"The Cruiskeen Lawn." Dr. Sigerson's version (ibid., p. 258), here reproduced, shows that this popular air, better known in connection with O'Keeffe's rollicking drinking song, was also used as a Jacobite political poem. The chorus and name of the air, i.e. "The little full jug," show that its true intent is bacchanalian. We find this chorus, like many others, attached to songs of different significance. Petrie, in his collection of Ancient Irish Music, p. 37, attaches it to a verse of a lullaby:—

(see also Gaelic Journal, viii., 1898, p. 224).

"Eamonn an Chnuic" or "Ned of the Hill" is founded on the history of a famous outlaw named Edmund O'Ryan, born in Shanbohy, Co. Tipperary, late in the seventeenth century. His father possessed considerable property in his native county, but his wild career led to his outlawry. The piercing note of the words and of the air of the same name is typical of much of the poetry of the period. "Ned of the Hill" lies buried near Fáill an Chluig in the barony of Kilnemanagh, Co. Tipperary. Some versions give several other verses, of a different character. It is a love-song as given by Hardiman, "A chúil áluinn deas," i. p. 268, and by Mangan in his Poets and Poetry of Munster, p. 264. The literal translation here printed is from Mr. P. H. Pearse's contributions in the Irish Review, Dublin (November 1911), p. 437. Mr. Pearse says, "'Eamonn an Chnuic' is commonly looked upon as a love-song, but I feel sure that to its shaper and to those who first heard it, the figure of the outlaw, driven by rain-storm and bullet-storm and beating against the closed door, mystically symbolised the lonely cause of Ireland."

"O Druimin donn dileas," an early Jacobite song, sometimes supposed to apply to Prince James Charles Edward, but more probably to Ireland itself under the symbolic name of the "Beloved white-backed dun cow." Original in Hardiman, ii. p. 145. See also in Petrie's Ancient Music of Ireland, p. 116, a translation by O'Curry.

"Do you remember that night?" Original in Petrie's Ancient Music of Ireland, p. 142. He says it was written down for him by O'Curry. The account given by him of its origin does not seem to suit the words.

"The Exile's Song." Original in Gaelic Journal, vol. vi., No. 7, 1895, p. 108. Composed by an emigrant named M'Ambrois (Mac Cambridge), and taken down from James M'Auley of Glengariff and James M'Naughten of Cushendall.

"The Fisherman's Keen." From Crofton Croker's The Keen in the South of Ireland (Percy Society, 1844), p. 77. It was communicated to Mr. Croker by Mr. Maurice O'Connell. A literal translation, taken down from the lips of Mrs. Harrington, a professional "keener" of Co. Cork, is given in the same author's Researches in the South of Ireland. Unfortunately the original Irish is not preserved by him, nor is the name of the lady given who, he tells us, wrote the poetical rendering.

"The Boatman's Hymn." Taken from Sir Samuel Ferguson's Lays of the Western Gael, 1888, pp. 162-3. Original in Hardiman, ii. p. 383.

"Keen on Art O'Leary" by his wife. Original published in Mrs. Morgan J. O'Connell's The Last Colonel of the Irish Brigade (Kegan Paul, 1892), vol. ii., Appendix A., and reprinted with some corrections in the Gaelic Journal (vol. vii., Old Series, No. 74, May 1896), p. 18. Some corrections and additions are made in the following number (June 1896). Crofton Croker, in his Keens of the South of Ireland, tells us that he endeavoured to recover this dirge but without success. It is a true example of the spontaneous "keen," with its short broken lines, containing in quick, natural succession, appeals, reminiscences, laments; moving backwards and forwards as the irregular promptings of grief and affection dictate without form or premeditation. It is, however, lifted into the sphere of fine poetry by its exceeding simplicity, and by the passion of grief expressed in its lines.

The circumstances in which the poem had its origin are particularly tragic. Art O'Leary had been an officer in the Hungarian service, but he returned to Ireland, where he had a considerable property in Co. Cork, and where his handsome person and distinguished manners made him very popular. He married, against the wish of her parents, Eileen of the Raven Locks, as she was called from her dark hair, a daughter of Daniel O'Connell of Derrynane, grandfather of "the Liberator." The popularity of Art O'Leary excited the jealousy of a neighbour, a Mr. Morris, whose horse had been beaten in a race by O'Leary's beautiful mare. Taking advantage of the Penal Laws, which did not permit a Catholic to possess a horse valued at more than £5, he demanded the mare from Capt. O'Leary for this sum. O'Leary refused, saying that he "would surrender his mare only with his life." A local magistrate immediately proclaimed him an outlaw; soldiers were sent to lie in wait for him as he was returning home at night, and he was shot through the heart near Carrig-a-nimmy, in May 1773. His wife was informed of her husband's death by the return of the mare without its rider. It was many years before his body was even allowed to be buried in consecrated ground. Morris was tried for the murder, but acquitted; he was soon after shot in his house by Arthur's brother. Art O'Leary's grave is to be seen in the nave of Kilcrea Abbey, Co. Cork; the inscription states that he was only twenty-six years of age when he died.

"Prologue to 'The Midnight Court'" (Cuirt an Mheadhon Oidhche), by Bryan Merryman. The long satire of which we give the Prologue has been published by Mr. Richard Foley (Riscard O Foghludha) (Hodges, Figgis & Co.).

"Hymn to the Virgin Mary." Original in The Poems of Egan O'Rahilly (1st ed., Irish Texts Society, vol. iii., 1900), p. 290. The author, Conchubhar or Conor O'Riordan was a native of Co. Cork, where he taught the classics and other subjects to the youths of his district. He wrote, about the same time as Gray, a "Meditation in a Country Churchyard," to which this very beautiful address to the Virgin forms the Epilogue or "Binding" (ceangal as it is called in Irish). The whole poem is included in the appendix to Rev. P. S. Dinneen's edition of O'Rahilly's poems.

"Christmas Hymn." Original in Dr. Douglas Hyde's Religious Songs of Connacht (T. Fisher Unwin, 1906), vol. ii. pp. 224-6; from an old North of Ireland manuscript.

"O Mary of Graces." Ibid., p. 161. Taken down by Miss Agnes O'Farrelly from a lad in the Aran Islands, Co. Galway.

"The Cattle-shed." Original in Timthirid Chroidhe neamhtha Iosa or The Messenger (published by Gill & Son, Dublin), p. 90. The following nine poems and fragments are from the same publication, vol. i., Parts 1-4.

"The White Paternoster." Ibid., p. 58. The two versions of this favourite charm here given, of which the second is translated from the original in a Kerry journal, An Lochran (October 1900), should be compared with the copies printed by Dr. D. Hyde in his Religious Songs, vol. i. pp. 362-70.

"A Night Prayer." This fragment and the eleven succeeding prayers were taken down in Irish among the Decies of Co. Waterford by Rev. M. Sheenan, D.Ph., and have been published by him in his Cnó Cóilleadh Craobhaighe (Gill & Son, Dublin, 1907).

"The Man who Stands Stiff." From Dr. D. Hyde's Religious Songs of Connacht, vol. i. p. 101, taken down from the mouth of Martin Rua O'Gillarna (in English, Red Martin Forde) of Lisaniska, Co. Galway. He spoke no English. This poem is a sample of much of the popular religious poetry dealing with the approach of death and the danger of continuing in evil courses.

"Charm for a Sprain." This and the succeeding charms are taken from Lady Wilde's Legends, Charms, and Cures of Ireland (Chatto & Windus). It is unfortunate that Lady Wilde does not give either her originals or her authorities.

"Before the sun rose at yesterdawn." Original in Walsh's Irish Popular Songs, 2nd ed. (Gill & Son, Dublin), p. 146. Edward Walsh, who translated into English verse a great number of Irish popular songs, lived between the years 1805-50.

"The Blackthorn." One of those favourite old songs of which there are many versions, and verses in one that are not in another. Like many another Irish song, it seems to be a colloquy between a maid and her lover, and it is often difficult to tell if it is the lad or the girl who is speaking. My version is the one printed in Miss Borthwick's Ceól Sidhe, ii. p. 18 (an excellent collection of old Irish songs), with two verses added from the version in Dr. D. Hyde's Love-Songs of Connacht (T. Fisher Unwin, 1893), p. 30. The poem is sad and troubled. Dr. Hyde says, "There was an old woman in it, long ago, who used to sing it to me, and she never came to the verse—

that she used not to shed tears from her eye." We can well believe it. Hardiman (i. p. 234) has published a different version, and Miss Brooke another in her Reliques (1816), p. 306.

"Pastheen Finn," or "Fair little Child." Original in Hardiman's Irish Minstrelsy, i. p. 217. Dr. Hyde gives a quite different version in his Love-Songs, p. 65. We find the curfa or chorus attached to different songs. Sir Samuel Ferguson's version will be found in his Lays of the Western Gael (Sealy, Bryers, Dublin, 1888), p. 152. Hardiman considers that it is an address to the son of James II, under a secret name.

"She." Original in Miss Brooke's Reliques of Irish Poetry, p. 232.

"Hopeless Love." Given as an example of an old Irish metre called Dibide baise fri toin, but this poem was not actually written in this metre.

"Would God I were." Original in Hardiman, i. p. 344. Mrs. Hinkson's setting of the Irish words will be found in her Irish Love-Songs (T. Fisher Unwin, Cameo Series, 1892).

"Branch of the sweet and early rose." William Drennan, M.D. (b. 1754), died in Belfast in 1820.

"'Tis a Pity." Original in Cláirseach na n-Gaedhil, Part ii., 1902 (Gaelic League Publications). Ceól-sídhe (p. 92) gives a different version. There are several other verses.

"The Yellow Bittern" (An bunán buidhe). Original in Cláirseach na n-Gaedhil, Part v., and Ceól-sídhe, p. 12. This translation appeared in the Irish Review, Dublin, November 1911.

"Have you been at Carrack?" Original in Mangan's Poets and Poetry of Munster (J. Duffy), p. 344. Walsh thinks it is a song from the South of Ireland.

"Cashel of Munster." There are various versions of this popular song, set to its air "Clár bog déil." One used by Walsh was, he tells us, given to him by a lady of Co. Clare. Ferguson's version is taken from Hardiman, i. p. 238.

"The Snowy-breasted Pearl." Original in Petrie's Ancient Music of Ireland, p. 11. Petrie was born in Dublin in 1789 and died in 1866.

"The Dark Maid of the Valley" (Bean dubh an Gleanna). There are two versions and airs of this name. The original of Mr. P. J. McCall's poem is to be found in Miss Brooke's Reliques, p. 319. His own rendering was published in his Irish Nóinins (Sealy, Bryers & Walker, 1894), p. 59.

"The Coolun." Original in Hardiman, i. p. 250. Two other versions will be found in Dr. Hyde's Love-Songs of Connacht (1893), pp. 71-3. One of these beginning, "A honey mist on a day of frost, in a dark oak wood" is very tender and sweet. Its air is among the most beautiful that Ireland has produced. The "Coolun" was a lock of hair which, having been forbidden by statute, it became a mark of national sentiment to adopt. It was usually worn by youths, but in these poems the address is to a woman.

"Ceann dubh dileas," or the "Beloved Dark Head." Original in Hardiman, i. p. 262. Dr. Hyde gives an additional verse in his Love-Songs. Burns claimed the air for Scotland, and Corri published it under the name of "Oran Gaoil," but it is undoubtedly Irish.

"Ringleted Youth of my Love." From Dr. Hyde's Love-Songs of Connacht (T. Fisher Unwin, 1893), p. 40.

"I shall not die for you." Original, ibid.. p. 138.

"Donall Oge." This pathetic song and the one following it, "The Grief of a Girl's Heart," seem to be portions of one long song, to the original nucleus of which quatrains have been added from time to time. Six stanzas were published by Dr. Hyde in his Love-Songs (pp. 4-6) under the title, "If I were to go West"; it would seem that his "Breed Astore" (p. 76) may also be a portion of the same poem. Mr. P. H. Pearse, who published several other stanzas under the title of "Donall Oge," or "Young Donall," in the Irish Review of August 1911, tells us that he wrote it down from the words of Denis Dorgan of Carrignavar, Co. Cork. The Irish will be found printed in his and Mr. Tadhg O'Donoghue's An t-Aithriseóir (Gaelic League, 1902), p. 7. In all these versions there are some stanzas alike and some different to the others. We have printed nearly the whole of them here under the two titles of "Donall Oge" and "The Grief of a Girl's Heart." Both are full of the most heartrending expression of loss and loneliness. Lady Gregory, in her Poets and Dreamers, published a literal translation of the latter poem.

"Death the Comrade." Original in Dr. Hyde's Religious Songs, ii. pp. 288-90.

"Muirneen of the Fair Hair." Original in Dr. Hyde's Love-Songs, pp. 10-12. Cf. another Munster version on p. 16, and one given by Hardiman, i. p. 354.

"The Red Man's Wife." A popular theme on which there are many variations. We give two, the originals of both being taken from Dr. Hyde's Love-Songs, pp. 92 and 94. The first is a Galway version, the second from Co. Meath. The latter was first printed in the Oban Times. Yet another version is given in Dr. Hyde's edition of Raftery's Poems, p. 210.

"My Grief on the Sea." Original in Dr. Hyde's Love-Songs. It was taken down by him from an old woman named Biddy Cusruaidh or Crummy, living in the midst of a bog in Co. Roscommon.

"Oró Mhór, a Mhóirín." Original in Petrie's Ancient Music of Ireland, p. 120. It was obtained by him from Teigue MacMahon, a peasant of Co. Clare. Mr. P. J. McCall's poem was printed in his Pulse of the Bards (Gill & Son, 1904), p. 50.

"The Little Yellow Road." Original taken down by Prof. John MacNeill in Co. Mayo in July 1894, and printed by him in the Gaelic Journal for that year (vol. v., No. 6), p. 91. There are several versions of An Bóithrín buidhe; see for another, Petrie's Ancient Music, p. 24. Mr. Campbell's translation, kindly contributed to this collection, has not been published before.

"Reproach to the Pipe" (Másladh an Phíopa). The original, taken down in Galway, will be found in the Gaelic Journal (vol. vi., No. 5), p. 73.

"Modereen Rue." Mrs. Tynan-Hinkson's poem is not a direct translation, but a spirited free version of the favourite Gaelic song of this name; it was published in The Wind in the Trees (Grant Richards, 1898), p. 98.

"The Stars Stand Up" (Táid na realta 'n-a seasadh ar an aer). Original in Ceól-sídhe, Part iv., p. 50, among other places. I have altered the last four lines.

"The Love Smart." Original in Dr. Hyde's Love-Songs, p. 22.

"Well for Thee." Original, ibid., p. 130.

"I am Raftery the Poet." From Dr. Hyde's edition of Raftery's Poems (H. M. Gill & Son, Dublin, 1903), p. 40.

"Dust hath closed Helen's eye." Original, ibid., p. 330. Mr. W. B. Yeats has slightly worked over Lady Gregory's rendering. Mary Hynes, who "died of fever before the famine," has left a tradition of beauty behind her in her own country. "She was the finest thing that was ever shaped," said an old fiddler who remembered her well. Baoile laoi (Ballylee) is a little village of some half-dozen houses in the barony of Kiltartan. Lady Gregory's beautiful rendering was published in an article by Mr. W. B. Yeats in The Dome, New Series, vol. iv. p. 161.

"The Shining Posy" or "Mary Stanton," ibid., p. 320. We must remember that poor Raftery, who praises so warmly the beauty of women, saw them only with the eyes of his imagination, for he was blind. His verses seem to have been impromptu compositions. The classical allusions are very characteristic of the wandering bards, who liked to show off their acquaintance with the heroes of bygone ages.

"Love is a Mortal Disease" (Is claoidhte an galar an grádh). Original in Smoílín na Rann, a collection of Connaught songs made by Mr. Fionan McCollum, "Finghin na Leamhna" (Gaelic League, 1908).

"I am watching my young calves sucking." This and the two following poems, "The Narrow Road" and "Forsaken," are translated from Dr. Douglas Hyde's little collection of original Irish songs called Ubhla de'n Chraoibh, or Apples of the Bough (Gill & Son, Dublin).

"I Follow a Star." Translated by Seosamh mac Cathmhaoil (James Campbell) from his own Irish poem, and published by him in The Gilly of Christ (Maunsell & Co., Dublin).

"Nurse's Song." Published by Mr. Alfred M. Williams in his The Poets and Poetry of Ireland (Houghton, Mifflin and Co., Boston and New York). The song is traditional, and its author is unknown.

"A Sleep Song." Original in Gaelic Journal, May 1911, p. 141. The song was partly taken down from Mr. McAuley Lynch in West Cork, and partly recollected from childhood by Mr. P. H. Pearse, the translator.

"The Cradle of Gold." From Mr. Alfred P. Graves' Irish Poems, ii. p. 117 (Maunsel & Co.). Original in Petrie's Ancient Music of Ireland, p. 146. "Rural Song." Original in Petrie's Ancient Music of Ireland, p. 43. Joyce's Irish Music gives some extra stanzas.

"Ploughing Song." Original, ibid., p. 30.

"A Spinning-wheel Ditty." Ibid., p. 85.

THE END

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