wonder, then, that the domestic feelings of the Irish should be so singularly affectionate and strong, when we consider that they have been, in spite of every obstruction, kept under the softening influence of music and poetry. This music and poetry, too, essentially their own—and whether streaming of a summer through their still glens, or poured forth at the winter hearth, still, by its soft and melancholy spirit, stirring up a thousand tender associations that must necessarily touch and improve the heart. And it is for this reason that, that heart becomes so remarkably eloquent, if not poetical, when moved by sorrow. Many a time I have seen a Keener commence her wail over the corpse of a near relative, and by degrees she has risen from the simple wail or cry to a high but mournful recitative, extemporized, under the excitement of the moment, into sentiments that were highly figurative and impressive. In this she was aided very much by the genius of the language, which possesses the finest and most copious vocabulary in the world for the expression of either sorrow or love.

It has been said that the Irish, notwithstanding a deep susceptibility of sorrow, are a light-hearted people; and this is strictly true. What, however, is the one fact but a natural consequence of the other? No man for instance ever possessed a higher order of humor, whose temperament was not naturally melancholy, and no country in the world more clearly establishes that point than Ireland. Here the melancholy and mirth are not simply in a proximate state, but frequently flash together, and again separate so quickly, that the alternation or blending, as the case may be, whilst it is felt by the spectators, yet stands beyond all known rules of philosophy to solve it. Any one at all acquainted with Ireland, knows that in no country is mirth lighter, or sorrow deeper, or the smile and the tear seen more frequently on the face at the same moment. Their mirth, however, is not levity, nor their sorrow gloom; and for this reason none of those dreary and desponding reactions take place, which, as in France especially, so frequently terminate in suicide.

The recreations of the Irish were very varied and some of them of a highly intellectual cast. These latter, however, have altogether disappeared from the country, or at all events are fast disappearing. The old Harper is now hardly seen; the Senachie, where he exists, is but a dim and faded representative of that very old Chronicler in his palmy days; and the Prophecy-man unfortunately has survived the failure of his best and most cherished predictions. The poor old Prophet's stock in trade is nearly exhausted, and little now remains but the slaughter which is to take place at the mill of Louth, when human blood, and the miller to have six fingers and two thumbs on each hand, as a collateral prognostication of that bloody event.

The amusement derived from these persons was undoubtedly of a very imaginative character, and gives sufficient proof, that had the national intellect been duly cultivated, it is difficult to say in what position as a literary country Ireland might have stood at this day. At present the national recreations, though still sufficiently varied and numerous are neither so strongly marked nor diversified as formerly. Fun, or the love of it, to be sure, is an essential principle in the Irish character; and nothing that can happen, no matter how solemn or how sorrowful it may be, is allowed to proceed without it. In Ireland the house of death is sure to be the merriest one in the neighborhood; but here the mirth is kindly and considerately introduced, from motives of sympathy—in other words, for the alleviation of the mourners' sorrow. The same thing may be said of its association with religion. Whoever has witnessed a Station in Ireland made at some blessed lake or holy well, will understand this. At such places it is quite usual to see young men and women devoutly circumambulating the well or lake on their bare knees, with all the marks of penitence and contrition strongly impressed upon their faces; whilst again, after an hour or two, the same individuals may be found in a tent dancing with ecstatic vehemence to the music of the bagpipe or fiddle.

All these things, however, will be found, I trust I may say faithfully depicted in the following volume—together with many other important features of our general character; which I would dwell on here, were it not that they are detailed very fully in other parts of my works, and I do not wish to deprive them of the force of novelty when they occur, nor to appear heavy by repetition.

In conclusion, I have endeavored, with what success has been already determined by the voice of my own country, to give a panorama of Irish life among the people—comprising at one view all the strong points of their general character—their loves, sorrows, superstitions, piety, amusements, crimes, and virtues; and in doing this, I can say with solemn truth that I painted them honestly, and without reference to the existence of any particular creed or party.

W. Carleton.

Dublin.