English:
Considerable activity was shown in the beginning of this century in collecting the floating mass of poetry then extant in the Highlands. Celtic patriots who dreaded the immediate decease of the ancient language of Albin set themselves in praiseworthy fashion to the task of rescuing this popular literature from the devouring jaws of time and change. A brief survey of the various publications which were the practical outcome of this happy determination will exhibit no unworthy results. These results, in many cases achieved at great self-sacrifice, are more deserving of notice when it is remembered how expensive it was then to publish bulky volumes, especially in the Gaelic language, and how limited was the constituency to whose support the persistent patriots appealed. Their devotion to their venerable mother-tongue, supposed to be on her death-bed, deserves our gratitude; and if their ghosts occasionally revisit in the glimpses of the moon, the scenes of their self-denying labours, they must be gratified to hear still the echoes of their much-loved tongue resounding as of yore through the glens and by the seashore as well as in crowded halls in our large centres of population. Peace be to their names! and long may the torch of Gaelic enthusiasm, which they kept lighted, and handed down to us, be preserved a burning power in the bosoms of our Highland countrymen.
It is not proposed to do here much more than the mere enumeration of some of these collections of poetry. This itself will be sufficient, along with the array of Gaelic bards that have already passed in review before us, to show further how unfounded is the general dictum that there is no Gaelic literature—no books in the language of the Highlander.
Some popular songs of this period are—“Mairi Dhonn” and “Mairi Ghreannar,” by Kenneth Mackenzie of Lochbroom; “’Scanail m’Aigne,” and “Soraidh Slàn do’n Ailleagan,” by the brothers William and Alexander Mackenzie, of Lochcarron; “An Làr Dhonn,” by Murdoch Mackenzie, of Achilty, Ross-shire; “Thug mi’n Oidhche raoir san Airidh,” by John Macgillivray; “Gaor nam Ban Muileach,” by Margaret Maclean of Mull; “O’n tha mi fo Mhuladh air m’Aineol,” by the Rev. Charles Stewart, D.D., of Strachur; “Nighean Donn na Buaile,” by the Rev. Duncan Macfarlane, latterly of Perth; “Gu ma slàn a chì Mi,” by Hector Mackenzie, an Ullapool sailor; “A Nighean Bhui Bhan,” by Donald Macinnes; “Mo run geal Og,” by Christina Ferguson, of Contin; “Thainig an Gille Dubh,” by Lady Malcolm Raasay; “A Mhairi Bhòidheach,” by a North Uist schoolmaster; “Moladh Caber-Féidh,” by Norman Macleod of Assynt, whose two sons, Professor Macleod of Glasgow and the Rev. Augus Macleod of Rogart, were well known last century.
Anonymous pieces are many: “An Gille Dubh ciar Dubh,” “Mo Nighean Chruinn Donn;” “Fear a’ Bhàta;” “Cuir a Chinn Dìleas;” “An Nochd gur faoin mo Chadal domh;” “Och mar tha Mi;” “Ho-ro Eileinich, Ho-gu” (the three last being evidently composed by Islaymen); “Tha Tigh’n Fodham” (MacDhughail, ’ic Lachuin?), a verse of which Boswell boasted of being able to sing when he was with Johnson on his tour in the Hebrides. The popular collections of songs will supply many more.
Since 1812 the following collections of miscellaneous pieces of poetry have appeared:—P. Macfarlane’s (1813); in this volume was first published a part of MacLachlan’s translation of Homer (the 3rd Book). P. Turner’s (1813), mostly culled from the works of the well-known heroic bards. H. and J. MacCallum’s (1816), principally Ossianic or heroic ballads. J. MacLean’s (1818), containing much original matter. Inverness collection (1821, Fraser); James Munro’s Ailleagan (1830), which has maintained its popularity all along. Other small things appeared early in the century—Eoin Bheag nan Creagaibh Aosda (1819); Ceilleirean Binn nan Creagan Aosda (1819), and a choice collection of Scotch Songs with Gaelic translations (Inverness, 1829). “The Harp of Caledonia,” “An t-Aosdana,” “The Mountain Songster,” “An Duanaire,” have been published more recently, and are still in circulation. The most valuable of all the collections is “The Beauties of Gaelic Poetry”—a magnificent volume, on which much labour was spent, by John Mackenzie. The productions of many of the Gaelic bards are given in this work, along with biographical notices, and much critical and explanatory matter. Mackenzie, who was a native of Wester Ross, was a man of great talent and industry; but his æsthetic and moral tastes not being of a high order, he allowed many pieces of an immoral tendency to appear, which somewhat marred the work. It is the magnum opus of Gaelic literature. The “Oranaiche,” by Archibald Sinclair (1879) is another large and excellent work, which does great credit to the compiler and publisher. With the exception of the “Beauties,” which is of a different sort, there is no collection in Gaelic like Sinclair’s, whether we regard the variety, the extent, and the quality of the contents.
While the “Beauties” contain the best productions of the principal bards during the last three hundred years, the “Oranaiche,” gives us the better known songs of the present century, many of the lyrics being the compositions of living writers, from whom Mr Sinclair, often at very considerable trouble to himself, obtained the manuscripts, and took down the words at the author’s or others’ dictation. There are two hundred and ninety songs in this handsome volume, many of them very long—a general characteristic of Gaelic songs—and not a few, it must be admitted, more of the nature of poems than of lyrics. The songs in this collection are of all sorts—humorous, patriotic, satiric, and sentimental. The latter class predominates; indeed, it constitutes three-fifths of the whole. In considering the range of poetic culture discernible in this volume, it is remarkable to note the almost total absence of martial songs. The bards of this century would appear to have been baptised in the perennial stream of the tender passion of which they sing with such evidently luscious delight. This is the one great theme which they take up with the devotion of their whole being. Another subject which here and there gives a tinge of sadness to the book is the depopulation of the Highlands, which is so fitted, like the troubles of a jilted and suffering lover, to elicit, in all its intensity, the melancholic element in the Celtic nature. Mac-na-bracha (Son of Malt) also comes in for frequent and hearty praise, drinking Deoch-slainte being capable at all times of invoking in many Highland bosoms the purest and most generous feelings and sympathies. It ought to be observed, however, as Sheriff Nicolson suggests in his excellent volume of Gaelic proverbs, that although usqueba is so much identified with the failings of the modern Highlander, this exhilarating beverage was almost unknown to the Gael until last century, the drink known till then being mostly “fion dearg na Frainc,” the red wine of France. It has been remarked above, that this volume does not present us with many martial lyrics. This fact reminds us of the great change that has come over the Highlands. The obvious explanation is that the warlike ardour which was wont to flow forth in battle incitements has been toned down by the altered circumstances of the people since the day of Culloden, and runs now into the natural stream of the tender passion. On the other hand, if we go back to the days of Finian chivalry we find a martial element in all the productions of the bards; and this continued largely to prevail as long as the Gael habitually carried about with him his claymore, ready to fight for his person or follow his chief to the field.
One of the best, and the only genuine martial song in the “Oranaiche,” is the first in the volume, Buaidh leis na Seoid, by Alexander Macgregor, schoolmaster at Dull. It contains sixteen stanzas of four lines of twelve syllables in length, and having a chorus takes a long time to sing it; but the martial enthusiasm it breathes, along with many suggestive historical references, are such that audiences sit frequently spellbound till the whole piece is rehearsed. Of the humorous pieces in the volume mention may be made of The Dun Horse, The Minister and the Bailie, and The Advent of an Escaped Irish Balloon on the shore of one of the Hebrides. The author of the last-mentioned represents the whole island as in commotion when the monster approached the shore—old men and old women taking for granted that this could be no less a personage than the devil himself, who came at last to claim his own.
There are upwards of fifty names of composers in the “Oranaiche,” many of whom are still living, and who are not known on the pages of another book. With this fact before us surely it cannot be affirmed that the race of bards is gone. I was once present at a meeting of a Highland Association in Glasgow, where I was informed there were no less than six bards, authors of published, well-known songs. It is difficult to conceive how so many of the irritable genius could work in harmony or dwell together in unity and in poetic brotherhood. Among the fifty above-mentioned occur the following less known Celtic names:—Lady D’Olyly D. Orr, MacMurchie, MacPhail, Macroy, MacLugas, MacAffer, Wilkinson, etc. etc. Let us now glance at some of the best-known songs.
Gu ma Slan a chi Mi, the composition of an Ullapool sailor, the air of which is very pretty, is a highly popular song. I have tried to render some verses of it thus:—
Some of the most popular songs are anonymous. Ho-ro Eileinich belongs to this class, and is a great favourite at large Highland gatherings on account of the swinging character of the air and metre. Here are a few verses:—
One of the finest songs in the language is Muile nam Mor Bheann, or Mull of the High Hills. On account of its peculiarity of metre, it does not lend itself readily to easy translation. Some of its verses run thus:—
A glance into the Oranaiche and other collections of Gaelic songs will reveal to the casual student of Gaelic literature what vast treasures of lyrics the language contains. These songs admirably exhibit the emotional lyrical spirit of the Gael, and leads us to much of the source of the genius of song which has rendered Scotland so deservedly renowned.
The Rev. Angus Macintyre, late of Kinlochspelvie, composed several poems of great merit. His love-song, “O’s runach leam an ribhinn donn,” is very pretty. A translation by Mr H. Whyte will be found in an interesting little volume recently published, “The Celtic Garland.” Here are some verses:—
One of the popular songs and airs among Highlanders is that of “Finary.” The verses that have become so well-known in connection with this song are not those to which the air was attached originally. The original song was “Irinn àrinn u horo,” by Allan Macdougall, a lyric of fair merit, but which has never attained to anything like the popularity of “Finary.” The author of “Finary” appropriated an air already popular, like the author of “Màiri Laghach.” The reputed author of “Finary” is the elder Dr Norman Macleod, and certainly the theme of the song is founded on an event in his personal history. It is a farewell to Finary, where the manse of his father was situated, in Morven, on the occasion of Norman leaving home to attend the first session at Glasgow University. The sentiment is very pathetic and natural, and very readily lays hold of the tenderest chords of the heart of the home-loving Highlander. There is something about it, the antiquarian reference to the past, and its touches descriptive of natural scenery, which remind us of the genius of Macleod. Yet it has been doubted whether he was the author of the original English version—the English one being regarded as the original. Mr Neil Campbell, of County Down, now of Glasgow, a man who knows a good deal of generally unknown facts relating to the Gaelic literature of this century, once told the writer that the Rev. Mr Kelly, of Campbeltown, once Dr Macleod’s friend and colleague in that town, was the author of the English version, which, apart from the home-loving sentiment and air, is rather poor poetry. The following is the first verse, which shows reason but the veriest imperfection of rhyme:—
But apart from the artistic execution of the verses, the sweet, high-souled, and patriotic sentiments conveyed in them would always recommend them to the warm-hearted and emotional Gael. The history of “Fionnairidh” has always seemed to me something like that of “God Save the Queen,” or “The Address to the Cuckoo.” The names of Bruce and Lowe are connected with the last just as those of Macleod and Kelly are with the first. One of the few who could authoritatively decide the precise authorship of “Fionnairidh”—was that true and highly-gifted Highlander the late Dr John Macleod of Morven; and also his learned relative Dr Clerk of Kilmailie, who could write with accuracy of the different versions, English and Gaelic, of Eirich agus tiugainn, O.
The following Gaelic version—eight stanzas, there are four more—are given as they came through the hands of the late Archibald Sinclair, who had probably something to do with it. It was first printed on a leaflet, was then copied into the “Gael” in 1872, and has been several times published in whole or in part since:—
The chorus consists of Eirich agus tiugainn, O, “Let us rise and come away,” repeated three times, with a fourth line, “Farewell, farewell to Finary.” The following rendering is an adaptation by the writer. The form “Finorie” is used to preserve a sort of sympathetic sympathy with and likeness to terms with similar endings in Lowland ballads, such as “Glenorie,” etc. This form has also more sympathy with the music:—
Translation:
But matters are still further complicated in connection with this favourite song. A gentleman from North Argyll assured the writer that another Gaelic version was in general circulation long ago in Mull and Morven. This might have been the original one by Dr Macleod himself, from which Kelly translated; and the fact that the original chorus, “Eirich agus tiugainn O,” has been known only in Gaelic favours this supposition. Surely old folks in Morven must still be able to repeat this supposed original version if it ever had existence. If so, it is to be hoped that some one will take the trouble of giving it to the world. But whoever the author was, the song has obtained unquestionable hold of the Highland heart, no doubt largely because it refers to an early event in the history of the “Highlander’s friend,” the good, genial, and large hearted Norman Macleod.
Poetry like that of A Mackay, of Moyhall (1821), of Archibald Grant, of Glenmoriston (1863), of John Macinnes (1875), Callum Macphail (1879), and of John Macfadyen (1890), shows excellent ease in verse-making, and no small amount of humour at times; but it does not demand serious examination. That so many volumes should be published indicates much activity and energy on the part of an obscure Gaelic muse.
Another bard of the name of Grant may be mentioned as belonging to this class. Many of the popular lyrics have been composed by authors who have not given us more than one or two songs. Mo Nighean Dubh was written by the Rev. Mr Morrison of Petty; Mairi Laghach, by John Macdonald of Lochbroom; Bonneid is it, by A. Macalister of Islay; Eilein an Fhraoich, by M. MacLeod of Lewis. The mass of lyrics of this class is something enormous. When translated into English they are felt to be simple—sometimes painfully simple—metrical inartistic utterances of love-enkindled hearts. Attached to tender and often very pretty airs they have lived on the lips of thousands, and have cheered weary workers in the field and at the fireside. Of the nameless class of plaintive lilts is the following:—Mo Run Geal Dileas, well known throughout the Highlands. There are many versions of it, and the number of verses is scarcely ever the same. The chorus is rather unintelligible, and may have belonged to an earlier set of verses. The verses translated give a very fair conception of the merits and the spirit of the original. Like the Laureate’s Mariana, many of these Highland singers show much of the “a-weary, a-weary” condition of soul, and people of pretended lofty moral culture condemn the poor lyrists for manifesting such excess of feeling.
Mairi Laghach has become a great favourite, and has been translated more than once. The author was John Macdonald, latterly of Crobeg, in Lewis. He adopted the chorus of an inferior song which a Muracha nam Bo composed for his own daughter, who did not seem to elicit much admiration from the ungallant bachelors in the neighbourhood. Macdonald took up the air and composed the set of verses that are now so popular. It is worthy of remark that in his case also the subject of his song was a baby, and not a grown-up girl or woman. Steering his barque across the Minch his thoughts reverted to the friendly home he left behind him in Stornoway, and anxious to examine his poetic gifts he composed his song to Wee Mary, as it might be rendered, who then could not walk. Eventually she became his wife. Once on a visit to Ireland, the author was surprised to hear, while he himself was still a young man, his own song sung in an adjoining room, which shows how readily a song that catches the popular ear and taste will travel.
An endeavour is made to be as literal as possible in the following translation, which must necessarily want much of the aroma of the original:—
It is of course impossible to preserve the music of the original in any translation; the renderings given above are intended merely to indicate something of the spirit of the lyric treasures enshrined in Gaelic. Any one turning to our collections of poetry, especially to Sinclair’s “Oranaiche,” will at once see that the Highlands are as rich as the Lowlands in song literature, and that the poetry produced, is of an equally high order. There are hundreds of pieces nameless and claimless on the lips of thousands which will continue to be sung as long as there will be a tongue to speak the Gaelic language. Such has been the poetic literature which for ages the Gael has chiefly loved and cherished, and the better recognition of which would enable the Highlander and Lowlander alike to show to the world a body of song such as no country of the size of Scotland has ever yet produced. Many suppose that the ancient language of Caledonia is dead or dying;—it was never read nor written so extensively as now. And it ought to be further remembered that the lyric genius of the Highland Celt is not confined to what we have in Gaelic. Many men of Gaelic extraction have exhibited their gift of song and music in other spheres. Not to speak of the poets Ferguson and Burns, in whose veins Celtic blood largely flowed, Thomas Campbell, was one of these. Hector Macneill, the hope of Scotland after the death of Burns, was another. The connection of Lord Macaulay with the lyric genius of the Gael has been already pointed out. The songs of Dr Charles Mackay are known to all the readers of English poetry; and those of Peter Macneill of Tranent are on the full tide of popular esteem. The names of George Macdonald and Robert Buchanan are familiar to all the students of contemporary literature. In the kindred spheres of music and the drama we come across the names of Mr Hamish MacCunn, Dr A. C. Mackenzie, President of the Royal Academy of Music, and the prima donna Miss Macintyre. Scores of others might be mentioned whose genius is traceable to their Gaelic extraction, there being scarcely a Highland clan name that has not its representative among the crowned sons of song. In the ecclesiastical world the stars of Celtic or Gaelic names are a legion. The position of Archbishop in the great see of York has been attained successively by two men of Gaelic extraction—the eloquent Magee being a descendant of the Mackays of Islay, and his successor MacLagan being a member of a distinguished Highland family which has given us the Gaelic bard MacLagan, a profound Professor of Theology, late of Aberdeen—and now the Archbishop himself.
The survey which we have just taken of our popular poetry clearly indicates that the Gaelic is still the language in which many compose and write. Many would heartily sing thus with Professor Blackie:—
At the same time we have no wish to preserve Gaelic, as Professor Blackie has said, in any artificial or galvanised existence. We merely ask fair-play for it on the scene of linguistic competition.
And this fair-play it is now more than ever likely to receive, the Highlanders having their own representatives now in Parliament and in the county and parochial councils. As long as bards continue to arise—and there is no sign that the supply will be readily exhausted—and the people love to rehearse their strains, so long will the Gaelic remain a living factor in the land. In these pages it is attempted to show the extent and nature of this sort of literature of the people; but as Highlanders we do not wish, in attempting to bring the literature of our language before the world, to challenge comparison with other bodies of literature. Our main purpose is served if we succeed in showing to our fellow-countrymen, Highland and Lowland, that there are national literary treasures which have been hitherto comparatively overlooked, and which ought in an important degree to add to the already high fame of bonnie Scotland as a land whose glens and bens, whose rivers and lakes are everywhere vocal with songs of love and patriotism.