Laying aside these bardic properties, there really is little in the song that can be traced directly back to Ossian.
We shall notice also that the bardic machinery and Ossians imagery are not neglected.
During the shadowy period that follows down to the Christian era, we hear little of Tara even in bardic history.
In all these bardic songs Gleims influence is distinctly noticeable.
This is the first instance we have of the employment of a bardic pseudonym.
It is written in the bardic spirit with here and there an Ossianic touch.
Such a custom would contravene the principles of the druidic or bardic system, which prohibited them from using arms.
In the same magazine we have several other bardic songs by Haschka.
Such is the bardic history of Ireland, but with this literary defect.
The bardic poems are naturally, as a rule, of a lyric nature.
mid-15c., from Scottish, from Old Celtic bardos "poet, singer," from PIE root *gwer- "to lift up the voice, praise." In historical times, a term of contempt among the Scots (who considered them itinerant troublemakers), but one of great respect among the Welsh.
All vagabundis, fulis, bardis, scudlaris, and siclike idill pepill, sall be brint on the cheek. [local Scottish ordinance, c.1500]Subsequently idealized by Scott in the more ancient sense of "lyric poet, singer." Poetic use of the word in English is from Greek bardos, Latin bardus, both from Gaulish.