Scottish Gaelic literature
Scottish Gaelic literature refers to literary works composed in the
Middle Ages
Early Middle Ages
In early Middle Ages what is now Scotland was culturally and politically divided. In the West were the
Beginning in the later eighth century,
High Middle Ages
At least from the accession of
Renaissance and Reformation
In the late Middle Ages,
The same book also includes three poems by
By far the most famous of Iseabail's three poems is
In a 2017 article about Scottish Gaelic erotic literature, Peter Mackay suggested that Iseabail may have been following the established tradition in Scottish Renaissance literature of exposing, mocking, and criticizing the sexual sins of priests and consecrated religious. Mackay conceded, however, that Iseabail's poem could just as easily be an unashamed celebration of female promiscuity and lust.[13]
The poet
While Kennedy may well have also written poems in his native Galwegian Gaelic, his poetry in Middle Scots is all that now survives.
During the
Early Modern Era
By the
In Gaelic Ireland, Irish language bards were trained at special bardic schools based on the principle of memorization. Bards were expected, even after the bardic school system was replaced by hedge schools, to compose their verses lying down and in the dark, "to avoid the distraction which light and the variety of objects represented commonly occasions" and to concentrate solely, "upon the subject at hand and the theme given".[15] In the Scottish Highlands and Islands, where Irish-inspired bardic schools survived until well into the 18th-century, Martin Martin described poetry composition practices as almost identical, "They shut their doors and windows for a day's time, and upon their backs with a stone upon their belly, and [their] Plaids about their heads, and their eyes being cover'd they pump their brains for rhetorical encomium or panegyric; and indeed they furnish such a style from this dark cell as is understood by very few; and indeed if they purchase a couple of horses as the reward of their meditation, they think they have done a great matter."[16]
Nevertheless, interest in the sponsorship of
Eighteenth century
The use of Scottish Gaelic suffered when Highlanders were persecuted after the Battle of Culloden in 1746, and during the Highland Clearances. The efforts of the Government to abolish the Gaelic language, however, dated back much earlier.
According to Marcus Tanner, the
Furthermore, in 1714 the Protestant
An intense hostility felt by many Scottish
In the song Là Sliabh an t-Siorraim, Sìleas na Ceapaich, the daughter of the 15th Chief of Clan MacDonald of Keppoch, sings of the joy upon the arrival of Prince James Francis Edward Stuart, the indecisive Battle of Sheriffmuir and the state of uneasy anticipation between the battle and the end of the Jacobite rising of 1715.
The most iconic poem by Sìleas, however, inspired by the events of the Uprising was only completed many years later. When Ailean Dearg, the Chief of
Roderick "Ruairidh Òg" Macleod, 19th Chief of Clan MacLeod, inspired the Bard Roderick Morison to compose the completely opposite song-poem Òran do Mhac Leoid Dhun Bheagain ("A Song to MacLeod of Dunvegan"). The song was meant to rebuke MacLeod for not fulfilling "the obligations of his office".[26][27][28] Instead of patronizing the Gaelic Bards and hosting feasts at Dunvegan Castle for his clansmen and their families, Morison was disgusted that the Chief had become an absentee landlord in London, who, "spent his money on foppish clothes". In the poem, Morison urged the Chief in vain to emulate his predecessors.[29]
Before
During the same era, the
He was the second son of Maighstir Alasdair (Fr. Alexander MacDonald) who was the
While teaching at a school run by the Society in Scotland for Propagating Christian Knowledge at Kilchoan, the bard compiled the first secular book in Scottish Gaelic to be printed: Leabhar a Theagasc Ainminnin (1741), a Gaelic-English glossary.
The second secular book in Scottish Gaelic, which Alasdair published after serving as a
Until very recently, Gaelic poetry was widely assumed to be completely isolated from literature in other languages, but Alan Riach argues that Alasdair mac Mhaighstir Alasdair was both multi-lingual and very much aware of the ongoing
Due to his experiences as military officer and
In a 2020 article, Scottish nationalist Hamish MacPherson ranked the Clanranald Bard as one of the two greatest Scottish poets in any language. MacPherson also wrote, "It is a national disgrace that there is no national monument to Alasdair mac Mhaighstir Alasdair... I have no hesitation in saying that Alasdair is a seminal figure in the history of this country, for just as Robert Burns helped preserve the Scots language, so did Alasdair mac Mhaighstir Alasdair perform the same duty for Gaelic."[35]
Due to the often "arbitrary and malicious violence" inflicted by Hanoverian Redcoats under the command of Lord Albemarle, the aftermath of Culloden is still referred to in the Gàidhealtachd as Bliadhna nan Creach ("The Year of the Pillaging").[36]
Other Scottish Gaelic poets produced similar laments on the Jacobite defeats of
For example,
When Robb Donn's patron, Ian mac Eachainn MacAoidh, died in 1757, Rob Donn praised the
A legacy of Jacobite verse was later compiled (and adapted) by James Hogg in his Jacobite Reliques (1819).
Donnchadh Bàn Mac an t-Saoir (usually Duncan Ban MacIntyre in English; 20 March 1724 – 14 May 1812)[39] is one of the most renowned of Scottish Gaelic poets and formed an integral part of one of the golden ages of Gaelic poetry in Scotland during the 18th century. He is best known for his poem about Beinn Dorain; "Moladh Beinn Dòbhrain" (English: "Praise of Ben Doran"). Most of his poetry is descriptive and the influence of Alasdair MacMhaighstir Alasdair is notable in much of it. Despite the Jacobite upheavals during his lifetime, it was his experience as a gamekeeper in Argyll and Perthshire in the employ of the Duke of Argyll which had greatest impact upon his poetry. Moladh Beinn Dòbhrain, stems from this period. The significance of Duncan Bàn's nature themed poetry is such that it has, along with that of MacMhaighstir Alasdair, been described as "the zenith of Gaelic nature poetry".[40]
At
His poetic range also covered
In his 1783 poem Moladh Gheàrrloch ("In Praise of Gairloch"), William Ross describes the Highland
William Ross is said to have burned all his manuscripts, but his verses survived in Gairloch as oral poetry. They were ultimately written down from the dictation of those who had memorized them and published posthumously.[44] His most famous song is the lament, Cuachag nan Craobh ("Cuckoo of the Tree"),[47] the tune of which is now known throughout the Anglosphere as The Skye Boat Song, based on multiple sets of Scottish English lyrics composed a century later.
More recently, William Ross' poetry was a major influence upon Sorley MacLean, who remains one of the most important figures in 20th century Gaelic literature.[48] MacLean considered William Ross' last song, Òran Eile,[49] "one of the very greatest poems ever made in any language", in the British Isles and comparable to the best of William Shakespeare's 154 sonnets.[50]
The
Among MacCodrum's most popular anti-landlord poems mocks Aonghus MacDhòmhnaill, the post-Culloden
Scottish Diaspora
Among the "earliest Scottish Gaelic poets in North America about whom we know anything", is Kintail-born Iain mac Mhurchaidh, descendant of the Clan Macrae tacksmen of Inverinate, who emigrated at the urging of Rev. John Bethune to a homestead along McLendons Creek, in what is now Moore County, North Carolina, around 1774. He continued composing Gaelic-poetry there until his death around 1780.[54]
In the traditional
He had no intention of going alone and composed many Gaelic poems and songs in which he urged his friends and relations to join him. In those poems, like many other Gaelic poets who were urging emigration during the same era, Iain mac Mhuirchaidh complained that warriors were no longer valued and that greed had come to mean more to the Chiefs and the Tacksmen than honor, family, or clan ties. Iain mac Mhurchaidh always concluded his poems by arguing that the Gaels would do well to abandon such a corrupted nobility and emigrate to the New World.[56]
During the
According to Michael Newton, Iain mac Mhuirchaidh the
Even though there many other poems like it, one of the only surviving pro-Patriot Gaelic poems from the American Revolution was composed in Scotland, rather than in America. The poet skillfully invokes the two traditional attributes of an unworthy Scottish clan chief, raising the rent needlessly and spending the money on himself, and then lays those very attributes at the doors of both the Scottish nobility and King George III.[58]
In 1783, the year that saw the end of the
The poet
The Ossian of James Macpherson
Bible translation
A
Nineteenth century
The Highland Clearances and widespread emigration significantly weakened Gaelic language and culture and had a profound impact on the nature of Gaelic poetry.
Diaspora
Emigration also resulted in Gàidhealtachd communities abroad, most notably in Canada and the United States, both of which produced a very large quantity of literature in the Scottish Gaelic language outside Scotland.[68] Canadian and American Bards made sense of their relationship to their homeland as a diaspora in both romantic poetry praising their "an t-Seann Dùthaich" (English: "the Old Country") and political songs about the Highland Clearances. Many songs, such as "O mo dhùthaich," contain both themes.[69]
In the Gàidhealtachd settlements along the
Robert Dunbar has dubbed MacLean, "perhaps the most important of all the poets who emigrated during the main period of Gaelic overseas emigration".[73]
As there was at first no Gaelic-language printing press in Atlantic Canada, in 1819, Rev.
Printing presses soon followed, though, and the first Gaelic-language books printed in Canada, all of which were Presbyterian religious books, were published at
In 1835, while living on a homestead at Glenbard, near
According to Natasha Sumner and
So much of the history, culture, literature, and traditions of
Scotland
Dr John MacLachlan, the author of Dìreadh a-mach ri Beinn Shianta, a poem on the
In Sutherland,
A similar poem in Gaelic attacks James Gillanders of Highfield Cottage near Dingwall, who was the Factor for the estate of Major Charles Robertson of Kincardine. As his employer was then serving with the British Army in Australia, Gillanders was the person most responsible for the mass evictions staged at Glencalvie, Ross-shire in 1845. The Gaelic-language poem denouncing Gillanders for the brutality of the evictions was later submitted anonymously to Pàdraig MacNeacail, the editor of the column in Canadian Gaelic in which the poem was published in the Antigonish, Nova Scotia newspaper The Casket. The poem, which is believed to draw upon eyewitness accounts, is believed to be the only Gaelic language source relating to the evictions in Glencalvie.[84]
Enraged by what he saw as, "a
In his 1861 poem Eirinn a' Gul ("Ireland Weeping"), Uilleam Mac Dhun Lèibhe recalled the many stories of his fellow
Seonaidh Phàdraig Iarsiadair (John Smith, 1848–81) also composed a long and emotional condemnation of those responsible for the clearances Spiord a' Charthannais. The best known Gaelic poet of the era was Màiri Mhòr nan Òran, 1821–98), whose verse has been criticised for its lack of intellectual weight, but which embodies the spirit of the Highland Land League direct action campaigns of the 1870s and '80s and whose evocation of place and mood has made her among the most enduring Gaelic poets.[17] Professor Donald E. Meek, however, has written that the songs of Mairi Mhòr nan Òran show the influence that the weekly newspaper The Highlander and its editor Murchadh na Feilidh had on both Scottish Gaelic literature and upon the opinions of ordinary Highland people, even though the articles were mainly printed in English.[89]
Lochaber poet Eòghann MacLachlainn translated the first eight books of Homer's Iliad into Scottish Gaelic. He also composed and published his own Gaelic Attempts in Verse (1807) and Metrical Effusions (1816), and contributed greatly to the 1828 Gaelic–English Dictionary.[90]
The Gaelic verse of Fr.
In his comic
Since his death, the enormous degree to which Fr. MacDonald's folklore and folksong research was plagiarized during his lifetime by other writers has been meticulously documented by
Under to the
In 1891,
Before serving in the
Even so, large numbers of the
For this reason, literary critic Wilson MacLeod has written that, in post-Culloden Scottish Gaelic literature,
Twentieth century
The first novel in Scottish Gaelic was John MacCormick's Dùn-Àluinn, no an t-Oighre 'na Dhìobarach, which was serialised in the People's Journal in 1910, before publication in book form in 1912. The publication of a second Scottish Gaelic novel, An t-Ogha Mòr by Angus Robertson, followed within a year.[100]
World War I
When the
Despite their effectiveness, however, the
The
Ronald Black has written that Munro's three poems leave behind, "his thoughts on his fallen comrades in tortured free verse full of reminiscence-of-rhyme; forty more years were to pass before free verse became widespread in Gaelic."[105]
In
According to Ronald Black, "Dòmhnall Ruadh Chorùna is the outstanding Gaelic poet of the trenches. His best known song
Unlike
Interwar period
According to John A. Macpherson, "After the war, Dòmhnall Ruadh returned home to Corùna, but although he was thankful to be alive, he was, like most other returning soldiers, disillusioned. The land which they had been promised was as securely held by the landlords as it had ever been, and so were the hunting and fishing rights."[107]
Many years later, Dòmhnall expressed his feelings about the years that followed the war in his poem, Caochladh Suigheachadh na Duthcha ("Changed Days"). He recalled the poverty of his youth and how he and his fellow
Dòmhnall used to often say of those same years, "If it weren't for the gun and what I poached, it would have been dire poverty."[109]
In his poem Dhan Gàidhlig ("For Gaelic"), Dòmhnall called for
World War II
The revitalisation of Gaelic poetry in the twentieth century, known as the
MacLean's most famous Gaelic war poem is Glac a' Bhàis ("The Valley of Death"), which relates his thoughts on seeing a dead German soldier in North Africa. In the poem, MacLean ponders what role the dead man may have played in Nazi atrocities against both
Following the war, MacLean would go on to become a major figure in
In his award-winning memoir Suathadh ri Iomadh Rubha,[113] Caimbeul recalled the origins of his poem, Deargadan Phòland ("The Fleas of Poland"), "We called them the Freiceadan Dubh ('Black Watch'), and any man they didn't reduce to cursing and swearing deserved a place in the courts of the saints. I made a satirical poem about them at the time, but that didn't take the strength out of their frames or the sharpness out of their sting."[114]
Caimbeul composed other poems during his captivity, including Smuaintean am Braighdeanas am Pòland, 1944 ("Thoughts on Bondage in Poland, 1944").[113]
After a three-month-long death march from Thorn to Magdeburg which he graphically describes in his memoirs, Caimbeul was finally liberated on April 11, 1945. He returned to his native Swainbost and spent his life there as a shopkeeper until he died at Stornoway on January 28, 1982.[115]
Aonghas Caimbeul's collected poems, Moll is Cruithneachd, were published at Glasgow in 1972 and were favorably reviewed.[113]
Caimbeul's memoirs, Suathadh ri Iomadh Rubha, which won the £200 prize in a contest offered by the Gaelic Books Council, were also published at Glasgow in 1973. Of the memoir, Ronald Black has written, "It is a remarkable achievement consisting as it does of the memoirs of an exciting life, woven together with a forthright personal philosophy and much detailed ethnological commentary on tradition and change in island communities during the twentieth century, all steeped in a solution of anecdote, sometimes brilliantly funny. It is the twentieth century's leading work of Gaelic nonfictional prose."[113]
While similarly en route to captivity as a POW in Nazi Germany in June 1940, South Uist native and fellow 51st (Highland) Division soldier Dòmhnall Iain Dhonnchaidh composed a lament for his fellow soldiers who had lost their lives before the Division surrendered. The result is the Gaelic song poem "Na Gillean nach Maireann" ("The Lads that Are No More"), which he set to the air "O ho nighean, è ho nighean"[116] and which bears a strong resemblance to the poem "Tha Mi Duilich, Cianail, Duilich" ("I am Sad, Lamenting, and Full of Sorrow"), which was composed for very similar reasons during World War I by his cousin Dòmhnall Ruadh Chorùna.[117]
In accordance with the
Similarly to his contemporary
Furthermore, Dòmhnall Iain Dhonnchaidh's
Furthermore, in "Moch sa Mhadainn 's Mi Dùsgadh" ("Rising Early"), Dòmhnall Iain Dhonnchaidh somewhat facetiously rewrote Scottish
In 1948, MacDonald's poem "Moladh Uibhist" ("In Praise of Uist"), which he had composed while being held as a POW and carefully edited for publication following his release, won the Bardic Crown at the Royal National Mòd at Glasgow.[118] In the poem, which is in strict bardic metre, Dòmhnall lamented what he had come to see in enemy captivity as his own stupidity in not properly appreciating the peacetime and civilian life that had once bored him so terribly. He called the reckoning of his wartime experiences bitter and praised the natural beauty, wildlife, history, and culture of his native island at considerable length.[125]
With these changed beliefs in mind, Dòmhnall Iain Dhonnchaidh would often say following his return from German captivity, "I learned more in those five years than I could have in eighty years of ordinary living."[126]
Postwar
After returning home following combat in the
MacLean's work inspired a new generation to take up nea bhardachd ("The New Poetry"). These included
On March 28, 1956, when
The 1960s and 1970s also saw the flourishing of Scottish Gaelic drama. Key figures included
Diaspora
The
In 1917, Rev. Murdoch Lamont (1865-1927), a Gaelic-speaking
In 1924, a
The Gaelic poet Iain Eairdsidh MacAsgaill, (1898—1934), who is widely known as the Bàrd Bheàrnaraigh ("the Bard of Bernera"), was one of many Gaels who emigrated from Scotland during the interwar period. After arriving in the Wheatbelt region of Western Australia, Iain Eairsidh farmed near Lake Varley from 1925 to 1933. He is best known for his poems and songs expressing homesickness and his regret for ever leaving Scotland, which remain an important part of Gaelic literature.[133]
The poet
After serving in the
From his home in South Africa, Gaelic-poet Duncan Livingstone contemptuously mocked the collapse of the British Empire after World War II with the satirical Gaelic poem, Feasgar an Duine Ghil ("The Evening of the White Man").[136]
The subsequent rise of the
The Sharpeville massacre also inspired Livingstone to write the Gaelic poem Bean Dubha' Caoidh a Fir a Chaidh a Marbhadh leis a' Phoiles ("A Black Woman Mourns her Husband Killed by the Police").[138]
Recent developments
Modern Gaelic poetry has been most influenced by
Scottish Gaelic poetry has been the subject of
Scottish Gaelic literature is currently undergoing a revival. In the first half of the 20th century only about four or five books in Gaelic were published each year. Since the 1970s this number has increased to over 40 titles per year.[142]
In a 1992 interview with The Highland Free Press, Sorley MacLean referred to Angus Peter Campbell as one of the best living Scottish poets in any language.[144]
Twenty-First century
With regard to Gaelic poetry this includes the Great Book of Gaelic, An Leabhar Mòr, a Scottish Gaelic, English and Irish language collaboration featuring the work of 150 poets, visual artists and calligraphers.[145] Established contemporary poets in Scottish Gaelic include Meg Bateman, Aonghas Phàdraig Caimbeul, Maoilios Caimbeul, Rody Gorman, Aonghas MacNeacail and Crìsdean MacIlleBhàin. Marcas Mac an Tuairneir, an award-winning poet cemented the place of second-language Gaelic learners and gay people in his 2014 collection, Deò.[146]
According to Natasha Sumner, the current
In a major innovation, the 2011 Royal National Mòd, held at Stornoway on the Isle of Lewis, crowned Lewis MacKinnon (Lodaidh MacFhionghain), a poet in Canadian Gaelic from Antigonish County, Nova Scotia, as the winning Bard. It was the first time in the 120-year history of the Mòd that a writer of Gaelic poetry from the Scottish diaspora had won the Bardic Crown.[148]
Following Prof. Nilsen's death in 2012, Antigonish bard Lewis MacKinnon (Lodaidh MacFhionghain) composed a Gaelic-language poetic lament for his former teacher, which is titled Do Choinneach Nilsen, M'Oide.[149]
Gaelic prose has expanded also, particularly with the development since 2003 of the Ùr-sgeul series published by CLÀR, which encourages new works of Gaelic fiction by both established and new writers.
Since the turn of the millennium, Angus Peter Campbell, besides his three Scottish Gaelic poetry collections, has also published five Gaelic novels: An Oidhche Mus Do Sheol Sinn (2003), Là a' Deanamh Sgeil Do Là (2004), An Taigh-Samhraidh (2006), Tilleadh Dhachaigh (2009) and Fuaran Ceann an t-Saoghail (2011).
Other established fiction writers include Alasdair Caimbeul and his brother Tormod, Catrìona Lexy Chaimbeul, Alison Lang, Dr Finlay MacLeod, Iain F. MacLeod, Norma MacLeod, Mary Anne MacDonald and Duncan Gillies. New fiction writers include Mairi E. MacLeod and the writers of the An Claigeann Damien Hirst (Ùr-sgeul, 2009) and Saorsa (Ùr-sgeul, 2011) anthologies. In 2013, the first ever Scottish Gaelic hard science fiction novel, Air Cuan Dubh Drilseach by Tim Armstrong, was published by CLÀR.
Lewis MacKinnon's 2017
Within Gaelic drama, two Gaelic theatre companies were recently professionally active: Fir Chlis and Tosg, which was managed by the late Simon MacKenzie.[151] Most recently, the Gaelic drama group Tog-I, established by Arthur Donald, has attempted to revive the sector.
Collections
- The National Library of Scotland holds over 3000 Gaelic books, including several distinct collections.[152]
- The University of Edinburgh's Gaelic material includes the School of Scottish Archives Studies, the Carmichael Watson Collection, the archives of Gaelic scholar Donald MacKinnon, and the Laing Collection.[153]
- University College London holds c.700 items from the Gaelic Society of London.[154]
See also
- Book of Deer
- Book of the Dean of Lismore
- CLÀR
- Fernaig manuscript
- Glenmasan manuscript
- Islay Charter
- Ùr-sgeul
Notes
- ISBN 1-85285-195-3, p. 48.
- ^ ISBN 1-85109-440-7, p. 1576.
- ISBN 1-85109-440-7, p. 999.
- ISBN 0-582-77292-3, p. 54.
- ^ ISBN 0-19-538623-X.
- ^ ISBN 0-521-89088-8, p. 76.
- ISBN 0-7486-1299-8, p. 220.
- ^ ISBN 0-7486-0276-3, pp. 60–7.
- ISBN 1-85182-516-9, pp. 87–107.
- ^ T. O. Clancy, ed., The Triumph Tree: Scotland's Earliest Poetry, 550–1350 (Edinburgh, 1998). pp. 247–283.
- ISBN 1-59884-964-6, pp. 262–3.
- ISBN 1-59884-964-6, pp. 33–4.
- University of St. Andrews, The Conversation, October 24, 2017.
- ^ ISBN 0748602763, pp. 60-1.
- Gill and Macmillan. Page 74.
- Gill and Macmillan. Page 75.
- ^ ISBN 0-19-211696-7, pp. 255-7.
- ISBN 0748602763, p. 40.
- ISBN 113946714X, p. 105.
- ISBN 9780333666647.
- ^ Marcus Tanner (2004), The Last of the Celts, Yale University Press. Pages 35-36.
- ISBN 978-1317894261.
- Birlinn Limited. Page 26.
- ^ Ronald Black (2019), An Lasair: Anthology of 18th-century Scottish Gaelic Verse, Birlinn Limited. Page 405.
- ^ Ronald Black (2019), An Lasair: Anthology of 18th-century Scottish Gaelic Verse, Birlinn Limited. Pages 100-105, 405-407.
- ^ Chisholm, Colin (1886). "Old Gaelic Songs". Transactions of the Gaelic Society of Inverness. 12: 137. Retrieved 6 July 2022.
- ISBN 9789401200578. Retrieved 6 July 2022.
- ISBN 978-1851094400. Retrieved 6 July 2022.
- '^ Edited by Eberhard Bort (2011), Tis Sixty Years Since: The 1951 Edinburgh People's Festival Ceilidh and the Scottish Folk Revival, pages 228-230.
- '^ Edited by Eberhard Bort (2011), Tis Sixty Years Since: The 1951 Edinburgh People's Festival Ceilidh and the Scottish Folk Revival, page 228.
- ^ Alasdair Mac Mhaighstir Alasdair - Alexander Macdonald, The Jacobite Bard of Clanranald, Clan Donald Magazine, No 9 (1981), By Norman H. MacDonald.
- ^ The Scottish Poetry Library interviews Alan Riach, June 2016.
- ^ ISBN 9780140299403.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill-Queen's University Press. Page 287.
- ^ A great Scot, too aft forgot: Alasdair mac Mhaighstir Alasdair by Hamish MacPherson, The National: The Newspaper that Supports an Independent Scotland, 13th January, 2020.
- ^ Michael Newton (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media. Page 32.
- ^ Derick Thomson (1993), Gaelic Poetry in the Eighteenth Century: A Bilingual Anthology, page 111-117.
- ^ Derick Thomson (1993), Gaelic Poetry in the Eighteenth Century: A Bilingual Anthology, page 117.
- ^ Calder, George (editor and translator). The Gaelic Songs of Duncan MacIntyre. Edinburgh: John Grant, 1912.
- ^ "Gaelic Song - An Introduction".
- ^ Derick S. Thomson (1987), Companion to Gaelic Scotland, page 253.
- ^ Derick S. Thomson (1993), Gaelic Poetry in the Eighteenth Century: A Bilingual Anthology, Association for Scottish Literary Studies, Aberdeen. Pages 161-167.
- doi:10.1093/ref:odnb/24136. (Subscription or UK public library membershiprequired.)
- ^ a b Derick S. Thomson (1987), Companion to Gaelic Scotland, page 252.
- ^ John Lorne Campbell (1979), Highland Songs of the Forty-Five, Arno Press. Page 279, 286-291.
- ^ Ronald Black (2001), An Lasair: anthology of 18th century Scottish Gaelic verse, Birlinn Limited. Page 501.
- Tobar an Dualchais
- ^ Krause, Corinna (2007). Eadar Dà Chànan: Self-Translation, the Bilingual Edition and Modern Scottish Gaelic Poetry (PDF) (Thesis). The University of Edinburgh School of Celtic and Scottish Studies. p. 67.
- ^ "18mh – Beachdan: Uilleam Ros". Làrach nam Bàrd (in Scottish Gaelic). BBC Alba. Retrieved 13 July 2019.
- ^ MacLean, Sorley (1985). "Old Songs and New Poetry" (PDF). In Gilles, William (ed.). Ris a' Bhruthaich: The Criticism and Prose Writings of Sorley MacLean. Stornoway: Acair. pp. 111, 114.
- ^ "Highland Clearances – 3". 25 November 2013. Archived from the original on 29 December 2016. Retrieved 28 December 2016.
- ^ Mackenzie, John (1872). Sar-Obair nam Bard Gaelach: or the Beauties of Gaelic Poetry. p. 144.
- ^ Edited by Michael Newton (2015), Seanchaidh na Coille: Memory-Keeper of the Forest, Cape Breton University Press. Pages 44-52.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Page 14.
- ^ Michael Newton (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media. Page 95.
- ^ Michael Newton (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media. Page 93.
- ^ Michael Newton (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media. Page 25.
- ^ Michael Newton (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media. Page 115-116.
- ^ Edited by Michael Newton (2015), Seanchaidh na Coille: Memory-Keeper of the Forest, Cape Breton University Press. Page 517.
- ^ a b Papers, chiefly Gaelic, of Duncan Campbell, Inverness (1826-1916) National Library of Scotland.
- ^ Edited by Michael Newton (2015), Seanchaidh na Coille: Memory-Keeper of the Forest, Cape Breton University Press. Pages 52–59.
- ^ a b Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Pages 14-16.
- ISBN 0-06-055888-1
- ^ D. Thomson (1952), The Gaelic Sources of Macpherson's "Ossian", Aberdeen: Oliver & Boyd
- ^ a b Mackenzie, Donald W. (1990–92). "The Worthy Translator: How the Scottish Gaels got the Scriptures in their own Tongue". Transactions of the Gaelic Society of Inverness. 57: 168–202.
- ^ Ross, David. Scotland: History of a Nation. Geddes & Grosset, 2002.
- ^ The Life of Fr. Ewan MacEachan
- ISBN 978-1-77206-016-4.
- ^ "Alyth McCormack - O Mo Dhúthaich". www.celticlyricscorner.net.
- ^ a b c Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Page 16.
- ^ Marcus Tanner (2004), The Last of the Celts, Yale University Press, page 289.
- ^ a b Sumner & Doyle 2020, p. 339–370.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Page 282.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Pages 285-286.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill-Queen's University Press. Pages 14-16.
- ^ a b Effie Rankin (2004), As a' Braighe/Beyond the Braes: The Gaelic Songs of Allan the Ridge MacDonald, Cape Breton University Press. Page 11.
- ISBN 9780859766203. Retrieved 6 May 2017.
- ^ An Dotair MacLachlainn. "Somhairle MacGill-Eain Air-loidhne". www.sorleymaclean.org. Retrieved 6 May 2017.
- ^ "Sgrìobhaichean, Eòghainn MacDhonnchaidh". BBC. Retrieved 14 May 2017.
- ^ "Scran Web Site". Scran.
- ^ a b MacDonnchaidh, Eòghann. "Mo Mhallachd aig na Caoraich Mhòr". BBC. Retrieved 14 May 2017.
- ^ "Scran ::: Ewen Robertson Memorial, Sutherland". Scran.
- ^ "Kathleen MacInnes - Duthaich MhicAoidh - MacKay Country (Sutherland)". www.celticlyricscorner.net.
- ^ Edited by Michael Newton (2015), Seanchaidh na Coille: Memory-Keeper of the Forest, Cape Breton University Press. Pages 59-62.
- ^ Edited by Donald E. Meek (2019), The Wiles of the World Caran an t-Saohgail: Anthology of 19th-century Scottish Gaelic Verse, Birlinn Limited. Page 478.
- ^ Edited by Donald E. Meek (2019), The Wiles of the World Caran an t-Saohgail: Anthology of 19th-century Scottish Gaelic Verse, Birlinn Limited. Pages 42-48, 400-403.
- ISBN 1-85109-440-7
- ^ Edited by Donald E. Meek (2019), The Wiles of the World Caran an t-Saohgail: Anthology of 19th-century Scottish Gaelic Verse, Birlinn Limited. Pages 348-351, 458-462.
- ^ Dòmhnall Eachann Meek, Mairi Mhòr nan Oran ; Taghadh de a h-Orain (Edinburgh : Scottish Academic Press, 1998) p40
- ^ Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900. .
- ^ Edited by Ronald Black (2002), Eilein na h-Òige: The Poems of Fr. Allan MacDonald, Mungo Press, Glasgow. Pages 41-43.
- ^ Edited by Ronald Black (2002), Eilein na h-Òige: The Poems of Fr. Allan MacDonald, Mungo Press, Glasgow. Pages 63-73.
- ^ Edited by Ronald Black (2002), Eilein na h-Òige: The Poems of Fr. Allan MacDonald, Mungo Press, Glasgow. Page 46.
- ^ Edited by Ronald Black (2002), Eilein na h-Òige: The Poems of Fr. Allan MacDonald, Mungo Press, Glasgow. Page 35.
- ^ Edited by Ronald Black (2002), Eilein na h-Òige: The Poems of Fr. Allan MacDonald, Mungo Press, Glasgow. Page 47.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, p. 787.
- ^ MacLeod, Murdo; Fiona Stewart (12 October 2002). "Mod 2002 - and 20,000 Gaels blow in for festival of music". The Scotsman. Retrieved 2006-12-19.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th century Scottish Gaelic Verse, pp. 757-759.
- ^ Theo van Heijnsbergen and Carla Sassi, Within and Without Empire: Scotland Across the (Post)colonial Borderline, p. 75.
- ^ "THE FORGOTTEN FIRST: JOHN MACCORMICK'S DÙN-ÀLUINN" (PDF).
- OCLC 1907457,
It was perhaps seven or eight hundred yards from our trenches to the German line, nearly half a mile, and over this space went the Ladies from Hell, as the Germans call the Scottishers.
- ^ Riguidel, Lt., Donna (7 July 2010). Queens' Own Camerons History Made With History Book Presentation. Department of National Defence (Canada).
"Ladies from Hell" was a nickname given to kilted regiments during the First World War, by the Germans that faced them in the trenches (Die Damen aus der Hölle).
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:|work=
ignored (help) - ^ Clive Cussler (1996),The Sea Hunters: True Adventures with Famous Shipwrecks, pp. 274–275.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, Polygon. pp. 748–749.
- ^ a b Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, Polygon. pp. xxiv.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, Polygon. pp. 747–748.
- ^ Domhnall Ruadh Choruna, Edited by Fred Macauley (1995), p. xvi.
- ^ Domhnall Ruadh Choruna (1995), pp. 174-177.
- ^ Domhnall Ruadh Choruna, Edited by Fred Macauley (1995), p. xxxv.
- ^ Domhnall Ruadh Choruna, Edited by Fred Macauley (1995), pp. 88-91.
- ^ "Sorley MacLean". Scottish Poetry Library. Archived from the original on 17 August 2018. Retrieved 17 August 2018.
- ^ "The National Archives, War Office: German Record cards of British PoWs, WO 416/55/437".
- ^ a b c d Ronald Black (1999), An Tuil: Anthology of 20th century Scottish Gaelic Verse, p. 757.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th century Scottish Gaelic Verse, p. 758.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th century Scottish Gaelic Verse, pp. 757–758.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Pages 16-17.
- ^ Domhnall Ruadh Choruna, Comann Eachdraidh Uibhist a Tuath, Lochmaddy, (1995), page 24-27.
- ^ a b Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, Polygon. Page 780.
- ^ Joseph Pearce (2011), Solzhenitsyn: A Soul in Exile, ,Ignatius Press. Press 74-147.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Pages xxix-xxx.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Pages xxxiv-xl.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Pages 246-251.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, Polygon. Pages 420-425, 781.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Pages 120-123.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Pages 26-37.
- ^ Chì Mi / I See: Bàrdachd Dhòmhnaill Iain Dhonnchaidh / The Poetry of Donald John MacDonald, edited by Bill Innes. Acair, Stornoway, 2021. Page xxv.
- ISBN 019538623X, p. 653.
- ^ Domhnall Ruadh Choruna, Edited by Fred Macauley (1995), pp. 142–143.
- ^ I. Brown, "Processes and interactive events: theatre and Scottish devolution", in S. Blandford, ed., Theatre and Performance in Small Nations (Bristol: Interlect, 2013), pp. 37-8.
- ISBN 0748624821, p. 282.
- ^ Michael Newton (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media. Pages 208-212.
- ^ Michael Newton (2015), Seanchaidh na Coille (Memory-Keeper of the Forest): Anthology of Scottish Gaelic Literature of Canada, Cape Breton University Press. Pages 118-120, 536.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th-century Scottish Gaelic verse, Polygon, Edinburgh. Page 752-753.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, p. 726.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, p. 727.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, pp. 72–75.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, pp. 728–729.
- ^ Ronald Black (1999), An Tuil: Anthology of 20th Century Scottish Gaelic Verse, pp. 74–79, 728.
- ^ MacAuley, Donald (1976). Nua-bhàrdachd Ghàidhlig - Modern Scottish Gaelic Poems. Southside.
- ISBN 0748660917.
- ISBN 0708312667.
- ^ "SAPPHIRE - 40 Years of Scottish Publishing, 1974-2014". Archived from the original on 2014-10-27.
- ^ SRB interviews Angus Peter Campbell
- ^ Official website
- ^ "หนังสือวรรณกรรมถือเป็นสิ่งที่ให้ความเพลิดเพลินและสนุกสนานเหมาะแก่คนทุกเพศทุกวัย".
- ^ MacQueen, Douglas (May 21, 2014). "Interview with Marcas Mac an Tuairneir, Scottish Gaelic Poet, Author of Groundbreaking Poetry Collection "Deò" - Bringing Gay Themes to Scottish Gaelic Literature". www.transceltic.com. Retrieved 2019-03-03.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Pages 37-70.
- ^ Non-Scot is Gaelic Bard for first time By David Ross. The Herald, 19th October 2011.
- ^ Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press. Pages 61-63.
- ^ 'Echoing off the walls of God': 13th-century Muslim poet translated into Gaelic by Jon Tattrie - CBC News, November 19, 2017.
- ^ "Simon MacKenzie Scotsman obituary".
- ^ National Library of Scotland. "Gaelic rare books". National Library of Scotland. Retrieved 2023-12-14.
- ^ "Gàidhlig / Gaelic". The University of Edinburgh. 2018-04-18. Retrieved 2023-12-14.
- ^ UCL Special Collections (2018-08-23). "Gaelic Society Collection". UCL Special Collections. Retrieved 2023-12-14.
References
- Clancy, Thomas Owen (2006). "Scottish Gaelic literature (to c. 1200)". In ABC-CLIO. pp. 1276–7.
- Sumner, Natasha; ISBN 978-0-2280-0518-6.
Further reading
- Black, Ronald I.M. (ed.). An Lasair: an anthology of 18th-century Scottish Gaelic verse. Edinburgh, 2001.
- Black, Ronald I.M. (ed.). An Tuil: an anthology of 20th-century Scottish Gaelic verse. Edinburgh, 1999.
- Bruford, Alan. Gaelic folktales and medieval romances: a study of the early modern Irish romantic tales and their oral derivatives. Dublin, 1969.
- Campbell, J.F. (ed.). Leabhar na Féinne: heroic Gaelic ballads collected in Scotland chiefly from 1512 to 1871. London, 1872. PDF available from the Internet Archive
- John Lorne Campbell (1979), Highland Songs of the Forty-Five, Arno Press, New York City
- Clancy, Thomas Owen. "King-making and images of kingship in medieval Gaelic literature." In The Stone of Destiny: artefact and icon, edited by R. Welander, D.J. Breeze and T.O. Clancy. Society of Antiquaries of Scotland Monograph Series 22. Edinburgh: Society of Antiquaries of Scotland, 2003. pp. 85–105.
- Campbell, John Lorne (1990, 1999) Songs Remembered in Exile: Traditional Gaelic Songs from Nova Scotia Recorded in Cape Breton and Antigonish County in 1937, with an Account of the Causes of the Highland Emigration, 1790–1835. Tunes mostly transcribed by Séamus Ennis; illustrations by Margaret Fay Shaw. Published by Aberdeen University Press 1990, Reprinted in 1999 by Birlinn.
- Edited by Jo MacDonald (2015), Cuimhneachan: Bàrdachd a' Chiad Chogaidh/Remembrance: Gaelic Poetry of World War One, Acair Books, Prince Charles, Duke of Rothesay
- MacLachlan, Ewen. Ewen MacLachlan's Gaelic Verse. Aberdeen University Studies 114. 2nd ed. Aberdeen: Dept. of Celtic, 1980 (1937).
- Newton, Michael (2001), We're Indians Sure Enough: The Legacy of the Scottish Highlanders in the United States, Saorsa Media.
- Newton, Michael (2015). Seanchaidh na Coille / Memory-Keeper of the Forest: Anthology of Scottish Gaelic Literature of Canada. Cape Breton University Press. Preface by Diana Gabaldon. ISBN 978-1-77206-016-4.
- Ó Baoill, Colm and Donald MacAulay. Scottish Gaelic vernacular verse to 1730: a checklist. Revised edition. Aberdeen: Department of Celtic, University of Aberdeen, 2001.
- Ó Baoill, Colm. Maighread nighean Lachlainn: song-maker of Mull. An edition and study of the extant corpus of her verse in praise of the Jacobite Maclean leaders of her time. Edinburgh: Scottish Gaelic Text Society, 2009.
- Ó Háinle, Cathal and Donald E. Meek. Unity in diversity: studies in Irish and Scottish Gaelic language, literature and history. Dublin, 2004.
- Rankin, Effie (2004), As a’ Bhràighe / Beyond the Braes: The Gaelic Songs of Allan the Ridge MacDonald (1794-1868), Cape Breton University Press, Sydney, Nova Scotia.
- Storey, John "Ùr-Sgeul: Ag Ùrachadh Litreachas is Cultar na Gàidhlig . . . Dè an Ath Cheum?" Edinburgh: Celtic and Scottish Studies, 2007 PDF available from University of Edinburgh
- Storey, John "Contemporary Gaelic fiction: development, challenge and opportunity” in Lainnir a’ Bhùirn' - The Gleaming Water: Essays on Modern Gaelic Literature, edited by Emma Dymock & Wilson McLeod. Edinburgh: Dunedin Academic Press, 2011.
- Edited by Natasha Sumner and Aidan Doyle (2020), North American Gaels: Speech, Song, and Story in the Diaspora, McGill–Queen's University Press.
- ISBN 0-631-15578-3
- Watson, Moray An Introduction to Gaelic Fiction. Edinburgh: Edinburgh University Press, 2011 [1]
- Watson, William J. (ed.). Bardachd Albannach: Scottish verse from the Book of the Dean of Lismore. Edinburgh: The Scottish Gaelic Texts Society, 1937.
External links
- Digitised version of Leabhar a Theagasc Ainminnin, 1741 at National Library of Scotland
- Digitised version of Ais-Eiridh na Sean Chánoin Albannaich / The resurrection of the ancient Scottish language, 1751 at National Library of Scotland
- Scottish Gaelic Texts Society
- Scottish literature, Celtic Literature Collective.
- The Spread of Scottish Printing, digitised items between 1508 and 1900
- Bibliography of Gaelic Arthurian literature
- Aithbhreac - An Claigeann aig Damien Hirst launch
- Willies, ghillies and horny Highlanders: Scottish Gaelic writing has a filthy past by Peter MacKay, University of St. Andrews, The Conversation, October 24, 2017.
- Gaelic Society of London rare books collection at University College London