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11 - Ossian in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878), Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca (1884)
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Frontmatter
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Note to the Reader
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15 - Neo-Romanticism in Britain and America: John Laurence Seymour's “Shilric's Song” (from Six Ossianic Odes) and Cedric Thorpe Davie's Dirge for Cuthullin (both 1936)
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Preface
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6 - Fingallo e Comala (1805) and Ardano e Dartula (1825): The Ossianic Operas of Stefano Pavesi
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Afterword: The “Half-Viewless Harp”—Secondary Resonances of Ossian
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Appendix 3 - Texts of Erik Chisholm's Night Song of the Bards
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12 - The Musical Stages of “Darthula”: From Thomas Linley the Younger (ca. 1776) to Arnold Schoenberg (1903) and Armin Knab (1906)
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16 - Modernity, Modernism, and Ossian: Erik Chisholm's Night Song of the Bards (1944–51), James MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade Ossianique, No. 2: Les chants de Selma (1971, rev. 2005)
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Excursus: Mendelssohn Waives the Rules: “Overture to the Isles of Fingal” (1832) and an “Unfinished” Coda
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Appendix 2 - French and German Texts of Louis Théodore Gouvy's Le dernier Hymne d'Ossian
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Epigraph
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2 - On Macpherson's Native Heath: Primary Sources
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Acknowledgments
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Faust's Identity and the Significance of Rosshirt's Tales about Him
- from Part II - Commentary
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4 - Charles Chesnutt: Nowhere to Turn
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Acknowledgments
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Contents
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![](http://static.cambridge.org/content/id/urn:cambridge.org:id:book:9781787444720/resource/name/9781787444720i.jpg)
The Faust Tales of Christoph Rosshirt
- A Critical Edition with Commentary
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