countenance, know not whom it represents, but laugh at the awkward imitation of the idiotic artist."

ENGLISH BALLAD-SINGERS.

CUSTOM had established yearly festivals for these wandering children of melody in the classic regions of St. Giles's, which were much frequented by some of the wits of the daySwift, Gay, Bolingbroke, Steele, &c. From these high followers of the Muses, yearly contingents of ballads were expected. Swift contracted to furnish the humorous songs. Gay, who, as Goldsmith observed of him, had a happy strain of ballad-thinking, was set down for the pathetic ones. Those of a miscellaneous character were divided amongst a number of amateur bards. No importunities, even of his friends, could induce Pope to attend any of these assemblies. He was, however, prevailed on to write an epitaph for a young creature whom he had several times seen and heard, and who was known to her companions under the title of Clarinda. She was much favoured by some of the great; and, but for her attachment

to the life of a ballad-singer, might, with her beauty and accomplishments, have risen to fortune. The following is a fragment of the epitaph; and, as we have it merely from tradi tion, we must not be held answerable for it as a genuine or correct production.

"She who is laid beneath this sod of earth

and birth;

Was blest, though wanting titles, power,
Though poor, had yet the loftiest bards inspir'd;
Though fair, was yet by her own sex admir'd;
But Wortley was the woman that did praise,
And Swift and Gay the bards that lov'd her lays.
Clarinda, courted by the wise and great,

Would stay to charm the vulgar at their gate;
Pleas'd if those notes which lords and poets lov'd,
Were by the humble peasant-throng approv'd."

Gay and Swift had naturally a relish for low society, and were hailed by the fraternity and sisterhood as the most precious sources of profit. Amongst other songs which Swift sent into the world through the medium of the balladsingers, was a severe satire on the Duke of Marlborough, beginning "Our Johnny is come from the wars." The song drew much attention in the streets, and excited the strongest

resentment against the author in the breast of the accomplished Duchess. She remained implacable until the publication of "Gulliver," when she offered her friendship to Swift, through his friend Gay. The "Beggar's Opera" was originally written, (we have it on Gay's own authority,) to celebrate the marriage of James Chanter and Moll Lay. There was a young creature amongst the ballad-singers, now known to the world by no other title than Clara, who drew much attention at this time by the sweetness and pathos of her tones. She was the original singer of " Black-eyed Susan,' and one or two songs which were afterwards introduced into the "Beggar's Opera." But her recommendation to particular notice was the circumstance of her having, for many years, been the object of Lord Bolingbroke's enthusiastic affection. The poor girl strayed for some time, during which his Lordship had not seen her; and it was after that interval, that, having met her, he addressed to her the tender lines, beginning,

"Dear thoughtless Clara, to my verse attend,

Believe, for once, the lover and the friend."

And concluding thus:

"To virtue thus and to thyself restor❜d,
By all admired, by one alone ador'd;
Be to thy Harry ever kind and true,

And live for him who more than died for you."

A series of calamities totally ruined her vocal powers, and she afterwards subsisted by the sale of oranges at the Court of Requests.

ANCIENT IRISH BARDS.

THE Ollamhain Re Dan, or Bards of the ancient Irish, were panegyrists or rhapsodists, in whom the character of the Troubadour and Jongleur of Provençe seem to have been united. Each chieftain entertained in his castle one of these rhapsodists, who, while he, his family, and guests, were assembled in the great hall, around the "groaning board," recited in verse, to the accompaniment of his harp, the praises of his patron's ancestors, or the compositions of the ancient bards from whom he was himself descended. Sometimes the subjects of his songs, like many of Homer's narrations, were founded on hints taken from extravagant tales

propagated long before his time; sometimes they were founded on facts; and often extemporaneous effusions of wit and humour flowed abundantly from him. As these rhapsodists, whose persons were deemed sacred, sometimes indulged in satire and invective, they held the nobles in much awe; and gifts were occasionally bestowed on them, to keep their "Muse in good humour."

The influence of their rhymes, too, as well as the boldness with which they poured them forth on all occasions, was most astonishing, and may be well illustrated by the following anecdote. When the Earl of Kildare, while Lord-Lieutenant of Ireland, was summoned by the King (Henry VIII.) to England, to answer certain charges brought against him, he entrusted the administration to his son, Lord Thomas. A rumour, soon after the Earl's departure, being spread, that he had been executed in the Tower, and that his whole family were threatened with the royal vengeance, this rash young man, by the advice of his asociates, determined on revenging the injuries of his family.

While Cromer, who was both Primate and Chancellor, was pathetically representing to