blair - critical dissertatio ossian

8/16/2019 Blair - Critical Dissertatio Ossian

1/86

Critical DISSERTATION

ON

THE

POEMS

of

OSSIAN,

THE

SON

of FINGAL

LONDON:

Printed

f o r T.

B

e c k e t

an d

P. A. De Hon

dt, a t

T u l i y ' i -

Head, i n

the

Strand. MDCCLXIII.


2/86

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>

J

UU •

. : S

I

«M7

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p v

J.U


3/86

Advertisement.

THEubstance of the following D i s s e r t a t i o n w as

delivered by the Au t h o r

i n

the Course of h i s

Lectures on Rh e to r i c k an d

B e l l e s -

L e t t r e s , i n the

U n i v e r

s i t y of

Ed i n b u r g h. At

the

Desire

of s e v e r a l of h i s

Hearers, h e has enlarged, an d

given

i t t o the Publick, i n

i t s

present

Fo r m.

In

t h i s

D i s s e r t a t i o n , i t

i s

proposed,

t o

make

some Ob

s e r v a t i o n s

on t he an ci en t

Poetry of

Nations,

p a r t i c u l a r l y

the

R u n i c

an d the

C e l t i c ; t o point out those Characters

of

Antiquity, w h i c h the Works of

Osiian

bear

;

t o give an

Idea

of

the

S p i r i t

an d

S t r a i n

of

h i s

Poetry

;

an d

a f t e r

ap

plying

the

Rules of Criticism t o Fingal, a s an E pi c

Poem, t o e x a m i n e

the

Merit of O f f i a n ' s Com pos itions in

general, w i t h R e g a r d t o Description, Imagery, an d

S entiment.


4/86


5/86

Critical DISSERTATION

ONTHE

POEMSof O

SSI

AN,

THE

SONof

FINGAL

AMONG

he

m o n u m e n t s remaining

of the a n c i e n t s t a t e of

n a t i o n s , fe w a r e m o r e v a l u a b l e than t h e i r p o e m s o r s o n g s .

History,

when i t

t r e a t s

of

r em ot e an d

dark

a g e s , i s seldom

very

i n s t r u c t i v e . The beginnings of s o c i e t y , i n every country, a r e

involved

i n

fabulous

confusion

;

an d

though

they

w e r e

n o t ,

they

would

f u r n i s h fe w e v e n t s

wor t h r e c o r d i n g .

But,

i n

every p e r i o d of

s o c i e t y , human m a n n e r s a r e

a

curious s p e c t a c l e ; an d

t h e

most n a t u r a l

p i c t u r e s of

a n c i e n t

m a n n e r s a r e e x h i b i t e d

i n

the a n c i e n t p o e m s of

n a t i o n s . Th es e p r e s e n t t o u s ,

what

i s

much

m o r e

v a l u a b l e

than the

h i s t o r y

of such

t r a n s a c t i o n s a s

a

rude age can a f f o r d , The h i s t o r y of

human imagination

and

p a s s i o n . They make us acquainted with

the

n o t i o n s

and f e e l i n g s of ou r f e l l o w - c r e a t u r e s i n the mos t a r t l e s s

a g e s

; d i s c o v e r i n g

w ha t o b j e c t s they admired,

an d

w ha t p l e a s u r e s

they p ur su ed , be for e

t h o s e refinements

of

s o c i e t y

h ad taken

p l a c e ,

which e n l a r g e

i n d e e d , an d

d i v e r s i f y the

t r a n s a c t i o n s , but d i s g u i s e

t he

m a n n e r s

of

ma nki n d.

B B e s i d e s

I


6/86

2

A

critical DISSERTATION

Besides t h i s merit, which ancient poems h a v e w i t h philosophical

observers of

human

nature, t h e y h a v e

another

w i t h persons of t a s t e .

They

p r o m i s e some of

t he h ig he st beauties of poetical writing. I r

regular an d un po l i s h e d we may expect the productions of unculti

vated

ages

to

be

;

but

aboun d i n g,

a t

t h e

fa m e

time,

w i t h

that

e n

thusiasm, that

vehemence

an d

f i r e ,

which ar e

th e

soul of poetry.

For many circumstances of those t i m e s which we c a l l barbarous, ar e

favourable

t o the poetical s p i r i t . That

s t a t e ,

i n

which

human

nature

shoots

wild

an d

f r e e ,

t h o u g h

u n f i t f o r

other

i m p r o v e m e n t s ,

certainly

e ncou rages th e h i g h exertions of fancy an d p a s s i o n .

In t h e infancy of

s o c i e t i e s , men l i v e s c a t t e r e d an d d i s p e r s e d , i n t h e

m id s t of s o l i t a r y

r u r a l scenes,

where t he beauties of

nature

ar e

their

c h i e f e n t e r t ai n m e n t. They m e e t w i t h many o b j e c t s ,

to

them new

an d

strange

;

t h e i r wonder

an d

surprize

ar e

frequently

excited

;

and

by

the s u d d e n

c han g e s of

fortune occu rri ng i n their unsettled s t a t e

of l i f e , t h e i r passions

ar e

r a i s e d t o

t he

ut mo s t. T h e i r passions h a v e

n o t h i n g t o

r e s t r a i n them : t h e i r

imagination

has n o t h i n g

t o

c h e c k i t .

They display

t h e msel ves

to

on e

another

w i t hout disguise

;

an d con

verse an d a c t i n t h e u n c o v e r e d simplicity of nature. As t h e i r f e e l i n g s

are strong,

s o

t h e i r language, of i t s e l f , assu mes a

p o e t i c a l -

turn.

Prone

t o exaggerate, t h e y

describe

e v e ry

t h i n g

i n

t h e strongest co

lours ;

which

of

course

r e n d e r s

t h e i r

s pe e c h picturesque

an d figura

t i v e . Figurative language owes i t s r i f e chiefly

to

two causes ;

t o

t h e

want of

proper

names f o r

o b j e c t s , an d t o

th e

influence

of

i m ag i n a

t i o n

an d

p a s s i o n

over t h e

form

of

expression.

B o t h

these

causes

con-

curr i n the infancy of

s o c i e t y .

Figures ar e commonly considered as

a r t i f i c i a l modes of speech, devised by orators an d p o e t s , a f t e r t h e

w o r l d h ad

ad van c e d

t o

a

refined s t a t e .

The contrary of

t h i s

i s t he

t r u t h . Men

n e v e r

h a v e used

s o

many

figures

of

s t y l e , a s i n

those

r u d e ages, when, besides t he power of a warm imagination t o sug

gest

l i v e l y images, th e want of p ro p e r an d p r e c i s e t e r m s f o r t he i d e a s

t h e y

would

express, obliged them

t o

h a v e recourse

t o

c i r c umlocu

t i o n ,

m e t a p h o r ,

comparison, an d

a l l those

s u b s t i t u t e d forms

of e x

p r e s s i o n , which

give a

poetical a i r t o language. An American

c h i e f ,

a t t h i s

day,

harangu es a t

th e h e a i of

h i s t r i b e , i n

a

more

bold metaphorical s t y l e ,

than a

modern E u r o p e a n would a d v e n t u r e

to use i n

an E p i c

p o e m .

5


7/86

on

the

POEMSof O S S I A N. 3

^

In t h e

progress of

s o c i e t y , th e

genius an d m a n n e r s of

men

u n

d e r g o

a c h a n g e more favourable t o accuracy than t o

s p r i g h t l i n e s s

an d

sublimity. As th e world advances, the u nde r sta ndi ng gains g r o u n d

upon

t h e

imagination

; th e

u n d e r s t a n d i n g i s

more

exercised ; t h e

imagination,

l e s s .

Fewer objects

occur

t h a t a r e

new

or

surprizing.

Men apply t h e m s e l v e s t o t race t he causes of t hi n gs; t h ey correct

and r e f i n e on e an ot he r; t he y sub du e or

d i s g u i s e t h e i r p a s s i o n s

; t h e y

form t h e i r exterior

m a n n e r s upon

on e

u niform

standard of

p o l i t e n e s s

an d c i v i l i t y . Human nature i s p r u n e d according t o method an d

r u l e .

Language advances from s t e r i l i t y

t o

copiousness,

an d a t

the

same t i m e, from

fervour an d

enthusiasm,

t o correctness

an d

preci

s i o n . S t y l e b e c o m e s more chaste ; but l e s s animated. The

progress

of t he wo r l d

i n

t h i s respect r e s e mbl e s th e

progress

of

age i n

man.

The p o w e r s

of

imagination

ar e

m o s t vigorous an d

p r e d o m i n a n t

i n

youth

;

those

of the u n d e r s t a n d i n g ripen more

slowly, an d

often

a t

tain

not

t h e i r

maturity,

t i l l

th e imagination

be g i n

t o

f l a g .

H e n c e ,

poetry, which

i s

t h e child of imagination,

i s

frequently m o s t glow

i n g an d an i m a t e d i n the f i r s t ages of s o c i e t y . As

t he

i d e a s of our

youth ar e remembered w i t h

a peculiar

pleasure on account of t h e i r

l i v e l i n e s s

an d

vivacity

;

s o

t h e m o s t ancient poems

h a v e often

p r o v e d

th e greatest

favourites

of

n a t i o n s .

Po etry has b e e n

s a i d

t o

be

more

ancient

t han prose : an d how

e v e r p ar ad oxi c al such an a s s e r t i o n may s e e m , y e t , i n a qualified

s e n s e , i t i s t r u e . Men

certainly

n e v e r conve r se d

w i t h

on e

a noth e r

in

regular

numbers;

but

e v e n

t h e i r

ordinary

language

would

i n

ancient

times,

f o r the

reasons before

assigned,

a p p r oa c h

t o a

p o e t i

c a l

s t y l e ;

an d

th e f i r s t

compositions

transmitted t o p o s t e r i t y , beyond

doub t,

w e r e, in

a l i t e r a l s e n s e , poems ; that i s , compositions i n

which imagination had the chief han d, f o r m e d into

some

kind

of

n um be rs , an d

p r o n o u n c e d w i t h a musical m o d u l a t i o n or

tone.

Musick or s o n g has b e e n f o u n d coæval w i t h s o c i e t y among the

m o s t barbarous nations. The only s u b j e c t s which could prompt

men, i n

t h e i r

f i r s t

r ud e

s t a t e , t o

u t t e r t h e i r t h ough ts

i n

com pos i

t i o n s of an y length, w e r e such a s naturally as s u m e d the tone of

poetry ; p r a i s e s of

their

gods, or of t h e i r ancestors ; commemora

t i o n s

of

t h e i r

own

warlike

e xp loi ts ; or

lamentations

over

t h e i r

mis

fortunes. And b ef or e w r it i ng was invented, n o other compositions,

except

songs or

p o e m s , could

take

such hol d of the imagination and

B 2 memory,


8/86

4 A critical

DISSERTATION

memory, a s to be preserved by o r a l

t r a d i t i o n ,

an d h a n d e d down

f r o m

on e

race t o another.

Hence

we may

exp ect

t o f i n d poems

among

t he

a n t i q u i t i e s

of a l l

nations.

I t

i s

probable

t o o ,

that

an

extensive

search

would

discover

a c e r t a i n

d eg re e

of r e s e m blan c e among a l l

the m o s t ancient

p o e t i c a l

productions, from w ha t e v e r country t h ey h a v e proceeded.

In a

s i m i l a r s t a t e of

m a n n e r s ,

s i m i l a r objects an d p a s s i o n s operating upon

t he i mag in at ion s of men, will s t a m p

t h e i r productions w i t h

t h e

fame general character.

Some d i v e r s i t y

w i l l ,

n o

doubt,

be

occa

sioned by

climate an d

genius. B u t

mankind

n e v e r

bear such r e

s e m bl i n g f e a t u r e s , a s

t h e y

do i n the be g i n n i n g s

of s o c i e t y .

I t s

subs e q ue n t revolutions give r i f e t o the principal d i s t i n c t i o n s among

nations;

an d d i v e r t ,

i n t o channels w i d e l y s ep ar at ed , t hat

current

of

human

genius

an d

m a n n e r s ,

which

d e s c e n d s

o r i g i n a l l y

from

on e

s p r i n g . What we h av e be e n long ac c u s t o m e d t o c a l l t he oriental

v e i n of poetry,

because

some of the e a r l i e s t p o e t i c a l productions

h a v e come t o us f ro m t he East,

i s

probably no more o r i e n t a l t han

occidental;

i t

i s c h a r a c t e r i s t i c a l

of an age

rather than a country ; an d

belongs,

i n some mea su re, t o

a l l nations

a t

a c e r t a i n

period.

Of

t h i s the w o r k s of Ossian s e e m to furnish a r e markable proof.

Our

present subject l e a d s us

to

i n v e s t i g a t e the

ancient poetical

r em ai ns , n ot s o much of t h e e a s t ,

or

of t he Gr ee ks an d Romans,

a s

of th e northern

nations ; i n

order

t o

discover

w h e t h e r the

Got h i c

p oe t ry has

an y

r e se mbla nce

t o

t h e

Celtic

or

Galic,

which

we

ar e

about

t o

consider. Though

the

Got hs, u n d e r

which name we

usually comprehend a l l the Scandinavian t r i b e s , w e r e a people a l t o

g e t h e r f i e r c e

an d martial,

an d noted,

t o a

proverb, fo r t h e i r igno

rance of th e l i b e r a l a r t s , ye t t h e y

t o o ,

from the e a r l i e s t times,

h ad

t h e i r poets an d t h e i r songs. Th e i r poets w e r e distinguished by the

t i t l e of S c a t t e r s , an d t h e i r songs w e r e t e r me d Vxfes.* Saxo Gram-

maticus,

*

Olaus Wormius, i n the appe n d ix t o invention,

h e

f a y s e x p re f l y , t h a t

among

h i s Treatise

d e

Literatura Runica, has a l l

t h e s e

measures, rhyn.e, or c or re s pon -

gi v e n

a p a r t i c u l a r

account

of

the Go t h i c d e n ce

of

f i n a l

s y l l a b l e s ,

w as never

em>

poetry,

commonly

c a l l e d

Run ic, fr om

ployed.

He

a n a l y s e s

t h e

s t r u c t u r e

of

o n e .

Runes, w h i c h s i g n i f i e s the Gothic

l e t t e r s . of t h e s e kinds of

v e r s e , t h a t

i n

w h i c h the

He

informs

u s t h a t t h e r e

w e r e n o

fewer poem c f

L o db ro g,

afterwards

quoted, i s

than 136

d i f f e r e n t

heads of

measur e

or written ; w h i c h

e x h i b i t s

a very singular

v e r s e

u s e d i n t h e i r V y f ei ;

an d t h ou gh

we s p e c i e s o f h ar m o n y, i f i t can be allowed

a r e accustomed t o c a l l r h y m e a Gothic t h a t n am e , d e p e n d i n g n e i t h e r u p o n rhyme

n or

v


9/86

on the POEMSop O S S I A

N.

maticus,

a

D a n i s h Historian of considerable note, who

flou ri s he d i n

t h e thirteenth century,

i n for m s

us

that

very many of

these

songs,

containing t he

ancient traditionary s t o r i e s

of t h e

country, w e r e

f o u n d

e n g rav e n u p o n rocks i n

t he ol d

Runic

character

; s e v e r a l

of

which

he

has

translated

i n t o

Latin,

an d

i n s e r t e d

i n t o

h i s

History.

B u t

h i s

v er si on s ar e p l a i n l y

s o paraphrastical,

an d forced into

such

an imita

tion

of the

s t y l e an d

t h e m eas ur es of t h e

Roman p oets, that one

can

form no

judgment

from them of the native s p i r i t of the o r i

g i n a l . A more

curious

monument of the true

Goth ic

poetry i s

preserved by Olaus

Wormius i n h i s

book d e Literatura Runica.

I t

i s

an

E p i c e d i u m ,

or funeral

song, composed by Regner

Lodbrog

;

an d

t r a n s l a t e d

by Olaus, word f o r w o r d , from t h e o r i g i n a l . T h i s

Lodbrog

w as a king

of Denmark, who l i v e d

i n

t he e igh th

century,

fa mou s f o r

h i s war s an d v i c t o r i e s ; an d

a t

t h e f am e t i m e an

emi

n e n t Scalder or

p o e t .

I t was h i s mi sfortu ne t o

f a l l

a t

l a s t

i n t o

t h e

h a n d s of

on e

of h i s e n e m i e s , by

whom

h e

w as t hr ow n i nt o p r is on ,

an d condemned t o

be destroyed by s e r p e n t s . In

t h i s

s i t u a t i o n he

solaced h i m s e lf w i t h reh earsing

a l l t h e exploits

of

h i s

l i f e .

The

poem i s divided i n t o t w e n ty- n i n e stanzas, of

ten

l i n e s

each ;

and

e v e ry

stanza begins w i t h these wor d s,

Pugnavimus

Ensibus, We

h a v e

fought

wi t h our

swords. Olaus's version

i s i n

many places

so

obscure a s t o

be

hardly i n t e l l i g i b l e . I

hav e

subjoined

t he w h o l e be

low,

n or upon met r ical s e c t ,

or

q ua n t i ty

of

s y l l a b l e s , but

chiefly upon th e number

of

t h e

s y l l a b l e s ,

an d

t h e d i s po si t i on

of

the

l e t

t e r s In e v e r y s t an z a

was

an

e qu a l

number

of l i n e s : i n e v e r y

line

f i x s y l l a

bles. In e ach d i s t i c h .

i t

was requisite

that t h r e - e wercis should

b e g i n

w i t h the

same letter;

two of

th e

co r r e s p o n d i n g

words

placed i n t h e f i r s t line of

t he

dis

t i c h , t h e

third,

in

t he

s e c on d l i n e . In

e ach l i n e were a l s o r e q u i r e d

two

s y l l a b l e s ,

but

n e v e r th e

f i n a l

ones, f o r m e d either

of

t he

fame consonants,

or

fame v ow e l s .

As an

example

of

t h i s m e as u r e, Olaus

gi ve s us

these two

Lat i n l i n e s , constructed

exadiy

acco r d i n g

to

t h e

abo v e

rules

of

l l u i i i c verse

;

Christus

cap u t

n o s t r u m

Coronet t e

bonis.

The

i n i t i a l

l e t t e r s of Christus, Caput

an d C o r o n e t ,

make

t h e t hr ee

c o r r e s p o n d

i n g l e t t e r s

of t h e

d i s t i c h .

In

t h e

f i r s t

line,

t h e

f i r s t

syllables

of

Ch r i s t u s

an d

of

n o s t r u m

;

i n the

s e c on d l i n e , t h e

e n in

co r o n e t an d i n

bonis make the requisite

c or r e s p on d e n c e o f s y l l a b l e s . F r e q u e n t i n

v ers ions an d

transpositions

were

p e r m i t t e d

in t h i s p o e t ry ; which would

naturally

follow from

such laborious

at te nt ion t o

t h e collocation o f w or d s.

The curious on t h i s subject may con

s u l t

likewise

D r . Hicks's Thesaurus

L i n -

guarum S j p t e n t r i o n ali u m ;

particularly

t h e

23d ch ap t e r of his

Grammaiica

Anglo S axonic a Mæso Gothica; where

t h e y

w i l l

sind a

f u l l

acco u n t

of

t h e

l t r u 6 , -

t u r e oft h e Anglo-Saxonverse, which n early

r e s e m b l e d th e Go t h i c . They will find a l s o

some s p e c i m e n s both of

Gothic

an d

Saxon

poetry. An extract,

which

Dr.

Hicks

h as i i i v e n from t h e work of one of t h e

b

DaniQv


10/86

A critical

DISSERTATION

low, exactly a s h e

has published i t

;

and s h a l l

t r a n s l a t e a s

much

a s

may g i v e

t h e English

r e a d e r

an

i d e a

of t h e

s p i r i t an d s t r a i n

of

t h i s

kind

of

poetry.*

We

hav e fought wi th our

swords.

—

was

young,

w h e n ,

t o -

wards t h e e a s t , i n the bay of Oreon, we m a d e t o r r e n t s of blood

f l o w , t o

gorge

the ravenous

b e a s t of p r e y ,

and

the yellow-

footed

b i r d .

Th e r e resounded the

hard

s t e e l upo n the

l o f t y

hel-

m e t s

Dan i s h

S c a l d e r s , e n t i t l e d , Hcrvarer Saga,

containing

an

evocation from

the

dead,

may

b e fo un d i n the 6t h

v o l u m e

of Mis

cellany P o e m s , published by Mr. Dry -

den.

*

I .

Pugnavimus Ensibus

Haud

p o s t

l o n g u m

t e m p u s

Cum i n Gotlandia accessimus

Ad s e r p e n t i s i m m e n s i necem

Tune i m p e t r a v i m u s Thoram

Ex h oc vocarunt me v i r u m

Quod

s e r pe n t e m

transfodi

Hirfutam b rac cam o b i l l a m c e d e m

Cusp idc

i ctum

i n t u l i i n co lu b r u m

Ferro luc idorum flipendiorum.

2.

Pugnæ f a c t a copia

Cum Helsingianos postulavimus

Ad aulam O d i n i

N a v e s direximus

i n

ostium V i s t u l a ;

Mucro

p o t u i t

t u r n m o r d e r e

Omnis e r a t vulnus u n d a

T e r r a

rubefacta

Calido

Frendebat

glad i

u s i n l o r i c a s

Gladius

f i n d e b a t Clypeos.

5 -

Menvni neminem tune f u g i s s e

P r i u s q u a m i n

navibus

H e ra u d n s

i n b e l l o caderet

Non f i n d i t navibus

Alius

baro præslantior

Mare ad p o r t u m

In

navibus l o n g i s p o s t ilium

Sic a t t u l i t p r in ce p s p as si m

Alacre i n bellum c o r .

ultum

juvenis f u i q u a n d o

a c q u i s i v i -

mus

O r i e n t e m

v e r s u s

i n

O r eo n i c o

f r e t o

Vulnerum a m n e s avidæ

feræ

Et f l a v i p e d i

a v i

A c c e p i m u s ibidem fonuerunt

Ad sublimes galeas

Dura f e r r a magnam

es cam

Omnis

e r a t oceanus

vulnus

Vadav it corvus i n

sanguine

Cæ s o ru m .

Alte tulimus tune lanceas

Quando

v i g i n t i

annos n u m e r a v i m u s

Et ce leb r e m l a u d e m c o m p a r a v i m u s passim

V i c i m u s

octo barones

In

o r i e n t e ante D im i ni p or tu m

Aqui l æ i m pe t rav i mu s tune

s u f f i c i e n t e m

H o s p i t i i sumptum i n i l i a s t r a g e

Su dor

d e c i d i t

i n v u l n e r u m

Oceano p e r d i d i t exercitus s e t a t e m .

6 .

Exercitus a b j e c i t

clypeos

Cum hasta v o l a v i t

A r d u a ad virorum

pectora

Mombrdit S carforum cautes

Gladius i n p u g n a

Sanguineus

e r a t Clypeus

Antequam

Rafno rex caderet

Fluxit

ex

v i ro rum

c a p i t i b u s

Calidus i n l o i i c a s s u d o r .

7 -

Habere potuerunt t u r n corvi

A n t e fndirorum

i n s u l a s

Sufficientem

prædam

dilaniandam

Acquisivimus

f e r i s carnivoris

Plenum p r an d i u m un i co actu

D i f f i c i l e e r a t unius f a c e r e

m e n t i o n e m

O r i e n t e s o l e

Spicula

v i d i

p ung ere

P ro pule ru n t arcus ex f e f e r r a .


11/86

on

the POEMSop

OSSIAN.

7

* * metsofmen.

The w hol e ocean

was on e

wou n d. The c ro w

w a d e d i n

the

blood

of the s l a i n . When

we h ad

n u m b e r e d

t w e n ty y e a r s ,

we

l i f t e d our

s p e a r s on

high, an d every

w h e r e

s p r e a d

ou r r e now n. Eight barons we ove r ca me i n the

e a s t ,

be-

f o r e

t h e

p o r t

of

Diminum

;

an d

p l e n t i f u l l y

we

f e a s t e d

the

eagle

« i n

8 .

A l t u m

m u g i c r u n t e n s e s

Antcquam i n Laneocampo

E i f l i n u s rex

c e c i d i t

P r o ce f li m u s a ur o d i t a t i

Ad

terram

prostratorum

d i m i c a n d u m

Gladius s e c u i t C ly p eor u m

Picturas i n galearum c o n v e n t u

C e r v i c u m

mustum ex

vulneribus

Diffusum

per

c e r e b r u m

f i s l u m .

9 -

Tenuimus Clypeos i n sanguine

Cum hastam

u n x i m u s

A n t e Bo r i n g holmum

Telorum

n ube s

d i f r u m p u n t cly p e u m

Ext r us i t arcus e x f e m e ta l l u m

Vol nir c e c i d i t

i n

c o n f l i c t u

Non e r a t

i l l o

rex major

Cæsi

d i s p e r s i

l a t e per httora

Feræ amplectebantur

escam.

10.

Pugna

manifeste

crescebat

Antequam Freyr rex

caderet

In Flan d r o r u m t e r r a

Cæp i t

c a e r u l e u s

ad

i n c i d e n d u m

S a n g u i n e i l l i t u s i n aur ea m

L o r i c a m

i n p u g n a

D u r u s armorum m u c r o

olim

V i r g o

deploravit

m at u t i n am lanienam

Multa

p ræ da dabatur f e r i s .

11.

C en t i es c e nt e n os

v i d i jacere

In n av ibu s

U bi Æn g lan e s vocatur

Na v i g a v i mu s

ad

pugnam

P e r s e x d i e s a n t e q ua m

e x e r c i t u s

caderet

T r an s e g i m u s mucronum

miffam

In

exortu

s o l i s

Coactus

e s t

p ro n o s t r i s

g l a d i i s

Valdiofur i n b e l l o o c c u m b e r e.

12.

Ruit

pluvia

sanguinis d e g l a d i i s

P ræ c c p s i n Bardafyrde

Pallidum c or pu s p r o a c c i p i t r i b u a

Mu r m u r a v i t arcus u b i mucro

Acriter mordebat Loricas

In

c o n f l i c t u

O d i n i Pileus Galea

Cucurrit

arcus ad v ul nu s

V e n e n a t e

ac ut us c on sp er sus s ud or e

fan*

guineo.

Tenuimus m ag i ca scuta

Alte

i n pugnæ ludo

An t e H ia d ni n g um

s i n u m

V i d e r e l i c u i t t u r n v i r o s

Qui g l a d i i s

Iacerarunt Clypeos

In

g l a d i a t o r i o

murmure

Galeæ a t t r i t æ v i r o r u m

Erat

s i c u t s ple n d i dam

v i r g i n e m

In l e c t o juxta s e collocare

Dura

venit

tempestas

Clypeis

Cad av e r c e c i d i t i n

terram

In N o r t u m b r i a

Erat c i r c a m a t u t i n u m

t e m p u s

H o m i n i b u s n e ce s su m

e r a t fugere

Ex

prælio

u b i

acute

C a f l i d i s c a m p o s m o r d e b an t g l a d i i

Er at h oc v e l u t i

Juvenem v i d u a m

In p r im ar i a s e d e o s c u l a r i .

5 -

Herthiofe

e v a s i t

fortunatus

In Australibus

Orcadibus i p s e

Victorias i n n o s t r i s h o m i n i b u s

Cogebatur

i n

armorum

n i m b o

Rogvaldus

oc c umb e r e

I s t e v e n i t summus super

a c c i p i t r e s

Luctus

i n

gladiorum ludo

S trenue j a c t a b a t

concussor

Galeæ

sanguinis

t e l i . , j 5.


12/86

8

A


i n t h a t s l a u g h t er . The warm stream of

w o u n d s

r a n i n t o the

* * o c e a n .

The a r m y f e l l

b e f o r e u s . When we s t e e r e d

our

( h i p s

i n t o

the m o u t h

of t h e V i s t u l a ,

we

s e n t

the

Hellingians t o the

Hall of O d i n. Then

d i d

the sword b i t e . The waters w e r e a l l

'

on e

wou n d.

The

e a r t h

was

dyed

r e d

with

t h e

warm

stream.

« The

16.

Quilibet jacebat

t r an s v er fi m s up r a

alium

Gaud e ba t p u g n a lætus

Accipiter ob gladiorum ludum

Non f e c i t

aquilam

au t

aprum

Qui f r la nd i am g ub e r na vi t

Co n v e n t u s

s i e b a c s e r r i

Clypci

Mars tanus rex j e j u n i s

Fiebat i n

v e d r æ s i n u

Præda

data

c o r v i s .

17

-

Be llator e m multum v i d i cadere

Mane

ante

machæram

Virum i n mucronum d i f f i d i o

Filio meo

i n c i d i t

m a tu r e

Gladius

juxta

cor

Egillus

f e c i t Agnerum

spoliatum

Impe r t e r r i t u m v i r u m

v i t a

S o n ui t l an c ea pro pe Hamdi

Gr i s ea m loiicam splcndebant v e x i l l a .

18.

V;rborum tenaces v i d i d i f l e c a r e

Haut m i n u t i m

p ro

l u p i s

Endili

maris

ensibus

Erat pe r

Hebdomadæ fpacium

Quas i mulieres v i n u m apportarent

Rubefactæ erant naves

V a l d e i n s t r ep i t u armorum

S c i f T a

e r a t

l o r i c a

In Scioldu ngorum

p r æ l i o .

' 9 -

P u l c h r i c o m u m

v i d i crepusculascere

Virginis a m a t o r e m c i r c a m a t u t i n u m

Et

consabulationis

amxum

v i d u a ru m

Erat s i c u t calidum b a l n e u m

V i n e i v a s i s

nympha

p o r t a r e t

Nos

i n

l l æ

f r e t o

Antiquam Orn rex caderet

S a n g u i n e u m Clypeum v i d i

r u p t u m

Hoc i n v e r t i t v i r o r u m vitam.

20.

Egimus gladiorum

ad cædem

Ludum i n L indis i n f u l a

Cum regibus t r i b u s

Pauci potuerunt inde

I x t a r i

Cecidit

multus

i n rictum ferarum

Accipiter

d i l a n i a v i t

c a r n e m cum lupo

Ut

s a t u r

inde

d i f e e d e r e t

Hybernorum s a n g u i s

i n oceanum

Copiose d e c i d i t p e r m ac t at i on i s

t e m pu s.

21 .

Alte g l a d i u s

mordebat

CIypeo3

Tune

cum

a u r e i c o l o r i s

Hasta f r i c a b a t

l o r i c a s

V i d e r e l i c u i t i n O n l ug s i n f u l a

P e r s e c u l a multum p o s t

l b i

s u i t ad gladiorum ludos

R e g e s proceflerunt

Rubicundum e r a t c i r c a infulam

Ar volans D r a c o vul nerum.

22.

Q u i d e s t v i r o

f o r t i

m o r t e

c e r t i u s

E t s i

i p f e

i n

armorum

n i m b o

Adveifus c o l l o c a t u s s i t

S æ p e

deplorat

æ t a t e m

Qui

nunquam pr e m i t u r

Malum f e r u n t t i m i d u m i n c i t a r e

Aqui l a m ad gladiorum l u d u m

Meticulofus

venit

n u f p ia m

Cordi fuo

u f u i .

23-

Hoc

numero

a e q uum u t

procedat

In c on t ac tu gladiorum

Juvenis

unus contra alt e ru m

Non

retrocedat v i r a v i r o .

Hoc

s u i t

v i r i f o r t i s

n o b i l i t a s diu

S e m p e r debet amoris am i cu s v i r gi n um

Audax

e s s e i n fremitu a r m o r u m .

24.


13/86

on the POEMSof O S S I A N.

* '

The s w o r d

r u n g

upon t h e

coats of

mail,

an d clove

the bucklers

i n

twain.

• None f l e d on that day, t i l l

among

h i s s h i p s

Heraudus

' ' f e l l . Than him n o braver baron

cleaves

the s e a

w i t h

ships ;

a

chearful heart did he ever

bring t o

the combat. Then the hos t

' '

t h r e w

away their

s h i e l d s ,

when

t he

u p l i f t e d

spear

flew

a t

t h e

b r e a s t s of heroes.

The

s w o r d b i t the Scarfian rocks; bloody

' ' was t he s h i e l d i n b a t t l e , u n t i l Rafno t h e king was s l a i n .

From

t h e h ea ds of warriors th e warm

sweat

st r ea med down t h e i r ar -

m o u r .

The c r o w s around

t h e Indirian i s l a n d s h ad an ample

' ' prey. I t w e r e d i s s i c u l t to s i n g l e out on e

among

s o many deaths.

At t h e r i s i n g of th e fu n

I

b eh el d the

spears

piercing the bodies of

f o e s , an d the bows t h r o w i n g forth t h e i r steel-pointed arrows.

K Loud roared t h e s wor d s

i n

t he plains of Lano.—

he

v i r g i n long

b ewa iled t he s laug ht er

of

that mor n i ng. —n t h i s s t r a i n the poet

continues

to

describe s e v e r a l other military e x p l o i t s .

The i m a g e s

ar e not much varied ;

t he noise of

a rms, the s t r eam i n g

of

blood,

an d

24 .

Hoc videtur m i h i r e vera

Quod f a t a scqui mu r

Rarus t r a n s g r e d i t u r f a t a Pa r c a r um

Non

d e s t i n a v i £llæ

De

v i t a exitu

mcæ

Cum e g o s a n gu i n e m

s e m i m o r t u u s

t e g e r e m

Et

naves i n aquas

p r o t r u s i

Passim

i m pe t rav i mu s t u r n f e r i s

Eseam

i n

S c o t i a e

s i n u b u s .

25.

Hoc

r i d e r e

me

f a c i t

s e m p e r

Quod Balderi p a t r i s

s cam n a

Parata s c i o i n

aula

B i b e m u s cerevisiam b r e v i

Ex

concavis c r a t e r i b u s c raniorum

Non g e m i t v i r f o r t i s contra mortem

Magnifici

i n O d i n i d o m i b u s

Non

v e n io

desperabundis

V - e r b i s ad

odini

aulam.

27.

VaHe i n c l i n a t u r ad hær e d i tat e m

Crud e le s t a t nocumentum

a vipera

A n gu i s

i n h a b i t a t aulam c o r d i s

S p e r a m u s a l t e r i u s ad

O t h i n i

Virgam i n

Ellæ sanguine

F i l i i s m e i s l i v e f e e t

S ua

irarubescet

Non a c r e s j uvenes

S cflion e m t ranq uillam f a c i e n t .

28.

26.

Hi e v e l l e n t

n u n c omnes

F i l i i Aflaugæ

g l a d i i s

Amarum bellum e x c i t a r e

S i exacte

s c i r e n t

Calamitates

n o s t r a s

Q u e r n n on pauci

angues

V e n e n a t i

me

discerpunt

Matrem accept m e i s

. F i l i i s i t a ut corda v a l c a n t .

Hab eo

quinquagies

Prælia sub s i g n i s

f a c t a

Ex b e l l i i n v i t a t i o n e semel

Minime putavi h o m i r r u m

Quod

me futurus e s s e s

Juvenis d i d i c i mucronem rubesacere

Alius

rex præstantior

Nos

Asæ invitabunt

Non e s t l u ge n d a m o r s .

29 .

Fert

a n i m u s f i n i r e

Invitant me Dyfæ

Quas

e x

O t h i n i Aula

O t h i n u s

i r r i i h i

m i s i t

L æ t u s cerevisiam cum Ask

In summa s e d e b i bam

V i t æ e l a p s a e

sunt

h o n e

R i d e n s

moriar.

dj

t bc

'-


14/86

i o

A


t h e f e a s t i n g

t h e birds

of prey, often recurring. He m e n t i o n s

t h e

d ea th

of two of

h i s

sons i n b a t t l e ; an d the

lamentation

h e describes

a s

made

f o r on e of them i s very s i n g u l a r . AGrecian

or

Roman poet would

h a v e i n tr od uc ed t h e

virgins

or nymphs of t he w o o d ,

bewailing

the u n

t i m e ly

f a l l

of

a

young

hero.

But,

s a y s

our Got hi c

poet,

when

Rogvaldus w as

s l a i n , f o r him mourned a l l the hawks of h eav e n,

a s

lam e n t i n g a benefactor who

h ad s o

l i b e r a l l y supplied them w i t h

p r e y ;

f o r

boldly,

a s

h e

adds, i n

t he

s t r i f e

of

swords,

d id

the

br eake r of h e l m e t s

throw the spear

of

blood.

. r r T . ' ' j v r t r j n • • . . | i ' : : • . ' u > . > t . s . u u J J . : - - i ' . ' • - - • • .

The poem concludes

w i t h sentiments of

t he h ig he st

brav e ry

an d

c o n t e m p t of death. What i s more c e r t a i n t o the brave man t h a n

.

death, t h o ug h am i d s t th e s t o r m of swords, h e stand

always

r eady

to oppos e i t ? He only r e g r e t s t h i s l i f e who hath n e v e r known

d i s t r e s s .

The

t i morous man a l l u r e s

the

d e v o u r i n g eagle

to t h e

f i e l d

of

b a t t l e .

The

coward, w h e r e v e r

h e

c o m e s , i s

u s e l e s s

t o

him-

s e l f . T h i s I e s t e e m

honourable,

that t h e

youth should

ad van c e

to

t h e

combat f a i r l y

m a t c h e d on e

against a noth e r ;

n or

man r e t r e a t

from m a n . Long

w as

t h i s th e warrior's

highest glory.

He

who

a s p i r e s t o

t he lov e of v i r g i n s ,

o ug h t always to

b e f or e m os t

i n the roar

of ar ms.

I t

appears

t o me

of t r u t h ,

that

we ar e l e d by th e Fates.

Seldom can an y overcome

th e

a p p oi n t m e n t o f d e s t i n y . L i t t l e d i d

I f o r e s e e that

Ella

* w as t o h a v e my l i f e i n h i s

han d s,

i n t h a t d ay

when

fainting 1

concealed my blood, an d p us he d forth my ships

into

the w a v e s ; a f t e r we h ad

spread

a r e p a s t f o r

th e

beasts of p r e y

t hroughou t

the

S c o t t i s h

bays.

But*

t h i s

makes

me

always

r e j o i c e

that

i n the h a l l s of our father Ba lder [ o r O d i n ] I know there are

f e a t s pr e pared,

w h e r e , i n

a short

time,

we

s h a l l

be d r i nk i n g a l e

out

of the

h o l lo w s k u l l s

of

our e n e m i e s.

In t h e

hous e

of

the

m i g h t y O d i n , n o brave man la men t s

death.

I come n ot wi th t h e

voice

of despair

to

Od i n ' s h a l l . How eagerly would a l l th e son s

' '

o f A sl au g a now r us h

to

war,

d i d

t h e y know t h e

d i s t r e s s

of

t h e i r

f a t h e r , whom

a

multi tu de of venomous serpents t e a r I have g i v e n

t o

my children a

mother

who hat h f i l l e d t h e i r hearts w i t h valour.

1

am

s a s t

approac h i n g t o my end. A

cruel

d ea th

awaits me from

th e

v i p e r ' s b i t e .

A

snake

dwells

i n

th e m i d s t

of my heart. I

h o p e

that

t he

s w o r d

of

some

of

my

sons

ma il

yet

b e

s t a i n e d

w i t h

the blood of E l l a . The v a l i a n t youths w i l l wax

re d

w i t h

anger,

an d

w i l l

not s i t

in

peace. F i f t y

an d

on e t i m e s hav e I reared t h e

*

T h i s

was

t h e name

of

h i s enemy

who

h ad

c on d em ne d h i m t o

d e a t h .

5 standard


15/86

on the

POEMS

of

O 8 S

I

AN, i r

standard

i n

b a t t l e . In

my

youth

I

learned

to d ye

t he

s w o r d in

blood

:

my hope was th en, that n o ki n g among men would be

more

r e n o w n e d than m e .

The

goddesses

of d eat h

w i l l

now

soon

c a l l

me

; I

must

not mourn my

death. Now

I e n d my

song.

The

goddesses

i n v i t e

me

away;

t h e y

whom

Odin

has

s e n t

to

me from

h i s

h a l l . I w i l l

f i t

upon a l o f t y f e a t ,

an d

d r i n k

a l e

joyfully

w i t h the goddesses of death. The

hours

of my l i f e ar e

u r un out.

I

w i l l smile when I d i e .

• - - : r t :.. i

. :

- ; : . . .

. \ l - < - . y f - . / i . . . - • .

This

i s

s uc h

poetry a s we might expect f ro m a

barbarous nation.

I t breathes a m o s t ferocious s p i r i t . I t i s wild, har s h an d i r r e g u l a r ;

but a t t h e s a m e t i m e

a n i m a t e d

an d strong ; t h e s t y l e, i n the o r i g i n a l ,

f u l l of i n v e r s i o n s , and, a s we learn from some of Olaus's

notes,

h i g hly metaphorical

an d

figured.

But

when

we

o p e n

the

works

of

Ossian, a

very

d i f f e r e n t

scene

presents i t s e l f . There we f i n d the f i r e an d the e n t h u sia sm of t h e

m o s t early

times,

combined

w i t h an a m a z i n g

d e g r e e

of

regularity

an d a r t . We f i n d tenderness, an d e v e n

delicacy

of sentiment, greatly

p r e d o m i n a n t over f i e r c e n e s s

an d

barbarity. Our hearts ar e

m e l t e d

w i t h

th e

s o f t e s t

f e e l i n g s ,

an d a t

th e f am e t i m e elevated w i t h

th e

highest i d e a s of m a g n a n i m i t y , generosity, an d true heroism. When

we turn

f r o m

the

poetry of Lodbrog

to that

of Ossian,

i t i s l i k e

passing from a savage

d e s a r t , into

a

f e r t i l e an d cultivated

country.

How i s t h i s t o

be

accounted f o r ? Or b y what means t o

b e

recon

c i l e d w i t h

t he

r e m o t e antiquity

attributed

to

these poems

? T h i s i s

a

c ur i ou s p oi n t

;

an d

requires

t o

be

i l l u s t r a t e d .

That

t he an ci en t

Scots

were of Celtic o r i g i n a l , i s p a s t a l l doubt.

T h e i r

conformi ty

w i t h

t he C el t ic n at i on s

i n

language, m a n n e r s an d

r e l i g i o n ,

proves i t

to

a

f u l l demonstration.

The Ceftæ, a great

an d m i g h t y

people,

altogether d i s t i n c t from

th e

Got h s

an d Teu

tones, on ce e xt en de d t h e i r d o m i n i o n over

a l l

the

west

of Europe

;

but s e e m

t o

h a v e

h ad t h e i r

m o s t f u l l

an d

comp l eat

establishment in

Gaul.

Wherever the

Celtæ

or

Gauls

a r e

m e n t i o n e d by ancient wr i

t e r s , we s e l d o m f a i l

t o hear

of

t h e i r

D r u i d s an d

t h e i r Ba rds

; t he

i n

s t i t u t i o n

of

which two

orders,

was

t h e

c a p i t a l

d i s t i n c t i o n

of

t h e i r

man

ners

an d policy. The

D r u i d s

w e r e

t h e i r philosophers an d

p r i e s t s

;

t h e Bards, t h e i r

poets an d

recorders of h eroic actions : And both

these

orders

of

men,

s e e m t o h a v e s u b s i s t e d

among

t h e m , a s

chief

C 2 members


16/86

12 A critical DISSERTATION

members of t h e

s t a t e , f ro m t i m e

immemorial

* . We

m u s t

n or

therefore

i mag i n e

the Celtæ to

hav e

b e e n altogether a gross

an d r u d e

ration. They p o s s e s s e d from

v e ry r e m o t e ages

a f o r m e d s ys t e m of

d i s c i p l i n e an d m a n n e r s , which

appears t o have

h ad

a d e e p

an d l a s t

i n g

influence.

Ammianus

Marcellinus

gives

them

t h i s

express

t e s t i

mony,

t h a t

there f l o u r i s t i e d

among them

the

study

of

t he

mo s t laud

able a r t s ; introduced

by

the

Bards, whose

o f f i c e

i t was

t o fing i n

heroic v e r s e ,

th e

gallant

actions

of

i l l u s t r i o u s men

;

an d

by

t h e

D ru ids,

who l i v e d together

i n colleges

or s o c i e t i e s ,

a f t e r th e Pythago

rean m a n n e r , an d philosophizing upon the highest s u b j e c t s , a s s e r t e d *

t he immortality of t h e human f o u l - j - . Though Julius Cæsar i n h i s - .

account

of

Ga ul , d oe s n ot

exprcsly

m e n t i o n the

Bards,

ye t

i t

i s plain

that

u n d e r t h e

t i t l e of D ru ids, h e comprehends

that w h o l e college

or order; of

which t h e Bards, who, i t

i s

probable,

w e r e t h e d i s

c i p l e s

of

t he

Druids,

u ndoub te dly

made a

p a r t .

I t

deserves

remark,,

that according to h i s account, the Druidical i n s t i t u t i o n f i r s t took r i f e

i n B r i t a i n ,

an d

passed

from

t h e n c e into

Gaul

; s o that t h ey who as

pired t o b e t h or ou gh masters of that learning w e r e wont t o r e s o r t to

B r i t a i n .

He

a dds t o o , that such as

w e r e

t o be i n i t i a t e d among t h e

Dr ui d s, were obliged t o commit t o t h e i r memory a gr eat number of

v e r s e s , i n s o m u c h

that

s om e e m pl oye d t w e n t y years i n t h i s course of

education ; an d

that t h ey did

not

think

i t lawful to r e cor d these

poems i n writing,

but sacredly h a n d e d them down

by t r a d i t i o n

from

race t o race £.

So

strong

w as

t h e

at t ac h m e n t

of

t h e

Ce l ti c n at i on s

to t h e i r

p o et ry

an d t h e i r B ar ds , t hat

amidst a l l

the c han g e s

of

t h e i r g o v e r n m e n t and-

m a n n e r s , e v e n long a f t e r the

order

of the

D r u i d s

w as extinct,

•

T«'»

f

?A«

t uv

T i f A U f j t t v u v Sutfieovraf p e r B a r d e s Euhages Druidas. Et

• V » . BxfSoi t( x , «2tei?, x j Afii^ai. B t s t . 3 - B a r d i quidem f o r t i a v i r o r u m illustrium.

l o t

f j . i v

CfiLvmxl x ) T r o i t i T a i .

btrabo.

l i b . 4. fac ta h e r oi c is

c o m p o s i t a

versibus

cum

dul-

E ' i f l - ( i r af au-roJV x a s t i r o i r n a . ) f j . t X u v , cibus l y r æ m o d u li s cantitarunt. Kuliages

( fixesus o \

f t - a C v a - w . »T0i

3 t - p . t r ifyot- v e r o scrutantes

scr i e m

sublimia n a t u i x

v . w v ,

r a . 7 f Au«


17/86

ow

the POEMS op as SI

AN.

13

and the

national

r e l i g i o n a l t e r e d , t h e Bar d s

conti nu ed

t o f l o u r i s h ;

not

a s a

s e t of s t r o l l i n g s o n g s t e r s , l i k e the Greek

'Ao^oi

or

R ha p s o -

d i s t s , i n Homer's time, but a s an order of men highly respected in

t h e

s t a t e , an d su p po rte d by a publick establishment. We find

t h e m ,

according

to

t h e

testimonies

of

Strabo

an d

Diodorus,

before

t h e

age of Augu stu s Cæsar

;

an d we f i n d them r e m a i n i n g

u n d e r

t h e

lame n a m e ,

and

e xe rc is in g t he s a m e functions

a s

of o l d ,

i n

Ireland,

an d i n th e nor t h of Scotland, almost down t o our own times. I t i s

well known t h a t

i n

both these c o u n t r i e s ,

e v e ry

Regulus or

chief

had

his

own Bard, who

was considered a s

an o s s i c e r o f r an k

i n h i s

court;

an d h ad lands a s s i g n e d . h i m , which d e s c e n d e d

t o h i s

family. Of t h e

honour

i n which

th e B a r d s w e r e

held, many

instances

occur in

Ossian's p o e m s . On a l l i mpo rta nt occasions, t h e y

w e r e

the amba ssa

dors b e t w e e n c o n t e n d i n g c h i e f s ;

an d t h e i r pe rsons w e r e

h eld sacred.

u Cairbar feared

to s t r e t c h h i s s w o r d

to

t he

bards,

t h o u g h h i s foul

was dark.—oose the bards, s a i d h i s brother

C a t h m o r , t h e y

ar e

t he sons of other times.

T h e i r

voice s h a l l be h e a r d i n other a g e s , .

' ' w h e n . t he

kings

of Temora h a v e f a i l e d

*.

From a l l t h i s , the Celtic

t r i b e s

c l e a r l y appear

t o h a v e

b e e n ad «

dicted

i n s o h i g h

a

d e g r e e to poetry, an d t o have made i t

s o much-

t h e i r study

from t he

e a r l i e s t t i m e s , . , a s may remove our wonder at

m e e t i n g with a

v e i n of h i g h e r

poetical r ef ine me n t

among

t h e m ,

t h a n

was a t f i r s t s i g h t

to h a v e

be en e xp ect ed

among

nations,

. whom we

ar e ac c u s t o m e d

t o c a l l

harbarous.

Barbarity,

.

I must

observe,

i s

a .

v e r y

equivocal

t e r m ;

i t a dmits

of

many

d i f f e r e n t

for ms an d

degrees;

an d t h ough,

i n

a l l of t h e m ,

i t exclu de

polished m a n n e r s *

i t i s ,

how-*

e v e r , n ot inconsistent w i t h g e n e r ous s e n t i m e n t s an d tender a f f e c - ?

t i o n s - f - . What degrees of friendship, love and. h e r o i s m , may

p os

s i b l y

•P. 188. 366

an d

4 . 0 . 6 . I s h a l l s u bj o i n S c he f f e r ' s

- f Surely among

the wild

Laplanders,

Latin

v e r s i o n

of on e of

t h e m , w h i c h

has

i f an y whe r e, b a r b a r i t y i s i n i t s most per- the a pp e a ra n ce of being s t r i c t l y l i t e r a l .

s e c t s t a t e . Yet t h e i r love son gs w h i c h S o l , clar i s s i mum e m i t t e l u m e n i n palu-

Scheffer h as g iv e n

us i n h i s Lap ponia, a r e

dem Orra.

S i

e i i i l u s insumma

picearum

a

proof t h a t n a t u r a l tenderness

of

sentiment c a c u m i na

scirem

me

visutum

O r r a palu-

may

be

found

i n a

country,

i n t o w h i c h

the d e m ,

i n ea e n i t e r e r , u t

v i d e r e m

i n t e r

quos

l e a s t

g l i m m e r i n g

of

s c i e n c e

has

n ev er p e-

a r n i c a mea

e s s e t s t o r e s ;

o m n e s

suseinderem

n e t r a t e d . To most

English

r e a d e r s t h e s e f r u t i c e s i b i enatos, omnes

ra m o s præse-

songs a r e well known

by

the elegant cat e m, hos v i r e n t e s ramos. Cursum n u-

t t a n i l u t i o n s of t h e m i n t h e s p e ct at or, No. biujn eflem s e c u t u s , quæ h e r s u u m i n s t i

t u t i n g .


18/86

14 .

A critical

DISSERTATION

s i b l y be fou n d

to p r ev a i l i n

a

r ud e

s t a t e of

s o c i e t y ,

n o on e can s a y .

Astonish i ng

instances of

them we know, from h i s t o r y , h a v e

some

t i m e s appear e d : an d a few characters d i s t i n g u i s t i e d by those h i g h

q u a l i t i e s ,

might l a y

a foundation for a s e t of m a n n e r s b e i n g

intro

d u c e d

i n t o

the songs

of

t he B ard s,

more r e f i n e d ,

i t

i s

probable,

an d

exalted,

according t o

th e usual p o e t i c a l

l i c e n c e ,

t h a n th e r e a l m a n n e r s

of th e country. In p a r t i c u l a r ,

w i t h

respect

t o h e r o i s m

;

t he great

employment of t h e Ce lt ic bar ds ,

was to

delineate th e characters,

an d

sing t h e p r a i s e s of heroes. S o

Lucan

;

Vos quoque

qui f o r t e s

a nimos,

belloque

p e r e m p t o s,

L au d i bu s i n longum vates d i f f u n d i t i s

ævum

P l u r i m a securi f u d i s t i s c a r m i n a Bardi. P h a rs. 1 . j .

Now

when

we

consider

a colle g e or

order

of men,

who,

cultivating

poetry

t h r o u g h o u t

a

long

s e r i e s

of

a g e s ,

h ad

t h e i r

imaginations

con

tinually employed on t h e i d e a s of h er oi sm ; who h ad

a l l

the poems

and

panegyricks, which w e re c om p os e d by t h e i r predecessors, handed

down

t o them

w i t h

care; who r i v a l l e d

an d e n d e a v o u r e d to

outstrip

those who h ad gon e before

t h e m ,

eac h i n the celebration of h i s

particular h e r o ; i s i t n ot natural

to

think, that a t length t he

c h a

racter of a h e r o would appear i n t h e i r songs w i t h

t he h igh es t

l u s t r e ,

an d be ad or ne d w i th q u a l i t i e s truly noble ? Some of the

q u a l i t i e s

i n d e e d

which

distinguish

a

Fingal,

modera tion, h u m a n i t y,

an d c l e

mency,

would n ot p r ob ab ly be t he

f i r s t

i d e a s of

h e r o i s m occurring

to

a

barbarous

p eo p le

:

B u t

n o sooner h ad such

i d e a s b e g u n t o

dawn

on

t he m i n d s

of p o e t s , than, a s

th e

human mind e a s i l y o p e n s to t h e

native

representations

of

human perfection,

t h e y

would

be seized

an d

e m b r a c e d ; t h ey would enter into t h e i r panegyricks; t h e y would af

ford m at er ial s for

succeeding

bards

to

work u p o n ,

an d

i m p r o v e ;

tuunt v e r s u s

p a l u d e m O r ra,

s i ad t e volare

catenæve

f e r r e æ , quæ d ur i flim e l igan t ?

poflem a l i s , cornicum

a l i s .

S ed m ih i de-

Sic a mor

c on t or q ue t c ap u t

nostrum,

mu tat

s un t al æ,

al æ

querquedulæ,

pedesque,

an -

cogitationes

s c n t e n t i a s .

P u e r o r u m vo-

sc rum pedes plantæve bonæ, quæ d e s e r r e l u n t a s, voluntas v e n t i ; juvenum cogita-

me

valeant ad t e . S a t i s

e x p e c t a s t i

d i u

; t i o n e s , l o n g æ c o g i t a t i o n e s .

Quos

s i au -

per t o t d i es , t o t d i e s tuos optimos, o c u l i s d i r e m

o m n e s ,

a v i a , a v i a

j u s t a

d e c l i -

t u i s jucundiflimis, corde tuo amicissimo. narem. Unum e s t consilium quod ca-

Quod

s i

longissime

v e l l e s

e f f u g e r e ,

c i t o

p i a m

;

i t a

s c i o

v ia m

rectiorem

me

r e p e r -

t a m e n t e consequerer. Quid fermius

turum.

S c h e f f e r i Lap ponia, Cap. 25.

v a l i d i u s v e

e s s e

p o t e s t quam

contorti n e r v i ,

t h e y


19/86

on the POEMSof

OSSIAN.

15

t h e y would con tr ibut e n ot a l i t t l e to exalt t he publick m a n n e r s .

For such songs a s t h e s e , familiar t o the

Celtic warriors

f ro m t h e i r

childhood, an d t hr oug hout t h e i r whole l i f e , both i n war an d i n

peace,

t h e i r

principal entertainment; m u s t

h a v e h ad a very consi

derable

influence

i n propagating among

them

r e a l m a n n e r s

nearly

a p p r o ac h i n g t o

t he

p o e t i c a l an d i n f o r m i n g e v e n such a

h e r o

a s

Fingal. Especially

when

we consider that among t h e i r limited

objects

of

ambition,

among

t h e

few

advantages

which

i n a

savage

s t a t e ,

man could

obtain over man,

the chief was

Fame,

an d that Im

mortality which t h ey e xp e ct e d

t o

receive

f ro m

t h e i r v i r t u e s an d e x

p l o i t s , i n the

songs of

bards

- f - .

Having made t h e s e r e ma rk s on the Celtic poetry an d Bar d s i n g e

n e r a l ,

I

( h a l l n ext consider

t h e particular

advantages which

Oman

p o s s e s s e d . He appears c l e a r l y to h a v e l i v e d i n a period which e n

joyed

a l l

t he

b e n e f i t

I

j u s t

now

m e n t i o n e d

of

traditionary

poetry.

The exploits

of

Trathal,

Trenmor,

an d the other

ancestors of

Fi n

g a l ,

ar e

s p oken

of

a s

f a m i l i a r l y known. A n c i e n t bards

ar e frequently

alluded

t o .

In

on e r e markabl e p a s s a g e , Ossian

describes

h i mself a s

living

i n a f o r t of c l a s s i c a l age, e n l i g h t e n e d by the m e mor i al s of f o r

mer times, c o n v e y e d

i n t h e

songs of bar d s ; an d points

a t

a p e r io d

of darkness an d

ignorance

which l a y

b eyo n d

th e reach of t r a d i t i o n .

Hi s

words,

f a y s

he,

came

only

by

halves

t o our ears ;

t h e y

w e r e

d a r k a s

th e

t a l e s

of

other

times,

before t h e

l i g h t of the

son g

a r o s e |. Ossian, himself, appears

t o h av e be en

endowed b y n a

ture w i t h an exquisite s e n s i b i l i t y of heart ; p r o n e

to

that tender me

lancholy

which

i s

s o

often

an

attendant

on

great

genius

;

an d

sus

ceptible equally of strong

an d

of

s o f t

e m ot ion s . Fi e was not only a

p r ofe ss ed b ar d, educated

w i t h

c a r e , a s

we

may

e a s i l y

b e l i e v e , t o

a l l

t h e

p o e t i c a l a r t

t h e n

known, an d connected, a s h e

s h e w s us

himself,

i n

i n t i mat e f ri e n d sh i p w i t h the other c o n t e m p o r a ry bards, but

a war

r i o r

a l s o ; an d t h e son of

the m o s t r e n o w n e d h e r o an d

prince of h i s

age. Th i s f o r m e d a

c on j u nc t i on o f

circumstances, uncommonly f a

vourable t owar d s exalting

the

imagination

of

a

poet. He

r e l a t e s

e x

peditions i n

which

h e h ad

b e e n

e n g ag e d

;

h e s i n g s of b a t t l e s i n

f

When Edward

I . con que r e d

Wal e s , t h e people ;

an d

of

w hat nature

h e

j u d g e d

h e

put

t o

death

a l l

the

Welch

b a r d s ,

t h a t

i n f l u e n c e

t o b e .

The

Welch

bards

T h i s

c r u e l

p o l i c y

p l a i n l y shews, how

w e r e

of

the fam e C e l t i c race wi t h the

great

an

influence

h e

i magi n e d the

songs

S c o t t i s h an d I r i s h ,

of

t h e s e bards

t o

have over

the

m i n d s

of % P .

101.

which


20/86


which h e

h ad sought an d

overcome ; h e

h ad b eh el d the m o s t i l l u s

trious scenes which that ag e c oul d e x h i b i t , bot h of h e roi s m

i n

war,

an d magnificence i n peace. For however r u d e t h e ma gnificenc e

of those times may

s e e m t o

u s ,

we

m u s t remember that a l l

ideas

of

mag n ifi c e n c e

a r e

com parat i v e

;

an d

that

t h e

age

of

Fingal

was

an

a e r a of distinguished splendor i n that

part

of

th e

wor ld. Fi n gal

r e i g n e d

over

a

considerable t e r r i t o r y ; h e was e n r i c h e d w i t h t h e

s p o i l s

of t he

Roman p ro vinc e

; h e

was

e n n obl e d by h i s

v i c t o r i e s

an d

great actions;

an d w as i n a l l

r e s p e c t s

a personage

of much h i g h e r

• d i g n i t y

than

an y of

the c h i e f t a i n s ,

or h ead s of Clans, who l i v e d

i n

t he

fame country, a f t e r

a

more

extensive

monarchy was e s t a b l i s h e d .

The

m a n n e r s of O s s i a n ' s age,

s o

s a r

a s

we

can

gather them from

h i s writings, w e r e abundantly

favourable t o

a

p o e t i c a l genius. The

two d i s p i r i t i n g v i c e s ,

to

which L o n g i n u s

i m p u t e s

t he

decline

of

poetry,

covetousness

an d

effeminacy,

w e r e

a s

y e t

unknown.

The

cares of men w e r e few. They l i v e d a roving indolent l i f e ; h u n t i n g

an d

war t h e i r principal e m p l o y m e n t s ;

an d

t h e i r

chief

a m u s e m e n t s ,

t h e

m u s i c k of

bards an d

t he f e a s t of

s h e l l s .

The great

object

p ur

sued by h eroic s p i r i t s , was

to

receive t h e i r fame, that i s ,

t o

become

worthy

of

b eing celebrated i n

t he s on gs of bards;

an d

' '

t o h a v e

t h e i r

name

on the four gray stones. To d i e , u n l a m e n t e d b y

a

bard,

was

deemed so great a misfortune, a s e v e n

t o

disturb t h e i r

ghosts

i n

another s l a t e . After death,

t h ey

exp ecte d

t o

follow em

p l oy m e n t s

of the fame nature w i t h those which had amused them on

earth ;

to

f l y

w i t h t h e i r friends

on

clouds, t o

p u rsu e a i r y

deer,

an d

to

l i s t e n

t o t h e i r

p r a i s e i n

t h e

mouths

of

bards.

In s uch

t i m e s

a s

t h e s e , i n a country where poetry

h ad

b e e n s o long c u l t i v a t e d , an d

s o

h igh ly h o n o u r e d , i s i t

an y

wonder

that

among

the

race an d

succession

of

bards,

on e Homer should a r i s e ; a man who,

endowed

w i t h

a

n a

t u r a l h a p p y genius, favoured by peculiar advantages of birth and

condition,

an d

m e e t i n g i n

t he c our se of

h i s

l i f e , w i t h a v a r i e t y of

incidents p ro p e r t o f i r e h i s imagination,

an d to

touch

h i s

heart,

should

a t t a i n a

degree of e m i n e n c e

i n

poetry, worthy

t o

draw

t h e

admiration

of more refined ages ?

The

compositions

of

Ossian

ar e

s o

strongly

marked

w i t h

charac

t e r s of

an ti qu it y, t hat

although there w e r e n o external proof t o sup

port that

antiquity,

hardly an y

reader

of judgment

an d

t a s t e ,

could

h e s i t a t e

i n

referring

t b ,

m

t o

a

very r e m o t e a e r a . There ar e

four

great s t a g e s t h r o u g h which men s u c c e ss i v e l y p a s s 3n the progress of

s o c i e t y .


21/86

on

the POEMSof O

S S

I

A N. r 7

s o c i e t y .

The f i r s t an d e a r l i e s t

i s t h e l i f e

of

hunters

; pasturage suc

ceeds

t o

t h i s ,

a s

th e i d e a s of property be g i n

t o

take root;

next,

a g r i

culture ; an d l a s t l y , commerce. Throughout Oman's

p o e m ? , we

plainly find

ourselves

i n

t h e

f i r s t

of

these

periods

of

s o c i e t y ;

d u r i n g

w h i c h , h u n t i n g was t he

chief employment of

men, an d th e principal

method

of

t h e i r p rocu ring

s u b s i s t e n c e .

Pasturage

was

not i n d e e d

w h o l ly

unknown ; for

we

hear of

dividing

th e h e r d

i n

th e c a f e of a

divorce

* ;

but

the

a l l u s i o n s to h e r d s an d t o c a t t l e

ar e not

many

; an d

of agriculture,

we f i n d

n o t r a c e s . No

c i t i e s appear t o h a v e

b e e n

built

in

th e

t e r r i t o r i e s

of Fingal.

No

a r t

i s m e n t i o n e d except

that ofwork-

i n g i n i r o n . E v e r y t h i n g

presents

t o

us

the m o s t simple an d

un

i m p r o v e d m a n n e r s .

At

t h e i r f e a s t s , t he h er oe s p r e par e d t h e i r own

repast ;

t h e y s a t r o u n d th e

l i g h t of th e b u r n i n g

oak

; th e wind l i f t e d

t he ir loc ks , an d

whistled t h r o u g h

t h e i r o p e n

h a l l s .

Whatever was

beyond

t h e

n e c e s s a r i e s

of

l i f e

was

known

t o

them

only

a s

the

s p o i l

of

t h e Roman

p ro vinc e ;

t he

gold

of

t h e stranger;

t he

l i g h t s

of

t h e

stranger ; t he steeds of t h e stranger, t h e children of th e

rein

- j - .

T h i s representation of Oman's times, must s t r i k e us th e m o r e ,

a s

g e n u i n e

an d

authentick,

when i t i s

compared

w i t h

a

poem

of

l a t e r

date, which Mr. Macpherson has pr eserved

i n

on e of

h i s notes. I t

i s that w h e r e i n f i v e bards a r e represented a s

pasting

the e v e n i n g i n t h e

hou se

of

a

c h i e f ,

an d

each of them separately giving

h i s

description

of

the

night

J .

The

night

scenery

i s

beautiful ; and t h e

author

has

plainly imitated the s t y l e an d manner of Oman : But h e has allowed

some

i m a g e s to appear

which betray a l a t e r

p e r io d

of

s o c i e t y .

For

we m e e t

w i t h windows

clapping, t h e

h e r d s of

goats

an d

cows

s e ek

i n g s h e l t e r ,

the s h e p h e r d

w a n d e r i n g , corn

on

t h e p l a i n ,

an d t he

wakeful h i n d rebuilding th e shocks of corn

which

h ad b e e n over

t ur n e d by t h e

tempest. Whereas i n

Oman's

works,

from

b e g i n n i n g

to e n d , a l l i s consistent ; no modern

a l l u s i o n

d r o p s from him;

but

e v e ry w h e r e , the fame

face of

r ud e nature appears ;

a

coun t ry

w h o l ly u nc ul ti vat ed , t hi nl y i nh ab it e d, an d

recently

peopled. The

* P.

31.

l i t t e r ; an d

the

g e m s m e n t io n e d i n

the dc-

f

The chariot of Cuchullin has b e e n s c r i p t i o n ,

ar e n o

other than

the

shining

t hought

by

s o m e

t o

be

represented

a s

m o r e

s t o n e s

or

pebbles,

known

t o

be

f • r e q u e n i l y

magnificent

than i s c o n s i s t e n t

with

the

p o- foun d

along the western c o a s t o f

Scotland.

- verty of t h a t

age;

i n

Book

I . of Fi ng al .

\

P . 253.

J C u t t h i s c h a r i o t i s p l a i n l y only a h o r s e -

D

g r a f s


22/86

j8

A critical DISSERTATION

g r a s s of

th e

rock, t h e flower of the heath,

the t h i s t l e

w i t h

i t s

beard,

ar e the ch ief

o r n a m e n t s

of h i s landscapes. * * The

d e f e r s , ' *

s a y s

Fingal, i s enough t o me, w i t h a l l i t s woods an d deer. *

The

c i r c l e of i d e a s

an d t r a n s a c t i o n s , i s

no

w i d e r than s u i t s

s u c h

an

age ; Nor an y greater d i v e r s i t y

introduced

i n t o characters, t han

t h e events of that pe riod would naturally d i s p l a y . Valour an d bo

d i l y

strength ar e

t he

a d m i r e d q u a l i t i e s . Con t e n t i on s a r i s e , a s i 3 -

usual among savage n a t i o n s , from t h e s l i g h t e s t c a u s e s . To be af

fronted

a t

a t o u r n a m e n t , or t o be om i t t e d

i n the i n v i t a t i o n

to a

f e a s t ,

kindles a war. Women ar e often carried

away by

force ;

an d the whole t r i b e , a s in the Homeric times, r i f e t o av e n g e t he

w r o n g . The heroes show r efi ne me nt of s en ti me nt i nd ee d on seve

r a l

occasions,

but

n o n e

of

m a n n e r s .

They s peak

of

t h e i r p a s t

ac

tions w i t h

f r e e d o m , boast

of

t h e i r e x p l o i t s ,

an d

sing t h e i r

own

p r a i s e . In t h e i r b a t t l e s , i t i s evident that d r u m s , t r u m p e t s or bag

pipes, w e r e not known or used.

They

h ad no exp ed i e n t f o r giving

t h e

military

alarms

but s t r i k i n g

a

s l s i e l d ,

or

r a i s i n g

a

loud cry:

And

h e n c e

th e loud an d

t e r r i b l e voice of Fingal i s often

m e n t i o n e d , a s

a

necessary q u a l i f i c a t i o n

of

a great general;

l i k e

the

p o i j v

KyxQogMmXucg

of Homer.

Of

military

d i s c i p l i n e or s k i l l , t he y ap pe ar t o have b e e n

entirely d e s t i t u t e . T h e i r

a rmies

s e e m not

t o

h av e be en

numerous

;

their b a t t l e s

w e r e

disorderly ; an d

terminated,

f o r

the m o s t

p a r t ,

by a

personal combat, or w re s tl in g

of

the two chiefs ; a f t e r w h i c h ,

th e

bard

fung

the

son g

of

peace,

an d

the

b a t t l e

ceased

along

t h e

« f i e l d fr

The manner of composit io n bears a l l t h e marks of th e g r e a t e s t

a n t i q u i t y .

No a r t f u l t r a n s i t i o n s ;

n or

f u l l and ex t e n d e d connec tion

of p a r t s

;

such a s we find among the pcets of

l a t e r

times, when

or-'

der an d regularity of composition w e r e more studied an d known ;

but

a s t y l e always rapid an d v eh e m en t ; i n narration

c o n c i s e ,

e v e n

to abruptness, an d leaving s e v e r a l circu msta nces to be supplied by

the r e a d e r ' s

imagination.

The language has

a l l

t h a t f i g u r a t i v e c a s t ,

w h i c h,

a s

1

before

stiewed,

p a r t l y

a

g l o w i n g

an d

undisciplined

i m a

gination,

partly

the s t e r i l i t y of language, an d the want of p r o p e r

t e r m s, hav e al ways i n t rod uc e d i n t o

t he

eaily s p e e c h of nations ; and

i n s e v e r a l r e s p e c t s ,

i t

c a r r i e s a r e markable r e s e m blan c e t o the s t y l e

* Page 78 .

f P ag e

140.

of


23/86

on the

POEMS

of

O

S S

I

A N. 19

of

t he

Old T e s t a m e n t . I t

deserves particular

notice, a s on e

of

t he

m o s t g e n u i n e an d d e c i s i v e characters of an ti qu it y, t hat v e ry few ge

neral t e r m s or abstract i d e a s , ar e t o be met with i n t he w h o l e c o l

lection of

Ossian's works. The

i d e a s of men

a t

f i r s t ,

w e r e

a l l

par

t i c u l a r . They had n ot

w o r d s to

express general conceptions.

These w e r e

the c o n s e q u e n c e

of

more p rofou nd

r e f l e c t i o n , an d lon

ger acquaintance w i t h

t he a r t s of t h o u g h t an d of speech. Oslian,

accordingly, alm os t n ev er expresses h i m s e l f

i n

t he a b s t r a c t . Hi s

ideas e x t e n d e d l i t t l e farther t han

t o

t he objects h e s aw

around

h i m .

A publick,

a community, t h e universe, w e r e conceptions beyond

h i s sph ere. Even a m o u n t a i n ,

a

s e a ,

or a l a k e ,

which h e has

oc

casion

to

m e n t i o n , t h o u g h only i n a s i m i l e , ar e for

t he

m o s t

part

particularized; i t

i s

the h i l l of C ro mla, the s t o r m of t he

s e a

of

Mal-

m o r ,

or

t h e reeds

of t he lake of L e go. A mode of

expression,

which whilst i t i s c h a r a c t e r i s t i c a l

of

antient

a g e s ,

i s a t t h e fa m e

t i m e

h igh ly

favourable

to

d e s c r i p t i v e

poetry.

For

t he

s a m e

r e a s o n s ,

p e r

s o n i f i c a t i o n

i s a poe t i cal figur e n ot very

common

w i t h

Ossian.

In

an i mat e o b j e c t s , s uc h

a s

w i n d s , t r e e s ,

flowers,

h e

s o m e t i m e s

p e r

s o n i f i e s

w i t h great beauty.

But t h e

personifications

which

ar e

so

familiar t o l a t e r poets of Fame, Time, Terror, V irtue, an d the r e s t of

that c l a s s , were unknown

t o

our Celtic

bard.

T h e s e w e r e modes of

conce p t io n too abstract

f o r h i s

age.

Al l

t hes e are

m a r k s s o un doubt e d, an d

some

of them t o o ,

so

nice

an d d e l i c a t e , of t h e m o s t early times,

a s

p ut t h e h i g h antiquity of

th ese

poems

out

of question. Especially

when

we

consider,

that

i f

th ere

h ad

be en an y

i m p o s t u r e i n t h i s

c a f e ,

i t

must

h a v e

b e e n

con

trived

an d

executed i n t h e Hi gh l an d s o f

Scotland,

two or three ce n

t u r i e s

ago ;

a s up to t h i s period,

bot h by manuscripts, an d by

t h e

t e st i mo ny of

a

multi tu de of l i v i n g w i t n e s s e s , con c e r n i n g the u n co n -

t r o v e r t i b l e t r a d i t i o n

of

these

p o e m s ,

t h ey can c l e a r l y

be

traced.

Now

t h i s

i s

a

period

when

that

country

enjoyed n o advantages f o r a

composit io n of

t h i s

kind,

which i t may n ot

be

su p posed t o hav e

e n

joyed i n a s g r e a t , i f not i n a greater degree,

a thousand

years before.

To su p pose that

two

or three

h u n d r e d

years ago, when we well

know the H i g h la n d s

to h a v e

b e e n i n a

s t a t e of gross

ignorance an d

barbarity,

th ere

f l i o u l d

h a v e

a r i s e n

i n

that

cou ntry

a poet,

of s uch

exquisite

genius, an d of such d e e p k n o w l e d g e of m a n k i n d , an d os

h i s t o r y ,

a s to d i v e s t

h i m s e l f of t he

i d e a s an d

m a n n e r s of h i s own

D

2 age,


24/86


age, an d

t o

give us a

j u s t

an d n at u ral p i ct ur e of a s t a t e of society

ancienter

by a

thousand years ; on e who

could

support

t h i s

cou nte r

f e i t e d antiquity t h r o u g h

such a

large collect ion of p o e m s ,

w i t hout

t h e l e a s t inconsistency ; an d who p o s s e s s e d of a l l t h i s genius an d a r t ,

had

a t

the

s a m e

t i m e

th e

s e l f - d e n i a l

of

concealing

himself,

an d

of

ascribing

h i s own

works to an

antiquated

bard,

w i t h o u t th e impos

ture b eing

detected

; i s

a

supposition

that transcends

a l l

b o u n d s

of

c r e d i b i l i t y .

There a r e , b e s i d e s , two other circu msta nces

to

be attended t o ,

s t i i i

of

greater

w e i g h t,

i f

p o s s i b l e , against t h i s

hypothesis.

One i s ,

th e t o t a l

absence

of r e l i g i o u s

ideas

from

t h i s work

; f o r

which t h e

t r a n s l a t o r

has,

i n

h i s

preface, g i v e n a very probable

account, on

t h e

footing of i t s be i n g t h e

work

of

Oman.

The Druidical s u p e r s t i

tion

was,

i n

t h e days

of

Oman,

on

t he p oi nt

of

i t s

f i n a l

extinction

;

an d for

p a r t i c u l a r

r e a s o n s , odious to

t h e

family

of

Fingal;

whilst

t h e

Christian

f a i t h

w as not

ye t e s t a b l i s h e d .

B u t

had

i t

b e e n

t h e

work of one,

t o

whom the i d e a s of C h r i s t i a n i t y w e r e familiar from

his infancy ;

an d who h ad

s u p e r a d d e d

to them

a l s o

t he

bigotted su

p e r s t i t i o n of

a

d a r k age an d c oun tr y ; i t i s

impossible

but i n some p as

sage

or

other,

t h e

traces

of them would

h a v e appeared.

The

other

circu msta nce i s ,

t he e n t i r e

s i l e n c e

which reigns

w i t h

r e sp e ct t o a l l the

gr eat clan s

or

f a m i l i e s ,

which

ar e

now

established i n th e Highlands.

The

origin of these s e v e r a l clans i s known

t o

be v e ry ancient: And

i t i s a s

well

known,

that

th ere i s no passion by which

a

native High

lander

i s

more

distinguished,

t h a n

by

a t t a c h m e n t

t o h i s c l a n ,

an d

jea

lousy for i t s honour.

That a

H i g h l a n d bard, i n forging

a

work r e

l a t i n g

to

t h e a n t i q u i t i e s of

h i s

c ou n tr y, s h ou ld h a v e

inserted

n o c i r

c u m s t a n c e

which pointed

out

t he r i s e of

h i s own c l a n ,

which a s c e r

tained

i t s a n t i q u i t y ,

or

increased i t s glory, i s of a l l suppositions

that

can

be

for m e d, t h e m o s t i m p robable

;

an d th e s i l e n c e on t h i s h ea d,

a m o u n t s

t o a

d e mo nst ra tion that t he aut hor l i v e d before an y of t h e

p re se nt g re at c lan s w e r e f o r m e d or known.

Assuming i t

th en, a s we well may, for c e r t a i n , that

t he

poems

now u n d e r con s id e rat io n, ar e g e n u i n e venerable monuments of v e ry

r e m o t e antiquity; I p r oc e e d t o

make some

r e ma rk s

u p o n t h e i r ge

neral

s p i r i t an d

s

blair - critical dissertatio ossian

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