When there was no more to tell, Rory crossed the room and with elaborate care took down a box from a shelf above the bed. From it he tenderly took out a violin, and after much strumming and tuning up he seated himself upon a chair in the middle of the room and struck up the lively air of "The MacDonalds' Reel." Scotty leaped to the floor; Rory's fiddle could do anything with him, make him dance with mad joy until he was exhausted, stir him up to a wild longing to go away and do deeds of impossible prowess, or even make him creep into the shadows behind Granny's chair and weep heart-broken tears into her ample skirts. To-night the tune was gay, and Callum came out into the ring of light, and sitting astride a chair with his arms crossed over its back, put his nephew through the intricacies of the Highland Fling until he was gasping for breath. Granny saw, and stopped the dance by a nod and smile to Rory; the music instantly changed to a slow, wailing melody, and the boy dropped into a chair and sat gazing into the fire, dreaming dreams of mystery and wonder. Then they all sang old-fashioned Scottish songs; songs that were old before Burns came to give Scotland a new voice. And Old Farquhar struck in, during a short pause, with one of Ossian's songs of war-like doings and glorious deaths. He sang in a cracked, weird voice to a wild Gaelic air that had neither melody nor rhythm, but somehow contained the poetic fire of the impromptu songs of the old bards. Rory followed, putting in a note here and there; but as the song wavered on and showed no signs of coming to an end, he struck up, "The Hundred Pipers an' a' an' a'," and drowned out the old man's wail. Then Burns was not forgotten, and they were all in the midst of "Ye Banks and Braes o' Bonnie Doon," a song that always made Scotty's heart ache as though it would burst, he knew not why, when the door opened suddenly, letting in a rush of frosty air, and a visitor. No one ever knocked at a neighbour's door in the Canadian backwoods, and James MacDonald, or Weaver Jimmie, as he was called, was such a familiar figure at Big Malcolm's that even Bruce merely raised his eyes as he entered. Mrs. MacDonald smiled her welcome, Big Malcolm shoved forward a chair, and the music flowed on uninterrupted. Weaver Jimmie was a young man, short, and thick-set. He was something of an anomaly; for, while he was the coolest fighter in the township of Oro, and gloried in strife, he was nervous and embarrassed to the verge of distraction when in company, particularly if it consisted of the fair sex. This diffidence partly arose from the fact that poor Jimmie was hopelessly ugly, and painfully aware of his shortcomings. His chief characteristics were a brilliant and bristling red beard and a pair of long, flat feet. He realised to the full that these obtrusive features were anything but things of beauty, and found them a sorrow forever in his vain attempts to conceal them.