In my next communication I shall send you a translation of the first part of the Poem of the Chase--namely, the introductory dialogue between Patrick and Oisin. This shall be followed by the succeeding part of the poem, should you deem such compositions suited to the pages of your “Journal,” which I hope will be eminently useful in promoting both the literary and moral taste of the people of Ireland.
[1] Cormac Ulfada, grandson of “Con of the hundred battles.” He reigned forty years, and was honoured as a wise statesman and a philosopher.
[2] The reader who feels an interest in this subject, and in the Ossianic controversy, is referred to the essays by the Rev. Dr. Drummond and Mr O’Reilly in the fifteenth volume of the Transactions of the Royal Irish Academy. In the Transactions of the Hiberno-Celtic Society Mr O’Reilly observes, that “many beautiful poems are extant that bear the name of Oisin, but there are no good reasons to suppose that they are the genuine compositions of that bard. If ever they were composed by Oisin, they have since suffered a wonderful change in their language, and have been interpolated so as to make the poet and St Patrick contemporaries, though the latter did not commence his apostolic labours in Ireland until the middle of the fifth century, when by the course of nature Oisin must have lain in his grave about one hundred and fifty years.”
Since this paper was sent to the press, the author has been assured by a most competent Irish scholar that there are manuscript poems attributed to Oisin not less than a thousand years old in the Library of the Dublin University. It is much to be wished, for the honour of ancient Irish literature and for the light which these poems may throw on some dark and disputed topics of Irish history, that they may before long be properly analysed and presented to the public.
[3] Thus Horace exposes the arts of the parasites and fortune-hunters of Rome in a dialogue between Tiresias and Ulysses.
It has been a general and certainly a well-founded complaint against Ireland, that the arts, whose influence has extended so much over England and Scotland during the last half century, have made but little progress in “the Emerald Isle.” It “has sent forth painters, but encouraged none.” This I fear is true, though lately I have been delighted to observe some very happy exceptions to the rule.