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Soteria: The Poems of Ossian: how good are they?

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What I was keen to do in preparing this for this meeting of Soteria, was to try to taste, with an unprejudiced palette, that wine under the Ossian label that had caused Thomas Jefferson, the polymathic principal author of the American Declaration of Independence and third President of his country, to write in 1773, to the family of James Macpherson gushingly: ““These pieces have been and will, I think, during my life, continue to be to me the sources of daily and exalted pleasures. The tender and the sublime emotions of the mind were never before so wrought up by the human hand. I am not ashamed to own that I think this rude bard of the North the greatest poet that has ever existed.” And I think his opinion is not eccentrically unrepresentative of that wave of regard for Ossian that swept across the Western world. Sir Walter Scott said of Fingal, one of the characters of the poems, whom we shall be encountering later, that he combined "all the strength and bravery of Achilles, with the courtesy, sentiment, and high-breeding of Sir Charles Grandison," the latter being a character created by Samuel Richardson specifically to depict a virtuous man.
Four more facts.
The Poems of Ossian was said to be Napoleon’s favourite book. One of the most popular pieces of Mendelsohn “the Hebrides Overture” is subtitled “Fingal’s Cave”. The female name “Fiona” was invented by Macpherson, and he was was honoured with being buried in Westminster Abbey.
Are these works a relatively bare hook, unto which people of the late 18th century hung their various desires about the nobility of those who pre-dated the refinements and restrictions which in their way these people were themselves in reaction against?
Four more facts.
The Poems of Ossian was said to be Napoleon’s favourite book. One of the most popular pieces of Mendelsohn “the Hebrides Overture” is subtitled “Fingal’s Cave”. The female name “Fiona” was invented by Macpherson, and he was was honoured with being buried in Westminster Abbey.
Are these works a relatively bare hook, unto which people of the late 18th century hung their various desires about the nobility of those who pre-dated the refinements and restrictions which in their way these people were themselves in reaction against?
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