Irish popular songs

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Irish popular songs

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1883

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EIGHTEEN PENCE NET

IRISH

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OPDLAK

•NGLI8H

J^ANSLATIONS

Edward Walsh

M. H, GILL X SON
DUBLIN

«; /> JT y

IRISH POPULAR SONGS;

WITH

isj} fftttrirsl IransMtons,

AND

INTRODUCTORY REMARKS AND NOTES.

,
EDWARD WALSH.

Sftoitb CbrtiutT,

REVISED AND CORKEOTED;
WITH

ORIGINAL LETTERS NEVER BEFORE PUBLISHED.

DUBLIN:

W. H. SMITH AND SON, ABBEY-STKEET.
M. H. GILL AND SON, SACKVILLE-STKEET.

AND ALL BOOKSELLERS.

DUBLIN :

PRINTED BY PETER ROE,

MABBOT-STREET.

THE PEOPLE OF I I\E LAND,

A6 A TRIBUTE TO THEIB MANY VIRTUES,

AMD
WITH ARDENT ADMIRATION

or

THEIR HIGH POETIC GENIUS,
AS EVIDENCED IN THEIR SONGS AND LEGENDS,

IS INSCRIBED

BT
THETR FRIEND AND COUNTRYMAN,

EDWARD WALSH.

PREFACE TO SECOND EDITION.

AT a time when efforts are being made to revive
the use of the written language of our
country, no apology is necessary for attempting
to add our mite to the general fund, in the shape
of a second and (so far as type, &c., are concerned)
improved edition of the Irish words in native
letters, with the translations and songs of the late
Edward Walsh.

Music is to the Irishman what salt is to the
Arab — it impresses his soul, it enters into his very
being, and it is only the shame of exposing a
weakness of his manhood that prevents his weep-
ing when he hears some air of long ago — some
plough tune whistled, that erst he heard when
wandering over the familiar paths of his child-
hood—

" A stranger yet to pain."

Well we remember (though now forty years
since) following Walsh in the twilight of an autumn
evening, drinking in the odd chords that came
from the little harp that lay on his left arm as he
wandered, lonely and unknown, by the then desert
Jones's-rcad, or reposed himself on one of the

Preface. v

seats that at that time were outside the walls of
Clonliffe House. It was then we first heard
Cur4-6 at) -c-Su54it), " The Twisting of the Rope "
— that beautiful air to which Moore adapted the
no less beautiful words, " How dear to me the
hour when Daylight dies !" We have ever known
a difficulty in singing the words of the great poet
to the air — there is none in Walsh's version ; but
then it is the pure vintage, and words and music
come from the same source.

In our young days, in the remote lodges of Bel-
mullet, away at Inver, and amongst the O'Donnells
of that ilk who inhabited the almost unknown
regions of Poulathomas, in wild Erris, we met many
who could sing the native melodies, and give to
the language that pathos which alone it is capable
of receiving ; but the march of intellect has only
taught us to be ashamed of our nationality. The
generous but indiscriminate supply of small har-
moniums by the Board of National Education, and
the Hullah System, have sent the music of poor
Erin to the right-about ; and you are much more
likely now-a-days to hear " A che la Mdrte," " La
Malle des Indes," or " Li Biama" from Brindisi,
than " Colleen das cruthan a Mbhow " or the
" Coulin " echoing from the parlour of some com-
fortable shopkeeper of Killybegs or Westport,
whose young ladies have just returned from school,
where they learnt more of the phonograph than
they did of " cut papers," and worked at hideous

vi Preface.

attempts at illumination when they should have
been learning to make a shirt for their father, or
to diaper-darn their own stockings ! The music
of their country was not to be thought of, and
shopkeepers' daughters who had perforce to speak
Irish in Berehaven, did not know a word of the
language when they came to fashionable Cork.

But a brighter day is dawning, and the publi-
cation of such songs as Walsh's must beget a taste
and raise Nationalism and Patriotism from the
low state to which they have fallen.

We have made no attempt to fix airs, or insti-
tute comparisons ; we give the book as it came
from the author — there is nothing in it that
requires a justification or excuse. We believe it
to be a noble specimen of native genius, and as
such we offer it to our countrymen, confident in
their verdict, and strongly hoping to live to hear
the soul- stirring, heart-moving songs of the people
echoing in the vernacular through the verdant
groves of our NATIVE LAND.

J. S. S.

Dublin, June, 1883.

CONTENTS.

Page
INTRODUCTORY REMARKS ON IRISH POPULAR POETRY ... 9

Original Letters, never before published 33

)-bACAill)tte&5 The Maid of the Fine Flowing

ing Hair 41

-SU5*MT) « . . The Twisting of the Rope . 43
F&|T)eA6 5eAl AT) lAe . . . The Dawniag of the Day . 45
l)eAT) bub At) 3leAT)T)A . . The Dark Maid of the Valley 47
} SeoUb T)A T)-3ATt)t)A& . . Leading the Calves ... 51

CotiTijAe 05 Cormac Oge 53

2ljtt bAttT1 t)A 3-ctjoc . . . Over the Hills and far away 55
Beloved of the Flaxen Tresses 59

RosGealDubh 61

The Fair Hills of Eire Ogh . 67
UA]U Cuii)A]&AT) ?t)hAt)5Aitie Lament of the Mangaire

Su5Ajc Sugach 69

Cup&t) M GA5t%A . . . The Cup of O'Hara ... 75

21 tifclb cu AS ATJ 5-CAtt1tAJ5 ? Have you been at Carrick? . 77
AH c\U onjnA .... Amber-hair'd Nora ... 81
The Graceful Maiden ... 83
The Boat Song .... 8?

SUxt) le ?OA]5 Farewell to the Maig ... 91

plun T)A Tt)-bAT) hOTjT) 05 . . Flower of Brown-hair'd Maidens 95
Sfle beA5 T)f ChoiT)&eAlbA|T) Little Celia Connellan . . 99
21 b-Uirq6e cno|6e T)A TJ- Whiskey, Soul of Revelry . 101

2lT)ATT)AT)

P^irc]T)p|OT)n The Fair Young Child . . 105

2ln Seoco The Lullaby ..... 109

Keilli&e bbAT) Nelly Ban 1J7

t)e i) ejTW f ..... Whoe'er she be . .119

Vlll

Contents.

t)l

?f)A16in 5£Al SATT)ttA|6

t^UAl) TJA SAO]|tfe .

OU&Ai) 605 A] tj RUAI&

Page

Caitilin ni Uallachan . . . 123
0, Judith, my Dear . . . 125
The Vision of John M'Donnell 127
One Clear Summer Morning 133
. . . The Voice of Joy .... 135
CIA b-i For Ireland I'd not tell herName 137
The Maid of Ballyhaunis . 141
The Lovely Maid . .
Pulse of my Heart
From the Cold Sod that's o'er

you

Whoe'er she be, I lore Her . 153
Fair-hill'd, pleasant Ireland 159
Caitrin, the Daughter of John 101
The Song of Freedom . . J63
Owen Roe O'Sullivan's Drink-
ing Song 167

Cashel of Munster . 173

145

147

149

sw-

INTRODUCTORY REMARKS

OH

IRISH POPULAR POETRY.

THE popular Songs and Ballads of Ireland are
as completely unknown to the great mass of
Irish readers, as if they were sung in the wilds of
Lapland, instead of the green valleys of their own
native land. These strains of the Irish Muse are
to be found in the tongue of the people only ; and
while, for past centuries, every means had been
used to lead the classes which had partaken, even
in the slightest degree, of an English education,
into a total disuse of the mother tongue ; when
the middle and upper ranks, aping the manners
of the English settlers located among them,
adopted a most unnational dislike to the language
of their fathers ; when even in the courts of law
the sole use of the vernacular was a stumbling-
block in the way of him who sought for justice
within their precincts, and the youth who may
have acquired a smattering of education found it
necessary, upon emerging from his native glen
into the world, to hide, as closely as possible, all

1 0 Introduction.

knowledge of the tongue lie had learned at his
mother's breast; it is no wonder the peasantry
should, at length, quit this last vestige of nation-
ality, and assist the efforts of the hedge school-
master in its repression. The village teacher had
long been endeavouring to check the circulation
of the native tongue among the people, by estab-
lishing a complete system of espiery in these rustic
seminaries, in which the youth of each hamlet
were made to testify against those among them
who uttered an Irish phrase. This will easily
account for the very imperfect knowledge which
the rising population of various districts have, at
this hour, of the tongue which forms the sole
mode of communication between their seniors-
The poor peasant, seeing that education could be
obtained through the use of English only, and
that the employment of the native tongue was a
strong bar to the acquirement of the favoured
one, prohibited to his children the use of the
despised language of his fathers. This transition
was, and is still, productive of serious inconveni-
ence to the young and the old of the same house-
hold in their mutual intercourse of sentiment.
The writer of these remarks has been often pain-
fully amused at witnessing the embarrassment of
a family circle, where the parents, scarcely under-
standing a word of English, strove to converse
with their children, who, awed by paternal com-
mand, and the dread of summary punishment at

Introduction. 1 1

the hands of the pedagogue, were driven to essay
a language of which the parents could scarcely
comprehend a single word, and of which the poor
children had too scant a stock to furnish forth a
tithe of their exuberant thought.

Yet, in this despised, forsaken language are
stored up the most varied and comprehensive
powers for composition. Who that has heard the
priest address his Irish-speaking congregation,
and seen the strange power of his impassioned
eloquence over the hearts of his hearers — how the
strong man, the feeble senior, the gentle girl, were
alternately fixed in mute astonishment, kindled
into enthusiasm, or melted into tears, as the orator
pourtrayed the mercies of heaven to fallen man —
who that has witnessed this, and will not acknow-
ledge its thrilling influence in the affecting sim-
plicity of its pathos, and the energy of its bold
sublimity? Who that has heard the peasant-
mother lavish upon her infant these endearing
expressions, which can hardly be conveyed in a
comparatively cold English dress, and not call it
the tongue of maternal tenderness ? And I trust
that he who can read the following songs in the
original, will likewise confess that the Irish tongue
can also express the most passionate ardour, the
most sweetly querulous murmurings of love, and
that rending grief which beats its breast upon the
margin of despair.

It has been asserted that there is no language

1 2 Introduction,

better adapted to lyric poetry than the Irish. That
array of consonants which is retained in the words,
to show the derivation, and which appears so
formidable to the eye of an un-Irish reader, is cut
off by aspirates, and softens down into a pleasing
stream of liquid sounds, and the disposition of the
broad and the slender vowels gives a variety to
the ear by their ever-changing melody.

One striking characteristic in the flow of Irish
verse must principally claim our notice — namely,
the beautiful adaptation of the subject of the
words to the song measure — the particular em-
bodiment of thought requiring, it would seem, a
kindred current of music to float upon. Or, to
vary the figure, the particular tune so exquisitely
chosen by the Irish lyrist, seems the natural gait
of the subject, whatever that may be, from which
it cannot be forced, in a translation, without at
once destroying the graceful correspondence which
gives its most attractive grace to the original.

Miss Brooke has erred through her versions of
the " Reliques " in this respect, and so also, almost
generally, have the translators of Mr. Hardiman's
" Minstrelsy."

Another grace of the Irish language lies in the
number of its synonymes, which enables the poet
to repeat the same thought over and over without
tiring the ear. Its copiousness permits the raising
of a pyramid of words upon a single thought —
as, for instance, in the description of a beautiful

Introduction. 13

head of hair, the poet employs a variety of
epithets, all of the same cognate race, yet each
differing from the other by some slight shade of
meaning. The rhymers of later times have carried
this peculiarity in a blameable degree. In this
species of composition, the translator is quite be-
wildered, and he seeks, in vain, for equivalent
terms in the English tongue to express the
graceful redundancies of the original !

In the sentimental and pastoral songs of Ireland,
will be found those varied and gorgeous descrip-
tions of female beauty and rural scenery, which
have no parallel in the English tongue, and which,
as men of learning have asserted, are equalled
only in the rich and exuberant poetry of the East.
In these Irish songs are to be found none of the
indelicate and even gross allusions which so greatly
disgrace the lyrical efforts of the best poets of
England in the last century. Not but that
Irish rhymers have often composed in the cen-
surable manner to which we have alluded ; but
these reprehensible lays are to be found only in
manuscripts, and are never sung by the people.

Some of these popular songs are genuine pas-
torals, possessing this pleasing feature, that while
nothing fictitious blends with the strain, and the
whole is perfectly true to nature, nothing coarse
or vulgar is introduced, to displease the most
refined ear, and all the beautiful and glorious
objects of nature are pressed into the service of

14 Introduction.

the muse. The bloom of the bean-field is the
cheek of the rural nymph ; her eye, a freezing
star, or the crystal dew-drops on the grass at sun-
rise ; her sudden appearance, a sunburst through
a cloud of mist ; the majesty of her mien, the
grace of the white-breasted swan surveying his
arching neck in the mirror of the blue lake ; her
voice, the cooing of the dove, the magic sounds
of fairy music, or the speaking note of the cuckoo
when he bids the woods rejoice ; her hair
either ambery, golden, or flaxen — ringleted,
braided, perfumed, bepearled, sweeping the tie of
her sandal, or floating on the silken wing of the
breeze ! The enamoured poet will lead his love
over the green-topped hills of the South or West,
will show her ships and sails through the vistas
of the forest, as they seek their retreat by the
shore of the broad lake. They shall dine on the
venison of the hills, the trout of the lake, arid the
honey of the hollow oak. Their couch shall be
the purple-blossomed heath, the soft moss of the
rock, or the green rushes strewn with creamy
agrimony, and the early call of the heath-cock
alone shall break their slumber of love !

Allegory was the favourite vehicle of convey-
ing the political sentiment of Ireland in song, at
least since the days of Elizabeth. To this figure
the poets were inclined by the genius of the
tongue, as well as the necessity which urged to
clothe the aspirations for freedom in a figurative

Introduction. 15

dress. Erin, the goddess of the bard's worship, is
a beautiful virgin, who has fallen within the grasp
of the oppressor — all the terms of his tongue are
expended in celebration of the charms of her
person, her purity, her constancy, her present
sufferings, her ancient glory ! Her metaphorical
names are many : the chief among that class are
" Rds geal Dubh," " Graine Mhaol," " Droiman
Donn ;" or she sometimes appears invested with
all the attributes in which the beautiful fairy
mythology of the land enwraps the fabled beings
of its creation. She leads the poet a devious route
to many a rath and fairy palace, till at length, amid
the shadowy forms of olden bards, and chiefs, and
regal dames, and sceptred kings, she bids the
wondering mortal proclaim to the Milesian Race
that the period was at hand when her faithful
friends would burst her bonds of slavery ! The
" Vision of John MacDonnell " is a beautiful
instance of this species of composition, and is also
very curious in illustration of the fairy topography
of Ireland.

A few specimens to prove our remarks upon
the power of Irish verse, may not, perhaps, be
unacceptable to the reader. The following noble
stanza is from a poem by Eoghan O'Rahilly, a
poet of the last century, on a shipwreck which he
witnessed on the coast of Kerry. The stanza and
its translation are taken from O'Reilly's " Bio-
graphy of Irish Writers " : —

1 6 Introduction.

4)ob 6431140 ift))]tT; t)4 -crjte tie

t)4 540

T4 FitlJOtJT) 4)Jl /GtieUT)

50 SJiiWjol 5411 T>4jl

The roaring flood resistless force display'd,
Each whirling blast the swelling surges sway'd,
The vessel burst — alas ! the crew she bore
ScreamM in the deep, and sank to rise no more !

Donough MacNamara, a Waterford poet of the
last century, in his mock ^Eneid, thus describes
the roar of the Stygian ferryman as penetrating
the remotest boundaries of creation : —

4)o 16)5 re 54ifi or 4jvo jr b6jce4c,

te TPU41H) 4 50*64 T>

«Do CU4U-6 4t) cjirjtine 6 'r

He uttered an outcry and a roar —

At the sound of his voice the heavens were shaken,

All creation heard it, and hell rebellowed !

The following incentive to battle is from the
pen of Andrew Magrath, called the Mangaire
Sugach, another Munster poet : —

Sjn 4547 b 4t) -c^n) 45ur 54b4J5 le t)4 c6jle,
Ptte.4.b475 le -pot)!) 43ur pl4tii)C4i5 rneit-p^c,

4T) ^054 4tl t>tte^tT) 4T) 6jt)5,

le rs^t <5'o-3le<5!

The hour hath come — unite your force ;
Rush with ardour, and strike the fat he-goats ;

Introduction. 1 7

Follow up the assault on the perfidious race,
And let none swerve in terror from the conflict !

In " The Boat Song," — one of the songs in the
present collection, — the poet thus apostrophises a
rock in Blacksod Bay : —

34T)
4T) JllUfO-tMllC-f O ^UTTJ-f

50

O ! Dilion, tempest-beaten rock, all rough and dark I
Look forth, and see beneath me now this bounding

bark,

And say, if e'er thou boat beheld within this bay,
Wave mounted, cleaving, confident, like mine to-

day!

The wind agitating the waters of the River
Funcheon is thus described by one MacAuliff , a
blacksmith of Glanmire, near Cork. I would beg
of the classical reader to compare this line with
that frequently quoted one in the first book of
Homer's Iliad : —

t)4 '0-'COT)T).

Loud-clanging, forceful, wild-tossing the waves.

The following instance from the song of Eadh
monn an Chnoic will shew how the consonant
sounds are softened down by aspiration : —

18 Introduction.

2i cijl 4b}T)ii -6e4r t)4 b-^Tjt)e-4'64 3
IT

Maid of the wreathed ringlets, beautiful, exceedingly

fair,
Blue and splendid are your eyes !

And again, in the same song as it is sung in the
South of Ireland : —

cun)4jt) r<* re^ftc tt4C4nr»)'ot)e
cojlVce 413 tY^U T>|iuc'C4,

b]te4C 'it lot) 4)ji 4 t)e4"c>,
43 bv}tjie ;

|i 5^-434^ 43

CU4)C)r) 41|l b4|l|l 4T) U

30 b|i4T; ui TIJOC^ 4t) b

My hope, my love, we will proceed

Into the woods, scattering the dews,

Where we will behold the salmon, and the ousel

in its nest,

The deer and the roe-buck calling,
The sweetest bird on the branches warbling,
The cuckoo on the summit of the green hill ;
And death shall never approach us
In the bosom of the fragrant wood !

In the allegorical song, R6s geal Dubh, the
poet's love for his unfortunate country, and his
utter despair of its freedom, are thus expressed:

Introduction. 19

434111 4Tt)

ler bl)434JT) 4t)OJT

C]t4)-ce,

rt) 3411

54T) ]llAl), 54T)
30 b|l4'C, btl4t, 54t) 40T) >!41U 434 ft)

For

My love sincere is centred here

This year and more —
Love, sadly vexing, love perplexing,

Love" painful, sore,

Loye, whose rigour hath crush'd my vigour,

Thrice hopeless love,
While fate doth sever me, ever, ever,

From R6s geal Dubh !

In the song of " Beautiful Deirdre," the follow-
ing will illustrate what has been already said of
the power of the Irish in the use of synonymes : —

Jr C4Tt)4nT4C Cl40IJ, 'T IT C|l40b4C, Ctl4*-U|lt4C,

, Uob-64,

5611346

Her ringlet-hair —

Curve-arching, meandering, spreading, curl-quivering,

Fascinating, stringlike, pliant-wreathing, restless-

swerving,

Free-extending, inclining, abundant, thick-twining,
Mildly-bright branchy, far-sweeping.

20 Introduction.

The next is a proof of the exquisite feeling of
the elegiac muse of our valleys. A lover is weep-
ing over the grave of his betrothed : —

rr v6?5 le n)o TT)Y}TTG)JI 50 n)-bjtt>re 4ijt rno
,

-DO tU4tt)b4 re4t> Bftt) rfa'Ce O OJ-6ce 50 TT)4J-0-

1T),

215 CU|l TJOr tt)0 CjlUA-DUdTr), IT 45 CJtlU-D-SOl 30
'04^5)01),

When the folk of my household suppose I am sleep-

ing.
On your cold grave till morning the lone watch I'm

keeping ;
My grief to the night wind for the mild inaid t°

render,
Who was my betrothed since infancy tender !

I shall conclude these quotations with this
simile, taken from one of the songs in the present
collection : —

45

i'D 411 5- ceo!

I saw her approach me along the mountain,
Like a star through a mist !

I shall now introduce to the reader's notice
some of the poets of the last century, from whose

Introduction. 21

writings many of the songs in this collection are
taken. Some of these songs belong to an earlier
period. R6s geal Dubh, for instance, is supposed
to have been composed in the time of Queen
Elizabeth ; but the names of the writers of some
of the best in the collection are now unknown.
In these songs, the historian or moral philosopher
may trace the peculiar character of our people;
and from fragmented phrases and detached
expressions, ascertain the " form and pressure " of
the times to which they belong, even as the
geologist bears away fragments of old world
wonders, whence to deduce a theory or establish a
truth. He will trace the ardent temper and un-
broken spirit of our people in these undefined as-
pirations for freedom — the allegorical poems ;
their vehement and fiery love, chastened and sub-
dued beneath the yoke of reason, by deep
religious feeling, in their pastoral songs ; and in
the elegiac strains he will trace the intense feel-
ings that exist in the Irish heart, as the mourner
pours his despair over the grave of departed
beauty, or sighs, on the margin of a foreign shore,
for one green spot in his own loved island which
he can never more behold.

These song writers are, doubtless, the lineal
descendants of the bards of preceding centuries.
Their poems, however, are not works of art ; they
are, with few exceptions, the efforts of untutored
nature — the spontaneous produce of a rich poetic

22 Introduction.

soil. But if these wild lyrics thrill with electric
power to the heart, what must be the effect of the
finished productions of that happier period when
the chiefs of the land protected the craft of the
minstrel !

Chief among these poets, as distinguished for
his extensive learning and bardic powers, stands
John MacDonnell, surnamed Claragh, a native of
Charleville, in the County Cork. He was the con-
temporary and friend of John Toomey, a Limerick
poet, celebrated for his convivial temper and
sparkling wit. The " Vision," of MacDonnell,
with some other pieces, come within the present
collection. He was a violent Jacobite, and his
poems are chiefly of that character. In his time,
the poets held " bardic sessions " at stated intervals,
for the exercise of their genius. The people of
the districts bordering upon the town of Charle-
ville yet retain curious traditions of these literary
contests, in which the candidates for admission
were obliged to furnish extempore proofs of
poetical ability. O'Halloran, in his " Introduction
to the History of Ireland," makes honourable
mention of this gifted man, and says that he was
engaged in writing a history of Ireland in the
native tongue. MacDonnell made also a proposal
to some gentleman of the County Clare to trans-
late Homer's Iliad into Irish. " From the speci-
men he gave," says O'Halloran, "it would seem
that this prince of poets would appear as respect-
able in a Gathelian as in a Greek dress."

Introduction. 23

MacDonnell died in 1754, and was interred
near Charleville. His friend and brother poet,
John Toomey, wrote his elegy, which may be
found in Mr. Hardiman's "Minstrelsy."

Andrew Magrath, surnamed the Mangaire
Sugach, from whose writings I have largely ex-
tracted, was a native of the County Limerick.
He practised, for a considerable time, the business
of a pedlar, or travelling merchant, an occupation
that gave occasion to the designation, Mangaire
Sugach, which denotes the Jolly Merchant. His
poems are very numerous, and greatly varied,
being chiefly satirical, amatory, and political.
This man possessed a genius of the highest order.
His humorous pieces abound with the most deli-
cate touches, for, as his occupation of pedlar led
him into all grades of society, his discrimination
of character was consequently very acute. His
love songs are full of pathos, and, so far as I have
been able to observe, entirely free from the taint
of licentiousness. He, however, lived a vicious,
sensual life, and by his irregularities incurred the
censures of the Roman Catholic priesthood. It
was on occasion of his being refused admittance
into the Protestant communion, after his expulsion
from the Catholic Church, that he wrote his
" Lament," where the portraiture of his strange
distress leaves the reader at a loss whether to
weep at his misfortune, or laugh at the ludicrous
expression of his sorrow.

24 Introduction.

Owen O'Sullivan, usually named Eoghan Ruadh,
or Owen the Red, from the colour of his hair, was
a native of the County Kerry. He lived at a
somewhat later period than either MacDonnell or
Magrath, and was also, like Magrath, a very
eccentric character. O'Sullivan sometimes fol-
lowed the employment of an itinerant labourer,
in which occupation he would make periodical
excursions into the Counties of Cork, Limerick,
and Tipperary, during the reaping and potato-
digging seasons. In the summer months, he
would open a hedge school in the centre of a
populous district, where the boys of the surround-
ing hamlets, and the " poor scholars " who usually
followed in the wake of Owen's perambulations,
were taught to render the Greek of Homer and
the usual school range of Latin authors into Irish
and English. I should observe that Owen the
Red wrote and spoke the English tongue with
considerable fluency. Many of his satires, written
in that language, against the Volunteers of '82,
are yet preserved in the neighbourhood of
Churchtown and Charleville, in the County of
Cork.

O'Sullivan's productions are satirical, elegiac,
amatory and political. He is the favourite poet
of the Munster peasantry, and their appreciation
of the potato-digging bard does high credit to
their critical discrimination. His strain was bold,
vigorous, passionate, and feeling ; his only fault

Introduction. 25

being a redundancy of language to which he was
led by the inclination of the Irish tongue, and his
own vehemence of temper. He died in 1784.

The following extract from the life of Owen
O'Sullivan, as I have given it in the ** Jacobite
Reliques," will furnish a glimpse of this unfor-
tunate genius : —

" There are doubtless many of my readers who
now hear of Owen Roe O'Sullivan for the first time.
To them, perhaps, it will be necessary to say, that
Owen Roe was to Ireland what Robert Burns, at a
somewhat later day, was to Scotland — the glory and
shame of his native land. I know no two cha-
racters in my range of observation that so closely
resemble each other as Burns and Owen Roe. The
same poetical temperament — the same desire of
notoriety — the same ardent sighings for woman's
love — the same embracing friendship for the human
family — and the same fatal yearnings after " cheer-
ful tankards foaming," alike distinguished the
heaven-taught minstrels. Like Burns, Owen Roe
first tuned his reed to the charms of nature and
the joys of woman's love — like Burns, the irregu-
larity of his life obliged the clergymen of his per-
suasion to denounce him ; and, like him, he lashed
the priestly order without ruth or remorse — like
Burns, he tried the pathetic, the sublime, the hu-
morous, and, like him, succeeded in all. Nor does
the parallel end here ; they were both born in an
humble cottage ; both toiled through life at the

26 Introduction.

spade and plough ; and both fell, in the bloom of
manhood, in the pride of intellect, the victims of
uncontrolled passion !"

William Hefferan, more usually called Uilliam
Dall, or Blind William, a native of Shronehill,
in the County Tipperary, was contemporary with
MacDonnell and Toomey, with whom he often
tried his poetic powers in the literary battles of
the bardic sessions. He was born blind, and spent
the greater part of his life, a poor houseless
wanderer, subsisting upon the bounty of others.
His pieces are political, elegiac, and amatory.
The tenderness of his amatory muse is refined and
sweet in the highest degree. His allegorical
poem, Cliona of the Rock, says Mr. Hardiman,
" would in itself be sufficient to rescue his memory
from oblivion, and stamp him with the name of
poet. The machinery of this ode has been a
favourite form of composition with our later bards.
They delighted in decorating these visionary
beings with all charms of celestial beauty, and in
this respect, our author appears to have been no
mean proficient. His description is heightened
with all the glow and warmth of the richest
oriental colouring, and the sentiments and lan-
guage are every way worthy of the subject."

His Caitlin ni UallacJidn and other pieces, in
this collection, will furnish a fair specimen of his
abilities.

Introduction. 27

Another poet of this century was Donough Roe
MacNamara, a native of Waterford, who, finding
that the profits of his hedge school, in which he
taught Greek and Latin to the peasantry, were
inadequate to his support, resolved to try his
fortune as a labourer in Newfoundland. He em-
barked ; but on the second day of the voyage, the
vessel in which he sailed was chased back upon
the Irish coast by a French privateer, and poor
MacNamara once more took to the teaching trade.
At the suggestion of a Mr. Power, he afterwards
wrote a metrical account of his adventure. In
this poem he sets out with a description of his
poverty — the manner in which the whole parish
contributed to fit him out — the fascination of his
landlady and her fair daughter, in Waterford —
a storm at sea — sea-sickness of the passengers — a
vision in which the queen of the fairies takes him
to the realm of departed spirits, where he beholds
the shades of Irish warriors, and hears strange
political revelations, &c., &c. This mock .^Eneid
contains passages of extraordinary power, and rare
flights of humour. MacNamara also produced
many political and amatory songs.

The foregoing are the writers from whose works
I have chosen some of the pieces in this collection.
Contemporary poets, of whose poems I have not
availed myself are Eoghan jD'Rahilly, a native of
Kerry, a man of learning and great natural
abilities. The peasantry of the bordering Counties

28 Introduction.

of Cork, Limerick, and Kerry, yet recite his poems,
and cherish the memory of his caustic wit and
exquisite humour. O'Halloran makes honourable
mention of this poet. Denis and Connor O'Sullivan,
brothers, authors of many excellent political and
amatory songs, were also natives of Kerry. In
the same district, at a somewhat later period, lived
Fineen O'Scannell, a man of high poetical merit,
the author of many poems. Edmund Wall was
also a satirical poet of much celebrity in the
County of Cork.

The Reverend William English, a friar of the
City of Cork, was a poet, highly facetious and
satirical. Timothy O'Sullivan usually named
Teige Gaelach, a native of the County Waterf ord,
was also a poet of great celebrity. His works are
numerous, consisting of odes, elegies, political
songs, and pastorals. His elegy on the death of
Denis MacCarthy, of Ballea, in the County
Cork, is a beautiful specimen of this species of
composition. In early life his conduct was very
irregular, and many of his poems licentious ; but
in after time he became sincerely penitent, and
devoted his talents to the composition of sacred
poems and hymns, many of which have been col-
lected and published under the title of " Timothy
O'Sullivan's Pious Miscellany."

In this passing view of the writers of the last
century, I have confined myself to those of the
South of Ireland alone. Even many of these I

Introduction. 29

must pass over in silence, and shall close with some
account of John Collins, whose genius and
learning eminently qualify him to stand among
the first of modern writers in Ireland. Collins
taught school at Skibbereen, in the County Cork,
where he died, in 1816. His poems are held in
high estimation ; his best production, or perhaps
the best in the modern Irish, being his poem on
" Timoleague Abbey." Collins has given an Irish
translation of Campbell's " Exile of Erin," which
admirably proves, if proof were necessary, the
power of the Irish language. None will pronounce
this translation in any instance inferior to the
celebrated original, while, in many passages, the
Irish version rises far superior in harmony of
numbers and feeling of expression !

In conclusion, I beg leave to say a word or two
respecting the songs in this collection. I have
admitted nothing among them calculated, in a
moral or political point of view, to give offence.
I have also been careful to avoid that error which
I already censured in others — namely, the fault of
not suiting the measure of the translation to the
exact song-tune of the original. The Irish scholar
will perceive that I have embodied the meaning
and spirit of each Irish stanza within the compass
of the same number of lines, each for each ; and
that I have also preserved, in many of the songs,
the cassural and demi-cassural rhymes, the use of
which produces such harmonious effect in Irish

30 Introduction,

Terse. I offer these songs to the public as evidence
of the poetic spirit of our people. To the reader
who cannot peruse the original, I have to say, that
the English versions are faithful, and, in most
instances, perfectly literal transcripts of the Irish;
and that our hills and valleys, and milking bawns.
and every cottager's fireside, are vocal with
hundreds of songs, which want but the aid of a
poet, himself one of the people, speaking their
tongue, and familiar with its idioms, to recom-
mend them to public notice in an English dress.

It is fit to state that I have copied into this little
work some of the songs which Mr. Hardiman has
left untranslated in the "Minstrelsy," and also
that I have selected from manuscripts some songs
which I subsequently found had been already
used by Mr. Hardiman. Some of my versions,
however, are different from his.

In consequence of the neglected state of the
Irish language during the last two centuries,
considerable irregularity has arisen among writers
in the use of its orthography. This will be ap-
parent to anyone who considers what the fate of
a language must be, which, ceasing to be the
vehicle of learned instruction, descends to the use
of men unskilled in the rules of composition, and
ignorant even of the modes of inflecting nouns,
or conjugating verbs. The songs in this collec-
tion, I am proud to say, are as free as possible
from grammatical error, Mr. Owen Connellan.

Introduction. 31

Irish Historiographer to their late Majesties,
George IV. and William IV., translator of the
** Annals of the Four Masters," and author of a
" Grammar of the Irish Language," &c., having
kindly undertaken to read the Irish throughout,
and to correct every apparent error of the text.

E. WALSH.

Dublin, January, 1847.

Edward Walsh was interred in the Mathew
Cemetery, Cork, where a Celtic Cross bears the
following inscription, in Irish and English : —

t)'feA5 AT) r^ireAb IA &o rij],

lUTJTJ&rA tn.&.CCCl.

SAT) mbljA&Aji) ceActtAcAt)

t)0 C05bA& AT) CttOf l]A5 fO

2l)Ati leAcc-CuiTTjrje &o le A
C&ltt&lb' A5Uf le luce

&-CU5A

EDWARD WALSH,

THE POET AND TRANSLATOR,

Died August 6th, 1850,

Aged 45 Years.
Erected to his Memory

By a few Admirers of the Patriot and the Bard.
God rest his Soul.

The following more correct rendering of the
Irish has been furnished to us by a friend : —

EDWARD WALSH,
THE POET AND TBUE IRISHMAN,

Who Died the 6th August, 1850,

In the 45th year of his age.

This Memorial Cross was erected in memory of him by his Friends

and by the People, who esteemed him much.

May God give eternal rest to his Soul.

WALSH'S IRISH POPULAR SONGS.

29 Essex Quay, Dublin,

24th March, 1883.
SIR,

From amongst many of Edward Walsh's letters in my posses-
sion, I send you four which I have selected for insertion in your
new edition of his " Irish Popular Songs."

These letters are most characteristic of the meekness of the poor
fellow in the dark hours of his homeless adversity ; in them are to
be found traces of the poetic, patriotic, and most, tender domestic
feeling as well as a spirit of Christian resignation and humility
under a load of undeserved punishment,

Poor Walsh ! with great talents and goodness of heart, his life
experiences in his own dear Isle were anything but pleasurable.

As you aided him in putting his first edition through the press, I
don't wonder at your being so anxious to make this edition an
interesting and successful one.

With best wishes for the realization of your hopes in connection
with the re-issue of Walsh's " Irish Popular Songs."
Yours,

PATRICK TRAYNOR.
To Mr. Peter Roe.

ORIGINAL LETTERS OF EDWARD WALSH.

Duke's-row, Summer-hill,

Dublin, January 2nd, 1844.
DEAR STB,

I did not receive your letter till late last night, though left
here yesterday morning.

I called at Machen's at 10 to-day. He informed me that the
printer did not yet give him your second number, and that many
gentlemen called to enquire for it, and seemed disappointed. I
called at the residence of a barrister of note in the city — after-

B

34 Original Letters.

wards one of those fiery spirits who are carrying out the present
movement of freedom, — and he told me that he likewise called at
Machen's for the songs. He begged of me to leave him my
metrical version of the songs to show to his friends. He has ft
high opinion of my abilities, and says that my aid in giving an
elegant translation would be powerful in recommending them to
many English readers. He says it would be a good plan to intro-
duce your literal version with the Irish — that is, to give the prose
English under the Irish, word for word, without regard to the
arrangement — for the use of them who would study the tongue,
and they would be many. He says such songs would take well.
He has given me some business in the way of writing.

The artist I spoke of informs me that Curry says the last line of
the Creevin JErin in your song is not belonging to that song at all ;
and I am clearly of opinion that it does not suit the measure of the
other lines. Curry remarks that the two first lines are from a long
song, the others are from a Jacobite song, and the last taken from
some other song.

I have to say that it strikes me if the songs were got up in a
clever way, they would succeed.

You will scarcely be able to read this, which I write in a con-
founded hurry.

Yours faithfully,

E. WALSH.

P.S. — I have no certain knowledge when I leave town, or whether
I go at all — I'll know in a week. The Creevin Erin is in the
mouth of all the clever fellows here.

23 Duke's-row, Summer-hill,
Dublin, January 5th, 1844.
DEAR SIR,

I got your letter this morning, and have great pleasure in
now replying to that favour.

I called into Machen's at half-past 2 o'clock yesterday, and up
to that time the printer did not send him your songs.

I did not go to hear Mr. S 's lecture at the Rotundo. I did

Original Letters. 35

not know that you were acquainted with him. I now suppose him
to be the person of whom we were speaking, and whose brother f
knew.

I was in the hope that the board would allow me back to my
snug residence at Touriu, but they decided against it yesterday,

though Sir B. M and the superintendent applied in my behalf.

I am grieved that my poor wife and infants will be disturbed in their
calm solitude, and sent up here in winter weather — God pardon the
doers of this injustice. You will say, perhaps that it is the best course
for my future advancement. It may be so, but I am not well fitted for
the bustle of a town life, and besides, I dread if my health, which is
not very robust, should fail — I dread the fate of my family ; but I
must now bear the charge and pray to God to assist me.

With regard to our projects respecting the songs, I understand
you to say that you will bear all the expenses of printing, paper,
&c., and after deducting all costs from the sales, you then at the
end of six months will equally share the net profits remaining, with
me. If this should be so, I am content. I'll engage to give you
spirited translations, — talent is my only stock-in-trade, and I'll be
no miser of it. In all other respects, Mr. Daly, reckon me as one
who would die rather than lie or deceive.

I would wish, when you give the metrical version of the songs,
that you gave the name of the translator. Mr. Lane recommends
me not to forget this, as it might procure me notice.

That Mr. Curry sent the artist I was speaking of to me last
night, to say that he would wish to know me. I am now about to
go to him to the Academy, and shall enquire at Machen's about the
songs. It still strikes me the last line of the Creevin has not the
same measure nor number of feet with the other lines. Try, Mr.
Daly. I shall with great pleasure try my hand .at your songs, Nos.
y and 3, if you send up the Irish and your literal version. I wish
you were here, and then we would pull harmoniously together. I am
very lonely and sad away from my own beloved wife and children,
and cannot well settle down to anything till they come ; I have
written for them.

Believe me, with all truth, dear Mr. Daly,

Yours very faithfully,

E. WALSH.

36 Original Letters.

23 Duke's-row, Summer-bill,
Dublin, Wednesday, January 10th, 1844.

DEAR SIR,

I Lave thrown out no hint of your dealing unfairly by me,
but I understood from you both " by word and write," as Burns
says, that I was to share half the profits. That you meant so if I
paid half the expenses as they occurred, I do not now doubt,
because you tell me so, but I did not understand it so before. How-
ever, I am willing to sing for the thing you mention, that is one-
third, as I cannot get more unless I contribute to the outlay.
Are you satisfied, Mr. Daly ?

I am prepared at all times to try my rhyming powers, though the
vispoetica will not rush forth at my call at all times ; however, never
ask me if I am prepared, but always send without ceremony ; send
the Irish and the literal version. What you translated link in the
Creevin I could not for some time understand the meaning of. I've
learned it means a " ringlet of hair ;" you should render it ringlet —
it is highly poetical ; your translation bore me from the meaning.
I have written to Mrs. Walsh, and mentioned you. When she calls
(if she travels by that way), provide her some decent safe lodging
house to sleep in; she is anxious to see "Edward," and I don't
think she will linger on the road. Your civil and kind invitation
pleases me, Mr. Daly.

I was greatly pleased with your intention of giving the interlinear
version according to my first suggestion. If you gave it without
regard to the grammatical order of the English, but word for word
in the Irish, it would be of service to my poetic version, by turning
the reader from instituting comparisons between your accurate
version and my looser one.

I called to-day at Machen's. He tells me the songs are taking
right cleverly, but he complains of the manner in which the second
number is got up. It is not fit for a street ballad, in type and
paper. The letterpress and paper would damn the best work of
the day. I told him you were taking it out of the printer's hands
altogether, and he seemed pleased. 'I bought your first number,
and am greatly pleased with its cleverness, and also at its respect-
able appearance.

/ earnestly beg of you, unless you wish to ruin the Irish

Original Letters. 37

character of the work, not to print your Irish in either the Roman
or Italian character.

The old Irish type is the type of their nationality ; alter that,
and you destroy it. These are my own suggestions. I have not
spoken yet to anyone on the subject, but shall, perhaps, with Mr.
Duffy tomorrow. You will pardon me, and attribute to my present
situation the manner in which I send your communication.
I beg to remain yours,

E. WALSH.

P.S. — I am confident Mr. C. G. Duffy will agree with me in say-
ing that the Irish should be done in Irish types.

Eichmond Cottages, Summer-hill,

Dublin, March 7th, 1844.
DEAR SIB,

I trust you will pardon me for not replying earlier to your
letters, when I assure you that I have so lengthened my hours of
labour, that I scarcely have time to say my prayers, which, as a
good Catholic, you are aware I am bound to do at least twice a-
day. I thank you for the newspaper, which I now return. The
notice was good, and a very keen logical critic to whom I showed
it, upon reading the song, said it was in every way equal to
" Craovin Aowen." I beg you will send me all the papers you
may get containing critical notices of our work, and I shall faith-
fully return them. I took care on Tuesday or Wednesday last (I
don't remember which) to write to Mr. Duffy, at Bathmiiies, men-
tioning the honourable testimony which the songs elicited from
the provincial Press, and your regret and disappointment the Nation
— the powerful leader of public opinion — should not honour you
with a single remark. I accompanied this with a request that he
would give us a favourable notice on Saturday's Nation. But Mr.
Duffy neither gave the requested notice— as you must already
have perceived, — nor sent me a private line in answer to my com-
munication. This neglect on Mr. Duffy's part fills me with sur-
prise, and I would assuredly have had a personal interview with
him to ascertain the cause, had I time sufficient to visit him.
This is an unnatural state of society, where a man having no pre-

38 Original Letters.

tension to literary merit, is so chained down to the galley oar of
exertion for what heaven allots to the wild beast of the hill — his
" daily bread," — that he has not only no time to think of God and his
glorious kingdom come — to listen to the communing of heaven's
angels with his own immortal spirit,— but cannot spare an hour
from his task-time to cross a town or a street upon a common
errand of business ! But so it is.

I called at Goodwin's, but the proof was not ready. They told
me that they would forward you one on Saturday, and that I could
have another at six o'clock on Saturday night, but the severe storm
of that evening blew the memory of Goodwin and Co. and all his
proof sheets clean from my cranium, as I passed along in the
sweeping strife of the elements.

I never perceived my cleverness at entering fully into the true
spirit of Irish song till I read D'Alton's translation. I have many
stanzas of the translated songs, evidently improved upon the old
bard, and have scarcely ever fell much beneath him in conveying
the wrongs and feelings of our race. A portion of this is because
I am intimately acquainted with the manners and feelings of the
people, and feel, indignantly feel, myself with all a poet's feeling,
the curse and crime of the tyrant. You were scarcely out of town
when a friend informed me that you made a very profitable hit by
the sale of some Irish works; this rejoiced me exceedingly, though
I would be better pleased to hear it otherwise than at second-hand,
but I am delighted to hear it at any hand. You will believe this
when, in addition to my own assertion, I assure you that a certain
friend of mine who is a deep phrenologist, says, upon an examina-
tion of my skull, that I have " Benevolence and Attachment " un-
commonly developed.

I expected Owen Roe, my favourite poet, before, this. I am im-
patient to see how his English suit will fit him. Heaven speed
the literary taylor.

E. WALSH.

IRISH POPULAR SONGS.

'114 re^TAT) 41fl 41) 4et>4|l,
4't 4T1 5e4t4C 1)4 l^e,

4t) t^ll^S^ «|i4i3ce 54T) b|i4ori,
'S lift n6)rt) 45 4t) C4U Tt)4|i b)o-6 ;

4 41) CU41C)1)> 4 Tl)-b4tl]t4'D4)b 1)4

<t>'4 rlon-n^-o suti 641415 rl

ii) 1)4 n)-b4C4ll n)-b|ie45

ii.

b4r, 4'r 4
intl, 34C 14

3U|i c]i4'6 rl le CMC —
u 4'n) I4|i t

50 b-

114

IRISH POPULAR SONGS.

THE MAID OF THE FINE FLOWING HAIR.

i.

The sun hath gone down in the sky,

The stars cease their heavenly way,
The tides of the ocean are dry,

The swan on the lake hath no sway ;
The cuckoo but adds to our care,

"Who sings from his green, leafy throne,
How the maid of the fine flowing hair

Left Erin in sadness to moan 1

ii.

Three evils accompany love,

These evils are Sin, Death and Pain —
And well doth each passing hour prove

Thou'st woven around me their chain!
Oh, maiden that woundedst me sore,

Receive this petition from me,
And heal my fierce pain, I implore,

So GOD yield his mercy to thee !

42 Irish Popular Songs.

in.

1 'n4 4t) be'i-ollDD 'r H4 't) IjY
'S t)4 cejte4b4ji T)

54C 4lT! 4t)T) 4 Cl)4b ;
4T) 64U 4^|l 4T) 'C'C^l^,

'S T>oj5 lion) 5U]t b|ie454 1 t}4't)
6 njo curn4i"6 56u|i n)4|i TJU5
'S 50 nj-i:e4tiit Ijort) t)4C b-veici:/t)t) j

I.

C4T5 Tt)4flb C4T 4t)T) t)4 V)-

4

nje rse4C 'r AT) -CC4C itAlb 5|i4'6 5C4l njo
cl6)b,
'S crj|i 4rj C4jlle4c

* This is said to be the original song composed to that delightful
tune, " The Twisting of the Rope." Tradition thus speaks of its
origin. A Counaught harper having once put up at the residence
of a rich farmer, began to pay such attentions to the young woman
of the house, as greatly displeased her mother, who instantly con-
ceived a plan for the summary ejectment of the minstrel. She pro-
vided some hay, and requested the harper to twist the rope which

Irish Popular Songs. 43

in.

Her voice doth the viol surpass,

Or blackbird's sweet notes on the tree,
More radiant than dew-sprinkled grass,

In figure and feature she be :
Her neck like the swan's on the wave,

Her eye hath a light like the sun ;
And oh, that my lost heart I gave,

Or saw her who left me undone 1

THE TWISTING OF THE ROPE.

What mortal conflict drove me here to roam,
Though many a maid I've left behind at home ;
Forth from the house where dwelt my heart's dear

hope,
I was turned by the hag at the twisting of the rope !

she set about making. As the work progressed and the rope
lengthened, the harper, of course, retired backward, till he went
beyond the door of the dwelling, when the crafty matron suddenly
shut the door in his face, and then threw his harp out of the window.
The version sung in the south of Ireland has some additional
stanzas, but I give the song as it is found in Hardiman's
" Minstrelsy," vol. i., where it is left untranslated.

44 Irish Popular Songs.

ii.

21)4 bjt>e4rw TUI Ijort), bj-6 l)on) TDO to 4'r 'o'oj'oce ;
21)4 bjt^tit) -cu Ijon), bj-6 Ijott) or cori)4ifi 4t)

'DO 54b4T 4T1)4C
b|lU4C Iod4 L6jT),*

45

'5ur

21)4 b)-6e4t)n -cu Ijortj, b)T3 Ijott) 346 dii-oUc 4t)t)
c|to]-6e ;

JS 6 TT)4 lent) T)4C l)0lt) 'Gtl4'6t)0t)4 til tl)4|l

III.

& edlur 41 |i tt)o

TT)O 4f4 tt)Ut)4 eiS^t) T>4Tt)l*4 Tt)4|l 4

te •p4)i)e4'6 564! 4t) Ue.

* l/oc/ia Lein, ioc/t iene, the Lake of Killarney, in Kerrj.

Irish Popular Songs. 45

ii.

If thou be mine, be mine both day and night,
If thou be mine, be mine in all men's sight,
If thou be mine, be mine o'er all beside —
And oh, that thou wert now my wedded bride !

in.

In Sligo first I did my love behold,

In Galway town I spent with her my gold —

But by this hand, if thus they me pursue,

I'll teach these dames to dance a measure new !

THE DAWNING OF THE DAY.

i.

At early dawn I once had been

Where Lene's blue waters flow,
When summer bid the groves be green,

The lamp of light to glow —
As on by bower, and town, and tower,

And wide-spread fields I stray,
I meet a maid in the greenwood shade,

At the dawning of the day.

46 Irish Popular Songs.

n.

N) Jt4)b nZOCAlTD 1)4 btl05, C07P, t)4 Cl<5C4,

njo rcott d't) TP6W»

?JOt)t) Oft-64 f)OT 50

. 30 b4nn ^

B)-6 C4l4r) cfiYJ'6'ce -dice
'S 4j|i '6|inicc b-a -oe

e4ti d bet)ur
te i4iner4'6 se^l 4t) Ue !

in.

-At)

30

T14C

T1 1)0") r)4
4i|i n^b4l, 4

Sjt) ^4*0 4 Ti-T>e4T t)4 TOillre 45
le 4iTje4'6 e4l 4t) Ue !

t)UB

21 bfAC4T> -C14 1)0 4T) CCU4t4 TJU

2lt) T'cu4i|te T>ob' 4jlle 51)407,

21' T)-5le4T)'C4 T)Ub4, *T T1)6 4t)T)
341) TU4)rt)T))Or 'DO td T)4 T5>O)'DC>

B6)t)i) C40)T) 41) -c-
<t)o b

Irish Popular Songs. 47

ii.

Her feet and beauteous head were bare,

No mantle fair she wore,
Bui down her waist fell golden hair

That swept the tall grass o'er ;
With milking-pail she sought the vale,

And bright her charms' display,
Outshining far the morning star,

At the dawning of the day !

in.

Beside me sat that maid divine,

Where grassy banks outspread—
" Oh, let me call thee ever mine,

Dear maid," I sportive said.
" False man, for shame, why bring me blame ?"

She cried, and burst away —
The sun's first light pursued her flight,

At the dawning of the day !

THE DARK MAID OF THE VALLEY.

i.

Oh, have you seen my fair one,

The brightest maid of beauty's train,
Who left me thus deploring,

In deep, dark vales, my love-sick pain-
That mild-ey'd, sweet-tongu'd maiden,
Who left a wounded heart to me,

48 Irish Popular Songs.

50 bu4i) 16),

54 •O'GJ -AT) CCU4T) UT> b6 4)^ 4,'

II.

<t)o con) re4t)5 5r 'co ri)4l4 C4et,

o -6641)^4-6
<t)o cjiob AT 31^ n))ne

)0t)t)4 41) TJO-D4 'T t)4 CltilT) 1)4

in.

l) U4)|l

te

T4

B4 5)le 4 T>]te4C r)

4)]t f ed*6,

te 4|i /c|i40C4'6 t)4

* It is said that Deirdre was confined, from the period of her
birth, in a fort or tower, by Connor, King of Ulster, because a druid
had foretold she would cause great calamity in the kingdom.
When she grew up to womanhood, Naois, with his two brothers,
bore off the beautiful captive to Scotland, when the king of that
country, smitten by the fatal charms of the lady, formed a plan to
destroy her lover. They were thus forced to flee from Scotland,
and Connor, hearing of their distress, allured them over to Ireland,
by promises of pardon, where the three brothers were slain by his
order. For this deed of perfidy, Connor, abandoned by his nobles,
saw Ulster ravaged from shore to shore, and bathed in the blood of
its bravest warriors ! See Keating's " Ireland," Haliday's edition,
page 371.

Irish Popular Songs. 49

My blessing I bequeath her,

Where'er the gentle maiden be !

ii.
Rare artists have engraven

Her slender waist, her beauteous brow,
Her lip with sweetness laden,

That once I thought would truth avow ;
Her hand than down far fairer,

More sleek than silk from India's shore ;
And oh ! in grief I'm pining,

To think I've lost her evermore !

in.

With love my heart was glowing,

When first I spied the lovely fair,
With breast of snowy fairness,

And white teeth, and golden hair —
She shone more bright than Deirdre,

The curse of Meathean chiefs of pride,
Or mild-ey'd beauteous Blanit,

By whom a thousand heroes died !

+ Blanit was daughter of the king of the Isle of Man. When
the Red Branch Knights plundered that island, this lady, who, it
is said, surpassed in beauty all the women of her time, was ad-
judged to Curaigh MacDaire. Cuchullin claimed her as his prize,
but he was overcome by Curaigh in single combat. Sometime after,
Cuchullin with a large body of men, attacked and slew Curaigh in
his palace. Blanit then departed with Cuchullin into Ulster.
Thither did the bard of Curaigh follow her; and one day finding
Connor, Cuchullin, and Blauit at the promotory of Ceann Beara, he
instantly clasped her within his arms, as she stood on the edge of a
steep rock, and flinging himself downward, they were both instantly
dashed to pieces ! — See Keating's " History of Ireland," Haliday's
edition, page 405 ; and also, " Transactions of the Gaelic Society."

50 Irish Popular Songs.

IV.
iifl T)4 Tt)-b4t), t)4 ^116)3 Tt)6

le T^WG T>4
341) ri)64r, 34
2lcT> bleATMfuxcT; ir bjtrjt^T) jf 3leo* ;

, 'r W nj)le4'6 njdjt !

I

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n.

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'S -C)5)OTt) 4J140T) 50 14 ):40),

Bejt> cedl t)4 i)6un T>4]i 3-cuji cuti) co-oU,

'S -DY^Ue ir <co|i4'6 4 ^4r 4)]t :
21 rp6jji-be4T) n)o-64rr)rjl t)4 b)o-6 OJIT; tt)4)ii

'S 6 cle4CT>4tt)4ti Jt) 4]t pp4)r<o^ft ;

'S 43 )Tt)TJe4C'D U4)T1) ^6)t) T>^73 4)|l Tl)4)'D)t),

tt)o I4t?) U4)tt) !*

* The literal meaning of this line is : " you will receive a kiss
from me from out of the top of my hand." It shows that the custom

Irish Popular Songs. 51

IV.

Fair flower of maids, resign not

My faithful heart for senseless boor,
Who rich in worldly treasure,

In all my glorious gifts is poor—
I who, in Autumn evening,

Can bid the Gaelic song resound,
Or sing the olden glory

Of Fenian chiefs and kings renown'd !

LEADING THE CALVES.
i.

One evening mild, in summer weather,

My calves in the wild wood tending,
I saw a maid, in whom together,

All beauty's charms were blending —
" Permit our flocks to mix," I said,

" 'Tis what a maiden mild would,
And when the shades of night are fled,

We'll lead our calves from the wild wood."

n.
" There grows a tree in the wild wood's breast,

We'll stay till morn beneath it,
Where songs of birds invite to rest,

And leaves and flowers enwreath it —
Mild, modest maid, 'tis not amiss ;

'Twas thus we met in childhood ;
To thee at morn my hand I'll kiss,

And lead the calves through the wild wood !"

of kissing hands in salutation has prevailed among the Irish
peasantry,

52 Irish Popular Songs.

m.

215 redU-6 t)4 ii-54tt)ii4 T>'t45 nje 'n b4)te,

'S Ce4T)n 1)1 b?454T> 30 14 T)job,

4tt) T>]473 T4T) tt)-b4ile,

4 cojtle,
Teu|i -DO 'CABAiii'c 30 14 T>ojb,
'S le <p4?T)e4.-6 Jt) Ue
215

05.

T)4 co^ltt) 43 ru5fi4'6, 'r ^ r^rtjt1^ 45
'S 4t) bl4t 43 bwvea-d •&$.

2l]]l -COJl)!) ^4'!) b)Ol4Tl 30

'S t)4 COJIC034 45 rH^^ le l)-10rt)4'D T5e tU^-O T)4

tt)-be4c.

II.

t) 3-CO)tl

41) <

Ceu-o bo b4intie, C4p4ll

Coir l40j* t)4 Tt)-b|te4C, njo c|te4c n)6

* The River Lee, which rises at Gougane Barra, and dividing as
it approaches Cork, washes that city on its north and south sides,

Irish Popular Songs. 53

in.

" With calves I sought the pastures wild ;

They've stray'd beyond my keeping —
At home my father calls his child,

And my dear mother 's weeping—-
The forester, if here they stray,

Perhaps in friendship mild, would
Permit our stay till the dawn of day,

When we'll lead our calves from the wild wood."

CORMAC OGE.

i.

The pigeons coo — the spring 's approaching now,
The bloom is bursting on the leafy bough ;
The cresses green o'er streams are clustering low,
And honey-hives with sweets abundant flow.

n.

Rich are the fruits the hazly woods display —
A slender virgin, virtuous, fair, and gay ;
With steeds and sheep, of kine a many score,
By trout-stor'd Lee whose banks we'll see no more !

and, again uniting, forms that beautiful estuary, the harbour of
Cork. Spenser speaks of

" The spreading Lee that, like an island fair,
Encloseth Cork with its divided flood."

54

Irish Popular Songs.

III.

t)4 I)- 6)1) 43 T>64 1)4-6

t)4 Uojs 45 567ft)T)e4-6 50
tt)-b<5;

43 iteub4-6 cotiti4-6 4)ti 4t) b
4*r Coittt)4C 05 !

curt}

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<t)o

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4)0

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'S

i.

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30

, cc-c.

30 -D--

4711 bd|t-D 4 lOt)5 34T) b4034l,
5-CI)OC 'T 4T) )TT)e 3-c6)T) !

II.

14, 4 fcdrt TTJO ct6)b,

T>4 Tt)-bU4ll4-6, Jf T)4

45 34) 34C
174 5-cnoc 'r 41) jrtje 3-

7C.

* This song is said to be the first Jacobite effort attempted by
MacDounell. If this be so, the prince whose exile he deplores is

<Do

11054 6 -DO to

Irish Popular Songs. 55

in.

The little birds pour music's sweetest notes,
The calves for milk distend their bleating throats ;
Above the weirs the silver salmon leap,
While Cormac Oge and I all lonely weep !

OVER THE HILLS AND FAR AWAY.

Once I bloom'd a maiden young,
A widow's woe now moves my tongue ;
My true love's barque ploughs ocean's spray,
Over the hills and far away.

CHORUS.

Oh ! had I worlds, I'd yield them now,
To place me on his tall barque's prow,
Who was my choice through childhood's day,
Over the hills and far away !

ii.

Oh ! may we yet our lov'd one meet,

With joy-bells' chime and wild drums' beat ;

While summoning war-trump sounds dismay,

Over the hills and far away !
Oh ! had I worlds, &c.

James, the son of the deposed monarch, James II., in whose favour
the Scotch revolted in the year 1715.

56 Irish Popular Songs.

m.

Jr 30 b-'Feice4'or4 cojiow 4ijt rsdji TIJO clejb,
4)o -COS^T) ceo 45Uf bfidt) T>O 540-64)1,
54C K)3 4-c4 4HT
d le

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IV.

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S6 nu'o 411 11^41^4

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5-cnoc 'r 4T)

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d Homer cleiTie 4H) I4jri),
50

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CuTt) 4 be)TJ 4)fl bdjl-D 4 lOT)5 54T) b4054l,

Irish Popular Songs. 57

in.

Oh ! that my hero had his throne,
That Erin's cloud of care were flown,
That proudest prince w^ould own his sway,

Over the hills and far away !
Oh ! had I worlds, &c.

IV.

My bosom's love, that prince afar,
Our king, our joy, our orient star ;
More sweet his voice than wild bird's lay,

Over the hills and far away !
Oh ! had I worlds, &c.

A high, green hill I'll quickly climb,
And tune my harp to song sublime,
And chant his praise the live-long day,
Over the hills and far away !

CHORUS.

Oh ! had I worlds, I'd yield them now,
To place me on his tall barque's prow.
Who was my choice through childhood's day,
Over the hills and far away !

58 Irish Popular Songs.

21 nj-b4)le

21 "c4 n)0 5|t4-6 te bl)4t>4)i),

jr 4jine i '

'S 30 b

2ijfi Ioji5 4 cor

41|l ^4116^ t)4 S4T7)T)4 —
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ii.

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Coi)4)JlCe4f Tt)O

'S 50 Tt)-b4 it)) Ire 50 ^4-04 4
"N4 n))l 'r t)4 ri
t)4 T>e45-bUr ro34)l tfoi) Sp4)i)i)e4C.

21 T>4 C)OC C0]ttl

B4i), ti))l)r, curt)]t4,

* This beautiful song is preserved in Hardimau's " Minstrelsy,"
Tol. i., but is left there untranslated.

+ Literally, the Town of the Island — Ballinahinch, in the County
of Galway, where was founded, in 1356, a monastery of Carmelite
friars. On a small island in the lake of Ballinahinch are the rums

Irish Popular Songs. 59

BELOVED OF THE FLAXEN TRESSES.

At the Town of the Isle, my dear
Abides this long, long year,

Than the summer sun more brightly shining ;
Where'er her footsteps go,
Fair honey-flowers will grow,

Even though 'twere winter's dark declining !
If to my net she sped,
'Twould ease my heart and head,

Where cruel love his burning brand impresses ;
For all that living be,
I'll choose no mate but thee,

Beloved of the flaxen tresses !

ii.

At the bridge of the Avonmore,

I saw my bosom's store,
The maiden of the ringlets yellow —

More sweet her kisses be

Than honey from the tree,
Or festive Spanish wine, of flavour mellow !

Her bosom, globes of white,

Sweet, fragrant, perfect, bright,

of a castle erected in the time of Elizabeth. A river runs from the
lake into Roundstone Bay.

J The Owenmore, a river of the County Mayo, flowing into
Blacksod Bay.

60 Irish Popular Songs.

4 c4jtt)4t>
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4T)

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4 b'eoUc l)<5tt),

the white -skinned, black-haired Rose, is one of
those allegorical, political songs, so common in Ireland. The poet
sings of his country under the similitude of a distressed maiden, to
whom he is ardently attached. In the allusions to the Pope and
clergy, we behold the hopes of obtaining assistance from the Catholic

Irish Popular Songs. 61

Like drifted snow the mountain's breast that presses —
The cuckoo's notes resound,
In winter, where thou 'rt found,

Beloved of the flaxen tresses !

in.

Oh ! if the boon were mine,

From beauty's ranks divine,
To choose for aye the fairest maiden,

'Twere her to whom sweet lays

Consign the palm of praise,
For whom a thousand hearts with love are laden.

Such maid did once inspire

The Hebrew monarch's lyre ;
But, oh ! thine eye more dignity expresses —

Relieve my woe, I crave ;

Oh ! snatch me from the grave,
Beloved of the flaxen tresses !

ROS GEAL DUBH.

A long, long way since yesterday

I wildly sped,
O'er mountain steep and valley deep,

With airy tread ;

powers of Europe. The concluding stanza vividly shews the bloody
struggle that would take place ere Eose, his beloved Ireland, would
be yielded to the foe. Hardiman's "Minstrelsy" has a different
form of this song, but this is the popular version in the south, and
is said to be as old as the time of Elizabeth.

62 Irish Popular Songs.

loo 6jtti)6 30 l6)tt)?Y}i),

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Irish Popular Songs. 63

Loch Earne's tide, though its wave be wide,

I'd leap above,
Were my guiding light that sunburst bright,

The R6s geal dubh !

ii.

If to the fair you would repair

To sell your flocks,
I pray secure your every door

With bolts and locks ;
Nor linger late from the guarded gate,

When abroad you rove,
Or the clerk will play through the live-long day,

With Eds geal dubh !

in.

My dearest Rose, why should these woes

Dishearten thee ?
The Pope of Rome hath sent thee home

A pardon free —
A priestly train, o'er the briny main,

Shall greet my love,
And wine of Spain to thy health we'll drain,

My R6s geal dubh !

IV.

My love sincere is centred here

This year and more —
Love sadly vexing, love perplexing,

Love painful, sore,

64 Irish Popular Songs.

5114-6 'D'TP^S tt)

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5e4l 'oub !

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nl 30 b-^is^n nui
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cri4ob

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For

VI.

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Irish Popular Songs. 65

Love, whose rigour hath crush'd my vigour,

Thrice hopeless love,
While fate doth sever me ever, ever,

From R6s geal dubh !

Within thy heart could I claim a part,

One secret share —
We'd shape our flight, o'er the wild hills' height,

Towards Munster fair ;
Branch of beauty's tree, it seems to me

I have thy love —
And the mildest flower of hall or bower,

Is R6s geal dubh !

VI.

The sea outspread shall be raging red,

All blood the skies —
And crimson war shall shout afar

Where the wild hills rise—
Each mountain glen and mossy fen,

In fear shall move,
Some future day, ere thou pass away,

My #os geal dubh !

66 Irish Popular Songs.

05.'

I.

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Ujl64c4i) T5ub O !
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4t) n))l 4)jt 4t) 5-C|i4i)ii 4f), 4 T)-

4

4t1) T)0)f)>

05 !

ii.

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U)le4c4i) 'oub O !

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b4i)-ci)0)c 6)1164?) 05 !

* Ban-chnolc Eirean 6gh, literally the fair Hills of Virgin
Ireland. This song speaks the ardent love of the Irish exile for

Irish Popular Songs. 67

THE FAIR HILLS OF EIRE OGH.

Beautiful and wide are the green fields of Erin,

Uileacan dubh O 1
With life-giving grain in the golden corn therein,

Uileacan dubh O !

And honey in the woods of the mist-wreaths deep,
And in the summer by the paths the bright streams

leap,

At burning noon, rich, sparkling dew the fair flowers
steep,

On the fair hills of Eire Ogh !

n.

How clustering his ringlets, how lofty his bearing,

Uileacan dubh O!
Each warrior leaving the broad bays of Erin,

Uileacan dubh O !

Would heaven grant the hope in my bosom swelling,
I'd seek that land of joy in life's gifts excelling,
Beyond your rich rewards, I'd choose a lowly dwel-
ling,

On the fair hills of Eire Ogh !

his native land. It is said to have been written by an Irish student
in one of the colleges of France.

68 Irish Popular Songs.

in.

b O !

4t) TJ-)N) 4't -AT)

b O !

4T) tyotUtl 4)|l 4

bos ro3^ll,

2l't 1)4. CU4C4 43 Ub41]t'C 4T)T) 6 Id 50 Id,

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05 I

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II.

'S c6 50 t)-

* Andrew Magratb, commonly called the Mungaire Sugach, or
Jolly Merchant, having been expelled from the Roman Catholic
Church for his licentious life, offered himself as a convert to the

Irish Popular Songs. 69

in.

Gainful and large are the corn-stacks of Erin,

Uileacan dubh O !
Yellow cream and butter abound ever therein

Uileacan dubh O !

And sorrel soft and cresses where bright streams stray,
And speaking cuckoos fill the grove the live-long day,
And the little thrush so noble of sweetest-sounding
lay,

On the fair hills of Eire ogh !

LAMENT OF THE MANGAIRE SUGACH.
i.

Beloved ! do you pity not my doleful case —
Pursu'd by priest and minister in dire disgrace ;
The Churchmen brand the vagabond upon my brow,
O ! they'll take me not as Protestant or Papist now !

ii.

The parson calls me wanderer and homeless knave —
And though I boast the Saxon creed with aspect
grave,

doctrines of Protestantism ; but the Protestant clergyman having
also refused to accept him, the unfortunate Mangaire gave vent to
his feelings in this lament.

70 Irish Popular Songs.

<t>eiji 'n U4^ rs^tt) terr s^n 45 sijf JIJOIM

j^e nje,

in.

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IV.

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VI.

'DO

JO -C43J14 'o

"Nj TT)e4fD4 'DO TT)0 ri)4tl41*4 4 5-C4l* 41J1 bj

Be 4C4 rm tt)e Ptioi;er'C4T)c ijd P4p4)|ie !

Irish Popular Songs. 71

He says that claim my Popish face must disallow,
Although I'm neither Protestant nor Papist now !

in.

He swears (and oh ! he'll keep his oath) he's firmly

bent

To hunt me down by penal Acts of Parliament ;
Before the law's coercive might to make me bow,
And choose between the Protestant and Papist

now I

IV.

The priest me deems a satirist of luckless lay,
Whose merchant-craft hath often led fair maids

astray ;

And worse than hunted fugitive all disavow,
He'll lake me not a Protestant or Papist now !

v.

That further, I'm a foreigner devoid of shame,
Of hateful, vile, licentious life, and evil name ;
A ranting, rhyming wanderer, without a cow,

Who now is deem'd a Protestant — a Papist now !

*

VI.

Alas ! it was not charity or Christian grace
That urged to drag my deeds before the Scotic race —
What boots it him to write reproach upon my brow,
Whether they deem me Protestant or Papist now ?

72 Irish Popular Songs.

VII.

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1)4

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VIII.

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2lf) CC4t)54l.
4T) T?'4bT"C4t Pe4T>4)Jl T>O pC4C4)'6 ):4 tfl) 4J|t

4 C4J14)'D 3U]1 514C4-6 4]t)T 50 l)-U

'S4 4D)4 'D)! 4Ci)Y^n) ce T5^MT ler T>r)5e t)4
401) Le

Irish Popular Songs. 73

VII.

Lo ! David, Israel's poet-king and Magdalene,

And Paul, who of the Christian creed the foe had

been —
Did Heaven, when sorrow filPd their heart, reject their

vow,
Though they were neither Protestant nor Papist now ?

VIII.

O ! since I weep my wretched heart to evil prone,
A wanderer in the paths of sin, all lost and lone —
At other shrines with other flocks I fain must bow,
Who'll take me, whether Protestant or Papist now !

IX.

Beloved ! whither can I flee for peace at last,

When thus beyond the Church's pale I'm rudely cast?

The Arian creed or Calvinist I must avow,

When sever'd from the Protestant and Papist now !

THE SUMMING-UP.

See Peter th' Apostle, whose lapses from grace were

three,

Denying the Saviour, was granted a pardon free —
O God ! though the Mangairt from him thy mild laws

cast,
Receive him, like Peter, to dwell in THY HOUSE at

last !

74 Irish Popular Songs.

UJ

Ce4itb4lt4t) fid c4tj.
i.

No 4 T)-54]t 5te4T)T)-1l4

-le

6
Cup4ti 5641 U) 643114

54H I4t) le rt)o Beul !

n.

C4D 6 b'4jll lion) '5 4 cuji 4 3-c6jl
JS 4 IMCT; 4)5 Tt)4i'6 Jii 4

n)0

4ic B

TT)0
4T 4t) T

* Cupan id Eaghra, the Cup of O'JFfara. This is one of the
celebrated Carolau's songs, and was composed by the harper to
celebrate the hospitality of Kean O'Hara, a gentleman of ancient
family in the County Sligo.

Irish Popular Songs. 75

THE CUP OF O'HARA.

i.

Were I over in Arran,

Or wild G-lan-na-Se'ud,
Where tall barks of swiftness

Bear claret and mead ;
'Twere joy to my bosom,

In gladness to sip
O'Hara's bright wine-cup,

Fill'd high to my lip !

u.

Why praise what is sought for

By old man and youth,
While the doctors and sages

(By this hand I am sooth)
Cry, Turlogh, sweet harper,

Come timely to drain
That costly, tall wine-cup,

To the health of brave Kean !

76 Irish Popular Songs.

Jl4}b TJU 43 411 5-C4TIJ1415, 1)6* b-?4C4 TJU ?6tt) TT)O

No 4 b-V4C4 -cu 3ile,

"No 4 b-?4C4 T;U 4T) -c-ub4l b4 cub4ji-c4

No 4 b-^4C4 -cu ttjo b4l4T)T;)iie i}6 4 b-f^

II.

43 411 5-C4nM13> 1T "oo con4)]ac nje

Do

4)o coii4)itc ni6 411

4)0 C01)4J|1C TT)6 T)0 b4l4T)'C]ll 45UT 1)1*1 T)

III.

346 |iibe -04

ejle 4 0^-0640^4 U4i|i jt4}b Id ;
-Gjioni 'CfiipUjc 4 'crjTijn) 16) rw 30

'S4 CU4JC)11 T)4 ^IllTjer, 4|l TT)))*^^ *DO fl4)1)<ce T)'dt?

* This is a song of the South, but there are so many places of the
name of Carrick, such as Carrick-on-Shannon, Carrick-on-Suir, &c.,
that I cannot fix its precise locality. In this truly Irish song, when
the pining swain learns that his absent mistress is not love-sick
like himself, he praises the beauty of her copious hair, tlirows off a

Irish Popular Songs. 77

HAVE YOU BEEN AT GARRICK ?

i.

Have you been at Carrick, and saw you my true-love
there ?

And saw you her features, all beautiful, bright, and
fair ?

Saw you the most fragrant, flowering, sweet apple-
tree ?—

O I saw you my lovM one, and pines she in grief like
me?

li.

I have been at Carrick, and saw thy own true-love
there ;

And saw, too, her features, all beautiful, bright, and
fair ;

And saw the most fragrant, flowering, sweet apple-
tree —

I saw thy lovM one — she pines not in grief, like thee !
in.

Five guineas would price every tress of her golden
hair —

Then think what a treasure her pillow at night to
share,

These tresses thick-clustering and curling around
her brow —

O, Ringlet of Fairness ! I'll drink to thy beauty now !

glass to her health, enumerates his sufferings, and swears to forego
the sex for ever ; but she suddenly bursts upon his view, his resolves
vanish into thin air, and he greets his glorious maid with such a.
welcome as an Irish lover alone can give !

78 Irish Popular Songs.

IV.

TD cooU b)4D otDAt) 34D bfiJ5 4TD

Cl)4b,

\6 4TD (Y)"D 64*0411 CDOC4)b 50 -D-TJISJ-D 4D "OU4C

Tt)0

50 t)-'oe4|iT)4'6 loc

v.

r 30

)T W t^jl P4ciiY53 14 T)d -60 D4 -

5o b-f4tA 4D

P4jj«; -DA 5|t4'6 50 b|t4i; D1 'CAb

VI.

SIU-D j rlor 4D K1o5-be4D

21 b^l 4 31^4)5 16) rs^oilue rlof 30

S ) 4D e4U 1 TD4|i 4D

rt)o c^oj-oe, 064-0 TD)le

Irish Popular Songs. 79

IV.

When seeking to slumber, my bosom is rent with

sighs—

I toss on my pillow till morning's blest beams arise ;
No aid, bright Beloved ! can reach me save GOD above,
For a blood-lake is form'd of the light of my eyes with

love !

v.

Until yellow Autumn shall usher the Paschal day,
And Patrick's gay festival come in its train alway —
Until through my coffin the blossoming boughs shall

grow,
My love on another I'll never in life bestow !

VI.

Lo ! yonder the maiden illustrious, queen-like, high,
With long-flowing tresses adown to her sandal-tie —
Swan, fair as the lily, descended of high degree,
A myriad of welcomes, dear maid of my heart, to thee !

80

Irish Popular Songs.

CUJl 0<tt)K2l,
I.

41) Cf)l Ott)tl4,

'S6 n)o bjtdi)T4 f)4C b-):6r"O4)n
14ti) T>O cr|i ):4O) tfo C64i)i)-T4,
Md 4 n)-b|ioll4C
n)0

4)]t b)6
'T 5° i)-64ldc4

n.

b4)tt )f)Ti)r)
M4 '0641)1*4 l)ott)
-cu n)o

4J)

21'f 4 Md|t4 4T) CYJt OTT)|14,

)f 'D64T * po5?4)i)T) 'DO berl !

III.

it)o c|to)'6e

21 Cf I -DJU5 Tl)4|l 4t) 73-011)411

16 'ji C4)ll 11)6 11)0 51)401-6
41) ^011)1)416

Tj 340-6,

21' r 30 b-fejcj-D n)6 n)o bdUcz;
213 54b4)l bdjtiie 34)16-4-6 bYj-66.

Irish Popular Songs. 81

AMBER-HAIR'D NORA.

0 ! amber-hair'd Nora,

That thy fair head could rest
On the arm that would shelter

Or circle thy breast !
Thou hast stolen all ray brain, love,

And then left me lone —
Though I'd cross o'er the main, love,

To call thee mine own !

ii.

Why, maid of my bosom,

Should falsehood be thine ?
Thou hast promis'd to wed me,

Though wealt> were not mine ;
The dew-sprinkled grass, love,

Scarce feels my light feet,
And, amber-hair'd Nora,

My kisses are sweet !

in.

My fair one is dwelling

By Moy's lovely vale —
Her rich locks of amber

Have left my cheek pale —
May the king of the Sabbath

Yet grant me to see
My herds in the green lanes

Of fair Baile-ath-Buidhe !

82 Irish Popular Songs.

CU4T>4r 4Tt)4C ?4'

>O bu4)l

<t)o CU4.U At) t>fivj

21 li)b i)4 cojlle

t)o p|te4b TTJO c|io)'De le 5|ie4f) 'D),

5UJI ^6)5-1)641) ^411) ) !

ii.

U4)]t 54b4)tt)te 4tt)4C T)4

U4)Tt) ti)o

t1)4fl |ldr 4 t)-

l T)4 T)-f b4ll,

Jt b]t6454 ) 1)4 Venus

4 C)c c|i\)fje C4ori)4,

4
III.

'DO 3ti4'6r4 cUo)-6)5 Tt)6,

c 4 Ti)-b)-6e4t) r^ i

i)f rt)4)l TJOI) ^-54054!
T>O 5T))-6 41)

'D411J T>4

6

50

Irish Popular Songs. 83

THE GRACEFUL MAIDEN.

One morn when mists did hover
The green-wood's foliage over,
'Twas then I did discover

How painful love may be ;
A maid, 'mid shades concealing,
Pour'd forth her voice of feeling,
And love came o'er me stealing,

She's a dear maid to me !

ii.

When through the valleys roaming,
I see my bright love coming,
Like garden-rose all blooming,

Or flower of the apple-tree ;
Bright Venus she's excelling
Fresh from her ocean -dwelling,
Her soft, round bosom swelling,

Her foot-falls light and free.

in.

" Thy love hath left me dying ;
The heart where love is lying
Will find what torment trying

Round ruin'd hopes may twine ;
And long I've borne the token,
But now it must be spoken,
How thou my heart hast broken,

Who never canst be mine !"

84 Irish Popular Songs.

IV.

21 <5J5-TW ^13, VA

5o n)' twiwe -DO

4)o lejsjrrw ?6w o'r) b-p&w -cu
4)4 n)-b6j-D)|i Ijoni 4

T^4 Tt)0 CAtl^-D 4}Jl 54C
l'r COjlU54t>

C4 'o-/G6j5Jtt)re cun)

v.

djb, 4

5o

-cu -cv;

50

]b t)4 cojlle

30 'ceirtjm ni4 t)64ti4i|i bji.645

21' t 'C40]t Ojl-C Tt)0 CYJT •

VI.

21*

<Do -CU5 -GU ]tMH) 6'r> b

4 ^r ;

50 'D-'C|ie4b):4C C40J|ie Tt)40l4,

cfl 4 5-cinii, t)4 rt^l^e,
ri-'D64r)^4'6 n)' 4^1^54-6 c6jle,
21*

Irish Popular Songs. 85

IV.

" 0 ! thou of misery telling,
If truth thy tongue 's impelling,
I'd ease the pain that's quelling

Thy life, were mine the cure.
But watchful friends surround me,
With promise strict they've bound me,
And if they wandering found me,

What ills might I endure I"

v.

" Tell them, O, light-limb'd maiden,
Thy bloom with grief is fading —
Where groves are foliage-laden,

Thou'lt stray all lonelily :
I'll for thy coming pine, love,
Where the dark wood's boughs entwine, love,
And O ! what guilt is thine, love,
If false thou be to me !"

VI.

" Alas ! how oft thou'st riven
The vow thy lips had given,
While shone the light of heaven,

Or verdure deck'd the plain,
Till sheep, each silly rover.
Would plough the mountains over,
Thou wouldst be my true lover —

But lo ! the hope is vain !"

86 Irish Popular Songs.

VII.

51^4^541-6 tt)6 101)5 redh^J-oe,
2l'f ]14C)"4)-6 lt)6 50 /pl4T)'O]tVJ]*,
21 11)641*5 1)4 'O-<C)0]t'C4 54U-D4,
r) 114)564-0

B'io-6 -DO 11054 i:e4|i poroa 454-0,
<t)o

i.

b4]tC b'4T)4Tt) tf 4 t)-4T)4C41]t

C41T5 cob4]fC4c 51-6 bn-6 b4tib4jv64 niton) e 4r) 14,
T">ti4T; Ur4)-6 4t) t4)it5e d boi)t) 50 b4]i,

I4l) COJtlt) -6) t)) 54b4T) O r'CIYjf1 5° Cfl4t)T) !

4 t4r), 4 b4ji 4 I4n,
21 5fi4-6 rj4 lift), 4 CY^-O 'o
21 14 1) — 'rl 41) b4-o b|te4-6

* Duan an Bhad6ra, the Boatman's Song. I have copied this
spirited sea-song from the second volume of Mr. Hardiman's
"Minstrelsy," where it is left untranslated. Mr. Hardiman says

Irish Popular Songs. 87

VII.

"And now, with white sails flowing,
To Flanders I'll be going ;
I'll seek the vineyards growing

In distant Gaul and Spain —
Proud maid, no more I'll woo thee,
No more with love pursue thee ;
Another mate may sue thee,

And plough for thee the plain !"

THE BOAT SONG.

i.

Bark, scorning every peril of the angry spray,

Safe shelter mid the terrors of the storm com-

pass'd way ;

When yawning billows redly roll from ocean's cave,
From stern unto quivering mast she ships no wave !

CHORUS.

A flowing tide, a flowing tide,
My secret love, my worldly store,
Flowing — my brave sailing boat !

that this marine ode is " well known along many parts of the Irish
coast, but particularly the west." A translation of this and other
Irish songs, by Mr. (now Sir) Samuel Ferguson, will be found in
the Dublin University Magazine for November, 1834.

83

Irish Popular Songs.

ii.

<I)e't) 3-c4el
C4et-b4itc

21

411
crjrt)in

O4T)

3411 C4ti),

45

41)4541-6 4t)
4 t4n, 7C.

in.

C|i0)t)-C4nn4)5 3^ltb 341)
o inim-r^ b|te4tr)^5 -DO
il 5-cu4T)-ro, 50 b-ip4C4 -cf b4<o

70.

IV.

2lr crjrt)it) lion), 4 T>ub4i|vc 4)4O]te4T) 5U|i
tt)6 -DO 5ti4TJ,

JS 5Ufl 4b' 4)Tl 4t) 5-CU4T) TO JT bf4t) T>4TT) 45 4TT)4|IC

54C 14,

2lc rll^'CSOS ^11 /C4b4fl?41T) 4)tl 4 b-f4C4T T>e b4)'D

Se4c 4t) r)U4t)-b4|tc 4'r^ conjpUc-c 45 KAPHAWS 'r

21 b4ft 4 I4i), 70.

********

* Daollean, a rock off Blacksod Bay.

Irish Popular Songs. 89

n.

When draperied in her glorious trim of stainless dye,
The snow-white sails of canvas bleach'd 'neath India's

sky,

Saw you her arrowy figure cleave the ocean vast,
GOD'S favourite mounting on the wave before the
blast !

A flowing tide, &c.

in.

O, Dielion, tempest-beaten rock, all rough and dark,
Look forth, and see beneath me now this bounding

bark,

And say, if e'er thou boat beheld within this bay,
Wave-mounted, cleaving, confident, like mine to-
day !

A flowing tide, &c.

IV.

Then answer'd ancient Dielion thus — " long ages o'e^
I've look'd abroad upon the bay that girds the

shore —
But look'd in vain for boat or bark so swift and

brave

As thine and all its gallant crew, to stem the wave ! "
A flowing tide, &c.

90 Irish Popular Songs.

v.

21 4TI4JJ1 1)4

T>O con)4ijice frr* ) 4 i)-)or 41)
34tib

Ujii*

21 b4ft 4 Un, 70.

16

Ot)

114 3-C40JI, T)4 5-C|14Ob, T)4 5-C|lU4C,
, T)4 T^UTD fl4 T40JI, 1)4 TIU4J,

T>|te4C'G, 114 T5-'Ctl6411 5411 5|IU4JHJ !

Oc oc or) ! it brieoj-ce nure,

54T) c^-o, 3411 com, 3^n cdip, 341) cir^e,

54i) rut-c, 34]) red-o, 341) rpoiji-c, 5411 TP?OT)ii4'6

O re6l4t> 11)6 CUTl) U4)5T))t v

II.

30 )-e45 ^0

(t)4 -04)111 T>4 Cl6)Tl, T>4

* There is a want of strict connection between this stanza and
the preceding one. The intervening passages necessary to the
sense seem to have been lost.

Irish Popular Songs. 91

FATHER OF NATURE ! how that boat comes dashing

down,

Impetuous where the foamy surges darkly frown —
O ! may THY mercy yield us now the sheltering

shore,

Or yonder terror-stricken bark shall whelm us o'er !
A flowing tide, &c.

FAREWELL TO THE MAIG.

A long farewell I send to thee,
Fair Maig of corn and fruit and tree,
Of state and gift, and gathering grand,
Of song, romance, and chieftain bland.

Uch, och 6n ! dark fortune's rigour —
Wealth, title, tribe of glorious figure,
Feast, gift — all gone, and gone my vigour,
Since thus I wander lonely !

ii.

Farewell for aye to the hearts I prize,
The poets, priests, and sages wise,

t The River Maig, in the County Limerick.

92 Irish Popular Songs.

toon) c4irvoe cleib, 541) cUon, 340 cUuii),

541) C41TT), 541) C401), 341) C|l40r 3^^

Oc oc or), 7C.

in.

Sl4n -04 Sir
4>4 Ttii)4ib 50

<t)4 5-C4)l, TD4 3-c6ll, ^4 3-C40n

4)4 b-pri4r3j "04. b-plei-o, -04 n)6ir), "O4,
Oc oc drj, 70.

IV.

TJ4TI 401) T501) Tl6 T)4]l

4t; cutt) rl&lb 4 3c6it) 4rrj
SI 31t4-6 rt)0 cl6]b b) r)6)|iir)

Oc oc drj, 70.

v.

^411)145, -cri^it, 'r If

TT)-b4ri|l 4t1 -Ctt^jb 341) 4O1), T1)01)U4TV !
4'r 340TJ 4

Oc oc or), /c.

VI.

401)

led rt)6, 4'r i)1 ^151-0 Ie4it) clu4jr),
le c6jle 43 pl6i-o T>4

C4 1)-4)'C ? C4 b'^ ? ^ 'C40b 4TI

Oc oc or), 70.

Irish Popular Songs. 93

And bosom friends, whose boards display
Fair temperance blent with plenty gay !
Uch, och on, &c.

in.

Farewell to the maids my memories bless,
To all the fair, to their comeliness,
Their sense, their fame, their mildness rare,
Their groups, their wit, their virtue fair !
Uch, och 6n, &c.

IV.

Farewell to her to whom 'tis due,
The Fair-skin, gentle, mild-lipp'd, true,
For whom exil'd o'er the hills I go,
My heart's dear love, whate'er my woe !
Uch, och on, &c.

v.

Cold, homeless, worn, forsaken, lone,
Sick, languid, faint, all comfort flown,
On the wild hill's height I'm hopeless cast,
To wail to the heath and the northern blast !
Uch, och on, &c.

VI.

If through the crowded town I press,
Their mirth disturbs my loneliness ;
And female groups will whisper — see !
Whence comes yon stranger ? — who is he ?
Uch, och on, &c.

94 Irish Popular Songs.

VII,

<t>onj c4)jvoe 4Ttl 5401^341)

2i'r n)6 4ti) era* 43 AT)

le it4)£e 4 b-p6jrj 4 3c6jn 4)jt
541) 41)46^ 54n rsl^jp,

Oc oc on, 7C.

VIII.

O T>4il 41) cl6)Tt -64T1) c£jle t)U4-6,
Cojr ^)4)3e 30 l)-eti5 i)) l)-6 n)o
5o bri4T; le4Tt) ]t4e >(c4)n) y.&vt Ie4n) cu4c,
le Ti)i)4)b 4t) i>r4054)l CY^JI
Oc oc dn ! it)o b|idt), n)o ri

<5jt, A'T P034 bttrjr)r)e4ll,
etjb 541) fd-D, 541)

341) )On)4-D f U4T>4J|1 !

PLUK iNl^l 2t)-B2lN 4)O^N 05.

30

21 plUfl 1)4 Tl)-b41) 'DOt))) 03,
^ll ^e4(^ 45UT H)64T> Tl)4Tt

21 plf |i 1)4 it)-b4i) 'ooi)!) 03,

* Pliina m-ban donn 6y, Flower of brown -haired Maidens. This
beautiful song, which breathes the very soul of love and sorrow,
seems to have been written at a period when famine afflicted the
land. The poet's mistress declines, through dread of hunger, to

Irish Popular Songs. 95

VII.

Thus riven, alas ! from bosoms dear,
Amid dark danger, grief, and fear,
Three painful months unblest I rove,
Afar from friendship's voice and love !
Uch, och on, &c.

VIII.

Forc'd by the priest, my love to flee,

Fair Maig through life I ne'er shall see ;

And must my beauteous bird forego,

And all the sex that wrought me woe !
Uch och on ! my grief, my ruin !
'Twas drinking deep and beauty wooing
That caus'd, through life, my whole undoing,
And left me wandering lonely !

FLOWER OF BROWN-HAIRED MAIDENS.

Oh ! if thou come to Leitrim, sure nought can us
sever,

A phlur na m-ban donn 6g !
Wild honey and the mead-cup shall feast us for ever,

A phlur na m-ban donn 6g !

visit with him the County of Leitrim, maugre all his glorious
painting ; and he concludes his song with a burst of fierce love,
chastened down by grief and Christian resignation.

96 Irish Popular Songs.

T)4 U)l)3 11

b4Ttri4t>4)b 1)4 T>-t;on) 4'r riW ^3 ?)Ue4-6 d'n

-DO'-D t>4jl,

pltt|l 1)4 TI)-b4T) T>0r)t) 65 !

II.

164*3, 41

d bed

Tt)-b4t) -D0t)ti 05 ;

064-0 ^eAtin lion) be)* coi-oce 341) t
43
n)o

n)-b4n 'oonn

III.
COT)4)tlC Tl)6 45 Ce4dC CU34TTJ ) -C|t6 14|1 4T)

4i) 5-ced-D,

B) tt)6 43 C4)T)-c 4'r 45 cori)ji4t> le)

50 T)--De4C4TT)4tl 30 p4)|tC 1)4 TT)-bd.

S^-64n)4)]ii)e riot A lV)b 4i) t4)l,

5o T)-'CU5 ti)6 T3) I'Cjtlob^ ^4O) n)o 14) ri),

1^4C b-^Vjl COJJl -D4 T)--D641)4-6 t) ^)AC l)-)OClp4Jl)T) 4

4)o tplf ri t)4 it)-b4r) -001)1) 05.

Irish Popular Songs. 97

I'll show tbee ships and sails, through the vistas

grand,
As we seek our green retreat by the broad lake's

strand,
And grief would never reach us within that happy

land,

A phlur na m-ban donn 6g 1

n.

To Leitrim, to Leitrim, in vain thou would'st lead me,
Duirt phlur na m-ban donn 6g.

When pale hunger comes, can thy melodies feed me ?
Duirt phlur na m-ban donn 6g.

Sooner would I live, and sooner die a maid,

Than wander with thee through the dewy forest
glade ;

That thou art my beloved, this bosom never said,
Duirt phlur na m-ban donn 6g.

in.

Over the mountain I once met the maiden,

As a star through the mist might glow ;
We reach'd, while I told her my tale sorrow-laden,

The field of the kine below ;
And there, in the hollow by the hedge-row tree,
I plighted her a promise, till life should flee,
To bear all the blame of her true love for me,
Mo phlur na m-ban donn 6g.

D

98 Irish Popular Songs.

IV.

4'r tt)o cti4t> 3411 n)6

21)0 plU|l 1)4 tt)-b41) T>01)1) 03,
C40l 4tlT>, T10 -41]! 64)111 75^6,

03,

oj-oce
45

sjte

4t) cr njui)4 )?454)'D n) njo
i n^ n)-b4i) T;ot)i) 03.

21
21

4)' ^45 T5U Itl'lfj-C)!) bU4]t'C4,

2l'r A'T* '6)4)'6^ i)) B
-'C15)'6 -cii

2l'f 6lllo34-6 l)OH) ):4 51641)1)^4^ CU4J1),

curt)4)-6 4'r 'crjfire 4'-o -6)4)-
2l'r b6)t> ti)6 co it) T>ub le 3114 1.

le n))i)-ci)C)r 4i) bjtolUjc b

Irish Popular Songs. 99

IV.

Alas ! my sad heart, that I kiss not thy blushes,

A phlur na m-ban donn 6g,
On a rich, lofty couch, or a heap of green rushes,

Mo phlur na m-ban donn 6g.
Alone, all alone, through the beautiful night,
Laughing in the fulness of our hearts' delight ;
Alas ! if thou be not mine, how woful is my plight,

A phlur na m-ban donn 6g !

LITTLE CELIA CONNELLAN.

0 ! pearl- deck'd, beauteous Celia,

My first love of mildness rare !
My life full fast is fading,

My soul is weary, vexed with care ;
Come, snowy-bosom'd maiden,

And rove with me the valleys deep,
Or darkest gloom shall seize me,

Till in the pitying grave I sleep !

or.

Come, place the cups before us,

Let choicest wines their brims o'erflow-
We '11 drown, in draughts oblivious,

The memory of her breast of snow ;

100

Irish Popular Songs.

21 piu

N4

r ir

clurt) t)4 t)-64t),

4)4 Ttj-

in.

jt) 4'r n)in crie4r,

O tYj-cjTi) ol-oce 30 ii-^jjied^t) 14,
4

30 n)-bj4-6

341) c4Tt)

21

-c

B)t>jn) 541) c6)U 541) 41-cne,

'S6 4n -c-e4C|t4ni) T30 b'^e4tiit lion) ;
B)'De4i)t) tt)o 60^4 t ^1^404) '6'ce,

215UT C4)l)n) 104^5 TTJO C4|t4b4'C,

2lr b)o-6 4 i)-'De4|ii)4i
2lc-c /ce4i)ti4)'6 l)on) 4

Irish Popular Songs. 10 L

Her neck, that's softer, fairer

Than silk or plumes of snowy white ;

For memory wild pursues her

When sever'd from my longing sight !

in.

Were thou and I, dear Smooth-neck !

Of mild cheek and bosom white,
In a summer vale of sweetness

Reposing through the beauteous night ; —
No living thing around us

But heath-cocks wild till break of dawn,
And the sunlight of my bosom

Were little Celia Connellan !

WHISKEY, SOUL OF REVELRY.

THE POET.

Whiskey ! soul of revelry,

Low in the mud you seat me —
Possess'd with all your devilry,

I challenge foes to beat me —
Behold my coat to shreds is done,

My neckcloth down the wind has run-
But I'll forgive the deeds you've done,

If you to-morrow meet me !

102 Irish Popular Songs.

II.

411

'DO

4
4'r

?l'r COC 4 T>-'C<5j!) 4T)
21* I" b)0t> 1)4 l)-40)|t 4 t)-4]Ce

III.

J Tt)0 ^Ojl 45HT "10 C4|t4 TJU,

Tt)0

C|tU4C, 45Uf Tt)O
ie4b4'D C^Ud-D, Tt)0 C4p4)U TJU,

b4 'r nio C40)|te 3C4U til,

546
<Do c

IV.

'S4 ii)^

jt ^41^116411)40 "CO p05 IjOll),
"N4 T))ill'CY;5 fOl* TJO'tll C411'C4r}tl4C'C,

21* f S^T1 "oe't) c]Tie4^ coiji ni6,
Ie4ri4ti-ri5e lioni 5in 4'r nuni,

540^1 T)4rii bjt40t) "oe'ri TJ-rulT
llOTt! T>4ril bowl o' punch,

.Irish Popular Songs. 103

n.

WHISKEY.

When after hearing Sunday mass,

And your good psalm reciting,
Meet me at the wonted place,

'Mid tavern joys delighting,
Where polish' d quarts are shining o'er

The well-cock'd barrels on the floor,
And bring sweet rhymes, a goodly store,

To grace my smiles inviting !

in.

BAUD.

My store, my wealth, my cousin bland,

My sister and my brother,
My court, my house, my farm of land,

My stacks — I crave none other,
My labour, horses, and my plough,

My white-fleec'd sheep, my cattle thou,
And far beyond all these I vow

To love you as a mother !

IV.

Mild, beautiful, beloved one!

Priz'd o'er all maids and misses !
O ! quit me not, or I'm undone,

My fathers lov'd your kisses —
My haunting sprite is rum, I trow ;

My blood relations, draughts that glow ;
My gossip is the punch-bowl — O !

I'll haste to share their blisses !

104 Irish Popular Song*,

v.

Bj e4'oji4}fj 16 ti4)te
i)1 t4t)4i) bjtdt) 4ti)

'Ntl41|l 1)0^13411 CU54TT) 4J|l Cl4|l

e4rjb -cii,

tt)O 4"C4)]t 'CU,

7t)o 00^4-11)011 'f n)0 ]t4pp4]t T;U,

' 50

VI

Txij-o ti4 3401^4

<t)4 b-):u)l 4

4'r

4T)

ted b|i40t) T>O bl4ire4'6 'be,

5|t4-6 le n)-4i)4ti) rt)o

21 ctioi-6e 'r ^ l)-4i5ne 45 54i|t)-6 tjort),

21 C]OC4 564l4 H14JI bl4£ T)4 tl-i
TT)4|t 64l4 14

* Paistin Fionn, the Fair Young Child.

Irish Popular Songs. 105

What quarrels dire we both have had

This year of sorrow sable!
But Ol my bounding heart is glad

To see you crown the table —
Dear fondling of the nuptial nest,

My father kind, my mother blest,
My upper coat, my inner vest,

I'll hold you while I'm able !

VI.

The friends, the very best I saw,

While through the land a rover,
Were brandy, ale, and usquebaugh — •

Of claret I'm no lover ;
That liquor may the clergy bless —

Though great I deem their holiness,
They like the claret ne'ertheless,

When Mass and psalm are over !

THE FAIR YOUNG CHILD.

My Paistiu Fionn is my soul's delight —
Her heart laughs out in her blue eyes bright ;
The bloom of the apple her bosom white,

Her neck like the March swan's in whiteness !

106

Irish Popular Songs.

TF4.

Tl)0 flUt), TT)0 JtUrj, 11)0 |IUT),

11)0 jiui) 4*r n)0 5tUt> 5e4l,

tt)0 JtUl), 4't ")0 C0n)4t) 50

541) nn 43411) O'TJ

ii.

4Tf)4ir)

Jr 'CUT4 Tt)0

H)0 Itt), Tt)0 |IU1), /C

in.

4)4

Mo

I4r) re le4t)T) ;
n)o Urt)

Tt)0

T7)0

iv.

O
21
'S i)4C

11)0 11U11, 7C.

*rt) 1^-66 50 boc-c,
41) T>)l)i)n )-o)ii -64 to|i,
cfioj-oe, 4'r n)e 45 r")U4ii)e
le -pe4-D 'i)4 le 5140-6 til !

'CUT4 Tt)o

, ti)0

4*r

7C.

Irish Popular Songs. 107

CHORUS.

O ! you are my dear, my dear, my dear,
O ! you are my dear, and my fair love ;

You are my own dear, and my fondest hope here ;
And O ! that my cottage you'd share, love !

ii.

Love of my bosom, my fair Paistin,
Whose cheek is red like the rose's sheen ;
My thoughts of the maiden are pure, I ween,
Save toasting her health in my lightness 1
O ! you are my dear, my dear, &c.

in.

Were I in our village where sports prevail,
Between two barrels of brave brown ale,
My fair little sister to list my tale,
How jovial and happy I'd make me !
O ! you are my dear, my dear, &c.

IV.

In fever for nine long nights I've lain
From lying in the hedge-row beneath the rain,
While, gift of my bosom ! I hop'd in vain
Some whistle or call might awake ye !
0 ! you are my dear, my dear, &c.

108 Irish Popular Songs.

v.

n)0 C41t4)T> 'r Tt)0 c4)flT>e 540jt,

Tt)6 4 tt)4)Jte411 Tie ri)T)4)b 4 ^4054)1,

ri)o citoj-6e,

njo |iut), n)o |iit), rrjo

njo |iuii, 4'r THO 3114-6 3e4l,

TtJO tlUI), 4'T ttJO COtT)4T) 50 bU4t),

njo cfie4c 3411 "cu 43411) O'TD

60541) Ku4'6
i.

Seotrf *o)l ! r)4 30)! 50
4>o 3e4b4)|i 54T)
<t)o b) 45 4T5 tlfire^lt 11105-64

2i?i 6)it)j)t) i4t-5i4)r cvjnt) 4'r 6054)1) !
Seotd -co)l, t)4 50)1 30 ^
Seotd le)i)B, 4 cun)4)i)i) '

11)0 CU)5 C64T) CUrf)4-6 50

T3u 45 rH^r 't)4 rwl 4'r 'oo con) 5411 Ion !

* The Seotho, or Lullaby, was the extempore effusion of Owen
Roe O'Sullivan, to soothe the infantile sorrows of an illegitimate
child, which one of the victims of his illicit amours had left him.
Oweu's patience and promises, it is said, were nearly exhausted.

Irish Popular Songs. 109

From kinsfolk and friends, my fair, I'd flee,
And all the beautiful maids that be,
But never I'll leave sweet gradh mo chroidherf
Till death in your service o'ertake me !

CHORUS.

O ! you are my dear, my dear, my dear,
O ! you are my dear, and my fair love ;

You are my own dear, and my fondest hope here ;
And O ! that my cottage you'd share, love !

THE LULLABY.

Hush, baby mine, and weep no more,
Each gem thy regal fathers wore,
When Erin, Emerald Isle, was free,
Thy poet sire bequeaths to thee !

Hush, baby dear, and weep no more ;

Hush, baby mine, my treasur'd store ;

My heart-wrung sigh, my grief, my groan,

Thy tearful eye, thy hunger's moan !

when the unfortunate mother, urged by maternal feelings, again
returned to claim the child.

+ Gradh mo Chroidhe, Love of my Heart. The Irish is to le
pronounced as if written Gra ma cree.

1 10 Irish Popular Songs.

ii.

4)O 5e4b4)|t 4)fl 'D-'Cf 1* 41)

4)0 bj 43 4i) •o-'Cjiirp, 4

'S 4i) -c-Tl^r; T>O b) 45 2l)40JT snlot) T>)on 'DO *T

!

Seotd coil, 70.

III.
64-o-ctiort) 05,

4)0 5e4b41|l 4n Till AT) 'T 41) 'D]4ll41'C OJJl,

Bj 45 lP4ilbe Tiont) b4 -6641) 4i|t tditt,
215 1111454*6 4)4f)4i]t d Cl)4)Te4l 30 Bdjf)i).
Seotd toil, 70.

IV.

4)0 5e4b4i|t cloi-6e4Ti) Tol^i

4)0 b) 45 B|t)4t) 43 11)4]! 1)4

2lt) bo54 b) 45 ^Duiic4'6 4t)
215 C4t CluAW-T^itib 43 T;|ie4r34ii t)4 T)-
Seotd cojl, /c.

v.

t)4 ti-

O

JoUii ftft^€?, C4ol CJIOIT; ceojl,

'S T«4b4C t)A Tdl3 o S3e)l5 t)4

Seotd toil, 70

VI.

4)o

Irish Popular Songs. Ill

ii.

I'll give the fruit the Phrygian boy
Bestow'd on Venus, queen of joy —
The staff of Pan, the shepherd's God,
And Moses' wonder-working rod.
Hush, baby dear, &c.

in.

The steed of golden housings rare,
Bestrode by glorious Falvey Fair,
The chief who at the Boyne did shroud,
In bloody wave, the sea-kings proud !
Hush, baby dear, &c.

IV.

Brian's golden-hilted sword of light,
That flash'd despair on foeman's flight ;
And Murcha's fierce, far-shooting bow,
That at Clontarf laid heroes low !
Hush, baby dear, &c.

v.

The courier hound that tidings bore
From Cashel to Bunratty's shore ;
An eagle fierce, a bird of song,
And Skellig's hawk, the fierce and strong.
Hush, baby dear, &c.

VI.

I'll give, besides, the golden fleece
That Jason bore to glorious Greece ;

112 Irish Popular Songs.

Tl)e4fl

Bj 43 CuculUm ce4i)t)-itjiji4t> t)4
Seo6d 'cojt, 70.

VII.

<t)o 5e4b4j|t rlc434 Sljcjll b4 C4lri)4

'S C|l40)re4C FjTJt) 54t) TT)0)U

Bj^e Cot)r)4)l T>O b-ii|i)*4'6 le
'S T314T; 3641 N40jr d c]t40ib

Seo'co "cojl, 70.

VIII.

4

'S 41) 54-C b) 45 4))4Tltt)U1'D 'CtlM'C T)4 160541),

r)4 v1^T)e -CJ140C

Seocd -co) I, 70.

IX.

<t)o 3e4b4)|i 4 le)t)b n)4]t trjlle led
oj^e -o'^jr 54C c6jn) -oo't)

ri)4|lb f e4]fDj4t>4 b4 T5)4T) 4

'S CoijUoc U4f4l, H4)b|ie4c 05 !
Seotd Tiojl, /c.

X.

4)o se4b4)]t 341) rije4|tb4ll 4)F4|i|t4i'6 340
T)iibji4'6 <t>ubUji)5 OJ3,
4 3t)YJf 4 5cdft)5]a4

'S 6 45 rioft-cufi Uoc 30 1:401) T>4
Seotd -cojl, 70.

Irish Popular Songs. 1 1 3

The harp- sung steed that history boasts,
Cuchullin's — mighty chief of hosts !
Hush, baby dear, &c.

VII.

His spear who wrought great Hector's fall,
The mighty javelin of Fingal ;
The coat of mail that Connal wore,
The shield that Naois in battle bore.
Hush, baby dear, &c.

VIII.

Fingal's swift sword of death and fear,
And Diarmid's host-compelling spear ;
The helm that guarded Oscar's head,
When tierce Mac Treon beneath him bled.
Hush, baby dear, &c.

IX.

Son of old chiefs ! to thee is due
The gift Aoife gave her champion true,
That seal'd for aye Ferdia's doom,
And gave young Conlaoch to the tomb.
Hush, baby dear, &c.

x.

Nor shall it be ungiven, unsung,
The mantle dark of Dulaing young,
That viewless left the chief who laid
Whole hosts beneath his batttle blade !
Hush, baby dear, &c.

114 Irish Popular Songs.

XI.

4)o 5e4b4)Tt ]t)O5

JT 4)lr)e 3n40), *r IT C40jTje

N4 '

5o b4i) t)4 'CM0) 34t) T;)TT) 5411

Seotd tojl, 70.

XII.

<Do

c T)ebe, 411 Ti6ilc)oi) 05,
Cljun) JuprceTi t4oc ti4 T)--o6)'ce 4)fi bd|vo.
Seotd coil, /c.

XIII.

r) 54T;

4)o tij4C C4lrrj4
^411 b4 rt)irnc 4T) Tbl^rin 50

Seotd toH, 7C

XIV.

4)o 5e4b4iT

2l'T ^4T)4C T)4

2lc d c)tt) T>O

T1) 56411^4-0 U4)?T) 'Drj'C T>U4JT

Seo-cd -cojl, t)4 30)1 50
Seotd le)T)b, 4 cun)4)nn J

^t)0 CU)5 CC4-D CUTT)4-6 50

TJII 45 Tile 'n-A T^l -A'T ^0 c^") 5^T) Ion !

* Beoir was a delicious liquor, anciently made from mountain
beatb. Tradition asserts tbat the Danes alone possessed tbe secret

Irish Popular Song ft. 115

XI.

And eke a maid of modest mien,
Of charms beyond the Spartan queen,
Whose awful, soul-subduing charms
Mov'd Priam to dare a world in arms !
Hush, baby dear, &c.

XII.

For thee shall sparkle, in my lays,
Rich nectar from young Hebe's vase,
Who fill'd the cup in heaven's abodes,
For Jove, amid the feast of Gods.
Hush, baby dear, &c.

XIII.

Another boon shall grace thy hand,
Mac Duivne's life-protecting brand,
Great Aongus' gift, when Fenian foe
Pursu'd his path with shaft and bow !
Hush, baby dear, &c.

XIV.

And dainty rich, and beoir I'll bring,
And raiment meet for chief and king ;
But gift and song shall yield to joy —
Thy mother comes to greet her boy !

Hush, baby dear, and weep no more ;

Hush, baby mine, my treasur'd store ;

My heart-wrung sigh, my grief, my groan,

Thy tearful eye, thy hunger's moan !

of preparing it, and also that for this purpose they divided the heathy
tracts among them, in preference to the arable land.

116

Irish Popular Songs.

Ne)U)t>e Bl)4i) r^^ I4)ri) lion) A C4J14-6 seal njo
4jjt T>O bp.434)T> i)<5 i)j ri)4)ti?e n)6
0 -cSjoii^f) 564! 4T)
d TtT4

bed

lOC4 K14C.*

njo

II.

Ioc4

t Cl)4r;,t
4 le4T? 45Ut 4

14

III.

Tt)0

5O

41)

50

cojfje UT) bj

45

b) I4i) 50

bitU4c.

* Baile-loch-readhach, the town of Loughrea, on the lake of
the same name, in the County Galway.

t Built -ath-diath, the Irish name for the city of Dublin. Our

Our

Irish Popular Songs. 117

NELLY BAN.

i.

0, sit beside me, Nelly Ban, bright favourite of my

heart,
Unless I touch thy snowy neck my life will soon

depart —
I'd swim for thee the River Suir and Shannon's

widespread sea :
Thou dost excel the beauteous maids of the town on

blue Loch Rea !

ii.
Were mine the town on blue Loch Rea, Portumna's

pleasant streets,
The city of the Battle-ford, and Limerick of the

fleets,
Unto thy tribe these precious gifts I gladly would

resign,
Could gifts like these incline them, love, to make thee

ever mine !

in.
My blessing take to Connaught back, the land of

friendship free,

And to my own beloved who is so far from me ;
On Thomond's dusky mountain, our meeting-place

we chose —
Swoln Shannon's waves detain'd me — in savage wrath

they rose !

historians say that Baih-ath-diath literally means the Town of the
ford of hurdles ; but as cliath might mean either a hurdle or a battle,
I have chosen the latter version as hetter suited to my verse.

118 Irish Popular Songs.

IV.

<t)ob te4m Ijonj t)4 tt)o

le45'G4Jl t)4

d Bl)4)le 46 C l)4t; 50
•CUT4 4 5[i4'6 5)1 4.)|i rM)T) B4)le Ioc4

K)4C.

v.

4)ob te^TT^ liottj 50 tt)be)'6)r) tt)4|ib

I4nj '6e4t 4ri4i]i'De T54 P10C4 45 4T) b^)
suji tvji; tt)6 4 i)i4'6 le4T? 4

T14

50

'B6 ^-ejK)WM J*

, |i<5 c4r).

546 Uoj ;
51)40?

'Be T)-6jnnn) 1 !

n-Eirinn i, literally means Whoever she be in Ireland.

Irish Popular Songs. 119

IV.

I would sooner than my gallant steed — I pass his

bridle-rein,
Or heirdom of the wide domain where stately deer

are slain ;
Than all that reach'd to Limerick of laden fleets this

year,
That in the town on blue Loch Rea I could behold

my dear !

v.

0 ! that 1 were laid in death far on a hill away,

My right hand high extended to feed the bird of

• prey,

Since, Nelly Ban, the theme of bards, I fell in love
with thee,

And thy mother says she'll have me not, her son-in-
law to be !

'BE N-EIRINN I.

In Druid vale alone I lay,
Oppress'd with care, to weep the day —
My death I ow'd one sylph-like she,
Of witchery rare, 'be n-Eirinn i!

'JBe n-Eirinn i!

120 Irish Popular Songs.

ii.

Nj <c]t4c'D4 nje 4)]t cejle
T"/ljU5 4ji t)4 i)-340)-6e4l 4jfi
N4 4t) b4b <5'i) n-o|t£)
Le 3ti4t> njo cl6)b, 'b6 ti-

'Be u-einiDn 1 !

in.

30 b4|l]l 4T) y6)]l T)4

6)5 -oo T>e4ljt4-6 4T)
TTJO cl6)b, 'b
'B6

IV.

1)4ft, <C40'D4C T)eU]14C b

), 3411 cejll,
le 3J14-6 -oo'n b6jt, 'be ii-

'Be u-emwn 1

4 p.n 4 5ce)t) 4r 341)

C)4 reol^-D 401) £t)l)4C <t)6 4tT)

)o clejb, 'b6

Irish Popular Songs. 121

n.

The spouse of Naisi, Erin's woe —
The dame that laid proud Ilium low,
Their charms would fade, their fame would flee,
Match'd with my fair, 'be n-Eirinn if
JBe n-Eirinn i!

in.

Behold her tresses, unconfin'd,
In wanton ringlets woo the wind,
Or sweep the sparkling dew-drops free,
My heart's dear maid, 'be n-Eirinn i!

'Be n-Eirinn il

IV.

Fierce passion's slave, from hope exil'd,
Weak, wounded, weary, woful, wild —
Some magic spell she wove for me,
That peerless maid, 'be n-Eirinn i!

'Be n-Eirinn il

v.

But O ! one noon I clomb a hill,

To sigh alone — to weep my fill,

And there Heaven's mercy brought to me

My treasure rare, 'be n-Eirinn il

'Be n-Eirinn it

122

Irish Popular Songs.

lVce T>4 CC4tl'C4'6 ^jof *

M4

n.

311 ft C4jle cjijot) t)4 3U4i|te4c4t),

4T)

4J11T b4 b4T)4l'C|l4 % '

4)4 TT)be]'6e4'6 4C-C 4T) K)5 43

Tt)0]t 4 l)-

III.

B4 T5C4r 4 3T140J T>4 tt)4Jfl}tt)Jr ler ]tU434'6 T)4ri)4'O,

BJ14TJ4 r)OT>4 45 r;4Ti|iYjr)5 540^6 'r biuro curt) b4b ;
PUi-o 50 Sjidi-De d b4t4f cif) 4t)U4r 30

215 T1J4C 4t) Kl5 4)

* In this political poem, composed by blind William Heffernan,
commonly called Uilliam Dall, Ireland is personified under the

Irish Popular Songs. 123

CAITILIN NI UALLACHAN.

How sad our fate, driven desolate o'er moor and

wild,
And lord and chief, in gloom and grief, from home

exil'd,
Of songs divine, and feasts and wine, and science

lorn,
We pine unseen for Caitilin ni Uallachdn.

ii.

Suppose not now that wrinkled brow, or unkempt

hair,
Or long years' rigour did e'er disfigure the queenly

Fair —
Her numerous Race would find their place on Erin's

lawn,
If the prince had been with his Caitilin ni Uallachdn.

in.

Fair were her cheek could we live to wreak the foe-
man's rout,

And flags would gleam to the breeze's stream o'er
victory's shout ;

And richest plaid on the happy maid may trail the
lawn,

If the prince had been with his Caitilin ni Uallachdn f

name of Caitilin ni Uallachdn^ or Catharine 6 Houlihan.

124 Irish Popular Songs.

iv.

le l)--atcY)fjj-6e cun) 11411 T)

C64P T)4 T3)0|l'C4, TMUlrij ^jtJTI), 'f CflU4C4)b

2*5 cujt tt)4t4jji'G qt)ce 4]

V

<t)0 Be4'C4J'6 T»4Ojt)e T>4'C4'D

b-^n^ri ;
4)0 T)e4|i'C4]'6 2t)4ojr 4 TTje4r3

•C|l4)t,

) U4lt4c4jT) !

StyOBI^N

4

21 St)job4fl 4 Krjflj 1T TJU T>O b4jrj 'ojort) TTJO cj4ll,

21 svj]ob4n 4 KYjn> ir cu cu4t)4]r

4|t14rij !

* I found these fugitive lines untranslated in Hardiman'9
" Minstrelsy," and have taken the liberty of transferring them
hither, and giving them an English dress, which they very richly

Irish Popular Song*.

IV.

We raise our eye with suppliant cry to the Lamb of

Grace
Who form'd the tide — did the lands divide — gave hills

their place —
Who spread around the seas profound, and bay, and

lawn —
To change the scene for Caitilin ni UallacMn!

v.

Who Israel led where the Red Sea sped its waves of

fear,
His table spread with Heaven's blest bread for forty

year,
In favouring hour gave Moses power and freedom's

dawn,
Shall come to screen his Caitilin ni Uallaclidnl

O, JUDITH, MY DEAR.
i.

O, Judith, my dear, 'tis thou that hast left me for

dead ;
O, Judith, my dear, thou'st stolen all the brain in my

head ;
0, Judith, my dear, thou'st cross'd between Heaven

and me,
And 'twere better be blind than ever thy beauty to see I

deserve. Siobhan is Anglicised Judith by the Scotch, and Johaimt
by the Irish.

126

Irish Popular Sojigs.

n.

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* This allegorical poem, in which the genius of Ireland, imper-
sonated by a queen of Faery, leads the charmed mortal through the

Irish Popular Songs. 127

ii.

Thy person is peerless — a jewel full fashion'd with

care,
Thou art the mild maiden so modest at market and

fair,
With cheek like the rose, and kiss like the store o'

the bee,
And musical tones that call'd me from death unto

thee !

THE VISION OF JOHN MAC DONNELL.
i.

One night, my eyes, in seal'd repose,

Beheld wild war's terrific vision —
When lo ! beside my couch arose

The Banshee bright, of form Elysian !
Her dark hair's flow stream'd loose below

Her waist to kiss her foot of lightness ;
The snows that deck the cygnet's neck,

Would fail to peer her bosom's whiteness !

n.

I saw her — mild her angel mien ;

Her azure eye was soul-subduing ;
Her white round breast and lip were seen

The eye of wonder ever wooing —

principal haunts of the fairy host, is valuable, if it were only for its
delineation of the mythological topography of the country.

128 Irish Popular Songs.

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Irish Popular Songs. 129

Her sylph-like waist — her forehead chaste —

Her ivory teeth and taper finger —
'Twas heaven, 'tis true, these charms to view —
'Twas pain within their sphere to linger !

nr.

" Fair shape of light ! thy lowly slave

Entreats thy race — thy travels' story."
Her white arm gave one beck'ning wave —

She vanish'd like a beam of glory !
My questioning call unheeded all,

My cries above the breezes swelling,
As, fill'd with woe, I northward go,

To Grugach's distant, fairy dwelling !

IV.

Through fair Senai — through Crochan's hall

I wildly chase the flying maiden ;
By fairy fort — by waterfall,

Where weird ones wept, with sorrow laden !
My footsteps roam great Aongus' dome,

Above the Boyne, a structure airy —
In hall and moat these wild words float,

" She onwards treads the haunt of Faery !"

v.

Mac Lir, I sought thy proud abode —

Through Creeveroe my question sounded —

Through Temor's halls of state I strode,

And reach'd Cnoc-Fhirinn spell-surrounded,

E

130 Irish Popular Songs.

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Irish Popular Songs. 131

By Aoivil-roe, 'mid wine-cups' flow,

A thousand maids' clear tones were blending ;

And chiefs of the Gael, in armed mail,
At tilt and tourney were contending !

VI.

The Smooth-skin fair, whose witching eye

Had lur'd me from my pillow dreamy,
'Mid shadowy hosts was seated high,

Her coal-black tresses wild and streamy —
She said, while shone her proud glance on

The form she knew that long pursued her,
" We much deplore thy wanderings sore,

Now list our wrongs from the fierce intruder."

VII.

" I weep, I weep, my woe-struck bands,

My country, hosts, and chiefs of bravery —
The cold, rude Alien spoil'd their lands,

And ground their strength in bitter slavery ;
Crush'd, weak, obscure, they now endure

Dark sorrow's yoke beneath the stranger ;
And the True and High in exile sigh —

Heaven, how I need each brave avenger !"

VIII.

" Say, O say, thou being bright !

When shall the land from slavery waken ?
When shall our hero claim his right,
And tyrants' halls be terror shaken ?"

132 Irish Popular Songs.

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M4C jon54r}t;4c bed rrje le ce4ls T;ri6 m' c|io)-ce,
-DO cUo)'6e4'6 |tdii)4tt)r4 ^4 5]t4'6 !

* Abhan-an Rlghe^ a river of the County Kilkenny. It is called
Avonreej or the King's River, from the death of the monarch, Niall,
who, about the middle of the ninth century, was drowned in ita

Irish Popular Songs. 133

She gives no sign — the form divine

Pass'd like the winds by fairies woken —

The future holds, in Time's dark folds,
The despot's chain of bondage broken !

ONE CLEAR SUMMER MORNING.
(.

One clear summer morning, near blue Avonree,

A stately brown maiden flash'd full on my way ;
More white was her brow than the foam of the sea ;

More holy her voice than the fairy choir's lay !
Her slight waist was chalk-white, her foot light and
smooth

Glanc'd air-lifted over the wild, grassy slope —
" Fair light of the valley," I said to her sooth,

" My heart's health is gone if you yield me no
hope !"

n.
At the birth of the maiden, a humming bee flew,

With a rich honey-shower, to her berry-red lip —
I snatch'd, from the fair one, the sweet, fragrant dew ;

'Twas rapture entrancing — but what did I sip ?
A sting from her red lip sped, swift as a dart,

Its way to my bosom — how woful to say ;
'Tis strange that I live with the barb in my heart,

While thousands have died of her love since that
day !

waters during a flood, while he was endeavouring to preserve the
life of a soldier of his train who had been swept into the current
of the river.

134 Irish Popular Songs.

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i.

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The poet, seeing a swarm of bees confused and wild at the loss

Irish Popular Songs. 135

THE VOICE OF JOY.

By Kilmore's woody highland,

Wandering dark and drear,
A voice of joy came o'er me,

More holy to mine ear
Than wild harp's breathing dreamy,

Or blackbird's warbling streamy ;
No seraph choir could frame me

Such soft music dear !

n.

More sweet than anthems holy

Brought seaward from Rome,
Than spells by wizards spoken

O'er stolen maiden's doom,
Or cuckoo's song inspiring

Where woods green hills environ —
Save love for one fair siren,

It banish'd my gloom.

in.

The golden bees were ranging

The air for a chief —
'Twas freedom's trumpet woken,

And dark tyrants' grief;

of the queeu bee, accepts the omen as a prognostic of the destruc-
tion of the English power in Ireland.

136 Irish Popular Songs.

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* The author of this beautiful love song is unknown ; but it
would seem that he was a native of the County Kerry, as this is

Irish Popular Songs. 137

And George, a homeless ranger —

His tribe, the faithless stranger,
Far banish'd — and their danger,

My glad heart's relief!

IV.

If o'er me lay at Shronehill

The hard flag of doom,
And came that sound of sweetness

To cheer the cold gloom —
Death's darksome bondage broken,

My deaf, dull ear had woken,
And, at the spell-word spoken,

I'd burst from the tomb !

FOR IRELAND I'D TELL NOT HER NAME.

One eve, as I happen'd to stray

By the lands that are bordering on mine,
A maiden came full on my way,

Who left me in anguish to pine—
The slave of the charms, and the mien,

And the silver-ton'd voice of the dame,
To meet her I sped o'er the green ;

Yet for Ireland I'd tell not her name !

the most popular song in that part of Munster. Tradition attri-
butes it to a young man who fell violently in love with the affianced
bride of his own brother.

138

Irish Popular Songs.
n.

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Irish Popular Songs. 139

n.

Would she list to my love-laden voice,

How sooth were my vows to the fair ;
Would she make me for ever her choice,

Her wealth would increase by my care —
I'd read her our poets' sweet lays,

Press close to my wild heart the dame,
Devote to her beauty the bays ;

Yet for Ireland I'd tell not her name !

in.

A maiden young, tender, refin'd,

On the lands that are bordering on mine,
Hath virtues and graces of mind,

And features surpassingly fine ;
Blent amber and yellow compose

The ringleted hair of the dame,
Her cheek hath the bloom of the rose ;

Yet for Ireland I'd tell not her name !

STANZAS SUPPLEMENTARY TO THE FOREGOING.
IV.

Sweet poet ! incline to my prayer—

For O ! could my melodies flow,
I'd sing of your ringleted fair,

If haply her name I could know.
You are censur'd, permit me to say,

Nor grieve I you suffer the blame —
Some blot doth her beauty display,

When for Ireland you'd tell not her name !

140 Irish Popular Songs.

V.

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o ti)t)4ib,

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2D4 bj-Dlll 4 bp4T> U41ll)re 4 4f)f4C'C !

* JBaile-ath-Shamhnais. Sallyhannis, a market town in the
barony of Costello, County Mayo. It liad a monastery for friars of
the order of St. Augustine, endowed by the family of Nangle, who.
in after time, took the name of Costello. It subsisted till the reign
of James I., and at the insurrection of 1641 was restored by some
friars of the same order. — Lewis's Topographical Dictionary.

Mr. Hardiman, who leaves this song untranslated in the first
\olume of the " Minstrelsy," says that it was composed by a friar

Irish Popular Songs. 141

O, Browne, of the pure spotless fame !

I never would marvel to see
A clown thus consigning to blame

Those charms that so beautiful be —
But you that have roam'd by the Lee,

And the scenes of the Suir did proclaim,
Why ask you my secret from me,

When for Ireland I'd tell not her name ?

THE MAID OF BALLYHAUNIS.

My Mary dear ! for thee I die,

O ! place thy hand in mine love —
My fathers here were chieftains high,

Then to my plaints incline, love.
O, Plaited-hair ! that now we were

In wedlock's band united,
For, maiden mine, in grief I'll pine,

Until our vows are plighted !

of the monastery of Ballybaunis, who fell in love with a beautiful
girl of that place. With every respect for the superior informa-
tion of Mr. Hardimau, I beg to say that this lyric, so creditable to
the poetic genius of Connaught, and which stands forth among the
happiest efforts of the pastoral muse of Ireland, was, in all likeli-
hood, written by a youthful student of the monastery, as the secoud
stanza bears clear proof that the lover is one not arrived at ma»-
hood, and who is subject to his father's control.

142 Irish Popular Songs.

ii.

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Irish Popular Songs. 143

IT.

Thou, Rowan-bloom, since thus I rove,

All worn and faint to greet thee,
Come to these arms, ray constant love,

With love as true to meet me !
Alas ! my head — its wits are fled,

I've fail'd in filial duty —
My sire did say, " Shun, shun, for aye

That Ballyhaunis beauty !"

in.

But thy Cuilin Inn* I mark'd one day,

Where the blooms of the bean-field cluster,
Thy bosom white like ocean's spray,

Thy cheek like rowan-fruit's lustre,
Thy tones that shame the wild bird's fame

Which sing in the summer weather—-
And 0 ! I sigh that thou, love, and I

Steal not from this world together !

IV.

If with thy lover thou depart

To the Land of Ships, my fair love,
No weary pain of head or heart

Shall haunt our slumbers there, love —
O ! haste away, ere cold death's prey,

My soul from thee withdrawn is ;
And my hope's reward, the churchyard sward,

In the town of Ballyhaunis !

* C&ilin l&n, fair flowing hair.

144 Irish Popular Songs.

mu)N.

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I.

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Brogha, Bruff, a town in the County of Limerick.

Irish Popular Songs. 145

THE LOVELY MAID.

i.

Long, long I'm worn and weak,
And pale my wasted cheek ;

And groans have rent

Where shafts were sent
My inmost soul to seek —
My sense of joy is dead,
The Church's wrath I dread ;

I'm wild, unwise,

My vigour dies,
My wits are scattered, fled !

ii.

The love I do avow

The beauteous Star of Brogha,

Hath heap'd dark blame

Upon my name,
And withering left me now —
Her hair, in wreathed flow,
Falls shining, quivering, low ;

Her rich, ripe eye

Bids thousands die
Beneath its arrowy glow !

146 Irish Popular Songs.

m.

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4ti 4U-6
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Irish Popular Songs. 147

in.

Lips, precious, musical,

Teeth, chalk-white, close-set, small ;

Hand, smooth, and fair ;

Form, statelier

Than wave-pois'd swan withal —
Once favouring heaven did will
That, downward o'er the hill,

Beside me came

The light-limb'd dame —
Faint tremblings through me thrill !

IV.

Low kneeling to the fay,
I vainly made essay

To melt her heart —
With shriek and start,
She wildly turn'd away :
" Begone !" the virgin said,
" Seducer, thou'st betrayed,
" With deed of guile,
" And tale and wile,
" Full many a Munster maid !"

PULSE OF MY HEART.

Before the sun rose at yester-dawn,
I met a fair maid adown the lawn :

148 Irish Popular Songs.

) 45

'S

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ii.

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co)-6ce —

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ii.

cl<5 4)|i tt)o
le

Cdii) c]4|i T>ub le l)-

Irish Popular Songs. 149

The berry and snow

To her cheek gave its glow,
And her bosom was fair as the sailing swan —
Then, pulse of my heart ! what gloom is thine ?

Her beautiful voice more hearts hath won
Than Orpheus' lyre of old had done ;

Her ripe eyes of blue

Were crystals of dew,
On the grass of the lawn before the sun —
And, pulse of my heart ! what gloom is thine ?

FROM THE COLD SOD THAT'S O'ER YOU.
i.

From the cold sod that's o'er you

I never shall sever —
Were my hands twin'd in your's, love,

I'd hold them for ever —
My fondest, my fairest,

We may now sleep together,
I've the cold earth's damp odour,

And I'm worn from the weather !

ii.

This heart, fill'd with fondness,

Is wounded and weary ;
A dark gulf beneath it

Yawns jet-black and dreary —

150 Irish Popular Songs.

40i

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M4 C|i4i)i) rojUr^ 4T 'oo co)i)i)e !

1)4

546 14 Ijonj 4 b]pe4Ti3 5
<t)o

Irish Popular Songs. 151

When death comes, a victor,

In mercy to greet me,
On the wings of the whirlwind,

In the wild wastes you'll meet me !

in.

When the folk of my household

Suppose I am sleeping,
On your cold grave, till morning,

The lone watch I'm keeping ;
My grief to the night wind,

For the mild maid to render,
Who was my betrothed

Since infancy tender !

IV.

Remember the lone night

I last spent with you, love,
Beneath the dark sloe-tree,

When the icy wind blew, love-
High praise to the Saviour

No sin-stain had found you,
That your virginal glory

Shines brightly around you !

v.

The priests and the friars

Are ceaselessly chiding,
That I love a young maiden,

In life not abiding —

152 Irish Popular Songs

)|i 41)

'S T>)

cfri)4'6 564]!

VI.

'S

4

50 l6j|te4C t)4
l5 T54TT) t;

'S -cu bed '34Ttj 4*0 be4'C4,

Be 't

dc4i).

i.

C6 )54'04 Tt)6 le l)-4e|l 4t)

JT 3Wti Io)t;e4r bej-c 4*r c64T) rt)4'r Tl0^
'DO I6)]t 5071) ri

S) 4t) crj

16 546^ ri))ll tt)o

341) pU)TT)p,

734011), 541) 'Ce)tt))0ll,

B6 'i) 6)]t?i)i) 1, ti)o

Irish Popular Songs. 153

O ! I'd shelter and shield you,

If wild storms were swelling,
And O ! my wreck'd hope,

That the cold earth's your dwelling !

VI.

Alas, for your father,

And also your mother,
And all your relations,

Your sister and brother,
Who gave you to sorrow,

And the grave 'neath the willow,
While I crav'd, as your portion,

But to share your chaste pillow !

WHOE'ER SHE BE, I LOVE HER.

i.

Through pleasure's bowers I wildly flew,
Deceiving maids, if tales be true,
Till love's lorn anguish made me rue
That one young Fair-neck saw me,
Whose modest mien did awe me,
Who left my life to hover

O'er death's dark shade —
The stainless maid,
Whoe'er she be, I love her !

154 Irish Popular Songs.

n.

Jt cjt<vc4c, cji4ob4c, iie)-6

"N)l ce-al *i)4 T56lri)> ill 'I cUor) *i)4 cjio)-6e ;

541) 540^ le 1*^5^411) Ji)4 c^
JS) 41) b^t -DO cUo)-6/5 i)4
le b-£J31ot) 3|i)i)r

2t)4|l 401)

21 ij-e45
B6 *t) 6)]i)i)t) ), ti)o 5|i4-6 ) !

in.

4 -D^I-D, 4 beul, *r4
C4ol, Jr^ cUon-|ior

)01)4 le4C4)l) feiC 41) C40|l '

56) f 4)|t I) un, 4 b4i)

4
B6 *i) 6m)i)i) ), ri)o 5114-6 ) !

IV.

O 34^41*4 1^1 ")4]t cejle ?)

) 50 T>-'cej3e4'D 'DO 'i) c)U,
beul-'C4)r, beut4c, b)i)n,
<t)o 5eujv50)i) tint) le 5114-6 -6)—
541) Ti)0)U djr 4)11

Irish Popular Songs. 155

ii.

Her hair like quivering foliage flows,
Her heart no thought of evil knows,
Her face with purest virtue glows,
Her fame all hate defying —
While for her crowds are dying,
And round death's threshold hover,
Where I, for one,
Am nearly gone—-
Whoe'er she be, I love her !

in.

What beauteous teeth, and lip, and neck,
And eye and brow the maiden deck ;
What red and white her cheek bespeck !
Like wave-pois'd swan she's fairest,
In virtue high she's rarest ;
In her may none discover
One deed to blame —
Mild, modest dame,
Whoe'er she be, I love her !

IV.

But since soft ties are round us wove,
Which nought but death can e'er remove,
That balsam-bearing Lip of love

That spell-bound left me dying —

Now far together flying

156 Irish Popular Songs.

Le c6jle 1143411), 4 3it4-6 5)1,

2lt) T40541

5o l)-e45 -
B6 't) 6)it)i)i) ), nj

v.

50 b-ejju)

C 5e4l 40J14C

4r

te b-40»i'C4 340-6)1 4'r
^4]!
5411

B6 'rj emiT)t) i, 11)0 5|t4t> 1 !

VI.

21' T 'oo'tj -G-T40341 c6 ]io lil
JT 1 3^n b|iU5, CY7|i T4054'D

Do I6)|t)5 ^jnti dun) b4jr

2lt

Le

541) pvjnrp
54i) -C40H), 54t)
B6 't) e^)r)t) ), tt)o

Irish Popular Songs. 157

The ocean-billows over,

Who can divide

From me ray bride ?
Whoe'er she be, I love her !

v.

But first to Eirne's lovely lake,
Where maids are gay, our course we'll take,
Where generous chiefs bright banquets make,
And purple wine is flowing ;
Then from our dear friends going,
We'll sail the ocean over,
I and my dame
Of stainless fame —
Whoe'er she be, I love her !

VI.

Her secret name I'll not impart,
Although she pierc'd my wandering heart,
With such a death-dispensing dart
As love-sick left me lying,
In fiery torment dying,
Till pity mild did move her —
But wine of Spain
To her we'll drain,
Whoe'er she be, I love her

158 Irish Popular Songs.

Coijn)4ji4, CCT;.

i.

d'tt) cjioj-6e 30
cnviC 40)b|i)
Gun) 4 n)4iTiioo T>O rJolMc )n 4'r 6jb)Tt*

C40JT) 45

S6 n)o c4r 4 beiTi tijjle njile 4 506; o
O

ii.

Bjot) b4|ttu bos rtl") 4iti

'Sir T^T1!1 1ot)4't) -cjn t^o 'DJ* 540 yl^jbe 4t)ti,

B4 binrje t)4 Tti64ti4ib 4ift <ce4'D4ib cedil,
45iir 56111) jie4C 4 Uos 'r 4 tij-bd,

in.

t)oi)it)4|i 4

* Eibher or Eivir, the son of Ir, who, with his brothers, the sous

Irish Popular Songs. 159

FAIR HILL'D, PLEASANT IRELAND.

i.

Take a blessing from the heart of a lonely griever,

To fair-hill'd, pleasant Ireland,
To the glorious seed of Ir and Eivir,

In fair-hill'd, pleasant Ireland,
Where the voice of birds fills the wooded vale,
Like the mourning harp o'er the fallen Gael —
And oh ! that I pine, many long days' sail,

From fair-hill'd, pleasant Ireland !

n.

On the gentle heights are soft sweet fountains,
In fair-hill'd, pleasant Ireland ;

I would choose o'er this land the bleakest mountains
In fair-hill'd, pleasant Ireland —

More sweet than fingers o'er strings of song,

The lowing of cattle the vales among,

And the sun smiling down upon old and young,
In fair-hill'd, pleasant Ireland !

in.

There are numerous hosts at the trumpet's warning,
In fair-hill'd, pleasant Ireland ;

of Milesius, shared Ireland between them. Ir and his son Eivir
had Ulster for their share.

160 Irish Popular Songs.

1)4

b4i)-ci)Y}c 40)b)i)
c]to')-6e 4'r
45 54ll4-prjc rior T4 Sfiejrt), ttjo lent) !
4 ri)-b4H^e T>4 jiojtw ^4 cjor 50
21 tt)

I.

S6 41) <)P)4'64)ce r"o Be4]t4t 4i) TPe4]t pjdl b) 45

21 1* i))'ji b')4"6T;4 6 ^4 *i) /ce4Cfo le lYj-oe

S4

4

Cftt) 5lese4l n)4|i f 1)640-54 t) C^i-cji)!) i)) Stjeojn !

ii.
4 1)4 ceuT3-c4 -c'4 n)4C4)-6e T>ul 41)

ctii4)i) H)e4tl4, beul

nor,

* This song is the production of a Connaught bard. It seems
to be an extempore effusion in praise of the daughter of a western
chief, at whose residence the person whom the minstrel styles the
Hunter of Sera, had arrived. This spirited outburst of song was
certainly a characteristic mode of introducing the " Hunter

unter of

Irish Popular Songs. 161

And warriors bold, all danger scorning,
In fair-hill'd pleasant Ireland —

Oh, memory sad ! oh, tale of grief!

They are crush'd by the stranger past all relief ;

Nor tower nor town hath its native chief,
In fair-hill'd, pleasant Ireland !

CAITRIN, THE DAUGHTER OF JOHN,
i.

Sing the Hunter of Bera, who from Ballagh came

hither,

Our gates open'd wide to his coming at noon,
And the virgin whose coldness did suitors' hopes

wither,
The snow-waisted Caitrin, the daughter of John !

ii.

There are tall sons of bravery that .pine in her

slavery ;
Her eye all beguiling — small lips like the rose ;

Bera " to the " Bright Swan of Lough Glynn."

t Bera. Bearhaven, a territory in the south-west of the County
Cork, the patrimony of the O'Sullivan Bear. Ballayh, or Balla, a
village in the Barony of Claremorris, County Mayo. It has aii
ancient round tower.

F

162 Irish Popular Songs.

C4tibft)C4)l 4 tij-bj'o bjie4t 4t)t), bj-6 )oljt4t> 540

T)4TJ4 4T)T),

54C c6jb bYj-oe 16) 45 C4T4-6 50 4Vc4)b 'i)4

in.

C4 4fi b')or)3i)4T> T>o'r) jt^SI^1) ^5 34l|ie4'6 ):4 Venus,
-DO b) Cor)cub4|i r^ 4)lj6j|VD|te 'oul 4

edtv)r r)4 tj- 6)517 41Ti cditu^-o 114

*S) Tt)0 11034 -C4|l t1)T)4jb 6)]te411T) ) 4 Tt)6)t) 4'

5-c4)l !

IV.

«t)e4t>-cur) |t4-6 41|I ii)r)4ib 4

4t) OJD1C 1,

54C r^d-o A6e4f ^'
luc-c ceo^l ;

'Si Tt)Y)|lt))l) cl41W 5t)Y)]te4'6 1, 'tl n° 3Mt> T)4

b-^le 1,
64U 5lese4l Ioc4 5tl»ine 1, 'ri C4jT;]t)T)

S210)K56.

o c4t).

)6 4 5-curi)4)-6 541) 'c^r'c le

5O T>Ub-CtlO)'6e4C 1GJl6)'C-l45 'Cl4)'C 541)

21' nj b4TC4T> 45 bfji Jr 4'n) b|tU54-6 45 b40'cUjc,
21 lV)b to ft) rt6)be "F40J bjt4c4'6 4i) b|td)r) ;

Irish Popular Songs. 163

She's a jewel all splendid, of brightest hues blended,
Each gold- wreathed ringlet to her white ankle
flows!

in.

Now why should we wonder if thousands surrender,
Like Connor to Deirdre, their hearts to her chain ;

Guiding light of the poet, of sun-glancing splendour,
The fairest in Erin of beauty's bright train !

IV.

O'er her kindred and nation she holds highest station,
Dispensing rich guerdons to minstrels of song ;

Clan-Murray's fair darling — my harp's inspiration,
Bright swan of Lough Glynn, beauteous daughter
of John !

THE SONG OF FREEDOM.

i.

All woeful, long I wept despairing,

Dark-bosom'd, fainting, wearied, weak,

The foeman's withering bondage wearing,
Remote in the gorge of the mountain bleak ;

164 Irish Popular Songs.

4'TT) C4b4Jjl 4CT5 <t)0t)t)* -Y<t 5401-G4,

5<t)o b

n-Aj'ctiJTe'A'o 'OYJij 546 IVYJT) buT> I6iji '60,
Le T>Y)t 5jteit)t) TS^Jpe 4'r s^woear cedjl.
ii.

* 4T) 5leo)t> ;
)--
't cjiu C4O1T) 6ib]]t -C4]t 5411

'S t)i Ti)4it;i5i'6 r^ boni) 'DO cl4T)T}

III.

le rorjr) 45
21' r 'CliG1! ^l1)1) Sl^WT^'A 45 T>4iri) 4r) ced)l ;

4 T)-/Ce4Ti)41|l, ^4 t4TT)41T), 45

'T ^054 r^lse 45 ct^iji le ?4"54il d'rt) leos4T).
64iu 45ur YW-Q 54D c^nre -^5 P^pir^r,

B61-6 64^4111^ T)14-'DOn)T141C 4 T3-<Ce4Tt)'pOjU

'S4t rw^c ri^e4c 5^01-61 1 50

* JDonn Firineach, or Donn the Truthteller,lo whom is attributed,
in Irish mythology, the government of the fairies of Munster.
His residence is said to be on Cnock-firinn, a romantic hill in the
County Limerick. The Mangaire Sugach, the author of this bold
appeal in favour of the exiled house of Stuart, describes Donn as
bidding him proclaim to the Brave that the hour had arrived for
the last glorious effort on behalf of Charles.

Bonn is an historical personage, and is eaid to have been one of

Irish Popular Songs. 165

No friend to cheer noy visions dreary,

Save generous Donn, the king of Faery,
Who mid the festal banquet airy,

These strains prophetic thus did speak : —

ii.
" Behold how chieftains glorious, regal,

Are bondage-bound, dishonour'd, low ;
These churls from Phelim's heirdom legal,

And Eiver's lands, are doomed to go ;
For fleets, and Charles brave to lead 'em,

Will reach our shore with promis'd freedom ;
And vengeance doubly dark shall speed 'em,

Till bursts their might upon the foe.

HI.
" And bards shall pour their tuneful treasure,

And minstrels strike their voiceful string,
And Tara wake to music's measure,

And priests be cherish'd by their king ;
And sacred rites and mass-bells sounding

All Erin's holy domes be found in,
And scattering fear the foe astounding,

While all the Gael exulting sing.

the sons of Milesius, the celebrated king of Spain. When these
princes invaded Ireland, more than a thousand years before the
Christian Era, Donn, with all his ship's company, was cast away
on the west coast of Munater. It is a curious fact that the name
of this prince, after the lapse of forgotten ages, is as familiar as a
household word among the peasantry of the south !

t Feidhlim, son of Tuathal Teachtmar, and father of Conn of the
Hundred Battles, was monarch of Ireland at the commencement
of the second century of the Christian Era. It was in the person
of his father, Tuathal Teachtmar, or the Acceptable, that the
Milesian dynasty was restored after the Attacotic rebellion.

16f5 Irish Popular Songs.

IV.

434-0 d -our 34C jtuT) b4 ri
' t TTje4ri)jiY;5 ^6jr) njo f cedl T>O c4c ;
546 C|ioB4]|te 4 5-cob4jfi le

Sin 4347!) 4t) T;4ti, 4'r 3^415 le c
Pjte4b4i3 le -porji) 4'r

le4r)4J5 4T) ):054 41|l -6110^5 4T)

le

i.

Ce4-o

le b-jti-cji) 45 dl,

<l)0 t|l4l5):]OC T)4

54 n
'S4

1) buc

4)o c|iufii'ce4r A
<t)4 b4iliU54-6 30 y]0]t boc-o,
eile t>4 dl

Irish Popular Songs. 167

IV.

" You've heard the secrets I've unfolden ;

To memories true their truths bestow ;
And speak, 'twill all the brave embolden,

The treaty broken by the foe :
But now's the hour — your powers uniting,

Arise to crush these he-goats blighting ;
And while the race of treachery smiting,

Let none his vengeance wild forego !"

OWEN ROE O'SULLIVAN'S DRINKING
SONG.

This cup's flowing measure

I toast to that treasure,

The brave man whose pleasure

Is quaffing rich wine,
Who deep flagons draining,
From quarrels abstaining,
The morn finds remaining
All joyous divine —
It ne'er shall be mine
To gather vile coin,
To clowns at life's waning,
For aye to resign !

168 Irish Popular Songs.

II.

Bjoi) b4otUoc, le
215 ?454jl c4tt)4)T
21 'D-'CJS 41) /c4b4)^i)e T>O
le IHTJ'GJI) 45 dl ;
2lr 'cUt b6i-6 41) b^t

'S4

50 cnnnti -64

NIUJJI ri1fe4

'S 341) -CY^TJT; 4)]t 4 tojT),

4

le Uoj-cjb 541) cd)|i —

in.

"N4 731146^ 4)TV t)4

Bhi 4

'C40)'D e)t 4T)
14001141-6 T)4 Ctl40)be,

't) -ce rw 'DO cUo)-6

21 ij-'D)re4c 50 ledji,
o ! 'DO tioririnnri ATJ

546 cj^oc e^le ^e'r)
'2lt 34C 4C|t4 bj-6 4)5e,

6 t4b47tvc ciin)i-4 bed ! "

IV.

ir ^u 41

50 tifU'c be4"D 4*0 C40jt)e,

Irish Popular Songs. 169

n.

Some churls will come slinking,
To practise cheap drinking,
Where the generous are linking

New joys to the old —
Vile starveling ! what matter
If curses should shatter
Your land-marks, and scatter

To strangers your gold !

When laid in the mould,

All naked and cold,
Your dames thus may patter

Your death-song, behold : —

in.

" Let heroes strike under ;
At Paris why wonder,
Or Jason, who plunder

From dragons did rive ?
The red-branched hero
May sink down to zero ;
And Ca3sar and Nero

In vain with him strive.

Let the rich herds arrive

That in Munster survive,
And I'll yield them, my dear, oh !

To clasp thee alive !

IV.

" My soul ! how grief's arrow
Hath fix'd in my marrow !
O'er that cold coffin narrow

170 Irish Popular Songs.

?n ttio

S Bej6 t4i6jte4c le

<Do b-^e4tifi l)ort) 4|tir

ftd tt))l'ce -oe'ti

'S i)i

t^S^lt) TT)e 41) Cl

O rt)o B^-6i)e4c 50 -oeds ! "

v.

nio

Tl)e TJ^tlTJ 4J|l

'Dion) 541)

5o

'S 30 bft4"£ belt T>4 C40ji)e

^DO C401H ye4|l -D4II t)d" -

B4 jioiriie Ie4-c 546 T>eofi
Bl)6}<6e4c 4i)U4r le 1)4
50 l)-ire4lt
IJI 013 !

Irish Popular Songs. 171

I'll weep evermore —
By the hand of my father !
This moment I'd rather
From the grave thee to gather,

Than gold's yellow store !

All feasts I'll give o'er ;

I'm stricken and frore —
Oh, grave at Kilmather,

Be my roof- tree and floor I

" My bosom friends inner,
Gather round your poor sinner ;
My kerchief and pinner

To pieces shall go.
In the Lee wildly springing,
I'll end this beginning,
His death-song still singing

Who valued me so " —
While round tears thus flow,
And wailing and woe,
To a youth near her clinging ;
She beckons alow !

172 Irish Popular Songs.

C21JSJOI

b4 541)

21 crj-o T><5't) 'c-r-Aoj^l le -cojl T>O rij^ujr) -04 n)'4jll

116473 rt)6 ;
S6 rt)o 54Uji -DU4C 54^ n)6 'sur TJU, 4 t))or) 3|t4-6

r 541) "DO le4b4)-6 ^r;ii 4C
cl4ji bos -0641 !

ii.

Sjub4}l 4 C054JI '4t ^4^11 4 CO-6U

cojr

4TT)4T) ;

t)4 rnot4 4 54b4)4l t^ifj, ^40) 5eu54]b
C1UH1),

41) lot) T>ub T)'4tt b-^OC41|l, ?T<1^ C)4]tT4C 4t)t)-

III.

SC4|IC Tl)0 Ct6jb T>0 TJU3 tt)6 ^6)T) 'DYJ'C, 4't

50 r
4'r -cu,

* Caisiol Mumhan, Cashel of Munster, is the most popular of
all the Irish melodies. This will perhaps account for the reason
that there is no Irish song of which there are so many corrupt ver-
sions as this. I cannot undertake to say that the present is the

Irish Popular Songs. 173

CASHEL OF MUNSTER.

I would wed you, dear, without gold or gear, or

counted kine ;
My wealth you'll be, would your friends agree, and

you be mine —
My grief, my gloom ! that you do not come, my

heart's dear hoard !
To Cashel fair, though our couch were there but a

soft deal board !

ii.

Oh, come, my bride, o'er the wild hills' side, to the

valley low,
A downy bed, for my love I'll spread, where waters

flow ;
And we shall stray, where streamlets play, the groves

among,
Where echo tells, to the listening dells, the blackbird's

song !

in.

Love, tender, true I gave to you, and secret sighs,
In hope to see, upon you and me, one hour arise,

genuine one, but in its simple pathos it bears strong evidence of
authenticity. It was given me by a lady of the County Clare,
whose mother, she informed me, was accustomed to sing it, at the
advanced age of eighty years.

174 Irish Popular Songs.

't "04 b?eic?jfi r6)t) njo te^jtc 45
b4f le ciiri)4j'o !

IV.

4 cj-6ji)ii 45 4
4'r njbin lugtne rj^ijie 4T)ui) rt)4|t

T)4

Oc ! t^ tijo bu4j]te4'6 nj4]t 'DO Ui4'6e4'6 tjort) r)4

t^4 ii|i piob 43 tt)o Tt)Y)]ii))ii, Jr <v bfi434jT> n)4|i 4ot,

21 C^lltl C4f04 bU4C4t4C 45 V&C 5° T^Ufl J

S6 nio cuti)4 T)irt)e t)4c t^i) t)|i riot ^° ^434*6 n)e
6 4 5-cd)3)b 4'r njo 5114-6

Ctijod.

Irish Popular Songs. 175

When the priest's blest voice would confirm my

choice, and the ring's strict tie :
If wife you be, love, to one but me, love, in grief

I'll die !

IV.

In church at pray'r first I saw the fair in glorious

sheen,
In mantle flowing, with jewels glowing, and frontlet

green,
And robe of whiteness, whose fold of lightness might

sweep the lea ;
Oh, my heart is broken since tongues have spoken

that maid for me !

A neck of white has my heart's delight, and breast

like snow,
And flowing hair, whose ringlets fair to the green

grass flow —

Alas ! that I did not early die, before the day
That saw me here, from my bosom's dear, far, far

away !

THE END.

DWAKD WALSH.

Press Notices of the First Edition— 1847.

From the " Dublin Warder."

" This little volume is dedicated to the people of Ireland, by one
who has given a great portion of his time and attention to the

examination and illustration of their metrical literature

Mr. Walsh has done a service to our national language by his
?netrical translations, in which we feel quite confident the spirit of
the original is preserved as the measure is, so as to emit the ' song-
tune ' of the Irish ballad. The little volume is brought out in an
attractive dress, at a low price, and must prove an accession to our
national literary collection."

From the " Dublin Weekly Register."

" The translator of these songs has brought to his task a
thoroughly competent knowledge and appreciation of the Irish
language, considerable practice and aptitude for translation, and
poetic feeling. Mr. Walsh has done in this instance, what should
be done in all cases where the pieces are numerous enough to fill a
separate publication, given the translation on the one page, the
original on the opposite. The style of the rendering is free,
smooth, and pleasing, and not uufrequently at once vigorous and
harmonious."

c %

dbfoart »alsl/

GS

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