of Cormac by Finn the son of Cumhal, and it is around Finn and Oisín
the son of Finn, that most of the romances of the Fenian cycle are
gathered. Others which tell of the battles and deeds of Conn and Art
and Cormac and Cairbre of the Liffey, Cormac's son, are more or less
linked on to the Fenians. On the whole, Finn and his warriors, each of
a distinct character, warlike skill and renown, are the main
personages of the cycle, and though Finn is not the greatest warrior,
he is their head and master because he is the wisest; and this
masterdom by knowledge is for the first time an element in Irish
stories.

If the tales of the first cycle are mythological and of the second
heroic, these are romantic. The gods have lost their dreadful, even
their savage character, and have become the Fairies, full often of
gentleness, grace, and humour. The mysterious dwelling places of the
gods in the sea, in unknown lands, in the wandering air, are now in
palaces under the green hills of Ireland, or by the banks of swift
clear rivers, like the palace of Angus near the Boyne, or across the
seas in Tir-na-n-Óg, the land of immortal youth, whither Niam brings
Oisín to live with her in love, as Morgan le Fay brought Ogier the
Dane to her fairyland. The land of the Immortals in the heroic cycle,
to which, in the story of _Etain and Midir_ in this book, Midir brings
back Etain after she has sojourned for a time on earth, is quite
different in conception from the Land of Youth over the far seas where
delightfulness of life and love is perfect. This, in its conception of
an unknown world where is immortal youth, where stormless skies, happy
hunting, strange adventure, gentle manners dwell, where love is free
and time is unmarked, is pure romance. So are the adventures of Finn
against enchanters, as in the story of the _Birth of Oisín_, of
_Dermot in the Country under the Seas_, in the story of the _Pursuit