Reception of Ossian in Europe

Howard Gaskill retired in 2001 as Reader in German at the University of Edinburgh. He is editor of The Poems of Ossian and Related Works (Edinburgh University Press, 1996) and co-editor of From Gaelic to Romantic: Ossianic Translations.

• Series Editor's Preface; Acknowledgements; List of Contributors; Abbreviations: Primary Ossianic Texts; Timeline of Ossian's European Reception; Introduction: 'Genuine poetry...like gold', Howard Gaskill (University of Edinburgh); 1. The Reception of The Poems of Ossian in England and Scotland, Dafydd Moore (University of Plymouth); 2. The Sublime Gael: The Impact of Macpherson's Ossian on Literary Creativity and Cultural Perception in Gaelic Scotland, Donald Meek (University of Edinburgh); 3. Ossian in Wales and Brittany, Mary-Ann Constantine (University of Wales); 4. 'We know all these poems': the Irish Response to Ossian, Micheal Mac Craith (University of Galway); 5. Ossian and the Rise of Literary Historicism, Joep Leerssen (University of Amsterdam); 6. Chateaubriand's Ossian, Colin Smethurst (University of Glasgow); 7. The Reception and Reworking of Ossian in Klopstock's Hermanns Schlacht, Sandro Jung (University of Wales, Lampeter); 8. Goethe's Translation from the Gaelic Ossian, Caitriona O Dochartaigh (University College Cork); 9. 'Menschlichschon' and 'kolossalisch': The Discursive Function of Ossian in Schiller's Poetry and Aesthetics, Wolf Gerhard Schmidt (University of Saarbrucken). 10. Ossian in Sweden and Swedish-speaking Finland, Peter Graves (University of Edinburgh); 11. Literary, Artistic and Political Resonances of Ossian in the Czech National Revival, James Porter (UCLA); 12. Ossian in Hungary, Gabriella Hartvig (University of Pecs); 13. Ossian in Poland, Nina Taylor-Terlecka (University of Oxford); 14. Fingal in Russia, Peter France (University of Edinburgh); 15. Ossian in Italy: From Cesarotti to the Theatre, Enrico Mattioda (University of Turin); 16. From Smith's Antiquities to Leoni's Nuovi Canti: The Making of the Ossianic Tradition Revisited, Francesca Broggi-Wuthrich (University of Zurich); 17. The Suggestiveness of Ossian in Romantic Spain: The Case of Espronceda and Garcia Gutierrez, Andrew Ginger (University of Edinburgh); 18. Ossian in Portugal, Gerald Bar (Aberta University); 19. Ossian in Musci, Christopher Smith (University of East Anglia); 20. Ossian and Art: Scotland into Europe via Rome, Murdo; MacDonald (University of Dundee); Bibliography; Index.

"The Reception of Ossian in Europe is necessary reading for scholars of eighteenth-century and Romantic studies; no serious library should be without it...[this] book breaks so much fresh ground in these various nations and raises so many topics of debate regarding the connections of authenticity and national identity, that...no single critical study has so thoroughly demonstrated Macpherson's impact through Europe as the book under review...Gaskill and his contributors have collectively produced a major literary achievement that traces Macpherson's formative influence through some of the most significant European authors from the 1760's onward. Read The Reception of Ossian in Europe and be prepared for some surprises." Mel Kersey, Eighteenth Century Scotland, July 2005 "[an] enjoyable, informative, and scholarly set of essays...Gaskill has been at the centre of a group of critics who for the last twenty years have reassessed the importance of Macpherson and Ossian." Sebastian Mitchell, Translation and Literature "It is wide-ranging, fascinating, and does not disappoint....The whole is an outstanding piece of work, incomparably the best study of Macpherson's European influence, and a triumph for editor and contributors alike....Ossian was a phenomenon on an altogether different scale, and this book is an indispensable guide to the ways in which this was so." Murray G.H. Pittock, Modern Languages Review, 101.4. 2006 "Few writers can have enjoyed such a deep and appreciated reception across Europe as James Macpherson did; and among their number none perhaps would find themselves so dismissively treated by modern critical opinion. In this way, Howard Gaskill's volume plays a central role in the series of which Elinor Shaffer is the General Editor. Macpherson is an author who can best be understood through his reception. This is the first full study of it in English, and it builds on the revisionist work on Macpherson which Gaskill has been carrying out since the 1980s. It is wide-ranging, fascinating and does not disappoint.... The whole is an outstanding piece of work, incomparably the best study of Macpherson's European influence, and a triumph for editor and contributors alike. The profound importance of Macpherson's work to European culture is all too frequently sidelined the domestic grouping of him as a 'forger' like Thomas Chatterton or Lolo Morganwg. Ossian was a phenomenon on an altogether different scale, and this book is an indispensable guide to the ways in which this was so." Murray G. H. Pittock, University of Manchester, Modern Languages Review, 2006 Murray G. H. Pittock, University of Manchester, Modern Languages Review, 2006 'This, it seems, clear, was a real labour of love by the editor...The designation 'comprehensive' should, I think, be given freely to The Reception of Ossian in Europe....invaluable.' Graeme Morton, University of Guelph, International Review of Scottish Studies, vol 31, 2006 Graeme Morton, International Review of Scottish Studies "Howard Gaskill, doughtiest of Ossian's champions, has edited a comprehensive survey of the reception of Ossian in Europe...Gaskill himself furnishes a wide-ranging introduction, and a 'time-line' of almost fifty pages compiled (a formidable labour!) by Paul Burnaby, document translations, critical works, and other Ossianic echoes from the first partial French (1760) to the first Slovenian translation (1996), new editions of Ossian in Italy, Hungary, and Francophone Canada in the 90s, and the Ossian exhibition at the Scottish National Portrait Gallery in 2002...Ossian is still with us, a far more pervasive influence than many readers, even those acquainted with the poems themselves, with have previously recognised." Francis Lamport, Comparative Critical Studies"