James Macpherson

We may boldly assign him [Ossian] a place among those, whose works are to last for ages.

As roll a thousand waves to the rocks, so Swaran's host came on. As meets a rock a thousand waves, so Erin met Swaran of spears.

Sir, a man might write such stuff for ever, if he would abandon his mind to it.

He produced a work of art which by its deep appreciation of natural beauty and the melancholy tenderness of its treatment of the ancient legend did more than any single work to bring about the romantic movement in European, and especially in German, literature.

As autumn's dark storms pour from two echoing hills, toward each other approached the heroes.—As two dark streams from high rocks meet, and mix and roar on the plain; loud, rough and dark in battle met Lochlin and Innis-fail. Chief mixed his strokes with chief, and man with man; steel, clanging, sounded on steel, helmets are cleft on high. Blood bursts and smokes around. ... As the troubled noise of the ocean when roll the waves on high; as the last peal of the thunder of heaven, such is the noise of battle.

Can I forget that beam of light, the white-handed daughter of kings?

With a genius truly poetical, he [Macpherson] was one of the first literary impostors in modern times.

O lay me, ye that see the light, near some rock of my hills! let the thick hazels be around, let the rustling oak be near. Green be the place of my rest; let the sound of the distant torrent be heard. Daughter of Toscar, take the harp, and raise the lovely song of Selma, that sleep may overtake my soul in the midst of joy; that the dreams of my youth may return, and the days of the mighty Fingal.

They stood in silence, in their beauty: like two young trees of the plain, when the shower of spring is on their leaves, and the loud winds are laid.

Star of descending night! fair is thy light in the west! thou liftest thy unshorn head from thy cloud: thy steps are stately on thy hill. What dost thou behold in the plain? The stormy winds are laid. The murmur of the torrent comes from afar. Roaring waves climb the distant rock. The flies of evening are on their feeble wings; the hum of their course is on the field. What dost thou behold, fair light? But thou dost smile and depart. The waves come with joy around thee: they bathe thy lovely hair. Farewell, thou silent beam! Let the light of Ossian's soul arise!

Ossian is the decay and old age of poetry. He lives only in the recollection and regret of the past. There is one impression which he conveys more entirely than all other poets, namely, the sense of privation, the loss of all things.

That Fingal is not from beginning to end a translation from the Gallick, but that some passages have been supplied by the editor to connect the whole, I have heard admitted by very warm advocates for its authenticity. If this be the case, why are not these distinctly ascertained? Antiquaries, and admirers of the work, may complain, that they are in a situation similar to that of the unhappy gentleman whose wife informed him, on her death-bed, that one of their reputed children was not his; and, when he eagerly begged her to declare which of them it was, she answered, 'That you shall never know', and expired, leaving him in irremediable doubt as to them all.

Why should Ossian sing of battles? For never more shall my steel shine in war. I remember the days of my youth with grief, when I feel the weakness of my arm. Happy are they who fell in their youth, in the midst of their renown! They have not beheld the tombs of their friends, or failed to bend the bow of their strength.

The music was like the memory of joys that are past, pleasant and mournful to the soul.

Hail, Carril of other times! Thy voice is like the harp in the halls of Tura.