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 manuscript 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 classes, 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 classes 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 classes, they form only a small part of the great body of Irish music.