Not only are the incidents of the two forms of the story different in many respects, but the styles are so absolutely different that it would seem impossible to attribute them to the same author.  The first is a mere compilation by an antiquarian; it is difficult to imagine that it was ever recited in a royal court, although the author may have had access to a better version than his own.  He inserts passages which do not develop the interest of the story; hints at incidents (the temporary absence of Fergus and Conall) which are not developed or alluded to afterwards, and is a notable early example of the way in which Irish literature can be spoiled by combining several different independent stories into one.  There is only one gem, strictly so called, and that not of a high order; the only poetic touches occur in the rhetoric, and, although in this there is a weird supernatural flavour, that may have marked the original used by the compiler of this form ’ the human interest seems to be exceptionally weak.

The second or Literary form is as different from the other as it is possible for two compositions on the same theme to be.  The first few words strike the human note in Cuchulain’s message to his wife:  “Tell her that it goeth better with me from hour to hour;” the poems are many, long, and of high quality; the rhetoric shows a strophic correspondence; the Greek principle of letting the messenger tell the story instead of relating the facts, in a narrative of events (the method followed in the Antiquarian version) is made full use of; the modest account given by Cuchulain of his own deeds contrasts well with the prose account of the same deeds; and the final relation of the voluntary action of the fairy lady who gives up her lover to her rival, and her motives, is a piece of literary work centuries in advance of any other literature of modern Europe.

Some modern accounts of this romance have combined the two forms, and have omitted the irrelevant incidents in the Antiquarian version; there are literary advantages in this course, for the disconnected character of the Antiquarian opening, which must stand first, as it alone gives the beginning of the story, affords little indication of the high quality of the better work of the Literary form that follows; but, in order to heighten the contrast, the two forms are given just as they occur in the manuscripts, the only omissions being the account of the election of Lugaid, and the exhortation of Cuchulain to the new king.

Thurneysen, in his Sagen aus dem Alten Irland, places the second description of Fairyland by Laeg with the Antiquarian form, and this may be justified not only by the allusion to Ethne, who does not appear elsewhere in the Literary form, but from the fact that there is a touch of rough humour in this poem, which appears in the Antiquarian form, but not elsewhere in the Literary one, where the manuscripts place this poem.  But on the other hand the poetry of this second description, and its vividness, come much closer to the Literary form, and it has been left in the place that the manuscript gives to it.