 massive edifice, if resting on slender foundations. Pseudo-scholarship at its most ingenious labored to match biblical lore with Celtic supposition. This tension, concentrating around the meaning of the “god-people” the Tuath Dé, sustains itself within the literature Williams examines. As a blend of inherited narratives with concocted alterations shaped into a Christian mindset, these tales’ impact faded by the end of the Middle Ages. The Irish seemed to lose interest. Only in the 19th century did curiosity revive about gods.
Part two delves into more recent reworkings of the myths of the Irish gods and goddesses. Romanticism, antiquarianism and the occult all generated speculation. W.B. Yeats and George Russell epitomized the poetic turn of the Celtic Revival at the end of the Victorian period, in the wake of a British passion for the classics and the pagan to counter the tamed, the scriptural and the stolid. Gods, as redefined by the Irish revivalists, emerge as “spiritual entities.” Among the Anglo-Irish gentry emerge intellectuals eager to fabricate a past for their country, rooted in wisdom of the earth and appeals to the forces lingering, despite the reign of Christendom, supposedly on fringes of the Celtic homeland.
The ninth chapter introduces William Sharp (1855-1905). Williams engagingly shares this fantasist of Gaelic Scotland, who took on the feminine alter ego of Fiona Macleod. In Fiona, we encounter a fabled “self-sequestered Highland visionary.” Williams labels her as “an imaginary personage, albeit an alarmingly insistent one.” Characteristic of this author’s tone, he keeps his investigations lively even as he grounds them in careful judgment. He counters the bent suppositions and fey imagination lavished upon sources that, in modern times, create a “feedback loop.” Williams analyzes distortions within American anthropologist Walter Evans-Wentz’s The Fairy-Faith in Celtic Countries. He adapted his Oxford dissertation oddly; this 1911 compendium persists as a New Age “crank piece.”
Mark Williams’ predecessor at his university proved both an “exorbitant Celtophile” and a misled eccentric. Evans-Wentz conjured up the peasantry as informants for a pan-Celtic fairy belief system. He incorporated an unnamed mystic’s testimony. Yet this was none other than George Russell. Williams reasons that Evans-Wentz betrayed a “spiritual crush on Russell.” Testifying as to the endurance of this account lies beyond the scope of Williams’ work, he admits he had to cut a third of his own draft. The results remain impressive, even if the source of that apt John Cowper Powys colophon beginning Chapter Nine lacks attribution to that fabulist.
Nowadays, Williams tracks a second arc, again with diminishing attention to the old gods, among Irish writers. The Tuath Dé and their replacements, the Tuatha Dé Danann, as the Irish supernatural race, endure within the “wide uptake” by creative classes outside the isle. The fine arts alongside Celtic Paganism and Celtic Reconstructionism enshrine goddesses, notably the fire spirit of Brigit.
Unfortunately, opposition to the ancient forces still exists. Vandalism of historic sites and a modern sculpture to the Celtic sea-god testifies to the powers of these representations as feared by evangelicals. Unlike other cultures where monotheism replaced paganism, Williams concludes that in Ireland a “restless refusal to resolve” the ambiguities of the survival of the venerable if often barely recalled deities within a Christian context distinguishes that island’s literary legacy within the extant sources.
Fittingly, Williams ends his 600-page survey with a tribute to the late John Moriarty, a philosopher and shaman from County Kerry. Moriarty’s “ecological and psychic sensitivity” to summon up again the mythic terrain’s specters signifies the restoration of “imaginative vitality.” In a nation divided by income inequality and sectarian squabbles, Moriarty’s vision and Williams’ precision combine. This learned volume contributes valuable insights that may guide all those who look to the Irish tales