An Buailte: An Epitaph
I first came across the matter in the National Library. I was visiting with the type that had absconded from the print room of the Dáil; and taken refuge among the remnants of the Liberty Hall font; those battered pieces of type that claimed to have survived the confusion of 1916. They were hiding inside one of the Library’s manila-coloured boxes, soft at the edges, slightly damp to the touch, and filled with the correspondence of the O’Ranelagh family.
The O’Ranelaghs had not preserved the letters exactly. They had merely failed to betray them. I recognised the distinction at once. It was the same distinction I had noticed in the absconding tittle, whose refusal to blink its way through interrogation had first taught me that courage is sometimes indistinguishable from good manners. It had not made a speech. It had not denounced the authorities. It had simply declined to assist in its own disappearance. The box itself seemed to understand this. It did not announce its contents. It did not boast of rescue. It merely held what had been placed inside it and allowed the years to gather around the evidence.
I was turning over a page of Irish when I stopped. Above one consonant there was a faint wound. Something had been scraped away. Not erased cleanly, but worried off the paper, as if the mark had resisted. Then, between that consonant and the next letter, someone had inserted an h. I asked the type what had happened. At once the box became silent. A capital B pretended not to hear. A long s lowered its neck. Several vowels gathered themselves into a nervous little parliament and refused to record minutes. Only the tittle of a j was prepared to speak.
“It was one of us,” it said. “One of you?” “A dot,” said the tittle. “A mark above a consonant. In Irish they called it the ponc séimhithe. Others called it the buailte. The struck one. The little blow. The sign that softened a letter without making it carry another letter behind it.” I leaned closer to the page. “So the dot was removed?” The tittle trembled. “Removed is too gentle. It was replaced. Removal leaves a silence. Replacement writes over the silence and calls it improvement.” The h stood there, neat and legal, immediately after the consonant.
“It was said to be practical,” the tittle continued. “It was said that machines found dots inconvenient. That Roman type was easier. That keyboards preferred straight lines of characters to small marks hovering above them. They always blame the machinery when they want to discipline a language.” I looked at the scraped place again. I had known from early life that a small mark could be treated as an error, a nuisance, a speck, a thing to be corrected. I had also learned that the smaller the mark, the larger the system required to persecute it.
“What did the buailte do?” I asked. “It changed the breathing of the letter,” said the tittle. “A consonant with a buailte was not the same consonant. It had been altered, softened, struck into another sound. It carried its history above itself.” “And the h?” “The h came after,” said the tittle. “That was its genius. It did not hover. It queued. It entered the line and claimed to be ordinary. It made the change look alphabetical.”
From deeper in the box, one of the Liberty Hall letters stirred. It had known shortages of type. It had seen letters forced into service as other letters. It had seen broken characters sent back into history with improvised limbs. It knew that there are two kinds of substitution: the kind necessity makes, and the kind authority calls progress. “Was it oppression?” I asked. The tittle considered this carefully. Dots are often careless in appearance, but precise in thought. “Yes,” it said. “But not the loud kind. No one drags a diacritic through the street. No one declares martial law against a mark above a consonant. It happens more politely. First the mark is called difficult. Then old-fashioned. Then decorative. Then unnecessary. Finally it is allowed to survive only in heritage, signage, and nostalgia.”
The manila box gave a small archival sigh. I did not close it. Instead, I took out my notebook. There are moments when a thought should not be trusted to memory. Memory, like type, is vulnerable to substitution. One returns later and finds that an h has entered the line, claiming to have been there all along. I wrote: A mark may survive not because it is defended, but because someone fails to betray it. Beneath that I added: Good manners: .the refusal of a small thing to make itself convenient to power.
The tittle of the j watched me write. I could feel its approval, though it did not blink. It would not have been mannerly. I turned back to the page. The scraped place above the consonant continued to trouble me. It was not quite absence. Absence is cleaner than that. This was the visible effort of making something absent. The page still knew where the mark had been. The consonant knew too. Even the h, standing there with its administrative posture, seemed to know it had arrived after the fact.
So I wrote one more note: The buailte was not removed. It was asked to disappear politely. The h arrived afterwards, carrying the paperwork.
I remained in the Library for some time after that. The box stayed open before me. The O’Ranelagh correspondence lay inside it, neither confession nor denial, but something better: a failure to betray. Around it gathered the escaped type, the nervous vowels, the damaged Liberty Hall letters, the long s, the silent B, and the tittle of the j, who had spoken when the others could not.
I began to understand that a font is not merely a style of appearing. It is a theory of permission. The buailte was not only a dot. It was a place above the letter where memory could stand. And if memory is driven from that place, it does not vanish. It waits in the paper. It waits in the wound. It waits in the small refusal of a mark to become convenient.
I closed my notebook, but not the box. Some histories should be left open.
✒️ Sigi