general outcry or denunciation. His audacious handling of ideas most sacred to the Gael, such as the celibacy of the clergy, does not appear to have made him any enemies. Probably he was protected just as Rabelais was protected by his pose of jester. There is much in common between the two. Rabelais disguised his satire, his plea for nature, by surrounding it with coarse buffoonery and obscene jests. Brian did the same thing in a more artistic fashion. His work was probably regarded by many as a kind of naughty joke, a piece of broad "risky" farce, not to be taken seriously. Other scribes inserted lines of gratuitous obscenity, thereby helping to strengthen the impression created.
Brian smiled and went his way. He had no ambition to preach, nor "passion for reforming the world." Probably he was quite content at having unburthened his mind and heart and revealed his attitude to life in a shapely poem that would live on the lips of men.
XIV.
Although "Cúirt an Ṁeaḋon Oiḋċe" became popular and found admirers, it hardly created a sensation. During the 130 years which have elapsed since the great poem saw the light, its admirers among readers of Irish have been the select few, but the tributes of celebrated Gaelic scholars and critics have been warm and striking. The "Cúirt" has been (badly) translated into English and (excellently) translated into German. The tribute of O'Daly is well known:—"Poema Heroico-Comicum quo nihil aut magis gracile, aut Poeticum, aut magis abundans in hodierno Hiberniæ idiomati exolescit."
Dr, Standish Hayes O'Grady, many years ago, described the poem as "probably the most tasteful composition in modern
