Had the Senachies of Ireland been as well acquainted with the antiquities of their nation as they pretended, they might derive as much honour from Fingal's being a Caledonian, as if he had been an Irishman; for both nations were almost the same people in the days of that hero. The Celta, who inhabited Britain and Ireland before the invasion of the Romans, though they were divided into numerous tribes, yet, as the same language and customs, and the memory of their common origin remained among them, they considered themselves as one nation. After South Britain became a province of Rome, and its inhabitants begun to adopt the language and customs of their conquerors, the Celtæ, beyond the pale of the empire, considered them as a distinct people, and consequently treated them as enemies. On the other hand, the strictest amity subsisted between the Irish and Scots Celta for many ages, and the customs and ancient language of both still remaining, leave no room to doubt, that they were of old one and the same nation.

It was at first intended to prefix to Ossian's poems a discourse concerning the ancient inhabitants of Britain; but as a gentleman, in the north of Scotland, who has thoroughly examined the antiquities of this island, and is perfectly acquainted with all the branches of the Celtic tongue, is just now preparing for the press a work on that subject, the curious are referred to it.

PREFACE

TO

THE FOURTH EDITION,

PUBLISHED IN 1773.

be re

WITHOUT encreasing his genius, the author may have improved his language, in the eleven years, that the following poems have been in the hands of the public. Errors in diction might have been committed at twenty-four, which the experience of a riper age may remove and some exuberances in imagery may strained, with advantage, by a degree of judgment acquired in the progress of time. Impressed with this opinion, he ran over the whole with attention and aceuracy; and, he hopes, he has brought the work to a state of correctness, which will preclude all future improvements.

VOL. I.

The eagerness, with which these poems have been received abroad, are a recompense for the coldness with which a few have affected to treat them at home. All the polite nations of Europe have transferred them into their respective languages; and they speak of him, who brought them to light, in terms that might flatter the vanity of one fond of fame. In a convenient indifference for a literary reputation, the author hears praise without being elevated, and ribaldry, without being depressed. He has frequently seen the first bestowed too precipitately; and the latter is so faithless to its purpose, that it is often the only index to merit in the present age.

Though the taste, which defines genius, by the points of the compass, is a subject fit for mirth in itself, it is often a serious matter in the sale of a work. When rivers define the limits of abilities, as well as the boundaries of countries, a writer may measure his success by the latitude under which he was born. It was to avoid a part of this inconvenience, that the author is said, by some, who speak without any authority, to have ascribed his own productions to another name. If this was the case, he was but young in the art of deception. When he placed the poet in antiquity, the translator should have been born on this side of the Tweed.

These observations regard only the frivolous in matters of literature; these, however, form a majority in

FOURTH EDITION.

every age and nation. In this country, men of genuine taste abound; but their still voice is drowned in the clamours of a multitude, who judge by fashion of poetry, as of dress. The truth is, to judge aright, requires almost as much genius as to write well; and good critics are as rare as great poets. Though two hundred thousand Romans stood up, when Virgil came into the theatre, Varius only could correct the Æneid. He that obtains fame must receive it through mere fashion; and gratify his vanity with the applause of men, of whose judgment he cannot approve.

the ear.

The following poems, it must be confessed, are more calculated to please persons of exquisite feelings of heart, than those who receive all their impressions by The novelty of cadence, in what is called a prose version, though not destitute of harmony, will not to common readers supply the absence of the frequent returns of rhyme. This was the opinion of the writer himself, though he yielded to the judgment of others, in a mode, which presented freedom and dignity of expression, instead of fetters, which cramp the thought, whilst the harmony of language is preserved. His intention was to publish in verse. The making of poery, like any other handicraft, may be learned by industry; and he had served his apprenticeship, though in secret, to the muses.

It is, however, doubtful, whether the harmony which these poems might derive from rhyme, even in much

PREFACE TO THE

better hands than those of the translator, could atone for the simplicity and energy, which they would lose. The determination of this point shall be left to the readers of this preface. The following is the beginning of a poem, translated from the Norse to the Gaelic language; and, from the latter, transferred into English. The verse took little more time to the writer than the prose; and even he himself is doubtful, (if he has succeeded in either) which of them is the most literal version.

(This specimen of Macpherson's versification, entitled a Fragment of a Northern Tale, is inserted at the end of the poetry, Vol. II. p. 632.)

One of the chief improvements, on this edition, is the care taken, in arranging the poems in the order of time; so as to form a kind of regular history of the age to which they relate. The writer has now resigned them for ever to their fate. That they have been well received by the public, appears from an extensive sale; that they shall continue to be well received, he may venture to prophecy without the gift of that inspiration, to which poets lay claim. Through the medium of version upon version, they retain, in foreign languages, their native character of simplicity and energy. Genuine poetry, like gold, loses little, when properly transfused; but when a composition cannot bear the test of a literal version, it is a counterfeit which ought