These beliefs were carefully fostered by the druids, priests and philosophers, whose part has been the same in Gaul, Ireland, and Britain. Their teaching was a cause of surprise and admiration to the Latins. "And you, druids," exclaims Lucan, "dwelling afar under the broad trees of the sacred groves, according to you, the departed visit not the silent Erebus, nor the dark realm of pallid Pluto; the same spirit animates a body in a different world. Death, if what you say is true, is but the middle of a long life. Happy the error of those that live under Arcturus; the worst of fears is to them unknown—the fear of death!"[6]
The inhabitants of Britain possessed, again in common with those of Gaul, a singular aptitude to understand and learn quickly. A short time after the Roman Conquest it becomes hard to distinguish Celtic from Roman workmanship among the objects discovered in tombs. Cæsar is astonished to see how his adversaries improve under his eyes. They were simple enough at first; now they understand and foresee, and baffle his military stratagems. To this intelligence and curiosity is due, with all its advantages and drawbacks, the faculty of assimilation possessed by this race, and manifested to the same extent by no other in Europe.
The Latin authors also admired another characteristic gift in the men of this race: a readiness of speech, an eloquence, a promptness of repartee that distinguished them from their Germanic neighbours. The people of Gaul, said Cato, have two passions: to fight well and talk cleverly (argute loqui).[7] This is memorable evidence, since it reveals to us a quality of a literary order: we can easily verify its truth, for we know now in what kind of compositions, and with what talent the men of Celtic blood exercised their gift of speech.
II.
That the Celtic tribes on both sides of the Channel closely resembled each other in manners, tastes, language, and turn of mind cannot be doubted. "Their language differs little," says Tacitus; "their buildings are almost similar,"[8] says Cæsar. The similitude of their literary genius is equally certain, for Cato's saying relates to continental Celts and can be checked by means of Irish poems and tales. Welsh stories of a later date afford us evidence fully as conclusive. If we change the epoch, the result will be the same; the main elements of the Celtic genius have undergone no modification; Armoricans, Britons, Welsh, Irish, and Scotch, are all inexhaustible tale-tellers, skilful in dialogue, prompt at repartee, and never to be taken unawares. Gerald de Barry, the Welshman, gives us a description of his countrymen in the twelfth century, which seems a paraphrase of what Cato had said of the Gaulish Celts fourteen hundred years before.[9]
Ireland has preserved for us the most ancient monuments of Celtic thought. Nothing has reached us of those "quantities of verses" that, according to Cæsar, the druids taught their pupils in Gaul, with the command that they should never be written.[10] Only too well was the injunction obeyed. Nothing, again, has been transmitted to us of the improvisations of the Gallic or British bards (βαρδοι), whose fame was known to, and mentioned by, the ancients. In Ireland, however, Celtic literature had a longer period of development. The country was not affected by the Roman Conquest; the barbarian invasions did not bring about the total ruin they caused in England and on the Continent. The clerks of Ireland in the seventh and eighth centuries committed to writing the ancient epic tales of their land. Notwithstanding the advent of Christianity, the pagan origins constantly reappear in these narratives, and we are thus taken back to the epoch when they were primarily composed, and even to the time when the events related are supposed to have occurred. That time is precisely the epoch of Cæsar and of the Christian era. Important works have, in our day, thrown a light on this literature[11]; but all is not yet accomplished, and it has been computed that the entire publication of the ancient Irish manuscripts would fill about a thousand octavo volumes. It cannot be said that the people who produced these works were men of scanty speech; and here again we recognise the immoderate love of tales and the insatiable curiosity that Cæsar had noticed in the Celts of the Continent.[12]
Most of those Irish stories are part of the epic cycle of Conchobar and Cuchulaïnn, and concern the wars of Ulster and Connaught. They are in prose, interspersed with verse. Long before being written, they existed in the shape of well-established texts, repeated word for word by men whose avocation it was to know and remember, and who spent their lives in exercising their memory. The corporation of the File, or seers, was divided into ten classes, from the Oblar, who knew only seven stories, to the Ollam, who knew three hundred and fifty.[13] Unlike the bards, the File never invented, they remembered; they were obliged to know, not any stories whatsoever, but certain particular tales; lists of them have been found, and not a few of the stories entered in these catalogues have come down to us.
If we look through the collections that have been made of them, we can see that the Celtic authors of that period are already remarkable for qualities that have since shone with extreme brilliancy among various nations belonging to the same race: the sense of form and beauty, the dramatic gift, fertility of invention.[14] This is all the more noticeable as the epoch was a barbarous one, and a multitude of passages recall the wild savageness of the people. We find in these legends as many scenes of slaughter and ferocious deeds as in the oldest Germanic poems: Provincia ferox, said Tacitus of Britain. The time is still distant when woman shall become a deity; the murder of a man is compensated by twenty-one head of cattle, and the murder of a woman by three head only.[15] The warlike valour of the heroes is carried as far as human nature and imagination allow; not even Roland or Ragnar Lodbrok die more heroically than Cuchulaïnn, who, mortally wounded, dies standing:
"He fixed his eye on this hostile group. Then he leaned himself against the high stone in the plain, and, by means of his belt, he fastened his body to the high stone. Neither sitting nor lying would he die; but he would die standing. Then his enemies gathered round him. They remained about him, not daring to approach; he seemed to be still alive."[16]
At the same time, things of beauty have their place in these tales. There are birds and flowers; women are described with loving admiration; their cheeks are purple "as the fox-glove," their locks wave in the light.
Above all, such a dramatic gift is displayed as to stand unparalleled in any European literature at its dawn.[17] Celtic poets excel in the art of giving a lifelike representation of deeds and events, of graduating their effects, and making their characters talk; they are matchless for speeches and quick repartees. Compositions have come down to us that are all cut out into dialogues, so that the narrative becomes a drama. In such tales