Poetic translation. Vorerinnerung, an essay upon the authenticity, xxvi pp. No dissertations; notes at end of vols.Reviews: Jenaische Allg. Lit.–Zeitung, 1810, iv, pp. 561–76.Neue Leipziger Literaturzeitung, 1808, iii, pp. 1345–57.
Poetic translation. Vorerinnerung, an essay upon the authenticity, xxvi pp. No dissertations; notes at end of vols.
Reviews: Jenaische Allg. Lit.–Zeitung, 1810, iv, pp. 561–76.
Neue Leipziger Literaturzeitung, 1808, iii, pp. 1345–57.
Die Gedichte Ossians neuverteutschet. Zweite Auflage. Tübingen.
A mere reprint of the first edition (1782,e. g.) without additions or corrections. The translator is J. W. Petersen.Review: Jenaische Allg. Lit.–Zeitung, 1810, iv, pp. 596–8.Notice: Allg. Lit.–Zeitung, 1810, iv, p. 992.
A mere reprint of the first edition (1782,e. g.) without additions or corrections. The translator is J. W. Petersen.
Review: Jenaische Allg. Lit.–Zeitung, 1810, iv, pp. 596–8.
Notice: Allg. Lit.–Zeitung, 1810, iv, p. 992.
Ossian’s Gedichte. Nach Macpherson. Von Ludwig Schubart. 2 vols. Wien.
Poetic prose translation by Ludwig Albrecht Schubart, 1765–1811, son of Christian Friedrich Daniel Schubart. Introduction of liii pp. discussing the poetical value and authenticity of the poems, etc. No dissertations and very few notes. Cp. Englische Blätter, 1797–8, Neuer Teutscher Merkur, 1799. A second edition was published in 1824.
Poetic prose translation by Ludwig Albrecht Schubart, 1765–1811, son of Christian Friedrich Daniel Schubart. Introduction of liii pp. discussing the poetical value and authenticity of the poems, etc. No dissertations and very few notes. Cp. Englische Blätter, 1797–8, Neuer Teutscher Merkur, 1799. A second edition was published in 1824.
Taschenbuch zum geselligen Vergnügen. Leipzig, pp. 271–7: Trennung und Wiederkehr. Aus dem Ossian. Von St. Schütze.
A free rendering of the episode of Shilric and Vinvela, Carric–Thura, pp. 144–5, in rimed tetrameters. Cp. Erholungen, 1806.
A free rendering of the episode of Shilric and Vinvela, Carric–Thura, pp. 144–5, in rimed tetrameters. Cp. Erholungen, 1806.
Der Neue Teutsche Merkur. iii, pp. 73–82: Ankündigung der ersten Uebersetzung des ächten Ossians.
Allgemeine Literatur–Zeitung, ii, pp. 334–6.
Intelligenzblatt der Jenaischen Allg. Lit.–Zeitung, pp. 324–7: Advance notices of Ahlwardt’s translation from the original Gaelic (1811,e. g.).
Nachträge zu Sulzers allgemeiner Theorie der schönen Künste. = Charaktere der vornehmsten Dichter aller Nationen; ... von einer Gesellschaft von Gelehrten. 8 vols. Leipzig, 1792–1808. Vol. 8, ii, pp. 384–414: Ossian und die Hebräischen Dichter. Von W. N. Freudentheil, Cf. Nachträge, Vol. 3, 1795.
Reise durch Schottland, seine Inseln, Dänemark und einen Theil von Deutschland. Aus der Englischen Handschrift übersetzt von D. W. Soltau. 3 vols. Leipzig.
Translation of James Macdonald’s Journey, etc., by Dietrich Wilhelm Soltau, 1745–1827.—Vol. 2, pp. 190–223: An attempt to establish the authenticity of Macpherson’s Ossian, for an estimate of which cf. Der Neue Teutsche Merkur, 1808, iii, pp. 77–8.—pp. 216–7: German translation of Ossian’s Apostrophe to the Sun as recited in Gaelic by Hugh Macdonald. The original Gaelic version is given on pp. 303–4.—The book also contains reflections on the times of Ossian, references to geographical localities connected with the bard, etc.Reviews: Allg. Lit.–Zeitung, 1808, iii, pp. 729–42.Neue Leipziger Literaturzeitung, 1808, iii, pp. 1628–32.
Translation of James Macdonald’s Journey, etc., by Dietrich Wilhelm Soltau, 1745–1827.—Vol. 2, pp. 190–223: An attempt to establish the authenticity of Macpherson’s Ossian, for an estimate of which cf. Der Neue Teutsche Merkur, 1808, iii, pp. 77–8.—pp. 216–7: German translation of Ossian’s Apostrophe to the Sun as recited in Gaelic by Hugh Macdonald. The original Gaelic version is given on pp. 303–4.—The book also contains reflections on the times of Ossian, references to geographical localities connected with the bard, etc.
Reviews: Allg. Lit.–Zeitung, 1808, iii, pp. 729–42.
Neue Leipziger Literaturzeitung, 1808, iii, pp. 1628–32.
1809.Der Neue Teutsche Merkur. i, pp. 82–6: Ueber die neue Uebersetzung Ossians von Hrn. Prof. Ahlwardt.
A letter from Ahlwardt to the Editor, dated Oldenburg, Nov. 28, 1808, with reference to his forthcoming translation.
A letter from Ahlwardt to the Editor, dated Oldenburg, Nov. 28, 1808, with reference to his forthcoming translation.
Mithridates oder allgemeine Sprachenkunde ... von Johann Christoph Adelung. 2 vols. Berlin. Vol. 2, Anhang, pp. 104–41: Über den Ossian.
Reprinted from Der Neue Teutsche Merkur, 1806,e. g.Review: Allg. Lit.–Zeitung, 1809, ii, p. 736.
Reprinted from Der Neue Teutsche Merkur, 1806,e. g.
Review: Allg. Lit.–Zeitung, 1809, ii, p. 736.
1810.Der Neue Teutsche Merkur. ii, pp. 18–64: Oisian’s Fionnghal. Erster Gesang. Aus dem Gaelischen, im Sylbenmasse der Urschrift von C. W. Ahlwardt.
Pp. 18–9: Preface by B[öttiger]. pp. 46–64: Notes.
Pp. 18–9: Preface by B[öttiger]. pp. 46–64: Notes.
Pantheon. Eine Zeitschrift für Wissenschaft und Kunst.Leipzig. Vol. 2, ii, pp. 246–82: Oisian’s Tighmora. Erster Gesang. Aus dem Gaelischen, im Sylbenmasse des Originals, von C. W. Ahlwardt.
Pp. 246–8: Argument; pp. 272–82: Notes.
Pp. 246–8: Argument; pp. 272–82: Notes.
Oisian’s Apostrophe an die Sonne, im Sylbenmasse des Originals. (Programm) von Christian Wilhelm Ahlwardt. Oldenburg. 8 pp.
Translation of Carthon, p. 163, l. 32–p. 164, end. The Gaelic original is given opposite, pp. 6–7: Notes.
Translation of Carthon, p. 163, l. 32–p. 164, end. The Gaelic original is given opposite, pp. 6–7: Notes.
Jenaische Allgemeine Literatur–Zeitung, iv, pp. 561–98: Review of Jung’s, Petersen’s, and Schubart’s Translations (1808).
Geschichte der Poesie und Beredsamkeit seit dem Ende des dreizehnten Jahrhunderts. Von Friedrich Bouterwek. 12 vols. Göttingen, 1801–19. Vol. 8, pp. 370–3: Macpherson’s Ossianische Gedichte.
Discusses chiefly the authenticity of the poems. Cp. Deutsches Museum, 1788.
Discusses chiefly the authenticity of the poems. Cp. Deutsches Museum, 1788.
1811.Die Gedichte Ossian’s. Aus dem Gaelischen im Sylbenmasse des Originals von Christian Wilhelm Ahlwardt. 3 vols. Leipzig.
The translation was made from the Gaelic original and not from Sinclair’s Latin Interlinear version, as stated in Meyer’s Konversations–Lexikon,subOssian.—Cf.infra, pp. 74, 126.—A two volume edition appeared in the same year. Cp. 1839, 1840, 1846, 1861.—for a criticism of compounds used by Ahlwardt, cf. Jacob Grimm, Kleinere Schriften, Vol. 6 (Berlin, 1882), pp. 71–2.Review: Leipziger Literatur–Zeitung, 1812, i, pp. 569–83.
The translation was made from the Gaelic original and not from Sinclair’s Latin Interlinear version, as stated in Meyer’s Konversations–Lexikon,subOssian.—Cf.infra, pp. 74, 126.—A two volume edition appeared in the same year. Cp. 1839, 1840, 1846, 1861.—for a criticism of compounds used by Ahlwardt, cf. Jacob Grimm, Kleinere Schriften, Vol. 6 (Berlin, 1882), pp. 71–2.
Review: Leipziger Literatur–Zeitung, 1812, i, pp. 569–83.
Über Oisian’s Fionnghal G[esang] i. v. 7–33. (Programm) von Christian Wilhelm Ahlwardt. Oldenburg. 8 pp.
P. 3: Introduction, pp. 4–7: On opposite pages the Gaelic original of Fingal, Bk. i, ll. 7–33, as given in the London edition of the original (1807) and the later recast of the bards as given on p. 190 of the Report of the Committee of the Highland Society (1805). A literal translation into German of both texts is given at the foot.
P. 3: Introduction, pp. 4–7: On opposite pages the Gaelic original of Fingal, Bk. i, ll. 7–33, as given in the London edition of the original (1807) and the later recast of the bards as given on p. 190 of the Report of the Committee of the Highland Society (1805). A literal translation into German of both texts is given at the foot.
Handbuch der Englischen Sprache und Literatur ... von H. Nolte und L. Ideler. Poetischer Theil. Dritte Auflage. Berlin.
Pp. 531–6: Macpherson. pp. 536–7: Morna. pp. 538–9: Comal and Galvina. pp. 539–46: The Songs of Selma.—Cf. 2d ed., 1802; 4th ed., 1832.
Pp. 531–6: Macpherson. pp. 536–7: Morna. pp. 538–9: Comal and Galvina. pp. 539–46: The Songs of Selma.—Cf. 2d ed., 1802; 4th ed., 1832.
German translation by ? Huber.
In the Vorrede zur zweiten Ausgabe, Vol. 1, p. xiii, of Rhode’s Translation (1817), also in Talvj’s treatise (1840), p. 3, and elsewhere, mention is made of a translation by Huber, which I failed to discover.
In the Vorrede zur zweiten Ausgabe, Vol. 1, p. xiii, of Rhode’s Translation (1817), also in Talvj’s treatise (1840), p. 3, and elsewhere, mention is made of a translation by Huber, which I failed to discover.
[Über die Echtheit der Ossianischen Gedichte. Von Fink. Berlin.]
Mentioned in Meyer’s Konversations–Lexikon,subOssian, and elsewhere. The author’s name is Link and the treatise in question did not appear until 1843,e. g.
Mentioned in Meyer’s Konversations–Lexikon,subOssian, and elsewhere. The author’s name is Link and the treatise in question did not appear until 1843,e. g.
1812.Kosegarten’s Dichtungen. 8 vols. Greifswald, 1812–3. Vol. 4, pp. 145–89: Finan und Lorma. Ein Gesang des Ossian. pp. 190–200: Umad und sein Hund. pp. 201–204: Des Barden Abschied, pp. 205–7: Fla’ Innis. Die Insel der Seligen, pp. 208–10: Die Kilda–Klage. pp. 211–2: Ossian and Malvina. pp. 213–31: Ossian’s letztes Lied.
For the first three cf. Blumen, 1801; the sixth is given in the Blumen, pp. 137–8, under the title Fragment. The last is a free metrical translation of Berrathon, beginning, p. 374–p. 376, l. 19; p. 380, l. 17–p. 382, end.
For the first three cf. Blumen, 1801; the sixth is given in the Blumen, pp. 137–8, under the title Fragment. The last is a free metrical translation of Berrathon, beginning, p. 374–p. 376, l. 19; p. 380, l. 17–p. 382, end.
Archiv für Geographie, Historie, Staats– und Kriegskunst. Dritter Jahrgang. Wien. pp. 185–6: Ueber die Echtheit der Ossian’schen Gedichte.
A short essay referring particularly to the Report of the Highland Society and to Graham’s Essay on the Authenticity of the Poems of Ossian (Edinburgh, 1807).
A short essay referring particularly to the Report of the Highland Society and to Graham’s Essay on the Authenticity of the Poems of Ossian (Edinburgh, 1807).
Deutsches Museum herausgegeben von Friedrich Schlegel. Wien. Vol. 1, pp. 162–94: Ueber nordische Dichtkunst. Ossian, Die Edda, Sigurd und Shakspeare. Vom Herausgeber.
Pp. 167–79: Discussion of the authenticity and era of the poems of Ossian. In Schlegel’s sämmtliche Werke, the essay is found on pp. 65–108, Vol. 10 (Wien, 1825) of the first edition, and on pp. 51–82, Vol. 8 (Wien, 1846) of the second edition.Review: Allg. Lit.–Zeitung, 1814, pp. 185–6.
Pp. 167–79: Discussion of the authenticity and era of the poems of Ossian. In Schlegel’s sämmtliche Werke, the essay is found on pp. 65–108, Vol. 10 (Wien, 1825) of the first edition, and on pp. 51–82, Vol. 8 (Wien, 1846) of the second edition.
Review: Allg. Lit.–Zeitung, 1814, pp. 185–6.
1814.Göttingische gelehrte Anzeigen. iii, pp. 1833–7: Review of The Poems of Ossian, in the original Gaelic ... London, 1807.
1815.Gerstenbergs Vermischte Schriften von ihm selbst gesammelt und mit Verbesserungen und Zusätzen herausgegeben indrei Bänden. Altona, 1815–6. Vol. 1, pp. 35–354: Minona oder die Angelsachsen. Ein Melodrama.
Pp. 353–78: Anmerkungen zur Minona. Cf. 1785, 1794.
Pp. 353–78: Anmerkungen zur Minona. Cf. 1785, 1794.
1817.Minerva. Taschenbuch für das Jahr 1817. Leipzig. pp. 86–91: Fingal und Agandekka. (Frei nach Ossian.) Von Buri. pp. 92–8: Oina–Morul, das Mädchen der Insel. (Frei nach Ossian.) Von Buri.
The first is a translation of Fingal, Bk. iii, p. 236, l. 6–p. 238, l. 5, the second of Oina–Morul. Both are by Christian Karl Ernst Wilhelm Buri, 1758–1820, in five–line (trochaic pentameter) stanzas.
The first is a translation of Fingal, Bk. iii, p. 236, l. 6–p. 238, l. 5, the second of Oina–Morul. Both are by Christian Karl Ernst Wilhelm Buri, 1758–1820, in five–line (trochaic pentameter) stanzas.
Ergänzungsblätter zur Allgemeinen Literatur–Zeitung. pp. 305–10, 313–6: Review of the Report of the Committee of the Highland Society, etc., 1805.
1817–8.Ossians Gedichte. Rhythmisch übersetzt von J. G. Rhode. Zweite verbesserte Ausgabe. 3 Theile, mit Kupfern und Vignetten. Berlin.
1st ed., 1800,e. g.Lowndes, Bibliographer’s Manual, London (Bohn), Part vi,subOssian, p. 1738, has 1808.Reviews: Gött. gelehrte Anzeigen, 1818, i, p. 632.Ergänzungsblätter zur Allg. Lit.–Zeitung, 1819, iv, pp. 913–6.
1st ed., 1800,e. g.Lowndes, Bibliographer’s Manual, London (Bohn), Part vi,subOssian, p. 1738, has 1808.
Reviews: Gött. gelehrte Anzeigen, 1818, i, p. 632.
Ergänzungsblätter zur Allg. Lit.–Zeitung, 1819, iv, pp. 913–6.
1817–9.Die Gedichte Ossians, neu übersezt und mit dem Englischen Texte begleitet, von J. F. Arnauld de la Perière, Sekretär der Königlichen Regierung zu Köln. 4 vols. Köln.
Vorrede, Vol. 1, pp. ix–xii. English and German on opposite pages. To Vol. 1 is prefixed a translation of Macpherson’s first, to Vol. 2 Macpherson’s second essay. Notes at the end of each poem. Metrical translation.
Vorrede, Vol. 1, pp. ix–xii. English and German on opposite pages. To Vol. 1 is prefixed a translation of Macpherson’s first, to Vol. 2 Macpherson’s second essay. Notes at the end of each poem. Metrical translation.
1821.Gesammelte Werke der Brüder Christian und Friedrich Leopold Grafen zu Stolberg. 20 vols. Hamburg, 1820–5. Vol. 2, pp. 228–30: Spätere Zueignung des Ossian an meinen Bruder.
Friedrich Leopold’s dedication of his translation of Ossian, 1806.
Friedrich Leopold’s dedication of his translation of Ossian, 1806.
1822.Tales of Ossian for Use and Entertainment. Ein Lesebuch für Anfänger in der englischen Sprache. Dritte verbesserte Auflage. Nürnberg.
1st ed., 1784, 2d ed., 1794,e. g. The long preface of the first and second editions is omitted. pp. 109–30: Appendix: 1. To the Sun. (Carthon, p. 163, l. 32–p. 164, end.) 2. To the Moon. (Dar–Thula, p.278, beginning–p. 279, l. 13.) 3. To the evening star. (The Songs of Selma, p. 208, ll. 1–10.) 4. Colmar and Colmal. A Poem. (Calthon and Colmal.) By J. Balbach.
1st ed., 1784, 2d ed., 1794,e. g. The long preface of the first and second editions is omitted. pp. 109–30: Appendix: 1. To the Sun. (Carthon, p. 163, l. 32–p. 164, end.) 2. To the Moon. (Dar–Thula, p.278, beginning–p. 279, l. 13.) 3. To the evening star. (The Songs of Selma, p. 208, ll. 1–10.) 4. Colmar and Colmal. A Poem. (Calthon and Colmal.) By J. Balbach.
1824.Ossian’s Gedichte. Nach Macpherson. Von Ludwig Schubart. 2 vols. Wien.
1st ed., 1808,e. g.Ersch u. Gruber, Encyklopädie,subOssian (p. 429), has 1822.
1st ed., 1808,e. g.Ersch u. Gruber, Encyklopädie,subOssian (p. 429), has 1822.
Minerva Taschenbuch für das Jahr 1824. Leipzig, pp. 277–310: Darthula, nach Ossian, von Van der Velde. In vier Gesängen.
Pp. 279–80: Three introductory stanzas opening with an invocation to the Muse of Ossian. pp. 280–310: Iambic pentameter translation of Dar–Thula, p. 281, l. 22–p. 289, end, by Karl Franz van der Velde, 1779–1824.
Pp. 279–80: Three introductory stanzas opening with an invocation to the Muse of Ossian. pp. 280–310: Iambic pentameter translation of Dar–Thula, p. 281, l. 22–p. 289, end, by Karl Franz van der Velde, 1779–1824.
Ceres. Originalien für Zerstreuung und Kunstgenuss. Zweyter Theil. Wien. pp. 210–4: Das Mädchen von Selma. Nach Ossian. Von Freyh. von Auffenberg.
A servile imitation of Ossian in hexameters by Joseph Freiherr von Auffenberg, 1798–1857, written in Freiburg, 1819. In his Sämmtliche Werke, 20 vols., Siegen und Wiesbaden, 1843–4, the imitation is given on pp. 263–6 of Vol. 20.
A servile imitation of Ossian in hexameters by Joseph Freiherr von Auffenberg, 1798–1857, written in Freiburg, 1819. In his Sämmtliche Werke, 20 vols., Siegen und Wiesbaden, 1843–4, the imitation is given on pp. 263–6 of Vol. 20.
1825.Musenalmanach für das Jahr 1826. Herausgegeben von Julius Curtius. Berlin. pp. 81–8: Ossian. Von J. Curtius.
A servile imitation of Ossian, recounting the poet’s death, in irregular meters.
A servile imitation of Ossian, recounting the poet’s death, in irregular meters.
1826.The Poems of Ossian. Translated by James Macpherson, Esq. In Three Volumes. Leipzick. (Fleischer.)
Vol. 3 contains Macpherson’s two dissertations, as well as Dr. Blair’s Critical Dissertation.
Vol. 3 contains Macpherson’s two dissertations, as well as Dr. Blair’s Critical Dissertation.
1826–7.Ossian’s Gedichte. Neu übersetzt. 3 Bändchen. Quedlinburg und Leipzig. = Vols. 1–3 of the Bibliothek der Meisterwerke des Auslandes. In neuen Uebersetzungen. In Verbindung mit Mehreren herausgegeben von L. G. Förster. Bändchen 1–3. Quedlinburg und Leipzig.
Metrical translation without rime, by Lebrecht Gotthilf Förster, 1788–1846. No introduction, but an index of names at the end of Vol. 3. Cf.infra.
Metrical translation without rime, by Lebrecht Gotthilf Förster, 1788–1846. No introduction, but an index of names at the end of Vol. 3. Cf.infra.
1827.Ossian’s Gedichte. Neu übersetzt von L. G. Förster. 2 Theile. Quedlinburg und Leipzig.
Cf.supra. 2d ed., 1830. Neither introduction nor notes, but index of names at the end of Vol. 2.
Cf.supra. 2d ed., 1830. Neither introduction nor notes, but index of names at the end of Vol. 2.
1828.Minerva Taschenbuch für das Jahr 1828. Leipzig. pp. 375–86: Malvina. Weibliche Charakterschilderung von E. Münch.
An enthusiastic character–sketch of Malvina, the daughter of Toscar, with several passages from the poems of Ossian quoted in German rhythmic prose. pp. 377–9: Croma, beginning, p. 177–p. 178, l. 21; pp. 379–80: The War of Caros, first (p. 188) and last (p. 193) paragraphs; pp. 380–1: Cathlin of Clutha, beginning, p. 194–p. 195, l. 2; pp. 381–2: Oina–Morul, beginning, p. 165, ll. 1–12; pp. 382–6: Berrathon, beginning, p. 374–p. 376, l. 14. The author is Ernst Hermann Joseph Münch, 1798–1841.
An enthusiastic character–sketch of Malvina, the daughter of Toscar, with several passages from the poems of Ossian quoted in German rhythmic prose. pp. 377–9: Croma, beginning, p. 177–p. 178, l. 21; pp. 379–80: The War of Caros, first (p. 188) and last (p. 193) paragraphs; pp. 380–1: Cathlin of Clutha, beginning, p. 194–p. 195, l. 2; pp. 381–2: Oina–Morul, beginning, p. 165, ll. 1–12; pp. 382–6: Berrathon, beginning, p. 374–p. 376, l. 14. The author is Ernst Hermann Joseph Münch, 1798–1841.
[1829.] Fingal and other Poems of Ossian. (Campe’s Edition.) Nurnberg and New York.
Contains Fingal, The War of Caros, The War of Inis–Thona, The Battle of Lora, The Death of Cuthullin, Carthon, The Songs of Selma. No introduction.
Contains Fingal, The War of Caros, The War of Inis–Thona, The Battle of Lora, The Death of Cuthullin, Carthon, The Songs of Selma. No introduction.
1830.Ossian’s Gedichte. Neu übersetzt von L. G. Förster. 2 Theile. Zweite Auflage. Quedlinburg und Leipzig. 1st ed. 1827,e. g.
Allgemeine Unterhaltungsblätter für Verbreitung des Schönen, Guten und Nützlichen. Münster und Hamm. October, No. 1, pp. 151–?: Ossian.
A ballad in rimed eight–line stanzas by Ferdinand Freiligrath. Cf. Euphorion, 1895, E, pp. 126–9.
A ballad in rimed eight–line stanzas by Ferdinand Freiligrath. Cf. Euphorion, 1895, E, pp. 126–9.
1831.Pocket–Edition of the most eminent English authors of the preceding century. Schneeberg. Vol. 5: The Works of Ossian. i, Fingal.
1832.Handbuch der Englischen Sprache und Literatur, oder Auswahl interessanter, chronologisch geordneter Stücke aus den Klassischen Englischen Prosaisten und Dichtern ... von H. Nolte und L. Ideler. Poetischer Theil. Vierte Auflage. Berlin.
Not 1852, as given in the Allg. Deutsche Biog., Vol. 13, p. 743,subIdeler. 2d ed., 1802; 3d ed., 1811.—pp. 510–5: Macpherson. pp. 515–6: Morna. pp. 516–7: Comal and Galvina. pp. 518–25: The Songs of Selma.
Not 1852, as given in the Allg. Deutsche Biog., Vol. 13, p. 743,subIdeler. 2d ed., 1802; 3d ed., 1811.—pp. 510–5: Macpherson. pp. 515–6: Morna. pp. 516–7: Comal and Galvina. pp. 518–25: The Songs of Selma.
1834.The Poems of Ossian, translated by James Macpherson, Esq. To which are prefixed, a preliminary Discourse and Dissertations on the Aera and Poems of Ossian. A new Edition complete in one Volume. Leipsic.
The preliminary discourse—signed “Berrathon”—gives an account of the renewal of the controversy over the genuineness of the poems, and considers the Report of the Committee of the Highland Society, Malcolm Laing’s edition of the Poems of Ossian (1805), and von Harold’s Poems of Ossian lately discover’d (1787).
The preliminary discourse—signed “Berrathon”—gives an account of the renewal of the controversy over the genuineness of the poems, and considers the Report of the Committee of the Highland Society, Malcolm Laing’s edition of the Poems of Ossian (1805), and von Harold’s Poems of Ossian lately discover’d (1787).
1835.Briefe an Johann Heinrich Merck von Göthe, Herder, Wieland und andern bedeutenden Zeitgenossen ... herausgegeben von Dr. Karl Wagner. Darmstadt. Von Herder (Strassburg, 28. Oct. 1770), p. 14; (Bückeburg, Juli 1771), pp. 27–8: References to Ossian, with a literal translation of a few verses from the end of Temora, Bk. vii, translated from the Gaelic original.
Allgemeine Encyklopädie der Wissenschaften und Künste ... herausgegeben von J. S. Ersch und J. G. Gruber. Dritte Section. Sechster Theil. Leipzig. pp. 420–9: Ossian. Von Heinrich Döring.
An article on the poems of Ossian and their authenticity, with several quotations from Ahlwardt’s translation (1811) and some bibliographical material.
An article on the poems of Ossian and their authenticity, with several quotations from Ahlwardt’s translation (1811) and some bibliographical material.
1838.Ossians kleine Gedichte übersetzt von Karl Georg Neumann. Berlin.
Translation of all the poems contained in the Tauchnitz edition with the exception of the epics. Goethe’s translation of The Songs of Selma as far as p. 210, l. 15, is inserted in place of the author’s. For Neumann’s translation of Fingal, cf. Gurlitt, 1803–5.
Translation of all the poems contained in the Tauchnitz edition with the exception of the epics. Goethe’s translation of The Songs of Selma as far as p. 210, l. 15, is inserted in place of the author’s. For Neumann’s translation of Fingal, cf. Gurlitt, 1803–5.
1839.Die Gedichte Ossian’s. Aus dem Gälischen von Christian Wilhelm Ahlwardt. Mit 3 Holzschnitten. 3 vols. Leipzig. Cf. 1811.
Ossians Gedichte. Rhythmisch bearbeitet von Ed. Brinckmeier. Mit Titelbild. Braunschweig. Cp. 1883.
Lehrbuch einer Literärgeschichte der berühmtesten Völker des Mittelalters ... Von Dr. Johann Georg Theodor Grässe. 1. Abtheilung, 1. Hälfte. Dresden und Leipzig. pp. 407–12: Ossian.
1840.The Poems of Ossian, translated by James Macpherson, Esq. Authenticated, illustrated and explained, by Hugh Campbell, Esq. In Two Volumes. Leipzig. Mit 2 Holzschnitten.
Reprint of the text of Campbell’s (London, 1822) edition. Vol. 1 contains Macpherson’s two dissertations, and Vol. 2 Dr. Blair’s Critical Dissertation.
Reprint of the text of Campbell’s (London, 1822) edition. Vol. 1 contains Macpherson’s two dissertations, and Vol. 2 Dr. Blair’s Critical Dissertation.
Ossian’s Gedichte. Aus dem Gälischen im Sylbenmasse des Originals von C. W. Ahlwardt. 2 vols. Neue Auflage mit 3 Holzschnitten. Taschen–Ausgabe. Leipzig. Cf. 1811.
Miniaturbibliothek ausländischer Dichter. Eine Auswahl des Schönsten aus ihren Werken. Mit einleitenden Biographien und literar–historischen Anmerkungen. Vol. 2: Ossians Gedichte. Wehlau.
Die Unächtheit der Lieder Ossian’s und des Macpherson’schen Ossian’s insbesondere. Von Talvj. Leipzig.
An important collection of arguments in favor of the non–authenticity of Macpherson’s Ossian by Therese Adolfine Louise von Jacob (Mrs. Robinson), 1797–1870. Lösch, 1854, p. 102, has a misprint, 1849 for 1840.Review: Magazin für die Literatur des Auslandes, 1840, p. 528 (Nov. 2).
An important collection of arguments in favor of the non–authenticity of Macpherson’s Ossian by Therese Adolfine Louise von Jacob (Mrs. Robinson), 1797–1870. Lösch, 1854, p. 102, has a misprint, 1849 for 1840.
Review: Magazin für die Literatur des Auslandes, 1840, p. 528 (Nov. 2).
1841.Fingal, an epic Poem in six books. New edition. Leipzig.
Kayser, Bücher–Lexicon, has “and epic Poems.”
Kayser, Bücher–Lexicon, has “and epic Poems.”
1842.Der Dichter Lenz und Friedericke von Sesenheim. Herausgeg. von August Stöber. Basel. pp. 95–107: Goethes ursprüngliche Uebersetzung der Ossianischen Gedichte von Selma. Cf.supra, p. 12.
1843.Über die Echtheit der Ossianischen Gedichte. Von H. F. Link. Berlin.
An essay in favor of the authenticity by Heinrich Friedrich Link, 1767–1851, directed chiefly against Drummond. Cf. 1811.
An essay in favor of the authenticity by Heinrich Friedrich Link, 1767–1851, directed chiefly against Drummond. Cf. 1811.
Neue Jenaische Allgemeine Literatur–Zeitung. Leipzig. i, pp. 109–19: Review of The genuine Remains of Ossian, literally translated, with a preliminary Dissertation; by Patrick Macgregor. Published under the patronage of the Highland Society of London. London, 1841. By V. A. Huber.
A notice of same had appeared in this periodical, 1842, i, p. 50, in the Beilage zur Allg. Zeitung, Augsburg, 1841, p. 2666 (Nov. 30), and in the Magazin für die Literatur des Auslandes, 1841, p. 548 (Nov. 15).
A notice of same had appeared in this periodical, 1842, i, p. 50, in the Beilage zur Allg. Zeitung, Augsburg, 1841, p. 2666 (Nov. 30), and in the Magazin für die Literatur des Auslandes, 1841, p. 548 (Nov. 15).
1846.Ossian’s Gedichte. Aus dem Gälischen von Christian Wilhelm Ahlwardt. Leipzig.
Popular edition in one volume; cp. 1861. 1st ed., 1811,e. g.
Popular edition in one volume; cp. 1861. 1st ed., 1811,e. g.
Johann Gottfried von Herder’s Lebensbild. Sein chronologisch–geordneter Briefwechsel ... Herausgegeben von seinem Sohne Dr. Emil Gottfried von Herder. Erlangen. Vol. 2, pp. 18–20: Reference to Herder’s perusal of Ossian at sea. (Cf. Haym, Herder, i, p. 355.)
Ibid., Vol. 3, i, pp. 152–3: Mingalen’s Elegie auf ihren Dargo. pp. 242–6: Scenen aus der Liebesgeschichte Uthal’s und Ninathoma’s. pp. 246–8: Lied Bragela’s nach ihrem Cuchullin. pp. 248–9: Translation of Temora, Bk. iv, p. 334, l. 22, ll. 25–35.
These metrical translations are not by Herder, but copied from Denis. The first is that of a poem given in Macpherson’s notes to Calthon and Colmal, the second of Berrathon, p. 377, l. 13–p. 378, l. 5, and p. 379, ll. 10–31 (with argument), the third of The Death of Cuthullin, p. 290, l. 5–p. 291, l. 4. On pp. 249–51 is given the passage from Temora mentioned above in the form of a bardic dialog. This is by Herder. On pp. 308–9, 327–8, there are references to poems from Ossian.
These metrical translations are not by Herder, but copied from Denis. The first is that of a poem given in Macpherson’s notes to Calthon and Colmal, the second of Berrathon, p. 377, l. 13–p. 378, l. 5, and p. 379, ll. 10–31 (with argument), the third of The Death of Cuthullin, p. 290, l. 5–p. 291, l. 4. On pp. 249–51 is given the passage from Temora mentioned above in the form of a bardic dialog. This is by Herder. On pp. 308–9, 327–8, there are references to poems from Ossian.
Allgemeine Zeitschrift für Geschichte. Herausgegeben von Dr. W. Adolf Schmidt. 5. Band (der Zeitschrift für Geschichtswissenschaft). Berlin. pp. 172–9: Macpherson’s Ossian. Von P. F. Stuhr.
An essay against the age and authenticity of Macpherson’s poems by Peter Feddersen Stuhr, 1787–1851. The author announced some detailed inquiries into the subject, which were, however, never published.
An essay against the age and authenticity of Macpherson’s poems by Peter Feddersen Stuhr, 1787–1851. The author announced some detailed inquiries into the subject, which were, however, never published.
1847.The Poems of Ossian, Translated by James Macpherson, Esq. with [Macpherson’s] Dissertations on the Aera and Poems of Ossian; and Dr. Blair’s Critical Dissertation. Leipzig. = Vol. CXVI of the Collection of British Authors. (Tauchnitz.)
Ossian deutsch von Adolf Böttger. [1816–70.] Leipzig.
No introduction nor dissertations. Six pages of notes at the end. Metrical translation. Cf. 1852, 1856, 1877.
No introduction nor dissertations. Six pages of notes at the end. Metrical translation. Cf. 1852, 1856, 1877.
1852.Ossian deutsch von Adolf Böttger. 2. (Titel–)Ausgabe. Leipzig. Cf.supra.
1853.Ausgewählte Gedichte Ossian’s, als Einleitung in das Studium der Englischen Sprache.=Anmuthiger Weg zur Erlernung der Englischen Sprache mit oder ohne Lehrer. Von dem Herausgeber des Auszuges aus Frau von Staël’s Corinne. Braunschweig.
Pp. 1–35: Das Wissenswürdigste aus der englischen Grammatik. pp. 37–181: Auserlesene Gedichte Ossian’s mit leichtfasslicher Bezeichnung der Aussprache, wortgetreuer Uebersetzung, erläuternden Inhaltsanzeigen und kurzen erklärenden Anmerkungen. (pp. 39–42: Einleitung. Discussion of the appearance, authenticity, etc., of the poems.) The poems selected are The Songs of Selma, Carric–Thura, Lathmon, Berrathon, Oina–Morul, Croma, The War of Inis–Thona, The War of Caros, Dar–Thula and Oithona.
Pp. 1–35: Das Wissenswürdigste aus der englischen Grammatik. pp. 37–181: Auserlesene Gedichte Ossian’s mit leichtfasslicher Bezeichnung der Aussprache, wortgetreuer Uebersetzung, erläuternden Inhaltsanzeigen und kurzen erklärenden Anmerkungen. (pp. 39–42: Einleitung. Discussion of the appearance, authenticity, etc., of the poems.) The poems selected are The Songs of Selma, Carric–Thura, Lathmon, Berrathon, Oina–Morul, Croma, The War of Inis–Thona, The War of Caros, Dar–Thula and Oithona.
1854.Album des literarischen Vereins in Nürnberg für 1854. Nürnberg. pp. 98–130: Ueber den gälischen Dichter Ossian. Von Dr. E. Lösch.
A popular essay, with numerous quotations. pp. 128–9: An die Morgensonne. pp. 129–30: An den Mond. p. 130: An den Abendstern. Herder’s translations. Cf.supra, p. 21.
A popular essay, with numerous quotations. pp. 128–9: An die Morgensonne. pp. 129–30: An den Mond. p. 130: An den Abendstern. Herder’s translations. Cf.supra, p. 21.
Programm des Gymnasiums zu Lemgo für das Schuljahr 1853–1854 von Dr. H. K. Brandes. 1. Abhandlung: Oisian und seine Welt, vom Prorektor Dr. Clemen. Lemgo.
General essay on the poems of Ossian. The author considers the poems genuine, being a disciple of Ahlwardt. pp. 15–21: Argument of Fingal. pp. 21–9: Remarks upon the poet. pp. 29–33: Ossian’s conception of the land of the Hereafter. Numerous quotations in Ahlwardt’s translation.
General essay on the poems of Ossian. The author considers the poems genuine, being a disciple of Ahlwardt. pp. 15–21: Argument of Fingal. pp. 21–9: Remarks upon the poet. pp. 29–33: Ossian’s conception of the land of the Hereafter. Numerous quotations in Ahlwardt’s translation.
1856.Ossian deutsch von Adolf Böttger. 2d ed. Leipzig. Cf. 1847.
Die Entwickelung der deutschen Poesie von Klopstock’s erstem Auftreten bis zu Goethe’s Tode ... Von Johann Wilhelm Loebell. Braunschweig. Vol. 1, pp. 122–5: The poems of Ossian. pp. 272–311: Die Ossiansche Frage.
Discusses the strife over the genuineness of the poems and their reception and fate in Germany.—pp. 311–9: Bardic poetry.
Discusses the strife over the genuineness of the poems and their reception and fate in Germany.—pp. 311–9: Bardic poetry.
1857.(Herrig’s) Archiv für das Studium der neueren Sprachen und Literaturen. Vol. 22. Braunschweig. pp. 45–80, 296–402: Ueber Ossian. Von Dr. Oswald.
I. Begriffe von Gott und göttlichen Dingen. II. Kriegführung. III. Gastfreundschaft. IV. Die Jagd. V. Die Frauen. VI. Kämpfe mitFremden. VII. Fehden. VIII. Fingal. IX. Ossian. X. Gleichnisse. XI. Die Gesänge.—Written from the view–point of a firm believer in the authenticity of the poems.
I. Begriffe von Gott und göttlichen Dingen. II. Kriegführung. III. Gastfreundschaft. IV. Die Jagd. V. Die Frauen. VI. Kämpfe mitFremden. VII. Fehden. VIII. Fingal. IX. Ossian. X. Gleichnisse. XI. Die Gesänge.—Written from the view–point of a firm believer in the authenticity of the poems.
1860.Jahrbuch für Romanische und Englische Literatur. Vol. 2. Berlin. pp. 183–203: Das Neueste zur Ossian–Frage. Von Dr. H. J. Heller.
The results obtained by Drummond and O’Reilly as laid down in Talvj (1840) are accepted on broad lines, but Dr. Heller would modify the conclusions in some particulars.
The results obtained by Drummond and O’Reilly as laid down in Talvj (1840) are accepted on broad lines, but Dr. Heller would modify the conclusions in some particulars.
1861.Die Gedichte Ossian’s. Aus dem Gälischen von Christian Wilhelm Ahlwardt. [3 vols. in one.] Leipzig. (Göschen.)
Popular edition in one volume, like 1846. (Deutsche Volks–Bibliothek. 3. Reihe.)
Popular edition in one volume, like 1846. (Deutsche Volks–Bibliothek. 3. Reihe.)
1863.Ossian und die Fingal–Sage von Professor E. Waag. Mannheim. Als Beilage zum Programm des Grossh. Lyceums in Mannheim von 1863.
Pp. 5–12: Einleitung. General remarks on the appearance of the poems and the controversy over them. pp. 12–44: I. Ossian im Schimmerlichte der Dichtung. Taken up in large part with the story of the two epics, Fingal and Temora; with quotations. pp. 45–70: II. Ossian im Dämmerlichte der Sage, die da wandelt im Schatten der Geschichte. Waag’s remarks are based principally upon Talvj (1840). He is a non–believer in the authenticity. pp. 71–80: Anhang. 1. Denis. 2. Göthe. 3. Herder. 4. Schlegel. 5. Ahlwardt. 6. Ausgaben und Uebersetzungen des englischen,i. e., Macpherson’schen Ossian. 7. Enderle von Ketsch. 8. Talvj. 9. Macpherson. 10. Dr. Oswald (1857). Only a few translations are mentioned under 6.
Pp. 5–12: Einleitung. General remarks on the appearance of the poems and the controversy over them. pp. 12–44: I. Ossian im Schimmerlichte der Dichtung. Taken up in large part with the story of the two epics, Fingal and Temora; with quotations. pp. 45–70: II. Ossian im Dämmerlichte der Sage, die da wandelt im Schatten der Geschichte. Waag’s remarks are based principally upon Talvj (1840). He is a non–believer in the authenticity. pp. 71–80: Anhang. 1. Denis. 2. Göthe. 3. Herder. 4. Schlegel. 5. Ahlwardt. 6. Ausgaben und Uebersetzungen des englischen,i. e., Macpherson’schen Ossian. 7. Enderle von Ketsch. 8. Talvj. 9. Macpherson. 10. Dr. Oswald (1857). Only a few translations are mentioned under 6.
1864.Berichte über die Verhandlungen des Freien Deutschen Hochstiftes ... zu Frankfurt a. M. Fünfter Jahrgang. Frankfurt a. M. pp. 76–83: Ossian und seine Dichtungen. Von Friedlieb Rausch.
A general review of the Ossian question, in which the unauthentic character of the poems is asserted.
A general review of the Ossian question, in which the unauthentic character of the poems is asserted.
1867.Briefe von und an Klopstock ... herausgegeben von J. M. Lappenberg. Braunschweig. pp. 164, 171–2, 210–1, 218, 226–7: References to Ossian.
1868.Ossian’s Finnghal. Episches Gedicht, aus dem Gälischen metrisch und mit Beibehaltung des Reims übersetzt von Dr.August Ebrard. Nebst einem Anhang: Ueber Alter und Echtheit von Ossian’s Gedichten. Leipzig.
Pp. 1–123: Rimed translation, very few notes, pp. 124–54: Essay upon the authenticity. pp. 155–8: Register der Eigennamen zu ‘Finnghal.’
Pp. 1–123: Rimed translation, very few notes, pp. 124–54: Essay upon the authenticity. pp. 155–8: Register der Eigennamen zu ‘Finnghal.’
[1869.] Ossian’s Fingal. Episches Gedicht in sechs Gesängen. Aus dem Englischen übersetzt von Reinhold Jachmann. Universal–Bibliothek (Reclam’s) No. 168.
Prose translation without notes or arguments.
Prose translation without notes or arguments.
Allgemeine Zeitung. Augsburg. Ausserordentliche Beilage, 29. Januar. Zur Ossian–Frage. Erwiederung von Dr. Aug. Ebrard.
An ironic reply to Die Unächtheit der Lieder Ossian’s ‘eines [sic!] gewissen Talvj’ (1840).
An ironic reply to Die Unächtheit der Lieder Ossian’s ‘eines [sic!] gewissen Talvj’ (1840).
1870.Handbuch der Mittelgälischen Sprache hauptsächlich Ossian’s. Grammatik.—Lesestücke.—Wörterbuch. Von Dr. August Ebrard. Mit einem Vorwort von Dr. G. Authenrieth. Wien. (305 pp.)
With preface by the author, who believes firmly in the authenticity of the poems; cf. particularly pp. 3–4 and 303–4. Lesestücke (Gaelic): p. 212: Schilderung der Schlacht zwischen Cuchullin und Suaran. Fingal, Bk. i, p. 223, l. 24–p. 224, l. 2. pp. 213–4: Beschreibung des Wagens und der Rosse Cuchullin’s. Fingal, Bk. i, p. 221, l. 23–p. 222, l. 10. pp. 214–7. Kampf Finnghal’s mit Odin. Carric–Thura, p. 146, l. 30–p. 148, l. 16.Review: Literarisches Centralblatt, Leipzig, July 16, 1870.
With preface by the author, who believes firmly in the authenticity of the poems; cf. particularly pp. 3–4 and 303–4. Lesestücke (Gaelic): p. 212: Schilderung der Schlacht zwischen Cuchullin und Suaran. Fingal, Bk. i, p. 223, l. 24–p. 224, l. 2. pp. 213–4: Beschreibung des Wagens und der Rosse Cuchullin’s. Fingal, Bk. i, p. 221, l. 23–p. 222, l. 10. pp. 214–7. Kampf Finnghal’s mit Odin. Carric–Thura, p. 146, l. 30–p. 148, l. 16.
Review: Literarisches Centralblatt, Leipzig, July 16, 1870.
[1877.] Ossian. Deutsch von Adolf Böttger. Dritte Ausgabe. Leipzig. 1st ed., 1847,e. g.
(Herrig’s) Archiv für das Studium der neueren Sprachen und Literaturen. Vol. 58. Braunschweig. pp. 129–58: Ueber Ossian. Von A. F. Nicolai.
An essay upon the era, home, and family of Ossian, his poems and his language, with an account of the Ossianic controversy and a history of the editions, translations, and imitations of Ossian, etc.
An essay upon the era, home, and family of Ossian, his poems and his language, with an account of the Ossianic controversy and a history of the editions, translations, and imitations of Ossian, etc.
1879.Verhandlungen der Dreiunddreissigsten Versammlung Deutscher Philologen und Schulmänner in Gera. Leipzig. pp. 15–32: Die altirische Sage und die Ossian–Frage.—Von Dr. E. Windisch.
A French translation of this important exposition of the question appeared in the Revue Celtique, Vol. 5. Paris, 1881–3. pp. 70–93:L’ancienne légende irlandaise et les poésies ossianiques, par M. E. Windisch. (Traduit par Émile Ernault.)
A French translation of this important exposition of the question appeared in the Revue Celtique, Vol. 5. Paris, 1881–3. pp. 70–93:L’ancienne légende irlandaise et les poésies ossianiques, par M. E. Windisch. (Traduit par Émile Ernault.)
Archiv für Litteraturgeschichte. Vol. 8. pp. 534–43: ‘Hektors Abschied’ und Ossian. Von Wilhelm Fielitz.
An attempt to prove Schiller’s obligation to Ossian in Hektor’s Abschied, The Robbers, Act ii, 2. Cf. also Zeitschrift des Allg. Deutschen Sprachvereins, Vol. 15 (1900), p. 22: Notice of a lecture on Hektor und Andromache bei Homer, Schiller und Ossian, delivered by Prof. Fielitz at Breslau, Dec. 11, 1899.
An attempt to prove Schiller’s obligation to Ossian in Hektor’s Abschied, The Robbers, Act ii, 2. Cf. also Zeitschrift des Allg. Deutschen Sprachvereins, Vol. 15 (1900), p. 22: Notice of a lecture on Hektor und Andromache bei Homer, Schiller und Ossian, delivered by Prof. Fielitz at Breslau, Dec. 11, 1899.
[1881.] Ossian’s Temora. Ein Gedicht in acht Gesängen. Aus dem Englischen übersetzt von Hermann von Suttner–Erenwin. Leipzig. Universal–Bibliothek (Reclam’s) No. 1496.
A prose translation with neither introduction nor notes, but an appendix: Erklärung einzelner in Temora vorkommender Namen.
A prose translation with neither introduction nor notes, but an appendix: Erklärung einzelner in Temora vorkommender Namen.
[1883.] Ossians Gedichte In neuer Uebertragung von Eduard Brinckmeier. 2 vols. Stuttgart. Collection Spemann, Vols. 164–5.
Metrical translation, scattered notes, pp. 7–18: Introductory preface. Cp. 1839.
Metrical translation, scattered notes, pp. 7–18: Introductory preface. Cp. 1839.
1884.Recensionen und Vermischte Aufsätze von Jacob Grimm. Vierter Theil. (Kleinere Schriften, Vol. 7.) Berlin. pp. 537–43: Über Ossian. Geschrieben 1863.
The beginning of a book on Ossian planned by Grimm to establish the authenticity of the poems. A general account of the strife waged over the authenticity is given in the first chapter. What is given here is probably all that Grimm committed to writing. Cp.loc. cit., Vorwort, p. vi; Kleinere Schriften, Vol. 1 (1864), p. 186; Briefwechsel zwischen Jacob und Wilhelm Grimm, Dahlmann und Gervinus. Hgbn von Ed. Ippel. 2 vols. Berlin, 1885–6. Vol. 2, pp. 135–6.
The beginning of a book on Ossian planned by Grimm to establish the authenticity of the poems. A general account of the strife waged over the authenticity is given in the first chapter. What is given here is probably all that Grimm committed to writing. Cp.loc. cit., Vorwort, p. vi; Kleinere Schriften, Vol. 1 (1864), p. 186; Briefwechsel zwischen Jacob und Wilhelm Grimm, Dahlmann und Gervinus. Hgbn von Ed. Ippel. 2 vols. Berlin, 1885–6. Vol. 2, pp. 135–6.
1892.Die Bardische Lyrik im achtzehnten Jahrhundert. (Dissertation) Von Eugen Ehrmann. Halle a. S. Frequent allusions to Ossian’s influence,e. g., pp. 9–11, 39–44, 47–55, 58–61, 87–8, 94–8.
Reviews: Cf. Jahresberichte für neuere deutsche Litteraturgeschichte, 1893, iv, 2a. 28; 1894, iv, 2a, 59–60.
Reviews: Cf. Jahresberichte für neuere deutsche Litteraturgeschichte, 1893, iv, 2a. 28; 1894, iv, 2a, 59–60.
1895.Mitteilungen aus der Literatur des 19. Jahrhunderts und ihrer Geschichte. Ergänzungsheft zu Euphorion, Band 2.pp. 122–37: Unbekanntes und Ungedrucktes von Ferdinand Freiligrath. Mitgeteilt von Wilhelm Buchner in Eisenach.
Pp. 126–9: Ossian. A ballad by Ferdinand Freiligrath, reprinted from the Allg. Unterhaltungsblätter, 1830,e. g.
Pp. 126–9: Ossian. A ballad by Ferdinand Freiligrath, reprinted from the Allg. Unterhaltungsblätter, 1830,e. g.
Zeitschrift für vergleichende Litteraturgeschichte. Neue Folge. Vol. 8. Weimar. pp. 51–86, 143–74: Die ossianischen Heldenlieder. Von Ludwig Chr. Stern.
An interesting, up–to–date discussion of the question.
An interesting, up–to–date discussion of the question.
Theodor Hasselqvist, “Ossian” i den Svenska Dikten och Litteraturen. Malmö. pp. 25–9: Ossiansångernas mottagande i Tyskland. pp. 30–1: Talvj. p. 33: Windisch. pp. 34–8: H. Zimmer.
1896.Ossian in der schönen Litteratur Englands bis 1832. Ein Beitrag zur Englischen Litteraturgeschichte von Bruno Schnabel. Inauguraldissertation. Erster Theil. Ossian in der schönen Litteratur Englands bis 1832 mit Ausschluss der ‘Englischen Romantiker.’ München.
Reprinted in the Englische Studien, Vol. 23 (1897), pp. 31–70.
Reprinted in the Englische Studien, Vol. 23 (1897), pp. 31–70.
Zeitschrift für vergleichende Litteraturgeschichte. N. F. Vol. 10. Weimar. pp. 117–50, 385–418: Lenz’ Übersetzungen aus dem Englischen. Von Karl H. Clarke. III. Die Ossian–Übersetzung. Pope—Yarrows Ufer. pp. 406–13: Ossian.
Cf. Iris, 1775–6.
Cf. Iris, 1775–6.
1897.Englische Studien. Vol. 23. Leipzig. pp. 366–401: Ossian in der schönen Litteratur Englands bis 1832. Ossian in der Dichtung der sogenannten ‘Englischen Romantiker.’ Von Br. Schnabel. Cf.supra.
Beschnitt, Johannes: Ossian.—Song for male chorus, text by W. Dunker.
Brahms, Johannes: Darthula’s Grabgesang. Op. 42, No. 3. Text by Herder (cf. Volkslieder, 1779).
Gesang aus Fingal, von Ossian.
Gesang aus Fingal, von Ossian.
Ditters von Dittersdorf, Karl: Das Mädchen von Cola, ein Gesang Ossians. (Leipzig, 1795.) Review: Neue allg. deutsche Bibl., Anhang zum 1. bis 28. Bande, i, p. 204 (1797).
Gade, Niels Wilhelm: Nachklänge von Ossian. Ouvertüre für Orchester. Op. 1. (Won the prize offered by the Musical Society of Copenhagen in 1841).Für Militärmusik bearbeitet von Albert Thomas; für Pianoforte und Violine arrangirt von Friedrich Hermann; etc.
Comala. Dramatisches Gedicht nach Ossian. Op. 12. A cantata for soli, chorus and orchestra. Translated into English by J. C. D. Parker, Dwight’s Journal of Music, 1877.
Comala. Dramatisches Gedicht nach Ossian. Op. 12. A cantata for soli, chorus and orchestra. Translated into English by J. C. D. Parker, Dwight’s Journal of Music, 1877.
Gottschalk, Louis Moreau: Marsch der Geister Ossians. (Marche de Nuit.) Op. 17.
Kastner, Johann Georg: Oskar’s Tod, grosse Oper in vier Akten. (Strassburg, 1833.) Subject from Temora, Bk. i, pp. 308–11 (not from Fingal, as stated in Riemann’s Opern Handbuch).
Kunzen, Friedrich Ludwig Aemilius: Ossians Harfe. An opera composed for the Danish stage in 1799. Text by Jens Baggesen.
Löwe, Johann Carl Gottfried: Gesang Ossians. Alpin’s Klage um Morar. Op. 94. From The Songs of Selma, p. 210, last l.–p. 211, l. 34.
Mendelssohn–Bartholdy, Felix: Fingal’s Höhle. Ouverture.
Reichardt, Johann Friedrich: Lieder der Liebe und Einsamkeit. 2. Theil. Leipzig, 1804. Contains a few Ossianic songs. Cf. Gurlitt, 1805.
Schubert, Franz: Ossians Gesänge für eine Singstimme mit Begleitung des Piano–Forte. A number of Ossianic songs with the following titles: Die Nacht. Cronnan. Kolma’s Klage. Loda’s Gespenst. Shilric und Vinvela. Der Tod Oscars. Ossian’s Lied nach dem Falle Nathos’. Das Mädchen von Inistore.
Seckendorff, Karl Siegmund Freiherr von: Darthulas Grabesgesang. Text by Herder (cf. Volkslieder, 1779). Cf. Volks– und andere Lieder, ... In Musik gesetzt von Siegmund Freyherrn von Seckendorff. Dritte Sammlung. Dessau, 1782, pp. 26–31.
Dauras Trauer. Text in rimed quatrains by Seckendorff. Cf.op. cit., Vol. 1, Weimar, 1779, pp. 12–4, and cp.supra, p. 45.
Dauras Trauer. Text in rimed quatrains by Seckendorff. Cf.op. cit., Vol. 1, Weimar, 1779, pp. 12–4, and cp.supra, p. 45.
Weber, Bernhard Anselm: Sulmalla, ein lyrisches Duodrama mit Chören. Text by Karl Alexander Harklots. (Berlin, 1802.)
Zumsteeg, Johann Rudolf: Ossian’s Sonnengesang. Text by F. W. von Hoven, cf.supra, p. 21.
Ossian auf Slimora. Notice in Schubart’s Chronik, 1790, ii, p. 774.Colma. Text from Goethe’s translation in Werthers Leiden. (Leipzig, 1801.) Cf. Deutsche Rundschau, Vol. 74, p. 430.
Ossian auf Slimora. Notice in Schubart’s Chronik, 1790, ii, p. 774.
Colma. Text from Goethe’s translation in Werthers Leiden. (Leipzig, 1801.) Cf. Deutsche Rundschau, Vol. 74, p. 430.
(Ossian. Eine Sammlung von Volksliedern und Compositionen neuerer Meister für gemischten Chor. Published by C. F. Kahnt Nachf., Leipzig, 1867. A collection of German folk–songs, etc., containing no Ossianic songs whatsoever.)
Harnisch, Carl: Bildliche Darstellungen in Arabeskenform zu Ossians Gedichten. [Berlin], 1835. Six drawings illustrating scenes from Cath–Loda, Comala, Lathmon, Fingal (2), and Temora. Cf. Nagler, Künstler–Lexicon, Vol. 5, pp. 564–5.
Krafft, Peter: Ossian. A painting representing the blind bard led by Malvina, “am brandenden Meeresufer sein Schwanenlied in die Saiten brausend.” Cf. Nagler, Künstler–Lexicon, Vol. 7, p. 153. An etching from this painting was made by Ignaz Rungaldier. A cut appeared in Aglaja. Taschenbuch für das Jahr 1824. Wien.
Rehberg, Friedrich: Ossian und Malvina. A drawing “recently exhibited at Berlin” (Gurlitt, 1804).
Ruhl, Johann Christian: Ossian’s Gedichte in Umrissen. Erfunden und radirt von J. C. Ruhl. Bildhauer in Cassel. 1. Heft. St. Petersburg, Penig und Leipzig, 1805. 2. Heft. St. Petersburg und Penig, 1806. 3. und letztes Heft. St. Petersburg, Penig und Leipzig, 1807. Cf. Nagler, Künstler–Lexicon, Vol. 14, pp. 30–3. Advance Notice: Intelligenzblatt der Jenaischen Allg. Lit.–Zeitung, 1805, i, p. 68.Reviews: Journal des Luxus und der Moden, 1805 (April), pp. 210–1; 1806 (October), pp. 640–2; 1808, pp. 188–90. Allg. Lit.–Zeitung, 1806, ii, pp. 371–4; 1807, iii, pp. 558–9; 1808, iv, pp. 750–2. Bibl. der redenden und bildenden Künste. Leipzig. Vol. 2, ii, pp. 388–94 (1806). Der Neue Teutsche Merkur, 1807, i, pp. 200–6 (by Justi, cfsupra, p. 47); 1807, iii, pp. 239–42 (by Justi). An advance description of the entire collection appeared in Justi’s Hessische Denkwürdigkeiten, Marburg, 1805, Vol. 4, i, pp. 463–8.
Runge, Philipp Otto: Eight very large pictures in illustration of Cath–Loda, two to illustrate the Death of Comhal and the Birth of Fingal (son of Comhal), and three pen–sketches (in outline) of Fingal, Oscar, and Ossian. Cp.supra, p. 47.
Weitsch, Friedrich Georg (Matthias): Comala. A large heroic painting, representing bards singing the praise of Comala by torchlight. Exhibited at the Berlinische Kunstausstellung of 1802. For A. W. v. Schlegel’s criticism, cf.supra, p. 44. No. 2, Vol. 1, of the Tablettes d’un Amateur des Arts, Berlin, contains La Mort de Comala, a sketch after the painting by Weitsch, together with a description of the painting and the argument of the episode in Ossian.
Tod der Borminna, nach Ossian’s Dichtung. A pendant to the above. Cf. Allg. Deutsche Biog., Vol. 41, pp. 629–30; Nagler, Künstler–Lexicon, Vol. 21, pp. 268–70.
Tod der Borminna, nach Ossian’s Dichtung. A pendant to the above. Cf. Allg. Deutsche Biog., Vol. 41, pp. 629–30; Nagler, Künstler–Lexicon, Vol. 21, pp. 268–70.
Taschenbuch für Damen auf das Jahr 1802. Herausgegeben von Huber, Lafontaine, Pfeffel, und andern. Mit Kupfern. Tübingen. 1. Kupfer: Malvina, in the midst of her companions, lamenting the death of Oscar. Cf. Croma. Notice: Neue allg. deutsche Bibl., Vol. 73, ii, p. 522 (1802). 3. Kupfer: Colma’s discovery of the bodies of her lover and her brother on the beach. Cf. the song of the unfortunate Colma, The Songs of Selma, p. 209, ll. 26 ff.
Among the Commissions–Artikel of the Landes–Industrie–Comptoir at Weimar cited in the Intelligenz–Blatt des Neuen Teutschen Merkurs for April, 1805 (p. 67), mention is made of an engraving illustrating Ossian’s Dichtungen. “Ein grosses, reich komponirtes Blatt, gemalt von F[rançois] Gerard, gestochen von J[ean] Godefroy in Paris.” Godefroy’s engraving was exhibited at the Paris Salon in 1804. A criticism of the engraving, by Goethe, had appeared in the Jenaische Allg. Lit.–Zeitung, January, 1805, on pp. vii–viii of the supplement: Weimarische Kunstausstellung vom Jahre 1804....
[For a notice of the scheme said to have been broached in Kingussie for an exhibition of paintings illustrating the poems of Ossian, cf. Saunders,op. cit., pp. 236–7.]
[For a notice of a painting of Lamderg and Gelchossa (cf. Fingal, Bk. v, pp. 257–8) in the Art Gallery of Yale University (by Col. John Trumbull), cf. Donald G. Mitchell, English Lands, Letters and Kings, 1895, Vol. 3, p. 221.]
Almost a century and a half has elapsed since the literary world of Europe bowed to a new offspring of the poetic muse that many thought would be immortal. The poems of Ossian were assigned to a ‘natural genius,’ whom men of unquestioned literary sagacity placed next to and even above Homer. Now they are almost forgotten, and their interest lies mainly in the influence they exerted upon some of the greatest minds of the 18th century.
It was in the year 1760[15]that James Macpherson, a Scotch youth of twenty–four,[16]published in Edinburgh someFragments of Ancient Poetry, Collected in the Highlands of Scotland, and Translated from the Gallic or Erse Language. Neither Macpherson nor his friends anticipated the tremendous sensation these fragments were destined to make, not only in Scotland and England, but on the whole continent of Europe. But Macpherson was not the man to underestimate the position which he had suddenly attained, and accordingly, emboldened by his initial success, he published in 1761Fingal, an epic poem in six books, and in 1763Temora[17]in eight books. With the dispute over the authenticity of the poems we are not here concerned. The researches of modern Celtic scholars have cast much light upon the long–disputed question. They have accorded Macpherson the place that in justice belongs to him, the place of a ‘skillful artificer,’[18]who took a few crude scattered fragments of Irish—not distinctively Scotch—folk–songs as his foundation, and not only lengthened them into more elaborate and refinedpoems, but built up long epics, which, although accepted as genuine by a credulous age in a moment of blind enthusiasm, have not been able to withstand the scrutiny of the unprejudiced scholar.
Macpherson’sOssianwas not the first literary product of England that was received with favor by the Germans in the 18th century, but no other made its influence felt so strongly. A glance at the bibliography will show the importance of Ossian in the literary history of Germany. There was scarcely a writer of note who did not at some time or other fall under the spell. First came Klopstock, who, regarding Ossian as a German, found the songs of the bard a fit vehicle for the transmission of his patriotic ideas. Gerstenberg wrote a long drama in the Ossianic vein. Denis translated the poems of the bard and imitated him zealously. Kretschmann and many so–called ‘bards’ of smaller caliber fell into line. Herder hailed the advent of the songs with delight and based his theories of popular poetry largely upon them. Goethe, inspired by Herder, took a passing but deep interest in the literary curiosity, which left its impress upon a portion of his work.[19]Schiller’s earliest dramas show traces of Ossian’s influence. TheStorm and Stresswriters found nourishment in the writings of a genius who observed no rules. Merck edited an English edition of the poems. Lenz translatedFingal. The poets of theGöttinger Bund—Bürger, Hölty, Voss, Fried. Stolberg, Cramer—have all left testimony of their admiration for the Gaelic Homer. Then there were Claudius and Matthisson and Kosegarten, all influenced by Ossian. Even Gessner shows his indebtedness in some of his later idyls. Weisse and Haller wrote detailed reviews. Adelung strongly opposed the authenticity of the poems. Wilhelm Schlegel seconded the latter’s efforts. Friedrich Schlegel seriously discussed the authenticity. Jacob Grimm was extremely anxious to appear as their champion. The melancholy of Novalis sought consolation in the Ossianic ‘joy of grief.’ Tieck produced several imitations in his youth. Hölderlin also read the poems with ardor. Freiligrath wrote a ballad “Ossian.” And so on to the end of the chapter. Schubert and Brahms, Zumsteeg and Dittersdorf, Seckendorff and Löwe, and other German composers, have set portions of the poems to music. German artists have tried their hand at illustrating Ossianic scenesand depicting Gaelic heroes. But why pursue the subject further? It were almost impossible to overestimate the favor which the poems of Ossian once enjoyed in Germany. The baptismal name Oskar, so common in Germany, and those of Selma and Malvine,[20]still found there, serve as perpetual reminders of the proud rôle that Ossian, son of Fingal, once played on German soil.
In order to comprehend this wide–spread influence, let us glance at the literary condition of Germany in the seventh decade of the 18th century. As far as their success in Germany is concerned, the poems of Ossian could not have been ushered in at a more opportune moment. We may safely assert that at no time before were the chances of a favorable reception so good; and had they been published in the 19th century, their influence would have been nil. And it was fortunate in many respects that the songs appeared when they did, for although we have long ceased to regard Ossian as a classic, we have no reason to consider his influence pernicious. Of course the danger of drawing false conclusions and exaggerating the value of the poems was great, and that they worked a certain amount of mischief no one will deny. Yet the indisputable facts remain, that the poems of Ossian aroused a wide–spreading interest in the ‘tales of the times of old,’ that they helped to draw the attention of the Germans to their own rich store of popular poetry; that they aided in eradicating the general idea that German literature depended for its prosperity upon imitation. Themselves artificial, by a strange paradox they helped to dispel artificiality, and we really owe to Macpherson a debt of gratitude for making us acquainted with those ‘deeds of the days of other years’ when ‘Fingal fought and Ossian sung.’ The controversy that arose over the genuineness of the songs was instrumental in calling general attention to them. A fight usually attracts a crowd, and it did not fail to do so in this instance. Aspirants for critical honors were allured into the polemical arena like moths into the flame. The majority of the German critics came nobly to Macpherson’s defense, and their decided views as to the authenticity and beauty of the poems had a marked effect upon the opinions of their readers.
And then the poems appeared in English, a language that had become interesting to the Germans, especially after the Seven Years’ War drew Prussia and England closer together. It did not require a thorough knowledge of English to read Ossian. The periods were short and simple, involved constructions were almost entirely lacking, and repetitions of the same thought in terms virtually similar were of frequent occurrence. The episodes themselves were simple and called for no serious application of the reasoning powers; any complications that might arise were explained away by a careful argument preceding each poem, and those who were curious to know more about the origin and age of the poems found abundant material to satisfy them in the various dissertations prefixed to many of the editions and translations. On the whole, nothing in the entire range of English literature could have been found that better met the demand for a text shorn of the most common difficulties. The number of English reprints that appeared in Germany is incontrovertible evidence of the frequency with which these poems were read in the original. And it is patent that this circumstance contributed in some measure to their popularity. A German of the 18th century, possessed of a moderate knowledge of English, would be less drawn toParadise Lostthan to Ossian. While the nature of the subject is the primary cause for the large number of German translations of Ossian, the apparent simplicity of the material no doubt induced more than one person to present his countrymen with a new translation. And thus it came about that Ossian was in more cases than one translated into German by men who absolutely lacked poetic talent. The earliest translations were in rhythmic prose, a fact that did much to increase the popularity of this style of writing in Germany at that time. About the time of Klopstock’s entrance upon the literary stage, and for some time afterwards, the theory widely prevailed, that the poet enters into more direct contact with nature by clothing his thoughts in prose. This prose, however, was to be a poetic prose, poetic and at the same time natural; for prose was regarded as the most natural expression of the soul. Surely the sensation that Ossian made in Germany would not have been so prodigious had his poems appeared in meter. An indignant protest arose on all sides when Denis introduced an innovation by publishing a translation in hexameters.[21]Had the poems of Ossian appeared originally in the measures of the so–called Gaelic originals, they might have found readier acceptance with scholars, but scarcely with the reading public. There was something in Macpherson’s abrupt but pompous, rhapsodical, measured proseper sethat won the hearts of the admirers of ‘these glorious remains of antiquity.’
Two distinct tendencies stand out prominently on the literary horizon of Germany in the middle of the 18th century: imitation of the ancients, and the return to nature as preached by Rousseau and his disciples. It is a signal coincidence that Macpherson’s poems and Rousseau’sNouvelle Héloïseappeared about the same time. It is well known with what acclaim Rousseau’s doctrines were hailed in Germany. To a people professedly longing for a return to the delights of savage life, nothing could have been more opportune than the practical illustration of Rousseau’s theories in the account of the crude civilization depicted by Macpherson, whose characters, while leading a life of freedom in the wild fastnesses of the mountains, far from the haunts of civilized man, had been supplied by Macpherson with a veneer of nobility and refinement that would have better befitted a powdered and perfumed gallant of the 18th century. There are some points of resemblance between the panegyrists of Thomson’sSeasons, who sang the beauties of the sunrise but never rose before noon, and those followers of Rousseau who never wearied of sighing for the advantages of savage life, but would have indignantly declined to be taken at their word and transported among a tribe of Patagonians. The heroes of Ossian were more to their taste: these at least made some pretension to refinement of manners, even if they did not powder their hair nor use snuff. We can vividly picture to ourselves the immense stir that the sudden appearance of Ossian must have made in a society that was ready to embrace Rousseau’s cause with such alacrity.[22]To a certain extent the return to nature went hand in hand with the awakening of a love for wild and lonely scenery, and here, also, Macpherson gave all that could be demanded, even by the most fastidious. Rousseau was a true lover of nature; he was passionately fond of the Alps, and his example inspired the Germans with a new love for mountain scenery. His writings did much to bring on the era of nature–worship in Germany, andthey were nobly seconded by Macpherson’s descriptions of the Scottish Highlands.
In an age when it was considered good taste to imitate the ancients, Ossian could not fail to arouse more than passing interest. From imitation of the French and English, the Germans had, in accordance with the ideas of Lessing, come back to the Greek source. But even in imitation of the Greeks there was no real salvation. It needed a Klopstock to arouse an interest in Germanic antiquity, in a civilization that was less alien to the specifically GermanAnschauung. And here Ossian’s beneficent influence enters, for his works undoubtedly increased the interest that was beginning to be taken by the Germans in their own antiquity. Klopstock regarded Ossian as a German, and Herder based many a theory of the folk–song upon the lays of the Gaelic bard. The influence, then, that Ossian had in this respect was rather an indirect one. When we regard his direct influence in the matter of imitation, the outlook is not so encouraging. Ossian’s world is encompassed by narrow bounds, the field of his images and descriptions is small, the emotions and sentiments expressed by his actors are confined to a limited sphere; and all this, coupled with the continual repetitions, greatly simplifies the process of direct imitation. And this very simplicity proved an irresistible temptation and a snare to many not at all qualified to enter the lists. Thus we find sorrowful examples of attempts at Ossianic imitation in the work of some of the so–called ‘bards’ and elsewhere. One thing Ossian did, however: he aided Klopstock in his attempt to elevate the personal rank of the poet. At a time when Klopstock was making strenuous efforts in this direction, it was a great gain for those similarly minded to be able to point to the times of old, when the bard was placed upon an equal footing with the warrior and held in extraordinary esteem by the people. If Macpherson involuntarily contributed his mite to the spread of the idea that the poet’s vocation is a noble one, he deserves our sincere gratitude.
The influence exercised in Germany by Shakspere and by Bishop Percy’sReliquesin several particulars goes hand in hand with that of Ossian. Herder grasped all three in close connection, but we shall postpone our account of their inter–relation to the paragraphs on Herder. A few words are due, however, to Young’sNight Thoughtsand hisConjectures on Original Composition,[23]in the latterof which the poets of theStorm and Stressfound much fuel for their fire. Original genius is a shibboleth frequently met with in the German literature of the time. In Shakspere the Germans believed they had discovered a true original genius, and he came to be regarded as the perfect type of the natural poet, who, throwing aside existing rules and conventionalities, became a law unto himself. But when they came to Ossian, they discovered a man that really stood in much closer communion with nature than even Shakspere, for the former lived in surroundings that precluded the establishment of fixed rules of poetical composition. If the poems of Ossian were genuine—and it took a very long time to convince the Germans of the fact that they were not—here they had certainly to deal with a poet who was a genius born not made—an undeniable original. Dr. Blair had in his “Critical Dissertation” undertaken to make a comparison of the characteristics of the work of Ossian and Homer, and nowhere did his conclusion fall upon more willing ears than in Germany. Soon a most delightful controversy arose over the relative excellence of Homer and Ossian, and it was intensified by the appearance of Robert Wood’sEssay on the Original Genius and Writings of Homer(1769), in which, too, Homer was proclaimed as a product of the soil. Homer generally came out second best in the comparison, critics vieing with one another in discovering some new phase wherein Homer could with apparent justice be placed beneath Ossian.[24]And how many German translations of Ossian had appeared before one respectable version of Homer came into being! The latter’s heroes were branded not only as cruel and artful, but as possessed of other unattractive qualities that relegated them to a lower level than the characters depicted by Ossian, who never failed to develop the attributes that distinguish the true hero, and so onad absurdum. Fortunately the aberration was only temporary. No doubt the frequent comparisons are responsible for the Homeric dress occasionally given to Ossian’s warriors in illustrations;e. g., in No. 14 of Ruhl’s sketches, Oscar wears a Greek helmet, coat–of–mail, etc.
A translation of theNight Thoughts[25]by Johann Arnold Ebert (1723–95) had appeared in 1760 and its influence soon began to manifest itself in the odes of Klopstock and his pupils. The profoundmelancholy underlying theThoughtswas the leading cause of its popularity in Germany and in a measure paved the way for the related strain that runs through Ossian. In this respect, then, the influence of the one accentuated that of the other, although the popularity of Young waned noticeably after the appearance of Ossian. Closely bound up with the spirit of melancholy is that of sentimentality, and here again Ossian’s sway is unmistakable. Before the appearance ofWerthers Leiden(1774), the influence of Ossian had been felt in several directions, but it was reserved for Goethe to open up a new field for the Gaelic bard. Feeling began to enter the arena,[26]and Ossian’s ‘joy of grief’[27]began to symbolize for many a German youth and maiden “the shower of spring, when it softens the branch of the oak, and the young leaf rears its green head.” Goethe, through his incomparable translation of “The Songs of Selma” inWerthers Leiden, served to increase the admiration that had so willingly been offered on the shrine of Ossian. But we must not anticipate the paragraphs on Goethe.
And now that the famous bard had once been started upon his triumphal career, nothing of importance occurred for some years to disturb the general tenor of his fame. The work of translation and imitation went on and there was always some one prepared to enter the lists as his champion. For a long time it was considered bad form for a German critic to doubt the authenticity of the poems. Not one had the courage of his convictions, not one was prepared to damn with faint praise. A number of literati had their private doubts as to the genuineness of the poems, but they feared to share their opinions with the public—as witness the following passage in a letter of Klotz to Denis, dated Halle, July 6, 1769: “Aufrichtig unter uns geredet (denn dem Publico mag ich, darf ich es nicht sagen) ich kann mich immer noch nicht überreden, dass diese Gedichte völlig ächt wären, dass gar keine neuere Hand an ihnen polirt, gewisse Bilder abgeändert, andere hinzugesetzt hätte u. s. w.”[28]And Denis says in his reply: “Ich hatte ihn auch, diesen Zweifel; allein D. Blair’s Abhandlung, und Macphersons Betheurungen haben mich hierüber ziemlich beruhiget. Dennoch mag wohl an den Übergängen, an den Verbindungen der Stücke hinund wieder eine neuere Hand polieret haben.”[29]Ossian filled so many long–felt wants, that it was not to be expected that the Germans would give him up easily, and yet this one–sided chorus of praise could not satisfy perpetually.
When the poets of the Romantic School arrive upon the scene, Ossian has, to be sure, lost some of his old–time glory, yet he is still ready to respond to the calls made upon him. Macpherson died in 1796, and soon afterwards steps were taken looking towards the publication of the supposed Gaelic originals. Rumors of the circumstance reached Germany and called forth wide–spread interest. The dying embers were for the last time blown into a bright flame, to which fact the mass of Ossianic literature which appeared from 1800 to 1808 clearly attests. Much of the renewed interest must be ascribed to the influence of Ahlwardt, who prepared a translation from the original Gaelic (1811). The excellence of this translation was trumpeted throughout the land long before its appearance, a specimen was published as early as 1807 and widely reviewed, so that when the complete translation finally appeared, little was left to be said. Ahlwardt’s translation really marks the beginning of the end. What a lowering from their former position the poems had suffered even at the beginning of the century, is shown by a statement made by Schröder in the preface to his translation ofFingal(1800), where he refers to Ossian as one of those poets that are praised more than read. We still meet with an occasional translation and imitation, to be sure, but they are of little weight when compared with the hold the Ossianic craze once had on the German people. Ossian came generally to have more interest for the philologist than for the man of letters. More than one critic no longer concealed his doubts of the authenticity, until finally Mrs. Robinson’s (Talvj’s) work upon the non–genuineness of the poems was published (1840), which treatise marks the turning–point in German Ossian criticism. Since Talvj’s days the Celtic scholars of Germany have sought to make good the errors into which their predecessors of the previous century had fallen, and to them we owe much of the light that has been shed upon the long–mooted question in comparatively recent years. At the present day Ossian is read but little in Germany, and where he is known attention has generally been called to him by Goethe’s famoustranslation of “The Songs of Selma.” He still attracts the average reader if read in snatches, but few will be found who can derive pleasure from the reading of his entire works. Macpherson’s Ossian has become the property of the literary historian, and the genuine old folk–songs connected with his name that of the Celtic scholar.
It is generally stated that the first German notice of thePoems of Ossianwas given by Raspe in No. 92 of theHannoverisches Magazinfor 1763. This is, to be sure, the first extended review, but a notice ofFingalhad appeared the year before in theBibliothek der schönen Wissenschaften.[30]It is interesting to note what attracted this first critic, who regards the characters of the epic as full of strength and feeling, and endowed with all the virtues that go to make up true heroism. He marvels at the bold poetic expression, and seems to detect in it a resemblance to the oriental style. In a review ofTemorawhich appeared in the same magazine in the following year, the author tells us that, on the one hand, the various critical dissertations written by Macpherson and, on the other, the nature of the poetry itself have convinced him of the authenticity of the songs, which he thinks ought to be made more widely known through German translations. He is attracted particularly by “the grandeur and sublimity of thought, the spark of genius, the power of expression, the boldness of metaphor, the sudden transitions, the irresistible and unexpected touches of pathos and tenderness, and the similarity in similes and phrasing.” In these notices we encounter several remarks that are characteristic of the Ossian craze in Germany. In the first place, doubts as to the authenticity are not to be entertained.[31]Equally interesting is the impression made upon the critic by the ‘spark of genius,’ the ‘power of expression,’ the ‘boldness of metaphor’; in other words, the Gaelic bard was considered fairly well endowed with those qualities that constitute the ideal poet of theStorm and Stress, and he might well be placed by the side of Shakspere as a natural poet. We note further that the pathos and tenderness exhibited in the poems of Ossian attracted attention from the beginning, and this very pathos and sentimentality and melancholy didmuch to establish Ossian in the popular favor. The German is by nature inclined to be sentimental, and to the German of the 18th century the joy of grief, the [Greek: himeros nooio] was a large reality.
Two years before the appearance of Engelbrecht’s translation of theFragments, there appeared in theBremisches Magazina German prose translation of two fragments that had been published in theGentleman’s Magazinein 1760. In a notice ofFingalin Volume 6 of the same magazine (1763), the epic is characterized as “beautiful, pathetic, and sublime.” The characterization ofTemoragiven in the following year is but an echo of the sentiments expressed in theBibliothek der schönen Wissenschaften.
One of the first to draw attention not only to the poems of Ossian but to Bishop Percy’sReliquesas well,[32]was Rudolf Erich Raspe. Raspe had studied at Göttingen and spent some years in Hannover, so that nothing was more natural than that he should take an interest in English literature. His first notice of Ossian appeared in No. 92 (1763) of theHannoverisches Magazin. The tone throughout is one of hearty appreciation, and supreme confidence is placed in the authenticity of the poems, which he defends enthusiastically, basing his arguments upon the various dissertations prefixed to the works of Ossian. The supposed originality of the Gaelic bard appealed strongly to him. “With justice,” says Raspe, “can he be styled an original, he is new throughout.”[33]And in another place: “Ossian is in the opinion of many great connoisseurs a genius of the first order.”[34]Here then we have ourOriginalgeniewithout further search. Raspe was thus struck by what he was pleased to regard as Ossian’s naturalness. The fact that Dr. Blair in his “Dissertation” had not hesitated to place Ossian on a par with Homer causes Raspe to marvel that Ossian was gifted enough to raise himself to the height demanded by an epic poem “without the machinery, the gods, and the comparisons of the Roman and Greek poets.”[35]He regarded Ossian as the embodiment of the ideal that Winckelmann saw in the Greek masterpieces, a soul characterized by ‘noble simplicity and quiet grandeur.’ Ossian’s noble sentiments are set up as an example worthy of emulation in these degenerate times.