Part 8

MANX PROVERBS

Nearly akin to the language of a race are its proverbs, and some of the Manx proverbs are wise, witty, and racy of the soil. Many of them are the common possession of all peoples. Of such kind is "There's many a slip 'twixt the cup and the lip." Here is one which sounds like an Eastern saying: "Learning is fine clothes for the rich man, and riches for the poor man." But I know of no foreign parentage for a proverb like this: "A green hill when far away; bare, bare when it is near."

That may be Eastern also. It hints of a long weary desert; no grass, no water, and then the cruel mirage that breaks down the heart of the wayfarer at last. On the other hand, it is not out of harmony with the landscape of Man, where the mountains look green sometimes from a distance when they are really bare and stark, and so typify that waste of heart when life is dry of the moisture of hope, and all the world is as a parched wilderness. However, there is one proverb which is so Manx in spirit that I could almost take oath on its paternity, so exactly does it fit the religious temper of our people, though it contains a word that must strike an English ear as irreverent: "When one poor man helps another poor man, God himself laughs."

MANX BALLADS

Next to the proverbs of a race its songs are the best expression of its spirit, and though Manx songs are few, some of them are full of Manx character. Always their best part is the air. A man called Barrow compiled the Manx tunes about the beginning of the century, but his book is scarce. In my ignorance of musical science I can only tell you how the little that is left of Manx music lives in the ear of a man who does not know one note from another. Much of it is like a wail of the wind in a lonely place near to the sea, sometimes like the soughing of the long grass, sometimes like the rain whipping the panes of a window as with rods. Nearly always long-drawn like a moan rarely various, never martial, never inspiriting, often sad and plaintive, as of a people kept under, but loving liberty, poor and low down, but with souls alive, looking for something, and hoping on,--full of the brine, the salt foam, the sad story of the sea. Nothing would give you a more vivid sense of the Manx people than some of our old airs. They would seem to take you into a little whitewashed cottage with sooty rafters and earthen floor, where an old man who looks half like a sailor and half like a landsman is dozing before a peat fire that is slumbering out. Have I in my musical benightedness conveyed an idea of anything musical? If not, let me, by the only vehicle natural to me, give you the rough-shod words of one or two of our old ballads. There is a ballad, much in favour, called Ny kirree fo niaghey, the Sheep under the Snow. Another, yet better known, is called Myle Charaine. This has sometimes been called the Manx National Air, but that is a fiction. The song has nothing to do with the Manx as a nation. Perhaps it is merely a story of a miser and his daughter's dowry. Or perhaps it tells of pillage, probably of wrecking, basely done, and of how the people cut the guilty one off from all intercourse with them.

O, Myle Charaine, where got you your gold? Lone, lone, you have left me here, O, not in the curragh, deep under the mould, Lone, lone, and void of cheer.

This sounds poor enough, but it would be hard to say how deeply this ballad, wedded to its wailing music, touches and moves a Manxman. Even to my ear as I have heard it in Manx, it has seemed to be one of the weirdest things in old ballad literature, only to be matched by some of the old Irish songs, and by the gruesome ditty which tells how "the sun shines fair on Carlisle wa'."

MANX CAROLS

The paraphrase I have given you was done by George Borrow, who once visited the island. My friend the Rev. T. E. Brown met him and showed him several collections of Manx carols, and he pronounced them all translations from the English, not excepting our famous Drogh Vraane, or carol of every bad woman whose story is told in the Bible, beginning with the story of mother Eve herself. And, indeed, you will not be surprised that to the shores of our little island have drifted all kinds of miscellaneous rubbish, and that the Manxmen, from their very simplicity and ignorance of other literatures, have had no means of sifting the flotsam and assigning value to the constituents. Besides this, they are so irresponsible, have no literary conscience, and accordingly have appropriated anything and everything. This is true of some Manx ballads, and perhaps also of many Manx carols. The carols, called Carvals in Manx, serve in Man, as in other countries, the purpose of celebrating the birth of Jesus, but we have one ancient custom attached to them which we can certainly claim for our own, so Manx is it, so quaint, so grimly serious, and withal so howlingly ludicrous.

It is called the service of Oiel Verree, probably a corruption of Feaill Vorrey, literally the Feast of Mary, and it is held in the parish church near to midnight on Christmas Eve. Scott describes it in "Peveril of the Peak," but without personal knowledge.

Services are still held in many churches on Christmas Eve; and I think they are called Oiel Verree, but the true Oiel Verree, the real, pure, savage, ridiculous, sacrilegious old Oiel Verree, is gone. I myself just came in time for it; I saw the last of it, nevertheless I saw it at its prime, for I saw it when it was so strong that it could not live any longer. Let me tell you what it was.

The story carries me back to early boyish years, when, from the lonely school-house on the bleak top of Maughold Head, I was taken in secret, one Christmas Eve, between nine and ten o'clock, to the old church of Kirk Maughold, a parish which longer than any other upheld the rougher traditions. My companion was what is called an original. His name was Billy Corkill. We were great chums. I would be thirteen, he was about sixty. Billy lived alone in a little cottage on the high-road, and worked in the fields. He had only one coat all the years I knew him. It seemed to have been blue to begin with, but when it had got torn Billy had patched it with anything that was handy, from green cloth to red flannel. He called it his Joseph's coat of many colours. Billy was a poet and a musical composer. He could not read a word, but he would rather have died than confess his ignorance. He kept books and newspapers always about him, and when he read out of them, he usually held them upside down. If any one remarked on that, he said he could read them any way up--that was where his scholarship came in. Billy was a great carol singer. He did not know a note, but he never sang except from music. His tunes were wild harmonies that no human ear ever heard before. It will be clear to you that old Billy was a man of genius.

Such was my comrade on that Christmas Eve long ago. It had been a bitter winter in the Isle of Man, and the ground was covered with snow. But the church bells rang merrily over the dark moorland, for Oiel Verree was peculiarly the people's service, and the ringers were ringing in the one service of the year at which the parishioners supplanted the Vicar, and appropriated the old parish church. In spite of the weather, the church was crowded with a motley throng, chiefly of young folks, the young men being in the nave, and the girls (if I remember rightly) in the little loft at the west end. Most of the men carried tallow dips, tied about with bits of ribbon in the shape of rosettes, duly lighted, and guttering grease at intervals on to the book-ledge or the tawny fingers of them that held them. It appeared that there had been an ordinary service before we arrived, and the Vicar was still within the rails of the communion. From there he addressed some parting words of solemn warning to the noisy throng of candle-carriers. As nearly as I can remember, the address was this: "My good people, you are about to celebrate an old custom. For my part, I have no sympathy with such customs, but since the hearts of my parishioners seem to be set on this one, I have no wish to suppress it. But tumultuous and disgraceful scenes have occurred on similar occasions in previous years, and I beg you to remember that you are in God's house," &c. &c. The grave injunction was listened to in silence, and when it ended, the Vicar, a worthy but not very popular man, walked towards the vestry. To do so, he passed the pew where I sat under the left arm of my companion, and he stopped before him, for Billy had long been a notorious transgressor at Oiel Verree.

"See that you do not disgrace my church to-night," said the Vicar. But Billy had a biting tongue.

"Aw, well," said he, "I'm thinking the church is the people's."

"The people are as ignorant as goats," said the Vicar.

"Aw, then," said Billy, "you are the shepherd, so just make sheeps of them."

At that the Vicar gave us the light of his countenance no more. The last glimpse of his robe going through the vestry door was the signal for a buzz of low gossip, and straightway the business of Oiel Verree began.

It must have been now approaching eleven o'clock, and two old greybeards with tousled heads placed themselves abreast at the door of the west porch. There they struck up a carol in a somewhat lofty key. It was a most doleful ditty. Certainly I have never since heard the like of it. I remember that it told the story of the Crucifixion in startling language, full of realism that must have been horribly ghastly, if it had not been so comic. At the end of each verse the singers made one stride towards the communion. There were some thirty verses, and every mortal verse did these zealous carollers give us. They came to an end at length, and then another old fellow rose in his pew and sang a ditty in Manx. It told of the loss of the herring-fleet in Douglas Bay in the last century. After that there was yet another and another carol--some that might be called sacred, others that would not be badly wronged with the name of profane. As I recall them now, they were full of a burning earnestness, and pictured the dangers of the sinner and the punishment of the damned. They said nothing about the joys of heaven, or the pleasures of life. Wherever these old songs came from they must have dated from some period of religious revival. The Manxman may have appropriated them, but if he did so he was in a deadly earnest mood. It must have been like stealing a hat-band.

My comrade had been silent all this time, but in response to various winks, nods, and nudges, he rose to his feet. Now, in prospect of Oiel Verree I had written the old man a brand new carol. It was a mighty achievement in the sentimental vein. I can remember only one of its couplets:

Hold your souls in still communion, Blend them in a holy union.

I am not very sure what this may mean, and Billy must have been in the same uncertainty. Shall I ever forget what happened? Billy standing in the pew with my paper in his hand the wrong way up. Myself by his side holding a candle to him. Then he began to sing. It was an awful tune--I think he called it sevens--but he made common-sense of my doggerel by one alarming emendation. When he came to the couplet I have given you, what do you think he sang?

"Hold your souls in still communion, Blend them in--a hollow onion!"

Billy must have been a humorist. He is long dead, poor old Billy. God rest him!

DECAY OF THE MANX LANGUAGE

If in this unscientific way I have conveyed my idea of Manx carvals, Manx ballads, or Manx proverbs, you will not be surprised to hear me say that I do not think that any of these, can live long apart from the Manx language. We may have stolen most of them; they may have been wrecked on our coast, and we may have smuggled them; but as long as they wear our native homespun clothes they are ours, and as soon as they put it off they cease to belong to us. A Manx proverb is no longer a Manx proverb when it is in English. The same is true of a Manx ballad translated, and of a Manx carval turned into an English carol. What belongs to us, our way of saying things, in a word, our style, is gone. The spirit is departed, and that which remains is only an English ghost flitting about in Manx grave-clothes.

Now this is a sad fact, for it implies that little as we have got of Manx literature, whether written or oral, we shall soon have none at all. Our Manx language is fast dying out. If we had any great work in the Manx tongue, that work alone would serve to give our language a literary life at least. But we have no such great work, no fine Manx poem, no good novel in Manx, not even a Manx sermon of high mark. Thus far our Manx language has kept alive our pigmies of Manx literature; but both are going down together. The Manx is not much spoken now. In the remoter villages, like Cregnesh, Ballaugh, Kirk Michael, and Kirk Andreas, it may still be heard. Moreover, the Manxman may hear Manx a hundred times for every time an Englishman hears it. But the younger generation of Manx folk do not speak Manx, and very often do not understand it. This is a rapid change on the condition of things in my own boyhood. Manx is to me, for all practical uses, an unknown tongue. I cannot speak it, I cannot follow it when spoken, I have only a sort of nodding acquaintance with it out of door, and yet among my earliest recollections is that of a household where nothing but Manx was ever spoken except to me. A very old woman, almost bent double over a spinning wheel, and calling me Hommy-Veg, and baugh-millish, and so forth. This will suggest that the Manx people are themselves responsible for the death of the Manx language. That is partly true. The Manx tongue was felt to be an impediment to intercourse with the English people. Then the great English immigration set in, and the Isle of Man became a holiday resort. That was the doomster of the Manx language. In another five-and-twenty years the Manx language will be as dead as a Manx herring.

One cannot but regret this certain fate. I dare not say that the language itself is so good that it ought to live. Those who know it better say that "it's a fine old tongue, rich and musical, full of meaning and expression." {*} I know that it is at least forcible, and loud and deep in sound. I will engage two Manxmen quarrelling in Manx to make more noise in a given time than any other two human brethren in Christendom, not excepting two Irishmen. Also I think the Manx must be capable of notes of sweet feeling, and I observe that a certain higher lilt in a Manx woman's voice, suggesting the effort to speak about the sound of the sea, and the whistle of the wind in the gorse, is lost in the voices of the younger women who speak English only. But apart from tangible loss, I regret the death of the Manx tongue on grounds of sentiment. In this old tongue our fathers played as children, bought and sold as men, prayed, preached, gossiped, quarrelled, and made love. It was their language at Tynwald; they sang their grim carvals in it, and their wailing, woful ballads.