There was no new development of Irish poetry, such as there was of Welsh poetry in the fourteenth and fifteenth centuries. The bardic schools, which did so much for Irish poetry from the sixth century to the seventeenth, insisted upon its conventions to a degree that was excessive. Geoffrey Keating, who carried on his great work at the same time as the Four Masters, in the first half of the seventeenth century, and who was a poet as well as a historian, still used the bardic prosody, and wrote some delightful poems by its rules; but he lent his influence to aid the new liberty in prose and verse that Irish literature was learning. Keating's name is of first-rate importance in its record, for this very reason. He was the first really to conceive of Irish literature as a literature for the people, and not only for the elect. He was the first to do this; and partly because he did it, he was the last great landmark in the larger Gaelic literature of Ireland. His 'History of Ireland,' the result of an enforced retirement from preaching, was, says Dr. Hyde, "the most popular book ever written in Irish." He marks too the transition, as we pointed out, from the old bardic tradition in Irish poetry. After his coming the bards threw away their superfluous prosody and wrote for the people, and became poets indeed, instead of the most ingenious of schoolmen. The result was the remarkable body of Irish poetry which belongs to the last three centuries, and which contains many of the characteristics of folk-song and culture poetry, in a most tuneful and idiosyncratic fashion quite its own. Let us listen again to Dr. Hyde on this point:-- "What the popular ballads of the folk had been like prior to the seventeenth century we have no means of knowing. No scribe would demean his learned pen by committing them to paper; but from that date down to the beginning of the present century the bards--the great houses being fallen--turned instinctively to the general public, and threw behind them the metres that required so many years of study in the schools, and dropped at a stroke several thousand words which no one understood except the great chiefs or those trained by the poets, while they broke out into beautiful but at the same time intelligible verse, which no one who has once heard and learned is likely to forget. This is to my mind the real glory of the modern Irish nation; this is the sweetest creation of Gaelic literature; this is the truest note of the enchanting Irish siren, and he who has once heard it and remains deaf to its charm has neither heart for song nor soul for music. The Gaelic poetry of the last two centuries is the most sensuous attempt to convey music in words ever made by man. It is absolutely impossible to convey the lusciousness of sound, richness of rhythm, and perfection of harmony in another language."