Saav's Lament

Nora Hopper Chesson's Saav's Lament

Nora Hopper Chesson’s Saav’s Lament is a hauntingly lyrical poem that blends Irish folklore with themes of longing, loss, and the supernatural. Written in the late 19th or early 20th century, the poem draws upon Celtic mythology, particularly the legend of Tír na nÓg (the Land of Youth) and the enchantress Niamh, who lures mortals into an eternal paradise. Chesson, an Irish poet deeply influenced by the Celtic Revival, crafts a work that is both deeply personal and mythically resonant. Through its melancholic tone, rich imagery, and invocation of the supernatural, Saav’s Lament explores the tension between earthly and otherworldly love, the passage of time, and the irrevocable nature of loss.

This essay will examine the poem’s historical and mythological context, its use of literary devices, its emotional and thematic depth, and its place within the broader tradition of Irish poetry. By analyzing the speaker’s desperate plea to the "little fawn," we can uncover layers of meaning relating to memory, enchantment, and the struggle to reclaim what has been lost to time.

Historical and Mythological Context

To fully appreciate Saav’s Lament, one must understand the cultural milieu in which Chesson wrote. The late 19th century saw a resurgence of interest in Irish folklore and mythology, a movement known as the Celtic Revival. Writers like W.B. Yeats, Lady Gregory, and Douglas Hyde sought to reclaim Ireland’s pre-colonial heritage, drawing upon ancient legends to forge a distinct national identity. Chesson, though less well-known today, was part of this movement, and her work frequently engaged with themes of enchantment, fairy lore, and the supernatural.

The poem’s reference to "Niam’s palaces" immediately situates it within Irish mythology. Niamh (or Niam) is a central figure in the Oisín in Tír na nÓg legend, a beautiful fairy woman who takes the warrior Oisín to the Land of Youth, where time stands still. However, when Oisín returns to Ireland centuries later, he finds that all he knew has turned to dust. This myth underscores the peril of fairy enchantment—what seems like paradise is also a form of imprisonment, severing mortals from their past.

In Saav’s Lament, the speaker addresses a "little fawn," a creature often associated with innocence and vulnerability in Celtic lore. The fawn’s captivity in a "gold prison" suggests it has been taken by the fairies (sheogue being an anglicized form of sídhe, the Irish word for fairy folk). The speaker’s lament is thus not just for a lost loved one but for a soul stolen by the supernatural, a recurring motif in Irish folklore where humans are spirited away, never to return unchanged.

Literary Devices and Imagery

Chesson employs a range of poetic techniques to evoke a sense of urgency and sorrow. The poem’s structure is incantatory, with repeated refrains ("O little fawn") creating a rhythmic, almost hypnotic quality. This repetition mimics the speaker’s obsessive longing, reinforcing the idea that the fawn’s return is both desired and impossible.

The imagery is lush yet melancholic, contrasting the natural world with the eerie allure of the supernatural. The "long grass" where fawns should sleep suggests safety and familiarity, while the "darkling pass" and "snares" symbolize the dangers of the fairy realm. The "red wind" in the third stanza introduces an ominous note, possibly alluding to the passage of time or the inevitability of dawn, which often marks the end of fairy enchantment in folklore.

Chesson also uses sensory language to heighten the emotional impact. The "sweet" grasses around Niam’s palaces are deceptive—though seemingly idyllic, they are part of a gilded cage. The fawn’s eyes, "unused to tears," suggest it has been numbed by enchantment, no longer capable of human sorrow. This detail is particularly poignant, as it implies that even if the fawn were to return, it would not be the same as before.

Themes and Emotional Resonance

At its core, Saav’s Lament is a poem about irretrievable loss. The speaker’s repeated calls—"It’s near the break of day," "Arise, O little fawn"—suggest a race against time, a desperate attempt to reclaim what has been taken before it is too late. This theme resonates with broader Irish literary preoccupations, particularly the idea of a lost or stolen heritage, whether through colonization or the passage of time.

The poem also explores the duality of enchantment: the fairy realm is beautiful but perilous, offering eternal youth at the cost of human connection. The speaker’s assertion that the fawn is "my own—my first-begotten" introduces a possible familial bond, deepening the tragedy. Is the fawn a child, a lover, or a metaphorical representation of something lost to the speaker? The ambiguity allows for multiple readings, each adding layers of emotional weight.

Another key theme is memory and forgetting. The fawn has "forgotten / These many, many years," suggesting that time in the fairy realm erases mortal ties. The speaker, however, remembers, and this disparity between mortal memory and fairy timelessness heightens the sense of isolation.

Comparative Readings and Philosophical Underpinnings

Saav’s Lament can be fruitfully compared to other works in the Celtic Revival tradition. W.B. Yeats’ The Stolen Child similarly depicts fairies luring a child away from the human world, using hypnotic rhythms and natural imagery to contrast the mundane with the magical. Both poems grapple with the seductive yet destructive power of the supernatural.

Philosophically, the poem touches on the nature of time and desire. The speaker’s plea is inherently futile—dawn is approaching, and the fawn is lost to another world. This evokes the Greek myth of Orpheus and Eurydice, where the attempt to reclaim a lost love is doomed from the start. The tension between longing and impossibility gives the poem its tragic power.

Conclusion

Nora Hopper Chesson’s Saav’s Lament is a masterful blend of myth, emotion, and lyrical beauty. Through its evocative imagery, rhythmic refrains, and deep engagement with Irish folklore, the poem captures the heartache of losing someone to forces beyond human control. It speaks to universal themes—love, memory, the passage of time—while remaining firmly rooted in the cultural context of the Celtic Revival.

Ultimately, the poem’s power lies in its unresolved tension. The speaker’s voice lingers in the air, unanswered, leaving readers with a sense of yearning that mirrors the lament itself. In this way, Saav’s Lament transcends its mythological framework, becoming a timeless meditation on loss and the enduring human desire to reclaim what is gone.