The Lay of Oisín in the Land of Youth

The Lay of Oisín in the Land of Youth#

It seems likely that the tale as told by the late 19th century and early twentieth century folklorists derives from renditions of Michael Coumin’s 18th century poem The lay of Oisín in the land of youth, though the legend is undoubtedly older.

Several out-of-copyright translations of the poem can be readily found via archive.org.

This first example is by Thomas Flannery, published in 1896. Flannery provides some historical context for the origins of the poem in his introduction:

The Irish poem given in the following pages is the composition of Micheál Coimín — anglicè ‘Comyn’ or ‘Cummin’ — a native of the County of Clare, who was born about the year 1688, at Kilcorcoran, near Miltown-Malbay, and died in 1760. The date of the poem may be given approximately as 1750.

It is called the Laoi Oisín partly because Oisín is the hero of the story, partly because he is represented also as the narrator — after the manner of many mediaeval and later poets who loved to grace their own compositions with the name of the ancient bard. But it does not pretend to be an ancient poem — it is just the language of one of the better educated Irish poets of Munster of the middle of the last century — however ancient the legend itself and the traditions it embodies. It is also known as Laoi ah Choimímg or ‘Comyn’s Lay’. For more than a hundred years it existed only in manuscript, copies of the story passed from hand to hand, and in this way and by oral transmission it gradually spread to the neighbouring counties of Kerry, Galway, Mayo — the western counties generally of Ireland, and even to the west of Scotland.

In introducing the poem, Flannery provides a summary of the story it relates, a tale we are now familiar with:

The story in outline is this. Whilst Finn and his Fenians are one day hunting around Loch Lein — otherwise the Lakes of Killarney — a lady of dazzling beauty suddenly appears, mounted on a white steed, coming apparently up from the sea. She meets Finn and tells him she has come from the Land of Youth, has heard of the fame and doughty deeds of his son Oisín, she loves him, and wants him to go with her to Tír na nÓg. She describes the charms and joys of that lovely land, and Oisín gladly consents to go away with her. They go away and at length reach Tir na nÓg where they are wedded. After many years of blissful life, Oisín longs to see Erin once more — longs to see his father Finn and gallant friends of former days. With much weeping and pleading Oisín’s wife at length consents to let him go, pledging him not to dismount from his horse, or he will never be able to return. Oisín accepts the pledge, returns to Erin, is amazed to find he has been away for three hundred years, is grieved beyond measure to learn that Finn and the Fenians are no more, and resolves to go back at once ; but in his generous attempt to help some workmen out of a difficulty, wishing at the same time perhaps to show his great strength, by a most melancholy accident he is thrown off his horse, he suddenly becomes a blind, old man — a mortal once more, fated never to return to the Land of Youth.

Flannery also reviews an additional scene included in the poem that is essentially extraneous to the main narrative:

This is the story. An episode is thrown in of a giant and a captive príncess, who is gallantly rescued by Oisín. Whilst the episode is somewhat tedious, it is of a character frequent enough in the mediaeval tales of Europe, and it has two or three points in it of special interest.

Flannery’s translation of the poem is presented in two ways: in a metrical style that attempted to recapture something of the rhyming nature of the original language version, and in a more literal form.

The present edition contains the whole poem lopped of some excrescences and lightened of some interpolations ; it gives a literal translation for the sake of students and a new metrical version in the style and manner of the original — which the editor believes has not been attempted before. The divisions have been made and headings adopted to make the scope of the poem more clear, and they will it m hoped also make the poem easier to learn and to remember. For any who may think the word for word prose version not literal enough, there is a prettv full vocabulary of the text of the poem at the end of the book, all nicely arranged in alphabetical order, from which they can make a translation as literal — and as bald — as they like.

As well as providing his own translations, Flannery also reviewed several other versions.

For example, he remarked on the first popular translation of the poem:

But not till 1859 was this fine poem printed — so difficult was it to get anything published in the Irish language. In tnat year it was at length brought before the public by Mr. Brian O’Looney who edited it — with an interesting introduction — for the Irish Ossianic Society, and on the version given by him in the fourth volume of that Society’s Transactions, the present edition is mainly based. But during the hundred years of its unprinted existence, the poem could not fail to be altered, added to, and corrupted. Some of the versions current in the neighbouring counties of Galway and Mayo for instance differ considerably from the first printed edition — some are much longer, some shorter, some worse, a few in some respects better.

Flannery also reviewed other translations that had appeared since the original publication of the poem (which is to say, between 1859 and 1896):

Since 1859 its attractiveness has made it a frequent theme for writers. Mr. O’Looney only gave a literal prose translation of his version ; it was followed in 1860 (or ‘61) by a metrical translation by ‘A Member of the Ossianic Society’ which was published by the late John O’Daly — but it was a most unworthy representation of the Irish poem. Next came Mr. T. D. Sullivan’s very pleasing English poetical version — but it was more a paraphrase than a translation, did not give the whole story, and did not attempt the style or metre of the original. Mr. David Comyn — a namesake, and I believe a scion of the family of the original author, republished the Irish poem in 1880 for the Gaelic Union — keeping too closely however both to Mr. O’Looney’s text and to his translation. But Mr. Comyn only gave a literal translation of the poem, accompanying it certainly with a very useful vocabulary. Now to translate a poem merely word for word, is I hold nothing less than desecration — it is treating it as a mere heap of words, or as a column of a dictionary — ignoring its chief value, namely, as a piece of literature. In his “Old Celtic Romances,” Dr. Joyce gives a very readable but very brief prose summary of the story in English, and recently Mr. W. B. Yeats has published a poem called “The Wanderings of Ossian,” but how far this is a translation of Tír na nÓg , I cannot say, as I have not seen it.

Reading through the “unworthy” metrical translation by the member of the Ossianic Society, it’s not hard to see why Flannery didn’t think much of it!

The “Original” Translation#

As Flannery noted, the translation that appeared to get things going appeared in volume IV (1856) of the Transactions of the Ossianic Society, published in 1859. It was prefaced with the following caveat:

The Council of the Ossianic Society do not hold themselves responsible for the authenticity or antiquity of the following poem ; but print it as an interesting specimen of the most recent of the Fenian Stories. In the tract which follows it will be found one of the most ancient of the records that describe the exploits of Finn Mac Gumhaill.

The translator, Brian O’Looney, provided the following introduction to his translation:

I really need to get to grips with reading — and writing — the Gaelic characters!

The preface material to O’Looney’s translation also includes an alternative submitted legend that accounts for Oisín’s longevity:

David Comyn’s Literal Translation, 1880#

In the preface to his literal translation (“the first attempt made to suit the work to the use of schools”), Comyn observes that the poem forms ‘the prologue as it were to all the poems of the “ Ossianic” school’ by providing an account of how Oisin was able to bridge the gap between Fionn’s time and St Patrick’s.

Before providing the translation, Comyn briefly summarises the key narrative points, along with the corresponding verse number:

TO DO David Comyn’s version also includes notes at pp. 90-99 that may contain some useful nuggets.

AN ASIDE - THOMAS THE RHYMER