The "Sick-bed of Cuchulain" and the Leabhar na h-Uidhri version of the "Courtship of Etain" seem to have had their literary effect injured by the personality of the compiler of the manuscript from which the Leabhar na h-Uidhri was copied. Seemingly an antiquarian, interested in the remains of the old Celtic religion and in old ceremonies, he has inserted pieces of antiquarian information into several of the romances that he has preserved for us, and though these are often of great interest in themselves, they spoil the literary effect of the romances in which they appear. It is possible that both the Leabhar na h-Uidhri version of "Etain" and the "Sick-bed" might be improved by a little judicious editing; they have, however, been left just as they stand in the manuscript. The "Sick-bed," as is pointed out in the special introduction to it, consists of two separate versions; the first has plainly some of the compiler's comments added to it, but the second and longer part seems not to have been meddled with; and, although a fragment, it makes a stately romance, full of human interest although dealing with supernatural beings; and its conclusion is especially remarkable in early literature on account of the importance of the action of the two women who are the heroines of this part of the tale. The action of Fand in resigning her lover to the weaker mortal woman who has a better claim upon him is quite modern in its tone. The nearest parallel to the longer version of the "Sick-bed" is the Egerton version of "Etain," which is a complete one, and makes a stately romance. It is full of human interest, love being its keynote; it keeps the supernatural element which is an essential to the original legend in the background, and is of quite a different character to the earlier Leabhar na h-Uidhri version, although there is no reason to assume that the latter is really the more ancient in date. In the Leabbar na h-Uidhri version of "Etain," all that relates to the love-story is told in the baldest manner, the part which deals with the supernatural being highly descriptive and poetic. I am inclined to believe that the antiquarian compiler of the manuscript did here what he certainly did in the case of the "Sick-bed of Cuchulain," and pieced together two romances founded upon the same legend by different authors. The opening of the story in Fairyland and the concluding part where Mider again appears are alike both in style and feeling, while the part that comes between is a highly condensed version of the love-story of the Egerton manuscript, and suggests the idea of an abstract of the Egerton version inserted into the story as originally composed, the effect being similar to that which would be produced upon us if we had got Aeschylus' "Choaphorae" handed down to us with a condensed version of the dialogue between Electra and Chrysothemis out of Sophocles' "Electra" inserted by a conscientious antiquarian who