eviction by Anglo-Scottish landlords. Fr. Rankin therefore urged them to depart for Australia in an assisted emigration scheme and promised that he would soon follow. Fr. Rankin sailed from Scotland on the James Baines to Australia and, in 1857, he was made parish priest of St Michael's Roman Catholic Church in Little River, near Geelong, State of Victoria. Fr. Rankin died there in 1863. Tune "Mac Fir Àrois" (the son of the Man of Aros) – i.e., an heir of Aros in the Isle of Mull in Scotland – is traditionally held to have drowned in Loch Friosa (Loch Frisa) in Mull. The Rev. John Gregorson Campbell, in his Superstitions of the Highlands of Scotland, pp205–206, states the following. The heir of Aros, a young man of great personal activity, and, it is said, of dissolute manners, having an opinion of himself that there was no horse he could not ride, was taken by a water-horse into Loch Frisa, a small lake about a mile in length in the north-west of Mull and devoured. This occurred between his espousal and marriage, and the Lament composed by his intended bride is still and deservedly a popular song in Mull. There seems to be this much truth in the story, that the young man was dragged into Loch Frisa by a mare which he was attempting to subdue and drowned. It would appear from the song that his body was recovered. However, 'Mhic Àrois' appears to be a garbling of a term like 'mac Fir Àrasaig' (son of the Man of Arisaig). The medieval title 'Fear Àrasaig (Man of Arisaig) belonged to Clan Mackintosh. In p168 of An Gaidheal Vol II (1873), Donald C MacPherson wrote the words for what he titled 'Cumha Mhic a Arois. No Cumha Mhic-an-Tòisich.' (the Lament for the Son of a-Arois. Or the Lament for Mackintosh.) The lyric he provides is a variant of the lyric for Cumha Mhic an Tòisich but contains a line 'Dheagh mhic a Arois' (Good son of a-Arois). The tune of Tàladh ar Slànaigheir bears similarities to the group of songs related to the pipe lament Cumha Mhic an Tòisich (Mackintosh's Lament), which has another alternative title of Cumha Mhic Rìgh Aro (Lament for the Son of the King of Aro). However, these similarities are only in general melodic structure and poetic metre, but not in musical mode or scale. It is