Class__"B.' 'R3 5 4 ^ 
 Book Tg 
 
'SUt/V'W^' 
 
 ^'^ OSS IAN 
 
 IN 
 
 GERMANY 
 
 Bibliography, General Survey, Ossian's Influence upon 
 Klopstock and the Bards 
 
 RUDOLF TOMBO, Jr., M.A., M.S. 
 
 SOMETIME FELLOW IN GERMAN, COLUMBIA UNIVERSITY 
 
 Submitted in Partial Fulfilment of the Requirements for the 
 
 Degree of Doctor of Philosophy in the Faculty of 
 
 Philosophy, Columbia University 
 
 1901 
 
OSSIAN 
 
 IN 
 
 GERMANY 
 
 Bibliography, General Survey, Ossian's Influence upon 
 Klopstock and the Bards 
 
 RUDOLF TOMBO, Jr., M.A., M.S. 
 
 SOMETIME FELLOW IN GERMAN, COLUMBIA UNIVERSITY 
 
 Submitted in Partial Fulfilment of the Requirements for the 
 
 Degree of Doctor of Philosophy in the Faculty of 
 
 Philosophy, Columbia University 
 
 1 90 1 
 
CONTENTS. 
 
 Chapter I. Bibliography of German Translations, Imitations, 
 
 Critical Reviews, etc i 
 
 Chapter 11. General Survey and First Notices. 
 
 §1. General Considerations upon the Reception of the 
 
 Ossianic Poems in Germany 66 
 
 §2. Earliest Notices and Translations 75 
 
 Chapter III. Ossian's Influence upon Klopstock and the Bards. 
 
 § I . Klopstock 82 
 
 §2. The Bards. — Gerstenberg 103 
 
 §3. Denis 119 
 
 §4. Kretschmann 139 
 
 §5. Minor Bards 149 
 
 Index 154 
 
 IV 
 
CHAPTER I. 
 
 BIBLIOGRAPHY OF GERMAN TRANSLATIONS, IMITA- 
 TIONS, CRITICAL REVIEWS, ETC. 
 
 Introduction. 
 
 The following bibliography makes no claim to absolute complete- 
 ness. The material required was in some instances so difficult of 
 access, that exact data could not everywhere be given, but most of 
 the entries are based upon personal investigation. Most of the short 
 bibliographies that have hitherto appeared go back directly or in- 
 directly to those of Denis' and Gurlitt,- both of which are incom- 
 plete and not without errors ; the former contains less than thirty 
 titles that come into question here. 
 
 A few words as to the composition of this bibliography may not 
 be amiss. The pivot of the whole is that collection of the so-called 
 Poems of Ossian published by James Macpherson from 1760 to 
 1763, and as the titles of the different portions of this collection 
 are frequently misquoted, I have deemed it advisable to prefix them 
 to the German bibliography, together with the most important latei 
 editions. As to the German material, we have in the first place to 
 consider the German translations of the whole or a part of these 
 poems, together with the English reprints made in Germany, as well 
 as the translations into other tongues published in Germany.' Sev- 
 eral other collections, however, are so closely bound up in their 
 influence in Germany with that of Macpherson, that I have not 
 hesitated to include them. In the second place there are the crit- 
 ical essays upon the poems of Ossian, together with the historical 
 and geographical treatises bearing upon the authenticity of the 
 poems. Thirdly, we have an immense category of German imita- 
 tions, in which department the drawing of strict lines has been most 
 
 1 Cf. infra, p. 136. 
 
 2 Cf. iiifra, p. 42. 
 
 ^Prague, Vienna, Zurich, and Basel are included in the list of places of publication, a fact that 
 calls for no further explanation. 
 
difficult ; here the few epigrams and other poems in praise of Ossian 
 may also be inserted. In the department of music I have given a 
 number of compositions that have come directly to my notice. Sev- 
 eral paintings and illustrations of scenes from the poems of Ossian 
 are also mentioned, but in neither of these fields is any pretension 
 made to completeness. In both it has been found difficult to ob- 
 serve the exact chronological order, for which reason the works 
 under these headings have been arranged at the end alphabetically 
 according to authors. Finally, we are to regard the critical reviews 
 and notices of all the above categories in periodicals and newspa- 
 pers published in Germany. The reviews and notices are not given 
 in strict chronological order, but are in almost every case inserted 
 directly below the work to which they refer. Advance notices when 
 long are frequently given separately. During the years in which 
 the influence of Ossian was at its height, everything has been given 
 in the latter department that could be found, whereas in later years 
 most reviews and short notices are omitted. As a rule the pages 
 given in the reviews refer to those portions only that deal with Os- 
 sian. 
 
 Abbreviations have been but rarely used and never at the sacri- 
 fice of clearness and convenience. In cases where various editions 
 come into consideration, the general rule has been observed to 
 mention all where it seemed requisite, as c.^., in the case of 
 translations ; of less important works, only the first and the stand- 
 ard editions have been mentioned. It would, for example, be im- 
 possible to include an exhaustive list of the various editions of 
 ]Verfhers Leiden within the limits of this bibliography. 
 
Important English Works. 
 
 ^ Gentleman's Magazine, June, 1760, pp. 287-8 : Two Fragments 
 of Ancient Poetry collected in the Highlands of Scotland, and 
 translated from the Gallic or Erse Language. 
 <- / Fragments of Ancient Poetry, Collected in the Highlands of 
 ' Scotland, and Translated from the Galic or Erse Language. Edin- 
 burgh. 1760. 
 '^"'^ T/ie same. The Second Edition. Edinburgh. 1760. One 
 entire poem is added, which stands No. 13 in this edition. 
 
 Fingal, an Ancient Epic Poem, In Six Books : Together with 
 several other Poems, composed by Ossian the Son of Fingal. 
 Translated from the Galic Language, By James Macpherson. Lon- 
 don : 1 7 6 2 . ^ 
 
 Temora, an Ancient Epic Poem, In Eight Books : Together with 
 several other Poems, composed by Ossian, the Son of Fingal. 
 Translated from the Galic Language, By James Macpherson. Lon- 
 don : 1763. 
 
 The Works of Ossian, the Son of Fingal. In Two Volumes. 
 Translated from the Galic Language By James Macpherson. The 
 Third Edition. London: 1765. 
 
 The Poems of Ossian. Translated by James Macpherson, Esq. ; 
 In Two Volumes. A new Edition, carefully corrected, and greatly 
 improved. London: 1773. 
 ( Report of the Committee of the Highland Society of Scotland, 
 appointed to inquire into the nature and authenticity of the Poems 
 of Ossian. Drawn up, according to the direction of the committee 
 by Henry MacKenzie, Esq. its convener and chairman, with a 
 copious appendix, containing some of the principal Documents on 
 which the report is founded. Edinburgh, 1805. 
 
 The Poems of Ossian, in the original Gaelic, wfth a literal Trans- 
 lation into Latin, By the late Robert Macfarlan, A.M. Together 
 with a Dissertation on the Authenticity of the Poems, by Sir John 
 Sinclair, Bart, and a Translation from the Italian of the Abbe 
 Cesarotti's Dissertation on the Controversy respecting the Authen- 
 ticity of Ossian, with Notes and a supplemental Essay, By John 
 M' Arthur, LL. D. Published under the Sanction of the Highland 
 Society of London. 3 Volumes. London: 1807. 
 
 1 Fingal appeared early in December, 1761, although 1762 is the date given on the title-page 
 Cf. Bailey Saunders, The Life and Letters of James Macpherson, London, 1895, p. 161. 
 
GERMAN BIBLIOGRAPHY. 
 
 1762. Bremisches Magazin zur Ausbreitung der Wissenschaften 
 Kiinste und Tugend Von einigen Liebhabern derselben meh- 
 rentheils aus den Englischen Monatsschriften gesammelt und 
 herausgegeben. Bremen und Leipzig. Vol. 5, ii, pp. 448- 
 52 : Zwei Fragmenten der alten Diclitkunst von den Hoch- 
 landern in Schottland, aus der alten Gallischen oder Ersischen 
 Sprache iibersetzet. 
 
 A prose translation of Carric-Thura, p. 152, 1. 12-p. 153, 1. 7, and of 
 The Songs of Selma, p. 210, 1. 28-p. 211, 1. 34,1 the originals of which 
 had appeared m the Gentleman's Magazine for June, 1760. Cf. infra, p. 
 76. 
 
 Bibliothek der schonen Wissenschaften und der freyen 
 Kiinste. Leipzig. Vol. 8, ii, p. 349 : Notice of Fingal. 
 Cf. infra, p. 75. 
 
 1763. Hannoverisches Magazin. Erster Jahrgang voni Jahre 
 1763. Hannover, 1764. No. 92, pp. 1457-70: Nachricht 
 von den Gedichten des Ossian, eines alten schottischen Bar- 
 den ; nebst einigen Annierkungen iiber das Alterthum der- 
 selben. 
 
 fhid., No. 94, pp. 1489-1504, No. 95, pp. 1505-20, No. 
 96, pp. 1521-34, No. 97, pp. 1534-46: Auszug und Ueber- 
 setzung des Fingal, eines alten epischen Gedichtes. Von 
 R. E. R. 
 
 The author of both the article and the translation is Rudolf Erich Raspe, 
 1737-94- Cf. infra, pp. 76-7. 
 
 Bremisches Magazin. Vol. 6, ii, p. 461 : Notice of Fingal. 
 Cf. infra, p. 76. 
 
 Bibliothek der schonen Wissenschaften. Vol. 9, ii, pp. 
 315-6: Review of Teraora. Cf. infra, p. 75. 
 
 1764. Fragmente der alten Hochschottlandischen Dichtkunst, 
 nebst einigen andern Gedichten Ossians, eines Schottischen 
 Barden ; aus dem Englischen iibersetzt. Hamburg. 
 
 ' These as well as all later references to the Poems of Ossian are made to the Tauchnitz Edi- 
 tion (1847), which contains the complete works and is probably more easily accessible than any 
 other, particularly on the continent. 
 
Weak prose translation by Joh. Andr. Engelbrecht of the original six- 
 teen fragments together with Macpherson's Preface ; also of Comala, The 
 War of Caros, Carthon, The Death of CuthuUin, Carric-Thura, and Berra- 
 thon from the first ed. of Fingal (1761). Instead of the loth, llth and 
 I2th fragments, The Songs of Selma are given from the ed. of Fingal. The 
 notes to Berrathon contain also the tran.slation of Minvane's Lament for 
 Ryno, pp. 250-4. Denis, Bibliography, 1784, Ersch und Gruber, All- 
 gemeine Encyklopadie, siih Ossian (p. 429), and others have 1763, but I 
 have been miable to trace an edition published in that year. This and the 
 following translation are sometimes given as one made by Engelbrecht and 
 Wittenberg, e. g., Saunders, The Life and Letters of James Macpherson, 
 p. 236, etc. They were, however, published as two distinct and separate 
 books. Cf. infra, p. 77. 
 
 Fingal, ein Helden-Gedicht, in sechs Biichern, von Ossian, 
 einem alten schottischen Barden. Nebst verchiedenen an- 
 dern Gedichten von eben demselben. Hamburg und Leipzig. 
 
 Literal prose translation by Albrecht Wittenberg, 1 782-1807, of Fingal 
 together with Macpherson's Preface to the same ; also of Comala, The 
 War of Caros, The War of Liisthona, The Battle of Lora, Conlath and 
 Cuthona, and Carthon. — Vorrede des deutschen Uebersetzers : 8 pp. 
 The translation is not by Engelbrecht and Wittenberg, as stated in Kiirsch- 
 ner's Dtsche Nat.-Litt., Klopstock, iv, p. ii, in Hofmann-Wellenhof's 
 biography of Denis, pp. 165, 194, Knothe's biography of Kretschmann, 
 etc. Cf. infra, p. 77. 
 
 Bremisches Magazin. Vol. 7, i, p. 227 : Notice of the 
 Dissertation on the Poems of Ossian, the Son of Fingal. 
 Iln'd., p. 229: Notice of Temora. Cf. infra, p. 76. 
 
 1765. Memoire de M. de C. au Sujet des Poemes de M. Mac- 
 pherson. Koln. Cf. infra, pp. 77-8. 
 
 An essay throwing doubt upon the authenticity of the poems of Ossian, 
 reprinted from Le Journal des Sgavans, Paris, May-December, 1764. 
 Amsterdam reprint, June-August, October, 1764, and Februarj-, 1765. 
 
 Gottingische Anzeigen von gelehrten Sachen. Gottingen. 
 i, pp. 129-31 : Review of Fingal. 
 
 The author of the review is Albrecht von Haller, 1708-77; cp. 
 ibid., 1767, and cf. his Tagebuch (1787) ; for contents cf. infra, p. 78. 
 
 1766. Neues Bremisches Magazin. Bremen. Vol. I, i, pp. i- 
 54 : Fragmente der Alten Dichtkunst in den Hochlan- 
 dern von Schotland, gesammlet und aus dem Englischen 
 iibersetzet. 
 
6 
 
 Prose translation of the first sixteen fragments together with Macpher- 
 son's Preface. — A separate reprint of this translation was published in 
 Bremen in the same year. Cf. infra, p. So. 
 
 Briefe liber Merkwiirdigkeiten der Litteratur. Erste 
 Sammlung. Schleswig iind Leipzig. Achter Brief: Me-' 
 moire eines Irrlanders iiber die ossianischen Gedichte . . . 
 
 An account of the above Memoire (1765) by Heinrich Wilhe'm Ger- 
 stenberg. — A reprint of the Schleswigische Litteraturbriefe appeared as No. 
 29 of the Deutsche Litteraturdenkmale des 18. und 19. Jahrhunderts ; 
 the notes with regard to the Memoire are found on pp. 56-7 (cf. also p. 
 Ixxii). Cf. infra, pp. 105-6 
 
 Review : Neue Bibl. der schonen Wissenschaften, Vol. 3, ii, p]5. 
 308-9 (1767). 
 
 Unterhaltungen. Hamburg. Vol. I, No. 4, pp. 329-40: 
 Aufsatz des Herrn von C. iJber die Gedichte des Herrn Mac- 
 pherson. 
 
 Ibid., No. 5, pp. 420-36 : Fortsetzung des Aufsatzes liber 
 Herrn Macphersons Gedichte. 
 
 Ibid., No. 6, pp. 504-23 : Beschluss des Aufsatzes liber 
 Herrn Macphersons Gedichte. 
 
 An account and partial translation of the Memoire mentioned above 
 (1765)- 
 
 Neue Bibliothek der schonen Wissenschaften und der freyen 
 Klinste. Leipzig. Vol. i, ii, p. 387 : Review of Cesarotti's 
 Italian translation of the poems of Ossian. Cf. infra, p. 79. 
 
 Ibid., Vol. 2, ii, pp. 245-61 : Review of the Works of 
 Ossian, Third Edition, 1765 (cf English Bibliography). 
 
 Ibid., Vol. 3, i, pp. 13-38: Continuation and conclusion 
 of the Review. 
 
 The author of the review of the Works of Ossian is Christian Felix 
 Weisse, 1 7 26-1 804 ; cp. Gott. gel. Anz., 1768, Von den Barden . . . 
 (1770), Gallische Alterthiimer (1781), and cf. infra, pp. 79-80. 
 
 1767. Unterhaltungen. Hamburg. Vol. 4, No. i, pp. 617-20: 
 Episode aus dem altschottischen Gedichte Fingal. 
 
 Iambic translation by Ludwig Gottlieb Crorae, 1742-94, of the song 
 of the unfortunate Colma, The Songs of Selma, p. 209, 1. 3-p. 210, 1. 12, 
 being Fragment X of the first edition of the Fragments (1760). The 
 translation is reprinted in Schmid's Zusazze (1769), in Ursinus's Balladen 
 und Lieder (1777), and in Crome's Gedichte (1795); Cf. infra, p. 80. 
 
Ibid., Vol. 4, No. 2, pp. 688-91 : Dervvins Thranen, aus 
 dem alten Cornischen. 
 
 A lament, Ossianic in spirit, translated into rhythmic prose from the 
 Royal Magazine, May, 1767, pp. 264-6. Reprinted in Schmid's Zusazze 
 (1769). 
 
 Ibid., Vol. 4, No. 6, pp. 100 1-8 : Armyns Klage an Kir- 
 mor. Ein altes schottisches Gedicht. 
 
 Free translation in rimed stanzas by L. G. Crome of the Lament of Ar- 
 myn, The Songs of Selma, p. 212, 1. 8-p. 213, 1. 31, being Fragment XI 
 of the first edition (1760). Reprinted in Schmid's Zusazze (1769), in the 
 Musenalmanach (Gottingen, 1772), in Ursinus's Balladen und Lieder 
 (1777), in Crome's Gedichte (1795), and in Matthisson's Lyrische An- 
 thologie (1804). Cf. infra, p. 80. 
 
 Gottingische Anzeigen von gelehrten Sachen. ii, pp. 
 1 132-4, 1137-40: Review of the Works of Ossian, Third 
 Edition, 1765 (cf. English Bibliography). 
 
 The author of the review is Albrecht von Haller ; cp. ibid., I765> and cf. 
 his Tagebuch (1787); for contents cf. infra, pp. 78-9. 
 
 Theorie der Poesie . . . von M. Christian Heinrich 
 Schmid. Leipzig, p. 75 : Ossian is designated as the Scotch 
 Homer and the authenticity of the poems is stated in emphatic 
 terms. — Cp. Zusazze, 1769. Litteratur der Poesie, 1776. 
 
 1768. Gottingische Anzeigen von gelehrten Sachen. i, pp. 361- 
 71 : Review of John Macpherson's Critical Dissertations on 
 the Origin, Antiquities, Language, Government, Manners 
 and Religion of the ancient Caledonians . . . — pp. 367-8 : 
 The Bards. Cf. infra, p. 85, and cp. Von den Barden . . . 
 (1770), etc. 
 
 Die Gedichte Ossians eines alten celtischen Dichters, aus 
 dem Englischen iibersetzt von M. Denis, aus der G. J. (Ge- 
 sellschaft Jesu. ) A^ols. i and 2. Wien. 4°. 
 
 1769. The same, Vol. 3, containing Dr. Hugh Blair's Critical 
 Dissertation, pp. i-cxliv. 
 
 [Pp. 182-5 : Mors Oscaris, Filii Carvthi, a translation of the Death of 
 Oscar in Macpherson's Notes to Temora into Latin hexameters ; cp. Car- 
 mina quaedam (1794) and for German translations cf. Der Tod Oskars 
 (1772), Deutsches Museum (1783), and Nachlese zu Sineds Liedern 
 (1784)]. — A translation of Ossian's poems in hexameters, which appeared 
 in 1768-9, not in 1767-9, as Gurlitt (April 9, 1802, p. 6) and others 
 
have it. An octavo edition appeared synchronously. Cp. Ossians und 
 Sineds Lieder (1784 ; 1791-2). Cf. /«/ra, pp. 120-6. To Vol. I a trans- 
 lation of Macpherson's first dissertation was prefixed, to Vol. 2 the second.^ 
 
 Reviews: Gottingische Anzeigen von gelehrten Sachen, 1768, ii, pp. 
 1 281-5 ("^'ol- I only). 
 
 Staats- und Gelehrte Zeitung des Hamburgischen unpartheyischen Cor- 
 respondenten, 1768, No. 202 (Vol. i only). At the close an anecdote in 
 proof of the genuineness of the works of Ossian is related. 
 
 Neue Bibliothek der schonen Wissenschaften. Leipzig, Vol. 8, i, pp. 
 ■ 99-112 (1769): Review of Vols. I and 2. 
 
 Allgemeine Deutsche Bibliothek, Vol. 10, i, pp. 63-9 (1769): Review 
 of Vol. I ; Vol. 17, ii, pp. 437-47 (1772): Review of Vols. 2 and 3. 
 Johann Gottfried Herder is the author of these reviews, the first of which 
 was reprinted in Herder's Lebensbild (1846), Vol. I, iii, 2, pp. 119-28, 
 and in the Sanimtliche Werke, ed. Suphan, Vol. 4, pp. 320-5, and the 
 second in the Sanimtliche Werke, ed. Suphan, Vol. 5, pp. 322-30, where 
 the first draft without the ending is given on pp. 416-20. The Frankfur- 
 ter gelehrte Anzeigen for 1772 contains a notice of Herder's review of 
 Vols. 2 and 3 on p. 81 1. 
 
 Almanach der deutschen Musen auf das Jahr 1770. Leipzig, pp. 
 1 13-4 : Review of Vols. 2 and 3. In the second edition of the Almanach 
 (Leipzig, Berlin und Frankfurt) the review is found on pp. 123-4. 
 
 Erfurtische gelehrte Zeitungen fiir das Jahr 1769, pp. 27-9 : Review of 
 Vol. I ; pp. 417-9 : Vol. 2 ; pp. 713-7 : Vol. 3. 
 
 M. Christian Heinrich Schmids Zusazze zur Theorie der 
 Poesie und Nachrichten von den besten Dichtern. Dritte 
 Sammlung. Leipzig, pp. 218-30: Ossian. 
 
 Pp. 21S-20 contain a review of the first volume of Denis's translation, 
 pp. 220-2 a reprint of the Episode aus dem altschottischen Gedichte 
 Fingal, Unterhaltungen, Vol. 4, No. I, (1767), pp. 223-5 a reprint of 
 Derwins Thranen, ibid.. No. 2, and pp. 225-30 a reprint of Armyns 
 Klagen an Kirmor, ibid., No. 6. Cp. Theorie der Poesie, 1767, Litteratur 
 der Poesie, 1776. 
 
 Unterhaltungen. Hamburg. Vol. 8, No. i, p. 76: Nach- 
 richt von einer lateinischen poetischen Uebersetzung der 
 Ossianischen Werke. 
 
 Ibid., Vol. 8, No. 6, pp. 541-2 : Probe der lateinischen 
 Uebersetzung des Ossian. 
 
 Latin translation of an extract from Temora, Book i, taken from Robert 
 Macfarlan's Temorre Liber Primus versibus latinis expressus (London, 
 1769), of which the above is a notice. Cp. Neue Bibliothek, 1770. 
 ' Macpherson's first dissertation is the one entitled " A Dissertation Concerning the Aera of 
 Ossian," the second the " Dissertation concerning the Poems of Ossian." 
 
9 
 
 Kritische Wiilder. Oder Betrachtungen die Wissenschaft 
 und Kunst des Schonen betreffend, nach Maasgabe neuerer 
 Schriften. Erstes Waldchen. pp. 38-41 : Sentiments of the 
 people of Ossian. 
 
 These notes are found on pp. 27-9 of Vol. 3 of Herder's Sammtliche 
 Werke, ed. Suphan. 
 
 Comala. Ein dramatisches Gedicht von Johann Joachim 
 Eschenburg, dem Geburts-Feste der Durchl. Erbprinzessinn 
 von Braunschweig Konigl. Hoheit unterthanigst gewidmet ; 
 vorgestellt von der Ackermannischen Gesellschaft den i2ten 
 August 1769. Braunschweig. 
 
 A free rendering of Comala in three scenes, mainly in iambic pentam- 
 eters, with a happy ending substituted for Comala' s tragic death as nar- 
 rated by Macpherson. The subject is not taken from an episode in Fingal, 
 as stated in Ersch und Gruber, Encyklopadie, sub Eschenburg (p. 53). 
 Cp. Letter of Boie to Raspe, dated GoUingen, Aug. 29, 1769, in the 
 Weimarisches Jahrbuch fiir deutsche Sprache, Litteratur und Kunst. iii. 
 Hannover, 1855, pp. 13-5. Eschenburg (1743-1820) edited the first four 
 volumes of the Unterhaltungen, also the Brittisches Museum, q. v. under 
 1777. 
 
 Reviews : Staats- und Gelehrte Zeitung des Hamburgischen unpar- 
 theyischen Correspond en ten, 1769, No. 150. 
 
 Almanach der deutschen Musen auf das Jahr 1770, p. 82. Second 
 Edition, pp. S7-8. 
 
 1770. Ahnanach der deutschen Musen auf das Jahr 1770. Leip- 
 zig.^ pp. 194-204: Comala. Ein dramatisches Gedicht von 
 Eschenburg, d. 12. Aug. dem Geburtsfeste der Erbprinzessinn 
 von Braunschweig gewidmet. 
 
 A reprint of the above, which appeared also in the Zwote, verbesserte 
 und vermehrte Auflage of the Almanach, Leipzig, Berlin und Frankfurt, 
 pp. 198-20S. 
 
 Von den Barden, nebst etlichen Bardenliedern aus dem 
 Englischen. Leipzig. 
 
 A translation by Christian Felix Weisse of John Macpherson' s Critical 
 Dissertations on the Origin, Antiquities, Language, Government, Manners, 
 and Religion of the ancient Caledonians (London, 1768), to which are 
 added prose translations of four so-called bardic songs, none of which, 
 however, is taken from Ossian. Cp. Gottingische gelehrte Anzeigen 
 (1768), Gall. Alterthiimer, 1781, etc. 
 
 1 The almanacs were generally published in the year before that for which they were intended, 
 but the date covered by them is given in this bibliography. 
 
10 
 
 Neue Bibliothek der schonen Wissenschaften. Leipzig. 
 Vol. 9, ii, pp. 344-9 : Review of Robert Macfarlan's Te- 
 morae Liber Primus versibus latinis expressus. Cp. Unter- 
 haltungen, 1769. 
 
 1771. Silbernes Buch. MS. in the Berlin Royal Library, p. 
 103 : Todeslied auf einen Helden. p. 104 : Todeslied auf 
 ein Madchen. p. 105: An den Mond. p. 106: Trauerge- 
 sang eines Madchen. 
 
 The first is a translation of Dar-Thula, p. 287, II. 10-18, the second of 
 Dar-Thula, p. 288, 1. 31-p. 289, 1. 3 (cp. Volkslieder, 1779), the third 
 of Dar-Thula, beginning, p. 278-p. 279, 1. 13 (cp. Vom Geist der Ebrai- 
 schen Poesie, 1782), and the fourth of Temora, Book iv, p. 339, 11. 20- 
 end. The first extract is translated in rimed couplets, the others in free 
 meter. — For these and the translations from Ossian given in the Volkslie- 
 der, cf. Waag, Uber Herders Ubertragungen Englischer Gedichte, Heidel- 
 berg, 1892. — The first and the last two of these are found on pp. 549-51 
 of the Suphan ed. , Vol. 25. 
 
 Gottingische Anzeigen von gelehrten Sachen, i, pp. 630- 
 .1 : A resentment of Voltaire's derogatory criticism of Ossian 
 in his Questions sur 1' Encyclopedic (1770), in a review of 
 the first volume of that work. 
 
 Der Wandsbecker Bothe. No. 187. Freytags, den 22. 
 November : Ich wiisste nicht warum. 
 
 An epigram in praise of the poetry of Ossian as contrasted with that of 
 the Greeks. The author of the poem is Matthias Claudius, 1740-1815. 
 It was written in answer to an epigram by Klopstock, entitled Sitt' und 
 Weise der Neuern (Gottinger Musenalmanach, 1773, p. 176, and else- 
 where). Reprinted in the Almanach der deutschen Musen, 1773, and in 
 the Sanimtliche Werke des Wandsbecker Bothen (1775). — Cf. Die poeti- 
 schen Beitrage zum Wandsbecker Bothen, gesammelt und ihren Verfassern 
 zugewiesen von Dr. Carl Christian Redlich. (Programm. ) Hamburg, 
 1871. p. 20. 
 
 Klopstocks Oden. Hamburg, 1771. Drittes Buch, p. 
 244 : Two stanzas in the ode Unsre Sprache relating to Ossian. 
 Cf. infra, p. 91. 
 
 1772. Musenalmanach. Gottingen. pp. 209-1 8 : Armyns 
 Klagelied an Kirmor. Ein altschottisches Gedicht. Cf. 
 Unterhaltungen, Vol. 4, No. 6 (1767). 
 
 Der Tod Oskars, des Sohns Karuths. Aus dem Lateini- 
 schen des Herrn Denis. Praer. 
 
11 
 
 A German hexameter version of Denis's Latin translation, for which cf. 
 Die Gedichte Ossians, Vol. 3, (1769). The author of the German version, 
 which appeared anonymously, is Fr. Expedit, Edler von Schonfeld. Meu- 
 sel's Lexikon {stib Denis, Vol. 2, p. 327) states the facts in a very vague 
 manner, so that we are led to believe that Denis made a German transla- 
 tion from the Latin of Schonfeld, instead of vice versa. 
 
 Die Lieder Sineds des Barden mit Vorbericht und Anmer- 
 kungen von M. Deals, aus der G. J. Wien. pp. 1-4 : An 
 Ossians Geist. 
 
 A poem addressed to the spirit of Ossian, which appeared also in the 
 new edition of the poems (1782), and in Ossians und Sineds Lieder (1784, 
 Vol. 4, pp. 1-4 ; 1791, Vol. 5, pp. 3-5). 
 
 Reviews: Gottingische Anzeigen von gelehrten Sachen, 1773, ii, pp. 
 1181-4. 
 
 Frankfurter gelehrte Anzeigen, 1773, pp. 477-81. Cf. Goethe's Works, 
 Ausgabe letzter Hand, Vol. 33, pp. 68-73 ; ed. Weimar, Vol. 37, pp. 
 242-6. The review is not by Goethe, but by Herder. 
 
 1773. Works of Ossian. Vol. i. Darmstadt. 
 
 This, the first English reprint of Ossian's Poems in Germany, was pub- 
 lished at the suggestion of Johann Heinrich Merck, 1741-91. Volume 2 
 appeared in I775- 
 
 Notices : Frankfurter gelehrte Anzeigen, 1775, p. 7. Anhang zu dem 
 13. bis 24. Bande der allg. deutschen Bibl., 2. Abth., p. 950 (I777)- 
 
 Meine Philosophic, aus dem Franzdsischen des Herrn Do- 
 rat. 38 pp. — pp. 39-48 : Ossians Klage aus dera^ Englischen. 
 
 Neither author nor place of publication is mentioned, and the lament has 
 no possible connection with the preceding philosophical treatise. 
 
 Von Deutscher Art und Kunst. Einige fliegende Blatter. 
 Hamburg, pp. 1-70 : Auszug aus einem Briefwechsel iiber 
 Ossian und die Lieder alter Volker. pp. 113-S : Nachschrift. 
 
 The author of the essay is Herder. It is reprinted in No. 40 of the 
 Deutsche Litteraturdenkmale des 18. und 19. Jahrhunderts, pp. 3-50, 76- 
 80. Cf. also Herder's SammtlicheWerke, ed. Suphan, Vol. 5, pp. 159-207. 
 
 Reviews: Frankfurter gelehrte Anzeigen, 1773, pp. 529-31. Anhang 
 zu dem 13. bis 24. Bande der allg. deutschen Bibl., 2. Abth., pp. I169-74 
 (1777)- 
 
 Neue Bibliothek der schonen Wissenschaften, Vol. 14, i, 
 p. 188: Notice of an English verse rendering of Fingal, 
 Rivington, 1772. 
 
 ' The title has 'den.' 
 
12 
 
 Almanach der deutschen Musen auf das Jahr 1773. Leip- 
 zig. (Gedichte. ) p. 137: Ich wiisste nicht warum. 
 
 Reprinted from the Wandsbecker Bothe, 177 1, q. v. 
 
 1774. Die Leiden desjungen Werthers. Zweyter Theil. Leipzig, 
 pp. 193-205 : A beautiful translation in rhythmic prose by 
 Goethe of The Songs of Selmaas far as p. 213, 1. 30 (Tauch- 
 nitz). p. 206 : Translation of a short extract from Berrathon, 
 P- 374, 1- 5-P- 375, 1- I-— PP- 151-3: (Oct. 12.) Descrip- 
 tion of the world of Ossian, beginning: " Ossian hat in 
 meinem Herzen den Homer verdriingt." 
 
 Goethe had made a translation of Tlie Songs of Sehna in Strassburg and 
 given it to Friederike Brion. Cf. Weimar edition, Vol. 37, pp. 66-77, which 
 gives the entire songs to the end (p. 214, Tauchnitz). ALso Stober, 1842. 
 
 An Ossianic imitation based upon Goethe's translation is contained in a 
 letter by Theodor Korner to Fritz Henoch, dated Freiberg, 1809. Cf. 
 Theodor Korner. Zum 23. September 1891. Leipzig : F. A. Brock- 
 haus, 1891. p. 58; also National-Zeitung, 1891, No. 525 (Sept. 13), 
 For a comparison of Goethe's translation with that of Lenz, cf. Zeitschrift 
 fiir vergleichende Litteraturgeschichte, 1896, pp. 108 and 1 10. — On p. 
 214, Vol. 8, of the Goethe-Jahrbuch, we are told that the Lament of Armin 
 was translated from Werthers Leiden into French verse by A. P. Cou- 
 pigny in the year 1795 ; the beginning of the free translation is quoted, 
 which, however, is not the Lament of Armin, but Berrathon, p. 374, 11. 
 5-8. In the Ausgabe letzter Hand the portions mentioned are found on 
 pp. 166-75, p. 176, pp. 125-6 resp. of Vol. 16 (1828), in the Weimar 
 edition. Vol. 19, pp. 165-75, ^75-6, 124-5. Fo'' other editions, reprints, 
 etc., of Werthers Leiden cf. Goedeke's Grundriss, 2d ed.. Vol. 4, p. 650. 
 
 Allgemeine Theorie der Schonen Kunste . . . von Johann 
 George Sulzer. 2 vols. Leipzig. 177 1-4. Vol. 2, pp. 
 865-73 : Critical article on Ossian witti a number of quota- 
 tions from Denis's translation. 
 
 For other editions cf. 1775, 1779, 17S7, 1793. 
 
 Die Deutsche Gelehrtenrepublik . . . Herausgegeben 
 von Klopstock. Erster Theil. Frankfurt und Leipzig, p. 
 178 : Epigram in praise of Ossian. Cf. infra, p. 91. 
 
 Versuche iiber die Geschichte des Menschen von Heinrich 
 Home. Aus dem Englischen iibersetzt. Vol. i. Leipzig, 
 pp. 322-65 : Discussion of the manners of the ancient Celts 
 and Scandinavians, with numerous quotations from the poems 
 of Ossian. 
 
 The translation was made by A. E. Klausing. Cp. 2d ed., 1783, Eng- 
 lish reprint, 1796. Vol. 2 appeared in 1775. 
 
13 
 
 1775' The Works of Ossian. Volume 2. Darmstadt. Cf. Vol. 
 I, 1773- 
 
 Die Gedichte Ossian' s eines alten celtischen Helden und 
 Barden. 3 vols. Diisseldorf. 
 
 German prose translation by Edmund von Harold. Cp. 2ded., 1782, 
 reprint, 1795. ^^ Rheinische Beitrage, 1778, 1 780-1. 
 
 Review: Anhang zu dem 25.-36. Bande der allg. deutschen Bibl., 
 5. Abth., pp. 300S-11, (1780). 
 
 Iris. [Herausgegeben von Johann Georg Jacobi.] Diis- 
 seldorf. Vol. 3, pp. 163-92, Vol. 4, pp. 83-105 : Ossian 
 fiirs Frauenzimmer. Fingal, ein alt Gedicht von Ossian. 
 
 A prose translation of the first two books of Fingal by Jakob Michael 
 Reinhold Lenz, 1751-92; the remaining books appeared in the following 
 volumes, (/. z>. under 1776. 
 
 Allgemeine Theorie der Schonen Kiinste . . . von Johann 
 George Sulzer. Vol. 2, pp. 377-87 : Ossian. 
 
 A reprint of the first edition of 1774, </. v. (Vol. I of the reprint had 
 appeared in 1773.) 
 
 Dr. Samuel Johnson's Reisen nach den Westlichen Inseln 
 bey Schottland. Aus dem Englischen. Leipzig, pp. 189- 
 93 : Dr. Johnson's diatribe against the authenticity of the 
 poems of Ossian. 
 
 Translation of A Journey to the Western Islands of Scotland, Lon- 
 don, 1775. 
 
 Review : Zugabe zu den Gottingischen gelehrten Anzeigen, 1776, pp. 
 cccxxi-vi. 
 
 Gothaische gelehrte Zeitungen. Gotha. pp. 31 8-g : Notice 
 of the controversy between Dr. Johnson and Macpherson, 
 with a translation of a letter in reference to same published 
 in the St. James Chronicle. 
 
 ASMVS omnia sua SECVM portans, oder Sammtliche 
 Werke des Wandsbecker Bothen, I. und II. Theil. Bresslau.' 
 p. 123 : Ich wiisste nicht warum ? 
 
 Cf. Der Wandsbecker Bothe, 1771. — For other editions and reprints cf. 
 Goedeke's Grundriss. 
 
 Miscellaneous Pieces in Prose by J. and A. L. iVikin. Al- 
 tenburgh, pp. 34-42 : Selama, an Imitation of Ossian. 
 
 1 The date of publication (1775) is not given on the title-page. 
 
14 
 
 A very close imitation in rhythmic prose (English). The names are 
 borrowed from Ossian and there is nothing to distinguish this from one of 
 Macpherson's productions. 
 
 Notice: Allgemeine deutsche Bibliothek, Vol. 26, i, p. 2S2 (1775). 
 
 1776. Iris. Berlin. Vol. 5, pp. 87-107, Vol. 6, pp. 335-53, 
 Vol. 7, pp. 563-80, Vol. 8, pp. 812-30. 
 
 Lenz's translation of the last four books of Fingal ; for the first two cf. 
 Iris, Vols. 3 and 4, 1775. — A reprint of the six volumes appeared in Diis- 
 seldorf and Berlin, 1775-6. — For a criticism of the translation cf. Zeitsch. 
 fiir vergl. Litteraturgesch. , vi/'ra, 1896. 
 
 Review : Anhang zu dem 25. bis 36. Bande der allg. deutschen Bibl., 
 6. Abth., p. 3425 (17S0). 
 
 Litteratur der Poesie von Christian Heinrich Schmid. 
 Erster Theil. Leipzig, pp. 295-303 : Article on Ossian. 
 Cp. Theorie der Poesie, 1767, Zusiizze, 1769. 
 
 Deutsches Museum. Leipzig, pp. 62-6 : Fingals Hole. 
 Mit einem Kupferstich. 
 
 A description of Fingal's Cave, not an Ossianic poem, as Nicolai, Her- 
 rigs Archiv, Vol. 58, p. 155 ( 1S77), would lead us to suspect. 
 
 Ibid., pp. 763-9: Hellebeck, Eine Seelandische Gegend. 
 An E. F. . . V. S. . . und seine Emilia. Von Friedrich 
 Leopold Grafen zu Stolberg. 
 
 Friedrich Stolberg (1750-1819) was strongly influenced by Ossian and 
 not a few of his poems show traces of this influence. This particular 
 poem has been included here, because the dependence upon Ossian is 
 striking. On pp. 764-6 he relates the story of Fingal's courtship of 
 Agandecca and the latter' s death [Fingal, Bk iii, p. 236, 1. 6-p. 23S, 1. 
 5), like the remainder of the poem in hexameters. — Cp. Gedichte, 1779. 
 
 1776-7. Litterarische Monate. Ein Journal von einer Gesell- 
 schaft zu Wien. Erster Band. [Oct. 1776 to Jan. 1777.] 
 Wien. 
 
 The journal was written under the guidance of Denis, and contains 
 numerous bardic songs in the Ossian-Denis style. 
 
 1777. Works of Ossian. 4 vols. Francfort and Leipzig. 
 
 This edition contains the complete works, with arguments and notes. 
 To Vol. I is prefixed Macpherson's Dissertation on the Aera of Ossian. A 
 specimen of the original of Temora, Bk. vii, is given at the end of Vol. 
 4, pp. 183-204. — Edited by Merck, cp. Works, 1773. — New edition, 
 
 1783. 
 
 Review: Allg. deutsche Bibl., Vol. 36, ii, p. 603 (177S). 
 
15 
 
 Balladen und Lieder altenglischer und altschottischer 
 Dichtart. Herausgegeben von August Friedrich Ursinus. 
 Berlin, pp. 136-55 : Armyn an Kirmor. Ein altschot- 
 tisches Gedicht. VonCrome. pp. 290-9 : Colma. Ein alt- 
 schottisches Fragment. Von Crome. 
 
 Both are reprinted from the Unterhaltungen, 1767, q. v. The Enghsh 
 originals are given on the pages opposite. 
 
 Deutsches Museum. Leipzig, i, pp. 214-5: Notice of 
 the MSS. of the poems of Ossian in a letter [by Sturz] : 
 Briefe eines Reisenden vom Jahre 1868. Erster Brief. Lon- 
 don den iSten Aug. 
 
 Helfrich Peter Sturz' s (1736-79) views on the authenticity of the works 
 of Ossian. Macpherson showed him the alleged originals and he is con- 
 vinced of the genuineness of the poems. Cp. Schriften, 1779. 
 
 Brittisches Museum fur die Deutschen. Leipzig. Vol. I, 
 ij pp. 136-7 : Review of The Fingal of Ossian, . . . rendered 
 into Heroic Verse, by Ewen Cameron, Warrington, 1776. 
 
 Der Teutsche Merkur vom Jahr 1777. Weimar, ii, pp. 
 196-8 : Comala, eine Celtische Geschichte, von B. G. B. 
 
 A poem in rimed quatrains, based upon the episode of Comal and Gal- 
 vina, Fingal, Ek. ii, pp. 234-5. 
 
 Ibid., iii, pp. 193-8: Colma, eine Kantate. (Nach dem 
 Ossian. ) Von Dt. 
 
 A free rendering in rimed verses by Clamor Eberhard Karl Schmidt, 
 1746-1824, of the song of the unfortunate Colma, The Songs of Selma, 
 p. 209, 1. 3-p. 210, 1. 12. 
 
 Leipziger Musenalmanach aufs Jahr 1777. Leipzig, pp. 
 174-81 : Fingal und Daura. (Ein musikalisches Drama.) 
 von Ryno. 
 
 A dramatic poem based upon Macpherson' s Comala, the beginning of 
 the story being identical with Comala, and its language and spirit Ossianic 
 throughout. The ending is happy, as in Eschenburg's dramatization 
 ( 1 769 ) . For some reason the author has changed the names of two of the 
 dramatis persons : Comala has become Daura and Hidallan Ulfadha ; 
 both of the new names occur in the poems of Ossian. 
 
 Auszug aus Eduard Blondheims geheimen Tagebuche. 
 Leipzig. 
 
 An imitation of Werthers Leiden, containing occasional traces of Os- 
 sianic influence. — pp. 50-3 : Ossian bey Hidallahs Grabe. An Ossianic 
 lament in rhythmic prose. 
 
 Review: Der Teutsche Merkur, 1778, i, p. 82. 
 
16 
 
 1778. Wodan. Erster Band. Haml)urg. No. i, pp. 23-4: An 
 die Sonne. Nach dem Ossian, im Schlusse seines Gedichts : 
 Carthon, genannt. Von Opin. 
 
 A rimed translation in eight-line stanzas of the Apostrophe to the 
 Sun, Carthon, p. 163, 1. 32-p. 164, end. 
 
 Ibid., No. 4, pp. 197-200 : Probe einer neuen Ueberset- 
 zung der Temora des Ossian. von F. L. Epheu. 
 
 F. L. Epheu is the pseudonym of Garlieb Hanker, 1 758-1807. The 
 translation is in iambic measure, and the specimen is concluded in the 2d 
 vol. of Wodan (1779), q. v. 
 
 Review: Allg. deutsche Bibl., Vol. 37, i, pp. 283-4 (1779). 
 
 Rheinische Beitrage zur Gelehrsamkeit . Ersten Jahrgangs 
 zweiter Band. Mannheim, pp. 202-13 : Evirallin. Ein 
 Gedicht. 
 
 An imitation of Ossian in rhythmic prose, giving a different account of 
 P'ingal's courtship of Evirallin from that related in Fingal, Bk. iv, pj). 
 245-6. 
 
 Ibid., pp. 289-302: Sulmora. Ein Gedicht. 
 
 Also an imitation of Ossian in rhythmic prose. 
 
 Ibid., pp. 359-69 : Malvina. Ein dramatisches Gedicht. 
 
 A poem in dramatic form, based upon Malvina' s lament over the death 
 of her lover Oscar. Cp. Croma, pp, 177-S. 
 
 All three imitations are by Edmund von Harold, who published a trans- 
 lation in 1775 and a collection of his own in 1787, q. v. Cp. Rheinische 
 Beitrage for 1780 and 1781. 
 
 1779. Deutsches Museum. Leipzig, i, pp. 534-49 : Karrik- 
 thura. Probe einer neuen Uebersezung Ossians, von Gott- 
 fried August Burger. 
 
 Rhythmic prose translation of Carric-Thura. Cp. his Vermischte Schrif- 
 ten, 1802. — For Burger's estimate of the translations of Denis, Harold, 
 Lenz, and Wittenberg, cf. letter to Goeckingk, Jan. 25, 1779: Viertel- 
 jahrsch. fiir Litteraturgesch. Vol. 3, p. 422 (1890). 
 
 VolksHeder. Nebst untermischten andern Stiicken. Zwei- 
 ter Theil. Leipzig. [Herder's collection.] p. 130 : Dar- 
 thula's Grabesgesang. Aus Ossian.^ 
 
 Translation of Dar-Thula, p. 288, 1. 31-p. 289, 1. 3. Cp. Silbernes 
 Buch, 1 77 1. The poem was set to music by Johannes Brahms, q. v., sub 
 Music, infra, p. 63. 
 ' Meyer's Klassiker Ausgaben, Goethe, Vol. 2, p. 480, has p. 230. 
 
Ibid., pp. 131-7 : Fillans Erscheinung and Fingals 
 Schildklang. Aus Ossian. 
 
 Translation of Temora, Bk. vii, p. 354-p. 356, 1. 27. 
 
 Ibid., pp. 138-9: Erinnerung des Gesanges der Vorzeit. 
 Aus Ossian. 
 
 Translation of Temora, Bk. vii, p. 360, 1. 28-p. 361, 1. 5. This and 
 the preceding fragment are ' attempts at a translation from the specimens 
 of the original of Temora published by Macpherson.' The three fragments 
 are translated in free measures. 
 
 All three translations are by Herder, although they were for a long 
 time ascribed to Goethe and inserted in various collections of Goethe's 
 works, e.g. in the Hempel edition of the Poems, Vol. 3, pp. 3, 373-8 ; 
 Goedeke's Complete Edition in Ten Volumes, Vol. i, pp. 910-3 ; etc., 
 etc. In the Deutsche National-Litteratur edition of Goethe, iii, 2, Diin- 
 tzer inserts the last two (pp. 187-92), but does not allot the first (Dar- 
 Thula) to Goethe. — Cp. Herder's Werke, 1807. In the Suphan ed. these 
 poems are found in Vol. 25, pp. 423-30. 
 
 Wodan. Zweiter und letzter Band. Hamburg. No. 5, 
 pp. 256-61 : Conclusion of the Probe einer neuen Ueber- 
 setzung der Temora begun in Vol. i, 1778, q. v. 
 
 Ibid., No. 8, pp. 469-75: Konnal und Krimora. von 
 Epheu. Nach dem Ossian. An**. 
 
 A free translation — rhythmic prose with metrical passages interspersed — 
 of Carric-Thura, p. 151, 1. 12-p. 153, 1. 7. With an introductory dedica- 
 tion to a lady. Cp. Wodan, 1778. 
 
 Taschenbuch fiir Dichter und Dichterfreunde. Zehnte Ab- 
 theilung. Leipzig, pp. 80-2 : Der Schild. Nach einem 
 Fragmente Ossians. Von Kretschmann. 
 
 A poem by Karl Friedrich Kretschmann (173S-1809) based upon an 
 episode in Carric-Thura, p. 15 1. Cp. his Works, 1784, and cf. infra, p. 
 139. Another poem by Kretschmann appeared in the Taschenbuch for 
 1780. 
 
 Die Schreibtafel. Siebente Lieferung. Mannheim, pp. 
 92-7 : Ueber Ossian. An Herrn von Dalberg. von Mathias 
 Herrmann Diihn. 
 
 A poetic eulogy of Ossian. The author was a carpenter's apprentice 
 from Hamburg employed in Mannheim. 
 
 Notice : AUg. deutsche Bibl., Vol. 44, ii, p. 470 (1781). 
 
 Ueber Sprache und Dichtkunst. Fragmente fon Klop- 
 stock. Hamburg, pp. 117-9: Klopstock's views as to the 
 
18 
 
 metrical system of Ossiaii laid down in his essay Fom deut- 
 schen Hexameter. 
 
 These remarks arej found on pp. 165-6, Vol. 15, of Klopstocks Sammt- 
 liche Werke . . . herausgegeben von Back und Spindler. Leipzig, 
 1823-30. 
 
 Allgemeine Theorie der Schonen Kiinste . . . von Johann 
 George Sulzer. Zvveyte verbesserte Auflage. 4 vols. Leip- 
 zig, 1778-9. Vol. 3, pp. 377-87 : Article on Ossian. Cf. 
 ist ed., 1774. 
 
 Schriften von Helfrich Peter Sturz. Erste Sammlung. 
 Leipzig, p. 6 : Remarks on the authenticity of Ossian's 
 poems. 
 
 Cf. Deutsches Museum, 1777. In the Munchen edition of 1785 tlie 
 passage is given on pp. 7-8. — Cf. Helfericla Peter Sturz nebst einer Ab- 
 handlung iiber die Schleswigischen Literaturbriefe . . . von Dr. Max 
 Koch. Miinchen 1879, p. 120, note 4, where mention is made of No. 13 
 of the Reichs-Postreuter for 1780, which I was unable to procure. 
 Review: Bey trag zum Reichs-Postreuter, 1780, lotes Stiick. 
 
 Die Werke der Caledonischen Barden aiis dem Gallischen 
 ins Englilndische und aus diesem ins Deutsche iibersetzt. 
 Erster Band. Leipzig. 
 
 Prose translation of John Clark's Works of the Caledonian Bards 
 translated from the Galic, Edinburgh and London, 1778. pp. iii-xx : Vor- 
 rede. 1-12 : Einleitung des englischen Uebersetzers ein Gedicht. Then 
 the poems : Morduth, ein altes heroisches Gedichte in drey Biichern. 
 Der Heerfiihrervon Scarlaw. Der Heerfiihrer von Feyglen. Die Hohle 
 von Creyla. Colmala und Orwi. Des alten Barden Wunsch. Duchoil's 
 Elegie. Sulvinas Elegie. Oran-Molla. Die Worte des Wehes. Die 
 Annjiherung des Sommers. Der alte Fiirst. 
 
 Reviews: Allg. deutsche Bibl., Vol. 39, i, pp. 161-2 (1779). 
 
 Of the English original: Neue Bibl. der schonen Wissenschaften, Vol. 
 22, ii,pp. 334-5 (1779). 
 
 Gottingische Anz. von gel. Sachen, 1779, i, pp. 51-6. 
 
 Rheinische Beitriige zur Gelehrsamkeit. Mannheim, ii, pp. 
 222-30 : Teutharts Trauern um Minna. Elegie. 
 
 A servile imitation of an Ossianic lament, which appeared anony- 
 mously. 
 
 Gedichte der Briider Christian und Friedrich Leopold Gra- 
 fen zu Stolberg. herausgegeben von Heinrich Christian 
 Boie. Leipzig, pp. 161-74: Hellebek, eine seelandische 
 Gegend. 
 
19 
 
 Cf. Deutsches Museum, 1776. The episode of Fingal and Agandecca 
 is contained on pp. 164-7. — In the Gesammelte Werke der Briider Chris- 
 tian und Friedrich Leopold Grafen zu Stolberg ( 20 vols. , Hamburg 1820-5 ) > 
 Hellebek appears in Vol. i, pp. 135-45. For other editions cf. Goedeke's 
 Grundriss. Cp. Werke, Vol. 2 (1821). 
 
 1780. Taschenbuch filr Dichter und Dichterfreunde. Eilfte Ab- 
 theilung. Leipzig, pp. 7-13: Fingal und Hloda. Nach 
 Ossian. Von Kretschmann. 
 
 A poetical rendering of the episode of iMngal's battle with the Spirit of 
 Loda, Carric-Thura, p. 146, 1. 22. -p. 148, 1. 11. Cp. Kretschmann's 
 Works, 1784. 
 
 Review of this and of Kretschmann's Der Schild in the Taschenbuch 
 for 1779 : Neue Bibl. der schonen Wissenschaften, Vol. 31, i, pp 70-1 
 (1785). 
 
 Wienerischer Musenalmanach. Wien. pp. i-?: Darthula, 
 ein Trauerspiel nach Ossian. Von Friedrich Saam. 
 
 A dramatization of Macpherson's Dar-Thula. 
 
 Rheinische Beitriige zur Gelehrsamkeit. Mannheim, i, 
 pp. 199-213: Sitrik, ein Gedicht aus dem englischen iiber- 
 setzt. Von Herrn Obristwachtmeister von Harold. 
 
 Rhythmic prose, in imitation of Ossian. Cf. Rheinische Beitrjige for 
 1778. 
 
 Leipziger Musenalmanach auf das Jahr 1780. Leipzig, 
 pp. 106-7 : Die Rache. Von Stz. 
 
 An appeal for revenge in free imitation of Ossian. 
 
 Teudelinde ; dem Grafen Friedrich Leopold zu Stolberg 
 gewidmet. Hamburg. 
 
 A tale with lyric passages in the manner of Ossian, closing with a pane- 
 gyric on the bard. The author is Gerhard Anton von Halem ( 1752-1819 ). 
 Cp. Poesie und Prose (1789). 
 
 Review : Allg. deutsche Bibl., Vol. 44, i, pp. 103-4 (1780). 
 
 Buchhandler Zeitung, No. 4 : doubts the genuineness of 
 the poems of Ossian. 
 
 A copy of this paper was not to be had ; the article in question is men- 
 tioned in the Beytrag zum Reichs-Postreuter, 17S0, lote.s Stiick. 
 
 1781. Zustand der Wissenschaften und Kiinste in Schwaben. 
 Erstes Stiick. Augspurg. [Herausgegeben von Balthasar 
 Haug.] pp. 34-56 : Ossians Karrik-Thura. Aus dem Eng- 
 lischen, von H. 
 
J. 
 
 20 
 
 A translation of Carric-Thura in rhythmic prose, with lyrical passages 
 in verse, by Friedrich Wilhelm von Hoven (?). Cf. Arch, flir Litteratur- 
 gesch., 1S79, p. 537. — Cp. Anthologie, 1782. 
 
 Gallische Alterthiimer oder eine Sammlung alter Gedichte 
 aus dem Gallischeii des Ullin, Ossian, Orran, u. s. w. von 
 John Smith ins Englandische und aus diesem ins Deutsche 
 iibersetzt, benebst einer Geschichte der Druiden hauptsach- 
 hch der Caledonischen und einer Abliandlung iiber die Aecht- 
 heit der Ossianischen Gedichte. 2 vols. Leipzig. 
 
 Translation of John Smith's Galic Antiquities, Edinburgh and Lon- 
 don, 1780, by Christian Felix Weisse. Cp. Neue Bibl. der schonen Wis- 
 senscliaften, 1766; Von den Barden, 1770. 
 
 Review of English translation : Neue Bibl. der schonen Wissenschaf- 
 ten, Vol. 25, i, pp. 172-3 ( 1780). — P"or reviews of the Gaelic originals cf. 
 1787-8. — A review of an Italian translation of the History of the Druids 
 and of several of the poems appeared in the Gott. Anz. von gel. Sachen, 
 1788, i, p. 412. 
 
 D. Christian Heinrich Schmids Professors zu Giessen An- 
 weisung der vornehmsten Bucher in alien Theilen der Dicht- 
 kunst. Leipzig, pp. 120-3, 376: List of the works of Os- 
 sian and of a few treatises and translations. 
 
 Rheinische Beitrage zur Gelehrsamkeit. Mannheim, i, 
 pp. 117—29: Die Lieder von Tara. Vom Hrn. Obristwacht- 
 meister von Harold. 
 
 Another of Harold's rhythmic prose imitations. Cf. Rheinische Bei- 
 trage for 1778. 
 
 1782. Die Gedichte Ossians des Celtischen Helden und Barden. 
 Aus dem Englischen und zum Theile der Celtischen Ur- 
 sprache iibersetzt von Freyherrn von Harold. Zweyte ver- 
 besserte mit vielen bisher unentdeckten Gedichten vermehrte 
 Auflage. 3 vols. Mannheim. 
 
 Vorbericht of 6 pp. by the publishers. — Fragment einer nordisclien Ge- 
 schichte in prose, 4 pp. ; the same translated by Denis in hexameters, 4 pp. — 
 Ueber Ossians Genie und Geist. Aus Hugo Blairs Abliandlung, 4 pp. — 
 Then follow the poems in prose translation with arguments and notes. 
 Vol. 2, pp. 285-7 (293): Der Tod Oscars (from Macpherson's Notes to 
 Temora). Vol. 3, pp. 275-314 : Anhang einiger neu aufgefundener Ge- 
 dichte. (Bosmina, Ossians letztes Lied, Ossians Lied nach der Nieder- 
 lage der Romer. ) — Kayser, Bucher- Lexicon, gives 1822 as the date of this 
 edition. Cf. 1st ed., 1775, and Rheinrsche Beitrage, 1778, 1780, 1781. 
 
21 
 
 Die Gedichte Ossians neuverteutschet. Tiibingen. 
 
 Prose translation by Johann Wilhelm Petersen, with some notes from 
 Macpherson and others added by the translator. Vorbericht, pp. iii-xiv. — 
 pp. 441-508 : Anhang. pp. 443-8 : Kolna-Dona, placed here in the ap- 
 pendix because Petersen con.siders it far too unimportant to be given a place 
 among the others, pp. 449-54 : Der Tod Oskars, assigned to the appendi.K 
 because he considers it unauthentic, pp. 455-68: Bosmina. pp. 469-7S: 
 Gssians letztes Lied. The last two from von Harold (cf. supra), pp. 
 479-501 : Macpherson's first dissertation translated, pp. 502-8: Anhang 
 des teutschen Uebersetzers zu vorstehender Abhandlung ; account of the 
 strife over the authenticity. — The translation of The Songs of Selma is 
 Goethe's, as is the passage from Berrathon given in Werthers Leiden. — 
 Second edition : 1808. 
 
 Reviews : Allg. deutsche Bibl., Vol. 56, i, pp. iiS-20 (17S3). 
 
 Frankfurter gelehrte Anzeigen, 1782, pp. 241-5, which for the sake of 
 comparison quote the beginning of Fingal (to p. 216, 1. 21) in Petersen's, 
 in Denis's, and in Lenz's translations. 
 
 Anthologie auf das Jahr 1782. Gedrukt in der Buch- 
 drukerei zu Tobolsko. [Herausgegeben von Schiller.] pp. 
 1 1 2-4: Ossians Sonnengesang aus dem Gedichte Karthon. 
 (In Musik zu haben beim Herausgeber. ) von H . . . 
 
 Translation in rimed verses of the Apostrophe to the Sun, Carthon, p. 
 163, 1. 32-p. 164, end. The translator is Fiiedrich Wilhelm von Hoven ; 
 cp. Zustand der Wissenschaften etc., 1781, and cf. Arch, fiir Litteratur- 
 gesch., 1879, p. 537- The poem was set to music by Johann Rudolf 
 Zumsteeg (1760-1802) ; cf. infra, p. 64. — A new edition of the Antho- 
 logie appeared in 1798, q. v. Cf. also Schiller's sammtliche Schriften, ed. 
 Goedeke (Stuttgart), Erster Theil, Jugendversuche, pp. 265-6 ; Schiller's 
 letter to von Hoven, establishing the latter's authorship of the translation 
 is given on p. 196. 
 
 Vom Geist der Ebraischen Poesie. Eine Anleitung fiir die 
 Liebhaber derselben, und der iiltesten Geschichte des mensch- 
 lichen Geistes. von J. G. Herder. 2 vols. Dessau. 1782-3. 
 p. 115: Ossians Anrede an die untergehende Sonne. pp. 
 1 1 5-6: An die Morgensonne. pp. 11 7-8: An den Mond. 
 pp. 1 1 8-9 : An den Abendstern. 
 
 Metrical translations of four of Macpherson's apostrophes to illustrate 
 Ossian's personifications and nature poetiy. The first is a translation of 
 the beginning of Carric-Thura, p. 143, first paragraph ; the second of 
 Carthon, p. 163, 1. 32-p. 164, end ; the third of Dar-Thula, p. 278-p. 
 279, 1. 13 (cf. Silbernes Buch, 1771), and the last of the beginning of 
 The Songs of Selma, p. 208, first nine lines. Cp. ed. Leipzig, 1787, and 
 
22 
 
 Album des lit. Vcr. in Niirnberg fiir 1S54, and cf. the editions of Herder's 
 works. In Suphan's edition tlic translations are found in Vol. il, pp. 
 297-300. 
 
 Der Teutsche Merkiir. A\'eimai-. ii, pp. 12-17: Metrical 
 translation of the Presages of Ossian's Death, Berrathon, p. 
 380, 1. 17-p. 382, end. pp. 17-22 : Elegy on the Death of 
 Malvina, Berrathon, beginning, p. 374-p. 376, 1. 14. p. 
 24: Translation of the War of Inis-Thona, p. 205, 11. 7-1 1. 
 
 These translations are by Herder, being inserted in his essay Hades 
 und Elysium, oder Meinungen und Diehtungen verschiedner Volker vom 
 Zustande der Menschen nach diesem Leben, in order to serve as an illus- 
 tration of the ideas of the Celts on the subject, pp. 11-24. — Cp. j^er- 
 streute Blatter, 1797. In Suphan's edition of Herder's Works the Celtic 
 conception of the Land der Seelen is given on pp. 32;^-;^;^ of Vol. 16 
 (1887.) 
 
 Hibliothek der schonen Wissenschaften und der freyen 
 Kiinste. Leipzig. Vol. 27, i, pp. 146-7 : Review of Shaw's 
 Entjuiry into the Authenticity of the Poems ascribed to 
 Ossian, London, 1781, and of John Clark's Answer to Mr. 
 Shaw's Luiuiry into the Authenticity of the Poenis ascribed 
 to Ossian, Edinburgh, 1781. 
 
 Fingal in Lochlin. Ein Schauspiel in fiinf Aufziigen. 
 Nach Ossian. Dessau. 
 
 A dramatization in prose with several lyric passages in verse based upon 
 the story in Fingal, Book iii, p. 236, l6-p. 238, 1. 5, and upon Cath- 
 Loda, while an episode in Act iii, 3, is based upon Carric-Thura ( Fingal' s 
 battle with the Spirit of Loda). The drama was reprinted in Vol. 272 of 
 the Deutsche Schaubiihne, Wien. Another edition appeared in 1787, (j. v. 
 Gurlitt (1802, April 9, p. 8), Nicolai (1877) and others give the date of 
 the first appearance as 1783, which is incorrect. The author of this and 
 the drama Tnamorulla (1783) is Karl Heinrich Wachsmuth, born 1760. 
 
 Ui \[K\\ : Giittingische Anzeigen von gelehrten Sachen, 1782, ii, pp. 
 l245-t). 
 
 Wienerischer Musenalnianach auf das Jahr 1782. Wien. 
 pp. 141-51 : Das Grabmahl in Caracthuna. 1781. von 
 Joseph Hlodig v. Sternfeld. 
 
 A free invention in the Ossianic style. 
 
 Die Lieder Sineds des Barden . . . von ]\L Denis . . . 
 Wien. Cf. 1772. 
 
23 
 
 1783. Works of Ossian. 4 vols. Francfort and Leipzig. 
 
 Edited by Merck ; cf. 1st ed., 1777. This edition contains Clark's 
 Answer to Shaw's Inquiry (for a review of which cf. Bibl. der schonen 
 Wissenschaften, 1782), as well as Macpherson's Dissertation concerning 
 the Aera of Ossian in Vol. i. At the end of the fourth volume an Alpha- 
 betical Index of Names and Things is given, the specimen of Temora's 
 original added to the English edition being omitted. 
 
 Prkijminary Notice : Gothaischc gelchrtc Zeitungcn, 1783, p. 278. 
 
 Deutsches Museum. Leipzig, i, ])p. 176-81 ; Der Tod 
 Oscars, des Sohns Caruth. Aus dem Lateinischen. 
 
 Metrical translation from Denis's Latin version of The Death of Oscan 
 * by K. F. Trost. Cp. Der Tod Oskars, 1772. — pp. 1 76-8 : An Denis. 
 
 Ibid., i, jjp. 185-7 : Ueber die Aechtheit Ossians. 
 
 A letter from a correspondent with reference to an article entitled The 
 Ossian Controversy stated, London Magazine, Nov. 1782. 
 
 Ibid., ii, pp. 1 9 1-2 : Anecdotes told by a correspondent in 
 substantiation of the authenticity of the poems of Ossian. 
 
 Bodmers Apollinarien. Herausgegeben von Gotthold Fried- 
 rich Stiludlin. Tubingen, pp. 357-66: Zweifel gegen die 
 Aechtheit der Kaledonischen Gedichte erhoben. 
 
 An expression of the doubts as to the authenticity of Macpherson's poems 
 entertained by Johann Jakob Bodmer. 
 
 Vermischte Aufsiitze zum Nachdenken und zur Unterhal- 
 tung. Erster Theil. Dessau und Leipzig, pp. ?-? : Homer 
 und Ossian. 
 
 I was unable to procure a copy of the Aufsiitze, which are reviewed in 
 the Allg. deutsche Bibl., Vol. 56, i, pp. 121-2 (1783), where the essay in 
 question is referred to as a Raisonnement iibcr Homer und Ossian and 
 severely criticized. 
 
 Versuche iiber die Geschichte des Menschen von Heinrich 
 Home. Vol. i, 2d Edition. Cf. ist ed., 1774, and Eng- 
 lish ed., 1796. 
 
 Inamorulla, oder Ossians Grosmuth. Ein Schauspiel in 
 fiinf Aufziigen. Nach Ossian. Dessau. 
 
 A prose drama with occasional lyric passages, based upon Macpherson's 
 Croma and Oina-Morul. Reprinted in Vol. 272 of the Deutsche Schau- 
 biihne, Wien, and in Vol. 46 of the Theatralische Sammlung, Wien, 1793, 
 q. v. The author is K. H. Wachsmuth ; cp. Fingal in Lochlin, 1782. 
 Goedeke, Grundriss. , 2d ed , Vol. 5, p. 393, has Inamoralia. Another edi- 
 tion was issued at Leipzig in the year 1787. 
 
24 
 
 Deutsches Museum. Leipzig, i, pp. 116-8: Die Klage 
 Lesbana's. Nach dem Celtischen von v. H. — i, pp. 279-Si: 
 Klage. Nach dem Celtisclien. von v. H. 
 
 Two metrical imitations of an Ossianic lament by G. A. von Halem. Cp. 
 Poesie und Prose, 1789. Reprinted in Vol. 5 (1807) of his Schriften 
 (Miinster), pp. 20-4, II-14. 
 
 1784. Ossians und Sineds Lieder. 5 vols. Wien. 
 
 Denis's translation of Ossian (revised with reference to the last English 
 edition, 1773) and a collection of his own poems, most of which are con- 
 tained in Die Lieder Sineds des Barden, 1772. New edition, 1791-2, 
 (/. V. Lowndes, Bibliographer's Manual, London (Bohn), Part vi, suhO?,- 
 sian, p. 1738, mentions one edition only and dates it 1799. Cf. hifra, p. 135. 
 Vol. I contains a translation of Macpherson's first. Vol. 2 of his second 
 dissertation, Vol. 3 of Dr. Blair's. Macpherson's, Cesarotti's and original 
 notes are found at the foot of the page. Vol. 4 opens with the Vorbericht 
 von der alten vaterlandischen Dichtkunst. Vol. 5 with a Gesprach von 
 dem Werthe der Reime, with an appendi.x on the use of the hexameter. 
 In the 1791-2 ed. this appendix is inserted in Vol. 4 under the title Von 
 dem Gebrauche des Hexameters. In the latter ed. the translation is 
 contained in the first 4 vols, and the poems of Denis in Vols. 5 and 6. 
 
 Review: Allg. deutsche Bibl., Vol. 60, ii, pp. 410-6. 
 
 Nachlese zu Sineds Liedern. Aufgesammelt und herausge- 
 geben von Joseph von Retzer. Band 6. Wien. pp. 200- 
 9: Mors Oscaris, Filii Caruthi. (Denis.) Der Tod Os- 
 cars. Des Sohnes Karuths. von Anton Freyh. v. Rebbach. 
 
 Denis's Latin hexameter version of The Death of Oscar, with a German 
 translation in hexameters on the opposite pages. Cp. Der Tod Oskars 
 (1772) and Deutsches Museum (1783). . 
 
 Review : Allg. deutsche Bibl., Vol. 69, i, pp. 96-7 (1786). 
 
 Ungedruckte Reste alten Gesangs nebst Stiicken neurer 
 Dichtkunst. von A. Elwert. Giesen und Marburg, pp. 
 23-4 : Klage der Barden bei Darthulas Grab. Aus dem Os- 
 sian. von S a. pp. 25-S : Schilriks Gesang. Aus dem 
 
 Ossian. von S a. pp. 65-9 : Allins Trauergesang liber 
 
 den Tod der Diebenden. Aus dem Ossian. von S. pp. 
 70-1 : Trauergesang liber Malvinas Tod. Aus dem Ossian. 
 von vS. 
 
 All four are poetic translations, the first of Dar-Thula, p. 288, 1 31-p. 289, 
 1. 3; the second of Carric-Thura, p. 145, 1. 27-p. 146, 1. 20; the third of 
 Carric-Thura, p. 152, 1. 12-p. 153, 1. 7 ; the fourth of Berrathon, p. 374, 
 beginning-p. 375, 1. I. The editor is .\nselm Elwert, 1761-1825. 
 
 Review : Allg. deutsche Bibl., Vol. 59, ii, pp. 413-5 (1784). 
 
25 
 
 Tales of Osslan for Use and Entertainment. Ein Lesebuch 
 fiir Anfanger im Englischen. Mit beigefiigten historischen 
 und lokalen Erlauterungen &c. Nurnberg. 
 
 The editor of the Tales is J. Balbach. They are taken exclusively from 
 the epics of Fingal and Temora : Morna, and Cairbar and Grudar from 
 Fingal,|Book i ; Cuchullin to Connal, and Comal and Galvina from Bk. ii ; 
 The Song of Tura, and Fingal to Oscar from Bk. iii ; Ossian and Evirallin 
 from Bk. iv ; Fingal and Orla, and Ryno's Death from Bk. v; Trenmor 
 and Inibacafrom Bk. vi ; Oscar's Death, and The Tale of Fallen Cormac 
 from Temora Bk. i ; Fingal and Roscrana from Bk. iv ; Sulmalla and 
 Cathmor from Bk. vii, and Cathmor's Death, and Sulmalla from Bk. viii. 
 Copious notes are provided. A second edition appeared in 1794, a third 
 in 1822, q. V. 
 
 Review: Allg. deutsche Bibl., Vol. 61, ii, pp. 608-9 (17S5). 
 
 Karl Friedrich Kretschmans samtliche Werke. 6 vols. 
 Leipzig. 1784-99. Vol. i, pp. 235-48: Zwey Fragmente 
 nach Ossian. I. Fingal und Hloda. II. Der Schild. Cf. 
 Taschenbuch, 1779-80. 
 
 Review of the first two volumes : Neue Bibl. der schonen Wissen- 
 schaften, Vol. 31, i, pp. 57-87 (1785); pp. 70-1 : Review of the fragments. 
 
 Von dem Einflusse der Wissenschaften auf die Dichtkunst. 
 Aus dem Franzosischen des Herrn Merian, . . . , iibersetztvon 
 Jakob Bernoulli. [1759-89.] 2 vols. Leipzig. 1784-7. 
 Vol. I, pp. 25-36: Poesie der Celten. pp. 31-6: Poems 
 of Ossian. Note, pp. 36-9 : Authenticity of the poems. 
 
 A translation of Johann Bernhard Merian's (1723-1807) Comment les 
 sciences influent-elles sur la poesie ? 
 
 1785. Doctor Blairs . . . Critische Abhandlung liber die Gedichte 
 Ossians, des Sohnes Fingals. Aus dem Englischen libersetzt 
 von Otto August Heinrich Oelrichs. Hannover und Ossna- 
 briick. 
 
 This translation appeared in 1785 not in 1786, as stated by Gurlitt 
 (April 9, 1802, p. 15), in Fingal, Gottingen, 1788, etc. A notice of Dr. 
 Hugh Blair's death appeared in the Intelligenzblatt der Allg. Lit.-Zeitung, 
 1801, No. 92. 
 
 Reviews : Allg. Literatur Zeitung, 1785, iii, pp. 44-5- 
 Allg. deutsche Bibl., Vol. 65, i, pp. 124-6 (1786). 
 
 K. G. Kiittners Briefe liber Irland an seinen Freund, den 
 Herausgeber [M. Schenk] . Leipzig, pp. 248-58, 309-10, 
 441-2 : Macphersons fruchtlosse Bemuhungen Schottlands 
 Alterthum zu retten. — Uniichtheit der Ossianischen Gesiinge. 
 
 Review : Allg. deutsche Bibl., Vol. 65, ii, pp. 495-6. 
 
26 
 
 Magazin fiir Wissenschaften iind Litteratur. I. Bandes II. 
 Theil. Herausgegeben von Otto von Gemmingen. Wien. 
 pp. 135-41 : Das Orakel der Deutschen, oder gesammelte 
 Urtheile deutscher Kunstrichter uber die Denisische Ueber- 
 setzung Ossians. 
 
 A collection of opinions expressed by different critics in regard to 
 Denis's translation, written on occasion of the publication of Ossians und 
 Sineds Lieder (17S4). Reprinted in the Nachlass (1801). 
 
 Minona, oder die Angelsachsen. Ein tragisches Melo- 
 drama in vier Akten. Von Heinrich Wilhelm von Gersten- 
 berg. Hamburg. 
 
 A prose drama in the Ossianic spirit with poetic passages interspersed. 
 Cp. Schriften, 1794, 1815, and cf. ittfra, pp. II2-9. 
 
 Reviews: Gothaische gelehrte Zeitungen, 1786, No. 85, pp. 709-11. 
 
 Allg. deutsche Bibl., Vol. 77, i, pp. 116-8 (1787). 
 
 Neue Bibl. der schonen Wissenschaften, Vol. 34, i, pp. 121-42 (1787), 
 ii, pp. 279-99, Vol. 35, ii, pp. 217-35 (1788). 
 
 Der Teutsche Merkur, 1788, iv, pp. 201-24. 
 
 Allg. Lit. -Zeitung, 1789, i, pp. 716-20, etc. 
 
 Beitriige zum Theater, zur Mnsik und der unterhaltenden 
 Lektiire iiberhaupt. Erster Band. Stendal. pp. 224-8: 
 Chelinis Klage. von C. Meissner. 
 
 A story in the Ossianic manner ; rhythmic prose with a metrical com- 
 plaint. 
 
 Musenalmanach. (Poetische Blumenlese. Auf das Jahr 
 1785.) Gottingen. pp. 70-2 : Gaul an den Geist seines 
 Vaters, als er hinging dasSchwert desselben ausseinem Grabe 
 zu holen. von J. A e. Ivlontrup. 
 
 A free imitation of Ossian in quatrains. 
 
 Lehrreiche Nebenstunden. Eine Wochenschrift fiir die 
 Jugend beyderley Geschlechts. Vol. i, Berlin, pp. ?-? : 
 Fingals Hohle. 
 
 I was unable to find this volume, a notice of which appeared in the 
 Allg. deutsche Bibl., Vol. 69, ii, pp. 613-4 (1786). 
 
 1787. Poems of Ossian lately discover' d by Edmond Baron de 
 Harold. Dtisseldorf. 
 
 An English version of seventeen little Caledonian poems purporting to 
 have been discovered by the translator, all but two of which are ascribed 
 to Ossian. 
 
27 
 
 Neuentdeckte Gedichte Ossians, iibersetzt von Edmund 
 Freiherrn von Harold. Diisseldorf. 
 
 Same as above. Second edition 179S. 
 Reviews: Gott. Anz. von gel. Sachen, 1787, ii, p. 1248. 
 Supplemente zur Allg. Lit.-Zeitung, 1787, v, pp. 22-3. 
 Anhang zu dem 53. bis 86. Bande der Allg. deutschen Bibl., 3. Abth., 
 pp. 1847-S (1791)- 
 
 Vom Geist der Ebriiischen Poesie . . . von J. G. Herder. 
 2 vols. Leipzig. A^ol. i, p. 115: Ossians Anrede an die 
 untergehende Sonne, pp. 115-6: An die Morgensonne. 
 pp. 117-8: An den Mond. pp. 118-9: An den Abendstern. 
 
 Cf. isted., 17S2. In the 3d ed., edited by Justi, Leipzig, 1825, the 
 fragments are found in Vol. i, pp. 103-6. 
 
 Albrechts von Haller Tagebuch seiner Beobachtungen liber 
 Schriftsteller und liber sich selbst. 2 vols. Bern. Vol. i, pp. 
 265-8, 288-96, (368) ; (Vol. 2, pp. 44-6) : Laudatory 
 criticism of the Works of Ossian. 
 
 The first passage consists of Haller' s review of Fingal, Gott. Anz. von 
 gel. Sachen, 1765, the second of his review of The Works of Ossian, 
 ibid., 1767 ; the remarks in Vol. 2 refer to the article on Ossian in Sulzer's 
 Theorie. 
 
 Allgemeine Theorie der Schonen Klinste . . . von Johann 
 George Sulzer. Neue vermehrte Auflage. 4 vols. Leipzig. 
 1786-7. Vol. 3, pp. 516-27: Article on Ossian. ist ed. 
 
 1774, q. V. 
 
 Fingal in Lochlin. Dessau. Cf. 1782. 
 Inamorulla. Leipzig. Cf. 1783. 
 
 Both these dramas by Wachsmuth were reprinted in this year. 
 
 Allgemeine Literatur Zeitung. Jena und Leipzig, iv, pp. 
 431-2 : Notice of the originals of John Smith's Galic Antiq- 
 uities (Sean Dana etc.). Cf. Gallische Alterthiimer, lySi." 
 
 1788. Fingal an epic poem in six books, taken from Ossian' s 
 Works. Gottingue. 
 
 A somewhat inaccurate, cheap reprint. The date of publication is not 
 1798, as occasionally given. 
 
 Deutsches Museum. Leipzig, ii, pp. 512-27: Komala, 
 ein Singspiel nach Ossian. Von Friedr. Boutterweck. 
 
 A Singspiel in three scenes, a free rendering of Comala with the origi- 
 nal ending unchanged. The recitatives are in blank iambic verse. The 
 
28 
 
 aiitlior is Fiiedricli Bouterwek, 1766-1828 ; cf. his (leschichte der Poesie 
 und Ueredsamkeit, 1810. 
 
 Der Zustand des Staats, der Religion, der Gelehrsamkeit 
 und der Kunst in Grosbritannien gegen das Ende des acht- 
 zehnten Jahrhunderts von D. Gebh. Friedr. Aug. Wendeborn. 
 4 vols. Berlin. 1785-8. Vol. 4, pp. 141-2 : A diatribe 
 against the genuineness of the poems of Ossian. 
 
 Henrici Alberti Schultens Oratio de Ingenio Arabum. 
 Lugduni Batavorum. pp. 11-2: declares the poems of Ossian 
 to be authentic. 
 
 Neue Bibliothek der schonen Wissenschaften, Vol. 35, ii, 
 p. 332 : Notice of the originals of Smith's Galic Anticpiities. 
 Cf. Gallische Alterthiimer, 1781. 
 
 Musen Almanach fiir 1788. herausgegeben von Voss und 
 Goeking. Hamburg, pp. 50-2 : Urrins Preis. Nach dem 
 Wallischen des Ibrden Taliesin. 
 
 'Iranslated In' von Ilalcniin rimed verses from Edward Jones's Musical 
 and Poetical Relics of the Welsh Hards, London, 1786, a notice of which 
 had appeared in the AUg. Lit. -Zeitung, 1786, ii, p. 203. Cp. Poesie und 
 Pnise, 17S9. 
 
 1789. Kssai d'une Traduction d' Ossian en vers fran^ois. Par J. 
 Lombard, Secretaire prive au cabinet du Roi. Berlin. 
 
 Metrical translation of Carthon. pp. 7-16: Preliminary essay. This 
 translation is erroneously referred to by Gurlitt (April 9, 1802, pp. 4-5), 
 Ersch und Gruber, Encyklopadie, sub Ossian (p. 429) anil others as being 
 one of Fingal instead of Carthon. The translator's full name is Jean Guil- 
 laume Lombard. 
 
 Revucvvs : Allg. Lit.-Zeitung, 1789, iv, pp. 81-4. 
 
 Allg. deutsche Bibl., Vol. 97, i, pp. 151-3 (1790). 
 
 La Prusse Litteraire sous Frederic IL Par Mr I'Abbe Denina. 3 
 vols. Berlin, 1790-I. Vol. 2, pp. 422-4, siih Lombard. On p. 422 
 Denina mentions a Oerman prose translation by one Jani, which I have 
 not been able to locate. 
 
 Musenalmanach. Gottingen. \)\). 214-6: Minvane, ein 
 Bruckstiick aus einem verlornen Gesange von Ossian. von 
 Georg Friedrich Noldeke. 
 
 A free invention in the style of Ossian (in verse). 
 
 Poesie und Prose von (t. A. von Halem. Hamburg. i)p. 
 226-7: Urrins Preis. Nach dem Walhsischen des Barden 
 Taliesin, 1787. pp. 31S-9: Harlechs Preis. Nach dem 
 
29 
 
 Wallisischen Mirvans mit dem rothen Haare, 1783. pp. 
 320-2 : Die Klage Lesbana's. Nach dem Celtischen, 1783. 
 pp. 344-7 : Klage. Nach dem Celtischen, 1782. pp. 353- 
 79: Teudelinde. Audrey Schwestern, 1780. 
 
 For the first cf. Musen Alinanach, 17S8, for the third and fourtli Deut- 
 sches Museum, 1783, for the last 1780. Cp. Irene, 1804. 
 
 1790. BeispielsammUmg /Air Theorie und Literatiir der schonen 
 Wissenschaften von Johann Joachim Eschenburg. 8 vols. 
 Berlin und Stettin. 1788-95. Vol. 5, pp. 304-7: Extract 
 (in English) from Fingal, Bk. iii (The Death of Agandecca, 
 p. 237, 1. 27-p. 240, 1. 10), with a short preliminary notice. 
 Musen Almanach. Gottingen. pp. 83-7 : Ossians Gebet. 
 Hochlandisches Yolkslied. 
 
 Translated in meter by Kriedrich Ludwig Wilhchn Meyer, 1759-1840. 
 A dialog between Ossian and St. Patrick, the original of which appeared 
 in the Transactions of the Royal Irish Academy, Dublin, 1787. Cp. Neu- 
 aufgefundene Gedichte Ossians, 1792, Spiele des Witzes, 1793, Adrastea, 
 1802. 
 
 Alfonso, ein Gedicht in acht Gesiingen. Gottingen. 
 An epic poem by Friedrich August Miiller, 1767-1807, in which the 
 imitation of Ossian is remarkably striking. 
 
 Review: Allg. deutsche Bibl., Vol. 99, i, pp. 112-7 (1790). 
 
 1 791. Bragur. Ein Litterarisches Magazin der Deutschen und 
 Nordischen Vorzeit. Herausgegeben von Bockh und Grater. 
 Leipzig. Vol. i, pp. 379-80 : Von der Uebersetzung Ossians 
 und der Sean Dana aus dem Original. Von Grater. 
 
 Other notices of Friedrich David Grater's (1768-1830) proposed trans- 
 lation (which never appeared) are given in the Neue Bibl. der schonen 
 "Wissenschaften, Vol. 49, ii, p. 327 (1793), in Schubart's Chronik, Stutt- 
 gart, 1790, ii, p. 798, 1 79 1, i, pp. 95-6, in the Allg. Lit.-Zeitung, 1791, 
 iv, p. 648, in the Intelligenzblatt der allg. Lit.-Zeitung, 1790, p. 1340, 
 1791, pp. 91-2, and in the Friedensnachrichten, Halle, 1795) No. 20, pp. 
 318-20 
 
 Deutsche Monatsschrift. Berlin, i, pp. 177-8, note: 
 Several quotations from the Poems of Ossian in an article 
 Ueber den Wunsch, auf einer niedrigen Stufe der Kultur zu 
 leben. 
 
 Ibid., ii, pp. 197-223 : Ueber die Sitten der alten Schot- 
 ten, von Hrn. Doktor Kramer. 
 
30 
 
 An essay based upon Hugo Arnot's History of Edinburgh from the 
 earliest Accounts to the present Time, Edinburgh, 1788. References to 
 the authenticity of the works of Ossian on p. 198. 
 
 Iwona, eine ossianische Skizze. Ludwig Tieck's Hand- 
 schriftlicher Nachlass, Royal Library, Berlin. 
 
 Cf. Arch, fiir Litteraturgesch., Vol. 15, pp. 316-22 : Zu Ludwig Tiecl<s 
 Nachlass. Von Adolf Hauffen. — The Nachlass also contains the Gesang 
 des Barden Longal, another Ossianic imitation. — Three other Ossianic imi- 
 tations were written by Tieck in the same year, viz., Ryno, Ullin's Gesang, 
 and Ullin's und Linulf's Gesang. The last two were printed in Die 
 eiserne Maske, 1792, (/. v., and are given on pp. 195-204 in the first vol- 
 ume of Ludwig Tieck's nachgelassene Schriften, ed. Rudolf Kopke, 
 Leipzig. 1855. 
 
 Feldblumen, gesammelt zum Besten einer Erziehungsan- 
 stalt fiir arme Kinder. Riga. pp. ?-? : Colma. 
 
 Probably an Ossianic melodrama. Cf. review in the Allg. deutsche 
 Bibl., Kiel, Vol. 116, ii, pp. 394-5 (1794). 
 
 1791-2. Ossians und Sineds Lieder. 6 vols. Wien. Cf. ist 
 ed., 1784. 
 
 (Vol. 6=1792.) Two editions, one in large 4° ( Alberti), the other 
 in small 4° (Wappler). Cf. in/fa, p. 138. 
 
 Review : Neue allg. deutsche Bibl., Vol. 2, i, pp. 116-9 (1793). 
 
 1792. Neuaufgefundene Gedichte Ossians Aus dem Englischen 
 Mit erlauternden Anmerkungen und einer Abhandlung iiber 
 die Werke dieses celtischen Barden. Frankfurt und Leipzig. 
 
 Translation by Christoph Heinrich Pfaff (1773-1852) of the Ossianic 
 poems published by the Irish Bishop of Clonfert, Arthur Young, in the 
 Transactions of the Royal Irish Academy, Dublin, 1787. 
 
 Reviews : Neue allg. deutsche Bibl., Vol. 7, ii, pp. 579-82 (1793). 
 
 Neue Bibl. der schonen Wissenschaften, Vol. 52, ii, pp. 297-301 
 
 (1794)- 
 
 Allg. Lit.-Zeitung, 1795, ii, pp. 345-9 (by F. D. Grater; cf. Bragur, 
 Vol. 6, ii, pp. 237-8, note). 
 
 Deutsche Monatsschrift. Berlin, ii, pp. 313-32 : Die 
 Schlacht von Lava, oder das I>ied vom Greise. Ein Cel- 
 tisches Gedicht des dreyzehnten Jahrhunderts. 
 
 Metrical translation from Smith's Galic Antiquities by F. L. W. Meyer. 
 Cp. Spiele des Witzes, 1793. 
 
 Bragur . . . Herausgegeben von Grater. Vol. 2, pp. 56- 
 7 : References to Ossian, Orran and Ullin in an essay by 
 
31 
 
 Grater entitled Kurzer Begriff von den Druiden, Barden, 
 Skalden, Minstrels, Minnesingern und Meistersangern. 
 
 Ideen zur Philosophie der Geschichte der Menschheit von 
 Johann Gottfried Herder. Vierter Theil. Riga und Leip- 
 zig. 8°. pp. 14-5 : References to Ossian. — pp. 12-? of 
 the 4° ed. of 1791. 
 
 Die eiserne Maske, eine schottische Geschichte. Von Ot- 
 tokar Sturm. Frankfurt und Leipzig. 
 
 A story by Friedrich Eberhard Rambach (1767-1S25), the last chapter 
 of which was written by Tieck. The names of the cliaracters are Ossianic, 
 and Tieck' s Ossianic imitations, Ullin's Gesang and Ullin's and Linulf's 
 Gesang, are included. 
 
 Review : Neue allg. deutsche Bibl., Vol. 3, i, pp. 285-6. 
 
 1793. ^piele des Witzes und der Phantasie. Berlin, pp. 147- 
 53: Ossians Gebet. Hochliindisch. pp. 154-78: Die 
 Schlacht von Lava, oder das Lied vom Greise. 
 
 Translations by F. L. W. Meyer, the first of which appeared in the 
 Gottinger Musen Almanach, 1790, and the second in the Deutsche 
 Monatsschrift, 1792, (/. r. 
 
 Allgemeine Theorie der Schonen Kiinste . . . von 
 Johann George Sulzer. Neue vermehrte zweyte Auflage. 4 
 vols. Leipzig, 1792-4. Vol. 3, pp. 631-43: Article on 
 Ossian. — ist ed., 1774. 
 
 Theatralische Sammlung. Wien. Band 46, ii : Inamo- 
 rulla, oder Ossians Grosmuth. Ein Schauspiel in fiinf Auf- 
 ziigen. Nach Ossian. — Cf. 17S3. 
 
 1794. Tales of Ossian for Use and Entertainment. Ein Lesebuch 
 fiir Anfiinger im Englischen. Mit beigefiigten historischen, 
 statistischen und genealogischen Erlauterungen, . . . Zwote, 
 verbesserte und vermehrte Auflage. Niirnberg. — ist ed., 
 1784, q. V. 
 
 Michaelis Denisii Carmina quaedam. Vindobonae. pp. 
 132-4: Mors Oscaris. 
 
 Cf. Denis's translation of Ossian. Vol. 3, 1769. 
 
 Review : Neue allg. deutsche Bibl., Vol. 15, ii, p. 339 (1795). 
 
 Schauspiele und Gemiilde. Von Carl Reiner. Duisburg 
 am Rhein. pp. 79-104 : Calthon und Colmala, ein Gedicht 
 von Ossian in Versen iibersezt. pp. 223-34: Minonas 
 Gesang, ein Gedicht von Ossian, in Versen iibersezt. 
 
32 
 
 The fust is a translation of Caltbon and Colmal, the second of The 
 Songs of Sehna, beginning, p. 208-p. 210, 1. 15. 
 
 Review: Neue allg. deutsche Bibl., Vol. 23, ii, p. 321 (1796). 
 
 Bragur . . . Herausgegeben von Hiisslein und Grater. 
 Vol. 3, pp. 120-206: Translation of an article by William 
 Tytler Ueber die alten Schottischen Balladen und Lieder und 
 die Schottische Musik tiberhaupt.— pp. 120-2, 131-2 : refer- 
 ences to Ossian. 
 
 Ibid., p. 473 : Notice of Alstrup's Danish translation of 
 Ossian. 
 
 Ibid., pp. 480-5: Letter of Prof. [Johann Christian Chris- 
 toph] Riidiger (1751-1822) of Halle to Grater Ueber Os- 
 sian. 
 
 Ibid., pp. 485-91 : Letter of L. Th. Kosegarten to Grater, 
 dated Wolgast, Sept. 16, 1791, Ueber Ossian, die Sean Dana 
 u. s. w. 
 
 Sammtliche Poetische Schriften von Joh. \sic !] Wilhelm 
 von Gerstenberg. IIL Theil. Erste voUstandige Ausgabe. 
 Wien. pp. 1-173 • Minona, oder die Angelsachsen. Ein 
 tragisches Melodrama in vier Akten. 
 
 Unauthorized edition. Cf. 1785, and infra, pp. 52-3. 
 
 Harald oder der Kronenkrieg. Eine nordische Erzahlung. 
 2 vols. Kaschau in Ober-IIungarn. 
 
 A novel in the Ossianic vein, reprinted in the Nordische Geschichten 
 der Vorzeit, 1798. 
 
 Review : Neue allg. deutsche Bibl., Vol. 23, i, p. 173 (1796). 
 
 1795. Ossians Gedichte, von Edmund von Harold in Prosa iiber- 
 setzt. Miinster. Cf. ibid., 1775. 
 
 Ludewig (lOttlieb Cromens Gedichte. Leipzig. pp. 
 44-53: Armyns Klagelied an Kirmor. pp. 54-8 : Fragment 
 aus einem altschottischen Gedichte. Cf. Unterhaltungen, 
 1767. 
 
 Geschichte des Glaubens an Unsterblichkeit, Auferstehung, 
 Gericht und Vergeltung von Christian ^Vilhelm Fliigge. 
 Leipzig. Vol. 2, pp. 149-210: Sechster Abschnitt. Lehren 
 und Meinungen der alten Caledonier tiber Fortdauer nach dem 
 Tode, nach Ossian und andern celtischen Gedichten. 
 
 Numerous quotations are made from Denis's translation, some quite 
 lengthy, as e.g., pp. 172-3 : Carric-Thura, p. 147, 11. 5-25, p. 148,11. 
 
1-9. pp. 174-5 : Fingal, Bk. ii, p. 227, 1. 5-bottom. pp. 176-7 : The 
 War of Caros, p. 191, 1. 36-p. 192, 1. 16. pp. iSo-l: Temoia, Bk. vii, 
 beginning, p. 354-p- 355, 1- 3- P- iS? : Berrathon, p. 375, 1- 22-bottom. 
 There are also several quotations from the Galic Antiquities and from Mac- 
 pherson's and Blair's Dissertations. On pp. 203-4 an extract from Gra- 
 ter's translation in the Nordische Blumen, pp. 371-2, CathLoda, Duan i, 
 p. 130, 11. 20-30. 
 
 Rkview : Gottingische Bibl. der neuesten theologischen Literatur. 
 Gottingen. Vol. i, x, pp. 733-4 (I795)- 
 
 Nachtriige zu Sulzers allgemeiner Theorie der schonen 
 Kiinsle. 8 vols. Leipzig, 1 792-1808. Vol. 3, ii, pp. 237- 
 52 : Ueber die Celtischen Barden. Nach Ossian, von Herrn 
 W. N. Freudentheil. 
 
 The full name of the author is Wilhelm Nicolaus Freudentheil, 1771- 
 1853. Cp. Vol. 8, 1808. 
 
 Die Horen eine Monatsschrift herausgegeben von Schiller. 
 Vierter Band. Tubingen. Zehntes Sttick. pp. 86-107 : 
 Homer und Ossian. von Herder. 
 
 A comparison of Homer and Ossian, contained on pp. 446-62 in Vol. 
 18 of the Suphan edition, where on pp. 462-4 is given an extract from the 
 first draft : ( Homer und Ossian, Sohne der Zeit. ) - A similar comparison, 
 consisting of three academic polemics, had appeared 1792-5 in Upsala : 
 Gustav Rosen, Comparatio Ilomeri et Ossiani. 
 
 Ibid., Eilftes Stiick. pp. 68-9, note: Characteristic of 
 Ossian's poetry in Schiller's essay Ueber das Naive. 
 
 Ibid., Zwolftes Stiick. p. 24: Reference to Ossian in the 
 paragraph on Elegiac Poetry in Schiller's essay Die sentimen- 
 talischen Dichter. 
 
 These references to Ossian in the essay Ueber naive und scntimentalische 
 Dichtungare contained on pp. 444, note, and 467 of Schillers sammtliche 
 Schriften, ed. Goedeke, Zehnter Theil, Aesthetische Schriften. 
 
 Johann Lane Buchanans . . . Reisen durch die westlichen 
 Hebriden, wahrend der Jahre 17S2 bis 1790. Aus dem Eng- 
 lischen. Berlin. 
 
 Quoted from by Herder in his essay in the Horen, 1795, x, pp. 104-7. 
 
 1796. Der Neue Teutsche Merkur. Weimar, iii, pp. 121-33 : 
 Englische Hexameter. Von B. 
 
 A review of an article in the Monthly Magazine, June, 1796, containing 
 a hexameter transversion of Ossian's Apostrophe to the Sun, Carthon, p. 
 163, 1. 32-p. 164, end. The English transversion is repeated in the review 
 
34 
 
 on pp. 127-S and prccedetl by a literal prose translation of the Apostrophe 
 into (lerman, pp. 126-7. — p. 129: Criticism of the English transversion. 
 pp. 130-1 : Denis's translation of the passage, added for the sake of afford- 
 ing a comparision. 
 
 Ibid., iii, pp. 213-4: Notice of the Gaelic original of the 
 poems of Ossian about to be published. 
 
 Etwas iiber Caledonische und Scandinavische Dogmatik, 
 mit Beziehimg auf die Aechtheit der Gedichte Ossians, von 
 Christian Wilhelni Fliigge. Hannover. 
 
 This treatise is mentioned by (lurlitl (1804) and elsewhere, !)ut T have 
 not \ieen able to trace it. 
 
 Sketches of the History of Man. Considerably enlarged by 
 the last additions and corrections of the author. 4 vols. 
 Basil. Vol. I, pp. 315-72 : Discussion of the Manners of 
 the ancient Celts and Scandinavians. 
 
 Cf. German tran.slation, 1774. 
 
 AllgeiTieiner Litterarischer Anzeiger. Leipzig. (July 15) 
 p. 55, (Aug. 26) pp. 189-90 : Einige biographisch-litte- 
 rarische Nachrichten von James Macphcrson, Escp 
 
 Intelligenzblatt der Allgem. Eiteratur-Zeitung. No. 97, 
 l)p. 814-6 : ' Notice of James Macpherson's death, with a 
 short discussion of the poems of Cssian and the controversy 
 they provoked. 
 
 Ibid., No. 146, pp. 1242-3: Notice of Hill's French trans- 
 lation of the Galic Antiquities : Les poemes d'Ossian, Grran, 
 Ullin, etc., 3 vols. Paris, 1796, with references to Le 
 Toin-nem-'s translation" and Arnault's'' dramatization : Oscar, 
 fils d'Ossian, tragedie en cinij actes. 
 
 1797. JMiglische Blatter. Herausgegeben von Ludwig Schubart. 
 Erlangen. pp. 1-20 : Ossian. Broben aus Duffs Versuch 
 etc. Vom Herausgeber. pp. 161-84: Ossian. (Beschluss.) 
 
 A discussion of the characteristics of Ossian and his poetry in his char- 
 acter as an original genius ; with numerous quotations. A note on pp. 
 181-3 contains a prose translation of Fingd's battle with the Spirit of 
 Loda, Carric-Thura, p. 147, 1. 9-p. 148, 1. 6. — Cp. ibid., 1798. 
 
 ' References to the A llg. l,it. Zeitung and several other papers are given in pages, although 
 tlic numbers refer to columns. 
 
 -Ossian, Fils de Fingal, . . . Poesies Clalliiiues, Traduites sur I'Anglois de M. Macpherson, 
 Par 1\I. Lc Tourneur, 2 vols., Paris, 1777. 
 
 •! Vincent-Antoine Arnault, 1 766-1834. 
 
35 
 
 Zerstreute Blatter von J. G. Herder. Sechste Sammlung. 
 Gotha. pp. 95-142 : 11. Das I.and der Seelen. Ein Frag- 
 ment. 
 
 Pp. 1 11-29 '■ ''• Celtcn. pp. II2-9 : Translation of Berrathon, p. 380, 
 1. 17-p. 382, end. pp. 119-25 : lieirathon, beginning, p. 374-p. 376, 1. 
 14. p. 128: The War of Inis-Tliona, p. 205, 11. 7-II. Cf. Teutscher 
 Merkur, 17S2. 
 
 Friedrichs von Blankenburg Litterarische Zusiitze zu Jo- 
 hann George Sulzers allg. Theorie der scliiuien Kiinste. 3 
 vols. Leipzig, 1796-8. Vol. 2, pp. 484-6: Article on 
 Ossian. Cp. Sulzer's Theorie, 1774. 
 
 1798. Neu-entdeckte Gedichte Ossians, iibersetzt von Freiherr 
 von Harold. Zweite Auflage. Dlisseldorf. 
 
 1st ed. 1787, I/. 7'. — Krsch und Chuber, Encykloixulie, su/' Ossian (p. 
 429), has 1795. 
 
 Anthologie auf das Jahr 1782. Herausgegeben von Fried- 
 rich Schiller. Stuttgart, pp. 1 1 2-4 : Ossians Sonnengesang 
 aus dem Gedichte Karthon. (In Musik zu haben beim Her- 
 ausgeber.) Von H. 
 
 Cf. 1782. Tlie poem is given on pp. 82-3 of IjUIow's ed. of the 
 Anthologie, Heidelberg, 1850. 
 
 Englische Bliitter. Herausgegeben von Ludwig Schubart. 
 Vol. 8. Erlangen. pp. 20-31 : Der Krieg von Caros. 
 Proben einer neuen Uebersezung Ossian 's. Vom Herausgeber. 
 
 Poetic prose translation, without argument or notes. The principles 
 observed in the translation are laid down on pp. 16-19 in an article on tlie 
 Geschichte der Uebersezkunst (pp. 1-19). 
 
 //>u/., Vol. 9, pp. 158-63: Proben aus dem Ossian H. 
 Conlath und Cuthona. pp. 165-85 : HI. Carricthura. 
 
 Poetic prose translations by .Schubart as above. Cp. also Der Neue 
 Teutsche Merkur, 1799, and his translation, 1808. 
 
 Der Neue Teutsche Merkur. Weimar, ii, pp. 343-58 : 
 Ueber Ossian und den Ivarakter der Schottischen Hochliinder, 
 von James Macdonald. pp. 343-6 : Introduction by Bot- 
 tiger. 
 
 /fi/t/., ii, pp. 178-9: Letter — dated Oxford, April 25, 
 1798 — from James Macdonald to the editor in reference to 
 the forthcoming edition of the Gaelic originals of Ossian. 
 
Noidischr ( 'n,'S(hi(hU'n (Icr \'or/.eil. l''r;inkriirl iiiul l.ci])- 
 /i^f. 1. u. 2. 'I'hcil^l laiald ixler dor KroncnkriL\^. Ci. 
 1794. 
 
 Rk.VIKW : NciU' ally, dciitsclie l!il>l.. \'(il. 57, i, pp. ()J-4 (iSoi). 
 
 1799. I )(.M- Neuc 'IVutsche Merkur. Weimar. ii, \)p. 130-50: 
 I'robcn aus clem ( )ssiaii, von laidwig Schiibart. 
 
 .\ ilnlliinic prose iciiilniiiu; of ( 'ailliDii, iiuinht'ii'd l\'. C"p. l'',nt;lisclio 
 l!l;ilU'i-, I7<)S. 
 
 I)eut.s(lu' M(.)natsschi"ift. Leipzig. iii, pp. 104-6: Mai- 
 Nina. Nat li ( )ssian. 
 
 .\ mctnoal tiuii.slatioii of Malvina'.'^ l.ainrnt over the iJeath of Osear, 
 l)CL;iniiiny- of rronia, p. 177-p. 17S, 1. (). The Iran.slation i.s one of a col- 
 KH'lioii of poems c-iilillcil riiaiilasirn, li)' ( 'h — , p|i. Si -II5. 
 
 N'indieiae Anti(|uitalis Cainiinuni Ossiani. Dispntatio His- 
 torico-C'ritica. C'arolus Ilenrieiis Selunulenius. X'itebergae. 
 
 1 ,e Reveil, ouxrage peiioili(Hie, moral el litteraire. Dans 
 le genre ;mL;lais. I'ar M. de R. M. .\ llambourg. No. 3, 
 pp. 143-O0 : l)l)ser\ations sur les aneiens Scandinaves, et sur 
 les Poemes d'Ossian. Tar ). M e. 
 
 //>/</., No. 4, pp. 222-41 : Observations sur les Poemes d' 
 Ossian. Par J. JNl e. 
 
 NoncK: W-uo all.y. deutseho i'.ilil., \'ol. 55, i. p. 247 (iSoo). 
 
 !?. l''anjas-S;unt l'"ond Keise durch Mnghind, Sehottlanil und 
 die 1 lebiiclen . . . aus dem l''ran/()siselien iiber.setzt . . . ver- 
 mehrt von C. K. W. Wiedemann. 2 vols. Clottingen. jip. 
 v-xvi : [James] Macdonalds Llrtheil iiber diese Reisebeschrei- 
 bung, nebst einigen liemerkimgen iiber Ossian unil die Hoch- 
 liinder. (pp. \ii-\ii : ( )ssian. ) 
 
 I'lu- orii;iual appeared at Paris in I7>)7 and was notieed in the Inlelli 
 i^en.dilalt der alli;. 1 .it. /.eitung. I7()S. No. 7, p. 50. (.\ noliee of the 
 IbrtheoniinL; liaelie original is also given liere. ) 'I'ho original and the 
 translation were reviewed in the t'n'itt. gel. Anz., 1790, iii, pp. 1507-12. 
 
 Der Neiie 'Peutsi-he Merkur. Weiituir. iii, pp. 40-1 : 
 Ossian. 
 
 A jioeni ui i)r,ii->e of ('•ssian sent to the editor anonymously. I'he 
 ver.ses [lav a glowing trilnite to the Imldness and tenderness of Ossian's 
 poetry. 
 
37 
 
 i8oo. Ossian's Gedichte. Rhythniisch iibersetzt von J. CI. Rhode. 
 3 Theilc. Mit Vi^netten und Titclkupfer. Berlin. 
 
 Tlic iiutlior is Joliami tM)ltlirli Rlunlc, i7(J2-lS27, l\ci)iiiil, iSoi ; 2d 
 ed. 1817-8. 
 
 NoTlCKS : NeuL- allti'. deiitsclu' lUhl., Vol. ()6, ii, p. 350 (iSoi). 
 
 Hiiefe an cin Fiauen/.immor . . . , luiaiis^'e<jcl)eii von C Mcilvc!. VdI 
 2, Berlin, iSoi, pp. 493-4. 
 
 Ossian's l'"inL;al. Von Wilhelni .Schnnler. Krlangcn. 
 
 A prose translation with ari^iuuents and seattorcd notes. 
 
 Ri':viK\vs: .Mlj^. I.it.-/c'itunjr, i<Soi, iii, pp. 700-4. 
 
 Neuc allg. deutscho Hihl., Vol. 6('), ii, pp. 349-50 (iSoi). 
 
 Berrathon. Ein Gedieht Ossians. Metriseh iiherse/t von 
 J. H. Kisteinaker. Miinster. 
 
 The lull name of the translator is Johann liyatinth KisteniaUer, 1754- 
 1834; he was a Catholie theologian. — N'orrede, vii pp. Argument, pp. 
 1-7. pp. 2-3 note : Translation in ianibie pentameters of the end of The 
 Songs of Selma, p. 213, last line-p. 21.4.. pp. S-2S : Iambic and troehaie 
 translatitjn of Berrathon. pp. 29-30 : Argument of Carril's Address to 
 the Rising Sun, Temora, lik. ii (p. 324) ; pp. 31-2 : Translation of same, 
 pp. 33-48: Notes. — Erseh u. Cirubei', lMieyklo[)adie, v/,'/' ( )ssiaii (p. 429), 
 has Berenlhon. 
 
 Review : Allg. Lit.-Zeitung, 1802, iii, p. 48. 
 
 Neue Lausizische Monatssehrift. Herausgegel)en von dor 
 Oberlausizischen Clesellschaft der Wissensehaften. (Itn-liz. 
 i, pj). 403-4: Ossians Gesang an die Sonne. .\iis dcni Ge- 
 dichte Karthon iihersezt. Von (^iiiido von Rilienfeld. 
 
 Traiishilion in iambic pentameters of ("arlhon, |). 163, 1. 32-p. 164, end. 
 
 l'>rhoUingen. Herausgegeben von W. G. Becker. I.cip 
 zig, ii, pp. 282-4: Homer, Ossian, Rainier iind Rabener. 
 von Kretschmann. 
 
 An imaginary conversation between these worthies in the realms of the 
 dead. 
 
 Sebaldi Fulconis Joh. Ravii Orationes Ouae . . . Altera de 
 Poeticae Facultatis I'^.xcellentia et Rerfectione Spectata in 
 Tribus Poetarum Principibiis, Scriptore Jobi, Iloniero et 
 Ossiano. Lugduni Batavorum. 
 
 Der arnie CJorge vom Verfasser des lu-asintis Schleicher. 
 Leipzig, pj). 178-82 : Ryno, der Barde, an J'"iiras lliigel. 
 
 Tiie author is Carl CJotllob Cramer, 1758-1817. 'Ihe j)oem is interest- 
 ing chiefly for its close imitation of Ossianic nature-description ; tlie names 
 (Anira, Arindal, Ryno, Salgar, Selnia) are borrowed Irom Ossian. 
 
38 
 
 Bergisches Taschenbuch fiir 1800. Zur Belehrung und Un- 
 terhaltung. Herausgegeben von W. Aschenberg. Diissel- 
 dorf. pp. 150-60: Selama, eine neu entdeckte, kostliche 
 Relifjuie Ossians von Edmund Freiherrn von Harold, kur- 
 pfalzbaierischen Generahiiajor. Mit 3 Kupfern. 
 
 An imitation of Ossian in rliythmic prose, in the same style as von 
 Harold's other work in this field. Cp. ibid., 1801-2, etc. 
 
 Review: Neue allg. deutsche Bibl., Vol. 57, i, pp. 234-6 (1801). 
 
 Englische Miscellen. Tubingen. Vol. i, pp. 18 1-2 : 
 Notice of the Gaelic originals of the Poems of Ossian to be 
 published by the Highland Society of London. 
 
 Der Neue Teutsciie Merkur. Weimar, ii, p. 257 : Simi- 
 lar notice. Also a notice of Malcolm Laing's Dissertation 
 appended to his History of Scotland, 2 vols., London, iSoo. 
 
 Gothaische gelehrte Zeitungen. Gotha. p. 840 : Notice 
 of poems by Ossian and other Celtic bards in the original in 
 the possession of one Macnab. 
 
 Bragur. Herausgegeben von F. D. Griiter. Vol. 6, ii, 
 pp. 231-53: Altteufsche Bardenliteratur. Von Grater. 
 
 An appeal to search for the songs of the German bards, wherein frequent 
 allusions are made to the poems of Ossian. 
 
 1801. The Poems of Ossian. Translated by James Macpherson, 
 Es(p 4 vols. A new Edition. [With 4 cuts.] Vienna. 
 
 Macpherson's notes are given at the end of each volume. Vol. 4 con- 
 tains Macpherson's Dissertations on the Aera and on the Poems of Ossian, 
 as well as Dr. Blair's Critical Dissertation. 
 
 Ossian's Gedichte. Rhythmisch iibersetzt von J. G. Rhode. 
 3 Theile. Prag. 
 
 Reprint of the first edition of 1800, q. v. 
 
 Comala. Ein dramatisches Gedicht von Ossian, tibersetzt 
 von J. F. Ludwig. Konigsberg. 
 
 Blank verse translation of Comala (Heinsius, Biicher-Lexikon, has 
 Camilla), mostly in iambic measure. The translation is preceded by a 
 poem consisting of three eight-line stanzas An Ossian's (ieist, an appeal by 
 the poet for assistance from the bard. pp. 26-31 : Notes. 
 
 Review : Leipziger Jahrbuch der neuesten Literatur, iSoi, i, p. 515. 
 
 Erholungen. Herausgegeben von W. G. Becker. Leip- 
 zig, iv, pp. 173-96: Berrathon, Ossians letzter Gesang. 
 Von Gustav Scholz. 
 
39 
 
 Rhythmic prose translation of Berrathon, with notes (pp. 19I-6). pp. 
 193-6: Poetic translation of Minvana's Lament over Ryno, contained in 
 Macpherson's notes to Berrathon. 
 
 Oster Taschenbuch von Weimar, auf das Jahr 1801. Her- 
 ausgegeben von Seckendorf. Weimar, pp. 263-77 : Der 
 Tod Oskars. Aus dem ersten Gesang von Ossians Temora : 
 Von S. 
 
 Rhythmic prose translation by Karl Siegmund Freiherr von Secken- 
 dorff, 1744-85, of Temora, I5k. i, p. 308, 1. 7-p. 311, 1. 30. Cp. siil> 
 Music, infra, p. 64. 
 
 Reviews: Neue allg. deutsche Bibl., Vol. 62, ii, pp. 539-41 (1801). 
 
 Briefe an ein Frauenzimner . . . , herausgegeben von G. Merkel. 
 Vol. 2. Berlin, 1801. pp. 491-3. 
 
 Blumen. Von Ludwig Theoboul Kosegarten. Berlin, 
 pp. 37-76: Tura, ein Gesang des Ossian. — pp. 137-8: 
 Fragment. — pp. 139-71 : Finan und Lorma. Ein Gesang 
 des Ossian. — pp. 209-12: Des Harden Abschied. Fragment. 
 — pp. 213-24 : Umad tmd sein Himd. Episode eines gros- 
 seren Gesanges. 
 
 Translations from the Sean Dana (cf. Gallische Alterthiimer, 17S1) by 
 Gotthard Ludwig Kosegarten, 175S-1818. Cp. Works, 1812, and Thomas 
 Garnett's Reise, 1802. The first and third are prose translations, the 
 second and fourth are in blank trochaic pentameters, and the last is a 
 pi-ose translation with occasional passages in trochaic pentameters. 
 
 Ibid., pp. 1 8 1-9: Ekloge. 
 
 Translated in rhythmic prose from a poem by John Logan (or Michael 
 Bruce), the spirit of which is intensely Ossianic. This translation appeared 
 first in the Bergisches Taschenbuch, 1800, pp. 195-9, under the title Sal- 
 gar und Mora. 
 
 RevH'.W : Neue allg. deutsche Bibl., Vol. 76, i, pp. 82-3 (1803). 
 
 Bergisches Taschenbuch zur Belehrimg tmd LTnterhaltung, 
 auf das Jahr 1801. Dusseldorf. pp. 268-82 : Finmara, 
 eine alte celtische Reliquie. Von Frhr. von Harold, Gene- 
 ralmajor. 
 
 A rhythmic prose imitation of Macpherson's Ossian. Cp. ibid., 1800 
 and 1802. It is entitled Finmara, not Timara, as Nicolai, 1877, P- ^57> 
 nor Fimara, as Gurlitt, April 9, 1802, p 9. 
 
 Review : Neue allg. deutsche Bibl., Vol. 58, ii, pp. 536-7 (1801). 
 
 Flora. Neunter Jahrgang. Tubingen, iii, pp. 39-42 : 
 Celtische Gedichte. Nach dem Franzoschen. pp. 39-40 : 
 Comanna. pp. 40-42 : Der Barde. 
 
40 
 
 Two iiiiiliUions of Ossian, translaU'd in inosc liy Johauu I'licdricli lUi- 
 tensclion, 1764-1842. 
 
 Intelligenzblatt der Alli(. I,il.-Zeitung. No. 92, pp. 739- 
 42 : Notice of the death of Dr. Hugh Blair (cf. 1785), with 
 references to his Critical Dissertation on the I'oems of Ossian. 
 
 //>/(/., No. 123, p. 985 : Notice of French translations. 
 
 //>/</., No. 158, p. 1275: Notice of Spanish translation 
 (Montengon). 
 
 Gothaischc gelehrte Zcitungcn, )). 96, and Der Neue 
 Teutsche Merkur, Weimar, i, pj). 152-3: Notices of the 
 Gaelic originals to be ])ul)lished by the Highland Society. 
 
 Michael's Denis Litorarisclicr Nachlass. Herausgegeben 
 von Joseph Friedrich Freyherrn von Retzer. 2 vols. Wien, 
 1801-2. Vol. 1, pp. 94-8: Das Orakel der Deutschen. 
 
 Appeared originally in (ieniininu;('n's Matja/in fiir Wissenschaften und 
 Litteratur, 17S5, ,/. :•. 
 
 1802. llaiulbucli tier englischcn Sprachc unci biteratur, oder 
 Auswahl interessanter chronologisch geordneter Stiicke aus 
 den klassischen englischen Prosaisten und Dichtern. Nebst 
 Nachrichten von den Verfassern und ihren Werken. von H. 
 Noltc und !,. Idelor. Poetischer Theil. Neue Autlage. 
 IkM-lin. pj). 499-503 : IMacpherson. pp. 503-4 : Morna. 
 pp. 505-6: Comal und Cialvina. pp. 506-13: The Songs 
 of Selnia. 
 
 Monia is an oxliact from Fini:;al, I'.k. i. p. 210, 1. l2-p. 220, 1. 28, Co- 
 mal and Clalvina from l''ini;al, I'.k. ii. \\ 2_M. 1. o-p. 235, end. — The au- 
 thors arc 1. W . 11. Nolle and Christian l.udwio Idolcr ( 1766-1S46). The 
 iirst edition ilocs not contain the extracts from Ossian. 3d ed. iSii. 4th 
 ed. 1S32, </. 7'. 
 
 Rk.VU'.W: Neue alio, tleutsehe lUM.. Vol. 77, i, pp. 212-4 (1803). 
 
 .\iikiincligiing cinigcr .\bschiods-l\odon durch Christ. Wil- 
 helm Ahbvardt. Voran Ossians Karlhon. mctrisch iiber- 
 set/t ; cin A'orsuch. Oldenburg. 
 
 .\ hc\ameter translation of Carthon by Christian Wilheln; Ahlwardt, 
 I7t)0-i830. Cf. Transhition, 1811. 
 
 Rkvikws: Alltj. I.it.-Zeituiig, 1803. i, pji. 215-6. 
 Ciolhaisehe gelehrte /eitungen, 1802, pp. oio-l. 
 
 Gottfried August Biirger's vermischte Schriften. Heraus- 
 gegeben von Karl Reiuhard. Zweiter Theil. Gottingen. 
 
41 
 
 (Vol. 4) pp. 175-240: Proben einer Ubersetzung von Os- 
 sian's Gedichten. 
 
 Pp. 177-204: Kan-ik-riiura. Ein dediclit. (Cf. Deutsches Museum, 
 1779). pp. 205-14 : Komala. Kin dramatisches Gedicht (Aus der Iland- 
 schriftl. pp. 215-40: Kath-Loda. Ein Gedicht (Aus der Handschrift). 
 All three specimens are in rhythmic prose. In Reinhard's edition of the 
 Siimmtliche Werke, they are found on pp. 95-144. Vol. 4, Hamburg, 1816, 
 and on pp. 107-60, Vol. 5, Berlin, 1823. For reprints and other editions, 
 cf. Goedeke's Grundriss, 2d ed., Vol. 4, p. 392.— For August Wilhelm 
 von Schlegel's opinion of Ossian as expressed in connection with a notice 
 of Burger's Proben, cf. Schlegel's Siimmtliche Werke, ed. Bucking, Vol. 
 8, Leipzig, 1846, pp. 134-5, and cp. Friedrich Schlegcls Briefe an seinen 
 Bruder August Wilhelm, herausgegeben von Dr. Oskar F. Walzel, Berlin, 
 1890, p. 466. 
 
 Caledonia. Von der Verfasserin der Sommerstunden. 4 
 vols. Hamburg, 1802-4. 
 
 The author is Emilie von Berlepsch (Harmes), 1757-1830. The first 
 two volumes (1802) contain frequent allusions to Ossianic scenery, e. g.. 
 Vol. 2, pp. 189, 233-6, etc., references to his poems with several extracts 
 in her own translation, etc. Vol. 2, pp. 190-202 : Translation of Dar- 
 Thula, p. 286,1. .•z-p. 289, 1. 4 ; pp. 251-4 : Fingal, Bk. iii, p. 244, 1. 19- 
 end ; pp. 254-6 : The Songs of Selma, p. 214, 11. 2-10 ; pp. 256-61 : Ber- 
 rathon, p. 380, 1. 20-p. 382, end, in extracts ; p. 263 : The War of Inis- 
 Thona, p. 203, 11. 1-5 ; pp. 266-9 : Carthon, p. 163, 1. 32-p. 164, end. 
 The translations are made in " einem metrisch freien doch cadencirten 
 Parallelismus." Cf. Vol. 3, 1803. 
 
 Rkvikw : (Vols. I and 2) Gott. gel. Anzeigen, 1803, i, pp. 219-24. 
 
 Adrastea. Herausgegeben von J. G. v. Herder. 6 vols. 
 Leipzig, 1801-3. A^ol. 4, i, pp. 101-6 : Ein Gesprilch 
 zwischen deni bejahrten Ossian und St. Patrik. Aus dem 
 Englischen iibersetzt. 
 
 Meyer's translation with several changes by Herder; cf. Spiele des 
 Witzes und der Phantasie, 1793. The variants arc noted in Herder's 
 Works, ed. Suphan, Vol. 24, pp. 38-42. 
 
 Sulmora Tochter CuthuUins. Ein Drama in fiinf Aufziigen. 
 Nach Ossian bearbeitet vom Generalmajor Edm. Freiherrn von 
 Harold. Diisseldorf. 
 
 A long prose drama (93 pp.) in lino with von Harold's other examples 
 of Ossianic work. Cf. infra. 
 
 Review: Leipziger Litcraturzeitung, 1802, ii, pp. 2026-7. 
 
 Bergisches Taschenbuch . . . auf das Jahr 1802, Diissel- 
 
42 
 
 dorf. pp. 207-26; Musana, oder del" Wehmuthsgesang ; eine 
 ersische Relicpiie. Von Frhr. von Harold, Generalmajor. 
 
 Rhytlimic prose imitation. Cp. iliid., 1800, and supra. 
 
 Uber Ossian. (Programni) Von Johann Gurlitt. Magde- 
 burg. (April 9.) 
 
 Pp. 3-8 : Geschichte der Ausgabeu, Uebersetzungen und Nachahmun- 
 gen Ossians ; pp. 8-12 : Sammlungen O.sslanischer und anderer Celtischer 
 Gedichte nach der Macphersonschen ; pp. 12-21 : Streit iiber Aechtheit 
 der Ossianischen Gedichte ; pp. 26-7 : Schriften zur Erlauterung und 
 Beurtheilung des Ossian. pp. 28-9 : Programm der Redeiibung ; No. 5 
 (p. 28): Ossian' s Bosmina. 
 
 Reviews : AUg. Lit.-Zeitung, 1802, iii, pp. 31-2. 
 
 Gottingische gelehrte Anzeigen, 1 802, ii, p. 880. 
 
 Neue allg. deutsche Bibl., Vol. 73, ii, pp. 317-8 (1802). 
 
 iiber Ossian. Erster Abschnitt. (Programm von) Jo- 
 hann Gurlitt. Hamburg. (Nov. 9.) 
 
 Pp. 3-32 : Charakteristik Ossians, mit Hinsichten auf Homer, pp. 
 33-6 : Zusatze zu dem zweiten Programm iiber Ossian. The author is 
 Johannes GoUfried Gurlitt, 1754-1827. Cp. 1803-5. 
 
 Reviews : Gottingische gel. Anz. , 1803, ii, p. 952. 
 
 Neue I-eipziger Literaturzeitung, 1803, i, pp. 639-40. 
 
 Der Neue Teutsche Merkur. Weimar, iii, pp. 153-6: 
 Ueber die Aechtheit der ersischen Gesiinge und besonders der 
 Lieder Ossian' s. 
 
 .\ letter from a correspondent in Edinburgh, dated Sept. 13, 1802, in 
 which additional proofs of the authenticity are presented, based upon 
 Tames Macdonald's lind of Gaelic MSS. in possession of Major Mac 
 Lachan. 
 
 Englische Miscellen, Tubingen. Vol. 8, pp. 182-4 ; 
 Intelligenzblatt der Allg. Lit.-Zeitung, p. 1544: Notices 
 of the proofs of the authenticity of the poems of Ossian con- 
 tained in Alexander Campbell's Journey from Edinburgh 
 through parts of North Britain, etc., 2 vols., London. 
 
 Gurlitt, Zwei Proben, 1S03, p. 28, has MacDonald's. 
 
 Thomas Garnett . . . Reise durch die Schottischen Hoch- 
 lande und einen Theil der Hebriden. Aus dem Englischen 
 iibersetzt und mit Alexander Campbells Abhandlung liber die 
 Dicht- und Tonkunst der Hochlander' wie auch iiber die 
 
 ' F.dinbur.i;h, 179S. 
 
43 
 
 Aechtheit der deni ( )ssian zugeschriebenen Gesiinge vermehrt 
 von Ludwig Theoboul Kosegarten. 2 vols. Liibeck und 
 Leipzig. 
 
 Tmnslation l)y Kosegarten (cp. Blumen, 1801, Diclitungen, 1812) of 
 Observations on a Tour tlirough the Highlands and Part of the Western 
 Isles of Scotland. . . . I n Two Volumes. By T. Garnett, M.D., London, 
 1800. 
 
 Beschreibung derjenigen Kunstwerke, welche von der Ko- 
 nigbchen Akademie der bildenden Kiinste und mechanischen 
 Wissenschaften in den Zimmern der Akademie . . . ausge- 
 stellt sind. Berbn. pp. 20-6: Prose translation of Comala 
 explanatory of a painting by Weitsch. Cf. infra, p. 65. 
 
 Brennus. Eine Zeitschrift fiir das nordliche Deutschland. 
 Berlin. December, pp. 631-2 : Beschreibung und Wiirdi- 
 gung der Comala, gemalt von Weitsch. Cf. supra. 
 
 1803. Zwei Proben von Uebersezungen aus Ossian, nebst Nach- 
 triigen zur Ossianischen literatur. (Programm von) Joh. 
 Gurlitt. Hamburg. 
 
 Pp. 1-8 : Oithona, ein Gedicht des Ossian, ubersezt von Ilerrn Bircken- 
 stadt, in Biizow. Translation in hexameters by P'riedrich Birckenstadt. — 
 pp. 9-24 : P'ingal. Erster Gesang ; Probestiick der Uebersezung des ganzen 
 epischen CJedichts Fingal, von Herrn Doctor Neumann zu Meissen. 
 Translation in he.\ameters (from Fingal, 1788) by Karl Georg Neumann, 
 1 1850. (Cf. 1804-5 and 1S38.) — pp. 25-7 : Zusiize zu meinem Hambur- 
 gischen Programm iiber Ossian. — pp. 27-8 : Zusaze zu den Uebersezungen 
 des Ossian, welche in meinem Klosterbergischen Programm iiber die Lite- 
 ratur Ossians N. II. verzeichnet sind. — pp. 28-32 : Zusaze zum vierten 
 Abschnitt meines Programmes iiber die Literatur Ossians S. 12 f. iiber die 
 Aechtheit der Ossianischen Gedichte. — pp. 32-3 : Zusaz zu \ VI. des 
 angefiihrten Programms, wo die Schottischen Reisebeschreibungen ver- 
 zeichnet sind. 
 
 Review: Neue allg. deutsche Bibl., Vol. 91, ii, pp. 316-8 (1804). 
 
 Notice: Gott. gel. Anzeigen, 1805, ii, p. 856. 
 
 Stichotvorenija Ossijana, syna Fingalova . . . Najdennyja i 
 izdannyja v svet G-nom Garoldom. Perevod s Nemeckago. 
 Moskva. 
 
 A Russian prose translation of von Harold's Neuentdeckte Gedichte, 
 1787. 
 
 Caledonia. Von der Verfasserin der Sommerstunden. 
 Vol. 3. pp. 123-54 : Die Schlacht von Lora. 
 
44 
 
 Translation of The Battle of Lora, addressed to the Tochter des fernen 
 Landes, not to the son of the distant land as in the original. Cf. Vols, i 
 and 2, 1802 
 
 Reviews: (Vols. 3 and 4) Gott. gel. Anz., 1804, ii, pp. 1209-14. 
 
 (Vols.' 1-4) Allg. Lit.-Zeitung, 1804, ii, pp. 325-8. 
 
 Eudora. Band i. Leipzig. No. 8. Comala, ein dra- 
 matisches Gedicht nach Ossian. Von Ludwig von Gohren. 
 
 Mentioned by Gurlitt ; not to be found. 
 
 Adrastea. Herausgegeben von J. G. v. Herder. Leipzig. 
 Vol. 5, ii, pp. 340-8: Vom Funde der Gesange Ossians. 
 pp. 349-56 : Beilage. Volkssagen iiber Ossian, von eineni 
 gelehrten Hochlilnder. 
 
 The latter, by fames ^lacdonald, with particular reference to the relig- 
 ion of Ossian. These selections are found on pp. 301-II in Vol. 24 of 
 the Suphan ed. of Herder's Works. 
 
 Adrastea von J. G. v. Herder. Hgbn von dessen altes- 
 tem Sohn D. W. G. v. Herder. Vol. 6, ii, pp. 305-25 : 
 Ossians letzter Gesang. Von v. Knebel. 
 
 A prose translation of Berrathon by Karl Ludwig voji Knebel, 1744- 
 1834. 
 
 Englische Miscellen. Tubingen. Vol. 12, pp. 45-6: 
 Notice of the Gaelic original, translated literally from the 
 Monthly Magazine, June, 1803. 
 
 Ibid., pp. 108-9 • Notice of the death of John Mackenzie 
 and of the consequent delay in the publication of the Gaelic 
 original. 
 
 Magazin fiir Religions- Moral- und Kirchengeschichte. 
 Herausgegeben von D. Carl Fridrich Stiiudlin. A^ol. 2. 
 Hannover, p. 211: Notice of Malcolm Laing's Critical Dis- 
 sertation. Cf. Merkur, 1800. 
 
 Zeitung ftir die elegante Welt, pp. 68-71: Criticism of 
 Weitsch's painting Comala by August Wilhelm von Schlegel 
 in his article Ueber die Berlinische Kunstausstellung von 1802. 
 
 Cf. supra, p. 43, and infra, p. 65. Cp. Schlegel's Works, Vol. 9, 
 Leipzig, 1S46, pp. 175-7. 
 
 4 1804. Ossians Gedichte. Rhythmisch iibersetzt von J. G. Rhode. 
 3 Bande mit Kupfern. Reprint, cf. 1800. 
 
 Ossians Fingal, zweiter und dritter Gesang, verdeutscht 
 von Herrn D. Neumann. Nebst Nachtriigen zur Ossianischen 
 Literatur. (Programm von) J. Gurlitt. Hamburg. 
 
45 
 
 Pp. 1-24 : Hexameter translation. pp. 25-35 : Zusaze. Cp. Zwei 
 Proben, 1803. 
 
 Review: Neue allg. deutsche Bibl., Vol. 100, ii, pp. 313-6 (1805) 
 and Vol. loi, ii, pp. 266-7 (1805). 
 
 Notice : Gott. gel. Anzeigen, 1805, ii, p. 856. 
 
 Irene. Eine Monatsschrift, herausgegeben von G. A. von 
 Halem. Miinster. i, pp. 124-43: Die Lieder von Selma. 
 Ein Gedicht Ossians. 
 
 A blank verse translation by Karl Curths. 
 
 Ibid., ii, pp. 1-30 : Ossians Berrathon. pp. 81-113: Os- 
 sians Carthon. 
 
 Two translations in blank verse by von Halem. Cp. Poesie und Prose, 
 
 1789. 
 
 Review: Neue allg. deutsche Bibl., Vol. 104, ii, pp. 238-40 (1805). 
 
 Lyrische Anthologie. Herausgegeben von Friedrich Mat- 
 thisson. 20 vols. Zurich, 1803-7. Vol. 7, pp. ^Z-^o\ : 
 Armyns Klagelied. Von Crome.— Vol. 8, pp. 96-8 : Dauras 
 Trauer. Von Siegmund Freiherr von Seckendorf. 
 
 For the former cf. Unterhaltungen, 1767, for the latter infra, p. 64. 
 Another edition of the Anthologie appeared about the same time. 
 
 Der Neue Teutsche Merkur. Weimar, i, p. 233, iii, pp. 
 77-9 : Advance notices of the Report of the Committee of 
 the Highland Society of Scotland, 1805. (Cf. Engl. Bibli- 
 ography. ) 
 
 Intelligenzblatt der Allg. Lit.-Zeitung, No. 147, P- ii9^ '■ 
 Notice of Jean-Joseph Taillasson's (French) translation ; 
 No. 187, pp. 1507-8 : Notice of Arbaud de Jongues's trans- 
 lation. 
 
 Leben und Liebe Ryno's und seiner Schwester Minona. 
 Herausgegeben von Oscar. 2 vols. Ziillichau und Frey- 
 stadt. 1804-5. 
 
 A story by Johann Friedrich Kind, 1 768-1 843. pp. 19-20 : Account 
 of a Society called "die Schule Ossians," the members of which give 
 themselves Ossianic names. 
 
 1805. The Poems of Ossian. Translated by James Macpherson, 
 Esq. In three volumes. Leipzick. 
 
 Macpherson' s two dissertations and Dr. Blair's Critical Dissertation are 
 given at the end of the third volume. 
 
 Review : Allg. Lit.-Zeitung, 1806, iv, p. 344. 
 
46 
 
 Ossians Fingal, vierter, fiinfter und sechster Gesang, iiber- 
 sezt von Herrn Dr. Neumann. Mit Anmerkungen und Litera- 
 tur-Nachtrilgen. (Programm) von Joh. Gurlitt. Hamburg. 
 
 Pp. 1-34: Translation, pp. 35-7 : Nachtrage zur Ossianischen Litera- 
 tur. Cp. Zwei Proben, 1803, also 1804. 
 
 Review: Neue allg. deutsche Bibl., Vol. 100, ii, pp. 313-6 (1805). 
 
 Notice: Gott. gel. Anzeigen, 1805, ii, p. 856. 
 
 Der Neue Teutsche Merkur. Weimar, i, pp. 258-63 : 
 Ossians letztes Lied. Berrathon. Probe einer metrischen 
 Uebersetzung. Von Reyer. 
 
 Translation in rimed eight-line stanzas of the beginning of Berrathon, 
 PP- 374-376, 1. 24. 
 
 Erholungen. Herausgegeben von W. G. Becker. Leip- 
 zig, i, pp. 156-75: Karrikthura. Eine altschottische Sage. 
 Frei nach Ossian. Von C. Schreiber. 
 
 A free rendering in rhythmic prose of Carric-Thm-a, beginning to p. 
 151, 1. 2, by Christian Schreiber, 1781-1857. Cp. Taschenbuch, 1806. 
 
 Nordische Miszellen. Vierter Band. Hamburg. No. 45, 
 pp. 289-93 : Fragmente aus den Gedichten von Ossian dem 
 Sohne Fingals. Nach dem Englischen des Herrn Macpher- 
 son ins Deutsclie iibersetzt von Friedricli Leopold Grafen zu 
 Stollberg. 
 
 Pp. 289-91 : Fingal, Bk. i, p. 218, 1. 29-p. 220, 1. 28. pp. 291-3 : 
 Carthon, p. 163,1. 32-p. 164, end. Specimens of the translation pub- 
 lished in the following year, (/. z'. 
 
 Irene. Eine Monatsschrift, lierausgegeben von G. A. von 
 Halem. Oldenburg, iii, pp. 293-5 : Orla's Gattin. Von 
 Luise Brachmann. 
 
 A poetic imitation of an Ossianic lament based upon the episode of 
 Orla, Fingal, Bk. v, pp. 254-6. Quatrains in tetrameters without rime. 
 Reprinted in the Erholungen, 1S07. 
 
 Englische Miscellen. Tubingen. Vol. 19, p. 51, pp. 108- 
 9 . Notices of the Gaelic originals to be published by the 
 Highland Society, p. 108 : Advance notice of Malcolm 
 Laing's edition of Ossian. — Vol. 20, pp. loo-i : Notice of 
 the Dissertation on the Authenticity of the Poems of Ossian 
 to be inchided in the Gaelic original, pp. 125-53: Ver- 
 gebliche Bemiihungen der Hochlandisch-Schottischen Gesell- 
 schaft, die Originale des Macphersonschen Ossians ausfindig 
 zu machen. 
 
17 
 
 The last is an essay reviewing the Report of the Committee of the 
 Highland Society and Malcolm Laing's edition of the Poems of Ossian, 
 Edinburgh and London, 1805. 
 
 Intelligenzblatt der Allg. Lit.-Zeitung, p. 1304: Notice of 
 the Report of the Committee of the Highland Society. 
 
 1806. Die Gedichte von Ossian dem Sohne Fingals. Nach dem 
 Englischen des Herrn Macpherson ins Deutsche iibersetzt 
 von Friedrich Leopold Grafen zu Stolberg. 3 vols. Ham- 
 burg. 
 
 Two editions appeared simultaneously, one in 4°, the other in 8°. 
 Perthes, the publisher, had given an order to the artist Philip Otto Runge 
 (cf. infra, p. 65) to illustrate the translation. He in accordance there- 
 with prepared the pictures and sketches mentioned below. There were 
 to have been lOO illustrations in all, but Stolberg refused to have any 
 and they were omitted. Cf. Nagler's Kiinstler-Lexicon, Vol. 14, pp. 51-2. 
 Runge seems to have been assisted by Gerat Hardorf. Cf. Gurlitt, 1S05, 
 p. 37. — Cp. specimens in the Nordische Miszellen, 1S05. The translation 
 is not rimed, but rhythmical. It contains neither dissertations nor intro- 
 ductory remarks, but at the end of each volume Verkiirzte Anmerkungen 
 des Herrn Macpherson nebst einigen des deutschen Ubersetzers. 
 
 Reviews: Jenaische Allg. Lit.-Zeitung, 1806, iv, pp, 345-50. 
 
 Bibl. der redenden und bildenden Kiinste, Leipzig, Vol. 3, ii, pp. 
 393-402 (1807). 
 
 Allg. Lit.-Zeitung, 1S08, i, pp. 177-81. 
 
 Neue Leipziger Literaturzeitung, 1S08, iii, pp. 1345-57. 
 
 Erholungen. Leipzig, i, pp. 218-23: Fingals Kampf 
 mit Loda. Aus dem Ossian. Von St. Schlitze. 
 
 A poetic translation of Carric-Thura, pp. 147-8, by Johann Stephan 
 Schiitze, 1771-1839. Quatrains riming abah. Cp. Taschenbuch, 1808. 
 
 Taschenbuch zum geselligen Vergniigen. Hgbn von W. 
 G. Becker. Leipzig, pp. 296-8 : Die Briider. Ballade 
 nach Ossian. Von C. Schreiber. 
 
 A free rendering in rimed verse of the Episode of Colgorm and Strina- 
 dona, Cath-Loda, Duan ii, pp. 133-4. — Cp. Erholungen, 1805. 
 
 Aelteste Geschichte der Deutschen, ihrer Sprache und Lit- 
 teratur, bis zur Volkerwanderung. Von Johann Christoph 
 Adelung. Leipzig, pp. 391-4 : Doubts thrown upon the 
 authenticity of Ossian's Poems. Cf. infra, p. 48. 
 
 Der Neue Teutsche Merkur. Weimar, i, pp. 87-8 : 
 Daura's Trost. Ballade Von K. W. Justi. 
 
 An imitation of Ossian by Karl \Yilhelm Justi, 1767-1S46. 
 
48 
 
 IbicL, ii, pp. 31-52, 116-45 : Ueber den Ossian. Von J. 
 C. Adelung. 
 
 An essay reviewing the controversy over the Poems of Ossian and dis- 
 puting their authenticity. The life and customs of the Ancient Caledonians 
 are also discussed. Reprinted in Mithridates, 1809, q. v., and cp. supra. 
 
 Abend- Zeitung. Dresden. No. 10, pp. 37-S, No. 11, 
 pp. 43-4, No. 12, pp. 46-7 : Resultat der Untersuchungen 
 tiber die Aechtheit Ossians. Von Hans Dippoldt. 
 
 A report of the reviews of the Report of the Committee of the High- 
 land Society and of Laing's edition of the Poems of Ossian (Edinburgh, 
 1805), contained in No. 12 of the Edinburgh Review for 1805, by Hans 
 Karl Dippoldt, 1782-1811. 
 
 Ibid., No. 58, pp. 231-2 : Ueber die Aechtheit Ossians. 
 
 An argument in favor of the non-authenticity wliich appeared anony- 
 mously. 
 
 Englische Miscellen. Ttibingen. Vol. 22, p. 1S4 : Ad- 
 vance notice of the Gaelic original and of the Latin translation 
 submitted to the Highland Society by Sir John Sinclair. 
 
 Intelligenzblatt der Allg. Lit. -Zeitung, p. 372: Notice 
 of the new edition of Baour-Lorraian's French translation 
 (1804). 
 
 1807. English Library. Authors in Prose. Vols. XIV, XV, 
 and XVL Containing The Poems of Ossian. Translated by 
 James Macpherson, Esq. Gotha. 
 
 The third volume contains Macpherson' s two dissertations and Dr. 
 Blair's Critical Dissertation. 
 
 Johann Gottfried von Herder's sanimtliche Werke. Zur 
 schonen Literatur und Kunst. Achter Theil. Tubingen. 
 Stimmen der Volker in Liedern. Gesammelt, geordnet, zuni 
 Theil iibersezt durch Johan n Gottfried von Herder. Neu 
 herausgegeben durch Johann von Miiller. pp. 1-44 : Ueber 
 Ossian und die Lieder alter Volker. pp. 259-63 : Fillans 
 Erscheinung und Fingals Schildklang. pp. 264-5 • Erin- 
 nerung des Gesanges der Vorzeit. p. 266 : Darthula's 
 Grabesgesang. Cf. Volkslieder, 1779. 
 
 Probe einer netien Uebersetzung der Gedichte Ossian' s aus 
 dem Gaelischen Original. Von Christian Wilhelm Ahl- 
 wardt. [i 760-1830.] Oldenburg. 
 
49 
 
 Pp. 3-18 : Critical notice of the Gaelic original of the Poems of Ossian, 
 London, 1807. pp. 19-44: Translation of Temora, Bk. vii, with copious 
 notes. Cf. Translation, 181 1. 
 
 Advance Notice: Intelligenzblatt der Jenaischen Allg. Lit.-Zeitung, 
 1807, p. 648. 
 
 Reviews : Morgenblatt fiir gebildete Stiinde, Tubingen. 1807, pp. 
 1065-6, 1069-70. 
 
 Nordische Miscellen, Hamburg, 1807, pp. 241-4 : " Die urspriingliche 
 Gestalt der Ossianischen Gedichte." 
 
 Allg. Lit.-Zeitung, 1808, i, pp. 451-4. 
 
 Jenaische Allg. Lit.-Zeitung, 1808, i, pp. 53-5. 
 
 Neue Leipziger Literaturzeitung, 1S08, iii, pp. 1345-57. 
 
 Erholungen. Leipzig, iii, pp. 224-5 • Die Klage um 
 Orla. Nach dem Ossian. Von Louise Brachmann. — Re- 
 printed from Irene, 1805, q. v. 
 
 Der Neue Teutsche Merkur. Weimar, ii, p. 263 : Notice 
 of the Gaelic original. 
 
 1808. Ossian' s Gedichte. Uebersetzt von Franz Wilhelm Jung. 
 3 vols. Frankfurt am Main. 
 
 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. 
 Tubingen. 
 
 A mere reprint of the first edition (1782, q. v.) 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 Blatter, 1797-8, Neuer Teutscher Merkur, 
 1799. A second edition was published in 1824. 
 
 Taschenbuch zuni geselligen Vergniigen. Leipzig, pp. 
 271-7: Trennung und Wiederkehr. Aus dem Ossian. Von 
 St. Schiitze. 
 
 A free rendering of the episode of Shilric and Vinvela, Carric-Thura, 
 pp. 144-5, i'"* rhned tetrameters. Cp. Erholungen, 1806. 
 
50 
 
 Der Neue Teutsche Merkur. iii, pp. 73-82 : Ankiindigung 
 der ersten Uebersetzung des achten Ossians. 
 
 AUgemeine Literatur-Zeitung, ii, pp. 334-6. 
 
 Intelligenzblatt der Jenaischen Allg. Lit.-Zeitimg, pp. 324- 
 7 : Advance notices of Ahlwardt's translation from the 
 original Gaelic (1811, g. v.~). 
 
 Nachtrage zu Sulzers allgemeiner Theorie der schonen 
 Kiinste. = Charaktere der vornehmsten Dichter aller Nationen ; 
 . . . von einer Gesellschaft von Gelehrten. 8 vols. Leip- 
 zig, 1792-1808. Vol. 8, ii, pp. 384-414: Ossian und die 
 Hebraischen Dichter. Von W. N. Freudentheil Cf. Nach- 
 trage, Vol. 3, 1795. 
 
 Reise durch Schottland, seine Inseln, Danemark und einen 
 Theil von Deutschland. Aus der Englischen Handschrift 
 iibersetzt 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 con- 
 tains reflections on the times of Ossian, references to geographical localities 
 connected with the bard, etc. 
 
 REViEV\rs : 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. 
 
 Mithridates oder allgemeine Sprachenkunde . . . von Jo- 
 hann Christoph Adelung. 2 vols. Berlin. Vol. 2, An- 
 h^ng, pp. 104-41 : Uber den Ossian. 
 
 Reprinted from Der Neue Teutsche Merkur, 1806, q. v. 
 Review: Allg. Lit.-Zeitung, 1S09, ii, p. 736. 
 
 1810. Der Neue Teutsche Merkur. ii, pp. 18-64 • Oisian's 
 Fionnghal. Erster Gesang. Aus dem Gaelischen, im Sylben- 
 masse der Urschrift von C. W. Ahlwardt. 
 
 Pp. 18-9: Preface by B[ottiger]. pp. 46-64 : Notes. 
 
 Pantheon. Eine Zeitschrift fUr Wissenschaft und Kunst. 
 
51 
 
 Leipzig. Vol. 2,ii, pp. 246-82 : Oisian's Tighmora. Er- 
 ster Gesang. Aus dem Gaelischen, im Sylbenmasse des Ori- 
 ginals, von C. W. Ahlwardt. 
 
 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, 1. 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. Gottingen, 1S01-19. Vol. 8, pp. 370-3: Mac- 
 
 pherson's Ossianische Gedichte. 
 
 Discusses chiefly the authenticity of the poems. Cp. Deutsches Mu- 
 seum, 1788. 
 
 181 1. Die Gedichte Ossian's. Aus dem Gaelischen im Sylben- 
 masse des Originals von Christian Wilhelm Ahlwardt. 3 
 vols. Leipzig. 
 
 The translation was made from the Gaelic original and not from Sin- 
 clair's Latin Interlinear version, as stated in Meyer's Konversations-Le.xi- 
 kon, sub Ossian. — Cf. infra, pp. 74, 126. — A two volume edition appeared 
 in the same year. Cp. 1839, 1840, 1846, 1861.— For a criticism of com- 
 pounds used by Ahlwardt, cf. Jacob Grimm, Kleinere Schriften, Vol. 6 
 (Berlin, 1882), pp. 7 [-2. 
 
 Review: Leipziger Literatm-Zeitung, 1S12, i, pp. 569-83. 
 
 Uber Oisian's Fionnghal G[esang] i. v. 7-33. (Pro- 
 gramm) von Christian Wilhelm Ahlwardt. Oldenburg. 8 pp. 
 
 P. 3 : Introduction, pp. 4-7 : On opposite pages the Gaelic original of 
 Pingal, Bk. i, 11. 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., 1S02 ; 4th 
 ed., 1832. 
 
52 
 
 German translation by ? Huber. 
 
 In the Vorrede zur zweiten Ausgabe, Vol. i, p. xiii, of Rhode's Trans- 
 lation (1817), also in Talvj's treatise (1840), p. 3, and elsewhere, men- 
 tion is made of a translation by Huber, which I failed to discover. 
 
 [Uber die Echtheit der Ossianischen Gedichte. Von Fink. 
 Berlin.] 
 
 Mentioned in Meyer's Konversations-Lexikon, siil) Ossian, and else- 
 where. The author's name is Link and the treatise in question did not 
 appear until 1843, q. v. 
 
 1812. Kosegarten's Dichtungen. S 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, i8oi ; the sixth is given in the Bluraen, 
 pp. 137-8, under the title Fragment. The last is a free metrical transla- 
 tion of Berrathon, beginning, p. 374-p. 376, 1. 19 ; p. 380, 1. 17-p. 382, 
 end. 
 
 Archiv fiir Geographic, Historic, Staats- und Kriegskunst. 
 Dritter Jahrgang. Wien. pp. 185-6 : Uebcr die Echtheit 
 der Ossian'schen Gedichte. 
 
 A short essay referring particularly to the Report of the Highland So- 
 ciety and to Graham's Essay on the Authenticity of the Poems of Ossian 
 (Edinburgh, 1807). 
 
 Deutsches Museum herausgegcben von Friedrich Schlegel. 
 Wien. Vol. i, pp. 162-94: Uebcr nordische Dichtkunst. 
 Ossian, Die Edda, Sigurd und Shakspeare. Vom Hcraus- 
 geber. 
 
 Pp. 167-79 • Discussion of the authenticity and era of the poems of 
 Ossian. In Schlegel's sammtliche 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, 1S14, pp. 1S5-6. 
 
 1814. Gottingische gclchrtc Anzeigen. iii, pp. 1833-7 : Review 
 of The Poems of Ossian, in the original Gaelic . . . Lon- 
 don, 1807. 
 
 18 15. Gerstenbergs Vermischte Schriften von ihm selbst gesam- 
 melt und mit Verbesseruncren und Zusiitzen hcraus2:cc;cben in 
 
53 
 
 drei Banden. Altona, 1815-6. Vol. i, pp. 35-354: 
 Minona oder die Angelsachsen. Ein Melodrama. 
 
 Pp. 353-7S : Anmarkungen zar Minona. Cf. 1785, I79-I-- 
 
 l8l7« Minerva. Taschenbuch fiir das Jahr 1817. Leipzig, pp. 
 86-91 : Fingal und Agandekka. (Frei nach Ossian.) Von 
 Buri. pp. 92-8 : Oina-Morul, das Miidchen der Insel. 
 (Frei nach Ossian.) Von Buri. 
 
 The first is a translation of Fingal, Bk. iii, p. 236, 1. 6-p. 238, 1. 5, 
 the second of Oina-Morul. Both are by Christian Karl Ernst Wilhelm 
 Buri, 175S-1820, in five-line (trochaic pentameter) stanzas. 
 
 Erganzungsbliitter 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 iibersetzt von J. G. 
 Rhode. Zweite verbesserte Ausgabe. 3 Theile, mit Kupfern 
 und Vignetten. Berlin. 
 
 1st ed., 1800, q. V. Lowndes, Bibliogi'apher' s Manual, London 
 (Bohn), Part vi, sub Ossian, p. 1738, has 1808. 
 
 Reviews : Gott. gelehrte Anzeigen, 1818, i, p. 632. 
 Erganzungsblatter zur Allg. Lit.-Zeitung, 1S19, iv, pp. 913-6. 
 
 1817-9. Die Gedichte Ossians, neu iibersezt und mit dem Eng- 
 lischen Texte begleitet, von. J. F. Arnauld de laPeriere, Sekre- 
 tiir der Koniglichen Regierurig zu Koln. 4 vols. Koln. 
 
 Vorrede, Vol. i, pp. ix-xii. English and German on opposite pages. 
 To Vol. I is prefixed a translation of Macpherson's first, to Vol. 2 Mac- 
 pherson's second essay. Notes at the end of each poem. Metrical trans- 
 lation. 
 
 1821. Gesammelte Werke der Briider Christian und Friedrich 
 Leopold Grafen zu Stolberg. 20 vols. Hamburg, 1820-5. 
 Vol. 2, pp. 228-30 : Spiitere Zueignung des Ossian an 
 meinen Bruder. 
 
 Friedrich Leopold's dedication of his translation of Ossian, 1S06. 
 
 1822. Tales of Ossian for Use and Entertainment. Ein Lese- 
 buch fiir Anfanger in der englischen Sprache. Dritte ver- 
 besserte Auflage. Niirnberg. 
 
 1st ed., 1784, 2d ed., 1794, q. v. The long preface of the first and 
 second editions is omitted. pp. 109-30 : Appendix : I. To the Sun. 
 (Carthon, p. 163, 1. 32-p. 164, end.) 2. To the Moon. (Dar-Thula, p. 
 
54 
 
 278, beginning-p. 279, 1. 13.) 3. To the evening star. (The Songs of 
 Selma, p. 208, 11. i-io. ) 4. Colmar and Colmal. A Poem. (Calthon 
 and Colmal.) By J- Balbach. 
 
 1824. Ossian's Gedichte. Nach Macphersoii. Von Ludwig 
 Schubart. 2 vols. Wien. 
 
 isted., 1S08, (/. V. . Erschu. Gruber, Encyklopadie, sub Ossian (p. 429), 
 has 1822. 
 
 Minerva Taschenbuch fiir das Jahr 1824. Leipzig, pp. 
 277-310: Darthiila, nach Ossian, von Van der Velde. In 
 vier Gesangen. 
 
 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. 2S1, 1. 22-p. 289, end, by Karl Franz van der Yelde, 1 779-1824. 
 
 Ceres. Originalien fiir Zerstreuung und Kunstgenuss. 
 Zweyter Theil. Wien. pp. 210-4: Das Miidchen von 
 Selma. Nach Ossian. Von Freyh. von Auffenberg. 
 
 A servile imitation of Ossian in hexameters by Joseph Freiherr von Auf- 
 fenberg, 1798-1857, written in Freiburg, 1S19. In his SammtlicheWerke, 
 20 vols., Siegen und Wiesbaden, 1843-4, ^^^ imitation is given on pp. 
 263-6 of Vol. 20. 
 
 1825. Miisenalmanach fiir das Jahr 1826. Herausgegeben von 
 Julius Curtius. Berlin, pp. 81-8 : Ossian. Von J. Cur- 
 tius. 
 
 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. 
 
 1826-7. Ossian's Gedichte. Neu libersetzt. 3 Biindchen. Qued- 
 linburg und Leipzig. =Vols. 1-3 of the Bibliothek der Meister- 
 werke des Auslandes. In net;en Uebersetzungen. In Ver- 
 bindung mit Mehreren herausgegeben von L. G. Forster. 
 Bandchen 1-3. Quedlinburg und Leipzig. 
 
 Metrical translation without rime, by Lebrecht Gotthilf Forster, 1 788- 
 1846. No introduction, but an index of names at the end of Vol. 3. Cf. 
 inf7-a. 
 
 1827. Ossian's Gedichte. Neu iibersetzt von L. G. Forster. 2 
 Theile. Quedlinburg und Leipzig. 
 
55 
 
 Cf. supra., 2d ed., 1830. Neither introduction nor notes, but index 
 of names at the end of Vol. 2. 
 
 1828. Minerva Taschenbuch fiir das Jahr 1828. Leipzig, pp. 
 375-86 : Malvina. Weibliche Charakterschilderung von E. 
 Miinch. 
 
 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, 1. 21 ; pp. 379-80 : 
 The Warof Caros, first (p. 188) and last (p. 193) paragraphs; pp. 380-1 : 
 Cathlin of Clutha, beginning, p. 194-p. 195, 1. 2 ; pp. 381-2 : Oina- 
 Morul, beginning, p. 165, 11. I-12 ; pp. 382-6: Berrathon, beginning, p. 
 374-p. 376, 1. 14. The author is Ernst Hermann Joseph Munch, 1798- 
 1S41. 
 
 [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. 
 
 1830. Ossian's Gedichte. Neu libersetzt von L. G. Forster. 2 
 Theile. Zweite Auflage. Quedlinburg und Leipzig, ist 
 ed. 1827, q. V. 
 
 Allgemeine Unterhaltungsblatter fiir Verbreitung des Scho- 
 nen, Guten und Niitzlichen. Mlinster und Hamm. October, 
 No. I, pp. 151-?: Ossian. 
 
 A ballad in rimed eight-line stanzas by Ferdinand Freiligrath. Cf. 
 Euphorion, 1895, E, pp. 1 26-9. 
 
 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 Stiicke 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, stib 
 Ideler. 2d ed., 1802 ; 3d ed., 1811. — pp. 510-5 : Macpherson. pp. 515- 
 6 : Morna. pp. 5 1 6-7 : Comal and Galvina. pp. 518-25 : The Songs of 
 Selma. 
 
56 
 
 i834- 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). 
 
 1835. Briefe an Johann Heinrich Merck von Gothe, Plerder, 
 Wieland und andern bedeutenden Zeitgenossen . . . heraus- 
 gegeben von Dr. Karl Wagner. Darmstadt. Von Herder 
 (Strassburg, 28. Oct. 1770), p. 14; (Biickeburg, 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 Encyklopjidie der Wissenschaften und Kiinste 
 . . . herausgegeben von J. S. Ersch und J. G. Gruber. 
 Dritte Section. Sechster Theil. Leipzig, pp. 420-9 : 
 Ossian. Von Heinrich Doring. 
 
 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 iibersetzt von Karl Georg Neu- 
 mann. 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, 1. 15, is inserted in place of the author's. F"or Neumann's 
 translation of Fingal, cf. Gurlitt, 1803-5. 
 
 1839. Die Gedichte Ossian's. Aus dem Giilischen von Christian 
 Wilhelm Ahlwardt. Mit 3 Holzschnitten. 3 vols. Leipzig. 
 Cf. 1811. 
 
 Ossians Gedichte. Rhythmisch bearbeitet von Ed. Brinck- 
 meier. Mit Titelbild. Braunschweig. Cp. 1S83. 
 
 Lehrbuch einer Literargeschichte der beriihmtesten Vol- 
 ker des Mittelalters . . . Von Dr. Johann Georg Theodor 
 Griisse. i. Abtheilung, i. Hiilfte. Dresden und Leipzig, 
 pp. 407-12 : Ossian, 
 
57 
 
 1840. The Poems of Ossian, translated by James Macpherson, 
 Esq. Authenticated, illustrated and explained, by Hugh 
 Campbell, Esq. In Two Volumes. Leipzig. Mit 2 Holz- 
 schnitten. 
 
 Reprint of the text of Campbell's (London, 1822) edition. Vol. I 
 contains Macpherson's two dissertations, and Vol. 2 Dr. Blair's Critical 
 Dissertation. 
 
 Ossian's Gedichte. Aus dem Galischen im Sylbenmasse 
 des Originals von C. W. Ahlwardt. 2 vols. Neue Aufiage 
 mit 3 Holzschnitten. Taschen-Ausgabe. Leipzig. Cf. 181 1. 
 
 Miniaturbibliothek auslilndischer Dichter. Eine Auswahl 
 des Schonsten aus ihren Werken. Mit einleitenden Biogra- 
 phien und literar-historischen Anmerkungen. Vol. 2 : Os- 
 sians Gedichte. Wehlau. 
 
 Die Unachtheit der Lieder Ossian's und des Macpherson" 
 schen Ossian's insbesondere. Von Talvj. Leipzig. 
 
 An important collection of arguments in favor of the non-authenticit 
 of Macpherson's Ossian by Therese Adolflne Louise von Jacob (Mrs. 
 Robinson), 1797-1870. Losch, 1854, p. 102, has a misprint, 1849 for 
 1840. 
 
 Review : Magazin fiir die Literatur des Auslandes, 1840, p. 52S 
 (Nov. 2). 
 
 1841. Fingal, an epic Poem in six books. New edition. Leip- 
 zig. 
 
 Kayser, Biicher-Lexicon, has " and ejiic Poems." 
 
 1842. Der Dichter Lenz und Friedericke von Sesenheim. Heraus- 
 geg. von August Stober. Basel, pp. 95-107 : Goethes 
 urspriingliche Uebersetzung der Ossianischen Gedichte von 
 Selma. Cf. supra, p. 12. 
 
 1843. iJber 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. 
 
 Neue Jenaische Allgemeine Literatur-Zeitung. Leipzig. 
 i, pp. 109-19 : Review of The genuine Remains of Ossian, 
 literally translated, with a preliminary Dissertation ; by Pat- 
 rick Macgregor. Published under the patronage of the High- 
 land Society of London. London, 1 84 1. By V. A. Huber. 
 
58 
 
 A notice of same had ajipearcd in this lu'rioclical, 1S42, i, p. 50, in tlie 
 Bfilage zur Allg. Zeitung, Augsburg, 1841, p. 2666 (Nov. 30), and in the 
 Magazin fur die Literatur des Auslandes, 1841, p. 548 (Nov. 15). 
 
 1846. Ossian's (jedichte. Aus dem Galischen von Christian 
 Wilhelm Ahlwardt. Leipzig. 
 
 Popular edition in one volume ; cp. 1861. 1st ed., 1811, q. v. 
 
 Johann Gottfried von Herder's Lebensbild. Sein chrono- 
 logisch-geordneter Briefwechsel . . . Herausgegeben von sei- 
 nem 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.) 
 
 IhiiL, 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 
 CuchuUin. pp. 248-9 : Translation of Temora, Bk. iv, p. 
 334, 1. 22, 11. 25-35. 
 
 These metrieal translations are not by Herder, but copied from Denis. 
 The tirst is that of a poem given in Macpherson's notes to Calthon and 
 Colmal, the second of Berrathon, p. 377, 1. ij-p- 378, 1. 5, and p. 379, 11. 
 IC-31 (with argument), the third of The Death of Cuthullin, p. 290, 1. 
 5-p. 291, 1. 4. On pp. 249-51 is given the passage from Temora men- 
 tioned 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 fiir (ieschichte. Herausgegeben 
 von Dr. W. Adolf Schmidt. 5. Band (der Zeitschrift flir 
 Geschichtswissenschaft ). Berlin, pp. 172-9: Macpher- 
 son's Ossian. Von P. F. Stuhr. 
 
 An essay against the age and authenticity of Macpherson's poems by 
 Peter I'eddersen Stuhr, 1787-1S51. The author announced some detailed 
 inquiries into the subject, which were, however, never published. 
 
 1847. The Poems of Ossian, Translated by James Macpherson, 
 Escp with [Macpherson's] Dissertations on the Aera and 
 Poems of Ossian ; and Dr. Blair's Critical Dissertation. 
 Leipzig. = Vol. CX^T of the Collection of British Authors. 
 (Tauchnitz.) 
 
 Ossian deutsch von Adolf Bottger. [1S16-70.] Leipzig. 
 
 No introduction nor dissertations. Six pages of notes at the end. Met- 
 rical translation. Cf. 1852, 1856, 1877. 
 
 1852. Ossian deutsch von Adolf Bottger. 2. (Titel-)Atisgabe. 
 Leipzig. Cf. supra. 
 
59 
 
 i853- Ausgewahlte Gedichte Ossiaii's, als Einleitung in das Stu- 
 dium der Englischen Sprache.=Anmuthiger Weg zur Er- 
 lernung der Englischen Sprache mit oder ohne Lehrer. Von 
 dem Herausgeber des Auszuges aus Frau von vStael's Corinne. 
 Braunschweig. 
 
 Pp. 1-55 : Das Wissenswiirdigste aus der englischen Grammatik. pp. 
 37-181 : Auserlesene Gedichte Ossian's mit leichtfassH'cher Bezeichnung 
 der Aussprache, wortgetreuer Uebersetzung, erlauternden Inlialtsanzeigen 
 und kurzen erkljirenden Anmerkungen. (pp. 39-42: Einleitung. Dis- 
 cussion 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. Albimi des literarischen Vereins in Niirnberg fiir 1S54. 
 Niirnberg. pp. 98-130: Ueber den giilischen Dichter Os- 
 sian. Von Dr. E. Losch. 
 
 A popular essay, with numerous quotations, pp. 1 28-9: An die Mor- 
 gensonne. pp. 129-30: An den Mond. ]i. 130 : An den Abend.stern. 
 Herder's translations. Cf. supra, p. 21. 
 
 Programm des Gymnasiums zu Lemgo fiir das Schuljahr 
 i84| von Dr. H. K. Brandes. i. Abhandlung : Oisian und 
 seine Welt, vom Prorektor Dr. Clemen. Lemgo. 
 
 General essay on the poems of Ossian. Tlie 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 con- 
 ception of the land of the Hereafter. Numerous quotations in Ahlwardt' s 
 translation. 
 
 1856. Ossian deutsch von Adolf Bottger. 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. i, pp. 122-5: The 
 poems of Ossian. pp. 272-311 : Die Ossiansche Frage. 
 
 Discusses the strife over the genuineness of the poems and their recep- 
 tion and fate in Germany. — pp. 311-9 : Bardic poetry. 
 
 1857. (Herrig's) Archiv fiir das Studium der neueren Sprachen 
 und Tviteraturen. Vol. 22. Braunschweig. pp. 45-8o> 
 296-402 : Ueber Ossian. Von Dr. Oswald. 
 
 I. Begrifte von Gott und gOttlichen Dingen. II. Kriegfiihrung. III. 
 Gastfreundschaft. IV. Die Jagd. V. Die Frauen. VI. Kampfe mit 
 
60 
 
 Fremden. VII. Fehden. VIII. Fingal. IX. Ossian. X. Gleichnisse. 
 XI. Die GesJinge. — Written from the view-point of a firm believer in the 
 authenticity of the poems. 
 
 i860. Jahrbuch fiir Romanische und Englische Literatur. Vol. 
 
 2. Berlin, pp. 183-203 : Das Neueste zur Ossian-Frage. 
 Von Dr. H. J. Heller. 
 
 The resuUs obtained by Drummond and O'Reilly as laid down in Talvj 
 (1840) are accepted on broad lines, but Dr. Heller would modify the con- 
 clusions in some particulars. 
 
 1861. Die Gedichte Ossian's. Aus dem Galischen von Christian 
 Wilhelm Ahlwardt. [3 vols, in one.] Leipzig. (Goschen.) 
 
 Popular edition in one volume, like 1846. (Deutsche Volks-Biblio- 
 thek. 3. Reihe. ) 
 
 1863. Ossian und die Fingal-Sage von Professor E. Waag. Mann- 
 heim. Als Beilage ziim Progranim 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 Schim- 
 merlichte 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 
 Dammerlichte der Sage, die da wandelt im Schatten der Geschichte. 
 Waag's remarks are based principally upon Talvj (1S40). He is a non- 
 believer in the authenticity, pp. 71-80 : Anhang. I. Denis. 2. Gothe. 
 
 3. Herder 4. Schlegel. 5. Ahlwardt. 6. Ausgaben und Uebersetzun- 
 gen des englisclien, 7. 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 tiber die Verhandlungen des Freien Deutschen 
 Hochstiftes . . . zu Frankfurt a. M. Fiinfter 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 char- 
 acter of the poems is asserted. 
 
 1867. Briefe von und an Klopstock . . . herausgegeben von J. 
 M. Lappenberg. Braunschweig, pp. 164, 171-2, 210-r, 
 218, 226-7: References to Ossian. 
 
 1868. Ossian's Finnghal. Episches Gedicht, aus dem Galischen 
 metrisch und mit Beibehaltung des Reims iibersetzt von Dr. 
 
61 
 
 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-S : Register der Eigennamen zu ' Finnghal.' 
 
 [1869.] Ossian's Fingal. Episches Gedicht in sechs Gesiingen. 
 Aus dem Englischen iibersetzt von Reinhold Jachmann. 
 Universal-Bibliothek (Reclam's) No. 168. 
 
 Prose translation without notes or arguments 
 
 Allgemeine Zeitung. Augsburg. Ausserordentliche Bei- 
 lage, 29. Januar. Zur Ossian-Frage. Erwiederung von Dr. 
 Aug. Ebrard. 
 
 An ironic reply to Die Unachtheit der Lieder Ossian's ' eines [^sic /] ge- 
 wissen Talvj ' (1840). 
 
 1870. Handbuch der Mittelgalischen Sprache hauptsachlich Os- 
 sian's. Grammatik. — Lesestiicke. — Worterbuch. Von Dr. 
 August Ebrard. Mit einem Vorwort von Dr. G. Authen- 
 rieth. 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. Lesestiicke (Gaelic): 
 p. 212: Schilderung der Schlacht zvvischen Cuchullin und Suaran. P'ingal, 
 Bk. i, p. 223, 1. 24-p. 224, 1. 2. pp. 213-4 : Beschreibung des Wagens 
 und der Rosse Cuchullin's. Fingal, Bk. i, p. 221, 1. 23-p. 222, 1. 10. 
 pp. 214-7. Kampf Finnghal' s mit Odin. Carric-Thura, p. 146, 1. 30-p. 
 148, 1. 16. 
 
 Review : Literarisches Centralblatt, Leipzig, July 16, 1S70. 
 
 [1877.] Ossian. Deutsch von Adolf Bottger. Dritte Ausgabe. 
 Leipzig, isted., 1847, (/. v. 
 
 (Herrig's) Archiv fur 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 Ossiaia, 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 Schulmanner 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 ap- 
 peared in the Revue Celtique, Vol. 5. Paris, 1881-3. pp. 70-93 : 
 
62 
 
 L'anciemic legemle irlandaise et les poesies ossianiques, par M. E. Win- 
 disch. (Traduit par Emile Ernault. ) 
 
 Archiv fiir 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 Ab- 
 schied, 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 (iesangen. 
 Aus dem Englischen iibersetzt von Hermann von Suttner- 
 Erenwin. Leipzig. Universal-Bibliothek (Reclam's) No. 
 1496. 
 
 A prose translation with neither introduction nor notes, but an appendix : 
 Erkliirung einzelner in Temora vorkommender Namen. 
 
 [1883.] Ossians Gedichte In neuer Uebertraginig von Ediiard 
 Brinckmeier. 2 vols. Stuttgart. Collection Spemann, Vols. 
 164-5. 
 
 Metrical translation, scattered notes, pji. 7-18 : Introductory preface. 
 Cp. 1839. 
 
 1884. Recensionen und Vermischte Aufsiltze von Jacob Grimm. 
 Vierter Theil. (Kleinere Schriften, Vol. 7.) Berlin, pp. 
 537-43 : Uber Ossian. Geschrieben 1863. 
 
 The beginning of a book on Ossian ]ilanned by Orimm to establish the 
 authenticity of the poems. A general account of the strife waged over the 
 authenticity is given in the tust chapter. What is given here is probably 
 all that Grimm committed to writing. Cp. loc. cit., Vorwort, p. vi ; 
 Kleinere Schriften, Vol. I (1864), p. 186; Briefwechsel zwischen Jacob 
 und Wilhelm tJrimm, Dahlmann und Gervinus. llghn von Ed. Ippel. 2 
 vols. Berlin, 1885-6. Vol. 2, pp. 135-6. 
 
 1892. Die Bardische Lyrik im achtzehnten Jahrhundert. (Dis- 
 sertation) Von Eugen Ehrmann. Halle a. S. Fretpient allu- 
 sions to Ossian's influence, c. i^:, pp. 9-11, 39-44) 47-55> 
 58-61, 87-8, 94-8. 
 
 Rkvikws : Cf. jahresberichte fur neuere deutsche Litteraturgeschichte, 
 1893, iv, 2a. 28 ; 1894, iv, 2a, 59-60. 
 
 1895. Mitteilungen aus der Literatur des 19. Jahrhunderts und 
 ihrer Geschichte. Erganzungsheft zu Euphorion, Band 2. 
 
63 
 
 pp. T 22-37 : Unl)ckanntos unci Ungcdnicktes von Ferdinand 
 Frciligrath.. Mitgcloilt von Wilhclm lUuhncr in Fisenach. 
 
 I']). I2t)-i) : ()ssi;iii. A lialliul l)y i'Vnliiiand 1' rrilii;iiilli, i(|)i iiilcd hdiii 
 tlie Ally. UiUcThalliiiiti;slii;il(iM, jS^o, ,/. ,: 
 
 Zeitschrift fiir vcrglcitlicndL' IJltcialurycschiclile. Ncuc 
 Folge. Vol. S. Weimar. pp. 51-86, 143-74: Die os- 
 sianischen Ileldenlieder. Von I -iidwig Chr. Stern. 
 
 An intcrestiiifr, U|i (o AMc disciissioii nl' (lie (|iirsli()ii. 
 
 Theodor Hassehivist, " Ossian " i diMi SviMiska Diklen (x li 
 Litteraturen. Malnif). pp. 25-9: Ossiansangernas niotta- 
 gande i Tyskland. pp.' 30-1: 'lalvj. p. 33: VVindisc h. 
 ])p. 34-S : H. Zimmer. 
 
 1896. ( )ssian in der sehtinen Lilleiatur ICnglands bis 1S32. 
 lOin ileitrag /ur l'a)glis(hen Fitteraturgeschichte von i'lniiio 
 Schnabel. Inauguraldissertalion. l*j-ster Theil. Ossian in 
 der schthien I.itteratur ICnglands bis 1832 mil Ausschluss der 
 ' ICnglischen RouKintiker. ' Miinchen. 
 
 Reprinted in tile Kiiylisclic Sludicii, X'ol. 2] (i<S97), pp. 31-70. 
 
 Zeitsehrift fiir verglei( liende Lilteraturgeschichte. N. I'". 
 Vol. 10. Weimar. ])p. 117-50, 385-418: Lenz' iiber- 
 setzimgen aiis dem ICnglisehen. Von Karl H. ('larke. 111. 
 Die Ossian-Uberset/.img. I'o|)e — Yarrows Ufer. pp. 40O- 
 13 : ( )ssian. 
 
 Cr. his, 1775 (). 
 
 1897. iuigli.sehe Stiidien. Vol. 23. Leipzig, pp. 366-401 : 
 Ossian in der schiinen Litteratiir Fnglands bis 1832. Os- 
 sian in der I )i<liliing di'r sogenannten M'^nglischen Koman- 
 tiker. ' Von Mr. S( Imabel. Cf. siif^ra. 
 
 Mil, SIC. 
 
 licschnitt, joh.inncs : Ossian. — Sony for male chorus, text by W. Diinl<cr. 
 
 Urahnis, Johannes: iJarthula's ( hahyesang. Op. 42, No. 3, Text by Her- 
 der (cf. Volkslieder, 1779). 
 
 (lesany aiis Finyal, von Ossian. 
 
 Ditlers von Diltrrsdorf, Karl: Das Mildchen \nn ( 'ola, cin (lesany ( )ssiaii.s. 
 (Leipzig, 1795.) Review: Neiie allg. deut.sche ItiM., -Anliang zuni 1. bis 28. 
 Bande, i, p. 204 (1797). 
 
 Oade, Niels Wilhelni : Naclikh'inge von Ossian. Oiiverliire fiir Orehestcr. 
 Op. I. (Won Ihc pri/.i' offered by llie Musical Society of Copcnliayen in 1S41). 
 
64 
 
 Fiir Militarmusik bearbeitet von Albert Thomas ; fiir Pianoforte und Violine ar- 
 rangirt 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, 1 87 7. 
 
 Gottschalk, Louis Moreau : Marsch der Geister Ossians. (Marchede Nuit. ) 
 Op. 17. 
 
 Kastner, Johann Georg : Oskar's Tod, gi'osse Oper in vier Akten. (Strass- 
 burg, 1833.) Subject from Temora, Bk. i, pp. 30S-II (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. 
 
 Lowe, Johann Carl Gottfried: Gesang Ossians. Alpin's Klage um Morar. 
 Op. 94. From The Songs of .Selma, p. 210, last l.-p. 211, 1. 34. , 
 
 Mendelssohn-Bartholdy, Felix : Fingal's Hi'ihle. Ouverture. 
 
 Reichardt, Johann Friedrich : Lieder der Liebe und Einsamkeit. 2. Theil. 
 Leipzig, 1804. Contains a few Ossianic songs. Cf. Gurlitt, 1 805. 
 
 Schubert, Franz : Ossians Gesange fiir 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 Madchen von Inistore. 
 
 Seckendorff, Karl Siegmund Freiherr von : Darthulas Grabesgesang. Te.xt 
 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 cjuatrains by Seckendorff. Cf. op. cit. , 
 Vol. I, Weimar, 1779, pp. 12-4, and cp. supra, p. 45. 
 
 Weber, Bernhard Anselm : Sulmalla, ein lyrisches Duodrania mit Choren. 
 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 Werlhers Leiden. (Leip- 
 zig, 1801.) Cf. Deutsche Rundschau, Vol. 74, p. 430. 
 
 (Ossian. Eine Sammlung von Volksliedern und Compositionen neuerer Meis- 
 ter fiir gemischten Chor. Published by C. F. Kahnt Nachf., Leipzig, 1S67. A 
 collection of German folk-songs, etc., containing no Ossianic songs whatsoever.') 
 
 ART. 
 
 Harnisch, Carl : Bildliche Darstellungen in Arabeskenform zu Ossians Ge- 
 dichten. [Berlin], 1835. Six drawings illustrating scenes from Cath-Loda, 
 Comala, Lathmon, Fingal (2), and Temora. Cf. Nagler, Kiinstler- Lexicon, Vol. 
 5, pp. 564-5. 
 
 Krafft, Peter : Ossian. A painting representing the blind bard led by Malvuia, 
 " am brandenden Meeresufer sein Schwanenlied in die Saiten brausend." Cf. 
 Nagler, Kunstlei--Lexicon, Vol. 7, p. 153. An etching from this painting was 
 made by Ignaz Rungaldier. A cut appeared in Aglaja. Taschenbuch fiir das 
 Jahr 1S24. Wien. 
 
(55 
 
 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. I. 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, Kiinstler-Lexicon, Vol. 14, 
 pp. 30-3. Advance Notice: Intelligenzblatt der Jenaischen Allg. Lit.-Zeitung, 
 1S05, i, p. 68. Reviews : Journal des Luxusund 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 reden- 
 den und bildenden Kiinste. Leipzig. Vol. 2, ii, pp. 388-94 (1806). DerNeue 
 Teutsche Merkur, 1807, i, pp. 200-6 (by Justi, cf supra, p. 47); 1807, iii, pp. 
 239-42 (by Justi). An advance description of the entire collection appeared in 
 Justi's Hessische Denkwiirdigkeiten, 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, P"riedrich Georg (Matthias): Comala. A large heroic painting, rep- 
 resenting bards singing the praise of Comala by torchlight. Exhibited at the Ber- 
 linische Kunstausstellung of 1802. For A. W. v. Schlegel's criticism, cf. supra, 
 p. 44. No. 2, Vol. I, of the Tablettes d'un Amateur des Arts, Berlin, con- 
 tains 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, Kiinstler-Lexicon, Vol. 
 21, pp. 268-70. 
 
 Taschenbuch fiir Damen auf das Jahr 1802. Herausgegeben von Huber, 
 Lafontaine, Pfeffel, und andern. Mit Kupfern. Tubingen. I. Kupfer : 
 Malvina, in ihe 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, 
 11. 26 if. 
 
 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[ran(;ois] 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.] 
 
CHAPTER II. 
 GENERAL SURVEY AND EIRST NOTICES. 
 
 ^ I . General Considerations upon the Reception of the 
 Ossianic Poems in Germany. 
 
 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 for- 
 gotten, and their interest lies mainly in the influence they exerted 
 upon some of the greatest minds of the i8th century. 
 ^It was in the year 1760 ' that James Macpherson, a Scotch youth 
 of twenty-four,- published in Edinburgh some Fragments of Ancient 
 Poetry, Collected in the Highlands of Scotland, and Translated from 
 the Gallic or Erse Langi/agc. Neither Macpherson nor his friends 
 anticipated the tremendous sensation these fragmen ts were destined 
 to make, not only in Scotland and England, but on the whole con- 
 tinent of Europe. But Macpherson was not the man to underesti- 
 mate the position which he had suddenly attained, and accordingly, 
 emboldened by his initial success, he published in 1761 Fingal, an 
 epic poem in six books, and in 1763 Tcniora''' 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 ac- 
 corded Macpherson the place that in justice belongs to him, the 
 place of a ' skillful artificer,' ^ who took a few crude scattered frag- 
 ments of Irish — not distinctively Scotch — folk-songs as his founda- 
 tion, and not only lengthened them into more elaborate and re- 
 
 1 The date of the first appearance of the poems of ()ssi;iii is often stated erroneously as 1762, 
 so Kiirschner's Dtsche Nat.-Litt., Klopstock, Vol. 3, p. xx ; Hettner's Literaturgesch. des 18. 
 Jahrh., iii, 2, p. 122 ; Klopstock's Works, ed. Bo.xberger, Vol. 5, p. xxi ; Hofmann-Wellenhof in 
 liis biography of Denis, p. 165, etc., etc. 
 
 - Macpherson was born in 1736, not in 1738 as generally stated. Cf. Saunders, The Life and 
 Letters of James Macpherson, pp. 32-4. 
 
 ^For exact titles of these and following publications, cf. Bibliography. 
 
 *We must not overlook the fact, however, that Macpherson's Ossian appeared at a time when 
 literary forgeries were common. 
 
 G6 
 
J 
 
 67 
 
 fined poems, 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's Ossmn was not the first literary product of luigland 
 that was received with favor by the Germans in the i8th century, 
 but no other made its influence felt so strongly. A glance at the 
 bibliography will show the importance of Ossian in the literary his- 
 tory 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.^ Schiller's earliest dramas 
 show traces of Ossian' s influence. The S/or/n and Stress writers 
 found nourishment in the writings of a genius who observed no 
 rules. Merck edited an English edition of the poems. Lenz trans- 
 lated Fingal. The poets of the Gottinger Bund — Biirger, Holty, 
 Voss, Fried. Stolberg, Cramer — have all left testimony of their ad- 
 miration for the Gaelic Homer. Then there were Claudius and 
 Matthisson and Kosegarten, all influenced by Ossian. Even Gess- 
 ner 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. H61- 
 derlin also read the j^oems with ardor. Freiligrath wrote a ballad 
 " Ossian." And so on to the end of the chapter. Schubert and 
 Brahms, Zumsteeg and Dittersdorf, Seckendorff and Lowe, and 
 other German composers, have set portions of the poems to music. 
 German artists have tried their hand at illustrating Ossianic scenes 
 
 ' It has occurred to me that the picture of Ossian and Malvina entered into Goethe's conception 
 of the harper and Mignon in Wilhelm Meister, but more of this in the chapter on Goethe. 
 
 f 
 
68 
 
 and 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/ still 
 found there, serve as perpetual reminders of the proud role 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 
 1 8th century. As far as their success in Germany is concerned, 
 the poems of Ossian could not have been ushered in at a more op- 
 portune 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 re- 
 gard Ossian as a classic, we have no reason to consider his influ- 
 ence pernicious. Of course the danger of drawing false conclu- 
 sions 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 ~^ 
 ^Hhey 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 accjuainted with those ' deeds of the days 
 of other years ' when ' Fingal fought and Ossian sung.' The con- 
 troversy that arose over the genuineness of the songs was instru- 
 mental in calling general attention to them. A fight usually 
 attracts a crowd, and it did not fail to do so in this instance. As- 
 pirants 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. 
 
 ' Besides these names Ryno. Toskar, Alpin, Minona, Miiivane, Comala, Dauia, and others 
 were at one time not uncommon in Germany, and now ."ind again we hear of an Ossian— there is 
 an Ossian H. in Leipzig at this day. Several of the names mentioned were employed as pseu- 
 donyms and all of them figure prominently in the poetry of the day. 
 
69 
 
 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 ahnost 
 entirely lacking, and repetitions of the same thought in terms 
 virtually similar were of fretpient occurrence. The episodes them- 
 selves were simple and called for no serious application of the 
 reasoning powers; any complications that might arise were ex- 
 plained 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 popu- 
 larity. A German of the i8th century, possessed of a moderate 
 knowledge of English, would be less drawn to Paradise Lost than 
 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 in- 
 troduced an innovation by publishing a translation in hexameters.' 
 
 • Cf. infra, pp. 122-3. 
 
70 
 
 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, meas- 
 ured prose per se that 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 i8th 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's Nouvelle Hclolse appeared 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 fast- 
 nesses of the mountains, far from the haunts of civilized man, had 
 been supplied by Macpherson with a veneer of nobility and refine- 
 ment that would have better befitted a powdered and perfumed gallant 
 of the i8th century. There are some points of resemblance between 
 the panegyrists of Thomson's Seasons, who sang the beauties of the 
 sunrise but never rose before noon, and those followers of Rous- 
 seau 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 preten- 
 sion to refinement of manners, even if they did not powder their 
 hair nor use snuff. We can vividly picture to ourselves the im- 
 mense stir that the sudden appearance of Ossian must have made 
 in a society that was ready to embrace Rousseau's cause with such 
 alacrity.^ To a certain extent the return to nature went hand in 
 hand with the awakening of a love for wild and londly 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, and 
 
 ' Cp. Eraser's Mag., N. S., Vol. 21, p. 520. 
 
71 
 
 they were nobly seconded by Macpherson's descriptions of the 
 Scottish Highlands. 
 
 In an age when it was considered good taste to imitate the an- 
 cients, 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 German Aii- 
 scliai/iing. 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 emo- 
 tions and sentiments expressed by his actors are confined to a lim- 
 ited 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 ex- 
 amples 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 eff"orts 
 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's Reliques in 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's Night 
 Thoughts and his Conjectures on Original Composition,^ in the latter 
 
 1 German translations of the latter appeared in Leipzig, 1760, and 1787. 
 
72 
 
 of which the poets of the Stonn and Stress found much fuel for 
 their fire. Original genius is a shibboleth frequently met with in 
 the German literature of the time. In Shakspere the Germans be- 
 lieved 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 Ger- 
 mans of the fact that they were not — here they had certainly to deal 
 with a i)oet 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 in- 
 tensified by the appearance of Robert Wood's Essay on the Oni::;inal 
 Genius and Writini:;s 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.' And how many German trans- 
 lations 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 
 (jualities 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 on ad absjtrduni. Fortunately 
 the aberration was only temporary. No doubt the frequent com- 
 parisons 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 the Night Thoughts' 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 pro- 
 
 1 Cf. infra, pp. 78-9, 91. 
 
 * Cf. J. Barnstorff, Young's Nachtgedanken und ihr EintUiss auf diedeutsche Litteiatur, Bam- 
 berg, 189s (Dissertation). 
 
73 
 
 found melancholy underlying the Thoughts was 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 Os- 
 sian. Closely bound up with the spirit of melancholy is that of 
 sentimentality, and here again Ossian's sway is unmistakable. Be- 
 fore the appearance of ]Vcrthers 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, ^ and Ossian's 'joy of grief ' " 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 " in Werthers Leiden, served to increase the admi- 
 ration that had so willingly been ofi'ered 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 couraj^e 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 iiberreden, dass diese Ge- 
 dichte vollig acht wiiren, dass gar keine neuere Hand an ihnen 
 polirt, gewisse Bilder abgeandert, andere hinzugesetzt hatte u. s. 
 w." ^ And Denis says in his reply : " Ich hatte ihn auch, diesen 
 Zweifel ; allein D. Blair's Abhandlung, und Macphersons Betheu- 
 rungen haben mich hieriiber ziemlich beruhiget. Dennoch mag 
 wohl an den Ubergangen, an den Verbindungen der Stiicke hin 
 
 ' It had played a role in Klopstock's work, but was first widely promulgated by Werther. 
 2 The 'joy of grief ' (ifi^pos I'ooio) is found also in Homer, e. g., Iliad, 23, 108, but not until 
 the appearance of Ossian did it assume importance. 
 
 ^ Cf. Retzer, Denis' Lit. Nachlass, Vol. 2 (1802), p. 169. 
 
74 
 
 und wieder eine neuere Hand polieret haben." ' Ossian filled so 
 many long-felt wants, that it was not to be expected that the Ger- 
 mans 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 in- 
 terest. 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 pre- 
 pared a translation from the original Gaelic (1811). The excel- 
 lence of this translation was trumpeted throughout the land long 
 before its appearance, a specimen was published as early as 1807 
 and v^idely 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 Schroder in the preface 
 to his translation of Fingal (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-genuine- 
 ness 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 famous 
 
 ' Cf. / c, p. 172. Letter dated Wien, Dec. 8, 1769. 
 
ranslation of " The Songs of Selma." He still attracts the aver- 
 age reader if read in snatches, but few will be found who can de- 
 rive 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. 
 
 §2. Earliest Notices and Translations. 
 
 It is generally stated that the first German notice of the Poems 
 of Ossian was given by Raspe in No. 92 of the Hannoverisches 
 Magdzin for 1763. This is, to be sure, the first extended review, 
 but a notice of Fiiigal had appeared the year before in the Biblio- 
 thek der schonen Wisscnchaften} It is interesting to note what at- 
 tracted 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 ex- 
 pression, and seems to detect in it a resemblance to the oriental 
 style. In a review of Temora which appeared in the same maga- 
 zine 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 par- 
 ticularly 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.-' 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 the Storm 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 ex- 
 hibited in the poems of Ossian attracted attention from the begin- 
 ning, and this very pathos and sentimentality and melancholy did 
 
 ' For exact data cf. Bibliography. 
 2 Cp. supra, p. 73. 
 
76 
 
 much to establish Ossian in the popular favor. The German is by 
 nature inclined to be sentimental, and to the German of the i8th 
 century the joy of grief, the Z/jts/x^- •^oo'.o was a large reality. 
 
 Two years before the appearance of Engelbrecht's translation of 
 the Frai^/iir/its, there appeared in the Bremisclies Magazin a Ger- 
 man prose translation of two fragments that had been published in 
 the Gentleman'' s Magazine in 1760. In a notice oi Fingalxw Vol- 
 ume 6 of the same magazine (1763), the epic is characterized as 
 "beautiful, pathetic, and sublime." The characterization of 
 Teniora given in the following year is but an echo of the senti- 
 ments expressed in the Bibliothek der sclioncn Wisscnschaffen. 
 
 One of the first to draw attention not only to the poems of 
 Ossian but to Bishop Percy's Reliqncs as well,^ was Rudolf Erich 
 Raspe. Raspe had studied at Gottingen 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 ap- 
 peared in No. 92 (1763) of the Hannoverisches Magazin. The 
 tone throughout is one of hearty appreciation, and supreme confi- 
 dence is placed in the authenticity of the poems, which he defends 
 enthusiastically, basing his arguments upon the various dissertations 
 ])refixed 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."- 
 And in another place : " Ossian is in the opinion of many great 
 connoisseurs a genius of the first order." ■' Here then we have our 
 Origitialgenie without 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 compari- 
 sons of the Roman and Greek poets. ' ' ' 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. 
 
 ' Cf. review in the Ncue Bibi. (.ler schiinen Wissenschaften, Vol. 2, i, pp. 54-88. 
 - Cf Han. Mag., 1763, p. 1468. 
 " Cf. ibid., p. 1467. 
 *Cf. ibid., p. 1468. 
 
In Nos. 94 to 97 (1763) of the same magazine, Raspe gave 
 a translation of extracts, 'disjecta membra Hippolyti,' from the 
 six books of Finga/ in rhythmic prose. The portions omitted are 
 briefly summarized. The translation possesses no special merits 
 and we can pass over at once to the first translations that appeared 
 in book form, that of the Fragments by Engelbrecht (1764), and 
 that of Fingal by Wittenberg (1764), both of which appeared 
 anonymously and both in rhythmic prose. Neither of these trans- 
 lations met with a particularly flattering reception ; the magazines 
 seem to have taken no notice of them whatever, the editions were 
 probably limited, and we have no record of a second edition in 
 either case. Wittenberg, indeed, intended to i)ublish two additional 
 volumes, the second to contain Teinora with several smaller poems 
 and the third the remaining fragments, together with Dr. Blair's 
 "Dissertation," but his plans bore no fruit. Wittenberg was no 
 great literary light and would have been forgotten long ago had he 
 not been mixed ui) in the Lessing-Goeze controversy. ' In his 
 preface he tells us that he took pains to make the translation as 
 literal as possible — quite a wise proceeding for one who had no 
 hope of improving upon the original and no ability to turn Mac- 
 pherson's prose into respectable verse. When he remarks in the 
 preface that the poems of Ossian are, even thus early, too well 
 known among the Germans to call for further commendation to 
 the reader, we may see how quickly Ossian had found a place in the 
 public favor. However, Wittenberg can not abstain from record- 
 ing his appreciation, and takes up the cudgels in defense of the 
 authenticity. 
 
 Engelbrecht, the translator of the Fragments, was a merchant 
 and by way of avocation a literary dilettante. He began to 
 translate the fragments partly in prose and partly in verses with- 
 out rime, but business interfered with the continuation of the work 
 and when he again took it up, he cast aside the poetic portion and 
 translated in rhythmic prose from the first edition of Fingal ( 1 76 1 ) . 
 He intended originally to publish a translation of the epic Fingal 
 as well, but abstained, because Wittenberg anticipated him. - 
 
 In the year after the appearance of the two translations just dis- 
 cussed (1765), a reprint of the Memoir e sur les Poemes de Mae- 
 
 ' Cf. Lessing, Anti-Goeze, No. 8. Wittenberg's reply : Sendschreiben an den Herrn Hofrath 
 Lessing. 
 
 2Cf. Zuschrift, o^. cit., which is signed J. A. Engelbrecht. 
 
78 
 
 f^lierson mentioned above (p. 5) was published in Cologne, and a 
 partial translation of the same article appeared in the Haniburgisclic 
 UufcrJialfiini^cn the following year. Little attention was i)aid in 
 Germany to the attempt to transport Ossian and his heroes to Ire- 
 land. The translator might have foreseen that an article of this 
 nature would be apt to be received with disdain, derstenberg, to 
 be sure, believed in the article,' but then he had had his doubts 
 from the very first. Vet he was the exception, and the view of the 
 general public is better illustrated by a sentence in the review of 
 Fingal from the Goff/'/ii^isc/w geleh/ie A/izeigfii (1765), where the 
 critic writes : " We must at the outset reject the suspicion expressed 
 in certain French monthlies, which declare these poems to be the 
 work of the publisher and consequently a forgery. In a hundred 
 places do we find i)roof that refutes this suspicion." ' In the same 
 review Ossian is characterized as less loquacious than Homer, and 
 in a review of the Jf'(>r/,'s of Oss/aii (London, 1765) in the same 
 magazine (1767), the critic remarks how infinitely superior the 
 character of the Gaels is to that of Homer's heroes: " Ossian's 
 heroes are throughout far more generous, more modest and more 
 kind than Homer's robbers, who are sublime solely in virtue of their 
 strength." '' And again : " Ossian' s soul felt infinitely more, his 
 code of morals was better, he knew the human heart in its more 
 delicate emotions ; and, what might not be expected from a High- 
 lander, he was infinitely more tender in love and had a greater par- 
 tiality for women than the Greek." ' Macpherson's peculiar prose 
 did not fail to impress the reviewer, who saw in it a mixture " made 
 up of the Holy Scriptures, of Homer and of the speeches of the 
 Irocpiois, yet nevertheless possessing something of its own." '' Ver- 
 ily a strange combination that could not fail to be effective. How- 
 ever, carried away as the average reviewer was by the beauty inher- 
 ent in the poems, by the noble, almost sublime character of the old 
 Gaelic heroes, and by the grandilocjuent language in which the 
 poems were couched, they were not always entirely blind to the 
 cardinal ilefects o( the work, and we must give the reviewer credit 
 for his candor when he says: "To be sure, the comparisons are 
 
 ' Cp. infra, p. io6. 
 
 -Cf. Gott. Anz., 1765, i, p. 1:9. 
 
 ^Cf. /. c, 1765, i, p. 1^0. 
 
 ^Cf. /. c, 1767, ii, p. 1140. Cp. Slip) a, p. 72. 
 
 •'Cf. /. c, 1765, i, p. 130. 
 
79 
 
 too frequent and the style somewhat too monotonous." ^ This was 
 no small admission to make in regard to a poet greater even than 
 Homer, and so in the second review a reason for this defect is given 
 in palliation. " Ossian lived," we read, "in a different clime, 
 where nature does not possess half the beauty of the Greek. . . . 
 It is therefore easy to see that Ossian, whose wealth of comparison 
 is altogether too great, is forced to become monotonous as far as 
 these and his descriptions of scenery are concerned.""' 
 
 We have seen that tlic first notice of Ossian appeared in the 
 Bibliotlick dcr sclioiicn Wisscnscliafteu, and for a number of years 
 this magazine assumed the leading role in Ossianic criticisms and 
 discussions. Several notices appeared in the first three volumes of 
 the Neiic BibliotJwk. In Vol. i (1766) we have a notice of 
 Cesarotti's Italian translation. The reviewer expresses his astonish- 
 ment that the Abbe has dared to render the translation in verse, a 
 criticism that Denis was soon to call down upon his head in still 
 greater measure. In Vol. 2 (1766) appeared a most sym[)athetic 
 review of the ]Vorks of Ossian by Christian Felix Weisse, who had 
 been editor of the Bihliothck since 1759. Weisse took a lifelong 
 interest in Ossian, a fact that is attested not only by his reviews, 
 but also by his translations of John Mac|)herson's Critical Disserta- 
 tions . . . (1770), and of Smith's C^i-^V/t .4//'//V//////V'.f (1781). In 
 his review he feels called upon to defend the authenticity of the 
 poems against the attacks of English and French scholars, particu- 
 larly against the article in the /our/iai i/cs S^a-oans ; he does not 
 mention a single (lerman scholar, which goes far to show with what 
 unanimity Ossian was accepted when he first made his appearance. 
 Weisse's review is taken up principally with an extensive resume of 
 Dr. Blair's " Dissertation," prefixed to the edition under discussion. 
 The comparison of Homer and Ossian receives a due share of con- 
 sideration. The notice is concluded in Vol. 3 (1766), where the 
 plan and character of the two epics Finical and Tcmora are given, 
 together with several specimens from the poems in German prose. 
 And then Ossian is proclaimed a poetic genius.'' " If strong feeling 
 and natural description are the two chief ingredients of a poetic 
 genius, we must confess that Ossian possesses a large amount of 
 genius. The cpiestion is not whether there are mistakes in his 
 
 > Cf. ibid. 
 
 ' Cf. /. c, 1767, ii, p. 1140. 
 
 ^Cp. Oott. gel. Anz., 1765, i, p. 129; sHj>ra, p. 72. 
 
so 
 
 poems . . . but has he the spirit, the fire, the inspiration of a poet ? 
 Does he speak the speech of nature ? Does he elevate by his feel- 
 ings? Hoes he interest by his descriptions? Does he depict for 
 the heart as well as for the imagination ? Does he cause his readers 
 to glow, to tremble, to weep? These are the great characteristics 
 of true poetry." ' And these grand characteristics of true poetry, 
 as laid down by Weisse, Ossian certainly possessed. The form in 
 which the poems came out approached closely to what was then re- 
 garded as constituting the language of nature. His sentiments were 
 surely ennobling. His descriptions, while their monotony would 
 soon tire a reader of to-day. interested and charmed by reason of 
 their novelty, and while suthcient play was left for the imagination, 
 no one could complain of failure to touch the heart ; and lastly, if 
 an author was to be judged by his ability to cause his readers to 
 glow, tremble, ai>d weep, was it strange that a high rank was as- 
 signed to a poet whose heroes and heroines spent a goodly portion 
 of their time in doing the one or the other, especially the last ? 
 
 Tears play a most important part in the economy of Ossian's poems, 
 and we need not wonder that the sentimental youth and maiden of 
 the day were so fond of him. And so Weisse needed no external 
 proof to convince him of the genuineness of the poems : their 
 character ^\•as proof sufficient to him. It would have been difficult 
 tor him — cind in this res^vct he represents a numerous body — to 
 reconcile the spuriousness of the songs with the undeniable etTect 
 they produced. 
 
 Before closing this discussion of the earliest notices and trans - 
 lations. we must mention two further translations that appeared 
 prior to the publication of Denis's hexameter version in 176S-9. 
 
 The one is a translation of the />ucwc'/^/y that appeared anonymously 
 in 1760. It was originally published in the S\yu<rs I>r,rm:s<:Jttrs 
 Jfii^asift and then printed separately as J^nt^yttiTft/ir dtr a/Un I>tckt- 
 ktiHsf. The translation evoked little attention and soon passed 
 into oblivion. To the second translation fate was more kind. It 
 was a poetic rendering of two extracts from " The Songs of 
 Selma." They appeared anonymously in Vol. 4 of the CnUr- 
 haituHgitn and were later reprinted several times in various places. 
 
 The translator is Ludwig Gottlieb Crome. a collection of whose 
 poems appeared after his death." 
 
81 
 
 The bibliography brings out two ii\tcrosting- additional points. 
 We see tirst that not a single imitation of" Ossian exists before the 
 advent of Denis's translation, and secondly, that most ot" the earlv 
 publications hailed from I'remen and Hamburg, the cities in whiih 
 the originals were soonest accessible. That the periodicals ot" Han- 
 nover and Gottingen should be among the llrst to pav tribute to the 
 newly discovered genius is easily explained by a ret"ercncc to the 
 dynastic connections between Hannover and l\n>:land. 
 
CHAPTER III. 
 
 OSSIAN'S INFLUENCE UPON KLOPSTOCK AND THE 
 SO-CALLED BARDS. 
 
 § I. Klopstock. 
 
 "Klopstock verliert alles, wenn man ihn in der Nahe und im Einzelnen be- 
 trachtet. Man muss ihn in einer gewissen Feme und im Ganzen erfassen. Wenn 
 man ihn liest, scheint er pedantisch und langweilig ; wenn man ihn aber gelesen 
 hat, und sich wieder an ihn erinnert, wird er gross und maj estjitisch. Dann 
 glauben wir einen riesenhaften Geist Ossians zu sehen." — W. Menzel. 
 
 The subject of Ossian's influence upon Klopstock, were it to re- 
 ceive exhaustive treatment, would greatly exceed the space we can 
 allot to it in a general discussion of the effect that Ossian produced 
 in Germany, and we shall therefore confine ourselves here largely 
 to generalities and attempt only a broad sketch of Klopstock's atti- 
 tude toward the Gaelic bard. If we are to accept literally the 
 statement made by Klopstock in a letter to Gerstenberg,^ to the 
 effect that he did not adopt the mythology of his forefathers until 
 after the appearance of the "Lied eines Skalden " (1766), we 
 ought to begin our discussion with Gerstenberg. It appears, how- 
 ever, that Klopstock gave some attention to old Germanic history 
 and mythology previous to i766.''^ At any rate, he fell under 
 Ossian's influence two years before, and set the example to a num- 
 ber of others. It is doubtful whether Ossian of himself would 
 have had as strong an influence upon the so-called bards, had not 
 Klopstock given the necessary encouragement ; Gerstenberg' s ex- 
 ample alone could not have been expected to produce the same 
 results as that of the author of the Alessiah.^ Indeed, the influ- 
 ences that Ossian and Klopstock exercised upon the bards are in 
 many cases so closely interwoven, that a discussion of Ossian's 
 
 1 Cf. Letter of Nov. 14, 1771. Miincker, Lessings Verhjiltnis zu Klopstock, p. 224. 
 2Cf. Scheel, Vierteljahrschrift fiir Litteraturgeschichte, Vol. 6, pp. 18S-94; SeufFert, Gott, 
 gel. Anz., 1895, i, p. 72. 
 ■^Cf. infra, p. 120. 
 
 82 
 
83 
 
 influence upon the bards without a previous study of Klopstock 
 would be impracticable. 
 
 Two streams of poesy, proceeding from Hagedorn and Haller, 
 respectively, ran side by side in the middle of the i8th century, 
 the former bearing upon its surface the light, fantastic, Frenchified, 
 anacreontic poetry, the latter the more somber verse of Klopstock 
 and his pupils — this latter in the strain of Young's Nighi Thoughts.^ 
 The melancholy Ossian could be assured a cordial reception by a 
 poet like Klopstock, at the bottom of whose really healthy nature 
 there lurked something that had a little earlier responded to the 
 elegiac mood of Young — feelings that had been intensified by the 
 death of his dearly-beloved wife Meta (1758). This bereavement 
 cast a deep shadow over Klopstock, so much so that for several 
 years he wrote little poetry. Much of this time was spent in Ger- 
 many — he had been living at Copenhagen since 1753 — and it was 
 undoubtedly upon one of these visits to his fatherland that he be- 
 came acquainted with Ossian. Here was sustenance, indeed, for 
 the sentimental side of his nature, for his GefiUihschwdnnercl. 
 The dim forms of Ossian's heroes, the misty atmosphere of the 
 Highlands in Avhich they lived, were well calculated to cast a spell 
 over the author of the Messiah, whose own genius was not fitted 
 to delineate his characters with sharp, clear-cut lines. There is a 
 certain mistiness in Klopstock' s great epic that reminds one of the 
 shadowy atmosphere in which the heroes of the Ossianic epics are 
 enveloped. More than one passage in the Messiah conveys the 
 impression of representing little more than rhetorical bombast. 
 Macpherson was a kindred spirit. 
 
 This was, however, by no means all that Ossian held out to him. 
 He saw something in Ossian that he seized upon even more eagerly 
 — too eagerly, in fact — namely, he regarded Ossian as a German. 
 By this time Klopstock' s activity in the patriotic field had begun ; 
 religion no longer engrossed his entire attention. Barring Fred- 
 erick the Great, there were no glorious figures upon the political 
 stage, and Frederick's fondness for the literature of France was not 
 calculated to attract Klopstock, who hated the rationalistic poetry 
 of the French. Nor was the empire of the iSth century a political 
 organism to inspire the poet to patriotic effusions. A united 
 fatherland lay, however, in the dim and distant past, almost buried 
 
 ' Cf. Scheier, Gesch. der deutschen Litt., 7th ed., p. 643. 
 
84 
 
 ill oblivion, in the days of old, when Arminius and his mighty 
 warriors defied the power of Rome itself. And thither Klopstock 
 turned for inspiration. Tacitus was a good source for historical 
 data and in the tauious work of the old Roman historian mention 
 was made of the shouting of a battle-song by the Germani, a />aritiis 
 (^written inmiitus in some of the manuscripts).' Hence the term 
 ' ' bard ' ' was applied to those whose duty it was to incite the warriors 
 to battle by means of songs, and the songs themselves were called 
 by Klopstock Bardic ft-, a word he applied also to his last historical 
 dramas." Unfortunately these songs of the days of yore, for the 
 e.\istence of which Eginhard's statement was cited as authority, 
 were apparently lost : 
 
 Poch ach, verstummt in ewiger Xacht 
 1st Bardiet und Skofliod, und verhallt 
 Euer Schall, Telyn, Trioinb I Hochgesang, 
 Deinem sogar klagen wir nach.* 
 
 And now Ossian appeared upon the scene, the bard of bards, 
 who sang of the deeds of days gone by. Here was a source of 
 consolation, indeed. If Ossian had only sung the deeds of Arminius I 
 
 Although Fingal was no hero to be despised. Klopstock laments : 
 
 Und in oden dunkeln Trihnniern 
 Der alten Celtensprache, 
 Seufzen luir einige seiner leisen Laute.* 
 
 And this regret that only a few notes ha\e been handed down he 
 could not shake oft". We meet with it again and again, not only 
 in his odes, e. g., '' Unsre Sprache," but also in his letters, e. g:, 
 in an epistle to Denis, dated Copenhagen, Jan. 6, 1767, where he 
 says: " Ich bitte Sie, mich nicht lange auf Ihre Uebersetzung des 
 Ossian warten zu lassen. Ossian ist ein vortrefflicher Barde. 
 Wenn wir doch auch von unsern Barden irgend in einem Kloster 
 etwas fiinden 1" "' And in another letter to the same, dated Bern- 
 storff, Sept. 8, 1767, he writes: " Ossians Werke sind wahre Meis- 
 terstiicke. Wenn wir einen solchen Barden fanden ! Es wird 
 
 ' Cf. Tacitus de (."lermau. 3 : " Sunt illis haec quoque carmina. quorum relatu, queni baritum 
 (barditum) vocant . . ." Cvl Knothe, Kretschmann. Zittau, 1S5S, pp. 17-S. 
 
 - For different shades of meaning ot". Hermanns Tod, xv; Hermanns Schlacht Ein Bardiet. 
 Klopstock's note. 
 
 * Cf. Sponda, II. 9-12. 
 
 ■•Cf. Der Hiigel. luid der Hain. 11. 12-4. He refers here not to Ossian alone, but to Caed- 
 mon, ■• der grosste Dichter nach C^sian unter unsern Alten," the Heliand, etc. — seiner = the 
 songs of the bards of his fatherland. 
 
 *Cf. J. M. Lappenberg, Briefe von und an Klopstock. Braunschweig, iSp/, p. 164. 
 
85 
 
 mir ganz warm b^y diesem Wunsche." ' And when Denis informs 
 him of the discovery of the songs of the so-called Illyrian bards.-' 
 he can not conceal his delight, and writes from HcrnstoriT under 
 date of July 22, 1768: " Sie haben mir durch Ihre Xachricht, 
 dass noch illyrische Barden durch die Ueberlieferung existiren, eine 
 solche Freude gemacht, dass ich ordentlich gewiinscht hiitte, dass 
 mir Ihr Ossian weniger getallen hiitte, um Sie bitten /u konnen, 
 ihn liegen zu lassen und diese Harden zu iibersetzen." '' Though 
 the Poems of Ossian could not. then, fully compensate for the der- 
 man treasures that were lost, they offered a standard by which to 
 judge the character of the songs of the old Ciermani, and threw 
 light upon many old institutions. There was much false material 
 in Macpherson's various ]n-eliminary dissertations, which, unfor- 
 tunately, was accepted as gospel truth, even by men who might 
 have been credited with more critical acumen. And so when 
 Klopstock was in search of dress and historical material for his 
 />(//-,//>/(•, what more natural than that in painting the character 
 and custonis of the followers oi' Arminius, he should borrow here 
 and there from the picture of the ancient Celts as presented by 
 Macpherson?^ That Klopstock interested himself in the history 
 and manners of the ancient Caledonians, we see from a passage in 
 the letter to Denis, dated July 22, 1768, where he refers Denis to 
 John Macpherson's O/Z/ra/ Diss<rfafio/is r' "Ich vermuthe. dass 
 Sie einige Kleinigkeiten in Ihrer [Vorrede] zum C)ssian andern 
 werden," he writes, " wenn Sie Macpherson von den .Mtcrthiimcm 
 der Hochliinder gelesen haben werden." " 
 
 But what had Ossian to do with the old Germani ? We shall let 
 Klopstock answer in his own words: '* Und nun eine kleine nicht 
 iible Nachricht von meinen weidmiinnischen l.ustwandlungen in 
 den Waldern unsrer alten Sprachen, nach gethaner .\rbeit niimlich. 
 — Makpherson, der Retter des Barden Ossian (^ Ossnin 700/- Jciit- 
 scher Ahkiinff, 'icu-il er ein Ka/t'Jonitr nuir) ' wird mir. und wie 
 ich hoffe nun bald, die eisgrauen Melodien zu einigen lyrischcn 
 
 'Cf. /M/.,p. 17-'. 
 
 » Servian folk-songs. Cf. Talvj, Volkslieiier der Serben, 2U ei.1., Leipzig, 1S53. Preface. 
 sCf. Lappenberg. t>/>. c/V., p. 210. 
 
 ■•Cf. Muncker, Frietlrich Clottlieb Klopstock. Geschichte seines Lebens und seiner Schriften. 
 Stuttgart, 1888, p. 390. 
 
 oCf. Bibliography, siif-ra. p. 7. 
 
 ^Cf. Lappenberg, c/. cit. p. aio. 
 
 'Cf. Tacitus, Agric, 11. Cp. infra, p. 123. 
 
86 
 
 Stellen des grossen Dichters schicken. Mit Hiilfe dieser Melodien 
 •denk' ich das Sylbenmaass der Barden herauszubringen." ' An 
 epigram in the same tone appeared in the Hainbiirgische N'ciie Zei- 
 tiiiii:;, 1 77 1, No. 183, and was reprinted in the first edition of the 
 Gclchrteurepiiblik, although omitted in the second. It was entitled 
 ■" Gerechter Anspruch," and ran as follows : 
 
 Sie, deren Enkel jetzt auf Schottlands Bergen wohnen, 
 Die von den Romero nicht provinzten Kaledonen, 
 Sind deutschen Stamms. Daher gehort auch uns mit an 
 Der Bard und Krieger Ossian, 
 Und mehr noch als den Engellandern an. 
 
 We see, therefore, that Ossian was unceremoniously annexed by 
 Klopstock ; Celts and German! were all one to him,- he drew no 
 narrow distinctions, and not until late in life were his ideas on this 
 point clarified. We are not to suppose, however, that Klopstock 
 alone occupied this position. Far from it. The conceptions that 
 existed at the time as to the genetic relation of peoples and lan- 
 guages were rather hazy, to say the least. Klopstock' s intense 
 patriotism was a factor in preventing him from penetrating more to 
 the root of the matter. '* Die allgemein anerkannte und empfun- 
 dene Vortrefflichkeit dieser Gesilnge war es, " says a writer in the 
 periodical ^r^^t,''//;-,'' " welche . . . . die ziirtliche Vaterlandsliebe 
 einiger teutschen Worthies so weit entflammte, dass sie nicht nur 
 den Barden Ossian, well man bisher die Celten flir die Stammvilter 
 der Teutschen hielt und die altesten teutschen Dichter aus der 
 Heidenzeit nicht anders als mit dem Bardennamen zu beschenken 
 gewohnt war, zu einem Landsmanne von uns zu machen suchten, 
 sondern ihn auch wirklich machten. Unsere Viiter waren also 
 Celten, unsere dltesten teutonischen Dichter Barden." 
 
 But still another element of confusion made its appearance with 
 the introduction of Norse mythology. The warriors of Arminius 
 were not Christians, nor was their religion based. upon the my- 
 thology of the Greeks. They had a mythology of their own, of 
 which little was known. Fortunately the Old Norse Edda had 
 preserved a complete system of divinities, and so Arminius and his 
 
 ' Cf. Letter to Gleim, dated Copenhagen. June 31, 1769. Klopstock u. seine Freunde . . . 
 herausgegeben von Klamer Schmidt, 2 vols., Halberstadt, 1810. Vol. 2, pp. 214-5. 
 
 - Cf. Der Hiigel, und der Hain, 1. 4, where the term Celten is used to signify all the Germanic 
 peoples, ' including the Celts.' 
 
 3 Cf. Vol. 6, ii, p. 232 (1800). 
 
87 
 
 followers were constrained to pray to the Old Norse gods. Ferven ■ 
 patriots, who did not hesitate to adopt Ossian as a countryman, 
 could scarcely be expected to distinguish between Old Norse my- 
 thology and the mythology of the ancient Cherusci and Catti. 
 Now Ossian having once been stamped as of German descent, it 
 reciuired no great stretch of imagination to make Fingal and his 
 warriors forswear their allegiance to the Spirit of Loda and pray to 
 W'odanand his band, and vice versa to make Norse bards— skalds — 
 assume various characteristics of Ossian' s heroes. Ossian and the 
 characters of Norse mythology went hand in hand, and making 
 their appearance, as they did, about the same time,' confusion was 
 bound to arise. This confusion was particularly noticeable in the 
 writings of the first group of German poets that were influenced by 
 Ossian — of Klopstock and the bards — and played much mischief in 
 German literature for several years. Klopstock, not content with 
 introducing the Norse gods into his new poems, proceeded to 
 drive the residents of Olympus out of old ones and to replace 
 them by the dwellers in Walhalla. By the end of the year 1767 
 this process was completed. It is nowhere better illustrated than 
 in the ode now called " Wingolf," which was written in 1747 
 under the title "An des Dichters Freunde." In the first verse, 
 e. g., Hebe has had to make way for Gna and so on throughout 
 the poem.' It will be interesting to mention a few of the changes 
 occasioned by the appearance of Ossian. L. 4: " Feyernd in 
 machtigen Dithyramben," now reads : "Feyrendin kiihnerem 
 r.ardenliede." LI. 5-7 which originally read : 
 
 Wilst du zu Stiopheu werdeu, o Lied, oder 
 UnuiUervvurftg Pindars Gesilngen gleich, 
 Gleich Zevs erhabenen trunkenen Sohne, . . .^ 
 
 have been changed to : 
 
 Willst du zu Strophen vverden, O Haingesang ? 
 Willst du geselzlos, Ossians Schwunge gleich, 
 Gleich UUers Tanz auf Meerkrystalle, . . . 
 
 It is evident that these changes are confined to externals, as is also 
 the case when 1. 10, " Mit Orpheus Leyer," becomes ''Des Zelten 
 
 » The earliest impulse of any import toward the introduction of Norse mythology proceeded 
 from Gerstenberg's Lied eines Skalden (1766), which exerted a wide influence. For an account 
 of Klopstock's relation to the Lied eines Skalden. of. Scheel, Vierteljahrschrift, Vol. vi. 
 
 = Cf. Friedr. Gottl. Klopstocks Wingolf. Kritische Ausg. nebst Commentar von Jaro Pawel, 
 Wien, 1882 ; Kiirschner's Dtsche Nat.-Litt.. Klopstock, Vol. 3, pp. 4-29- 
 
 3 Bacchus. 
 
88 
 
 Leyer," or 1. 25, " Dein Priester wartet," is changed to " Dein 
 Barde wartet," and so on. As for Orpheus, the Thracians were 
 regarded by Klopstock as a tribe of the Celts, and so Orpheus be- 
 comes as much of a German bard as Ossian.^ Before we leave this 
 ode, let us glance at an example or two, showing how the machin- 
 ery of Ossian is thrown together with Norse mythology. LI. 45-9, 
 which originally read : 
 
 Aber geliebter, trunken und weisheitsvoll 
 Von Weingebiirgen, wo die Unsterblichen 
 Taumelnd herumgehn, wo die Menscheii 
 Unter Unsterblichen Gotter werden. 
 
 were changed to : 
 
 Allein geliebter, wenn du voll Vaterlands 
 Aus jenen Hainen komst, wo der Barden Chor^ 
 Mit Braga singet, wo die Telyn 
 Tont zu dem Fluge des deutschen Liedes. 
 
 or 11. 209-12 : 
 
 Oder, wie aus den Gotterversammlungen 
 Mit Agyieus Leyerton, himmelab, 
 Und taumelnd, bin auf Weingebiirgen, 
 Sazungenios Dithyramben donnern ! 
 
 which have become : 
 
 Wie aus der hohen Drilden Versammlungen, 
 Nach Braga' s Telyn, nieder vom Opferfels, 
 Ins lange tiefe Thai der Waldschlacht, 
 Satzungenlos sich der Barden Lied stiirzt ! 
 
 Klopstock notes with reference to the word 7>/y// .• " Die Leyer 
 der Barden. Sie heisset noch jetzt in der neueren celtischen 
 Sprache so, die am Meisten von der alteren behalten hat. ' ' The 
 term has replaced Lcicr a\so in the odes "Thuiskon," 1. 13, "Die 
 Barden," 1. 2 ; it occurs in 11. 62 and 123 of the ode " Der Hiigel, 
 und der Hain," 1. 14 of "Die Barden," in the Hennannsschlacht, 
 in Hermann und die Fiirsteu, etc. The introduction of this Celtic 
 word goes back directly to the study of Celtic to which Klopstock 
 was incited by the poems of Ossian. Moreover, it is not the only 
 word he borrowed in this way. In "Die Barden," 1. 14, he 
 
 ' Cp. Die deutsche Sprache, 1. 26 : " Orpheus der Ceh." 
 
 2 When Klopstock speaks of the songs of the bards, he does not refer particularly to the songs 
 of Ossian, but rather to the German hero-songs and battle-songs. He used the term in this sense 
 before the songs of Ossian appeared. 
 
89 
 
 speaks of the Telyn of our Filea, and explains the latter term in a 
 note as " Die vortrefflichsten unter den Barden, welche die jungeren 
 unterrichteten." ^ Another Celtic word that he introduced is Bar- 
 dale, which he defines as follows : " Von Barde. So hiess in uns- 
 rer alteren Sprache die Lerche. Die Nachtigall verdient's noch 
 mehr, so zu heissen." Klopstock applied the word also to the 
 nightingale, but in the ode '' Die Lerche unci die Nachtigall" he 
 uses it for the lark, a symbol of the song of nature, in contradis- 
 tinction to the nightingale, whose song is more artificial. The ode 
 "Bardale," written in 1748, was originally entitled "Aedone " ; 
 it was first published under the simple title "Ode" in the Ver- 
 mis elite ScJiriften von den Verfassern der Bremiseheti Beitrdge, i, 
 P- 37S (1749)- Although these terms are employed occasionally 
 by Klopstock's imitators and others," they never became popular 
 and soon died out altogether. 
 
 Klopstock was an earnest student of versification and nothing 
 could have given him more pleasure at one time of his career than 
 the discovery of the poetical measures of the ancient Germani. 
 The appearance of Macpherson's Ossian in a prose garb, welcome 
 as it was to some, must have come as a cruel disappointment to one 
 who was so anxious to be enlightened as to the nature and struc- 
 ture of the meter of the Ur-Germanic bardic songs. This disap- 
 pointment finds expression in the ode ' ' Der Bach, ' ' where he 
 
 sings : 
 
 Der grosse Sanger Ossian folgt 
 Der Musik des vollen Baches nicht stets. 
 
 If Klopstock had only lived to see Ahlwardt's translation from the 
 so-called Celtic originals, he would have had at least a partial 
 recompense. As it was, all he had to go by was the original (?) 
 of the sixth book of " Temora ' ' and that did not give him much in- 
 formation as to the exact structure of the verse he sought. He 
 therefore entered into correspondence with Macpherson, as we saw 
 above ^ in the letter to Gleim. The intensity of his interest is well 
 
 ^ Cf. Klopstocks Oden. ErHiutert von Heinrich Dlintzer. 2d ed., Leipzig, 1878, i, p. 392. 
 
 = Baggesen wrote a bardic ode. An die Telyn, pp. 171-3. Taschenbuch for 1802. Hgbn von 
 J. G. Jacobi, Hamburg. Haschka employs the term in Der Entschluss der Manninnen, Litt. 
 Monate, pp. 111-3 ; Bardale he uses in the poem Der Friihiing, /. c, p. 314. and Filea in the Ge- 
 burtslied, /. c, p. 311 (cp. infra, pp. 149-50). Bilfinger, in the bardic poem entitled Hart- 
 manns Tod, speaks of the " Klang der Telyn, "Almanach der deutschen Musen for 177S, p. 255. 
 Friedrich Krug von Nidda speaks of the Telyn in his poem Der Feldherrund der Barde, Taschen- 
 buch zum geselligen Vergniigen, 1813, p. 119. Cp. infra, p. 147. 
 
 ^Cf. supra, p. 85. 
 
*)0 
 
 illustrated by a tow epistolary jwssiiges. He writes to Denis under 
 date ot' July 22, 1708 : ** li\ dem Celtischeu war ioh auch schon 
 /iemliol^ weit. aher es erklart uns niohts : und da liess ichs. Ihnen 
 ins Ohr. Maoj^horson (^nut doni ioh corresix">ndire), versteht cnt- 
 woder (.'•ssians Quantitat. oder das Syll>eumass iiberhanpt nicht 
 gcnug. \\"enn Sie mir wahrscheinlich maoheji konnen. dass die 
 illyrischen Rinien wenig^teiis halbe IVutsche waren. so l>ekonimt 
 dor I'eberj^et/er einen sohweivn Stand mit mir. wenn er falsoh. nur 
 oin wenig talsoh iibersei/t.*" ' Again, he writes to Kl>ert on May 
 5. 1760: *• Wonn mir Ntaophersou Wort halt; so bekomme ich 
 oinige alte Molodien naoh (.'^ssian. in uusix^ Noten gese/t ; und so 
 kann ioh auoh vielleioht etwas nioht unw;\hrsoheinliohes von dem 
 Rhyihmus der R»n.leu s;igen. " • It api^^ear^, however, that lie g>3t 
 but little help from the material that Maopherson sent him. and so 
 ho takes his rovpiest to Angvlioa KautVmann, ^ who resided in l.oi\- 
 don at the time. He writes to Gleim from BernstorfF, Sept. 3, 
 I70Q : ** Ioh bin soit Kiuvem ii\ eine deutsohe Malerin in London. 
 Angx^lika Rautmann. beinaho vorliebt. Sie hat einen Rriefweoh- 
 sel mit n\ir angvtangen, und will mir sehicken: einen Kopt 
 iVsians naoh ihrer Phantasie. ihr Portrait und ein iVmalde aus 
 dem Messias." * Their oommon admiration for l^ssian was no small 
 footer in oen\enting the friendship between the poet and the artist. 
 l*i>.tortunately nothing oan\e of the portrait of Ossian.'^ and hence 
 wo are lett in the vlark as to the artist's ooiueption of the Voice of 
 Cona and as to how her oonceptioi\ would have coincided with 
 Klopstook's. On March ^^. 1770. Rlol^stook wkho to Angelica 
 from Ooi^enhagxMi ; '* Ronnten Sie nicht in Kdingburgh. oder .-^uch 
 weiter hinauf gx^gxM\ Xorvien, durch HiUfe Ihrer Fr^nnde, einen 
 Musikus aut\reilHn\. der mir die Melodien soloher Stellen im C'^ian, 
 die vor/iiglich lyrisch sind, in unsere Noten set7te,*' etc. * Xoth- 
 ing could l>etter illustrate Kloi>stock's profound it\ter^st in the sub- 
 ject than the i\\ss;\gvs just vpiote\l, At\er this we hear nothing 
 further of the matter, and must conclude that Rlo^^slock's hoj"»ed- 
 tor assistance trom this quarter proveti illusory. What wer^ Klop- 
 st^xk's conclusic»ns with reference to Ossian's meter, we are told 
 
 ^ Of. lAj>v><<nV<*$. vy. .:>., IV *»». 
 
 *Ct", jAm\. jv mS. 
 
 *M*ri« .\t^s«lK)tt« 0«t>«ri«<' K«uAmAnn. j»4t-i$^>-. tl»e Swiss l«fe*o«c*i *i»vi po«r»>t pAUMer 
 
 ♦ I. f. KKN^vstivk »«>d ««»«><■ VYuhkW, YcJ. t. jv eeSs 
 
 * or, I «wr o»" KK>ps»vvk iv> v»W»\. IVnvsKtfir. .\\vs- «S. trja. /. <\, p. 6*r- 
 *oY, I *vV*<^'^*"f$« <^ ■>"'*'-• W *«*»-?. 
 
in one o( liis ossavs on tho Cionnan hoxaniotor. vi/.. ho thonght 
 that Ossian's nuMor ronsislcd o( a mixture ol" narrativo \xm-so.s of 
 his own in\ontion and other lyrical vei'ses answering to iho sense.' 
 0( ooui-se C^ssian's value for Klopstoek lay in the tact that he sup- 
 posedly san>; in natural nieknlies and was not haniperetl hv artifieial 
 nie;isures. 
 
 At the height of his enthusiasm for t)ssian, Klopstoek deemed it 
 no sacrilege to place the C\Mtic bard alongside of Homer, in accord- 
 ance with the popular practice o\' the day." In a letter to Oenis, 
 Ivlojistock writes tVom Copenhagen uniler ilate of .Vugust 4, T767 : 
 " leh liebe Ossian so sehr, dass ich seine Werke iiber einige (uie- 
 chische der besten Zeit setze." ^ In the first edition o\ the (/.-.V',' - 
 ti'ivrpublik (1774) ajipeared the following epigram, which is a strik- 
 ing illustration c^f Klojistock's quoihhxni supreme admiration lor 
 
 C)ssian : 
 
 W\ ■g\w^-f\ dor Soluiiihoit Uahn. 
 Sohii fingals, Ossian ; 
 Sic ijinj^ Miloniilcs Homer : 
 Wor that ilor Sohrittc mehr ?■• 
 
 Similarly he sings in the ode " Tusrc Sprache " k\\. }^;}s-':>o) : 
 
 Pic X'oigessenheil umhiillt', o Ossian, auili liioh I 
 Dich luihon sic horvor, und du stohest nun da I 
 Cileicliest dich deni tiiioohon 1 trotzost ihiu ! 
 Und fragst, ob wic du or enttlannnc den liesang ? 
 
 Vol! Gedankon aut" dor Stirne hiiret' iln\ .VpoU. 
 Und spvaoh nioht ! und golchnt aufdio IhulV Wallialls 
 Stellt sich vor Apollo Uragor bin. 
 I'nd liiobolt, und solnvoi^ot. und /iirnol nioln aut ihn. 
 
 The first four verses of this eulogy because very popular among (Os- 
 sian's numerous admirers, and we find them occasionally prefixeil 
 to (icrman translations. The)- are also quoted by IVnis in his 
 \'orberieht ' to the I.icder Siiuuis ( 1 7 7 j ) . 
 
 Let us now briefiy eoitsider Ossian's infiuence upon Klopstoek 
 as it appears in some of his works. Or. Julius Koster in his Pto- 
 gnimiii Ucbcr Klopstocks Glcichnissc (^Iserlohn. 1878"). fixes the 
 
 ' Cf. Vom deiuschen Hexameter. .\>is den Knismcnion t'ebei- Sprache uiul Diihtkiinst. 
 Hamliurs, 1779. pp. 117-9. Klopstocks s;imimlu-he Werke, ed. IV-tcku. Spindlcr, l-cipzi.n', 1833-30, 
 Vol. 15, pp. idj-ti. 
 
 '^Cp. sit/'m, pp. 71, 78-0 
 
 3 Cr. Retzer, Denis Lit. Nachlass, tSoi-j, Vol. 2. p. iiO. 
 
 *Cf. GclehrteniepuWik, p. 17S. 
 
 »Cf. iixiii. 
 
92 
 
 beginning of this influence altogether too late. He says: " Os- 
 sian hat erst Ende der sechziger Jahre auf Klopstock wirken konnen, 
 weil er in Deutschland erst um jene Zeit durch die Uebersetzung 
 von Denis bekannt wurde. ' ' We have seen, however, that notices of 
 Ossian had appeared in Germany as early as 1762 and that several 
 translations were published before that of Denis, although to be 
 sure, Denis's was the first that attracted widespread attention. 
 Klopstock, who of course had become acquainted with Ossian long 
 before the appearance of Denis's translation, took a warm interest 
 in the translator's work, as is evidenced by the correspondence that 
 passed between the two. Klopstock had seen bits of the transla- 
 tion before it was published ; under date of Sept. 8, 1767, he writes 
 to Denis from Bernstorff: " Sie werden am Ende dieses Briefs 
 einige Ausdriicke finden, mit denen ich in Ihrer Uebersetzung des 
 Ossian und in Ihrer Ode weniger als mit den andern zufrieden 
 bin." ' It has been pointed out," that the earliest translations all 
 emanated from North Germany, from Bremen, Hamburg, and Han- 
 nover, and they wxre consequently very liable to fall into Klopstock' s 
 hands. Besides, there is no reason why he should not have read 
 Macpherson's poems in English, a copy of which he would have 
 had no difficulty in procuring on one of the frequent visits made 
 to Germany between the summer of 1762 and July, 1764. Klop- 
 stock had begun the study of English as a youngster at school, and 
 although he, like so many other German literati of the day, like 
 Lenz, for example, never obtained a complete scientific mastery of 
 the language, he would have experienced little difficulty in constru- 
 ing Macpherson's short, simple periods. Be that as it may, there 
 can be no doubt of the fact that Klopstock became acquainted with 
 Ossian as early as 1764, for the simple reason that some of the odes 
 written in that year show plain traces of Ossian' s influence. 
 
 In all attempts to arrive at an exact estimate of Ossian's influence 
 upon Klopstock, one difficulty will always be encountered, a diffi- 
 culty based upon the fact that both the language of Macpherson and 
 that of Klopstock rest in large measure upon the same founda- 
 tions : the Bible, Homer, Milton, Latin poets. Malcolm Laing in 
 his "Dissertation"'' gave innumerable examples of Macpherson's 
 borrowings, and although he undoubtedly went a little too far, it 
 
 1 Cf. Lappenberg, op. cit., p. 171. 
 
 * Cf. supra, p. 81. 
 
 ^Cf. History of Scotland. London, i"30o. 
 
93 
 
 can not be denied that many of his conclusions are true. The 
 greatest care has, therefore, to be exercised in attributing anything 
 in Klopstock to Ossian, for the chances are that the F3ible, or Mil- 
 ton, or Homer, or Horace, or some other classical poet, is the com- 
 mon source from which both drew.^ For instance, Macpherson is 
 fond of comparing the voice or song to a stream, but were we to 
 attribute Klopstock's lines : 
 
 So floss der Waldstrom hin iiach dem Ozean: 
 So fliesst mein Lied audi, stark und gedankenvbll. 
 
 to Ossian, we should be led astray, for Klopstock's source was un- 
 doubtedly Horace, Odes, iv, 2, 11. 5-8, where he speaks of the 
 songs of Pindar : 
 
 Monte decurrens velut amnis, imbres 
 Quem super notas aluere ripas, 
 Fervet immensusque ruit profundo 
 Pindarus ore. 
 
 The large majority of Klopstock's comparisons are taken from 
 nature and so are Ossian' s: comparisons with the moon and the 
 stars, dusk and night, clouds and mist, wind and storm, etc., etc., 
 all are found in Klopstock even before Ossian appeared ; indeed, 
 the resemblance of the language of Klopstock to that of Ossian, 
 even in the early songs of the Messiah, especially as far as the 
 imagery is concerned, is striking. The same accumulation of 
 comparisons is of course foimd in Homer. Koster '-' again and again 
 notes passages from Ossian where an influence proceeding from him 
 is absolutely out of the question, not only in connection with the 
 early songs of the Messiah, but also with reference to odes written 
 before 1764, e. g., he refers to Ossian in connection with the line 
 "Laura war. . . . Schon wie ein festlicher Tag," in the ode 
 " Petrarka und Laura " (1. 61). But this ode was written as early 
 as 1748 and consequently Ossian can not be held responsible. 
 When Klopstock in the " Klagode " sings (11. lo-ii): 
 
 Wie Gras auf dem Felde sind Menschen 
 Dahin, wie Blatter ; . . . 
 
 we can of course point to a resemblance in Ossian, " Lathmon," 
 p. 271, 1. 20 : "We decay like the grass of the hill," or " Ber- 
 
 ^ Gerstenberg was sagacious enough to notice Macpherson'? borrowings and upon this convic- 
 tion he based his first scruples as to the authenticity of the poems. Ct". infra, p. 105. 
 - Cf. op. cit. 
 
94 
 
 rathon," p. 382, 1. 3: "Like the leaves of woody Morven, 
 they pass away," but at the same time we must not forget that 
 similar comparisons occur in the Psalms and in Homer (<?. ^., Iliad, 
 vi, 11. 146-S). Likewise we have the comparison of man's perish- 
 ableness to the short life of a flower in Hermann uiui die Fi'irsten, 
 Sc. 14: " Vor dem Triumphwagen werd ' ich wie eine Blume 
 hindorren," and also in Ossian, " Croma," p. 178, 1. 18: "They 
 fall away, like the flower," etc., but compare/*;;/^, 14, 2, Psalms, 
 103, 15-6, etc. Enough examples have been cited to convince one 
 of the fruitlessness of attempting to draw sharp lines in the treat- 
 ment of our subject. Of this we may be certain : One reason why 
 Ossian appealed so strongly to Klopstock was, that he found here 
 so much that was familiar to him from his own reading and writing. 
 Having thus far regarded the question mainly from a negative 
 standpoint, it now remains for us to give some examples of a 
 positive influence. Ossian's influence upon Klopstock is visible 
 particularly in the odes written in 1764, 1766 and 1767, and in 
 the first Bardiet, Die HermannsschladU, although traces appear in 
 the later odes and Bardiete. Doubtless a closer examination of the 
 language of the later books of the Messiah would also reveal the 
 influence of Ossian. Salomo contains an Ossianic reminiscence or 
 two, but nothing that can be distinctly localized. Klopstock's un- 
 bounded admiration for Ossian really did not last much over a dec- 
 ade and the old bard's influence gradually diminished, just as 
 Klopstock's fondness for Norse mythology grew less and less 
 pronounced. By the time he began to turn his attention to the 
 French Revolution, both Ossian and the Norse divinities appear 
 more like a memory of the days of old. The year 1764, in which 
 Kloostock probably first became acquainted with Ossian, marks the 
 beginning of a period of renewed activity in the field of the ode, 
 and I am inclined to conclude that Ossian's appearance helped to 
 further that activity. The influence of Norse mythology upon the 
 works of Klopstock manifests itself largely in externals ; similarly 
 does that of Ossian. Klopstock borrowed much from the bardic 
 machinery, just as he did from that of the Norse gods, without at 
 the same time entering very deeply into the spirit of Ossian. Li 
 fact, he did not need to, for much of what he found in Ossian was 
 not foreign to his nature. That we are justified in placing Klop- 
 stock's acquaintance with Ossian as far back as 1764 needs no 
 
95 
 
 further proof than a reference to the ode " Der Jiingling " written 
 in that year, in which the poet treats the theme of the perishable - 
 ness of youth, a subject upon which Ossian loved to harp. In- 
 deed, Klopstock's poem is directly based upon Ossian' s reflections 
 on youth in "The War of Inis-Thona," p. 203, 11. 1-5.' The 
 entire dress of the poem is Ossianic. 
 
 It strikes us as rather savoring of Ossian, when nature is allowed to 
 take on a dimmer, mistier aspect in the new form of the ode " Win- 
 golf," e. g., in 1. 196 " wallenden Opferrauche " is changed to 
 " schweigenden Dammerungen ; " 
 
 11. 269-71 : 
 
 Er sprach's. Izt seh ich uber den Altar her, 
 Auf Opferwolken, Schlegeln mit dicht'rischen 
 Geweihten Lorbeerschatten kommen, . . . 
 
 become : 
 
 Er sang's. Jetzt sah ich fern in der Dammerung 
 Des Hains am Wingolf Schlegeln aus dichtrischen 
 Geweihten Eichenschatten schweben, . . . 
 
 Dark, dim, distant, dusky, far, misty, silent are epithets that con- 
 tinually occur in Ossian, over whose distant groves of oaks pours 
 the mist in which ghosts hover. The last three lines quoted cer- 
 tainly present a much more Ossianic picture as they now stand than 
 they did in the original version. 
 
 In the ode "Hermann" (1767), three bards are introduced 
 lamenting the death of Arminius. An Ossianic chord is struck at 
 the very beginning, when Werdomar, the chief of the bards, sings, 
 
 11. 1-2 : 
 
 Auf diesem Steine der alternden Moose, 
 
 Wollen wir sitzen, o Barden, und ihn singen. 
 
 The peculiar expression "Steine der alternden Moose " reminds 
 us of the moss of years that covers most of Ossian's stones.' Other 
 slight reminders of Ossianic description occur throughout the ode. 
 The bards in Ossian occasionally exercise the power of looking 
 into the mirror of the future. So in the ode " Weissagung " (i7 73)> 
 the poet seizes the Telyn and prophesies ; likewise in the ode " Die 
 Rosstrappe " (1771) ;'' in both, however, the sacred white horses 
 mentioned by Tacitus, but not found in Ossian, play a part. 
 
 1 Cf. Vetterlein, Klopstocks Oden und Elegieen, 3 vols. Leipzig, 1827-8. Vol. 2, p. 106. 
 after whom DUntzer, oJ>. cit., Vol. i, p. 349. 
 
 2 Cp. "bemoste Steine," Hermannsschlacht, Sc. 2, and Ossian's continually recurring 
 
 " mossy stones." 
 
 3 Cp. infra, p. 127. 
 
90 
 
 A frequent device that -.ve find in Klopstock, especially at the 
 height of his enthusiasm for Ossian, is the conjuring up of the spirits 
 of the departed. Doubtless the songs of Ossian, in which the ghosts 
 of the fallen play such an important role, inspired Klopstock with 
 a fondness for this device. We must hold Ossian accountable, for 
 example, when in the ode " Thuiskon " (1764) the hoary ancestor 
 of the German people is made to appear in the grove of the modern 
 German bards. Similarly an old bard is conjured up in the ode 
 " Der Hiigel, und der Hain " (1767) ; in the ode " Rothschilds 
 Graber " (1766) the souls of the departed appear to the poet, and 
 spirits that hover around Braga or the goddess of the German lan- 
 guage occur frequently in the odes of the period that coincides 
 with Klopstock's most intense interest in Ossian.^ 
 
 The influence of Ossian is particularly manifest in the first of the 
 odes mentioned in the previous paragraph, in " Thuiskon." We 
 have but to read the ode and for comparison the " Address to the 
 Evening Star " and the " Apostrophe to Fingal and his Times " in 
 " The Songs of Selma, "■ to notice the resemblance. The time of 
 the ghosts' appearance in both is at the rising of the evening star, 
 which in "Thuiskon" sends down " entwolkte Schimmer," while 
 in Ossian it " lifts its head from its clouds. ' ' Compare also 11. 5-6 : 
 
 So enlsenket die Erscheinung des Thuiskon, wie Silber stiiubt 
 Von fallendeni llewasser .... 
 
 with " Fingal comes like a watery column of mist."" 
 
 Another ode of the same year, "Die friihen Graber" (1764), 
 shows undoubted traces of Ossian' s influence. The entire Sfim- 
 luiing is Ossianic and Ossianic touches are not wanting, as when 
 the poet says, 11. 9-10 : 
 
 Ihr Edleren, ach es bewachst 
 Eure Maale schon ernstes Moos ! 
 
 The poems of Ossian teem with laments for the departed, whose 
 graves are marked by stones, grown over with moss. The danger 
 of referring everything in Klopstock that savors of the Gaelic bard 
 to Ossian has been pointed out, yet Ossian undoubtedly accentuated 
 and brought into stronger relief much that already existed. 
 
 1 Cf. Munckei, <>/. cit.. p. 3S4. 
 "Cf. p. 20S, 11. i-iS (Tauchnitz). 
 »Cf. The Songs of Selma, p. 208, 1. 13. 
 
97 
 
 Klopstock's characterization of the songs of the bards given in 
 11. 33-40 and 77-84 of the ode " Der Hiigel, und der Hain " is 
 based largely upon his knowledge of the poems of Ossian which 
 were supposedly further removed from the limitations of art and 
 closer to nature than the poems of the Greeks. 
 
 The description of natural scenery and the comparison at the 
 beginning of the ode "Aganippe und Phiala " (1764) reminds us 
 strongly of Ossian, who was very fond of permitting several i7s's 
 and so's to follow one another in his comparisons, a trick that was 
 widely copied later in the imitations of Ossian and carried to ex- 
 cess. 
 
 LI. i-io : 
 
 Wie der Rhein im hoheren Thai fern heikommt, 
 Rauschend, als kam" Wald und Felsen mit ihm, 
 Ilochwogig erhebt sich sein Strom, 
 Wie das Weltmeer die Gestade 
 
 Mit gehobner Woge bestiirmt ! Als donnr' er, 
 Rauschet der Su-om, schaumt, fliegt, stiirzt sich herab 
 Ins Blumengefild, und im Fall 
 Wird er Silber, das emporstiiubt. 
 
 So ertont, so stromt der Gesang, Thuiskon, 
 Deines Geschlechts . . . 
 
 Compare, i'. g., " Fingal," Book i, p. 221, 11. 4-10 : 
 
 " As rushes a stream of foam from the dark shady deep of Cromla, when the 
 thunder is travelling above, and dark-brown night sits on half the hill ; through 
 the breaches of the tempest look forth the dim faces of ghosts : So fierce, so vast, 
 so terrible rushed on the sons of Erin. The chief, like a whale of ocean, whom 
 all his billows pursue, poured valour forth as a stream, rolling his might along the 
 shore ' ' 
 
 Ossian is full of long comparisons, with several dependent 
 clauses,^ and loves to heap up adjectives. Although the comparison 
 of song to a stream frequently occurs in Ossian, we have seen - that 
 it would be unsafe to attribute Klopstock's use of the comparison 
 to Ossian, in fact, we find comparisons of the voice to a storm 
 pouring down from the hills in the early books of the Jl/essur/i, 
 and of course in classical poetry. 
 
 Another example of the nature of Ossian's influence upon Klop- 
 stock, its power to strengthen existing conceptions, is offered by 
 his use of the oak in comparisons. Koster' remarks, that Klop- 
 
 ' Cf. Fingal, Bk. ii, p. 231, 11. 10-12, Bk. iv, p. 249, 11. 11-6, 24-7 ; Teinora. Rk. iii, p. 326, 11. 
 28-32, Bk. viii, first 9 11., p. 361 ; etc., etc. 
 ^ Cf. supra, p. 93. 
 3 Cf. ('/. cii. 
 
98 
 
 stock's numerous comparisons to the oak are all found in his later 
 dramas, none in the Messiah. The oak, which Klopstock was so 
 fond of regarding as the national tree — die deutsclie EicJie — was as 
 much at home in the highlands of Scotland as in the primeval 
 forests of Germany, and according to Ossian occupied just as high 
 a place in the minds of the Caledonians as in those of the Germani. 
 The grove of oaks, the Hain, came to bear the same relation to 
 bardic poetry that Hciicou, the Hi'/gei, bore to Greek poetry. It 
 must have pleased Klopstock to find these groves of oaks so fre- 
 quently mentioned in Ossian, in "The Songs of Selma," e. g.,^ 
 and without a doubt Ossian 's numerous comparisons to the oak 
 had an influence upon Klopstock. In the HermannsscJilacht, Sc. 6, 
 e. g., he says: " • • -so stiirzt' er in sein Blut, wie die junge, 
 schlanke Eiche der Donnersturm bricht." Compare "Temora," 
 Bk. iii, p. 328, 11. 25-6 : " Like a young oak falls Tur-lathon ; " 
 " Carthon," p. 163, 1. 20 : "There he lies, a goodly oak, which 
 sudden blasts overturned I" etc., etc. 
 
 Klopstock borrowed a name from Ossian and employed it freely 
 in his odes, Selma, the name of the royal residence - of Fingal. He 
 grew quite fond of the euphonious name, used it to apply to a girl, 
 coined a corresponding masculine form Selinar, and out of the two 
 made a pair of ideal lovers. Vetterlein " many years ago suggested 
 that the names might have been taken from Se/iiii and Seliina, names 
 given by Prevod to a pair of tender lovers in the Afentoires d' nn 
 homme de qitalite ; ^ but no one of the present day would subscribe 
 to that opinion. Had he kept the name of the maid in " The Songs 
 of Selma," Colnia, he would have been induced to call her lover, 
 whose real name is Saigar, Colniar, and that would have led to 
 confusion with the Ossianic hero of that name. The ode " Selmar 
 und Selma," written in 1748, was originally entitled " Daphnis und 
 Daphne." About the same time that the change of names took 
 place, another ode was written with the title "Selma und Sel- 
 mar " (1766), in which the lovers promise that the first to die will 
 appear to the other. This is a fancy that we frequently meet in the 
 latter half of the iSth century, and it found nourishment in Ossian. 
 The name Selma occurs furthermore in the ode " Die Erscheinung " 
 
 1 Cf. p. 212, II. 15-6 (Tauch.). 
 
 ^ Not the country, as Muncker and others. 
 
 3Cf. op. cit.. Vol. I, pp. 137-8. 
 
 *Cf. Vol. 2, pp. 90-1. 
 
99 
 
 (i777). and Selma and Selmar are the two ideal lovers in the ode 
 "Das Biuidniss," as late as 1789. The combination grew to be 
 quite a popular one, and so we find " Elegien von Selma und Sel- 
 mar " in Kosegarten's Thr Line n und Wonnen (Stralsund, 1778), a 
 poem " Selmar und Selma " by Friedrich Stolberg ^ that shows the 
 influence of Ossian, another Ossianic poem of the same title dedi- 
 cated to Christian Stolberg,'- and many more. The popularity of 
 the name Selma was still further increased by the translation of 
 "The Songs of Selma " that appeared in Werthers Leiden. 
 
 The Hermannsschlacht and the larger part of Hermann und die 
 Filrsten were written at the height of Klopstock's enthusiasm for 
 Ossian and we shall not search in vain for signs of the bard's influ- 
 ence in these dramas, particularly in the former. One of the most 
 important and striking constituents of these dramas are the songs of 
 the bards, interspersed throughout, which are thoroughly Ossianic 
 in tone and spirit. Klopstock's bards, like those of Ossian, en- 
 courage the warriors to battle, proclaim the fame of the mighty; 
 they tell of the deeds of the past, and when they sing: " Horet 
 Thaten der vorigen Zeit," we recall Ossian' s " tales of the times of 
 old," or his " deeds of other times." The three choruses in Sc. 3 
 of the HerniannssclilacJit beginning with this exhortation are all 
 decidedly Ossianic, e. g.: 
 
 Horet Thaten der vorigen Zeit ! ^ 
 
 Zwar braucht ihr, euch zu entflammen, die Thaten der vorigen Zeit nicht, 
 Doch tonen sie eurem horchenden Ohr 
 
 Wie das Sauseln im Laube, wenn die Mondennaeht glitnzt.* 
 
 Compare Messiah, xx, 11. 495-9 • 
 
 Jetzo schwieg der Gesang ; doch tonete fort der gehauchte 
 Hall, und die Saite. So tonet der Hain, wenn wait in der Feme 
 Strome durch Felsen stiirzen ; und nah von den Bachen es rieselt : 
 Wenn es vom Winde rauscht in den tausendblattrigen Ulmen. 
 
 Ossian has numerous comparisons to wind and storm, breeze and 
 blast and gale, in much the same tone, for instance the following, 
 
 ' Cf. Deutsches Museum, 1782, i, pp. 165-8. 
 
 ° Cf- /. c, 1782, ii, pp. 389-95. 
 
 3 Cp. 1. 50 of the ode Kaiser Heinrich (1764) : " Dein ist der Vorzeit edler Gesang ! " etc. 
 
 ■t The first edition had a chorus in the second scene corresponding to the one cited, e.xcept that 
 the last line read : " Wie die Fruhlingsluft in der Eiche," and a stanza by two bards in the third 
 scene beginning : 
 
 Ihr Sohne Thuiskon's, der Bardengesang 
 
 Schweigt von den Schlachten der lang vergangnen Zeit. 
 
 iLofC. 
 
100 
 
 "Berrathon," p. 379, 11. 1-3 : "As the noise of an aged grove 
 beneath the roaring wind, when a thousand ghosts break the trees 
 by night." After the bards have finished in the second scene, first 
 edition, Siegmar exclaims : " Das war gut, Barden, dass Ihr von 
 den Thaten unsrer Vater sangt ! " Compare : " . . sing nun dem 
 Heere von den Thaten seiner Vater." "Lathmon," p. 272, 11. 
 7-8 : " Their words were of the deeds of their fathers," etc. 
 When the bards in Sc. 2 sing : 
 
 Die Rader an dem Kriegeswagen Wodans 
 
 Rauschen wie des Walds Su-ome die Gebirg' herab ! 
 
 we are reminded of the car of Cuthullin in the first book of " Fin- 
 gal " and of Ossian's roaring streams that pour down the hills. 
 Compare Hennaun und die Fiirsfe/i, Sc. i : 
 
 Hermann stritt. 
 So stiirzt von dem Gebirg herab 
 Mit heulendem Sturme der Winterstrom 
 Und breitet ringsum aus in dem Thai die herrschenden Wogen. 
 
 To liken a host of warriors unto a ' gathered cloud ' or a ' ridge 
 of mist' is a favorite device of Ossian, and similarly in Sc. 2 of the 
 
 Hei'maimsschlacht,'' two choruses sing : 
 
 . . . Da zogen wir Deutschen uns 
 Zusammen gleicli einer Wollve. 
 
 And in the third scene a bard remarks: " Sie ziehn sich, wie ein 
 dicker Nebel, langsam in den Vorderbusch." And when the bards 
 sing in the second scene : 
 
 Weit halle dein Schild ! dein Schlachtruf tone, 
 Wie das Weltmeer an dem Felsengestade ! 
 
 or in the first edition : 
 
 Wie ein Donnersturm in dem Felsengebirg ! 
 we can point to Ossian's shouts that are " louder than a storm " or 
 like "thunder on distant hills." 
 
 " Die Fianime des gerechten Zorns, '.' Hermaniissclilachf, cho- 
 rus, Sc. 3, calls up Ossian's 'flame of wrath,' but undoubtedly 
 the Bible is the source of both. 
 
 In Sc. 6 we have the following lines : 
 
 Seht ihr nicht auf der Mondglanzwolke 
 An der Eiche Wipfel, 
 
 Eure Briider schvveben, und em"e Vater? 
 
 Sie blicken auf euch herab. 
 
 'In the first edition onlv. 
 
101 
 
 Similarly in Ossian the ghosts of the fathers that float on clouds 
 look down upon the warriors. 
 In Sc. II two choruses sing : 
 
 VVie des Wiederhalls in der Sommeniacht war seines Schildes Ton, 
 Wie des vollen Mondes der Glanz I 
 
 and so '' Carric-Thura," p. 151, 1. 27, "That shield like the full- 
 orbed moon," etc., and echoing shields without number. 
 
 One striking feature of the Highland scenery according to Ossian 
 is the fact that everything — forest and heath, bay and stream, grove 
 and vale, hill and isle, rocks and fields and banks and walls and 
 numerous other things — is very susceptible to the echo, "the son 
 of the rock," and the fondness that Klopstock and the bards begin 
 to exhibit for the echo about this time must be traced back largely 
 to Ossian. In addition to the passage just quoted, we have in Sc. 
 2, e. g., "Wir haben . . . den Gesang in den Felsen des Wieder- 
 halls gehort," " Lasst die Namen ... in alien Felsen des Wie- 
 derhalls laut tonen," etc. In the same scene the bards sing : 
 
 Ruf in des Wiederhalls Felsengebirg 
 
 Durch das Graun des nachtlichen Hains, 
 
 Dass 
 
 Es ertone wie ein Donnersturm ! 
 
 In Sc. II : "Wiederhalls Kluft," etc. 
 
 A few words as to the poet's attitude towards Ossian in his old 
 age may complete our consideration of Klopstock. As he grew 
 older, and other affairs, above all else the French Revolution, be- 
 gan to engross his attention, Ossian gradually lost interest for him, 
 although he was never entirely forgotten. As late as 1797, Klop- 
 stock writes to Bottiger under date of November 9 : ^ " Wissen Sie 
 schon etwas von der Ausgabe von Ossians Gesangen, die jetzt in 
 England in seiner Sprache gemachtwird? 1st die Ubersezung 
 getreu? Sind Anmerkungen iiber das Zeltische dabey ?" Unfortu- 
 nately he died before the long-heralded edition was finally pub- 
 lished. When his enthusiastic admiration for Ossian subsided and 
 took on a saner aspect, when his views on the subject of the rela- 
 tion of the Celts to the old German tribes assumed a more scien- 
 tific character, he could not allow Ossian to occupy the position 
 assigned to him at first. Although Klopstock's fondness for th2 
 
 ' Not May 9, as Back und Spindler and others. Cf. Archiv fiir Litteraturgeschichte, Vol. 3, 
 P-397 
 
102 
 
 Celtic Homer diminislied in the course of years, it nevertheless 
 possessed a more lasting character than that of Goethe and of Schil- 
 ler, to whom, as we shall see, it was merely a passing inspiration. 
 Klopstock's sober second thought revealed to him that he had oc- 
 casionally gone too far in his blind adoration, and so we find that 
 in later revisions of his works Ossianic reminiscences are occasion- 
 ally expunged. The eulogistic verses that appeared in the first 
 edition of the Gelchrtciwepicblik (1774)^ were omitted in the sec- 
 ond ; the ode " Teutone " (1773) gives the first fifty-two lines 
 of " Unsre Sprache " (1767) almost literally, but substitutes six- 
 teen new lines for the eight lines of encomium found in the latter.^ 
 In the first two Bardiete, the bards play an almost overwhelming 
 role with their numerous songs, whereas in Hermanns Tod the bards 
 appear in one scene only, the fifteenth. Then two passages ap- 
 peared in the first edition oi the Ile/vnannssch/acht \.\\a.t were omit- 
 ted or revised in the second, as e. g., the chorus beginning " Horet 
 Thaten der vorigen Zeit !" in Sc. 2. — Late in life Klopstock in his 
 correspondence with Bottiger occasionally refers to Ossian. One 
 letter has been quoted from. Under date of January 6, 1798, he 
 writes to Bottiger: " Hierbey Macd[onald] und einige Auf- 
 schr[iften]. Ich werde eher keinen bestimten Begriff von Ossian 
 bekommen, als bis man mir (konte es nicht Macd. thun ?) merklich 
 verschiedene Stellen aus ihm vollig wortlich iibersezt. Sie sehen, 
 dass ich nur Stellen meinen kan, die Oss. gewiss zugehoren." ^ If 
 we read between the lines, we can see feelings of doubt and if we 
 are to place entire confidence in a letter of Sir James Mackintosh 
 to Malcolm Laing,^ Klopstock at last lost his faith in the authen- 
 ticity of the songs of Ossian altogether — a strange ending to his 
 earlier unbounded enthusiasm. Sir James writes : "I consider your 
 Ossian and Farmer's ' Essay' on Shakspeare's pretended learning 
 as the two most complete demonstrations of literary positions that 
 have ever been produced . . . You know how bitterly old Klop- 
 stock complained of you for having dispelled his Ossianic il- 
 lusions ..." 
 
 ' Cf. supra, p. 91. 
 
 - Cf. ibid. But cf. Lubell. Die Entwicklung der deutschen Poesie, etc., Braunschweig, 
 1856, Vol. I, p. 282. 
 
 ^Cf. Arch, fur Litteraturgesch., Vol. 3, p. 404. 
 
 ■•Cf. Memoirs of the Life of Sir James Mackintosh, 2 vols., London, 1835. Vol. i, p. 345. 
 Letter dated July 28, 1807. 
 
103 
 
 §2. The Bards/ — Gerstenberg. 
 
 The bardic poetry, the way for which had been prepared by Mal- 
 let's influential work, the Introduction a V histoire de Dnneniarc 
 with its Supplement : Monumens de la Mythologie et de la Poesie des 
 Celtes et particulicrenient des Anciens Scandinaves, and which had 
 received its impulse from Macpherson's Ossian, aided by the mis- 
 taken acceptation of the bardifus mentioned by Tacitus, soon 
 gained other supporters, among whom the most prominent were 
 Gerstenberg, Denis and Kretschmann. The various other repre- 
 sentatives of the poetry, which, carried to an extreme, became 
 ridiculous and was justly characterized as the Bardengebrull or 
 Bardengeschrei, were on the whole devoid of talent and scarcely 
 call for serious treatment. 
 
 Much of what has been said with reference to Klopstock's re- 
 ception of Ossian applies also to the bards, only we see that the thing 
 deteriorated into a fad through imitation. It began to take on the 
 character of mere play ; the poets styled themselves bards and gave 
 themselves bardic names, e. g., Klopstock — Werdomar, Gersten- 
 berg — Thorlaug, Denis — Sined,- Kretschmann — Rhingulph, Hart- 
 mann — Telynhard, Dusch — Ryno, Haschka — Cronnan, etc' 
 
 Just as Klopstock had sacrificed the lyre for the telyn, so his 
 followers. The harp of the bards replaced the Zionitic harp. The 
 .poet, or rather bard,^ was no longer crowned with the laurel -wreath 
 but with the leaf of the oak. To-day we smile at these vagaries, 
 but these men were very earnest in their play. Kretschmann, 
 and not Klopstock, is responsible for most of the nonsense. The 
 most pleasing phase of the movement is its patriotic character, 
 and we must give the bards credit for the earnestness with 
 which they strove to inculcate a feeling for national unity. Then 
 they praise virtue and maidenly modesty, a cheerful sign for that 
 age. 
 
 1 Cf. Ehrmann, Die Bardische Lyrik im Achtzehnten Jahrhundert. (Diss.) Halle, 1S92 ; re. 
 viewed in the Gott. gel. Anz., 1895, i, pp. 69-80, where a Viiygeschi<:hte of the new Bardentum 
 is given on pp. 6i)-tz. Kurschner's Dtsche Nat. Litt., Vol. 48. etc. 
 
 = Dmis first received the name from Kretschmann; cf. Lieder Sineds des Barden. 1772, p. 
 173, note. 
 
 3 It must not be forgotten, however, that this giving of names was no uncommon thing a 
 century and a half ago, the names of Greek poets being frequently resorted to, e. g., Gessner— 
 the German Theocritus, Madame Karsch— Sappho, Willamov— Pindar, etc., and likewise Klop- 
 stock — Homer, Gerstenberg— .\lciphron. 
 
 4 The term bard was not exclusively confined to German poetry, but speaking broadly, bardic 
 and German were synonymous. Cf. Ehrmann, op. cit., p. 14- 
 
104 
 
 If these bards had restricted themselves to singing the mighty- 
 deeds of the past, it would not have been so bad, but when Ar- 
 minius and the old Germani had become exhausted, they came 
 down to the present and endeavored to surround it with an air of 
 antiquity. As a result bardic poetry became largely a matter of 
 vers cf occasion. The unfavorable critics seized upon the aberra- 
 tions and made a laughing-stock of the whole school, and so the 
 few good illustrations had to suffer with the large majority of those 
 whose poverty of conception and general inability have prevented 
 their names from being handed down to posterity. Thus long be- 
 fore Ossian's influence in Germany had ceased, bardic poetry was 
 a thing of the past. Much of the machinery of Ossian's bards 
 was borrowed by the German bardic poets and even the druids 
 Avere transferred to German soil. The old Norse mythology, which 
 found such ready acceptance by Klopstock and Gerstenberg, is not 
 so important in the poetry of Denis, Kretschmann, and the numer- 
 ous minor bards. What the bards copied then from Ossian were 
 the general paraphernalia, the characteristic motifs, the tone of the 
 harp, the echoing grove, the ghosts of the departed,^ and the like. 
 The love for the dismal heath, the stormy sea, and other phases of 
 Ossianic description of wild and forlorn nature, can not be said 
 to predominate in the bardic poetry, although it is frequently no- 
 ticeable, as e. g. , in Maler Miiller, who in his bardic poetry loses 
 himself absolutely in the Ossianic descriptions of nature." The 
 importance of Ossian's landscape painting lay in the circumstance 
 that it acted upon the mood of the reader, and although the gen- 
 eral tone of the nature depicted in Ossian does not change much, 
 it was a marked advance to have a description of nature invested 
 with some internal significance, to bring nature and the feelings 
 into interaction with each other. Ossian again and again inserts a 
 picture of nature at the opening of an episode and this device was 
 frequently copied in the bardic poetry, with this only difference : 
 in Macpherson the connection between the introductory description 
 and the following action is evident, whereas in the bardic imita- 
 tions it generally strikes the reader as something irrelevant. When 
 Ossianic comparisons are introduced, as they frequently are, they 
 
 ' Max Koch, in his review of Ehrmann's Bardische Lyrik, Lit. Centralblatt, 1893, pp, 796-7, 
 does not consider Ossian as the chief source of the introduction of the spirits of the departed, but 
 I am inclined to refer most of this business to Ossian. 
 " Cf. Ehrmann, oJ>. cit., p. 47. 
 
105 
 
 usually bear the stamp of servile imitation, being cold and showing 
 no trace of intense personal feeling. At the same time, however, 
 an attempt is occasionally made to enter into the Sfi/nmioig of 
 Ossian, reflected at first in mere imitation, but finally striking out 
 for itself.^ AVhat the bards did not copy were his peculiar delinea- 
 tions of character, his management of the action,^ although the 
 noble qualities of Fingal and his heroes are transferred to the princes 
 who are being extolled. All details will be left for the separate 
 discussions to follow. 
 
 Heinrich Wilhelm Gerstenberg. 
 
 We have included Gerstenberg among the bards, but he was far 
 from being a bard as we apply that term to Denis and Kretsch- 
 mann. Denis wrote little poetry that was not in the bardic vein, 
 whereas Gerstenberg moved in many spheres. Gerstenberg was 
 not a prolific writer, yet three productions of his were quite influ- 
 ential in their day : The Briefe ilber Merkwilrdigkeiten der Littera- 
 tur, the Gedicht eines Skalden. and Ugolino ; and in all three the 
 shades of Ossian are visible in one form or another. His early 
 productions, including the Tdndeleien, written in the Anacreontic 
 manner, do not concern us here and we shall turn our attention 
 at once to the Schlesivigische Litteraturbriefe.'^ An account of the 
 place that these letters occupy in the history of German literature, 
 of their tendency and their influence, would lead us too far afield. 
 We are interested here solely in the eighth letter and more particularly 
 in the first portion of the letter which discusses the " Memoire 
 eines Irrlanders iiber die ossianischen Gedichte." * Here for the 
 first time in a German journal we meet with serious doubts as to 
 the genuineness of the poems. Gerstenberg has occasionally been 
 praised, and deservedly so, for having had the sagacity to see through 
 the forgery at once ; and he deserves particular credit also for having 
 had the courage to stand by his convictions and to publish personal 
 opinions that were almost certain to be received, if not with scorn, 
 
 ' Cf. /. c, pp. 4 -59, where examples are given. 
 - Cf. /. c, p. 59. 
 
 3 Briefe iiber Merkwiirdigkeiten der Litteratur. Erste und Zweyte Sammlung. Schleswig 
 und Leipzig. 1766. Dritte Sammlung. 1767. Continued in Ueber Merkwiirdigkeiten der Lit- 
 teratur. Hamburg und Bremen. 1770. 
 
 4 On pp. 103-5. Cp. supra, 'p. 78. The letter further contains paragraphs on The Reliques of 
 ancient English poetry (pp. 105-8) and on Diinische Kiampe-Viser (pp. 108-15). 
 
106 
 
 at least with indifference. It was no doubt Gerstenberg to whom 
 Herder referred in his Briefweclisel ilbcr Ossiaii as one who so 
 "obstinately doubted the truth and authenticity of the Scotch 
 Ossian." Gerstenberg realized that he stood almost alone in his- 
 opinion and he refers to the unanimity of the critics near the be- 
 ginning of his letter. His doubts were not called forth by the 
 "Memoire, " but had presented themselves to him upon his iirst 
 perusal of the songs. He says in the letter : " Dass entweder Hr. 
 Macpherson seinen Text ausserordentlich verfalscht, oder auch das 
 untergeschobne Werk einer neuern Hand allzu leichtglaubig fiir 
 ein genuines angenommen hatte, glaubten wir gleich aus den man- 
 cherley Spuren des Modernen sowol, als aus den verschiednen klei- 
 nen hints, die der Dichter sich aus dem Homer x. gemerkt zu 
 haben schien, wahrzunehmen." ' The more direct proofs he lacked 
 at first were furnished by the author of the " Memoire," a synopsis 
 of whose arguments he proceeds to give in a few lines, closing with 
 the words : ". . . ich enthalte mich aber eines weitern Details, da 
 Sie diess alles in der Urschrift selbst nicht ohne Vergniigen nach- 
 lesen werden. " It is unfortunate that Gerstenberg did not pursue 
 the subject further; his views would no doubt have been exceed- 
 ingly interesting and rather refreshing. He then passes over to 
 the Reliqiies, which he stamps as more reliable than the songs of 
 Ossian. 
 
 Der Skalde (1766). — The same year in which the first two col- 
 lections of the Schlestvigische Littcratiirbriefe were i:)ublished also 
 marks the appearance of the Gediclit eines Skalden, or Der Skalde, 
 as it was called later, one of the best poems written in the bardic 
 manner, and one that exerted great influence upon the bardic 
 poetry. Old Norse mythology was here introduced and combined 
 with a fevv Ossianic touches. Knowing that Gerstenberg disbe- 
 lieved in the authenticity of the poems, we should scarcely expect 
 traces of their influence at this time. Der Skalde actually contains 
 but few Ossianic reminiscences, particularly when compared with 
 what we find in some of the poems of Denis. As Pfau has pointed 
 out," Gerstenberg no doubt derived from Ossian the idea of having 
 the ghost of Thorlaug (Himintung) arise from his grave. There is 
 nothing in old Norse mythology corresponding to the ghost -world 
 
 ^ Cf. /. c, p. 104. 
 
 ° Cf. Vierteljahrsch. fiir Litteraturgesch., Vol. 2. pp. 180-1. 
 
107 
 
 of Ossian, and the only thing that distinguishes tlie appearance of 
 Thorlaug's ghost from that of one in Ossian is that Gerstenberg 
 has breathed a Christian spirit into his resurrection, in contradis- 
 tinction to the dismal and sometimes terrible apparitions of Ossian. 
 We are reminded of Ossian's erhosts when Gerstenberar sinsfs : 
 
 (i. Canto. 
 (2. Canto. 
 
 . . . Wo ruht 
 Mein schwebender Geist auf luftiger Hoh ? ^ 
 
 Welch feierliches Graun 
 Steigt langsam iiber diese Hiigel, 
 Wie im Nachtgewcilk 
 Neugeschiedner Seelen, auf? 
 
 Mir schwindelt I durch Jahrhunderte 
 Blick' ich, durch triibe feme Nebel.^ 
 
 Compare " Cath-Loda," Duan iii, first four 11.^ The tone is Ossi- 
 anic in the third canto when Thorlaug sings : 
 
 Einst, da ich einsam und verlassen, 
 
 Am Ufer irrt', und jeden Hauch 
 Der Luft, der nach der Kiiste biles, 
 Mit meinen Seufzern fliigelte . . ^ 
 
 * Lonely ' and ' forlorn ' are standing epithets of Ossian, and 
 "Fingal," Bk. iv, p. 252, last line, has: "My sighs shall be on 
 Cromla's wind ; " etc., etc. Pfau ^ has suggested that Ossian may be 
 responsible for the abrupt manner in which the strife between 
 Thorlaug and his foe is commenced, for Ossian's heroes are always 
 ready to draw the sword. I think it very questionable that Os- 
 sian's influence was at work here. Pfau, however, has correctly 
 observed that the epithet ' red ' as applied to the eye of Thorlaug's 
 foe (3. Canto) must be ascribed to Ossian : 
 
 Zur Wuth erhitzt und Funken spriihend 
 Aus rothem Auge, . . . . ^ 
 
 1 Cf. Works, 181S-6. Vol. 2, p. 90. 
 
 -C{. I. c, p. 92. 
 
 ^Cf. Vierteljahrsch. fiir Litteraturgesch., Vol. 2, p. 182. 
 
 4Cf. Works, Vol. 2, p. 97. 
 
 = Cf. V. f. L , /. c. 
 
 6 Cf. Works, Vol. 2, p. 98. Compare Gerstenberg's Schlachtlied : " Feuerbraunen Angesichts, 
 Ihr Auge blutroth, Starr ihr Blick." This poem shows the influence of Ossian, especially in the 
 refrain : " Die Sonne sinkt, und stiller wird's im Thai, Und Geisterschatten lispeln durch die 
 Luft." 
 
108 
 
 Occasional scenic resemblances to Ossian are also found, e. g., in 
 the second canto we have the " silent stone of the hills " ^ and : 
 
 Im Schatten dieses Eichenhains, 
 
 Die stolzesten der Wipfel rauschten, 
 Und leise Bache murmelten. 
 
 * 
 Vom Hiigel braust im Bogenschuss 
 Ein breiter Quell, schwillt auf zum breitern FIuss, 
 Springt donnernd liber jahe Spitzen, 
 
 Der voile Busen walk auf zarten Wogen. 
 Die sternenvolle Nacbt umschwebet sie, 
 
 Sieh den gelindern West ihr Haar umfliessen I 
 O sieh den hellern Mond zu ihren Filssen ! 2 
 
 Compare "Dar-Thula," p. 281, 11. 23-4: " The blast came rust- 
 ling in the tops of Selama's groves ;" " Fingal," Bk. i, p. 216, 11. 
 16-7 : " murmuring rivulets ;" "Temora," Bk. iii, p. 326, 1. 36-p. 
 327, 1. i: "On Crona . . . there bursts a stream. . . . It swells 
 in its . . . course. . . . Then comes it white from the hill ;" 
 "Temora," Bk. iv, p. 338, 1. 33 : "Streams leap down from the 
 rocks," etc. Ossianic in spirit is also the following description : 
 (4. Canto. ) 
 
 . . . rauh und wiiste, 
 
 In tiiibem Dunkel schauerte die Kiiste ; 
 
 Kein Himmel leuchtete mild durch den Hain. 
 
 In Hohlen lauschte Graun 
 
 Und was am Ufer scholl, war Kriegsgeschrei.''' 
 
 Iduna. Ariadne auf Naxos. — Gerstenberg very soon turned 
 his attention completely away from the old Norse mythology and 
 we have only one other poem written under its spell, Iduna, which 
 also contains several traces of Ossian's influence, e. ^., the line: 
 " So glitt ich auf Diinsten dahin ! " * " Am Busen des Windes " ^ 
 recalls Ossian's "on the bosom of winds," " as "Des Miidchens 
 mit den weissen Armen " ' suggests Ossian's "white armed 
 
 1 Cf. /. .-., p. 93. 
 
 2Cf. /. c, pp. 93-5. 
 
 ^Cf. /. c, p. 104. 
 
 *Cf. /. c, p. 144. 
 
 6Cf. /.<:., p. 145. 
 
 *Cf. Temora, Bk. iv, p. 337, 1. 34 and p. 339, 11. 25-6. 
 
 'Cf. Works. Vol. 2, p. 146. 
 
109 
 
 maidens." The influence is visible also in occasional touches in 
 
 the cantata ^/7<7^//;.? auf Naxos (1765), for example when Ariadne 
 
 sings : 
 
 Wie weint' ich heimlich Freudenthranen ! ach, 
 
 Wie hob sich diese Brust ! 
 
 Wie wallte sie, . . . ^ 
 
 we involuntarily recall the secret tears of joy and the rising and 
 swelling of the breasts of Ossian's maidens, and when she speeds 
 "wie ein Strahl vom Himmel seinen Armen zu " - we are reminded 
 of Ossian's frequent comparisons of a hero or heroine to a beam of 
 the sky or from heaven, or to a stream of light, to a sun-beam or 
 a moon-beam. The entire atmosphere of the cantata is really Os- 
 sianic : the maiden lamenting on a desert rock surrounded by the 
 
 wild ocean : 
 
 Mit fliegendera Haare ! wohin ! 
 Irr' ich am Ufer, und bin 
 Das Spiel der Winde ! ^ 
 
 What is more, the plot reminds us very much of a portion of "Ber- 
 rathon," as will be seen by a look at the argument of the latter. 
 
 A number of Gerstenberg's shorter poems make use of the grove 
 with its moss and the oak, the echo, the harp, and other bardic 
 properties, without, however, acquiring the real bardic character. 
 Ossian's influence is here too inconsiderable to warrant a discus- 
 sion of the poems in detail. 
 
 Ugolino.* — The influence that this drama, which was finished in 
 1767, exerted upon the Storm and Stress movement, its important 
 bearing upon the popularization of Shakspere in Germany, and 
 questions of a similar tenor cannot be entered into here, yet we 
 cannot pass by the drama without pointing out at least some phases 
 of' Ossian's influence, which, while not comparable in importance 
 to that of Shakspere, is nevertheless not inconsiderable. The 
 danger confronts us of attributing Shaksperian characteristics to 
 Ossian. The bard's influence is noticeable particularly in the fig- 
 urative language, e. X-, when Ugolino in the first act says : " Dass 
 ich nicht in dem gerechten Zorne meiner Seele mich erheben . . . 
 konnte!"^ Compare Ossian's "rage of his soul," "rise in 
 
 iCf. /. <r.,p. 8i. 
 
 = Cf. Hid. 
 
 3Cf. /. c, p. 85. 
 
 ^Cf. Jacobs, Gerstenbergs Ugolino, Berlin, 1898. 
 
 6Cf. Works, Vol. I, pp. 386-7. 
 
110 
 
 wrath," and the like. In the same act Ansehiio says: " Dein 
 Kommen ist mir erwiinschter als der jugendliche Morgen," ^ to 
 which compare " Comala," p. 139, 1. 22 : " bright as the coming 
 forth of the morning. " Jacobs" suggests that Gerstenberg prob- 
 ably had his Ossian in mind when he had Francesco say in the first 
 act: " Wenn ersich nur nicht . . . herab sturzt, gleich dem erhab- 
 nen Vogel, der sich ins Steinthal wirft." ^ Compare " Temora," 
 Bk. ii, p. 321, 11. 31-2 : "Descending like the eagle of heaven, 
 . . . the son of Trenmor came ;" Bk. viii, p. 369, 11. 11-2 : ". . the 
 windy rocks, from which I spread my eagle-wings," etc., etc. In 
 the second act, Anselmo considers himself " fliichtiger als ein 
 junges Reh," * a comparison of which Ossian is exceedingly fond.'' 
 Gaddo and Anselmo shed regular Ossianic "tears of joy." In 
 the second act Anselmo refers to Francesco having ridden off 
 " auf dem Riicken des Windes "; *^ compare " The War of Caros," 
 p. 193, 1. 26 : " The rustling winds have carried him far away ;" '' 
 "Temora," Bk. viii, p. 366, 1. 21 : " From this I shall mount the 
 breeze." Ossianic furthermore are Anselmo's exclamations: " Lasst 
 die Horner tonen am hallenden Fels !" ^ and " o du mit der finstern 
 Stirne !" " which call up Ossian' s ' echoing rock ' and his ' dark ' 
 or * gloomy brow. ' 
 
 When Gerstenberg has Ugolino say of his wife in the third act : 
 ' ' Kalt [ist] der Schnee ihrer Brust, ' ' ^" and when he speaks of the 
 " Seufzer ihres Busens," ^' he was no doubt thinking of the snowy 
 breasts of Ossian' s maidens and of the sighs of their bosoms. In 
 the same act Francesco uses a comparison that is taken directly 
 from Ossian: '' " Du wirst fallen," he says, " wie der Stamm einer 
 Eiche, alle deine Aste um dich hergebreitet." '■' Compare " Te- 
 mora," " Bk. iii, p. 3 28, 11. 25-6 : " Like a young oak falls Tur- 
 
 »Cf. /. c.,pp. 395-6. 
 
 » Cf. op. cit., pp. 105-6. 
 
 3Cf. Works, Vol. I, p. 402. 
 
 *Cf. /. c, p. 408. 
 
 f'Cf. Comala, p. 139, 1. 33; The Songs of Selma, p. 211, 1. 5; etc., etc. 
 
 «Cf. Works, Vol. I, p. 424. 
 
 ' Cf. Jacobs, op. cit., p. 106. 
 
 8 Cf. Works, Vol. I, p. 467. Act 4. 
 
 i'Cf. /. c, p. 497. Act 5. 
 '"Cf. /. <:.,p. 438. 
 '' Cf. /. c, p. 440. 
 •'Cf. Jacobs, op. cit., p. 106. 
 13 Cf. Works, Vol. I, p. 445. 
 '* Jacobs has Fingal by mistake. 
 
Ill 
 
 lathon, with his branches round him," etc. In the last act Ugo- 
 lino, speaking of the death of his son, says : " Wann ward dieser 
 erste Ast vom Stamme gerissen ? " ^ His opening monolog in the 
 fourth act shows a decided Ossianic influence; ^- g-, " sein blei- 
 farbigtes wasseriges Angesicht tobte vom Sturm seiner Seele ; er 
 walzte seine . . . Augen weit hervor, " ' etc. In Ossian we have 
 a "watery and dim face," a "grey watery face," and a soul 
 "folded in a storm," and as for rolling eyes, that is a property 
 that no Ossianic warrior may be without, and one of the first that 
 a Storm and Sb'ess poet would be led to adopt. Further along in 
 the monolog, Ugolino says : * ' Doch der grosse Morgen wird ja 
 kommen ! schrecklich, dunkelroth und schwiil von Gewittern wird 
 er ja kommen ! In seinem schwarzen Strahle will ich erloschen ! 
 In seiner gebarenden Wolke soil, wie Feuer vom Himmel, mein 
 Geist liber Pisa stehn ! " '^ This picture is as Ossianic as it can be. 
 The ghosts of Ossian sit upon their clouds ; they ride on beams 
 of fire, and are compared to meteors of fire or to a terrible light. 
 Ossianic spirits appear again a little later in the act, when Fran- 
 cesco says of Anselmo : "... seine Geister scheinen sich zu 
 sammeln," ^ and in the last act, where we read of a " wandernden 
 Geist," which shall remain near the beloved ones. ° And then 
 Francesco: "Ah! deine Geister sind im Aufruhr ! Sammle sie, 
 geliebter theurer Anselmo." All this, however, is only a weak 
 foretaste of the great importance that the ghosts of Ossian assume 
 in Gerstenberg's later drama, in Minona, to the discussion of which 
 I shall proceed after a short reference to Der WaldjiingUng. The 
 illustrations given are not intended to be exhaustive, but to give a 
 general idea of the character of Ossianic traces as they are exhib- 
 ited in the various works. 
 
 Der Waldjungling. — As an appendix to his treatise on Ugolino, 
 Jacobs published a fragment by Gerstenberg entitled Der Wald- 
 jiingUng, which in spirit shows a combination of Rousseau's doc- 
 trine of the return to nature plus the leaning towards Norse an- 
 tiquity, towards the poetry of the bards. The combination is 
 attempted by sketching the life of a primitive man, //// homme 
 
 1 Cf. /. c 
 = Cf. /. c 
 
 3Cf. /. 
 
 4 Cf. /. c. 
 
 5 Cf. /. C 
 
 , p. 494- 
 ,P- 456. 
 , P- 457- 
 , p. 464. 
 , pp. 487- 
 
112 
 
 sauvage, transferred to the woods of Scandinavia. Tiie small por- 
 tion of the drama that has been preserved to us was written prob- 
 ably in 1770.^ 
 
 As it incorporates the bardic spirit in its very essence, we shall not 
 search in vain for reminiscences of Ossian, which, as in Ugolino, are 
 met with in large part in the epithets and images. The Scandi- 
 navian scenery partakes of the characteristics of the Scotch High- 
 lands as pictured by Ossian. The names of the characters, Hvanar, 
 Cindiskraka (cp. Ossian' s Craca), Svanhilde, Arnas, Flino, Keener, 
 Mimur, have Celtic as well as Germanic elements, and these char- 
 acters talk much like the characters of Ossian. Mimur, e. g., in 1. 
 122 laments in the strain of Ossian : " Ich bin alt und schwach, " 
 etc. In 1. 9, Cindiskraka is addressed as " Du Bewohnerinn der 
 Felshohle mit dem krahschwarzen Haar, ' ' to which compare Ossian' s 
 " dweller of the rock," ' and hair " dark as the raven's wing." * 
 Further along (1. 36) we have a flute " Die des armen Madchens 
 verschwiegenen Kummer einsam seufzt." This is a typical line. 
 Ossian' s maidens have a habit of sitting 'alone,' nursing their 
 'silent grief,' giving vent to their sorrow in 'secret sighs.' 
 — Mimur styles Hilda (1. 78) in true Ossianic language: "Der 
 Ruhm der Hirtinnen auf dem Gebirg," and invests the forest youth 
 in 11. 1 14-5 with the characteristic attributes of the ideal heroes of 
 Ossian, ' terrible ' in battle, but in peace ' generous and mild ':* 
 
 . . . furchtbar an Kraft des Arms, 
 
 Doch sanft, doch freundlich, docli gut ; . . . 
 
 Ossianic is Hvanar's characterization of himself (1. 152): "Ich 
 bin ein Sohn des Meeres, rauh, wie der Sturm, . . ," and a few 
 Ossianic images from nature also occur. 
 
 MiNONA. — We have no conclusive proof that Gerstenberg later 
 in life lost his early scruples in regard to Ossian' s authenticity, but 
 
 1 Cf. Knebel's Literarischer Nachlass und Briefwechse', Leipzig, 1835, Vol. 2, p. 87. Notice 
 by Boie For furtiier particulars, cf. Jacobs, op. cit., pp. 127-45. 
 
 - Cf. Calthon and Colmal, p. 182, 11. 1-2. Cp. Berrathon, p. 377, 1. 21 : " My dwelling was not 
 always in caves." 
 
 ' Cf. Carthon, p. 156, 11. 15-6. Cp. Finffal, Bk. ii, p. 234, 1. 14 : " Her hair was the wing of 
 the raven;" Dar-Thula, p. 279, 1. 36 : " Thy hair like the raven's wing," etc. 
 
 ■* Cp. Dar-Thula, p. 279, 1. 36-p. 280, 1. 3. In this connection the following extract from a 
 review of a Correspondence entre S. A. R. le Prince Gustave de Suede avec S. E. le Senateur 
 Schaeffer (1772) in the Frankfurter gelehrte Anzeigen, 1772, p. 277, deserves to be quoted : . . . 
 " aber, zwo Maxim.en haben wir drin vermisst, die doch, unsrer Meinung nach, durchgehends in 
 einer Fiirstlichen Erziehung herrschen sollten : die, welche David seinem Sohne gab : Sey ein 
 Mann ! und die, welche Fingal dem Seinigen einpragte : 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." 
 
113 
 
 if circumstantial evidence carry any weight, there can be no doubt 
 that he came to regard Ossian as genuine, at least for a time. And 
 this evidence is furnished by the drama Minona, first published in 
 1785, Gerstenberg's favorite production and one that gave him the 
 greatest concern in the preparation of the edition of his works late 
 in life. For this edition (1S15-6) he worked over the entire drama 
 and increased it from four acts to five, and by assigning to it the 
 place of honor at the head of the list, furnished testimony to his 
 fondness for this particular child of his muse. The action of the 
 drama is laid in Britain in the fifth century, at the time when the 
 Low German continental tribes were called over by the Britons to 
 assist them against the incursions of the Picts. The Romans, who 
 had refused to aid the British province against the Picts, also play 
 an important part. Everything is mixed together, and of course 
 anachronisms abound : Norse gods, skalds, druids, bards, Ossianic 
 spirits, all are thrown together in one multi-colored complex. The 
 spirit of the play is Ossianic throughout, and external as well as in- 
 ternal characters of Ossian' s influence are not lacking. Several of 
 the characters are taken directly from Ossian, others only in name, 
 e. g., Trenmor, King of Morven ; Minona, his sister ; Ryno, a bard 
 of Ossian ; Swaran, Lord of Lochlin. Edelstan, the hero, lord of 
 Inisthona, is a son of Frothal and a grandson of Bosmina. During 
 the perusal of the drama we are continually reminded that the 
 author has made a thorough study of his Ossian. Selma is the 
 name of the royal residence in Morven, just as it is in Ossian. 
 Minona is a typical Celtic maiden as described by Ossian, just 
 as Ryno is the Ossianic bard conune il faiit. Just as Ossian' s Mi- 
 nona was possessed of the gift of song,^ so Gerstenberg's Minona has 
 the reputation of being the " gesangreichste der Harfen Selma's." '^ 
 In the review of the drama that appeared in the Allgenieine deutsche 
 Bibliofliek^'' Minona is characterized as " grossmiithig und liebevoll, 
 aber auch sittsam und duldend, eine wiirdige Schtilerin der Barden, ' ' 
 and Ryno as " ein kraftvoller, biedrer Barde. " The Roman Azia 
 betrothed to Aurelius, a Roman commander, in spite of her dazz- 
 ling personal charms, suffers in comparison with the modest Celtic 
 maiden in much the same way as the heroes of Homer were often 
 put to shame by their Celtic rivals. 
 
 ^ Cf. The Songs of Selma, pp. 208-10. 
 - Cf. Works, Vol. I, p. 109. 
 3Cf. Vol. 77, i, pp. iie-8 (1787). 
 
114 
 
 The Ossianic scgwq par excellence is the third division of tlie first 
 scene of the second act, where Azia and Edelstan are interrupted 
 in a tcte-d-tete by Ryno, the bard of Ossian. Nothing can convey 
 a better idea of the hold that Ossian had on Gerstenberg than to 
 quote a passage from this scene/ Ryno announces himself as : 
 
 " ehemals Ferchio's Gefilhrt' in jener beriihmten Schlacht deines Vaters Frothai zu 
 Inisthona, ein Barde Ossians, heisse Ryno." 
 
 Edelstan. Ryno? — ein Gefahrte Ferchio's? — ein Barde Ossian' s? — Welclie 
 Thaten, welche andre Zeiten, . . . rufst du in main Gedachtniss zuriick ? — Ryno ? 
 — ... der mich jene unvergesslichen Gesange von den Schlachten Lochlin's 
 lelirte, wie Ossian, die Stimme Selma's, seinen geliebtern Oscar, den Mann aus 
 andern Zeiten, nach Angeley — in der Sprache Morvens wie tonender ! nach Inis- 
 thona — zu Hiilfe sandte dem Vater nieiner Vater, dem trauernden Annir — 
 
 Ryno. Wie der blutige Cormalo dem Arm des Starken aus Morven erlag, 
 ' dass die Sohne der vergifteten Lano, wo die Wolke des Tages rastet, gleich dun- 
 kelbraunen Hindinnen dahinflohen, unfahig den Gram ihres Stolzes zu rachen ;' 
 wie Fingals holde Tochter, Bosmina mit den schwarzrollenden Augen, Runa's 
 tonende Halle betrat, ein wiederkehrender Stern dem Abend der Tage Annirs : — 
 Bosmina spater vermahlt dem gewaltigen Ina, der einzigen iibriggebliebenen Stiitze 
 des jammernden Annir, da Ruro fiel ! da Argon fiel ! dem hinterlassenen Siiug- 
 linge Ruro's, die Mutter des koniglichen Frothai, der erhabne Stamm deines so 
 heiTJich wieder aufbliihenden Geschlechts . . . 
 
 Edelstan 
 
 Rvno Gesegneter, wenn ich mich dir ein Bote des Friedens genaht 
 
 hatte, wurdig erfunden, den getrennten Stamm einer Eiche wieder aufzurichten, 
 dass er noch einmal umherschaue, wie er vormals stand, sein tausendastiges 
 Haupt weit umher verbreitend von Selma's Halle bis zur Halle Runa's, von Inis- 
 thona' s wogigem Strande bis liber Morven' s fernher rauschende Thale !"2 
 
 How characteristically a bit of Ossianic history is told here and 
 how faithfully the language of the poems of Ossian is copied ! We 
 should have to search long to find a passage in German literature 
 that shows a more complete immersion in the spirit of Ossian. 
 
 In the scene from which we have just quoted, Fingal is called 
 "das finstre Auge Morvens," Trenmor " zog mit dem Winde 
 seiner Kiiste luftig daher," Fingal draws his sword. against Lochlin 
 "da Cuchullin unter Swaran's Zehntausenden schwankte," Os- 
 sian is referred to as " die Harfe aus andern Zeiten," ^ etc., etc. 
 It is scarcely necessary to give parallels from Ossian. Any one 
 
 ' The reviewer in the Neue Bibl. der schonen Wissenschaften, Vol. 34, ii, p. 2S4, criticizes this 
 scene rather sarcastically. He says: " Und nun gerathen die Herren in eine poetische Ent- 
 zUckung und deklamiren sich mancherley im ossianischen Schwung vor. Nachdem sie sich abei 
 beiderseits aus diesem Schwindcl erholt haben," etc. 
 
 2 Cf. Works, Vol. I, pp. 104-7. 
 
 3Cf- I. c, pp. 107-9. 
 
115 
 
 who has ever read a poem of Ossian will be struck by the close re- 
 semblance of all that has been quoted above. The historical al- 
 lusions, the comparisons, the metaphorical expressions, the stand- 
 ing epithets, are all taken directly from the songs of Ossian. 
 
 Before taking up the spirits of Ossian, and in that connection 
 the lyrical passages which are given much prominence throughout 
 the drama — especially in the third act — I shall quote a few more 
 instances of borrowings from Ossian. We have in the drama a 
 hand " blendender als Schnee ' ' ^ and a " blendend weisse Hand ;" '" 
 Minona has dark-black hair, which "floss vermuthlich in nied- 
 lichen Ringelchen liber ihren blendend weissen Nacken herunter." ^ 
 Ryno and Edelstan " glaubt'en . . . ein Sausen in der Luft zu 
 h5ren, als wenn der Wind sich erhebt." * The motif of Edel- 
 stan's delivery from the cave is taken from Ossian, " Calthon and 
 Colmal," ^ as is Minona's imprisonment in a cave on the isle of 
 ghosts.® The scenic description of the cave in which Minona is 
 held captive is characteristic: "Scene eine dunkle Hohle ; iiber 
 der Hohle der Mond im ersten Viertel, der ein schwaches Licht in 
 das Innere der Hohle wirft." ' 
 
 Nothing gave the critics so much concern upon the first appear- 
 ance of Minona as the machinery of the spirits. They begin their 
 influential incantations in the second act, and from that moment on 
 occupy a prominent position in the economy of the play to the 
 very end. Some of these lyrical passages are by no means of a 
 mean order, but we are now and again at a loss to grasp the poet's 
 meaning. The critic in the Neite Bibliothck der sclionen JF/ssen- 
 schaften, speaking of the songs at the close, says : " Diese Gesange 
 sind, uns wenigstens, verschlossene Worte;"^ and again, speaking 
 of that of the spirits in the second act : " Dass uns manche Stellen 
 dieses Liedes ganz unerklarbar geblieben sind, hat uns desto we- 
 niger befremdet, da, wie Ryno oben versicherte, selbst nur wenigen 
 
 ^ Cf. Act|i, i, 3 ; p. 52. 
 
 2 Cf. Act 4, 6 ; p. 252. 
 
 3Cf. Act 2, i, I ; p. 100. Ossian's hero'.nes all have snow-white hands, arms, necks and 
 bosoms, and generally raven-black locks. Cp. Lathmon, p. 277, 1. 9 : " Her hair spreads on her 
 neck of snow." 
 
 *Cf. Act 4, 3 ; p. 214. 
 
 5 Cf. p. 184, Tauchnitz. 
 
 *Cp. e.g., Cath-Loda, Duan i, pp. 128-9, Oithona, pp. 172-4, etc, 
 
 7Cf. Act 2, ii; p. 129. Cp. The Battle of Lora, p. 303, 11. 17-8 : " The moon looks into thy 
 cave," etc. 
 
 * Cf. Vol. 34, ii, p. 298. 
 
116 
 
 Barden die iltherischen Strome dieses Gesanges verstandlich sind." 
 And in the same strain the critic in the Allgemeine Litei-atnrzeitiing 
 writes: " In dem was die Geister zuletzt singen . . . sind schone 
 Verse : Aber manche so schwer zu verstehn, dass der Leser, 
 geschweige der Horer ihren Sinn nicht fasst . . ".'- The same re- 
 viewer refers to the unusually lofty, simple Ossianic tone of the 
 spirit scenes. The importance assigned to these spirits in the 
 structure of the drama can best be judged by reading Gerstenberg's 
 own view as expressed in the second Sclireiben prefixed to his works : 
 " Mitden Ossianischen Geistern, iiber die mancher damalige Kunst- 
 richter den Kopf schiittelte bin icli weniger verlegen : sie sind 
 die Unterlage des Ganzen, und ich brauche der Anlage nach, ihnen 
 nur mehr Spielraum zu verschaffen ; mein Drama von den Angel- 
 sachsen wurde nicht zugleich meine Oper von Minona und der 
 Zukunft seyn, wenn ich die Geister aus dem Spiele liesse." ^ This 
 is not the place to discuss the question whether Gerstenberg was 
 justified in the introduction of this mystic spirit-world into his 
 drama, and so I shall proceed to look at the songs at once. The 
 ghosts, or rather the voices of the ghosts, make their first ap- 
 pearance, as has been observed, in the second act. Minona, 
 captive in the cave is singing a song to the accompaniment of the 
 harp, when enchanting spirit voices become audible and cause her 
 to be filled with rapture. This song, in which she is interrupted, 
 as well as her other airs and recitatives, are Ossianic in tone and 
 motif, indeed, wherever Gerstenberg falls into the lyric strain, Os- 
 sian's influence becomes apparent in one feature or another : 
 
 In deiner siissen Stimme will ich zittcin, 
 
 Ein Seufzer der Liebe, 
 
 Siiss wie ein Harfenton ! 
 Wenn leisere Luft dich umvvelit, 
 Vernimm das Wehen meiner Liebe : 
 
 Minonens Geist scliwebt iiber dir ! 
 
 Hinweg du Wolke zwischen ihni und mir ! 
 Horch ! durch die Halle saust 
 Der Wind der Mitternacht.^ 
 
 Minona gives expression to her rapture in ecstatic terms, of course 
 
 1 Cf. /. c, p. 288. 
 
 *Cf. 1789, i, p. 719. 
 
 ^Cf. Works, Vol. I, pp. 25-6. 
 
 * Cf. Act 2, ii, 4 ; p. 132. Song of Minona. 
 
117 
 
 in Ossianlc language, and what is more, in Macpherson's rhythmic 
 prose. A paragraph or two may serve for illustration : 
 
 Diese Fluth von wunderbaren Tonen, die sich wie ein Meer liber mich ausgiesst, 
 die durch den hohlen Abgrund der Felsen im Donner des Wolillauts daher rollt, 
 ist sie ein Spiel der Liifle in den Wolbungen der Tiefe? widerprallend an den 
 jahen Wanden des innern Gebirgs ? ' 
 
 [Ist's] Vielleicht Fingal's Schild aus der hangenden Wolke herab? vielleicht 
 Fingals geistige Hand, die an dem Schilde voriiberrauscht ? 
 
 Vielleicht die tonvolle Harfe aus andern Liiften, Ossians Harfe aus andern 
 Zeiten ? 2 
 
 These voices have given Minona a foretaste of the delights beyond 
 the grave : 
 
 Wo, mich schwesterlich bewillkommend, Malvina, Bosmina, Comala, Guthona, 
 die holdseligen, von ihrem und meinem Ossian so edel besungenen, Tochter der 
 Vorzeit alle, in der Begeisterung seines erhabenen Gesanges zu seinen Fiissen 
 hingelagert und horchend, beisammen sassen, und ich, seine neu angelangte . . 
 Zuhorerin, in Wonnethrcinen der namenlosesten Gefiihle iiberflosse ! ^ 
 
 The ghosts that chant these songs are endowed with all the quali- 
 ties of their Ossianic prototypes — especially with the gift of fore- 
 telling the future — and why should they not, seeing that they are 
 intended to represent the incarnation of the songs of Ossian.* 
 They are the spirits of Ossian, and the spirits of Ossian " sind die 
 veredelte Menschlichkeit selbst." ^ As for the songs of the ghosts, 
 the solos, duets, choruses, and what not, as they begin in this 
 act and are continued throughout the third and fifth acts, it would 
 be impossible to take up each verse in detail. Suffice it to say, 
 that the songs bear the ideal stamp of the influence of Ossian, 
 which is expressed in more ways than one. I quote one or two 
 passages in illustration. Several voices sing in the second act : 
 
 Stolzern Tritts erhebt vom Saum der Wolke sich 
 Fingal, den Arm auf seinen Schild gelehnt.^ 
 
 Compare "Fingal," Bk. vi, p. 261, 1. 24 : " Fingal leaned on the 
 shield;" also Ossian's skirt, edge, or side of the cloud. So in 
 the third act Minona sings : 
 
 Schnell wie ein Blitz der Mitternacht, 
 Zerriss, aus seiner Wolke Saum, 
 Der Felsen aufgethiirmte Last 
 Ein sljirkrer unnennbarer Arm.^ 
 
 ' Cf. ibid., p. 133. 
 2 Cf. ?■*;>/.,?. 134. 
 3Cf. Act 3, ii, 4 ; pp. 171-2. 
 
 4 As to the nature of these song's, cf. Ryno's explanations to Edelstan, Act 4, 3 pp. 21^-25. 
 
 5 (. f. Act 4, 3 ; p. 220. 
 Cf. Act 2, ii, s : p. 137. 
 Cf. Act 3, ii, 2 ; p. 166. 
 
118 
 
 Compare " The War of Inis-Thona," p. 206, 11. 15-6 : " Stormy 
 clouds . . . their edges are tinged with lightning," etc. — Minona 
 is referred to by the ghosts as the 'daughter of Selma,' and Edel- 
 stan as the ' star of Inis-Thona,' and the ' star of night.' Towards 
 the end of the third act the voices sing : 
 
 Auf fliigelschnellster der Stiinne, 
 Gleit' auf der Woge dahin 
 
 Rolle deine krausen Locken 
 Im Silberschaume der Flutli ! 
 
 Fahr' hin auf dam rothesten Strahle des Dampfs,' 
 Und hole vom Mond mir den Blitz herab ! ^ 
 
 In rebellious opposition to these spirits of Ossian are the druids, 
 who refer to the songs of the ghosts as "die verfiihrerischen Gesange 
 Ossians, des Tonangebers der ganzen harfnenden Bande, ' ' ■' and 
 again as "die aufriihrerischen Gesange eines unserer Barden — 
 Ossian hiess der Erzketzer. " * The druids rely on the spirits of 
 Brumo,^ the god of human sacrifice, and Brumo's spirits, says the 
 chief druid, " pflegen nicht in dieser weibisch weichen . . . Ossians- 
 sprache . . . zu reden." " Brumo corresponds very closely to Os- 
 sian' s Loda, to his 'terrible spirit of the circle of stones.' Ossian 
 likewise furnished abundant material for the rites of the druids as 
 they are described in the last act. 
 
 In addition to the songs of the ghosts, we have two Bardicte in 
 the drama, one in Act 4, 8, the other in Act 4, 9. Needless to 
 say, Ossian's influence is plainly discernible. The first begins 
 
 thus : 
 
 Aufdammernd hinter Wolken schlief 
 Der junge Morgen im triiberen Roth ! . . . 
 
 Und warnend thiirmte die Wolke sich auf ; 
 Und aus der Wolke brach, verkiindigt von Blitz, 
 Mit tausend Spiessen dar Tag hervor." 
 
 ' (Du Geist.) Cp- Fingal, Bk. ii, p. 227, 1. 5 : The ghost sat upon "a dark-red stream of 
 fire." etc. 
 
 -Cf. Act 3, ii, 5 ; pp. 201-2. 
 
 3Cf. Act 5, 1 ; p. 306. 
 
 ♦Cf. Act 5, 2 ; p. 325. 
 
 5 In Ossian Brumo is a place of worship in Craca. Cf. Temora, Bk. ii, p. 319, I. 23. Cp. Fin- 
 gal, Bk. vi, p. 2-5, 11. 28-9 : " Within the circle of Brumo, he spoke to the stone of power." 
 
 6Cf. Acts, 4: P- 343- 
 
 ' Cf; Act 4, 8 ; p. 282. 
 
119 
 
 In the first edition the ending of the drama was somewhat dif- 
 ferently motivated, inasmuch as Azia, clothed in the armor of a 
 warrior, allows herself to be captured by some of Edelstan's sol- 
 diers and makes an attempt to assassinate Minona, but is foiled in 
 the effort by Ryno. Undoubtedly this motif of the disguise was 
 taken from Ossian, where we find almost a dozen examples of 
 maids taking on the disguise of a youth. ^ 
 
 Many of the geographical and historical notes to the drama are 
 based upon Macpherson, '• dessen historische Data noch Niemand 
 angefochten hat." - From the notes to the first edition of Minona 
 we can get some idea of Gerstenberg's opinion of Ossian in the 
 middle of the eighties. He says in note 8 : '" Auch konnen wir 
 uns aus dem Ossian, dessen historische Data wenigstens itzt keinen 
 Einwand mehr leiden, wenn gleich die Achtheit seiner gegenwiirti- 
 gen epischen und dramatischen Gestalt noch etwaz zweydeutig 
 seyn mochte, ganz verniinftig iiberzeugen," etc. And in note 14 
 he writes : " Es ware ein gut Theil gewagter gewesen, einer alten 
 Chronik, als der lautern Quelle Ossians nachzuspiiren. " Another 
 note (the loth) gives evidence of the popularity that Ossian still 
 enjoyed as late as 17S5 : "Was iibrigens die ossianische Urkunde 
 von Inisthona betritft, ... so hat sich der Verfasser berechtigt ge- 
 glaubt, diese Geschichte als aus einem der classischen Werke unsers 
 Jahrhunderts allgemein bekannt vorauszusetzen. . ." These notes 
 are omitted in the final version of 181 5, a fact which leads me to 
 believe that Gerstenberg's early scruples returned to him late in 
 life. Minolta had served to dispel them momentarily, but no 
 doubt the unsatisfactory character of the Report of the Committee of 
 the Highland Society and the aspersions cast upon Macpherson' s 
 translation by Ahhvardt served to reestablish them in his wavering 
 mind 
 
 § 3. Johann Nepomuk Cosmas Michael Denis. ^ 
 
 No one did more to increase the knowledge of Ossian in Ger- 
 many and to enlarge the sphere of his influence there, than did the 
 Jesuit Michael Denis, a native of Bavaria, who took up his resi- 
 dence in Vienna early in life and there spent the remainder of his 
 
 ' It has been stated and doubted that Leonore's disguise in the last act of Schiller's Fiesco 
 wa5 suggested by Ossian. I shall give my views on the question in connection with the chapter 
 on Schiller. 
 
 = Cf. Works, Vol. I, p. 365. 
 
 ^Cf. P. V. Hofmann-Wellenhof. Michael Denis Ein Beitrag zur Deutsch-Oesterreichischen 
 Literaturgeschichte des .xviii. Jahrhunderts. Innsbruck, iSSi. 
 
120 
 
 days. Although himself the author of a considerable number of 
 poetic productions, his contemporary fame was based primarily 
 upon his translation of Ossian, which created a great stir at the time 
 of its appearance, setting all the previous efforts at translation in 
 the shade for good and all. It remained for many years the stand- 
 ard, the classical German translation of the works of Ossian, in 
 spite of the fact that the mold in which it is cast aroused the most 
 violent opposition from many quarters. 
 
 Denis had been led to the study of English by his admiration for 
 Klopstock's Messiah, the prototype of which. Paradise Lost, he 
 was desirous of reading in the original. When he began his trans- 
 lation in 1767, he was well equipped for the task as far as a knowl- 
 edge of the language is concerned, and the true poetical genius 
 that he lacked was compensated for in large measure by the sincere 
 enthusiasm with which he set about his task. A serious obstacle 
 presented itself at the very outset : there was not a copy of Mac- 
 pherson's Ossianic poems to be had in Vienna. Nothing daunted, 
 Denis commenced by translating from Cesarotti's Italian transla- 
 tion — which had appeared at Padua in 1763 ^ — a fact that explains 
 the presence of the notes from Cesarotti interspersed throughout 
 his translation. Fortunately he soon obtained a copy of the Eng- 
 lish original from Prague, whereupon he destroyed all he had so far 
 done and started in afresh. His enthusiasm for the 2fessiah led 
 to the choice of the hexameter for his translation. Denis was a 
 very rapid worker, a quality that stood him in good stead in the 
 manufacture of the many occasional poems that emanated from his 
 pen. Once on the right track, he worked at his translation with 
 the utmost diligence and persistence and pushed it rapidly to a 
 conclusion, volumes i and 2 appearing in 1768, and volume 3 in 
 the following year. The two editions that appeared simultaneously 
 apparently found a ready sale. In the preface to the first volume, 
 Denis confesses what an instantaneous effect the songs of Ossian 
 had upon him. " Kaum hatte ich ein paar Gedichte durchge- 
 lesen," he says, " als ich ihn in meinen Gedanken Homern und Vir- 
 giln an die Seite setzte." And when Ossian received Klopstock's 
 stamp of approval, Denis was overjoyed. " Wie froh war ich! 
 Ich fieng zu iibersetzen an."- At the conclusion of the preface he 
 
 ' Denis first became acquainted with Ossian in Cesarotti's translation in the year 1763. 
 -Notice that in the case of Denis, Klopstock was not uninstruraental in instilling veneration 
 for the Celtic Homer; Gerstenberg, on the other hand, is not mentioned. Cp. supra, p. 82. 
 
121 
 
 expresses doubts as to the gracious reception of the translation : 
 " Ossian ist viel zu sonderlich," he thinks, " viel zu iinmodeni, viel 
 zu unterschieden von denen Dichtern, die man imnier in den Hiinden 
 hat. Allein, wenn man nur einmal mit seinem Geiste bekannter 
 wird, wenn seine Art sich auszudriicken durch ein wiederholtes Lesen 
 ihre Ungewohnlichkeit verlieret, dann, dachte ich, sollte er nach 
 dem Engliindera.m ersten bei einem Deiitschcn sein Gliick machen." 
 It was only a few years later that the real Ossian craze began in 
 Germany, and then Denis was to realize that these uniiiodcrn poems 
 with their sentimental coloring appealed even more strongly to the 
 German soul than they did to the English. 
 
 Dr. Blair's arguments were not needed to convince Denis of the 
 authenticity of the poems. He could not accept as spurious poems 
 whose author he had in his first enthusiasm placed by the side of 
 Homer and Vergil, unless irrefutable proof of forgery were given, 
 and this was not forthcoming. And so when Dr. Blair in the ap- 
 pendix to his " Dissertation " in the edition of 1765 undertakes to 
 defend the poems for external reasons also, Denis is led to remark : 
 '' Alle diese Griinde diirften fiir England und Irland, wo vielleicht 
 Scheelsucht und Partheylichkeit Zweifler erwecket haben mag, nothi- 
 ger seyn. Einen von Vorurtheilen freyen deutschen Kenner wird 
 immer der innere Gehalt genugsam iiberzeugen, das[s] Ossians Ge- 
 dichte nicht unterschoben, sondern wahrhaft alte Gedichte sind." 
 Denis never took the trouble to institute any original researches 
 or to devote himself to a serious study of this field, but accepted 
 the genuineness of the poems as a matter of course. The unanimity 
 of the German critics allowed no scruples to arise in his mind to 
 vex him. 
 
 The reception granted the translation was most flattering indeed, 
 and Denis could not but feel completely satisfied with the result of 
 his labors. Nicolai, e. g., writes from Berlin, as early as Nov. 14, 
 1769 : " Ihre vortreffliche Ubersetzung des Ossian, ist auch in un- 
 sern Gegenden in den Hiinden aller Kenner ; ich auch habe sie 
 mit grossem Vergniigen gelesen, und sie stets fiir eins der wichtig- 
 sten Neuen Werke gehalten." ' Gleim sends Denis his 'poetical 
 trifles,' "aus Dankbarkeit vornehmlich fiir das Vergniigen, welches 
 der deutsche Ossian ihm machte."" Denis writes in the preface to 
 
 ' Cf. Retzer, Denis' Lit. Nachl.^ss, 1S01-2, Vol. 2, pp. 158-9. 
 
 - Cf. ibid., p. 124. Letter of Gleim to Denis, dated Halberstadt, May 3, 1769. 
 
122 
 
 Vol. 3 : "Seitdem der erste Band dieser Uebersetzung in Deutsch- 
 land bekannt geworden ist, sind mir verschiedene Beweise zuge- 
 kommen, dass sie dort ganz gut aufgenommen worden sey, wo ich es 
 am meisten wiinschte." The reviews in \\iQ. N'eue Bibliothek der 
 schdnen Wissenschaften, in the AUgemeinc Deutsche Bibliothek, in 
 the Gottingische Anzeigen von gelehrten Sachen, and elsewhere, 
 all were extremely gratifying, and only one note of disappro- 
 val insisted upon asserting itself, a note that found most em- 
 phatic expression in the Erfurtische gelehrte Zcitungen : the form 
 of the translation met with pronounced opposition. The most im- 
 portant of these reviews is that in the Allgemeine Deutsche Biblio- 
 thck. It was written by Herder, who designates the departure as 
 " neu und schon," and refers to the poems of Ossian as " diese kost- 
 baren Ueberbleibsel aus der alten celtischen oder gallischen 
 Sprache." But soon doubts arise : "So sind also die Gedichte 
 Ossians in Hexameter iibersezt — aber wiirde Ossian, wenn er in unsrer 
 Sprache sie abgesungen, sie hexametrisch abgesungen haben ? oder 
 wenn die Frage zu nah und andringend ist ; mag er in seiner Origi- 
 nalsprache den Hexameterbau begiinstigt haben? . . Oder. . . : 
 that Ossian in seinem homerischen Gewande eben die \\'urkung, als 
 Ossian der Nordische Barde ?' ' ' Here was the rub : Denis had given 
 Ossian, the Gaelic bard, the ' rough, sublime Scotchman ' in the 
 measure of a Greek rhapsodist. " Vielleicht aber wird er dadurch 
 verschonert, und gleichsam classisch ? Er mag es werden : nur er 
 verliert mehr, als er gewinnt, den BarJenfon sci/ics Gesangs.''- The 
 translation makes an epic, a heroic impression, but does not re- 
 produce its natural Scotch heroic impression. Herder proceeds to 
 show how Ossian and Homer are antitheses in almost every respect, 
 and holds that in consequence the difference in expression should be 
 emphasized by the choice of difterent meters. Although Herder 
 regards many of Denis's hexameters as melodious and euphonious, 
 he opines that the free meters introduced by Klopstock in his odes 
 are better adapteil to a translation of the bard. That the transla- 
 tion made a favorable impression upon Herder in spite of its metri- 
 cal drawbacks is evidenced by the concluding lines of the review : 
 '' Wir freuen uns iiberhaupt auf die ganze Fortsetzung der Dennis- 
 schen Arl)eit mehr. als auf manche neuere siisslallende Originale in 
 
 ' Cf. AUg. Deutsche Bibl., Vol. lo, i. p. 64. 
 » Cf. itiii , p. 65. 
 
123 
 
 Deutschland, und wiinschen, dass Ossian der Lieblingsdichter junger 
 epischer Genies werde 1" ^ Herder here had in mind Vol. i only ; 
 his review of Vols. 2 and 3 did not appear until three years later, in 
 1772, being written at about the same time as the " Auszug aus 
 einem Briefwechsel liber Ossian und die Lieder alter Volker," 
 which opened the B/iiifer von Deutscher Art und Kiinst."- His 
 view-point and line of argument are to all intents and purposes 
 identical in the review and the essay. In the review he laments : 
 " Noch immer Ossian der Hexametrist, der Klopstockianer, da man 
 Ossian den kurztonenden, unregelmiissigen Celtischen Barden horen 
 sollte. " "' Again and again Herder returns to the attack; he can 
 not reconcile the smooth poetry of Denis with the unpolished bard. 
 The soft lyric cadence of Denis's verses appeals to Herder, to be 
 sure, but " hier, so sanft, so vieltonig und schon sie sey, hier passet 
 sie Ossianen oft so an, als etwa einen Samojedischen Gesandten bey 
 der russischen Gesetzkommission das Ceremonienkleid des Hofmar- 
 schalls." * But not alone the hexameters aroused Herder's dissat- 
 isfaction ; his displeasure increases when he views Denis's attempt 
 to translate a poem in the measure employed by Gerstenberg in his 
 Gedicht cincs Skaldcn. Here Denis employs rime with poor suc- 
 cess, and we must agree with Herder when he says : ' ' Denis gelingen 
 nicht Reime !" ■" 
 
 There was still another side from which Herder attacked the 
 translation ; he was not content with the language employed, 
 which he did not consider natural enough ; too many words were 
 not sufficiently indigenous. *' War Ossian nicht unser Bruder?" 
 he asks, "und welch' ein Gliick, welch ewiges Verdienst ware es, 
 ihn so zu verdeutschen, als ob er, ein Deutscher gewesen ware : 
 das er doch, der Hiilfte nach, gewesen ist." " 
 
 I hinted above that Herder was not the only critic who was 
 ill-pleased with Denis's choice of the hexameter. A similar chord 
 is struck in other reviews, in the introductions to several later trans- 
 lations, and elsewhere. 
 
 The most appreciative notice of Denis's translation was that in 
 
 > Cf. ibid., p. 69. 
 
 - For a detailed notice of this essay cf. the paragraphs on Herder, for which ali further remarks 
 on Herder's attitude will be reserved. 
 
 ^Cf. AUg. deutsche Bibl., Vol. 17, ii, p. 43S. 
 
 •* Cf. ihia., p. 44a. 
 
 ^Cf. ibid., p. 445. 
 
 *Cf. ibid., pp. 445-6; cp. su/ra, pp. S5-6. 
 
124 
 
 the Neiie Bibliotliek der sc/io/ien Wissenschaften. From beginning 
 to end the review teems with praise for the translator, as well as 
 for old Ossian himself. " Wir haben die Entdeckung der Gedichte 
 Ossians," begins the critic, " immer fiir eine der wichtigsten Bege- 
 benheiten dieses Jahrhunderts in der Geschichte des Witzes und 
 Geschmacks unsers Jahrhunderts gehalten. Ihre Avthenticitat ist 
 nunmehro eben so sehr entschieden, als ihre Vortrefflichkeit." ^ 
 Not only does the critic refrain from discountenancing the employ- 
 ment of the hexameter, but, like the reviewer in the Hamburgischer 
 Correspondent, he even expresses his admiration for the verses. 
 "In der That," he says, "haben wir kaum wohlklingendere 
 deutsche Hexameter gesehen."- In order to bring the value 
 of the poetical translation more vividly before the reader, an ex- 
 tract from Denis's translation is given '^ and compared with a literal 
 prose translation that follows.* The value of such long extracts 
 must not be underestimated. They occurred frequently and no 
 doubt aroused an interest in the original in many a reader. As an 
 illustration of the lyrical measure in which Denis translated the 
 distinctively lyrical passages of Ossian, Carril's song on the death 
 of Crugal is given. ^ Besides we have an extract from the begin- 
 ning of " Comala " and a prose version of the extract for compari- 
 son. " Comala " is one of the poems that Denis had clothed in 
 rime, giving it the form of a modern Singspiel, and with this rai- 
 ment the reviewer is not quite satisfied. Other voices were raised 
 in opposition to the general form Denis had given the dramatic 
 poem. The latter, appreciating the justice of the position of the 
 critics, changed the structure for the edition of 17S4,*' but at the 
 same time inserted the poem in its original form in another vol- 
 ume,' in order to satisfy those who preferred it in that shape. The 
 objection to the first form of " Comala " we find also in the review 
 in the Gottingische gelehrte Anzeigen, where the critic writes : 
 " Die Comala deucht uns nicht sehr glticklich ausgefallen zu seyn. 
 . . . Will man sagen : es sey Ossians Comala in ein Singspiel ver- 
 
 ^ Cf. Neue Bibl. der schonen Wissenschaften, Vol. 8, i, p. 99 (1769). 
 ^ Cf. ibid., p. loi. 
 
 3 Cf. i/>id.. pp. 102-5. Episode of Morna, daughter of Cormac, Fingal, Bk. i, p. 219, 1. 13-p. 
 220, 1. 34. 
 
 ■iCf. ibid., pp. 105-8. 
 
 6Cf. ibid., pp. 108-9. Fingal, Bk. ii, p. 230. 1. 28-p. 231, 1. 6. 
 
 "Cf. Ossians und Sineds Liedcr, Vol. i, pp. 117-32 ; cp. p. 120, note. 
 
 ^Cf. ibid., Vol. 4, pp. 81-97. 
 
125 
 
 wandelt, so sind wir zufrieden. Aber Ossian ist es nicht." ^ Other- 
 wise this review of the first vokime of Denis's translation is full 
 of compliments to the genius of the translator. The critic ex- 
 presses the opinion that the poems of Ossian have gained much by 
 the new form. Especially does the hexameter tend to give " Fingal ' ' 
 the character of a true epic. On the whole, the reviewer is as 
 much impressed with the necessity of the translation on the one 
 hand as with the beauty of the original on the other. " Es lean 
 diese Uebersetzung nach unserm deutschen epischen Originaldich- 
 ter [Klopstock] billig gesetzet werden, billig einen nahen Platz er- 
 halten ; selbst in so fern der alte Barde mit unserm Gefiihl, und 
 mit unsern National-Begriffen von den ersten Zeiten weit mehr 
 iibereinstimmt, als ein Homer und Virgil." ' 
 
 1 shall refrain from a detailed discussion of the character of the 
 translation and would refer the reader to Hofmann-Wellenhof's 
 biography, pp. 163-91. Denis's was the first translation to give 
 the works of Ossian in full, and attracted attention by reason of 
 that fact alone. He adhered as closely as possible to the original, 
 but from the very nature of the case, he had often to expand. "^ Pro- 
 vincialisms abound. It cannot be denied that he failed to repro- 
 duce the spirit as given to the original by Macpherson, yet when 
 all is said, Denis's translation \sfaciicpriiiceps2imor\g the complete 
 German translations. The hexameters lend an air of stateliness 
 and dignity to the poems and give them more the air of a classic. 
 What is more, the novel introduction of hexameters evoked a lively 
 discussion and so stimulated the popular interest in Ossian. The 
 translation became a model for the school of the bards, most of 
 whom derived their knowledge primarily from the version of their 
 revered confrere. During Denis's lifetime, that is, until the open- 
 ing of the new century, his translation remained the standard for 
 Germany.' About the time of his death, the so-called Gaelic ori- 
 
 ^ Cf. Gott. Anz. von gel. Sachen, 1768, ii, p. 1285. — In regard to the form of Comala, cp. also 
 Ehrmann, op. cit., p. 87. 
 
 2 Cf. ibid., p. 1282. 
 
 3 For examples cf. Hofmann-Wellenhof, oJ>. cit., pp. 182-4. — The different meters employed 
 are discussed on pp. 174-81 of the biography. 
 
 •* 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 suc- 
 cess in the following words: " Was fiir einen Eindruck die machtigen und natiirlichen schonen Ge- 
 danken Ihres Ossians auf meine achtzehnjahrigen Zuhiirer gemacht haben, kann ich Ihnen nicht 
 beschreiben. Sie waren traurig, wenn die Stunde sobald zii Ende gieng ; und weiin ich des fol- 
 genden Tages das Buch wieder offnete, stieg ihre Seele ihnen in die Augen. Sie verschlangen 
 alles ;" etc. Cf. Michael's Denis Lit. Nachlass, 1801-2. Vol. 2, p. 137. 
 
126 
 
 ginal began to occupy the chief attention, and when Ahlwardt's 
 translation from the Gaelic appeared, it superseded that of Denis 
 in the popular favor for a time, that is to say, until it began to be 
 suspected that the Gaelic original was not all that was claimed for it. 
 The first collection of Denis's poems, of the songs of Sined, 
 appeared in 1772 under the title of Die Lieder Sineds des Bardcn. 
 We have not far to go to discover a typical instance of the nature 
 of Ossian's influence. The very first poem, " An Ossians Geist," 
 will serve as a splendid example. The poem begins as follows : 
 
 Im schweigenden Thale des Mondes 
 Umkianzet von heiligen Eiclien 
 Da walten die Geister der Barden, 
 
 Sie schweben auf Silbergewolken 
 Den thauigten Abhang herunter, 
 
 Dann heben sich Lieder der Vorzeit, 
 Und Harfen begleiten die Lieder, 
 Und sanftester Nachhall entziicket 
 
 Die lauschenden Walder und Fiuren uniher.^ 
 
 And so on. It is scarcely necessary to point out how closely the 
 Ossianic spirit and nature coloring have been adhered to. The 
 Ossianic paraphernalia are all present, the silent vale, - the moon, 
 the sacred oaks, the ghosts of the bards, the clouds upon which 
 they float along the sides of the mountains, '' the songs of the times 
 of old attuned to the accompaniment of the harp ; not even the 
 echo is missing, resounding from woods and fields. These and 
 similar Ossianic properties are continually resorted to in Denis's 
 bardic productions. They give an archaic character to the whole, 
 and lend a certain picturesqueness to the scene — when not em- 
 ployed to excess. We have further along " Saiten von Selma," 
 Ossian's oft repeated 'harp of Selma,' " Ziihren der Wehmuth," 
 " Wipfel der Eichen," " moosige Triimmer," etc. Denis pro- 
 ceeds to narrate the principal subjects of the poems of Ossian, and 
 then confesses what an effect Ossian made upon him from the very 
 outset ; he tells us how he persisted in his purpose in spite of the 
 
 ■ Cf. Die Lieder Sineds des Earden, pp. 1-2. 
 Cp. Cath-Loda, ii, p. 133, 1- 26; The Songs of Selma, p. 212,1.5; also The Death of 
 CuthuUin, p. 292, 1. 22 ; " The silent valleys of night," etc. 
 3 Cp. The Death of CuthuUin, p. 292, 11. 20-1. 
 
127 
 
 fact that many of his old listeners deserted him. He concludes 
 with the following lines : 
 
 Und, Vater von Oscar ! ' dein Folger 
 Bey kommenden Altern zu heissen ! 
 Ha ! dieser Gedanke gesellt mich 
 
 Im schweigenden Thale des Mondes zu dir ! ^ 
 
 We should expect Denis, as a strong admirer and pupil of Klop- 
 stock, to follow in the footsteps of his master by introducing the 
 old Norse mythology into his bardic efforts. As a matter of fact, 
 however, it is almost completely lacking, a circumstance perhaps 
 best explained by his religious calling. ^ About the sole indica- 
 tions of an interest in Old Norse are the seven songs following the 
 first poem. Being translations and paraphrases of Old Norse ma- 
 terial, they do not concern us here. 
 
 Next come a number of occasional poems addressed to Maria 
 Theresa and to Joseph II. On pages 85-143 we have the 
 "Bardenfeyer am Tage Theresiens," first published in Vienna in 
 1770, in which the various offices and qualities of the empress are 
 sung by different bards. The spirit of Klopstock and Ossian hov- 
 ers over all these poems, as will appear from the extracts to follow. 
 We shall notice also that the bardic machinery and Ossian' s im- 
 agery are not neglected. The bards are described as " Die Geber 
 des Ruhmes, die Sohne der Lieder," ^ and are endowed with all 
 the other characteristics of those of Ossian, as, for example, with 
 the power of looking into the future." 
 
 The poem " An Ossians Geist " showed us that Denis adopted 
 the spirit world of Ossian, and like Klopstock and Gerstenberg, he 
 has ghosts appear on all possible occasions, e. g., in " Theresia die 
 Fiirstinn," which begins (p. 89): 
 
 Neiget each nieder aus luftigen Hallen, 
 Herrscher der Vorzeit im Schmucke Walhallas ! 
 Vater von Habsburg ! neiget euch her ! ^ 
 ' Ossian. 
 
 ,2Cf. 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. 
 
 3Cf. Hofmann-Wellenhof, op. cit., p. 213. 
 
 4Cf. Lieder Sineds, p. 85, Gruss des Tages. Cp. Beurlaubung des Tages, p. 142: " Auf 
 Ihren Barden sey der Geist der Lieder." 
 ^Cf. ibid., Theresia die Mutter, p. 107. 
 *Cp. e. g., Berrathon, p. 380, last 3 11. 
 
]28 
 
 So in Ossian " the forms of the fathers bend " from their ' cloudy- 
 hall.' 
 
 In the same poem (p. 92) we have a " verfinsterte Seele," 
 Ossian's ' darkened soul.' ^ 
 
 In the next poem, " Theresia die Gattinn," we have several Os- 
 sianic expressions, c. g. (p. 98) : 
 
 Er zog einher dem Hirschen gleich 
 ]n Rabenlocken hel sein Haar. 
 
 We have had occasion before to point out Ossian's comparisons 
 to a deer, and his locks black as a raven's wings. Theresa, in true 
 Ossianic manner, is compared to the rainbow, a star, a pine,'* etc., 
 and in the following poem she is said to be fairer than the moon or 
 an oak.^ After the death of her husband she often visits his grave : 
 
 " Dort pfleget Sie der Wehmuth Lust," * 
 
 " the joy of grief." His ghost, of course, does his duty and pays 
 her an occasional visit." 
 
 A truly Ossianic picture and comparison are given in the third 
 stanza of the following poem, "Theresia die Mutter" (p. 103): 
 
 , Schon ist an des Himmels 
 
 Blauem Nachtgesichte 
 
 Diinsteloser Mond, 
 Wenn er uiiter Sternen 
 Sanftbeleuchtend wandelt ; 
 Aber schoner ist doch Eine noch. 
 
 Ossian's maidens are generally either " bright as the sun-beam," or 
 else " fair as the moon." Compare also Ossian's apostrophe to 
 the moon, beginning of " Dar-Thula. ' ' In another line of the poem 
 (p. 106) we have " Seelen schmelzen " and likewise in " Calthon 
 andColmal," p. 183, 11. 21-2: " The soul . . . melted;" " Te- 
 mora," Bk. ii, p. 318, 11. 3-4, etc., etc. 
 
 The tenth stanza of •' Theresia die Kriegerinn " is decidedly 
 Ossianic : 
 
 1 Cf. Temora, Bk. iv, p. 334, 11. 7-S : Bk. vii, p. 357, 1. 23, etc. 
 
 - Cf. Lieder Sineds, pp. 96-7. 
 
 3 Cf. ibid., p. 103. 
 
 'id. ibid., -p. zoo. Also Urlaub von der sichtbaren Welt '(p. 287), and Drittes Vaterlands- 
 jied (p. 223) : " Wonne der Wehmuth." Cp. Goethe's poem, " Wonne der Wehmuth," and 
 infra, p. 150. 
 
 '°Ci.- ibid., pp. loo-i. 
 
129 
 
 Da rollete schnell von Thranen ein Guss 
 Die bartigsten Wangeii der Manner herab ; 
 ... da flogen, wie Blitz 
 
 Die wogigten Scheiden empor. ' 
 
 Compare " Carric-Thura," p. 149, 11. 35-6: "The tear rolled 
 down her cheek," etc. The comparison of swords to lightning, to 
 beams of fire, or to meteors occurs again and again in Ossian." In 
 the following stanza the rush of the warriors is described (p. no) : 
 
 . . . . so stiirmet der Wind 
 Die Blatter des Hayns im Herbste mit sich. 
 
 Ossian is very fond of comparing the rush of a host to the wind/ 
 Bartmar has to sing of battle, and it is not astonishing that we find 
 in his song more traces of Ossian' s influence than in any other song 
 of the " Bardenfeyer," the general peaceful atmosphere of which 
 does not offer the same possibilities for the insertion of Ossianic 
 material. The ghosts of the fallen warriors make their appearance 
 before the close of the battle. Theresa's eye makes the warrior bold: 
 
 Und furchtbar im Fliigel der diisteren Schlacht. 
 Sie standen, ein Fels, und rollten den Schwall 
 Der Krieger aus Norden zuriick.'' 
 
 Ossian' s warriors are ' terrible ' and ' dark ' in battle, they " stand 
 like a rock " ^ and roll back the foe. Compare " Temora," Bk. 
 ii, p. 318, 11. 17-8: " Conar was a rock before them: broken 
 they rolled on every side;" etc. Another stanza, the twenty- 
 second, shows a close resemblance to an Ossianic image (p. 112) : 
 
 " Doch wie sich der Lenz in Schauergewolk 
 Itzt hiillet, und itzo sein holdes Gesicht 
 Den Fluren entdeckt ; 
 
 Compare " P^ingal," Bk. vi, p. 265, 11. 22-4 : " Like the sun in a 
 cloud, when he hides his face . . . , but looks again on the hills of 
 grass!" Furthermore we have in the same poem (p. 113) a 
 *' Stein des Ruhmes," " Ossian's "stone of fame " ' or " stone of 
 renown." ^ 
 
 1 Cf. ibid., p. no. Cp. Theresia die Starkmuthige, p. 120 : " Des . . . Schwertes Blitz," 
 and p. 121 : " Blitz des Schwertes." 
 
 = Cf. Calthon and Colmal, p. 184, 11. 22-3, The Songs of Selraa,p. 211, U. 6-7, Fingal, Bk. iv, 
 p. 248, 1. 26, etc., etc. Cp. infra, p. 142. 
 
 3Cf. Sul-Malla of Lumon, p. 201, 11. 17-9. 
 
 *Cf Sineds Lieder, p. in. 
 
 5Cf. Fingal, Bk. iii, p. 239, 1. 23, etc. 
 
 6 Similarly An den Obersten der Barden Teuts, p. 184, etc. 
 
 "Cf. Fingal, Bk. vi, p. 264, I. 25, etc. 
 
 8Cf. Temora, Bk. i, p. 310, 1. 24. 
 
130 
 
 The following poem, " Theresia die Fromme, " contains but few 
 traces of Ossian's influence. An expression borrowed directly from 
 Ossian, however, is the " enge Haus, " ^ the "narrow house," 
 the grave, occurring continually in the poems of Ossian, e. g., 
 "Oithona," p. 173, 1. 36, etc., etc. *' Theresia die Weise " also 
 contains a direct borrowing from Ossian, viz., Denis calls the 
 echo (p. 128) "die Tochter des Felsen " just as Ossian styles it 
 "the son of the rock." Another Ossianic reminder is contained 
 in the second stanza of this poem. The bard remarks (p. 126) : 
 
 Oder, wenn ich den Fall eines der bliihenden 
 Heldensohne beseufzte, 
 
 Dem im Felde sein Hiigel stieg. 
 
 Ossian's bards " mourn those who fell " ' and the warrior's resting- 
 place is marked by a hill or stones. — " Kriimmungen heller Biiche" 
 (p. 126) recall Ossian's "bright winding streams." '' 
 
 I have had occasion several times to refer to the transitoriness of 
 the warrior's life as continually harped upon by Ossian. The sol- 
 dier's name is preserved in two ways, as was that of Fingal, /. c, 
 in the song of the bards, and secondly by the stones over his grave. 
 Bearing in mind that Denis translates 'stones' by 'Triuiimer, ' 
 note the following lines (]). 131) : 
 
 Menschen schwinden hinweg. Lassen sie Thaten nach, 
 Dann nennt Triimmer und Lied Thaten und sie zugleich 
 
 Ossianic is the phrase in "Theresia die Giitige " (p. 138): 
 
 Bis im Felde keine Spur 
 Unsrer Pfade mehr 
 Sichtbar ist. 
 
 So Fingal, Bk. v, p. 256, 1. 27 : " My footsteps [shall] cease to be 
 seen ;" etc. 
 
 The collection of occasional poems that follows the " Barden- 
 feyer " is addressed to Joseph II. Bardic properties are employed 
 here in a similar manner as in the poems of the preceding series, 
 but otherwise Ossian's influence is almost inappreciable. The open- 
 ing lines (p. 144), beginning " O Geist der Lieder !" * are truly 
 
 ' Cf. Lieder Sineds, p. 117. Cp. Goethe's Faust, Part 2, 1. 11529. 
 " Cf. Fingal, Bk. vi, p. 264, 1. 24. 
 ^Cf. Lathmon, p. 275, I. 2. 
 
 * The " Geist der Lieder " is repeatedly referred to in the Lieder Sineds, c. g- , pp. 142, 182, 
 etc. Cf. Ehrmann, oj>. cit., p. 40, and cp. infra, pp. 141 and 147. 
 
131 
 
 Ossianic. A comparison borrowed from Ossian is found in " Jo- 
 sephs Erste Raise" (p. 151): 
 
 der im Frieden, 
 Aehnlich dein Adler am Felsengipfel, 
 Mit wachem Auge nihet, und adlerschnell 
 Auf Storer seiner Ruhe sich niedersenkt. 
 Sie bluten, liegen, und der Sieger 
 
 Schwebet zurlicke zum Felsengipfel. 
 
 And now for a few passages from " Temora. " Bk. ii, p. 319, 11. 
 32-3 : " The eyes of Morven do not sleep. They are watchful, as 
 eagles, on their mossy rocks ;" p. 321, 11. 31-3 : " Descending like 
 the eagle of heaven, . . . the son of Trenmor came." Bk. iii, p. 
 330, 11. 1 1-2 : "They return . . ., like eagles to their . . . rock, 
 after the prey is torn on the field." Another Ossianic comparison 
 is the following (p. 155): " Die Fiirsten stehn, Zwo Sonnen." 
 See " Temora," Bk. vi, p. 349, 1. 27 : " Yet is the king ... a sun 
 . . .," etc. The " Zweite Reise " contains a stanza that is modeled 
 closely after a passage in Ossian ("Temora," Bk. ii, p. 323, 11. 
 1 1-20): 
 
 Die Kinder Teuts . . . sollten nur 
 
 Die Stelle zeichnen, wo sich umarmeten 
 Die Grossten Deutschlands, Joseph und Friederich, 
 Hin Eichen pflanzen, dass die spatslen 
 Enkel im Schatten sich diess erzahlten. 
 
 In the poem, " Die Saule des Pflugers, " we encounter the fol- 
 lowing Ossianic reminiscences (p. 166): " In der Seele des Bar- 
 den ist Licht des Liedes." ^ And (p. 167): 
 
 Fliigel des BHtzes hatte der hohe Gedanke, 
 Welcher dam Herrscher die Seele durchfuhr. 2 
 
 In the same poem we have the Ossianic comparison (p. 168): 
 *' Die Seele so still, Wie scheidende Sonnen." ■' 
 
 The poem "Auf den Oberdruiden an der Rur " and the fol- 
 lowing ones written in the bardic spirit contain Ossianic touches 
 here and there in much the same way. " An einen Bardenfreund, " 
 contains some verses of Ossianic description (p. 175): 
 
 ' Cf. The War of Caros, p. i88, 11. 1-2 : " The light of the song rises in Ossian's soul." 
 -Cf. Temora, Bk. iv, p. 338, 11. 8-g : " The light-winged thought that flies across the soul." 
 Bk. vi, p. 350, 11. 11-2 : " As lightning ... a thought came rushing along my soul." 
 
 ^ Cf. Dar-Thula, p. 270, last 2 11. : " Thy soul was generous and mild, like the hour of the set- 
 ting sun," etc. 
 
132 
 
 In den Tagen des Herbsts, wenn sich der Abend briiunt, 
 Irr' ich einsam den Ilayn, irr' ich die Fluren durch, 
 
 Ja, dann seyd ihr vor mir, Walder mit seufzenden 
 Tannen I bist du vor mir, sprudelnder Erlenbach ! 
 Und ihr Teiche voll Schilfes ! 
 
 Von deni Iciihlenden West' umrauscht. 
 
 The autumn, the darkening evening, the lonely wanderer in the 
 grove and on the heath, the sighing pines, " the breeze in the reeds 
 of the lake," ' combine to form an ideal Ossianic picture. More 
 of the same kind is found in the poem. — " Der Strahl aus Osten '.' 
 referring to the sun, as employed in the next poem, " Auf das 
 Haupt der Starken bei den Markmannern (p. iSo) is undoubtedly 
 Ossian's "beam of the east." ■ 
 
 In a poem addressed to Gleim, " Auf den Bardenfiihrer der 
 Brennenheere," Denis refers to his translation of Ossian and to 
 the favorable reception accorded it by Gleim (p. i86): 
 
 Ossians erhabne 
 Lieder nachzustimmen 
 Rang es,'' und errang mir einen Gleim. 
 
 On pp. 189-90 we read : 
 
 Aber du, Gespielinn 
 Meiner Lieder, Harfe ! 
 
 Theuer bist du mir, 
 Seit du mir mit Morvens 
 Neugeweckten Klangen 
 Dieses Mannes Herz gewonnen hast. 
 
 " An Friedrichs Barden " (Ramler) breathes the bardic spirit more 
 intensely than some of the others we have been considering. When 
 Denis calls ' Thaten ' ' Flammen ' (p. 191), we recall Ossian's 
 " Our deeds are streams of light." * Denis's druids dwell in caves, 
 as they do in Ossian. ' ' Druiden locket er hervor Aus ihrer Hohle, ' ' 
 he sings (p. 195) in " An den Oberbarden der Pleisse " (Weisse) 
 and so Ossian addresses the druid as the " dweller of the rock." '" 
 The next song is addressed "An den Beredtesten der Donau- 
 druiden " (Ignaz Wurz). The word ' schwellen ' in the expression 
 
 ^ Cf. Carric-Thura, p. 146, U. 3-4 : cp. Teraora, Bk. iii, p. 328, 1.6; etc.; also Ossians und 
 Sineds Lieder, 1784, Vol. 4, p. 148. 
 
 * Cf. Lathmon, p. 27s, 1. 16. 
 
 * Main Spiel. 
 
 * Cf. Temora, Bk. ii, p. 323, 1. 28. 
 
 ^ Cf. Comala, p. 140, 1. 27, and note. 
 
100 
 OO 
 
 "Thriinen Schwellen in . . . Augeii " (p. 199) no doubt goes back 
 to Ossian ; compare '' Dar-Thula," p. 286,1. 17: '• Tears swell in 
 her . . . eyes!" Denis uses the word frequently in other con- 
 nections.' 
 
 Kretschmann's poem, " Rhingulphs Lied an Sined," which fol- 
 lows, is answered by Denis in " Sineds Gesicht, Rhingulphen dem 
 Freunde der Geister gewidmet," a poem teeming with Ossianic 
 properties, the ghosts playing an especially prominent part. In- 
 tensely Ossianic is the following comparison (p. 207): 
 
 Uiid meine Freude 
 
 War, wie des Mondes Antlitz, weiin eiii Dunst 
 Sich von der Erde schwingend es beschleicht.- 
 
 The ghost tells Denis that Rhingulph (p. 209): 
 
 . . nannte dich den Freund an Ossians Busen, 
 Dem Ossian am Abend seiner Augen 
 Die Harfe Hess. — 
 
 In a note to " Sineds Gesicht," Denis cpiotes Kretschmann's reply, 
 in which the latter addresses him as " Sined, treuster Freund von 
 Fingals Sohne !" and exclaims: " Hiitt' ich Ullins Lieder, both 
 ich dir sie an."" — The succeeding poem, " An einen Jihigling," 
 enjoins a youth to conduct himself so that his fame may go down 
 in the songs of the bards, that darkness may not dwell around his 
 grave, that his name may not die like the thunder echoed by the 
 hills, and gives him much similar advice such as Ossian was accus- 
 tomed to extend to his Celtic heroes. 
 
 "Sineds Vaterlandslieder," a series of four poems, contain the 
 never-failing Ossianic paraphernalia as before. The bard sings in 
 a grove, reclining upon moss in the shade of an oak, with the 
 breeze trembling through the leaves and sighing in the harp.'' In 
 the opening line of the next poem, " Sineds Morgenlied," the poet 
 calls upon the harp to descend (p. 232): " Harfe I steig nieder. " 
 Compare " Urlaub von der sichtbaren Welt " (p. 283): 
 
 Steig nieder, Schattenharfe ! 
 
 Vom wiegenden Zweige der Tanne ! 
 
 The 'Schattenharfe'^ is Ossian's 'shadowy harp,' "Temora," Bk. 
 
 ' Cp. Sineds Lieder, pp. 224, 235, etc. 
 
 -C{. e.g., Croma, p. 179, 11. 16-7 : The joy " was like the faint beam of the moon spread 
 on a cloud in heaven." 
 
 ' Cf. Sineds Lieder, pp. 209-10, note. 
 . *Cf. /i^/</.,p. 215. 
 
 ^ Cp. Urlaub, pp. 284, 288, \ieite Klage, p. 270, and i»/ra. p. 149. 
 
134 
 
 vii, p. 361, 1. 4, and in "Temora," Bk. v, p. 340, 1. 2, we read: "De- 
 scend from thy place, O harp." The harp may hang on a branch, 
 as in "Berrathon," p. 380, 1. 31/ — " Das Donnerwetter " contains 
 occasional Ossianic nature touches. This poem is followed by six 
 laments, " Sineds Klagen," in which the grief now and again takes 
 an Ossianic tone, as witness the opening verses of the first, an elegy 
 on Gellert's death (p. 253): 
 
 Schauerndes Liiftchen ! woher ? 
 Triib ist der Tag. In dem entblatterten Hayne 
 
 . sitz' icli einsam 
 Auf meiii Saitenspiel gelehnet, 
 Da kommst du, Liiftchen ! schwirrest mir 
 So kliiglich, so klaglich die Saiten hindurch.^ 
 
 Ossianic also is the tone of the opening lines of the second com- 
 plaint, sung on a cloudy autumn day (p. 258) : 
 
 Traurig ist der Tag ! 
 Von der Himmelstochter 
 Blicken ungetrostet 
 
 Dammert er dahin. 
 Graue Nebelsjiulen 
 Steigen von Gebirgen. 
 
 Ossian calls the sun " the son of heaven," not the " daughter," but 
 Denis made similar changes of this nature, e. g., in the opening 
 line of " Dar-Thula " and elsewhere he translates "daughter of 
 heaven," referring to the moon, by " Sohn der Nacht." ^ Denis 
 adds a note to his translation in " Dar-Thula," explaining that he 
 took the liberty to institute the change, because moon in German, 
 forsooth, is of the masculine gender.* And thus we arrive at 
 'Himmelstochter.' Compare furthermore " Carric-Tliura, " p. 
 152, 11. 12-3 : " Grey mist rests on the hills," and the like ; also 
 the oft repeated 'columns' and 'pillars' of mist-. — In the same 
 complaint the line (p. 259): " Ein Seufzer reisst sich aus der 
 Brust " " recalls Ossian's "The sigh bursts from their breasts."*^ 
 In this poem Denis laments the taste of those to whom Witz is 
 
 ' Cp. also Ossians und Sineds Lieder, 1784, Vol, 4, p. 149, p. 203 ; Vol. 5, p. 151. 
 
 -Cf. particularly Temora, Bk. i, p. 313, II. 1-3 and the note ; also Bk. vii, p. 355, 11. 20-1. 
 
 'Cp. Das Kunstfeuer, Ossians und Sineds Lieder, 1784, Vol, 4, p. 206. 
 
 *Cf. ibid., Vol. 3, p. 50. 
 
 = Cp. infra, p. 138. 
 
 oCf. The Battle of Lora, p. 298, 11. 14-5. 
 
135 
 
 everything. He can not follow in their footsteps, because (p. 261): 
 
 Greis Ossian in dem Geleite 
 Der Barden und Skalden besucht ihn. 
 Er horet am schweigenden Monde 
 Gesange vergangener Alter. 
 
 The fourth complaint is an elegy on the death of Joh. v. Nep. 
 Hohenwart, a friend of Denis, whose ghost is asked to appear. — 
 The concluding stanza of the fifth contains an Ossianic compari- 
 son (p. 276) : "Sein Leben bleibt . . . ein Strom von ewighel- 
 lem Lichte." Compare " Temora," Bk. i, p. 31 1, 11. 22-3 : " My 
 life shall be one stream of light." Several Ossianic touches in the 
 last poem of the collection, " Urlaub von der sichtbaren Welt," 
 have been referred to. Ossianic furthermore is the following pic- 
 ture (p. 284) : 
 
 Kiihle Liifte sausehi, 
 
 Wie.senquellen lauten, 
 
 Duich die Tannenzacken 
 
 Blinkt der milde Mond ; 
 
 Aber schweigend, schweigend stelit der Hiigel, 
 
 Der den Barden deckt. 
 
 ' Silent ' as a standing epithet frequently goes with ' hill ' in Os- 
 sian, and the hill covering the dead has been noticed ; we have it 
 again on pp. 287-8. 
 
 Having now considered the poems of the first collection, we are 
 ready to turn our attention to the new offspring of Denis's muse 
 that found a place in the first edition of Ossians mid Siucds Licdcr 
 (1784), the first three volumes of which contain the translation of 
 Ossian, revised with reference to the English edition of 1773.' 
 Aside from the alterations necessitated by the conformity to the 
 new English edition and the working over of " Comala " referred 
 to above (p. 124), the changes are inconsiderable. The fragment 
 of a Norse poem, "Fithona," given by Macpherson in the pref- 
 ace to the edition of 1773, is translated and inserted among the 
 songs of Sined, Vol. 4, pp. 9S-100.— In his preface "An den 
 Leser " in the first volume, Denis defends his choice of the hex- 
 ameter in a few words and states: " Er [Denis] glaubt noch Os- 
 sians Aechtheit, obwohl er sich, als ein Zeitgenoss des XVHI. 
 Jahrhundertes freuen miisste, wenn dieses Jahrhundert einen sol- 
 chen Genius hervorgebracht hiltte." He is strengthened in his 
 
 Denis had originally translated from the English edition of 1765. 
 
136 
 
 belief b}'^ the statement made by Sturz that he (Sturz) had seen the 
 originals/ The preface contains also a chronological bibliography 
 of Ossianic publications from 1762 to 1783, which is by no means 
 complete and contains several errors. The Fragments of 1760 are 
 not mentioned at all. The songs of the five bards given by Mac- 
 pherson in his note to " Croma " are translated and placed at the 
 end of the third volume under the title " Die Octobernacht. Eine 
 alte Nachahmung Ossians." 
 
 I shall point out the most striking Ossianic characteristics in 
 the poems that have not yet been dwelt upon. The poem "An 
 Gott," the first in the list,' contains nothing deserving of atten- 
 tion. In " Sined und der Tag seiner Geburt " (pp. 113-5). we 
 have the hill covering the dead, the grove of oaks, druids, ghosts, 
 etc. Towards the end Denis addresses his father : 
 
 Hattest du Lieder von Selma geh5it, 
 Hattest du Sined gesehn im Kreise der Barden, deiii Antlitz 
 
 Hatte von inniger Wonne gegliinzt ! — 
 Aber hangst du denn nicht . . . 
 
 Itzo den thauenden Himmel heiab? etc. 
 
 In " Der Fremde und Heimische," the stranger asks whether the 
 native has ever heard of Denis (p. 131) : 
 
 Du kennst den Sanger nicht, der Ossians 
 Gepriesen Lied, das einst in Morven klang, 
 Den Kindern seines Volks ins Harfenspiel 
 Zu singen unternahra ? 
 
 Next we have a series of five poems, " Sineds Triiume," in which 
 we shall find occasional traces of Ossian's influence, particularly 
 in the second dream. 
 
 A typical bardic song is '* Der Neugeweihte und Sined," which 
 contains several passages worthy of note. In the one beginning 
 
 (p. 164) : . 
 
 , . . Als sich f ingals Solin 
 Auf seinem leichten Nebel einst in Nacht 
 Zum Ohre meiner Rube niederliess, 
 
 Denis speaks of the reception of his Ossianic imitation. The fol- 
 lowing comparison at the end of the passage (p. 164) is Ossianic : 
 " Und steht so fest Dem Tadel, wie den Wogen Morvens Fels." — 
 
 ' Cf. Bibliography, 1777. 
 
 - Cf. Ossians und Sineds Lieder. Vol. 4, pp. 101-2. 
 
137 
 
 *' Das Kunstfeuer " contains a reference (p. 207) to an episode in 
 the songs of Ossian, viz., Fingal's encounter with Swaran, " Cath- . 
 Loda," Duan i : 
 
 . . .1st es Uthornas Nacht 
 Beschwert mit Himmelszeichen, als Lodas Geist 
 Aus seiner Wolkenburg nach Ungal 
 
 Gluhende Schrecken umsonst versandte ? — 
 
 In '* Der Jugendgefahrte " Denis's lament (p. 216) sounds truly 
 Ossianic : 
 
 Jiingling ! Sined ist todt. Von seiner verlassenen Halle 
 
 Tonet kein freundlicher Laut, 
 Leitet kein Fusstritt in Schatten. Ihm haben die Sohne der Lieder 
 
 Traurig sein Grabmaal erhoht. 
 
 Ossianic touches also occur in the poems that have been added 
 to the fifth volume. In the " Fiinfte Reise " Denis speaks of bad 
 advice disappearing " gleich dera Nebel " (p. 89); Ossian has 
 frequent comparisons to the departure of mist. The first line 
 (p. 91) of the " Sechste Reise " is typical : " Das Grau der Vor- 
 zeit hellt sich dem Barden auf." " Der Zwist der Fursten," a 
 series of three poems, contains several things of interest. In the 
 first song we have Ossian's striking on the shield as a sign of battle 
 (p. III). In the second Joseph's shield is said to be " gleich dem 
 Monde Mitten in Gewittern " (p. 113). Compare "Temora," 
 Bk. i, p. 306, 11. 4-5 : "His shield is . . . like the . . moon as- 
 cending through a storm," and numerous other comparisons of a 
 shield to the moon. — The lines (p. 117) : 
 
 Die schauernde Gegend erglanzte 
 
 Von Waffen, wie feurige Flut. 
 
 recall "Fingal," Bk. iv, 11. 2-3: " The heath flamed wide with 
 their arms." Ossianic in " Wiens Befreyung " (p. 124) is " Die 
 Wolke des Tods," "the cloud of death." ^ — The line (p. 132) : 
 *'Dein Rath ist Licht, und Flamme dein Muth," reminds us of 
 "Fingal," Bk. ii, p. 228, 1. 12 : "Thy counsel is the sun," and 
 "Temora," Bk. iv, p. 338, 1. 23 : "Valour, like a . . . flame." — 
 Ossian calls the dew the "drops of heaven," '-^ and so Denis in 
 " Der Blumenstrauss " (p. 157) " des Himmels Tropfen." 
 
 The sixth volume, the Nachkse zu Sineds Liedeni compiled and 
 
 Cf. Temora, Bk. i, p. 307, 1. 3. 
 -'a. Temora, Bk. ii, p. 324, I. 6 ; Berrathon, p. 374, 1. 7. 
 
138 
 
 edited by Joseph von Retzer, contains but little that demands our 
 attention. It includes several religious songs, a few translations, 
 and a number of occasional poems. Some of the poems were 
 written prior to Denis's acquaintance with Ossian, and these of 
 course do not concern us here, but even the bardic songs contain 
 little that is Ossianic, only now and then do we meet with a trace 
 of the bard's influence, as e. g., in " Der Heldentempel Oester- 
 reichs " (p. 54): " Aus jeder Brust gedrangte Seufzer steigen," 
 reminding us of Ossian' s "The crowded sighs of his bosom 
 rose." ^ 
 
 The edition of 179 1-2 is virtually identical with that of 1784. 
 Testimony to the high rank the poems of Ossian still occupied 
 in the minds of the German people is given in the preface, where 
 we read : " Auch nur ein Wort von dem Werthe der Werke, . . . 
 zu sagen, ware von mir eine unverzeihliche Kiihnheit. Ossians 
 Gesange haben das Alter aherner Denkmaale iiberlebt, ..." 
 
 A cursory perusal of the facts collected above will at once lead 
 us to the conclusion that Ossian meant much more to Denis than 
 he did either to Klopstock or to Gerstenberg. When we consider 
 the fact that Denis became wholly saturated with Ossian while 
 working on his well-known translation, we no longer marvel at 
 the circumstance that the characteristics of Ossian took such firm 
 hold of him in the composition of his own songs. Again, it re- 
 quires but a glance to see that at no time was Ossian' s influence 
 stronger than during the years in which the translation was under 
 way and those immediately following, that is, the influence is more 
 noticeable in the poems contained in the edition of 1772 than in 
 those written between 1772 and 1784. While the majority of his 
 productions are of a mediocre character, they nevertheless furnish 
 an extremely interesting picture of the extent to which the imitation 
 of the old bard could be carried. And when we compare his orig- 
 inal poems with his translation — instead of with Macpherson's 
 original — the similarity will appear even more pronounced. As 
 Klopstock later on turned to the Revolution, as Gerstenberg found 
 solace in the study of Kant, so Denis later in life became en- 
 grossed in bibliographical labors, and his Ossianic poetry fell into 
 neglect. 
 
 1 Cf. Dar-Thula, p. 287, 11. 4-5 ; cp. ibid., p. 285, 11. 30-1. 
 
139 
 
 §4- Karl Friedrich Kretschmann.^ 
 
 In the same 3^ear that the first two vokimes of Denis's translation 
 made their appearance and created such a stir in the hterary world 
 of Germany, another prominent example of bardic literature loomed 
 up in a different quarter, " Der Gesang Rhingulphs des Barden als 
 Varus geschlagen war," which was published in the autumn of 1768, 
 although the title-page bears the date 1769. This is the first in- 
 stance we have of the employment of a bardic pseudonym. 
 Kretschmann tells us that he received his impulse through Gersten- 
 berg, whose " Gedicht eines Skalden " had appeared two years 
 previously, and we can easily see that the form and conception of 
 Kretschmann's song are borrowed from Gerstenberg's poem. The 
 "Gesang" was followed in 1771 by "Rhingulphs Klage," which 
 served to establish firmly the contemporary fame the "Gesang" 
 had gained for its author. In both of these poems the influence 
 of Klopstock goes hand in hand with that of Ossian, just as is the 
 case in so much of Denis's poetry. But while Denis's original 
 poetic efforts were confined almost exclusively to 7'ers (f occasion, 
 Kretschmann tried his hand not only at bardic and lyric poetry, but 
 also at epigrams, fables, allegories, and even dramas and tales. 
 The bardic fever thus forms a mere episode in Kretschmann's po- 
 etic activity, and, although stray pieces in the bardic vein appear 
 later, the influence of Ossian did not last much beyond the middle 
 of the seventies. As it was, Kretschmann borrowed fewer poetic 
 motifs and expressions from Ossian than Denis did and, on the 
 whole, was influenced less by him. He was extremely sensitive to 
 the opposition that the BardeiigebruU evoked, and he turned his 
 attention into other channels just about the time that Denis began 
 to devote most of his time to bibliographical researches. 
 
 Kretschmann's epigrams, fables, dramas and tales do not, of course, 
 concern us here, nor do the hymns, in which Klopstock' s influence 
 predominates, and, although in his lyric poetry Gleim's influence 
 reigns supreme, the latter' s anacreontic tone occasionally appears 
 side by side with Ossianic machinery and Klopstockian grandeur. 
 
 'Cf. Kiirschner's Dtsche Nat. -Lit., Vol. 48, pp. 305-11.— Carl Friedrich Kretschmann, (der 
 Barde Rhingulph). Von Dr. Hermann Fried. Knothe, Zittau, 1858. 
 
140 
 
 We have, therefore, in addition to the bardic songs to consider 
 mainly his lyric productions.' Most of that portion of Kretsch- 
 niann's work in which the influence of Ossian is traceable is con- 
 tained in the first volume of his collected writings. The poetical 
 jiroductions in the volumes are preceded by a sketch " Ueber das 
 ]5ardiet." It goes without saving, that Kretschmann was a firm 
 believer in the authenticity of the poems of Ossian, and his admi- 
 ration for the Celtic bard is apparent, when, in the strife over the 
 priority of the bardic work of Klopstock, Gerstenberg, and him- 
 self, he takes the stand that " ^'ater Ossian war doch eher, denn 
 wir alia !" ■ His theories as to the characteristics of the old Ger- 
 manic bardic songs are based largely upon Ossian. " Vater Os- 
 sian, ein Kelte so gut als die Barden Germaniens," he says, 
 " iiberzeugt uns, dass dieses wirklich der Charakter der teutschen 
 Bardenlieder gewesen seyn miisse." ' C)ssian's great success he 
 attributes largely to the combination of the epic and lyric elements 
 in his poems. Of course the venerable Ossianic fragments must be 
 regarded as the great models of the new Ban/ief. ^^'hile he op- 
 poses the hexameter as the form in which the Bardlet shall be cast, 
 yet, because of the beauty of the verse-structure, he cannot con- 
 demn Denis's translation. Of Ossian's fame in the days that are 
 to come he is assured.^ 
 
 The first poetic production in the volume is " Der Gesang Rhin- 
 gulphs," to some of the Ossianic touches in which attention will 
 be called. Norse mythology is introtiuced in the song, but not to 
 the same extent as in Gerstenberg' s or Klopstock' s synchronous work 
 along similar lines. The bardic paraphernalia, the moon, the grove, 
 the oak, the echo, the harp, and so forth, meet us here as they do 
 in Denis, and it will not be necessary to point them out. Laying 
 aside these bardic properties, there really is little in the song that 
 can be traced directly back to Ossian. In the first four cantos as 
 well as in " Rhingulphs Klage " and other poems of Kretschmann, 
 we meet with the form Tohro for Thor.' Scheel is no doubt cor- 
 rect in attributing this odd form to the tVequency of names in -o 
 
 1 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. 
 - Cr W'orks, Vol. I, p. 2. 
 sCf. ibid., p. 9. 
 *Cf. i/)ii/.,p\>. 26-7. 
 *Cf. lilt/., pp. 48, 73, SS. 106, etc. 
 
141 
 
 found in Saxo Grammaticus and to the fondness of Ossian for simi- 
 lar forms,' e. ^i,":, Aldo, Artho, Branno, Brumo, etc., etc. 
 
 A real bardic scene is presented in the following lines of the first 
 song (p. 5ij: 
 
 Der niachtge Wohlklang fiillte den Hain, 
 Da brausten die Eichen, 
 Da rauschten die Tannen 
 Holdselig darein. 
 
 And in the same song we have the " Geist der Lieder " (p. 56)' as 
 well as a typical Ossianic ghost (p. 55). In the second canto we 
 read (p. 62): 
 
 Frisch wie der Eichenbaum, 
 Wachst Teutschlands Jugend auf. 
 
 Compare " Carric-Thura, " p. 152, 1. 20: "Thy family grew 
 like an oak." — In this song we have two Ossianic pictures, the one 
 (p. 64): 
 
 Auf eintnal tritt .... 
 Die Sonn' empor, und vorger Nacht 
 Lezte graue Nebel fliehen. 
 
 And the other (p. 72): 
 
 . . . in den Liiften flog der Sturm, 
 Und Sausen war im alten Haine. 
 
 The echo makes its appearance in the second canto (p. 72): 
 "Und Fels und Wald erklang," in the third (p. 79), the fourth 
 (p. 107), and elsewhere/ I do not wish to imply that the author 
 thought of Ossian each time he employed the echo, but there can 
 be no doubt of the fact that Ossian is in large measure responsible 
 for the fondness which the bardic poets had for the echo.* " Die 
 raosigte Hole" (p. 72) goes back to Ossian's mossy cave."^ In 
 the fourth canto we come to the battle proper and here Ossianic 
 imagery is not lacking, e. g., the lines (p. 96): 
 
 Dort, wo der kiihnsten Krieger Mengen 
 Sich wie Gewitterwolken driingen ? — 
 Dort wird der Fiihrer Varus stehn I 
 
 ' Cf. Vierteljahrschrift flir Litteraturgeschichte, Vol. 6. p. 199. 
 ' Cf. supra, p. 130. 
 ^ Cf. pp. 142, 209, 210, 283, etc. 
 
 ^Cf. Leitzmann in his review of Ehrmann's Bardische Lyrik, Literaturblatt fiir germ, und 
 rom. Phil., Vol. 16, pp. 223-4 (1895). 
 
 = Cf. Temora, Bk. viii, p. 363, 1. 24; p. 368, 1. 3 ; etc. 
 
142 
 
 suggest Ossian's "Their heroes follow, like the gathering of the 
 rainy clouds ;"' " Like the clouds, that gather to a tempest . . ! 
 so met the sons of the desert round . . . Fingal;"* etc. Further 
 along we have (p. 97): " Sein Schwert . . . strahlt wie Blitz."" 
 When we read of warriors being hewn down like thistles by the 
 mower (p. 100), we are reminded of the passage in " Fingal," Bk. 
 ii, p. 231, 11. 12-3 : " Cuthullin cut off heroes like thistles." — The 
 fifth song opens with a comparison in the Ossianic vein (p. in): 
 
 Wie wenn der lezte Wintersturm 
 Noch eine Nacht rait Sausen, 
 Mit Schnee und Hagel, fiirchterlich 
 Durchwiitete ; dann schnell entwich, 
 Auf fernem Gebiirge zu brausen : 
 Der erste goldne Friihlingstag, 
 Der lauschend hinter Wolken lag, 
 Steigt freundlich nun hernieder ; 
 
 So weicht von uns des Krieges Wuth. 
 
 The comparison of wrath to a storm is not foreign to Ossian,'' and 
 the entire passage bears a resemblance to a paragraph in "The 
 Songs of Selma. "^ In the same song we have druids (p. 115) and 
 the thistle again (p. 117)," also the compound " Schild-Zer- 
 brecher " (p. 118), which is Ossian's "breaker of the shields."' 
 
 The next poem to be considered is " Die Klage Rhingulphs des 
 Barden," which is divided into four cantos and shows Ossian's in- 
 fluence in much the same way as the ' ' Gesang. ' ' Ghosts are in- 
 troduced at the very beginning (p. 131). Both Ossian and Klop- 
 stock no doubt are represented in the lines (p. 132): 
 
 Wie der Wasserfall brausend die Kluft durchflieht, 
 Walze dich wild iiber Felsenherzen mein Lied ! — ^ 
 
 The lines (p. 133): 
 
 In Ranch zerdampft des Helden 
 Lichtheller Ruhm vor dir. 
 
 ^ Cf. Fingal, Bk. i, p. 217, II. 8-9. 
 
 ^ Cf. Fingal, Bk. iv, p. 247, 11. 33-5. 
 
 ^Cp. supra, p. 129, inf^a, p. 144. 
 
 *Cf. The Songs of Selma, p. 211, 1. 6. Towards the end of the first canto of the Klage (p. 
 147) we have : " Des Sturmes Zorn." 
 
 5 Cf. Tauchnitz, p. 211, 11. 5-12. 
 
 •JCp. also Rhingulphs Klage, p. 138, etc. 
 
 ' Cf. Fingal, Bk. i, p. 217, 1. 19; Temora, Bk. v, p. 341, 1. 31, etc. The passage in Fingal has 
 " Thou breaker of the shields," and so Kretschmann : " dii Schild-Zerbrecher." 
 
 8 Cp. supra, pp. 93 and 97. 
 
143 
 
 recall Ossian's "fame, that fled like the mist." ' The following 
 comparison is Ossianic (p. 134): 
 
 Denn er fiel, er fiel, 
 
 * 
 So reisst im Haine Teutebergs 
 Des Sturmes Fluth die Eiche hin.^ 
 
 Ossian's frequent "'melting of the soul " may be responsible for 
 (P- 137): 
 
 Und ihre Seele schmolz 
 In . . , Minnegesang. 
 
 Compare " Croma," p. 178,11. 14-5: " Thy song is lovely ! . . . 
 but it melts the soul." — Thusnelda sheds ' tears of joy ' and em- 
 braces her father with " schneebeschiimenden " (p. 139) arms. He 
 strikes the shield (p. 141) to summon warriors, and Hermann feels 
 " Diesanfte Wehmuth " (p. 147). — In the second canto we notice 
 the following (p. 155): 
 
 So wie die Feuersbrunst . . . 
 Entflammt sich oft dein Grimm . . . 
 Verzehrt die Zellter . . , 
 
 ' Burning ' or ' flaming wrath ' occurs frequently in Ossian, where 
 rage is also occasionally compared to afire. Notice also "They 
 were consumed in the flames of thy wrath," " " His rage was a fire 
 that always burned," * etc. Ossianic are the tone and atmosphere 
 in the following passage (p. 159): 
 
 Ich schlich in Wald 
 Bey Sternen Schimmer ; 
 Warf mich aufs Moos 
 Uer Felsentriimmer : 
 * „ * 
 In hohen dicken Wipfeln brausten 
 Die Geister luftger Nacht : 
 
 * 
 Und siehe, mir war, 
 Als stiind' ein Mann am Stamme 
 Der alten Eiche hingelehnet, 
 Mit wildflatterndem Haar. 
 
 and again (p. 161): 
 
 ' Cf. Fingal, Bk. v, p. 259, ne.xt to the last li ne. 
 - Cf. supra, pp. 97-S, iio-i. 
 
 ^Cf. The Songs of Selma, p. 211, 11. 8-g. Cp. supra, p. 100, but cp. E.\odus, xv, 7, Psalms 
 lix, 13, etc. 
 
 *Cf. Temora, Bk. vi, p. 352, 1. 23 ; also ibid., p. 350, 1. 17 and note, etc. 
 
144 
 
 Da sauste von Wacholderhiigeln 
 Ein rascher Wind ihm in das Haar ; 
 Ich merkte, dass auf seinen Fliigeln 
 Der Geist des Romers war. 
 
 The " Strahl vou seinem Riihme " (p. 173) in the third canto 
 recalls Ossian's "beam of fame." ' — Ossian's warriors continually- 
 lean on their shields, and Kretschmann may have had this in mind 
 when he wrote the line (p. 179): " Siegmund stand, gelehnt auf 
 seinen Schild." Certain it is that the comparisons in the line (p. 
 179) " Dein Schild der Mond, dein Schwert der Blitz"'" are 
 Ossianic. — In the fourth canto the stanza beginning (p. 196) : " Ich 
 lag, und schlief so siiss " is decidedly Ossianic. As he slept 'grey 
 ghosts arose ' (p. 197): 
 
 Der falbe Nebel dammerte licht : 
 Und mitten in wirbelnden Schimmern 
 Erblickt' icli ein Gesicht. 
 
 It is the face of Irmgard, of which he says (p. 197): "Der Voll- 
 mond scheint so lieblich nicht !" Ossian also compares the face 
 to a moon and speaks of a maiden "fair as the full moon."' 
 The spirit departs in good Ossianic style (p. 200): 
 
 . . da verschwand der Geist, 
 
 Wie der Nebel am Teiche zerfleusst 
 Wenn der Morgenwind erwacht.'' 
 
 A typical Ossianic picture is the foflowing (p. 206), in which the 
 form of comparison also savors of Ossian : 
 
 So wie die alte Eiche, 
 An alien Zweigen entlaubt, 
 Hoch auf dem waldigten Berge trauert ; 
 Der sinkende Nebel verhiillt ihr Haupt : 
 So sass, umringt von finsterm Harme, 
 Ingvviomar, der greise Mann. 
 
 Likewise in Ossian we have an oak "clothed in mist " " and the 
 comparison of a warrior to a "leafless oak." "^ Compare also: 
 "But now he is pale and withered like the oak." ' Ossian again 
 
 1 Cf. Temora, Bk. iv, p. 338, 1. 13. 
 
 ^ Cp. supra, pp. izg and 142. 
 
 ^ Cf. Fingal, Bk. v, p. 257, 1. 30. 
 
 * Cf. The War of Caros, p. 192, 11. 15-6, etc. 
 
 ^ Cf. Temora, Bk iii, p. 329, 11. 24-5. 
 
 6 Cf. The War of Caros, p. 191, 1. 8. 
 
 7 Cf. The War of Inis-Thona, p. 204, 11. 30-1. 
 
145 
 
 and again arranges comparisons in exactly the manner we have 
 here, /. e., the first member is followed by an independent sentence 
 in the indicative mode. Take, e. g., such a passage as the follow- 
 ing : "As rushes a stream of foam from the dark shady deep of 
 Cromla , . . Through the breaches of the tempest look forth the 
 dim faces of ghosts. So fierce," etc' Likewise Ossianic is this 
 scene (pp. 207-S): 
 
 , . Wenn der Sturm der Nacht 
 Mit alien seinen Winden erwacht, 
 Die schwarze schlosende Wolke saust, 
 Der Wald mit alien Zweigen braust, 
 Der Donner briillt, die Haide briillt, 
 Das wilde Wasser rauschend schwillt, 
 Ueber die Felsen ins Thai sich giest, etc. , 
 
 as are also the following comparisons (p. 210): 
 
 Da fuhr hastig, mit blankem Schwert 
 
 Der Held hervor 
 
 so fjihrt 
 
 Der schnelle Blitz .... 
 
 Herab aus finstern Gewittern. — 
 Von der Linken zur Rechten flog 
 Sein Schwert einen flaramenden Kreis ; da bog 
 .Der Schwarm zuriick, und Herman stand 
 Wie durchs Gewitter der Mend sich wand : 
 Einsamglanzend gebietet er. 
 
 Compare such expressions as " Ryno as lightning gleamed along," ^ 
 " brightened, like the full moon of heaven ; when the clouds vanish 
 away,"'' "risen . . . from battle, like a meteor from a stormy 
 cloud," * and the like. — The poem that follows, "Die Jagerin," 
 includes anacreontic as well as bardic elements, without containing 
 anything specifically Ossianic. It has the ' grove of oaks ' (p. 
 224), the ' snowy breast ' (p. 232), the ' Geist der Lieder ' (p. 
 229), the unavoidable echo (p. 227), and other bardic phrases that 
 had by this time become quite common. 
 
 The last poem of the first volume is "Kleist," in three cantos, 
 which cannot be said to have been strongly influenced by Ossian, 
 although the same old bardic paraphernalia of harps and spirits 
 
 ^ Cf. Fingal, Bk. i, p. 221, II. 4-7. 
 ' Cf. ibid., Bk. iii, p. 240, 1. 25. 
 ^Cf. ibid., Bk. vi, p. 265, 11. 4-5. 
 *Cf. Temora, Bk. vii„ p. 357, 11. 2 -30. 
 
]4() 
 
 and the like are employed and occasional Ossianic reminders occur 
 e. g., the expression (p. 259) : " Ihrer Waffen Schein War turcht- 
 bar," reminds us of Ossian's "Terrible was the gleam of the 
 steel," ' etc. We must again point out that although similar ex- 
 pressions occur also in Homer and elsewhere, Ossian served to 
 intensify the impression. Kretschmann and most of the other 
 bardic poets certainly knew their Ossian better than they did their 
 Homer, and I think we can give Ossian the benefit of the doubt in 
 most instances. — The figure of the stars trembling: " Da bebten 
 die Sterne " (p. 259), also probably goes back to Ossian, as does 
 the line ''ThauvoU war sein Haar " (p. 259), with which com- 
 pare, e. g., "Filled with dew are my locks." - 
 
 In the second volume of Kretschmann' s works, which contains 
 " Hymnen," " Scherzhafte Lieder," " Sinngedichte," and a few 
 other poems, there are but scattered signs of Ossian's influence 
 scarcely worthy of mention. Only in the " Anhang einiger 
 kleinen Bardenlieder " do we find the bardic tendency more 
 strongly pronounced and in consequence more frequent traces of 
 Ossian. In the first of these bardic poems, " Die teutsche 
 Schamhaftigkeit," we have a " Miidchen, rabenschwarz von Haa- 
 ren," '^ but the comparison was a common one by this time and 
 need not be referred to Ossian. In the one "An den ersten 
 Weinstock " we have the echo once more (p. 230) ; likewise in 
 •"Das Traumgesicht " (p. 236). In the " Friihlingslied " the 
 nightingale is called the bardic bird, " Du Bardenvogel Nachti- 
 gall " (p. 232), the expression no doubt going back to Klopstock's 
 Ban/a Ir^ In the same poem the bard lies on the moss in the cave 
 of the rock (pp. 232-3), and we have the following Ossianic lines 
 (P- 233): 
 
 Nur selten blinkte durch die Nebeldecken 
 Der spiiten ."^onne Blick. 
 
 Compare Ossian's " the sun looks through mist. " "^ In the last 
 l^oem of the An/iang, " Das Traumgesicht," the bardic character 
 stands out more prominently than in any of the preceding ones. 
 The very first line gives us " Zukunftspahendc Druiden " (p. 236), 
 
 ' Cf. Fingal, Bk. iii, p. 240, 1. 12. 
 
 - Cf. 'I'emora, Bk. vi, p. 354, 11. 3-4. 
 
 ''Cf. Works, Vol. 2, p. 223: cp. sii/>r(>, p. 12?. 
 
 ■•Cf. sii/>ra, p. 89. 
 
 ^'Cf. Tcniora. Bk. ii, p. 324. 11. 28- J. 
 
147 
 
 and soon the ghost of the dreamer's father hovers from the dark 
 oaks (p. 237). — In all these bardic songs Gleim's influence is dis- 
 tinctly noticeable. In the second stanza of the " Friedenslied " 
 (p. 147), we have '' tiefgestimmte Saiten," whereas the original ver- 
 sion in the Leipziger Miiscn Almanach for 1780 (p. 40) had " Dis- 
 telumkriinzte Saiten." 
 
 Volumes 3 and 4 of the works contain comedies. In the fifth 
 volume we have first some " Vermischte Gedichteund Fragmente," 
 one of which is addressed to Denis : "An Sined den Harfen- 
 Druiden." It is written in the bardic spirit with here and there 
 an Ossianic touch. At the beginning we have an imitation of the 
 Ossianic mood of forsakenness and wildness, ' The spirit of 
 song again appears- and also the echo (p. 14). The poet hears 
 the call of the harp, he follows the sound, until he sees "den 
 Sanger am Eichenbaum " (]). 14). — On pp. 15-6 we read : 
 
 I Und nun kenn' ich dich, Sined, 
 
 Den Freund an Ossians Busen, 
 Dem er am Abend 
 Seiner Augen die Harfe liess. 
 
 Aber ach, Icenn' ich denn nicht, 
 Sined, Ossians Harfe, 
 Die vom Rauschen der Speere, 
 Vom Sauseln der Schwerter gern begleitet wird ? 
 
 Another bardic song is that "An Telynhardt," ■' addressed to 
 Hartmann, ^ and containing the lines (p. 50) : 
 
 Dann tritt . unter die Bardenschaar, 
 
 Da wirst du zittern, so wie Rhingulph 
 Zitterte, wenn er zu Ossian hintrat. 
 
 The following poem "An den Herrn B. von F. * * * " sets 
 up Ossian as a model and ends with the exclamation (p. 53) : 
 
 O dringe fiirder bis zum Ziele, 
 Und komm' als Ossian zuriick I 
 
 The following passage is worthy of note (p. 52) : 
 
 ' Cf. Works, Vol. 5, p. 13. Cp. Ehrmann, op. cit., pp. 54-5. 
 
 2Cf. Vol. 5, p. 13; cp. supra, p. 130. 
 
 3 The word Telyn,a%\ic have seen, was adopted by the bards from Klopstock. Kretsch- 
 mann uses it in the poem An Vater Gleim, and elsewhere. Cp. supra, p. 88. 
 
 ^Gottlob David Hartmann, 1752-75, who in a letter to Denis, dated Tiibingen, Sept. 24, 1772, 
 confesses that he owes everything to him (Denis) and his Ossian. (Cf. Retzer, Denis' Lit. Nach- 
 lass, 1801-2, Vol. 2, p. 194.) Hartmann has a poem .\n den Barden Rhingulph, which begins 
 (.\lm. der deutschen Musen for 1773, p. 12) : "O Hermanns Barde. der Du an Ossians Emportem 
 Busen Schlachtengesang gehorcht," and in which the word Tclyii is also used (p. 13). 
 
148 
 
 Als Ossian, in Deiner Bliite, 
 Der siissen Harfe schwur ; 
 Da harrt' er oft am heissen Tage, 
 In kalten Nachten, auf der Flur ; 
 Und sucht' nnd fand Natur und Wahrheit, 
 Bis ihn der ehrenvolle Zweig umlaubt, 
 Den ihm nicht Helle's Barde, 
 Der Barde Roms nicht raubt. 
 
 We see from the above lines that Kretschmann also was not in- 
 clined to set Ossian below Homer or Vergil, and that it was 
 Ossian's naturalness that appealed to him, his freedom from rules 
 and conventions.' 
 
 The remainder of the fifth volume does not offer anything for 
 our purpose. The sixth and last volume, which was not pub- 
 lished until 1799, is made up of "Fabeln," and of " Lyrische, 
 Vermischte und Epigrammatische Nachlesen." In these later 
 poems no traces of Ossian's influence are discernible, except in the 
 cycle of the Seasons, where we encounter an Ossianic description 
 now and then, although no distinct imitation is traceable. 
 
 I believe that the examples given have borne out the statement 
 made in the introduction. Kretschmann was really never saturated 
 with Ossian as Denis was. That he admired the Gaelic bard, 
 he does not hesitate to admit, but aside from his fondness for the 
 poems that were in everybody's mouth in his day, he felt no 
 scientific curiosity to enter more deeply into the question of their 
 authenticity. The fact that Klopstock and Herder regarded the 
 poems as genuine, satisfied him completely. And when the bardic 
 ghost stalked through the land, he willingly paid his tribute — wrote 
 a number of bardic songs — and then retired on his laurels to seek new 
 fields of poetical activity distinctly hostile to a continuation of Ossi- 
 anic influence. Even his later lyric poems, where we might look 
 for lingering tokens of its presence, reveal nothing of the sort. 
 The bard and the grove and the oak of course still make their bow 
 upon occasion, but these were so firmly engrafted in the lyric poetry 
 of Germany by this time, that Ossiailr can no longer be called to 
 account for each individual occurrence. More of this when we 
 reach the Gottinger Hain. 
 
 1 Cp. Die Regeln, Works, Vol. 5, p. 338. 
 
149 
 
 § 5- Minor Bards. 
 
 The paragraphs on Denis and Kretschmann have amply demon- 
 strated just how the so-called bards were dependent upon Ossian. 
 There is little difference between the bardic work of these two and 
 that of the remaining bards, the names of many of whom have been 
 consigned to oblivion, and it would serve little purpose to take up 
 the entire work of each separately. I shall therefore content my- 
 self with pointing out some of the more striking Ossianic character- 
 istics in a number of selections of bardic poetry taken at random. 
 
 Lorenz Leopold Haschka (1749-182 7), in whose lyric poetry 
 the influence of Klopstock and Denis is visible, has a bardic poem 
 in the Litterarische Monate,^ " Cronnan und Minona" an Annas 
 Hiigel " (pp. 8-14), the very title of which proclaims Ossian's 
 presence. The first two names are taken from " Carric-Thura." 
 The hill we have encountered before, and in the poem we even 
 have the four stones at the corners of the grave. ^ Then we read 
 
 (pp. 11-2) : 
 
 Horch' auf ! Da winselts das Farrenkraut 
 Klaglich hindurch, wie Sterbelaut 
 Auf Harfen I — Annas Seelchen ists, Minona ! 
 Sie wiinschet die Stimme des Lobes zu horen ! 
 
 The sound emitted by the harp to herald a person's approaching 
 death,* the desire of the ghost to hear the voice of fame are both 
 taken from Ossian. Then we have ' Disteln ' (p. 10) and a 
 "Tochter der Schattenharfe " (p. 12), Ossian's shadowy harp 
 again. ^ Anna's ghost hovers over Tonthena (p. 13), the star 
 mentioned several times in Ossian. ^ 
 
 In the same magazine we have several other bardic songs by 
 Haschka. In the one " Bei Annas von Gluck Hiigel," we have 
 the echo called the " Sohn des Felsen " (p. 14) as in Ossian ; ' 
 likewise in "Auf Elisabeth von H." (p. 307) the echo is the 
 
 ' For full title cf. Bibliography, supra, p. 14. 
 
 2 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 Hluraenstrauss 
 (P- 312). 
 
 3Cf. The Songs of Selma, p. 211, 1. 15 : Fingal, Bk. i, p. 218, 1. 29 ; etc., etc. 
 
 *Cp. supra, p. 134. 
 
 5Cp. supra, p. 133. 
 
 6Cf. Cathlin of Clutha, p. 196, 1. 3 ; Sul-Malla of Lumon, p. 199, 1. 13, etc. 
 
 7 Cf. The Songs of Selma, p. 212, 11. 32-3 ; cp. supra, p. 130, and infra, p. 150. 
 
150 
 
 "Bergsohn." — "An den Gespielen meiner Harfe " contains the 
 image of the youth standing tall " der luftigsten Eiche gleich " 
 (p. i8), with which compare " He stands tall, ... as an oak." ^ 
 After his death, the youth lies " unter den graulichten Vier 
 Steinen " (p. 19), Ossian's "four grey stones." " Note also the 
 following (p. 19) : 
 
 Wenn ich dann, gleich der Blume, vervvelkt bin 
 Und, ihren Blattern iilinlich, mein diirr Gebein 
 Zerstreut liegt, .... 
 
 Dann komm zu meinem blumichten Hiigel her 
 Mit alien deinen Liedern, und gieb, mein Freund, 
 Dem Winde meinen Geist, und meine 
 Harfe dem niedrigsten Espenzweige. 
 
 As for the first stanza, see supra, pp. 93-4. When we strike an 
 imitator of one of the leading bards, the chances of a direct in- 
 fluence on the part of Ossian are naturally lessened. More than 
 likely Haschka was in this instance indebted to Klopstock more 
 than to Ossian directly, or to Homer or the Bible, for that matter. 
 The situation in the second stanza is thoroughly Ossianic and calls 
 for no further comment. 
 
 In "Die Kraft der Tonkunst " we encounter the bardic ma- 
 chinery again as well as Ossianic rhetorical figures. The moon, 
 e. g.^ is called the " Nachtschild " (p. 210). Then we have the 
 'sending round theshell' (p. 212),^ " der Wehmut . . . Wonne " 
 (p. 215), * and the following noteworthy passage (p. 215) : 
 
 Schwindend itzt, wie I>onas Stimnie 
 
 Einst im Widerhalle starb, 
 Da waldeinvvarts Jager riefen : 
 Ossian ! Der Felsen Sohn 
 Heischer widerseufzt ' : 
 Ossian ! 
 
 In the poem " Auf Elizabeth von H.," Elizabeth is said to resemble 
 the morning-sun (p. 307). In the same poem we have the ' snow 
 of the bosom ' (p. 30S) and in the " Geburtslied " the 'hand of 
 snow ' (p. 310).^ 
 
 1 Cf. Temora, Bk. iii, p. 329, II. 23-4 ; cp. supra, pp. 97-8, iio-i, 141, and 144. 
 
 2 Cf. e. g., Temora. Bk. i, p. 310, 1. 29. 
 ^Cf. Carthon, p. 157, 1. 23. 
 
 *Cp. supra, p. 128. 
 
 ''Cf. ringal, Bk. iv, p 245, 1. 8. 
 
151 
 
 In Karl Mastalier's (1731-95) "Ode auf den Freyherrn von 
 Laudon," we have Ossian's ' trembling harp ' several times.' " Das 
 Nationaltheater " shows traces of Ossian's influence in the bardic 
 paraphernalia and the imagery. The moon is termed the ' daugh- 
 ter of the silent night.' ' On the whole, Mastalier's poems were but 
 little influenced by Ossian, and there is nothing that distinguishes 
 his poetry particularly from the usual run of bardic productions. 
 
 Knorr's'' ''Der Barde an seinen Freund K * * *," which ap- 
 peared in the Leipziger Musenalmanach for 1776, is written in the 
 Ossianic vein. The bard sits by the grey oak and asks the breeze 
 to lift his black locks. " Wie Sanger Ossian Hebt er sich vom 
 heiligen Eichbaum," we read on p. 95. 
 
 In the same number of the almanac we have a bardic song by 
 Brown, entitled " Die Nacht," in which we find Ossianic descrip- 
 tion and Norse mythology side by side. In the opening lines of 
 the poem, the Ossianic Sfiminiing is imitated to prepare for the ap- 
 pearance of the ghost.* A few quotations from the poem may not 
 
 be amiss : 
 
 Und auf dem bemoosten Hiigel, 
 
 Ueber den. des Sturmes Fliigel 
 
 Flatten, walleich allein.^ 
 
 The mossy hill, the wings of the storm, the lonely wanderer are 
 all Ossianic, as is the lament (p. 216): 
 
 Auch mich, auch mich, schliesst einst im Felde 
 Ein aufgethiirmter Hiigel ein, 
 Auch ich werd' unter Eichenschatten 
 * * 
 
 Wo am bemoosten Steine, etc. 
 
 In "Das Gesicht," a bardic poem that appeared anonymously 
 in the A/manach der deufschen Miisen for 1773 (pp. 23-5), we have 
 a splendid illustration of how far the imitation of Ossianic appari- 
 tions was carried. — The situation of a ghost appearing upon a 
 stream of light and the beholder trembling in terror, as presented 
 in " Die Erscheinung " by N — ch," is Ossianic. 
 
 The Bar den- Almanack der Teutschen for 1802 contains a bardic 
 
 • Cf. Almanach der deutschen Musen for 1772, pp. 106-7. 
 
 2Cf. Liu. Monate, p. 127. Cp. Dar-Thula, p. 278, 1. 5 : p. 279, 1. 11, etc. 
 
 3Cf. Goedeke's Grundriss, 2d ed.. Vol. 4, p. 112, 27. 
 
 ■*Cf. Ehrmann, op. cit., pp. 54-5, and sn/ra, p. 147. 
 
 ^Cf. Leipziger Musenalmanach for 1776, p. 212. 
 
 6Cf. Taschenbuch fiir Dichter und Dicht-rfreunde, 1778, pp. 87-8. 
 
152 
 
 poem, "Wodan und Braga," with Ossianic nature touches, as the 
 following extract will show (pp. 174-6): 
 
 Welch ein Aechzen weht vom Hayii der Fichten, 
 
 Blut'ge Schatten, .... 
 Wimmeln aus der Finsterniss hervor, 
 
 Schreiten liber Hayde, Suinpf und Moor. 
 
 Plotzlich, gleich dem Aufruhr wilder Wogen, 
 Braus't der Sturm, und hohler Donner kracht : 
 Unterm dunkelblauen Himmelsbogen 
 RoUt er, rollt er in Ge witter- Pracht. 
 * .. * 
 aus der Felsen-Oede 
 Donnert Nachhall durch den Kichten-Wald. 
 
 Sufficient examples have been given to show the nature of Ossianic 
 imitation as practiced by the minor bardic poets. Among the 
 features they admired in Ossian was his independence of all rules 
 and conventions, and here they approach the writers of the Storm 
 and Stress. Nor did they hesitate to place him on a level with 
 Homer. Interesting in this connection is the following statement 
 by Bernold : " Und wo nahm denn Ossian seine Regeln her? aus 
 der Natur — und doch iibertrifft dieser Dichter in meinen Augen 
 noch einigermassen den Homer selbst und taugt wenigstens fur 
 einen Schweizer besser zu einem Vorbild als jener, indem seine 
 besungenen Gegenstilnde, sowohl in als ausser der Natur, den uns- 
 rigen niiher kommen und ungleich ahnlicher sind, als jene der 
 Griechen und Romer oder anderer Nationen. ' ' ' What Ossian meant 
 to them is laid down in a poem "An Heyder," by J. G. Schulz, 
 published in the Leipziger Museualmanach for 1783, with a strik- 
 ing quotation from which (pp. 152-3) we shall leave this portion 
 of our subject. — Grim sickness has chased the joyous muses away 
 from the poet's side ; no friend can aid, no book console him : 
 
 ' Cf. Aus den Papieren des Harden von Riva. Telliade, etc. Herausgegeben von Ernst Got- 
 zinger. St. Gallen, 1891. p. 12 (Vorrede zur TelHade). 
 
153 
 
 Nur Ossians des Harden Klage 
 
 Umgiebt in meinem Jammer mich. 
 
 Da seh ich ihn in seiner Vater Hohle, 
 
 Voll tiefen Schmerz die heisse Seele, 
 
 Um Oskarn, der vor Ihm erblich 
 
 Die vaterliche Zahre weinen : 
 
 Und hore seiner Harfe Jammerlaut 
 
 Durch dumpfe Kliifte wiederhallen. 
 
 Ich seh wie ihm auf ihren luftgen Hallen 
 
 Die Geister der Vergangenheit erscheinen, 
 
 Und Fingaln, der hernieder schaut 
 
 Auf seinen alten miidgeweinten Sohn, 
 
 Den er von alien einsam iibrig siehet, 
 
 Den Harden, den des Tages Schimmer fliehet. 
 
 Hier find ich all die vielen Leiden, 
 Das karge Loos der Sterblichkeit, 
 Und die Erinnrung an verflossne Freuden, 
 Die zu den gegenvvartgeu Leiden 
 Noch Schwefel in die Flamme streut. — 
 
INDEX OF PROPER NAMES. 
 
 Ackermann, K. E. 9. 
 Adelung 47, 48, 50, 67. 
 Ahlwardt, C. W. 40, 48, 50, 51, 
 
 57, 58, 59, 60, 74, 89, 126. 
 Aikin, A. L. 13. 
 Aikin, J. 13. 
 Alstrup 32. 
 Arnault, V. A. 34. 
 Arnot, Hugo 30. 
 Aschenberg, W. 38. 
 Auffenberg, J. v. 54, 
 Authenrieth, G. 61. 
 
 Baggesen 64, 89. 
 
 Balbach, J. 25, 31, 53-54. 
 
 Baour-Lormian 48. 
 
 Becker, W. G. 37, 38, 46, 47. 
 
 Berlepsch, Emilia v. 41, 43. 
 
 Bernold 152. 
 
 Bernoulli, J. 25. 
 
 Beschnitt, J. 63. 
 
 Bilfinger 89. 
 
 Birckenstadt, F. 43. 
 
 Blair, Hugh 7, 20, 24, 25, 33, ^8, 
 
 45, 48, 54, 57, 58, 72, 73, 76, 
 
 79, 121, 
 Blankenburg, F. v. 35. 
 Bodmer 23. 
 Boie 9, 18. 
 
 Bottger, A. 58, 59, 61. 
 Bottiger, K. A. 35, 50, loi, 102. 
 Bouterwek, F. 27-28, 51. 
 Brachmann, Luise 46, 49. 
 Brahms, J. 16, 63, 67. 
 Brinckmeier, E. 56, 62. 
 Brion, Friederike 12, 57. 
 Brown 151. 
 Bruce, M. 39. 
 Buchanan, J. L. ;^2- 
 
 Buchner, W. 63. 
 Burger 16, 40-41, 67. 
 56, Buri, C. K. E. W. 53. 
 Butenschon, J. F. 40. 
 
 Cameron, Ewen 15. 
 
 Campbell, A. 42. 
 
 Campbell, H. 57. 
 
 Cesarotti 3, 6, 24, 79, 120. 
 
 Clark, John 18, 22, 23. 
 
 Clarke, K. H. 63. 
 
 Claudius 10, 12, 13, 67. 
 
 Clemen 59. 
 
 Coupigny, A. P. 12. 
 
 Cramer, K. F. 67. 
 
 Cramer, K. G. 37. 
 
 Crome, L. G. 6, 7, 15, 32, 45, 80. 
 
 Curths, Karl, 45. 
 
 Curtius, J. 54. 
 
 Dalberg, H. v. 17. 
 - Denina, C. G. M. 28. 
 
 Denis i, 5, 7-8, 10, li, 12, 14, 16, 
 20, 21, 22, 23, 24, 26, 30, 31, 32, 
 34, 40, 58, 60, 67, 69, 73, 79, 80, 
 81, 84, 85, 90, 91, 92, 103, 104, 105, 
 106, i/g-/jS, 139, 140, 147, 148, 
 149. 
 
 Dippoldt, H. K. 48. 
 
 Ditters von Dittersdorf, K. 63, 67. 
 
 Doring, H. 56. 
 
 Drummond 57, 60. 
 
 Duff 34. 
 
 Diihn, M. H. 17. 
 
 Danker, W. 63. 
 
 Dusch, J. J. 103. 
 
 Ebert, J. A. 72, 90. 
 Ebrard, A. 61. 
 Eginhard 84. 
 
 154 
 
 40, 
 
 77, 
 
155 
 
 Ehrmann, E. 62, 103. 
 Elwert, A. 24. 
 Engelbrecht, J. A. 5, 76, 77. 
 Epheu, F. L. See Hanker. 
 Ernault, E. 62. 
 Eschenburg, J. J. 9, 15, 29. 
 
 Faujas de Saint- Fond, 15. 36. 
 Fielitz, W. 62. 
 Fink 52. 
 
 Flugge, C. W. 32, 34. 
 Forster, L. G. 54. 55- 
 Frederick the Great 83. 
 Freiligrath 55, 63, 67. 
 Freudentheil, W. N. 33, 50. 
 
 Gade, N. W. 63. 
 
 Garnett, T. 39, 42, 43. 
 
 Gellert 134. 
 
 Gemmingen, O. v. 26, 40. 
 
 Gerard, F. 65. 
 
 Gerstenberg 6, 26, 32, 52, 67, 78, 82, 
 
 87. 93. 103-iig, 120, 123, 127, 
 
 138, 139, 140. 
 Gessner 67, 103. 
 
 Gleim 86, 89, 90, 121, 132, 139, 147. 
 Godefroy, J. 65. 
 Goeckingk 16, 28. 
 Goethe 11, 12, 15, 17, 21, 56, 57, 60, 
 
 64,65,67,73,74, 99, 102, 128, 130. 
 Gohren, L. v. 44, 
 Gottschalk, L. M. 64. 
 Graham 52. 
 Grasse, J. G. T. 56. 
 Grater, F. D. 29, 30, 31, 32, t,1^ 38. 
 Grimm, J. 51, 62, 67. 
 Gurlitt, J. G. I, 7, 22, 25, 28, 34, 39, 
 
 42, 43, 44, 46, 56, 65. 
 
 Hagedorn 83. 
 
 Halem, G. A. v. 19, 24, 28-29, 45, 46. 
 
 Haller 5, 7, 27, 67, 83. 
 
 Hanker, G. 16, 17. 
 
 Hardenberg, F. v. 67. 
 
 Hardorf, G. 47. 
 
 Harklots, K. A. 64. 
 
 Harmes. See Berlepsch. 
 
 Harnisch, C. 64. 
 
 Harold, E. v. 13, 16, 19, 20, 21, 26, 
 
 27, 32, 35, 38, 39, 41, 42, 43, 56. 
 Hartmann, G. D. 103, 147. 
 Haschka, L. L. 89, 103, 149-150. 
 Hasselqvist, T. 63. 
 Hauffen, A. 30. 
 Haug, B. 19, 
 Heller, H. J. 60. 
 Henoch, F. 12. 
 Herder 8, 9, 10, 11, 16, 17, 21, 22, 
 
 27, 31, zz, 35, 41, 44, 48, 56, 58, 
 
 59, 60, 63, 67, 71, 106, 122-123, '48- 
 Hermann, F. 64. 
 Hill 34- 
 Hofmann-Wellenhof, P. v. 5, 66, 119, 
 
 125. 
 Hohenwart, J. v. N. 135. 
 Holderlin 67. 
 Holty 67. 
 
 Home, H. 12, 23, 34. 
 Homer 7, 12, 23, 33, 37, 42, 62, 66, 
 
 72, 73, 76, 78, 79, 91, 92, 93, 94. 
 
 106, 120, 121, 122, 125, 146, 148, 
 
 150, 152. 
 Horace 93. 
 
 Hoven, F. W. v. 20, 21, 35, 64. 
 Huber 52. 
 Huber, V. A. 57 
 
 Ideler, C. I,. 40, 51, 55. 
 
 Jachmann, R. 61. 
 Jacobi, J. G. 13. 
 Jani 28. 
 
 Johnson, Samuel 13. 
 Jones, E. 28. 
 Jongues, A. de 45. 
 Jung, F. W. 49, 51. 
 Justi, K. W, 27, 47, 65. 
 
 Kant 138. 
 Karsch 103. 
 Kastner, J. G. 64. 
 Kauffmann, M. A. C. 50. 
 Kind, J. F. 45. 
 Kistemaker, J. H. 37. 
 Klausing, A. E. 12. 
 Klontrup, J. Ae. 26. 
 
156 
 
 Klopstock lo, 12, 17-18, 60, 67, 69, 
 7i> 72, 73, 82-J02, 103, 104, 120, 
 122, 123, 127, 138, 139, 140, 142, 
 146, 147, 148, 149, 150. 
 
 Klotz 73. 
 
 Knebel, K. L. v. 44. 
 
 Knorr 151. 
 
 Korner, T. 12. 
 
 Kosegarten, G. L. 32, 39, 43, 52, 67, 
 99. 
 
 Koster, J. 91, 93, 97. 
 
 Krafft, P. 64. 
 
 Kramer 29. 
 
 Kretschmann 17, 19, 25, 37, 67, 103, 
 
 104, I33» 139-^48, 149- 
 Krug von Nidda, F. A. F. 89. 
 Kunzen, F. L. A. 64. 
 Kiittner, K. G. 25. 
 
 Laing, M. 38, 44, 46, 47, 48, 56, 92, 
 
 102. 
 Lappenberg, J. M. 60. 
 Lenz 12, 13, 14, l6, 21, 57, 63, 67, 92. 
 Lessing 71, 77, 127. 
 LeTourneur 34. 
 Lilienfeld, G. v. 37. 
 Link, H. F. 52, 57. 
 Loebell, J. W. 59, 102. 
 Logan, J. 39. 
 Loinbard, J. G. 28. 
 Losch, E. 57, 59. 
 Lowe, J. C. G. 64, 67. 
 Ludwig, J. F. 38. 
 
 M' Arthur, J. 3. 
 
 Macdonald, H. 50. 
 
 Macdonald, J. 35, 36, 42, 44, 50, 102. 
 
 Macfarlan, R. 3, 8, 10. 
 
 Macgregor, P. 57. 
 
 MacKenzie, H. 3. 
 
 Mackenzie, J. 44. 
 
 Mackintosh, J. 102. 
 
 MacLachan 42. 
 
 Macnab 38. 
 
 Macpherson, John 7, 9, 79, 85. 
 
 Mallet 103. 
 
 Mastalier 151. 
 
 Matthisson 7, 45, 67. 
 
 Meissner, C. 26. 
 
 Mendelssohn- Bartholdy, F. 64. 
 
 Merck II, 14, 23, 56, 67. 
 
 Merian, J. B. 25. 
 
 Meyer, F. L. W. 29, 30, 31, 41. 
 
 Milton 69, 92, 93, 120. 
 
 Montengon 40. 
 
 Miiller, ¥. 104. 
 
 Miiller, F. A. 29. 
 
 Miiller, J. v. 48. 
 
 Munch, E. H. J. 55. 
 
 Neumann, K. G. 43, 44, 46, 56. 
 Nicolai, A. F. 14, 22, 39, 61. 
 Nicolai, C. F. 121, 127. 
 Noldeke, G. F. 28. 
 Nolle, J. W. H. 40, 51, 55. 
 Novalis. See Hardenberg. 
 
 Oelrichs, O. A. H. 25. 
 Opin 16. 
 O'Reilly 60. 
 Orpheus 88. 
 Oswald 59, 60. 
 
 Parker, J. C. D. 64. 
 Percy, Bishop 71, 76, 106. 
 Periere, J. F. A. de la 53. 
 Petersen, J. W. 21, 49, 51. 
 Pfaff, C. H. 30. 
 Prevod 98. 
 
 Rabener 37. 
 
 Rambach 31. 
 
 Ramler 37, 125, 132. 
 
 Raspe, R. E. 4, 9, 75, 76, 77- 
 
 Rausch, F. 60. 
 
 Ravius, S. F. J. 37. 
 
 Rebbach, A. v. 24. ■ 
 
 Rehberg, F. 65. 
 
 Reichardt, J. F. 64. 
 
 Reiner, C. 31. 
 
 Retzer, J. F. v. 24, 40, 91, 138. 
 
 Reyer, 46. 
 
 Rhode, J. G. 37, 38, 44, 52, 53 
 
 Robinson, Mrs. (T. A. L. v. Jacob) 
 
 52, 57, 60, 61, 63, 74, 85. 
 Rosen, G. 33. 
 Rousseau 70, ill. 
 
157 
 
 Rudiger, J. C. C. 32. 
 Ruhl, J. C. 65, 72. 
 Rungaldier, I. 64. 
 Runge, P. O. 47, 65. 
 
 Saam, F. 19. 
 
 Saunders, Bailey 3, 5, 65, 66. 
 
 Saxo Grammaticus, 141. 
 
 Schenk, M. 25. 
 
 Schiller 21, 33, 35, 62, 67, 102, 119. 
 
 Schlegel, A. W. 41, 44, 65, 67. 
 
 Schlegel, F. 41, 52, 60, 67. 
 
 Schmid, C. H. 6, 7, 8, 14, 20. 
 
 Schmidt, C. E. K. 15. 
 
 Schnabel, B. 63. 
 
 Scholz, G. 38. 
 
 Schonfeld, F. v. II. 
 
 Schreiber, C. 46, 47. 
 
 Schr5der, W. 37, 74- 
 
 Schubart, L. A. 34, 35, 36, 49, 51, 54- 
 
 Schubert, F. 64, 67. 
 
 Schulten, H. A. 28. 
 
 Schulz, J. G. 152. 
 
 Schundenius, C. H. 36. 
 
 Schutze, J. S. 47, 49- 
 
 Seckendorff, K. S. v. 39, 45, 64, 67. 
 
 Shakspere 52, 71, 72, 102, 109. 
 
 Shaw 22, 23. 
 
 Sinclair, J. 3, 48, S^- 
 
 Smith, J. 20, 27, 28, 30, 79. 
 
 Soltau, D. W. 50. 
 
 Staudlin, C. ¥. 44. 
 
 Staudlin, G. F. 23. 
 
 Stern, L. C. 63. 
 
 Sternfeld, J. Blodig v. 22. 
 
 Stober, A., 12, 57. 
 
 Stolberg, C. 18, 19, 53, 99- 
 
 Stolberg, F. 14, 18, 19, 46, 47, 53, 67, 
 99. 
 
 Stuhr, r. F. 58. 
 
 Sturm. See Rambach. 
 
 Sturz, H. P. 15, 18, 136. 
 
 Sulzer, J. G. 12, 13, 18, 27, 31, 33, 
 
 35, 50- 
 Suttner-Erenwin, H. v. 62. 
 
 Tacitus 84, 85, 95, 103. 
 Taillasson, J. J. 45- 
 Talvj. See Robinson. 
 Thomas, A. 64. 
 Thomson, Jas. 70. 
 Tieck 30, 31, 67. 
 Trost, K. F. 23. 
 Trumbull, J. 65. 
 Tytler, W. 32. 
 
 Ursinus, A. F. 6, 7, 15. 
 
 Velde, K. F. van der 54. 
 Vergil 120, 121, 125, 148. 
 Voltaire lO. 
 Voss 28, 67. 
 
 Waag, E. 10, 60. 
 
 Wachsmuth, K. H. 22, 23, 27, 31. 
 
 Weber, B. A. 64. 
 
 Weisse, 6, 9, 20, 67, 79, 80, 132. 
 
 Weitsch, F. G. 43, 44, 65. 
 
 Wendeborn, G. F. A. 28. 
 
 Wiedemann, C. R. W. 36. 
 
 Willamov 103. 
 
 Winckelmann 76. 
 
 Windisch, E. 61-62, 63. 
 
 Wittenberg, A. 5, 16, 77. 
 
 Wood, U. 72. 
 
 Wurz, I. 132. 
 
 Young, A. 30. 
 
 Young, E. 71, 72, 73, ^3- 
 
 Zimmer, H. 63. 
 Zumsteeg, J. R. 21, 64, 67. 
 
VITA. 
 
 The author was born in Barmen, Rhine Province, Germany, 
 October 17, 1875. After spending three years in the Vorschule 
 of the Gymnasium, and a year in the Real-Schiile, he emigrated to 
 America with his parents. He was graduated from the New York 
 City public schools and entered the sub-freshman class of the Col- 
 lege of the City of New York in 1890. Here he pursued the reg- 
 ular scientific course and was graduated with the degree of B.S., in 
 1895. From 1893 to 1898, he taught English to foreigners in the 
 New York evening schools, and for two years after graduation was 
 employed as correspondent and translator by a German chemical 
 syndicate. He took up his Germanic studies in the fall of 1897, 
 entering Columbia University as University Scholar in German. 
 The following year he was appointed University Fellow. During 
 the two years of post-graduate work he pursued courses in the his- 
 tory of the German language and literature, in Germanic philology, 
 Gothic, Old High German, Anglo-Saxon, Chaucer and Danish - 
 Norwegian with Professors Wm. H. Carpenter, Calvin Thomas 
 and A. V. W. Jackson, took the special courses on Faust, Herder 
 and Schiller with Professor Thomas and attended the Seminar on 
 the Heliand under Professor Carpenter and that on the German 
 Romantic School under Professor Thomas. In 1898, he received 
 the degree of M.A. from Columbia University and, in 1899, that of 
 M.S. from the College of the City of New York. The essay 
 written for the former was a commentary on the Ur-Faust ; that pre- 
 sented for the latter treated of the literary value of the Heliand. 
 From the summer of 1899 to the fall of 1900, he studied abroad, 
 collecting material for his dissertation at the British Museum and 
 at a number of state and university libraries in Germany and 
 Switzerland. Two semesters were spent at the University of Leip- 
 zig in attendance on lectures by Professors Eduard Sievers, Karl 
 Brugmann, Albert Koster, Ernst Elster and Georg Witkowski, 
 and on pro-seminars by Professors Sievers, Eugen INIogk and Karl 
 von Bahder.