FINGAL AND THE CAVE



On the uninhabited island of Staffa in the Inner Hebrides, a famous sea cave known as Fingal’s Cave can be found. The cave known for its natural acoustics and for being the subject of a famous piece of music by Felix Mendelssohn cleverly known as Fingal’s Cave.

Mendelssohn seems to have been impressed enough with Scotland to have written a “Scottish Symphony” as well.

The cave seems to have been discovered in 1772. It has a single opening and is partially filled by the sea.



The question however is “Who is Fingal”?



Fingal

Fingal’s Cave


Fingal is a character in a contested work often known as the Ossian cycle, involving the Scottish poet James Macpherson. Macpherson was the first Scottish poet to have an international reputation. He was born in Ruthven in Inverness-shire on October 27, 1736. Macpherson claimed to have collected and translated a cycle of epic poems that came to be known as the Ossian cycle.

Macpherson announced the finding of an epic poem in 1761. The subject (and title) of the poem was Fingal whose name is related to the Irish mythological hero Fionn mac Cumheill or Finn McCool. The poem was claimed to be authored by someone named Ossian, a name based on Finn’s son Oisin). In December he published Fingal, an Ancient Epic Poem in Six Books, together with Several Other Poems composed by Ossian, the Son of Fingal, translated from the Gaelic Language. The poems were said to have been composed by a third century bard. The poem became very poplar and was translated into all the “literary” languages of Europe and it figured prominently in the development of the “Romantic movement” and the Gaelic revival. The Romantic movement emphasized individualism and emotionalism. It glorified nature and the past. It also produced the idea of “the noble savage”.

The question of the authenticity of the poems came into question with people arguing on both sides. Irish historians pointed out problems with the poem. Some claimed there may have been some material, but the epic was the creation of Macpherson himself. (Similar problems have been raised with Edward FitzGerald’s The Rubiyat of Omar Khayyam) Others defended the poem as authentic.

Macpherson maintained a Scottish origin for the material. Irish historians fiercely contested this and claimed there was an attempt to appropriate their Irish heritage. (Nationalism seems to get involve in many areas. The question of the Piltdown Jaw’s authenticity seems clearly now to have been an attempt to find an “ancient” human in Britain to match some of those in Europe. In the America’s there was a major attempt to prove that the native populations were not nearly as long in the archaeological evidence was saying.)

The battle has continued over the years with there being some evidence both for and against its antiquity.

What cannot be denied is the enormous impact the material had on literature and the other arts and its role in the development of Romanticism.

As for the relationship between Fingal’s Cave and the story, Finn builds a giant causeway between Ireland and Scotland. The cave was named Fingal’s Cave to mark it the entrance to the causeway








 

THE SALTIRE SOCIETY OF NEW YORK AND BROOKLYN COLLEGE WILL PRESENT
A SYMPOSIUM HONORING THE 200th BIRTHDAY OF HERMAN MELVILLE
WEDNESDAY SEPTEMBER 18th AT 7:00 P.M.
AT THE CENTER FOR WORKER EDUCATION
25 BROADWAY, NYC
7th Floor



Appearing on the program will be:

John Beatty, Professor Emeritus Brooklyn College

“Herman Melville, Scot, New Yorker, writer and symbolist”.

A brief look at Herman Melville’s Scottish ancestry, life in NY and his adventures on the whale ship Acushnet. His religious views and views on minorities are reflected in his classic work Moby Dick.

Bruce MacIntyre, Professor Emeritus of Music at Brooklyn College.

Billy Budd Transformed through the Operatic Lens: Reading Captain Vere as the ‘Voice’ of Melville”

In his writings Herman Melville was many things – weird, attentive to minutia, erudite, recondite, pedantic, stratified, as well as enduringly cosmopolitan. This paper discusses ways in which Benjamin Britten’s opera Billy Budd (with its libretto by E.M. Forster and Eric Crozier) strengthens and brings to life the mysterious, somewhat veiled character of Captain Vere, while concomitantly enhancing ways through which we might associate attributes of the captain with the aging author Melville himself. Examples from the original novella, the opera, and its libretto will illustrate the presentation.

Foster Hirsch, Professor of Film at Brooklyn College and the author of numerous books including Acting Hollywood Style and The Dark Side of the Screen: FILM NOIR. He is currently writing a history of Hollywood in the 1950s

“Melville on Film: Moby Dick (1956) and Billy Budd (1962)”

Melville has been translated into film on many occasions. Fifty nine films have used his works as the basis for their scripts. Nineteen of these are based on Moby Dick. Only one theatrically released film in English was based on his posthumously published work Billy Budd. The talk will discuss the 1956 version of Moby Dick with Gregory Peck and the 1962 version of Billy Budd with Peter Ustinov and Terence Stamp

Free admission, but reservations are required. Please e-mail Prof. Beatty


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