"If so it please your good lordship, one of your hors.e.m.e.n promised me a choice horse if I snip one hair from your beard." "Well," quoth the earl, "I agree thereto; but if you pluck more than one, I promise you to bring my fist away from your ear!"

And Boice plucked the hair, and won the hobby: but he took good care to pluck only one, so that his ear escaped the earl's big fist.

At this time the chief man of the Butlers was James, earl of Ormond: and he and the Deputy were at enmity, each working with might and main to put down the other. The earl of Ormond, who was a deep and far reaching man, not being strong enough to oppose his adversary openly, devised a plan to entrap him by means of submission and courtesy. Certain charges had, it seems, been made against Ormond, and he now wrote to the deputy, who was, of course, in authority over him, asking permission to come to Dublin to disprove them; which the deputy granted. Accordingly, in the year 1492, he marched to Dublin with a numerous army, and encamped near the city.

Now Kildare's councillors, and the citizens in general, disliked the presence of so great an army, suspecting some evil design: and besides, the soldiers used the people ill, often beating and robbing them; so that instead of peace, this visit of Ormond made all the greater discord. Yet still, with an air of great respect and humility, he persisted in asking to be heard, saying he would show that the evil stories about him were all false. At length, Lord Deputy Kildare agreed, and the meeting was held in St. Patrick's Church.

But this meeting was not a quiet or peaceful one; for the two earls, instead of speaking gentle words of forgiveness, began to accuse each other of all the damages inflicted on both sides. The citizens too, who were in great crowds around the church, complained with loud voices of all the ill usage they had suffered from the soldiers; whereupon they and the soldiers fell to jars and quarrels, and the whole city was soon in an uproar. At last, a body of Dublin archers, enraged that such a disturbance should be raised by "this lawless rabble," rushed into the church, shouting out that they would kill Ormond, as the leader of them, and they shot at random hither and thither, leaving their arrows sticking in the timbers and ornaments of the church, but doing no harm otherwise. It is probable, indeed, that out of respect to the place, notwithstanding their rage, they took care to shoot over the heads of the crowd, so as to kill no one.

On this, the Earl of Ormond, fearing with good reason for his safety, fled with a few of his followers to the chapter-house, and slamming the door, bolted and barred it strongly. Kildare followed and called to him to come out, promising upon his honour that he should receive no harm.

Ormond replied that he would come forth if the deputy gave him his hand that his life should be safe; so "a cleft was pierced in a trice through the chapter-house door," to the end that the earls might shake hands and be reconciled. But Ormond, still suspecting treachery, refused to put forth his hand, fearing it might be chopped off, till at last Kildare stretched in his arm to him through the hole, and they shook hands. Then the door was opened and the two earls embraced, and the storm was appeased.

[Ill.u.s.tration: Old Chapter-house Door, now in St. Patrick's Cathedral, Dublin.]

But though this quarrel was patched up, it was only for the time.

Kildare suspected that Ormond had brought his army with evil intent "to outface him and his power in his own countrie"; while "Ormond mistrusted that this treacherous practice of the Dublinians was by Kildare devised." So that, as the old writer goes on to say, "their quarrels were not ended, but only for the present discontinued: like unto a green wound, rather bungerlie botcht, than soundlie cured. And these and the like surmises, with many stories carried to and fro, and in their ears whispered, bred and fostered a malice betwixt them and their posterity, many years incurable, which caused much stir and unquietnesse in the realm."

The old chapter-house door, which is pictured on last page, still remains in St. Patrick's Cathedral, where it may be seen leaning against one of the walls, with the very "cleft" in it through which the two earls shook hands more than four hundred years ago.

XLIX.

ANCIENT IRISH MUSIC.

From the most remote times the Irish took great pleasure in music: and they studied and cultivated it so successfully that they became celebrated every where for their musical skill. Irish teachers of this art were thought so highly of that from about the seventh to the eleventh century, or later, they were employed in colleges and schools in Great Britain and on the Continent, like Irish professors of other branches of learning (see p. 47). Many of the early missionaries took great delight in playing on the harp, so that some brought a small harp with them on their journeys through the country, which no doubt lightened many a weary hour at their homes in the evenings, during the time of hard missionary work. In our oldest ma.n.u.script books, music is continually mentioned: and musicians are spoken of with respect and admiration.

The two chief instruments used in Ireland were the harp and the bagpipe.

The harp was the favourite with the higher cla.s.ses, many of whom played it as an accomplishment, as people now play the piano. The professional Irish harpers were more skilful, and could play better, than those of any other country: so that for hundreds of years it was the custom for the musicians of Great Britain to visit Ireland in order to finish their musical education; a custom which continued down to about a century and a-half ago.

The bagpipe was very generally used among the lower cla.s.ses of people.

The form in use was what we now call the Highland or Scotch pipes--slung from the shoulder: the bag inflated by the mouth. But this form of pipes took its rise in Ireland: and it was brought to Scotland in early ages by those Irish colonists already spoken of (page 5). There is another and a better kind of bagpipes, now common in Ireland, resting on the lap when in use, and having the bag inflated by a bellows: but this is a late invention.

The Irish musicians had various "_Styles_," three of which are very often mentioned in tales and other ancient Irish writings: of these many specimens have come down to the present day. The style they called "Mirth-music" consisted of lively airs, which excited to merriment and laughter. These are represented by our present dance tunes, such as jigs, reels, hornpipes, and other such quick, spirited pieces which are known so well in every part of Ireland. The "Sorrow-music" was slow and sad, and was always sung on the occasion of a death. We have many airs belonging to this style, which are now commonly called _Keens_, i.e., laments, or dirges. The "Sleep-music" was intended to produce sleep; and the tunes belonging to this style were plaintive and soothing. Such airs are now known as lullabies, or nurse tunes, or cradle songs, of which numerous examples are preserved in collections of Irish music. They were often sung to put children to sleep. Though there are, as has been said, many tunes belonging to these three cla.s.ses, they form only a small part of the great body of Irish music.

Music entered into many of the daily occupations of the people. There were special spinning-wheel songs, which the women sang, with words, in chorus or in dialogue, when employed in spinning. At milking time the girls were in the habit of chanting a particular sort of air, in a low gentle voice. These milking songs were slow and plaintive, something like the nurse tunes, and had the effect of soothing the cows and of making them submit more gently to be milked. This practice was common down to fifty or sixty years ago; and many people now living can remember seeing cows grow restless when the song was interrupted, and become again quiet and placid when it was resumed. While ploughmen were at their work they whistled a sweet, slow, and sad strain, which had as powerful an effect in soothing the horses at their hard work as the milking songs had on the cows: and these also were quite usual till about half a century ago.

Special airs and songs were used during working time by smiths, by weavers, and by boatmen. There were besides, hymn tunes; and young people had simple airs for all sorts of games and sports. In most cases words suitable to the several occasions were sung with lullabies, laments, and occupation tunes. The poem at page 82 may be taken as a specimen of a lament. Examples of all the preceding cla.s.ses of melodies will be found in the collections of Irish airs by Bunting, Petrie, and Joyce.

The Irish had numerous war-marches, which the pipers played at the head of the clansmen when marching to battle, and which inspired them with courage and dash for the fight. This custom is still kept up by the Scotch; and many fine battle-tunes are printed in Irish and Scotch collections of national music.

From the preceding statement we may see how universal was the love of music in former days among the people of Ireland. Though Irish airs, compared with the musical pieces composed in our time, are generally short and simple, they are constructed with such skill, that in regard to most of them it may be truly said that no composer of the present day can produce airs of a similar kind to equal them.

There are half a dozen original collections of Irish music, containing in all between 1000 and 2000 airs: other collections are mostly copied from these. But numerous airs are still sung and played among the people all through Ireland, which have never been written down; and many have been written down which have never been printed. Thomas Moore composed his beautiful songs to old Irish airs; and his whole collection of songs and airs--well known as "Moore's Melodies"--is now published in one small cheap volume.

Of the entire body of Irish airs that are preserved, we know the authors of not more than about one tenth; and these were composed within the last 200 years. Most of the remaining nine tenths have come down from old times. No one now can tell who composed "The Coolin," "Savourneen Dheelish," "Shule Aroon," "Molly Asth.o.r.e," "Garryowen," "The Boyne Water," "Patrick's Day," "Langolee," "The Blackbird," or "The Girl I left behind me"; and so of many other well-known and lovely airs.

The national music of Ireland and that of Scotland are very like each other, and many airs are common to both countries: but this is only what might be expected, as we know that the Irish and the Highland Scotch were originally one people.