Ferdia’s character, although everywhere inferior to that of his victor, is also a heroic one; he is represented at the commencement of the episode as undertaking the fight for fear of disgrace if he refused; and this does appear to be represented throughout as the true reason; his early boasts and taunts are obviously intended to conquer a secret uneasiness, and the motif of a passion for Finnabar with which Cuchulain charges him hardly appears outside Cuchulain’s speeches, and has not the importance given to it in the Leabhar na h-Uidhri version.  The motif of resentment against Cuchulain for a fancied insult, invented by Maev, which is given in the L.U. version as the determining cause, does not appear in the Leinster version at all; and that of race enmity of the Firbolg against the Celt, given to him by Aubrey de Vere, is quite a modern idea and is in none of the old versions.  His dialogue with Maev suggests that, as stated in the text, he was then slightly intoxicated; his savage language to his servant gives the idea of a man who feels himself in the wrong and makes himself out to be worse than he is by attributing to himself the worst motives, the hope of pay; but as the battle proceeds he shows himself equal to Cuchulain in generosity, and in the dialogue at the beginning of the third day’s fight his higher character comes out, for while his old boastfulness appears in one passage of it, and is immediately repressed, the language of both heroes in this dialogue is noticeable for a true spirit of chivalry.  The mutual compliments, “thy kingly might,” “fair graceful Hound” “gently ruling Hound” recall the French “Beausire”; it may be also noted that these compliments are paid even when Ferdia is protesting against Cuchulain’s reproaches; similar language is used elsewhere, as “much thine arms excel” (page 122), and “Cuchulain for beautiful feats renowned” (page 134).  It may be considered that these passages are an indication that the episode is late, but it should be noticed that the very latest date that can possibly be assigned to it, the eleventh century, precedes that of all other known romances of chivalry by at least a hundred years.  To this later attitude of Ferdia, and to that maintained by Cuchulain throughout the whole episode, nothing in French or Welsh romance of approximately so early a date can be compared.  Is it not possible that the chivalric tone of the later Welsh romances, like the “Lady of the Fountain,” which is generally supposed to have come from France, really came from an Irish model? and that this tone, together with the Arthurian Saga, passed to the Continent?

A great contrast to both the two heroes is afforded by the introduction of Laeg with his cries of exultation, which come between the dying groans of Ferdia and the fine prose lament of Cuchulain, increasing the effect of both.  Laeg seems quite unable to see his master’s point of view, and he serves as a foil for Ferdia, just as the latter’s inferiority increases the character of Cuchulain.  The consistency of the whole, and the way in which our sympathy is awakened for Ferdia contrast with the somewhat disconnected character of the L.U. version, which as it stands gives a poor idea of the defeated champion; although, as Mr. Nutt suggests, the lost part may have improved this idea, and the version has beauties of its own.