Yet of her glory there are glorious witnesses. Her rough and winding historic roads are open all along. The country is full of ruins and traditions and snatches of strange song, to "tease us out of thought." A gander off on a holiday, with his white spouse and their pretty brood, lifts his paternal hiss at the passer-by from a Druid's altar; and where young lambs lie, in a windy spring, to lee of their mothers, is a magnificent doorway, Lombardic, Romanesque, or Hiberno-Saxon, arch in arch, with its broken inscription, an _Orate_ for immemorial kings. At well-sides are yet seen ablutions and prayers, and May-Day offerings of corn and wool, even as they were "before the advent of the Desii into the County Waterford." By a waterfall, plunging under cleanest ivy and long grass, is a cross with circled centre and intricate Byzantine ornament, displaying David with his harp, or Peter with his keys, set up by a monastic hand twelve hundred years ago. Forty feet away, is something dearer to the archæologist: a kitchen of the primeval hunters, its wall and hearth and calcined lime-stones bedded among laughing bluebells. A brook's freshet, any March, may bring ashore a strange staff or necklace; a rock is overturned under a yew-tree, and discloses horns and knives elder than Clontarf. But yesterday, in a Carlow garden adjoining the ruins of a Butler fortress, put up at the time when Richard the Lionheart was looking with tears of envy over the walls of Jerusalem, closed urns were found in vaults, each with its shining dust: a tenantry long anterior to Christianity, and conscious perhaps, of Christian goings-on overhead, when The MacMorrough Kavanagh was pressed to dine with the Warden of the Black Castle, and slain among his followers at the pouring of the wine. There can be no other country so fatal to the antiquarian: for zest and labor are superfluous, and a long course of incomparable luck must drive him, for very satiety, from the field.
Venerable Ireland has failed, as the world reckons failure. She cannot take prettily to her rôle of subjugated province. Abominably misruled, without a senate, without commerce, she has fallen back into the sullen interior life, into the deep night of reverie. From that brooding dark she has let leap no modern flame supremely great. For the great artist is not Irish, as yet, though with warm exaggerations, uncritical enthusiasms, affectionate encouragements, her own exalt her own. As Goldsmith accused Dr. Johnson of doing, she lets her little fishes talk like whales. And this, of course, tends to no good: it only blunts the ideals of the populace, lowers the mark of achievement, and makes it difficult indeed for the true prince to be recognized in the hubbub of mistaken acclaim. The constituency of Aneurin and Ossian lacks a single sovereign poet: a lack apparent enough to all but itself. Verse, from of old, is pervasive as dew or showers: but nowhere is it in process of crystallization. The persecution of age-long ignorance, imposed upon a most intellectual people, is a miasmatic cloud not yet altogether withdrawn. Only in the best is Ireland perfect: in heroes and in saints. In life, if not in art, we can sometimes do away with economy, restraint, equipoise. We can hardly judge the epic figures of antiquity: but from Columba to "J.K.L.," from Hugh O'Neill and Sarsfield to Emmet and Lord Edward Fitzgerald, runs an endearing family likeness: scorn, pity, sweetness, disinterestedness, honor, power, brave ill luck, in them all. Most of these are rebels; their names are under the baffling shadow of exile and the scaffold, and, alas, count for naught save in their mother's memory.