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Aig an Fhaing Nam sheasamh thall aig geat a’ phreiridh, feur glan fom bhotannan, lamhan fuar nam phocaidean, faileadh an dup gu fann gu neo-…

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What’s a fank like?

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Leugh an sgeulachd ghoirid, 'An Coigreach', an seo... (t.d.70)

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Leugh an sgeulachd ghoirid, 'An Coigreach', an seo... (t.d.70)

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Mairi Anna Fhearghasdan a' beachdachadh air An Coigreach le Iain Mac a' Ghobhainn.

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Mairi Anna Fhearghasdan a' beachdachadh air An Coigreach le Iain Mac a' Ghobhainn.

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Leugh an dàn agus mun dàn an seo...

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Bàrdachd - Ar Cànan 's ar Clò

Dàn 2

Tha an dàn seo air a sgrìobhadh mar aon earrann fhada. Chan eil rannan traidiseanta no brisidhean eile ann. Tha cruth àraidh air a tha a' toirt buaidh air mar a leughas sinn e, 's e sin sreath de loidhnichean goirid le aon abairt anns gach loidhne.

Tha na loidhnichean goirid, coltach ri mar a tha daoine a' bruidhinn. Tha seo a' dol leis a' chànan shìmplidh, chòmhraiteach a tha air a chleachdadh. Tha na loidhnichean cuideachd a' cruthachadh ruitheam làidir a tha a' ruith tron dàn air fad. Tha seo a' toirt oirnn cumail ga leughadh agus a' ceangal an dàin ri chèile bho thoiseach gu deireadh.

Tha na loidhnichean goirid a' tarraing ar n-aire gu gach puing fa leth agus cuideachd a' cur barrachd cuideim orra. Uaireannan, ge-tà, bidh Anna Frater a' cleachdadh loidhne a tha nas fhaide nan àbhaist. Tha seo ri fhaicinn far a bheil rud a tha gu h-àraidh cudromach, mar 'aodach trom tiugh a chumadh blàth iad' agus 'dathan air an goid bhon bhogha-froise'.

Tha an dàn ag innse mu sheann duine a bha a' dèanamh aodach a bha làidir agus feumail ach nach robh uabhasach fasanta agus mu dhuine òg a thàinig dhan bhaile a dhèanamh aodach a bha tana 's nach cumadh am fuachd a-mach ach a bha tòrr na b' fhasanta, gu h-àraidh ann am beachd na h-òigridh. Chuir daoine an cùl ris an t-seann duine agus an t-seann aodach agus ghabh iad ri na rudan ùra.

Ged a a dh'fhaodadh an seat ìomhaighean seo a bhith na shamhla air iomadh seòrsa suidheachaidh san latha an-diugh, tha e soilleir o thiotal na bàrdachd, 'Ar Cànan 's ar Clò', gur ann mu shuidheachadh na Gàidhlig a tha Frater a' bruidhinn. ('S e suaicheantas a' Chomuinn Ghàidhealaich 'Ar Cànan 's ar Ceòl'.) Chuir daoine an cùl ris a' Ghàidhlig, a' smaoineachadh gun robh a' Bheurla tòrr na b' fheàrr agus mus do thuig iad am mearachd, bha iad ro fhadalach.

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BBC ALBA - Làrach nam Bàrd 20mh - Bàrdachd: Anna Frater

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Dàn 2 Tha an dàn seo air a sgrìobhadh mar aon earrann fhada. Chan eil rannan traidiseanta no brisidhean eile ann. Tha cruth àraidh air a tha a' toirt buaidh air mar a leughas sinn e, 's e sin sreath de loidhnichean goirid le aon abairt anns gach loidhne.

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Làrach-lìn: An Sgeulachd Ghoirid - Lorg an sgeulachd 'Bùrn' anns an leabhar seo.

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Làrach-lìn: An Sgeulachd Ghoirid - Lorg an sgeulachd 'Bùrn' anns an leabhar seo.

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Leugh tron dàn + smaoinich air na teamaichean

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Leugh tron dàn + smaoinich air na teamaichean

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Ruairidh MacÌomhair a' beachdachadh air An Coigreach le Iain Mac a' Ghobhainn

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Ruairidh MacÌomhair a' beachdachadh air An Coigreach le Iain Mac a' Ghobhainn

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Coinneach Mac a' Ghobhainn a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn.

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Coinneach Mac a' Ghobhainn a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn.

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Catrìona Dunn a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn

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Catrìona Dunn a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn

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Anna Frater a' beachdachadh air An Coigreach le Iain Mac a' Ghobhainn

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Anna Frater a' beachdachadh air An Coigreach le Iain Mac a' Ghobhainn

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Mòrag NicNèill a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn.

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Mòrag NicNèill a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn.

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Chrissy Nic an Lèigh agus Janet NicPhàil a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn.

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Chrissy Nic an Lèigh agus Janet NicPhàil a' beachdachadh air Bùrn le Iain Mac a' Ghobhainn.

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Pasgan-obrach le ceistean + stiùireadh aiste -

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Pasgan-obrach le ceistean + stiùireadh aiste -

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Leugh an sgeulachd ghoirid, 'Briseadh na Cloiche', an seo...

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Leugh an sgeulachd ghoirid, 'Briseadh na Cloiche', an seo...

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Dràma

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Briseadh na Cloiche: The Breaking of the Stone

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Laura NicIllinnein a' beachdachadh air Briseadh na Cloiche le Iain Moireach

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Laura NicIllinnein a' beachdachadh air Briseadh na Cloiche le Iain Moireach

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Pasgan-obrach airson luchd-ionnsachaidh - 

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Pasgan-obrach airson luchd-ionnsachaidh - 

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Teamplaid aiste - a' sgrìobhadh mu sgeulachd ghoirid 

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Teamplaid aiste - a' sgrìobhadh mu sgeulachd ghoirid 

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What's a fank like?

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Copy of Aig an Fhaing - Jambord airson beachdan - Google Jamboard

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The version of the browser you are using is no longer supported. Please upgrade to a supported browser. Dismiss

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Gnìomh-obrach

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feumail airson aiste

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Aig an Fhaing le Anna Frater - fios.docx

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Cuspairean bunaiteach don phìos bàrdachd..

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Cuspairean bunaiteach don phìos bàrdachd..

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"a reminder of the importance of the language to their identity"

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Beagan fios mun a' bhana-bhàrd i fhèin..

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Am Bàrd

Thogadh Anna Frater ann am Pabail Uarach ann an sgìre an Rubha, Eilean Leòdhais, an aon sgìre dom buin Ruaraidh MacThòmais agus Iain Crichton Mac a' Ghobhainn.

Choisinn i PhD bho Oilthigh Ghlaschu ann an 1995, bho stiùir an Ollaimh Dòmhnall MacAmhlaigh, le tràchdas air Scottish Gaelic Women's Poetry up to 1750.

Thòisich Anna a' sgrìobhadh bàrdachd ann an Gàidhlig nuair a bha i air a' bhliadhna mu dheireadh san àrd-sgoil. Tha na dàin aice air nochdadh ann an irisean leithid Gairm agus Chapman agus chaidh Fon t-Slige, cruinneachadh den sgrìobhadh aice, fhoillseachadh ann an 1995.

Chaidh Duais a' Mhòid a thoirt dhith ann an 1996 aig Mòd Blàr Ghobharaidh airson an leabhar ùr inbheach a b'fheàrr ann an 1995.

Chuir i grunnan bhliadhnaichean seachad ag obair ann an craobh-sgaoileadh mus do thill i air ais a Leòdhas ann an 1999 far a bheil i a' teagaisg chùrsaichean Gàidhlig ann an Colaiste a' Chaisteil, meur de dh'Oilthigh na Gàidhealtachd 's nan Eilean.

Tha i an-diugh a' fuireach ann am Pabail Uarach far a bheil i pòsta le aon leanabh.

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BBC ALBA - Làrach nam Bàrd 20mh - Am Bàrd: Anna Frater

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Thogadh Anna Frater ann am Pabail Uarach ann an sgìre an Rubha, Eilean Leòdhais, an aon sgìre dom buin Ruaraidh MacThòmais agus Iain Crichton Mac a' Ghobhainn. Choisinn i PhD bho Oilthigh Ghlaschu ann an 1995, bho stiùir an Ollaimh Dòmhnall MacAmhlaigh, le tràchdas air Scottish Gaelic Women's Poetry up to 1750.

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Beagan fios mu na cuspairean a bhios i a' dèiligeadh ris san sgrìobhadh aice..

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Mar a tha a stoidhle sgrìobhaidh air atharrachadh

Nuair a thòisich mi bha meas mòr agam air bàrdachd Ruaraidh MhicThòmais agus gu ìre mhòr, feumaidh mi aideachadh, bha mi a' leantainn na stoidhle sgrìobhaidh aigesan. A' toiseachadh le ìomhaigh 's an uair sin mìneachadh a' tighinn as a dhèidh. A-nis, chan eil mi a' dèanamh uimhir a mhìneachadh. Tha mi a' fàgail barrachd an urra ris an leughadair.

Uaireannan, tha sin a' fàgail nach eil daoine buileach a' tuigsinn na bàrdachd. Chan eil e cho furasta, mar aon dhàn Domestic 9/4/92. Agus chan eil daoine a' tuiginn gu bheil an ceann latha cudromach oir chan e dàn mu dheidhinn boireannach a th' air a pronnadh leis an duine 's a' tilleadh air ais thuige aig deireadh an latha a th' ann. 'S e dàn poilitigeach a th' ann. B' e sin latha an taghaidh a chuir na Tòraidhean air ais a-steach nuair a bha sinne a' smaoineachadh gu robh sinn a' dol a dh'fhaighinn atharrachadh. Cha do chuir mi càil dhan dàn a bha a' mìneachadh sin ach anns an tiotal fhèin.

Tha mi a' smaoineachadh gu bheil mi a' dèanamh barrachd dhen sin a-nise agus cuideachd dàin mu dheidhinn tachartasan sònraichte no daoine sònraichte. Tha mi a' smaoineachadh gu bheil mo ghuth fhìn a' tighinn troimhe nas làidire na bha e anns na dàin a bu tràithe.

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BBC ALBA - Làrach nam Bàrd 20mh - Cuspairean: Anna Frater

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Taghadh de bhàrdachd Ghàidhlig an 20mh linn, air a dhealbh do sgoilearan àrd-ìre. Tha an duilleag seo a' toirt fiosrachaidh mu na cuspairean air am bi am bàrd, Anna Frater, a' sgrìobhadh agus air na dòighean-sgrìobhaidh a thathar a' cleachdadh.

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Leugh an sgeulachd ghoirid, A' Dol Dhachaigh, an seo...

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Leugh an sgeulachd ghoirid, A' Dol Dhachaigh, an seo...

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Angela Weir a' beachdachadh air Feòil a' Gheamhraidh le Iain Moireach

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Angela Weir a' beachdachadh air Feòil a' Gheamhraidh le Iain Moireach

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Ruairidh a' beachdachadh air A' Dol Dhachaigh -

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Ruairidh a' beachdachadh air A' Dol Dhachaigh -

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A' Dol Dhachaigh le Iain Mac a' Ghobhainn

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Catrìona Dunn a' beachdachadh air A' Dol Dhachaigh -

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Catrìona Dunn a' beachdachadh air A' Dol Dhachaigh -

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A' Dol Dhachaigh le Iain Mac a' Ghobhainn

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Jessica & Sarah Fhearghastan a' beachdachadh air A' Dol Dhachaigh -

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Jessica & Sarah Fhearghastan a' beachdachadh air A' Dol Dhachaigh -

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A' Dol Dhachaigh le Iain Mac a' Ghobhainn

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Leugh an sgeulachd ghoirid, Ann am Bosnia, an seo...

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Leugh an sgeulachd ghoirid, Ann am Bosnia, an seo...

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Donna Màiri NicÌomhair a' beachdachadh air Ann am Bosnia -

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Donna Màiri NicÌomhair a' beachdachadh air Ann am Bosnia -

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Jean NicEachan agus Alice NicAmhlaigh a' beachdachadh air Ann am Bosnia -

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Jean NicEachan agus Alice NicAmhlaigh a' beachdachadh air Ann am Bosnia -

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Leugh an sgeulachd ghoirid, An Duine Dubh, an seo...

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Leugh an sgeulachd ghoirid, An Duine Dubh, an seo...

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Coinneach Mac a' Ghobhainn a' beachdachadh air An Duine Dubh -

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Coinneach Mac a' Ghobhainn a' beachdachadh air An Duine Dubh -

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Maureen NicLeoid a' beachdachadh air An Duine Dubh -

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Maureen NicLeoid a' beachdachadh air An Duine Dubh -

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(An Duine Dubh - Maureen NicLeoid)

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Linda NicLeoid a' beachdachadh air An Duine Dubh -

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Linda NicLeoid a' beachdachadh air An Duine Dubh -

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(An Duine Dubh - Linda NicLeoid)

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Domhnall MacLeoid a' beachdachadh air An Duine Dubh -

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Domhnall MacLeoid a' beachdachadh air An Duine Dubh -

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(An Duine Dubh - Dòmhnall MacLeòid)

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Blog a' toirt iomradh air An Duine Dubh -

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Blog a' toirt iomradh air An Duine Dubh -

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Cuspairean soisealta is poilitigeach bho shealladh pearsanta

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In Scottish Gaelic, to ask where someone is from you ask Cò às a tha thu? - which roughly translates as who are your people?

Most of Scotland's Gaelic speaking population are based in the Highlands and Western Isles, a smattering of islands to the top left of the mainland. Gaelic is considered an endangered language, with a speaking population of around 60,000 according to the last census. Scotland's relationship with the Gaelic language is fraught and self-destructive, from the legacy of the ethnolinguistic genocide of the Highland Clearances, to the modern-day upward battle to restore the language in mainstream Scottish society. But like wider Scotland, the Gaelic world projects an image of post-racial homogeneity and fails to address the whiteness that stifles the community. This means that speakers of colour are pushed to the fringe and regarded not only as uncommon, but abnormal.

My dad is from Ethiopia, and my mum the Isle of Lewis, the largest island in the Outer Hebrides. Both of her parents spoke Gaelic as their first language, but it was during a time when the language was suffering from centuries of efforts to centralise Scotland. When we started at a Gaelic school, my grandmother was delighted. We could have conversations with her in her mother tongue, or sing traditional songs for her from her youth. Having a grasp of the language became crucial whilst she was in the throes of illness before she died, as she struggled to communicate in English. The moments I wish I never learned Gaelic are stopped in their tracks when I remember how vital it was to our relationship. In these moments, I'm grateful for knowing Gaelic, and proud that I could connect with her in this way. But this pride I feel for honouring my family often comes at odds with my experiences in the community.

"We could have conversations with her in her mother tongue, or sing traditional songs for her. Having a grasp of the language became crucial whilst she was in the throes of illness before she died"

When my grandparents were at school, the language was thought of as primitive and pupils were punished for speaking it, a lingering commandment of British imperialist rule. Most people with Gaelic-speaking relatives know the stories of being silenced and indoctrinated, beginning with the Highland Clearances in the 18th Century, and the legacy of this heritage influences the community today. I was able to speak Gaelic because of Gaelic Medium Education (GME) - a school system in Scotland which enables pupils to be taught mainly through Gaelic, with English taught as a secondary language. This system was designed to begin the process of reviving the Gaelic language in Scotland. GME simulates a monolingual environment for children to learn and speak the language, even if their families don't use it at home. As of 2018, there were just over 4,300 pupils in GME. As it stands, there is no real data about how many Gaelic speakers of colour there are in Scotland.

Looking back at my time in GME is strange and difficult. With just over 1% of Scotland's population speaking Gaelic, its cultural significance is not felt by the mainstream. Many people do not feel that the language belongs to them, or that they belong to it. In the close-knit hub of a Gaelic school, pupils were made to understand the cultural and historical implications of the language. The collective narrative was that the schools were doing vital restorative work to revive the Gaelic culture.

Photography courtesy of Naomi Gessesse

I attended GME for primary school and then took Gaelic as a language at secondary school. Excluding my own siblings, I think I have met around six or seven Gaelic speakers of colour, a figure that I hope is changing with the expansion of Gaelic schools in Glasgow and Edinburgh. Earlier this year, Rosemary Goring, co-editor at the Scottish Review of Books declined requests by the government to diversify their organisation, describing Scotland's BAME profile as one that is "at best patchy and in some cases negligible". This attitude rings to the core of Scotland's delusional sense of homogeneity, one that centres whiteness and erases everyone else. Scotland is a pressure cooker of white fragility, and the Gaelic community bends to its influence in order to preserve space for themselves.

This world was the first of many white spaces I would have to navigate as a black person, and like many young kids, I didn't understand it at all. For a long time, I couldn't quite articulate my discomfort in the classroom. I don't think many Gaelic teachers are prepared to have pupils of colour in their classroom, let alone understand what that means for the students themselves. I remember one art lesson we were trying to make clay portraits of ourselves and my teacher gave me a lump of greeny-orange clay, after several attempts to find supplies similar to my skin tone. My clay sculpture looked like a martian, which, looking back, is quite funny. But there is an insidious side to white ignorance; when your caregivers don't know what racism really looks like, how can they support you?

As an adult, I have tried to push myself out of my comfort zone and attend Gaelic functions, ceilidhs and socials. In these spaces, I am seldom approached, assumed to be a friend of a "real" Gaelic speaker and treated like an exotic plus one. I felt confused as to why I was expected to feel a kinship with these people who so often regard me at a distance or ignore me completely.

"I don't think many Gaelic teachers are prepared to have pupils of colour in their classroom, let alone understand what that means for the students themselves"

The GME curriculum also reflected a vacuum of whiteness during my time within it. When I was at school there was a limited repertoire of Gaelic books suitable for young people, and a famous one that did the rounds at my school was An Duine Dubh (literal translation: The Black Person) by Iain Crichton Smith. As a black person myself, I had little expectation of the story - at the very least, I thought it would be a story that in someway featured black people. This was the first, and perhaps one of the only Gaelic books I read where a character of colour features prominently. But it's actually about a travelling South Asian salesman who visits old biddies in their villages, selling nylons and tablecloths. He'd learned some Gaelic, which the characters find amusing. Overall the story is locked to a white gaze, observing the foreigner with spectacle and frankly degradation. That he is referred to as a black person shows how little visibility people of colour have in the Gaelic language, and by extension, the community.

There is not a colloquial term for "white people" in Gaelic - I had never heard any of my Gaelic teachers, or anyone else in the community describe themselves as white. Words like dubh are attributed to non-white ethnic groups, just as the salesman in the story was labelled. And perhaps dubh was the only word accessible to me or my family, attributed to non-white ethnic groups - just as it was attributed to the South Asian salesman in the story. This speaks to the way in which language can ignore the nuances of race and identity - and position white people as the default, and everyone else under a blanket of abnormality.

When I think of the Gaelic community now, I think back to my younger self, with few friends who understood me, and no language to articulate the isolation and racial hierarchy within the community. Gaelic history paints its speakers as an oppressed group struggling under the weight of British imperialism. I hope for a future where the Gaelic community reflects, learns and reaches upwards for more inclusive measures in its institutions. For Gaelic to flourish and integrate fully into mainstream Scottish society, the community needs to embrace its speakers of colour, and address the inherent white fragility that bubbles under the surface of its psyche.

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What it's like being black in the Scottish Gaelic community | gal-dem

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In Scottish Gaelic, to ask where someone is from you ask Cò às a tha thu? - which roughly translates as who are your people? Most of Scotland's Gaelic speaking population are based in the Highlands and Western Isles, a smattering of islands to the top left of the mainland.

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Pasgan-obrach airson Luchd-ionnsachaidh - 

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Pasgan-obrach airson Luchd-ionnsachaidh - 

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Beachdan feumail bho BBC Bitesize

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A' beachdachadh air bàrdachd - Litreachas - Nàiseanta 5 Gàidhlig Revision - BBC Bitesize

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Leasaich do sgilean sgriòbhaidh aig ìre Nàiseanta 5 leis an earrainn seo mu bhith a' beachdachadh air bàrdachd agus air sgeulachdan goirid.

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is an exhibition of new work by Rachel Duckhouse, made in response to her A Gathering RSA Residencies for Scotland residency in the summer of 2019. She walked the 156 miles of the Hebridean Way, from Vatersay to Stornoway, then spent two weeks in the studio at Taigh Chearsabhagh in Lochmaddy, North Uist, reflecting on her experience of the landscape.

The twelve pen and ink drawings and two copper plate etchings are developed from initial sketchbook drawings she made whilst at Taigh Chearsabhagh. She became fascinated by the crofting architecture she came across on her walk and its relationship to the landscape, social history, and the threat of future sea level rises in these low-lying islands.She was particularly captivated by the sheep fanks, stepping stones and carraidh (fish traps) made by countless crofters over the generations, especially after she was invited to join a gathering of sheep in North Uist by local crofter Alastair MacDonald and his son Sam.

She had intended to develop her sketchbook drawings into a series of small and large scale etchings for this exhibition. She printed two small copper plate etchings, and was starting work on larger scale prints when Glasgow Print Studio was closed due to the lockdown restrictions of the Covid 19 pandemic. From then she began drawing at home, using just pen and paper. Her dislocation from her usual working environment, her changed relationship to the world outside, and her heightened sense of connection and disconnection to the islands greatly influenced the resulting works.

Her abstracted, geometric drawings of the landscapes she walked through are based on memories of her brief time on the islands, and North Uist in particular, and on the connections between physical presence and memory, in the past, present and future.

All the works are for sale.

Thigibh nar cuideachd Diardaoin 12 An t-Samhain aig 7 uairean feasgar airson Faing Air-loidhne a bhios làn Sgeulachdan is Naidheachdan

'S e àite cruinneachaidh a bh' anns na faingean - airson beathaichean a chruinneachadh ach cuideachd airson daoine a thoirt cruinn còmhla - far an cuidicheadh nàbaidhean càch a chèile, far am biodh iad a' bruidhinn mun chroitearachd agus mun t-saoghal aca agus uaireannan, nochdadh na boireannaich aig an tachartas seo agus am polcan fainge oirre - an t-aodach spaideil aca.

Thigibh an cuideachd Kathleen NicAonghais, an t-Oifigear Gàidhlig pàirt-ùine ùr aig Taigh Chearsabhagh, aig a' chruinneachadh seo far am bi sinn ag aithris ar cuid sgeulachdan. Nì Rachel Duckhouse aithris air an turas aice tro na h-eileanan agus bidh film mu chroitearachd ann le Annie Chnoc na Lùib agus tha sinn gur fiathachadh a thoirt leibh na sgeulachdan is cuimhneachan agaibh fhèin mun fhaing don Fhaing Air-loidhne seo.

Join us on Thursday 12 November at 7pm for a Virtual Fank Gathering of Stories and Ideas

These fanks were more than a basic enclosure to assist the hard crofting work, they were a place to gather, to help each other in the communal working style, discuss crofting, island life and at times the ladies showed up in their polcan fainge, their best outfits on what was a local event.
Join Kathleen MacInnes, Taigh Chearsabhagh's new part-time Gaelic Officer, for this gathering of people to share our stories. Rachel Duckhouse will talk about her experiences while walking through the islands, we will show crofting related archive film by Annie Chnoc na Luib and you are invited to bring your own stories and fank memories to share at this special Virtual Fank Gathering.

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Trusadh | A Gathering - Rachel Duckhouse | Taigh Chearsabhagh Museum & Arts Centre

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Trusadh | A Gathering is an exhibition of new work by Rachel Duckhouse, made in response to her RSA Residencies for Scotland residency in the summer of 2019. She walked the 156 miles of the Hebridean Way, from Vatersay to Stornoway, then spent two weeks in the studio at Taigh Chearsabhagh in Lochmaddy, North Uist, reflecting on her experience of the landscape.

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(sa Ghàidhlig)

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Sgilean sgriobhaidh Flashcards | Quizlet

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Start studying Sgilean sgriobhaidh. Learn vocabulary, terms, and more with flashcards, games, and other study tools.

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(sa Ghàidhlig)

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(sa Bheurla) - Storlann

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Eisimpleirean  (gnìomh)

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[Template] sgilean sgriobhaidh - eisimpleirean

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Dè tha an t-ùghdar a' feuchainn ri dhèanamh?

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Dè tha an t-ùghdar a' feuchainn ri dhèanamh?

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Cànan freagarrach!

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Dè tha an t-ùghdar a’ dèanamh? Flashcards | Quizlet

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faclan feumail airson aiste Learn with flashcards, games, and more — for free.

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Teamplaid aiste - a' sgrìobhadh mu sgeulachd ghoirid 

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Teamplaid aiste - a' sgrìobhadh mu sgeulachd ghoirid 

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A' cruthachadh aiste air sgeulachd ghoirid.. 

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A' cruthachadh aiste air sgeulachd ghoirid.. 

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Beachdan feumail bho BBC Bitesize

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A' beachdachadh air sgeulachd ghoirid - Litreachas - Nàiseanta 5 Gàidhlig Revision - BBC Bitesize

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Leasaich do sgilean sgriòbhaidh aig ìre Nàiseanta 5 leis an earrainn seo mu bhith a' beachdachadh air bàrdachd agus air sgeulachdan goirid.

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Beachdan feumail bho BBC Bitesize

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A' beachdachadh air bàrdachd - Litreachas - Nàiseanta 5 Gàidhlig Revision - BBC Bitesize

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Leasaich do sgilean sgriòbhaidh aig ìre Nàiseanta 5 leis an earrainn seo mu bhith a' beachdachadh air bàrdachd agus air sgeulachdan goirid.

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Derick Thomson

Duin' àrd, tana
's fiasag bheag air,
's locair 'na làimh:
gach uair theid mi seachad
air bùth-shaoirsneachd sa' bhaile,
's a thig gu mo chuinnlean fàileadh na min-sàibh,
thig gu mo chuimhne cuimhne an àit ud,
le na cisteachan-laighe,
na h-ùird 's na tairgean,
na saibh 's na sgeilbean,
is mo sheanair crom,
is sliseag bho shliseag ga locradh
bhon bhòrd thana lom.

Mus robh fhios agam dè bh' ann bàs;
beachd, bloigh fios, boillsgeadh
den dorchadas, fathann de'n t-sàmhchair.
'S nuair a sheas mi aig uaigh,
là fuar Earraich, cha dainig smuain
thugam air na cisteachan-laighe
a rinn esan do chàch:
'sann a bha mi 'g iarraidh dhachaigh,
far am biodh còmhradh, is tea, is blàths.

Is anns an sgoil eile cuideachd,
san robh saoir na h-inntinn a' locradh,
cha tug mi 'n aire do na cisteachan-laighe,
ged a bha iad 'nan suidhe mun cuairt orm;
cha do dh' aithnich mi 'm brèid Beurla,
an liomh Gallda bha dol air an fhiodh,
cha do leugh mi na facail air a' phràis,
cha do thuig mi gu robh mo chinneadh a' dol bàs.
Gus an dainig gaoth fhuar an Earraich-sa
a locradh a' chridhe;
gus na dh' fhairich mi na tairgean a' dol tromham,
's cha shlànaich tea no còmhradh an cràdh.

Derick Thomson

from Creachadh na Clarsaich/ Plundering the Harp (Macdonald, 1982)

Translations of this Poem

Coffins

A tall thin man
with a short beard,
and a plane in his hand:
whenever I pass
a joiner's shop in the city,
and the scent of sawdust comes to my nostrils,
memories return of that place,
with the coffins,
the hammers and nails,
saws and chisels,
and my grandfather, bent,
planing shavings
from a thin, bare plank.

Before I knew what death was;
or had any notion, a glimmering
of the darkness, a whisper of the stillness.
And when I stood at his grave,
on a cold Spring day, not a thought
came to me of the coffins
he made for others:
I merely wanted home
where there would be talk, and tea, and warmth.

And in the other school also,
where the joiners of the mind were planing,
I never noticed the coffins,
though they were sitting all round me;
I did not recognise the English braid,
the Lowland varnish being applied to the wood,
I did not read the words on the brass,
I did not understand that my race was dying.
Until the cold wind of this Spring came
to plane the heart;
until I felt the nails piercing me,
and neither tea nor talk will heal the pain.

Derick Thomson

No Gaelic poet has had more influence on the generation that followed him than Derick Thomson. As poet, publisher, and editor of the literary quarterly Gairm, Thomson shaped the development of Gaelic writing in the post-war period.

More about Derick Thomson

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Cisteachan-Laighe by Derick Thomson | Scottish Poetry Library

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Derick Thomson Duin' àrd, tana 's fiasag bheag air, 's locair 'na làimh: gach uair theid mi seachad air bùth-shaoirsneachd sa' bhaile, 's a thig gu mo chuinnlean fàileadh na min-sàibh, thig gu mo chuimhne cuimhne an àit ud, le na cisteachan-laighe, na h-ùird 's na tairgean, na saibh 's na sgeilbean, is mo sheanair crom, is sliseag bho shliseag ga locradh bhon bhòrd thana lom.

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BBC ALBA - Trusadh, Series 12, Episode 10, Cathy a' leughadh Cisteachan-laighe le Ruaraidh MacThòmais

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Cathy reads Derick Thomson's poem, Cisteachan-laighe (Coffins).

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copaidh de Cisteachan-laighe + ceistean/briathrachas a' dol leis air t.d. 26.

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NATIONAL QUALIFICATIONS CURRICULUM SUPPORT
Gaelic (Learners)
Literature
[HIGHER;
ADVANCED HIGHER]
The Scottish Qualifications Authority regularly reviews the
arrangements for National Qualifications. Users of all NQ
support materials, whether published by LT Scotland or
others, are reminded that it is their responsibility to check
that the support materials correspond to the requirements of
the current arrangements.
Acknowledgement
Learning and Teaching Scotland gratefully acknowledge this contribution to the National
Qualifications support programme for Gaelic (Learners).
The publishers thank the following for kind permission to use copyright material in this
publication: 'Ann am Bosnia' by Iain Mac a'Ghobhainn from Seallaidhean S&ugrave;la, Acair, 1996; 'Ri
Aghaidh na Creig' by Maoileas Caimbeul from Cha sgeul ruin e, Catriona Dunn (ed), Acair
Earranta, 1995; 'Aig a' Chloich-chuimhne' by Iain Mac a'Ghobhainn from Eadar Peann is
P&agrave;ipear, D I Macl&ograve;mhair (ed), Gairm, 1995; 'Mairead' by Iain Mac a'Ghobhainn, from Eadar
Peann is P&agrave;ipear, D I Macl&ograve;mhair (ed), Gairm, 1995; 'A Duine Dubh' by Tormod
MacDh&ograve;mhnaill from Eadar Peann is P&agrave;ipear, D I Macl&ograve;mhair (ed), Gairm, 1995; 'An Duine
Dubh' by Iain Mac a' Ghobhainn from Eadar Peann is P&agrave;ipear, D I Macl&ograve;mhair (ed), Gairm,
1995; 'A dol dhachaidh' by Iain Mac a' Ghobhainn from Ant-adhar Ameireaganach, Club
Leabhar, 1973; 'Cisteachan-Laighe' by Ruaraidh MacThomais from Nua-bh&agrave;rdachd Gh&agrave;idhlig,
Donald MacAulay (ed), Canongate Classics, 1976; 'Clann-nighean an sgadain' by Ruaraidh
Macthomais from Nua-bh&agrave;rdachd Gh&agrave;idhlig, Donald MacAulay (ed), Canongate Classics, 1976;
'Latha Foghair' by Somhairle MacGill-Eain from Nua-bh&agrave;rdachd Gh&agrave;idhlig, Donald MacAulay
(ed), Canongate Classics, 1976; 'Anns a' Bhalbh Mhadainn' by Ruaraidh Macthomais from Nuabh&agrave;rdachd Gh&agrave;idhlig, Donald MacAulay (ed), Canongate Classics, 1976; 'R&ograve;dhag, 2000 AD'
from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon, 1991; '&Ugrave;rnaigh na BanTigrich' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon, 1991; 'Leasachadh'
from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon, 1991; 'Bha mi gad
ch&agrave;ineadh' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon, 1991; 'A chionn
's gu robh mi measail air' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon,
1991; 'Lit gun Shalainn' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon,
1991; 'Ar C&agrave;nan 's ar Cl&ograve;' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon,
1991; 'Bogsa nan Litrichean' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed), Polygon,
1991; 'Cogadh an D&agrave; Ch&agrave;nain' from Aghaidh na Si&ograve;rraidheachd, Christopher Whyte (ed),
Polygon, 1991; 'Cotr&igrave;ona Mhor' by Ruaraidh MacThomais, Canongate Classics, 1976; 'Bantrach
Cogaidh' by Iain MacLe&ograve;id from An Tuil, Ronald Black (ed), Polygon, 1999; 'Bean Dubh a'
caoidh a Fir a Chaidh a Mharbhadh leis a' Phoileas' from An Tuil, Ronald Black (ed), Polygon,
1999; images from Na h-Eileanan an lar, CD-ROM; web pages from
www.ambaile.org.uk/en/item/item_interactive.jsp?item_id=31905, West Highland
Animation/John Hudson; Microsoft clip art, &copy; 2004 Microsoft Corporation. All rights reserved.
Every effort has been made to trace all the copyright holders but if any have been inadvertently
overlooked the publishers will be pleased to make the necessary arrangements at the first
opportunity.
&copy; Learning and Teaching Scotland 2006
This resource may be reproduced in whole or in part for educational purposes by educational
establishments in Scotland provided that no profit accrues at any stage.
2
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
Cl&agrave;r-&igrave;nnse - Contents
Notes for lecturers
4
Poetry
Lit' gun Shalainn, Anne Frater
5
A chionn 's gu robh mi measail air, Meg Bateman
7
Bha mi gad ch&agrave;ineadh, Meg Bateman
9
Bogsa nan Litrichean, Myles Campbell
11
Ar C&agrave;nan 's ar Cl&ograve;, Anne Frater
13
Leasachadh, Anne Frater
18
Cotr&igrave;ona Mh&ograve;r, Derick Thomson
21
Cisteachan-Laighe, Derick Thomson
24
Anns a' Bhalbh Mhadainn, Derick Thomson
28
Clann-nighean an sgadain, Derick Thomson
30
Do Mo Mh&agrave;thair, Iain Crichton Smith
33
Latha Foghair, Sorley MacLean
36
&Ugrave;rnaigh na Ban-Tigrich, Catriona Montgomery
39
R&ograve;dhag 2000 AD , Catriona Montgomery
43
Cogadh an D&agrave; Ch&agrave;nain, Myles Campbell
45
Bantrach Cogaidh, Rev John MacLeod
47
Bean Dubh a' caoidh a Fir a Chaidh a Mharbhadh leis a' Phoileas, Duncan
Livingstone
51
Short stories
Introduction
55
Aig a' Chloich-chuimhne, Iain Crichton Smith
Mairead, Iain Crichton Smith
An Duine Dubh, Norman MacDonald
An Duine Dubh, Iain Crichton Smith
A' dol dhachaidh, Iain Crichton Smith
Ann am Bosnia, Iain Crichton Smith
Ri Aghaidh na Creig, Myles Campbell
56
60
66
71
75
79
83
Answer scheme
90
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
3
NOTES FOR LECTURERS
Notes for lecturers
The following notes are support materials, designed to stimulate student
responses to the appropriate literature. The texts chosen are suggested texts
and could be used for Higher or Advanced Higher Gaelic (Learners). This
unit will develop students' linguistic and literary ap preciation skills and
completion of this unit will contribute towards Outcome 1 of the Literature
and Individual Study unit.
Students should be encouraged to annotate texts with their own responses and
ideas. Students working towards Advanced Higher shou ld be encouraged to
study Gaelic literature in a wider context and all students should be guided to
background reading on each of the writers included in this pack.
A suggested answer scheme is also given.
4
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Poetry
Lit' gun Shalainn
Anna Frater - Anne Frater
Read the poem.
Lit' gun Shalainn
Sgian dubh na stocainn
agus Beurla na bheul;
moladh lit' sa mhadainn
's e cur muesli na bh&ograve;bhl;
'Chan fhaighear nas fhe&agrave;rr na 'n t-uisge-beatha.'
Ach 's e Martini bhios e 'g &ograve;l ...
Nach ann truagh a tha 'n cluaran
le boladh an r&ograve;is!
Faclan
moladh
lit'
uisge-beatha
truagh
cluaran
boladh
Vocabulary
praising
porridge
whisky
pitiful
thistle
stench
Discuss the poem with your lecturer then answer the following questions.
1.
This poem centres on images that are traditionally associated with
Scotland. What are these images?
2.
The poem also contains images which are traditionally alien to the
Scottish way of life. List these images.
3.
Frater's character in this poem appears to be going through a crisis of
identity. How do we know this?
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
5
POETRY
4.
What effect does the following punctuation have on the poem:
 ;
 ...
 !
semi-colons
ellipses
exclamation mark?
5.
Why do you think Frater uses dialogue in this poem?
6.
What effect do the words "truagh" and "boladh" have on the tone of
the poem?
7.
What is your own opinion of this character?
6
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
A chionn 's gu robh mi measail air
Meg Bateman
In this poem, Bateman details a change in her man's treatment of her and
his feelings for her.
Read the poem.
A chionn 's gu robh mi measail air
Thigeadh e thugam
nuair a bha e air mhisg
a chionn 's gu robh mi measail air.
Dh&egrave;anainn t&igrave; dha
is dh'&egrave;isdinn ris
a chionn 's gu robh mi measail air.
Sguir e a dh'&ograve;l
is rinn mi g&agrave;irdeachas leis
a chionn 's gu robh mi measail air.
Nist cha tig e tuilleadh
is n&igrave; e t&agrave;ir orm
a chionn 's gu robh mi measail air.
Faclan
a chionn
measail
thigeadh e thugam
air mhisg
dh&egrave;anainn
dh' &egrave;isdinn
rinn mi g&agrave;irdeachas leis
tuilleadh
t&agrave;ir
Vocabulary
because
fond
he would come to me
drunk
I would make
I would listen
I was happy for him
any more
contempt
Discuss the poem with your lecturer.
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
7
POETRY
Answer the following questions.
1.
How does the change in treatment occur through the poem?
2.
In your opinion, how does the poet feel about this? Will her feelings
for this man change also?
3.
Do you think Bateman's feelings for this man are reciprocated? Give
reasons for your answer.
4.
What effect does the repetition of "a chionn 's gu robh mi measail
air" have on the poem?
8
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Bha mi gad ch&agrave;ineadh
Meg Bateman
This poem deals with the poet's feelings towards a man.
Read the poem.
Bha mi gad ch&agrave;ineadh
Bha mi gad ch&agrave;ineadh,
mo sh&ugrave;ilean a' boillsgeadh,
is chan ann gun reusan a bha m' fhearg.
Tacan bhuam, bha thu a' bruidhinn ris,
a' d&egrave;anamh g&agrave;irdeachas leis,
a' toirt p&ograve;g dha an d&egrave;idh na dealbh-cluich.
Is chr&igrave;on mi sa mhionaid,
on a thuig mi, ge b'oil leam,
gur annsa leam fon ghr&egrave;in do sp&egrave;is.
Faclan
gad ch&agrave;ineadh
a' boillsgeadh
fearg
tacan bhuam
p&ograve;g
chr&igrave;on mi
thuig mi
ge b' oil leam
gur annsa leam
sp&egrave;is
Vocabulary
criticising you
flashing
anger
a short distance from me
a kiss
I withered
I understood
regardless
it is precious to me
respect
Discuss the poem with your lecturer.
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
9
POETRY
Answer the following questions.
1.
How do we know from the title that these were not feelings of love?
2.
How is this idea developed in the first stanza?
3.
Stanza 2 gives us the reason for the poet's feelings - jealousy. Why
is this?
4.
How does the poet make it clear that these feelings of jealousy would
affect her suddenly?
5.
What is important to the poet that she comes to realise in the final
stanza?
6.
Which phrase from the poem suggests that perhaps the poet was
reluctant to accept this?
10
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Bogsa nan Litrichean
Maoilios Caimbeul - Myles Campbell
Read the poem.
Bogsa nan Litrichean
Th&agrave;inig e air ais
as d&egrave;idh nam bliadhnaichean
chun an t-seann bhaile.
Stad e aig ceann an rathaid.
Bha bogsa nan litrichean
an sin fhathast -
meirg air gun teagamh
's air cr&ugrave;n na h-iompaireachd,
's e sgr&igrave;obht' air -
'An ath thogail Di-luain'.
Dh'fhosgail e an doras
ach bha a-staigh falamh
ach an salchar 's an snighe.
Thionndaidh e air a bhuinn.
B' fhe&agrave;rr leis an aisling a ghleidheadh
sl&agrave;n na bothan crom
air monadh lom
a bhith ga le&ograve;n.
Faclan
meirg
gun teagamh
cr&ugrave;n na h-&igrave;ompaireachd
an ath thogail
falamh
salchar
snighe
thionndaidh e air a bhuinn
aisling a ghleidheadh
sl&agrave;n
bothan
crom
monadh lom
ga le&ograve;n
Vocabulary
rust
without a doubt
imperial crown
the next collection
empty
dirt
ooze
he turned on his heels (lit.)
to keep the dream
whole
hut/cottage
sloping
barren moorland
wounding him
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
11
POETRY
Discuss the poem with your lecturer.
Answer the following questions.
1.
What two parts of the opening sentence of this poem tell the reader
that it had been some time since the man had been in the village last?
2.
What change did the man notice when he looked at the letterbox?
3.
What do you think is the importance of the reference to the imperial
crown which was on the letterbox?
4.
Why is "An ath thogail Di-luain" significant?
5.
What did the man find when he opened the letterbox?
6.
Is it significant that there were no letters inside the letterbox?
Explain your answer.
7.
How do we know that what the man saw inside the letterbox disgusted
him?
8.
"B' fhe&agrave;rr leis an aisling a ghleidheadh sl&agrave;n"
What image or dream do you think this man had of the village that he
wanted to keep whole?
9.
How did this differ from reality?
10.
Why do you think the last sentence of the poem is in one stanza of its
own?
12
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Ar C&agrave;nan 's ar Cl&ograve;
Anna Frater - Anne Frater
Much of the Gaelic poetry of the late twentieth century deals with the
situation of the Gaelic language and culture. Ar C&agrave;nan 's ar Cl&ograve; is one
such poem. The poem centres on an image from the tradition way of life of
Gaelic-speaking communities - weaving. The tradition of weaving was a
very important source of employment in Gaeldom at one time. The loom -
on which the weavers made the tweed - had a very distinctive sound.
Look at the "Cl&ograve;" section of the CD-ROM Na h-Eileanan an Iar - An
Sluagh agus an t-&agrave;ite so that you can see a loom being used.
Now read the poem.
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
13
POETRY
Ar C&agrave;nan 's ar Cl&ograve;
Bha bodach na mo bhaile
aig an robh beairt,
agus leis a' bheairt
dh&egrave;anadh e cl&ograve;,
agus chaidh aodach
a dh&egrave;anamh den chl&ograve;,
agus bhiodh na daoine
a' cur orra 'n aodaich -
aodach tiugh trom a chumadh bl&agrave;th iad.
Ach th&agrave;inig fear eile,
fear na b'&ograve;ige,
fear nach buineadh don bhaile,
agus bha beairt &ugrave;r aige
agus sn&agrave;th &ugrave;r -
dathan air an goid bhon bhogha-froise -
agus aodach tana, lom,
agus &agrave;lainn, ann am beachd nan daoine.
Chum am bodach air
leis an t-seann bheairt
ach bha na daoine &ograve;g
a' fanaid air,
agus cheannaich iad uile
na beairtean &ugrave;ra,
agus th&ograve;isich iad a' d&egrave;anamh
nan cl&ograve;itean &ugrave;ra,
agus cha robh dragh aca
mu dheidhinn a' chl&ograve;
air beairt a' bhodaich.
Ach, an d&egrave;idh &ugrave;ine
th&agrave;inig an geamhradh
agus cha chumadh an t-aodach lom
le na sn&agrave;ithtean br&egrave;agha
agus na dathan soilleir
a-mach am fuachd,
agus cha robh feum
anns na beairtean &ugrave;ra.
Lorg iad am bodach
agus chunnaic iad a' bheairt,
agus chunnaic iad an cl&ograve;,
ach cha b'urrainn dhaibh
a' bheairt obrachadh,
oir bha i air f&agrave;s meirgeach
agus bha am bodach marbh.
14
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Faclan
ar c&agrave;nan
ar cl&ograve;
beairt
dh&egrave;anadh e
cl&ograve;itean
tiugh
trom
a chumadh bl&agrave;th iad
nach buineadh
sn&agrave;th
sn&agrave;ithtean
air an goid
bogha-froise
tana
lom
beachd
chum...air
a' fanaid air
cha robh dragh aca
an d&egrave;idh &ugrave;ine
cha chumadh
am fuachd
cha robh feum
lorg iad
meirgeach
marbh
Vocabulary
our language
our tweed
loom
he would make
tweed (plural)
thick
heavy
which would keep them warm
who did not belong
thread
threads
stolen
rainbow
thin
bare
opinion
kept on
mocking him
they did not care
after a while
would not keep
the cold
there was no use
they found
rusty
dead
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Puingean c&ograve;mhraidh:






C&ograve; bha a' d&egrave;anamh a' chl&ograve;?
Ciamar a bhiodh e a' d&egrave;anamh a' chl&ograve;?
C&ograve; ris a bha a' chl&ograve; coltach?
C&ograve; bha a' d&egrave;anamh an aodaich &ugrave;ir?
D&egrave; bha na daoine anns a' bhaile a' smaoineachadh mun aodach &ugrave;r?
Ceart no ce&agrave;rr - bha daoine anns a' bhaile a' cur orra an aodaich &ugrave;ir
agus a' chl&ograve;?
 D&egrave; thachair anns a' gheamhradh?
 Ceart no ce&agrave;rr - b' urrainn do mhuinntir a' bhaile a' bheairt obrachadh?
 D&egrave; bha air tachairt ris an duine a bha a' d&egrave;anamh a' chl&ograve;?
1.
Comment on the title of this poem - does it give you a clue as to the
content of the poem?
2.
Several images run through this poem. These are:






tweed
new cloth
old loom
new loom
old man
young man.
How - in your opinion - do these images tie in with the following
ideas?





Gaelic language.
English language.
Gaelic speakers.
Language skills in Gaelic - grammar, sentence structure and so on.
Gaelic speakers who have succumbed to speaking English as
opposed to their mother tongue?
3.
What had the people of the village found attractive in the tweed?
4.
What attracted them to the new cloth?
5.
Which word or phrase tells you that the people looked down on the
old man and his tweed once they had bought the new looms and
started making the new cloth?
6.
What effect does the word "Ach" have in the middle of both stanzas?
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LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
7.
What difficulty did the people in the village have in the winter?
8.
This poem can be seen as a warning to Gaelic speakers of the
importance of keeping the language and culture alive. To what extent
do you agree with this statement? Give a reason for your answer.
9.
Comment on the poet's word choice in the last sentence:
"...bha am bodach marbh"
What effect does this ending have on you?
10.
How does Frater connect the craft of language with the craft of
weaving?
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Leasachadh
Anna Frater - Anne Frater
Read the poem.
Leasachadh
Is mis' a' chraobh a dh'&egrave;irich suas
air sliabh glas na beinne.
Uaine &ograve;g mo dhuilleag
air a biathadh le b&ugrave;rn
fuar glan frasach an uillt,
agus gaoth a' ghlinn
aon latha gam ph&ograve;gadh
's an uair sin gam bhr&ugrave;thadh,
gam dh&egrave;anamh l&agrave;idir agus s&ugrave;bailte.
B&ograve;idhchead mo dhream
a' lasadh fon ghr&egrave;in.
Ach th&egrave;id craobh a leagail
mar a chaidh mis',
le cruaidh gheur ghort,
nuair a rinn mi dealachadh
bho choille m' &agrave;raich.
Agus, airson mo dh&egrave;anamh nas fh&egrave;arr,
ghe&agrave;rr iad gach freumh, gach geug,
gach duilleag a dh'fhosgail
ann an gaoth ghlan mo ghlinn.
Chaidh m' fh&agrave;gail r&ugrave;isgte
air beulaibh an t-s&agrave;ibh.
Chaidh mo ghearradh gus an robh mi grinn,
chaidh mo sg&ugrave;radh gus an robh mi m&igrave;n,
chaidh mo locradh gus an robh mi lom -
agus chuir iad dhachaigh mi.
Ach, chan urrainn dhomh cr&ugrave;badh
nuair a bhr&ugrave;thas a' ghaoth.
Chan fhosgail duilleag
nuair a dh'&egrave;ireas a' ghrian.
Cha sheinn uiseag tuilleadh
s&agrave;bhailt nam gheug.
Dh'fh&agrave;g tarraigean an leasachaidh
mi rag ris a' ghaoith.
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LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Faclan
leasachadh
craobh
a dh' &egrave;irich suas
sliabh glas na beinne
duilleag
biathadh
b&ugrave;rn
glan
frasach
an uillt
a' ghlinn
gam ph&ograve;gadh
gam bhr&ugrave;thadh
s&ugrave;bailte
b&ograve;idhchead
dream
a' lasadh
a leagail
cruaidh
geur
gort
dealachadh
coille
&agrave;rach
ghe&agrave;rr iad
freumh
geug
r&ugrave;isgte
s&agrave;bh
grinn
sg&ugrave;radh
m&igrave;n
locradh
lom
cr&ugrave;bach
uiseag
tuilleadh
s&agrave;bhailt
tarraigean
rag
Vocabulary
improvement/development
tree
which grew up
grey/green mountainside
leaf
fed
water
clean
showering
the stream
the glen
kissing me
pushing me
supple
beauty
people
shining
felled
hard
sharp
painful
departure
forest
youth
they cut
root
branch
bare
saw
neat
scrubbed
smooth
planed
bare
bend
thrush
any more
safe
nails
stiff
Discuss the poem with your lecturer.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Answer the following questions.
1.
In what way is the title of this poem ambiguous?
2.
What impression does the reader get of the tree in the first stanza?
3.
What is the effect of the word "Ach" at the beginning of stanzas 2
and 4?
4.
What happens to the tree in the second stanza?
5.
The third stanza lists the procedures which the tree underwent - what
are they?
6.
Comment on the tone of the final stanza.
7.
How does the tone of the final stanza differ from that of the first
stanza?
8.
Comment on the images from nature which appear in this poem.
9.
In




Leasachadh, the tree is personified.
In your opinion, how could it relate to the experiences of the poet?
Who or what was improving or developing her , in your opinion?
Where was this happening?
What effect does this have on her? How do you think she feels
about this?
Advanced Higher - Internet research
Research the importance and significance of tree imagery in Gaelic writing.
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LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Cotr&igrave;ona Mh&ograve;r
Ruairidh MacTh&ograve;mais - Derick Thomson
Cotr&igrave;ona Mh&ograve;r focuses on an elderly character who is made into something
of a symbol through the poem. She is a positive representation of the old
Gaelic world that has not become dimmed through time.
Read the poem.
Cotr&igrave;ona Mh&ograve;r
Tha go dhealbh ann an c&ugrave;l m' inntinn
gun sgle&ograve; air,
daingeann, suidhichte
a-measg nan &igrave;omhaighean briste,
a-measg a luasgain,
gun aois a' laigh air ach an aois a bh&agrave; thu,
cl&agrave;r m&oacute;r an aodainn mar chloc air stad
air madainn Earraich,
gam chur ri uair a' bhaile
leis a' ghliocas sin
nach robh an eisimeil leabhraichean,
leis an &agrave;bhachdas, leis a' ghearradh-cainnt
a bha a' leum &aacute; cridhe a' chinnidh
mus deach a ch&eacute;iseadh,
mus deach a valve &ugrave;r ann
a chumadh ag obair e anns an t-saoghal &ugrave;r.
Sud iuchair mo mhuseum,
an cl&agrave;r air an cluich mi mo bhial-aithris,
an spaid-bheag leis an d&ugrave;isg mi fonn
na linne a tha nise seachad,
an &igrave;omhaigh tha cumail smachd
air na h-&igrave;omhaighean-br&eacute;ige.
LITERATURE (H/AH, GAELIC (LEARNERS)
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21
POETRY
Faclan
air c&ugrave;l m' inntinn
sgle&ograve;
daingeann
suidhichte
&igrave;omhaigh(ean)
briste
luasgain
a' laighe
cl&agrave;r m&ograve;r an aodainn
Earrach
gam chur
gliocas
an eisimeil
&agrave;bhachdas
gearradh-cainnt
cridhe
cinneadh
c&egrave;iseadh
iuchair
bial-aithris
spaid
fonn
linn
smachd
br&egrave;ige
Vocabulary
at the back of my mind
glare/mist
firm
set
image(s)
broken
movements
lying
the big surface of the face
Spring
putting me
wisdom
dependent on
fun
sharpness of language
heart
race
encased
key
folklore
spade
tune/land
generation/age
control
false
Discuss the poem with your lecturer.
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LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Answer the following questions.
1.
What is the relevance of "daingeann, suidhichte" in relation to the
age of this woman?
2.
Identify quotes that imply youth, vitality and vigour despite this
woman's age.
3.
Cotr&igrave;ona Mh&ograve;r was steeped in her native tradition. How could this
have kept her youthful? Explain your answer, giving evidence from
the text.
4.
What do you think is meant by "uair a' bhaile"?
5.
How does this contrast with the present age? What changes have
occurred? What effect has this had on traditional values and
customs?
6.
"sud iuchair mo mhuseum,
an cl&agrave;r air an cluich mi mo bhial-aithris
an spaid-bheag leis an d&ugrave;isg mi fonn"
To what extent does this relate to the conservation of the old way of
life?
7.
What is ambiguous about "an spaid-bheag leis an d&ugrave;isg mi fonn"?
8.
In the last two lines, Thomson comes back to the strong image of
Cotr&igrave;ona Mh&ograve;r - an image of stability. Why do you think this image
is so important to the poet?
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Cisteachan-Laighe
Ruairidh MacTh&ograve;mais - Derick Thomson
In the poem Cisteachan-Laighe, Derick Thomson compares the death of his
grandfather to the dying of the Gaelic language and culture.
Read the poem.
Cisteachan-Laighe
Duin' &agrave;rd, tana
's fiasag bheag air,
's locair 'na l&agrave;imh:
gach uair th&egrave;id mi seachad
air b&ugrave;th-shaoirsneachd sa bhaile,
's a thig gu mo chuimhne f&agrave;ileadh na min-s&agrave;ibh,
thig gu mo chuimhne cuimhne an &agrave;it ud,
le na cisteachan-laighe,
na h-&ugrave;ird 's na tairgean,
na s&agrave;ibh 's na sgeilbean,
is mo sheanair crom,
is sliseag bho shliseag ga locradh
bho'n bh&ograve;rd thana lom.
Mus robh fhios agam d&eacute; bh' ann b&agrave;s;
beachd, bloigh fios, boillsgeadh
de'n dorchadas, fathann de'n t-s&agrave;mhchair.
'S nuair a sheas mi aig uaigh,
l&agrave; fuar Erraich, cha dainig smuain
thugam air na cisteachan-laighe
a rinn esan do ch&agrave;ch:
'sann a bha mi 'g iarraidh dhachaidh,
far am biodh c&ograve;mhradh, is tea, is bl&agrave;ths.
Is anns an sgoil eile cuideachd,
san robh saoir na h-inntinn a' locradh,
cha tug mi 'n aire do na cisteachan-laighe,
ged a bha iad 'nan suidhe mun cuairt orm;
cha do dh' aithnich mi 'm br&eacute;id Beurla,
an l&igrave;omh Gallda bha dol air an fhiodh,
cha do leugh mi na facail air a' phr&agrave;is,
cha do thuig mi gu robh mo chinneadh a' dol b&agrave;s.
Gus an dainig gaoth fhuar an Earraich-sa
a locradh a' chridhe;
gus na dh' fhairich mi na tairgean a' dol tromham,
's cha shl&agrave;naich tea no c&ograve;mhradh an cr&agrave;dh.
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LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Faclan
cisteachan-laighe
fiasag
locair
b&ugrave;th-shaoirsneachd
cuimhne
f&agrave;ileadh
min-s&agrave;ibh
&ugrave;ird
tairgean
s&agrave;ibh
sgeilbean
crom
sliseag
lom
mus robh fhios agam
b&agrave;s
bloigh fios
boillsgeadh
dorchadas
fathann
s&agrave;mhchair
uaigh
Earrach
smuain
c&agrave;ch
bl&agrave;ths
inntinn
a' locradh
cha tug mi 'n aire
mun cuairt orm
cha do dh'aithnich mi
br&egrave;id
l&igrave;omh Gallda
fiodh
pr&agrave;is
cinneadh
a' dol b&agrave;s
gus na dh'fhairich mi
a' dol tromham
sl&agrave;naich
cr&agrave;dh
Vocabulary
coffins
beard
plane
joiner's shop
memory
smell
sawdust
hammers (plural of &ograve;rd)
nails
saws (plural of s&agrave;bh)
chisels
bent over
slice/shaving
bare
before I knew
death
any notion
glimmer
darkness
rumour
silence
grave
Spring
a thought
other people
warmth
mind
planing
I didn't notice
around me
I did not recognise
braid
Lowland varnish
wood
brass
race
dying
until I felt
going through me
heal
pain
Discuss the poem with your lecturer.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Answer the following questions.
1.
The first verse gives a picture of the poet's grandfather. What do you
know about him from this verse?
2.
From the first verse, what do you know about the poet's grandfather's
workplace?
3.
In the second verse, Thomson's grandfather has died and the poet is
standing at his graveside. How do you come to realise that Thomson
does not fully understand death?
4.
Thomson did not associate his grandfather's death with the coffins he
had spent his life making for others. What was the poet aware of
whilst standing at his grandfather's grave?
5.
What does Thomson think will heal his mourning for his grandfather?
6.
In the third verse, Thomson goes on to "an sgoil eile". What do you
think this represents?
7.
In your opinion, who were "saoir na h-inntinn"?
8.
Who then are the "cisteachan-laighe" who were sitting around him?
9.
These "cisteachan-laighe" were being polished with "l&igrave;omh Gallda"
and a "br&egrave;id Beurla" was applied. What is the significance of these
images?
10.
When he realises what is happening, the awareness is like a blast of
cold wind. Give examples of the pain the poet felt when he came to
understand what was happening.
11.
In your opinion, could this pain be easily healed? Give evidence to
support your answer.
12.
How does this situation compare with the death of the poet's
grandfather?
13.
Comment on Thomson's use of language in this poem, for example:
 parallel images
 simplicity of language
 alliteration to emphasise the darkness and silence of death
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POETRY




metaphors
structure
use of awareness of the senses
religious imagery in the third verse (e.g. "tairgean a' dol
tromham").
Advanced Higher
Write a paragraph detailing how this poem compares with Ar C&agrave;nan 's ar
Cl&ograve; by Anne Frater in terms of the use of craft imagery.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Anns a' Bhalbh Mhadainn
Ruairidh MacTh&ograve;mais - Derick Thomson
This poem by Derick Thomson deals with the loss of the Gaelic cult ure by
giving a clear and effective description of a Highland scene.
Read the poem.
Anns a' Bhalbh Mhadainn
Anns a' bhalbh mhadainn bha cl&agrave;r an fhuinn c&ograve;mhnard,
bha a' ghaoth aig fois, a strannraich 's a sitheadh
b&agrave;thte fo'n ghilead, gach bleideag 'na t&agrave;mh,
c&agrave;iricht san fhighe mh&igrave;n ud mar gheal phlaide.
Chaill sinn na caoraich bha muigh air m&ograve;intich
nuair thaom an stoirm ud a-nuas 'eallach,
is thug sinn a' mhadainn gan dian shireadh.
Th&agrave;inig stoirm air mo dh&ugrave;thaich,
sneachda m&igrave;n, marbhteach, m&ugrave;chaidh:
ge geal e, na creid 'na ghilead,
na cuir t'earbs ann an anart;
dh&egrave;anadh mo chridhe iollach
nam faicinn air a' chl&agrave;r bh&agrave;n sin ball buidhe
's gun tuiginn gu robh anail a' Ghaidheil
a' tighinn am mullach.
Faclan
balbh
cl&agrave;r
fonn
c&ograve;mhnard
aig fois
a strannraich
a sitheadh
b&agrave;thte
fo 'n ghilead
bleideag
'na t&agrave;mh
c&agrave;iricht
san fighe mh&igrave;n
plaide
Chaill sinn
28
Vocabulary
still
surface
land
flat
at ease
its snorting
its shooting/rushing
drowned
under its whiteness
flake
at rest
set
in the soft cloth
blanket
We lost
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
m&ograve;intich
thaom
'eallach
gan dian shireadh
d&ugrave;thaich
m&igrave;n
marbhteach
m&ugrave;chaidh
na creid 'na
na cuir t' earbs
anart
iollach
ball
tuiginn
anail
mullach
moor
flowed
its burden
desperately looking for them
country
soft
deadly
smothering
don't believe in its
don't put your trust
linen/death shroud
shout/roar
spot
I would understand
breath
surface
Discuss the poem with your lecturer.
Answer the following questions.
1.
What effect has the snow storm had on the landscape?
2.
Although the scene may have looked beaut iful, how do you know that
others were more concerned about the effects of the storm?
3.
Comment on Thomson's use of alliteration in line 2, stanza 2.
4.
A "ball-buidhe" would indicate that there was life yet under the snow
and that although the sheep have been covered by snow, there might
be some hope that they are still alive. How does the poet relate this
scene to the loss of his culture?
5.
Why do you think the poet uses the word "anart"?
6.
What do you notice about the structure of this poem? For example,
sentence length, use of commas, semi -colon and colon, etc.
Advanced Higher
 Compare Anns a' Bhalbh Mhadainn by Derick Thomson with Ar C&agrave;nan
's ar Cl&ograve;, thinking especially about the poets' use of warnings of the
loss of Gaelic culture.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Clann-nighean an sgadain
Ruairidh MacTh&ograve;mais - Derick Thomson
In Clann-nighean an sgadain, Derick Thomson celebrates an old way-oflife.
Research the work of the herring girls.
Look at the "Iasgach" section of the CD-ROM Na h-eileanan an iar - an
sluagh agus an t-&agrave;ite, at the film extracts of the herring girls at work.
Read the poem.
Clann-nighean an sgadain
An g&agrave;ire mar chraiteachan salainn
ga fhroiseadh bho 'm bial,
an s&agrave;l 's am picil air an teanga,
's na miaran cruinne, goirid a dh&egrave;anadh giullachd,
no a thogadh leanabh gu socair, cuimir,
seasgair, fallain,
gun mhearachd,
's na s&ugrave;ilean cho domhainn ri f&egrave;ath.
B'e bun-os-cionn na h-eachdraidh a dh' fh&agrave;g iad
'nan tr&agrave;illean aig ci&ugrave;rairean cutach,
thall 's a-bhos air Galldachd 's an Sasainn.
Bu shaillte an duais a th&agrave;rr iad
&agrave;s na m&igrave;ltean bharaillean ud,
gaoth na mara geur air an craiceann,
is eallach a' bhochdainn 'nan ciste,
is mara b'e an g&agrave;ire
shaoileadh tu gu robh an teud briste.
Ach bha craiteachan uaille air an cridhe,
ga chumail fallain,
is bheireadh cutag an teanga
slisinn &aacute; fanaid nan Gall -
agus bha obair rompa fhathast
nuair gheibheadh iad dhachaidh,
ged nach biodh maoin ac':
air oidhche robach gheamhraidh,
ma bha sud an d&agrave;n dhaibh,
dh&egrave;anadh iad daoine.
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POETRY
Faclan
clann-nighean
sgadan
g&agrave;ire
craiteachan salainn
froiseadh
s&agrave;l
picil
teanga
miaran
giullachd
a thogadh
leanabh
socair
cuimir
seasgair
fallain
mearachd
domhainn
f&egrave;ath
bun-os-cionn
tr&agrave;illean
ci&ugrave;rairean
cutach
thall 's a-bhos
Galldachd
saillte
duais
a th&agrave;rr iad
baraillean
geur
craiceann
eallach
bochdainn
'nan ciste
mara b' e/mura b' e
teud
briste
uaill
cridhe
fallain
cutag an teanga
slisinn
fanaid
Gall
Vocabulary
girls
herring
laughter
salt shaker
showered
brine
pickle
tongue
fingers
gutting (of fish)
that could raise
child
calm
neat
soft
healthy
error
deep
calm
topsy-turvy
slaves
curers
short
here and there
Lowlands
salty
prize
they gathered
barrels
sharp
skin
burden
poverty
in their chests/kists
if not for/if it were not for
string
broken
pride
heart
healthy
the cutting of the tongue
slice
mockery
Lowlander
LITERATURE (H/AH, GAELIC (LEARNERS)
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31
POETRY
bha obair rompa fhathast
maoin
robach
an d&agrave;n dhaibh
they still had work to do
wealth
stormy
their fate
Discuss the poem with your lecturer.
Answer the following questions.
1.
List all the sea imagery from this poem.
2.
How do you know from the beginning of the poem that the herring
girls were happy in their work?
3.
What comparison does the poet make in the first verse?
4.
In verse 2, Thomson refers to "bun-os-cionn na h-eachdraidh". From
your research of the work of the herring girls, what is your
understanding of this quote?
5.
Give an example of a phrase or a word which details how harsh the
girls' working conditions were.
6.
What picture does Thomson's poem give of the life of the herring
girls?
32
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Do Mo Mh&agrave;thair
Iain Mac a' Ghobhainn - Iain Crichton Smith
Do Mo Mh&agrave;thair by Iain Crichton Smith compares and contrasts the poet's
work of composing poetry with his mother's work as a herring girl.
Read the poem.
Do Mo Mh&agrave;thair
Bha thus' a' sgoltadh sgadain
ann a Yarmouth fad air falbh
's a' ghrian shaillt sa mhadainn
ag &egrave;irigh &agrave;s a' chuan
's an fhuil air oir do sgine
's an salainn ud cho garbh
's gun thachd e thu o bhruidhinn
's gu robh do bhilean searbh.
Bha mis' an Obar-Dheadhain
a' deoghal c&ugrave;rsan &ugrave;r,
mo Gh&agrave;idhlig ann an leabhar
's mo Laideann aig an sti&ugrave;ir,
nam shuidh' an siud air cathair
's mo chofaidh ri mo thaobh
is duilleagan a' crathadh
si&ugrave;il na sgoilearachd 's mo th&ugrave;ir.
Tha cionta ga mo l&egrave;ireadh
mar a dh'&egrave;irich 's mar a tha.
Cha bu chaomh leam a bh&igrave;th 'g &egrave;irigh
ann an doilleireachd an l&agrave;,
bhith a' sgoltadh 's a bhith reubadh
iasg na maidne air an tr&agrave;igh
's am muir borb ud a bhith beucadh
s&igrave;os mo mhiotagan gun t&agrave;mh.
Ged a n&igrave; mi sin nam bh&agrave;rdachd
's e m' fhuil fh&igrave;n a th' air mo l&agrave;imh,
's gach aon sgadan thug an l&agrave;n dhomh
a' plosgartaich gun d&egrave;an mi d&agrave;n,
's an &agrave;ite c&ugrave;bair tha mo ch&agrave;nan
cruaidh is teann orm a ghn&agrave;th
is an salann garbh air m' fh&agrave;inne
a' toirt be&ograve;thalachd don bh&agrave;s.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Faclan
a' sgoltadh
saillt
fuil
oir
do sgine
thachd e
bilean
searbh
a' de&ograve;ghal
sti&ugrave;ir
a' crathadh
si&ugrave;il
sgoilearachd
mo th&ugrave;ir
cionta
ga mo l&egrave;ireadh
doillearachd
reubadh
borb
beucadh
gun t&agrave;mh
l&agrave;n
a' plosgartaich
d&agrave;n
c&ugrave;bair
teann
a ghn&agrave;th
f&agrave;inne
be&ograve;thalachd
Vocabulary
gutting
salty
blood
edge
of your knife
it choked
lips
bitter
sucking
helm
shaking
sails
scholarship
my intelligence
guilt
distressing me
darkness
ripping
barbaric
roaring
without rest
high tide
splashing
poem
cooper
strict
always
ring
life
Discuss the poem with your lecturer.
34
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Answer the following questions.
1.
Why does the poet describe the sun as "a' ghrian shaillt"?
2.
From the first verse, how does Crichton Smith make it clear that his
mother's working conditions were harsh?
3.
When the poet was the same age as his mother was when she was a
herring girl, what was he doing?
4.
How did his use of Gaelic compare with his use of Latin at this time?
5.
How do Crichton Smith's surroundings in verse 2 compare with his
mother's surroundings in the first verse?
6.
Choose and expand on a phrase from the second verse which
continues to use the references to the sea developed in the first verse.
7.
From verse 3, give a detailed account of Crichton Smith's opinion of
the work his mother did as a herring girl.
8.
How does his occupation now as a poet compare with his mother's
work as a herring girl?
9.
What do the images of herring and coopers in verse 4 represent?
10.
Comment on the rhythm and rhyme scheme of this poem.
Advanced Higher
Compare and contrast Do Mo Mh&agrave;thair by Iain Crichton Smith with Clannnighean an sgadain by Derick Thomson.
LITERATURE (H/AH, GAELIC (LEARNERS)
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35
POETRY
Latha Foghair
Somhairle MacIlleathain - Sorley MacLean
Although many Gaelic poems deal with the loss of the Gaelic identity,
language or culture, many poets have a wealth of experience of the wider
world. Sorley MacLean was one such poet who, in poems like Latha
Foghair, dealt with themes that could have been prevalent in any culture.
Read the poem.
Latha Foghair
'S mi air an t-slios ud
latha foghair,
na sligean a' sianail mu m' chluasan
agus sianar marbh ri mo ghualainn,
rag mharbh - is re&ograve;ta mur b'e 'n teas -
mar gum b' ann a' fuireach ri fios.
Nuair th&agrave;inig an sgriach
a mach as a' ghr&eacute;in,
a buille 's bualadh do-fhaicsinn,
leum an lasair agus streap an ceathach
agus bh&agrave;rc e gacha rathad:
dalladh nan s&ugrave;, sgoltadh claistinn.
'S 'na dh&eacute;idh, an sianar marbh,
fad an latha;
am miosg nan sligean 'san t-strannraich
anns a' mhadainn,
agus a rithist aig meadhon-latha
agus 'san fheasgar.
Ris a' ghr&eacute;in 's i cho coma,
cho geal cr&agrave;iteach;
air a' ghainmhich 's i cho t&igrave;orail
socair b&agrave;idheil;
agus fo reultan Africa,
's iad leugach &agrave;lainn.
36
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Ghabh aon Taghadh iadsan
's cha d' ghabh e mise,
gun fhoighneachd dhinn
c&oacute; a b' fhe&agrave;rr no bu mhiosa:
ar liom, cho diabhlaidh coma
ris na sligean.
Sianar marbh ri mo ghualainn
Latha foghair.
Faclan
Foghair
slios
sligean
a' sianail
gualainn
rag marbh
re&ograve;ta mur b' e 'n teas
fios
sgriach
&agrave;s a' ghr&egrave;in
buille
bualadh
do-fhaicsinn
leum
lasair
ceathach
bh&agrave;rc
dalladh nan s&ugrave;l
sgoltadh claistinn
am miosg
strannraich
coma
cr&agrave;iteach
gainmheach
t&igrave;orail
socair
b&agrave;idheil
reultan
leugach
Taghadh
gun fhoighneachd dhinn
ar liom
cho diabhlaidh coma
Vocabulary
Autumn
slope
shells
screaming
shoulder
dead/stiff
frozen were it not for the heat
information
screech
from the sun
blow
strike
invisible
jump
flame
smoke
barked
blinding the eyes
splitting hearing
among
snoring
indifferent
painful
sand
cosy
calm
kind
skies
jewel-like
Choice
without asking us
it seemed
so indifferent
LITERATURE (H/AH, GAELIC (LEARNERS)
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37
POETRY
Discuss:
 setting
 repetition, for example "sianar marbh"
 sounds, for example
"...sgriach
a mach as a' ghr&egrave;in"
 sights, for example "streap an ceathach"
 alliteration, for example "leum an lasair"
 use of contrasting adjectives, for example "cr&agrave;iteach" and "b&agrave;idheil"
 use of a capital letter for "Taghadh"
 MacLean's questionning of why these six people died but he did not - a
sense of religious confusion?
 structure - the last sentence on its own.
38
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
&Ugrave;rnaigh na Ban-Tigrich
Catr&igrave;ona NicGumaraid - Catriona Montgomery
Obair-dachaigh
Find out:
 where Tigre is
 three facts about the political history and the current political situation
in Tigre.
Obair clas
Read through the poem.
&Ugrave;rnaigh na Ban-Tigrich
Athair 's mo Dhia, d&egrave;an thus' ar d&igrave;on,
mi fh&igrave;n 's mo naoidhean beagan mh&igrave;os;
gur gann an t-uisg' 's gur gann an s&igrave;ol -
sinn acrach, creuchdach, br&ugrave;ite, piant'.
Adhlaicte an-diugh mo luaidh,
's nach aithnich mise uaigh seach uaigh:
measg mh&igrave;ltean 'n Tigre tha e na shuain -
coimhead thusa, Thighearna, oirnn le truas.
Sinn fannachadh le teas na gr&egrave;in'
nuair dh'&egrave;ireas i an &agrave;ird san speur;
sinn ga ar mealachadh le fuachd
meadhan-oidhch', 's ar sgeadachadh cho truagh.
An tig, a Thighearna, uisge trom
a bheir a-mach toradh bhon talamh lom?
Cum rium mo chreideamh annad fh&egrave;in,
na canar, 'An do thr&egrave;ig thu mi, mo Dhia?'
Cheus riaghaltas eile Cr&igrave;osd air crann,
's tha luchd-breug gar biathadh 's sinn gu gann.
D&ograve;irt s&igrave;os do mhathas caomh, a Dh&egrave; -
na leig le olc buannachadh gu l&egrave;ir.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Faclan
&ugrave;rnaigh
Ban-Tigreach
Dia
d&igrave;on
naoidhean
gann
s&igrave;ol
acrach
creuchdach
br&ugrave;ite
piant'
adhlaichte
mo luaidh
nach aithnich mise
uaigh
seach
na shuain
truas
fannachadh
teas
an &agrave;ird
speur
mealachadh
sgeadachadh
truagh
Tighearna
toradh
talamh lom
tr&egrave;ig
creideamh
cheus
riaghaltas
Cr&igrave;osd
crann
luchd-breug
gar biathadh
gu gann
d&ograve;irt
mathas
caomh
a Dh&egrave;
na leig
olc
buannachadh
gu l&egrave;ir
40
Vocabulary
prayer
Tigrean woman
God
protect
child
scarce
seed
hungry
hurt
bruised
sore
buried
my beloved
I cannot recognise
grave
compared to
asleep
pity
fainting
heat
upwards
sky
cheated
dressed
poor
Lord
crops
bare ground
forsaken
religion/belief
crucified
rulers
Christ
cross
liars
feeding us
scarcely
pour
goodness
kind
vocative of 'Dia', God
do not allow
evil
win
completely
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Discuss the poem with your lecturer.
Answer the following questions.
1.
This poem takes the form of a prayer. Which phrases from the poem
emphasise this?
2.
The woman is praying because she is suffering. What has left her in
such a bad situation? Give at least five reasons.
3.
From the poem, what do you know about the climate in Tigre and the
effect this has on the people?
4.
In verse 5, the Tigrean woman pleads with God. Wh at does she want
from him?
5.
How does Montgomery compare the life of the Tigrean woman with
the crucification of Christ on the cross?
6.
What is ironic about the phrase "gar biathadh" in the last verse?
7.
What feelings does this poem arouse in you? Give reasons for your
answer.
8.
Comment on the rhyme and rhythm of this poem.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
9.
Complete this grid, which shows different aspects of the poem and
quotes that support them.
Aspect of the poem
Quote
This is a prayer
"Athair 's mo Dhia"
Drought
"gur gann an s&igrave;ol"
Hunger
Pain
Death of the
woman's husband
The effect of the
heat
"ga ar mealachadh le fuachd"
Clothing
The woman's pleas
to God
42
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
R&ograve;dhag, 2000 AD
Catr&igrave;ona Ni Gumaraid - Catriona Montgomery
In R&ograve;dhag, 2000 AD Montgomery speaks of English people who have
settled in her native village on the Isle of Skye and have brought with them
their customs of drinking Beaujolais, playing cards and making pottery -
customs which were traditionally alien to Roag. She watches them from
afar - like a ghost - and eavesdrops on their conversations.
Read the poem.
R&ograve;dhag, 2000 AD
Nuair a bheir an fheannag
an t-s&ugrave;il &agrave;s a' chaora mu dheireadh,
bidh mi ri d&igrave;dearachd air d' uinneagan:
bidh iad an sin
a' cluich chairtean
's ag &ograve;l Beaujolais
poodle a' dannsa mun casan;
bidh fh&agrave;ileadh bl&agrave;th a' bhainne air falbh &agrave;s na b&agrave;thchannan,
's iad l&agrave;n thruinnsearan fuar cruaidh pottery
airson an luchd-turais;
fuaim nam br&ograve;gan tacaideach nan samhla
a' coiseadh air monadh;
na croitean uaine f&agrave;sail
gun bhristeadh spaide.
Nuair a bheir an fheannag
an t-s&ugrave;il &agrave;s a' chaora mu dheireadh,
bidh mi ri farchluais
air d' uinneagan,
rid osagan ag ochanaich,
's na guthan cruaidh Sasannach
a' dol an aghaidh na gaoith.
Faclan
feannag
ri d&igrave;dearachd
f&agrave;ileadh
b&agrave;thchannan
l&agrave;n
truinnsearan
Vocabulary
crow
peeping
smell
byres
full
plates
LITERATURE (H/AH, GAELIC (LEARNERS)
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43
POETRY
cruaidh
fuaim
br&ograve;gan tacaideach
samhla
monadh
croitean
f&agrave;sail
gun bhristeadh spaide
ri farchluais
osagan
ag ochanaich
guthan
an aghaidh
hard
sound
tackety boots/shoes
image
moor
crofts
desolate
without the breaking of a spade, i.e. not
farmed or used for crofting
evesdropping
gusts
sighing
voices
against
Discuss the poem with your lecturer.
Answer the following questions.
1.
Identify the Highland images which contrast with those of Beaujolais,
cards and pottery.
2.
Which words or phrases from the poem help you to realise that the
poet is not taking part in these activities?
3.
Why might you think that Montgomery is
 uncertain of
 interested in
 angry at this situation?
4.
Comment on Montgomery's use of:
 repetition
 italics
Why is this significant in your opinion?
Advanced Higher
How does this poem compare with Lit gun shalainn by Anne Frater?
44
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Cogadh an D&agrave; Ch&agrave;nain
Maoilios Caimbeul - Myles Campbell
Read the poem.
Cogadh an D&agrave; Ch&agrave;nain
'S mi an leanabh s&agrave;raicht',
an dithis gam altramas.
Fhuair mi 'n t-uachdar om mh&agrave;thair
ach om mhuime bainne lom.
Tha mo bheul sg&igrave;th de ch&igrave;ch na t&egrave; ud,
an sgalag! an tr&agrave;ill!
a tha air iomadh muinntireas fhaicinn,
a' reic a bainne ris a' mh&ograve;r-shluagh -
's beag an t-iongnadh a c&igrave;och a bhith cas.
Tha a bainne geur a' dol
tarsainn m' anail
agus a' f&agrave;gail blas searbh na mo bheul.
Cha ghabh &igrave;m no c&agrave;is' a dh&egrave;anamh dheth.
'S chan e sin,
ach tha e sabaid
airson uachdranachd
air an stapag mhilis
a tha daonnan nam bhr&agrave;igh.
Faclan
cogadh
c&agrave;nan
leanabh
s&agrave;raichte
dithis
gam altramas
uachdar
om
muime
lom
de ch&igrave;ch na t&egrave; ud
sgalag
tr&agrave;ill
muinntireas
Vocabulary
war
language
child
harassed
two people
raising me
cream
from my
nurse
bare/skimmed
from the breast of that woman
servant
slave
service
LITERATURE (H/AH, GAELIC (LEARNERS)
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45
POETRY
a' reic
m&ograve;r-shluagh
's beag an t-iongnadh
cas
geur
a' dol tarsainn m' anail
blas searbh
sabaid
uachdranachd
stapag
milis
daonnan
br&agrave;igh
selling
population
little wonder
steep
sour
choking me
a bitter taste
fighting
supremacy
cream and oatmeal
sweet
always
chest
Discuss the following with reference to the poem:
 the persona taken by the poet
 the importance of the title in helping the reader to understand the
sentiment behind the poem
 imagery relating to Gaelic and English
 the idea that one needs a mother in order to be alive
 the poet writing in the first person, for example "'S mi...", "Tha mo
bheul..."
 the poet's use of exclamation marks
 the poet's opinion of English
 the poet's opinion of Gaelic
 the link between the word "sabaid" and the title of the poem
 the meaning of the word "s&agrave;raicht'"
 the poet's message.
Advanced Higher
Compare and contrast Cogadh an D&agrave; Ch&agrave;nain by Myles Campbell and Ar
C&agrave;nan 's ar Cl&ograve;. An example has been given for you.
Comparison
Contrast
Theme - struggle between Gaelic
and English
Different images
46
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
Bantrach Cogaidh
An t-Urramach Iain MacLe&ograve;id - Rev John MacLeod
Obair-dachaigh
Before you read this poem, you should research the story of the Iolaire
disaster.





What was the Iolaire?
When did the disaster happen?
Where did the disaster happen?
Why did it happen?
Find out any other interesting pieces of information.
Obair clas
In the poem Bantrach Cogaidh, the poet takes the persona of a young boy
who grows up with his widowed mother.
Read the poem.
Bantrach Cogaidh
Sgaoil i 'aodach air g&agrave;rradh:
briogais bh&agrave;n is l&eacute;ine gheal,
crios gorm leathann,
c&ograve;rd geal caol.
Bha mi air clach ri taobh,
bonaid cruinn air mo cheann:
bonaid m' athar.
Deise ghorm 'na stiallan
mar reub iad bho chorp i
nuair fhuair iad e
fuar b&agrave;thte air an tr&agrave;igh,
air a pasgadh le l&agrave;mhan gr&agrave;idh
is cridhe brist':
mar deise r&igrave;gh dol gu banais.
Car son tha thu dol uair sa mh&igrave;os
don phost-oifis 'nad aodach dubh,
le cridhe trom,
's a' tilleadh feasgar
le leabhar a' pheinsean 'nad l&agrave;imh?
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Car son a thog thu mi 'nad uchd
's do cheann crom,
is fhliuch thu m' aodann le do dhe&ograve;ir
nuair thuirt mi,
'Mh&agrave;thair, c&agrave;'il m' athair?'
Aon l&agrave; san sgoil
sheas sinn s&agrave;mhach d&agrave; mhionaid
a' cuimhneachadh
air laoich a' Chogaidh Mh&oacute;ir,
is ruith mi dhachaigh 'na mo dheann
a dh'innse dhi,
'Cha bhi cogadh tuilleadh ann.'
Oidhche gheamhraidh bha i sn&igrave;omh;
shuidh mi ri taobh.
Bha ceann dol liath 's i fhathast &ograve;g.
An l&ugrave;ib an t-sn&agrave;th chaidh fuiltean m&igrave;n
mar sh&igrave;oda measg an duibh.
Thuirt i, 'Gl&eacute;idh cuimhn' orms'
nuair ch&igrave; thu m' fhalt an l&ugrave;ib an t-sn&agrave;th
's nach bi mi ann.'
'S mar thubhairt bh&agrave;.
Rinn iad d' uaigh ri taobh nan tonn.
Cha chlisg thu chaoidh aig gaoith no stoirm.
Sibh sin cho r&eacute;idh, thu fh&eacute;in 's an cuan -
cha toir e tuilleadh uat do ghr&agrave;dh.
Nach math gun tug am b&agrave;s thu tr&agrave;th,
's nach fhac' thu cogadh &ugrave;r 'nad l&agrave;
's nach fhac' thu mise falbh don bhl&agrave;r
le deise ghorm is bonaid cruinn
mar bh'air m' athair
nuair fhuair iad marbh e
aig a' Bhr&agrave;igh.
Faclan
banntrach
cogadh
sgaoil
g&agrave;rradh
crios
48
Vocabulary
widow
war
spread
wall
belt
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
POETRY
leathann
caol
clach
cruinn
deise
stiallan
reub
chorp
b&agrave;thte
pasgadh
gr&agrave;dh
cridhe brist'
r&igrave;gh
banais
trom
a' tilleadh
peinsean
'nad uchd
crom
de&ograve;ir
a' cuimhneachadh
laoich
Cogadh M&ograve;r
'na mo dheann
tuilleadh
sn&igrave;omh
an l&ugrave;ib
sn&agrave;th
fuiltean m&igrave;n
s&igrave;oda
gl&egrave;idh cuimhn' orms'
uaigh
tonn
cha chlisg thu
chaoidh
r&egrave;idh
cuan
uat
bl&agrave;r
marbh
Br&agrave;igh
wide
thin
stone
round
suit
shreds
ripped
his body
drowned
folded
love
broken heart
king
wedding
heavy
returning
pension
in your lap
bent over
tears
remembering
heroes
First World War
in a hurry
any more
spinning
among
thread
fine hairs
silk
remember me
grave
wave(s)
you will not flinch
ever
peaceful
sea
from you
battle
dead
stretch of land near Stornoway where the
Iolaire sank
Discuss the poem with your lecturer.
LITERATURE (H/AH, GAELIC (LEARNERS)
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49
POETRY
Answer the following questions.
1.
How does Macleod set the scene of the poem in the first verse?
2.
From the first verse, how do you know the poet's father was a fatality
of the Iolaire disaster?
3.
What effect does the poet's use of questioning have in the second
verse?
4.
From the second verse, what tells you that the woman was a widow in
mourning?
5.
What effect did the two-minute silence have on the boy?
6.
"Bha ceann a' dol liath 's i fhathast &ograve;g" - what do you understand
from this?
7.
How does the word choice in the verse beginning "Rinn iad d'
uaigh..." link with the story of the Iolaire?
8.
Why was the boy thankful that his mother died young? What is ironic
about this situation?
9.
How does the poet link the first and last verses?
10.
In your opinion, what are the key strengths of this poem?
11.
What feelings does this poem arouse in you?
Advanced Higher
In what way does the boy in the poem's knowledge of death compare with
Derick Thomson's in the poem Cisteachan-Laighe?
50
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Bean Dubh a' caoidh a Fir a Chaidh a Mharbhadh leis a'
Phoileas
Donnchadh Mac Dh&ugrave;n L&egrave;ibhe - Duncan Livingstone
This poem relates an account of the Sharpeville Massacre of 21 March
1960, where 77 Africans were shot dead by the police. The poet takes the
persona of a woman directly affected by this massacre. He lived in Africa
for a number of years so he was aware of the political struggles.
Read the poem.
Bean Dubh a' caoidh a Fir a Chaidh a Mharbhadh leis a' Phoileas
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Car son, a Dh&eacute; a tha san chathair,
Car son an-diugh a rinn Thu 'n latha?
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Mo-nuar gum faca mi a shoillse
Ach a bhith gu br&agrave;th san oidhche.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Och, mo chr&agrave;dh, mo chr&agrave;dh 's mo l&eacute;ireadh
An latha thug iad uam mo cheudghr&agrave;dh.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Do chorp donn an-sin 'na laighe,
Toll air tholl a' sileadh fala.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Am fear b&ograve;idheach laigh ri m' thaobh -sa
An-sin 's a mhionach &aacute;s a' slaodadh.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Aichbheil, aichbheil, sgrios is l&eacute;ireadh
Air an luchd a rinn mo cheusadh.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
&Eacute;ist ri m' ghuidhean, R&igrave;gh nan D&ugrave;ilean,
&Eacute;ist ri m' athchuinge 's ri m' &ugrave;rnaigh.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Tha 'n luchd b&agrave;n an-diugh l&agrave;n aigheir
'S tha mo ph&agrave;istean-sa gun athair.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Is tha mo bheatha-sa nis falamh -
Ach ceadaich dhomh, mum f&agrave;g mi 'n talamh,
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Air m' fhear-c&eacute;ile an-sin 'na sh&igrave;neadh,
Nuair a thig mo mhic gu &igrave;re,
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
An &eacute;irig dhuinn air son ar d&ograve;rainn,
Latha r&eacute;idh a ghearradh sg&ograve;rnan,
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Ghearradh sg&ograve;rnan nam fear fuileach,
Fuil mu m' dh&ograve;rnaibh suas gu uilinn,
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
A bhith gan reubadh is gam pianadh
Is deagh fhaobhar air mo sgian-sa:
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Thoir latha dhuinn gu saor a' p&agrave;igheadh
Fhir is mhnathan agus ph&agrave;istean
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
An luchd ghil a bhuail ar daoine;
Cuairt mu'n amhaichean de'n caolain -
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Cuairt de'n caolain an &agrave;ite chneapan,
Is siridh mi 'n-sin taobh do leapach,
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
Na fiachan uile air an d&igrave;oladh,
Fhir 's a ghr&agrave;idh, 's tu 'n-sin ad' sh&igrave;neadh.
Baba Ink&ograve;si Sikelele, Baba Ink&ograve;si Sikelele.
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LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
Faclan
fir
marbhadh
a' caoidh
Baba Ink&ograve;si Sikelele
cathair
mo-nuar
soillse
gu br&agrave;th
cr&agrave;dh
l&egrave;ireadh
uam
ceudghr&agrave;dh
corp
laighe
toll
a' sileadh fala
b&ograve;idheach
mionach
a' slaodadh
aichbheil
sgrios
luchd
ceusadh
guidhean
R&igrave;gh
athchuinge
&ugrave;rnaigh
luchd b&agrave;n
aighear
p&agrave;istean
mo bheatha-sa
falamh
ceadaich dhomh
f&agrave;g
talamh
fear-c&egrave;ile
a' s&igrave;neadh
mo mhic
gu &igrave;re
an &egrave;irig dhuinn
d&ograve;rainn
r&egrave;idh
a ghearradh sg&ograve;rnan
fuileach
Vocabulary
men
killed
mourning
God Save Us
chair/throne
alas
brightness
forever
pain
distress
from me
first love
body
lying
hole
pouring with blood
beautiful
insides
pulling out
revenge
destruction
people
crucified
pleas
King
petition
prayer
white people
pleasure
children
my life
empty
allow me
leave
earth
husband
lying
my sons (from "mac", son)
to age
in return for
anguish
right
for cutting throats
bloody
LITERATURE (H/AH, GAELIC (LEARNERS)
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POETRY
d&ograve;rnaibh
uilinn
reubadh
faobhar
mnathan
caolain
siridh mi
do leapach
fiachan
air d&igrave;oladh
fists
elbow
tearing
blade
women
guts
I will seek
your bed
debts
paid
Discuss the following points with your lecturer:










the prayer-like structure of the poem
the setting of the poem
the woman's situation
word choice used to detail this woman's pain
word choice used to describe the gory situation around her
the juxtaposition of a phrase showing the woman's continued attraction
to her husband with a phrase relaying the disgusting reality of the
situation
the woman's stance and feelings relating to the political situation in
Africa at the time
imagery
why do you think the poet wrote this poem?
your opinion of the text.
Advanced Higher
How does Bean Dubh a' Caoidh a Fir a Chaidh a Mharbhadh leis a'
Phoileas by Duncan Livingstone compare with &Ugrave;rnaigh na Ban-Tigrich by
Catriona Montgomery? Consider:




54
political stance
religious imagery
other imagery
harsh vocabulary.
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
SHORT STORIES
Short stories
Introduction
Texts should be read and vocabulary discussed with the lecturer before
questions are attempted. Students need not understand all vocabulary but
should have a good understanding nevertheless of content, characters,
setting, plot and so on in order to enable them to express a personal and
critical appreciation of the text.
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SHORT STORIES
Aig a' Chloich-chuimhne
Iain Mac a' Ghobhainn - Iain Crichton Smith
This short story centres on an old soldier and his thoughts
as he stands at a war memorial commemorating the First
World War.
Read the story and discuss it with your lecturer.
Aig a' Chloich-chuimhne
Bha e na sheasamh aig a' chloich-chuimhne airson an fheadhainn a
chailleadh anns a' chiad chogadh mh&ograve;r. B'e duine aosd a bh'ann, timcheall
air tr&igrave; fichead 's a deich. Bha a bhonaid na l&agrave;imh dheis, a dh&agrave; chois ri
ch&egrave;ile, 's a dhruim d&igrave;reach. Bha fhalt a' gluasad gu socair anns a' bheagan
gaoithe. Dh'aithnicheadh duine gu robh e 'n &igrave;re mhath beartach oir bha a
dheise ghlas a' coimhead daor, a bhr&ograve;gan a' de&agrave;rrsadh mar ghloinne, a
l&egrave;ine de sh&igrave;oda gheal, is aodann coltach ri aodann duine a bha air a
shaoghal a chosnadh. Ach a-mh&agrave;in na s&ugrave;ilean ... Anntasan, bha
doimhneachd aognaidh.
Chual e duine ri thaobh ag r&agrave;dh: "Feumaidh e bhith gu robh e -fh&egrave;in anns a'
chogadh." 'S dh'fhairich e dithis no tri&ugrave;ir a' sealltainn ris. Theab e
seasamh na bu d&igrave;riche ach cha do rinn e sin. Os a chionn bha an t -adhar
s&igrave;mplidh gorm 's rinn e g&agrave;ire beag leis fh&egrave;in. Chual e glagan na h -eaglaise
a' bualadh 's bha e smaoineachadh gum biodh iad r e&ograve;ite mar chlogaidean
m&ograve;ra Gearmailteach. Tharraing e ch&ograve;ta timcheall air. Cha robh am fuachd
a' tighinn ris.
Anns an d&agrave; mhionaid de th&agrave;mh stad na carbaidean air feadh an t -saoghail 's
bha e a' smaoineachadh; " 'Se dealbhadair ainmeil a th'annam." Thub hairt
e ris fh&egrave;in a-rithist: " 'Se dealbhadair ainmeil a th'annam," mar gum biodh
e airson a dhearbhadh gu cinnteach. Chual e am ministear a' bruidhinn:
"Bh&agrave;saich iad a chum gum biodh sinne be&ograve;." 'Se duine beag dubh a
bh'anns a' mhinistear. D&egrave; bha e ciallachadh le "be&ograve;?" Smaoinich e air na
bliadhnachan a chaith e a' d&egrave;anamh dhealbhan, latha 'n d&egrave;idh latha, oidhch'
an d&egrave;idh oidhch', a' cumail na h-aodainn air falbh, a-muigh anns an
dorchadas a bha a' goil leotha. A l&agrave;mh a' dealbhadh gun sgur, gus nach
br&ugrave;chdadh an dorchadas air inntinn. Dh'fhaighnicheadh daoine carson nach
robh dearg air bith anns na dealbhan aige ach bha fhios aige fh&egrave;in. 'S
iomadh smuain a thug an luchd-sgr&ugrave;daidh &agrave;s an inntinnean airson sin a
mh&igrave;neachadh don t-sluagh (ma bha dragh air bith acasan) ach cha robh aon
aca ceart. Rinn e g&agrave;ire beag eile.
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LITERATURE (H/AH, GAELIC (LEARNERS)
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SHORT STORIES
Cha robh fhios aige carson a bha e an siud ach bha e ann gach bliadhna.
Bha rudeigin ga sti&ugrave;ireadh chun a' ch&agrave;irn ud. Dh'fhosgail e sh&ugrave;ilean 's
chunnaic e na s&igrave;theanan dearga a-rithist - r&ograve;san searbha na Frainge - air na
broillichean mar fhuil. Dh&ugrave;in e sh&ugrave;ilean, ach thill an smuain.
Chunnaic e Frank na laighe air an talamh re&ograve;ite. Bha aodann ris an adhar, a
bha s&igrave;mplidh gorm. Chual e na gunnachan a' b&ugrave;rail 's a' losgadh. Cha
robh Frank marbh fhathast, oir chunnaic e e a' gluasad, mar gum b'ann na
chadal. Chaidh an dithis aca a thogail c&ograve;mhla, d&igrave;reach &agrave;s an taigh fhoghlaim. Bha iad toilicht' an latha dh'fh&agrave;g iad, ach cha robh iad toilicht'
a-nis. Bha b&ugrave;rail do-ainmicht' timcheall air mar ifrinn. Dh'fheumadh e
Frank a thogail 's a thoirt air ais. Bha e-fh&egrave;in na laighe air an talamh.
Dh'fheumadh e &egrave;irigh is ruith is Frank a thogail is ruith a -rithist.
Rinn e airson &egrave;irigh ('sann a bha e mar gum b'ann ceangailt' ris an talamh)
's aig a' cheart &agrave;m chunnaic e 'n Gearmailteach a' leum mu choinneamh
leis a' bhiodaig. Dh'&egrave;irich e-fh&egrave;in is ruith e: bha Frank fad air falbh. Bha
a' bhiodag air a ch&ugrave;laibh 's e a' ruith. Chual e peilear 's thuit an
Gearmailteach. Cha robh fhios cia &agrave;s a th&agrave;inig am peilear. Cha do stad efh&egrave;in: ach lean e air chun nan trainnsichean. An ceann &ugrave;ine stad e, 's
chaidh e air ais far an robh an Gearmailteach, 's sheas e os a chionn a'
sealltainn ris. Cha robh gunna ri chluinntinn. Bha an t -adhar s&agrave;mhach.
Siud far an d' fhuair iad e, na sheasamh mar gum b'ann am bruadar a'
sealltainn s&igrave;os ris a' Ghearmailteach. Bha fuil air broilleach a'
Ghearmailtich far na bhuail am peilear e. Bha a dh&agrave; sh&ugrave;il fosgailte is cop
timcheall a bhe&ograve;il.
Chaidh iad timcheal air 's bhuail fear aca an Gearmailteach le bhr&ograve;ig.
Chaidh e-fh&egrave;in air chrith mar gum b'ann a' bualadh Frank a bha iad. Bha
a' bhiodag fhathast ann an l&agrave;imh a' Ghearmailtich 's a bheul fosgailte, a'
sealltainn nam fiaclan. B'e duine &ograve;g a bh'ann, a sh&ugrave;ilean go rm 's a
phluicean dearg. Sheas e a' sealltainn s&igrave;os ris airson &ugrave;ine mh&ograve;ir. Th&ograve;isich
e a' sgriachail nuair a shlaod iad air falbh e.
Goirid an d&egrave;idh sin chuir iad dhachaigh e.
Chual e na carbaidean mar pheilearan a' t&ograve;iseachadh a -rithist. Bha e na
sheasamh mar chloich 's a ghairdeanan ri a chliathaich. Chunnaic e
boireannach reamhar a' gul, 's neapaigin m&ograve;r gorm aice. Chual e am
ministear ag r&agrave;dh:
"They shall grow not old, as we that are left grow old," 's rinn e g&agrave;ire beag
eile ris fh&egrave;in.
LITERATURE (H/AH, GAELIC (LEARNERS)
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SHORT STORIES
Nuair thionndaidh e air falbh theich dithis no thri&ugrave;ir &agrave;s a rathad, 's iad a'
toirt urram dh&agrave;.
Choisich e gu grad air falbh. Cha robh a dhruim a -nis cho d&igrave;reach. Ghabh
ifrinn na sr&agrave;ide seachad air. Smaoinich e air an dealbh air an robh e 'g
obair, 's thubhairt e ris fh&egrave;in: "Tha th&igrave;d agam, tha th&igrave;d agam an dearg a
chur annta, mus b&agrave;saich mi."
Chunnaic e aodann Frank air gach sr&agrave;id, a' sealltainn suas ris. Bhuail e ann
an dithis no thri&ugrave;ir ach lean e air gun tionndadh. Cha robh an t -aodann ud
a' f&agrave;s aosd.
Mu dheireadh r&agrave;inig e 'n taigh, air ghoil le smaointean.
Chuir e dheth a ch&ograve;ta 's th&ograve;isich e air dealbh &ugrave;r. Cha robh c&agrave;il anns an
dealbh ach r&ograve;s m&ograve;r dearg, mar chridhe duine, 's os a chionn bha adhar
s&igrave;mplidh gorm.
Comment on the following points:
 The main character is not given a name although the reader is aware of
many facts about his life.
 The old soldier's flashback.
 Battle is compared to "ifrinn".
 Word choice to describe the German.
 The effect the German's death had on the main character .
 The effect of the minister's sermon on the old soldier .
 The old soldier's lasting memory of Frank.
 The character's feeling regarding war.
 The way in which the character still acts like a soldier .
 The way in which the character gains the respect of those around him .
 The repetition of the phrase "adhar s&igrave;mplidh gorm".
 The mention of the colour red.
Select one example of the following techniques from the story:






58
simple yet effective language
variety in sentence length
simile
imagery from war
comparison (for example between the church bell and German helmets)
onomatopoeia.
LITERATURE (H/AH, GAELIC (LEARNERS)
&copy; Learning and Teaching Scotland 2006
SHORT STORIES
1.
How does this short story give the reader an insight into the mind of
the main character?
2.
How does the short story deal with the idea that people's destiny lies
with fate?
3.
Why do you think the character was so drawn to the memorial each
year when it pained him to think of the war?
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SHORT STORIES
M&agrave;iread
Iain Mac a' Ghobhainn - Iain Crichton Smith
The main characters in this short story are a married
couple - Anna and Murchadh - who have recently
retired and returned to live in the Highlands from
Glasgow. The couple have never had a family and
this seems to be at the centre of the events that occur
through the story. The communication between husband and wife is not
successful and through Crichton Smith's writ ing, the reader gets a glimpse
into this couple's life.
Read the story and discuss it with your lecturer.
M&agrave;iread
Nuair thill iad dhachaigh &agrave; Glaschu cheannaich iad taigh m&ograve;r geal le l ios
m&ograve;r air a bheulaibh. Cha robh d&igrave;th airgid orra oir bha Murchadh air a bhith
na phoileas 's e air inbhe Superintendent a ruighinn. 'S e an aon rud ariamh a chuir faileas air am beatha nach robh clann aca.
Bha i uabhasach toilichte leis an taigh, agus bha Murchadh toilichte
cuideachd oir bha e faisg air a' mhuir 's b ha e d&egrave;idheil air iasgach.
"Tha seachd rumannan ann gu l&egrave;ir," ars esan rithe.
Thug iad am pi&agrave;no dhachaigh leotha agus an &agrave;irneis a bh'aca anns an taigh
eile air Great Western Road. Air latha br&egrave;agha samhraidh bha i na suidhe
anns an lios air cathair, a' ghaoth bhl&agrave;th a' togail a fuilt, 's Murchadh le a
shlat iasgaich sh&igrave;os aig a' chreagach.
Agus chual i am pi&agrave;no a' cluich.
Chuir seo eagal uabhasach oirre oir bha i cinnteach nach robh aon duine am
broinn an taighe. Gu critheanach dh'&egrave;irich i &agrave;s a' chat hair 's chaidh i
steach don r&ugrave;m ach cha robh duine na shuidhe aig a' phi&agrave;no, 's bha e
fhathast na ch&egrave;is mar th&agrave;inig e. Cha chual i an ce&ograve;l tuilleadh an latha sin.
Nuair th&agrave;inig Murchadh dhachaigh le cudaigean dh'innis i dh&agrave; d&egrave; thachair.
"Feumaidh e bhith gun do thuit thu na do chadal," ars esan rithe. Bha e &agrave;rd
tapaidh liath, 's bha an dithis aca air a bhith p&ograve;sd airson deich bliadhna
fichead.
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SHORT STORIES
"Chan eil rian nach eil thu ceart," ars ise. "Chan eil rian nach e bruadar a
bh'ann."
"Nach i a tha coimhead geal," arsa Murchadh ris fh&egrave;in. " 'S math
dh'fhaodte nach robh c&ograve;ir againn a thighinn dhachaigh."
An oidhche sin fh&egrave;in chaidh iad a ch&egrave;ilidh air c&agrave;irdean dhaibh ach cha do
bhruidhinn iad idir air a' phi&agrave;no, ach dh'fhaighnich Anna anns a' ghuth th&agrave;mh:
"C&ograve; bh'anns an taigh a cheannaich sinn?"
"Cha robh ann ach cailleach a bha fuireach na h -aonar," arsa Tormod 's e
cur a-mach Cinzano dhi: oir cha robh Murchadh ag &ograve;l. "Carson a tha thu
faighneachd?"
"O chan eil airson c&agrave;il," ars Anna.
Nuair chaidh i-fh&egrave;in is Murchadh dhachaigh bha a' ghealach &agrave;rd geal anns
an adhar agus an taigh s&agrave;mhach. Ach bha e coimhead &agrave;raid anns an t -solas
gheal ud mar gum biodh e feitheamh, agus thubhairt i seo ri Murchadh.
"Isd &ograve;inseach'," ars esan. "Chan eil c&agrave;il ce&agrave;rr air an taigh." Bha fhios aice
nach robh mac-meanmna sam bith ann am Murchadh 's e sin bu choireach
gur e deagh phoileas a bh'ann.
An ath latha a-rithist nuair a bha i c&ograve;caireachd anns a' chidsin agus
Murchadh aig a' chreagach chual i am pi&agrave;no a -rithist -'s nuair chaidh i
steach don r&ugrave;m anns an robh e cha robh duine ri fhaicinn. Ach an turas seo
dh'fhairich i f&agrave;ileadh c&ugrave;bhraidh anns an r&ugrave;m. Nuair th&agrave;inig Murchadh
dhachaigh cha do dh'innis i dh&agrave; gun cual i am pi&agrave;no a' cluich.
B'e seo a' chiad sanas a chum i bhuaithe na beatha.
Fad a bheatha bha e air a bhith sealg dhaoine air feadh Ghlaschu agus bha
sin fh&egrave;in gu le&ograve;r dh&agrave;. Agus a-nise dh'fheumadh ise sealg an taibhs a bha
cluich air a' phi&agrave;no, anns an taigh mh&ograve;r fhalamh ud. Bha a' ghrian air
aodann Mhurchaidh a dhubhadh ach bha a h-aodann fh&egrave;in geal.
An latha bha seo 's i na h-aonar anns an taigh a-rithist chual i am pi&agrave;no 's
nuair chaidh i steach don r&ugrave;m bha nighean bheag le dreasa phinc oirre na
suidhe aig a' phi&agrave;no. Chaidh i null far an robh i agus thubh airt i rithe,
"C&ograve; thu?"
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Sheall an nighean rithe le s&ugrave;ilean cho gorm ri s&ugrave;ilean dola agus fhreagair i.
"M&agrave;iread."
"M&agrave;iread," arsa Anna. B'e M&agrave;iread ainm a m&agrave;thar. Bha iad a' bruidhinn ri
ch&egrave;ile airson &ugrave;ine mhath nuair th&agrave;inig Murchadh a -steach.
"D&egrave; tha thu a' d&egrave;anamh an sin nad aonar," ars esan. "An ann a' cluich air
a' phi&agrave;no a bha thu?"
"Cha b'ann," ars ise. Dh'&egrave;irich i bhon t -seata air an robh i na suidhe agus
thubhairt i:
"An d'fhuair thu iasg an-diugh?" Agus mar a b'&agrave;bhaist bha e air iasg a
ghlacadh.
"A bheil thu cinnteach gu bheil an taigh seo a' c&ograve;rdadh riut?" ars esan.
"Dh'fhaodadh sinn tilleadh a Ghlaschu ma tha thu 'g iarraidh." Ach bha i
droch-n&agrave;darrach anns a' bhad, ag r&agrave;dh, "Chan eil iarrtas sam bith agam a
dhol air ais a Ghlaschu." Agus cha dubhairt e an c&ograve;rr mu dheidhinn.
A h-uile latha a bha e aig a' chreagach bha i bruidhinn ri M&agrave;iread agus ag
innse sgeulachdan dhi. "An latha bha seo," theireadh i, "bha an nighean
bheag seo a' coiseachd tro choille nuair chunnaic i am poilea s seo anns an
deise ghorm mu a coinneamh."
Agus dh'&egrave;isdeadh M&agrave;iread rithe gu c&ugrave;ramach, ach nuair chluinneadh i
Murchadh a' tighinn bha i teiche air falbh.
"D&egrave; f&agrave;ileadh a th'anns an r&ugrave;m seo?" arsa Murchadh rithe, agus smaoinich i,
" 'S e poileas a th'ann. Carson nach fhairicheadh e am f&agrave;ileadh?"
"Boltrach &ugrave;r a cheannaich mi," ars ise. Agus thug e s&ugrave;il oirre mar nach
biodh e ga creidsinn. O, ars ise rithe fh&egrave;in, nam biodh an dithis againn -
mi-fh&egrave;in is M&agrave;iread - c&ograve;mhla ri ch&egrave;ile a chaoidh ...
An latha bha seo agus Murchadh air a bhith anns an taigh gun ghuth air
fh&agrave;gail thubhairt i ris,
"Nach eil a th&igrave;d agad a dhol a dh'iasgach."
"Uill," ars esan, "th&agrave;inig e steach orm gu robh mi gad fh&agrave;gail ro thric nad
aonar."
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"Isd, amadain," ars ise, "thalla thusa le do shlait. Tha mise ceart gu le&ograve;r
far a bheil mi." Agus rinn e sin, a' toirt s&ugrave;il oirre nuair dh'fh&agrave;g e.
"Tha sinn a-nise nar n-aonar," ars ise ri M&agrave;iread. "Tha e &agrave;raid gur e dreasa
phinc a th'ort, oir 's e pinc an dath a b'&agrave;ill le mo mh&agrave;thair." An d&egrave;idh dhi
sgeulachd innse do Mh&agrave;iread thubhairt i rithe. "An aithne dhut danns?"
'S th&ograve;isich an dithis a' danns, air feadh an r&ugrave;m. "Tha mi 'n d&ograve;chas," ars
ise, "nach fh&agrave;g thu mi tuilleadh." Agus bha eagal oirre gun tilleadh
Murchadh, oir gach turas a bha e tilleadh bha M&agrave;iread a' f&agrave;gail.
Bha Murchadh math air a bhith glacadh dhaoine is &egrave;isg ach cha do ghlac e
M&agrave;iread fhathast. Bha e n&agrave;darrach gu le&ograve;r a -nise gum biodh M&agrave;iread
c&ograve;mhla rithe mar gum b'ann leatha fh&egrave;in a bha i. Ach am b' u rrainn dhi a
cumail mar phr&igrave;osanach anns an taigh mh&ograve;r ud?
Le l&agrave;mh Mh&agrave;iread na l&agrave;imh fh&egrave;in bha i falbh air feadh an taighe, 's i a'
sealltainn na rumannan dhi. "Seo an r&ugrave;m agad fh&egrave;in," ars ise rithe, 's i a'
fosgladh aon de na dorsan. Bha a cridhe gus briseadh air eaga l nach
c&ograve;rdadh an r&ugrave;m rithe.
Th&agrave;inig an smaoin a-steach oirre, "Nan &egrave;ireadh rudeigin do Mhurchadh,"
ach chaisg i an smaoin anns a' bhad mar gum biodh eagal oirre gu ruigeadh
i inntinn Mh&agrave;iread.
An latha bha seo th&ograve;isich i ag argamaid rithe, "Nach do dh'i nnis mi dhut
nach robh c&ograve;ir agad am b&ugrave;rn ud a chur air an l&agrave;r?" Agus bha i fiadhaich
airson mionaid ach chaill i a fearg 's rug i air M&agrave;iread na g&agrave;irdeanan 's
th&ograve;isich i sl&igrave;obadh a fuilt.
Ach cha b'fhada a-nis gus an tilleadh Murchadh agus gus am f&agrave;gadh
M&agrave;iread. A h-uile turas a bha i f&agrave;gail bha eagal oirre nach fhaiceadh i i
tuilleadh.
Nuair th&agrave;inig Murchadh dhachaigh le gad &egrave;isg mar a b'&agrave;bhaist dh&agrave;
thubhairt e, "D&egrave; am b&ugrave;rn a tha sin air an l&agrave;r?"
"O dh&ograve;irt mi e nuair bha mi nighe nan soithichean," fhr eagair i. Thug e
s&ugrave;il oirre ach cha dubhairt e an c&ograve;rr airson mionaid. Am poileas ud leis an
iasg marbh na l&agrave;imh!
Chaidh e null far an robh i agus thubhairt e, "Tha mi gad fh&agrave;gail nad aonar
ro thric. Rinn mi an aon rud ann an Glaschu."
Thug i s&ugrave;il ghaolach air agus thubhairt i.
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"Chunna mi an nighean bheag ud an-diugh fh&egrave;in," ars ise, "agus l&agrave;ithean
eile cuideachd."
"C&ograve; ris a tha i coltach?" ars esan.
"Tha dreasa bheag phinc oirre," ars ise. "Agus 's e ise a dh&ograve;irt am b&ugrave;rn air
an l&agrave;r. Thubhairt mi rithe nach robh c&ograve;ir aice sin a dh&egrave;anamh."
"Bha thu ceart," arsa Murchadh. "Bha thu ceart gu le&ograve;r."
Thug i s&ugrave;il air le iongnadh. "D&egrave; thubhairt thu?," ars ise.
"Thubhairt mi riut gu robh thu ceart gu le&ograve;r," fhreagair e. Ann an ceann
&ugrave;ine dh'fhaighnich i, "A bheil thu creidsinn gu bheil an nighean seo ann ?"
"Ma tha thu ga coimhead tha i ann," arsa Murchadh. Nach e bha coimhead
sg&igrave;th is aosd, am poileas ud a bha gun sg&igrave;os!
Am poileas ud nach robh a' f&agrave;gail c&agrave;il gun a rannsachadh!
Shuidh iad a-muigh anns a' ghr&egrave;in air cathraichean agus ise ag &egrave;isdeachd
ach an cluinneadh i am piano. Bha s&agrave;mhachd air feadh an domhain.
"A-m&agrave;ireach," ars ise, "feumaidh tu ionnsachadh iasgach dhomh."
"Ceart gu le&ograve;r," ars esan. Bha e air a l&agrave;mhan a nighe bhon fhuil. Ann s a'
mhionaid ud fh&egrave;in chuala iad am piano a' cluich. Sheall i ris.
"A bheil thu tighinn?" ars ise.
"Tha," ars esan. Chaidh iad a-steach don r&ugrave;m. Bha M&agrave;iread na suidhe aig
a' phi&agrave;no. Rinn i g&agrave;ire riutha 's th&ograve;isich i ri cluich.
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Answer the following questions.
1.
What effect does the use of the word "iad" have in the first sentence?
2.
How does the reader know that the couple are comfortably well -off?
3.
It does not take long before the reader realises what is at the heart of
their communication problems - that they did not have a family.
Choose a quote from the text that makes this clear.
4.
"Agus chuala i am pi&agrave;no a' cluich" - what is unusual about the
structure of this sentence?
5.
The "ghost" becomes apparent to Anna first. Describe the "ghost".
6.
What kind of connection is there between Anna and M &agrave;iread?
7.
Comment on "Bha Murchadh math air a bhith glacadh dhaoine is &egrave;isg
ach cha do ghlac e M&agrave;iread fhathast".
8.
Why does Murdo think his wife is so pale and tired?
9.
Why do you think the ending is left open?
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An Duine Dubh
Tormod D&ograve;mhnallach - Norman MacDonald
The short story An Duine Dubh by Norman MacDonald deals with a clash
of culture which is the result of a visit by a man named Abdul Hassan to
the home of a Highland lady to try to sell his wares.
An Duine Dubh
Bha a' chroit na seasamh aig ceann shuas a' ghlinne agus cha robh an
rathad a' dol na b'fhaide. Bha na beanntan air a c&ugrave;l agus An T &agrave;bh Atlantic
mar dealbh fad &agrave;s. Cha robh c&agrave;il eadar an taigh agus an saoghal ach teud
an dealan-uisge agus rathad corrach morghain, a bha dol a -mach &agrave; sealladh
thairis air bruaich. Bha ce&ograve; ghlas ag &egrave;irigh bhon t -simileir. Air c&ugrave;l an
taighe bha bothan beag chlach air a thogail airson nan cearc le feans ma
thimcheall. Air taobh a-staigh na feansa bha grunn chearcan a' sgr&igrave;obadh
san talamh.
Th&agrave;inig cailleach le mias na l&agrave;imh a-mach &agrave;s an taigh agus chaidh i a
dh'ionnsaigh an taigh chearc. Bha aodach dubh oirre agus bha bata aice.
Th&ograve;isich i ri crathadh na bha anns a' mhias air beulaibh n an cearcan. Nuair
bha a' mhias falamh chaidh i steach don taigh chearc agus th&agrave;inig i a -mach
an ceann mionaid le d&agrave; ugh bheag dhonn na l&agrave;imh. Thog i na h-uighean air
beulaibh a s&ugrave;ilean agus sheall i gu geur riutha. Bha i toilichte - bha na heireagan air t&ograve;iseachadh a' breith.
Nochd duine beag tapaidh air an rathad os cionn an taighe. Bha na fiaclan
aige cho geal ri sligean agus bha a chraiceann mar fh&agrave;d bhon tairsgeir. Na
l&agrave;imh bha poca m&ograve;r trom agus chrom e a -nuas air beulaibh an taighe a'
d&egrave;anamh air an doras.
Th&agrave;inig boireannach &ograve;g a-mach chun an dorais, 's i a' crathadh fl&ugrave;ir bho a
l&agrave;mhan.
"Chan eil sinn ag iarraidh c&agrave;il an-diugh."
"Baraganan gu le&ograve;r an-diugh! Stocainnean? C&ograve;ta b&agrave;n? Aparan?"
Chuir e am poc air an talamh gu grad agus dh'fhua sgail e e. Dh&ograve;irt a-mach
&agrave;s a' phoc d&ugrave;n m&ograve;r aodach bhoireannach. Rug e air rudeigin soilleir s&igrave;oda
agus sgaoil e a-mach e le l&agrave;mhan fada donn.
"G&ugrave;n-oidhche br&egrave;agha &agrave;lainn an seo!"
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"Chan eil mi ag iarraidh c&agrave;il an-diugh!" Dh'fh&agrave;s i dearg anns an aodann.
"Stocainnean s&igrave;oda! T&egrave; &agrave;lainn - stocainnean &agrave;lainn! Ceithir is sia
sgillinn."
"Ceart gu le&ograve;r. Gabhaidh mi aon phaidhir. Fuirich gu faigh mi airgead."
Chaidh i a-steach agus thill i leis an airgead.
"Seo, mat&agrave;. Thoir dhomh na stocainnean."
"Tapadh leibh, a bhean. Am beil sibh ag iarraidh d&agrave; phaidhir?"
"Chan eil ach a h-aon. Chan eil mi ag iarraidh c&agrave;il tuilleadh an -diugh."
"Ceart, a bhean." Rinn e osann agus th&ograve;isich e ri r&ugrave;illeadh a -measg an d&ugrave;in
aodaich aig a chasan. Thug e dhi neapaicea n beag geal.
"Seo, a bhean. Bho Abdul Hassan - airson na Nollaige." Rinn i g&agrave;ire ris.
" 'S fhada gu Nollaig, a bhr&ograve;inein! Chan eil ann ach an samhradh fhathast.
Ach tapadh leatsa. Innis dhomh - am bi sibhse - am bi sibh -a bheil sibh
a' cumail na Nollaige cuideachd?"
"Cha bhi, a bhean. Tha latha eile againne. Latha Mahommed. Chan eil
ann ach aon Dia agus 'se Allah am f&agrave;idh aige."
"Seadh, seadh. Feumaidh mi a dhol a dh'fhaicinn c&agrave;ite a bheil a'
chailleach." Ruith i gu c&ugrave;l an taighe.
"C&ograve; a tha a siud, a nighean? Chuala mi thu a' c&ograve;mhradh ri cuideigin."
"Tha duine dubh. Cheannaich mi stocainnean bhuaithe agus thug e dhomh
neapaicean p&ograve;caid an asgaidh."
"Nach robh sin snog dh&agrave;? An robh na stocainnean cho math ris an
fheadhainn a thug D&ograve;mhnall dhachaigh &agrave;s Ameireagaidh?"
"Cha b'ann &agrave;s Ameireagaidh a thug e iad! &Agrave; Africa!"
"Gu d&egrave; an diofar a th'ann. 'S ann le Dia a tha an saoghal uile, co-dhi&ugrave;. An
tug thu dh&agrave; cupan tea? Bhitheadh e gu math sg&igrave;th 's e air coiseachd bhon
rathad mh&ograve;r. Ach seo esan! Tha thu an sin, a bhalaich! Thig an seo, gu
faic thu na cearcan br&egrave;agha a th'agamsa!"
Chaidh iad chun an taigh chearc.
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"Seall air sin! Nach eil iad math! A h -uile h-aon ach an t&egrave; dhubh sin. Tha
mi a' fuireach ri banais gus an toir mi seachad an t&egrave; sin. Ach tha an c&ograve;rr
nan eireagan agus chan fhada gus am bi iad gu l&egrave;ir ri breith. An caomh leat
f&egrave;in uighean?"
" 'S caomh. Cearcan snog gu dearbh. Agus tha iad &ograve;g cuideachd!"
"Eireagan gu l&egrave;ir, ach an t&egrave; dhubh."
"An d&ugrave;il an reiceadh sibh dh&agrave; na tr&igrave; rium? Bheir mi dhuibh deich tasdain
an t&egrave; orra."
"A bhoill, cha robh c&agrave;il a dh&ugrave;il agamsa gin aca a reic. Cha bhi mi a' reic
ach na h-uighean. Nam bithinn cinnteach gum biodh tu gu math dhaibh. A
bheil teaghlach agad?"
"Tha. Bean agus d&agrave; nighinn."
"Bhoill, bhoill, mat&agrave;. Bheir mi dhut na ceithir as &ograve;ige, agus fiach gum bi
thu gu math dhaibh!"
"Tapadh leibh, tapadh leibh!"
Thug e a-mach l&agrave;n a chr&ograve;ig a notaichean agus thug e dhi dh&agrave; dhiubh.
"Ceangailidh mi na casan aca le sn&agrave;th agus cuiridh mi ann am poca dhut
iad. Theirig c&ograve;mhla ri M&agrave;iread agus bheir i dhut cupan tea."
An ceann lethuair a th&igrave;de dh'fhalbh Abdul Hassan suas an rathad agus
chaidh e a-mach &agrave; sealladh tarsainn na bruaich. Bha am poca leis na
cearcan air a dhruim agus am poca aodaich na l&agrave;imh.
"Tha mi duilich a-nis gun tug mi dh&agrave; iad," ars a' chailleach. "Cha ruig e an
rathad m&ograve;r a-nochd leis an ultach ud."
"Och, 's beag a chuireas e air! Tha iad e&ograve;lach gu le&ograve;r air ultaich. Na
dh'innis mi dhuibh gun tug e dhomh neapaicean? Airson na Nollaige, ars
esan! Chan eil fhios aige fi&ugrave; cuin a tha Nollaig ann!"
"Tha mi a' dol a dh'fhaicinn gu d&egrave; na r&agrave;inig e. Na beathaichean bochd -
air an ceangal ann am poca!"
Rug i air a' bhata agus dh'fhalbh i suas an rathad. Nuair r&agrave;inig i mul lach a'
bhruaich sheall i s&igrave;os air fad a' ghlinne ach cha robh duine ri fhaicinn.
Chual i gogadaich a' tighinn bho thaobh an uillt bhig ann an d&igrave;g an rathaid.
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Chaidh i a-null agus sheall i s&igrave;os. Chunnaic i tr&igrave; cuirp bheaga nan laighe
air a' ghlasaich. Bha an duine dubh os an cionn agus cearc a' breabadaich
na l&agrave;imh. Bha sgian mh&ograve;r &agrave;raidh aige anns an l&agrave;imh eile agus ghe&agrave;rr e an
ceann bhon cheathramh t&egrave; agus i ga choimhead. Nuair th&agrave;inig a guth air
ais, thog a' chailleach am bata agus rinn i air.
"Gu d&egrave; tha thu ri d&egrave;anamh, a bhiasd? Na cearcan bochda!"
Leum e &agrave;s an rathad agus thog e na cearcan marbha bhon talamh. Bha na
s&ugrave;ilean aige geal na cheann agus cha dubhairt e facal. Nuair bha e a'
d&igrave;readh chun an rathaid na chabhaig, bhuail i am bata air m un druim. Thuit
i chun na talmhainn agus shuidh i an sin airson &ugrave;ine mh&ograve;ir 's i a' gurraban
's ri osnaich:
"Obh! Obh! - Obh! Obh!"
An ath latha, fhuair M&agrave;iread leabhar l&agrave;n sgr&igrave;obhaidh coltach ri sgr&igrave;obhadh
circe na laighe anns an &agrave;ite sin. Dh'innis d uine foghlamaichte dhi &agrave;s d&egrave;idh
l&agrave;imh gum b'e B&igrave;oball &agrave;raidh a bh'ann - "An Koran", an leabhar a sgr&igrave;obh
Mahommed, agus anns a bheil e ag aideachadh gum b'e f&agrave;idhe m&ograve;r a
bh'ann an Cr&igrave;osd.
Discuss the content of this story with your lecturer.
Answer the following questions.
1.
What picture is the reader given of the old woman?
2.
How does MacDonald give the reader a clear picture of the man?
3.
Give a brief account of why the man came to the old woman's house.
4.
How do you come to realise that the younger woman was getting
frustrated with the man?
5.
What did the man give the young woman for free?
6.
How does the reader know that the man did not have an understanding
of Christmas?
7.
How do you know the old woman was very proud of her hens?
8.
Why was the old woman initially reluctant to sell the man her hens?
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9.
Which onomatopoetic word is used in connection with the hens?
10.
After the woman sells some of her hens to the man, what awful sight
does she see lying in the grass?
11.
Identify two pieces of evidence from the text which show how angry
the old woman was with Abdul Hassan.
12.
What is significant about the book Mairead finds?
13.
What do you think happened to the hens?
Comment on the characters in this story - the young woman, the old
woman and Abdul Hassan.
Using evidence from the story, how is it clear that the characters do not
understand each other's cultures?
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An Duine Dubh
Iain Mac a' Ghobhainn - Iain Crichton Smith
An Duine Dubh by Iain Crichton Smith deals with the same theme as An
Duine Dubh by Norman MacDonald - the meeting of two different cultures
and the effect this has on those who are involved. This story also centres
on a man who comes into the home of an elderly woman to try to sell her
his goods.
Read through the short story and discuss it with your lecturer.
An Duine Dubh
Dh'fhosgail an duine dubh a' mh&agrave;ileid mh&ograve;r air an l&agrave;r. Bha a' chailleach
na suidhe air a' chathair a' coimhead am broinn na m&agrave;ileide.
"Jumpers," ars an duine dubh. 'S bha iad br&egrave;agha cuid eachd, feadhainn
dearg mar fh&igrave;on, feadhainn glas mar mhuir, feadhainn uaine mar thalamh,
feadhainn buidhe mar ghealaich. Cha dubhairt i smid. Bha leabhar aig an
duine dhubh a dh'fh&agrave;g e ri thaobh air an l&agrave;r. Cha d&egrave;anadh i mach facal
dheth. 'S ann a bha an sgr&igrave;obhadh coltach ri algebra no rionnagan
geamhraidh. Dh'fheumadh tu a leughadh bhon deireadh chun toisich.
Shuidh a' chailleach air a' chathair, 's i aosd, a ceann mar chlogaid
sneachda.
"Gowns," ars an duine dubh. Bha iad a' d&ograve;rtadh &agrave;s a l &agrave;mhan mar bh&ugrave;rn no
bogha-frois. Cia mheud l&agrave;mh ch&egrave;in a bha air a bhith 'g obair air na g&ugrave;in tean ud? Smaoinich i air a' chiad dannsa aig an robh i, tr&igrave; fichead bliadhna
air ais, 's thug i s&ugrave;il air an duine dhubh. Am biodh esan a' dol gu dannsan?
Bha aodann tana, geal mar rathad c&egrave;in. Sheall i air falbh. Dh&ograve;irt na
g&ugrave;intean &agrave;s a l&agrave;mhan. Co-dhi&ugrave; chuireadh e seachad beagan den t&igrave;de dhi a
bhith gan coimhead. Chuir e na g&ugrave;intean nan laighe air muin a ch&egrave;ile.
"Stockings," ars esan, 's e toirt a-mach stocainnean naidhlean. Cha do
chaill a casan an aois a' coimhead riutha. Cha do dh'fhosgail aon doras.
Laigh a l&agrave;mhan le coibhneas air na stocainnean. Smaoinich i air a h -athair
a' sl&igrave;obadh an eich a bh' aca uair. Chaidh i dh'iarraidh deoch bh&ugrave;rn don
duine dhubh oir bha an latha bl&agrave;th: dh'&ograve;l e e mar a dh'&ograve;las lit bainne.
Airgead? C&ograve; aige bha airgead? Cha robh ann ach an aonaranachd, a h aonaranachd-se 's aonaranachd an duine dhuibh. C&ograve; &agrave;s a th&agrave;inig e? D&agrave;
shaoghal a' coinneachadh a ch&egrave;ile anns an dorchadas. Thug e s&ugrave;il
timcheall an t-s&egrave;omair, an sg&agrave;than m&ograve;r maol, am B&igrave;oball air oir na h -
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uinneig, c&ugrave;irtearan air an tarraing bho ch&egrave;ile. Chuir e na stocainnean
c&ograve;mhla ris a' ch&ograve;rr.
"Silk underwear," ars esan. Thog i a s&ugrave;ilean air falbh mar gum biodh e air
rudeigin uabhasach a r&agrave;dh. Bha solas a' d&ograve;rtadh tron uinneig a' fighe a h aodainn. Sia bliadhna - 's math dh'fhaoidte - 's bhiodh e air ais na
r&igrave;oghachd fh&egrave;in. Cha b'e seo a r&igrave;oghachd-san. Ach dh'fheumadh e airgead
a dh&egrave;anamh. Bha an s&igrave;oda a' lasadh fo a l&agrave;mhan. Thug i s&ugrave;il air ais chun
an t-s&igrave;oda mar gum b'e bratach a bha i a' coimhead.
"Eighteen shilling," ars esan. Bha l&agrave;mhan na caillich nan laighe gu
s&agrave;mhach air a' chathair.
"Eighteen shilling," ars esan a-rithist. Rinn i g&agrave;ire. Bha a g&agrave;ire mar
earrach fon chlogaid shneachd. Dh'fhairich e sg&igrave;ths na dhruim. Cha robh e
furasd' a bhith slaodadh m&agrave;ileid throm tro na sr&agrave;idean.
"Seventeen shilling," ars esan. Rinn i g&agrave;ire eile. Cha robh e tuigsinn c &ograve; air
a bha i a' smaoineachadh. Air aon bhalla b ha dealbh balaich ann an deise
se&ograve;ladair.
Cha robh c&agrave;il tuilleadh anns a' mh&agrave;ileid. Chrom e a cheann 's e dol a chur
an aodaich air ais don mh&agrave;ileid.
"Silk underwear," ars esan a-rithist, ris fh&egrave;in, 's e dol ga thogail.
Stad i e.
Chaidh i chun an dreasair 's thug i mach sporan. Chunnt i mach ochd
tasdain deug dh&agrave;. Cha robh m&ograve;ran tuilleadh air fh&agrave;gail anns an sporan.
Rinn i g&agrave;ire nuair thug i dh&agrave; an t-airgead. Rinn esan g&agrave;ire cuideachd leis
an toileachas. Thug e dhi an t-aodach.
"A h&agrave;," ars esan ris fh&egrave;in, "chan eil l&agrave;ithean do dhannsaidh seachad
fhathast."
Chuir e gach n&igrave; air ais don mh&agrave;ileid, aodach fl&ugrave;ranach fuar s&igrave;oda ann an
teas an t-samhraidh.
Dh&ugrave;in e a' mh&agrave;ileid 's dh'&egrave;irich e.
Ghlais i an doras air a ch&ugrave;laibh.
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Nuair bha e a' coiseachd s&igrave;os an rathad thog i a l&agrave;mh ris mar dhuilleag
foghair. Lean a s&ugrave;ilean e gus na dh'fhalbh e dhachaigh. Bha na busaichean
m&ograve;ra a' dol seachad air an t-sr&agrave;id. Bha ise na coigreach cuideachd.
Thog i an t-aodach s&igrave;oda 's leig i leis ruith tro a l&agrave;mhan mar airgead. An
d&egrave;idh sin, chuir i don dreasair e, 's shuidh i rithist aig an uinneig, a'
coimhead na sr&agrave;id.
Choose relevant quotes from the short story which relate to:
 the selection of goods the man had to offer
 the attempt the two characters were making to communicate with one
another
 cultural differences
 the woman's thoughts of her youth
 their interest in each others lives
 friendship and understanding despite differences in culture .
What is significant about the following quotes?








"a ceann mar chlogaid sneachda"
"Bha iad a' d&ograve;rtadh &agrave;s a l&agrave;mhan mar bh&ugrave;rn"
"Laigh a l&agrave;mhan le coibhneas air na stocainnean "
"D&agrave; shaoghal a' coinneachadh a ch&egrave;ile anns an dorchadas "
"Cha b' e seo a r&igrave;oghachd-san"
"Dh'fhairich e sg&igrave;ths na dhruim"
"Rinn i g&agrave;ire...Rinn esan g&agrave;ire cuideachd leis an toileachas"
"Bha ise na coigreach cuideachd".
What do you notice about:




use of simile?
use of questions?
sentence length?
use of alliteration?
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Advanced Higher
Compare and contrast An Duine Dubh by Norman MacDonald and An
Duine Dubh by Iain Crichton Smith. Comment on:




theme
characters
plot
setting.
What do you think was the authors' purpose in writing these short stories?
Do they send out a particular message or do they adopt a stance? Give
evidence for your answer.
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A' dol dhachaidh
Iain Mac a' Ghobhainn
A' dol dhachaidh! Chan eil c&agrave;il coltach ris. 'S iomadh latha is oidhche
bha mi deimhinn nach fhaicinn mo dhachaidh a chaoidh. 'S an dr&agrave;sda fh&eacute;in
tha e duilich a chreidsinn. Bha an cogadh cho fada 's an t -slighe cho
d&ograve;rainneach. An dr&agrave;sda fh&eacute;in tha a' chlogaid st&agrave;ilinn 'nam bhaga. Tha mi
smaoineachadh gun cuir mi d&igrave;theannan innte, mar phoit, airson toirt gu
buileach air falbh bhuam am murt 's am marbhadh a thachair, ged a tha
mise s&agrave;bhailte.
Tha e fuar an nochd ach chan eil sin a' cur dragh orm. Bidh na tighean
bl&agrave;th nuair a ruigeas sinn iad aig a' cheann thall. Bidh gach n&igrave; mar a bha e
roimhe. Faodaidh sinn &eacute;irigh anns an t-s&agrave;mhachd, faodaidh sinn ar naodach cogaidh a chur dhinn. Faodaidh sinn &eacute;isdeachd ris a' ch&ograve;mhradh
l&agrave;itheil.
Nach geal na rionnagan anns an adhar. Nach geal a' ghealach. Truinnsear
m&oacute;r geal. F&agrave;gar na comandairean 'nan r&igrave;oghachd fh&eacute;in. Leanadh iad orra
a' sgr&igrave;obhadh &ograve;rdughan air an cuid ph&agrave;ipearan mas toil leotha e. Tha na
saighdearan a' dol dhachaidh. 'S tha an t-soitheach a' f&agrave;gail. Fairichidh
mi a buille fo mo chasan a tha nas cleachdte ris an talamh. Ch&igrave; mi troimh
na h-uinneagan na speuran geal le reothadh.
Tha mi nise d&agrave; bhliadhna air fhichead. C&agrave;it an deach m'&ograve;ige? Shil i air
falbh anns na batail, 's tha mi 'nas aosda na m'athair. Chan eil fhios aig
duine air an talamh uaine ud na nithean a thachair dhomhsa 's do mo
she&ograve;rsa. Feumaidh mi bhith faicilleach, chan eil math dhomh innse dhaibh,
oir cha tuigeadh iad mo smaointean. Thig mi dh achaidh 'nam measg mar
choigreach.
Tha mi air call cuimhne air na seann &ograve;rain. Cha mh&oacute;r nach eil mi air call
cuimhne aig amannan air mo ch&agrave;nan. Chunna mi mo chompanaich a'
b&agrave;sachadh ann an stoirm fala. Tha mo sh&ugrave;ilean, saoilidh mi, air dath na
fala, dearg, mar sh&ugrave;ilean ainmhidh. Feumaidh mi bhith faicilleach.
Chan aithnich mo chlann mi, tha mi cinnteach. Aig d&agrave; bhliadhna air
fhichead! Smaoinichibh! Bidh mi 'nam choigreach dhaibh. Ach th&eacute;id na
l&agrave;ithean seachad 's f&agrave;saidh sinn nas dluithe air a ch&eacute;i le. Ged a tha ceithir
bliadhna fada chan eil annta ach ceithir bliadhna, a dh'aindeoin c&ugrave;is.
An dr&agrave;sda fh&eacute;in, ch&igrave; mi 'nam inntinn mo ch&agrave;irdean a' deasachadh a'
bh&ugrave;ird. Ch&igrave; mi na soluis a' de&agrave;lradh air na ballachan, air na copanan. Ch&igrave;
mi na nabaidhean a' de&agrave;namh g&agrave;irdeachas. Oir bidh an saoghal mar a bha e
roimhe. No nas fhe&agrave;rr na bha e roimhe. Saoghal &ugrave;r gun mheang. Oir tha
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sinn uile air m&oacute;ran ionnsachadh. Thug sinn a mach ar sgoilearachd anns an
dorchadas.
Ceithir uairean a thide 's ch&igrave; mi iad a rithist. Tha buille na soithich a' f&agrave;s
nas l&agrave;idire. Tha an cuan 'na bhreislich fodhainn, 's an caiptean air an
drochaid, aodann geal anns an dorchadas. Tha fhios aige -san d&egrave; tha e
d&egrave;anamh, 's faodaidh sinne, ma thogras sinn, an leabaidh a thoirt oirn n.
Tha sinn uile toilichte ar n-uallach a leigeil s&igrave;os. Chi mi sr&ograve;n na soithich 's
i a' gearradh troimh'n chuan, a sr&ograve;n bhiorach shearbh. 'S math an t -ainm a
thug iad oirre:
AN IOLAIRE.
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Obair-dachaigh
Research the story of the Iolaire disaster. Con sider the following points:
 what was the Iolaire?
 when did the disaster happen?
 where did the disaster happen?
 why did the disaster happen?
 any other relevant information.
Discuss your findings with your lecturer.
Obair clas
This short story is written by Iain Crichton Smith. In it he adopts the
persona of a soldier returning home safely to Lewis after the First World
War.
Read through the story and discuss it with your lecturer.
Comment on the following techniques:
 the effect of the account being written in the first person even though
the reader does not find out the soldier's name
 the writer's use of short sentences
 why there is only one character
 the character's feelings at going home
 the character's opinions of war
 the character's thoughts of home
 the character's awareness of things around him such as nature, the boat
and so on
 the effect war has had on his character
 the build-up of tension created by Crichton Smith
 the horrendous irony of the story.
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Advanced Higher
Re-read your notes on the poem Bantrach Cogaidh and the short story A'
dol dhachaidh and answer the following questions.
Bantrach Cogaidh and A' dol dhachaidh both deal with the Iolaire disaster.
Which text do you think relays the awful reality of the tragedy most
effectively? Give reasons to support your answer.
In both Bantrach Cogaidh and A' dol dhachaidh, the writers create
characters who have an innocent naivety regarding the Iolaire disaster.
How do the writers succeed in showing the reader how unaware the
characters are of the event?
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Ann am Bosnia
Iain Mac a' Ghobhainn - Iain Crichton Smith
Ann am Bosnia by Iain Crichton Smith focuses on one nameless character -
a sniper in battle in Bosnia - who reaches a turning point during the story.
Read the text.
Ann am Bosnia
'S e snaidhpear a bh' ann, ann am Bosnia. Cha leig sinn a leas ainm a chur
air. Oir bha e ga fhalach fh&egrave;in co-dhi&ugrave;. Bhiodh e na shuidhe ann an
craoibh agus bhiodh e a' cuimseachadh a ghunna air drochaid a bha fodha,
ach p&igrave;os math air falbh. Na faiceadh e saighdear bhon armailt eile bhiodh e
feuchainn ri mharbhadh. Chaidh a theaghlach fh&egrave;in a mharbhadh, a mhac a
bha d&agrave; bhliadhna dheug, 's a bhean. Bhiodh droch n&agrave;dar ga l&igrave;onadh fad na
t&igrave;de.
Bha &agrave;m ann a bhiodh daoine is boireannaich a' danns air an d rochaid ud
ann an Sarajevo. Bhiodh fear a' cluiche accordion agus bhiodh an danns a'
dol air adhart air an oidhche 's a' ghealach anns an adhar, gealach &igrave;osal
dhearg. Air oidhcheannan foghair bhiodh e fh&egrave;in 's a bhean a' danns air an
drochaid ud nuair a bha iad &ograve;g. Ach a-nis bha f&ograve;irneart air feadh na
d&ugrave;thcha.
Bha e faireachdainn uabhasach aonaranach a -nis. Leis an fh&igrave;rinn innse cha
robh caraidean aige. Cha robh miann c&ograve;mhraidh idir air. Bhiodh e na
shuidhe anns a' chraoibh a' bruadarachadh air a mhn aoi 's air a mhac. Mar
a bhiodh e toirt a mhic a chluich air ball -coise. 'S mar a bhiodh a bhean a'
g&agrave;irnealaireachd.
Anns na l&agrave;ithean sin cha b' e saighdear a bh' ann idir. 'S e fear a bh' ann a
bhiodh a' peantadh thaighean. Bhiodh a mhac uaireannan a' tighinn
c&ograve;mhla ris. Cha robh e ach d&agrave; bhliadhna dheug nuair a chaidh a
mharbhadh. Dh&ugrave;in e a sh&ugrave;ilean leis a' phian.
Bha duilleagan nan craobh &ugrave;r is uaine. Air an adhbhar sin chan fhaiceadh
duine e. Uaireannan bhiodh e a' sealltainn suas don adhar f ar am faiceadh
e an-dr&agrave;sta 's a-rithist pl&egrave;anaichean NATO. Abair thusa gu robh iad a' dol
luath 's a' f&agrave;gail sreath gheal &agrave;s an d&egrave;idh. Bha na duilleagan c&ugrave;bhraidh is
&ugrave;r mun cuairt air.
Chunnaic e balach le peile a' dol tarsainn air an drochaid. Thog e an gunna
gu a ghualainn ach mus d' fhuair e air cuimseachadh air bha am balach air a
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dhol seachad. Bhiodh am balach mu aois a mhic fh&egrave;in. Th&agrave;inig an droch
n&agrave;dar air ais a-rithist. Bha am balach seo be&ograve; 's bha a mhac fh&egrave;in marbh.
Cha robh sin ceart. Bha am balach a' dol air t&ograve;ir uisge anns an tobair le
peile buidhe. Bha geansaidh dearg air. Chunnaic e e cho soilleir ri c&agrave;il.
Cha b' urrainn dha cr&ugrave;badh nuair a thilleadh e oir bhiodh am peile l&agrave;n
b&ugrave;irn. Ach an toiseach bha e na chr&ugrave;ban. Cha bhiodh e na chr&ugrave;ban nuair a
thilleadh e.
Bha na duilleagan &ugrave;r. 'S e an t-earrach a bh' ann. Bha an saoghal ga
&ugrave;rachadh fh&egrave;in. Ach, air an latha earraich ud, bha e a' cluinntinn nan
gunnachan. Cha robh aon duine anns an armailt a bha cho cinnteach ris le
gunna, le raidhfil. Ge bith d&egrave; cho fada air falbh 's a bha an targaid. Nuair
a bha e na pheantair cha robh fhios aige gu robh an t&agrave;lant ud aige. 'S ann a
bha e ga shamhlachadh fh&egrave;in ri clamhan ann an craoibh. Clamhan searbh,
cinnteach.
Chunnaic e a mhac aig &agrave;m Nollaige. Bha e a' tighinn s&igrave;os an staidhre 's a
sh&ugrave;ilean a' leudachadh nuair a chunnaic e na pr&egrave;asantan. Bha e casruisgte.
Cha robh c&agrave;il air an t-saoghal coltach ri &agrave;gh ann an aodann leanaibh. Ach
a-nis bha e marbh agus th&agrave;inig an droch n&agrave;dar ai r ais a-rithist.
Agus anns a' mhionaid th&agrave;inig am balach air ais. Bha e t&ograve;rr na bu
shlaodaiche a-nis or bha am peile aige na l&agrave;imh. 'S math dh'fhaodte gu
robh iad den bheachd nach toireadh an snaidhpear ionnsaigh air balach d&agrave;
bhliadhna deug.
Chunnaic e a-rithist an geansaidh dearg 's am peile buidhe. Bha iad
d&igrave;reach mar rudan a chitheadh tu ann an dealbh.
"Carson a chuir iad a-mach thu?" dh'&egrave;igh e na inntinn ris a' bhalach. "Cha
robh gnothach aca do chur a-mach agus fhios aca gu robh mis' an seo is gu
robh mi nam aonar mar a bhios mi a chaoidh tuillea dh."
Bha gach n&igrave; a' tachairt cho slaodach mar gum biodh an saoghal air stad.
Bha fhios aige nam marbhadh e am balach gum biodh e air atharrachadh
m&ograve;r a dh&egrave;anamh. Cha deidheadh e air ais a chaoidh gu b hith na pheantair
thaighean mar a bha e uair.
Ach aig a' cheart &agrave;m bha e a' faireachdainn cho droch -n&agrave;darrach. Bha an
saoghal mar gum b' eadh dearg air a bheulaibh, cho dearg ris a' gheansaidh
a bha am balach a' caitheamh.
Bha t&igrave;m a' leantainn 's a' leudachadh. A-nis bha e a' dol a bhruthadh an
trigeir. Cha leigeadh e leas ach suathadh ann. Bha am balach air am peile
a chur s&igrave;os. "Tha mi dol ga mharbhadh," ars esan ris fh&egrave;in. "Anns a'
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mhionaid seo." Agus thug e s&ugrave;il air uaireadair. Bha e beagan an d&egrave;idh aon
uair deug. Agus anns a' mhionaid thionndaidh am balach ris 's e a'
fosgladh a gh&agrave;irdeanan. 'S d&egrave; bh' air ach aodann a mhic fh&egrave;in.
Is e a' caitheamh na h-anaraig uaine a chleachd a bhith air. 'S e a mhac
fh&egrave;in a bh' ann, a' tionndadh ris 's bha fhios aige nam marbhadh e am
balach seo gu marbhadh e a mhac fh&egrave;in a -rithist. Bha sin cho soilleir dha.
Bha fallas a' sruthadh s&igrave;os aodainn fh&egrave;in 's air c&ugrave;l amhaich. Bha an gunna
air chrith na l&agrave;mhan. 'S drochaid Sarajevo fodha. Agus a mhac fh&egrave; in a'
coiseachd air 's a' coimhead ris. 'S am peile b&ugrave;irn na shuidhe ri thaobh.
"Mo mhac, mo mhac," dh'&egrave;igh e. Ach cha robh duine a -nis ri fhaicinn.
Bha an drochaid falamh. Bha chorp gu l&egrave;ir a' sruthadh le fallas, 's bha
de&ograve;ir na sh&ugrave;ilean. Th&agrave;inig isean is shuidh e anns a' chraoibh anns an robh
e. Isean beag donn. Agus cnuimh na bheul. Agus chuala e pl&egrave;ana a' dol
seachad os a chionn.
Bha an t-isean a' gluasad an siud 's an seo, cho an -fhoiseil. Ach bha an tearrach ann. Bhiodh iad a' togail neadan.
Th&agrave;inig e s&igrave;os &agrave;s a' chraoibh. Fodha air an talamh chunnaic e sneadhain
nan deann ruith an siud 's an seo. O, nach iad a bha luath.
A' ruith an siud 's an seo. Cha robh e airson seasamh orra.
Thionndaidh e ar falbh bhon chraoibh. Bha e a' dol a leigeil seachad
dreuchd snaidhpeir. Bha e a' faireachdainn an droch n&agrave;dar ga fh&agrave;gail. Bha
e faireachdainn falamh. Na inntinn bha e a' coimhead a mhic a' fosgladh a
gh&agrave;irdeanan.
Shad e air falbh an gunna 's th&ograve;isich e ri coiseachd. Cha mharbhadh e
duine tuilleadh. Ge bith d&egrave; dh&egrave;anadh iad air, cha mharbhadh e duine
tuilleadh.
'S bha e faireachdainn cho aotrom, cho aotrom ri na duilleagan uaine, cho
aotrom ris an eun a bha na shuidhe air g&egrave;ig. Cho aotrom ris a' ghaoith.
Cho aotrom ris an earrach. Mar gum biodh e a' dol a th&ograve;iseachadh &agrave;s &ugrave;r.
As aonais a' ghunna. A' dol a th&ograve;iseachadh &agrave;s &ugrave;r latha earraich. Ann am
Bosnia.
Discuss the content with your lecturer.
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Answer the following questions.
1.
Why do you think the character is not given a name?
2.
Describe the setting of this story.
3.
What are the character's feelings? Give quotes to support your
answer.
4.
Comment on the writer's use of colour. What colours does he
mention and what do they describe?
5.
How does the writer develop a link between nature and the content of
the story?
6.
How is a sense of loss developed through the story?
7.
Select at least three quotes to show how Crichton Smith also
highlights renewal and growth.
8.
Why do you think the character reaches a turning point and decides to
give up his work as a sniper? How does he change at the end of the
story?
9.
How successful do you think Crichton Smith is in putting the sniper's
feelings across? Think of the sniper's opinions and observations.
10.
What is your opinion of this short story? What is successful about it?
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Ri Aghaidh na Creig
Maoilios Caimbeul - Myles Campbell
In this short story, we are given an account of the friendship that existed at
one time between M&igrave;cheal, Se&ograve;ras and Anna, and how this changed. The
three characters are also described in detail.
Read through the text.
Ri Aghaidh na Creig
Dh&ugrave;in M&igrave;cheil doras a' Bh.M.W. aige le brag. Choimhead e air airson
tiotan le s&ugrave;il choibhneil, ghr&agrave;dhach. Am peanta dubh, faileasach; na
loidhnichean r&egrave;idh, clasaigeach. Bha e fortanach gu dearbh gun robh
leithid de ch&agrave;r aige, agus gun robh obair cho math aige mar mhanaidsear
oifis ann an Glaschu a leigeadh dha leithid de ch&agrave;r a cheannach. Saoil
ciamar a bha a sheann charaid Se&ograve;ras agus a bhean bhr&egrave;agha Anna. Thug e
s&ugrave;il mun cuairt. Bha Se&ograve;ras na chroitear ged a bha e cuideachd ag obair
anns a' Chuan-a-Tuath anns na raointean-ola. Bha e air taigh br&egrave;agha &ugrave;r a
thogail. Ri taobh an taighe thug M&igrave;cheil an aire dha Volvo gorm.
Fhreagair Anna an doras.
"M&igrave;cheil!" Bha g&agrave;irdeachas na s&ugrave;ilean agus thilg i a l&agrave;mhan timcheall air
amhaich.
"D&egrave; tha thusa a' d&egrave;anamh san d&ugrave;thaich?"
Choimhead e oirre. Bha i cho br&egrave;agha 's a bha i riamh le a falt b&agrave;n agus a
s&ugrave;ilean tais gorm. Bha e follaiseach gun robh i cuideachd cho c&agrave;irdeil 's a
bha i riamh.
"Tha mi d&igrave;reach a-bhos airson latha no dh&agrave;. Th&agrave;inig mi choimhead air mo
sheann charaidean. A bheil Se&ograve;ras a-staigh?
D&igrave;reach mar a thuirt e na facail nochd e ann an doras an t -se&ograve;mar-suidhe.
Duine f&egrave;itheach l&agrave;idir, gun a bhith ro mh&ograve;r. Th&agrave;inig e agus t habhainn e a
l&agrave;mh do Mh&igrave;cheil.
"Uill, uill, h-abair srainnsear. Cha robh d&ugrave;il sam bith agam riutsa. Ach tha
e math d' fhaicinn. Thig a-staigh, thig a-staigh."
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SHORT STORIES
Chaidh M&igrave;cheil a-staigh. Cha b' urrainn dha gun an aire a thoirt dhan t se&ograve;mar-suidhe br&egrave;agha - an suite beartach uaine, na c&ugrave;irtearan tiugha,
uaine cuideachd, agus am brat-&ugrave;rlair. A h-uile n&igrave; a' co-fhreagradh, an d&agrave;
chuid dathan is stoidhle. She&ograve;rais, duine fortanach gun teagamh sam bith.
Agus a bhean, Anna an fhuilt bh&agrave;in, bha ise cuideac hd a' co-fhreagradh.
B.M.W. nam boireannach, loidhnichean clasaigeach. Agus bha i cho gasta,
c&ograve;ir. Ro ch&ograve;ir, 's d&ograve;cha.
"Uill, uill, cia mheud bliadhna a th' ann on bha thu seo?" arsa Se&ograve;ras.
"Tha mi creidsinn gu bheil tr&igrave;."
"Cha robh sibh p&ograve;sda an uair sin."
"Cha robh," dh'aontaich Se&ograve;ras, "ged a bha sinn air ge alladh-p&ograve;saidh a
thoirt seachad."
"Tha sin ceart," arsa M&igrave;cheil. Bha a l&agrave;mh air g&agrave;irdean an t -s&ograve;fa a'
faireachdainn an aodaich bhr&egrave;agha mheileabhaid. Chuimhnich e air an trup
mu dheireadh a bha e a' coimhead orra. Bha Se&ograve;ras air a thoirt air falbh
dhan ospadal agus chaidh fh&agrave;gail-san le c&ugrave;ram airson Anna. Dh'fh&agrave;s
aodann dearg a' cuimhneachadh air.
Dh'aithnicheadh e fh&egrave;in agus Se&ograve;ras Anna on bha iad &ograve;g san sgoil. Bha
gaol aig an dithis aca oirre ach 's e Se&ograve;ras a roghnaich i aig a cheann thall.
Ach an uair ud, nuair a bha Se&ograve;ras anns an ospadal, bha e air peacachadh na
aghaidh. Cha robh a chogais riamh air leigeil leis. A -nis bha e air tighinn
air ais a dh'iarraidh maitheanas air a sheann charaid.
Bha Se&ograve;ras na sheasamh agus a dhruim ris an teine, a l&agrave;mhan paisgte air a
ch&ugrave;laibh. Bha Anna na suidhe anns an t -s&egrave;ithear ri thaobh agus i a'
fuaigheal. Dh'fhairich M&igrave;cheil an dl&ugrave;ths a bha eadar an dithis. Mar gum
biodh fios aca air smaointean a ch&egrave;ile. Faireachdainn bhl&agrave;th, chofhartail.
Bha e math a bhith ann. Ach bha rudeigin ann mu dheidhinn She&ograve;rais ...
An robh e cho c&agrave;irdeil ris 's a b' &agrave;bhaist dha a bhith? Chuir e a' cheist &agrave;s a
cheann.
Dh'&egrave;irich Anna ...
"Bheil cuimhn' agad nuair a bhiodh sinn a' sreap?" arsa Se&ograve;ras.
"Am bi thu ris fhathast?"
"'S mi bhios. Uill, bithidh nuair a gheibh mi an cothrom, 's chan eil sin
tric."
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"D&egrave; mu dheidhinn a-m&agrave;ireach?"
"A-m&agrave;ireach!"
"Nach bi thu seo?"
"Bithidh, ach ... chan eil an stuth agam leam."
"Na bi dragh ort mu sin. Size ten nach e?"
Chaidh Se&ograve;ras a-mach &agrave;s an r&ugrave;m agus th&agrave;inig e air ais le br&ograve;gan br&egrave;agha
&ugrave;ra. Feadhainn aotrom airson sreap chreagan.
"Seo. Feuch iad sin ort."
Ghabh M&igrave;cheil na br&ograve;gan agus dh'fheuch e iad. Bha ia d d&igrave;reach ceart dha.
'S e br&ograve;gan math sreap a bh' annta. Chaidh Se&ograve;ras a -mach a-rithist agus
th&agrave;inig e air ais le anarac, stocainnean tiugha agus briogais. Bha iad uile
&ugrave;r.
"'S toigh leam fear sp&egrave;ar dhen a h-uile c&agrave;il a bhith agam," thuirt Se&ograve;ras le
g&agrave;ire.
"Tha thu cho c&ograve;ir 's a bha thu riamh," arsa M&igrave;cheil. "Cha robh d&ugrave;il sam
bith agam ri seo."
Th&agrave;inig Anna a-staigh le teatha. Bha iad a' crac airson greis mu na seann
l&agrave;ithean, mar a bhiodh iad a' falbh c&ograve;mhla airson oidhcheannan a' sreap
anns a' Chuilthionn agus an Earra-Gh&agrave;idheal. Bha an tri&ugrave;ir aca math air
sreap. An toiseach bhiodh iad d&igrave;reach a' gabhail a' cheum a b' fhasa chun
a' mhullaich, ach dh'fh&agrave;s iad sg&igrave;th dhe sin agus th&ograve;isich iad a' sreap
chreagan - rud a bha fada na bu chunnartaiche.
Mar bu trice 's e Se&ograve;ras a dh&egrave;igheadh air thoiseach leis an r&ograve;pa agus na
geinnean, na pitons, agus leanadh M&igrave;cheil agus Anna suas e.
"C&agrave;ite ma-th&agrave; a-m&agrave;ireach?" arsa M&igrave;cheil agus e a' d&egrave;anamh deiseil airson
falbh.
"Bodach an St&ograve;rr," arsa Se&ograve;ras. Rinn Anna g&agrave;ire.
"Bodach an St&ograve;rr! A' sp&ograve;rs a tha thu! C&ograve; riamh a shreap Bodach an
St&ograve;rr?"
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SHORT STORIES
"Sin d&igrave;reach carson a dh'fheumas sinn a shreap. Cha do shreap duine eile e
cho fad 's is fhios dhomh."
Cha b' urrainn M&igrave;cheil di&ugrave;ltadh. Bha inntinn She&ograve;rais air a d &egrave;anamh suas.
Dh'aontaich iad gun coinnicheadh iad tr&agrave;th anns a' mhadainn aig an St&ograve;rr.
Mar a bha M&igrave;cheil a' dol chun a' ch&agrave;r chuimhnich e air Anna agus
chuimhnich e cuideachd nach d' fhuair e cothrom buidhinn ri Se&ograve;ras mun n&igrave;
a bha d&egrave;anamh dragh dha. 'S d&ograve;cha nach robh c&ograve;ir aige guth a r&agrave;dh as
d&egrave;idh a h-uile c&agrave;il. Nach robh an dithis aca cho c&agrave;irdeil ris 's a bha iad
riamh. O uill, chitheadh e a-m&agrave;ireach.
Anns a' mhadainn b' e M&igrave;cheil a bh' aig an St&ograve;rr an toiseach. Bha e na
shuidhe air bruaich ag ithe ceapaire agus e a' smaoineachadh air Anna.
Cha robh e air norrag cadail fhaighinn a' smaoineachadh oirre. Bha e a'
d&egrave;anamh dragh dha gun robh an cumhachd ud aice thairis air. 'S bha n&agrave;ire
air gun robh e cho lag. Cha robh e idir a' faireachdainn c oltach ri sreap ach
bha fhios aige gu feumadh e.
Th&agrave;inig Se&ograve;ras. Bha e leis fh&egrave;in anns a' ch&agrave;r. Chuir seo &igrave;ongnadh air.
Ach ann an seagh bha e cheart cho toilichte. Cha bhiodh a cruth &agrave;lainn ga
bhuaireadh agus gheibheadh e cothrom bruidhinn ri Se&ograve;ras.
Thuirt esan, "Cha robh Anna a' faireachdainn ro mhath. Cha b' urrainn dhi
tighinn. Chan e c&agrave;il uabhasach a th' ann, d&igrave;reach fuachd."
Th&ograve;isich iad a' coiseachd suas gu Bodach an St&ograve;rr. Bha Se&ograve;ras cho
bruidhneach 's a chunnaic e riamh e. Bha seo ga sh &agrave;rachadh. Carson nach
sguireadh e a bhruidhinn? Ma bha e a' dol a dh'iarraidh maitheanas air
dh'fheumadh s&agrave;mhchair a bhith ann. Bha e gu bhith doirbh na briathran
fhaighinn a-mach. Bha e do-dh&egrave;ante agus teanga a charaid a' dol gun sgur.
Th&agrave;inig iad gu bonn na creige. "C&ograve; againn a tha dol air thoiseach?"
dh'fhaighnich Se&ograve;ras.
Rinn M&igrave;cheil g&agrave;ire. "Tha fhios agad c&ograve; bhios a' dol air thoiseach. Bha aon
duine an c&ograve;mhnaidh a' dol air thoiseach. Thusa."
"Ceart ma-th&agrave;." Fhuair Se&ograve;ras an r&ograve;pa deiseil. Chuir e crios mu mheadhan
agus mu bhodhaig agus thug e fear dha M&igrave;cheil. Bha geinnean agus
l&agrave;mhan-sreap aige agus Karabiners airson an r&ograve;pa a cheangal ri crios no ri
l&ugrave;b r&ograve;pa.
Choimhead M&igrave;cheil suas air a' chreig ag &egrave;irigh &agrave;rd os an coinn mar th&ugrave;r
Gotach. "A bheil thu cinnteach ...?" th&ograve;isich e. Ach stad e. Bha Se&ograve;ras a'
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coimhead cho cinnteach &agrave;s fh&egrave;in, cho suidhichte na bheachd. Bha e air f&agrave;s
s&agrave;mhach, ga ullachadh fh&egrave;in airson an t-sreap. Cha robh e idir mar bu
chuimhne le M&igrave;cheil e. B' &agrave;bhaist dha a bhith aotrom aighearach nuair a
bhiodh iad a' sreap. Cha robh e a' c&ograve;rdadh ris gun robh e cho s&agrave;mhach.
Th&agrave;inig &igrave;omhaigh Anna fa chomhair inntinn. Dh'fheuch e ri dubhadh &agrave;s.
Ach chan fhalbhadh i. Thuirt e ris fh&egrave;in nach iarradh e maitheanas an dr&agrave;sda co-dhi&ugrave;. Bhiodh t&igrave;de gu le&ograve;r ann airson sin mus tilleadh e a
Ghlaschu.
Th&ograve;isich Se&ograve;ras a' dol suas. Bha an r&ograve;pa a' slaodadh ris s&igrave;os gu far an robh
M&igrave;cheil.
"Thoir an aire ort fh&egrave;in," dh'&egrave;igh e suas thuige. Ach cha tuirt Se&ograve;ras guth.
Bha aire air a' chreig. 'S e sreapadar math a bh' ann. Cha robh teagamh
sam bith air sin. Bha e mar dhamhan -allaidh, cho cinnteach. Th&ograve;isich
M&igrave;cheil ga leantainn. Bha e toilichte gun robh r&ograve;pa aige. 'S e amadain a
bhiodh annta co-dhi&ugrave; a dhol gun r&ograve;pa. Stad Se&ograve;ras air sgeilp os a chionn.
Cha b' fhada gus na r&agrave;inig e faisg air far an robh e.
"D&egrave; tha ce&agrave;rr?" arsa M&igrave;cheil.
Cha tuirt Se&ograve;ras guth.
"An e c&agrave;il a tha ce&agrave;rr?" thuirt e a-rithist ann an guth na b' &agrave;irde.
Bha e a' faireachdainn a bhroilleach a' f&agrave;s teann . Cha robh e n&agrave;darrach
mar a bha Se&ograve;ras air a dhol. Aon mhionaid mar reac&ograve;rdair aig an astar
che&agrave;rr, an ath mhionaid mar linne -uisge sh&agrave;mhach, dhubh. "Tha mi 'g
iarraidh buidhinn riut," arsa Se&ograve;ras mu dheireadh.
"Uill, 's mi tha toilichte sin a chluinntinn. Carson a stad thu? A bheil thu
tilleadh?"
"Tha mi ag iarraidh bruidhinn riut," thuirt Se&ograve;ras a -rithist.
Bha rudeigin na ghuth a chuir gaoir beag tro fhe&ograve;il Mh&igrave;cheil. Choimhead e
suas a-rithist. Bha s&ugrave;ilean She&ograve;rais cruaidh. Na bu chruaidhe na chunnaic
e riamh iad.
"Thug mi an seo thu airson aon adhbhar. Tha mi a' dol ga do mharbhadh."
Dh'fhairich M&igrave;cheil a stamag a' dol ne&ograve;nach. Cha mh&ograve;r nach do thuit e.
An darna cuid bha Se&ograve;ras air a dhol &agrave;s a rian no bha fios aige. Bha fios
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SHORT STORIES
aige gun robh gaol aige air Anna. Bha fios aige d&egrave; thachair o chionn tr&igrave;
bliadhna nuair a bha e san ospadal.
"Tha thu &agrave;s do chiall," thuirt e. "Carson a mharbhadh tu mi?"
Thug Se&ograve;ras sgian &agrave;s a ph&ograve;caid.
"D&egrave; tha thu d&egrave;anamh?" ghlaodh e.
"Tha mi dol ga do mharbhadh. 'S math tha fios agad carson."
"'Son gu bheil gaol agam air Anna?"
"Chan ann," arsa Se&ograve;ras agus e a' fosgladh na sgine, "ach airson an rud a
rinn thu nuair a bha mise san ospadal."
Bha fhios aige. Dh'fhairich M&igrave;cheil dubh eagal airson a' chiad ua ir na
bheatha. Bha fios aige gun robh iad co-dhi&ugrave; air d&igrave;readh d&agrave; cheud troigh.
Bha e re&ograve;thte ris a' chreig. Nan tuiteadh e bhiodh e cho marbh ri sgadan.
Bha a bheul tioram.
"Th&agrave;inig mi dh'iarraidh maitheanas." Bha a ghuth ne&ograve;nach. Bha e fh&egrave;in
ga chluinntinn mar ghuth ne&ograve;nach. Guth fada air falbh.
"Maitheanas. Nach eil thu beagan fadalach?" thuirt Se&ograve;ras anns an aon
ghuth chruaidh. Bha e os a chionn agus a' ghrian air a ch&ugrave;laibh.
Na shuidhe mar gum biodh air cathair &agrave;rd a' toirt breith. Mar dhia
de&agrave;lrach. Dh'fhairich e am fallas a' sruthadh s&igrave;os achlaisean, ga dhiogladh.
"Bithidh fhios aca," thuirt e ann an guth teann, "ma ghearras tu an r&ograve;pa."
"Cha bhi ma n&igrave; mi mar seo e," agus th&ograve;isich e a' sgr&igrave;obadh an r&ograve;pa, fuiltean
an d&egrave;idh fuiltein, d&igrave;reach mar gum biodh a' chreag air a gearradh mean air
mhean. Bha e na shuidh air an sgeilp agus a' l&ugrave;badh s&igrave;os.
"Cha do rinn mi c&agrave;il ce&agrave;rr," arsa M&igrave;cheil na &egrave;iginn. "Bha gaol agam oirre.
Nach toir thu maitheanas dhomh."
Bha fhios aige nach robh feum dha a bhith bruidhinn. Aon uair 's gun
cuireadh Se&ograve;ras roimhe rud a dh&egrave;anamh cha robh n&igrave; air talamh no an n&egrave;amh
a dh'atharraicheadh inntinn. Sin an se&ograve;rsa duine a bha ann. Bha gaol
uabhasach, d&igrave;orrasach aige air Anna. Bha fhios aige nach toireadh e
maitheanas dha gu br&agrave;th.
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Bha an r&ograve;pa gu bhith briste. Ghreimich e le a dh&agrave; l&agrave;imh air d&agrave; sg&agrave;ineadh
caol. Cha robh m&ograve;ran gr&egrave;im aig a chasan. Gun an r&ograve;pa cha mh&agrave;ireadh e ro
fhada. Gun rabhadh thuit e s&igrave;os sia &ograve;irlich. Le oidhirp eagalach ghreimich
e air oir bhig le a dh&agrave; l&agrave;imh. Chuala e a sgiamh a b' uabhasaiche a' dol
seachad air. Dh'fhairich e tarraing aithghearr air an r&ograve;pa a bha mu
mheadhan. Chuala e fuaim sh&igrave;os fodha, bodhaig a' bualadh creig. Fhuair a
chasan gr&egrave;im a-rithist air na sg&agrave;inidhean far an robh iad roimhe. Le
oidhirp sh&ograve;nraichtre tharraing e e fh&egrave;in suas chun na sgeilp far an robh
Se&ograve;ras air a bhith m&ograve;maid roimhe sin.
Laigh e air a mhionach air an sgeilp agus choimhead e s&igrave;os. Bha Se&ograve;ras na
laighe gun ghluasad aig bonn na creige, agus a bhainn fala a' t&ograve;iseachadh a'
tighinn bho bheul. Ghul e agus ghul e mar gum b' e leanabh beag a bh'
ann, mar gum biodh a mhionach a' tighinn a -mach air a bheul.
Discuss the short story with your lecturer.
Answer the following questions.
1.
Which words tell you how precious M&igrave;cheal's car was to him?
2.
How did M&igrave;cheal's lifestyle differ from that of Se&ograve;ras?
3.
Why did the friendship between the three characters deteriorate?
4.
How do you think Anna would have felt knowing that M&igrave;cheal and
Se&ograve;ras had gone out climbing together?
5.
How does M&igrave;cheal feel as he is climbing?
6.
How would Se&ograve;ras have felt as he started to fall?
7.
What do you think Anna's reaction would be to hear about Se&ograve;ras's fall?
8.
How does Caimbeul create tension in this short story?
9.
Comment - with evidence from the text - on these characters:
(a)
(b)
(c)
10.
M&igrave;cheal
Se&ograve;ras
Anna
Do you think the friendship that was between M&igrave;cheal and Se&ograve;ras
here was sincere? Give reasons for your answer.
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ANSWER SCHEME
Sgeama Ceartachaidh - Answer scheme
The following scheme gives suggested answers to questions raised in the
poetry and short story sections of the unit. Answers should be backed up
with evidence from the texts. At all times, students should be encouraged
to give their own personal responses to the literature studied. In som e
places, a choice of possible answers is given.
B&agrave;rdachd - Poetry
Lit' gun Shalainn - Anna Frater
1.
"sgian dubh"; porridge; whisky; thistle
2.
English language; muesli; Martini; rose
3.
He is saying one thing and doing another/he is unsure of which
culture he should be following, etc.
4.
;
...
!
5.
The dialogue brings the reader closer to the situation, as if we are
there, hearing what the character is saying.
6.
"boladh" means "stench" and is a strong, disgusting word. "truagh"
makes the tone seem pitiful - the poet is almost ashamed of the
situation and she is mocking or criticising the character.
7.
Students should give personal opinion.
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LITERATURE (H/AH, GAELIC (LEARNERS)
indicates a list
indicates the poet could continue with her list
the poet is making a strong statement
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ANSWER SCHEME
A chionn 's gu robh mi measail air - Meg Bateman
1.
When the man was drunk, he would come to the poet. She would
make him tea and listen to him. However, when he stopped drinking,
his attitude changed and he treated her badly. Throughout the poem,
she is fond of him.
2.
Student opinion. Bateman is fond of him throughout the poem
despite his changing attitude - "t&agrave;ir" is a strong word to represent the
way he treated her.
3.
Student opinion. Unlikely that Bateman's feelings for the man are
reciprocated. When he is sober, he does not come near her and he
puts her down/cricitises her.
4.
The repetition emphasises her fondness for the man even as his
feelings for her change.
Bha mi gad ch&agrave;ineadh - Meg Bateman
1.
"ch&agrave;ineadh" is a very strong word meaning "criticising" - she was
critical of him.
2.
Her eyes are flashing with anger and she had a reason for this.
3.
Someone else - "thu" - was talking excitedly to him and kissing him
after the play.
4.
Her use of the phrase "Is chr&igrave;on mi sa mhionaid" shows the reader
that jealousy affected her suddenly.
5.
His attention and respect was so precious to her.
6.
"ge b' oil leam" - reluctantly.
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ANSWER SCHEME
Bogsa nan Litrichean - Myles Campbell
1.
It had been years since he was last in the village and he calls it
"...seann bhaile", the old village.
2.
The letterbox had become rusty.
3.
Personal opinion. The place of Gaelic culture and the way of life in
the wider world?
4.
It shows the letterbox is still in use.
5.
It was empty except for dirt and ooze.
6.
Yes - it shows there is little communication (none by post) between
the village and the outside world.
7.
He turned away quickly.
8.
Personal opinion. Perhaps he had an image of the lively, thriving,
bustling community it once was.
9.
The moorland was bare and barren, there was little communication
between the village and the outside world and the village had changed
from what it once was.
10.
It makes it stand out from the rest of the poem.
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Ar C&agrave;nan 's ar Cl&ograve; - Anne Frater
Puingean c&ograve;mhraidh:






bodach anns a' bhaile
beairt
cl&ograve; tiugh, trom a chumadh bl&agrave;th iad
fear &ograve;g nach buineadh don bhaile
dathan br&egrave;agha; aodach tana, lom; aodach &agrave;lainn
Ce&agrave;rr - bha iad d&igrave;reach a' cur orra an aodaich &ugrave;ir; bha iad a' fanaid air
a' bhodach a bha a' d&egrave;anamh a' chl&ograve;imh
 Bha na daoine fuar oir bha an t-aodach &ugrave;r cho tana agus lom. Cha robh e
"tiugh" no "trom" mar a bha an cl&ograve;.
 Ceart
 Bha e marbh.
1.
The title tells us that the poem deals with language and the tradition
of weaving tweed.
2.
Student response. Students could mention comparisons between
Gaelic language and tweed, English language and new cloth, Gaelic
speakers and the loom, Gaelic language skills and the loom, Gaelic
speakers and Gaelic language skills with the ability to "produce"
Gaelic (relate to the "mechanics" of language) and Gaelic speakers
who speak English with the new loom.
3.
The tweed kept them warm as it was thick and heavy.
4.
The new, colourful threads and the beautiful, thin, bare cloth attracted
them.
5.
"...bha na daoine &ograve;g
a' fanaid air,
agus cheannaich iad uile
na beairtean &ugrave;ra..."
6.
"Ach" indicates a change of tone and a contrast with what has just
been explained.
7.
The new, colourful cloth would not keep out the cold.
8.
Personal opinion.
9.
Personal response. It is an abrupt and shocking ending and perhaps a
warning of what might happen if Gaelic were to die.
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10.
Frater relates the ability to craft language to making cloth. The
richness of language is compared to the richness and warmth of
Gaelic. If people lose the ability to "craft" language (i.e. to speak a
language), there is no going back. The "loom" will have rusted and
no one will be able to work it so the language will die.
Leasachadh - Anne Frater
1.
"Leasachadh" can mean "improvement" or "development".
Development is not necessarily an improvement.
2.
Tall - "a dh'&egrave;irich suas"
Healthy - "sliabh glas na beinne", "Uaine &ograve;g mo dhuilleag"
3.
"Ach" means a change of tone and a contrast to what has come before
it.
4.
It has been felled and taken from the forest. All roots, branches and
leaves have been taken off it until it is bare and ready for the saw.
5.
Cut until it was neat; scrubbed until it was smooth; planed until it
was bare.
6.
The tone is sad and hopeless. The tree has been completely altered,
e.g. "chan urrainn dhomh cr&ugrave;badh".
7.
In the first stanza, the reader is presented with the image of health
and vitality but the last stanza is a complete contrast to this.
8.
There is a lot of nature imagery in the poem, much of which is related
to trees, foliage and nature. Students should choose a suitable quote
to illustrate this.
9.
Personal opinion. The poet has been changed and shaped by others.
Personal opinion. Education or English.
Somewhere away from her homeland because she was separated " bho
choille m' &agrave;raich"
She was completely altered beyond recognition; she feels " rag". This
can mean both "angry" and "stiff".
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Cotr&igrave;ona Mh&ograve;r - Derick Thomson
1.
Something that is "daingeann, suidhichte" is well-established. Just
as Cotr&igrave;ona Mh&ograve;r's picture was set in Thomson's mind, this woman
was set in her community.
2.
Any of: "luasgain", "madainn Earraich", "&agrave;bhachdas", "gearradhcainnt", "gun sgle&ograve; air"
3.
Happy memories of her youth and her culture could have kept her
young, e.g.
"...leis a' ghearradh-cainnt
a bha a' leum &agrave; cridhe a' chinnidh"
4.
"uair a' bhaile" relates to the pace of life in the woman's village.
5.
The "heart of the people" has been changed - it has been encased and
a new valve has been attached. This has meant that traditional values
and customs have been relegated to the museum and it is only in this
museum that the poet can access them.
6/7
The old way of life is not readily accessible to the poet - he needs a
key to get at it, the oral tradition recorded and a small spade to find
the old land/tunes (ambiguity of word "fonn").
8.
By retaining such a strong, steady, set image of Cotr&igrave;ona Mh&ograve;r, it
ensures his culture and old way of life are kept al ive in his memory
and are similarly set and strong because she was representative of
them.
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Cisteachan-Laighe - Derick Thomson
1.
He was tall and thin with a small beard. He was a carpenter, making
coffins.
2.
It was in the town; it smelt strongly of sawdus t; it contained
hammers, nails, saws, chisels and coffins; the poet's grandfather
could be seen bent over the coffins, planing them.
3.
The poet says he did not know what death was - he did not even have
the slightest idea.
4/5
He was aware of the cold - "latha fuar Earraich" and the desire to go
home to conversation, tea and warmth.
6.
Not the school of life but the school of education/university.
7.
Lecturers.
8.
Other students.
9.
They were being changed and adapted from their original condition to
having lowland varnish and English braid applied.
10.
"a locradh a' chridhe" and "tairgean a' dol tromham" give harsh
images of a heart being planed and nails going through him. They
relate to the making of coffins in stanza 1.
11.
No. Tea and conversation will not heal the pain in this situation.
12.
Thomson did not understand death when his grandfather died yet he
understood that his culture was dying. Tea and conversation could
heal the pain he felt over his grandfather's death but it could not heal
his hurt when he realised his culture and way of life were dying.
13.
Parallel images - Thomson relates the craft of making coffins to the
traditional way of life being altered. He also relates the death of his
grandfather to the death of his culture.
Simplicity of language - Thomson writes the first two stanzas from a
boy's perspective, before the realisation of death comes to him.
Alliteration - the repetition of the "b" sound emphasises the darkness
and silence of death "beachd, bloigh fios, boillsgeadh".
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Metaphors - coffins used to symbolise the old way of life.
Structure - Stanza 1 gives a description of his grandfather and his
workplace. Stanza 2 - death of his grandfather. Stanza 3 - build up
to the dying of his culture. Stanza 3 relates to the images developed
in the first two stanzas.
Use of awareness of the senses - vivid description of sights and
smells enable the reader to really imagine being in Thomson's
grandfather's workplace. The reader can feel the cold the poet felt
standing at the graveside and similarly feel and taste the warmth and
tea that comforted him so well afterwards. In stanza 3, the strong
word choice conveys the hurt and pain felt by Thomson.
Religious imagery in stanza 3 - "tairgean a' dol tromham" conveys
the sense that the dying of his culture is as painful as being crucified.
It implies the idea of Christ dying on the Cross. Also, " tairgean"
relates to the craftsmanship associated with his grandfather's
occupation.
Advanced Higher
Important points:
 craft imagery being used as a parallel to the Gaelic language or culture
dying out
 both give the reader warnings about the importance of keeping Gaelic
language and culture alive
 similar student reactions to the poems?
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Anns a' Bhalbh Mhadainn - Derick Thomson
1.
The land was level and it was under a blanket of whiteness. Each
snowflake was still.
2.
The sheep were lost on the moor and a morning was spent looking for
them.
3.
"m&igrave;n, marbhteach, m&ugrave;chaidh" - repetition of "m" sound showing how
soft the snowy landscape looked yet it was deadly and smo thering.
There is an interesting juxtaposition of the calm word " m&igrave;n" with the
words "m&ugrave;chaidh" and "marbhteach".
4.
The culture is still alive; it is not dead and there is hope that it will
survive.
5.
"anart" is linen or a death shroud. In this context, th e meaning
"death shroud" is more apt. The poet is urging the reader not to put
trust in the death shroud - that is, not to think that the culture is dead
already and nothing can be done to revive it.
6.
The poem is made up of two stanzas of seven lines. St anza 1 is made
up of two sentences and stanza 2 has just one long sentence. Commas
are used to separate ideas within sentences and to separate adjectives.
A semi-colon and a colon are used in stanza 2 to break up ideas in a
stanza that is made up of just one sentence and also to indicate that
there is more information to come that relates to the information that
has already been given. The last four words are indented,
emphasising the point that there is still hope; that the breath of the
Gaels - just like the breath of the sheep - is coming to the surface.
Advanced Higher
Important points:
 poets warn readers to keep the language and the culture alive
 images that many readers can identify with - snowy scenes, weaving
tradition
 some use of adjective in both poems to set the scene
 personal reactions to the poems?
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Clann-nighean an sgadain - Derick Thomson
1.
Sea imagery - "salainn", "an s&agrave;l 's am picil", "cho domhainn ri
f&egrave;ath", "Bu shaillte an duais", "gaoth na mara"
2.
They were laughing.
3.
He compares their laughter to a salt shaker and their eyes to a deep
ocean.
4.
Poor social conditions meant that the girls had to leave their
homeland to go to work on the mainland and send money home to
their families - "eallach a' bhochdainn 'nan ciste".
5.
"an s&agrave;l 's am picil air an teanga"; "'nan tr&agrave;illean aig ci&ugrave;irearan
cutach"; "Bu shaillte an duais a th&agrave;rr iad"; "...m&igrave;ltean bharaillean";
"gaoth na mara geur air an craiceann"; "air oidhche robach
geamhraidh", etc.
6.
It was harsh and difficult work but they were proud, hard -working,
good-natured and they had fun.
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Do Mo Mh&agrave;thair - Iain Crichton Smith
1.
It was so hot that it was hurting them - connection with sea imagery.
2.
Harsh working conditions:
 blood on knife - fishes or hers?
 harsh salt
 taste of salt on her lips, choking her.
3.
In Aberdeen, studying.
4.
His Gaelic was confined to books and he used his Latin more.
5.
He has a relaxed, comfortable life in comparison - sitting in a chair,
drinking coffee and studying.
6.
"aig an sti&ugrave;ir"; "si&ugrave;il na sgoilearachd"
7.
He would not like to be getting up when it was still dark and to be
working in such harsh conditions.
8/9. Whilst she was tearing at and gutting fish, he was doing the same to
words. He uses the metaphor of getting his own blood on his hands
conveying the idea that poetry writing was difficult. Words would
jump around like fish until they were set in poetry. His language kept
strict control over him like a cooper.
10.
Quite a regular rhythm, e.g. stanza 2 - "&ugrave;r" and "sti&ugrave;ir"
Advanced Higher
Personal response, giving evidence from the poems to support the answer.
Suggestions:
Comparisons
same topic - herring girls
sea imagery
social commentary
Contrasts
Crichton Smith compares his life with his mothers;
Thomson does not
Thomson refers to the historical background behind the
work; Crichton Smith does not
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Latha Foghair - Sorley Maclean
Puingean c&ograve;mhraidh
 Setting - autumn day, on a slope, weapons screeching around him,
people dead near him. Morbid setting. The poet is sad and scared.
 Repetition - "sianar marbh" emphasises the horror of the situation.
Repetition of "agus" intensifies the idea of more and more horrific
images.
 Sounds - use of onomatopoeia makes the setting clearer in the reader's
mind.
 Sights - so the reader can visualise what the poet has in his mind.
 Alliteration - so the poem flows well; repetition of the "l" sound -
"leum an lasair" is quick, like the flame jumping up; repetition of "b" -
"a buille 's bualadh" is a harsh sound.
 Contrasting adjectives emphasise the horror and monstrosity of battle.
 Capital letter for "Taghadh" gives it importance and is also biblical. It
is God's choice who will live and who will die.
 Maclean does not understand why he was not chosen and does not
understand why it was those six who were. It s eemed to him that God
was as indifferent as the shells that killed them.
 Structure - the last line sums up the poem and details once again the
shocking, harsh reality of the situation. Despite battle going on around
him, the poet was struck the most by the six people who were dead
beside him.
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&Ugrave;rnaigh na Ban-T&igrave;grich - Catr&igrave;ona Montgomery
1.
"Athair 's mo Dhia"; "coimhead thusa, Thighearna, oirnn le truas ";
"D&ograve;irt s&igrave;os do mhathas caomh, a Dh&egrave;", etc.
2.
No rain/water; crops are not plentiful; hungry; hurt; bru ised; in pain;
husband dead; her young child is without a father; she does not
recognise her husband's grave among all the others; weakened by the
heat of the sun; cold at night; ragged clothing, etc.
3.
It is very hot by day and cold at night. The heat mak es them feel
faint yet they are poorly clothed for the cold they feel at night.
4.
Kind goodness to be poured down (like the rain they lack) upon them
and to not let evil completely take over, i.e. a better life for herself
and for her child.
5.
Her life is just as painful. Christ was crucified just as this woman
feels she is being.
6.
"biathadh" means "fed". The people of Tigre are being fed lies by
the authorities. This word is usually used for food - something that
they are very short of; they are "acrach". Ironic.
7.
Personal response. Pity - the woman living in such poverty with a
young child. Anger - that people live in such appalling conditions.
Sadness - for the woman and her child. Grief - for the loss of the
man.
8.
Stanza 1 - aaaa; stanza 2 - aaaa; stanza 3 - aabb; stanza 4 - aabc;
stanza 5 - aabb. Irregular rhyme scheme yet the poem reads
rhythmically.
Aspect of the poem
This is a prayer
Drought
Lack of crops
Hunger
Pain
Death of the woman's husband
The effect of the heat
The effect of the cold nights
Clothing
The woman's pleas to God
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Quote
"Athair 's mo Dhia"
"gur gann an t-uisge"
"gur gann an s&igrave;ol"
"sinn acrach"
"creuchdach, br&ugrave;ite, piant"
"Adhlaichte an-diugh mo luaidh"
"sinn fannachadh le teas na gr&egrave;in"
"ga ar mealachadh le fuachd"
"'s ar sgeadachadh cho truagh"
"D&ograve;irt s&igrave;os do mhathas caomh, a Dh&egrave;"
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R&ograve;dhag 2000 AD - Catriona Montgomery
1.
Warm smell of milk from the byres; tackety boots; moor land; crofts
2.
"ri d&igrave;dearachd"; "ri farchluais"
3.
uncertain of
interested in
angry at
4.
she is passively observing/she is not directly
involved
"bidh mi ri d&igrave;dearachd"/"bidh mi ri farchluais"
word choice - "guthan cruaidh Sasannach"
Repetition - students should identify:
"Nuair a bheir an fheannag
an t-s&ugrave;il &agrave;s a' chaora mu dheireadh"
Also, "cruaidh", firstly used for plates, then voices.
Italics - words that are not from Gaelic.
Students should give personal opinion of the significance of repetition and
italics but some reference should be made to repetition emphasising a point
and italics highlighting a point or a word and making it stand out.
Advanced Higher
Student response, which could mention:




use of images traditionally alien to Gaelic culture
poets' social commentary
poets' attack on and disapproval of the dilution of Gaelic culture
possible similarity in student reaction to the poems.
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Cogadh an D&agrave; Ch&agrave;nain - Myles Campbell
Puingean c&ograve;mhraidh:
 A harassed child
 It is clear from the title that the poem is about a war between two
languages, Gaelic and English.
 Gaelic - cream; mother; butter; cheese; sweet cream and oatmeal dish.
 English - skimmed milk; nanny; sour milk.
The Gaelic imagery is rich and comforting but the imagery relating to
the English language is bare and it gives no comfort or sustenance.
 A mother gives a richness and comfort that cannot be given by another.
 Writing in the first person makes the poem more of a personal reaction
to the "war". It makes the poet's argument stronger and more credible.
 "an sgalag! an tr&agrave;ill!" - exclamation marks emphasise the poet's strong
point. It is as if the poet is shouting.
 The poet has a negative opinion of English - "blas searbh na mo bheul"
- a strong, unpleasant taste.
"Tha a bainne a' dol
tarsainn m' anail" - conveys a sense of choking.
 The poet has a positive opinion of Gaelic -
"...stapag mhilis
a tha daonnan nam bhr&agrave;igh"
English is fighting for supremacy but for the poet, Gaelic will always
have supremacy.
 "sabaid" - "fighting", relates to "cogadh" - war.
 "s&agrave;raicht" - strong word choice, showing the poet is harassed and fed
up, which conveys how the poet feels about the struggle in his life
between the two languages.
 Gaelic is more fulfilling than English and it will always be Gaelic that is
in his heart, reigning supreme over English.
Advanced Higher
Students could mention:
 the poets' attitudes
 use of metaphor
 use of the first person
 sentence length
 messages
 own personal opinion/reaction to the texts
etc.
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Bantrach Cogaidh - Rev. John MacLeod
1.
Clear, simple scene-setting so the reader can visualise the widow
quickly.
2.
Firstly, the reader get clues that suggest he wore sailor's clothing -
"deise ghorm"; "bonaid cruinn...m' athar"; "briogais bh&agrave;n". Then,
the harsh reality -
"nuair fhuair iad e
fuar b&agrave;thte air an tr&agrave;igh"
3.
The questions point to the young boy's innocence and lack of
understanding of the grieving process, rather like Thomson's young
boy in Cisteachan Laighe.
4.
She wears black clothes, has a heavy heart and collects her
(widow's?) pension. When she lifts him on her lap, her head is bent
over and his face becomes wet with her tears.
5.
The two-minute silence made him reflect on what the war heroes had
done for the country but he then ran home excitedly to tell his mother
that there would be no more war.
6.
She was aging prematurely - the hard life she had was turning her
hair grey.
7.
Her grave was beside the sea, just as her husband's body had been
found by the sea.
"Cha chlisg thu chaoidh aig gaoith no stoirm.
Sibh sin cho r&eacute;idh, thu fh&eacute;in 's an cuan" - implication that stormy
weather frightened her; it reminded her of the night the Iolaire sank
but now she is at peace.
8.
She did not live to see the Second World War and she did not see her
son leave for battle in a blue suit and a round hat like his father was
wearing when they found his body. It is ironic that he ran home from
school to tell his mother there would be no more war yet there was.
9.
The first and last stanzas link by mentioning clothing - this shows
how the boy and his father were linked.
10.
Personal opinion, supported by relevant quotes. Suggested responses:
 tragic story - feelings very clear
 simplicity of language - told from a young boy's perspective
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 subtle, shrewd use of language, e.g. "aodach dubh" to mean the
woman is in mourning
 innocence of the boy is appealing
 tragic irony.
11.
Personal opinion, to be supported by relevant quotes, e.g.
sadness - when the boy asks where his father is, his mother cries
shock - the boy also has to go to war.
Advanced Higher
Personal response, to be supported by relevant quotes. Suggested points:





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theme - death
similarity in innocence and lack of understanding of death
both told from the perspective of a young boy
simplicity of language
mourning.
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Bean Dubh a' caoidh a Fir a Chaidh a Mharbhadh leis a' Phoileas -
Duncan Livingstone
Puingean c&ograve;mhraidh:
 Repetition of "Baba Ink&ograve;si Sikelele" and use of phrases such as
"Car son, a Dh&eacute; a tha san chathair,
Car son an-diugh a rinn Thu 'n latha?"
 Bloody, violent, awful setting.
 The woman's husband has been killed by white people and she sees the
blood flowing from him and his guts ent railing.
 Repetition of certain words, e.g. "Och, mo chr&agrave;dh, mo chr&agrave;dh 's mo
l&eacute;ireadh".
 Honest, awful word choice, e.g. "'s a mhionach &aacute;s a' slaodadh";
"Ghearradh sg&ograve;rnan nam fear fuileach"
 Shocking. Relays the horror of the terrible situation the country is in,
e.g.
"Am fear b&ograve;idheach laigh ri m' thaobh-sa
An-sin 's a mhionach &aacute;s a' slaodadh"
 She is very unhappy and angry - her children are now without a father
and she has lost her husband.
 Imagery is harsh and gory and reflects the situation the woman fin ds
herself in and the reality of life in Sharpeville at this time.
 Personal opinion. To put the reader in the persona of the woman and to
relay the horrific events to those who were not a part of it, then others
would realise the injustice of the situation?
 Personal opinion.
Advanced Higher
Personal response required, with quotes to support, but students could
consider the following points.
 Both women are against the authorities that have left them in these
situations - they and their children have been left grieving with no
explanation or reason for their loss.
 Both women are religious and are praying to God for their horror to end
and for their lives to become better.
 Very effective imagery used to put across the poor conditions the women
are living in.
 Both poets use harsh, strong vocabulary to describe their situations.
This makes the situations real and dramatic - the reader can visualise the
events.
etc.
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Sgeulachdan Goirid - Short Stories
Aig a' Chloich-chuimhne - Iain Crichton Smith
Puingean c&ograve;mhraidh
 It is not necessary to know his name - we know so much about him and
his feelings.
 Flashback to battlefield in France and the sights and sounds of battle.
His comrade Frank is dead, or so he thinks. When he sees a German
soldier jumping out in front of him he hears a bullet and he realises
Frank has shot the German. He sees the image of the dead German. The
old soldier is uncomfortable thinking about this - he shivers and pulls
his coat tighter.
 "ifrinn" means "hell" - this is what the old soldier thinks of war.
 He jumps in front of Frank and then when he is shot, his appearance is
made very clear - his chest is covered in blood, his two eyes are open
and he is frothing at the mouth. His mouth is open and his teeth are
showing. He is a young man with blue eyes and ruddy cheeks.
 "Th&ograve;isich e a' sgriachail nuair a shlaod iad air falbh e " - the old
soldier screamed after having stood watching the German for a long
time. "Goirid an d&egrave;idh sin chuir iad dhachaigh e" is in a paragraph on
its own. This suggests he had become unfit for work because he was so
affected by Frank shooting the German.
 He thought the service was amusing when the minister said "They shall
grow not old, as we that are left grow old". He leaves soon afterwards.
 He still sees Frank's face, unaffected by age.
 He is drawn to the memorial every year. He has " doimhneachd
aognaidh" in his eyes, remembering the war.
 Regiment and ceremony are still a part of him - "theab e seasamh na bu
d&igrave;riche ach cha do rinn e sin"
 "...theich dithis no thri&ugrave;ir &agrave;s a rathad, 's iad a' toirt urram dh&agrave; ". They
realised what he had experienced and that he had been a part of the war
they were commemorating.
 Very different in war - planes, bullets in the air, link to his paintings.
 Red, like blood or poppies - both associated with war. No red in his
paintings until the end of the story.
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Literary techniques - student choice.
1.
Smith uses clear, simple language effectively to convey the soldier's
feelings and experiences, especially in the flashback.
2.
The old soldier cannot understand why he was saved yet Frank was
not.
3.
He still felt he should/war was still on his mind/he was looking for
answers as to why he survived but Frank did not.
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M&agrave;iread - Iain Crichton Smith
1.
The reader does not know who "iad" are - it makes us want to read
on.
2.
They were not short of money and he had been a superintendent in the
police.
3.
"'S e an aon rud a-riamh a chuir faileas air am beatha nach robh
clann aca"
4.
It starts with "Agus" and it is in a paragraph on its own.
5.
Small girl, pink dress, blue doll-like eyes.
6.
They become very friendly and talk to each other for some time.
Anna tells M&agrave;iread stories and she wished they could be together
forever. M&agrave;iread was Anna's mother's name and pink was her
mother's favourite colour. They hold hands and M&agrave;iread is given a
room to herself. One day, they argue over spilt water.
7.
Murdo was a skilled fisherman and policeman but it was only when
he was out that M&agrave;iread would appear.
8.
He thinks it is because he leaves her alone so much.
9.
The reader is left knowing that the couple have both heard the piano -
will Murdo see M&agrave;iread too? Or is he trying to humour his wife by
pretending to hear the music?
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An Duine Dubh - Norman MacDonald
1.
Hardworking - she has a basin in her hand to feed the hens; black
clothes; walking stick.
2.
Small, well-built man, teeth as white as shells, skin like peat, heavy
bag in hand.
3.
To sell goods. He had bargains - stockings, petticoats, aprons, nightdresses, etc.
4.
She exclaims: "Chan eil mi ag iarraidh c&agrave;il an-diugh!"; use of
exclamation mark then the woman's face gets red in frustration.
5.
Small white handkerchief.
6.
He gave her the handkerchief for Christmas but it was only the
summer.
7.
She described her hens to the man and she did not want to sell them -
just the eggs.
8.
She wanted to ensure he would treat them well.
9.
"gogadaich" - clucking.
10.
Three small bodies in the grass, the black man above them, hen
kicking in his hand, he had an unusual big knife in his hand with
which he cut the head of the fourth hen.
11.
She lifted her walking stick and went running towards him with it,
shouting at him. She calls him "a bhiasd". She hits him with the
stick and she repeats "Obh! Obh!" again and again.
12.
She finds a book with unusual writing - it is the Koran.
13.
Student opinion - sacrifice?
Students should write a short paragraph pulling together information on the
characters, using information from the questions above.
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Student responses should be taken from the text but could make reference
to the man's confusion over when Christmas is and the woman laughing at
him when he mentions this. She is rather patronising - "'S fhada gu
Nollaig, a bhr&ograve;inein". The woman does not know about "Latha
Mahommed" or Allah and she does not recognise the Koran.
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An Duine Dubh - Iain Crichton Smith
Possible answers:
 "feadhainn dearg mar fh&igrave;on, feadhainn glas mar mhuir, feadhainn uaine
mar thalamh, feadhainn buidhe mar ghealaich "
 "Cha d&egrave;anadh i mach facal dheth"
 "Am biodh esan a' dol gu dannsan?"
 "Smaoinich i air a h-athair a' sl&igrave;obadh an eich a bh'aca uair"
 "Thug e s&ugrave;il timcheall an t-se&ograve;mair"
 "Rinn i g&agrave;ire...Rinn esan g&agrave;ire cuideachd"
Significant quotes:
 simile - her hair was so white it was like she was wearing a helmet of
snow
 simile - material was so fine and smooth it was like water runn ing
through her hands
 alliteration of "l" sound - soft, like the kindness she felt on receiving
the stockings
 despite the darkness (differences in culture, etc.), they communicated
effectively and their two worlds came together for a brief time
 he was in the country to make a living and would be back in his own
country within six years
 shows how hard his work was, carrying a big suitcase full of things to
sell
 shows their communication and understanding of each other
 reader thinks all through the story that the man is the stranger but at the
end, it is clear that the woman is a stranger in the town too.
Literary techniques:
 many similes, describing cloth, appearances, etc.
 questions confirm their uncertainty of each other's cultures
 on the whole, sentences are short - this reinforces the communication
difficulties between the two characters
 detailed description of the interior of her house given to enable the
reader to identify with the setting.
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Advanced Higher
Personal response.
Students could mention:
 theme - occupation of men; historical context
 characters - black men and Gaels
 plot - selling goods, communication difficulties, culture clash
(Macdonald) and cultures coming together and complement ing each
other (Crichton Smith)
 settings
 purpose/message - social commentary; to show how cultures can
understand and complement each other despite differences; to show how
cultures can learn from other cultures.
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A' dol dhachaidh - Iain Crichton Smith
Obair clas - Puingean c&ograve;mhraidh
 Brings the reader closer in to the story; helps us to identify with the
character; puts across his thoughts.
 Use of short sentences reflects his anticipation and excitement at
returning home.
 The story centres only on this one man, his life, his hopes and his
feelings.
 Eager, excited and relieved to be going home - "Chan eil c&agrave;il coltach
ris", yet he is concerned he will be a stranger in his own family because
of what he has experienced: "Chan eil math dhomh innse dhaibh".
Thoughts of freedom. Sorrow is behind him and there is a fresh, new
world ahead of him.
 He did not think he would live through it. It was hard: " Bha an cogadh
cho fada 's an t-slighe cho d&ograve;rainneach". "stoirm fala" - horror of war.
Disgust for the violence he saw.
 He cannot wait to get back to warm houses, getting up in quiet, not to
have to wear his uniform and he wants to be a part of daily conversation
with friends and neighbours. His thoughts of home arouse strong, deep
feelings in him and feelings of sympathy in the reader as the young
soldier is returning home after serving in war.
 Very aware and observant, appreciating how precious everything around
him is - white stars, white moon and skies white with frost, captain's
white face (repetition of white - innocence and sense of a fresh start).
"Ch&igrave; mi sr&ograve;n na soithich 's i a' gearradh troimh 'n chuan, a sr&ograve;n
bhiorach shearbh" - personification of boat.
 He realises he is going back to a faultless world, better than the one he
has just left. He has learnt a lot: "Thug sinn a mach ar sgoilearachd
anns an dorchadas".
 A great deal of detail is given to the life awaiting the soldier so the
reader is given the same sense of anticipation as the character has.
 Right at the end of the story, there is a shock - "'S math an t-ainm a thug
iad oirre: AN IOLAIRE". The reader has no idea until this point that the
character is on the Iolaire and it is ironic that this is the boat that is
sailing him to freedom, safety and happiness. The writer does not need
to add any more information; the reader knows the fate of the bo at as
everything is woven into the name. The name "Iolaire" still arouses
feelings of mourning and sadness. Crichton Smith skilfully draws the
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reader's attention to the disaster without mentioning the accident - it is
all in the imagination of the reader. Ironic that the character has so
much trust in the captain: "Tha fios aige-san d&egrave; tha e d&egrave;anamh".
Soldier's hopeful journey to safety - a journey he never thought he
would see alive. Another irony is that the accident happened on New
Year; traditionally a time for a new start.
Advanced Higher
Personal response. In answering both questions, students could mention:
 effect of characters actually being a part of the tragedy in some way
 personal feelings of the characters
 writers' use of literary techniques
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Ann am Bosnia - Iain Crichton Smith
1.
There is no need to know his name. The reader finds out a lot about
him in other ways, i.e. through his feelings, actions, etc. Also, he is
hidden.
2.
Sniper sits in a tree with a bridge in sight; violence thr oughout the
country; spring day; new leaves on the trees; planes overhead.
3.
Recurring idea: "Bhiodh droch n&agrave;dar ga l&igrave;onadh fad na t&igrave;de ". He is
angry and wanting revenge for the killing of his family (wife and
son). He is very lonely now. It hurts him to think of the pain of
losing his family. He does not have any friends; he does not want
conversation.
4.
Low, red moon; fresh, green leaves on trees; white smoke of NATO
planes; young boy had yellow pail at the well and he was wearing a
red jumper; his world was like red in front of him; when the boy turns
round, he has the face of the sniper's son and he is wearing his son's
green anorak.
5.
Images from nature appear throughout the story, especially tree
imagery. This contrasts greatly with war imagery. Spr ing - when all
is fresh, new and blooming - connects with the new start the sniper
wants to make. He realises he will not kill again and he is going to
leave his job. His feelings in the final paragraph are compared with
the lightness of green leaves and the lightness of the bird sitting on a
branch.
6.
The reader quickly learns that he has lost his son and he is still
grieving. His anger recurs through the story. He recalls happy
memories with his son and this makes him upset.
7.
e.g. "A' dol a th&ograve;iseachadh &agrave;s &ugrave;r air latha earraich"; "Bha
duilleagan nan craobh &ugrave;r is uaine"; "Bha na duilleagan c&ugrave;bhraidh is
&ugrave;r mun cuairt air"; "Bha an t-isean a' gluasad an siud 's an seo", etc.
8.
The sniper realises that if he kills the young boy, another man will
lose his son, just as he did when his son was killed. He does not want
others to suffer like he is suffering. He would previously have shot
this boy but in this boy, he sees his own son so he does not. At the
end, he feels all the anger and bad feeling leave him.
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9.
Personal opinion but students should make a point and support it with
evidence from the text, e.g. the sniper's feelings are put across
clearly - he is so angry that his son was killed and when he realises
he no longer wants to be a sniper, this manifes ts itself physically:
"Bha chorp gu l&egrave;ir a' sruthadh le fallas, 's bha de&ograve;ir na sh&ugrave;ilean ".
10.
Personal opinion.
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Ri Aghaidh na Creig - Myles Campbell
1.
"Choimhead e air airson tiotan le s&ugrave;il choibhneil, ghr&agrave;dhach "
2.
M&igrave;cheal - good job; office manager in Glasgow that allows him to
buy a BMW.
Se&ograve;ras - crofter; job on North Sea oil rigs; owns a Volvo.
3.
Anna cheated on Se&ograve;ras with M&igrave;cheal when Se&ograve;ras was in hospital.
4.
Personal opinion - worried; concerned; happy they were friendly
again?
5.
He didn't want to climb but he knew he had to so that Anna would
not think he was weak. He is nervous: ""A bheil thu cinnteach...?"
th&ograve;isich e. Ach stad e."
6.
Worried; angry; panic.
7.
Worried; concerned; panic.
8.
Short sentences, slowly reaching a climax in the second last
paragraph with Se&ograve;ras gripping on to the rope.
9.
Personal response with evidence from the text.
10.
Personal response with evidence from the text.
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NATIONAL QUALIFICATIONS CURRICULUM SUPPORT Gaelic (Learners) Literature [HIGHER; ADVANCED HIGHER] The Scottish Qualifications Authority regularly reviews the arrangements for National Qualifications. Users of all NQ support materials, whether published by LT Scotland or others, are reminded that it is their responsibility to check that the support materials correspond to the requirements of the current arrangements.

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Ruairidh MacThòmais, agus fiosrachadh mu litreachas Ghàidhlig.

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Artagail a' bruidhinn mun a' bhàrd agus an dàn, Cisteachan-laighe'.
(Article originally in Czech - translate homepage to read in English using Google function)

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Derick Thomson / Ruaraidh MacThòmais

Když v březnu 2012 zemřel profesor Derick Thomson, novináři, akademici i umělci vzpomínající na zesnulého se shodli v přesvědčení, že žádný jiný člověk se ve dvacátém století nezasloužil o zachování a rozvoj skotské gaelštiny a gaelské literatury jako právě on. Kromě své vlastní básnické tvorby, která otevřela gaelské poezii nové formální i tematické obzory, také založil a padesát let redigoval nejvýznamnější gaelský časopis, vyučoval keltská studia na několika skotských univerzitách a zásadně ovlivnil další generace gaelských básníků, lingvistů a literárních vědců.

V desátém století našeho letopočtu byla gaelština oficiálním jazykem skotského království. Diskutovalo se v ní o politických i náboženských otázkách, avšak vlivem pozdějších politických ústrků i nepříznivých historických okolností se stala jazykem ohroženým. Sčítání lidu z roku 1881 zaznamenalo 230 000 mluvčích, sčítání z roku 1921 už jen 150 000 a v polovině dvacátého století už gaelštině mnozí vystavovali pomyslný úmrtní list. Tento jazyk, jenž byl několik staletí pokládán za dobrý leda tak pro rozpravy o ovcích a rašelině, si ve dvacátém století svobodně zvolilo za svůj vyjadřovací prostředek hned několika výjimečných básníků, jejichž význam přesahuje hranice gaelsky mluvících oblastí i celého Skotska. Vedle známějšího Sorleyho MacLeana (1911-1996) je jedním z nich i Derick Thomson.

Derick Thomson (v gaelštině Ruaraidh MacThòmais) se narodil 5. srpna 1921 ve Stornoway na ostrově Lewis, který je součástí Vnějších Hebrid. Právě Lewis, Harris a další ostrovy na západě Skotska patří dosud k oblastem se silným zastoupením gaelsky mluvící populace a v době Thomsonova dětství a mládí se v jeho rodné komunitě mluvilo převážně gaelsky. Thomson sám vyrůstal v bilingvní domácnosti - jeho mateřským jazykem byla technicky vzato angličtina, ale v pěti letech již mluvil oběma jazyky zcela plynně. Dětství a mládí v sevřené tradiční komunitě Thomsona hluboce ovlivnilo a ve své pozdější tvorbě se snažil tento zanikající svět co nejpřesněji zachytit.

Thomson vystudoval gaelštinu a angličtinu na Aberdeenské univerzitě a ve studiích pokračoval na univerzitách v Cambridgi a ve velšském Bangoru. Od roku 1948 působil jako asistent na katedře keltských studií Edinburské univerzity. V letech 1963-1991 zastával post profesora keltských studií na univerzitě v Glasgowě, kde inicioval projekt historického slovníku skotské gaelštiny. V roce 1951 spoluzaložil a dalších padesát let redigoval gaelsky psaný čtvrtletník Gairm (tj. „zvolání, výzva, kohoutí kokrhání", motiv kohouta tvořil i logo časopisu). Tento v zásadě rodinný magazín, v němž nechyběly křížovky, cestopisné reportáže, ilustrované reklamy a módní poradna, od samého začátku fungoval také jako důležitá platforma pro vydávání moderní gaelsky psané literatury a pro diskusi o aktuálních politických a společenských otázkách. Roku 1968 založil Thomson přidružené vydavatelství Gairm Publications, které vydávalo poezii, beletrii, dětskou literaturu, slovníky i učebnice. Podařilo se mu rovněž zpřístupnit gaelskou literaturu, dějiny a kulturu širší veřejnosti dvěma zásadními publikacemi: svým Úvodem do gaelské poezie ( An Introduction to Gaelic Poetry, 1974) a Průvodcem gaelským Skotskem ( The Companion to Gaelic Scotland, 1983), který uspořádal. Podílel se také na vydání antologie evropské poezie v gaelských překladech od Catulla přes Shakespeara až po Pabla Nerudu či Borise Pasternaka. Thomson sám pak za jeden ze svých velkých úspěchů považoval kompletní překlad učebnice biologie do gaelštiny, čímž dokázal, že gaelština obstojí i coby jazyk přírodních věd.

Thomson byl po většinu svého činorodého života aktivní také jako básník a jeho tvorba patří k vrcholům gaelské literatury druhé poloviny dvacátého století. První sbírku básní, nazvanou An Dealbh Briste (Rozbitý obraz), vydal roku 1951, poslední, s titulem Sùil air Fàire (Pohled na horizont), vyšla r. 2007, tedy v roce autorových šestaosmdesátých narozenin. Thomsonova tvorba je pestrá a rozsáhlá, přičemž se vyznačuje několika základními rysy: důrazem na smyslové vjemy a živoucí obrazy míst a lidí; tlumeným, spíše introspektivním tónem, který je občas rozrušen vášnivým rozhořčením (jedná-li se o minulé i současné křivdy a politické nepravosti), a zejména typickým humorem, který dokáže být laskavý i sžíravý, filozofický i klukovsky uličnický.

Zdrojem celoživotní inspirace byl pro Thomsona rodný ostrov Lewis. Poezie věnovaná místům, jednotlivým ostrovům či specifickým oblastem má v gaelské literatuře staletou tradici. Thomson, jeden z největších odborníků na gaelskou poezii vůbec, tuto tradici detailně znal a v mnohém na ni navazoval, zároveň ji však radikálně přetvářel. Namísto tradičního opěvování rodné hroudy přinášejí jeho básně komplexní analýzu posedlosti domovem, kam se však již nemůže a nechce vrátit, a zkušenosti exilu - osobního i společenského, geografického i vnitřního. Jeho vrcholná sbírku z roku 1970, An Rathad Cian (Daleká cesta), je dedikována „coby obětina mému rodnému ostrovu", a jak Thomson sám poznamenal, kniha byla jeho pokusem vyvázat se z celoživotního „milostného vztahu" s místem, kde se narodil a vyrůstal. Lewis je na stránkách sbírky oslovován jako nestvůra, milenka, matka, kámen, loď i tkalcovský člunek a stává se zároveň námětem i prostředkem básnického sdělení.

Ačkoliv je Thomson nejčastěji spojován právě s Lewisem a tematikou exilu, jakožto básník se tohoto osvědčeného tématu nedržel. Terapeutická funkce Daleké cesty se evidentně neminula účinkem, neboť v následující sbírce, nazvané Svoboda a orel (1977, Saorsa agus An Iolaire), se Thomsonova pozornost obrací od osobních otázek a minulosti k současné a veřejné tematice, zejména k politické situaci ve Skotsku. Thomson, od mládí přesvědčený skotský nacionalista, celý život podporoval myšlenku skotské kulturní a politické nezávislosti. Jeho vlastenectví však není xenofobní ani útočné a pod palbou jeho kritiky se ve většině případů ocitají jeho skotští spoluobčané, kteří nejsou dostatečně uvědomělí, zapomínají na bohatou národní kulturu a historii a tím přispívají k erozi skotské jedinečnosti. Thomsonova koncepce skotské identity je založena právě na historickém a kulturním uvědomění. Pohnutá historie a nejistá budoucnost skotského národa a gaelského jazyka, stárnutí a smrt jsou častými tématy další sbírky nazvané Ostružiník naděje (1991, Smeur an Dòchais) i dvou posledních sbírek. V Ostružiníku naděje se ve středu Thomsonovy pozornosti nenachází Lewis (k němuž se bude vždy vracet, avšak už pouze jako k jednomu z významných témat), nýbrž Glasgow, město, kde prožil většinu života. Glasgow bylo po staletí centrem gaelské diaspory a Thomson navazuje na dlouhou tradici, v níž je Glasgow popisováno očima nově příchozích. Jeho pohled je zbavený iluzí a kritický, ale nechybí v něm sympatie. Glasgow se pro něj stává obrazem celého Skotska, které se musí vyrovnávat s příchodem imigrantů a s vlivem nových kultur.

Ve všech sbírkách, nejvíce pak ve třech posledních, nacházíme pádné důkazy o tom, že se Thomson nezajímal pouze o skotská či gaelská témata: najdeme v nich básně, v nichž zmiňuje Sigmunda Freuda, Haydnovu symfonii Na rozloučenou či genocidu v Rwandě. Tento široký tematický záběr, který se řídí pouze tím, co básníka samotného zajímá, je nesmírně významný. Svoboda psát o jakémkoliv tématu nebyla v gaelské literatuře vždy samozřejmostí. Po staletí byla gaelština politicky nepohodlný jazyk, institucionálně potlačovaný nebo přinejlepším ignorovaný. V druhé polovině devatenáctého a na počátku dvacátého století se mnoho autorů spokojilo s omezeným počtem populárních a v jistých případech notně vyčpělých tradičních námětů a o soudobých otázkách a moderních problémech se gaelsky psalo jen málo. Samozřejmě i v devatenáctém století tvořila řada originálních a svérázných spisovatelů, avšak převládajícím trendem zůstávala melodická, často zhudebněná poezie, zaobírající se stále znovu láskou, steskem po domově či opěvováním krás skotské krajiny.

Až několika autorům píšícím během první světové války se podařilo toto ustrnutí prolomit. Zázračnou regeneraci gaelské literatury následně dokonali velcí básníci narození v desátých a dvacátých letech minulého století, z nichž právě Derick Thomson a Sorley MacLean vynikají nonšalantní samozřejmostí, s níž gaelsky píší, o čem se jim zachce, aniž by se ovšem zříkali možnosti čerpat ze starobylé tradice gaelské poezie, zejména z díla velkých básníků osmnáctého století, a z bohaté ústní lidové slovesnosti. Jak sám Thomson poznamenal: „V případě gaelštiny je třeba, aby se spisovatel cítil tak svoboden psát třeba o obchodu s drogami, apartheidu nebo o cestách do vesmíru jako kdokoliv jiný, kdo je o těchto otázkách informován a má na ně názor. Zrovna tak je pro zdraví jazyka důležité, aby se psalo o nových či neznámých tématech. A zdraví jazyka a zdraví literatury jsou navzájem úzce provázána." Právě tato otevřenost vůči novým tématům stejně jako skutečnost, že jako první začal v gaelské poezii důsledně používat volný verš, jsou příčinou Thomsonova nesmírného vlivu na mladší generace gaelských básníků. Například v gaelsky psané tvorbě Christophera Whytea, který pod Thomsonovým vedením napsal disertační práci a přispíval do Gairmu, se můžeme setkat s tématem lásky mezi lidmi stejného pohlaví nebo s ekfrastickými básněmi o italském renesančním umění. Básnířka Meg Batemanová (1959) zase gaelsky napsala báseň o válce v Perském zálivu.

Navzdory svým četným buditelským aktivitám a neúnavnému boji za zrovnoprávnění gaelské kultury a jazyka nebyl Thomson většinou vůbec optimistický a v básních i rozhovorech dával zaznít skepsi ohledně holého přežití gaelštiny coby jazyka každodenní, přirozené komunikace. Tento skličující pocit, že jeho rodná kultura nezadržitelně vymírá, Thomson tematizuje i v jedné ze svých nejznámějších a kriticky nejoceňovanějších básní nazvané Rakve (v gaelštině Cisteachan-laighe):
Rakve
Vysoký hubený muž,
s krátkým vousem
a hoblíkem v ruce:
pokaždé, když ve městě
míjím truhlářskou dílnu
a ucítím vůni pilin,
vzpomenu si na to místo,
s rakvemi,
kladivy a hřebíky,
pilami a dláty,
a můj děda, shrbený,
ukrajuje hoblinu za hoblinou
z holého, úzkého prkna.

Dříve než jsem věděl, co je to vlastně smrt;
než jsem měl ponětí, tušení, než jsem zahlédl
záblesk té temnoty, uslyšel ozvěnu onoho ticha.
A když jsem pak stál u hrobu,
v ten chladný jarní den, vůbec
jsem nepomyslel na rakve,
jež on sám zhotovil pro druhé:
Já jsem tehdy hlavně chtěl jít domů,
do tepla, kde se bude mluvit a pít čaj.

A ani v té další škole,
v níž hoblují truhláři mysli,
jsem si nevšiml rakví,
ačkoliv seděly všude kolem mne,
nerozpoznal jsem anglické zdobení,
ani cizí lak nasáklý do dřeva,
nevěděl jsem, co stojí na mosazné destičce,
nechápal jsem, že můj lid vymírá.
Dokud letos na jaře nepřivál chladný vítr,
jenž mi ohobloval srdce,
dokud jsem neucítil, že i mne protínají hřebíky,
a ani čaj, ani slova nezhojí tu bolest.

Rakve vyšly r. 1967 ve sbírce Mezi létem a podzimem ( Eadar Samhradh is Foghar) a vývoj v posledních desetiletích naštěstí nenasvědčuje tomu, že by se Thomsonovo mrazivé proroctví o smrti gaelské kultury mělo naplnit. Pokud však gaelština v jednadvacátém století skutečně obstojí, pak na tom právě Derick Thomson má svůj nezastupitelný podíl coby kulturní aktivista, pedagog a zejména jakožto básník.

© Petra Johana Poncarová
Tento výstup vznikl v rámci projektu „Moderní skotská gaelská literatura" č. 2915 řešeného v roce 2015 na Filozofické fakultě Univerzity Karlovy v Praze z prostředků Grantové agentury UK. Autorka je studentkou FF UK.

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Thomson, Derick / MacThòmais, Ruaraidh

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Když v březnu 2012 zemřel profesor Derick Thomson, novináři, akademici i umělci vzpomínající na zesnulého se shodli v přesvědčení, že žádný jiný člověk se ve dvacátém století nezasloužil o zachování a rozvoj skotské gaelštiny a gaelské literatury tak jako právě on.

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PHD thesis air a sgrìobhadh mu dheidhinn bàrdachd R. MacThòmais

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PHD thesis air a sgrìobhadh mu dheidhinn bàrdachd R. MacThòmais

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"Cisteachan-laighe" (Coffins), one of Derick Thomson's most famous and critically acclaimed poems. According to Dr Michel Byrne (The Edinburgh History of Scottish Literature, p. 178), it is a "superbly constructed meditation on death, childhood solipsism and adult perception, and a chilling indictment of the education system’s corrosion of Gaelic identity".

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Scottish Poet Derick Thomson has died at the age of 90. Poet, publisher, scholar, dictionary-maker: Derick Thomson - or Ruairidh MacThÃ²mais, as he was known in his native Scottish Gaelic - had an outsize influence on the language and culture from which he sprang. Born and raised in the village of Bayble, in the remote Outer Hebridean Isle of Lewis, Thomson had a long career as Professor of Celtic at Glasgow University, and a parallel career as a publisher. "It's impossible to imagine the world of the Gaelic language without Derick Thomson - Ruairidh MacThÃ²mais," says Ronald Black, Gaelic editor for The Scotsman newspaper and editor of "An Tuil," an anthology of twentieth-century Scottish Gaelic poetry. Black cites the 1951 co-founding of "Gairm" magazine as one of Thomson's greatest achievements. The quarterly literary journal lasted more than 50 years, and launched many writing careers. "It became the engine room for Gaelic literature, poetry and short stories in particular," says Black. Poet Aonghas Dubh MacNeacail agrees that Thomson's influence stretched far beyond his poetry. "This is a man who produced a dictionary, who produced a book on biology, who produced studies of the language for the general population. He was a man who worked in a huge, wide variety of fields." Still, it's for his poetry that Thomson will best be remembered. "He transformed Gaelic poetry," says MacNeacail. "He was the first Gaelic poet to work in free verse really, and that released people like myself into using the language in new ways, using new rhythms." That break from centuries of tradition, says MacNeacail, also opened Gaelic poetry to the influence of contemporary European poetry. An islander who spent most of his life in the big city, Thomson's work explored the theme of exile, and the tension between the old ways and the new world. In one of his poems, "Clouds," he talks about the "gaiety" and "brashness" with which he left his island. Then, describing the landmarks that he misses, he ends wistfully: "But I went away from them on a tether As far as love goes from hate." Aonghas MacNeacail says that exile is almost an unavoidable theme for Gaelic poets. "I remember many years ago myself putting together the words in English that we were born with the shell of exile on our backs. We grew up - if you were educated at all, if you're going on to higher education at all, it was almost inevitable that you would leave the island." Another theme in Thomson's poetry was the Gaelic language itself - and what to Thomson was its painful decline during the course of the twentieth century. Thomson himself translated his poetry into English - but always composed in Gaelic. In his poem "Coffins," Thomson describes how, whenever he passed a joiner's - or carpenter's - shop in the city, he was transported to the workshop of his grandfather. He remembers the old man planing shavings from a plank as he made coffins. Meditating on his grandfather's own death, Thomson then makes the leap to the situation of the Gaelic language, saying: "And in the other school also, where the joiners of the mind were planing, I never noticed the coffins, though they were sitting all round me; I did not recognise the English braid, the Lowland varnish being applied to the wood, I did not read the words on the brass, I did not understand that my own race was dying. Until the cold wind of this Spring came to plane the heart; until I felt the nails piercing me, and neither tea nor talk will heal the pain." Thomson's verse was not always gloomy; he often employed a dry wit. In his poem, "Ma Gheibh mi Chaoidh a GhlÃ²ir" ("If I Ever Make it to Heaven"), Thomson turns his eye on his own end. "I quite believe," he says, "that St. Peter will turn out to be a Lewisman - if I do sneak in at the Gate".

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Scottish Poet and Publisher Derick Thomson 'Transformed' Gaelic Poetry

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Scottish Poet Derick Thomson has died at the age of 90. Poet, publisher, scholar, dictionary-maker: Derick Thomson - or Ruairidh MacThÃ²mais, as he was known in his native Scottish Gaelic - had an outsize influence on the language and culture from which he sprang.

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Understanding Standards: SQA essay examples - 

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Understanding Standards: SQA essay examples - 

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Candidate 3 essay example on Cisteachan-laighe (18/20 mark essay - good N5 example!)

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Understanding Standards: SQA essay examples - 

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Understanding Standards: SQA essay examples - 

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Candidate 3 marking commentary.

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Pìos beachdail co-cheangailte ris na cuspairean san dàn..

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Pìos beachdail co-cheangailte ris na cuspairean san dàn..

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Tha Eòghan a' coimhead ri mar a b' urrainn dhuinn foghlam Gàidhlig atharrachadh gus am bi e nas èifeachdaiche - a bheil an t-àm ann coimhead ri modalan eile airson foghlaim?

"cha do dh' aithnich mi 'm brèid Beurla,
an liomh Gallda bha dol air an fhiodh,
cha do leugh mi na facail air a' phràis,
cha do thuig mi gu robh mo chinneadh a' dol bàs.

Cisteachan-laighe - Ruaraidh MacThòmais

Ma tha thu air a bhith nad thidsear àrd-sgoil, no nad sgoilear Gàidhlig ann an sgoil a leigeas leat cànan do chuid-fhoghlaim a leantainn air adhart gu teisteanas SQA (mar bu dual do Bheurla ach 's e alt eile a bhiodh sin), bidh thu eòlach air a' phios bhàrdachd aig mullach na duilleige.

Tha MacThòmais a' bruidhinn air droch bhuaidh siostam an fhoghlaim, "saoir na h-inntinn a' locradh", a' togail chisteachan-laighe à fiodh Gàidhealach far an rachadh ar cànan adhlacadh - agus cha mhòr gun d' rinn iad an gnothach oirnn. Smaoinich air an liuthad, fiù 's "Sàr-Ghàidheil" nach tug seachad an cànan dhan chuid-chloinne 's iad a' seasamh 's a' searmonachadh mu dheidhinn cor na Gàidhlig.

O chionn ghoirid tha na loidhnichean sin air tighinn a-steach orm aig ìre eile nuair a bhios mi a' siubhal air feadh na dùthcha is a' coinneachadh ri seann sgoilearan a bha agam. Feadhainn làn chomais agus làn mhisneachd sa h-uile roinn is a h-uile beus ach a thaobh a' chànain a fhuair iad oideachadh ann fad dusan bliadhna.

Air a h-uile slat-tomhais àbhaisteach, tha Foghlam tro Mheadhan na Gàidhlig na dheagh fhoghlam a dh'ullaicheas pàiste airson saoghal na h-obrach, bheir e dhaibh cothroman iongantach a chuidicheas iad seasamh os cionn càch agus gach buil, gach eòlas a dh'fheumas iad air a choileanadh le tidsearan dealasach, dìleas.

Agus fhathast, chan e gu leòr airson luchd-labhairt ann an àireamhan mòra a chur a-mach aig a' cheann thall. Tha na daoine òga, comasach, ionmholta, brosnachail seo fhathast a dhìth misneachd a dhol air adhart mar luchd-labhairt. Carson? agus dè nì sinn airson seo a chur ceart?

Ro thric, 's e foghlam Beurla tro mheadhan na Gàidhlig a tha ri fhaotainn. Ma bhios sinn dìreach a' leantainn strùctar luchd na Beurla, ma bhios sinn a' tionndadh sàr-shamhla MhicThòmais a cheann agus a' cur breid Gàidhlig agus lìomh Gàidhealach air ar foghlam, ma tha sinn dìreach ag atharrais chleasan nan uachdaran, chan eil sinn ach a' daingneachadh an fhoirneirt is na smachd a tha air feuchainn ri cur às dhuinn fad linntean mòra. Tha clann ann am Foghlam tro Mheadhan na Gàidhlig ro thric air an eileachadh o chultar na Gàidhlig air neo, nas trice, tha e ga thoirt seachad air an uachdar.

Le fios, tha tidsearan trang. Tha curaicealaim ann ri libhrigeadh. 'S e ceist thoinnte, dhoirbh, a th seo ach uaireannan, 's e a' cheist fhèin a dh'adbhraicheas nach eil freagairt ann, chan e an suidheachadh.

Cola-deug air ais, chunnaic mi gun robh mo charaid air bhideo leis an fhear-gnothaich Simon Sinek a chur suas. Rinn Sinek cliù dha fhèin nuair a nochd e ann am bhideo a' dubh-chaineadh "Luchd na Mìle Bliadhna" mar gur b' iad a bu choireach airson staid ìosal ar coimhearsnachd. Ann an saoghal Brexit agus Trump, cha chuireadh tu a' choire orra nam biodh iad airson falach air cùl sgàilein. Cha tug mi cus for dha an uairsin, ach an uairsin sa bhideo eile seo le Mgr Sinek chunnaic mi òraid TED a rinn e leis a' cheann-naidheachd "Start with Why?", a' mineachadh gur e sin a bha a' toirt làmh an uachdair do chompanaidhean agus dhaoine fa leth a bhith nas soirbheachaile na càch. Carson a bha e ag iarraidh gun tòisicheamaid leis an facal ud? Gum biodh sinn ag innse ar sgeulachd agus ag innse carson a tha sinn a' dèanamh na tha sinn a' dèanamh.

Ma tha sinn an-sàs ann an Strì na Gàidhlig, tha fios againn dè tha sinn a' dèanamh - tha sinn a' teagasg agus a' cuideachadh Gàidhlig.

Tha fios againn ciamar a nì sinn seo - nì sinn teagasg tron chànan no mun chànan agus bheir sinn cothroman do dhaoine an cànan a chleachdadh. Deagh theagasg a bhios ann airson a' mhòr-chuid.

Agus 's dòcha gu bheil fios againn air carson a tha sinn a' dèanamh seo - tha sinn a' feuchainn ri ar cànan a shàbhaladh - ach a bheil sinn a' mineachadh sin a chèile math gu leòr?

Agus ciamar a bhios sinn a' mineachadh sin? Cha d' fhiach e dhuinn a bhith ag èigheachd 'Bruidhinn Gàidhlig', 'Cleachd i no Caill i", oir tha sinn air a bhith a' feuchainn sin fad bhliadhnaichean agus chan eil na sluagh-ghairmean ag obair gu ceart - (Feumaidh mi aideachadh gu bheil mi fhèin ciontach de seo leis na h-earballan goirid a chuireas mi air bhideothan Gàidhlig Gu Leòr - Love Gaelic? Carson? Dè tha a' dèanamh Gàidhlig àraid?) Uaireannan, tha sinn a' gabhail gu bheil e gu math follaiseach gu bheil Gàidhlig math dhut agus tha e math a cumail beò ach chan eil sin idir a' toirt buaidh air gu leòr dhaoine.

A' gluasad air adhart agus a' coimhead air dòighean airson am mineachadh a thoirt seachad, tha mi ga lorg feumail dhomh a bhith a' coimhead ris an fheallsanachd aig Paolo Freire. 'S e Freire a sgrìobh an leabhar beag goirid " Pedagogy of the Oppressed ", ann am Portagailis bho th`¨s ann an 1968 agus chaidh fhoillseachadh sa Bheurla ann an 1970. Thàinig an fheallsanachd gu buil nuair a bha Freire ag obair na dhùthaich fhèin, Brasil, agus a' feuchainn ri inbhich bhochd a chuideachadh leis na sgilean litearrachd aige.

Bhiodh Freire a' coimhead ris a' choimhearsnachd mar gun robh e air a sgaradh eadar uachdarain agus ìochdairean agus gun robh foghlam traidiseanta a' coimhead ri neach-ionnsachaidh mar gun robh e na mhucag-airgid, gu bhith air a lìonadh le eòlas, agus gun robh seo ag eileachadh agus a' cronachadh daonnachd nan daoine - tidsearan agus luchd-ionnsachaidh. Bhiodh Freire ag argumaid airson foghlam a bhith na cho-obrachadh eadar luchd-ionnsachaidh is luchd-teagaisg agus gum biodh an dithis ag ionnsachadh a chèile. Tro na gnìomhan seo, bhiodh iad còmhla ag obair a dh'ionnsaigh coimhearsnachd na bu shaoire is na bu mhothachaile.

Chaidh Freire a chur a-mach às an dùthaich le deachdaireachd anns na 60an, leis gun robh e air 1.5 millean luchd-bhòtaidh ùra a chruthachadh (rud nach eil cho math airson deachdaireachd sam bith) agus cha d' fhuair e an cothrom tilleadh gus na 80an. Aig ceann nan 80an, fhuair e an cothrom còmhraidhean a chumail le Myles Horton, fear a bha an-sàs san Sgoil Dhùthchasach Highlander ann an Tennessee o 1932, agus a chuidich daoine dubha agus daoine geala a chèile le bhith a' teagasg sgilean litearrachd agus sgilean ceannais ann an Ceann a Deas nan Stàitean. 'S ann aig Highlander a chaidh We Shall Overcome a rèiteachadh agus a bha mòran an-sàs le Dr King a' dol tro a dhorsan. Bha tòrr aca ann an cumantas ged a bha iad aig diofar aoisean agus o dhiofar dhùthchannan.

Feumaidh mi aideachadh gu bheil "Pedagogy of the Oppressed" gu math toinnte agus dùbhlanach do luchd-leughaidh, ach 's ann anns na còmhraidhean eadar Horton is Freire a tha gan cruinneachadh anns an leabhar "We Make The Road By Walking" a chì sinn gu furasta mar a bha na feallsanachdan aig an dithis seo, air an obrachadh leis na daoine a bha ag obair còmhla riutha, stèidhichte air còmhradh, conaltradh agus ceartas a thàinig a-mach às a' chultar is a' choimhearsnachd a bha iad a' frithealadh.

Dè na leasanan a th' ann airson foghlam Gàidhlig, sna sgoiltean agus sna clasaichean coimhearsnachd againn? Tha na coimhearsnachdan againn gu math briste, a' fulang le trioblaidean a chuireas bacadh air iomadh rud math, chan e a' Ghàidhlig a-mhàin. Tha daoine aig diofar aoisean air an eileachadh on chultar aca agus o chèile. Tha fada cus aig nach eil comas litearrachd, agus tha am pàilteas ann aig a bheil an cànan agus nach eil ga cleachdadh.

'S mathaid gur e am facal a bu chudromaiche do Fhreire facal nach eil ga eadar-theangachadh gu math tric conscientização. Le seo tha e a' ciallachadh gum bu chòir do dh'fhoghlam a bhith a' dùsgadh mothachadh anns an luchd-ionnsachaidh dhan t-suideachadh is dhan àrainneachd eachdraidheil agus shoisealta anns a bheil iad beò, agus gu bheil seo air a dhèanamh tro chòmhradh agus tro ghnìomhan seach tro theagasg thraidiseanta agus sluagh-ghairmean.

Ciamar a tha sinn a' dol gan dùsgadh? Dùisgidh tu cuideigin math gu leòr le bhith ag èigheachd agus a' sadail bucaid de dh'uisge fuar orra. Ach, 's e cleas an uachdarain a tha sin a bhith a' spàrradh rudan air daoine. Tha slìghe eile ann, agus 's ann leis an t-slìghe fhèin a nì sinn e.

Bidh freagairt dhiofraichte aig gach neach, aig gach coimhearsnachd, aig gach dual-chainnt, aig gach sgoil ach gheibhear dhan fhreagairt tron aon dòigh. Mar a bha aig Seumas, bràthair Iosa a thaobh creideamh is obraichean, ma tha neach ag ràdh gu bheil cànan aige, ach às aonais obraichean, an urrainn dha an cànan a shàbhaladh?

'S e an ath bhliadhna a th' ann am Bliadhna nan Cànan Tùsanach UNESCO. Tha cothroman math an-sin do phròiseactan agus sgoiltean Gàidhlig air feadh na h-Alba, ach cuideachd tha an cothrom againne uile a' coimhead ri carson a tha sinn a' dèanamh na tha sinn a' dèanamh agus ar sgeulachd innse as ùire dhar coimhearsnachdan agus dhar dùthaich. Feumaidh sinn nar tidsearan agus nar coimhearsnachdan a bhith a' dèanamh ar slìghe còmhla tro chòmhradh agus tro ghnìomhan.

Mholainn do dhuine sam bith sùil a thoirt air an Facebook aig Sgoil Stafainn ma tha thu airson faicinn mar a tha deagh fhoghlam Gàidhlig air a stèidheachadh ann an cultar na coimhearsnachd ag obair - tha e fìor, tha e freumhaichte agus tha e a' fàs. Chan e fiodh marbh air a locradh ach gach pàiste na chraobh làidir bheò.

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Foghlam Gàidhlig | Mar a nì sinn an t-slìghe leis a' choiseachd

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Tha Eòghan a' coimhead ri mar a b' urrainn dhuinn foghlam Gàidhlig atharrachadh gus am bi e nas èifeachdaiche - a bheil an t-àm ann coimhead ri modalan eile airson foghlaim?

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(briathrachas)

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A' dèanamh sgrùdadh air dàn

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(Eisimpleir)

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Pasgan-sgrìobhaidh bho Storlann..

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Fileanta - Cruinneachadh de stuthan ùra airson fileantaich na Gàidhlig san Àrd-sgoil

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Feartan chudromach

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Seònaid NicDhòmhnaill a' beachdachadh air 'Briseadh na Cloiche'

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Seònaid NicDhòmhnaill a' beachdachadh air 'Briseadh na Cloiche'

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Seònaid NicDhòmhnaill; Briseadh na Cloiche le Iain Moireach

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Ceistean air bhidio Sheònaid NicDhòmhnaill

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Ceistean air bhidio Sheònaid NicDhòmhnaill

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John James Mac a' Bhreatannach a' beachdachadh air Briseadh na Cloiche le Iain Moireach

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John James Mac a' Bhreatannach a' beachdachadh air Briseadh na Cloiche le Iain Moireach

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Suil Air an T-Saoghal: Buaidhean Eadar-Naiseanta Air Sgriobhadh sa Ghaidhlig

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Abstract

In this chapter of a Scottish Gaelic publishing first (in offering in Gaelic a critical, theoretical appraisal of modern Scottish Gaelic literature in a comparative key) the author examines the thematic intertextual influences from Albert Camus to be found in the seminal short-stories of Lewis writer John Murray (Iain Moireach in Gaelic). Starting from a consideration of both writers as outsiders or peripheral citizens of metropolitan centres (Camus the pied-noir colon from 'French' Algeria and Murray the Gaelic-speaking Lewisman from the Outer Hebrides born to a mainland mother and a Highland Canadian veteran returning from WWI) the authors provides a close-reading of the short-stories of Murray by comparing some central themes and characterisations to those found in the short-stories and novels of Camus. The chapter, like the book, is written in Scottish Gaelic with all quotations from Camus presented in the French original with a translation into Gaelic provided by the author.

Cite this

@inbook{07d336b935694324bf6a7b8fc1e4162a,

title = "{"}Briseadh na Cloiche air Oir an Fh{\`a}saich: Iain Moireach agus Albert Camus{"} ({"}Breaking the Stone on the Desert's Edge: John Murray and Albert Camus{"})",

abstract = "In this chapter of a Scottish Gaelic publishing first (in offering in Gaelic a critical, theoretical appraisal of modern Scottish Gaelic literature in a comparative key) the author examines the thematic intertextual influences from Albert Camus to be found in the seminal short-stories of Lewis writer John Murray (Iain Moireach in Gaelic). Starting from a consideration of both writers as outsiders or peripheral citizens of metropolitan centres (Camus the pied-noir colon from 'French' Algeria and Murray the Gaelic-speaking Lewisman from the Outer Hebrides born to a mainland mother and a Highland Canadian veteran returning from WWI) the authors provides a close-reading of the short-stories of Murray by comparing some central themes and characterisations to those found in the short-stories and novels of Camus. The chapter, like the book, is written in Scottish Gaelic with all quotations from Camus presented in the French original with a translation into Gaelic provided by the author.",

author = "MacPherson, {Iain S.}",

isbn = "978-0-9562615-1-9",

booktitle = "S{\`u}il air an t-Saoghal (An Eye on the World)",

publisher = "Clann Tuirc",

}

TY - CHAP

T1 - "Briseadh na Cloiche air Oir an Fhàsaich: Iain Moireach agus Albert Camus" ("Breaking the Stone on the Desert's Edge: John Murray and Albert Camus")

AU - MacPherson, Iain S.

PY - 2012/10

Y1 - 2012/10

N2 - In this chapter of a Scottish Gaelic publishing first (in offering in Gaelic a critical, theoretical appraisal of modern Scottish Gaelic literature in a comparative key) the author examines the thematic intertextual influences from Albert Camus to be found in the seminal short-stories of Lewis writer John Murray (Iain Moireach in Gaelic). Starting from a consideration of both writers as outsiders or peripheral citizens of metropolitan centres (Camus the pied-noir colon from 'French' Algeria and Murray the Gaelic-speaking Lewisman from the Outer Hebrides born to a mainland mother and a Highland Canadian veteran returning from WWI) the authors provides a close-reading of the short-stories of Murray by comparing some central themes and characterisations to those found in the short-stories and novels of Camus. The chapter, like the book, is written in Scottish Gaelic with all quotations from Camus presented in the French original with a translation into Gaelic provided by the author.

AB - In this chapter of a Scottish Gaelic publishing first (in offering in Gaelic a critical, theoretical appraisal of modern Scottish Gaelic literature in a comparative key) the author examines the thematic intertextual influences from Albert Camus to be found in the seminal short-stories of Lewis writer John Murray (Iain Moireach in Gaelic). Starting from a consideration of both writers as outsiders or peripheral citizens of metropolitan centres (Camus the pied-noir colon from 'French' Algeria and Murray the Gaelic-speaking Lewisman from the Outer Hebrides born to a mainland mother and a Highland Canadian veteran returning from WWI) the authors provides a close-reading of the short-stories of Murray by comparing some central themes and characterisations to those found in the short-stories and novels of Camus. The chapter, like the book, is written in Scottish Gaelic with all quotations from Camus presented in the French original with a translation into Gaelic provided by the author.

M3 - Chapter

SN - 978-0-9562615-1-9

SP - 115

EP - 130

BT - Sùil air an t-Saoghal (An Eye on the World)

PB - Clann Tuirc

CY - Brig o' Turk, Perthshire

ER -

# data[].attributes.attachment_link.title
"Briseadh na Cloiche air Oir an Fhàsaich: Iain Moireach agus Albert Camus" ("Breaking the Stone on the Desert's Edge: John Murray and Albert Camus")

# data[].attributes.attachment_link.description
In this chapter of a Scottish Gaelic publishing first (in offering in Gaelic a critical, theoretical appraisal of modern Scottish Gaelic literature in a comparative key) the author examines the thematic intertextual influences from Albert Camus to be found in the seminal short-stories of Lewis writer John Murray (Iain Moireach in Gaelic).

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Beagan fios mun an sgriobhadair fhèin..

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Chaochail an sgrìobhadair Gàidhlig Iain Moireach, à Barbhas ann an Leòdhas, aig aois 80.

A bharrachd air cliù a chosnadh mar sgrìobhadair dràma agus sgeulachdan goirid gu sònraichte, thug e bliadhnaichean an sàs ann an obair foghlaim agus an craoladh.

Ged a bha e aithnichte airson a chuid dhealbhan-cluiche, choisinn Iain Moireach cliù gu sònraichte airson nan sgeulachdan goirid aige - feadhainn cho ainmeil, prìseil 's a th' anns a'chànan, leithid Briseadh na Cloiche, Feòil a' Gheamraidh agus An Aghaidh Choimheach.

Mar a mhìnich e fhèin bho chionn beagan bhliadhnaichean, cha robh roghainn aige ach na h-ìomhaighean a bhiodh a' tighinn thuige a chur air pàipeir.

Foghlam

"Tha do cheann làn rudan letheach-sgrìobhte, no ìomhaighean a th' air, mar gum biodh, air an losgadh cùl d' eanchainne an àiteigin.

"Agus nuair a bhios an t-àm freagarrach, tha fios agad, gun leum iad a-mach, agus gum feum thu sin a sgrìobhadh.

"Ach 's dòcha nach eil ann ach aon ìomhaigh, no sgeulachd."

Ach rinn Iain Moireach iomadh rud a bharrachd air sgrìobhadh - cuid dheth aig a bheil buaidh mhaireannach air saoghal na Gàidhlig.

Bha e an sàs bhon toiseach ann am Pròiseact Dà-Chànanach nan Eilean Siar.

Agus an uairsin, mar iar-stiùiriche foghlam aig a' Chomhairle, bha e na mheadhan air iomadh rud a chur air adhart, bhon chompanaidh foillseachaidh Acair gu Cinema Sgìre.

Ach 's ann airson eanchainn gheur agus a liut leis a' pheann a bhios cuimhne mhaireannach air.

Tha mòran molaidh a' nochdadh air Iain 's a chuid obrach.

Thuirt an sgrìobhadair Aonghas Pàdraig Caimbeul: "Bha liut cànain (ann an Gàidhlig agus am Beurla) aig Iain a bha dìreach àlainn agus làn gliocais. Tha an litreachas aige a' dèarrsadh le na buadhan sin. Bha e daonnan na thlachd agus na thoileachas agus na fhoghlam a bhith na chuideachd."

Sgrìobh an nobhalaiche Calum L. MacLeòid mun leabhar ainmeil sgeulachdan goirid An Aghaidh Choimheach aig Iain Moireach: "Nam bheachd-sa, cha deach cruinneachadh de sgeulachdan goirid nas fheàrr na "An Aghaidh Choimheach" a sgrìobhadh fhathast.

Agus chuir Roinn na Ceiltis aig Oilthigh Ghlaschu teachdaireachd a-mach ag ràdh: "Cho duilich seo a chluinntinn, sgrìobhadair air leth a rinn uiread son a' chànain."

Nuair a chaidh faighneachd do Shomhairle MacGill-Èain beagan bhliadhnaichean mus do chaochail e cò na sgrìobhadairean Gàidhlig dhan robh spèis aige, b' e Iain Moireach a' chiad fhear a dh'ainmich e.

Teisteanas cho math 's a dh'iarradh sgriobhadair sam bith.

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Chaochail an sgrìobhadair Gàidhlig Iain Moireach, à Barbhas ann an Leòdhas, aig aois 80. A bharrachd air cliù a chosnadh mar sgrìobhadair dràma agus sgeulachdan goirid gu sònraichte, thug e bliadhnaichean an sàs ann an obair foghlaim agus an craoladh.

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(fasanan is mean-fhàs)

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Some Present-day Trends in Gaelic Writing in Scotland

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(fiosrachadh)

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20th Century Gaelic Literature Flashcards | Quizlet

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Start studying 20th Century Gaelic Literature. Learn vocabulary, terms, and more with flashcards, games, and other study tools.

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Èist ris an dàn, An Geamhradh, an seo...

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Èist ris an dàn, An Geamhradh, an seo...

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Leugh an dàn sa Ghàidhlig le eadar-theangachadh sa Bheurla an seo...

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Leugh an dàn sa Ghàidhlig le eadar-theangachadh sa Bheurla an seo...

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Cànan is ciall sa bhàrdachd - seata Quizlet

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Ar Cànan 's ar Clò- Essay quotes and points

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Ar Cànan 's ar Clò- Essay quotes and points

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Seata Quizlet

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Gaelic Scotland – A Postcolonial Site? In Search of a Meaningful Theoretical Framework to Assess the Dynamics of Contemporary Scottish Gaelic Verse

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Gaelic Scotland – A Postcolonial Site? In Search of a Meaningful Theoretical Framework to Assess the Dynamics of Contemporary Scottish Gaelic Verse

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Cuspairean air am bi i daonnan a sgriobhadh.

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Mar a tha a stoidhle sgrìobhaidh air atharrachadh

Nuair a thòisich mi bha meas mòr agam air bàrdachd Ruaraidh MhicThòmais agus gu ìre mhòr, feumaidh mi aideachadh, bha mi a' leantainn na stoidhle sgrìobhaidh aigesan. A' toiseachadh le ìomhaigh 's an uair sin mìneachadh a' tighinn as a dhèidh. A-nis, chan eil mi a' dèanamh uimhir a mhìneachadh. Tha mi a' fàgail barrachd an urra ris an leughadair.

Uaireannan, tha sin a' fàgail nach eil daoine buileach a' tuigsinn na bàrdachd. Chan eil e cho furasta, mar aon dhàn Domestic 9/4/92. Agus chan eil daoine a' tuiginn gu bheil an ceann latha cudromach oir chan e dàn mu dheidhinn boireannach a th' air a pronnadh leis an duine 's a' tilleadh air ais thuige aig deireadh an latha a th' ann. 'S e dàn poilitigeach a th' ann. B' e sin latha an taghaidh a chuir na Tòraidhean air ais a-steach nuair a bha sinne a' smaoineachadh gu robh sinn a' dol a dh'fhaighinn atharrachadh. Cha do chuir mi càil dhan dàn a bha a' mìneachadh sin ach anns an tiotal fhèin.

Tha mi a' smaoineachadh gu bheil mi a' dèanamh barrachd dhen sin a-nise agus cuideachd dàin mu dheidhinn tachartasan sònraichte no daoine sònraichte. Tha mi a' smaoineachadh gu bheil mo ghuth fhìn a' tighinn troimhe nas làidire na bha e anns na dàin a bu tràithe.

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BBC ALBA - Làrach nam Bàrd 20mh - Cuspairean: Anna Frater

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Taghadh de bhàrdachd Ghàidhlig an 20mh linn, air a dhealbh do sgoilearan àrd-ìre. Tha an duilleag seo a' toirt fiosrachaidh mu na cuspairean air am bi am bàrd, Anna Frater, a' sgrìobhadh agus air na dòighean-sgrìobhaidh a thathar a' cleachdadh.