To the spirit of these conversations, or to the form in which they are cast, no exception can reasonably be taken. In one respect only might students of history dissent, and that is, to the selection of St. Patrick as spokesman for the bigotry that is here pilloried. Those who are familiar with the authentic records of his life and the spirit of his teaching will feel that an injustice is done the apostle of Ireland, by associating his name with such counterfeit sentiment. Had a typical medieval monk or cleric been selected as advocate of the repulsive theology represented here, the rôle would have been more true to life and historical fact. As it is, one feels that a noble character is traduced and put in a false setting. These Dialogues are profoundly interesting, not only because of the struggle between nature and dogma, between the cosmic process and the ethical, here brought into irreconcilable antagonism, but also because the two original and independent streams of Gaelic literature seem here to meet, and, like the rushing together of contrary tides or of two confluent currents, to mingle their waters together in a wild tumult of angry waves, which only subsides as each again gradually finds its own channel. One of the most interesting of the Dialogues is that which is known as “Ossian’s Prayer,” and is about 150 lines in length. The bard begins by asking the saint if the Feinn of Erin are in heaven. When he is informed that his father, Gaul, and Oscar cannot be there, he not unnaturally retorts, “If Erin’s Feinn are not in heaven, why should I Christian be?” Thereupon the saint taunts him with irreverent fierceness of language, adding “What are all the Feinn of Erin to one hour with God alone?” But Ossian declares he would prefer to see one battle waged by the valiant Feinn than to see the Lord of Heaven and his cleric (Patrick) chanting sin. The saint tries to impress him with God’s omniscience by telling him in effect that it would be impossible for the smallest midge to enter heaven without God’s knowledge. “How different from Finn,” exclaims the bard, “thousands might enter, partake of his cheer, and depart without notice.” The argument throughout shows complete divergence in their thought. “Finn is in hell in bonds,” says Patrick. “He is now in the house of pain and sorrow, because of the amusement he had with the hounds and for attending the (bardic) schools each day, and because he took no heed of God.” And to an interpolation of Ossian, “Misery attend thee, old man,” he continues, “who speakest words of madness; God is better for one hour than all the Fenians of Erin.” To which the bard retorts, “O Patrick, who makest me that impertinent answer, thy crozier would be in atoms were Oscar present. Were my son Oscar and God hand in hand on Knock-na-veen, if I saw my son down, it is then I would say that God was a strong man.