Summary
Summary Notes on 'Ossian in Painting'
- Module
- Ossian
- Institution
- University Of St Andrews
Notes on Henry Okun's 'Ossian in Painting'. This is half a page long and contains full citation references and page numbers.
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Ossian in PaintingHenry Okun
Journal of the Warburg and Courtauld Institutes
Volume 30
1967
pp. 327-356
10.2307/750749
328
- Notes that the narrator has a habit of ‘naming people and places rather than
describing them…’
- ‘As a result, the poetry moves very slowly and seems to be felt through a fog,
a presence as intangible as it is real.’
- ‘The setting is more real than the people who inhabit it…’
329
- Macpherson refused to show people the manuscripts which naturally only
solidified people’s scepticism
- ‘Blake knows and is inspired by them, Burns knows but does not use them.
Coleridge imitates them in his youth while Wordsworth is against them.’
330
- Demonstrates how the poetry of Ossian/Macpherson was a media event. It
influenced style, literature, and culture
335
- By 1792, Ossian had appeared in America
- John Trumbull ‘painted a little picture ‘Lamderg and Gelchossa’ in Connecticut
in 1792
- It had ‘moody clouds, the landscape at once covert and open, and the near-
denuded tree manage to locate the scene in a pst that is neither classical nor
medieval. The Ossianism of the landscape is, unfortunately, mitigated by the
solidity of the hero and heroine: they are too real to embody truthfully the
poet’s misty people.’
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