duced, from the foul and disgraceful charges of imposture and falsehood? Impelled by these considerations, I was induced to undertake a task, little compatible with other interesting and laborious pursuits, and which necessarily occasioned much trouble and exertion; but these will be most amply recompensed, since they have established, I trust, two important propositions, which I hope can no longer be questioned: 1. THAT THE POEMS OF OSSIAN ARE AUTHENTIC ANCIENT POETRY; And 2. THAT, IN A REMOTE PERIOD OF OUR HISTORY, THE MOUNTAINS OF SCOTLAND PRODUCED A BARD,* WHOSE WORKS MUST RENDER HIS NAME IMMORTAL, AND WHOSE GENIUS HAS NOT BEEN SURPASSED, BY THE EFFORTS OF ANY MODERN, OR EVEN ANCIENT COMPETITOR. London, 15th July, 1806. JOHN SINCLAIR. * At the end of Vol. III. there is a particular account of the situation of the ancient Selma, which contains additional evidence of the authenticity of the poems, and proves that Ossian was a Scottish bard, and wrote his poems in Scotland. Indeed the Irish never claimed the poems which were translated by Macpherson, but contend that they are a fabrication; ascribing to their Ossian, works of much inferior merit, and composed at a period much later than those of the Caledonian Bard. The Abbé MELCHIOR CESAROTTI's critical Observations 1 on the first Book of FINGAL, annexed to the fourth Edition of his Translation of OSSIAN'S POEMS, printed at Pisa in 1801. Translated from the Italian, BY JOHN M'ARTHUR, L. L. D. [N. B. The English lines refer to the foregoing translation by Mr. Macpherson, and the Italian lines to Cesarotti's, and the notes are numbered as in the original.] (1) Line 1. Cuthullin sat by Tura's wall : Di Tura accanto alla muraglia assiso. THE poet (Ossian) soon shews himself such as he is in all his works. He boldly enters into his subject, without losing time in circumlocution. Exordium, it is true, tends to clear and fix the idea and unity of an action; yet it is not absolutely necessary. A thousand stories and novels are daily related without any introduction to them. The Muse was a goddess unknown to Ossian: and therefore he could not implore her assistance. But, supposing he had been acquainted with her, I think he might dispense with this ceremony. Invocation, critics say, gives faith to things, justifies what is * At the end of the third volume of this work, Mr. M'Arthur has also given a translation from the Italian of the Abbé Cesarotti's Historical and Critical Dissertation, respecting the controversy on the Authenticity of Ossian's Poems; together with copious notes and observations. marvellous, and confers dignity on the poet, by making him appear inspired. As to the first, it may be said, that it rather creates disbelief. "We know, (say the Muses in Hesiod), how to relate many falsehoods which have the semblance of truth." With regard to the marvellous, if it ill accord with probability and fitness, invocation discredits the Muse instead of justifying the poet. Ossian, whose wonderful imagery is not repugnant to good sense, had no need of auxiliary aids. Moreover, it is better that inspiration should arise out of the style than from any indication of the author. indication of the author. Ossian does not proclaim himself a poet; he leads us to imagine we are listening to an ordinary man who relates a fact. But the divinity that agitates his mind is felt from that very circumstance, with greater force : Non fumum ex fulgore, sed ex fumo dare lucem Postulat. (2) Line 24, &c. Many chiefs of heroes! I said, Many are our hands of war. O primo, io dissi, Tra' mortali, che fai? son molte in guerra. Narrations, by way of dialogue, are very frequent in the works of ancient poets. They impart to their subject great energy, and give it the force of truth, and therefore are well adapted to poetry. But it ought to be observed, that this poetic beauty owes its origin to the mental roughness of primitive ages. To collect the substance of a discourse, and to make it one's own in relating it, is the prerogative only of a reflecting and cultivated mind. Hence we perceive that the narrations of the vulgar are almost always dramatic. (3) Line 33, &c. Who can meet Swaran in fight? Who but Fingal king of Selma of storms. Il sol Fingallo, il forte Re di Morven nembosa, affrontar puote One of the rules to be observed in forming the character of the hero of a poem is, that the first idea which is given of him should make a favourable impression on our minds. Some poets delineate the qualities of their heroes. But the simplest, and at the same time most skilful method, is that of making them indirectly appear to advantage: no one knew this mode of management better than Ossian. Fingal does not appear till in the third book, whilst Cuthullin seems to be the principal personage; but the name of the former is announced at once in such a manner, that the hero of the poem is very soon perceived. Swaran, his enemy and the invader of Ireland, amidst his boasts, fears only the encounter of Fingal. What grand ideas ought we not to conceive of him! We shall see many other specimens of equal ingenuity. Homer was not equally happy, or so delicate in this respect: with him the principal heroes of the same party, during their private quarrels, but more especially in public with respect to their enemies, called each other cowards, and vile fellows. How can the reader admire men who evidently despise each other? (4) Line 49. Dark Cuthullin shall be great or dead! O Cucullino sarà grande, o morrà. Fingal is the first hero of the poem, Cuthullin the second. The character of both is great, generous, and interesting. But what more particularly distinguishes Cuthullin in this poem, is a most delicate sense of honour. Ossian, with an exquisite judgment, assigned particular parts to these two great personages, without prejudice to the splendour of either. Cuthullin is the hero of the first act; Fingal completes the action. (5) Lines 55, &c. He went. He struck the bossy shield. The sound spreads along the wood : Batte il concavo scudo: e colli, e rupi Ne rimbombaro, e si diffuse il suono Per tutto il bosco. Slanciassi d'un salto Can we see a picture more vivid, animated, or more diversified in action than this?"The poet's 66 art, merely considered as descriptive (says a cele"brated modern author), is to exhibit objects in "motion, and even to strike, if possible, many senses "at once." If so, Ossian deserves the name of POET by way of pre-eminence. (6) Lines 73, 74. Thy side that is white as the foam of the troubled sea, When the dark winds pour it on rocky Cuthon. Il tuo fianco ch'è candido come la spuma del turbato mare, Quando gli oscuri venti lo spingono contro la mormorante This is a similar picture in a different point of view: The former excited a more lively emotion, the latter makes a stronger and deeper impression. |