A History of English Romanticism in the Eighteenth Century

by Henry A. Beers

In his last interview with Charlotte, Werther, who had already determined upon suicide, reads aloud to her, from "The Songs of Selma," "that tender passage wherein Armin deplores the loss of his beloved daughter. 'Alone on the sea-beat rocks, my daughter was heard to complain. Frequent and loud were her cries. What could her father do? All night I stood on the shore. I saw her by the faint beam of the moon,'" etc. The reading is interrupted by a mutual flood of tears. "They traced the similitude of their own misfortune in this unhappy tale. . . The pointed allusion of those words to the situation of Werther rushed with all the electric rapidity of lightning to the inmost recesses of his soul."

It is significant that one of Ossian's most fervent admirers was Chateaubriand, who has been called the inventor of modern melancholy and of the primeval forest. Here is a passage from his "Génie du Christianisme":[29] "Under a cloudy sky, on the coast of that sea whose tempests were sung by Ossian, their Gothic architecture has something grand and somber. Seated on a shattered altar in the Orkneys, the traveler is astonished at the dreariness of those places: sudden fogs, vales where rises the sepulchral stone, streams flowing through wild heaths, a few reddish pine trees, scattered over a naked desert studded with patches of snow; such are the only objects which present themselves to his view. The wind circulates among the ruins, and their innumerable crevices become so many tubes, which heave a thousand sighs. Long grasses wave in the apertures of the domes, and beyond these apertures you behold the flitting clouds and the soaring sea-eagle. . . Long will those four stones which mark the tombs of heroes on the moors of Caledonia, long will they continue to attract the contemplative traveler. Oscar and Malvina are gone, but nothing is changed in their solitary country. 'Tis no longer the hand of the bard himself that sweeps the harp; the tones we hear are the slight trembling of the strings, produced by the touch of a spirit, when announcing at night, in a lonely chamber, the death of a hero. . . So when he sits in the silence of noon in the valley of his breezes is the murmur of the mountain to Ossian's ear: the gale drowns it often in its course, but the pleasant sound returns again."

In Byron's passion for night and tempest, for the wilderness, the mountains, and the sea, it is of course impossible to say how large a share is attributable directly to MacPherson's "Ossian," or more remotely, through Chateaubriand and other inheritors of the Ossianic mood. The influence of any particular book becomes dispersed and blended with a hundred currents that are in the air. But I think one has often a consciousness of Ossian in reading such passages as the famous apostrophe to the ocean in "Childe Harold"—

"Roll on, thou deep and dark blue ocean, roll!"—

Which recalls the address to the sun in Carthous—"O thou that rollest above, round as the shield of my fathers,"—perhaps the most hackneyed locus classicus in the entire work; or as the lines beginning,

"O that the desert were my dwelling place;"[30]

or the description of the storm in the Jura:

"And this is in the night: Most glorious night!
Thou wert not sent for slumber. Let me be
A sharer in thy fierce and far delight
A portion of the tempest and of thee."[30]

Walter Scott, while yet a lad, made acquaintance with Ossian through Dr. Blacklock, and was at first delighted; but "the tawdry repetitions of the Ossianic phraseology," he confesses, "disgusted me rather sooner than might have been expected from my age." He afterward contributed an essay on the authenticity of the poems to the proceedings of the Speculative Club of Edinburgh. In one sense of the word Scott was the most romantic of romanticists; but in another sense he was very little romantic, and there was not much in his sane, cheerful, and robust nature upon which such poetry as Ossian could fasten.[31] It is just at this point, indeed, that definitions diverge and the two streams of romantic tendency part company. These Carlyle has called "Wertherism" and "Götzism"[32] i.e. sentimentalism and mediaevalism, though so mild a word as sentimentalism fails to express adequately the morbid despair to which "Werther" gave utterance, and has associations with works of a very different kind, such as the fictions of Richardson and Sterne. In England, Scott became the foremost representative of "Götzism," and Byron of "Wertherism." The pessimistic, sardonic heroes of "Manfred," "Childe Harold," and "The Corsair" were the latest results of the "Il Penseroso" literature, and their melodramatic excesses already foretokened a reaction.

Among other testimonies to Ossian's popularity in England are the numerous experiments at versifying MacPherson's prose. These were not over-successful and only a few of them require mention here. The Rev. John Wodrow, a Scotch minister, "attempted" "Carthon," "The Death of Cuthullin" and "Darthula" in heroic couplets, in 1769; and "Fingal" in 1771. In the preface to his "Fingal," he maintained that there was no reasonable doubt of the antiquity and authenticity of MacPherson's "Ossian." "Fingal"—which seems to have been the favorite—was again turned into heroic couplets by Ewen Cameron, in 1776, prefaced by the attestations of a number of Highland gentlemen to the genuineness of the originals; and by an argumentative introduction, in which the author quotes Dr. Blair's dictum that Ossian was the equal of Homer and Vergil "in strength of imagination, in grandeur of sentiment, and in native majesty of passion." National pride enlisted most of the Scotch scholars on the affirmative side of the question, and made the authenticity of Ossian almost an article of belief. Wodrow's heroics were merely respectable. The quality of Cameron's may be guessed from a half dozen lines: