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glows, and kindles the fancy; a heart that is full, and pours itself forth. Ossian did not write, like modern poets, to please readers and critics. He sung from the love of poetry and song. His delight was to think of the heroes among whom he had flourished; to recall the affecting incidents of his life; to dwell upon his past wars, and loves, and friendships: till, as he expresses it himself, 'there comes a voice to Ossian, and awakes his soul. It is the voice of years that are gone; they roll before me with all their deeds;" and under this true poetic inspiration, giving vent to his genius, no wonder we should so often hear, and acknowledge, in his strains, the powerful and ever-pleasing voice of nature.

Arte, natura potrntior omni

Est Deus in nobis, agitante calescimus ilia.

It is necessary here to observe, that the beauties of Ossian's writings cannot be felt by those who have given them only a single or hasty perusal. His manner is so different from that of the poets to whom we are most accustomed; his style is so concise, and so much crowned with imagery; the mind is kept at such a stretch in accompanying the author; that an ordinary reader is at first apt to be dazzled and fatigued, rather than pleased. His poems require to be taken up at intervals, and to be frequently reviewed; and then it is impossible but his beauties must open to every reader who is capable of sensibility. Those who have the highest degree of it will relish them the most.

As Homer is, of all the great poets, the one whose manner, and whose times, come the nearest to Ossian's, we are naturally led to run a parallel in some instances between the Greek and Celtic bard. For though Homer lived more than a thousand years before Ossian, it is not from the age of the world, but from the state of society, that we are to judge of resembling times. The Greek has, in several points, a manifest superiority. He introduces a greater variety of incidents; he possesses a larger compass of ideas; has more diversity in his characters; and a much deeper knowledge of human nature. It was not to be expected, that in any of these particulars Ossian could equal Homer. For Homer lived in a country where society was much farther advanced; he had beheld many more objects; cities built and flourishing; laws instituted; order, discipline, and arts, begun. His field of observation was much larger and more splendid: his knowledge, of course, more extensive; his mind also, it shall be granted, more penetrating. But if Ossian's ideas and objects be less diversified than those of Homer, they are all, however, of the kind fittest for poetry: the bravery and generosity of heroes, the tenderness of lovers, the attachment of friends, parents, and children. In a rude age and country, though the events that happen be few, the undissipated mind broods over them more; they strike the imagination, and fire the passions, in a higher degree; and, of consequence become happier materials to a poetical genius, than the same events when scattered through the wide circle of more varied action and cultivated life.

Ilumer is a more cheerful and sprightly poet than Ossian. You discern in him all the Greek vivacity; whereas Ossian uniformly maintains the gravity and solemnity of a Celtic hero. This, too, is in a great measure to be accounted for from the different situations in which they lived, partly personal, and partly national. Ossian had survived all his friends, and was disposed to melancholy by the incidents of his life. But, besides this, cheerfulness is one of the many blessings which we owe to formed society. The solitary, wild state, is always a serious one. Bating the sudden and violent bursts of mirth, which sometimes break forth at their dances and feasts, the savage American tribes have been noted by all travellers for their gravity and taciturnity. Somewhat of this taciturnity may be also remarked in Ossian. On all occasions he is frugal of his words; and never gives you more of an image, or a description, than is just sufficient to place it before you in one clear point of view. It is a blaze of lightning, which flashes and vanishes. Homer is more extended in his descriptions; and fills them up with a greater variety of circumstances. Both the poets are dramatic; that is, they introduce their personages frequently speaking before us. But Ossian is concise and rapid in his speeches, as he is in every other thing. Homer, with the Greek vivacity, had also some portion of the Greek loquacity. His speeches, indeed, are highly characteristical: and to them we are much indebted for that admirable display he has given of human nature. Yet, if he be tedious any where, it is in these; some of them are trifling, and some of them plainly unseasonable. Both poets are eminently sublime; but a difference may be remarked in the species of their sublimity. Homer's sublimity is accompanied with more impetuosity and fire; Ossian's with more of a solemn and awful grandeur. Homer hurries you along; Ossian elevates, and fixes you in astonishment. Homer is most sublime in actions and battles; Ossian in description and sentiment. In the pathetic, Homer, when he chooses to exert it, has great power; but Ossian exerts that power much oftener, and has the character of tenderness far more deeply imprinted on his works. No poet knew better how to seize and melt the heart. With regard to dignity of sentiment, the pre-eminence must clearly be given to Ossian. This is, indeed, a surprising circumstance, that in point of humanity, magnanimity, virtuous feelings of every kind, our rude Celtic bard should be distinguished to such a degree, that not only the heroes of Homer, but even those of the polite and refined Virgil, are left far behind by those of Ossian.

After these general observations on the genius and spirit of our author, I now proceed to a nearer view and more accurate examination of his works: and as Fingal is the first great poem in this collection, it is proper to begin with it. To refuse the title of an epic poem to Fingal, because it is not, in every little particular, exactly conformable to the practice of Homer and Virgil, were the mere squeamishness and pedantry of criticism. Examined even according to Aristotle's rules, it will be found to have all the essential requisites of a true and regular epic; and to have several of them in so high a degree, as at first view to raise our astonishment on finding Ossian's composition so agreeable to rules of which he was entirely ignorant. But our astonishment will cease, when we consider from what source Aristotle drew those rules. Homer knew no more of the laws of criticism than Ossian. But, guided by nature, he composed in verse a regular story, founded on heroic actions, which all posterity admired. Aristotle, with great sagacity and penetration, traced the causes of this general admiration. He observed what it was in Homer's composition, and in the conduct of his story, which gave it such power to please; from this observation he deduced the rules which poets ought to follow, who would write and please like Homer; and to a composition formed according to his whole system arose. Aristotle studied nature in Homer. Homer and Ossian both wrote from nature. No wonder that among all the three, there should be such agreement and conformity.

The fundamental rules delivered by Aristotle conceming an epic poem, are these: That the action, which is the ground-work of the poem, should be one, complete, and great; that it should be feigned, not merely historical; that it should be enlivened with characters and manners, and heightened by the marvellous.

such rules, he gave the name of


But, before entering on any of these, it may perhaps be asked, what is the moral of Fingal 1 For, according to M. Bossu, an epic poem is no other than an allegory contrived to illustrate some moral truth. The poet, says this critic, must begin with fixing on some maxim or instruction, which he intends to inculcate on mankind. He next forms a fable, like one of .fisop's, wholly with a view to the moral; and having thus settled and arranged his plan, he then looks into traditionary history for names and incidents, to give his fable some air of probability. Never did a more frigid, pedantic notion enter into the mind of a critic. We may safely pronounce, that he who should compose an epic poem after this manner, who should first lay down a moral and contrive a plan, before he had thought of his personages and actors, might deliver, indeed, very sound instruction, but would find very few readers. There cannot be the least doubt that the first object which strikes an epic poet, which fires his genius, and gives him any idea of his work, is the action or subject he is to celebrate. Hardly is there any tale, any subject, a poet can choose for such a work, but will afford some general moral instruction. An epic poem is, by its nature, one of the most moral of all poetical compositions: but its moral tendency is by no means to be limited to some common-place maxim, which maybe gathered from the story. It arises from the admiration of heroic actions which such a composition is peculiarly calculated to produce; from the virtuous emotions which the characters and incidents raise, whilst we read it; from the happy impressions which all the parts separately, as well as the whole together, leave upon

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