Irish Folk Tales and Legends a Modern Translation

MASARYK UNIVERSITY FACULTY OF EDUCATION

DEPARTMENT OF ENGLISH LANGUAGEAND LITERATURE

Irish Folk Tales and Legends A Modern Translation

A Treasury of Irish Myth, Legend and Folklore by W. B. Yeats and Lady Gregory

MASTER THESIS

Bc. Lenka Šmídová

Brno, Autumn 2009 Declaration

Hereby I declare, that this paper is my original authorial work, which I have worked out by my own. All sources, references and literature used or excerpted during elaboration of this work are properly cited and listed in complete reference to the due source.

Bc. Lenka Šmídová

Advisor: Mgr. Martin Nˇemec

ii Acknowledgement

I would like to thank my supervisor, Mgr. Martin Nˇemec,for introducing me into the world of translation and his professional help and kind quidance throughout the optinal translation seminar.

iii Abstract

The diploma thesis is concerned with the translation process from both the theoretical and practical point of view and is divided accordingly. In the introductory part the reader is ex- posed to the life stories of the authors of the book in question and the historical background of the country where the book originated from. In the practical part, the author presents her own translation of the selected chapters of The Treasury of Irish Myth, Legend and Folklore by W.B. Yeats and Lady Gregory. In the theoretical part the author consults the prominent authorities and in comparison to the theory of translation tries to explain the particular solutions she applied during the translation.

iv Keywords

William Butler Yeats, Treasury of Irish Myth, Legend and Folklore, Irish mythology, Lady Gre- gory, Ireland, analysis, translation,

v PART I

HISTORIC AND CULTURAL BACKGROUND 1 Introduction

Being able to understand other language does not necessarily make a person a good translator. When speaking other language, people do not translate words into their native tongue but rather think and respond immediately in the target language. Though the purpose of commu- nication, both spoken or written, is same in all languages, the means differ greatly. Translation however, goes a step further, where one is able to acknowledge the peculiarity of languages and act accordingly. It is a rule that a translated piece of work needs to be read by the new audience as if it was originally written in their native tongue. Yet, it was not until the author dared do a translation of her own, that she became painfully aware of this fact. Word-for-word translation must be forgotten, and the transmission of the ideas of the text gains on importance. The translation could be compared to a dialogue between two people who do not share the same mother tongue. The meaning needs to be carried into the new language but the communicative means must be transferred in accordance with the new linguistic setting. Hence, every translation also becomes interpretation. It is the job of a translator to balance these well and employ an adequate solution. The author’s aim is to present the key issues of translation from both, the theoretical and practical, perspective. Thus, the diploma thesis is divided into three parts, the first being the introductory part, in which the reader gets acquainted with the life and work of William Butler Yeats and Lady Gregory, the authors of the book in question, and some major historical events in Irish history that played an important role in shaping the Irish society, its language as well as literature. Unless the reader understands these, the beauty and relevancy of the work will be forever lost. The second part is devoted to the theory of translation, foremostly including the ideas of Czech translation critics such as Knittlová and Levý, but also others, mainly Newmark. This part, however, does not only consist of the raw theory, the author further interferes with the facts stated and tries to imply them in comparison with her own translation. Translation is a process during which one has to learn to think in a completely new dimen- sion, find a satisfactory way to transfer a message from one language to another while using a different syntactical structure, establish their own style, combine it in an appropriate way with the theory of translation and still concentrate on the future reader, the task is not simple. Furthermore, the translator also needs to possess proficient knowledge in both languages; otherwise there is a high risk of misinterpretating the author’s original ideas, as well as being a good writer themselves in order to be able to preserve the original stylistic elements in the translation. Keeping in mind these, one has to realize that translation is an extremely demand- ing process. Yet ever since the author had taken the optional translation seminar, she became extremely interested in the ways various people do their piece of translation. In the seminar, however, it was only a game without any restrictions. The students were free to experiment, compare their ideas and discuss which one works and why the other fails its communicative purpose. Professional translators, on the other hand, face serious obstacles every day. These might be time pressure, need to respect social taboos, downplaying the personal interference, some-

2 1. INTRODUCTION where even the political correctness must be accounted for, fulﬁlling the task of evoking the same feelings the original readers experienced when reading the text, and still dealing with a completely different linguistic reality. While working on the mock translation in the before mentioned seminar, the author realized the best translations come from the people who are not only masters of the source language (English in this case), but also their native tongue. Their translations were enriching as they used varied vocabulary and never missed the slightest detail. Thus the comprehension of the message is only one side of the problem, the other one being the translator’s ability to give wording to it. What the author personally ﬁnds extremely hard is to determine the borderline between still doing the translation and starting writing an independent piece, merely based on the ideas taken from the original source, which was by no means intended. On the other hand, as one can learn in the theoretical part, there always exists a gap between the original and its reproduction in the process of translation that is impossible to completely overcome given the different cultural and historical background, variety of languages, their syntax, aesthetic elements, ethics, lexical elements and others. The author claims the right to leave it for the reader and their careful scrutiny to decide how well this chore was accomplished. Finally, the third part of the thesis is called the practical part since it is concerned with the translation. The author chose to translate Irish folk-tales by William Butler Yeats and, as a second thought, a legend by Lady Gregory. Having done the task, the author realised that such a theme is rather simple. The audience mainly comprises of the middle class people, including children of nearly all ages. The volume being the compilation of oral tradition, the language used is not over-sophisticated and lacks the piquancy of contemporary works. Yet, it deserves to be remembered and, after all, each translation brings several problems that must be dealt with. The author only hopes that these were cautiously depicted and discussed in the theoretical part. The problems that arose during the translation are twofold.

1. Yeats’ work itself, as well as Lady Gregory’s, is a translation on its own as the original Irish myths and legends were ﬁrst written in Gaelic. Historically, Irish cultural heritage is based on a spoken word – the myths and legends would be passed to the forthcoming generations orally. The original oral tradition leads to the fact that the legends, although shared all along Ireland as well as parts of Scotland, vary subtly in every county. Al- though Gaelic language and culture have been extinct in the most of Ireland, its bits survive here and there all along the still alive oral and written cultural tradition. This was to be addressed in the actual translation as e.g. some place and people’s names are transcribed from Gaelic, often in variety as the transcription has not been codiﬁed. Thus, we can meet a single person – Cù Chulainn (original Gaelic name), which is also transcribed as Cuchulain (Lady Gregory’s version) and various mutations in other authors’ books. This required careful reading to avoid ambiguities during the translation and prevent the confusion of the respective people’s names, as various persons are called differently, but their names‘ transcription is very close in English, as Cucullin (a giant in one of the Yeats’ tales) and the before mentioned Cuchulain.

2. As Irish English is not the original language of the Irish, various grammatical structures and vocabulary which are not commonly seen in the Standard English, still survive in

3 1. INTRODUCTION

the Irish English dialects and can be found throughout the book and had to be addressed during the translation.

It can not be stressed enough that the Irish legends, some over two thousand years old were the major means of propagating and keeping the Irish national identity and self awareness. For a Czech reader, these may seem but a couple of old fairy tales and stories which stand along with tales like Budulínek, but the truth is these legends are at least as important as the Czech tales of Praotec Cechˇ , knˇežnaLibuše, or Blaniˇctírytíˇri. The fact these legends are still alive among the Irish people only proves their significance. They are reflected and referred to in the arts, music and literature today as they were a hundred years ago. Opting for Irish myths and legends as the topic for the thesis, the historical significance of this piece of work that would slowly unfold in front of the author was not anticipated. First of all, it is the Gaelic legends which were dealt with and even a decent knowledge of the Gaelic historical and cultural background needs knowledge beyond the scope of a Standard English language student. Secondly, William Butler Yeats proved to be an author of immense value in Irish history. Yet, to make it possible for the readers to understand the depths of his life story, one needs to plunge into the times when free Ireland was a mere dream of those who were a breath away from slaughter. For this reason alone, the author feels it essential to include bits of Irish history, especially the most pressing issues, in the thesis to provide the cultural background of W. B. Yeats’s work.

4 2 The History of Ireland – the Important Facts

The history of Ireland is fulfilled with English supremacy dating as far as the beginning of the 12th century. For many centuries the rule of England shaped the outcries for a free Irish country, divided the Irish nation in two and originated the fight for a united Ireland as well as a nation. Before the arrival of English, various tribes had inhabited Ireland. They were the Firbolgs, the Fomorians, the Tuatha De Danann, the Milesians, the Celts and migrants from Scotland. The author finds it extremely important for the reader to be aware of their existence and time location in the Irish history as some of them, especially the Tuatha De Dannan and Celts, are very closely linked to the the works of W. B. Yeats and Lady Gregory translated in the practical part of the thesis. These tribes lived in kingdoms answerable to their own chief. Later they united in five provinces for the purpose of more effective defence – Ulster (Cúige Uladh), Con- nacht (Cúige Chonnacht), Leinster (Cúige Laighean), Munster (Cúige Mumhan) and Meath (Contae na Mí). All of them but Meath still exist today and are referred to in the legends. The 5th century is marked by St. Patrick’s (Naomh Pádraig) attempts to introduce Chris- tianity to the native Irish, which, a few centuries later, proved to be a very important turn in the Irish history. Since this time the Irish, at that time the Celts, are known to be Catholics. Yet, in 1155 king Henry II of England comes to Ireland and in doing so initiates the Anglo-Norman conquest of Ireland. Thus parts of the Irish island were confiscated by the Norman leaders and soon the Norman legal system was introduced there. During the early wave of Anglo–Norman settlement, not much harm had been done to the Irish as the first Anglo-Normans became identified with the natives. Then, in the 14th century the English authorities started to pass laws that prohibited any kind of alliance with the native Irish. A relationship full of hatred and inequality was thus gradually being established between those two nations. During the reign of Henry VIII one of the most significant acts took place. Since the king intended to divorce his wife, Catherine of Aragon, and the Catholic Church did not support him, Henry VIII set up a new church – the Church of England – which is still recognised there today by majority of population. It was a terrible blow for the Irish who, consequently, were to be faced with the constant persuasion to convert to the Church of England, too. Luckily, while the War of the Roses took place in England, the English authority in Ireland loosened to a great extend and became limited only to the area called English Pale – which was the area in and around Dublin. In Pale the English and Irish were forced to live apart and Irish laws and customs were prohibited there. Most important of all laws passed at that time was so-called Poynings Law, which made the Irish Parliament dependent on the English king. The first confrontation between the Anglican state church and Celtic church arose during the reign of Queen Elizabeth I and James I as both churches took very different paths. The former was affected by the Reformation, and so was the Church of Pale, but the later became increasingly Roman Catholic thanks to St. Patrick’s legacy. Henceforth, the malice between those two religious groups began. When Oliver Cromwell was at power, he confiscated and divided among Protestants a great part of the best land of Munster, Leinster, and Ulster. Even today, the Protestants own the best lands in Ireland.

5 2. THE HISTORYOF IRELAND – THE IMPORTANT FACTS

Many laws were passed by the Parliament in order to rid Ireland of Catholicism, by forc- ing Catholics to become Protestants. These laws were so harsh that many Irish converted to Anglicanism tearing many Irish families apart. Another important milestone in the Irish history was the foundation of various organisa- tions in Ireland. There were the United Irishmen, consisting of Protestants and Catholics alike. They believed that Protestants and Catholics could live together in peace and equality. They wanted to set up a democratic republic in Ireland, independent of Britain. Their ideas were definitely influenced by the situation in France at the end of the 18th century. In 1789 during the French Revolution the king was overthrown and a new democratic French Republic was established giving the power to common people for the first time in the history. The British saw the United Irishmen as a national threat to be disposed of and began attacking and murdering its members in large numbers. Yet the message survived. The Republicanism in Ireland was slowly becoming a reality and serious changes were needed in the way Ireland was governed. In 1858 a new group - the Irish Republican Brotherhood (IRB) or the Fenians was formed. Their aim was to create an independent Irish republic by force. The IRB further widened the gap between the two religious groups living in Ireland since its campaign was strictly pro- Catholic and anti-Protestant. By that time, there were several groups in Ireland. ‘The Home Rulers’ who, as the name implies, wanted Ireland to have the right to run its own affairs without the English having any say in it, but accepted that Ireland would remain a kingdom with the English monarch. Against them there was a movement of those who wanted to retain the Act of Union, so called the Irish Unionists. The Irish Nationalists believed that a nation must be forged out of the people living in Ireland. Their idea, however, faced several problems. Many aspects of a nation, such as a unique language and a common religion, were missing due to their historical development and dependency on the English. The final group, the Irish Republicans , wanted to create a self-governing republic in Ireland. By the end of the nineteenth century, the Irish Nationalists decided to take action. They began with creating Irish national identity. They hoped to reawake the people’s interest in their past, traditions and language. They were extremely successful since the Irish above all wanted to win their independence of the English rule and end the outrages that had befallen to them during their reign. Thus this notion attracted thousands of members. Together, they gave the impulse to institute what is now known as the Celtic Revival in Ireland. It is their legacy where we could place William Butler Yeats’ interest. Celtic Revival covers a variety of movements and trends of the 19th and 20th century, which drew heavily on Celtic art and traditions. Probably the best known movement of these is the Irish Literary Revival, whose main representatives include such literary figures as William Butler Yeats, Lady Gregory, "AE" Russell, Edward Martyn and Edward Plunkett [20]. In the practical part the reader will be introduced to bits of Yeats and Lady Gregory’s classical works and in the introductory part may get better acquinted with the Irish mythology and its main representative works. All these writers embraced traditional Irish literature and poetry and Yeats cooperated with many of them. Their aim was to raise Irish consciousness in their folks in order to unite their nation and provide it with the necessary classical literary tradition that would prove to be equal to the literatures of other nations. To complicate the situation in Ireland even more, the Unionists started to demand that the

6 2. THE HISTORYOF IRELAND – THE IMPORTANT FACTS north east of Ireland should be treated seperately from the rest of the island. In the end, they succeeded and the four Unionist counties were proclaimed to be the Northern Ireland in 1920, completely independent of the remaining parts of Ireland. The vision of united Ireland thus started to be only a mere dream. That angered the remaining Irish, especially the Nationalists. After the First World War some of them suceded and renamed themselves the Irish Republican Army (IRA, Óglaigh na hÉireann) and soon started the War of Independence in which many dreadful killings were executed in their terroristic attacks. On 11 July 1921 a truce between the IRA and the British was signed and a new country – called the Irish Free State – was established. Eamonn de Valera became the ﬁrst Prime Minister. The UK was renamed The United Kingdom of Great Britain and Northern Ireland. In 1939 the UK, alongside with the Northern Ireland, went to war with Germany, Eire, former Irish Free State, declared neutrality. In 1940 British were desperately looking for any help they could get. They offered to give Northern Ireland to Eire in return for military help. It was a dream coming true, yet de Valera had to refuse. He, quite logically, had foreseen that Northern Ireland, especially the Unionists, would act with outrage when being united with Eire against their will. In 1949 the Republic of Ireland was established under John Costello. The IRA split up again and the Provisional IRA started the terroristic attacks. In 1971 In- ternment was set up in order to tackle down the IRA members. It had the right to arrest people without evidence. It was an unlucky step since many innocent people were arrested, and that angered the population and won their support to terrorism. Some action was terribly needed, therefore London began to negotiate with the Irish government in 1985, at that time the British Prime Minister being Ms. Thatcher. The same year the Anglo-Irish Agreement was signed. It concerned the following areas: a) the Irish Republic’s right to make proposals concerning Northern Ireland was recognised, b) the Irish Republic recognised that a united Ireland was a long term objective, c) the two governments were to discuss issues of mutual interest.

On 15 December 1993 the Downing Street Declaration was announced. The UK proclaimed that it had no further interest in the Northern Ireland and that a united Ireland was possible if a majority desired so. Even today, the conﬂict between the Northern Ireland and the Irish Republic is not solved but the prospect for better future without killing innocent people was ensured[1].

7 3 Short biographies of the book authors

3.1 William Butler Yeats (*1865 – † 1939)

was an Irish poet, dramatist and prose writer born on 13th June 1865. With a concern to this particular piece of work, a reader might find it interesting to know that it was Yeats’s mother who first introduced him to the Irish folktales in his early age and that is where we can find the roots of Yeats’s later fascination by both Irish legends and the occult. Despite his family living in London and having great attachments to England, Yeats became involved with the Celtic Revival, a movement against the cultural influences of English rule in Ireland during the Victorian period, and sought to promote the spirit of Ireland’s native heritage. Yeats was interested in folktales as a part of an exploration of national heritage and for the revival of Celtic identity. His study with George Russell and Douglas Hyde of Irish legends and tales was published in 1888 under the title Fairy and Folk Tales of the Irish Peasantry. Yeats assembled for children a less detailed version, Irish Fairy Tales, which appeared in 1892. With the help of Lady Gregory, Yeats established the Irish National Theatre Society and soon they succeeded in opening the Abbey Theatre in December 1904. Yeats continued his involvement with the Abbey as a member of the board and a prolific playwright until his death. His plays usually treat Irish legends and, at the same time, reflect his fascination with mysticism and spiritualism [27]. In 1922 he was appointed to the first Irish Senate, and was re-appointed for a second term in 1925. [27] In 1923, Yeats was the first Irishman awarded a Nobel Prize in Literature "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation". Yeats was determined to make the most of the occasion. He was well aware of the symbolic value of an Irish winner, especially since it was so soon after Ireland had gained independence, and sought to highlight the fact at each available opportunity. His reply to the many of the letters of congratulations sent to him contained the words: "I consider that this honor has come to me less as an individual than as a representative of Irish literature, it is part of Europe’s welcome to the Free State." [27] The Irish Free State (1922–1937) was established on 6 December 1922 under the Anglo-Irish Treaty, signed by the British government and Irish representatives[23]. Yeats is said to be one of those writers whose greatest works were written after the Nobel Prize award [27] Central theme in Yeats’s poems is Ireland, its bitter history, folklore, and contemporary pub- lic life. While Yeats’ early poetry drew heavily on Irish myth and folklore, his later work was engaged with more contemporary issues, and his style underwent a dramatic transformation. [27] Yeats died in 1939 at the age of 73. [27]

8 3. SHORTBIOGRAPHIESOFTHEBOOKAUTHORS 3.2 Lady Isabella Augusta Gregory (*1852 – †1932)

Irish dramatist, folklorist and translator born on March 15, 1852. She is best known for her collaboration with Yeats and Synge in the formation of the Irish National Theatre and the Abbey Theatre Company which she directed and for which she wrote many plays [6]. After 1892 Gregory began collecting legends and history concerning the west of Ireland which she skilfully translated into an Anglo-Irish dialect that she called "Kiltartan" [6]. Her meeting with Yeats in 1896 marked the beginning of a creative friendship that lasted for life. Under his inﬂuence her interest in Irish folklore revived, and she began to study Irish mythology and so their collaboration in "mythmaking" was born [6]. She supplied Yeats with ﬁnancial support and so much needed translations. She began writing plays by helping Yeats with the peasant dialogue of his plays and in doing so co- authored his early plays [6]. Of her contribution to his art Yeats wrote, "Lady Gregory helped me . . . in every play of mine where there is dialect, and sometimes where there is not." [6] She wrote more than 19 plays mainly for production at the Abbey. In addition to her plays, she wrote a two volume study of the folklore of her native area called Visions and Beliefs in the West of Ireland in 1920 [19]. She died on 22 May, 1932 from breast cancer [19].

9 4 Myth, Legend and Folklore

4.1 Mythology and myths

Many understand the terms myth and mythology as ﬁctitious or imaginary. However, these terms can also mean a traditional story or narrative that embodies the belief of a group of people. In the society in which it is told, a myth is usually regarded as a true account of the remote past. Myths generally take place in a primordial age, and explain how the world came to its current form. The main characters in myths are usually gods or supernatural heroes [25]

4.2 Legends and folktales

Closely related to myth are legend and folktale. Myths, legends, and folktales are different types of traditional story. Unlike myths, folktales can take place at any time and any place, and they are not considered true even by the societies that tell them. Like myths, legends are stories that are traditionally considered true; however, they are set in a more recent time, when the world was much as it is today. In addition, legends generally feature humans as their main characters, whereas myths generally focus on superhuman characters[25].

4.3 Irish Mythology

Irish mythology is ﬁlled with magical creatures, heroes, giants and monsters. The original Celtic mythology, failed to survive the conversion to Christianity in its full glory since it re- lied on oral tradition. The remaining sources are subsequently divided into four cycles - the Mythological Cycle, The Ulster Cycle, the Fenian Cycle and the Historical Cycle. Besides those, there are extant texts that do not fall between any of those categories, such as tales of voyages, adventures and folktales, which strictly speaking, are not considered mythological, but can feature characters from any of the above mentioned cycles. Many of the texts were produced by Christian monks around the 5th century, who, unques- tionably, desired to record the oral tradition truly and honestly, yet might have been inﬂuenced by their Christian beliefs to change bits and pieces in their persuasion of pagan traditions[24].

10 5 The Cycles

The author decided to include the legend about the Irish hero Cuchulain by Lady Gregory in the practical part. Since only an initial opening to his life story is provided in the section, the reader, therefore, might ﬁnd it of great interest to be presented with a summary of his life story and to be introduced brieﬂy to the four cycles that the Irish mythology is composed of.

5.1 The Mythological Cycle pictures the gods of Ireland and origin of the Irish. Most of the myths are concerned with the action of ‘the people of the goddess Dana’. It is claimed that Celts were a race rather than a nation formed of separate tribes full of hatred against each other. Their original habitat appears to have been central Germany. In all, we distinguish two main groups of Celts: the Continental Celts who spread through Hungary as far as Greece and Asia Minor; and Insular Celts of Great Britain and Ireland. Their Major deities are common to both the Goidels of Ireland and the Britons, but, thanks to different pronunciation, their names differ slightly, as well their advetures are not always identical[7].

5.2 The Historical Cycle

(also known as the cycle of the Kings) owns much to its existence to medieval poets who preserved the family history of the kings in their poems. Many of them are a blend of history and mythology.

5.3 The Ulster Cycle

The Ulster Cycle (formerly known as the Red Branch Cycle) -– as its name suggests -– is mostly situated into the province of Ulster, and Connacht. The theme is centred on the king of Ulster, Conchobar mac Nessa, and the hero Cuchullain. The cycle is fullfiled with their birth, train- ing, famous battles, description of their enemies and their death. This is claimed to be the least altered cycle. Cuchullain is compared to Achilles and the Ulster Cycle is thought of as an Irish Iliad. Cuchullain’s birth name was Setanta. At the age of seven he killed a terrible hound belonging to Culain, thus he acquired the name Cuchulain, meaning Culain’s Hound. He com- pleted his education with the witch Scatbach who taught him magic. Later, he regained Ulster and married Emer, the daughter of powerful magician. Cuchulain’s most famous exploits are grouped together in the Cattle Raid of Cooley. It is a history of a long war between Ulster and four other kingdoms in Ireland. Ulster was destined to fall as every knight was paralyzed, except for Cuchullain by reason of his divine origin. For three months he fought alone, killing their enemy. Other tale tells us how Cuchullain falls in love with goddess Fand, but moved by his wife’s laments, he returns to her. After that, Cuchullain kills his only son Conlach and his soul is forever filled woth sorrow. At last, hateful Queen Medb brings about his downfall. He is tricked to eat god flesh, thus deprived of his supernatural strenght and killed. [7]

11 5. THE CYCLES 5.4 The Fenian Cycle

This cycle is also known as the Ossianic Cycle,which celebrates the deeds of Irish heroes, whose activities covered the whole Ireland except for Ulster. The stories deal with the life of brave warrior Finn Mac Cumhal, and his soldiers called the Fianna. Their doings also occur in the Scottish mythology. It is amusing to note that the Fiannas circulate freely in the sidhe, the underground palaces of the gods. Unlike the Ulster Cycle, they are told mainly in verse[22].

12 6 A Treasury of Irish Myth, Legend and Folklore

The volume unites two classic works on the subject of Irish folklore and mythology, the opening book being Fairy and Folk Tales of the Irish Peasantry collected and edited by W.B. Yeats, the second Cuchulain of Muirthemne, a great epic myth of Ireland’s national hero, arranged and put into English by Lady Gregory. These two well-known writers are considered to be the giants of the Irish Renaissance. The collection in question introduces readers to the heroes and magical creatures of Irish mythology. [28] Yeats selected the best tales from the work of many well-known writers such as Lady Wilde, Croker, Lover, Hyde, and Carelton, and from his own research. Surprisingly, not a small number of these writers are women such as Elen O’Leary, Oscar Wilde’s mother, Lady Wilde, and Letitia MacLintock. Yeats contribution to this collection is the enrichment of the tales with mu- sical prose, incorporating wit and irony into them as well as warm feelings for the Irish people so desperately needed in the time when the volume was published. He has grouped the stories full of supernatural beings by category – trooping fairies, solitary fairies, changeling, ghost, witches, fairy doctors, the Devil, and the giants. [28] In the intoductory passages to each section are various fairies listed and their attributes, habits and customs are described even though they might not be featured in any of the tales included. Thus it is not only a collection of Irish stories but also a brief summary of the Irish legendary creatures ever encountered. Since the last decades of the nineteenth century is marked with the fight for independent Ireland, a lot was done to give Ireland a classical literary tradition that would hold candle to the literatures of all nations and provoke the national consciousness so needed for creating a nation. The translation of the Irish epics was to be done, yet Yeats - being a poor scholar in languages - turned down the commission, and this honour fell to Lady Gregory. [28] In praise of Lady Gregory’s Cuchulain in Muirthemne, the second book in this volume, Yeats wrote: "I think this book is the best that has come out of Ireland in my time. Perhaps I should say it is the best book that has ever come out of Ireland, for the stories which it tells are a chief part of Ireland’s gift to the imagination of the world – and it tells them perfectly for the first time." [28] Many, however, would argue that the same may be said about his own Folk and Fairy Tales of the Irish Peasantry, an anthology of Irish folklore. Cuchulain of Muirthemne by Lady Gregory tells stories from the Ulster cycle about the warriors of the house of the Red Branch, who are very similar to the Knights of the Round Table. Chief among these warriors is Cuchulain and the work is centred on the legends about his life from birth to death. In the introductory passage Lady Gregory explains how she gathered all the stories about the national hero Cuchulain that are known to Irish people through the old writings and were quickly being forgotten for their difficult language as well as weighty plot. Lady Gregory carries on by justifying why she has chosen only certain parts to be cited in her work and William Butler Yeats defends and praises her choice further in the preface. The aim of her hard-work was to reawake her people’s interest in the stories by telling them in a simple language presenting a clear plot. As Yeats states, that is exactly what she did.

13 PART II

TRANSLATION THEORY AND ANALYSIS 7 Translation Theory

7.1 Translation Process

The personal pleasure derived from translation is the excitement of trying to solve a thousand small problems in the context of a large one. The chase after words and facts just out of reach, and the relief of ﬁnding it is an acute reward. [13, p. 8], Translation is the interpretation of the meaning of a source text or language and production of an equivalent text that communicates the same message into another (target) language. [26]. The purpose of translation is to make various texts available to wider audience tearing down the boundaries of different languages. For many centuries, heated debates were held over the methods of translation. Linguists and literary critics abolished the idea of word for word translation long ago, since such a corre- spondence among any two languages is hard to ﬁnd. As a result, every translation demands to follow different grammar rules by the translator, to deal with the problem of non-equivalence; mentality, historical and cultural constrains of the two groups of readers, their phraseology etc., while trying to avoid adding new ideas that are not required by the source text. Above all, they say, translator’s duty is to preserve the spirit of the original work. According to Levý [11, p.53], the act of translation comes in three steps:

1. Comprehension of the original

2. Interpretation of the original

3. Writing the translation

7.1.1 Ad 1 , Comprehension of the original

Levý explains that to be a good translator means to be a good reader. Every translator must overcome the lexemes and focus on the message of the text, picture the imaginary world in their mind, depict and fully understand the relationships among the characters, as well as acknowledge author’s style. He also states the fact that the translator should be familiar with the environment the plot is situated to.

7.1.2 Ad 2, Interpretation of the original

In the second phase, Levý emphasizes the importance of objectivity. It has already been mentioned that every translation is also a kind of interpretation. Thus, having read the whole original, the translator needs to apply the appropriate translation method, strive to preserve the attributes of the original while supressing their own interference. It is a fact that every reader tends to project their personal issues into the text. In the case of a translator this might also include addition of stylistic or aesthetic qualities which the original is free of, or their own opinion on the subject.

15 7. TRANSLATION THEORY

7.1.3 Ad 3, Writing the translation The search for a suitable wording is the last phase of translation. The two language systems always differ to some extent. There simply do not always exist equivalents and therefore changes must be applied. The problem of equivalence could be summarized as follows: absolute, partial and zero equivalence. These will further be discussed later in (7.5). The translator needs to be creative, capable of describing the thoughts of the author in a natural language using the stylistic construction the target language offers. Unless the translators respect these, they will create a text that follows the original too closely and a careful reader might indetify the linguistic constructions that belong to the language of the original but which sound rather awkward in the translation. Peter Newmark in A Textbook of Translation [14, p. 11] adds a few more stages and ideas. He is in a full agreement with Levý about the ﬁrst phase, yet he recognizes two major types of a text reading:

1. General reading for the purpose of getting the gist, studying the subject of the translation and understanding all the concepts connected with that particular text. 2. Close reading is required merely for the aquitance with the problematic words both in and out of context in order to avoid misinterpretation.

7.2 Linguistic Approach to Translation

In the theory of translation the methods and procedures are plentiful and so are the approaches to the translation. Knittlová in K Teorii i praxi pˇrekladu discusses the linguistic approach in a great detail. Linguistic approach considers the crucial issue to be the problem of equivalence – meaning the possibility to transfer all information from the source language into the target one. Catford claimes that it is not necessary to use the same lexical means but to transmit the same connotative and pragmatic transparency. In other words, what he refers to is functional equivalence. From the formal equivalence, which struggles to find equivalent words and phrases, functional equivalence differs in searching for meaning. A translator following this approach will read the message, try to understand it and, consequently, depict the thought in the translation. As languages differ from one another to a greater or lesser degree, this solution nowadays seems to be the most appropriate one. With the content and meaning deals the linguistic study called semantics. The content and meaning are expressed by lexemes which are put together in a grammatical arrangement. From the semantics point of view, text can be analyzed in layers. The first two layers are concerned with denotation and connotation. Denotation refers to the literal meaning of a word, so called "dictionary definition", whereas connotation refers to the associations and the emotional suggestions that are related to that specific word. It is a rare occurance that both of these match in a translation. Therefore a translator must choose suitable words with careful consideration. The last of the layers concerns pragmatics – which is the relationship among the meaning of words, the intentions of speakers, their particular circumstances, and the result of com- munication act. The ability to comprehend correctly the speaker´s intended meaning is called pragmatic competence and is regarded to be the most challenging competence in a language

16 7. TRANSLATION THEORY learning. The beginners tend to translate words for words being unaware that different languages convey the reality with different lexemes. Pragmatic competence comes only through experience and is an essential tool for every translator.

7.3 Translation Methods

Ever since the theory of translation evolved, the problem whether translators should be doing their translations literally or freely was discussed countless times. Many theories have been established and consequently gave voice to the following methods used in the translation process. The list is not a complete listing of all methods existing, but gives a survey of the most common ones as they are listed in Textbook of Translation by Peter Newmark [14, p. 45 – 53]. 1. Word-for-word translation which, as the name suggests, translates the words of the source language – SL to the target language – TL by their most common meanings, inde- pendently of the context. As a result a text thus construed will most likely display traces of unintelligible grammar and be difﬁcult to comphrehand. Literal translation partly resembles word-for-word translation as the lexical words are still translated singly and out of context. On the other hand, the SL grammatical constructions are converted to their nearest TL equivalents.

Original Word-for-Word The author’s translation Translation I heard the dogs howl Já slyšel psy výt Slyšel jsem vlky výt in the moonlight night; v mˇesíˇcnímsvˇetlenoci; za svitu mˇesíce; I went to the window Já šel k oknu, Nepohlédnout z okna to see the sight; abych vidˇelten pohled; nemoh sem; All the Dead Všichni ti mrtví, Všichni mrtví, that ever I knew které kdy já znal známí mí, Going one by one Jdouci jeden za jedním Vedle sebe and two by two. a druhý za druhým. v ˇradáchšli.

2. Faithful translation attempts to keep the precise contextual meaning of the original while employing the grammatical structures of the TL. It endeavours to be absolutely faithful to the intentions of the SL writer as well as their text realisation. Original Faithful The author’s translation Translation I heard the dogs howl Slyšel jsem psy výt Slyšel jsem vlky výt in the moonlight night; v mˇesíˇcnímsvˇetlenoci; za svitu mˇesíce; I went to the window Šel k oknu, Nepohlédnout z okna to see the sight; abych vidˇelten pohled; nemoh sem; All the Dead Všichni mrtví, které jsem Všichni mrtví, that ever I knew za života znával, známí mí, Going one by one Šli jeden za druhým Vedle sebe and two by two. a druhý za tˇretím v ˇradáchšli.

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3. Semantic translation is similar to the faithful translation the difference being in exhibit- ing compromises on meaning in order to preserve aesthetic value of the ST. Also, it allows the translator to be more creative and use their intuition.

Original Semantic Translation – Author’s Translation I heard the dogs howl in the moonlightnight; Slyšel jsem vlky výt za svitu mˇesíce; I went to the window to see the sight; Nepohlédnout z okna nemoh sem; All the Dead that ever I knew Všichni mrtví, známí mí, Going one by one and two by two. Vedle sebe v ˇradáchšli.

One does not necessarily need to be a literary critic to subconsciously feel the immedi- ate development in the poem. Where the word-for-word translation struggles to keep rigidly exact to the original, a true improvement is recognisable in the faithful translation, though it is still a way behind the semantic translation, in which the aesthetic value is appreciated.

4. Adaptation is the freest form of translation used mainly for plays and poetry in which the plots and characters are usually preserved but the culture of the SL is converted to the TL culture and the text then must be rewritten accordingly. This method is also frequently used in the translation of titles when usually only the main idea is preserved and the rest is adjusted to a different cultural setting. The Lepracaun; or Fairy Shoemaker Lejprechán, neboli Švec jednobotka(p. 57) While the original author can depend on the audience to be familiar with the name Lepracaun and what it refers to, the author of the Czech translation feels it essential to include the fact that Lepracaun always makes only a single shoe in the title. On the other hand, she does not believe it so important to stress that it is a supernatural being as a couple of references in the poem will clear its fairy origin.

5. Free translation is usually claimed not to be translation at all since it paraphrases the original creating much longer text while ignoring some aspects, e.g. the form, of the original.

6. Idiomatic translation conveys the overall message of the original but alters the meaning slightly by including idioms and colloqualism where there is none in the original. Cucullin at the moment was not only Kukulín v tu chvíli už hlady šilhal,. . . hungry, but ravenous. . . (p. 70)

7. Communicative translation secures the exact contextual meaning of the original in both the context and the language.

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Author’s Notes While getting more acquainted with the process of translation, one comes through a long process in which their style alters and shapes until they ﬁnd their unique approach. Though one might not be consciously aware of the existing translating theory, the various concepts are easy to recognise in their piece of work. It is not a rare occurance that the methods overlap as the translators endlessly search for the appropriate tools and fresh ideas in order to create work that would be splendid and enriching the target audience. As there are no two alike personal- ities, there cannot exist two translations of equal aesthetic value when coming from different authors.

7.4 Translation Procedures

In the translation process one has to come across the terms translation methods and translation procedures. The former term relates to the whole text, whereas the later is used for sentences and smaller units of language. In the following section the author is presenting the most common procedures used in the process of translation according to Peter Newmark[14, p. 81 – 93].

7.4.1 Transference might refer to the transcription of the source text into the target language as it happens when translating languages with different alphabeth. The phrases that are usually transferred are as listed: names of people, geographical names (unless recognised translation already exists), names of newspapers, addresses, institutions. Some authorities would however argue, that this is not a proper translation procedure.

7.4.2 Naturalisation goes a step further than transference as it adapts the source word phonetically ﬁrst and then morphologically in order to create a word that sounds naturally in the target language. In the practical part, the ﬁrst names are exemplary instances of this practice. Only the name Cuchu- lain brings about huge debates. The roots of the translation of this particular name date back to HavlíˇcekBorovský who borrowed the name from the Irish legends about the warlord Cuchu- lain. Borovský translated his name as Kukulín and used it in his epic poem King Lávra [2] as a name for the King’s barber. When investigating more deeply, one can discover that there have been two other translations in existence. Some prefer the name Kúchulain [15], the others Kúˇculain [15]. The translation causes so much trouble as /ch/ are in English usually pronounced [tS] when followed by a vowel. None of those three above-mentioned translations are true to its origin. One has to bear in mind that Cuchulain was Irish. Therefore, we need to study Gaelic (Irish) to come up with the correct solution. Thus Cuchulain, according to the Irish languge pronounciation, should be pronounced [ku:chuli:n] and the author opts for this alternative. Though it is tempting to follow in Havlíˇcek’ssteps, the author must consider another coincidence. In the practical part, there are two names that sound alike. It is the name of a giant Cucullin and the Irish hero Cuchulain. On no account the author wishes to create the

19 7. TRANSLATION THEORY impression that these to characters are the same personality. Therefore, the author keeps the name Kukulín for the giant as there is a greater phonetical likeness between those two, and Kúchulín for the fearlees warrior.

7.4.3 Cultural equivalent is used in those cases when an absolute equivalent of the SL word is impossible to ﬁnd and the translation therefore aims only for the accurately closest possible cultural equivalent. An instance of cultural equivalent found in the practical part is: "sure enough I am to my sorrow", which the author translated in the following manner: "Jsem si natolik jistá, že mi srdce samou bolestí puká."(p. 39) If the author kept true to the original, the aesthetic value would be forever lost. Since the mother is grieving over the loss of her son, the heart-broken utterence is in place.

7.4.4 Functional equivalent is a procedure applied to cultural words. For the non-existence of the same word in the target language, a neutral word must be used in the target language.

7.4.5 Descriptive equivalent is essential for explanation of terms that the audience might find difficult to comprehend. The example of this procedure taken from the practical part is smrtonoška Bánší when in the source text there is only the name Banshee provided as the original author expects his audience to be familiar with this fairy. Moreover, Yeats mentions Banshee only in the introductory part to the solitary fairies and therefore the reader stands no chance to find more information about this fairy in this particular edition. The same goes for the original Latin name Giraldus Cambrensis which the author felt necessary to adapt a bit and used other name associated with this scholar from the 12th century. In the translation he is then reffered to as Gerald z Walesu, since this name provides his location as well, and a short explanation – velký uˇcenec -– is added to eliminate any unclarity about who the person was.

7.4.6 Synonymy is a procedure used when there is no clear equivalent. It concerns mainly the usage of adjectives and adverbs which are abundant and normally carry less significant messages than other parts of the utterance. The author finds it relevant to mention here Peter Newmark’s statement about translation in which he claims that the translation is a never-ending process and that the author is never satisfied with his final work for it always appears that more suitable words might be found and the equivalents once felt as appropriate now seem hollow. Since a translator is partly also an artist they need to find a balance between those two feelings. There always will be times when the translators feel they would do it differently now. Yet, that is what translation is all about - making compromises. If we come back to the problem of adjectives and adverbs, the choices are endless.

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7.4.7 Compensation occurs when a translator must make up for a loss of some aspect present in the source text by trying to create a similar effect in the target text while applying the means inherent in the target language Poetry translation is an instance where compensation is obvious. The original poem is very rhytmical, which the author preserved in the translation too, though the rhythm shifted. On the other hand, the original broken rhyme became couplet in the translation.

Straight and handsome folk; A Lidé všeho vzevˇrení; A bent and weak, too; B Staˇrí,krásní, ˇcestníˇcizlomeni; A Some that I loved, C Lidé, jenž jsem miloval B and gasp’d to speak to; B a za sl ˚uvkos nimi duši dal; B Some but a day in their church- D Další, co sotva v zem pochováni C yard bed; byli, Some that I had not known were D Ti, co bych pˇrísahal,že s námi C dead. ještˇežijí.

7.4.8 Calque or a loan word is a technique in which a word or a phrase is borrowed from another language by literal translation of the words or direct incorporation of the foreign word into the language of translation. Those two techniques are discussed further in the chapter 7.5.1

7.4.9 Shifts of transpositions is a translation procedure that involves change in grammar as a result of non-existence of the same grammatical structures between the source and target language. As the word order in En- glish and Czech differs to a great degree, this procedure is put into use throughout the whole translation for the Czech language employs a rather free combination of word order whereas English is strict about its use and only a few instances are allowed to vary the prescribed word order. On the whole, in the process of translation one can identify remarkable changes in grammatical structures that the translator needs to apply in order to carry across the message. In the following passage, let us brieﬂy focus on a couple of instances, that the translators might en- counter and the author had to solve as well. • Person is a tricky subject in English when compared to some other languages, including Czech. English does not make any distinction between the second person singular and plural. The Czech language, on the contrary, recognizes a difference between the two. Having to resolve this dilemma, the translator cannot rely on much lead. In Czech, the second person singular is usually accompanied by ﬁrst names, the plural by surnames, yet since English does not follow the same notion, it is basically up to the translator’s experience and the overall context to decide which of these two to apply. The author came across this issue several times, yet the most problematic seemed the part in the tale Brewery of Egg Shells, in which Mrs. Sullivan meets Ellen, the bewitched lady. Since Ellen always calls the former one Mrs. Sullivan, the author sticked to the original message and kept it in the second person plural. Mrs. Sullivan, however, is not so peculiar

21 7. TRANSLATION THEORY

about it, and calls the other woman simply Ellen. With the reference to the position of Ellen in her society and believing that the local people refer to her as Ellen, the author applied the second person singular in this instance. Possibly, it creates the relationship of certain inequality which is not unintentional. Bearing in mind that Ellen is considered to be an oddity, even a witch, it does not come as a surprise that the other folks consider her to be on a lower rank than themselves. "Small blame to you, Mrs. Sulli- To vám nikdo nem ˚užemít za van," said Ellen Leah. . . zlé, paní Sullivanová,“ opáˇcila Ellen. . . (p. 39) . . . no wonder, then, that you see Tak se, Ellen, nediv, že má bolest me in grief. . . je vidˇetna hony daleko.“ (p. 39)

• Gender might also prove to be rather difficult to deal with. English rarely identifies the gender of the people mentioned by the means of suffixes as the Czech language does. The only indication of the gender then are the pronouns used with reference to that person. In the practical part, there was only one instance, in which the gender could possibly cause troubles. It is connected to the usage of word fairy, which in English applies to both, the male as well as female supernatural being. As we see in the example, the gender is provided in the oncoming sentence in the form of the pronoun she.

. . . and a fairy came in, carry- . . . a víla vešla do svˇetnice.Na ing home again the wholesome rukou nesla ukradené dˇet’átko, stolen baby. "It was the others," zdravé jako tuˇrín.„To ti ostatní,“ she said, . . . (p. 37) zaˇcalavíla, . . .

• Voice and its usage alter from one language to another. English is typical for its generous exploitation of the passive voice. Nonetheless, Knittlová argues that only inexperienced translators would follow its structure and keep it in the ﬁctional translation as such, since it is highly unusual to employ the passive voice in Czech ﬁctional works.

Sometimes the creature is got rid Obˇcasse pˇrihodí,že se oné by- of in a more gentle way. He is tosti zbavíte mírumilovnˇejšíces- almost unknown in Connaught tou. Na severozápadˇe Irska se and the north. The ships at the témˇeˇr nevyskytuje. Cernýˇ pes Sligo quays are haunted some- – který by mohl být jedním times by this spirit. z mnoha vtˇelení Pooky; obˇcas pronásleduje lodˇev okolí pˇrís- tavu mˇesteˇckaSligo. (p. 37)

• Sentence condensers are another typical feature of English language. They are closely linked to the nominal character of English and exercised for the economy of language. On the other hand, Czech needs to employ variety of conjuctions to create the same ﬁnal effect and thus create better overall cohesion of the text.

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. . . decent man, striving to keep Jelikož byl dobrák od kosti, her up to the good spirits and snažil se ze všech sil, aby jeho health ženuška z ˚ustalastejnˇerozverná a starostí neznalá (p. 61) She had the gift, however she Tu, co má veliký dar, o nˇemž got it, of telling where the dead sama neví, jak a kde k nˇemu were, (p. 39) pˇrišla.Jako jedna z mála ví, kde se scházejí duše mrtvých, (p. 39) which she always did to ﬁnd out což dˇelávala vždy, když rozjí- the best way of succeeding in mala, co bude nejlepším ˇrešením anything of importance (p. 66) problému (p. 66),

The ﬁrst two given examples demonstrate a visible economy of the English language, whereas the last one shows that when the –ing form is preceded by phrases ’way of, point of’ etc., it looses its effect since it is a common practice to omit it in the Czech translation.

• Tenses might be another complicated aspect of translating. English exploits a number of tenses the Czech language does not recognize. Some of the characteristic English tenses are present perfect or past perfect. Where the sole use of a proper tense is sufﬁcient to indicate the time relations in English, a variety of time adverbs or perfective aspect needs to be applied in Czech.

Some scholars have worked Mnozí uˇcencise je již mnohokrát well at them. snažili pˇrepracovat.(p. 72) which has since been christened Dnes se ji ˇríká Lumfordova by the name of Lumford’s Glen. rokle. (p. 69) When the soul has left the body Duše, jež opustila tˇelo(p. 52) The luxuriance of the pasture Pastviny v okolí této vísky lands in this neighbourhood has byly odjakživa proslulé svojí bo- always been proverbial hatostí (p. 45)

• Discourse markers are words, even phrases, that are rather independent parts of the utterences and usually carry no grammatical function, thus do not inﬂuence their meaning. In general, they have an empty meaning. Their examples include the particles such as "oh", "well", "now", "then", "you know", "I mean", and the connectives "so", "because", "and", "but", and "or". They embody the functions of topic changes (by the way, still, any- way), reformulations (I mean), stressing (mind you), hedging (somewhat), backchan- neling (wow, really), showing the agreement (no doubt, okay) or disagreement (no way, actually), etc [21].

"Well ," said the old beldame, „Odhalili jsme její tajem- with a grim smile, "it is not ství,“ pronesla stará ˇcarodˇejka enough that we have merely dis- zlovˇestnˇe,„ale to nestaˇcí.(p.48) covered the robber; 23 7. TRANSLATION THEORY

Ah! Mother dear! Ach, matko má drahá! (p. 54) Well, it so happened that Fin Tak tedy, když Fin a jeho and his gigantic relatives were obrovští pˇríbuzní stavˇeli most all working at the Causeway, v místˇe, které se dnes nazývá Obrovy schody (p. 60) Cucullin, who,by the way, was Jelikož Kukulín nebyl pouze a glutton as well as a hero, obr velký jako hora, ale také pˇeknýnenasyta, (p. 70) Cucullin was an ugly customer, Kukulín byl bez pochyb ˇclovˇek, no doubt, to meet with; kterému je radno radˇeji sejít z cesty.(p. 65) This, to be sure, was worm- Bezesporu, pro Fina to byla ve- wood to Fin – I mean going into liká potupa – ležet v kolébce the cradle in such a cowardly jako zbabˇelec(p. 67) manner

It is obvious from the presented examples that treatment of discourse markers in a translation varies. Sometimes it is possible to translate them, though the direct translation is not always the right solution and therefore the translator must look for other alternatives that would ﬁll their place. On the other hand, in some instances it feels right not to deal with them at all and omit them in the translation completely, only transforming the context according to the new linguistic setting.

7.4.10 Modulation is a procedure that manifests in various instances, it usually refers to a change in the point of view. It may be, for example, the substitution of abstract term for a concrete one, active voice for passive, or negative utterence for a positive one or vice versa as can be seen in the example:

How would you like to roll in Cožpak nechceš ve vlastním your carriage. koˇcáˇreuhánˇet,(p. 58)

These and other changes are needed even though the direct translation would be possible, even grammatically correct, yet would be felt as akward by the target audience. Having read all the above-mentioned deﬁnitions, one cannot help but realize that different procedures are not a solely pure type but tend to overlap.

7.5 The Problem of Equivalence

Knittlová in her K teorii a praxi pˇrekladu [10] distinguishes four types of equivalence:

1. Lexical equivalence

2. Grammatical equivalence

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3. Textual equivalence

4. Pragmatic equivalence

7.5.1 Lexical equivalence The central problem of translation is to find translation equivalents in the target language. In the process of translation, the translator may even face the difficulty of not finding any equivalent. According to Knittlová ([10]), in the process of translation the following situations can appear:

1. equivalence exists to a different degree

a) absolute equivalence -– Mrs : paní b) partial equivalence -– Fairy – while in English this expression can be used for both, a male and female fairy, Czech comes with its counterpart only for a female fairy: víla. For a male fairy we have to use another word: skˇrítek. c) a word has more equivalents -– thing : vˇec,zp ˚usob,záležitost. In this case the translator’s guidance for choosing the correct equivalent is set by the context. The translator’s experience and their ability to satisfactorily comprehend the message may also play an important role.

2. equivalence does not exist

a) the lexeme must be replaced by a paraphrase, calque or a loanword – one of the examples of a paraphrase found in the translation done by the author is dodging about from place to place : vzít do zajeˇcích (p. 62). The paraphrase is deﬁned as restating the text by using other words perserving the original meaning. Since dodge is a verb that means to avoid something or skip about, the author ﬁnds it equal to take to one’s heels and therefore suitable to use as the expression used in the translation. A calque is a word or phrase borrowed from another language by literal, word-for- word translation, whereas a loanword is a word borrowed from one language and incorporated into another. An instance of a calque in the practical part represents the geoghraphic name Giant’s Causeway (p. 60) that is commonly translated into Czech literally as Obrovy Schody, while a loanword is Knockmany Hill (p. 60) as its origin comes from Irish in which it stands for Cnoc mBaine – ’the Hill of Queen Baine’ and if translated by word-for-word technique it would be called Kopec Královny Baine. Knockmany in English alone is a phonetical transcription of the Irish name for the hill (am Cnoc). b) replacement of the equivalent situation based upon the principle of equivalent effect as can be seen in the following example:

25 7. TRANSLATION THEORY

A vague and indeﬁnable feel- Címˇ byla staˇrena blíže, tím ing of pleasure crowded on her vˇetší pocit štˇestí se zaˇcal ro- imagination; and, as the old zlévat farmáˇrˇcinýmtˇelem.Když woman gained the threshold, . . . se staˇrena dobelhala k jejich prahu,(p. 46) . . .

7.5.2 Further Notes on Lexical Equivalence The Absolute Equivalence The absolute equivalence refers to the usage of words and expressions whose meaning in the target language corespond to their meaning in the source language both in connotative and denotative meaning. Those are, however, very scarce to ﬁnd and belong to the category refered to as core vocabulary. These are the most common words and phrases, such as parts of the body (head: hlava, eye: oko), universal features (water: voda, star: hvˇezdiˇcka,Monday: pondˇelí), common activities (eat: jíst, sleep: spát), and the lowest numerals (one: jeden, two: dva).

The Partial Equivalence The partial equivalence (or non-existence of equivalence) between English and Czech is caused by their seperate cultural, social and historical development as well as their linguistic typology, for the former is analytic and the latter synthetic language. Analytic language is any language in which the vast majority of morphemes are considered to be words. They have stricter syntactic rules since those show their roles in the sentence. In other words, analytic languages lack the inflections, thus the word order in English shows, for example, subject-object relationship. On the other hand, in a synthetic language words are composed of multiple morphemes, such as affixes and other modifications of roots, for the same purpose. The partial equivalence between English and Czech is more common and Knittlová [10, p. 35] divides it further according to formal, connotative, denotative, and pragmatic differences. These categories tend to overlap.

• Formal differences usually arise in those cases when analytic English needs to use more words to express the same notion for one-word Czech expression. It can be either emotive evaluation towards certain object, such as ﬁne child: dˇet’átko, a little old woman: staˇrenka,get angry: rozzlobit se. On the other hand, instances can be encountered when Czech becomes suddenly analytic, especially in those cases when there is no equivalent to English expression (the moonlight: mˇesíˇcnísvit) or when the translator wishes to in- tensify the meaning, e.g. decent man: dobrák od kosti, or where there simply does not exist any equivalence and they strive to keep the meaning as explicit as possible thus creating a longer phrase than could be found in the original.

• Denotative differences are the result of different naming approaches in both languages, unequal level of abstraction, and emphasizing distinct attributes of the signs. The distinction is best visible on the level hyponym – hypernym. When focusing on the verb word class, one can easily notice that while English verbs carry a more general meaning, their Czech equivalents have the tendency to be more speciﬁc. In other words, the

26 7. TRANSLATION THEORY

Czech verbs are enriched by a certain, more concrete meaning. This phenomenom is closely connected to the translator’s inclination to explicitiness. In English, the verbs convey less information as this is predominantly the task of nouns. As the result, the verbs such as go, be and many others are lacking in meaning when compared to Czech. As the translators struggle to create a rich language full of images, they would never do away with a plain translation but need to make full use of the potency of their native tongue. Thus one can invent various interpretations of the afore-mentioned verbs. Original: Translation: go pˇrijítsi vydat se procházet se zmizet utéci be vypadat existovat stát se jednat se být get najít doslechnout se získat sehnat vzít

• Connotative differences arise when the two languages differ in the usage of means applied for attaching an emotional / connotative meaning to the word, possibly the whole utterence. In English the emotive element might not be explicitly voiced and needs to be extracted from the context or situation. On the contrary, the Czech language has an abundant supply of morphological substances for the same purpose. A typical example of such means is the usage of diminutive forms, whenever English needs to employ a combitnation of words (most commonly little) to reach the same communicative effect. The translator is forever faced with the choice of ignoring the connotative element when dealing with the word that is neutral in the source text. On the other hand, treating them as such would deprive the translated text of pleasant literary experience; therefore nowadays the translators tend to use the natural richness of their native tongues and employ the diminutive forms plentifully.

7.5.3 Grammatical Equivalence Grammatical equivalence is concerned with system differences between languages. It deals with the word order that differs greatly between English and Czech as Czech is not so strict about it, on the other hand English recognizes some categories, such as sentence condensers, a greater number of tenses, the problem of person (singular second-person pronoun and the plural second-person pronoun) and others. These and others are discussed more deeply in chapter 7.1.

7.5.4 Textual Equivalence Textual equivalence refers to text organization, information structure, cohesion and coherence. All of these include the question of functional sentence perspective which concerns the problem of emphasis. Since Czech and English differ in their typology, they employ different tools to achieve it. In spoken language, the intonation is a major indicator. In written language this does not sufﬁce and other means must be applied such as cleft structure, which uses so called empty it, and pseudo-cleft structures. These help to divide a single sentence into two giving the prominence to the ﬁnal item.

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"It was the others," she said, "who stole it." „To ti ostatní,“ zaˇcala víla, „to oni ti ho (p. 37) odnesli.“ (p. 37) "Is it what I’m brewing, a vick," said she, „Dˇet’átko moje,“ ˇrekla, „zajímá tˇe, co "you want to know?" (p. 41) vaˇrím?“(p. 41)

Coherence and Cohesion Coherence is what unites the text together and makes it easier to comprehend, even though coherence may not be explicitly signalled in the text. Cohesion, on the other hand, demonstrates as formal linkage of the text by the usage of cohesive devices. Presentation of cohesive devices is as follows:

1. Reference refers to a certain phrase cited in the text, usually in the form of a pronoun used in anaphoric or cataphoric reference. Czech language tends to be cautious about their usage as it is not advisable to overuse them. It might be a much better solution to apply synonyms or hyperonyms instead.

This relieved Fin very much; for, af- Její slova pˇrinesla Finovi velkou ter all, he had great conﬁdence in his úlevu. Oonagh si dávno vysloužila wife, knowing, as he did, that she jeho d ˚uvˇeru, když mnohdy po jeho had got him out of many a quandary boku stála jako vˇerná žena a z mno- before. (p. 65) hých nešvár ˚u jej zachránila. (p. 65)

2. Substitution is a replacement of one language item by another in order to make the utterence shorter and avoid repetition.

"Are you strong?" said Fin again; "are „Máš dost síly?“ znovu se ho otázal you able to squeeze water out of that Fin. „Dokážeš rukama vymáˇcknout white stone?" he asked, putting one vodu z bílého kamene?“ ptal se, za- into Cucullin’s hand. (p. 71) tímco mu jeden podával do ruky. (p. 71) "Why, then, no," she replied; "and if „Ale kdepak,“ povzdechla si Oonagh, ever a man left his house in a fury, he „vybˇehlz domu jako bˇes.(p. 67) did. (p. 67)

3. Ellipsis is an omission of an element that would be normally required by grammar in order to avoid repeating the identical or equivalent items that is in a preceding or following context while the actual word or phrase that is implied must be recoverable. By applying ellipsis it appears that English becomes more similar to Czech language which does not employ the pronouns as the verb inﬂections are sufﬁcient indicator of the person.

28 7. TRANSLATION THEORY

She had the gift, however she got it, Tu, co má veliký dar, o nˇemžsama of telling where the dead were, and neví, jak a kde k nˇemupˇrišla. Jako what was good for the rest of their jedna z mála ví, kde se scházejí souls; and (she) could charm away duše mrtvých a co jejich drazí musí warts and wens, and (she could) do vykonat, aby koneˇcnˇe došly klidu. a great many wonderful things of the Nebo vás zaˇríkadly zbaví bradavic same nature. (p. 39) a jiných prapodivných výrustk ˚una tˇele,a takových podobných vˇecíumí mnohem víc. (p. 39)

4. Connectors are formal signals that indicate the relationship of utterences and para- graphs. Those are not only the conjuctions such as and, but, because; but also verbs such as follow or precede. 5. Lexical Cohesion is achieved either by the repetition of the same items, or by the introduction of synonyms, hypernyms or paraphrases. English demonstrates less sensitivity to the repetition of identical words, whereas Czech ﬁnds them intrusive. An example of such cohesion can be found in the tale Brewery of Egg-shells, where the author had to deal with translation of the word fairy many times. The author opted for the usage of various vocabularies resulting in fairy being translated as víla, skˇrítˇe,skˇret,pˇrízrak,and throughout the other tales similar expressions appear as well.

7.5.5 Pragmatic Equivalence Pragmatic equivalence explors linguistic phenomena from the language-specific or cultural- specific point of view. Especially translators must be aware of their existence, of the fact that every linguistic environment conveys the reality with different wording. Ingnoring these aspects the interpretation of the original work is impossible. Into this category belongs the usage of slang as well as various deformation of language but since there are no instances of this usage in the practical part, the author finds it irrelevant to further investigate these.

7.6 Poetry Translation

Poetry translation encounters problems that are alien to prose translation. The difficulties mostly originate from different ways of idea presentations. In prosaic works the ideas are more explicitly stated, whereas in poetry, only hints are provided, the usage of parallels and metaphors is greater in number, the role of syntax is suppressed while syntactically indifferent rhymes are coupled together in the chase of creating a piece of work having a high aesthetic value. Poetry demands careful consideration of words selection. Levý states [11, p. 225] that the most problematic element in poetry ’ranslation concerns finding a suitable Czech equivalent of the English rhytmical and rhyming forms. English verse exhibits specific tendencies, for instance inversion in word order when the aim is to move the rhyming word to the end of the sentence, or overlap in which a part of the sentence is shifted into rhyming position and the rest of the sentence exceeds into following verse as in the following example.

29 7. TRANSLATION THEORY

Original Author’s translation How long since I saw that fair pale Onu tváˇrbledou a poctivou léta jsem face! Ah! Mother dear! might I only nevidˇel!Ach, matko má drahá! nech place My head on thy breast, a mo- mˇejen Hlavou na hrudi ti spoˇcinouti, ment to rest, While thy hand on my A rukou svou slzy mi otˇri! tearful cheek were prest!

In poetry translation there is a tendency for freeer adaptation of ideas since it is very hard to find two rhyming words having the same equivalents in both languages. It is a rule that the accuracy in poetry translation is rapidly falling towards the end of the verse [11, p. 230] . Meaning density also plays an important role. Czech displays lower meaning density than English. On the other hand, the length of Czech word surpasses English in ratio 2,4 syllable to 1,5 syllable. To deal with the outlined situation, the translator is faced with a couple of choices. They might opt for the usage of shorter words (thus creating unnatural poetic word- stock), condensation of more expressions into one or leaving out certain aspects of the original. On average, translated Czech text does not exceed the original English text by more than 20 percent since analytic English often needs at least two words to express one Czech lexical unit [11, p. 232] . The rhythm in English verses is ensured by stressed syllables. The intervals between stressed syllables are approximetally the same. Furthermore, the change in number of non-stressed syllables is not felt as deviation in rhythm since the rhytmical inertia given by stressed syllables is not broken. This particular type of verse is called tonic verse. This model, however, is not true for Czech rhytmical units for the rhythm is kept by the number of syllables only. Every additional syllable, or left out, would change the regular verse into a free verse. As a result, Czech verse is a metric verse. While the meter in Czech verse is a syllable, for English verse it is time. Thus the additional syllables must be compressed into the same rhytmical time pro- ducing quicker pace. [11, p. 259] An essential part of the poem is rhyme. It possesses a number of attributes such as provid- ing linking for unisonous words, having rhytmical or euphonical role. These three functions are always present, blending together and competing for dominance, yet each language has their own realisation. There especially exists a huge gap between languages syntactic and analytic. Syntactic languages display greater supply of rhymes since the words take inflections and thus can be used in various cases. This cannot be said of analytic languages whose rhyming word stock is extremely limited, which exhibits in a poet being able to create only a small varieties of rhyming words. Thus a Czech poet has an immense advantage where the English poet is dependent on fixed clichéd rhymes. [11, p. 279] The debate whereas the translator should faithfully copy the number of syllables in a rhyme Levý concludes [11, p. 286] with explanation that English is a language with lesser rhyming possibilities and therefore it uses one-syllable rhyme abudantly whereas Czech as a language with greater rhyming potential should not undergo the same course since the occurance of one- syllable rhyme is given by the language constrains and not by the original author‘s intentions. In general, the one-syllable rhyme is kept in the translation infrequently. The rhymimg system in English exhibits some uncommon traces when compared to the Czech one. English poetry allows the usage of so called eye-rhymes. The rhyming words look

30 7. TRANSLATION THEORY alike graphically enough to create the impression that they must rhyme, yet when voiced they do not. [11, p. 301] This kind of rhyme can only be preserved with extreme difﬁculties in the Czech translation as the Czech language phonetics is equivalent to its graphology with a very few exceptions. Another literary device is consonance, which is a term used for the repetation of the same consonant sound two or three times in succession, or assonance, which characterizes rhyming of vowels within phrases. Both are types of alliteration, one of the most commonly used literary tools in English, tracing its origins back to Old English. Assonance as a link between verses never took the root in the Czech environment. On the other hand, consonance penetrated into Czech poetry. Poetry is typical by the usage of ambiguity. It means that any phrase can be interpreted in more than one way. This feature thus complicates the role of translator who must investigate the matter further, learn about the author’s style and try to visualise what they intended to say. The same goes for irony, a characteristic device in Yeats’ peotry. The phrase carries a further, hidden meaning. One has to look beyond the most obvious meaning. Usually the meaning signiﬁes the opposite of what is being said.

7.6.1 Poetry of William Butler Yeats

Yeats is claimed to be the greatest poet in the history of Ireland and probably the greatest poet to write in English during the twentieth century. His themes, symbols, metaphors, and poetic sensibilities encompass his personal experience, as well as his nation’s experience during one of its most troubled times[5]. Yeats started his long literary career as a romantic poet and gradually evolved into a modernist poet. When he began publishing poetry in the 1880s, his poems had a lyrical, romantic style, and they focused on love, longing and loss, and Irish myths. His early writing follows the conventions of romantic verse, utilizing familiar rhyme schemes, metric patterns, and poetic structures. Yeats’s connection with the changing face of literary culture in the early twentieth century led him to pick up some of the styles and conventions of the modernist poets. The modernists experimented with verse forms, aggressively engaged with contemporary politics, challenged poetic conventions and the literary tradition and rejected the notion that poetry should simply be lyrical and beautiful. Although he never abandoned the verse forms that provided the sounds and rhythms of his earlier poetry, there is still a noticeable shift in style and tone over the course of his career[5]. Yeats believed that art and politics were linked and used his writing to express his attitudes toward Irish politics, as well as to educate his readers about Irish cultural history. Irish myth and folklore had been suppressed by church doctrine and British control of the school system. Yeats used his poetry as a tool for re-educating the Irish population about their heritage and as a strategy for developing Irish nationalism. Yeats felt a deep connection to Ireland and he thought that British rule negatively impacted Irish politics and social life. His early compilation of folklore sought to teach a literary history that had been suppressed by British rule, and his early poems were odes to the beauty and mystery of the Irish countryside[5]. Yeats’s interest in Irish myth and folklore originated his participation in the Irish political system. As Yeats became more involved in Irish politics, his poems increasingly resembled po-

31 7. TRANSLATION THEORY litical manifestos since he believed that poems could both critique and comment on political events, as well as educate and inform a population. Throughout his literary career, Yeats incorporated distinctly Irish themes and issues into his work. He used his writing as a tool to comment on Irish politics and the home rule movement. As he became increasingly involved in nationalist politics, his poems took on a patriotic tone[5].

7.6.2 Poetry of William Allingham With the regard to the selected poems in the practical part, one has to realize that Yeats is only a compilator and editor but the poems’ original authors are completely different persons. The author chose to include the poems by William Allingham, an Irish poet (1824-1880). Alling- ham produced much excellent lyrical and descriptive poetry, and the best of his pieces are thoroughly national in spirit and local colouring. His verse is clear, fresh, and graceful[16]. In the practical part two of his poems are presented, the ﬁrst being A Dream, the latter The Lepracaun; or Fairy Shoemaker. A Dream tells us in a simple, yet sad and heart-touching way about a night vision the narrator experienced on one frosty winter night. In comparison, The Lepracaun; or Fairy Shoemaker is a narrator about catching a fairy that is obliged to present its founder with great fortune. The poem is written in a funny, teasing style. Both poems deal with the topics concerning Irish folktales, thus exhibit simple language easy for the ordinary people to comprehend, remember and pass on the other generations.

7.7 Types of Translators and Their Role in Translating Process

Levý in his Umˇenípˇrekladu[11, p. 137] monography discusses two different approaches to the styles the translators usually attempt to follow. He calls them the artistic style and the translating jargon. Within this category another two terms are also closely connected – an artistic and mechanical translator. The distinction between these two styles becomes increasingly obvious when compared to each other. Though none of them might contain linguistic inadequacies, the language of the latter lacks the features of language that provides the translation with unfor- gettable appeal. The artistic and translating style contrast in the choice of vocabulary and the style they employ. The choice of vocabulary is influenced by the fact that most of our active word-stock constitutes of the most common expressions. These, however, lack the linguistic diversity and thus reduce the aesthetic value of the work. On the other hand, they are the first ones to come to mind and it is merely the choice of the translator to use them or hunt further for another, less common and more specific expressions. The artistic translator will never be satisfied with the usage of vocabulary with generic meaning as these supply the readers with very vague description of the reality. Instead, they will rather demonstrate their linguistic cre- ativity and come up with more vivid words. Also, artistic translators are better aware of the significance of connotation the words posses and will try hard to avoid their omission. All these issues evolve in the process of translation due to the partial or non-existence of equivalence. In a case when the target language cannot provide the equivalent, the translators tend to use a word of a broader meaning. Many linguists argue that once such a term is found, it would be to a great advantage to substitute it with more concrete concept again. [11, p. 139]

32 7. TRANSLATION THEORY

I heard the dogs howl in the moon- Slyšel jsem vlky výt za svitu mˇesíce; light night; (p. 53)

If we consider the example, the original poet uses the expression dogs which he might apply for the neighbours’ pets living in the village and suddenly becoming alert by the procession of dead souls. On the other hand, when we think of a moon and howling, the image of a wolf is creeping on one’s mind. Furthermore, this animal is more closely connected with mysterious atmosphere full of paranormal. The last aspect the author would like to mention concerning the choice of vocabulary is, according to Levý [11, p. 139] , the inappropriate usage of the synonymic richness of the Czech language. The best example of such practice is the stereotypical repetition of the verb ’said’ after quotation. There is no doubt that every professional translator understands the need to modify this verb, however, there are other instances where the same method must be employed as the repetitiveness in Czech creates the work of idle attributes, unless, of course, such a phe- nomenon is an essential part of the author’s style and must be adequately acknowledged. Levý claims [11, p. 145] that many of the above mentioned changes are inevitable. On no account the translation should exploit a stiff lack of vivid imagination and deliberate misuse of the benefits the Czech language offers. Such abuse of Czech language might be clearly visible in the works of beginning translators. Without experience and further insight into the matter it might be all too easy to follow the English linguistic rules even in the Czech translation. With practice comes the confidence to become more experimental, less word-dependent and more message-reliable. Knittlová adds [10, p.25] that the translator must be able to recognise parody, imitation or reference to another text. Otherwise it can easily happen that the main information becomes a minor detail. There is no doubt that since the translators differ in their opinions, level of education and its orientation, cultural insight and others, their translation will be partly reflection of their own personality and therefore no two works will be alike. The stylistic differences between the original and translation are a result of translator’s effort to provide the reader with interpretation of the original work. This can be accomplished by creating a more logical structure, supplying greater details than the original gives, and by intellectualization of the text. The intellectualisation of the text is achieved by explication, one of the many methods used in the translating process. In this process a piece of information that is purposefully implicit in the original, becomes fully explained in the translation. Logical relations are often omited in the artistic text creating the impression of freshness and wicked- ness. On the contrary, in the translating jargon the hidden relations become fully explained and formally intensified due to the usage of conjuctions and subordination. It is a good practice to notice that in the translation there exist many more subordinated sentences, whereas in the original the usage of coordination is the rule. It comes as no surprise then that the translation appears less lively, the pleasure of reading is fading away and the fictional text increasingly starts to resemble the features so typical for the literature of the fact.

Hardly two Irish writers are agreed. V Irsku nenajdete dva autory, jenž by se v této otázce shodli.(p. 55)

Levý also states that the translators tend to put far too much importance on cohesion. It is a

33 7. TRANSLATION THEORY tendency that is not so dutifully carried out in the original as the authors usually use different tools to achieve the same effect. The prominent role then play words without communicative purpose but which lend the text the tinge of subjectivity. [11, p. 148] While working on the practical part of the thesis, the author suddenly realized that though her translation appears to be without major mistakes, it also seems to be rather dull. The ﬁrst thought was to blame the original work for the folktales there depicted lacking the piquancy of more recent ﬁctional works. The vocabulary there is rather straightforward and only a couple of expressions took more effort to get them right. It was only after pondering over the Levý’s observations, that the author decided to go through her translation again and discover those passages that can be improved by Levý’s suggestions. An essential part of this correction also belongs to Knittlová’s warning [10, p. 42] that there is a huge gap between English and Czech language. While English is predominantly of nominal nature, Czech uses mostly verbal expressions to create the same communicative purpose. In some cases it might appear to the translator that such pieces of information are untranslat- able. When the translators try to express explicitly all the contributes the source words might imply, they usually tend to do so by extension of the text as they need to employ additional information. Some suppose he is merely the Lepra- Nˇekteˇrí lidé vˇeˇrí, že je to druh caun on a spree. Lejprechána, co se z ˇretˇezu utrhl.(p. 55)

Knittlová recommends that this extention is compensated by the compression of the text which the translator considers unimportant to preserve. It is not a rare occurance that the translated piece of work from English to Czech tends to be longer. Reading through the translation, one cannot help but notice that not rarely the Czech translation extends the original. Therefore the advice to compress the text is sound and the author employed it in a number of cases, e.g.

Original Translation When she has added her translations V okamžiku, kdy Lady Gregory k této from other cycles, she will have given sbírce pˇripojípˇrekladydalších cykl ˚u, Ireland its Mabinogion, its Morte D’ daruje Irsku svého Artuše. (p. 74) Arthur, its Nibelungenlied.

Furthermore, Levý suggests [11, p. 68] that while the language of the translated piece of work is, in our case, Czech, the content stays dependent on the foreign environment. This contrast might slip the reader’s consciousness for as long as there is no tension between the specif- ically Czech expression and the foreign environment. This situation is typical for the usage of names that, while left unchanged, sound disturbing. Thus why translating the legends about solitary fairies Lepracaun, Cluricaun and Far Darrig the author was left with the choice of either keeping them in the original, which would - for reasons mentioned above - create a disturbing element since she does not expect many readers to be able to pronounce them swiftly and easily. Nonetheless, the Czech cases would be still necessary to apply and for this reason alone the author believes it is far better to go deeper and try to look for a Czech-sounding equivalent. The author aimed to stay as close to the original as possible and focus on the pronunciation

34 7. TRANSLATION THEORY factors while coming up with the Czech versions Lejprechán and Klurikón, while in the case of Far Darrig she translated the implied literal meaning when calling him Rudohlav. The same rules she applied for other fairies mentioned in the folktales translated. Translation is a challenge; a puzzle one tries to solve with their intuition, imagination, guidance from prominent authorities, respect to their language and audience while dealing with the linguistic reality inherent in two unlike languages. The translation of the selected Irish folktales and legends presented in the following passage, are the result of the author’s three-year practice acquired in the optional translation seminar while working on various mock translations under the guidance of Mgr. Nˇemec.The author does not further practise translation, neither does she intend to do so. Consequently, the attempted translation is likely to exhibit some traces being out of accordance with the theory of translation or Czech linguistic conveniences, though she tried her best to discover such instances and rewrite them appropriately.

35 PART III

W.B. YEATS & LADY GREGORY’S SELECTED FOLK TALES: TRANSLATION 8 Changelings

8.1 Changelings

Changelings Podvrženci Sometimes the fairies fancy mortals, and Obˇcasse stane, že víly a skˇrítkovénalez- carry them away into their own country, nou zalíbení v nˇekterémze smrtelník ˚u.V leaving instead some sickly fairy child, or tom pˇrípadˇesi ho odnesou do své ˇríšea a log of wood so bewitched that it seems namísto nˇej zanechají své neduživé dítˇe, to be a mortal pining away, and dying, and ˇcikus zaˇcarovaného dˇreva,jež pˇrevezme being buried. Most commonly they steal podobu onoho nešt’astníka. Takový tvor children. If you "over look a child", that is okamžitˇezaˇcnechˇradnout,brzy zemˇrea je look on it with envy, the fairies have it in pochován. Nejˇcastˇejikradou dˇeti,na které their power. Many things can be done to se lidé upínají pˇríliš. Je mnoho zp ˚usob˚u, find out if a child’s a changeling, but there jak zjistit, zda vám bylo podvrženo cizí is one infallible thing–lay it on the fire with dítˇe. Tento jediný však nikdy neselže – this formula, "Burn, burn, burn–if of the vezmˇete ono dítˇe a vhod’te jej do ohnˇe. devil, bum; but if of God and the saints, Zároveˇnopakujte toto zaˇríkadlo: “At’ tˇe be safe from harm" (given by Lady Wilde). oheˇnspálí, jsi-li tvorem d’áblovým, avšak Then if it be a changeling it will rush up the jsi-li darem božím, necht’ tˇevšichni svatí chimney with a cry, for, according to Giral- chrání a oheˇnse tˇenedotkne.“ Pakliže je dus Cambrensis, "fire is the greatest of ene- to podvrženec, s kˇrikemvyletí komínem. mies to every sort of phantom, in so much Gerald z Walesu, velký uˇcenec, o tomto that those who have seen apparitions fall poˇcínánínapsal: “oheˇnje nejvˇetšínepˇrítel into a swoon as soon as they are sensible of všech pˇrízrak˚u,ti, kteˇríje vidˇeliv blízkosti the brightness of fire". ohnˇe,pˇrísahají,že tato zjevení padnou do mdlob ihned, jak spatˇríohnivou záˇri“. Sometimes the creature is got rid of in a Obˇcasse pˇrihodí,že se oné bytosti zbavíte more gentle way. It is on record that once mírumilovnˇejší cestou. Kdesi se píše, when a mother was leaning over a wiz- že jednou se jedna matka naklánˇela ened changeling the latch lifted and a fairy nad postýlkou již znaˇcnˇe sešlého, nad- came in, carrying home again the whole- pˇrirozenými bytostmi ji podvrženého some stolen baby. "It was the others," she dítˇete, když tu se náhle pohla petlice a said, "who stole it." As for her, she wanted víla vešla do svˇetnice. Na rukou nesla her own child. ukradené dˇet’átko, zdravé jako tuˇrín.„To ti ostatní,“ zaˇcalavíla, „to oni ti ho odnesli.“ Ona však toužila získat nazpˇetsvé vlastní dˇet’átko.

37 8. CHANGELINGS

Those who are carried away are happy, ac- Unešenci bývají dle mnohých zpráv cording to some accounts, having plenty št’astní. Všeho mají dostatek, stále jsou of good living and music and mirth. Oth- veselí a obšt’astˇnováni hudbou. Nˇekteˇrí ers say, however, that they are continu- lidé však tvrdí, že nikdy nepˇrestanou ally longing for their earthly friends. Lady toužit po spoleˇcnosti svých pozemských Wilde gives a gloomy tradition that there pˇrátel. Lady Wildeová, matka Oscara are two kinds of fairies–one kind merry Wilda, tvrdí, že existují dva druhy skˇrítk ˚u and gentle, the other evil, and sacriﬁc- a víl. Jedni jsou veselí a mírumilovní, ing every year a life to Satan, for which druzí na oplátku zlí a prohnaní a každý purpose they steal mortals. No other Irish rok obˇetují život jednoho ukradeného writer gives this tradition–if such fairies pozemského tvora d’áblu. Na svˇetˇe však there be, they must be among the solitary nenajdete dalšího autora, který se o nich spirits–Pookas, Fir Darrigs, and the like. zmiˇnuje,a proto, pakliže tyto víly opravdu existují, musí žít mezi samotáˇrskýmitvory, jako je zlomyslný skˇretFir Darrigs, který nenávidí všechno živé, nebo obávaný Pooka, co s oblibou zniˇcí vše, co mu do cesty vejde.

8.2 The Brewery of Egg-Shells

The Brewery of Egg-Shells Vývar ze skoˇrápek Mrs. Sullivan fancied that her youngest Paní Sullivanová vˇeˇrila, že její nejmladší child had been exchanged by "fairies theft", dˇet’átko bylo uneseno vílami, a nikdo ji and certainly appearances warranted such to nemˇel za zlé, protože vzhled onoho a conclusion; for in one night her healthy, dítˇete její domnˇenku jenom umocˇnoval. blue-eyed boy had become shrivelled up Tak si pˇredstavte, že jedné noci se z je- into almost nothing, and never ceased jího zdravého modrookého chlapeˇckastal squalling and crying. This naturally made zcvrklý uzlíˇcekneštˇestí,co nikdy nepˇrestal poor Mrs. Sullivan very unhappy; and all plakat. Pro paní Sullivanovou to byla the neighbours, by way of comforting her, obrovská rána. Všichni sousedé se jí snažili said that her own child was, beyond any ulehˇcit od jejího bˇremene, a tak ji jeden kind of doubt, with the good people, and po druhém tvrdili, že její dˇet’átko bylo that one of themselves was put in his place. urˇcitˇeodneseno dobrými skˇrítky, kteˇríji na oplátku zanechali jednoho z nich.

38 8. CHANGELINGS

Mrs. Sullivan of course could not disbe- Paní Sullivanová nemohla jinak, než jejich lieve what every one told her, but she did ˇreˇcemuvˇeˇrit.Ani tak by v sobˇenenašla to- not wish to hurt the thing; for although its lik nenávisti, aby dokázala oné vˇeci,co ji face was so withered, and its body wasted tam z ˚ustala,ublížit. Hlaviˇckuto mˇelocelou away to a mere skeleton, it had still a strong povadlou a tˇelíˇckovyzáblé až na kost, ale resemblance to her own boy. She, there- i tak v nˇem vidˇela kus sebe sama, své fore, could not find it in her heart to roast vlastní krve. Z toho d ˚uvodujej nemohla it alive on the griddle, or to bum its nose jen tak hodit na pánev a zaživa usmažit, off with the red-hot tongs, or to throw it nebo tomu žhnoucími kleštˇemi ukroutit out in the snow on the road-side, notwith- nos, ˇci to ledabyle pohodit u cesty do standing these, and several like proceed- kupky snˇehu.Tyto a jiné rady paní Suli- ings, were strongly recommended to her vanová obdržela jako návody, jak získat for the recovery of her child. nazpˇetsvého synka. One day who should Mrs. Sullivan meet A jestlipak víte, koho pak jednoho dne paní but a cunning woman, well known about Sullivanová potkala? Šedivou Ellen, tu ne- the country by the name of Ellen Leah (or jprohnanˇejšíženštinu v našem kraji! Tu, co Grey Ellen). She had the gift, however she má veliký dar, o nˇemžsama neví, jak a kde got it, of telling where the dead were, and k nˇemupˇrišla.Jako jedna z mála ví, kde what was good for the rest of their souls; se scházejí duše mrtvých a co jejich drazí and could charm away warts and wens, musí vykonat, aby koneˇcnˇe došly klidu. and do a great many wonderful things of Nebo vás zaˇríkadlyzbaví bradavic a jiných the same nature. prapodivných výrustk ˚una tˇele,a takových podobných vˇecíumí mnohem víc. "You’re in grief this morning, Mrs. Sulli- „Cítím Vaši bolest, paní Sullivanová,“ byla van," were the first words of Ellen Leah to první slova, která pronesla k ubohé matce her. onoho rána. "You may say that, Ellen," said Mrs. Sulli- „Ach, Ellen,“ odvˇetila paní Sulivanová, van, "and good cause I have to be in grief, „to mˇe v ˚ubec nepˇrekvapuje. Mˇela jsem for there was my own fine child whipped dˇet’átko, zdravé a veselé, jež mi bylo off from me out of his cradle, without as jednoho veˇcera pˇrímo z kolébky odne- much as ’by your leave’ or ’ask your par- seno. A ten, kdo jej vzal, ani jednu stopu don’, and an ugly dony bit of a shrivelled- nezanechal. A ted’ namísto nˇejdoma vy- up fairy put in his place; no wonder, then, chovávám škaredé svraštˇeléskˇrítˇe.Tak se, that you see me in grief, Ellen." Ellen, nediv, že má bolest je vidˇetna hony daleko.“ "Small blame to you, Mrs. Sullivan," said „To vám nikdo nem ˚užemít za zlé, paní Ellen Leah, "but are you sure ’tis a fairy?" Sullivanová,“ opáˇcila Ellen, „ale jste si naprosto jistá, že je to skˇret?“ "Sure!" echoed Mrs. Sullivan, "sure enough „Jestli jsem si jistá?“ zopakovala paní Sulli- I am to my sorrow, and can I doubt my own vanová, „Jsem si natolik jistá, že mi srdce two eyes? Every mother’s soul must feel for samou bolestí puká. A jak bych mohla me!" vlastním oˇcímnevˇeˇrit?Každá matka se pro mne musí rmoutit!“

39 8. CHANGELINGS

"Will you take an old woman’s advice?" „Chtˇelabyste radu od staré báby?“ otázala said Ellen Leah, fixing her wild and myste- se Ellen s oˇcimaupˇrenýmana nešt’astnici rious gaze upon the unhappy mother; and, pˇredsebou, její pohled zastˇrený.Po chvíli after a pause, she added, "but maybe you’ll ˇcekání dodala: „Ale tˇreba si myslíte, že call it foolish?" jsem stará pomatená ženština?“ "Can you get me back my child, my own „Pom ˚užemi to navrátit mé vlastní dˇet’átko, child, Ellen?" said Mrs. Sullivan with great mého malého synka?“ otázala se paní Sul- energy. livanová s novou nadˇejív hlase. "If you do as I bid you," returned Ellen „Pokud udˇeláte pˇresnˇe to, co vám Leah, "you’ll know." Mrs. Sullivan was povím,“ ˇrekla Ellen, „brzy se o tom silent in expectation, and Ellen continued, sama pˇresvˇedˇcíte.“Paní Sullivanová úpˇen- "Put down the big pot, full of water, on the livˇe naslouchala dál, „Vemte obrovský fire, and make it boil like mad; then got a kotel, po okraj ho naplˇntevodou a dejte dozen new-laid eggs, break them, and keep jej ohˇrát na oheˇn.Až voda bude bublat the shells, but throw away the rest; when tak moc, že kapky z ní budou prskat na that is done, put the shells in the pot of boil- všechny strany, vezmˇete tucet ˇcerstvˇe ing water, and you will soon know whether nakladených vajec, rozbijte je, skoˇrápkysi it is your own boy or a fairy. If you find nechte, ale zbytku je tˇreba se zbavit. Až that it is a fairy in the cradle, take the red- to udˇeláte, vhod’te všechny skoˇrápky do hot poker and cram it down his ugly throat, kotle s vaˇrícívodou a brzy s jitotou budete and you will not have much trouble with vˇedˇet, ˇcí dítˇe doma vychováváte. Když him after that I promise you." ve Vaší kolíbce bude skˇret,popadnˇetedo ruda rozžhavený pohrabáˇca narvˇetemu jej do chˇrtánu. Pˇrísahám, že poté už Vás nikdá nebude otravovat. Home went Mrs. Sullivan, and did as Ellen Paní Sullivanová spˇechala dom ˚u, kde Leah desired. She put the pot on the fire, vykonala Elleniny pˇríkazydo posledního and plenty of turf under it, and set the wa- slova. Postavila kotel na oheˇn,jenž prvnˇe ter boiling at such a rate, that if ever water poˇrádnˇeroztopila a voda v nˇembrzy vˇrela was red-hot, it surely was. tak náruživˇe, že jestli se nˇekdy stalo, že voda žhnula rudˇe,pak to bylo právˇetu a tady. The child was lying, for a wonder, quite Oproti zvyku, ono dítˇe leželo témˇeˇr easy and quiet in the cradle, every now and bezhybnˇea zcela potichu v kolébce. Obˇcas then cocking his eye, that would twinkle as jen zabloudilo pohledem k ohni s kotlem, keen as a star in a frosty night, over at the oˇckama záˇrícíma jako hvˇezdy na obloze. great fire, and the big pot upon it; and he Zvlášt’ pozornˇe pozorovalo paní Sulli- looked on with great attention at Mrs. Sul- vanovou, když zaˇcala rozbíjet vejce a livan breaking the eggs and putting down skoˇrápkyházet do vrouci vody. Nakonec the egg-shells to boil. At last he asked, with se zeptalo hlasem starce: „Copak to dˇeláte, the voice of a very old man, "What are you maminko?“ doing mammy?"

40 8. CHANGELINGS

Mrs. Sullivan’s heart, as she said herself, Paní Sullivanová by v té chvíli pˇrísa- was up in her mouth ready to choke her, at hala, že se jí srdce úlekem zastavilo. hearing the child speak. But she contrived Se zbytky odhodlání vložila pohrabáˇcdo to put the poker in the fire, and to answer, ohnˇe a jakoby se nic zvláštního nedˇelo, without making any wonder at the words, odpovˇedˇela:„Vaˇrím,synáˇckum ˚uj.“ "I’m brewing, a vick" (my son). "And what are you brewing, mammy?" „A copak to vaˇríte,maminko?“ opáˇcilten said the little imp, whose supernatural gift malý skˇretv postýlce. V tu chvíli paní Sulli- of speech now proved beyond question vanová pozbyla posledních pochyb, zda to that he was a fairy substitute. je ˇcinení její vlastní krev. Tak malé dˇet’átko by nikdá nedokázalo z niˇcehonic mluvit jako dospˇelý. "I wish the poker was red," thought Mrs. „Kdyby tak ten pohrabáˇc už byl Sullivan; but it was a large one, and took rozžhavený,“ povzdychla si paní Sulli- a long time heating; so she determined to vanová. Byl však z obrovkého kusu železa, keep him in talk until the poker was in a a trvalo dlouho, než se nahˇrál. Nezbylo, proper state to thrust down his throat, and než si s ním povídat a ˇcekat,dokud neb- therefore repeated the question. ude dostateˇcnˇe nažhaven k propíchnutí jeho hrdla. Aby si získala trochu ˇcasu, zopakovala jeho otázku. "Is it what I’m brewing, a vick," said she, „Dˇet’átko moje,“ ˇrekla, „zajímá tˇe, co "you want to know?" vaˇrím?“ "Yes, mammy: what are you brewing?" re- „Ano, maminko, copak to vaˇríte?“otázal se turned the fairy. ten pˇrízrak. "Egg-shells, a vick," said Mrs. Sullivan. „Skoˇrápky z vajec, synku m ˚uj,“ odpovˇedˇelapaní Sullivanová. "Oh!" shrieked the imp, starting up in the „Ach!“ vykˇrikl ten plivník, vyskoˇcil cradle, and clapping his hands together, z postýlky a spustil: „To jsem jaktˇeživa "I’m fifteen hundred years in the world, nevidˇel, a to bˇehám po svˇetˇe už celých and I never saw a brewery of egg-shells be- patnáctset let!“ fore!" The poker was by this time quite red, and Tou dobou už byl pohrabáˇc dostateˇcnˇe Mrs. Sullivan, seizing it, ran furiously to- rudý, paní Sullivanová jej popadla a zbˇesile wards the cradle; but somehow or other her se rozbˇehlake kolébce. Tˇežkopˇresnˇeˇríci, foot slipped, and she fell flat on the floor, jak ˇciproˇck tomu došlo, cestou paní Sul- and the poker flew out of her hand to the livanová škobrtla a zhroutila se k zemi. other end of the house. Pohrabáˇcji vyletˇelz rukou a dopadl na zem na opaˇcnémkonci domu.

41 8. CHANGELINGS

However, she got up without much loss of Paní Sullivanová zbyteˇcnˇeneztrácela dra- time and went to the cradle, intending to hocenný ˇcas,opˇetse rozbˇehlake kolébce pitch the wicked thing that was in it into odhodlaná mrštit tu vˇec, co z ní vyloví, the pot of boiling water, when there she do vroucí vody, když tu najednou spatˇrila saw her own child in a sweet sleep, one of své slad’ouˇckédˇet’átko, jak nevinnˇespinká his soft round arms rested upon the pillow– ve vlastní kolébce s jednou buclatou his features were as placid as if their re- ruˇckou položenou na polštáˇrku, spoko- pose had never been disturbed, save the jeným výrazem v obliˇceji a nar ˚užovˇelou rosy mouth, which moved with a gentle pusinkou, co se mírnˇepohupovala v rytmu and regular breathing. jeho dechu, jako kdyby jeho spánek nebyl nikdy narušen.

42 9 Witches, Fairy Doctors

9.1 Witches, Fairy Doctors

Witches, Fairy Doctors Carodˇejniceaˇ vˇedmy Witches and fairy doctors receive their Carodˇejniceaˇ vˇedmyzískávají své schop- power from opposite dynasties; the witch nosti z odlišných pramen ˚u. Carodˇejniceodˇ from evil spirits and her own malignant zlých duch ˚ua své nenasytné krvelaˇcnosti, will; the fairy doctor from the fairies„ and vˇedmyjako dar od dobrých víl a vnitˇrní a something–a temperament–that is born síly, jež jim byla dána do vínku. K vˇed- with him or her. The ﬁrst is always feared mám se lidé nebojí pˇrijítsi pro radu, neb and hated. The second is gone to for ad- od nich je nic zlého neˇceká. Carodˇejniceˇ vice, and is never worse than mischievous. naproti tomu pˇrinášejí zkázu a nenávist. The most celebrated fairy doctors are some- Nejproslulejšími vˇedmamibývaji povˇetši- times people the fairies loved and carried nou ženy, které si víly oblíbily, odnesly away, and kept with them for seven years; a ponechávaly u sebe sedm dlouhých let. not that those the fairies’ love are always Jindy je víly nechají zaˇcarované v ned ˚utk- carried off–they may merely grow silent livce v ˇríšílidí, co slova s druhým neutrousí and strange, and take to lonely wanderings a ze všeho nejradˇejise potulují v poklid- in the "gentle" places. ných - lidmi opuštˇenými- zákoutích. Such will, in after-times, be great poets or Po ˇcase se z nich stanou tˇrebas básnící musicians, or fairy doctors; they must not ˇcimuzikanti, kterým široko daleko rovno be confused with those who have a Lian- není, nebo právˇeony vˇedmy. Jen si dáve- haun shee [leannán-sidhe], for the Lian- jte pozor, abyste si je nespletli s vílou nazý- haun shee lives upon the vitals of its cho- vanou Leána Sídhe. Ta ˇcerpásílu z naprosté sen, and they waste and die. She is of the oddanosti smrtelník ˚u, které svoji krásou dreadful solitary fairies. To her have be- uhrane a život z nich vysaje. Leána Sídhe longed the greatest of the Irish poets, from je jedna z obáváných víl samotáˇrek,jež si Oisin down to the last century. podmanila vˇetšinuvšech velkých irských básník ˚upoˇcínajeOisinem. Those we speak of have for their friends Ti, o kterých ted’ chci mluvit, jsou lidští the trooping fairies–the gay and sociable samotáˇri. Jejich pˇrátelé bývají zpravidla populace of raths and caves. Great is their veselé, pˇrátelskéa spoleˇcnostmilující víly knowledge of herbs and spells. These doc- ze starých tvrzí a skal. Jejich znalosti by- tors, when the butter will not come on the linek a zaˇríkadeljsou proslulé a lidé se k milk, or the milk will not come from the nim obracejí na pomoc, když jejich kráva cow, will be sent for to ﬁnd out if the cause pˇrestanedávat mléko, nebo když z nˇejpak be in the course of common nature or if nemohou srazit máslo. Vˇedmyihned poz- there has been witchcraft. nají, zda se jedná o dílo pˇrírody ˇcitemnou magii.

43 9. WITCHES,FAIRY DOCTORS

Perhaps some old hag in the shape of a hare Nˇekdy se stane, že na sebe nˇejaká stará has been milking the cattle. Perhaps some proradná babizna vezme podobu zajíce user of "the dead hand" has drawn away a vysaje kravám všechno mléko. Jindy the butter to her own chum. Whatever it be, zase, že nˇejaký vyznavaˇc ˇcerné magie there is the counter-charm. použije svých kouzelných talisman ˚u, a máslo z máselnice ukradne. At’ je to tak ˇci onak, vždy existuje úˇcinnézaˇríkadlo. They will give advice, too, in cases of sus- Vˇedmy vám též dokáží poradit, jak se pected changelings, and prescribe for the zbavit podvržených dˇetí,a jak se ubránit "fairy blast" (when the fairy strikes any- útoku víl (ˇríká se mu vílí dotek nebo one a tumour rises, or they become paral- pohlazení). Víly a skˇrítcijsou pro vˇedmy ysed. This is called a "fairy blast" or a "fairy pochopitelnˇe viditelné a mnoho nových stroke"). The fairies are, of course, visible dom ˚u muselo být strženo, protože byly to them, and many a new-built house have postaveny na jejich stezkách. they bid the owner pull down because it lay on the fairies’ road. Lady Wilde thus describes one who lived Takto popisuje Lady Wildeová skˇrítka, in Innis Sark:–"He never touched beer, spir- který žil u Innis Sark: Nikdy se nedotkl its, or meat in all his life, but has lived piva ani alkoholu ˇci masa, žil pouze o entirely on bread, fruit, and vegetables. A chlebu, ovoci a zeleninˇe.Jeden muž, který man who knew him thus describes him– ho znal, jej popisuje takto: Nosí stejný odˇev ’Winter and summer his dress is the same– v zimˇev létˇe,jen flanelovou košili a kabát. merely a flannel shirt and coat. He will pay his share at a feast, but neither Na zábavˇerundu zaplatí, ale ani se netkne eats nor drinks of the food and drink set jídla ˇcipití, co pˇrednˇejpostaví. before him. He speaks no English, and never could be Anglicky nemluví, a nikdo ho nikdy ne- made to learn the English tongue, though donutí, aby se tak nauˇcil,aˇckolivsám ˇríká, he says it might be used with great effect že by se to dalo využít k prokletí nepˇrítele. to curse one’s enemy. He holds a burial- Hˇrbitovje pro nˇejposvátný a z hrobu by ground sacred, and would not carry away neodnesl ani lístek jalovce. so much as a leaf of ivy from a grave. And he maintains that the people are right A ˇríká,že lidé dˇelajídobˇre,když se drží to keep to their ancient usages, such as starých zvyk ˚u,jako napˇríklad,že nekopou never to dig a grave on a Monday, and hrob o pondˇelía rakev nesou vždy smˇerem to carry the coffin three times round the ke slunci, nebot’ pak spí nebožtík v míru. grave, following the course of the sun, for Stejnˇe jako lidé, má sebevraždy za ne- then the dead rest in peace. Like the people, správné a prokleté; oni vˇeˇrí,že pokud je do also, he holds suicides as accursed; for they hrobu uložen sebevrah, všichni mrtví okolo believe that all its dead turn over on their se v hrobech zaˇcnouobracet. faces if a suicide is laid amongst them. 9.2 Bewitched Butter

44 9. WITCHES,FAIRY DOCTORS

Bewitched Butter Zakleté máslo About the commencement of the last cen- Zhruba pˇred dvˇema sty let žil poblíž tury there lived in the vicinity of the tehdy velmi známé vesnice Aghavoe bo- once famous village of Aghavoe a wealthy hatý farmáˇrjménem Bryan Costigan. Vlast- farmer, named Bryan Costigan. This man nil spoustu dojnic, které mu dávaly mléko kept an extensive dairy and a great many a máslo v kraji tak proslulé, že rok co rok milch cows, and every year made consider- vydˇelávalslušnou sumu jejich prodejem. able sums by the sale of milk and butter. The luxuriance of the pasture lands in this Pastviny v okolí této vísky byly od- neighbourhood has always been prover- jakživa proslulé svojí bohatostí, a asi proto bial; and, consequently, Bryan’s cows were Bryanovy dojnice kypˇely zdravím a dá- the finest and most productive in the coun- valy více mléka než bývalo v okolí zvykem. try, and his milk and butter the richest and A jak bylo lahodné a vydatnˇe chutnalo! sweetest, and brought the highest price at Žádné jiné mléko se mu na trhu nevyrov- every market at which he offered these ar- nalo a kamkoli Bryan šel, všude mu vy- ticles for sale. dˇelalonemalé jmˇení. Things continued to go on thus prosper- A tak tomu bylo po mnoho let, když ously with Bryan Costigan, when, one sea- tu jednoho léta z niˇceho nic Bryan ˚uv son, all at once, he found his cattle declin- dobytek zaˇcal churavˇet a prodej mléka ing in appearance, and his dairy almost en- pˇrestal vynášet. Zpoˇcátku si Bryan ne- tirely profitless. Bryan, at first, attributed naˇríkal, myslel si, že to má na svˇedomí this change to the weather, or some such zmˇenapoˇcasí,ˇcinˇecopodobného, ale brzy cause, but soon found or fancied reasons to si musel pˇriznat,že zatím bude nˇecojiného. assign to a far different source. The cows, without any visible disorder, Jeho dojnice mu den ze dne pˇred oˇcima daily declined, and were scarcely able to chˇradlybez viditelného d ˚uvodua jen ztˇeží crawl about on their pasture: many of se plížily po pastvˇe. Spousta z nich pˇri them, instead of milk, gave nothing but dojení nemˇela kapiˇcku mléka, a pouze blood; and the scanty quantity of milk cedila krev. A když už nˇejaká náhodou which some of them continued to supply trošku mléka dala, bylo tak nahoˇrklé, že was so bitter that even the pigs would not ani prasata jej nechtˇelapít a to máslo, co drink it; whilst the butter which it pro- z nˇejudˇelali,smrdˇelona hony daleko, že duced was of such a bad quality, and stunk i psi pˇredním utíkali. Bryan hledal pomoc so horribly, that the very dogs would not u všech šarlatán ˚ua bab koˇrenáˇrek,co se o eat it. Bryan applied for remedies to all the nich doslechl, ale bez úspˇechu. quacks and "fairy-women" in the country– but in vain.

45 9. WITCHES,FAIRY DOCTORS

Many of the impostors declared that the Vˇetšinaz tˇechtopodvodník ˚utotiž neovlá- mysterious malady in his cattle went be- dala kouzelná zaˇríkadla,kterými se proti yond their skill; whilst others, although podobným neduh ˚um bojuje. Jiní, aˇc they found no difficulty in tracing it to su- s pˇresvˇedˇcením tvrdili, že ono soužení perhuman agency, declared that they had pochází z jiného než lidského poˇcínání, no control in the matter, as the charm un- se též dušovali, že tuto sílu nedokáží pˇre- der the influence of which his property was moci. Bryan ˚uvdobytek byl proklet pˇríliš made away with, was too powerful to be mocnými kouzly, jejichž moc by mohl dissolved by anything less than the special pˇremocijen zásah zh ˚ury. interposition of Divine Providence. Affairs continued in this plight, when one Vˇecidlouho z ˚ustalytak, jak byly, když tu very sultry evening in the latter days of na sklonku ˇcervenceBryanova žena, sedíc July, Bryan Costigan’s wife was sitting at na prahu dveˇrí ponoˇrena do pˇredení a her own door, spinning at her wheel, in a svých ponurých myšlenek, pˇrelétlapohle- very gloomy and agitated state of mind. dem po cestiˇccetáhnoucí se od hlavní cesty Happening to look down the narrow green až k jejich chalupˇe.V tom zahlédla drobnou lane which led from the high road to staˇrenkuzahalenou v šarlatovˇeˇcerveném her cabin, she espied a little old woman plášti bez bot, jak se o holi v jedné ruce a barefoot, and enveloped in an old scarlet klacku v druhé, pomalinku šourá k jejich cloak, approaching slowly, with the aid of a pˇríbytku. crutch which she carried in one hand, and a cane or walking-stick in the other. The farmer’s wife felt glad at seeing the Farmáˇrovažena pocítila velkou úlevu pˇri odd-looking stranger; she smiled, and yet pohledu na prapodivnˇevyhlížející staˇrenu, she knew not why, as she neared the house. a na tváˇri se ji objevil št’astlivý úsmˇev, A vague and indefinable feeling of plea- aniž by mˇelapotuchy, co bylo jeho pˇríˇci- sure crowded on her imagination; and, as nou. Címˇ byla staˇrena blíže, tím vˇetší the old woman gained the threshold, she pocit štˇestíse zaˇcalrozlévat farmáˇrˇciným bade her "welcome" with a warmth which tˇelem.Když se staˇrena dobelhala k jejich plainly told that her lips gave utterance but prahu, Bryanova žena ji uvítala vˇrelým to the genuine feelings of her heart. pozdravem, který jasnˇe vyjadˇroval nejh- lubší pocity ukryté v jejím srdci. "Mrs.," said the old woman, at length „Paninko,“ spustila staˇrena pˇrerušujíc breaking silence, "I am dry with the heat of nastálé ticho, „jsem vyprahlá jako kvˇetina the day; can you give me a drink?" na poušti, nenašlo by se tu nˇecok pití?“ "Alas!" replied the farmer’s wife, "I have no „Ach!” zvolala farmáˇrka, “nemám ˇceho drink to offer you except water, else you bych ti dala napít kromˇevody”. would have no occasion to ask me for it." "Are you not the owner of the cattle I see „Cožpak ti nepatˇrídobytek, co se tu v okolí yonder?" said the old hag, with a tone of pase?“ otázala se pˇrekvapenˇe záhadná voice and manner of gesticulation which staˇrena.Bylo nad pochyby jasné, že už pˇre- plainly indicated her foreknowledge of the dem znala odpovˇed’. fact.

46 9. WITCHES,FAIRY DOCTORS

Mrs. Costigan replied in the affirmative, Bryanova žena ji pˇritakala a pár slovy and briefly related to her every circum- shrnula celou zkázu, která se na nˇesnesla. stance connected with the affair, whilst the Staˇrenaji bez vyrušování vyslechla, pouze old woman still remained silent, but shook obˇcassvoji prošedivˇelouhlavou potˇrásla, her grey head repeatedly; and still contin- zatímco vševˇedoucího oka z pastvin a ued gazing round the house with an air of domu nespustila importance and self-sufficiency. "Have you any of the milk in the house?" „Zbylo ti doma nˇejakémléko?“ "I have," replied the other. „Ano, zbylo,“ pˇritakalaji farmáˇrka. "Show me some of it." „Dones mi ho.“ She filled a jug from a vessel and handed it Farmáˇrka nabrala džbánek mléka z kon- to the old sybil, who smelled it, then tasted vice a podala jej oné vˇedmˇe.Ta k nˇemu it, and spat out what she had taken on the pˇriˇcuchla, poté jej ochutnala a ihned jej floor. vyprskla na podlahu. "Where is your husband?" she asked. "I „Kde je tv ˚uj muž?“ okamžitˇe se pídila. must see him." „Musím s ním ihned mluvit.“ A messenger was despatched for Bryan, A tak za ním vyslaly posla, který se zaned- who shortly after made his appearance. louho vrátil s Bryanem. "Neighbour," said the stranger, "your wife „Sousede,“ zaˇcala staˇrena, „tvoje paní informs me that your cattle are going povídala, že ti letos dobytek chˇradnepˇred against you this season.” . . . "What will you oˇcima.“„Jak se mi odmˇeníš,když jej uz- give me if I cure them for you?" dravím?“ "Anything in our power," replied Bryan „Dáme ti vše, co máme,“ opovˇedˇelidvouh- and his wife, both speaking joyfully, and lasnˇe Bryan s jeho paní zalykajíce se with a breath. štˇestím. ... "Now," she said, "you both must chum, „Tak tedy,“ zaˇcala,„musíme se okamžitˇe make fast the door and windows, and let pustit do práce. there be no light but from the fire; do not Rychle zavˇretedveˇrea okna, nesmí tu být open your lips until I desire you, and by ob- jiného svˇetlanež z ohnˇe. serving my directions, I make no doubt but, Nemluvte, dokud vám neˇreknu. ere the sun goes down, we will find out the Jestliže udˇeláte vše, jak vám káži, vˇeˇrte, infernal villain who is robbing you." . . . že než slunce dnes zapadne, budeme znát jméno toho proradného niˇcemy, co vám tak škodí.“. . .

47 9. WITCHES,FAIRY DOCTORS

. . . Once more the cry was heard, and . . . Znovu zaslechli výkˇrik a poté spatˇrili an aged red-haired woman was seen ap- starou ženu s nazrzlými vlasy jak pospíchá proaching the house quickly. k jejich domu. . . . She was the wife of a neighbouring . . . Byla to sousedovic žena, Rachel Hig- farmer; her name was Rachel Higgins; and ginsová. she had been long suspected to be on famil- Již dlouho se o ni povídalo, že má prsty iar terms with the spirit of darkness. namoˇcenév ˇcernémagii. She had ﬁve or six cows but it was observed Pˇrestože sama vlastnila pˇet nebo šest by her sapient neighbours that she sold krav, podezˇrívavým soused ˚umneuniklo, more butter every year than other farmers’ že každý rok prodávala stále více a více wives who had twenty. mléka než jiné farmáˇrky, co jich mˇely Bryan had, from the commencement of the dvacet. decline in his cattle, suspected her for being Když Bryanovi zaˇcal chˇradnout dobytek, the aggressor, but as he had no proof, he napadlo ho, že by za tím mohla být právˇe held his peace. Rachel. Protože však nemˇeljediný d ˚ukaz,nechtˇel se se svými sousedy rozhašteˇrit.

. . . "Well," said the old beldame, with a grim . . . „Odhalili jsme její tajemství,“ pronesla smile, "it is not enough that we have merely stará ˇcarodˇejkazlovˇestnˇe,„ale to nestaˇcí. discovered the robber; all is in vain, if we Naše snaha pˇrijde v niveˇc, pokud ji do not take steps to punish her for the past, patˇriˇcnˇe nepotrestáme za její hˇríchy a as well as to prevent her inroads for the fu- nezabráníme ji v záškodnictví jednou ture." provždy.“ . . . "I will tell you; as soon as the hour of ...„Reknuˇ ti to; jakmile odbije p ˚ulnoc,vy- twelve o’clock arrives tonight, do you go dáš se na pastvu. to the pasture, and take a couple of swift- Vezmeš si s sebou pár loveckých ps ˚u, running dogs with you; conceal yourself in schováš se v blízkosti dobytka a po celou some place convenient to the cattle; watch dobu z nˇejnespuštíš oka. them carefully; and if you see anything, Jestliže se k nˇemu nˇekdo pˇriblíží, at’ již whether man or beast, approach the cows, ˇclovˇeknebo zvíˇre,rozbˇehnešse k nˇemua set on the dogs, and if possible make them vypustíš psy. draw the blood of the intruder; then ALL Nech je, aby onoho vetˇrelcenapadli a do will be accomplished. krve zranili. Jen tehdy bude náš úkol dokonán.

48 9. WITCHES,FAIRY DOCTORS

. . . Here Bryan and his comrade . . . were be- Ležíce v úkrytu, Bryan a jeho kamarád ginning to grow impatient, and were talk- . . . zaˇcínali ztrácet trpˇelivosta chystali se ing of returning home, when on a sudden vydat na cestu dom ˚u,když tu najednou us- they heard a rushing sound behind them, lyšeli pohyb za jejich zády. as if proceeding from something endeav- Znˇeloto, jako by se nˇecopokoušelo pro- ouring to force a passage through the thick razit si cestu hustým kˇrovím. hedge in their rear. Oba se podívali tím smˇerem a asi jen tˇežko They looked in that direction, and judge of si dokážete pˇredstavit,jaké bylo jejich pˇrek- their astonishment, when they perceived a vapení, když spatˇriliobrovského zajíce . . . large hare . . . After arriving to the ground, she remained Jen co se probojoval k pastvinˇe, z ˚ustal motionless for a few moments, looking na pár okamžik ˚unehybnˇestát a podezˇrí- around her sharply. vavˇepozoroval okolí. Poté zaˇcalradostnˇe She then began to skip and jump in a hupsat a skákat, stále blíže a blíže ke playful manner; now advancing at a smart krávám, obˇcasobezˇretnˇezase couvl, naˇcež pace towards the cows, and again retreat- se k nim opˇetpˇriblížilv nenadálém ˚utoku. ing precipitately, but still drawing nearer Najednou byl na dosah krávy a chvíli and nearer at each sally. z ní sál mléko, pak z druhé, tˇretí a další At length she advanced up to the next cow, a další dokud neobešel všechny. Krávy and sucked her for a moment; then on to celou dobu naˇríkavˇebuˇcely, vypadaly us- the next, and so respectively to every cow trašenˇea naštvanˇezároveˇn.Bryan se s ním on the field–the cows all the time low- hned od poˇcátku,kdy se zajíc dotkl první ing loudly, and appearing extremely fright- krávy, toužil vypoˇrádat,ale na radu svého ened and agitated. mazaného spoleˇcníkavyˇckávalse skˇrípa- Bryan, from the moment the hare com- jícími zuby, až zajíc skonˇcí,nebot’ s plným menced sucking the first, was with diffi- bˇrichemjim neuteˇce.A tak se také stalo. Za- culty restrained from attacking her; but his jícovo bˇrichobylo po obrovském hodování more sagacious companion suggested to dvakrát tak veliké, že se jen s velkými him, that it was better to wait until she obtížemi se vydal opˇetna cestu. Sotva se would have done, as she would then be doušoural ke kˇroví,kudy prve pˇrišel,a kde much heavier, and more unable to effect se jeho pronásledovatelé v kapradí krˇcili, her escape than at present. And so the issue s ohlušujícím kˇrikemse po nˇemzaˇcalihnát proved; for being now done sucking them a psy na nˇejpoštvali. all, her belly appeared enormously dis- tended, and she made her exit slowly and apparently with difficulty. She advanced towards the hedge where she had entered, and as she arrived just at the clump of ferns where her foes were crouched, they started up with a fierce yell, and hallooed the dogs upon her path.

49 9. WITCHES,FAIRY DOCTORS

The hare started off at a brisk pace ...... Zajíc okamžitˇe vystartoval a pelášil Rachel Higgins’s cabin appeared, through pryˇc, co mu síly staˇcily.. . Náhle se pˇred the grey morning twilight, at a little dis- nimi objevila chata Rachel Higginsové tance; and it was evident that puss seemed ozáˇrená v ranním svitu. Zajíc se k ní ze bent on gaining it, although she made a všech sil snažil dostat, pˇrestože se své considerable circuit through the ﬁelds in pronásledovatele snažil zmást, a proto se the rear. . . . the dogs made a spring and k ní blížil velkým obloukem pˇrespole za seized her violently by the haunch. She chatrˇcí.. . . Psi byli rychlejší a krvelaˇcnˇese uttered a loud and piercing scream, and mu zakousli do stehna. Ušák pronikavˇeza- struggled desperately to free herself from pištˇel, pˇresto dál bojoval o sv ˚uj život a his gripe, and at last succeeded, but not un- snažil se vymanit ze sevˇrení tesák ˚u.Po- til she left a piece of her ramp in his teeth. daˇrilose mu to, ale zaplatil za to vysokou daˇn.Jednomu psovi z ˚ustalz tlamy trˇcet kus jeho masa. . . . The men . . . . found the form of Rachel Muži . . . našli tˇelo Rachel Higginsové, Higgins, writhing in the most excruciat- pokroucené bolestí a zhroucené v kaluži ing agony, and almost smothered in a pool krve. Byli v šoku, snažili se s ubohou že- of blood. The men were astounded; they nou promluvit, ale bud’ již sil k odpovˇedi addressed the wretched old woman, but nemˇelanebo s nimi mluvit nechtˇela.Z rány she either could not, or would not answer ji stále tekly proudy krve a její bolest se them. Her wound still bled copiously; her viditelnˇe stupˇnovala. Nebylo pochyb, že tortures appeared to increase, and it was umírala. evident that she was dying. . . . Old Rachel’s remains were interred that Ostatky Rachel Higginsové byly ještˇe tu night in the neighbouring churchyard. Her noc pochovány na hˇrbitovˇe u kostela. fate soon became generally known, and Pˇríˇcinajejí záhuby se brzy roznesla po kraji. her family, ashamed to remain in their na- Její rodina pro samou hanbu rodnou vísku tive village, disposed of their property, and opustila, všechen majetek prodala a nikdy quitted the country for ever. se tam více neukázala.

50 10 Ghosts

10.1 Zjevení mrtvých

Ghosts Zjevení mrtvých Ghosts, or as they are called in Irish, Duchové, v irském jazyce nazýváni Thevshi or Tash (taidhbhse, tais), live in a Thevshi ˇciTash, jsou duše, jež jsou rozpol- state intermediary between this life and the ceny tužbou setrvat na zemi a jít dál. Ve next. They are held there by some earthly svˇetˇe lidí je drží láska, touha po jejich longing or affection, or some duty unful- pozemském životˇe,nedodržený slib anebo ﬁlled, or anger against the living. nenávist k živým. "I will haunt you", is a common threat; and „Budu tˇe chodit strašit,” je nejbˇežnˇejší one hears such phrases as, "She will haunt fráze, kterou m ˚užete zaslechnout v him, if she has any good in her". If one nˇekolika obmˇenách: „Budu tˇe chodit is sorrowing greatly after a dead friend, a strašit, dokud Boha o slitování nezaˇcneš neighbour will say, "Be quiet now, you are prosit!” Když nˇekdopro svého zesnulého keeping him from his rest; or, in the West- kamaráda hoˇrce naˇríká, sousedé ho ern Isles, according to Lady Wilde, they okˇriknou slovy: „Utiš svou bolest, tvé will tell you, "You are waking the dog that náˇrky nedopˇrejí jeho duši klid.” Podle watches to devour the souls of the dead". paní Wildeové na Západních Ostrovech1 lidé mají podobné poˇrekadlo: „Tiše, at’ neprobudíš temné síly, co rády by duše mrtvých si zotroˇcily.” Those who die suddenly, more commonly Tˇem,co zemˇrouneˇcekanˇe,hrozí mnohem than others, are believed to become haunt- vˇetší nebezpeˇcí, že se promˇení v duše, ing Ghosts. They go about moving the fur- jež klidu nalézti nemohou. Ti vám pak v niture, and in every way trying to attract domech hýbou nábytkem a provádˇejíjiné attention. zlotˇreliny ve snaze na sebe strhnout po- zornost živých.

1. jiný název pro Hebridy

51 10. GHOSTS

When the soul has left the body, it is drawn Duše, jež opustila tˇelo, m ˚uže být zajata away, sometimes, by the fairies. I have a vílami. Jednou mi pasáˇcekkrav povídal, že story of a peasant who once saw, sitting tuhle vidˇelve staré tvrzi, o níž se tradovalo, in a fairy rath, all who had died for years že je obydlena vílami, sedˇet duše všech in his village. Such souls are considered svých vesniˇcan˚udávno zemˇrelých. Jejich lost. If a soul eludes the fairies, it may be duše už jsou nadobro ztraceny. Pokud se snapped up by the evil spirits. The weak duším zadaˇrí utéci ze spár ˚u víl, nemají souls of young children are in especial dan- zdaleka vyhráno, nebot’ stále mohou býti ger. When a very young child dies, the polapeny temnými silami. Ty nejvíce touží western peasantry sprinkle the threshold po duších malých dˇetí.Proto, když zemˇre with the blood of a chicken, that the spir- malé dítko, venkované v západní ˇcásti its may be drawn away to the blood. zemˇepokropí práh domu krví z kuˇretea doufají, že to zlé duchy zastraší. A Ghost is compelled to obey the com- Duše zemˇrelých musejí plnit pˇríkazy mands of the living. ’The stable-boy up živých. „Celedínˇ od paní G.,“ povídá mi at Mrs. G——-’s there," said an old coun- starý sedlák, „potkal na dvoˇresvého pána, tryman, "met the master going round the pˇrestožeuž byl dva dny po smrti. Pˇrikázal yards after he had been two days dead, and mu, at’ se odebéˇredo opuštˇenéhomajáku told him to be away with him to the light- a straší tam. A vˇeˇrtetomu nebo ne, ještˇe house, and haunt that; and there he is far stále tam je. out to sea still, sir. Mrs. G——- was quite wild about it, and Paní G. z toho byla celé bez sebe, a ˇceledína dismissed the boy." A very desolate light- okamžitˇepropustila ze svých služeb.“ Op- house poor devil of a Ghost! Lady Wilde uštˇenýmaják, co horšího mohlo jeho duši considers it is only the spirits who are too pˇripadnout?Paní Wildeová tvrdí, že takto bad for heaven, and too good for hell, who muˇceny jsou jen ty duše, jež jsou pˇríliš are thus plagued. They are compelled to zlé, než aby mohly býti vpuštˇenydo nebe, obey some one they have wronged. ale nejsou prohnané natolik, aby peklu propadly. Jako trest musejí poslouchat ty, kterým zaživa ublížily. The souls of the dead sometimes take the Duše mrtvých mohou také být promˇenˇeny shapes of animals. There is a garden at ve zvíˇrata. Jeden zahradník z mˇesteˇcka Sligo where the gardener sees a previous na severozápadˇe Irska tvrdí, že vídává owner in the shape of a rabbit. They will v zahradˇesvého zemˇreléhopána v podobˇe sometimes take the forms of insects, espe- zajíce. Mohou na sebe též vzít podobu cially butterﬂies. If you see one ﬂuttering hmyzu, nejˇcastˇeji motýl ˚u. Když spatˇríte near a corpse, that is the soul, and is a sign poletovat kolem tˇela zemˇrelého motýlka, of its having entered upon immortal happi- je to znamení, že jeho duše je na cestˇe ness. k vˇeˇcnémuklidu.

52 10. GHOSTS

The author of the Parochial Survey of Ire- Mason, autor díla Pˇrehled církví v Irsku land, 1814, heard a woman say to a child z roku 1814, zaslechl kdysi ženu, jak ˇríká who was chasing a butterﬂy, "How do you svému dítˇeti: „Neprohánˇej toho motýla, know it is not the soul of your grandfather". dyt’ tvým vlastním dˇedem m ˚uže býti!“ On November eve the dead are abroad, and Rok co rok se všichni mrtví jednoho dance with the fairies. listopadového veˇcera na chvíli ztratí. Té noci se s vílami veselí a tanˇcí. As in Scotland, the fetch is commonly be- Ve Skotsku se všeobecnˇe veˇrí i na sm- lieved in. If you see the double, or fetch, of rtonoše – pˇrízraky zjevující se v podobˇe a friend in the morning, no ill follows; if at lidí. Pokud ráno uvidíte dvojníka – sm- night, he is about to die. rtonoše vašeho pˇrítele, nestane se nic. Pokud se tak stane v noci, je to znamení, že zakrátko zemˇre.

10.2 Dream by William Allingham

A Dream Sen I heard the dogs howl in the moonlight Slyšel jsem vlky výt za svitu mˇesíce; night; Nepohlédnout z okna nemoh sem; I went to the window to see the sight; Všichni mrtví, známí mí, All the Dead that ever I knew Vedle sebe v ˇradáchšli. Going one by one and two by two.

On they pass’d, and on they pass’d; Kráˇcelia kráˇceli; Townsfellows all, from ﬁrst to last; Druzi mí rodní, od nejstaršího po nejm- Born in the moonlight of the lane, ladší; Quench’d in the heavy shadow again. Zrozeni ve svitu mˇesíce, Duše, jež tmˇeza obˇet’ padly.

Schoolmates, marching as when we play’d Kamarádi z dˇetství,pochodujíc jak pˇrihˇre At soldiers once–but now more staid; na vojáky, Those were the strangest sight to me Kdys velcí bojovníci – ted’ vážnˇehledíce Who were drown’d, I knew, in the awful Jejich pˇrítomnostdech mi vzala, sea. Poté, co daleké moˇrenavždy odneslo je.

Straight and handsome folk; bent and Lidé všeho vzevˇrení; weak, too; Staˇrí,krásní, ˇcestníˇcizlomeni; Some that I loved, and gasp’d to speak to; Lidé, jenž jsem miloval a za sl ˚uvkos nimi Some but a day in their churchyard bed; duši dal; Some that I had not known were dead. Další, co sotva v zem pochováni byli, Ti, co bych pˇrísahal,že s námi ještˇežijí.

53 10. GHOSTS

A long, long crowd–where each seem’d Dlouhé to procesí – kde každý vypadal zo- lonely, ufale sám, Yet of them all there was one, one only, Nikdo z nich si mˇenevšímal, když tu tváˇr Raised a head or look’d my way. jedna jediná She linger’d a moment,–she might not stay. Smˇerem mým pohlédla. Na okamžik krok sv ˚ujzmeškala – z ˚ustat však nemohla.

How long since I saw that fair pale face! Onu tváˇrbledou a poctivou léta jsem nev- Ah! Mother dear! might I only place idˇel! My head on thy breast, a moment to rest, Ach, matko má drahá! nech mˇejen While thy hand on my tearful cheek were Hlavou na hrudi ti spoˇcinouti, prest! A rukou svou slzy mi otˇri!

On, on, a moving bridge they made Dál, dál, jako jeden muž, Across the moon-stream, from shade to Skrz mˇesíˇcnísvit, tmu a stín, shade, Mladí, staˇrí,muži, ženy; Young and old, women and men; Nˇekteˇrídávno v zapomnˇení,náhle v mysli Many long-forgot, but remember’d then. oživeni.

And ﬁrst there came a bitter laughter; Tu uslyšel jsem hoˇrkýsmích; A sound of tears the moment after; Po chvíli zas pˇrívalslz; And then a music so lofty and gay, Nakonec hudbu tak velebnou, That every morning, day by day, Že každé ráno den co den I strive to recall it if I may. Mír roznese v srdci mém.

54 11 The Solitary Fairies

11.1 Lejprechán, Klurikón a Rudohlav

The Solitary Fairies Skˇrítkovéa víly samotáˇrky Lepracaun. Cluricaun. Far Darrig. Lejprechán, Klurikón a Rudohlav "The name Lepracaun," Mr. Douglas Hyde „Jméno Lejprechán,“ píše mi v dopise Dou- writes to me, "is from the Irish leith brog– glas Hyde, „pochází z irského leith brog i.e., the One-shoemaker, since he is gener- – což znamená Švec Jednobotka, nebot’ ally seen working at a single shoe. It is spelt vždy když byl spatˇren, šil pouze jednu in Irish leith bhrogan, or leith phrogan, and botu. V irštinˇe se jeho jméno píše leith is in some places pronounced Luchryman, bhrogan ˇci leith phrogan, a v nˇekterých as O’Kearney writes it in that very rare oblastech se vyslovuje Lurchymán, jak se book, the Feis Tigh Chonain." zmiˇnujeO’Kearney ve své, velmi vzácné, knize Feis Tigh Chonain (Slavnost v Co- nanovˇedomˇe).“ The Lepracaun, Cluricaun, and Far Dar- Lejprechán, Klurikón a Rudohlav. Jsou rig. Are these one spirit in different moods tímže stvoˇrením,rozliˇcnípouze podobou and shapes? Hardly two Irish writers are a charakterem? V Irsku nenajdete dva au- agreed. In many things these three fairies, tory, kteˇríby se v této otázce shodli. V mno- if three, resemble each other. They are with- hém jsou si tito tˇriskˇrítkové,pakliže jsou ered, old, and solitary, in every way un- tˇri, podobní. Všichni jsou staˇrí, zcvrklí a like the sociable spirits of the ﬁrst sections. zhrbení a narozdíl od rusalek žijí v os- They dress with all unfairy homeliness, amˇení.V oblékání jim chybí rusalˇcístˇríd- and are, indeed, most sluttish, slouching, most a v chování dobrosrdeˇcnost.Jsou to jeering, mischievous phantoms. They are tvorové zlomyslní, posmˇevaví a strašlivˇe the great practical jokers among the good nepoˇrádní. Právˇe oni pˇrinášejí lidem ne- people. jedno trápení. The Lepracaun makes shoes continually, Lejprechána zastihnete jedinˇe,jak šije boty. and has grown very rich. Many treasure- Za mnoho staletí si tím nastˇrádalnesmírné crocks, buried of old in war-time, has he bohatství. Patˇrí mu mnohé poklady, za- now for his own. In the early part of this kopány v dobách dávno zapomenutých. century, according to Croker, in a newspa- Croker se zmiˇnuje, jak ještˇe poˇcátkem per ofﬁce in Tipperary, they used to show a tohoto století se jedny noviny pyšnily little shoe forgotten by a Lepracaun. tím, že vlastnily maliˇckou botku, kterou Lejprechán za sebou zanechal. The Cluricaun, (Clobhair-ceann, Klurikón je znám tím, že se dokáže dostat O’Kearney) makes himself drunk in do všech sklep ˚una svˇetˇea opíjí se vínem gentlemen’s cellars. Some suppose he is vážených pán ˚u.Nˇekteˇrílidé vˇeˇrí,že je to merely the Lepracaun on a spree. He is druh Lejprechána, co se z ˇretˇezuutrhl. Na almost unknown in Connaught and the severozápadˇeIrska se témˇeˇrnevyskytuje. north.

55 11. THE SOLITARY FAIRIES

The Far Darrig (fear dearg), which means Rudohlav si své jméno vysloužil ˇcerveným the Red Man, for he wears a red cap and ˇcepeˇckema kabátkem. Sv ˚ujˇcastráví vy- coat, busies himself with practical joking, lomeninami a zlými žerty. Je to to jediné, especially with gruesome joking. This he ˇcemuse celé dny vˇenuje. does, and nothing else. The Fear-Gorta (Man of Hunger) is an ema- Hladomuž, neboli Fear-Gorta, je na kost ciated phantom that goes through the land vychrtlý pˇrízrak, který prochází krajinou in famine time, begging an alms and bring- v dobách hladomoru a žebrá o jídlo, ing good luck to the giver. obleˇcení ˇcipeníze. Kdo ho nˇeˇcímobdaˇrí, dobrem bude odmˇenˇen. There are other solitary fairies, such as Na svˇetˇe najdete mnoho druh ˚u víl a the House-spirit and the Water-sheerie, skˇrítk˚u samotáˇr˚u. Patˇrí k nim domácí own brother to the English Jack-o’-Lantern; skˇrítkové, bludiˇcky (pˇríbuzné anglického the Pooka and the Banshee – concerning Dýˇnového Jacka), strašlivý Pooka a sm- these presently; the Dallahan, or headless rtonoška Bánší; bezhlavý duch Dallahan – phantom–one used to stand in a Sligo street kdysi jeden stával v Sligo Street, když noci on dark nights till lately; the Black Dog, a byly obzvláštˇetmavé; Cernýˇ pes – který by form, perhaps, of the Pooka. The ships at mohl být jedním z mnoha vtˇeleníPooky; the Sligo quays are haunted sometimes by obˇcas pronásleduje lodˇev okolí pˇrístavu this spirit, who announces his presence by mˇesteˇckaSligo. Jeho pˇríchod vždy ohlásí a sound like the ﬂinging of all "the tin por- hrozivý rámus, který pˇripomíná tˇreskot ringers in the world" down into the hold. plechového nádobí v podpalubí. Nezˇrídka He even follows them to sea. pronásleduje námoˇrníkyi na širé moˇre. The Leanhaun Shee (fairy mistress), seeks Leannan Sidhe (vílí milenka) touží získat the love of mortals. If they refuse, she must lásku smrtelník ˚u. Jestliže ji lidé odmít- be their slave; if they consent, they are hers, nou, stane se jejich otrokem; pakliže ji and can only escape by ﬁnding another to podlehnou, stanou se jejím majetkem a jed- take their place. The fairy lives on their life, iný zp ˚usob,jak se vymanit z jejího vlivu, and they waste away. Death is no escape je najít za sebe náhradu. Leannan Sidhe ze from her. She is the Gaelic muse, for she smrtelník ˚uvysává jejich životní energii a gives inspiration to those she persecutes. oni pomalu chˇradnou.Ani smrt je z jejích The Gaelic poets die young, for she is rest- spár ˚unevysvobodí. Leannan Sidhe je gael- less, and will not let them remain long on ská m ˚uza.Všem svým obˇetemvdechne in- earth–this malignant phantom. spiraci. Gaelští básnící však umírají mladí. Leannan Sidhe je nedoˇckaváa zlomyslná víla, a proto jim dlouhou slávu na svˇetˇene- dopˇreje. Besides these are divers monsters–the Kromˇe nich je ještˇe havˇet’ vodní – Augh-iska, the Water-horse, the Payshtha1, Augh—iska – vodní k ˚uˇn, Payshtha, the Lake-dragon, and such like; but jezerní drak, a podobní; ale jestli se jedná o whether these be animals, fairies, or spirits, tvory a netvory pˇrirozené ˇcinadpˇrirozené, I know not. to vˇeru nevím.

1. píast – bestie

56 11. THE SOLITARY FAIRIES 11.2 Lejprechán, neboli Švec jednobotka

The Lepracaun; or Fairy Shoe- Lejprechán, neboli Švec jed- maker nobotka William Allingham William Allingham I. I. Little Cowboy, what have you heard, Copak jsi zaslechl, pasáˇckukrav, Up on the lonely rath’s green mound? Tam na zeleném kopci u tvrze opušt’ené? Only the plaintive yellow bird Žalostné pˇenípˇenkav Sighing in sultry ﬁelds around, Nad rozpálenými poli v okolí blízkém, Chary, chary, chary, chee-ee!– Cériˇ ˇcériˇcériˇcíííí! Only the grasshopper and the bee?– Vˇceluˇcikobylku luˇcní? "Tip-tap, rip-rap, „Kvalimany dalimany Tick-a-tack-too! umbaj kvá! Scarlet leather, sewn together, Z ˇcervenék ˚uže,sešít se to m ˚uže, This will make a shoe. Kdo to nezná, neuvˇeˇrí,bota náhle v ruce leží. Left, right, pull it tight; Zprava, zleva, zatáhnout; Summer days are warm; V létˇešiju na trávˇe, Underground in winter, V zimˇezase na blátˇe, Laughing at the storm! Hromy, blesky k smíchu jsou! Lay your ear close to the hill. S hlavou položenou v trávˇe, Do you not catch the tiny clamour, Cožpak neslyšíš mˇeprávˇe? Busy click of an elﬁn hammer, Pilné rány kladiva, Voice of the Lepracaun singing shrill Lejprechán ti krákoravˇezazpívá As he merrily plies his trade? Když ˇcervenounití si vyšívá. He’s a span Je to fešák, paneˇcku! And a quarter in height. Co sotva dosáhne ti po koleno. Get him in sight, hold him tight, Když ho najdeš, nepust’ ho, And you’re a made V boháˇcepromˇenítˇerázem! Man!

57 11. THE SOLITARY FAIRIES 11.3

II. II. You watch your cattle the summer day, Na dobytek pozor v létˇedávej, Sup on potatoes, sleep in the hay; Vaˇrsi z brambor, v senˇev noci se válej; How would you like to roll in your car- Cožpak nechceš ve vlastním koˇcáˇreuhánˇet, riage. Nóbl dámy prohánˇet? Look for a duchess’s daughter in marriage? Polap Ševce Jednobotku – pak to nebude Seize the Shoemaker–then you may! jen pouhý sen! "Big boots a-hunting, „Šiju, šiju botiˇcky, Sandals in the hall, Do domu plátˇené,na lov zase kožené. White for a wedding-feast, Stˇrevícebílé na svatbu, Pink for a ball. R ˚užovéna velkou slávu. This way, that way, Svit’ mˇesíˇcku,svit’, So we make a shoe; at’ práce udˇelámvíc. Getting rich every stitch, Mˇešcepenˇezposbírám, Tick-tack-too!" Radostnˇesi zazpívám!“ Nine-and-ninety treasure-crocks Na devˇetadevadesáthrnc ˚uzlata This keen miser-fairy hath, Tento lakomý skˇrítekmá, Hid in mountains, woods, and rocks, Schovány v horách, lesích, skaliskách, Ruin and round-tow’r, cave and rath, I zˇríceniny, jeskynˇe,vˇežea kopce And where the cormorants build; nesou jeho tˇežkéhrnce, From times of old Všude, kde se náš nenasyta zastavil; Guarded by him; Od doby, kdy zrozen byl Each of them ﬁll’d Stˇrežísi své poklady, Full to the brim Hrnce všechny naplnˇeny, With gold! Až okraje pˇretékají Blýskavými zlat’áky!

11.4

III. III. I caught him at work one day, myself, Jednou pˇripráci já ho nachytal, In the castle-ditch, where foxglove grows,– Na zámku v pˇrikopˇes náprstníky, – A wrinkled, wizen’d and bearded Elf, Byl zhrbený a vrásˇcitý,s dlouhými vousy, Spectacles stuck on his pointed nose, Na nose špiˇcatémmˇelnaražené brejle, Silver buckles to his hose, Stˇríbrnéspony všude se mu leskly, Leather apron-shot in his lap– V kožené zástˇeˇrepísniˇckusvou pˇel. "Rip-rap, tip-tap, „Kvalimany dalimany Tick-tack-too! umbaj kvá“ (A grasshopper on my cap! (Na ˇcapkukobylka mi skoˇcila! Away the moth ﬂew!) Mola z ní vystrašila!)

58 11. THE SOLITARY FAIRIES

Buskins for a fairy prince, Holínky pro vílího prince, Brogues for his son,– Stˇrevícepro syna jeho, - - Pay me well, pay me well, Odmˇeˇnmˇepo právu, When the job is done!" Až práci svou odvedu!“ The rogue was mine, beyond a doubt. Ten dareba mi byl na milost vydán, I stared at him; he stared at me; Já koukal na nˇej;on zase na mne; "Servant, Sir!" "Humph!" says he, „Služebníˇcek,pane m ˚uj!”„Hm,” po chvíli zabruˇcí, And pull’d a snuff-box out. Tabák k šˇnupáníz kapsy vyloví. He took a long pinch, look’d better pleased, Na sobˇenešetˇril,s úsmˇevembohatˇesi vzal, The queer little Lepracaun; Ten podivín Lejprechán; Offer’d the box with a whimsical grace,- V rozmaru nabídl mi též, - Pouf! he ﬂung the dust in my face, Puf! máchnutím tabák mi do tváˇrehodil, And, while I sneezed, Já se rozkýchal, Was gone! Více ho nevidˇe.

59 12 Giants

12.1 Giants

Giants Obˇri WHEN the pagan gods of Ireland–the Zatímco irští pohanští bohové - Tuath- Tuath-De-Danan–robbed of worship and De-Danan, nebo-li bohové z rodu Danu, offerings, grew smaller and smaller in the pˇricházelio své vyznavaˇcea obˇetíse jim popular imagination, until they turned into dostávalo jen poskromnu, pohanští hrdi- the fairies, the pagan heroes grew bigger nové získávali na obdivu, v myslích lidí and bigger, until they turned into the gi- rostli a rostli až vyrostli v obry. Sláva boh ˚u ants. tak byla pomalu vytlaˇcovánaz povˇedomí lidí, jejich schopnosti chably, až se nakonec promˇenilive víly a lesní skˇrítky.

12.2 A Legend of Knockmany

A Legend of Knockmany KnockmanskÁ legenda William Carleton Willliam Carleton What Irish man, woman, or child has not Tˇežkobyste v Irsku hledali ˇclovˇeka,jenž by heard of our renowned Hibernian Her- nikdá neslyšel o našem vˇehlasnémirském cules, the great and glorious Fin M’Coul? Herculovi, velmocném Finu M’Coulovi! Not one, from Cape Clear to the Giant’s Lidé obývající území od Jasného mysu Causeway, nor from that back again to po Obrovy Schody ho znají alespoˇn z Cape Clear. And, by the way, speaking of vyprávˇení. No, a právˇe Obrovy schody the Giant’s Causeway brings me at once to jsou místo, kde povídka o našem slavném the beginning of my story. Well, it so hap- hrdinovi zaˇcíná.Tak tedy, když Fin a jeho pened that Fin and his gigantic relatives obrovští pˇríbuzní stavˇeli most v místˇe, were all working at the Causeway, in order které se dnes nazývá Obrovy schody a - což to make a bridge, or what was still better, bylo mnohem d ˚uležitˇejší - dláždili cestu a good stout pad-road, across to Scotland; napˇríˇcpr ˚ulivemaž do Skotska; tu si Fin when Fin, who was very fond of his wife vzal do hlavy, že musí ihned dom ˚uza svou Oonagh, took it into his head that he would ubohou ženou, aby se ujistil, že se jí v jeho go home and see how the poor woman got nepˇritomnostidobˇredaˇrí. on in his absence. To be sure, Fin was a true Irishman, and so Jelikož Fin byl pravý Ir, co si usmyslil, the sorrow thing in life brought him back, to také udˇelal,a již zakrátko stanul pˇred only to see that she was snug and comfort- dveˇrmisvého obydlí. Ku své radosti spatˇril able, and, above all things, that she got her svoji ženušku št’astnou a spokojenou, což rest well at night; bezpochyby svˇedˇcilo o tom, že po nocích vydatnˇevychutnávala spánku.

60 12. GIANTS for he knew that the poor woman, when he Když s ní býval doma, ˇcasto po nocích was with her, used to be subject to nightly propadala dˇesivým noˇcním m ˚urám, což qualms and configurations, that kept him Fina nejednou trápilo. Jelikož byl do- very anxious, decent man, striving to keep brák od kosti, snažil se ze všech sil, aby her up to the good spirits and health that jeho ženuška z ˚ustala stejnˇe rozverná a she had when they were first married. So, starostí neznalá, jako tenkrát, když ji spatˇril accordingly, he pulled up a fir-tree, and, poprvé. Tudíž bez váhání vyrval ze zemˇe after lopping off the roots and branches, strom, ulámal z nˇehokoˇrenya vˇetve,a tak made a walking-stick of it, and set out on si z nˇejzhotovil h ˚ulk ch ˚uzia vydal se na his way to Oonagh. cestu za Oonagh.

Oonagh, or rather Fin, lived at this time on Oonagh, tak jako Fin, tou dobou žila na the very tip-top of Knockmany Hill, which úplném vrcholu Knockmanského pahorku. faces a cousin of its own called Cullam- Ten vrch stojí naproti jinému, východo- ore, that rises up, half-hill, half-mountain, jiho-východnˇe,jak ˇríkajínámoˇrníci,když si on the opposite side–east-east by south, as chtˇejíutahovat ze suchozemské krysy. Ten the sailors say, when they wish to puzzle a nap ˚ulkopec a nap ˚ulhora se zve Cullam- landsman. ore.

Now, the truth is, for it must come out, that Fin svoji ženu z celého srdce miloval, to mu honest Fin’s affection for his wife, though upˇrítnelze. Pravdu však celou ˇrícimusím, cordial enough in itself, was by no man- na cestu se nevydal pouze z obav o ni. ner of means the real cause of his journey V jeho dobˇe zemi obýval obr Kukulín – home. There was at that time another giant, nˇekteˇrítvrdí, že to byl též Ir, jiní, že Skot- named Cucullin–some say he was Irish, sko je jeho domovinou, ale at’ tak ˇcionak, and some say he was Scotch-but whether byl to Fin ˚uvúhlavní nepˇrítel. Žádný obr Scotch or Irish, sorrow doubt of it but he nemˇelodvahu se Kukulínovi postavit; jeho was a targer. No other giant of the day síla neznala mezí, a když se rozohnil, dup- could stand before him; and such was his nul tak mocnˇe,že se celá zem zatˇrásla. strength, that, when well vexed, he could give a stamp that shook the country about him. The fame and name of him went far and Jeho jméno každý znal, zvˇesti o nˇem se near; and nothing in the shape of a man, šíˇrily dál a dál. Tradovalo se, že v boji s it was said, had any chance with him in ním nikdo jiný nem ˚užesíly mˇeˇrit.Zda je a fight. Whether the story is true or not, I to pravda nebo lež, vám nepovím, ˇríkáse cannot say, but the report went that, by one však, že jednou ranou promˇenil blesk v blow of his fists he flattened a thunderbolt, placku. Tu nosil v kapse svého kabátu, aby and kept it in his pocket, in the shape of a všem protivník ˚umpˇredbojem ukázal svoji pancake, to show to all his enemies, when sílu. they were about to fight him.

61 12. GIANTS

Undoubtedly he had given every giant Není pochyb, že každého obra v Irsku in Ireland a considerable beating, barring hravˇe pokoˇril, až mu zbyl jenom Fin Fin M’Coul himself; and he swore, by the M’Coul. Na hrob své matky slavnostnˇe solemn contents of Moll Kelly’s Primer, pˇrisahal, že si nedopˇreje odpoˇcinku, v that he would never rest, night or day, noci oka nezamhouˇrí, v zimˇe u ohnˇe se winter or summer, till he would serve Fin neohˇreje, dokud nedostojí svému slovu with the same sauce, if he could catch him. a nepokoˇrí Fina v boji jako všechny os- Fin, however, who no doubt was the cock tatní. Kéž by ho však najít moh! Oba byli of the walk on his own dunghill, had a jako dva kohouti na jednom smetišti. Fin, strong disinclination to meet a giant who aˇckolisi pˇripadalnepˇremožitelný,se nik- could make a young earthquake, or flatten terak s Kukulínem – obrem, jenž ve vzteku a thunderbolt when he was angry; so ac- z blesku placku udˇelal a zemí otˇrásal - cordingly kept dodging about from place to netoužil utkat. Proto se potloukal kˇrížem place, not much to his credit as a Trojan, to krážem krajinou, nedbaje na svoji povˇest be sure, whenever he happened to get the nebojácného bojovníka. Jakmile zaslechl, hard word that Cucullin was on the scent že Kukulín je mu na stopˇe,na nic neˇcekal of him. a vzal do zajeˇcích. This, then, was the marrow of the whole A to byl pravý d ˚uvod výpravy za movement, although he put it on his anx- manželkou, i když sám sobˇe si nam- iety to see Oonagh; and I am not saying louval, že Oonagh ho potˇrebuje. Já sám but there was some truth in that too. How- jsem jen pouhý muž, co svoji ženu miluje, ever, the short and long of it was, with rev- proto vím, že zrnko pravdy v tom taky erence be it spoken, that he heard Cucullin je. Skonˇcemeted’ s dohady, ve vší poˇcest- was coming to the Causeway to have a trial nosti ˇríci mohu, že jakmile se doslechl o of strength with him; and he was naturally Kukulínovi, jenž byl na cestˇeke Schod ˚um, enough seized, in consequence, with a very aby s ním pomˇeˇril síly, pˇrepadly Fina warm and sudden fit of affection for his starosti o manželˇcino blaho, nebot’ ta wife, poor woman, who was delicate in her ubohá žena chabého zdraví vedla osamˇelý health, and leading, besides, a very lonely, život, beztak plný nástrah (všem dokola uncomfortable life of it (he assured them) povídal) a po spoleˇcnosti jeho marnˇe již in his absence. dlouho toužila. He accordingly pulled up the fir-tree, as A tak vyrval jedli ze zemˇe,jak jsem vám již I said before, and having snedded it into povídal, a když ji v h ˚ulnešetrnˇepromˇenil, a walking-stick, set out on his affectionate vypravil se pln lásky na cestu za svoji dra- travels to see his darling Oonagh on the top hou ženou na Knockmanský vrch. of Knockmany, by the way. In truth, to state the suspicions of the coun- Popravdˇebylo lidem velmi podezˇrelé,proˇc try at the time, the people wondered very si Fin zvolil za sv ˚ujdomov Knockmanský much why it was that Fin selected such vrch, neb vítr tam na vteˇrinkunepovolil, a a windy spot for his dwelling-house, and nˇekteˇrídokonce našli odvahu, aby mu své they even went so far as to tell him as mínˇenívmetli do oˇcí. much.

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"What can you mane, Mr. M’Coul," said „Proˇc,pane M’Coule,“ ˇcastose ho tázali, they, "by pitching your tent upon the top of „svou chýš jste si postavil na vrcholku Knockmany, where you never are without Knockmany? Dnem i nocí tam kvílí vítr, a breeze, day or night, winter or summer, v zimˇe,v létˇejakbysmet! Vždyt’ i ten noˇcní and where you’re often forced to take your ˇcapec si tam na uši musíte nasadit, aniž nightcap without either going to bed or byste do postele šli, zda bouˇrkapˇrichází, turning up your little finger; ay, an’ where, víte dˇrív, než prst sv ˚ujzdvihnete; a. . . Ach besides this, there’s the sorrow’s own want ano, abych nezapomnˇel,navíc tam nahoˇre of water?" není ani kapka vody!“ "Why," said Fin, "ever since I was the height „To vám snadno vysvˇetlím,“Fin na to, „již of a round tower, I was known to be fond od doby, co jsem pˇrerostl tu nejvyšší vˇež,se of having a good prospect of my own; and o mˇeví, že jsem pyšný na své hnízdeˇcko where the dickens, neighbours, could I find s nádherným výhledem do okolí. Nu, a a better spot for a good prospect than the kde bych lepšího místa pohledal, než tuhle top of Knockmany? As for water, I am sink- na Knockmanském vrchu? A pro vodu ing a pump, 2 and, plase goodness, as soon se netrápím, už jsem zaˇcal s hloubením as the Causeway’s made, I intend to finish studny a jen co budou Schody hotovy, it." s boží pomocí ji zakrátko dokonˇcím.“ Now, this was more of Fin’s philosophy; Finova moudrá slova byla pravdou jen for the real state of the case was, that he zˇcásti, ve skuteˇcnosti se mu zdálo, že pitched upon the top of Knockmany in or- Knockmany je skvˇeléútoˇcištˇepˇred hroz- der that he might be able to see Cucullin itánským Kukulínem. Fin by mohl už coming towards the house, and, of course, z dálky spatˇrit, jestli se Kukulín k nˇemu that he himself might go to look after his neblíží, a tak by se mohl ihned vydat za distant transactions in other parts of the svými povinnostmi v jiných ˇcástechzemˇe, country, rather than–but no matter–we do než aby – na tom ale nezáleží, kdo z nás by not wish to be too hard on Fin. All we have Fina soudit chtˇel?Prostˇeto shrˇnmeslovy, to say is, that if he wanted a spot from že stˇežíby našel lepšího místeˇcka,odkud which to keep a sharp look-out–and, be- by mˇelbezpeˇcnýpˇrehled o okolí – a mezi tween ourselves, he did want it grievously– námi, po niˇcem jiném tak netoužil, jako barring Slieve Croob, or Slieve Donard, or po výhledu na hory Slieve Croob, Slieve its own cousin, Cullamore, he could not Donard, i na horu Cullamore. V celém Ul- find a neater or more convenient situation steru nebylo pˇríhodnˇejšíhomísta, než to, for it in the sweet and sagacious province které si zvolil. of Ulster. "God save all here!" said Fin, good- „Pozdrav Pánb ˚uh!“ zvolal Fin zvesela, humouredly, on putting his honest face into sotva stanul na prahu. his own door. "Musha, Fin, avick, an’ you’re welcome „Pro rány boží, jestli to není Fin! Bud’ vítán home to your own Oonagh, you darlin’ doma, pane m ˚uj.“Polibek vˇrelýa pln lásky bully." Here followed a smack that is said následoval její slova. Vzduch se nasytil je- to have made the waters of the lake at the jich radostí, že i rybky v jezeˇrena dnˇehory, bottom of the hill curl, as it were, with kind- se zaˇcalyrozvernˇeprohánˇet. ness and sympathy.

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"Faith," said Fin, "beautiful; an’ how are „Má jediná, lásko moje drahá, jakpak jsi you, Oonagh–and how did you sport your se mˇela?“ zapoˇcal Fin svoje výzvˇedy, „a ﬁgure during my absence, my bilberry?" jakým radovánkám si se tu beze mˇeodd- ávala?“ ’Never a merrier–as bouncing a grass „Št’astnˇejšíuž jsem ani být nemohla. Vese- widow as ever there was in sweet ’Tyrone lejší není snad ani ta písniˇcka o ˇcerstvé among the bushes’." vdovˇe.“ Fin gave a short, good-humoured cough, Fin se snažil uchovat si vážnou tváˇr,pak and laughed most heartily, to show her to ale již nevydržel a od srdce se rozesmál. how much he was delighted that she made Bylo nad slunce jasnˇejší,že její odpovˇed’ ho herself happy in his absence. nesmírnˇepotˇešila. Fin spent two or three happy days with Od jeho návratu dom ˚uuplynuly dva ˇci Oonagh, and felt himself very comfortable, tˇri dny, bˇehem nichž si Fin užíval po- considering the dread he had of Cucullin. hodlí domova, pˇrestože nad ním visela This, however, grew upon him so much Kukulínova hrozba. Jeho žena se však that his wife could not but perceive some- nedala tak lehce oklamat, vˇedˇela,že jejího thing lay on his mind which he kept alto- muže nˇecotrápí, ale nechce se s ní o to gether to himself. Let a woman alone, in the podˇelit.Nesmˇelaby však být ženou, aby li- meantime, for ferreting, or wheedling a se- chotkami a všeteˇcnýmiotázkami to tajem- cret out of her good man, when she wishes. ství ze svého muže nevymámila. Fin was a proof of this. ’It’s this Cucullin," said he, "that’s troubling „To ten Kukulín,“ zaˇcal Fin se svým me. When the fellow gets angry, and begins trápením, „To on mˇenedopˇrejechvíli klidu. to stamp, he’ll shake you a whole town- Ríkáˇ se, že když se rozzlobí a zadupe, za- land; and it’s well known that he can stop tˇrese se celá zem, a není žádným tajem- a thunderbolt, for he always carries one stvím, že i s bleskem si lehce poradí. Je- about him in the shape of a pancake, to den blesk dokonce nosí ve své kapse - show to anyone that might misdoubt it." zmáˇcknutý v obyˇcejnou placku, aby se pˇredostatními mohl vychloubat svojí silou. “ "Well, my bully, don’t be cast down," said „Nuž co, ch ˚udˇe moje, niˇceho se neboj,“ Oonagh; "depend on me, and maybe I’ll pravila Oonagh, „spolehni se na mne a bring you better out of this scrape than ever uvidíš, že vše se v dobré obrátí, ba lépe se you could bring yourself, by your rule o’ ti povede, než kdybys to sám bojem vyˇrešit thumb." chtˇel.“ This quieted Fin’s heart very much, for he Její slova Finovy obavy utišila, nebot’ Oon- knew that Oonagh was hand and glove agh byla známá pro své pletichy s vílami. with the fairies; and, indeed, to tell the A kdybych celou pravdu povˇedˇeti mˇel, truth, she was supposed to be a fairy her- proslýchalo se, že je sama vílou. I kdyby to self. If she was, however, she must have byla pravda, urˇcitˇeby byla tou nejhodnˇejší been a kind-hearted one, for, by all ac- z nich, nebot’ nikomu ze sousedství nikdy counts, she never did anything but good in nic zlého neprovedla. the neighbourhood.

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In the meantime, Fin was very melancholy, Mezitím se Fina zmocnila beznadˇej a and did not know what to do, or how to nevˇedˇel, jak se z danou situací vypoˇrá- act at all. Cucullin was an ugly customer, dat, co dˇelata kam se obrátit pro pomoc. no doubt, to meet with; and, moreover, the Kukulín byl bez pochyb ˇclovˇek,kterému je idea of the confounded "cake" aforesaid radno radˇejisejít z cesty. Navíc, vzpomínka flattened the very heart within him. What na onu zpropadenou placku v jeho kapse chance could he have, strong and brave mu nedopˇrála chvíli klidu. Jakou šanci though he was, with a man who could, má, i když je bezesporu stateˇcný a svou when put in a passion, walk the country silou jiné dˇesí,proti muži, jenž v rozˇcílení into earthquakes and knock thunderbolts svou ch ˚uzízemˇetˇresenízp ˚usobía z blesk ˚u into pancakes? The thing was impossible; placky vyrábí? Bylo to bezvýchodné a and Fin knew not on what hand to turn Fin jednoduše nevˇedˇel,jak se k celé vˇeci him. Right or left–backward or forward– postavit. At’ tak ˇcitak, nenapadalo ho zhola where to go he could form no guess what- nic. soever. "Oonagh," said he, "can you do nothing for „Oonagh, copak mi nem ˚užeš pomoci? me? Where’s all your invention? Am I to Kampak se podˇely tvé nápady? Toužíš be skivered like a rabbit before your eyes, snad vidˇet, jak mˇe stáhne z k ˚uže jako and to have my name disgraced forever in špinavého králíka? Chceš, aby naše jméno the sight of all my tribe, and me the best bylo pošpinˇeno a já se vlastní rodinˇe man among them? How am I to fight this nemohl podívat do oˇcí?Vždyt’ mˇemˇeliza man-mountain–this huge cross between an nejsilnˇejšíhoz nich! Jak mám porazit muže earthquake and a thunderbolt?–with a pan- jako hora? Muže, jenž živl ˚um vládne? cake in his pocket that was once–" S plackou v kapse, která bleskem kdysi—-“ "Be easy Fin," replied Oonagh; "troth, I’m „Hlavu vzh ˚uru, Fine,“ odtušila Oonagh. ashamed of you. Keep your toe in your „Chceš abych se za tebe stydˇela,muži m ˚uj? pump, will you? Talking of pancakes, Ted’ to nesmíš vzdát, zdravý rozum si maybe we’ll give him as good as any he musíš uchovat! Ríkášˇ placku. . . , a proˇcby brings with him–thunderbolt or otherwise. ne? Dáme mu jich tolik, kolik si jich pˇri- If I don’t treat him to as smart feeding as nese, at’ je to blesk ˇcine. To by bylo, aby he’s got this many a day, never trust Oon- mu tvoje Oonagh, hostinu stejnˇehanebnou agh again. Leave him to me, and do just as nepˇrichystala! Nech mˇe,at’ se s ním vy- I bid you." poˇrádám,jen dˇelej,oˇctˇepožádám!“ This relieved Fin very much; for, after all, Její slova pˇrinesla Finovi velkou úlevu. he had great confidence in his wife, know- Oonagh dávno mˇela jeho d ˚uvˇeru, když ing, as he did, that she had got him out po jeho boku stála jako vˇerná žena a of many a quandary before. The present, z mnohých nešvár ˚ujej zachránila. Tomu however, was the greatest of all; but still be nadcházejícímu se však žádný nevyrovnal. began to get courage, and was able to eat Pˇrestomu vlila odvahu zpˇetdo žil, a tak his victuals as usual. Fin opˇets chutí chroustal dnešní snídani.

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Oonagh then drew the nine woollen Oonagh poté vytáhla devˇet vlnˇených threads of different colours, which she al- vláken, každé jiné barvy, což dˇelávala ways did to find out the best way of vždy, když rozjímala, co bude nejlepším succeeding in anything of importance she ˇrešenímproblému, jemuž se chystala ˇcelit went about. She then platted them into a chtˇelasi zajistit úspˇech.Vlákna rozdˇelila three plats with three colours in each, na hromádky po tˇrech,v každé z nich byla putting one on her right arm, one round her vlákna jiné barvy, jednu z nich si ovázala heart, and the third round her right ankle, kolem pravé ruky, druhou pˇrivázalak srdci for then she knew that nothing could fail a tˇretí pˇripevnila na pravý kotník. Ted’ with her that she undertook. nic, do ˇcehoby se pustila, nemohlo špatnˇe skonˇcit. Having everything prepared, she sent Jakmile vše pˇripravila, vypravila se round to the neighbours and borrowed k soused ˚um a vyp ˚ujˇcila si od nich na one-and-twenty iron griddles, which she jednadvacet železných pánví, které took and kneaded into the hearts of one- zahnˇetla do tˇesta a upekla z nich jed- and-twenty cakes of bread, and these she nadvacet bochník ˚uchleba. Každý z nich baked on the fire in the usual way, setting odložila postupnˇena kredenc. Poté vzala them aside in the cupboard according as obrovskou nádobu mléka, a vysrážela they were done. She then put down a large jej na syrovátku. Nakonec pouˇcila Fina, pot of new milk, which she made into curds jak se zachovat a co s tím vším udˇelat, and whey, and gave Fin due instructions až se Kukulín objeví. Když vše bylo ho- how to use the curds when Cucullin should tovo, posadila se spokojenˇe v kuchyni a come. vyˇckývalana Kukulín ˚uvpˇríchod. Having done all this, she sat down quite Díky Finovu palci, který mˇel vˇeštecké contented, waiting for his arrival on the schopnosti, vˇedˇeli, že ve dvˇe hodiny next day about two o’clock, that being the druhého dne k nim dorazí Kukulín. Fin ˚uv hour at which he was expected–for Fin palec totiž vládl zvláštní mocí, ale všechna knew as much by the sucking of his thumb. moudrost a dobrý úsudek, jež Fin mohl Now, this was a curious property that Fin’s cucáním palce získat, by pˇrišly v niveˇc, thumb had; but, notwithstanding all the kdyby nebylo jeho obmyslné ženy. wisdom and logic he used, to suck out of it, it could never have stood to him here were it not for the wit of his wife. In this very thing, moreover, he was very Navíc, moudrostí ukrytou v palci byl much resembled by his great foe, Cu- v mnohém podobný svému nejvˇetšímu cullin; for it was well known that the huge nepˇríteli. Nebylo žádným tajemstvím, že strength he possessed all lay in the middle Kukulínova neporazitelná síla pocházela finger of his right hand, and that, if he hap- z jeho pravého prostˇredníku. Kdyby se pened by any mischance to lose it, he was nˇekdy stalo, že by o nˇej nešt’astnou no more, notwithstanding his bulk, than a náhodou pˇrišel, nebyl by i pˇres svoji common man. obrovitou postavu více než obyˇcejnýmsm- rtelníkem.

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At length, the next day, he was seen coming Druhého dne spatˇrili na konci údolí across the valley, and Oonagh knew that it Kukulína. Byl nejvyšší ˇcas dokonˇcit was time to commence operations. She im- pˇrípravy. Oonagh okamžitˇe rozestlala mediately made the cradle, and desired Fin kolébku a poruˇcilaFinovi, aby si do ní lehl to lie down in it, and cover himself up with a pˇrikrylse peˇrinkou. the clothes. "You must pass for your own child," said „Musíš zahrát svého vlastního syna,“ she; "so just lie there snug, and say nothing, vysvˇetlilamu, „spokojenˇesi tady chrupkej but be guided by me." This, to be sure, was a nic nˇeˇríkej,dokud se tˇesama neotáži.” wormwood to Fin–I mean going into the Bezesporu, pro Fina to byla veliká potupa cradle in such a cowardly manner–but he – ležet v kolébce jako zbabˇelec– ale vˇedˇel, knew Oonagh well; and ﬁnding that he had že Oonagh to myslí dobˇre,a jelikož si sám nothing else for it, with a very rueful face nevˇedˇelrady, s kajícným pohledem se do he gathered himself into it, and lay snug, postýlky nasoukal a na Oonažino naléhání as she had desired him. se snažil vypadat spokojenˇe. About two o’clock, as he had been ex- Jak oˇcekávali, kolem druhé hodiny do- pected, Cucullin came in. "God save all razil Kukulín. „Pozdrav Pán B ˚uh,“zvolal here!" said he; "is this where the great Fin Kukulín, sotvaže vkroˇcildo svˇetnice,„je to M’Coul lives?" domov slavného Fina M’Coula?” "Indeed it is, honest man," replied Oonagh; „Tot’ jest, poˇcestný muži,“ odpovˇedˇela "God save you kindly–won’t you be sit- Oonagh, „B ˚uhvás opatruj. A cožpak si u ting?" nás nesednete, pane?“ "Thank you, ma’am," says he, sitting down; „Mnohokrát dˇekuji, milostpaní,“ pravil "you’re Mrs. M’Coul, I suppose?" Kukulín a posadil se, „Vy asi budete paní M’Coulová?” "I am," said she; "and I have no reason, I „To jsem,“ pˇritakalaOonagh, „a vˇeˇrím,že hope, to be ashamed of my husband." nemám proˇcse za to stydˇet.“ "No," said the other, "he has the name of „Ani v nejmenším,“ odpovˇedˇelhost, „ ba being the strongest and bravest man in Ire- naopak, ˇríká se, že váš manžel je nejsil- land; but for all that, there’s a man not far nˇejším a nejstateˇcnˇejším mužem v celém from you that’s very desirous of taking a Irsku. Tu ale žije jeden muž, co dychtí shake with him. Is he at home?" porovnat si s ním síly v boji. Je tedy váš muž doma?“ "Why, then, no," she replied; "and if ever „Ale kdepak,“ povzdechla si Oonagh, „vy- a man left his house in a fury, he did. It bˇehlz domu jako bˇes.Vypadá to, že nˇekdo appears that some one told him of a big se mu zmínil, že obr velký jako hora - basthoon of a giant called Cucullin being jménem Kukulín - se po nˇem shání ve down at the Causeway to look for him, and Schodech. A tak se tam vydal v nadˇeji,že so he set out there to try if he could catch ho tam ještˇezastihne. Abych ˇreklapravdu, him. Troth, I hope, for the poor giant’s sake, doufám, že se minou. Ten ubohý obr asi he won’t meet him, for if he does, Fin will netuší, co ho ˇceká. Bojím se, že Fin ho make paste of him at once." bez váhání zašlápne do zemˇejako odporný hmyz.“

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"Well," said the other, "I am Cucullin, and „Tož, já jsem Kukulín,“ spustil host, „a I have been seeking him these twelve marnˇehledám vašeho muže už po dvanáct months, but he always kept clear of me; mˇesíc˚u.Zatím se mi vždy nˇekdeschoval, and I will never rest night or day till I lay ale já si klidu nedopˇreji, ve dne v noci my hands on him." oka nezamhouˇrím,dokud s ním nezmˇeˇrím síly.“ At this Oonagh set up a loud laugh, of great Slyšíc jeho slova, Oonagh se hlasitˇerozes- contempt, by the way, and looked at him as mála. V jejím smíchu znˇelo opovržení, if he was only a mere handful of a man. když na obra vedle sebe pohlédla, jako kdyby byl jen prachobyˇcejným smrtel- níkem. "Did you ever see Fin?" said she, changing Najednou se zarazila a ˇrekla: „Už jste her manner all at once. nˇekdyFina zahlédl?“ "How could I?" said he; "he always took „Jakpak bych mohl?“ vykˇrikl Kukulín, care to keep his distance." „pokaždé se mi obloukem vyhne!“ "I thought so," she replied; "I judged as „To jsem si myslela,“ ˇrekla Oonagh, „ji- much; and if you take my advice, you poor- nak tomu ani býti nemohlo. Ted’ mˇedobˇre looking creature, you’ll pray night and day poslouchejte, vy ubožátko, dnem i nocí se that you may never see him, for I tell you modlete, abyste o nˇejani nezavadil. To vám it will be a black day for you when you do. povídám, že den, kdy ho spatˇríte,budete But, in the meantime, you perceive that the navždy proklínat! Ted’, když už jste tady, wind’s on the door, and as Fin himself is požádám vás o malou službu. Jistˇejste si from home, maybe you’d be civil enough všiml, že mi s dveˇrmilomcuje vítr. Budete to turn the house, for it’s always what Fin tak laskav a otoˇcítenáš d ˚um?Fin to dˇelává does when he’s here." vždy, když je doma.“ This was a startler even to Cucullin; but Její žádost Kukulína zarazila, ale vstal, he got up, however, and after pulling the tˇrikrát zatahal prostˇredníˇckem na pravé middle ﬁnger of his right hand until it ruce, až v prstu luplo, a zamíˇrilven. Vzal cracked three times, he went outside, and d ˚um do náruˇce a otoˇcil jej dokola, jak getting his arms about the house, com- jej Oonagh požádala. Když to Fin vidˇel, pletely turned it as she had wished. When ze všech pór ˚u po tˇele se mu vyˇrinula Fin saw this, he felt a certain description tekutina, již se zdráhám pojmenovat. Oon- of moisture, which shall be nameless, ooz- agh však, vˇeˇrícsvému ženskému instinktu, ing out through every pore of his skin; se nenechala zastrašit. but Oonagh, depending upon her woman’s wit, felt not a whit daunted.

68 12. GIANTS

"Arrah, then," said she, "as you are so civil, „Ach,“ pravila, „když už jste tak laskav, maybe you’d do another obliging turn for možná byste nic nenamítal, kdybych vás us, as Fin’s not here to do it himself. You požádala o další službiˇcku.Fin by to sám see, after this long stretch of dry weather udˇelal,kdyby tu byl. Jak sám vidíte, za- we’ve had, we feel very badly off for žíváme dlouhé období sucha a troška vody want of water. Now, Fin says there’s a fine by nám pˇrišla vhod. Fin ˇríká, že je tu spring-well somewhere under the rocks be- nˇekdepod skalami támhle za tím kopcem hind the hill here below, and it was his in- ukryt pramínek vody. Chtˇelty skály odd- tention to pull them asunder; but having ˇelit vedví, ale pak se o vás doslechl a heard of you, he left the place in such a fury, vylétl odtud v takovém spˇechu,že už na that he never thought of it. Now, if you try to nepomyslil. Považovala bych to za ve- to find it, troth I’d feel it a kindness." likou laskavost, kdybyste se ten pramínek pokusil najít.“ She then brought Cucullin down to see the Ihned odvedla Kukulína ke skále, aby mu place, which was then all one solid rock; ukázala ono místo. Byla tam jedna veliká and, after looking at it for some time, he pevná skála. Kukulín si ji chvíli pomˇeˇro- cracked his right middle finger nine times, val, poté zacukal prostˇredníˇckemna pravé and, stooping down, tore a cleft about four ruce, až to devˇetkrát luplo, sklonil se hundred feet deep, and a quarter of a mile a roztrhl skálu vejp ˚ul. Dnes se té rokli, in length, which has since been christened sto stop hluboké a na ˇctvrt míle široké, by the name of Lumford’s Glen. This feat ˇríká Lumfordova rokle. Když to Oonagh nearly threw Oonagh herself off her guard; spatˇrila,div nepropadla panice. Ale to by but what won’t a woman’s sagacity and nesmˇela být ženou, aby se jako tonoucí presence of mind accomplish? stébla z posledních sil nechytila svého d ˚uvtipua ostré mysli. "You’ll now come in," said she, "and eat „Pojd’me dom ˚u a dopˇrejme si trochu a bit of such humble fare as we can give skromné stravy. Fin by mi to mˇelza zlé, you. Fin, even although he and you are en- pˇrestože jste náš velký nepˇrítel, kdybych emies, would scorn not to treat you kindly vás nepohostila v jeho domˇe,tak jak se od in his own house; and, indeed, if I didn’t každé hospodyˇnky žádá. Vˇeru, kdybych do it even in his absence, he would not be své povinnosti, tˇrebaže v jeho nepˇrítom- pleased with me." nosti, nedostála, moc by jej to zarmoutilo.“

69 12. GIANTS

She accordingly brought him in, and plac- A proto ho zavedla zpˇet do domu a ing half-a-dozen of the cakes we spoke of položila pˇred nˇej p ˚ul tuctu bochník ˚u, o before him, together with a can or two of kterých už víme, že skrývají nemalé pˇrek- butter, a side of boiled bacon, and a stack of vapení. K tomu pˇridala misku másla, cabbage, she desired him to help himself– hlávku zelí, a navrch vaˇrenéuzené – milý for this, be it known, was long before the in- ˇctenáˇri,vˇez,že brambory tou dobou lidé vention of potatoes. Cucullin, who, by the ještˇeneznali - a s prosbou, at’ se nestydí way, was a glutton as well as a hero, put a co hrdlo ráˇcí si poslouží, ho vyzvala one of the cakes in his mouth to take a huge k hodování. Jelikož Kukulín nebyl pouze whack out of it, when both Fin and Oon- obr velký jako hora, ale také pˇekný ne- agh were stunned with a noise that resem- nasyta, okamžitˇepopadl bochník do rukou bled something between a growl and a yell. a ihned si ukousl poˇrádnésousto. V tom "Blood and fury!" he shouted; "how is this? chýší otˇráslvýkˇrik- plný vzteku a bolesti. Here are two of my teeth out! What kind of „Hromy a blesky!“ zaˇrvalKukulín, „co se bread is this you gave me?" to tu dˇeje?Mé dva zuby tu pˇrede mnou leží! Jaký to chleba jsi mi podstrˇcila?“ "Why," said she, "that’s Fin’s bread–the „Pro pána na nebesích,“ Oonagh zvolala, only bread he ever eats when at home; but, „dala jsem vám Fin ˚uvchleba – pouze ten indeed, I forgot to tell you nobody can eat co on sám doma jídává. Jedno jsem vám it but himself, and that child in the cradle ale mˇela ˇríci, nikdo jiný nepokouše jeho there. I thought, however, that, as you were chléb, jen Fin a jeho dítko, co leží tuhle reported to be rather a stout little fellow of v kolébce. Vˇeˇrilajsem, pane, že vy s povˇestí your size, you might be able to manage it, nepˇremožitelnéhomuže, si na nˇempochut- and I did not wish to affront a man that náte též. Vaše city by byly zajisté zranˇeny, thinks himself able to ﬁght Fin. Here’s an- kdybych jednala jinak, zvlášt’ když máte other cake–maybe it’s not so hard as that." odvahu vyzvat Fina k boji. Tady, zkuste jiný bochník – možná nebude tak tvrdý jak ten prve.“ Cucullin at the moment was not only hun- Kukulín v tu chvíli už hlady šilhal, a gry, but ravenous, so he accordingly made tak se dal s chutí do druhého bochníku. a fresh set at the second cake, and im- Další výkˇrikse rozlehl po chýši, tento byl mediately another yell was heard twice as dvakrát tak zuˇrivý. „U sta hrom ˚u,“ za- loud as the ﬁrst. "Thunder and giblets!" he hulákal, „okamžítˇe mi klid’te ten chléb roared, "take your bread out of this, or I z oˇcí!Jinak mi nezbyde jediný zub; tady, will not have a tooth in my head; there’s pohled’te, další dva jsou pryˇc!” another pair of them gone!" "Well, honest man," replied Oonagh, "if „Poˇcestnýpane,“ Oonagh zaˇcala,„jestli ne- you’re not able to eat the bread, say so qui- dokážete jíst Fin ˚uvchleba, ˇreknˇetemi to etly, and don’t be wakening the child in the tišším hlasem, nebo vzbudíte mé dítko cradle there. There, now, he’s awake upon v kolébce. Ach ne! Vidíte? Už jste jej me." probudil.“

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"Are you strong?" said Fin again; "are „Máš dost síly?“ znovu se ho otázal you able to squeeze water out of that Fin. „Dokážeš rukama vymáˇcknoutvodu white stone?" he asked, putting one into z bílého kamene?“ ptal se, zatímco mu Cucullin’s hand. The latter squeezed and podával jeden do ruky. Obr maˇckal a squeezed the stone, but to no purpose; he maˇckal,ale bezvýslednˇe.Sice skálu ve dvˇe might pull the rocks of Lumford’s Glen roztrhal, z blesku placku udˇelal, ale vy- asunder, and ﬂatten a thunderbolt, but to maˇckatvodu z bílého kamene se ukázalo squeeze water out of a white stone was be- nad jeho síly. Fin si ho opovržlivˇemˇeˇril, yond his strength. Fin eyed him with great když ho pozoroval, jak obr marnˇesvaly za- contempt, as he kept straining and squeez- tíná, kámen maˇckáa maˇckáa opˇetsvaly za- ing and squeezing and straining, till he got tíná, až samou námahou v tváˇrizﬁalovˇel. black in the face with the efforts. Cucullin, seeing what he had seen, was Kukulín, po tom všem co vidˇel a slyšel, of the same opinion himself; his knees byl stejného názoru. Kolena se mu pˇri knocked together with the terror of Fin’s pomyšlení na Fin ˚uvnávrat roztˇráslastra- return, and he accordingly hastened in to chem. Proto se s Oonagh spˇešnˇerozlouˇcil bid Oonagh farewell, and to assure her, that a neustále ji ujišt’oval, že dneškem poˇcí- from that day out, he never wished to hear naje, se bude jejímu muži zdaleka vyhý- of, much less to see, her husband. "I admit bat a i pˇripouhém vyslovení jeho jména fairly that I’m not a match for him," said he, bude utíkat. „Pˇriznávámbez zahanbení, že "strong as I am; tell him I will avoid him as I muži jako on, nejsem rovným soupeˇrem. would the plague, and that I will make my- Pˇrestožemám síly dosti, vyˇrid’ mu, že se self scarce in this part of the country while mu budu vyhýbat jako moru a do této ˇcásti I live." zemˇenevkroˇcím,co budu živ,“ slíbil.

71 13 Cuchulain of Muirthemne

13.1 Kúchulín Muirthemnský

Cuchulain of Muirthemne Kúchulín Muirthemnský The Story of the Men of the Red Branch Pˇríbˇehmuž ˚uulsterských of Ulster Ulsterský cyklus Arranged and put into English by Lady Is- Upraveno a v angliˇctinupˇrevedenoLady abella Augusta Gregory Isabellou Augustou Gregoryovou Dedication of the irish edition to the people Irské vydání v upomínku lidu kiltartan- of Kiltartan skému My Dear Friends, Moji rodní pˇrátelé, When I began to gather these stories to- Jste to Vy, kdo se stal mojí inspirací. Pro Vás gether, it is of you I was thinking, that you jsem sbírala naše pˇríbˇehya vˇeˇrila,že je ra- would like to have them and to be reading dostnˇeuvítáte a s chutí budete ˇcíst. them. When I went looking for the stories in the Ve starých spisech jsem našla nespoˇcet old writings, I found that the Irish in them pˇríbˇeh˚u,které byly napsány tak složitým is too hard for any person to read that has irským jazykem, že pro vˇetšinuz nás by not made a long study of it. bylo nemožné jim porozumnˇetbez pˇred- chozího studia starodávné irštiny. Some scholars have worked well at them. Mnozí uˇcenci se je již mnohokrát snažili Irish-men and Germans and Frenchmen, pˇrepracovat. At’ to byli Irové, Nˇemci but they have printed them in the old ˇci Francouzi, všichni jim ponechali onu cramped Irish, with translations into Ger- tˇežcesrozumitelnou Irštinu, pˇreloženoudo man or French or English, and these are not nˇemˇciny, francouzštiny ˇciangliˇctiny. Dané easy for you to get, or to understand, and pˇríbˇehy nadále z ˚ustaly zaklety v jazyce the stories themselves are confused, every tˇežko srozumitelném, s matoucím obsa- one giving a different account from the oth- hem. ers in some small thing, the way there is not much pleasure in reading them. It is what I have tried to do, to take the best Vybrala jsem nejlepší pˇríbˇehy, nˇekdypouze of the stories, or whatever parts of each will ˇcástpˇríbˇehu,která plynule navazovala na ﬁt best to one another, and in that way to jinou, a takto upravenˇe jsem se snažila give a fair account of Cuchulain’s life and pˇredstavitVám celý Kúchulín ˚uvživot od death. okamžiku narození až po jeho smrt.

72 13. CUCHULAINOF MUIRTHEMNE

I left out a good deal I thought you would Nezˇrídkase též pˇrihodilo,že si jednotlivé not care about for one reason or another, povídky protiˇreˇcily, nebo se v nˇekterých but I put in nothing of my own that could maliˇckostech lišily. Tyto a jiné neshody be helped, only a sentence or so now and zajisté nedopˇrály ˇctenáˇr˚umzaslouženého again to link the different parts together. potˇešeníz ˇcetby. A právˇeVaše spokojenost se stala mým cílem. Vynechala jsem nˇek- teré ˇcásti,o nichž jsem byla pˇresvˇedˇcena, že dnešní ˇctenáˇr neocení, ale vždy jsem d ˚uslednˇedbala toho, abych v jeho pˇríbˇehu nezahrnula své vlastní nápady. Pouze v pˇrípadech, kdy se tomu nedalo vy- varovat, jsem pˇridalavˇetuˇcislovo, abych pˇríbˇehuprop ˚ujˇcilanádech soudržnosti. I have told the whole story in plain and Pˇripravila jsem pro Vás pˇríbˇeh bez simple words, in the same way my old pˇrikrášlek v prostém jazyce, kterým nurse Mary Sheridan used to be telling sto- má staˇriˇcká ch ˚uva Mary Sheridanová ries from the Irish long ago, and I a child at vyprávˇelastaré irské pˇríbˇehymnˇe,dítku Roxborough. z Roxborough.

13.2 Pˇredmluva

Preface Pˇredmluva by W. B. Yeats W.B. Yeats I THINK this book is the best that has come Je mým hlubokým pˇresvˇedˇcením,že tato out of Ireland in my time. Perhaps I should sbírka je nejlepší literární prací, kterou say that it is the best book that has ever Irsko v mé dobˇevydalo. Možná by bylo come out of Ireland; for the stories which výstižnˇejší ˇríci, že je to nejlepší kniha it tells are a chief part of Ireland’s gift to v irských dˇejinách.Tuto poctu si vysloužila the imagination of the world — and it tells tím, že v sobˇeskrývá irské nadání pˇrispˇet them perfectly for the first time. svou troškou pˇredstavivostisvˇeta.Navíc, poprvé v dˇejináchvypráví pˇríbˇehyirských hrdin ˚ubez dˇrívˇejšíchpochybení. Translators from the Irish have hitherto re- Doposud pˇrekladatelé irských povídek told one story or the other from some one pouze pˇrevyprávˇelitu ˇci onu z jediného version, and not often with any fine un- zdroje, pˇriˇcemž mnohdy ani dokonale derstanding of English, of those changes neovládali umˇení anglického jazyka, of rhythm for instance that are changes of napˇríklad neporozumnˇeli jeho rytmu, the sense. They have translated the best který znaˇcí zmˇenu nálady díla. Pˇreložili and fullest manuscripts they knew, as accu- nejlepší a nejobjemnˇejšídíla nám známá co rately as they could, and that is all we have nejpreciznˇejidokázali. Nesmíme jim to mít the right to expect from the first translators za zlé, byli to první pr ˚ukopnícina cestˇe of a difficult and old literature. k umˇenípˇrekladustaré literatury.

73 13. CUCHULAINOF MUIRTHEMNE

But few of the stories really begin to Avšak jenom malé procento tˇechtopˇríbˇeh˚u exist as great works of imagination un- se probojovalo mezi významná díla lidové til somebody has taken the best bits out obrazotvornosti. Tento úkol dlouho ˇcekal of many manuscripts. Sometimes, as in na pˇríchod nˇekoho, kdo by posbíral ne- Lady Gregory’s version of Deirdre, a dozen jlepší kousky z rozliˇcnýchrukopis ˚u.Obˇcas, manuscripts have to give their best before jako napˇríkladve verzi pˇríbˇehuo Deirdˇre the beads are ready for the necklace. od Lady Gregoryové, se musí prosít tucet rukopis ˚u,aby se našly ty nejlepší stˇrípky, ze kterých se složí celá mozaika. It has been as necessary also to leave out Nestaˇcívšak pouze kupit text dohromady, as to add, for generations of copyists, who správný umˇelecmusí též rozpoznat, které had often but little sympathy with the sto- ˇcástimusí být opomenuty. Po staletí bylo ries they copied, have mixed versions to- zvykem, že písaˇri povídky vylepšovali, gether in a clumsy fashion, often repeat- sluˇcovalinavzájem v tˇežkopádnémstylu, ing one incident several times, and every neustále dokola opakovali tytéž pˇríhody, century has ornamented what was once a aniž by se pokusili zachovat krásu p ˚uvod- simple story with its own often extravagant ních dˇel.Navíc každá doba pˇrineslanové ornament. One does not perhaps exagger- prvky tehdejšího stylu, která dílo natr- ate when one says that no story has come valo pozmˇenila. Když zvážíme všechny down to us in the form it had when the vlivy, mohu s ˇcistýmsvˇedomímprohlásit, story-teller told it in the winter evenings. že se k ˇctenáˇri žádná povídka nedostane v takovém podání, v jakém bychom její pˇríbˇeh poslouchali za dlouhých zimních veˇcer˚uod dávného vypravˇeˇce. Lady Gregory has done her work of com- Lady Gregory vybrala ˇcástik vˇeˇcnémuza- pression and selection at once so ﬁrmly chování – a též i zapomenutí - s nejhlubší and so reverently that I cannot believe that úctou a vnitˇrnímpˇresvˇedˇcením.Nevˇeˇrím, anybody, except now and then for a scien- že se nalezne d ˚uvodu,vyjma vˇedeckého tiﬁc purpose, will need another text than bádání, proˇc by se lidé od této verze, ˇci this, or than the version of it the Gaelic verze, kterou v brzké dobˇe vydá Gael- League is about to publish in Modern Irish. ský spolek, museli navrátit k p ˚uvodním When she has added her translations from díl ˚um. V okamžiku, kdy Lady Gregory other cycles, she will have given Ireland k této sbírce pˇripojípˇrekladydalších cykl ˚u, its Mabinogion, its Morte D’ Arthur, its Ni- daruje Irsku svého Artuše. belungenlied.

74 13. CUCHULAINOF MUIRTHEMNE 13.3 Zrození Kúchulínovo

I I Birth of Cuchulain Zrození Kúchulínovo In the time long ago, Conchubar, son of V ˇcasech dávno minulých, Konchubár, Ness, was King of Ulster, and he held his syn královny Nessy, byl vládcem Ul- court in the palace of Emain Macha. And steru. Konchubár pobýval se svým dvorem this is the way he came to be king. He was v královském paláci v Emain Macha. Byl but a young lad, and his father was not liv- teprve mladým jinochem, když se z nˇeho ing, and Fergus, son of Rogh, who was at stal král. Jeho otec tenkrát již nežil a Fer- that time King of Ulster, asked his mother gus, syn Rogh ˚uva tehdejší král ulsterský, Ness in marriage. požádal jeho matku Nessu o ruku. Now Ness, that was at one time the quietest Nessa patˇrívala k nejlaskavˇejším ženám and kindest of the women of Ireland, had tehdejšího Irska. Bohužel poté, co na got to be unkind and treacherous because ni bylo spácháno obrovské bezpráví, of an unkindness that had been done to her, promˇenila se v bezcitnou pleticháˇrku, a and she planned to get the kingdom away tak si naplánovala, jak pˇripravit Ferguse from Fergus for her own son. So she said o jeho království a namísto nˇejdosadit na to Fergus: "Let Conchubar hold the king- tr ˚unsvého syna. Pˇredsvatbou si stanovila dom for a year, so that his children after jednu podmínku: „Dovol mému synovi, him may be called the children of a king; aby za tebe po dobu jednoho roku vládl. and that is the marriage portion I will ask Jedinˇetak jeho dˇetiobdrží dˇediˇcnéprávo of you." na královský tr ˚un.A to je to jediné, co od tebe žádám.” But all through the year, Ness was work- Nessa však celý rok tajnˇe pracovala na ing to keep the kingdom for him, and she tom, aby si její syn království již navždy gave great presents to the chief men of Ul- ponechal. Dary si kupovala náklonost ster to get them on her side. And though pˇredních rádc ˚u a šlechtic ˚u v Ulsteru. Conchubar was but a young lad at that Navíc, pˇrestože Konchubár byl mladiˇcký time, he was wise in his judgments, and vˇekem,dokázal moudˇre vládnout, v boji brave in battle, and good in shape and in- projevoval odvahu a byl dobˇre rostlý a form, and they liked him well. silný. Každý si ho ihned oblíbil. And at the end of the year, when Fer- Když se rok ke konci nachýlil a Fergus gus asked to have the kingship back again, se dovolával návratu svých práv, všichni they consulted together; and it is what they šlechtici a jejich rádcové se dlouho radili agreed, that Conchubar was to keep it. And a dospˇelik názoru, že chtˇejíKonchubára they said: "It is little Fergus thinks about za svého vládce. A tak také naˇrídíli: „Je us, when he was so ready to give up his naším pˇresvˇedˇcením,že Fergusovi na nás rule over us for a year; and let Conchubar nezáleží, cožpak by se nás jinak na rok tak keep the kingship," they said, "and let Fer- lehce vzdal? At’ Konchubár vládne dál a gus keep the wife he has got." Fergus at’ si ponechá svoji manželku!“

75 13. CUCHULAINOF MUIRTHEMNE

Now it happened one day that Conchubar Jednoho dne Konchubár uspoˇrádal ve was making a feast at Emain Macha for the svém paláci oslavu na poˇcest svatby své marriage of his sister Dechtire with Sualtim sestry Dechtiré a jejího manžela Sualtima, son of Roig. And at the feast Dechtire was syna Roigova. Na ní Dechtiré donesli po- thirsty, and they gave her a cup of wine, hár vína na uhašení žíznˇe.Zatímco jej pila, and as she was drinking it, a mayfly flew vletˇelado nˇejmalá muška a Dechtiré ji se into the cup, and she drank it down with zbytkem vína vypila. Za okamžik odešla the wine. And presently she went into her Dechtiré do svých sluncem zalitých kom- sunny parlour, and her fifty maidens along nat. Na padesát panen ji tam doprovodilo. with her, and she fell into a deep sleep. Nato Dechtiré usla hlubokým spánkem. And in her sleep, Lugh of the Long Hand Ve snu se jí zjevil Lugh z rodu Longhand ˚ua appeared to her, and he said: "It is I myself pravil ji: „Ta muška, to jsem byl já. A proto was the mayfly that came to you in the cup, ted’ se mnou musíš odejít a vzít s sebou and it is with me you must come away now, všechny dívky.“ and your fifty maidens along with you." And he put on them the appearance of V tu chvíli je všechny promˇenil v hejno a flock of birds, and they went with him pták ˚ua spoleˇcnˇese vydali smˇerem na jih, southward till they came to Brugh na a letˇeli tak dlouho, dokud nedorazili do Boinne, the dwelling-place of the Sidhe. Brugh na Boinne, paláce, kde žijí vyznavaˇci And no one at Emain Macha could get tale bohynˇeDanu. Nikdo z královského paláce or tidings of them, or know where they had v Emain Macha nemˇel nejmenší tušení, gone, or what had happened to them. co se královˇe sestˇre a jejím poddaným stalo. Žádnou zprávu ani stopu za sebou nezanechaly. It was about a year after that time, there Asi rok poté se v Emain Macha poˇrádala was another feast in Emain, and Conchubar další hostina, které se Konchubár a jeho and his chief men were sitting at the feast. šlechtici opˇetzúˇcastnili,když tu znenadání And suddenly they saw from the win- oknem zahlédli obrovské hejno pták ˚u,jak dow a great flock of birds, that lit on the pˇristálo v podhradí a zaˇcalo se pást na ground and began to eat up everything be- št’avnaté zeleni okolo sebe. Za chvilinku fore them, so that not so much as a blade of tam zrnko trávy nezbylo. grass was left. They followed after the birds across the Okamžitˇese dali do pronásledování onoho whole country southward, across Slieve hejna. Projeli celou zemi a míˇrili na jih Fuad, by Ath Lethan, by Ath Garach and pˇreshoru Fuad, mˇesteˇckoLethan, Garach Magh Gossa, between Fir Rois and Fir Ar- a Magh Gossa, pˇres území krále Roise dae; and the birds before them always. a Arda, s oˇcima neustále upˇrenýma na They were the most beautiful that had ever ptactvo pˇredsebou. Krásnˇejšíptáky lidské been seen; oko nespatˇrilo;

76 13. CUCHULAINOF MUIRTHEMNE nine flocks of them there were, linked to- bylo jich devˇet hejn, spojených po dvou gether two and two with a chain of silver, stˇríbrnými ˇretízky, a v ˇcele každého and at the head of every flock there were hejna letˇelidva pestrobarevní ptáci spojení two birds of different colours, linked to- ˇretízkem ze zlata; a pak tu byli tˇri ptáci, gether with a chain of gold; and there were kteˇrí letˇeli samostatnˇe – ti všichni letˇeli three birds that flew by themselves, and pˇredvozy, až na konec svˇetado pˇríchodu they all went before the chariots, to the far noci, a od tˇechdob je nikdo více nespatˇril. end of the country, until the fall of night, and then there was no more seen of them. Then Fergus went forward to look for some Fergus se vydal hledat místo na pˇrespání. place, and what he came to was a very Brzy došel k malému nuznˇevypadajícímu small poor-looking house. A man and a pˇríbytku. V nˇem objevil muže se ženou, woman were in it, and when they saw him kteˇrího ihned vybízeli: „Pˇrived’ své druhy. they said: "Bring your companions here Všichni tu budete vítáni.“ Fergus se ihned along with you, and they will be welcome." navrátil ke svému pánu a povˇedˇelmu, co Fergus went back to his companions and vidˇel. told them what be had seen. "Let us go there for the night," said „Pojd’me tam. Dnes tam pˇrenocujeme,“ Conchubar. So they brought their chari- naˇrídilKonchubár. A tak se tam vypravili ots and their horses and their arms; and se svými koˇnmi, váleˇcnýmivozy a celou they were hardly in the house when every výzbrojí. Jen co práh domu pˇrekroˇcili,ne- sort of food and of drink, some they knew jrozmanitˇejší druhy jídla a pití jim byli and some they did not know, was put be- nabídnuty. Nˇekterá z domu znali a jiná fore them, so that they never spent a better zase ne. Nikde jinde se o nˇe tak dobˇre night. And when they had eaten and drunk ještˇe nikdy nepostarali. Když se dosy- and began to be satisfied, Conchubar said tosti najedli, napili a dostateˇcnˇeodpoˇcinuli, to the young man: Konchubár se otázal mladíka: "Where is the mistress of the house that she „Kdepak je paní domu, že nám ani sl ˚uvka does not come to bid us welcome?" "You pˇrivítáníneˇrekne?“„Bohužel se vám ted’ cannot see her to-night," said he, "for she nem ˚uževˇenovat,“odvˇetilmu muž, „pro- is in the pains of childbirth." tože na ni dnes pˇrišlyporodní bolesti.“ So they rested there that night, and in the Celou noc zde nabírali ˇcerstvésíly. Ráno morning Conchubar was the first to rise se Konchubár jako první probudil, ale up; but he saw no more of the man of the pána domu nemohl nikde nalézti, zato us- house, and what he heard was the cry of lyšel pláˇc dítˇete.Následoval jej, až došel a child. And he went to the room it came k pokoji, z kterého vycházel. A tam uvidˇel from, and there he saw Dechtire, and her svou sestru Dechtiré a maliˇcké dˇet’átko maidens about her, and a young child be- vedle ní. A také tam byly všechny její side her. And she bade Conchubar wel- služebné. Dechtiré svého bratra pˇrivítalaa come, and she told him all that had hap- povˇedˇelamu vše, co se ji od oné oslavy pened her, and that she had called him pˇred rokem pˇrihodilo a že to byla ona, there to bring herself and the child back to kdo pro nˇej poslal, aby ji a její maliˇcké Emain Macha. And Conchubar said: odvedl zpˇetdo Emain Macha. Konchubár ji odvˇetil:

77 13. CUCHULAINOF MUIRTHEMNE

"It is well you have done by me, Dechtire; „Dobˇre jsi se o nás postarala, Dechtiré; you gave shelter to me and to my chari- poskytla jsi nám i našim koˇn˚umpˇristˇreší; ots; you kept the cold from my horses; you naše vozy jsi ohlídala; náš hlad utišila, a gave food to me and my people, and now ted’ jsi mˇe synovcem obdarovala. At’ jej you have given us this good gift. And let tedy naše sestra Finchoema vychová.“ „Ne, our sister, Finchoem, bring up the child," he pane. Tato pocta ji nepˇrísluší. Ta náleží said. "No, it is not for her to bring him up, mnˇe,“ozval se Sencha, syn Ailell ˚uva ne- it is for me," said Sencha son of Ailell, chief jvyšší soudce a uctívaný básník ulsterského judge and chief poet of Ulster. království. "For I am skilled; I am good in disputes; I „Já jsem vzdˇelaný; ve všech sporech am not forgetful; I speak before any one at vyhrávám; na své povinnosti neza- all in the presence of the king; I watch over pomínám; jsem král ˚uvpˇrítel;radím mu, co what he says; I give judgment in the quar- ˇríkatmá; hlavní slovo mám, když s jíným rels of kings; I am judge of the men of Ul- královstvím ve sporu je; soudím ostatní ster; no one has a right to dispute my claim, muže v Ulsteru; nikdo mi nem ˚užeupˇrít but only Conchubar." mé právo, jedinˇem ˚ujkrál Konchubár.“ "If you will listen to me at last, now you are „Vyslechnˇetemˇe,prosím, ztište se,“ snažil quiet," said Amergin, "I am able to bring up se pˇrehlušit nastálý zmatek Amergin, a child like a king. The people praise my „jen já dokážu vychovat nastávajícího honour, my bravery, my courage, my wis- krále. Lidé mˇe velebí pro moji poˇcest- dom; they praise my good luck, my age, my nost, odvahu, kuráž a moudrost; pochval- speaking, my name, my courage, and my ují si mé úspˇechy, stáˇrí, dobré mravy, race. Though I am a ﬁghter, I am a poet; I jméno, odvahu, a m ˚uj p ˚uvod. Pˇrestože am worthy of the king’s favour; I overcome jsem váleˇcník, jsem také básník; vys- all the men who ﬁght from their chariots; I loužil jsem si královu náklonnost; v boji owe thanks to no one except Conchubar; I pˇrem˚užukaždého muže na váleˇcnémvoze; obey no one but the king." nikomu nic nedlužím, kromˇemého krále Konchubára. Nikomu se nemusím zpoví- dat, pouze králi.“ Then Sencha said: "Let Finchoem keep the Nato Sencha povˇedˇel:„Ponechme dítˇeFin- child until we come to Emain, and Morann, choemˇe. Až dorazíme zpˇet do Emainu, the judge, will settle the question when we soudce Morann naši pˇri spravedlivˇeroz- are there." soudí.“ So the men of Ulster set out for Emain, A tak se všichni vydali na zpáteˇcnícestu Finchoem having the child with her. And do královského sídla, Finchoema s dítkem when they came there Morann gave his v náruˇci. Jen co dorazili, Morann vydal judgment. "It is for Conchubar," he said, "to sv ˚ujrozsudek. „Conchubár musí vést toto help the child to a good name, for he is next dítko životem, napomoci mu k získání si of kin to him; let Sencha teach him words dobrého jména, nebot’ z nˇejvyroste stejnˇe and speaking; let Fergus hold him on his mocný náˇcelník.At’ Sancha ho nauˇcído- knees; let Amergin be his tutor." brému vystupování, Fergus jej opatruje a Amergin se stane jeho uˇcitelem.“

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And he said: "This child will be praised A pak ještˇedodal: „Všichni budou k to- by all, by chariot drivers and ﬁghters, by muto dítku vzhlížet; at’ jsou to stateˇcní kings and by wise men; he shall be loved by váleˇcníci,králové ˇcimoudˇrímuži; on pom- many men; he will avenge all your wrongs; stí všechna vaše pˇríkoˇrí, ochrání vaše he will defend your fords; he will ﬁght all království a povede vaše vojska.“ your battles." And so it was settled. And the child was A tak bylo rozhodnuto. Dechtiré a její left until he should come to sensible years, manžel Sualtim si mohli dítko ponechat, with his mother Dechtire and with her hus- dokud trochu nevyroste. A dovedli je na band Sualtim. And they brought him up Murthemnskou pláˇna jméno, kterým se upon the plain of Muirthemne, and the proslavil, bylo Setanta, syn Sualtim ˚uv. name he was known by was Setanta, son of Sualtim.

79 14 Conclusion

Being a student of Masaryk University, especially Faculty of Education, the author of this thesis had been constantly prepared for her future profession of an English teacher. Having worked at several types of schools, she is well aware of the growing demands on English teachers. Not ocassionally it happens that the students have a greater command of English than the teacher. This fact is a result of Czech educational system putting greater emphasis on the knowledge of foreign languages and students’ ability to travel and improve their language skills in the native country. For these reasons, the author ﬁnds it essential for the teachers to seek further practise of English abilities. Translation is such a task since it broadens the command of active vocabulary. In the practical part she had the opportunity to practise and advance further her English linquistic skills. Moreover, since the curriculum is becoming more concerned with the geography and history of English speaking countries, the author found it to her great advantage to ponder over the history and literature of Ireland as a part of her diploma thesis. Being a beginning teacher at the time of the compilation of this work, she was able to use it as a useful aid during the English lessons she gave. The author would also like to stress the importance of Yeats’ and Lady Gregory’s life work since their volume The Treasury of Irish Myth, Legend and Folklore aimed to help to shape the Irish history to the advantage of the Irish population. Without their hard work the folktales depicted in the translation and the fairies presented would be long forgotten. The author only hopes that the readers will ﬁnd them as amusing as she did.

80 Contents

I HISTORIC AND CULTURAL BACKGROUND 1 1 Introduction ...... 2 2 The History of Ireland – the Important Facts ...... 5 3 Short biographies of the book authors ...... 8 3.1 William Butler Yeats (*1865 – † 1939) ...... 8 3.2 Lady Isabella Augusta Gregory (*1852 – †1932) ...... 9 4 Myth, Legend and Folklore ...... 10 4.1 Mythology and myths ...... 10 4.2 Legends and folktales ...... 10 4.3 Irish Mythology ...... 10 5 The Cycles ...... 11 5.1 The Mythological Cycle ...... 11 5.2 The Historical Cycle ...... 11 5.3 The Ulster Cycle ...... 11 5.4 The Fenian Cycle ...... 12 6 A Treasury of Irish Myth, Legend and Folklore ...... 13 II TRANSLATION THEORY AND ANALYSIS 14 7 Translation Theory ...... 15 7.1 Translation Process ...... 15 7.1.1 Ad 1 , Comprehension of the original ...... 15 7.1.2 Ad 2, Interpretation of the original ...... 15 7.1.3 Ad 3, Writing the translation ...... 16 7.2 Linguistic Approach to Translation ...... 16 7.3 Translation Methods ...... 17 7.4 Translation Procedures ...... 19 7.4.1 Transference ...... 19 7.4.2 Naturalisation ...... 19 7.4.3 Cultural equivalent ...... 20 7.4.4 Functional equivalent ...... 20 7.4.5 Descriptive equivalent ...... 20 7.4.6 Synonymy ...... 20 7.4.7 Compensation ...... 21 7.4.8 Calque ...... 21 7.4.9 Shifts of transpositions ...... 21 7.4.10 Modulation ...... 24 7.5 The Problem of Equivalence ...... 24 7.5.1 Lexical equivalence ...... 25 7.5.2 Further Notes on Lexical Equivalence ...... 26 7.5.3 Grammatical Equivalence ...... 27 7.5.4 Textual Equivalence ...... 27

81 14. CONCLUSION

7.5.5 Pragmatic Equivalence ...... 29 7.6 Poetry Translation ...... 29 7.6.1 Poetry of William Butler Yeats ...... 31 7.6.2 Poetry of William Allingham ...... 32 7.7 Types of Translators and Their Role in Translating Process ...... 32 III W.B. YEATS & LADY GREGORY’S SELECTED FOLK TALES: TRANSLATION 36 8 Changelings ...... 37 8.1 Changelings ...... 37 8.2 The Brewery of Egg-Shells ...... 38 9 Witches, Fairy Doctors ...... 43 9.1 Witches, Fairy Doctors ...... 43 9.2 Bewitched Butter ...... 44 10 Ghosts ...... 51 10.1 Zjevení mrtvých ...... 51 10.2 Dream ...... 53 11 The Solitary Fairies ...... 55 11.1 Lejprechán, Klurikón a Rudohlav ...... 55 11.2 Lejprechán, neboli Švec jednobotka ...... 57 11.3 ...... 58 11.4 ...... 58 12 Giants ...... 60 12.1 Giants ...... 60 12.2 A Legend of Knockmany ...... 60 13 Cuchulain of Muirthemne ...... 72 13.1 Kúchulín Muirthemnský ...... 72 13.2 Pˇredmluva ...... 73 13.3 Zrození Kúchulínovo ...... 75 14 Conclusion ...... 80

82 Bibliography

[1] Patrick Abbot. History of ireland. http://www.wesleyjohnston.com/users/ ireland/past/index.htm, March 1998.

[2] K. H. Borovský. Král Lávra. Sursum, 2006.

[3] J.C. Catford. A Linguistic Theory of Translation. Oxord University Press, London, 1965.

[4] A. Cotterell. The Illustrated Guide to Celtic Mythology. Studio Editions Ltd., London, 1993.

[5] SparkNotes Editors. Sparknote on yeats’s poetry. http://www.sparknotes.com/ poetry/yeats/themes.html, 17 Nov 2009.

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83 14. CONCLUSION

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