Now it is remarkable how accurately all this corresponds to the Dark Tower of “Childe Rowland,” allowing for a little idealisation on the part of the narrator. We have the long dark passage leading into the well-lit central chamber, and all enclosed in a green hill or mound. It is of course curious to contrast Mr. Batten's frontispiece with the central chamber of the How, but the essential features are the same. Even such a minute touch as the terraces on the hill have their bearing, I believe, on Mr. MacRitchie's “realistic” views of Faerie. For in quite another connection Mr. G. L. Gomme, in his recent “Village Community” (W. Scott), pp. 75-98, has given reasons and examples for believing that terrace cultivation along the sides of hills was a practice of the non-Aryan and pre-Aryan inhabitants of these isles. [Footnote: To these may be added Iona (_cf._ Duke of Argyll, _Iona_, p. 109).] Here then from a quarter quite unexpected by Mr. MacRitchie, we have evidence of the association of the King of Elfland with a non-Aryan mode of cultivation of the soil. By Mr. Gomme's kindness I am enabled to give an illustration of this. Altogether it seems not improbable that in such a tale as “Childe Rowland” we have an idealised picture of a “marriage by capture” of one of the diminutive non-Aryan dwellers of the green hills with an Aryan maiden, and her re-capture by her brothers. It is otherwise difficult to account for such a circumstantial description of the interior of these mounds, and especially of such a detail as the terrace cultivation on them. At the same time it must not be thought that Mr. MacRitchie's views explain all fairy tales, or that his identifications of Finns = Fenians = Fairies = Sidhe = “Pechs” = Picts, will necessarily be accepted. His interesting book, so far as it goes, seems to throw light on tales about mermaids (Finnish women in their “kayaks,”) and trolls, but not necessarily, on fairy tales in general. Thus, in the present volume, besides “Childe Rowland,” there is only “Tom Tit Tot” in his hollow, the green hill in “Kate Crackernuts,” the “Cauld Lad of Hilton,” and perhaps the “Fairy Ointment,” that are affected by his views. Finally, there are a couple of words in the narrative that deserve a couple of words of explanation: “Widershins” is probably, as Mr. Batten suggests, analogous to the German “wider Schein,” against the appearance of the sun, “counter-clockwise” as the mathematicians say--_i.e._, W., S., E., N., instead of with the sun and the hands of a clock; why it should have an unspelling influence is hard to say. “Bogle” is a provincial word for “spectre,” and is analogous to the Welsh _bwg_, “goblin,” and to the English insect of similar name, and still more curiously to the Russian “Bog,” God, after which so many Russian rivers are named. I may add that “Burd” is etymologically the same as “bride” and is frequently used in the early romances for “Lady.” XXII. MOLLY WHUPPIE.