The Inter Ocean from Chicago, Illinois on September 25, 1910 · Page 31
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The Inter Ocean from Chicago, Illinois · Page 31

Chicago, Illinois
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Sunday, September 25, 1910
Page 31
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t- -x-. -. -t; . a -- jfc?' i-VAea-c ':- - - - j - - ' -. w.- ;s . v-i-i a- " Vwv . - v,- - v ; 5. -. I ii;.. - "'- 3, -T -Ni. - . X I f S J, ' 'J ;"-'-'- VS. V:a . t..i. ' 4 ., i $ icV ? ?. .. -i"-. . t t - t. v ? : -'.' ---i i -I '-' v , - v ;' ' . e--. . S t. ' - t,, .-J ; , fc?" Y Hevt -. '--' aw O MELOOIBS re more toneful tban Irish melodlo. No loogs ttlr the heart more surely than Irish books. No tunes set the poises leaping or the feet Canclng more quickly than the dance music of Ireland. Who has not been mored to Joy or sorrow, smiles or tears by the lyric witchery of Tom Moore? The words of his son is were his wn. but the music to which he set them was the music of the IrHh race. Irish folk music Is a wonderful treasure-bouse of quaint melody. It has been due to the Indefatigable industry and antiquarian seal of former Chief of Police Francis O'Neill and other Chicago Irishmen that much of the ancient folk music of Ireland has been rescued from oblivion Captain O'Neill's two former books. "The Dance Music of Ireland" and "The Music of Ireland," were collections of music which resulted from his researches. Another volume has just been published which also is an outgrowth of his delving In the music lore of his native land. He has called it "Irish Folk Music." It sets out the history of the. ancient tunes and is full of interesting and gossipy Information about them. "No alluring prospect of gain or glory," ays Captain O'Neill in a foreword, "prompted the preparation or publication of this series of sketches, dealing with the writer's research and experience while indulging In the fascinating hobby of collecting Irish folk music. That much miscellaneous information of value to those Interested in the subject had been acquired in the many years devoted to It is quite obvious and It was not alone in response to the persuasion of men of prominence in the Irish revival, but through the desire to give publicity to certain features of the study, of which the public had but limited knowledge, that the work was undertaken." Captain O'Neill Is a native of West Cork, the glens of which, he says, are a storehouse of musical treasures unexplored by the great Collectors of Irish melodies. Near the Castle Donovan, his grandfather, O'Mahony Mor. or as he was generally called Cianach Jdor his clan title kept open house for the wandering minstrels of his time. "Born and brought up in such a home amid an environment of traditional music and song," say Captain O'Neill, "it was to be expected that my mother God rest her soul would memorize much of the folk music of Monster aad naturally transmit it by her lilting and singing to her children, who Inherited a keen ear, a retentive memory and an Intense love of the haunting melodies of their race. Similarly gifted was our father, who full of peace and content and occupying Ills accustomed chair beside the spacious fireplace, sang the old songs in English or Irish for his own pleasure or the entertainment of those who cared to listen. Pipers, Outers and fiddlers were far from scarce and between 'patrons' at the cross-roads in summer and flax 'mehlls' at the farm houses in the winter, the tunes and songs were kept alive and In circulation." After he came to Chicago Captain O'Neill soon established friendly relations with those of his countrymen who. like himself, were interested in lh preservation of Irish music. Among these friends Is specially to be mentioned Sergeant James O'Neill of the police force, who assisted Captain O'Neill in setting to writing the jigs and songs tbey chanced upon among their Irish acquaintances. The "Irish Music club" wa3 formed. Among the Chicaeo Irichmen who ehared Captain O'Neill's Interest In the folk music of Ireland and who assisted him in greater or lesser degree In bis researches may be mentioned Sergeant James O'Neill. Sergeant James Cahlll. Bernard Delacey. John Hicks. Alderman Michael Mclnerney, Sergeant James Early. Patrick Tnohey. James Kennedy, John McFadden. John Carey, Patrolman John Enc'.s, Sergeant Hartnett. Mr. Dillon. "Big John" Ryan. "Willy" Walsh. Sergeant James Kerwln. Adam Tobln. Edward Cronin. the Rev. James K. Fielding, the Rev. William Dollard and the Rev. John J. Carroll. Of these Bernard Delaney and Patrick Tuohey were famous piper and Others were skilled musicians. "After many years of Intercourse with all manner ef Irish musicians, native and foreign born, who were addicted to playlDg popular Irish mutlc with any degree of proficiency," says Captain O'Neill. "I began to realize that there was yet much work left for the collectors of Irish folk music. Many, very many, of the a.'rs. as well as the lilting Jigs, reels and hornpipes which I had heard In West Cork in my youth, were new and unknown to the musicians of my acquaintance Jn cosmopolitan Chicago. Neither were those tuees to be found in any of the printed collections accessible. "The desire to preserve specially' this precious heritage from both father and mother, for the benefit of their descendants at least, directed my footsteps to Brighton Far, where James O Neill. the versatile Borthera representative of the great Irish clan, committed to paper all that I conld remember from day to day and from month to month, as memory yielded op Us stores. Many trips Involving more than twenty miles travel were made at oppcrtune times, and t remember an occasion when twelve tones were dictated at one sitting. "Orginally there was no intention of compiling more than a private manuscript collection of those-rare taacs remembered from boyhood days, to which might be added some choice specimens picked up In later years, equally worthy of preservation. Drawing; the line anywhere was found to be utterly Impracticable, so. we never knew when or where- to stop. "Some : difficulties were at- first encountered -In acquiring any tunes from some of or best traditional musicians, bat curiosity In time awakened an interest In our work, and, as- in the old story, those who cam , to scoff remained .to pray, or rather play, asd It was not long before the most selfish ' sad sjcretlva displayed n spirit of liberality and Mlpfulness truly commendable. Mutual exchange of tunes proved pleasant and ; profitable. -' -" '- - -v .- v. r -- -Ia the conrseof time-eathnalasfe oa lb , -Bojeer were frequent visitor t. Brighton' n a iiis$i- .. v' . it it ; 3l, f 1 TOM CARXtTi park, the Mcc a of all who enjoyed traditional Irish music. They came to hear James O'Neill play the grand old music of Erin wbich had been assiduously gathered from all available sources or years, and, pleased with the liberality displayed In giving everything so acquired circulation and publicity, they cheerfully entered into the spirit of the enterprise and contributed any music In their possession which was desired. Many pleasant evenings were thus spent and those who enjoyed them will remember the occasions as among 'the most delightful of their lives." From various sources the collectors were favored with manuscript collections of Irish music. Captain O Neill tells of a Joke on a citizen of Chicago in this conrertlon. Meeting an Irish-American of prominence one day who was quite In sympathy with our musical vagaries," be says, ."he generously offered to send us an pld book of music which we took to be an heirloom in his family. His father, whom I had known for years, was a line type of lbs Icfsh Immigrant who attains substantial prosperity In America. Taking those circumstances Into consideration, there were good reasons to anticipate the discovery of a rar volume. When the carefully wrapped paejtrfge errlyed Sergeant O'Neill, with a tenders ess bordering on veneration, untied II and disclosed the precious treasure soiled and tattered, of course, from the handlings of generations, as we supposed. What our feelings and remarks were can be better imagined than described when 'we found that In his Innocence of music our patriotic friend had sent a modern copy of 'Moore's Melodies. That unsophisticated promoter of Irish music has since been elected and served as president of the Irish Choral society of Chicago." Query Who Is the man? One of the difficulties the indefatigable collectors had to overcome was found in the diversity of names by which the same tuue was known and In the bewildering variety of settings or versions of traditional Irish tones. Captain O'Neill gives an Instance to show the amount of research necesssry in the work of collection. "A ballad called The Fair at Dungarvan.' he says, "was a great favorite in Munster. The air. which I remembered since boyhood, wss noted down and printed under that name, no other being known for it at that time. It developed that it was an air of great antiquity, much varied by time and taste, but never beyond easy Identification. As 'Rose Connolly.' Bunting printed it in 1840 In his third collection and notes that It was obtained in Coleralne In IS 11. 'author and date unknown.' It is to be found under that name also In Surenne's 'Songs -of Ireland.' pub Ilshcd In 1854. Probably its most ancient title was the 'The Lament for CHI Calsl.' or 'Klil-cash.' a setting of which Is to be found In Dr. Petrle's 'Complete Collection of Irish Music.' Among the songs which I find are sung to this air are 'Alas. My Bright Lady. 'Nelly. My Love, and Me.' There Is a Be?ch Tree Grove snd 'Were You Ever In Sweet Tlpperary?" Captain O'Neill Illustrates the diversity of titles In connection - with - other 'popular tnnes: - . , "One of the earliest recollections of youth Is my father's singing of an affecting song, the last line of every verse being 'Mo Muirnln na Grualgf Baine.' " he says. "This floe old air Is mentioned In Hardlmaa's .'Irish Minstrelsy. published In 1831. The original Irish stanzas are preserved, but' no traca of the melody ha been found in any of the old printed collections.. Neither the above name nor its English equlvalent.-'My Fair Haired Darlleg. appears in the Index to Dr. Pf trie's 'Complete Collection of Irish Music. but No. 202. a nameless air obtained frem TJge Mc-Mahon of county' Clare, and an air named 'One Evening in June' contributed by Psddy Coneely.-the Galwsy piper, are variants of the melody which 1 learned from say father. 'Dobbin's Flowery Vsle.' !- Dr. Joyre's 'Ancient Irish Music.' resembles our setting of the air. He speaks of it as one ef the best known tunes In Munster. Conceding that It waa,-- wkot can explain why such n delight ful melody nan -been overlooked ao long. CLber cones suns to this air arn The Maid of THE INTER OCEAN, v SUNDAY XIORNINO, Y1; ' '. -- . n L-au - ff r 4 v Templenoe and The Charmer With the Fair Locks.' "That popular melody known as The Rose Tree' has many other titles," Captain O'Neill continues. "It is probable, but not certain, that ita original came was 'Motrin nl Chulle- annsln' or Little Mary Culllnan.' from a song written to the atr by tfce Munst t poet John O'Tuomy. who died in 1775. O'Keete Intro duced It in 'The Poor Soldier In 1781 with verse beginning 'A rose tree ic full bearing.' benre the name by which Moore Inserted It In his 'Irish Melodies' aa the air to hi verses beginning 'I'd mourn the hopes that leave me.' It was also called The Rose Tree of Paddy's Land' and in Oswald's 'Caledonian Pocket Companion.' printed In 176u. a erslon was called 'The Gimlet.' As 'The Irish Lilt.' Thompson included it In his 'Country Dances' in 1764. In Alrd's 'Selections of S otch. English. Irish and Foreign Airs,' published in 1783. a setting of the sir Is called 'The Dainty Besom Maker, and In Gow's 'Second Collec tton.' published In 1THS. It is Included under the name of 'Old Lee Rlgg or Rose Tree. Mul-holland introduces it among his 'Irish Tunes' in 1804 as 'Kllleavy.' and It is printed under that name also in Thompson's 'Original Irish Airs' In 1814. Other names by which the air is known are 'Maureen From Gibberland.' 'Forgive the Mure That Slumbered' and Fare You Well. Kllleavy.' " 'The Green Woods of Truigha' la a melody of great antiquity. Besides the above name, which it bears in Ulster. It is known In Leinster as 'Ned of the Hill." In Conns urht as 'Colonel O'Gara and In Munster as 'Mor no Beag.' with a variety of other aliases. - 'That delightfully poetic name 'O Arran-more. Loved Arranmore' la Moore's 'Melodies' has come to tie better known than Klldroughslt Fair.' the air to which it Is set. Variants ottbis air are 'Lough Sheellng.' 'Old Trulcha' and Thy Pair Bosom.' Another setting Is 'Bridget O'Neill.' An older version of this air Is 'My Lodging Is Uncertain.' One of Gerald Griffin's poems com mencing "I've come unto my home again' is set to the music of 'Klldroughalt Fair in Moffat's 'Mlnistrelsy of Ireland.' " Her is a list of titles by which the same tune Is known, as given by Captain O'Neill: "DombnalJ na Grlene" "Donald na Greana." "O. My Dear Judy" and "The Boney Highlander." - Tbady You Gander" "She Is the Girl That Can Do It." "Bully for Too." "I Gave to My Nelly," "Girls of the West." "The Leg of a Duck." "From the Court to the Cottage," "You May Talk as Ton Please" and "Bucky Highlander," ' "An Rogalre Dubh" "Brigid of the Fair Hair." "Johnny MacGilL" "Come Coder My Plaldle." "The Bunch of Green Bushes, Moore's "Life Is Checkered With Pleasures and Woe," "Michael Malloy." "Tom Linton." 'The Little Bunch of Rushes." "God Bless the Gray .Mountain." "The Bark la on the Swelling Shore." "Nature and Melody." The Humors of Donnybrook Fair," "Inlahowen," The Irish lady." "the Irish Lass. "Oh. Pleasant Was the Moon." - Tls a Bit of a Thing". and "What Sound Can Compare." "Kate Kesrney" "The Beardless Boy. "The Dissipated Youth" and "Kate Martin." "Savourneen Deellsh" "The Molecatch-er's Daughter." "Miss Molly. My Love. I ll Go." "The Exile of Erin." Saw From the Beach, "There Came to the Beach." " Tls Gone and Forever" and "Erin Go Brash." "Ta Na La" "It la Day." "Tow Row How." "Paddy. Will Ton NowT" - "The Humors of Baadon" "The Humors of Listivaln." "The Merry Old-Woman. -.' t "The - Klnnegad Slashers" 'The . Land of Sweet Erin," -'Oh. an Irishman's Heart. Oh, Merry .Ant I." "Powers of Whisky" and J -t-aaoy wigging tor tjoia " anq tne Scotch ver-sin. ''The Bannocks of Barley- Meal.". '-'The Frost Is Ail Over'' "The Pratle Are Y; V ut,u u S"' uu ST&3LQT r av- i A ... .," Dug." "The Mist of Clonmel. "On a Monday Morning" and "What Would You Do If Yon Married a Soldier"' "Lacnigan's Ball" "Dribbles of Brandy." Brandy." "My Love Is Fair and Handsome" "Paddy McFadden." "John Roy Stewart." "The Rakes of Klldare" "Get Up Early," "The Barn Door Jig." Moore'e "Swift From the Covert" Is sung to this air. "The Irirh Washerwoman" "Jackson's Delight. "The Irishwoman." "Lou;rh Allen" "The Mill Stream." "Box About the Fireplace." "A Munster Reel." "Rolling on the Rye Grass" "Oold Molly Ahern." ' The Piper's Lass." The Rath-keale Hunt." "Maureen P'ayboy" and "The Shannon Breeze." "Go to the Devil and Shake Yourself" "When You Are tick Is It Tea Yon Want?" "The Penrlleiis Traveler." "Get Up. Old Woman, and Shake Yourself." "Fisher's Hornpipe" "The Egg Hornpipe." 'Lord Howe s Hornpipe." "Blanch-ard's Hornpipe," "The College Hornpipe." " 'The Fame of Father O'Flyna,' Alfred Perclval Graves' In'mltable song." says Captain O'Neill. "Is world wide, and there Is reason to believe the spirited air. The Top of Cork Road,' to which It Is snag, contrib uted something to Its popularity. It was not a rare tune In West Cork in my boyhood days. The tone found Its way Into three English collections ef coo a try dances between 1770 and 1781 as The Yorkshire Lanes.' Alfred Moffat tells na that its first publication, dis tinctly connected with Ireland waa la Hold- en's 'Masonic Songs. Dublin. 171s. The sec ond strain of 'The Irish Lilt' and the second strain of The Top of Cork Road bear a very close resemblance. . Its being knowa as The Irish Lilt' at such an early dale disposes of any English claim to the tone. Other names by which are air Is known are Trample Our Enemies, To Drink With the Devil' and 'The Rollicking Irishman.. . "Who has not heard s Tatter Jack Walsh' and who has not wondered at the meaning of that peculiar title? Patient Invcstltatlo disclosed the fact that the correct name In English is 'Father Jack Walah." The title in connection with the tune. It appears, was originally written down An t-athalr Jack Walah.' the first and second words being idiomatic Irish for 'reverend father.' In transcribing .that name some one. probably ignorant of the Irish language, rerrnnted 't-athalr Into 'tatter. hence the meaning. less error which has been perpetuated to this day.- . - , - la a chapter upon carious and Incompre hensible titles. Captain O'Neill preseats much of Interest aa a result ef patient and scholarly Inveatlgstlon. "The Englishman who ia naming one of the tnnes in A Handefull of Pleasant Delltles.' printed la 1S84. as 'Calen custure me. fur nished our first published puzzle."-he says. ft had been rendered Into-Irish by Grattan Flood as 'Cailin og a. statre me.'- The tune ioelnded 'in. several Eng.Ieh collections the seventeenth century and entitled A Irish Air. and also as 'Calliao Cuaturame. Some of our best Irish" scholars, nek so Dr. Petrteaad Dr. Stokes, equate J it as Ca:iein 1 SErTEHBER 23, 1910. uuwu vu i - L- f OAEB3 OtJElLU - 4 i cJOHN WKftDDEN.ERCTT. JAMES ERI7 oge asLhore. which freery translated means 'My Dear Young Girl.' In Chappell's 01d English Popular Music' the air ta headed Callno Casturame. or "Colleen oge aator "But Is the puzzle solved? Aa Dr. Flood points out. the final 'me' (Irish of my ) per sists la all the reading which would hardly oe tne case were "Coiieea oge aathore' the correct Interpretation. 'The oldest printed col lectio a of Irish arts In the antbor's library are 'Twelve Scotch and Twelve Irish Airs With Varlatlone' and "Twelve English and Twelve Irish Airs With Variations by Burk Thumoth. printed lr London In 1742 and 174&. Temon O nock' we have no difficulty In Ideatlfyinc as 'Eamona an Chnolc.'. or 'Ned of the Hill.' CndVr the same grotesque title It appears in The Hibernian Muse.' published In 17S7. In A Pocket Volume of Airs. Duets, Songs, Marches,' etc. printed by Paul Alday In Dublin about 1SO0. It Improves slightly a 'EmonO Knock.' O'Daly. la 'Poets and Poetry of Munster. print the name 'Eamoan an Chnolc' from which ortborraDbv Grattan Flood deviate by spelling the Coal wora untroic. "As It would prove tiresome to enter Into details In all such ease, we most pass on to Buck Thumoth s next absurdity "Coiling O aTulry.' This name, we may as well explain at one, wasln tended to represent SlgMle nl Gadbra' (Sheela nl Gara); In English, Cells, or Cecelia. O'Gara. . "What the publshers did to It can bo seen from the following: The Thompson In The Hibernian Muse' faithfully copied Thumoth. In OouWing's edition of Alrd'a "Selection of Scotch. English. Irish and Foreign Airs.' 1781. It I 8trilllac O'Galrey - and SheIlne- a Galrey.' Other form of the nam are SighUa ni uara,- -jsaee-i. ne u aura. 'and 8hela na Gulra." A dance tans In nlae-elnhtha time l printed In Alrd's 8electloaa' aa hela na jir-ana -Bheiia na Glgx.' ' "Awery popular air most have been "Health ta King Philip' under its Irish name. 81alnt Riga Plllh.' In which ridiculous reading It to copied In. Too Hibernian Muse.' 1787. and In Thompson's 'Select Collection of Original Irish Air. Ill 4-1C Ta word 'RT la excusable. blnc phonetic, bat 'Pillb' would be lasghable were It not absurd aad meaningless. No on. It woald see so, who obtained air from Thnesseh. cared- to inquire the sUratfieanc of hka tltl and aa a result we find the original bat erroneous pwrases copied- and perpetuated ta tare present, oay. 'Drimen Duff Is a long departure from Dronrnoon Dubh.' but a Irs meaning, or rather the Intention of Ita author Is apparent, w will let It pas without comment except to say that la English It signifies 'A white-backed black cow.' The name. Ilk that of many other Irish airs. Is allegorical. Bunting wrote It la one word. 'Drnlmtndabh and translated It, "The Black-Backed Cow ' Ia The Bee' and la Clinton's "Gem of Ire-land' it Is corrupted Into 'Drimlndoo. it waa a popular tan daring the Jacobite wars by tb party favoring the exiled monarch. "Oratan Fined la A History of Irish Music tells as that tha exquisite air entitled 'An Ceana dnbh dills. or 'The Black-Hearted Dearie, was composed a boat the commencement of th seventeenth century. It is to be found In Thumoth 'a first volume as "Curri Konn Dillch. This is quite a departure from the origins L - "Th seventh Irish nnmber In Burk Thumoth second volume Is entitled The Dangling of th Irish Beams." Under the same title It is printed In The Hibernian Muse. 1787. and quite a tew modern publications. What that name means Is beyond our comprehension, and" although purporting to be in the English language, neither inquiry nor research has brought as any nearer a solution of Its hidden significance. 'Ther are other names ot sirs more r : . - . V7.T7 h Ma 117 7, 0 K tl I ft w 1 less difficult t understand In Burk Tha-moths volume, such aa The Irish Rags.' The Fin Callaa's Dance' aad that crodcat-teaipt at giving 'O Rouk's Feast.' or 'Planx-ty O'Ronrk,' In the Irish language, vl-. 'Plan Rorkeh nn Rourkough.' "Another air. named "Stack la Virgo la the same work wss a poser for a time. It waa finally equated with "Staca an Maxgaldh. or The Market Stake.' The first letter of 'Mar-galdh' la conversation Is aspirated, bene th phonetic 'V In McGonn'n title. "A title that has defied solnUon by eve our best Irish scholar is GlUan na drover.' aa old Irish march. That the first word should be "glolla, a boy r rati servant, eaa be seen at a glance, bat the word 'drover. in either form or sound, suggests nth!ng In Irish which would complete a rational phrase. The tune haa been printed In O'Neill Irth Music nnder the nam "Glllan the Drover.' that being the nearest common-sense pbrae I could think of. " Xaptain Oakhala. In the same work does not much disguise the plaintive melody "Captain 0Kane.' or The Wounded Hussar.' "Ever since we have been able to read we have wondered what Information or meaning was bidden by th cryptogrammic announcement printed over certain tune 'Air Gage Fane.' In one Instance, at least. It was 'Gang Fans. but that was no more Illuminating than the other. The Irish word 'feln' Is easily translatable Into "self.' but no Ingenious surmise as to the significance of "Ganc Fane' would result la an intelligent name or phrase. "At the moment of returning consciousness from sleep one morning the solution came to me like a flash. "Gage Fane' stood for "An Gaedhana Ftadaalne. or 'The Wild Geese' the name by which the thousands of tr'sh were called who Bed to France aad Spain after the treaty of Limerick. "Bunting say a that this fine melody was composed as a farewell to the gallant rem nant ot the Irish army who. upon the capitulation of Limerick In 1C91. preferred aa honorable exile to remaining la their country after their cauae waa lost. "Th mystifying "Cage Faae confronts as in Smith' 'Irish Minstrel. Moore's Melodic. Moffat's 'Minstrelsy of Ireland aad many less pretentious publics tlons Who wonld believe, were not the fact Indlsptsblev that couatlesa editions of M-eore's 'Melodies la all English speaking countries would present to Its readers with unvarying monotony the -same absurd and meanlngle title rtglnally printed through censurable carelessness If not pitiable Ignorance? "-..' . "Among th melodies mentioned by Bunt ing which the harpers plsyed at the Belfast sssembly la 1791 is one named Graga-ntsh. This title had defied our best efforts to dis cover th hidden meaning disguised by this combination of -letters. It la more thaa likely that It would have remained inexpllV cable had I not noticed that the atr was knowa by a nam la English also, via., 'Lot ia Secret. . 1 "The idiomatic Irish for this phrase Is writtea Gradb gaa to. literally 'Love Without Knowledge, Gra gon loa would .represent th Irish nam phonetically, bene the puzzling 'Graga nlsa, aa understood by Boating. . , - . - I " Craacbaa na Felnae (The Fenian Mound or Stronghold") given aa th title of an old Irish sir to be seen in many collections of Irish music and song besides Moore's 'Melodies.' Is variously Introduced la aach forma aa Crooghaa a Veaee. Crookaua a 1 Veoee. Croghaa a Veaee.' etc As la the preceding esse. Perceval Grave breaks a war from traditional error; aad prints the correct lrisa utie . --. - - . : "A fine traditional air is the Palstla Pioaa or-Tb"airtalred Child. published In Bunting' "General Collect ton of th Ancient Irish- Music.. 1794V Evidently lew collectors II if 2 m cared for correctness la the Irish names of their tune. So careless were they la tha respect that names In the index sometime differed from those over the printed- mutie O'Farrell ia his work before mentioned pas . listed the melody under the title 'Paasteea Feaua.' Ia Crosby's 'Irish Musical Rspoai- f tory.' 1808, and la A Id ay's 'Pocket Volsme ( Airs.' a few years later it is "Paatheea Faes. while in an old collection from which thai title is missing a Mill farther departure cat fronts us in 'Falheea a Fnen.' As "Palstheaai Foes' It ia alluded to by Alfred Moffat ia kin 'Mlnatrelay ot Ireland. Phonetically, 'Paae-tbeen Fune represent It. The battle cry of the Irish Brigade. 'Fan; aa Baile, Is historic, yet the phrase la connection with the Irish air of that nam haa seldom been correctly printed ss far a wn ran remember. It signifies literally. 'Leavo the To an or Place.' although the very fre translation aa commoaly understood ia "Clear the Way. "Ot course, the barbarous orthography In . perpetuated even la Perceval Graves' 'Irish Song Book. where la the Index It appears aa 'Feag a Balieach'; but aa the air to tha song, To Ladies' Eyes.' It is changed to 'Fag an -Bealach.' or 'Leave the Gap or Pasaagc' "In some old collection Its form Is still further varied, such as 'Fag-u aa BealacV aad 'Fagua a Ballagh. Ia editing Moor' -Melodies' restored Sir VlUiers Stanford evidently did not concern himself with reaior-, ing the titles when he tolerstes -Faugh a Ballagh. "Alfred Moffat mention la The Minstrelsy of Ireland' that 'Fague a Ballarh wan first ' published In the seventh number of Moore's 'Melodies.' In telling us that the phrase wan: the war cry of the Munster and Coanaagkk ' clans he changes the spelling to "Fag an Besleeh.' As the latter form is part ot bin, wn diction, he leaves u to infer Its correctness." Some chapter headings of Captain O'Neill" volume are: "Stories of Tane With a His- . tory, Tunes of Disputed Origin." "Diversity f Title." -Duplication of Title," "Sketches of Early Collections of Irish Mn-' sir." "Curious and IncomprehenslMe Titles, "Sketches ot Irish Music Commencing With Moore's Irish Melodies.' " "The Dec 11 a e . Irish Mnsic." Th Paat aad Future f Irish Music." "Dr. P. W. Joyce' Eatimate of th Total Number of Irish Air Questioned." "Remarks on Irish Daaeee." "Remarks en the Evolutloa of the Irish or re Ion Pipes. - "O'Farreirs Treatise and Instructions on th Union Pipes." and "Hints to Amateur Pipers." b Patrick J. Tuohey. Captain O'Neill Is one of the lesdicg an-t bo rules of the world oa Irish music. Hla library la the department ot Hlberairana la one of the best selected anywhere aad obo of the largest private collections In tkl country. Rev. Richard Henneberry. thn noted Irish scholar, now of Queen's college, Cork, declared that he never had seen even In Europe a better selected library apon Irish subjects Captain O'Neill's library la made use of frequently by University ot Chicago professors aad by delvers into early Irish literature. The csptala has been a book lover all his life snd bss spent a great desl of money In collecting rsre volumes. "Irish Folk Music" Is s vastly Informative, book. It will interest lover ot Irish must everywhere and especially those of Chicago many of whom figure la Its pages. Mystery of Duel. Having fought his duel and saved hla honor by firing a shot In the atr. the editor of a French provincial newspaper weat back to his dek aad the Incident bad quit left -his mind when he felt something strange In hla thigh. He looked aad found that he wan bleeding profusely. A doctor waa called, wh discovered that a bullet waa embedded la' the editor'a thigh aome tw inches deep and required extraction. "Why waa tkl -not taken a otic oa th spot where th duel took place? ha asked. Th editor waa aa much la th dark aa th doctor. At th momeai of th duel he had flrd Into th air aad hi adversary ' also took a distracted sort at aim. There had evidently beea n Inteatton of doing th slightest harm on either aide. The editor felt nothing as h left th field nnd had . ahaken hands with his antagonist as a sign . of reconciliation.- Hew-a bullet came to bn lodged In hi thigh was simply one ot th mysterie of duelling, Fatal Omission. "My friend Jones. said Mr. Sklmmertoa, "Invited m to spend a week at his plac in th country and I went aad had a delightful time, but I will never go again. -, ' X1c plac Jones has and he sex a good table, hla beds art good and everything a boat , bin boos I charming, bat there 'a some-thing missing from bis garden-. "It's a aice garden, Jqnes. flower bed and that sort ot thing, aad off at on end h ha n plac tor vegetable; fine veretable -:. he raise, too. "W had a genereus tast f - ' them. A aloe garden anr enough, and still as 1 looked around ther was something missing my eye songht without knowing what'-'-something that It dldaf find, aad then It --struck me all of a sudden. - v There wasat a pergols! " "" 1 T cant stsnd for that; - Moat hospitable " man,' Jane;- but I cant affora to visit any- ; ' body living In th country that doesnt bava somen here about kti place a pergola," ' . ' - -

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