hers!

Carolan ever afterwards acknowledged the deep impression he felt at thus accidentally meeting the object of his first love. But a woman only can answer why it was that Bridget Cruise, possessing the advantage of vision, had not first addressed the bard. Was it that owing to his blindness she, a peasant girl, considered him beneath her and spurned his affections? Could it have emanated from a sense of bashfulness, knowing that she had not spoken to him for so many years? Or did she feel aggrieved at not obtaining what ladies consider and designate "honourable proposals ?" The reader must

determine.

Carolan attained considerable celebrity in his profession, when, having become acquainted with Mary Maguire, a young woman of respectable connexions, in the County Fermanagh, he grew enamoured of the sweetness of her disposition. His imagination dignified her with perfections which she did not possess. He composed for her a sweet love song, and finally they were married. Carolan now took a small farm near Moss Hill, in the County Leitrim, where he built a dwelling-house, and resided happily for some time: that is, as Dickens says, with only "the ordinary amount of quarrelling;" however, we are informed that they never exchanged a word of mutual anger in their lives; but despite all the bard's imaginary perfections of Mrs. Carolan, she proved more extravagant, if not more arrogant, than he had anticipated. If they lived, therefore, without" the ordinary amount of quarrelling," the merit must solely be attributed to the good sense and quiet disposition of the bard. But Carolan's incapacity for farming was soon obvious, and in addition, his hospitality and benevolence soon embarrassed his circumstances, so that he was necessitated to abandon his speculation altogether. Of this, however, he was utterly indifferent, justly calculating on the emoluments of his profession.

From this time his reputation steadily increased, and his friends and patrons be

came enraptured at his genius. Amongst these, was Lord Mayo, whose praises the bard had sung. His lordship brought an Italian performer of celebrity from Dublin with him on a visit. Carolan appeared at his lordship's residence at the same time; but his lordship, desirous of having the bard's musical powers identified by the Italian, affected to overlook and neglect him. Carolan perceiving this, and not understanding it (not observing, of course, that Lord Mayo was present), complained of it one day to the Italian, when he was suddenly interrupted by his lordship, who exclaimed, "Carolan, when you play in as masterly a manner as he does, you shall not be overlooked!" Carolan grew indignant at this insult, and replied, that "though he was a total stranger to Italian music, he would proffer a wager that he would follow the Italian in any piece of music he pleased to perform." The musician accepted the challenge, and played the fifth concerto of Vivaldi. Carolan listened attentively, and when it was concluded, took his harp and played the piece to perfection. No doubt the foreigner was astonished, but what was his utter amazement when the bard extemporaneously composed a concerto in the same time, which he majestically performed on his hirp. This concerto is preserved, and is said to surpass the most admired pieces of Italian music!

Carolan's reputation soon became universal. In Italy, he was designated Carolinus. A few prejudiced foreigners still entertained doubts of his abilities, which were afterwards dispelled. Among these was the famous Geminiani, who visited Dublin, and formed the determination of testing his genius. He selected a difficult piece of Italian music, and having mutilated some of the notes, yet so slightly, and so ingeniously, that none but a perfect judge of music could perceive the change, sent it to Carolan for his opinion. Carolan played the piece carefully on his harp, and when he had concluded, humorously observed, "It is an admirable piece of music, but here and there it limps and stumbles!”

An observation which astonished and delighted his friends. Having rectified the errors, the piece was returned, and Geminiani pronounced him to be a true musical genius. 'Tis thus that real genius always triumphs over prejudice. Carolan was naturally disposed to religion, and in the composition of his sacred music always imagined himself inspired. This fruitful idea was paramount, when, one Easter Sunday he attended mass, and at the elevation of the sacred host sung, and played on his large harp, a new piece (prepared for the occasion, which he named the resurrection) with such brilliant enthusiasm and effect, that the congregation were enraptured: their breathless devotion assumed the solemnity of eternity, while their more fervent aspirations arose still higher to the throne of the Almighty object of their adoration.

to be, Carolan lived in "dark and evil days-in times when lavish expenditure and bacchanalianism were associated with the Irish aristocracy. He possessed a happy turn of wit and conversational powers, perhaps equal to those of Johnson or Coleridge. Liquor was pressed upon him in company which he never failed to dazzle. He never refused to accept as much of it as assisted his imagination, and rendered him more harmonious; but being a great man, his every movement was watched; and the lustre of his wit, and his conversational charms were brought against him as the results of inebrity, instead of the corruscations of genius.

The Irish aristocracy, in those days, were neither ignorant nor ashamed of their native language. Carolan seldom spoke English, and his compositions were invariably Irish; but with all his genius, and Yet an aspersion, which may or may the rapidity of his conceptions, he could not be considered unjust, is cast upon the never compose a planxty for Miss Brett of memory of this great man. It is said that, the County Sligo. He tried it in his most in his youth, he acquired a propensity for propitious hours, and failed. Being a frespirituous liquors, which he maintained to quent visitor with her family, one day after his old age. Some anecdotes, which may dinner he took his harp, and after a few be fictitious, and arguments which are ununsuccessful endeavours "to awaken its doubtedly feeble, are brought forward to numbers" he laid it aside, and, with a dis.. support this malevolence. Tradition never satisfied aspect, addressed Mrs. Brett, fails to connect some unfortunate deficiency" Madam, from my admiration and respect of character with its heroes, as if a man, because his reputation was worthy of traditionary honours, could not be morally perfect as other men; for my part I do not place much faith in the fact of the supposed habitual intemperance of Carolan. I cannot reconcile it with his natural devotion. He was never seen intoxicated. Never known to have neglected his religious obligations, but he wrote bacchanalian songs: "The cup of O'Hara," "Whiskey is the Potion," "Carolan's Receipt," which is sometimes called Strafford's receipt, &c. Now the former and the latter of these songs are commemorative of the hospitality of these gentlemen, whose names they bear, and who were friends of the bard; and doubts are entertained whether the other composition is his. The truth seems

of your family, I have often attempted a song to celebrate the perfections of your daughter, but to no purpose, some evil genius hovers over me, not a string in my harp that does not vibrate most melancholy when I attempt the task. I fear she is not doomed to remain long amongst us. Nay, she will not survive twelve months." This was a strange and unwelcome predicdiction, but it was verified.

Carolan was a frequent visitor at Tempo, in the County Fermanagh, the seat of a gentleman named Maguire, with whom he was a favourite. Maguire was about being married to one of the O'Donnell family, and Carolan was invited to the wedding. When the company grew merry, from exhilarating potations, they conspired to play a jest on the bard; and, accordingly, con

ducted him to the County Louth, the residence of another blind minstrel, named Mac Curaith. The bards met-both performed on their harps-Carolan having listened to his cotemporary, observed: "Your music is soft and sweet, but untrue." Mac Curaith immediately suspected to whom he was speaking, and replied, "even truth itself is often bitter," an expression that while it flattered Carolan's master mind, informed him, that his own precision had occasionally an unpleasant effect. But they fully recognised each other, and Mac Curaith was so proud of his new acquaintance that he extemporaneously composed his "Welcome to Carolan." The news of Carolan's visit to that part of the country was soon circulated, and his reputation brought hither crowds who had never seen him before, to gratify their curiosity Amongst those was Linden, another bard, who composed another poem, commemorative of Carolan's visit to that part of Ire

land.

It is impossible to trace our roaming bard through all his wanderings; suffice it therefore to say that he confined his visits exclusively to the Milesian and Anglo-Irish aristocracy, particularly of Connaught and Ulster: was received enthusiastically everywhere—was the animation and the idol of every company-and no sooner had appeared in any house than it would be thronged with visitors, each of whom deemed themselves highly honoured by carrying him off to their own residence: a spirit which amounted to a kind of rival ship among the gentry. He never prostituted his genius to hire; his productions were the spontaneous offspring of his heart, composed in praise of the several families whom he visited, or such of their members as he considered worthy of his muse, either by the possession of beauty or other acquirements. He composed several elegies, Excluand some pieces of sacred music. sive of these, his songs, at the period of his death, amounted to two hundred, several of which have since been lost, no doubt for the want of a press in Ireland devoted

now;

exclusively to the Irish language. Such a press would be an indifferent speculation but in the days of which we write our national language was generally understood. Carolan always lived respectably, kept a good horse, and a servant to attend him, and carry his harp during his peregrinations.

About the year 1733, Carolan buried his wife, who, though she had been extravagant and arrogant in her early life, acquired sufficient good sense afterwards to regulate her conduct, and return the affection of her husband with interest. The incident of her death was a blow which Carolan never recovered; he never afterwards attained his natural vivacity. After his first outpourings of grief, and when his mind had grown sufficiently calm, he composed the following plaintive monody on her death, which was translated from the original Irish by Thomas Furlong; but the Irish language invariably loses by translation, otherwise we would have given some specimens of the songs of Carolan:—

testified Irish affection.

He left hehind him a family of six daughters and one son. This son, who inherited none of his father's genius, and who consequently, sunk into obscurity, went afterwards to London, where he lived by teaching the Irish harp. Prior to his departure, in 1747, he published by subscription, an edition of his father's music, omitting, from some peculiarity, some of the most exquisite pieces. This edition contained an eulogistical preface. John Lee, of Dublin, republished it in 1780, omitting the preface.

There is extant a likeness of Carolan, said to be taken while he was on a visit with Charles Massy, Dean of Limerick, in 1720, by Vander Hayden, a distinguished Dutch artist. But though, no doubt, successful portrait-painting is a magnificent talent, and a meritorious art, I would differ from the poet who exclaims, "Oh! blest the art than can immortalize,"-for, in my firm conviction, a man's portrait can be better taken in words than in colours, for colours only address the eye-words reach the heart; and if those who first vilified the charactor of Carolan had given us instead, his faithful personal description posterity would have been much more their debtor.

Thus he has beautifully and pathetically the multitudes attending his funeral amply expressed the intensity of his sorrow. How often have the tears flowed from his sightless eyes, and the agony of grief convulse his heart and brain, while he composed these words of lamentation? Now, his health rapidly declined: a disease, which for some time had grown upon him, assumed a serious aspect. He was on a visit with his friend Maguire (the same who played the joke on him the day of his marriage), when, finding himself becoming unusually weak, and perceiving that his days were on the wane, his heart turned to the benefactress of his youth, whom he always loved, the yet surviving Mrs. M'Dermot. This lady now bore the burden of four score years. To return to her he set out, accompanied by a numerous group of gentlemen. They were joined on their journey by crowds of the faithful peasantry, who wished to pay their last tribute of respect and love to the popular bard. Once, or twice, he rested to regain strength. At Lahire, the residence of a gentleman named Peyton, he took a tearful and last farewell of the friends who ever regarded him with But having arrived at Alderford, the tears and sobs of sorrow which emanated from the angelic heart of Mrs. M'Dermot, revealed her solicitude and love for one whom she regarded with the tenderness of a mother. After having retrieved himself by resting, Carolan called for his harp, that glorious companion of his reputation and past life. His fingers wandered awhile apparently nerveless among its cords, when, suddenly, a burst of melancholy and melting music poured out which caused those who surrounded his death-bed visibly to weep and lament. It seemed as if the very instrument grew ani mate and sobbed its sad response, whilst he played his "last farewell to music." Thus, on the 25th day of March, 1738, expired, amidst the echo of his own strains, and the grief of his friends, Ireland's-the world's greatest minstrel!

His remains were deposited in Kilronan with the family of the M'Dermots, and

EMERALD.

Ourselves and Our Own.

"Keep yer ain fish-guts to feed yer ain sea-gulls." Hawks should na piek out hawks eyne."

Scotch Proverbs.

THE words of Allan Ramsay's celebrated song of "Lochaber no more," are set to an old Irish air, the plaintive melody of which made it popular with the wits and courtiers of the court of Charles II., where, no doubt, it was introduced by some of the brave cavaliers of Ireland who had followed his chequered fortune. In