“我已经把从公元前500年到现在的泛凯尔特历史当作创作跳板，” 罗莉娜麦肯尼特说道。“我所创作的音乐，顺着那条路行走，沿途收集各种主题和流派的风格，从本质上说，这种风格可能是，也可能不是一目了然的凯尔特派。在创作 The Mask And Mirror (面具和镜子)时，我开始到西班牙凯尔特角的加利西牙(Galicia)旅行，然后从那里继续我的历史和音乐朝圣。透过15世纪的西班牙窗户，我反复观看犹太教、伊斯兰教和基督教的色彩，然后我被一个精彩的世界迷住了：历史、宗教、跨文化孕育。”罗莉娜的第五张自己创作的音乐于1994年发行，动用了众多奇异乐器，有大提琴，风笛，印度鼓和阿拉伯琴，在全世界已销售了几百万张。这张唱片把西班牙、凯尔特和摩洛哥的影响融于一体，其灵感来自于爱尔兰、圣地亚哥-德孔波斯特拉和中东。伴随着十字圣约翰和莎士比亚诗歌的音乐场景是兼收并蓄、内容丰富的原创音乐，包括极富戏剧性的“神秘之梦”和“马拉克西夜市”。罗莉娜说，这张唱片通过旅行来检讨回荡了几个世纪的问题： “谁是上帝? 什么是宗教，什么是灵性? 什么东西已经暴露，什么东西还隐藏着 … 什么是面具和什么是镜子?”
Fear no more the heat o' the sun
Nor the furious winters' rages;
Thou thy worldly task hast done,
Home art gone, and ta'en thy wages
Golden lads and girls all must,
As chimney-sweepers, come to dust.
The sceptre, learning, physic, must
All follow this and come to dust.
Fear no more the frown o' th' great;
Thou art past the tyrant's stroke
Care no more to clothe and to eat;
To thee the reed is as the oak.
The sceptre, learning, physic, must
All follow this and come to dust.
All lovers young, all lovers must
Consign to thee and come to dust.
辛白林Cymbeline
《辛白林》的情节比较复杂，以霍林西德的《英格兰、英格兰与爱尔兰编年史》中的记载为基本框架，同时又揉进了薄伽丘的《十日谈》及童话的因素。
剧中主要讲的是英国国王辛白林因听信后妻的馋言，而错怪自己的亲生女儿伊摩琴；伊摩琴的丈夫也因受人捉弄而对妻子的贞节产生了怀疑。最后，辛白林在早年失散的两个儿子以及女儿、女婿的帮助下战胜了罗马入侵者。剧终时父子团圆，女儿、女婿也解除了误会，破镜重圆。当然，大团圆的幸福结局的一个主要原因是伊摩琴的性格。莎士比亚笔下的伊摩琴具有一种抗争精神：她能顶住父亲的压力坚持自己在婚姻上的选择；她拒绝了有权有势的克洛顿的多次挑逗；在多方面压力之下她坚强地活下去，相信总有一天能够追回自己的清白。这大概就是这个角色的魅力所在。
歌词出自莎翁的《暴风雨》，L,M的歌曲题材多源自于莎翁的作品
A farmer there lived in the north country
a hey ho bonny o
And he had daughters one, two, three
The swans swim so bonny o
These daughters they walked by the river's brim
a hey ho bonny o
The eldest pushed the youngest in
The swans swim so bonny o
Oh sister, oh sister, pray lend me your hand
with a hey ho a bonny o
And I will give you house and land
the swans swim so bonny o
I'll give you neither hand nor glove
with a hey ho a bonny o
Unless you give me your own true love
the swans swim so bonny o
Sometimes she sank, sometimes she swam
with a hey ho and a bonny o
Until she came to a miller's dam
the swans swim so bonny o
The miller's daughter, dressed in red
with a hey ho and a bonny o
She went for some water to make some bread
the swans swim so bonny o
Oh father, oh daddy, here swims a swan
with a hey ho and a bonny o
It's very like a gentle woman
the swans swim so bonny o
They placed her on the bank to dry
with a hey ho and a bonny o
There came a harper passing by
the swans swim so bonny o
He made harp pins of her fingers fair
with a hey ho and a bonny o
He made harp strings of her golden hair
the swans swim so bonny o
He made a harp of her breast bone
with a hey ho and a bonny o
And straight it began to play alone
the swans swim so bonny o
He brought it to her father's hall
with a hey ho and a bonny o
And there was the court, assembled all
the swans swim so bonny o
He laid the harp upon a stone
with a hey ho and a bonny o
And straight it began to play lone
the swans swim so bonny o
And there does sit my father the King
with a hey ho and a bonny o
And yonder sits my mother the Queen
the swans swim so bonny o
And there does sit my brother Hugh
with a hey ho and a bonny o
And by him William, sweet and true
the swans swim so bonny o
And there does sit my false sister, Anne
with a hey ho and a bonny o
Who drowned me for the sake of a man
the swans swim so bonny o
The Bonny Swans来源一个古诗歌，Loreena自己谱曲填词，在这之前则是作为单曲发行的。后来收录在专辑
这首长达7分18秒的歌曲描述的是一个古老的爱尔兰传说：“三姐妹走在小河边，妒忌的大姐突然把小妹妹推落到河里，因为小妹妹得到了王子的真爱。小妹妹一路求救，一路漂流……淹死了的小妹妹，变成了一只美丽的金色天鹅，被好心人捞起。刚好一个乐器工匠从那路过，他用天鹅的羽毛和骨头做成了一把美丽的竖琴，弹奏出动人的乐曲。竖琴最终被工匠送到了王宫，恶毒的大姐早已如愿以偿的成为王子的新娘，而竖琴也默默的陪伴着王子……” 美丽忧伤的故事，让我无法平静的听了很多遍。歌曲旋律相当简单，但编制精美，浓重的爱尔兰风格，Loreena 的柔美唱腔以及这动人的传说，让人不断的回味，久久不能忘怀。
Beloved, gaze in thine own heart,
The holy tree is growing there;
From joy the holy branches start,
And all the trembling flowers they bear.
The changing colours of its fruit
Have dowered the stars with merry light;
The surety of its hidden root
Has planted quiet in the night;
The shaking of its leafy head
Has given the waves their melody,
And made my lips and music wed,
Murmuring a wizard song for thee.
There the Loves a circle go,
The flaming circle of our days,
Gyring, spiring to and fro
In those great ignorant leafy ways,
Remembering all that shaken hair
And how the winged sandals dart,
Thine eyes grow full of tender care;
Beloved, gaze in thine own heart.
Gaze no more in the bitter glass
The demons, with their subtle guile,
Lift up before us when they pass,
Or only gaze a little while;
For there a fatal image grows
That the stormy night receives,
Roots half hidden under snows,
Broken boughs and blackened leaves.
For all things turn to barenness
In the dim glass the demons hold,
The glass of outer weariness
Made when God slept in times of old.
There, through the broken branches, go
The ravens of unresting thought;
Flying, crying, to and fro
Cruel claw and hungry throat,
Or else they stand and sniff the wind,
And shake their ragged wings: alas!
Thy tender eyes grow all unkind:
Gaze no more in the bitter glass
Beloved, gaze in thine own heart,
The holy tree is growing there;
From joy the holy branches start,
And all the trembling flowers they bear.
Remembering all that shaken hair,
And how the winged sandals dart.
Thine eyes grow full of tender care:
Beloved, gaze in thine own heart.
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