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 of Scottish ladies object to Scotch music, and do not know any Scotch songs. If this is true of any "certain class" of Scottish people, I am sorry for them. They have fallen down a long way from the height where birth and country placed them! I should like to talk to any Scot, man or woman, who is ashamed of the Scotch accent. As well be ashamed of the mountain heather! I should like to interview any renegade son or daughter of the Celtic race, who is not proud of every drop of Celtic blood, every word and line of Celtic tradition,—every sweet song that expresses the Celtic character. Nothing that is purely national should be set aside or allowed to perish. It is a thousand pities that the old Gaelic speech is dying out in the Highlands, along with the picturesque "plaid" and "bonnet" of the Highland shepherds. The Gaelic language is a rich and copious one, and should be kept up in every Scottish school and University. Some of the Gaelic music, too, is the most beautiful in the world,—and many a so-called "original" composer has taken the theme for an overture or a symphony from an ancient, long-forgotten Gaelic tune. A fine spirit of romance and idealism is the natural heritage of the Celtic race;—far too precious a birth-*right to be exchanged for the languid indifferentism of latter-day London fashion, which too often makes a jest of noble enthusiasm, and which would, no doubt, call Sir Walter Scott's fine novel of The Heart of Midlothian, "kailyard literature"—if it dared!

And who that understands anything about music is so foolish and ignorant as to despise a Scottish song? Where can we match, in all song literature,