” XVII. (1892) p. 58, The Fuller’s Son or School of Birds. IN THE CELTIC MAGAZINE, VOL. XIII, (1887–88.) No. 148, p. 167, Battle of Gavra or Oscar’s Hymn. ” 149, p. 202, do. do. do. (Continued).[3] HIGHLAND MONTHLY. Vol. I. No. 10. p. 622, Introduction, &c. WAIFS AND STRAYS OF CELTIC TRADITION. Argyllshire Series, No. I.: The Good Housewife (p. 54–69). Argyllshire Series, No. IV.: The Fians: or Stories, Poems, and Traditions of Fionn and his Warrior Band. Collected entirely from oral sources. 1891. In presenting his material to the English reader Campbell may profitably be compared with Islay. In few ways was the work of the latter more fruitful than in his mode of rendering Gaelic into English. It is impossible, for instance, to look at the work done of late by the distinguished Irish folk-lorists who are adding a new chapter to Gaelic romance, at the work of Douglas Hyde and W. Larminie and Jeremiah Curtin, and not recognise how much in point of colour and tone and smack of the soil their translations excel those of the pre-Campbell generation. Islay may, at times, have pushed his theory of idiomatic fidelity too far, occasionally where he aims at a rendering he achieves a distortion, but as a whole the effect of strange, wild, archaic atmosphere and medium is given with unerring--one would call it skill, did one not feel that it is the outcome of a nature steeped in the Gaelic modes of conception and expression, and bold enough to invent the English requisite to give an adumbration of them. For indeed the speech of the _Popular Tales_ is a distinctive variety of English, deserving study both from the philologist and the artist in words. Islay himself never handled this speech to better effect than did John Gregorson Campbell in the fine tale, for instance, of Sir Olave O’Corn (_Gaelic Soc. of Inverness_, Vol. XIII.), or in the _Muileartach_ (_Waifs and Strays_, Vol. IV.), though as a rule he keeps closer than Islay to the ordinary standard of English expression. Readers of this volume cannot fail to note the exceeding skill with which the pithy, imaginative turns of thought, so plentiful in the original, are rendered into English. The reader is at once taken out of nineteenth century civilisation, and, which is surely the first thing required from the translator, by the mere sound and look of the words carried back into an older, wilder, simpler and yet, in some ways, more artificially complex life. The difficulty of rendering Gaelic into English does not lie in the fact of its possessing a rude simplicity which the more sophisticated language is incapable of reproducing, but rather in that, whilst the emotions and conceptions are close to the primitive passions of nature in a degree that our civilisation has long forsworn, the mode of expression has the richness of colour and elaborate artificiality of a pattern in the Book of Kells. To neglect