Celtic Tales, Told to the Children — Reading Companion

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In Category - Fantasy Classics
Chisholm, Louey, 1863-1948 Project Gutenberg 2005 Not confirmed
Fairy tales -- Great Britain Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 25,504
Reading time 111 min
Text sections 3

The catalog record for Celtic Tales, Told to the Children — Reading Companion provides practical reading context through 25,504 words, 1 hr 51 min estimated reading time, and 3 detected text sections.

The text analysis averages about 21.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fairy tales -- Great Britain,” connecting these edition facts with the source record’s subject description.

Louey Chisholm's retellings of three Celtic tales—Deirdre, the Four White Swans, and Dermat and Grania—emphasize beauty and sorrow over moral instruction, drawing on multiple source translations.
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Editorial Edition Score 4.6/5

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Then did a cry of fear burst from those gathered to the feast, and leaping to their feet, each man laid his hand upon his sword, for the word that the wise man had spoken would it not come to pass?

'Let our swords be in readiness,' they cried, 'to kill the babe that shall be born this night, for better far is it that one child perish than that the blood of a nation be spilt.'

And Felim spake: 'Great sorrow is mine that fear of the child who shall be born this night should be upon you. Therefore, if it please the King, let my daughter die, and so may peace yet reign in the realm. For dear as would be a child to my wife and to me, dearer yet is the common weal.'

But the answer of King Concobar came not for a time. His soul was filled with desire to see the star-eyed maiden and to hear the wonder of her voice. Still was the hand of each upon his sword when the King spake.

'Put far from thee, O Felim, the will to do this thing. Bend not thy mind to the death of thine own child. And ye, my people, sheathe your swords. Let the babe live. I, Concobar, will be her guardian, and if ill befall, let it be upon me, your King.'

At these words arose a Prince.

'It would be well, O King, but for the word spoken by the Wise Man, for hath he not said, "Because of this fair child shall great sorrow come upon the King Concobar"? If we let the babe live, then must thy people see thee in sore distress, for the word that the Wise Man speaketh, shall it not come to pass?'

'Of that am I not unmindful. Deep within the forest, beyond the Moor of Loneliness, shall her childish days be spent. Gently tended shall she be, but the eye of man shall not behold her, and solitary shall she live as some unmated bird in distant wilderness.'

Then with one accord did the people cry, 'Wilt thou indeed be guardian to this child, knowing the ill that the Wise Man hath foretold?'

'Yea, truly will I be guardian to the child, and when she be a woman then shall she be my wedded wife. And if with the maiden come sorrow, then be that sorrow upon me, and not upon the land.'

'What sayest thou, O Felim the Harper?' cried the people.

'It were better to slay the child than to let that come which hath been foretold.'

'And what sayest thou, O Wise Man?'

'That which shall come, shall come.'

At the same moment there entered the hall a servant of Felim, and loudly did he proclaim that the girl-babe, who had been foretold, was born. 'Right beautiful and strong is the child, most fair to look upon.'

'And Deirdre shall her name be,' said the Wise Man, 'Deirdre the Star-eyed.'

And because of the words that the King Concobar had spoken, the life of the babe was spared, and when the days of feasting were past, Concobar returned to his palace, and with him he took the infant child and her mother. Yet after a month he bade the mother return to Felim her husband, but the babe Deirdre he kept.

And deep within the forest, beyond the Moor of Loneliness, did the King command that a cottage be built, and when Deirdre was one year, thither was she sent with a trusted nurse. But on the trees of the forest and throughout the land was proclaimed the order of the King Concobar, that whosoever should hunt, or for other purpose enter the wood, death should be his portion.

Once each week did the King visit the fair babe, and daily were stores of food and milk brought to the lone dwelling. And Deirdre each year grew more fair, but none beheld her beauty, save her nurse, her tutor, and Lavarcam.

This Lavarcam was a woman well trusted of the King, and she alone went to and fro between the palace and the cottage. It was she who told to Deirdre the old tales of knights and ladies, of dragons and of fairies that dwelt in the Enchanted Land.

When Deirdre was seven years old the King no longer came every week to the forest, but twice in the year only, and that as the Spring put forth her first green shoots, and again when Autumn gleaned her harvest of gold.

Louey Chisholm's Celtic Tales, Told to the Children opens with a direct address to the reader, acknowledging that some friends predicted children would find these stories too sad. Chisholm counters that children do not always want amusement, and she has selected the tales not for any lesson they teach but for their 'sheer beauty.' This framing sets the tone for a collection that prioritizes emotional resonance over plot-driven adventure.

The three stories—'The Star-Eyed Deirdre,' 'The Four White Swans,' and 'Dermat and Grania'—are drawn from multiple scholarly translations, as Chisholm notes in her preface. The language is lyrical and spare, with recurring motifs of transformation, exile, and longing. The excerpts reveal a pattern of characters enduring long periods of suffering—three hundred years of doom for the swans—punctuated by moments of quiet hope, such as Finola's dream and the distant chime of a Christ-bell.

The Weight of Prophecy and Doom

In 'The Star-Eyed Deirdre,' the narrative is set in motion by a magician's prophecy at a feast. The old man's gaze lingers on King Concobar and harper Felim before he foretells the birth of a girl-babe, 'loveliest'—the excerpt cuts off, but the pattern is clear: a supernatural pronouncement determines the course of events. Similarly, the four swans are bound by a spell that dictates exactly three hundred years on the sea of Moyle, then three hundred on the Western Sea. The doom is precise, almost mechanical, yet the characters' responses vary: Finola urges her brothers to 'trust in the great God,' while the brothers cry out for death. This tension between fatalistic structure and individual agency recurs across the tales.

Landscape as Emotional Mirror

The settings in these excerpts are not mere backdrops but active participants in the characters' suffering. The swans endure 'the pitiless fury of wind and wave' on the sea of Moyle, and later a frost that leaves them 'well-nigh frozen to a rock.' When they finally return to Lir's home, they find only 'ruins' and a 'wilderness overgrown with rank grass, nettles, and weeds'—the desolation of the landscape mirrors their own loss. Yet there are also refuges: a 'grassy isle' where they sing by day and nestle by night, and later the 'Lake of the Bird-flocks,' where their music draws all the birds of the west. The contrast between harsh, open waters and sheltered, life-giving islands underscores the precariousness of peace.

The Role of the Listener and the Reader

Chisholm's introductory note explicitly addresses the reader as 'little reader,' and the stories themselves contain scenes of audiences reacting to tales within tales. In 'The Four White Swans,' when Finola sings, 'the Dedannans wept aloud' and the sorrowful company turns away. The swans' own songs draw birds to the lake, creating a community of listeners. This self-awareness about storytelling—its power to move, to console, to bind—echoes Chisholm's own purpose: she expects children to enjoy the tales 'without knowing or wondering why.' The excerpts suggest that the act of listening is as important as the tale itself, and that beauty and sorrow are meant to be felt rather than analyzed.

Readers approaching these tales should attend to the rhythm of repetition—the counting of years, the recurring phrases of doom and deliverance—and to the way landscape shifts from hostile to hospitable. Chisholm's language is deceptively simple; the sorrow is not explained away but allowed to linger. The collection rewards those who read slowly, noticing how a single dream or a distant bell can alter the course of a centuries-long ordeal.

Reading about Deirdre’s quiet sorrow reminded me of afternoons when my grandmother paused mid-story to sigh, as if the weight of the old world had settled on her hands. Tales of the Punjab: Folklore of India — Context and Discussion gave me that same hush once, the feeling that beauty and loss are just one breath apart.

Henry Roberts
1 month ago

Joseph Martin
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Jack Brown
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David Martin
1 month ago

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4.5 out of 5 (4 User reviews )

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    Shane Wright - 1 month ago
    While the intention is good, the retellings feel overly simplified and lose the poetic richness of the original Celtic myths. The language is too plain, and the stories lack the atmospheric detail that makes folklore enchanting. Children might enjoy the basic plots, but adults familiar with Celtic mythology will be disappointed. There are better versions available.

  • ...
    Jared Miranda - 1 month ago
    Celtic Tales Told To The Children is a wonderful introduction to the rich world of Celtic mythology. The stories are told in a simple, engaging manner that captures the imagination of young readers, while still retaining the magic and mystery of the original legends. The illustrations add to the charm. A perfect book for parents to read aloud and for children to discover on their own.

  • ...
    Anthony Gray - 4 weeks ago
    This collection of Celtic tales is well-suited for children, with accessible retellings that keep the stories short and sweet. However, some of the more complex themes of Celtic mythology are simplified, which may leave older readers wanting more depth. Still, it's a nice introductory book for young ones.


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