wandering gale, and the strings of his harp seem as the hand of age, as the tale of other times passes over them, to sigh and rustle like the dry reeds in the winter's wind! If it were indeed possible to shew that this writer was nothing, it would only 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 year, ye bring no joy in your wing to Ossian!'" "The poet Gray, too," says Wilson, "frequently in his Letters expresses his wonder and delight in the beautiful and glorious inspirations of the Son of the Mist." Even Malcolm Laing—Macpherson's most inveterate foe—who edited Ossian for the sole purpose of revenge, exposure, and posthumous dissection, is compelled to say that "Macpherson's genius is equal to that of any poet of his day, except perhaps Gray."

In another place (Bards of the Bible—'Jeremiah') we have thus spoken of Ossian:—"We are reminded [by Jeremiah] of the 'Harp of Selma,' and of blind Ossian sitting amid the evening sunshine of the Highland valley, and in tremulous, yet aspiring notes, telling to his small silent and weeping circle, the tale of—

"Old, unhappy, far-off things,
And battles long ago."

"It has become fashionable (through Macaulay chiefly) to abuse the Poems of Ossian; but, admitting their forgery as well as faultiness, they seem to us in their better passages to approach more nearly than any English prose to the force, vividness, and patriarchial simplicity and tenderness of the Old Testament style. Lifting up, like a curtain, the mist of the past, they show us a world, unique and intensely poetical, peopled by heroes, bards, maidens, and ghosts, who are separated by their mist and their mountains from all countries and ages but their own. It is a great picture, painted on clouds instead of canvass, and invested with colours as gorgeous as its shades are dark. Its pathos has a wild sobbing in it, an Æolean tremulousness of tone, like the wail of spirits. And than Ossian himself, the last of his race, answering the plaints of the wilderness, the plover's shriek, the hiss of the homeless stream, the bee in the heather bloom, the rustle of the birch above his head, the roar of the cataract behind, in a voice of kindred freedom and kindred melancholy, conversing less with the little men around him than with the giant spirits of his fathers, we have few finer figures in the whole compass of poetry. Ossian is a ruder "Robber," a more meretricious "Seasons," like them a work of prodigal beauties and more prodigal faults, and partly through both, has impressed the world."

Dr Johnson's opposition to Ossian is easily explained by his aversion to Scotland, by his detestation of what he deemed a fraud, by his dislike for what he heard was Macpherson's private character, and by his prejudice against all unrhymed poetry, whether it was blank verse or rhythmical prose. And yet, his own prose was rhythmical, and often as tumid as the worst bombast in Macpherson. He was too, on the whole, an artificial writer, while the best parts of Ossian are natural. He allowed himself therefore to see distinctly and to characterise severely the bad things in the book—where it sunk into the bathos or soared into the falsetto,—but ignored its beauties, and was obstinately blind to those passages where it rose into real sublimity or melted into melodious pathos.

Macaulay has, in various of his papers, shewn a fine sympathy with original genius. He has done so notably in his always able and always generous estimate of Edmund Burke, and still more in what he says of Shelley and of John Bunyan. It was his noble panegyric on the former that first awakened the "late remorse of love" and admiration for that abused and outraged Shade. And it was his article on Bunyan's Pilgrim's Progress which gave it—popular as it had been among religionists—a classical place in our literature, and that dared to compare the genius of its author with that of Shakespere and of Milton. But he has failed to do justice to Ossian, partly from some early prejudice at its author and his country, and partly from want of a proper early Ossianic training. To appreciate Ossian's poetry, the best way is to live for years under the shadow of the Grampians, to wander through lonely moors, amidst drenching mist and rain, to hold trystes with thunderstorms on the summit of savage hills, to bathe in sullen tarns after nightfall, to lean over the ledge and dip one's naked feet in the spray of cataracts, to plough a solitary path into the heart of forests, and to sleep and dream for hours amidst the sunless glades, on twilight hills to meet the apparition of the winter moon rising over snowy wastes, to descend by her ghastly light precipices where the eagles are sleeping, and returning home to be haunted by night visions of mightier mountains, wider desolations, and giddier descents. A portion of this experience is necessary to constitute a true "Child of the Mist"; and he that has had most of it—and that was Christopher North—was best fitted to appreciate the shadowy, solitary, and pensively sublime spirit which tabernacles in Ossian's poetry. Of this Macaulay had little or nothing, and, therefore, although no man knew the Highlands in their manners, customs, and history better, he has utterly failed as a critic on Highland Poetry.

We might add to the names of those authors who appreciated Ossian, Lord Byron, who imitates him in his "Hours of Idleness"; and are forced to include among his detractors, Lord Brougham, who, in his review of these early efforts, says clumsily, that he won't criticise it lest he should be attacking Macpherson himself, with whose own "stuff" he was but imperfectly acquainted, to which Lord Byron rejoins, that (alluding to Lord Byron being a minor) he would have said a much cleverer and severer thing had he quoted Dr Johnson's sarcasm, that "many men, many women, and many children could write as well as Ossian."

We venture, in fine, to predict that dear to every Scottish heart shall for ever remain these beautiful fragments of Celtic verse—verse, we scruple not to say, containing in the Combat of Fingal with the Spirit of Loda, and in the Address to the Sun—two of the loftiest strains of poetic genius, vieing with, surpassing "all Greek, all Roman fame." And in spite of Brougham's sneer, and Johnson's criticisms, and the more insolent attacks of Macaulay, Scotchmen both Highland and Lowland will continue to hear in the monotony of the strain, the voice of the tempest, and the roar of the mountain torrent, in its abruptness they will see the beetling crag and the shaggy summit of the bleak Highland hill, in its obscurity and loud and tumid sounds, they will recognize the hollows of the deep glens and the mists which shroud the cataracts, in its happier and nobler measures, they will welcome notes of poetry worthy of the murmur of their lochs and the waving of their solemn forests, and never will they see Ben-Nevis looking down over his clouds or Loch Lomond basking amidst her sunny braes, or in grim Glencoe listen to the Cona singing her lonely and everlasting dirge beneath Ossian's Cave, which gashes the breast of the cliff above it, without remembering the glorious Shade from whose evanishing lips Macpherson has extracted the wild music of his mountain song.

GEO. GILFILLAN.

Alastair Buidhe MacIamhair, the Gairloch Bard, always wore a "Cota Gearr" of home-spun cloth, which received only a slight dip of indigo—the colour being between a pale blue and a dirty white. As he was wading the river Achtercairn, going to a sister's wedding, William Ross, the bard, accosted him on the other side, and addressing him said,

'S ann than aoibheal air bard an Rugha
'Sa phiuthar a dol a phosadh
B-fhearr