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   Literary and Philosophical Essays.
The Harvard Classics.  1909–14.
 
The Poetry of the Celtic Races
 
Introduction
 
Ernest Renan
 
 
EVERY one who travels through the Armorican peninsula experiences a change of the most abrupt description, as soon as he leaves behind the district most closely bordering upon the continent, in which the cheerful but commonplace type of face of Normandy and Maine is continually in evidence, and passes into the true Brittany, that which merits its name by language and race. A cold wind arises full of a vague sadness, and carries the soul to other thoughts; the tree-tops are bare and twisted; the heath with its monotony of tint stretches away into the distance; at every step the granite protrudes from a soil too scanty to cover it; a sea that is almost always sombre girdles the horizon with eternal moaning. The same contrast is manifest in the people: to Norman vulgarity, to a plump and prosperous population, happy to live, full of its own interests, egoistical as are all these who make a habit of enjoyment, succeeds a timid and reserved race living altogether within itself, heavy in appearance but capable of profound feeling, and of an adorable delicacy in its religious instincts. A like change is apparent, I am told, in passing from England into Wales, from the Lowlands of Scotland, English by language and manners, into the Gaelic Highlands; and too, though with a perceptible difference, when one buries oneself in the districts of Ireland where the race has remained pure from all admixture of alien blood. It seems like entering on the subterranean strata of another world, and one experiences in some measure the impression given us by Dante, when he leads us from one circle of his Inferno to another.  1
  Sufficient attention is not given to the peculiarity of this fact of an ancient race living, until our days and almost under our eyes, its own life in some obscure islands and peninsulas in the West, more and more affected, it is true, by external influences, but still faithful to its own tongue, to its own memories, to its own customs, and to its own genius. Especially is it forgotten that this little people, now concentrated on the very confines of the world, in the midst of rocks and mountains whence its enemies have been powerless to force it, is in possession of a literature which, in the Middle Ages, exercised an immense influence, changed the current of European civilisation, and imposed its poetical motives on nearly the whole of Christendom. Yet it is only necessary to open the authentic monuments of the Gaelic genius to be convinced that the race which created them has had its own original manner of feeling and thinking, that nowhere has the eternal illusion clad itself in more seductive hues, and that in the great chorus of humanity no race equals this for penetrative notes that go to the very heart. Alas! it too is doomed to disappear, this emerald set in the Western seas. Arthur will return no more from his isle of færy, and St. Patrick was right when he said to Ossian, “The heroes that thou weepest are dead; can they be born again?” It is high time to note, before they shall have passed away, the divine tones thus expiring on the horizon before the growing tumult of uniform civilisation. Were criticism to set itself the task of calling back these distant echoes, and of giving a voice to races that are no more, would not that suffice to absolve it from the reproach, unreasonably and too frequently brought against it, of being only negative?  2
  Good works now exist which facilitate the task of him who undertakes the study of these interesting literatures. Wales, above all, is distinguished by scientific and literary activity, not always accompanied, it is true, by a very rigorous critical spirit, but deserving the highest praise. There, researches which would bring honour to the most active centres of learning in Europe are the work of enthusiastic amateurs. A peasant called Owen Jones published in 1801–7, under the name of the Myvyrian Archaiology of Wales, the precious collection which is to this day the arsenal of Cymric antiquities. A number of erudite and zealous workers, Aneurin Owen, Thomas Price of Crickhowell, William Rees, and John Jones, following in the footsteps of the Myvyrian peasant, set themselves to finish his work, and to profit from the treasures which he had collected. A woman of distinction, Lady Charlotte Guest, charged herself with the task of acquainting Europe with the collection of the Mabino gion, 1 the pearl of Gaelic literature, the completest expression of the Cymric genius. This magnificent work, executed in twelve years with the luxury that the wealthy English amateur knows how to use in his publications, will one day attest how full of life the consciousness of the Celtic races remained in the present century. Only indeed the sincerest patriotism could inspire a woman to undertake and achieve so vast a literary monument. Scotland and Ireland have in like measure been enriched by a host of studies of their ancient history. Lastly, our own Brittany, though all too rarely studied with the philological and critical rigour now exacted in works of erudition, has furnished Celtic antiquities with her share of worthy research. Does it not suffice to cite M. de la Villemarqué, whose name will be henceforth associated among us with these studies, and whose services are so incontestable, that criticism need have no fear of depreciating him in the eyes of a public which has accepted him with so much warmth and sympathy?  3
 
Note 1. The Mabinogion, from the Llyfr Coch O Hergest and other ancient Welsh Manuscripts, with an English Translation and Notes. By Lady Charlotte Guest. London and Llandovery, 1837–49. The word Mabinogi (in the plural Mabinogion) designates a form of romantic narrative peculiar to Wales. The origin and primitive meaning of this word are very uncertain, and Lady Guest’s right to apply it to the whole of the narratives which she has published is open to doubt. [back]
 

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