[1] Vol. II. p. 347, et seq. These ancient fragments are preserved in the old historical Record, entitled Leabhar Ghabhaltus, or the “Book of Invasions;” a copy of which, transcribed in the twelfth century, and now in the Duke of Buckingham’s library at Stowe, is particularly described in the late DOCTOR O’CONOR’S invaluable Catalogue of the MSS. there preserved. This learned man observes, “that we should refer this species of poetry to a very remote age, no one who has read Strabo will wonder. The HIBERNI derive their ongin from the IBERI; and Strabo mentions a people of Iberia and Bœtica, who could produce poems nearly 6000 years old. (Lib. 3rd). Let. however, the specimens of Irish poetry still remaining speak for themselves. The oldest Saxon poetry extant is King Alfred’s. - Cat. Stowe, I. 23. -

[2] In numerous old vellum MSS. - To these may be added ADHNA, and NEIDE his son, who flourished about the same time, fragments of whose writings, in the Bearla Feine, or Phœician dialect of the Irish, are extant in the MSS. of Trinity College, Dublin.

[3] Or “History of noted places in Ireland.” This curious piece of ancient topography is preserved in the Books of Lecan and Ballimote; two celebrated MSS. volumes, in folio vellum, containing transcripts of numerous miscellaneous tracts and poems of antiquity. The former of these was carried to France by James II. and after his death, lodged in the Irish college at Paris, where it remained until the year 1787, when it was [vi] restored to this country by Doctor O’Kelly, superior of that college, and deposited in the library of the Royal Irish Academy, Dublin. The Book of Ballimote, also said to have been brought from Paris, was presented to the same library, By an entry at fo. 180, of the latter, it appears that it was purchased in 1522, by Hugh O’Donnell, from Ale Donogh of Corran, for 140 milch cows. None of the contents of these volumes have been published. The Dinn Seanchas contains poems of FININ MAC LUCHNA, a bard of the second century, FIONN MAC CUBRAIL and FERGUS FIONNBELL, who, with the celebrated OISIN (OSSIAN,) lived in the third centurv, and others.

[4] Book of Ballimote. - Temur dín ol Umairgen, &c. - See fo. 188, a. col. 1.

[5] “Cnoc oebind osa eind diblindaibh airde gac tulaig eo slogaib and bili edroct amail or ismn enuc cosmad comuli ara airdi gax ceol ina duillib brec tair atoirti in talam in tan na mbenad gac roga roraid do gac aen.” - Id. fo. 198, col. b.

[6] Mr. Gunn, in his interesting inquiry respecting the performance of the harp in the Highlands of Scotland, until it was discontinued about 1734, 4to, Edinburgh, 1807, says - “I have been favored with a copy of an ancient Gaelic poem, together with the music to which it is still sung in the Highlands, in which the poet personifies and addresses a very old harp, by asking what had become of its former lustre? The harp replies, that it had belonged to a King of Ireland, and had been present at many a royal banquet; that it had afterwards been succecssvely in the possession of Dargo, son of the druid of Baal - of Gaul - of Filan - of Oscar - of O’Duivne - of Diarmid - of a Physician-of a Bard - and lastly, of a Priest, who in a secluded corner was meditating on a white book.” - This, like every other research connected with the natives of the Highlands, leads to their Irish origin. It has faded from the recollection of most of our countrymen, that until a late period, Ireland was the school of the Highland Scotch. “The gentlemen of note probably were, partly at least,” (these words in italics the lawyers would call guarded or unwilling evidence.) “educated in Ireland, to which country all who adopted either poetry or music as a profession, were uniformly sent to finish their education, till within the memory of persons still living.” JAMIESON’S Introduction to Letters from the North of Scotland, [vii] London, 1822. This writer further adds, “Till within the memory of persons still living, the School for Highland poetry and music was Ireland, and thither professional men were sent to be accomplished in those arts. The cruit, clarsach, or harp, was the proper instrument of the Celts. The bagpipe was introduced by the Goths, from Scandinavia.” - Same work, Vol. II. 65. - These are unpalatable truths for the advocates of Scotland’s pretensions to Ossian.

[7] Quoted by the Irish annalists TIGERNACH and the FOUR MASTERS - See Doctor O’Conor’s splendid edition of the principal Irish annals to the time of the English Invasion, printed at the expence of his Grace the Duke of Buckingham and Chandos, 4 vols. quarto, 1813-26.

[8] The native strains of several oriental nations have been observed to bear a close affinity to Irish music. Many have been found in Persia, and the mountainous parts of India. Marsden, in his History of Sumatra, says, “The Sumatran tunes much resemble to my ear those of the native Irish, and have usually like them, a flat third.” Our countryman, Sir William Ousely, observes, that several of the Hindoo melodies possess the native simplicity of the Scotch and Irish. - Oriental Collections, Vol. I. p. 74. - Many of the Siamese melodies, remarkable for softness, sweetness, and simplicity, resemble the Scotch and Irish. - Crawford. - Mr. Thompson in his preface to the select melodies of Scotland, (in which, by the way, he has [ix] embodied many Irish airs,) observes that, “Melodies of the Scottish cast have been remarked among the Moors in Barbary, and the natives of North America.” He might have added the West India islands, for thither did Oliver Cromwell and his myrmidons, - they to whom Ireland was parcelled out under the memorable Act of Settlement, - cause thousands of the native Irish to be transported and sold as slaves. These unfortunate people brought with them their language and music, of which vestiges remain to the present day.

Ireland gave its music to Scotland, and thence it may be traced in the modern history of the art, imparting its beauties and sweetness to Italy. According to the poet Tassoni, the ancient music of the Scotch or Irish, and particularly the compositions of the first James of Scotland, was imitated by GESUALDUS, the chief of the Italian composers, and greatest musical improver of the sixteenth century. The celebrated GEMINIANI frequently declared that the works of Gesualdus were his first and principal study. Hence probably his acknowledged partiality for Irish music, and his well known admiration of the bard, CAROLAN. Our countryman, GOLDSMITH, alludes to the opinion of Geminiani “that we have in the dominions of Great Britain no original music except the Irish.” - See British Mag. 1760. - It is amusing to see how our Scottish neighbours invariably treat this subject. Among others, Mr. Tytler in his dissertation on Scottish music, ( Trans. Soc. Antiq. of Scotland, Vol.. 475.) after noticing the imitations of James I. by Gesualdus, exclaims, “How perfectly characteristic this of the pathetic strains of the old Scottish Songs! what an illustrious testimony to their excellency !” But, quoting the following passage from Major, “In Cithara Hibernenses ant Silvestres Scoti, qui in illa ante præcipui sunt,” he says, “To these Sylvan ministrels, I imagine we are indebted for many [ix]

fine old songs which are more varied in their melody, and more regular in their compositions, as they approach nearer to modern times.” Here the ingenious investigator suppressed the word Hibernenses altogether, because it pointed out but too clearly the origin of these old Scottish songs. [xi]

[9] In the library of the Royal Irish Academy.

[10] The “Book of Rights,” containing an account of the rights and revenues of the Monarch of Ireland; and the revenues and subsidies of the provincial Kings. It was originally compiled by ST. BENIN, who died A. D. 468, and is contained [xi] in the books of BALLIMOTE, fo. 147, and LECAN, fo. 184.This tract shews, that the Ancient Irish were governed according to some of the best and safest principles of civil liberty. From Dubthach’s poem on his own order, it appears, that, “The learned poets and antiquaries are free from tribute, as long as they follow their own profession. They shall be ready to direct the kings and nobles, according to the laws; preserve the records of the nation, and the genealogies of families; and instruct youth in the arts and sciences, known in the kingdom.” Our princes, like the Arabians, always retained their bards, musicians, and story tellers. These were the historians and heralds of the kingdom.

[11] JOCELINE, in the twelfth century, says of Dubtbach, “Carmina quoe quondam peregit in laudem falsorum deorum, jam in usum meliorem mutans et linguam, poemata clariora composuit in laudem orniiipotentis.- Ch. 45.

[12] DOCTOR O’CONOR.-This learned antiquary refers to the chapter, “DE CRONANO POETA,” in Adamnan’s valuable life of Columba, who died A. D. 596, as decisive proof that poetry was studied according to rules, and professed as an art, at that period in Ireland - Cat. I. 23. - The narrative is this: Columba sitting with some monks on the banks of Logh Cei, (in the present Co. Roscommon,) had some conversation with the poet Cronan, near the mouth of the river Bos, now Boyle, which flows into that lake. When the poet retired, the monks expressed their regret, that Columba had not asked him to sing [xiii] some Canticle in modulation, according to the Rules of his Art.” Cur a nobis regrediente Cronano, aliquod, ex more suæ Artis, cauticum non postulasti modulalibiliter decantari? L. L c. 32.

[13] The History of Ireland, even since the reign of HENRY II. is yet to be written, and it will so remain, until the Anglo-Norman, or legal records of Dublin, and the “State Papers” of London, shall be combined with our domestic annals. Such of the native writers as were versed in the latter, were denied all access to the records of the pale. The privileged English were unacquainted with the Irish accounts, and withal so prejudiced against the country, that they neither would, (their works are the proof,) nor could they, even if inclined, have related the whole truth. Another, and perhaps a more copious source of information than either, remains to be noticed. It is well known, that from the time of the dissolution of monasteries, to the end of the seventeenth century, numerous records were carried out of Ireland, by proscribed [xvi] Ecclesiastics and other Irish Exiles, to various parts of Europe. It might safely be concluded, even if there was not the best evidence on the point, that among those records were some of the most ancient and valuable, relating to the Country.The writer, having represented these facts to the Right Honorable the late Commissioners of Records in Ireland, submitted the propriety of their causing inquiry to be made on the subject, by means of queries, through the office of the Secretary for foreign affairs, to the different courts of Europe, who might give directions to the proper authorities, heads of universities, colleges, monasteries, libraries, &c. to transmit catalogues of any such documents as might be found in their possession. The Commissioners approved of the suggestion, and having expressed their sense of its “great value if successful in any of its points,” were pleased on 22nd April, 1822, to order that their Secretary should take the necessary measures to make the proposed inquiry. - 13th Annual Report, 1823. - The writer, thereupon, drew up a statement with references to the several places in Europe, from Denmark to Spain, where research ought to be made; but, though the then time of general peace, was rather favorable, yet he regrets to state that nothing further was done on the subject. It is mentioned here with a hope that it may be resumed at some future period. [xvii]

[14] The sharpest arrows of the settlers were always directed ag,ainst the bards. Those whom they failed to subdue, they endeavoured to corrupt. Of this we have an instance on the patent roll, 49 Edward III. Donald O’Moghane, an Irish Minstrel, (Ministrallus Hibernicus) “for that he, not alone, was faithful to the king, but was also the cause of inflicting many evils on the Irish enemies,” obtained license to dwell in the English quarters - This recreant bard was one of the very few traitors of his Order, of which Patriotism was the motto and ruling principle. Like Alfred, the Irish bards went amongst the enemy, to learn their situation, strength, and intentions, which they never failed to report to their countrymen. By a similar roll of 13 Henry VI. we learn that the Irish Mimi (a species of [xviii] comic actors,) Clarsaghours (harpers,) Tympamours (tabourers,) Crowthores (the earliest violin players,) Kerraghers (players at chess or tables,) Rymours, Skelaghes, (Raconteurs or taletellers,) Bards, and others, contrary to the statute of Kilkenny, went amongst the English and exercised their arts and minstrelsies (minstrelsias et artes suas,) and that they afterwards proceeded to the Irish enemies, and led them upon the king’s liege subjects. - Rot-Pat. - Here it may be observed that the Irish bards do not appear to have attempted regular dramatic composition. The mimic representation of human actions on the stage,was forgotten amid the tragic scenes of horror and devastation which were daily witnessed throughout the land. The Colonial theatre in Dublin, was English, and had no connexion or sympathy with the Irish people. The rude shows, however, exhibited in Hoggin Green, in that city, in 1528, before the appearance of the regular drama in England, were of mixed origin, partly imitated from ancient Irish customs. [xix]

[15] The Irish princes, like the Arabians, always retained a numerous band of bards, musicians, and story-tellers, in their train. The bards became the historians of their deeds, and the heralds of their families. Some of the public duties of their Order have been already noted, from the Book of Rights, p.xii, amid the important nature of these duties prove the confidence and esteem in which their professors were held. Until the destruction of the Irish Monarchy, the inauguration poems were solemnly sung by the royal bards, attired in scarlet robes, a practice which was continued to a later period on the accession of the provincial kings. A similar custom was observed in Scotland. “The first coronation of the kings of Scotland, of which we have any particular account,. is that of Alexander III. in 1249. On this occasion, a Highland bard, dressed in a scarlet tunic or robe, repeated on his knees, in the gaelic language, the genealogy of Alexander and his ancestors up to Fergus the first king of Scotland.” - Gunn’s Treatise on the Harp. [xxi]

[16] “The art of poetry,” says the venerable Charles O’Conor in his Dissertations, “declined as the nation itself declined, but still some eminent poets appeared, from time to time, but diverted in most instances from the ancient moral and political uses, to the barren subjects of personal panegyric.” Though our author was generally right in his opinions on Irish subjects, yet the foregoing cannot be received without many qualifications. Of the eminent poets, however, alluded to, the following are particularly to he noticed, since the days of Elizabeth. - FERGAL and EOGAN MAC AN BHAIRD, ( Ward,) two bards of Lecale, who sung of the great northern septs of Magennis of Down; Mac Sweeny of Donegal; O’Donnel of Tyrconnell; and O’Neill of Tyrone.- O’HUSSEY, a Franciscan friar, author of several divine poems and hymns, and some miscellaneous stanzas, which are remarkable for sweetness of versification. - JOHN MAC WALTER WALSH of the mountains, in the co. Kilkenny, an elegiac and pastoral poet of considerable merit. - ANGUS O’DALY, the “red bard” of Cork, a powerful satyrist.- O’HUSSEY of Orgial, (Louth) the bard of the Maguires of Fermanagh, a fine genius, of whom there remain several excellent miscellaneous poems. O’BRUDAR of Limerick, who evinced a masterly skill in poetry, and whose muse pathetically described the political troubles of Ireland during the 17th century.- JAMES COURTNEY of Louth, author of several sweet elegiac and pastoral pieces, and many superior epigrams abounding with wit and agreeable raillery, who died early in the last century. - MAC GOURAN of Leitrim, a witty and humorous bard, whose poem entitled the “Revelry of O’Rourke,” has been versified by Swift - O’NEACHTAN of Meath, a learned and highly gifted poet, and miscellaneous writer.- EOGAN O’RAHELLY of Kerry, a man of learning and great natural powers, who has left many poems of superior Merit. - PATRICK LINDEN of the Fews in Armagh, a sweet [xxii] lyric poet who lived in the early part of the last century, and whose productions display considerable genius - The Rev. OWEN O’KEEFFE of Cork, author of many fine poems on moral and patriotic subjects. - TEIGE O’NEACHTAN of Dublin, a learned miscellaneous writer, author of a dictionary of his native tongue, and of several excellent poems on various subjects. H died about the year 1744 - COLLA MAC SHEAN; or JOHNSON, of Mourne in Downe, a lyric poet, and musician, author of some popular songs. - DONOGH MACNAMARA of Waterford, an original genius, who wrote a mock Eneid in an elegant and lively strain, and other poems of acknowledged merit - HUGH MAC CURTIN of Clare, an Irish Lexicographer, and author of several odes and elegies. - JOHN MACDONALD surnamed CLARAGH, of Charleville, co. Cork, an eminent bard, and a man of extensive learning, whose poems are among the best in our language. -JOHN TOOMEY of Limerick, a miscellaneous poet, died 1775. - ART MAC COVEY of the Fews, co. Armagh, a lyric poet of distinction. - ANDREW MAGRATH a rambling disciple of Anacreon, and a good lyric poet well known in Munster, in the last century, by the name of the MANGAIRE SUGAH - THADEUS, or TEIGE GAELACH O’SULLIVAN, another Munster bard of talents and celebrity, author of several excellent poems. - OWEN ROE O’SULLIVAN of Kerry, an elegiac and pastoral poet. He lived until 1784. - The Rev. WILLIAM ENGLISH of Cork, a facetious and satirical writer, who has left several poems of exquisite humour and originality. - EDMUND LEE of Cork, a pastoral and lyric poet - PATRICK O’BRIEN of Newgrange in Meath, author of several odes and excellent songs. - JOHN COLLINS, a poet of the first rank, who lived to a recent period. Here this list must terminate, space not permitting mention of even half the hards of local celebrity throughout Ireland, during the last century. Amongst these men were many of great natural [xxiii] genius, several of excellent classical education, and some of superior learning. They are therefore not to be classed with the few gaelic rymers of the Highlands of Scotland, who have been described by their Lowland countrymen, as “rude and uneducated.” The bards of Ireland were men of a very different character, but they were a proscribed and persecuted race, their very language interdicted, and yet from those outlawed bards, and in that denounced language, do we find specimens of poetic talent, which would do honour to any country. Had the unfortunate DERMODY been born a few years earlier, it is probable his name would appear only in the foregoing enumeration. The English tongue began to spread amongst the people of his native county, Clare, in the middle of the last century; and thus the talents which would have passed unnoticed, if confined to the language of his fathers, were universally admired in that of his adoption. If ROBERT BURNs had been an Irishman, and had lived at the period alluded to, his noble genius might have been displayed in the language of the country, from the same patriotic feeling which induced him to prefer the dialect of Scotland. But in that case what a different fate would have attended him. He would, no doubt, have obtained celebrity in the district of his birth, or sojourn, but beyond that, it is probable his name would never be heard, or only when enumerated with the rest of our neglected bards. His lot, however, was cast among a literary people. He wrote in a language which all Scotland understood, and he was brought forward by men of patriotism, genius, and learning. Thus he escaped the obscurity which would have inevitably awaited him, had he the fate to have been an Irishman. - Let it not be deemed presumptuous to say, that many a neglected Irish bard possessed genius equally entitled to admiration. [xxiv]

[17] Several of the bards named in the foregoing note, were men of extensive learning. Of this fact, if space permitted, many instances could be adduced; one, however, out of justice [xxv] to the individual cannot be omitted. - It is well known, that the late General Vallancey obtained much literary celebrity, both at home and abroad, and, in fact, first acquired the reputation of an Irish scholar, by the collation of Hanno, the Carthaginian’s speech in Plautus, published Vol. ii. Collectanea, p.310; but it is not so well known that that speech had been collated many years before, by Teige O’Neachtain, an excellent Irish poet, and author of the extempore epigram, Vol. ii. p. 120, of this collection. Vallancey had this collation in O’Neachtan’s hand-writing, in his possession; and I am obliged (with regret) to add, that he never acknowledged the fact, but assumed the entire credit of the discovery to himself. A copy of this curious collation, from which Vallancey has materially deviated, is now before me, but is too long for insertion here. The autograph copy of O’Neachtan, dated 12 August, 1741, is preserved in the library of William Monck Mason, Esq., Dublin. [xxvii]

[18] KEATING, and the anonymous Dissertation prefixed to the Memoirs of Clanricarde, Dublin, 1727 - In the early part of the last century, periodical meetings, or “Sessions,” of the Munster bards were held at Charleville, and Bruree, in the counties of Cork and Limerick, where the aspirants for poetic celebrity, recited their productions before the assembly. They to whom the prizes were adjudged, in the various departments of poetic composition, were publicly crowned, and distinguished by other marks of honour. These poetic meetings were suppressed by the operation of the penal laws. [xxviii]

[19] Although colloquially debased, many of the original characteristics of our language remain unimpaired. Its pathetic powers have been particularly celebrated. “ If you plead for [xxx] your life, plead in Irish,” is a well known adage. But the revilers of the people have not spared even their speech. Of the species of abuse usually resorted to, a curious specimen may be found in the prejudiced Stanihurst, (temp. Elizabeth,) who assures his readers, that the Irish was unfit even for the prince of darkness himself to utter, and to illustrate this, the bigotted Saxon gravely adduced the case of a possessed person in Rome, who “spoke in every known tongue except Irish, but in that he neither would nor could speak, because of its intolerable harshness.” This notable story is said to have made such an impression on the witch-ridden mind of James the first of England, that he conceived as great an antipathy to our language, because the devil would not speak it, as he is known to have had to the sight of a drawn sword. It was, however, differently estimated by a celebrated personage of a later date, even the renowned Williarn Lilly, astrologer, celestial intelligencer, and chamber prophet of the royal martyr, Charles the first. That noted authority informed the world, that the Irish language was like that spoken in heaven. “It is very rare, yea even in our days, for any operator or master to have the Angels speak articulately; when they do speak it is like the Irish, much in the throat.” - How is it possible while reciting these ludicrous specimens of prejudice and imposture, to avoid reflecting, with bitter feelings, how often the best interests of Ireland have been thoughtlessly sacrificed by its rulers, to the extremes of bigotry, rapacity, and ignorance? Even in matters connected with our subject, we are informed, that Queen Elizabeth was prevented from sending to Denmark for certain ancient Irish records, said to be there, by the remark of one of her council, that it would be better all such evidences of our independence were annihilated. So late as the reign of Queen Anne, we are told that the intention of that princess to promote the cultivation of the Irish language, was frustrated by the [xxxi] Duke of Ormond, who repeated in her presence, an unmeaning sentence of broad sounding words as a proof of its barbarity. At a later period, we find an Irish Catholic, in the fervency of his zeal, to make Ireland “thoroughly British,” wishing that “the Irish language were entirely obliterated;” and recommending that “if it were possible to pump St. George’s channel dry, and unite the two islands physically, it ought to be done, at whatever expence.” - Moore’s History of the British Revolution. - On these wise projects, it need only be observed, that when the latter shall be achieved, and not until then, may the former be expected. What, it may be asked, is there in the Irish language to make worse men or worse subjects of those who speak it, than are the Welch and Highlanders, whose native dialects are cultivated and encouraged? Among the foremost to answer in the negative, would have been his late Majesty, George the fourth. The warmest reception that monarch ever received from his numerous subjects, was expressed by an Irish “Cead mile failte,” and among the best bulwark of his throne, were the bayonets of Ireland, pushed through the hearts of his enemies, under the broad voweled Celtic cry of “Fag a ballagh.” [xxxii]

[20] In 1744, Harris, the editor of Ware’s Antiquities, says, “There are no Irish types in this kingdom”, and so it continued for many years after. The first Irish type that found its way to Munster, was sent in 1819, by the writer hereof to his worthy friend Mr. Denis O’Flyn of Cork, an excellent Irish scholar, who erected a small printing press in his house, for the patriotic purpose of multiplying copies of some favorite Irish poems, as a means for their preservation. [xxxiii]

[21] Reminiscences of Michael Kelly, London, 1826. Introduction. - The veteran reminiscent again says, “General D’Alton, who was an enthusiast about Ireland, agreed with me that the Irish language was sweeter and better adapted for musical accompaniment than any other, the Italian excepted; and it is true, that, when a child, I have heard my father sing many pathetic airs, in which the words resembled Italian so closely, that if I did not know the impossibility, the impression on my memory would be, that I had heard him sing in that language.” - Such were the opinions of a popular and scientific melodist, who, as he says himself, was “capable of judging as to both languages.” - Swift’s phrase, “Proper words in proper places,” describes Irish song. [xxiv]

[22] Among the ancient Irish, the principal species of musical composition was termed AVANTRIREACH, (Adhbhantrirech) It consisted of three parts. Geantraighe, which excited to love; Goltraighe, which stimulated to valour and feats of arms; and Suantraighe, which disposed to rest and sleep. I find it described as follows, in a manuscript of considerable antiquity.- Tri for a neimhnigththior Cruitire, (eadhon) tri treighe le nonrruighthior clárseoir, no gach fear cheoil ar bith, (eadhon) geantrioghe, (eadhon), troigh cuireas eách chum sugoighe’ goltraighe, (eadhon) troigh cuireas neach chum gola; suantraighe, (eadhon), traigh, cuireas each chum codalta - troigh, (eadhon) ceol. [xxxv]

[23] The Dán díreach, or “Direct metre,” was the principal measure used in ancient Irish poetry. Each stanza of four lines, (or quartans) makes perfect sense in itself; and every line contains seven syllables, with concord or alliteration between the principal parts of speech. For the rules and requisites of Irish verse, see O’Molloy and Haliday’s grammars; the unfinished translation, by the latter, of Keating’s Ireland, p. 200, Dub. 1811; and the Transactions of the Gaelic Society, ib. 1808, p.214, where the Scottish editors of “The post originals of Ossian,” are charged with ignorance of all the rules of Irish metre. For further observations on Irish rhyme, see O’Conor’s Rerum Hib. Vol. i., and for alliteration its used by the ancient Britons, Irish, &c. See Percy’s translation of Mallet’s Northern Antiquities, vol. ii. p. 147. [xxxvi]

[24] The Irish muses are expressly called Baindee Foghlama, fílídheachda agus ceoil. Here we find poetry and music combined, as they generally were in the file or bard. The late Mr. Pinkerton, in a letter to Doctor Percy, 4 Sept. 1794, now before me, says, “I must confess myself thoroughly convinced that Minstrel only implied Musician.” On this letter the Bishop writes, “Pinkerton’s attempt to prove Minstrels only Musicians,” on which he refers to Putenham’s Arte of English Poesie, 1589, p.9, where Minstrelsie expresses Poetry without any reference to Music. In the English translation of Favine, 1623, Rymer and Minstrel are synonimous [sic]. On these authorities I have used the term. [xxxvii].

[ END of FOOTNOTES to INTRODUCTION ]