The Complete Works. William Butler Yeats
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with a Celtic god, who holds what looks like a rose in one hand, has been found somewhere in England; but I cannot find the reference, though I certainly made a note of it. If the Rose was really a symbol of Ireland among the Gaelic poets, and if ‘Roseen Dubh’ is really a political poem, as some think, one may feel pretty certain that the ancient Celts associated the Rose with Eire, or Fotla, or Banba—goddesses who gave their names to Ireland—or with some principal god or goddess, for such symbols are not suddenly adopted or invented, but come out of mythology.
I have made the Seven Lights, the constellation of the Bear, lament for the theft of the Rose, and I have made the Dragon, the constellation Draco, the guardian of the Rose, because these constellations move about the pole of the heavens, the ancient Tree of Life in many countries, and are often associated with the Tree of Life in mythology. It is this Tree of Life that I have put into the ‘Song of Mongan’ under its common Irish form of a hazel; and, because it had sometimes the stars for fruit, I have hung upon it ‘the Crooked Plough’ and the ‘Pilot Star,’ as Gaelic-speaking Irishmen sometimes call the Bear and the North star. I have made it an axle-tree in ‘Aedh hears the Cry of the Sedge,’ for this was another ancient way of representing it.
The Host of the Air (p. 6).
Some writers distinguish between the Sluagh Gaoith, the host of the air, and Sluagh Sidhe, the host of the Sidhe, and describe the host of the air as of a peculiar malignancy. Dr. Joyce says, ‘Of all the different kinds of goblins … air demons were most dreaded by the people. They lived among clouds, and mists, and rocks, and hated the human race with the utmost malignity.’ A very old Aran charm, which contains the words ‘Send God, by his strength, between us and the host of the Sidhe, between us and the host of the air,’ seems also to distinguish among them. I am inclined, however, to think that the distinction came in with Christianity and its belief about the prince of the air, for the host of the Sidhe, as I have already explained, are closely associated with the wind.
They are said to steal brides just after their marriage, and sometimes in a blast of wind. A man in Galway says, ‘At Aughanish there were two couples came to the shore to be married, and one of the newly married women was in the boat with the priest, and they going back to the island; and a sudden blast of wind came, and the priest said some blessed words that were able to save himself, but the girl was swept.’
This woman was drowned; but more often the persons who are taken ‘get the touch,’ as it is called, and fall into a half dream, and grow indifferent to all things, for their true life has gone out of the world, and is among the hills and the forts of the Sidhe. A faery doctor has told me that his wife ‘got the touch’ at her marriage because there was one of them wanted her; and the way he knew for certain was, that when he took a pitchfork out of the rafters, and told her it was a broom, she said, ‘It is a broom.’ She was, the truth is, in the magical sleep, to which people have given a new name lately, that makes the imagination so passive that it can be moulded by any voice in any world into any shape. A mere likeness of some old woman, or even old animal, some one or some thing the Sidhe have no longer a use for, is believed to be left instead of the person who is ‘away’; this some one or some thing can, it is thought, be driven away by threats, or by violence (though I have heard country women say that violence is wrong), which perhaps awakes the soul out of the magical sleep. The story in the poem is founded on an old Gaelic ballad that was sung and translated for me by a woman at Ballisodare in County Sligo; but in the ballad the husband found the keeners keening his wife when he got to his house. She was ‘swept’ at once; but the Sidhe are said to value those the most whom they but cast into a half dream, which may last for years, for they need the help of a living person in most of the things they do. There are many stories of people who seem to die and be buried—though the country people will tell you it is but some one or some thing put in their place that dies and is buried—and yet are brought back afterwards. These tales are perhaps memories of true awakenings out of the magical sleep, moulded by the imagination, under the influence of a mystical doctrine which it understands too literally, into the shape of some well-known traditional tale. One does not hear them as one hears the others, from the persons who are ‘away,’ or from their wives or husbands; and one old man, who had often seen the Sidhe, began one of them with ‘Maybe it is all vanity.’
Here is a tale that a friend of mine heard in the Burren hills, and it is a type of all:—
‘There was a girl to be married, and she didn’t like the man, and she cried when the day was coming, and said she wouldn’t go along with him. And the mother said, “Get into the bed, then, and I’ll say that you’re sick.” And so she did. And when the man came the mother said to him, “You can’t get her, she’s sick in the bed.” And he looked in and said, “That’s not my wife that’s in the bed, it’s some old hag.” And the mother began to cry and roar. And he went out and got two hampers of turf, and made a fire, that they thought he was going to burn the house down. And when the fire was kindled, “Come out, now,” says he, “and we’ll see who you are, when I’ll put you on the fire.” And when she heard that, she gave one leap, and was out of the house, and they saw, then, it was an old hag she was. Well, the man asked the advice of an old woman, and she bid him go to a faery-bush that was near, and he might get some word of her. So he went there at night, and saw all sorts of grand people, and they in carriages or riding on horses, and among them he could see the girl he came to look for. So he went again to the old woman, and she said, “If you can get the three bits of blackthorn out of her hair, you’ll get her again.” So that night he went again, and that time he only got hold of a bit of her hair. But the old woman told him that was no use, and that he was put back now, and it might be twelve nights before he’d get her. But on the fourth night he got the third bit of blackthorn, and he took her, and she came away with him. He never told the mother he had got her; but one day she saw her at a fair, and, says she, “That’s my daughter; I know her by the smile and by the laugh of her, and she with a shawl about her head.” So the husband said, “You’re right there, and hard I worked to get her.” She spoke often of the grand things she saw underground, and how she used to have wine to drink, and to drive out in a carriage with four horses every night. And she used to be able to see her husband when he came to look for her, and she was greatly afraid he’d get a drop of the wine, for then he would have come underground and never left it again. And she was glad herself to come to earth again, and not to be left there.’
The old Gaelic literature is full of the appeals of the Tuatha De Danaan to mortals whom they would bring into their country; but the song of Midher to the beautiful Etain, the wife of the king who was called Echaid the ploughman, is the type of all.
‘O beautiful woman, come with me to the marvellous land where one listens to a sweet music, where one has spring flowers in one’s hair, where the body is like snow from head to foot, where no one is sad or silent, where teeth are white and eyebrows are black … cheeks red like foxglove in flower. … Ireland is beautiful, but not so beautiful as the Great Plain I call you to. The beer of Ireland is heady, but the beer of the Great Plain is much more heady. How marvellous is the country I am speaking of! Youth does not grow old there. Streams with warm flood flow there; sometimes mead, sometimes wine. Men are charming and without a blot there, and love is not forbidden there. O woman, when you come into my powerful country you will wear a crown of gold upon your head. I will give you the flesh of swine, and you will have beer and milk to drink, O beautiful woman. O beautiful woman, come with me!’
The Song of Wandering Aengus (p. 11).
The Tuatha De Danaan can take all shapes, and those that are in the waters take often the shape of fish. A woman of Burren, in Galway, says, ‘There are more of them in the sea than on the land, and they sometimes try to come over the side of the boat in the form of fishes, for they can take their choice shape.’ At other times they are beautiful women; and another Galway woman says, ‘Surely those things are in the sea as well as on land. My father was out fishing one night off Tyrone. And something came beside the boat that had eyes shining like candles. And then a wave came in, and a storm