their appearance and created such a stir in the literary 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 instance we have of
the employment of a bardic pseudonym. Kretschmann tells us that he
received his impulse through Gerstenberg, 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 _vers d’ 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 poetic 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 _Bardengebrüll_ 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. We have,
therefore, in addition to the bardic songs to consider mainly his lyric
productions.[277] Most of that portion of Kretschmann’s work in which
the influence of Ossian is traceable is contained in the first volume of
his collected writings. The poetical productions in the volumes are
preceded by a sketch “Ueber das Bardiet.” It goes without saying, that
Kretschmann was a firm believer in the authenticity of the poems of
Ossian, and his admiration for the Celtic bard is apparent, when, in the
strife over the priority of the bardic work of Klopstock, Gerstenberg,
and himself, he takes the stand that “Vater Ossian war doch eher, denn
wir alle!”[278] His theories as to the characteristics of the old
Germanic bardic songs are based largely upon Ossian. “Vater Ossian, ein
Kelte so gut als die Barden Germaniens,” he says, “überzeugt uns, dass
dieses wirklich der Charakter der teutschen Bardenlieder gewesen seyn
müsse.”[279] Ossian’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 _Bardiet_. While he opposes the hexameter as the form in
which the _Bardiet_ shall be cast, yet, because of the beauty of the
verse–structure, he cannot condemn Denis’s translation. Of Ossian’s fame
in the days that are to come he is assured.[280]
The first poetic production in the volume is “Der Gesang Rhingulphs,” to
some of the Ossianic touches in which attention will be called. Norse
mythology is introduced 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.[281]
Scheel is no doubt correct in attributing this odd form to the frequency
of names in _–o_ found in Saxo Grammaticus and to the fondness of
Ossian for similar forms,[282] _e. g._, Aldo, Artho, Branno, Brumo,
etc., etc.
A real bardic scene is presented in the following lines of the first
song (p. 51):
Der mächtge Wohlklang füllte 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)[283] as well
as a typical Ossianic ghost (p. 55). In the second canto we read (p.
62):
Frisch wie der Eichenbaum,
Wächst Teutschlands Jugend auf.
Compare “Carric–Thura,” p. 152, l. 20: “Thy family grew like an
oak.”—In this song we have two Ossianic pictures, the one (p. 64):
Auf einmal tritt ....
Die Sonn’ empor, und vorger Nacht
Lezte graue Nebel fliehen.
And the other (p. 72):
... in den Lüften 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.[284] 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.[285] “Die mosigte Höle” (p. 72) goes back
to Ossian’s mossy cave.[286] 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 kühnsten Krieger Mengen
Sich wie Gewitterwolken drängen?—
Dort wird der Führer Varus stehn!
suggest Ossian’s “Their heroes follow, like the gathering of the rainy
clouds;”[287] “Like the clouds, that gather to a tempest ...! so met the
sons of the desert round ... Fingal;”[288] etc. Further along we have
(p. 97): “Sein Schwert ... strahlt wie Blitz.”[289] 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, ll. 12–3:
“Cuthullin cut off heroes like thistles.”—The fifth song opens with a
comparison in the Ossianic vein (p. 111):
Wie wenn der lezte Wintersturm
Noch eine Nacht mit Sausen,
Mit Schnee und Hagel, fürchterlich
Durchwütete; dann schnell entwich,
Auf fernem Gebürge zu brausen:
Der erste göldne Frühlingstag,
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,[290] and
the entire passage bears a resemblance to a paragraph in “The Songs of
Selma.”[291] In the same song we have druids (p. 115) and the thistle
again (p. 117),[292] also the compound “Schild–Zerbrecher” (p. 118),
which is Ossian’s “breaker of the shields.”[293]
The next poem to be considered is “Die Klage Rhingulphs des Barden,”
which is divided into four cantos and shows Ossian’s influence in much
the same way as the “Gesang.” Ghosts are introduced at the very
beginning (p. 131). Both Ossian and Klopstock no doubt are represented
in the lines (p. 132):
Wie der Wasserfall brausend die Kluft durchflieht,
Wälze dich wild über Felsenherzen mein Lied!—[294]
The lines (p. 133):
In Rauch zerdampft des Helden
Lichtheller Ruhm vor dir.
recall Ossian’s “fame, that fled like the mist.”[295] The following
comparison is Ossianic (p. 134):
Denn er fiel, er fiel,
* * * * *
So reisst im Haine Teutebergs
Des Sturmes Fluth die Eiche hin.[296]
Ossian’s frequent “melting of the soul” may be responsible for (p. 137):
Und ihre Seele schmolz
In ... Minnegesang.
Compare “Croma,” p. 178, ll. 14–5: “Thy song is lovely! ... but it melts
the soul.”—Thusnelda sheds ‘tears of joy’ and embraces her father with
“schneebeschämenden” (p. 139) arms. He strikes the shield (p. 141) to
summon warriors, and Hermann feels “Die sanfte 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 a fire. Notice also “They were consumed in
the flames of thy wrath,”[297] “His rage was a fire that always
burned,”[298] etc. Ossianic are the tone and atmosphere in the following
passage (p. 159):
Ich schlich in Wald
Bey Sternen Schimmer;
Warf mich aufs Moos
Der Felsentrümmer:
* * * * *
In hohen dicken Wipfeln brausten
Die Geister luftger Nacht:
* * * * *
Und siehe, mir war,
Als stünd’ ein Mann am Stamme
Der alten Eiche hingelehnet,
Mit wildflatterndem Haar.
and again (p. 161):
Da sauste von Wacholderhügeln
Ein rascher Wind ihm in das Haar;
Ich merkte, dass auf seinen Flügeln
Der Geist des Römers war.
The “Strahl von seinem Ruhme” (p. 173) in the third canto recalls
Ossian’s “beam of fame.”[299]—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”[300] are Ossianic.—In the fourth canto the
stanza beginning (p. 196): “Ich lag, und schlief so süss” is decidedly
Ossianic. As he slept ‘grey ghosts arose’ (p. 197):
Der falbe Nebel dämmerte licht:
Und mitten in wirbelnden Schimmern
Erblickt’ ich ein Gesicht.
It is the face of Irmgard, of which he says (p. 197): “Der Vollmond
scheint so lieblich nicht!” Ossian also compares the face to a moon and
speaks of a maiden “fair as the full moon.”[301] The spirit departs in
good Ossianic style (p. 200):
... da verschwand der Geist,
Wie der Nebel am Teiche zerfleusst
Wenn der Morgenwind erwacht.[302]
A typical Ossianic picture is the following (p. 206), in which the form
of comparison also savors of Ossian:
So wie die alte Eiche,
An allen Zweigen entlaubt,
Hoch auf dem waldigten Berge trauert;
Der sinkende Nebel verhüllt ihr Haupt:
So sass, umringt von finsterm Harme,
Ingwiomar, der greise Mann.
Likewise in Ossian we have an oak “clothed in mist”[303] and the
comparison of a warrior to a “leafless oak.”[304] Compare also: “But now
he is pale and withered like the oak.”[305] Ossian again and again
arranges comparisons in exactly the manner we have here, _i. e._, the
first member is followed by an independent sentence in the indicative
mode. Take, _e. g._, such a passage as the following: “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.[306] Likewise Ossianic is this scene (pp. 207–8):
... Wenn der Sturm der Nacht
Mit allen seinen Winden erwacht,
Die schwarze schlosende Wolke saust,
Der Wald mit allen Zweigen braust,
Der Donner brüllt, die Haide brüllt,
Das wilde Wasser rauschend schwillt,
Ueber die Felsen ins Thal sich giest, etc.,
as are also the following comparisons (p. 210):
Da fuhr hastig, mit blankem Schwert
Der Held hervor . . . . .
. . . . . . . . so fährt
Der schnelle Blitz . . . .
Herab aus finstern Gewittern.—
Von der Linken zur Rechten flog
Sein Schwert einen flammenden Kreis; da bog
Der Schwarm zurück, und Herman stand
Wie durchs Gewitter der Mond sich wand:
Einsamglänzend gebietet er.
Compare such expressions as “Ryno as lightning gleamed along,”[307]
“brightened, like the full moon of heaven; when the clouds vanish
away,”[308] “risen ... from battle, like a meteor from a stormy
cloud,”[309] and the like.—The poem that follows, “Die Jägerin,”
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 and the like are
employed and occasional Ossianic reminders occur _e. g._, the expression
(p. 259): “Ihrer Waffen Schein War furchtbar,” reminds us of Ossian’s
“Terrible was the gleam of the steel,”[310] etc. We must again point out
that although similar expressions 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
“Thauvoll war sein Haar” (p. 259), with which compare, _e. g._, “Filled
with dew are my locks.”[311]
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 “Mädchen, rabenschwarz von Haaren,”[312] 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
“Frühlingslied” the nightingale is called the bardic bird, “Du
Bardenvogel Nachtigall” (p. 232), the expression no doubt going back to
Klopstock’s _Bardale_.[313] 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 späten Sonne Blick.
Compare Ossian’s “the sun looks through mist.”[314] In the last poem of
the _Anhang_, “Das Traumgesicht,” the bardic character stands out more
prominently than in any of the preceding ones. The very first line gives
us “Zukunftspähende Druiden” (p. 236), 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 distinctly noticeable. In the second
stanza of the “Friedenslied” (p. 147), we have “tiefgestimmte Saiten,”
whereas the original version in the _Leipziger Musen Almanach_ for 1780
(p. 40) had “Distelumkränzte Saiten.”
Volumes 3 and 4 of the works contain comedies. In the fifth volume we
have first some “Vermischte Gedichte und 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.[315] The spirit of song again appears[316] and also the echo
(p. 14). The poet hears the call of the harp, he follows the sound,
until he sees “den Sänger am Eichenbaum” (p. 14).—On pp. 15–6 we read:
Und nun kenn’ ich dich, Sined,
Den Freund an Ossians Busen,
Dem er am Abend
Seiner Augen die Harfe liess.
* * * * *
Aber ach, kenn’ ich denn nicht,
Sined, Ossians Harfe,
Die vom Rauschen der Speere,
Vom Säuseln der Schwerter gern begleitet wird?
Another bardic song is that “An Telynhardt,”[317] addressed to
Hartmann,[318] 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 fürder bis zum Ziele,
Und komm’ als Ossian zurück!
The following passage is worthy of note (p. 52):
Als Ossian, in Deiner Blüte,
Der süssen Harfe schwur;
Da harrt’ er oft am heissen Tage,
In kalten Nächten, auf der Flur;
Und sucht’ und 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 inclined to
set Ossian below Homer or Vergil, and that it was Ossian’s naturalness
that appealed to him, his freedom from rules and conventions.[319]
The remainder of the fifth volume does not offer anything for our
purpose. The sixth and last volume, which was not published 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 Ossianic 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 Ossian can
no longer be called to account for each individual occurrence. More of
this when we reach the _Göttinger Hain_.
§5. Minor Bards.
The paragraphs on Denis and Kretschmann have amply demonstrated 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 myself with pointing out
some of the more striking Ossianic characteristics in a number of
selections of bardic poetry taken at random.
Lorenz Leopold Haschka (1749–1827), in whose lyric poetry the
influence of Klopstock and Denis is visible, has a bardic poem in the
_Litterarische Monate_,[320] “Cronnan und Minona[321] an Annas Hügel”
(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.[322] Then we read (pp. 11–2):
Horch’ auf! Da winselts das Farrenkraut
Kläglich hindurch, wie Sterbelaut
Auf Harfen!—Annas Seelchen ists, Minona!
Sie wünschet die Stimme des Lobes zu hören!
The sound emitted by the harp to herald a person’s approaching
death,[323] 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.[324] Anna’s ghost
hovers over Tonthena (p. 13), the star mentioned several times in
Ossian.[325]
In the same magazine we have several other bardic songs by Haschka. In
the one “Bei Annas von Gluck Hügel,” we have the echo called the “Sohn
des Felsen” (p. 14) as in Ossian;[326] likewise in “Auf Elisabeth von
H.” (p. 307) the echo is the “Bergsohn.”—“An den Gespielen meiner
Harfe” contains the image of the youth standing tall “der luftigsten
Eiche gleich” (p. 18), with which compare “He stands tall, ... as an
oak.”[327] After his death, the youth lies “unter den graulichten Vier
Steinen” (p. 19), Ossian’s “four grey stones.”[328] Note also the
following (p. 19):
Wenn ich dann, gleich der Blume, verwelkt bin
Und, ihren Blättern ähnlich, mein dürr Gebein
Zerstreut liegt, ...
. . . . . .
Dann komm zu meinem blumichten Hügel her
Mit allen 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 influence
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 machinery again as
well as Ossianic rhetorical figures. The moon, _e. g._, is called the
“Nachtschild” (p. 210). Then we have the ‘sending round the shell’ (p.
212),[329] “der Wehmut ... Wonne” (p. 215),[330] and the following
noteworthy passage (p. 215):
Schwindend itzt, wie Lonas Stimme
Einst im Widerhalle starb,
Da waldeinwärts Jäger 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. 308) and in the “Geburtslied” the ‘hand of snow’ (p. 310).[331]
In Karl Mastalier’s (1731–95) “Ode auf den Freyherrn von Laudon,” we
have Ossian’s ‘trembling harp’ several times.[332] “Das Nationaltheater”
shows traces of Ossian’s influence in the bardic paraphernalia and the
imagery. The moon is termed the ‘daughter of the silent night.’[333] 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[334] “Der Barde an seinen Freund K * * *,” which appeared 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 Sänger 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 description and Norse
mythology side by side. In the opening lines of the poem, the Ossianic
_Stimmung_ is imitated to prepare for the appearance of the ghost.[335]
A few quotations from the poem may not be amiss:
Und auf dem bemoosten Hügel,
Ueber den des Sturmes Flügel
Flattert, walle ich allein.[336]
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 aufgethürmter Hügel ein,
Auch ich werd’ unter Eichenschatten
* * * * *
Wo am bemoosten Steine, etc.
In “Das Gesicht,” a bardic poem that appeared anonymously in the
_Almanach der deutschen Musen_ for 1773 (pp. 23–5), we have a splendid
illustration of how far the imitation of Ossianic apparitions 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,[337] is Ossianic.
The _Barden–Almanach der Teutschen_ for 1802 contains a bardic poem,
“Wodan und Braga,” with Ossianic nature touches, as the following
extract will show (pp. 174–6):
Welch ein Aechzen weht vom Hayn der Fichten,
. . . . . . . . .
Blut’ge Schatten, ...
Wimmeln aus der Finsterniss hervor,
. . . . . . . . .
Schreiten über Hayde, Sumpf und Moor.
* * * * *
Plötzlich, gleich dem Aufruhr wilder Wogen,
Braus’t der Sturm, und hohler Donner kracht:
Unterm dunkelblauen Himmelsbogen
Rollt er, rollt er in Gewitter–Pracht.
* * * * *
... aus der Felsen–Oede
Donnert Nachhall durch den Fichten–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
übertrifft dieser Dichter in meinen Augen noch einigermassen den Homer
selbst und taugt wenigstens für einen Schweizer besser zu einem Vorbild
als jener, indem seine besungenen Gegenstände, sowohl in als ausser der
Natur, den unsrigen näher kommen und ungleich ähnlicher sind, als jene
der Griechen und Römer oder anderer Nationen.”[338] What Ossian meant to
them is laid down in a poem “An Heyder,” by J. G. Schulz, published in
the _Leipziger Musenalmanach_ for 1783, with a striking 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:
Nur Ossians des Barden Klage
Umgiebt in meinem Jammer mich.
Da seh ich ihn in seiner Väter Höhle,
Voll tiefen Schmerz die heisse Seele,
Um Oskarn, der vor Ihm erblich
Die väterliche Zähre weinen:
Und höre seiner Harfe Jammerlaut
Durch dumpfe Klüfte wiederhallen.
Ich seh wie ihm auf ihren luftgen Hallen
Die Geister der Vergangenheit erscheinen,
Und Fingaln, der hernieder schaut
Auf seinen alten müdgeweinten Sohn,
Den er von allen einsam übrig siehet,
Den Barden, 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 gegenwärtgen Leiden
Noch Schwefel in die Flamme streut.—
[Illustration]
INDEX OF PROPER NAMES.
Ackermann, K.E. 9.
Adelung 47, 48, 50, 67.
Ahlwardt, C. W. 40, 48, 50, 51, 56, 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, Emilie v. 41, 43.
Bernold 152.
Bernoulli, J. 25.
Beschnitt, J. 63.
Bilfinger 89.
Birckenstädt, F. 43.
Blair, Hugh 7, 20, 24, 25, 33, 38, 40, 45, 48, 54, 57, 58, 72, 73,
76, 77, 79, 121.
Blankenburg, F. v. 35.
Bodmer 23.
Boie 9, 18.
Böttger A., 58, 59, 61.
Böttiger, K. A. 35, 50, 101, 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. 33.
Buchner, W. 63.
Bürger 16, 40–41, 67.
Buri, C. K. E. W. 53.
Butenschön, 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 1, 5, 7–8, 10, 11, 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, _119–138_, 139, 140,
147, 148, 149.
Dippoldt, H. K. 48.
Ditters von Dittersdorf, K. 63, 67.
Döring, H. 56.
Drummond 57, 60.
Duff 34.
Dühn M. H., 17.
Dunker, W. 63.
Dusch, J. J. 103.
Ebert, J. A. 72, 90.
Ebrard, A. 61.
Eginhard 84.
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, B. 36.
Fielitz, W. 62.
Fink 52.
Flügge, C. W. 32, 34.
Förster, 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, _103–119_, 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.
Grässe, J. G. T. 56.
Gräter, F. D. 29, 30, 31, 32, 33, 38.
Grimm, J. 51, 62, 67.
Gurlitt, J. G. 1, 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, 33, 35, 41, 44, 48,
56, 58, 59, 60, 63, 67, 71, 106, 122–123, 148.
Hermann, F. 64.
Hill 34.
Hofmann–Wellenhof, P. v. 5, 66, 119, 125.
Hohenwart, J. v. N. 135.
Hölderlin 67.
Hölty 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. L. 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. 90.
Kind, J. F. 45.
Kistemaker, J. H. 37.
Klausing, A. E. 12.
Klöntrup, J. Ae. 26.
Klopstock 10, 12, 17–18, 60, 67, 69, 71, 72, 73, _82–102_,
103, 104, 120, 122, 123, 127, 138, 139, 140, 142, 146,
147, 148, 149, 150.
Klotz 73.
Knebel, K. L. v. 44.
Knorr 151.
Körner, T. 12.
Kosegarten, G.L. 32, 39, 43, 52, 67, 99.
Köster, J. 91, 93, 97.
Krafft, P. 64.
Kramer 29.
Kretschmann 17, 19, 25, 37, 67, 103, 104, 133, _139–148_, 149.
Krug von Nidda, F. A. F. 89
Kunzen, F. L. A. 64.
Küttner, K. G. 25.
Laing, M. 38, 44, 46, 47, 48, 56, 92, 102.
Lappenberg, J. M. 60.
Lenz 12, 13, 14, 16, 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.
Lombard, J. G. 28.
Lösch, E. 57, 59.
Löwe, 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 11, 14, 23, 56, 67.
Merian, J. B. 25.
Meyer, F. L. W. 29, 30, 31, 41.
Milton 69, 92, 93, 120.
Montengon 40.
Müller, F. 104.
Müller, F. A. 29.
Müller, J. v. 48.
Münch, E. H. J. 55.
Neumann, K. G. 43, 44, 46, 56.
Nicolai, A. F. 14, 22, 39, 61.
Nicolai, C. F. 121, 127.
Nöldeke, G. F. 28.
Nolte, 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.
Perière, 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, 111.
Rüdiger, 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.
Schönfeld, F. v. 11.
Schreiber, C. 46, 47.
Schröder, 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.
Schütze, 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, 51.
Smith, J. 20, 27, 28, 30, 79.
Soltau, D. W. 50.
Stäudlin, C. F. 44.
Stäudlin, G. F. 23.
Stern, L. C. 63.
Sternfeld, J. Blodig v. 22.
Stöber, A., 12, 57.
Stolberg, C. 18, 19, 53, 99.
Stolberg, F. 14, 18, 19, 46, 47, 53, 67, 99.
Stuhr, P. 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 10.
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, R. 72.
Wurz, I. 132.
Young, A. 30.
Young, E. 71, 72, 73, 83.
Zimmer, H. 63.
Zumsteeg, J. R. 21, 64, 67.
FOOTNOTES:
[1] Cf. _infra_, p. 136.
[2] Cf. _infra_, p. 42.
[3] Prague, Vienna, Zurich, and Basel are included in the list of places
of publication, a fact that calls for no further explanation.
[4] 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.
[5] 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.
[6] Macpherson’s first dissertation is the one entitled “A Dissertation
Concerning the Aera of Ossian,” the second the “Dissertation concerning
the Poems of Ossian.”
[7] 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.
[8] The title has ‘den.’
[9] The date of publication (1775) is not given on the title–page.
[10] Meyer’s Klassiker Ausgaben, Goethe, Vol. 2, p. 480, has p. 230.
[11] References to the Allg. Lit. Zeitung and several other papers are
given in pages, although the numbers refer to columns.
[12] Ossian, Fils de Fingal, ... Poésies Galliques, Traduites sur
l’Anglois de M. Macpherson, Par M. Le Tourneur, 2 vols., Paris, 1777.
[13] Vincent–Antoine Arnault, 1766–1834.
[14] Edinburgh, 1798.
[15] 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.
[16] Macpherson was born in 1736, not in 1738 as generally stated. Cf.
Saunders, The Life and Letters of James Macpherson, pp. 32–4.
[17] For exact titles of these and following publications, cf.
Bibliography.
[18] We must not overlook the fact, however, that Macpherson’s Ossian
appeared at a time when literary forgeries were common.
[19] 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.
[20] 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.
[21] Cf. _infra_, pp. 122–3.
[22] Cp. Fraser’s Mag., N. S., Vol. 21, p. 520.
[23] German translations of the latter appeared in Leipzig, 1760, and
1787.
[24] Cf. _infra_, pp. 78–9, 91.
[25] Cf. J. Barnstorff, Young’s Nachtgedanken und ihr Einfluss auf die
deutsche Litteratur, Bamberg, 1895 (Dissertation).
[26] It had played a rôle in Klopstock’s work, but was first widely
promulgated by Werther.
[27] The ‘joy of grief’ (ἵμερος νόοιοοιο) is found also in Homer,
_e. g._, Iliad, 23, 108, but not until the appearance of Ossian did it
assume importance.
[28] Cf. Retzer, Denis’ Lit. Nachlass, Vol. 2 (1802), p. 169.
[29] Cf. _l. c._, p. 172. Letter dated Wien, Dec. 8, 1769.
[30] For exact data cf. Bibliography.
[31] Cp. _supra_, p. 73.
[32] Cf. review in the Neue Bibl. der schönen Wissenschaften, Vol. 2, i,
pp. 54–88.
[33] Cf. Han. Mag., 1763, p. 1468.
[34] Cf. _ibid._, p. 1467.
[35] Cf. _ibid._, p. 1468.
[36] Cf. Lessing, Anti–Goeze, No. 8. Wittenberg’s reply: Sendschreiben
an den Herrn Hofrath Lessing.
[37] Cf. Zuschrift, _op. cit._, which is signed J. A. Engelbrecht.
[38] Cp. _infra_, p. 106.
[39] Cf. Gött. Anz., 1765, i, p. 129.
[40] Cf. _l. c._, 1765, i, p. 130.
[41] Cf. _l. c._, 1767, ii, p. 1140. Cp. _supra_, p. 72.
[42] Cf. _l. c._, 1765, i, p. 130.
[43] Cf. _ibid._
[44] Cf. _l. c._, 1767, ii, p. 1140.
[45] Cp. Gött. gel. Anz., 1765, i, p. 129; _supra_, p. 72.
[46] Cf. Neue Bibl., Vol. 3, i, p. 38.
[47] Gedichte, Leipzig, 1795, Cf. Meusel. Lexikon, Vol. 2, pp. 237–8.
[48] Cf. Letter of Nov. 14, 1771. Muncker, Lessings Verhältnis zu
Klopstock, p. 224.
[49] Cf. Scheel, Vierteljahrschrift für Litteraturgeschichte, Vol. 6,
pp. 188–94; Seuffert, Gött. gel. Anz., 1895, i, p. 72.
[50] Cf. _infra_, p. 120.
[51] Cf. Scherer, Gesch. der deutschen Litt., 7th ed., p. 643.
[52] Cf. Tacitus de German. 3: “Sunt illis haec quoque carmina, quorum
relatu, quem baritum (barditum) vocant...” Cp. Knothe, Kretschmann,
Zittau, 1858, pp. 17–8.
[53] For different shades of meaning cf. Hermanns Tod, xv; Hermanns
Schlacht Ein Bardiet. Klopstock’s note.
[54] Cf. Sponda, II. 9–12.
[55] 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.
[56] Cf. J.M. Lappenberg, Briefe von und an Klopstock. Braunschweig,
1867, p. 164.
[57] Cf. _ibid._, p. 172.
[58] Servian folk–songs. Cf. Talvj, Volkslieder der Serben, 2d ed.,
Leipzig, 1853. Preface.
[59] Cf. Lappenberg, _op. cit._, p. 210.
[60] Cf. Muncker, Friedrich Gottlieb Klopstock. Geschichte seines Lebens
und seiner Schriften. Stuttgart, 1888, p. 390.
[61] Cf. Bibliography, _supra_, p. 7.
[62] Cf. Lappenberg, _op. cit._ p. 210.
[63] Cf. Tacitus, Agric., II. Cp. _infra_, p. 123.
[64] 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.
[65] Cf. Der Hügel, und der Hain, l. 4, where the term Celten is used to
signify all the Germanic peoples, ‘including the Celts.’
[66] Cf. Vol. 6, ii, p. 232 (1800).
[67] 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.
[68] 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.
[69] Bacchus.
[70] Cp. Die deutsche Sprache, l. 26: “Orpheus der Celt.”
[71] 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.
[72] Cf. Klopstocks Oden. Erläutert von Heinrich Düntzer. 2d ed.,
Leipzig, 1878, i, p. 392.
[73] 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.
[74] Cf. _supra_, p. 85.
[75] Cf. Lappenberg, _op. cit._, p. 211.
[76] Cf. _ibid._, p. 218.
[77] Marie Angélique Catharine Kauffmann, 1741–1807, the Swiss
historical and portrait painter.
[78] Cf. Klopstock und seine Freunde, Vol. 2, p. 228.
[79] Cf. Letter of Klopstock to Gleim, Bernstorff, Aug. 28, 1770, _l.
c._, p. 247.
[80] Cf. Lappenberg, _op. cit._, pp. 226–7.
[81] 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.
[82] Cp. _supra_, pp. 72, 78–9.
[83] Cf. Retzer, Denis Lit. Nachlass, 1801–2, Vol. 2, p. 116.
[84] Cf. Gelehrtenrepublik, p. 178.
[85] Cf. § xiii.
[86] Cf. Lappenberg, _op. cit._, p. 171.
[87] Cf. _supra_, p. 81.
[88] Cf. History of Scotland, London, 1800.
[89] 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.
[90] Cf. _op. cit._
[91] Cf. Vetterlein, Klopstocks Oden und Elegieen, 3 vols. Leipzig,
1827–8. Vol. 2, p. 106, after whom Düntzer, _op. cit._, Vol. 1, p. 349.
[92] Cp. “bemoste Steine,” Hermannsschlacht, Sc. 2, and Ossian’s
continually recurring “mossy stones.”
[93] Cp. _infra_, p. 127.
[94] Cf. Muncker, _op. cit._, p. 384.
[95] Cf. p. 208, ll. 1–18 (Tauchnitz).
[96] Cf. The Songs of Selma, p. 208, l. 13.
[97] 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.
[98] Cf. _supra_, p. 93.
[99] Cf. _op. cit._
[100] Cf. p. 212, ll. 15–6 (Tauch.).
[101] Not the country, as Muncker and others.
[102] Cf. _op. cit._, Vol. 1, pp. 137–8.
[103] Cf. Vol. 2, pp. 90–1.
[104] Cf. Deutsches Museum, 1782, i, pp. 165–8.
[105] Cf. _l. c._, 1782, ii, pp. 389–95.
[106] Cp. l. 50 of the ode Kaiser Heinrich (1764): “Dein ist der Vorzeit
edler Gesang!” etc.
[107] 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.
[108] In the first edition only.
[109] Not May 9, as Back und Spindler and others. Cf. Archiv für
Literaturgeschichte, Vol. 3, p. 397
[110] Cf. _supra_, p. 91.
[111] Cf. _ibid._ But cf. Löbell, Die Entwicklung der deutschen Poesie,
etc., Braunschweig, 1856, Vol. 1, p. 282.
[112] Cf. Arch. für Litteraturgesch., Vol. 3, p. 404.
[113] Cf. Memoirs of the Life of Sir James Mackintosh, 2 vols., London,
1835. Vol. 1, p. 345. Letter dated July 28, 1807.
[114] 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.
[115] Denis first received the name from Kretschmann; cf. Lieder Sineds
des Barden, 1772, p. 173, note.
[116] 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.
[117] The term bard was not exclusively confined to German poetry, but
speaking broadly, bardic and German were synonymous. Cf. Ehrmann, _op.
cit._, p. 14.
[118] 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.
[119] Cf. Ehrmann, _op. cit._, p. 47.
[120] Cf. _l. c._, pp. 4–59, where examples are given.
[121] Cf. _l. c._, p. 59.
[122] 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.
[123] 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).
[124] Cf. _l. c._, p. 104.
[125] Cf. Vierteljahrsch. für Litteraturgesch., Vol. 2, pp. 180–1.
[126] Cf. Works, 1815–6. Vol. 2, p. 90.
[127] Cf. _l. c._, p. 92.
[128] Cf. Vierteljahrsch. für Litteraturgesch., Vol. 2, p. 182.
[129] Cf. Works, Vol. 2, p. 97.
[130] Cf. V. f. L, _l. c._
[131] 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.”
[132] Cf. _l. c._, p. 93.
[133] Cf. _l. c._, pp. 93–5.
[134] Cf. _l. c._, p. 104.
[135] Cf. _l. c._, p. 144.
[136] Cf. _l. c._, p. 145.
[137] Cf. Temora, Bk. iv, p. 337, l. 34 and p. 339, ll. 25–6.
[138] Cf. Works, Vol. 2, p. 146.
[139] Cf. _l. c._, p. 81.
[140] Cf. _ibid._
[141] Cf. _l. c._, p. 85.
[142] Cf. Jacobs, Gerstenbergs Ugolino, Berlin, 1898.
[143] Cf. Works, Vol. 1, pp. 386–7.
[144] Cf. _l. c._, pp. 395–6.
[145] Cf. _op. cit._, pp. 105–6.
[146] Cf. Works, Vol. 1, p. 402.
[147] Cf. _l. c._, p. 408.
[148] Cf. Comala, p. 139, l. 33; The Songs of Selma, p. 211, l. 5; etc.,
etc.
[149] Cf. Works, Vol. 1, p. 424.
[150] Cf. Jacobs, _op. cit._, p. 106.
[151] Cf. Works, Vol. 1, p. 467. Act 4.
[152] Cf. _l. c._, p. 497. Act 5.
[153] Cf. _l. c._, p. 438.
[154] Cf. _l. c._, p. 440.
[155] Cf. Jacobs, _op. cit._, p. 106.
[156] Cf. Works, Vol. 1, p. 445.
[157] Jacobs has Fingal by mistake.
[158] Cf. _l. c._, p. 494.
[159] Cf. _l. c._, p. 456.
[160] Cf. _l. c._, p. 457.
[161] Cf. _l. c._, p. 464.
[162] Cf. _l. c._, pp. 487–8.
[163] 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.
[164] Cf. Calthon and Colmal, p. 182, ll. 1–2. Cp. Berrathon, p. 377, l.
21: “My dwelling was not always in caves.”
[165] 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.
[166] 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.”
[167] Cf. The Songs of Selma, pp. 208–10.
[168] Cf. Works, Vol. 1, p. 109.
[169] Cf. Vol. 77, i, pp. 116–8 (1787).
[170] 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.
[171] Cf. Works, Vol. 1, pp. 104–7.
[172] Cf. _l. c._, pp. 107–9.
[173] Cf. Act 1, i, 3; p. 52.
[174] Cf. Act 4, 6; p. 252.
[175] 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.”
[176] Cf. Act 4, 3; p. 214.
[177] Cf. p. 184, Tauchnitz.
[178] Cp. _e. g._, Cath–Loda, Duan i, pp. 128–9, Oithona, pp. 172–4,
etc.
[179] Cf. Act 2, ii; p. 129. Cp. The Battle of Lora, p. 303, ll. 17–8:
“The moon looks into thy cave,” etc.
[180] Cf. Vol. 34, ii, p. 298.
[181] Cf. _l. c._, p. 288.
[182] Cf. 1789, i, p. 719.
[183] Cf. Works, Vol. 1, pp. 25–6.
[184] Cf. Act 2, ii, 4; p. 132. Song of Minona.
[185] Cf. _ibid._, p. 133.
[186] Cf. _ibid._, p. 134.
[187] Cf. Act 3, ii, 4; pp. 171–2.
[188] As to the nature of these songs, cf. Ryno’s explanations to
Edelstan, Act 4, 3 pp. 219–25.
[189] Cf. Act 4, 3; p. 220.
[190] Cf. Act 2, ii, 5; p. 137.
[191] Cf. Act 3, ii, 2; p. 166.
[192] (Du Geist.) Cp. Fingal, Bk. ii, p. 227, l. 5: The ghost sat upon
“a dark–red stream of fire.” etc.
[193] Cf. Act 3, ii, 5; pp. 201–2.
[194] Cf. Act 5, 1; p. 306.
[195] Cf. Act 5, 2; p. 325.
[196] 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.”
[197] Cf. Act 5, 4; p. 343.
[198] Cf. Act 4, 8; p. 282.
[199] 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.
[200] Cf. Works, Vol. 1, p. 365.
[201] Cf. P. v. Hofmann–Wellenhof, Michael Denis Ein Beitrag zur
Deutsch–Oesterreichischen Literaturgeschichte des xviii. Jahrhunderts.
Innsbruck, 1881.
[202] Denis first became acquainted with Ossian in Cesarotti’s
translation in the year 1763.
[203] 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.
[204] Cf. Retzer, Denis’ Lit. Nachlass, 1801–2, Vol. 2, pp. 158–9.
[205] Cf. _ibid._, p. 124. Letter of Gleim to Denis, dated Halberstadt,
May 3, 1769.
[206] Cf. Allg. Deutsche Bibl., Vol. 10, i, p. 64.
[207] Cf. _ibid._, p. 65.
[208] Cf. _ibid._, p. 69.
[209] For a detailed notice of this essay cf. the paragraphs on Herder,
for which all further remarks on Herder’s attitude will be reserved.
[210] Cf. Allg. deutsche Bibl., Vol. 17, ii, p. 438.
[211] Cf. _ibid._, p. 442.
[212] Cf. _ibid._, p. 445.
[213] Cf. _ibid._, pp. 445–6; cp. _supra_, pp. 85–6.
[214] Cf. Neue Bibl. der schönen Wissenschaften, Vol. 8, i, p. 99
(1769).
[215] Cf. _ibid._, p. 101.
[216] Cf. _ibid._. pp. 102–5. Episode of Morna, daughter of Cormac,
Fingal, Bk. i, p. 219, l. 13–p. 220, l. 34.
[217] Cf. _ibid._, pp. 105–8.
[218] Cf. _ibid._, pp. 108–9. Fingal, Bk. ii, p. 230, l. 28–p. 231, l.
6.
[219] Cf. Ossians und Sineds Lieder, Vol. 1, pp. 117–32; cp. p. 120,
note.
[220] Cf. _ibid._, Vol. 4, pp. 81–97.
[221] Cf. Gött. Anz. von gel. Sachen, 1768, ii, p. 1285.—In regard to
the form of Comala, cp. also Ehrmann, _op. cit._, p. 87.
[222] Cf. _ibid._, p. 1282.
[223] For examples cf. Hofmann–Wellenhof, _op. cit._, pp. 182–4.—The
different meters employed are discussed on pp. 174–81 of the biography.
[224] 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.
[225] Cf. Die Lieder Sineds des Barden, pp. 1–2.
[226] 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.
[227] Cp. The Death of Cuthullin, p. 292, ll. 20–1.
[228] Ossian.
[229] 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.
[230] Cf. Hofmann–Wellenhof, _op. cit._, p. 213.
[231] Cf. Lieder Sineds, p. 85, Gruss des Tages. Cp. Beurlaubung des
Tages, p. 142: “Auf Ihren Barden sey der Geist der Lieder.”
[232] Cf. _ibid._, Theresia die Mutter, p. 107.
[233] Cp. _e. g._, Berrathon, p. 380, last 3 ll.
[234] Cf. Temora, Bk. iv, p. 334, ll. 7–8; Bk. vii, p. 357, l. 23, etc.
[235] Cf. Lieder Sineds, pp. 96–7.
[236] Cf. _ibid._, p. 103.
[237] 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.
[238] Cf. _ibid._, pp. 100–1.
[239] Cf. _ibid._, p. 110. Cp. Theresia die Starkmüthige, p. 120: “Des
... Schwertes Blitz,” and p. 121: “Blitz des Schwertes.”
[240] 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.
[241] Cf. Sul–Malla of Lumon, p. 201, ll. 17–9.
[242] Cf. Sineds Lieder, p. 111.
[243] Cf. Fingal, Bk. iii, p. 239, l. 23, etc.
[244] Similarly An den Obersten der Barden Teuts, p. 184, etc.
[245] Cf. Fingal, Bk. vi, p. 264, l. 25, etc.
[246] Cf. Temora, Bk. i, p. 310, l. 24.
[247] Cf. Lieder Sineds, p. 117. Cp. Goethe’s Faust, Part 2, l. 11529.
[248] Cf. Fingal, Bk. vi, p. 264, l. 24.
[249] Cf. Lathmon, p. 275, l. 2.
[250] 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.
[251] Cf. The War of Caros, p. 188, ll. 1–2: “The light of the song
rises in Ossian’s soul.”
[252] 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.”
[253] Cf. Dar–Thula, p. 279, last 2 ll.: “Thy soul was generous and
mild, like the hour of the setting sun,” etc.
[254] 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.
[255] Cf. Lathmon, p. 275, l. 16.
[256] Mein Spiel.
[257] Cf. Temora, Bk. ii, p. 323, l. 28.
[258] Cf. Comala, p. 140, l. 27, and note.
[259] Cp. Sineds Lieder, pp. 224, 235, etc.
[260] 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.”
[261] Cf. Sineds Lieder, pp. 209–10, note.
[262] Cf. _ibid._, p. 215.
[263] Cp. Urlaub, pp. 284, 288, Vierte Klage, p. 270, and _infra_, p.
149.
[264] Cp. also Ossians und Sineds Lieder, 1784, Vol. 4, p. 149, p. 203;
Vol. 5, p. 151.
[265] Cf. particularly Temora, Bk. i, p. 313, ll. 1–3 and the note; also
Bk. vii, p. 355, ll. 20–1.
[266] Cp. Das Kunstfeuer, Ossians und Sineds Lieder, 1784, Vol. 4, p.
206.
[267] Cf. _ibid._, Vol. 3, p. 50.
[268] Cp. _infra_, p. 138.
[269] Cf. The Battle of Lora, p. 298, ll. 14–5.
[270] Denis had originally translated from the English edition of 1765.
[271] Cf. Bibliography, 1777.
[272] Cf. Ossians und Sineds Lieder, Vol. 4, pp. 101–2.
[273] Cf. Temora, Bk. i, p. 307, l. 3.
[274] Cf. Temora, Bk. ii, p. 324, l. 6; Berrathon, p. 374, l. 7.
[275] Cf. Dar–Thula, p. 287, ll. 4–5; cp. _ibid._, p. 285, ll. 30–1.
[276] Cf. Kürschner’s Dtsche Nat.–Lit., Vol. 48, pp. 305–11.—Carl
Friedrich Kretschmann, (der Barde Rhingulph). Von Dr. Hermann Fried.
Knothe, Zittau, 1858.
[277] 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.
[278] Cf. Works, Vol. I, p. 2.
[279] Cf. _ibid._, p. 9.
[280] Cf. _ibid._ pp. 26–7.
[281] Cf. _ibid._, pp. 48, 73, 88, 106, etc.
[282] Cf. Vierteljahrschrift für Litteraturgeschichte, Vol. 6, p. 199.
[283] Cf. _supra_, p. 130.
[284] Cf. pp. 142, 209, 210, 283, etc.
[285] Cf. Leitzmann in his review of Ehrmann’s Bardische Lyrik,
Literaturblatt für germ. und rom. Phil., Vol. 16, pp. 223–4 (1895).
[286] Cf. Temora, Bk. viii, p. 363, l. 24; p. 368, l. 3; etc.
[287] Cf. Fingal, Bk. i, p. 217, ll. 8–9.
[288] Cf. Fingal, Bk. iv, p. 247, ll. 33–5.
[289] Cp. _supra_, p. 129, _infra_, p. 144.
[290] 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.”
[291] Cf. Tauchnitz, p. 211, ll. 5–12.
[292] Cp. also Rhingulphs Klage, p. 138, etc.
[293] 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.”
[294] Cp. _supra_, pp. 93 and 97.
[295] Cf. Fingal, Bk. v, p. 259, next to the last line.
[296] Cf. _supra_, pp. 97–8, 110–1.
[297] Cf. The Songs of Selma, p. 211, ll. 8–9. Cp. _supra_, p. 100, but
cp. Exodus, xv, 7, Psalms lix, 13, etc.
[298] Cf. Temora, Bk. vi, p. 352, l. 23; also _ibid._, p. 350, l. 17 and
note, etc.
[299] Cf. Temora, Bk. iv, p. 338, l. 13.
[300] Cp. _supra_, pp. 129 and 142.
[301] Cf. Fingal, Bk. v, p. 257, l. 30.
[302] Cf. The War of Caros, p. 192, ll. 15–6, etc.
[303] Cf. Temora, Bk. iii, p. 329, ll. 24–5.
[304] Cf. The War of Caros, p. 191, l. 8.
[305] Cf. The War of Inis–Thona, p. 204, ll. 30–1.
[306] Cf. Fingal, Bk. i, p. 221, ll. 4–7.
[307] Cf. _ibid._, Bk. iii, p. 240, l. 25.
[308] Cf. _ibid._, Bk. vi, p. 265, ll. 4–5.
[309] Cf. Temora, Bk. vii, p. 357, ll. 2–30.
[310] Cf. Fingal, Bk. iii, p. 240, l. 12.
[311] Cf. Temora, Bk. vi, p. 354, ll. 3–4.
[312] Cf. Works, Vol. 2, p. 223; cp. _supra_, p. 128.
[313] Cf. _supra_, p. 89.
[314] Cf. Temora, Bk. ii, p. 324, ll. 28–9.
[315] Cf. Works, Vol. 5, p. 13. Cp. Ehrmann, _op. cit._, pp. 54–5.
[316] Cf. Vol. 5, p. 13; cp. _supra_, p. 130.
[317] 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.
[318] 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).
[319] Cp. Die Regeln, Works, Vol. 5, p. 338.
[320] For full title cf. Bibliography, _supra_, p. 14.
[321] 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).
[322] Cf. The Songs of Selma, p. 211, l. 15; Fingal, Bk. i, p. 218, l.
29; etc., etc.
[323] Cp. _supra_, p. 134.
[324] Cp. _supra_, p. 133.
[325] Cf. Cathlin of Clutha, p. 196, l. 3; Sul–Malla of Lumon, p. 199,
l. 13, etc.
[326] Cf. The Songs of Selma, p. 212, ll. 32–3; cp. _supra_, p. 130, and
_infra_, p. 150.
[327] Cf. Temora, Bk. iii, p. 329, ll. 23–4; cp. _supra_, pp. 97–8,
110–1, 141, and 144.
[328] Cf. _e. g._, Temora, Bk. i, p. 310, l. 29.
[329] Cf. Carthon, p. 157, l. 23.
[330] Cp. _supra_, p. 128.
[331] Cf. Fingal, Bk. iv. p. 245, l. 8.
[332] Cf. Almanach der deutschen Musen for 1772, pp. 106–7.
[333] Cf. Litt. Monate, p. 127. Cp. Dar–Thula, p. 278, l. 5; p. 279, l.
11, etc.
[334] Cf. Goedeke’s Grundriss, 2d ed., Vol. 4, p. 112, 27.
[335] Cf. Ehrmann, _op. cit._, pp. 54–5, and _supra_, p. 147.
[336] Cf. Leipziger Musenalmanach for 1776, p. 212.
[337] Cf. Taschenbuch für Dichter und Dichterfreunde, 1778, pp. 87–8.
[338] Cf. Aus den Papieren des Barden von Riva. Telliade, etc.
Herausgegeben von Ernst Götzinger. St. Gallen, 1891. p. 12 (Vorrede zur
Telliade).
* * * * *
Transcriber’s Notes
The following are inconsistently used in the text:
Neuentdeckte and Neu–entdeckte
widespread and wide–spread
Düsseldorf and Dusseldorf
Nürnberg and Nurnberg
Ouvertüre and Ouverture
Zürich and Zurich
Temoræ and Temorae
Macpherson’schen and Macphersonschen
Kaufmann and Kauffmann
The following errors have been corrected:
p. 5 “verchiedenen” changed to “verschiedenen”
p. 5 “gesammlet” changed to “gesammelt”
p. 24 full stop added to text (Dar–Thula, p. 288, l.)
p. 29 full stop added to text (No. 20, pp. 318–20.)
p. 34 “comparision” changed to “comparison”
p. 39 “Frauenzimner” changed to “Frauenzimmer”
p. 57 “Macpherson’’schen” changed to “Macpherson’schen”
p. 57 “non–authenticit” changed to “non–authenticity”
p. 60 full stop added to text (3. Herder.)
p. 63 “übersetzungen” changed to “Übersetzungen”
p. 64 “songs whatsoever.’)” changed to “songs whatsoever.)”
p. 73 (note) “but not unti” changed to “but not until”
p. 74 (note) full stop added to text (l. c.)
p. 75 “ranslation of” changed to “translation of”
p. 75 “Wissenchaften” changed to “Wissenschaften”
p. 80 (note) full stop added to text (pp. 237–8.)
p. 112 (note) “Briefwechse” changed to “Briefwechsel”
p. 116 footnote marker added to text (verständlich sind.”[181])
p. 118 “dar Tag” changed to “der Tag”
p. 132 quotation mark added to text (Markmännern”)
p. 141 “mossy cave.”” changed to “mossy cave.”
p. 147 “tritt . unter” changed to “tritt ... unter”
Some possible errors have been left unchanged:
p. 6 “Irrländers”
p. 17 “Fragmente fon Klopstock”
p. 87 “Feyrend”
p. 87 “Wilst”
p. 114 unbalanced quotation marks have been left as printed.
p. 141 “Lezte”