f 
 
 ^,> 
 
 5#*i 
 
íahn §>tí^^n0mt . 
 
/) 
 
 p^^/.. 
 
íbAajrei Ijy- JJLorfars, 
 
 from. an. Ortónaí-TaJnlin^. 
 
 GAEOLAM, 
 
 ^ur i^V'^/^^?^^ 2^/^,7/7 lyMu/: 
 
 "PiiWislied \)j Joseph Tiobins.Loiidoii, 1831. 
 
IRISH MINSTRELSY, 
 
 BARDIC REMAINS OF IRELAND ; 
 
 ENGLISH POETICAL TRANSLATIONS. 
 
 COLLECTED AND EDITED, 
 
 WITH NOTES AND ILLUSTRATIONS, 
 
 BY JAMES HARDIMAN, M. R. I. A. 
 
 "bToTiTi 5]t<<.bli <^5<^Tn <^\i b}i<^nc<^i5li ly <^|t clieolr<^i5h." 
 
 ** I will give thee a book— it containeth the Songs of the bards of Erin, of 
 the bards of the days that are gone." John Philpot Curran. 
 
 VOL I. 
 
 LONDON : 
 JOSEPH ROBINS, BRIDE COURT, BRIDGE STREET. 
 
 1831. 
 
V. X 
 
 TO THE RIGHT HONORABLE 
 
 THOMAS SPRING RICE, 
 
 REPRESENTATIVE IN PARLIAMENT FOR THE CITY OF 
 
 LIMERICK, 
 
 A STEADY FRIEND TO THE BEST INTERESTS OF IRELAND, 
 
 THIS WORK, 
 
 UNDERTAKEN WITH A VIEW TO PRESERVE AND ILLUSTRATE 
 A PORTION OF ANCIENT IRISH LITERATURE, 
 
 IS RESPECTFULLY INSCRIBED, 
 
 BY HIS OBEDIENT SERVANT, 
 
 JAMES HARDIMAN. 
 
 Dublin, September \st, 183L 
 
 2346 
 
CONTENTS OF VOL. I, 
 
 PAGE 
 
 Introduction i 
 
 Memoir of Carolan .......... xli 
 
 Memoir of Thomas Furlong Ixix 
 
 PART I. REMAINS OF CAROLAN. 
 
 'P<<;>ilce 6o C]iediabh<^ll<^n . Welcome to Carolan . 5 
 
 |7i^ilte [^<^5ui6}iifi .... Mary Maguire ... 9 
 
 "pi^Tint bi<^61icAch .... Fanny Betagli ... 13 
 
 l>|n5hicc C]iú|* Bridget Cruise ... 15 
 
 lei5hioY 5<^cii 5<^l<^[i <^ti 
 
 c-uiycibhe Whiskey is the potion 19 
 
 P1A1T15YC1511 <^n Yc<^-pd^- 
 
 6<^ich, no Ol-tie Che<^|t- Planxty Stafford, or 
 
 bh<^ill^in Cardan's Receipt . 23 
 
 C<^bbh<^pc 0'Copc[i<<in . . Edward O'Corcoran . 27 
 
 yeon l-jc^pc Doctor Harte . . . 29 
 
CONTENTS. 
 
 ]ii5]nn in |V1 ho|tbli<^, no ye A- O'More's FairDaugli- 
 
 bh<^c blie<^l-<lidi-]feATi- ter, or the Hawk 
 
 n<^i5li of Ballyshaniiou . 33 
 
 Yeibhliiii u<^ ^éill . . . Phelim O'Neill . . . 39 
 
 pi<^in5Yrí6he pé<^coTi . . . Planxty Peyton . . 43 
 
 |7I<^6<<vTn C|to):con .... Madam Crofton . . 45 
 
 |\/!<^|t5h<^i|ndb n-i Chojtciiííin Peg'gy Corcoran . . 49 
 
 YeoTi lone]- . . ' . . . . John Jones .... 53 
 
 5li<^e]'i '^mnyiun .... Gracey Nugent ... 57 
 l^aible yheniih n4 Clie<<.l- 
 
 U15I1 . Mild Mable Kelly . . 61 
 
 Cup<ln m h-e<^5h[i<^ . . . The Cup of O'Hara . 65 
 
 tVl<^|t5h<^ipi<^b bpan . . . Peggy Browne ... 67 
 
 Yeoiiiye biK^bpn .... George Brabazon . . 71 
 
 bpisMcc n-ic m |71h<<vile . Bridget O'Malley . . 75 
 
 Ye<<5]i<in 5Ur ..... Shane Glas .... 79 
 
 Y^^m^X piuincé<^cc ... James Plunkett . . 83 
 
 ^<^np6h Coopejt .... Nancy Cooper ... 87 
 
 {71<<pbhn\ <^i]i bli^y <^ Carolan's Monody on 
 
 mhn<^ the death of his Wife 91 
 
 llv\ill-cbúmh<^ibh ox cionn 
 
 u^i5h mheic "Zlib . . . Lament for Mc. Cabe 95 
 
 |71<litbhn<^ Che<^]abh<^iU<<vin . Elegy on Carolan . . 97 
 
 lli^imi . Epigrams, 110—113—117 
 
 —118—124—132 
 
CONTENTS. 
 
 ADDENDA. 
 
 21 h-ui^cí6lie ch|ioí6he ti<^ 
 
 ri-^nm^mn Why, Liquor of Life . 141 
 
 'Y ^ mo ch]ie<^ch ! be<^n 
 
 che<^Tin<^i5he ti<^ -peile . Ode to Drunkenness . 147 
 
 |7l<^5<^16li l<<iibiii .... Maggy Laidir ... 155 
 
 Oib6o'Tic-r<^«iCoinbe<^lb}i<^n Ode to a Minstrel . . 180 
 
 *blo5h<^bh ...... A Fragment ... 185 
 
 jlc^nn Epigram 189 
 
 ^Ol-6^n Bacchanalian ... 192 
 
 *|7loc<^ 5h|i<linne 015 . . . Moatagrenoge . . . 194 
 
 *C<^)'<^6h 6j\ c-yÚ5<^in. . . Twisting of the Rope 195 
 
 PART II. SENTIMENTAL SONG* 
 
 b[ii5hbin pabfimc .... Bridget Fergus . : . 205 
 
 €ibhlin <^ |túin Eileen a Roon . . .211 
 
 p<^iYCTn ):ionn Paistheen Fion . . .217 
 
 Yile bhe<^5 n-i Chombe<^l- 
 
 bh^in Little Celia Connellan 221 
 
 ycu<^]tin n<^ Tn'.b<^ch<^ll m- The Lass of fair flowing 
 
 b]ie<<i5b, ]teibh . . . . tresses 225 
 
 Those thus marked * are not translated. 
 
CONTENTS. 
 
 C<^iYiol |71úinh<^Ti . . 
 
 |71<^iíie Cbmrle . . . 
 
 C<^icilín Ciii]ti<^ll . . 
 
 '^ln Chúil-pliiOTin , . 
 
 jloipn bubh . . . . 
 
 Uilec^c^n 6ubh ! . 
 
 Ce<^nn bubh bUe^y . 
 Cibblin <^ ]iuin . 
 €<^bbnioiin <^n Chnoic 
 
 '^Inn yo. m-bdile \o . 
 
 belle n-i Cbi<^]i<^bb<<in 
 'PiAbb<^'i6he l)hMit<^ . 
 
 6éi]ib[te bbe<^5h-5hnúiTeAch 
 
 |\/l<<vi]te |iúiii 
 
 "^ofK^ <^n chilli omiK^icb . . 
 
 '2li)*liTi5 <^Ti oi5-phi|t . . . 
 
 21 5b|t<<bh A5uy <^ |iúin bhil. 
 
 Lord Mayo .... 229 
 The Brown Thorn . . 235 
 Cashel of Munster, or 
 
 the '^Clar Bog Deal" 239 
 Molly a Store ... 243 
 Catherine Tyrrell . . 247 
 TheCoolin . . . .251 
 Roisin Dubh ... 255 
 Uileacan Dubh O ! .259 
 Cean Dubh Deelish . 263 
 Old Eileen a Roon. . 265 
 Emon a Knock . . . 269 
 in this calm sheltered 
 
 villa 275 
 
 Eleanor O'Kirwan . . 279 
 The Hunter of Bear- 
 haven 283 
 
 Wounded by Cupid's 
 
 burning dart . . . 287 
 Blooming Deirdre . .291 
 Mary a Roon . . . 297 
 Honor of the Amber 
 
 Locks 301 
 
 The Young Man's 
 
 Dream 305 
 
 Marv of Meelick . .311 
 
CONTENTS. 
 
 *beul-<<cli-vli<^TYilvn<^ir . . Ballyliauiiis . . . 326 
 
 =>^l)lo5li<^6h A Fragment ... 330 
 
 *^ln Ypeic Yeoi5lie<^cli . . The Humours of Joyce 
 
 Country . . . .331 
 
 CofiinAc 05 Young Cormac . . . 333 
 
 *t)inpTi ludchjK^ .... The Bunch of Rushes 334 
 
 *Con6<^e |711i<^%he6 . . . County Mayo ... 337 
 
 *blo5h<^6h A Fragment .... 841 
 
 *Oib An Ode 343 
 
 l3lo5h<^bh A Fragment .... 344 
 
 *€6chdill Youghal Harbour . . 348 
 
 ^tTluiíinm ii<^ 5|iu<^i5e b<<vine My fair-haired Darling 354 
 
 l)lo5hA61i A Fragment .... 365 
 
INTRODUCTION. 
 
 REMAINS OF ANCIENT IRISH LITERATURE. IMPORTANCE 
 
 OF OUR OLD DOCUMENTS. EARLY FILE AS. IRISH 
 
 MUSIC. PRINCIPAL BARDS FROM THE ERA OF CHRIS- 
 TIANITY TO THE CONVERSION OF THE IRISH, AND 
 
 THENCE TO THE LAST CENTURY. THEIR EDUCATION, 
 
 CHARACTER, AND PRODUCTIONS. — IRISH LANGUAGE 
 
 WELL ADAPTED FOR LYRICAL COMPOSITION. METRE 
 
 AND VERSIFICATION. — TITLE OF THE PRESENT WORK. 
 ITS ORIGIN AND PROGRESS. CONCLUSION. 
 
 After ages of neglect and decay, the ancient 
 literature of Ireland seems destined to emerge from 
 obscurity. Those memorials which have hitherto 
 lain so long unexplored, now appear to awaken the 
 attention of the learned and the curiosity of the 
 public ; and thus, the literary remains of a people 
 once so distinguished in the annals of learning, 
 may be rescued from the oblivion to which they 
 have been so undeservedly consigned. That the 
 ancient Irish possessed ample stores in their native 
 language, capable of captivating the fancy, enlarging 
 
11 INTRODUCTION. 
 
 the understanding, and improving the heart, is well 
 known to those acquainted with the mouldering 
 membranes which have survived to our times. 
 The historical importance of our annals has been 
 acknowledged by the most learned men of Europe 
 for the last three centuries. They are written in 
 the language of the first inhabitants of Europe ; and, 
 with a simplicity of detail which truth only can 
 confer, they record the primaeval state of this island, 
 the origin of its early inhabitants, their history, re- 
 ligion, and laws, and the arts known amongst them 
 for several generations. Former writers have brought 
 discredit on our history by injudiciously blending 
 with it the fictions of romance; and succeeding 
 authors, unable or unwilling to separate the truth 
 from the fable, became contented copyists, and thus 
 encreased the evil which they pretended to remedy. 
 Eager for temporary applause, which they mistook 
 for permanent fame, they forced on the world their 
 crude essays, which were remarkable only for dis- 
 tortion of fact and boldness of conjecture. The 
 original documents, which would have guided them 
 to truth, were wholly neglected, or but partially ex- 
 plored. Hence, the imperfect state of our early 
 history, and the erroneous opinions entertained of it 
 by many, even of the learned, at the present day. 
 The difficulty of procuring the documents alluded 
 to, and the still greater difficulty of deciphering 
 them when procured, may be alleged as an excuse 
 
INTRODUCTION. Ill 
 
 for the indolence, or ignorance, of which our country- 
 men have reason to complain in the generality of 
 their historical writers. But this is a plea that 
 cannot be admitted. Those chroniclers of error 
 ought to have rendered themselves competent, or 
 have remained for ever silent. What is true of 
 the past will apply equally to the future. Until 
 the difficulties alluded to shall be overcome, all 
 attempts to illustrate, with certainty or authority, 
 the earlier parts of our history must prove abortive. 
 — Having judged it necessary to make the few fore- 
 going observations on the most important use to be 
 made of those neglected muniments, it now remains 
 to ascertain what information they afford on the 
 subject at present under consideration — the ancient 
 poetry of Ireland. 
 
 That this country, from an early period, was 
 famous for the cultivation of the kindred arts of 
 poetry and music, stands universally admitted. The 
 works of the prejudiced Cambrensis, and the annals 
 of Wales and Scotland, might be adduced in evi- 
 dence of the fact ; but we require not the aid of 
 foreign proof, our domestic records supply abun- 
 dant information on the subject. Although most of 
 the records of the days of paganism were destroyed 
 by the zeal of the first Christian Missionaries, and 
 much of what then escaped, with many of later 
 times, met with a similar fate from the barbarity of 
 the Danes, and the destructive policy of the English, 
 
 a2 
 
IV INTRODUCTION. 
 
 yet sufficient remains to enable us to trace those arts 
 to a remote period in Ireland. The early settlers, 
 afterwards distinguished by the name of Milesians, 
 derived their origin from that part of the earth, 
 where poetry and music appear coeval with the 
 formation of society. Accordingly we find the poet 
 and musician numbered in the train of these cele- 
 brated invaders. The bards Amergin, the son of their 
 leader, and Lugad, the son of Ith, are particularly 
 named. The latter is called, in old writings, ^' The 
 first poet of Ireland," Ceb Uib h-Cft., and there still 
 remain, after a lapse of nearly three thousand years, 
 fragments of these ancient bards, some of which will 
 be found included in the following pages, with proofs 
 of their authenticity *. After these, but anterior to 
 the Christian era, flourished Royne File, or the poetic. 
 
 *. Vol. II. p. 347, et seq. These ancient fragments are pre- 
 served in the old historical Record, entitled Leabhar Ghah- 
 haltus, or the *' Book of Invasions;" a copy of which, 
 transcribed in the twelfth century, and now in the Duke of 
 Buckingham's library at Stowe, is particularly described in the 
 late Doctor O'Conor's invaluable Catalogue of the MSS. 
 there preserved. This learned man observes, " that we should 
 refer this species of poetry to a very remote age, no one who 
 has read Strabo will wonder. The Hiberni derive their 
 origin from the Iberi; and Strabo mentions a people oi Iberia 
 and Bcetica, who could produce poems nearly 6000 years old. 
 (Lib. Srd). Let, however, the specimens of Irish poetry still 
 remaining speak for themselves. The oldest Saxon poetry 
 extant is King Alfred's." — Cat. Stowe, L 23. — 
 
INTRODUCTION. V 
 
 and Ferceirtne, a bard and herald ; some of whose 
 remains will also be found with the foregoing. 
 LuGAR and Congal lived about the birth of Our 
 Redeemer, and many of their verses, particularly 
 those of the latter, are still extant*. The subjects and 
 language of these insular poems afford internal 
 evidence of an antiquity transcending that of any 
 literary monument in the modern languages of 
 Europe. 
 
 In that remote period the cultivation of music 
 kept pace with the progress of poetry. The Dinn 
 Seanchasf, compiled by Amergin Mac Amalgaid, 
 A. D. 544, relates that in the time of Geide, monarch 
 of Ireland, a. m. 3143, '' the people deemed each 
 others voices sweeter than the warblings of a melo- 
 dious harp, such peace and concord reigned among 
 them, that no music could delight them more than 
 the sound of each others voice : Teniur ( Tar ah) 
 
 * In numerous old vellum MSS. — To these may be added 
 Adhna, and Neide his son, who flourished about the same 
 time, fragments of whose writings, in the Bearla Feine, or 
 Phoenician dialect of the Irish, are extant in the MSS. of 
 Trinity College, Dublin. 
 
 t Or *' History of noted places in Ireland.'* This curious 
 piece of ancient topography is preserved in the Books of Lecan 
 and Ballimote; two celebrated MSS. volumes, in folio vellum, 
 containing transcripts of numerous miscellaneous tracts and 
 poems of antiquity. The former of these was carried to France 
 by James II. and after his death, lodged in the Irish college at 
 Paris, where it remained until the year 1787, when it was 
 
VI INTRODUCTION. 
 
 was SO called from its celebrity for melody, above 
 the palaces of the world. Tea, or Te, signifying 
 melody or sweet music, and mur, a wall. Te-mur, 
 the wall of music*." In the same ancient tract, music 
 is again alluded to, in the relation of a youthful 
 dream or vision of Cahiremore, monarch of Ireland, 
 which, amongst other things, describes, " a delight- 
 ful hill, surpassing all others in height, whereon 
 stood hosts ; and there grew a most beautiful and 
 stately tree, like gold, whose variegated and lux- 
 uriant foliage, when moved by the wind, yielded the 
 most melodious music ever heard, and on it grew 
 delicious fruit, pleasing to every one's taste f." 
 
 restored to this country by Doctor O'Kelly, superior of that 
 college, and deposited in the library of the Royal Irish 
 Academy, Dublin. The Book of Ballimote^ also said to have 
 been brought from Paris, was presented to the same library. 
 By an entry at fo. 180, of the latter, it appears that it was 
 purchased in 1522, by Hugh O'Donnell, from Mc Donogh of 
 Corran, for 140 milch cows. None of the contents of these 
 volumes have been published. The Dinn Seanchas contains 
 poems of FiNiN Mac Luchna, a bard of the second century, 
 FioNN Mac Cubhail and Fergus Fionnbell, who, 
 with the celebrated OisiN, (Ossian,) lived in the third cen- 
 tury, and others. 
 
 * Book of Ballimote, — CeTnu|t bin ol '2lm<^ip5eTi, &c. — 
 Seefo. 188, a. col. 1. 
 
 f " Cnoc oebinb 0^6. cuib 6ibliTib<^ibh <^i]ibe 5<^c cul<^i5 
 CO ylo5<^ib <^Tib bill ebpocc <^ni<^il o|t ipn cnuc coi-nK^b 
 comulu <^|t<^ <^ipbi 5<^c ceol iri<^ buillib bpec z^\y Acoijta in 
 c<^l<^Tn in c<^n nA niben<^6 5<^oc po5<^ coiK^ib 60 5^0 <^en/'— 
 Jd.fo, 198, col. b. 
 
INTRODUCTION. VU 
 
 The royal druid Bree, thus interpreted the dream : 
 " You are the tree who shall rise high to the 
 sovereignty, over all the nation ; the wind blowing 
 on the leaves, and producing harmony, is the sweet- 
 ness of your words in giving laws and ordinances to 
 the people ; and the fruit you saw, are the many 
 blessings that shall come on your subjects in your 
 reign." The first of these extracts contains the 
 earliest allusion to the harp* which I have met 
 
 * Mr. Gnnn, in his interesting inquiry respecting the per- 
 formance of the harp in the Highlands of Scotland, until it was 
 discontinued about 1734, 4to, Edinburgh, 1807, says — " 1 have 
 been favored with a copy of an ancient Gaelic poem, together 
 with the music to which it is still sung in the Highlands, in 
 which the poet personifies and addresses a very old harp, by 
 asking what had become of its former lustre ? The harp replies, 
 that it had belonged to a King of Ireland, and had been pre- 
 sent at many a royal banquet ; that it had afterwards been suc- 
 cessively in the possession of Dargo, son of the druid of Baal — 
 of Gaul — of Filan — of Oscar — of O'Duivne— of Diarmid — of 
 a Physician — of a Bard — and lastly, of a Priest, who in a 
 secluded corner was meditating on a white book." — This, like 
 every other research connected with the natives of the High- 
 lands, leads to their Irish origin. It has faded from the recol- 
 lection of most of our countrymen, that until a late period, 
 Ireland was the school of the Highland Scotch. " The gentle- 
 men of note probably were, partly at least," (these words in 
 italics the lawyers would call guarded or unwilling evidence,) 
 *' educated in Ireland, to which country all who adopted either 
 poetry or music as a profession, were uniformly sent to finish 
 their education, till within the memory of persons still living." — 
 Jamieson's Introduction to Letters from the North of Scotland, 
 
Vm INTRODUCTION. 
 
 with, though it is frequently mentioned in Irish 
 poems ascribed to Columba, and others of the sixth 
 century *. It is considered needless to multiply ex- 
 tracts, to shew, the early knowledge and progress of 
 music in Ireland. Proved to have existed as far back 
 as the most ancient annals extend, its origin, like 
 that of our round towers, must be sought for in the 
 Eastf. 
 
 London, 1822. This writer further adds, "Till within the 
 memory of persons still living, the School for Highland poetry 
 and music was Ireland, and thither professional men were sent 
 to be accomplished in those arts. The emit, clarsach, or harp, 
 w^as the proper instrument of the Celts. The bagpipe was in- 
 troduced by the Goths, from Scandinavia." — Same work, Vol. 
 II. 65. — These are unpalatable truths for the advocates of 
 Scotland's pretensions to Ossian. 
 
 * Quoted by the Irish annalists Tigernach and the Four 
 Masters. — See Doctor O'Conor's splendid edition of the 
 principal Irish annals to the time of the English Invasion, 
 printed at the expence of his Grace the Duke of Buckingham 
 and Chandos, 4 vols, quarto^ 1813 — 26. 
 
 f The native strains of several oriental nations have been 
 observed to bear a close affinity to Irish music. Many have 
 been found in Persia, and the mountainous parts of India. 
 Marsden, in his History of Sumatra, S8iys, " TheSuraatran tunes 
 much resemble to my ear those of the native Irish, and have 
 usually like them a flat third." Our countryman, Sir William 
 Ousely, observes, that several of the Hindoo melodies possess 
 the native simplicity of the Scotch and Irish. — Oriental Col- 
 lections, Vol. I. p. 74. — Many of the Siamese melodies, remark- 
 able for softness, sweetness, and simplicity, resemble the Scotch 
 and Irish.' — Crawford. — Mr. Thompson in his preface to the 
 select melodies of Scotland, (in which, by the way, he has 
 
INTRODUCTION. IX 
 
 The music of Ireland is better known to the world, 
 at the present day, than its poetry. In the sweet- 
 
 embodied many Irish airs,) observes that, '* Melodies of the 
 Scottish cast have been remarked among the Moors in Barbary, 
 and the natives of North America." He might have added the 
 West India islands, for thither did Oliver Cromvi^ell and his 
 myrmidons, — they to v^hom Ireland vras parcelled out under the 
 memorable Act of Settlement ^ — cause thousands of the native 
 Irish to be transported and sold as slaves. These unfortunate 
 people brought with them their language and music, of which 
 vestiges remain to the present day. 
 
 Ireland gave its music to Scotland, and thence it may be 
 traced in the modern history of the art, imparting its beauties 
 and sweetness to Italy. According to the poet Tassoni, the 
 ancient music of the Scotch or Irish, and particularly the com- 
 positions of the first James of Scotland, was imitated by 
 Gesu ALDUS, the chief of the Italian composers, and greatest 
 musical improver of the sixteenth century. The celebrated 
 Geminiani frequently declared that the works of Gesualdus 
 were his first and principal study. Hence probably his acknow- 
 ledged partiality for Irish music, and his well known admira- 
 tion of the bard, Carolan. Our countryman. Goldsmith, 
 alludes to the opinion of Geminiani ** that we have in the do- 
 minions of Great Britain no original music except the Irish." 
 — See British Mag. 1760.— It is amusing to see how our Scot- 
 tish neighbours invariably treat this subject. Among others, 
 Mr. Tytler in his dissertation on Scottish music, {Trans. Soc. 
 Antiq. of Scotland y Vol. I. 475.) after noticing the^imitations of 
 James I. by Gesualdus, exclaims, *' How perfectly character- 
 istic this of the pathetic strains of the old Scottish Songs ! 
 what an illustrious testimony to their excellency !" But, quoting 
 the following passage from Major, " In Cithara Hibernenscs aut 
 Silvesti'es Scoti, qui in ilia arte prajcipui sunt," he says, " To 
 these Sylvan ministrels, I imagine we are indebted for many 
 
X INTRODUCTION. 
 
 est strains of natural feeling, the former found its 
 ready way to every heart, and became endenizened 
 in every clime, while the latter, wrapped in an an- 
 cient and expressive but proscribed and insulated 
 language, has been generally neglected, particularly 
 since the spread of the English tongue amongst us, 
 and the downfall of the Milesians. Men there 
 were, no doubt, who, knowing and valuing its 
 beauties, have protected and cherished it amidst 
 every vicissitude, as a precious depository of the 
 genius of former times. But these generations have 
 passed away. The few who inherit their spirit 
 are gradually disappearing, and thus Irish poetry, 
 with all its charms, may be left to linger awhile, 
 and then sink into oblivion, unless rescued by the 
 timely interposition of those who still retain some 
 respect for the ancient honour of their country. 
 
 The nature and value of this venerable deposit 
 now remain for investigation. Some ancient bards, 
 anterior to the Christian era, have been already 
 noticed. Thence, to a recent period, a numerous 
 host of the principal ^' sons of song," whose names 
 may appear uncouth to our modern ears, will pass. 
 
 fine old songs which are more varied in their melody, and more 
 regular in their compositions, as they approach nearer to modern 
 times." Here the ingenious investigator suppressed the word 
 Hibernenses altogether, because it pointed out but too clearly 
 the origin of these old Scottish songs. 
 
INTRODUCTION. XI 
 
 in tedious, perhaps, but necessary review, before the 
 reader. These men's works are stamped with genius 
 and learning, and are preserved in various records 
 of the highest authority. In the second century 
 CioTHRUADH, the bard, addressed a poem to the 
 monarch Con, which is preserved in the book of 
 Munster*. Fingin, in the same reign, produced a 
 poem, on the approaches to Tarah, preserved in the 
 Dinn Seanchas — Lecan, f. 239. Some fragments of 
 LuACHNA, another bard of that period, and of Fergus 
 FioNNBELL, or the '' Sweet-voiced," who lived in the 
 third century, are found in the same record. The 
 bard Oisin is here omitted, for although there appear 
 some poems ascribed to him in many old manu- 
 scripts, yet strong doubts are entertained of their 
 authenticity. In the fourth and fifth centuries 
 flourished the nervous and poetic Torn a, one of 
 whose poems is given in the following collection ; 
 and DuBTHACH, the son of Lugar, a bard who em- 
 braced the Christian faith in the time of St. Patrick. 
 Two curious poems of the latter, on the privileges 
 and duties of his order, and of the royal rights and 
 duties of the King of Tarah, as monarch of Ireland, 
 are preserved in the Leabhar na Cceart'f. A hymn 
 
 * In the library of the Royal Irish Academy. 
 
 t The " Book of Rights," containing an account of the 
 rights and revenues of the Monarch of Ireland ; and the re- 
 venues and subsidies of the provincial Kings. It was originally 
 compiled by St, Benin, who died A. D. 468, and is contained 
 
Xll INTRODUCTION. 
 
 to the Redeemer^ by Dubthach, after his conversion*, 
 is found in the Felire Anguis, a poetical calendar, 
 compiled about the end of the eighth century, and 
 preserved in the Leahhar Breac, or ^^ Speckled 
 Book," a valuable miscellany, now in the library of 
 the Royal Irish Academy. The foregoing are the 
 most noted Pagan bards, whose poems and rhapso- 
 dies have descended to our times. The names and 
 works of others have been handed down ; and there 
 can be no doubt but that more will be brought to 
 light when the Irish MSS. scattered throughout 
 these islantfe, and on the continent of Europe, as 
 before alluded to, shall be recovered. 
 
 The introduction of Christianity gave a new and 
 more exalted direction to the powers of poetry. 
 
 in the books of Ballimote, fo. 147, and Leg AN, fo. 184. — 
 This tract shews, that the Ancient Irish were governed accord- 
 ing to some of the best and safest principles of civil liberty. 
 From Dubthach's poem on his own order, it appears, that, 
 " The learned poets and antiquaries are free from tribute, as 
 long as they follow their own profession. They shall be ready 
 to direct the kings and nobles, according to the laws ; preserve 
 the records of the nation, and the genealogies of families; and 
 instruct youth in the arts and sciences, known in the kingdom." 
 Our princes, like the Arabians, always retained their bards, 
 musicians, and story tellers. These were the historians and 
 heralds of the kingdom. 
 
 * JocELiNE, in the twelfth century, says of Dubthach, 
 *' Carmina quae quondam peregit in laudem falsorum deorum, 
 jam in usum meliorem rautans et linguam, poemata clariora 
 composuit in laudem omnipotentis. — Ch. 45. 
 
INTRODUCTION. XUl 
 
 Among the numerous bards, who dedicated their 
 talents to the praises of the Deity, during the three 
 succeeding centuries, the most distinguished are, 
 Feich, the bishop, whose poem, first pubhshed by 
 the learned Colgan, is in the hands of every Irish 
 scholar ; Amergin, author of the Dinn Seanchas ; 
 the famous Columcille ; Dallan and Seanchan, some 
 of whose minor poems are contained in this collec- 
 tion ; CiNFAELA, the learned, who revised the Urai^ 
 cepht, or " Primer of the Bards," preserved in the 
 book of Ballimote, and in the library of Trinity 
 College, Dublin ; the celebrated Adamnan ; and 
 Angus, the pious author of the Felire, or Hierology 
 in verse, already mentioned. Most of these poems 
 afford internal evidence that their construction is 
 founded on the traditional rythmical songs of the 
 Pagan bards. Their metre and their jingle are 
 national. They follow a long established practice 
 well known to the bards of former times*. After 
 
 * Doctor O'Conor. — This learned antiquary refers to 
 the chapter, " De Cron and Poeta," in Adamnan's valuable 
 life of Columba, who died A. D. 596, as decisive proof that 
 poetry was studied according to rules, and professed as an art, 
 at that period in Ireland. — Cat. I. 23. — Fhe narrative is this : 
 Columba sitting with some monks on the banks of Logh Cei, 
 (in the present Co. Roscommon,) had some conversation with 
 the poet Cronan, near the mouth of the river Bos, now Boyle, 
 which flows into that lake. When the poet retired, the monks 
 expressed their regret, that Columba had not asked him to sing 
 
XIV INTRODUCTION. 
 
 the death of Angus, about the year 800, the incur- 
 sions of the Danes, for a time, silenced the Muses, 
 yet some famous bards flourished between that period 
 and the arrival of the English. In 884, died, accord- 
 ing to the annals of the Four Masters, Maolmura 
 (Miles) of Fathan, described, in the Book of Inva- 
 sions, as '' a skilful and truly learned poet," whose 
 works are distinguished for loftiness of thought, and 
 strength of expression. Three valuable historical 
 poems, by Maolmura, are preserved in the Books of 
 Invasions and Lecan. Contemporary with him was 
 Flann, the son of Lonan, a graceful and elegant 
 writer, who is called, in the annals of the Four 
 Masters, the ^' Virgil of Ireland." Within the next 
 century, we find the bards Cormacan and Keneth 
 O'Hartigan, whose valuable poems, particularly 
 those of the latter, are inserted in the Book of In- 
 vasions, and the Dinn Seanchas ; Mac Giolla 
 Caoimh, a sweet poet, one of whose elegies will be 
 found in this collection ; and the learned Eochy 
 O'Floinn, who died in 984, and whose invaluable 
 historical poems are preserved in the Books of Lecan, 
 Ballimote, and Invasions, About the beginning of 
 the eleventh century lived Mac Liag, (Secretary and 
 Biographer of the patriotic Monarch Brian, killed at 
 
 some Canticle in modulation, according to the Rules of his Art. 
 " Cur a nobis regrediente Cronano, aliquod, ex more suce Artis, 
 canticum non postulasti modulalibiliter decantari V'—L. I. c. 32. 
 
INTRODUCTION. XV 
 
 Clontarf, a, d. 1014,) whose pathetic poems, on the 
 death of his royal master, are given in the present 
 collection. The originals of these, and other pieces 
 by this bard, are contained in the Leahhar Oiris. 
 The learned historical poems of Cuan O'Lochan, 
 Flan of Bute, and Giolla Kevin, (who flourished 
 in this century,) preserved in the records so often 
 mentioned, shew that the general gloom of ignorance, 
 which at that time overspread the rest of Europe, 
 had not reached this island. The poems of the 
 latter bard have been published by Doctor O'Conor, 
 in his Rerum Hibernicarum Scriptores, vol. i., with 
 translations and notes, of great value to the Irish 
 historian. In the early part of the twelfth century 
 flourished O'Mulconry, the annalist and poet, who 
 sung of the aboriginal tribes of Ireland in sweetly 
 flowing verse, preserved in the Book of Lecan ; the 
 learned O'Cassidy, abbot of Ardbracken in Meath, 
 whose well known historical poem, '^ Sacred Erin ! 
 Island of Saints," is printed in the work above alluded 
 to ; and O'Dun, chief bard to the Prince of Leinster, 
 who died in 1160, and whose historical poems are 
 preserved in the valuable volumes of Lecan, Balli- 
 mote, and other ancient MSS. — Such were the 
 principal bards of Ireland down to the Anglo-Nor- 
 man invasion. Not imaginary personages, like many, 
 called into fabulous existence by the zeal of some 
 neighbouring nations, in asserting claims to early 
 civilization and literature, but men long celebrated 
 
XVI INTRODUCTION. 
 
 in the annals of their country, and whose works, still 
 extant, are pointed out with as much perspicuity 
 as the limits of these pages would allow. The nature 
 and character of these works are deserving of pecu- 
 liar attention. They do not possess any of the wild 
 barbarous fervor of the Scandinavian Scalds ; nor 
 yet the effeminate softness of the professors of the 
 ^^ gay science," the Troubadours and lady-hards of 
 the period to which we are now arrived. The sim- 
 plicity of expression, and dignity of thought, which 
 characterize the Greek and Roman writers of the 
 purest period, pervade the productions of our bards : 
 and, at the present day, they are particularly valuable 
 for the important aids which they furnish, towards 
 elucidating the ancient state of this early peopled 
 and interesting island*. 
 
 * The History of Ireland, even since the reign of Henry 
 II. is yet to be written, and it will so remain, until the 
 Anglo-Norman, or legal records of Dublin, and the *' State 
 Papers" of London, shall be combined with our domestic annals. 
 Such of the native writers as were versed in the latter, were 
 denied all access to the records of the pale. The privileged 
 English were unacquainted with the Irish accounts, and 
 withal so prejudiced against the country, that they neither 
 would, (their works are the proof,) nor could they, even if 
 inclined, have related the whole truth. Another, and per- 
 haps a more copious source of information than either, remains 
 to be noticed. It is well known, that from the time of the dis- 
 solution of monasteries, to the end of the seventeenth century, 
 numerous records were carried out of Ireland, by proscribed 
 
INTRODUCTION. XVU 
 
 For two centuries after the invasion of Henry IL 
 the voice of the muse was but feebly heard in Ireland. 
 The genius of the nation withered at the approach 
 of slavery. The bards were few, but among them 
 were some of considerable eminence. The pious and 
 highly gifted Donogh O'Daly^ abbot of Boyle, in 
 Roscommon, was called the Ovid of Ireland, from 
 the sweetness of his verse. He died in 1244, leaving 
 several excellent poems, chiefly on divine subjects. 
 
 Ecclesiastics and other Irish Exiles, to various parts of Europe. 
 It might safely be concluded, even if there was not the best 
 evidence on the point, that among those records were some 
 of the most ancient and valuable, relating to the Country. — 
 The writer, having represented these facts to the Hight Ho- 
 norable the late Commissioners of Records in Ireland, sub- 
 mitted the propriety of their causing inquiry to be made on 
 the subject, by means of queries, through the office of the 
 Secretary for foreign affairs, to the different courts of Europe, 
 who might give directions to the proper authorities, heads 
 of universities, colleges, monasteries, libraries, &c. to transmit 
 catalogues of any such documents as might be found in their 
 possession. The Commissioners approved of the suggestion, 
 and having expressed their sense of its •' great value if suc- 
 cessful in any of its points," were pleased on 22nd April, 
 1822, to order that their Secretary should take the necessary 
 measures to make the proposed inquiry. —13th Annual Re* 
 port, 1823. — The writer, thereupon, drew up a statement with 
 references to the several places in Europe, from Denmark 
 to Spain, where research ought to be made ; but, though the 
 then time of general peace, was rather favorable, yet he re- 
 grets to state that nothing further was done on the subject. 
 It is mentioned here with a hope that it may be resumed at 
 some future period. 
 
 b 
 
XVlll INTRODUCTION. 
 
 which^ even to the present day, are familiarly re- 
 peated by the people in various parts of the country. 
 Conway, a bard of the O'Donnells of Tyrconnell, 
 about the same time, poured forth some noble effu- 
 sions to celebrate the heroic actions of that powerful 
 sept. One of the most distinguished writers of 
 this period was John O'Dugan, (chief poet of O'Kelly, 
 Prince of Imania, in Conaught,) who died in the year 
 1372, and whose name and works are still remem- 
 bered and repeated by the people. His topographical 
 poem, describing the principal Irish families of 
 Conaught, Meath, and Ulster, at the time of the 
 English invasion, is particularly valuable. Not a 
 line of these bards has ever been printed. The 
 limits here prescribed preclude the possibility of par- 
 ticularizing the poets of the two succeeding centuries. 
 If they evinced less talent, let it be remembered that 
 they were more oppressed than their predecessors*. 
 
 * The sharpest arrows of the settlers were always directed 
 against the bards. Those whom they failed to subdue, they 
 endeavoured to corrupt. Of this we have an instance on the 
 patent roll, 49 Edward III. Donald O^Moghanet an Irish 
 3iinstrel, (MimstraMus Hibernicus) "for that he, not alone, 
 was faithful to the king, but was also the cause of inflicting 
 many evils on the Irish enemies," obtained license to dwell in 
 the English quarters. — This recreant bard was one of the very 
 few traitors of his Order, of which Patriotism was the motto 
 and ruling principle. Like Alfred, the Irish bards went amongst 
 the enemy, to learn their situation, strength, and intentions, which 
 they never failed to report to their countrymen. By a similar 
 roll of 13 Henry VI. we learn that the Irish Mijni (a species of 
 
IKTRODUCTION. XIX 
 
 They fell with their country ; and like the captive 
 Israelites, hung their untuned harps on the willows. 
 Well might they exclaim, with the royal psalmist : 
 
 Now while our harpes were hanged soe, 
 The men, whose captives then we lay, 
 
 Did on our griefs insulting goe. 
 
 And more to grieve us thus did say : 
 
 You that of musique make such show, 
 Come sing us now a Sion lay ; 
 
 O no, we have nor voice nor hand, 
 
 For such a song, in such a land. 
 
 But the spirit of patriotism at length aroused the 
 bards from their slumbers, and during the cruel 
 
 comic actors,) Clarsaghours (harpers,) Tympmiours (tabourers,) 
 Croivthores (the earliest violin players,) Kerraghers (players 
 at chess or tables,") Rymours, Skelaghes, (Raconteurs or tale- 
 tellers,) BardeSy and others, contrary to the statute of Kilkenny, 
 went amongst the English and exercised their arts and min- 
 strelsies (minstrelsias et artes suas,) and that they afterwards 
 proceeded to the Irish enemies, and led them upon the king's 
 liege subjects. — Rot-Pat. — Here it may be observed that 
 the Irish bards do not appear to have attempted regular 
 dramatic composition. The mimic representation of human 
 actions on the stage, was forgotten amid the tragic scenes of 
 horror and devastation which were daily witnessed throughout 
 the land. The Colonial theatre in Dublin, was English, and 
 had no connexion or sympathy with the Irish people. The 
 rude shows, however, exhibited in Hoggin Green, in that 
 city, in 1528, before the appearance of the regular drama in 
 England, were of mixed origin, partly imitated from ancient 
 Irish customs. 
 
 b 2 
 
XX INTRODUCTION. 
 
 reign of Elizabeth, many men of genius started up 
 throughout Ireland, who devoted their talents to the 
 vindication of their suffering country. Of these, the 
 most considerable were Maolin oge Mac Brodin, 
 the most eminent poet of his time; O'Gnive of 
 Claneboy, who distinguished himself by several com- 
 positions to excite the natives against the English, 
 and whose spirited poem on the ^^ Downfall of the 
 Gael" is included in this collection; Teige dall 
 O'HiGGiN, brother to Maolmuire, archbishop of 
 Tuam, whose genius was of a superior order, and 
 whose poems are amongst the best in our language ; 
 O'MuLCONRY, whose fine poem, in the Phoenician 
 dialect of the Irish, addressed to the chieftain 
 O'RouRKE of Briefny, is contained in this work; 
 nnd the learned and philosophic Mac Daire of 
 Thomond, and his gifted contemporary O'Clery of 
 Donegal, whose talents shine so conspicuously, as 
 opposite leaders, in the lomarha, or " Contention of 
 the Bards,'' about the year 1600. (See vol. ii. p. 345). 
 H^re I close th^ series of ancient bards, having 
 arrived at the period which may now be considered 
 as dividing our ancient and modern history. The 
 estimation in which they were at all times held by 
 their countrymen, may be learned from an English 
 writer of the reign of Elizabeth, the accomplished 
 Sir Philip Sydney, who, in his defence of poesy, tells 
 us that '' In Ireland their poets are held in devout 
 reverence." A love of poetry has always distin- 
 
INTRODUCTION. XXI 
 
 guished our countrymen. No people have ever been 
 more ready, according to the injunction of the sacred 
 pensraan, to honour such as by their skill found out 
 musical tunes and published verses in writing : and 
 if patriotism, genius, and learning, are entitled to 
 regard amongst mankind, no men were ever more 
 deserving of national honour than the ancient bards 
 of Ireland*. 
 
 It now remains to consider their successors to re- 
 cent times ; and here it may be necessary to observe, 
 that the only poets mentioned throughout this work, 
 are such as wrote solely in their native language. 
 An enumeration of the principal of these, for the two 
 
 * The Irish princes, like the Arabians, always retained a 
 numerous band of bards, musicians, and story-tellers, in their 
 train. The bards became the historians of their deeds, and 
 the heralds of their families. Some of the public duties of their 
 Order have been already noted, from the Book of Kights, 
 p. xii, and the important nature of these duties prove the con- 
 fidence and esteem in which their professors w^ere held. Until 
 the destruction of the Irish Monarchy, the inauguration poems 
 were solemnly sung by the royal bards, attired in scarlet robes, 
 a practice which was continued to a later period on the acces- 
 sion of the provincial kings. A similar custom was observed 
 in Scotland. *' The first coronation of the kings of Scotland, 
 of which we have any particular account, is that of Alexander 
 111. in 1249. On this occasion, a Highland bard, dressed in 
 a scarlet tunic or robe, repeated on his knees, in the gaelic 
 language, the genealogy of Alexander and his ancestors up 
 to Fergus the first king of Scotland." — Gunn^s Treatise on the 
 Harj). 
 
XXll INTRODUCTION. 
 
 last centuries, is given in the margin * ; and poems 
 of many of them will be found in this collection. It 
 
 * " The art of poetry," says the venerable Charles O'Conor 
 in his Dissertations, ** declined as the nation itself declined, 
 but still some eminent poets appeared, from time to time, but 
 diverted in most instances from the ancient moral and political 
 uses, to the barren subjects of personal panegyric." Though 
 our author was generally right in his opinions on Irish subjects, 
 yet the foregoing cannot be received without many qualifica- 
 tions. Of the eminent poets, however, alluded to, the follow- 
 ing are particularly to be noticed, since the days of Elizabeth. 
 — Fergal and Egg an Mac an Bhaird, (Ward,) two 
 bards of Lecale, who sung of the great northern septs of Ma- 
 gennis of Down ; Mac Sweeny of Donegal ; O^Donnel of Tyr- 
 connell ; and O'Neill of Tyrone. — O'Hussey, a Franciscan 
 friar, author of several divine poems and hymns, and some mis- 
 cellaneous stanzas, which are remarkable for sweetness of versi- 
 fication. — John Mac Walter Walsh of the mountains, in 
 the CO. Kilkenny, an elegiac and pastoral poet of considerable 
 merit. — Angus O'Daly, the " red bard" of Cork, a power- 
 ful satyrist,— O'HussEY of Orgial, (Louth) the bard of the 
 Maguires of Fermanagh, a fine genius, of whom there remain 
 several excellent miscellaneous poems. — O'Brudar of Lime- 
 rick, who evinced a masterly skill in poetry, and whose muse 
 pathetically described the political troubles of Ireland during 
 the 17th century. — James Courtney of Louth, author -of 
 several sweet elegiac and pastoral pieces, and many superior 
 epigrams abounding with wit and agreeable raillery, who died 
 early in the last century. — Mac Gouran of Leitrim, a witty 
 and humorous bard, whose poem entitled the ** Revelry of 
 O'Rourke," has been versified by Swift. — O'Neachtan of 
 Meath, a learned and highly gifted poet, and miscellaneous 
 writer. — EoGAN O'Rahelly of Kerry, a man of learning and 
 great natural powers, who has left many poems of superior 
 merit. — Patrick Linden of the Fews in Armagh, a sweet 
 
INTRODUCTION. XXIU 
 
 has been so long fashionable to decry that persecuted 
 body, that the writer regrets it has not fallen to others 
 
 lyric poet who lived in the early part of the last century, and 
 whose productions display considerable genius. — The Hev. 
 Owen O'Keeffe of Cork, author of many fine poems on 
 moral and patriotic subjects. — Teige O'Neachtan of Dub- 
 lin, a learned miscellaneous writer, author of a dictionary of 
 his native tongue, and of several excellent poems on various 
 subjects. He died about the year 1744. — Colla Mac Shean, 
 or Johnson, of Mourne in Downe, a lyric poet, and musician, 
 author of some popular songs. — Donogh Macnamara of 
 Waterford, an original genius, who wrote a mock Eneid in an 
 elegant and lively strain, and other poems of acknowledged 
 merit.— Hugh IMac Curtin of Clare, an Irish Lexicographer, 
 and author of several odes and elegies. — John Mac Donald 
 surnamed Claragh, of Charleville, co. Cork, an eminent 
 bard, and a man of extensive learning, whose poems are among 
 the best in our language.— John Toomey of Limerick, a mis- 
 cellaneous poet, died 1775. — Art Mac Covey of the Fews, 
 CO. Armagh, a lyric poet of distinction. — Andrew Magrath 
 a rambling disciple of Anacreon, and a good lyric poet well 
 known in Munster, in the last century, by the name of the 
 Mangaire Sugach. — Thadeus, or Teige Gaelach O* 
 Sullivan, another Munster bard of talents and celebrity, 
 author of several excellent poems. — Owen Roe O'Sullivan 
 of Kerry, an elegiac and pastoral poet. He lived until 1784. 
 — The Rev. William English of Cork, a facetious and 
 satirical writer, who has left several poems of exquisite humour 
 and originality. — Edmund Lee of Cork, a pastoral and lyric 
 poet.— Patrick O'Brien of Newgrange in Meath, author of 
 several odes and excellent songs. — John Collins, a poet of 
 the first rank, who lived to a recent period. Here this list 
 must terminate, space not permitting mention of even half the 
 bards of local celebrity throughout Ireland, during the last 
 century. Amongst these men were many of great natural 
 
XXIV INTRODUCTION. 
 
 more competent to vindicate them against the igno- 
 rance and prejudice by which they have been assailed, 
 particularly during the last century. But their defence. 
 
 genius, several of excellent classical education, and some of 
 superior learning. They are therefore not to be classed with 
 the few gaelic rymers of the Highlands of Scotland, who have 
 been described by their Lowland countrymen, as ** rude and un- 
 educated." The bards of Ireland were men of a very different 
 character, but they were a proscribed and persecuted race, their 
 very language interdicted, and yet from those outlawed bards, 
 and in that denounced language, do we find specimens of poetic 
 talent, which would do honour to any country. Had the un- 
 fortunate Dermody been born a few years earlier, it is pro- 
 bable his name would appear only in the foregoing enumeration. 
 The English tongue began to spread amongst the people of his 
 native county, Clare, in the middle of the last century ; and 
 thus the talents which would have passed unnoticed, if con- 
 fined to the language of his fathers, w^ere universally admired 
 in that of his adoption. If Robert Burns had been an 
 Irishman, and had lived at the period alluded to, his noble 
 genius might have been displayed in the language of the 
 country, from the same patriotic feeling which induced him to 
 prefer the dialect of Scotland. But in that case what a dif- 
 ferent fate would have attended him. He would, no doubt, 
 have obtained celebrity in the district of his birth, or sojourn, 
 but beyond that, it is probable his name would never be heard, 
 or only when enumerated with the rest of our neglected bards. 
 His lot, however, was cast among a literary people. He wrote 
 in a language which all Scotland understood, and he was 
 brought forward by men of patriotism, genius, and learning. 
 Thus he escaped the obscurity which would have inevitably 
 awaited him, had he the fate to have been an Irishman. — Let 
 it not be deemed presumptuous to say, that many a neglected 
 Irish bard possessed genius equally entitled to admiration. 
 
INTRODUCTION. XXV 
 
 even in the humblest hands, must prove triumphant. 
 What was their crime ? — for, shame to humanity, in 
 Ireland it was deemed a crime ! — to love their country. 
 What brought down on them the vengeance of the 
 persecutor ? their invincible attachment to the ancient 
 faith, and to the ancient, though fallen, families of 
 the land. If these be crimes, then were they guilty ; 
 if not, it is time to make reparation to the memory 
 of these injured men, whose learning and genius 
 would have been cherished and honoured, and held 
 in '' devout reverence" in any country under heaven 
 except their own. Richly did they possess those 
 brilliant qualities of mind, the exercise of which, in 
 later and comparatively better days, have placed their 
 more fortunate, though not more talented, country- 
 men Curran, Sheridan, OLeary, and others, in the 
 foremost ranks of mankind. But the bards were 
 '' mere Irish." They thought and spoke and wrote 
 in Irish. They were, invariably. Catholics, patriots, 
 and Jacobites. Even their broad Celtic surnames 
 they disdained to submit to the polish of Saxon re- 
 finement. Hence they have been erroneously con- 
 sidered, and by many of the educated of their country 
 are still considered, as rude rural rhymsters, without 
 any claim either to talents or learning*. So it was 
 
 * Several of the bards named in the foregoing note, were 
 men of extensive learning. Of this fact, if space permitted, 
 many instances could be adduced ; one, however, out of justice 
 
XXVI INTRODUCTION. 
 
 with the prince of Latin poets, when he first visited 
 Rome. His countrymen could not discern the noble 
 genius which lay hid under his rustic garb. 
 
 • rideri possit, eo quod 
 
 Rusticius tonso toga defluit, et male laxus 
 In pede calceus haeret. — 
 
 at ingenium ingens 
 
 Inculto latet hoc sub corpore. 
 
 HoR. 
 
 But, lest the charge of national partiality may be 
 alleged against the character here given, let us hear 
 the description of a writer^ who cannot lie under that 
 imputation. Doctor Parsons, an Englishman, author 
 of a curious antiquarian treatise, entitled the " Re- 
 
 to the individual cannot be omitted. — It is well known, that 
 the late General Vallancey obtained much literary celebrity, 
 both at home and abroad, and, in fact, first acquired the repu- 
 tation of an Irish scholar, by the collation of Hanno, the 
 Carthaginian's speech in Plautus, published Vol. ii. Collec- 
 taiiea, p. 310 ; but it is not so well known that that speech had 
 been collated many years before, by Teige O'Neachtan, an ex- 
 cellent Irish poet, and author of the extempore epigram. Vol. ii. 
 p. 120, of this collection. Vallancey had this collation in 
 O'Neachtan's hand-writing, in his possession ; and I am 
 obliged (with regret) to add, that he never acknowledged the 
 fact, but assumed the entire credit of the discovery to himself. 
 A copy of this curious collation, from which Vallancey has 
 materially deviated, is now before me, but is too long for in- 
 sertion here. The autograph copy of O^NeachtaUy dated 
 12 August, 1741, is preserved in the library of William Monck 
 Mason, Esq., Dublin. 
 
INTRODUCTÍON. XXVll 
 
 mains of Japhet/' tells us, in that work, that about the 
 middle of the last century he '^ spent several years 
 of his life in Ireland, and there attained to a tolera- 
 ble knowledge of the very ancient tongue of that 
 country." Speaking of the bards, he says, '' They 
 repeat their poems in a stile that, for its beauty and 
 fine sentiments, has often struck me with amaze- 
 ment ; for I have been many times obliged, by many 
 of these natural bards, with the repetition of as sub- 
 lime poems upon love, heroism, hospitality, battles, 
 &c., as can be produced in any language. Homer 
 and Virgil have laid the ground of their noble tissue 
 upon the basis of historical facts, and the Irish poets 
 of our times write in the very same strain. It is the 
 genius of the people, and their language is suscepti- 
 ble of it, more naturally than any other extant. 
 There are numbers of them capable of composing 
 extemporaneous eulogiums and poems of considerable 
 length upon any subject, surprisingly elegant, and 
 full of fine sentiments." Doctor Parsons, moreover, 
 states that he was personally acquainted with the 
 bards whom he has thus described, and whose names 
 are already given in the margin. Speaking of these 
 men, even James Macpherson, in his Dissertation 
 on the poems of Ossian, says, ^^ Their love sonnets, 
 and their elegies on the death of persons worthy 
 or renowned, abound with simplicity, and a wild 
 harmony of numbers. The beauty of these species 
 depends so much on a certain curiosa felicitas of 
 
XXVlll INTRODUCTION. 
 
 expression in the original, that they must appear 
 much to disadvantage in another language." Lord 
 Byron and Sir Walter Scott have recorded their 
 opinions of Irish poetry in terms which may enable 
 us to conjecture what these distinguished men would 
 have thought, could they have tasted the beauties of 
 our bards in their original compositions. Many of 
 the love sonnets and elegies alluded to by Macpher- 
 son will be found in the present collection, with some 
 notices of their authors, whose names are thus 
 brought to the remembrance of their countrymen, 
 under a hope that this humble effort to awaken 
 national attention towards these neglected sons of 
 genius and their works, may be pursued by others 
 better qualified to do justice to their memory. 
 
 For the course of education prescribed for the 
 bards, in ancient and modern times, the reader is 
 referred to the works in the margin*. The lan- 
 guage invariably used in their compositions, was 
 
 * Keating, and the anonymous Dissertation prefixed to 
 the Memoirs of Clanricarde, Dublin, 1727. — In the early part 
 of the last century, periodical meetings, or " Sessions," of the 
 Munster bards were held at Charleville, and Bruree, in the 
 counties of Cork and Limerick, where the aspirants for poetic 
 celebrity, recited their productions before the assembly. They 
 to whom the prizes were adjudged, in the various departments 
 of poetic composition, were publicly crowned, and distinguished 
 by other marks of honour. These poetic meetings were sup- 
 pressed by the operation of the penal laws. 
 
INTRODUCTION. XXIX 
 
 that of the country. To it they were attached for 
 many reasons, independent of nationality. The most 
 learned men of Europe, since the revival of letters, 
 have been loud in its praise. Usher has ranked it 
 among the first for richness and elegance, and Leib- 
 nitz and Lluyd have left on record their opinions of 
 its value. The latter observes, that '^ The Irish have 
 preserved their letters and orthography beyond all 
 their neighbouring nations." The ancient language 
 was very different from that spoken at the present 
 day. It was divided into several dialects, of which 
 the Bear la Peine, or Phoenician, was in highest 
 estimation, and without a knowledge of that dialect 
 it is impossible to understand the early poets. The 
 introduction of Christianity, and Latin, had not that 
 effect on this primordial language, which might be 
 supposed. For a long period after, it suffered no 
 material alteration. At length, in the sixteenth cen- 
 tury, our learned men began to turn their thoughts 
 to the subject ; and if they had not been impeded by 
 the jealous interference of the English, it is probable 
 that it would have vmdergone a change similar to 
 that of most of the other dialects of Europe. 
 How far that circumstance is now to be regretted, 
 by one who contemplates the present, and probable 
 future political amalgamation of the interests of these 
 islands, it may be difficult to determine. From the 
 days of Henry VIII. the English rulers were bent 
 upon the total annihilation of our national language. 
 
XXX INTRODUCTION. 
 
 but time has shewn the folly of the undertaking. 
 The late Bishop Heber, in his life of Bedel, has 
 stigmatized it as " narrow and illiberal policy, which, 
 though it has in part succeeded, has left a division in 
 the national heart, far worse than that of the tongue." 
 Most grants of lands from the crown, in the reigns 
 of Henry and his successors to Charles I., contained 
 special provisoes, for the disuse of the native, and 
 the encouragement of the English tongue. But all 
 these efforts would have proved abortive, were 
 it not for the fatal disasters of the seventeenth 
 century. Immediately before the civil war of 1641, 
 a momentary gleam of hope lightened over this de- 
 voted language. The learned antiquaries of Donegal 
 associated to collect and publish the remains of our 
 ancient literature ; but their patriotic intentions were 
 unhappily frustrated by the succeeding troubles, and 
 the language which had withstood the shock of so 
 many ages, at length sunk in the general wreck. 
 Thenceforth it was banished from the castle of the 
 chieftain, to the cottage of his vassal, and, from 
 having been the cherished and cultivated medium of 
 intercourse between the nobles and gentry of the 
 land, it became gradually limited to the use of the 
 uneducated poor.* No wonder, then, that it should 
 
 * Although colloquially debased, many of the original cha- 
 racteristics of our language remain unimpaired. Its pathetic 
 powers have been particularly celebrated. " If you plead for 
 
INTRODUCTION. XXXI 
 
 have been considered harsh and unpolished when 
 thus spoken, but it was as unjust to estimate our 
 
 your life, plead in Irish/^ is a well known adage. But the 
 revilers of the people have not spared even their speech. Of 
 the species of abuse usually resorted to, a curious specimen may 
 be found in the prejudiced Stanihurst, (temp. Elizabeth,) who 
 assures his readers, that the Irish was unfit even for the prince 
 of darkness himself to utter, and to illustrate this, the bigotted 
 Saxon gravely adduced the case of a possessed person in Rome, 
 who " spoke in every known tongue except Irish, but in that 
 he neither would nor could speak, because of its intolerable 
 harshness." This notable story is said to have made such an 
 impression on the witch-ridden mind of James the first of 
 England, that he conceived as great an antipathy to our lan- 
 guage, because the devil would not speak it, as he is known to 
 have had to the sight of a drawn sword. It was, however, 
 dift'erently estimated by a celebrated personage of a later date, 
 even the renowned William Lilly, astrologer, celestial intelli- 
 gencer, and chamber prophet of the royal martyr, Charles the 
 first. That noted authority informed the world, that the Irish 
 language was like that spoken in heaven. ** It is very rare, 
 yea even in our days, for any operator or master, to have the 
 Angels speak articulately ; when they do speak it is like the 
 Irish, much in the throat." — How is it possible while reciting 
 these ludicrous specimens of prejudice and imposture, to avoid 
 reflecting, with bitter feelings, how often the best interests of 
 Ireland have been thoughtlessly sacrificed by its rulers, to the 
 extremes of bigotry, rapacity, and ignorance ? Even in matters 
 connected with our subject, we are informed, that Queen Eliza- 
 beth was prevented from sending to Denmark for certain ancient 
 Irish records, said to be there, by the remark of one of her 
 council, that it would be better all such evidences of our inde- 
 pendence were annihilated. So late as the reign of Queen 
 Anne, we are told that the intention of that princess to promote 
 the cultivation of the Irish language, was frustrated by the 
 
XXXU INTRODUCTION. 
 
 language by such a standard, as it would be to judge 
 of the English by the jargon of Yorkshire. The 
 measure of its vicissitudes was not yet, however, 
 full. In the last century, the inquisitors of the Irish 
 parliament denounced it as the dialect of that phan- 
 tom of their political frenzy, popery. According 
 to a favorite mode of native reasoning, it was 
 resolved to reduce the poor Catholics to a state of 
 mental darkness, in order to convert them into 
 enlightened protestants. A thick cloud of ignorance 
 soon overspread the land ; and the language of 
 
 Duke of Ormond, who repeated in her presence, an unmeaning 
 sentence of broad sounding words as a proof of its barbarity. 
 At a later period, we find an Irish Catholic, in the fervency of 
 his zeal, to make Ireland " thoroughly British,'' wishing that 
 '* the Irish language were entirely obliterated ;" and recommend- 
 ing that ** if it were possible to pump St. George's channel dry, 
 and unite the two islands physically, it ought to be done, at 
 whatever expence." — Moore's History of the British Revolution. 
 — On these wise projects, it need only be observed, that when 
 the latter shall be achieved, and not until then, may the former 
 be expected. What, it may be asked, is there in the Irish lan- 
 guage to make worse men or worse subjects of those who speak 
 it, than are the Welch and Highlanders, whose native dialects 
 are cultivated and encouraged ? Among the foremost to an- 
 swer in the negative, would have been his late Majesty, George 
 the fourth. The warmest reception that monarch ever received 
 from his numerous subjects, was expressed by an Irish *' Cead 
 milefailtei'' and among the best bulwarks of his throne, were 
 the bayonets of Ireland, pushed through the hearts of his 
 enemies, under the broad voweled Celtic cry of " Fag a 
 ballagh.'^ 
 
INTRODUCTION. XXXUl 
 
 millions ceased to be a medium of written communi- 
 cation. To these circumstances, perhaps, may be 
 attributed its preservation from the written cor- 
 ruptions which pervade the present Gaelic of Scot- 
 land. The bards of modern times were the principal 
 scribes in Irish*. In it they were educated ; to its 
 orthography and grammatical structure they care- 
 fully attended; and in this last stage of its eventful 
 history, it appears in their writings in a degree of 
 purity, which, considering the disadvantages under 
 which they laboured, is truly remarkable. 
 
 In our poems and songs, but particularly in 
 those exquisite old tales and romances, which for 
 originality of invention, and elegance of expression, 
 vie with the Eastern stories that have so long de- 
 lighted Europe, the beauties of our language are 
 fully displayed. In lyrical composition, which forms 
 so large a portion of the present collection, its supe- 
 riority even over the Italian, has been repeatedly 
 asserted. On this point, a late favorite melodist 
 says, '^I have in another place observed, that the 
 Irish was superior even to the Italian, in lyrical com- 
 
 * In 1744, Harris, the editor of Ware's Antiquities, says, 
 *' There are no Irish types in this kingdom;" and so it continued 
 for many years after. The first Irish type that found its way 
 to Munster, was sent in 1819, by the writer hereof to his wor- 
 thy friend Mr. Denis O'Flyn of Cork, an excellent Irish 
 scholar, who erected a small printing press in his house, for the 
 patriotic purpose of multiplying copies of some favorite Irish 
 poems, as a means for their preservation. 
 
 C 
 
XXXIV INTRODUCTION. 
 
 position. I know a contrary opinion is held by 
 many, hut hy very few capable of judging as to both 
 languages''^ Voltaire has observed, that a people 
 may have a music and poetry, pleasing only to them- 
 selves, and yet both good. But Irish music has been 
 admired wherever its melting strains have been heard. 
 Handel, and the first-rate composers of Italy, have 
 been loud in its praise. If it be permitted to argue, as 
 Sir William Jones did on the language and music of 
 Persia, that the natural and aíFecting melodies of that 
 people, must have a language remarkable for its soft- 
 ness, and the strong accentuation of words, and for 
 the tenderness of the songs written in it, it would 
 follow, that the original songs, so long associated 
 with the Irish melodies, would prove equally pleasing, 
 if more generally known. Many of them are con- 
 tained in the present volumes, and they will be 
 found replete with the simplicity and natural feeling 
 
 * Reminiscences of Michael Kelly , London, 1826. Introduc- 
 tion. — The veteran reminiscent again says, *' General D'Alton, 
 who was an enthusiast about Ireland, agreed with me that the 
 Irish language was sweeter and better adapted for musical ac- 
 companiment than any other, the Italian excepted ; and it is 
 true, that, when a child, I have heard my father sing many 
 pathetic airs, in which the words resembled Italian so closely, 
 that if I did not know the impossibility, the impression on my 
 memory would be, that I had heard him sing in that language." 
 — Such were the opinions of a popular and scientific melodist, 
 who, as he says himself, was *' capable of judging as to both 
 languages" — Swift's phrase, " Proper words in proper places," 
 describes Irish song. 
 
INTRODUCTION. XXXV 
 
 which will ever posses power over the human heart. 
 Should these sweet original lyrics, therefore, attract 
 the attention of future melodists, and be introduced 
 on the stage, a circumstance, not at all unhkely, 
 they may, when accompanied with their native 
 melodies, and sung by our " sweet singers," prove 
 no mean rivals to the dearly purchased warblings 
 of Italy. 
 
 The metrical structure of ancient Irish poetry, 
 must be considered with reference to its musical ac- 
 companiments*. The voice of the bard retrenched, or 
 supplied, the quantity of long or short syllables, in 
 order to adapt them to the sound or melody. This 
 license required many rules to restrain it. Hence 
 the hundred kinds of verse mentioned by Ferceirtne 
 in the Uraicephf or '^ primer of the bards ;" and the 
 declaration of OMolloy in his prosody, that the rules 
 
 * Among the ancient Irish, the principal species of musical 
 composition was termed AvANTRiREACH,('Zl6hbh<^nc|ii]te<^ch) 
 It consisted of three parts. Geantraighe, which excited to love ; 
 Goltraighe, which stimulated to valour and feats of arms ; and 
 Suantraighe, which disposed to rest and sleep. I find it de- 
 scribed as follows, in a manuscript of considerable antiquity. — 
 
 Cpi ipoi^ ^ r\e^m\\m•^\\zh^o\l Cpuicipe, (e<^6hon) cpi cpeishe 
 le TioTio|iui5hchioit, no le Tiu<^Tfli5hchiop cl<li|ti*ec>ip, no 
 5<^ch -pe^^jt cheoil <k\i bidi, (e<^bhon) 5e<^nc|toi5he, (e<^6hon) 
 cpoi5h cui]te<^Tf c^ch chum fU50i5he ; 5olcfi<^i5he, (e<^6hon) 
 C|toi5h cui]te<^y ne<^ch chum 5ol<^ ; fuAncpí^ishe, (e<^6hon) 
 cfK^iSh cm|te<^Y cívch chum co6Alc<^. — cpoi5h, (eAbhon) ceol. 
 
 c2 
 
XXXVl INTRODUCTION. 
 
 of Irish verse were " the most difficult under the 
 sun." * The latter writer describes '' a popular kind 
 of poetry, much used in his time, called '2lbhii<^Ti," or 
 " sweet verse." This he censures, as a deviation 
 from the ancient rules; but it seems to have been 
 devised as a middle course, between the strictness of 
 the regular metre, and the license too generally taken 
 by the voice of the bard. Some of our most admired 
 lyrical compositions are in this measure. The Oc- 
 tava Rima, or eight line stanza of Italy, was bor- 
 rowed from the Spaniards, who had it themselves 
 from the Troubadours and Italians, perhaps not 
 earlier than the end of the fifteenth century, and in 
 it have been composed some of our finest songs. 
 
 The borrowed term " Minstrelsy" is used in the 
 title of this collection, only because it is familiar to 
 the public ear, for others more appropriate might be 
 
 * The 6<^n bi]ie<^cli, or " Direct metre," was the princi- 
 pal measure used in ancient Irish poetry. Each stanza of four 
 lines, (or quartans) makes perfect sense in itself; and every line 
 contains seven syllables, with concord or alliteration between 
 the principal parts of speech. For the rules and requisites of 
 Irish verse, see O'Molloy and Haliday's grammars ; the un- 
 finished translation, by the latter, of Keating's Ireland, p. 200, 
 Dub. 1811; and the Transactions of the Gaelic Society, ib. 
 1808, p. 214, where the Scottish editors of " The post originals 
 of Ossian," are charged with ignorance of all the rules of 
 Irish metre. For further observations on Irish rhyme, see 
 O'Conor's Rerum Hib. Vol. i., and for alliteration as used by 
 the ancient Britons, Irish, &c. See Percy's translation of 
 Mallei's Northern Antiquities, vol. ii. p. 147. 
 
INTRODUCTION. XXXVU 
 
 found in our language*. Aware of the influence of 
 popular song on public morals, no verses, of even a 
 doubtful tendency, have been admitted into the fol- 
 lowing pages ; if some rigid moralist may not per- 
 haps deem the Chansons de boire of our favourite 
 bard Carol an exceptionable. It will be observed, 
 that in the Irish originals all contractions are re- 
 jected, " pro faciliori captu, et modo legendi addis- 
 cendique banc linguam." — O'Molloy, With the 
 same view the letter h is invariably inserted in place 
 of its usual representative the aspirate point. Against 
 this it may be urged that that letter was not 
 anciently written ; and, moreover, that its insertion 
 may create a difficulty in the way of the mere Irish 
 'reader's acquiring its true pronunciation in English. 
 It is not, however, an innovation, for the first objec- 
 tion is proved groundless by various old manuscripts ; 
 and even supposing the latter entitled to considera- 
 
 * The Irish muses are expressly called l3<^inbee ^05l)l<^m<^, 
 1pílíbhe<^chb<^ 6c^W( ceoil. Here we find poetry and music 
 combined, as they generally were in the 'pile or bard; The 
 late Mr. Pinkerton, in a letter to Doctor Percy, 4 Sept. 1794, 
 now before me, says, " 1 must confess myself thoroughly con- 
 vinced that Minstrel only implied Musician.'^ Ou this letter the 
 Bishop writes, '* Pinkerton's attempt to prove Minstrels only 
 Musicians," on which he refers to Putenham's Arte of English 
 Poesie, 1589, p. 9, where Minstrelsie expresses Poetry without 
 any reference to Music. In the English translation of Favine, 
 1623, Rymer and Minstrel are synonimous. On these autho. 
 rities I have used the term. 
 
XXXVIU INTRODUCTION. 
 
 tion, it was deemed more important to facilitate 
 the reading of the originals. 
 
 With respect to the origin and progress of the 
 present publication, a few words may be necessary 
 for the satisfaction of the reader. It has long been 
 a subject of regret, with the writer, that the remains 
 of our national bards, of those men who, according 
 to James Macpherson, '^ have displayed a genius 
 worthy of any age or nation," should be consigned 
 to obscurity at home, while a neighbouring nation 
 derived so much literary fame from a few of those 
 remains, boldly claimed and published as its own. 
 Several societies formed among ourselves, for the 
 purpose of preserving our ancient literature, having 
 successively failed, the task seemed abandoned to 
 individual exertion. This consideration induced the 
 writer to devote his few leisure moments to the col- 
 lection of some of those neglected remnants of genius, 
 with a hope that, at a future period, they might 
 be rescued from the oblivion to which they were 
 daily hastening. To this undertaking he adhered 
 with a perseverance proportioned to his idea of its 
 importance; and the first fruits of his humble labours 
 are now respectfully presented to his countrymen. 
 
 A few valued and learned friends — the Reverend 
 Martin Loftus, late Professor of Irish in the College 
 of Maynooth ; the Reverend Daniel O'Sullivan of 
 Bandon, who has enriched his native language with 
 an inimitable translation of the ^^ Imitation of Christ;" 
 
INTRODUCTION. XXXIX 
 
 and the late lamented James Scurry, author of 
 valuable Remarks on Irish Dictionaries, Grammars, 
 &;c. in the Transactions of the Royal Irish Academy, 
 favoured the writer, by kindly perusing most of his 
 selections : and every care has been taken to insure 
 that accuracy, which, without presumption, may be 
 claimed for the following originals. Their preserva- 
 tion being his sole object, his intention at first 
 extended only to their publication, with a few ex- 
 planatory notes. He afterwards considered how far 
 literal English translations would be an improvement 
 of his plan. But the widely different idioms of both 
 languages ; the difficulty, or rather impossibility, of 
 preserving the spirit of the bards ; and the conse- 
 quent injury to their works and memory, proved 
 decisive against such a process. From a quarter, 
 not previously contemplated, he was, at length, 
 enabled to overcome the difficulty, and to present 
 his literal essayings in the more appropriate garb 
 of verse. Some literary friends of acknowledged 
 poetical abilities, to whom he communicated his pro- 
 ject, generously undertook the task. To the late 
 Thomas Furlong, whose name, as a poet, is already 
 familiar to his countrymen ; Henry Grattan 
 CuRRAN, Esq., a youth richly endowed with the 
 genius of his distinguished father ; the talented friend 
 of his country, the Reverend William Hamilton 
 Drummond, D. D. ; John D' Alton, Esq., author of 
 the distinguished prize Essay on the History of 
 
Xl INTRODUCTION. 
 
 Ireland, printed in the Transactions of the Royal 
 Irish Academy ; and Edward Lawson, Esq., whose 
 talents and learning are well known ; to these gen- 
 tlemen the writer has to record his grateful acknow- 
 ledgments, for the zeal with which they co-operated 
 to render this collection worthy of public acceptance. 
 In justice, however, to his respected friends, he 
 must acquit them of any participation in the prose 
 parts of the undertaking. For these, which were 
 mostly written before the late conciliatory acts, and 
 which, if now to be done, might, perhaps, remain for 
 ever so, the writer alone has to entreat indulgence. 
 In conclusion, he has only to add, that as his sole 
 object was the preservation of even so much of the 
 neglected poetry of his native land, he has presented 
 the entire to the worthy publisher, Mr. Robins ; and 
 sincerely hopes it may not prove an unproductive 
 gift to a man, whose liberal press and generous ex- 
 ertions in our national cause, at a late momentous 
 crisis, deserve well of the people of Ireland. 
 
MEMOIR OF CAROLAN. 
 
 Anecdotes of genius have always been favorably re- 
 ceived by the public ; hence it is hoped, that the following 
 detail of the life and compositions of this favorite Irish 
 bard, may not be unacceptable to his countrymen. Though 
 not hitherto published, the particulars may be depended 
 upon as authentic, having been derived from the best 
 sources of information now extant. It was originally in- 
 tended, if space allowed, to introduce, under the general 
 title of Carolaniana, many notices of the bard and 
 his contemporaries, which might prove interesting, as 
 illustrative of some old customs peculiar to Ireland, but 
 these are reluctantly postponed for another opportunity. 
 
 TURLOGH O'Carolan, the well known subject of 
 the present memoir, was the son of John O'Carolan =^', a 
 
 * This Siurname, which is generally used without the Irish 
 adjunct O, not occurring in the Topographical poems of 
 O'DuGAN, or O'HuiDiiRiN, or in any genealogical tables anterior 
 to the fifteenth century, is supposed to have been assumed after 
 that period by some branch of the Mac Bradys, a considerable 
 clan of East Brcifny, who were anciently called Cearhhallach, and 
 who inherited large possessions in that territory. The extensive 
 
Xlii MEMOIR OF CAROLAN. 
 
 respectable descendant of an ancient tribe of East Breifny, 
 a district now forming part of the counties of Meath and 
 Westmeath. He was born about the year 1670, at a place 
 called Newtown, near Nobber, in the county of Meath. 
 
 tracts of Carolanstown, in the barony of Foure, co. Westmeath ; 
 and Carolanstown, near Kells, co. Meath, still bear the name. 
 In 1550, Terence O'Kerrolan, rector of Knogli, co. Meath, was 
 sued under Stat. 28 Henry VIII. for not keeping a Parochial 
 School to " teche the English tong.^' He laconically pleaded, 
 that he was always ready to " teche ;" but that no children would 
 come to " larn.'' In the same year, an information was exhibited 
 against Edward O' Kerr o Ian, for that he, being of " the Irish na- 
 tion de les O'Kerrolans,'' held that benefice, within the English 
 pale, contrary to Stat. 13 Hen. VI. His plea was, that he pur- 
 chased a licence, 34 Hen. VIII. of freedom from the Irish yoke, 
 and that he might enjoy the English laws, privileges, &c. In 
 1607, Shane, ( John,) Grana O'Carrolan, " chief of his sept,'' 
 became bound to the King in £100 and 100 marks, for the ap- 
 pearance of " certain of the Carrolans, his kinsmen." But having 
 been afterwards himself committed prisoner to the castle of Dub- 
 lin, the others, " affrighted, omitted their appearance," and his 
 recognizance became forfeited. The kin^, (James I.) by concor- 
 datum, 24 July, 1614, remitted these forfeitures, because of " the 
 many acceptable services performed by the said Shane Grana, in 
 the late wars ; and that many of the said persons are sithence dead 
 and executed." These memoranda are taken from the Exchequer 
 rolls of these respective years. This Shane Grana is stated to 
 have been the grandfather of John, the father of the bard. His 
 descendants were utterly deprived during the civil wars. Patrick 
 Carolan, the bard's paternal uncle, appears, however, in 1691, to 
 have possessed the lands of Mufif, 300 acres, in Nobber parish, 
 forfeited by Lord Gormanston, for adhering to James II., and 
 Neale Carolan, his second cousin, was, at the same time, in pos- 
 isession of the lands of Habranmoone, 325 acres, in Stackallen 
 parish, forfeited by Lord Slane.-^ Returns of Forfeitures, Ex- 
 chequer. The bard's father appears to have been totally stripped 
 at this period. Numerous families of the name still reside in the 
 districts here mentioned ; and among them are many respectable 
 householders and farmers. 
 
MEMOIR OF CAROLAN. xliii 
 
 Though gifted with a natural genius for music and poetry, 
 he evinced no precocious disposition for either. He became 
 a minstrel by accident, and continued it more through 
 choice than necessity. ** He was above playing for hire/' 
 says his friend, the venerable Charles O'Conor ; who 
 always respected him as one of those reduced Irish gen- 
 tlemen, who were plundered of their birthright, during the 
 troubles of the seventeenth century. He was not, there- 
 fore, one who could be humiliated by adopting the " idle 
 trade." Respectably descended, he possessed no small 
 portion of old Milesian pride, and entertaining a due sense 
 of his additional claims as a man of genius, he always ex- 
 pected, and invariably received, that attention to which, in 
 every point of view, lie was so eminently entitled. At 
 the houses where he visited, he was welcomed more as a 
 friend than as an itinerant minstrel. His visits were re- 
 garded as favors conferred, and his departure never failed 
 to occasion regret. He lived happy and respected ; and 
 under one of the greatest privations incident to humanity, 
 this amiable and ingenious individual has shewn that true 
 genius, properly directed, is able to triumph over difficulties, 
 under which ordinary minds generally sink in despair. 
 
 But to return to our narrative. Cardan's father, with 
 thousands of his countrymen, was reduced to a state of 
 poverty, while the revolutionary puritans of England rioted 
 through the plundered domains of their ancestors. Obliged 
 to emigrate from his native spot, and aided by the friend- 
 ship and advice of his countrywoman Lady St. George, he 
 bid adieu to Meath, and settled at Carrickonshannon, in the 
 county of Leitrim. This lady died soon after, but the 
 ancient and respectable family, of M'Dermott Roe, then 
 resident at Alderford, in the county of Roscommon, made 
 ample amends for her loss. Our bard, who had by this 
 
Xliv MEMOIR OF CAROLAN. 
 
 time become a comely and interesting boy, of a mild 
 and obliging disposition, attracted the attention of Mrs. 
 M^Dermott. He soon became a favorite with that lady, and 
 a frequent visitor at Alderford House ; she had him in- 
 structed with her own children. He learned to read his 
 native language, which, at that time, was universally 
 taught. He also made some proficiency in English, and 
 shewed an inclination for history. These particulars, and 
 others which follow, were given by an intelligent old man 
 of the name of Early, whose father lived for many years, 
 during Carolan's time, at Alderford. To this respected 
 family our bard was attached through life, by the tenderest 
 ties of gratitude and affection. They were his earliest 
 friends and patrons. With them he chiefly lived ; under 
 their hospitable roof he breathed his last, nor was he sepa- 
 rated from them in death, for his ashes mingle with theirs 
 in their ancient burial-place in the church of Kilronan. 
 For them were composed some of his sweetest strains. 
 The delightful tunes of *' M*Dermott Roe;" "Mrs. 
 M'Dermott Roe ;" " Anna M'Dermott Roe;" and **Mr. 
 Edmond M*Dermott Roe,'' prove how earnestly he exerted 
 his musical talents in their praise. 
 
 About this period, our youth became acquainted with 
 the distinguished Irish family of Belanagare, in the county 
 of Roscommon ; and commenced an intimacy, which ended 
 only in death. Old Denis O' Conor, before the restoration 
 of part of his ancient inheritance, by the Court of Claims, 
 was obliged to quit the residence of his ancestors, and re- 
 move to a farm at Knockmore, near Ballyfarnon. Here 
 this venerable descendant of Ireland's ancient kings, him- 
 self handled the plough, and inculcated maxims of humility 
 and moderation to his family ; observing, that although he 
 was the son of a gentleman, they were to consider them- 
 
MEMOIR OF CAROLAN. xlv 
 
 selves but as the children of a ploughman*. This good 
 man sympathized with the exiled family from Meath. 
 They resided in his immediate neighbourhood. He con- 
 sidered them as fellow sufferers, and shewed them many 
 acts of kindness. To our ingenious youth he became par- 
 ticularly attached, and furnished him with books of instruc- 
 tion. But the time had now arrived which was to terminate 
 poor Carolan's book studies, and fix his destination for life. 
 In his eighteenth year he was seized by the small-pox, and 
 totally deprived of sight. In this melancholy state of pri- 
 vation the afflicted youth expressed a desire to learn the 
 harp. His kind friend, Mrs. M*Dermott, procured a 
 harper to instruct him, under whom he soon made pro- 
 
 * Inculcations of this nature were usual among the despoiled 
 families of Ireland, at and after the period above alluded to. Of 
 this, the following humorous instance has been handed down : — 
 Daniel Byrne, well known in Dublin, in the seventeenth century, 
 by the name of " Daniel the tailor," was the son of a forfeiting 
 gentleman, who resided at Ballintlea, near Red Cross, co. Wick- 
 low. Daniel was bred to the clothiering trade; and, having 
 contracted for clothing the Irish parliamentary forces, under 
 Cromwell, he made a considerable fortune. His son, Gregory, 
 (whose descendants took the name of Leicester,) was created an 
 English baronet in 1660. Soon after, as both were walking in 
 Dublin, Sir Gregory said, " Father, you ought to walk to the left 
 of me, I being a knight, and you but a private individual.'^ Daniel 
 answered, " No, you puppy, I have the precedency in three ways: 
 first, I am your senior; secondly, I am your father; and thirdly, I 
 am the son of a gentleman, and you are but the son of a poor lousy 
 tailor." Of Daniel's wit, the following, among other instances, 
 is related: William Dawson, of Portarlington, ancestor of one of 
 our present noble families, one morning pressing him to a dram as 
 they were going to hunt, said, *' Take it off, Daniel, it is but a 
 thimble full." *' Yes, Willy," said the other, " I would take it, 
 if it were a hopper full ;" thus reminding the Squire of his own 
 old occupation, which was that of a miller. 
 
xlvi MEMOIR OF CAROLAN. 
 
 ficiency. Having finally determined to adopt it as a pro- 
 fession, his benefactress provided him with a horse and an 
 attendant. In his twenty-second year he began his avoca- 
 tion, by visiting the houses of the surrounding gentry ; and 
 thus humbly commenced the career of one of the most 
 celebrated of the modern bards of Ireland. 
 
 Among those places which he first visited, was Let- 
 terjian, the ancient seat of the Reynolds or Mac Ranald 
 family, situate near Lough Scur, a beautiful lake in the 
 county of Leitrim. The then proprietor, George Reynolds, 
 Esq., was the direct representative of the chiefs of that 
 once powerful sept, whose sway extended over the territory 
 of Muintir Eolais, comprehending the present baronies of 
 Leitrim, Mohill, and Carrigallen, in the north-east part of 
 that county^. Here our youthful bard was welcomed 
 with characteristic hospitality. Mr. Reynolds was fond 
 of poetry, and had, himself, produced some pieces in his 
 native language. Having asked Carolan whether he had 
 ever attempted verse, and being answered in the negative, 
 
 * The last male descendant of the Mac Ranald family was the 
 late George Nugent Reynolds, Esq. of Letterfian, so justly cele- 
 brated for his wit, talents, and patriotism. The remains of the 
 extensive patrimony of this ancient and respectable family is now 
 enjoyed by his sister, Mary, the widow of the late Colonel Peyton, 
 at present married to Major M'Namara of the county of Clare, 
 descended from one of the oldest families of that county, and one 
 of its present representatives in parliament. Mrs. M'Namara is 
 nearly related to his Grace the Duke of Buckingham and Chandos. 
 The estate of Letterfian, being in fee, will no longer be possessed 
 by a person of the name of Reynolds. It will descend to the son 
 of Mrs. M'Namara, by Colonel Peyton, a young gentleman every 
 way qualified to represent, and worthy to enjoy, the Mac Ranald 
 property. For his great grandfather, Tohy Peyton, Carolan com- 
 posed a well known " Planxty," given in this collection. 
 
MEMOIR OF CAROLAN. xlvii 
 
 he humorously observed, in the Irish idiom, *' Perhaps, 
 Carolan, you might make a better hand of your tongue than 
 of your Jingers.'* He then told him that a great battle had 
 been recently fought between the '* Gentry/' or ** Fairies," 
 of Sigh-beg and Sigh-mor, (two hills in the neighbourhood,) 
 and proposed it as a fit subject to try his muse upon*. 
 
 * Letterfian House is situate in a pleasant valley, extending 
 a considerable distance from south-west to north-east. In front of 
 the house, and near to it, is a range of hills, extending nearly two 
 miles towards Lough-Scur. Upon the highest part of this range, 
 over Letterfian, is one of these ancient conical heaps of stones 
 and earth, called motes or rathes, so common in Ireland, and which 
 the popular voice says are inhabited by the Daoine Maithe, the 
 '^ Good people," or " Gentry," for the country folk will not call 
 them Fairies. This mote is called Sigh-heg. Westward of the 
 house, and also near it, is a small lake ; and at a distance appears 
 the lofty hill or mountain of Sigh-mor, which presents an abrupt 
 precipitous termination. On the highest brow of this precipice is 
 another mote, called Sigh-mor, which the neigbouring Seanachies 
 affirm is also thickly inhabited by another colony of" Good people." 
 This mote, and the mountain on which it stands, are much cele- 
 brated in the popular poems and songs of Ireland. Tradition 
 relates, that in ancient times a great battle was fought in the space 
 between these hills, in which the celebrated Fionn Mac Cuhhail, 
 and his Fionna Erionn, were defeated. One of Fionn^s heroes, 
 who was killed in the engagement, is said to lie entombed in Sigh- 
 beg ; and a champion of the opposite party had his remains de- 
 posited in the centre of Sigh-mor. Some insist that it was over 
 the body of Fionn himself the mote on Sigh-beg was erected. 
 Under this idea, George Reynolds, Carolan's friend, caused an 
 immense pile of lime and stones to be raised, in the figure of a 
 man, which he called Fionn Mac Cubhail. This pile remained, 
 for several years, a conspicuous object to the surrounding country; 
 but it was, at length, prostrated by a storm. It was afterwards 
 repaired by a gentleman, who had fallen into possession of that 
 part of the estate ; but it did not long resist the weather. Another 
 storm laid it in ruins, and so it has remained ever since, and so it 
 is likely to continue. For the people of the country assert, and 
 
Xlviii MEMOIR OF CAROLAN. 
 
 The poetic feeling, which had so long lain dormant, was 
 at once awakened ; and the great British poet never set 
 about his " Paradise Regained" with more ardour, than 
 did our Irish bard to describe this Fairv battle. Mr. 
 Reynolds left home for a few days. When he re- 
 turned, Carolan played and sung for him the words and 
 music of his celebrated *' Fairy Queens." His generous 
 friend, delighted at so unexpected a proof of the bard's 
 genius, on the spot predicted his future celebrity ; and, 
 among other favors, presented him, when departing, with 
 a horse for his attendant. This composition, which begins, 
 ^* lni|ie<^y<^n Tnojt chc^nnc eibi|t n<^ ]li5hche," presents a 
 romantic and pleasing picture of Fairy strife; but it is 
 chiefly remarkable as the first poetical production of 
 Carolan. Soon after this he composed his well known 
 «* Planxty Reynolds," for his friend; whose first cousin, 
 Gracey Nugent, he also commemorated in the fine song 
 which bears her name, and which is contained in the present 
 collection. 
 
 firmly believe, that the storms by which it was overthrown were 
 raised by the " Good people" of the mote, and that it was only in 
 compliment to Mr. Reynolds, who was " one of the old stock," 
 that these aerial beings suffered the building to stand so long after 
 its first erection. But when it was rebuilt, they, having no respect 
 for the then proprietor, soon raised the storm by which it was 
 again prostrated. 
 
 It is further related, that after the battle already mentioned, a 
 long continued warfare was kept up between the aerial inhabitants 
 of Sigh-beg and Sigh-mor, The queens of these Sighbrugha, or 
 Fairy palaces, espoused the cause of the different parties, whose 
 chiefs were interred in their respective quarters ; and when the 
 mortal combatants ceased to fight, the quarrel was perpetuated by 
 many bitter engagements between their immortal allies. One of 
 these conflicts was that proposed by Mr. Reynolds, as a fit subject 
 to exercise the muse of Carolan. 
 
MEMOIR OF CAROLAN. xlÍX 
 
 To those acquainted with the popular opinions of the 
 Irish, it will not appear strange that our bard, like the old 
 Scottish poet, Thomas of Ercildoune, or the Rhymer, was 
 supposed, in his youth, to have held communication with 
 the *' good people." Near his father's house was a mote 
 or rath, in the interior of which, one of their queens was 
 reputed to have held her court. This mote was the scene 
 of many a boyish pastime, with his youthful companions ; 
 and after he became blind, he used to prevail on some of 
 his family, or neighbours, to lead him to it. Here he was 
 accustomed to remain for hours together, sometimes stretched 
 listlessly before the sun. He was often observed to start 
 up suddenly, as if in a fit of ecstacy, occasioned, as was 
 firmly believed, by the preternatural sights which he wit- 
 nessed. It happened, in one of these raptures, that he 
 called hastily on his companions to lead him home. He 
 immediately sat to his harp. His fingers wandered con- 
 fusedly over the strings ; and, in a little time, he played 
 and sung the air and words of his sweet song, " 21 \)h\l\^h^b 
 bheuy<^ch i]* 6uic <^n bheijt^e," addressed to Bridget Cruise, 
 the object of his earliest and tenderest attachment*. 
 
 * For Bridget Cruise, Carolan composed several songs ; and of 
 these, perhaps the best is given in this volume, p. 14. The 
 following is an anonymous translation of a few sweet Irish stanzas, 
 addressed, in her name, to the bard. ' 
 
 Air — Tender and plaintive. 
 
 ! tempt not my feet from the straight path of duty, 
 Love lights a meteor but to betray ! 
 
 And soon would'st thou tire of the odourless beauty 
 
 If grew not esteem upon passion's decay. 
 Then cease thee ! ah cease thee, to urge and to plain ! 
 
 1 may not, I cannot, thy suit is in vain ; 
 For filial affections a daughter restrain. 
 
 And worthless were she who had slighted their sway, 
 d 
 
1 MEMOIR OF CAROLAN. 
 
 Some say that this was his first production. At all events, 
 it proved so unexpected, and so captivating, that it was 
 confidently attributed to nothing less than fairy inspiration. 
 To this day, the country people point out the spot from 
 which he desired to be led home. They gravely state that 
 he once related the vision which he then beheld, but was 
 so overcome with terror, that he entreated of his friends 
 not to question him further on the subject; and that he 
 could never again be prevailed upon to repeat what he had 
 witnessed. Fear and superstition are ever ingenious to 
 deceive themselves. Carolan's silence became confirmatory 
 proof. He took no trouble to correct the popular reports ; 
 and, perhaps, he was not wholly uninfluenced by vanity in 
 suff*ering them to remain uncontradicted. 
 
 Some of his earliest efforts were called forth in praise of 
 
 how could'st thou trust for connubial affection 
 The bosom untrue to its earliest ties ? 
 
 Or where were thy bliss when on sad recollection 
 
 I'd sink self-condemned, self-abashed from thine eyes ? 
 Then cease thee ! ah cease thee ! 'tis fated we part ! 
 Yet if sympathy soften the pang to thy heart, 
 
 1 will own to this bosom far dearer thou art 
 
 Than all that earth's treasure— earth's pleasure supplies. 
 
 But where am I urged by impetuous feeling ! 
 
 Thy tears win the secret long hid in my breast. 
 Farewell ! and may time fling his balsam of healing 
 
 O'er wounds that have rankled and robbed thee of rest. 
 Yet lose not ! ah lose not each lingering thought 
 Of her who in early affection you sought, 
 And whose bosom to cheer thee would sacrifice aught 
 
 But love to a parent the kindest and best. 
 
 How many domestic afflictions would be spared, if the youthful 
 and unsuspecting fair were more generally influenced by the 
 amiable sentiments expressed in the foregoing lines. 
 
MEMOIR OF CAROLAN. ll 
 
 Ihe M'Dermott Roe family, Henry, the only son of his 
 friend and patroness, having married *' Nanny," the daugh- 
 ter of Manus Roe O'Donnell of Cahirnamart , (now West- 
 port) in the county of Mayo*, Carolan produced his fine 
 Epithalamium, entitled, ** Anne and Henry Oge/' A 
 trifling circumstance, connected with this composition, may 
 serve to convey an idea of the importance formerly attached 
 to these bardic effusions. Carolan, as may be seen, placed 
 the lady's name before that of her husband. This gave great 
 cause of umbrage, even to his kind patroness, because her 
 daughter-in-law's family was considered inferior to her own, 
 and the bard was excused, only on account of the polite- 
 ness which he submitted was due to the sex. The issue of 
 this marriage was a daughter, Eliza, who became the wife 
 of Robert Maguire of Tempo, Fermanagh, a most distin- 
 guished family of the North of Ireland. For this gentle- 
 man, Carolan composed his famous " Planxty Maguire ;" 
 Colonel Con Maguire, his brother, he celebrated in his 
 fine song, beginning " Cuchondehc nih<^c bjiíAin;" and 
 '' Bryan Maguire," their father, was another tribute to 
 this ancient and noble racef. 
 
 * I have been assured, by an old Fin-Scealuighe, that " O'More's 
 fair daughter,'' or " The Hawk of Ballyshannon," was composed 
 for Charles O'Donnell, the brother of '' Nanny," and not for 
 O'Reilly, as stated, p. 113 of this volume. This information I 
 find corroborated by accounts derived from the M*Dermott Roe 
 family. 
 
 t Tempo was the only house in the North that Carolan is said 
 to have visited. During one of these visits. Colonel Maguire con- 
 trived that he should be conveyed to the county of Louth, where 
 the blind bard, Mac Cuairt, then resided. They were brought 
 together without their knowledge. Mac Cuairt was considered 
 the better poet— Carolan the better musician. After playing for 
 
 d 2 
 
lii MEMOIR OF CAROLAN. 
 
 Mrs. M'Dermott continued to reside at Alderford. 
 Her son Henry, soon after his marriage, built the house 
 ofGREYFiELD, on another part of the estate, where he 
 lived, in the old hospitable style, for many years. Here 
 Carolan past some of the happiest days of his life^. It is 
 related that whenever he wished to retire from the noise 
 and bustle of company, he generally directed his attendant 
 to provide him with a pipe and a chair, and to lead him to 
 the garden, where he used to remain, absorbed in thought, 
 or modulating some of those favorite pieces, which have, 
 ever since, been the delight of his countrymen. His pre- 
 sence never failed to attract visitors to Greyfield. It hap- 
 pened, on one occasion, that several of the neighbouring 
 gentry, the Maguires of Tempo, O'Rourke, Mac 
 CoNMEE, the Nugents of Castle Nugent, and others. 
 
 some time, on their harps, Carolan exclaimed, ^' ly binn, bo5, 
 b]te<^5<^ch A Yhinne<^r cu/' ^' Your music is soft and sweet, but 
 untrue." On which the other promptly replied, " If mimc 6o 
 bhi6he<^n An ^hipinne ^em )'e<^]ibh," " Even truth itself is 
 sometimes bitter," alluding to his rival's performance, which, 
 though correct, was not always sweet or pleasing to the ear. The 
 bards soon recognized one another. On this occasion, Mac Cuairt 
 composed the " Welcome," printed in this volume ; and the ex- 
 cellent Northern poet, Pat Linden of the Fews, in the county of 
 Armagh, who came up to see Carolan, wrote another pleasing 
 poem to commemorate his visit to that part of Ireland. 
 
 * Greyfield House is now occupied by Hugh O'Donnell, Esq. 
 the elder representative of the ancient chiefs of one of the most 
 illustrious tribes of Ireland. This gentleman, who is particularly 
 addressed as " The O'Donnell," is the eldest male descendant, 
 in a direct line, from Rory, Earl of Tirconnell, brother of the cele- 
 brated " Red Hugh," who, by the talents he displayed in his 
 struggles to emancipate his native land from the trammels of 
 English usurpation, in the reign of Elizabeth, proved himself one 
 of the most illustrious heroes that Ireland ever produced. 
 
MEMOIR OF CAROLAN. liii 
 
 arrived when Carolan was absent. As they expected to 
 meet the bard, a messenger was sent after him to Castle- 
 kelly, in the county of Galway, where he had just composed 
 his fine song of '' Mild Mable Kelly." On his return he 
 called on Mr. Kelly at Cargins, near Tulsk, in the county 
 of Roscommon, an old and hospitable friend, whom he 
 celebrated in his '* Planxty Kelly." Proceeding forward, 
 he stopped at Mr. Stafford's, near Elphin ; and the famous 
 " Receipt for Drinking," or *' Planxty Stafford," will long 
 commemorate his affectionate reception there. On his 
 arrival at Greyfield, he composed Mhaire an Chulfhin, 
 or '* Fair-haired Mary," for one of the visitors, Mary, 
 daughter of M'Dermott, " Prince of Coolavin," and wife 
 of Owen O'Kourke, who lived on the banks of Lough 
 Allen, in Leitrim*. The compositions here enumerated, 
 have been always reckoned amongst the happiest of his 
 effusions. 
 
 Carolan imitated the Troubadours, without knowing that 
 he did so ; and, perhaps, like them, too, ^' feigned or fan- 
 cied himself in love." His amatory verses are numerous. 
 Some will be found in the following pages, and on them 
 we may safely rest his claims as a poet. Although his 
 knowledge of English was imperfect, he once ventured on 
 a few verses to his own fine air the '' Devotion," composed 
 for a Miss Fetherstone. This was an act of poetic gal- 
 lantry, as the young lady did not understand Irish. These 
 verses, though ** in bad Enghsh," are subjoined, as a literary 
 curiosity, from an old transcript. They are sufficiently 
 
 * A person lately remonstrating with a descendant of this gentle- 
 man, on his extravagance, amongst other things told him that he 
 " ought to have sense ;" " Sense," replied the indignant Milesian, 
 " know, that an O'Rourke scorns to have sense." 
 
liv MEMOIR OF CAROLAN. 
 
 ludicrous, but claim the indulgence of the modern reader, 
 as the production of a blind Irish bard, in the seventeenth 
 century, and in a language foreign to him. Perhaps other 
 foreigners, who attempted English composition, have not 
 succeeded much better*. 
 
 * On a fair Sunday morning devoted to he, 
 Attentive to a sermon that was ordered for me, 
 I met a fresh rose on the road hy decree^ 
 And though mass was my notion, my devotion was she. 
 Welcome, fair lily white and red, 
 Welcome, was every word we said ; 
 Welcome, bright angel of noble degree, 
 I wish you would love, and that I were with thee ; 
 I pray áon't frown at me with mouth or with eye — 
 So I told the fair maiden, with heart full of glee, 
 Though the mass was my notion, my devotion was she. 
 
 See Vol. ii. p. 411, note. — Although Carolan delivered himself but 
 indifferently in English, yet he did not like to be corrected for his 
 solecisms. Of this, a humorous instance has been handed down. 
 A self-sufficient gentleman of the name of O'Dowd, or Dudy as it 
 is sometimes pronounced, once objecting to his English, asked him 
 why he attempted a language of which he knew nothing. " I 
 know a little of it," was the reply. " If so,'' says the other, " can 
 you tell me the English for BundoonV (a facetious Irish term for 
 the seat of honor,) " Yes,'' said the bard, with an arch smile, " I 
 think the properest English for Bundoon is Billy Dudy.'' This 
 repartee turned the laugh against the critic, who was ever after 
 honored with the unenviable sobriquet of Bundoon Dudy. 
 
 Carolan possessed strong satirical powers, but seldom exercised 
 them. Inhospitality he never pardoned. Being once at the house 
 of a Mr. JoNiNE, or Jennings, a farmer in Mayo, where he was 
 sparingly supplied, he addressed his host in the following bitter 
 stanza, to which many would be found to respond Amen: 
 
 [/\o mh<^ll<^cbc 50 bp<^di5 <^i]i <^n 5loiTie 5|i^n<^5 5<^íií13 
 
 1|* 50 mo TneAyA ii<^ pn <^n Idimh, ti<^íi chup. ^ le<^chl<^n <^n. 
 
MEMOIR OF CAROLAN. Iv 
 
 As usual with most men of genius, Carolan's friends and 
 admirers increased with his fame. Amongst the foremost 
 of these was Theobald, the sixth Viscount Bourke 
 of Mayo, celebrated in the popular song of '* Tighearna 
 Mhaigheo.'' Mr. Walker, in his Memoirs of the Irish 
 Bards, on the authority of Charles O'Conor, has attributed 
 the air of this excellent song to one Keenan, and the words 
 to a person of the name of Murphy. On this authority, 
 I have been guided in the present publication; although it 
 is, by some, asserted that both the words and air were 
 composed by Carolan*. Against this, however, an argu- 
 ment may be deduced from some passages not reconcileable 
 with the independent spirit at all times manifested by the 
 bard. It is certain, however, that he was a favorite with 
 Lord Mayo, whose ancient baronial residence, near Castle- 
 bar, he frequently visited. Another noble patron of our 
 bard was Richard, the ninth Viscount Dillon' of 
 Castello-gallen in Mayo, from whom he experienced 
 the kindest attentions ; and whose favors, like all others, 
 he gratefully repaid by music and song. For his lordship, 
 and family, Carolan composed three favorite pieces, known 
 by the titles of " Lord Dillon," " Lady Dillon," and 
 
 * Mr. Walker's anonymous correspondent is circumstantial in 
 his denial of this. But his assertion that the song " had its ex- 
 istence perhaps long before Carolan was born,'' is clearly erro- 
 neous. In the original, Lord Mayors christian name is Theobald ; 
 his lady, Mary ; and their children, Theobald, Suihlian, i. e. Joan 
 or Judith, John, Betty, and Biddy. On consulting Lodge's Peerage, 
 it will be found that no Viscount Mayo had a lady or children of 
 these names, but Theobald, who was born in 1681, (when Carolan 
 was but eleven years old,) and who died in 1741, two years after 
 the bard. This proves that the song was not composed before 
 Carolan's time. Mr. O'Conor's authority, however, ought, in my 
 opinion, to be decisive, against his right to " Tighearna Mhaigheo." 
 
Ivi MEMOIR OF CAROLAN. 
 
 ** Fanny Dillon." The first, celebrates the noble and ge- 
 nerous actions of his lordship; the second, those of his 
 lady; and the last, the virtues and accomplishments of their 
 daughter, the Lady Frances, a young lady of great beauty, 
 and most amiable disposition. She was, subsequently, 
 married to her own cousin-german, Charles Dillon, who 
 afterwards succeeded her father in his title and estates. 
 With these, and the other principal inhabitants of Con- 
 naught, Carolan passed his life, for he seldom stirred out 
 of that province. He was an universal favorite amongst 
 them ; and amply has he returned their kindnesses and par- 
 tiality, by celebrating the virtues, and perpetuating the 
 names of families and individuals, who would, otherwise, 
 have been consigned to oblivion. He generally gave his 
 tunes and songs the names of the persons for whom they 
 were composed^. The number of his musical pieces, to 
 almost all of which he composed verses, is said to have 
 exceeded two hundred. Several are irrecoverably lost, 
 and of the verses not one-half is supposed to be remaining. 
 On many of these compositions, some light may be thrown 
 by considering them locally ; and for that purpose, it will 
 be necessary to accompany our bard through the several 
 counties of the province. 
 
 In Mayo he spent much of his time, and his unwearied 
 
 * His compositions, which do not bear the names of individuals, 
 have generally his own prefixed, and are known by the titles of 
 " Carolan's Concerto,'' " Devotion,'' " Dream," " Elevation,'» 
 " Farewell to Music," " Fairy Queens," " Frolick," " Lamenta- 
 tion," " Nightcap," '' Parting of Friends," " Planxty," " Port 
 Gordon," " Last Will and Testament," " Ramble," " Receipt," 
 " SiotJichan ar Thus," or " Peace at First," and " The Feast of 
 O'Rourke." Most of these are deservedly popular. 
 
MEMOIR OF CAROL AN. IvÍÍ 
 
 muse paid his friends there many a grateful tribute. 
 Besides those already mentioned, we have remaining his 
 '^ Thomas Burke," " Isabel Burke," and ** Planxty Burke," 
 composed for a respectable family of that name near Castle- 
 bar; "Mr. James Betagh" and ** Fanny Betagh," of 
 Manyn; *' John Moore," of Bryes ; "Mrs. Costello,'' 
 ** Mr. Costello," of an old family which has given name 
 to a barony in this county*. Colonel Manus O'Donnell ;" 
 "Counsellor Dillon," " Rose Dillon," both of the noble 
 house of Lough Glyn ; " Doctor Harte ;" " George Bra- 
 bazon;" "Bridget O'Malley;" "Captain Higgins," a 
 brave old soldier, well known in his day. " Mrs. Garvey," 
 of Murisk, at the foot of the Reek, near Westport, an 
 excellent old lady, for whom the bard composed two dis- 
 tinct tunes, both bearing her name. " Peggy Browne," 
 " Mrs. Palmer," " Frank Palmer," and <* Roger Palmer," 
 members of an opulent family in Tyrawly. — In the district 
 of Galway Carolan was but little acquainted. Long 
 before his time, the natives of this " English nook," lost 
 the old national partiality for the " charms of song," and 
 were thus described by an indignant bard — 
 
 * Mr. Canning , late Prime Minister of England, was maternally 
 descended from this ancient and respectable family. His mother's 
 maiden name was Costello. Her father was a younger brother, 
 who settled in Dublin early in the last century, and engaged in 
 the woollen trade. His accomplished daughter, afterwards Mrs. 
 Canning, and latterly Mrs. Hunn, went on the stage ; at which, 
 the feudal pride of her friends, in Connaught, was so hurt, that 
 they never wished even to hear the circumstance mentioned. Two 
 of Mr. Canning's near relatives, Charles and James Costello, Esqrs. 
 now resident in Galway, the writer of this is proud to class among 
 his most intimate friends. 
 
Iviii MEMOIR OF CAROLAN. 
 
 The only Gal way families whom he appears to have no- 
 ticed, were the old Milesian stocks of O'Daly of Dunsandle, 
 O'Kelly of Castle-Kelly, and the Anglo-Norman baronets 
 of Glinsk ; for whom he composed his *' James Daly," 
 - Anne Daly," '* Mable Kelly," ** John Kelly," *' Patrick 
 Kelly," and '' Sir Ulick Burke." — In Sligo he was more 
 conversant ; and to several branches there, both of English 
 and Irish descent, many pleasing productions of his muse 
 were dedicated. Amongst these, are his " O'Conor Sligo," 
 " Edward Corcoran," '' Margaret Corcoran," '* Nanny 
 Cooper," " Charles Coote," " Sir Edward Crofton," " Mr. 
 James Crofton," " Mrs. Crofton," of Longford, " Miss 
 Crofton," " Edward Dodwell," '' Maud O'Dowd," '* Mrs. 
 Fleming," " Doctor Harte," '' Colonel Irwin," '' Loftus 
 Jones," *' Planxty Jones," " Abigail Judge," " James 
 Plunkett," and " Kian O'Hara," or the '' Cup of O'Hara^," 
 
 * He composed a few verses for John Harlow, Esq. of Ramelin, 
 a gentleman of good fortune, and fond of amusement, who erected 
 a " Sporting Lodge" at Temple House, which, during half the 
 year, was resorted to by the principal gentry of the country. O'Hara, 
 remonstrating with the bard on this composition, said — " Turlogh, 
 you did wrong to place that Bullocher Harlow on a level with me." 
 " I did so,'^ was the reply; " but that can be easily remedied.** 
 He then supplied an additional stanza for the " Cup of O'Hara;^ 
 of which I could only obtain the following couplet ; 
 
 " 'Y c|tuA5h n<^ch 5l<<vy pl<<vc<^ bhi ):<^iyce <^]i mo ycoi5, 
 "^LK^ijt A chuiji me Yeori l)d|iloe cliomh <^|tb le Ci<^n 015." 
 
 This satisfied the Milesian aristocrat. A description of one of 
 John Harlow's entertainments at Temple House, by James White, 
 a cotemporary poet, is described by Mr. Walker's anonymous cor- 
 respondent, as " the ne plus ultra of all the subjects that the wit 
 of man has ever devised to excite and continue the loudest peals 
 of laughter.'' This production has, as yet, escaped our research. 
 
MEMOIR OF CAROLAN. Hx 
 
 some of which will be found in the following collection. 
 But it was in his favorite county of Roscommon, that 
 Carolan always found and felt himself most at home, and 
 for the natives there, particularly the old Irish, and, above 
 all, the ancient and princely stocks of O'Conor, and M^Der- 
 mott, he poured forth some of his sweetest strains. Of 
 these, we have the various compositions before enumerated 
 for the M*Dermott Roe family, and also his ''O'Conor 
 Faly," '' Young O'Conor Faly," " Mrs. O'Conor," '' Mrs. 
 O'Conor of Belanagare," *' Denis O'Conor," or '* Donagha 
 M'Cathail oig," (his early friend,) ''Doctor O'Conor," 
 "Maurice O'Conor," "Michael O'Conor," " Planxty 
 Conor," " Planxty Drury," " John Duignan," " Mrs. 
 French," of the respectable house of French Park, " Ro- 
 bert Hawkes," " Nelly Plunket," and " Planxty Stafford," 
 or as more generally called " Carolan's Receipt ;" all of 
 which are well known to the lovers of Irish song. To 
 conclude with Leitrim, there remain " Toby Peyton," 
 " Bridget Peyton," " Molly St. George," (his father's old 
 friend,) " Maire an Chulfhion," and others contained in 
 the subjoined list^. One popular song, in particular, 
 
 * To the several compositions of our bard already enumerated, 
 the following, produced at various times and places, are to be 
 added : — " Doctor Delany," " Bishop of Clogher,'' " Catherine 
 O'Brien," " MaryMaguire" of Fermanagh, (afterwards the bard's 
 wife), " Madam Cole/' " Lady Tveagh," wife of Brian Magennis, 
 Viscount Iveagh, " Captain O'Kane,'^ or O'Cahan, of a distin- 
 guished Antrim family, (a sporting Irishman, well known, in his 
 day, by the name of Slasher O'Kane), " Lord Louth," Berming- 
 ham Baron of Athenry, " Lord Massareene," " Lady Massareene,'' 
 " Madame Maxwell," " Miss Murphy," " John Nugent" of Co- 
 lamber co.Westmeath, brother to Gracey Nugent," "Mrs. Nugent," 
 his lady, " Phelim O'Neill," " Mrs. O'Neill," " Miss Eliza O'Neill/' 
 *' Miss Mary O'Neill," " Catherine Oolaghan," (Nolan), " David 
 
Ix MEMOIR OF CAROLAN. 
 
 " Cathlin Tiriall,^^ Carolan is said to have composed for 
 a young lady. Miss Catherine Tyrrell, whose father resided 
 near Mobill ; and whose grandneice, a Miss Byrne, is still 
 living near Drumsna in this county. I cannot, however, 
 but date this fine old song long before his time. Perhaps^ 
 as other bards certainly did, he supplied words for the 
 air, which caused the latter to be attributed to him. 
 Many of his compositions may, doubtless, have escaped the 
 most minute research ; but sufficient are here enumerated 
 to transmit his name, as a man of musical genius and a 
 poet, to posterity. 
 
 It would be impossible to trace our bard through all his 
 wanderings during a long and restless life. They were 
 chiefly confined to Connaught, where his friends were so 
 anxious for his society, that messengers were continually 
 in quest of him, and he was hardly seated in one place, 
 until he was followed by an invitation to another. Ulster 
 he seldom went to, and then only to the Maguires of 
 Tempo. The puritanical habits, and anti-Irish feelings 
 of the Scotch and English settlers in the North, were but 
 little calculated to conciliate the esteem of such a man 
 as Carolan. In 1720 he went to Donass, in the county of 
 Clare, the seat of Charles Massey, Dean of Limerick, who 
 was recently married to Grace, the daughter of Sir Charles 
 
 Poer or Power" of Cahirered, co. Galway, " Mrs. Poer," his lady, 
 " Planxty Reilly,'' " Conor O'Reilly,'' " Myles O'Reilly," " John 
 O'Reilly the Active/' all of the great Cavan family of that name, 
 " Major Shanly," " Mervyn Spratt," " Mrs. Sterling," " Mrs. 
 Waller," " Mr. Waller," " Mr. William Ward." Many curious 
 anecdotes, connected with these, and other productions of 
 Carolan, are necessarily omitted in this already lengthened 
 detail. 
 
MEMOIR OF CAROLAN. Ixi 
 
 Dillon of LismuUen, in the . county of Meath. Here he 
 was kindly entertained by his countrywoman; and his 
 grateful muse celebrated the nuptials, by two pleasing 
 compositions, which bear the names of " Dean Massey," 
 and ** Mrs. Massey." To this visit we are indebted for 
 the only original portrait of Carolan now extant*. From 
 it the engraving prefixed to this volume has been taken. 
 It corresponds with every description we have of the bard. 
 His countenance appears open, kind natured, and intelli- 
 gent, though the " sovereign vital lamp" was for ever 
 extinguished. 
 
 While celebrating the living, Carolan did not forget the 
 
 * Dean Massey wishing to retain some memorial of a man 
 whose genius, and amiable manners, excited at once his admira- 
 tion and esteem, caused this portrait to be painted by a Dutch 
 artist, who was then in the neighbourhood. It continued in pos- 
 session of the family until the death of the late General Massey, 
 who prized it so highly, that he carried it with him wherever he 
 went. Upon his death, in Paris, in 1780, the picture was brought 
 back to Ireland ; and, in 1809, was sold to the celebrated Walter 
 Cox, editor and publisher of the Irish Magazine. Mr. Cox having 
 afterwards presented it to Thomas Finn, Esq. of Carlow, that 
 excellent and patriotic gentleman kindly communicated it to the 
 writer, who expressed a desire to have it engraved and preserved 
 as a national relic. With that view, he caused an accurate copy 
 to be taken, which he presented to an ingenious Dublin artist, 
 Mr. Martyn, on the sole condition that it should be well engraved. 
 Mr. Martyn published his engraving in 1822, (of the same size as 
 the original, which is painted on copper, about 8 inches by 6,) and 
 dedicated it to the Marquess Wellesley, then Lord Lieutenant 
 of Ireland. George Petri e, Esq. of Dublin, whose acquaintance 
 with the history and antiquities of this country, is, perhaps, only 
 surpassed by his knowledge of the arts of painting and sculpture, 
 in which he so eminently excels, thinks it probable that the original 
 portrait was painted by Vander Hagen, a distinguished Dutch 
 artist, who was, at that time, in Ireland. 
 
Ixii MEMOIR OF CAROLAN. 
 
 dead. Some of his elegiac productions are well known, 
 particularly those on the death of his wife, and of his friend 
 M'Cabe*; which have been newly translated for the pre- 
 sent work. In addition to these, we have his *' Cumhadh^'^ 
 or Lamentation, for Owen Roe O'Neill, the celebrated 
 Irish general; the *' Lament," for the famous Catholic 
 lawyer, Terence M*Donogh of Sligo ; and the " Dirge on 
 the death of Owen O'Rourke," for whose lady he had pre- 
 viously composed his " Mhaire an Chulfhin.^' These are 
 favorable specimens of his talent for this species of com- 
 position. But, as he was by nature of a gay and lively 
 turn, so he delighted more in that strain than in the sad 
 and mournful. The few of the latter, however, which 
 remain, display many genuine, touches of natural feeling. 
 The bard composed as he felt, and his elegiac efforts are 
 alike creditable to his head and his heart. 
 
 But the time was now drawing nigh when Carolan was 
 himself to become a subject for the elegiac muse. In the 
 year 1737, his health, which had been long declining, gave 
 
 * The bard, M'Cabe, was the frequent companion, and humble 
 friend, of Carolan. He was a man of some talent, well skilled in 
 his native language, and had a tolerable knowledge of Greek, 
 Latin, and English. He played sweetly on the harp ; but as a 
 poet, or musician, he was, to use the words of a contemporary, 
 " what the titlark is to the cuckoo,'' when compared with his 
 friend. M^Cabe was a practical humourist, and many anecdotes 
 are related of his wit and pleasantry. He composed an Elegy on 
 the death of Carolan, whom he outlived many years. Having 
 obtained a license to teach, as a *' Popish schoolmaster," he 
 earned a scanty subsistence in his old age, and, finally, died in 
 want. Similar to his, was the fate of hundreds of talented Irish- 
 men, during the horrible period of Protestant ascendency and 
 persecution, men who, in any other country, or under other laws 
 would have proved ornaments to society, and to human nature. 
 
MEMOIR OF CAROLAN. IxÍÍÍ 
 
 evident symptoms of approaching dissolution. At Tempo, 
 finding himself growing weak, he resolved to proceed to 
 Alderford, the house of his old and never-failing friend and 
 patroness, Mrs. M'Dermott, who, though then nearly in 
 her eightieth year, enjoyed excellent health and spirits. 
 By her, in his youth, nearly fifty years before, he was sup- 
 plied with his first harp and his first horse ; and to her, in 
 the decline of life and health, he turned for a sure asylum, 
 and a kind and affectionate reception. Having composed 
 his ** Farewell," to Maguire, he proceeded on horseback 
 to his friend Counsellor Brady's, near Balinamore, in 
 Leitrim, where he rested for a few days. He then con- 
 tinued his journey, accompanied by several of the neigh- 
 bouring gentry, and a concourse of the country people, 
 among whom he was always held in the highest veneration, 
 towards Lahire, the seat of Mr. Peyton. Here he stopped 
 for a few moments, and, with tears, took leave of his 
 friends. During the remainder of his journey, it is not 
 improbable that his mind was occupied by thoughts 
 somewhat similar to those afterwards expressed by his 
 countryman, Goldsmith^: — 
 
 In all my wanderings round this world of care, 
 In all my grief (and God has given my share,) 
 I still had hopes, my long vexations past. 
 Here to return, and die at home at last. 
 
 * Oliver Goldsmith was born, and until his fifteenth year resided, 
 not far from where Carolan spent the greatest part of his life. 
 Although but ten years old at the death of the bard, it is evident 
 that he was well acquainted with his genius and character. TJiis 
 may be deduced even from the trifling Essay on " Carolan the 
 blind," which appears in his works ; and which, if really written 
 by Goldsmith, confers no great credit on his memory. This inge- 
 
Ixiv MEMOIR OF CAROLAN. 
 
 At Alderford he was received with the warmth and wel- 
 come, which have ever characterised Irish friendship. After 
 he had rested a Httle, he called for his harp. His relaxed 
 fingers for a while wandered feebly over the strings, but 
 soon acquiring a momentary impulse, he played his well 
 known " Farewell to Music," in a strain of tenderness and 
 feeling, which drew tears from the eyes of his auditory. 
 This was his last effort. Nature was subdued ; and the 
 dying bard was carried in a state of exhaustion to his room. 
 He lingered for some time. The woman who attended 
 him, and who lived until about the year 1787, used to 
 relate, that to revive or stimulate decaying nature, he was 
 occasionally indulged with a taste of his favorite beverage. 
 Usquebaugh. His natural vivacity, and good humour, 
 never forsook him. A. few hours before his death, while 
 in the act of stretching forth his hand for the cup, as he 
 humourously said, to give it his farewell kiss, he rolled out 
 of bed on the floor. The female attendant alluded to, 
 stated that after she had replaced him, he observed, with a 
 smile, *' Maudy, I often heard of a person falling when 
 going to the field, but never knew one to fall while l^ing 
 but myself." His last moments were spent in prayer, 
 until he calmly breathed his last *. When his death was 
 
 nious man was descended from one of our " Clerical families," 
 who were generally a prejudiced class ; and his historical works, 
 at least, prove that he never entirely laid aside the prejudices of 
 early education. 
 
 * Carolan's death was thus recorded by his devoted friend and 
 admirer, the venerable Charles O'Conor. — " On Saturday, 25th 
 March, 1738, Turlogh O'Carolan, the talented and principal 
 musician of Ireland, died, and was interred in Kilronan, the church 
 of the Duignan family, in the 68th year of his age. May the Lord 
 
MEMOIR OF CAROLAN. IxV 
 
 known, it is related that upwards of sixty clergyman of 
 different denominations, a number of gentlemen from the 
 surround ÍDg counties, and a vast concourse of country 
 people, assembled to pay the last mark of respect to their 
 favorite bard. All the houses in Ballyfarnon were occu- 
 pied by the former, and the people erected tents in the 
 fields round Alderford House. The harp was heard in 
 every direction The wake lasted four days. On each 
 side of the liall was placed a keg of whiskey, which was 
 replenished as often as emptied. Old Mrs. M'Dermott 
 herself joined the female mourners who attended, to weep, 
 as she expressed herself, *' Over her poor gentleman, the 
 head of all Irish music." On the fifth day his remains 
 were brought forth, and the funeral was one of the greatest 
 that for many years had taken place in Conaught. He was 
 interred in the M*Dermott Roe's vault, in their chapel, at 
 the east end of the old church of Kilronan. 
 
 On opening the grave, in 1750, to receive the remains 
 of a Catholic clergyman, whose dying request was to be 
 interred with the bard, the scull of the latter was taken up. 
 The Hon. Thomas Dillon, brother to John, Earl of Ros- 
 common, caused it to be perforated a little in the forehead, 
 and a small piece of ribbon to be inserted, in order to dis- 
 tinguish it from similar disinterred remnants of mortality. 
 It was placed in a niche over the grave, where it long re- 
 mained an object of veneration, several persons having 
 
 have mercy on his soul, for he was a moral and religious man." 
 — See Cat. Stow. MSS. vol. i. p. 146, for the original Irish. Doctor 
 O'Conor adds, ''This memorandum is in the handwriting of Caro- 
 lan's friend, the late Charles O'Conor of Belanagare, who ever 
 spoke of him in terras which reflected back upon his own character, 
 the lustre which they shed on that of the last of the Irish bards." 
 
Ixvi MEMOIR OF CAROLAN. 
 
 visited the church for the sole purpose of seeing this relic 
 of a man, so universally admired for his musical talents. 
 At length, in the year 1796, it disappeared. A person on 
 horseback, and in the garb of a gentleman, but supposed 
 to have been a northern Orangemen, came to the church, 
 and desired to see it. It was brought from the niche, and, 
 watching his opportunity, he discharged a loaded pistol at 
 it, by which it was shattered to pieces*. ' Then, damning 
 all Irish papists, he rode away. Some neighbouring gen- 
 tlemen pursued him as far as Cashcargin, in the county of 
 Leitrim ; and from their excited feelings at the moment, 
 it was, perhaps, fortunate that he escaped. This brutal 
 act could be perpetrated only through the demoniac spirit 
 of party rage which then disgraced this unhappy country. 
 
 Thus far I have endeavored to trace our national melo- 
 dist and his compositions, without reference to any former 
 printed accounts ; but fear that many of the particulars 
 detailed may be considered trifling, and possibly most of 
 them unimportant. They possess, at least, one quality, 
 and, perhaps, only one, to recommend them, which is that 
 
 * Notwithstanding this act, and although the people of Kilronan 
 show some fragments which they assert to be those of the scull, 
 yet it is confidently stated that it may be seen, perfect and entire, 
 in the museum at Castlecaldwell, co. Fermanagh, having been 
 presented to Sir John Caldwell, by the late George Nugent 
 Reynolds, Esq., who took it privately from Kilronan for the pur- 
 pose. This, however, may be doubted. Mrs. M'Namara, the sister 
 of Mr. Reynolds, does not believe it, never having heard it men- 
 tioned in her family until lately ; and thinks it must be some other 
 pericranium which her brother, who was a facetious gentleman, 
 imposed on the connoisseur, by way of joke, for that of Carolan. 
 A cast of the Castlecaldwell relic is about being sent to the 
 Phrenologists of Edinburgh ; but, probably, the portrait prefixed 
 to this volume, would prove more satisfactory to those gentlemen. 
 
MEMOIR OF C A ROLAND IxvÍÍ 
 
 of being new to the reader. That the death of Carolan 
 has caused a chasm in the annals of Irish song, is a fact 
 which has been sensibly felt and deplored by his brother 
 bards in many a heart-moving lay. When we consider the 
 difficulties which this ingenious man had to encounter, his 
 loss of sight, the consequent want of adequate education, 
 and, above all, the retrograde state of society in Ireland, 
 during the greater part of the time which he lived, he will 
 be found entitled to no small portion of praise and admira- 
 tion. As a musical genius, he is universally acknowledged 
 to rank with the foremost of modern times. His character 
 has been often drawn. As a poet and musician, it is well 
 delineated in Walker^s *' Memoirs of Irish Bards," by that 
 author's anonymous correspondents But there are, in that 
 communication, some errors, particularly respecting his 
 moral character, which require observation. He is des- 
 cribed as a reckless reveller, whose genius required the 
 constant stimulus of inebriating liquors to rouse it to exer- 
 tion. Now I have been assured by old people, who knew 
 some of Cardan's contemporaries, that nothing could be 
 more unjust or untrue than such a representation. On this 
 head, the solemnly recorded evidence of Charles O'Conor, 
 may be considered decisive. t)u |ti<^5h<^lc<^ <^5uy b<^ 
 c\i^iyiech, " He was moral and religious," says that vener- 
 able and virtuous man, who was long and well acquainted 
 with him, and whose testimony is surely preferable to any 
 anonymous information. It is not, however, pretended 
 that he was a mere water drinker. On the contrary, he 
 always delighted in cheerful society, and never refused the 
 circling glass. Perhaps few individuals ever heightened 
 " the feast of reason," or enriched it with *' the flow of 
 soul," in a greater degree, than Carolan. 
 
 To him Ireland is indebted for upholding its ancient 
 
 e2 
 
Ixviii MEMOIR OF CAROLAN. 
 
 character for music and poetry, and the debt yet remains 
 to be paid. In every part of the world his strains are 
 heard and admired; and our countrymen, in foreign climes, 
 feel justly proud of their national bard. But how has he 
 been requited at home ? His humble grave may indeed 
 be traced ; but *' not a stone tells where he lies." The 
 indignant exclamation of Johnson is not even yet applicable 
 to us :— 
 
 See nations slowly wise, and meanly just, 
 To buried merit raise the tardy bust ! 
 
 A musical commemoration of the bard was celebrated in 
 Dublin, in 1809. It was chiefly composed of his own 
 popular pieces, and, with the impetuosity natural to Irish- 
 men, was held twice in the same week, but never since 
 repeated. His fame, however, depends not on " piled 
 stones," or musical commemorations. He lives in his own 
 deathless strains. And we may safely predict, that as long 
 as the charms of melody shall hold their sway over the 
 human heart, so long will his countrymen remember and 
 revere the name of Carolan. 
 
MEMOIR OF THOMAS FURLONG. 
 
 Since the commencement of this work the writer has 
 had to lament the death of an old and valued friend — the 
 translator of Carolan's Remains, and of other ancient 
 relics, which enrich these volumes. He is here induced to 
 lay before the reader a few particulars of the short career 
 of that talented individual, and to those who sympathise 
 over the fate of resident Irish genius, the brief and un- 
 pretending detail may not be wholly uninteresting. For 
 some of these particulars he is indebted to a tribute which 
 appeared soon after Mr. Furlong's death, in several period- 
 ical publications, from the pen of J. B. Whitty, Esq., the 
 popular author of " Tales of Irish Life,""^ and other 
 
 * These admirable pictures of Irish Society have been trans- 
 lated into French, and reprinted in America. The author's 
 
IXX MEMOIR OF THOMAS FURLONG. 
 
 esteemed productions. This gentleman, who was long 
 and intimately acquainted with the poet, knew how to 
 appreciate his merits, and was eminently qualified to do 
 justice to his memory. 
 
 This offering of disinterested friendship is prefaced with 
 a few pointed observations on the reproachful apathy 
 of Irishmen towards the encouragement of native 
 genius ; and the truth of the statement cannot be contro- 
 verted. '* Scotsmen," says the ingenious writer, *' have 
 erected a monument to Burns, and they celebrate the 
 anniversary of his birth : they diifer as widely in politics 
 as my countrymen, but still they do justice to each other ; 
 every man of them considers himself honored in the fame of 
 their literati. Alas ! the case is very different in Ireland : 
 they have erected no monument to their Carolan or their 
 Goldsmith — their Grattan or their Curran. They have no 
 cheering anniversary — no moral landmark, to guide or sti- 
 mulate their rising genius ; all is sluggish and thoughtless 
 — a dead flat surface — an uninviting uniformity— a cheer- 
 less gloom. My heart swells with indignation at this 
 national apathy ; it looks like Irish ingratitude ; there is in 
 it an implied want of national pride — a cruel indifference 
 to the best of all claims — those of intellect. The circum- 
 stances of the times cannot justify this; it exists still. If 
 
 extensive knowledge of the History and Antiquities of Ireland, 
 and the sound philosophic views which he has taken of its 
 situation and affairs, ancient and modern, render a history 
 of the country, on which he is now engaged, an object of 
 national consideration. I cannot conclude this note without 
 acknowledging my obligations to two intimate friends of the 
 deceased, Messieurs Michael Gilligan and John Ferrall, 
 merchants of Dublin, for their kind and interesting communi- 
 cations respecting him. 
 
MEMOIR OF THOMAS FURLONG. IXXÍ 
 
 you disbelieve me, go to Drumcondra church-yard, and 
 ask the shade of Furlong. His fate singularly illustrates 
 the foregoing remarks."^ 
 
 " This ' sleepless boy, who perished in his pride,' had 
 no claims to notice but those which genius furnished ; but 
 these were of an order which gives an immortality to his 
 name, despite the neglect of his countrymen. He was, 
 in the words of Ferguson, * one of God Almighty's no- 
 bility.' He derived no intelligible dignity from his ances- 
 tors, but he reflects back upon them a kind of posthumous 
 vitality; he rescues them from the oblivion of the grave, 
 and bestows upon them a lustre not the less brilliant or 
 lasting, because it is derived from reflected rays. He owes 
 them nothing ; they become in death his debtors." 
 
 ''Thomas Furlong was born in the county of Wexford, 
 and that noble portion of Ireland has also the honor of 
 of giving birth to Thomas Moore. Furlong's father was 
 a respectable farmer, and our poet was born in the 
 year 1794, at a place called Scarawalsh, a romantic 
 part of the country, midway between Ferns and Enis- 
 corthy. His education qualified him for the counting- 
 house ; and, at fourteen, he was apprenticed to a respect- 
 able trader in the Irish metropolis. The ledger, however, 
 had less attraction for him than the muses ; but though he 
 ' lisped in numbers,' he did not let his passion for poetry 
 Interfere with his more useful and more important duties. 
 Through life he retained the friendship of his employer ; 
 and when that gentleman died, some years ago, he la- 
 mented his fate in a pathetic poem, entitled The Burial. 
 
 * It is but justice here to state, that a handsome monument 
 has been recently erected by Mr. Furlong's friends to his memory. 
 But this, I rather fear, will be considered only as a solitary 
 exception to the general charge. 
 
Ixxii MBiMOIR OF THOMAS FURLONG. 
 
 This was one of Mr. Furlong's earliest productions, and 
 no reader of taste will be displeased at finding here the 
 following impressive stanzas : 
 
 * Oh ! if the atheist's words were true, 
 
 If those we seek to save, 
 — Sink — and in sinking from our view 
 
 Are lost beyond the grave ! 
 If life thus closed — how dark and drear 
 Would this bewildered earth appear, 
 
 Scarce worth the dust it gave. 
 A tract of black sepulchral gloom. 
 One yawning, ever-opening tomb. 
 
 ' Blest be that strain of high belief. 
 
 More heaven-like, more sublime, 
 Which says, that souls that part in grief. 
 
 Part only for a time ! 
 That far beyond this speck of pain. 
 Far o'er the gloomy grave's domain. 
 
 There spreads a brighter clime, 
 Where care and toil, and trouble o'er, 
 Friends meet, and, meeting, weep no more.' 
 
 ** At length he was enabled to indulge without obstruc- 
 tion in his love of literature. Mr. Jamieson, an emi- 
 nent distiller of Dublin, and a man of enlarged and liberal 
 views, gave him a confidential situation in his extensive 
 concerns. Here he remained until the period of his death, 
 and it does honor to Furlong, as well as to his worthy 
 patron, that Mr. Jamieson wept like a child the day of his 
 funeral." 
 
 While at school, our youthful poet produced a poem of 
 considerable length, in blank verse, which it appears he had 
 some intention of offering for publication : but probably 
 not wishing to trust solely to his own judgment, and per- 
 haps having no friend on whose opinion he could safely 
 rely, he adopted the prudent advice of the Roman critic, 
 and laid it aside for some years. At length, in 1815, our dis- 
 tinguished countryman, Thomas Moore, having visited 
 
MEMOIR OF THOMAS FURLONG. Ixxiii 
 
 Dublin, the young aspirant for poetic fame embraced the 
 opportunity. He boldly submitted his poem to the dan- 
 gerous ordeal of Mr. Moore's perusal, and solicited his 
 patronage, should he consider it worthy of publication. 
 That gentleman expressed his opinion of this juvenile per- 
 formance in the following letter : — 
 
 " I have read the poem which you did me the honor to entrust 
 to me, and think highly of the talent and feeling with which it is 
 written ; but I should deal unfairly with you, were I to promise 
 you much success from the publication of it. There is nothing 
 less popular at the present day than blank verse ; as some proof 
 of which, I need not perhaps tell you (for your subject and his 
 are somewhat similar,) that the "Excursion" of Wordsworth, 
 one of our finest geniuses, lies unbought and unread on his pub- 
 lisher's shelves. If, however, notwithstanding this discourage- 
 ment, It should still be your wish to try the fate of your poem in 
 London, I shall be happy to give it all the aid and recommenda- 
 tion in my power. '' Your's, &c. 
 
 " Mr. Furlong, &c. " Thomas Moore.'' 
 
 Notwithstanding the kind offer contained in this letter, 
 the idea of publication was abandoned, and it is supposed 
 the poem was committed to the flames. Mr. Moore's at- 
 testation, however, to the talent and feeling with which it 
 was written, seems to have stimulated the author to fresh 
 «xertions, for he soon after produced the ** Misan- 
 thrope," a poem which was published by Colburn, 
 London, 1819. '* This poem," says one of the periodical 
 Reviewers, *' is now before me, and though of a didactic 
 nature, it abounds with beauties, and shews that, even 
 young as the author then was, his powers of versification 
 were of a very superior order. His epithets are chosen 
 with great happiness and propriety, and his arguments are 
 managed with surprising skill. In this poem there is much 
 of Goldsmith's sweet simplicity, though Pope's style 
 was evidently the model on which it was formed. The 
 description of an occurrence at Wexford, in the rebellion 
 
Ixxiv MEMOIR OF THOMAS FURLONG. 
 
 of 1798, shews that our poet knew every avenue to the 
 human heart. The blood runs cold as we read it." A 
 second edition of the Misanthrope was published in Dublin 
 in 1821. About that time the author printed a few stanzas, 
 which he entitled, ** Lines written in a blank page of Lady 
 Morgan's ' Italy/ " He soon after received the fol- 
 lowing letter from that highly-gifted and patriotic Irish 
 lady, whose talents do honor to her native land. 
 
 " In acknowledging the receipt of your letter, and the very 
 interesting little volume which accompanied it, I beg to assure 
 you that I am sensibly alive to the approbation of minds, honest, 
 enlightened and liberal, as that of the author of the ' Misan- 
 thrope ' appears to be. Such testimonies, in favor of my inten- 
 tions, at least, have always been a sufficient counterbalance to 
 the paid scurrility of hired critics — and from whatever quarter 
 they come, they are both precious and gratifying. — Your poem, 
 written in the blank page of ' Italy,* has been read and admired 
 by persons of more judgment than her whom it must naturally 
 most interest. Feeling and writing as you do, I trust you will 
 not neglect * The goods the gods provide you.' I shall always 
 be happy to hear of your literary exertions, without entertaining 
 a doubt of their success. 
 
 " 29th March, 1822, '< I am, &c. 
 
 " Kildare Street. *' Sydney Morgan." 
 
 These testimonies, from the most distinguished writers of 
 his country, must have been highly gratifying to t lie feelings 
 of Mr. Furlong, and notwithstanding his natural diffidence, 
 perhaps tended to inspire him with greater confidence in 
 his own abilities. About this time he contributed largely 
 to the New Monthly Magazine^ London, In 1822 he 
 projected the New Irish Magazine^ printed in Dublin. In 
 1824 he published the '* Plagues of Ireland," one of 
 the most caustic satires that ever appeared on this side of 
 the channel. The following year, when the Morning 
 Register, a popular Dublin newspaper, was started, on the 
 Catholic interest, Mr. Furlong wrote those inimitable 
 parodies, which gave it a decided character ; and which, 
 
MEMOIR OF THOMAS FURLONG. IxXV 
 
 having ran the rounds of the English press, were subse- 
 quently copied into the American Journals. About the 
 same time he became a contributor to Rohins^s London and 
 Dublin Magazine. Decidedly one of the most powerful 
 pieces of ridicule in the English language is his poem on 
 Daniel O'Connell, entitled, *' The Leader," which appeared 
 in that publication. When asked why he wrote those 
 severe lines on the indefatigable patriot, who was known 
 to admire him, and who publicly termed him *' A thorii 
 in the side of the enemy." He replied, " O'Connell is 
 of too much value to Ireland to let him spoil himself : he 
 must sometimes feel the rod." Though our poet did not 
 speak in public, his pen was incessantly and powerfully 
 employed m favor of the great question of Emancipation, 
 which then agitated the country. On that subject, his 
 writings, both in prose and verse, are numerous ; and his 
 services were considered so efficient, that on the success of 
 the measure, his portrait was published with those of 
 O'Connell, Shiel, Steele, Barrett, Wyse, and other leading 
 members of the Catholic Association. 
 
 His poetical pursuits were not, however, entirely inter- 
 rupted by his patriotic and political labors. During the 
 years 1825 and 1826 he wa^ occasionally employed on the 
 Doom of Derenzie, a descriptive poem, which was pub- 
 lished, after his death, by Robins, London, 1829. This 
 poem was warmly eulogised by his friend and brother poet, 
 the late Rev. Charles Maturin, with whom he had been 
 long on habits of the closest intimacy*. It was thus spoken 
 
 * From among several familiar letters of this talented indivi- 
 dual to Mr. Furlong, the following is selected for its brevity, and 
 its allusion to the above poem : — 
 
 " Wednesday ,^ — I trust the melancholy circumstance of my poor 
 father's death will excuse my not writing to you lately. — I am 
 
IxXVi MEMOIR OF THOMAS FURLONG, 
 
 of in some of the London periodical of the day. ** The 
 Doom of Derenzie was only passing through the press 
 when the author died. The poem is of considerable 
 length, and of a somewhat domestic character ; it addresses 
 itself to the most salutary feelings of the human heart, and 
 possesses a power and an interest, which the most romantic 
 fictions of the day could not communicate. The hero is a 
 character quite new to us ; neither Lady Morgan nor 
 Mr. Banim has rendered us familiar with an Irish fairy- 
 man ; and, we believe, this is the first instance in which 
 his portrait has been given to the English public. As a 
 mere tale, this poem possesses all the advantages of an 
 ingenious fiction ; and to this is superadded the charms of 
 the most exquisite poetry — breathing the finest pathos and 
 the sublimest sentiments. Mr. Furlong was a poet in the 
 exact sense of the word : his soul seems to have glowed 
 
 confined with an inflammation in my eyes, for which I am under- 
 going a severe mercurial course ; but if you can have the charity 
 to sit with a blind invalid, come and drink tea with me this 
 evening from seven till ten. Bring your poem with you. T write 
 this with great difficulty. You see I have some chance of fame in 
 being ranked with, ' Blind Thamyris and blind Maeonides,' though 
 I confess it is the last particular in which I should w^ish to re- 
 semble those worthies. " Faithfully your's, 
 
 *' C. R. Maturin." 
 The writer did not long survive this letter. He died with a 
 broken heart, after having been made the dupe of a party of 
 religious bigots in Dublin, who, with all the bitterness of sectarian 
 zeal, prevailed on him to preach a series of shallow " Sermons 
 against Popery," for which he was laughed at by many, and pitied 
 by all. This bigotted coterie, from the "mitred prelate" to the 
 bible-reading votaries of the tea-table, afterwards suff"ered the 
 man of genius to die in comparative want. When Sir Walter 
 Scott, after his arrival in Dublin, visited Mr. Maturin's widow, 
 he burst into tears on beholding her situation. This affecting 
 incident does honor to the feelings of that distinguished man. 
 
MEMOIR OF THOMAS FURLONG. IxXVÍÍ 
 
 with a passionate love of nature ; and he painted as he felt, 
 vividly and correctly. Were merit alone a sufficient re- 
 commendation, the * Doom of Derenzie', we are certain, 
 would become popular." The reviewer has given several 
 extracts, from which he says, *' Our readers will perceive 
 how truly poetical the whole must be. The limits of these 
 pages render it necessary to omit those passages, and refer 
 to the poem itself, which will amply reward the perusal of 
 every reader of taste." 
 
 Mr. Furlong's last poetical efforts were the translations 
 of Carolan's Remains, and other ancient poems and 
 songs contained in this collection. When his aid was first 
 solicited, the writer had the same difficulty with him, as 
 with others, to prove that any productions of value were 
 extant in the Irish language. Acquainted only with 
 the English words associated with our native airs*, he 
 smiled incredulously at the asserted poetical excellence 
 of the original lyrics, and even questioned their existence. 
 
 * The vulgar ballads, composed in English, during the last 150 
 years, are a disgrace to our sweet and simple melodies, to which 
 they have been so cruelly and unnaturally united. This trash, 
 which modern collectors have dignified with the title of " National 
 Irish Song ! ! V displaced the native lyrics so effectually, that the 
 memory of the originals was soon wholly erased in the Anglicised 
 parts of Ireland. Mr. Furlong was, therefore, fully excusable 
 for his literary scepticism on a point with which men of more years 
 and experience were equally unacquainted. It is considered 
 scarcely necessary here to state, what every reader is already 
 aware of, that Mr. Moore's words to our " Irish Melodies," form 
 a splendid exception to the foregoing general censure. " Poetry," 
 it has been truly observed, *' is the soul of melody." Hence these 
 beautiful lyrics will command admiration to the latest posterity. 
 Our patriotic countryman, T. Crofton Croker, Esq., is now en- 
 gaged on the subject of Anglo-Irish Song. He will separate the 
 ore from the dross ; and fronj his talents and research, much may 
 be expected in this department of national literature. 
 
Ixxviii MEMOIR OF THOMAS FURLONG. 
 
 It was true, he admitted, that he had often heard them 
 spoken of, and sometimes praised, but that he considered 
 as ihe mere boasting of national prejudice. ** If," said he, 
 " they possess any merit, I cannot conceive how they could 
 have remained so long unknown." After several expla- 
 nations, however, and an examination of some of these 
 neglected originals, his opinions began to change. He 
 at length confessed that he discovered beauties of which, 
 until then, he had been wholly unconscious ; and finally 
 entered on the undertaking, with an ardour and perse- 
 verance which continued to the hour of his death. In his 
 translations he endeavored to express himself as he con- 
 ceived the bard would have done, had. he composed in 
 English. He was " true to his sense, but truer to his 
 fame." But as the public will now have to judge of the 
 merit of his labors, it is not intended here to anticipate its 
 opinions, by any premature expression of our own. On 
 the principle, that none but a poet should attempt to 
 translate a poet, his translations may be entitled to atten- 
 tion ; and on them his friends are not unwilling to rest 
 his poetical character. 
 
 A short time before Mr Furlong's death, he attended a 
 public dinner in Dublin, at which the health of our patriot 
 bard, Thomas Moore, was drank with the usual enthu- 
 siasm. Mr. Furlong, having been called upon, spoke as 
 follows : — 
 
 " It is impossible to speak of Moore in the ordinary terms of 
 ordinary approbation — the mere introduction of his name is cal- 
 culated to excite a warmer, a livelier feeling. We admire him 
 not merely as one of the leading spirits of our time ; we esteem 
 him not merely as the eager and impassioned advocate of general 
 liberty — but we love him as the lover of his country. We hail 
 him as the denouncer of her wrongs, and the fearless vindicator 
 of her rights. What a glorious contrast does he offer to the 
 spiritless, slavish race that have preceded him. We have had 
 our poets, the Parnells, the Roscommons, and the Goldsmiths, 
 
MEMOIR OF THOMAS FURLONG. Ixxix 
 
 distinguished and celebrated in their day ; but these, Irishmen as 
 they were, scorned even to name the ill-fated land of their birth. 
 It remained for Moore to tread the unbeaten path, and believe it, 
 his example will not be lost upon others. The fine mind of the 
 nation is already unfolding itself. Irish literature is no longer 
 unfashionable. The demand increases, and the supply is certain. 
 There is an exuberance of talent in the country, literally a waste 
 of genius. Justly has Ireland been called " The Land of Song," 
 the very atmosphere is poetical — the breezes that play around us 
 seem the very breathings of melody. The spirits of our ancient 
 bards are looking down, inviting the youth of the soil to partici- 
 pate in their glory. How could Moore, when speaking of Ireland, 
 be otherwise than poetical? how could he touch on such a subject 
 without catching an added spirit of inspiration? Ours is, indeed, 
 a country worth loving — worth struggling for — aye, worth dying 
 for. Who can look on it with indifference? The land of the 
 beautiful and the brave — the land of the minstrel, the saint, and 
 the sage — the home of all that is lovely and endearing. — 
 
 Green are her hills in richness glowing. 
 Fair are her fields, and bright her bowers ; 
 Gay streamlets thro^ her glens are flowing, 
 The wild woods o'er her rocks are growing ; 
 Wide spread her lakes amidst laughing flowers, 
 Oh ! whereas the Isle like this Isle of ours ? 
 
 Such has been the source of Moore's inspiration.*' 
 
 On this occasion Mr. O'Connell, who presided, pro- 
 nounced a glowing eulogium on the talents and patriotism 
 of the speaker, declaring him, in his opinion, second only 
 to the inimitable poet whom he had so eloquently described. 
 Soon after this, Mr. Furlong's health, which had been long 
 declining, suddenly grew worse. A general weakness per- 
 vaded his frame, accompanied with a total loss of appetite. 
 His disorder, although he had the best medical assistance 
 which Dublin could aíFord, proceeded rapidly, and, after 
 a short confinement to his bed, he died on the 25th of 
 July, 1827, in the thirty-third year of his age. He was 
 interred in the churchyard of Drumcondra, in the vicinity 
 of Dubin ; and over his grave, which lies near that of the 
 
IXXX MEMOIR OF THOMAS FURLONG. 
 
 celebrated antiquarian, Grose, his friends have erected a 
 handsome monument, which bears this inscription : — 
 
 TO THE MEMORY OF 
 
 THOMAS FURLONG, Esq. 
 
 in whom the purest principles of . 
 
 Patriotism and Honor 
 
 were combined with 
 
 Superior Poetical Genius, 
 
 This Memorial of Friendship 
 
 is erected by those who valued and admired 
 
 His various Talents, Public Integrity, 
 
 And Private Worth. 
 He died 25th July, 1827, aged 33 years. 
 
 MAY HE REST IN PEACE. 
 
 The following lines were the last which issued from the 
 pen of Mr. Furlong, written a few days before his death : — 
 
 THE SPIRIT OF IRISH SONG. 
 
 Lov'd land of the Bards and Saints ! to me 
 There's nought so dear as thy minstrelsy j 
 Bright is Nature in every dress, 
 Rich in unborrow'd loveliness ; 
 Winning is every shape she wears. 
 Winning she is in thine own sweet airs ; 
 What to the spirit more cheering can be 
 
 Than the lay whose lingering notes recal 
 The thoughts of the holy — the fair — the free 
 
 Belov'd in life or deplor'd in their fall ? 
 Fling, fling the forms of art aside, 
 
 Dull is the ear that these forms enthral ; 
 Let the simple songs of our sires be tried. 
 
 They go to the heart — and the heart is all. 
 Give me the full responsive sigh, 
 The glowing cheek and the moisten'd eye ; 
 Let these the minstrel's might attest. 
 And the vain and the idle — may share the rest. 
 
PART I. 
 
 REMAINS OF CAROLAN. 
 
It was a good old custom, observed in former days, to 
 introduce works of learning and genius by " commendatory 
 verses." Shakspeare, Milton, Dryden, Pope, and other ex- 
 alted names have not disdained to preface their productions 
 with these passports to fame. The rhymes of honest Andrew 
 Marvell, beginning — 
 
 '' When I behold the Poet blind, yet bold," 
 
 yet survive, and generally precede " Paradise Lost." In imi" 
 tation of this laudable custom the ensuing Ode is placed before 
 the Remains of Carolan. It is the production of one of those 
 men of genius with whom Ireland has at all times abounded, 
 but who are as little known to the good people of England, or 
 even to the would-be English of Ireland, as if they had never 
 existed: because, ''they were born Irishmen and men of 
 genius," and wrote in a language rendered unfashionable by 
 those acts which enjoined our ancestors to purify their '* upper 
 lippes " with steel, to enable them to *' speke Englishe" 
 with effect. — This ode in our opinion exceeds even Marvell's 
 rhymes, and bids fair to last as long. For the present it will 
 serve to introduce Carolan to the reader, and shew the estima- 
 tion in which he was held by his cotemporaries. Envy, the 
 old and natural infirmity of the Poetic tribe, recoiled within 
 itself in his presence ; and his praises were resounded by his 
 brother Bards, with the undissembled homage always paid to 
 superior genius. 
 
IRISH MINSTRELSY, 
 
 
 6<l mhiliUTi 6é<^5 ^<lilce blK^ofbTi 
 
 <^]tuy |71hed6hbh<^, ni5}ie<^Ti €och<^i6}v 
 50 ^e<^|i<^Tm 0i|t5ln<^ill, 5lLÍTiTnli<<.]i5 S^i^iti, 
 le '|t bh*ionniTiuin éuchc<^ ChoriccolurnTi. 
 
 b^ m<^i|ie<^6h Conchob}i<^|t <^ Ti-€<^Tnli<^in |7lh<^c]i<^, 
 bbuji. b-cuituy <^ ri-i<^]t nV\i bb'<licli]^te<^cli 5 
 
 "^0 50 5-citéucbc^<^í6be Uldbh ^^'n fTlAisnei)*. 
 
 Conn <^3UY Co]tni<^c coni}ib}ie<^y, 
 
 "^1 léi5^e<^6h <^n C<^|tnili05<^ll <<5 <^én 
 
REMAINS OF CAROLAN. 
 
 WELCOME TO CAROLAN. 
 
 AN ODE, BY JAMES COURTNEY,^ 
 TRANSLATED BY THOMAS FURLONG, ESQ. 
 
 Oh ! millions of welcomes for thee^ 
 
 Chosen bard of the fair and free. 
 
 From the mansion of Meavé^ thou comest in pride 
 
 To where Orgial's flow'ry fields^ spread wide. 
 
 Dear to CuchuUin, that dreaded name. 
 
 Bright and high in the rolls of fame. 
 
 If Connor still in Emania reign'd 
 
 Brilliant would be thy cheer^ 
 Long would the sacred gem be retain'd. 
 
 High priz'd and precious, and dear. 
 All Ulster upon its beauty might gaze, 
 And the land be bless'd by its scattering rays. 
 
 The four Nials* of Tarah's embattled pile,^ 
 
 Con and Cormac^' of regal birth, 
 Would not give up the prize, the pride of the Isle, 
 
 To the proudest foe upon earth. 
 Oh ! glorious and great in the tented field 
 Must the monarch be who might make them yield. 
 
6 V IRISH MINSTRELSY. 
 
 C<^[ibunc<^il Ce<^mli|t<^ ti<^ b't\ii^z}\ ; 
 
 0|tplieu|* clil<^iTine CT\<^cli<^oi]a o 6}ie<^)*, 
 
 5e<^ll ceoil ^'n n-^ifKi n-oijt 
 
 50 Coi]t6}ieAlbli<^cli <^Tioiy 60 |t<liTiic j 
 
 5<^ch buine yheimie<^i- p<l <^ luí61ie<^Tin 5|ti<^n, 
 1]* 6<l Ti-<li|im}iiiin 50 Tnuifi 6-Coi|i|n<^Ti ; 
 
 '21 n-<^oibhTie<^l*? <^ ^-% 'T ^ Ti-<^lt<lii. 
 '^In c-<^bh|t<^Ti, 
 C<^ <^n c-A|i<^Ti 'n <^ l<lTmli 50 h^y m^ Y^ienmib le ceill, 
 5<^c}i poll<^ 6'<l 6-CU5 <^cb<^i]t ri<^ ii-51^<^T i)'0llb1i(lm1i nA 
 
 b-céu6 ; 
 '^ln cuTYi<^boi[i <l]tb-p fh^|tui5b 6x\ cli]tuiTiTie le ceim, 
 'X b<^ chubbAibb bbo ^^ike bli<<|i|i <^i|i 6h<l Tnbiliún béucc. 
 
REMAINS OF CAROLAN. 
 
 Rich jewel art thou of old Temor, of kings, 
 Darling of Ulster of red red shields — ^ 
 
 Where's he who like thee can strike the strings ? 
 Where is the voice that such music yields ? 
 
 Bard of Clan Cahir,8 the race renown'd, 
 
 Light of our isle, and the isles around. 
 
 The prize of harmony's sent from afar. 
 
 My Turlogh that prize is thine. 
 It comes from Apollo, the old world's star. 
 
 The guide of the sacred Nine : 
 And each bard that wanders o'er earth and sea, 
 Seems proud to learn new lays from thee. 
 
 Oh ! yes ! from thee, thou son of the song. 
 Full many a strain may they borrow, 
 
 'Tis thine in their mirth to entrance the throng. 
 Or to sooth the lone heart of sorrow i 
 
 Then welcome to Orgial's flowery fields. 
 
 Thou darling of Ulster of red red shields.^ 
 
IRISH MINSTRELSY. 
 
 
 IVIo leuTi 'y mo cli|i^6}i 5<^ti me 'x ^^^ S^Tt^^^? 
 
 11 Ti-5le<^Tnic^Ti <<.luiTin yleibhe ; 
 5<^n neAch 6'<l]t 5-c<li|t6e bheicli le y:^-^^új, 
 
 '"^Kiz 6s^\í bicli 'n ^\i n-5<^obb<^]a <^nn : 
 P.Í5I1 ii<^ i^-5Ti^T> ^^ ^^^^ blK^mh c]t<lclicAbb 0|ic, 
 
 *^l cbiuin-bhedTi n^i|ie<^cli, bliéuv<^cli ? 
 T 5^V^ ^'^ ^^ 5li|i<(bb-r<^ c<< cjie mo U^i 
 
 1)* mocb di|t mí^ibm^ bo 5blu<^i)'e<^y <^ii <^mpln]i, 
 
 H'^uy ^ cuilin <^5 c<^)*<^bli leidn, 
 lAá\i \iSy^ b|iic;lile<^n t^ yseimb <^n lembh, 
 
 QVy 5<^c1i b<^ll bi <^5 ce<^clib le clieile ; 
 •21 c<^ébh mA|t <^n 5-c|tioybAl, <^béilm me<^l<<.. 
 
 &<^[i liom, bubh bhmne 'n^ ^urh céubA, 
 yeimh A le<^c<^, <^ b|t%h<^ib m<^|t <^n e<^lÁ, 
 
 '^t^ <^ 3itu<^bTi <^nt bhddi iK^ 5-c<^o|t-cliOTi. 
 
REMAINS OF CAROLAN. 
 
 MARY MAGUIRE/ 
 
 BY THOMAS FURLONG. 
 
 Oh ! that my love and I 
 
 From life's crowded haunts could fly 
 To some deep shady vale by the mountain. 
 
 Where no sound might make its way, 
 
 Save the thrush's lively lay. 
 And the murmur of the clear-flowing fountain ; 
 
 Where no stranger should intrude 
 
 On our hallow'd solitude, 
 Where no kinsman's cold glance could annoy us ; 
 
 Where peace and joy might shed 
 
 Blended blessings o'er our bed. 
 And love ! love ! alone still employ us. 
 
 Still sweet maiden may I see, 
 That I vainly talk of thee. 
 
 In vain in lost love 1 lie pining, 
 I may worship from afar, 
 The beauty- beaming star. 
 
 That o'er my dull pathway keeps shining ; 
 
10 IRISH MINSTRELSY. 
 
 loiiíie <^'y léun ^^y 6ío5hbli<<».il céille, 
 
 6'id|t|t^<^61i 7*p|téi61i <^i|t bich le ii-<^ yh<^ich chéile 
 
 bá\i bjiij}) mo bli<^iycibh b'^e^iíji liom <^3<^tii, 
 
 ^4^(1 l^n ri<^ le<^bdi<^ bbe -pcitomye c<^ilíche 
 'X Ti<<> b}ie<^5 <^ 6íol bo'n bh-p5liTi<<.bli. 
 
REMAINS OF CAROLAN. 11 
 
 But in sorrow and in pain^ 
 
 Fond hope will remain^ 
 For rarely from hope can we sever, 
 
 Unchang'd in good or ill, 
 
 One dear dream is cherish d still. 
 Oh ! my Mary ! I must love thee for ever. 
 
 How fair appears the maid. 
 In her loveliness arrayed. 
 
 As she moves forth at dawn's dewy hour. 
 Her ringlets richly flowing. 
 And her cheek all gaily glowing. 
 
 Like the rose in her own blooming bower ; 
 Oh ! lonely be his life. 
 May his dwelling want a wife. 
 
 And his nights be long, cheerless, and dreary. 
 Who cold or calm could be. 
 With a winning one like thee. 
 
 Or for wealth could forsake thee, my Mary. 
 
12 IRISH MINSTRELSY. 
 
 
 [71<^iriioTni, 
 'péuch<^iTi <^ii yc<^]tuí6he ly <^oibline c^il; 
 fyi<^]a c<^'ti ]aio5<^Ti pi'" ^<^titií, in5hÍTi bheiye 5be<^]t<^ik, 
 pl<^Tinb<^ ly bmne, 5b[iiTine5 'y ly ^^V^ ^^ mbn^ibh : 
 'Y é )'b<^oile<^y 5<^cb l3<^|tÚTi u\ie <^5uv c<^l<^mib, 
 
 C]t<^cb ndcb Tn-b'íbbeATin 'n <^ n-5<<^]t 50 bb-pm5be p<^6- 
 f<^n b<l]*; 
 1l\v\x c|t<^cb bblbbeAim 'n <^ 6-c<^icb%be,éi|t5Kb <^ 5-C|toí6be 
 'y A Ti-<^i5ne 
 %'y beiji Ti<^b lioin be pb|ieib 50 Tn-bibbe<^nn p<^b ^-I^Iti. 
 
 'Y 1 pbemcy Ti<^ ymne, An péu|tl<^ bjiei^Sb lembh, 
 
 ^Vy -péucb<^bb 5dcb buine An c^y niA[i ly c6i]t ; 
 3u|t 'n Ab-éAbAin r^'n lile^ 5ennb]teAbh nA sile, 
 
 ly c^ 5Acb n^bb bpeicb buille A5LII* b<^i|t]t Ai|t An po)* : 
 ^^eucb^Aibb nae mo 5liliocA)*5 |téi|t mA]t t^ m'oibeA)*^ 
 
 d|i5btm Ay, *)• ni blieijaim n^bb Acbc An cb^iji : 
 lioncAjt yuAy nA cAnnAiblie, ydb y^K duiAi|tmi ^Annt ! 
 
 Yl<<imce cbAipdn 5beA]tAilc cTioiblicbe beibbeAm b*^ b-ol. 
 
REMAINS OF CAROL AN. 13 
 
 FANNY BETAGH. 
 
 BY THOMAS FURLONG. 
 
 My path 1 shall name not to any. 
 
 All know 'tis to Mannin I steer ; 
 I seek the bright home of fair Fanny, 
 
 I go her gay accents to hear : 
 Young Fanny so gentle, so tender, 
 
 Whose glance with enchantment is crown'd. 
 Whose smile, like the sun in its splendor. 
 
 Spreads blessings and brightness around. 
 
 O Gerald ! thy daughter's young beauty 
 
 Leaves many a proud one in pain ; 
 To praise the bright maid is my duty, 
 
 But why do 1 try it in vain ? 
 Come friends ! while the moments are going, 
 
 The joys that they bring let us share. 
 And drink in a bumper overflowing, 
 
 To Fanny the flower of the fair. 
 
14 IRISH MINSTRELSY. 
 
 t) p 1 5 ii 1 c c c ji u y. 
 
 iD'-y^eibiii 50 b-cioc^Abh 'S\y^x<^ ^ Ch\v\oxb, 
 50 TTi-beibhiTin-yi <^5U]' cu-y<^, n-éin^lie<^clic 5<^n cuijtye, 
 
 7l^\xx TK^ch cú b*Y<<i5 o^-TK^bh <^nTi l^]v mo dijidibhe : 
 "^1 'p}iéub<^im-yi cobl<^ <^éii oibhche 50 pc<^i|i, 
 
 '^Ichc <^5 ymud'ÍTie<^bh o|tc-)*<^ <^ti c]t<ldi pn bo bliibhirn ; 
 '^^S^^T T^^^i^ 1^^ bh<^]t<^Tn}il<^ 'y zu <^n ^éijóín |:u<^i|i p^iti)- 
 
 bhenuy, di]t A ]'5]iioY<^b1i 50 bjt^cli <^n Cyto'iblie. 
 
 '^t t)1iítÍ5lncc b}ie<^55 bbeAy, <^ bheilin TYie<^lA, 
 
 le']i Y<^ébli<^bh le<^c-y<^ ^e<^]i<^ ch]^nclie y<^l, 
 'T 5^\^ b}i'éiYe<^cbc<^tclie 5<^ch yz^^n b'<<v léi5hceA|t bhúmri 
 <^i|i bbeiye 
 
 bhenuiy, luno, l)élen <^'x n^ bei\ib\ie <^ti '^^^5}^, 
 21 y5éÍTYih fúb ^Y A ii-5l<^ine n-ém^liedchc 5<^ii e<^yb<^ib}i, 
 
 1y e<^5<^l liom 50 beiinbin 5U|t <^b <^5<^b-)*A c^,^ 
 |71éu|i<^ c<^él<^5 be<<^X^ IX c|téibhchtc]ie <^5 yeiTine<^bli 
 
 *^Iti |téibh-plioi]tc chliybe <^i]t chdorn-clijtuic y]i<^tmli. 
 
REMAINS OF CAROLAN. 15 
 
 BRIDGET CRUISE/ 
 
 BY THOMAS FURLONG. 
 
 Oh ! turn thee to me my only love, 
 
 Let not despah* confound me. 
 Turn ! and may blessings from above 
 
 In life and death surround thee. 
 This fond heart throbs for thee alone. 
 
 Oh ! leave me not to languish. 
 Look on those eyes whence sleep hath flown. 
 
 Bethink thee of my anguish | 
 My hopes — my thoughts — my destiny — 
 All dwell, all rest, sweet girl, on thee. 
 
 Young bud of beauty for ever bright;, 
 
 The proudest must bow before thee ; 
 Source of my sorrow and my delight — 
 
 Oh ! must I in vain adore thee ? 
 Where, where, through earth's extended round, 
 Where may such loveliness be found ? 
 
 Talk not of fair ones l^nown of yore ; 
 Speak not of Deirdre the renown'd,^ 
 
 She whose gay glance each minstrel hail'd ; 
 
 Nor she whom the daring Dardan bore 
 From her fond husband's longing arms ; 
 Name not the dame whose fatal charms 
 
 When weighed against a world prevail'd : — 
 
16 IRISH MINSTRELSY. 
 
 C^ TiA céub<^ i^eA\i cliyce, (^n-eclipy Ai|i meiyse. 
 
 Yseul é iK^ch 5-ceile<^im ip<<^i5h n^ 6]ain6he, 
 JVleub Ú6 5<^n e<^Yb<^i6hj <^5 eAjnAcli A le<^ch-c]ionii, 
 
 Qi 5lie<^5 65 n<^ ni-b<^cli<^ll m-b^n A511)' m-biiibhe : 
 'T ^ 5^^5<^ii ^<^ TYi-b<^n ^5 b|íéA5<^ii ti<^ bh-^e<^|i i, 
 
 |Vlhéu6ui5b <^|t ymAl^ <^5wir bo luÍ5TieAbui5}i <^|t Ti-5e<^Ti, 
 •21' 6 6bi<^i5b-yi le ye<^l, b'y:^-^ cu-)*<^ <^n cijt. 
 
 C<<v in'^ncinn <^i|i Tne<^]tbli<^ll5<^5uy TTi'lT]cle<^c}ic b'^ b<^ll<^b}i5 
 
 le c|tOTH-chidch le ^<<^bé<, lo <^5uy b'oibliche, 
 ''^-bi<^i5li bo bliiTiTi-b}i|ii<^di<^|i Tii-bl<^fb<^, ti<^ 5-c]auÍTin- 
 cbioclK^ Ti5edl<^/ 
 4]<^ 5-c|tdébh-):}iolc Tn-b|te^5li5 Ti-b<^icbce, i|- b]te^5libhA 
 Ai|i bicli piob ; 
 5o 5hjiiy-le<^c<^ clK^riA, bhéu|i):Abh Y<^oíte<^Tnli bo luclic 
 
 fe'-p^SblK^iY pi<^n m6]i <^i|t ):he<^|t<^ibh5 cft^di be bo bMch 5 
 |V1^')* blnn libh le Ti'<^ich]tiy, 'x ^ ^^ véi]áín A c}i<^nÁn>ij 
 ^<^cb <^dibhiTin bo'n b-c<^l<^mli ^n <^]t cli^]il<^i5li, 'x ^ 
 l)[íÍ5lncc. 
 
REMAINS OF CAROLAN. 17 
 
 To each some fleeting beauty might fall, 
 Lovely ! thrice lovely, might they be ; 
 
 But the gifts and graces of each and all 
 Are mingled sweet maid in thee ! 
 
 How the entranced ear all fondly lingers. 
 
 On the turns of thy thrilling song ; 
 How brightens each eye as thy fair white fingers 
 
 O'er the chords fly lightly along: 
 The noble, the learn'd, the ag'd, the vain, 
 Gaze on the songstress and bless the strain. 
 How winning, dear girl, is thine air, 
 How glossy thy golden hair : 
 Oh ! lov'd one come back again. 
 
 With thy train of adorers about thee, — 
 Oh ! come, for in grief and in gloom we remain. 
 
 Life is not life without thee. 
 
 My memory wanders ! my thoughts have stray'd — 
 
 My gath'ring sorrows oppress me ; 
 Oh ! look on thy victim, bright peerless maid. 
 
 Say one kind word to bless me. 
 Why ! why on thy beauty must I dwell. 
 When each tortur'd heart knows its power too well ; 
 Or why will I say that favor'd and bless'd 
 
 Must be the proud land that bore thee ? — 
 Oh ! dull is the eye ! and cold is the breast 
 
 That remains unmov'd before thee. 
 
 VOL. I. c 
 
18 IRISH MINSTRELSY. 
 
 i€i5T)iOT 5^^cii s^ii^viia ^i^ 
 t: - u 1 T c 1 6 1) €. 
 
 fince, 
 fyi<^It <^ bli-'p<l5li cu bo bliuibé<^l be'n bhioc<<iile bb|tio5}im1i<^]t ; 
 Yul ip<<^ Ti-bé<^Ti<^ibh CÚ bo clioiy|te<^5<^bh cui|t 5|t<^ibeo5 yi^ 
 
 bo ch]to'ibbe bhe, 
 lAK'y TTK^ich le<^c ']* <^' c-y<^05b<^l-p bheich bu<^n, ):ull<<^in, 
 
 beobh, 
 €i|t5hibh 50 c<^p<^ibli <^5uif Tp<^ii'5 ope bo bli]íívcibli, 
 '^(l ip<^ri le bo bhe<^]t|a<^bh, bo 5hl<^]idbb no bo chiOiK^bh, 
 ^0 30 5-cui|nbh z[i bo5-ch<^ii|iAir)5 p<< bo Y5<^i]tce<^cli' 'y bo 
 
 pliiob^^Ti 
 be'n Ti-Uiycibhe m<^|a ^ecc<^|i, bo choi]*5e<^Tf 5<^cli^oc<^, 
 7Vx 6 nih<^ibin 50 b-oibhche cui|tve<^y ceile<^bh<^|i <^'b 5hl6|t. 
 
 ly iocylil<^nce dn c-uiycibhe léi5be<^]'^y <^5i^T T^l<^iiuÍ5lie<^y 
 3<^ch ciTine<^Y <^3UT <^icib b'<^ le<^ii<^riTi yiol '^IblK^imli ; 
 
REMAINS OF CAROLAN. 19 
 
 WHISKEY IS THE POTION THAT CAN 
 CURE EVERY ILL.^ 
 
 BY THOMAS FURLONG. 
 
 At the dawning of the morn, ere you start from the bed, 
 Try and clear away the vapours which the night has shed. 
 If drowsy or if dull. 
 At the bottle take a pull. 
 And comfort thro' your bosom the gay draught shall spread : 
 Moist'ning, cheering, life-endearing. 
 Humour-lending, mirth-extending — 
 Be the whiskey ever near thee thro' the day and the night; 
 'Tis the cordial for all ages, 
 Each evil it assuages 
 And to bards, and saints, and sages 
 
 Gives joy, life, and light. 
 
 Oh ! whiskey is the potion that can cure every ill, 
 'Tis the charm that can work beyond the doctor's skill 5 
 If sad, or sick, or sore, 
 Take a bumper brimming o'er. 
 And sprightliness and jollity shall bless thee still : 
 
 c2 
 
20 IRISH MINSTRELSY. 
 
 ^?l llyK^b le bochcuiit no le poicecéi|tí6}ie 5All6<^, 
 ^Ichc 61 l^n T5^^<^ ^^^ 5<^ch Tn<^ibm oJy 5<^ch oibliche. 
 7ln bioc^ile be<^nbui5Íiche 60 choifitic 4l<^omh pílccpuicc, 
 ^<^ cuijtibh é 5-C0Trip|a<li6 le -|pioTic<^ibh n<^ yp<^inne, 
 le bujisunbibhe ti<^ "^Pi^^ínce, no T)oc n<^ n-'2llni<^inne, 
 le IXum no le h-'2l]iii<^c 60 ch<<iTnc ch<^|a yKue, 
 O't oc^^b nih6|i b^if i<^b 60 loiY5e<^i' <^it -^-cnóibhe. 
 
 fA^zK in<^'ill (^mhAijic o]tc no bu|iy<ln <^nn bo cblu<^y<^ib]i, 
 
 Coilic <^nn bo 5b<^ile no 5pe<^b-loi3<^b}i ^u<^il opr, 
 
 5tic dnn bo cbo)*<^ibli no dft|i<^in5 <^nn bo 5bu<^ilmbb, 
 
 01 n<^oi n-u(^i|ie beocb lliycibbe \ <^i ^^* 
 
 5l<^n):<^Tbb bo ]ioi*5, beibbijt <^i5é<^nc<^cb, ú|i-cb|toibbe<^cb, 
 
 f7Ie<^nnin<^ch5 cli-fce 'y m cbui]i):ibb vu<^cbc 0|ic, 
 
 linn ym 5he<^bb<^i]t cobl<^, yoc<^íi<^cbc <^')- yu<^inibne<^|*5 
 
 ^Jí di<^obh):<^ibh ru <^icib, cinne<^f n<l bu<^ibbiie<<bb, 
 
 50 m-beibb cu beicb n-u<^i|te cbomli i*e<^ii leiy <^n 5>ce6bh. 
 
REMAINS OF CAROLAN. 21 
 
 Still seducing, glee-producing. 
 Love-inspiring, valor-firing — 
 'Tis the nectar of the Gods — it is the drink divine ;. 
 Let no traveU'd dunce again, 
 Praise the wines of France or Spain, 
 What is claret or champagne ? — 
 
 Be the whiskey mine. 
 
 Oh ! bright will be your pleasures, and your days will be 
 
 long. 
 Your spirits ever lively, and your frame still strong ; 
 Your eyes with joy shall laugh. 
 If heartily you quaff. 
 Of the liquor dear and cheering to the child of song : 
 Gout-dispelling, cholic quelling, 
 Agues-crushing, murmurs hushing, — 
 To the limbs all old and feeble it will youth restore ; 
 And the weak one who complains. 
 Of his weary aches and pains. 
 If the bottle well he drains. 
 
 Shall be sick no more. 
 
22 IRISH MINSTRELSY. 
 
 
 |71<l'r cinri no yI<(ti 6o ch'^|il<Cí6he<^Tf ipéin, 
 5blu<^iYe<^y c|t^c1i ''y bo Vi^e^\i\i-be me, 
 Qii|i cu<^i|ic chum c-yeom chum pc<^mli<^il 6'Y<^5h<^il, 
 
 '^In Yc<^^A|t6<^ch bjte^sh, x^y^<^ r\éych 5Ti<lch 5<^n cheill : 
 ^Vj ^ 6-cAc<^ <^Ti mheobhÁn-ol6hche 60 blnobli pnn <^5 ol, 
 
 '^ISU)* <^i|i mÁibm <<s.]ux an coi|ibi<^l3 
 ^y é mhe<^y ye 6 mhemii mhAidi •^u\i bh'e yú6 <^rí sleuy 
 le CeAiibTi<^ll<ln c<^ocb 60 bheobbushAbb : 
 Yedl <^i]i meiyse, ye6X <^i]a buile, 
 fleub<^6ii ceub '7* <^5 6ul <^i[i mifie, 
 7lr\ •^{^lyiuTi pn bo cble<^clic<^m<^ifi m X5<^\^V^^ ^^T 3^ 
 beoish ! 
 Oei|nm Ajtiy e, <^3uy ÍTinpm bo'n b-ciji é, 
 [Tia'r m<^idi libh bo bheich r<^o'Í5li'Uc}i btbb^bb clioibliclie 
 <^5 ol. 
 
REMAINS OF CAROLAN. 23 
 
 PLANXTY STAFFORD^ 
 
 BY THOMAS FURLONG. 
 
 When in sickness or in sorrow I have chanc'd to be^ 
 My hopes my dear Stafford were plac'd in thee, 
 For thy friendly care and skill. 
 And thy drink more cheering still. 
 Left the jolly-hearted bard from each evil free i 
 At midnight all merrily our cups went round ; 
 Our joys in the morning the gay cordial crown'd ^ 
 For the past had plainly shewn, 
 That in this, and this alone. 
 Old Turlough unfailingly true comfort found : 
 Drinking, drinking. 
 Never thinking. 
 Roaring, raking, 
 Harpstrings breaking, — 
 Oh ! this is my delight — 'tis the life for me ; 
 Then let glasses overflowing, 
 Still o'er the board keep going. 
 Bright gleams of bliss bestowing 
 
 On the sons of glee. 
 
24 IRISH MINSTRELSY. 
 
 50 rn-buMi |:<^6<^, bu<^n-Yli<^05h'l<^cli 60 b}ieib1ie<^]' cu beobli, 
 '^l <^éTi-Tn}ieic yheoin mbeic ChoiTi<<viY bliivin, 
 
 'X 5<? bh-pml Ti<^ c}iúi5 c}ioÍ5e 1<<ti be bo 5}i]t<<vbli : 
 yeá.\í !]• 5|timie <^ 5-céillY'<^ b-cuispn, 
 Cliui]i|:e<^bb nd eleiit 50 léi|i <^i]t meiyse 3 
 6ei|i ye 5U|i b'e mo li<^i5he<^^ <^tioii* le<^nTnliuiTi be 50 beoish : 
 ll* ipolluy^^ch bo*Ti c-ydóÍ5be<^l, 50 b-ceATín^<^inn le*TTí 
 c1i]ioiblie é, 
 '^ln Yc<^^<^]ib<^cli b]ie<<5}i yi<^Tiif<^Tnhuil, o'ye mbidTm bheich 
 cbotbhclie <^5 ol. 
 
REMAINS OF CAROLAN. 25 
 
 Oh ! many joyous years may my friend still see, 
 This — this my fond pray'r to the last must be ; 
 Let the country all around 
 With my Stafford's praise resound, 
 As the lover of wild merriment and harmony : 
 Filling, quaffing. 
 Joking, laughing, 
 Ever pleasing. 
 Never teazing. 
 Still plying the gay bard with the song-fraught wine,* 
 Oh ! Stafford dear thou art. 
 To this old but honest heart. 
 Aye ! its fondest, warmest part 
 
 Throbs for thee and thine. 
 
26 IRISH MINSTRELSY. 
 
 Ce<^]abh<^ll<<vn |io cliAn. 
 
 7ln leoTYilK^n bjte^sh, i*oiiie<^n6<^j foilbhiji, céillíbhe ? 
 6e'ii ii-iK^iyle 5}i]iinne 60 5eined6h shÁébhlÁibli ; 
 
 7Vy ndch i'<^oic}ie<^mbuil,cui6e<^chcATMhuil, oine<^ch<^tnhLiil 
 C]iéi6be<^ch é? 
 7U]í <^ cliiK^ijac clmni l^6. 1i-<<s.ice beibh b^i|te <^i[i 5<^ch 
 
 Ol<^iii <^ ylil<<i.i7ice, 5]t<<vbh ino clijioibhe dn p]te<^b<^i]ie ; 
 C^ bb-puil ve<^^ <^ bb<<|i|idi<^ o'n n-5Ti<^iTiTi5b 50 5<^il'eTi5 ? 
 l)éufip<^T 5le6i6h 60 ti<^ piliyribhibb ^511^ ^nuy 60 i*he<^n- 
 b<^oÍ7nbli — ^lioin bo ! 
 
 "beiMi <^3<^inTi TPoi|tc, i^eoú <^5UY be<^di<^-inv5e, 
 
 ■^11115106, o]t <^5iiT b66|i<^cb<^ ce<^p<^i|n6he, 
 5111, |iuni, Tpion, po]tce]t <^5uv c6y5 <^|i Ti-<^icibl61ie 5 
 
 l)eibh céu6<^ b'^ Ti-b6i5hche<^bli, 'y m bheibli bjton choibli- 
 
 'yiK^di é€<^bb]i<^|tc <^n c]te<^n-|:lieA]i bubb citeibMche bhlbb 
 luiTYine<^ch ; 
 CeAiin):ui]ic 5<^cb iieibhcicb^ye b'^eucb^ii^bh <^ 5-c6TYib[iAc 
 i<^b 5 
 ^l]*b<^nibinl tíí'I A'n-Cfiinii, A'y b<<v ii-béu]^i^<^iTiri-p A Y<^ci'<^7i, 
 '2l5Liy coinibbe<^cb<^Ti 6é leiy An 6éA5b-mbAc yin 
 l)Anrniuibbe. 
 
REMAINS OF CAROL AN. 27 
 
 EDWARD O'CORCORAN.^ 
 
 BY THOMAS FURLONG. 
 
 O, Corcoran, thy fame be it mine to proclaim, 
 
 All meet thee, all see thee delighted ! 
 As the bards tell the tale, thou hast sprung from the Gael,^ 
 
 A race that should never be slighted : 
 On thy dear native plain we behold thee again, 
 
 And thy coming is cheering to many ; 
 For from Gallen to Grange,^ tho' we turn and we range. 
 
 We will find thee unequalled by any. 
 
 What crovv^ds shall resort, to our feasts and our sport, 
 
 The silver and gold shall be flowing, 
 And the heart-cheering wine, that liquor divine. 
 
 In bumpers around shall be going ; 
 Our harps they shall ring, and our minstrels shall sing. 
 
 For the hero of Limerick"^ is near us, — 
 Search the nations around, and his like won't be found. 
 
 Heaven bless him and spare him to cheer us 1 
 
28 * IRISH MINSTRELSY 
 
 
 udiylibh 5<^obliAl, 
 ye6.\i le 5-cl<^oibhce<^|t z<<^\iz, y^e^]i le ]3<^oilceA]t 5<^|*|t<^i61ie, 
 
 'Pe<^T^ be'ri Ti-<^iciiie )*c<^ipe<^6h fion 50 |téi61i, 
 
 7l-^\iX ii<^iTin^e<^6}i é 50 ]p]t<^Y le tyk^c <^n cheoil 'y <^n 
 leisbniTi ; 
 &<<v m-beibbiiiTi Y <^^ jloimli Tn<^|t b'<^ic liom, 'y 50 m-bi<^6Ti 
 mo blioc<^ iTi5]il<^ccb<^, 
 )y -pioit 50 n-6e<^riv<^inr> €Á)*bo5 moit bliioc ipein. 
 
 Yciobb<^]t6 ce<^|ic bo tyiIk^c ti<^ 5loi|ie é ):éin, 
 
 50 TYi-bubh bu<^Ti é bh-v<^b, ir ^^^ ^^'^ n-oitb é 50 léiji ^ 
 
REMAINS OF CAROLAN. 29 
 
 DOCTOR HARTEJ 
 
 BY THOMAS FURLONG. 
 
 In this hour of my joy let me turn to the road, 
 
 To the pious one's home let me steer 5 
 Aye ! my steps shall instinctively seek that abode. 
 
 Where plenty and pleasure appear. 
 Dear Harte with the learned thou art gentle and kind. 
 
 With the bard thou art open and free, 
 And the smiling and sad in each mood of the mind. 
 
 Find a brother's fond spirit in thee. 
 
 To the lords of the land we can trace back thy name. 
 
 But a title all bright is thine own, 
 No lives have been lavished to prop up thy fame. 
 
 For it rests on calm goodness alone. 
 Could they deign in old Rome my fond suffrage to hear, 
 
 To that spot for thy sake should I roam ; 
 And high in the conclave thy name should appear, 
 
 Known, honoured, and lov'd as at home. 
 
30 IRISH MINSTRELSY. 
 
 '^^ch n-bé<^Tip<^bli ye<^nTrili6ift mliofi b^ibli le ceill^ 
 
 •^l plé<^|i6ib bbe<^)- 1)- iTK^ich bo bhoc<^ choil líí ^éiU, 
 ^i'l-yion u<^i]i. ii<^ cfi<ldi b'<< bli-^<^i5lmiTi u<^iii <^i|t clinch, 
 
 ybennh. 
 
REMAINS OF CAROL AN, 31 
 
 To thy master in heaven a true steward art thou, 2 
 
 From thy lips his high mandates we hear; 
 And the young and the aged submissively bow. 
 
 When thy voice comes in peace on the ear. 
 Oh ! good is thy fame in the land of O'Neill, ^ 
 
 Kind heir of the race that is pass'd. 
 Let others, when drinking, still falter or fail, 
 
 I'll pledge thee, dear Harte, to the last/ 
 
32 IRISH MINSTRELSY. 
 
 1 <f1 5 ll 1 <H II 1 f^ 1) 11 5 1) ^21, 
 
 \l6.bh Clionc}iubli<<.ri 0'Tl<^5h<<.lUi5li 30 ^leibhcibh 
 ITlhaille, 
 
 ]y <^i]t iTi5be<^n lii tVlbo|ibb<^ di]t^chc<^iin : — 
 
 ly ^<<vibe léi5]pe<^bb c'ioy <^i]t c<<i|i6e, 
 '^l plil<^nii6<^ 6.U r-yem 'y n<^ 5-c|t<^ébh-p1iolc n-6<^iclice, 
 
 If CÚ bo liidblK^im <^'ni ]i<lib1inbb. 
 ly cjtudsh 5Á11 iiie <^5U|* 5éu5 n<^ bh-p<linne<^bb<^, 
 
 'Zli]t oile<lii n<^ 5-c<^é|t \ 5<^ti <<vén iiedcb l<<;.iTyih Inin, 
 '2tchc yinne bheich <^5 61 6 oibbcbe 50 16, 
 
 T ^3 T^"iTie<^i>b 50 ye6lc<^ Aij^i chl^viityich 
 
REMAINS OF CAROLAN. 33 
 
 O'MORE^S FAIR DAUGHTER; 
 
 OR, 
 
 THE HAWK OF B A LL YSH AN NO N, 
 
 Flower of the young and fair, 
 'Tis joy to gaze on thee ; 
 Pride of the gay green hills of Maile, 
 Bright daughter of the princely Jael, 
 What words thy beauty can (^ eclare ? 
 
 What eye unmov'd thy lo eliness can see ? 
 Fond object of the wand'rer's praise^ 
 Source of the poet's love-fraught laysj 
 Theme of the minstrel's song. 
 Child of the old renown'd G'More, 
 
 What charms to thee belong ! 
 Happy is he who wafts thee o'er 
 
 To yon green isle where berries grow— 
 Happy is he who there retir'd. 
 
 Can rest him by thy side, 
 Marking with love's delicious frenzy fir'd 
 
 Thy young cheek's changing glow. 
 And all the melting meaning of thine eyes ; 
 While round and round him far and wide. 
 On the shore, and o'er the tide, 
 Soft strains of music rise, 
 
 VOL. I. D 
 
34 IRISH MINSTRELSY. 
 
 7[en bo blieicVi <^5dTii-y<^ 'n <^ C<lib1ileiY, 
 
 ^Vy 5^^' ^^^^ <^ici ^^^ oi|ie<^6 pii bo di^]i<^6hj 
 
 5<^ii choiYihjK^c, 5^11 5li|iii<^ini5 5<^n n<li]ie. 
 
 ^<^ch <^oibliimi 6o'n c-e úb 6Yéub^<^bh d Tne<^ll<^bh, 
 
 5^115 TiA Tn-bdc]i<^ll bli-p^imie<^c}i5 
 yiii|t nA ]rio5h A Tno|* 6 Clie<^iiih<^i|t5 
 
 60 fiol|iui5h 5 ChoTK^ll Ce<l|iTi<^cli ^ — 
 [VIclAiin cbú^éiTi ^<<'7i ]ienii pn 60 5blÁc<^ii% 
 
 71 bliéi5li-iTi5}nii di<^p<^ibb t71h<lTiin")f5 
 
 '21511^ iTiK^iiii 5<^c]i niK^mi c<^|i iii1in<<vibb cu ; 
 C<^ A i'énii]i-chúm 5léi5e<^l <^i|t 5hnéibli n<^ b-eM<^, 
 
 'Y A c<^|inn-plioilc cli|i<^ébhAc}r poy 50 c<^lÁm]i5 
 
 *2l t^iil mé^\í bbjaúchc 'y <^ yniK^bh b[ie<^5li, c<^ilce 
 |71<^]i blienuy ^5 ce<^clic o'n ii-b<liinli-c]ioinn ^ — 
 
 'Y é vh<^oiliTn ^éin 5U|i b'^i |iéulc n<^ irK^ibne, 
 7Vx 50 in-b1bhe<^ini 3<^ch buitie <^ 7i-5|i<^bh lei. 
 
REMAINS OF CAROLAN. 35 
 
 Varying thro' each winning measure. 
 
 Soothing eveiy sense to pleasure, 
 
 Wild intense delight imparting, 
 
 Pain-touch'd rapture, sweet tho' smarting; 
 
 He to whom such joy is given. 
 
 Hath, while here, his share of Heaven. 
 
 Happy is he who hath gain'd thy love, 
 
 Happy is he who hath won thee; 
 Thy princely sires look from above. 
 And sQiile in their pride upon thee : 
 The race of Tar ah, the men of name. 
 First in the gory fields of fame. 
 Oh ! fair one ! wherever thou art. 
 There is light for the eyes and balm for the heart; 
 The desire of desires, the essence of all. 
 That can torture, or soften, or soothe, or enthrall. 
 Thy step is life and lightness. 
 And thy glance hath a thrilling brightness ; 
 Thy waist is straight and slender. 
 And thy bosom gently swelling, 
 Outdoes the swan's in whiteness. 
 
 When she starts from her tranquil dwelling, 
 And breasts the broad lake in splendor. 
 Sweet girl these locks so wildly curl'd 
 
 Have snares and spells for many ; 
 Oh ! far may we range thro' this weary world, 
 And find thee unmatched by any. 
 D 2 
 
S6 IRISH MINSTRELSY. 
 
 C<< re<^b}idc n<^ lyCittne <^ ii-ein):he<^clic linne^ 
 
 '2lclic <Í5 b|iOTin<^6íi oi]t 'n <^ iYili<<.Tn<^ibli ; 
 
 C^ <^ yinl mA]t 6h|túchc 50 Tiu<^6h <^i]t lile, 
 
 'Y <^ Snuiy Tn<^]t cl561i -mhiTi pii<l^|idi<^iif 
 
 llchc bu<^n <^5 b|to)TÚ5}i<^6h c<lil* thIk^icIi'; 
 C<^ cu<^cli l)lieiTm'-€<^6Ai]i <^5 e<^lo3h<^6h linne, 
 
 |71<^]t |iÚTi mhiliy bbeAcb n<^ bé<^lcoine ; 
 '21 c}núni-blie<^Ti bhéut<^ch, yheimlvibhe, yhoe<^i|i, 
 
 ll<^6h 6' <^i]*6e<^]i chu5 cum<^Tin <^5tty ivilne, 
 ^l^í ):huil é<^n <^i]t cli]t<^ébli ly c<^oine binTie<^i% 
 
REMAINS OF CAROLAN. 37 
 
 Art thou a thing of earth, 
 A maid of terrestrial birth ; 
 Or a vision sent from on high 
 
 In peerless beauty beaming — 
 Like those shapes that pass o'er the poet's eye, 
 When he lies all idly dreaming. 
 
 Rejoice ! rejoice ! with harp and voicCy 
 
 For the hawk of Erne is near us 5"^ 
 She comes with a smile our cares to beguile, 
 
 She comes with a glance to cheer us : 
 Not lov'd and lovely alone is she. 
 But bounteous as high-born dames should be. 
 On she moves while the eyes of all. 
 Hail the ground where her footsteps fall ; 
 Sweet are her tones as the treasured store, 
 
 Which the weary, weary bee 
 Culls from the flowers he lingers o'er,. 
 When he wanders far and free y 
 Sweeter far than the cuckoo's lay. 
 That rings on the ear on a summer's day : 
 But come, let this the r^st declare, 
 
 In this biunper flowing o'er. 
 We pledge the fairest of all the fair — 
 The daughter of old O'More. 
 
38 IRISH MINSTRELSY. 
 
 
 '2ln c-6 15-^11 e<<.|i 6e'ti bli-^[iéiT>ih, 6'<l|i clioija 6a bheich ceeim, 
 Yub é wo Y5éul <^5uy ifi n^ijie lioin A lLiA6h<^61i : 
 
 y<^5<^|ic 5e<^n<^iYibuil, b^^lifK^mliml, C|t<<i6hbbe<^ch, yuK^ijtc^ 
 <P)<^cb léi5^e<^6b Tie<^cb . 6'<<|t c1ie<^]tc 6'^ cli<<i]i6e uile 
 
 léi5Tbb cb<^|tc <^Ti c-yl^mce ú6 "j^béiblilniie uí ]lu<^6]i. 
 ^fl ypo\vc <^iit<^íi 6-c<^lAni]i ii<^cb b}io-]*<^ii bubh biii<M; 
 
REMAINS OF CAROLAN. 39 
 
 PHELIM O'NEILL. 
 
 BY THOMAS FURLONG. 
 
 At length thy bard is steering. 
 
 To find thy gay hearth again ; 
 Thy hand, thy voice so cheering. 
 
 Still soothes him in grief or pain : 
 Thy sires have shone in story, 
 
 Their fame with friendly pride we hail ^ 
 But a milder, gentler glory 
 
 Is thine— my belov'd O'Neill ! 
 
 Still cheerful have I found thee, 
 
 All changeless in word or tone. 
 Still free when friends were round thee. 
 
 And free with thy bard alone : — 
 Fill up the bowls — be drinking — 
 
 Tis cheering still woe or weal -, 
 Come pledge with lips imshrinking, 
 
 The dear— the belov'd O'Neill ! 
 
40 IRISH MINSTRELSY. 
 
 Ceol, poic, <^5uy <^ice<^)'^ <^'y ^K\izh<<< yu\m, 
 
 'X 5<^cli ^]^^ 'ii <^ l*eolc<^ ce<^c]ic 'n <^ 61i<lil 5<^c}i u<^i|ty 
 
 ^ -^ w ^ ^ ^ 
 
 ^ W W 'W w ^ 
 
 Íéi5nTi 6hc-]*<^Ti ipe<^y6A5 ^y le^ji 6<<.th1i 7m 60 clie<^y6<^Y'5 
 
REMAINS OF CAROLAN. 41 
 
 Of blameless joy the centre, 
 
 Thy home thro' each night hath been^, 
 There might the wanderer enter. 
 
 And there the blind bard was seen ; 
 There wit and sport came blended^ 
 
 In careless song or merry tale; 
 But let my praise be ended — 
 
 Who loves not my lov'd O'Neill. 
 
42 IRISH MINSTRELSY. 
 
 P I ^t 1 <I1 5 T ^ 1 ^ ll € P € 'II C <ii. 
 
 l<<<iTYih leiy <^n 5-Céiv cív <^n xioll<^i]ae y^TCi^, 
 Cuboib ^5 pé<^roTi ly ye c<l rue ]i<<6]i5 
 
 ^Y m Iéi5^'ed6h ye A TYi1i<^yl<^6h <^i]a c<<^i|ibe. 
 
 50 Tii-bubh bu<^n é 'suy y<^05kl<^cli '11 <^ ylil^incej 
 
 ^5 ^ T^^ii\i<^bhj '5 << n5|ie<^b<^61i, 
 '5 a m-bu<^U61i, '5 <l Urc<^6}i, 
 t71<l'r cloí6he<^Tiih no b<<.c<^ 'n <<. UmliAibli. 
 
 b|t<^TYi<^icli '5 << 5-cíoít<^6b, bo lo <<.5ur b'ol^bbclie, 
 7Vy bh<^inTpe<^bli <^r pboic b}i'ioTn<^y<^cb leimneAchj 
 
 "^{^ céub<^ -pojib pioiK^ 
 
 6^ n-ol^dbli n<^ y<^o'ic1ie, 
 'Y e Cuboib $5 pé<^coTi bo blml^<^bb. 
 
REMAINS OF CAROLAN. 43 
 
 PLANXTY PEYTON.^ 
 
 BY THOMAS FURLONG. 
 
 Let our Peyton^s health go rounds my boys, 
 For him be our bumpers crown'd, my boys, 
 
 Who has horsewhip and sword, 
 
 Or a cellar well stor'd. 
 When the foe or the friend can be found, my boys 
 For Toby's the soul of sport, my boys. 
 His home is our gayest resort, by boys. 
 
 Where the toasts fly round. 
 
 And all care is drown'd. 
 In brimmers of sparkling port, my boys. 
 
 Then joy to Keash-Corran's lord, my boys, 
 Still sharp and bright be his sword, my boys | 
 
 And thro' life as he goes. 
 
 May each hour that flows. 
 New feelings of pleasure afford, my boys : 
 On his steed may he swiftly steer, my boys. 
 When the upstart Saxon is near, my boys ; 
 
 And often and long. 
 
 Amidst jest and song, 
 May we gather to taste of his cheer, my boys. 
 
44 IRISH MINSTRELSY. 
 
 
 ^l^wc 6<^|i liOTH v^m 5U|i choijt pw, 
 |71<^b<^in Cjio^icoTt t^Ú5<^cTi, 5lie<^n<^ni}iuil, 
 t)e<^n le*]a bh'ionTnliuiTi ceol. 
 
 le<^nbh 6e<^T ti<^ 5-c<^Tn-bhl<^oi6h 
 
 |71<^|i c^, betibhe yheimli n<^ 5-c]t<^ébli-"pliolc n-b<^iclice, 
 
 ly 5e<^l <^ piob 'y <^ b]i<^5li<^ib bliil, 
 ly bedv <^ beub, yeimli <^le<<.c<^, ^y é bé<^]t|:<^ibli p^l C<^bli<^, 
 
 5u|t biTin, be<^clic, 5irÍTm, ce<^|tc cbdiK^ibb fi 5<^cli ceol. 
 
REMAINS OF CAEOLAN. 45 
 
 MADAM CROFTON/ 
 
 BY THOMAS FURLONG. 
 
 With delight may I praise a fair dame that is dear 
 To the lovers of music, of mirth, and good cheer j 
 ^Tis my joy in each change the fond theme to renew, 
 From thy bard, lovely Crofton, this tribute is due, . 
 
 This tribute is due. 
 
 Sweet dame of the brilliant and soft curl'd tresses. 
 Whose hand with the goblet thy minstrel still blesses ; 
 Young, gentle, and generous, and sprightly, and kind, 
 All faultless in person, and spotless in mind. 
 
 And spotless in mind. 
 
 How blooming thy cheek, thy young bosom how fair, 
 How rich the long locks of thy beautiful hair j 
 That neck so proportioned, so snowy in hue. 
 And the smile that each spirit can soothe or subdue. 
 
 Can soothe or subdue. 
 
46 IRISH MINSTRELSY. 
 
 C<^ilín b<<vi6he<^cli5 e]a^i6}ibhe<^cli, cluice<^c}i, 
 
 4ji bli-^ui5lie <^éTi-Tie<^cli h^y be'ri b-c<^|ic 
 l)}iei6lie<^Y <^ cboibhcbe '5 ^ coiji. 
 
 Ucb ! ^x yio]i 5U]t ri<^éTnbcb<^ <^n biiine, 
 
 Yudi|i Tn<^|i cheile i-yi, 
 'Y <<j) Cja^cli bbeibheAy t)ecí6he 5lie<^ii<^Tnliuil price di|i 
 ledb<^ 
 
 y^bli<<iil 6e <^ijt <^n 5cúpl<^ c-iféiTnli 5<^cb oíbliche <^Y 
 
REMAINS OP CAROLAN. 47 
 
 May the gay lovely Bessy still sit by thy side, 
 May tliy spouse ever smile on his beautiful bride 
 As a friend ever dear, ever lov'd as a wife : 
 Oh ! pure be thy pleasures, and long be thy life. 
 
 And long be thy life. 
 
48 IRISH MINSTRELSY. 
 
 
 '^<<<o\\ <<oiblnnn bo'n y5<^^<^i|te bhei6}ie<^)- '5 ^ iYie<^lU6Vi, 
 
 pl<^TiTibA leiTibli Tid iimi-cb|tobli m-b^n ; 
 ^y ^ 5|a<l6b <^'x TP^^T ^^'^ Ti-u<^ii'le 5li|tnine^ c<^ilin Yti<^i|tc 
 n<^ 5|iu<^i5e -pinne, 
 
 &<l m-bi<^b]i <^Ti jteiin-YO linn (^5 5<^<^^li^i^^ i^<^Ti bubli 
 
 4^^ ^lié<^6<^Tn<^oíb-ríe coblA b'oibbche dK 60 l<<, 
 '^l ybuil bli]ie<<5}i, iTilio61i'mli<^il, TYibo]t n<^ in<^ife, bheilii] 
 clieolTnb<^i|t, oibe 5<^cli cui5p, 
 pbe5Í6be 61ie<^y n<^ b-pé<^]tl<^bliA5 yeim o]tc <^5liv <^5b ! 
 
 '^l cbinnb<^il n<^ b-p]nonny<^ Yp^inne<^cb, lub ri<^ b-rjiilli)' 
 bli-):<linne<^ch, 
 |71ocli lionc<^]t poll buinrij <^5U|' blobluvK^oib-ne cboibbclie 
 
' ..REMAINS OF CAROLAN. 49 
 
 PEGGY CORCORAN. 
 
 BY THOMAS FURLONG. 
 
 How happy the youth who can win the soft smile 
 
 Of Peggy the gentle, the lovely, the young, 
 The life of each circle, the light of the Isle, 
 
 The joy-beaming star of whom minstrels have suog. 
 Tho' the Gael in their glory should start up again. 
 
 To strike the proud soul of the foeman with fear ; 
 The chieftains, unheeded, might wait for a strain. 
 
 If Peggy, sweet Peggy, the charmer were near. 
 
 The nobles of Spain have been seen at her side,^ 
 
 They have paus'd in delight on her beauty to gaze — 
 
 But come, fill the wine, be the goblet supplied. 
 
 And each string that I touch shall ring loud in her praise. 
 
 VOL. I. E 
 
50 IRISH MINSTRELSY. 
 
 4)<^cli TneAnjK^ 6o']t ciTine<^61i <^ti c-ivile<^c<^ri leinbh, 
 
 ']Pu<^Ht b<<i.]i|t y-^eimh' nA CjtuniTie, n<^ch 1 1)* com]*i<^y<^'iclie 
 c<<il ? 
 
 '^llúb <^ii c-yein, <^ phlm\ir\6. n-5<^o6hAl, <^'y A Ti«u<^iYle, 
 ceile A ccmTnhne<^6h ! 
 
 cbéile^ 
 
REMAINS OF CAROLAN. 51 
 
 Young branch of prosperity, blossom of bliss. 
 
 Bright cheek without blemish, fair form without fault, 
 
 If thy bard hath one task that is dear, it is this — ■ 
 
 To name thee, to praise thee, sweet girl, as he ought, 
 
52 IRISH MINSTRELSY. 
 
 
 ly leo|i liOTvi md|i ci^oim c|tedpdlc<^ A5 <^ti m-hKy, 
 4l<^cli me c<< 5onc<^5 5|te<^6chA (^5 i*c<^|ic<^6h. 
 
 '2I5 r<^'Í5he<^b<^ibh 6e bo shyi^bh ;— 
 Itmne cii <^ti ^e<^ll^ <^5uir tk^cIi b-cmc^Abh cu liom, 
 
 ^<^|i búb]'iit<^Y le<^c <^iit m<^ibm5 ywy yi^'n Ti-5le<^Tm, 
 Yc<^o'ibh bhuATi-mli<^ll<^clic: fc<^c)ilim le<^c-Y<^ 50 be<^C]i<^cb, 
 
 '2l5U]f m\ m mb<^i]t^e<^b, ly me ^eon loney. 
 
 0i5-5]i<^i|* r\\ n-bl<^oibh n-o|i-ch<^xc<^, m-bmbhe, 
 
 Xy b]aoii<^cb <^ c<^oim ^'y coice<^it, b'iodK^cb 5<^n bli|ti5]i 
 
 |7l<^li blTÍbhe<^y 5<^ch uile bhume ^j eol<^T ^^ T^'^S^^^? 
 •^(^cb me cis.mol<^b]i c]tmcbTie<<.chc' o|t-bbuib]ie An i^visbe; 
 
REMAINS OF CAROLAN. 53 
 
 JOHN JONES, 
 
 BY THOMAS FURLONG. 
 
 Oh ! fair one relieve me — come ! pity my pain, 
 
 'Tis thine to restore me, then fix not my doom ; 
 Struck, tortur'd, and wounded, I mourn here in vain, 
 
 For helpless despondency points to the tomb. 
 Oh ! think of thy promise — but promises fail — 
 
 Yet if one gentle feeling thy bosom still owns. 
 Bring back the sweet moments we spent in the vale ; 
 
 Restore them ! or death is the choice of John Jones. 
 
 Dear maid of the brilliant rich ringletted tresses, 
 How gloomy each scene in thy absence appears ; 
 
 Thy presence no more the fond wanderer blesses. 
 No more thy soft voice he exultingly hears. 
 
54 IRISH MINSTRELSY. 
 
 'Zl ]íÍ5}i-bhe<^Ti5 ly le<^c <^n c-ubhAll 5<^ti |i<^ÍTni* 
 
 (71 luibhe, mo ^btnbhe, mo )*lie<^i*^nih, <^5 hyze6<Qhz n^ 
 
 'p<^i]ie ! y^6^]íe ! ^úc, 6 mh<^-^hbeár\ hhKri) 
 'X 50 Tn-béíbhmn-^i c|ví o16che <^5 ol price <^i|t ycol, 
 
 ChÚ5b<^b c<^5<^tTri ocb ! 50 Tríín no. 50 m<^ll, 
 %-^uX TK^ch AdibbiTiTi <^Ti -plK^ill^ 
 
 '^l yliiú|í, |t<^c}i^<^iTni le<^c A nun c<^|i <^n b-comn. 
 
REMAINS OF CAROLAN. 55 
 
 Thy charms, the charms of all others outshine, 
 
 They might touch the proud bosoms of kings on their 
 thrones : 
 
 Oh ! lovM one, the world of beauty is thine. 
 Thou hast humbled and broken the heart of John Jones. 
 
 Yet fairest depart not, I still shall pursue thee. 
 
 Like echo attending the voice whence it grows ^ 
 At dawn, and at dusk, I will watch thee and woo thee,. 
 
 Nor rest in the moment that brings thee repose. 
 In crowds and in loneliness still I'll be near thee. 
 
 For still this fond heart thy supremacy owns ; 
 In silence and absence Til think that I hear thee. 
 
 Then dearest come, come, to thy lover John Jones, 
 
56 IRISH MINSTRELSY- 
 
 
 '^lijt Tn1in<<^ib}i h^ieK^h^, slice ti<^ 5-cui5e<^6}i ; 
 C^^ h'e bhK^bh nA li-<^ice b'dibbche 'y 6e IS, 
 i^i b<^é5}i<^l 60 ^<^6-rbm]^iYe cboibhcbe r\K bjaon, 
 '2I5 An |ti05liAn c-Yeniib ly. Adiblme memn^ 
 ^y Í cul nA 5-c|tAébb ')* nA bli-^^nineA6hA. 
 
 '21 cAebb niA|i Ael, 'y A piob niA]i sbeiy^ 
 
 ^Y A snAol mA|t 5b|itni An c-yAnibiiAibli, 
 
 '^Acb cApAibb bbo'n c-e 6'<<]a seAllAbb niA^i ^-p^eibh 
 
 bheidi Aici-yi, 5éu5 nA 5-cAm-6blAoí6h : 
 
 ly I'uAiitc 'y iy y^rnb 60 ji^ibbce seAnAmhuil, 
 
 1|- <(lmnn, beAy 60 ybuil shlA)*, 
 
 ^Y é chlmnnn 5Ach l<< A3 c<<ch '3 ^ Aicbjiiy, 
 
 5u]t Y<linneAcb, cAy 60 chul cAiy, 
 
REMAINS OF CAROL AN. 57 
 
 GRACEY NUGENT. 
 
 BY THOMAS FURLONG. 
 
 Oh ! joy to the blossom of white-bosom'd maids, 
 
 To the girl whose young glance is endearing, 
 Whose smile, like enchantment, each circle pervades. 
 
 She who makes even loneliness cheering. 
 Oh ! he that beholds thee by night or day. 
 
 He who sees thee in beauty before him, 
 Tho' stricken and spell-bound may smile and say. 
 
 That he blesses the charm that's o'er him 
 
 Her neck is like snow — rich and curling her hair. 
 
 Her looks like the sun when declining ; 
 Oh ! happy is he who may gaze on the fair, 
 
 While her white arms round him are twining : 
 Her words are all joyous — and mildly the while 
 
 Her soft blue eyes seem glancing ; 
 And her varying blush and dimpled smile. 
 
 With those eyes and tones are entrancing. 
 
58 IRISH MINSTRELSY. 
 
 yú6 TVK^jt <^ bei|nm leiy <^n oÍ5-m}inAoí c-yeiTiili, 
 l3h-^uil <^ 5lo]t m 'x birine 'ii<<. ceol n<^ n-eun, 
 
 'II lub Ti<^ yeub, ly blaic1i-6}ie<^y bedb, 
 
 21 chuil Ti<^ 5-c|i<^éb}i 'y ti<^ bb-Tp<<niTie<^61i<^, 
 
 5ibh loriTYilimn liom ^éin chú, yc<^6dini 6e'n yseCil;- 
 
REMAINS OF CAROLAN. 59 
 
 Then joy to young Gracey^ the gentle dame, 
 
 'Tis bliss on one's pathway to meet her ; 
 Where ! where's the proud spirit her voice cannot tame ? 
 
 Oh ! where is the sound can be sweeter ? 
 'Tis soothing the song of the birds to hear — 
 
 But her tones are yet more thrilling ; 
 But Where's the bowl ? — let the bowl be near. 
 
 And ril finish the theme while filling. 
 
60 IRISH MINSTRELSY* 
 
 
 CiA b'e bh-^uil/fé <^ n-6^n 60, 
 
 21 l^Tnh-61ie<^y blieicli ^^oi nd ceAini, 
 !)• beiTnTmi n<^cb e<^5<^l b% bo, 
 
 5ob|t^cb n^ ^n dbheobb bheich rmn, 
 ^l chuil bheiy nd Tn-b<^ch<^ll bli-piviTiTie<^cli^ bh-ponTi, 
 
 2i chuim iTi<^|i <^Ti €<<IIA <^5 Yn<<TnhA6h di]i <^ti 6-co1rm^ 
 5Tt^bb '5UT TP^iT 5<^^^ 5v\rii<^ibli, |71<<ible yheimh ii-r 
 Che<^ll<^i5}i, 
 
 6éub 1]* beiye le<^5<^bh <^nn <^]iiliy <^ cemn. 
 
 "^Vl ceol 6'<<i bbinne ^of b'^^jt )*einne<^bb, 
 
 ■^<l*]tbb'eol5b<^cb bln-yi cliui3pr> 'y<^|i^bli Ann 5<^c}i cenn 
 '^l 5|tu<^bh ni<^]i |io]* <^5 b|tichleAbli, \y bu<^n 'n <^ 5-c6ni]i<^|iYA 
 <^n lile, 
 
 "21 |tOY5 ly TTííne, 5l<^i|*e 'n<<v bl<<icli n<^ 5-C]i<^ébli : 
 'y é bei|i ollblK^mh mollc<^ chUiit rHl l^eill) 
 
 50 5-cui]t^e<^bli n<^ co]a]a<^bli<^ cbobl<^ le y<<^it-5liinc}i <^ béíl, 
 "^i'l <^Tnb|tuY <^nn <^ ywl bh]te<<5}i, loniK^cb, 
 
 '^Ichc 6lcA|t linn 50 5]rinn bo yhl^mce mbAich -pein. 
 
REMAINS OF CAROL AN. 61 
 
 MILD MABLE KELLY. 
 
 BY THOMAS FURLONG. 
 
 Oh ! blest is the youth by kind fortune selected, 
 
 Who clasps to his bosom my own blushing maid. 
 By him may the warnings of fate be neglected. 
 Nor sickness nor sorrow his joys shall invade. 
 How richly, how softly thy young tresses fall, — 
 
 Thy shape seems more light than the swan's on the 
 wave. 
 The love, the delight, the gay idol of all. 
 
 The spur for the sluggard — the spell for the brave ; 
 Oh ! mild Mable Kelly, how lovely art thou. 
 Thy skill in each strain let the minstrels avow — 
 Thy soft cheeks disclose 
 The mix'd lily and rose, 
 And thy breath comes like blossoms just plucked from 
 the bough. 
 
 The bard of the chieftain— the bard of O'Neill— 
 Will say that thy song seems more sweet to his ear, 
 
 Than the murmur of waterfalls heard thro' th'^ vale. 
 When the heart-parching heats of the summer arc near. 
 
62 IRISH MINSTRELSY. 
 
 7[c\\z |\/l<^ible le clu <S.m\ 5<^cli ceim. 
 '2lnTi)'<^chc 5<^ch bume <^ 5-c^ilí6he<^cli6 'y <^ 5-céiU; — 
 
 ly ^5Tiinli<^]i bo'n b1i-|Mlibh <^ ip<<v5li<^il 6'<l n-bei)-, 
 Cul Ti<^ 5-cit<^éb1i ly ^mne, lub nd b-ceub i]* bmne^ 
 
 ynudbh nd 5éi]*e 5ile, A b|i<l5]i<^i6 d^ A c<^ébh. 
 
 '^'íl <^éTi 6'^ bb-):eice<^Tm <<vti c-y<^oi-bbe<^n mlK^iy^Acb, 
 
 "^Acb éi|t5b^6bedrin Tn<^]t ti<^ 5eilcibb, <^ m -b<^]t]a<^Mi<^ibh 
 Ti<<v 5-c|a<^ébb5 
 %'X <^n c-e TK^cb leuji bo <^]i cboin5eAl, 1<<^ti be ybeii* <^ti 
 leinbb, 
 
 ly ^e<^]t|i C]aéi5bube <<^'y cuijp bbe n<<vipÚTi 5<^^^li<^l^ ^ — 
 1^ fi ^x beife coy", b<^y, l<<iTib <<^-^{iX heul, 
 
 Péí5b|te ]tor5, <^'r T^^l^^ <^5 T<^T ^ei 50 ^éu]i, 
 C<< <^n bb<liiae-p linn <^5 f<^pÚ5b<^bb lucbb 5|iéinn, 
 
 y^ ]iKbh 30 bb-^u<^i|t me <^n ^bA"!!!, ^x <(5biiib<^|i lioni e. 
 
REMAINS OF CAROLAN. 63 
 
 Oh ! gaze but for once ! — ^in that soul speaking eye — 
 Shew ! shew me the spot where suspicion could reign ; 
 But come ! fill the glass, fast around let it fly — 
 
 And here's mild Mable Kelly again and again ! 
 There were maidens all lovely, in days that are o'er. 
 Whom the warm and the young might to madness adore 5 
 But there never was one, 
 Whom the sun shone upon, 
 That could match Mable Kelly the light of our shore. 
 
 Oh ! who can behold this young flourishing flower. 
 
 And still in dull soul-sinking coldness pass on ; 
 Even he doom'd to blindness till death's dreary hour. 
 
 Must own all her beauty till feeling is gone. 
 Oh ! fairest of maidens — gay flower of the Gael! 
 
 All bright is thy fame o'er the bounds of the land I 
 But here stands the bumper — and ne'er may we fail 
 
 To pledge the mild Mable with heart and with hand. 
 Till life's latest moment how blest shall I be, 
 To sing, oh ! my mild Mable Kelly, of thee ; 
 And proud may I deem 
 My heart-soothing theme, 
 For the praise of the loveliest falls upon me. 
 
64< IRISH MINSTRELSY. 
 
 C U p ^l <h| U 1 1) - € ^l 5 1^ ]1 21. 
 
 b^ in-beiblnnTi-p <^ mmch <^ 'Ti-'^l^K^ini), 
 "^^ A' Ti-5<<|t-5hle<^nTi nd jeiib, 
 
 Cup<<vTi 5eAl 111 }i-€<^5liit<^ 
 
 '2l5uy ^^li<<3li<^il l<<vn le mo bheul. 
 
 C<^b é b'<<ill liotn '5 ^ cbujt <^ 5-céill, 
 
 'Y <<. liAcVic <li5h iii<<.idi 'n <^ bheish, 
 'T 5^1^ ^'^ ^^^í^ oll6liAm1i n<^ b-^ice, 
 
 5<^]i Tiio l<<.riili-Y<^ m b]iéu5, 
 Choi|a6}ie(<vlbh<^ic1i t)]i|tiAin ^5b<^iTih<^il5 
 
 CA|t]a c|i^di ^<^oi mo bbem, 
 50 ii-ol^<^Tii <^T <^Ti c-y<<|t-chup<<ri 
 
 yi<lince b1i]ie^5li Chem. 
 
REMAINS OF CAROLAN. 65 
 
 THE CUP OF O'HARA. 
 
 BY THOMAS FURLONG. 
 
 Oh ! were I at rest 
 
 Amidst Arran's green Isles, 
 Or in climes where the summer 
 
 Unchangingly smiles ; 
 Tho' treasures and dainties 
 
 Might come at a call. 
 Still, O'Hara's full cup, 
 
 I would prize more than all. 
 
 But why would I say 
 
 That my choice it must be. 
 When the prince of our fathers 
 
 Hath lov'd it like me : 
 Then come, jolly Turlough, 
 
 Where friends may be found ; 
 And our Kian we'll pledge, 
 
 As that cup goes around. 
 
 VOL. I. F 
 
66 IRISH MINSTRELSY. 
 
 \)1[\\X% 
 
 jVlo luishe 'y<^n n-u<^i5li 'y 3<^ti cumh6<^cli rnn<< 0|tTii ipéin, 
 
 2Vx ^ iTislnn [Vllieic ^uíbhne, <^ ]tuiTi 61nl, c^|tch<^i5h me. 
 
 51ilu<^iVe<^lf 'núnri 6<^|i liom -p^ 'n c|t<<ch-)*o <^ n-be, 
 ■^'n 5-cóill ch|ioini, 50 cirnice b' ^\ib tyio leim ; 
 
 [71 le<^bh]t<lT] 5]iÍTiTi <^5lTmpn ^<ldi 5<^ch Tseil, 
 !)• e<^5<^l liom 5U]t mlrill 60 5h|a<l6h-y<^ rue. 
 
 ^yi |\/l<<^|i'iAb <^Ti <^inbe<^|i )*héÍTnh ^x c<^c>íne 5lo|t^ 
 
 l]* binne A beul 'n<< 5ucli ii<^ b-ceub <k'x '^^^ ^^^ 1%^- 
 cheoil, 
 
REMAINS OF CAROLAN. 67 
 
 PEGGY BROWNE,^ 
 
 BY THOMAS FURLONG. 
 
 Oh ! dark ! sweetest girl^ are my days doom'd to be, 
 While my heart bleeds in silence and sorrow for thee : 
 In the green spring of life to the grave I go down. 
 Oh ! shield me and save me, my lov'd Peggy Browne. 
 
 I dreamt, that at evening my footsteps were bound. 
 
 To yon deep spreading wood where the shades fall 
 
 around ; 
 I sought, 'midst new scenes, all my sorrows to drown, 
 But the cure of my sorrow rests with thee, Peggy 
 
 Browne. 
 
 'Tis soothing, sweet maid, thy soft accents to hear, 
 For, like wild fairy music, they melt on the ear — ' 
 Thy breast is as fair as the swan's clothed in down ; 
 Oh ! peerless, and faultless, is my own Peggy Browne. 
 
 F 2 
 
68 IRISH MINSTRELSY. 
 
 ly 5ile c<^obli ii<^ <^ii eAl<^ yheiTnli cliéiblie<^nn <^i|t linn 5<<vch 
 
 óul e<^6<^|t <^n 6<^i|t 'y<^ c|toice<^Tni, 'ye mheájAMín 5U]t 
 
 bill e<^6<^|t me <^5Ulf itúin-)-lie<^]tc <^3uy 5]i<l6}i mo chléibh, 
 •^lili cliu|t mo l<<^mli ch^ijip <^i]t m<iibm le h^Kinu.-^h^.bh <^n lAe 
 ^u<^i|i me <^n yc<^jt<^^6Tie bubh A5 3le<^c<^^61ie<<Kc}íí: le 
 ^jt^bb mo cbuim. 
 
REMAINS OF CAROLAN. 69 
 
 Dear ! dear is the bark, to its own cherish'd tree. 
 But dearer, far dearer, is my lov'd one to me : 
 In my dreams I draw near her, unchecked by a frown, 
 But my arms, spread in vain to embrace Peggy Browne. 
 
70 IRISH MINSTRELSY. 
 
 
 5ti<^ijh 5ACI1 bmne A'y <^ lembli i^ i^oibhne c^il 
 l<liTYih <^n oimch 6 TYi-b*Yii|iuy buiTiTi -jpion 60 "pli<<<5h<^il, 
 1y 5<^|tcli<^ <^n cbuibe<^cli6 'y6j\ n-ionn<^6 A Tn-bl6]ie<^nn 
 60 sbjt^bli. 
 
 T)1 ho ! )*ú6 é <^n p]te<^b<^iite, 
 
 l)0Tn bo ! piujt n<^ )'5<^^<^i]ií6hc ; 
 Ypo[tc^ 5leo6Ti, 00^5 <^|i Ti-<^ici616lie, 
 
 ^eoil, beoijij ce^l <^5Ui* ce<^p<^i]tibhe, 
 Cl^i|tye<^cli, 'Pibeleift, 5^i]i <^5 piob<^i|ti61ie ; 
 *X é b<liíte Chun|i<^ice é, l^]t <^ dn|te 'T^isb 
 l3^|i|i-1fblAc 5b<^ileiTi5 e, 5]t<l6h mo chjto'iblie-yA le\x, 
 
REMAINS OF CAROLAN. 71 
 
 GEORGE BRABAZON. 
 
 BY THOMAS FURLONG. 
 
 Oh ! Brabazon, long may you live, brightly blooming, 
 
 Thou darling of all, easy, open, and free; 
 Thou guide of the cup, while the wine is consuming — 
 How happy's the circle that's favor' d by thee. 
 High ho ! he's the fellow that's hearty, 
 High ho ! he's the pride of each party : 
 In sport, and in mirth, and in feasting abounding. 
 The flower of Kinratty, where strings are resounding; 
 He's the top branch of Gallen, the joy of the ladies all, 
 First in the fight, and not last at the lively ball ; 
 The friend of all fun, and the foe of frivolity. 
 Jolly George Brabazon lives but for jollity. 
 
 High ho 1 
 
 1 would rather than Spain with her herds and her treasures. 
 Than Rome, where the steeds and the coaches abound; 
 
72 IRISH MINSTRELSY. 
 
 '^I'f Ti^ fcuTiTnoit Tnheic Ceojaui^ <^5U]* '^^]a<^ill mheic 
 ia:a5hTK^ill, 
 
 m}i<<LTn<^ibli u<^ibli. 
 
 T)i ho I yub é <^ii yioll<^i]te, ^ 
 
 l)OTn bo ! bubli-Ybl<<^Ti bume ^^^oi, 
 ?)im li<^m ! pl<^ni5yabH me|i|tinieTic, 
 
 yin5, b<^Tice, bjiiTic, Iny lie<^lc1i <^bouc, 
 l)* y<<^mh, ly ]*oiTie<^Tic<^ e, c<l ye cúi]tcéiye<^cli, 
 'Y e bl<licb <^ chineábli é, ]a<^cfi<^7Yi 6'<l bhuichche 
 leir; 
 
 7Vy hK\i\i TVK^vicli uile-bli]te<<^5b 50 6-cuici6h <^i|t. 
 
REMAINS OF CAROLAN. 73 
 
 Than Norrall and Dunmore, with their sports and their 
 
 pleasures/ 
 To see thee again deal thy bounty around. 
 
 High ho ! he's the youth that is sprightly. 
 He smiles on the world, and looks on it lightly : 
 Then fill up again I see, our cups are all sinking, 
 We*ll sing and we'll dance while his health we are 
 
 drinking^ 
 He's the boast of his race ! gentle, winning, and aiFable^r 
 Eager for all that's good-humour'd and laughable. 
 To his mansion I'll go, where still pleasant I've found him. 
 Oh ! may blessings on blessings, for ever surround him. 
 
 High ho ! 
 
74 IRISH MINSTRELSY. 
 
 bjllSlCC <li-lC Ul Ml)^llll€. 
 
 '^l b}i]tÍ5liicc n-ic Ul [TihAile, i)* cu 6*^:^15 lyio cli^ijibhe 
 
 C<^ <^|i]a<^iTi5e<^bli<^ b^i)* c|te che<^]tc-l% mo cli]toi6íié, 
 C^ib Ti<^ iTíilce -jpeAjt <^ n5]t<<^>61i le t\^ h-e^b^m ohiam, 
 
 fA^^bm chiuin, clieoblimhAit, 6' ^\i e^\l^^\\e<^lf 'y An 
 
 Ci<^ c<^f|p<^'i6he ánn yéJ \i'ob o\imy <^cTic ytS\i 5eAl mo 
 chuim, 
 '^u<^Ht 6he<^]tc me <^i]t <^ clobh 5e<^l, bo y^'^jib^y ):uil 
 
 ll'f ipu<^i]t me c[tt po5<^ b'yoijt Ai|t mo yli<^o'Í5he<^l. 
 
REMAINS OF CAROLAN. 75 
 
 BRIDGET O'MALLEYJ 
 
 BY THOMAS FURLONG. 
 
 Dear muid, thou hast left me in anguish to smarts 
 
 And pangs, worse than death, pierce my love-stricken 
 
 heart; 
 Thou flower of Tirerell, still, still, must I pine. 
 Oh ! where my O'Maliey blooms beauty like thine. 
 
 On a mild dewy morn in the autumn I rov'd, 
 I stray'd o'er the pathway where stray'd my belov'd. 
 Oh ! why should I dwell on the bliss that is past ? 
 But the kiss I had there, I must prize to the last. 
 
 The sunbeams are beauteous when on flower beds they 
 
 play. 
 And sweet seem young roses as they bloom on the spray; 
 The white-bosom'd lilies thrice lovely we call. 
 But my true love is brighter, far brighter than all. 
 
7(> IRISH MINSTRELSY» 
 
 |7lA|t Tub <^ bhl6be<<;.y mo 5]i|i^bb-y<^, le beiye ')- le 
 b]te<l5bdc}iC5 
 •21 chinl chiuisb ti<^ bh-):^iTined6bd, bb-puil mo gheAii 
 o]tc le blidbli<^in» 
 
 l)u<^ch<^ill be<^y 05 me^ z6. c|ii<^ll cbum mo pho"i'c<^, 
 
 ^1 bu<^ri ^ bh-^<<b beobh me, munA bh-):<^5b me mo 
 mliK^nn : 
 ?l chuifle <^']f <^ ycoiK^cli! ^<^^h jtéibh <^3iiT b^bh jiomlic^Tn- 
 
 50 béi5be<^Ti<^cli bi<^ bombndidi ^^\l blioidiyiibli j'li^di- 
 li<^mb. 
 
 ly me-p c^ yhwx, leif <<<ti b-po^A^"^ bbé<^Ti<^bb ; 
 
 ^i cbobl<<vim <<vn o^bhche <^chc A5 opid%bioll 50 cpom; — 
 4]<l'ii ):h^5bh<^ib1i me <^ti y<^e5b<<^l-T0, 50 m-beibheAb <^'y cu, 
 cheAb yhed]ac, 
 "^liit le<^b<^. cbluimb é<^nl<^icb a'y mo l<<mh y^<<^óí bo 
 cbei^rm. 
 
REMAINS OF CAROLAN. 77 
 
 I'm young, and a bridegroom soon destin'd to be. 
 But short is my course, love ! if bless'd not with thee : 
 On Sunday, at dusk, by Rath-leave shall I stray, 
 May I meet thee, my sweetest, by chance on the w^ay. 
 
 In gloom, and in sorrow, my days must go by, 
 
 At night on my pillow in anguish I sigh ; 
 
 Hope springs not — peace comes not — sleep flees from 
 
 me there- — 
 Oh ! when comes my lov'd one, that pillow to share. 
 
78 IRISH MINSTRELSY. 
 
 T e 21 5 1) 'Zi <í1 5 ^ '^n' 
 
 '21'y 5ii<^feli s^cli lembh <^ ni~b]toll<^cli <^ leirie ; — 
 
 '2l'i*,<^cli<^il^Tie<^6h<^<^n c-yléibh',yin <^3<^ibh ye<<.5h<^n 
 
 'Y é 6eijt be<<^n 6'<< bheiye, 6'<l b-^eicednn é Ti-ém):lie<^clic, 
 5bo bli-Ví^sb nié mo Tnhille<^6h ! 5111^1 b'é yub mo chéile; 
 1Vx,6. cli<^ilme<^6]i<idTi c-rleibh^pri <^5<^ib}i ye<<3li<^n 
 
 ^í Ú5libd|t5ATi b^ncAibli, Til cl^i|tye<^ch 5<^n í:éu6<^ibh, 
 ^?l e<^i*Ti<^61i Ann <^ chn<lm]i<^ibli 5dn be<<]tn<^6h le 
 
 b]té<^5<^ibli^ 
 ^^?l <^nn {^cbc 'j:<^m<^i]te ):<^n<^chj A ]p^5bh<^bb 5<^n clieile, 
 (71<l bh]aifce<^|i <^ chn^mh<^, m'l p<<<ch blio '5 ^ ybéun<^6h ; 
 '^I'y, <^ c1i<^ilined6b<^ An c-yleibh', pn As^ibli 
 ye<^5liAn 5Ur. 
 
REMAINS OF CAROLAN. 79 
 
 SHANE GLAS, 
 
 BY TH0?4AS FURLONG. 
 
 Have you gaz'd at Shane Glas as he went to the fair. 
 How lively his step, and how careless his air, 
 
 With his breast full of favours from many a lass; 
 Oh ! there's not a sweet girl that appears on the green. 
 But simpers and blushes wherever he's seen ; 
 They cry he's the boy, our darling and joy, 
 Still ready to sport, or to court, or to toy. 
 
 Then maids of the mountain there's for you Shane 
 Glas, 
 
 Without verses, no poet can boast of the name 5 
 Without music, no harper the title can claim — 
 
 No lover, thro' life, without quarrels can pass ; 
 The gallant whose head is not smash'd for the fair. 
 Is a boaster unworthy their favours to share : 
 
80 IRISH MINSTRELSY. 
 
 I)fi65<^ bdidirc uijtcTnj <^'y Ap|iun 5léi5e<^l5 
 
 ^Vy, <^ cli<íil'íne<^bli<^ <^n c-yleibh', ym <^5Aibh 
 
 7Vy, <^ ch<^irine<^bli<^ dn c-yleibh', pn <^5<^ibli 
 
 fe<l ch'Toch cli]tuinTie^ Ti<^']t ^lonTK^bh 'y Ti<<v'|t ipéuch<^61i5 
 
 ?t fchid ! 3<^n me-fi <^5uif i-ye Ti-éin^be<^chc, 
 •21 b com n5L<^)* coille, 50 n-bé<^n):<^TYi<^oí)' ]iéiblice<^cli, 
 71 c1i<^]i<^ mo ch]tdTbbe ! iK^cb <^Tni -pn bo bhéiblie<^bli <^n 
 yule ? 
 71Y, <^ ch<^iline<^bli<^ <^n c-yleibh', pn <<v5<^ibh 
 
REMAINS OF CAROLAN. 81 
 
 Then Shane is the lad, that his bruises has had. 
 For the girls and drinking have made hinj half mad, 
 
 Then maids of the mountain there's for you Shane 
 Gias. 
 
 Have you chanc'd on your way handsome Sally to meet, 
 With her gown snowy white, and her nice little feet. 
 
 When she's bound to the fair, or returning from 
 Mass ; 
 With her smile so bewitching, her glances so bright, . 
 And her bosom so temptingly fair to the sight : 
 Oh ! might I but find, the sweet girl to my mind, 
 In yonder green holly-wood gently reclined. 
 
 What joy would it bring to the heart of Shane Glas. 
 
 VOL. I. 
 
82 IRISH MINSTRELSY. 
 
 
 5lt^^b Ti<^ Tn-b<^Ti n-$5 é, 6.y\ c-oi5-p}ie<^]t 5l<^n, )'<^oiclie<^- 
 
 ^X Ye<<^]i]t *n<^ ym Tpein, á mhéiTin <^'if <^ mlK^ichioy, 
 
 5u<<ijte Tiio]t chu5 bu<^6h <^i|t, A' n-u<^iyle<^clic A 
 
 bhe^iicdibh, 
 50 m-bubh "]p<^b<^ y<^e5bl<^ch, beobh é, 5<^ri bli]t6n <^i|i bicli 
 
 n^ e<^l*b<^ibii, 
 
REMAINS OF CAROLAN. 83 
 
 JAMES PLUNKETT.^ 
 
 BY THOMAS FURLONG. 
 
 Oh ! where shall thy like, my lov'd Plunkett, be found. 
 Thou soul of each circle when mirth reigns around, — 
 Let the learned thy skill in each language declare, 
 While fond sighs speak the feelings and thoughts of the 
 fair. 
 
 Oh ! kind is thine heart, as each tongue can avow, 
 In sports and in pastimes unrivalFd art thou ; 
 Long long be thy days, and unclouded by care, 
 And plenty be thine — that of plenty can share. 
 
 Say who has not heard of mine own favor'd youth. 
 
 The lov'd one whose looks beam with genius and truth j 
 
 Oh ! many is the maiden, and beauteous to see, 
 
 Who pines all in silence, my Plunkett, for thee. 
 
 G 2 
 
84? IRISH MINSTRELSY. 
 
 '^ln 5-cu<^l<^ibli yibh C[iéi5hclie <^n Cjieim - nili<^]ic<^icli 
 
 [Vl<^|t <^ c^ An piLnTicé<^cc<^cli 3lé5lie<^l, h\ie^-^h, eubcjioni, 
 
 ludiTrib<^[i ; — 
 'X é búb]i<^i|tc 5<^ch m<<vi3hbe<^n bhéu)'<^c1i, rn-b'iobh ti<^ 
 
 ceubA bill <^5 ÚTíihlíi5hA6}i, 
 |\/lo leun ! 5<^ti ine <^'y cu, iii<^|t <^én <^i|t <^ii 7i-5lúinibb. 
 
 6<l 5-cu<^l<^ibli jiK^mh <^ cb|iéi6}ie, nK'\i inheiTiTi leo 
 bheich 'Ti-<^ice ye<^l, 
 71 5-coillcibli l)liuin-<^Ti-Yhio6<lin c<l <^7i ^uitjt^nAcli, 
 b|te<^5b, ]'oine<^ncA, 
 [Vlhe<^%<^bb Ti<^ c<<vilin16lie <<^^\l cbul n<^ 5-c|t<^oiblie<^chA. 
 
REMAINS OF CAROLAN. 85 
 
 Not one from Loch-Erne to Gal way around^ 
 
 But longs for my hero ! my swain so renown'd ; 
 
 Thy groves^ Buninedin, are shady and fair. 
 
 They are bless'd and belov'd— for my Plunkett is there. 
 
86 IRISH MINSTRELSY. 
 
 
 5<^ri 5}i|m<^iTn <^'t <^Í5liTi<li]te<^cli bo shnmy bli]te<l5li, <^ [luin ! 
 
 yuil 5bUr <^5 5<<<ine<^6ii, b'ú|i-le<^c<^ ^x <<ilne, 
 
 Yub le<^c n<^ evince, <^ 5h|i<<vbh 6hil, ^^ zrmzh ; 
 
 'Y pio]a-61ie<^V bo 5hn<<vo'i 5lil<^ii, ly le<^bli<^i|i bo plnob 5he<^l, 
 
 *X cm]te<^bh Ti<^ wilce le<^c y'lnce <^Tin y<^n n-úijt ! 
 
 'T ^^ X'5<^r]Y]\íábh 5ACI1 beiche^ A chuil cIk^ii- n<<^ 5-C|t<^ébh- 
 
 Tpliolc, 
 ''Y blincb-bhe<^l' bo bbeub dK^oll, a-'y bo cliedTiTif<^cbc 
 
 bh|te<l5h5 cbium. 
 
 ^Y ):olluy<^cb 'x ^x leu\i, oynAbh <<v 5-C]to1bTie 5<^c}i <<.én, 
 blTÍbbe<^TiTi <^5 <^Tnb<^|ic YcéiTnhe5he<^l-|ieilaoiiTi n<^ m-b<^ii5 
 
REMAINS OF CAROL AN. 87 
 
 NANCY COOPER/ 
 
 BY THOMAS FURLONG. 
 
 Oh ! lov'd one how temptingly fair is that face. 
 
 On which thousands have gaz'd but to sigh 5 
 How winningly smooth seems each motion of grace. 
 
 When thy shape of soft brightness glides by : 
 Tho' some in thy absence a throb may excite, 
 
 When near thee their triumph is o'er. 
 They shrink in thy presence — they fade in thy light. 
 
 They droop and look lovely no more. 
 
 Those brilliant grey eyes with these tresses all curl'd- 
 That bosom where love holds his throne ; 
 
 Dear ! these are thy dowry for what were a world 
 To him who could call them his own. 
 
88 IRISH MINSTRELSY. 
 
 'Y beé^X ^^ ^^^^T ^T ^^ l^TYili, If 5e<^l 60 bhitolKch b(ln, 
 Ocli ! 'y CÚ loc 'y 60 ch|i<lbh, ti<^ céii6<^ l<^écli me<^]a ! 
 
 'Y zK CÚ cl^ich caiy <^ '6 niheiTiTi, — <^c}ic 'x éi5e<^n bdTnli-if<^ 
 Xz<^b \ 
 
 Q<1 ^Anfíbh Coopeii bhpe<l5li ti(^ m-b^n-cKiocb Ti-6e<^r. 
 
REMAINS OF CAROL AN. 89 
 
 Of millions the beauty seems blended in thee — 
 
 But why on this theme shouhl I dwell? 
 Thro' life there's but sadness and silence for me-7- 
 
 Farewell ! Nancy Cooper ! farewell ! 
 
90 IRISH MINSTRELSY. 
 
 1)1) ^IT '^t Mi)<ti'^i 
 M^tijie <p|-i 5i)Ui6T)iit. 
 
 l)ío6h mle d Ti-éiTiTplie<^c}ic^ <^' n-<^éTi-bbei|idTi |toiTili<^Tn-Y<^, 
 51il<^cp<^inn Tn<^|t ip}iéi]áÍTi_, c<^]i <^n Tnhéib-]*iTi 6e n<^ yeobAibb, 
 |71<<vitte o'n Ti-€iitne <^'r ^e bheich '5 '^ p^Abh. 
 
 l]* cui|tye<^ch, cítiti, c|téich-l<^5 me ^ém 5<^ch z\iKzhnon^, 
 ^X <^i|i Tvi^ibiTi <^5 éi|t5ln6h, m<^\í b'é<^5 u<^iTn tyio nu<^bhch<^]t, 
 bK bh-Yí<^3}i<^iTin <^ noit c|téu6A, 'y 5<^cli Y<^16hb}i|teA]* b'^\i 
 
REMAINS OF CAROL AN. 91 
 
 CAROLAN'S MONODY ON THE DEATH 
 OF HIS WIFE MARY MAC GUIRE.^ 
 
 BY THOMAS FURLONG. 
 
 Were heaven to yield me in this chosen hour, 
 
 As an high gift ordain'd thro life to last. 
 All that our earth hath mark'd of mental power. 
 
 The concentrated genius of the past : 
 Were all the spells of Erin's minstrels mine. 
 
 Mine the long treasured stores of Greece and Rome- 
 All, all with willing smile I would resign. 
 
 Might I but gain my Mary from the tomb. 
 
 My soul is sad — I bend beneath my woe. 
 Darkly each weary evening wears away ; 
 
 Thro' the long night my tears in silence flow. 
 Nor hope, nor comfort cheers the coming day. 
 
92 IRISH MINSTRELSY. 
 
 ^]p<<v5bli<^6h 'r\ 6. bheijh-yin, leAm pein me 30 bitoiK^cli, 
 •21 ii-beiiteAbli ino )'lK^e5li<^il, 'y 5<^n mo cheile blieidi beobh 
 <^5<^m . 
 
 |\^ ' 1ncle<^c}ic mlK^icb, <^é[i<^cli, m ^beubdiiYi <^ cíimlibc^cli^ 
 [71' mciTm, '11 <^ 6héi5h-ym5 i|* leiiji 50 bh-):tnl pTiúice<^c]i, 
 50 feeimhm d'b blieisli-yi, m ):liéii6<^im bheidi yÚ3<^cli5 
 '21 |711i^i|ie n<^ ceille, <^iin ]-<^ti c-y<^é5h<^l bhíbli 50 clmre<^.c]i. 
 
REMAINS OF CAROLAN. 93 
 
 Wealth might not tempt — nor beauty move me now, 
 Tho' one so favour'd sought my bride to be— 
 
 Witness, high heaven ! — bear witness to my vow — 
 My Mary ! death shall find me true to thee. 
 
 How happy once ! how joyous have I been, 
 
 When merry friends sat smiling at my side ; 
 Now near my end — dark seems each festive scene — 
 
 With thee, my Mary, all their beauty died. 
 My wit hath past — my sprightly voice is' gone. 
 
 My heart sinks deep in loneliness and gloom, — 
 Life hath no aftercharms to lead me on— 
 
 They wither with my Mary — in the tomb. 
 
94 IRISH MINSTRELSY. 
 
 OT cio<fi<h u^ii5T) Mii^ic '^iib. 
 
 mo yliiúbh<^il ! 
 '^li]! udi5h mo ch^jK^ib, 'y me v<^lc<^fch n<^ n-bé<^|t 50 li-u]i ; 
 ^1 bli-^u<^i|i me <^5<^m mo diAiclineAmli, <^']- ]i<^bh<^]tc mo 
 
 rliul ', 
 21q\\z c|tu<^ibli-le<^c 61i<^m5e<<.n, <^'t le<^b<<.61i be'n 5-c]ié 
 
 hlubh cúmh<^Tí5. 
 
 ^^ c|té<^n me <^' l<^b]i<^i|iC5 'x ^^^ mlie<^y<^im 5U]^ ciiif n^ipe, 
 ly c<^í61ie<^ii bliocbc ycoichce me, cliAille<^y mo chul 
 b<<ii|ie, 
 
 ^?l pern, m'l pe<^Ti<^ib, rii'l 5<^l<^i]a cliomli C|tu<<.61i, C]t<<^i61ice, 
 le li-e<^5 n<^ 5-c<^|i<^6, n 0^ yc<^]^i<^bli, n<*v 5-c^mp<<in<^cli. 
 
REMAINS OF CAROLAN. 95 
 
 CAROLAN'S LAMENT OVER THE GRAVE 
 OF MAC CABE/ 
 
 BY THOMAS FURLONG. 
 
 Oh ! what a baffled visit mine hath been, 
 
 How long my journey, and how dark my lot ; 
 
 And have I toil'd thro' each fatiguing scene, 
 To meet my friend — and yet to find him not ? 
 
 Sight of my eyes ! — lost solace of my mind ! 
 
 To seek — to hear thee — eagerly I sped ; 
 In vain I came — no trace of thee I find — 
 
 Save the cold flag that shades thy narrow bed. 
 
 My voice is low — my mood of mirth is o'er, 
 I droop in sadness like the widowed dove ; 
 
 Talk, talk of tortures ! — talk of pain no more — 
 Nought strikes us like the death of those we love. 
 
90 IRISH MINSTRELSY. 
 
 M ^l 11 t) t) <f1 ^l C 1) e ^l 11 b 1) 21 I I ^l 1 <!1. 
 
 jVlo bhjion ! mo mhilledbli ! irso c}iini)e<^y 'y mo bliu<^i- 
 61i|te<^nih c|t<^di 1 
 6o cbe6l-cli]tuic mhiliY^ 5<^]i blnTiTie<^]-5 5<^n ]-Li<^i|tce<^y 
 bKn ! 
 Ci<^ í)hé<^n^<^y <íice<^)* bo'n 5li<^]'|a<^ib]i n^ ceol 50 biK^ri, 
 Or ^'ioji, A cb<^|adib, 5ii|t leA5<^61i diu <^ 5-c6mh|t<^ 
 
 L]iKzh éijtslríbbim <^i|i TYK^ibin, <^'y 6}ie<<|tc<^iTn <^n ci|t -p<^o'i 
 
 ^^3^T T^iuibbim <^nt 11A cnocdibli^ 50 bh-^eicim An bubh 
 
 '^l ^lén-Tnlieic [Vlhui^ie ! '^:ii|tc<^i5b 60 'm cb<l|* 6.'x |ti<^]t ! 
 'T 5^ n-be^]tn<^6}i loch pl<^, be Aiti1í<^]ic 1110 yluil <^'6 
 MndiMi ! 
 
REMAINS OF CAROL AN. 97 
 
 MAC CABE'S ELEGY ON THE DEATH OF 
 CAROLAN. 
 
 BY THOMAS FURLONG. 
 
 Woe is my portion ! unremitting woe ! 
 Idly and wildly in my grief I rave ; 
 
 Thy song, my TurlogH, shall be sung no more — 
 Thro' festive halls no more thy strains shall flow : 
 The thrilling music of thy harp is o'er — 
 The hand that wak'd it moulders in the grave. 
 
 I start at dawn — I mark the country's gloom — 
 O'er the green hills a heavy cloud appears ; — 
 
 Aid me, kind Heaven, to bear my bitter doom, 
 To check my murmurs, and restrain my tears. 
 
 Oh ! gracious God ! how lonely are my days. 
 At night sleep comes not to these wearied eyes, 
 
 Nor beams one hope my sinking heart to raise — 
 In Turlogh's grave each hope that cheer'd me lies. 
 
 VOL. I. H 
 
98 IRISH MINSTRELSY. 
 
 '2I5 luíbhe 61i<^Tnli Ai]i mo le<^bA6h Tidch 5-cobl<^TiTi tyic 
 
 yhuil <^én néull ! 
 C^ib pi<^Tic<^ be<^C|idch' bul ci^jtyiKi cjte l<l]t mo chléibh ; — 
 'Y <^ Choi]t6}iedlbh<^ich m Clie<^íibhdll<<ím, 'y biomb<<iifeb 
 
 liom CÚ pTiTice 5-c]té ! 
 
 5uíb1iim-p "^<^omh ioimmic, ^<^omh PjiomyK^y, ^'y 
 
 <h|<^om}i Cl<<ri<^, 
 *Y n<^ b-iliom<^6 4l<^oimb, -pAo'i blfí6he<^Ti ti<^ c<^cli]i<^ch 
 
 Tie<<^mb61i<^, 
 y^ ^h<lilce cb<^bh<^i|tc b' <^r\6m Choi^bhe<^lbh<^icli Atiti <^ 
 
 'Y <^ Ik^cTic po]tc y<^oicbe<^mli<^il bo ybeinn ye <^^\l An 
 5-cUiiip5b. 
 
REMAINS OF CAROLAN. 99 
 
 Oh ! ye blest spirits, dwelling with your God, 
 Hymning his praise as ages roll along. 
 
 Receive my Turlogh in your bright abode, 
 And bid him aid you in your sacred song. 
 
 h2 
 
NOTES. 
 
NOTES. 
 
 WELCOME TO CAROLAN. 
 
 * James Courtney, better known to the Irish reader by 
 the name of Dall M'Cuairt, the author of this Ode, was a 
 native of Louth, and an Irish poet of repute in the days of 
 Carolan. Several poems of his composition are preserved in 
 the manuscript collection of the editor. Many of them are 
 possessed of considerable merit, and highly deserving of 
 publication. 
 
 2 " From the mansion of Meave.^' 
 A celebrated queen of Connaught, and one of the heroines 
 of Irish lore. She flourished about the beginning of the Chris- 
 tian era, and was co-eval with Connor, King of Ulster, (who 
 reigned in the palace of Emania, which was situate about one 
 mile west of the present city of Armagh,) Cuchullin, Connall 
 Kearnach, Fergus Mac Roy, and other heroes famed in our 
 history. — Mr. Macpherson in the beautiful, but supposititious, 
 translations from his imaginary Ossian, makes Cuchullin, who 
 died in the beginning of the first century, cotemporary with 
 Fingall who died in the third. Yet these '* translations" are 
 quoted by Mr. Pinkerton and others, as true history I 
 
104 NOTES. 
 
 3 " OrgieVs flowery fields:' 
 Orgiel, Oriel, Uriel, an ancient territory, comprehending the 
 present counties of Louth, Monaghan or Mac Mahon's 
 country and Ardmagh. — Ware, 
 
 ^ " TaraKs embattled pileJ' 
 Tarah, or Teamor, was the royal seat, and court of legisla- 
 tion of the kings of Ireland, until about the year 560. The 
 edifice was erected on the well-known hill which bears its name, 
 iia the county of Meath, where there are yet to be seen remahis 
 of several circular entrenchments, or foundations. We have 
 more than once walked over this venerable spot, so famous in 
 Irish classic lore, with sensations which it would be as difficult 
 for an Irishman not to feel, as for an Englishman to estimate. 
 It is related that his present Majesty, during his visit to Ireland, 
 passing in view of the hill of Tarah, declared himself proud of 
 his descent from the ancient Monarchs of the land. Such a 
 declaration was worthy of a king, and complimentary to a 
 faithful people. 
 
 5 << The four Nialk:' 
 Monarchs of Ireland. The first surnamed " of the nine 
 hostages," commenced his reign, A. D. 379. The fourth fell 
 in a desperate conflict with the Danes, A. D. 919. 
 
 6 t< Con and Cormac of regal birth:' 
 Also Monarchs.— The first is well known in history by the 
 appellation " of the hundred battles." The last assumed the 
 government, A. D. 254. He combined the study of philoso- 
 phy with the cares of government. Some of the writings of this 
 heathen prince are still extant.— >See Annals IK Masters, p. 86. 
 
 '^ " Ulster of the red red shields:' 
 The provincial arms, generally attributed to Ulster, are 
 — On a field or, a lion rampant, double queued, gules. 
 
NOTES. 105 
 
 The knights of the red branch — Cu]iA6h<^ ri<^ CfK^oibhe 
 ]tu<^i61ie of Ulster, are much celebrated in our ancient anuals, 
 
 « " Bard of Clan Cahir," 
 Cahir, son of Fergus, king of Ulster, whose descendents set- 
 tled in the south of Ireland. The Etymon of Kerry is Cahir 
 riaghta, the kingdom of Cahir. 
 
 9 The last stanza of this ode is called <^bh|t^Ti, versicle, or 
 combination. Irish poems frequently conclude with a similar 
 stanza, which in general contains a recapitulation of the prin- 
 cipal heads of the composition. These terminations are also 
 found in Spanish and Arabic poetry. 
 
 MARY MAGUIRE. 
 
 * The poetical effusions of Carolan contained in this volume, 
 commence with the love verses addressed to his future partner 
 through life. They are sweet and simple, and breathe the soft 
 language of tenderness and affection. It is observable that in 
 these stanzas, he avoids any mention of the favourite pleasures 
 of the bottle, which will be found so frequently alluded to in 
 his other compositions. 
 
 Mr. Walker, in his Memoirs of the Irish Bards, informs us 
 that Mary Maguire was '* a young lady of a good family in 
 the county of Fermanagh," and that she *' proved a proud and 
 extravagant dame : but she was the wife of his choice; he loved 
 her tenderly, and lived harmoniously with her." — His beautiful 
 monody on her death will be found in this collection of his 
 poems. 
 
 Many of Carolan's airs are lost, though the words remain ; 
 while numerous sweet airs have been preserved, whose original 
 words are now irrecoverable. The difficulty of adapting 
 
106 NOTES. 
 
 English verse, in any variation of metre, to the " complicated 
 modulations" of several of his surviving melodies is generally 
 acknowledged. The attempt has been often made, but seldom 
 with success. His lively style, so different from the slow 
 plaintive strains of our ancient music; the rapidity of his turns ; 
 his abrupt changes and terminations, so unexpected yet so 
 pleasing, could be followed only in the language in which he 
 thought, composed, and sung. In the selection of airs, there- 
 fore, for such of these translations as are not adapted to the 
 original music, the choice has been in general determined by 
 the nature of each composition. 
 
 The translation of ** Mary Maguire" will call to the recol- 
 lection of our musical readers the fine old air, Catherine Ogie, 
 to which there are also English and Irish words, beginning — 
 
 " Dear Nelly I'm afraid that your favor I'll not gain. 
 
 •^Ititi x<^ iii-b<^ile yo 'n <^ bb-puil cu <^b chomhnuibhe." 
 
 FANNY BETAGH. 
 
 * Daughter of Captain Gerald Dillon, and wife of James 
 Betagh, formerly of Mannin, in the county of Mayo, a residence 
 long distinguished as the seat of old Irish hospitality. The 
 latter gentleman was head of a branch of the ancient family of 
 his name, descended from the Danes, and, for centuries before 
 the Anglo-Norman invasion, settled at Moynalty in the county 
 of Meath. Francis Betagh, the last heir of that illustrious 
 house, was most iniquitously deprived of his patrimonial pos- 
 sessions after the Restoration of Charles II. though, like many 
 of his similarly treated countrymen, he adhered with " desper- 
 ate fidelity" to the fortunes of that ungrateful monarch. The 
 particulars are related in the History of Ireland, by Hugh 
 Reily, Esq. chancellor of James II. where they may be peru- 
 sed with benefit by future confiscators. '* Perhaps," says my 
 
NOTES. 107 
 
 valued friend and kinsman, the late proprietor of Mannin, allu- 
 ding in a strain of happy irony to this circumstance, ** Francis 
 Betagh was deprived to gratify the Irish, by the extirpation 
 of the last of the Danes, and that it was reserved, parva magnis 
 componere, for Charles to tínish what Brian had begun." The 
 usurpers of Moynalty are forgotten, but that injured and vene- 
 rated family will be remembered while a pulsation of Irish 
 feeling shall remain in the land. A passage in Mc Gauran's 
 well-known Plearaca na Ruarcach — ** O'Rourke's noble feast," 
 alluding to this family, has been thiis translated by Swift — 
 
 " The Earl of Kildare, 
 
 And Moynalta his brother. 
 Great as they are, I was nursed by their mother." 
 
 The air to which the present little song has been translated 
 is well-known by the name of C<^iliri 6e<^y cb]iui6hce nA m-bo. 
 " The pretty maid milking the Cow," literally, " The pretty 
 cow-milking maid." 
 
 BRIDGET CRUISE. 
 
 1 We have seen in the preliminary Memoir of Carolan, that 
 Bridget Cruise, was the first object^of his affections. Though 
 she entertained a correspondent feeling for him, yet, by some 
 fatality, their union never took place. The ode, which bears 
 her name, has been always considered one of the tenderest and 
 most harmonious of all his works. ** I have often listened," says 
 the venerable Charles O'Conor, " to Carolan singing his ode to 
 Miss Cruise. 1 thought the stanzas wildly enthusiastic, but 
 neglected to preserve them." Mr. Walker calls it his " chef 
 d'oeuvre," and says, " it came warm from his heart, while his 
 genius was in full vigour." It has been the fate of Irish 
 
108 NOTES. 
 
 poetry, from the clays of Spenser to the present time, to be 
 praised or censured by the extremes of prejudice, while the 
 world was unable to decide for want of the original poems, 
 or translations of them. The present Ode may now, for the 
 first time, be compared with other specimens of our Bard, and 
 though it may not, perhaps, be considered as entitled to the first 
 place, yet it will always maintain a respectable rank amongst 
 his poetical compositions, 
 
 2 c<<v, should be r^<^ib, the third person plural of the verb, 
 required by the preceding nominatives. 
 
 ^ " Speak not of Deirdre the renowned.^' 
 Deirdre, a female much celebrated by our poets. She was 
 the heroine of **The tragical fate of the Sons of Usnach," 
 an Irish tale of the days of Connor king of Ulster, and the 
 foundation of Mr. Macpherson's Darthula. 
 
 4 Ti<^ 5-cpuinri-chioch<^ n-5e<^l<^ should, according to the 
 strict rules of grammar, be no 5-C]tunin-chtoch Ti-5e<^l; 
 but this licence was taken by our bard, for the preservation of 
 the metre. 
 
 1 WHISKEY IS THE POTION. 
 
 This humorous whiskey lilt, has been generally, but, as I 
 apprehend, improperly ascribed to Carolan ; lest, however, I 
 may be mistaken in this opinion, t have judged it proper to 
 include it among his Remains. It is now, for the first time, 
 published; and, it may be considered strange, that in this 
 whiskey-loving isle, this land of cheer, and song, and merri- 
 ment, so curious an antidote against care, should have lemained 
 so long unknown. But perhaps it was unnecessary ; the 
 
NOTES. 109 
 
 entiqing beverage was but too copiously used without it. It 
 is here translated to the characteristic air of *' Cardan's 
 Receipt;" and as a genuine " Chanson de boire," stands, in 
 our opinion, unrivalled. 
 
 Tradition has preserved the following account of its compo- 
 sition. The jolly-hearted bard, whoever he was, in one of his 
 excursions, visited an old friend, whom he found confined to his 
 bed, more under the pressure of melancholy feelings, than of any 
 bodily ailment. He immediately drew near the bedside, took 
 his harp, and played and sung the music and words of this 
 inimitable song. The effect was instantaneous — irresistible. 
 The melancholy spirit fled. The dispossessed started up^ 
 joined the festive board, and was '* sick no more." 
 
 1 PLANXTY STAFFORD. 
 
 Or, as more generally called, *' Carolan's Receipt," 
 is one of our bard's most celebrated compositions. " He 
 commenced the words," says Walker's anonymous corres- 
 pondent, " and began to modulate the air in the evening, at 
 Boyle, in the county of Roscommon ; and before the fol- 
 lowing morning he sung and played this noble offspring of his 
 imagination in Mr. Stafford's parlour at Elphin." It is to be 
 observed, that the first stanza only was composed by Carolan, 
 the second, p. 24, now, for the first time printed, was by his 
 friend Mc. Cabe, who sometimes, with Carolan's permission, 
 added verses to his songs. In the present instance, the Irish 
 reader will immediately perceive the difference. The Stafford 
 family is most respectably descended. They were ** trans- 
 planted" by Cromwell, from Wexford to Roscommon, where 
 they had a grant of lands, trifling in comparison to those which 
 
110 NOTES. 
 
 they lost in their native county. These lands remained with 
 their descendants, until after the enactment of the penal laws ; 
 when a profligate younger brother, '* conformed" to protestancy, 
 and deprived the elder, who was the father of Carolan's friend, 
 of the estate. It soon after passed away from the family. 
 
 Mr. Stafford, having on a certain occasion, requested Carolan 
 to prolong his stay, the facetious bard is said to have made the 
 following humorous reply : 
 
 Cu<^ilic iph<^6A Til h4 If ipe^jtit ; 
 
 P<li|ic 6e'6 chion beifi le<^c u<^i6h5 
 
 1|* <l6hbh<^p 6'Yu<^ch<^ <^ti c-iOTiipo5h<^bb 5e<<^pp. 
 
 If to a friend's abode thou should'st repair. 
 Pause, and take heed of lingering idly there ; 
 Thou may'st be welcome — but, 'tis past a doubt. 
 Long visits soon will wear the welcome out. 
 
 EDWARD O'CORCORAN. 
 
 1 The air of the old aong, called the " Farmer," which was 
 written by a Catholic priest, who certainly, while composing 
 it, was not dreaming of the " church establishment," will be 
 found to answer this translation. 
 
 3 ** Thou hast sprung from the Gael" 
 Gael and Gadelian, which frequently occur in Irish poetry, 
 mean the ancient Milesians of Ireland. From one of these 
 families was descended the gentleman for whom the present 
 song was composed. 
 
NOTES. Ill 
 
 ' " From G alien to Grange.''^ 
 The first of these places is a barony in the county of Mayo, 
 the latter a village in Ahamlish Parish, lower half-barony of 
 Carbry, county of Sligo. 
 
 4 i( Pqj- tJiQ jiQYQ of Limerick is near us.'' 
 This line requires no comment. The siege of Limerick, its 
 capitulation, the articles of surrender, and their flagrant viola- 
 tion, are already known throughout the civilized world. 
 Edward O'Corcoran was one of the heroes who /* covered 
 themselves with glory", in that memorable struggle. His name 
 has been consecrated by the muse; but many a brave and 
 noble spirit, his companion in arms, fell in the contest, whose 
 name is unknown to posterity. 
 
 Omnes illacrimabiles 
 
 Urguentur ignotique longá 
 Nocte, carent quia vate sacro. 
 
 HoRAT iv. 9. 
 
 DOCTOR HARTE. 
 
 * Doctor Harie was Titular Bishop of Achonry, an Episcopal 
 see in the West of Ireland. The virtues, persecutions, and 
 sufferings of the Catholic clergy of Ireland, not only endeared 
 them to all of their own persuasion, but excited the commis- 
 seration, and gained them, almost generally, the esteem of 
 every liberal and enlightened Protestant in the kingdom, even 
 before the relaxation of the penal code. Carolan, " constitu- 
 tionally pious," was enthusiastic in his attachment to the 
 clergy of his faith. Their praises frequently occupied his muse, 
 and gave birth to some of his noblest conceptions in music and 
 poetry. The anonymous, but excellent, correspondent of the 
 
112 NOTES. 
 
 Author of the Memoirs of the Irish Bards, alluding to his 
 poem to Doctor Harte, says, " it has often excited sentiments 
 of the most fervent piety." 
 
 Ydobh<^fib ceAjtc bo mh<^c ri<^ 5loi]te e pem 
 
 '^ " Tb thy Master m heaven a true steward art thou" 
 is no less an idea of the most exalted devotion, than of the 
 most elevated genius." He adds, '* It is a loss to the public 
 that this truly virtuous dignitary had been so insensible to all 
 emotions of self-love, as to have the first of Carol an's compo- 
 sitions for him entirely suppressed." — ^This, however, was not 
 the case. The copy here given has been had from the dicta- 
 tion of an aged man, by whom it was recited with all those 
 feelings of virtuous enthusiasm so peculiar to the Irish. — It has 
 been translated to the air of " My lodging is on the cold 
 ground." — See Moore's Irish Melodies, No. II, p, 100. 
 
 ^ *' Oh ! good is thy fame in the land of O'Neill" 
 The province of Ulster which has been particularly de- 
 nominated the Land of O'Neill, being the territory of that 
 princely family. 
 
 '' The O'Harte's are an ancient and noble family of Ireland. 
 In the topographical poem of the famous John O'Dugan, be- 
 ginning '' Cpidll<^TVi nmcbe<^ll n<^ ^obl<^," Fines obeamus 
 lernes, h-'2lipc pio5hbhA " O'Harte the Noble or Regal," 
 is the first family of Meath mentioned after Maelseachlan the 
 monarch. This was anterior to the Anglo-Norman visitation. 
 
 Though Cardan's attachment to the Catholic clergy was un- 
 bounded, yet he sometimes had occasion to make them feel the 
 severity of his satirical powers. Having once visited the 
 Friars of Rossreill, a monastery beautifully situated on the 
 banks of Lough-Corrib in the county of Galway, he is said on 
 departing to have addressed them as follows : 
 
NOTES. 113 
 
 C<^bli<^i|t bcibh 5<^ch iribh ^<<<\í\l<<^^b, 
 
 Would'st thou the friendship of the friars secure, 
 Be civil — be submissive — be demure ! 
 Breathe not a word that may their ways condemn — 
 Grant all they ask, but nothing ask from them. 
 
 O'MORE'S FAIR DAUGHTER; 
 
 OR, 
 
 THE HAWK OF BALLYSHANNON. 
 
 * The music of this ode has never, that I know of, been 
 published, although it is, undoubtedly, one of the finest speci- 
 mens of our bard's composition. 
 
 It was composed, with the words, on the following occasion. 
 The son of O'Reilly, returning from Leitrim, accidently met 
 the " Fair daughter of O'More," near her father's residence. 
 Struck by her beauty, the youth remained " spell-bound,** 
 gazing in silent amazement at the charming object before 
 him. Love took possession of his soul, and the new inmate, 
 always fertile in expedients, soon suggested a pretext for 
 accosting the maiden. Feigning fatigue, he approached her, 
 and requested a cup of water with so gentle, so engaging 
 an address, heightened by the external graces of a fine person, 
 that a correspondent feeling was instantaneously excited in her 
 bosom. He enjoyed her conversation for a few moments only, 
 and then, for the first time in his life with regret, continued his 
 course homewards. On arriving at his father's house, he there 
 found his old favorite, Carolan, who had just made one of his 
 annual visits. The bard, whose eyes, as he used humourously 
 
 I 
 
114 NOTES. 
 
 to say of himself, " were transferred to his ears," perceived 
 his youthful friend unusually thoughtful and pensive; and 
 from as thorough an acquaintance with every chord of the 
 human heart, as with every string of his own harp, he at once 
 suspected the cause. After some anxious inquiries, and a few 
 good-natured sallies, the secret was imparted ; and the bard, 
 in a little time, produced the words and music of the present 
 ode. They only who have ever felt as young O'Reilly did, 
 can duly appreciate the enthusiasm with which he received 
 them. Shortly after, invited to an entertainment at the house 
 of O'More, the youthful lover took the opportunity of reciting 
 the ode, accompanied by the music of the harp, music of 
 which, perhaps, no modern can form an adequate idea. The 
 effect on the young lady, who happened to be in an adjoining 
 apartment, may be easily anticipated. The conquest of her 
 heart was finally achieved, and young O'Reilly had, soon 
 after, the happiness to be united to the beloved object of his 
 affections. 
 
 When celebrating the praises of the descendents of the Gael, 
 Carolan's genius appears in its brightest lustre. The O'Neills, 
 O'Mores, and O'Connors wound him up to the highest pitch of 
 enthusiasm. He considered himself born to " sing in their 
 service," and nobly has he performed the duties of his fancied 
 mission. Of this the ode before us is a splendid proof. Asa 
 poetical composition it is much and deservedly admired. 
 
 * " Pride of the gay green hills of Maile.^' 
 The territory of Hy-Malia, an ancient district in the S. W. 
 of the county of Mayo, comprehending the baronies of Murrisk 
 and Carra, or at least a part of the latter. The country of the 
 O'Malleys. 
 
 =* " Child of the old renowned O'More:* 
 This family which holds so conspicuous a place in the annals 
 of Ireland, sprung from Conall Kearnach, a Northern hero. 
 
NOTES. 115 
 
 celebrated in the famous Cualgnian war waged between Con- 
 naught and Ulster about the beginning of the first century. 
 An old historical vellum manuscript in my possession states 
 that, *' The king of Leinster, Fitz-Patrick, being at war with 
 the king of Munster, entered into a treaty with O'More, then 
 settled in the North of Ireland. The latter having come with 
 considerable force to the assistance of his ally, succeeded in 
 defeating the Momonians^ and claimed the fulfilment of the 
 conditions entered into with him. This being refused, he 
 seized upon the territory of Leix (Laoighes) a country now 
 comprehending the greater part of the Queen's county, which 
 he parcelled out amongst his followers, the O'Kelly's, O'Lalors, 
 Devoys, or Macaboys, O'Dorans and O'Dowlins, whose de- 
 scendants remain there to this day. These septs were bound on 
 all occasions to obey O'More, to do him homage, and pay him 
 chiefry." These transactions occurred in the tenth century. 
 Subjoined to this account is the following entry in a modern 
 hand — *' Part of this tribute, or chiefry, continued to be paid 
 until the year of our Lord 1753.'' 
 
 One of the noblest characters the world ever produced, Sir 
 Thomas More, chancellor of England in the reign of Henry 
 VIII., is stated to have been descended from the O'More's of 
 Ireland. — See his Memoirs by his grandson, Thomas More, 
 London, 1727. 
 
 Another member of this family, Roger, or Rory O'More, is 
 rendered memorable by the prominent part which he performed 
 in the tragic scenes of 1641. Endowed with talents of the 
 highest order, he was esteemed the glory and protector of the 
 Irish. His praises were sung in their poems and songs, and 
 the national motto generally inscribed on their military ensigns 
 was — *♦ For God and the Virgin and Rory O'More. ' 
 
 * '* For the Hawk of Erne is near us." 
 Lough Erne, in the county of Fermanagh. This is one of 
 the most beautiful lakes in Europe. Its waters are discharged 
 
 12 
 
116 NOTES. 
 
 into the sea at Bally shannon, in the county of Dongall. At 
 this place is the celebrated salmon leap, so well known that it 
 needs no description here. 
 
 PHELIM O'NEILL. 
 
 * Time has not handed down any particulars of the Phelim 
 O'Neill liere commemorated, except that he was descended 
 from that powerful family which so long ruled Ireland with 
 sovereign sway. The violent commotions of the seventeenth 
 century, struck to the dust the topmost branch of this great 
 Milesian tree. Well may Ireland exclaim at the present day— 
 
 " Hei mihi, qualis erat! quantum mutatus ab iJIo 
 Hectore ; qui redit exuvias iudutus Achillei, 
 Vel Danaum Phrygios jaculatus puppibus ignes ! 
 Squalentem barbam, et concretos sanguine crines, 
 Vulneraque ilia gerens, quae circum plurima muros 
 Accepit patrios." 
 
 Virgil, ^neid. II. 274. 
 
 There are, however, many descendants of this celebrated 
 family, though not bearing its ancient dignities, whose pa- 
 triotic feelings and private virtues would reflect honor on 
 their noble ancestry, even in the proudest days of its splendor. 
 Their names I am prohibited from mentioning, and I regret 
 the circumstance, for the cause of virtue and patriotism is 
 ever promoted by pointing out their followers for imitation. 
 
 *2licbTti5bcbe<^]t <^i|t cbopch<^ibb nA 5-cp<^nn 
 U<^ii;le Ti<^ bli-):pé<^inb 6 bb-^^yi^ib : 
 5<^cb 5eu5, leir <^ti n-seis o 6-n3, 
 71-^ bul leiy <^Ti b-rpeu6 o 6-c<lini5. 
 
NOTES. 117 
 
 Aye! by the fruit the goodly tree is known; 
 In the proud plant the noble root is shown ; 
 The leaves, the buds, their parent stem proclaim, 
 In form, in hue, in character, the same. 
 
 The translation of " Phelim O'Neill " may remind our 
 musical readers of O'Keefe's " Rose tree in full bearing,*' in 
 '* The Poor Soldier." Por the music — combined with Moore's 
 beautiful words beginning, " I'd mourn the hopes that leave 
 me," See Irish Melodies, No. 5, p. 49. 
 
 PLANXTY PEYTON. 
 
 ^ Toby Peyton was head of a respectable family of that 
 name, in the county of Leitrim. He appears to have been a 
 favourite with our bard, and, from the description contained in 
 the present song, might be pronounced as possessed of kin- 
 dred feelings. Carolan celebrated Miss Bridget Peyton, his 
 friend's daughter, in a pretty poem, beginning^ — 
 
 C<^ iii5h1n <^é|i<^c1i ^5 Cuboib pé<<.con^ 
 
 fco 5h<^i6 mo 5hTiéi61i ^'y ^^^ yhlivmce u<^im : 
 
 %^]\ cU^y^bh <^ ceibhe 'y á |ioyc rn<^p ^plieup shlAy, 
 5i> 5-cui|t):e<^6h fi n<<v céubch<^ <^' n-u<^t5h. 
 
 * " Who has horsewhip and sword.'* 
 So lA^'y cloí6he<^nih no h^zA 'n <^ l<<mh<<ibh has been 
 translated. A Gal way copy of this song reads fAK'y piO|*r<^L 
 no b<^c<^, &c. " If pistol or cudgel, &c." After consulting 
 some friends experienced in these matters, I am inclined to re- 
 tain the former reading, as swords, in their opinion, were in use 
 before pistols. This subject brings to mind a singular signpost, 
 which until lately might have been seen suspended over an inn 
 
118 NOTES. 
 
 door in that duel-loving county. It contained some ill- spelt 
 notification now forgotten, surmounted by a huge horse- 
 whip, and no less formidable pistol, drawn saltier. On 
 enquiry I found that this curious specimen was " put up '' 
 subsequent to Carolan's time, in order to commemorate the well 
 known attack made by Captain O'Kelly, of that county, on 
 the "lying" English traveller, Twiss. — Captain O'Kelly was 
 one of those Irish Catholics, who, in despite of penal laws, 
 spilled their blood against Catholic France and Spain, in de- 
 fence of their Protestant sovereign George III. 
 
 But to return to Toby Peyton. It is related that Carolan 
 once praising him in the presence of a priest, the latter, for 
 some reason, expressed his dissent, on which the bard replied, 
 extempore — 
 
 |V1oUtiti 5<^cb <^éTi <^ti c-e blfibhe<^)- C]t<liblicbe<^ch^ coiji, 
 ^l5uif Tviol<^Tin Ail cTiléi|i <^n c-e bh^ibheAy |3<<i]tce<^cb leo -, 
 6<^|t yolu^ Ti<^ 5]téiTie iy e mo ]t<<^.b}i 50 6eoi5b, 
 
 The kind good man must all our praise command. 
 Even the sage priest will bless the bounteous hand; 
 And, by the blessed light that shines above, 
 
 To this one rule I'll hold thro' good and ill — 
 True to my host and to his cheer I'll prove, 
 
 And as I find them I must praise them still. 
 
 For the air of our lively Planxty, see Irish Melodies, No. 
 V. p. 18,—'' The young May moon." 
 
 MADAM CROFTON. 
 
 ^ Madam Crofton is said to have been the lady of Sir 
 Edward Crofton of Moate, in the county of Roscommon, baronet. 
 
NOTES. 119 
 
 The air of these charming stanzas is sweet and simple. The 
 English reader may recognize in the translation the metre of 
 the well-known '* One bottle more;" and our Irish friends 
 will be reminded of their old favorite -"C<^b eyiTi bo'n c-e 
 ym TK^ch b<^ine<^nn pn 66." — " What's that to any one 
 whether or no." 
 
 PEGGY CORCORAN. 
 
 * These elegant stanzas were addressed to the daughter of 
 the " Hero of Limerick," to whom, as we have seen, Carolan's 
 grateful muse had before paid a tribute. The Irish reader 
 will immediately recognize the translation, as adapted to the 
 sweet old air of " Chu5<^m<^i]i ^ein <^ti y<^mh]t<^ Imn." — 
 " We have brought the summer with us." 
 
 ^ " The nobles of Spain have been seen at her side J' 
 Multitudes of the exiled victims of the penal laws of Ireland, 
 during the last century, became eminent in arts and arms 
 throughout Europe. Many of them were conspicuous in pro- 
 moting the honor and prosperity of every country except their 
 own. In France and Spain, particularly, their virtues and 
 valor were repeatedly crowned with the most distinguished 
 marks of honor ; and we find the politic rulers of those coun- 
 tries not unfrequently exalting them to the highest ranks of 
 the nobility. Not all those honors, however, could make them 
 forget their native land. 
 
 |71i<^nn<^ib <^ bdjt, 'y A n-bdzhch^y. 
 
 Restless exiles doomed to roam, 
 
 Meet pity every where ; 
 Yet languish for their native home, 
 
 Tho' death attends them there. 
 
120 NOTES. 
 
 Many of these eminent individuals from time to time revisited 
 their relatives, who, at home, dragged on a painful existence in 
 penury and scorn, persecuted by the laws, and tramjpled to the 
 dust by every official bigot who could yell loudest against Pope 
 and Popery. Some of the visitors, in the present instance, were 
 ** The nobles of Spain," alluded to by Carolan. 
 
 JOHN JONES. 
 
 ' John Jones was a desce,ndant of Jeremy Jones, of Ardne- 
 glasse, and Bellaghy, in the county of Sligo, by Elizabeth, 
 granddaughter of Sir James Ware, the celebrated Irish anti- 
 quary. We are inclined to think that the present respectable 
 members of his name and family will be pleased to find so 
 handsome a mark of respect to one of their ancestors amongst 
 the Works of Carolan. Tradition has not preserved the name 
 of the fair one described, but that she eventually gave it up for 
 that of.her admirer, may be reasonably inferred from the ardent 
 manner in which he addresses her. We shall be disappointed, 
 or this will become a charter song among their descendants, 
 and follow them 
 
 " Like echo attending the voice whence it grows." 
 
 It was considered advisable to adapt the metre to Cardan's 
 sweet air of *' Young Terence M'Donogh," which will be 
 found in Vol. I. of Bunting's collection of Irish Music. 
 
 GRACEY NUGENT. 
 
 * Gracey Nugent is one of the only four of Carolan's 
 
 poetical compositions that have been published. It has 
 
 hitherto been honoured with two versions, one in Walker's 
 
NOTES. 121 
 
 •* Memoirs of the Irish Bards," and the other by Miss Brooke 
 in her ** Reliques of Irish Poetry "; but many have thought that 
 there was still ample room left for another. It is not to be 
 wondered that an unfavorable opinion should have been 
 formed of our bard's poetical talents, when judged through the 
 medium of translations entirely destitute of the liveliness and 
 spirit which so peculiarly mark his compositions. Here, how- 
 ever, must be excepted the few given by Miss Brooke, and 
 Baron Dawson's sprightly paraphrase of" Bumper Squire Jones." 
 I have in vain sought for the original of this excellent song, 
 which Walker terms "one of Carolan's most brilhant effusions." 
 
 Gracey Nugent " was sister to the late John Nugent, Esq. 
 of Castle Nugent, Culambre. She lived with her sister, Mrs. 
 Conmee, near Balenagar, in the county of Roscommon, at the 
 time she inspired our bard." — Waiker. 
 
 This delightful air will be found in Bunting's collection of 
 Irish Music, Vol. I. 
 
 In the second verse, line 5, the word 5e<^n<^TYibuil should, 
 in grammatical accuracy, be 5eATi<^mhl<^, but the poet was 
 obliged to adopt the former, in order to preserve the harmony 
 of the verse. 
 
 MILD MABLE KELLY. 
 
 * Mable Kelly is one of the finest of Carolan's poetical 
 pieces, and, for the reason contained in the preceding note, 
 it has been translated for this work. This beautiful effusion, 
 combined with others in this collection, will deservedly place 
 Carolan in a more elevated position as a poet than he has 
 hitherto held. The metre adapted by Miss Brooke was rather 
 unhappily chosen. It is the same as that in which Phillips 
 versified the celebrated Ode of Sappho, and seems to have 
 been selected Jn consequence of the striking resemblance be- 
 
122 NOTES. 
 
 tween the first line of the Greek and Irish poems. The trans- 
 lation of Sappho runs thus — 
 
 Happy as a god is he, 
 Til at fond youth, who placed by thee. 
 Hears and sees thee sweetly gay. 
 Talk and smile his soul away. 
 
 Carolan, as translated by Miss Brooke — 
 
 The youth whom fav'ring Heaven's decree 
 To join his fate, my fair ! with thee ; 
 And see that lovely head of thine 
 With fondness on his arm recline : 
 No thought but joy can fill his mind. 
 
 Even in this translation our favorite bard need not tremble at a 
 comparison with the beautiful relic of Grecian genius. 
 
 I hope to be pardoned for extending this note, by a few 
 words concerning the great Irish family of which Mable 
 Kelly was a member, though unable to ascertain, with 
 any degree of certainty, to which branch she belonged. — 
 The O' Kelly family was descended from Colla da Chrioch, 
 brother to Colla Huais, king of Ireland, A. D. 327. Its 
 chiefs were princes of Hy Maine, a Western district, compre- 
 hending the Northern parts of the county of Galway, and 
 Southern parts of the county of Roscommon. The principal 
 stocks were those of Aughrim, Gallagh, and Mullaghmore. 
 From those so many branches from time to time spread over 
 Ireland, that in the words of De Burgo, " vix enim, aut ne 
 vix quidem pagum aut villulam reperire est, ubi Kellius aliquis 
 non adest." Many respectable families of the name at present 
 enjoy considerable estates in the territory of their ancestors. 
 
 A passage in this song has been adduced to contravene the as- 
 sertion that Carolan remembered no impression of colours. 
 
NOTES. 123 
 
 Thy soft cheeks disclose, 
 The mixed lilly and rose, 
 that soul speaking eye. 
 
 ** How is it possible," says his fair encomiast, ** that his 
 description could be thus glowing without he retained the 
 clearest recollection, and the most animated ideas of every 
 beauty that sight can convey to the mind." many other pas- 
 sages, equally forcible and beautiful, occur throughout his 
 poems, which strengthen this conclusion. The observation on 
 the line in which he so pathetically alludes to his want of sight 
 is just and elegant. It concludes thus — " but indeed his little 
 pieces abound in all the riches of natural genius." 
 
 The music of Mable Kelly is published in Mr. Bunting's 
 First Volume. Carolan composed other musical pieces for the 
 members of the O'Kelly family. 
 
 THE CUP OF O'HAllA. 
 
 ' Kian O'Hara, Esq. of Nymphsfield, in the county of 
 Sligo, whose descendant, Charles O'Hara, is governor of that 
 county, and one of its Members in Parliament. This respect- 
 able gentleman is in possession of a remnant, worth some 
 thousands annually, of those estates which have been in the 
 possession of his ancestors for upwards of 1550 years. 
 
 One of the wisest measures which could be adopted by the 
 British Government, after Catholic emancipation, in order to 
 secure the pacification and consequently to promote the pros- 
 perity of Ireland, (if the latter be an object) would be to pro- 
 mote a few of the aboriginal families to places of honor or 
 emolument in the several counties or districts of the country. 
 This is advanced in perfect earnest. The veneration of the 
 
124 NOTES. 
 
 people for the Milesian families, or even for those who can trace 
 connexion with them, can hardly be conceived by our English 
 brethren. To this day they weep over the political downfall of 
 the ancient gentry of the land. '* To whom, my friend, did 
 that castle,'' pointing to a ruined edifice near Gort, in the 
 county of Galway, *' belong in former days?'' I enquired of a 
 poor man, who lived in a wretched cabin on the road-side : 
 *' To the O'Shauhgnessys," he replied, with a deep sigh ; ** The 
 heir is in France, he has been expected as long as I can remem- 
 ber, but, alas ! I am now old, and I fear he will never return." 
 Such a people, possessed of such feelings, deserved very dif- 
 ferent treatment from that which they have experienced forages 
 past at the hands of England. 
 
 I will not assert that " O'Hara's full cup" is superior to 
 Anacreon's beautifully decorated bowl, yet there is something- 
 in the former more congenial to the taste of an Irishman. 
 
 If a full cup was Carolan's delight, and few knew how to 
 prize one better, it may be reasonably inferred that he was a 
 sworn foe to an empty one. This he has shewn in the fol- 
 lowing impromptu, describing an indifferent reception which he 
 once experienced at the house of a rich farmer : 
 
 5iéui* u-^he chum <^ bheich buAn, 
 l3e<^n ch]tu<^6h <^''|* ipe<^|i 5^11 c<^]tc; 
 
 'Y <^ léi3e<^nn Ai]t cl<^|i <^ bh-^pAb. 
 
 A little store they had, and it would seem 
 
 Both had resolv'd that far that store should go ; 
 
 The dame a pinching shrew I well might deem — 
 No sense of thirst the husband deign'd to show ; — 
 
 A cup, half filled, lay idle and undrain'd, 
 
 For out of reach all night that cup remained. 
 
NOTES. 125 
 
 PEGGY BROWNE. 
 
 * The female here celebrated was daughter of George 
 Browne, the hospitable owner of Brownstown, in the county of 
 Mayo, an ancient and respectable family of the West of 
 Ireland. The noble houses of Sligo and Kilraain, and the fami- 
 lies of Castlemagarrett and Brownstown, in Mayo, and Moyne, 
 in Galway, are now among the principal of the name. 
 
 George Browne was married to the daughter of Mac Sweeny 
 chief of his tribe, Carolan, who never omitted testifying his 
 respect for the aboriginal Irish, particularly addressed the 
 lovely object of his encomiums, as " the fair and beauteous 
 daughter of Mac Sweeney," — '^l inshln [Vlheic Yuiblme, <^ 
 |iuÍTi 6hil, c<l]acb<'vi5h me" In the Memoirs of the venerable 
 Charles O'Conor, a curious instance of Irish hospitality is 
 related. — " In the parish of Kilmurry, and county of Cork, 
 the Mac Sweeney's set up a stone near Clodagh, on which they 
 inscribed in Irish, an invitation to all passengers to repair for 
 entertainment to the house of Mac Sweeny." The hospitality 
 of Brownstown, however, with less ostentation, was considered 
 more genuine. To Mac Sweeny all strangers were welcome 
 with an invitation ; to George Browne they were heartily wel- 
 come without one. Competitions of this kind are peculiar to 
 Ireland, and honorable to its children, who are well-known, 
 in the exercise of this virtue, often to go beyond their means. 
 In this respect they are diametrically opposed to the wealthier and 
 more favored natives of our sister isle. Much is it to be wished 
 that this fine impulse were expanded into the yet nobler one 
 of national love and friendship between the two countries ; that 
 the only competition between them would be to promote, 
 mutually, the happiness and prosperity of each other. Sed 
 Diis aliter visum est. The demon of religious discord is abroad 
 — but we cannot trust ourselves further with this subject. 
 
126 NOTES. 
 
 ^ " Like wild fairy music they melt on the air*^ 
 y^5li-cheol. Fairy music, is sometimes heard along the 
 delightful, but unfrequented hills and vales of our island, where 
 these gentle beings love to reside. It is frequently mentioned in 
 our poems and songs adapted to strains sweetly correspondent to 
 the aerial melody which they imitate. Some of our fairy legends 
 have been given to the world, but the tiny actors themselves yet 
 want an historian. The most celebrated of their kings are, 
 Finvar, whose principal residence is at Knockmagha, in Con- 
 naught; and Macaneanta, who holds his court at Scraba, in 
 Ulster. It is not our intention here to meddle with their 
 affairs. The reader who may be curious on the subject is 
 referred to[the elegant and entertaining account of the Fairies of 
 Scotland, given in the ** Minstrelsy of the Scottish Border," 
 by Sir Walter Scott. Well would it have been for our Irish 
 elves, had their destinies favored them with so noble a deline- 
 ator. 
 
 Contrary to our intention we inust again allude to Finvar, 
 the fairy ruler of Knockmagha. This is a conspicuous hill in 
 the county of Gal way, and at the foot of it stands Castle- 
 hackett, the charming residence of the Kirwan family. It is 
 very confidently believed throughout this part of the country, 
 and that not entirely by the lower classes, that a friendly inter- 
 course has, for time immemorial, subsisted between the heads 
 of this family and their neighbour Finvar. According to the 
 testimony of the domestics, the king and his elves frequently take 
 a carouse in the wine celler ; but, in return, it is whispered that 
 they copiously replenish the casks, which here have never been 
 known to run dry. The principal proof of this intercourse, how- 
 ever, remains to be told. This family has long been noted for 
 preserving a superior breed of racing cattle. The late respect- 
 ed proprietor of Castlehackett, John Kirwan, for nearly 
 half a century took the lead at the Curragh of Kildare, where 
 his horses were almost always victorious. This success was 
 unequivocally attributed to his friend Finvar. The latter and 
 
NOTES. 127 
 
 his people, as the grooms solemnly averred, dressed in red 
 jackets, took the horses out on nightly excursions, but to recom- 
 pense their owner, they unfailingly endowed them with such 
 surprizing fleetness that no racer, except one rode by a fairy 
 jockey, could keep pace with them. Idle, indeed, would be 
 his task who would undertake to question the truth of these 
 relations. Many other adventures are related of Finvar, but, 
 anticipating the full consent of the reader, they are postponed 
 for; the present. 
 
 This Fairy digression nearly caused us to omit mentioning, 
 that '* Peggy Browne" has been translated to the favorite old 
 air of " Molly Bawn.''— Mary Fair. 
 
 GEORGE BRABAZON. 
 
 ^ This lively sally of Cardan's muse was composed for one 
 of the predecessors of Sir William John Brabazon, of Brabazon 
 Park, in the county of Mayo, baronet, descended, with the 
 Earls of Meath, from Sir William Brabazon, Lord Treasurer 
 and Lord Chief Justice of Ireland, in the reign of Henry VIII. 
 Catherine Brabazon, (surnamed boech an bo\i<<<iy — "of the 
 parting cup," from her hospitality) sprung from the ancient 
 family of Burkes', of Glinsk, baronets, and wife of Malby 
 Brabazon, of Ballinasloe, grandson of the Lord Treasurer, is 
 yet remembered for her many virtues. 
 
 It has been found rather a difficult task, in the translation of 
 this song, to preserve the peculiarity of the measure, and at 
 the same time convey an idea of the inimitable spirit of the 
 original. These points, however, have been in some degree at- 
 tained by adapting the first four lines of each stanza to a par- 
 ticular measure, and the remainder to the well known humorous 
 turns of " Paddy O'Raflferty," reversing the order of the air. 
 This is one of the many instances in wliich it has been found 
 impossible to follow Cardan's music by English words. 
 
128 NOTES. 
 
 ' " Than Norrall and Dunmore their spoits and their pleasurei.** 
 The former is a small town in the county of Galway, ancient- 
 ly the residence of the Bermingham's, barons of Athenry, one 
 of whom, the fifteenth in descent, told Sir Henry Sidney, in 
 the reign of Elizabeth, " that he was as poore a baron as lyveth, 
 and yet agreed on to be the auntientest baron in this lande." — 
 Sidney's Letters, I, 105. Norrall was the seat of the Ma<i 
 Ranells (from whom the name Reynolds,) feudatory chiefs of 
 Munter-Eolus, an old family of great repute, ** now represent- 
 ed,'' says Charles O'Conor, ** by George Mac Ranell, of 
 Letirfian, in the county of Leitrim, Esq." 
 
 BRIDGET O'MALLEY. 
 
 * The versatility of Carolan*s genius and the correctness of 
 his judgment appear to us as fully established even by the 
 few specimens contained in this volume. The reader 
 cannot but be impressed by the difference of style, manner, 
 and sentiment, which pervade these compositions, particularly 
 such as are addressed to the male and female subjects of his 
 praise. The liveliness, spirit, and expression of the former 
 present a striking contrast to the soft, sweet, and flowing melody 
 and tenderness of the latter. This is fully exemplified in his 
 " George Brabazon," and " Bridget O'Malley." The latter 
 is not inferior to any in the collection, and coupled to the sweet 
 air *' Lough Sheelin," presents a combination of music and 
 poetry which has seldom been surpassed. 
 
 The O'Malley's are a highly respectable aboriginal family of 
 Ireland. The celebrated " Grana Weal" (Grace O'Malley) 
 was daughter of the chieftain of this name, in the days of 
 Queen Elizabeth. Some curious notices of this famous heroine 
 will be found in another part of this work. My esteemed 
 friend, Sir Samuel O'Malley, baronet, her descendent, enjoys 
 
NOTES. 129 
 
 a large portion- of the estates of his ancestors in the west of 
 Ireland. This is perhaps one of the most ancient tenures in 
 Europe. 
 
 • SHANE GLAS. 
 
 * This little rural song has been long attributed to Carolan, and 
 though not entirely satisfied as to its authenticity, yet 1 have 
 admitted it, as possessing some striking features of resemblance 
 to the general offspring of his muse. It is said to have sug- 
 gested the idea of the popular English song, " The humours 
 of Donnybrook Fair." Both are to the same Irish air, the 
 " llo5<^iite buhh/' Englished, " Black Joke."— Shane Glas 
 means, literally. Green Jack. 
 
 JAMES PLUNKETT. 
 
 * Carolan never prostituted his muse to party politics, or 
 religious bigotry. Though attachment to the ancient faith and 
 families of Ireland was the ruling principle of his heart, yet he 
 could discern the virtues, and celebrate the praises, of those 
 who dissented from the one, or claimed no connection with the 
 other. This heiias evinced in his " Planxty Payton," " John 
 Jones," " George Brabazon," the present, and several other 
 instances. 
 
 James Plunkett, of Bunenedin, in the County of Sligo, to 
 whom this handsome tribute was paid, was one of the most 
 accomplished youths of his time. At this period, the Irish 
 
 VOL. I. K 
 
130 NOTES. 
 
 language was studied as an indispensible part of the education 
 of an Irish gentleman, and was at the same time, spoken by 
 all classes in the west of Ireland. This explains the following 
 passage in the first stanza — 'Pu<^i|i oibe<^Y — ^^\í 5^<^oibheil5 
 bh]ie<<5h, lionihch<^.— ** He was instructed in the fine polished 
 language of Ireland." 
 
 The " Meeting of the Waters," is the sweet air selected for 
 the translation of " James Plunkett." 
 
 NANCY COOPER. 
 
 ^ The original answers the comparatively modern, though 
 well known Scotch air, " The Flowers of Edinburgh." This 
 may lead to the recovery of the air which Carolan composed 
 for the present words. Who " Nancy Cooper" was, I have 
 not been able to ascertain. 
 
 ^ For wihw^ 6e<^]'<^, the poet should have written hh6j\ bhe^y 
 the genitive plural, but he was obliged to adopt the singular, 
 in order to preserve the correspondence of the verse. The 
 general grammatical accuracy of Carolan's compositions, 
 considering his inability to study Irish as a written language, 
 |)roves the correctness with which it was spoken in his time. 
 
 With this song, I close Carolan's lyric compositions, 
 though in possession of several others, not inferior to most of 
 those here given. Should the present meet with that reception, 
 which it is, perhaps rather fondly, thought they merits the re- 
 mainder may, at some future period, be given to the world. 
 
NOTES. 131 
 
 CAROLAN'S MONODY ON THE DEATH OF HIS 
 WIFE, MARYMAGUIRE. 
 
 This aíFecting Elegy, was published in Walker's Memoirs, 
 with a paraphrase which made some atonement to the shade of 
 Carolan, for the versions of " Planxty Stafford" and " Gracey 
 Nugent/' given in the same publication. The Irish and 
 English readers are now enabled to form a judgment 
 of the relative merits of that paraphrase, and the present 
 translation. 
 
 This Monody, and the following Elegy on Mac Cabe, are 
 the only specimens of our bard's elegiac compositions with 
 which I am acquainted. They present him before us, in a new 
 character, but in such a one, as he will be found to sustain 
 with all the genius of the true poet of nature. Simple and 
 unadorned, they breathe the genuine language of unaffected 
 grief. He drew from his heart, and gave expression to the 
 anguish which he there felt, at the loss of all he held dear in 
 this world, the wife of his bosom, and the valued friend, whom 
 supposing dead, he so pathetically termed " the sight of his 
 eyes." In these effusions, he appears in a more advan- 
 tageous light, than, even when surrounded by an admiring 
 auditory, in the most joyous moments of festivity, he poured 
 forth those melodious strains, which will render his name 
 immortal. 
 
 That Carolan was a man of irreproachable morals, and even 
 of a religious turn, we have been already assured by the best 
 authority. The following little prayer, or rather pious stanza, 
 has been attributed to him ; how truly I know not. It has 
 however,^ been considered worth preserving. — 
 
 7i pÍ5h n<^ 3 cjieuclic ! pu<^i]t éu5 <^ in-b<^]t|t <^n ch]tAtnn, 
 "lix epoibhe bo chleibh bo peúb<^6h le l<<imh (^n ixCill, 
 
 k2 
 
132 NOTES. 
 
 "Pml bo 5béu5 bo ché<^chc ói\\i c<^lÁTnh 'r\^ linn ; 
 '^lijt yc<^ic]i 60 fcéiche bei|i ^^em 50 p<^|i]idi<^y finn ! 
 
 Oh ! king of wounds ! Oh ! son of heaven ! who died 
 
 Upon the cross, to save the things of clay ; — 
 Oh ! thou whose veins pour'd forth the crimson tide, 
 
 To wash the stains of fallen man away ; — 
 Oh! thou whose heart did feel the blind one's spear. 
 
 While down to earth the atoning current flow'd ; 
 Deign gracious Lord ! thy creature's cry to hear ! 
 
 Shield me, and snatch me to thy bright abode. 
 
 CAROL AN'S LAMENT OVER THE GRAVE OF 
 MAC CABE. 
 
 Carolan's friendship for Mac Cabe, and the incident which 
 gave rise to the present instance of it, have been frequently 
 related. The latter was a humourist, and sometimes exercised 
 his wit in good natured sallies on his sightless friend. Once 
 meeting him after a long absence,, he disguised his voice, 
 and "accosted Carolan as a stranger. In the course of con- 
 versation, the dissembler insinuated, that, he had come from 
 Mac Cabe's heighbourhood ; on which Carolan eagerly en- 
 quired, did he know one Charles Mac Cabe, " blfibb (^ichne 
 C|t^cb <^5<^Tn <^i]t,^' I once knew him," replied Mac Cabe. 
 *' How once, what do you mean by that," says Carolan. " I 
 mean, answered the wag, *' that this day se'n night, I was at 
 his funeral." Carolan, shocked and moved by this melancholy 
 news, dictated the above little Elegy, on his friend; who, 
 soon after, assumed his proper voice, and rallied the good 
 natured bard, on bis giving such a sincere proof of his 
 affection for one, who had so often made him the butt of his 
 wit. — Walker. 
 
NOTES. 133 
 
 The « le<^b<^bh be 'n ch\é bhíbh cúmh<^n5," " The narrow 
 bed of clay," will bring Ossian's "narrow house" to the recol- 
 lection of the reader. The third stanza of the above, being a 
 play on words, could not be translated. The original of this, 
 and the following Elegy, are given in Walker's and Miss 
 Brooke's publications, but in a very confused and incorrect 
 manner. 
 
 MAC CABE'S ELEGY ON THE DEATH OF 
 CAROLAN. 
 
 Mac Cabe, afterwards lived to mourn over Carolan, and 
 has shown himself not undeserving the friendship which he 
 enjoyed. " The circumstances," says Miss Brooke, ** which 
 gave rise to this Elegy, are striking, and extremely affecting." 
 Mac Cabe, had been an unusual length of time without seeing 
 his friend, and went to pay him a visit. As he approached 
 near the end of his journey, in passing by a church-yard, he 
 was met by a peasant, of whom he enquired for Carolan. 
 The peasant pointed to his grave and wept. 
 
 Mac Cabe, shocked and astonished, was for some time un- 
 able to speak; his frame shook, his knees trembled, he had 
 just power to totter to the grave of his friend, and then sunk 
 to the ground. A flood of tears, at last, came to his relief; 
 and, still further to disburden his mind, he vented its anguish 
 in the following lines. In the original, they are simple and 
 unadorned, but pathetic to a great degree. — The conclusion of 
 this Elegy, reminds us of Dr. Johnson's Epitaph, on Claude 
 Phillips, the Welch Musician : — 
 
 Sleep undisturbed within this peaceful shrine, 
 Till angels wake thee with a note like thine. 
 
134 NOTES. 
 
 The compositions of Carolan intended for this work being 
 now concluded, it may be seen that in the few observations I 
 thought it necessary to make, I have altogether avoided any 
 allusion to the merits of the translations. From this pleasing 
 part of my duty I have abstained, lest feelings of acknow- 
 ledged partiality and admiration for a valued and talented 
 friend, should lead to expressions which might give a moment's 
 uneasiness to a mind as delicate as it is refined : but the beau- 
 ties with which his translations abound are too obvious, they 
 stood in need of no comment from me. I commit them, there- 
 fore, with confidence to the public. For myself, I shall ever 
 esteem it a source of pride and satisfaction to have been in- 
 strumental in associating the talents of Turlogh O'Carolan and 
 Thomas Furlong, men whose names will be remembered while 
 taste and genius shall be respected in the land of their birth. 
 
BACCHANALIAN ADDENDA 
 
 TO THE 
 
 REMAINS OF CAROLAN. 
 
ADDENDA. 
 
 After the contents of the four parts which compose these vo- 
 lumes had been distributed, the three following articles remained 
 undisposed of, and as they had been considered worthy of pre- 
 servation, and appeared to partake somewhat of the sprightly 
 character of Carol an's muse, it was determined to place them 
 immediately after his ** Remains." Irish compositions of the 
 Bacchanalian class, are numerous, and many of them excellent. 
 These given here, have been selected, not as possessing superior 
 claims to poetical notice, but for presenting, in so many points 
 of view, the subject which they describe with such exquisite 
 humour. The first, is a tolerably good specimen of our jovial 
 effusions; the second, an ingenious satire on our extra-jovial 
 propensities ; and in the third will be found a lively des- 
 cription of an Irish merry-making of the olden time. Taken 
 together, they exhibit some striking features of national cha- 
 racter. 
 
 It is well known, that, in former times, Ireland was distin- 
 guished for temperance and sobriety. At more recent periods, it 
 became noted for some of the opposite vices. Cambrensis, 
 Camden, who viewed the country not even '* uno oculo," 
 and other English writers, who seldom omitted any opportunity 
 of vilifying the Irish ; in summing up their virtues and vices, 
 have never charged them with drunkenness or intemperance. 
 Dr. Samuel Madden, who published some Essays on Ireland, 
 
138 IRISH MINSTRELSY. 
 
 about a century ago, " and whose name/' says Dr. Johnson, 
 " Ireland ought to honour " tells us, that, " Many men can 
 remember, when we were as remarkable for our sobriety, as 
 we are now for rioting and drunkenness. Dr. Madden's 
 political and religious prejudices, prevented him from pointing 
 out the cause of this sudden metamorphosis. In the common 
 cant of his day, he ascribes it to Pope and popery; but, he 
 well knew, had he the candour to state the fact, that, it owed 
 its baleful origin to the impoverishment of the country, to the 
 oppressed and degraded state of the main body of the people. 
 Wilfully passing over the cause, he takes care, however, mi- 
 nutely to describe the effects. ** We drink," says he, ** as 
 Tacitus describes the old Germans, night and day, and though 
 we have poisoned our bodies, and debauched our minds, though 
 we have enriched our enemies, impoverished ourselves, and 
 undone our wretched country, yet to comfort us, this may be 
 said for our honour, that we have got the character, of bearing 
 our national miseries with the best grace, nay, and of being 
 the most boon companions, and the fairest drinkers of Europe," 
 and concludes, by presenting a hideous picture of the" poverty, 
 idleness, misfortune, and misery which too many of our people 
 languish under,*' the consequences, he might have added, of 
 English domination, and of penal laws. Not satisfied, with 
 depriving the old proprietors of their ancient estates, or content 
 with driving forth myriads of Ireland's noblest sons, as 
 branded wanderers over the face of the earth, the malignancy 
 of English laws, and English taskmasters, reduced to the 
 situation here described, the wretched sojourners, who were 
 declared to exist in the country, only by legal connivance. — 
 Great is the retribution which England owes this ill-treated 
 land. May the errors of the past be remembered as warn- 
 ings for the future. 
 
 Since the relaxation of the penal laws, great and general 
 amendment has taken place in Ireland. Habits of intemperance 
 
BACCHANALIAN. 139 
 
 have gradually declined among the middle classes of society, 
 but unfortunately, still largely prevail over the lower orders. 
 Here also they vrill disappear, when, on the abolition of the 
 impious remnant of that degrading code, security shall be in- 
 creased, and property extended, the latter flowing like the blood 
 from the heart, and revolving to its source, continually preser- 
 ving and invigorating the entire system. Of this truth, a forcible 
 illustration has been given by Mr. Coxe, an intelligent English 
 traveller: '* A PoHsh nobleman, Zamoiski, in 1760, eman- 
 cipated six villages, in the Palatinate of Masovia. While the 
 inhabitants were in a state of servitude, he was occasionally 
 obliged to pay fines for disorders committed by them, for in a 
 state of drunkenness, they would attack, and sometimes kill 
 passengers : since their freedom, he has seldom received any 
 complaints of this kind against them." — This fact, applied to 
 Ireland, speaks volumes. May our " wise and enlightened" 
 legislators profit by it, and eff'ect on a larger scale, what the 
 patriotic Polander so happily achieved on a smaller. If not 
 actuated by a desire to promote the prosperity of Ireland, and 
 consequently to secure and perpetuate the stability of the Em- 
 pire ; may they, at least, feel for the degradation of their 
 species; and, by an act of legislative justice, prevent our poor 
 countrymen, from exhibiting themselves any longer, as drunken 
 helots to the derision of the world. 
 
1 4)0 IRISH MINSTRELSY 
 
 11 V)-uiTci&i)e cí)]ioi6í)€ <^'ii 
 
 21 IvUiycibhe ch|idibhe ti<^ n-Anm<^ríTi, 
 
 Xe<^5<^nn cu <^i|t \Á\i me, 
 Mbiiim 5<^Ti cTiéill 5<^n <^iclnie, 
 
 b'íbheí^HTi Tno c}ioc<^ YC|t<^c<^ibhche, 
 
 ^I'y biobh <i n-be^jiTiAi]* m<^ichTYilie le<^r, 
 ^Ichc ce<^Ti5Tnh<^ibli liom <^ Tn<<v]i<^cli. 
 
 ^In ui<^i]t eiybYibh cuy<^ <^ti c-Aidi-pitionn, 
 
 IVy bheibh bo y}i<^ilm |t<<Libhce, 
 6éiTi-p ioTi<^b-coin5eliom, 
 
 IVy ze^r\-^m\\6.ibh horn ^ b-CT5h An c^b]i<^iiine ', 
 4|<^|t A bb-Tpeicijt c<<vi|tc A'y CTi<^5<^i|ie, 
 
 %'X ^^^ ^ b-c6iTi <^Ti bhA^iiK^ile, 
 
BACCHANALIAN. 141 
 
 WHY, LIQUOR OF LIFE !^ 
 
 TRANSLATED BY JOHN D»ALTON, ESQ. 
 
 The Bard addresses Whiskey, 
 
 Why, liquor of life ! do I love you so. 
 When in all our encounters you lay me low? 
 More stupid and senseless I every day grow. 
 
 What a hint-^If Fd mend by the warning ! 
 Tattered and torn you've left my coat, 
 I've not a cravat — to save my throat. 
 Yet I pardon you all, my sparkling doat ! 
 
 If you'll cheer me again in the morning. 
 
 Whiskey replies. 
 When you've heard prayers on Sunday next, 
 With a sermon beside, or at least — the text. 
 Come down to the alehouse — however you're vexed. 
 
 And though thousands of cares assault you : 
 You'll find tippling there — till morals mend, 
 A cock shall be placed in the barrel's end. 
 The jar shall be near you, and I'll be your friend. 
 And give you a " Keadmille faulte /" 
 
142 IRISH MINSTRELSY. 
 
 Och ! mo yco]! <^5uy mo ch<^]t<^ cú, 
 
 |71o ifTnu|t A^uy mo bhii^clK^nt, 
 [71 chíiijíc, mo chisli, mo cli<^l<^m]i cii, 
 
 |71o ch|iu<^cli <k-^u.x mo yc^c<^, 
 |7lo cli|ie<^bh<^b}i, mo dieuchb, mo ch<^pAill cu, 
 
 [71 bhK 'y mo dK^o'Tjie 5e<^l<^ cu, 
 '^I'y di<^]t 5<<lcli m6h b'^jt <^|nmm5lie<^i* 
 
 6o chon3bh<^i6h me-p p<^i|tc Xe<^c. 
 
 ^y <^ mliui|tTim mhumce, mhd|"5<^lAicb, 
 
 l-f c<^ichTie<^mbdch 6o ph65 liom, 
 ^^ biúlcui5h -poy bo'm chAitch<^nTi<^clir, 
 
 ^Vy 5U|i be'n chme<^bh choiji me : 
 leAn<lTi-fÍ5]ie le<^m '^mí\ d'y ]lum, 
 
 t)|t<<ich<^iia 5<^oil bAmb b|t<^én be'n c-f utr, 
 Ix c^iitbe<^)--c]tio]T b<^mh boul op puncb, 
 
 ^Vy ce<^Ti5mb<^ibh liom b'^ cbo]tmbbe<^clic. 
 
 ly iombb<^ b|tm5bm A'y e<^cb]t<^Tm 
 
 l3b^bh edb|i<^mTi le ^t^iche, 
 '^lchc Tií pb<^Ti<^TiTi bjton <^m <^i5ne, 
 
 '4l-uÁi]t líoTic<<|i cbúc<^m <^i|t cU|i cu: 
 
BACCHANALIAN. 143 
 
 The Bard resumes his address. 
 
 You're my soul, and my treasure, without and within, 
 My sister and cousin, and all my kin ; 
 'Tis unlucky to wed such a prodigal sin, — 
 
 But all other enjoyaient is vain, love I 
 My barley-ricks all turn to you, — 
 My tillage — my plough — and my horses too, — 
 My cows and my sheep they have — bid me adieu, 
 
 I care not while you remain, love ! 
 
 Come, vein "^ of my heart ! then come in haste. 
 You're like Ambrosia, my liquor and feast. 
 My forefathers all had the very same taste — 
 
 For the genuine dew of the mountain. 
 Oh, Usquebaugh ! — I love its kiss ! — 
 My guardian spirit ^ I think it is, 
 Had my christening bowl been filled with this, 
 
 Fd have swallowed it — were it a fountain. 
 
 Many's the quarrel and fight we've had. 
 And many a time you made me mad. 
 But while Fve a heart— it can never be sad. 
 When you smile at me full on the table: 
 
144 IRISH MINSTRELSY. 
 
 |71o bhe<^Ti d5UTf mo le<^Tib]i cu, 
 [71 c:hoz^-mo]\. 'y mo ]lápipe]i cu, 
 
 6^ l3li-):uil <^ b-c<^lÁTnh Ci|te<<;.n, 
 le^^nn 6!x b]t<^nnb<^5 <^'f uiYce-be<^ch<^, 
 
 llchc TK^ch b-cd5<^nTi <^n cl^|t<^éicc liom ; 
 t)|tOTiTi<^iTn f ub bo'n n-€<^5lui]'5 
 
 |71<^]t ly Tno|t mo bhuil 'y d' m-be<^nbui5hdie<^chr, 
 'T 5^T^ mlK^ich leo b|i<^én bo bhl<^i]fe<^bli bhe, 
 
 6* e^x <^iclip|tmTi bo léu3li<^bh bhmnn. 
 
BACCHANALIAN. 145 
 
 Surely you are my wife and brother — 
 My only child — my father and mother — 
 My outside coat ^ — I have no other ! 
 Oh ! I'll stand by you — while I am able. 
 
 If family pride can aught avail, 
 
 I've the sprightliest kin of all the Gael 
 
 Brandy and Usquebaugh, and ale ! 
 
 But claret untasted may pass us. 
 To clash with the clergy were sore amiss, 
 So for righteousness' sake I leave them this, 
 For claret the gownmen's comfort is. 
 
 When they've saved us with matins and masses. 
 
 VOL. I. 
 
Ié6 IRISH MINSTRELSY. 
 
 
 "Y^ TYio cli|te<^cli ! be<^n che<^nn<^i5he n<^ -peile ! 
 
 'pi^bi^ liom-'r<^ c^im bo '6 éu5ni<^i)-, 
 
 ^Y m |:li<^c<^ibli me o'ti n-i^in-yo n-be zhu, 
 
 ^t li-ion5Ti<^6h 6hdTnh-f<^ bheich 5ho 6éu]t<^cli, 
 
 ^T S'^T^ P^% ^^ ^ 5-cioTm mo bli<^ bhli<^6h<^m 6éu5 diú, 
 
 ^y n<^ch Ti-6e^]tTK^]* ]tidmh b'<^c}i]tÚ5h<^61i chéile, 
 
 ChioTin mé^\í bo bhéu|tch<l mo choil -pem b6jY\h, 
 
 'T "S^V^ T^<^oil me n<^ch yc^\ii^^mr\ 50 }i-éu5 le<^c. — 
 
 <^^ h-e ro <^mb<<m m<^ich b*K r]-6é<^Ti^<l6íi, 
 
 •^In cé blíí6he<^|" bocbc 60 shníbh cú )*<^í6hblnp, 
 
BACCHANALIAN. 147 
 
 ODE TO drunkenness; 
 
 BY THOMAS FURLONG. 
 
 Oh ! drunkenness, spouse belov'd, where dost thou stray? 
 
 Here in thy absence stupidly I pine; 
 For since we parted this time yesterday, 
 
 Och ! many a black and bitter thought was mine ; 
 I wedded thee all freely and light hearted, 
 
 Ere I had counted even to my twelfth year ; 
 I lik'd thee^ — for each ugly care departed, 
 
 Each big blue devil ^ flew off when thou wert near ; 
 I vow'd all constancy, and kept my vow. 
 But Oh ! sweet spouse, what signifies it now ? 
 
 Wide is thy range, but greater still thy power, 
 A worker of wild wonders siu'e thou art ; 
 
 Strange are thy freaks in that most merry hour, 
 When the full cup comes forth to warm the heart ; 
 
 Oh ! many a miracle thou hast effected, 
 
 Where jolly ones at table Avere collected. 
 
 l2 
 
148 IRISH MINSTRELSY. 
 
 'Y <^n ce bhi<^bh b]túibe<^Tnhuil bhi<^6h ye mémTie<^mh<^il, 
 'Y <^Ti ce bliK^bh c]tu<^bh 60 5lilu<^iy]:e<<^6h peile <^tih, 
 Tin z-e bhi<^bh Y<^Tic<^ch5 <^Tnyc<^ibli, ]-<<v05li<^lc<^5 
 bliK^bh ye 5|te<^Tininh<^|t, 1ponTimli<^]t, TnéAbb]t<^c}i. — 
 
 'Y TiK^ich bo mhum cu bb<^Tnli <^ bbeich c|téib}ie<^c]i, 
 21 b-ce<^n5<^iTi mo Tiili<<vch<^]t 'y Ann 5<^ch béu[ílA, 
 '^lnoT)-, ):<<]i<^oiji! 5Íbh c<^o'iTn 5<^ti <^én )Tmb ! — 
 
 ■ 5'inrieoi*<^iTm p<^i]tc be'b dnieiblnbh ; 
 1)* u<^iyle cu ^on^ fiol €<^bh<^, 
 'Y bo hh€\x\iy^bh bu<^bli Ai\i 'plie<^]i<^ibh €i]ie<^Ti, 
 Tin c-e bhíbheí^]- cmni bo 5liTííb]i cú b<^och e, 
 7in c-e bbibbei^i* 65 bo sliTiibh cu <^o)'b<^, 
 IVy 05 <^\(\y <^n te ^y leiche. — 
 
 l)u<^bb be<^5 oile tk^cIi Innfim ^íém o\vc, 
 
 <{]^ yhK^h^nn cu locbc Aijt le<^b<^ nK <^iit é<^b<^ch, 
 
 ^i pe<l]tit le<^c 6<n bo\iuy 'n^ An 5b<^bh<^l-é<^b<^iTi. — 
 
 '^ln c|i<lcb b'ei|i5Kíb AmAch A Ti-bi<^ibh an vbéuiT<^, 
 yiubhUib An oibbce 50 }i-<^i5e<^Tic<<.di <^éb}i]i<^cli, 
 
BACCHANALIAN. 149 
 
 Chang'd by thy touch, the poor quite rich become, 
 
 The low get lofty, and the timid bold ; 
 Cripples get legs — speech bursts upon the dumb, 
 
 And youth and vigour bless the weak and old ; 
 The smile of joy steals o'er the face of trouble. 
 And folks, with hardly half an eye, see double. 
 
 By thee the miser's purse is open'd wide ; 
 
 The dolt, the dunderhead, thou renderest witty ; 
 Tis thine to lend meek lowliness to pride. 
 
 Or melt the stony selfish heart with pity ; 
 Even old hell-daring weather-beaten sinners, 
 When mov'd by thee, in grace become beginners. 
 
 How oft have I, dear spouse, inspired by thee, 
 
 Pour'd the full tide of eloquence along ; 
 How oft have other wights been chang'd like me, 
 
 Now up now down, defending right or wrong ; 
 
 Subtle thou art, and valourous and strong. 
 'Tis thine to loose the slave, or bind the free. 
 
 To paralize with age the limbs of youth ; 
 
 Void of all guile, with thee dwells barefac'd truth. 
 
150 IRISH MJNSTRELSY. 
 
 '^ly bí6li^<^Tin Yce<^ll chl<^b<^iit <^i]t 5<^cli c<^ebh bipbli, 
 luislie <^5Lii* cob1iil<^ bu6li cbuTri<^feh c^ n-beAn^^^bb, 
 l)*ion<^rm leo <^ii mhoin <<^'xl^\i <^n |téibbci5, 
 b' ion<^nn leo <^titi ^íbedjtcbAinri Á.'y ):Ayc<^cb 'ti<^ Ti-é<^b<^n. 
 
 ^i b4poll <^ b-<^irbjn'][Tbe<^|t bo 5b<^olc<^; 
 
 ^í ]t<^ibb niAc b'íleíí)* o 1ocbb<^|t €i|te<^n^ 
 
 '^<^ch |t<^ibb bo 5b<^ol l^iy cjte ti<^ cbeile. — 
 
 Yiuji 1 6ombn<^ill, <^'r pú|t 1 'l^éill cu, 
 
 Ymjt jVldc 5wiblii]t 6 iTne<^l tiA h-^iitne, 
 
 Yiú]i |7lheic |\/l^cb5b<^Tribii<^ ti<< ri-e<^<ib léiTnne<^cb, 
 
 Yiú]t uí 6ui5bcbe le n-buí]^5cbibbe béi5b-5bri'íomb, 
 
 Yiuit uí Cboncbubb<^i]t o iTne<^l n<^ b-Citionn, 
 
 Ym]i ui ]lu<^i|tc <^5ui* yú\í in |X<^é5b<^ll<^i5b^ 
 
 'X <^n i<^]tl<^ bhibb ybi<^|t 5<^ti {^en locbc : 
 
 ly l<i[ilA CbilV-b<^|í5bA, bubb 5<^]t <^ cbéim buic, 
 
 Yiii|i Ui '^Innlui^iTi bb<<i|t|t An z-ylhhhe, 
 
 yiú]t jVlbeip '^lén5UY<^ 6 Cb<^ol <^n &y^e, 
 
 Yia]t ui ChoniK^ill <^ n<^ll o '^Incituim, 
 
 Ymji m Cb<^cb<liTi <<<^ux ym\i |Vlbeic ymbbne. — 
 
 ym\i 5<^cb fcocbcújt<^, <^5ui* ymp 5<^cb li<<vi5h cu^ 
 
 Yiii|t 5<^cb C|iúp<^0]t<^ <^5iAT P^^P 5<^cb Y<^i3hbiúi|i, 
 
BACCHANALIAN. 15 í 
 
 No friend art thou to sly hypocrisy— 
 
 Thy sway prevades each station and degree; 
 
 Thee boor hath hail'd thee with a sleepy song— 
 O'er many a conquered conqueror hast thou smil'd. 
 And even the guide of realms thou turnest to a child. 
 
 Little thou heedest where thy head is laid, 
 
 To thee the bog is as the bed of doWn ; 
 Little thou mindest how thy clothes are made, 
 
 Small thought hast thou of cloak, or cap, or gown ; 
 For points of form thou carest not a pin. 
 But at the chimney would as soon come in, 
 iVye ! just as soon as at the opening door — 
 The pelting rain may drench thee o'er and o'er, 
 The storm — the snow— the hail around may fall, 
 Still ! still, my fearless spouse, thou smilest at them all. 
 
 To many an ancient house art thou allied,^ 
 Oh ! many a lordly one thy claim must own ; 
 
 The soul of valour and the heart of pride, 
 
 Must stoop all humbly where thy face is shewn. 
 Wide round the land thy relatives are known, 
 
152 IRISH MINSTRELSY. 
 
 yiujt TYihofi mo\i bo luchc bl^he €i]te<^TiTi. — • 
 
 Xiújt b<^Ti n-65 5<^cli neoiTi b% hh-^eub^é<bh, 
 Ym]t bAn n-biomli<^om <^5 luibhe 'y <^5 éi]t5Kíbh3 
 yiujt b<^Ti yKio]- <^i]t^ochb<^|i yleibbe. — 
 
 '215U]* 5<^ol |io mhoji <^5 e<^5lui)- fee le<^c. — 
 
 ly <^^[ibe Tfbu<^Y cu 'r\^ ti<^ ^Taéufichd, 
 
 1]* mo 50 TYiojt CÚ 'n<l Cnoc-5TiéiTie, 
 
 'Y b1bh cu^rioll <^Ti U 'ti<^ bbéish vr\.— 
 
 Xo v^'b cliu<^irnTn ! 'Ay ^i<^ ^^'^ |teiblice<^ch í 
 
 1[ Uti Y <^ti chup<<n <^'r ^^ibh me iteibh le<^c. 
 
BACCHANALIAN. 153 
 
 The chiefs of might, O'Donnell and O'Neill, 
 
 Mc. Guire, O'Rorke, Mc. Mahon, and O'Connor, 
 Kildare's old earl, that pink of worth and honour, 
 O'Hanlons from the mountain and the vale. 
 Fair Antrim's chiefs, O'Connell * and O'Keane, 
 And hundreds more that must unnam'd remain. 
 All these, though haughty, and tho' high they be. 
 These, darling drunkenness, are allied to thee. 
 
 Nor these alone— each doctor in the land. 
 
 Each strutting soldier, drest in red or blue. 
 Each minstrel, and each poet, takes thy hand, 
 Lawyers and ladies, and the clergy too. 
 Knockgraney's head * — the sky so fair to view — 
 Than thee at moments seem not more sublime. 
 But low thou liest again in little time : 
 Fill up the cup, may victory be thine own. 
 Go where thou wilt — for thee I'll live alone. 
 
154 IRISH MINSTRELSY. 
 
 
 le'|t mhK^Tin 5it<<;.^ii <^ citiche ; 
 
 ^<^ch bh-jpml 'x ^^^ c-]*l<liTice cliéAbn<<v ! 
 
 l)hi<^bht<^ic]l5 l)]iíí^ic}i]aicli3 b}i|no5liTnli<^i|t • 
 ly b'Tpu<^cli<^f c]t<lch 5Ach yuÁ]t-iOTii]t<<bíi, 
 2li|i cbu<^lAchc bh|ie<l5li nA tijte. 
 
 yi^inre ui <{]eúl, ui fchomhTK^ill chleibb, 
 '^I'y yliocbb n\ b-CijtTie |rio5bb}i<^, 
 
 'll'y 5<^cli <^ bh-^ml beo 'y <^ti |71uTyili<^iTi mho\i 
 be yhlioclib <^r\ ]loi5li indc jVHiile 3 
 
BACeHANALIAN. 155 
 
 MAGGY LAIDIR.^ 
 
 BY THOMAS FURLONG. 
 
 Here's first the toast, the pride and boast. 
 
 Our darling Maggy Laidir; 
 Let old and young, with ready tongue. 
 
 And open heart applaud her ; 
 Again prepare — here's to the fair. 
 
 Whose smiles with joy have crown'd us ; 
 Then drain the bowl — for each gay soul, 
 
 That's drinking here around us. 
 
 Come friends dontfail — to toast O'Neill, 
 Whose race our rights defended ; 
 
 Maguire the true — O'Donnell too, 
 From eastern sires descended j 
 
156 IRISH MINSTRELSY. 
 
 ' 5^^^^ ^ bh-^uil <^ 6-c<^l<^Tnli <^icTne |V|}i(liiie, 
 yiKn cfie yhe<^]tc 60' n 6-c<^o1bh-i*iTi. 
 
 1i TTK^o'in, <^ 5-cl<^nn, 'yd n-6to5hl<^6h. 
 
 lion 6j\ Tnhe<^b<^i|t 6o'n Ti-<<i]tb-e<^ybo5, 
 
 5|i<^bh A'v ye<^]tc n<^ n-6<^o1ne ; 
 Vion <^n Tnlie<^6<^i|i bo'ii ii-<^ch<^i]t ]ie<kzi:^\i, 
 
 Yo <^n ce<^5<^Y5 pijie : 
 6^ cbu^^ch^ c]ti cii]t<lin 6o'n n-<^cli<^i]t Coín^i*, 
 
 1]* bínn <^ clioTnli]i^6b b^le^y y 
 YcK^ll ^'x c<<vTiTi<^ bo'n n-dch<^i|i Ce<^ll<^ich, 
 
 6i<^ b'<^ cbe<^5<^y5 cboibhche, 
 
 Hon <^n T5<^1<^5 yo bb<^o1bb yl^mce, 
 
 Ullc<^icb b<ln<^<^'r ITlmmbmcb ! 
 yi^mce lA^shmcb, <^n lucbb meAbbiK^cb, 
 
 7Vx Cbonn<^cbc' n<^ mé^-^hbeé^n y^^mh^oh ! 
 lion <^n cb^c<^ lei)- <^n )3<^l<^ ; 
 
 '21 ni-b|te<^ll 50 b-<l|tb <^i|t bbí^o'ícbibb, 
 le'jt mbK^nn €ifte cbl<^óíbb 50 b-éi5ce<^|tr, 
 
 21 6bi<^, bibb cjieun le 5<^ébbUibb ! 
 
BACCHANALIAN. 157 
 
 Up ! up again — the tribe of Maine, 
 
 In danger never fail'd us ; 
 With Leinster's spear for ever near. 
 
 When foemen have assail'd us. 
 
 The madder fill '^ with right good will. 
 
 There's sure no joy hke drinking — 
 Oar bishop's name — this draught must claim. 
 
 Come let us have no shrinking -, 
 His name is dear — and with him here, 
 
 We'll join old Father Peter ; 
 And as he steers thro' life's long years. 
 
 May life to him seem sweeter. 
 
 Come mark the call — and drink to all 
 
 Old Ireland's tribes so glorious, 
 W^ho still have stood — in fields of blood. 
 
 Unbroken and victorious : 
 Long as of old, may Connaught hold 
 
 Her boast of peerless beauty ; ^ 
 And Leinster shew to friend and foe. 
 
 Her sons all prompt for duty. 
 
158 IRISH MINSTRELSY. 
 
 5<^ch Tie<^ch náoh ^li^6.b}\, cldoibh 'juf b]ton Á^i, 
 
 yi<lince choip Ti<^ h-€i|ieAri ! 
 [Title 5)1^111 6^\í, y^^e^n 'n<^ 5h<^|i|t<^6b, 
 
 pi<^Ti A'r pU5li<^ €i5ipc ! 
 
 *2l'|* é Aijt miy^e c1i<^ol-uT]*5e, 
 
 •2:1 Ti-6Mr Vibe <^'r peine ! ' 
 
 0i5-ipTn]t ioTnl<<n<^, 5<^^^blAc}i, 
 IPeuycA p]te c}il<^iin<^ [Vlile, 
 '^I'l* peuybd cli]toí6he n<^ ^éilej 
 
 ^Vy uile 6h<<^nTih n<^ n-fceiche ; 
 ^u^<^ buAii IVlbilepuy. 
 
 &é<^Ti<^Tn 5<^i]a6e<^if5 coy<^ 'n-<li|tbe5 
 
 6v\|t n-boTnbn<^cb, thm-fi Aijt meiyse ! 
 
 &<^TYib<^]* M^i^^^^^^^^i V^ 5-CIIÁ1I1C cb|ti6 linn ! 
 Yo <^n c-<^oibbTie<^y clifbe ; 
 
BACCHANALIAN. 159 
 
 A curse for those, who dare oppose 
 
 Our country's claim for freedom ; 
 May none appear — the knaves to hear, 
 
 Or none who hear ^em heed 'em : 
 May famine fall upon them all, 
 
 May pests and plagues confound them, 
 And heartfelt care and black despair, 
 
 Till life's last hour surround them. 
 
 May lasting joys attend the boys 
 
 Who love the land that bore us ; 
 Still may they share such friendly fare. 
 
 As this that spreads before us. 
 May social cheer like what we've here. 
 
 For ever stand to greet them ; 
 And hearts as sound as those around. 
 
 Be ready still to meet them. 
 
 Come raise the voice ! rejoice, rejoice, 
 
 Fast, fast, the dawn's advancing ; 
 My eyes grow dim—but every limb 
 
 Seems quite agog for dancing : 
 
160 IRISH MINSTRELSY. 
 
 [Tlofi <^ 5-clu 'y <^Ti ]áin5ce ! 
 ^e<^|t5h<^ll5 6únlÁm5, ^e<^chc<^in clúice<^cb, 
 50 |t<^ibh <^ ]*Ú5|i<^6]i cínnce ! 
 
 % bh\6.\lm6.^b slu^^iy, 'y A Cli<^iMi5 <<^^\í lii<^'y ! 
 
 Yo 6xi yu^\\ice<^x í^oíbliiiiTi ; — 
 ^t Ch<^ch(^ill Tnhoi]t, <^ 6bom1iTi<^ill 015, 
 
 C<^iC|aioTi<^ dun, 50 b|iio5bmb<^|t5 ce<^mi, 
 t716|i<^'r |71e<^bbbb <k\ beibbionn ; 
 
 C<<i l[iox <^5 \»r\-^c:e6.bh, coip 'nd cinicbe<^ll ; 
 Oil ! oil 1 ly compilin cbleibb p ! 
 
 ^l '2ler!5mt c]ioí6be, <^ fyib^5bnuiy bbuibbe, 
 
 'X <^ lAh^^Me bbinn, 'y <^ T^^^^, 
 le ceol <^ m-beul, cu]t ceoibb <^i]t cbeub, 
 
 5<^Ti bli]aon no é<^6 <^ n-6<^oiiie : 
 Yemn bbuinn )*ce<^n5C^Ti, p'lob 6Jy ,cionip<^n^ 
 
 Yo <^?i cboTvib-5b<<vi|i 3bleo|t<^cb ! 
 yub ojic <^ cb<<vi]t6e<^r ! t^^ 5<^cb U le<^c^ 
 
 6<^[i p<^5b ly b]ae<<5b <^ti Y]do]ic fo ! 
 
BACCHANALIAN. 161 
 
 Sweet girls begin, "'tis shame and sin. 
 
 To see the time we're losing ; 
 Come lads be gay — trip, trip away, 
 
 While those who sit keep boozing. 
 
 Where's Thady Oge ? — up Dan you rogue, 
 
 Why stand you shilly shally ; 
 There's Mora near — and Una's here. 
 
 And yonder's sporting Sally ; 
 Now frisk it round — aye, there^s the sound 
 
 Our sires were fond of hearing ; 
 The harp rings clear"* — «hear, gossip hear ! 
 
 O sure such notes are cheering. 
 
 Your health my friend ! — till life shall end, 
 
 May no bad chance betide us ; 
 Oh ! may we still, our grief to kill, 
 
 Have drink like this beside us; 
 A fig for care !-*but who's that there. 
 
 That's of a quarrel thinking ? — ^ 
 Put out the clown, or knock him down. 
 
 We're here for fun and drinking. 
 
 VOL. I. M 
 
162 IRISH MINSTRELSY. 
 
 Yo ojic <^ Cbém^ ly binii 60 bheul, 
 
 r^K 6j\ bulc^n b[te<l5h, bIi|ii05liTnh<^|t, 
 óo'ri bh<^lbh bbeiji senn, bo'n b1i<^c<^ch lenn, 
 
 'ZItk^tti cléibh, i)* bjiuishm yo ! 
 le<^5 <^n YC|toinye ! poy ):<l'n Tn-bo|a6 lei]* ! 
 
 bhui* yo <^Ti ipo5liTnli<^]t fi05bb1i]i<^i5]i ; 
 Ij- Tne-p -péin, m<^c p|te o'^Jeill^ 
 
 hhK ^ojt d]ie <^5 ]<io5li<^6h. 
 
 |71o 5]i<^el 5<^n che^ibh, ti<^ c|iéTi-):hi]i, 
 |71<^c 2ier\-^\i\y úi]i, |71<^5ui61n]t ti<^ ]t<^mi, 
 
 inif clilúice<^ch €i|nie ; 
 0'CeAll<<ic}i cleibb, O'ConchúbhAijt cjtéuri, 
 
 '21'y yliochc b]t<^Ti6uibh <^Ti |iu<^i6h-Yliléiblie, 
 
BACCHANALIAN. 163 
 
 Tie up his tODgue — am I not sprung 
 
 From chiefs that all must honour ; 
 The princely Gael, the great O'Neill, 
 
 O'Kelly and O'Connor ; 
 O'Brien the strong, Maguire whose song 
 
 Has won the praise of nations ; 
 O'More the tough — and big BranduiF, ^ 
 
 These are my blood relations ! ! ! 
 
 M 2 
 
NOTES 
 
 BACCHANALIAN ADDENDA 
 
NOTES. 
 
 WHY LIQUOR OF LIFE. 
 
 ' English writers on Irish affairs, have servilely copied each 
 other, caeci caecos, in succession, from Girald Cambrensis to 
 Daniel Dewar. They have had a fruitful source of invective 
 in what they were pleased to term the demoralized state of the 
 Irish peasantry ; and this mis-statement they always took care 
 to put forth, as a sort of excuse for the cruel treatment that 
 devoted class received from its English task-masters. That our 
 persecuted countrymen were remarkable beyond other people, 
 for strict adherence to moral rules, is not pretended ; but, that 
 they were not inferior to any other, is a fact too well attested 
 to require proof here ; and when we consider the nature of the 
 laws under which they groaned for centuries, whose general 
 tendency it was to reduce the Irish people below the common 
 standard of humanity, that fact, will remain an honourable 
 testimonial in their favour to future ages. 
 
 For prowess in drinking, the Irish have been often compared 
 to the boors of Germany and Holland, and it must be con- 
 fessed, that, in this as in other pursuits when they apply 
 themselves, they soon become distinguished proficients. This 
 pernicious custom, as already shown, is but of late growth in 
 
168 NOTES. 
 
 Ireland, It originated among an impoverished people, who 
 were sunk and degraded in their own estimation, by the opera- 
 tion of laws founded on bigotry, and administered with par- 
 tiality and injustice. The Irish are, if any people ever were, 
 excusable for this propensity. They were driven to it by op- 
 pression, and continued it from habit. — The fascinating qualities 
 of Irish whiskey, Peter the great's favourite wine, are well 
 known. In the use of this enticing beverage, even our 
 English friends, frequently become '^ Hibernis Hiberniores," 
 when they visit Ireland, During the late wars, the English 
 soldiery, when ordered hither, felt delight at the anticipated 
 idea of cheap intoxication in Ireland ; and Paddy, with cha- 
 racteristic hospitality, always took care to soften down their 
 prejudices by copious libations of his " liquor of life," which 
 too often proved to them liquor of death, by too frequent 
 potations. Even royalty itself, has owned its potency. One 
 of our " staunch" protestant ascendancy aldermen, thought he 
 could not evince his zeal in a stronger manner, than by pre- 
 senting his sovereign with a few hogsheads, as a sample of 
 Irish loyalty. As for poor Paddy, his " good nature" for the 
 " native" always overpowers him. Like Boniface in the play, 
 he eats, drinks, and sleeps on his whiskey. It is often his 
 only breakfast, dinner, supper, and, in the words of our song, 
 his '' outside coat." Saving, he never thinks of, and accu- 
 mulation is out of the question. He generally sings : — 
 
 Co]toinn <^|ii<^nih ti<^ ycilli nn 
 
 |s/li bhe<^]in<^ibh me 6he ch]iuiTme<^f, 
 
 '2lchc léi5e<^TiTi 60 plle<^bh 
 
 |71<^|i 6h|iuch6 <^i|t <^n bhipéu]t. / 
 
 Or, with Anacreon : — 
 
 To^e fjiiot ^óvov TO xsf^o 
 
NOTES, 
 
 169 
 
 Hence the immediate cause of his poverty and wretchedness, 
 but our wise legislators seem determined that he shall be in- 
 dulged in his career, at the cheapest rate ; not, of course, 
 with any sordid view to paltry revenue, but to increase Pat's 
 comforts : and while potatoes continue to be the necessaries, and 
 whiskey the luxury of his life, surely it would be cruel to tax 
 them ; besides, the trifle he pays for leave to lose his reason 
 by whiskey, is applied to save his soul by bibles. Kind and 
 compassionate legislators, continue to supply him with both ; 
 thus you will at once consult his temporal and eternal welfare, 
 leave to the world a monument of your superior wisdom, 
 and by thus promoting the prosperity of Ireland, and 
 placing her above temptation, deter America from audaciously, 
 perhaps successfully, making love to her on some future 
 occasion. 
 
 Under such auspices, is it surprising that Paddy should 
 praise his whiskey, as in the humourous effiision before us, 
 and in numerous others interspersed throughout the country. 
 The present appears to be the production of some repentant 
 rake, whose praises are intermingled with keen satirical 
 touches, which seem the result of poignant reflection. It may 
 be necessary here to remind the reader, that after the destruc- 
 tion of the old Irish families by Cromwell, Charles II. and 
 William III. of England, there were thrown in a state of 
 utter destitution on the world, a vast number of younger sons, 
 cousins, nephews, &c. all gentlemen, with abundance of family 
 pride, but a proportionate lack of worldly means. Their ancient 
 estates being possessed by English adventurers, several of those 
 deprived individuals, who were too proud to remain paupers in 
 their native land, entered into the service of foreign states. 
 Of those who remained at home, many were long after known 
 by the name of '' roving blades ;" while others of more ardent 
 dispositions, under the appellations of Tories and Rapparees, 
 became the terror of various districts. The latter class is 
 extinct. The former has been thus described by a modern 
 
170 NOTES. 
 
 writer : — " A race of gentlemen, as they call themselves, who, 
 too poor to support themselves, are, however, much above 
 any commercial or manufacturing profession. I have known 
 some of them without home, wander for months together from 
 house to house, without the ceremony of an invitation. They 
 ate and drank freely every where, and it would be deemed a 
 great infraction of hospitality, to shew them by any indication 
 that they were not welcome." To this roving fraternity, many 
 of whose members are still remembered under the appellation 
 of " Bucks," belonged the hero of our song, who seems, like 
 most of his countrymen to have been gifted with more wit 
 than prudence. The composition is a finished picture of such 
 an Irish character. 
 
 ^ The original does not quite warrant this epithet, but we 
 believe our tour d'expression is national. — T. 
 
 ^ I am no enemy to puns, they sometimes operate like the 
 little gods of laughter, that Lycurgus set up in every Spartan 
 home, yet I must assure the reader, that if this word presents 
 such a quibble of wit, it is not a child of mine. In the 
 original, the line is '* Gin and rum are my fetch, my familiar 
 spirit," (lei^n^n,) I will not presume to say that the conclusion 
 of this stanza is so literal ; but, without some few liberties, 
 it were quite impossible to humour the genius of -the one 
 language, and maintain the structure of the other. — ^T. 
 
 * This singularly arch address may remind the Bacchanalian 
 student of Cicero's celebrated encomium on study; but, 
 while I write these lines where that orator's countrymen were 
 once triumphantly encamped amidst all the sublimities of 
 St. Vincent's rocks, I have no opportunity, and I confess, but 
 an equal quantity of willingness, to employ time in iden- 
 tifying the illustration. Verbum sat. — T. 
 
NOTES. 171 
 
 This species of Irish poetry, is replete with wit. The 
 original humour of the following lively passage, in the well 
 known song, Cailin deas chruidkte na m-ho, will be felt by 
 every Irish reader. — 
 
 y)<^cA 6-c]ti 5-C0C <^ in-biAbh ^zm\\i 6m(í, 
 ^V^yxy Tn<^i5 é<\\\. 6< nunn 'cum CT5he <^ti oil. 
 
 The lover of Irish whiskey can best supply the comment on 
 the following lines, in the concluding stanza of the same com- 
 position. — 
 
 fco bbibh me-p l<^5, Tn<^|tbb, price, 
 
 T 5^^ biáÍ5b Ann mo choiy ti<^ A'm Idimh. 
 
 ODE TO DRUNKENNESS. 
 
 ' The original of this ode, is much, and deservedly ad- 
 mired. It was composed by some unknown bard, or in Irish 
 phrase 'pile ei5m, in the latter part of the seventeenth century, 
 when the practise it describes so well, was beginning to spread 
 among the broken down and oppressed Irish. In the year 
 1792, a translation was published by Charles Wilson, a youth 
 of promising genius, who, afterwards repaired to the great 
 theatre of Irish talent, and Irish disappointment, London ; 
 where, in essaying 
 
 To climb 
 
 The steep where Fame's proud temple shines afar," 
 
 he sunk, like most of his countrymen, unnoticed and unknown. 
 The following passage in his translation, has been often 
 praised : — 
 
172 NOTES. 
 
 " At tM^elve years old I felt thy charms, 
 Thy very name my bosom warms ; 
 Wed to thy sweets, I cannot rove, 
 And age thy beauties will improve. 
 Oh ! with thee blest beneath the shade, 
 In vain dull cares my breast invade ; 
 When win'try storms would freeze my blood, 
 You add new vigour to the flood : 
 The purple flood that swells my veins, 
 Or else when summer clothes the plains, 
 I seek the shelter of the shade. 
 If blest with thee, dear melting maid : 
 O never from my bosom part. 
 In thy soft durance hold my heart; 
 In vain without thee friends would smile. 
 And song the lingering hours beguile. 
 In vain the morn her sweets would shed, 
 ' And pleasure spread her downy bed ; 
 
 In vain the rose her tints unfold, 
 Or lilly spread her summer cold. 
 For thee, what would I not endure ? 
 Deprived of thee, the rich are poor ; 
 And who is poor of thee possest, 
 Thou dearest soother of the breast ? 
 The covetous, once touched by thee, 
 Grows generous to the last degree ; 
 The dumb, thou can'st with words inspire, 
 The brave, grow bolder from thy fire; 
 The song without thee now grows weak, 
 T ransparent as the silver lake. 
 Oh ! quickly on the board appear. 
 And all my drooping spirits cheer. ^ 
 Thy joys my ravish'd sense confound, 
 Soft leaping through thy crystal mound ; 
 What nymph with thee, say, can compare ? 
 Thy stream, the ringlet of her hair : 
 Thy crystal ray, what eye so bright ? 
 Transparent azure ting'd with light." 
 
NOTES. 173 
 
 The " versicle" of the poem, which has not been translated 
 for this work, is here subjoined with Mr. Wilson's version : — 
 
 71 mheii^e cb]aéi5cbe<^ch, bhéu)*<^ch, Tnh<^iYe<^ch5 yb<<;.mb, 
 
 fVle-p, 6. cbeile, bheich ^m <^on<^]t udir-p IK, 
 ly bAoi]* ceille á.\ céuY<^bh bu<^n <^ti fe^il. 
 
 How often on thy sweets I've hung 
 Thy charms shall oft employ my tongue; 
 Still let thy sweets my verse employ, 
 Without thee, what is human joy? 
 
 However smooth Mr. Wilson's translation may be, it wants 
 the spirit and humour of the author ; but, in Mr. Furlong's, the 
 English reader has the same advantage in these respects, that 
 the Irish reader possesses in the original. Our talented trans- 
 lator has here succeeded with his usual felicity. 
 
 ^ " Each big blue devil flew off when thou wert near." 
 This line is not literally warranted by the text, but the nature 
 of the stanza, will, it is hoped, excuse it. 
 
 ^ '' To many an ancient house art thou allied" 
 This allusion to the ancient Irish families, was conceived in 
 the spirit of genuine satire. At the period when the ode was 
 written, the habit of drinking, was becoming general among 
 them, from the causes already stated. They were, at the 
 time, considerably reduced from their former state of opulence 
 and dignity ; or, according to my learned friend. Counsellor 
 Matthew O'Conor, in his History of the Irish Catholics, they 
 ''were involved in one promiscuous ruin. Henceforth," con- 
 tinues he, '* they disappear from Irish history. Their descend- 
 ants had continued long known and revered, under a cloud 
 of poverty. A century of adversity, depression, or exile, 
 
174 NOTES. 
 
 obliterated every trace of them." The last sentence must, how- 
 ever, be taken in a qualified sense, perhaps, in a political one. 
 The ingenious Historian's own respectable family, is, at present, 
 one out of many distinguished exceptions. 
 
 * " Fair AntrirrCs chiefs, O'Connell and (fKeaneP 
 In some copies which I have seen, the original reads, 
 " yiuia UÍ Chomi<^ill An<^ll o l)]ieATiciii6he"— O'Connell of 
 Breantrye, in the County of Clare. The line, however, 
 as it stands in the text, is the true reading. The family of 
 Mac Donnell of Antrim was originally Mac Connall or 
 O'Connell. The following curious extract, relating to the first 
 of the name, in the North of Ireland, I have taken from the 
 original Irish Privy-Council Book of Queen Ehzabeth, preser- 
 ved in Dublin Castle.— 
 
 " Articles entered into, at the Campe near Dunluce in 
 Ulster, the 18th September, 1584, between Sir John Perrott, 
 lord deputy and the rest of the council there, and Donell 
 Gorme Mac Connell of the Glynnes in Ulster, reciting that 
 humble sute had byn made by the ladie Agnes Cambell wife 
 to Turloghe Lenoghe O'Neile, mother to said Donell Gorme, 
 and also by said Donell himselfe, that in respecte of his hum- 
 ble submission, and protestinge by his oathe his loyaltie and 
 fidelitie to her Majestic, the council would vouchsafe to accept 
 of hym, and not onelie to graunt unto hym to become a free 
 denizen of this realme, but alsoe that he might hold so much 
 of the Glynnes, as were the lands of Mysset alias Bysset." — 
 By the articles these demands were granted, "provided that 
 the said Donell or his heirs, or any of his followers or servants, 
 shall not serve any forraine prince or potentate within this 
 realme ; nor kepe any Scottes, hut suck as be natives of 
 Irelande, without lycense; shall serve with a rising-out, of 
 fower skore footemen within Ulster; shall not unlawfullie 
 intermeddle with any of the borderers of Ulster — shall paie 
 a yearlie rent of three skore good and lardge fatt beoves at the 
 
NOTES. 175 
 
 Nurie (Newry); shall always serve against Saverlie Bwoy 
 and any other forraine Scott ; shall preserve to the governor 
 of the realme, for the tyme beinge, all the hawkes, which 
 shall be breede in the Glynnes ; shall not drawe to him any of 
 the followers of Clandeboy, the Rowte or the Ardes ; and 
 shall in all things behave himselfe as a good and faithfuU 
 subjecte — Signed Donell Gorme Mc. Conald." — Such 
 was the origin of that great family, in the County of Antrim. 
 
 ^ Knockgreany — Cnoc Jjieme, the hill of the sun, in the 
 County of Limerick, from which '^toy JjteiTie, the small 
 County Barony, in that County. 
 
 MAGGY LAIDIR. 
 
 ^ This inimitable description of an Irish feast, was written 
 in the seventeenth century, by John O'Neachtan, author of 
 several poetical compositions in his native language, and is 
 now printed from a transcript made in the year 1706. It is 
 supposed to be delivered by the chairman, or president of the 
 meeting, and of such a personage the reader may be enabled 
 to form a tolerable idea, from a curious account of an individual 
 of the ancient family of O'Leary, given by Mr. Townsend, 
 author of the Statistical Survey of the County of Cork. 
 O'Leary long lived, and lately died at Millstreet, a small 
 town in the County of Cork, and he took a pride in being one 
 of the last of his countrymen representing old families, who main- 
 tained the ancient hospitable way of living. " He was known," 
 writes Mr. Townsend, " only by the name of O'Leary. He 
 lived in a small house, the lower part consisting of little more 
 than a parlour and kitchen, the former of which, properly 
 supplied with every article of good cheer, was open to every 
 guest, and at every season ; and, what will more surprise, this 
 profusion was accompanied with perfect cleanliness and 
 
176 NOTES. 
 
 decorum. His cellar, well stocked with good liquors, never 
 knew the protection of a lock and key ; for, as he said himself, 
 nobody had any occasion to steal what any one might have 
 for asking. It derived security, however, from other causes ; 
 from deference to his sway and respect for his person, both of 
 which were universally felt and acknowledged within the 
 circle of his influence. He was also a justice of peace for 
 the County. The appearance of O'Leary, was always suffi- 
 cient to maintain order in fairs and meetings, and to suppress 
 any spirit of disturbance, without the aid of soldier or con- 
 stable. He possessed, indeed, some admirable requisites for 
 a maintainer of the peace ; for he was a very athletic man, 
 and always carried a long pole, of which the unruly knew him 
 to be no churl. To these good qualities, O'Leary added an 
 inexhaustible fund of original humour and good natured cheer- 
 fulness ; and being very fond of the bottle himself, it was 
 impossible to be long in his company sad or sober." — In many 
 respects, O'Leary may be fairly taken as a genuine represent- 
 ative of the chairman of our Irish feast. 
 
 In point of composition, Maggy Laidir, is superior to 
 O'Rorke's Feast, so humourously translated by Dean Swift. 
 Here the chairman only speaks throughout. His first toast 
 is, old Ireland, under the name of Maggy Laidir.— then the 
 beauteous daughters of Erin — the ancient families of the four 
 provinces, Leinster, Munster, Ulster, Connaught — the clergy, 
 who have been always dear to the Irish — and finally, he wishes 
 disappointment to the foes, and success to the friends of the 
 Country. — After these libations, he becomes a little gay, and 
 must have music. He calls on the harpers to strike up. As 
 the glass circulates, conversation and noise increase. Finally, 
 a quarrel, inore Thracum, . ensues, which our elevated chair- 
 man, in the true Irish stile of commanding peace, orders 
 to be quelled, by knocking down the combatants, and he 
 concludes by alluding to his noble ancestry and kindred, to 
 enforce his claim to respect and obedience. 
 
NOTES. 177 
 
 The air as well as the words of Maggy Laidir, though long 
 naturalized in North Britain, is Irish. When our Scottish 
 kinsmen were detected appropriating the ancient saints of Ire- 
 land, (would that they rid us of some modern ones,) they 
 took a fancy to its music. Not satisfied with borrowing the 
 art, they despoiled us of some of our sweetest airs, and 
 amongst others, that of Maggy Laidir. This name signifies 
 in the original, strong or powerful Maggy, and by it was 
 meant Ireland also, designated by our bards, under the names 
 of Sheela na Guira, Grauna Weak, Roisin Duhh, ^c. By an 
 easy change, the adjective laidir, strong, was converted into 
 Lauder, the patronymic of a Scotch family, and the air was 
 employed to celebrate a famous courtezan of Crail. 
 
 Although Ireland was always famous for sanctity and 
 music, and could spare liberally of both, yet our country- 
 men ever felt indignant at the unacknowledged appropriation 
 of many of their favorite saints and airs by their northern 
 relatives. Now and then, some dauntless hagiographer ven- 
 tured to vindicate, and succeeded in restoring a few purloined 
 ascetics ; but, until lately, the Irish had other things, more 
 material than music to defend; and, it was not until Mr. 
 Bunting appeared, that any effectual effort was made to 
 rescue our national melodies from Scotland, and oblivion. 
 The Irish origin of Scotch music has been admitted by the 
 best informed writers on the subject. Mr. Ritson, however 
 merely thinks it "by no means improbable." Thompson, the 
 correspondent and friend of Robert Burns, in the preface to 
 his ** Select Melodies of Scotland," says, " Some airs are 
 claimed by both countries, but, by means of the harpers, or 
 pipers, who used to wander through the two, particular airs 
 might become so common to both, as to make it questionable, 
 which of the countries gave them birth."* The inspired bard 
 
 * Mr. Thompson records some curious anecdotes of Scotch music worth 
 laying before the reader. "The 'Banks and Braes of Bonny J)oon,' was 
 composed by a gentleman of Edinburgh, who had been jocularly told, that a 
 VOL. I. N 
 
178 NOTES. 
 
 himself, in a letter to Thompson, in 1793, mentions the 
 ** wandering minstrels, harpers, and pipers, who used to go 
 frequently errant through the wilds, both of Scotland and 
 Ireland, and so some favorite airs might be common to 
 both." Thus far only are the modern writers of Scotland 
 inclined to admit. If space allowed, I could here show the 
 Irish origin of several airs, claimed even by the respectable 
 names just quoted, but the fact may appear in the succeed- 
 ing notes to the original words of the airs alluded to. 
 
 Among the many wandering minstrels to whom Scotland is 
 acknowledged to be indebted for the importation of Irish 
 music, may be enumerated, in modern times, O'Kane, the 
 " famous Irish harper," as he has been termed by Boswell, in 
 his Journal of a Tour through the Hebrides, and Laurence, 
 brother of Thomas O'Couellan, a celebrated Irish composer. 
 The latter was born at Cloonamahon in the County of Sligo, 
 early in the seventeenth century, and died at Loughgur in the 
 county of Limerick, some time previous to the year 1700. After 
 his death, his brother Laurence went to Scotland, bringing with 
 him several of the deceased bard's compositions. Of these. 
 
 Scottish air could be produced by merely running the fingers over the black 
 keys of a piano-forte, which gave precisely the progression of the national 
 scale. — The much admired song, set to the Flow^ers of the Forest, beginning, 
 * Ive heard o' lilting,' written on the battle of Flodden, though it has been 
 supposed a production of that remote period, is said to have been written about 
 the year 1765, by a sister of Sir Gilbert Elliot, of Minto. — A short time 
 before the Teatable Miscellany, in 1724, it had become very much the fashion 
 in London, to write and compose songs and tunes in the Scottish style. Some 
 of these were adopted by Ramsey ; and, by this means, have obtained a place 
 among our popular airs, though they possess very little of the Scottish cha- 
 racter. The composers of those airs, from Doctor Green down to Doctor 
 Arne, seem to have adopted a kind of conventional style, which they chose to 
 call Scottish ; and, a good many of their airs having found their way into 
 Scotland, have become naturalized among us." — Preface. Had this ingenious 
 collector candidly made the latter admission, as to our Irish Melodies, he 
 would, indeed, have proved himself entitled to the character of a "sturdy 
 moralist." 
 
NOTES. 179 
 
 two, from their celebrity, deserve particular notice, viz. 
 ** Planxty Davis," since well known as the " Battle of 
 Killicranky," and a prelude to the " breach" of Aughrim, 
 universally admired under the name of " Farewell to Loch- 
 aber." According to tradition, O'Conellan composed upwards 
 of seven hundred airs, which he played on the harp ; but of 
 these comparatively few have been preserved. His cha- 
 racter, as a performer, may be ascertained from the following 
 little ode, said to have been addressed to him by a cotemporary 
 bard, whose name has not survived. 
 
 Olfe fcO'll C-yZlOl C0^<^bt)1ll\)})7i% 
 
 71 Yh'io5h<<.i6he, ]tu5 -|pio]i-5hn<^oibh 
 
 7V\ ^^lés^\l {^oin-c-yrisb "]phio|t-ch|ioi6he 
 
 4|<^ cceol ^.mé^ch, 
 !]• b1omh<^oÍTi yianyiCibhe 
 
 6' eiy cbiTnch'ibbe TiihAo]t6h<^í6he 
 to Tnbeojt l<^5, TH-b]t<^Y. 
 
 ^I'l mK^nn-chpoibbe <^5 pioshiK^lbhe 
 
 ^A b-€6[tp<^ <^i]t y^b, 
 ^<^c}i mínÍ5bche<^p le TrK^ech-ycitlb 
 
 6o Tnheojt 50 pjK^b, 
 Co cbl<^écbloí6hi|' pe ')p<^écbíoTnb, 
 
 ]\e 5e6in bo 5bldc, 
 21 Yhto5b<^ibbe, pinne po5hbbpu'Í5be 
 
 t|d pbU rhUb. 
 n2 
 
180 NOTES. 
 
 7i ch<^oÍTi-n, |ie TYi<^ochuÍ5}ie<^|i 
 Chum beojt 5<^ch 6e<^|tCj 
 
 Qi'y le bh-p<^oíyÍ5he<^TiTi clí-phi<^n 
 5<^c}i b]teo6}i-clioi|ip l<^5 ; 
 
 '21 lionAlbhe, \ie b' y]r\o-^}\^bhe6.chz 
 })h^me<<^X ceobh be yc<^i]tc. 
 
 ODE TO O'CONELLAN, THE IRISH MINSTREL. 
 TRANSLATED BY JOHN D'ALTON, ESQ. 
 
 Spirit of Minstrelsy ! 
 Supreme o'er Erin's bards thy sway. 
 To thee the silvery sounds belong, 
 The thrilling sympathies of song, 
 The warblings of an angel sphere. 
 That Europe's minstrels when they hear, 
 O'erpowered — enchanted — pine away- 
 And yield the palm to thee ! 
 
 In vain do mighty kings 
 Invite the world to bardic feats ; 
 To try the mastery of thy art, 
 To fire the soul or melt the heart ; 
 Immortal one ! thy glowing hand 
 The wilder music of the land 
 
 Hath silenced.— Echo but repeats 
 The magic of thy strings. 
 
NOTES. 181 
 
 And they — the gentle ones, 
 The fairy spirits of the hill, 
 That used to breathe so softly round 
 Our midnight dreams —ecstatic sound ! 
 Are silent all ; for only thou 
 Canst wring the tear, or smooth the brow. 
 And charm the heart's pulse with the skill 
 Of more than mortal notes ! 
 
 That this vivid description of O'Conellan's performance 
 on the Irish harp is not altogether the result of poetic fancy, 
 may be easily shown. Not to tire the reader with many testi* 
 monies of the power of this ancient instrument, I shall be con- 
 tent with one only, and that, perhaps, the latest, but certainly not 
 liable to any suspicion of prejudice or partiality. Mr. Gunn, 
 of Edinburgh, in his " Historical Enquiry respecting the per- 
 formance of the Harp, in the Highlands of Scotland," printed 
 in 1807, says, " I have frequently heard it related of O'Kane 
 the celebrated Irish harper, that he very commonly drew 
 tears from his auditors. During my residence at Cambridge, 
 Manini, our first violin, often spoke of the performance of 
 O'Kane with great rapture ; assuring me that, together with an 
 astonishing variety of other things, he could, although blind, 
 play with great accuracy and fine effect, the first treble and 
 bass of many of Corelli's concertos, in concert with the other 
 instruments." — The strains of Patrick Quin, an old Irish 
 harper, who performed publicly in Dublin in 1809, are still 
 remembered with delight. 
 
 ^ " The madder Jill with right good will.'' 
 The madder was a wooden drinking cup, formerly much used 
 in Ireland, but at present to be found only in the western 
 districts. 
 
182 NOTES. 
 
 ' " Long as of old may Cennaught hold 
 Her boast of peerless beauty." 
 CoTiTK^chc Ti<^ m<^i5hbe<^n yjidmlK^ch — Connaught of 
 beauteous maidens. — This province has been long celebrated 
 for female beauty. Limerick stands similarly distinguished. 
 It has been remarked by a witty French traveller, that the 
 *' vromen of Limerick are more celebrated for their beauty, 
 than the men for their understanding," but of him it has 
 been observed, that however qualified he might have been to 
 appreciate the former, he was too superficial to be able to form 
 a judgment of the latter. Very difí'erent is the description 
 of the men of Limerick given by my excellent friend 
 Mr. Me. Gregor, in his History of that city and county. 
 
 * " The harp rings clear. ^' 
 " Among the Celtic nations, the harp was in the highest 
 esteem. The great Theban harp in, and even before, the time 
 of Sesostris, was possessed of power that has made even 
 modern musicians doubt the authenticity of its history. But 
 in no country has the harp been in greater estimation than in 
 the British Isles. It has been the national instrument of these 
 countries. The Saxons were passionately fond of it — Dooms- 
 day Book mentions it— Bede is lavish in its praise. In Wales, 
 it is delivered down to us, that it was so requisite that every 
 gentleman should play the harp, that it was sent round after 
 supper to each person in the company, and that one who could 
 not execute on the instrument, slunk away from the banquet 
 ashamed of being unacquainted with the accomplishments of a 
 gentleman. In Ireland, the true land of the harp, its entire 
 history presents such an endless variety of anecdote, both of 
 the instrument and the bards, its masters, that it is unnecessary 
 to trace its antiquity amongst that people ; indeed one of the 
 first mentions of it, speaks of the two brothers, the leaders of 
 the Milesian Colonists, disputing which should have the 
 
NOTES. 183 
 
 harper, and which the poet." — Literary Register, October 
 2a, 1822. 
 
 Mr. Gunn, in the treatise before referred to, states "that 
 from the middle of the sixth until the end of the twelfth 
 century, singing to the harp was considered an indispensible 
 part of the education of the upper ranks of society ; and at 
 their festivals it was customary for the harp to be handed 
 round, and each of the company in his turn to sing to it— This 
 custom was introduced from Asia with the harp itself. It was 
 probably during this period that the separation of poet and 
 musician in the same person, at least, that the separate pro- 
 fession of a minstrel, or merely instrumental performer, took 
 place in Ireland." 
 
 The harp continued in general use in this island until the 
 middle of the seventeenth century. In an unpublished 
 History of Ireland, written about the year 1636, now remain- 
 ing in manuscript in the Library of the Royal Irish Academy, 
 Dublin, we are told that, " the Irish are much addicted to 
 musick generally, and you shall find but very few of their 
 gentry, either man or woman, but can play on the harp ; alsoe 
 you shall not find a house of any account, without one or two 
 of those instruments, and they always keep a harper to play 
 for them at their meales, and all other times, as often as they 
 have a desire to recreate themselves, or others which comes to 
 their houses, therewith." — During the troubles after 1641, 
 when a war of destruction was waged against every thing 
 Irish, Lynch, in his Cambrensis Eversus, informs us that the 
 harp was broken by soldiers wherever it could be found, and 
 adds, " the memory of its form and materials will be unknown 
 and lost to our immediate posterity." The war of 1688, which 
 completed the downfal of the ancient Irish families, also 
 silenced their national instrument. A solitary harp might 
 occasionally be heard emitting mournful sounds over the fallen 
 fortunes of the country, but it was no longer in general use. 
 It seems to have been destined not to survive its masters. It 
 
184 NOTES. 
 
 is not, perhaps, going too far to say that, but for the patriotic 
 exertions of Mr. Bunting and the gentlemen of Belfast, in 
 1792, and of the talented but eccentric John Bernard Trotter, 
 in Dublin, in 1809, the Irish harp would now be numbered 
 with the things that were, and *' the memory of its form and 
 materials" preserved only by the antiquary or historian. 
 
 ^ In the *' feast of O'Rorke," translated by Dean Swift, 
 a similar passage occurs : — 
 
 'llch<^i]t n<^ n-5]t%d cebe chiipe<^bh <^ti 5h<^yp<^i6h, 
 
 Good Lord, what a sight ! after all their good cheer, 
 For people to fight in the midst of their beer ! 
 
 From this admitted propensity of the Irish, (although it is 
 well known to be one of the many evils resulting from their 
 political degradation,) an English antiquary, well skilled, as 
 may be supposed, in the matter, employed many words and 
 some learning, to prove us descended from the ancient Thra- 
 cians. For this purpose he adduced the excellent lucubrations 
 of that admirable essayist, Doctor Ledwich, in his antiquities 
 of Ireland, and the equally good authority of Horace: — 
 
 Natis in usum laetitiae scyphis 
 Pugnare, Thracum est. 
 
 But leaving this important point in the hands of such 
 able investigators, we choose rather to address our fellow 
 countrymen in the succeeding words of the same poet : — 
 
 Tollite barbarum 
 Morem, verecundumque Bacchum 
 Sanguiueis prohibete rixis. 
 
NOTES. 185 
 
 6 " O'More the toughf arid big Brandvff, 
 These are my blood relations." 
 The ancestorial pride and inflammable composition of the 
 old Miiesians, are humorously described in this poem. The 
 following fragment, by Hugh M'Curtin, containing a similar 
 description, is intended for the Irish reader.: — 
 
 7ln r<<<n dieibhib pn le ceim 'n <^ y5u<^nie <^5 ol, 
 "^i -peibiii <<v n-éiyce<^chc le pu<^iTyi <^ n -56011 ; — 
 lln cAn chéichpib <^ Tii-béul<^ <^ 5-=cu<^chdibh ceoch, 
 beibh <^ Ti-5<^él le 5<^cli Aen be'n Ti-ii<^iyle ly mo. 
 
 feé<^|t):<^y <^Ti b|t<^éb<^i]aeiif bu<^ibhe<^]tcb<^ be'n 5-coip ; — 
 " ^y me yem <^'y tho cheile ly u<^iyle <^i|t bojtb; 
 }X Cibhijt, TYK^c €ibb]tic bo 5blii<^i)* mo phojt, 
 IVy zK 3<^él <^5 u6. <{]eúl, b<i]í 6u<<.ch ! le [Tloji." 
 
 l)éA]iTp<^ibbe<^|i <^Ti c-éiclie<^ch 5<^ti -piK^it^^bh bho ; 
 7Vx beibb ]^éice <^5 5<^cb <^eTi <^c<^ ]*u<^)- 'n <^ bboib ; 
 piéu|'5^<^ib <^ cbeile le cu<^|i5<^bb ycjioic, 
 'Y ly bo5, |iéubcb<^ bb'íbbe<<vi' béul <^c<^j clu<^|'<^ ^'y XV^^' 
 
 Branduff", (Brandubh,) was a victorious king of Leinster, 
 who flourished about the close of the sixth century. From 
 him descended the O'Byrnes of Wicklow, who, during cen- 
 turies, were the terror of the colonists of Dublin. For a 
 detailed account of the spoliation of this ancient family, see 
 Carte's Life of Ormond. This English writer, notwithstanding 
 all his prejudice, admits that, " This case contains in it such 
 a scene of iniquity and cruelty, that, considered in all its cir- 
 cumstances, is scarce to be paralleled in the history of any age 
 or country." The respectable family of Cabinteely, in the 
 county of Wicklow, now represents this ancient house. 
 
 Tradition, and an old manuscript in my possession, state. 
 
186 NOTES. 
 
 that the chairman of the feast in Maggy Laidir, was intended 
 to represent a member of the O'Kelly family, whose ancestors 
 formerly enjoyed considerable possessions in Leix, (see p. 115.) 
 where many of the name still remain. To this ancient family 
 the narrative which follows, principally relates. As it is es- 
 teemed curious, and has never before been published, it is hoped 
 that it may not prove altogether irrelevant or uninteresting.* 
 
 In the year 1579, Fergus O'Kelly of Leix, married the 
 daughter of O'Byrneof Glenmalure, in the county of Wicklow. 
 The young lady remained at her father's until a suitable stone- 
 wall house should be built by her husband for her reception, 
 there being but few stone buildings at that time in the Queen's 
 county. For this purpose O'Kelly set a number of his 
 tenantry to work. The building was commenced on a Monday 
 morning in spring, it was completed the Saturday following, 
 and the bride was soon after brought home with great rejoicings. 
 This house was then called the week house, and its ruins are 
 now known by the name of the old stone. 
 
 It happened that on the following Michaelmas-eve, O'Kelly's 
 lackey, Mac Leod, was from home. On his return he found 
 that none of the goose had been reserved for him. Of this he 
 complained to his master, who desired him to settle the matter 
 with the cook, or go to the yard and kill a goose for himself, 
 but not to trouble him with such trifles. Mac Leod, dis- 
 appointed and dissatisfied with this answer, departed, resolving 
 
 * This narrative is taken with very little alteration in words, and none what- 
 ever in substance, from a manuscript lately found after the death of Garret 
 Byrne, a worthy old Milesian, who resided at Fallybeg, in the Barony of 
 Ballyadams, the scene of the principal transactions which it relates. The 
 paper was indorsed — " A traditional, tho' certain, account of the transactions 
 which happened in and about Logacurren and the rest of O'Kelly's ground in 
 that neighbourhood, beginning in the 22nd of Queen Elizabeth's reign, as told 
 by boddered Catherine Mc. James (who served seven years apprenticeship in 
 O'Kelly's house,) to old Edmund Cowen, and by him to me ; the rest by 
 people who recollected it themselves, and I myself remember what happened 
 from the year 1720 to this year 1780. — Gareet Byrne." 
 
NOTES. 187 
 
 to seek revenge. He immediately repaired to the Earl of 
 Kildare's * castle of Kilkea, where he remained until Christmas- 
 eve, and then told the earl that his master, O'Kelly, had sent 
 to invite his lordship to spend the Christmas with him. The 
 invitation was accepted, and the earl set out with a numerous 
 retinue for O'Kelly's residence. When they came to the top 
 of Tullyhill, near the house, Mac Leod gave three loud calls 
 or signals, as was customary with lackeys in those times. His 
 master hearing them said, that wherever Mac Leod had been 
 since Michaelmas, that was his voice, if he was alive. He 
 soon after arrived and announced the earl's coming, who was 
 received with due honor and attention. His lordship about 
 twelfth day began to prepare for his departure, and expressed 
 the greatest satisfaction at his kind reception, and the friend- 
 ship of O'Kelly, whose hospitality, and particularly the 
 profusion of his table, he highly praised. O'Kelly observed 
 that it should be more plentiful had he been aware of his 
 lordship's intention to visit him. The earl, surprised, asked if 
 he had not sent to invite him. O'Kelly replied not, but that, 
 notwithstanding, his lordship was welcome ; and added that, as 
 he had been pleased to remain until twelfth day on his lackey's 
 invitation, he hoped he would honor him by remaining until 
 candlemas on his own. To this the earl assented, but requested 
 that, as he had so many attendants, he might be at liberty to 
 send occasionally to Kilkea for provisions. O'Kelly answered 
 that as soon as his lordship should find the supplies beginning 
 
 * This was Gerald the eleventli Earl of Kildare, to whom in October 1579, 
 the custody of the north borders of the English pale was committed. The year 
 following he was suspected of favoring the Irish, and was sent in custody to 
 London, where he was imprisoned in the Tower ; but having acijuitted himself 
 before the queen and council, he was restored to all his estates. Then it was 
 that he presented to the Royal Ilerodiasof England, the head of O'Kelly. 
 
 The castle of Kilkea was situate on the river Greece, in the barony of 
 Kilkea and Moone, county Kildare. For a view and description of this 
 castle, see Anthologia Hibernica, iv. 241. 
 
188 NOTES. 
 
 to fail, he might do so, but not before. Accordingly the fare 
 increased, and the banquets became more sumptuous than 
 ever. When candlemas arrived, his lordship departed with 
 many professions of gratitude, having particularly request- 
 ed that he might have the honor of standing sponsor for 
 O'Kelly's first child, in order more closely to cement the 
 friendship that sabsisted between them. Mrs. O'Kelly was 
 soon after delivered of a son, and his lordship attended the 
 christening, which was celebrated with great pomp and re- 
 joicings. The house was filled with guests, and resounded 
 with music and merriment; but the morning after the earl's 
 arrival, the poor young lady and her infant were both found 
 dead. This melancholy catastrophe was attributed to the 
 boisterous revelry and noise with which they were surrounded. 
 O'Kelly's joy was turned into sorrow, but even this was only 
 a prelude to still greater misfortunes. 
 
 Kildare remained for some time to console his friend, whom 
 he invited to Kilkea until he should recover from the effects of 
 his grief, offering him, at the same time, his sister in marriage, 
 and profering his service in any other way which might be 
 most agreeable or acceptable. Unfortunately for O'Kelly he 
 accepted the invitation, and fell, an unsuspecting victim, into 
 the snare which had been insidiously laid for him. A few days 
 after his arrival at Kilkea, the earl took him to the top of the 
 castle under pretence of viewing the surrounding scenery; 
 and with the assistance of some ruflSans, whom he had placed 
 there for the purpose, he cut off O'Kelly's head. This 
 atrocious and treacherous murder was soon communicated to 
 the queen, as a meritorious proof of Kildare's loyalty in 
 beheading an Irish rebel ; and her majesty was so well pleased, 
 that she directed a grant to be forthwith passed to the earl, of 
 all O'Kelly's estates. The earl being of English descent, an 
 Irish bard applied the following verse to this perfidious 
 transaction : — 
 
NOTES. 189 
 
 ^<^ 6é<^Ti coTTK^nn le Tpe<^|t 5<^ll^^<^ 
 l3eibli choibhche <^i|t d bo Tn}ie<<.llc<^ 
 
 With one of English race all friendship shun. 
 For if you don't you'll surely be undone ; 
 He'll lie in wait to ruin thee when he can, 
 Such is the friendship of an English man. 
 
 And such have been the aggressions which so long con- 
 tributed to keep the people of these islands in a state of 
 disunion and enmity. In former times, practices similar to 
 that related were but too frequent in Ireland ; and dreadful, 
 though just, were the reprisals made by the natives, on 
 the English settlers. — But to conclude —The earl of Kildare 
 soon after demised his ill-acquired possessions in O'Kelly's 
 lands, to his illegitimate son, Garrett Fitzgerald, at a nominal 
 rent.* This Garrett had a son named Gerald, who was after- 
 wards known by the name of Old Gerald, and long remembered 
 for his atrocious cruelties. He possessed the estates for a 
 long time, and was a great improver. He built where the old 
 orchard now stands at Logacurren, and planted many trees, 
 the last of which were cut down in 1740. He also made 
 several roads, one leading to Rahinahowle, another called the 
 Long-lane, to Timogue, and another through Barrowhouse, 
 being part of O' Kelly's estates, and he planted many orna- 
 mental trees in each place. When making these roads he 
 yoked a plough of bullocks, drew a strong chain round some 
 poor widows' cabins which stood in the way, and pulled them 
 down. He surrounded Logacurren with a broad double 
 ditch, and planted quicks on both sides ; on these works he 
 employed Ulstermen, whom he paid in cattle, with which they 
 
 * This demise is mentioned in Lodge's Peerage of Ireland, Vol i. p. 97. 
 
190 NOTES. 
 
 departed for home, and remained the first night at Portnahinch. 
 Gerald pursued them with an armed force, under pretence of 
 robbery, and the unfortunate men, having made some resistance, 
 were slain, and the cattle brought back. Soon after this, he 
 had a dispute respecting some incroacbments which he had 
 made on a neighbouring gentleman. It took place on the high 
 road, and after some altercation, Gerald proposed to leave 
 the matter to the decision of the next passenger, who he knew 
 would be his own cow-herd. The poor man was accordingly 
 required to determine the point, and he immediately decided, 
 according to justice, against his master. This so enraged 
 Gerald, that he took the cow-herd and his son, and locked 
 them up in a stable in order to hang them. The cow-herd's 
 wife hearing the danger in which they were placed, came 
 crying for mercy, offering all she was possessed of for their 
 ransom. Gerald told her if she brought him her twelve cows 
 and her bull, they should be released. The poor woman hasten- 
 ed home overjoyed for the purpose, but on her return found her 
 husband and son executed. Gerald, however, kept the cattle 
 for permitting her to take away the dead bodies, over which 
 she mourned in a doleful manner, mixing her wailings with 
 bitter imprecations against Gerald, as follows, in Irish : — 
 
 " '21 5he<^|t<^ilc 5he^ili|t <<Ti 5h^i]te 5hoTic<^ — ']p<lY<^ch 50 
 c^i|tye<^ch 60 5he<^c<^ — ofiiyeoj ^^uy A bK che<^Tin ^x <^n 
 b-c<^lTYiATi — loch u<^ichne <^i|i u<^ch6<^]t 60 h-<^ll<^. — "^e^b 
 <^Ti c-ye<^bh<^ic A b-poll <^n 6e<^c<^ich — "^isuy c<^c r\6. 
 Ti-5<^bh<^|t <^nTi <lic 60 le<^bch<^ii — tVl<^|t bo bhu<^m cu bhiom 
 An |Vl<^c 'x <kn c-7lch<^ip — ^t)hu<^iii cu bh^om <^ri 6<( bho 
 6héu5 't ^^ c<^]abh — ^l^wf oi5hpe<^chc y\K'\í ):h<^5h 6' 
 
 " Oh ! Gerald of stinted growth and laugh of guile — may 
 desolation reach the threshold of thy door — a bramble with its 
 
NOTES. 191 
 
 two ends in the earth — a green lake overflow the surface of thy 
 hall — the hawk's nest in the chimney of thy mansion — and 
 the dung of goats in the place of thy bed — because thou didst 
 bereave me of the son and father — thou took'st from me the 
 twelve cows and bull — an inheritance may your heirs never 
 find."— 
 
 All which, as will appear, were speedily fulfilled. Gerald 
 continued his career with impunity, for a considerable time, 
 until at length he fell foul of the Earl of Kildare's agents, 
 when they came to demand the trifling chief rent payable out 
 of O'Kelly's lands. After this his lordship declared against 
 Gerald, and had the estate advertised and sold. It was 
 purchased by one Daniel Byrne, well known by the name of 
 *' Daniel the tailor." Gerald was finally dispossessed, his 
 dwelling laid waste, and the possession of the entire lordship 
 delivered to the purchaser. Then it was that the imprecations 
 of the cow-herd's wife were fulfilled ; for Gerald losing the 
 inheritance, destitute of friends, and execrated by his neigh- 
 bours, was obliged to build a little shed in Clopook, and was 
 glad to become keeper of a sodwall pond. Here he had no 
 support but the milk of two goats, and these animals frequently 
 lay and dunged in the straw on which he slept, as was prayed 
 for long before by the cow-herd's wife. 
 
 Several other particulars relative to the Byrne family and 
 the Fitzgerald's are contained in the manuscript alluded to, 
 but although they might by many be esteemed curious, they 
 are here omitted to make room for other matter more appro- 
 priate for the present work. The Irish reader will, no doubt, 
 be satisfied to find their place supplied by the following 
 popular drinking song, by Andrew Magrath, a bard of the last 
 century, well known in Munster by the name of the Mangaire 
 Sugach. 
 
192 NOTES. 
 
 
 \)ubh 5liTi<^ch liom ^ui|te<^c}i oibhche <^Tin 
 ^{•^w[ bui61ie<^Ti yhulcTnlK^jt y<<v)fc<^, 
 21^ 61 ifl<<vince <^m cliimclnoll. — 
 |V!<^|t bu6h inhK^nn liom <^ti c-<l]ic}i<^cli, 
 bheidi 1<Iti 5<^ti den clnnnceAcliCj 
 Ti'^U-X 5<^]*it<^ibh b1i]te^5li, 5li]a<^6]iirihA]i 
 ^^V sbn^clK^cb <^ bheicb ciiince. — 
 
 71 |tLnTi-5liil 'puibh le m'<^i|*, 
 l3lbh yii5<^ch A'y 61 60 6li]t<^m, 
 
 50 n-6iÚ5AiTH e 50 cneAy, 
 
 50 ri-5l<^obh<^Tn cmlle<^bli <^ )*ce<^ch, 
 
 7lx ^ di]iéni-phi|t ii<í C|téi5 me. 
 
 5l6|t pibe (^su]* bheibblin^ 
 
 ^Vy ceol cjtuice 5<^ti Aimli]ie<^y5 
 
 •^^011 Tnli6|a liom <^ bbeicb Am clinncliioll, 
 
 II5 61 punch 50 medb}i|i<^c, 
 
 ^0 beoijt m<^ic1i A-^ay Cibep, 
 
 ly i<^b bo bhiÚ5Abh le h-nicmn. 
 
NOTES. 193 
 
 'T 5^ m-bubh leojt liom m<^|t 'rh<^í6hbh]te<^)', 
 1<^6 bo ]túy5<^bh le li-A61iTn<^b, 
 |71<^|i 6o'b ):lioTin y\n Tnd|i ^chz, 
 5<^ch Ti-<^on <^5 ol <^ 6h|t<^TYi, 
 
 Qi^ cnuch le t:uille<^bh ch€<^chc 
 
 '2I5 ^l yl^ince<^6h<^ cheile. 
 
 *2l c}iuibe<^c}ic<^ bh]ié<^5li5 bbéuy<^cli, 
 '21 1^ c<^obb liOTn 'y á 5-cuib1i|iednn, 
 "^^ TS^WV^"^ ^^ chéile, 
 50 n-5l<^obh<^ni cuille<^6h pon<^ ; 
 
 '2I5 p 7*1^1111:6 5<^c}l C]léTl-7pbl|t 
 
 5o'b jíhéile, <^'x bubh ^•(^oíclie, 
 
 'X n<l']t cbui|t <^ 6-c<^ir3e b% 5b<^ok<^ 
 
 5<^cb <^|i yh<^ochitui5li T^ le c|tion<^chc. 
 
 |s/l<^]i mlie<^y<^iTn bed^ic 5<^cb éin ne<^ch 
 
 &o ch<^ich <^ cboitonm 'y 6. jteul 5lieAl 
 
 'Y ^ li<^chc Y3ít<^m<^i|te 5<^n cbéil 
 
 60 nie<^ll<^6h iti]- <^n c-)'<^05bAl, 
 
 21 cív noiy <^5 6|te65h<^6h ']• An cc|té, 
 
 ^iji <^5 d TnTi<libh b'K n-bhy, 
 
 'X idb 5<^Ti pb]te<^b Tp<^ llocc *y <^n re<^ni]toU. 
 
 VOL. I. 
 
194 NOTES. 
 
 Here, on taking leave of our Bacchanalian Compositions, 
 I consider it but due to my country to observe, that a single 
 English writer, Walter Mapes, Chaplain to Henry II. has 
 left behind him more licentious and irreligious verses, than the 
 utmost misapplied industry could collect throughout the whole 
 range of ancient Irish Literature. — See Camdert's Remains. — 
 Even Martin Luther the great Apostle of the Reformation, as 
 a profane bon vivant, has excelled the best of us. Witness 
 his own description of himself. " Possum jocari, potare, sum 
 facetus convivator, saephisque bene bonum haustum cerevisiae 
 facio in Dei gtoriam.^' — Coll. Franco/, f. 445. 
 
 From among the many sprightly songs which once were 
 favorites with the roving fraternity mentioned in page 170, 
 the two following are selected for the Irish reader. The first 
 is named from the town of Moat or Moatagrenoge, Co. West- 
 meath, and was generally sung to the well known, lively, and 
 comical air of that name. The other is the original " Twisting 
 of the Rope." 
 
 MOC^l 5T)ll'^tlt|<h€ 015. 
 
 yiiiúbh<^il me-p €i|ie ^^ bh^, 
 
 ^Vy ^oz<^ 5h|i^inTie 015 <^3 ^illeAbb 6h<^Tnh ; 
 lon3Ti<^bh Til ']p1ie<^c<^Tf b<^ mh^ 
 
 "^jd bu<^ch<^ill Ti<^ w-bo 5<^n 5imlé<^cc. 
 ^m I pll ! <^ iiúin ! ! 
 "IPill, <^ ]tuiTi ! ^Vy 5<^i|tiTii chu, 
 pil ! y^ul <^|tUlTl I 
 
 'ZI5UT 5heAbh<^ibh cu An 5hloi|i mK chuiUeAiin 
 cu. 
 
NOTES. 195 
 
 l3<^ choi|t <^ 'x ^^ T^eiTnli <^ii buine pn 
 bliibh b-ir 6e Ti<^ c<^iLiTie<^6b<^ibh 65<^ 
 
 'Y <^y c|au<^5h 5<^n me poifc<^ <^5 6uine <^cA 
 
 ^ill <^ ]túin ! <^'t 5<^ipTn chu 
 pil ! vill <^iiuiTi ! 
 
 ^l^uy 5he<^bliAi6h cu <^ti 5hl$i]t ni<<i c}iuille<^Tin 
 cu. 
 
 c^iy^ifci) '2141 c-TU5'2ii<h. 
 
 '^<^ch é <^n c<^c1i Tii<^|abh cb<^|* Ann n<^ b-<<ice-yi me, 
 ^y <^ Ik^cIic c<^ilm 6e<^y 6' iph^5<^]'-Tfd {^)* mo bbeish, 
 Ch<<mic me yce<^ch 'y <<a\ ce<^cli |i<^ibh 5|t^bli 5e<^l mo 
 
 chleibh, 
 'X clim|t <^n ch<<iiUe<^ch <^m<^ch, Ai]t cb<^y<^6b <^n c-xÚ5<^m 
 
 me. 
 
 |71<l bbi6be<^nn cu liom hibh liom 6o lo <^'r b'o'ibhche, 
 |7I<^ bhiblie<^nn cu liom b^bh bom oy comb<^ifi <^n c-YA6i5Ínl, 
 fyi<< bhibhe<^nn cu liom bl6h liom 5<^ch opbUcb <^nn 6o 
 cbjtoibhe, 
 
 Y é mo léun n<^ch liom c]i<^cbnon<^ cu m<^]t mbn<^OK 
 
 o2 
 
196 NOTES. 
 
 7Vy yhio-i* <^ Yli5e<<cli chuijt me éSlwf <^i]t mo 5Ti]t^61i, 
 7Vy )*iiu<^if <^ n-5<^il^i^^ ^'^^ me léi mo yh<lich, 
 6<^]t b]ti5h mo bh<^Y<^ mun<^ léi5pbh 6h<^mli-]*<^ m<^]i <^ c<lim. 
 6éAn'p<^i61i me cle<^y <^ bh<^m"|pe<^)* pubT\<^l ^y r\^ mn^ibh. 
 
 The foregoing are given only as specimens of a class of 
 song formerly fashionable with the "Ranting Irishman," a cha- 
 racter somewhat resembling the " Drunken Barnaby" of our 
 English neighbours, but now rather rare in Ireland. 
 
PART II. 
 
 SENTIMENTAL SONG. 
 
" Leurs compositions sont d'une grace, d*une moUesse, d'uii 
 raffinement, soitd'expression, soit de sentiment, dont n'approche 
 aucunpeuple ancien o\i moderne. La langue qu'ils parlent dans 
 ce monde á leur maitresse semble étre celle qu'ils parleront dans 
 Fautre k leurs houris. C'est une espece de musique si touchante 
 & si fine; c'est un murmure si doux; ce sont des compa- 
 raisons si riantes <fe si fraiches : je dirois presque que leur 
 poésie est parfumee comme leur contrée. Ce qu'est I'honneur 
 dans les moeurs de nos Paladins, les imitations de la nature le 
 sont dans les poemes Arabes. La c'est une quintessence de 
 virtu ; ici, c'est une quintessence de volupté. 
 
 Raynal — Hist, Philosophique, ^c. Suppl. Tom ii. 
 
SENTIMENTAL SONG. 
 
 The glowing description of Arabian Poetry given by the 
 elegant and philosophic historian of the Indies, may with 
 truth and propriety be applied to the Sentimental Song of 
 Ireland. The resemblance between them indicates the same 
 origin. The grace, softness, and refinement in expres- 
 sion and sentiment, which distinguish the voluptuous com- 
 positions of the East, are found, even to exuberance, in 
 the passionate effusions of the Irish. The rich and varied 
 descriptions of beauty and natural objects, with which this 
 divine art abounds in both countries, will be sought in vain in 
 the national poetry of any European people. " The Irish 
 poems," says the venerable Vallancey, " have none of that 
 wild barbarous fire of the Northerns ; all that I have seen are 
 moral, replete with oriental imagery."* — But the affinity 
 
 * lie compares an Irish poem with the Arabic poem of Old Zoheir, 
 translated by Sir William Jones, and declares that nine words in ten arc 
 pure Chaldaic and Arabic.-— <SVe Specimen of a Dictionary, 8^c. 
 
200 IRISH MINSTRELSY. 
 
 between the language of Ireland and that of Arabia, is, even 
 still more remarkable. Those best capable of forming an 
 opinion on the subject, have not hesitated to pronounce them 
 to have been anciently the same. These are circumstances 
 which can be accounted for only by the Eastern descent of the 
 ancient Irish, as related in their early annals. 
 
 Until of late years the beauties of oriental poetry were but 
 imperfectly known to Europeans. The learned labors of Sir 
 William Jones, and of Professor Carlyle of Cambridge, first 
 enabled the English reader to enjoy the sweets of the " per- 
 fumed" compositions of Arabia ; but the recent translation of 
 the poem of Antar, from the language of that country, pub- 
 lished under the title of a Bedouin Homance, is the most 
 valuable addition that has as yet appeared to this class of 
 literature. With these specimens an opportunity is now 
 afforded of comparing some of the relics of Irish song. That 
 our national muse will answer the description already given, 
 or at least, that it it will not materially suffer by the com- 
 parison, is rather confidently anticipated. 
 
 The aptitude of the Irish language for lyric poetry has been 
 often observed. The number of consonants, rendered quiescent 
 by elision and aspiration, preserves its harmony and cadence. 
 The broad and slender vowel sounds are capable of being 
 disposed with such variety and effect, that, as has been 
 already observed by my ingenious predecessor Miss Brooke, 
 
SENTIMENTAL SONG. 201 
 
 the poetry of many of our songs is indeed already music with- 
 out the aid of a tune. Some of these qualities in the Scottish 
 dialect of the English tongue have flung peculiar charms round 
 the rural poetry of Scotland. The soft and sweet language of 
 the Italians has been deservedly celebrated for imparting those 
 essential qualities to their admired productions; but in all 
 the graces peculiarly requisite for lyrical composition, these 
 languages will still be found to fall short of the Irish. In 
 this assertion I disclaim all national prejudice, but the proofs 
 in support of it are now before the public, and will be criti- 
 cally examined by many infinitely more capable of judging 
 than I can pretend to be. One pervading feature in all our 
 songs cannot fail of attracting attention, namely, the exquisite 
 choice and position of words which give full tone and effect to 
 the principal notes of the melodies with which they are asso- 
 ciated. The Irish singer will immediately feel the force and 
 assent to the truth of this observation. 
 
 Amidst all the misfortunes of Ireland, and it has had its 
 share, the iron hand of oppression through a long series of years 
 has never been able to erase from the land the more tender 
 sympathies of the heart. The devotion and affection for the 
 fair which have ever characterised our youth, are still fondly 
 cherished by them with chivalrous enthusiasm. Sentiments 
 of virtuous love were never more delicately or fervently ex- 
 pressed than in the ancient relics of the pastoral muse of 
 Ireland. The language in which they are conveyed is chaste. 
 
202 IRISH MINSTRELSY. 
 
 elegant, and pure, and the imagery which they present, is a 
 faithful delineation of the most captivating features of natural 
 scenery and rural beauty. The blossom bloom and fragrance 
 of the flowery ornaments of the garden and field — the charm- 
 ing verdure of our island of green — the murmur of the water- 
 fall — the sparkling of the dew — the plumage of the swan, and 
 the mildness of the dove — the sweet notes of the cuckoo, the 
 black-bird, and the thrush, and the liquid gold of the bee, 
 perpetually occur, and continue to heighten the rich descrip- 
 tions of female beauty contained in these rural effusions. 
 
 In the present part of this work will be found some of the 
 most popular songs of Ireland ; the original words of those 
 charming melodies which have raised the character of our 
 native music beyond that of almost any other country. These 
 combinations of sweet melting sounds, refined sentiments, and 
 ardency of expression, addressed to the tender virgin, the 
 adored object of virtuous affection were irresistable. They 
 seldom failed to reward the happy swain with the heart 
 and hand of his beloved. To the fascinating influence, of 
 these songs have been attributed many of the early marriages, 
 and much of the '* superabundant" population of our country. 
 This, no doubt, will be deemed a new discovery in the science 
 of political economy, and as such, is respectfully oftered to 
 the grave consideration of the Malthuses and Hortons of our 
 day. Although I may incur the censure of these wise 
 depopulators, for contributing to increase this national evil, 
 
SENTIMENTAL SONG. 203 
 
 by circulating such alarming marriage-making ballads as Eileen 
 a Roon — Cean dubh dileas — 3Iolly a store — Coolin — Mary of 
 Meelick, and many other soul breathing ditties to be found in 
 this collection ; yet under such censure I shall feel quite at 
 ease, if my humble labors prove successful in rescuing even 
 a small portion of the neglected poetry of my native land 
 from oblivion. 
 
 It may be necessary to observe, that, as far as I could 
 discover, one only of the following originals, namely, Emon 
 a Knock, has been hitherto printed. Translations, or rather 
 imitations, of a few, are current among the people ; but these 
 attempts are of so mean a description, as to be wholly 
 undeserving of consideration. 
 
204 IRISH MINSTRELSY. 
 
 b|tl51)6lt| p'2i6]auic. 
 
 "^é^ch 6-ciobli]tdbh Ye<^|ic <k'x Sli^bh 6hi 
 
 7i ruile <^r 5l^<^ire bem|i<^6h 
 
 ly ciuin, bjiei^sh, beó<x ^ <^ S^^i^^j 
 ^y Í ly <<vilTie <^i|t bich Tneinn. 
 
 l3heich cl<^oiblice ye61 ^ r\'^\i^bh lei, 
 C|i^cb cKibbim an |:li<^oíle<^nTi <^luinTi 
 50 vc<lTiTi]iuÍ5he<^Tin fí me, 
 
 |\/l<^|t YC]ríobhTp<Cíblie \ b-p|iiOTiTibA pii<^]aiv, 
 'Y <^ piob TYi<^]t e<^l<^ <^ni l^n-mhuiit, 
 'Y í bli<'v"ifuÍ5he<^Tin 5<^ch <^én. 
 
SENTIMENTAL SONG. 205 
 
 BRIDGET FERGUS/ 
 
 BY JOHN D'ALTON, ESQ. 
 
 What chief of Erin's isle with coldness could regard, 
 
 When wandering o'er 
 
 Our western shore 
 The flower of Rahard } =^ 
 
 Her eyes so blue, 
 
 Like glistening dew 
 On summer rosebuds seen ; 
 
 Her smiles so bright; 
 
 Her heart so light, — 
 Her majesty of mien! 
 
 What wonder Erin's sons should be spell bound in her 
 gaze, 
 For when I chance 
 To catch her glance, 
 I startle in amaze. 
 A swanlike grace 
 Her neck displays; 
 Her eye what witchery tells ! 
 
206 IRISH MINSTRELSY. 
 
 6o'n |l<<^c]i-<<}i6 cTnn mK cheibheAnn tii, 
 
 '2I5 6e<^]tcAbh Tnhrx^oí ti<^ Tneu|t l<^5, 
 l)|ti5h6tTi 6he<^f ti<^ Ti-<^ol-c]i|iobli, 
 
 %i h^e-^hól 6uic-re <^n h^x :— 
 'Y 1 <^ii TTilmiTice, Tn1idi|-e<^cli5 Tnli<^0|i6]i<^, 
 
 ^<^ 5-c]t<^obTi-|^liolc ín-búclÁcli, b-péujilAch 
 5^ blúcb A5 te^chz le chéile 
 
 'T ^5 cl<^í>Ti<^bb Ann <^ Tn-b^|i|t. 
 
 If niilye blAy <^ béil z<<sMf, 
 
 ^^^ mil <^5 plle<^6h ^y cbeiji blie<^cli, 
 •^l \i\^h n<^ bli-^eA|tc ! 5U|t éuloi5h 
 
 ^ln YSein^b léi zhÁ\i mbn^ibh ; — 
 '^l |íío5<^in 61ie<^"r5 <^ 5héu|i-vblA6 
 
 le'6 sbnAoíbh, le'6 3}ie<^n 5<^ch é<^n iplie<^jt5 
 5*^1^ f<^nih<^il buic-ye ]téulc ni<^ibne 
 
 ?l5 éiTi5h1bh 3<^ch U 
 
 cb|tuchÚ5li<^b}i An bomhAin 50 b-u-^h p, 
 "^í'li yhiubhAil An cAlAmh nAonnbcbA, 
 
 7i fAmhAil \ub be mhnAoí Aijt bidi, 
 "Zlnn <lilne 'y <^ 5-c<lil ; 
 
SENTIMENTAL SONG. 207 
 
 Her budding breast, 
 But half confest. 
 Like living marble swells. 
 
 Should sickness weigh your frame or sorrow cloud your 
 mirth. 
 
 Once look upon, 
 
 This lovely one. 
 This paradise on earth ; 
 
 Her winning air — 
 
 Her tender care 
 Will put e'en death to flight ; 
 
 For though her eyes 
 
 Beam witcheries. 
 Her angel soul's more bright. 
 
 Her lips more sweet than honey a pouting freshness 
 warms. 
 
 While all must own 
 
 That beauty's throne 
 Is centred in her charms ; 
 
 Though thousands prove 
 
 The force of love 
 Deep cherished in her sight, 
 
 A morning star 
 
 She shines afar 
 On all with equal light. 
 
208 IRISH MINSTRELSY. 
 
 '^^ le<^c<^ 5edl<^ irnne, 
 
 *21't bol<^bh CLÍTnh|i<^ An cime, 
 
 ^U\i phoigin mo 5h|t^bh. 
 
 |71o ch|te<^ch ! 5<^n me *x <^ti ycuAiite, 
 
 le iK^ cheile <^5 5lu<^iye<^cliC5 
 ^ choiTYi, p ch 01 Lice <^')* cliuAnc<^ibh 
 
 T 5^^ ^r^ 6-cu<^i|tiy5 le ):<<5li<^il 
 b'^he<l]i|t liom 'n^ o]t n<^ |áío5<^clic<^, 
 
 5o Tn-béibhmn-p léichi fínce^ 
 ^Inn u<^i5ne<^f j-eí^l oi'iyiol, 
 
 'Y ni di]iei5pnn í 50 b[i<<vch. 
 
SENTIMENTAL SONG. 209 
 
 Since the birthday of creation this sacred earth ne'er 
 bore 
 A heavenly mind 
 So fairly shrined. 
 As her's whom I adore-: 
 Just like the rose 
 The blush that glows 
 O'er all her kindling cheeks, 
 The dewy thyme 
 \ In all its prime 
 
 Seems breathing where she speaks. 
 
 Oh ! that my fair and I were in some lonely place, 
 
 Whose woods and groves 
 
 Might hide our loves. 
 And none our wanderings trace : — 
 
 That bliss untold, 
 
 Beyond the gold 
 Of nations, would I prize ; 
 
 For ever there 
 
 Her love to share, 
 And triumph in her eyes ! 
 
 VOL. I. 
 
210 IRISH MINSTRELSY. 
 
 eit)i^ii<}1 21 iauit|. 
 
 Och ! le 5|t<l&h bhuic ríí'l |t<^bli<^]te <^'m chionri, 
 
 21 €ibhlin <^ jtiiiTi ! 
 
 bheich cji^chci^bh o]tc ^y <^oibhTie<^Y horn, 
 
 21 eibhltn <i ituiTi ! 
 
 |71o Tiilio]tbli<<^il |i6-5h|íÍTiTi 1)* td, 
 
 |71o 5li|ie<^nn A'y mo Tnhe<^bh<^i[i ly t(i, 
 
 2i €ibhliTi 6. jium ! 
 (71 bli|tuinTie<^ll-if<^ 30 beimhin ly cu, 
 |7lo cholújt 6'<< bh-]puil 'f<^' 5-coill ly cu, 
 'Y <^i|a TYio c}i]toib}ie-)*<^ rii'l li<^i5be<^)* 5<^]i cu, 
 
 ^21 Cibblin <^ |túin ! 
 
 le cuijiceiy <^3UTf clu bhe<^chÚ5li<^bli, 
 
 "^l "Cibhlin A |tmn ! 
 &íiblní<^iy b]té<^5 no'v liom ^péín cú, 
 
 '21 Cibhltn <^ |túin ! 
 
SENTIMENTAL SONG. 211 
 
 EILEEN A ROON. 
 
 BY JOHN D'ALTOX. 
 
 Blind to all else but thee, 
 
 Eileen a Roon ! 
 My eyes only ache to see 
 
 Eileen a Roon ! 
 My ears banquet on thy praisej 
 Pride and pleasure of my days ! 
 Source of all my happiness ! 
 
 Eileen a Roon ! 
 My dove of all the grove thou art. 
 Without thee sickness wastes my heart ; 
 Who can alone the cure impart ? 
 
 Eileen a Roon ! 
 
 Break not for king or throne, 
 
 Eileen a Roon ! 
 
 The vows that made thee mine alone ; 
 
 Eileen a Roon ! 
 p2 
 
212 IRISH MINSTRELSY. 
 
 ly b]te<l5libhd 'n^ bhenu)* cu, 
 1)* <lilne 'r\K |léilce<^mi cu, 
 fVlo T)éleTi 5<^n bheim ly cu, 
 
 '21 €ibhlÍTi <^ \\\im ! 
 |71o |t6y, mo 111, mo chdéfi ^y cu, 
 [71 )T6]t <^ bh'ipml 'y^T] c-y<^o5}i<^1-yo cu, 
 ]lún mo chjio'ibhe 'y ^o chleibh ly cu, 
 
 •21 €ibhlm <^ rium 1 
 
 |l<^clTip<^mn c<^|i )*<lile le<^c 
 
 '21 Cibhlm <^ |túm ! 
 'T 5^ ^^015115 be^ish m ):li<^5|:<^mTi cu, 
 
 '21 €ibhbn <^ pum ! 
 le i*c<^]tch<^ibh &o bli|téu5):dmTi chú, 
 60 bhl<^n:<^mTi 60 bhéul 50 blúich 
 7Vx fhrn-pmn 50 yeimh le'6 chum, 
 
 '21 €ibhlin ^ \\mr\ I 
 L\\6Joh<<^\\iymn <^ébh|tm61ie<^chc buic cboi]* <^mh<^Ti, 
 "p^^oi 5héu5<^ibh 5U;f<^ cjk^uti, 
 Ceol ii<^ n-é<^n <^titi $|* <^jt ccionn, 
 
 '21 Cibblin 6. \\um ! 
 
SENTIMENTAL SONG. 213 
 
 Venus of my ev'ry vow, 
 Brightest star on heaven's brow I 
 My Helen — without stain art thou, 
 
 Eileen a Roon ! 
 My rose — my lily — both confest, — 
 My treasure — -all I wish possest ; — 
 The hearted secret of my breast, 
 
 Eileen a Roon ! 
 
 With thee o'er seas I'd sport my way, 
 
 Eileen a Roon ! 
 Never — never from thee stray, . 
 
 Eileen a Roon 1 
 I'd wander o'er thy honied lip. 
 With love- tales charm thee on the deep, 
 Then lull thee on my breast to sleep, 
 
 Eileen a Roon ! 
 To vallies green I'd stray with thee 
 By murmuring rill and whispering tree — 
 The birds will our wild minstrels be, 
 
 Eileen a Roon ! 
 
214 IRISH MINSTRELSY. 
 
 21 €ibhlin <^ |iúm ! 
 fco lui61i):iTin <^i\i ledb<^ lec^c, 
 
 71 €ibhlÍTi <^ \i\im ! 
 
 CoiTi5e6cb<^inn 50 ]*euriTYib<^]t cu, 
 
 21 €ibhlin ^ \ium ! 
 •^l ]téilnoTin mli<^iYe<^cli mhoblK^Tubuil, 
 Yul ^ TYi-beibbiriTi buic bun-of-cionn, 
 Ocb ! €u5Á6h bubh cbuiyse liom, 
 
 21 €ibhUn A ]túiTi ! 
 
SENTIMENTAL SONG. 215 
 
 With more than human passion warms, 
 
 Eileen a Roon ! 
 rd fold thee in these 'raptured arms, 
 
 Eileen a Roon ! 
 Press thee — kiss thy bosom's snow, — 
 Round thee all my fondness throw ;— 
 Joys that only lovers know, 
 
 Eileen a Roon ! 
 Heaven beams in all thine eye, 
 Spotless star of modesty ! 
 Ere I deceive thee — may I die, 
 
 Eileen a Roon ! 
 
216 IRISH MINSTRLSY. 
 
 P^iiyciti ^io^i^. 
 
 5ltí<bli le Tii'<^n<^TH mo ph<<^Tfnn "^pionn ! 
 ^l c]toí61ie 'y <^ h-<^i3ne A5 5<<i]teA61i liom ! 
 71 cioch<^ 5e<^l<^ m^\i bhl(<^c1i ti<^ Ti-ubh<^ll 
 'X 6. piob Tn<^|i eAU U Tn<<|tcA ! 
 
 7Vy %6 bo5 lioni-y<^ ! bo5 licni-i*<^ ! bo5 liom-i*<^ I 
 
 7Vx 6|t6 bo5 liom-y<^ ! <^ c1i<^ilin 6he<^y, bhonn ! 
 
 '^I't ^P b}i05ii^dinTi, 6<l m-ho-^y^Kbh-yo. liom, 
 
 21 b-twc <^n phluibe 50 yKyz^, 
 
 C^\[A mo ch]toí6be mo phi^ifcni ^loiin, 
 
 bh-'puil A bK ■^h\i[i<kbh <^^\l l^y^bh mdjt bhl^ch ti<^ cc]t<^nn ! 
 
 C<1 me-p T<^é|t <^i]t mo ph<li)'ciTi ^iomi, 
 
 ^lchc <^mli^m 5uit olÁ^f <^ yl^mce. 
 
 "^lY o]io bo5 liom-Y<^5 &c. 
 
SENTIMENTAL SONG. 217 
 
 PAISTHEEN FION, 
 
 BY JOHN D'ALTON. 
 
 Oh ! deep in my soul is my Paistheen Fion, 
 A love-light for ever this bosom within, 
 Like the apple's young blossom her breast it is fair. 
 And her neck with the March swan's can more than 
 compare. 
 
 Then, Vourneen ! fly with me — fly with me — 
 
 fly with me — 
 With thy nut-brown ringlets so artlessly curled ; 
 Here is the one that will live and will die with 
 
 thee, 
 Thy guard and thy guide through the wilds of 
 the world. 
 
 Oh ! my Paistheen Fion is my heart's repose, 
 The blush of her cheek's like the opening rose; 
 These lips that would stain one so earthlessly bright, 
 Can but drink her a blessing from morning to night. 
 Then, Vourneen ! fly, &c. 
 
218 IRISH MINSTRELSY. 
 
 bK m-béibhnni-p <^nTi-Y<^' Tn-b<^ile m-biAbli , ]*Ú5|t<^bh á'y 
 
 ^lo ibi]t 6h<<v l?b<^ittt<^ile l^Ti be le^nn ; 
 
 |71o y1iiÚi|ííti <^ iYi'<^ici Y mo \^m\\ ip<^oi n-<^ ce<^nn5 
 
 ly yÚ5dch 60 ol):<^inn <^ i-l^ince. 
 
 %'y o|to bo5 lioTYi-f<^, &c. 
 
 I)hib1i me n<^di n-oibhche <^'Tri luibhe 50 bochc, 
 bheicb fince 'p<^oi <^ti bllmn ibi]t bh^ c}io]t ; 
 ^l cbonK^inn mo cVijio'ibhe yz^•^ ! ^y me <^5 pTiu<^ine<^6h q\íz, 
 'y wV ^6^•^^6^m\'\\ le ):e<^6 'n<l le slÁobh chú ! 
 '^l'i' o]to bo5 liom-Y<^5 &c. 
 
 C|téi5]pe<^6 mo ch<^]tAib ^y mo ch<li]tbe 5<^o'il, 
 ^Vy cjtéi5pb me <^ m<^i|te<^nTi be mbn^ibh <^' c-y<^oÍ5hil ; 
 ^ c1i|aéí5):e<^b le'm mh<^iicb<^inTi cú^ 5lip<<<bh mo cfiitolbhe ! 
 50 fin):e<^]t <^ 5-comb]t<^ 1P<^oi chli^jt me. 
 
 '21')* o]tó bo5 liom-Y<^, &c. 
 
SENTIMENTAL SONG. 219 
 
 With what rapture I'd quaff it, were I in the hall 
 Where feasting — and pledging — and music recall 
 Proud days of my country ! while she on my breast 
 Would recline, my heart's twin one ! and hallow the feast. 
 Then, Vourneen ! fly^ &c. 
 
 Remember the feverish hours I have pined. 
 
 And for thee have I braved them — the storms and the 
 
 wind — 
 The night-groves were dropping their dews on my frame. 
 Yet I sought thee — I wooed thee — I whispered thy name. 
 Then, Vourneen ! fly, &c. 
 
 The friends of my youth and the kin of my birth, * 
 The fair ones I once thought — stray angels on earth ; 
 I'll forsake them for ever, but thee, thee alone 
 Will I cherish — till life and its memorieis are gone. 
 Then, Vourneen ! fly, &c. 
 
220 IRISH MINSTRELSY. 
 
 rue t)r)€?i5 <[]-v c})0}<{]bt7ii\)\)2i]% 
 
 ?l gillie bh^n ti<^ b-péutiUíblie, 
 
 •^l ché<^b-yhe<^|ic n<l'|t ):hullAin5 jjiui^im, 
 6'):<l5 CÚ Tn*incinn bdo|tch<^, 
 
 7Vx 6.'b 61iéi5li-p 111 bheibh me bu<^n ; 
 |71un<^ 6-ci5ibh cu bo'ni ^]iéucli<^ni, 
 
 ^Vy eul65li<^6h lioin y^^ 5hlé<^nTic<^ibh cu<^iti, 
 t)eibh cÚTiili<^ibh d'y cm]iye <^'b bhéi5h o\im, 
 
 7Vj beibli me chcmb bubh le 5u<^l. 
 
 "215111* Vionc<^]t bumn An 5lÁine ly ye<^]i[i, 
 fVluTK^ bh-):<^5h<^b -pein cedb fince, 
 
 le mm-chneiy <^n bhiioll<^ich bh<<im, 
 11 phluiji ly 3ile 'y ly mme 
 
 '^^ <^Ti yiob<^ 'y r\K chlumh n<^ n-é<^Ti, 
 ly bu<^ibhe<^ltcli<^ cui|tye<^ch bbibhim-ye 
 
 '4l-u<^i]t ymu<^mÍ5him bbeich yc<^|t|t<^mliuin lei, 
 
SENTIMENTAL SONG. 221 
 
 LITTLE CELIA CONNELLAN. 
 
 BY JOHN D'ALTON. 
 
 My Celia ! smiling gladness. 
 
 My first love ! — my pearly dear ! — 
 My days must set in sadness, 
 
 Tf long you leave me lonely here. 
 Oh, should you still so doom me, 
 
 Through sighing glens unblest to rove; 
 Despah' shall soon consume me, 
 
 And leave my heart in ruins, love ! 
 
 In wine — in wine — to drown care — 
 
 In wine I'll plunge — a maddening tide, 
 If heaven refuse my one prayer. 
 
 To lie my snowy fair beside. 
 Far softer to your lover 
 
 You seem than down or silks so gay; 
 Oh ! words can ne'er discover 
 
 My loneliness when you're away. 
 
222 IRISH MINSTRELSY. 
 
 bK Tn-beibhiTin-Yi y:em A'y mm-chne<^]' 
 
 ChdoÍTiTnhe<^|i, An b}i]ioll<^ic}i bh|ie<l5fi, 
 21 Ti5le<^rmc<^n <^dibhiTiTi <^é|i<^ch 
 
 chuiciTu oibhche 50 Ti-éi]t5lieoc}i<^6h l^, 
 5<^Ti nec^cb <^ bbeicb 6'^|t 5-CívÍTnb6e<^chc, 
 
 '^lcbc ce<^]tc<^ ):|t<^oicb iio*n coile<^cb pe<l6h<^^ 
 'Y 50 Tn-bi<^6h 5]te<^Tin 5<^n cb<^Tn <^Tn cb|toí6he x^3^9 
 
 bo Yh1le be<^5 m Cboin6e<^lbb<<iTi. 
 
SENTIMENTAL SONG. 223 
 
 How blithe the breezes gambol 
 
 Through yonder valley wild and free 5 
 Oh ! were my love to ramble 
 
 From dawn to sunset there with me; 
 Where none should see our blisses, 
 
 But heath birds or the cooing dove; 
 Nor mortal count my kisses, 
 
 With Celia Connellan — my little love ! 
 
224: IRISH MINSTRELSY. 
 
 ll€l6l). 
 
 '2ln 5li]téin A'y An 5lie<^lAch ti<^ luibhe, 
 
 'Y ifi'l íiéim ^5 <^n e<^l<^ m<^|t bMobh ; — 
 
 6'<<i Tflliofi-itilbli 5ii]i é<^loi5ln]n UK^inn, 
 21 )*cu<^iiiÍTi n<^ Tn-bdcli<^n m •bite<^5li5 ]téi6h, 
 6' ):^i5 Cifie 'p<^oi ):li<^6chui]tp cli|tu<^i61i. 
 
 Cfti riibh' 6o clfibhini cjteif <^ti n-5|i^bh 
 
 7[-^wf ni'iTinnn 6^' tnpn 5<^ch l<< b1i<^Tn]i, 
 |71'<^i5ne 5U|i cli|t<(bh p le ci<^ch ; — 
 
 '^l Tnh<^i5hbe<^n5 bo mlrill td ^'m l<l]t me, 
 
 2l^wf m'mipiblie o'ln l<<iTnli c}iÚ5li<^c-Y<^ h-k^ji, 
 
 |Vlé leishe^T o n<^ Y<^i5hiob<^ibh-p A'm \Á]i, 
 
SENTIMENTAL SONG. 225 
 
 THE LASS OF FAIR FLOWING TRESSES. 
 
 BY JOHN D'ALTON. 
 
 Each cold star glooms motionless o'er ye. 
 
 No heaven light plays in its eye ; 
 The sun and the moon lack their glory. 
 
 The springs of the deep are run dry. 
 The drooping swan feels all our sadness, 
 
 The cuckoo responds our despair ; — 
 She is gone who made every thing gladness, 
 
 The maid with the sunny bright hair. 
 
 The various emotions that sway me, 
 
 A lover alone can impart ; 
 The heavy forebodings that weigh me. 
 
 The anguish that tortures my heart. 
 Relieve me, my love ! I implore thee, 
 
 From pangs thou alone couldst excite ; 
 And oh ! may the heavens shed o'er thee 
 
 An Eden of smiles and delight. 
 
 VOL. I. Q 
 
226 IRISH MINStRELSY. 
 
 ly binnei 'n<<^ <^n bhelbMInn 'yw'^ <^n liuic, 
 
 'Y é mo chumbdibh 5éu]t Tn<^|i 6o chu5 me bhi 5]iív6]i, 
 'Y 50 m-b'ipeiv]t]t liom n<^ch b-ipeicipnm ^ ]n<^mh. 
 
SENTIMENTAL SONG. 227 
 
 Her voice with more melody flowing. 
 
 Than lute — blackbird — or violin too ; 
 She's brighter than morning grass glo^^ng, 
 
 Empearled with sunbeams and dew. 
 Her beauties on earth not excelled are. 
 
 Nor the sun shines more glorious above; — 
 Alas ! that I ever beheld her, 
 
 Alas ! that I ever should love. 
 
 a2 
 
228 IRISH MINSTRELSY. 
 
 c 1 5 1^ e '21 ]a <ii '^i \Ay)'iW5})to. 
 
 ^l^ay coTn<^i]tc <^n c-e C(<v fliui^ir o]tc, 
 
 'lPu<^i]t bu<^bh <^5ui' clu <^Tin 5<^ch 3leoí6íi, 
 C<^ me ce<^chc <^ti u<^i|t-]*05 
 
 ^doí bhí6e<^n bo y^ilosb : 
 |\/le-i*i -pem bliii|t ti-6<^11 bochc, 
 
 C<^ -pille<^6b ojtiK^ibh <^nTi)*<^cbc, 
 2I5 <^|t éi|t5bibb 7:dillÍ5be mbdll b^mh, 
 
 le bli<^5b<^in mboji Tp<^oi cbeoibh. 
 
 "Zl n-5e<^ll Ai|t An c-e c^ l<lcb<^i|i, 
 
 '■^ocbc dibbclie noblAcc cl<^oibbceAfi C05<^i6h 
 Cbi5be<^|in<^ |71bdi5beo ; 
 
SENTIMENTAL SONG. 229 
 
 LORD MAYO/ 
 
 BY THOMAS FURLONG. 
 
 Here I rest ! my wanderings ending — 
 
 Here the generous wine we quaíF; 
 Here ! where sunny smiles are blending. 
 
 With the song, and jest, and laugh. 
 May the powers above presiding, 
 
 On our host each bliss bestow ; 
 Evermore his footstep guiding, 
 
 Far from guilt and free from woe. 
 Famed in many a field is he. 
 The high born boast of chivalry^ 
 Higher and happier may he be. 
 
 My own ! my lov'd Mayo. 
 
 The blind bard once more returning. 
 Seeks thy cheering smile to gain ; 
 
 Nights and days have found him mourning. 
 Doom'd to darkness, grief, and pain. 
 
230 IRISH MINSTRELSY. 
 
 ^e<^Yb<^ Tid cuijt yu^x bwm, 
 6<^|i A bh-vuil be Tnh6|t-cliloi5 
 
 •^1 bheibh me ^n TpAb ub uá^z-xe, 
 
 21 chiiKobb n<^ bb-Tpijieun m-hu<<^c<^c}\, 
 
 3o b-ceibb cfte ii<^ b-in|te 'nu<^y 
 
 '2li]t mo ]*heAn-clio|tp chdoch ^<^oi ^hob. 
 
 Ch<^|i mhn^ibb ):u<^i|i éa\ ch|t<^obli <^ 5-cl6bb, 
 21 TYieinn, <^ b-pe<^|iY<^iiin )*h<<^yc<^5 
 
 'Y <^nn 5<^ch c<lilibbe<^cbc Tn<^]a i)* c6i]t ; 
 5e<^l-5b]n<^Ti ^ Ái]t 5<^cb b<^Tinc]t<^cbc, 
 
 2i 5-ce<<>TinY<^cbc 'y <^ 5-céill |to mbojiy 
 1P<< tlfiochcb<<in b'):h^5b<^il bAmh ^y <^ii <^Tn-fc, 
 
 U<^ic yiem <^5U"f 6'b leomlK^Ti : 
 'Y é Cuboib 05 be buitc, 
 
 •Zln cb|i<^obb diúmh|t<^ c^ éi^edchb<^cb mop, 
 "^(^01 cbom<^i]tc be n<^ n-bul bo, 
 
 T 5^ TYi-bubh bu<^n bo bheibh ye beobh. 
 
SENTIMENTAL SONG. 231 
 
 On this eve of eves most holy. 
 
 Let not anger on thee grow ; 
 Gentle thoughts should touch thee solely, 
 
 Pity in thy soul should glow* 
 Branch of the old and stately tree, 
 With favouring eyes thy minstrel see, 
 And let him chaunt all loud and free. 
 
 The praises of Mayo. 
 
 Spurn him not, in thee confiding, 
 
 Chide him not, but hear him swear 
 By each saint in Rome residing. 
 
 By each blessed bell that's there — ^ 
 Hear him, vow that faithful ever 
 
 In thy step his steps shall go ; 
 Turning, failing, flinching never, 
 
 Until death has laid him low. 
 Until all his toils are done. 
 Until life's last sands are run, 
 The theme his heart must dwell upon, 
 Shall be his lov'd Mayo. 
 
232 IRISH MINSTRELSY. 
 
 ^y minnce 'y ^x y:eúe 5I011, 
 
 UiTTi ]téiblice<^ch iph<l5h<^il o'lri leon : 
 
 Chui]t^e<^bh TTK^iye 6^\l clil<^nn<^ibli 00156, 
 2Vy c<^Ti<^i6b c<^inc ^^ bhuzhji^chb, 
 
 7ir\Y\ mo bhKiii m^\i ly c6i]t : 
 ]li5h ii<^ ]t<^TiTi b'bhujt CGUTVib6<^cb, 
 
 50 m-bubb f<^05bl<^cb, ylOM 6n cúi3e<<|i, 
 |Vl<^ri c<< T)ébtbb, <P|ellíbh, Com <^'r t)ecibh, 
 
 ^isuy péu]tl<^ <^Ti cbail 6i]t. 
 
SENTIMENTAL SONG. 233 
 
 Loveliest ! gentlest Lady Mary, 
 
 Fairest form of earthly mould ; 
 Bards might praise thee until weary. 
 
 And leave beauties yet untold. 
 Speak ! oh speak, thy lord shall hear thee. 
 
 Speak, and sooth the vranderer's woe ; 
 Let young Theobald be near thee, 
 
 Future dread of every foe. 
 Plead for me ye blooming train. 
 Plead ye may not plead in vain, 
 And let me sing in glee again. 
 
 The praises of Mayo. 
 
234 IRISH MINSTRELSY. 
 
 6tioi5e^i<i17i<p| bo<^% 
 
 ly boich le ceub ipe<^]t 5U|i le$ ^pein me 'n-u<^i|i <^ luÍ5he<^y 
 
 b6mh nnoTiTi, 
 'Y 50 6-céi61ie<^nTí b<^ cc|ti<^n p% biom, c|t<<ch ymy^^á\n\•^}\^m 
 
 Ai|t <^ choTn}i]i<^bh lioin ; 
 
 <^Ti b]toi5hTie<^ii bonn. 
 
 "^I'l <^chc clu<^Ti<^1bhe bhe bhudcli<^ill bo'm inbe<^ll<^bii 
 
 5<^cb IK, 
 ^ 5bl<^q:<^ibb le be<^n <^i|i bicb 50 bb-):<<v5b ye me, 
 51 bb 5U]t le<^Tnb é, mo|i bb]te<^dmui5b ye 50 ^o\\ mo mbemrij 
 Cuille<^bb cub<^iyce <^i|i, i)* ):<^oibbe<^cb bo 5buil):e<^bb ye An 
 
 cjtAcb pb6i*):<^|t me. 
 
SENTIMENTAL SONG. 235 
 
 THE BROWN THORN. 
 
 BY THOMAS FURLONG. 
 
 Tho' some deem me won if I wear a smile> 
 As their oaths of fond passion are pour'd forth the while; 
 When I think, but for once, of my own lov'd swain. 
 Then the tales they have told me are told in vain. 
 
 What hoards of rich sweetness his lips disclose? 
 How fair are the tints that his cheek still shews! 
 Oh I when near him, all others must be seen in scorn. 
 For he is bright as the blossom on the gay brown thorn ! 
 
 Let the clowns who still seek me, their cares resign. 
 They can touch not, or move not, a heart like mine ; 
 O'er their woes I shall smile, tho' they droop forlorn, 
 When home by my true love as his bride Fm borne. 
 
236 IRISH MINSTRELSY. 
 
 "^1 be<^n búcl<^i6he r\K }\-ub<^bhe bo b-'plieditit bhmc -pem, 
 
 "^<l )*^<^]iuí6}ie 6he cTK^ilin blie<^5 05 5<^n cheTll ; 
 
 ^ichz <^mTpln|t ch<^oin n<^ n5e<^l-clnoch 5<^n phomc 5<^n 
 
 yp]iéibh ; 
 C^ cÚTnh<^i6h <^5<^m <^ n6T<^i5b wo Tnliui|tTiin A'f ni r\^\i 
 
 liom e. 
 
 <P|?l <^chciteibÍTi be<^55 bui5libe<^cb 6'):e<^]t <^rin yA' r^-K^z, 
 bb-'ipuil <^ chinliTi 'n<^ 61iudl<Cibhe '5U]* é ipi5hce 50 b<^íi|i; 
 ^?l C]t<^TiTi c<^o|tcb<^Ti b'^ <Ci|tbe TK^ch b'ibbe<^nTi yeAjibh Arm 
 
 <^ bh<^|t]t, 
 'Y50 bh-ip%<^TiTi YTnéA|i <^5U]* yubh<^ c|i<^obli Aijt An n5éi5 
 
 ly'iyle bl<lch. 
 
 ''^uAiji éi]t5liíni-ye <^i|t mAibin <^5uy dn b|tuclib 'n<^ luibhe, 
 6e<^]tc<^im <^i]t <^n m-bAile ni-btbhe<^TiTi 5|t<<vb}i mo chjtolblie; 
 ^iO|i lAbh<ii|i me le'm mliui|tTiÍTi 5Íbh c<liTn bo'in chiK^ov 
 
 bbe<^bli, 
 'Y <^ che<^b-Ybe<^]tc ! n<^ch bochb n<^cli b1i-):éub<^iTn bc^ 
 
 chúmh<^ibb bo clil<^o'íbbe<^bh ? 
 
SENTIMENTAL SONG. 237 
 
 'Tis not a vain girl deck'd in gems of pride. 
 That my dearest should choose as his destined bride ; 
 'Tis one whose firm fondness with her years has grown. 
 Who can bless him, and caress him, and be ail his own. 
 
 Tho' lowly in stature my lov'd youth may be. 
 
 Yet not lowly does he seem when he smiles on me ; 
 
 In the garden there are plants that grow straight and tall. 
 
 But the shrub richly laden will outweigh them all. 
 
 When I rise in the morning ere the dews are past, 
 To the home of my sweetest my first glance is cast -, 
 To that dear one I have spoken but by looks alone ! 
 For thus, and thus only, shall my love be known. 
 
238 IRISH MINSTRELSY, 
 
 C^tlTlOl ^UlA\)2l% 
 
 piioy^pi^mn chu 5<^ti hh6. 5<^n pinnc 'y 5<^n Tnojt^n "ppitéibli, 
 ^Vy pho5):<^inn cTiu nK^ibm 6]túc1ird le b^lnAbh <^n lAe; 
 |Vlo 5h<^U|i bubliAch 5<^n me <^'y zii, A bhiéa\--^h]i^bh mo 
 
 chleibli ! 
 21 5-C<^ip<)l IVlúmhAn, 'y 5<^ti be le<^b<^i6h pumn <^Tin, Ache 
 
 cl<<i|i bo5 be<^l. 
 
 *Zt chdom-bbeAn ! <^ti cuimhm le<^c-|'<^ ylK^bli n<^ m-b<^n 
 
 IpioTin ? 
 4lo <^n cuimhne<^bb le<^c n'u<^i|t 60 bbibbinn-p 'y me 
 
 1pi<^Mi<^ch '-p^'n n5le<^Tiri ? 
 '"^oi]* clK^ich <^Ti <^oiy me <^')* 5U]t li<^ch mo che<^mi/ 
 ^1 cubh<^ibh bhuic ine bh1bi]ic, <^'y c^'n bblK^blK^m-yo 5<^nn. 
 
SENTIMENTAL SONG. 239 
 
 CASHEL OF MUNSTER, OR THE 
 ^^CLAR BOG DEAL." 
 
 BY THOMAS FURLONG. 
 
 I would wed thee my dear girl without herds or land. 
 Let me claim as a portion but thy own white hand ; 
 On each soft dewy morn shall I bless thy charms, 
 And clasp thee all fondly in my anxious arms. 
 
 It grieves me, my fairest, still here to stay, 
 To the south, to the south love ! let us haste away ; 
 There plainly, but fondly, shall thy couch be spread, 
 And this breast be as a pillow to support thy head. 
 
 Bethink thee my sweet maid of old Slieve-na-mon, 
 And the vales where I sported in the days long gone ; 
 Tho' my locks now look grey, and my blood runs chill. 
 The fond heart that then lov'd thee can love thee still. 
 
24-0 IRISH MINSTRELSY. 
 
 ^l^ y<^oil-p 5U]t b'lpoll <^'x ^^^^ ué<x6X Tne, 
 
 yin po)* le<^Tii ye<^l Tn1oy<<v <^5uy cu<^|tcm5b me, 
 ^Isuy 5lie<^blidi]t f5|áíobhch<^ <^rm mo cb<^oibb be<^y 5U|t 
 b*u<^)*Al me. 
 
 ^I'l o|t buibbe <^nn mo pb6c<^1bbe n^ ^1113106 5e<^l, 
 
 't|<< mo bol<^chc le yeolc^bb z\iKzhY\or\6. <^i|t y6.b, 
 
 ^?l oi5-bbe<^n 60 cb6i5Tpe<^6h me ipoll<^mh 5<^ti bhoibh, 
 
 ^éiCh b-co5^<^mn <^i]t moyheolcA 50 conc<^é-cbí]te-Co5bdm. 
 
 21 cb<^ilÍTi, iy m<^icb-<^icbn'ímb 50 bb-^puil bu<^ibh]te<^6b oyir, 
 '^Isuy, <^ cb<^ilm, ^x mAicb <^icbmm 50 bh-^u<^i|i cú 5udi ; 
 C<^ilÍTi me ^u<^i|t iom]t<^6h ^(^o'l 5b]t<l6b /|pi]t, 
 2Vx ipioy mo leAcb-cfiomi, ti<< |t<^ibb <^5 mTi<<ibh <^ti c-ir<^é- 
 5b<^il uile. 
 
SENTIMENTAL SONG. 241 
 
 Oh ! turn not upon me that cold glance of scorn. 
 Nor deem me as a mean one, or one basely born ; 
 Nay, take me to thy arms love ! and thou shalt see, 
 That the gentlest of the gentle I can prove to thee. 
 
 Not from wealth closely hoarded can I claim delight. 
 Not with herds or fair flocks can I tempt thy sight ; 
 Nay ! these gifts of frail fortune midst the crowd may fall. 
 But the soul fraught with fondness is beyond them all. 
 
 On thy young brow my sweet one, a cold gloom appears. 
 And thy glance of mild brightness seems dim'd with tears; 
 The world, dear, may slight thee, but when friends are 
 
 gone, 
 This heart ever constant shall thro* life love on. 
 
 VOL. I. 
 
242 IRISH MINSTRELSY. 
 
 M'^tiTte ci)UiTie. 
 
 l3éul If bmne r\^ 'n cliu<^ch <^i]t bile, 
 6'^<<^5 CÚ me-p <^' ii-i<^|t5n66b b^li)-; 
 
 l^t léijt 6<^Tiib coin5e<^l, cl^]t ti<< ipui|tedTiri, 
 Ui<^6b bo mb 61136, ^ \ie bbe<^5 mnK ; 
 
 YzK\b-bheé^nmh6^vfe\ch, mbéubuisb <^|i mA^\l■^, 
 Och ! 5<^n 6'y<^IUiti5 liom 50 1^ ! 
 
 yhiubbdl me '2l]a6<^cb5 ^'y 50 CionTicTf<<ile, 
 50 6|toicbe<^6-<Cicbe, <^'y Ai]t <^i|' A ]tii*, 
 
 30 ce<lch<^[tl<^cb <^5uy 50 fcun-p^ccpuicc, 
 Y<^Tnbuil |71b^i]ie m pb<^c<^i6b me: 
 
 Coiybibbe <<^|tb<^ <^i]t €<^cbii<^ibb bilnA, 
 |\/l<^]tcyblu<^5b 5<lll6<^ c]aoib ^í^'ti iyiik^oi ; 
 
 fA^ b'lmcbisb cu, t^b<<;.i]te5 50 bb-yillibb cu yl^ry, 
 T 5^ Ti bé<^ny<^6b bo i^^ile pluy 5<^ti 5|^i<^n. 
 
SENTIMENTAL SONG. 243 
 
 MOLLY A STORE.^ 
 
 BY THOMAS FURLONG. 
 
 Oh ! Mary dear ! bright peerless flower, 
 
 Pride of the plains of Nair, 
 Behold me droop through each dull hour, 
 
 In soul-consuming care. 
 In friends — in wine — where joy was found — 
 
 No joy I now can see; 
 But still while pleasure reigns around, 
 
 I sigh — and think of thee. 
 
 The cuckoo*s notes I love to hear, 
 
 When summer warms the skies ; 
 When fresh the banks and brakes appear, 
 
 And flowers around us rise : 
 That blithe bird sings her song so clear. 
 
 And she sings where the sun-beams shine- 
 Her voice is sweet — but Maiy dear, 
 
 Not half so sweet as thine. 
 r2 
 
244 IRISH MINSTRELSY. 
 
 'Y^ t71<^ijie 50 beiTnTiiTi, <^n pi^nn6<^ b]ie<^5h leinbh, 
 ly yeiTYilribhe 'x iy beiye b*^ bh-):uil le |:^3li<^il ; , 
 
 ^l 5]iu<^61i ^x 6ei]t5e Vi<l itoy b'<l bli]ie^5h<^clic : 
 &c>clicúi|ííblie n<^ cjtuinnej <^'y <^ 5-c]tuiTiTiiu5h<^6h uile, 
 
SENTIMENTAL SONG. 245 
 
 From town to town I've idly stray'd, 
 
 TVe wander'd many a mile ; 
 I've met with many a blooming maid, 
 
 And own'd her charms the while : 
 I've gaz'd on some that then seem'd fair, 
 
 But when thy looks I see, 
 I find there's none that can compare, 
 
 My Mary, dear, with thee ! 
 
246 IRISH MINSTRELSY, 
 
 C 21 1 C n <F1 C 1 jl ]! 1 21 I I. 
 
 1]* TYiK^Tin lioTYi z\iKc:hzé^bh di|t 5<^cli mbh le i-cu<^im, 
 
 ^Isur 1Y TYihichib liom rii<<c}ir<^b}i Ai|i Chicibh ti<^ 
 
 ^YeTvio c}i]te<^ch mlK^ibTie, n<<^'|t -|p<^5bh<^61i me, 
 ^liii bh|tu<^ch loc1i<^ €i|t|till le yi^mr^e <^n Ue ! 
 
 |71<^|t ybuil 50 bh-"|p^5h<^inn <^Tnli<^[ic ^^\l Chitibb ti<^ 
 5-C|i<^ébh, 
 |71<^]t 60 c}iu<^l<^ibb me re<^Y^<^T bli]te<<^3h61i<^clic<^ A 
 
 'X é mo léun5liui|ic! m<^]t cbondijtc me búbh<^cb r\K -peánn, 
 ^^ 60 chul h\ieK-^\\, c]aiop<^llAcli5 -p<lmne<^cli5 ponn ; 
 
 bK 6-c6i5e<^bh An ci5he<^|tTi<^ e<^yboi5-Yi l<^mh ^y mo cliionii, 
 bhéuít|:<^mn Cicibh <^n tc<^'ib-bhe<^n c<^it y^ile liom ; 
 
SENTIMENTAL SONG. 24s7 
 
 CATHARINE TYRRELL. 
 
 BY THOMAS FURLONG. 
 
 Sweet girls ^tis mine to frame each tender ditty, 
 
 Or touch the heart with many a thrilling air ; 
 And now my theme shall be my blooming Kitty, 
 
 The first, the fairest, seen amidst the fair. 
 Young bud of beauty, all bright and peerless, 
 
 Long have I lovM thee — and must yet love on ; 
 Thy smile is cheering, when life looks cheerless ; 
 
 Thy glance gives hope, when all hope seems gone. 
 
 Oh ! might I wander down by bright Loch Errol, 
 There should I linger at the dawn of day; 
 
 To gaze in rapture on my own dear girl, 
 
 As thro' the green fields she bends her way — 
 
248 IRISH MINSTRELSY. 
 
 1|* Slid 'Ti<<v'n e6lÁ, 'x IT ^ei|t5e1 'r\K 'n 5li]ti<^Ti, 
 Itf binned 'n<^ 5-cu<^l<^ib}i me be che6lc<^ibh AjiK^mh, 
 
 ^?l den t:e<^cli le<^Tm<^ \ie^cA y:^ dn c-y|t^i6 yo y]\^6.\l, 
 ^<^ch n-ol'p<<iibli TYie yl<<iTice Ch<^icilin Cjti<^^^. 
 
 ^y z\l\l6^^^\\ TK^ch bh-):uil me-yi <^5Uf Cicibli bhe<<i*5 cIk^oiti, 
 
 y^ chul An coim cVimlmn 50 n-olip<^ni<<voi]* b|t<^otn, 
 tVl<^|t fhuil le 61 <^ b1le<^Y 50 b-i:65Y<^inn A cjtdibiie, 
 
 '21')' 50 b-ciúbli]i<^inn <k bh<^ile 6 n<^ in<<c1iAi|i liom 1 : — 
 léi5li me 60 liCT|i <^ muich <^i|t An c-yliAbh ; 
 
 l)ubh bhmnei 'n^^iomAb be cheolcAibh fÍ5he 
 p^i]tc mhofi be'm cbituAbhcAn, 5U|t leAc chAill me mo 
 chiAll 
 
 If m6|i A n-A5liAibli b'AnAmA e, A ChAinlm C'^iAll. 
 
SENTIMENTAL SONG. 249 
 
 Oh ! sweetest ! dearest ! had I never met thee, 
 Calm nights and days 1 might still have known ; 
 
 But who that sees thee, can e'er forget thee ? 
 Thine image fades but with life alone. 
 
 Oh ! that we were in holy bonds united. 
 
 How sweet, how sacred, would that moment be ; 
 The sails should flutter as with hearts delighted, 
 
 I and my lov'd one would cross the sea : 
 Or by some holly bush, in greenness blooming. 
 
 Our languid limbs we at noon might lay ; 
 In love's dear dalliance the time consuming. 
 
 Scarce heeding seasons as they wore away. 
 
250 IRISH MINSTRELSY. 
 
 1[<^ Cl)Ull-lpi)10^t). 
 
 b6ich|tibh, 
 ^^15 ioTiTiY<Cibhe n<^ b-ú|i-clioille ^'y An 6|iúclib A^\l \ b[i65<^, 
 /yi mo Ybe<^iict 'fi mo jtun i, <^'y tví'I cnúdi <^ici le h-6i5e, 
 ^^3^X W5 V ^^M^ inline <^i]t mbni^ibb b]ie<<5hcli<^ ti<^ 
 
 ^o6bl<^. 
 
 71 m-bé<^l-<lch-Ti<^-5^^ <^ z^ <^n rc<<i5>-bheAn bh[ie<^5b 
 
 mhoblK^mhuil, 
 t)h-Yuil A 5|tu<^bh m<^]t ti<^ c<^o|i-clion ^^uy y^hmh Ami A 
 
 clobb 3eAl, 
 l)ubb bbmne 5uch A beil-pn ^nA 'n cbeiit-reAcb 'y ti<< 'ti 
 
 ymolAch, 
 'yn^ An lonn-bubb Ai]i nA co'ilkibb le yoillye An c]t^chnonA. 
 
 d|t5bi6b A6 yhuibhe, A bbuAcbAill, A5U)* sleuy 6Amh mo 
 
 5heA]t|t<ln, 
 4^0 50 leAn^Aibb me An xcuAibb-bbeAn ub yhuA|* Ai]t nA 
 
 cn^cAin, 
 r<< fi b<< YiO]t-luA6bA6h liom $ bHbh fi 'nA leAnb^n, 
 T 5^ Tii-bubh bbmne bom nAot n-uiAi|iet 'n^ 'n cbuAcb 'y 
 
 nA 0]i5Ain. 
 
SENTIMENTAL SONG. 251 
 
 THE COOLIN.^ 
 
 BY THOMAS FURLOl^G. 
 
 Had you seen my sweet Coolin at the day's early dawn. 
 When she moves thro' the wáld wood, or the wide dewy 
 
 lawn ; 
 There is joy — there is bliss in her soul-cheeriiig smile. 
 She's the fairest of the flowers of our green bosom'd 
 
 isle. 
 
 In Belanagar^ dwells the bright blooming maid. 
 Retired like the primrose that blows in the shade ; 
 Still dear to the eye that fair primrose may be. 
 But dearer and sweeter is my Coolin to me. 
 
 Then boy, rouse you up ! go and bring me my steed. 
 Till I cross the green vales and the mountains with speed; 
 Let me hasten far forward, my lov'd one to find. 
 And hear that she's constant, and feel that she's kind. 
 
252 IRISH MINSTRELSY. 
 
 [71^ chu5 mo ch]toí6he 5]t<^6h bhmc 'y 5U|t cu ^ilne 5<^c}i 
 
 'Y 5<^Ti mo mliuinci|t y^]t-Yh<<)*6<^ le<^c, <^ 5li|i<l6h bhil n<^ 
 
 5-coTii<^nTi, 
 P<^i[tc TYiho|t be'iTi cli]tu<^bhcAn <^')* me <^5 C|iu<^bh-5}iul 50 
 
 6<^m5e<^Ti, 
 1P<^o1 'm le<^n<<^ii b]téA5h uA)-<^l 60 lu<^bh<^b}i liom <^'m 
 
 lednbh. 
 
 21 )t6i|i bhil mo cli|tdi61ie ! bibb bile<^)' <^5WT b<^m5e<^Ti 
 
 6<^mb, , 
 
 4l<^ C]téi5 ]tún 60 cbléibb <^ n3e<^ll ái\í e blieicb 6e<^lbb, 
 t)héu|tTp<^mTi buic-p <^ti b^obl<^ <^ bh-^uil Tp<^o'i ^-^uy cbi^iitiy. 
 50 6-cmbb]i<^bb &i<^ bile<^if A]t if<<ich bbumn le c<^iche<^mb. 
 
 'Jin cuimbm le<^c-'r<<. <^n olbbche bMbb cu-j-A ^suy me-p, 
 ']P<<< bbuTi <^n cb|t<^mn cb<^o|tcb<^mn A'y <^ti oibbcbe A5 cufi 
 
 cbui)-iie<^bb 
 4^1 |t<^ibb ipoi*c<^cb o'n n5<^oicb A5umw ti<^ blbeAn 6'n 
 
 bb-Ye<^[tcb<^mn, 
 'Jlcbc mo cboc<^ cbu]t ^íúmii (^suy bo 5Ún<^ chu\i zhá\iÁmn, 
 
SENTIMENTAL SONG. 253 
 
 Oh ! dearest, thy love from thy childhood was mine, 
 Oh ! sweetest, this heart from life's opening was thine ; 
 And tho' coldness by kindred or friends may be shewn, 
 Still ! still, my sweet Coolin, that heart is thine own. 
 
 Thou light of all beauty be true still to me, 
 Forsake not thy swain, love, tho' poor he may be ; 
 For rich in aíFection, in constancy tried. 
 We may look down on wealth in its pomp and its pride. 
 
 Remember the night, love ! when safe in the shade. 
 We marked the wild havoc the wild wind has made ; 
 Think ! think how I sheltered thee — watched thee with 
 
 care. 
 Oh ! think of the words, love, that fell from us there. 
 
254 IRISH MINSTRELSY. 
 
 jaoiTi'íl Í^^Ubí). 
 
 71 Jloifin, r\\ btobh bpon o|tc ):<<']t ei|t5hib1i bíuiic ! 
 muijt, 
 
 ]y ']p<^b<^ <^n ]téini 60 léi5 me léi 6 n-bé 50 b-ri-^h Á ti-6ui, 
 C<^]iyn<^ yleibbce 50 Ti-be<^cli<^]* leidn, ):Aoi yheolc<^' <^i|i 
 
 Triui]t, 
 '2ln CiiiTie <^'y cli<^ich me leim ^, cibli moji <^n Yjtuidi, 
 'Y blfibli ceol ceub <^i|i 5<^ch c<^ébh Miiom <^'y mo jloipii 
 
 6ubh. 
 
 [yi1i<^]tbh ru me bh|fí6e6i5, <^'y r\K'\i hubh ):e^]i|i-6e bhmc, 
 'T 59 bli-|:uil m.'AriAm <^ "|fci5h <^ Ti-5e<^Ti ^c, 'y m <^ n-be n<l 
 
 n-biu 
 6'Y% ^^ ^5 <^iibh^<^mi me, <^ ii-5néibli 'y <^ 5-cítiidí, 
 ^K ^e<^\l opm ^'y me <^]i5e<^n c^ir, <^ jtcifin fcubh. 
 
SENTIMENTAL SONG. 255 
 
 V ROISIN DUBH.^ 
 
 BY THOMAS FURLO?»ÍG. 
 
 Oh ! my sweet little rose, cease to pine for the past. 
 For the friends that come eastward shall see thee at last ; 
 They bring blessings — they bring favors which the past 
 
 never knew. 
 To pour forth in gladness on my Roisin Dubh. 
 
 Long, long with my dearest, thro' strange scenes I've 
 
 gone. 
 O'er mountains and broad valleys I have still toil'd on ; 
 O'er the Erne I have sail'd as the rough gales blew, 
 While the harp pour'd its music for my Roisin Dubh. 
 
 Tho' wearied oh ! my fair one ! do not slight my song, 
 For my heart dearly loves thee, and hath lov'd thee long -, 
 In sadness and in sorrow I shall still be true, 
 And cling with wild fondness round my Roisin Dubh. 
 
256 IRISH MINSTRELSY. 
 
 Yhiúbh<^ilpinn Tpein <^ti 6|aúcíic ledc Á.^\iy y^K^<!^\ch soipc, 
 |Vl<^|i r^iuil 5<> b1i-v<^5hAinn inm u<^ic, no p<lific be'm rhoil, 
 Chít<^oiblTÍn chúmhjtA, 5lie<^lUiy 6oTr]h-r<^, 50 |t<^ibh s^i^feb 
 
 'X 5UÍI b'1 vioit-rcoich Ti<i f^úmh<^n1 mo jloipn fcubh. 
 
 'Zl jloifin ttiKti, Trih$6h<^iTih<^il, ti<^ Tn-b^n-cMoch cc]tLnnn, 
 1|- CÚ b'-pils mUe <^]t|i<^iri5 <^ 5-ce<^]tc-Up nio cli|toí6he : 
 
 "^I'r ^<^ bh-^éu6):dinn n<^ch 'n-6é<^np<^inn-p b<<iinpío5hAin 
 bhtoc, <^ jloifin fcubh. 
 
 &<l ni-bi<^61i yeiY|ie<^c]i <^5<^ni 60 ch]ie<^blip<^inn <^ n-<^5li<^i6}i 
 
 n<^5-cnoc, 
 Qi'x b]úé<r\y^mn ]*oi]*cé<^l Ann l<<^|t <^n Áichpiamn bo'ni 
 
 lloifin feubh, 
 t)liéu]t^<^inn po5 6o'n 5-c<^ilin n-05 60 bliéu|t|:Ábh <^ h-oi5e 
 
 6h<^7nh, 
 7Vx 6hé<^n'p<^inn cle<^y <^i|ichul <^n le<^y<^ le'm jloifin 6ubli. 
 
 C^ <^n d]tne r\6. cuilce cfiéí^nA, ^3^T ^eub-pAiblie^^]! cnoic, 
 '^I'y c<l'n -ph<^i[i5e 'n<^ conn<^ibh 6e<^]t5A5 A')* boificpe<^]t -puil, 
 l)ei61i 5<^ch 3le<^nn yleibhe <^i|t ^^mb Cijtedn <^'|* moince Ai|i 
 
 chitoich, 
 l<^ eisin yul <^ n-é<^5V<^i6b mo jtolfin fcubh. 
 
SENTIMENTAL SONG. 257 
 
 There's no flower that e'er bloomM can my rose excel. 
 There's no tongue that e'er moved half my love can tell; 
 Had I strength, had I skill the vride vrorld to subdue. 
 Oh ! the queen of that wide world should be Roisin 
 Dubh. 
 
 Had I power, oh ! my lov'd one, but to plead thy right, 
 I should speak out in boldness for my heart's delight ; 
 I would tell to all around me how my fondness grew. 
 And bid them bless the beauty of my Roisin Dubh. 
 
 The mountains, high and misty, thro' the moors must go, 
 The rivers shall run backward, and the lakes overflow 5 
 And the wild waves of old ocean wear a crimson hue, 
 Ere the world sees the ruin of my Roisin Dubh. 
 
 VOL. 
 
258 IRISH MINSTRELSY. 
 
 U11€'ZIC'ZI<F1 6Ubl) 0! 
 
 11 Uile<^c<<in fchuibh 1 
 blie<^|i'p<^niTi-p TYiil blie<^ch <^5U]* Tné<^bli Tri<^|i bhi<^6h 6huic, 
 
 11 Uilei^c^iTi ihuibh ! 
 bé<^]iV<^6 <^e]t ndlon5 nd yeol 'y nA Tn-b<<6 6uic, 
 'p<^oi bh<^|ip<^bh<^ibh Ti<^ b'Zom e^'y yinn <^5 pilledbh o'n 
 
 'Y Til léispiHTi-'p <^én bli|ioTi cdiihchebo'b 6}i<^il5 
 
 'Y 5U11 cu Tn'Uile<^c<<Ti bhub ! 
 
 ^í ^tí^cb-pí^ibh Tne-p le<^c, {^'y rn'l lYK^icb bhuic bo'm 
 i<^]t]t<^bb, 
 
 •21 Uile<^c<liTi fchuibb ! 
 |71<^]t n<^cb 5-coin5e6cb<^bh bo 5hlo]tch<^ beobb 5<^ti bbi<^bh 
 me 
 
 11 Uile<^c^in ihuibb ! 
 |711le ce<^b ):e^|i]t liom bheich choibhche 5<^n Tie<^]t, 
 '<P)<< bheich <^5 pubbM <^n b|aúchbd 'r ^^ bb-v<<r<^cb le<^c, 
 4lio|t chu5 wo ch|to1bbe bbuic 5tt<^bh n^ 5e<^n, 
 
 'Y rn CÚ m' Uile<^c<<n 6ubh ! 
 
SENTIMENTAL SONG. 259 
 
 UILEACAN DUBH O! 
 
 BY THOMAS FURLONG. 
 
 If to Leitrim*s green fields thou wilt wander with me 
 
 Sweet Uileacan Dubh O ! 
 Thy cup shall be sweetened with the honey of the bee, 
 
 My Uileacan Dubh O! 
 There the trees rich and shady shall wave o'er thy head, 
 There the barks shall glide by with their sails gaily spread. 
 There each day as it flies some new blessing shall shed 
 
 On my Uileacan Dubh O ! 
 
 Oh ! what says my dearest ! and can she deny me, 
 
 Sweet Uileacan Dubh O ! 
 
 My words may not win her — but why will she fly me, 
 
 Sweet Uileacan Dubh O ! 
 
 Oh ! think not sweet maiden through life to be free. 
 
 While in each that beholds thee a slave thou canst see ; 
 
 Oh turn not—oh look not thus coldly on me 
 
 My Uileacan Dubh O ! 
 
 s2 
 
260 IRISH MINSTRELSY. 
 
 CboTi<<i|ic me <^5 ze^cht c1iu5<^tti "i c|te l^]t <^ti c-yleibhe, 
 |\/l^]t |iéilcion z\\\ttb 6j\ 5-ce6bb ; 
 
 l)lfí6h Tvié <^5 c<^'ínc 6.'x <^5 coTiili]t<l6h lei, 
 
 5o Ti-6e<^cli<^ni<^i|t 50 p<<ii|tc ti<^ m -bo : 
 
 piuibbe<^TYi<^i]t-ne fioy <^rm luib <^n ^bílil, 
 
 50 6-CU5 me 6hi yc|viobbch<^ ^<^oi mo l^imb, 
 
 ^<^cb b'-pml coi]t 6'<<i Ti-6eKn<^bb fi iK^ch n4ocTp<^mn <^ c<^m 
 71 Uile<^c<<m 6buibb ! 
 
 |71o ch]te<^cb ^'y mo ch]t<<vbb 5<^ti me if!hy^zhe fioy léi, 
 
 Uile<^c^m 6ubb ! 
 2U\i le<^b<^ cb<^ol, <l|tb no <^i|i cb^jmn cuibbe, 
 '21 Uile<^c<<n fcbuibb I 
 5<^n bume <<.i]i bich <^nTi €i|tmTi bbeicb l^imb lmr\ 'yA 
 
 'n-di6bcbe, 
 ^Icbc <^5 y\i-5\i^bh <^5ur <^5 5^iíie<^^^ n^V tyk^]! bubb 
 
 mbK^nn Imn, 
 '21 bh^6. ! TK^cb cttu<^6b <^ti c^y é, mm\ bh-v<^5b<^ibb me 
 mo mbK^nn 
 
 ^li|t <^Ti Uile<^c<^Ti 6ubb ! 
 
SENTIMENTAL SONG. 261 
 
 I saw ihe fair damsel round the hill slowly bending. 
 
 My Uileacan Dubh O ! 
 
 Like a joy-giving star thro' the grey mist ascending, 
 
 Sweet Uileacan Dubh O ! 
 
 I spoke to her gently — I spoke of my pain, 
 
 I vow'd — I protested again and again ; 
 
 But my vows of affection were pour'd out in vain 
 
 My Uileacan Dubh O ! 
 
 Oh were I beside thee in rapture reclining, 
 
 My Uileacan Dubh O ! 
 On some soft rushy couch with the moon o'er us shining, 
 
 Sweet Uileacan Dubh O 1 
 How blest might I be in the arms of my dear, 
 Where no shape or no sound to disturb us came near ; 
 But she waits not — she deigns not my story to hear, 
 
 Sweet Uileacan Dubh O ! 
 
262 IRISH MINSTRELSY. 
 
 Ct;1l<^<^ &Ubl) Olie-ZIT. 
 
 21 chemn bhuibh bhUiT, bhUi]-, bliili)- ! 
 
 Cuijt bo l^Tnh mhíii-5lie<^l chojiTn A n<^ll ! 
 '^l bhéilín Tnhe<^l<^, bh-:|puil bol<^6h n<^ ciine <^i]t, 
 
 ly buine 5<^n ch]toibbe ndch 6-CTub}i]t<^bh 6uic 3|i^bh. — 
 ZK c<^iliTie<^bh<^ <^i]t <^Ti TYi-b<^ile-p <^i|i buille<^bh 'y <^i|t 
 bu<^ibli|ieAbh5 
 
 'ZI5 c<^|t]t<^in5 Á n^^^5\lu\^'^e 'y b^ léi5e<^Tni le 5<^oícíi, 
 2li|t mo fbon-fí^, ^n '|fc<^|í<^i|te ^y ipe<l]t|i Ann f<^n zuóazhe, 
 
 *2lchc 60 cli|tei5Vinn <^n me\b pn <^i|i ]iun fchilmo ch]ioí6he. 
 
 2Vy cui|i bo che^nn b1le<^Y, b^le^y, bile<^y ! 
 
 Cui|i bo cbe<^nn bllei^y ch<^]tni 6j]6XI ! 
 21 bbeilin inbei^l^^, <^ bb-ipuil bol<^bh n<^ dme <^i]i, 
 
 }y bume 5<^n cbpdibbe n<^cli b-ciub]i|t<^bb buic sniKbh ! 
 
SENTIMENTAL SONG. 263 
 
 CEAN DUBH DEELISH. 
 
 BY THOMAS FURLONG. 
 
 Oh ! sweetest and dearest of maidens behold me, 
 
 All lowly before thee thy victim must fall ; 
 Oh ! let thy white arms in fondness enfold me, 
 
 Oh ! let thy lov'd lips my lost spirit recall. 
 There are maidens around that too partially view me, 
 
 Aye, girls whose gay glances enchant and enthrall ; 
 But idly they watch me, and vainly they woo me. 
 
 For thee Cean Dubh Deelish V\\ fly from them all. 
 
 Then dearest and sweetest come let me caress thee. 
 Come lay thy lov'd cheek on the breast of thy slave ; 
 
 Where is he who could see and not seek to possess thee. 
 Oh ! such must be heartless and cold as the grave. 
 
264 IRISH MINSTRELSY. 
 
 €ibi)ii<fi 21 iaui<fi. 
 
 71 dblilin <^ jiuiTi ! 
 yhmblK^ilpTni -peiin <^ 5-c6nihriui61ie le<ic, 
 
 71 €ibhlin <^ ]túin ! 
 yhmblK^lTpdinTi -pein <^ s-c^Tnbnuíbhe le<^c, 
 
 \J\6.\i f hull 50 m-béi6hinTi <^ 5-cle<^TYilni<^if le<^c, 
 7i CibhliTi <^ jtuin ! 
 
 5' $l):<^inTi vein bo le<^c-if<^5 
 
 ^21 €ibhliTi <^ jtuin ! 
 'Y b'6lv<^iTiTi 6h<< hU leAc-r<^, 
 
 •21 €ibbliTi <^ íiúin ! 
 Yhiúbh<^ilpTiTi An 'f<^05b<^l Tnojt le<^c, 
 '^Icbc cle<^TnbTi<^i* 6'v<^5li<^il o'm )TO]t, 
 'Y Til TfC<^|tv<^inTi 50 6eoi5h le<^c, 
 
 71 €iblilÍTi <^ |túm ! 
 
SENTIMENTAL SONG. 265 
 
 EILEEN A ROON, 
 
 BY THOMAS FURLONG. 
 
 ril love thee evermore, 
 
 Eileen a Roon ! 
 I'll bless thee o'er and o'er, 
 
 Eileen a Roon ! 
 Oh! for thy sake I'll tread. 
 Where the plains of Mayo spread ; 
 By hope still fondly led, 
 
 Eileen a Roon ! 
 
 Oh ! how may I gain thee ? 
 
 Eileen a Roon ! 
 Shall feasting entertain thee ? 
 
 Eileen a Roon ! 
 I would range the world wide. 
 With love alone to guide, 
 To win thee for my bride, 
 
 Eileen a Roon ! 
 
266 IRISH MINSTRELSY. 
 
 '^l Cibhlin <^ iiuin ! 
 6-noc^<^ibh CÚ no*n b-TpdTiTp<*vi6h cu, 
 
 Chuib be'n c-i*<^oÍ5he<^l 'ye^ yto\i ! 
 Ciocp<^ibh me, 'y m 'ph<^n']p<^ibh ine, 
 CiocipAibh me, "y tíí ):b<^nTpAibh me, 
 'Y noqp<^ibb me, 'y m ^h<^n):<^ibb me, 
 
 "Y e<^lo5h<^ibh me le'm ycoit. 
 
 Ceub mile -pRilce ]tomb<^c, 
 
 'It €ibhlm <^ |iúm ! 
 
 Ceub mile ^ííilce |tomTi<^c, 
 
 21 €ibhlm 6. jium ! 
 
 Ceub mile ")p<lilce |iomb<^c, 
 
 4l<^di 5-céub mile ^^ilce |iomb<^c, 
 
 Och ! ):<<iilce ^suy -picbcbe jtombc^c, 
 
 "21 €ibbllTi <^ ]túm ! 
 
SENTIMENTAL SONG. 267 
 
 Then wilt thou come away ? 
 
 Eileen a Roon ! 
 Oh ! wilt thou come or stay ? 
 
 Eileen a Roon ! 
 Oh yes ! oh yes ! with thee 
 I will wander far and free, 
 And thy only love shall be, 
 
 Eileen a Roon 1 
 
 A hundred thousand welcomes, 
 
 Eileen a Roon ! 
 
 A hundred thousand welcomes, 
 
 Eileen a Roon ! 
 
 Oh 1 welcome evermore. 
 
 With welcomes yet in store. 
 
 Till love and life are o'er, 
 
 Eileen a Roon ! 
 
268 IRISH MINSTRELSY. 
 
 €6l)|710<fl6 21 <^ CT)<I101C. 
 
 21 chilli <^luiHTi 6he<^i*5 r\6< bh-):<^iTiTie<^6h<^ "S'^^Xi 
 
 ly btte<l5h 5uy i^f "^l^y bo yimile, 
 'X 6<l bh-"p<^5}i<^iTiTi che<^|tC5 ce<^b ]*ÍTíe<^bh le<^c, 
 
 1y é<^bc|tom, c<^pdi6h Tfhiúbh<^il|MTir] : — 
 Yhiúbli<^ilpTin le<^c <^ti |Vlhúnih<^iTi Ai|i i^^b, 
 
 b^ 6-citi<^n A5UV le<^ch r\^ h-€i]te<^n, 
 T 5^ pTipnn ojic, mo ch]toí6he 'suy mo clio]tp, 
 
 21 fbiobi^ n<^ Tii-b<^ri 5<^ti Aen Iodic. 
 
 •^l chdilin 015^ i-beimb, <kn 6-cui5e<^Tin cu -pern, 
 
 5u|i buine me <^c<l <^i]t bu<^ibli]te<^61i^ 
 T 5^ bh-ipuil mo cli<<.i]tbe 50 léi|t, <^ bh-Tpei]t5 liom -pern, 
 
 Chionn m bheich <^'6 lu<^b}K^6h liom : — 
 •^liit irb<^ibhbli]te<^)' <^n c-i*Ae5h<^il5 <^ lembh bhil mo chleibh, 
 
 "4^1 cli[iei bi^mri-p )*céulc<^ Tpu<^]i<^ 0[ic ; 
 T 5^]^ ^^^^ iom<^b n<^ m-b]té<^5, bo chuijt pnn <^|iAen, 
 
 21 bh-TpAb n-<^ cheile i Ti-u<^i5ne<^T. 
 
SENTIMENTAL SONG. 269 
 
 EMON A KNOCK, 
 
 BY THOMAS FURLONG, 
 
 Oh ! maiden more than fair, 
 Whose ringlets rich and rare. 
 
 Are o'er thy white shoulders flowing ; 
 Whose eye of winning hue. 
 
 Large, languishing, and blue. 
 With love's own wild light is glowing : 
 
 How happy should I be. 
 
 If blest my girl with thee. 
 But fairest, thou art too cruel ; 
 
 ril range the nations o'er, 
 
 ril wander evermore, 
 Or win thee, my dearest jewel. 
 
 Dear blooming gentle maid, 
 Thy smile comes not to aid 
 
 The weak one who droops in anguish ; 
 Tho' friends and kinsmen jeer, 
 
 And taunt me when they hear, 
 That thus for thy love I languish. 
 
270 IRISH MINSTRELSY. 
 
 21 CliMni 015, Yheimh, 6j\ b-cui5e<^nn cu y^em, 
 
 5u]t buine Tné z^ <^i]t ylishe bochchuii*, 
 |71uTi<^'b lOTK^on d'y <^n c-e ub, bhibh (^ichmb ^^^z -peiTi, 
 
 ?l5uy 6'p^i5 -|p<^óí 5hnéi6h bjiom cu : — 
 C^ 60 yhuil Tn<^|i <^n pTié<^|i, bo 5h]tu<^bli tyi<^|i dn Ci^ojt, 
 
 ly b|ie<l5h 1 bo bheib-yi, <^ oi5-bhe<^n, 
 Y 5U]t b'e 5<^iite 3e<^l bo bheil, chu5 b<^i* bo ti<^ ceubi^ibh, 
 
 [71 5h|t<lbh '5iiy mo mhile yto\i cu ! 
 
 "Zl 5li|t^bh '5uy 6. chuib, r\K bé<^n ^íéiTi yub, 
 
 'Zlchc cíiéi5-Ti bo blK^ile búchchí^ii*, 
 %*X ^^W 'X ^^ Ti-^ic-p 'nd b}i-):uil tk^ 5<<i|ach<^ <^5 <^ti Ion, 
 
 'Zlsuy <^bhlA <^TiTi <^i]i choi]! 'n<^ 5-cúpl<^b]i<^ibh ; — 
 
 C<1 <^n chu<^iclíÍTi <^i]t bh^|i|i <^ti iúi|i shlAin ; 
 'Y 50 IK <kr\ bh]t<<^c]i TVÍ chiocp<^ibh <^ti h^x <^^\í ^\i r\^^<^^\le, 
 2U\i l<l|i Ti<^ coille <^5 fÚ5}t<^bh ! 
 
 ]l<^ch<^ni<^oib <^noiy, 5<^ti t)i1i<CíII <^i|t bich, 
 
 'P^^o'i l^|i Ti<^ coille C|t<^ob}idiclie; 
 ly |;u<^|i <^5UY iy -jpliuch, <^ti u<^iti yo zhK '5<^iTin, 
 
 "^Isu]* 5lu<^iYe<^Tyi<^oib le n-<^ cheile ; — 
 
SENTIMENTAL SONG. 271 
 
 Vain are the taunts they throw. 
 
 For all that earth can shew, 
 I would not — nay dare not doubt thee — 
 
 Whate'er of joy Tve known, 
 
 Hath sprung from thee alone. 
 There's love, life, and bliss about thee. 
 
 Oh ! damsel ever dear. 
 
 Speak, speak, and let me hear, 
 If vainly this hope I cherish ; 
 
 Say, must I drop like him. 
 
 Whose star set dark and dim, 
 Who left thee in gloom to perish ? 
 
 The stars may brightly shine, 
 
 But still those eyes of thine. 
 Seem brighter when bent upon me ; 
 
 And then, that careless smile. 
 
 Fraught with each witching wile. 
 Oh 1 sweetest, that smile has undone me. 
 
 Come, lov'd one, turn to me. 
 
 Come, leave thy home, and see 
 The scenes that spread here before thee ; 
 
 Here streamlets brightly play. 
 
 Here the green fields look gay. 
 And fresh flowers shall hang clustering o'er thee. 
 
272 IRISH MINSTRELSY. 
 
 ■♦ 
 
 '^ u<^i|t bo chu<^l<^ibh yi-p, -pui^im n<^ coille. 
 
 21^ huóX^bh <^i]t Tpuib 6. cheile, 
 'Y é mo bliu<^i61i]te<^bli, <^]i p-pn, <^n c}iu<^ch <^ bheich <^i]i 
 
 'Y 5^11 d^ Ion <^ bheich ce<^clic b'^ ^éuch<^n ! 
 
 Qi chuib <^5uy <^ 5li]t^bh ! <^ti <^5 cu]t T'^^T ^^^ ^t^}\i, 
 
 yn^cU me-p bo yhilicli cheile, 
 ^<^ch ipe<^]t Tn<^]t <^ c<^ini, bo'b -|phe<^|i|t<^ le<^c bo iph^5li<^il 
 
 '^Ichc mdlAijir <kx ^ic 615111, 
 Cho5y<^bb An ]*pííb, a^uy |i6nib<^]a'p<^bb An b<ln, 
 
 *Y beibbe<^bb 50 cumA^^cb l^ <^n chéuchb<^ ? 
 21 <^in-phi]t cbiúin, d^icb, n<^ bh-Tp<^b-Tpbok Tn-buibbe, 
 Tn-b]te<^5b, 
 
 |71o bbe<^nb<^cbc-r<^ 50 U*n éu5' le<^c ! 
 
SENTIMENTAL SONG. 273 
 
 Here sweet, and loud, and long. 
 
 The cuckoo sings her song; 
 Here danger can ne'er invade us ; 
 
 Here thro' the leafy grove, 
 
 From morn to eve vre'll rove. 
 Till darkness descends to shade us. 
 
 Then dearest, come away. 
 
 Come ! thro' these woods we'll stray^ 
 Tho' dull seems the path we've taken ; 
 
 The whistling winds blow shrill, 
 
 And the small birds sit still. 
 Nor venture one note to waken. 
 
 Oh ! deign, dear maid^ to stay. 
 
 Why turn thy looks away ? 
 Oh ! are we thus doom'd to sever ? — 
 
 If there's a youth more dear. 
 
 Then be our parting here, 
 Adieu ! my sweet girl for ever. 
 
 VOL. r. 
 
274 IRISH MINSTRELSY. 
 
 
 7irr\ x^ m-b<^ile p zh^ <^n Chuilplnonn, A'y an ni<CÍ5h|te 
 
 b|te<^5li5 Tnuince, 
 'X^ <^Ti buiTiTie<lTi ^x (u\ie^, b*'^ bh-ipeiciTn ibijt TnhTi<libli, — 
 ^Y 1 mo ifhe<i|ic i, ^y ^ mo \i(m i, *)* í <^Tmy<^chc mo yhul t, 
 'Y t mo vli<^mh]tÁ \nY\ y^' bh-ipu<^chc i, i6i]t nobhlms Á'v 
 
 •21 Chiuipib mhiliif, cblu<^ii<^icli, c^ l<ln be'b chuib c|tu<^ibh- 
 
 bhe<^|iC5 
 •^I'lf 50 bh-'puil mo cb|aoibhe <^i|t bu<^ibh]ie<^bli, le b-iom<^|t- 
 
 c<^ibli 5|a<<vibb ; 
 fA^'X be'n m-buibhe<^nn cu 5bl<^c c|iuAi5h bhomh, c<^bh<^nt 
 
 yceuli^ 50 lu<^ch blK^mli, 
 Ci<^ <^c<^ !]• po5h<^ le<^c me ^hu<^|3lÁbli, no me léi5e<^nii 
 
 clium b^}X ? 
 
SENTIMENTAL SONG. 275 
 
 IN THIS CALM SHELTERED VILLA. 
 
 BY THOMAS FURLONG. 
 
 In this calm sheltered villa my fair one remains. 
 The flower of all flow'rets, the pride of the plains; 
 She's my heart's hoarded treasnre, my soul's sole delight, 
 In winter she's my summer, and my Sunshine at night. 
 
 Oh ! love, cruel love, thou hast led me astray. 
 My heart sinks within me, and my strength wastes away; 
 Speak, speak, dearest maiden, to my passion reply, 
 Or breathe all I dread, and then leave me to die. 
 
 Oh ! thou my soul's darling! most lovely, most dear. 
 
 There's nought can bring pleasure if thou art not near; 
 
 Our trust through the future in kind heaven shall be, 
 
 ril long not for wealth love ! if bless'd but with thee. 
 
 t2 
 
276 IRISH MINSTRELSY. 
 
 ^<< CU15-P 50 bh-):uil éipedchc <^Tni y<^i6hb|te<^)* 5<^ti 5]t^6h, 
 Wy <^n c-e chum be'n 5-c|té ymj], i]* u<^ibh 5he<^bh<^TriAoi6 
 
 'Y <<i|t bol<^chc m c1i]téi5):iTin cú, 'y t^im ceiufbA <^5 60 
 
 &'<<i b-cu5 Tno chjaoibhe 5e<^n 6uic, c<^|t <^ bh--|pe<^c<^)- be 
 
 mlin<<vibb5 — 
 "^"ílpéibiit horn 5<^Ti jtAriTi A bhéích, leiy <^n c-e bli-Tpuil mo 
 
 5h|ie<^Tin ái]i, 
 2Vy m<< iompoi5lii]a-Tfi c<^m b<^mh beibh m'<^n<^m <^'bl<limli. 
 
 ]y bu<^cb<^ill 5<^Ti cbeill cu, A'y <^'b 5hlofich<^ibh ríí'l 
 
 éipeí^cbc, 
 C<^bh<^i|t <^i]ae bhuic -pern, A')* ii<^ 1^15 o|tc <^ti b^^^y; 
 <J^?l m<^om mboji, m'l yp|teibli 's^b, p]nomh-ch<lHibe r\^ 
 
 5<^olcA ; 
 'Ymo cblior:b<<<n m zh6£h\\ye<<^y le<^c, le m'^^en-coil 50 bft<ldi. 
 
SENTIMENTAL SONG. 277 
 
 Then smile my beloved — let this coldness depart, 
 Oh ! come till I press thee in bliss to this heart ; 
 Nay ! nay — then Fm doomed for thy loss to repine, 
 I die, dearest maiden, and the blame shall be thine. 
 
 Nay, call me not senseless — nay, deem me not vain. 
 Nor think that of pangs all unfelt I complain ; 
 Tho' lowly my kindred, and scanty my store. 
 Oh ! why wilt thou tell me to love thee no more. 
 
278 IRISH MINSTRELSY. 
 
 b€ll€ <f1-l Cl)}7l]l1[h})^n% 
 
 C<^]téiY mo yieiTvie y^o cli|tioch<^ib1i y^il, 
 'ymo léi|tmhe<^Y6<^ 'TiTi-€i]nTm c<^|i <^oibhne chdicb, 
 Chu5 me, ly lpeuchc<^]i <^n c]aion<^ <^ti b^il, 
 |Vl'dén-y}ie<^]ic bo blieile ti4 Ghi<^p<^bh<lin. 
 
 Tin ^bé<^cb-bb|imnTie bbéul-c<^n<^5 mhin cbc^iy, bhli^idi, 
 yb<^é|t-5b<^)*b<^5 ')rbéu5b<^in-5blic, ybicbe<^ch5 Tfb<^Tiib, 
 5beii5-):b<^b<^, 6béu6-cb<^ilce, cb^ocb-ch|tumn Tiri-b<<LTi, 
 60 léi|t-c}mi|t me A Ti5éibbe<^nTi 'y <i 5-cuibh|te<^cb 5|t<libh. 
 
 'Y <^i]t Tpbéucb<^m A \ié\b\\-\ioY^ m<^|t 115 <^ T5^^^5 
 ''Yd c|t<^ébb-ipbolc<^ be<^5b-6b<^icbce fio^ 50 Y<^il, 
 "^l bbe Tieimbe, iy b<^é5b<^l 5U[t <^b mbb 5<^n <li]tb, 
 "^^c^cb leup. b<^mb <^i|t euncboji iK^cb o^bbcbe An l<^. 
 
 ly ceub bmne b'<<;.on <^ bbeicb clÁolbbce, cl<^icb, 
 ^215 éiyce<^cbc le Yéí)*-5bucb <^ 5|áíoy-5boib Yb<limb^ 
 lon^ <^ii mbeib ^x ye^bl\l le y<^oicbibb b'^<<5b<<<il, 
 be yb<^o|t-pbo|tc<^ibh €iite<^n \*x Cb<^onnb-'^iocl<<.ir. 
 
SENTIMENTAL SONG. 279 
 
 ELEANOR O'KIRWAN. 
 
 BY EDWARD LAWSON, ESQ. 
 
 All around the green isle of my birth. 
 Too long I've delighted to rove ; 
 And was I not happiest on earth. 
 To fix on dear Ellen my love ? 
 
 Kind, generous, gentle, and coy. 
 Her white bosom's unconscious of guile ; 
 Her mouth, a rich casket of joy. 
 Enchanted my heart with a smile. 
 
 But her eyes' irresistible rays. 
 Like diamonds, so dazzle my sight ; 
 (Oh God !) that I scarce, in amaze. 
 Can distinguish the day from the night. 
 
280 IRISH MINSTKELSY. 
 
 6<^|i 7Í10 b1naéidn|i n'íli-éíbifi ndch po]t <^|t<l6h, 
 
 50 n-5éillpe<^bVi l)hénu]* no |71ine|tbli^, 
 
 'X bK Ti-éi]i3lfí61ve<^blí 6éT|i6|te le <^ocli<^mh \\iby 
 
SENTIMENTAL SONG. 281 
 
 Yet thus overwhelmed and confounded, 
 Tis a thousand times sweeter to hear 
 Her voice, than loud anthems resounded, 
 And organs that ring to the sphere. 
 
282 IRISH MINSTRELSY. 
 
 ^ 1 21 6 1) «^l 1 6 1) € b T) € '^l ]a «^t. 
 
 ^Vy m'\i bh'id61ic<^ é yi^'n ce<^cli-Tf05 le luibhe Ann ^m noin : 
 'Y<^ nih<^Í5h6e<^n b}i|te<l5h5 bhAíHt<^mli<^il, n^'|t chuijt ypeif 
 
 Cum 5lé5he<^l ni<^]t )*hne<^chc<^, 'y^ C<<^ic|iin insliTn c-^eoin. 
 
 ZK n<^ céubch<^ 6'<<L ni<^c<^ibhe, bul <^nn éu5C]tuch 6'^ ye<^]ic- 
 
 pon, 
 P-Ofc ]téibh, slí^n, chlu<^in nrie<^ll<^61i, beul c<in<^ ni<^]t po)*, — 
 Ce<^|tbúnc<^il <^ m-bibb b|te<^y <^nn, bbibh iol]i<^6b 5<^cb 
 
 6<^cb<^ <^nn, 
 5<^ch ceibh bb]te%b ni<^|t ]*bne<^chc<^, A'y i<^6 <^5 c<^i]'bioll, 
 
 'r\<^ 6eoi5b, 
 
 C<<^ <^|i bb'ion5n<^6b bo'n itesiun, <^3 <^|t 5<^i|ie<^6b ymbh 
 
 bhenu]*, 
 [71<^fi 6o bhibh Conch ubh<^|t yK 6liént6|te, bul <^ b-pi<^nc<^ibb 
 
SENTIMENTAL SONG. 283 
 
 THE HUNTER OF BEARHAVEN. 
 
 BY EDWARD LAWSON. 
 
 'Twas young Bearhaven's hunter pursuing his game. 
 At noon to this roof— not to banquet — he came; 
 On fair Catherine, whose thoughts never wandered on man, 
 Pure and spendid as snow, thus his extacy ran. 
 
 What hundreds of swains woo this innocent dove, 
 And languish desponding disputing her love ! 
 Oh 1 her clear azure eye it bewitches each heart. 
 Her lips, like twin rose buds, deliciously part. 
 
 Down her ivory limbs flow her bright flaxen locks. 
 Like light wreaths of snow over Parian rocks; 
 Admired by the learned and adored by the gay. 
 The worship of Venus to her's would give way. 
 
284 IRISH MINSTRELSY. 
 
 "21 ]téulc eoluiy n<^ h-éi5p, <^i|t cho]tÚ5h<^6h ti<^ Sfieme, 
 
 'Y Í mo |io5h<^6h ch<^]t mn^ibh €nte<^Ti ^ ^ TnéinTi ^'y A ce<<Lil. 
 
 6eu6-chon|tA6h <^i[i m1iTi<libh <^ cmeAbli 1, ']• i -pidlmlK^ich 
 
 <^Ti oiTiichi, 
 5<^e1i f eoib bhe^x ^'<^ b|tonn<^61i ')- b<< )'c<^ipe<^6h <^i]t luchc 
 
 ceoil, 
 'X^ mii\\me cTiIAtitk^ |71ui|ieA61i i, ^ ^ |io-5li|i<^bli TK^bh-plet, 
 jleulc-eolAilf yhléib1ie-5'>iil^i"ii ^? 'T ^ C<^ic|iui iTi3ÍfÍTi 
 
 c-Yeoin. 
 
 ^Y^ tc<lcli^Ti 5<^ch bjioin3il, cbu5 bhenui* bi u]i]i<Cini, 
 C<^ be<^ll|t<^bh o'n n-siletrmn 'y <^ cul cmsh Tn<^|i <^n c-o]t; 
 €<^l<^ 5hlé5}ie<^l locli<^ 5^^^^^"^^ 'í^ c<^ébb m<<<\i an lili, 
 Cliu<^ibli bo mlio]t-c}ilú 6li<^i[ie bo Cbeibli 6liúiTi-n<^-l6n5. 
 
SENTIMENTAL SONG. 285 
 
 Most brilliant of gems — fairest daughter of Eve, 
 To the sons of sWeet song still delighting to give ; 
 The beloved of Clanmurray, the bard's darling care, 
 Slieu GuUin's bright pole-star is Catherine the fair. 
 
 The mirror of maidens in homage who bow. 
 
 Her locks to the sunbeams new lustre bestow ; 
 
 A white lilly perfuming the amorous gales. 
 
 Like the swan of Loughglin fair and stately she sails. 
 
286 IRISH MINSTRELSY. 
 
 c}i|téuchb<^ib}i c}ioil5 5h<^ch<^ibh Cbmpib, 
 60 5}iéu]i-50in 50 be<^chc, mo cb|ioi6be <^iTi5h i^ijt -p<^6, 
 
 '21']- 60 lent-cbui]t me, <^i|t e<^i*b<^i6b i*úbh<^cb<^iY : 
 '^l |iéilaoTiTi 'y A Ybe<^]ic, 6 cbéu]inoi5b 60 bbfieí^cb, 
 
 1]* 5léibbe 'n^ ]*ne<^cbcA <^i|i búbb-chnoic, 
 2Vm líonc^, mho ch]te<^cb ! m <^oibbmn mo bh<^il, 
 
 2Vx c<lim cl<^o'i6bce bo'b 5be<^n <^ lionn-bubb ! 
 
 6'éA6<^Ti i|* 5ile, 'ti<< pboebuy <^i]a mi]ie, 
 
 'X n<l blRich, $ ! Ti<^ ^éicble<^nTi cúmbjiA ; 
 60. ííÍ5bm-|to)3 ú|t, !]• slAiye 'n<^ 6[túch6, 
 
 2Vy 'n^ péu]al<^ ly 5lAme lonTi|t<^ ; 
 60 cblí^on-'pboilc prnie, 'n-<^ 5-cl<^on*bbe<^]tcd' <^5 plleAbb, 
 
 2Vy <^5 céu]mo5b<^6b 50 mull<^cb 5lún o]tc ; 
 60 5b|iu<^i6b m<^íi <^ti lil, 60 bbeul m<^[i <^ti mbil, 
 
 'Y bo cb<^ébb m<^|t <^ti €<^1á <^i|t cbiúm-c-tituicb. 
 
SENTIMENTAL SONG. 287 
 
 WOUNDED BY CUPID'S BURNING DART. 
 
 BY EDWARD LAWSON. 
 
 Wounded by Cupid's burning dart, 
 Increasing sighs and groans betray 
 The anguish of my bleeding heart. 
 Which wastes with sure though slow decay. 
 
 Enchantress ! since my dazzled sight 
 Beheld those limbs like mountain snow, 
 Ting'd by Aurora's roseate light, 
 I droop, forlorn, and drowned in woe. 
 
 As gilding beauty's vernal bower 
 Emerging fresh from ocean's breast, 
 Thro' curling woodbines odorous flower. 
 Shines out the sun and all is blest. 
 
288 IRISH MINSTRELSY. 
 
 C^ib 60 5liéu5<^ibh 50 h-uile, le cheile {^5 lonidbli, 
 
 bhenu]- 6^ b-ci5e<^6h, ^'y r\6. 6é-inlin<< eile, 
 
 T)elen, fVlme|tb}i^<^'Y luno ; — 
 5<^n phléibli|te<^chc 'y á^<^b'yÁ, Á cheub-y^eK^iQ 'y <k 
 choTTK^iTin, 
 
 Ch<^bh<^iIt^ibÍY uile <^n c-ubhAll 6uic, 
 1|* c|t<^ochcd t^ TTie-p 6Jb éiliÚ5Ti<^bíi 5<^ti TTilnpie<^ch 
 
 le 5^e choirK^nn buic-yi, A dhúil-):}fíonn ! 
 
SENTIMENTAL SONG. 
 
 So through your long wreathed locks appear 
 Your vermeil cheek, your honied lip ; 
 Your full mild eyes like dew drops clear. 
 That from the young green herbage trip. 
 
 Your limbs in fair proportion vie. 
 As rivalled by themselves alone ; 
 Alas ! exhausted 1 must die, 
 Unless you bid me cease to moan. 
 
 289 
 
 VOL. I. 
 
290 IRISH MINSTRELSY. 
 
 6€lll6ia€ 6T)€'^15T)-51)<11U1T€'IIC?). 
 
 bo c}1d|t<^Y c<^]t <^éTi <^ii 6éi]tb]te 6he<^5li-5lniuÍYe<^cli, 
 
 Ch<^cli]t<^Tin<^cli, cheilUbhe, bhéui'<^ch, bh|i<l5h<^ib-|iÚTi<^ch. 
 
 C<^icbne<^Trili<^cb5 ceub<^cb, "pi^on-chi^y, ipe<^c-5lilún<^cli, 
 
 le<^bli<^i|t-che<^]ic, ldob<^cli, ylAo6<^ch, )*|iAch4úb<^cli, 
 
 21 b<^cb<^ll-^lioilc c}i<^0Tiili-5blAn5 5béu5<^cb, 'ph<^6chú|iir<^cli. 
 
 5o bb<^ll<^ibli ly ]téulc Á [ie<^bli<^ibh <^nnúildc]i, 
 
 ^X c<^ilce 'x IT c^^ol' <^ c<^ebh Y it cne^^T-^^^^^^^^^i 
 
 'Y m m\\Q6i\6Am 5Uji féibijt-céimheM Tb<^TíiblÚ5h<^bh leiT. 
 
SENTIMENTAL SONG. 291 
 
 BLOOMING DEIRDRE.^ 
 
 BY EDWARD LAWSON. 
 
 Sweet Deirdre 'bove all else I prize ; 
 Such pearly teeth ! such azure eyes ! 
 O'er which dispersed by zephyr's play, 
 Dark-shining, twining, tendrils stray, 
 In full luxurient wreaths descending. 
 Those small soft-heaving orbs defending ; 
 Whose vestal snow no touch profane. 
 Of man, has ever dared to stain. 
 
 Like orient Venus, when she presses 
 
 The brine from her ambrosial tresses, 
 
 That down her sleek side glittering flows. 
 
 Like dew-stars on the milk-white rose; 
 u2 
 
292 IRISH MINSTRELSY. 
 
 "Ipi^rK^ib Ti<^ h-eiys le fseímíi <^ Y^<^c-chúil ch<^iy, 
 
 5<^bh<^i6 n<^ beiche leicln 5<^ti {^dichUTibc^it, 
 
 60 5h<^b1i<^Y*Y<^ lei Tvi<^|i )3éic1i 6o'm ch€<^]^ic-c}iúmlib<^cb, 
 
 1)* Tn<^i|i3 bo'n Ti-éu5 n<^c1i Ti5leuy<^Tm bÁ\iz cbÚ5li<^Tn-y<^ 
 60 elK^idiTpedbh mo ]t<^e 50 ]téibb 5<^ti Tnh<^]ic|tÚ5h<^6h 
 Tn-bjioib. 
 
 60 cbe<^l55 60 cb]téuchc-5honi mé 50 l<^5-diuí]i)*e<^cli5 
 6'<<^clijtui5li mo 5hneibb m<^]i <^éY-Tphe<^]t An-c|'Ú5<^ch, 
 ^he<^|t)-<^ ifí leu5h<^iTn no céct 5blAn-Ú5h6<^|t, 
 lon<^on bumn é ni sbéillpbh <^n b1ie<^n Ú6 b^mh. 
 
 6e 5be<^ir<^ibb n<^ 56136 ly slé-sblí^n, 5e<^n<^nihuil cjtudi 
 |71o cbe<^n5<^l <^ n5éibbionn 6<^é^ 50 be<^c<^ni}iUch,*' 
 bubh cne<^yb<^ bK céímibh cé<^chc <^5 cne<^)'u5hAbli án loic 
 60 be<^|a3<^b]i léi le éi3ce<^pc <^rhúnib<^lcA. 
 
SENTIMENTAL SONG. 293 
 
 The gleam y tenants of the tide. 
 
 With wondering gaze forget to glide ; 
 
 Suspended in the liquid sky, 
 
 The plumy warblers cease to fly ; 
 
 Choiring her praise to heaven above, 
 
 Where she'd depose the witching queen of love 
 
 Her tutelary power I hail ; 
 
 Though like a cavern'd hermit, ^ pale. 
 
 Hopeless, I pine ; accusing death. 
 
 Whose barbarous shafts still spare my breath. 
 
 A martyr to protracted anguish, 
 
 Like joyless, sapless age I languish ; 
 
 Nor read a line, nor tune an air. 
 
 To all indifferent — whelm 'd in deep despair. 
 
 The facinating white arm'd maid, . 
 By some enchantment has betray'd 
 My hopeless bosom, which remains 
 Wrapt in inextricable chains. 
 In charity she ought to heal. 
 The tortures that from her I feel. 
 
294 IRISH MINSTRELSY. 
 
 Ce<^Ti5<^l. 
 
 bhl<^oi61i chAm, 
 
 71 h<kx^ z^^x^, l<^3<^3 le<^b1i<^i]te, <^ 1i-<^el-píííob |tdmli<^]t ; 
 
SENTIMENTAL SONG. 295 
 
 My blue-eyed, pearl-teethed, blooming fair, 
 With heaving breasts and curling hair ; 
 Whose dusky-flowing wreaths effuse, 
 Down her white limbs the pearly dews ; 
 I claim for mine, and here defy, 
 The whole wide world my title to deny. 
 
296 IRISH MINSTRELSY. 
 
 M ^211 It € fi m <fi. 
 
 ^<^ me<^llÁ61i tTluiTYilineAcli chu, <^ shp^bli, 
 60 cliui]t^e<^61i ye <^ 5-céill buic, le bpMdijiAibh beil, 
 
 Cbui5 cbeub b|té<^5 ^im bhK u<^i|t be IK : — 
 b'Tpe<^ji]t liOTH ^éin cu, bbeicb cboibbcbe <^ 5-céin, 
 
 [A^\í bb1bbe<^y n<^ céu6di<^ bAn ly ipe<^]i]i, 
 ^^ bbeicb poycd <^5 jteic zu, 60 ybiubb<^l <^n y<^05b<^l, 
 
 •215 6é<ÍTi<^6b b]aé<^5 'y <^5 Tne<^ll<^6b mn<<v. 
 
 60 )*b<^oil me Tfcoijiin, ni<^]t 60 bb'ibb cu 05, 6e<^y, 
 
 50 n-be<^Ti^<<;,6b 6eoTi<^6b <^i[i éul65b<^6b liom, 
 'Y n<^cb bb-ipuil C|t<lcbTioTi<^ r\K oibbcbe bombiK^icb, 
 
 4^<^cb cu|*<^ <^n c-yeoib, bbiobb <^i|t <^n Tn-be<^lAcb |t6mb<^m; 
 Ybmbb<^il):iTin boicbjte <^5uy coillce criobli le<^C5 
 
 Cboibbcbe á'x 50 beoisb, m bbi<^bb 0]t|t<^inTi h\ior\, 
 6'<< TYi-beibbinn bo'm pb6y<^bb leAr, <^ mbile ycoijiinn, 
 
 ^y Trio l<<TVib 50 m6bbTrib<^i|t <^'b bb]tollAcb bb<<n. 
 
SENTIMENTAL SONG. 297 
 
 MARY A ROON. 
 
 BY EDWARD LAWSON. 
 
 My sweet apple blossom^ dear Mary, beware. 
 
 Lest the Munster man's flattery^ your heart should ensnare ; 
 
 His tongue is so oily, so roguish his eyes, 
 
 In one hour they would tell you whole hundreds of lies. 
 
 Much rather I'd see you for ever a maid, 
 A pale rose of the wilderness, languish and fade ', 
 Than espous'd to a rover, whose profligate arts, 
 Seduce simple virgins and break their poor hearts. 
 
 How fondly I fancied that blooming in youth, 
 You'd be led by my voice, and inspired by my truth ; 
 Each fair sunny morn when all nature look'd gay, 
 You shone the clear gem that illumined my way. 
 
298 IRISH MINSTRELSY. 
 
 •^In cuiiTiline<^ch Íeóx an oibhche ub, mm phéile bfiísbbe, 
 If buic-ye, <^ fhí^oileí^nn, CI1U5 Tne5e<^Ti le 6i05|t<^i|*5 
 
 }y td 5d ciTince, 60 nih<^itbh tyi'iticititi, 
 
 '^l5UT tósh Ti<^ t71ÚTYib<^n m b}ú\Y]^é<b\\ me yl^n 
 
 'T 5^ bb-Tpuil TYio cbjtoibhe ycisb tk^ mbile pioyd, 
 
 '^ u<^i]t TK^cb bb-):<^5b<^im ce<^6 yince le'rn Tnbúi|iníii 
 bb^n. 
 
 "21 jteilcionn mlfun z^^y, ii<i c|téT5 me cbóibbcbe, 
 
 'Y^ li<^cbc cobl<^ oibbcbe bo cb<^ill me le<^c, 
 C^ ):uil mo cb|ioibbe Tn5b, 'nA b|i<^6<<Lm cb]iion<^, 
 
 le 5e<^Ti bo'b sbTK^oi, <^'y ^^'^ cb^il, <^ ybe<^]ac ; 
 [Tl'ucb o'n ocb ! <^'y mo mbile bjtoTi sbuijtc 1 
 
 5<^Ti <^n oibbcbe |t6mb<^m 'y me bbeicb poyza le6z ! 
 ^Icbc 'noiy 6'y eol b^^mb, 50 b]t^cb n<^cb 5e<^bb<^i]a liom, 
 
 |71o mbUe yto^\tt^í], mo bbe<^nn<^cbc le<^c ! 
 
SENTIMENTAL SONG. 299 
 
 With you the wild nut-groves delighted I'd range. 
 Immersed in soft raptures and fearless of change ; 
 Oh ! treasure of treasures, were you my reward. 
 With the soft hand of love your fair bosom Fd guard. 
 
 Last feast of Saint Bridget, ah ! can you forget. 
 When on Mullamore's ^ summit transported we met ; 
 But now you have plunged me in sorrowful gloom. 
 And hopeless of healing I sink to the tomb. 
 
 Sore, sore is my heart, it is rent to the core. 
 Beside Murneen Bawn * I must never lean more ; 
 Thou star of mild lustre, my prayer do not slight. 
 By day all my thoughts, all my visions by night. 
 
 Admiring, adoring, imploring thy ray. 
 My heart's blood grows congealed, and I wither away ; 
 But alas, you disdain me ! — then break, oh my heart ! 
 My treasure of treasures for ever to part. 
 
300 IRISH MINSTRELSY. 
 
 tlOP-'^t 2i<^ Cl)Ull OMIl^llCli. 
 
 'Y e mo bh|to]i-)*<^ TX^ch bh^eubi^im, 
 l^TYih bo chu|i Y^^vo^b cheAnh-Y<^, 
 
 "^^o <^ Tn-bjtoll<^ch bo leme ; 
 !]• CÚ b'>*<CÍ5 mo che<^riTi-]*<^ 
 
 5<^n ÚTiY<^ <^i]t bich ceille, 
 %'!(■ 50 ii-é<^locb<^inn c<^]t cotrm le<^c, 
 ■21 |túin-yhe<^]tc b<l bh-^éubTp<^inTi. 
 
 % blK^ill mcinnemo ch|tdibhe yu-^h, 
 
 41^ bé<^Ti-]*i liom b[iéA5, 
 '21'T 5UÍI 5beÁll CÚ mo pho]'<^bb5 
 
 5<^Ti "|peoi]tlm5 'y An c-)*<^05b<^l, 
 ybiúbbAillpmn-')re <^i|t <^n n-b|tiichb le<^c, 
 
 2l'i* m bb|iúi5b|:mTi le<^c An ^íéup, 
 '21'r A <P)6]tA An cbuil om|tAicb, 
 
 ^X beAf A pbos^Amn bo bbeul. 
 
SENTIMENTAL SONG. 301 
 
 HONOR OF THE AMBER LOCKS. 
 
 BY EDWARD LAV/SON. 
 
 Sweet Honor of the amber locks, 
 
 ^Tis to my sorrow, beauty's blossom ; 
 My hand can't prop your lovely head, 
 
 Nor touch your gently swelling bosom. 
 'Tis none but you my darling maid. 
 
 Of reason that has quite bereft me; 
 With you I'd traverse oceans wide, 
 
 For you forget all else that's left me. 
 
 Most precious treasure of my heart, 
 With broken vows do not deride me ; 
 
 How oft you promised to be mine. 
 
 Though worldly wealth was still denied me. 
 
 With you I'd trip the dewy lawn. 
 
 Nor bruise the green luxuriant grasses j 
 
 And still more tenderly I'd kiss, 
 
 Those pouting lips, my best of lasses. 
 
302 IRISH MINSTRELSY. 
 
 C<^ 7*co]t 5e<^l mo chitdibhe, 
 '^l cul cm5h m^p <^n c-6iTi<^]t 
 le'|i ch<^ill TVié ino sbnAoibh ; 
 
 50 6-aoTincoÍ5lie an 5b<^oicH5 
 2Vx 50 bh--|peici61i me mo bboldcbc 
 
 ^215 5<^bb<^il boicbpe l)b<^ile-<^tb-buí6be. 
 
SENTIMENTAL SONG. 303 
 
 Beyond that verdant flowery field, 
 
 The darling of my heart reposes ; 
 Whose amber locks profusely curled. 
 
 Have dimmed my cheeks that bloomed like roses. 
 O King of mercy change the scene, 
 
 And let me, for her sake, recover; 
 And see my lowing herds again, 
 
 Wind round their native hills of clover. 
 
304 IRISH MINSTRELSY. 
 
 '^tiTii^S '^t<^i ois-v^ifi- 
 
 ?li1*liii5 5héu]t bo blie<^|te<^i* ^f:ém 
 
 5o |i<^bli<^|* 50 ^<^or\ Tfe<^ldb <^'m luiblie, 
 y^o^ 5héu5<^ibh c|i<^titi choTf <^mh<^Ti <^'tyi <^ond]i, 
 
 |7l<i|t <^ m-biobh <^é]t <^5UY Ypoi[ic <^* t-yao^-^hu ; 
 
 bibh 5le<^c<Cí61ie<^chc éiYC-<^TiTi le ^^eicyin cjaibb, 
 |71onbh<^|t be<^c}i <^5Uf mil 'ti<^ Yl<^o6<^ibli 
 le "p^5b<^il <^5 3<^ch áem Tie<^cli 6'^ n5e<^bliA6h <^n c-ylish. 
 
 ]liTiTi me ycAb c<^Tn<^ll <^5 eiYce<^chc 
 
 le ceile<^bh<^]i em blfibli <^ m-b<<^|i|t ti<^ c]t<^oibh', 
 ?l5 fio]t-chu|t mz^bhe \ 5-coi]t <^ clieile, 
 
 Qi'X 61ie<^]tc me Ybéi|t-blie<^n mlim, 6he<^|' le'm ch<^oibh, 
 71 5]tudbb <^5 l<^Y^6h <^i]t 61i<^ch nA 5-c<^é]t-clion, 
 
 71 ]io)*c m<^|i jieulc shlAn ife<^c<^ bhibb, 
 71 ycu^^b-^bolc om]t<^cb psbce 50 b]ioi5 lei, 
 
 'Y le cúmb<^ib]i ti<^ beoi5b |*ú6 m mb<^ipi:e<^b mi. 
 
SENTIMENTAL SONG. 305 
 
 THE YOUNG MAN'S DREAM. 
 
 BY EDWARD LAWSON. 
 
 In a dream of delusion, methought I was laid, 
 
 By a brook overarched with a fluttering shade ; 
 
 A delicious recess, where silver-tongued rills, 
 
 And far cataracts deep roar echoed round from the hills : 
 
 Gleaming fish in clear waters were wontonly playing. 
 
 And hoarse murmuring bees o'er wild flowerets were 
 
 straying ; 
 While sweet honey distilled from old oaks to regale, 
 The young and the fair in that odorous vale. 
 
 A beautiful bird on a blossomy spray. 
 Was warbling a varied and rapturous lay ; 
 As I listened entranced in delightful surprise, 
 A lovely enchantress astonished my eyes j 
 
 VOL. I. X 
 
306 IRISH MINSTRELSY. 
 
 bo bliio6h5, 60 ph|te<^b <^ii (^inplnii Tvih<^o|t6h<^ 
 
 2Vy lAbli<^i|t 50 yeimh be ch^Tn}i]i^6h c1i<^oÍti ; 
 " 71 cho5li<^ Ti<^ bh-|:e<^|i mo yl6.b n^ béun-p 
 
 " T 5^1^ Tn<CÍ5li6e<^n me cdy<^bh <^'6 lion, 
 " ^^ bibh-p cioncAch le c<^Tn le cl<^on-bhe<^pc 
 
 " c<^oiiYi A'm <^on<^|i <^i|t mo chliu bhu<^m biom, 
 '^ Oifi 5lie<^bii<^mn-ifi h^x ^T"^^^ r\^\\ie <^ti y^eil pn 
 
 " ^^'m 5heilc bo bhéibhmn-p Aijt -peAbh mo xb<^oi5hil." 
 
 60 ybli^b 50 n- bé<^iiip<^mn <^i[t Ken c-ylishe, 
 le c^^m, le cle<^)'5 n^ le be<^|tc<^ibh cl<^on<^, 
 
 Oifi cii. m<^c be <^5umn oy ciomi <^5 c-yAotshil ; 
 Cui]tim-p m'tmpibbe chum flisb ti<^ 5JieÍTie 
 
 'Zl'i' clium 5<<.ch ^<^omli eile 5h<^bhATin le C]tio]T, 
 Cu-"p<^ <^5WT Tnc-P bheich <^5 <^ cheile, 
 
 '21 mli<^i5hbion mh<^o]ibh<^, A\\{ -pe<^bh á\i y<ióí-^hú. 
 
 7i phluiji n<^ m-b<^n — 6< bhe<^ll]iÁbh n<^ yceimlie, 
 ^^ V^<lrV<^ibh ):éu|i slay cpe cli<^Umh Á moy, 
 
 "til bhi<^bh ce<^y (^nn ti<<v ne<^]ic ri<^ 3|téme, 
 
 ^l-^uy Til bhi<^bh |téulc<^ Aim 6. b-zoyAch oíbhch', — 
 
SENTIMENTAL SONG. 307 
 
 Her cheeks like the quicken's rich clusters were glowing, 
 
 Her amber silk locks to her white ancles flowing; 
 
 Like a keen freezing star gleamed each sparkling blue 
 
 eye, 
 Alas ! in one month, for her loss, I must die. 
 
 When first she descried me, she startled, alarmed, 
 And with coy supplication my sympathy charmed : 
 " Oh favoured of men ! do not ruin a maid^ 
 By fate to your power unprotected betrayed ; 
 For with sorrow and shame broken hearted I'd die, 
 Or for life thro' wild desarts a lunatic fly." — 
 
 " Oh, peerless perfection ! how canst thou believe, 
 That I could such innocence hurt or deceive ? 
 I implore the Great Fountain of glory and love, 
 And all the blessed saints in their synod above ; 
 That connubial affections our souls may combine, 
 And the pearl of her sex be immutably mine. 
 
 The green grass shall not grow, nor the sun shed his 
 
 light. 
 
 Nor the fair moon and stars gem the forehead of night; 
 
 x2 
 
308 IRISH MINSTRELSY. 
 
 ^í 6hé<^n^<^i6h <^n 5lie<^l<^ch yoluy 6'ém-ne<^cVi, 
 'Y Til bheibh hy^ <^mi <^i]t mm\i no <^i]t ci|i^ 
 
 t)eibli <^3h<^i6h 5<^ch |-|tucli<^ 6. s-coimie ti<^ ]*^éibhce 
 
 C|t<^cli bhei6hed6-]f<^ clAon Ibuic, <^ 5}i|i<<^6h mo ch|io16he 1 
 
 pho5 TYie <^ beiliT] 30 bluich (^itiy, 
 le<^3 me l^mh ^^\l 6. b|t<^3b<^ib b}i]te<^3b, 5hléi5e<^l, 
 
 7Vx pu'S^X ^T^ 5béd3<^ib}i <^i|t |iún mo c}i|ioibhe ; — 
 '4]-u<^i]t b*úmhlui3li Tpi 3<^bh<^il liom m<^|t cbeile, 
 
 bhibb mo chiiolbbe m<^|i eun (^5 bul le 5<^o5di ; 
 C|ti l^]t mo TfhÚ3|tdbh bo mhuj'Ci^il me, 
 
 ^Ymo chúmli<^ibh m\i bh' <^eTi [tedb dcbc <<i|*lm3 i. 
 
SENTIMENTAL SONG. 309 
 
 The streams shall flow upward, the fish quit the sea, 
 Ere I shall prove faithless, dear angel to thee." 
 Her ripe lip and soft bosom then gently I prest, 
 And clasped her half-blushing consent to my breast ; 
 My heart fluttered light as a bird on the spray, — 
 But I woke, and alas, the vain dream fled away. 
 
310 IRISH MINSTRELSY. 
 
 u 5r)]a2i6i) ^sny ?i \i\i}<^ 6r)U. 
 
 21 5h]t<lbli <^5UY <^ ]túin bhil, <^ti cinn no <^n búbh<^ch le<^r, 
 
 |71e-p bheich <^5 yml le<<c <^'m {^onKft ? 
 If c|t^iblice me 6. chuiliplnonn, <^'m clio6l<^ ^"S^X ^'^ 
 6húiye<^chc, 
 
 'ZlS Tn<^chcn<^6h <^i]t bo shnuii* b1i]te<^5h, 5hléi5lie<^l ; — 
 ly Tn6|t <^n c-ion5Ti<^6h Iioth-^í^, cu bheich bun-o^-ciomi 
 
 'Y me 1<Iti be TpboriTi <^ bheich ]téibh le<^c, 
 €i]t5hibh, <^ 3h]tém-5hil, c<^bh<^i|i Tfoluy <^ti lAé le<^c 
 •Zl^uf |*c<^ip-p 50 léi|i mo iiéulk<^. 
 
 jVl* uch 6'n och ! ye mo ch|ioibhe c^ m<^|tbh, 
 
 1|* C|tu<^5h m<^|t |tu5<^bh ]ti<^mh me ! 
 (TUncinn <^ébh|t<^ch <^5 5e<^lAbh le<^c-y<<, 
 
 2i jium <^5UT <^ chuib n<< C|tei5 me ! 
 
SENTIMENTAL SONG. 311 
 
 MARY OF MEELICK. ' 
 
 BY HENRY GRATTAN CURRAN, ESQ. 
 
 Long in lonely despair have I worship'd the dream. 
 
 That brightens my heart with the glow of thy form ; 
 Let my slumber's vision, my day's hallowed beam. 
 
 Let it shine, my soul's treasure, to brighten and warm. 
 How can thy bosom be cold to the swell. 
 
 Of the faith, the devotion, that's nurtured in mine ; 
 Nay, my own love, let thy kindness dispel 
 
 The clouds, and bid morning around me to shine. 
 
 In the sorrow, the anguish, that tortures my breast, 
 
 I weep for the hour that endued it with life; 
 In thy sight alone, I have rapture and rest. 
 
 Look down, my soul's love, on my spirits dark strife. 
 Fly from the world, from its coldness, its guile. 
 
 Oh fly to the breast, whose rich promise thou art ; 
 Let not distrust ever shadow the smile, 
 
 Chill the love that united us once heart to heart. 
 
312 IRISH MINSTRELSY. 
 
 ^l^ux Tpill <^ bh<^ile <^i]t ino cli^Tiih<^i|tle, 
 |Vlille<^nTi <^n TrnochoiTK^TiTi, <^ti 5]t<<vbli hu6j(\ b<^iTi5e<^Ti^ 
 Och ! 1]* ye bhibh e<^b|t<^iiiii A cc^TVihnUibhe ! 
 
 |Vl<^ibiTi {^oibhiTiTi c-y<^Tnh]t<^ ; — 
 C<<L <^n c-K^yc <^i|i liTiy», <^'y é ce<^clic ^nn )*<^n ccóínn, 
 
 '7* é feiTine<^bli ceoil <^i]t <^n Am pn, 
 5^ |Vlile<^cb <^5 bé<^Ti<^bli cle<<.TnhTiAiT. 
 
 '21'ni chjtoibTie Tfcish c<^ ^{^TnlK^il, <^oibhinn mo ch<^fi<^, 
 
 C^ <^ Cinlin cd|'c<^, c|t<^obh<^cb, 
 'ZlbéilÍTi medU, <^*x <^ 3^ti<^bh <^ni Ur<^bb, 
 
 'Y <^ piob mA]t YhneAchc<^ yeibe<^ch ; — 
 2i cbom<^mn mo cb]ioibbe ! r\^'\i yhon<^ bho*n z-^ 
 
 6o ch<^ichpe<^bh <^n olbhche b'<<L b|ie<^5<^bb, 
 *Y e6. 5ii^bb bo chUolbh me, ^'y ch|i^bh p Tn'innTin 
 
 2l5ur b'^b^s me <^i|i b1cb mojt ceille. 
 
SENTIMENTAL SONG. 313 
 
 O'er the monument brightens the midsummer dawn, 
 
 Where it looks from the west on the gush of the morn 5 
 Through the wave bright forms wanton radiantly on. 
 
 And the warren's grey flock the green valley's adorn. 
 The nuts thickly cluster ; the bird to the day 
 
 His shrill matin pours while it streams thro' his bower; 
 Blest is his lot, doomed in Meelick to stray, 
 
 And to call thee his own, the bright vale's brightest 
 flower. 
 
 Deeply shrined in my soul is thy image, dear maid, 
 
 Thy lip's honied store — and thy cheeks summer glow ; 
 And the tendril play of thy brow's sunny braid. 
 
 And the sheen of thy neck like the sparkling of snow. 
 Light of my soul ! what a transport for him, 
 
 Through whose bosom can tremble each motion of 
 thine ; 
 My soul is enslaved — and my sight becomes dim, 
 
 As I gaze on the riches my love must resign. 
 
 in yon bright distant isle,'^ with my Mary to rove, 
 To gaze on the amber of each glowing tress ; 
 
314 IRISH MINSTRELSY. 
 
 |71o ch|ie<^cii 5liéu|i bhptK^ch ! 5<^ti me A'y ^^ yto^\Cír\, 
 
 'Y <^Ti oile<ln rhi<^]i, <^ébh|i<^c}i5 <^oiblnr»Ti 1 
 |71<li|te <^n chilli ()ni]i<^icli a^uy 2Ubh b<<wii <^ bheich poyba, 
 
 'X 5<^n cmx <^ici <^ conih<^i|ile bo cb<^olTie<^bh : — 
 ^?l b'<^|t n-boicb, A5UV ni bheibh 30 beoisb, 
 
 [TluTK^ bb-i:oi|i'pi6h oftm <^ti ^i5-blie<^n TnliioTil<^5 
 'Y LK^m-ye ^dn -p^hnAbb, bé<^Tic<^]t mo cb6mb[t<^, 
 
 ^i^uy v<^i5cbe<^jt me <^ 3-Ceillmb<<^m fince. 
 
SENTIMENTAL SONG. 315 
 
 With each vow fulfilled and recorded above. 
 
 Grant me this, fate hath nought that beyond it may 
 bless. 
 
 Alas I cruel fair one — she heeds not my tears. 
 
 And the truth I have cherished consumes me in vain ; 
 
 Sorrow hath brought me the whiteness of years. 
 
 The cold grave brings repose — let me rest in Killmain.' 
 
NOTES 
 
 SENTIMENTAL SONG, 
 
NOTES, 
 
 BRIDGET FEIIGUS. 
 
 * Throughout our lovely island, in the most sequestered vales 
 and by the loneliest mountains, may be heard numerous charm- 
 ing^ melodies, linked to sweet stanzas in our native language, 
 which form an unrivalled combination of music and poetry. 
 Several of these airs have been collected and published, and 
 have called forth general admiration ; but the words to 
 which they were originally *' married,'' and which it may now 
 be seen, had some claim to attention, lay universally neglected. 
 This can be attributed only to their being wrapped up in a 
 dialect but little known to literary men, for their merits have 
 been testified by many distinguished names. James Mac 
 Pherson, author, or, as our Scotch friends insist, translator! 
 of " Poems of Ossian,'* in his preface to that work, declares, 
 that the Irish love sonnets and elegies " abound with beautiful 
 simplicity of sentiment, and wild harmony of numbers." A 
 much higher poetical authority, Edmund Spenser,* describes 
 
 * The admirers of this celebrated English Poet may be gratified by a few 
 particulars concerning him and his family, (extracted from original documents,) 
 which may serve to correct some errors o( his biographers, or supply information 
 which they do not appear to have possessed. On 12th of August, 1580, Arthur, 
 Lord Grey, accompanied by Edmund Spenser, as his secretary, arrived in 
 
320 NOTES. 
 
 Irish poems as, ** sprinkled with some pretty flowers, which 
 give good grace and comeliness unto them." Other testimonies 
 
 Dublin, and on the 7th of September following, was sworn lord deputy of 
 Ireland. On the 22nd of March following, Spenser was appointed clerk of the 
 decrees and recognizances of chancery, and his patent was given " free from 
 the seal in respect he is secretary to the Right Honorable the Lord D." In this 
 department he was succeeded on the 22nd of June, 1588, by Arland Usher, 
 kinsman of the celebrated archbishop of that name, and Spenser was appointed 
 clerk of the council of Munster, an office afterwards filled by Richard Boyle, 
 first earl of Cork. On the plantation of that province, queen Elizabeth, by 
 letters patent, dated 26th of October, 1591, granted him the manor and castle of 
 Kylcolman, with other lands, containing 3028 acres, in the barony of Fermoy^ 
 county Cork, also chief rents " forfeited by the late lord of Thetmore, and the 
 late traitor. Sir John of Desmond." — Orig. Fiant, Uolls office, Dublin. 
 
 Here on the banks of the Awbeg, the poet's " gentle Mulla," was written the 
 Faery Queen. But Spenser was not so devoted to the muses, as to neglect his 
 newly acquired possessions ; on the contrary. he stands charged with having un- 
 justly attempted to add to them. His encroachments on the Mac Carthy's are 
 well known, but he did not confine himself to these alone. In 1593, Maurice^ 
 lord Roche, viscount Fermoy, petitioned the lord chancellor of Ireland, stating, 
 *' wheare one Edmond Spenser, gentleman, hath lately exhibited suit against 
 your suppliant, for three plowe lands, parcell of Shanballymore, (your suppli- 
 ant's inheritance,) before the vice president and councell of Munster, which 
 land hath bene heretofore decreed for your suppliant against the said Spenser and 
 others under whom he conveied ; and neverthelesse for that the said Spenser 
 being dark of the councill in the said province, and did assyne his office unto 
 one Nicholas Curtey's, among other agreements, with covenaunt that during his 
 lief, he should be free in the said office for his cawses, by occacon of which 
 imunity he doeth multiply suits against your suppliant, in the said province, 
 uppon pretended title of others." — Orig. Rolls office. — At the same time, lord 
 Roche presented another petition against Joan Ny Callaghan, whom he states 
 to be his opponent, " by supportation and mayntenaunce of Edmond Spenser, 
 gentleman, a heavy adversaiy unto your suppliant." — Orig. — He again exhibited 
 another plaint, " that Edmond Spenser, of Kilcolman, gentleman, hath entered 
 into three plough land, parcell of Ballingerath, and disseised your suppliant 
 thereof and continueth by countenaunce and greatnes the possession thereof and 
 maketh great waste of the wood of the said lande, and converteth a great deale 
 of come growinge thereuppon to his proper use, to the damage of the com- 
 plainant of two hundred pounds sterling. Whereunto tiie said Edmond Spenser 
 appearenge in person had several dayes prefixed unto hime peremptorilie to answere 
 which he neglected to do ; therefore after a daye of grace given," on 12th of 
 February, 1594, Lord Roche was decreed his possession. — Orig. Decree. — 
 
NOTES. 321 
 
 might be produced, but the originals, or those contained in these 
 volumes, and now, for the first time, collected, preclude the 
 
 When Spenser — the poetic, the gentle Spenser, was guilty of these oppressive 
 and unjust proceedings, the reader may easily guess at the conduct of his more 
 ignorant and brutal fellow planters, by whom the country was converted into a 
 desert. For these, and other aggressions on the unfortunate natives, the poet 
 soon afterwards felt the full weight of their vengeance. Ben Jonson informed 
 Drummond of Hawthornden, that Spenser's house was burned, and a little 
 child of his consumed in the flames j that he and his wife narrowly escaped, 
 and that he afterwards died in King Street, Dublin, in absolute want of bread. 
 His name is still remembered in the vicinity of Kilcolman, but the people enter- 
 tain no sentiments of respect or affection for his memory. — See Trotter s Walks 
 in Ireland. 
 
 That Spenser died in London has been asserted by some of his biographers ; 
 but Ben Jonson's information seems corroborated by a record lately found in 
 the Rolls office, Dublin. He left two sons, Sylvanus and Peregrine. In 1603, 
 the former petitioned the chancellor of Ireland, stating, "where your petitioner's 
 father Edmund Spenser was seized in his demesne, as of fee, of Kyllcollman 
 and divers other lands and tenements in the county of Corke, which descended 
 to your petitioner by the death of his said father — so it is right honorable, the 
 evidences of the sayd inheritance did after the decease of petitioner's father cum 
 to the hands of Roger Seckerstone, and petitioner's mouther, which they uniustly 
 detayneth, which evidences for as much as your petitioner can have no accion 
 at comon lawe, he not knowing theire dates and certainty, he is dryven to sue 
 in consideracon byfore your Honourable Lordship, and avereth that the said 
 Roger Seckerstone, his mouther's now husband, uniustly detayneth the said 
 evidences to your petitioner's damage of one hundred pounds, wherein he prays 
 remedy." — Orig. Petition. 
 
 Sylvanus had two sons, Edmund and William. On 18th of February, 1638, 
 Charles I. by letters patent, confirmatory, granted to Edmund the manor, castle, 
 &c. of Kilcoleman, and other lands in the barony of Fermoy. — Patent Inrolled, 
 William survived his brother. The following letter, dated White-hall, 27th of 
 March, 1657, appears in the Irish privy council book, A. 28, p. 118. preserved 
 in Dublin Castle. — " To our right trustie and right wel beloved our councel in 
 Ireland. A peticon hath been exhibited unto us by Wiliiam Spenser, setting 
 forth that being but seaven years old, att the beginning of the rebellion in 
 Ireland, he repaired with his mother (his father being then dead) to the Citty of 
 Corke, and dureing the rebellion continued in the English quarters. Thathee 
 never bore armes or acted against ye comon wealth of England. That his grand- 
 father Edmund Spenser and his father were both protestants, from whome an 
 estate of lands in the barony of Fermoy, in the county of Corke, descended on 
 him, which dureing ye rebellion yeilded him little or nothing towards his releife. 
 VOL. I. Y 
 
322 NOTES. 
 
 necessity of so doing, by enabling every reader to form his 
 own opinion on the subject. 
 
 That ye said estate hath been lately given out to the soulders in satisfaccón of 
 their arrears onely upon the accompt of his professing the popish religion, which 
 since his comeing to years of discretion hee hath, as hee professes, utterly re- 
 nounced. That his grandfather was that Spenser, whoe by his writings touching 
 ye reduccon of ye Irish to civilitie, brought on him the odium of that nacon, and 
 for those workes and his other good services, queene Elizabeth conferred on him 
 ye estate which ye said William Spenser now claims. Wee have alsoe been 
 informed that ye gentleman is of civill conversacon, and that ye extremitie his 
 wants have brought him to, have not prevailed over him to put him upon indi- 
 rect or evill practices for a livelyhood. And if upon enquiry you shall finde his 
 case to be such, wee judge it just and reasonable, and doe therefore desire and 
 authorize you that hee be forthwith restored to his estate, and that reprisall lands 
 be given to ye soulders elswhere ; in ye doeing whereof our satisfaccon will be 
 greater by ye continuaccon of that estate to ye yssue of his grandfather, for 
 whose eminent deserts and services to ye comon wealth that estate was 
 first given him. We rest your loving freind. OLIVER, P." — This letter so 
 creditable to Cromwell, proved highly serviceable to the object of his con- 
 sideration. Though Kilcolman and the other lands were passed under the act 
 of settlement to lord Kingston, sir Peter Courthop, Robert Foulke, and other 
 adventurers, yet they were afterwards restored to William Spenser, and he had 
 moreover, a grant dated 31st of July, 1678, of Caltrahard, and other lands in the 
 county of Galway, and Ballynasloe, Tullrush, and others in county Roscommon, 
 containing nearly two thousand acres. — Patent Inrolled29° Charles II. — This 
 William, by his wife Barbara, left a son Nathaniel. 
 
 The poet's second son Peregrine, died in 1641, seized of the lands of Rinney, 
 near Kilcolman. Hugolin his eldest son and heir succeeded to those lands. 
 Being a Roman catholic, he attached himself to the cause of James II. and was 
 outlawed. By letters patent, dated 14th of June, 1697, the forfeited estate of 
 Hugolin Spenser, in Rinney, three hundred and thirty-two acres, &c. were 
 granted to Nathaniel, son of William Spenser, esq. the next protestant heir of 
 said Rugolin.—Inrolled 9° William III. — On 24th of November following, 
 William and Nathaniel Spenser, for £2,100, mortgaged all their estates in 
 Cork, Galway, and Roscommon, to Robert Peppard. On 26th of February, 
 1716, they sold the lands of Ballinasloe, with the fairs and markets there, to 
 Frederick Trench, ancestor of the present earl of Clancarty. These fairs after- 
 wards became the most noted in the British empire. On 14th of October, 1718, 
 Nathaniel Spenser made his will, (proved in 1734, in the court of Prerogative, 
 Dublin,) wherein he names Edmund his eldest, Nathaniel his second, and John 
 his third son : he devises to Barbara his daughter, a remainder in his estate, her 
 husband taking the name of Spenser. He also names his sister Susannah, and 
 
NOTES. 323 
 
 " Bridget Fergus," is, in the original, Brighdin Padruicy 
 Bridget, the daughter of Patrick. It was formerly usual in 
 Ireland, where in many places it is yet customary, for a female 
 until married, to be called by the christian name, and after 
 marriage, by the surname of her father. This is a Mayo song, 
 and has always been a favorite. The description of beauty which 
 it contains, is as heightened as in any composition of the East. 
 The allusion to the star may remind the reader of Edmund 
 Burke's* celebrated description of the Queen of the unfortunate 
 Lewis XVI. of France, " Surely never lighted on this orb, 
 which she hardly seemed to touch, a more delightful vision. I 
 saw her just above the horizon, decorating and cheering the 
 elevated sphere she just began to move in, glittering like the 
 morning star, full of life and splendour." 
 
 In this beautiful passage, the force of early impressions is 
 clearly shown. Beauty in our native lyrics, is frequently com- 
 pared to a star ; — 
 
 ChoTK^ipc me <^5 ce<^chr chu5<^m 1 cpe l<<^]t <^ti c-yleibh, 
 \l\6.\i péulc<^ chpib <^Ti 5-ceo6h. 
 
 I saw the fair damsel round the hill slowly bending. 
 Like a joy-giving star through the grey mist ascending. 
 
 Uilecan Duhh ! 
 
 'Y é yh<^oiliTYi TpéiTí 5uit b'l |teulc ti<^ iTK^ibne. 
 
 0' Morels Fair Daughter. 
 
 his wife Rosamond. Soon after this the rest of the property passed away from 
 the poet's name and family. The latter has long since become extinct, but his 
 name will last as long as the language in which he has left such an imperish- 
 able monument of his genius. 
 
 * The partiality of our immortal Countryman, Burke, for his native litera- 
 ture and its ancient remains, is well known. Through his interference, the Sea- 
 bright Irish manuscripts were sent to Trinity College, Dublin. He considered 
 lie had thus restored them to Ireland, but the boon has hitherto proved fruitless. 
 These venerable national documents have been transferred from the gloom of the 
 convent to the tomb of the capulets. They have ever since slumbered undis- 
 turbed on the almost inaccessible shelves of our college. 
 
 Y 2 
 
324 
 
 NOTES. 
 
 ' The fiower of Rahard ! 
 The language of Bridget Fergus, and indeed of most of the 
 articles contained in these volumes, is of the purest dialect of 
 the Irish. The present part of the work proves the superiority 
 of our language for lyrical composition. In these amatory 
 eíFusions, no indelicate sentiment or allusion can be found ; 
 nothing which may alarm the modest and virtuous character of 
 maiden innocence. As to the fair object of the present song, 
 tradition relates, that she lived about the middle of the seven- 
 teenth century, and was the most beautiful female in Connaught. 
 Her father resided at Rahard, near Ballinrobe, in Mayo. 
 The song was the joint composition of two contemporary 
 bards, Mac Nally and Fergus, the latter having composed 
 the third and fourth stanzas. It has been taken from the recital 
 of Hugh King, an old man, who stated, that his Grandfather 
 had often seen Breednine Padruic, as he called her, and used 
 to speak in rapturous terms of her beauty. This lyrical rem- 
 nant is often sung, and some commence with the third stanza. 
 The first line of the first, as dictated by another person, ran, 
 "^il Til Ac ]1.i5h n<^ 2l|ib^l<^irh, and the first of the fourth, 
 ly TYiillye bl<^i* <^ beilin, both, I think, better than those given 
 in our text. The acumen and taste of the Irish when delivering 
 their opinions on the poetical productions current amongst them, 
 have often been matter of surprise. Many a remark have 
 we heard from uneducated villagers, on the sentiments and 
 poetical expressions contained in their old songs, which would 
 not disparage the pages of modern criticism. In this respect, 
 they far excel Englishmen of the same class, but this may be 
 easily accounted for. From infancy they are accustomed to 
 hear these compositions repeated and sung. The words and 
 sentiments are imperceptibly imprinted on their minds, and 
 thus, a taste is formed of which the possessors are generally 
 unconscious. The Irishman, through every vicissitude retains 
 the impress of those early feelings, which so powerfully sway 
 
NOTES. 325 
 
 the human heart, and to this source may be traced much of 
 the formation of our national character. 
 
 'X 6. piob m<^]t e<^l<^ — 
 A swan-like grace her neck displays. 
 
 Second Stanza. 
 The swan, a bird with which Ireland formerly abounded, is 
 an object of frequent allusion in Irish and Oriental poetry. So 
 Lord Byron in his poem, '* The Giaour,'' an Eastern Tale : — 
 
 " The cygnet nobly walks the water ; 
 So moves on earth Circassians daughter, 
 The loveliest bird of Franguestan ; 
 As rears her crest the ruffled swan, 
 And spurns the waves with wings of pride. 
 When pass the steps of stranger man." 
 
 The beautiful simile of the swan in " O^Moie's Fair 
 Daughter^*' p. 35, may here recur to the recollection of the 
 reader. Our Irish poets, like the Arabians, have delighted 
 in description of female hair. Thus, Lord Byron in the 
 same poem : — 
 
 *' Her hair in hyacinthine flow. 
 When left to roll its folds below ; 
 As midst her handmaids in the hall. 
 She stood superior to them all. 
 Hath swept the marble where her feet 
 Gleamed whiter than the mountain sleet, 
 Ere from the cloud that gave it birth. 
 It fell and caught one stain of earth.'' 
 
 And Professor Carlyle in his translations from the Arabic :- 
 
 " Thro' midnight gloom my Leila stray'd, 
 Her ebon locks around her play'd ; 
 So dark they wav'd — so black they curl'd, 
 Another might o'erspread the world.'' 
 
326 NOTES. 
 
 Many passages might be produced to show the affinity between 
 Irish and Oriental poetry. They are, however, postponed for 
 some other opportunity, in order here to introduce and preserve 
 a popular Mayo song, composed by a friar of the ancient abbey 
 of Ballyhaunis, in that county, whose name was Costello, and 
 who fell in love with a beautiful girl of that place. Tradition 
 tells, that after pouring forth his soul in these tender stanzas, 
 the love-sick ecclesiastic preserved his vows by tearing himself 
 from the object of his dangerous aifection, and departing for 
 a foreign land, where he died. The air is sweet and plaintive. 
 
 2U\i |:honn pboipc 5^ii^oiii- 
 
 '21 |71h<<ipe, ^hp^bh, ly cu zK'm chp<<.bb, 
 
 Och ! c<^bh<;iit 60 Umh 50 blucb bh<^nih I 
 T 5^1^ ^^^^ bárnh bu<^6h ti<^ 00156 6'"|ph^5h<^il, 
 
 50 bpilch n^ 6e<^Ti me 6hiúk<^6h ! 
 21 chml n<^ ti-6u<^1, ye mo chumh<^i6h 50 bu<in, 
 
 ^<^ch bh-):uilim le<^c ^uí^ibhce <^ 5-cledmhrK^y, 
 l)ei6he<^6 50 6u<^i|tc ^^ yh1o|t-5h|iu<^imh, 
 
 |\/1<< bh'ibhip bh-^<^b u<^mi-ye <^ <^nnif<^c}ic. 
 
 '21 bhl<<iich nA 5-CÁ01I5 ch<<v]il<^i5h me, 
 
 Cl<^oí6hce c|téidi le 5pe<^TiTi buic 
 C<^p]t p<^oi'm bhéi5bin, A \iiim mo cbleibb, 
 
 'X c<^bhAiit 5tt<lbh 5<^Ti chUen 5<^ti ch<^m b<^mh. 
 
NOTES. 327 
 
 ')P<^fi<^oi]i 3heu]t ! 'y me *n ce<^nn 3<^n clieill ! 
 
 'X bo choTnb<^i|tle TYi'<^cb<^|t ríío]t úmhluÍ5he<^]f ; 
 T 3*^1^ ^'^ com}i|i<^bh béi5heATin<^ch 6ubh<^i]ic ye liom 
 
 'Zlchc c]iu5 me 5|t<^6h5 6o'6 chúilín h^n, 
 '2li|t chul <^n 5h^nt6m p$Ti<^i|ie, 
 
 'Y bo*b 6h<< 5h]tu<^6h bbe<^]t5 Tn<^]t ch<^o|iclicTi ; 
 bo'b bheul ly buine, n^'n cliu<^ch <^i]i bile, 
 
 'X r\á. ceile<^bh<^]i c<^oíti n<^ Ti-éunl<^, 
 \/ío léun 'y Tno TYihille<^6h I 5<^n me 'y cii chuiTK^inn, 
 
 '2I5 éul65b<^6h le nd cheile. 
 
 •^l 5h]tK6h 'y <^ |túin, <^ n-5lu<^iy):e<l6b liom, 
 
 50 ciji ii<^ lon5 ^y €i|tiTin ? 
 ^1*1 ciTine<^y cinn, ti<^ cuiitye c]toí6he, 
 
 ^<^ch lei5be<^Y]p<^í6he <^Tin 3<^ti <^Tnb]t<^Y -, — 
 'Y CÚ <^n jtéulc eoluiy, ch<^|i Tnbn<<ibb n<^ ^^bhlÁ, 
 
 'Zlsuy cuin5ibb <^3<^b ^pein 6'n m-bAy me ; 
 Oiji 3<^n 5P<^T<^ ^5^5 Ti^ mbi^ilt^ipibb me, 
 
 'Jliit <^n c-tji^ib-yo bbeul-i^^cb-ybi^mhTK^iy. 
 
 The word cum3ibb, in the sixth line of the last stanza, 
 should have been written con3bh<^i5b. 
 
 Here it may be observed, that the usual term for lyrical com- 
 position in Irish is <^bh[i<^n, which means, literally, sweci verse. 
 
328 NOTES. 
 
 This word is compounded of 6hh sweet, and |i<^ri a verse. It is 
 sometimes called ojtblií^n, compounded of op sound or melody, 
 and 6<^n a poem; and 6|t<^n, from 6|t^ and ]i<^n a verse. The 
 latter is generally used by the Gael of Scotland. 
 
 EILEEN A ROON. 
 
 Eileen a Roon, EHen the secret treasure of my heart, is one 
 of the most popular of our songs. The present words are the 
 production of a Munster bard, of the seventeenth century, who 
 endeavoured to excel, by profusion of poetic embellishment, the 
 original and sweetly simple song of Eileen a Roon, to be 
 found at p. 264. The incident which led to its composition, 
 will appear in a subsequent note. The air is ancient, and one 
 of our finest. Handel, as related by the venerable Charles 
 O'Conor, in his Dissertations on the History of Ireland, (a 
 book which ought to be in the hands of every Irishman,) 
 declared, that he would rather have been the author of Eileen 
 a Roon, than of the most exquisite of his musical compositions. 
 This ancient Irish air, which our oldest people familiarly 
 remember from their infancy, has been, some few years ago, 
 introduced to the British public as a Scotch melody, under 
 the name of Robin Adair. The grounds for this assumption 
 appear in the correspondence between Robert Burns, and his 
 publisher Thompson, in 1793. The latter in a letter to the bard, 
 wishes him to give " Robin Adair,'' (meaning Eileen a Roon,) 
 ** a Scottish dress. Peter (Pindar) is furnishing him with an 
 English suit. Robin's air is excellent, though he certainly has 
 an out of the way measure as ever poor parnassian wight wa^ 
 plagued with." Burns in his answer says, '* I have met with 
 a musical Highlander, who assures me, that he well remem- 
 
NOTES. 329 
 
 bers his mother singing Gaelic songs to both Robin Adair and 
 Gramachree,'' (our Molly Astore.) *' Tliey certainly have" he 
 adds, " more of the Scotch than Irish taste in them." Here 
 we must differ with the bard. He then continues, " This 
 man comes from the vicinity of Inverness, so it could not be 
 any intercourse with Ireland, that could bring them; except 
 what I shrewdly suspect to be the case, the wandering mins- 
 trels, harpers, and pipers, used to go frequently errant through 
 the wilds both of Scotland and Ireland, and so some favorite 
 airs might be common to both." Burns was a poet. In the 
 first part of his letter he was dealing in fiction, in the latter 
 part the truth forced itself on him. On this proof, however, 
 the airs in question were pronounced Scotch. It would 
 seem they were not aware that Robin Adair was an Irishman. 
 He was ancestor of viscount Molesworth ; lived at Hollypark, 
 in the county of Wicklow ; and early in the last century, was a 
 member of the Irish Parliament. With respect to Molly a Store, 
 or as Burns called it, Gramachree, as well might it be asserted, 
 that the hill of Howth lay in Perthshire, as that this ancient 
 air was Scotch. Indeed further to notice the assertion would 
 be almost as ridiculous, as seriously to go about proving, that 
 that well known hill was not always '• the pride of sweet 
 Dublin harbour," and never wandered to Inverness. 
 
 Burns' wish, however, to appropriate these '* gems of genius" 
 to his country, is at once evidence of his taste, and of their 
 beauty. The consideration of their ancient names alone, 
 would have been sufficient to show the error of his conclusion. 
 The endearing expressions of love with which our poetry 
 abounds, and the affectionate terms of our colloquial inter- 
 course, are to be found only among the Arabians, and in 
 some degree among the Spaniards. Eileen a Roon — Grama- 
 chree — Molly a Store — Sa Vourneen Deelisli — Cean dubk Deelish, 
 and hundreds of similar phrases, are as familiar to our people 
 in ordinary conversation, as the air which they breathe. Poetic 
 stanzas, full of those tender expressions, are to be met witli 
 
330 NOTES. 
 
 every where like our shamrock. The following, beginning 
 yhiobh<^Ti <^ |íúiTi "Johanna my heart's treasure," is taken from 
 among them : — 
 
 71 Yhiobh<<n5 <^ \nim ! i]* zii bo Tvih<^]tbh me ]ii<^Tnh : — 
 '^l Yhiobh<ln5 <^ ]túin ! ^y cú 60 bh<^in bwm mo chi<^ll : — 
 21 yhiobh^^n, <^ |iuiTi ! ly bluicb c}iu<<.feli<^i]' edb<^[t me K'y 
 
 'X bh-pe<<|t|i bhumne bheich 5<^n yuilibh n<l cu ^pheicpn 6, 
 |ti<^mh I 
 
 ly b|ie^5h é 60 Yhnobh/]* cu An c-)*e6i6h 60 cum<^bh 50 cei^^ic, 
 'X CÚ <^Ti e<^ilm 05 TK^ch jtoibb olc<^ch, imijichei^ch, le<^mli, 
 60 5h|tu<^6h m<^]t <^n |io]*, ^ bo pho5 m<^]t )*1^ille<^bh ti<^ 
 
 m-be<^cli, 
 'T 5^1^ ^'^ ^^ cheol iteibh, ch6i5 me chmne<^f, <^ Yhe<^|tc ! 
 
 PAISTHEEJSr FION. 
 
 Paistheen Fion, pronounced Fin, which may be translated 
 either Fair Youth or IMaiden ; is an ancient and popular Con- 
 naught song. The air is sweet, but of a plaintive or melan- 
 choly strain ; such as can scarcely fail to remind the hearer, 
 that it is ** the music of a people who have lost their freedom." 
 By the Paistheen Fion, I am inclined to think, was meant, 
 the son of James II. but the allegorical songs of the Irish 
 will be alluded to in another part of this work. 
 
 The ingenious translator requests me to observe, that he 
 fears he has not succeeded in transferring all the tenderness of 
 the original word Suirin. The disinterested affection, the ad- 
 hesion of kindred, the endearing diminutiveness expressed by 
 
NOTES. 331 
 
 it, are such, as perhaps excel, whatever! the languages of Italy 
 have been so celebrated for imparting. 
 
 The Cu]i V<^, or chorus, has been frequently used by our 
 bards. Carolan introduces it in his ** George Brabazon," see 
 p. 70. and it may be found in other places. The term Cu|i y<^, 
 "put under," is used metaphorically. It signifies, a call from 
 the singer to the hearers, to join their voices in raising the 
 song, as mariners, or workmen, unite their strength in lifting 
 burthens. In general, the chorus has but little, and often no 
 connection whatever, with the words. I have known the same 
 chorus in Irish to be employed in the service of several songs. 
 A curious specimen of want of such connection, or rather want 
 of meaning in the chorus, occurs in " a righte merrie and con- 
 ceited" composition, well known in Galway by the name of 
 Speic Seoigheachf or ** The humours of Joyce's Country," a 
 mountainous district in the western part of that county : — 
 
 yú6 'í <^n ypeic Yeoi5heAcb *5<^ c65bh<<vil 50 b4nrineAch 
 16ip ri<^ niTi<<ibh 0^6. <^'y ri<^ h-05<lTi<^ibh <^ei|te<^ch<^, 
 
 1)* mo 111 16, Ab<^b6. 
 Cu|i y:^ — <^'y mo jiul<<^ii, lie pul^n, 
 \)u |tul^n, T)<l]ipi ]tul<<Ti, 
 Imbo l<<n, ^'y mo |iul<<n, 
 ll^uy Amhoch héit|tin neppm Y]\r\. 
 
 C15 meAy ^}\i cbp<^nn<^ib}i beibb cnu '-^uy yubbc]i<^ebh <^|t 
 
 Up, 
 yub m<^ft con5n<^mh be<^rb<^ 6huic, <^ Cb<^cb<^il ui 6buibb- 
 
 3e<^Ti<<m. 
 
 ly mo 111 lo, <^b<^b6. 
 
332 NOTES. 
 
 1)1tí TYie !<<;. <^é|i<^ch ^^\l <^énAch nA C<l]t<^ 'y me A5 ol, 
 
 Cu5 me 5e<^Ti €15111 60 <^én mslíín pK^f AiK^ich Tnhoijt, 
 
 léi5 liié co6hl<^ b]tei5e o]ityi 6'^}ieuch<^in An m-bl<^fp<^irm 
 
 6'<^ P05, 
 
 T ^5 ioTinY<^%lie <^n bh<<vTiip1il<^icli, ]t<^ob<^bh mile ni<^i"be <^ip 
 
 Tno choiiiw 
 
 If Tno 111 lo, <^bAbo. 
 
 The Joyces of lar-Conaught are literally a race of giants». 
 We are informed from Joseph Ben Gorion, a Jewish author 
 of the sixth century, that the Irish people *' are great like 
 giants, men of tall stature and very strong, most skilful in 
 throwing darts, and the stoutest soldiers in war." An old^ 
 writer adds, •' of this race there is still a family in Conaught,. 
 and one of them could take ten of the valets of the present 
 king of France (Lewis XIV.) on his back, and run a course 
 with a nimble footman, I am apt to believe, that the old 
 Scythian race is as much degenerated in Ireland, as the species 
 of elks attd wolf dogs." — Orig. MS. in the library of the Royal 
 Irish Academy. 
 
 The town of Carra, mentioned in the above ludicrous stanza, is 
 situate near Castlebar, in the county of Mayo. The martalluded 
 to, was granted to Michael Cormick, of an ancient family of 
 Erris, on 19th May, 1618. The big Englishman, as tradition 
 tells, was one of the Cufts, ancestors of the late lord Tyrawly, 
 of that county. 
 
 As a contrast to the foregoing, I am induced to conclude 
 with a soft little pastoral fragment, called CojiiTK^c O5, 
 composed on the banks of the Lee, in the county of Cork. 
 It is worth preserving for the sweetness of some of the verses: — 
 
 C<<i6 Ti<^ coilm <^5 yu5]t<^bh 'x <^^ y^mh]íó<bh A5 ce<^c]ic, 
 'Y <^Ti bl<<<icb <^5 b|tiife<^6h cpe inhultóchibh ri<^ cc[i<^nri 
 <^iYi<^cb, 
 
NOTES. 333 
 
 •^litt dioínn zK'n \)\ol6.\i 50 z\i\oip6M6<c}\, 5luiTie<^cli, sUy? 
 'Y n<i coitc65<^ A5 plle<<^bh le h-ioTyi<^6 be YÍiu5li<^bh n<^ 
 Tn-be<^ch. 
 
 %'y 6r5-bhe<^Ti Tnh<^iife<^ch, che<^|tc <^n c-yei^ns-choipp rh- 
 
 Ceub bo bbAinne, c<<.p<^ll 5|toiblie '511]- u<<.n 
 
 Choix l<^oi nA m-biieAc, mo cbite<^ch ! me ^m bHibijic u<<<^z ! 
 
 C^ib Ti<^ h^eiii <^5 be<^TK^bh •^w:h<k <^5uv ceoil, 
 
 r<<Lib n<^ l<<vol5b ^5 5eiTnTie<^b1i 50 z\éun chum yoch<^i]t n<^ 
 
 m-bo, 
 C<^ib TiA h-^i)3 <^5 |i€ub<^bli co]a|t<^bh <^i|t <^ri bh-):e6[i, 
 ^l']- me-yi ipem A'm <^on<^]i <^'y CojatYK^c 65 ! 
 
 TRANSLATION. 
 
 The doves they are pairing, and summer is near, 
 Decked in green clustering cresses the streamlets appear; 
 The blossoms are bursting the tops of the trees, 
 And the hives are distilling the honey of bees. 
 
 With fruits, and with acorns, yon green wood is crown'd. 
 There damsels, fair damsels, are sauntering around ; 
 Lowing herds, stately steeds, by the trout loving Lee, 
 Fleecy sheep, graceful fawns, whilst I'm exiled from thee. 
 
 The birds there are warbling, there frolic the lambs, 
 For the hot streaming milk low the calves round their dams ; 
 The fish burst their banks and leap high on the shore, 
 Whilst I, and young Cormac, our exile deplore. 
 
334 NOTES. 
 
 LITTLE CELIA CONNELLAN. 
 
 In this, as in many of our amatory songs, the warmest 
 wishes are expressed for the enjoyment of private meetings 
 with the beloved object, in some shady grove, delightful valley, 
 or sequestered island, where far removed from friends and 
 relatives, they might freely indulge in the unrestrained delight 
 of virtuous intercourse. This is conceived in the purest spirit 
 of romantic love, and without the least taint of any vicious 
 feeling or desire. The unsuspecting confidence which it neces- 
 sarily implies, is the truest test of its honorable tendency, and 
 the surest safeguard of maiden innocence. This observation is 
 rendered necessary from the present state of society, so very 
 different from that of our ancestors ; conclusions might other- 
 wise be drawn from those passages, foreign from the simple 
 meaning of the originals. 
 
 " The plumy interloper, in the third stanza of the original, 
 is a * pheasant,' but we trust the necessity of the rhyme will 
 justify our preference." — T. 
 
 l)<^0]adi<^ in the first Stanza should have been written 
 bu<^ibhe<^|ich<^. 
 
 The metre of this song is suited to a lively musical strain. 
 It is a composition of the county of Sligo, and an old favorite. 
 The following stanzas in the same metre, from the neighbouring 
 county. Mayo, being the original of the well known, " Bunch 
 of Rushes, ^^ will, it is hoped, be acceptable to the Irish 
 reader: — ' 
 
 i3i<firi'^1 lu^iciiia^u 
 
 l<^ 6'^]t éí|n5h rne 50 h-u<^i5ne<^ch 
 
 bh'i mo 5b<^bh<^i|tiTi liom 50 b-u<^ibh|te<^ch, 
 715 u<^ill^e<^|tc 7 ino 5hun<^ <^ni' X^\m\\ : — 
 
NOTES. 335 
 
 Ci<^ chdi^<^í6b oíim <^chc Ycu<^6h-b}ie<^n 
 "^ói 5|tu<^v5e 5eille, -piTiTie b|te<l6h', 
 
 fce'n lu<^cli<^ifi bubh slieille bl<^cli. 
 
 Qin léi5^<<^ bo bhe<^]tc <^i|i l<l]t, 
 "4^0 An 6-ciocTp<l liom 6j\v. ae^i-^we^y, 
 
 ^<^oi bli]tu<^ch if\<\ coille ly 5lAi)*e bl^ch. 
 Y<^5<^i|tc ríí b]i-):<^i5hi61i T5eul <^i]i, 
 
 <f1^ <^OTi ne<^ch 6'^ bb-i^uil le v<<5b<^il, 
 50 b-aoc):dibli c<^iTic bo'n cbeijiyeicli, 
 
 "^I'l* beu]tl<^ bo'n lon-bubh bhpe<^6]i. 
 
 5l<^c yu<^iTnhne<^f <^'y -pAn 50 ]téi61i, 
 ^jí c^ú bmc <^ bbeich chomh h-u<\ibh]ae<^ch, 
 
 (71 <^ Yc<^ip Tné 60 cbuib lu<^cb|i<^, 
 
 ly 6u<^l5o bh-):uil cuib c<^|t beiy, 
 l)<^inye<^b bmpTi bu<^n buic, 
 
 'HY u<^l<^ch moji Tn<^]t cbuiUe leiy. 
 
336 NOTES. 
 
 THE LASS OF FAIR FLOWING TRESSES. 
 
 This is one of the numerous sweet little songs to be found 
 in almost every hamlet throughout the Irish parts of Ireland. 
 With these ancient ballads, and the delightful old Finian Tales, 
 in poetry and prose, the rural Irish are wont to recreate them- 
 selves after the toils of the day, when assembled round their 
 village fire sides, they enjoy the only cessation from suffering, 
 which they know, or expect in this life. To these productions, 
 our gentry, except, perhaps, some few aboriginal families, are 
 almost entirely strangers. From this class of society they have 
 been banished to the cottages of the poor, where they have 
 been preserved, with a sort of religious veneration, as relics of 
 Ireland's better days. *' I heard an old Irish air sung," says 
 Trotter, in his Walks through Ireland, " with Irish words, by 
 an Irish woman ; it was mournfully and remarkably melodious, 
 sung very slow, and with astonishing and true pathos ; it ap- 
 pealed powerfully to the heart." Nothing can be more correct 
 than this description. It shews of what rich feasts of sen- 
 timental poetry and music, political prejudice and religious 
 bigotry haVe hitherto deprived their infatuated votaries in 
 Ireland.* 
 
 * Even our national musical instruments, the harp and bagpipe, seem to have 
 been considered as part of the paraphernalia' of popery. In one of the first earl 
 of Cork's noted protestant eyries, Bandon, a poor vs^andering minstrel, has lately 
 been severely beaten, and had his bagpipe broken to pieces. The unlucky wight 
 ventured to play in that town, contrary to an ancient standing rule of the 
 corporation ; and he was thus treated for annoying the orthodox ears of the 
 protestant inhabitants with his native papistical tunes. Were these bigots 
 apprehensive that the charms of Irish music would "sooth their savage breasts ? '' 
 
NOTES. 337 
 
 LORD MAYO. 
 
 This song, or, perhaps more properly speaking, ode to music, 
 which is now for the first time printed, was composed by 
 David Murphy, a poor dependant of Theobald, fourth viscount 
 Mayo, a nobleman who first sat in the Irish house of peers on 
 14th May, 1661. It was composed in the hall of Castleburke, 
 a baronial mansion, now in ruins, near Castlebar, in the county 
 of Mayo. The music which is well known, and much admired, 
 was the production of Thady Keenan, a harper, with whom 
 the venerable Charles O'Conor was acquainted early in the 
 last century. In Walker's memoirs of the Irish Bards, will be 
 found an interesting account of both bards, from the pen of 
 his anonymous and excellent correspondent. 
 
 They have in the west of Ireland a favorite song, often mis- 
 taken for this ode, known by the name of Conbde t71b<^i5be0i 
 *' County of Mayo," and sometimes as *' The lament of 
 Thomas Flavell," having been composed by a bard of that 
 name, a native of the island of Bophin, on the western coast. 
 It is only remarkable for being combined with one of our 
 sweetest native melodies — the very soul of plaintive Irish 
 music. The word» are here given, with a hope, that they may 
 lead to the preservation of the air : — 
 
 ly <^nt an loín5 p pb<^i6i l<^6inye bo 5bnÍTn-Ye <^n bubpor^ 
 2i^ o^-iK^bh <^nriy An oibhche <^5uy <^5 fiop-sbul 'y <^n 16 
 
 |71un<^ m béíbb 5up b<^lUbh m' iTicle<^cbc 
 
 7Vy me <^ bh-^<^b oin' mhuinnp, 
 5<^p ni<^ipe<^n ! ly in<^idi <^ c}i<^oiTi^inn-Ye conb<<.e |\/lh<^Í3he6. 
 
 VOL. I. z 
 
338 NOTES. 
 
 2ÍY] u<^i|t \ ni}i<^i[i TY10 ch<^i]tbe bu6h b}i|te<<6h mo chmb oi|i, 
 6' ol<^inn lioTin Yp<line<^c}i i 5-coTYililu<^bd]t b<^Ti 05, 
 
 |71un<^ m-beich fio|i-ol ti<^ 5-c<^]ic<^ 
 
 y <^ri bltsh bheich \io Uibift, 
 
 Cd 5<^b<^ibhiiibh n<^ h-<lice p <^5 ei|ti5be<^b |to lYiboft 
 
 "Po cbnor<^bbd A'y -po h<^i|i b<^5 5<^n c|i<lcbc <^i]t bhucl<^bb<^ 
 
 &<^ iTidi]i):e<^bh b<^mb-"p<^ an i<^|iuil 
 6hé<^Ti]p<^irm biobh ci<^n<^cb, 
 171 un A m-beicb 5U|t cb<^5<^i|t bi<^ bh^m 6. bheicb <^ 
 5-ci<^iic<^ibh y<^ bhpon. 
 
 6<^ m-beibb p<^b|tui5 locbl<^iTin 'ti<^ i<^|il<^ <^i|t i<^|tuil 50 ^^ú, 
 l)jii<^Ti bubb A cbli<^mb<^in 'n^ cbi5be<^pri<^ <^iti &bu<^cbni6|i, 
 
 '^lobb bubb t^<^c 5]ti<^b<^ 
 
 't|<^ cbo|tné<^l A 5Xlid|tA, 
 l]* <^n pri bbeibb mo dnti<^ll-y<^ 50 conb<^e [71b<^i5beo. 
 
 ^ *' By each blessed bell thafs there y^'' — 
 Consecrated bells were formerly held in great reverence in 
 Ireland, particularly before the tenth century. Cambrensis in 
 his Welch Itinerary, says, " Both the laity and clergy in 
 Ireland, Scotland, and Wales, held in such great veneration 
 portable bells, and staves crooked at the top, and covered 
 with gold, silver, and brass, and similar relics of the saints, 
 that they were much more afraid of swearing falsely by them, 
 than by the gospels, because, from some hidden and miraculous 
 
NOTES. 339 
 
 power, with which they were gifted, and the vengeance of the 
 saint, to whom they were particularly pleasing, their despisers 
 and transgressors are severely punished."— jBToare's translation 
 of the Itinerary of Giraldus, Loudon 1805, p. 31. Miraculous 
 portable bells were very common, Giraldus speaks of the 
 Campana fugitiva of O'Toole, chieftain of Wicklow; and 
 Colgan relates, that whenever Saint Patrick's portable bell 
 tolled, as a preservative against evil spirits and magicians, it 
 was heard from the Giant's Causeway to Cape Clears from the 
 Hill of Howth to the Western Shores of Conamara, " per 
 totam Hiberniam." — Colgan. In Triade, p. 103. Evinus who 
 wrote before the tenth century, says, " Saint Ciaran's portable 
 bell still exists, and is held in high veneration, and carried 
 round to the assemblies of princes, to protect the poor, and to 
 raise contributions for his monastery." — Vita Antiq. Ciarini in 
 Actis SS. p. 458. This veneration for bells appears to have 
 been preserved unabated, from the days of Saint Patrick to 
 those of our bard, — See Doctor O'Conor^s Appendix to Cat. 
 Stowe MSS. p. 30. 
 
 It was found difficult to procure a perfect transcript of the 
 present ode. My first copy proved incomplete, and indeed 
 little better than a fragment, but this I did not discover until 
 after Mr. Furlong had versified it. Although his translation 
 of the complete copy is contained in the text, yet I am in- 
 duced to preserve his previous version of the fragment ; and 
 do so as I think, with the suffrage of every reader of taste : — 
 
 No more in sad suspense I'll pine. 
 No longer droop in lingering woe — 
 
 Quick ! hand that cup of cheering wine. 
 Let the rich liquor freely flow : 
 
 And long, and loud, my harp shall ring, 
 
 While sheltered here I sit and sing 
 The praises of Mayo ! 
 z 2 
 
340 NOTES. 
 
 Mayo ! the flower of chiefs thou art, , 
 Lord of the free and open heart — 
 Bold is thy bearing in the strife, 
 
 Where foes before thee sink subdued — 
 Blest be thy days and long thy life, 
 
 Shield of the friendless multitude. 
 Spurn not thy minstrers homage now, 
 
 Branch of the old and stately tree ! 
 Oh ! hear his song and mark his vow — 
 
 By every saint or sacred thing 
 
 He swears — till life's last hour to cling 
 
 In steadiness to thee — 
 
 Tracing thy footsteps faithfully, 
 Till his dark eye-balls earth shall cover, 
 And thought and feeling both be over. 
 
 ' BROWN THORN. 
 
 The Droigheanan Dunn, literally Brown Thorn, is one of 
 our most popular ballads, and deservedly so. The words are 
 sweet and simple, and the air is one of those tender plaintive 
 strains which find their way to the innermost folds of the 
 human heart, where they seldom fail to make a lasting im- 
 pression. The provinces of Munster and Connaught contend 
 for this song ; but the latter, where it is known and sung in 
 every hamlet, has, as far as I can ascertain, the best claim. 
 It is a composition of considerable antiquity. John Bernard 
 Trotter, who had been private secretary to the celebrated 
 Charles James Fox, and who made a pedestrian tour through 
 Ireland, says, in a small tract on Irish Music, — " It had been 
 conjectured that the era of Drionan Don, was before the in- 
 troduction of Christianity ; that it was composed for the cele- 
 bration of the Baal Thinne, or the midsummer fire, in which 
 
NOTES, 341 
 
 the thorn was particularly burnt. Be this as it may," he adds, 
 " it is justly celebrated as one of our sweetest melodies ; and, 
 whatever be the era of its composition, is an intrinsic proof 
 that we possessed at the earliest periods, a style as peculiar 
 and excellent in music, as our round towers prove we did in 
 architecture. The origin of both has perished, but the things 
 themselves remain as incontestible memorials." 
 
 Some years since, travelling through the plains of the great 
 western county of Mayo, in a poor cabin near Lough Con, the 
 writer accidentally heard a peasant girl sing the Droigheanan 
 Dunn, in a strain still remembered with feelings of pleasure. 
 Among other songs which she was prevailed on to sing, was 
 one to the sweet old Irish air, the '* Maid in Bedlam," beginning 
 
 •* One morning very early, one morning in the spring, 
 T heard a maid in Bedlam most mournfully s^ing.^' 
 
 Struck with the exquisite beauty and simplicity of the 
 stanzas, I transcribed them on the spot, from her dictation, 
 and hope, the same reason may serve as an excuse for intro- 
 ducing them here. — I do not know a sweeter song in any 
 language, and I think it impossible to translate it. 
 
 4l<^ch <^oibhm 60 ti<^ h-eiTííriibh 6'éi|iÍ5be<^n 50 h-^\ib, 
 
 'Y \ bh'í6he<^n <^ ceile<^bb<^|i le n<^ cbeile á\\i <<^or\ ch]t<^oibli 
 
 ^í Tn<^]t yin b^mh -pein 'y feomh cbeub rmle 5fi<<^6b, 
 ly ip<^6<^ n-<^ cheile opuinn b'eiiiÍ5be<^ii 5<^cb 1<<. 
 
 ]y binnel 'n <^ri bheibhlinn 'y ly pillféícbe 1 'n<l <^n 5h|iéin, 
 
342 NOTES. 
 
 ly Tpe<l|iit lOTi^ pn uile <^ h-u<^iYle<^chc 'y ^ meinn, 
 'X 6. 6hi<^ ch<^ i|* nd ):l<^icln)' 'pu<^)3<^il bom píiéin. 
 
 ^in ]toibh cu Aiji <^n 5-c<^|t]i<^i5, no An bh-ipí^Cí^ibh cú mo 
 
 Shjtabh, 
 ^0 <^n bh-^<^c<^ibh cu 5ile no pnne no Y3éimli n<^ mn<<<, 
 '^In bli-):<^cdi61i cu <^n c-ubli<^ll bubh mhilye '\ bubh 
 
 cliúmli|t<^ bl^cbj 
 ^0 <^n bh-ip<^c<^i6b cu mo bVx^ilmcín no bh-pbuil yi '5 K 
 
 cl<^o'i6h m<^|t c<<Lim ? 
 
 bhibh me <^i]t <^n 5-c<^]t]i<^i5 6.'y chon<^i|ic me bo 5li|i<<Lb1i, 
 Chonn<<vi]tc me 5ile <^5uy y^mne Á^wf if5éimh r\6. mnK, 
 Clion<^i]tc me <^n c-ubb<^ll bubh mil^e 'y bubh chúmh|i<^ 
 
 bUch, 
 'Zt5U|* chon<Si[ic me bo bh<^ilmcin 'y m yihwl p 's <^ clAoibh 
 
 m<^]t c<<^i|t. 
 
 CASHEL OF MUNSTER, OR CLAR BOG DEAL. 
 
 If the foregoing ballad has been conceded to Conaught, 
 the present cannot be denied to Munster, whose right is proved 
 by internal evidence. The vs^ords and air are equally sweet 
 and simple, and both are of considerable antiquity. 
 
 '^loy ch<^ich <^n <^oi)' me ^*y sujt li<^ch mo che<^nn, 
 Tho' my locks now look gray and my blood runs chill. 
 
NOTES. 34S 
 
 This passage may remind the reader of one of Anacreon's 
 Odes, beginning : — 
 
 MH jue (pvyrjg opujaa 
 Trjv woXiav eOeipav. 
 
 Our bards appear not only to have been well acquainted 
 with the works of Anacreon, but to have admired, and in 
 many instances, imitated their beauties. One of them sending 
 a book to his mistress, addresses it as follows :— 
 
 016. 
 
 21 le<^bhft<liTi5 ^y (^oibhinn 60 di|ti<^ll 
 Qi cciOTin <^iTi6|te n<^ 5-CK^bh 5-c<^ni ; 
 ]]• c|tu<^5h ! 5dn cu <^*tii |iioclic <^ b-jDein, 
 ll'x me-f\ -jpein (^5 6ul <^mi. 
 
 21 le6Joh\iKm, ly <^oibhinn 6u1c 
 
 60 chjiK^ll, TYK^it <^ bh-^uil mo 5lnt<<v6h ; 
 60 clii6hTpi|i <^Tin dn ^olc Tn<^[t %, — 
 60 ch1bh"|pijt <^nrt An bé<^6 bh<^n. 
 
 Again, on the difficulty of enumerating her charms 
 
 £)<^ Tn-bu6h bubh <^ii ^hc^ipse, 
 
 2l'y z^\Ámh bheich 'r\é< p<^ipe|t b<<n, 
 
 CleicÍ5he mme, 5e<^l<^, 
 
 2Vy <^n dU bheich <^ip <^ conn <^5 Trn<^]nh ; 
 
Sié NOTES. 
 
 b<^ m-b\ioY\nyiéabhe b^m t)\i\ ^'y Y<^y<^Ti<^, 
 
 C[iei3liche ! tíio cdilui be^x, 
 
 ^í chioc|í<^bh lioni 60 y5|aiob1iAbh le pe<^nn. 
 
 Another bard tells us, that when his mistress was born, a 
 bee came with a shower of honey, which fell on her lips : — 
 
 2ir\ u<^i|i |tii5<^6li <^Ti chuil^phionn cb<^imc beach bin, 
 le cioch iTie<^l<^ mtne <^i]a 6. c<^é|i-bheol. 
 
 The following fragments, translated by Mr. D'Alton, have 
 been thought worthy of preservation. The first, is evidently 
 an imitation of one of Anacreon's odes, the twenty-second in 
 Mr. Moore's translation ; or, perhaps, it bears a closer resem- 
 blance to the Epigram of Dionysius, translated in the same 
 fascinating work. 
 
 21 6hi<^ 5<^Ti me Am <^bh<^illin, 
 
 ^Jo <^iTi <lilneivimn ^15111 ; 
 ^0 Am laoy <^Tni i[<^r\ Y\^^6^\íbm, 
 
 |71<^|i <^ Ti5H<<vchuÍ5he<^TiTi cú <^b <^OTi<^it ; 
 |71<^[t yhuil iy 50 Tn-bhu<^iHTpe^6h b\Y\om 
 
 5eu5^iTíiTi 6151115 
 60 bhi<^bb <^5<<.6 <^6 bbe<^r-^^i^'i 
 ^ 1^0 <^ Tn-b|tolUcb 5e<^l 60 leine. 
 
 See the ripe fruit,— oh! were I such, 
 That mellow hangs from yonder spray ; 
 
NOTES. 345 
 
 To win your eyes, to woo your touch, 
 And on your lips to melt away ! 
 
 Were I a rose, in some fair bower, 
 By thee selected from the rest ; 
 
 To triumph in thy choice an hour. 
 And die — upon thy snowy breast. 
 
 C^ )'c<^och-bh<^ch<<;.ill bhuiblie-ch<^l'bA5 ):hio[i-61ie<^|'A 
 
 Cn<limh 'n <^ beol, 
 '5^T 5|tit-^eAc<^5 piob-f}nie<^ch6<^5 cioch-chAilce 
 
 ^^lici, bl<lchTi<^i6 05, 
 C<^éibli-rh<^n<^ TYnn-5he<^l<^5 <^i]t IT e<^l<^ 
 
 / 5^ c]t<lcbc <^ bjtos. 
 
 Adown her back in curls are roll'd, 
 Her yellow hair like beams of gold ; 
 Her downy hands— her full blue eye. 
 Her teeth, like fine set ivory, 
 
 Such is my lovely maid : 
 Like kindling flame her blushing cheek, 
 Swan-like her majesty of neck ; 
 Her bosom white as earthless snow. 
 Are few of all the charms that glow 
 
 In my beloved Blanaid. 
 
346 NOTES. 
 
 Blanaid was a celebrated Irish beauty of antiquity. For 
 her interesting history, and tragical end, see our Irish 
 Herodotus, Keating. 
 
 MOLLY ASTORE. 
 
 The air of Molly Astore, is one of the most popular hi these 
 islands. Burns called it " a heavenly air." Although it has 
 been more fortunate than most of our native strains, in meeting 
 vi^ith English vi^ords, yet it is confidently hoped, that its 
 original Irish stanzas will be found no way inferior to any of 
 those, with which it has been hitherto associated in English. 
 
 General Vallancey, one of the few Englishmen, whose me- 
 mory ought to be dear to the Irish, was so delighted with the 
 music of Molly Astore^ that, in his enthusiasm, he very gravely 
 undertook the derivation of the name, and traced it to the 
 most remote antiquity. He tell us, from Diodorus Siculus, 
 that Bel or Baal was the Jupiter of the east, whose wife, the 
 Juno of the latter, was Astarte ; and that these were, " the 
 Irish Beal and Astore-th, the latter pronounced Astore J' Mr. 
 Trotter tells us, that the song was composed " at the period of 
 Cormac Mac Con, a century before Christianity." Again, he 
 says, " It is with some probability, supposed to have been 
 addressed to Astoreth, called in Irish, Astore, the Venus 
 of the Phoenicians." Vallancey was perfectly serious, but 
 Trotter could hardly have been so ; particularly, as he soon 
 after adds, *' It is evidently, however, the production of the 
 purest era of Irish song> as it has the general character of its 
 sweet and touching melody." 
 
 English verses have been frequently written to this air. The 
 late George Ogle, member of parliament for Wexford, was 
 
NOTES. 347 
 
 author of a pleasing song, beginning, " As down by Bannah 
 banks I strayed" whose principal charm lies in the Irish termi- 
 nation of each stanza : — 
 
 *' Ah Gramachree ma Colleen oge 
 3Ia Molly A store— '' 
 
 Our celebrated countryman, Sheridan, also wrote to this 
 air, the sweet little song in the Duenna, *' Had I a heart for 
 falsehood framed" The sentiments of " How oft Louisa " in 
 the same comedy, are said to have been borrowed from another 
 Irish song, beginning with the following stanza :— 
 
 21 2U\Y\Á cIk^oiti <^cl<^ibe mhin cyu^^ipc, 
 
 71 |iuin mo chleibhj ti<^ 6e<^Ti ni bu<^r|tc 
 
 C<^bh<^i|i ip<^oiye<^Tnh bon phemyi c<^oi 6om chu<^i|tc, 
 
 'y 6<^ m-bubb V\omy6. €ipe <^'b 6ei5 'y me An c|iu<^5h. 
 
 " The Plains of Nair" — In the county of Meath there is a^ 
 lake, which was anciently known by this name. In it was 
 drowned Turgesius, the Danish Tyrant, by Maolseachlan King 
 of Meath, A. D. 844.— i>ee Annals of Ulster. 
 
 CATHERINE TYRRELL. 
 
 Catherine Tyrrell, was a member of the ancient and res- 
 pectable family of that name, formerly residing at the Pace, 
 (Tyrrell's Pass) in the county of Westmeath. The lake, 
 called in the original '' JErril" is probably a mistake for 
 ** Ennil," one of the most extensive and beautiful of the 
 numerous fine lakes in that county. 
 
348 NOTES. 
 
 The fair object of this popular and favorite song has been 
 celebrated in other poetical eíFusions. Of one of these the 
 following is a fragnfient: — 
 
 'Y cpu<^5h 5heup 5<^n me-p <^5uy C<^c<^ilin C'pi<^ll5 
 
 '<{] <^p ymbhe no 'n-^p re<^r<^i'>i, <^5 5e<^c<^ibh WW-cl^^zh 
 
 ^tn oibhcbe bbeich <^5uinTi chornh p<^6<^ pe blíAin, 
 
 Qi'y me yince Aip le<^b<^ le <^iTni-)pip nd 5-CK^bh. 
 
 Few of our national airs are better known than ** Youghal 
 Harbour," which bears a strong resemblance to *' Caithlin 
 Tirriall." The original words of that favorite rustic ballad, 
 have been thought worthy of preservation ; with that view 
 they are here inserted : — 
 
 e C 1) '211 1 1. 
 
 j7l<^ibin 66mbn<^icb á.'x me <^5 bul 50 h-C6ch<^ill, 
 
 C<^Y<^bb <^n oi5-bhe<^Ti opw 'y <^ti c-ylish ; — 
 ^l 5pu<^6h <^ip Uydbb iTK^p poy <^ n-5<lip6'ÍTi, 
 
 'Y bA bbiTiTie <^ béilín 'ti<^ ceok<^ fÍ5he : — 
 le<^5 me lATYih <^ip <^ bp<<5h<^ib le ip^pT<^, 
 
 '215U]* 6'i<^pp me poi5m <^ip yzS\i mo cbpoibhe, 
 'Y é búbbAipu fi; " TcAb <^'y n<^ ^^poic mo chloicin, 
 
 'Y rn'l y:^ox mo bb6l<<iy <^5 Tie<^ch 'y Ay\ z-y^o^-^heal." 
 
 <^Vl Achb u<^ip bhe<^5 6 6'):h<^i5 me-yi €ochAill, 
 7Vy búbb<^ipc mo yto\i liom 5<^ti plle<^bh <^pí|*í — 
 
 'Y 5up c<^ilin ycoicbce me c<< <^5 pubhhl <^ti bhochAip, 
 '2I5 i<^pp<^6h <^Ti eol<^iif 30 Ce<^p<^6h-CbomTi ; — 
 
NOTES. 349 
 
 '4] <^imhbhe6iTi <^ n-5e<^ll<^Tm cu fee 5<^cli uile yhojic fe<^Tnh5 
 ^í 5liTíífe1nm fee fe' 5lil6|acli<^ibh <^c}ic c6inli]a^feh b<^oi"r' 
 
 ^Vy fe^ yc<^oilpe<<v bli<^ile me 5<^ti ^iúfeh ti<^ Tn-b]i65<^, 
 Yu<^]i<^)* coTnh<^itile 5<^ti feo le<^n<^Tnli<^ni choifebche. 
 
 '2I5 p mo l<^Trib febmc n<^cb bh-Tpuilini poyc<^, 
 
 ^T S'^i^ bu<^ch<^ill 05 me cbu5 5e<^n feo mhn<^o1 ; 
 'Y fe<l n-5lii<^i]fpe<< liom-Y<^ <^i|t fe-cu)- 50 b-Cocb^All, 
 
 6<^]t le<^m, fe'<^|i n-feoicb ! bufeh le6z loiycin olfebcbe : — 
 Chui]a):mii bi5b c<lul c<^p o\iz, A 5-ce<<v]ac 'y A s-coip, 
 
 5u^<^feb^ cl6c<^ <^5wif c<^ipiprm5 
 Yiop<^ feli<^m<^nii<^ m-bi<^feb pen <^'y beoijt {^titi, 
 
 '21')- b<<ibm 65 feo bbeicb <^5 feiul feo cb^ocb. 
 
 COOLIN. 
 
 The air of this song is, by many, esteemed the finest in the 
 whole circle of Irish music. It is much older than the words 
 of our text, which have been attributed to Maurice O'Dugan, 
 an Irish bard, who lived near Benburb, in the county of 
 Tyrone, about the year 1641. There are several sweet stanzas 
 in Irish to this charming air, but tlie present are the best 
 known, and most popular. ** Coolin" means, the maiden of 
 fair flowing locks, but the original word is retained in the 
 translation, being now, as it were, naturalized in English. The 
 following is the first stanza of a spirited version of this song, 
 made by our learned and talented countryman, the late Mr. 
 Clinch, in the year 1792 : — 
 
350 NOTES. 
 
 Did you see the long auburn locks of my queen, 
 As she bounds with dry feet o'er the dew pearled green ; 
 But, oh ! if you knew her soft languishing air, 
 And the virtues that dwell in a bosom so fair. 
 
 ^ " In Belanagar dwells the bright blooming maid." 
 There are many places of this name in Ireland. One of the 
 most distinguished is Belanagar, in the county of Roscommon, 
 the seat of O'Conor Don, the descendant of the last of the 
 Irish monarchs. 
 
 Walker, in his Memoirs, tells us, that when Henry VIII. 
 ordered the mere Irish to be shorn, a song was written by 
 one of their bards in which an Irish virgin is made to give the 
 preference to her dear Coulin, (or the youth with the flowing 
 locks,) to all strangers, (by which the English were meant,) 
 or those who wore their habits. '* Of this song," he adds, 
 '* the air alone has reached us, and is universally admired." — 
 For Mr. Moore's beautiful words to this melody, beginning, 
 *' Though the last glimpse of Erin," see his Irish Melodies. 
 
 The following additional verse occurs in some copies of the 
 original : 
 
 ^l Tnhúi|íniTi A']* <^ <^ríTiy<^chc 60 Tnhe<^ll me <^ b-tny m'U'^Q, 
 
 le'b cblu<<vn<^ibhe<^c]ic bMnn, mhe<^bhl<^ch 'y 5U[t 5he<^ll 
 
 CÍÍ mo pboTf<^6h5 
 
 |71<<L chu5 mo ch|io'í6he 5íie<^TiTi bine, <í'y^<^^ ^^^^^ 5^ m-bubh 
 
 leojt ym, 
 
 ly moii c<lim h\A A lionn-bMbb 'n u<^i|t n<^di liom cu 
 
NOTES. 351 
 
 ROISIN DUBH. 
 
 Roisin Dubh, Little Black Rose, is an allegorical balla^i 
 in which strong political feelings are conveyed, as a personal 
 address from a lover to his fair one. The allegorical meaning 
 has been long since forgotten, and the verses are now remem- 
 bered, and sung as a plaintive love ditty. It was composed in 
 the reign of Elizabeth of England, to celebrate our Irish hero, 
 Hugh Ruadh O^Donnell, of Tyrconnell. By Roisin Dubh, 
 supposed to be a beloved female, is meant Ireland. The toils 
 and sufferings of the patriot soldier, are throughout described 
 as the cares and feelings of an anxious lover addressing the 
 object of his affection. The song concludes with a bold de- 
 claration of the dreadful struggle which would be made before 
 the country should be surrendered to the embraces of our 
 hero's hated and implacable rival. The air is a good specimen 
 of the characteristic melancholy which pervades Irish music. 
 
 " No nation," says General Vallancey, Col. vol. v. p. 363. 
 *' is more fond of allegory than the Irish. Their ancient poets 
 were celebrated for their Meimeadh or allegorical poems. No 
 other language than the Arabic has a word of this signification, 
 viz. Mamma, a verse of occult mysterious meaning." — In the 
 third part of this collection will be found, some fine specimens 
 of this species of Irish composition. 
 
 UILE CAN DUBH O. 
 
 The song of Sorrow, and well has it been so called, for it 
 is truly a plaint of grief and despair. 7'he words were coni- 
 posed by one of the unfortunate sufferers expelled from Ulster, 
 in the reign of James I. when almost ihe entire of that pro- 
 vince was confiscated, and planted with English and Scotch 
 
352 NOTES. 
 
 adventurers. They were addressed by the exile to his mistress, 
 to induce her to accompany him to Conaught, but she seems 
 to have been adverse to his suit. The air is of the most remote 
 antiquity. 
 
 In another copy of this song, the first stanza reads as 
 follows : — 
 
 bá. b-cioc^<l liofri-yd A |ieilnoTin 50 cí|í-ATYihl<^i6h, 
 
 1y m' u<^ile<<vc<<n bubb ! 
 
 l)hed]a):<^m c|t<^nih <^ijt bh<^imie p<^i5h bbuic, , 
 
 |71' ii<<.ilec^Ti 6ubh ! 
 
 ly 50 leojt blied|tp<^inn <^e|i n<^ lon5 bbuic <^5uir T^^^^^^ ^<^ 
 
 %'X )Mi<<vim nA b-conri b<{ m-haédAbh Aiji <^n b-z\ih-^hy 
 Qi'X b]t<^on be'ii z-y^ue m lei5prm <^ri 60 cboinb<^i]t, 
 
 ly 5U]t cu TTi' uAilec<ln 6ubb ! 
 
 Tirawly, mentioned in this stanza, is a barony in the county 
 of Mayo. 
 
 CEAN DUBH DILIS. 
 
 Lovely maid with the raven lochs. — This song is an instance 
 of the superiority of our language for lyrical poetry. Miss 
 Brooke states, that she gave up many a sweet Irish stanza in 
 despair, find herself unequal to the translation, " I wished 
 among others" says she, " to have translated the following 
 lines of a favorite song, (Cean duhh deelish,) but it presented 
 ideas of which my pen could draw no resemblance that pleased 
 me." After quoting the first four lines, she adds, " I need 
 
NOTES. 353 
 
 not give any comment upon those lines, the English reader 
 would not understand it, and the Irish reader could not want 
 it, for it is impossible to peruse them without being sensible of 
 their beauty." The tender effect of the repetition of the word 
 deelish, lovely or amiable, in the first line, cannot fail to 
 attract the attention of the reader. 
 
 The air of the present song presented so many temptations 
 to the taste and nationality of our northern neighbours, that, 
 Robert Burns in a letter to his publisher, boldly assigns it to 
 Scotland. *' They have," says this fine genius, " lately in 
 Ireland published an Irish air, as they say, called Caun du 
 dilish. The fact is, in a publication of Corri's, a great while 
 ^go, you will find the same air called a Highland one, with a 
 Gaelic song set to it. Its name there, I think, is Oran Gaoil, 
 and a fine air it is." In opposition to this fact, I may be 
 permitted to adduce another. I have myself, seen and known 
 old people who were acquainted with the air, and words as 
 given in the text, of Cean Dubh Dilish^ long before Corri's 
 publication, alluded to by Burns, appeared. At that time, how- 
 ever', the literary outposts of Ireland lay undefended. It was 
 customary to appropriate without acknowledgment, and unfash- 
 ionable even to notice us, except either to censure or condemn. 
 
 Repeated aggressions sometimes provoked angry retaliation. 
 An anonymous author, has severely, but justly censured 
 Doctor Burney, the well known English writer on Music. 
 " Doctor Burney," says our author, *' has been extensive in 
 his research, and elaborate in his detail of the anecdotes of 
 music, as to dilate his history of them into several thousand 
 quarto pages ! Is it from the want of candour, or can it be 
 from the want of information, that he has taken little or no 
 notice of Irish music ? He has been at much pains to ascer- 
 tain the first song that ever was set in score, and after having, 
 as he thinks, succeeded, he has exhibited the result of his 
 research. Had he no means of knowing to what country the 
 song really belonged. It remains with ourselves to do that 
 VOL I. A a 
 
354 NOTES. 
 
 justice which others deny, and reclaim for ourselves those 
 gems of genius which enrich other countries with a negligent 
 profusion. It is to our countryman, Dr. Young, the late 
 lamented Bishop of Clonfert, that we are indebted for the 
 restitution of our property in a sweet and touching melody. 
 He proved that this very ancient tune of Burney, is no other 
 than our Samhre teacht, or, " Summer is coming." It had 
 been handed down among the traditional melodies of the Irish 
 harpers, rescued at the meeting in Belfast, and secured in the 
 permanent characters of music, in Bunting's Collection; its 
 name imports its origin. The susceptible sensibilities of the 
 Irish, always felt in a high degree those beauties of nature, 
 which the features of their lovely country in happier times 
 presented. This sweet hymn was a tribute of grateful melody, 
 offered up by our ancestors to the opening year, and has been 
 sung from time immemorial by them at the approach of spring. 
 To those who have resided among the peasantry of the Southern 
 and Western parts of Ireland, where the national manners 
 are most unadulterated, this melody is at this day perfectly 
 familiar." 
 
 Another of these wandering melodies, is, the well known 
 Murneen na gruaige baine, which may be translated, " My fair 
 or flaxen-haired darling ; " though the latter word conveys but 
 a very inadequate idea of the endearing fondness expressed by 
 our Irish Murneen, I am, happily, enabled to preserve the 
 original stanzas of this sweet song, and feel confident that 
 they will not be unacceptable to the Irish reader : — 
 
 Í7imia<iii<p| <i]2i 5ltn^n5€ b^iitie. 
 
 21 Tn-b<^ile n<^ b-inre yhi6.]i, <^ t^ mo '^\iWi\ le bli<^bh<^iri, 
 
 T 5^ bb-^<<r<^Tin mil 'ti<^ 6i<^i6h, é<^\i lop5 A co)* y6.u 
 c-ylK^bb, 
 
NOTES. 355 
 
 bo 5lie<^bh<^inTi 5<^n yz6.b mo cliK^ll, 6<^ ri5<^b}i<^iT]n 1 ^*m 
 lion 
 7Vx cliuiitpnn-ye <^ti bpon-p bliiom, 5<^n bu^^ibhfiei^bh ; 
 2ti[i chomh<^i|tle |tu5<^bh ]ti<^Tiih, rii pboif]p<^b <^chc mo 
 mliK^Tiri, 
 'Y 1 [71úi|iTnn n<^ 5|iu<^i5e b<<ine ! 
 
 •215 6|ioiche<^6 n<^ h-<*^ibhne moiite, choTidi|iced|*-]'<^ mo 
 
 ]TO]t<^cb, 
 
 '2liTinTpbi|i bhe^y n<^ Ti-o]i-ip1iolc bh-^<^nmeAch ; — 
 'T 5^ Tn-l3<^ mhilye 50 pdb<^ <^po55 'íi^ thiI 'y n^ púc|i<^bh 
 <^i|t boitb, 
 'Y Ti<<. 6é<^5li-bhl<^Y p5h<^il -pioTi Yp<^iTiTie<^ch : — 
 21 6<l cbioch cho|t|i<^, cbjtmnTi, b}i<<vii5 mhili]-, chÚTnh]i<^, 
 b]i]te^5h, 
 |71<^|i ybTie<^chcA bhi<^bh bh^ ch^jiTirK^bh Ai]t yhleTbhcibh ; 
 T 3^ n50i|te<^TiTi <^ti chu<^ch 5<^cb <^Tn5 l<<]t <^ii 5lieÍTiih|ie<^b]i 
 chAll, 
 'Y <^ m-b<^ile Tn-b'ibbe<^Tin mo 3lip<<ibh b'<l b]ié<^5<^bh. 
 
 bK b-):<^5b<^mTi-ye mo |i05b<^, be mbn<<ibb be<^y<^ <^n 
 
 bomb<^m, 
 
 '2I5UT Y<<5li<^im 0|t|tc1i<^ ]i05li<^m yhKxz<<^ ; — 
 
 'Y peiji m<^|i <^ beiji n<^ le<^bhAi|i, cli<^'n cb|t<^ébb <^ici 6]* 
 
 A ccionn, 
 
 ^Y c<^i^ "<^ céub<^ ^c<^[i 50 búbb<^cb <^ n5|i'<^bh lei : — 
 Aa2 
 
356 NOTES. 
 
 'X é i*<^íiili^il-)*eo bo TnoUbh, leiy <^ti 5-céu6 \tt-^h ^oUmh ; 
 
 ]lei61in5li-)-i mo 6hocli<^]t, '^uy ]*<^é|í me o bhi^y ob<^Tin, 
 7[ |71húi]iTíin ri<^ 5|tu<^i3e b<lme ! 
 
 EILEEN A ROON. 
 
 The air of this sweet and simple ballad has been already 
 noticed. Of the various accounts of the incident which gave 
 rise to the composition, the following is esteemed the most 
 probable. — Carol O'Daly, commonly called Mac Caomh Insi 
 Cneamha, brother to Donogh More O'Daly, a man of much 
 consequence in Conaught, was one of the most accomplished 
 gentlemen of his time, and particularly excelled in poetry and 
 music. He paid his addresses to Ellen, the daughter of a 
 chieftain named Kavanagh, a lovely and amiable young lady, 
 who returned his affection, but her friends disapproved of the 
 connexion. O'Daly was obliged to leave the country for some 
 time, and they availed themselves of the opportunity which 
 his absence afforded, of impressing on the mind of Ellen, a 
 belief of his falsehood, and of his having gone to be married 
 to another ; after some time they prevailed on her to consent 
 to marry a rival of O'Daly. The day was fixed for the 
 nuptials, but O'Daly returned the evening before. Under the 
 first impression of his feelings, he sought a wild and sequest- 
 ered spot on the sea shore, and inspired by love, composed 
 the song of Eileen a Roon, which remains to this time, an ex- 
 quisite memorial of his skill and sensibility. Disguised as a 
 harper, he gained access among the crowd that thronged to 
 the wedding. It happened, that he was called upon by Ellen 
 
NOTES. 357 
 
 herself to play. It was then, touching his harp with all the 
 pathetic sensibility which the interesting occasion inspired, he 
 infused his own feelings into the song he had composed, and 
 breathed into his " softened strain," the very soul of pensive 
 melody. 
 
 In the first stanza he intimates, according to the Irish idiom, 
 that, he would walk with her, that is, that he would be her 
 partner, or only love for life. In the second, that he would 
 entertain her, and afford her every delight. After this, he 
 tenderly asks, will she depart with him, or, in the impressive 
 manner of the original, ** Wilt thou stay, or wilt thou come 
 with me, Eileen a Roon." She soon felt the force of this 
 tender appeal, and replied in the affirmative ; on which, in an 
 extacy of delight, he bursts forth into his ** hundred thousand 
 welcomes." To reward his fidelity and affection, his fair 
 one contrived to "go with him" that very night. 
 
 This ballad has been erroneously ascribed to the sixteenth 
 century, for it bears internal evidence of greater antiquity. 
 The first line of the second stanza, " I would spend a cow to 
 entertain thee," alone proves that it was composed before 
 coined money was general, or when " living" money was 
 in use. The tribe of O'Daly furnished several bards of cele- 
 brity. Donogh More O'Daly, Lord Abbot of Boyle in 1244, 
 was a famous poet, emphatically styled, the Ovid of Ireland, 
 from the sweetly flowing melody of his verse. The publication 
 of his poems, of which there are several remaining, although 
 in general of a religious tendency, would be a considerable 
 and valuable addition to our native literature. 
 
 From the concluding stanza of Eileen a Roon, was taken the 
 well known motto of Irish hospitality, Cead mille failte. 
 
358 NOTES. 
 
 EMON A KNOCK. 
 
 Edmond Ryan, better known by the name of Emon a 
 Knock, or, Ned of the Hills, is said to have been one of those 
 numerous adherents of James the Second, who, on the defeat of 
 that monarch, were outlawed, and had their estates confiscated. 
 After a roving predatory life, pregnant with romantic adventure, 
 our hero was interred in the church of Doon, near Lough Gurr, 
 in the county of Limerick. The song is purely allegorical, 
 Ireland being designated by the beautiful female addressed ; 
 but the allegory being now forgotten, the composition is known 
 only as a love effusion, and has been therefore included in the 
 present part of this work. 
 
 Although Emon a Knock is thus stated to have been a real 
 personage, and even the place of his interment pointed out, 
 yet there is reason to think, that the name is fictitious, and 
 that it was intended to represent, generally, the disappointed 
 followers of the Stuart race. Miss Brooke has translated 
 this as an " Elegiac Song." I do not intend here to make any 
 comparison between her version and that of Mr. Furlong, 
 On their merits the reader will, however, exercise his own 
 judgment, and whatever may be the result, we can never fail 
 to respect the name of our excellent and talented country- 
 woman. The following additional stanza of this song is 
 sometimes sung, particularly in Conaught : — 
 
 5oi|nm dm A xhiu]i, 5oi|tiTii chu <^ |túiTi, 
 
 5^^r^^ ^^^^ ^^ n-u<^i]te5 
 5oifiim bo chul z^ y:^■^hze 50 bluzU, 
 
 7Vy 50i|tini bo chum [xe^yoX ; 
 
NOTES. 359 
 
 5oiítini mo 5li|i<^6]i5 m' <^Ti<^Tyi <^6' l^jt. 
 
 The air is exquisite, but mournful, " dying in every note." 
 Our distinguished Irish Patriot, Thomas Steele, Esq. whom I 
 have the honor to call my friend, speaking of this melody, says, 
 ** It is not excelled by any vrith which I am acquainted of 
 any country. I think it without an equal : it is a song whose 
 symphonies, to be in unison with its spirit of wild pathos and 
 sweetness, ought to be played on the ^olian harp, and by no 
 other instrument." — Practical Suggestions, London, 1828. 
 
 In the third stanza, the passage " say must I droop like 
 him — whose star set dark and dim." — seems to allude to 
 James the Second. 
 
 IN THIS CALM SHELTERED VILLA. 
 
 This is one of the many pleasing ballads to the favorite 
 air of Coolin ; and the words, like most others to the same 
 charming melody, are inexpressibly sweet and tender. The 
 " Lov'd Maid of Broka," in Bunting's Collection of the 
 Ancient Music of Ireland, versified by Hector Mac Neill, 
 from a literal translation of the Irish, is one of those ballads, 
 though there coupled with a different air. The first stanza 
 sustains the character of the original : — 
 
 O lov'd maid of Broka, each fair one excelling ! 
 
 The blush on thy cheek shames the apple's soft bloom ; 
 More sweet than the 'rose-buds that deck thy lov'd dwelling, 
 
 Thy lips shame their beauties, thy breath their perfume. 
 
360 NOTES. 
 
 A copy of this song, which I have lately 3een, begins 
 "!]• <^i(i <^n ni-l)|t6ice t<k <^n chmlTphiomi/' In Broca dwells 
 the Coolin. The ingenious Miss Balfour has also given a 
 translation of the '* Maid of Brocah.^' See her poems, printed 
 in Belfast, 1810. No reader of taste will, it is hoped, be 
 displeased with the following extract : — 
 
 Sweet Virgin of Brocah ! though humble thy dwelling. 
 
 Thy manners how gentle, thy beauty how fair ; 
 Thy form light and graceful, each damsel excelling, 
 
 What daughter of Erin with thee shall compare ? 
 Oh vainly to rival thy blushes pretending. 
 
 The apple her blossoms in clusters may bring ; 
 Those blushes in nature's soft harmony blending, 
 
 The radiance of summer, the softness of spring. 
 
 From the few beautiful specimens which she has given, it is 
 much to be regretted, that this talented lady had not turned 
 her attention more to the translation of Irish poetry. The field 
 was as ample as the labour was honorable, and she appears to 
 have been eminently qualified to cultivate it with success. 
 
 ELEANOR O'KIRWAN. 
 
 The fair subject of this old song was a native of Galway, in 
 the West of Ireland, and descended from one of the well-known 
 '* fourteen" families of that ancient town. " Comely Nicholas." 
 Chaoimh Nioclais, mentioned in the original, is the tutelar 
 saint of the place ; and the inhabitants boast that before the 
 reformation there were several grand organs, and chapels in 
 his church there, in all of which divine service was frequently 
 celebrated at the same time, accompanied with a great variety 
 of sacred music. — See History of Galway. 
 
 This song is remarkable for being the composition of the 
 
NOTES. 361 
 
 famous harper O'Carrol, mentioned by Clyn, the Annalist, as 
 the first musical performer of the fourteenth century. Every 
 effort to recover the music has proved fruitless. I have been 
 assured that it M^as well known in Galway, in the last century, 
 but it is supposed to have died with an old musical amateur of 
 the name of French, who resided in that town a few years 
 ago ; and thus perished, perhaps, the last known relic of the 
 genius of O'Carrol. 
 
 The following lively stanzas, addressed to a fair namesake 
 of the young lady celebrated by O'Carrol, have been tran- 
 scribed from the dictation of a gentleman of her native place. 
 
 ^li|t TTK^ibin <^ n-be ]toiTiih 5h|téin 50 moch, 
 
 60 bhe<^]tc^Y <^Ti bhe b<^ Tié<^c<^ c|tuch, 
 yne<^chc<^ <^5UT c<^0|t bMbh <^5 c:6^yv{^^\íz 'ti<^ yceimh 
 
 'y 6. chuiyle mo ch|toí6he ! c<^6 ^ <^ti 5]i]iu<^ini yin o|tc ? 
 
 bubh bhinne 5ucb cdoirib 6. beil le yule 
 '41^ Ojtpbeuy bo léi5 50 ip<^oii n<^ roi|ic ; — 
 
 bh1bh <^ |i<^Tnb<^]i-|toYC jteibh m6.\i cb]tioi*c<^l n<^Tn-b]t<^on 
 '2li|t |-he<^TYi<^i|a 5hl<^iT p}»éi|t ^oimb 5h]téin 50 mocb ; — 
 'Y 6. chuiyle mo chpoibhe ! c<^b1 <^n 5hpu<^im pn o|ic? 
 
 The word né<^c<^ in the second line, though usually so written, 
 should be ne<^mhbh<^, compounded of m<^mb, glow or 
 splendour, and b<^, for zé^, an adjective and participial ter- 
 mination, meaning state, being, or condition. 
 
362 NOTES, 
 
 THE HUNTER OF BEARHAVEN. 
 
 The youthful heir of O'Sullivan, Dynast of Bearhaven, in 
 Munster, in one of his hunting excursions towards Conaught, 
 accidentally met and became enamoured of, the beautiful 
 object whose perfections are so vividly delineated in these 
 verses. The fair maiden, is said to have been a member of 
 the noble house of O'Conor. She is described by the bard, 
 as, the '* beloved of the Clan Murray ^^ 'y ^ Tnuifine cl<^Tin<^ 
 |71ui]te<^b Í, under which general appellation were compre- 
 hended the aboriginal families of Conaught. 
 
 The description of her beauty is quite in the strain and 
 style of Arabian, poetry. — Hundreds of swains contend for 
 the fair one — Her clear azure eye leads hearts captive — Her 
 sweet glowing lips resemble the rose — She is a precious stone 
 emitting rays, in which various hues alternately combine— She 
 is the delight of the learned — The charmer of young and old — 
 Fairest of Eve's daughters — Mirror of generosity, conferring 
 rewards on the sons of song, luchc ceoil — The darling of the 
 bards — The polar star of Slieve Guillen — The white swan of 
 Loch Glin, whose side is like the lily — From her fairness a 
 splendour is reflected — Her golden tresses brighten the sun's 
 ray. — They who have particularly studied oriental poetry, 
 may perceive many striking features of resemblance between 
 it and the sentimental song of Ireland. By adequate in- 
 vestigation of this subject, much additional light might be 
 reflected on the early history of the country. 
 
 WOUNDED BY CUPID'S BURNING DART. 
 
 The fabled deities and poetical machinery of Greece and 
 Rome, were but seldom noticed by our ancient bards. They 
 
NOTES. 363 
 
 drew on their own internal national resourses for illustration 
 and imagery. Accordingly, we find, Connor the renowned 
 king of Emania, the beauties Deirdre and Blanaid, the famous 
 Finian Heroes, the aerial inhabitants of the hills, Don, Cliona, 
 and a numerous host of other real and imaginary beings, con- 
 stantly referred to as the classic personages of Irish poetry. 
 The goddess Venus occurs but once or twice throughout all 
 Carolan's songs ; and, in our sentimental effusions to the 
 present, she, and her renowned companions, Helen, Cupid, 
 Juno, and Minerva, only are mentioned, and that but very 
 sparingly. Modern bards have made more frequent allusion to 
 them, but in doing so, they have incurred the charge of bad 
 taste, and a departure from the simplicity of their predecessors. 
 The Pagan mythology alluded to, is not suited to the genius 
 of Irish poetry. Many a production, otherwise faultless, has 
 been spoiled by the introduction of scenes and names foreign 
 to the feelings and language of the country. In some of these, 
 the poets, not satisfied that the subjects of their praise should 
 outshine our native heroines, Blanaid, Deirdre, Sfc. make them 
 also bear away the palm from the goddesses Juno, Pallas, 
 Venus, Sfc, — • 
 
 bo cbu5 CÚ bl^icb n<^ ye6.b le<^r 
 
 bhUchnAib <^'r 6 b\\h\ib\ie, 
 luno, ph<^lUr <^5"r ^ l)>ieTiur 
 
 Z^'n c-ubhMl 'r <^ chp<^obb le<^c 30 bp<<ch. 
 
 This is a fault which our ancient bards have rarely com- 
 mitted. Even these of modern date stand excused, by the 
 general practice of the poets of other countries in this respect, 
 until a recent period. 
 
 In the second line of the first stanza, p. 286, the word 
 5b<^cbAibh, should have been written 5b<^ch. See note 4, 
 p. 108. 
 
364 NOTES. 
 
 ' BLOOMING DEIRDRE. 
 
 The incident which gave rise to this ballad, is interesting and 
 curious. About the year 1400, Thomas, the sixth earl of 
 Desmond, after the diversion of hunting, having been benighted 
 between Tralee and Newcastle, in the county of Limerick, 
 took up his lodgings at the Abbey of Feale, (now Abbey- 
 feale,) in the house of William Mac Cormac, owner of the 
 place; who had a beautiful daughter, whose name, according 
 to Lodge and Leland, who relate the circumstance, was 
 Catherine. With this lady the young nobleman became en- 
 amoured, and soon after made her his wife. On this occasion, 
 it is said, the present stanzas were composed, by one of the 
 earl's bards. The fair one is addressed under the name of 
 Deirdre, the celebrated Irish heroine of antiquity. In the 
 concluding lines, the powerful and arbitrary chieftain is mani- 
 fested, for he peremptorily forbids all mankind, even so much 
 as to look at the fair object of his love. The match, however, 
 proved the cause of the earl's ruin. His followers became 
 enraged that he should connect himself with an inferior ; and 
 his uncle James, taking advantage of the feeling, drove him 
 from his estate and country, and in 1420, he died of grief in 
 France, where Henry V, King of England, attended his 
 funeral — See History of Limerick, vol. ii. p. 91. 
 
 Mr. Moore has made this story the subject of a sweet song, 
 beginning, " By the Fail's wave benighted." — See Desmond's 
 song, Irish Melodies. 
 
 ^ " Her tutelary power I hail, 
 Tho^ like a cavern'd hermit, pale," 
 When this was composed, there were numerous hermitages 
 
 in Ireland, and the vestiges of many may still be traced. 
 
 Smith, in his History of Kerry, gives a drawing and 
 
NOTES. 365 
 
 description of one at Galerus, near Limerick, in that county. 
 A small plate of copper in my possession, lately dug up at 
 Ayle in the county of Clare, (the seat of James Mac Namara, 
 Esquire, by whom it has been obligingly communicated, j bears 
 the following inscription, engraven in Irish characters, under 
 the date 1041, all distinctly legible. 
 
 ^<^ b<^inne<^ch ne<^ch le b|t<^c, 
 
 le pdb<^i|iÍTi, leb<^]i, Ti<^ ini<^i* lom, 
 ■^(l "jpof le b<^0Ti]tuibe |téib 
 
 &plc<^n 6ich|tibhi5h chl^nn-leicb. 
 
 Worldling away ! the frugal dish — the book 
 Of holy truths — the beads — the hermit's cloak 
 Can tempt thee not — the locks that shade his brow. 
 
 The power that whitened guards — profane not thou. 
 
 This curious piece of antiquity, is supposed to have been 
 affixed to the entrance of one of these penitential retreats. 
 Milton's sonnet, " When the assault was intended on the City,'^ 
 may here occur to the recollection of the reader. 
 
 ^ 6oc<^mbl<^ch would be more correct. 
 
 * The <^bh]i<^Ti, ce<^n5<^l, versicle or combination which 
 sometimes concludes Irish poems, has been already noticed 
 p. 105. Similar terminations have been used by Lopez de Vega, 
 and other Spanish j:K)ets. They are also to be found in Arabian 
 authors. 
 
366 NOTES. 
 
 ' MARY A ROON. 
 
 Our highly talented and equally patriotic countryman, 
 Moore, has adapted pleasing words to the air of this song — 
 See his *' Irish Melodies," air — Moll Roone. 
 
 ^ " Lest the Munster marCs flattery '' — 
 Na mealladh Muimhneach thu, a gradh—'' Let not the 
 Munster man deceive thee, my love ! " The persuasive powers 
 of some of our southern countrymen have long been proverbial. 
 My worthy friend Mr. Brewer, in his " Beauties of Ireland," 
 informs us, that in the highest part of the castle of Blarney, 
 in the county of Cork, is a stone which is said to have the 
 power of imparting to the person who kisses it, the unenviable 
 privilege, of hazarding, without a blush, that sp'ecies of romantic 
 assertion which may be termed falsehood. — This statement, is 
 not, however, altogether correct. To the well known " Blarney 
 Stone," there is, no doubt, attributed the virtue of imparting 
 to whoever, at the hazard of his neck, shall venture to kiss 
 it, not the privilege of uttering falsehood, as stated, but an 
 indomitable propensity towards practising the gentle, yet 
 all effective, art of flattery. To praise "in season, and out 
 of season," and against this dangerous quality, our fair female 
 is cautioned in the words of the song. 
 
 I cannot avoid observing here, that vulgar stories of this 
 kind, which reflect on the morals or character of a people, 
 should ever be treated with the contempt they deserve. In the 
 despicable pages of the deceived and deceiving " travellers," 
 who libel our country, and the fry of conceited English, or 
 Cockney, *' tourists," et hoc genus omne, which annually visits 
 our shores, I should not be surprised to meet with such trash ; 
 but to find it gravely detailed in the work of so learned and 
 enlightened a writer as Brewer, is, certainly, matter of just 
 regret. 
 
NOTES. 367 
 
 ^ *' When on Mullamore^s summit " — 
 MuUa, or Miillaghmore, near Tuam, in the county of 
 Galway; an ancient residence of the Blake family. 
 
 * " Beside Murneen Baimi " — 
 This is another of the many endearing expressions of the 
 Irish, which cannot be transferred to a foreign language. It 
 means, literally, " my fair or resplendant darling, or heart's 
 treasure." 
 
 'MARY OF MEELICK. 
 
 This is one of our finest songs both in sentiment and 
 composition, and the Irish reader will perceive, that the 
 talented translator has executed his task with due attention to 
 the spirit and meaning of the original. 
 
 Who the fair female here celebrated was, or when or by 
 whom the verses were composed, I have not been able to 
 determine. From the last line of the third stanza, it may be 
 inferred, that she dwelt at a place called Meelick, and of that 
 name there are two noted places in Conaught ; one in Galway 
 county, where there are extensive remains of an ancient castle, 
 the once proud residence of the princely race of O'Madden, 
 of Longford, (of which family, my valued friend, Gregory 
 Ffrench Madden, esq. of Shannon-view, in that county, is 
 now I believe, the acknowledged representative,) and the 
 other in Mayo, where I conjecture our fair one to have 
 resided. 
 
 * '* /w yon bright distant Isle " — 
 We have already seen that it was usual with our bards to 
 wish for retirement, with the objects of their love, in some shady 
 grove, or sequestered island, which often existed only in idea, 
 
368 NOTES. 
 
 and I have endeavoured to explain the motives which governed 
 these wishes. In the present instance, the " distant," or rather 
 " western " isle, <^n oile^n "fhi<^]t, mentioned in the original, 
 is, one of those " happy islands," which the inhabitants of the 
 Western coasts of Ireland, think they frequently see emerging 
 from the ocean,* and suppose to be bound by some ancient 
 power of enchantment. The belief in the existence of these 
 Miranda loca, seems in former times not to have been confined 
 to the vulgar. In the unpublished History of Ireland, remain- 
 ing in Manuscript, in the Library of the Royal Irish Academy, 
 Dublin, before referred to, p. 183 of this volume, we are gravely 
 told, that " TheTuathdedanans coming in upon the Fearbolgs, 
 expelled them into the out islands which lay scattered on the 
 north coasts, and they themselves were served the same measure 
 by the Clanna Milidhes, but what became of the remainder of 
 them I cannot learne, unless they doe inhabitt an iland, which 
 lyeth far att sea, on the west of Connaught, and sometimes is 
 perceived by the inhabitants of the Oules and Iris. It is also 
 said to be sometime scene from Saint Helen Head, being the 
 farthest west point of land beyond the haven of Calbeggs, 
 (Donegall.) Likewise severall seamen have discovered it att 
 sea, as they have sailed on the western coasts of Ireland ; one 
 of whom, named Captain Rich, who lives about Dublin, of 
 late years had a view of the land, and was so neere that he 
 discovered a harbour, as he supposed, by the two head lands 
 on either side thereof, but could never make to land, although 
 when he had lost sight thereof in a mist which fell upon him, 
 he held the same course several hours afterward. This I am 
 bold to insert by the way, because I have heard a relation 
 hereof from many credible persons, and particularly from the 
 said Captain Rich, allsoe in many old mapps, (especially 
 
 * Usher informs us, that they were seen by St. Brendan. — " Ultra quam ad 
 occasum, nulla invenitur habitabilis terra nisi Miranda loca quae vidit S. Bran- 
 danus in Oceano." — Usher, de Hibernia, p. 813. 
 
NOTES. 369 
 
 «lapps of Europe, or mapps of the world,) you shall find it 
 by the name of O'Brasile,'^ under the longitude of 03° 00', 
 and the latitude of 50° 20'. So that it may be, those famous 
 enchanters now inhabitt there, and by their magick skill 
 conceal their iland from forraigners. Ifett this is my own 
 conceipt, and would have it taken for no other." — Orig. MS. 
 
 But the most complete account of this fanciful island, is to 
 be found in a letter from a gentleman in Derry, to his friend in 
 England, printed in London, in the year 1675. The nar- 
 rative is so curious, and the pamphlet in which it appeared 
 so scarce, that I am induced to lay it entire before the reader. 
 To those possessing strong imaginative powers, it presents an 
 ample field for romantic fiction. 
 
 ** 0-Brazile, or the Enchanted Island, being a perfect relation 
 of the late Discovery, and wonderful Dis-inchantment of an 
 Island on the North of Ireland, Sfc. 
 
 " Honoured Cousen, 
 
 " I have received yours of the 12th of February, and 
 the printed relation of the certain death of that arch pirate 
 Captain Cusacke; of whose death, all our Merchants here in 
 Ireland, are very glad ; especially my Cousen Mathew Calhoon, 
 from whom, Cusacke took the last vessel ; which, it seems, 
 brought him to his deserved fatal end. And in requital of your 
 news concerning Cusacke, I shall acquaint you with a story no 
 less true; but I believe much more strange and wonderful 
 concerning the discovery of that long-talk't-of island 0-Brazile, 
 which (I believe) you have often heard of. 
 
 *' I know there are in the world, many stories and ro- 
 mances, concerning inchanted islands, castles, and towers, &c. 
 
 * This name may be compounded of t)p<^'f5 fiction, <^01, an island, and 
 Ue, great. — Vide O'Brien's Irish Dictionary. 
 VOL. I. B b 
 
370 NOTES. 
 
 and that our King*s dominions may in nothing be inferiour 
 to any other nation, we have had an inchanted island, upon the 
 North of Ireland, long talk't of. And, indeed, when I went 
 first into the Kingdom of Ireland to live, and heard those many 
 stories, which were common in every man's mouth, concerning 
 the island of O'Brazile, (as they called it) which multitudes 
 reported often to be seen upon the Coast of Ulster in that 
 kingdom ; yet 1 lookt upon it as a perfect romance, and many 
 times laught the reporters to scorn : though many sober and 
 religious persons, wou'd constantly affirm, that in bright days 
 (especially in summer time) they could perfectly see a very 
 large absolute Island ; but after long looking at it, it would 
 disappear. And sometimes one friend and neighbor, wou'd 
 one call another to behold it, until there would be a consider- 
 able number together ; every one of which wou'd not be per- 
 suaded but that they perfectly saw it, and some of them have 
 made towards it with boats ; but when they have come to the 
 place where they thought it was, they have found nothing. 
 And many old people in the countrey, wou'd tell many old 
 probable stories, how it came first to be inchanted. t confess 
 there were (in those days) two things made me little to wonder : 
 
 " 1. How it came to be inserted into many of our both 
 ancient and modern maps (as you or any man may find it 
 is) by the name of 0-Brazile. 
 
 " 2. The other is, what moved your cousen (that you know, 
 died but within these 4 or 5 years at Glasslough) who was a 
 wise man, and a great Scholar, to put himself to the charges 
 and trouble (in the late king's time) to take out a * patent for 
 it, whensoever it should be gained: certainly he, and those that 
 counselled him to it, lookt upon it as some inchanted (if any 
 such thing there be) kingdom or island, that, in time, might be 
 
 * There is nothing roore certain than that a patent was taken out for it in the 
 late king's days. 
 
NOTES. 371 
 
 recovered. And since the happy restoration of his majesty 
 that now reigns, many reports have been, that it hath been dis- 
 inchanted or taken, yea in the time of the sitting of the last 
 parliament in Dublin (in the year 1663) one coming out of 
 Ulster^ assured the house of Commons (whereof he was a 
 member) that the inchantment was broken, and it gained ; but 
 it proved not so, and about two years after, a certain Quaker 
 pretended that he had a revelation from Heaven, that he was 
 the man ordained to take it, with a new ship built by his inspi- 
 ration, &c. and in order thereunto, he built a vessell, but what 
 became of him, or his enterprize, I never heard ; it seems the 
 full time was not then come. I assure you (dear cousen) I was 
 not then so unwiUing to believe it as now I am certain of it 
 from very good hands, but whether (in the original) it have 
 been a trick of Rome, one of the works and mysteries of 
 BahyloUf I cannot say, neither dare I dispute, but this I am 
 sure of, that the time, or inchantment (or what you please to 
 call it) is now out and the island fully discovered, or taken, and 
 the manner, briefly thus : 
 
 " There is one Captain John Nisbet, who lived formerly at 
 Lisneskey, in the County of Fermanagh ; this man left Lisneskey 
 7 or 8 years since, and came to live at Killebegs in the Barony 
 of Boylagh and Bannagh, in the County of Dunnegall in Ulster, 
 (a corporation you know right well). This man, Captain 
 Nisbet, since he came to Killebegs hath fraught out several 
 vessels to France and Holland^ &c. with such merchandize as 
 that countrey afforded. And in September last he fraught out 
 a vessel of about 70 Tuns, laden with butter, tallow and hides, 
 for France, which was to bring back French wines, which vessel 
 being returning, and near the coasts of Ireland (as they thought) 
 upon the 2nd of this instant March 1674, after a most clear 
 frosty night, in the morning about the time of sun rising, of a 
 sudden, there fell a most terrible thick mist of fog, upon the 
 sea, round about them; which continued the space of about 
 three hours, and then cleared up again, very bright. But when 
 
 Bb2 
 
372 NOTES. 
 
 the mist was vanisht, they found themselves upon a certaiii 
 coast, close by the shore ; and of a sudden also, a very high 
 wind, driving them still nearer to the land. When the Master, 
 and the rest with him (who were but 8 persons in all, viz» 
 James Mac Donnel the Master, Alexander Johnson Skipper, 
 James Ross, carpenter, and 5 mariners) saw themselves so near 
 an unknown shore, and cou'd not imagine what place it should 
 be ; for though they knew most of the shores of Ireland and 
 Scotland, yet they cou'd not possibly give any guess where they 
 then were. Finding themselves therefore so near land, and 
 some little rocks not far oíF them, the master gave orders to 
 sound what water they had; and finding it not 3 fathoms, they 
 thought it was the best course to strike sails and drop an anchor 
 (which accordingly they did) until they might inform them- 
 selves where they were. And having cast anchor, they resolved 
 to set 4 of their 8 men ashore, to see if they cou'd learn where 
 they were ; and how to get oíF: which, after they had taken 
 down their boat, they did. The persons that were to goe, were 
 the carpenter James Ross, and 3 mariners, who took with 
 them swords and pistols. Presently after landing, they past 
 through a little wood, and within less than an English mile, in 
 a most pleasant green valley (wherein were many cattle, 
 horses and sheep feeding) they saw a very strong- like castle 
 appearing, unto which they repaired, and called, thinking to 
 find some that might direct them where they were, and what to 
 do, but after they had long knockt, and saw nor heard any 
 creature (not so much as a dog) answer, they concluded it was 
 some waste place, and therefore left it, and going further up a 
 most pleasant green hill, they saw multitudes of black rabbets, 
 about a mile from the castle : but when they came to the 
 height thereof, look which way they pleased, they cou'd see 
 neither man, woman, child nor house, at last, having ranged 2 
 or 3 hours about the country, and lighting of none to enquire 
 of, they returned again to their boat, and told their fellows 
 aboard what success they had had ; whereupon their fellows 
 
NOTES. 373 
 
 calling for the boat, resolved to come ashore also, all but one 
 mariner; which they did, and dividing themselves into two 
 parts, one part took to the right-hand shore, the other to the 
 left; both parties wandering up and down, until 4 of the clock 
 in the afternoon, but neither of them saw any people to enquire 
 of ; but much cattle, dear, rabbets, &c. but afar oíF in the 
 countrey, they saw great woods, into which they dare not ven- 
 ture : so that both parties returned again to their boat. At last 
 the weather being very cold and drawing towards night, finding 
 abundance of old dry wood, in the side of the above named 
 little wood, near unto the shore, they resolved to make a great 
 fire, against a great old oak, that was fallen down with age ; 
 and in order thereunto, some brought wood, and some others 
 struck fire ; at last, having made a rouzing fire, and sitting warm- 
 ing themselves, discoursing and taking tobacco ; of a sudden 
 they heard a most terrible hideous noise, towards that place; 
 especially where they saw the old castle, and almost all over 
 the Island, which did so terrify and amaze them, that they 
 presently left their fire, took their boat, and went all aboard as 
 fast as theycou'd, where they continued in great fear all night, 
 yet neither could nor durst stir out to sea, because when they 
 sounded again, they had not 2 fathoms of water, and the wind 
 directly against them. 
 
 " The next morning, as soon as the sun was risen, they saw 
 a very ancient grave gentleman and 10 men following him bare- 
 headed (as if his servants) coming towards the shore where the 
 ship lay, and being come close to the water side, the old gentle- 
 man calling to the master (in the old Scotch language) who 
 with the rest stood upon the deck, askt him, from whence they 
 came ? whither they were bound, and with what they were 
 laden ? the master answered, they came from France, were 
 laden with French wines, with which they were bound to 
 KillybegSy in the Co. of Dunegall in Ireland, if it pleased God 
 to give them leave, then the old gentleman askt them, how 
 they came thither, and whether they knew where they were ? 
 
o74 NOTES. 
 
 or how to get forth t the master told him that before the great 
 fog fell upon them yesterday, they thought they, were near the 
 Coast of Ireland but where they now where, or how to get off, 
 he knew not in the least. Then the grave gentleman told them, 
 if they would please to come ashore again, they should be 
 courteously entertained, told where they were, well rewarded, 
 and guided to their own coast. Then the master askt whether 
 they should have no wrong or harm done to themselves nor vessel 
 if they came ashore ? the old man promised they should not, 
 whereupon the master and the rest seeing no arms with them, 
 resolved six of them shou'd come ashore well armed. 
 
 "As soon as they were landed, the old gentleman embraced 
 them one by one ; telling them, they were the most happy 
 sight that island had seen some hundred of years, that the island 
 was called 0-Brazile ; that his ancestors were sometimes princes 
 of it, telling them also, that he and several other persons of 
 quality by the malicious diabolical art of a great Negromancer, 
 had been tyrannically shut up in the castle they knockt at 
 yesterday, in which several of their progenitors had ended their 
 miserable days ; and the whole Island a receptacle of furies, 
 made (to mortals) unservicable, and invisible until now that 
 the cursed time was expired, which (saith he) continued until 
 the last day of the last month, but 3 or 4 days since, being 
 askt why none answered in the castle yesterday, when the 
 mariners knockt so long, he answered, that though the wicked 
 time was expired, and that now the island was visible and any 
 might come upon it, yet he and the rest had neither power to 
 answer any that spoke to them, nor free themselves from im- 
 prisonment, until fire was kindled upon the island by some 
 good Christians: being askt, whether it was now absolutely free, 
 and wou'd never be inchanted again ? he told them it was now 
 absolutely free, and shou'd never be troubled again, but all the 
 powers of darkness, when they heard that hideous noise were 
 finally departed. 
 
 " After which words he led them towards the said castle 
 
NOTES. 375 
 
 (the chief tower, behig as it were demolished) where met them, 
 several other grave persons both men and women, who all em- 
 braced the master and the rest, giving them many thanks ; then 
 the other two were fetcht out of the vessel, and all nobly 
 feasted and richly rewarded, and shewed the glory and riches 
 of the said Island, which they say is above 60 miles in length, 
 and above 30 miles in breath, abounding with horses, cows, 
 sheep, stags, rabbets, but no swine, and all sorts of fowls, and 
 rich mines of silver and gold, but few people, and little or no 
 corn, there have been cities and great towns, but all consumed. 
 ** The men being richly rewarded were conducted to their 
 vessel, and shewed the way out of the harbor, and directed the 
 way to their own coast; and came the next day at night to 
 Killybegs^ where they acquainted the minister of the town, and 
 many other persons of quality in the countrey, who gave no 
 extraordinary credit to their words at first, until the master and 
 the rest shewed them many of the pieces of gold and silver 
 which were given them there, which were large and of a most 
 ancient stamp ; somewhat rusty, yet pure gold, the master also 
 offering immediately to carry any gentleman to the said island, 
 that desired to know the further truth, whereupon some gentle- 
 men of the countrey, within 3 days after sent out another vessel, 
 and the above named Alexander Johnson y skipper, and some of 
 the former mariners to guide her, to prove whether it were true 
 or no, who brought them to the said island, where they were 
 nobly entertained, and returned in safety, with several gifts, 
 which were bestowed upon them, as also some farther relation 
 of the nature of the countrey. Since then, several Godly Minis- 
 ters and others, are gone to visit and discourse them (but at the 
 writing hereof, I heard nothing of their return) who, doubtless, 
 will bring a more perfect relation. Dear Cousen, you need not 
 be afraid to relate this, for I assure you, beside the general dis- 
 course of the gentlemen in the country, I had it from Captain 
 Nishet his own mouth, (whose the vessel, &c. was) since which, 
 several gentlemen have sent an express, with the true relation 
 
376 NOTES. 
 
 of it, umler their hands and seals, to some eminent persons in 
 
 Dublin. Thus not troubling you any farther at present, I rest, 
 
 *' Your most affectionate 
 
 *' Cousen and Servant, 
 
 Londonderry, " Wm. Hamilton." 
 
 March, 14th, 1674. 
 
 *' Dear Cousen, I think your young cousen Lesly is still in 
 London, if you can enquire him out, pray shew him this 
 relation ; it may be it may concern him,, because his father had 
 a patent for it. 
 
 " W. H." 
 
 ^ " The cold grave brings repose, let me rest in Rilmain^ 
 This line reminds us of a passage quoted by Burns from an 
 old ballad, describing the condition of a poor ruined female. 
 The bard states, that he never met with any thing more truly 
 the language of misery, than the exclamation in the last line. 
 
 " O ! that the grave it were my lot, 
 And O ! so sound as I should sleep." 
 
 END OF VOL. L 
 
 UOblNS AND SONS, PUINIK.RS, SOUTHWARK. 
 
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