what in the Ossianic style, but of the period of the Ursgeula are two popular pieces entitled Mordubh* and Collath. Of these productions the imagery is peculiarly illustrative of the character and habits of the ancient Gael, while they are replete with incidents of the wars which the Albyn had waged with their enemies of Scandinavia. To the same period we are disposed to assign the "Song of the Owl," though it has been regarded by a respectable authority as of modern origin. Of a portion of this celebrated composition we subjoin a metrical translation from the pen of Mr William Sinclair.

The Bard, expelled from the dwellings of men by plunderers according to one account, by a discontented helpmate according to another, is placed in a lone out-house, where he meets an owl which he supposes himself to engage in an interchange of sentiment respecting the olden time :—

HUNTER.

O wailing owl of Strona's vale!

We wonder not thy night's repose
Is mournful, when with Donegal
In distant years thou first arose :

O lonely bird! we wonder not,

For time the strongest heart can bow,

That thou should'st heave a mournful note,
Or that thy sp'rit is heavy now!

OWL.

Thou truly sayest I lone abide,

I lived with yonder ancient oak,

Whose spreading roots strike deep and wide
Amidst the moss beside the rock ;

* Mrs Grant's Poems, p. 371; Mackenzie's " Gaelic Poets," p. 1.

+ See Mrs Grant's "Highland Superstitions," vol. ii. p. 249. The original is contained in Mackenzie's "Gaelic Poets."

And long, long years have gone at last,
And thousand moons have o'er me stole,
And many a race before me past,
Still I am Strona's lonely owl!

HUNTER.

Now, since old age has come o'er thee,
Confess, as to a priest, thy ways;
And fearless tell thou unto me

The glorious tales of bygone days.

OWL.

Rapine and falsehood ne'er I knew,
Nor grave nor temples e'er have torn,
My youthful mate still found me true— ·
Guiltless am I although forlorn!
I've seen brave Britto's son, the wild,
The powerful champion, Fergus, too,
Gray-haired Foradden, Strona's child—
These were the heroes great and true!

HUNTER.

Thou hast well began, but tell to me,
And say what further hast thou known?

E'er Donegal abode with thee,

In the Fersaid these all were gone!

OWL.

Great Alexander of the spears,

The mightiest chief of Albyn's race, Oft have I heard his voice in cheers

From the green hill-side speed the chase

I saw him after Angus brave

Nor less a noble warrior he

Fersaid his home, his work he gave

Unto the Mill of Altavaich.

HUNTER.

From wild Lochaber, then, the sword With war's dread inroads swept apace; Where, gloomy-brow'd and ancient bird, Was then thy secret hiding-place?

OWL.

When the fierce sounds of terror burst,
And plunder'd herds were passing on,
I turn'd me from the sight accurst
Unto the craig Gunaoch lone;
Some of my kindred by the lands
Of Inch and Fersaid sought repose,
Some by Loch Laggan's lonely sands,

Where their lamenting cries arose !

Here follows a noble burst of poetical fervour in praise of the lonely rock, and the scenes of the huntsman's youth. The green plains, the wild harts, the graceful beauty of the brown deer, and the roaring stag, with the banners, ensigns, and streamers of the race of Cona,-all share in the poet's admiration. The following constitutes the exordium of the poem :

Oh rock of my heart! for ever secure,

The rock where my childhood was cherish'd in love,
The haunt of the wild birds, the stream flowing pure,
And the hinds and the stags that in liberty rove;
The rock all encircled by sounds from the grove,
Oh, how I delighted to linger by thee,

When arose the wild cry of the hounds as they drove,
The herds of wild deer from their fastnesses free!
Loud scream'd the eagles around thee, I ween,

Sweet the cuckoos and the swans in their pride,
More cheering the kid-spotted fawns that were seen,
With their bleating, that sweetly arose by thy side,
I love thee, O wild rock of refuge! of showers,

Of the leaves and the cresses, all glorious to me,
Of the high grassy heights and the beautiful bowers
Afar from the smooth shelly brink of the sea!

The termination of the Sub-Ossianic period brings us to another epoch in the history of Gaelic poetry. The Bard was now the chieftain's retainer, at home a crofter

and pensioner,* abroad a follower of the camp. We find him cheering the rowers of the galley, with his birlinn chant, and stirring on the fight with his prosnuchadh catha, or battle-song. At the noted battle of Harlaw,† a piece was sung which has escaped the wreck of that tremendous slaughter, and of contemporary poetry. It is undoubtedly genuine; and the critics of Gaelic verse are unanimous in ascribing to it every excellence which can belong either to alliterative art, or musical excitement. Of the battle-hymn some splendid specimens have been handed down; and these are to be regarded with an amount of confidence, from the apparent ease with which the very long "Incitement to Battle," in the "Garioch Battle-Storm," as Harlaw is called, was remembered. Collections of favourite pieces began to be made in writing about the period of the revival of letters. The researches of the Highland Society brought to light a miscellany, embracing the poetical labours of two contemporaries of rank, Sir Duncan Campbell of Glenurchay, and Lady Isabel Campbell. From this period the poet's art degenerates into a sort of family chronicle. There were, however, incidents which deserved a more affecting style of memorial; and this appears in lays which still command the interest and draw forth the tears of the Highlander. The story of the persecuted Clan Gregor supplies many illustrations, such as the oft-chanted Macgregor na Ruara, and the mournful melodies of Janet Campbell.||

* See Johnson's "Journey to the Western Islands."

+Stewart's Collection, p. 1.

Report on Ossian, p. 92. Sir Duncan Campbell fell at the battle of Flodden, Lady Campbell afterwards married Gilbert, Earl of Cassillis. § Mrs Grant's "Highland Superstitions," vol. ii. p. 196.

|| Mrs Ogilvie's "Highland Minstrelsy." For the original see Turner's Collection, p. 186.

In the footsteps of these exciting subjects of poetry, came the inspiring Montrose wars, which introduce to our acquaintance the more modern class of bards; of these the most conspicuous is, Ian Lom* or Manntach. This bard was a Macdonald; he hung on the skirts of armies, and at the close of the battle sung the triumph or the wail, on the side of his partisans. To the presence of this person the clans are supposed to have been indebted for much of the enthusiasm which led them to glory in the wars of Montrose. His poetry only reaches mediocrity, but the success which attended it led the chiefs to seek similar support in the Jacobite wars; and very animated compositions were the result of their encouragement. Mathieson, the family bard of Seaforth, Macvuirich, the pensioner of Clanranald, and Hector the Lamiter, bard of M'Lean, were pre-eminent in this department. The Massacre of Glencoe suggested numerous elegies. There is one remarkable for pathos by a clansman who had emigrated to the Isle of Muck, from which circumstance he is styled "Am Bard Mucanach."

The knights of Duart and Sleat, the chiefs of Clanranald and Glengarry, the Lochaber seigniory of Lochiel, and the titled chivalry of Sutherland and Seaforth,‡ formed subjects of poetic eulogy. Sir Hector Maclean, Ailein Muideartach, and the lamented Sir James Macdonald obtained the same tribute. The second of these Highland favourites could not make his manly countenance, or stalwart arm, visible in hall, barge, or

* Reid's "Bibliotheca Scotica Celtica." Mackenzie's "Gaelic Poets," p. 36. Napier's "Memoirs of Montrose." In this work will be found a very spirited translation of Ian Lom's poem on the battle of Innerlochy.

Mackenzie's "Gaelic Poets," pp. 24, 59, 77, 77, 151; Turner's "Gaelic Collection," passim.