In conclusion, I would earnestly appeal to every one, whether Unionist or Nationalist, who wishes to see the Irish nation produce its best--and surely whatever our politics are we all wish that--to set his face against this constant running to England for our books, literature, music, games, fashions, and ideas. I appeal to every one whatever his politics--for this is no political matter--to do his best to help the Irish race to develop in future upon Irish lines, even at the risk of encouraging national aspirations, because upon Irish lines alone can the Irish race once more become what it was of yore--one of the most original, artistic, literary, and charming peoples of Europe.
[2] Being the substance of a Lecture delivered at the Opening of the Irish National Literary Society--in Dublin, Sir C. G. Duffy in the chair.
[3] But not now of entire words, as in the _rime riche_ of the French, where _livre_ (book) rhymes with _livre_ (pound). English "perfect" rhyme is an incomplete word-echo, which secures some variety.
[4] Sporadic exceptions of course are found in Ovid's occasional leonine lines. It is suggestive that he lived long and died amidst Scythians, from whom the Irish Gael deduce their descent.
[5] _E.g._, in its end-words: _tracht_, _eácht_, _fuàcht_, _ruacht_.
[6] These rhymes are more subtly complete than may be supposed, for the chiming syllables are enriched by this, that the preceding consonants =d= and =g= (as "soft"), and =t= and =p= (as "hard"), give class-chimes. Besides this, we have alliteration of two vowels in the first line, and of two consonants in the second.
[8] In the third line, the letters =v= and =r= are in (imperfect) concord. They belong to the same class of "light" consonants, from which it might be inferred that the ancient Irish did not roll the letter _r_.
[10] Malmesbury is a modification of Mailduff's burg.
[12] Hr. Sjöden, the eminent Swedish harper, noted several Scandinavian airs but slightly varied from the Irish.
[13] Messrs. Vigfusson and York Powell in "Corpus Poeticum Boreale," &c.
[14] Vigfusson, Prolegomena to Sturlunga Saga.
[16] Shakespeare mentions an old Irish air, _Cailin og astor_ (in "Henry II.", act iv., sc. 4); the air itself is give in Queen Elizabeth's Virginal Book, so that Irish music must have been admired at her court. It is curious to see the Irish alliteration still influential in the verses attributed to her: