Ker, in the Cambridge History of English Literature, observes that "all Macpherson's craft as a philological impostor would have been nothing without his literary skill." ==The poems== In 1760 Macpherson published the English-language text Fragments of ancient poetry, collected in the Highlands of Scotland, and translated from the Gaelic or Erse language.
Later that year, he claimed to have obtained further manuscripts and in 1761 he claimed to have found an epic on the subject of the hero Fingal (with Fingal or Fionnghall meaning "white stranger"), written by Ossian.
The most famous of these Ossianic poems was Fingal, written in 1761 and dated 1762. The supposed original poems are translated into poetic prose, with short and simple sentences.
The most famous of these Ossianic poems was Fingal, written in 1761 and dated 1762. The supposed original poems are translated into poetic prose, with short and simple sentences.
In reply, it was proved that the Advocates' library at Edinburgh contained Gaelic manuscripts 500 years old, and one of even greater antiquity. Scottish author Hugh Blair's 1763 A Critical Dissertation on the Poems of Ossian upheld the work's authenticity against Johnson's scathing criticism and from 1765 was included in every edition of Ossian to lend the work credibility.
Macpherson published these translations during the next few years, culminating in a collected edition, The Works of Ossian, in 1765.
In reply, it was proved that the Advocates' library at Edinburgh contained Gaelic manuscripts 500 years old, and one of even greater antiquity. Scottish author Hugh Blair's 1763 A Critical Dissertation on the Poems of Ossian upheld the work's authenticity against Johnson's scathing criticism and from 1765 was included in every edition of Ossian to lend the work credibility.
The work also had a timely resonance for those swept away by the emerging Romantic movement and the theory of the "noble savage", and it echoed the popularity of Burke's seminal A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757). In 1766 the Irish antiquarian and Gaelic scholar Charles O'Conor dismissed Ossian's authenticity in a new chapter Remarks on Mr.
In the German-speaking states Michael Denis made the first full translation in 1768–69, inspiring the proto-nationalist poets Klopstock and Goethe, whose own German translation of a portion of Macpherson's work figures prominently in a climactic scene of The Sorrows of Young Werther (1774).
Ossian was especially popular in Danish art, but also found in Germany and the rest of Scandinavia. ===Britain, Germany and Scandinavia=== British artists began to depict the Ossian poems early on, with the first major work a cycle of paintings decorating the ceiling the "Grand Hall" of Penicuik House in Midlothian, built by Sir James Clerk, who commissioned the paintings in 1772.
In 1775 he expanded his criticism in a new book, Dissertation on the origin and antiquities of the antient Scots. Faced with the controversy, the Committee of the Highland Society enquired after the authenticity of Macpherson's supposed original.
Henry Singleton exhibited paintings, some of which were engraved and used in editions of the poems. A fragment by Novalis, written in 1789, refers to Ossian as an inspired, holy and poetical singer. The Danish painter Nicolai Abildgaard, Director of the Copenhagen Academy from 1789, painted several scenes from Ossian, as did his pupils including Asmus Jacob Carstens.
Goethe's associate Johann Gottfried Herder wrote an essay titled Extract from a correspondence about Ossian and the Songs of Ancient Peoples (1773) in the early days of the Sturm und Drang movement. Complete Danish translations were made in 1790, and Swedish ones in 1794–1800.
The complete translation appeared in 1838 by Seweryn Goszczyński. British composer Harriet Wainwright premiered her opera Comala, based on text by Ossian, in London in 1792. The opera Ossian, ou Les bardes by Jean-François Le Sueur (with the famous, multimedial scene of "Ossian's Dream“) was a sell-out at the Paris Opera in 1804, and transformed the composer's career.
The poems were as much admired in Hungary as in France and Germany; Hungarian János Arany wrote "Homer and Ossian" in response, and several other Hungarian writers – Baróti Szabó, Csokonai, Sándor Kisfaludy, Kazinczy, Kölcsey, Ferenc Toldy, and Ágost Greguss, were also influenced by it. The first partial Polish translation of Ossian was made by Ignacy Krasicki in 1793.
Goethe's associate Johann Gottfried Herder wrote an essay titled Extract from a correspondence about Ossian and the Songs of Ancient Peoples (1773) in the early days of the Sturm und Drang movement. Complete Danish translations were made in 1790, and Swedish ones in 1794–1800.
In 1799, the French general Jean-Baptiste Bernadotte named his only son Oscar after the character from Ossian, at the suggestion of Napoleon, the child's godfather and an admirer of Ossian.
It was his translation that Napoleon especially admired, and among others it influenced Ugo Foscolo who was Cesarotti's pupil in the University of Padua. By 1800 Ossian was translated into Spanish and Russian, with Dutch following in 1805, and Polish, Czech and Hungarian in 1827–33.
The same year Napoleon was planning the renovation of the Château de Malmaison as a summer palace, and though he does not seem to have suggested Ossianic subjects for his painters, two large and significant works were among those painted for the reception hall, for which six artists had been commissioned. These were Girodet's painting of 1801–02 Ossian receiving the Ghosts of the French Heroes, and Ossian Evoking ghosts on the Edge of the Lora (1801), by François Pascal Simon Gérard.
Turner exhibited in 1802.
The complete translation appeared in 1838 by Seweryn Goszczyński. British composer Harriet Wainwright premiered her opera Comala, based on text by Ossian, in London in 1792. The opera Ossian, ou Les bardes by Jean-François Le Sueur (with the famous, multimedial scene of "Ossian's Dream“) was a sell-out at the Paris Opera in 1804, and transformed the composer's career.
In Germany the request in 1804 to produce some drawings as illustrations so excited Philipp Otto Runge that he planned a series of 100, far more than asked for, in a style heavily influenced by the linear illustrations of John Flaxman; these remain as drawings only.
It was his translation that Napoleon especially admired, and among others it influenced Ugo Foscolo who was Cesarotti's pupil in the University of Padua. By 1800 Ossian was translated into Spanish and Russian, with Dutch following in 1805, and Polish, Czech and Hungarian in 1827–33.
He made a drawing in 1809, when studying in Rome, and in 1810 or 1811 was commissioned to make two paintings, The Dream of Ossian and a classical scene, to decorate the bedroom Napoleon was to occupy in the Palazzo Quirinale on a visit to Rome.
He made a drawing in 1809, when studying in Rome, and in 1810 or 1811 was commissioned to make two paintings, The Dream of Ossian and a classical scene, to decorate the bedroom Napoleon was to occupy in the Palazzo Quirinale on a visit to Rome.
He made a drawing in 1809, when studying in Rome, and in 1810 or 1811 was commissioned to make two paintings, The Dream of Ossian and a classical scene, to decorate the bedroom Napoleon was to occupy in the Palazzo Quirinale on a visit to Rome.
It was his translation that Napoleon especially admired, and among others it influenced Ugo Foscolo who was Cesarotti's pupil in the University of Padua. By 1800 Ossian was translated into Spanish and Russian, with Dutch following in 1805, and Polish, Czech and Hungarian in 1827–33.
In 1829 Felix Mendelssohn was inspired to visit the Hebrides and composed the Hebrides Overture, also known as Fingal's Cave.
In fact the visit never came off and in 1835 Ingres repurchased the work, now in poor condition. The American painter based in Paris Wilbur Winfield Woodward exhibited an Ossian at the 1880 Salon. ==Editions== National Library of Scotland has 327 books and associated materials in its Ossian Collection.
The complete translation appeared in 1838 by Seweryn Goszczyński. British composer Harriet Wainwright premiered her opera Comala, based on text by Ossian, in London in 1792. The opera Ossian, ou Les bardes by Jean-François Le Sueur (with the famous, multimedial scene of "Ossian's Dream“) was a sell-out at the Paris Opera in 1804, and transformed the composer's career.
His friend Niels Gade devoted his first published work, the concert overture Efterklange af Ossian ("Echoes of Ossian") written in 1840, to the same subject. ==Ossian and Gaelic print== Macpherson's Ossian made a strong impression on Dugald Buchanan (1716–68), a Perthshire poet whose celebrated Spiritual Hymns are written in a Scots Gaelic of a high quality that to some extent reflects the language of the classical Gaelic common to the bards of both Ireland and Scotland.
In 1844, his son became King Oscar I of Sweden and Norway, who was, in turn, succeeded by his sons Charles XV and Oscar II (d.
In fact the visit never came off and in 1835 Ingres repurchased the work, now in poor condition. The American painter based in Paris Wilbur Winfield Woodward exhibited an Ossian at the 1880 Salon. ==Editions== National Library of Scotland has 327 books and associated materials in its Ossian Collection.
These were by the Scottish painter Alexander Runciman and lost when the house burnt down in 1899, though drawings and etchings survive, and two pamphlets describing them were published in the 18th century.
Gérard's original was lost in a shipwreck after being bought by the King of Sweden after the fall of Napoleon, but survives in three replicas by the artist (a further one in Berlin was lost in 1945).
(ed.) The reception of Ossian in Europe London: Continuum, 2004 Honour, Hugh, Neo-classicism, 1968, Pelican Kristmannsson, Gauti, Ossian, the European National Epic (1760-1810), EGO - European History Online, Mainz: Institute of European History, 2015, retrieved: March 8, 2021 (pdf). Moore, Dafydd.
3, Romantic Classicism (Summer, 1976), pp. 383–394, Boston University, JSTOR Hanselaar, Saskia, "La Mort de Malvina du musée Auguste Grasset à Varzy : une œuvre de jeunesse réattribuée à Ary Scheffer", La Revue des musées de France – Revue du Louvre, LXIe année, octobre 2011, n°4, p. 87–96. Schmidt, Wolf Gerhard.
(ed.) The reception of Ossian in Europe London: Continuum, 2004 Honour, Hugh, Neo-classicism, 1968, Pelican Kristmannsson, Gauti, Ossian, the European National Epic (1760-1810), EGO - European History Online, Mainz: Institute of European History, 2015, retrieved: March 8, 2021 (pdf). Moore, Dafydd.
Le Men, Université de Paris Ouest Nanterre la Défense, 2008. Soubigou, Gilles, Ossian et les Barbus: primitivisme et retirement du monde sous le Directoire, in Renoncer à l'art.
3, Romantic Classicism (Summer, 1976), pp. 383–394, Boston University, JSTOR Hanselaar, Saskia, "La Mort de Malvina du musée Auguste Grasset à Varzy : une œuvre de jeunesse réattribuée à Ary Scheffer", La Revue des musées de France – Revue du Louvre, LXIe année, octobre 2011, n°4, p. 87–96. Schmidt, Wolf Gerhard.
(ed.) The reception of Ossian in Europe London: Continuum, 2004 Honour, Hugh, Neo-classicism, 1968, Pelican Kristmannsson, Gauti, Ossian, the European National Epic (1760-1810), EGO - European History Online, Mainz: Institute of European History, 2015, retrieved: March 8, 2021 (pdf). Moore, Dafydd.
(ed.) The reception of Ossian in Europe London: Continuum, 2004 Honour, Hugh, Neo-classicism, 1968, Pelican Kristmannsson, Gauti, Ossian, the European National Epic (1760-1810), EGO - European History Online, Mainz: Institute of European History, 2015, retrieved: March 8, 2021 (pdf). Moore, Dafydd.
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