It is somewhat remarkable that Ireland, too, shared in the Jacobite poetic reawakening, though she had so partial and distant a hand in the actual warfare. Without doubt, her people thoroughly sympathised with the gallant attempt of Prince Charlie. And this is abundantly evidenced by the popularity and amount of the national poetry. Not only might a list of names be given, similar to the above, though fewer in number, but Dr. Hyde assures us that the Jacobite poems of Ireland would, if collected, fill a large-sized volume. Hardiman printed about fifteen in the second volume of his _Irish Minstrelsy_, and O’Daly about twenty-five more in his _Irish Jacobite Poetry_, second edition. Comparing this splendid lyrical outburst of that period in the two countries, Dr. Hyde expresses his own opinion in the following interesting criticism: “There seems to me,” he says, “to be perhaps, more substance and more simplicity and straightforward diction in the poems of the Scottish Gaels, and more melody and word-play, purchased at the expense of a good deal of nebulousness and unmeaning sound in those of the Irish Gaels; both, though they utterly fail in the ballad, have brought the lyric to a very high pitch of perfection.” But the literary revival of the eighteenth century was not by any means confined to the work of the lyrical poets either in Scotland, Wales, or Ireland. It was this period, the latter half of the century, that witnessed the new Ossianic cycle, associated with the name of Macpherson. Though popularly supposed to be, the latter was not the earliest pioneer of this movement. In 1756, four years before Macpherson’s _Fragments_ appeared, Jerome Stone, who was in youth a packman, and afterwards a teacher at Dunkeld, gave to the public the first translation of old Gaelic poems ever published. On his death, that same year at the age of thirty, he left a collection, gleaned by himself, of ancient Ossianic ballads, which has recently passed into the possession of Edinburgh University. Stone undoubtedly had the bardic gift; his rendering of the original is quite as free as Macpherson’s own. The following may be quoted as an example of his style. It is taken from “Fraoch’s Death,” published in the _Scots Magazine_, 1756, shortly before he died:— But now he’s gone and nought remains but woe For wretched me; with him my joys are fled; Around his tomb my tears shall ever flow, The rock my dwelling, and the clay my bed; Ye maids and matrons from your hills descend, To join my moan and answer tear for tear; With me the hero to the grave attend, And sing the songs of mourning round his bier, Through his own grove his praise we will proclaim, And bid the place for ever bear his name. Stone did not catch on, like his more brilliant successor.