MUSÆ O’CONNORIANÆ.
LETTER FROM PATRICK O’CONNOR, ESQ.
Enclosing Metrical Versions in the Greek and Latin Tongues.

Dear Mr. Courtenay,—It is both a shame and a sin that no attempt is made to perpetuate the memory of those excellent ballads with which the languages of Ireland, England, and Scotland abound. For whereas the said languages are allowed by all men of real taste to be Gothic and semi-barbarous, it is incumbent upon us to endeavour to preserve whatever good they do contain by putting it into another dress. You know Mr. O’Doherty has preceded me in this praiseworthy attempt by his admirable version of Chevy Chace, “Persæus ex Northumbriâ,” &c., which I have compared with the English ballad so often that I can hardly tell which is the original. When about to exercise my talents in this line, I held much question with myself whether I should assimilate my metre to that of my original, as is the case in the above-mentioned admirable work, or embody the ideas of my author in the rhythm of the ancient Greeks. For of the former design I do not consider myself altogether incapable; in proof of which I enclose a brief specimen of my abilities in this line—viz., a song from a MS. collection of poems in the possession of John Jackson, Esq., rendered by Patrick O’Connor, with all the original rhymes miraculously preserved.

I weep, girl, before ye,Premore dolore,
I kneel to adore ye,Uror amore,
My bosom is torn asunder,Anima fit furibunda;
Maiden divine, O,Madeo vino,
In generous wine, O,Et tibi propino
I pledge thee, Rosamunda!Salutem, Rosamunda.
To a pipe of tobacco,Victa tabaco,
And plenty of sack, O,Victaque Baccho,
Passions and flames knock under; Flamma mi fit moribunda;
I’m hasty and headyEbrius dedi
With lots of the deady;Venerem et te Diabolo,
Hang thyself, Rosamunda!Rosamunda.

[Pg 94]

I trust this sample will be sufficient to convince you that when I turn my talents to the monkish style which the author above alluded to has chosen I shall come very little behind my prototype. For the present, however, I have judged that the metres of antiquity are more classical, and consequently more worthy of a place in the Etonian.

With regard to the poem itself, it is not, I believe, generally understood that Looney, the hero of it, is the descendant of the celebrated Phelim MacTwolter, who, in the year 1750 A.D., fought that celebrated pugilistic encounter with Patrick MacNevis, which is the subject of admiration and encomium in the sporting circles of Carrickfergus. It is gratifying to me to be able to notice this genuine son of Hibernia, because the Boxiana of modern criticism, dwelling with delight upon the minor glories of a Corcoran, a Randall, or a Donnelly, have by some strange neglect omitted all mention of the surpassing brilliancy of the merits of Phelim MacTwolter. This is the more remarkable as the above-mentioned fight was made the subject of a stanzaic heroic poem, remarkable for the animation and geniality which is preserved throughout. MacNevis, who it seems was little better than a braggadocio, gave the challenge. This is described with great force and simplicity. The landlord’s daughter of the Shamrock public-house, who is said to have had a penchant for little Phelim, had been boasting of her lover’s pugilistic fame.

MacNevis leaped up from his seat,Surgebat MacNevisius,
And made his bow and told her,Et mox jactabat ultro,
“Kathleen, I’ll fight for your dear sake “Pugnabo tui gratiâ
Along with fierce MacTwolter.”Cum fero MacTuoltro.”

Does not this remind us strongly of Homer’s Paris?

Ἀυτὰρ ἔμ’ ἐν μέσσῳ καὶ άρηίφιλον Μενέλαον
Συμβάλετ’, ἀμφ’ Ἑλένῃ καὶ κτήμασι πᾶσι μάχεσθαι.