III
Part of the appeal of the Fragments was obviously based on the presumption that they were, as Blair hastened to assure 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 noblest 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 manuscript he wrote to Thomas Warton that he had "gone mad about them"; he added,
"I was so struck, so extasié 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 assertion 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 classed 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 assertion 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.