Which recalls the address to the sun in Carthous--"O thou that rollest above, round as the shield of my fathers,"--perhaps the most hackneyed _locus classicus_ in the entire work; or as the lines beginning, "O that the desert were my dwelling place;"[30] or the description of the storm in the Jura: "And this is in the night: Most glorious night! Thou wert not sent for slumber. Let me be A sharer in thy fierce and far delight A portion of the tempest and of thee."[30] Walter Scott, while yet a lad, made acquaintance with Ossian through Dr. Blacklock, and was at first delighted; but "the tawdry repetitions of the Ossianic phraseology," he confesses, "disgusted me rather sooner than might have been expected from my age." He afterward contributed an essay on the authenticity of the poems to the proceedings of the Speculative Club of Edinburgh. In one sense of the word Scott was the most romantic of romanticists; but in another sense he was very little romantic, and there was not much in his sane, cheerful, and robust nature upon which such poetry as Ossian could fasten.[31] It is just at this point, indeed, that definitions diverge and the two streams of romantic tendency part company. These Carlyle has called "Wertherism" and "Goetzism"[32] _i.e._ sentimentalism and mediaevalism, though so mild a word as sentimentalism fails to express adequately the morbid despair to which "Werther" gave utterance, and has associations with works of a very different kind, such as the fictions of Richardson and Sterne. In England, Scott became the foremost representative of "Goetzism," and Byron of "Wertherism." The pessimistic, sardonic heroes of "Manfred," "Childe Harold," and "The Corsair" were the latest results of the "Il Penseroso" literature, and their melodramatic excesses already foretokened a reaction.