Poetical compositions associated with music are of various kinds. First of all is the _Laoidh_, or lay, originally signifying a stately solemn composition, by one of the great bards of antiquity. Thus we have “Laoidh Dhiarmaid,” The lay of Diarmad; “Laoidh Oscair,” The lay of Oscar; “Laoidh nan Ceann,” The lay of the heads; and many others. The word is now made use of to describe a religious hymn; a fact which proves the dignity with which this composition was invested in the popular sentiment. Then there was the “Marbhrann,” or elegy. Few men of any mark but had their elegy composed by some bard of note. Chiefs and chieftains were sung of after their deaths in words and music the most mournful which the Celt, with so deep a vein of pathos in his soul, could devise. There is an elegy on one of the lairds of Macleod by a famous poetess “Mairi nighean Alasdair Ruaidh,” or Mary M’Leod, which is exquisitely touching. Many similar compositions exist. In modern times these elegies are mainly confined to the religious field, and ministers and other men of mark in that field are often sung of and sung sweetly by such bards as still remain. Then there are compositions called “Iorrams” usually confined to sea songs; “Luinneags,” or ordinary lyrics, and such like. These are all “wedded” to music, which is the reason for noticing them here, and the music must be known in order to have the full relish of the poetry. There are several collections of Highland music which are well worthy of being better known to the musical world than they are. The oldest is that by the Rev. Peter Macdonald of Kilmore, who was a famous musician in his day. More recently Captain Simon Fraser, of Inverness, published an admirable collection; and collections of pipe music have been made by Macdonald, Mackay, and, more recently, Ross, the two latter pipers to her Majesty, all of which are reported of as good.