Prague, Vienna, Zurich, and Basel are included in the list of places of publication, a fact that calls for no further explanation.
[3]
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.
[4]
These as well as all later references to the Poems of Ossian are made to the Tauchnitz Edition (1847), which contains the complete works and is probably more easily accessible than any other, particularly on the continent.
[5]
Macpherson’s first dissertation is the one entitled “A Dissertation Concerning the Aera of Ossian,” the second the “Dissertation concerning the Poems of Ossian.”
[6]
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.
[7]
The title has ‘den.’
[8]
The date of publication (1775) is not given on the title–page.
[9]
Meyer’s Klassiker Ausgaben, Goethe, Vol. 2, p. 480, has p. 230.
[10]
References to the Allg. Lit. Zeitung and several other papers are given in pages, although the numbers refer to columns.
[11]
Ossian, Fils de Fingal, ... PoÉsies Galliques, Traduites sur l’Anglois de M. Macpherson, Par M. Le Tourneur, 2 vols., Paris, 1777.
[12]
Vincent–Antoine Arnault, 1766–1834.
[13]
Edinburgh, 1798.
[14]
The date of the first appearance of the poems of Ossian is often stated erroneously as 1762, so KÜrschner’s Dtsche Nat.–Litt., Klopstock, Vol. 3, p. xx; Hettner’s Literaturgesch. des 18. Jahrh., iii, 2, p. 122; Klopstock’s Works, ed. Boxberger, Vol. 5, p. xxi; Hofmann–Wellenhof in his biography of Denis, p. 165, etc., etc.
[15]
Macpherson was born in 1736, not in 1738 as generally stated. Cf. Saunders, The Life and Letters of James Macpherson, pp. 32–4.
[16]
For exact titles of these and following publications, cf. Bibliography.
[17]
We must not overlook the fact, however, that Macpherson’s Ossian appeared at a time when literary forgeries were common.
[18]
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.
[19]
Besides these names Ryno, Toskar, Alpin, Minona, Minvane, Comala, Daura, and others were at one time not uncommon in Germany, and now and again we hear of an Ossian—there is an Ossian H. in Leipzig at this day. Several of the names mentioned were employed as pseudonyms and all of them figure prominently in the poetry of the day.
[20]
Cf. infra, pp. 122–3.
[21]
Cp. Fraser’s Mag., N. S., Vol. 21, p. 520.
[22]
German translations of the latter appeared in Leipzig, 1760, and 1787.
[23]
Cf. infra, pp. 78–9, 91.
[24]
Cf. J. Barnstorff, Young’s Nachtgedanken und ihr Einfluss auf die deutsche Litteratur, Bamberg, 1895 (Dissertation).
[25]
It had played a rÔle in Klopstock’s work, but was first widely promulgated by Werther.
[26]
The ‘joy of grief’ ([Greek: himeros nooio]) is found also in Homer, e.g., Iliad, 23, 108, but not until the appearance of Ossian did it assume importance.
[27]
Cf. Retzer, Denis’ Lit. Nachlass, Vol. 2 (1802), p. 169.
[28]
Cf. l. c., p. 172. Letter dated Wien, Dec. 8, 1769.
[29]
For exact data cf. Bibliography.
[30]
Cp. supra, p. 73.
[31]
Cf. review in the Neue Bibl. der schÖnen Wissenschaften, Vol. 2, i, pp. 54–88.
[32]
Cf. Han. Mag., 1763, p. 1468.
[33]
Cf. ibid., p. 1467.
[34]
Cf. ibid., p. 1468.
[35]
Cf. Lessing, Anti–Goeze, No. 8. Wittenberg’s reply: Sendschreiben an den Herrn Hofrath Lessing.
[36]
Cf. Zuschrift, op. cit., which is signed J. A. Engelbrecht.
[37]
Cp. infra, p. 106.
[38]
Cf. GÖtt. Anz., 1765, i, p. 129.
[39]
Cf. l. c., 1765, i, p. 130.
[40]
Cf. l. c., 1767, ii, p. 1140. Cp. supra, p. 72.
[41]
Cf. l. c., 1765, i, p. 130.
[42]
Cf. ibid.
[43]
Cf. l. c., 1767, ii, p. 1140.
[44]
Cp. GÖtt. gel. Anz., 1765, i, p. 129; supra, p. 72.
[45]
Cf. Neue Bibl., Vol. 3, i, p. 38.
[46]
Gedichte, Leipzig, 1795, Cf. Meusel. Lexikon, Vol. 2, pp. 237–8.
[47]
Cf. Letter of Nov. 14, 1771. Muncker, Lessings VerhÄltnis zu Klopstock, p. 224.
[48]
Cf. Scheel, Vierteljahrschrift fÜr Litteraturgeschichte, Vol. 6, pp. 188–94; Seuffert, GÖtt. gel. Anz., 1895, i, p. 72.
[49]
Cf. infra, p. 120.
[50]
Cf. Scherer, Gesch. der deutschen Litt., 7th ed., p. 643.
[51]
Cf. Tacitus de German. 3: “Sunt illis haec quoque carmina, quorum relatu, quem baritum (barditum) vocant...” Cp. Knothe, Kretschmann, Zittau, 1858, pp. 17–8.
[52]
For different shades of meaning cf. Hermanns Tod, xv; Hermanns Schlacht Ein Bardiet. Klopstock’s note.
[53]
Cf. Sponda, II. 9–12.
[54]
Cf. Der HÜgel, und der Hain, II. 12–4. He refers here not to Ossian alone, but to Caedmon, “der grÖsste Dichter nach Ossian unter unsern Alten,” the Heliand, etc.—seiner = the songs of the bards of his fatherland.
[55]
Cf. J.M. Lappenberg, Briefe von und an Klopstock. Braunschweig, 1867, p. 164.
Cf. Muncker, Friedrich Gottlieb Klopstock. Geschichte seines Lebens und seiner Schriften. Stuttgart, 1888, p. 390.
[60]
Cf. Bibliography, supra, p. 7.
[61]
Cf. Lappenberg, op. cit. p. 210.
[62]
Cf. Tacitus, Agric., II. Cp. infra, p. 123.
[63]
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.
[64]
Cf. Der HÜgel, und der Hain, l. 4, where the term Celten is used to signify all the Germanic peoples, ‘including the Celts.’
[65]
Cf. Vol. 6, ii, p. 232 (1800).
[66]
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, cf. Scheel, Vierteljahrschrift, Vol. vi.
[67]
Cf. Friedr. Gottl. Klopstocks Wingolf. Kritische Ausg. nebst Commentar von Jaro Pawel, Wien, 1882; KÜrschner’s Dtsche Nat.–Litt., Klopstock, Vol. 3, pp. 4–29.
[68]
Bacchus.
[69]
Cp. Die deutsche Sprache, l. 26: “Orpheus der Celt.”
[70]
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.
[71]
Cf. Klopstocks Oden. ErlÄutert von Heinrich DÜntzer. 2d ed., Leipzig, 1878, i, p. 392.
[72]
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 MÄnninnen, Litt. Monate, pp. 111–3; Bardale he uses in the poem Der FrÜhling, l. c., p. 314, and Filea in the Geburtslied, l. c., p. 311 (cp. infra, pp. 149–50). Bilfinger, in the bardic poem entitled Hartmanns Tod, speaks of the “Klang der Telyn,” Almanach der deutschen Musen for 1778, p. 255. Friedrich Krug von Nidda speaks of the Telyn in his poem Der Feldherr und der Barde, Taschenbuch zum geselligen VergnÜgen, 1813, p. 119. Cp. infra, p. 147.
[73]
Cf. supra, p. 85.
[74]
Cf. Lappenberg, op. cit., p. 211.
[75]
Cf. ibid., p. 218.
[76]
Marie AngÉlique Catharine Kauffmann, 1741–1807, the Swiss historical and portrait painter.
[77]
Cf. Klopstock und seine Freunde, Vol. 2, p. 228.
[78]
Cf. Letter of Klopstock to Gleim, Bernstorff, Aug. 28, 1770, l. c., p. 247.
[79]
Cf. Lappenberg, op. cit., pp. 226–7.
[80]
Cf. Vom deutschen Hexameter. Aus den Fragmenten Ueber Sprache und Dichtkunst. Hamburg, 1779, pp. 117–9. Klopstocks sÄmmtliche Werke, ed. Back u. Spindler, Leipzig, 1823–30, Vol. 15, pp. 165–6.
[81]
Cp. supra, pp. 72, 78–9.
[82]
Cf. Retzer, Denis Lit. Nachlass, 1801–2, Vol. 2, p. 116.
[83]
Cf. Gelehrtenrepublik, p. 178.
[84]
Cf. § xiii.
[85]
Cf. Lappenberg, op. cit., p. 171.
[86]
Cf. supra, p. 81.
[87]
Cf. History of Scotland, London, 1800.
[88]
Gerstenberg was sagacious enough to notice Macpherson’s borrowings and upon this conviction he based his first scruples as to the authenticity of the poems. Cf. infra, p. 105.
[89]
Cf. op. cit.
[90]
Cf. Vetterlein, Klopstocks Oden und Elegieen, 3 vols. Leipzig, 1827–8. Vol. 2, p. 106, after whom DÜntzer, op. cit., Vol. 1, p. 349.
Cf. Fingal, Bk. ii, p. 231, ll. 10–12, Bk. iv, p. 249, ll. 11–6, 24–7; Temora, Bk. iii, p. 326, ll. 28–32, Bk. viii, first 9 ll., p. 361; etc., etc.
[97]
Cf. supra, p. 93.
[98]
Cf. op. cit.
[99]
Cf. p. 212, ll. 15–6 (Tauch.).
[100]
Not the country, as Muncker and others.
[101]
Cf. op. cit., Vol. 1, pp. 137–8.
[102]
Cf. Vol. 2, pp. 90–1.
[103]
Cf. Deutsches Museum, 1782, i, pp. 165–8.
[104]
Cf. l. c., 1782, ii, pp. 389–95.
[105]
Cp. l. 50 of the ode Kaiser Heinrich (1764): “Dein ist der Vorzeit edler Gesang!” etc.
[106]
The first edition had a chorus in the second scene corresponding to the one cited, except that the last line read: “Wie die FrÜhlingsluft 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.
[107]
In the first edition only.
[108]
Not May 9, as Back und Spindler and others. Cf. Archiv fÜr Literaturgeschichte, Vol. 3, p. 397
[109]
Cf. supra, p. 91.
[110]
Cf. ibid. But cf. LÖbell, Die Entwicklung der deutschen Poesie, etc., Braunschweig, 1856, Vol. 1, p. 282.
[111]
Cf. Arch. fÜr Litteraturgesch., Vol. 3, p. 404.
[112]
Cf. Memoirs of the Life of Sir James Mackintosh, 2 vols., London, 1835. Vol. 1, p. 345. Letter dated July 28, 1807.
[113]
Cf. Ehrmann, Die Bardische Lyrik im Achtzehnten Jahrhundert. (Diss.) Halle, 1892; reviewed in the GÖtt. gel. Anz., 1895, i, pp. 69–80, where a Vorgeschichte of the new Bardentum is given on pp. 69–72. KÜrschner’s Dtsche Nat. Litt., Vol. 48, etc.
[114]
Denis first received the name from Kretschmann; cf. Lieder Sineds des Barden, 1772, p. 173, note.
[115]
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 Klopstock—Homer, Gerstenberg—Alciphron.
[116]
The term bard was not exclusively confined to German poetry, but speaking broadly, bardic and German were synonymous. Cf. Ehrmann, op. cit., p. 14.
[117]
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.
[118]
Cf. Ehrmann, op. cit., p. 47.
[119]
Cf. l. c., pp. 4–59, where examples are given.
[120]
Cf. l. c., p. 59.
[121]
Briefe Über MerkwÜrdigkeiten der Litteratur. Erste und Zweyte Sammlung. Schleswig und Leipzig. 1766. Dritte Sammlung. 1767. Continued in Ueber MerkwÜrdigkeiten der Litteratur. Hamburg und Bremen. 1770.
[122]
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 DÄnische KiÄmpe–Viser (pp. 108–15).
[123]
Cf. l. c., p. 104.
[124]
Cf. Vierteljahrsch. fÜr Litteraturgesch., Vol. 2, pp. 180–1.
[125]
Cf. Works, 1815–6. Vol. 2, p. 90.
[126]
Cf. l. c., p. 92.
[127]
Cf. Vierteljahrsch. fÜr Litteraturgesch., Vol. 2, p. 182.
[128]
Cf. Works, Vol. 2, p. 97.
[129]
Cf. V. f. L, l. c.
[130]
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 Thal, Und Geisterschatten lispeln durch die Luft.”
[131]
Cf. l. c., p. 93.
[132]
Cf. l. c., pp. 93–5.
[133]
Cf. l. c., p. 104.
[134]
Cf. l. c., p. 144.
[135]
Cf. l. c., p. 145.
[136]
Cf. Temora, Bk. iv, p. 337, l. 34 and p. 339, ll. 25–6.
[137]
Cf. Works, Vol. 2, p. 146.
[138]
Cf. l. c., p. 81.
[139]
Cf. ibid.
[140]
Cf. l. c., p. 85.
[141]
Cf. Jacobs, Gerstenbergs Ugolino, Berlin, 1898.
[142]
Cf. Works, Vol. 1, pp. 386–7.
[143]
Cf. l. c., pp. 395–6.
[144]
Cf. op. cit., pp. 105–6.
[145]
Cf. Works, Vol. 1, p. 402.
[146]
Cf. l. c., p. 408.
[147]
Cf. Comala, p. 139, l. 33; The Songs of Selma, p. 211, l. 5; etc., etc.
[148]
Cf. Works, Vol. 1, p. 424.
[149]
Cf. Jacobs, op. cit., p. 106.
[150]
Cf. Works, Vol. 1, p. 467. Act 4.
[151]
Cf. l. c., p. 497. Act 5.
[152]
Cf. l. c., p. 438.
[153]
Cf. l. c., p. 440.
[154]
Cf. Jacobs, op. cit., p. 106.
[155]
Cf. Works, Vol. 1, p. 445.
[156]
Jacobs has Fingal by mistake.
[157]
Cf. l. c., p. 494.
[158]
Cf. l. c., p. 456.
[159]
Cf. l. c., p. 457.
[160]
Cf. l. c., p. 464.
[161]
Cf. l. c., pp. 487–8.
[162]
Cf. Knebel’s Literarischer Nachlass und Briefwechsel, Leipzig, 1835, Vol. 2, p. 87. Notice by Boie. For further particulars, cf. Jacobs, op. cit., pp. 127–45.
[163]
Cf. Calthon and Colmal, p. 182, ll. 1–2. Cp. Berrathon, p. 377, l. 21: “My dwelling was not always in caves.”
[164]
Cf. Carthon, p. 156, ll. 15–6. Cp. Fingal, Bk. ii. p. 234, l. 14: “Her hair was the wing of the raven;” Dar–Thula, p. 279, l. 36: “Thy hair like the raven’s wing,” etc.
[165]
Cp. Dar–Thula, p. 279, l. 36–p. 280, l. 3. In this connection the following extract from a review of a Correspondence entre S.A.R. le Prince Gustave de SuÈde avec S.E. le Senateur Schaeffer (1772) in the Frankfurter gelehrte Anzeigen, 1772, p. 277, deserves to be quoted: ... “aber, zwo Maximen haben wir drin vermisst, die doch, unsrer Meinung nach, durchgehends in einer FÜrstlichen Erziehung herrschen sollten: die, welche David seinem Sohne gab: Sey ein Mann! und die, welche Fingal dem Seinigen einprÄgte: Bend the Strong in Arms, but spare the feeble Hand. Be thou a Stream of many Tides against the foe of thy people, but like the gale that moves the grass to those who ask thy aid.”
[166]
Cf. The Songs of Selma, pp. 208–10.
[167]
Cf. Works, Vol. 1, p. 109.
[168]
Cf. Vol. 77, i, pp. 116–8 (1787).
[169]
The reviewer in the Neue Bibl. der schÖnen Wissenschaften, Vol. 34, ii, p. 284, criticizes this scene rather sarcastically. He says: “Und nun gerathen die Herren in eine poetische EntzÜckung und deklamiren sich mancherley im ossianischen Schwung vor. Nachdem sie sich aber beiderseits aus diesem Schwindel erholt haben,” etc.
[170]
Cf. Works, Vol. 1, pp. 104–7.
[171]
Cf. l. c., pp. 107–9.
[172]
Cf. Act 1, i, 3; p. 52.
[173]
Cf. Act 4, 6; p. 252.
[174]
Cf. Act 2, i, 1; p. 100. Ossian’s heroines all have snow–white hands, arms, necks and bosoms, and generally raven–black locks. Cp. Lathmon, p. 277, l. 9: “Her hair spreads on her neck of snow.”
[175]
Cf. Act 4, 3; p. 214.
[176]
Cf. p. 184, Tauchnitz.
[177]
Cp. e.g., Cath–Loda, Duan i, pp. 128–9, Oithona, pp. 172–4, etc.
[178]
Cf. Act 2, ii; p. 129. Cp. The Battle of Lora, p. 303, ll. 17–8: “The moon looks into thy cave,” etc.
[179]
Cf. Vol. 34, ii, p. 298.
[180]
Cf. l. c., p. 288.
[181]
Cf. 1789, i, p. 719.
[182]
Cf. Works, Vol. 1, pp. 25–6.
[183]
Cf. Act 2, ii, 4; p. 132. Song of Minona.
[184]
Cf. ibid., p. 133.
[185]
Cf. ibid., p. 134.
[186]
Cf. Act 3, ii, 4; pp. 171–2.
[187]
As to the nature of these songs, cf. Ryno’s explanations to Edelstan, Act 4, 3 pp. 219–25.
[188]
Cf. Act 4, 3; p. 220.
[189]
Cf. Act 2, ii, 5; p. 137.
[190]
Cf. Act 3, ii, 2; p. 166.
[191]
(Du Geist.) Cp. Fingal, Bk. ii, p. 227, l. 5: The ghost sat upon “a dark–red stream of fire.” etc.
[192]
Cf. Act 3, ii, 5; pp. 201–2.
[193]
Cf. Act 5, 1; p. 306.
[194]
Cf. Act 5, 2; p. 325.
[195]
In Ossian Brumo is a place of worship in Craca. Cf. Temora, Bk. ii, p. 319, l. 25. Cp. Fingal, Bk. vi, p. 265, ll. 28–9: “Within the circle of Brumo, he spoke to the stone of power.”
[196]
Cf. Act 5, 4; p. 343.
[197]
Cf. Act 4, 8; p. 282.
[198]
It has been stated and doubted that Leonore’s disguise in the last act of Schiller’s Fiesco was suggested by Ossian. I shall give my views on the question in connection with the chapter on Schiller.
[199]
Cf. Works, Vol. 1, p. 365.
[200]
Cf. P. v. Hofmann–Wellenhof, Michael Denis Ein Beitrag zur Deutsch–Oesterreichischen Literaturgeschichte des xviii. Jahrhunderts. Innsbruck, 1881.
[201]
Denis first became acquainted with Ossian in Cesarotti’s translation in the year 1763.
[202]
Notice that in the case of Denis, Klopstock was not uninstrumental in instilling veneration for the Celtic Homer; Gerstenberg, on the other hand, is not mentioned. Cp. supra, p. 82.
[203]
Cf. Retzer, Denis’ Lit. Nachlass, 1801–2, Vol. 2, pp. 158–9.
[204]
Cf. ibid., p. 124. Letter of Gleim to Denis, dated Halberstadt, May 3, 1769.
[205]
Cf. Allg. Deutsche Bibl., Vol. 10, i, p. 64.
[206]
Cf. ibid., p. 65.
[207]
Cf. ibid., p. 69.
[208]
For a detailed notice of this essay cf. the paragraphs on Herder, for which all further remarks on Herder’s attitude will be reserved.
[209]
Cf. Allg. deutsche Bibl., Vol. 17, ii, p. 438.
[210]
Cf. ibid., p. 442.
[211]
Cf. ibid., p. 445.
[212]
Cf. ibid., pp. 445–6; cp. supra, pp. 85–6.
[213]
Cf. Neue Bibl. der schÖnen Wissenschaften, Vol. 8, i, p. 99 (1769).
[214]
Cf. ibid., p. 101.
[215]
Cf. ibid.. pp. 102–5. Episode of Morna, daughter of Cormac, Fingal, Bk. i, p. 219, l. 13–p. 220, l. 34.
[216]
Cf. ibid., pp. 105–8.
[217]
Cf. ibid., pp. 108–9. Fingal, Bk. ii, p. 230, l. 28–p. 231, l. 6.
[218]
Cf. Ossians und Sineds Lieder, Vol. 1, pp. 117–32; cp. p. 120, note.
[219]
Cf. ibid., Vol. 4, pp. 81–97.
[220]
Cf. GÖtt. Anz. von gel. Sachen, 1768, ii, p. 1285.—In regard to the form of Comala, cp. also Ehrmann, op. cit., p. 87.
[221]
Cf. ibid., p. 1282.
[222]
For examples cf. Hofmann–Wellenhof, op. cit., pp. 182–4.—The different meters employed are discussed on pp. 174–81 of the biography.
[223]
Ramler read Fingal in Denis’s translation with his pupils in the Berlin cadet–school and explained the epic to receptive ears. In a letter dated Oct. 5, 1777, he writes to Denis of his success in the following words: “Was fÜr einen Eindruck die mÄchtigen und natÜrlichen schÖnen Gedanken Ihres Ossians auf meine achtzehnjÄhrigen ZuhÖrer gemacht haben, kann ich Ihnen nicht beschreiben. Sie waren traurig, wenn die Stunde sobald zu Ende gieng; und wenn ich des folgenden Tages das Buch wieder Öffnete, stieg ihre Seele ihnen in die Augen. Sie verschlangen alles;” etc. Cf. Michael’s Denis Lit. Nachlass, 1801–2. Vol. 2, p. 137.
[224]
Cf. Die Lieder Sineds des Barden, pp. 1–2.
[225]
Cp. Cath–Loda, ii, p. 133, l. 26; The Songs of Selma, p. 212, l.5; also The Death of Cuthullin, p. 292, l. 22; “The silent valleys of night,” etc.
[226]
Cp. The Death of Cuthullin, p. 292, ll. 20–1.
[227]
Ossian.
[228]
Cf. Lieder Sineds, p. 4. It was a common circumstance for a German poet at that time to assume that the mantle of some great forerunner had fallen upon his shoulders, teste Nicolai, who wished to be considered Lessing’s successor; Denis hints at his representation of Ossian more than once.
[229]
Cf. Hofmann–Wellenhof, op. cit., p. 213.
[230]
Cf. Lieder Sineds, p. 85, Gruss des Tages. Cp. Beurlaubung des Tages, p. 142: “Auf Ihren Barden sey der Geist der Lieder.”
[231]
Cf. ibid., Theresia die Mutter, p. 107.
[232]
Cp. e.g., Berrathon, p. 380, last 3 ll.
[233]
Cf. Temora, Bk. iv, p. 334, ll. 7–8; Bk. vii, p. 357, l. 23, etc.
[234]
Cf. Lieder Sineds, pp. 96–7.
[235]
Cf. ibid., p. 103.
[236]
Cf. ibid., p. 100. Also Urlaub von der sichtbaren Welt (p. 287), and Drittes Vaterlandslied (p. 223): “Wonne der Wehmuth.” Cp. Goethe’s poem, “Wonne der Wehmuth,” and infra, p. 150.
[237]
Cf. ibid., pp. 100–1.
[238]
Cf. ibid., p. 110. Cp. Theresia die StarkmÜthige, p. 120: “Des ... Schwertes Blitz,” and p. 121: “Blitz des Schwertes.”
[239]
Cf. Calthon and Colmal, p. 184, ll. 22–3, The Songs of Selma, p. 211, ll. 6–7, Fingal, Bk. iv, p. 248, l. 26, etc., etc. Cp. infra, p. 142.
[240]
Cf. Sul–Malla of Lumon, p. 201, ll. 17–9.
[241]
Cf. Sineds Lieder, p. 111.
[242]
Cf. Fingal, Bk. iii, p. 239, l. 23, etc.
[243]
Similarly An den Obersten der Barden Teuts, p. 184, etc.
[244]
Cf. Fingal, Bk. vi, p. 264, l. 25, etc.
[245]
Cf. Temora, Bk. i, p. 310, l. 24.
[246]
Cf. Lieder Sineds, p. 117. Cp. Goethe’s Faust, Part 2, l. 11529.
[247]
Cf. Fingal, Bk. vi, p. 264, l. 24.
[248]
Cf. Lathmon, p. 275, l. 2.
[249]
The “Geist der Lieder” is repeatedly referred to in the Lieder Sineds, e.g., pp. 142, 182, etc. Cf. Ehrmann, op. cit., p. 40, and cp. infra, pp. 141 and 147.
[250]
Cf. The War of Caros, p. 188, ll. 1–2: “The light of the song rises in Ossian’s soul.”
[251]
Cf. Temora, Bk. iv, p. 338, ll. 8–9: “The light–winged thought that flies across the soul.” Bk. vi, p. 350, ll. 11–2: “As lightning ... a thought came rushing along my soul.”
[252]
Cf. Dar–Thula, p. 279, last 2 ll.: “Thy soul was generous and mild, like the hour of the setting sun,” etc.
[253]
Cf. Carric–Thura, p. 146, ll. 3–4; cp. Temora, Bk. iii, p. 328, l. 6; etc.; also Ossians und Sineds Lieder, 1784, Vol. 4, p. 148.
[254]
Cf. Lathmon, p. 275, l. 16.
[255]
Mein Spiel.
[256]
Cf. Temora, Bk. ii, p. 323, l. 28.
[257]
Cf. Comala, p. 140, l. 27, and note.
[258]
Cp. Sineds Lieder, pp. 224, 235, etc.
[259]
Cf. e.g., Croma, p. 179, ll. 16–7: The joy “was like the faint beam of the moon spread on a cloud in heaven.”
[260]
Cf. Sineds Lieder, pp. 209–10, note.
[261]
Cf. ibid., p. 215.
[262]
Cp. Urlaub, pp. 284, 288, Vierte Klage, p. 270, and infra, p. 149.
[263]
Cp. also Ossians und Sineds Lieder, 1784, Vol. 4, p. 149, p. 203; Vol. 5, p. 151.
[264]
Cf. particularly Temora, Bk. i, p. 313, ll. 1–3 and the note; also Bk. vii, p. 355, ll. 20–1.
[265]
Cp. Das Kunstfeuer, Ossians und Sineds Lieder, 1784, Vol. 4, p. 206.
[266]
Cf. ibid., Vol. 3, p. 50.
[267]
Cp. infra, p. 138.
[268]
Cf. The Battle of Lora, p. 298, ll. 14–5.
[269]
Denis had originally translated from the English edition of 1765.
[270]
Cf. Bibliography, 1777.
[271]
Cf. Ossians und Sineds Lieder, Vol. 4, pp. 101–2.
[272]
Cf. Temora, Bk. i, p. 307, l. 3.
[273]
Cf. Temora, Bk. ii, p. 324, l. 6; Berrathon, p. 374, l. 7.
[274]
Cf. Dar–Thula, p. 287, ll. 4–5; cp. ibid., p. 285, ll. 30–1.
[275]
Cf. KÜrschner’s Dtsche Nat.–Lit., Vol. 48, pp. 305–11.—Carl Friedrich Kretschmann, (der Barde Rhingulph). Von Dr. Hermann Fried. Knothe, Zittau, 1858.
[276]
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.
[277]
Cf. Works, Vol. I, p. 2.
[278]
Cf. ibid., p. 9.
[279]
Cf. ibid. pp. 26–7.
[280]
Cf. ibid., pp. 48, 73, 88, 106, etc.
[281]
Cf. Vierteljahrschrift fÜr Litteraturgeschichte, Vol. 6, p. 199.
[282]
Cf. supra, p. 130.
[283]
Cf. pp. 142, 209, 210, 283, etc.
[284]
Cf. Leitzmann in his review of Ehrmann’s Bardische Lyrik, Literaturblatt fÜr germ. und rom. Phil., Vol. 16, pp. 223–4 (1895).
[285]
Cf. Temora, Bk. viii, p. 363, l. 24; p. 368, l. 3; etc.
[286]
Cf. Fingal, Bk. i, p. 217, ll. 8–9.
[287]
Cf. Fingal, Bk. iv, p. 247, ll. 33–5.
[288]
Cp. supra, p. 129, infra, p. 144.
[289]
Cf. The Songs of Selma, p. 211, l. 6. Towards the end of the first canto of the Klage (p. 147) we have: “Des Sturmes Zorn.”
[290]
Cf. Tauchnitz, p. 211, ll. 5–12.
[291]
Cp. also Rhingulphs Klage, p. 138, etc.
[292]
Cf. Fingal, Bk. i, p. 217, l. 19; Temora, Bk. v, p. 341, l. 31, etc. The passage in Fingal has “Thou breaker of the shields,” and so Kretschmann: “du Schild–Zerbrecher.”
[293]
Cp. supra, pp. 93 and 97.
[294]
Cf. Fingal, Bk. v, p. 259, next to the last line.
[295]
Cf. supra, pp. 97–8, 110–1.
[296]
Cf. The Songs of Selma, p. 211, ll. 8–9. Cp. supra, p. 100, but cp. Exodus, xv, 7, Psalms lix, 13, etc.
[297]
Cf. Temora, Bk. vi, p. 352, l. 23; also ibid., p. 350, l. 17 and note, etc.
[298]
Cf. Temora, Bk. iv, p. 338, l. 13.
[299]
Cp. supra, pp. 129 and 142.
[300]
Cf. Fingal, Bk. v, p. 257, l. 30.
[301]
Cf. The War of Caros, p. 192, ll. 15–6, etc.
[302]
Cf. Temora, Bk. iii, p. 329, ll. 24–5.
[303]
Cf. The War of Caros, p. 191, l. 8.
[304]
Cf. The War of Inis–Thona, p. 204, ll. 30–1.
[305]
Cf. Fingal, Bk. i, p. 221, ll. 4–7.
[306]
Cf. ibid., Bk. iii, p. 240, l. 25.
[307]
Cf. ibid., Bk. vi, p. 265, ll. 4–5.
[308]
Cf. Temora, Bk. vii, p. 357, ll. 2–30.
[309]
Cf. Fingal, Bk. iii, p. 240, l. 12.
[310]
Cf. Temora, Bk. vi, p. 354, ll. 3–4.
[311]
Cf. Works, Vol. 2, p. 223; cp. supra, p. 128.
[312]
Cf. supra, p. 89.
[313]
Cf. Temora, Bk. ii, p. 324, ll. 28–9.
[314]
Cf. Works, Vol. 5, p. 13. Cp. Ehrmann, op. cit., pp. 54–5.
[315]
Cf. Vol. 5, p. 13; cp. supra, p. 130.
[316]
The word Telyn, as we have seen, was adopted by the bards from Klopstock. Kretschmann uses it in the poem An Vater Gleim, and elsewhere. Cp. supra, p. 88.
[317]
Gottlob David Hartmann, 1752–75, who in a letter to Denis, dated TÜbingen, Sept. 24, 1772, confesses that he owes everything to him (Denis) and his Ossian. (Cf. Retzer, Denis’ Lit. Nachlass, 1801–2, Vol. 2, p. 194.) Hartmann has a poem An den Barden Rhingulph, which begins (Alm. der deutschen Musen for 1773, p. 12): “O Hermanns Barde, der Du an Ossians EmpÖrtem Busen Schlachtengesang gehorcht,” and in which the word Telyn is also used (p. 13).
[318]
Cp. Die Regeln, Works, Vol. 5, p. 338.
[319]
For full title cf. Bibliography, supra, p. 14.
[320]
Haschka was apparently extremely fond of the name Minona, for we meet with it several times again in the same collection. In the Liebeslied (pp. 21–2) Minona is the ideal maiden love; then we have a poem entitled An Minona (pp. 22–3), another one Minona (pp. 116–7), still another one Cronnan und Minona (p. 218), and she occurs once more in Der Blumenstrauss (p. 312).
[321]
Cf. The Songs of Selma, p. 211, l. 15; Fingal, Bk. i, p. 218, l. 29; etc., etc.
[322]
Cp. supra, p. 134.
[323]
Cp. supra, p. 133.
[324]
Cf. Cathlin of Clutha, p. 196, l. 3; Sul–Malla of Lumon, p. 199, l. 13, etc.
[325]
Cf. The Songs of Selma, p. 212, ll. 32–3; cp. supra, p. 130, and infra, p. 150.
[326]
Cf. Temora, Bk. iii, p. 329, ll. 23–4; cp. supra, pp. 97–8, 110–1, 141, and 144.
[327]
Cf. e.g., Temora, Bk. i, p. 310, l. 29.
[328]
Cf. Carthon, p. 157, l. 23.
[329]
Cp. supra, p. 128.
[330]
Cf. Fingal, Bk. iv. p. 245, l. 8.
[331]
Cf. Almanach der deutschen Musen for 1772, pp. 106–7.
[332]
Cf. Litt. Monate, p. 127. Cp. Dar–Thula, p. 278, l. 5; p. 279, l. 11, etc.
[333]
Cf. Goedeke’s Grundriss, 2d ed., Vol. 4, p. 112, 27.
[334]
Cf. Ehrmann, op. cit., pp. 54–5, and supra, p. 147.
[335]
Cf. Leipziger Musenalmanach for 1776, p. 212.
[336]
Cf. Taschenbuch fÜr Dichter und Dichterfreunde, 1778, pp. 87–8.
[337]
Cf. Aus den Papieren des Barden von Riva. Telliade, etc. Herausgegeben von Ernst GÖtzinger. St. Gallen, 1891. p. 12 (Vorrede zur Telliade).
