LITMIR.BIZ

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and heroic. It is accordingly observed by Ammianus Marcellinus^(a), that the bards inculcated in their songs virtue and actions worthy of praise. The bards, who were in high estimation, became great proficients in poetry; of which we have a conspicuous instance in the works of Ossian. Their capital compositions were diligently studied by those of their own order, and admired by all. The songs of the bards, accompanied with the harp, made a deep impression on the young war-<462>rior, elevated some into heroes, and promoted virtue in every hearer.^* Another circumstance, common to the Caledonians with every other nation in the first stage of society, concurred to form their manners; which is, that avarice was unknown among them. People in that stage, ignorant of habitual wants, and having a ready supply of all that nature requires, have little notion of property, and not the slightest desire of accumulating the goods of fortune; and for that reason are always found honest and disinterested. With respect to the female sex, who make an illustrious figure in Ossian’s poems, if they were so eminent both for courage and beauty as they are represented by the best authors, it is no wonder to find them painted by Ossian as objects of love the<463> most pure and refined. Nor ought it to be overlooked, that the soft and delicate notes of the harp have a tendency to purify manners, and to refine love.

      Whether the causes here assigned of Celtic manners be fully adequate, may well admit of a doubt; but if authentic history be relied on, we can entertain no doubt, that the manners of the Gallic and British Celtae, including the Caledonians, were such as are above described. And as the manners ascribed by Ossian to his countrymen the Caledonians, are in every particular conformable to those now mentioned, it clearly follows, that Ossian was no inventor, but drew his pictures of manners from real life. This is made highly probable from intrinsic evidence, the same that is so copiously urged above: and now by authentic history, that probability is so much heightened, as scarce to leave room for a doubt.

      Our present highlanders are but a small part of the inhabitants of Britain; and they have been sinking in their importance, from the time that arts and sciences made a figure, and peaceable manners prevailed. And yet in that people are dis-<464>cernible many remaining features of their forefathers the Caledonians. They have to this day a disposition to war, and when disciplined make excellent soldiers, sober, active, and obedient. They are eminently hospitable; and the character given by Strabo of the Gallic Celtae, that they were innocent and devoid of malignity, is to them perfectly applicable. That they have not the magnanimity and heroism of the Caledonians, is easily accounted for. The Caledonians were a free and independent people, unawed by any superior power, and living under the mild government of their own chieftains; compared with their forefathers, the present highlanders make a very inconsiderable figure: their country is barren, and at any rate is but a small part of a potent kingdom; and their language deprives them of intercourse with their polished neighbours.

      There certainly never happened in literature, a discovery more extraordinary than the works of Ossian. To lay the scene of action among hunters in the first stage of society, and to bestow upon such a people a system of manners that would do honour to the most polished state, seem-<465>ed at first an ill-contrived forgery. But if a forgery, why so bold and improbable? why not invent manners more congruous to the savage state? And as at any rate the work has great merit, why did the author conceal himself? These considerations roused my attention, and produced the foregoing disquisition; which I finished, without imagining that any more light could be obtained. But, after a long interval, a thought struck me, that as the Caledonians formerly were much connected with the Scandinavians, the manners of the latter might probably give light in the present inquiry. I cheerfully spread my sails in a wide ocean, not without hopes of importing precious merchandise. Many volumes did I turn over of Scandinavian history; attentive to those passages where the manners of the inhabitants in the first stage of society are delineated. And now I proceed to present my reader with the goods imported.

      The Danes, says Adam of Bremen, are remarkable for elevation of mind: the punishment of death is less dreaded by them than that of whipping. “The philosophy of the Cimbri,” says Valerius Ma-<466>ximus, “is gay and resolute: they leap for joy in a battle, hoping for a glorious end; in sickness they lament, for fear of the contrary.” What fortified their courage, was a persuasion, that those who die in battle fighting bravely are instantly translated to the hall of Odin, to drink beer out of the skull of an enemy. “Happy in their mistake,” says Lucan, “are the people who live near the pole: persuaded that death is only a passage to long life, they are undisturbed by the most grievous of all fears, that of dying: they eagerly run to arms, and esteem it cowardice to spare a life they shall soon recover in another world.” Such was their magnanimity, that they scorned to snatch a victory by surprise. Even in their piratical expeditions, instances are recorded of setting aside all the ships that exceeded those of the enemy, lest the victory should be attributed to superiority of numbers. It was held unmanly to decline a combat, however unequal; for courage, it was thought, rendered all men equal. The shedding tears was unmanly, even for the death of friends.

      The Scandinavians were sensible in a<467> high degree to praise and reproach; for love of fame was their darling passion. Olave, King of Norway, placing three of his scalds or bards around him in a battle, “You shall not relate,” said he, “what you have only heard, but what you are eye-witnesses of.” Upon every occasion we find them insisting upon glory, honour, and contempt of death, as leading principles. The bare suspicion of cowardice was attended with universal contempt: a man who lost his buckler, or received a wound behind, durst never again appear in public. Frotho King of Denmark, made captive in a battle, obstinately refused either liberty or life. “To what end,” says he, “should I survive the disgrace of being made a captive? Should you even restore to me my sister, my treasure, and my kingdom, would these benefits restore me to my honour? Future ages will always have to say, that Frotho was taken by his enemy”^(a).

      Much efficacy is above ascribed to the songs of Caledonian bards; and with satisfaction I find my observations justified<468> in every Scandinavian history. The Kings of Denmark, Norway, and Sweden, are represented in ancient chronicles as constantly attended with scalds or bards, who were treated with great respect, especially by princes distinguished in war. Harold Harfager at his feasts placed them above all his other officers; and employed them in negociations of the greatest importance. The poetic art, held in great estimation, was cultivated by men of the first rank. Rogvald, Earl of Orkney, passed for an able poet. King Regnar was distinguished in poetry, no less than in war. It was the proper province of bards in Scandinavia, as in other countries, to celebrate in odes the atchievements of deceased heroes. They were frequently employed in animating the troops before a battle. Hacon, Earl of Norway, in his famous engagement against the warriors of Iomsburg, had five celebrated poets, each of whom sung an ode to the soldiers ready to engage. Saxo Grammaticus, describing a battle between Waldemar and Sueno, mentions a scald belonging to the former, who, advancing to the front of the<469> army, reproached the latter in a pathetic ode as the murderer of his own father.

      The odes of the Scandinavian bards have a peculiar energy; which is not difficult to be accounted for. The propensity of the Scandinavians to war, their love of glory, their undaunted courage, and their warlike exploits, naturally produced elevated sentiments, and an elevated tone of language; both of which were displayed in celebrating heroic deeds. Take the following instances. The first is from the Edda, which contains the birth and genealogy of their Gods.

      The giant Rymer arrives from the east, carried in a chariot: the great serpent, rolling himself furiously in the waters, lifteth up the sea. The eagle screams, and with his horrid beak tears the dead. The vessel of the gods is set afloat. The black prince of fire issues from the south, surrounded with flames: the swords of the gods beam like the sun: shaken are the rocks, and fall to pieces. The female giants wander about weeping: men in crouds tread the paths of death. Heaven is split asunder, the sun darkened, and the earth sunk in<470> the ocean. The shining stars vanish: the fire rages: the world draws to an end; and the flame ascending licks the vault of heaven. From the bosom of the waves an earth emerges, clothed with lovely green: the floods retire: the fields produce without culture: misfortunes are banished from the world. Balder and his brother, gods of war, return to inhabit the ruin’d palace of Odin. A palace more resplendent than the sun, rises now to view; adorned with a roof of gold: there good men shall inhabit; and live in joy and pleasure

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