WEST IRISH BALLADS.

'Whatever harbour you came from last night, move up to me and speak if you can.' Death answers: "Put away Hebrew,Greek and Latin, French, and the three sorts of English, and I will speak to you sweetly in Irish, the language that you found your verses in. I am death that has hidden hundreds: Hannibal, Pompey, Julius Cæsar; I was in the way with Queen Helen. I made Hector fall, that conquered the Greeks, and Conchubar, that was king of Ireland; Cuchulain and Goll, Oscar and Diarmuid, and Oisin, that lived after the Fenians; and the children of Usnach that brought away Deirdre from Conchubar; at a touch from me they all fell." But Raftery answers: "O high Prince, without height, without followers, without dwelling, without strength, without hands, without force, without state: all in the world wouldn't make me believe it, that you'd be able to put down the half of them."'

But death speaks solemnly to him then, and warns him that:—

'Life is not a thing that you get a lease of; there will be stones and a sod over you yet. Your ears that were so quick to hear everything will be closed, deaf, without sound, without hearing; your tongue that was so sweet to make verses will be without a word in the same way.... Whatever store of money or wealth you have, and the great coat up about your ears, death will snap you away from the middle of it.'

And the poem ends at last with the story of the Passion and a prayer for mercy.

He was always ready to confess his sins with the passionate exaggeration of St. Paul or of Bunyan. In his 'Talk with the Bush,' when a flood is threatened, he says:—

'I was thinking, and no blame to me, that my lease of life wouldn't be long, and that it was bad work my hands hadleft after them; to be committing sins since I was a child, swearing big oaths and blaspheming. I never think to go to Mass. Confession at Christmas I wouldn't ask to go to. I would laugh at my neighbour's downfall, and I'd make nothing of breaking the Ten Commandments. Gambling and drinking and all sorts of pleasures that would come across me, I'd have my hand in them.'

The poem known as his 'Repentance' is in the same strain. It is said to have been composed 'one time he went to confession to Father Bartley Kilkelly, and he refused him absolution because he was too much after women and drink. And that night he made up his "Repentance"; and the next day he went again, and Father Pat Burke, the curate, was with Father Bartley, and he said: "Well, Raftery, what have you composed of late?" and he said: "This is what I composed," and he said the Repentance. And then Father Bartley said to the curate: "You may give him absolution, where he has his repentance made before the world."'

It is one of the finest of his poems. It begins:—

'O King, who art in heaven, ... I scream to Thee again and again aloud, For it is Thy grace I am hoping for.'I am in age, and my shape is withered; many a day I have been going astray.... When I was young, my deeds were evil; I delighted greatly in quarrels and rows. I liked much better to be playing or drinking on a Sunday morning than to be going to Mass.... I was given to great oaths, and I did not let lust or drunkenness pass me by.... The day has stolen away, and I have not raised the hedge until the crop in which Thou didst take delight is destroyed.... I am aworthless stake in a corner of a hedge, or I am like a boat that has lost its rudder, that would he broken against a rock in the sea, and that would be drowned in the cold waves.'

'O King, who art in heaven, ... I scream to Thee again and again aloud, For it is Thy grace I am hoping for.

'I am in age, and my shape is withered; many a day I have been going astray.... When I was young, my deeds were evil; I delighted greatly in quarrels and rows. I liked much better to be playing or drinking on a Sunday morning than to be going to Mass.... I was given to great oaths, and I did not let lust or drunkenness pass me by.... The day has stolen away, and I have not raised the hedge until the crop in which Thou didst take delight is destroyed.... I am aworthless stake in a corner of a hedge, or I am like a boat that has lost its rudder, that would he broken against a rock in the sea, and that would be drowned in the cold waves.'

But in spite of this self-denunciation, people who knew him say 'there was no harm in him'; though it it is added: 'but as to a drop of drink, he was fond of that to the end.' And in another mood, in his 'Argument with Whisky,' he claims, as an excuse for this weakness, the desire for companionship felt by a wanderer. 'And the world knows it's not for love of what I drink, but for love of the people that do be near me.' And he has always a confident belief in final absolution:—"I pray to you to hear me, O Son of God; as you created the moon, the sun, the stars, it is no task or trouble for you to ready me."

There are some fine verses in a poem made at the time of an outbreak of cholera:—

'Look at him who was yesterday swift and strong, who would leap stone wall, ditch and gap, who was in the evening walking the street, and is going under the clay on the morrow.'Death is quicker than the wave of drowning or than any horse, however fast, on the racecourse. He would strike a goal against the crowd; and no sooner is he there than he is on guard before us.'He is changing, hindering, rushing, starting, unloosed; the day is no better to him than the night; when a person thinks there is no fear of him, there he is on the spot laid low with keening.'Death is a robber who heaps together kings, high princes, and country lords; he brings with him the great, the young, and the wise, gripping them by the throat before all the people.'It is a pity for him who is tempted with the temptations of the world; and the store that will go with him is so weak, and his lease of life no better if he were to live for a thousand years, than just as if he had slipped over on a visit and back again.'When you are going to lie down, don't be dumb. Bare your knee and bruise the ground. Think of all the deeds that you put by you, and that you are travelling towards the meadow of the dead.'

'Look at him who was yesterday swift and strong, who would leap stone wall, ditch and gap, who was in the evening walking the street, and is going under the clay on the morrow.

'Death is quicker than the wave of drowning or than any horse, however fast, on the racecourse. He would strike a goal against the crowd; and no sooner is he there than he is on guard before us.

'He is changing, hindering, rushing, starting, unloosed; the day is no better to him than the night; when a person thinks there is no fear of him, there he is on the spot laid low with keening.

'Death is a robber who heaps together kings, high princes, and country lords; he brings with him the great, the young, and the wise, gripping them by the throat before all the people.

'It is a pity for him who is tempted with the temptations of the world; and the store that will go with him is so weak, and his lease of life no better if he were to live for a thousand years, than just as if he had slipped over on a visit and back again.

'When you are going to lie down, don't be dumb. Bare your knee and bruise the ground. Think of all the deeds that you put by you, and that you are travelling towards the meadow of the dead.'

Some of his poems of places, usually places in Mayo, the only ones he had ever looked on—for smallpox took his sight away in his childhood—have much charm. 'Cnocin Saibhir,' 'the Plentiful Little Hill,' must have sounded like a dream of Tir-nan-og to many a poor farmer in a sodden-thatched cottage:—

'After the Christmas, with the help of Christ, I will never stop if I am alive; I will go to the sharp-edged little hill; for it is a fine place, without fog falling; a blessed place that the sun shines on, and the wind doesn't rise there or any thing of the sort.'And if you were a year there, you would get no rest, only sitting up at night and eternally drinking.'The lamb and the sheep are there; the cow and the calf are there; fine lands are there without heath and without bog. Ploughing and seed-sowing in the right month, and plough and harrow prepared and ready; the rent that is called for there, they have means to pay it. There is oats and flax and large-eared barley.... There are beautiful valleys with good growth in them, and hay. Rods grow there, and bushes and tufts, white fields are there, and respect for trees; shade and shelter from wind and rain; priests and friars reading their book; spending and getting is there, and nothing scarce.'

'And if you were a year there, you would get no rest, only sitting up at night and eternally drinking.

'The lamb and the sheep are there; the cow and the calf are there; fine lands are there without heath and without bog. Ploughing and seed-sowing in the right month, and plough and harrow prepared and ready; the rent that is called for there, they have means to pay it. There is oats and flax and large-eared barley.... There are beautiful valleys with good growth in them, and hay. Rods grow there, and bushes and tufts, white fields are there, and respect for trees; shade and shelter from wind and rain; priests and friars reading their book; spending and getting is there, and nothing scarce.'

In another song in the same manner on 'Cilleaden,' he says:—

'I leave it in my will that my heart rises as the wind rises, or as the fog scatters, when I think upon Carra and the two towns below it, on the two-mile bush, and on the plains of Mayo.... And if I were standing in the middle of my people, age would go from me, and I would be young again.'

He writes of friends that he has made in Galway as well as in Mayo, a weaver, a carpenter, a priest at Kilcolgan who is 'the good Christian, the clean wheat of the Gael, the generous messenger, the standing tree of the clergy.' Some of his eulogies both on persons and places are somewhat spoiled by grotesque exaggeration. Even Cilleaden has not only all sorts of native fishes, 'as plenty as turf,' and all sorts of native trees, but is endowed with 'tortoises,' with 'logwood and mahogany.' His country weaver must not only have frieze and linen in his loom, but satin and cambric. A carpenter near Ardrahan, Seaghan Conroy, is praised with more simplicity for his 'quick, lucky work,' and for the pleasure he takes in it. 'I never met his master; the trade was in his nature'; and he gives a long list of all the things he could make: doors and all that would be wanted for a big house'; mills and ploughs and spinning-wheels 'nicely finished with a clean chisel'; 'all sorts of things for the living, and a coffin for the dead. And with all this 'he cares little for money, but to spend, as he earns, decently. And if he was up for nine nights, you wouldn't see the sign of a drop on him.'

Another of his more simple poems is what Spenser would call an 'elegie or friend's passion' on a player on fiddle or pipes, Thomas O'Daly, that gives him a touch of kinship with the poets who have mourned their Astrophel, their Lycidas, their Adonais, their Thyrsis. This is how I have been helped to put it into English by a young working farmer, sitting by a turf fire one evening, when his day in the fields was over:—

'It was Thomas O'Daly that roused up young people and scattered them, and since death played on him, may God give him grace. The country is all sorrowful, always talking, since their man of sport died that would win the goal in all parts with his music.'The swans on the water are nine times blacker than a blackberry since the man died from us that had pleasantness on the top of his fingers. His two grey eyes were like the dew of the morning that lies on the grass. And since he was laid in the grave, the cold is getting the upper hand.'If you travel the five provinces, you would not find his equal for countenance or behaviour, for his equal never walked on land or grass. High King of Nature, you who have all powers in yourself, he that wasn't narrow-hearted, give him shelter in heaven for it.'He was the beautiful branch. In every quarter that he ever knew he would scatter his fill and not gather. He would spend the estate of the Dalys, their beer and their wine. And that he may be sitting in the chair of grace, in the middle of Paradise.'A sorrowful story on death, it 's he is the ugly chief that did treachery, that didn't give him credit, O strong God, for a little time.'There are young women, and not without reason, sorry and heart-broken and withered, since he was left at thechurch. Their hair thrown down and hanging, turned grey on their head.'No flower in any garden, and the leaves of the trees have leave to cry, and they falling on the ground. There is no green flower on the tops of the tufts, since there did a boarded coffin go on Daly.'There is sorrow on the men of mirth, a clouding over the day, and no trout swim in the river. Orpheus on the harp, he lifted up everyone out of their habits; and he that stole what Argus was watching the time he took away Io; Apollo, as we read, gave them teaching, and Daly was better than all these musicians.'A hundred wouldn't be able to put together his actions and his deeds and his many good works. And Raftery says this much for Daly, because he liked him.'

'The swans on the water are nine times blacker than a blackberry since the man died from us that had pleasantness on the top of his fingers. His two grey eyes were like the dew of the morning that lies on the grass. And since he was laid in the grave, the cold is getting the upper hand.

'If you travel the five provinces, you would not find his equal for countenance or behaviour, for his equal never walked on land or grass. High King of Nature, you who have all powers in yourself, he that wasn't narrow-hearted, give him shelter in heaven for it.

'He was the beautiful branch. In every quarter that he ever knew he would scatter his fill and not gather. He would spend the estate of the Dalys, their beer and their wine. And that he may be sitting in the chair of grace, in the middle of Paradise.

'A sorrowful story on death, it 's he is the ugly chief that did treachery, that didn't give him credit, O strong God, for a little time.

'There are young women, and not without reason, sorry and heart-broken and withered, since he was left at thechurch. Their hair thrown down and hanging, turned grey on their head.

'No flower in any garden, and the leaves of the trees have leave to cry, and they falling on the ground. There is no green flower on the tops of the tufts, since there did a boarded coffin go on Daly.

'There is sorrow on the men of mirth, a clouding over the day, and no trout swim in the river. Orpheus on the harp, he lifted up everyone out of their habits; and he that stole what Argus was watching the time he took away Io; Apollo, as we read, gave them teaching, and Daly was better than all these musicians.

'A hundred wouldn't be able to put together his actions and his deeds and his many good works. And Raftery says this much for Daly, because he liked him.'

Though his praises are usually all for the poor, for the people, he has left one beautiful lament for a landowner:—

'There's no dew or grass on Cluan Leathan. The cuckoo is not to be seen on the furze; the leaves are withering and the trees complaining of the cold. There is no sun or moon in the air or in the sky, or no light in the stars coming down, with the stretching of O'Kelly in the grave.'My grief to tell it! he to be laid low; the man that did not bring grief or trouble on any heart, that would give help to those that were down.'No light on the day like there was; the fruits not growing; no children on the breast; there's no return in the grain; the plants don't blossom as they used since O'Kelly with the fair hair went away; he that used to forgive us a great share of the rent.'Since the children of Usnach and Deirdre went to the grave and Cuchulain, who, as the stories tell us, would gain victory in every step he would take; since he died, such a story never came of sorrow or defeat; since the Gael were sold at Aughrim, and since Owen Roe died, the Branch.'

'My grief to tell it! he to be laid low; the man that did not bring grief or trouble on any heart, that would give help to those that were down.

'No light on the day like there was; the fruits not growing; no children on the breast; there's no return in the grain; the plants don't blossom as they used since O'Kelly with the fair hair went away; he that used to forgive us a great share of the rent.

'Since the children of Usnach and Deirdre went to the grave and Cuchulain, who, as the stories tell us, would gain victory in every step he would take; since he died, such a story never came of sorrow or defeat; since the Gael were sold at Aughrim, and since Owen Roe died, the Branch.'

His life was always the wandering, homeless life of the old bards. After Cromwell's time, as the houses they went to grew poorer, they had added music to their verse-making; and Raftery's little fiddle helped to make him welcome in the Ireland which was, in spite of many sorrows, as merry and light-hearted up to the time of the great famine as England had been up to the time of the Puritans. 'He had no place of his own,' I am told, 'but to be walking the country. He did well to die before the bad years came. He used to play at Kiltartan cross for the dancing of a Sunday evening. And when he'd come to any place, the people would gather and he'd give them a dance; for there was three times as many people in the world then as what there is now. The people would never have let him want; but as to money, what could he do with it, and he with no place of his own?' An old woman near Craughwell says: 'He used to come here often; it was like home to him. He wouldn't have a dance then; my father liked better to be sitting listening to his talk and his stories; only when we'd come in, he'd take the fiddle and say: "Now we must give the youngsters a tune."' And an old man, who is still lamenting the fall in prices after the Battle of Waterloo, remembers having seen him 'one time at a shebeen house that used to be down there in Clonerle. He was playing the fiddle, and there used to be two couples at a time dancing;and they would put two halfpence in the plate, and Raftery would rattle them and say: "It's good for the two sorts to be together," and there would be great laughing.' And it is also said 'there was a welcome before him in every house he'd come to; and wherever he went, they'd think the time too short he would be with them.' There is a story I often hear told about the marriage near Cappaghtagle of a poor servant boy and girl, 'that was only a marriage and not a wedding, till Raftery chanced to come in; and he made it one. There wasn't a bit but bread and herrings in the house; but he made a great song about the grand feast they had, and he put every sort of thing into the song—all the beef that was in Ireland; and went to the Claddagh, and didn't leave a fish in the sea. And there was no one at all at it; but he brought all thebacachand poor men in Ireland, and gave them a pound each. He went to bed after, without them giving him a drop to drink; but he didn't mind that when they hadn't got it to give.'

The wandering, unrestrained life was probably to his mind; and I do not think there is a word of discontent or complaint in any of his verses, though he was always poor, and must often have known hardship. In the 'Talk with the Bush,' he describes in his whimsical, exaggerated way, a wetting, which must have been one of very many.

'It chanced that I was travelling and the rain was heavy; I stepped aside, and not without reason, till I'd get a wall or a bush that would shelter me.'I didn't meet at the side of a gap only an old, withered, miserable bush by the side of the wall, and it bent with the west wind. I stepped under it, and it was a wet place; torrents of rain coming down from all quarters, east and west and straight downwards; its equal I couldn't see, unless it is seeds winnowed through a riddle. It was sharp, angry, fierce, and stormy, like a deer running and racing past me. The storm was drowning the country, and my case was pitiful, and I suffering without cause.'An hour and a quarter it was raining; there isn't a drop that fell but would fill a quart and put a heap on it afterwards; there's not a wheat or rape mill in the neighbourhood but it would set going in the middle of a field.'

'It chanced that I was travelling and the rain was heavy; I stepped aside, and not without reason, till I'd get a wall or a bush that would shelter me.

'I didn't meet at the side of a gap only an old, withered, miserable bush by the side of the wall, and it bent with the west wind. I stepped under it, and it was a wet place; torrents of rain coming down from all quarters, east and west and straight downwards; its equal I couldn't see, unless it is seeds winnowed through a riddle. It was sharp, angry, fierce, and stormy, like a deer running and racing past me. The storm was drowning the country, and my case was pitiful, and I suffering without cause.

'An hour and a quarter it was raining; there isn't a drop that fell but would fill a quart and put a heap on it afterwards; there's not a wheat or rape mill in the neighbourhood but it would set going in the middle of a field.'

At last relief comes:—

'It was shortly then the rain grew weak, the sun shone, and the wind rose. I moved on, and I smothered and drowned in wet, till I came to a little house, and there was a welcome before me. Many quarts of water I squeezed from my skirt and my cape. I hung my hat on a nail, and I lying in a sweet flowery bed. But I was up again in a little while. We began sports and pleasures; and it was with pride we spent the night.'

But there is a verse in his 'Argument with Whisky' that seems to have a wistful thought in it, perhaps of the settled home of his rival, Callinan:—

'Cattle is a nice thing for a man to have, and his share of land to reap wheat and barley. Money in the chest, and a fire in the evening time; and to be able to give shelter to a man on his road; a hat and shoes in the fashion—I think, indeed, that would be much better than to be going from place to place drinkinguisge beatha.'

And there is a little sadness in the verses he madein some house, when a stranger asked who he was:—

'I am Raftery the poet, full of hope and love; with eyes without light, with gentleness without misery.'Going west on my journey with the light of my heart; weak and tired to the end of my road.'I am now, and my back to a wall, playing music to empty pockets.'

'I am Raftery the poet, full of hope and love; with eyes without light, with gentleness without misery.

'Going west on my journey with the light of my heart; weak and tired to the end of my road.

'I am now, and my back to a wall, playing music to empty pockets.'

'He was a thin man,' I am told by one who knew him, 'not very tall, with a long frieze coat and corduroy trousers. He was very strong; and he told my father there was never any man he wrestled with but he could throw him, and that he could lie on his back and throw up a bag with four hundred of wheat in it, and take it up again. He couldn't see a stim; but he would walk all the roads, and give the right turn, without ever touching the wall. My father was wondering at him one time they were out together; and he said: "Wait till we come to the turn to Athenry, and don't tell me of it, and see if I don't make it out right." And sure enough, when they came to it, he gave the right turn, and just in the middle.' This is explained by what another man tells me:—'There was a blind piper with him one time in Gort, and they set out together to go to Ballylee, and it was late, and they couldn't find the stile that led down there, near Early's house. And they would have stopped there till somebody would come by, but Raftery said he'd go back to Gort and step it again; and so he did, turned back a mile to Gort, and started fromthere. He counted every step that he stepped out; and when he got to the stile, he stopped straight before it.' And I was told also there used to be a flagstone put beside the bog-holes to leap from, and Raftery would leap as well as any man. He would count his steps back from the flag, and take a run and alight on the other side.

His knowledge and his poetic gift are often supposed to have been given to him by the invisible powers, who grow visible to those who have lost their earthly sight. An old woman who had often danced to his music, said:—'When he went to his rest at night, it's then he'd make the songs in the turn of a hand, and you would wonder in the morning where he got them.' And a man who 'was too much taken up with sport and hurling when he was a boy to think much about him,' says: 'He got the gift. It's said he was asked which would he choose, music or the talk. If he chose music, he would have been the greatest musician in the world; but he chose the talk, and so he was a great poet. Where could he have found all the words he put in his songs if it wasn't for that?' An old woman, who is more orthodox, says:—'I often used to see him when I was a little child, in my father's house at Corker. He'd often come in there, and here to Coole House he used to come as well. He couldn't see a stim,and that is why he had such great knowledge. God gave it to him. And his songs have gone all through the world; and he had a voice that was like the wind.'

Legends are already growing up about his death. It has been said that 'he knew the very day his time would be up; and he went to Galway, and brought a plank to the house he was stopping at, and he put it in the loft; and he told the people of the house his time was come, and bid them make a coffin for him with the plank—and he was dead before morning.' And another story says he died alone in an empty house, and that flames were seen about the house all night; and 'the flames were the angels waking him.' But many told me he had died in the house of a man near Craughwell; and one autumn day I went there to look for it, and the first person I asked was able to tell me that the house where Raftery had died was the other side of Craughwell, a mile and a half away. It was a warm, hazy day; and as I walked along the flat, deserted road that Raftery had often walked, I could see few landmarks—only a few more grey rocks, or a few more stunted hazel bushes in one stone-walled field than in another. At last I came to a thatched cottage; and when I saw an old man sitting outside it, with hat and coat of the old fashion, I felt sure it was he who had been with Raftery at the last. He was ready to talk about him, and told me how he had come there to die. 'I was a young chap at that time. It must have been in theyear 1835, for my father died in '36, and I think it was a year before him that Raftery died. What did he die of? Of weakness. He had been bet up in Galway with some fit of sickness he had; and then he came to gather a little money about the country, and when he got here he was bet up again. He wasn't an old man—only about seventy years. He was in the bed for about a fortnight. When he got bad, my father said it was best get a priest for him; but the parish priest was away. But we saw Father Nagle passing the road, and I went out and brought him in, and he gave him absolution, and anointed him. He had no pain; only his feet were cold, and the boys used to be warming a stone in the fire and putting it to them in the bed. My mother wanted to send to Galway, where his wife and his daughter and his son were stopping, so that they would come and care him; but he wouldn't have them. Someway he didn't think they treated him well.'

I had been told that the priest had refused him absolution when he was dying, until he forgave some enemy; and that he had said afterwards, 'If I forgave him with my mouth, I didn't with my heart'; but this was not true. 'Father Nagle made no delay in anointing him; but there was a carpenter down the road there he said too much to, and annoyed him one time; and the carpenter had a touch of the poet too, and was a great singer, and he came out and beat him, and broke his fiddle; and I remember when he was dying, the priest bringing in the carpenter, andmaking them forgive one another, and shake hands; and the carpenter said: "If two brothers were to have a falling out, they'd forgive one another—and why wouldn't we?" He was buried in Killeenan; it wasn't a very big funeral, but all the people of the village came to it. He used often to come and stop with us.... It was of a Christmas Eve he died: and he had always said that, if God had a hand in it, it was of a Christmas Day he'd die.'

I went to Killeenan to look for his grave. There is nothing to mark it; but two old men who had been at his funeral pointed it out to me. There is a ruined church in the graveyard, which is crowded; 'there are people killing one another now to get a place in it.' I was asked into a house close by; and its owner said with almost a touch of jealousy: 'I think it was coming in here Raftery was the time he died; but he got bet up, and turned in at the house below. It was of a Christmas Eve he died, and that shows he was blessed; there's a blessing on them that die at Christmas. It was at night he was buried, for Christmas Day no work could be done, but my father and a few others made a little gathering to pay for a coffin, and it was made by a man in the village on St. Stephen's Day; and then he was brought here, and the people from the villages followed him, for they all had a wish for Raftery. But night was coming on when they got here; and in digging the grave there was a big stone in it, and the boys thought they would put him in a barn and take the night out of him.But my mother—the Lord have mercy on her—had a great veneration for Raftery; and she sent out two mould candles lighted; for in those days the women used to have their own mould, and to make their own candles for Christmas. And we held the candles there where the grave is, near the gable end of the church; and my brother went down in the grave and got the stone out, and we buried him. And there was a sharp breeze blowing at the time, but it never quenched the candles or moved the flame of them, and that shows that the Lord had a hand in him.'

He and all the neighbours were glad to hear that there is soon to be a stone over the grave. 'He is worthy of it; he is well worthy of it,' they kept saying. A man who was digging sand by the roadside, took me to his house, and his wife showed me a little book, in which the 'Repentance' and other poems had been put down for her, in phonetic Irish, by a beggar who had once stayed in the house. 'Many who go to America hear Raftery's songs sung out there,' they told me with pride.

As I went back along the silent road, there was suddenly a sound of horses and a rushing and waving about me, and I found myself in the midst of the County Galway Fox Hounds, coming back from cub-hunting. The English M.F.H. and his wife rode by; and I wondered if they had ever heard of the poet whose last road this had been. Most likely not; for it is only among the people that his name has been kept in remembrance.

There is still a peasant poet here and there, making songs in the 'sweet Irish tongue,' in which death spoke to Raftery; and I think these will be held in greater honour as the time of awakening goes on. But the nineteenth century has been a time of swift change in many countries; and in looking back on that century in Ireland, there seem to have been two great landslips—the breaking of the continuity of the social life of the people by the famine, and the breaking of the continuity of their intellectual life by the shoving out of the language. It seems as if there were no place left now for the wandering versemaker, and that Raftery may have closed the long procession that had moved unbroken during so many centuries, on its journey to 'the meadow of the dead.'

1900.

It was after I had written this that I went to see Raftery's birthplace, Cilleaden, in the County Mayo.

A cousin of his came to see me, and some other men, but none of them remembered him; but they were very proud of his song on Cilleaden, which 'is all through the world.' An old woman told me she had heard it in a tramcar in America; and an old man said: 'I was coming back from England one time, and there were a lot of Irish-speaking boys from Galway on board. There was one of them sick all through the night, but he was well in the morning; and the others came round him and asked him for a song, and the song he gave was 'Cilleaden.'

They did not seem to know many of his other songs, except the 'Repentance,' which someone remembered having seen sold as a ballad, with the English on one side and the Irish on the other. And one man told me: 'The first song Raftery wrote was about a hat that was stole from a man that was working in that middle field beyond. When the man was digging, he used to put his hat on a stick in the field to frighten away the crows; and Raftery got someone to bring away the hat, to make fun of the man. And then he made a song, making out it was the fairies had taken it; and he made the man follow them to Cruachmaa, and from that to Roscommon, and tell all that happened him there.'

And one of them told me: 'He was six years old when the smallpox took his sight from him; and he was marked very little by the pox, only three or four little marks—it seemed to settle in his eyes. His father was a cottier—there were many here in those times. His mother was a Brennan. There are cousins of his living yet; but in the schools they are Englished into Rochford.'

A young man said he had been told Raftery was born in some place beyond, at the foot of the mountain, but the others were very indignant; one got very angry, and said: 'Don't I know where he was born, and my father was the one age with him, and they sisters' sons; and isn't Michael Conroy there below his cousin? and it's up in that field was thehouse he was born in, so don't be trying to bring him away to the mountain.'

I went to see the birthplace, a very green field, with two thorn bushes growing close together by a stone. The field is called 'Sean Straid'—the old street—for a few cottages had stood there. A man who lives close by told me he had dug up a blackened stone just there, and a stone into which a bar had been let, to hang a pot on; and that may have been the very hearth where Raftery had sat as a child.

I found one old man who remembered him. 'He used to come to my father's house often, mostly from Easter to Whitsuntide, when the cakes were made, and there would be music and dancing. He used to play the fiddle for Frank Taafe that lived here, when he would be going out riding, and the horse used to prance when he heard it. And he made verses against one Seaghan Bradach, that used to be paid thirteen pence for every head of cattle he found straying in the Jordan's fields, and used to drive them in himself. There was another poet called Devine that praised Seaghan Bradach; and a verse was made against him again by a woman-poet that lived here at the time.'

There is a stone over Raftery's grave now; and the people about Killeenan gather there on a Sunday in August every year to do honour to his memory. This year they established aFeis; and there were prizes given for traditional singing, and for old poemsrepeated, and old stories told, all in the Irish tongue.

And theCraoibhin Aoibhinis printing week by week all of Raftery's poems that can be found, with translations, and we shall soon have them in a book.

And he has written a little play, having Raftery for its subject; and at a Galway Feis this year he himself acted, and took the blind poet's part; and he will act it many times again,le congnamh De—with the help of God.

1902.

It was only a few years ago, when Douglas Hyde published his literal translations of Connacht Love Songs, that I realized that, while I had thought poetry was all but dead in Ireland, the people about me had been keeping up the lyrical tradition that existed in Ireland before Chaucer lived. While I had been looking in the columns of Nationalist newspapers for some word of poetic promise, they had been singing songs of love and sorrow in the language that has been pushed nearer and nearer to the western seaboard—the edge of the world. 'Eyes have we, but we see not; ears have we, but we do not understand.' It does not comfort me to think how many besides myself, having spent a lifetime in Ireland, must make this confession.

The ballads to be gathered now are a very few out of the great mass of traditional poetry that was swept away during the last century in the merciless sweeping away of the Irish tongue, and of all that was bound up with it, by England's will, by Ireland's need, by official pedantry.

To give an idea of the ballads of to-day, I will not quote from the translations of Douglas Hyde or ofDr. Sigerson already published. I will rather give a few of the more homely ballads, sung and composed by the people, and, as far as I know, not hitherto translated.

Those I have heard since I have begun to look for them in the cottages, are, for the most part, sad; but not long ago I heard a girl sing a merry one, in a mocking tone, about a boy on the mountain, who neglected the girls of his village to run after a strange girl from Galway; and the girls of the village were vexed, and they made a song about him; and he went to Galway after her, and there she laughed at him, and said he had never gone to school or to the priest, and she would have nothing to do with him. So then he went back to the village, and asked the smith's daughter to marry him; but she said she would not, and that he might go back to the strange girl from Galway. Another song I have heard was a lament over a boy and girl who had run away to America, and on the way the ship went down. And when they were going down, they began to be sorry they were not married; and to say that if the priest had been at home when they went away, they would have been married; but they hoped that when they were drowned, it would be the same with them as if they were married. And I heard another lament that had been made for three boys that had lately been drowned in Galway Bay. It is the mother who is making it; and she tells how she lost her husband, the father of her three boys. And then she marriedagain, and they went to sea and were drowned; and she wouldn't mind about the others so much, but it is the eldest boy, Peter, she is grieving for. And I have heard one song that had a great many verses, and was about 'a poet that is dying, and he confessing his sins.'

The first ballad I give deals with sorrow and defeat and death; for sorrow is never far from song in Ireland; and the names best praised and kept in memory are of those—

'Lonely antagonists of destinyThat went down scornful under many spears;Who soon as we are born are straight our friends,And live in simple music, country songs,And mournful ballads by the winter fire.'

In this simple lament, the type of a great many, only the first name of the young man it was made for is given: 'Fair-haired Donough.' It is likely the people of his own place know still to what family he belonged; but I have not heard it sung, and only know that he was 'some Connachtman that was hanged in Galway.' And it is clear it was for some political crime he was hanged, by the suggestion that if he had been tried nearer his own home, 'in the place he had a right to be,' the issue would have been different, and by the allusion to the Gall, the English:—

'It was bound fast here you saw him, and you wondered to see him,Our fair-haired Donough, and he after being condemned;There was a little white cap on him in place of a hat,And a hempen rope in the place of a neckcloth.'I am after walking here all through the night,Like a young lamb in a great flock of sheep;My breast open, my hair loosened out,And how did I find my brother but stretched before me!'The first place I cried my fill was at the top of the lake;The second place was at the foot of the gallows;The third place was at the head of your dead bodyAmong the Gall, and my own head as if cut in two.'If you were with me in the place you had a right to be,Down in Sligo or down in Ballinrobe,It is the gallows would be broken, it is the rope would be cut,And fair-haired Donough going home by the path.'O fair-haired Donough, it is not the gallows was fit for you;But to be going to the barn, to be threshing out the straw;To be turning the plough to the right hand and to the left,To be putting the red side of the soil uppermost.'O fair-haired Donough, O dear brother,It is well I know who it was took you away from me;Drinking from the cup, putting a light to the pipe,And walking in the dew in the cover of the night.'O Michael Malley, O scourge of misfortune!My brother was no calf of a vagabond cow;But a well-shaped boy on a height or a hillside,To knock a low pleasant sound out of a hurling-stick.'And fair-haired Donough, is not that the pity,You that would carry well a spur or a boot;I would put clothes in the fashion on you from cloth that would be lasting;I would send you out like a gentleman's son.'O Michael Malley, may your sons never be in one another's company;May your daughters never ask a marriage portion of you;The two ends of the table are empty, the house is filled,And fair-haired Donough, my brother, is stretched out.'There is a marriage portion coming home for Donough,But it is not cattle nor sheep nor horses;But tobacco and pipes and white candles,And it will not be begrudged to them that will use it.'

'I am after walking here all through the night,Like a young lamb in a great flock of sheep;My breast open, my hair loosened out,And how did I find my brother but stretched before me!

'The first place I cried my fill was at the top of the lake;The second place was at the foot of the gallows;The third place was at the head of your dead bodyAmong the Gall, and my own head as if cut in two.

'If you were with me in the place you had a right to be,Down in Sligo or down in Ballinrobe,It is the gallows would be broken, it is the rope would be cut,And fair-haired Donough going home by the path.

'O fair-haired Donough, it is not the gallows was fit for you;But to be going to the barn, to be threshing out the straw;To be turning the plough to the right hand and to the left,To be putting the red side of the soil uppermost.

'O fair-haired Donough, O dear brother,It is well I know who it was took you away from me;Drinking from the cup, putting a light to the pipe,And walking in the dew in the cover of the night.

'O Michael Malley, O scourge of misfortune!My brother was no calf of a vagabond cow;But a well-shaped boy on a height or a hillside,To knock a low pleasant sound out of a hurling-stick.

'And fair-haired Donough, is not that the pity,You that would carry well a spur or a boot;I would put clothes in the fashion on you from cloth that would be lasting;I would send you out like a gentleman's son.

'O Michael Malley, may your sons never be in one another's company;May your daughters never ask a marriage portion of you;The two ends of the table are empty, the house is filled,And fair-haired Donough, my brother, is stretched out.

'There is a marriage portion coming home for Donough,But it is not cattle nor sheep nor horses;But tobacco and pipes and white candles,And it will not be begrudged to them that will use it.'

A very pathetic touch is given by the idea of the 'marriage portion,' the provision for the wake, being brought home for the dead boy.

But it is chiefly in Aran, and on the opposite Connemara coast, that Irish ballads are still being made as well as sung. The little rock islands of Aran are fit strongholds for the threatened language, breakwaters of Europe, taking as they do the first onset of the ocean 'that hath no limits nearer than America.' The fisher-folk go out in their canvas curraghs to win a living from the Atlantic, or painfully carry loads of sand and seaweed to make the likeness of an earth-plot on the bare rock. The Irish coast seems far away; the setting sun very near. When a sea-fog blots out the mainland for a day, a feeling grows that the island may have slipped anchor, and have drifted into unfamiliar seas. The fisher-folk are not the only dwellers upon the islands; they are the home, the chosen resting-place, of 'the Others,' the Fairies, the Fallen Angels, the mighty Sidhe. From here they sweep across the sea, invisible or taking at pleasure the form of a cloud, of a full-rigged ship, of a company of policemen, of a flock of gulls. Sometimes they only play with mortals; sometimes they help them. But often, often, the fatal touch is given to the first-born child,or to the young man in his strength, or the girl in her beauty, or the young mother in her pride; and the call is heard to leave the familiar fireside life for the whirling, vain, unresting life of the irresistible host.

It is, perhaps, because of the very mistiness and dreaminess of their surroundings, the almost unearthly silences, the fantasy of story and of legend that lie about them, that the people of Aran and the Galway coast almost shrink from idealism in their fireside songs, and choose rather to dwell upon the slight incidents of daily life. It is in the songs of the greener plains that the depths of passion and heights of idealism have been reached.

It is at weddings that songs are most in use—even the saddest not being thought out of place; and at the evening gathering in one cottage or another, while the pipe, lighted at the turf-fire, is passed from hand to hand. Here is one that is a great favourite, though very simple, and somewhat rugged in metre; for it touches on the chief events of an islander's life—emigration, loss of life by sea, the land jealousy. It is called 'a sorrowful song that Bridget O'Malley made'; and she tells in it of her troubles at the Boston factory, of her lasting sorrow for her drowned brothers, and her as lasting anger against her sister's husband.

'Do you remember, neighbours, the day I left the white strand? I did not find anyone to give me advice, or to tell me not to go. But with the help of God, as I have my health, and the help of the King of Grace, whichever State I will go to, I will never turn back again.'Do you remember, girls, that day long ago when I was sick and when the priest said, and the doctor, that with care I would come through? I got up after; I went to work at the factory, until Sullivan wrote a letter that put me down a step.'And Bab O'Donnell rose up and put a shawl about her. She went to the office till she got work for me to do; there was never a woman I was with that would not shake hands with me; now I am at work again, and no thanks to Sullivan.'It is a great shame to look down on Ireland, and I think myself it is not right; for the potatoes are growing in the gardens there, and the women milking the cows. That is not the way in Boston, but you may earn it or leave it there; and if the man earns a dollar, the woman will be out drinking it.'My curse on the curraghs, and my blessings on the boats; my curse on that hooker that did the treachery; for it was she snapped away my four brothers from me; the best they were that ever could be found. But what does Kelly care, so long as he himself is in their place?'My grief on you, my brothers, that did not come again to land; I would have put a boarded coffin on you out of the hand of the carpenter; the young women of the village would have keened you, and your people and your friends; and is it not Bridget O'Malley you left miserable in the world?'It is very lonely after Pat and Tom I am, and in great trouble for them, to say nothing of my fair-haired Martin that was drowned long ago; I have no sister, and I have no other brother, no mother; my father weak and bent down; and, O God, what wonder for him!'My curse on my sister's husband; for it was he made the boat; my own curse again on himself and on his tribe. He married my sister on me, and he sent my brothers to death on me; and he came himself into the farm that belonged to my father and my mother!

'Do you remember, girls, that day long ago when I was sick and when the priest said, and the doctor, that with care I would come through? I got up after; I went to work at the factory, until Sullivan wrote a letter that put me down a step.

'And Bab O'Donnell rose up and put a shawl about her. She went to the office till she got work for me to do; there was never a woman I was with that would not shake hands with me; now I am at work again, and no thanks to Sullivan.

'It is a great shame to look down on Ireland, and I think myself it is not right; for the potatoes are growing in the gardens there, and the women milking the cows. That is not the way in Boston, but you may earn it or leave it there; and if the man earns a dollar, the woman will be out drinking it.

'My curse on the curraghs, and my blessings on the boats; my curse on that hooker that did the treachery; for it was she snapped away my four brothers from me; the best they were that ever could be found. But what does Kelly care, so long as he himself is in their place?

'My grief on you, my brothers, that did not come again to land; I would have put a boarded coffin on you out of the hand of the carpenter; the young women of the village would have keened you, and your people and your friends; and is it not Bridget O'Malley you left miserable in the world?

'It is very lonely after Pat and Tom I am, and in great trouble for them, to say nothing of my fair-haired Martin that was drowned long ago; I have no sister, and I have no other brother, no mother; my father weak and bent down; and, O God, what wonder for him!

'My curse on my sister's husband; for it was he made the boat; my own curse again on himself and on his tribe. He married my sister on me, and he sent my brothers to death on me; and he came himself into the farm that belonged to my father and my mother!

A Connemara schoolmaster tells me: 'At Killery Bay one time, I went into a house where there was anold man that had just lost his son by drowning. And he was sitting over the fire with his head in his hands, making a lament. I remember one verse of it that said: "My curse on the man that made the boat, that he did not tell me there was death lurking in it." I asked afterwards what the meaning of that was, and they said there is a certain board in every boat that the maker gives three blows of his hammer on, after he is done making it. And he knows someway by the sound of the blows if anyone will lose his life in that boat.' It is likely Bridget O'Malley had this idea in her mind when she made her lament.

Another little emigration song, very simple and charming, tells of the return of a brother from America. He finds his pretty brown sister, his 'cailin deas donn,' gathering rushes in a field, but she does not know him; and after they have exchanged words of greeting, he asks where her brother is, and she says 'beyond the sea'; then he asks if she would know him again, and she says she she would surely; and he asks by what sign, and she tells of a mark on his white neck. When she finds it is her brother who is there and speaking to her, she cries out, 'Kill me on the moment,' meaning that she is ready to die with joy.

This is the lament of a woman whose bridegroom was drowned as he was rowing the priest home, on the wedding day:—

'I am widow and maid, and I very young; did you hear my great grief, that my treasure was drowned? If I hadbeen in the boat that day, and my hand on the rope, my word to you, O'Reilly, it is I would have saved you sorrow.'Do you remember the day the street was full of riders, and of priests and brothers, and all talking of the wedding feast? The fiddle was there in the middle, and the harp answering to it; and twelve mannerly women to bring my love to his bed.'But you were of those three that went across to Kilcomin, ferrying Father Peter, who was three-and-eighty years old; if you came back within a month itself, I would be well content; but is it not a pity I to be lonely, and my first love in the waves?'I would not begrudge you, O'Reilly, to be kinsman to a king; white bright courts around you, and you lying at your ease; a quiet, well-learned lady to be settling out your pillow; but it is a great thing you to die from me when I had given you my love entirely.'It is no wonder a broken heart to be with your father and your mother; the white-breasted mother that crooned you, and you a baby; your wedded wife, O thousand treasures, that never set out your bed; and the day you went to Trabawn, how well it failed you to come home.'Your eyes are with the eels, and your lips with the crabs; and your two white hands under the sharp rule of the salmon. Five pounds I would give to him that would find my true love. Ohone! it is you are a sharp grief to young Mary ni-Curtain!'

'Do you remember the day the street was full of riders, and of priests and brothers, and all talking of the wedding feast? The fiddle was there in the middle, and the harp answering to it; and twelve mannerly women to bring my love to his bed.

'But you were of those three that went across to Kilcomin, ferrying Father Peter, who was three-and-eighty years old; if you came back within a month itself, I would be well content; but is it not a pity I to be lonely, and my first love in the waves?

'I would not begrudge you, O'Reilly, to be kinsman to a king; white bright courts around you, and you lying at your ease; a quiet, well-learned lady to be settling out your pillow; but it is a great thing you to die from me when I had given you my love entirely.

'It is no wonder a broken heart to be with your father and your mother; the white-breasted mother that crooned you, and you a baby; your wedded wife, O thousand treasures, that never set out your bed; and the day you went to Trabawn, how well it failed you to come home.

'Your eyes are with the eels, and your lips with the crabs; and your two white hands under the sharp rule of the salmon. Five pounds I would give to him that would find my true love. Ohone! it is you are a sharp grief to young Mary ni-Curtain!'

Some men and women who were drowned in the river Corrib, on their way to a fair at Galway, in the year 1820, have still their names kept green in a ballad:—

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