personal devotion, despair, and lamentation, gave fire to the genius of national poetry. All the incidents and events of the Rebellion of Forty-five, the landing of the young Prince Charles at Moidart with only seven followers, the blaze of fiery loyalty that swept through the Highlands at his call, the extraordinary victories won by the sheer impetus and hand-to-hand onslaughts of the Highland clans, the picturesque entry into Edinburgh and the gallant court of Holyrood, the swift march into England, which seemed at one time to promise to carry the Chevalier into St. James's Palace by its rush, the retreat and disorganization, and finally the woeful slaughter of Culloden, followed by the attainders and executions and the romantic adventures of the Prince in hiding from his hunters among the mountains and islands, all contrived to create themes for song and poetry which have never been surpassed in modern history. The enterprise was as foolish as it was daring, an episode of knight-errantry after the age when success was possible, but it had all the elements of chivalry in its impulse and conduct, and no modern war has been less selfish and sordid, not even the insurrections of Poland or the uprising of the Spanish and German people against Napoleon. The young Chevalier himself, only twenty-four years of age, tall, handsome, and martial, with his flowing yellow hair and Tartan dress, and with the fascination of his race in his manner, his courage, clemency, and misfortune, gave it the personal element so necessary to the highest poetry, and altogether the circumstances and the conditions combined to create an effervescence of popular poetry which has never been surpassed. Its quantity was as remarkable as its quality. The two large volumes of Hogg's Jacobite Relics by no means exhausted the collection of songs in the Lowland dialect, and to this day those in Gaelic are still being discovered by the labors of Professor Blackie and others, as they are yet preserved in the bothies of the Highlands and the islands. The inspiration of the later poets, Burns, Hogg, Cunningham, and Lady Nairne, was hardly less strong, fed as it was upon the vivid traditions and by the stories and histories of the men living about them, or of their own families, full of all the elements of poetry, and their purpose to vivify and recreate the native song of Scotland must have had its most fertile impulse and material in the Jacobite songs, of which the country is full. In Lady Nairne the ancestral and personal impulse must have been especially strong. Her father and mother had been married in exile; her grandfather had been distinguished for his services as well as for his misfortunes, and upon both sides her family had been notable for more than one generation for its loyalty and its importance in the Scotch struggle for the restoration of the Stuarts. An old ballad says:-- Gask and Strowan were nae slack,