

#Irish Music and Poetry


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#### Corpus of Electronic Texts Edition


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Irish Music and Poetry
======================


Author: Thomas Osborne Davis
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T.W. RollestonElectronic edition compiled by Beatrix Färber

proof corrections by Margaret Bonar

 1. First draft, revised and corrected.Extent of text: 2507 words#### Publication


CELT: Corpus of Electronic Texts: a project of University College Cork  
College Road, Cork, Ireland—http://www.ucc.ie/celt

 (2006) (2008) Distributed by CELT online at University College, Cork, Ireland.  
Text ID Number: E800002-030Availability [RESTRICTED] 
Available with prior consent of the CELT programme for purposes of academic research and teaching only.


#### Sources


**Source**2. First published in *The Nation* 26 November, 1842. [This date is given by K. M. MacGrath, in his edition. O'Donoghue gives the later date of 9 June, 1845. — The Rolleston edition, on which this electronic edition is based, almost exactly matches that found in Essays, literary and historical.. by Thomas Davis, edited by D. J. O'Donoghue.]
**Editions of this text; other writings by Thomas Davis**2. Thomas Davis, Essays Literary and Historical, ed. by D. J. O'Donoghue, Dundalk 1914.
3. Sir Charles Gavan Duffy (ed.), Thomas Davis, the memoirs of an Irish patriot, 1840-1846. 1890.
4. Thomas Osborne Davis, Literary and historical essays 1846. Reprinted 1998, Washington, DC: Woodstock Books.
5. Essays of Thomas Davis. New York, Lemma Pub. Corp. 1974, 1914 [Reprint of the 1914 ed. published by W. Tempest, Dundalk, Ireland, under the title 'Essays literary and historical'.]
6. Thomas Davis: essays and poems, with a centenary memoir, 1845-1945. Dublin, M.H. Gill and Son, 1945. [Foreword by an taoiseach, Éamon de Valera.]
7. Angela Clifford, Godless colleges and mixed education in Ireland: extracts from speeches and writings of Thomas Wyse, Daniel O'Connell, Thomas Davis, Charles Gavan Duffy, Frank Hugh O'Donnell and others. Belfast: Athol, 1992.
**Selected further reading**2. Arthur Griffith (ed.), Thomas Davis: the thinker & teacher; the essence of his writings in prose and poetry. Dublin: Gill 1914.
3. William O'Brien, The influence of Thomas Davis: a lecture delivered by William O'Brien, M.P., at the City Hall, Cork, on 5th November 1915. Cork: Free Press Office, 1915.
4. Johannes Schiller, Thomas Osborne Davis, ein irischer Freiheitssänger. Wiener Beiträge zur englischen Philologie, Bd. XLVI. Wien und Leipzig, W. Braumüller, 1915.
5. Michael Quigley (ed.), Pictorial record: centenary of Thomas Davis and young Ireland. Dublin [1945].
6. Joseph Maunsell Hone, Thomas Davis (Famous Irish Lives). 1934.
7. M. J. MacManus (ed.), Thomas Davis and Young Ireland. Dublin: The Stationery Office, 1945.
8. J. L. Ahern, Thomas Davis and his circle. Waterford, 1945.
9. Michael Tierney, 'Thomas Davis: 1814-1845'. Studies; an Irish quarterly review, 34:135 (1945) 300-10.
10. Theodore William Moody, 'The Thomas Davis centenary lecture in Newry'. An t-Iubhar (=Newry) 1946, 22-6.
11. D. R. Gwynn, O'Connell, Davis and the Colleges Bill (Centenary Series 1). Oxford and Cork, 1948.
12. D. R. Gwynn, 'John E. Pigot and Thomas Davis'. Studies; an Irish quarterly review, 38 (1949) 145-57.
13. D. R. Gwynn, 'Denny Lane and Thomas Davis'. Studies; an Irish quarterly review, 38 (1949) 15-28.
14. N. N., Clár cuimhneacháin: comóradh i gcuimhne Thomáis Daibhis, Magh Ealla, 1942. Baile Átha Cliath (=Dublin) 1942.
15. K. M. MacGrath, 'Writers in the Nation. , 1842-5.' Irish Historical Studies 6, no. 23 (March 1949), 189-223.
16. Christopher Preston, 'Commissioners under the Patriot Parliament, 1689'. Irish Ecclesiastical Record, 5th ser., 74:8 (1950) 141-51.
17. W.B. Yeats, Tribute to Thomas Davis: with an account of the Thomas Davis centenary meeting held in Dublin on November 20th, 1914, including Dr. Mahaffy's prohibition of the 'Man called Pearse,' and an unpublished protest by 'A.E.', Cork 1965.
18. Theodore William Moody, 'Thomas Davis and the Irish nation'. Hermathena, 103 (1966) 5-31.
19. Malcolm Johnston Brown, The politics of Irish literature: from Thomas Davis to W. B. Yeats. Seattle (University of Washington Press) 1973.
20. Eileen Sullivan, Thomas Davis. Lewisburg, New Jersey: Bucknell University Press, 1978.
21. Mary G. Buckley, Thomas Davis: a study in nationalist philosophy. Ph.D. Thesis, National University of Ireland, at the Department of Irish History, UCC, 1980.
22. Giulio Giorello, "A nation once again": Thomas Osborne Davis and the construction of the Irish "popular" tradition. History of European Ideas, 20:1-3 (1995) 211-17.
23. John Neylon Molony, A soul came into Ireland: Thomas Davis 1814-1845. Dublin 1995.
24. Robert Somerville-Woodward, "Two 'views of the Irish language': O'Connell versus Davis." The History Review: journal of the UCD History Society, 9 (1995) 44-50.
25. John Neylon Molony, 'Thomas Davis: Irish Romantic idealist'. In: Richard Davis; Jennifer Livett; Anne-Maree Whitaker; Peter Moore (eds.), Irish-Australian studies: papers delivered at the eighth Irish-Australian Conference, Hobart July 1995 (Sydney 1996) 52-63.
26. David Alvey, 'Thomas Davis. The conservation of a tradition.' Studies; an Irish quarterly review, 85 (1996) 37-42.
27. Harry White, The keeper's recital: music and cultural history in Ireland, 1770-1970. (Cork 1998).
28. Joseph Langtry; Brian Fay,'The Davis influence.' In: Joseph Langtry (ed.), A true Celt: Thomas Davis, The Nation, rebellion and transportation: a series of essays. (Dublin 1998) 30-38.
29. Joseph Langtry, 'Thomas Davis (1814-1845).' In: Joseph Langtry (ed.), A true Celt: Thomas Davis, The Nation, rebellion and transportation: a series of essays. (Dublin 1998) 2-7.
30. Patrick Maume, 'Young Ireland, Arthur Griffith, and republican ideology: the question of continuity.' Éire-Ireland, 34:2 (1999) 155-74.
31. Sean Ryder, 'Speaking of '98: Young Ireland and republican memory'. Éire-Ireland, 34:2 (1999) 51-69.
32. Ghislaine Saison, 'L'écriture de l'histoire chez la Jeune Irlande: quelle histoire pour une nation du consensus et de la réconciliation?' In: Centre de recherche inter-langues angevin, Écriture(s) de l'histoire: Actes du colloque des 2,3 et 4 décembre 1999. (Angers 2001) 435-46.
33. Gerry Kearns, 'Time and some citizenship: nationalism and Thomas Davis.' Bullán: an Irish Studies Review, 5:2 (2001) 23-54.
34. Helen Mulvey, Thomas Davis and Ireland: a biographical study. Washington, D.C., Catholic University of America Press, 2003.

Thomas Osborne Davis Irish Music and Poetry in , Ed. T. W. Rolleston Thomas Davis: Selections from his prose and poetry. The Talbot Press, Dublin and London, ([1910]) page 160–163### Encoding


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Created: by Thomas Davis

 (1842) 
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##### Language: [GA] Some words are in Irish.


### Revision History


* (2008-07-20) Beatrix Färber (ed.)

* Value of div0 "type" attribute modified, changes to file structure made; 'langUsage' revised; keywords added.
* (2006-08-02) Beatrix Färber (ed.)

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* (2006-02-01) Beatrix Färber (ed.)

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* (2005-10-06) Margaret Bonar, Dublin (ed.)

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* (1996) Audrey Murphy (ed.)

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#### Corpus of Electronic Texts Edition: E800002-030


### Irish Music and Poetry: Author: Thomas Osborne Davis




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p.160


No enemy speaks slightingly of Irish Music, and no friend need fear to boast of it. It is without a rival. 


Its antique war-tunes, such as those of **O'Byrne**, **O'Donnell**, **Alestrom**, and **Brian Boru**, stream and crash upon the ear like the warriors of a hundred glens meeting; and you are borne with them to battle, and they and you charge and struggle amid cries and battle-axes and stinging arrows. Did ever a wail make man's marrow quiver, and fill his nostrils with the breath of the grave, like the *ululu* of the north or the *wirrastrue* of Munster? Stately are their slow, and recklessly splendid their quick marches, their Boyne Water, and Síos agus síos liom, their Michael Hoy, and Gallant Tipperary. The Irish jigs and planxties are not only the best dancing tunes, but the finest quick marches in the world. Some of them would cure a paralytic, and make the marble-legged prince in the Arabian Nights charge like a Fag-an-Bealach boy. The hunter joins in every leap and yell of the Fox Chase; the historian hears the moan of the penal days in Drimindhu, and sees the embarkation of the Wild Geese in Limerick's Lamentation; has these reversed and ask the lover if his breath do not come and go with Savourneen Deelish and Lough Sheelin.


Varied and noble as our music is, the English-speaking people in Ireland have been gradually losing their knowledge of it, and a number of foreign tunes—paltry scented things from Italy, lively trifles from Scotland, and German opera 



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p.161






cries—are heard in our concerts, and, what is worse, from our Temperance bands. Yet we never doubted that The Sight Entrancing, or The Memory of the Dead, would satisfy even the most spoiled of our fashionables better than anything **Balfe** or **Rossini** ever wrote; and, as it is, Tow-row-row is better than poteen to the teetotalers, wearied with overtures and insulted by British Grenadiers and Rule Britannia.


A reprint of **Moore**'s Melodies on lower keys, and at *much* lower prices, would probably restore the sentimental music of Ireland to its natural supremacy. There are in Bunting[1](javascript:footNote('E800002-030/note001.html')) but two good sets of words— The Bonny Cuckoo, and poor **Campbell**'s Exile of Erin[2](javascript:footNote('E800002-030/note002.html')). These and a few of **Lover**'s and **Mahony**'s songs can alone compete with **Moore**. But, save one or two by **Lysaght** and **Drennan**, almost all the Irish political songs are too desponding or weak to content a people marching to independence as proudly as if they had never been slaves.


The popularity and immense circulation of the Spirit of the Nation proved that it represented the hopes and passions of the Irish people. This looks like vanity; but as a corporation so numerous as the contributors to that volume cannot blush, we shall say our say. For instance, who did not admire The Memory of the Dead? The very Stamp officers were galvanised by it, and the Attorney-General was repeatedly urged to sing it for the jury. He refused—he had no music to sing it to. We pitied and forgave him; but we vowed to leave him no such excuse next time. If these songs were half so good as people called them, they deserved to flow from a million throats to as noble music as ever **O'Neill** or **O'Connor** heard.




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p.162


Some of them were written to, and some freely combined with, old and suitable airs. These we resolved to have printed with the music, certain that, thus, the music would be given back to a people who had been ungratefully neglecting it, and the words carried into circles where they were still unknown.


Others of these poems, indeed the best of them, had no ante-types in our ancient music. New music was, therefore, to be sought for them. Not on their account only was it to be sought. We hoped they would be the means of calling out and making known a contemporary music fresh with the spirit of the time, and rooted in the country.


Since **Carolan**'s death there had been no addition to the store. Not that we were without composers, but those we have do not compose Irish-like music, nor for Ireland. Their rewards are from a foreign public—their fame, we fear, will suffer from alienage. **Balfe** is very sweet, and **Rooke** very emphatic, but not one passion or association in Ireland's heart would answer to their songs.


Fortunately there was one among us (perchance his example may light us to others) who can smite upon our harp like a master, and make it sigh with Irish memories, and speak sternly with Ireland's resolve. To him, to his patriotism, to his genius, and, we may selfishly add, to his friendship, we owe our ability now to give to Ireland music fit for The Memory of the Dead and The Hymn of Freedom, and whatever else was marked out by popularity for such care as his.


In former editions of the Spirit we had thrown in carelessly several inferior verses and some positive trash, and neither paper nor printing was any great honour to the Dublin press. Every





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p.163






improvement in the power of the most enterprising publisher in Ireland has been made, and every fault, within our reach or his, cured—and whether as the first publication of original airs, as a selection of ancient music, or as a specimen of what the Dublin press can do, in printing, paper, or cheapness, we urge the public to support this work [*...*]—and, in a pecuniary way, it is his altogether.


We had hoped to have added a recommendation to the first number of this work, besides whatever attraction may lie in its music, its ballads, or its mechanical beauty.


An artist[3](javascript:footNote('E800002-030/note003.html')), whom we shall not describe or he would be known, sketched a cover and title for it. The idea, composition, and drawing of that design, were such as **Flaxman** might have been proud of. It is a monument to bardic power, to patriotism, to our music and our history. There is at least as much poetry in it as in the best verses in the work it illustrates. If it do nothing else, it will show our Irish artists that refinement and strength, passion and dignity, are as practicable in Irish as in German painting; and the lesson was needed sorely. But if it lead him who drew it to see that our history and hopes present fit forms to embody the highest feelings of beauty, wisdom, truth, and glory in, irrespective of party politics, then, indeed, we shall have served our country when we induced our gifted friend to condescend to sketching a title-page. We need not describe that design now, as it will appear on the cover of the second number, and on the title-page of the finished volume.










