and made to appear like a piece of genuine history. I do not think that if this later version was invented right out by a thirteenth or fourteenth century ollamh, it could have given rise to the former one. Either "Maghach Colgar" descends from the folk-tale which served as the basis of the Irish story, or, what is more likely, the folk, whilst appreciating and preserving the new arrangement of certain well-known incidents, retained the earlier form of the incidents themselves, as being more consonant with the totality of its conceptions, both moral and æsthetic. This I hold to be the vital lesson the folk-lorist may learn from considering the relations of Gaelic folk-tale and Gaelic romance (using the latter term in the sense of story with a conscious genesis): that romance, to live and propagate itself among the folk, must follow certain rules, satisfy certain conceptions of life, conform to certain conventions. The Irish bards and story-tellers had little difficulty, I take it, in doing this; they had not outgrown the creed of their countrymen, they were in substantial touch with the intellectual and artistic laws that govern their subject-matter. Re-arrange, rationalise somewhat, deck out with the questionable adornment of their scanty and ill-digested book-learning—to this extent, but to this extent only, I believe, reached their influence upon the mass of folk-conceptions and presentments which they inherited from their fathers, and which, with these modifications and additions, they handed on to their children.
But romance must not only conform to the conventions, it must also fit in with the ensemble of conditions, material, mental and spiritual, which constitute the culture (taking this much-abused word in its widest sense) of a race. An example will make this clear.
Of all modern, consciously-invented fairy tales I know but one which conforms fully to the folk-tale convention—"The Shaving of Shagpat." It follows the formula as closely and accurately as the best of Grimm's or of Campbell's tales. To divine the nature of a convention, and to use its capabilities to the utmost, is a special mark of genius, and in this, as in other instances, whatever else be absent from Mr. Meredith's work, genius is indubitably present. But I do not think that "The Shaving of Shagpat" could ever be acclimatised as a folk-tale in this country. Scenery, conduct of story, characterisation of personages, are all too distinctively Oriental. But let an Eastern admirer of Mr. Meredith translate his work into Arabic or Hindi, and let the book fall into the hands of a Cairene or Delhi story-teller (if such still exist), I can well imagine that, with judicious cuts, it should win praise for its reciter in market-place or bazaar. Did this happen, it would surely be due to the fact that the story is strictly constructed upon traditional lines, rather than to the brilliant invention and fancy displayed on every page. Strip from it the wit and philosophy of the author,
