ughts in the Holy Land--Thoughts of the Past); "Life,"
"Death," "Fables" (The Zephyr and the Sensitive Plant--The
Tulip and the Rose--The Bee and the Rose); "Songs of Birds"
(Nightingale--Eagle--Phoenix--Fire-fly); "Songs of the Winds," &c.

On October 14th, 1843, his first contribution ("Proclamation Songs," No.
1) appeared in the Dublin "Nation." "Here is a song by a new recruit,"
wrote Mr., now Sir, Charles Gavan Duffy, "which we should give in our
leading columns if they were not preoccupied." In the next number I
find "The Battle of Clontarf," with this editorial note: "'Desmond' is
entitled to be enrolled in our national brigade." "A Dream" soon
follows; and at intervals, between this date and 1849--besides many
other poems--all the National songs and most of the Ballads included in
this volume. In April, 1847, "The Bell-Founder" and "The Foray of Con
O'Donnell" appeared in the "University Magazine," in which "Waiting for
the May," "The Bridal of the Year," and "The Voyage of Saint Brendan,"
were subsequently published (in January and May, 1848). Meanwhile, in
1846, the year in which he was called to the bar, he edited the "Poets
and Dramatists of Ireland," with an introduction, which evinced
considerable reading, on the early religion and literature of the Irish
people. In the same year he also edited the "Book of Irish Ballads," to
which he prefixed an introduction on ballad poetry. This volume was
republished with additions and a preface in 1869. In 1853, the poems
afterwards published under the title of "Underglimpses" were chiefly
written.[3]

The plays of Calderon--thoroughly national in form and matter--have met
with but scant appreciation from foreigners. Yet we find his genius
recognized in unexpected quarters, Goethe and Shelley uniting with
Augustus Schlegel and Archbishop Trench to pay him homage. My father
was, I think, first led to the study of Calderon by Shelley's glowing
eulogy of the poet ("Essays," vol. ii., p. 274, and elsewhere). The
first of his translations was published in 1853, the last twenty years
later. They consist[4] of fifteen complete plays, which I believe to be
the largest amount of translated verse by any one author, that has ever
appeared in English. Most of it is in the difficult assonant or vowel
rhyme, hardly ever previously attempted in our language. This may be a
fitting place to cite a few testimonies as to the execution of the work.
Longfellow, whom I have