Oriel Songs and Dances

County Louth Archaeological and History Society

Oriel Songs and DancesAuthor(s): L. DonnellanSource: Journal of the County Louth Archaeological Society, Vol. 2, No. 2 (Sep., 1909), pp.142-148Published by: County Louth Archaeological and History SocietyStable URL: http://www.jstor.org/stable/27727870 .

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142

1f boco An Ca^Lai^ rjiof 5-A?i ceot,

*Otii?e An ?I15 t)o f?At ah fA?c, ClA lie All pApA CA1111C A fVIAtfl

TlAf itiot 'fA CtiAf 5A? ceot ceAfc ?.

{From an Oriel MS.)

HE various parts of Ireland, which have attained eminence in producing Irish literature, have also cultivated Irish music to the same degree of merit. Each art seemed to have reached its greatest perfection at the time when the true artistic energy and prosperity of the people, of whose minds they reflected the colour and whose minds invented

and perfected them, reached their culminating point. In Oriel literature we have evidences of a golden age of poem and song ; both

reached an eminence of perfection about the middle of the eighteenth century and since there has been a rapid and steady decline to the nadir point of those arts.

Few of us have heard of the seventeenth century poet, Owen O'Donnelly, of Bally donnelly, Shean (not Castlecaulfield). He was a remarkable S. Armagh poet, and his name has been rescued from oblivion by one poem in MS., of sixty lines, in praise of a

harper and his art. The existence of such a poem affords us evidence of national

culture then existing ; but I have seen another poem, also in MS., apparently of later date, which shows to a certainty that a noticeable artistic decay had begun. It represents a discussion between one Donough More OXaverty, who was a surly

bodagh of a farmer, and one Ghiolla Muire Mac Art an, a harper, on the comparative

beauties of farming and harping. Donough begins by asking, "

What hatching corncrake is this That plays us a tune on the mountain ?"

To placate his agricultural majesty the harper only claims to be : "

A servant, in whom is much trust and confidence, If he were among the posterity of Conall or seed of Niall,

Great would be his worth and he would be considered Sweeter than the cuckoo."

The irate Donough continues : "

Listen, Gilly, for a while, You may think your piece is pleasing, I shall make pieces of you Be you mad or sane.

Singing like the cuckoo ! a pretty big compliment ! Eamon himself did not deserve it,

Although he had a reputation for good song."

He resumes the same strain in various parts of the poem from which I give extracts which at the same time show a keen appreciation of nature's music.

" A poem more to my desire, Is one of bread and butter."

" Listen to me, says the cuckoo, I bring you curds. . . .



COUNTY LOUTH ARCHAEOLOGICAL JOURNAL. I43

The corncrake spoke aright The barley is coming quickly. A better tune than that Was never played to you By Colla Uais or Nicholas Dall Or all the bards you ever had."

" Why should I give any reward For an old tune I don't regard ? But a cow, a quern, or a hen, Is the tune which pleases me.

There's naught amiss with such music I'd rather be buried than listen to you,

And it's a pity you were not beneath the ocean." " Sweetest song under the sun

According to my own belief, Sweeter than Dord or Psalm Is the lowing of the kine."

" The corncrake or cuckoo Don't expect anything for their songs. But yours is grating to the ear,

Why ask aught more than they ? There is nothing in your music but wind, And you are a fool who plays it.

The trade that would not earn brogues Is a poor thing to him who follows it. The song of the crake means crops and profit, And certain the store that the kine bring in."

The remaining verses of the poem consist of contumelious personalities and a

running commentary on the physical defects of the harper and the crooked pins, holes, and rifts of his harp. This is the sole literary proof I have yet discovered of the decline of musical culture in Oriel ; of course there is other evidence. The old people of Dromintee will tell you of the number and the skill of musicians who used to come to Forkhill fair. I was told that there used to be as many as thirty playing at it. They display an extensive knowledge of the names of song and dance tunes, but cannot sing them. The reel known as the

" Black-haired L,ass

" No. 66 inf.,

seems to have been a great favourite with everyone. These facts point to a vanish

ing and disappearing musical culture. It would seem that Forkhill Fair, which was held on Michaelmas Day (29th Sept.),?St. Michael is the patron saint of horse men?was the great

' Musikfeste

' of this part of Oriel. The masterplayers and

mastersingers of the country came here to rival and emulate each other, and they were

employed by the various groups of dancers in the fair tents. These tents were

pitched at the top of the village hill, by the side of the road, in three rows of ten each. The horse fair was held in the field now belonging to Mr. MacNamee on the

right hand side of the road, and the cattle fair on the left hand side towards the mill and river. There is an old tradition that St. Patrick intended to build a church in an adjoining field, but owing to a Divine Interposition he built it at Urney. A little farther down on the right hand side towards Dungooley Cross is the site of the old Franciscan Priory of Shean. All these lie right under the shadow of Forkill

Mountain. Nothing as yet has been done to gather the scattered remains of Oriel music and publish them. The Council of the L.A.S. has now made the first move in this important matter by offering to publish such material as I have collected. This year is memorable, from the point of view of Irish music, by the

publication of another work by Dr. Joyce. His name has long been familiar to us in this connection, and he is unquestionably the greatest living exponent of Irish

music to-day. His unique efforts for the preservation of Irish music will ever be associated with those of P?trie, and his work will stand forever by the side of his in the Palace of Irish Art. As Dr. Joyce helped P?trie in his work by the contribution of upwards of 200 airs so P?trie seems to have aided the creation of an

' alter ego

'



144 ORIEL SONGS AND DANCES.

in Dr. Joyce, the work of each is so supremely similar.

Born, as he tells us himself, in the heart of the Ballyhoura mountains, which were the home of southern song as the Maigue of poetry, his ears first opened to the

enchanting strains of the Irish genius of song and he was destined to become its chief Druid after the mantle of P?trie had fallen on him.

Tlioj\ cj\?ne a cjunu no a ?jaac.* If we are to accurately measure his genius, the quality of his music, and his

accurate chastening criticism, we must take his latest work. He passes his own

collection, numbering 429 pieces, the collection of Forde, 256 pieces, and the Pigot collection, numbering 157 airs, all in grand review and sifts them and dominates

them with a great sense of security. In like fashion he arrays his theories, and

it is remarkable how his great knowledge of everything Palaeohibernic influences and restrains his judgment, his proofs, and his criticisms. There are, however, some things in the introduction and in the body of the work which require comment and qualification which I cannot but feel it necessary to apologize for, as the subject is one which the short time I had been able to bestow on it must have left im

perfectly treated.

The remarks on narrative airs are a very interesting feature of the introduction.

It can be stated as a general law that the value cf the middle portion of each bar can be fixed as a crotchet or quaver -dot- semiquaver, but there are many airs of this

class only partially constructed?e.g.. Nos. 362, 51g, 653, 656, which occur in the

volume and are labelled as such by Dr. Joyce. At the same time his new method

of barring these airs is hardly preferable to the one which he followed in his former works. We know that most of the old ballad poetry was built on the principle of modern Irish poetry, viz., stressed vowel sounds woven into wonderfully sweet

and luscious combinations of poetic harmony. You find sometimes verses in which

of the ?, ?, ?, ?, and ? vowels dominate with an admixture of the others, sometimes you find a pair oi vowels with a similar admixture of the rest. In order that the

melody may be correctly rendered, and that an accurate rhythmical concordance

of the notes of the melody with the words of the song be attained, these stressed vowel sounds which predominate should correspond with the first notes of the bars. Besides other narrative airs which I have met, I have examined five which are given in the second portion of the work, and have found that the old method of barring

would throw the accent on more similar consecutive or recurring vowel sounds

than the new?e.g., in No. 395, by the old method the following vowels are stressed :

o?o?a?i by i?u?y?a o?a?a?i the i?ea?ea?a

ea?a?a?i new e?u?o?o

o?o?o?i. method a?e?o?a.

And in No. 385, by the old method, the stress would fall on the same vowels in both

parts of the stanza?e.g., e?i?a?i whereas by the new method it would

e?i?a?i. fall on e?i?ie?a

a?o?u?i.

The total number of Anglo-Irish folk-songs is fifty-eight. It is to be noticed that a number of really good songs do not appear in this part of the work.

The section devoted to the account of Dr. Joyce's investigations of the question as to the extent our music has influenced and been incorporated into Scandinavian

music, affords us abundant evidence of an unusual ,and extraordinary fondness

for the study of the art in all its phases for its own sake. His curiosity was aroused

by the statement of a Swedish harper named Sjoden, who told him that he often heard the Copenhagen people whistling and singing the air we know as the "

Cruiscin L?n," and accordingly, he procured three collections of Scandinavian

popular music?Danish, Swedish and Norwegian, containing nearly 700 melodies,

* Oriel poem in MS.



COUNTY LOUTH ARCHAEOLOGICAL JOURNAL. I45

which he went through carefully for purposes of comparison. He found some airs

which bore a similarity of structure to Irish ones. The first of these is called "

Sg??llandsk Vise "

; if played somewhat rubato the first part resembles the opening strain of the Cruiscin L?n. There is another Irish air that has a closer resemblance to it known in Dormintee as " A nelli bheagh a chuisle." Througe an oversight I did not send it with the rest of the airs for printing. In Tonic Sol-fa it would run something like this :?

Key G || d.,d:d.,d ! t*.l:s.n ! f.,nid I d :~ d ! d :n5f,s ! d'. ta:-.d' I ta.l :n.f I s:d.d

n.,f :s.t,d' I d1. s :-d' I ta. l:n.,f ! s : - .d ! d.,d:d.,d I ta.l :-s,f I s,f,n:d.,d | d :

The next are eight reels of which he has identified one, which he heard called the

" Blacksmith's Hornpipe." I give a different setting of it, No. 20, inf.* The

third and last specimen is a melody called "

Bonden Og Kragen "

a corresponding air to which he could not remember. Under No. 269, is an air called the "Trip o'er

the Mountain," which appears to be like the "

Bonden," and I may remark in

passing that it is similar to the "Trip to the Cottage." I give a setting of it as I have heard it, No. 100, inf., which shows a more marked resemblance. There

is another air called the "

Cailin deas donn," which also suggests it. From these

examples merely we could not draw the inference that any of our music found

its way to Scandinavia. These cases are at the most strangely casual, and though

they sound the same to the ear their structure differs from the Irish. I have

noticed in reading the works of the various great masters passages which suggest Irish airs. A rather curious instance of this occurs in the second part of

Schubert's famous song the " Wanderer," which is an echo of a version of an old

air called the "

Banks of Clady." The first four verses of "

Fand's Farewell to

Cuchulainn," translated into verse by Dr. Sigerson from the translation of O'Curry

(Atlantis), sung to the "

Banks of Clady," with the final verse sung to the second

part of the Wanderer, make a splendid and most dramatic combination. This field of study of the comparison between Irish folk-music and the folk-music of other countries is as yet unexplored. There must be a close affinity between the Breton and

Basque folk-music and Irish of the same degree and to the same extent as they are

related in language, folk-lore and customs, under which lie the same psychological beliefs. Naturally we should expect to find a greater resemblance in these than

in the case of the non-Celtic nations, but strange we find some even in their case, as Dr. Joyce has pointed out. I intend to publish some notes on this subject at some future time.

The next question he treats is that of the absence of the sharp seventh and the

frequent presence of the sharp sixth in the minor scales. The minor scales of old

Irish music were the same as the scales used in the music of other countries in the

seventeenth and eighteenth centuries?viz., the folian and Dorian, which are

generally called the Melodic minor scales. The intervals of the Êolian and Harmonic minor scales are the same, except the seventh, which in the Êolian, is a tone, and

in the Harmonic, a semitone, below the tonic. It was the custom with singers in approaching a cadenza to sharpen the seventh, though in the music it was not

always so marked. This sharpening of the seventh meant also a sharpening of the

sixth, on account of the augmented interval between the sixth and seventh, which

converted the scale into the Dorian mode. This mode was mostly used in ascending

passages, because by using it the intervals between sixth and seventh and seventh

and eighth notes would not be felt. Oil the other hand, these intervals would not be felt in descending, and hence the iEolian was used in such passages, cf. Mozart C. Concerto (v. M?sica Ficta, Grove, vol. ii.). In Handel's Suite d

Pi?ces, No. 7, we have the Dorisn mode used in ascending and descending. In

some of our Irish airs the Dorian is used in ascending, and the i?olian in descending * It is called Blancher's and also Fischer's hornpipe. I have another Antrim version of it in D.




and sometimes the sharp seventh is introduced into the ?Eoiian in ascending. I

have met wTith the air No. 303 in ? time and in E minor with the seventh sharp. This setting of it is at least 100 years old.

The reason why these innovations were not introduced into Irish minor scales

was due to our forced isolation and the disturbed state of the country in the 18th

century, and hence we were not subject to the same influences which were as work

in other countries in creating musical modernism. But we were beginning to feel

a change. The most important part of the introduction is the linguistic arguments put

forward to show that the Ancient Irish had a knowledge of harmony. The passage from Giraldus would not prove, I believe, that the Irish had a knowledge of harmony and used it at his time. The tinkling of the little strings with the bass would mean florid extempore variations, and the striking together of the chords of the diatessaron, and diapente could not be interpreted to imply anything only harmony of a stray chord in the piece.

Giraldus is n more worthy of credence in this eulogy of Irish harpers than he is with regard to other facts of the Irish history of the period. Its true and accurate history has yet to be written. How strange and inexplicable it is that a mere handful of Norman knights practically overrun the country in a few years after their arrival. If we are to accept the testimony of contemporary documents

Ireland was as a sick man, and we cannot conjure up the picture of the sick man

without the association of Giraldus hovering about him like a incubus. The passage often quoted from the "De Divisione Naturae

" of Scotus similarly could be inter

preted to mean a rude species of harmony, at the most of separate chords merely not of context, but its most obvious meaning is that the organization was

successive, not simultaneous.

There are a large number of words in the old writings and books, which from their etymology and context mean concerted singing and playing, but not simul taneous or successive harmony of chords. Dr. Joyce quotes seven of these, but

he does not claim for them all that they imply harmony?C?mseinm, C?icetul, Aidbse, Cep?c, Claiss, Clais-cetul and Foacanad.

C?mseinm he quotes from the note of the commentator on the Amra, explaining " C?is

" as "a small cruit or harp that accompanies a large cruit in c?mseinm or

concerted playing.'' (Stokes, in "

Rev. Cel,"xx. 165). I presume this is the passage?c?is .i. ainm do chruitt bic bis hi cornait echt

cruitti m?ri hic a seinm.

Comsimn, accompaniment Iy.U.5.a.a. (Hogan Neut. Subs. 123), eirshinm,

playing the tympan. "

Frag. Ir. Ann., 220. id. cf. Senim=cano, modulor, Hib.

Min. Rosenned. he used to play, Ml. Gl. f.2. Senim, sonitus, 13d Wb., Z.49., Wb.,

12e.?angaibter isindbuinniu f croit?what is played on the pipe or harp. T.P. v.

Z.473, 443, 452, cf. "

Tain Bo Fr?ich." 142. The modern word means simply a

playing together without any idea of harmony. C?icetul does not refer exclusively to the voice. We find it meaning

' concentus,' in Cor. Glos, ist ed., p. 14. Coicedul

.i. comchetul indsin, and Hib. Min. 115, 117, 118, Z., Ml. 145c, cachnatar c?icetul

ci?il, Rev. Cel. in., 347, i. Ml. 6r. (L.H. 71. ?riu ii., 50. Nolan.) Applied to singing of birds

l Adamn?n's Columba,' 275. to the clashing of swords,

' Cog. G/ 180 (Hogan)

?cf. "

cetlaid not found in O'R., but must mean '

singer/ "

Ir. Glos, salm-chetlaid, Book of Rights, 28, erochairch?tlaid (tibicen) Z. 183, 233, 793, 854. Sg. I2b. Hib. Min. 278, &c.

It is not clear that the Aidbse or Cep?c was a funeral song?Aidbse, a kind of music, aidbsi (.i. corus cronain) ainm in chi?il sin -j ba c?ol derscaigthech h?, Lu. 5.b.5. dord ic aidbsi, ib. 9 .O'Cl. (K.M. Contribb)., Aidbsi .i. aircetal .i. duan for binnius, ut est aidhbsi co ndliged i n-arduib ar inchaib. Aidbse, i.e., a poem?i.e., a song to melody, ut est

' an aidbse is rightfully in hights for honours.' Corm. s.v.



COUNTY LOUTH ARCHAEOLOGICAL JOURNAL. 147

adann. Rev. Celt, xx, 40. Amra Choi. ? 49 (O'Davoren, 16). Cep?g-cep?c.

quire-song. Wi. O'Mul. 213. Bezz. Beitr. 259^38. (K.M. Contribb). A kind of

chorus, Hib. Min. 64, O'Curry Lectures, iii., p. 371. The context in which the

passage is found in the Tale of Mac D?th?'s Pig and Hound implies no reason or occasion for a funeral song.

' Truly I do not want much from thee,' saith Fer loga, *

for I want to be taken by thee to Emain Macha, and the women of Ulster and their maiden daughters shall sing their cep?c around me every evening and shall all say Fer loga.' And farther down we find,

" He did not get the cep?ca

though he got the horses." In modern Irish the word means witchcraft, mesmerism, or the casting of spells.

The primary meaning of Claiss would seem to be "

collectio," Cormac, p. 11,

Class .i. a classe, p. 71, Class .i. comtinol?" collection Z., p. 720 ; both are from the

same root?cf. Dor. kXcktis Diony H.4.18. (not ?cX?o-t?, modulation of the voice.

Philo). Summons, ban, (Festus). C\ais$=choir, duthoisigecht claisse doib, to lead their choir, T.P., 376 and 471. Cl&iss?chorus, Hib. Min., 166, 168, &c. Class

'.i. claischeadal no cantaireact, 'music, melody, harmony, especially church music,

P.O'C. Fel. Oengus. The harmony that O'Connel means is unrestricted harmony,

simply melody or music. I could not find in the Zeuss Glosses the word forclais, but I find it in the Mil. Glos., ?.2D. nosgaibtis for clais, they used to sing them in choir. We have clais-cehd?meaning choir-singing or collective singing in Pass,

and Horn., Atk. O'CL, sub. ceadal, &c.

The word Foacanim* is the gloss on succino 167a. St. Gall Glosses on Priscian's

Grammar. Succino=canendo subsequi, to sing after, to chime in, and is the opposite of praecino, to lead, cf. Calpurn, Eel. 4, v. 79. Cantibus iste tuis alterno succinet

ore. Horace, Li., Ep. 17, v. 48. Clam?t : victum date, succinet alter. We find

a good illustration of the use of sub and prae in the Prologue of St. Jerome to the Psalms in the Book of St. Columbanus, which I have quoted several times by the abbreviation Ml. Glos, by which it is generally known.

" David praeesse consituit

cantationibus, Asab, Eman, Ethan, Idithun, unicuique eorum dividens Subcla

mantes. ..." There is a gloss on praeesse which Ascoli conjectures oc comollad

toracht doib,=mello eseguire le successioni. These four men lead and accompanied the Subclamantes, who sung in unison with them. Canim besides meaning

' I sing

'

also means I recite, tell, saif, signifv, (K.M. Contrib.) to compose. Ml. f.2.b.

T.P., p. 8.

Cuibdius?root, bad, bhadh, Curtius, 326. cf. cobodlas confundi? Wb.?agreement

fitness, harmony (K.M. Contr.) assonance Mittelir. vers. 5.6.7. Ir. Tex. iii. ' air in

cuibdius '

gl. propter modulatam respondentiam concinnentiam, Ml. Gl. I38d, 2.

Hib. Min. *

cuibdigin, I harmonize, adept, correspond, P. and H. Atk. cf. L,.U.

74?. Ml. 7r, L.H. 11A Z. 609, 871, 872, 990 L.U. 35?. B. Et. ii. 50. Fel. Ep.

124. In all these it means concinno, I join fitly together, I adjust, but not concino I sing, play or sound together.

In the passages quoted "

In Asaph the Holy Spirit awakened the meditation and prayer of the psalms, and David added melody1 and harmony2 to them, for he was a prophet,1 for he was a poet2 full of the grace of the Holy Spirit."

" It is true

* Derived from fo-ad-canim, which implies concerted singing which is at the same time subordinate v. sup. Subclamantes, Zeuss, 867b. and 868a.

1. The ancients called all the sciences, both sacred and profane, music ; and we find them calling

prophets and philosophers, musicians. Later the term was limited to the arts of poetry and oratory, Cic. 3. de orat. c. 33. Socci, et cothurini m?sica. Auson. Ep. 10.?i.e., poesis c?mica et tr?gica, and

later still we meet with the further division cf rhythmical music, for the dance ; metrical,2 for the

cadence of recitation ; organic, for instruments ; poetical2, for poetry ; hypocritical-, for panto mimes, and the harmonious,4' for song. What we now call harmony was perfectly unknown to them.

Music3 also signified all the mental gifts, ideas, operations and accomplishments. Suetonius tells us




both ways that the psalm is by Asaph and that David sang it, (v. canim, supra) to wit, the Holy Spirit inspired in Asaph's mind the music3 and the sense that are in the psalm, and David added harmony* to them."

Cuibdius evidently means a metrical or poetic arrangement of the utterances

of Asaph. O'Davoren defines rinn .i. [ceol] co cuibdius inagaidh, which Stokes with Dr.

Joyce translate "

music with harmony against it." I think "

music with arrange

ment, &c." would be more correct in the light of the above quotations, cf. O'Dav.

1430 (Stokes) and Irish metrics K.M. 10 where rinn is the rhyming verse end, and the rhyme itself cuibdius. I should remark that [ceol] above is an insertion, so that this rinn of O'Davoren probably is a rhyming verse end. Symphonia applied to the music of the tympan would mean merely melody, cf. Hib. Min. sub. bindius.

After dealing with the various kinds of Dance Tunes, in which section the only missing qualification to his remarks on Hornpipes is that sometimes

the}^ are even found in six-eight time, the Pace of movement, and the Origin of the

various settings, he concludes by some calculations on the total number of Irish

airs, which he estimates at 3,100 in print and about 2,000 unpublished, and at the

same time he tells us that "

It is highly probable that the airs that have been lost in the long lapse of time would at least equal in number those that have been

preserved to us." If this be true it shows how inportant it is for capable persons who live in localities where Irish airs are found to collect them ere they die with the old people. There are many valuable relics, hagiological, historical, literary,

musical, which can be garnered before the soul and spirit of the old race has de

parted. All the pieces here published are reels except the hornpipes marked as such inf.

and Nos. 98, 99, 100 and 106. The melody of the following numbers is identical with the Nos. of Dr. Joyce's work which are attached to them though they are different either in setting, name or time.

Abbreviations.?R,=reel. j,=jig- s,?song or other air. h,?hornpipe, d,?different title. t,=diffe renttime. cf. Nt. 1 inf,?8 Joyce hd. 2h,?llhd. 3,?21rd. 4,?23sd. 5,?27rd. 6,?39hd. 7,?40hd. 8,?42hd. 9,? 51hd. 10,?61rd. llh,?63hd. cf. 8. 12,-66. 13,?72hd. 14,?77rd. 15,?83hd. 16,-84. 17,?85rd. 18,?91s. 19,?94rd. 20h,?103hd. 21,?120rd. 22,?125rd. 23,-129. 24,?156rd. 25,? 157rd. 27,?204rd. 28,?215-d. 29h,?221hd. 30,?227rd. 31,-188. 32,-229. hd. cf. 29. 34,?64rd.

40,? 236rd. 41,?289rd. 42,?293rd. 43,?294hd. 44,? 295rd. 45,?346rd. 46h,?349rd. 47,? 355rd. 48,?356rd. 49,-357. 50,-84. 51,?358rd. 52,?359rd. 53,?359rd. 54,?360rd. 55,?2sd. 56,?3sdt. 57,?700sL 58,?67jt. 59,?69rd. 60,?71sd. 61,?95sdt. 63,?104sdt. 64,?70hd. 65,? 342rd and 232jd. 66,?102sdt. and 206sdt. 67,?135sdt. 68,?243j. 69,? 275sdt. 70,? 82jd. 71,? 306sdt. 72,?314sd. 73,?120rd. 74,-356. 75,?22sdt. 76,?797sdt. and 37jd 77,?51hd. 78,? 86sdt 79,?116sd. 80,?157hd. 81,?193jd. 82,?252sdt. 83,?301sdt. 84,?329sdt. 85,?330sdt. 86,?336sdt. 87,?373sd- 88,?451sdt. 94,?518sdt. 95,?545sdt. 96,?554sdt. 97,?570st. 101,? 8203d. 102,?663sdt. 103,?657sd. 104,?693sdt. 105,?701sdt. 35,?230rd. 36,?233rd. 38,-234 37,?126rd. 39,?235rd. 62,?98sd. 89,?459sdt. 90,?486st, 91,?493sdt. 92,?495sdt. 93,?505sdt.

I intended to insert slight variants of 109 (Richard's (?) Hornpipe) which should be Richer's, and 131 "The Piper in (?)[o'er] the meadows straying, met a fair maid all a-maying

" &c. Of the 200 other variants of different pieces in the work which I

have the limits of the present article do not allow me to write at length. In con

clusion, I wish I could write in large letters of gold instead of small letters of black that this last Opus of Dr. Joyce is a veritable

" Thesaurus

" and that Ireland

owes another debt of gratitude to him.

c. 20. that Nero gave as the reason for his public appearance on the stage "

Occultae musicae nullus est respectus," by which he meant that his subjects would regard him as a barbarian, if he did not

make an occasional demonstration of his ability. The Latin proverb is borrowed from the Greek :

Tr}? \av?avov(TT)? }xov<riKr)s ov8e\? X?yoc or O'v??v ofaXo? aTropprjrov ko! a(j)avov? rrjs ?xovaLKrj?. cf. Gell. 1. 13. c. ult. Ovid. 3. de ar. am. v. 397. 1The ancient Irish applied the term canim, I sing or some of its compounds to the predictions of prophets cf. Dinds, 18. Cog. 12, 5 (K.M. Contribb) Zeuss. 768b, 226a, 880b and 881a. Patrick's Hymn, &c.

[Any corrigenda will be printed when all the whole of the melodies will be published.]



dt. VI ,*>

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Documents

Oriel Songs and Dances