The sea sleepeth on the green fields,
The moon sleepeth on the blue waters,
Sleep, my child, my darling child, my lovely child, sleep!
Sleep, my child!
The morning sleepeth upon a bed of roses,
The evening sleepeth on the tops of the dark hills;
Sleep, my child, my darling child, child of my heart's love, sleep!
Sleep, my child!
The winds sleep in the rocky caverns,
The stars sleep on their pillow of clouds,
Sleep, my child, my darling child, my little child, sleep!
Sleep, my child!
The mist sleepeth on the bosom of the valley,
The broad lake beneath the shade of the trees,
Sleep, my child, my darling child, my tender child, sleep!
Sleep, my child!
The flower sleeps, while the night-dew falls,
The wild birds sleep upon the mountains;
Sleep, my child, my darling child, my blessed child, sleep!
Sleep, my child!
The burning tear sleepeth upon the cheek of sorrow
But thy sleep is not the sleep of tears,
Sleep, my child, my darling child, child of my bosom, sleep!
Sleep, my child!
Sleep in quiet, sleep in joy, my darling,
May thy sleep be never the sleep of sorrow!
Sleep, my child, my darling child, my lovely child, sleep!
A SLEEP SONG
Traditional.
Deirín dé, Deirín dé!
The brown bittern speaks in the bog;
Deirín dé, Deirín dé!
The night-jar is abroad on the heath.
Deirín dé, Deirín dé!
Kine will go west at dawn of day;
Deirín dé, Deirín dé!
And my child will go to the pasture to mind them.
Deirín dé, Deirín dé!
Moon will rise and sun will set;
Deirín dé, Deirín dé!
Kine will come east at end of day.
Deirín dé, Deirín dé!
I will let my child go gathering blackberries,
Deirín dé, Deirín dé!
If he sleep softly till the ring of day!
P. H. PEARSE.
THE CRADLE OF GOLD
I'd rock my own sweet childie to rest
In a cradle of gold on the bough of the willow,
To the shoheen ho! of the Wind of the West
And the lulla lo! of the blue sea billow.
Sleep, baby dear!
Sleep without fear!
Mother is here beside your pillow.
I'd put my own sweet childie to float
In a silver boat on the beautiful river,
Where a shoheen! whisper the white cascades
And a lulla lo! the green flags shiver.
Sleep, baby dear!
Sleep without fear!
Mother is here with you for ever!
Shoheen ho! to the rise and fall
Of mother's bosom, 'tis sleep has bound you!
And oh, my child, what cosier nest
For rosier rest could love have found you?
Sleep, baby dear!
Sleep without fear!
Mother's two arms are close around you!
ALFRED PERCEVAL GRAVES.
RURAL SONG
I wish the shepherd's pet were mine,
I wish the shepherd's pet were mine,
I wish the shepherd's pet were mine,
The pretty white lamb in the clover.
And oh! I hail, I hail thee,
And oh! I hail, I hail thee,
The love of my heart for ever thou art,
Thou little pet of thy mother.
I wish that scores of kine were mine,
I wish that scores of kine were mine,
I wish that scores of kine were mine,
And Kathleen, the love of her mother.
And oh! I hail, I hail thee,
And oh! I hail, I hail thee,
The love of my heart for ever thou art,
Thou little pet of thy mother.
PLOUGHING SONG
TAILSMAN.
Goad her, and whip her, and drive,
The old woman's little brown mare,
Stand up on the plough, look alive,
And see if our dinner is there.
HEADSMAN.
The corn is a-reaping,
Goad her and whip her and drive.
The stooks are a-heaping,
Goad her and whip her and drive.
The corn is a-binding,
Goad her and whip her and drive.
In the mill it is grinding,
Goad her and whip her and drive.
We soon shall be feeding,
Goad her and whip her and drive.
For the flour is a-kneading,
Goad her and whip her and drive.
The bread is a-baking,
Goad her and whip her and drive.
Our dinner we are taking,--
She's the best little mare alive!
TAILSMAN.
Whistle and shout with zest!
The little brown mare is good!
Unyoke her, and give her a rest,
While we're stretching and getting our food.
A SPINNING-WHEEL DITTY
These verses, improvised to the hum of the wheel, are flung from girl
to girl as they sit spinning. The references are purely personal, and
the refrain, which is sung by all the spinners, has no special meaning.
FIRST GIRL.
Mallo lero, and eambo nero,
I crossed the wood as the day was dawning;
Mallo lero, and eambo nero.
SECOND GIRL.
Mallo lero, and eambo nero,
No doubt John O'Connell had had good warning!
Mallo lero, and eambo nero.
FIRST GIRL.
Mallo lero, and eambo nero,
Oh! John may go hang, it's not me he will catch!
Mallo lero, and eambo nero.
SECOND GIRL.
Mallo lero, and eambo nero,
You mannerless girl, he'll be more than your match!
Mallo lero, and eambo nero.
FIRST GIRL.
Mallo lero, and eambo nero,
Come, come now, leave off, or get me my own man!
Mallo lero, and eambo nero.
SECOND GIRL.
Mallo lero, and eambo nero,
Well, what do you think of Thomas O'Madigan?
Mallo lero, and eambo nero.
FIRST GIRL.
Mallo lero, and eambo nero,
I hail him, and claim him, may we never be parted!
Mallo lero, and eambo nero.
SECOND GIRL.
Mallo lero, and eambo nero,
Go east or go west, may you still be true-hearted!
Mallo lero, and eambo nero.
THIRD GIRL.
Mallo lero, and eambo nero,
Go east and go west, and find me my love, too!
Mallo lero, and eambo nero.
FOURTH GIRL.
Mallo lero, and eambo nero,
There's Donall O'Flaherty, but I doubt will he take you!
Mallo lero, and eambo nero.
FIFTH GIRL.
Mallo lero, and eambo nero,
The man is too good, he'll be courting elsewhere!
Mallo lero, and eambo nero.
THIRD GIRL.
Mallo lero, and eambo nero,
There's no tree in the wood, but its equal is there!
Mallo lero, and eambo nero.
NOTES
NOTES
"The Colloquy of the Two Sages," edited by Dr. Whitley Stokes from the
_Book of Leinster_, p. 186a, is one of the most archaic pieces in tone
that have come down to us. It represents the discussion between an aged
poet and a young aspirant as to the sources of poetic inspiration,
and shows us that the gifts of the bard were highly regarded as the
direct endowment of the gods. Original in _Rev. Celtique_, No. xxviii.
As in the following poem, I have made use of the scribal glosses or
explanations wherever they seemed to throw light upon the original.
"Amorgen sang." Professor John MacNeill has most kindly made a fresh
collation of the manuscripts containing this obscure poem for my
use. Parts, especially from line 20 onward, are doubtful. I have
incorporated with the text such of the glosses as appear to make
the meaning more intelligible, but the glosses themselves are mere
scribes' guesses, often bad ones, at the sense of a text they did not
understand. This poem, though ascribed to the earliest traditional
poet of Ireland, is, Prof. MacNeill considers, rather pseudo-archaic,
than of really great antiquity. The allusion to "Tetra's kine," which
is explained in the gloss to mean "the fish of the sea," alludes to
Tetra as Ruler of the Ocean; in the "Colloquy" we found him ruling in
the assemblies of the dead. The connection between the ocean and the
invisible world is constant in Irish tradition. The poem appears to be
an assertion of the Druid's powers, preparatory to the incantation for
good fishing which follows immediately in most manuscripts. The final
lines are an inquiry into the origin of created things, matter on which
the bard or Druid claimed superior enlightenment.
"The Song of Childbirth" and the succeeding "Greeting to the New-born
Babe" are taken from the piece known as "The Birth of Conchobhar"
(_Compert Conchobhar_), edited from Stowe MS. 992, by Prof. Kuno Meyer
in _Rev. Celt._ vi. pp. 173-182.
"What is Love?" From the story called the "Wooing of Etain" (_Tochmarc
Etaine_). Original in _Irische Texte_, i. p. 124.
"Summons to Cuchulain." From the "Sickbed of Cuchulain" (_Serglige
Conculaind_). Original, _ibid._, p. 216. Overcome with fairy spells,
the hero lies fast bound in heavy slumber; the song is an appeal to him
to throw off the charm and to arise.
"Laegh's Description of Fairy-land." From the same story, _ibid._, p.
218. Laegh is Cuchulain's charioteer, who went into fairy-land instead
of his master, and returns to extol its beauty.
"The Lamentation of Fand when she is about to leave Cuchulain."
From the dramatic incident in the same story, in which Fand, Queen
of Fairy-land, and Emer, Cuchulain's mortal wife, struggle for the
affection of the hero, after Cuchulain's return from fairy-land. Each
woman fully recognises the nobility of the other; and Fand's parting
song, in which she restores him to Emer, is one of lofty renunciation.
"Midir's Call to Fairy-land." From the story called the "Wooing of
Etain" (_Tochmarc Etaine_), _ibid._, p. 132.
"Song of the Fairies." From A. H. Leahy's _Heroic Romances of Ireland_
(D. Nutt, 1905), p. 29, taken from the same tale. Etain was wife of
Eochad (pron. Yochee), King of Ireland, but Mider, King of Fairy-land,
fell in love with her. He won an entry into the palace by playing
chess with her husband, who demanded from Mider as the stake for which
they played that the fairy hosts should clear away the rocks and stones
from the plains of Meath, remove the rushes which made the land barren,
build a causeway across the bog of Lamrach, and perform other services
useful to his realm. The song is sung by the fairies while they are
performing this heavy task. The final stake is won by Mider, who asks
Etain as his prize.
"The Lamentation of Deirdre," when her husband and two sons had been
slain by King Conchobhar. She recalls the happy days spent with her
husband in Alba or Scotland, on Lough Etive, and compares it to her
present misery in the house of the King. Original, _Irische Texte_, i.
pp. 77-81. In all the above poems there are many difficult and obscure
passages.
"Take my Tidings." A ninth century poem, edited and translated by Dr.
Kuno Meyer in his _Four Songs of Summer and Winter_ (D. Nutt, 1903),
and by Dr. Whitley Stokes in _Rev. Celt._ xx. p. 258. It is ascribed to
Fionn in the commentary on the "Amra Coluim Cille." Mr. Graves' poem
will be found in his _Irish Poems_, i. p. 1 (Maunsel & Co., Dublin).
"Second Winter Song." Text and translation in Dr. Kuno Meyer's _Four
Songs of Summer and Winter_. A longer poem on similar lines is to be
found in the tale called the "Hiding of the Hill of Howth," _Rev.
Celt._ xi. p. 125, reprinted in his _Ancient Irish Poetry_ (Constable),
p. 57; but in the former version the complaint of the lazy servant-lad
is answered by a fine song in which Fionn praises the signs of coming
spring in earth and air.
"In Praise of May." Original and translation published by Dr. K. Meyer
from the tale called "The Boyish Exploits of Finn" in _Rev. Celt._ v.
p. 195. It is said to have been composed by Fionn after he received
inspiration by eating the "Salmon of Knowledge" at the River Boyne.
Mr. Rolleston's poem is to be found in his _Sea-Spray_ (Maunsel, 1909).
"The Isle of Arran." The Arran here spoken of is the Scottish island
of that name. The Fianna were accustomed to spend part of the autumn
and winter hunting in that island. The poem occurs in the long Ossianic
tract called "The Colloquy of the Ancients," published by Standish
Hayes O'Grady in _Silva Gadelica_ (Williams and Norgate, 1892). Text,
p. 102; translation, p. 109.
"The Parting of Goll with his Wife." From _Duanaire Finn_, edited by
Prof. John MacNeill (Irish Texts Soc, vii., 1908), pp. 23 and 121. Goll
was leader of the Connaught Fians and was opposed to Fionn, the chief
of the Leinster warriors. He is described as a man of lofty disposition
and great valour. In this poem he is standing, driven to bay by his
enemies, on a bare rocky promontory, his wife only beside him, cut off
from all hope of escape. Few poems relating to Goll remain in Ireland,
but a good many survive in the Western Highlands of Scotland.
"Youth and Age." _Ibid._, pp. 80 and 194. It is Oisín (Ossian) who here
laments his departed youth.
"Chill Winter." From the "Colloquy of the Ancients," _Silva Gadelica_,
text, p. 172; translation, p. 192.
"The Sleep-song of Grainne." From _Duanaire Finn_, pp. 85 and 198.
Dermot, who has carried off Grainne, the wife of Fionn, is lying
down to rest in the forest, when Grainne hears the approach of their
pursuers. She sings over him this passionate lullaby, in which the
restless activities and foreboding terrors of the animal world are
aptly used to heighten the sense of their own danger.
"The slaying of Conbeg, Fionn's beloved hound." Original in _Gaelic
Journal_, ix. No. 104, Feb. 1899, p. 328; the poem occurs in the
"Colloquy of the Ancients," where the readings are slightly different
(_Silva Gadelica_, text, p. 143).
"The Fairies' Lullaby." Original in _Waifs and Strays of Celtic
Tradition_, Argyleshire Series, No. iv. (David Nutt, 1891). It was
collected in Argyleshire by John Gregorson Campbell.
"The Lay of the Forest Trees." Original in _Silva Gadelica_, i. p. 245;
trans., ii. p. 278. This curious poem, which contains much folklore
regarding forest-trees, arose out of the gathering of wood for a fire
in the open air, by a servant or "Man of Smoke," as he is called. He
accidentally threw upon it a block around which woodbine had twined.
This called forth a protest from the onlookers, who declared that the
burning of the woodbine would certainly bring ill-luck.
"St. Patrick's Breastplate." See Dr. Kuno Meyer's _Ancient Irish
Poetry_ (Constable), pp. 25-7. Original in Stokes' and Strachan's
_Thesaurus Palaeohibernicus_, ii. p. 354. Probably eighth century.
"Patrick's Blessing on Munster," ninth century. Original in Dr. Whitley
Stokes' _Tripartite Life of St. Patrick_, p. 216; literal translation
in Dr. Kuno Meyer's _Ancient Irish Poetry_, p. 29. The present poetic
rendering, kindly contributed to my book by Mr. A. P. Graves, has not
hitherto been published.
"Columcille's Farewell to Aran." See Dr. Douglas Hyde's _Three Sorrows
of Story-telling_ (T. Fisher Unwin, 1895), pp. 146-8.
"Columba in Iona." Printed in William Skene's _Celtic Scotland_, ii.
p. 92, from an Irish manuscript in the Burgundian Library, Brussels.
It bears the ascription "Columcille fecit," and was transcribed and
translated by O'Curry for Dr. Todd. Many poems are ascribed to the
Saint, but the language of most of them is later than his time.
"Hymn to the Dawn." From _Silva Gadelica_, by Standish Hayes O'Grady
(Williams & Norgate); original, vol. i. p. 56; literal trans., ii. p.
59. The hymn was composed by St. Cellach on the morning on which he
was slain by his old friends and fellow-students, who had been bought
over to destroy him.
"The Song of Manchan the Hermit." Original in _Ériu_, i. p. 39. A ninth
century poem, with translation by Dr. Kuno Meyer.
"A Prayer." Original and literal translation by Miss Mary E. Byrne in
_Ériu_, ii., Part i. p. 89.
"The Loves of Liadan and Curithir." This touching poem illustrates
the tyrannical use sometimes made of their authority by the monks
of the ancient Irish Church. St. Cummine, who was the confessor or
"soul-friend" of the lovers, seems to have been a hard and censorious
man. He lived in the first half of the seventh century. The poem, as we
have it, is of the ninth century. Edited with translation by Dr. Kuno
Meyer (D. Nutt, 1902). The love song has been reprinted in his _Ancient
Irish Poetry_.
"The Lay of Prince Marvan." This song takes the form of a colloquy
between Marvan, who had left his royal station to adopt a hermit life,
and his brother King Guaire of Connaught (_d._ 662). Guaire, visiting
him in his retirement, inquires why he prefers to sleep in a hut rather
than in the comfort of a kingly palace; in reply Marvan bursts forth
into a song in praise of his retired woodland life. Original in _King
and Hermit_, edited by Dr. Kuno Meyer (D. Nutt, 1901); translation
reprinted in _Ancient Irish Poetry_, p. 47.
"The Song of Crede." Text and translation in _Ériu_, ii. p. 15; its
editor, Dr. Kuno Meyer, ascribes it to the tenth century. I have to
thank Mr. A. P. Graves for most kindly giving me permission to use his
unpublished poem.
"The Student and his Cat," eighth or ninth century. Written on
the margin of a codex of St. Paul's Epistles, in the monastery of
Carinthia. Original and translation in Stokes' and Strachan's
_Thesaurus Palaeohibernicus_, ii. p. 293.
"Song of the Seven Archangels." Original in _Ériu_, ii., Part i. pp.
92-4, with literal translation by Thomas P. O'Nowlan. Mr. Ernest Rhys'
poetical version, kindly contributed by him to this book, has not
hitherto been published.
"Saints of Four Seasons." Original in _Ériu_, i., Part ii. pp. 226-7,
with translation by Miss Mary E. Byrne. Mr. P. J. McCall's poetical
version is printed in his _Irish Fireside Songs_ (M. H. Gill, Dublin,
1911).
"The Feathered Hermit." Original printed by Dr. K. Meyer in _Gaelic
Journal_, iv., No. 40, February 1892, from a marginal note on Harl. MS.
5280 (Brit. Mus.).
"An Aphorism." _Ibid._; also from a marginal note.
"The Blackbird." Marginal note from a copy of Priscian in the monastery
of St. Gall in Switzerland. Original in Stokes' and Strachan's
_Thesaurus Palaeohibernicus_, p. 290.
"Deus Meus." Printed by Dr. Whitley Stokes in the _Calendar of
Aengus_, clxxxv. It is found written on the margin of the _Leabhar
Breac_, facs., p. 101, and is there ascribed to Maelisu ua Brolcan
(_d._ 1086). Dr. George Sigerson's poetical rendering will be found in
his _Bards of the Gael and Gall_ (T. Fisher Unwin, 1897), p. 193.
"The Soul's Desire." Original and literal translation by Dr. Kuno Meyer
in the _Gaelic Journal_, vol. v., No. 6, 1894, p. 95. Though printed
from comparatively late copies, the hymn gives the impression of being
ancient.
"Song of the Sea." Original and literal translation by Dr. Kuno Meyer
in _Otia Merseiana_ (Liverpool), ii. p. 76. It is ascribed to the poet
Ruman, who died 707, but the editor believes it to be of the eleventh
century.
"Lament of the Old Woman of Beare." From Dr. Kuno Meyer's text and
translation in _Otia Merseiana_, i. p. 119 ff. It has since been
reprinted in the author's _Selections from Early Irish Poetry_, pp.
88-91. The editor would put the poem down to the late tenth century.
"Gormliath's Lament for Nial Black-knee." From the Scottish _Book of
the Dean of Lismore_, edited by Rev. Thos. M'Lauchlan.
"The Mother's Lament." First printed by Rev. Edmund Hogan in his _Latin
Lives of the Irish Saints_ (Todd Lectures, V., 1894); see also _Gaelic
Journal_, iv. p. 89, and Kuno Meyer's _Ancient Irish Poetry_, p. 42.
Eleventh century? Mr. Graves has kindly given me permission to use his
excellent unpublished version.
"Consecration." Original from the _Book of the Dean of Lismore_, a
collection of poems made in the Western Islands about 1512 by Sir James
McGregor, Dean of Lismore, Argyleshire, p. 121. It contains many Irish
poems. This and the two following poems are ascribed to Murdoch O'Daly,
called "Muredach Albanach," or Murdoch the Scot, on account of his long
residence in that country. He is styled "Bard of Erin and Alba." He was
a Connaught poet, who ended a stormy career by retiring to the Irish
monastery of Knockmoy. It is probable that these religious poems, if
not actually written by him, were composed about his period.
"Teach me, O Trinity," _ibid._, p. 123.
"The Shaving of Murdoch," _ibid._, p. 158 _note_, from a translation
made by Standish H. O'Grady. This curious poem refers to the tonsuring
of the bard and his contemporary Connaught chieftain, Cathal of the Red
Hand, when they entered the monastery of Knockmoy together. In Scotland
Murdoch is remembered as the first of the Macvurrachs, bards to the
Macdonalds of Clanranald. He lived 1180-1225, and Cathal of the Red
Hand, 1184-1225.
"Eileen Aroon." Original in Hardimen, i. p. 264; it should be compared
with the version, _ibid_., p. 211. The present is the oldest form.
Carol O'Daly, who composed it, was an accomplished Connaught gentleman,
whose desire to marry Eileen Kavanagh was frustrated by her friends.
He fled the country, but returned, disguised as a harper, on the eve
of her marriage to another suitor, and entered the guest-chamber. He
poured out this impassioned appeal with such good effect, that Eileen
fled with him that night. The last lines are a welcome to her in
response to her avowal of love. The air is very ancient; in Scotland it
is known as "Robin Adair."
* * * * *
"The Downfall of the Gael." Original in Hardiman's _Irish Minstrelsy_,
ii. p. 102. O'Gnive, bard of the O'Neills of Clandaboy, accompanied
Shane O'Neill to London in 1562, on the occasion of that chief's visit
to Queen Elizabeth. The poem is a lament over the condition of Ireland
and the inaction of the chiefs. Sir Samuel Ferguson's rendering will be
found in _Lays of the Western Gael_ (Sealy, Bryers & Walker, 1888), p.
136.
* * * * *
"Address to Brian O'Rourke of the Bulwarks" (_na murtha_), a poem of
seventy quatrains from Egerton MS. iii., art. 85. Dr. Standish Hayes
O'Grady has given specimens of this poem in his valuable _Catalogue of
Irish MSS. in the British Museum_, pp. 412-20. Another poem addressed
to the same chief will be found in Hardiman, ii. pp. 266-305, by
John mac Torna O'Mulchonaire. The writer of the present poem, Teigue
O'Higgin, called Teigue "Dall," _i.e._ the Blind, on account of his
blindness, is one of the best of all the tribal poets of Ireland. He
was poet to the chiefs of Co. Sligo, but he came to an untimely end on
account of a satire made by him on the O'Haras, who had ill-used him,
some time before 1617. In the poem we give, he endeavours to arouse
Brian to action, and calls on him to unite the clans against England, a
challenge which O'Rourke did not fail to obey. It is a good sample of
much bardic poetry of the period.
* * * * *
"Ode to the Maguire," by Eochadh O'Hosey or Hussey, the last bard
of the Maguires, whose strongly fortified castle still frowns upon
the waters of the Upper and Lower Lochs Erne, at Enniskillen, Co.
Fermanagh. His young chief, Hugh Maguire, had marched into Munster in
the depth of the winter of 1599-1600, with 2500 foot and 200 horse on
a warlike foray; the bard, sitting at home in Fermanagh, bewails the
hardships which he feels sure the chief and his followers are enduring
in the open camps during the winter's weather. A fine copy of this poem
is found in the O'Gara manuscript in the Royal Irish Academy, Dublin,
of which Egerton III is a copy (and see O'Grady's _Catalogue_, p. 451).
* * * * *
"A Lament for the Princes of Tyrone and Tyrconnel," by the family bard,
Red Owen Mac Ward, in the form of an address of comfort to O'Donnell's
sister, Nuala, who is supposed to be weeping over her brother's grave
in Rome, where he had taken refuge after his flight from Ireland. He
lies buried, beside Hugh O'Neill, in the Church of San Pietro Montario,
on the Janiculum. The bard imagines the clans of the North of Ireland
gathering to bewail the dead and share Nuala's grief. Though Mangan's
broken metre imparts a fervour and fire to the original, he adds
nothing to its slow monotonous impressiveness. For original see Egerton
III, Art. 48 (Brit. Mus.), and translation of extracts in O'Grady's
_Catalogue_, pp. 371-3. Mangan's version has been often reprinted.
* * * * *
"Co. Mayo." There are many versions of this favourite song. That given
here is said to have been composed by a bard named Thomas Flavell, a
native of Bophin on the Western Seaboard. Hardiman gives the Irish of
this song, i. p. 337; and also another version by David O'Murchadh,
or Murphy, _ibid._, pp. 229-33. Flavell was a poor dependent on the
fourth Earl of Mayo, and lived about the middle of the seventeenth
century. For a different song of the same name, see Dr. Hyde's _Poems
of Raftery_, p. 96.
* * * * *
"The Flower of Nut-brown Maids" is the oldest of the numerous songs
written to the air "Uileacán Dubh O." This poem dates from the
seventeenth century, and it is said to be an invitation addressed by
one of the unfortunate landowners, driven out of Ulster during the
plantation of James I, to his lady, to follow him to Leitrim. It seems
to refer to a time of famine, and is, like many other love-songs, in
the form of a colloquy. Original in Hardiman, i. p. 258.
* * * * *
"Roisín Dubh," from the original in O'Daly's _Poets and Poetry of
Munster_, where two versions are given. It is the poem on which Mangan
founded his "Dark Rosaleen." The poem is an address to Ireland, veiled
as a woman. Hardiman gives some quatrains in vol. i. pp. 254-61.
* * * * *