ALL THE SAINTS OF IRELAND

  • Early Medieval Ireland and Christianity

     

    Below is a useful introduction to the history of Christianity in Early Medieval Ireland, even if I don’t agree that Saint Brigid may never have existed!

    Early Medieval Ireland and Christianity

    Colin A. Ireland

    The history of early medieval Ireland can be understood only against the background of the conversion to Christianity that introduced ideas that changed the culture and society of pagan Ireland forever. Christian doctrine and theology shaped social behavior and altered cultural practice, yet much was kept that did not contravene Christian conscience as affirmed by some early Irish law tracts. Christianity, as the “religion of the book,” required literacy so that believers could read the Bible and perform the Latin liturgy. With literacy in Latin came literacy in the vernacular, that is, in Irish (Gaelic). The early Irish took readily to these intellectual pursuits, and Ireland produced the earliest, and arguably the richest, vernacular literature in medieval Western Europe.

    The richness and variety of literary texts in the early Irish language has encouraged many to see this literature as a repository of pre-Christian lore and belief. But most Celticists accept that it is impossible to recreate accurately the pagan beliefs and practices of pre-Christian Ireland based on archaeology and the surviving literature. Most medieval texts that purport to represent pre-Christian Irish characters and events were compiled several centuries after the introduction of Christianity, and vast cultural and societal changes separate them from the times they pretend to portray. Many texts reveal direct influence from identifiable Christian authors and their writings. Critics now accept that a tenth-century Irish saga from the Ulster Cycle, for example, tells us as much about Ireland in the time of its tenth-century redactor as it does about the pre-Christian Irish characters depicted in the saga.

    THE EARLY SAINTS

    The first firm date in Irish history does not come from Irish sources but rather from the south of France in a chronicle written by Prosper of Aquitaine (c. 390–463). Prosper’s Chronicle states that in 431 a certain Palladius was ordained bishop by Pope Celestine and sent “to the Irish believing in Christ.” Prosper made it clear that Saint Patrick was not the first Christian missionary to Ireland. In addition to Palladius, there are traditions of Christian saints and their communities in Ireland, particularly in the south and east, before Patrick’s arrival. These pre-Patrician Christians may have developed the earliest Irish writing system, known as ogham.

    Saint Patrick may have flourished any time during the period around 432, when Irish chronicles say that he arrived in Ireland, to around 492, when they claim that he died. These dates represent a period that critics accept as being too long to accurately reflect Patrick’s career in Ireland. Most scholars state simply that Patrick flourished sometime in the mid to late fifth century. Although we do not have firm dates for Saint Patrick, we are fortunate that writings by him do survive—his Confession and the Letter to (the soldiers of) Coroticus. Both reveal much about the character and personality of the man even if they tell us little about Ireland in his time.

    By the late seventh century the richness of early Irish literature becomes evident in several saints’ lives written in Latin. Irish hagiography (from the Greek words meaning “writings about holy persons”) includes early texts about the saints Patrick, Brigit, and Columba. Besides their emphasis on religious topics, we see their propaganda value as they attempt to promote certain regions and dynastic families who supported an individual saint’s cult.

    Two surviving seventh-century lives of Saint Patrick reveal much about how Irish clerics of that period viewed Patrick, but they do not add much reliable information about Patrick himself or about Ireland in his lifetime. TĂ­rechĂĄn of Armagh compiled around 670 a collection of anecdotes about Saint Patrick (Collectanea de Sancto Patricio). A near contemporary of TĂ­rechĂĄn, MuirchĂș maccu MachthĂ©ni, wrote a life of Saint Patrick around 690 (Vita Sancti Patricii) that is a more finished work of hagiography than TĂ­rechĂĄn’s. MuirchĂș’s work relates, among other episodes, the conversion of King LĂłeguire at Tara and Patrick’s contests with LĂłeguire’s druids. Both of these seventh-century hagiographical works reveal a northern bias in their acceptance of the primacy of the see of Armagh and Patrick as patron saint of all Ireland, and both stress the role of the UĂ­ NĂ©ill (O’Neill) dynastic family.

    While the hagiography about Patrick tended to emphasize sites and families in central and northern Ireland, Leinster in the east also had its special saint. Cogitosus wrote around 680 a life of the female saint Brigit (Vita Sanctae Brigitae). Brigit’s cult is centered in Kildare, a monastic city that became famous for its scriptorium and a center from which many Irish scholars departed for the continental schools in the Carolingian age. There is no firm historical evidence for Brigit, and she may be the one case of an early pagan Celtic goddess being transformed into an Irish saint. The struggle between the UĂ­ NĂ©ill dynasts of the north and the ruling families of Leinster are reflected in the competition between Armagh and Kildare, with Armagh eventually gaining supremacy throughout Ireland but allowing Kildare and its saint Brigit to maintain their importance within Leinster.

    The first firmly historical Irish saint was Saint Columba (Columba the Elder, c. 521–597; Colum Cille in Irish). AdomnĂĄn (+704), abbot of Iona, wrote a life of Columba (Vita Sancti Columbae) sometime in the last decade of the seventh century. The life of Columba follows typical hagiographical motifs rather than offering historical details and describes prophetic revelations and miracles. Columba, like Patrick, was a missionary. As the first Irish pilgrim (peregrinus) saint, Columba left Ireland sometime around 563 and founded the monastery of Iona on a small island off the coast of Scotland. Tradition relates that Columba went into exile as a penance for his part in the dynastic wars of his UĂ­ NĂ©ill relatives.

    Columba’s self-imposed exile from Ireland reveals much about the monastic ideals of his period. It was considered a penance to leave one’s homeland to reside among foreign people. But to do so for the love of God, or for Christ’s sake, was a powerful act of piety. We see this ideal in Patrick’s writings and actions. Patrick, who was originally from Britain, was captured by Irish raiders and taken in his teens as a slave to live in Ireland. When he escaped after years of servitude, his religious faith drove him to return to Ireland to convert to Christianity those who had enslaved him rather than return to his home in Britain. Deorad DĂ© (“exile of God”) was the Irish term for a person willing to undergo self-imposed pilgrimage (peregrinatio) or exile as an act of piety.

    Many examples of Irish pilgrim exiles exist. One of the most famous is Columbanus (Columba the Younger, c. 543–615)—not to be confused with Columba the Elder—who spent roughly twenty-five years on the continent as a pilgrim and founded several monasteries in France and one in Italy. Columbanus was educated at the monastery of Bangor, Co. Down, in Northern Ireland. He composed Latin texts that include sermons, a penitential, a monastic rule, and letters, some of which were addressed to popes. His writings reveal the depth of the education that he received at the monastic school in Ireland. He left Bangor sometime around 590, at about the age of fifty, and traveled with twelve companions on the continent, particularly in what is now France, where he founded monasteries at Annegray, Luxeuil, and Fontaines. But Columbanus was eager to move on and visit Rome. Although he never fulfilled his wish, he succeeded in founding the most important of his monasteries at Bobbio in Italy. Columbanus died around 615.

    This pattern of pilgrim saints founding monasteries on the continent was repeated frequently in subsequent centuries. One of Columbanus’s Irish disciples, a monk named Gall, was too ill to travel to Italy with Columbanus and stayed back, eventually founding a monastery at Saint Gallen in Switzerland. Gall died around 630. Another Irish missionary, Kilian, departed Ireland more than a century later with a group of companions and founded a monastery at WĂŒrzburg in Germany. Kilian is one of the few Irish pilgrim saints to have been martyred. He was assassinated, along with two companions, as a result of political intrigue after a trip to Rome around 687/9.

    MONASTERIES

    The ideals of Irish monastic life can be seen in the missionary work and training activities of Irish monasteries. During the early decades of the seventh century many Anglo-Saxon nobles were educated at Irish monasteries in northern Britain, specifically at Iona. When these Irish-educated English nobles returned to England, they invited Irish missionaries into their pagan kingdoms to evangelize. The Anglo-Saxon king Oswald invited the Irish bishop Aidan from Iona into his kingdom, and Aidan founded the monastery at Lindisfarne on the coast of Northumberland around 635. The English historian Bede (+735) shows that Irish missionary activity in northern England was more successful at converting the pagan English than that started by Rome in 597 from Canterbury in the south of England.

    Monastic schools in Ireland became centers of excellence for peoples from all over Europe, as can be seen by tracing the English who came to study and train as missionaries in them. The historian Bede and an earlier English contemporary Aldhelm (+709) report that sizeable contingents of English students trained as missionaries in Ireland, specifically at Rath Melsigi, Co. Carlow, in Leinster. These English monks trained in Ireland in order to convert their pagan Germanic relatives on the continent. Several of them had successful ecclesiastical careers after their Irish training.

    Bede and Aldhelm, as clerics, emphasized religious training, but both confirm that secular subjects were also taught at Irish monastic schools. Study of the scriptures was paramount, but they both make it clear that students often traveled from site to site seeking out teachers who had specialized knowledge in secular subjects as well. Bede said that the Irish willingly welcomed the English students, gave them food, and provided them with books and instruction, without seeking any payment (Book iii, chapter 27).

    Much early Irish literature is associated with monasteries, which shows that many of the learned persons of Ireland, whether secular or religious, received their educations at monastic schools. This means as well that the literature associated with these monasteries is preserved in both Latin and Irish.

    The monastery of Iona, founded by Columba, encouraged literary production in both languages. For example, one of its more famous abbots, Adomnán (679–704), mentioned already as the author of the Latin “Life of Columba,” wrote a description in Latin of the significant sites in the Holy Land called “On the Holy Places” (De Locis Sanctis). Abbot Adomnán also wrote and promulgated a law (Cáin Adomnáin, 697), written in Irish, which was intended to protect women, children, and clerics from the ravages of warfare.

    Columba himself, the founder of Iona, has a Latin hymn, “Exalted Creator” (Altus Prosator), attributed to him, although not all critics accept the attribution. Three poems in praise of Columba rank among the oldest complete poems in the Irish language. One of them, the “Eulogy for Columba” (Amra Choluim Chille), has been dated on linguistic grounds to around 600, which coincides well with Columba’s death date of 597. According to tradition, Dallán Forgaill, a professional poet, composed it in order to eulogize Columba on his death. This poem is important for several reasons besides its great age. It reflects an ancient tradition of praising secular rulers, but it is unusual for praising instead a religious leader. It demonstrates how the learning of the monasteries blended native customs with Christian teachings. For example, it complies with the norms of secular eulogy by noting Columba’s aristocratic background and by providing genealogical information that can be corroborated in other sources. Columba is called a great champion, but rather than battling against his enemies and sharing largesse among his subjects, Columba excels in self-denial and Christian learning. His praiseworthy qualities are not those of a secular ruler, but of an ascetic, scholarly cleric.

    The monastery at Bangor also produced learned religious texts in Latin beside a vibrant vernacular literature of Irish tales. We have already noted that Columbanus, the Bangor-educated missionary to the continent, corresponded with popes and wrote sermons, a penitential, and a monastic rule in Latin. In the late seventh century a collection of beautiful religious poems and hymns in Latin, the “Antiphonary of Bangor,” was compiled there.

    Important vernacular literature also came from Bangor. “The Voyage of Bran” (Immram Brain), perhaps the earliest example of the Irish “otherworld voyage,” was written at Bangor. It tells of Bran’s voyage across the Western Ocean and recounts the wonders that he encountered in a sinless otherworld. It employs a motif whereby characters in a pre-Patrician context prophesy the coming of Christianity and the salvation of the Irish. Tales in Irish about the early cultural hero Mongán mac Fiachnai also originated at Bangor. The tales about Mongán portray the Irish Sea as a highway between Ireland and Britain and relate episodes that involve battles against English kingdoms.

    The mixture of Latin and Irish writings, like the texts produced at monasteries, is well illustrated by early Irish law tracts. Most, but not all, law texts produced for the church tend to be written in Latin. The “Irish Collection of Canons” (Collectio canonum hibernensis) of about 725, the primary example of Irish church law, is based on biblical and patristic sources. Penitentials and monastic rules represent the Irish tendency, evident in the vernacular law tracts, to codify and schematize social organization and behavior. A group of ecclesiastical laws in the vernacular is represented by cána (sg. cáin), of which Cáin Adomnáin (Adomnán’s Law, 697) has already been cited. Other examples include Cáin Phátraic (Patrick’s Law, 737) and Cáin Domnaig (Law of Sunday).

    The majority of secular law tracts, written in Irish, were redacted between around 650 and around 750. A collection of vernacular law tracts called the Senchas Már (the “Great Tradition”) appears to have been compiled in the northern midlands. A separate group of “poetico-legal” texts called the “Nemed school” probably originated in Munster. These law tracts reveal a great deal about the hierarchical nature of early Irish society and social custom. They discuss social rank and status, kinship structure, distribution of inheritance, rights to property, making and enforcing of contracts, the grading of professions, and so on. It is significant that the law tracts tended to be compiled during the same period that saw the spread of ecclesiastical literature.

    KINGSHIP

    The study of early Irish politics is made difficult by the proliferation of names of petty kings, none of whom ever clearly rose to prominence. The genealogies and regional king-lists preserved from early Irish sources are particularly rich when compared to other parts of medieval Western Europe. Part of the problem can be understood by recognizing that the Irish word translated as “king” (rí) does not designate a centralized, powerful monarch, as we might encounter on the continent, for example. Instead, it is used to describe the leader of any small local group based on blood kinship (tuath). These groups existed in varying hierarchical relationships to one another so that a local “king” might be a vassal to a stronger “king” in the next valley, and that neighboring “king” would in turn be subject to a regional “king” who might control, at least nominally, an entire province.

    The politico-geographical divisions of Ireland have a long history, whether the divide is between north (Leth Cuinn) and south (Leth Moga) or into the provinces that exist to this day: Ulster, Connacht, Munster, and Leinster. The notion that one king could rule all of Ireland—usually called the “High King of Tara”—had developed by our period, although it remained an ideal rather than a reality. Nevertheless, this ideal implies the incipient concept of an Irish nation encompassing the entire island.

    The idealized concept of kingship was circumscribed by certain inherited proscriptions. For example, a king must not be physically blemished, as this implied an imperfection in his reign. The sacral character of kingship is shown by the idea that a just, righteous king would have a peaceful, prosperous reign; his “king’s truth” (fír flathemon) guaranteed the land’s fertility. Sovereignty, as an abstract concept, was portrayed as a female so that a king, when he assumed the kingship, symbolically married his kingdom.

    Kingship was not based on a strict father to son (or closest male relative) succession, but rather eligibility for kingship was based on blood kinship extending over several generations. This meant that grandsons and great-grandsons might be eligible to contend for the kingship if they could muster support from relatives and political allies. This system appears on the surface to provide a democratic method of selecting the most qualified and popular candidate, but it often led to social strife and political division.

    In the northern half of Ireland the Uí Néill dynasts dominated the political scene, but the Uí Néill must be understood as interrelated families who exerted the greatest political control. The Uí Néill themselves divided into northern and southern divisions, and each of these subdivided again into various branches. Each branch of the Uí Néill claimed descent from Niall of the Nine Hostages (Niall Noígiallach), a quasi-historical fifth-century character. The various branches of the Uí Néill, north and south, alternated as they supplied the high king of Tara, without any branch ever clearly predominating. Other dynastic families from other parts of Ireland frequently occupied the high kingship during this time as well.

    The hierarchical nature of early Irish society is well illustrated in this concept of descent through prominent families. It can be seen functioning in Irish monasteries as well. For example, nearly all of the abbots at Iona from Columba (+597) to AdomnĂĄn (+709) were descended from Columba’s own family, the CenĂ©l Conaill branch of the northern UĂ­ NĂ©ill.

    In Munster a high kingship was centered on the ecclesiastical site at Cashel, Co. Tipperary. The ruling dynastic families in Munster were known as the Éoganachta, descended from Corc of Cashel, a contemporary of Niall of the Nine Hostages. The Éoganachta of Munster, like the UĂ­ NĂ©ill, divided into two major divisions, this time between east and west, and these two major branches had their own subdivisions. Connacht takes its name from the Connachta, a tribal group descended from Conn the Hundred-Battler (Conn CĂ©tchathach), who is also an ancestor of Niall of the Nine Hostages. The UĂ­ BriĂșin produced the major dynastic families of Connacht. In Leinster by the early historical period the UĂ­ Cheinnselaig and UĂ­ DĂșnlainge were the families that dominated the region, but the major Leinster dynastic families had already passed their peak of influence.

    THE VIKING PERIODS

    In 795 the first recorded Norse raid took place on Ireland’s north coast. This Irish raid came soon after the first attacks in England. Iona was also attacked in 795 and again in 802. In 806 sixty-eight persons were killed at Iona by raiders. In 807 a new monastic community was begun at Kells, Co. Meath, and was completed by 814, by which time much of the administration had been moved from Iona to Kells. It was during this period or immediately before it that the magnificent illuminated manuscript, the Book of Kells, was completed.

    There are two great periods of Norse activity in Ireland. The first centers on the first four decades of the ninth century. During this period the incursion consisted primarily of hit-and-run raids conducted by fast-moving, seagoing Vikings. In the second half of the ninth century the Norse began establishing permanent settlements that eventually became important commercial and trade centers. These include modern port cities such as Dublin, Wicklow, Wexford, Waterford, Cork, and Limerick. Permanent Norse settlements were more prominent in the southern half of Ireland, in part because of the success of the northern Uí Néill at resisting their incursions.

    These Norse cities came to represent small kingdoms within Ireland that traded with, fought against, and in turn allied themselves with Irish kingdoms. By the early decades of the tenth century Irish kingdoms were often as not successful in their struggles against the Norse kingdoms. The Norse kingdoms tended to remain independent of each other and never presented a unified force against the Irish. The Norse in Ireland never controlled large areas the way they did in England, where vast territories came under the Danelaw. In France the entire province of Normandy memorializes the Norse kingdom that was established there and which eventually came to exert power over much of western Europe, including Ireland.

    The Battle of Clontarf (1014) has often been presented as the defeat of the Viking invaders by the Irish king Brian Boru. But, in fact, the battle represents the successful dynastic wars of the Uí Briain/O’Brien descendants of Brian Boru of Munster in their rise to supremacy and reveals Norse and Irish kingdoms allied with and against each other. The Uí Briain were allied with the Norse of Limerick against the Norse of Dublin and their Irish allies from Leinster. While Brian Boru’s victory (he was killed in the battle) may have marked the gradual demise of the Norse kingdom in Dublin, its real significance was the rise of the Uí Briain dynasts of Munster. With the decline of the Norse kingdoms we can recognize the outlines of modern Ireland emerging as the trading cities founded by the Norse continued to thrive.

    Bibliography

    Anderson, Alan Orr, and Marjorie Ogilvie Anderson, eds. and trans. Adomnán’s Life of Columba. 1961. Revised, 1991.
    Bieler, Ludwig, ed. The Patrician Texts in the Book of Armagh. 1979.
    Byrne, Francis John. Irish Kings and High-Kings. 1973. Revised, 2001.
    Charles-Edwards, T. M. Early Christian Ireland. 2000.
    Clancy, Thomas Owen, and Gilbert MĂĄrkus, OP. Iona: The Earliest Poetry of a Celtic Monastery. 1995.
    Colgrave, Bertram, and R. A. B. Mynors, eds. Bede’s Ecclesiastical History of the English People. 1969.
    De Paor, Liam. Saint Patrick’s World: The Christian Culture of Ireland’s Apostolic Age. 1993. Reprint, 1996.
    Edwards, Nancy. Archaeology of Early Medieval Ireland. 1990.
    Flower, Robin. The Irish Tradition. 1947. Reprint, 1994.
    Hughes, Kathleen. The Church in Early Irish Society. 1966.
    Hughes, Kathleen. Early Christian Ireland: Introduction to the Sources. 1972.
    Kelly, Fergus. A Guide to Early Irish Law. 1988.
    Kenney, James F. The Sources for the Early History of Ireland: Ecclesiastical, An Introduction and Guide. 1929. Reprinted, 1993.
    Lapidge, Michael, and Richard Sharpe. A Bibliography of Celtic-Latin Literature, 400–1200. 1985.
    Ó Cróinín, Dáibhí. Early Medieval Ireland, 400–1200. 1995.
    O’Loughlin, Thomas. Celtic Theology: Humanity, World, and God in Early Irish Writing. 2000.
    Richter, Michael. Medieval Ireland: The Enduring Tradition. 1988.
    Ryan, John. Irish Monasticism: Origins and Early Development. 1931. 2d edition, 1972. Reprint, 1992.
    Sharpe, Richard, trans. Life of St. Columba. 1995.
    Sherley-Price, Leo, trans. Ecclesiastical History of the English People. 1955. Revised, 1990.
    Smyth, Alfred P. Scandinavian York and Dublin: The History and Archaeology of Two Related Viking Kingdoms. 1975–1979.
    Walker, G. S. M., ed. Sancti Columbani Opera. 1957. Reprinted, 1970.
    Williams, J. E. Caerwyn, and Patrick K. Ford. The Irish Literary Tradition. 1992.

  • Manuscript Writing and Illumination

    Below is a very useful introduction to the writing and illumination of manuscripts within the Irish Church, which I originally found online here.
    Manuscript Writing and Illumination

    Michael Ryan
    The promotion of Latin literacy was a high priority for the young Irish church, and later tradition frequently describes Saint Patrick leaving the necessary books in churches that he had founded. Saint Columba (Colmcille; died at Iona in 597 C.E.) was said to have been involved in a dispute in his youth about copying a new version of the psalter, and to have been copying a manuscript on his last day on earth. In later times some books were regarded as precious relics and enshrined in metal reliquaries—a practice that may have originated in an Irish reflex of the Roman tradition of keeping the book for papal masses in a sealed casket.
    Scholars have disputed the locations where important Irish manuscripts of the early medieval period were written. In some cases it is impossible to establish the provenance of a manuscript, so the term insular is often used in preference to more precise geographical ascriptions. The earliest extended text to survive from Ireland is the bundle of wax tablets from Springmount Bog, Co. Antrim, on which a student practiced the psalms in a script that owes much to late Roman cursive writing but is already distinctively Irish. The first almost complete manuscript that has come down to us is the Cathach of Saint Columba, a psalter, or book of the psalms, written on vellum in an Irish half-uncial script around the year 600 C.E. It was preserved until modern times by the O’Donnells (the saint’s kin). The Cathach already shows the principal stylistic traits of later Irish manuscripts. Psalms begin with an enlarged capital, often embellished, followed by letters of smaller size that diminish in height until they merge with the body of the text—the effect is called diminuendo. The ornament is very simple: Letters are enriched by spiral scrolls and simple trumpet devices in the La TĂšne tradition, and Christian symbols (a dolphin or fish and the cross) appear. (The La TĂšne style is an abstract art form based on stylized vegetal motifs, spirals, and curvilinear scrolls associated with the Iron Age Celtic peoples of mainland Europe, Ireland, and Britain.) A fragmentary gospel book of about the same date in Trinity College Library, Codex Usserianus Primus, has a singe leaf devoted entirely to a painted cross of eastern style with an abbreviated Chi-Rho (monogram of Christ) and alpha and omega. Nothing further is known of Irish manuscript production until the later seventh century, by which time Irish missions in north Britain and on the continent had created an entirely new climate. Influences from Anglo-Saxon England, Gaul, and probably Italy gave rise to a new eclectic ornamental style in monastic scriptoria.
    The first manifestation of the mature insular style is the Book of Durrow, a luxury codex of the New Testament with prefatory matter and canon tables, which was preserved at Durrow, Co. Offaly, until it was given to Trinity College in the seventeenth century. With its remarkable carpet pages devoted entirely to ornament and to the cross and its highly original depiction of the symbols of the evangelists (Matthew, Mark, Luke, and John, the authors of the Gospels), it is a splendid hybrid. The spiral and trumpet scrolls of the La TĂšne tradition dominate its decoration—one carpet page is a remarkable evocation of the spirit of the bronzesmith and enameller. The initial letters and diminuendo of the Cathach have been recreated here with great virtuosity and magnificence. Interlace, varied in rhythm and color, makes its appearance for the first time in insular art. A page devoted to animal art of Germanic inspiration has led some to attribute the manuscript to Northumbria or Iona. The careful observer will see even on pages that are ostensibly wholly “Celtic” stylized animal heads, but expressed in the idiom of spirals and trumpets. Gospels are prefaced by whole-page representations of the evangelists’ symbols,and the genealogy of Christ in Matthew’s gospel is introduced by a finely decorated Chi-Rho.
    The Anglo-Saxon –style beasts have been compared to metalwork from the Sutton Hoo ship burial, suggesting an early seventh-century date for Durrow, but a late seventh-century date is more plausible. The arthistorical arguments can tell us nothing about provenance, for the style could well have been present in the Irish midlands in the seventh century. The Book of Durrow is associated with Columba, and it is clearly related to the tradition of the later Book of Kells. The style could conceivably have been practiced in Durrow, itself a Columban monastery. Probably, though, it was produced in Iona and belonged to a tradition that was intimately connected, as the evangelists’ symbols show, with the emergence of very similar beast symbols on Pictish carved stones, and in contact with both the Irish and Anglo-Saxon worlds.
    Two manuscripts now in Durham and probably originally in the monastery of Lindisfarne (founded by Aidan of Iona in the 630s) belong to the mixed traditions of Northumbrian Christianity, which owed much to Irish ecclesiastics. One of these shows the development of a more fluid animal style that would be greatly elaborated in the eighth century; the other has the imprint of a now lost crucifixion scene in which Christ’s body is enveloped in a tightly wound garment. This is the earliest evidence that painted scenes were part of the insular repertoire.
    The Lindisfarne Gospels, associated with the cult of Saint Cuthbert, are remarkable. The book may have been created for the translation of Cuthbert’s relics in 698 C.E. to Lindisfarne. It is the greatest and most elaborate of the earliest insular gospel books. Arthistorically, a date of about 700 C.E. for the manuscript is plausible. Its animal ornament with tightly wound, fabulous, but entirely believable interlaced beasts, its elegantly caricatured birds, a remarkable cross-carpet page, stunning zoomorphized spiral scrollwork, and beautiful script make the book a tour de force. Symbolism of beasts and birds is prominent, but its evangelist portraits, bearing the unmistakable impress of the Mediterranean culture of the monasteries of Monkwear-mouth and Jarrow, place this manuscript at the heart of the Northumbrian Renaissance. Nevertheless, the style of ornament is uncannily close to that of the Tara Brooch and Donore Hoard—both from eastern Ireland—and of the Hunterston Brooch from Ayrshire in Scotland (almost certainly of Irish manufacture). These seem to locate the origin of its decoration partly in the art of the metalworkers patronized by Irish potentates. The legacy of Lindisfarne is apparent in the greatly inferior Lichfield Gospels and in the persistence of elements of the La TĂšne style in later Anglo-Saxon manuscripts.
    Irish and Anglo-Saxon manuscript styles diverged during the eighth century. The sample of Irish survivors is very small, and only a few “pocket” gospel books are known. These have a smaller, often cursive script, simplified decoration of capitals, and charming if rather naĂŻve evangelist portraits and symbols. Good examples are the Book of Mulling and the Book of Dimma in Trinity College and part of the Stowe Missal in the Royal Irish Academy—the latter almost certainly dates from after 800 C.E.
    Opinion is sharply divided on the date and origin of the famous Book of Kells. The current consensus is that it was created on the island of Iona toward the end of the eighth century. The book was probably brought to Kells, Co. Meath, a refuge of Columban monks from the Viking onslaught, in the tenth century C.E. It was at Kells in 1007 C.E. when it was stolen from the church and later found with the ornaments torn off the cover. The Annals of Ulster, recording both the theft and the recovery in that year, call it “the chief relic of the western world.” It was given to Trinity College in the seventeenth century. Though 340 folios survive, the book is incomplete. Kells has highly decorated canon tables, carpet pages, evangelist portraits and symbols, and figured scenes (the Temptation, the Virgin and Child, the Arrest of Christ)—all the work of a number of artists who employed with Ă©lan interlace, animal interlace, and beast ornament, especially of felines (lions?), birds, and serpents. There are vignettes in minor initials and interlinear paintings—an eagle seizing a fish, a warrior, chickens, and butterflies—some of which reflect on the adjacent text.
    Christological symbolism is everywhere. A particularly important page is devoted to the Chi-Rho that introduces the genealogy of Christ. This is a remarkable composition based on La TĂšne spirals and trumpets, combined with tiny illustrations of cats, mice, and butterflies, and other extraordinary displays of fine, almost microscopic decoration. A fragmentary manuscript in Turin may have approached Kells in ambition, and another in the Library of Sankt Gallen shared the Kells scriptorium’s interest in figured scenes, but neither approaches Kells in virtuosity and ornamental skill.
    In the ninth century a gospel book decorated with animal ornament, evangelist portraits, and fine geometric ornament was written by MacRegol, abbot of Birr (d. 822). It is preserved in the Bodleian Library. A much more elegant product is the Book of Armagh, created by the scribe Ferdomnach for the Abbot Torbach early in the ninth century. It contains the four gospels, documents relating to Saint Patrick, and a life of Saint Martin of Tours. Its elegant script and evangelist symbols are in black ink.
    The high style of manuscript production was dealt a fatal blow by the Viking wars of the ninth and tenth centuries, and later books do not approach in quality and ambition the work of the early period.
    Bibliography
    Alexander, J. J. G. Insular Illuminated Manuscripts, 6th to 9th Century. 1978.
    Fox, P., ed. The Book of Kells Ms 58 Trinity College Library Dublin. 1990.
    Henry, F. Irish Art in the Early Christian Period to AD 800. 1965.
    Henry, F. Irish Art during the Viking Invasions, 800–1020 AD. 1967.
    Meehan, B. The Book of Kells. 1994.
    Meehan, B. The Book of Durrow, a Medieval Masterpiece at Trinity College, Dublin. 1996.
    O’Mahoney, F., ed. The Book of Kells: Proceedings of a Conference at Trinity College, Dublin, 6–9 September, 1992. 1994.
  • Early and Medieval Irish Literature

    This essay by Barbara Hillers introduces Irish literature in the early and later medieval period.
    Barbara Hillers
    Early Irish literature stands out for its richness and excellence, encompassing not only a wide range of religious and secular poetry but also—uniquely in early medieval Europe—a flourishing prose literature. Its range and breadth reveals a vibrant vernacular culture, unafraid of either its native roots or of the Latin Christian culture of the Continent.
    Pre-modern literature in Irish is divided into periods on the basis of linguistic criteria: Old Irish (600–900), Middle Irish (900–1200), and Early Modern (or “Classical”) Irish (1200–1650). The transition from the Old Irish to the Middle Irish period, generally associated with the upheavals in the aftermath of the Viking incursions, was, in literary terms, less abrupt than the transition from Middle Irish to Early Modern Irish in the wake of the Anglo-Norman invasion.
    THE EARLY CENTURIES
    Literacy came to Ireland through contact with the Romano-Christian world. The practice of Christianity brought with it a knowledge of Latin; however, Irish played a significant role as a literary language in the church from an early date. The monks glossing Priscian’s Latin grammar in Irish used a technical vocabulary suited to describe both Latin and Irish grammar, and the same literate bilingualism informs the Old Irish primer Auraicept na n-Éces. Along with the clergy’s adoption of the vernacular went other aspects of traditional culture. While it is impossible to reconstruct the real nature of the encounter between missionary Christianity and native pagan culture, it is significant that in later tradition it is often portrayed as a conciliatory compromise. According to the preface of the native law code Senchas MĂĄr, Saint Patrick endorses the native laws, as long as they did not conflict with church law. Such anecdotes express the need that medieval scholars felt to legitimize elements of native culture, to baptize, as it were, their pre-Christian gods and heroes. Modern critics have been particularly fascinated by the native culture with its roots in a pre-Christian Celtic past. However, the traditional view of the “secular” parts of Irish literature—especially saga and law—as representing pagan survivals has largely been replaced by a new scholarly consensus that regards the entire literary production as emanating directly or indirectly from the monasteries.
    PROSE
    Ireland has the earliest developed prose tradition in medieval Europe. The preference for prose as a vehicle for narrative was such that when the verse epics of Virgil, Lucan, and Statius were translated into Irish, they were rendered into prose rather than verse. Early Irish prose covers a number of genres, including hagiography and homily, history, and translated literature, as well as heroic epic and myth. The narrative prose is characterized by a distinctive style particularly associated with heroic saga but found equally in saints’ lives and historical tales. Quick-paced action is offset by colorful, if impressionistic description and punctuated by memorable, often laconic dialogue. The themes, motifs, and narrative style of the sagas are traditional and may hark back to preliterate storytelling. The sagas are without exception anonymous. Their authors clearly did not think that they were inventing; they were retelling traditional subject matter in a traditional manner. They thought of themselves as historians and of their subject as history, albeit history told with the flair and gusto of heroic epic.
    POETRY
    Although the modern reader may find the prose literature more accessible, poetry had a higher prestige. Poems were regarded as individually authored. While prose texts are anonymous, poems were often attributed, and scores of Early Irish poets are known to us by name. Irish metrics are of dazzling complexity and variety. Much of the earliest poetry is stressed and alliterative. This poetry, referred to as rosc or retoiric, is generally regarded as the original poetic mode. Stressed verse was eclipsed by syllabic verse, which soon became the dominant mode for poetry, although stressed poetry continued to be composed for several centuries, particularly in contexts that invited an archaizing treatment (Breatnach 1996). From 1200 on, the bardic schools maintained a standard literary language and a sophisticated system of metrics; the contemporary metrical tracts distinguish scores of individual meters. Syllabic poetry employs a variety of ornamentation, including alliteration, assonance, and rhyme. The definition of rhyme differs from other European traditions: Phonemes do not have to be identical in order to rhyme, but must belong to the same group of “rhyming” letters.
    Modern scholarship has focused on the origins and development of Irish metrics. The lyric is well represented in anthologies (see, for example, Murphy 1956) and has received critical attention, especially the so-called “hermit” or “nature” poetry of monastic provenance; longer narrative and didactic verse fares less well. After 1200 the bulk of poetry is encomiastic.
    THE EARLY MODERN PERIOD
    Two events made the twelfth century a watershed in Irish literary history: the introduction of the continental monastic orders, heralded by the foundation of the Cistercian abbey of Mellifont in 1142, and the Anglo-Norman invasion of 1169. The two events combined to shift the locus of native literary production from the monasteries to the bardic schools maintained by the dozen or so families of hereditary poets that formed the Irish intelligentsia. The bardic schools oversaw a linguistic reform that created a new literary standard after the profound linguistic changes of the Middle Irish period. This new standard language, referred to as “Classical” or “Early Modern” Irish, was used by literati from Gaelic Scotland to the south of Ireland and remained essentially unchanged until the collapse of Gaelic rule in the seventeenth century.
    The foreigners introduced new literary fashions; entertainment plays a larger part in the composition of prose. Anglo-Norman tastes are reflected by the Irish adaptations of Guy of Warwick and Bevis of Hampton, of the Travels of John Mandeville and the Grail Quest. Poetry, on the other hand, remained essentially unassimilated and maintained its distinctive metrics. But even in poetry, foreign fashions had an impact; the dĂĄnta grĂĄdha (courtly love poetry) are informed by European love poetry and often have direct models in contemporary English poems. The first amateur practitioner of syllabic verse, the Anglo-Norman Gerald Fitzgerald, earl of Kildare, is an example of the much-invoked tendency for Ireland’s invaders to “go native,” becoming Hibernis ipsis Hiberniores (“more Irish than the Irish”). While relations between the two cultures were by no means always amicable, a cultural regrouping beginning in the thirteenth century resulted in many Anglo-Norman lords patronizing native poets. One poet, Gofraidh Fionn Ó DĂĄlaigh, explains in a poem how he flattered native and foreign nobility alike. The poets, themselves of the aristocracy, looked at their profession as an independent institution that endowed them with the right to counsel and censure as well as praise their lords. Nevertheless, in economic terms they were largely dependent on the bounty of their patrons, whose careers they celebrated and whose deaths they lamented. Such official eulogies were preserved in a duanaire (poem book). A good many poem books survive, and the contents of a number of these have been published, as have the repertoires of individual poets, such as the exemplary edition of the oeuvre of Tadhg Dall Ó hUiginn (Knott 1922 and 1926).
    Throughout its long history, Irish literature weathered major political upheavals and successfully accommodated foreign influence, be it Latin, Norse, or Norman. It was only when the Anglo expansion in the sixteenth and seventeenth centuries led to the disestablishment of Gaelic rule that Irish ceased, for a couple of centuries, to be a literary language.
    Bibliography
    Breatnach, Liam. “Poets and Poetry.” In Progress in Medieval Irish Studies, edited by Kim McCone and Katharine Simms. 1996.
    Flower, Robin. The Irish Tradition. 1947.
    Knott, Eleanor. Irish Classical Poetry. 1957.
    Knott, Eleanor, ed. and trans. The Bardic Poems of Tadhg Dall Ó hUiginn. 2 vols. 1922 and 1926.
    McCone, Kim, and Katharine Simms, eds. Progress in Medieval Irish Studies. 1996.
    Murphy, Gerard. Early Irish Lyrics. 1956.
    Williams, J. E. C., and Patrick Ford. The Irish Literary Tradition. 1992.