Bird, blossom, and leaf,
Are shaped by this sweet maid
Who left me in grief.”
The voice was that of the thrush singing farewell to the setting sun, the cuckoo in the glen, or the lark high in air. Bird-voiced was the universal epithet. The branch of bloom, the bough of apple-blossoms, was the whole lovely creature.
Such were the beauties and accomplishments of the heroines of the hedge-poets, largely, doubtless, derived from the earlier bards, but often exclusively their own. They were chiefly applied to the ideal figure who represented in her beauty and her sorrow their forlorn country, but sometimes to the earthly mistress of flesh and blood whose smiles they sought. Seldom anything so natural and so delicate is to be found in any national poetry. The false and artificial compliments of English amatory poetry, equally with the overstrained comparisons of Oriental verse, seem tasteless and tawdry beside these simple blossoms of nature. They give out health and perfume, while the English love-songs are like wax, and the gorgeous verse of the East is, like its vegetation, magnificent but often odorless.
Those poems which we have described form much the larger portion of the remains of the hedge-poets; but there are others, devoted purely to love, to satire, and to lamentation. There are some which are a sort of dialogue and courtship in rhyme. The minstrel “soothers” the damsel with all the arts of his flattering tongue. He calls her by every sweet name he can think of; tells how deep is his passion and how renowned he will make her by his verse. The rustic coquette replies with a recapitulation of all his faults and failings, his poverty, his fondness for drink, his disgrace with all his relations, and his general unfitness for the yoke of matrimony, and then very often yields to his flattery and goes away with him; or else she listens to his string of endearments without a word, and then dismisses him with stinging contempt. Sometimes the bard sits down in sorrow, generally in a tap-room over an empty glass, and details the charms of the fair one who has wrought his woe; or sometimes, though rarely, it is one of the opposite sex, who has been driven from home by the curses of her kindred, and, sitting by the roadside, tells her tale of woe or despair. Such cases, however, are infrequent, and the general purity of both theme and verse is worthy of all praise. The number of lamentations is much less than would naturally be expected among a people whose vehemence of grief is noted, and where the keener’s extemporaneous mourning reached such a height of impassioned eloquence. From whatever reason, but few appear to have been preserved. Those that are, however, are characterized by profound strength and pathos. The keen of Felix MacCarthy for his children is one of the saddest lamentations ever put into verse. It is entirely too long for quotation, but these two verses, describing the mother’s appearance and grief, will show something of its genuineness and power:
“Woe is me! her dreary pall,
Who royal fondness gave to all,
Whose heart gave milk and love to each—
Woe is me! her ‘plaining speech”