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CONTENTS

“Here are told the stories of these pictures of the imagination, of magic and romance. Yet they were gravely chosen withal, and for reasons manifold… What if they be but dreams? ‘We are such stuff as dreams are made of.’ What if they be but magic and romance? These things are not ancient and dead, but modern and increasing. For wherever a man learns power over Nature, there is Magic; wherever he carries out an ideal into Life there is Romance.”

Patrick Geddes:

“The Interpreter.”

PROLOGUE

(TO KATHIA)

 
I find, under the boughs of love and hate,
Eternal Beauty wandering on her way.
 

The Rose upon the Rood of Time

TO you, in your far-away home in Provence, I send these tales out of the remote North you love so well, and so well understand. The same blood is in our veins, a deep current somewhere beneath the tide that sustains us. We have meeting-places that none knows of; we understand what few can understand; and we share in common a strange and inexplicable heritage. It is because you, who are called Kathia of the Sunway, are also Kathia nan Ciar, Kathia of the Shadow, it is because you are what you are that I inscribe this book to you. In it you will find much that is familiar to you, though you may never have read or heard anything of the kind; for there is a reality, beneath the unfamiliar accident, which may be recognised in a moment as native to the secret life that lives behind the brain and the wise nerves with their dim ancestral knowledge.

The greater portion of this book deals with the remote life of a remote past. “The Shadow-Seers,” however, though of to-day, may equally be of yesterday or to-morrow; and as for “The Last Supper” or “The Fisher of Men,” they are of no time or date, for they are founded upon elemental facts which are modified but not transformed by the changing years.

It may be the last of its kind I shall write – at any rate, for a time. I would like it to be associated with you, to whom not only the mystery but the pagan sentiment and the old barbaric emotion are so near. With the second sight of the imagination we can often see more clearly in the perspectives of the past than in the maze of the present; and most clearly when we recognise that, below the accidents of time and circumstance, the present is but a reflection of that past to which we belong – belong, as intimately and inalienably, as to the hour wherein happily content we swing to those anchors which we do not see are linked to us by ropes of sand.

If I am eager to have my say on other aspects of our Celtic life in the remoter West Highlands and in the Isles: now with the idyllic, now with the tragic, now with the grotesque, the humorous, the pathetic, with all the medley cast from the looms of Life – all that and if, too, I long to express anew something of that wonderful historic romance in which we of our race and country are so rich, I am not likely to forget those earlier dreams which are no whit less realities – realities of the present seen through an inverted glass – which have been, and are, so full of inspiration and of a strange and terrible beauty.

 
“… from the looms of Life are spun,
Warp of shadow and woof of sun – ”
 

But one to whom life appeals by a myriad avenues, all alluring and full of wonder and mystery, cannot always abide where the heart longs most to be. It is well to remember that there are shadowy waters even in the cities, and that the Fount of Youth is discoverable in the dreariest towns as well as in Hy Bràsil: a truth apt to be forgotten by those of us who dwell with ever-wondering delight in that land of lost romance which had its own day, as this epoch of a still stranger, if a less obvious, romance has its own passing hour.

The titular piece – with its strange name that will not be unfamiliar to you who know our ancient Celtic literature, or may bear in mind the striking use made of it and its vague cognate legend, by Ferguson, in his Irish epic, Congal– gives the keynote not only of this book but of what has for hundreds of years, and to some extent still is, the characteristic of the purely Celtic mind in the Highlands and the Isles. This characteristic is a strange complexity of paganism and Christianity, or rather an apparent complexity arising from the grafting of Christianity upon paganism. Columba, St. Patrick, St. Ronan, Kentigern, all these militant Christian saints were merely transformed pagans. Even in the famous dialogue between St. Patrick and Oisìn, which is the folk-telling of the passing of the old before the new, the thrill of a pagan sympathy on the part of the uncompromising saint is unmistakable. To this day, there are Christian rites and superstitions which are merely a gloss upon a surviving antique paganism. I have known an old woman, in no wise different from her neighbours, who on the day of Beltane sacrificed a hen: though for her propitiatory rite she had no warrant save that of vague traditionary lore, the lore of the teinntean, of the hearth-side – where, in truth, are best to be heard the last echoes of the dim mythologic faith of our ancestors. What is the familiar “clachan,” now meaning a hamlet with a kirk, but an echo of the Stones, the circles of the druids or of a more ancient worship still, that perhaps of the mysterious Anait, whose sole record is a clach on a lonely moor, of which from time immemorial the people have spoken as the “Teampull na’n Anait”? A relative of mine saw, in South Uist, less than twenty-five years ago, what may have been the last sun-sacrifice in Scotland, when an old Gael secretly and furtively slew a lamb on the summit of a conical grassy knoll at sunrise. Those who have the Gaelic have their ears filled with rumours of a day that is gone. When an evicted crofter laments, O mo chreach, mo chreach!¹ or some poor soul on a bed of pain cries, O mo chradshlat,² he who knows the past recognises in the one the mournful refrain of the time when the sea-pirates or the hill-robbers pillaged and devasted quiet homesteads, and, in the other, not the moan of suffering only, but the cry of torment from the victim racked on the cradhshlat, a bitter ignominious torture used by the ancient Gaels. When, in good fellowship, one man says to another, Tha, a laochain (yes, my dear fellow), he recalls Fionn and the chivalry of eld, for laochan is merely a contraction for laoch-Fhinn, meaning a companion in war, a hero, literally Fionn’s right-hand man in battle. To this day, women, accompanying a marching regiment, are sometimes heard to say in the Gaelic, “We are going with the dear souls to the wars” – literally an echo of the Ossianic Siubhlaidh sinn le’n anam do’n araich, “We shall accompany their souls to the battle-field.” A thousand instances could be adduced. The language is a herring-net, through which the unchanging sea filtrates, even though the net be clogged with the fish of the hour. Nor is it the pagan atmosphere only that survives: often we breathe the air of that early day when the mind of man was attuned to a beautiful piety that was wrought into nature itself. Of the several words for the dawn, there is a beautiful one, Uinneagachadh. We have it in the phrase ’nuair a bha an latha ag uinneagachadh, “when the day began to dawn.” Now this word is simply an extension of Uinneag, a window: and the application of the image dates far back to the days of St. Columba, when some devout and poetic soul spoke of the uinneagan Neimh, the windows of Heaven.

Sometimes, among the innumerable “legendary moralities” which exist fragmentarily in the West Highlands and in the Isles, there is a coherent narrative basis – as, for example, in the Irish and Highland folk-lore about St. Bride, or Bridget, “Muime Chriosd.” Sometimes there is simply a phrase survived out of antiquity. I doubt if any now living, either in the Hebrides or in Ireland, has heard any legend of the “Washer of the Ford.” The name survives, with its atmosphere of a remote past, its dim ancestral memory of a shadowy figure of awe haunting a shadowy stream in a shadowy land. Samuel Ferguson, in Congal, has done little more than limn an obscure shadow of that shadow: yet it haunts the imagination. In the passage of paganism, these old myths were too deep-rooted in the Celtic mind to vanish at the bidding of the Cross: thus came about that strange grafting of the symbolic imagery of the devout Culdee, of the visionary Mariolater, upon the surviving Druidic and prehistoric imagination. In a word, the Washer of the Ford might well have appeared, to a single generation, now as a terrible and sombre pagan goddess of death, now as a symbolic figure in the new faith, foreshadowing spiritual salvation and the mystery of resurrection.

If in a composition such as “The Annir-Choille,” there is the expression of revolt – not ancient only, nor of the hour, but eternal, for the revolt is of the sovereign nature within us whereon all else is an accidental superstructure – against the Christian ethic of renunciation, with an echo of our deep primeval longing for earth-kinship with every life in nature: if here there is the breath of a day that may not come again, there is little or nothing of the past, save what is merely accidental, in “The Fisher of Men” or “The Last Supper.” I like to think that these eachdaireachd Spioradail, these spiritual chronicles, might as well, in substance, have been told a thousand years ago or be written a thousand years hence. That Fisher still haunts the invisible shadowy stream of human tears: those mystic Spinners still ply their triple shuttles, and the Fair Weaver of Hope, now as of yore and for ever, sends his rainbows adrift across the hearts and through the minds of men. What does it matter, again, that the Three Marvels of Hy are set against the background of the Iona of St. Columba? St. Francis blessed the birds of Assisi, and San Antonio had a heart as tender for all winged and gentle creatures: and there are innumerable quiet gardens of peace in the world even now where the kindred of San Antonio and St. Francis and St. Columba are kith to our fellow-beings, knowing them akin one and all to the seals whom St. Molios blessed at the end of his days, and in his new humbleness hailed as likewise of the company of the Sons of God.

But of this I am sure. If there is spiritual truth in the vision of the Blind Harper who saw the Washer of the Ford, or in that of Molios who hailed the seals as brethren, or in that of Colum who blessed the birds and the fish of the sea and even the vagrant flies of the air, and saw the Moon-Child, and in that seeing learned the last mystery of the life of the soul, if in these, as in the “Fisher of Men” and “The Last Supper,” I have given faint utterance to the heart-knowledge we all have, I would not have you or any think that the pagan way is therefore to me as the way of darkness. The lost monk who loved the Annir-Choille was doubtless not the less able to see the Uinneagan Neimh because he was under ban of Colum and all his kin: and there are those of us who would rather be with Cathal of the Woods, and be drunken with green fire, than gain the paradise of the holy Molios who banned him, if in that gain were involved the forfeiture of the sunny green world, the joy of life, and the earth-sweet ancient song of the blood that is in the veins of youth.

These tales, let me add, are not legendary “mysteries” but legendary “moralities.” They are reflections from the mirror that is often obscured but is never dimmed. There is no mystery in them, or anywhere: except the eternal mystery of beauty.

Of the Seanachas, the short barbaric tales, I will say nothing to you, whose favourite echo from Shelley is that thrilling line “the tempestuous loveliness of terror.”

You in your far Provence, amid the austere hills that guard an ancient land of olive and vine, a land illumined by the blue flowing light of the Rhone, and girt by desert places where sun and wind inhabit, and scarce any other – you there and I here have this in common. Everywhere we see the life of man in subservient union with the life of Nature; never, in a word, as a sun beset by tributary stars, but as one planet among the innumerous concourse of the sky, nurtured, it may be, by light from other luminaries and other spheres than we know of. That we are intimately at one with Nature is a cosmic truth we are all slowly approaching. It is not only the dog, it is not only the wild beast and the wood-dove, that are our close kindred, but the green tree and the green grass, the blue wave and the flowing wind, the flower of a day and the granite peak of an æon. And I for one would rather have the wind for comrade, and the white stars and green leaves as my kith and kin, than many a human companion, whose chief claim is the red blood that differs little from the sap in the grass or in the pines, and whose “deathless soul” is, mayhap, no more than a fugitive light blown idly for an hour betwixt dawn and dark. We are woven in one loom, and the Weaver thrids our being with the sweet influences, not only of the Pleiades, but of the living world of which each is no more than a multi-coloured thread: as, in turn, He thrids the wandering wind with the inarticulate cry, the yearning, the passion, the pain, of that bitter clan, the Human.

Truly, we are all one. It is a common tongue we speak, though the wave has its own whisper, and the wind its own sigh, and the lip of the man its word, and the heart of woman its silence.

Long, long ago a desert king, old and blind, but dowered with ancestral wisdom beyond all men that have lived, heard that the Son of God was born among men. He rose from his place, and on the eve of the third day he came to where Jesus sat among the gifts brought by the wise men of the East. The little lad sat in Mary’s lap, beneath a tree filled with quiet light; and while the folk of Bethlehem came and went He was only a child as other children are. But when the desert king drew near, the child’s eyes deepened with knowledge.

“What is it, my little son?” said Mary the Virgin.

“Sure, Mother dear,” said Jesus, who had never yet spoken a word, “it is Deep Knowledge that is coming to me.”

“And what will that be, O my Wonder and Glory?”

“That which will come in at the door before you speak to me again.”

Even as the child spoke, an old blind man entered, and bowed his head.

“Come near, O tired old man,” said Mary that had borne a son to Joseph, but whose womb knew him not.

With that the tears fell into the old man’s beard. “Sorrow of Sorrows,” he said, “but that will be the voice of the Queen of Heaven!”

But Jesus said to his mother: “Take up the tears, and throw them into the dark night.” And Mary did so: and lo! upon the wilderness, where no light was, and on the dark wave, where seamen toiled without hope, clusters of shining stars rayed downward in a white peace.

Thereupon the old king of the desert said:

“Heal me, O King of the Elements.”

And Jesus healed him. His sight was upon him again, and his gray ancientness was green youth once more.

“I have come with Deep Knowledge,” he said.

“Ay, sure, I am for knowing that,” said the King of the Elements, that was a little child.

“Well, if you will be knowing that, you can tell me who is at my right side?”

“It is my elder brother the Wind.”

“And what colour will the Wind be?”

“Now blue as Hope, now green as Compassion.”

“And who is on my left?”

“The Shadow of Life.”

“And what colour will the Shadow be?”

“That which is woven out of the bowels of the earth and out of the belly of the sea.”

“Truly, thou art the King of the Elements. I am bringing you a great gift, I am: I have come with Deep Knowledge.”

And with that the old blind man, whose eyes were now as stars, and whose youth was a green garland about him, chanted nine runes.

The first rune was the Rune of the Four Winds.

The second rune was the Rune of the Deep Seas.

The third rune was the Rune of the Lochs and Rivers and the Rains and the Dews and the many waters.

The fourth rune was the Rune of the Green Trees and of all things that grow.

The fifth rune was the Rune of Man and Bird and Beast, and of everything that lives and moves, in the air, on the earth, and in the sea: all that is seen of man, and all that is unseen of man.

The sixth rune was the Rune of Birth, from the spawn on the wave to the Passion of Woman.

The seventh rune was the Rune of Death, from the quenching of a gnat to the fading of the stars.

The eighth rune was the Rune of the Soul that dieth not, and the Spirit that is.

The ninth rune was the Rune of the Mud and the Dross and the Slime of Evil – that is the Garden of God, wherein He walks with sunlight streaming from the palms of his hands and with stars springing beneath his feet.

Then when he had done, the old man said: “I have brought you Deep Knowledge.” But at that Jesus the Child said:

“All this I heard on my way hither.”

The old desert king bowed his head. Then he took a blade of grass, and played upon it. It was a wild, strange air that he played.

“Iosa mac Dhe, tell the woman what song that is,” cried the desert king.

“It is the secret speech of the Wind that is my Brother,” cried the child, clapping his hands for joy.

“And what will this be?” and with that the old man took a green leaf, and played a lovely whispering song.

“It is the secret speech of the leaves,” cried Jesus the little lad, laughing low.

And thereafter the desert king played upon a handful of dust, and upon a drop of water, and upon a flame of fire; and the Child laughed for the knowing and the joy. Then he gave the secret speech of the singing bird, and the barking fox, and the howling wolf, and the bleating sheep: of all and every created kind.

“O King of the Elements,” he said then, “for sure you knew much; but now I have made you to know the secret things of the green Earth that is Mother of you and of Mary too.”

But while Jesus pondered that one mystery, the old man was gone: and when he got to his people, they put him alive into a hollow of the earth and covered him up, because of his shining eyes, and the green youth that was about him as a garland.

And when Christ was nailed upon the Cross, Deep Knowledge went back into the green world, and passed into the grass and the sap in trees, and the flowing wind, and the dust that swirls and is gone.

All this is of the wisdom of the long ago, and you and I are of those who know how ancient it is, how remoter far than when Mary, at the bidding of her little son, threw up into the firmament the tears of an old man.

It is old, old —

“Thousands of years, thousands of years,

If all were told.”

Is it wholly unwise, wholly the fantasy of a dreamer, to insist, in this late day, when the dust behind and the mist before hide from us the Beauty of the World, that we can regain our birthright only by leaving our cloud-palaces of the brain, and becoming consciously at one with the cosmic life of which, merely as men, we are no more than a perpetual phosphorescence?

THE WASHER OF THE FORD

WHEN Torcall the Harper heard of the death of his friend, Aodh-of-the-Songs, he made a vow to mourn for him for three seasons – a green time, an apple time, and a snow time.

There was sorrow upon him because of that death. True, Aodh was not of his kindred, but the singer had saved the harper’s life when his friend was fallen in the Field of Spears.

Torcall was of the people of the north – of the men of Lochlin. His song was of the fjords, and of strange gods, of the sword and the war-galley, of the red blood and the white breast, of Odin and Thor and Freya, of Balder and the Dream-God that sits in the rainbow, of the starry North, of the flames of pale blue and flushing rose that play around the Pole, of sudden death in battle, and of Valhalla.

Aodh was of the south isles, where these shake under the thunder of the western seas. His clan was of the isle that is now called Barra, and was then Iondû; but his mother was a woman out of a royal rath in Banba, as men of old called Eiré. She was so fair that a man died of his desire of her. He was named Ulad, and was a prince. “The Melancholy of Ulad” was long sung in his land after his end in the dark swamp, where he heard a singing, and went laughing glad to his death. Another man was made a prince because of her. This was Aodh the Harper, out of the Hebrid Isles. He won the heart out of her, and it was his from the day she heard his music and felt his eyes flame upon her. Before the child was born, she said, “He shall be the son of love. He shall be called Aodh. He shall be called Aodh-of-the-Songs.” And so it was.

Sweet were his songs. He loved, and he sang, and he died.

And when Torcall that was his friend knew this sorrow, he arose and made his vow, and went out for evermore from the place where he was.

Since the hour of the Field of Spears he had been blind. Torcall Dall he was upon men’s lips thereafter. His harp had a moonshine wind upon it from that day, it was said: a beautiful strange harping when he went down through the glen, or out upon the sandy machar by the shore, and played what the wind sang, and the grass whispered, and the tree murmured, and the sea muttered or cried hollowly in the dark.

Because there was no sight to his eyes, men said he saw and he heard. What was it he heard and he saw that they saw not and heard not? It was in the voice that was in the strings of his harp, so the rumour ran.

When he rose and went away from his place, the Maormor asked him if he went north, as the blood sang; or south, as the heart cried; or west, as the dead go; or east, as the light comes.

“I go east,” answered Torcall Dall.

“And why so, Blind Harper?”

“For there is darkness always upon me, and I go where the light comes.”

On that night of the nights, a fair wind blowing out of the west, Torcall the Harper set forth in a galley. It splashed in the moonshine as it was rowed swiftly by nine men.

“Sing us a song, O Torcall Dall!” they cried.

“Sing us a song, Torcall of Lochlin,” said the man who steered. He and all his company were of the Gael: the Harper only was of the Northmen.

“What shall I sing?” he asked. “Shall it be of war that you love, or of women that twine you like silk o’ the kine; or shall it be of death that is your meed; or of your dread, the Spears of the North?”

A low sullen growl went from beard to beard.

“We are under geas, Blind Harper,” said the steersman, with downcast eyes because of his flaming wrath; “we are under bond to take you safe to the mainland, but we have sworn no vow to sit still under the lash of your tongue. ’Twas a wind-fleet arrow that sliced the sight out of your eyes: have a care lest a sudden sword-wind sweep the breath out of your body.”

Torcall laughed a low, quiet laugh.

“Is it death I am fearing now – I who have washed my hands in blood, and had love, and known all that is given to man? But I will sing you a song, I will.”

And with that he took his harp, and struck the strings.

 
There is a lonely stream afar in a lone dim land:
It hath white dust for shore it has, white bones bestrew the strand:
The only thing that liveth there is a naked leaping sword;
But I, who a seer am, have seen the whirling hand
Of the Washer of the Ford.
 
 
A shadowy shape of cloud and mist, of gloom and dusk, she stands,
The Washer of the Ford:
She laughs, at times, and strews the dust through the hollow of her hands.
 
 
She counts the sins of all men there, and slays the red-stained horde —
The ghosts of all the sins of men must know the whirling sword
Of the Washer of the Ford.
 
 
She stoops and laughs when in the dust she sees a writhing limb:
“Go back into the ford,” she says, “and hither and thither swim;
Then I shall wash you white as snow, and shall take you by the hand,
And slay you here in the silence with this my whirling brand,
And trample you into the dust of this white windless sand – ”
This is the laughing word
Of the Washer of the Ford
Along that silent strand.
 

There was silence for a time after Torcall Dall sang that song. The oars took up the moonshine and flung it hither and thither like loose shining stones. The foam at the prow curled and leaped.

Suddenly one of the rowers broke into a long, low chant —

 
Yo, eily-a-ho, ayah-a-ho, eily-ayah-a-ho,
Singeth the Sword
Eily-a-ho, ayah-a-ho, eily-ayah-a-ho,
Of the Washer of the Ford!
 

And at that all ceased from rowing. Standing erect, they lifted up their oars against the stars, and the wild voices of them flew out upon the night —

 
Yo, eily-a-ho, ayah-a-ho, eily-ayah-a-ho,
Singeth the Sword
Eily-a-ho, ayah-a-ho, eily-ayah-a-ho,
Of the Washer of the Ford!
 

Torcall Dall laughed. Then he drew his sword from his side and plunged it into the sea. When he drew the blade out of the water and whirled it on high, all the white shining drops of it swirled about his head like a sleety rain.

And at that the steersman let go the steering-oar and drew his sword, and clove a flowing wave. But with the might of his blow the sword spun him round, and the sword sliced away the ear of the man who had the sternmost oar. Then there was blood in the eyes of all there. The man staggered, and felt for his knife, and it was in the heart of the steersman.

Then because these two men were leaders, and had had a blood-feud, and because all there, save Torcall, were of one or the other side, swords and knives sang a song.

The rowers dropped their oars; and four men fought against three.

Torcall laughed, and lay back in his place. While out of the wandering wave the death of each man clambered into the hollow of the boat, and breathed its chill upon its man, Torcall the Blind took his harp. He sang this song, with the swirling spray against his face, and the smell of blood in his nostrils, and the feet of him dabbling in the red tide that rose there.

 
Oh, ’tis a good thing the red blood, by Odin his word!
And a good thing it is to hear it bubbling deep.
And when we hear the laughter of the Sword,
Oh, the corbies croak, and the old wail, and the women weep!
And busy will she be there where she stands,
Washing the red out of the sins of all this slaying horde;
And trampling the bones of them into white powdery sands,
And laughing low at the thirst of her thirsty sword —
The Washer of the Ford!
 

When he had sung that song there was only one man whose pulse still beat, and he was at the bow.

“A bitter black curse upon you, Torcall Dall!” he groaned out of the ooze of blood that was in his mouth.

“And who will you be?” said the Blind Harper.

“I am Fergus, the son of Art, the son of Fergus of the Dûns.”

“Well, it is a song for your death I will make, Fergus mac Art mhic Fheargus: and because you are the last.”

With that Torcall struck a wild sob out of his harp, and he sang —

 
Oh, death of Fergus, that is lying in the boat here,
Betwixt the man of the red hair and him of the black beard,
Rise now, and out of thy cold white eyes take out the fear,
And let Fergus mac Art mhic Fheargus see his weird!
Sure, now, it’s a blind man I am, but I’m thinking I see
 
 
The shadow of you crawling across the dead.
Soon you will twine your arm around his shaking knee,
And be whispering your silence into his listless head.
And that is why, O Fergus —
 

But here the man hurled his sword into the sea, and with a choking cry fell forward; and upon the white sands he was, beneath the trampling feet of the Washer of the Ford.