his time, became a member of the College Historical Society, immemorially the great training school of Irish talent; and here he was distinguished, less for eloquence of delivery, than for the solidity of his arguments and the scope of his learning. He was elected to the honourable office of auditor, and the wits of the society called him "an encyclopædia in breeches." In 1838 Davis was called to the Irish bar, but though he continued to attend the courts for some years, he never loved the profession, and never had any success in it. It was not until his twenty-fifth year that he first turned his attention practically to politics, and in 1840 he made his first essay in political life. In that year he contributed a series of leaders in the Dublin Morning Register upon the state of Europe, contending that a European crisis was approaching, in which Ireland, by pressure of external circumstances on England, would be enabled to effect a repeal of the union. He was also an active member of the repeal association, where the strength of his character, and the vigour and truthfulness of his nature, gave him an independent position; and on various occasions, especially on the education question, he did not shrink from opposing his great chief O'Connell, for whom he entertained great admiration, and a strong personal friendship. In 1842 Davis, in conjunction with some others, projected the Nation newspaper. The object of the projectors being to promote a spirit of nationality according to their views, they felt that popular poetry would be a powerful agent, especially with a people so susceptible and passionate as the Irish. But poets of this class were rarer than political writers, and so Davis and some of his confreres determined to do for themselves what they found no others ready to do for them. Up to this Davis, though fond of poetry, does not seem ever to have attempted verse, and, indeed, was little solicitous to make the essay. He did so, however, and surprised the world, as he perhaps surprised himself with his success. Thenceforth, as political writer and poet, he continued till his premature death to be the chief of that party who, under the name of "Young Ireland," swayed the democracy of Ireland with extraordinary power. And so he laboured at his great mission from that day with indefatigable industry, unabating zeal, unquenchable enthusiasm; giving the energies and resources of his vigorous intellect and his large erudition to what he deemed the work of his life; producing a wonderful mass of writing, while he toiled incessantly behind the scenes; organizing measures, and aiding in committees, till at last he exhausted his constitution, and died of fever in Dublin on the 16th day of September, 1845.
Thomas Davis, early as he died, had achieved greatness. Had he been granted a longer life, he would probably have stood amongst the greatest. With enlarged experiences, and rectified views, who shall say what might have been his place amongst the politicians and the patriots of his country? That one of his originally philosophic and studious turn of mind should have become a puissant popular leader, and a poet of the people, is a singular mark of the speciality of his genius. As a politician, he was enthusiastic, laborious, manly, and sincere, and endued with a wonderful power of waking up a popular feeling of nationality in Irish society. As a writer, he showed great force, and all the verve of a mind of original genius and acquired erudition; and he had the skill, himself a sincere protestant, to make the tone of his writings pleasing to many of his own persuasion, while, at the same time, he roused the passions of the Celtic population. He introduced the element of Irish history into popular political discussion, and argued the repeal question by constant reference to these historical events.
As a poet we think his admirers have, perhaps, estimated him too highly. True poet he was, indeed, if the power to stir, and sway, and agitate human hearts with every emotion of which they are susceptible, be that which makes a poet; but he attained not to the excellence which maturer years and undivided devotion to the muse would have conferred upon him. And so, in estimating him as a poet, wo must remember that he was writing as such but for a brief period; that politics well-nigh absorbed him, and that his mind was distracted with a variety of pursuits, many of them little congenial to poetic thought. The wonder is that he wrote so much and so well as a poet. "The Sack of Baltimore" is a noble piece, full of dramatic action, fine illustration, and great pathos. The "Geraldines" is a very finished poem; "The Burial" shows the power of high genius; and "The Battle of Fontenoy" is a stirring lyric. But, after all, Davis was more a man of action than an author, and his writings, especially his poetry, were used merely as engines to influence men's minds and promote his political creed. And there can be no doubt that he introduced into the people's party a mode of thought and principle, entirely different from the mere school of agitation and clamour. His genius was a sort of moral passion, a kind of intellectual enthusiasm, as distinct from the mere ideality of the poet or the force of the essayist. Opinions will differ as to the propriety of his purposes or the soundness of his speculations; but all were agreed upon the patriotism of his nature and the purity of his heart. His character was above reproach—pure, generous, and sincere. In his family he was beloved, and outside it he was honoured even by those who did not share his political convictions. A public funeral, and a fine statue by his great countryman Hogan, attest the estimation in which he was held. His essays and poems have been published—the latter with an introduction by Mr. Wallis. His correspondence would, we believe, have been given to the world by one whose brief and brilliant career has been suddenly terminated—Mr. D. Owen, Maddyn.—J. F. W.
* DAVISON, James William, a writer on music, was born in London, 5th October, 1813. He is a son of the celebrated comic actress, originally known as Maria Duncan, who, both under her maiden and married names, was, for many years, one of the greatest favourites of the public, and whose domestic virtues equalled even her professional talent. He was educated at University college, London, and commenced not the study of music, the pursuit of his predilection, until after the period of childhood, in which most men who have distinguished themselves in the art have begun their course of instruction. From the age of sixteen he applied himself to the practice of the pianoforte and of composition, developing his natural talent under able masters, and duly qualifying himself for the musical profession. He produced several orchestral pieces of merit, which, however, may better be regarded as exercises than as works for criticism. His sonata, and several lighter pieces for the pianoforte, are entitled to far higher consideration; but his esteem as a composer more justly rests upon his songs, many of which—the series entitled "Vocal Illustrations of Shelley," especially—are marked by an originality of thought, a command of technicalities, and a depth of feeling which attest no less his musicianship than his poetical perception. His very extensive literary attainments and his love of music combined to induce an inclination to writing on this art, and he was for several years an occasional contributor to various journals in London. In 1842, and the following year, he published the Musical Examiner, a weekly periodical, of which he was the sole author. In 1843, on the death of Mr. Macfarren, he became the proprietor of the Musical World, which is the only permanent and influential musical journal in this country. In 1846 he was appointed musical critic on the Times newspaper, and it is in the fulfilment of this office that his best claims to consideration are founded. Musical criticism in England was at the lowest standard, conducted, for the most part, by men wholly ignorant of the subject, and dismissed with a flippant triviality that was a poor mask for their incompetency to treat it. With a large amount of technical knowledge, a considerable artistic experience, and with a genuine love for the theme, Mr. Davison entered upon this task in a spirit that had never before been brought to bear upon it. The field in which he exercises his pre-eminent qualifications is so extensive as to give him an almost limitless influence; his eloquent writing has not only raised the standard of our musical literature immeasurably above its previous level, but has formed one, by no means the least important, of the many powerful means which have induced the prodigious progress of music in this country. There are certainly men who mean well to music, and who differ from the opinions he expresses; but this is not always a testimony against the truth of his judgments, and never against their sincerity. There never was a censor who was infallible, and it is one of the specialities of art-judgment that it depends on the taste, no less than the erudition of the critic. It is by the general tendency of his writings and by their effect, and not by the particular discussion of accidental works, that their high value is to be appreciated; and this will be best proved by a c omparison of the past and present state of music in England. During his literary avocations he has still pursued his original profession; and in his teaching of Miss Arabella Goddard, he has evinced his rare ability as a master of the pianoforte. He
