LETTERS TO A FRIEND.

VII.

BEFORE I resume the thread of my narrative, which must indeed often be broken for the reasons already mentioned, I shall prolong my digression while I give you an account of the caoinean or lamentation of the Irish over their dead. This very ancient custom may be compared to that of the Jews. It is spoken of in 'The Family of Bethany,' translated from the French by the Rev. W. Hare, p. 182, as follows, 'In some cases, also, to increase the sadness of these gloomy solemnities, women, whose trade it was to weep and make lamentation over the dead, were paid to offer this strange kind of consolation to the relations or connections of the departed!'

In order that I might obtain the most accurate information on this practice, as it is in these days observed, I visited a woman who is in the habit of attending funerals as a caoinier. The meaning of this word, she told me, is a rhyming woman. I found her very intelligent and communicative. She said she was always sent for as soon as the corpse was laid out. She selects seven women whose voices are clear and loud, that they may all join in the caoine. With these she practices beforehand. They all remain for two days and nights in the chamber of the dead. They call it waking the body. At intervals, four or five times in the night, they raise the caoine; and

between those intervals the people amuse themselves in sing foolish songs, telling stories, and in various other trifling sports. The wake is generally held in a barn, to admit of a large concourse; all who come are welcome. The greater the number which assemble being considered the more honourable for the dead, a long table is spread with oaten cakes, rolls of butter, a keg of whiskey, pipes and tobacco, &c. Rich and poor of all denominations are equally welcome to partake of the fare;-to make any difference would be considered displeasing to God. The business of the rhymer is to repeat the virtues of the deceased, to enumerate his worldly advantages, and those of his kindred, living and dead; the names of the mourners he has left, and their irreparable loss. The rhyme begins, Ullooloo, O why did you die? It was not for want of good living. You had plenty of potatoes and meal,' &c.

The criers chime in, with clapping of hands, in doleful cadence. Should the deceased have been a young girl, loved and admired, when committing the body to the ground, the rhyme goes, 'O why did you die? Only that it would be to war against Christ, the whole country would join in our ullaloo. You may take up your swords and fight; you cannot bring her back, for He who suffered for her, has her, and who but He has any right to her? But, O why did you die? If gold could have kept you here, not a shovel-full of clay would ever lie over you. Who ever received charity from your full hand, and looked back for more? Did not they go on their way with a thankful heart? O then, why did you die?'

This is the identical English translation which she gave of her own Irish composition, which must, in

the native language, have been much more eloquent and expressive. She related an instance of a farmer's wife who died in her confinement. Her husband had three small farms in different townlands. The names of these were mentioned by the rhymer, who said they were all waiting on her, yet she must die for an infant child, and be left with nothing but her shroud. In this account, she seemed at a loss for words in English to express her full meaning, and I found it difficult to understand any part of it until she had often repeated it. She told me that when a rhyming woman gives satisfaction, she is sent for at ten miles distance by persons of whom she knows nothing; in which case she is taken aside by the nearest relative of the deceased, to be instructed in the subjects of her lamentation. She is desired neither to boast nor brag,' but to bewail the loss to the parents, brothers, sisters, husband, children, &c. Sometimes the lamentation is so pathetic that the harrowed-up feelings of the survivors can bear no more, and the strain is silenced.

The caoine is kept up while the funeral procession is on the way to the place of interment. Three or four of the relatives, each carrying two bottles of whiskey, walk with the criers to refresh them occasionally with that cordial for every care. When the procession enters the burying ground, the caoine ceases while they walk three times round it, all the while repeating the creed. During the interment, the caoine is resumed; and when the grave is closed, all the people kneel round it to offer up prayer for the departed soul.*

*This account was published some years ago in 'The Protestant Rector, a Tale of Other Times in Ireland.'

How this ceremony was performed in time past is well described by the intelligent author referred to in my last letter.

Miss Beaufort gives the following account of the Irish cry, in The Transactions of the Royal Irish Academy:-

'The body of the deceased, dressed in graveclothes, and ornamented with flowers and oderiferous herbs, was usually placed on a table or elevated place. The relations and the caoiniers, i. e. the persons who sung the funeral songs and lamentations, ranged themselves in two divisions, one at the head, and the other at the feet of the corpse.

'The bards and croteries, i. e. those who composed the songs, and related the genealogy, &c. of the deceased, having before prepared the funeral caoinian, the chief bard of the head chorus began, by singing the first stanza in a low doleful tone, which was softly accompanied by the harp; at the conclusion the last semi-chorus began the lamentation, or ullaloo, from the final note of the preceding stanza, in which they were answered by the head semi-chorus, and then both united in one general chorus.

'The chorus of the first stanza being ended, the chief bard of the first semi-chorus sung the second stanza, the strain of which was taken from the concluding note of the preceding chorus; which being ended, the head semi-chorus began the gol, or lamentations, in which they were answered by that of the foot; and then, as before, both united in the general full chorus. And thus alternately were the song and chorusses performed during the night.

'The genealogy, rank, possessions, virtues, and vices of the deceased were rehearsed; and a number

of interrogatories were addressed to the dead person, as Why did he die?" If married, "Whether his wife was faithful to him: his sons dutiful, and good warriors?" If a matron, "Whether her daughters were fair or chaste?" If a young man, "Whether he had been crossed in love?" or, "If the blue-eyed maids of Erin treated him with scorn," &c.

"Each versicle of the caoinian consisted only of four feet, and each foot was commonly of two syllables; the three first required no correspondence, but the fourth was to correspond with the terminations of the other versicles.'

This custom is now falling into disuse, the priests being opposed to it.

I must not unreasonably lengthen my letter, yet my sheet not being quite full, rather than send any blank paper, I may as well return to the history of the few kings concerning whom something more is mentioned than merely their names.

I have already told you that we must take a rapid and cursory view of these early uncertain times when so little is recorded worthy of note or of credit.

We hear of the formation of silver shields and targets in Ireland, which were given to the most valiant and deserving of the Irish militia, about the year 2993; and in the next century, of helmets, the neck and fore-pieces of gold, which were given to the most distinguished warriors, and golden chains about their necks. This was by the order of Muineamhon, who reigned in 3070. He reigned five years, and was a

descendant of Heberus Fiônn.

3233. The reign of a king is recorded whose name was Rothachaigh. It is said that he first introduced chariots in Ireland.