o other tongues and idioms, never
fails to touch the heart, and excite enthusiastic feelings. The
plan of 'The Modern Scottish Minstrel' restricts us to a period
less favourable to the inspirations of the Celtic muse than remoter
times. If it is asked, What could be gained by recurring to a more
distant period? or what this unlettered people have really to shew
for their bardic pretensions? we answer, that there is extant a
large and genuine collection of Highland minstrelsy, ranging over a
long exciting period, from the days of Harlaw to the expedition of
Charles Edward. The 'Prosnachadh Catha,' or battle-song, that led
on the raid of Donald the Islander on the Garioch, is still sung;
the 'Woes of the Children of the Mist' are yet rehearsed in the
ears of their children in the most plaintive measures. Innerlochy
and Killiecrankie have their appropriate melodies; Glencoe has its
dirge; both the exiled Jameses have their paean and their lament;
Charles Edward his welcome and his wail;--all in strains so varied,
and with imagery so copious, that their repetition is continually
called for, and their interest untiring.

"All that we have to offer belongs to recent times; but we cannot
aver that the merit of the verses is inferior. The interest of the
subjects is certainly immeasurably less; but, perhaps, not less
propitious to the lilts and the luinneags, in which, as in her
music and imitative dancing, the Highland border has found her best
Lowland acceptation.

"We are not aware that we need except any piece, out of the more
ancient class, that seems not to admit of being rivalled by some of
the compositions of Duncan Ban (Macintyre), Rob Donn, and a few
others that come into our own series, if we exclude the pathetic
'Old Bard's Wish,' 'The Song of the Owl,' and, perhaps, Ian Lom's
'Innerlochy.'

"But, while this may be so far satisfactory to our readers, we are
under the necessity of claiming their charitable forbearance for
the strangers of the mountain whom we are to introduce to their
acquaintance. The language, and, in some respects, the imagery and
versification, are as foreign to the usages of the Anglo-Saxon as
so many samples of Orientalism. The transfusion of the Greek and
Latin choral metres is a light effort to the difficulty of