Dennis King wrote:
> What I was thinking is:
> [Do] d[h]aoradaois = they would enslave / condemn :
> Noble Maol Seachlain, Fergal Ó Rúairc and Aodh Breagh would confine in
> fetters the king of Ros Cré.
> ... if this makes sense for the characters named.
> LRF: Okay, here's another suggestion. Looking at Liz's newly posted
paradigms from Stair na Gaeilge (wow, Liz, fantastic!) I can't see the -ois
ending as 3rd plural. So how about:
43. Doradois Maol Seac[h]lain saor
Fergal ō Rūairc is Aodh Bregh
i ngeimhil rīgh Rosa Crē
a meic Moire dana dé samh.
43. You [i.e. Tadg] condemned noble Mael Seachlain,
Fergal O Ruark and Aed Breg
in the chains of the king of Roscrea
O son of Mary! till summer’s day.
This still has the problem that 'rígh Rosa Cré' really doesn't look like a
genitive. But given a slight stretch of the imagination, Brian Boru might
have been described as king of Roscrea (Ely, in which Roscrea lies, would
have been one of his satellite kingdoms). You remember, we are talking
about the famous fettering scene, where Mael Ruanaid was forced to appear,
evidently in chains (?) in chains to Brian's court. There is another poem
related to this group of poems, 'Boraimhe Baile na Riogh', which is supposed
to give a description of Brian's banqueting hall and the characters in it,
which might conceivably throw light on the various figures in this verse.
But there's only four verses of that have ever been published at all, at
Getting back to my proposal above, I'm not really very happy with having
Tadg O Cellaigh condemning noble Mael Seachlainn and the others either.
F.O'R of Connacht was supposedly an ally of BB's, (though as I think I
mentioned earlier, he was long dead by the time the fetter scene occurred).
I still can't find Aedh; I take it he is 'Aedh of Brega', but that doesn't
seem to help much. Brega was a Southern Ui Neill kingdom close to Mael
Seachlainn's. Maybe David's suggestion would be apropos here, that TOC is
not condemning, but is somehow telling or admonishing or something.
I suspect that this whole group of poems (and there are some more I haven't
mentioned yet) would really have to be studied in conjunction to work out
what's going on, at least in terms of all the outside characters being
brought in onto the scene and what their relationships are). Maybe somebody
out there knows some young students who'd like to take on a project.
All the best, and thanks Dennis and David for your help so far.