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(4.) But I derive a new argument against the antiquity of these poems, from the general tenor of the narrative. Where manners are represented in them, probability, or even possibility, are totally disregarded: but in all other respects, the events are within the course of nature; no giants, no monsters, no magic, no incredible feats of strength or activity. Every transaction is conformable to familiar experience, and scarcely even deserves the name of wonderful. Did this ever happen in ancient and barbarous poetry? Why is this characteristic wanting, so essential to rude and ignorant ages? Ossian, you say, was singing the exploits of his contemporaries, and therefore could not falsify them in any great degree. But if this had been a restraint, your pretended Ossian had never sung the exploits of his contemporaries; he had gone back a generation or two, which would have been sufficient to throw an entire obscurity on the events; and he would thereby have attained the marvellous, which is alone striking to barbarians. I desire it may be observed, that manners are the only circumstances which a rude people cannot falsify; because they have no notion of any manners beside their own: but it is easy for them to let loose their imagination, and violate the course of nature, in every other particular; and indeed they take no pleasure in any other kind of narrative. In Ossian, nature is violated, where alone she ought to have been preserved; is preserved where alone she ought to have been violated.
(5.) But there is another species of the marvellous, wanting in Ossian, which is inseparable from all nations, civilized as well as barbarous, but still more, if possible, from the barbarous, and that is religion; no religious sentiment in this Erse poetry. All those Celtic heroes are more complete atheists than ever were bred in the [475]school of Epicurus. To account for this singularity, we are told that a few generations before Ossian, the people quarrelled with their Druidical priests, and having expelled them, never afterwards adopted any other species of religion. It is not quite unnatural, I own, for the people to quarrel with their priests,—as we did with ours at the Reformation; but we attached ourselves with fresh zeal to our new preachers and new system; and this passion increased in proportion to our hatred of the old. But I suppose the reason of this strange absurdity in our new Erse poetry, is, that the author, finding by the assumed age of his heroes, that he must have given them the Druidical religion, and not trusting to his literature, (which seems indeed to be very slender) for making the representations consistent with antiquity, thought it safest to give them no religion at all; a circumstance so wonderfully unnatural, that it is sufficient alone, if men had eyes, to detect the imposition.
(6.) The state of the arts, as represented in those poems, is totally incompatible with the age assigned to them. We know, that the houses even of the Southern Britons, till conquered by the Romans, were nothing but huts erected in the woods; but a stately stone building is mentioned by Ossian, of which the walls remain, after it is consumed with fire. The melancholy circumstance of a fox is described, who looks out at the windows; an image, if I be not mistaken, borrowed from the Scriptures. The Caledonians, as well as the Irish, had no shipping but currachs, or wicker boats covered with hides: yet are they represented as passing, in great military expeditions, from the Hebrides to Denmark, Norway, and Sweden; a most glaring absurdity. They live entirely by hunting, yet muster armies, which make incursions to these countries as well as to Ireland: though it is certain from the experience of America, that the whole Highlands would scarce subsist a hundred persons by hunting. They are totally unacquainted with fishing; though that occupation first tempts all rude nations to venture on the sea. Ossian alludes to a wind or water-mill, a machine then unknown to the Greeks and Romans, according to the opinion of the best antiquaries. His barbarians, though ignorant of tillage, are well acquainted with the method of working all kinds of metals. The harp is the musical instrument of Ossian; but the bagpipe, from time immemorial, has been the instrument of the Highlanders. If ever the harp had been known among them, it never had given place to the other barbarous discord.
(7.) All the historical facts of this poem are opposed by [476]traditions, which, if all these tales be not equally contemptible, seem to merit much more attention. The Irish Scoti are the undoubted ancestors of the present Highlanders, who are but a small colony of that ancient people. But the Irish traditions make Fingal, Ossian, Oscar, all Irishmen, and place them some centuries distant from the Erse heroes. They represent them as giants, and monsters, and enchanters, a sure mark of a considerable antiquity of these traditions. I ask the partisans of Erse poetry, since the names of these heroes have crept over to Ireland, and have become quite familiar to the natives of that country, how it happens, that not a line of this poetry, in which they are all celebrated, which, it is pretended, alone preserves their memory with our Highlanders, and which is composed by one of these heroes themselves in the Irish language, ever found its way thither? The songs and traditions of the Senachies, the genuine poetry of the Irish, carry in their rudeness and absurdity the inseparable attendants of barbarism, a very different aspect from the insipid correctness of Ossian; where the incidents, if you will pardon the antithesis, are the most unnatural, merely because they are natural. The same observation extends to the Welsh, another Celtic nation.
(8.) The fiction of these poems is, if possible, still more palpably detected, by the great numbers of other traditions, which, the author pretends, are still fresh in the Highlands, with regard to all the personages. The poems, composed in the age of Truthil and Cormac, ancestors of Ossian, are, he says, full of complaints against the roguery and tyranny of the Druids. He talks as familiarly of the poetry of that period as Lucian or Longinus would of the Greek poetry of the Socratic age. I suppose here is a new rich mine of poetry ready to break out upon us, if the author thinks it can turn to account. For probably he does not mind the danger of detection, which he has little reason to apprehend from his experience of the public credulity. But I shall venture to assert, without any reserve or further inquiry, that there is no Highlander who is not, in some degree, a man of letters, that ever so much as heard there was a Druid in the world. The margin of every page almost of this wonderful production is supported, as he pretends, by minute oral traditions with regard to the personages. To the poem of Dar-thula, there is prefixed a long account of the pedigree, marriages, and adventures of three brothers, Nathos, Althos, and Ardan, heroes that lived fifteen hundred years ago in Argyleshire, and whose memory, it seems, is still celebrated there, and in every part of the Highlands. How ridiculous to advance such a pretension to the learned, who know that there is no tradition of Alexander [477]the great all over the East; that the Turks, who have heard of him from their communication with the Greeks, believe him to have been the captain of Solomon's guard; that the Greek and Roman story, the moment it departs from the historical ages, becomes a heap of fiction and absurdity; that Cyrus himself, the conqueror of the East, became so much unknown, even in little more than half a century, that Herodotus himself, born and bred in Asia, within the limits of the Persian empire, could tell nothing of him, more than of Croesus, the contemporary of Cyrus, and who reigned in the neighbourhood of the historian, but the most ridiculous fables; and that the grandfather of Hengist and Horsa, the first Saxon conquerors, was conceived to be a divinity. I suppose it is sufficiently evident, that without the help of books and history, the very name of Julius Csar would at present be totally unknown in Europe. A gentleman, who travelled into Italy, told me, that in visiting Frescati or Tusculum, his cicerone showed him the foundation and ruins of Cicero's country house. He asked the fellow who this Cicero might be, "Un grandissimo gigante," said he.
