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The drawling, dead, doleful and die-away manner

Two publishing events less than ten years apart moved Irish music away from the house dance, the shebeen and fading memories of the courts of the Gaelic aristocracy and into the print which may ultimately have saved it. They were Edward Bunting’s General Collection of the Ancient Irish Music of 1796 and Thomas Moore’s Irish Melodies, published in series from 1808. The latter borrowed many of Bunting’s melodies, and created one of the first offerings of Irish song as an international brand of melancholy, sounding a characteristic note of elegy for a lost musical culture now rising again through the new mythology of Romanticism. But Bunting knew that the poet’s contact with his printed text had diverted the music away from what he had heard from his sources. Returning to his collection in 1840, for its third edition, Bunting stressed an alternative authenticity, and appealed to the ‘fact’ which subsequent Celts might be said to have found despotic: