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WITHOUT increasing his genius, the author may have improved his language, in the eleven years that the following Poems have been in the hands of the public. Errors in diction might have been committed at twenty-four, which the experience of a riper age may remove; and some exuberances in imagery may be restrained, with advantage, by a degree of judgment acquired in the progress of time. Impressed with this opinion, he ran over the whole with attention and accuracy; and, he hopes, he has brought the work to a state of correctness, which will preclude all future improvements.
The eagerness with which these poems have been received abroad, is a recompense for the coldness with which a few have affected to treat them at home. All the polite nations of Europe have transferred them into their respective languages; and they speak of him who brought them to light, in terms that might flatter the vanity of one fond of fame. In a convenient indifference for a literary reputation, the author hears praise without being elevated, and ribaldry without being depressed. He has frequently seen the first bestowed too precipitately; and the latter is so faithless to its purpose, that it is often the only index to merit in the present age. Though the taste which defines genius by the points of the compass, is a subject fit for mirth in itself, it is often a serious matter in the sale of a work. When rivers define the limits of abilities, as well as the boundaries of countries, a writer may measure his success, by the latitude under which he was born. It was to avoid a part of this inconvenience, that the author is said, by some who speak without any authority, to have ascribed his own productions to another The Poems of Ossian.
name. If this was the case, he was but young in the art of deception. When he placed the Poet in antiquity, the Translator should have been born on this side of the Tweed.
These observations regard only the frivolous in matters of literature; these, however, form a majority in every age and nation. In this country, men of genuine taste abound; but their still voice is drowned in the clamours of a multitude, who judge by fashion, of poetry, as of dress. The truth is, to judge aright, requires almost as much genius as to write well; and good critics are as rare as great poets. Though two hundred thousand Romans stood up when Virgil came into the theatre, Varius only could correct the Eneid. He that obtains fame must receive it through mere fashion; and gratify his vanity with the applause of men, of whose judgment he cannot approve.
The following Poems, it must be confessed, are more calculated to please persons of exquisite feelings of heart, than those who receive all their impressions by the ear. The novelty
of cadence, in what is called a prose version, though not destitute of harmony, will not to common readers supply the absence of the frequent returns of rhyme. This was the opinion of the writer himself, though he yielded to the judgment of others, in a mode, which presented freedom and dignity of expression, instead of fetters, which cramp the thought, whilst the harmony of language is preserved. His intention was to publish in verse. The making of poetry, like any other handicraft, may be learned by industry; and he had served his apprenticeship, though in secret, to the Muses.
It is, however, doubtful, whether the harmony which these Poems might derive from rhyme, even in much better hands than those of the translator, could atone for the simplicity and energy which they would lose. The determination of this point shall be left to the readers of this Preface. The following is the beginning of a poem, translated from the Norse to the Gaëlic language; and, from the latter, transferred into English. The verse took little more time to the writer than the prose; and even he himself is doubtful (if he has succeeded in either), which of them is the most literal version.