The various kinds of Highland minstrelsy admit of simple classification. The _Duan Mor_ is the epic song; its subdivisions are termed _duana_ or _duanaga_. Strings of verse and incidents ([Greek: Rhapsôdia]) were intended to form an epic history, and were combined by successive bards for that purpose. The battle-song (_Prosnuchadh-catha_) was the next in importance. The model of this variety is not to be found in any of the Alcaic or Tyrtæan remains. It was a dithyrambic of the wildest and most passionate enthusiasm, inciting to carnage and fury. Chanted in the hearing of assembled armies, and sometimes sung before the van, it was intended as an incitement to battle, and even calculated to stimulate the courage of the general. The war-song of the Harlaw has been already noticed; it is a rugged tissue of alliteration, every letter having a separate division in the remarkable string of adjectives which are connected to introduce a short exordium and grand finale. The _Jorram_, or boat-song, some specimens of which attracted the attention of Dr Johnson,[21] was a variety of the same class. In this, every measure was used which could be made to time with an oar, or to mimic a wave, either in motion or sound. Dr Johnson discovered in it the proceleusmatic song of the ancients; it certainly corresponds in real usage with the poet's description:-- "Stat margine puppis, Qui voce alternos nautarum temperet ictus, Et remis dictet sonitum pariterque relatis, Ad numerum plaudet resonantia cærula tonsis." Alexander Macdonald excels in this description of verse. In a piece called Clanranald's _Birlinn_, he has summoned his utmost efforts in timing the circumstances of a voyage with suitable metres and descriptions. A happy imitation of the boat-song has been rendered familiar to the English reader by Sir Walter Scott, in the "Roderigh Vich Alpine Dhu, ho! ieroe," of the "Lady of the Lake." The _Luineag_, or favourite carol of the Highland milkmaid, is a class of songs entirely lyrical, and which seldom fails to please the taste of the Lowlander. Burns[22] and other song-writers have adopted the strain of the _Luineag_ to adorn their verses. The _Cumha_, or lament, is the vehicle of the most pathetic and meritorious effusions of Gaelic poetry; it is abundantly interspersed with the poetry of Ossian.