initial commit of ebook 8161HEADmain

10 files changed, 7220 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/8161-8.txt b/8161-8.txt
new file mode 100644
index 0000000..54c2bc4
--- /dev/null
+++ b/8161-8.txt
@@ -0,0 +1,2296 @@
+Project Gutenberg's Fragments Of Ancient Poetry, by James MacPherson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Fragments Of Ancient Poetry
+
+Author: James MacPherson
+
+Commentator: John J. Dunn
+
+
+Release Date: May, 2005  [EBook #8161]
+This file was first posted on June 23, 2003
+Last Updated: May 6, 2013
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FRAGMENTS OF ANCIENT POETRY ***
+
+
+
+
+Produced by David Starner, Ted Garvin, and the Online
+Distributed Proofreading Team
+
+
+
+
+
+
+
+
+FRAGMENTS OF ANCIENT POETRY
+
+By James Macpherson
+
+
+The Augustan Reprint Society
+
+
+Introduction By John J. Dunn
+
+
+
+GENERAL EDITORS
+
+George Robert Guffey, University of California, Los Angeles
+
+Earl Miner, University of California, Los Angeles
+
+Maximillian E. Novak, University of California, Los Angeles
+
+Robert Vosper,  William Andrews Clark Memorial Library
+
+
+
+ADVISORY EDITORS
+
+Richard C. Boys, University of Michigan
+
+James L. Clifford, Columbia University
+
+Ralph Cohen, University of California, Los Angeles
+
+Vinton A. Dearing, University of California, Los Angeles
+
+Arthur Friedman, University of Chicago
+
+Louis A. Landa, Princeton University
+
+Samuel H. Monk, University of Minnesota
+
+Everett T. Moore, University of California, Los Angeles
+
+Lawrence Clark Powell, William Andrews Clark Memorial Library
+
+James Sutherland, University College, London
+
+H. T. Swedenberg, Jr., University of California, Los Angeles
+
+
+
+CORRESPONDING SECRETARY
+
+Edna C. Davis, William Andrews Clark Memorial Library
+
+
+
+
+INTRODUCTION
+
+Byron was actually the third Scotsman in about fifty years who
+awoke and found himself famous; the sudden rise from obscurity to
+international fame had been experienced earlier by two fellow
+countrymen, Sir Walter Scott and James Macpherson. Considering the
+greatness of the reputation of the two younger writers, it may seem
+strange to link their names with Macpherson's, but in the early
+nineteenth century it would not have seemed so odd. In fact, as
+young men both Scott and Byron would have probably have been
+flattered by such an association. Scott tells us that in his youth
+he "devoured rather than perused" Ossian and that he could repeat
+whole duans "without remorse"; and, as I shall discuss later,
+Byron paid Macpherson the high compliment of writing an imitation
+of Ossian, which he published in _Hours of Idleness_.
+
+The publication of the modest and anonymous pamphlet, _Fragments
+of Ancient Poetry_ marks the beginning of Macpherson's rise to
+fame, and concomitantly the start of a controversy that is unique
+in literary history. For the half-century that followed, the body
+of poetry that was eventually collected as _The Poems of Ossian_
+provoked the comment of nearly every important man of letters.
+Extravagance and partisanship were characteristic of most of the
+remarks, but few literary men were indifferent.
+
+The intensity and duration of the controversy are indicative
+of how seriously Macpherson's work was taken, for it was to many
+readers of the day daring, original, and passionate. Even Malcolm
+Laing, whose ardor in exposing Macpherson's imposture exceeded
+that of Dr. Johnson, responded to the literary quality of the poems.
+In a note on the fourth and fifth "Fragments" the arch prosecutor
+of Macpherson commented,
+
+"From a singular coincidence of circumstances, it was in
+this house, where I now write, that I first read the poems
+in my early youth, with an ardent credulity that remained
+unshaken for many years of my life; and with a pleasure
+to which even the triumphant satisfaction of detecting the
+imposture is comparatively nothing. The enthusiasm with
+which I read and studied the poems, enabled me afterwards,
+when my suspicions were once awakened, to trace and expose
+the deception with greater success. Yet, notwithstanding
+the severity of minute criticism, I can still peruse them
+as a wild and wonderful assemblage of imitation with which
+the fancy is often pleased and gratified, even when the
+judgment condemns them most."[2]
+
+
+
+II
+
+It was John Home, famous on both sides of the Tweed as the
+author of _Douglas_, who first encouraged Macpherson to undertake
+his translations. While taking the waters at Moffat in the fall of
+1759, he was pleased to meet a young Highland tutor, who was not
+only familiar with ancient Gaelic poetry but who had in his possession
+several such poems. Home, like nearly all of the Edinburgh
+literati, knew no Gaelic and asked Macpherson to translate
+one of them. The younger man at first protested that a translation
+"would give a very imperfect idea of the original," but Home "with
+some difficulty" persuaded him to try. In a "day or two" Macpherson
+brought him the poem that was to become "Fragment VII" in
+this collection; Home was so much pleased with it that he requested
+additional translations.[3]
+
+"Jupiter" Carlyle, whose autobiography reflects the keen interest
+that he took in literature, arrived at Moffat after Home had
+seen the "translations."  Home, he found, "had been highly delighted
+with them," and when Carlyle read them he "was perfectly
+astonished at the poetical genius" that they displayed. They
+agreed that "it was a precious discovery, and that as soon as possible
+it should be published to the world."[4]
+
+When Home left Moffat he took his find to Edinburgh and showed
+the translations to the men who earned the city Smollett's sobriquet,
+a "hotbed of genius": Robertson, fresh from the considerable success
+of his two volume _History of Scotland_ (1759); Robert Fergusson,
+recently appointed professor of natural history at the University
+of Edinburgh; Lord Elibank, a learned aristocrat, who had
+been patron to Home and Robertson; and Hugh Blair, famous for the
+sermons that he delivered as rector of the High Church of St. Giles.
+Home was gratified that these men were "no less pleased" with
+Macpherson's work than he had been. David Hume and David Dalrymple
+(later Lord Hailes) were soon apprised of the discovery and
+joined in the chorus of approbation that emanated from the Scottish
+capitol.
+
+Blair became the spokesman and the leader for the Edinburgh
+literati, and for the next forty years he lavished his energy in praising
+and defending Macpherson's work. The translations came to
+him at the time that he was writing his lectures on _belles lettres_
+and was thus in the process of formulating his theories on the origins
+of poetry and the nature of the sublime. Blair lost no time in
+communicating with Macpherson:
+
+"I being as much struck as Mr Home with the high spirit of poetry
+which breathed in them, presently made inquiry where Mr. Macpherson
+was to be found; and having sent for him to come to me, had much
+conversation with him on the subject."[5]
+
+Macpherson told Blair that there were "greater and more considerable
+poems of the same strain" still extant in the Highlands; Blair like
+Home was eager for more, but Macpherson again declined to translate them.
+He said that he felt himself inadequate to render "the spirit and force"
+of the originals and that "they would be very ill relished by the public
+as so very different from the strain of modern ideas, and of modern,
+connected, and polished poetry." This whetted Blair's interest even more,
+and after "repeated importunity" he persuaded Macpherson to translate
+more fragments. The result was the present volume, which Blair saw to
+the press and for which he wrote the Preface "in consequence of the
+conversations" that he had with Macpherson.[6]
+
+Most of Blair's Preface does seem to be based on information supplied
+by Macpherson, for Blair had almost no first-hand knowledge about
+Highland poetry or its traditions. It is apparent from the Preface then,
+that Macpherson had not yet decided to ascribe the poems to a single
+poet; Ossian is one of the principal poets in the collection but the
+whole is merely ascribed "to the bards" (see pp. v-vi). It is also
+evident from the Preface that Macpherson was shifting from the
+reluctant "translator" of a few "fragments" to the projector of a
+full-length epic "if enough encouragement were given for such an
+undertaking."
+
+Since Blair became famous for his _Critical Dissertation on the
+Poems of Ossian_ (London, 1763), it may seem strange that in the
+Preface to the _Fragments_ he declined to say anything of the "poetical
+merit" of the collection. The frank adulation of the longer
+essay, which concludes with the brave assertion that Ossian may
+be placed "among those whose works are to last for ages,"[7]  was
+partially a reflection of the enthusiasm that greeted each of
+Macpherson's successive publications.
+
+
+
+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.
+
+
+
+IV
+
+Perhaps Macpherson's most important innovation was to cast
+his work into what his contemporaries called "measured prose,"
+and it was recognized early that this new form contributed greatly
+to their appeal. In discussing the _Fragments_, Ramsey of Ochtertyre
+commented,
+
+"Nothing could be more happy or judicious than his translating in
+measured prose; for had he attempted it in verse, much of the spirit
+of the original would have evaporated, supposing him to have had
+talents and industry to perform that very arduous task upon a great
+scale. This small publication drew the attention of the literary
+world to a new species of poetry."[12]
+
+For his new species of poetry Macpherson drew upon the stylistic
+techniques of the King James Version of the Bible, just as Blake
+and Whitman were to do later. As Bishop Lowth was the first to
+point out, parallelism is the basic structural technique.
+Macpherson incorporated two principal forms of parallelism in his poems:
+_repetition_, a pattern in which the second line nearly restates the
+sense of the first, and _completion_ in which the second line picks
+up part of the sense of the first line and adds to it. These are
+both common in the _Fragments_, but a few examples may be useful.
+I have rearranged the following lines and in the other passages relating
+to the structure of the poems in order to call attention to
+the binary quality of Macpherson's verse:
+
+_Repetition_
+
+   Who can reach the source of thy race, O Connal?
+   And who recount thy Fathers? ("Fragment V")
+
+
+   Oscur my son came down;
+   The mighty in battle descended. ("Fragment VI")
+
+
+   Oscur stood forth to meet him;
+   My son would meet the foe. ("Fragment VIII")
+
+
+   Future times shall hear of thee;
+   They shall hear of the fallen Morar. ("Fragment XII")
+
+
+_Completion_
+
+   What voice is that I hear?
+   That voice like the summer wind. ("Fragment I")
+
+     The warriours saw her, and loved;
+     Their souls were fixed on the maid.
+     Each loved her, as his fame;
+     Each must possess her or die.
+     But her soul was fixed on Oscur;
+     My son was the youth of her love.      ("Fragment VII")
+
+Macpherson also used grammatical parallelism as a structural device; a
+series of simple sentences is often used to describe a landscape:
+
+     Autumn is dark on the mountains;
+     Grey mist rests on the hills.
+     The whirlwind is heard on the heath.
+     Dark rolls the river through the narrow plain.   ("Fragment V")
+
+The poems also have a discernible rhythmical pattern; the
+tendency of the lines to form pairs is obvious enough when there
+is semantic or grammatical parallelism, but there is a general binary
+pattern throughout. Typically, the first unit is a simple sentence,
+the second almost any grammatical structure--an appositive,
+a prepositional phrase, a participle, the second element of a compound
+verb, a dependent clause. A simile--in grammatical terms,
+an adverbial phrase--sometimes constitutes the second element.
+These pairs are often balanced roughly by the presence of two,
+three, or four accents in each constituent; there are a large number
+of imbedded iambic and anapestic feet, which give the rhythm an
+ascending quality:
+
+  The da/ughter of R/inval was n/ear;
+
+  Crim/ora, br/ight in the arm/our of m/an;
+
+  Her ha/ir loose beh/ind,
+
+  Her b/ow in her h/and.
+
+  She f/ollowed the y/outh to w/ar,
+
+  Co/nnal her m/uch bel/oved.
+
+  She dr/ew the st/ring on D/argo;
+
+  But e/rring pi/erced her C/onnal.      ("Fragment V")
+
+As E. H. W. Meyerstein pointed out, "Macpherson can, without
+extravagance, be regarded as the main originator (after the translators
+of the Authorized Version) of what's known as 'free verse."[13]
+Macpherson's work certainly served to stimulate prosodic experimentation
+during the next half century; it is certainly no coincidence that two of
+the boldest innovators, Blake and Coleridge, were admirers of
+Macpherson's work.
+
+Macpherson's diction must have also appealed to the growing
+taste for poetry that was less ornate and studied. His practice
+was to use a large number of concrete monosyllabic words of Anglo-Saxon
+origin to describe objects and forces common to rural life.
+A simple listing of the common nouns from the opening of "Fragment
+I" will serve to illustrate this tendency: _love, son, hill,
+deer, dogs, bow-string, wind, stream, rushes, mist, oak, friends_.
+Such diction bears an obvious kinship to what was to become the
+staple diction of the romantic lyric; for example, a similar listing
+from "A Slumber Did My Spirit Seal" would be this: _slumber,
+spirit, fears, thing, touch, years, motion, force, course, rocks,
+stones, trees_.
+
+The untamed power of Macpherson's wild natural settings is
+also striking. Samuel H. Monk has made the point well:
+
+"Ossian's strange exotic wildness and his obscure, terrible glimpses
+of scenery were in essence something quite new.... Ossian's images were
+far from "nature methodized." His imagination illumined fitfully a scene
+of mountains and blasted heaths, as artificially wild as his heroines
+were artificially sensitive; to modern readers they resemble too much
+the stage-settings of melodrama. But in 1760, his descriptions carried
+with them the thrill of the genuine and of naïvely archaic."
+
+And Monk adds, "imperceptibly the Ossianic poems contributed
+toward converting Britons, nay, Europeans, into enthusiastic admirers
+of nature in her wilder moments."[14]
+
+Ghosts are habitually present in the poems, and Macpherson
+is able to present them convincingly because they are described
+by a poet who treats them as though they were part of his and his
+audience's habitual experience. The supernatural world is so
+familiar, in fact, that it can be used to describe the natural; thus
+Minvane in "Fragment VII" is called as fair "as the spirits of the
+hill when at silent noon they glide along the heath." As Patricia
+M. Spacks has observed, the supernatural seems to be a "genuine
+part of the poetic texture"; and she adds that
+
+"within this poetic context, the supernatural seems convincing
+because believed in: it is part of the fabric of life for the
+characters of the poem. Ghosts in the Ossianic poems, almost uniquely
+in the mid-eighteenth century, seem genuinely to belong; to this
+particular poetic conception the supernatural does not seem
+extraneous."[15]
+
+The _Fragments_ was also a cause and a reflection of the rising
+appeal of the hero of sensibility, whose principal characteristic
+was that he could feel more intensely than the mass of humanity.
+The most common emotion that these acutely empathetic heroes
+felt was grief, the emotion that permeates the _Fragments_ and the
+rest of Macpherson's work. It was the exquisite sensibility of
+Macpherson's heroes and heroines that the young Goethe was
+struck by; Werther, an Ossianic hero in his own way, comments,
+
+"You should see what a silly figure I cut when she
+is mentioned in society! And then if I am even asked
+how I like her--Like! I hate that word like death. What
+sort of person must that be who likes Lotte, in whom all
+senses, all emotions are not completely filled up by her!
+Like! Recently someone asked me how I like Ossian!"[16]
+
+That Macpherson chose to call his poems "fragments" is indicative
+of another quality that made them unusual in their day.
+The poems have a spontaneity that is suggested by the fact that
+the poets seem to be creating their songs as the direct reflection
+of an emotional experience. In contrast to the image of the poet
+as the orderer, the craftsman, the poets of the _Fragments_ have a
+kind of artlessness (to us a very studied one, to be sure) that gave
+them an aura of sincerity and honesty. The poems are fragmentary
+in the sense that they do not follow any orderly, rational plan but
+seem to take the form that corresponds to the development of an
+emotional experience. As Macpherson told Blair they are very
+different from "modern, connected, and polished poetry."
+
+
+
+V
+
+The _Fragments_ proved an immediate success and Macpherson's
+Edinburgh patrons moved swiftly to raise enough money to enable
+the young Highlander to resign his position as tutor and to devote
+himself to collecting and translating the Gaelic poetry still extant
+in the Highlands. Blair recalled that he and Lord Elibank were instrumental
+in convening a dinner meeting that was attended by "many of the first
+persons of rank and taste in Edinburgh," including Robertson, Home, and
+Fergusson.[17] Robert Chalmers acted as treasurer; among the forty odd
+subscribers who contributed 60£, were James Boswell and David Hume.[18]
+By the time of the second edition of the _Fragments_ (also in 1760),
+Blair, or more likely Macpherson himself, could inform the public in the
+"Advertisement" "that measures are now taken for making a full collection
+of the remaining Scottish bards; in particular, for recovering and
+translating the heroic poem mentioned in the preface."
+
+Macpherson, a frugal man, included many of the "Fragments"
+in his later work. Sometimes he introduced them into the notes as
+being later than Ossian but in the same spirit; at other times he
+introduced them as episodes in the longer narratives. With the exception
+of Laing's edition, they are not set off, however, and anyone
+who wishes to see what caused the initial Ossianic fervor
+must consult the original volume.
+
+When we have to remind ourselves that a work of art was revolutionary
+in its day, we can be sure that we are dealing with something
+closer to cultural artifact than to art, and it must be granted
+that this is true of Macpherson's work; nevertheless, the fact that
+Ossian aroused the interest of major men of letters for fifty years
+is suggestive of his importance as an innovator. In a curious way,
+Macpherson's achievement has been overshadowed by the fact that
+many greater writers followed him and developed the artistic
+direction that he was among the first to take.
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+
+[Footnote 1: See Scott's letter to Anna Seward in J. G. Lockhart, _Memoirs of
+    Sir Walter Scott_ (London, 1900), I, 410-15.]
+
+[Footnote 2: _The Poems of Ossian_, ed. Malcolm Laing (Edinburgh, 1805), I, 441.]
+
+[Footnote 3: See Home's letter to Mackenzie in the _Report of the Committee of the
+    Highland Society of Scotland_ (Edinburgh, 1805), Appendix, pp. 68-69.]
+
+[Footnote 4: Carlyle to Mackenzie, _ibid_., p. 66.]
+
+[Footnote 5: Blair to Mackenzie, _ibid_., p. 57.]
+
+[Footnote 6: _Ibid_., p. 58.]
+
+[Footnote 7: Quoted from _The Poems of Ossian_ (London, 1807), I, 222.   After its
+    initial separate publication, Blair's dissertation was regularly
+    included with the collected poems.]
+
+[Footnote 8: _Correspondence of Thomas Gray_, ed. Paget Toynbee and Leonard
+    Whibley (Oxford, 1935), II, 679-80.]
+
+[Footnote 9: _The Works of Lord Byron, Poetry_, ed. Ernest Hartley Coleridge
+    (London, 1898), I, 183.]
+
+[Footnote 10: "On Poetry in General," _The Complete Works of William Hazlitt_, ed.
+     P. P. Howe (London, 1930), V, 18.]
+
+[Footnote 11: Quoted in Henry Grey Graham, _Scottish Men of Letters in the
+     Eighteenth Century_ (London, 1908), p. 240.]
+
+[Footnote 12: _Scotland and Scotsmen in the Eighteenth Century_, ed. Alexander
+     Allardyce (Edinburgh, 1888), I, 547.]
+
+[Footnote 13: "The Influence of Ossian," _English_, VII (1948), 96.]
+
+[Footnote 14: _The Sublime_ (Ann Arbor, 1960), p. 126.]
+
+[Footnote 15: _The Insistence of Horror_ (Cambridge, Mass., 1962), pp. 86-87.]
+
+[Footnote 16: _The Sufferings of Young Werther_, trans. Bayard Morgan (New York,
+     1957), p. 51.]
+
+[Footnote 17: _Report_, Appendix, p. 58.]
+
+[Footnote 18: See Robert M. Schmitz, _Hugh Blair_ (New York, 1948), p. 48.]
+
+
+
+
+
+FRAGMENTS OF ANCIENT POETRY
+
+Collected in the Highlands of Scotland,
+
+and
+
+Translated from the Galic or Erse Language
+
+
+
+   "Vos quoque qui fortes animas, belloque peremtas
+   Laudibus in longum vates dimittitis aevuin,
+   Plurima securi fudistis carmina _Bardi_."
+
+
+
+
+LUCAN
+
+
+
+
+PREFACE
+
+The public may depend on the following fragments as genuine remains of
+ancient Scottish poetry. The date of their composition cannot be exactly
+ascertained. Tradition, in the country where they were written, refers
+them to an æra of the most remote antiquity: and this tradition is
+supported by the spirit and strain of the poems themselves; which abound
+with those ideas, and paint those manners, that belong to the most early
+state of society. The diction too, in the original, is very obsolete;
+and differs widely from the style of such poems as have been written in
+the same language two or three centuries ago. They were certainly
+composed before the establishment of clanship in the northern part of
+Scotland, which is itself very ancient; for had clans been then formed
+and known, they must have made a considerable figure in the work of a
+Highland Bard; whereas there is not the least mention of them in these
+poems. It is remarkable that there are found in them no allusions to the
+Christian religion or worship; indeed, few traces of religion of any kind.
+One circumstance seems to prove them to be coeval with the very infancy
+of Christianity in Scotland. In a fragment of the same poems, which the
+translator has seen, a Culdee or Monk is represented as desirous to take
+down in writing from the mouth of Oscian, who is the principal personage
+in several of the following fragments, his warlike atchievements and
+those of his family. But Oscian treats the monk and his religion with
+disdain, telling him, that the deeds of such great men were subjects too
+high to be recorded by him, or by any of his religion: A full proof that
+Christianity was not as yet established in the country.
+
+Though the poems now published appear as detached pieces in this
+collection, there is ground to believe that most of them were originally
+episodes of a greater work which related to the wars of Fingal.
+Concerning this hero innumerable traditions remain, to this day, in the
+Highlands of Scotland. The story of Oscian, his son, is so generally
+known, that to describe one in whom the race of a great family ends, it
+has passed into a proverb; "Oscian the last of the heroes."
+
+There can be no doubt that these poems are to be ascribed to the Bards;
+a race of men well known to have continued throughout many ages in
+Ireland and the north of Scotland. Every chief or great man had in his
+family a Bard or poet, whose office it was to record in verse, the
+illustrious actions of that family. By the succession of these Bards, such
+poems were handed down from race to race; some in manuscript, but more by
+oral tradition. And tradition, in a country so free of intermixture with
+foreigners, and among a people so strongly attached to the memory of their
+ancestors, has preserved many of them in a great measure incorrupted to
+this day.
+
+They are not set to music, nor sung. The verification in the original is
+simple; and to such as understand the language, very smooth and beautiful;
+Rhyme is seldom used: but the cadence, and the length of the line varied,
+so as to suit the sense. The translation is extremely literal. Even the
+arrangement of the words in the original has been imitated; to which must
+be imputed some inversions in the style, that otherwise would not have
+been chosen.
+
+Of the poetical merit of these fragments nothing shall here be said. Let
+the public judge, and pronounce. It is believed, that, by a careful
+inquiry, many more remains of ancient genius, no less valuable than those
+now given to the world, might be found in the same country where these
+have been collected. In particular there is reason to hope that one work
+of considerable length, and which deserves to be styled an heroic poem,
+might be recovered and translated, if encouragement were given to such an
+undertaking. The subject is, an invasion of Ireland by Swarthan King of
+Lochlyn; which is the name of Denmark in the Erse language. Cuchulaid,
+the General or Chief of the Irish tribes, upon intelligence of the
+invasion, assembles his forces. Councils are held; and battles fought.
+But after several unsuccescful engagements, the Irish are forced to
+submit. At length, Fingal King of Scotland, called in this poem, "The
+Desert of the hills," arrives with his ships to assist Cuchulaid. He
+expels the Danes from the country; and returns home victorious. This poem
+is held to be of greater antiquity than any of the rest that are preserved.
+And the author speaks of himself as present in the expedition of Fingal.
+The three last poems in the collection are fragments which the translator
+obtained of this epic poem; and though very imperfect, they were judged not
+unworthy of being inserted. If the whole were recovered, it might serve to
+throw confiderable light upon the Scottish and Irish antiquities.
+
+
+
+
+FRAGMENT
+
+   I
+
+   SHILRIC, VINVELA.
+
+   VINVELA
+
+   My love is a son of the hill.
+   He pursues the flying deer.
+   His grey dogs are panting
+   around him; his bow-string sounds in
+   the wind. Whether by the fount of
+   the rock, or by the stream of the
+   mountain thou liest; when the rushes are
+   nodding with the wind, and the mist
+   is flying over thee, let me approach
+   my love unperceived, and see him
+   from the rock. Lovely I saw thee
+   first by the aged oak; thou wert returning
+   tall from the chace; the fairest
+   among thy friends.
+
+   SHILRIC.
+
+   What voice is that I hear? that
+   voice like the summer-wind.--I sit
+   not by the nodding rushes; I hear not
+   the fount of the rock. Afar, Vinvela,
+   afar I go to the wars of Fingal. My
+   dogs attend me no more. No more
+   I tread the hill. No more from on
+   high I see thee, fair-moving by the
+   stream of the plain; bright as the
+   bow of heaven; as the moon on the
+   western wave.
+
+   VINVELA.
+
+   Then thou art gone, O Shilric!
+   and I am alone on the hill. The
+   deer are seen on the brow; void of
+   fear they graze along. No more they
+   dread the wind; no more the rustling
+   tree. The hunter is far removed;
+   he is in the field of graves. Strangers!
+   sons of the waves! spare my
+   lovely Shilric.
+
+   SHILRIC.
+
+   If fall I must in the field, raise high
+   my grave, Vinvela. Grey stones, and
+   heaped-up earth, shall mark me to future
+   times. When the hunter shall sit by
+   the mound, and produce his food at
+   noon, "some warrior rests here," he
+   will say; and my fame shall live in his
+   praise. Remember me, Vinvela, when
+   low on earth I lie!
+
+   VINVELA.
+
+   Yes!--I will remember thee--indeed
+   my Shilric will fall. What shall I do,
+   my love! when thou art gone for ever?
+   Through these hills I will go at noon: O
+   will go through the silent heath. There
+   I will see where often thou sattest returning
+   from the chace. Indeed, my Shilric
+   will fall; but I will remember
+   him.
+
+
+
+   II
+
+   I sit by the mossy fountain; on the
+   top of the hill of winds. One tree is
+   rustling above me. Dark waves roll
+   over the heath. The lake is troubled
+   below. The deer descend from the
+   hill. No hunter at a distance is seen;
+   no whistling cow-herd is nigh. It is
+   mid-day: but all is silent. Sad are my
+   thoughts as I sit alone. Didst thou
+   but appear, O my love, a wanderer on
+   the heath! thy hair floating on the
+   wind behind thee; thy bosom heaving
+   on the sight; thine eyes full of tears
+   for thy friends, whom the mist of the
+   hill had concealed! Thee I would comfort,
+   my love, and bring thee to thy
+   father's house.
+
+   But is it she that there appears, like
+   a beam of light on the heath? bright
+   as the moon in autumn, as the sun in
+   a summer-storm?--She speaks: but
+   how weak her voice! like the breeze
+   in the reeds of the pool. Hark!
+
+   Returnest thou safe from the war?
+   "Where are thy friends, my love? I
+   heard of thy death on the hill; I heard
+   and mourned thee, Shilric!"
+
+   Yes, my fair, I return; but I alone
+   of my race. Thou shalt see them no
+   more: their graves I raised on the plain.
+   But why art thou on the desert hill?
+   why on the heath, alone?
+
+   Alone I am, O Shilric! alone in the
+   winter-house. With grief for thee I
+   expired. Shilric, I am pale in the tomb.
+
+   She fleets, she sails away; as grey
+   mist before the wind!--and, wilt thou
+   not stay, my love? Stay and behold
+   my tears? fair thou appearest, my love!
+   fair thou wast, when alive!
+
+   By the mossy fountain I will sit; on
+   the top of the hill of winds. When
+   mid-day is silent around, converse, O
+   my love, with me! come on the wings
+   of the gale! on the blast of the mountain,
+   come! Let me hear thy voice, as
+   thou passest, when mid-day is silent around.
+
+
+
+   III
+
+   Evening is grey on the hills. The
+   north wind resounds through the
+   woods. White clouds rise on the sky: the
+   trembling snow descends. The river howls
+   afar, along its winding course. Sad,
+   by a hollow rock, the grey-hair'd Carryl
+   sat. Dry fern waves over his head; his
+   seat is in an aged birch. Clear to the
+   roaring winds he lifts his voice of woe.
+
+   Tossed on the wavy ocean is He,
+   the hope of the isles; Malcolm, the
+   support of the poor; foe to the proud
+   in arms! Why hast thou left us behind?
+   why live we to mourn thy fate? We
+   might have heard, with thee, the voice
+   of the deep; have seen the oozy rock.
+
+   Sad on the sea-beat shore thy spouse
+   looketh for thy return. The time of
+   thy promise is come; the night is gathering
+   around. But no white sail is
+   on the sea; no voice is heard except
+   the blustering winds. Low is the soul
+   of the war! Wet are the locks of youth!
+   By the foot of some rock thou liest;
+   washed by the waves as they come.
+   Why, ye winds, did ye bear him on
+   the desert rock? Why, ye waves, did
+   ye roll over him?
+
+   But, Oh! what voice is that?
+   Who rides on that meteor of fire! Green
+   are his airy limbs. It is he! it is the
+   ghost of Malcolm!--Rest, lovely soul,
+   rest on the rock; and let me hear thy
+   voice!--He is gone, like a dream of
+   the night. I see him through the trees.
+   Daughter of Reynold! he is gone.
+   Thy spouse shall return no more. No
+   more shall his hounds come from the
+   hill, forerunners of their master. No
+   more from the distant rock shall his
+   voice greet thine ear. Silent is he in
+   the deep, unhappy daughter of Reynold!
+
+   I will sit by the stream of the plain.
+   Ye rocks! hang over my head. Hear
+   my voice, ye trees! as ye bend on the
+   shaggy hill. My voice shall preserve
+   the praise of him, the hope of the
+   isles.
+
+
+
+   IV
+
+   CONNAL,  CRIMORA,
+
+   CRIMORA.
+
+   Who cometh from the hill, like
+   a cloud tinged with the beam
+   of the west? Whose voice is that, loud
+   as the wind, but pleasant as the harp of
+   Carryl? It is my love in the light of
+   steel; but sad is his darkened brow.
+   Live the mighty race of Fingal? or
+   what disturbs my Connal?
+
+   CONNAL.
+
+   They live. I saw them return from
+   the chace, like a stream of light. The
+   sun was on their shields: In a line they
+   descended the hill. Loud is the voice of
+   the youth; the war, my love, is near.
+   To-morrow the enormous Dargo comes
+   to try the force of our race. The race of
+   Fingal he defies; the race of battle and
+   wounds.
+
+   CRIMORA.
+   Connal, I saw his sails like grey mist
+   on the sable wave. They came to land.
+   Connnal, many are the warriors of
+   Dargo!
+
+   CONNAL.
+
+   Bring me thy father's shield; the iron
+   shield of Rinval; that shield like the
+   full moon when it is darkened in the
+   sky.
+
+   CRIMORA.
+
+   That shield I bring, O Connal; but
+   it did not defend my father. By the
+   spear of Gauror he fell. Thou mayst
+   fall, O Connal!
+
+   CONNAL.
+
+   Fall indeed I may: But raise my
+   tomb, Crimora. Some stones, a mound
+   of earth, shall keep my memory.
+   Though fair thou art, my love, as the
+   light; more pleasant than the gale of
+   the hill; yet I will not stay. Raise my
+   tomb, Crimora.
+
+   CRIMORA,
+
+   Then give me those arms of light;
+   that sword, and that spear of steel. I
+   shall meet Dargo with thee, and aid my
+   lovely Connal. Farewell, ye rocks of
+   Ardven! ye deer! and ye streams of
+   the hill!--We shall return no more.
+   Our tombs are distant far.
+
+
+
+   V
+
+   Autumn is dark on the mountains;
+   grey mist rests on the hills. The
+   whirlwind is heard on the heath. Dark
+   rolls the river through the narrow plain.
+   A tree stands alone on the hill, and
+   marks the grave of Connal. The leaves
+   whirl round with the wind, and strew
+   the grave of the dead. At times are
+   seen here the ghosts of the deceased,
+   when the musing hunter alone stalks
+   slowly over the heath.
+
+   Who can reach the source of thy
+   race, O Connal? and who recount thy
+   Fathers? Thy family grew like an oak
+   on the mountain, which meeteth the
+   wind with its lofty head. But now it
+   is torn from the earth. Who shall supply
+   the place of Connal?
+
+   Here was the din of arms; and
+   here the groans of the dying. Mournful
+   are the wars of Fingal! O Connal!
+   it was here thou didst fall. Thine arm
+   was like a storm; thy sword, a beam
+   of the sky; thy height, a rock on the
+   plain; thine eyes, a furnace of fire.
+   Louder than a storm was thy voice,
+   when thou confoundedst the field. Warriors
+   fell by thy sword, as the thistle by
+   the staff of a boy.
+
+   Dargo the mighty came on, like a
+   cloud of thunder. His brows were contracted
+   and dark. His eyes like two
+   caves in a rock. Bright rose their
+   swords on each side; dire was the clang
+   of their steel.
+
+   The daughter of Rinval was near;
+   Crimora, bright in the armour of man;
+   her hair loose behind, her bow in her
+   hand. She followed the youth to the
+   war, Connal her much beloved. She
+   drew the string on Dargo; but erring
+   pierced her Connal. He falls like an
+   oak on the plain; like a rock from the
+   shaggy hill. What shall she do, hapless
+   maid!--He bleeds; her Connal dies.
+   All the night long she cries, and all the
+   day, O Connal, my love, and my
+   friend! With grief the sad mourner
+   died.
+
+   Earth here incloseth the loveliest
+   pair on the hill. The grass grows between
+   the stones of their tomb; I sit in
+   the mournful shade. The wind sighs
+   through the grass; and their memory
+   rushes on my mind. Undisturbed you
+   now sleep together; in the tomb of the
+   mountain you rest alone.
+
+
+
+   VI
+
+   Son of the noble Fingal, Oscian,
+   Prince of men! what tears run down
+   the cheeks of age? what shades thy
+   mighty soul?
+
+   Memory, son of Alpin, memory
+   wounds the aged. Of former times are
+   my thoughts; my thoughts are of the
+   noble Fingal. The race of the king return
+   into my mind, and wound me with
+   remembrance.
+
+   One day, returned from the sport of
+   the mountains, from pursuing the sons
+   of the hill, we covered this heath with
+   our youth. Fingal the mighty was here,
+   and Oscur, my son, great in war. Fair
+   on our sight from the sea, at once, a
+   virgin came. Her breast was like the
+   snow of one night. Her cheek like the
+   bud of the rose. Mild was her blue
+   rolling eye: but sorrow was big in her
+   heart.
+
+   Fingal renowned in war! she cries,
+   sons of the king, preserve me! Speak secure,
+   replies the king, daughter of beauty,
+   speak: our ear is open to all: our
+   swords redress the injured. I fly from
+   Ullin, she cries, from Ullin famous in
+   war. I fly from the embrace of him
+   who would debase my blood. Cremor,
+   the friend of men, was my father; Cremor
+   the Prince of Inverne.
+
+   Fingal's younger sons arose; Carryl
+   expert in the bow; Fillan beloved of
+   the fair; and Fergus first in the race.
+   --Who from the farthest Lochlyn?
+   who to the seas of Molochasquir? who
+   dares hurt the maid whom the sons of
+   Fingal guard? Daughter of beauty, rest
+   secure; rest in peace, thou fairest of women.
+
+   Far in the blue distance of the deep,
+   some spot appeared like the back of the
+   ridge-wave. But soon the ship increased
+   on our sight. The hand of Ullin drew
+   her to land. The mountains trembled
+   as he moved. The hills shook at his
+   steps. Dire rattled his armour around
+   him. Death and destruction were in his
+   eyes. His stature like the roe of Morven.
+   He moved in the lightning of
+   steel.
+
+   Our warriors fell before him,
+   like the field before the reapers. Fingal's
+   three sons he bound. He plunged
+   his sword into the fair-one's breast.
+   She fell as a wreath of snow before the
+   sun in spring. Her bosom heaved in
+   death; her soul came forth in blood.
+   Oscur my son came down; the
+   mighty in battle descended. His armour
+   rattled as thunder; and the lightning of
+   his eyes was terrible. There, was the
+   clashing of swords; there, was the voice
+   of steel. They struck and they thrust;
+   they digged for death with their swords.
+   But death was distant far, and delayed
+   to come. The sun began to decline;
+   and the cow-herd thought of home.
+   Then Oscur's keen steel found the heart
+   of Ullin. He fell like a mountain-oak
+   covered over with glittering frost: He
+   shone like a rock on the plain.--Here
+   the daughter of beauty lieth; and
+   here the bravest of men. Here one
+   day ended the fair and the valiant.
+   Here rest the pursuer and the pursued.
+
+   Son of Alpin! the woes of the aged
+   are many: their tears are for the past.
+   This raised my sorrow, warriour; memory
+   awaked my grief. Oscur my
+   son was brave; but Oscur is now no
+   more. Thou hast heard my grief, O
+   son of Alpin; forgive the tears of the
+   aged.
+
+
+
+   VII
+
+   Why openest thou afresh the spring of
+   my grief, O son of Alpin, inquiring
+   how Oscur fell? My eyes are blind with
+   tears; but memory beams on my heart.
+   How can I relate the mournful death of
+   the head of the people! Prince of the
+   warriours, Oscur my son, shall I see thee
+   no more!
+
+   He fell as the moon in a storm; as
+   the sun from the midst of his course,
+   when clouds rise from the waste of the
+   waves, when the blackness of the storm
+   inwraps the rocks of Ardannider. I, like
+   an ancient oak on Morven, I moulder
+   alone in my place. The blast hath lopped
+   my branches away; and I tremble
+   at the wings of the north. Prince of
+   the warriors, Oscur my son! shall I see
+   thee no more!
+
+   DERMID
+
+   DERMID and Oscur were one: They
+   reaped the battle together. Their
+   friendship was strong as their steel; and
+   death walked between them to the field.
+   They came on the foe like two rocks
+   falling from the brows of Ardven. Their
+   swords were stained with the blood of
+   the valiant: warriours fainted at their
+   names. Who was a match for Oscur,
+   but Dermid? and who for Dermid, but
+   Oscur?
+
+   THEY killed mighty Dargo in the
+   field; Dargo before invincible. His
+   daughter was fair as the morn; mild
+   as the beam of night. Her eyes, like
+   two stars in a shower: her breath, the
+   gale of spring: her breasts, as the
+   new fallen snow floating on the moving heath.
+   The warriours saw her, and loved; their
+   souls were fixed on the maid. Each
+   loved her, as his fame; each must
+   possess her or die. But her soul was fixed
+   on Oscur; my son was the youth of
+   her love. She forgot the blood of her
+   father; and loved the hand that slew
+   him.
+
+   Son of Oscian, said Dermid, I love;
+   O Oscur, I love this maid. But her
+   soul cleaveth unto thee; and nothing
+   can heal Dermid. Here, pierce this
+   bosom, Oscur; relieve me, my friend,
+   with thy sword.
+
+   My sword, son of Morny, shall never
+   be stained with the blood of Dermid.
+
+   Who then is worthy to slay me, O
+   Oscur son of Oscian? Let not my life
+   pass away unknown. Let none but Oscur
+   slay me. Send me with honour to
+   the grave, and let my death be renowned.
+   Dermid, make use of thy sword;
+   son of Moray, wield thy steel. Would
+   that I fell with thee! that my death
+   came from the hand of Dermid!
+
+   They fought by the brook of the
+   mountain; by the streams of Branno.
+   Blood tinged the silvery stream, and
+   crudled round the mossy stones. Dermid
+   the graceful fell; fell, and smiled in
+   death.
+
+   And fallest thou, son of Morny;
+   fallest, thou by Oscur's hand! Dermid
+   invincible in war, thus do I see thee fall!
+   --He went, and returned to the maid
+   whom he loved; returned, but she perceived
+   his grief.
+
+   Why that gloom, son of Oscian?
+   what shades thy mighty soul?
+
+   Though once renowned for the bow,
+   O maid, I have lost my fame. Fixed on
+   a tree by the brook of the hill, is the
+   shield of Gormur the brave, whom in
+   battle I slew. I have wasted the day
+   in vain, nor could my arrow pierce it.
+
+   Let me try, son Oscian, the skill
+   of Dargo's daughter. My hands were
+   taught the bow: my father delighted in
+   my skill.
+
+   She went. He stood behind the
+   shield. Her arrow flew and pierced his
+   breast[A].
+
+   [Footnote A: Nothing was held by the ancient Highlanders more essential
+   to their glory, than to die by the hand of some person worthy or renowned.
+   This was the occasion of Oscur's contriving to be slain by his mistress,
+   now that he was weary of life. In those early times suicide was utterly
+   unknown among that people, and no traces of it are found in the old
+   poetry. Whence the translator suspects the account that follows of the
+   daughter of Dargo killing herself, to be the interpolation of some later
+   Bard.]
+
+   Blessed be that hand of snow; and
+   blessed thy bow of yew! I fall resolved
+   on death: and who but the daughter of
+   Dargo was worthy to slay me? Lay me
+   in the earth, my fair-one; lay me by
+   the side of Dermid.
+
+   Oscur! I have the blood, the soul
+   of the mighty Dargo. Well pleased I
+   can meet death. My sorrow I can end
+   thus.--She pierced her white bosom
+   with steel. She fell; she trembled; and
+   died.
+
+   By the brook of the hill their graves
+   are laid; a birch's unequal shade covers
+   their tomb. Often on their green earthen
+   tombs the branchy sons of the mountain
+   feed, when mid-day is all in flames,
+   and silence is over all the hills.
+
+
+
+   VIII
+
+   By the side of a rock on the hill, beneath
+   the aged trees, old Oscian
+   sat on the moss; the last of the race of
+   Fingal. Sightless are his aged eyes;
+   his beard is waving in the wind. Dull
+   through the leafless trees he heard the
+   voice of the north. Sorrow revived in
+   his soul: he began and lamented the
+   dead.
+
+   How hast thou fallen like an oak,
+   with all thy branches round thee! Where
+   is Fingal the King? where is Oscur my
+   son? where are all my race? Alas! in
+   the earth they lie. I feel their tombs
+   with my hands. I hear the river below
+   murmuring hoarsely over the stones.
+   What dost thou, O river, to me? Thou
+   bringest back the memory of the past.
+
+   The race of Fingal stood on thy
+   banks, like a wood in a fertile soil.
+   Keen were their spears of steel. Hardy
+   was he who dared to encounter their
+   rage. Fillan the great was there. Thou
+   Oscur wert there, my son! Fingal himself
+   was there, strong in the grey locks
+   of years. Full rose his sinewy limbs;
+   and wide his shoulders spread. The
+   unhappy met with his arm, when the
+   pride of his wrath arose.
+
+   The son of Morny came; Gaul, the
+   tallest of men. He stood on the hill like
+   an oak; his voice was like the streams of
+   the hill. Why reigneth alone, he cries,
+   the son of the mighty Corval? Fingal is
+   not strong to save: he is no support for
+   the people. I am strong as a storm in
+   the ocean; as a whirlwind on the hill.
+   Yield, son of Corval; Fingal, yield to
+   me.
+
+   Oscur stood forth to meet him;
+   my son would meet the foe. But Fingal
+   came in his strength, and smiled at
+   the vaunter's boast. They threw their
+   arms round each other; they struggled
+   on the plain. The earth is ploughed with
+   their heels. Their bones crack as the boat
+   on the ocean, when it leaps from wave to
+   wave. Long did they toil; with night,
+   they fell on the sounding plain; as two
+   oaks, with their branches mingled, fall
+   crashing from the hill. The tall son
+   of Morny is bound; the aged overcame.
+
+   Fair with her locks of gold, her
+   smooth neck, and her breasts of snow;
+   fair, as the spirits of the hill when at
+   silent noon they glide along the heath;
+   fair, as the rainbow of heaven; came
+   Minvane the maid. Fingal! She softly
+   saith, loose me my brother Gaul.
+   Loose me the hope of my race, the terror
+   of all but Fingal. Can I, replies the
+   King, can I deny the lovely daughter
+   of the hill? take thy brother, O Minvane,
+   thou fairer than the snow of the
+   north!
+
+   Such, Fingal! were thy words; but
+   thy words I hear no more. Sightless
+   I sit by thy tomb. I hear the wind in
+   the wood; but no more I hear my
+   friends. The cry of the hunter is over.
+   The voice of war is ceased.
+
+
+
+   IX
+
+   Thou askest, fair daughter of the
+   isles! whose memory is preserved
+   in these tombs? The memory of Ronnan
+   the bold, and Connan the chief of
+   men; and of her, the fairest of maids,
+   Rivine the lovely and the good. The
+   wing of time is laden with care. Every
+   moment hath woes of its own. Why
+   seek we our grief from afar? or give our
+   tears to those of other times? But thou
+   commanded, and I obey, O fair daughter
+   of the isles!
+
+   Conar was mighty in war. Caul
+   was the friend of strangers. His gates
+   were open to all; midnight darkened
+   not on his barred door. Both lived upon
+   the sons of the mountains. Their bow
+   was the support of the poor.
+
+   Connan was the image of Conar's
+   soul. Caul was renewed in Ronnan his
+   son. Rivine the daughter of Conar was
+   the love of Ronnan; her brother Connan
+   was his friend. She was fair as the
+   harvest-moon setting in the seas of
+   Molochasquir. Her soul was settled on
+   Ronnan; the youth was the dream of her
+   nights.
+
+   Rivine, my love! says Ronnan, I go
+   to my king in Norway[A]. A year and
+   a day shall bring me back. Wilt thou
+   be true to Ronnan?
+
+   [Footnote A: Supposed to be Fergus II. This fragment is reckoned not
+   altogether so ancient as most of the rest.]
+
+   Ronnan! a year and a day I will
+   spend in sorrow. Ronnan, behave like
+   a man, and my soul shall exult in thy
+   valour. Connan my friend, says Ronnan,
+   wilt thou preserve Rivine thy sister?
+   Durstan is in love with the maid;
+   and soon shall the sea bring the stranger
+   to our coast.
+
+   Ronnan, I will defend: Do thou
+   securely go.--He went. He returned
+   on his day. But Durstan returned
+   before him.
+
+   Give me thy daughter, Conar, says
+   Durstan; or fear and feel my power.
+
+   He who dares attempt my sister, says
+   Connan, must meet this edge of steel.
+   Unerring in battle is my arm: my
+   sword, as the lightning of heaven.
+
+   Ronnan the warriour came; and
+   much he threatened Durstan.
+
+   But, saith Euran the servant of
+   gold, Ronnan! by the gate of the north
+   shall Durstan this night carry thy fair-one
+   away. Accursed, answers Ronnan, be this arm if death meet him not
+   there.
+
+   Connan! saith Euran, this night
+   shall the stranger carry thy sister away.
+   My sword shall meet him, replies Connan,
+   and he shall lie low on earth.
+
+   The friends met by night, and they
+   fought. Blood and sweat ran down
+   their limbs as water on the mossy rock.
+   Connan falls; and cries, O Durstan,
+   be favourable to Rivine!--And is it my
+   friend, cries Ronnan, I have slain? O
+   Connan! I knew thee not.
+
+   He went, and he fought with Durstan.
+   Day began to rise on the combat,
+   when fainting they fell, and expired.
+   Rivine came out with the morn;
+   and--O what detains my Ronnan!
+   --She saw him lying pale in his blood;
+   and her brother lying pale by his side.
+
+   What could she say: what could she
+   do? her complaints were many and vain.
+   She opened this grave for the warriours;
+   and fell into it herself, before it
+   was closed; like the sun snatched away
+   in a storm.
+
+   Thou hast heard this tale of grief,
+   O fair daughter of the isles! Rivine was
+   fair as thyself: shed on her grave a
+   tear.
+
+
+
+   X
+
+   It is night; and I am alone, forlorn
+   on the hill of storms. The wind is
+   heard in the mountain. The torrent
+   shrieks down the rock. No hut receives
+   me from the rain; forlorn on the hill of
+   winds.
+
+   Rise, moon! from behind thy
+   clouds; stars of the night, appear!
+   Lead me, some light, to the place where
+   my love rests from the toil of the chase!
+   his bow near him, unstrung; his dogs
+   panting around him. But here I must
+   sit alone, by the rock of the mossy
+   stream. The stream and the wind
+   roar; nor can I hear the voice of my
+   love.
+
+   Why delayeth my Shalgar, why the
+   son of the hill, his promise? Here is
+   the rock; and the tree; and here the
+   roaring stream. Thou promisedst with
+   night to be here. Ah! whither is my
+   Shalgar gone? With thee I would fly
+   my father; with thee, my brother of
+   pride. Our race have long been foes;
+   but we are not foes, O Shalgar!
+
+   Cease a little while, O wind! stream,
+   be thou silent a while! let my voice be
+   heard over the heath; let my wanderer
+   hear me. Shalgar! it is I who call. Here
+   is the tree, and the rock. Shalgar, my
+   love! I am here. Why delayest thou
+   thy coming? Alas! no answer.
+
+   Lo! the moon appeareth. The
+   flood is bright in the vale. The rocks
+   are grey on the face of the hill. But
+   I see him not on the brow; his dogs
+   before him tell not that he is coming.
+   Here I must sit alone.
+
+   But who are these that lie beyond
+   me on the heath? Are they my love
+   and my brother?--Speak to me, O my
+   friends! they answer not. My soul is
+   tormented with fears.--Ah! they are
+   dead. Their swords are red from the
+   fight. O my brother! my brother!
+   why hast thou slain my Shalgar? why,
+   O Shalgar! hast thou slain my brother?
+   Dear were ye both to me! speak to me;
+   hear my voice, sons of my love! But
+   alas! they are silent; silent for ever!
+   Cold are their breast of clay!
+
+   Oh! from the rock of the hill;
+   from the top of the mountain of winds,
+   speak ye ghosts of the dead! speak,
+   and I will not be afraid.--Whither
+   are ye gone to rest? In what cave of
+   the hill shall I find you?
+
+   I sit in my grief. I wait for morning
+   in my tears. Rear the tomb, ye
+   friends of the dead; but close it not
+   till I come. My life flieth away like a
+   dream: why should I stay behind?
+   Here shall I rest with my friends by the
+   stream of the founding rock. When
+   night comes on the hill: when the wind
+   is up on the heath; my ghost shall stand
+   in the wind, and mourn the death of
+   my friends. The hunter shall hear
+   from his booth. He shall fear, but
+   love my voice. For sweet shall my voice
+   be for my friends; for pleasant were
+   they both to me.
+
+
+
+   XI
+
+   Sad! I am sad indeed: nor small my
+   cause of woe!--Kirmor, thou hast
+   lost no son; thou hast lost no daughter
+   of beauty. Connar the valiant lives;
+   and Annir the fairest of maids. The
+   boughs of thy family flourish, O Kirmor!
+   but Armyn is the last of his
+   race.
+
+   Rise, winds of autumn, rise; blow
+   upon the dark heath! streams of the
+   mountains, roar! howl, ye tempests,
+   in the trees! walk through broken
+   clouds, O moon! show by intervals thy
+   pale face! bring to my mind that sad
+   night, when all my children fell; when
+   Arindel the mighty fell; when Daura
+   the lovely died.
+
+   Daura, my daughter! thou wert
+   fair; fair as the moon on the hills of
+   Jura; white as the driven snow; sweet as
+   the breathing gale. Armor renowned in
+   war came, and fought Daura's love; he
+   was not long denied; fair was the hope
+   of their friends.
+
+   Earch son of Odgal repined; for
+   his brother was slain by Armor. He
+   came disguised like a son of the sea:
+   fair was his skiff on the wave; white
+   his locks of age; calm his serious brow.
+   Fairest of women, he said, lovely daughter
+   of Armyn! a rock not distant in
+   the sea, bears a tree on its side; red
+   shines the fruit afar. There Armor
+   waiteth for Daura. I came to fetch
+   his love. Come, fair daughter of Armyn!
+
+   She went; and she called on Armor.
+   Nought answered, but the son of the
+   rock. Armor, my love! my love!
+   why tormentest thou me with fear?
+   come, graceful son of Arduart, come;
+   it is Daura who calleth thee!--Earch
+   the traitor fled laughing to the land.
+   She lifted up her voice, and cried for
+   her brother and her father. Arindel!
+   Armyn! none to relieve your Daura?
+
+   Her voice came over the sea. Arindel
+   my son descended from the hill;
+   rough in the spoils of the chace. His
+   arrows rattled by his side; his bow was
+   in his hand; five grey dogs attended
+   his steps. He saw fierce Earch on the
+   shore; he seized and bound him to an
+   oak. Thick fly the thongs of the hide
+   around his limbs; he loads the wind
+   with his groans.
+
+   Arindel ascends the surgy deep in
+   his boat, to bring Daura to the land.
+   Armor came in his wrath, and let fly
+   the grey-feathered shaft. It sung; it
+   sunk in thy heart, O Arindel my son!
+   for Earch the traitor thou diedst. What
+   is thy grief, O Daura, when round
+   thy feet is poured thy brother's blood!
+
+   The boat is broken in twain by the
+   waves. Armor plunges into the sea, to
+   rescue his Daura or die. Sudden a blast
+   from the hill comes over the waves.
+   He sunk, and he rose no more.
+
+   Alone, on the sea-beat rock, my
+   daughter was heard to complain. Frequent
+   and loud were her cries; nor
+   could her father relieve her. All
+   night I stood on the shore. All night I
+   heard her cries. Loud was the wind;
+   and the rain beat hard on the side of the
+   mountain. Before morning appeared,
+   her voice was weak. It died away, like
+   the evening-breeze among the grass of
+   the rocks. Spent with grief she expired.
+   O lay me soon by her side.
+
+   When the storms of the mountain
+   come; when the north lifts the waves
+   on high; I sit by the sounding shore,
+   and look on the fatal rock. Often by
+   the setting moon I see the ghosts of
+   my children. Indistinct, they walk in
+   mournful conference together. Will
+   none of you speak to me?--But they
+   do not regard their father.
+
+
+
+   XII
+
+   RYNO, ALPIN.
+
+   RYNO
+
+   The wind and the rain are over:
+   calm is the noon of day. The
+   clouds are divided in heaven. Over
+   the green hills flies the inconstant sun.
+   Red through the stony vale comes
+   down the stream of the hill. Sweet are
+   thy murmurs, O stream! but more
+   sweet is the voice I hear. It is the voice
+   of Alpin the son of the song, mourning
+   for the dead. Bent is his head of age,
+   and red his tearful eye. Alpin, thou
+   son of the song, why alone on the silent
+   hill? why complainest thou, as a
+   blast in the wood; as a wave on the
+   lonely shore?
+
+   ALPIN.
+
+   My tears, O Ryno! are for the dead;
+   my voice, for the inhabitants of the
+   grave. Tall thou art on the hill; fair
+   among the sons of the plain. But thou
+   shalt fall like Morar; and the mourner
+   shalt sit on thy tomb. The hills shall
+   know thee no more; thy bow shall lie in
+   the hall, unstrung.
+
+   Thou wert swift, O Morar! as a
+   doe on the hill; terrible as a meteor of
+   fire. Thy wrath was as the storm of
+   December. Thy sword in battle, as
+   lightning in the field. Thy voice was
+   like a stream after rain; like thunder
+   on distant hills. Many fell by thy
+   arm; they were consumed in the flames
+   of thy wrath.
+
+   But when thou returnedst from war,
+   how peaceful was thy brow! Thy face
+   was like the sun after rain; like the
+   moon in the silence of night; calm as
+   the breast of the lake when the loud
+   wind is laid.
+
+   Narrow is thy dwelling now; dark
+   the place of thine abode. With three
+   steps I compass thy grave, O thou who
+   wast so great before! Four stones with
+   their heads of moss are the only memorial
+   of thee. A tree with scarce a leaf,
+   long grass which whistles in the wind,
+   mark to the hunter's eye the grave of
+   the mighty Morar. Morar! thou art
+   low indeed. Thou hast no mother to
+   mourn thee; no maid with her tears of
+   love. Dead is she that brought thee
+   forth. Fallen is the daughter of Morglan.
+
+   Who on his staff is this? who is this,
+   whose head is white with age, whose
+   eyes are red with tears, who quakes
+   at every step?--It is thy father, O
+   Morar! the father of none but thee.
+   He heard of thy fame in battle; he heard
+   of foes dispersed. He heard of Morar's
+   fame; why did he not hear of his
+   wound? Weep, thou father of Morar!
+   weep; but thy son heareth thee not.
+   Deep is the sleep of the dead; low their
+   pillow of dust. No more shall he hear
+   thy voice; no more shall he awake at
+   thy call.  When shall it be morn in the
+   grave, to bid the slumberer awake?
+
+   Farewell, thou bravest of men!
+   thou conqueror in the field! but the field
+   shall see thee no more; nor the dark
+   wood be lightened with the splendor of
+   thy steel. Thou hast left no son.
+   But the song shall preserve thy name.
+   Future times shall hear of thee; they
+   shall hear of the fallen Morar.
+
+
+
+   XIII
+
+   [Footnote: This is the opening of the epic poem mentioned in the preface.
+   The two following fragments are parts of some episodes of the same work.]
+
+   Cuchlaid sat by the wall; by the
+   tree of the rustling leaf.
+
+   [Footnote: The aspen or poplar tree]
+
+   His spear leaned against the mossy rock.
+   His shield lay by him on the grass.
+   Whilst he thought on the mighty Carbre
+   whom he slew in battle, the scout of
+   the ocean came, Moran the son of Fithil.
+
+   Rise, Cuchulaid, rise! I see the ships
+   of Garve. Many are the foe, Cuchulaid;
+   many the sons of Lochlyn.
+
+   Moran! thou ever tremblest; thy
+   fears increase the foe. They are the
+   ships of the Desert of hills arrived to assist
+   Cuchulaid.
+
+   I saw their chief, says Moran, tall as
+   a rock of ice. His spear is like that fir;
+   his shield like the rising moon. He sat
+   upon a rock on the shore, as a grey
+   cloud upon the hill. Many, mighty
+   man! I said, many are our heroes;
+   Garve, well art thou named,
+   many are the sons of our king.
+
+   [Footnote: Garve signifies a man of great size.]
+
+   He answered like a wave on the
+   rock; who is like me here? The valiant
+   live not with me; they go to the
+   earth from my hand. The king of the
+   Desert of hills alone can fight with
+   Garve. Once we wrestled on the hill.
+   Our heels overturned the wood. Rocks
+   fell from their place, and rivulets changed
+   their course. Three days we strove
+   together; heroes stood at a distance,
+   and feared. On the fourth, the King
+   saith that I fell; but Garve saith, he
+   stood. Let Cuchulaid yield to him that
+   is strong as a storm.
+
+   No. I will never yield to man.
+   Cuchulaid will conquer or die. Go,
+   Moran, take my spear; strike the shield
+   of Caithbait which hangs before the
+   gate. It never rings in peace. My heroes
+   shall hear on the hill,--
+
+
+
+   XIV
+
+   DUCHOMMAR, MORNA.
+
+   DUCHOMMAR.
+
+   [Footnote: The signification of the names in this fragment are;
+   Dubhchomar, a black well-shaped man. Muirne or Morna, a woman beloved
+   by all. Cormac-cairbre, an unequalled and rough warriour. Cromleach,
+   a crooked hill. Mugruch, a surly gloomy man. Tarman, thunder. Moinie,
+   soft in temper and person.]
+
+   Morna, thou fairest of women,
+   daughter of Cormac-Carbre!
+   why in the circle of stones, in the cave
+   of the rock, alone? The stream murmureth
+   hoarsely. The blast groaneth
+   in the aged tree. The lake is troubled
+   before thee. Dark are the clouds of
+   the sky. But thou art like snow on
+   the heath. Thy hair like a thin cloud
+   of gold on the top of Cromleach. Thy
+   breasts like two smooth rocks on the hill
+   which is seen from the stream of Brannuin.
+   Thy arms, as two white pillars
+   in the hall of Fingal.
+
+   MORNA.
+
+   Whence the son of Mugruch, Duchommar
+   the most gloomy of men? Dark
+   are thy brows of terror. Red thy rolling
+   eyes. Does Garve appear on the
+   sea? What of the foe, Duchommar?
+
+   DUCHOMMAR.
+
+   From the hill I return, O Morna,
+   from the hill of the flying deer. Three
+   have I slain with my bow; three with
+   my panting dogs. Daughter of Cormac-Carbre,
+   I love thee as my soul. I
+   have slain a deer for thee. High was
+   his branchy head; and fleet his feet of
+   wind.
+
+   MORNA.
+
+   Gloomy son of Mugruch, Duchommar!
+   I love thee not: hard is thy heart
+   of rock; dark thy terrible brow. But
+   Cadmor the son of Tarman, thou art
+   the love of Morna! thou art like a sunbeam
+   on the hill, in the day of the
+   gloomy storm. Sawest thou the son of
+   Tarman, lovely on the hill of the chace?
+   Here the daughter of Cormac-Carbre
+   waiteth the coming of Cadmor.
+
+   DUCHOMMAR.
+
+   And long shall Morna wait. His
+   blood is on my sword. I met him by
+   the mossy stone, by the oak of the noisy
+   stream. He fought; but I slew him;
+   his blood is on my sword. High on
+   the hill I will raise his tomb, daughter
+   of Cormac-Carbre. But love thou the
+   son of Mugruch; his arm is strong as a
+   storm.
+
+   MORNA.
+
+   And is the son of Tarman fallen;
+   the youth with the breast of snow! the
+   first in the chase of the hill; the foe
+   of the sons of the ocean!--Duchommar,
+   thou art gloomy indeed; cruel is
+   thy arm to me.--But give me that
+   sword, son of Mugruch; I love the
+   blood of Cadmor.
+
+   [He gives her the sword, with which she instantly stabs him.]
+
+   DUCHOMMAR.
+
+   Daughter of Cormac-Carbre, thou
+   hast pierced Duchommar! the sword is
+   cold in my breast; thou hast killed the
+   son of Mugruch. Give me to Moinic
+   the maid; for much she loved Duchommar.
+   My tomb she will raise on the
+   hill; the hunter shall see it, and praise
+   me.--But draw the sword from my
+   side, Morna; I feel it cold.--
+
+   [Upon her coming near him, he stabs her. As she fell, she plucked a stone
+   from the side of the cave, and placed it betwixt them, that his blood
+   might not be mingled with hers.]
+
+
+
+   XV
+
+   [1]Where is Gealchossa my love, the
+   daughter of Tuathal-Teachvar?
+   I left her in the hall of the plain, when I
+   fought with the hairy Ulfadha. Return
+   soon, she said, O Lamderg! for
+   here I wait in sorrow. Her white breast
+   rose with sighs; her cheek was wet
+   with tears. But she cometh not to meet
+   Lamderg; or sooth his soul after battle.
+   Silent is the hall of joy; I hear not
+   the voice of the singer. Brann does
+   not shake his chains at the gate, glad
+   at the coming of his master. Where
+   is Gealchossa my love, the daughter of
+   Tuathal-Teachvar?
+
+   [Footnote: The signification of the names in this fragment are;
+   Gealchossack, white-legged. Tuathal-Teachtmhar, the surly, but fortunate
+   man. Lambhdearg, bloodyhand. Ulfadba, long beard. Fichios, the conqueror
+   of men.]
+
+   Lamderg! says Firchios son of Aydon,
+   Gealchossa may be on the hill;
+   she and her chosen maids pursuing the
+   flying deer.
+
+   Firchios! no noise I hear. No
+   sound in the wood of the hill. No
+   deer fly in my sight; no panting dog
+   pursueth. I see not Gealchossa my
+   love; fair as the full moon setting on
+   the hills of Cromleach. Go, Firchios!
+   go to Allad, the grey-haired son of
+   the rock. He liveth in the circle of
+   stones; he may tell of Gealchossa.
+
+   [Footnote: Allad is plainly a Druid consulted on this occasion.]
+
+   Allad! saith Firchios, thou who
+   dwellest in the rock; thou who tremblest
+   alone; what saw thine eyes of
+   age?
+
+   I saw, answered Allad the old, Ullin the son of Carbre: He came like a
+   cloud from the hill; he hummed a surly
+   song as he came, like a storm in
+   leafless wood. He entered the hall of
+   the plain. Lamderg, he cried, most
+   dreadful of men! fight, or yield to Ullin.
+   Lamderg, replied Gealchoffa,
+   Lamderg is not here: he fights the
+   hairy Ulfadha; mighty man, he is not
+   here. But Lamderg never yields; he
+   will fight the son of Carbre. Lovely art
+   thou, O daughter of Tuathal-Teachvar!
+   said Ullin. I carry thee to the
+   house of Carbre; the valiant shall have
+   Gealchossa. Three days from the top
+   of Cromleach will I call Lamderg to
+   fight. The fourth, you belong to Ullin,
+   if Lamderg die, or fly my sword.
+
+   Allad! peace to thy dreams!--found
+   the horn, Firchios!--Ullin may
+   hear, and meet me on the top of Cromleach.
+
+   Lamderg rushed on like a storm.
+   On his spear he leaped over rivers. Few
+   were his strides up the hill. The rocks
+   fly back from his heels; loud crashing
+   they bound to the plain. His armour,
+   his buckler rung. He hummed a surly
+   song, like the noise of the falling
+   stream. Dark as a cloud he stood above;
+   his arms, like meteors, shone.
+   From the summit of the hill, he rolled
+   a rock. Ullin heard in the hall of
+   Carbre.--
+
+
+
+
+
+
+
+End of Project Gutenberg's Fragments Of Ancient Poetry, by James MacPherson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FRAGMENTS OF ANCIENT POETRY ***
+
+***** This file should be named 8161-8.txt or 8161-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/8/1/6/8161/
+
+Produced by David Starner, Ted Garvin, and the Online
+Distributed Proofreading Team
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+  www.gutenberg.org/license.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:  www.gutenberg.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
diff --git a/8161-8.zip b/8161-8.zip
new file mode 100644
index 0000000..227fbfc
--- /dev/null
+++ b/8161-8.zip
diff --git a/8161-h.zip b/8161-h.zip
new file mode 100644
index 0000000..4d5ec02
--- /dev/null
+++ b/8161-h.zip
diff --git a/8161-h/8161-h.htm b/8161-h/8161-h.htm
new file mode 100644
index 0000000..f69f2a5
--- /dev/null
+++ b/8161-h/8161-h.htm
@@ -0,0 +1,2612 @@
+<?xml version="1.0" encoding="iso-8859-1"?>
+
+<!DOCTYPE html
+   PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+   "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+  <head>
+    <title>
+      Fragments of Ancient Poetry, by James Macpherson
+    </title>
+    <style type="text/css" xml:space="preserve">
+
+    body { margin:5%; background:#faebd0; text-align:justify}
+    P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; }
+    H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; }
+    hr  { width: 50%; text-align: center;}
+    .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; }
+    blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;}
+    .mynote    {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+    .toc       { margin-left: 10%; margin-bottom: .75em;}
+    .toc2      { margin-left: 20%;}
+    div.fig    { display:block; margin:0 auto; text-align:center; }
+    div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; }
+    .figleft   {float: left; margin-left: 0%; margin-right: 1%;}
+    .figright  {float: right; margin-right: 0%; margin-left: 1%;}
+    .pagenum   {display:inline; font-size: 70%; font-style:normal;
+               margin: 0; padding: 0; position: absolute; right: 1%;
+               text-align: right;}
+    pre        {font-family: Times New Roman; font-size: 100%; margin-left: 10%;}
+
+</style>
+  </head>
+  <body>
+<pre xml:space="preserve">
+
+Project Gutenberg's Fragments Of Ancient Poetry, by James MacPherson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Fragments Of Ancient Poetry
+
+Author: James MacPherson
+
+Commentator: John J. Dunn
+
+
+Release Date: May, 2005  [EBook #8161]
+This file was first posted on June 23, 2003
+Last Updated: May 6, 2013
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FRAGMENTS OF ANCIENT POETRY ***
+
+
+
+
+Text file produced by David Starner, Ted Garvin, and the Online
+Distributed Proofreading Team
+
+HTML file produced by David Widger
+
+
+
+
+</pre>
+    <div style="height: 8em;">
+      <br /><br /><br /><br /><br /><br /><br /><br />
+    </div>
+    <h1>
+      FRAGMENTS OF ANCIENT POETRY
+    </h1>
+    <h2>
+      By James Macpherson
+    </h2>
+    <h4>
+      The Augustan Reprint Society
+    </h4>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <b>CONTENTS</b>
+    </p>
+    <p class="toc">
+      <a href="#link2H_INTR"> Introduction By John J. Dunn </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_INTR2"> INTRODUCTION </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_NOTE"> NOTES TO THE INTRODUCTION </a>
+    </p>
+    <p>
+      <br />
+    </p>
+    <p class="toc">
+      <a href="#link2H_4_0005"> <b>FRAGMENTS OF ANCIENT POETRY</b> </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_4_0006"> LUCAN </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_PREF"> PREFACE </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_4_0008"> FRAGMENT </a>
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_INTR" id="link2H_INTR"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h3>
+      Introduction By John J. Dunn
+    </h3>
+    <p>
+      GENERAL EDITORS
+    </p>
+    <p>
+      George Robert Guffey, University of California, Los Angeles
+    </p>
+    <p>
+      Earl Miner, University of California, Los Angeles
+    </p>
+    <p>
+      Maximillian E. Novak, University of California, Los Angeles
+    </p>
+    <p>
+      Robert Vosper, William Andrews Clark Memorial Library
+    </p>
+    <p>
+      ADVISORY EDITORS
+    </p>
+    <p>
+      Richard C. Boys, University of Michigan
+    </p>
+    <p>
+      James L. Clifford, Columbia University
+    </p>
+    <p>
+      Ralph Cohen, University of California, Los Angeles
+    </p>
+    <p>
+      Vinton A. Dearing, University of California, Los Angeles
+    </p>
+    <p>
+      Arthur Friedman, University of Chicago
+    </p>
+    <p>
+      Louis A. Landa, Princeton University
+    </p>
+    <p>
+      Samuel H. Monk, University of Minnesota
+    </p>
+    <p>
+      Everett T. Moore, University of California, Los Angeles
+    </p>
+    <p>
+      Lawrence Clark Powell, William Andrews Clark Memorial Library
+    </p>
+    <p>
+      James Sutherland, University College, London
+    </p>
+    <p>
+      H. T. Swedenberg, Jr., University of California, Los Angeles
+    </p>
+    <p>
+      CORRESPONDING SECRETARY
+    </p>
+    <p>
+      Edna C. Davis, William Andrews Clark Memorial Library
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_INTR2" id="link2H_INTR2"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      INTRODUCTION
+    </h2>
+    <p>
+      Byron was actually the third Scotsman in about fifty years who awoke and
+      found himself famous; the sudden rise from obscurity to international fame
+      had been experienced earlier by two fellow countrymen, Sir Walter Scott
+      and James Macpherson. Considering the greatness of the reputation of the
+      two younger writers, it may seem strange to link their names with
+      Macpherson's, but in the early nineteenth century it would not have seemed
+      so odd. In fact, as young men both Scott and Byron would have probably
+      have been flattered by such an association. Scott tells us that in his
+      youth he "devoured rather than perused" Ossian and that he could repeat
+      whole duans "without remorse"; and, as I shall discuss later, Byron paid
+      Macpherson the high compliment of writing an imitation of Ossian, which he
+      published in <i>Hours of Idleness</i>.
+    </p>
+    <p>
+      The publication of the modest and anonymous pamphlet, <i>Fragments of
+      Ancient Poetry</i> marks the beginning of Macpherson's rise to fame, and
+      concomitantly the start of a controversy that is unique in literary
+      history. For the half-century that followed, the body of poetry that was
+      eventually collected as <i>The Poems of Ossian</i> provoked the comment of
+      nearly every important man of letters. Extravagance and partisanship were
+      characteristic of most of the remarks, but few literary men were
+      indifferent.
+    </p>
+    <p>
+      The intensity and duration of the controversy are indicative of how
+      seriously Macpherson's work was taken, for it was to many readers of the
+      day daring, original, and passionate. Even Malcolm Laing, whose ardor in
+      exposing Macpherson's imposture exceeded that of Dr. Johnson, responded to
+      the literary quality of the poems. In a note on the fourth and fifth
+      "Fragments" the arch prosecutor of Macpherson commented,
+    </p>
+    <p>
+      "From a singular coincidence of circumstances, it was in this house, where
+      I now write, that I first read the poems in my early youth, with an ardent
+      credulity that remained unshaken for many years of my life; and with a
+      pleasure to which even the triumphant satisfaction of detecting the
+      imposture is comparatively nothing. The enthusiasm with which I read and
+      studied the poems, enabled me afterwards, when my suspicions were once
+      awakened, to trace and expose the deception with greater success. Yet,
+      notwithstanding the severity of minute criticism, I can still peruse them
+      as a wild and wonderful assemblage of imitation with which the fancy is
+      often pleased and gratified, even when the judgment condemns them most."<a
+      href="#linknote-2" name="linknoteref-2" id="noteref-2"><small>2</small></a>
+    </p>
+    <p>
+      II
+    </p>
+    <p>
+      It was John Home, famous on both sides of the Tweed as the author of <i>Douglas</i>,
+      who first encouraged Macpherson to undertake his translations. While
+      taking the waters at Moffat in the fall of 1759, he was pleased to meet a
+      young Highland tutor, who was not only familiar with ancient Gaelic poetry
+      but who had in his possession several such poems. Home, like nearly all of
+      the Edinburgh literati, knew no Gaelic and asked Macpherson to translate
+      one of them. The younger man at first protested that a translation "would
+      give a very imperfect idea of the original," but Home "with some
+      difficulty" persuaded him to try. In a "day or two" Macpherson brought him
+      the poem that was to become "Fragment VII" in this collection; Home was so
+      much pleased with it that he requested additional translations.<a
+      href="#linknote-3" name="linknoteref-3" id="noteref-3"><small>3</small></a>
+    </p>
+    <p>
+      "Jupiter" Carlyle, whose autobiography reflects the keen interest that he
+      took in literature, arrived at Moffat after Home had seen the
+      "translations." Home, he found, "had been highly delighted with them," and
+      when Carlyle read them he "was perfectly astonished at the poetical
+      genius" that they displayed. They agreed that "it was a precious
+      discovery, and that as soon as possible it should be published to the
+      world."<a href="#linknote-4" name="linknoteref-4" id="noteref-4"><small>4</small></a>
+    </p>
+    <p>
+      When Home left Moffat he took his find to Edinburgh and showed the
+      translations to the men who earned the city Smollett's sobriquet, a
+      "hotbed of genius": Robertson, fresh from the considerable success of his
+      two volume <i>History of Scotland</i> (1759); Robert Fergusson, recently
+      appointed professor of natural history at the University of Edinburgh;
+      Lord Elibank, a learned aristocrat, who had been patron to Home and
+      Robertson; and Hugh Blair, famous for the sermons that he delivered as
+      rector of the High Church of St. Giles. Home was gratified that these men
+      were "no less pleased" with Macpherson's work than he had been. David Hume
+      and David Dalrymple (later Lord Hailes) were soon apprised of the
+      discovery and joined in the chorus of approbation that emanated from the
+      Scottish capitol.
+    </p>
+    <p>
+      Blair became the spokesman and the leader for the Edinburgh literati, and
+      for the next forty years he lavished his energy in praising and defending
+      Macpherson's work. The translations came to him at the time that he was
+      writing his lectures on <i>belles lettres</i> and was thus in the process
+      of formulating his theories on the origins of poetry and the nature of the
+      sublime. Blair lost no time in communicating with Macpherson:
+    </p>
+    <p>
+      "I being as much struck as Mr Home with the high spirit of poetry which
+      breathed in them, presently made inquiry where Mr. Macpherson was to be
+      found; and having sent for him to come to me, had much conversation with
+      him on the subject."<a href="#linknote-5" name="linknoteref-5"
+      id="noteref-5"><small>5</small></a>
+    </p>
+    <p>
+      Macpherson told Blair that there were "greater and more considerable poems
+      of the same strain" still extant in the Highlands; Blair like Home was
+      eager for more, but Macpherson again declined to translate them. He said
+      that he felt himself inadequate to render "the spirit and force" of the
+      originals and that "they would be very ill relished by the public as so
+      very different from the strain of modern ideas, and of modern, connected,
+      and polished poetry." This whetted Blair's interest even more, and after
+      "repeated importunity" he persuaded Macpherson to translate more
+      fragments. The result was the present volume, which Blair saw to the press
+      and for which he wrote the Preface "in consequence of the conversations"
+      that he had with Macpherson.<a href="#linknote-6" name="linknoteref-6"
+      id="noteref-6"><small>6</small></a>
+    </p>
+    <p>
+      Most of Blair's Preface does seem to be based on information supplied by
+      Macpherson, for Blair had almost no first-hand knowledge about Highland
+      poetry or its traditions. It is apparent from the Preface then, that
+      Macpherson had not yet decided to ascribe the poems to a single poet;
+      Ossian is one of the principal poets in the collection but the whole is
+      merely ascribed "to the bards" (see pp. v-vi). It is also evident from the
+      Preface that Macpherson was shifting from the reluctant "translator" of a
+      few "fragments" to the projector of a full-length epic "if enough
+      encouragement were given for such an undertaking."
+    </p>
+    <p>
+      Since Blair became famous for his <i>Critical Dissertation on the Poems of
+      Ossian</i> (London, 1763), it may seem strange that in the Preface to the
+      <i>Fragments</i> he declined to say anything of the "poetical merit" of
+      the collection. The frank adulation of the longer essay, which concludes
+      with the brave assertion that Ossian may be placed "among those whose
+      works are to last for ages,"<a href="#linknote-7" name="linknoteref-7"
+      id="noteref-7"><small>7</small></a> was partially a reflection of the
+      enthusiasm that greeted each of Macpherson's successive publications.
+    </p>
+    <p>
+      III
+    </p>
+    <p>
+      Part of the appeal of the <i>Fragments</i> 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&mdash;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.
+    </p>
+    <p>
+      After Gray had read several of the "Fragments" in manuscript he wrote to
+      Thomas Warton that he had "gone mad about them"; he added,
+    </p>
+<pre xml:space="preserve">
+  "I was so struck, so <i>extasié</i> 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 &amp; the Kirk."
+</pre>
+    <p>
+      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."<a
+      href="#linknote-8" name="linknoteref-8" id="noteref-8"><small>8</small></a>
+    </p>
+    <p>
+      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,
+    </p>
+    <p>
+      "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&mdash;particularly,
+      in some parts, turgid and bombastic diction."<a href="#linknote-9"
+      name="linknoteref-9" id="noteref-9"><small>9</small></a>
+    </p>
+    <p>
+      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,
+    </p>
+    <p>
+      "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!'"<a href="#linknote-10" name="linknoteref-10"
+      id="noteref-10"><small>10</small></a>
+    </p>
+    <p>
+      There is some justice in Macpherson's wry assertion that "those who have
+      doubted my veracity have paid a compliment to my genius."<a
+      href="#linknote-11" name="linknoteref-11" id="noteref-11"><small>11</small></a>
+      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.
+    </p>
+    <p>
+      IV
+    </p>
+    <p>
+      Perhaps Macpherson's most important innovation was to cast his work into
+      what his contemporaries called "measured prose," and it was recognized
+      early that this new form contributed greatly to their appeal. In
+      discussing the <i>Fragments</i>, Ramsey of Ochtertyre commented,
+    </p>
+    <p>
+      "Nothing could be more happy or judicious than his translating in measured
+      prose; for had he attempted it in verse, much of the spirit of the
+      original would have evaporated, supposing him to have had talents and
+      industry to perform that very arduous task upon a great scale. This small
+      publication drew the attention of the literary world to a new species of
+      poetry."<a href="#linknote-12" name="linknoteref-12" id="noteref-12"><small>12</small></a>
+    </p>
+    <p>
+      For his new species of poetry Macpherson drew upon the stylistic
+      techniques of the King James Version of the Bible, just as Blake and
+      Whitman were to do later. As Bishop Lowth was the first to point out,
+      parallelism is the basic structural technique. Macpherson incorporated two
+      principal forms of parallelism in his poems: <i>repetition</i>, a pattern
+      in which the second line nearly restates the sense of the first, and <i>completion</i>
+      in which the second line picks up part of the sense of the first line and
+      adds to it. These are both common in the <i>Fragments</i>, but a few
+      examples may be useful. I have rearranged the following lines and in the
+      other passages relating to the structure of the poems in order to call
+      attention to the binary quality of Macpherson's verse:
+    </p>
+    <p>
+      <i>Repetition</i>
+    </p>
+<pre xml:space="preserve">
+   Who can reach the source of thy race, O Connal?
+   And who recount thy Fathers? ("Fragment V")
+</pre>
+<pre xml:space="preserve">
+   Oscur my son came down;
+   The mighty in battle descended. ("Fragment VI")
+</pre>
+<pre xml:space="preserve">
+   Oscur stood forth to meet him;
+   My son would meet the foe. ("Fragment VIII")
+</pre>
+<pre xml:space="preserve">
+   Future times shall hear of thee;
+   They shall hear of the fallen Morar. ("Fragment XII")
+</pre>
+    <p>
+      <i>Completion</i>
+    </p>
+<pre xml:space="preserve">
+   What voice is that I hear?
+   That voice like the summer wind. ("Fragment I")
+
+     The warriours saw her, and loved;
+     Their souls were fixed on the maid.
+     Each loved her, as his fame;
+     Each must possess her or die.
+     But her soul was fixed on Oscur;
+     My son was the youth of her love.      ("Fragment VII")
+</pre>
+    <p>
+      Macpherson also used grammatical parallelism as a structural device; a
+      series of simple sentences is often used to describe a landscape:
+    </p>
+<pre xml:space="preserve">
+     Autumn is dark on the mountains;
+     Grey mist rests on the hills.
+     The whirlwind is heard on the heath.
+     Dark rolls the river through the narrow plain.   ("Fragment V")
+</pre>
+    <p>
+      The poems also have a discernible rhythmical pattern; the tendency of the
+      lines to form pairs is obvious enough when there is semantic or
+      grammatical parallelism, but there is a general binary pattern throughout.
+      Typically, the first unit is a simple sentence, the second almost any
+      grammatical structure&mdash;an appositive, a prepositional phrase, a
+      participle, the second element of a compound verb, a dependent clause. A
+      simile&mdash;in grammatical terms, an adverbial phrase&mdash;sometimes
+      constitutes the second element. These pairs are often balanced roughly by
+      the presence of two, three, or four accents in each constituent; there are
+      a large number of imbedded iambic and anapestic feet, which give the
+      rhythm an ascending quality:
+    </p>
+<pre xml:space="preserve">
+  The da/ughter of R/inval was n/ear;
+
+  Crim/ora, br/ight in the arm/our of m/an;
+
+  Her ha/ir loose beh/ind,
+
+  Her b/ow in her h/and.
+
+  She f/ollowed the y/outh to w/ar,
+
+  Co/nnal her m/uch bel/oved.
+
+  She dr/ew the st/ring on D/argo;
+
+  But e/rring pi/erced her C/onnal.      ("Fragment V")
+</pre>
+    <p>
+      As E. H. W. Meyerstein pointed out, "Macpherson can, without extravagance,
+      be regarded as the main originator (after the translators of the
+      Authorized Version) of what's known as 'free verse."<a href="#linknote-13"
+      name="linknoteref-13" id="noteref-13"><small>13</small></a> Macpherson's
+      work certainly served to stimulate prosodic experimentation during the
+      next half century; it is certainly no coincidence that two of the boldest
+      innovators, Blake and Coleridge, were admirers of Macpherson's work.
+    </p>
+    <p>
+      Macpherson's diction must have also appealed to the growing taste for
+      poetry that was less ornate and studied. His practice was to use a large
+      number of concrete monosyllabic words of Anglo-Saxon origin to describe
+      objects and forces common to rural life. A simple listing of the common
+      nouns from the opening of "Fragment I" will serve to illustrate this
+      tendency: <i>love, son, hill, deer, dogs, bow-string, wind, stream,
+      rushes, mist, oak, friends</i>. Such diction bears an obvious kinship to
+      what was to become the staple diction of the romantic lyric; for example,
+      a similar listing from "A Slumber Did My Spirit Seal" would be this: <i>slumber,
+      spirit, fears, thing, touch, years, motion, force, course, rocks, stones,
+      trees</i>.
+    </p>
+    <p>
+      The untamed power of Macpherson's wild natural settings is also striking.
+      Samuel H. Monk has made the point well:
+    </p>
+    <p>
+      "Ossian's strange exotic wildness and his obscure, terrible glimpses of
+      scenery were in essence something quite new.... Ossian's images were far
+      from "nature methodized." His imagination illumined fitfully a scene of
+      mountains and blasted heaths, as artificially wild as his heroines were
+      artificially sensitive; to modern readers they resemble too much the
+      stage-settings of melodrama. But in 1760, his descriptions carried with
+      them the thrill of the genuine and of naïvely archaic."
+    </p>
+    <p>
+      And Monk adds, "imperceptibly the Ossianic poems contributed toward
+      converting Britons, nay, Europeans, into enthusiastic admirers of nature
+      in her wilder moments."<a href="#linknote-14" name="linknoteref-14"
+      id="noteref-14"><small>14</small></a>
+    </p>
+    <p>
+      Ghosts are habitually present in the poems, and Macpherson is able to
+      present them convincingly because they are described by a poet who treats
+      them as though they were part of his and his audience's habitual
+      experience. The supernatural world is so familiar, in fact, that it can be
+      used to describe the natural; thus Minvane in "Fragment VII" is called as
+      fair "as the spirits of the hill when at silent noon they glide along the
+      heath." As Patricia M. Spacks has observed, the supernatural seems to be a
+      "genuine part of the poetic texture"; and she adds that
+    </p>
+    <p>
+      "within this poetic context, the supernatural seems convincing because
+      believed in: it is part of the fabric of life for the characters of the
+      poem. Ghosts in the Ossianic poems, almost uniquely in the mid-eighteenth
+      century, seem genuinely to belong; to this particular poetic conception
+      the supernatural does not seem extraneous."<a href="#linknote-15"
+      name="linknoteref-15" id="noteref-15"><small>15</small></a>
+    </p>
+    <p>
+      The <i>Fragments</i> was also a cause and a reflection of the rising
+      appeal of the hero of sensibility, whose principal characteristic was that
+      he could feel more intensely than the mass of humanity. The most common
+      emotion that these acutely empathetic heroes felt was grief, the emotion
+      that permeates the <i>Fragments</i> and the rest of Macpherson's work. It
+      was the exquisite sensibility of Macpherson's heroes and heroines that the
+      young Goethe was struck by; Werther, an Ossianic hero in his own way,
+      comments,
+    </p>
+    <p>
+      "You should see what a silly figure I cut when she is mentioned in
+      society! And then if I am even asked how I like her&mdash;Like! I hate
+      that word like death. What sort of person must that be who likes Lotte, in
+      whom all senses, all emotions are not completely filled up by her! Like!
+      Recently someone asked me how I like Ossian!"<a href="#linknote-16"
+      name="linknoteref-16" id="noteref-16"><small>16</small></a>
+    </p>
+    <p>
+      That Macpherson chose to call his poems "fragments" is indicative of
+      another quality that made them unusual in their day. The poems have a
+      spontaneity that is suggested by the fact that the poets seem to be
+      creating their songs as the direct reflection of an emotional experience.
+      In contrast to the image of the poet as the orderer, the craftsman, the
+      poets of the <i>Fragments</i> have a kind of artlessness (to us a very
+      studied one, to be sure) that gave them an aura of sincerity and honesty.
+      The poems are fragmentary in the sense that they do not follow any
+      orderly, rational plan but seem to take the form that corresponds to the
+      development of an emotional experience. As Macpherson told Blair they are
+      very different from "modern, connected, and polished poetry."
+    </p>
+    <p>
+      V
+    </p>
+    <p>
+      The <i>Fragments</i> proved an immediate success and Macpherson's
+      Edinburgh patrons moved swiftly to raise enough money to enable the young
+      Highlander to resign his position as tutor and to devote himself to
+      collecting and translating the Gaelic poetry still extant in the
+      Highlands. Blair recalled that he and Lord Elibank were instrumental in
+      convening a dinner meeting that was attended by "many of the first persons
+      of rank and taste in Edinburgh," including Robertson, Home, and Fergusson.<a
+      href="#linknote-17" name="linknoteref-17" id="noteref-17"><small>17</small></a>
+      Robert Chalmers acted as treasurer; among the forty odd subscribers who
+      contributed 60£, were James Boswell and David Hume.<a href="#linknote-18"
+      name="linknoteref-18" id="noteref-18"><small>18</small></a> By the time of
+      the second edition of the <i>Fragments</i> (also in 1760), Blair, or more
+      likely Macpherson himself, could inform the public in the "Advertisement"
+      "that measures are now taken for making a full collection of the remaining
+      Scottish bards; in particular, for recovering and translating the heroic
+      poem mentioned in the preface."
+    </p>
+    <p>
+      Macpherson, a frugal man, included many of the "Fragments" in his later
+      work. Sometimes he introduced them into the notes as being later than
+      Ossian but in the same spirit; at other times he introduced them as
+      episodes in the longer narratives. With the exception of Laing's edition,
+      they are not set off, however, and anyone who wishes to see what caused
+      the initial Ossianic fervor must consult the original volume.
+    </p>
+    <p>
+      When we have to remind ourselves that a work of art was revolutionary in
+      its day, we can be sure that we are dealing with something closer to
+      cultural artifact than to art, and it must be granted that this is true of
+      Macpherson's work; nevertheless, the fact that Ossian aroused the interest
+      of major men of letters for fifty years is suggestive of his importance as
+      an innovator. In a curious way, Macpherson's achievement has been
+      overshadowed by the fact that many greater writers followed him and
+      developed the artistic direction that he was among the first to take.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_NOTE" id="link2H_NOTE"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      NOTES TO THE INTRODUCTION
+    </h2>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-1" id="note-1"> </a>
+    </p>
+    <p class="foot">
+      1 (<a href="#linknoteref-1">return</a>)<br /> [ See Scott's letter to Anna
+      Seward in J. G. Lockhart, <i>Memoirs of Sir Walter Scott</i> (London,
+      1900), I, 410-15.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-2" id="note-2"> </a>
+    </p>
+    <p class="foot">
+      2 (<a href="#linknoteref-2">return</a>)<br /> [ <i>The Poems of Ossian</i>,
+      ed. Malcolm Laing (Edinburgh, 1805), I, 441.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-3" id="note-3"> </a>
+    </p>
+    <p class="foot">
+      3 (<a href="#linknoteref-3">return</a>)<br /> [ See Home's letter to
+      Mackenzie in the <i>Report of the Committee of the Highland Society of
+      Scotland</i> (Edinburgh, 1805), Appendix, pp. 68-69.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-4" id="note-4"> </a>
+    </p>
+    <p class="foot">
+      4 (<a href="#linknoteref-4">return</a>)<br /> [ Carlyle to Mackenzie, <i>ibid</i>.,
+      p. 66.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-5" id="note-5"> </a>
+    </p>
+    <p class="foot">
+      5 (<a href="#linknoteref-5">return</a>)<br /> [ Blair to Mackenzie, <i>ibid</i>.,
+      p. 57.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-6" id="note-6"> </a>
+    </p>
+    <p class="foot">
+      6 (<a href="#linknoteref-6">return</a>)<br /> [ <i>Ibid</i>., p. 58.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-7" id="note-7"> </a>
+    </p>
+    <p class="foot">
+      7 (<a href="#linknoteref-7">return</a>)<br /> [ Quoted from <i>The Poems of
+      Ossian</i> (London, 1807), I, 222. After its initial separate publication,
+      Blair's dissertation was regularly included with the collected poems.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-8" id="note-8"> </a>
+    </p>
+    <p class="foot">
+      8 (<a href="#linknoteref-8">return</a>)<br /> [ <i>Correspondence of Thomas
+      Gray</i>, ed. Paget Toynbee and Leonard Whibley (Oxford, 1935), II,
+      679-80.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-9" id="note-9"> </a>
+    </p>
+    <p class="foot">
+      9 (<a href="#linknoteref-9">return</a>)<br /> [ <i>The Works of Lord Byron,
+      Poetry</i>, ed. Ernest Hartley Coleridge (London, 1898), I, 183.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-10" id="note-10"> </a>
+    </p>
+    <p class="foot">
+      10 (<a href="#linknoteref-10">return</a>)<br /> [ "On Poetry in General,"
+      <i>The Complete Works of William Hazlitt</i>, ed. P. P. Howe (London,
+      1930), V, 18.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-11" id="note-11"> </a>
+    </p>
+    <p class="foot">
+      11 (<a href="#linknoteref-11">return</a>)<br /> [ Quoted in Henry Grey
+      Graham, <i>Scottish Men of Letters in the Eighteenth Century</i> (London,
+      1908), p. 240.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-12" id="note-12"> </a>
+    </p>
+    <p class="foot">
+      12 (<a href="#linknoteref-12">return</a>)<br /> [ <i>Scotland and Scotsmen
+      in the Eighteenth Century</i>, ed. Alexander Allardyce (Edinburgh, 1888),
+      I, 547.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-13" id="note-13"> </a>
+    </p>
+    <p class="foot">
+      13 (<a href="#linknoteref-13">return</a>)<br /> [ "The Influence of
+      Ossian," <i>English</i>, VII (1948), 96.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-14" id="note-14"> </a>
+    </p>
+    <p class="foot">
+      14 (<a href="#linknoteref-14">return</a>)<br /> [ <i>The Sublime</i> (Ann
+      Arbor, 1960), p. 126.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-15" id="note-15"> </a>
+    </p>
+    <p class="foot">
+      15 (<a href="#linknoteref-15">return</a>)<br /> [ <i>The Insistence of
+      Horror</i> (Cambridge, Mass., 1962), pp. 86-87.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-16" id="note-16"> </a>
+    </p>
+    <p class="foot">
+      16 (<a href="#linknoteref-16">return</a>)<br /> [ <i>The Sufferings of
+      Young Werther</i>, trans. Bayard Morgan (New York, 1957), p. 51.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-17" id="note-17"> </a>
+    </p>
+    <p class="foot">
+      17 (<a href="#linknoteref-17">return</a>)<br /> [ <i>Report</i>, Appendix,
+      p. 58.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <a name="linknote-18" id="note-18"> </a>
+    </p>
+    <p class="foot">
+      18 (<a href="#linknoteref-18">return</a>)<br /> [ See Robert M. Schmitz, <i>Hugh
+      Blair</i> (New York, 1948), p. 48.]
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_4_0005" id="link2H_4_0005"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      FRAGMENTS OF ANCIENT POETRY
+    </h2>
+    <h3>
+      Collected in the Highlands of Scotland,
+    </h3>
+    <h5>
+      and
+    </h5>
+    <h4>
+      Translated from the Galic or Erse Language
+    </h4>
+<pre xml:space="preserve">
+                    "Vos quoque qui fortes animas, belloque peremtas
+                    Laudibus in longum vates dimittitis aevuin,
+                    Plurima securi fudistis carmina <i>Bardi</i>."
+                 </pre>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_4_0006" id="link2H_4_0006"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      LUCAN
+    </h2>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_PREF" id="link2H_PREF"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      PREFACE
+    </h2>
+    <p>
+      The public may depend on the following fragments as genuine remains of
+      ancient Scottish poetry. The date of their composition cannot be exactly
+      ascertained. Tradition, in the country where they were written, refers
+      them to an æra of the most remote antiquity: and this tradition is
+      supported by the spirit and strain of the poems themselves; which abound
+      with those ideas, and paint those manners, that belong to the most early
+      state of society. The diction too, in the original, is very obsolete; and
+      differs widely from the style of such poems as have been written in the
+      same language two or three centuries ago. They were certainly composed
+      before the establishment of clanship in the northern part of Scotland,
+      which is itself very ancient; for had clans been then formed and known,
+      they must have made a considerable figure in the work of a Highland Bard;
+      whereas there is not the least mention of them in these poems. It is
+      remarkable that there are found in them no allusions to the Christian
+      religion or worship; indeed, few traces of religion of any kind. One
+      circumstance seems to prove them to be coeval with the very infancy of
+      Christianity in Scotland. In a fragment of the same poems, which the
+      translator has seen, a Culdee or Monk is represented as desirous to take
+      down in writing from the mouth of Oscian, who is the principal personage
+      in several of the following fragments, his warlike atchievements and those
+      of his family. But Oscian treats the monk and his religion with disdain,
+      telling him, that the deeds of such great men were subjects too high to be
+      recorded by him, or by any of his religion: A full proof that Christianity
+      was not as yet established in the country.
+    </p>
+    <p>
+      Though the poems now published appear as detached pieces in this
+      collection, there is ground to believe that most of them were originally
+      episodes of a greater work which related to the wars of Fingal. Concerning
+      this hero innumerable traditions remain, to this day, in the Highlands of
+      Scotland. The story of Oscian, his son, is so generally known, that to
+      describe one in whom the race of a great family ends, it has passed into a
+      proverb; "Oscian the last of the heroes."
+    </p>
+    <p>
+      There can be no doubt that these poems are to be ascribed to the Bards; a
+      race of men well known to have continued throughout many ages in Ireland
+      and the north of Scotland. Every chief or great man had in his family a
+      Bard or poet, whose office it was to record in verse, the illustrious
+      actions of that family. By the succession of these Bards, such poems were
+      handed down from race to race; some in manuscript, but more by oral
+      tradition. And tradition, in a country so free of intermixture with
+      foreigners, and among a people so strongly attached to the memory of their
+      ancestors, has preserved many of them in a great measure incorrupted to
+      this day.
+    </p>
+    <p>
+      They are not set to music, nor sung. The verification in the original is
+      simple; and to such as understand the language, very smooth and beautiful;
+      Rhyme is seldom used: but the cadence, and the length of the line varied,
+      so as to suit the sense. The translation is extremely literal. Even the
+      arrangement of the words in the original has been imitated; to which must
+      be imputed some inversions in the style, that otherwise would not have
+      been chosen.
+    </p>
+    <p>
+      Of the poetical merit of these fragments nothing shall here be said. Let
+      the public judge, and pronounce. It is believed, that, by a careful
+      inquiry, many more remains of ancient genius, no less valuable than those
+      now given to the world, might be found in the same country where these
+      have been collected. In particular there is reason to hope that one work
+      of considerable length, and which deserves to be styled an heroic poem,
+      might be recovered and translated, if encouragement were given to such an
+      undertaking. The subject is, an invasion of Ireland by Swarthan King of
+      Lochlyn; which is the name of Denmark in the Erse language. Cuchulaid, the
+      General or Chief of the Irish tribes, upon intelligence of the invasion,
+      assembles his forces. Councils are held; and battles fought. But after
+      several unsuccescful engagements, the Irish are forced to submit. At
+      length, Fingal King of Scotland, called in this poem, "The Desert of the
+      hills," arrives with his ships to assist Cuchulaid. He expels the Danes
+      from the country; and returns home victorious. This poem is held to be of
+      greater antiquity than any of the rest that are preserved. And the author
+      speaks of himself as present in the expedition of Fingal. The three last
+      poems in the collection are fragments which the translator obtained of
+      this epic poem; and though very imperfect, they were judged not unworthy
+      of being inserted. If the whole were recovered, it might serve to throw
+      confiderable light upon the Scottish and Irish antiquities.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_4_0008" id="link2H_4_0008"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      FRAGMENT
+    </h2>
+<pre xml:space="preserve">
+   I
+
+   SHILRIC, VINVELA.
+
+   VINVELA
+
+   My love is a son of the hill.
+   He pursues the flying deer.
+   His grey dogs are panting
+   around him; his bow-string sounds in
+   the wind. Whether by the fount of
+   the rock, or by the stream of the
+   mountain thou liest; when the rushes are
+   nodding with the wind, and the mist
+   is flying over thee, let me approach
+   my love unperceived, and see him
+   from the rock. Lovely I saw thee
+   first by the aged oak; thou wert returning
+   tall from the chace; the fairest
+   among thy friends.
+
+   SHILRIC.
+
+   What voice is that I hear? that
+   voice like the summer-wind.&mdash;I sit
+   not by the nodding rushes; I hear not
+   the fount of the rock. Afar, Vinvela,
+   afar I go to the wars of Fingal. My
+   dogs attend me no more. No more
+   I tread the hill. No more from on
+   high I see thee, fair-moving by the
+   stream of the plain; bright as the
+   bow of heaven; as the moon on the
+   western wave.
+
+   VINVELA.
+
+   Then thou art gone, O Shilric!
+   and I am alone on the hill. The
+   deer are seen on the brow; void of
+   fear they graze along. No more they
+   dread the wind; no more the rustling
+   tree. The hunter is far removed;
+   he is in the field of graves. Strangers!
+   sons of the waves! spare my
+   lovely Shilric.
+
+   SHILRIC.
+
+   If fall I must in the field, raise high
+   my grave, Vinvela. Grey stones, and
+   heaped-up earth, shall mark me to future
+   times. When the hunter shall sit by
+   the mound, and produce his food at
+   noon, "some warrior rests here," he
+   will say; and my fame shall live in his
+   praise. Remember me, Vinvela, when
+   low on earth I lie!
+
+   VINVELA.
+
+   Yes!&mdash;I will remember thee&mdash;indeed
+   my Shilric will fall. What shall I do,
+   my love! when thou art gone for ever?
+   Through these hills I will go at noon: O
+   will go through the silent heath. There
+   I will see where often thou sattest returning
+   from the chace. Indeed, my Shilric
+   will fall; but I will remember
+   him.
+</pre>
+<pre xml:space="preserve">
+   II
+
+   I sit by the mossy fountain; on the
+   top of the hill of winds. One tree is
+   rustling above me. Dark waves roll
+   over the heath. The lake is troubled
+   below. The deer descend from the
+   hill. No hunter at a distance is seen;
+   no whistling cow-herd is nigh. It is
+   mid-day: but all is silent. Sad are my
+   thoughts as I sit alone. Didst thou
+   but appear, O my love, a wanderer on
+   the heath! thy hair floating on the
+   wind behind thee; thy bosom heaving
+   on the sight; thine eyes full of tears
+   for thy friends, whom the mist of the
+   hill had concealed! Thee I would comfort,
+   my love, and bring thee to thy
+   father's house.
+
+   But is it she that there appears, like
+   a beam of light on the heath? bright
+   as the moon in autumn, as the sun in
+   a summer-storm?&mdash;She speaks: but
+   how weak her voice! like the breeze
+   in the reeds of the pool. Hark!
+
+   Returnest thou safe from the war?
+   "Where are thy friends, my love? I
+   heard of thy death on the hill; I heard
+   and mourned thee, Shilric!"
+
+   Yes, my fair, I return; but I alone
+   of my race. Thou shalt see them no
+   more: their graves I raised on the plain.
+   But why art thou on the desert hill?
+   why on the heath, alone?
+
+   Alone I am, O Shilric! alone in the
+   winter-house. With grief for thee I
+   expired. Shilric, I am pale in the tomb.
+
+   She fleets, she sails away; as grey
+   mist before the wind!&mdash;and, wilt thou
+   not stay, my love? Stay and behold
+   my tears? fair thou appearest, my love!
+   fair thou wast, when alive!
+
+   By the mossy fountain I will sit; on
+   the top of the hill of winds. When
+   mid-day is silent around, converse, O
+   my love, with me! come on the wings
+   of the gale! on the blast of the mountain,
+   come! Let me hear thy voice, as
+   thou passest, when mid-day is silent around.
+</pre>
+<pre xml:space="preserve">
+   III
+
+   Evening is grey on the hills. The
+   north wind resounds through the
+   woods. White clouds rise on the sky: the
+   trembling snow descends. The river howls
+   afar, along its winding course. Sad,
+   by a hollow rock, the grey-hair'd Carryl
+   sat. Dry fern waves over his head; his
+   seat is in an aged birch. Clear to the
+   roaring winds he lifts his voice of woe.
+
+   Tossed on the wavy ocean is He,
+   the hope of the isles; Malcolm, the
+   support of the poor; foe to the proud
+   in arms! Why hast thou left us behind?
+   why live we to mourn thy fate? We
+   might have heard, with thee, the voice
+   of the deep; have seen the oozy rock.
+
+   Sad on the sea-beat shore thy spouse
+   looketh for thy return. The time of
+   thy promise is come; the night is gathering
+   around. But no white sail is
+   on the sea; no voice is heard except
+   the blustering winds. Low is the soul
+   of the war! Wet are the locks of youth!
+   By the foot of some rock thou liest;
+   washed by the waves as they come.
+   Why, ye winds, did ye bear him on
+   the desert rock? Why, ye waves, did
+   ye roll over him?
+
+   But, Oh! what voice is that?
+   Who rides on that meteor of fire! Green
+   are his airy limbs. It is he! it is the
+   ghost of Malcolm!&mdash;Rest, lovely soul,
+   rest on the rock; and let me hear thy
+   voice!&mdash;He is gone, like a dream of
+   the night. I see him through the trees.
+   Daughter of Reynold! he is gone.
+   Thy spouse shall return no more. No
+   more shall his hounds come from the
+   hill, forerunners of their master. No
+   more from the distant rock shall his
+   voice greet thine ear. Silent is he in
+   the deep, unhappy daughter of Reynold!
+
+   I will sit by the stream of the plain.
+   Ye rocks! hang over my head. Hear
+   my voice, ye trees! as ye bend on the
+   shaggy hill. My voice shall preserve
+   the praise of him, the hope of the
+   isles.
+</pre>
+<pre xml:space="preserve">
+   IV
+
+   CONNAL,  CRIMORA,
+
+   CRIMORA.
+
+   Who cometh from the hill, like
+   a cloud tinged with the beam
+   of the west? Whose voice is that, loud
+   as the wind, but pleasant as the harp of
+   Carryl? It is my love in the light of
+   steel; but sad is his darkened brow.
+   Live the mighty race of Fingal? or
+   what disturbs my Connal?
+
+   CONNAL.
+
+   They live. I saw them return from
+   the chace, like a stream of light. The
+   sun was on their shields: In a line they
+   descended the hill. Loud is the voice of
+   the youth; the war, my love, is near.
+   To-morrow the enormous Dargo comes
+   to try the force of our race. The race of
+   Fingal he defies; the race of battle and
+   wounds.
+
+   CRIMORA.
+   Connal, I saw his sails like grey mist
+   on the sable wave. They came to land.
+   Connnal, many are the warriors of
+   Dargo!
+
+   CONNAL.
+
+   Bring me thy father's shield; the iron
+   shield of Rinval; that shield like the
+   full moon when it is darkened in the
+   sky.
+
+   CRIMORA.
+
+   That shield I bring, O Connal; but
+   it did not defend my father. By the
+   spear of Gauror he fell. Thou mayst
+   fall, O Connal!
+
+   CONNAL.
+
+   Fall indeed I may: But raise my
+   tomb, Crimora. Some stones, a mound
+   of earth, shall keep my memory.
+   Though fair thou art, my love, as the
+   light; more pleasant than the gale of
+   the hill; yet I will not stay. Raise my
+   tomb, Crimora.
+
+   CRIMORA,
+
+   Then give me those arms of light;
+   that sword, and that spear of steel. I
+   shall meet Dargo with thee, and aid my
+   lovely Connal. Farewell, ye rocks of
+   Ardven! ye deer! and ye streams of
+   the hill!&mdash;We shall return no more.
+   Our tombs are distant far.
+</pre>
+<pre xml:space="preserve">
+   V
+
+   Autumn is dark on the mountains;
+   grey mist rests on the hills. The
+   whirlwind is heard on the heath. Dark
+   rolls the river through the narrow plain.
+   A tree stands alone on the hill, and
+   marks the grave of Connal. The leaves
+   whirl round with the wind, and strew
+   the grave of the dead. At times are
+   seen here the ghosts of the deceased,
+   when the musing hunter alone stalks
+   slowly over the heath.
+
+   Who can reach the source of thy
+   race, O Connal? and who recount thy
+   Fathers? Thy family grew like an oak
+   on the mountain, which meeteth the
+   wind with its lofty head. But now it
+   is torn from the earth. Who shall supply
+   the place of Connal?
+
+   Here was the din of arms; and
+   here the groans of the dying. Mournful
+   are the wars of Fingal! O Connal!
+   it was here thou didst fall. Thine arm
+   was like a storm; thy sword, a beam
+   of the sky; thy height, a rock on the
+   plain; thine eyes, a furnace of fire.
+   Louder than a storm was thy voice,
+   when thou confoundedst the field. Warriors
+   fell by thy sword, as the thistle by
+   the staff of a boy.
+
+   Dargo the mighty came on, like a
+   cloud of thunder. His brows were contracted
+   and dark. His eyes like two
+   caves in a rock. Bright rose their
+   swords on each side; dire was the clang
+   of their steel.
+
+   The daughter of Rinval was near;
+   Crimora, bright in the armour of man;
+   her hair loose behind, her bow in her
+   hand. She followed the youth to the
+   war, Connal her much beloved. She
+   drew the string on Dargo; but erring
+   pierced her Connal. He falls like an
+   oak on the plain; like a rock from the
+   shaggy hill. What shall she do, hapless
+   maid!&mdash;He bleeds; her Connal dies.
+   All the night long she cries, and all the
+   day, O Connal, my love, and my
+   friend! With grief the sad mourner
+   died.
+
+   Earth here incloseth the loveliest
+   pair on the hill. The grass grows between
+   the stones of their tomb; I sit in
+   the mournful shade. The wind sighs
+   through the grass; and their memory
+   rushes on my mind. Undisturbed you
+   now sleep together; in the tomb of the
+   mountain you rest alone.
+</pre>
+<pre xml:space="preserve">
+   VI
+
+   Son of the noble Fingal, Oscian,
+   Prince of men! what tears run down
+   the cheeks of age? what shades thy
+   mighty soul?
+
+   Memory, son of Alpin, memory
+   wounds the aged. Of former times are
+   my thoughts; my thoughts are of the
+   noble Fingal. The race of the king return
+   into my mind, and wound me with
+   remembrance.
+
+   One day, returned from the sport of
+   the mountains, from pursuing the sons
+   of the hill, we covered this heath with
+   our youth. Fingal the mighty was here,
+   and Oscur, my son, great in war. Fair
+   on our sight from the sea, at once, a
+   virgin came. Her breast was like the
+   snow of one night. Her cheek like the
+   bud of the rose. Mild was her blue
+   rolling eye: but sorrow was big in her
+   heart.
+
+   Fingal renowned in war! she cries,
+   sons of the king, preserve me! Speak secure,
+   replies the king, daughter of beauty,
+   speak: our ear is open to all: our
+   swords redress the injured. I fly from
+   Ullin, she cries, from Ullin famous in
+   war. I fly from the embrace of him
+   who would debase my blood. Cremor,
+   the friend of men, was my father; Cremor
+   the Prince of Inverne.
+
+   Fingal's younger sons arose; Carryl
+   expert in the bow; Fillan beloved of
+   the fair; and Fergus first in the race.
+   &mdash;Who from the farthest Lochlyn?
+   who to the seas of Molochasquir? who
+   dares hurt the maid whom the sons of
+   Fingal guard? Daughter of beauty, rest
+   secure; rest in peace, thou fairest of women.
+
+   Far in the blue distance of the deep,
+   some spot appeared like the back of the
+   ridge-wave. But soon the ship increased
+   on our sight. The hand of Ullin drew
+   her to land. The mountains trembled
+   as he moved. The hills shook at his
+   steps. Dire rattled his armour around
+   him. Death and destruction were in his
+   eyes. His stature like the roe of Morven.
+   He moved in the lightning of
+   steel.
+
+   Our warriors fell before him,
+   like the field before the reapers. Fingal's
+   three sons he bound. He plunged
+   his sword into the fair-one's breast.
+   She fell as a wreath of snow before the
+   sun in spring. Her bosom heaved in
+   death; her soul came forth in blood.
+   Oscur my son came down; the
+   mighty in battle descended. His armour
+   rattled as thunder; and the lightning of
+   his eyes was terrible. There, was the
+   clashing of swords; there, was the voice
+   of steel. They struck and they thrust;
+   they digged for death with their swords.
+   But death was distant far, and delayed
+   to come. The sun began to decline;
+   and the cow-herd thought of home.
+   Then Oscur's keen steel found the heart
+   of Ullin. He fell like a mountain-oak
+   covered over with glittering frost: He
+   shone like a rock on the plain.&mdash;Here
+   the daughter of beauty lieth; and
+   here the bravest of men. Here one
+   day ended the fair and the valiant.
+   Here rest the pursuer and the pursued.
+
+   Son of Alpin! the woes of the aged
+   are many: their tears are for the past.
+   This raised my sorrow, warriour; memory
+   awaked my grief. Oscur my
+   son was brave; but Oscur is now no
+   more. Thou hast heard my grief, O
+   son of Alpin; forgive the tears of the
+   aged.
+</pre>
+<pre xml:space="preserve">
+   VII
+
+   Why openest thou afresh the spring of
+   my grief, O son of Alpin, inquiring
+   how Oscur fell? My eyes are blind with
+   tears; but memory beams on my heart.
+   How can I relate the mournful death of
+   the head of the people! Prince of the
+   warriours, Oscur my son, shall I see thee
+   no more!
+
+   He fell as the moon in a storm; as
+   the sun from the midst of his course,
+   when clouds rise from the waste of the
+   waves, when the blackness of the storm
+   inwraps the rocks of Ardannider. I, like
+   an ancient oak on Morven, I moulder
+   alone in my place. The blast hath lopped
+   my branches away; and I tremble
+   at the wings of the north. Prince of
+   the warriors, Oscur my son! shall I see
+   thee no more!
+
+   DERMID
+
+   DERMID and Oscur were one: They
+   reaped the battle together. Their
+   friendship was strong as their steel; and
+   death walked between them to the field.
+   They came on the foe like two rocks
+   falling from the brows of Ardven. Their
+   swords were stained with the blood of
+   the valiant: warriours fainted at their
+   names. Who was a match for Oscur,
+   but Dermid? and who for Dermid, but
+   Oscur?
+
+   THEY killed mighty Dargo in the
+   field; Dargo before invincible. His
+   daughter was fair as the morn; mild
+   as the beam of night. Her eyes, like
+   two stars in a shower: her breath, the
+   gale of spring: her breasts, as the
+   new fallen snow floating on the moving heath.
+   The warriours saw her, and loved; their
+   souls were fixed on the maid. Each
+   loved her, as his fame; each must
+   possess her or die. But her soul was fixed
+   on Oscur; my son was the youth of
+   her love. She forgot the blood of her
+   father; and loved the hand that slew
+   him.
+
+   Son of Oscian, said Dermid, I love;
+   O Oscur, I love this maid. But her
+   soul cleaveth unto thee; and nothing
+   can heal Dermid. Here, pierce this
+   bosom, Oscur; relieve me, my friend,
+   with thy sword.
+
+   My sword, son of Morny, shall never
+   be stained with the blood of Dermid.
+
+   Who then is worthy to slay me, O
+   Oscur son of Oscian? Let not my life
+   pass away unknown. Let none but Oscur
+   slay me. Send me with honour to
+   the grave, and let my death be renowned.
+   Dermid, make use of thy sword;
+   son of Moray, wield thy steel. Would
+   that I fell with thee! that my death
+   came from the hand of Dermid!
+
+   They fought by the brook of the
+   mountain; by the streams of Branno.
+   Blood tinged the silvery stream, and
+   crudled round the mossy stones. Dermid
+   the graceful fell; fell, and smiled in
+   death.
+
+   And fallest thou, son of Morny;
+   fallest, thou by Oscur's hand! Dermid
+   invincible in war, thus do I see thee fall!
+   &mdash;He went, and returned to the maid
+   whom he loved; returned, but she perceived
+   his grief.
+
+   Why that gloom, son of Oscian?
+   what shades thy mighty soul?
+
+   Though once renowned for the bow,
+   O maid, I have lost my fame. Fixed on
+   a tree by the brook of the hill, is the
+   shield of Gormur the brave, whom in
+   battle I slew. I have wasted the day
+   in vain, nor could my arrow pierce it.
+
+   Let me try, son Oscian, the skill
+   of Dargo's daughter. My hands were
+   taught the bow: my father delighted in
+   my skill.
+
+   She went. He stood behind the
+   shield. Her arrow flew and pierced his
+   breast[A].
+
+   [Footnote A: Nothing was held by the ancient Highlanders more essential
+   to their glory, than to die by the hand of some person worthy or renowned.
+   This was the occasion of Oscur's contriving to be slain by his mistress,
+   now that he was weary of life. In those early times suicide was utterly
+   unknown among that people, and no traces of it are found in the old
+   poetry. Whence the translator suspects the account that follows of the
+   daughter of Dargo killing herself, to be the interpolation of some later
+   Bard.]
+
+   Blessed be that hand of snow; and
+   blessed thy bow of yew! I fall resolved
+   on death: and who but the daughter of
+   Dargo was worthy to slay me? Lay me
+   in the earth, my fair-one; lay me by
+   the side of Dermid.
+
+   Oscur! I have the blood, the soul
+   of the mighty Dargo. Well pleased I
+   can meet death. My sorrow I can end
+   thus.&mdash;She pierced her white bosom
+   with steel. She fell; she trembled; and
+   died.
+
+   By the brook of the hill their graves
+   are laid; a birch's unequal shade covers
+   their tomb. Often on their green earthen
+   tombs the branchy sons of the mountain
+   feed, when mid-day is all in flames,
+   and silence is over all the hills.
+</pre>
+<pre xml:space="preserve">
+   VIII
+
+   By the side of a rock on the hill, beneath
+   the aged trees, old Oscian
+   sat on the moss; the last of the race of
+   Fingal. Sightless are his aged eyes;
+   his beard is waving in the wind. Dull
+   through the leafless trees he heard the
+   voice of the north. Sorrow revived in
+   his soul: he began and lamented the
+   dead.
+
+   How hast thou fallen like an oak,
+   with all thy branches round thee! Where
+   is Fingal the King? where is Oscur my
+   son? where are all my race? Alas! in
+   the earth they lie. I feel their tombs
+   with my hands. I hear the river below
+   murmuring hoarsely over the stones.
+   What dost thou, O river, to me? Thou
+   bringest back the memory of the past.
+
+   The race of Fingal stood on thy
+   banks, like a wood in a fertile soil.
+   Keen were their spears of steel. Hardy
+   was he who dared to encounter their
+   rage. Fillan the great was there. Thou
+   Oscur wert there, my son! Fingal himself
+   was there, strong in the grey locks
+   of years. Full rose his sinewy limbs;
+   and wide his shoulders spread. The
+   unhappy met with his arm, when the
+   pride of his wrath arose.
+
+   The son of Morny came; Gaul, the
+   tallest of men. He stood on the hill like
+   an oak; his voice was like the streams of
+   the hill. Why reigneth alone, he cries,
+   the son of the mighty Corval? Fingal is
+   not strong to save: he is no support for
+   the people. I am strong as a storm in
+   the ocean; as a whirlwind on the hill.
+   Yield, son of Corval; Fingal, yield to
+   me.
+
+   Oscur stood forth to meet him;
+   my son would meet the foe. But Fingal
+   came in his strength, and smiled at
+   the vaunter's boast. They threw their
+   arms round each other; they struggled
+   on the plain. The earth is ploughed with
+   their heels. Their bones crack as the boat
+   on the ocean, when it leaps from wave to
+   wave. Long did they toil; with night,
+   they fell on the sounding plain; as two
+   oaks, with their branches mingled, fall
+   crashing from the hill. The tall son
+   of Morny is bound; the aged overcame.
+
+   Fair with her locks of gold, her
+   smooth neck, and her breasts of snow;
+   fair, as the spirits of the hill when at
+   silent noon they glide along the heath;
+   fair, as the rainbow of heaven; came
+   Minvane the maid. Fingal! She softly
+   saith, loose me my brother Gaul.
+   Loose me the hope of my race, the terror
+   of all but Fingal. Can I, replies the
+   King, can I deny the lovely daughter
+   of the hill? take thy brother, O Minvane,
+   thou fairer than the snow of the
+   north!
+
+   Such, Fingal! were thy words; but
+   thy words I hear no more. Sightless
+   I sit by thy tomb. I hear the wind in
+   the wood; but no more I hear my
+   friends. The cry of the hunter is over.
+   The voice of war is ceased.
+</pre>
+<pre xml:space="preserve">
+   IX
+
+   Thou askest, fair daughter of the
+   isles! whose memory is preserved
+   in these tombs? The memory of Ronnan
+   the bold, and Connan the chief of
+   men; and of her, the fairest of maids,
+   Rivine the lovely and the good. The
+   wing of time is laden with care. Every
+   moment hath woes of its own. Why
+   seek we our grief from afar? or give our
+   tears to those of other times? But thou
+   commanded, and I obey, O fair daughter
+   of the isles!
+
+   Conar was mighty in war. Caul
+   was the friend of strangers. His gates
+   were open to all; midnight darkened
+   not on his barred door. Both lived upon
+   the sons of the mountains. Their bow
+   was the support of the poor.
+
+   Connan was the image of Conar's
+   soul. Caul was renewed in Ronnan his
+   son. Rivine the daughter of Conar was
+   the love of Ronnan; her brother Connan
+   was his friend. She was fair as the
+   harvest-moon setting in the seas of
+   Molochasquir. Her soul was settled on
+   Ronnan; the youth was the dream of her
+   nights.
+
+   Rivine, my love! says Ronnan, I go
+   to my king in Norway[A]. A year and
+   a day shall bring me back. Wilt thou
+   be true to Ronnan?
+
+   [Footnote A: Supposed to be Fergus II. This fragment is reckoned not
+   altogether so ancient as most of the rest.]
+
+   Ronnan! a year and a day I will
+   spend in sorrow. Ronnan, behave like
+   a man, and my soul shall exult in thy
+   valour. Connan my friend, says Ronnan,
+   wilt thou preserve Rivine thy sister?
+   Durstan is in love with the maid;
+   and soon shall the sea bring the stranger
+   to our coast.
+
+   Ronnan, I will defend: Do thou
+   securely go.&mdash;He went. He returned
+   on his day. But Durstan returned
+   before him.
+
+   Give me thy daughter, Conar, says
+   Durstan; or fear and feel my power.
+
+   He who dares attempt my sister, says
+   Connan, must meet this edge of steel.
+   Unerring in battle is my arm: my
+   sword, as the lightning of heaven.
+
+   Ronnan the warriour came; and
+   much he threatened Durstan.
+
+   But, saith Euran the servant of
+   gold, Ronnan! by the gate of the north
+   shall Durstan this night carry thy fair-one
+   away. Accursed, answers Ronnan, be this arm if death meet him not
+   there.
+
+   Connan! saith Euran, this night
+   shall the stranger carry thy sister away.
+   My sword shall meet him, replies Connan,
+   and he shall lie low on earth.
+
+   The friends met by night, and they
+   fought. Blood and sweat ran down
+   their limbs as water on the mossy rock.
+   Connan falls; and cries, O Durstan,
+   be favourable to Rivine!&mdash;And is it my
+   friend, cries Ronnan, I have slain? O
+   Connan! I knew thee not.
+
+   He went, and he fought with Durstan.
+   Day began to rise on the combat,
+   when fainting they fell, and expired.
+   Rivine came out with the morn;
+   and&mdash;O what detains my Ronnan!
+   &mdash;She saw him lying pale in his blood;
+   and her brother lying pale by his side.
+
+   What could she say: what could she
+   do? her complaints were many and vain.
+   She opened this grave for the warriours;
+   and fell into it herself, before it
+   was closed; like the sun snatched away
+   in a storm.
+
+   Thou hast heard this tale of grief,
+   O fair daughter of the isles! Rivine was
+   fair as thyself: shed on her grave a
+   tear.
+</pre>
+<pre xml:space="preserve">
+   X
+
+   It is night; and I am alone, forlorn
+   on the hill of storms. The wind is
+   heard in the mountain. The torrent
+   shrieks down the rock. No hut receives
+   me from the rain; forlorn on the hill of
+   winds.
+
+   Rise, moon! from behind thy
+   clouds; stars of the night, appear!
+   Lead me, some light, to the place where
+   my love rests from the toil of the chase!
+   his bow near him, unstrung; his dogs
+   panting around him. But here I must
+   sit alone, by the rock of the mossy
+   stream. The stream and the wind
+   roar; nor can I hear the voice of my
+   love.
+
+   Why delayeth my Shalgar, why the
+   son of the hill, his promise? Here is
+   the rock; and the tree; and here the
+   roaring stream. Thou promisedst with
+   night to be here. Ah! whither is my
+   Shalgar gone? With thee I would fly
+   my father; with thee, my brother of
+   pride. Our race have long been foes;
+   but we are not foes, O Shalgar!
+
+   Cease a little while, O wind! stream,
+   be thou silent a while! let my voice be
+   heard over the heath; let my wanderer
+   hear me. Shalgar! it is I who call. Here
+   is the tree, and the rock. Shalgar, my
+   love! I am here. Why delayest thou
+   thy coming? Alas! no answer.
+
+   Lo! the moon appeareth. The
+   flood is bright in the vale. The rocks
+   are grey on the face of the hill. But
+   I see him not on the brow; his dogs
+   before him tell not that he is coming.
+   Here I must sit alone.
+
+   But who are these that lie beyond
+   me on the heath? Are they my love
+   and my brother?&mdash;Speak to me, O my
+   friends! they answer not. My soul is
+   tormented with fears.&mdash;Ah! they are
+   dead. Their swords are red from the
+   fight. O my brother! my brother!
+   why hast thou slain my Shalgar? why,
+   O Shalgar! hast thou slain my brother?
+   Dear were ye both to me! speak to me;
+   hear my voice, sons of my love! But
+   alas! they are silent; silent for ever!
+   Cold are their breast of clay!
+
+   Oh! from the rock of the hill;
+   from the top of the mountain of winds,
+   speak ye ghosts of the dead! speak,
+   and I will not be afraid.&mdash;Whither
+   are ye gone to rest? In what cave of
+   the hill shall I find you?
+
+   I sit in my grief. I wait for morning
+   in my tears. Rear the tomb, ye
+   friends of the dead; but close it not
+   till I come. My life flieth away like a
+   dream: why should I stay behind?
+   Here shall I rest with my friends by the
+   stream of the founding rock. When
+   night comes on the hill: when the wind
+   is up on the heath; my ghost shall stand
+   in the wind, and mourn the death of
+   my friends. The hunter shall hear
+   from his booth. He shall fear, but
+   love my voice. For sweet shall my voice
+   be for my friends; for pleasant were
+   they both to me.
+</pre>
+<pre xml:space="preserve">
+   XI
+
+   Sad! I am sad indeed: nor small my
+   cause of woe!&mdash;Kirmor, thou hast
+   lost no son; thou hast lost no daughter
+   of beauty. Connar the valiant lives;
+   and Annir the fairest of maids. The
+   boughs of thy family flourish, O Kirmor!
+   but Armyn is the last of his
+   race.
+
+   Rise, winds of autumn, rise; blow
+   upon the dark heath! streams of the
+   mountains, roar! howl, ye tempests,
+   in the trees! walk through broken
+   clouds, O moon! show by intervals thy
+   pale face! bring to my mind that sad
+   night, when all my children fell; when
+   Arindel the mighty fell; when Daura
+   the lovely died.
+
+   Daura, my daughter! thou wert
+   fair; fair as the moon on the hills of
+   Jura; white as the driven snow; sweet as
+   the breathing gale. Armor renowned in
+   war came, and fought Daura's love; he
+   was not long denied; fair was the hope
+   of their friends.
+
+   Earch son of Odgal repined; for
+   his brother was slain by Armor. He
+   came disguised like a son of the sea:
+   fair was his skiff on the wave; white
+   his locks of age; calm his serious brow.
+   Fairest of women, he said, lovely daughter
+   of Armyn! a rock not distant in
+   the sea, bears a tree on its side; red
+   shines the fruit afar. There Armor
+   waiteth for Daura. I came to fetch
+   his love. Come, fair daughter of Armyn!
+
+   She went; and she called on Armor.
+   Nought answered, but the son of the
+   rock. Armor, my love! my love!
+   why tormentest thou me with fear?
+   come, graceful son of Arduart, come;
+   it is Daura who calleth thee!&mdash;Earch
+   the traitor fled laughing to the land.
+   She lifted up her voice, and cried for
+   her brother and her father. Arindel!
+   Armyn! none to relieve your Daura?
+
+   Her voice came over the sea. Arindel
+   my son descended from the hill;
+   rough in the spoils of the chace. His
+   arrows rattled by his side; his bow was
+   in his hand; five grey dogs attended
+   his steps. He saw fierce Earch on the
+   shore; he seized and bound him to an
+   oak. Thick fly the thongs of the hide
+   around his limbs; he loads the wind
+   with his groans.
+
+   Arindel ascends the surgy deep in
+   his boat, to bring Daura to the land.
+   Armor came in his wrath, and let fly
+   the grey-feathered shaft. It sung; it
+   sunk in thy heart, O Arindel my son!
+   for Earch the traitor thou diedst. What
+   is thy grief, O Daura, when round
+   thy feet is poured thy brother's blood!
+
+   The boat is broken in twain by the
+   waves. Armor plunges into the sea, to
+   rescue his Daura or die. Sudden a blast
+   from the hill comes over the waves.
+   He sunk, and he rose no more.
+
+   Alone, on the sea-beat rock, my
+   daughter was heard to complain. Frequent
+   and loud were her cries; nor
+   could her father relieve her. All
+   night I stood on the shore. All night I
+   heard her cries. Loud was the wind;
+   and the rain beat hard on the side of the
+   mountain. Before morning appeared,
+   her voice was weak. It died away, like
+   the evening-breeze among the grass of
+   the rocks. Spent with grief she expired.
+   O lay me soon by her side.
+
+   When the storms of the mountain
+   come; when the north lifts the waves
+   on high; I sit by the sounding shore,
+   and look on the fatal rock. Often by
+   the setting moon I see the ghosts of
+   my children. Indistinct, they walk in
+   mournful conference together. Will
+   none of you speak to me?&mdash;But they
+   do not regard their father.
+</pre>
+<pre xml:space="preserve">
+   XII
+
+   RYNO, ALPIN.
+
+   RYNO
+
+   The wind and the rain are over:
+   calm is the noon of day. The
+   clouds are divided in heaven. Over
+   the green hills flies the inconstant sun.
+   Red through the stony vale comes
+   down the stream of the hill. Sweet are
+   thy murmurs, O stream! but more
+   sweet is the voice I hear. It is the voice
+   of Alpin the son of the song, mourning
+   for the dead. Bent is his head of age,
+   and red his tearful eye. Alpin, thou
+   son of the song, why alone on the silent
+   hill? why complainest thou, as a
+   blast in the wood; as a wave on the
+   lonely shore?
+
+   ALPIN.
+
+   My tears, O Ryno! are for the dead;
+   my voice, for the inhabitants of the
+   grave. Tall thou art on the hill; fair
+   among the sons of the plain. But thou
+   shalt fall like Morar; and the mourner
+   shalt sit on thy tomb. The hills shall
+   know thee no more; thy bow shall lie in
+   the hall, unstrung.
+
+   Thou wert swift, O Morar! as a
+   doe on the hill; terrible as a meteor of
+   fire. Thy wrath was as the storm of
+   December. Thy sword in battle, as
+   lightning in the field. Thy voice was
+   like a stream after rain; like thunder
+   on distant hills. Many fell by thy
+   arm; they were consumed in the flames
+   of thy wrath.
+
+   But when thou returnedst from war,
+   how peaceful was thy brow! Thy face
+   was like the sun after rain; like the
+   moon in the silence of night; calm as
+   the breast of the lake when the loud
+   wind is laid.
+
+   Narrow is thy dwelling now; dark
+   the place of thine abode. With three
+   steps I compass thy grave, O thou who
+   wast so great before! Four stones with
+   their heads of moss are the only memorial
+   of thee. A tree with scarce a leaf,
+   long grass which whistles in the wind,
+   mark to the hunter's eye the grave of
+   the mighty Morar. Morar! thou art
+   low indeed. Thou hast no mother to
+   mourn thee; no maid with her tears of
+   love. Dead is she that brought thee
+   forth. Fallen is the daughter of Morglan.
+
+   Who on his staff is this? who is this,
+   whose head is white with age, whose
+   eyes are red with tears, who quakes
+   at every step?&mdash;It is thy father, O
+   Morar! the father of none but thee.
+   He heard of thy fame in battle; he heard
+   of foes dispersed. He heard of Morar's
+   fame; why did he not hear of his
+   wound? Weep, thou father of Morar!
+   weep; but thy son heareth thee not.
+   Deep is the sleep of the dead; low their
+   pillow of dust. No more shall he hear
+   thy voice; no more shall he awake at
+   thy call.  When shall it be morn in the
+   grave, to bid the slumberer awake?
+
+   Farewell, thou bravest of men!
+   thou conqueror in the field! but the field
+   shall see thee no more; nor the dark
+   wood be lightened with the splendor of
+   thy steel. Thou hast left no son.
+   But the song shall preserve thy name.
+   Future times shall hear of thee; they
+   shall hear of the fallen Morar.
+</pre>
+<pre xml:space="preserve">
+   XIII
+
+   [Footnote: This is the opening of the epic poem mentioned in the preface.
+   The two following fragments are parts of some episodes of the same work.]
+
+   Cuchlaid sat by the wall; by the
+   tree of the rustling leaf.
+
+   [Footnote: The aspen or poplar tree]
+
+   His spear leaned against the mossy rock.
+   His shield lay by him on the grass.
+   Whilst he thought on the mighty Carbre
+   whom he slew in battle, the scout of
+   the ocean came, Moran the son of Fithil.
+
+   Rise, Cuchulaid, rise! I see the ships
+   of Garve. Many are the foe, Cuchulaid;
+   many the sons of Lochlyn.
+
+   Moran! thou ever tremblest; thy
+   fears increase the foe. They are the
+   ships of the Desert of hills arrived to assist
+   Cuchulaid.
+
+   I saw their chief, says Moran, tall as
+   a rock of ice. His spear is like that fir;
+   his shield like the rising moon. He sat
+   upon a rock on the shore, as a grey
+   cloud upon the hill. Many, mighty
+   man! I said, many are our heroes;
+   Garve, well art thou named,
+   many are the sons of our king.
+
+   [Footnote: Garve signifies a man of great size.]
+
+   He answered like a wave on the
+   rock; who is like me here? The valiant
+   live not with me; they go to the
+   earth from my hand. The king of the
+   Desert of hills alone can fight with
+   Garve. Once we wrestled on the hill.
+   Our heels overturned the wood. Rocks
+   fell from their place, and rivulets changed
+   their course. Three days we strove
+   together; heroes stood at a distance,
+   and feared. On the fourth, the King
+   saith that I fell; but Garve saith, he
+   stood. Let Cuchulaid yield to him that
+   is strong as a storm.
+
+   No. I will never yield to man.
+   Cuchulaid will conquer or die. Go,
+   Moran, take my spear; strike the shield
+   of Caithbait which hangs before the
+   gate. It never rings in peace. My heroes
+   shall hear on the hill,&mdash;
+</pre>
+<pre xml:space="preserve">
+   XIV
+
+   DUCHOMMAR, MORNA.
+
+   DUCHOMMAR.
+
+   [Footnote: The signification of the names in this fragment are;
+   Dubhchomar, a black well-shaped man. Muirne or Morna, a woman beloved
+   by all. Cormac-cairbre, an unequalled and rough warriour. Cromleach,
+   a crooked hill. Mugruch, a surly gloomy man. Tarman, thunder. Moinie,
+   soft in temper and person.]
+
+   Morna, thou fairest of women,
+   daughter of Cormac-Carbre!
+   why in the circle of stones, in the cave
+   of the rock, alone? The stream murmureth
+   hoarsely. The blast groaneth
+   in the aged tree. The lake is troubled
+   before thee. Dark are the clouds of
+   the sky. But thou art like snow on
+   the heath. Thy hair like a thin cloud
+   of gold on the top of Cromleach. Thy
+   breasts like two smooth rocks on the hill
+   which is seen from the stream of Brannuin.
+   Thy arms, as two white pillars
+   in the hall of Fingal.
+
+   MORNA.
+
+   Whence the son of Mugruch, Duchommar
+   the most gloomy of men? Dark
+   are thy brows of terror. Red thy rolling
+   eyes. Does Garve appear on the
+   sea? What of the foe, Duchommar?
+
+   DUCHOMMAR.
+
+   From the hill I return, O Morna,
+   from the hill of the flying deer. Three
+   have I slain with my bow; three with
+   my panting dogs. Daughter of Cormac-Carbre,
+   I love thee as my soul. I
+   have slain a deer for thee. High was
+   his branchy head; and fleet his feet of
+   wind.
+
+   MORNA.
+
+   Gloomy son of Mugruch, Duchommar!
+   I love thee not: hard is thy heart
+   of rock; dark thy terrible brow. But
+   Cadmor the son of Tarman, thou art
+   the love of Morna! thou art like a sunbeam
+   on the hill, in the day of the
+   gloomy storm. Sawest thou the son of
+   Tarman, lovely on the hill of the chace?
+   Here the daughter of Cormac-Carbre
+   waiteth the coming of Cadmor.
+
+   DUCHOMMAR.
+
+   And long shall Morna wait. His
+   blood is on my sword. I met him by
+   the mossy stone, by the oak of the noisy
+   stream. He fought; but I slew him;
+   his blood is on my sword. High on
+   the hill I will raise his tomb, daughter
+   of Cormac-Carbre. But love thou the
+   son of Mugruch; his arm is strong as a
+   storm.
+
+   MORNA.
+
+   And is the son of Tarman fallen;
+   the youth with the breast of snow! the
+   first in the chase of the hill; the foe
+   of the sons of the ocean!&mdash;Duchommar,
+   thou art gloomy indeed; cruel is
+   thy arm to me.&mdash;But give me that
+   sword, son of Mugruch; I love the
+   blood of Cadmor.
+
+   [He gives her the sword, with which she instantly stabs him.]
+
+   DUCHOMMAR.
+
+   Daughter of Cormac-Carbre, thou
+   hast pierced Duchommar! the sword is
+   cold in my breast; thou hast killed the
+   son of Mugruch. Give me to Moinic
+   the maid; for much she loved Duchommar.
+   My tomb she will raise on the
+   hill; the hunter shall see it, and praise
+   me.&mdash;But draw the sword from my
+   side, Morna; I feel it cold.&mdash;
+
+   [Upon her coming near him, he stabs her. As she fell, she plucked a stone
+   from the side of the cave, and placed it betwixt them, that his blood
+   might not be mingled with hers.]
+</pre>
+<pre xml:space="preserve">
+   XV
+
+   <a href="#linknote-1" name="linknoteref-1" id="noteref-1">1</a>Where is Gealchossa my love, the
+   daughter of Tuathal-Teachvar?
+   I left her in the hall of the plain, when I
+   fought with the hairy Ulfadha. Return
+   soon, she said, O Lamderg! for
+   here I wait in sorrow. Her white breast
+   rose with sighs; her cheek was wet
+   with tears. But she cometh not to meet
+   Lamderg; or sooth his soul after battle.
+   Silent is the hall of joy; I hear not
+   the voice of the singer. Brann does
+   not shake his chains at the gate, glad
+   at the coming of his master. Where
+   is Gealchossa my love, the daughter of
+   Tuathal-Teachvar?
+
+   [Footnote: The signification of the names in this fragment are;
+   Gealchossack, white-legged. Tuathal-Teachtmhar, the surly, but fortunate
+   man. Lambhdearg, bloodyhand. Ulfadba, long beard. Fichios, the conqueror
+   of men.]
+
+   Lamderg! says Firchios son of Aydon,
+   Gealchossa may be on the hill;
+   she and her chosen maids pursuing the
+   flying deer.
+
+   Firchios! no noise I hear. No
+   sound in the wood of the hill. No
+   deer fly in my sight; no panting dog
+   pursueth. I see not Gealchossa my
+   love; fair as the full moon setting on
+   the hills of Cromleach. Go, Firchios!
+   go to Allad, the grey-haired son of
+   the rock. He liveth in the circle of
+   stones; he may tell of Gealchossa.
+
+   [Footnote: Allad is plainly a Druid consulted on this occasion.]
+
+   Allad! saith Firchios, thou who
+   dwellest in the rock; thou who tremblest
+   alone; what saw thine eyes of
+   age?
+
+   I saw, answered Allad the old, Ullin the son of Carbre: He came like a
+   cloud from the hill; he hummed a surly
+   song as he came, like a storm in
+   leafless wood. He entered the hall of
+   the plain. Lamderg, he cried, most
+   dreadful of men! fight, or yield to Ullin.
+   Lamderg, replied Gealchoffa,
+   Lamderg is not here: he fights the
+   hairy Ulfadha; mighty man, he is not
+   here. But Lamderg never yields; he
+   will fight the son of Carbre. Lovely art
+   thou, O daughter of Tuathal-Teachvar!
+   said Ullin. I carry thee to the
+   house of Carbre; the valiant shall have
+   Gealchossa. Three days from the top
+   of Cromleach will I call Lamderg to
+   fight. The fourth, you belong to Ullin,
+   if Lamderg die, or fly my sword.
+
+   Allad! peace to thy dreams!&mdash;found
+   the horn, Firchios!&mdash;Ullin may
+   hear, and meet me on the top of Cromleach.
+
+   Lamderg rushed on like a storm.
+   On his spear he leaped over rivers. Few
+   were his strides up the hill. The rocks
+   fly back from his heels; loud crashing
+   they bound to the plain. His armour,
+   his buckler rung. He hummed a surly
+   song, like the noise of the falling
+   stream. Dark as a cloud he stood above;
+   his arms, like meteors, shone.
+   From the summit of the hill, he rolled
+   a rock. Ullin heard in the hall of
+   Carbre.&mdash;
+</pre>
+    <div style="height: 6em;">
+      <br /><br /><br /><br /><br /><br />
+    </div>
+<pre xml:space="preserve">
+
+
+
+
+
+End of Project Gutenberg's Fragments Of Ancient Poetry, by James MacPherson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FRAGMENTS OF ANCIENT POETRY ***
+
+***** This file should be named 8161-h.htm or 8161-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/8/1/6/8161/
+
+
+Text file produced by David Starner, Ted Garvin, and the Online
+Distributed Proofreading Team
+
+HTML file produced by David Widger
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+  www.gutenberg.org/license.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:  www.gutenberg.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+
+</pre>
+  </body>
+</html>
diff --git a/8161.txt b/8161.txt
new file mode 100644
index 0000000..a5a9714
--- /dev/null
+++ b/8161.txt
@@ -0,0 +1,2296 @@
+Project Gutenberg's Fragments Of Ancient Poetry, by James MacPherson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Fragments Of Ancient Poetry
+
+Author: James MacPherson
+
+Commentator: John J. Dunn
+
+
+Release Date: May, 2005  [EBook #8161]
+This file was first posted on June 23, 2003
+Last Updated: May 6, 2013
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FRAGMENTS OF ANCIENT POETRY ***
+
+
+
+
+Produced by David Starner, Ted Garvin, and the Online
+Distributed Proofreading Team
+
+
+
+
+
+
+
+
+FRAGMENTS OF ANCIENT POETRY
+
+By James Macpherson
+
+
+The Augustan Reprint Society
+
+
+Introduction By John J. Dunn
+
+
+
+GENERAL EDITORS
+
+George Robert Guffey, University of California, Los Angeles
+
+Earl Miner, University of California, Los Angeles
+
+Maximillian E. Novak, University of California, Los Angeles
+
+Robert Vosper,  William Andrews Clark Memorial Library
+
+
+
+ADVISORY EDITORS
+
+Richard C. Boys, University of Michigan
+
+James L. Clifford, Columbia University
+
+Ralph Cohen, University of California, Los Angeles
+
+Vinton A. Dearing, University of California, Los Angeles
+
+Arthur Friedman, University of Chicago
+
+Louis A. Landa, Princeton University
+
+Samuel H. Monk, University of Minnesota
+
+Everett T. Moore, University of California, Los Angeles
+
+Lawrence Clark Powell, William Andrews Clark Memorial Library
+
+James Sutherland, University College, London
+
+H. T. Swedenberg, Jr., University of California, Los Angeles
+
+
+
+CORRESPONDING SECRETARY
+
+Edna C. Davis, William Andrews Clark Memorial Library
+
+
+
+
+INTRODUCTION
+
+Byron was actually the third Scotsman in about fifty years who
+awoke and found himself famous; the sudden rise from obscurity to
+international fame had been experienced earlier by two fellow
+countrymen, Sir Walter Scott and James Macpherson. Considering the
+greatness of the reputation of the two younger writers, it may seem
+strange to link their names with Macpherson's, but in the early
+nineteenth century it would not have seemed so odd. In fact, as
+young men both Scott and Byron would have probably have been
+flattered by such an association. Scott tells us that in his youth
+he "devoured rather than perused" Ossian and that he could repeat
+whole duans "without remorse"; and, as I shall discuss later,
+Byron paid Macpherson the high compliment of writing an imitation
+of Ossian, which he published in _Hours of Idleness_.
+
+The publication of the modest and anonymous pamphlet, _Fragments
+of Ancient Poetry_ marks the beginning of Macpherson's rise to
+fame, and concomitantly the start of a controversy that is unique
+in literary history. For the half-century that followed, the body
+of poetry that was eventually collected as _The Poems of Ossian_
+provoked the comment of nearly every important man of letters.
+Extravagance and partisanship were characteristic of most of the
+remarks, but few literary men were indifferent.
+
+The intensity and duration of the controversy are indicative
+of how seriously Macpherson's work was taken, for it was to many
+readers of the day daring, original, and passionate. Even Malcolm
+Laing, whose ardor in exposing Macpherson's imposture exceeded
+that of Dr. Johnson, responded to the literary quality of the poems.
+In a note on the fourth and fifth "Fragments" the arch prosecutor
+of Macpherson commented,
+
+"From a singular coincidence of circumstances, it was in
+this house, where I now write, that I first read the poems
+in my early youth, with an ardent credulity that remained
+unshaken for many years of my life; and with a pleasure
+to which even the triumphant satisfaction of detecting the
+imposture is comparatively nothing. The enthusiasm with
+which I read and studied the poems, enabled me afterwards,
+when my suspicions were once awakened, to trace and expose
+the deception with greater success. Yet, notwithstanding
+the severity of minute criticism, I can still peruse them
+as a wild and wonderful assemblage of imitation with which
+the fancy is often pleased and gratified, even when the
+judgment condemns them most."[2]
+
+
+
+II
+
+It was John Home, famous on both sides of the Tweed as the
+author of _Douglas_, who first encouraged Macpherson to undertake
+his translations. While taking the waters at Moffat in the fall of
+1759, he was pleased to meet a young Highland tutor, who was not
+only familiar with ancient Gaelic poetry but who had in his possession
+several such poems. Home, like nearly all of the Edinburgh
+literati, knew no Gaelic and asked Macpherson to translate
+one of them. The younger man at first protested that a translation
+"would give a very imperfect idea of the original," but Home "with
+some difficulty" persuaded him to try. In a "day or two" Macpherson
+brought him the poem that was to become "Fragment VII" in
+this collection; Home was so much pleased with it that he requested
+additional translations.[3]
+
+"Jupiter" Carlyle, whose autobiography reflects the keen interest
+that he took in literature, arrived at Moffat after Home had
+seen the "translations."  Home, he found, "had been highly delighted
+with them," and when Carlyle read them he "was perfectly
+astonished at the poetical genius" that they displayed. They
+agreed that "it was a precious discovery, and that as soon as possible
+it should be published to the world."[4]
+
+When Home left Moffat he took his find to Edinburgh and showed
+the translations to the men who earned the city Smollett's sobriquet,
+a "hotbed of genius": Robertson, fresh from the considerable success
+of his two volume _History of Scotland_ (1759); Robert Fergusson,
+recently appointed professor of natural history at the University
+of Edinburgh; Lord Elibank, a learned aristocrat, who had
+been patron to Home and Robertson; and Hugh Blair, famous for the
+sermons that he delivered as rector of the High Church of St. Giles.
+Home was gratified that these men were "no less pleased" with
+Macpherson's work than he had been. David Hume and David Dalrymple
+(later Lord Hailes) were soon apprised of the discovery and
+joined in the chorus of approbation that emanated from the Scottish
+capitol.
+
+Blair became the spokesman and the leader for the Edinburgh
+literati, and for the next forty years he lavished his energy in praising
+and defending Macpherson's work. The translations came to
+him at the time that he was writing his lectures on _belles lettres_
+and was thus in the process of formulating his theories on the origins
+of poetry and the nature of the sublime. Blair lost no time in
+communicating with Macpherson:
+
+"I being as much struck as Mr Home with the high spirit of poetry
+which breathed in them, presently made inquiry where Mr. Macpherson
+was to be found; and having sent for him to come to me, had much
+conversation with him on the subject."[5]
+
+Macpherson told Blair that there were "greater and more considerable
+poems of the same strain" still extant in the Highlands; Blair like
+Home was eager for more, but Macpherson again declined to translate them.
+He said that he felt himself inadequate to render "the spirit and force"
+of the originals and that "they would be very ill relished by the public
+as so very different from the strain of modern ideas, and of modern,
+connected, and polished poetry." This whetted Blair's interest even more,
+and after "repeated importunity" he persuaded Macpherson to translate
+more fragments. The result was the present volume, which Blair saw to
+the press and for which he wrote the Preface "in consequence of the
+conversations" that he had with Macpherson.[6]
+
+Most of Blair's Preface does seem to be based on information supplied
+by Macpherson, for Blair had almost no first-hand knowledge about
+Highland poetry or its traditions. It is apparent from the Preface then,
+that Macpherson had not yet decided to ascribe the poems to a single
+poet; Ossian is one of the principal poets in the collection but the
+whole is merely ascribed "to the bards" (see pp. v-vi). It is also
+evident from the Preface that Macpherson was shifting from the
+reluctant "translator" of a few "fragments" to the projector of a
+full-length epic "if enough encouragement were given for such an
+undertaking."
+
+Since Blair became famous for his _Critical Dissertation on the
+Poems of Ossian_ (London, 1763), it may seem strange that in the
+Preface to the _Fragments_ he declined to say anything of the "poetical
+merit" of the collection. The frank adulation of the longer
+essay, which concludes with the brave assertion that Ossian may
+be placed "among those whose works are to last for ages,"[7]  was
+partially a reflection of the enthusiasm that greeted each of
+Macpherson's successive publications.
+
+
+
+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 _extasie_ 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.
+
+
+
+IV
+
+Perhaps Macpherson's most important innovation was to cast
+his work into what his contemporaries called "measured prose,"
+and it was recognized early that this new form contributed greatly
+to their appeal. In discussing the _Fragments_, Ramsey of Ochtertyre
+commented,
+
+"Nothing could be more happy or judicious than his translating in
+measured prose; for had he attempted it in verse, much of the spirit
+of the original would have evaporated, supposing him to have had
+talents and industry to perform that very arduous task upon a great
+scale. This small publication drew the attention of the literary
+world to a new species of poetry."[12]
+
+For his new species of poetry Macpherson drew upon the stylistic
+techniques of the King James Version of the Bible, just as Blake
+and Whitman were to do later. As Bishop Lowth was the first to
+point out, parallelism is the basic structural technique.
+Macpherson incorporated two principal forms of parallelism in his poems:
+_repetition_, a pattern in which the second line nearly restates the
+sense of the first, and _completion_ in which the second line picks
+up part of the sense of the first line and adds to it. These are
+both common in the _Fragments_, but a few examples may be useful.
+I have rearranged the following lines and in the other passages relating
+to the structure of the poems in order to call attention to
+the binary quality of Macpherson's verse:
+
+_Repetition_
+
+   Who can reach the source of thy race, O Connal?
+   And who recount thy Fathers? ("Fragment V")
+
+
+   Oscur my son came down;
+   The mighty in battle descended. ("Fragment VI")
+
+
+   Oscur stood forth to meet him;
+   My son would meet the foe. ("Fragment VIII")
+
+
+   Future times shall hear of thee;
+   They shall hear of the fallen Morar. ("Fragment XII")
+
+
+_Completion_
+
+   What voice is that I hear?
+   That voice like the summer wind. ("Fragment I")
+
+     The warriours saw her, and loved;
+     Their souls were fixed on the maid.
+     Each loved her, as his fame;
+     Each must possess her or die.
+     But her soul was fixed on Oscur;
+     My son was the youth of her love.      ("Fragment VII")
+
+Macpherson also used grammatical parallelism as a structural device; a
+series of simple sentences is often used to describe a landscape:
+
+     Autumn is dark on the mountains;
+     Grey mist rests on the hills.
+     The whirlwind is heard on the heath.
+     Dark rolls the river through the narrow plain.   ("Fragment V")
+
+The poems also have a discernible rhythmical pattern; the
+tendency of the lines to form pairs is obvious enough when there
+is semantic or grammatical parallelism, but there is a general binary
+pattern throughout. Typically, the first unit is a simple sentence,
+the second almost any grammatical structure--an appositive,
+a prepositional phrase, a participle, the second element of a compound
+verb, a dependent clause. A simile--in grammatical terms,
+an adverbial phrase--sometimes constitutes the second element.
+These pairs are often balanced roughly by the presence of two,
+three, or four accents in each constituent; there are a large number
+of imbedded iambic and anapestic feet, which give the rhythm an
+ascending quality:
+
+  The da/ughter of R/inval was n/ear;
+
+  Crim/ora, br/ight in the arm/our of m/an;
+
+  Her ha/ir loose beh/ind,
+
+  Her b/ow in her h/and.
+
+  She f/ollowed the y/outh to w/ar,
+
+  Co/nnal her m/uch bel/oved.
+
+  She dr/ew the st/ring on D/argo;
+
+  But e/rring pi/erced her C/onnal.      ("Fragment V")
+
+As E. H. W. Meyerstein pointed out, "Macpherson can, without
+extravagance, be regarded as the main originator (after the translators
+of the Authorized Version) of what's known as 'free verse."[13]
+Macpherson's work certainly served to stimulate prosodic experimentation
+during the next half century; it is certainly no coincidence that two of
+the boldest innovators, Blake and Coleridge, were admirers of
+Macpherson's work.
+
+Macpherson's diction must have also appealed to the growing
+taste for poetry that was less ornate and studied. His practice
+was to use a large number of concrete monosyllabic words of Anglo-Saxon
+origin to describe objects and forces common to rural life.
+A simple listing of the common nouns from the opening of "Fragment
+I" will serve to illustrate this tendency: _love, son, hill,
+deer, dogs, bow-string, wind, stream, rushes, mist, oak, friends_.
+Such diction bears an obvious kinship to what was to become the
+staple diction of the romantic lyric; for example, a similar listing
+from "A Slumber Did My Spirit Seal" would be this: _slumber,
+spirit, fears, thing, touch, years, motion, force, course, rocks,
+stones, trees_.
+
+The untamed power of Macpherson's wild natural settings is
+also striking. Samuel H. Monk has made the point well:
+
+"Ossian's strange exotic wildness and his obscure, terrible glimpses
+of scenery were in essence something quite new.... Ossian's images were
+far from "nature methodized." His imagination illumined fitfully a scene
+of mountains and blasted heaths, as artificially wild as his heroines
+were artificially sensitive; to modern readers they resemble too much
+the stage-settings of melodrama. But in 1760, his descriptions carried
+with them the thrill of the genuine and of naively archaic."
+
+And Monk adds, "imperceptibly the Ossianic poems contributed
+toward converting Britons, nay, Europeans, into enthusiastic admirers
+of nature in her wilder moments."[14]
+
+Ghosts are habitually present in the poems, and Macpherson
+is able to present them convincingly because they are described
+by a poet who treats them as though they were part of his and his
+audience's habitual experience. The supernatural world is so
+familiar, in fact, that it can be used to describe the natural; thus
+Minvane in "Fragment VII" is called as fair "as the spirits of the
+hill when at silent noon they glide along the heath." As Patricia
+M. Spacks has observed, the supernatural seems to be a "genuine
+part of the poetic texture"; and she adds that
+
+"within this poetic context, the supernatural seems convincing
+because believed in: it is part of the fabric of life for the
+characters of the poem. Ghosts in the Ossianic poems, almost uniquely
+in the mid-eighteenth century, seem genuinely to belong; to this
+particular poetic conception the supernatural does not seem
+extraneous."[15]
+
+The _Fragments_ was also a cause and a reflection of the rising
+appeal of the hero of sensibility, whose principal characteristic
+was that he could feel more intensely than the mass of humanity.
+The most common emotion that these acutely empathetic heroes
+felt was grief, the emotion that permeates the _Fragments_ and the
+rest of Macpherson's work. It was the exquisite sensibility of
+Macpherson's heroes and heroines that the young Goethe was
+struck by; Werther, an Ossianic hero in his own way, comments,
+
+"You should see what a silly figure I cut when she
+is mentioned in society! And then if I am even asked
+how I like her--Like! I hate that word like death. What
+sort of person must that be who likes Lotte, in whom all
+senses, all emotions are not completely filled up by her!
+Like! Recently someone asked me how I like Ossian!"[16]
+
+That Macpherson chose to call his poems "fragments" is indicative
+of another quality that made them unusual in their day.
+The poems have a spontaneity that is suggested by the fact that
+the poets seem to be creating their songs as the direct reflection
+of an emotional experience. In contrast to the image of the poet
+as the orderer, the craftsman, the poets of the _Fragments_ have a
+kind of artlessness (to us a very studied one, to be sure) that gave
+them an aura of sincerity and honesty. The poems are fragmentary
+in the sense that they do not follow any orderly, rational plan but
+seem to take the form that corresponds to the development of an
+emotional experience. As Macpherson told Blair they are very
+different from "modern, connected, and polished poetry."
+
+
+
+V
+
+The _Fragments_ proved an immediate success and Macpherson's
+Edinburgh patrons moved swiftly to raise enough money to enable
+the young Highlander to resign his position as tutor and to devote
+himself to collecting and translating the Gaelic poetry still extant
+in the Highlands. Blair recalled that he and Lord Elibank were instrumental
+in convening a dinner meeting that was attended by "many of the first
+persons of rank and taste in Edinburgh," including Robertson, Home, and
+Fergusson.[17] Robert Chalmers acted as treasurer; among the forty odd
+subscribers who contributed 60L, were James Boswell and David Hume.[18]
+By the time of the second edition of the _Fragments_ (also in 1760),
+Blair, or more likely Macpherson himself, could inform the public in the
+"Advertisement" "that measures are now taken for making a full collection
+of the remaining Scottish bards; in particular, for recovering and
+translating the heroic poem mentioned in the preface."
+
+Macpherson, a frugal man, included many of the "Fragments"
+in his later work. Sometimes he introduced them into the notes as
+being later than Ossian but in the same spirit; at other times he
+introduced them as episodes in the longer narratives. With the exception
+of Laing's edition, they are not set off, however, and anyone
+who wishes to see what caused the initial Ossianic fervor
+must consult the original volume.
+
+When we have to remind ourselves that a work of art was revolutionary
+in its day, we can be sure that we are dealing with something
+closer to cultural artifact than to art, and it must be granted
+that this is true of Macpherson's work; nevertheless, the fact that
+Ossian aroused the interest of major men of letters for fifty years
+is suggestive of his importance as an innovator. In a curious way,
+Macpherson's achievement has been overshadowed by the fact that
+many greater writers followed him and developed the artistic
+direction that he was among the first to take.
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+
+[Footnote 1: See Scott's letter to Anna Seward in J. G. Lockhart, _Memoirs of
+    Sir Walter Scott_ (London, 1900), I, 410-15.]
+
+[Footnote 2: _The Poems of Ossian_, ed. Malcolm Laing (Edinburgh, 1805), I, 441.]
+
+[Footnote 3: See Home's letter to Mackenzie in the _Report of the Committee of the
+    Highland Society of Scotland_ (Edinburgh, 1805), Appendix, pp. 68-69.]
+
+[Footnote 4: Carlyle to Mackenzie, _ibid_., p. 66.]
+
+[Footnote 5: Blair to Mackenzie, _ibid_., p. 57.]
+
+[Footnote 6: _Ibid_., p. 58.]
+
+[Footnote 7: Quoted from _The Poems of Ossian_ (London, 1807), I, 222.   After its
+    initial separate publication, Blair's dissertation was regularly
+    included with the collected poems.]
+
+[Footnote 8: _Correspondence of Thomas Gray_, ed. Paget Toynbee and Leonard
+    Whibley (Oxford, 1935), II, 679-80.]
+
+[Footnote 9: _The Works of Lord Byron, Poetry_, ed. Ernest Hartley Coleridge
+    (London, 1898), I, 183.]
+
+[Footnote 10: "On Poetry in General," _The Complete Works of William Hazlitt_, ed.
+     P. P. Howe (London, 1930), V, 18.]
+
+[Footnote 11: Quoted in Henry Grey Graham, _Scottish Men of Letters in the
+     Eighteenth Century_ (London, 1908), p. 240.]
+
+[Footnote 12: _Scotland and Scotsmen in the Eighteenth Century_, ed. Alexander
+     Allardyce (Edinburgh, 1888), I, 547.]
+
+[Footnote 13: "The Influence of Ossian," _English_, VII (1948), 96.]
+
+[Footnote 14: _The Sublime_ (Ann Arbor, 1960), p. 126.]
+
+[Footnote 15: _The Insistence of Horror_ (Cambridge, Mass., 1962), pp. 86-87.]
+
+[Footnote 16: _The Sufferings of Young Werther_, trans. Bayard Morgan (New York,
+     1957), p. 51.]
+
+[Footnote 17: _Report_, Appendix, p. 58.]
+
+[Footnote 18: See Robert M. Schmitz, _Hugh Blair_ (New York, 1948), p. 48.]
+
+
+
+
+
+FRAGMENTS OF ANCIENT POETRY
+
+Collected in the Highlands of Scotland,
+
+and
+
+Translated from the Galic or Erse Language
+
+
+
+   "Vos quoque qui fortes animas, belloque peremtas
+   Laudibus in longum vates dimittitis aevuin,
+   Plurima securi fudistis carmina _Bardi_."
+
+
+
+
+LUCAN
+
+
+
+
+PREFACE
+
+The public may depend on the following fragments as genuine remains of
+ancient Scottish poetry. The date of their composition cannot be exactly
+ascertained. Tradition, in the country where they were written, refers
+them to an aera of the most remote antiquity: and this tradition is
+supported by the spirit and strain of the poems themselves; which abound
+with those ideas, and paint those manners, that belong to the most early
+state of society. The diction too, in the original, is very obsolete;
+and differs widely from the style of such poems as have been written in
+the same language two or three centuries ago. They were certainly
+composed before the establishment of clanship in the northern part of
+Scotland, which is itself very ancient; for had clans been then formed
+and known, they must have made a considerable figure in the work of a
+Highland Bard; whereas there is not the least mention of them in these
+poems. It is remarkable that there are found in them no allusions to the
+Christian religion or worship; indeed, few traces of religion of any kind.
+One circumstance seems to prove them to be coeval with the very infancy
+of Christianity in Scotland. In a fragment of the same poems, which the
+translator has seen, a Culdee or Monk is represented as desirous to take
+down in writing from the mouth of Oscian, who is the principal personage
+in several of the following fragments, his warlike atchievements and
+those of his family. But Oscian treats the monk and his religion with
+disdain, telling him, that the deeds of such great men were subjects too
+high to be recorded by him, or by any of his religion: A full proof that
+Christianity was not as yet established in the country.
+
+Though the poems now published appear as detached pieces in this
+collection, there is ground to believe that most of them were originally
+episodes of a greater work which related to the wars of Fingal.
+Concerning this hero innumerable traditions remain, to this day, in the
+Highlands of Scotland. The story of Oscian, his son, is so generally
+known, that to describe one in whom the race of a great family ends, it
+has passed into a proverb; "Oscian the last of the heroes."
+
+There can be no doubt that these poems are to be ascribed to the Bards;
+a race of men well known to have continued throughout many ages in
+Ireland and the north of Scotland. Every chief or great man had in his
+family a Bard or poet, whose office it was to record in verse, the
+illustrious actions of that family. By the succession of these Bards, such
+poems were handed down from race to race; some in manuscript, but more by
+oral tradition. And tradition, in a country so free of intermixture with
+foreigners, and among a people so strongly attached to the memory of their
+ancestors, has preserved many of them in a great measure incorrupted to
+this day.
+
+They are not set to music, nor sung. The verification in the original is
+simple; and to such as understand the language, very smooth and beautiful;
+Rhyme is seldom used: but the cadence, and the length of the line varied,
+so as to suit the sense. The translation is extremely literal. Even the
+arrangement of the words in the original has been imitated; to which must
+be imputed some inversions in the style, that otherwise would not have
+been chosen.
+
+Of the poetical merit of these fragments nothing shall here be said. Let
+the public judge, and pronounce. It is believed, that, by a careful
+inquiry, many more remains of ancient genius, no less valuable than those
+now given to the world, might be found in the same country where these
+have been collected. In particular there is reason to hope that one work
+of considerable length, and which deserves to be styled an heroic poem,
+might be recovered and translated, if encouragement were given to such an
+undertaking. The subject is, an invasion of Ireland by Swarthan King of
+Lochlyn; which is the name of Denmark in the Erse language. Cuchulaid,
+the General or Chief of the Irish tribes, upon intelligence of the
+invasion, assembles his forces. Councils are held; and battles fought.
+But after several unsuccescful engagements, the Irish are forced to
+submit. At length, Fingal King of Scotland, called in this poem, "The
+Desert of the hills," arrives with his ships to assist Cuchulaid. He
+expels the Danes from the country; and returns home victorious. This poem
+is held to be of greater antiquity than any of the rest that are preserved.
+And the author speaks of himself as present in the expedition of Fingal.
+The three last poems in the collection are fragments which the translator
+obtained of this epic poem; and though very imperfect, they were judged not
+unworthy of being inserted. If the whole were recovered, it might serve to
+throw confiderable light upon the Scottish and Irish antiquities.
+
+
+
+
+FRAGMENT
+
+   I
+
+   SHILRIC, VINVELA.
+
+   VINVELA
+
+   My love is a son of the hill.
+   He pursues the flying deer.
+   His grey dogs are panting
+   around him; his bow-string sounds in
+   the wind. Whether by the fount of
+   the rock, or by the stream of the
+   mountain thou liest; when the rushes are
+   nodding with the wind, and the mist
+   is flying over thee, let me approach
+   my love unperceived, and see him
+   from the rock. Lovely I saw thee
+   first by the aged oak; thou wert returning
+   tall from the chace; the fairest
+   among thy friends.
+
+   SHILRIC.
+
+   What voice is that I hear? that
+   voice like the summer-wind.--I sit
+   not by the nodding rushes; I hear not
+   the fount of the rock. Afar, Vinvela,
+   afar I go to the wars of Fingal. My
+   dogs attend me no more. No more
+   I tread the hill. No more from on
+   high I see thee, fair-moving by the
+   stream of the plain; bright as the
+   bow of heaven; as the moon on the
+   western wave.
+
+   VINVELA.
+
+   Then thou art gone, O Shilric!
+   and I am alone on the hill. The
+   deer are seen on the brow; void of
+   fear they graze along. No more they
+   dread the wind; no more the rustling
+   tree. The hunter is far removed;
+   he is in the field of graves. Strangers!
+   sons of the waves! spare my
+   lovely Shilric.
+
+   SHILRIC.
+
+   If fall I must in the field, raise high
+   my grave, Vinvela. Grey stones, and
+   heaped-up earth, shall murk me to future
+   times. When the hunter shall sit by
+   the mound, and produce his food at
+   noon, "some warrior rests here," he
+   will say; and my fame shall live in his
+   praise. Remember me, Vinvela, when
+   low on earth I lie!
+
+   VINVELA.
+
+   Yes!--I will remember thee--indeed
+   my Shilric will fall. What shall I do,
+   my love! when thou art gone for ever?
+   Through these hills I will go at noon: O
+   will go through the silent heath. There
+   I will see where often thou sattest returning
+   from the chace. Indeed, my Shilric
+   will fall; but I will remember
+   him.
+
+
+
+   II
+
+   I sit by the mossy fountain; on the
+   top of the hill of winds. One tree is
+   rustling above me. Dark waves roll
+   over the heath. The lake is troubled
+   below. The deer descend from the
+   hill. No hunter at a distance is seen;
+   no whistling cow-herd is nigh. It is
+   mid-day: but all is silent. Sad are my
+   thoughts as I sit alone. Didst thou
+   but appear, O my love, a wanderer on
+   the heath! thy hair floating on the
+   wind behind thee; thy bosom heaving
+   on the sight; thine eyes full of tears
+   for thy friends, whom the mist of the
+   hill had concealed! Thee I would comfort,
+   my love, and bring thee to thy
+   father's house.
+
+   But is it she that there appears, like
+   a beam of light on the heath? bright
+   as the moon in autumn, as the sun in
+   a summer-storm?--She speaks: but
+   how weak her voice! like the breeze
+   in the reeds of the pool. Hark!
+
+   Returnest thou safe from the war?
+   "Where are thy friends, my love? I
+   heard of thy death on the hill; I heard
+   and mourned thee, Shilric!"
+
+   Yes, my fair, I return; but I alone
+   of my race. Thou shalt see them no
+   more: their graves I raised on the plain.
+   But why art thou on the desert hill?
+   why on the heath, alone?
+
+   Alone I am, O Shilric! alone in the
+   winter-house. With grief for thee I
+   expired. Shilric, I am pale in the tomb.
+
+   She fleets, she sails away; as grey
+   mist before the wind!--and, wilt thou
+   not stay, my love? Stay and behold
+   my tears? fair thou appearest, my love!
+   fair thou wast, when alive!
+
+   By the mossy fountain I will sit; on
+   the top of the hill of winds. When
+   mid-day is silent around, converse, O
+   my love, with me! come on the wings
+   of the gale! on the blast of the mountain,
+   come! Let me hear thy voice, as
+   thou passest, when mid-day is silent around.
+
+
+
+   III
+
+   Evening is grey on the hills. The
+   north wind resounds through the
+   woods. White clouds rise on the sky: the
+   trembling snow descends. The river howls
+   afar, along its winding course. Sad,
+   by a hollow rock, the grey-hair'd Carryl
+   sat. Dry fern waves over his head; his
+   seat is in an aged birch. Clear to the
+   roaring winds he lifts his voice of woe.
+
+   Tossed on the wavy ocean is He,
+   the hope of the isles; Malcolm, the
+   support of the poor; foe to the proud
+   in arms! Why hast thou left us behind?
+   why live we to mourn thy fate? We
+   might have heard, with thee, the voice
+   of the deep; have seen the oozy rock.
+
+   Sad on the sea-beat shore thy spouse
+   looketh for thy return. The time of
+   thy promise is come; the night is gathering
+   around. But no white sail is
+   on the sea; no voice is heard except
+   the blustering winds. Low is the soul
+   of the war! Wet are the locks of youth!
+   By the foot of some rock thou liest;
+   washed by the waves as they come.
+   Why, ye winds, did ye bear him on
+   the desert rock? Why, ye waves, did
+   ye roll over him?
+
+   But, Oh! what voice is that?
+   Who rides on that meteor of fire! Green
+   are his airy limbs. It is he! it is the
+   ghost of Malcolm!--Rest, lovely soul,
+   rest on the rock; and let me hear thy
+   voice!--He is gone, like a dream of
+   the night. I see him through the trees.
+   Daughter of Reynold! he is gone.
+   Thy spouse shall return no more. No
+   more shall his hounds come from the
+   hill, forerunners of their master. No
+   more from the distant rock shall his
+   voice greet thine ear. Silent is he in
+   the deep, unhappy daughter of Reynold!
+
+   I will sit by the stream of the plain.
+   Ye rocks! hang over my head. Hear
+   my voice, ye trees! as ye bend on the
+   shaggy hill. My voice shall preserve
+   the praise of him, the hope of the
+   isles.
+
+
+
+   IV
+
+   CONNAL,  CRIMORA,
+
+   CRIMORA.
+
+   Who cometh from the hill, like
+   a cloud tinged with the beam
+   of the west? Whose voice is that, loud
+   as the wind, but pleasant as the harp of
+   Carryl? It is my love in the light of
+   steel; but sad is his darkened brow.
+   Live the mighty race of Fingal? or
+   what disturbs my Connal?
+
+   CONNAL.
+
+   They live. I saw them return from
+   the chace, like a stream of light. The
+   sun was on their shields: In a line they
+   descended the hill. Loud is the voice of
+   the youth; the war, my love, is near.
+   To-morrow the enormous Dargo comes
+   to try the force of our race. The race of
+   Fingal he defies; the race of battle and
+   wounds.
+
+   CRIMORA.
+   Connal, I saw his sails like grey mist
+   on the sable wave. They came to land.
+   Connnal, many are the warriors of
+   Dargo!
+
+   CONNAL.
+
+   Bring me thy father's shield; the iron
+   shield of Rinval; that shield like the
+   full moon when it is darkened in the
+   sky.
+
+   CRIMORA.
+
+   That shield I bring, O Connal; but
+   it did not defend my father. By the
+   spear of Gauror he fell. Thou mayst
+   fall, O Connal!
+
+   CONNAL.
+
+   Fall indeed I may: But raise my
+   tomb, Crimora. Some stones, a mound
+   of earth, shall keep my memory.
+   Though fair thou art, my love, as the
+   light; more pleasant than the gale of
+   the hill; yet I will not stay. Raise my
+   tomb, Crimora.
+
+   CRIMORA,
+
+   Then give me those arms of light;
+   that sword, and that spear of steel. I
+   shall meet Dargo with thee, and aid my
+   lovely Connal. Farewell, ye rocks of
+   Ardven! ye deer! and ye streams of
+   the hill!--We shall return no more.
+   Our tombs are distant far.
+
+
+
+   V
+
+   Autumn is dark on the mountains;
+   grey mist rests on the hills. The
+   whirlwind is heard on the heath. Dark
+   rolls the river through the narrow plain.
+   A tree stands alone on the hill, and
+   marks the grave of Connal. The leaves
+   whirl round with the wind, and strew
+   the grave of the dead. At times are
+   seen here the ghosts of the deceased,
+   when the musing hunter alone stalks
+   slowly over the heath.
+
+   Who can reach the source of thy
+   race, O Connal? and who recount thy
+   Fathers? Thy family grew like an oak
+   on the mountain, which meeteth the
+   wind with its lofty head. But now it
+   is torn from the earth. Who shall supply
+   the place of Connal?
+
+   Here was the din of arms; and
+   here the groans of the dying. Mournful
+   are the wars of Fingal! O Connal!
+   it was here thou didst fall. Thine arm
+   was like a storm; thy sword, a beam
+   of the sky; thy height, a rock on the
+   plain; thine eyes, a furnace of fire.
+   Louder than a storm was thy voice,
+   when thou confoundedst the field. Warriors
+   fell by thy sword, as the thistle by
+   the staff of a boy.
+
+   Dargo the mighty came on, like a
+   cloud of thunder. His brows were contracted
+   and dark. His eyes like two
+   caves in a rock. Bright rose their
+   swords on each side; dire was the clang
+   of their steel.
+
+   The daughter of Rinval was near;
+   Crimora, bright in the armour of man;
+   her hair loose behind, her bow in her
+   hand. She followed the youth to the
+   war, Connal her much beloved. She
+   drew the string on Dargo; but erring
+   pierced her Connal. He falls like an
+   oak on the plain; like a rock from the
+   shaggy hill. What shall she do, hapless
+   maid!--He bleeds; her Connal dies.
+   All the night long she cries, and all the
+   day, O Connal, my love, and my
+   friend! With grief the sad mourner
+   died.
+
+   Earth here incloseth the loveliest
+   pair on the hill. The grass grows between
+   the stones of their tomb; I sit in
+   the mournful shade. The wind sighs
+   through the grass; and their memory
+   rushes on my mind. Undisturbed you
+   now sleep together; in the tomb of the
+   mountain you rest alone.
+
+
+
+   VI
+
+   Son of the noble Fingal, Oscian,
+   Prince of men! what tears run down
+   the cheeks of age? what shades thy
+   mighty soul?
+
+   Memory, son of Alpin, memory
+   wounds the aged. Of former times are
+   my thoughts; my thoughts are of the
+   noble Fingal. The race of the king return
+   into my mind, and wound me with
+   remembrance.
+
+   One day, returned from the sport of
+   the mountains, from pursuing the sons
+   of the hill, we covered this heath with
+   our youth. Fingal the mighty was here,
+   and Oscur, my son, great in war. Fair
+   on our sight from the sea, at once, a
+   virgin came. Her breast was like the
+   snow of one night. Her cheek like the
+   bud of the rose. Mild was her blue
+   rolling eye: but sorrow was big in her
+   heart.
+
+   Fingal renowned in war! she cries,
+   sons of the king, preserve me! Speak secure,
+   replies the king, daughter of beauty,
+   speak: our ear is open to all: our
+   swords redress the injured. I fly from
+   Ullin, she cries, from Ullin famous in
+   war. I fly from the embrace of him
+   who would debase my blood. Cremor,
+   the friend of men, was my father; Cremor
+   the Prince of Inverne.
+
+   Fingal's younger sons arose; Carryl
+   expert in the bow; Fillan beloved of
+   the fair; and Fergus first in the race.
+   --Who from the farthest Lochlyn?
+   who to the seas of Molochasquir? who
+   dares hurt the maid whom the sons of
+   Fingal guard? Daughter of beauty, rest
+   secure; rest in peace, thou fairest of women.
+
+   Far in the blue distance of the deep,
+   some spot appeared like the back of the
+   ridge-wave. But soon the ship increased
+   on our sight. The hand of Ullin drew
+   her to land. The mountains trembled
+   as he moved. The hills shook at his
+   steps. Dire rattled his armour around
+   him. Death and destruction were in his
+   eyes. His stature like the roe of Morven.
+   He moved in the lightning of
+   steel.
+
+   Our warriors fell before him,
+   like the field before the reapers. Fingal's
+   three sons he bound. He plunged
+   his sword into the fair-one's breast.
+   She fell as a wreath of snow before the
+   sun in spring. Her bosom heaved in
+   death; her soul came forth in blood.
+   Oscur my son came down; the
+   mighty in battle descended. His armour
+   rattled as thunder; and the lightning of
+   his eyes was terrible. There, was the
+   clashing of swords; there, was the voice
+   of steel. They struck and they thrust;
+   they digged for death with their swords.
+   But death was distant far, and delayed
+   to come. The sun began to decline;
+   and the cow-herd thought of home.
+   Then Oscur's keen steel found the heart
+   of Ullin. He fell like a mountain-oak
+   covered over with glittering frost: He
+   shone like a rock on the plain.--Here
+   the daughter of beauty lieth; and
+   here the bravest of men. Here one
+   day ended the fair and the valiant.
+   Here rest the pursuer and the pursued.
+
+   Son of Alpin! the woes of the aged
+   are many: their tears are for the past.
+   This raised my sorrow, warriour; memory
+   awaked my grief. Oscur my
+   son was brave; but Oscur is now no
+   more. Thou hast heard my grief, O
+   son of Alpin; forgive the tears of the
+   aged.
+
+
+
+   VII
+
+   Why openest thou afresh the spring of
+   my grief, O son of Alpin, inquiring
+   how Oscur fell? My eyes are blind with
+   tears; but memory beams on my heart.
+   How can I relate the mournful death of
+   the head of the people! Prince of the
+   warriours, Oscur my son, shall I see thee
+   no more!
+
+   He fell as the moon in a storm; as
+   the sun from the midst of his course,
+   when clouds rise from the waste of the
+   waves, when the blackness of the storm
+   inwraps the rocks of Ardannider. I, like
+   an ancient oak on Morven, I moulder
+   alone in my place. The blast hath lopped
+   my branches away; and I tremble
+   at the wings of the north. Prince of
+   the warriors, Oscur my son! shall I see
+   thee no more!
+
+   DERMID
+
+   DERMID and Oscur were one: They
+   reaped the battle together. Their
+   friendship was strong as their steel; and
+   death walked between them to the field.
+   They came on the foe like two rocks
+   falling from the brows of Ardven. Their
+   swords were stained with the blood of
+   the valiant: warriours fainted at their
+   names. Who was a match for Oscur,
+   but Dermid? and who for Dermid, but
+   Oscur?
+
+   THEY killed mighty Dargo in the
+   field; Dargo before invincible. His
+   daughter was fair as the morn; mild
+   as the beam of night. Her eyes, like
+   two stars in a shower: her breath, the
+   gale of spring: her breasts, as the
+   new fallen snow floating on the moving heath.
+   The warriours saw her, and loved; their
+   souls were fixed on the maid. Each
+   loved her, as his fame; each must
+   possess her or die. But her soul was fixed
+   on Oscur; my son was the youth of
+   her love. She forgot the blood of her
+   father; and loved the hand that slew
+   him.
+
+   Son of Oscian, said Dermid, I love;
+   O Oscur, I love this maid. But her
+   soul cleaveth unto thee; and nothing
+   can heal Dermid. Here, pierce this
+   bosom, Oscur; relieve me, my friend,
+   with thy sword.
+
+   My sword, son of Morny, shall never
+   be stained with the blood of Dermid.
+
+   Who then is worthy to slay me, O
+   Oscur son of Oscian? Let not my life
+   pass away unknown. Let none but Oscur
+   slay me. Send me with honour to
+   the grave, and let my death be renowned.
+   Dermid, make use of thy sword;
+   son of Moray, wield thy steel. Would
+   that I fell with thee! that my death
+   came from the hand of Dermid!
+
+   They fought by the brook of the
+   mountain; by the streams of Branno.
+   Blood tinged the silvery stream, and
+   crudled round the mossy stones. Dermid
+   the graceful fell; fell, and smiled in
+   death.
+
+   And fallest thou, son of Morny;
+   fallest, thou by Oscur's hand! Dermid
+   invincible in war, thus do I see thee fall!
+   --He went, and returned to the maid
+   whom he loved; returned, but she perceived
+   his grief.
+
+   Why that gloom, son of Oscian?
+   what shades thy mighty soul?
+
+   Though once renowned for the bow,
+   O maid, I have lost my fame. Fixed on
+   a tree by the brook of the hill, is the
+   shield of Gormur the brave, whom in
+   battle I slew. I have wasted the day
+   in vain, nor could my arrow pierce it.
+
+   Let me try, son Oscian, the skill
+   of Dargo's daughter. My hands were
+   taught the bow: my father delighted in
+   my skill.
+
+   She went. He stood behind the
+   shield. Her arrow flew and pierced his
+   breast[A].
+
+   [Footnote A: Nothing was held by the ancient Highlanders more essential
+   to their glory, than to die by the hand of some person worthy or renowned.
+   This was the occasion of Oscur's contriving to be slain by his mistress,
+   now that he was weary of life. In those early times suicide was utterly
+   unknown among that people, and no traces of it are found in the old
+   poetry. Whence the translator suspects the account that follows of the
+   daughter of Dargo killing herself, to be the interpolation of some later
+   Bard.]
+
+   Blessed be that hand of snow; and
+   blessed thy bow of yew! I fall resolved
+   on death: and who but the daughter of
+   Dargo was worthy to slay me? Lay me
+   in the earth, my fair-one; lay me by
+   the side of Dermid.
+
+   Oscur! I have the blood, the soul
+   of the mighty Dargo. Well pleased I
+   can meet death. My sorrow I can end
+   thus.--She pierced her white bosom
+   with steel. She fell; she trembled; and
+   died.
+
+   By the brook of the hill their graves
+   are laid; a birch's unequal shade covers
+   their tomb. Often on their green earthen
+   tombs the branchy sons of the mountain
+   feed, when mid-day is all in flames,
+   and silence is over all the hills.
+
+
+
+   VIII
+
+   By the side of a rock on the hill, beneath
+   the aged trees, old Oscian
+   sat on the moss; the last of the race of
+   Fingal. Sightless are his aged eyes;
+   his beard is waving in the wind. Dull
+   through the leafless trees he heard the
+   voice of the north. Sorrow revived in
+   his soul: he began and lamented the
+   dead.
+
+   How hast thou fallen like an oak,
+   with all thy branches round thee! Where
+   is Fingal the King? where is Oscur my
+   son? where are all my race? Alas! in
+   the earth they lie. I feel their tombs
+   with my hands. I hear the river below
+   murmuring hoarsely over the stones.
+   What dost thou, O river, to me? Thou
+   bringest back the memory of the past.
+
+   The race of Fingal stood on thy
+   banks, like a wood in a fertile soil.
+   Keen were their spears of steel. Hardy
+   was he who dared to encounter their
+   rage. Fillan the great was there. Thou
+   Oscur wert there, my son! Fingal himself
+   was there, strong in the grey locks
+   of years. Full rose his sinewy limbs;
+   and wide his shoulders spread. The
+   unhappy met with his arm, when the
+   pride of his wrath arose.
+
+   The son of Morny came; Gaul, the
+   tallest of men. He stood on the hill like
+   an oak; his voice was like the streams of
+   the hill. Why reigneth alone, he cries,
+   the son of the mighty Corval? Fingal is
+   not strong to save: he is no support for
+   the people. I am strong as a storm in
+   the ocean; as a whirlwind on the hill.
+   Yield, son of Corval; Fingal, yield to
+   me.
+
+   Oscur stood forth to meet him;
+   my son would meet the foe. But Fingal
+   came in his strength, and smiled at
+   the vaunter's boast. They threw their
+   arms round each other; they struggled
+   on the plain. The earth is ploughed with
+   their heels. Their bones crack as the boat
+   on the ocean, when it leaps from wave to
+   wave. Long did they toil; with night,
+   they fell on the sounding plain; as two
+   oaks, with their branches mingled, fall
+   crashing from the hill. The tall son
+   of Morny is bound; the aged overcame.
+
+   Fair with her locks of gold, her
+   smooth neck, and her breasts of snow;
+   fair, as the spirits of the hill when at
+   silent noon they glide along the heath;
+   fair, as the rainbow of heaven; came
+   Minvane the maid. Fingal! She softly
+   saith, loose me my brother Gaul.
+   Loose me the hope of my race, the terror
+   of all but Fingal. Can I, replies the
+   King, can I deny the lovely daughter
+   of the hill? take thy brother, O Minvane,
+   thou fairer than the snow of the
+   north!
+
+   Such, Fingal! were thy words; but
+   thy words I hear no more. Sightless
+   I sit by thy tomb. I hear the wind in
+   the wood; but no more I hear my
+   friends. The cry of the hunter is over.
+   The voice of war is ceased.
+
+
+
+   IX
+
+   Thou askest, fair daughter of the
+   isles! whose memory is preserved
+   in these tombs? The memory of Ronnan
+   the bold, and Connan the chief of
+   men; and of her, the fairest of maids,
+   Rivine the lovely and the good. The
+   wing of time is laden with care. Every
+   moment hath woes of its own. Why
+   seek we our grief from afar? or give our
+   tears to those of other times? But thou
+   commanded, and I obey, O fair daughter
+   of the isles!
+
+   Conar was mighty in war. Caul
+   was the friend of strangers. His gates
+   were open to all; midnight darkened
+   not on his barred door. Both lived upon
+   the sons of the mountains. Their bow
+   was the support of the poor.
+
+   Connan was the image of Conar's
+   soul. Caul was renewed in Ronnan his
+   son. Rivine the daughter of Conar was
+   the love of Ronnan; her brother Connan
+   was his friend. She was fair as the
+   harvest-moon setting in the seas of
+   Molochasquir. Her soul was settled on
+   Ronnan; the youth was the dream of her
+   nights.
+
+   Rivine, my love! says Ronnan, I go
+   to my king in Norway[A]. A year and
+   a day shall bring me back. Wilt thou
+   be true to Ronnan?
+
+   [Footnote A: Supposed to be Fergus II. This fragment is reckoned not
+   altogether so ancient as most of the rest.]
+
+   Ronnan! a year and a day I will
+   spend in sorrow. Ronnan, behave like
+   a man, and my soul shall exult in thy
+   valour. Connan my friend, says Ronnan,
+   wilt thou preserve Rivine thy sister?
+   Durstan is in love with the maid;
+   and soon shall the sea bring the stranger
+   to our coast.
+
+   Ronnan, I will defend: Do thou
+   securely go.--He went. He returned
+   on his day. But Durstan returned
+   before him.
+
+   Give me thy daughter, Conar, says
+   Durstan; or fear and feel my power.
+
+   He who dares attempt my sister, says
+   Connan, must meet this edge of steel.
+   Unerring in battle is my arm: my
+   sword, as the lightning of heaven.
+
+   Ronnan the warriour came; and
+   much he threatened Durstan.
+
+   But, saith Euran the servant of
+   gold, Ronnan! by the gate of the north
+   shall Durstan this night carry thy fair-one
+   away. Accursed, answers Ronnan, be this arm if death meet him not
+   there.
+
+   Connan! saith Euran, this night
+   shall the stranger carry thy sister away.
+   My sword shall meet him, replies Connan,
+   and he shall lie low on earth.
+
+   The friends met by night, and they
+   fought. Blood and sweat ran down
+   their limbs as water on the mossy rock.
+   Connan falls; and cries, O Durstan,
+   be favourable to Rivine!--And is it my
+   friend, cries Ronnan, I have slain? O
+   Connan! I knew thee not.
+
+   He went, and he fought with Durstan.
+   Day began to rise on the combat,
+   when fainting they fell, and expired.
+   Rivine came out with the morn;
+   and--O what detains my Ronnan!
+   --She saw him lying pale in his blood;
+   and her brother lying pale by his side.
+
+   What could she say: what could she
+   do? her complaints were many and vain.
+   She opened this grave for the warriours;
+   and fell into it herself, before it
+   was closed; like the sun snatched away
+   in a storm.
+
+   Thou hast heard this tale of grief,
+   O fair daughter of the isles! Rivine was
+   fair as thyself: shed on her grave a
+   tear.
+
+
+
+   X
+
+   It is night; and I am alone, forlorn
+   on the hill of storms. The wind is
+   heard in the mountain. The torrent
+   shrieks down the rock. No hut receives
+   me from the rain; forlorn on the hill of
+   winds.
+
+   Rise, moon! from behind thy
+   clouds; stars of the night, appear!
+   Lead me, some light, to the place where
+   my love rests from the toil of the chase!
+   his bow near him, unstrung; his dogs
+   panting around him. But here I must
+   sit alone, by the rock of the mossy
+   stream. The stream and the wind
+   roar; nor can I hear the voice of my
+   love.
+
+   Why delayeth my Shalgar, why the
+   son of the hill, his promise? Here is
+   the rock; and the tree; and here the
+   roaring stream. Thou promisedst with
+   night to be here. Ah! whither is my
+   Shalgar gone? With thee I would fly
+   my father; with thee, my brother of
+   pride. Our race have long been foes;
+   but we are not foes, O Shalgar!
+
+   Cease a little while, O wind! stream,
+   be thou silent a while! let my voice be
+   heard over the heath; let my wanderer
+   hear me. Shalgar! it is I who call. Here
+   is the tree, and the rock. Shalgar, my
+   love! I am here. Why delayest thou
+   thy coming? Alas! no answer.
+
+   Lo! the moon appeareth. The
+   flood is bright in the vale. The rocks
+   are grey on the face of the hill. But
+   I see him not on the brow; his dogs
+   before him tell not that he is coming.
+   Here I must sit alone.
+
+   But who are these that lie beyond
+   me on the heath? Are they my love
+   and my brother?--Speak to me, O my
+   friends! they answer not. My soul is
+   tormented with fears.--Ah! they are
+   dead. Their swords are red from the
+   fight. O my brother! my brother!
+   why hast thou slain my Shalgar? why,
+   O Shalgar! hast thou slain my brother?
+   Dear were ye both to me! speak to me;
+   hear my voice, sons of my love! But
+   alas! they are silent; silent for ever!
+   Cold are their breast of clay!
+
+   Oh! from the rock of the hill;
+   from the top of the mountain of winds,
+   speak ye ghosts of the dead! speak,
+   and I will not be afraid.--Whither
+   are ye gone to rest? In what cave of
+   the hill shall I find you?
+
+   I sit in my grief. I wait for morning
+   in my tears. Rear the tomb, ye
+   friends of the dead; but close it not
+   till I come. My life flieth away like a
+   dream: why should I stay behind?
+   Here shall I rest with my friends by the
+   stream of the founding rock. When
+   night comes on the hill: when the wind
+   is up on the heath; my ghost shall stand
+   in the wind, and mourn the death of
+   my friends. The hunter shall hear
+   from his booth. He shall fear, but
+   love my voice. For sweet shall my voice
+   be for my friends; for pleasant were
+   they both to me.
+
+
+
+   XI
+
+   Sad! I am sad indeed: nor small my
+   cause of woe!--Kirmor, thou hast
+   lost no son; thou hast lost no daughter
+   of beauty. Connar the valiant lives;
+   and Annir the fairest of maids. The
+   boughs of thy family flourish, O Kirmor!
+   but Armyn is the last of his
+   race.
+
+   Rise, winds of autumn, rise; blow
+   upon the dark heath! streams of the
+   mountains, roar! howl, ye tempests,
+   in the trees! walk through broken
+   clouds, O moon! show by intervals thy
+   pale face! bring to my mind that sad
+   night, when all my children fell; when
+   Arindel the mighty fell; when Daura
+   the lovely died.
+
+   Daura, my daughter! thou wert
+   fair; fair as the moon on the hills of
+   Jura; white as the driven snow; sweet as
+   the breathing gale. Armor renowned in
+   war came, and fought Daura's love; he
+   was not long denied; fair was the hope
+   of their friends.
+
+   Earch son of Odgal repined; for
+   his brother was slain by Armor. He
+   came disguised like a son of the sea:
+   fair was his skiff on the wave; white
+   his locks of age; calm his serious brow.
+   Fairest of women, he said, lovely daughter
+   of Armyn! a rock not distant in
+   the sea, bears a tree on its side; red
+   shines the fruit afar. There Armor
+   waiteth for Daura. I came to fetch
+   his love. Come, fair daughter of Armyn!
+
+   She went; and she called on Armor.
+   Nought answered, but the son of the
+   rock. Armor, my love! my love!
+   why tormentest thou me with fear?
+   come, graceful son of Arduart, come;
+   it is Daura who calleth thee!--Earch
+   the traitor fled laughing to the land.
+   She lifted up her voice, and cried for
+   her brother and her father. Arindel!
+   Armyn! none to relieve your Daura?
+
+   Her voice came over the sea. Arindel
+   my son descended from the hill;
+   rough in the spoils of the chace. His
+   arrows rattled by his side; his bow was
+   in his hand; five grey dogs attended
+   his steps. He saw fierce Earch on the
+   shore; he seized and bound him to an
+   oak. Thick fly the thongs of the hide
+   around his limbs; he loads the wind
+   with his groans.
+
+   Arindel ascends the surgy deep in
+   his boat, to bring Daura to the land.
+   Armor came in his wrath, and let fly
+   the grey-feathered shaft. It sung; it
+   sunk in thy heart, O Arindel my son!
+   for Earch the traitor thou diedst. What
+   is thy grief, O Daura, when round
+   thy feet is poured thy brother's blood!
+
+   The boat is broken in twain by the
+   waves. Armor plunges into the sea, to
+   rescue his Daura or die. Sudden a blast
+   from the hill comes over the waves.
+   He sunk, and he rose no more.
+
+   Alone, on the sea-beat rock, my
+   daughter was heard to complain. Frequent
+   and loud were her cries; nor
+   could her father relieve her. All
+   night I stood on the shore. All night I
+   heard her cries. Loud was the wind;
+   and the rain beat hard on the side of the
+   mountain. Before morning appeared,
+   her voice was weak. It died away, like
+   the evening-breeze among the grass of
+   the rocks. Spent with grief she expired.
+   O lay me soon by her side.
+
+   When the storms of the mountain
+   come; when the north lifts the waves
+   on high; I sit by the sounding shore,
+   and look on the fatal rock. Often by
+   the setting moon I see the ghosts of
+   my children. Indistinct, they walk in
+   mournful conference together. Will
+   none of you speak to me?--But they
+   do not regard their father.
+
+
+
+   XII
+
+   RYNO, ALPIN.
+
+   RYNO
+
+   The wind and the rain are over:
+   calm is the noon of day. The
+   clouds are divided in heaven. Over
+   the green hills flies the inconstant sun.
+   Red through the stony vale comes
+   down the stream of the hill. Sweet are
+   thy murmurs, O stream! but more
+   sweet is the voice I hear. It is the voice
+   of Alpin the son of the song, mourning
+   for the dead. Bent is his head of age,
+   and red his tearful eye. Alpin, thou
+   son of the song, why alone on the silent
+   hill? why complainest thou, as a
+   blast in the wood; as a wave on the
+   lonely shore?
+
+   ALPIN.
+
+   My tears, O Ryno! are for the dead;
+   my voice, for the inhabitants of the
+   grave. Tall thou art on the hill; fair
+   among the sons of the plain. But thou
+   shalt fall like Morar; and the mourner
+   shalt sit on thy tomb. The hills shall
+   know thee no more; thy bow shall lie in
+   the hall, unstrung.
+
+   Thou wert swift, O Morar! as a
+   doe on the hill; terrible as a meteor of
+   fire. Thy wrath was as the storm of
+   December. Thy sword in battle, as
+   lightning in the field. Thy voice was
+   like a stream after rain; like thunder
+   on distant hills. Many fell by thy
+   arm; they were consumed in the flames
+   of thy wrath.
+
+   But when thou returnedst from war,
+   how peaceful was thy brow! Thy face
+   was like the sun after rain; like the
+   moon in the silence of night; calm as
+   the breast of the lake when the loud
+   wind is laid.
+
+   Narrow is thy dwelling now; dark
+   the place of thine abode. With three
+   steps I compass thy grave, O thou who
+   wast so great before! Four stones with
+   their heads of moss are the only memorial
+   of thee. A tree with scarce a leaf,
+   long grass which whistles in the wind,
+   mark to the hunter's eye the grave of
+   the mighty Morar. Morar! thou art
+   low indeed. Thou hast no mother to
+   mourn thee; no maid with her tears of
+   love. Dead is she that brought thee
+   forth. Fallen is the daughter of Morglan.
+
+   Who on his staff is this? who is this,
+   whose head is white with age, whose
+   eyes are red with tears, who quakes
+   at every step?--It is thy father, O
+   Morar! the father of none but thee.
+   He heard of thy fame in battle; he heard
+   of foes dispersed. He heard of Morar's
+   fame; why did he not hear of his
+   wound? Weep, thou father of Morar!
+   weep; but thy son heareth thee not.
+   Deep is the sleep of the dead; low their
+   pillow of dust. No more shall he hear
+   thy voice; no more shall he awake at
+   thy call.  When shall it be morn in the
+   grave, to bid the slumberer awake?
+
+   Farewell, thou bravest of men!
+   thou conqueror in the field! but the field
+   shall see thee no more; nor the dark
+   wood be lightened with the splendor of
+   thy steel. Thou hast left no son.
+   But the song shall preserve thy name.
+   Future times shall hear of thee; they
+   shall hear of the fallen Morar.
+
+
+
+   XIII
+
+   [Footnote: This is the opening of the epic poem mentioned in the preface.
+   The two following fragments are parts of some episodes of the same work.]
+
+   Cuchlaid sat by the wall; by the
+   tree of the rustling leaf.
+
+   [Footnote: The aspen or poplar tree]
+
+   His spear leaned against the mossy rock.
+   His shield lay by him on the grass.
+   Whilst he thought on the mighty Carbre
+   whom he slew in battle, the scout of
+   the ocean came, Moran the son of Fithil.
+
+   Rise, Cuchulaid, rise! I see the ships
+   of Garve. Many are the foe, Cuchulaid;
+   many the sons of Lochlyn.
+
+   Moran! thou ever tremblest; thy
+   fears increase the foe. They are the
+   ships of the Desert of hills arrived to assist
+   Cuchulaid.
+
+   I saw their chief, says Moran, tall as
+   a rock of ice. His spear is like that fir;
+   his shield like the rising moon. He sat
+   upon a rock on the shore, as a grey
+   cloud upon the hill. Many, mighty
+   man! I said, many are our heroes;
+   Garve, well art thou named,
+   many are the sons of our king.
+
+   [Footnote: Garve sigifies a man of great size.]
+
+   He answered like a wave on the
+   rock; who is like me here? The valiant
+   live not with me; they go to the
+   earth from my hand. The king of the
+   Desert of hills alone can fight with
+   Garve. Once we wrestled on the hill.
+   Our heels overturned the wood. Rocks
+   fell from their place, and rivulets changed
+   their course. Three days we strove
+   together; heroes stood at a distance,
+   and feared. On the fourth, the King
+   saith that I fell; but Garve saith, he
+   stood. Let Cuchulaid yield to him that
+   is strong as a storm.
+
+   No. I will never yield to man.
+   Cuchulaid will conquer or die. Go,
+   Moran, take my spear; strike the shield
+   of Caithbait which hangs before the
+   gate. It never rings in peace. My heroes
+   shall hear on the hill,--
+
+
+
+   XIV
+
+   DUCHOMMAR, MORNA.
+
+   DUCHOMMAR.
+
+   [Footnote: The signification of the names in this fragment are;
+   Dubhchomar, a black well-shaped man. Muirne or Morna, a woman beloved
+   by all. Cormac-cairbre, an unequalled and rough warriour. Cromleach,
+   a crooked hill. Mugruch, a surly gloomy man. Tarman, thunder. Moinie,
+   soft in temper and person.]
+
+   Morna, thou fairest of women,
+   daughter of Cormac-Carbre!
+   why in the circle of stones, in the cave
+   of the rock, alone? The stream murmureth
+   hoarsely. The blast groaneth
+   in the aged tree. The lake is troubled
+   before thee. Dark are the clouds of
+   the sky. But thou art like snow on
+   the heath. Thy hair like a thin cloud
+   of gold on the top of Cromleach. Thy
+   breasts like two smooth rocks on the hill
+   which is seen from the stream of Brannuin.
+   Thy arms, as two white pillars
+   in the hall of Fingal.
+
+   MORNA.
+
+   Whence the son of Mugruch, Duchommar
+   the most gloomy of men? Dark
+   are thy brows of terror. Red thy rolling
+   eyes. Does Garve appear on the
+   sea? What of the foe, Duchommar?
+
+   DUCHOMMAR.
+
+   From the hill I return, O Morna,
+   from the hill of the flying deer. Three
+   have I slain with my bow; three with
+   my panting dogs. Daughter of Cormac-Carbre,
+   I love thee as my soul. I
+   have slain a deer for thee. High was
+   his branchy head; and fleet his feet of
+   wind.
+
+   MORNA.
+
+   Gloomy son of Mugruch, Duchommar!
+   I love thee not: hard is thy heart
+   of rock; dark thy terrible brow. But
+   Cadmor the son of Tarman, thou art
+   the love of Morna! thou art like a sunbeam
+   on the hill, in the day of the
+   gloomy storm. Sawest thou the son of
+   Tarman, lovely on the hill of the chace?
+   Here the daughter of Cormac-Carbre
+   waiteth the coming of Cadmor.
+
+   DUCHOMMAR.
+
+   And long shall Morna wait. His
+   blood is on my sword. I met him by
+   the mossy stone, by the oak of the noisy
+   stream. He fought; but I slew him;
+   his blood is on my sword. High on
+   the hill I will raise his tomb, daughter
+   of Cormac-Carbre. But love thou the
+   son of Mugruch; his arm is strong as a
+   storm.
+
+   MORNA.
+
+   And is the son of Tarman fallen;
+   the youth with the breast of snow! the
+   first in the chase of the hill; the foe
+   of the sons of the ocean!--Duchommar,
+   thou art gloomy indeed; cruel is
+   thy arm to me.--But give me that
+   sword, son of Mugruch; I love the
+   blood of Cadmor.
+
+   [He gives her the sword, with which she instantly stabs him.]
+
+   DUCHOMMAR.
+
+   Daughter of Cormac-Carbre, thou
+   hast pierced Duchommar! the sword is
+   cold in my breast; thou hast killed the
+   son of Mugruch. Give me to Moinic
+   the maid; for much she loved Duchommar.
+   My tomb she will raise on the
+   hill; the hunter shall see it, and praise
+   me.--But draw the sword from my
+   side, Morna; I feel it cold.--
+
+   [Upon her coming near him, he stabs her. As she fell, she plucked a stone
+   from the side of the cave, and placed it betwixt them, that his blood
+   might not be mingled with hers.]
+
+
+
+   XV
+
+   [1]Where is Gealchossa my love, the
+   daughter of Tuathal-Teachvar?
+   I left her in the hall of the plain, when I
+   fought with the hairy Ulfadha. Return
+   soon, she said, O Lamderg! for
+   here I wait in sorrow. Her white breaft
+   rose with sighs; her cheek was wet
+   with tears. But she cometh not to meet
+   Lamderg; or sooth his soul after battle.
+   Silent is the hall of joy; I hear not
+   the voice of the singer. Brann does
+   not shake his chains at the gate, glad
+   at the coming of his master. Where
+   is Gealchossa my love, the daughter of
+   Tuathal-Teachvar?
+
+   [Footnote: The signification of the names in this fragment are;
+   Gealchossack, white-legged. Tuathal-Teachtmhar, the surly, but fortunate
+   man. Lambhdearg, bloodyhand. Ulfadba, long beard. Fichios, the conqueror
+   of men.]
+
+   Lamderg! says Firchios son of Aydon,
+   Gealchossa may be on the hill;
+   she and her chosen maids pursuing the
+   flying deer.
+
+   Firchios! no noise I hear. No
+   sound in the wood of the hill. No
+   deer fly in my sight; no panting dog
+   pursueth. I see not Gealchossa my
+   love; fair as the full moon setting on
+   the hills of Cromleach. Go, Firchios!
+   go to Allad, the grey-haired son of
+   the rock. He liveth in the circle of
+   stones; he may tell of Gealchossa.
+
+   [Footnote: Allad is plainly a Druid consulted on this occasion.]
+
+   Allad! saith Firchios, thou who
+   dwellest in the rock; thou who tremblest
+   alone; what saw thine eyes of
+   age?
+
+   I saw, answered Allad the old, Ullin the son of Carbre: He came like a
+   cloud from the hill; he hummed a surly
+   song as he came, like a storm in
+   leafless wood. He entered the hall of
+   the plain. Lamderg, he cried, most
+   dreadful of men! fight, or yield to Ullin.
+   Lamderg, replied Gealchoffa,
+   Lamderg is not here: he fights the
+   hairy Ulfadha; mighty man, he is not
+   here. But Lamderg never yields; he
+   will fight the son of Carbre. Lovely art
+   thou, O daughter of Tuathal-Teachvar!
+   said Ullin. I carry thee to the
+   house of Carbre; the valiant shall have
+   Gealchossa. Three days from the top
+   of Cromleach will I call Lamderg to
+   fight. The fourth, you belong to Ullin,
+   if Lamderg die, or fly my sword.
+
+   Allad! peace to thy dreams!--found
+   the horn, Firchios!--Ullin may
+   hear, and meet me on the top of Cromleach.
+
+   Lamderg rushed on like a storm.
+   On his spear he leaped over rivers. Few
+   were his strides up the hill. The rocks
+   fly back from his heels; loud crashing
+   they bound to the plain. His armour,
+   his buckler rung. He hummed a surly
+   song, like the noise of the falling
+   stream. Dark as a cloud he stood above;
+   his arms, like meteors, shone.
+   From the summit of the hill, he rolled
+   a rock. Ullin heard in the hall of
+   Carbre.--
+
+
+
+
+
+
+
+End of Project Gutenberg's Fragments Of Ancient Poetry, by James MacPherson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FRAGMENTS OF ANCIENT POETRY ***
+
+***** This file should be named 8161.txt or 8161.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/8/1/6/8161/
+
+Produced by David Starner, Ted Garvin, and the Online
+Distributed Proofreading Team
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+  www.gutenberg.org/license.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:  www.gutenberg.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
diff --git a/8161.zip b/8161.zip
new file mode 100644
index 0000000..f66fdb6
--- /dev/null
+++ b/8161.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..9199e93
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #8161 (https://www.gutenberg.org/ebooks/8161)
diff --git a/old/8fgap10.zip b/old/8fgap10.zip
new file mode 100644
index 0000000..16e3ecd
--- /dev/null
+++ b/old/8fgap10.zip