Those who have engaged in the controversy have almost wholly entered it from the literary or antiquarian side. I prefer to approach it from the side of the scenery and topography of the West Highlands, and to inquire how far the Ossianic landscape was a true representation of nature, whether there was anything in it new to our literature, and whether it exerted any lasting effect on the attitude of society towards the type of scenery which it depicted. Macpherson had previously published some English verse of little merit and which attracted no notice. But the appearance of his Ossianic translations at once made him famous. The _Poems of Ossian_ not only became popular in this country, but were translated into the more important languages of the Continent. In studying the landscape of Macpherson's _Ossian_ we soon learn that it belongs unmistakably to Western Argyleshire. Its union of mountain, glen, and sea removes it at once from the interior to the coast. Even if it had been more or less inaccurately drawn, its prominence and consistency all through the poems would have been remarkable in the productions of a lad of four-and-twenty, who had spent his youth in the inland region of Badenoch, where the scenery is of another kind. But when we discover that the endless allusions to topographical features are faithful delineations, which give the very spirit and essence of the scenery, we feel sure that whether they were written in the eighteenth century or in the third, they display a poetic genius of no mean order. The grandeur and gloom of the Highland mountains, the spectral mists that sweep round the crags, the roar of the torrents, the gleam of sunlight on moor and lake, the wail of the breeze among the cairns of the dead, the unspeakable sadness that seems to brood over the landscape whether the sky be clear or clouded--these features of West Highland scenery were first revealed by Macpherson to the modern world. This revelation quickened the change of feeling, already begun, in regard to the prevailing horror of mountain scenery. It brought before men's eyes some of the fascination of the mountain-world, more especially in regard to the atmospheric effects that play so large a part in its landscape. It showed the titanic forces of storm and tempest in full activity. And yet there ran through all the poems a vein of infinite melancholy. The pathos of life manifested itself everywhere, now in the tenderness of unavailing devotion, now in the courage of hopeless despair.