On Irish Poetry

Unlike what many think of as poetry, Irish poetry had no hard and steadfast rule.  If any rules were laid out, they were considered as more of a suggestion than some unyielding precedent.  Such styles were often reserved for the French.

Literary tools such as rhyme and meter were rarely if ever employed. Rhyme, itself, was practically unheard of.  The three techniques that were often employed were alliteration, assonance, and consonance. Alliteration is the repeated use of stressed letters at the beginning of words. Everyone has played with tongue-twisters like “Sister Sally selling seashells by the seashore”.  Not only was alliteration used in lieu of rhyming, it often was the closest thing to a set meter as well, as it kept the words with a flow, even if it not a regular one.  Assonance and consonance likewise repeated stress certain sounds within the poem, though unlike rhyme, they need not be exact.  The difference between assonance and consonance is what exactly is stressed.  Assonance places more emphasis on similar vowel sounds; while consonance stresses similar consonant sounds.  The point of both assonance and consonance is to reference back and unify the poem as you go along.

To complicate matters further, the pattern and style of medieval Irish poetry seemed to vary from poet to poet, and at times from poem to poem.  For some poems, a frequent use of alliteration is employed, while others chose to use a heavy amount of word repetition.

In the above example, we have example of all three techniques.  The repeated use of the letter ‘c’ for the beginning of the majority of the words is an example of alliteration.  The use of “diba” and “dira” is an example of consonance.  Our example of assonance is the use of “fomara” and “fochara”.

Dan Direach

            Around the same time that the troubadours were composing in Langue doc, a mode of Irish poetry was being formed.  There were three forms of the dan.  The simplest of the three was dan oglachas.  While more complex than dan oglachas, dan bruilingeacht was still considered to be a lesser style.   The most courtly of the three forms was dan direach.

            The thing that most separates dan direach from the other forms is that the poem should begin and end with the same sound; be it the same syllable, the same word, or even the same line.  While some poems merely had the dunadh attached to the end of the poem, as a reframe, thusly meeting the criteria of being dan direach.

Standardly the dan direach was composed of four line stanzas called ‘ranns’.  In lieu of the rann, sometimes the leathrann, or half-rann, was used, which only had two lines.  Often when the dunadh is tacked onto the end of the poem it is a leathrann, instead of a full rann.

On “The Ram King”

            When I began to compose The Ram King, I remembered a quote from J.R.R. Tolkien, in which he commented that every people should have an origin myth, as “Edda” to the Norse, the “Tale of Cu Chulainn” for the Irish, or even Virgil’s Aenid to the Romans.  With that in mind, I thought that I would try to give Gleann Abhann its own mythical history.   

            I chose to utilize the dan direach style, as it was the closest thing to “high culture” poetry for the Irish, as it remained in many ways isolated from the rest of what Europe considered to be in fashion at the time.  While I could have gone with a more polished style, I did not feel that it would have been as period or appropriate for a Celtic kingdom, such as ours. It was my hope to present the poem as both an allegory for history of the Kingdom as well as a piece of artistic storytelling.  While of course, “The Ram King” is in no way a direct telling of the kingdom’s history, I would like to think that it would not be unlike the bedtime tales that mothers would have told their children, nor that of the  charming whit of a courtier entertaining his lords and ladies.

            Below I have added a slight and rudimentary breakdown of the poem’s stanzas in the event that in my spinning and molding of the words they have found themselves less clear than I intended.

Stanza Breakdown and Analysis

Stanza 1 – Like many medieval stories, my ballad begins and will end with as a narrative piece, though moves quickly into the realm of dramatic poetry. Another example of this is the Scottish ballad The Twa Corbies. The only allusion in this stanza is a reference to the Mississippi, as Gleann Abhann means river valley.

Early one morning, a walking I went,
Wandering by both field and forest green.
Gently the waters of a vast river seemed to sing.
Softly and sweetly to slumber I was enchanted.

Stanza 2 – There have been fourteen reigns of the principality of Gleann Abhann.  Had it not become a kingdom, this would be the fifteen reign.

As I laid there sleeping, my spirit soared.
Sounding out, fourteen times heard I the herald’s horn of the king’s reign
Royal rams numbering fourteen took to bended knee
Neither knelt nor bowed did the fifteenth answer.

Stanza 3 – Eastern Ram is a reference to King Radu’s persona being from eastern Europe.  The Lilied Blade is a reference to Queen Brionnfhionn’s personal device. The sixteen and seven equaling twenty-three is the number of local groups within Gleann Abhann at the time of it becoming a kingdom.

The last and first, the Eastern Ram stood defiant.
Dignified and bold, he stood beside the lilied blade.
Benevolent and kingly, the crowned ram sought loyal subjects.
Sixteen and seven signs to him were told.

The next twenty-three stanzas become more of an accounting of the individual groups that make up the Kingdom of Gleann Abhann at the time of it becoming its own kingdom.  I have included chosen to include those four groups that are still forming, including the Incipient Canton of Eagle Isle, even though it most likely no longer exists, as it did when the Kingdom of Gleann Abhann was formed.

Stanza 4 – Barony of Grey Niche - Sable, on a pile Or between in base two estoiles argent a laurel wreath vert

Travelling both north and east day turn to night time.
Then three stars clustered in the corner caught his eye
Even as darkness washed the land waving light of two stars
Showed the Ram King a wreath of laurel illuminated by lighted turret

Stanza 5 – Incipient Shire of Redewolfden – Or with bordure gules, a wolf gules between three laurel wreaths vert.

The thrice victorious refers to the three laurel wreaths, based upon the use of a laurel wreath as the mark of the victor in Roman culture.  Throughout the "gathering of the shires", I'll continue to use this line of imagery.

Foreseen the fledgeling king foraged further north
Neither weariness nor weather his journey arrested.
A field of gold, the grand goat found, and
A wolf, bloodied and thrice victorious, most fierce.

Stanza 6 – Barony of Small Grey Bear - Azure, a bear argent within a laurel wreath Or, all between three compass stars argent.

Wandering westward over hill and mountain top,
the Ram King watched for the signs most divine.
Dark it was, but three stars shone and sparkled.
Silvered, he saw, a bear crowned with a victor’s winnings

Stanza 7 – Shire of Beinntheine - Argent, in pale a cauldron and a laurel wreath sable between flaunches azure.

In his lengthy tour the lordly beast did not tarry long
Light was his heart as he ever continued.
Coming to bends of two blue brooks he saw in contrast between
Blackened from age a laurel and a cauldron of the blackest iron.

Stanza 8 – Shire of Lagerdamm - Argent, on a pale vert a mermaid affronty maintaining to dexter in both hands a harp argent, within overall a laurel wreath counterchanged.

Cold grew the air and ice covered the land.
Lost, the Ram wandered until he heard such mirthful music.
Mystified, he marveled at a mermaid with harp in hand.
Half in green water and on snow,  lay a green laurel frozen to the core.

Stanza 9 – Shire of Smythkepe - Argent, on a bend embattled counter-embattled azure between two laurel wreaths vert three two-headed anvils bendwise sinister argent.

Carrying onward, the crowned Ram came to clearing
Coffled were three smiths laying hammers upon the anvils’ weight
White above and white below were two crowned champions,
Cornered apart by the lapis covered wall of a castle.

Coffle - a group of animals or slaves fastened together in a line, or driven along together. To fasten together in or as in a coffle. 

Stanza 10 – Shire of Talondale – Talondale has no registered device.  The city of Texarkana, geographically, falls halfway across the Texas border, hence the reference to two kings (Meridies(Gleann Abhann) and Ansteorra).

As leaving the northern hills, came the Ram to a man crossing two kingdoms,
Caught with one foot in one and one in the other, he dared not withdraw
Wisely the Ram took him to his back to bear the weight.
With neither foot in either, the King welcomed him aboard.

Stanza 11 – Barony of Axemoor - Sable, in bend sinister an axe inverted reversed and an axe both bendwise sinister, Or between two scarpes, overall a laurel wreath argent, for an augmentation, in chief three mullets argent.

Southward, the Ram King sought his next subjects true
Three stars shone down signaling his way.
Warriors two, armed with axes locked together,
Their own victory bound to the other never separate.

Stanza 12 – Shire of Ardanroe - Per chevron sable, semé-de-lys argent, and gules, in chief a castle Or and in base a fleur-de-lys argent within a laurel wreath Or.

Searching still, the Sovereign sought the next sign to follow.
Found he, a shrouded field of silvered French flowers.
From the middle of the field a golden castle rose up.
Upon reddened soil, he found wreathed with laurel a French lily solely.

Stanza 13 – Shire of Blackmoor Keep - Sable, on a pale between in chief two fleurs-de-lys argent, a laurel wreath vert and a tower sable.

Though tiring his travels turned, the Ram King wavered never.
Night most pitch parted by a moonlit beam.
Black a tower topped laurelled twine stood in silvery light.
Lilies of France frame the tower, frosted to silvery tint.

Stanza 14 – Shire of Blackwood - Per chevron inverted raguly argent and gules, a tree sable and a laurel wreath argent.

Dark and dreary, the land drew until it fell pitch.
Pale the sky grew as morning came to that place.
Peaceful the Ram found it in the penumbra of an ancient tree.
Token of age old victory rested in a crimson ditch.

Stanza 15 – Incipient Canton of Eagle Isle – The Incipient Canton of Eagle Isle has no device of their own.  While most likely the Canton will re-merge with the Barony of Axemoor, I felt it important to include them, as they were part of the Kingdom when it was created.

Then the Ram King found an eagle fledgeling,
Fallen from sky to water locked rock.
Ravaged, yet resilient it lingered in a long shadow of an axe
Answered the eagle to the Ram’s trumpet.

Stanza 16 – Shire of Loch Bais – Per fess azure and sable, a laurel wreath Or sustained by a skeletal cubit arm palewise argent.

Labored his journey long, came the king to a land dread
Dark and cruel the water was and about it most eerie.
Even in death, the specter refused to relinquish.
Rotted was the hand that held aloft his gloried laurel.

Stanza 17 – Shire of Troll Fen - Sable, a cypress tree blasted trailing moss from its branches argent within a laurel wreath Or, both issuant from a base barry wavy argent and azure.

Though still the gloom gathered the grand goat rathered
Roads that lead to the moss covered Cyprus tree most tattered
Toe to knee deep was the tree in moon stuck water
With the road thus rode upon, it was one more taken.

Stanza 18 – Shire of Vogelburg - Argent, a phoenix sable rising from flames proper within a laurel wreath vert.

Ever lightened became the sovereign’s soul as he heard melodies so sweet
Songs of feathered fowl a feel of everlasting spring
Saw he there a blackened phoenix in fiery flames writhing.
With laurel green and burning bright the bird renews its life eternal.

Stanza 19 – Shire of Wyrmgeist - Argent, on a pile engrailed sable, a dragon sejant erect Or, overall a laurel wreath counterchanged.

Heard he then, the Ram King, a wrathful roar.
Readied, the grand goat prepared himself for what was to come.
Crowned with glorious victory, he saw a golden dragon.
Dread it was for it rendered silver clouds from darkened heaven.

Stanza 20 – Incipient Shire of Northover - Gules, a compass rose within a laurel wreath Or and a ford proper.

Heading back eastward, the sky glowed with an eldritch gleam.
Golden there found the fledgeling king a glorious compass true
The white waved water shook the southern shore.
Scarlet the evening sky to deep red did hue.

Stanza 21 - Barony of Seleone - Barry engrailed azure and argent, a sea lion erect maintaining, with both paws and tail, a laurel wreath vert

Following the water’s edge ever east, the Ram King found
Foam-crested waves washing upon the shore.
Sunning itself lingered with laurels green the golden lion of the sea.
Subject could the Ram king find few so fierce and free.

Stanza 22 - Shire of Dragoun’s Weal - Sable, an annulet within and maintained by two dragons in annulo, wings displayed, each biting the other's tail, all within a laurel wreath Or.

Even as his boundings began to its beginnings,
Blackened was the field that the Ram King found.
Framed by victories token, fought two serpents dire,
Dragons most fierce and knotted and entwined.

Stanza 23 - Shire of Hammerhold - Sable, a hammer Or entwined with kudzu vine [Puerária thumbergia] proper, within a laurel wreath Or.

The darkened dirt represents the richness the land reaps.
Royalty and rabble require those who toil.
There the Royal Ram found heavy the hammer golden.
Growing there green the vine and golden the laurel triumphant.

Stanza 24 - Shire of Iron Ox - Erminois, an ox's head caboshed gules with a laurel wreath vert.

Ready to return home, the Royal Ram grew.
Great now grew the tale of the Ram and the subjects gathered.
Golden and black the weasel lead the King to a clearing.
Crowned with emerald laurel, there he found, a bull reddened.

Stanza 25 - Shire of Tor An Riogh - Purpure, a winged stag segreant within a laurel wreath argent.

Finally his journey judged to be drawing done,
Deep, the color of Roman imperial was the field he found.
Foreseen was this field and he looked on with wonder.
Winged, a stag upon laurel silver was poised and ready for flight.

Stanza 26 - Incipient Shire of Rook’s Haven – Per gules and purpure, a raven within a laurel wreath Argent.

Lastly though the long journey yet lingered
Loyalty found, the last subject answered
A field of roses red and pansies purple.
Proudly poised there a raven within white laurels.

Stanza 27 – This stanza is pretty straight forward.

Valiant and validated, the Ram King looked to see what had turned.
Twenty-three herds now made one.
Over land and under heaven, let it be said
Stands now the Kingdom of the River Valley.

Stanza 28 – Other than the unity of the Kingdom, there is no elusive references here.

But nothing is constant, until it is tried and found true.
Then the Ram King felt call to rally his rams
Returning the Ram to meet his former master
Marshalled the forces of Gleann Abhann seen not before.

Stanza 29 – The field of black and snow covered is meant to represent the colors of Meridies and how Hastings Field belonged to that kingdom, until Gleann Abhann’s becoming its kingdom, and subsequently the field became Gleann Abhann’s.  Thusly, the white and black of Meridies is replaced with the red and black of Gleann Abhann.

There the Ram King came once more to Hastings Field
Found he, the Ram King, a field of black and snow covered.
Cruel is conflict and cruel is war
When fighting finished, the snow was soaked with blood through.

Stanza 30 – Returning back to the narrative, we find the narrator has become one with the dream, meant allegorically as all members of Gleann Abhann are now part of the newly formed kingdom.   Gleann Abhann is the nineteenth kingdom, thus the eighteen lordly kings represent the other kingdoms welcoming Gleann Abhann to their own status.

Banishing finally the gossamer thoughts of my dreams
Dark was the field where I languidly lingered
Lordly kings numbering eighteen gathered
Greeted they, the Great Goat, then and now as brother.

Stanza 31 – This would be the dunadh, or reframe, linking the end of the poem back cyclically to the beginning, and in doing so setting it to the dan direach style. Also I note the departure from the use of rann here to that of leathrann.

Wondrous the things witnessed I all because most eagerly,
Early one morning, a walking I went.