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Gaelic Literature of the Traditional poets and songmakers: N |
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This page is
best viewed on a desktop or laptop PC NIALL CEANNAICHE.
See
MACPHERSON, Neil ____________ NIC A’ PHEARSAIN, Mairi. See MAIRI MHOR NAN ORAN ____________ NIC CODHAIL. See NIC OTHAIL ____________ NICDHOMHNAILL, ---? of Viewfield,
Portree ‘Gaol nam Fear Dubh’. Orain an Eilein. Cairistìona Mhàrtainn. Taigh na Teud: An t-Eilian Sgitheanach, 2001, p. 90. An old
song, said to have been composed by a woman of the Viewfield
MacDonalds.
Six couplets and a three-line refrain.
Art MacCarmaig got it from D.R. Dòmhnallach of ____________ NICDHOMHNAILL, Catrìona (1925 - ) Catherine MacDonald (neé
MacLeod), Catrìona NicDhòmhnail,l
was born in Staffin, Skye. She spent some years working away from the
island and finally returned to Staffin after her
marriage. For a biographical note see Tuil: Anthology
of 20th Century Scottish Gaelic Verse (Black 1999:790-791). Black, Ronald (ed). Tuil: Anthology of
20th Century Scottish Gaelic Verse. i Catrìona NicDhòmhnaill.
‘Cum Sinn Dlùth’,
pp. 504-507. ii Catrìona NicDhòmhnaill. ‘An
t-Aoibhneas a tha staigh sa Chridhe’,
pp. 506-509. Two
beautiful hymns, with parallel English translations. ____________ NICGHILL’EATHAIN, Anna (Early 19th Century) Of Sleat,
in Skye ‘Tha mi fo chùram’ i The
Highlander (11th October, 1873), p. 3 ii The
Gesto Collection of iii
Orain an Eilein. Cairistìona Mhàrtainn.
An t-Eilean Sgitheanach: Taigh nan Teud, 2001, 72 Neither of
the first two versions are ascribed to Anna NicGhill’ Eathain. A note prefacing the first version states
that it was composed by the sweetheart of Tormod MacNeacail, one of the Nicolsons of Scorrybreck, who
drowned in The Rev.
Tormod Domhnallach identified the composer as Anna Bheag
Bealach an t-Sliachd, Anna NicGhill’ Eathain (Domhnallach
1965: 38). A friend, who came from
Sleat, told me that his father often used to recite
the song and told him that the Nicolsons did not
approve of the romance, regarding Anna as their social inferior. It is
clear from internal evidence that the song was composed after Tormod MacNeacail left
Skye. He had been the composer of ‘Is
Gann gun dìrich mi chaoidh’
(q.v.) ____________ NIC GUMARAID, Catriona. See: The New Poetry ____________ NIC GUMARAID, Morag.
See:
The New Poetry ____________ NIC LEOID, Seonaid. See NIGHEAN MHIC GHILLE CHALUIM ____________ NIC LEOID, Sìleas. See NIGHEAN MHIC GHILLE CHALUIM ____________ NIC LEOID, Sine
(19th Century) This poetess was born in
Skye and emigrated to (Information
from the Rev. A. MacLean Sinclair’s notes to the song noted below). Sine NicLeòid. ‘Cumha do Ruari MacLeòid,
a chaochail sa bhliadhna 1884. Bha e ochd bliadhna
diag air fhichead de dh’ aois’. Comhchruinneachadh Ghlinn’-a-Bhàird. Edited by the Rev. A. MacLean
Sinclair. This
lament for a brother has many echoes of the Gaelic elegiac tradition. There is an indication in the penultimate
stanza that he met his death while prospecting for gold. There are seven eight-line stanzas,
beginning with ‘Fhuair mi naidheachd Di-luain’, in a cumha metre. ____________ NIC MHATHAIN, Seònaid (20th Century) This poetess was a native
of (1) Seònaid NicMhathain. Gleann na h-Irioslachd:
dàin Spioradail. Le Seònaid NicMhathain, Eilean a’ Cheò. Spiritual hymns by Mrs. Jessie
Matheson. Fo làimh
Eachainn MhicDhùghaill. Glaschu: Alasdair
MacLabhruinn ‘s a Mhic, n.d. 20p. Donald
John MacLeod notes that MacLaren dates this
publication 1927 and that it was advertised in 1929 (MacLeod 1980:144). There are
eleven hymns, with the music for two of them given in tonic sol-fa
notation. The predominant theme is one
of trust in God and the tone is joyful and positive, as typified by ‘Cum m’ imeachd suas’ (pp. 7-9). A
particularly interesting hymn is ‘An Neamhuid Luachmhor (pp. 13-15).
From this it appears that there were those who objected to her hymn
making and as a result she was expelled from the Free Church. However, she is undaunted and wishes
blessings upon one MacAonghais who had apparently defended her. Metrically,
her influences are mixed. She uses
traditional Gaelic metres along with those of the metrical psalms and English
hymns. She is somewhat given to
irregularities of rhyme and she handles language well enough to make this
surprising. (2) Seònaid NicMhathain. Gleann-Dail: dàin Spioradail. Le Seònaid NicMhathain, Eilean a’ Cheò. There are
ten hymns and poems which thematically and metrically are very similar to the
hymns in Gleann na h-Irioslachd.
The first poem (p. 3) is in praise of the Rev. Hector MacLean, a
native of Tiree who served as parish minister
in Strath from 1914 until his death in a road
accident in 1943 (Scott 1928:184;
Scott 1950:687). The fifth poem (p. 8) is an address of
encouragement to a Campbell who seemed to be suffering some kind of religious
persecution. ____________ NICOLSON, Alexander (1827-1893) Alexander Nicolson was born
in Husabost, In 1865 Sheriff Nicolson
was appointed Assistant Commissioner to visit and report upon the state of
education in the He wrote in both Gaelic and
English and on the evidence of his published writings it might be said that
English was his preferred medium of literary expression. Some of his English-language poems and
songs achieved considerable popularity. His principle contribution to Gaelic
literature is the volume A Collection
of Gaelic Proverbs and Familiar Phrases based on Macintosh’s Collection (Nicolson 1881). In 1881 he was appointed to the SPCK’s committee appointed to revise the Gaelic
Scriptures. (Adapted
from an appreciation by ‘Fionn’ (Celtic
Monthly, 16:91-92). See also
Domhnall S. MacLeòid’s ‘Gaidheal gu Chùl’ (An Gaidheal, 54:104-105) and T.M.
Murchison’s entry for him in The
Companion to Gaelic Scotland (Thomson1983:214).) Alexander Nicolson.
‘The
Isle of Skye: an i An
Gaidheal, 4 (1875), 167-168. ii Celtic
Monthly, 16 (1907-1908), 91-92. Possibly
the most popular of Sheriff Nicolson’s compositions, given in the original
English along with his own Gaelic translation. The Gaelic follows fairly closely the
rhythm if the original. Malcolm
MacFarlane composed a Mod prize-winning tune for this song (An Deò-Gréine, 9:52). ____________ NICOLSON,
Angus. See: The New Poetry ____________ NICOLSON, Donald.
See:
MACNEACAIL, Domhnall ____________ NICOLSON, John.
See: MACNEACAIL, Iain (‘An Sgiobair’) ____________ NICOLSON, Malcolm.
See: MACNEACAIL, Calum ____________ NICOLSON, Neil.
See: MACNEACAIL, Niall ____________ NICOLSON, ____________ NIC OTHAIL Nic Othail was the mother
of Faobairne MacCuidhein,
probably the greatest name in Raasay heroic tradition. Upon his death she cried out in a verse
beginning ‘Mura b’e mo cheann’
and her cry was so loud that it was heard in Applecross
and it split her own skull. Sorley MacLean has given an
account of this in his ‘Some Raasay Traditions’ (TGSI, 49:377-397). ____________ NIC QUIRAICH.
See
NIC ‘UIRICH ____________ NIC RATH, Catriona
(19th Century) This poetess belonged to Harlosh, by Loch Bracadale in
Skye. Catriona NicRath. ‘Bàthadh Chlann-a-Phì’. Cunnartan Cuain. Aonghas Mac-a-Phì. Loanhead: C.
MacDhomhnaill, 1981, dd. 44-45. A lament
for Aonghas Mac-a-Phì and his son, fishermen of Harlosh, who were drowned in Loch Bracadale
in November 1889. Aonhgas’
great-grandson and namesake recovered the words from Bean Choinnich a’ Chanaich, a MacLeod of Roag,
who had known the victims when young.
There are seven stanzas, beginning with ‘B’ i
siud an naidheachd mhuladach’ in a cumha metre. ____________ NIC ‘UIRICH
(17th Century?) An old woman who lived in
the mansion house of Rigg in Trotternish. The Rev. William Matheson, in his notes to
the verses noted below, writes that her name is spelt ‘Nic Quiraich’ in the manuscript and that she was probably a
member of the MacMhuirich family. Nic ‘Uirich. ‘Fhir a thàinig a Cinn-tàile’. Tocher, 14
(Summer 1974), 235. Two
quatrains from the MSS of Donald Nicolson, parochial schoolmaster of Kilmuir, Skye.
Copied by the Rev. William Matheson and published in his article ‘The Cliar Sheanchain’ (Tocher,
14:235-238). Two
Lochaber bards had entered the mansion house of Rigg
and demanded as their right a portion of meat. Nic ‘Uirich
replied in verse that she had prior right and that her infirmity would not
stop her from defending it. ____________ NIGHEAN MHIC GHILLE CHALUIM (17th Century) Iain Garbh,
seventh chief of the MacLeods of Raasay, was
renowned for his strength and valour.
His death by drowning in 1671 was much lamented and gave rise to
speculation, long current in the oral tradition, that the tragedy was caused by
witchcraft. Historical evidence
suggests however, that drunkenness was
a more likely cause. Richard Sharpe
has discussed the documentary evidence (Sharpe 1978:19-21, and both
historical and traditional sources are
cited in the fifth volume of Carmina Gadelica (Matheson
1954:300-301. See also the Rev.
Tormod Domhnallach’s account (Gairm, 79:214-217). Iain Garbh’s
death is the subject of a lament by the poetess Màiri
Nighean Alasdair Ruaidh (Watson 1934:26-31,
114-117). There are four other extant
laments which have been variously attributed to his sister, or his wife, or
his foster mother or nurse, or to Màiri Nighean
Alasdair Ruaidh.
However, the general consensus seems to be that they were composed by
one or other of his sisters, Seònaid and Sìleas. Sorley
MacLean recounts a Raasay tradition that Iain Garbh’s
sister made a lament for him every Friday for a year after his death (TGSI, 49:387; TGSI, 52:305). For a poem about Iain Garbh
by a traditional bard of modern times, see Calum MacNeacail’s
‘ (1) ‘Cumha
Iain Ghairbh’ This lament is of the type
described by James Ross as IIB (Ross
1953-5: 235), in which the basic unit of a stressed couplet with aicill takes on
the continuation form, where the second couplet of each quatrain is repeated
as the first couplet of the next, and there is end rhyme between the final
stressed syllables of the couplets.
Among the versions listed below there is variation in the vocable refrains and considerable variation in
length. Several of the versions
contain textual material not found in any of the others, but they all have
sufficient material in common to be regarded as versions of the one song,
with one possible exception. All
versions, with the exception of the fifth one, begin with a couplet similar
to one or other of those quoted in the first two versions. i Baintighearna
D’Oyly. Orain Ghàidhlig. Ghlaschu: Gilleasbuig Mac-na-Ceardadh, 1875, dd. 18-19. Attributed
to Iain Garbh’s foster mother. There are twelve couplets, beginning with ‘
‘S mi ‘m shuidhe air an fhaoilinn
/ Ri caoineadh ‘s ri tuireadh. The tune is given in staff notation on p.
[23]. ii An Gaidheal, 6 (1877), 280. Ascribed
to Iain Garbh’s sister. There are fourteen couplets, beginning with
‘ ‘S mi na m’ shuidh’ air an fhaodhlainn
/ Gun fhaoilte, gun fhuran’. This version has been reprinted on a number
of occasions: (a) minus five
couplets in Songs and Hymns of the
Scottish Highlands (MacBean
1888: no. 6); (b) Gaelic Bards from 1411 to 1715 (Sinclair 1890:95-97); (c) minus four couplets in Orain nam Beann (Morrison
1913:48-49). In From the Farthest Hebrides (Fergusson
1978:267-268) there is a version which Donald A. Fergusson obtained from the
Rev. John N. MacDonald’s manuscript notebook (NLS MS 3783). Professor Colm Ó Baoill
has told me that he believes this manuscript to be also the source of the An Gaidheal
version. iii Keith
Norman MacDonald (compiler). The Gesto Collection of Ten
couplets. The music is given in staff notation. This version was contributed by Frances
Tolmie and has been reprinted in The
Old Songs of Skye (Bassin
1977: 44). iv Revs.
A and A. MacDonald (editors). The MacDonald Collection of Gaelic
Poetry. Ascribed
to Iain Garbh’s sister Seònaid
(p. xxix). There are seven couplets,
beginning with ‘Tha do mhiolchoin
air iallan / ‘S cha triall
iad do ‘n mhunadh. Contains a reference to the grief of ‘MacDhomhnuill’ not to be found in any of
the other versions noted here. This
version might possibly be regarded as an independent one. Professor
Colm Ó Baoill has suggested to me that its probable source is Carmichael
Watson MS 135 (p. 119). v An Deò-Gréine, 8
(1912-1913), 103-105. The text
is a conflation of versions recorded by Kenneth MacLeod from Mary MacLeod of
Eigg and Catriona MacLean of Raasay.
The tune, in tonic sol-fa notation, was noted by Marjory
Kennedy-Fraser from Fr. Macmillan of Benbecula. In his introductory notes Kenneth MacLeod
remarks that this lament is generally attributed to Iain Garbh’s
sister. There are sixteen couplets
with a prose translation. An
abbreviated version is in Songs of the
Hebrides, 2 (Kennedy-Fraser
and MacLeod 1917:102-109). vi Fr.
John MacMillan. Gaelic Songs of the Isles of the West. Vol.
2. Eight
couplets with a verse translation. The
music is in staff notation. A note
attributes the lament to Iain Garbh’s stepmother. vii Alexander
Carmichael. Carmina Gadelica. Vol. 5.
Edited by Angus Matheson. Version
noted from a seanchaidh
of Fiskavaig, Skye, who attributes it to Iain Garbh’s wife.
There are ten couplets.
Traditional accounts of Iain Garbh’s death
are given. viii K.
C. Craig. Orain Luaidh Màiri
Nighean Alasdair. A South Uist version of eleven couplets. ix TGSI,
49 (1974-1976), 385. From
Sorley MacLean’s article ‘Some Raasay Traditions’ (TGSI, 49:377-397). He got
this version, attributed to Iain Garbh’s wet nurse,
from his grandmother Mary Matheson and his aunt, Peggie
MacLean. There are twelve couplets. (2) ‘Cumha
Iain Ghairbh’ This lament was at one time
attributed to Màiri Nighean Alasdair Ruaidh, but her editor, J. C. Watson, accepts the Raasay
tradition that it was composed by Iain Garbh’s
sister. i Donald
Campbell. A Treatise on the Language, Poetry and Music of the Attributed
to Màiri Nighean Alasdair Ruaidh. Four quatrains, beginning with ‘Och nan och, mo leir chràdh / Mar dh-eirich do ‘n ghaisgeach’. Melody, in staff notation, from Mrs. Macdonell of Keppoch (App., p.
12). ii Keith
Norman MacDonald (compiler). The Gesto Collection of Derived
from the version in Donald Campbell’s A
Treatise … (see above) and attributed to Màiri
Nighean Alasdair Ruaidh. iii Celtic
Monthly, 18 (1910), 60. An
improved edition of the version in Donald Campbell’s A Treatise …, with the music given in tonic sol-fa notation. Calum MacPharlain’s
introductory notes include a highly critical analysis of An Comunn Gaidhealach’s Mod
version (see below). He appears to
leave the question of authorship open. iv Coisir a’ Mhòid I. The
Mod Collection of Gaelic Part Songs 1896-1912 (First Book). Based upon
the version in Donald Campbell’s A
Treatise …, but with one extra quatrain and different vocables. The tune, given in staff notation, has been
considerably remodelled. Attributed to
Màiri Nighean Alasdair Ruaidh. v Marjory
Kennedy-Fraser and Kenneth MacLeod. Songs of the One
quatrain, with vocable refrain, corresponding
closely to the first quatrain and the refrain of the A Treatise … version. The
tune given in staff notation.
Attributed to Màiri Nighean Alasdair Ruaidh, as “singer
at least”. vi An Gaidheal, 29 (1933-1934), 168. Some
Perthshire traditions concerning Iain Garbh’s
drowning are related by ‘F.M.’, with a little known quatrain, apparently by
Iain Garbh’s foster-mother, beginning ‘Tha do phiuthar gun bhràthair’. F.M.’s notes imply that the quatrain belongs to the first
group listed here, but the end rhyme between lines two and four make it more
likely that it belongs to this second group. vii J.
Carmichael Watson (Editor). Gaelic Songs of Mary MacLeod. A
reproduction of the Coisir a’ Mhòid
text (see no. iv above), with a parallel English translation. In his notes, J.C. Watson writes that
although Coisir a’ Mhòid
ascribes it to Màiri Nighean Alasdair Ruaidh, Alexander Nicolson and other Raasay informants
have not hesitation in ascribing it to Iain Garbh’s
sister. J.C. Watson also believes that
the style of the song itself indicates that it was not composed by Màiri. (3) ‘Cumha
Iain Ghairbh’ i Angus
MacKay. A Collection of Ancient Piobaireachd, or Two
quatrains, beginning ‘Iain Ghairbh Mhic ghille Challum / B’e mo bharantas làider’, with a vocable
refrain. Included in the notes to
Pàdruig Mór MacCruimein’s piobaireachd
‘Cumha Iain Ghairbh’. ii TGSI,
24 (1899-1901), 166. Seventeen
couplets, beginning with ‘Seall a mach an e là e / ‘S mi feitheamh na
faire’, arranged in five stanzas of unequal length, with a refrain of mixed vocables and text.
From MacLagan MS 137 (MacKechnie 1973:436). iii Gairm, 145 (An Geamhradh 1988-1989), 65-66. Also from MacLagan MS 137 and entitled ‘Marbhrann
Do Mhac Ghille Chalum Rarasa’. The text
is arranged as a quatrain with mixed vocable and
text refrain, followed by the remaining fifteen couplets in a single
sequence. In Ruaraidh
MacThomais’s ‘Bho Lamh-Sgriobhainnean
MhicLathagain (XII)’ (Gairm, 145:63-66). iv Colm
Ó Baoill. Gàir nan Clàrsach: The Harps’ Cry.
Translated by Meg Bateman. Again from
the MacLagan MS and with a parallel verse
translation. The editor has omitted
one difficult couplet and the vocables given here
are not from the MS, but from the tune as sung by J.C.M. Campbell. v Alexander
MacDonald. Story and Song from Eight
couplets, beginning ‘Seall a mach … ‘. Attributed to Iain Garbh’s
sister. The tune is given in tonic
sol-fa notation on p. 438. vi TGSI,
49 (1974-1975), 386-387. From
Sorley MacLean’s ‘Some Raasay Traditions’ (TGSI, 49:377-397). He got
this version from his aunt Peggie MacLean. It begins ‘ ‘S mi ‘nam
shuidh’ air an tulaich’
and there are eight couplets with a refrain of mixed vocables
and text. vii Donald
A Fergusson (editor). From the Farthest A version
collected in Raasay by the singer J.C.M. Campbell. There are nine couplets, beginning ‘Sgeula nach binn
leam’ with a refrain of mixed vocables
and text. (4) ‘Cumha
Iain Ghairbh’ Rev. A. MacLean Sinclair (editor). Clàrsach
na Coille. The source
of this version appears to be the John MacLean MS (p. 418). MacLean Sinclair uses stanzas 1-3, 5-8 and
11-12 of the MS version with a considerable amount of textual editing. There are seven three-line stanzas in a
strophic metre beginning ‘Moch ‘s a’ mhaduinn Di-dòmhnaich’. This lament not only differs in metre from
all the other ones noted here, but in theme as well. It begins as the lament of a seduced and
abandoned young girl and then becomes a lament for her dead brother. Prof. Colm Ó Baoill has suggested to me
that it may be a conflation of two different songs. ____________ NOBLE, Andrew.
See
NOBUL, Andreas. ____________ NOBUL, Andreas. This poet taught Gaelic at
the school in Andreas Nobul. ‘An Duine Mi-Fhéin’. Life and Work: Na Duilleagan
Gàidhlig (1943: Aireamh 5), 6-8. Twenty-one
stanzas in an amhran metre, beginning ‘Thug mi beum air Maighstir-féin’. |
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A-C D-Domhnall Domhnallach-Dz E–G H–L M–MacA MacB–MacC MacD MacE-MacK, MacLa-MacLeod MacLeòid A-H MacLeòid I-Z MacM-MacN MacO-MacZ M N O-Q R-Z Annie Arnott An Cabairneach Carmina Gadelica
Catriona
Dhùghlas Tormod Domhnallach Marjory Kennedy-Fraser Angus Lamont K. N. MacDonald Johan MacInnes Hugh MacKinnon Calum I. MacLean Sorley MacLean Kenneth MacLeod Niall MacLeòid Màiri
Nighean Alasdair Cairistiona
Mhàrtainn Alexander Morison Kenneth Morrison Angus Nicolson Portree
HS Magazine Lachlann
Robertson Frances Tolmie I Frances Tolmie II Somhairle
MacGill-Eain The New Poetry Books
etc: A-L Books etc: MacA-MacL Books etc: MacM-Z Periodicals, MSS, AV |
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