OLITICAL and historical songs, those interesting and highly illustrative commentaries on the course of events, are to be found in the literature of most, if not of every country, and when they can be read dispassionatelywith total absence of all partisan sensibility, they are not only conducive to instruction, but to high intellectual pleasure. But when this condition cannot be fulfilled, the path of an editor is beset with difficulty. In that case he treads on ground which may still be considered "debate

the borderers; or while he seeks but some flower characteristic of the soil, he may wake some serpent under it he would rather should lie sleeping—and these are the difficulties that pre-eminently exist in dealing with the political songs of Ireland, as political strife has existed there, in an aggravated form, longer and later than in any other part of the United Kingdom. Hence it is that this section is more barren than I could wish; more barren than it might have been under more favourable circumstances; but, however incomplete, it was felt that in a volume where specimens of all other classes of lyric poetry of Ireland were given, this class of composition must not be totally overlooked, however limited in its range, however guarded a circumspection might be required in its execution.

With respect to the historical songs of Ireland, few exist, that I know of, written in English, and most of the translations that I have seen from the Irish, are somewhat tedious, and often rather a special lament for, or glorification of, some chieftain, than a general treatment of the subject. Moore, it is true, sometimes made historic allusions in his Irish Melodies, but it is equally true that, though such of his songs were worthy of his fame, they never became popular, with the exception of "The Harp that once through Tara's Hall” and "Rich and rare were the gems she wore." All of his historical and political pieces would be welcome and valuable additions in the following section, but their proprietors forbid their use. Even the historical songs that are treated in the following selection are mostly by modern hands; and, it may be observed, that, when the authorship of such belongs to the time of the event recorded, the execution is very rough indeed; as in "The Boyne Water" and "Siege of Carrickfergus," which are only interesting as cotemporaneous verifications of salient points of history, with occasional touches of local precision and record of names, which impart that sort of interest to them which documentary papers, with all their dryness, often possess. Exception to this remark may be made, however, regarding one of the historical songs that follow, and that a translation from the Irish-" John O'Dwyer of the Glen," which, I think, will be acknowledged to possess much poetic merit.

Respecting the political pieces, the specimens given, while sufficiently characteristic of their time, have no present sting:-for, as more than half a century has passed away since most of them had temporary interest or significance, it is hoped they cannot be offensive to any, but may be looked upon, merely, as literary remnants of eventful times.

To treat of any Irish political subject, without offence, was always difficult enough any time for the last five-and-twenty years, but the difficulty has been much increased by the somewhat recent doings of a small party whose fatal self-esteem too often hurried them into acts of presumption-whether it was to instruct the veteran O'Connell, as a politician, or criticise the accomplished Thomas Moore, as a bard.

Of their doings, as politicians, it is not my desire, nor is this the place to enlarge, but one significant remark may be made, that their total-it may be said ludicrous failure, was the most convincing proof of their incapacity. But respecting their conduct to Moore, I will not be silent; and no fitter place than this could be found to expose the injustice and ingratitude with which he was treated.

Moore undoubtedly did more for Ireland than all her other bards put together. His winning lay insinuated a sympathy for Ireland into bosoms impervious to open assault. The cold circle of prejudice that had hitherto guarded many a heart in high places was opened to the magic of his song, and, for the first time, the harp of Ireland became more than an emblem of her fame :-it was turned to an instrument for her good.

And what was the return Moore had at the hands of the Young Ireland party, for this ?-They "cautioned" the people of Ireland that Moore had "corrupted" their melodies;—that was the word— corrupted ;-Careful patriots!!-But they also begged to assure the world they had no desire to "run down Mr. Moore." The phrase might move indignation, were it not more provocative of laughter.

As to the corruption of melodies, a word may be said on that subject, en passant. It is well known by those conversant with the subject, that different sets (or varieties) of the same melody are to be found in different counties-or even in the same county from different singers or players. Which is the genuine? Who is to pronounce judgment? Who is entitled to fling in any one's teeth that ugly word "corruption?"

Judging from their works, the aggressors in this case are not entitled to arbitrate. Their own volume of songs, with musical settings, under the modest name of "The Spirit of the Nation," gives sufficient proof of this. There they may sometimes be seen incapable of accomplishing that which they were so rashly-ready to criticise. As a special example of this, one song may be named from that collection adapted to the exquisite air of "The Wheelwright”—an air soaring and musical as a lark ;—and yet to this brilliant air a woful

ditty is written, beginning, “Oh! weep those days, those penal days." A more signal failure in literary and musical combination could scarcely be made; yet the very author of this poor attempt had the presumption to caution Ireland against Moore.

At last they attempted to usurp the rights of Omnipotence-to supersede Nature herself in one of her divinest offices-by issuing general instructions for the making of POETS-PROPER for Ireland, forgetting the Latin adage, that poets are born-not made. But their proposed manufactory of poets proved as barren a speculation as the rest of their schemes; no child of song was ground out of their mill; Nature would not be hurried in her process of poet-birth; and, having given Moore to the present century, she thinks, perhaps, Ireland may be content for a while, and wait.

One of the self-elected law-givers in this new temple of The Muses goes so far as to "fix arbitrarily" the number of lines of which a song shall consist; he even goes the length of limiting the number of syllables that should constitute a certain composition he calls by the affected name of "Songlet." This gentleman may be called the bedmaker of The Young Ireland College of Criticism; but he makes his bed after the fashion of Procrustes, and cuts to the all that he would consign to eternal sleep under his wet blanket.

proper measure

I have only to observe, in conclusion, that the following pieces are arranged in chronological order, where it could be observed, and throughout the whole section the audi alteram partem, that golden rule, has been kept in view. Each party speaks for itself-sometimes with sufficient spirit-sometimes with sufficient bitterness. If it be noticed that one of these parties has been allowed a larger space than the other the greater share of speech,-let me not be accused of unfairness; but be it remembered, that those who struggle against power have been always more prolific in bardic effusion than its supporters; that the generous spirit of minstrelsy has always shown a chivalrous preference for the weaker side. While the Jacobite songs of Scotland furnished brilliant proof of the heroic spirit and poetic power of the partisans of James, the Georges had few to sing their praises. If the pen had been the only instrument of warfare, the result of the battle had been different; but experience has not been flattering to the poet; the course of events establishes the fact, that the 'paper pellets of the brain” are fearfully counterbalanced by those of lead, and that nimble Pegasus is overmatched by heavy dragoons.

THE BATTLE OF DUNDALK.

Mr. Henry R. Montgomery, in his interesting volume entitled "Specimens of the Early Native Poetry of Ireland," thus speaks of this battle :

"A naval engagement is recorded as having taken place at Dundalgin, the present Dundalk, in the tenth century, with the Danes and Northmen, under the command of Magnus, Sitrie, and Tor, in which the invaders were completely routed.

The following translation of an Irish song written in commemoration of this naval victory appeared anonymously in the Belfast Chronicle:"—

Now sheathed is the sword, and the battle is o'er,
The shouts of the victors have ceased on the shore,-
With blood, O Dundalgin, thy billows are dyed,
O'er the mighty of Lochlin thy deep waters glide.

O fierce was the conflict our warriors maintain'd,
But bright is the triumph their valour has gain'd;
Long Erin her tears and her praises shall give,
For life they resign'd that her glory might live.

Though no cairns do the bones of the valiant enclose,
On the sands of the ocean though deep they repose,
The patriot shall turn from the high-trophied grave,
And seek, O Dundalgin, thy sanctified wave.

There, in grateful remembrance, their fame shall recall,
Exult in their glory, and envy their fall,

Who each in his death-grasp encircled a foe,

And plung'd with his prize in the billows below.*

* Reminding us of the two Mexicans who attempted to make CORTEZ share their fate in the famous death-plunge from the Great Tower.

COULIN.

CAROLL MALONE.

In the twenty-eighth year of the reign of Henry VIII. an act was made respecting the habits and dress in general of the Irish, whereby all persons were restrained from being shorn or shaven above the ears, or from wearing glibbes, or Coulins (long locks) on their heads, or hair on their upper lip, called Crommeal. On this occasion a song was written by one of our bards, in which an Irish virgin is made to give the preference to her dear Coulin (or the youth with the flowing locks), to all strangers (by which the Engiish were meant), or those who wore their habits. Of this song the air alone has reached us, and is universally admired.-Walker, as quoted in Moore's Melodies.

It so happens, however, on turning to the above statute, that no mention is to be found therein of the Coulin. But in the year 1295, a Parliament was held in Dublin; and then an act was passed which more than expressly names the Coulin, and minutely describes it for