Demonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others. Beyond Fingal's Cave: Ossian in the Musical Imagination is the first study in English of musical compositions inspired by the poems published in the 1760s and attributed to a purported ancient Scottish bard named Ossian. From around 1780 onwards, the poems stimulated poets, artists, and composers in Europe as well as North America to break away from the formality of the Enlightenment. The admiration for Ossian's poems -shared by Napoleon, Goethe, and Thomas Jefferson - was an important stimulus in the development of Romanticism and the music that was a central part of it. More important still was the view of the German cultural philosopher Johann Gottfried Herder, who saw past the controversy over the poems' authenticity to the traditional elements in these heroic poems and their mood of lament. James Porter's long-awaited book traces the traditional sources used by James Macpherson for his epoch-making prose poems and examines crucial works by composers such as Beethoven, Schubert, Mendelssohn, Brahms, and Massenet. Many other relatively unknown composers were also moved to write operas, cantatas, songs, and instrumental pieces, some of which have proven to be powerfully evocative and well worth performing and recording.

Like so many people who live south of the border in England, Helen thought that she knew all about Scotland. It was a part of Britain after all, a place that was surely more the same than it was different. But then she actually went there – and everything changed...

Daniel Weir used to be a famous - not to say infamous - rock star. Maybe still is. At thirty-one he has been both a brilliant failure and a dull success. He's made a lot of mistakes that have paid off and a lot of smart moves he'll regret forever (however long that turns out to be). Daniel Weir has gone from rags to riches and back, and managed to hold onto them both, though not much else. His friends all seem to be dead, fed up with him or just disgusted - and who can blame them? And now Daniel Weir is all alone. As he contemplates his life, Daniel realises he only has two problems: the past and the future. He knows how bad the past has been. But the future - well, the future is something else.

Whitehouse explores the intriguing question of whether the famous cave on the island of Staffa in Scotland was created by natural processes or by human hands. He considers geological evidence, historical claims, and literary references to reach a surprising conclusion. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

‘There is a physical world, which we all accept as real, but there is also a spiritual world, which interpenetrates this material world and is its cause and foundation. Between these two worlds exists a threshold that can be felt, seen clairvoyantly, traversed and passed through by anyone with a real desire to do so... At this threshold there is a guardian, whose task is to stop humans from passing across it unprepared...’ – From the Introduction Based on first-hand knowledge, Are Thoresen offers insights into the meaning of the threshold to the spiritual world. He describes his own experiences in encountering this threshold and going beyond it. But there are many thresholds to the spiritual world, he says, and many ways to pass them – as there are many aspects to the ‘guardian of the threshold’ and versions of the so-called ‘animals at the threshold’. The worlds beyond, too, have a variety of different constructions – or, as the Bible says: ‘In my Father’s house are many mansions’. The author describes the methods and techniques for opening the spiritual sense organs required to cross the threshold, and clarifies the differences between Imagination (seeing spiritual ‘pictures’), Inspiration (understanding those pictures) and Intuition (living ‘inside’ the spiritual reality). Structuring the book on his own biography, Thoresen conveys many of the lessons he has learnt through decades of familiarity with the invisible dimensions. However, he warns that there is only one good reason to attempt to cross the threshold, and that is to serve God and humanity in the name of love. If we do it out of curiosity, or to enhance our personal development, it would be better not to try.

This lively and erudite cultural history of Scotland, from the Jacobite defeat of 1745 to the death of an icon, Sir Walter Scott, in 1832, examines how Scottish identity was experienced and represented in novel ways. Weaving together previously unpublished archival materials, visual and material culture, dress and textile history, Viccy Coltman re-evaluates the standard clichés and essentialist interpretations which still inhibit Scottish cultural history during this period of British and imperial expansion. The book incorporates familiar landmarks in Scottish history, such as the visit of George IV to Edinburgh in August 1822, with microhistories of individuals, including George Steuart, a London-based architect, and the East India Company servant, Claud Alexander. It thus highlights recurrent themes within a range of historical disciplines, and by confronting the broader questions of Scotland's relations with the rest of the British state it makes a necessary contribution to contemporary concerns.

A captivating exploration of the newly reimagined world of sound and sense in Britain in the decades around 1800.

In Four Ducks on a Pond, Nicholas the Cat, assisted by novelist Annabel Carothers, observed his family of humans and animals during one year on the Ross of Mull in the early 1950s. More than fifty years later, Annabel's daughter Fionna discovered the manuscript in a desk drawer and, while preparing it for publication, was inspired to expand on the theme. A Grass Bank Beyond covers an extended period before mains services and frequent ferries brought about change to the Ross. Fionna remembers the freedom she enjoyed roaming the island on foot, bicycle, pony, or boat. On family outings she absorbed stories and legends about the island, attended agricultural shows and local concerts, and saw the Queen arrive for an official visit to Mull at the height of a great storm. With warmth and gentle humour she describes the solutions which overcame problems living in this beautiful but remote place.