ENGLISH LITERATURE,
INFLUENCE OF
See
British Library Manuscript Harley 913;
Eachtrai; French Literature, Influence of;
Hiberno-English Literature; Romance
ENTERTAINMENT
Medieval Ireland features a wide variety of entertain-
ment, professional entertainers, and performers. Most
prominent is an array of performing fools. Several early
Irish terms exist for these performers. Foremost as a
performing fool was the
drúth
. The term is related to
the term druid, although the two figures are distinct.
The
drúth
offered various kinds of entertainment, most
prominently physical and vocal antics best associated
with the medieval jester. Impersonating and mocking
the congenital fool, also known as
drúth
, was also
featured. Several descriptions of the
drúth
include
comments suggesting the performing fool was indeed
mentally deficient. The professional
drúth
is often
described in colorful motley clothing, with long
shaggy hair. This semblance was clearly an important
part of his trade. According to several Law Tracts,
damage to his clothing or hair demanded compensa-
tion. A common figure of the saga texts, the
drúth
is
most closely associated with royal and other high-
ranking members of society. A professional fool was
often part of a retinue, receiving both payment and
protection from his patron.
A further entertainer of medieval Ireland was the
fuirseoire
, best described as a jester or buffoon. Like
the
drúth
, the
fuirseoire
is most often connected with
the royal court. Likely a paid professional, the
fuirseoire
entertained through mimicry, contortions, and elements
of fright. Judging from descriptions his performance
may also have included singing and other vocal antics.
In several descriptions he performs to accompanied
music. Named alongside the
drúth
and lapdog in a trio
expected at a royal banquet, the
fuirseoire
seems to have
been a common professional performer, likely main-
tained by his employer as part of a retinue.
Several entertainers of medieval Ireland are difficult
to identify. The
creccaire
, attested alongside other per-
formers, seems to have been a type of mummer or
perhaps scarifier, eliciting fear from his audience
through physical and vocal antics. He is described in
one text as making a green branding upon his eyes,
possibly referring to a disguise or commonly accepted
and recognizable tattoo. The
creccaire
was clearly not
very highly regarded in society and in one text is
described receiving a “crooked bone” as his portion at
a feast. A further unsavory, although clearly popular,
entertainer was the
braigetoir
. This performer is the
early Irish representation of the widespread and
apparently popular medieval entertainer the “farter.”
An early Law Tract offers the clearest, most unequivocal
definition, stating that these performers render their
craft “out of their backsides.”
Beyond various types of fools and jesters, further
popular Irish entertainment was performed by magi-
cians, jugglers, featsters, and acrobats. Several enter-
tainers are described as conjuring magic, while others
are noted for particularly athletic and acrobatic perfor-
mances. Juggling was a popular entertainment, often
taking place in alehouses. As noted in a Law Tract,
jugglers were culpable for damage or injury caused by
errant throws. Culpability and compensation for their
errors depended on several factors, including the shape
of the juggled objects and the distance of the audience
from the performance. According to several descrip-
tions, juggling and similar feats were often accompa-
nied by music.
Music was a popular entertainment of medieval
Ireland. Expected at assemblies, festivals, and banquets,
music played an important role in medieval Irish enter-
tainment. Music was a standard accompaniment to any
occasion and an entertainment available to all classes
of society. While music was often the result of amateur
improvisational sessions, professional musicians held
a relatively high status and were well paid, either as
retinue to wealthy patrons or as traveling performers.
Most prevalent among professional musicians were
harpists, timpánists, and pipers. Vocalists also provided
entertainment, although lack of mention in the sources
suggests performances were largely spontaneous and
probably not professional. By the late medieval period,
English influence brought about critical change in
Ireland’s music tradition. The introduction of sheet
music counteracted traditional oral transmission, while
classical voice training moved away from the conven-
tional rhythmic, lilting tones, and melodies that con-
tinue to characterize Irish music of today.
Various sporting events also provided popular enter-
tainment in medieval Ireland. Field games attracted
large audiences, evidenced by legislation providing
protection and compensation in case of injury for both
participant and spectator. Horse and chariot racing
were also popular. Races at seasonal fairs and festivals
were often the high point of such gatherings, drawing
eager crowds. Presumably to ensure enjoyment and
prevent conflict, strict guidelines at the fair at Carman
describe bans on arguments, warfare, politics, and
judgments while the races were held. Particularly asso-
ciated with the Liffey Valley, horse racing and breeding
in medieval Ireland enjoy a continuum to the present
day, reflected in the prominence of Kildare and envi-
rons in modern racing.
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LEASONENGLISH LITERATURE, INFLUENCE OF