Chapter III (4)

[132] Cf. _l. c._, p. 93.

[133] Cf. _l. c._, pp. 93–5.

[134] Cf. _l. c._, p. 104.

[135] Cf. _l. c._, p. 144.

[136] Cf. _l. c._, p. 145.

[137] Cf. Temora, Bk. iv, p. 337, l. 34 and p. 339, ll. 25–6.

[138] Cf. Works, Vol. 2, p. 146.

[139] Cf. _l. c._, p. 81.

[140] Cf. _ibid._

[141] Cf. _l. c._, p. 85.

[142] Cf. Jacobs, Gerstenbergs Ugolino, Berlin, 1898.

[143] Cf. Works, Vol. 1, pp. 386–7.

[144] Cf. _l. c._, pp. 395–6.

[145] Cf. _op. cit._, pp. 105–6.

[146] Cf. Works, Vol. 1, p. 402.

[147] Cf. _l. c._, p. 408.

[148] Cf. Comala, p. 139, l. 33; The Songs of Selma, p. 211, l. 5; etc., etc.

[149] Cf. Works, Vol. 1, p. 424.

[150] Cf. Jacobs, _op. cit._, p. 106.

[151] Cf. Works, Vol. 1, p. 467. Act 4.

[152] Cf. _l. c._, p. 497. Act 5.

[153] Cf. _l. c._, p. 438.

[154] Cf. _l. c._, p. 440.

[155] Cf. Jacobs, _op. cit._, p. 106.

[156] Cf. Works, Vol. 1, p. 445.

[157] Jacobs has Fingal by mistake.

[158] Cf. _l. c._, p. 494.

[159] Cf. _l. c._, p. 456.

[160] Cf. _l. c._, p. 457.

[161] Cf. _l. c._, p. 464.

[162] Cf. _l. c._, pp. 487–8.

[163] Cf. Knebel’s Literarischer Nachlass und Briefwechsel, Leipzig, 1835, Vol. 2, p. 87. Notice by Boie. For further particulars, cf. Jacobs, _op. cit._, pp. 127–45.

[164] Cf. Calthon and Colmal, p. 182, ll. 1–2. Cp. Berrathon, p. 377, l. 21: “My dwelling was not always in caves.”

[165] Cf. Carthon, p. 156, ll. 15–6. Cp. Fingal, Bk. ii. p. 234, l. 14: “Her hair was the wing of the raven;” Dar–Thula, p. 279, l. 36: “Thy hair like the raven’s wing,” etc.

[166] Cp. Dar–Thula, p. 279, l. 36–p. 280, l. 3. In this connection the following extract from a review of a Correspondence entre S.A.R. le Prince Gustave de Suède avec S.E. le Senateur Schaeffer (1772) in the Frankfurter gelehrte Anzeigen, 1772, p. 277, deserves to be quoted: ... “aber, zwo Maximen haben wir drin vermisst, die doch, unsrer Meinung nach, durchgehends in einer Fürstlichen Erziehung herrschen sollten: die, welche David seinem Sohne gab: Sey ein Mann! und die, welche Fingal dem Seinigen einprägte: Bend the Strong in Arms, but spare the feeble Hand. Be thou a Stream of many Tides against the foe of thy people, but like the gale that moves the grass to those who ask thy aid.”

[167] Cf. The Songs of Selma, pp. 208–10.

[168] Cf. Works, Vol. 1, p. 109.

[169] Cf. Vol. 77, i, pp. 116–8 (1787).

[170] The reviewer in the Neue Bibl. der schönen Wissenschaften, Vol. 34, ii, p. 284, criticizes this scene rather sarcastically. He says: “Und nun gerathen die Herren in eine poetische Entzückung und deklamiren sich mancherley im ossianischen Schwung vor. Nachdem sie sich aber beiderseits aus diesem Schwindel erholt haben,” etc.

[171] Cf. Works, Vol. 1, pp. 104–7.

[172] Cf. _l. c._, pp. 107–9.

[173] Cf. Act 1, i, 3; p. 52.

[174] Cf. Act 4, 6; p. 252.

[175] Cf. Act 2, i, 1; p. 100. Ossian’s heroines all have snow–white hands, arms, necks and bosoms, and generally raven–black locks. Cp. Lathmon, p. 277, l. 9: “Her hair spreads on her neck of snow.”

[176] Cf. Act 4, 3; p. 214.

[177] Cf. p. 184, Tauchnitz.

[178] Cp. _e. g._, Cath–Loda, Duan i, pp. 128–9, Oithona, pp. 172–4, etc.

[179] Cf. Act 2, ii; p. 129. Cp. The Battle of Lora, p. 303, ll. 17–8: “The moon looks into thy cave,” etc.

[180] Cf. Vol. 34, ii, p. 298.

[181] Cf. _l. c._, p. 288.

[182] Cf. 1789, i, p. 719.

[183] Cf. Works, Vol. 1, pp. 25–6.

[184] Cf. Act 2, ii, 4; p. 132. Song of Minona.

[185] Cf. _ibid._, p. 133.

[186] Cf. _ibid._, p. 134.

[187] Cf. Act 3, ii, 4; pp. 171–2.

[188] As to the nature of these songs, cf. Ryno’s explanations to Edelstan, Act 4, 3 pp. 219–25.

[189] Cf. Act 4, 3; p. 220.

[190] Cf. Act 2, ii, 5; p. 137.

[191] Cf. Act 3, ii, 2; p. 166.

[192] (Du Geist.) Cp. Fingal, Bk. ii, p. 227, l. 5: The ghost sat upon “a dark–red stream of fire.” etc.

[193] Cf. Act 3, ii, 5; pp. 201–2.

[194] Cf. Act 5, 1; p. 306.

[195] Cf. Act 5, 2; p. 325.

[196] In Ossian Brumo is a place of worship in Craca. Cf. Temora, Bk. ii, p. 319, l. 25. Cp. Fingal, Bk. vi, p. 265, ll. 28–9: “Within the circle of Brumo, he spoke to the stone of power.”

[197] Cf. Act 5, 4; p. 343.

[198] Cf. Act 4, 8; p. 282.

[199] It has been stated and doubted that Leonore’s disguise in the last act of Schiller’s Fiesco was suggested by Ossian. I shall give my views on the question in connection with the chapter on Schiller.

[200] Cf. Works, Vol. 1, p. 365.

[201] Cf. P. v. Hofmann–Wellenhof, Michael Denis Ein Beitrag zur Deutsch–Oesterreichischen Literaturgeschichte des xviii. Jahrhunderts. Innsbruck, 1881.

[202] Denis first became acquainted with Ossian in Cesarotti’s translation in the year 1763.

[203] Notice that in the case of Denis, Klopstock was not uninstrumental in instilling veneration for the Celtic Homer; Gerstenberg, on the other hand, is not mentioned. Cp. _supra_, p. 82.

[204] Cf. Retzer, Denis’ Lit. Nachlass, 1801–2, Vol. 2, pp. 158–9.

[205] Cf. _ibid._, p. 124. Letter of Gleim to Denis, dated Halberstadt, May 3, 1769.

[206] Cf. Allg. Deutsche Bibl., Vol. 10, i, p. 64.

[207] Cf. _ibid._, p. 65.

[208] Cf. _ibid._, p. 69.

[209] For a detailed notice of this essay cf. the paragraphs on Herder, for which all further remarks on Herder’s attitude will be reserved.

[210] Cf. Allg. deutsche Bibl., Vol. 17, ii, p. 438.

[211] Cf. _ibid._, p. 442.

[212] Cf. _ibid._, p. 445.

[213] Cf. _ibid._, pp. 445–6; cp. _supra_, pp. 85–6.

[214] Cf. Neue Bibl. der schönen Wissenschaften, Vol. 8, i, p. 99 (1769).

[215] Cf. _ibid._, p. 101.

[216] Cf. _ibid._. pp. 102–5. Episode of Morna, daughter of Cormac, Fingal, Bk. i, p. 219, l. 13–p. 220, l. 34.

[217] Cf. _ibid._, pp. 105–8.

[218] Cf. _ibid._, pp. 108–9. Fingal, Bk. ii, p. 230, l. 28–p. 231, l. 6.

[219] Cf. Ossians und Sineds Lieder, Vol. 1, pp. 117–32; cp. p. 120, note.

[220] Cf. _ibid._, Vol. 4, pp. 81–97.

[221] Cf. Gött. Anz. von gel. Sachen, 1768, ii, p. 1285.—In regard to the form of Comala, cp. also Ehrmann, _op. cit._, p. 87.

[222] Cf. _ibid._, p. 1282.

[223] For examples cf. Hofmann–Wellenhof, _op. cit._, pp. 182–4.—The different meters employed are discussed on pp. 174–81 of the biography.

[224] Ramler read Fingal in Denis’s translation with his pupils in the Berlin cadet–school and explained the epic to receptive ears. In a letter dated Oct. 5, 1777, he writes to Denis of his success in the following words: “Was für einen Eindruck die mächtigen und natürlichen schönen Gedanken Ihres Ossians auf meine achtzehnjährigen Zuhörer gemacht haben, kann ich Ihnen nicht beschreiben. Sie waren traurig, wenn die Stunde sobald zu Ende gieng; und wenn ich des folgenden Tages das Buch wieder öffnete, stieg ihre Seele ihnen in die Augen. Sie verschlangen alles;” etc. Cf. Michael’s Denis Lit. Nachlass, 1801–2. Vol. 2, p. 137.

[225] Cf. Die Lieder Sineds des Barden, pp. 1–2.

[226] Cp. Cath–Loda, ii, p. 133, l. 26; The Songs of Selma, p. 212, l.5; also The Death of Cuthullin, p. 292, l. 22; “The silent valleys of night,” etc.

[227] Cp. The Death of Cuthullin, p. 292, ll. 20–1.

[228] Ossian.

[229] Cf. Lieder Sineds, p. 4. It was a common circumstance for a German poet at that time to assume that the mantle of some great forerunner had fallen upon his shoulders, _teste_ Nicolai, who wished to be considered Lessing’s successor; Denis hints at his representation of Ossian more than once.

[230] Cf. Hofmann–Wellenhof, _op. cit._, p. 213.

[231] Cf. Lieder Sineds, p. 85, Gruss des Tages. Cp. Beurlaubung des Tages, p. 142: “Auf Ihren Barden sey der Geist der Lieder.”

[232] Cf. _ibid._, Theresia die Mutter, p. 107.

[233] Cp. _e. g._, Berrathon, p. 380, last 3 ll.

[234] Cf. Temora, Bk. iv, p. 334, ll. 7–8; Bk. vii, p. 357, l. 23, etc.

[235] Cf. Lieder Sineds, pp. 96–7.

[236] Cf. _ibid._, p. 103.

[237] Cf. _ibid._, p. 100. Also Urlaub von der sichtbaren Welt (p. 287), and Drittes Vaterlandslied (p. 223): “Wonne der Wehmuth.” Cp. Goethe’s poem, “Wonne der Wehmuth,” and _infra_, p. 150.

[238] Cf. _ibid._, pp. 100–1.

[239] Cf. _ibid._, p. 110. Cp. Theresia die Starkmüthige, p. 120: “Des ... Schwertes Blitz,” and p. 121: “Blitz des Schwertes.”

[240] Cf. Calthon and Colmal, p. 184, ll. 22–3, The Songs of Selma, p. 211, ll. 6–7, Fingal, Bk. iv, p. 248, l. 26, etc., etc. Cp. _infra_, p. 142.

[241] Cf. Sul–Malla of Lumon, p. 201, ll. 17–9.

[242] Cf. Sineds Lieder, p. 111.

[243] Cf. Fingal, Bk. iii, p. 239, l. 23, etc.

[244] Similarly An den Obersten der Barden Teuts, p. 184, etc.

[245] Cf. Fingal, Bk. vi, p. 264, l. 25, etc.

[246] Cf. Temora, Bk. i, p. 310, l. 24.

[247] Cf. Lieder Sineds, p. 117. Cp. Goethe’s Faust, Part 2, l. 11529.

[248] Cf. Fingal, Bk. vi, p. 264, l. 24.

[249] Cf. Lathmon, p. 275, l. 2.

[250] The “Geist der Lieder” is repeatedly referred to in the Lieder Sineds, _e. g._, pp. 142, 182, etc. Cf. Ehrmann, _op. cit._, p. 40, and cp. _infra_, pp. 141 and 147.

[251] Cf. The War of Caros, p. 188, ll. 1–2: “The light of the song rises in Ossian’s soul.”

[252] Cf. Temora, Bk. iv, p. 338, ll. 8–9: “The light–winged thought that flies across the soul.” Bk. vi, p. 350, ll. 11–2: “As lightning ... a thought came rushing along my soul.”

[253] Cf. Dar–Thula, p. 279, last 2 ll.: “Thy soul was generous and mild, like the hour of the setting sun,” etc.

[254] Cf. Carric–Thura, p. 146, ll. 3–4; cp. Temora, Bk. iii, p. 328, l. 6; etc.; also Ossians und Sineds Lieder, 1784, Vol. 4, p. 148.

[255] Cf. Lathmon, p. 275, l. 16.

[256] Mein Spiel.

[257] Cf. Temora, Bk. ii, p. 323, l. 28.

[258] Cf. Comala, p. 140, l. 27, and note.

[259] Cp. Sineds Lieder, pp. 224, 235, etc.

[260] Cf. _e. g._, Croma, p. 179, ll. 16–7: The joy “was like the faint beam of the moon spread on a cloud in heaven.”

[261] Cf. Sineds Lieder, pp. 209–10, note.

[262] Cf. _ibid._, p. 215.

[263] Cp. Urlaub, pp. 284, 288, Vierte Klage, p. 270, and _infra_, p. 149.

[264] Cp. also Ossians und Sineds Lieder, 1784, Vol. 4, p. 149, p. 203; Vol. 5, p. 151.

[265] Cf. particularly Temora, Bk. i, p. 313, ll. 1–3 and the note; also Bk. vii, p. 355, ll. 20–1.

[266] Cp. Das Kunstfeuer, Ossians und Sineds Lieder, 1784, Vol. 4, p. 206.

[267] Cf. _ibid._, Vol. 3, p. 50.

[268] Cp. _infra_, p. 138.

[269] Cf. The Battle of Lora, p. 298, ll. 14–5.

[270] Denis had originally translated from the English edition of 1765.

[271] Cf. Bibliography, 1777.

[272] Cf. Ossians und Sineds Lieder, Vol. 4, pp. 101–2.

[273] Cf. Temora, Bk. i, p. 307, l. 3.

[274] Cf. Temora, Bk. ii, p. 324, l. 6; Berrathon, p. 374, l. 7.

[275] Cf. Dar–Thula, p. 287, ll. 4–5; cp. _ibid._, p. 285, ll. 30–1.

[276] Cf. Kürschner’s Dtsche Nat.–Lit., Vol. 48, pp. 305–11.—Carl Friedrich Kretschmann, (der Barde Rhingulph). Von Dr. Hermann Fried. Knothe, Zittau, 1858.

[277] When we speak of the lyric poems, we mean those that are not distinctively bardic. The bardic poems are naturally, as a rule, of a lyric nature.

[278] Cf. Works, Vol. I, p. 2.

[279] Cf. _ibid._, p. 9.

[280] Cf. _ibid._ pp. 26–7.

[281] Cf. _ibid._, pp. 48, 73, 88, 106, etc.

[282] Cf. Vierteljahrschrift für Litteraturgeschichte, Vol. 6, p. 199.

[283] Cf. _supra_, p. 130.

[284] Cf. pp. 142, 209, 210, 283, etc.

[285] Cf. Leitzmann in his review of Ehrmann’s Bardische Lyrik, Literaturblatt für germ. und rom. Phil., Vol. 16, pp. 223–4 (1895).

[286] Cf. Temora, Bk. viii, p. 363, l. 24; p. 368, l. 3; etc.

[287] Cf. Fingal, Bk. i, p. 217, ll. 8–9.

[288] Cf. Fingal, Bk. iv, p. 247, ll. 33–5.

[289] Cp. _supra_, p. 129, _infra_, p. 144.

[290] Cf. The Songs of Selma, p. 211, l. 6. Towards the end of the first canto of the Klage (p. 147) we have: “Des Sturmes Zorn.”

[291] Cf. Tauchnitz, p. 211, ll. 5–12.

[292] Cp. also Rhingulphs Klage, p. 138, etc.

[293] Cf. Fingal, Bk. i, p. 217, l. 19; Temora, Bk. v, p. 341, l. 31, etc. The passage in Fingal has “_Thou_ breaker of the shields,” and so Kretschmann: “_du_ Schild–Zerbrecher.”

[294] Cp. _supra_, pp. 93 and 97.

[295] Cf. Fingal, Bk. v, p. 259, next to the last line.

[296] Cf. _supra_, pp. 97–8, 110–1.

[297] Cf. The Songs of Selma, p. 211, ll. 8–9. Cp. _supra_, p. 100, but cp. Exodus, xv, 7, Psalms lix, 13, etc.

[298] Cf. Temora, Bk. vi, p. 352, l. 23; also _ibid._, p. 350, l. 17 and note, etc.

[299] Cf. Temora, Bk. iv, p. 338, l. 13.

[300] Cp. _supra_, pp. 129 and 142.

[301] Cf. Fingal, Bk. v, p. 257, l. 30.

[302] Cf. The War of Caros, p. 192, ll. 15–6, etc.

[303] Cf. Temora, Bk. iii, p. 329, ll. 24–5.

[304] Cf. The War of Caros, p. 191, l. 8.

[305] Cf. The War of Inis–Thona, p. 204, ll. 30–1.

[306] Cf. Fingal, Bk. i, p. 221, ll. 4–7.

[307] Cf. _ibid._, Bk. iii, p. 240, l. 25.

[308] Cf. _ibid._, Bk. vi, p. 265, ll. 4–5.

[309] Cf. Temora, Bk. vii, p. 357, ll. 2–30.

[310] Cf. Fingal, Bk. iii, p. 240, l. 12.

[311] Cf. Temora, Bk. vi, p. 354, ll. 3–4.

[312] Cf. Works, Vol. 2, p. 223; cp. _supra_, p. 128.

[313] Cf. _supra_, p. 89.

[314] Cf. Temora, Bk. ii, p. 324, ll. 28–9.

[315] Cf. Works, Vol. 5, p. 13. Cp. Ehrmann, _op. cit._, pp. 54–5.

[316] Cf. Vol. 5, p. 13; cp. _supra_, p. 130.

[317] The word _Telyn_, as we have seen, was adopted by the bards from Klopstock. Kretschmann uses it in the poem An Vater Gleim, and elsewhere. Cp. _supra_, p. 88.

[318] Gottlob David Hartmann, 1752–75, who in a letter to Denis, dated Tübingen, Sept. 24, 1772, confesses that he owes everything to him (Denis) and his Ossian. (Cf. Retzer, Denis’ Lit. Nachlass, 1801–2, Vol. 2, p. 194.) Hartmann has a poem An den Barden Rhingulph, which begins (Alm. der deutschen Musen for 1773, p. 12): “O Hermanns Barde, der Du an Ossians Empörtem Busen Schlachtengesang gehorcht,” and in which the word _Telyn_ is also used (p. 13).

[319] Cp. Die Regeln, Works, Vol. 5, p. 338.

[320] For full title cf. Bibliography, _supra_, p. 14.

[321] Haschka was apparently extremely fond of the name Minona, for we meet with it several times again in the same collection. In the Liebeslied (pp. 21–2) Minona is the ideal maiden love; then we have a poem entitled An Minona (pp. 22–3), another one Minona (pp. 116–7), still another one Cronnan und Minona (p. 218), and she occurs once more in Der Blumenstrauss (p. 312).

[322] Cf. The Songs of Selma, p. 211, l. 15; Fingal, Bk. i, p. 218, l. 29; etc., etc.

[323] Cp. _supra_, p. 134.

[324] Cp. _supra_, p. 133.

[325] Cf. Cathlin of Clutha, p. 196, l. 3; Sul–Malla of Lumon, p. 199, l. 13, etc.

[326] Cf. The Songs of Selma, p. 212, ll. 32–3; cp. _supra_, p. 130, and _infra_, p. 150.

[327] Cf. Temora, Bk. iii, p. 329, ll. 23–4; cp. _supra_, pp. 97–8, 110–1, 141, and 144.

[328] Cf. _e. g._, Temora, Bk. i, p. 310, l. 29.

[329] Cf. Carthon, p. 157, l. 23.

[330] Cp. _supra_, p. 128.

[331] Cf. Fingal, Bk. iv. p. 245, l. 8.

[332] Cf. Almanach der deutschen Musen for 1772, pp. 106–7.

[333] Cf. Litt. Monate, p. 127. Cp. Dar–Thula, p. 278, l. 5; p. 279, l. 11, etc.

[334] Cf. Goedeke’s Grundriss, 2d ed., Vol. 4, p. 112, 27.

[335] Cf. Ehrmann, _op. cit._, pp. 54–5, and _supra_, p. 147.

[336] Cf. Leipziger Musenalmanach for 1776, p. 212.

[337] Cf. Taschenbuch für Dichter und Dichterfreunde, 1778, pp. 87–8.

[338] Cf. Aus den Papieren des Barden von Riva. Telliade, etc. Herausgegeben von Ernst Götzinger. St. Gallen, 1891. p. 12 (Vorrede zur Telliade).

* * * * *

Transcriber’s Notes

The following are inconsistently used in the text:

Neuentdeckte and Neu–entdeckte

widespread and wide–spread

Düsseldorf and Dusseldorf

Nürnberg and Nurnberg

Ouvertüre and Ouverture

Zürich and Zurich

Temoræ and Temorae

Macpherson’schen and Macphersonschen

Kaufmann and Kauffmann

The following errors have been corrected:

p. 5 “verchiedenen” changed to “verschiedenen”

p. 5 “gesammlet” changed to “gesammelt”

p. 24 full stop added to text (Dar–Thula, p. 288, l.)

p. 29 full stop added to text (No. 20, pp. 318–20.)

p. 34 “comparision” changed to “comparison”

p. 39 “Frauenzimner” changed to “Frauenzimmer”

p. 57 “Macpherson’’schen” changed to “Macpherson’schen”

p. 57 “non–authenticit” changed to “non–authenticity”

p. 60 full stop added to text (3. Herder.)

p. 63 “übersetzungen” changed to “Übersetzungen”

p. 64 “songs whatsoever.’)” changed to “songs whatsoever.)”

p. 73 (note) “but not unti” changed to “but not until”

p. 74 (note) full stop added to text (l. c.)

p. 75 “ranslation of” changed to “translation of”

p. 75 “Wissenchaften” changed to “Wissenschaften”

p. 80 (note) full stop added to text (pp. 237–8.)

p. 112 (note) “Briefwechse” changed to “Briefwechsel”

p. 116 footnote marker added to text (verständlich sind.”[181])

p. 118 “dar Tag” changed to “der Tag”

p. 132 quotation mark added to text (Markmännern”)

p. 141 “mossy cave.”” changed to “mossy cave.”

p. 147 “tritt . unter” changed to “tritt ... unter”

Some possible errors have been left unchanged:

p. 6 “Irrländers”

p. 17 “Fragmente fon Klopstock”

p. 87 “Feyrend”

p. 87 “Wilst”

p. 114 unbalanced quotation marks have been left as printed.

p. 141 “Lezte”