The only way in which ancient Celtic poetry can be known and appreciated by the English reader, and have its effect in English literature, is by the presentation of its spirit and atmosphere, its essential elements in local form and color, its characteristic phraseology and tone of thought in English poetry of original power as well as essential faithfulness. The poet who is to do this successfully must have, what Macpherson had not, a thorough knowledge of the language and an appreciation of its method as the expression of thought, be completely saturated with the knowledge of the time, and possess the literary conscience and taste to be completely faithful to the original spirit. The most conspicuous example in our time of an attempt to reproduce the spirit of legendary romance in original poetry is, of course, The Idylls of the King, and the impress of a very thorough study and saturation of the spirit of the ancient chronicles is as visible as the exquisite substance of original poetry. But the stories of The Idylls of the King are based upon, rather than' closely reproduce, the legends of Arthurian romance, and the spirit has been elevated and refined by that of modern poetry and the nature of Tennyson's own genius to essential unreality. They are like the pictures of Madonnas and mediaeval saints done by a modern painter of genius with all the skill and technique of art, but without the sense of devotion which shows through the ruder sketches of the earlier and greatly inferior painters, who were inspired by something more than merely artistic enthusiasm. It is needless to say that for a poet to possess the self-restraint to be entirely faithful to his originals, and aim mainly at reproducing their form as well as spirit, is more rare, and may be said to have less power, than one who creates an original structure of poetry upon the basis of ancient romance; but he has his function also, and may be something more than a mere translator, as he gives his material shape in modern form and with the embellishments of his own genius, while he yet preserves the ancient characteristics. He is like the skillful architect who restores a ruined castle to a habitable dwelling, clearing away the rubbish which has choked its portals and surrounded its walls, while preserving its ancient shape and structure, and blending his new materials with the old so that it seems a harmonious building. This is the work to which Sir Samuel Ferguson has devoted himself in his reproduction of Irish Celtic poetry, both ballad and epic, and particularly in his poem of Congal, which is a recreation of the bardic romance of the Battle of Moyra, and its introductory Pre-Tale of the Banquet of Dunangay, prose versions which have been given by the eminent Celtic scholar, Dr. John O'Donovan, in the publications of the Irish Archaeological Society.