Fragments of Ancient Poetry Part 1

Fragments Of Ancient Poetry.

by James MacPherson.

INTRODUCTION

Byron was actually the third Scotsman in about fifty years who awoke and found himself famous; the sudden rise from obscurity to international fame had been experienced earlier by two fellow countrymen, Sir Walter Scott and James Macpherson. Considering the greatness of the reputation of the two younger writers, it may seem strange to link their names with Macpherson's, but in the early nineteenth century it would not have seemed so odd. In fact, as young men both Scott and Byron would have probably have been flattered by such an a.s.sociation. Scott tells us that in his youth he "devoured rather than perused" Ossian and that he could repeat whole duans "without remorse"; and, as I shall discuss later, Byron paid Macpherson the high compliment of writing an imitation of Ossian, which he published in _Hours of Idleness_.

The publication of the modest and anonymous pamphlet, _Fragments of Ancient Poetry_ marks the beginning of Macpherson's rise to fame, and concomitantly the start of a controversy that is unique in literary history. For the half-century that followed, the body of poetry that was eventually collected as _The Poems of Ossian_ provoked the comment of nearly every important man of letters.

Extravagance and partisans.h.i.+p were characteristic of most of the remarks, but few literary men were indifferent.

The intensity and duration of the controversy are indicative of how seriously Macpherson's work was taken, for it was to many readers of the day daring, original, and pa.s.sionate. Even Malcolm Laing, whose ardor in exposing Macpherson's imposture exceeded that of Dr. Johnson, responded to the literary quality of the poems.

In a note on the fourth and fifth "Fragments" the arch prosecutor of Macpherson commented,

"From a singular coincidence of circ.u.mstances, it was in this house, where I now write, that I first read the poems in my early youth, with an ardent credulity that remained unshaken for many years of my life; and with a pleasure to which even the triumphant satisfaction of detecting the imposture is comparatively nothing. The enthusiasm with which I read and studied the poems, enabled me afterwards, when my suspicions were once awakened, to trace and expose the deception with greater success. Yet, notwithstanding the severity of minute criticism, I can still peruse them as a wild and wonderful a.s.semblage of imitation with which the fancy is often pleased and gratified, even when the judgment condemns them most."[2]

II

It was John Home, famous on both sides of the Tweed as the author of _Douglas_, who first encouraged Macpherson to undertake his translations. While taking the waters at Moffat in the fall of 1759, he was pleased to meet a young Highland tutor, who was not only familiar with ancient Gaelic poetry but who had in his possession several such poems. Home, like nearly all of the Edinburgh literati, knew no Gaelic and asked Macpherson to translate one of them. The younger man at first protested that a translation "would give a very imperfect idea of the original," but Home "with some difficulty" persuaded him to try. In a "day or two" Macpherson brought him the poem that was to become "Fragment VII" in this collection; Home was so much pleased with it that he requested additional translations.[3]

"Jupiter" Carlyle, whose autobiography reflects the keen interest that he took in literature, arrived at Moffat after Home had seen the "translations." Home, he found, "had been highly delighted with them," and when Carlyle read them he "was perfectly astonished at the poetical genius" that they displayed. They agreed that "it was a precious discovery, and that as soon as possible it should be published to the world."[4]

When Home left Moffat he took his find to Edinburgh and showed the translations to the men who earned the city Smollett's sobriquet, a "hotbed of genius": Robertson, fresh from the considerable success of his two volume _History of Scotland_ (1759); Robert Fergusson, recently appointed professor of natural history at the University of Edinburgh; Lord Elibank, a learned aristocrat, who had been patron to Home and Robertson; and Hugh Blair, famous for the sermons that he delivered as rector of the High Church of St. Giles.

Home was gratified that these men were "no less pleased" with Macpherson's work than he had been. David Hume and David Dalrymple (later Lord Hailes) were soon apprised of the discovery and joined in the chorus of approbation that emanated from the Scottish capitol.

Blair became the spokesman and the leader for the Edinburgh literati, and for the next forty years he lavished his energy in praising and defending Macpherson's work. The translations came to him at the time that he was writing his lectures on _belles lettres_ and was thus in the process of formulating his theories on the origins of poetry and the nature of the sublime. Blair lost no time in communicating with Macpherson:

"I being as much struck as Mr Home with the high spirit of poetry which breathed in them, presently made inquiry where Mr. Macpherson was to be found; and having sent for him to come to me, had much conversation with him on the subject."[5]

Macpherson told Blair that there were "greater and more considerable poems of the same strain" still extant in the Highlands; Blair like Home was eager for more, but Macpherson again declined to translate them.

He said that he felt himself inadequate to render "the spirit and force"

of the originals and that "they would be very ill relished by the public as so very different from the strain of modern ideas, and of modern, connected, and polished poetry." This whetted Blair's interest even more, and after "repeated importunity" he persuaded Macpherson to translate more fragments. The result was the present volume, which Blair saw to the press and for which he wrote the Preface "in consequence of the conversations" that he had with Macpherson.[6]

Most of Blair's Preface does seem to be based on information supplied by Macpherson, for Blair had almost no first-hand knowledge about Highland poetry or its traditions. It is apparent from the Preface then, that Macpherson had not yet decided to ascribe the poems to a single poet; Ossian is one of the princ.i.p.al poets in the collection but the whole is merely ascribed "to the bards" (see pp. v-vi). It is also evident from the Preface that Macpherson was s.h.i.+fting from the reluctant "translator" of a few "fragments" to the projector of a full-length epic "if enough encouragement were given for such an undertaking."

Since Blair became famous for his _Critical Dissertation on the Poems of Ossian_ (London, 1763), it may seem strange that in the Preface to the _Fragments_ he declined to say anything of the "poetical merit" of the collection. The frank adulation of the longer essay, which concludes with the brave a.s.sertion that Ossian may be placed "among those whose works are to last for ages,"[7] was partially a reflection of the enthusiasm that greeted each of Macpherson's successive publications.

III

Part of the appeal of the _Fragments_ was obviously based on the presumption that they were, as Blair hastened to a.s.sure the reader, "genuine remains of ancient Scottish poetry," and therefore provided a remarkable insight into a remote, primitive culture; here were maidens and warriors who lived in antiquity on the harsh, wind-swept wastes of the Highlands, but they were capable of highly refined and sensitive expressions of grief--they were the n.o.blest savages of them all. For some readers the rumors of imposture served to dampen their initial enthusiasm, and such was the case with Hume, Walpole, and Boswell, but many of the admirers of the poems found them rapturous, authentic or not.

After Gray had read several of the "Fragments" in ma.n.u.script he wrote to Thomas Warton that he had "gone mad about them"; he added,

"I was so struck, so _extasie_ with their infinite beauty, that I writ into Scotland to make a thousand enquiries....

The whole external evidence would make one believe these fragments (for so he calls them, tho' nothing can be more entire) counterfeit: but the internal is so strong on the other side, that I am resolved to believe them genuine spite of the Devil & the Kirk."

Gray concluded his remarks with the a.s.sertion that "this Man is the very Demon of Poetry, or he has lighted on a treasure hid for ages."[8]

Nearly fifty years later Byron wrote a "humble imitation" of Ossian for the admirers of Macpherson's work and presented it as evidence of his "attachment to their favorite author," even though he was aware of the imposture. In a note to "The Death of Calmar and Orla," he commented,

"I fear Laing's late edition has completely overthrown every hope that Macpherson's Ossian might prove the translation of a series of poems complete in themselves; but while the imposture is discovered, the merit of the work remains undisputed, though not without faults--particularly, in some parts, turgid and bombastic diction."[9]

In 1819 Hazlitt felt that Ossian is "a feeling and a name that can never be destroyed in the minds of his readers," and he cla.s.sed the work as one of the four prototypes of poetry along with the Bible, Homer, and Dante. On the question of authenticity he observed,

"If it were indeed possible to shew that this writer was nothing, it would be another instance of mutability, another blank made, another void left in the heart, another confirmation of that feeling which makes him so often complain, 'Roll on, ye dark brown years, ye bring no joy on your wing to Ossian!'"[10]

There is some justice in Macpherson's wry a.s.sertion that "those who have doubted my veracity have paid a compliment to my genius."[11] By examining briefly the distinctive form of the "Fragments," their diction, their setting, their tone, and their structure, we may sense something of the qualities of the poems that made them attractive to such men as Gray, Byron, and Hazlitt.

IV

Perhaps Macpherson's most important innovation was to cast his work into what his contemporaries called "measured prose,"

and it was recognized early that this new form contributed greatly to their appeal. In discussing the _Fragments_, Ramsey of Ochtertyre commented,

"Nothing could be more happy or judicious than his translating in measured prose; for had he attempted it in verse, much of the spirit of the original would have evaporated, supposing him to have had talents and industry to perform that very arduous task upon a great scale. This small publication drew the attention of the literary world to a new species of poetry."[12]

For his new species of poetry Macpherson drew upon the stylistic techniques of the King James Version of the Bible, just as Blake and Whitman were to do later. As Bishop Lowth was the first to point out, parallelism is the basic structural technique.

Macpherson incorporated two princ.i.p.al forms of parallelism in his poems: _repet.i.tion_, a pattern in which the second line nearly restates the sense of the first, and _completion_ in which the second line picks up part of the sense of the first line and adds to it. These are both common in the _Fragments_, but a few examples may be useful.

I have rearranged the following lines and in the other pa.s.sages relating to the structure of the poems in order to call attention to the binary quality of Macpherson's verse:

_Repet.i.tion_

Who can reach the source of thy race, O Connal?

And who recount thy Fathers? ("Fragment V")

Oscur my son came down; The mighty in battle descended. ("Fragment VI")

Oscur stood forth to meet him; My son would meet the foe. ("Fragment VIII")

Future times shall hear of thee; They shall hear of the fallen Morar. ("Fragment XII")

_Completion_

What voice is that I hear?

That voice like the summer wind. ("Fragment I")

The warriours saw her, and loved; Their souls were fixed on the maid.

Each loved her, as his fame; Each must possess her or die.

But her soul was fixed on Oscur; My son was the youth of her love. ("Fragment VII")