The poems of Buchanan, in whole or in portions, have been frequently brought before the English-speaking world. Macgregor, Maclachlan of Canada, Pattison, Sinclair, Blackie, and Macbean have attempted translations with varying successes. As in the case of the finest lyrics on less sacred themes, the translation of these hymns presents peculiar difficulties which can only be fairly overcome by translators whose own spirits are in holy unison with the language and sentiments of the author. It is quite evident that such a master-translator as Professor Blackie cannot feel at home among religious truths and experiences, with which his sympathies are not very warm. What Buchanan calls “conversion” Blackie would describe as a new point of “ethical departure,”—a cold and philosophical conception of an all-important event which could scarcely charm the hearts of religious folks of the poet’s type. Only the pens of a Mason Neale and like-minded men can glide along sympathetically on these sacred heights of holy thought and life. The first of the hymns is called _The Majesty of God_, which begins in octosyllabic verse as follows:— O what is God! or what His name! Angels in glory cannot know; Where he is veiled in dazzling light No thought or eye can ever go. This is one of the less popular of his hymns, the theme being of a more abstract nature than that on which he dwells generally. The hymn which stands second in the order of publication is called _The Sufferings of Christ_. This beautiful production has greatly impressed Highland religious thought, and that before the Gaelic Scriptures were yet entirely translated or in the hands of the people. The form of verse chosen is very happy, and one into which the Gaelic language flows with liquid ease and beauty. Its spirit and manner may be imperfectly gathered from the following lines:— It is my Saviour’s sufferings My song will now proclaim, That High King’s life of humbleness In birth and death of shame; The miracle most wonderful That e’er to men was told: God who was from eternity— An infant born behold! The poet then rehearses in tender and mellifluous strains the more suggestive events of the Lord’s earthly life, and ends in a few verses of extreme beauty, pathos, and simplicity, detailing the agonizing circumstances of His death and crucifixion. The air to which the hymn is usually sung is very pretty and plaintive, and is a great favourite in the Highlands. At a time when living Gospel preaching was far from general, the rehearsal of this and other similar productions on Sunday in many humble Highland homes, helped to keep alive the flame of spiritual life.