Before Columba's time even the Church had become reconciled to the bards and harpers; and, according to a beautiful legend, Patrick himself had allowed Oisin, or Ossian, and his followers, to sing the praises of ancient heroes. But Columbkill completed the reconciliation of the religious spirit with the bardic influence. Music and poetry were thenceforth identified with ecclesiastical life. Monks and grave bishops played on the harp in the churches, and it is said that this strange spectacle surprised the first Norman invaders of Ireland. To use the words of Montalembert, so well adapted to our subject: "Irish poetry, which was in the days of Patrick and Columba so powerful and so popular, has long undergone, in the country of Ossian, the same fate as the religion of which these great saints were the apostles. Rooted, like it, in the heart of a conquered people, and like it proscribed and persecuted with an unwearying vehemence, it has come ever forth anew from the bloody furrow in which it was supposed to be buried. The bards became the most powerful allies of patriotism, the most dauntless prophets of independence, and also the favorite victims of the cruelty of spoilers and conquerors. They made music and poetry weapons and bulwarks against foreign oppression; and the oppressors used them as they had used the priests and the nobles. A price was set upon their heads. But while the last scions of the royal and noble races, decimated or ruined in Ireland, departed to die out under a foreign sky, amid the miseries of exile, the successor of the bards, the minstrel, whom nothing could tear from his native soil, was pursued, tracked, and taken like a wild beast, or chained and slaughtered like the most dangerous of rebels. "In the annals of the atrocious legislation, directed by the English against the Irish people, as well before as after the Reformation, special penalties against the minstrels, bards, and rhymers, who sustained the lords and gentlemen, . . . are to be met with at every step. "Nevertheless, the harp has remained the emblem of Ireland, even in the official arms of the British Empire, and during all last century, the travelling harper, last and pitiful successor of the bards, protected by Columba, was always to be found at the side of the priest, to celebrate the holy mysteries of the proscribed worship. He never ceased to be received with tender respect under the thatched roof of the poor Irish peasant, whom he consoled in his misery and oppression by the plaintive tenderness and solemn sweetness of the music of his fathers."