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Introduction. xli.
(18) P. 131, Slàn a chaoidh le ceòl na clnrsaich.
In all of which penultimate stress replaees at will the
dissyllabic encìing. It appears also in three stanzas otf
(19) P. 61, Rainn Ghearradh-arm. ^
4. Sneadhhhairdne (Snedbairdne): 2 (82 + 42) 2 + 4. ^
The couplet eonsists of a Hne of eight syllables i
ending on a dissyllable plus a hne of four syllables
ending on a dissyllable. The couplets rhyme. The
best specimens are : —
(20) P. 259, An Duanag Ullamh.
(21) P. 172, Tha sgeul agam dhuibh ri iìDiscadh.
Less accurate are : —
(19) P. 61, Chunnaic vii an dingh a' clilach
(22) P. 209, Is fhada tha niisc ann wo cìiodal.
(23) P. 9, ^4 Thì mhòir a chruthaich na diiilean.
The last is influenced strongly by stress. AII, how-
ever, are excellent poems. Most of Alexander
MacDonald's Birlinn is in this metre.
For comparison we may take two quatrains from
an ancient poem ascribed to Colum Cille : —
Mellach lem bhith ind ucht ailiuin
for beind cairrge,
conacind and ar a mheinci
fèth na fairrci.
Conacind a tonda troma
uas ler lethan,
amail canait ceòl dia n-athair
for seòl bethad.^
1 Pleasant, methinks, to be on an isle's breast, on a pinnacle
of rock, that I might see there in its frequency the ocean's
aspect. So that I might see its weighty billows over the broad
Bea, how they sing music to their Father, thi-oughout hfe's

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