The final establishment of the forgery was not simply by recourse to scholars versed in the Celtic tongues, but the Highland Society appointed a committee in 1767, whose duty it was to send to the Highland pastors a circular, inquiring whether they had heard in the original the poems of Ossian, said to be translated by Macpherson; if so, where and by whom they had been written out or repeated:  whether similar fragments still existed, and whether there were persons living who could repeat them; whether, to their knowledge, Macpherson had obtained such poems in the Highlands; and for any information concerning the personality of Fingal and Ossian.

CRITICISM.—­The result was as follows:  Certain Ossianic poems did exist, and some manuscripts of ancient ballads and bardic songs.  A few of these had formed the foundation of Macpherson’s so-called translations of the earlier pieces; but he had altered and added to them, and joined them with his own fancies in an arbitrary manner.

Fingal and Temora were also made out of a few fragments; but in their epic and connected form not only did not exist, but lack the bardic character and construction entirely.

Now that the critics had the direction of the chase made known, they discovered that Macpherson had taken his imagery from the Bible, of which Ossian was ignorant; from classic authors, of whom he had never heard; and from modern sources down to his own day.

Then Macpherson’s Ossian—­which had been read with avidity and translated into many languages, while it was considered an antique gem only reset in English—­fell into disrepute, and was unduly despised when known to be a forgery.

It is difficult to conceive why he did not produce the work as his own, with a true story of its foundation:  it is not so difficult to understand why, when he was detected, he persisted in the falsehood.  For what it really is, it must be partially praised; and it will remain not only as a literary curiosity, but as a work of unequal but real merit.  It was greatly admired by Napoleon and Madame de Stael, and, in endeavoring to consign it to oblivion, the critics are greatly in the wrong.

Macpherson resented any allusion to the forgery, and any leading question concerning it.  He refused, at first, to produce the originals; and when he did say where they might be found, the world had decided so strongly against him, that there was no curiosity to examine them.  He at last maintained a sullen silence; and, dying suddenly, in 1796, left no papers which throw light upon the controversy.  The subject is, however, still agitated.  Later writers have endeavored to reverse the decision of his age, without, however, any decided success.  For much information concerning the Highland poetry, the reader is referred to A Summer in Skye, by Alexander Smith.

OTHER WORKS.—­His other principal work was a Translation of the Iliad of Homer in the Ossianic style, which was received with execration and contempt.  He also wrote A History of Great Britain from the Restoration to the Accession of the House of Hanover, which Fox—­who was, however, prejudiced—­declared to be full of impudent falsehoods.