Sorley MacLean
Sorley MacLean | |
---|---|
Native name | |
Born | Òsgaig, Raasay, Scotland | 26 October 1911
Died | 24 November 1996 Inverness, Scotland | (aged 85)
Resting place | Stronuirinish Cemetery, Portree |
Occupation | English teacher Head teacher |
Language | Scottish Gaelic |
Education | Raasay Primary School Portree Secondary School |
Alma mater | University of Edinburgh |
Genre | Gaelic poetry |
Years active | 1932–c. 1980 |
Notable works | Dàin do Eimhir
|
Notable awards | Queen's Gold Medal for Poetry
|
Website | |
www www |
Sorley MacLean (
He was raised in a
In his poetry, MacLean juxtaposed traditional Gaelic elements with mainstream European elements, frequently comparing the Highland Clearances with contemporary events, especially the Spanish Civil War. His work was a unique fusion of traditional and modern elements that has been credited with restoring Gaelic tradition to its proper place and reinvigorating and modernizing the Gaelic language. Although his most influential works, Dàin do Eimhir and An Cuilthionn, were published in 1943, MacLean did not become well known until the 1970s, when his works were published in English translation. His later poem Hallaig, published 1954, achieved "cult status"[4]: 134 outside Gaelic-speaking circles for its supernatural representation of a village depopulated in the Highland Clearances and came to represent all Scottish Gaelic poetry in the English-speaking imagination.
Biography
Early life
Sorley MacLean was born in Òsgaig,
At home, he was steeped in
What MacLean learned of the history of the
Calvinism
MacLean was raised in the
MacLean later said that he had abandoned religion for socialism at the age of twelve,
1930s
He was educated at Raasay Primary School and
In 1934, he returned to Skye to teach English at Portree High School.[3][12] After the Spanish Civil War broke out in 1936, he considered volunteering to fight in the International Brigades; according to his daughter, he would have gone if not for the poverty of his family and his own responsibilities as their provider.[3] At the time, his mother was seriously ill and his father's business was failing.[26] In January 1938, MacLean accepted a teaching position at Tobermory High School on the Isle of Mull, where he stayed until December.[26][27]: 145 The year he spent on Mull had a profound effect on him, because Mull was still devastated from nineteenth-century Highland Clearances, during which MacLean's own ancestors had been evicted.[4]: 125–6 [27]: 145 MacLean later said, "I believe Mull had much to do with my poetry: its physical beauty, so different from Skye's, with the terrible imprint of the clearances on it, made it almost intolerable for a Gael." He believed that fascism was likely to emerge victorious in Europe, and was further dismayed by the continuing decline of the Gaelic language.[26][5]: 29 [13]: 242
Between 1939 and 1941, he taught at
World War II
Upon the outbreak of war in 1939, MacLean wanted to volunteer for the
MacLean returned to Britain for convalescence in March 1943. He was discharged from Raigmore Hospital in Inverness in August 1943 and released from the army in September.[26][11] In the fall of 1943, he resumed teaching at Boroughmuir, where he met Renee Cameron in 1944.[v] They married on 24 July 1946 in Inverness and had three daughters and six grandchildren. According to friends, their marriage was happy and peaceful, as they complemented each other well, and MacLean "mellowed" with age and family life.[29][30][25]: 5 He had never been a card carrying member of the Communist Party of Great Britain,[8]: 17 and the Soviet occupation of Poland after the war caused MacLean to break with his former admiration for the Soviet Union and Stalinism. As a member of the Anti-Stalinist left, however, MacLean always remained a strong believer in social justice.[8]: 32 [25]: 4 During this period, he frequently reviewed poetry and continued to make friends in literary circles, including the younger poets Iain Crichton Smith and George Mackay Brown.[25]: 4 He became particularly close to Sydney Goodsir Smith, who shared a flat with MacLean and his family for more than a year. In 1947 he was promoted to Principal Teacher of English at Boroughmuir, but MacLean wanted to return to the western Highlands.[30]
Later life
In 1956, MacLean was offered the position of
MacLean's many friends and visitors commented on his prodigious knowledge and deep interest in
After his retirement in 1972, MacLean moved to his great-grandmother's house at Peinnachorrain in Braes on Skye, with views over the
Poetry
Influences
Before he went to university, MacLean was writing in both English and Gaelic.[3][viii] After writing a Gaelic poem, A' Chorra-ghritheach ("The Heron"), in 1932, he decided to write only in Gaelic and burned his earlier poems.[25]: 2 MacLean later said, "I was not one who could write poetry if it did not come to me in spite of myself, and if it came, it had to come in Gaelic".[40]: 417 However, it is also clear from his correspondence with MacDiarmid that his choice was also motivated by his determination to preserve and develop the Gaelic language.[41]: 77, 155 The Gaelic language had been in decline for several centuries; the 1931 census registered 136,135 Gaelic speakers in Scotland, only 3% of the Scottish population.[42]: 141 Despite his decision to write in the language, at times MacLean doubted that Gaelic would survive and his poetry would be appreciated.[43]: 4 [ix]
For 1,500 years,
MacLean once said that various Communist figures meant more to him than any poet, writing to Douglas Young in 1941 that "
Nevertheless, MacLean read widely and was influenced by poets from a variety of styles and eras. Of contemporary poets, Hugh MacDiarmid,
Dàin do Eimhir
In 1940, eight of MacLean's poems were printed in 17 Poems for 6d, along with Scots poems by Robert Garioch.[44]: 154 The pamphlet sold better than expected and was reprinted a few weeks later; it received favourable reviews.[45] While MacLean was in North Africa, he left his poetry with Douglas Young, who had promised to help publish it.[26] In November 1943, the poems were published as Dàin do Eimhir agus Dàin Eile (English: Poems to Eimhir and Other Poems).[x] Dàin do Eimhir was a sequence of sixty numbered poems, with twelve missing;[xi] of the other poems, the most significant was the long narrative poem An Cuilthionn.[45][xii] The book marked a sharp break in style and substance of Gaelic poetry from earlier eras.[3] In his poetry, MacLean emphasized the struggle between love and duty, which was personified in the poet's difficulty in choosing between his infatuation with a female figure, Eimhir, and what he sees as his moral obligation to volunteer in the Spanish Civil War.[2][3]
The book has been the subject of scholarly debate. Attempting to explain why MacLean's earlier poetry has had the greatest influence,
MacLean's work was innovative and influential because it juxtaposed elements from Gaelic history and tradition with icons from mainstream European history. He described his poetry as "radiating from Skye and the West Highlands to the whole of Europe".
The book won him recognition as "the major force in modern Gaelic poetry", according to The Cambridge Companion to British Poetry.[44]: 153 Caimbeul writes that the poems "capture the uncertainty, pain, yearning, and the search for stability that are at the heart of Modernism".[xv] Summarizing the impact of the book, Professor Donald MacAulay wrote, "After the publication of this book Gaelic poetry could never be the same again."[26]
Recognition
How many people know that the best living Scottish poet, by a whole head and shoulders, after the two major figures in this century, Edwin Muir and Hugh MacDiarmid, is not any of the English writing poets, but Sorley MacLean? Yet he alone takes his place easily and indubitably beside these two major poets: and he writes only in Gaelic [...] That Sorley MacLean is a great poet in the Gaelic tradition, a man not merely for time, but for eternity, I have no doubt whatever.
Although his poetry had a profound impact on the Gaelic-speaking world, it was not until the 1970s and 1980s that MacLean's work became accessible in English translation.[3][6]: 193 His poetry was not very accessible to Gaelic speakers either, since Dàin do Eimhir was not reprinted.[36]: 2 [9]: 9 To English-speakers, MacLean remained virtually unknown until 1970, when issue 34 of Lines Review was dedicated to his work and some of his poems were reproduced in the anthology Four Points of the Saltire. In the preface to the collection, Tom Scott forcefully argued for the merit of MacLean's poetry.[33][9]: 9 Iain Crichton Smith published an English translation of Dàin do Eimhir in 1971.[xvi] MacLean was part of the delegation that represented Scotland at the first Cambridge Poetry Festival in 1975, establishing his reputation in England.[16][21] He was one of five Gaelic poets to be anthologized in the influential 1976 collection Nua-Bhàrdachd Ghàidhlig / Modern Scottish Gaelic Poems with verse translations by the authors. MacLean's verse translations were also included in later publications.[41]: 60, 64, 73
In 1977,
From the early 1970s, MacLean was in demand internationally as a reader of his own poetry. He would start a reading of a poem by describing the images, then read the poem first in Gaelic and again in English, emphasizing that the translations were not to be read as poems in themselves.[41]: 72 His readings were described as deeply moving even by listeners who did not speak Gaelic;[8]: 17 according to Seamus Heaney, "MacLean's voice had a certain bardic weirdness that sounded both stricken and enraptured".[48] Gaelic poet George Campbell Hay wrote in a review that MacLean "is gifted with what the Welsh call Hwyl, the power of elevated declamation, and his declamation is full of feeling."[18]: 1 These readings helped establish his international reputation as a poet.[8]: 30 MacLean's poetry was also translated into German, and he was invited to poetry readings in Germany and Austria.[41]: 255
In the English-speaking world, MacLean's best-known poem is Hallaig, a meditation on a Raasay village which had been cleared of its inhabitants.[23]: 442 Raasay was cleared between 1852 and 1854 under George Rainy; most of its inhabitants were forced to emigrate. Many of MacLean's relatives were affected, and Hallaig was one of the villages to be depopulated. The poem was written a century later, during MacLean's time in Edinburgh,[30][49]: 418 and originally published in 1954 in the Gaelic-language magazine Gairm.[45] Beginning with the famous line, "Time, the deer, is in the wood of Hallaig",[xviii] the poem imagines the village as it was before the Clearances, with the long-dead eternally walking through the trees.[49]: 418–9 It is also filled with local names of individuals and places, which have deeper meanings to those intimately familiar with Raasay oral tradition.[8]: 36 Unlike most of MacLean's output, Hallaig has no overt political references,[4]: 128-129 and never directly mentions eviction or clearance.[33] For this reason, it was seen as politically "safer" than others of MacLean's poems. Translated and promoted by Irish Nobel Prize Laureate Seamus Heaney,[23]: 13 Hallaig achieved "cult status"[4]: 134 and came to symbolize Scottish Gaelic poetry in the English-speaking imagination.[23]: 13
Style
MacLean's poetry generally followed an older style of metre, based on the more dynamic patterns of the oral tradition rather than the strict, static metres of the written Gaelic poetry of the nineteenth century.[40]: 397 He frequently combined metrical patters and shifted in the middle of a poem, achieving "sensuous effects" that cannot be translated.[40]: 398 He typically used the traditional vowel rhymes, both internal and end-rhymes, that are ubiquitous in the oral tradition, but a few of his poems have less traditional rhyme schemes.[40]: 399 However, he was flexible in his use of metre, "[combining] old and new in such a way that neither neutralizes each other,"[xix] extending rather than repudiating tradition, in a way that is unique in Gaelic poetry.[40]: 400 [36]: 7 In MacInnes' analysis, "rhythmic patterns become a vital part of the meaning" of MacLean's poetry.[40]: 414 Over time, his poems became less strict in their application of rhyme and metre.[40]: 401 According to MacInnes, labels such as "classical" and "romantic", which have been applied respectively to the form and content of MacLean's poetry, are misleading because MacLean did not limit himself by those styles. Despite MacLean's reliance on the oral tradition, his poetry was not intended to be sung.[40]: 402 Although he abandoned the "verbal codes" and intricate symbolism of the Gaelic tradition,[40]: 416 MacLean occasionally used outmoded devices, such as the repeating of adjectives.[36]: 6
MacLean's poetry frequently used Gaelic themes and references, such as place names, trees, and sea symbolism. A knowledge of that tradition would bring additional interpretations and appreciation to a reading of MacLean's poetry.[40]: 407–8 Another important symbol in his work is the face, which represents romantic love.[47]: 63
According to John MacInnes, MacLean's poetry "exhibits virtually an entire spectrum of language". Some of his poetry is transparent to a fluent Gaelic speaker, but the meaning of other poems needs to be untangled.[40]: 393 MacLean coined very few neologisms;[1]: 216 [xx] however, he revived or repurposed many obscure or archaic words.[40]: 404–6 [36]: 6 MacLean often said that he had heard these old words in Presbyterian sermons.[40]: 407 According to MacInnes and Maoilios Caimbeul, MacLean's revival of these old, forgotten Gaelic words revolutionized literary Gaelic, by adding senses and a newness and modernity.[40]: 406 [36]: 6 Caimbeul wrote that MacLean's vocabulary is not "simple", but it is "natural" and arises naturally from everyday speech, although mixed with other influences.[36]: 5
In contrast, the English translations were all written in a very straightforward style,[40]: 394 flattening the language by the necessity to choose one English word for the ambiguity and connotations of the Gaelic one.[40]: 406–7 According to Christopher Whyte, the English translations produce "an official interpretation, one that restricts and deadens the range of possible readings of the poem".[41]: 96 English could not convey the pop that MacLean's revival of disused words brought to his Gaelic poetry.[40]: 407 While the Gaelic poems were noted for their acoustic properties, the translations did not pay any particular attention to sound, instead focusing narrowly on literal meaning.[41]: 249 MacLean emphasized that his "line-by-line translations" were not poetry;[18]: 8 [41]: 257 of the prose translation of An Cuilthionn that appeared in Dàin do Eimhir, he wrote, "my English version has not even the merit of very strict literal accuracy as I find more and more when I look over it".[41]: 257 Seamus Heaney called the translations "cribs".[48]
Awards and honours
In June 1987, MacLean became the first
Legacy
While acknowledging the literary merit of MacLean's work, Whyte suggested that it was unfortunate that in the 1980s it stood in for all Scottish Gaelic poetry in the Anglophone world. According to Whyte, MacLean's poetry is "comparatively unGaelic, elitist rather than populist, and permeable only with difficulty to the community which uses the language in its day to day existence".[41]: 67–68 MacInnes concedes that MacLean does not cater to his readers; however, in his opinion it would be incorrect to call the poetry elitist because of its "artistic sincerity", speaking "with affective directness and a simple passionate intensity".[40]: 417 Compounding the difficulty is that the traditional medium of Gaelic poetry is song, and many fluent speakers do not have strong reading skills.[41]: 66–7 [36]: 3 In an effort to make MacLean's work more accessible to Scottish Gaelic speakers, the Sorley MacLean Trust commissioned several musicians[xxii] to set some of MacLean's poems to music.[58][59][36]: 2
In the Gaelic-speaking world, MacLean's influence has been pervasive and persistent. Poet
A film, Hallaig, was made in 1984 by Timothy Neat, including a discussion by MacLean of the dominant influences on his poetry, with commentary by Smith and Heaney, and substantial passages from the poem and other work, along with extracts of Gaelic song.[6]: 193 The poem also forms part of the lyrics of Peter Maxwell Davies' opera The Jacobite Rising;[60] and MacLean's own reading of it in English and in Gaelic was sampled by Martyn Bennett in his album Bothy Culture for a track of the same name.[61]
A controversy erupted in 2000, when
Selected works
- Poetry collections
- MacLean, Sorley; Garioch, Robert (1940). 17 Songs for 6d (in Scottish Gaelic and Scots). Edinburgh: Chalmers Press.
- MacGhill-Eathain, Somhairle (1943). Dàin do Eimhir agus Dàin Eile (in Scottish Gaelic). Glasgow: William Maclellan. OCLC 1040951021.
- MacLean, Sorley; OCLC 654353907.
- MacLean, Sorley (1971). ISBN 978-0-575-00746-8.
- MacLean, Sorley; Hay, George Campbell; Smith, Iain Crichton; ISBN 978-0-8112-0631-0.
- MacLean, Sorley (1977). Reothairt is Conntràigh / Spring Tide and Neap Tide, 1932-72 (in English and Scottish Gaelic). Edinburgh: ISBN 978-0-903937-15-3.
- MacLean, Sorley (1989). O Choille gu Bearradh: Collected Poems in Gaelic and English (in English and Scottish Gaelic). Manchester: Carcanet. ISBN 978-0-85635-844-9.
- MacGill-Eain, Somhairle (2002). ISBN 978-0-948877-50-6.
- MacGill-Eain, Somhairle (2011). Whyte, Christopher (ed.). An Cuilithionn 1939: The Cuillin 1939 and Unpublished Poems (in English and Scottish Gaelic). Glasgow: Association for Scottish Literary Studies. ISBN 978-1-906841-03-4.
- MacLean, Sorley (2011). Whyte, Christopher; Dymock, Emma (eds.). Caoir Gheal Leumraich / White Leaping Flame: Collected Poems in Gaelic with English Translations (in English and Scottish Gaelic). Edinburgh: Polygon. ISBN 978-1-84697-190-7.
- Literary criticism
- MacGill-Eain, Somhairle (1985). Gillies, William (ed.). Ris a' Bhruthaich: Criticism and Prose Writings. ISBN 978-0-86152-041-1.
References
Notes
- ^ a b Gaelic patronymic: Somhairle mac Chaluim 'ic Chaluim 'ic Iain 'ic Tharmaid 'ic Iain 'ic Tharmaid.[1]: 211
- ^ a b Scottish Gaelic pronunciation: [ˈs̪o.ərlə maxˈkʲiʎɛhɛɲ]
- doctrine of unconditional election by describing an explosion of a mine which killed six of his comrades but, for no particular reason, spared MacLean.[8]: 35
- ^ Cameron's mother was not of Gaelic ancestry, but her father, an Inverness joiner, was raised in Kilmuir on the Black Isle when it was still Gaelic-speaking.[29]
- ^ According to MacLean, the number of students studying Gaelic "doubled, trebled, quadrupled, and more" as a result of the learners' exam becoming available.[5]: 34
- Gaelic medium education, with all subjects taught in Gaelic, was inaugurated in 1985.[32]: 119
- ^ He later described his English poetry as "mostly imitative of Eliot and Pound... over-sophisticated, over-self-conscious".[39]: 5
- ^ In 1943, he wrote in a letter to Hugh MacDiarmid: "The whole prospect of Gaelic appals me, the more I think of the difficulties and the likelihood of its extinction in a generation or two. A ... language with ... no modern prose of any account, no philosophical or technical vocabulary to speak of, no correct usage except among old people and a few university students, colloquially full of gross English idiom lately taken over... (what chance of the appreciation of the overtones of poetry, except amongst a handful?)"[43]: 4
- ^ Dàin do Eimhir was published primarily in Gaelic, but included MacLean's prose translations of some poems in a smaller font.[45][41]: 57
- ^ Some poems were omitted because MacLean doubted their quality; others were left out due to their personal content.[18]: 5 He asked Young to destroy the unpublished poems, but Young refused. All but one poem survived to be published in Christopher Whyte's critical edition in 2002.[46]: 73
- ^ An Cuilthionn was written between 1939 and 1940, never finished, but published anyway.[33]
- ^ Ronald Black disagreed with this analysis, citing a student of his who chose MacLean's little-known poem A' Ghort Mhòr (English: The Great Famine) for a class presentation. Asked why, she replied, "it is relevant to today, rather than all that stuff about love".[47]: 74
- ^ "Chan eil, agus tha teagamh agam nach bi, sreath de dhàin ghaoil ann an litreachas na Gàidhlig a thig an uisge-stiùrach nan dàn seo."[36]: 5
- ^ "Tha e a' ciallachadh gu bheil na Dàin seo a' glacadh a' mhì-chinnt, am pian, an sireadh, an t-iarraidh airson nì seasmhach a tha aig cridhe Nuadhachais".[36]: 7
- ^ This edition only contained 36 of the poems in the Eimhir sequence,[45] and did not reproduce the Gaelic originals.[41]: 62
- ^ "Có bheir faochadh dhan àmhghar
mur tig an t-Arm Dearg sa chàs seo?"
(Who will give respite to the agony
unless the Red Army comes in this extremity?)[2] - Scottish Gaelic: Tha tìm, am fiadh, an coille Hallaig
- ^ Caimbeul writes, "ceòlmhor ann an dòigh a tha sean agus ùr",[36]: 7 meaning, roughly, "musical in both old and new ways".
- ^ MacInnes said that he could not find a single neologism in all of MacLean's poetry.[40]: 404
- Anglia Polytechnic 1994
- D.Litt., University of Glasgow 1996[51]
Citations
- ^ ISBN 978-0-7073-0426-7.
- ^ a b c d e f g h i j k l m n "Sorley MacLean". Scottish Poetry Library. Archived from the original on 17 August 2018. Retrieved 17 August 2018.
- ^ a b c d e f g h i j k l m n o p q r "20mh linn– Am Bàrd: Somhairle MacGill-Eain". BBC Alba – Làrach nam Bàrd (in Scottish Gaelic). Archived from the original on 30 January 2017. Retrieved 17 August 2018.
- ^ ISSN 0039-3770.
- ^ from the original on 4 August 2019. Retrieved 22 August 2018.
- ^ ISBN 978-1-107-09374-4.
- ^ a b c Shaw, John (2017). "Calum Maclean Project". The University of Edinburgh. Archived from the original on 20 August 2018. Retrieved 20 August 2018.
- ^ a b c d e f g h i j k l m n o p q r s t u v w Calder, Angus (2016). "The poetry of Sorley MacLean". Open University. Archived from the original on 18 August 2018. Retrieved 18 August 2018.
- ^ ISBN 978-0-7073-0426-7. Archived from the original(PDF) on 31 October 2018.
- ^ a b c d "Life – A Raasay Childhood (1911–1929)". Sorley MacLean online. Archived from the original on 14 July 2013. Retrieved 6 January 2018.
- ^ a b c d e f g h Gillies, William. "Sorley MacLean" (PDF). Royal Society of Edinburgh. Archived (PDF) from the original on 21 August 2018. Retrieved 21 August 2018.
- ^ a b c d e f g h "Alumni in history: Sorley Maclean (1911–1996)". University of Edinburgh. Archived from the original on 8 December 2015. Retrieved 30 November 2015.
- ^ ISBN 978-5-9551-0213-9. Archived(PDF) from the original on 23 August 2018.
- ^ 'Autobiographical Sketch' in Maclean, S., 'Dain do Eimhir', Birlinn, Edinburgh, 2007, p. 268.
- ^ Nicolson, A., 'History of Skye', ed. C. Maclean, 3rd edition, The Islands Book Trust, Kershader, Isle of Lewis, 2012, p. 332
- ^ a b c Macrae, Alasdair (26 November 1996). "Obituary: Sorley MacLean". The Independent. Archived from the original on 7 January 2018. Retrieved 6 January 2018.
- PN Review. 21 (2): 10.
- ^ ISSN 0039-3770.
- ISBN 978-0-19-174351-1.
- ^ Wilson, Susan Ruth (2007). Higgins, Iain (ed.). Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters (Thesis). University of Victoria. Archived from the original on 22 August 2018. Retrieved 22 August 2018.
- ^ a b c d e f g h Ross, David (15 October 2011). "A personal eulogy for Sorley MacLean". The Herald. Glasgow. Archived from the original on 20 August 2018. Retrieved 20 August 2018.
- ISSN 0264-0856.
- ^ S2CID 152084743.
- ^ a b c d "University Days". The Sorley MacLean Trust. Archived from the original on 1 May 2017. Retrieved 18 August 2018.
- ^ a b c d e f g h i j k l m n MacRae, Alasdair (2007). "Sorley MacLean in Non-Gaelic Contexts" (PDF). Archived (PDF) from the original on 19 August 2018. Retrieved 19 August 2018.
- ^ a b c d e f g "Out of Skye to the World (1934–1943)". The Sorley MacLean Trust. Archived from the original on 23 December 2014. Retrieved 18 August 2018.
- ^ ISBN 978-1-349-25566-5.
- ^ ISBN 978-0-9562615-4-0.
- ^ a b Ross, David (13 March 2013). "Renee Maclean (obituary)". The Herald. Archived from the original on 18 August 2018. Retrieved 18 August 2018.
- ^ a b c "Edinburgh (1943–1956)". The Sorley MacLean Trust. Archived from the original on 30 April 2017. Retrieved 20 August 2018.
- ^ a b c d "Plockton (1956–1969)". The Sorley MacLean Trust. 18 January 2013. Archived from the original on 18 January 2013. Retrieved 19 August 2018.
- S2CID 144118256.
- ^ a b c d e f g "Writing Scotland – Sorley MacLean". BBC. Archived from the original on 5 September 2018. Retrieved 17 August 2018.
- ^ a b "The Harvest of his Genius". The Sorley MacLean Trust. Archived from the original on 30 April 2017. Retrieved 20 August 2018.
- ^ a b "Death of poet Sorley MacLean". The Irish Times. 25 November 1996. Archived from the original on 19 August 2018. Retrieved 18 August 2018.
- ^ a b c d e f g h i j k l m n Caimbeul, Maoilios (2007). "Feartan ann am bardachd Shomhairle MhicGill-Eain" (PDF) (in Scottish Gaelic). The Sorley MacLean Trust. Archived (PDF) from the original on 23 August 2018. Retrieved 22 August 2018.
- ^ "Sir Iain Noble Memorial Lecture recalls life of poet Sorley MacLean". Stornoway Gazette. 26 November 2016. Retrieved 22 January 2023.
- ^ "Sir Iain Noble Memorial Lecture recalls life of poet Sorley MacLean". The Stornoway Gazette. 26 November 2016. Archived from the original on 18 August 2018. Retrieved 18 August 2018.
- St Patrick's College, Maynooth. Archived(PDF) from the original on 30 August 2018.
- ^ ISBN 978-1-84158-316-7.
- ^ a b c d e f g h i j k l m n o p 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. Archived (PDF) from the original on 18 August 2018. Retrieved 18 August 2018.
- ISBN 978-0-521-23127-5. Archived from the originalon 9 July 2019. Retrieved 22 August 2018.
- ^ S2CID 16269707. Archived from the original(PDF) on 24 August 2018. Retrieved 24 August 2018.
- ^ ISBN 978-1-316-11131-4.
- ^ a b c d e "Publications". The Sorley MacLean Trust. Archived from the original on 19 September 2015. Retrieved 19 August 2018.
- JSTOR 25580090.
- ^ ISBN 978-5-9551-0213-9. Archived(PDF) from the original on 23 August 2018. Retrieved 23 August 2018.
- ^ a b c Heaney, Seamus (30 November 2002). "Seamus Heaney celebrates Sorley MacLean". The Guardian. Archived from the original on 20 August 2018. Retrieved 19 August 2018.
- ^ ISBN 978-1-84158-316-7.
- ^ "Freedom of Skye". The Glasgow Herald. 15 June 1987. p. 3. Retrieved 15 December 2016.
- ^ a b c d "Distinctions and honours". The Sorley MacLean Trust. Archived from the original on 15 January 2019. Retrieved 20 August 2018.
- ^ a b "Sorley MacLean: A Salute to the saviour of Gaelic verse". The Scotsman. 14 June 2011. Archived from the original on 19 August 2018. Retrieved 19 August 2018.
- ^ MacNeil, Kevin. "Book review: Sorley MacLean". The Scotsman. Archived from the original on 22 August 2018. Retrieved 22 August 2018.
- ^ "Makars' Court". Museums and Galleries Edinburgh. 16 November 2017. Archived from the original on 18 August 2018. Retrieved 17 August 2018.
- ^ "The Correspondence Between Hugh MacDiarmid and Sorley MacLean: An Annotated Edition". Oxford University Press. 8 April 2010. Retrieved 17 August 2018.
- JSTOR 40132748.
- ^ "Hallaig: A Musical Celebration of the Poetry of Sorley MacLean" (PDF). The Sorley MacLean Trust. Archived (PDF) from the original on 19 August 2018. Retrieved 19 August 2018.
- ^ Mathieson, Kenny. "Blas 2011: Hallaig, A Musical Celebration of Sorley MacLean". Archived from the original on 18 August 2018. Retrieved 18 August 2018.
- ^ "Hallaig – A Celebration of Sorley MacLean" (PDF). Urras Shomhairle – The Sorley MacLean Trust. Archived (PDF) from the original on 18 August 2018. Retrieved 18 August 2018.
- ISBN 978-1-351-55435-0.
- ^ "Obituary: Martyn Bennett". The Independent. Archived from the original on 18 August 2018. Retrieved 17 August 2018.
- ^ MacQueen, H. (27 November 1998). "(86) Sorley Maclean, copyright and the sale of mountains". Scots Law News. Archived from the original on 30 August 2018. Retrieved 30 August 2018.
- ^ Ross, David (12 October 2000). "Cuillins seller apologises to poet's family; Use of Sorley Maclean's poem in advertising literature 'not appropriate'". The Herald. Archived from the original on 30 August 2018.
External links
- Article summarizing a lecture by Heaney on Hallaig and MacLean's writing.
- Sorley Maclean's Island full-length documentary at the Scottish Screen Archive.
- Paper discussing Young's Scots translations of MacLean's poetry.
Further reading
- ISSN 0307-2029
- Devlin, Brendan P. (1977). "On Sorley MacLean". ISSN 0459-4541.
- Herdman, John (1977). "The Poetry of Sorley MacLean: a non-Gael's view". ISSN 0459-4541.
- MacInnes, John (1981), A Radically Traditional Voice: Sorley Maclean and the Evangelical Background, in Murray, Glen (ed.), Cencrastus No. 7, Winter 1981 - 82, pp. 14 – 17.
- ISBN 978-0-86152-900-1.
- ISBN 978-0-631-12502-0.
- Mackay, Peter (2010). Sorley MacLean. Aberdeen: AHRC Centre for Irish and Scottish Studies. ISBN 978-1-906108-11-3.
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