aryan tongue, but with the general complex of Aryan tongues, and were conceived to be anterior to them and apart from them, as it were the strayed vanguard of European colonisation or conquest from the East. The reason of this misconception was, that their records lay wholly uninvestigated as far as all historical study of the language was concerned, and that nobody troubled himself about the relative age and the development of forms, so that the philologists were fain to take them as they were put into their hands by uncritical or perverse native commentators and writers, whose grammars and dictionaries teemed with blunders and downright forgeries. One thing, and one thing alone, led to the truth: the sheer drudgery of thirteen long years spent by Zeuss in the patient investigation of the most ancient Celtic records, in their actual condition, line by line and letter by letter. Then for the first time the foundation of Celtic research was laid; but the great philologist did not live to see the superstructure which never could have been raised but for him. Prichard was first to indicate the right path, and Bopp, in his monograph of 1839, displayed his incomparable and masterly sagacity as usual, but for want of any trustworthy record of Celtic words and forms to work upon, the truth remained concealed or obscured until the publication of the Gramatica Celtica. Dr. Arnold, a man of the past generation, who made more use of the then uncertain and unfixed doctrines of comparative philology in his historical writings than is done by the present generation in the fullest noonday light of the Vergleichende Grammatik, was thus justified in his view by the philology of the period, to which he merely gave an enlarged historical expression. The prime fallacy then as now, however, was that of antedating the distinction between Gaelic and Cymric Celts.'

{25} Dr. O'Conor in his Catalogue of the Stowe MSS. (quoted by O'Curry).

{26} O'Curry.

{29} Here, where Saturday should come, something is wanting in the manuscript.

{66} See Les Scythes, les Ancetres des Peuples Germaniques et Slaves, par F. G. Bergmann, professeur a la faculte des Lettres de Strasbourg: Colmar, 1858. But Professor Bergmann's etymologies are often, says Lord Strangford, 'false lights, held by an uncertain hand.' And Lord Strangford continues: —'The Apian land certainly meant the watery land, Meer-Umschlungon, among the pre-Hellenic Greeks, just as the same land is called Morea by the modern post- Hellenic or Romaic Greeks from more, the name for the sea in the Slavonic vernacular of its inhabitants during the heart of the middle ages. But it is only connected by a remote and secondary affinity, if connected at all, with the avia of Scandinavia, assuming that to be the true German word for water, which, if it had come down to us in Gothic, would have been avi, genitive aujos, and not a mere Latinised termination. Scythian is surely a negative rather than a positive term, much like our Indian, or the Turanian of modern ethnologists, used to comprehend nomads and barbarians of all sorts and races north and east of the Black and Caspian seas. It is unsafe to connect their name with anything as yet; it is quite as likely that it refers to the bow and arrow as to the shield, and is connected with our word to shoot, sceotan, skiutan, Lithuanian szau- ti. Some of the Scythian peoples may have been Anarian, Allophylic, Mongolian; some were demonstrably Aryan, and not only that, but Iranian as well, as is best shown in a memoir read before the Berlin Academy this last year; the evidence having been first indicated in the rough by Schaffarik the Slavonic antiquary. Coins, glosses, proper names, and inscriptions prove it. Targitaos (not -tavus) and the rest is guess-work or wrong. Herodotus's [Greek] for the goddess Vesta is not connected with the root div whence Devas, Deus, &c., but the root tap, in Latin tep (of tepere, tepefacere), Slavonic tepl, topl (for tep or top), in modern Persian tab. Thymele refers to the hearth as the place of smoke ([Greek], thus, fumus), but familia denotes household from famulus for fagmulus, the root fag being equated with the Sansk. bhaj, servira. Lucan's Hesus or Esus may fairly be compared with the Welsh Hu Gadarn by legitimate process, but no letter-change can justify his connection with Gaisos, the spear, not the sword, Virgil's gaesum, A. S. gar, our verb to gore, retained in its outer form in gar-fish. For Theuthisks lege Thiudisks, from thiuda, populus; in old high German Diutisk, Diotisk, popularis, vulgaris, the country vernacular as distinguished from the cultivated Latin; hence the word Dutch, Deutsch. With our ancestors theod stood for nation generally and getheode for any speech. Our diet in the political sense is the same word, but borrowed from our German cousins, not inherited from our fathers. The modern Celtic form is the Irish tuath, in ancient Celtic it must have been teuta, touta, of which we actually have the adjective toutius in the Gaulish inscription of Nismes. In Oscan we have it as turta, tuta, its adjective being handed down in Livy's meddix tuticus, the mayor or chief magistrate of the tuta. In the Umbrian inscriptions it is tota. In Lithuanian tauta, the country opposed to the town, and in old Prussian tauta, the country generally, en Prusiskan tautan, im Land zu Preussen.'

{68} Lord Strangford observes here: —'The original forms of Gael should be mentioned—Gaedil, Goidil: in modern Gaelic orthography Gaoidheal where the dh is not realised in pronunciation. There is nothing impossible in the connection of the root of this with that of Scot, IF the s of the latter be merely prosthetic. But the whole thing is in nubibus, and given as a guess only.'

{69} 'The name of Erin,' says Lord Strangford, 'is treated at length in a masterly note by Whitley Stokes in the 1st series of Max Muller's lectures (4th ed.) p. 255, where its earliest TANGIBLE form is shown to have been Iverio. Pictet's connection with Arya is quite baseless.'

{82} It is to be remembered that the above was written before the recent war between Prussia and Austria.

{84} The etymology is Monsieur Henri Martin's, but Lord Strangford says—'Whatever gai may be, it is assuredly not Celtic. Is there any authority for this word gair, to laugh, or rather "laughter," beyond O'Reilly? O'Reilly is no authority at all except in so far as tested and passed by the new school. It is hard to give up gavisus. But Diez, chief authority in Romanic matters, is content to accept Muratori's reference to an old High-German gahi, modern jahe, sharp, quick, sudden, brisk, and so to the sense of lively, animated, high in spirits.'

{85} Monsieur Henri Martin, whose chapters on the Celts, in his Histoire de France, are full of information and interest.

{97} The above is really a sentence taken from the Cologne Gazette. Lord Strangford's comment here is as follows: —'Modern Germanism, in a general estimate of Germanism, should not be taken, absolutely and necessarily, as the constant, whereof we are the variant. The Low- Dutch of Holland, anyhow, are indisputably as genuine Dutch as the High-Dutch of Germany Proper. But do they write sentences like this one—informe, ingens, cui lumen ademptum? If not, the question must be asked, not how we have come to deviate, but how the Germans have come to deviate. Our modern English prose in plain matters is often all just the same as the prose of King Alfred and the Chronicle. Ohthere's North Sea Voyage and Wulfstan's Baltic Voyage is the sort of thing which is sent in every day, one may say, to the Geographical or Ethnological Society, in the whole style and turn of phrase and thought.'

The mass of a stock must supply our data for judging the stock. But see, moreover, what I have said at p. 100.

{120} Lord Strangford's note on this is: —'The Irish monks whose bells and books were found in Iceland could not have contributed anything to the old Norse spirit, for they had perished before the first Norseman had set foot on the island. The form of the old Norse poetry known to us as Icelandic, from the accident of its preservation in that island alone, is surely Pan-Teutonic from old times; the ar and method of its strictly literary cultivation must have been much influenced by the contemporary Old-English national poetry, with which the Norsemen were in constant contact; and its larger, freer, and wilder spirit must have been owing to their freer and wilder life, to say nothing of their roused and warring paganism. They could never have known any Celts save when living in embryo with other Teutons.'

Very likely Lord Strangford is right, but the proposition with which he begins is at variance with what the text quoted by Zeuss alleges.

{133} Rhyme,—the most striking characteristic of our modern poetry as distinguished from that of the ancients, and a main source, to our poetry, of its magic and charm, of what we call its romantic element,—rhyme itself, all the weight of evidence tends to show, comes into our poetry from the Celts.

{136} Take the following attempt to render the natural magic supposed to pervade Tieck's poetry: —'In diesen Dichtungen herrscht eine geheimnissvolle Innigkeit, ein sonderbares Einverstandniss mit der Natur, besonders mit der Pflanzen—und Steinreich. Der Leser fuhlt sich da wie in einem verzauberten Walde; er hort die unterirdischen Quellen melodisch rauschen; wildfremde Wunderblumen schauen ihn an mit ihren bunten schnsuchtigen Augen; unsichtbare Lippen kussen seine Wangen mit neckender Zartlichkeit; hohe Pilze, wie goldne Glocken, wachsen klingend empor am Fusse der Baume;' and so on. Now that stroke of the hohe Pilze, the great funguses, would have been impossible to the tact and delicacy of a born lover of nature like the Celt, and could only have come from a German who has hineinstudirt himself into natural magic. It is a crying false note, which carries us at once out of the world of nature-magic and the breath of the woods, into the world of theatre-magic and the smell of gas and orange-peel.

THE END

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