advances, it is not unlikely that fragments of poetry will be found which, from linguistic or internal evidence, may be claimed for the sixth century.
The Celtic nations stand almost alone in this, that they did not employ poetry for epical narrative. There are no ancient Irish epics or ballads. So much was prose the natural vehicle of expression for Gaelic narrative, that when in later centuries the Arthurian epics were done into Gaelic, they were all turned from poetry into prose. At the same time, most Irish tales and stories are interspersed with lyrics put into the mouth of the principal heroes, after the manner of the cante fable, most familiar to modern readers from the French story of Aucassin et Nicolete. My collection begins with a few specimens of such poems.
The purely lyrical poetry of ancient Ireland may be roughly divided into two sections—that of the professional bard attached to the court and person of a chief; and that of the unattached poet, whether monk or itinerant bard.
From the earliest times we know the names of many famous bards of ancient Ireland and Scotland. Their songs are interwoven with the history of the dynasties and the great houses of the country whose retainers they were, and whose joys and sorrows they shared and expressed. Thus they became the chroniclers of many historical events. Of the oldest bardic poetry very little has as yet been published, and less translated. But many fine examples of a later age will be found in Standish Hayes O'Grady's Catalogue of Irish Manuscripts in the British Museum, a book which
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