Poems

The Abbot Of Innisfallen

William Allingham 1824 – 1889
 
The Abbot of Innisfallen
     awoke ere dawn of day;
   Under the dewy green leaves
     went he forth to pray.
   The lake around his island
     lay smooth and dark and deep,
   And wrapt in a misty stillness
     the mountains were all asleep.
   Low kneel’d the Abbot Cormac
     when the dawn was dim and gray;
   The prayers of his holy office
     he faithfully ‘gan say.
   Low kneel’d the Abbot Cormac
     while the dawn was waxing red;
   And for his sins’ forgiveness
     a solemn prayer he said:
   Low kneel’d that holy Abbot
     while the dawn was waxing clear;
   And he pray’d with loving-kindness
     for his convent-brethren dear.
   Low kneel’d that blessed Abbot
     while the dawn was waxing bright;
   He pray’d a great prayer for Ireland,
     he pray’d with all his might.
   Low kneel’d that good old Father
     while the sun began to dart;
   He pray’d a prayer for all men,
     he pray’d it from his heart.
   His blissful soul was in Heaven,
     tho’ a breathing man was he;
   He was out of time’s dominion,
     so far as the living may be.

   The Abbot of Innisfallen
     arose upon his feet;
   He heard a small bird singing,
     and O but it sung sweet!
   It sung upon a holly-bush,
     this little snow-white bird;
   A song so full of gladness
     he never before had heard.
   It sung upon a hazel,
     it sung upon a thorn;
   He had never heard such music
     since the hour that he was born.
   It sung upon a sycamore,
     it sung upon a briar;
   To follow the song and hearken
     this Abbot could never tire.
   Till at last he well bethought him;
     he might no longer stay;
   So he bless’d the little white singing-bird,
     and gladly went his way.

   But, when he came to his Abbey,
     he found a wondrous change;
   He saw no friendly faces there,
     for every face was strange.
   The strange men spoke unto him;
     and he heard from all and each
   The foreign tongue of the Sassenach,
     not wholesome Irish speech.
   Then the oldest monk came forward,
     in Irish tongue spake he:
   ‘Thou wearest the holy Augustine’s dress,
     and who hath given it to thee?’
   ‘I wear the Augustine’s dress,
     and Cormac is my name,
   The Abbot of this good Abbey
     by grace of God I am.
   I went forth to pray, at the dawn of day;
     and when my prayers were said,
   I hearken’d awhile to a little bird,
     that sung above my head.’
   The monks to him made answer,
     ‘Two hundred years have gone o’er,
   Since our Abbot Cormac went through the gate,
     and never was heard of more.
   Matthias now is our Abbot,
     and twenty have pass’d away.
   The stranger is lord of Ireland;
     we live in an evil day.’
   ‘Days will come and go,’ he said,
     ‘and the world will pass away,
   In Heaven a day is a thousand years,
     a thousand years are a day.’
   ‘Now give me absolution;
     for my time is come,’ said he.
   And they gave him absolution,
     as speedily as might be.
   Then, close outside the window,
     the sweetest song they heard
   That ever yet since the world began
     was utter’d by any bird.
   The monks look’d out and saw the bird,
     its feathers all white and clean;
   And there in a moment, beside it,
     another white bird was seen.
   Those two they sang together,
     waved their white wings, and fled;
   Flew aloft, and vanish’d;
     but the good old man was dead.
   They buried his blessed body
     where lake and green-sward meet;
   A carven cross above his head,
     a holly-bush at his feet;
   Where spreads the beautiful water
     to gay or cloudy skies,
   And the purple peaks of Killarney
     from ancient woods arise.
 

Analysis (ai): The poem reflects 19th-century Irish Romanticism, aligning with contemporaneous efforts to recover and idealize pre-colonial Irish spirituality and landscape, countering British cultural dominance.
  • Temporal Displacement and Spirituality: The Abbot’s time slip—praying through two centuries—serves not as supernatural spectacle but as an allegory for the enduring, transcendent nature of sacred ritual above historical upheaval.
  • Language and Tone: Though not heavily archaic, the elevated diction and regular syntax create a liturgical tone, reinforcing the Abbot’s sanctity and setting the figure apart from the profane, modern world.
  • Form and Structure: The poem uses consistent quatrains with an ABAB rhyme scheme and iambic meter, typical of Victorian narrative verse; its predictability mirrors the monastic routine, grounding the fantastical premise in formal stability.
  • Contrast with the Author’s Broader Work: Unlike Allingham’s more folkloric or urban sketches, this piece leans into mythic solemnity, showcasing his ability to transcend mere regionalism for allegorical depth.
  • Engagement with National Identity: The intrusion of “the foreign tongue of the Sassenach” marks not just historical invasion but linguistic erasure, underscoring concerns about cultural survival amid Anglicization.
  • The White Bird as Symbol: Often interpreted as an angel or divine messenger, the bird may also represent the unbroken continuity of Irish spiritual life, existing beyond human time and colonial disruption.
  • Absolution and Death Scene: The Abbot’s immediate request for absolution upon hearing the truth suggests not guilt but readiness, portraying death as integration rather than defeat, aligned with medieval hagiographic tropes.
  • Community and Exile: Unlike other Irish poems of exile focusing on physical displacement, here exile is temporal—the Abbot is alien in his own foundation, estranged not by geography but by time.
  • Comparison to Victorian Peers: Unlike Tennyson’s personal elegies or Browning’s psychological drama, this poem uses narrative stillness and ritual repetition to achieve its effect, favoring communal over individual fate.
  • Less-Discussed Angle: The Abbot’s blissful detachment is not purely holy; it subtly critiques monastic withdrawal, as his transcendence leaves him unprepared to engage the changed world he reenters.
  • Auditory Imagery and Transcendence: The bird’s song functions as a liminal force—an almost musical anaphora that structures the vision and separates sacred time from historical time.
  • Final Vision and Departure: The appearance of a second white bird implies communion rather than solitude in transcendence, suggesting spiritual fulfillment lies in connection, not isolation.
  • Place in the Author’s Oeuvre: Among Allingham’s lesser-known long narrative poems, this one stands out for its tight symbolic unity and rare engagement with Catholic monastic tradition in a predominantly Protestant literary milieu.
  • Enduring Landscape: The closing description of Killarney’s scenery ties sanctity to Irish geography, implying that holiness is embedded in land and memory, not just doctrine or institution.
 
 
William Allingham (19 March 1824 – 18 November 1889) was an Irish poet, diarist and editor. He wrote several volumes of lyric verse, and his poem “The Faeries” was much anthologised. But he is better known for his posthumously published Diary, in which he records his lively encounters with Tennyson, Carlyle and other writers and artists. His wife, Helen Allingham, was a well-known artist, watercolourist and illustrator.
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