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Gaelic Literature of the Traditional poets and songmakers: R - Z |
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best viewed on a desktop or laptop PC R., A. M. A. M. R. ‘A
lament for Donald MacLeod of Kingsburgh’. The
Highlander (5th May 1877), p. 3. ____________ ROBASDAN,
Domhnall There are ten songs listed in Neil J. MacKinnon’s ‘Strath, Skye’ (TGSI
54:208-239). Although listed under the
surname Robasdan, they are so akin to the songs by
Domhnall Mac-a-Phì (Domhnall Mhurchaidh)
listed in Dr. MacKinnon’s ‘Strath, Skye – the End
of the Nineteenth Century’ (TGSI,
52:155-197) that I have listed them under the entry for Domhnall Mac-a-Phì. ____________ ROBASDAN, Eoghan (1842-1895) From Tongue, in Skye. ‘Cùl mo làimh ri bàt’
is lion’. Gairm, 143 (An Samhradh 1988), 211-212 ____________ ROBERTSON,
Angus (1871-1948) Angus Robertson was born in Skye and came to developed as the Gaelic novel An t-Ogha Mór, first appeared. He served for a time as president of An Comunn Gàidhealach. When in Gaels. This
was followed by Orain na Céilidh
and Cnoc an Fhradhairc (1940). (Information from The Companion to Gaelic Scotland (Thomson 1983:250).) Details of Angus Robertson ‘s
novel An t-Ogha Mór will
be found in the section for non-traditional creative prose. (1) Angus
Robertson. Orain na Céilidh: Songs of the Ceilidh. Arranged
by Duncan Morrison. Foreword by D. J.
MacLeod. There are nine Gaelic songs in
all, with one English language song.
The Gaelic texts are followed by the composer’s English language
versions, which usually duplicate the metrical patterns of the originals. Love is his most favoured subject
and there is also some nature poetry and a song of encouragement to speakers
of Gaelic. His songs are pleasant
enough, but not very inspired. The melodies are given in staff
notation. Five are original
compositions, with four based upon existing tunes: ‘Aig
an Airidh (pp. 6-9), ‘Alasdair an
Dùin’ (pp. 10-19), ‘Leannan an t-Saighdeir’ (pp. 17-19) and ‘A’ Bheinn
as àird air Chùl’ (pp.
26-29). (2) Angus Robertson. Cnoc an Fhradhairc. On pp. 48-94 there are
twenty-eight poems and songs, including the eight songs of Orain na Céilidh,
along with fourteen English-language versions The first half of the book, pp. 1-47
is taken up with the title poem; a long poem described by Derick Thomson as a
philosophical pastoral. In his foreword to Cnoc an Fhradhairc Alexander
Nicolson is fulsome and uncritical in his praise. Derick Thomson gives a more balanced view;
pointing out the work’s literary flaws as well as its good points (Thomson 1977:264). Two poems from Cnoc an Fhradhairc are included with
parallel English translations in An Tuil: Anthology of 20th Century Scottish Gaelic Verse
(Black 1999:48-51): they are
‘An Dà Latha’ and ‘Maorach is Feannag’. (3) Aonghas MacDhonnchaidh. ‘Ceann-aghairt
a’ Chomunn’.
An Gaidheal, 36
(1940-1941), 154. An anthem to celebrate An Comunn Gaidhealach’s fiftieth
anniversary. Two eight-line stanzas
and two four-line refrains. (4) Aonghas
MacDhonnchaidh.
‘An Sgaradh’. An Gaidheal, 37 (1941-1942), 116. A lament for his son, Weston James
Robertson, killed in (5) Aonghas MacDhonnchaidh. ‘Mòrag a’ Ghlinne’. An Gaidheal,
38 (1942-1943), 11. A graceful reply in verse to a
letter from a young student, Mòrag Cameron. Four four-line stanzas and a refrain
beginning ‘ ____________ ROBERTSON,
Donald. See ROBASDAN, Domhnall ____________ ROBERTSON,
John. See ROBASDAN, Eoghan ____________ ROBERTSON, Neil. See MACDHONNCHAIDH, Niall. ____________ ROS,
Alasdair (d. 1949) A native of (1949: Aireamh 10), 7-8. (1) Alasdair
Ros. ‘Naidheachd
na Sobhraig’.
An Gaidheal,
40 (1944-1945), 95 Song of welcome to the primrose,
which the poet sees as a symbol of freedom and victory against (2) Alasdair
Ros. ‘Miann
an Fhogarraich do ‘n Eilean Sgiathanach’. An Gaidheal, 41 (1945-1946), 14. An exile poem of six eight-line
stanzas, beginning ‘Ged ‘s
tric a bhuaileas siantanna’. The
metre is similar to that of Robert Burns’ ‘My love is like a
red, red rose’. ____________ ROS,
Coinneach (1914-1990) A native of (Biographical information from Fasti Ecclesiae Scoticane,
Vol. 10 (MacDonald 1981:363).) (1) Coinneach
Ros. ‘O a Ghaidhealtachd
till’. Gairm, 51 (An Samhradh
1965), 268. A plea to Gaels for renewal and a
return to their land and culture. Four
quatrains, beginning ‘Am bi daoine a chaoidh ‘na do ghlinn’. Included, with parallel English translation
in An Tuil:
Anthology of 20th Century Scottish Gaelic Verse (Black 1999:342-345). (2) Coinneach
Ros. ‘Farmad’. Gairm, 56 (Am Foghar 1966), 314. A most effective modern poem of
twelve lines, beginning ‘O sguiribh an t-òran’. The last few lines seem to me to show the
influence of ‘Valentín Brún’
by the Irish poet Aodhagan Ó Rathaille. Included, with parallel English translation
in An Tuil:
Anthology of 20th Century Scottish Gaelic Verse (Black 1999:344-345). (3) Coinneach Ros. ‘Fògradh-cogaidh sna h-Innsean’. Gairm, 51 (Am Foghar 1966), 314. An expression of the experience of
exile, powerful in its simplicity and brevity. A modern poem, with different traditional
metrical influences. Ten lines,
beginning with ‘Cha do sheac a’ ghrian
ud’.
Included, with parallel English translation in An Tuil: Anthology of 20th Century Scottish
Gaelic Verse (Black 1999:342-343). (4) Coinneach Ros. ‘Neamhaid gheal thu air clàr cuain’. Aitealan Dlù is Cian. Glaschu: Gairm, 1972, pp. 34-36. A satire of twelve quatrains,
composed when he was minister of Gigha. ____________ ROS, Ealasaid. See LADY D’OYLY ____________ ROS,
Niall (1873-1943) A native of A prominent member of An Comunn
Gaidhealach, he edited that body’s periodical An Gaidheal from 1923 until 1936. He edited for the SGTS Heroic Poetry from the Book of the Dean of Lismore (Edinburgh:
Oliver & Boyd, 1939). Upon the occasion of his death in 1943 several
tributes to Niall Ros in both English and Gaelic were published in An Gaidheal (39:49-52). His nephew, Coinneach Ros, gives a
penetrating analysis of his personality in Aitealan Dlù is Cian (Ros 1972:21-22). While his poetry does not leave any very deep
impression, Niall Ros was possessed of reasonable technical skill, handling
competently a variety of metres, traditional Gaelic and others, and dealing
with a wide range of subjects. See also the entries for Niall Ros in the sections
for: non-traditional creative
prose and journalism and miscellaneous prose. (1) Neil
Ross. ‘An
Samhradh ‘an Eilean-c-Cheò’. Celtic
Monthly, 1 (1892-1893), 192. A song with a fine, swinging
rhythm. Four eight-line verses. (2) Neil
Ross. ‘Aingeal
an Dòchais’. Celtic
Monthly, 2 (1893-1894),
24. This poem is reminiscent of the aisling or
vision theme as used by Dùghall Bochanan. It won for its composer first prize at the
Oban Mod of 1893. There are ten
stanzas. Beginning with ‘A’ Ghrian gu glòrmhor anns
an iar’. The
metre bears some resemblance to that of the metrical psalms, although the
stanzas are of six lines each. (3) ‘Sgéir-an-Oir’ (Neil Ross, On the perishability
of the beauties of creation in contrast to the enduring beauty of dleasdanas (duty). This poem won second prize at the 1897
Mod. There are eleven stanzas,
beginning with ‘Cha ‘n ann a mhàin
an gnùis nan òigh’. The metre
is similar to that of ‘Aingeal an
Dòchais’. (4) Neil
Ross. ‘Tìr
nan Og’. Celtic Monthly, 8 (1899-1900), 23 This poem won first prize at the
Edinburgh Mod of 1899 and was reprinted in An Deò-Gréine (12:149). There are four eight-line stanzas,
beginning with ‘O c’àit ‘eil
aoibhneas Tìr nan Og’. It is
composed upon the tune of Robert Burns’ ‘My love is like a red, red rose’. (5) Neil
Ross. ‘Maduinn Earraich’. Celtic
Monthly, 10 (1901-1902), 3 This poem won first prize in a
competition promoted by the Glasgow Sutherlandshire
Association. It was reprinted in An Deò-Gréine
(12:21). There are twelve six-line
stanzas, beginning with ‘Nach aoidheil
tiorail fuaim nam fras’. The metre is similar to that of the first
two poems listed above. (6) Neil
Ross. ‘A’ Phiob-Mhór. Celtic
Monthly, 11 (1902-1903), 39 This poem in praise of the
bagpipes won first prize at the Dundee Mod of 1902 and was reprinted in An Deò-Gréine
(11:27-28). There are eleven six-line
stanzas and a refrain beginning with ‘ ‘S i ‘phiob-chogaidh a bh’ ann’. It is composed upon the tune of Alexander
MacKinnon’s ‘An Dubh-ghleannach’. (7) Neil
Ross. ‘Air fal
al al ò’. Songs of the A conventional sailor’s love
song. Three stanzas in an amhran metre with a vocable
refrain. The tune is given in both
staff and tonic sol-fa notation and there is an English translation by
Malcolm MacFarlane. (8) Niall Ros. ‘Cuairt do ‘n Ghaidhealtachd’. Guth na Bliadhna, 11
(1914), 379-384; 12 (1915), 1-6,
117-122 Account of a trip by sea from the
Clyde, past the Inner and Outer Hebrides, which reaches its climax in the (9) Niall
Ros. ‘An Oidhche’. An Deò-Gréine, 11 (1915-1916), 141 Here night is depicted as both
bringing welcome relief from the cares of the day and as a symbol of the
darkness always battling against light and goodness. There are forty-eight lines, beginning with
‘Ghluais righ mór an àigh troimh
gheatachan dealrach an fheasgair’. The
metre is based upon that of Homer’s Iliad. (10) Niall
Ros. ‘ A rallying song for An Comunn Gaidhealach, composed upon the model of Alasdair
Mac Mhaighstir Alasdair’s ‘O i
ri rì tha
e ‘tighinn’.
There are four four-line stanzas and a refrain, beginning ‘O hi ri rì, fàilt’
is furan’. The metre is almost perfect
séadna. (11) Niall
Ros. ‘Ag cuimhneachadh ‘s ag ionndrainn’. An Gaidheal, 39 (1943-1944), 52 Four lines from this poem quoted
in an account of his internment. (12) Neil
Ross. Armageddon: a fragment. Armageddon was intended to be part of a much longer epic, but
the poet died before it could be completed and this was published
posthumously published by his widow.
There is a parallel English translation. Armageddon has as its theme the Second World War. Its
celebration of the There are two hundred and
eighty-eight four-line stanzas in dactylic hexameters: a metre used in
classical Greek literature for epic, didactic, philosophical and pastoral
poetry. It has also been used by
several classical Latin poets. ____________ ROSS,
Alasdair. See ROS, Alasdair ____________ ROSS, ____________ ROSS,
Kenneth. See ROS, Coinneach ____________ ROSS,
Neil. See ROSS, Niall ____________ RUNRIG. See: DOMHNALLACH, Calum and Ruairidh, in section ‘The New Poetry’ ____________ SEONAID
NIGHEAN MHIC GHILLE CHALUIM. See: NIGHEAN MHIC GHILLE
CHALUIM ____________ SGEIR-AN-OIR. See ROS, Niall ____________ AN
SGIOBAIR. See MACNEACAIL, Iain ____________ SHAW,
Angus. See SHAW, Aonghas ____________ SHAW,
Aonghas (18th/19th
Century) Aonghas Shaw, Aonghas mac an Lighiche,
was a native of Lyndale in Skye. He served as a soldier during the
Peninsular War and after leaving the army went to live in committed to writing but his wife
sold the manuscript for five pounds. (Information from the Rev. A.
MacLean Sinclair (Sinclair 1896:111-112) ). (1) Aonghas
Shaw. ‘Marbhrann
do Bhean Liandail ‘s an Eilein Sgidheanach a dh’ eug ‘s a’ bhliadhna 1818’. The
MacDonald Collection of Gaelic Poetry.
Edited by the Revs. A. and A. MacDonald. An elegy for Jane Craigdallie, wife of Colonel Alexander MacDonald of Lynedale and Balranald, who
died in 1818. There are seven
sixteen-line stanzas, beginning with ‘Tha naigheachd chianail / An diugh ‘s
na criochan’.
The metre is similar to that of Donnchadh Bàn’s ‘Oran Coire a’ Cheathaich’. (2) Aonghas
Shaw. ‘ From Neil MacLeod’s article, ‘Beagan Dhuilleag bho Sheann Bhàrdachd Eilean-a-Cheò (TGSI,
21:171-186). A light-hearted poem in
which the poet, as a young soldier, addresses his gun as a spouse. One of the best-known examples of this
genre is Donnchadh Bàn’s
‘ There are six eight-line stanzas,
beginning with ‘Tha ‘n oidhche
‘n nochd gle fhuar’. The metre
is amhran;
similar to that of ‘ (3) i ii Mac-Talla
(8th December 1894), p. 8 iii TGSI,
21 (1896-1897), 182-185 iv The
Gaelic Bards from 1775 to 1825. Edited
by the Rev. A. MacLean Sinclair. Composed at the end of the
Napoleonic Wars. The poet castigates
Napoleon with a vigour somewhat reminiscent of Iain Lom, but politically the two poets are very
different. Aonghas Shaw’s song has no
real sense of a Scottish or Gaelic identity. The first version is from Magnus
MacLean’s ‘Skye Bards’ (Highland
Monthly, 4:745-760). Magnus
MacLean notes that it “appeared in one of the The second version was sent to Mac-Talla by Domhnull
Domhnullach, Domhnull Mac Phadruig ‘ic Alasdair, a native of Uig in
Skye who had emigrated to The fourth version, has nine
stanzas, beginning with ‘ ‘ The metre is similar to that of
the poet’s ‘Marbhrann do Bhean
Liandail’. (4) Mac-a-Lighich. ‘ A love song for Màiri Bhàn NicLeòid which has
many echoes of the classical dánta grá tradition.
There are seven eight-line stanzas, beginning with ‘Na faighinn gille gun dàil’, in an amhran metre. (5) [Aonghas
Shaw]. ‘ A lively song, in which the
personification of whisky boasts of his influence over people. In a note (pp. lviii-lix)
the editors express some doubt concerning the song’s authorship. There are seven eight-line
stanzas, beginning with ‘Moch ‘s
mi ‘g éirigh air bheag éislein’. The
first four lines of each stanza have a quatrain structure with the second
four lines having a strophic structure.
This device of using different metrical forms within one stanza is a
common one in European song: see pp. 212 ff. of W. P. Ker’s Form and Style in Poetry (London, 1928). (6) Aonghas
Shaw. ‘Tha
‘m bard Connanach gu tinn’. TGSI, 21 (1896-1897), 181-182 From Neil MacLeod’s article, ‘Beagan Dhuilleag bho Sheann Bhàrdachd Eilean-a-Cheò (TGSI,
21:171-186). A quatrain said to have
been composed to a drunken fellow poet in an inn in Dunvegan. Other versions of this quatrain, and the
story associated with it, are associated with An Clàrsair
Dall (Matheson
1970: liii-lvi). ____________ SILEAS
NIGHEAN MHIC GHILLE CHALUIM. See: NIGHEAN MHIC GHILLE
CHALUIM. ____________ ‘THE SKYE
SOLDIER’. See MACLEOID, Murchadh ____________ SHUTHARLAN, Ealasaid (20th
Century) From Portnalong in Skye
and latterly ‘A’ cuimhneachadh an
Eilein Sgiathanaich: tri orain’. Gairm, 150 (An
t-Earrach 1990), 121-124. The three songs are: ‘Is mise nochd a’ mhiannaicheadh’, ‘An raoir a bhruadair mi gur eun mi’ and ‘Chuala sibh mar mheall iad Adhamh’. ____________ SUTHERLAND, ____________ TEARLACH A’
PHOSTA. See MACMHATHAIN, Tearlach ____________ TORMOD
SAIGHDEAR. See MACLEOD, Norman
(1773-1858) |
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