Glad am I that wherever and whenever I listen intently I can hear the looms of Nature weaving Beauty and Music. But some of the most beautiful things are learned otherwise—by hazard, in the Way of Pain, or at the Gate of Sorrow.

I learned two things on the day when I saw Seumas McIan dead upon the heather. He of whom I speak was the son of Ian McIan Alltnalee, but was known throughout the home straths and the countries beyond as Seumas Dhu, Black James, or, to render the subtler meaning implied in this instance, James the Dark One. I had wondered occasionally at the designation, because Seumas, if not exactly fair, was not dark. But the name was given to him, as I learned later, because, as commonly rumoured, he knew that which he should not have known.

I had been spending some weeks with Alasdair McIan and his wife Silis (who was my foster-sister), at their farm of Ardoch, high in a remote hill country. One night we were sitting before the peats, listening to the wind crying amid the corries, though, ominously as it seemed to us, there was not a breath in the rowan-tree that grew in the sun's way by the house. Silis had been singing, but silence had come upon us. In the warm glow from the fire we saw each other's faces. There the silence lay, strangely still and beautiful, as snow in moonlight. Silis's song was one of the Dana Spioradail, known in Gaelic as the Hymn of the Looms. I cannot recall it, nor have I ever heard or in any way encountered it again.

It had a lovely refrain, I know not whether its own or added by Silis. I have heard her chant it to other runes and songs. Now, when too late, my regret is deep that I did not take from her lips more of those sorrowful, strange songs or chants, with their ancient Celtic melodies, so full of haunting sweet melancholy, which she loved so well. It was with this refrain that, after a long stillness, she startled us that October night. I remember the sudden light in the eyes of Alasdair McIan, and the beat at my heart, when, like rain in a wood, her voice fell unawares upon us out of the silence:

Oh! oh! ohrone, arone! Oh! oh! mo ghraidh, mo chridhe!
Oh! oh! mo ghraidh, mo chridhe![10]

The wail, and the sudden break in the second line, had always upon me an effect of inexpressible pathos. Often that sad wind-song has been in my ears, when I have been thinking of many things that are passed and are passing.

I know not what made Silis so abruptly begin to sing, and with that wailing couplet only, or why she lapsed at once into silence again. Indeed, my remembrance of the incident at all is due to the circumstance that shortly after Silis had turned her face to the peats again, a knock came to the door, and then Seumas Dhu entered.

"Why do you sing that lament, Silis, sister of my father?" he asked, after he had seated himself beside me, and spread his thin hands against the peat glow, so that the flame seemed to enter within the flesh.

Silis turned to her nephew, and looked at him, as I thought, questioningly. But she did not speak. He, too, said nothing more, either forgetful of his question, or content with what he had learned or failed to learn through her silence.

The wind had come down from the corries before Seumas rose to go. He said he was not returning to Alltnalee, but was going upon the hill, for a big herd of deer had come over the ridge of Mel Mòr. Seumas, though skilled in all hill and forest craft, was not a sure shot, as was his kinsman and my host, Alasdair McIan.