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 metrical form. I have re-written most of them, and in doing so have adopted the traditional English style of folk-telling, with its "Wells" and "Lawkamercy" and archaic touches, which are known nowadays as vulgarisms. From former experience, I find that each of these principles has met with some dissent from critics who have written from the high and lofty standpoint of folk-lore, or from the lowlier vantage of "mere literature." I take this occasion to soften their ire, or perhaps give them further cause for reviling.

My folk-lore friends look on with sadness while they view me laying profane hands on the sacred text of my originals. I have actually at times introduced or deleted whole incidents, have given another turn to a tale, or finished off one that was incomplete, while I have had no scruple in prosing a ballad or softening down over-abundant dialect. This is rank sacrilege in the eyes of the rigid orthodox in matters folk-lorical. My defence might be that I had a cause at heart as sacred as our science of folk-lore—the filling of our children's imaginations with bright trains of images. But even on the lofty heights of folk-lore science I am not entirely defenceless. Do my friendly critics believe that even Campbell's materials had not been modified by the various narrators before they reached the great J. F.? Why may I not have the same privilege as any other story-teller, especially when I know the ways of story-telling as she is told in English, at least as well as a Devonshire or Lancashire