CHILDREN OF THE CAPTIVITY

The road to Connemara lies white across the memory, white and very quiet. In that far west of Galway, the silence dwells pure upon the spacious country, away to where the Twelve Pins make a gallant line against the northern sky. It comes in the heathery wind, it borrows peace from the white cottage gables on the hill side, it is accented by the creeping approach of a turf cart, rocking behind its thin grey pony. Little else stirs, save the ducks that sail on a wayside pool to the push of their yellow propellers; away from the road, on a narrow oasis of arable soil, a couple of women are digging potatoes; their persistent voices are borne on the breeze that blows warm over the blossoming boglands and pink heather.

Scarcely to be analysed is that fragrance of Irish air; the pureness of bleak mountains is in it, the twang of turf smoke is in it, and there is something more, inseparable from Ireland's green and grey landscapes, wrought in with her bowed and patient cottages, her ragged walls, and eager rivers, and intelligible only to the spirit.

Over in England there are clustered cottages half buried in rich meadows, covered with roses to the edge of their mellow roof tiles, shaded by venerable and venerated trees, pleasant resting-places for the memory. From one of them comes forth a mild-faced elderly woman in a mushroom hat, the embodiment of respectability and hard work. If you talk to her you will be impressed by her sincerity, her reticence, her reverence for cleanliness, and further, as the conversation progresses, by her total lack of humour, and her conscientious recital of details not essential to the story. You will admire and like her, and she will bore you; so will her husband, with the serious face and sober blue eyes, and you will be ashamed of being bored.
IN A LONELY COTTAGE
IN A LONELY COTTAGE

Approach one of these lonely cottages on a Connemara road, and you will find it crooked without quaintness, clumsy, dirty, distressful; yet there will come forth to you round the manure-heaps in front of the door a human being, probably barefooted, and better skilled in Irish than in English, who will converse with you in the true sense of the word, that is to say, with give and take, with intuition, and with easy and instant sense of humour. While you talk to her you can observe two elderly women in red petticoats and black cloaks advancing on the long road from Galway, carrying heavy baskets from the market: their eyes are quick, their faces clearly cut and foreign-looking. Were it in your power to listen to what they are saying, you would be entertained as you have seldom been, by highly seasoned gossip, narrative, both humorous and tragic, and wide and exhaustive criticism. A cart lumbers by, loaded with men and women, their teeth, one would say, loosened in their heads by the clattering and jolting, but their flow of ideas and language unshaken. The two women in the cloaks have arrived at a juncture at which they must stand still in the ecstasy of the story; the narrator shoots out a spike of a thumb, and digs her auditor in the chest to barb the point of the jest as it is delivered. The recipient swings backward from the waist with a yell of appreciation, they hitch their cloaks on their shoulders, and enter on the Committee stage of the affair as they move on again.

One might safely say that this bare and still country carries an amount of good talk, nimble, trenchant, and humorous, to the square mile, that the fat and comfortable plains of England could never rival. It has been so for centuries, and all the while the sons and daughters of Connemara have remained aloof and self-centred, hardly even aware of the marching life of England, least of all aware that Ireland holds the post of England's Court Jester. Others of their countrymen, more sophisticated, more astute, probably less agreeable, have not been slow to realise it. Perhaps they would have refused the Cap and Bells had they known the privilege entailed.

"As for our harps," said the Children of the Captivity, "we hanged them up upon the trees that are therein." That was when the songs of Zion were required of them in the strange land, and the strong Euphrates saw their tears. The sympathy of all the centuries has been theirs for that poignant hour; yet, as far as can be known, they were spared an extremer pang. It is nowhere recorded that the people of the strange land made any attempt to sing the songs of Zion to the Children of Israel.

When the Children of Erin hang up their harps in the Babylon of to-day, the last thing they wish to emulate is that passionate silence of the Israelites. They hang them up as those do who enter in and possess the land, and the songs of Zion have not faltered on their lips. A captive race they may be, but their national desire to "take the floor" has remained unshaken. They have discovered that an Irish brogue has a market value, and the songs of Zion have gone through many editions and held many audiences, since the days when Tom Moore exploited his country in London drawing-rooms. The moment of bitterness is when the English become fired with the notion of singing them for themselves.

Perhaps it comes about from English love of a theory, especially an hereditary theory, that has been handed down to them, well-thumbed by preceding generations. They have established a theory for the Irish, and particularly and confidently for Irish humour, and from owning the theory there is but a step to becoming proprietors also of the humour. Myself, when young, was nourished upon a work named "Near Home," and in the edition current at the time, I remember that the Irish were indulgently described as "a merry people, and fond of pigs." The hereditary theory could hardly have been better summarised. The average Englishman owns an Irish story or two, and is genially certain of his ability to tell it, with all necessary embellishment of accent and expression. As often as possible he tells it to an Irishman.

Elusive as running water is the brogue of the Irish peasant; hardly attained even by those who have known its tune from childhood. They, at least, know how it ought to be, and with this knowledge in their hearts, they have to sit in dreary submission while the stage Irishman convulses the English audience; they must smile, however galvanically, when friends, otherwise irreproachable, regale them with the Irish story in all its stale exuberance of Pat and the Pig, or expound for their benefit that epitome of vieux jeu, the Saxon conception of an Irish Bull.

As to Irish Bulls, it could be explained, were it of any avail, that they convey a finer shade of meaning than the downright English language will otherwise admit of.

"If ye were to be killed crossing a fence ye'd be all right!" said a looker-on to one whose horse had turned head over heels in the middle of a level pasture, "but if ye were killed on the flat o' the field ye'd never hold up your head again!"

Here was the effort of the true impressionist to create an effect regardless of the means.

"Jerry was a grand man. When he'd be idle itself he'd be busy!"

Had the author of this commendation merely said that Jerry's industry was unceasing, he would have been unassailable as to diction, but he would have left his audience cold. It is a melancholy fact that the English mind contrives to miss the artist's intention, and fastens unalterably on the obvious contradiction of terms.

As in converse, so, and with deeper disaster, is it in literature. There is scarcely a week in the life of the English comic papers that is guiltless of some heavy-handed caricature of Irish humour, daubed with false idiom and preposterous spelling, secure in its consciousness of being conventional. It is better to accuse a man of having broken a commandment than to tell him that his sense of humour appears to you defective, so, leaving that branch of the subject open, I will only mention that there are alive many excellent people who will never, on this side of the grave, be convinced that the Irish peasant does not say "indade" for "indeed," "belave" for "believe," or "swape" for "sweep." Inborn and ingrained knowledge of such points is essential; if, among many anomalies, a rule can be found, it seems to be that in an Irish brogue the diphthong "ea" changes to "a," as in "say" for "sea," while the double e remains untampered with; thus you might hear a person say "I was very wake last week."

Writers of fiction have done much that is painful in dealing with Irish people. Thackeray's Captain Costigan spoke like a stage edition of a Dublin car-driver, which is not what one would expect in a gentleman who, according to his own account, "bore his Majesty's Commission in the foighting Hundtherd and Third," and his introduction of Arthur Pendennis as "a person of refoined moind, emiable manners, and a sinsare lover of poethry" is not convincing or even very amusing. It is strange that the error of making Irish ladies and gentlemen talk like their servants should to this hour have a fascination for novelists. It is not so very long since that, in a magazine, I read of a high-born Irish Captain of Hussars, who, in a moment of emotion, exclaimed: "Howly Mither av Hiven!"

Dealing with present day writers is treading on delicate ground, and it is with diffidence that one arraigns one of the most enthralling of living story-tellers. Few of his works have been more popular than "Soldiers Three," yet to me and others of my country, it is the narratives of Private Mulvany that give least pleasure. "Gurl" for girl, "Thimber" for timber, and "Quane" for Queen, are conventions that have unfortunately proved irresistible; they are taken from a random page or two, and there is no page free of such.

But, after all, right or wrong, pronunciation and spelling are small things in the presentment of any dialect. The vitalising power is in the rhythm of the sentence, the turn of phrase, the knowledge of idiom, and of, beyond all, the attitude of mind. A laborious system of spelling exasperates the reader, jades the eye, and fails to convince the ear. If, in illustration, I again quote Mr. Kipling, it is because of the conspicuousness of his figure in literature; he can afford to occupy the position of target, indifferent alike to miss or bull's-eye.

Stripped of its curious and stifling superfluities of spelling, a sentence of Mulvaney's runs thus:

"Oh, boys, they were more lovely than the like of any loveliness in heaven; ay, their little bare feet were better than the white hands of a Lord's lady, and their mouths were like puckered roses, and their eyes were bigger and darker than the eyes of any living women I've seen."

With the exception of "the like" there is nothing in the wording of this panegyric that would even suggest it had been uttered by an Irishman. To stud the page with "ut" and "av" instead of "it" and "of" is of no avail. Irish people do not say these things; there is a sound that is a half-tone between the two, not to be captured by English voices, still less by English vowels. The shortcoming is, of course, trivial to those who do not suffer because of it, but want of perception of word and phrase and turn of thought means more than mere artistic failure, it means want of knowledge of the wayward and shrewd and sensitive minds that are at the back of the dialect.

The very wind that blows softly over brown acres of bog carries perfumes and sounds that England does not know: the women digging the potato-land are talking of things that England does not understand. The question that remains is whether England will ever understand.