Finn and the Phantoms

[Illustration from the Fenian Cycle by Arthur Rackham in ten Irish Fairy Tales by James Stephens, 1920]

Caílte mac Rónáin of the Fianna once declared:
“If there were seven tongues in my head and seven rhetorics of wise men in each tongue, I would not manage to tell half or a third of Fionn’s goodness. For Fionn never refused a person who had but a head to wear something and legs to move.” ( Ó hÓgáin Dáithí, Fionn Mac Cumhaill: Images of the Gaelic Hero, Gill and Macmillan, Dublin, 1988, p. 119.)

I. The editions and their manuscripts

1. Introducing Finn and the narrative

Fionn (or Find, Finn) mac Cumhaill (Cumaill), literally “fair one, son of Cumaill”, is both a hunter and a warrior (a fénnid) who lives in the wilderness and leads a band of fénnidi, but he is also, above all, a poet and a seer (a fili). For Finn and his band, encountering the supernatural is a way of life because they inhabit the fringes of the human world. Finn appears to be on the most curious friendly terms with some of the immortal folk, while being very hostile to others. He converses with the fairies, descendants of the Tuatha Dé Danann (the folk of the goddess Danu), originally a race of gods worshipped by the ancient Irish. Finn can see into their homes, the fairy knolls, and in later tales, he visits them in their homes. However, one of the most unusual and perhaps scariest adventure Finn has with supernatural foes is his fight with the three phantoms of the Yew Glen.
“In this story, it is significant, perhaps, that the adventure both began and ended on the strand of Berramar. (…) Adventures with the fairies or fairyland often begin on the seashore or the bank of river or lake. This arose, perhaps from the fact that ‘The Land Beneath the Waves’ was one type of fairyland in the early Irish stories.” (Wooley, 18)
Finn and the phantoms is the title generally given to an episode of the Finn Cycle of early literature. It is known in both prose and verse form. The prose version may be “as old as the ninth century” (Meyer, XXIII).
There are different versions of the tale. Thus, one can deduce that it was certainly considered important by medieval scribes. There are three known versions of the poem beginning with these words Oenach indiu luid in rí (Today the king went to a fair). It seems to be one of the oldest Ossianic poems that has come down to us. It constitutes an integral part of the Fenian cycle, existing both as a poem and as a prose text. The prose versions are prose summaries, with only a few lines in Acallam na Senórach (Colloquy of the Ancients ) versions, or an incomplete prose version called Echtra Finn (Ludwig-Christian Stern, “Le Manuscrit irlandais de Leide” in Revue Celtique, volume XIII, 1892, pp. 1-32.)
The two Book of Leinster poems serve as excellent illustrations of a thematic group centred around the traditional Finn motif of resistance against magical entities. The first poem narrates the story of Finn, the leader of the Fiana, who, while exercising a dark horse bestowed upon him for admiring its swiftness, arrived at a dwelling near Ballyvourney in Co. Cork as night fell. After seeking hospitality in a strange house, they were plagued throughout the night by a grey-haired giant, a three-headed hag, a headless man with a single eye in his chest, and nine entities each with nine heads detached from their bodies. At daybreak, the house vanished, and Finn, along with his companions Caílte and Oisín, emerged unscathed. Finn later identified the tormentors.

1.1. The poem version

Three versions of the poem, beginning with the line “Oenach indiu luid in rí” (Today the king went to a fair), which is also known as Finn and the phantoms, exist. Two were published by Whitley Stokes in 1886: Find and the phantoms, in Revue Celtique, VII (pp. 289-307) and by Eoin MacNeill, et al., in Duanaire Finn: The book of the lays of Fionn. The third version can be found in a rendition of the Agallamh na senórach (Nessa Ní Shéaghdha, Agallamh na seanórach, vol. 1, Dublin 1942, pp. 173-182.). While other versions of this story exist, they are either prose summaries, with only two or three lines in other Agallamh versions, or an incomplete prose version called Echtra Finn in Revue Celtique, XIII, by Ludwig-Christian Stern, in 1892 .
One of these three versions is located in the Leabhar na Núachongbála (Book of Noughaval), also known as Leabhar Laighneach (The Book of Leinster), Dublin, Trinity College Dublin, MS 1339, p. 206b – 207b 4.
It’s crucial to highlight that “the poem is perhaps even older than the twelfth century becomes clear on page 313 of the manuscript where a scribe identifies himself and states that he collected the contents of the manuscript from other books: ‘Aed mac meic Crimthaind ro scrib in leborso 7 ra thinoil a llebraib imdaib ‘Áed Húa Crimthaind wrote this book and collected it from many books’ ” (Marieke van Kranenburg, 3)
For a thorough and comprehensive exploration of the manuscripts, one can indeed gain valuable insights from Marieke van Kranenburg’s thesis. She even found “four other references of Oenach indiu luid in ri in the catalogues of Irish manuscripts, which have not been noticed before by any of the other scholars who have worked on this poem.” (Marieke van Kranenburg, 25) Scholars may not concur on the dates, but it can be asserted with confidence that the poem was crafted between the later 10th (John Carey), 11th (Kuno Meyer) and 12th (Gerard Murphy) centuries. While the earliest surviving examples de Fenian texts have been dated to the seventh century, the majority contends that this particular poem originates from the 12th century. Finn and the Phantoms nevertheless resides in one of the earliest extant manuscripts, adding historical significance to it.
Another version titled The Headless Phantoms is presented in verse form in Duanaire Finn assigns a date to this version before the second half of the 12th century by Gerard Murphy (Duanaire Finn, 3, pp. 24-25).
The narrator of the story is Guaire the Blind, also known as Oisin, the son of Fionn mac Cumall. Is there any connection to Tiresias? Guaire the Blind and Tiresias the Greek exhibit parallels in the themes of blindness and wisdom. Guaire the Blind, originating from Irish literature, is consistently depicted as a blind character with exceptional insight. Likewise, Tiresias, a famous figure in Greek mythology, is celebrated for acquiring the capacity to foresee the future after losing his sight…

1.2. The prose version

This Middle Irish prose version of the tale was published in 1892 by Ludwig Christian Stern in Revue Celtique XIII (1892), 1-31. A prose and a verse version are found in Ni Shéaghdha’s Agallamh na Seanórach dated to the 14th or 15th century. Stern dates the manuscript to the sixteenth century. But Kuno Meyer suggests that the tale itself originates from the tenth century and perhaps “is as old as the ninth century.” Therefore, according to him, the prose version may predate the poem, as he dates the Leinster version of the poem to the 11th century.
This incomplete prose version of the tale Finn and the Phantoms is commonly known as Echtra Finn. This is a manuscript discovered in Leiden and the beginning of the text is missing. The theme is the one that is the subject of the Ossian poem translated by Whitley Stokes (Find et les fantômes, in Revue Celtique VII, 289 sq).
The narrative of this version can be segmented into three parts. The first part (ll. 1-66) is an incomplete version of the episode called Finn and the Phantoms. The second part (ll. 67-148) encompasses the episode of The Origins of Snám-dá-én or The Swimming of the Two Birds, and the third part (ll. 149-166) covers the episode of The Vision of the Coming of Ciarán. The first part of the Finn and the Phantoms story is absent due to manuscript damage. It commences with a description of the giant when Finn, Oisín, and Cailte arrive at his house, thus excluding the entire “black horse” episode.
Apart from a few scattered tales, there is no Ossianic legend in prose before the Middle Irish period. The significant compilation of Acallam na Senórach dates back to around 1200. This collection gathers all the legends concerning the Fianna artfully arranged in a conversation between Saint Patrick and Finn’s companions (Caílte and Finn’s son, Oisín) who are uncertain about their destination after their leader’s death. They ultimately accept baptism.
Ossianic tales appeal to the romantic and the fantastic: it’s not only heroism that secures victory, but also the magical powers of the hero. The so-called romantic tales stem from the same source. Modeled after Ossianic tales and influenced by Arthurian literature (some of which has been translated into Irish!), a kind of adventure novel emerges, replete with marvellous and improbable events. These are Eachtra, “Adventures” (for example, the tale of Conall Gulban), and Tóruigheacht, “pursuits”. Their scenes are often set outside Ireland. Characters may occasionally be borrowed from ancient epics. These tales, preserved in manuscripts from the early Modern Irish period, may have been passed down to us through oral tradition. Late Ossianic tales, in turn, feature the theme of the journey to the Other World, as seen in various bruidhean (magical mansions where Finn is attracted and attacked treacherously). In both Fenian and non-Fenian narrative the dwellings described as bruidhean are explicitly or implicitly otherworldly. In many respects, Finn’s experiences in the bruidhean, where he is nearly killed but from which he escapes with new knowledge of the other world, can be understood as a shamanic journey beyond the human world. It is noteworthy that the world has a secondary meaning of “argument” in Middle Irish. This text is the earliest extant example of the genre.

1.3. A few discrepancies across various editions

Only in the Leiden MS prose version of the tale is Finn explicitly described as putting his finger in his mouth to find out about the bruidhean experience (Stern, pp. 7, 16-17). In the other versions of the story, the first-person narrator (Oisin) simply reveals the identity and motivation of the otherworldly hosts at the end of the tale.
It should be noted that the prose version mentions three úatha, Poem I (ed. & tr. from the Book of Leinster: Stokes 1886: 289–307)) three fúatha and Poem II ((ed. & tr. of this poem from Duanaire Finn, Dublin, University College, OFM, A20, formerly in Killiney: Mac Neill 1908: 28–30, 127–130) nine fúatha. Leiden MS has, like Leinster one, three phantoms of Ibarglenn who avenge their sister, instead of nine, like Agallamh na senórach or Duanaire Finn. Leiden MS also has the hag episode, like Leinster MS, while Agallamh na senórach or Duanaire Finn omit this episode.
However, the poem is also recognised under various titles, provided by different translators. John Anster named the poem The rath of Badami; or the enchantment in his freely metrical translation of the Leinster version. Whitley Stokes titled it Find and the phantoms in his edition of the same version, and Lady Gregory adopted the title Finn and the phantoms as well, when recounting the Leinster version in prose. Eoin MacNeill named it, in his edition of Duanaire Finn, The headless phantoms. And Ní Shéaghdha called the prose and verse episode of Finn and the phantoms in the Agallamh: Díoghaltas na bhfuath (nó An rioth is doilghe do-rinne Oisín) The vengeance of the phantoms (or The most difficult run Oisín did)’.
For an unpublished version and a rendition without the phantoms, refer to Murphy, Duanaire Finn, iii 26.

2. Find and the Phantoms and the Fenian Cycle: the tale and its place within Fiannaíocht

Fiannaíocht refers to the corpus of texts dealing with the exploits of Fionn (Finn) mac Cum(h)aill and his warriors.
Finn is the most vivid character because he “would then take any opportunity that presented for an adventure; for he was not only a soldier, he was a poet also, that is, a man of science, and whatever was strange or unusual had an irresistible attraction for him.” (James Stephens)
The tale describes a terrifying encounter between Find mac Cumhaill, his son Oisín and his foster-son, Caílte, and a collection of phantoms in an isolate house in a remote glen where they found a shelter for the night. The narrative is notably graphic for a modern reader. This eerie description could serve as a plot for an Allan Poe story, or a movie directed by Roger Corman or a Hammer production. The malevolent entities assail the characters’ diverse senses: sight (using smoke), hearing (by subjecting them to unbearable music), and taste (with the presence of raw meat). As darkness envelops them, the sole sensation that persists is the touch shared among the three heroes who engage in a relentless overnight battle, deprived of vision. It is significant that the assorted creatures encountered by the protagonists are also “mutilated” or monstrous in nature, exhibiting either a deficiency or excess of certain features and cannot harm the characters. The tale elicits the ethereal quality of a dream; at the break of dawn, all remnants of the nocturnal events vanish without a lingering trace.
The three men were lured into a trap for revenge. What sort of revenge? By whom?
This passage into this frightening world suggests, in some respects, the realm of Hades as described by Homer. The three heads of the witch evoke the three heads of Cerberus. But they also evoke the 13th-century legend Bruidhean Chéise Corainn (The Mansion of Keshcorran) also tells of a visit of Finn mac Cumhaill to the Other World. He encountered three Other World ugly sisters, who played sinister tricks on him and his comrade Conán Maol to punish them for hunting and sleeping on the hill of Keshcorran which belonged to their father. These were malignant phantoms whose sister had been slain by the Fiana in the cave of Ceis Corann.
The number three and its square, nine, bear magical significance not only in Irish mythology but also in Greek tales and the broader Western tradition.
Towards the conclusion of the poem, we discover that Finn, Oisín, and Cailte endured their hardships because the phantoms sought to avenge their sister, Cullen Craeslethan, often referred to as ‘Holly Broadmouth’. However, the identity of Cullen remains shrouded in mystery, giving rise to numerous theories, all speculative in nature. According to Stokes, she was described as “some ogress or female evil spirit whom Find, Oisin and Cailte had destroyed”. MacNeill elucidates in his summary of the poem that the phantoms “were malignant phantoms whose sister had been slain by the Fiana in the Cave of Ceis Corann”. Murphy also thinks that the Cullen of the poem is the same as the Cullen who was killed by the cave of Keshcorran. In the story of Bruidhen Chéise Chorainn, The cave of Keshcorran, Conaran son of Imidel, a chief of the Tuatha Dé Danann, orders his three daughters, Caemhóg, Cullen Redhead and Iaran ní Chonaráin, to catch Finn and his men. These daughters are described as being very ugly and evil.
Interestingly, the parallel concept of a threefold goddess also survived in the Welsh 12th-century Trioedd Ynys Prydein [“Triads of the Isle of Britain”], Triad, which mentions that there were three Queens Gwenhwyfar at the court of Arthur. Additionally, reflections on Macbeth’s witches or the Greek Moirai come to mind in this context, but in this short essay, there is, alas, no place for further developments.

II. A tale of terror and wisdom; a few characteristics of a Fenian tale

1. Definition of a peculiar literary genre in Old-Irish tales

 

In the course of this short paper, I will refrain from delving extensively into the medieval Irish tale type known as “úath” (tale of terror) and the intricacies surrounding the form and function of supernatural beings referred to as “úatha” or “terrors”. However, it is crucial to highlight that Finn and the Phantoms falls within this distinct literary genre.
The Dictionary of the Irish Language (DIL) translates úath as “fear, horror, terror; a horrible or terrible thing”.
In Irish texts, supernatural beings are frequently encountered on the battlefield, with their roles ranging from motivating warriors to fight more effectively to instiling fear so intense that it leads to their demise. The Homeric reader cannot be unfamiliar with this and it gives a specific taste to a text. Within this narrative, we aim to illustrate that the function differs significantly. The distinction between úath and fúath, meaning “form; spectre” and “form, likeness; hideous or supernatural form, spectre,” respectively, is challenging. Proinsias Mac Canahas aptly pointed out that semantically úath and fúath converge in Middle Irish. He states: “Fúath, meaning ‘form, likeness; hideous or supernatural form, spectre’ is a different word from úath, meaning ‘fear, horror; horrible or terrible thing’, but semantically they converge. From Middle Irish onwards, one cannot always distinguish between them, particularly when úath develops a prosthetic f-.” (95). Proinsias Mac Canahas also reminds us that for several scholars úath is form from uaimh, a cave, a cellar and signifies some deed connected with a cave and “What strikes one as particularly is that they should all have ignored so completely the commonest use of úath, that is in the sense of ‘terror, horror’, etc., which seems to tally reasonably well with such information as we can glean concerning the tales in question.” (95) “Moreover, it is one which is well attested elsewhere in the literature, notably in the fianaigecht where there are tales of Fionn or Goll encountering terrible phantoms described as (f)uatha.” (96)
The tale is also an echtrai (supernatural adventure story) in which the hero visits the Other World; of the echtrai or imrama, in which the interest of the story is concentrated on a journey or visit thither and of Fis (vision) of Heaven and Hell… The journeys to the edge or into the Other World of Finn are initiatory travels that appear to both enhance his general knowledge and put him to the test and legitimate his position among the Fenian band.
Nora K. Chadwick explains that “The scarcity of references to Finn in tales of the twelfth-century list suggests that in the first half of the twelfth century the Fianaigeacht was yet not important. It is not to be supposed, however, that Finn was unknown till this date—only that he was not a well-known and popular figure. (…) By the end of the twelfth century—a great period of storytelling—Finn and his fianna have become well-known. But their literature, as we have said, is in the form of ballads, and as Irish ballads, unlike those of the rest of Europe, are hardly ever related in the third person, the influence of the speech poems, which are commonly inserted into Irish prose sagas, may perhaps be assumed.” (277) And “This cycle, however, became famous only about the eleventh century. It is medieval, and the stories of Finn have undergone a transformation in accordance with medieval taste. They are mostly preserved not in prose (…), but in poetry. They constitute the famous cycle of Finn “ballads” (…). Most of the ballads about Finn and his fellows, hi Fianna or ‘war-band’, are traditionally attributed to Finn and his son Oisín.” (276) In this respect, Finn and the Phantoms embodies most of the characteristics, and does so in a very lively manner, of the tales of the Fenian Cycle. That’s the very reason why we have chosen this text.

2. Imbas forosnai

 

According to early legends, Finn possessed a great number of supernatural powers, notably due to the Salmon of Wisdom that he had inadvertently tasted in his childhood (Meyer, Fianaigecht, Introduction, p. xxviii; Murphy, Duanaire Finn 3, p. xxxiv, lxv,). He had the power of supernatural knowledge: by putting his thumb into his mouth he could find out anything he wished to know. He discovered the fairy power of knowledge of all hidden things. There was an incantation which accompanied the insertion of his thumb into his mouth; it is called the imbas forosnai. The text tells how, when Finn took his finger out of his mouth, he began to sing and the imbas illumined him.
The 10th century version of Finn and the Phantoms contains the earliest mention of Finn’s tooth of knowledge in connection with his thumb: “Ils tinrent conseil ensuite pour savoir qui leur aurait fait cet outrage. Finn chanta un teim laida (le chant magique) et mit son pouce sur sa dent de savoir, alors la chose lui fut révélée. ” (Revue Celtique XIII, 16). Teim laida consists in reciting a kind of metrical charm of spell. Teim Laida, this magical chant uttered by the lips of Finn, who discovers the truth about his journey, might be a metaphor for the poet revealing to us, the readers, the meaning of our destiny. So imbas forosnai, is a gift of clairvoyance or visionary ability practiced by the gifted poets of ancient Ireland.
In Old Irish, Imbas means “inspiration” and specifically refers to the sacred poetic inspiration believed to be possessed by the fili (Old Irish: inspired, visionary poets) in Early Ireland. Forosnai means “illuminated” or “that which illuminates”. Descriptions of the practices associated with Imbas forosnai are found in Cormac’s Glossary and in the mythology associated with the hero Finn mac Cumhaill. Imbas forosnai involved the practitioner engaging in sensory deprivation techniques in order to enter a trance and receive answers or prophecy. Ultimately, and quite paradoxically, the ordeal endured by Finn in this strange mansion, where he is tossed about and deprived of his senses, prepares him for the imbas forosnai.
In the Celtic traditions, poetry has always served as a primary conveyance of spiritual truth. Between normal poetry, which is just a matter of learned skill, and “inspired” poetry, which is considered as a gift from the gods, there is a distinction. So, we might contemplate medieval poems and narratives portraying Irish heroes like Finn as pathways connecting us, ordinary mortals dwelling in the tangible realm, to another world—supersensible and imbued with metaphysical meaning.

3. Geasa

 

Geis (plural geasa or gesa) refers to solemn vows, conjurations, injunctions, and prohibitions. The word meant a solemn wow, conjuration, injunction or prohibition. And sometimes it denotes a charm or a spell. If one person put another under geasa to grant any request, the person under geasa could not refuse without loss of reputation and honour. The expression occurs frequently un the Fenian tales. “I put you under geasa” means, I adjure you solemnly, so solemnly that you dare not disobey. It would appear that individuals were often under geasa or solemn vows to observe, or to refrain from, certain lines of conduct—the vows being either taken on themselves voluntarily, or imposed on them, with their consent, by others. Sometimes the geis is implicit.
A notable instance is the geis that forbade him from eating the flesh of a certain salmon, the Salmon of Wisdom. According to legend, this salmon had gained extraordinary wisdom by consuming hazelnuts that fell from a special tree. In the narrative, Finn is tasked with cooking the salmon, but he burns his thumb while tasting the flesh to ensure it is well-cooked. Instinctively, he puts his burnt thumb into his mouth to alleviate the pain, thereby absorbing some of the wisdom of the salmon. However, this act violates the geis that prohibited him from tasting the flesh of the fish. This transgression has heavy consequences, as Finn gains immense wisdom but loses the opportunity to fully possess the Salmon of Wisdom. This might explain why he continued to face ordeals throughout his life!
In either the poem or the prose version, the concept of the geis remains veiled or concealed. Finn rejects the offered horseflesh, insisting it’s unfamiliar, described as “raw food” in Poem I and specifically as “horseflesh” in Poem II. Of course, this refusal sparks insult, extinguishes the fire, and leads to a violent nocturnal confrontation. At sunrise Finn discovers the vanished house and restored horses. Through divination, Finn identifies them as the three úatha of Yew Valley seeking revenge for their sister’s death. Although three or nine úatha are later mentioned, their attempt to harm Finn fails, possibly due to his refusal of horseflesh. This scene parallels a Cú Chulainn’s tale, where witches offering dog’s flesh on rowan spits foretell doom. Cú Chulainn was bound by the dual obligation of abstaining from consuming dog meat while also refraining from refusing hospitality. This predicament crystallizes into a poignant dilemma, wherein he becomes entrapped by two unfavourable choices. Finn, not constrained by conflicting geasa like Cú Chulainn, navigates the threat successfully. While the text doesn’t explicitly mention Finn’s geasa, the audience, drawing parallels with Cú Chulainn’s narrative, would sense the looming danger. The úatha symbolise vengeance and a trial in Finn’s tale, where the absence of explicit geis allows for a positive resolution, diverging from tragic geis-related endings.

Conclusion

 

Finn and the Phantoms illustrates the porosity between two worlds experienced by the hero—ours and the Otherworld. Finn exists in a state of betwixt and between. In many aspects, Finn embodies a ‘shamanic’ figure, and certain Fenian narratives reflect an Irish form of ‘shamanism’, an idea first explored by Nora K. Chadwick in her article “Imbas Forosnai” The tale holds a central place in the Fenian tradition, offering profound insights into the nature of its characters. Most importantly, it delves into our own essence, revealing our insatiable appetite for fiction—the milk, the honey, and the bread of humanity are the tales. And who captures this essence better than W. B. Yeats?
In his introduction to Lady Gregory’s Irish Myths and Legends, Yeats wrote: “The men who imagined the Fianna had the imagination of children, and as soon as they had invented one wonder, heaped another on top of it. (…) When Oisin is speaking with St. Patrick of the friends and the life he has outlived, he can but cry out constantly against a religion that has no meaning for him. He laments, and the country-people have remembered his words for centuries: ‘I will cry my fill, but not for God, but because Finn and the Fianna are not living.’ (…) We do not know who at the foundation of the world made the banquet for the first time, or who put the pack of cards into rough hands; but we do know that, unless those that have made many inventions are about to change the nature of poetry, we may have to go where Homer went if we are to sing a new song.”

***

BIBLIOGRAPHY

Revue Celtique :
— “Find and the Phantoms” par Whitley Stokes, in Revue Celtique, VII, Paris, 1886
— “Le manuscrit irlandais de Leide” par Ludwig Christian Stern, in Revue Celtique, XIII, Paris, 1892

 D’Arbois de Jubainville, Henri, La Civilisation des Celtes et celle de l’Épopée homérique, in Cours de Littérature Celtique, tome VI, Albert Fontemoing, Paris, 1899
 Borsje, Jacqueline, ‘The ‘terror of the night’ and the Morrígain: shifting faces of the supernatural. Dans M. Ó Flaithearta (Ed.), Proceedings of the Seventh Symposium of Societas Celtologica Nordica (p. 71-98). Acta Universitatis Upsaliensis, 2007
http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7836
— “Fled Bricrenn and Tales of Terror”, in Peritia 19, 2005
 Carey, John, Duanaire Finn: reassessments, Irish Texts Society, London, 2003
 Chadwick, Nora K, “Imbas Forosnai”, in Scottish Gaelic Studies, volume 4, part 2, pp. 97-135, Oxford University Press, 1935
— The Celts, Penguin Books, London, 1991
 Dottin, Georges, L’Épopée irlandaise, La Renaissance du livre. Paris – 1926
 MacNeill, Eoin, et al., Duanaire Finn: The book of the lays of Fionn, vol. 1, Irish Texts Society, London 1904
 Falaky Nagy, Joseph, “Shamanic Aspects of the ‘Bruidhean Tale’ ”, History of Religions, May 1981
 Lady Augusta Gregory, Gods and Fighting Men: The Story of the Tuatha De Danaan and of the Fianna of Ireland. arranged and put into English; with a preface by W.B. Yeats, London and New York, 1904
 Joyce, P. W., Old Celtic Romances, Longmans, Green, and Company, London, 1920
 Kranenburg, Marieke van, Oenach indiu luid in rí, An edition of the three known versions of ‘Today the king went to a fair’ or Finn and the phantoms with translation and textual notes, MA thesis. July 2008. Celtic Studies. University of Utrecht.
https://studenttheses.uu.nl/handle/20.500.12932/10568
 Mac Cana, Proinsias, The Learned Tales of Medieval Ireland, Dublin Institute for Advanced Studies, 1980
 Ní Shéaghdhan, Nessa, Agallamh na seanórach, Dublin, 1942
 O’Donovan, John, ed. and tr. Stokes, Whitley, Cormac’s Glossary by Cormac, King of Cashel, 836-908, Printed by O. T. Cutter for the Irish Archeological and Celtic Society, 1868
 MacKillop, James, A Dictionary of Celtic Mythology, Oxford University Press, 2004
 Meyer, Kuno, Fianaigecht: being a collection of hitherto inedited Irish poems and tales relating to Finn and his Fiana, 1910
 Murphy, Gerard, Duanaire Finn: The book of the lays of Fionn, 3 vols, vol. 3: Introduction, notes, appendices and glossary, Irish Texts Society, London, 1953
— The Ossianic Lore and romantic Tales of Medieval Ireland, Cultural Relations Committee of Ireland, Dublin, 1955
 Stephens, James, Irish Fairy Tales, Macmillan & Co., London,1920
 Woolley, Alice, The Finn Cycle from its beginning to the seventeenth century, Northwestern University, 1920 (thesis)

WEBSITES:

https://celt.ucc.ie/
https://codecs.vanhamel.nl/
http://corpas.ria.ie/
www.archive.org (that allows everyone to access to digitized editions of an incredible number of ancient books in several languages).
https://dil.ie/ (essential dictionary of Medieval Irish).