was equally amazing. My native place is a spot rife with old legends, tales, traditions, customs, and superstitions; so that in my early youth, even beyond the walls of my own humble roof, they met me in every direction. It was at home, however, and from my father's lips in particular, that they were perpetually sounding in my ears. In fact, his memory was a perfect storehouse, and a rich one, of all that the social antiquary, the man of letters, the poet, or the musician, would consider valuable. As a teller of old tales, legends, and historical anecdotes he was unrivalled, and his stock of them was inexhaustible. He spoke the Irish and English languages with nearly equal fluency. With all kinds of charms, old ranns, or poems, old prophecies, religious superstitions, tales of pilgrims, miracles, and pilgrimages, anecdotes of blessed priests and friars, revelations from ghosts and fairies, was he thoroughly acquainted. And so strongly were all these impressed upon my mind, by frequent repetition on his part, and the indescribable delight they gave me on mine, that I have hardly ever since heard, during a tolerably enlarged intercourse with Irish society, both educated and uneducated, with the antiquary, the scholar, or the humble senachie—any single tradition, usage, or legend, that, as far as I can at present recollect, was perfectly new to me or unheard before, in some similar or cognate dress. This is certainly saying much; but I believe I may assert with confidence that I could produce, in attestation of its truth, the dairies of Petrie, Sir W. Betham, Ferguson, and O'Donovan, the most distinguished antiquaries, both of social usages and otherwise, that ever Ireland produced. What rendered this, besides, of such peculiar advantage to me in after life, as a literary man, was, that I heard them as often in the Irish language as in the English, if not oftener, in circumstance which enabled me in my writings to transfer the genius, the idiomatic peculiarity and conversational spirit of the one language into the other, precisely as the people themselves do in their dialogue, whenever the heart or imagination happens to be moved by the darker or better passions.

Having thus stated faithfully, without adding or diminishing, a portion, and a portion only, of what I owe to one parent, I cannot overlook the debt of gratitude which is due to the memory of the other.

My mother, whose name was Kelly—Mary Kelly—possessed the sweetest and most exquisite of human voices. In her early life, I have often been told by those who had heard her sing, that any previous intimation of her presence at a wake, dance, or other festive occasion, was sure to attract crowds of persons, many from a distance of several miles, in order to hear from her lips the touching old airs of their country. No sooner was it known that she would attend any such meeting, than the fact spread throughout the neighborhood like wild-fire, and the people flocked from all parts to hear her, just as the fashionable world do now, when the name of some eminent songstress is announced in the papers; with this difference, that upon such occasions the voice of the one falls only upon the ear, whilst that of the other sinks deeply into the heart. She was not so well acquainted with the English tongue as my father, although she spoke it with sufficient ease for all the purposes of life; and for this reason, among others, she generally gave the old Irish versions of the songs in question, rather than the English ones. This, however, as I said, was not her sole motive. In the first place, she had several old songs, which at that time,—I believe, too, I may add at this,—had never been translated; and I very much fear that some valuable ones, both as to words and airs, have perished with her. Her family were all imbued with a poetical spirit, and some of her immediate ancestors composed in the Irish tongue several fine old songs, in the same manner as Carolan did; that is, some in praise of a patron or a friend, and others to celebrate rustic beauties, that have long since been sleeping in the dust. For this reason she had many old compositions that were almost peculiar to our family, which I am afraid could not now be procured at all, and are consequently lost. I think her uncle, and I believe her grandfather, were the authors of several Irish poems and songs, because I know that some of them she sang, and others she only recited.

Independently of this, she had a prejudice against singing the Irish airs to English words; an old custom of the country was thereby invaded, and an association disturbed which habit had rendered dear to her. I remember on one occasion, when she was asked to sing the English version of that touching melody, "The Red-haired Man's Wife," she replied, "I will sing it for you; but the English words and the air are like a quarrelling man and wife: the Irish melts into the tune, but the English doesn't," an expression scarcely less remarkable for its beauty than its truth. She spoke the words in Irish.

This gift of singing with such sweetness and power the old sacred songs and airs of Ireland, was not the only one for which she was remarkable. Perhaps there never lived a human being capable of giving the Irish cry, or Keene, with such exquisite effect, or of pouring into its wild notes a spirit of such irresistible pathos and sorrow. I have often been present when she has "raised the keene" over the corpse of some relative or neighbor, and my readers may judge of the melancholy charm which accompanied this expression of her sympathy, when I assure them that the general clamor of violent grief was gradually diminished, from admiration, until it became ultimately hushed, and no voice was heard but her own—wailing in sorrowful but solitary beauty. This pause, it is true, was never long, for however great the admiration might be which she excited, the hearts of those who heard her soon melted, and even strangers were often forced to confess her influence by the tears which she caused them to shed for those whose deaths could, otherwise, in no other way have affected them. I am the youngest, I believe, of fourteen children, and of course could never have heard her until age and the struggles of life had robbed her voice of its sweetness. I heard enough, however, from her blessed lips, to set my heart to an almost painful perception of that spirit which steeps these fine old songs in a tenderness which no other music possesses. Many a time, of a winter night, when seated at her spinning-wheel, singing the Trougha, or Shuil agra, or some other old "song of sorrow," have I, then little more than a child, gone over to her, and with a broken voice and eyes charged with tears, whispered, "Mother dear, don't sing that song, it makes me sorrowful;" she then usually stopped, and sung some one which I liked better because it affected me less. At this day I am in possession of Irish airs, which none of our best antiquaries in Irish music have heard, except through me, and of which neither they nor I myself know the names.

Such, gentle reader, were my humble parents, under whose untaught, but natural genius, setting all other advantages aside, it is not to be wondered at that my heart should have been so completely moulded into that spirit and, those feelings which characterize my country and her children.

These, however, were my domestic advantages; but I now come to others, which arose from my position in life as the son of a man who was one of the people. My father, at the farthest point to which my memory goes back, lived in a townland called Prillisk, in the parish of Clogher, and county of Tyrone; and I only remember living there in a cottage. From that the family removed to a place called Tonagh, or, more familiarly, Towney, about an English mile from Prillisk. It was here I first went to school to a Connaught-man named Pat Frayne, who, however, remained there only for a very short period in the neighborhood. Such was the neglected state of education at that time, that for a year or two afterwards there was no school