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PROUT. Setting sail from Minorca, the expedition, after encountering a desperate storm, cleared the Pillars of Hercules, and Landing in the Cove of Cork, deposited their treasure in the greenest spot and the shadiest groves of this beautiful vi. cinity.


How do you account for their being left by the Carthaginians in quiet possession of this invaluable deposit ?

PROUT. They had sufficient tact (derived from their connexion with the stone) to give out, that in the storm it had been thrown overboard to relieve the ship, in latitude 36° 14", longitude 24o. A search was ordered by the senate of Carthage, and the Mediterranean was dragged without effect; but the mariners of that sea, according to Virgil, retained a superstitious reverence for every submarine appearance of a stone :

“Saxa vocant Itali mediis quæ in fluctibus aras !" And Aristotle distinctly says, in his treatise "De Mirandis," quoted by the erudite Justus Lipsius, that a law was enacted against any further intercourse with Ireland. His words

“In mari, extra Herculis Columnas, insulam desertam inventam fuisse sylva nemorosam, in quam crebrò Carthaginienses commeârint, et sedes etiam fixerint: sed veriti ne nimis cresceret, et Carthago laberetur, edicto cavisse ne quis pæna capitis eò deinceps navigaret.

The fact is, Sir Walter, Ireland was always considered a lucky spot, and constantly excited the jealousy of Greeks, Romans, and people of every country. The Athenians thought that the ghosts of departed heroes were transferred to our fortunate island, which they call, in the war-song of Harmodius and Aristogiton, the land of O's and Macs :

ΦιλταθΑρμοδι, ουτε που τεθνηκας,

Νησοις δ' εν ΜΑΚ αρ' ΩΝ σε φασιν ειναι. And the" Groves of Blarney” have been commemorated by the Greek poets many centuries before the Christian era.

are ;

SCOTT. There is certainly somewhat of Grecian simplicity in the old song itself; and if Pindar had been an Irishman, I think he would bave celebrated this favourite haunt in a style not very different from Millikin’s classic rhapsody.

PROUT. Millikin, the reputed author of that song, was but a simple translator from the Greek original. Indeed, I have discovered, when abroad, in the library of Cardinal Mazarin, an old Greek manuscript, which, after diligent examination, I am convinced must be the oldest and “princeps editio" of the song. I begged to be allowed to copy it, in order that I might compare it with the ancient Latin or Vulgate translation which is preserved in the Brera at Milan; and from a strict and minute comparison with that, and with the Norman French copy which is appended to Doomsday-book, and the Celtic-Irish fragment preserved by Crofton Croker, (rejecting as spurious the Arabic, Armenian, and Chaldaic stanzas on the same subject, to be found in the collection of the Royal Asiatic Society,) I have come to the conclusion that the Greeks were the undoubted original contrivers of that splendid ode; though whether we ascribe it to Tyrtæus or Callimachus will depend on future evidence ; and perhaps, Sir Walter, you would give me your opinion, as I have copies of all the versions I allude to at my dwelling on the hill.


I cannot boast, learned father, of much vous in Hellenistic matters; but should find myself quite at home in the Gaelic and Norman-French, to inspect which I shall with pleasure accompany you: so here I kiss the stone!

The wonders of " the castle,” and “cave," and "lake," were speedily gone over; and now, according to the usage of the dramatist, modo Roma, modò ponit Athenis, we shift the scene to the tabernacle of Father Prout on Watergrasshill, where, round a small table, sat Scott, Knapp, and Prout

à triumvirate of critics never equalled. The papers

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fell into my hands when the table was cleared for the subsequent repast; and thus I am able to submit to the world's decision what these three could not de. cide, viz. which is the original version of the “ Groves of Blarney."

P.S. At the moment of going to press with the Doric, the Vulgate, and Gallic texts in juxta-position with the supposed original, (Corcagian) a fifth candidate for priority starts up, the Italic, said to be sung by Garibaldi in bivouac amid the woods over Lake Como, May 25, 1859.

# Boschi di Blarnca.

DI Biarne' i boschi Bei, benchè foschi, In versi Toschi

Vorrei cantar-
Là dove meschi
Son fiori freschi
Ben pittoreschi

Pel passegiar.
Vi sono gigli
Bianch' e vermigli
Ch' ognun ne pigli

In libertà
Anch' odorose
Si coglian' rose
Da giovin’ spose

Fior di beltà !

Quei luoghi dunque
Veggo ; chiunque
Brama spelunche

Non cerch' in van,
Dentr una grotta
Vi'è fiera lotta
Mai interrotta

Fra gatti stran'.
Ma fuor si serba
Di musco ed erba
Sedia superba

Per qùi pescar
Nel lago anguille ;
Poi faggi mille
L'acque tranquille

Stan per ombrar.
Con cheto passo
Si va a spasso
Quì, fin che lasso

Si vuol seder;
Il triste amante
Può legger Dante
Od ascoltar canti

Dello pivier.
Poi se la gonna
Di gentil donna,
Non mica nonna,

Vien quà passary.
Il corteggiano
Non pregh' in vano
Sarebbe strano

Di non amar!

Intorno, parmi,
Scolpiti marmi
Vi son, per farmi

Stupir ancor';
Quei sembran' essere
Plutarch' e Cesare
Con Nebuchnezzere,

Venere ed Amor! Stan, cosa unica, Quì senza tunica ! Mentre comunica

Con altro mar'
Leggiadra barca ;--
Ma ci vuol Petrarca
Per la gran carca

Di quel narrar
Sarò ben basso
Se oltre passo
Un certo sasso

D' alto valor ;
In su la faccia
Di chi lo baccia
Perenne traccia

Riman talor :
Quel si distingue
Con usar lingue
Pien di lusinghe

Per ingannar:
Famosa Pietra !
Mia umil' cetra
Or quì dipongo

Su quest' altar!

Miladi Gifra
Si gode quì frà
Immensa cifra

Di ricchi ben,
E tutti sanno
Se Carlomanno
E Cesare hanno

Più cor nel sen.
Il fier Cromwello
Si sa, fu quello
Ch' a suo castello

Assalto diè,
Si dice però
Ch' Oliviero
Al quartiero

La breccia fè !

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