[ pag 
chorus fung the fecond ftanza, the firain of which was taken 
from the concluding note of the preceding chorus; which 
ended, the head femi-chorus began the fecond Gol or lamenta- 
tion, in which they were anfwered by that of the foot, and 
then, as before, both united in the general full chorus. Thus 
alternately were the fong and chorufes performed during the 
night. The genealogy, rank, poffefions, the virtues and vices 
of the dead were rehearfed, and a number of interrogations were 
addreffed to the deceafed: As, Why did he die? If married, 
whether his wife was faithful to him, his fons dutiful, or good 
hunters or warriors? If a woman, whether her daughters were 
fair or chafte? If a young man, whether he had been crofled 
in love? or if the blue-eyed maids of Erin treated him with. 
fcorn? 
We are * told that each verficle of the Caoinan confifted only 
of four feet, and each foot was commonly of two fyllables = 
that the three firft required no correfpondence, but the fourth 
was to correfpond with the terminations of the other verficles. 
This: kind of artificial metre was much cultivated by the Irifh 
bards, but, on the decline of that order, the Caoinan fell into the 
hands of women, and became an extemporaneous performance. 
Each province was fuppofed to have different Caoinans, and 
hence the Munfter cry, the Ulfter cry,-&c. but they are only 
imitations. of the different chorufes of the fame Caoinan inde- 
pendent of provincial diftinétions. As the Caoinan was fang 
extempore, there being no general eftablifhed tune, each fet 
of 
* Lhuyd. Archaeolog. Brit. p. 309, 
