Let us begin by saying that the reader will find himself in an altogether different atmosphere from that in which the heroes of the Ultonian Cycle live and move. Everything speaks of a later epoch, when life was gentler and softer, when men lived more in settlements and towns, when the Danaan Folk were more distinctly fairies and less deities, when in literature the elements of wonder and romance predominated, and the iron string of heroism and self-sacrifice was more rarely sounded. There is in the Ossianic literature a conscious delight in wild nature, in scenery, in the song of birds, the music of the chase through the woods, in mysterious and romantic adventure, which speaks unmistakably of a time when the free, open-air life “under the greenwood tree” is looked back on and idealised, but no longer habitually lived, by those who celebrate it. There is also a significant change of _locale_. The Conorian tales were the product of a literary movement having its sources among the bleak hills or on the stern rock-bound coasts of Ulster. In the Ossianic Cycle we find ourselves in the Midlands or South of Ireland. Much of the action takes place amid the soft witchery of the Killarney landscape, and the difference between the two regions is reflected in the ethical temper of the tales. In the Ultonian Cycle it will have been noticed that however extravagantly the supernatural element may be employed, the final significance of almost every tale, the end to which all the supernatural machinery is worked, is something real and human, something that has to do with the virtues or vices, the passions or the duties or men and women. In the Ossianic Cycle, broadly speaking, this is not so. The nobler vein of literature seems to have been exhausted, and we have now beauty for the sake of beauty, romance for the sake of romance, horror or mystery for the sake of the excitement they arouse. The Ossianic tales are, at their best, “Lovely apparitions, sent To be a moment’s ornament.” They lack that something, found in the noblest art as in the noblest personalities, which has power “to warn, to comfort, and command.” *The Coming of Finn* King Cormac mac Art was certainly a historical character, which is more, perhaps, than we can say of Conor mac Nessa. Whether there is any real personage behind the glorious figure of his great captain, Finn, it is more difficult to say. But for our purpose it is not necessary to go into this question. He was a creation of the Celtic mind in one land and in one stage of its development, and our part here is to show what kind of character the Irish mind liked to idealise and make stories about.