fame._ Sir Walter Scott says that Macpherson's rare powers were an honour to his country; and in his Legend of Montrose and Highland Widow, his own style is deeply dyed by the Ossianic element, and sounds here like the proud soft voice of the full-bloomed mountain heather in the breeze, and there like that of the evergreen pine raving in the tempest. Professor Wilson, in his "Cottages" and his "Glance at Selby's Ornithology," is still more decidedly Celtic in his mode of writing; and, in his paper in Blackwood for November 1839, "Have you read Ossian?" he has bestowed some generous, though measured praise, on his writings. He says, for instance—"Macpherson had a feeling of the beautiful, and this has infused the finest poetry into many of his descriptions of the wilderness. He also was born and bred among the mountains, and though he had neither the poetical nor the philosophical genius of Wordsworth, and was inferior far in the perceptive, the reflective, and the imaginative faculties, still he could _see_, and _feel_, and _paint_ too, in water colours and on air canvass, and is one of the Masters." Hear next Wilson's great rival in criticism, Hazlitt. They were, on many points bitter enemies, on two they were always at one—Wordsworth and Ossian! "Ossian is a feeling and a name that can never be destroyed in the minds of his readers. As Homer is the first vigour and lustihood, Ossian is the decay and old age of poetry. He lives only in the recollection and regret of the past. There is one impression which he conveys more entirely than all other poets—namely, the sense of privation—the loss of all things, of friends, of good name, of country—he is even without God in the world. He converses only with the spirits of the departed, with the motionless and silent clouds. The cold moonlight sheds its faint lustre on his head, the fox peeps out of the ruined tower, the thistle waves its beard to the wandering gale, and the strings of his harp seem as the hand of age, as the tale of other times passes over them, to sigh and rustle like the dry reeds in the winter's wind! If it were indeed possible to shew that this writer was nothing, it would only be another instance of mutability, another blank made, another void left in the heart, another confirmation of that feeling which makes him so often complain—'Roll on, ye dark brown year, ye bring no joy in your wing to Ossian!'" "The poet Gray, too," says Wilson, "frequently in his Letters expresses his wonder and delight in the beautiful and glorious inspirations of the Son of the Mist." Even Malcolm Laing—Macpherson's most inveterate foe—who edited Ossian for the sole purpose of revenge, exposure, and posthumous dissection, is compelled to say that "Macpherson's genius is equal to that of any poet of his day, except perhaps Gray."