. copy, whilst LU. preserves a number of rhetorics which do
not appear in the later MS. The prose portions in LU. are very poor from
a literary point of view. These passages are abrupt, condensed and
frequently obscure, with no striving after literary effect such as we
find in LL. The form in which many episodes are cast is not unlike a
mnemonic, leaving the story-teller to fill in the details himself. In
the 11th century certain portions of the theme possessing great human
interest were vastly extended, new poems were added, and in this manner
such episodes come to form sagas complete in themselves. The most
notable instance of this is the "Fight with Fer Diad," which is not
contained in LU. The genesis of the _Tain_ may thus be briefly
summarized as follows. The story was first committed to writing in the
7th or 8th century, after which it was worked up by the _filid_.
Extended versions existing in the 10th or 11th century form the basis of
the copies we now possess.

Though the sagas of the Ulster cycle are eminently Irish and pagan in
character and origin, it cannot be denied that traces of foreign
influence are to be observed. A number of Latin and Norse loan-words
occur in them, and there can be little doubt that the monkish scribes
consciously thrust the supernatural element into the background.
However, although figures of Vikings are unmistakable in a few cases,
and in one story Cuchulinn is made to fight with Hercules, such foreign
elements can easily be detected in the older tales. They only affect
minor details, and do not influence the body of the romances.

From what we have already said it will be plain that the Irish epic is
in a fluid state. The _Tain_ is of interest in the history of literature
as representing the preliminary stage through which the great verse
epics of other nations have had to pass, but its value as a work of art
is limited by its form. We must now say a few words about the character
and style of these romances. As already stated, the atmosphere is
frankly pagan and barbaric, with none of that courtly element which we
find in the Arthurian epics. The two features which strike one most
forcibly in the medieval Irish romances are dramatic force and humour.
The unexpected and weird is always happening, the effect of which is
considerably heightened by the grim nature of the actors. In particular
the dialogues are remarkably brilliant and clever, and it is a matter
for surprise that thi