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of Oifin or Offian, and Fin, or Fingal; to authenticate their ancient poetry, and scramble for the property.

Some antiquaries have erroneoufly imagined that France had its plain chant from Rome; but we are better informed by Mr. O'Halloran, in a note to p. 56 of Mr. Walker's work; who afferts, that when the Abbey of Niville, in France, was founded, the wife of Pepin fent to Ireland for Doctors to inftruct in church difcipline, and for Muficians and Chorifters for the church mufic.

The reigns of Cormac, King of Munfter, and Brien Boiromh, King of Ireland, conftitute the most honourable periods to poetry and mufic, after the converfion of the Island to Chriftianity by St. Patrick. The harp of this laft prince, which is ftill fuppofed to fubfift, has lately been the fubject of a learned paper by Colonel Vallancey, in the 13th number of COLLECTANEA DE REBUS HIBERNICIS. This inftrument, however, from its form and number of ftrings, feems more like a Welsh, than an Irish harp; but we fhall leave this point of mufical hiftory to be difcuffed by Dr. Burney, as well as to inform us whether an inftrument with 28 ftrings might not have enabled the Irifh Bards to cultivate counterpoint, inftead of confining its ufe to mere melody *.

The celebrated champion for Hibernian antiquities, and the early civilization and refinements of the inhabitants of Ireland, Col. Vallancey, among many other curious difcoveries equally flattering to that nation, has afferted, "that the Irish language can be better modulated to mufic than any other in Europe; 28 it poffeffes not only all the melodious qualities which Rouffean has attributed to the Italian language, but, by a peculiarity of its own, the harsh confonants can be ellipfed +.'

Now, as Ireland is a rifing nation, we may hope ere long to have our operas from that neighbouring ifland, instead of importing poets, fingers, and compofers from fo remote a country as Italy. And this is more likely to bring about an union of the three kingdoms of England, Scotland, and Ireland, into one common accord, than all the minifterial bills or parliamentary acts that ever were or can be framed. If an opera of Metaftafio, as a coup d'effai, were tranflated into the Erfe language, and fet to Irish music, what raptures might we not expect from a mufic which, according to our Author, is diftinguished from that ot every other nation by an infinuating fweetnefs, which forces its way, infenfibly, to the heart, and there diffufes an extatic delight, that thrills through every fibre of the frame, awakens ten

* We wish likewife to be informed, what Col. Vallancey means by the keys of a harp? and whether, by an error in the prefs, the word keys has not been used for the pins round which the ftrings are wound, in order to receive from the tuning-hammer their proper degree of tenfion. + P. 64.

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fibility, and agitates or tranquilizes the foul. Whatever paffion it may be intended to excite, it never fails to effect its purpofe. It is the voice of nature, and will be heard *. Neither the ancient Greek mufic, nor modern Italian, was ever able to produce fuch miraculous effects, with equal certainty. Italy, Germany, England, and the reft of Europe that cultivates the mufical drama, cannot be too expeditious in the ftudy of Irish poetry and the SCHOOL FOR MUSIC, including the three species of compofition, called Gollttraidheacht, Geanttraidheacht, and Suanttraidheacht; that is, the heroic, the dolorous, and fomniferous.

It must be owned that a wildness of conjecture, and a boldnefs of affertion (in their defence and explanation), run through this book. In defcribing the Keirnine, or fmall harp, Col. Vallancey fays it was the Kanun of the Perfians, a fpecies of dulcimer, harp, or fackbut.' Now, how it is poffible for the harp and fackbut, a ftringed and a wind inftrument, to be fynonymous, furpaffes our comprehenfion.

We have a profufion of learned remarks and citations to prove that KORNS or Horns were well known to the ancient Irifh; and the modern are famous for kindly furnishing their friends and neighbours with horns in every part of the world.

We are told (p. 89) among other marvellous things, that JACHDAR-CHANNUS was the fame thing as the Latin Cantus Baffus. This is ignotum per ignotius. Our mufical knowledge has never enabled us to penetrate thefe arcana. We used fimply to imagine that Cantus was the higheft vocal part in mufic, and Baffus the loweft; and never fuppofed it poffible that they could mean one and the fame thing.

Mr. W. not only helps out lame and fcanty information with a perhaps, probably, and we may fuppofe; but has recourse to these feeble props, even where no veftige or fragment remains, upon which to hang a conjecture. It is not recorded,' fays he, that the flute was known to the Irifh-yet it is highly probable that this inftrument, or one of the fame nature, was in use amongst them.' (P. 90.)

If this does not fatisfy ftubborn fcepticism, the Author is to be pitied, for he has nothing better to offer on this occafion, except a poor perhaps, which in these incredulous times is not current coin. Perhaps the Irish READAN, FIDEOG, or LONLOINGEAN, were flutes; or rather Recorders, which are ftill more fimple in the conftruction, but extremely foft and sweet.' And perhaps they were not-who knows?or, indeed, who cares? But it is impoffible to be otherwife: for Milton fpeaks of Flutes and foft Recorders,' and Shakespeare makes Hamlet call for a Recorder. Ergo-the Irish had Recorders, though

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that inftrument (fays Mr. W.) is unnoticed by our hiftorians, and though it is not in ufe amongst us.' (P. 91.)

But whether thefe vifionary inftruments, which play before the Author, like the dagger in Macbeth, were played on by the Bards, our Memoirs fay not. But, because the Romans had colleges of fingers, and the Jefuits had mufic fchools in Germany, Col. Vallancey and Mr. Walker gratify the curious and hungry reader, by affuring him, that it is probable they may venture to conjecture'-that it is natural to fuppofe' nor is it improbable that there were feveral of thefe feminaries in the kingdom of Ireland.

Mr. Walker's readers, and our own readers, muft have heard of mufical contefts: they must not therefore be allowed to imagine that this was an honour denied to Ireland-No, no-for the Author boldly fays- We have good reason to believe, that the ancient Irish had MUSICAL CONTESTS; but, as we want the authority of hiftory to fupport us, we will not venture to affert that they had.-Keating, indeed, gives us room to think there was. This implies a conteft,'

With equal evidence, and confirmation ftrong, are the reader's curiofity and credence fupported throughout these Memoirs.

Giraldus Cambrenfis, who gives to Irish mufic the pre-eminence over that of all other nations, is not to be forgotten. But as the veracity of this writer is always doubted, except by those whofe opinions he flatters, the citation given from him, by our Author, convinces us of nothing but his total ignorance of mufic. Mr. W. may perhaps affix fome meaning to what he has tranflated by a regularity fo irregular, a concord fo difcordant, that the melody is rendered harmonious and perfect, whether the chords of the Diateffaron or Diapente are ftruck together, yet they always begin in a foft mood, and end in the fame, that all may be perfected in the fweetnefs of delicious founds.'-Thefe are brave words, of the doubtful gender-but all doubt of the nonfenfe is removed, when he tells us, Sicque fub obtufo groffioris chorde fonitu.- The tinglings of the small ftrings fport with fo much freedom under the deep notes of the bafe.'-We have read fomewhere or other that the Greeks in very high antiquity used So for Sep; but the Irish are perhaps the only people among the moderns who would ufe fub for fuper.

Our Author is as triumphant in recounting the feats that were performed by the Irish Bards whom Gruffydh ap Conan had brought into Wales, as his friend, Mr. Beauford, is unfortunate in the notation and remarks on what he ftyles a pfalm tune. The mufic, with respect to harmony, is downright jargon. The melody appears to be in the key of G; however, the first and laft chord is that of C. The whole feems guefs-work, and not of the most happy kind. Nor has the opinion a better foundation

which fuppofes a pfalm tune to come from a Popish Miffal. We thought it was generally known, that the Roman Catholics hold pfalmody, fuch as is used by Proteftants, in utter abhorrence.

After this we have not only bafelefs conjectures, but round af fertions, without proof. Among thefe, Mr. Macpherson will probably number the following period, p. 109: Several of the poems attributed to Oifin, in which the feigned exploits of Fin and his fubordinate officers are celebrated, were the productions of the Bards of this period, few of them being more ancient than the 11th or 12th centuries, as may eafily be proved from fome terms of language, unknown to the Irish in the earlier times.Many of these compofitions were intended for the amusement of the vulgar, and recited, or rather fung, at entertainments, weddings, and wakes. And on fuch weak foundations, fays the venerable O'Conor, has Mr. Macpherson erected his gorgeous fabrics of FINGAL and TEMORA.'

It is kind and neighbourly of Mr. W. to conclude that our church mufic in 1663 was the bleating of brute beafts, because it was fo called by the celebrated fanatic and fatirift, Prynne, in his Hiftrio Maflix. But, can the Irish, with all their antiquity, colleges, bards, and harpers, produce fpecimens of fuch church mufic as the English could boaft at least a 100 years earlier, by Tye and Tallis?

We can by no means fubfcribe to the bold conjecture of our Author's friend, p. 123. That by Tympanifta, Clynn (the annalift) would underftand-a Mafter of Mufic, or a perfon who beats time with a baton.' The beating time with a baton, implies a concert, or large band-and among all the wonders reJated of the Irish Bards and Harpers, we can recollect no account of their finging or playing in concert, where a Coryphæus was neceffary to regulate the measure. But, fays Mr. Walker's friend "What great execution could be expected on a tabour or drum, which could merit fo high an eulogium?" But we have had Tympanifts in England whofe execution was fo extraordinary, that they frequently played folos in public concerts on their monotonous inftruments; and there are many now living. who must remember the Preambles of Job Baker, and his fucceffor Woodbridge, on the kettle-drum.

The chief part of our Author's information feems wild, fabulous, and conjectural, till Ireland was fubdued by the EngJifh, to whom the Bards and Harpers foon became obnoxious, in proportion as they endeared themselves to their countrymen by their fongs in praife of liberty and ancient ufages. Whenever they are mentioned by English writers, it is not to celebrate their music, but to cenfure the licentioufnels of their lives and poetry. Indeed, the Harpers of their ancient Kings, like thofe in Wales, feem to have been officers of confiderable state and Gg 4 dignity

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dignity on the household establishment: and this is confirmed by a curious paffage from Froiffart, p. 124*. This account, however, clashes with another paffage from Sir John Davies at the bottom of the fame page, Note (a); which tells us, that The Duke of Clarence, while Lord Lieutenant of Ireland, in the reign of Edward III. was as little inclined to treat the Irish minstrels with respect as the Chevalier Seury, from whom Froiffart had his information. For in a parliament held by the Duke of Clarence at Kilkenny, it was (made) penal, to entertain any of the Irish minstrels, rimers, or news-tellers.' Now the Ac of Parliament, in the reign of Edw. III. must have preceded the circumftances which are related by Froiffart, of the honourable place allowed to the minstrels by the Irish Kings, and their degradation by Richard's Chargé des Affaires.

Our Author's next difplay of mufical knowledge, in fpeaking of the Minor mode, is a little unfortunate; though he cites high authority for his opinions. Mr. W. p. 125, informs us that the Minor 3d confifts of four femitones, and the Major 3d of five; and refers us to Dr. Beattie's Effay on Poetry and Mufic for the truth of his affertion. Now, in all keyed inftruments and books of theory that we have feen, the Minor or flat 3d is but three femitones, or half notes, above the base or given note, and the Major, or fharp 3d, four. We have not Dr. Beattie's Effay at hand, but hope that this refpectable writer has not thrown a doubt upon his knowledge of mufic, by afferting the contrary. In fupport of another difputable opinion, concerning the preva

* Richard Seury, an ancient Knight, who had accompanied Richard II. to Ireland, and was fent by that prince to study the customs and manners of the four Irish Kings who had fubmitted to him, informed Froiffart, that "Quand ces Roys eftoyent afis à la table, &feruis du premièr mets, ils faifoyent feoir deuant eux leurs MENE. STRIERS et leurs prochains varlets, et manger à leur efcuelle, & boire à leurs banaps: & me difoyent que bel eftoit l'usage du païs, & qu'en toutes chofes, referué le lict, ils eftoyent tous communs. le leurs Jouffri tout ce faire trois iours: (continues the hoary Knight) au quatrieme ie fei ordonner tables, & courrir en la falle, ainfi comme il appartenoit et fei les quatre Rois feoir à haute table, & les MENESTRIERS à une table, bien enfus d'eux, & les varlets d'autre part: dont par femblant ils furent tous courroucés: & regardoyent l'un l'autre : & ne vouloyent manger: difoyent qu'on leur vouloit ofter leur bon ufage: auquel ils axoyent effé nourris. Ie leur refpondy, tout en fouriant, pour les appaifer, que leur eftat n'eftoit point honnefte, n'honnorable, a eftre ainfi comme au-deuant ils auoyent fait, & qu'il le leur conuenoit laiffer, eux mettre a l'ufage d'Angleterre, car de ce faire i' eftoye chargé: & me l'auoit le Roy et fon Confeil baillé par ordonnance. Quand ils quirent ce, ils fouffrirent (pourtant que mis s'eftoyent en l'obeifance du Roy d'Angleterre) perfeuerérent en celuy eftat affez doucement, tant que ie fu auecques eux."

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