doubt is that the Irish temperament is coy. The Scotchman who comes to London knows that he is an alien and an interloper, and despised of his fellow-men, but he blusters it out. The Irishman, on the other hand, feels his position keenly and refuses to be other than diffident. As a rule, too, he is without commercial aptitude, and not vastly taken with the blessed word thrift. Besides which, Irishmen do not come to London in droves, as do the Scotch. When they emigrate, their natural tendency is toward America. In any case it cannot be suggested that the London Irish have at any time presumed to be aggressive. Neither have they made pretensions to superiority, or exhibited a disposition to clannishness. That they do not count is therefore probably their own fault; for London, in a greater degree perhaps than any other city in the world, is always open to prostrate herself before the invader, providing he be assertive and pushful enough. Leaving out the more or less eminent, and glancing for a moment at the common rank of Irishmen in London, one is confronted with two facts, and two facts only. The first of them is that the London Irish can muster in sufficient force to make a St. Patrick’s Day concert or so financially successful, and the second is that the morning after, the metropolitan magistrates have invariably to deal with a fairly noble batch of Irish “drunks.” Practically this is all that is known by the Cockney respecting his Irish fellow-citizen, and I think that it is distinctly unfortunate for Ireland, because it fosters a false impression. The Scotch, who are wilier, take great care not to get drunk on St. Andrew’s Day. CHAPTER XII TOM MOORE In _The Treasury of Irish Poetry in the English Tongue_, edited by Messrs. Stopford A. Brooke and T. W. Rolliston, Thomas Moore is represented by eleven pieces, to wit, “The Song of Fionnuola,” “The Irish Peasant to his Mistress,” “At the Mid Hour of Night,” “When He who Adores Thee,” “After the Battle,” “The Light of Other Days,” “On Music,” “Echo,” “As Slow our Ship,” “No, not more Welcome,” and “My Birthday.” I do not suppose for a moment that the editors intended to suggest that this selection represents in any sense the more popular of Moore’s writings from the Irish point of view. Only two of the lyrics, indeed, namely, “The Light of Other Days” and “As Slow our Ship,” are really well known among lovers of poetry, even in Ireland. We assume, therefore, that the remaining sets of verses have been inserted because, in the opinion of Mr. Stopford A. Brooke and his co-editor, they are the best of Moore, _qua_ poet in the English tongue. We quote here at length “The Song of Fionnuola”: