Gaelic (Learners) Literature [HIGHER;
advertisement
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 Sùla, 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 Pàipear, D I Maclòmhair (ed), Gairm, 1995; ‘Mairead’ by Iain Mac a’Ghobhainn, from Eadar Peann is Pàipear, D I Maclòmhair (ed), Gairm, 1995; ‘A Duine Dubh’ by Tormod MacDhòmhnaill from Eadar Peann is Pàipear, D I Maclòmhair (ed), Gairm, 1995; ‘An Duine Dubh’ by Iain Mac a’ Ghobhainn from Eadar Peann is Pàipear, D I Maclòmhair (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-bhàrdachd Ghàidhlig, Donald MacAulay (ed), Canongate Classics, 1976; ‘Clann-nighean an sgadain’ by Ruaraidh Macthomais from Nua-bhàrdachd Ghàidhlig, Donald MacAulay (ed), Canongate Classics, 1976; ‘Latha Foghair’ by Somhairle MacGill-Eain from Nua-bhàrdachd Ghàidhlig, Donald MacAulay (ed), Canongate Classics, 1976; ‘Anns a’ Bhalbh Mhadainn’ by Ruaraidh Macthomais from Nuabhàrdachd Ghàidhlig, Donald MacAulay (ed), Canongate Classics, 1976; ‘Ròdhag, 2000 AD’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Ùrnaigh na BanTigrich’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Leasachadh’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Bha mi gad chàineadh’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘A chionn ’s gu robh mi measail air’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Lit gun Shalainn’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Ar Cànan ’s ar Clò’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Bogsa nan Litrichean’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Cogadh an Dà Chànain’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Cotrìona Mhor’ by Ruaraidh MacThomais, Canongate Classics, 1976; ‘Bantrach Cogaidh’ by Iain MacLeòid 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, © 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. © 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) © Learning and Teaching Scotland 2006 Clàr-ìnnse – 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 chàineadh, Meg Bateman 9 Bogsa nan Litrichean, Myles Campbell 11 Ar Cànan ’s ar Clò, Anne Frater 13 Leasachadh, Anne Frater 18 Cotrìona Mhòr, Derick Thomson 21 Cisteachan-Laighe, Derick Thomson 24 Anns a’ Bhalbh Mhadainn, Derick Thomson 28 Clann-nighean an sgadain, Derick Thomson 30 Do Mo Mhàthair, Iain Crichton Smith 33 Latha Foghair, Sorley MacLean 36 Ùrnaigh na Ban-Tigrich, Catriona Montgomery 39 Ròdhag 2000 AD , Catriona Montgomery 43 Cogadh an Dà Chànain, 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) © 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) © 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 bhòbhl; ‘Chan fhaighear nas fheàrr na ’n t-uisge-beatha.’ Ach ’s e Martini bhios e ’g òl … Nach ann truagh a tha ’n cluaran le boladh an ròis! 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) © 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) © 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. Dhèanainn tì dha is dh’èisdinn ris a chionn ’s gu robh mi measail air. Sguir e a dh’òl is rinn mi gàirdeachas leis a chionn ’s gu robh mi measail air. Nist cha tig e tuilleadh is nì e tàir orm a chionn ’s gu robh mi measail air. Faclan a chionn measail thigeadh e thugam air mhisg dhèanainn dh’ èisdinn rinn mi gàirdeachas leis tuilleadh tàir 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) © 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) © Learning and Teaching Scotland 2006 POETRY Bha mi gad chàineadh Meg Bateman This poem deals with the poet’s feelings towards a man. Read the poem. Bha mi gad chàineadh Bha mi gad chàineadh, mo shùilean a’ boillsgeadh, is chan ann gun reusan a bha m’ fhearg. Tacan bhuam, bha thu a’ bruidhinn ris, a’ dèanamh gàirdeachas leis, a’ toirt pòg dha an dèidh na dealbh-cluich. Is chrìon mi sa mhionaid, on a thuig mi, ge b’oil leam, gur annsa leam fon ghrèin do spèis. Faclan gad chàineadh a’ boillsgeadh fearg tacan bhuam pòg chrìon mi thuig mi ge b’ oil leam gur annsa leam spèis 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) © 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) © Learning and Teaching Scotland 2006 POETRY Bogsa nan Litrichean Maoilios Caimbeul – Myles Campbell Read the poem. Bogsa nan Litrichean Thàinig e air ais as dèidh 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 crùn na h-iompaireachd, ’s e sgrìobht’ 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’ fheàrr leis an aisling a ghleidheadh slàn na bothan crom air monadh lom a bhith ga leòn. Faclan meirg gun teagamh crùn na h-ìompaireachd an ath thogail falamh salchar snighe thionndaidh e air a bhuinn aisling a ghleidheadh slàn bothan crom monadh lom ga leòn 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) © 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’ fheàrr leis an aisling a ghleidheadh slàn” 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) © Learning and Teaching Scotland 2006 POETRY Ar Cànan ’s ar Clò 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 Cànan ’s ar Clò 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 “Clò” section of the CD-ROM Na h-Eileanan an Iar – An Sluagh agus an t-àite so that you can see a loom being used. Now read the poem. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 13 POETRY Ar Cànan ’s ar Clò Bha bodach na mo bhaile aig an robh beairt, agus leis a’ bheairt dhèanadh e clò, agus chaidh aodach a dhèanamh den chlò, agus bhiodh na daoine a’ cur orra ’n aodaich – aodach tiugh trom a chumadh blàth iad. Ach thàinig fear eile, fear na b’òige, fear nach buineadh don bhaile, agus bha beairt ùr aige agus snàth ùr – dathan air an goid bhon bhogha-froise – agus aodach tana, lom, agus àlainn, ann am beachd nan daoine. Chum am bodach air leis an t-seann bheairt ach bha na daoine òg a’ fanaid air, agus cheannaich iad uile na beairtean ùra, agus thòisich iad a’ dèanamh nan clòitean ùra, agus cha robh dragh aca mu dheidhinn a’ chlò air beairt a’ bhodaich. Ach, an dèidh ùine thàinig an geamhradh agus cha chumadh an t-aodach lom le na snàithtean brèagha agus na dathan soilleir a-mach am fuachd, agus cha robh feum anns na beairtean ùra. Lorg iad am bodach agus chunnaic iad a’ bheairt, agus chunnaic iad an clò, ach cha b’urrainn dhaibh a’ bheairt obrachadh, oir bha i air fàs meirgeach agus bha am bodach marbh. 14 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Faclan ar cànan ar clò beairt dhèanadh e clòitean tiugh trom a chumadh blàth iad nach buineadh snàth snàithtean air an goid bogha-froise tana lom beachd chum...air a’ fanaid air cha robh dragh aca an dèidh ùine 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) © Learning and Teaching Scotland 2006 15 POETRY Puingean còmhraidh: Cò bha a’ dèanamh a’ chlò? Ciamar a bhiodh e a’ dèanamh a’ chlò? Cò ris a bha a’ chlò coltach? Cò bha a’ dèanamh an aodaich ùir? Dè bha na daoine anns a’ bhaile a’ smaoineachadh mun aodach ùr? Ceart no ceàrr – bha daoine anns a’ bhaile a’ cur orra an aodaich ùir agus a’ chlò? Dè thachair anns a’ gheamhradh? Ceart no ceàrr – b’ urrainn do mhuinntir a’ bhaile a’ bheairt obrachadh? Dè bha air tachairt ris an duine a bha a’ dèanamh a’ chlò? 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? 16 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 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) © Learning and Teaching Scotland 2006 17 POETRY Leasachadh Anna Frater – Anne Frater Read the poem. Leasachadh Is mis’ a’ chraobh a dh’èirich suas air sliabh glas na beinne. Uaine òg mo dhuilleag air a biathadh le bùrn fuar glan frasach an uillt, agus gaoth a’ ghlinn aon latha gam phògadh ’s an uair sin gam bhrùthadh, gam dhèanamh làidir agus sùbailte. Bòidhchead mo dhream a’ lasadh fon ghrèin. Ach thèid craobh a leagail mar a chaidh mis’, le cruaidh gheur ghort, nuair a rinn mi dealachadh bho choille m’ àraich. Agus, airson mo dhèanamh nas fhèarr, gheàrr iad gach freumh, gach geug, gach duilleag a dh’fhosgail ann an gaoth ghlan mo ghlinn. Chaidh m’ fhàgail rùisgte air beulaibh an t-sàibh. Chaidh mo ghearradh gus an robh mi grinn, chaidh mo sgùradh gus an robh mi mìn, chaidh mo locradh gus an robh mi lom – agus chuir iad dhachaigh mi. Ach, chan urrainn dhomh crùbadh nuair a bhrùthas a’ ghaoth. Chan fhosgail duilleag nuair a dh’èireas a’ ghrian. Cha sheinn uiseag tuilleadh sàbhailt nam gheug. Dh’fhàg tarraigean an leasachaidh mi rag ris a’ ghaoith. 18 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Faclan leasachadh craobh a dh’ èirich suas sliabh glas na beinne duilleag biathadh bùrn glan frasach an uillt a’ ghlinn gam phògadh gam bhrùthadh sùbailte bòidhchead dream a’ lasadh a leagail cruaidh geur gort dealachadh coille àrach gheàrr iad freumh geug rùisgte sàbh grinn sgùradh mìn locradh lom crùbach uiseag tuilleadh sàbhailt 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) © Learning and Teaching Scotland 2006 19 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. 20 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Cotrìona Mhòr Ruairidh MacThòmais – Derick Thomson Cotrìona Mhòr 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. Cotrìona Mhòr Tha go dhealbh ann an cùl m’ inntinn gun sgleò air, daingeann, suidhichte a-measg nan ìomhaighean briste, a-measg a luasgain, gun aois a’ laigh air ach an aois a bhà thu, clàr mór 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 àbhachdas, leis a’ ghearradh-cainnt a bha a’ leum á cridhe a’ chinnidh mus deach a chéiseadh, mus deach a valve ùr ann a chumadh ag obair e anns an t-saoghal ùr. Sud iuchair mo mhuseum, an clàr air an cluich mi mo bhial-aithris, an spaid-bheag leis an dùisg mi fonn na linne a tha nise seachad, an ìomhaigh tha cumail smachd air na h-ìomhaighean-bréige. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 21 POETRY Faclan air cùl m’ inntinn sgleò daingeann suidhichte ìomhaigh(ean) briste luasgain a’ laighe clàr mòr an aodainn Earrach gam chur gliocas an eisimeil àbhachdas gearradh-cainnt cridhe cinneadh cèiseadh iuchair bial-aithris spaid fonn linn smachd brèige 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. 22 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 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. Cotrìona Mhòr 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 clàr air an cluich mi mo bhial-aithris an spaid-bheag leis an dùisg 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 dùisg mi fonn”? 8. In the last two lines, Thomson comes back to the strong image of Cotrìona Mhòr – an image of stability. Why do you think this image is so important to the poet? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 23 POETRY Cisteachan-Laighe Ruairidh MacThòmais – 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’ àrd, tana ’s fiasag bheag air, ’s locair ’na làimh: gach uair thèid mi seachad air bùth-shaoirsneachd sa bhaile, ’s a thig gu mo chuimhne fàileadh na min-sàibh, thig gu mo chuimhne cuimhne an àit ud, le na cisteachan-laighe, na h-ùird ’s na tairgean, na sàibh ’s na sgeilbean, is mo sheanair crom, is sliseag bho shliseag ga locradh bho’n bhòrd thana lom. Mus robh fhios agam dé bh’ ann bàs; beachd, bloigh fios, boillsgeadh de’n dorchadas, fathann de’n t-sàmhchair. ’S nuair a sheas mi aig uaigh, là fuar Erraich, cha dainig smuain thugam air na cisteachan-laighe a rinn esan do chàch: ’sann a bha mi ’g iarraidh dhachaidh, 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 bréid Beurla, an lìomh 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. 24 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Faclan cisteachan-laighe fiasag locair bùth-shaoirsneachd cuimhne fàileadh min-sàibh ùird tairgean sàibh sgeilbean crom sliseag lom mus robh fhios agam bàs bloigh fios boillsgeadh dorchadas fathann sàmhchair uaigh Earrach smuain càch blàths inntinn a’ locradh cha tug mi ’n aire mun cuairt orm cha do dh’aithnich mi brèid lìomh Gallda fiodh pràis cinneadh a’ dol bàs gus na dh’fhairich mi a’ dol tromham slànaich cràdh Vocabulary coffins beard plane joiner’s shop memory smell sawdust hammers (plural of òrd) nails saws (plural of sàbh) 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) © Learning and Teaching Scotland 2006 25 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 “lìomh Gallda” and a “brèid 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 26 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 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 Cànan ‘s ar Clò by Anne Frater in terms of the use of craft imagery. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 27 POETRY Anns a’ Bhalbh Mhadainn Ruairidh MacThòmais – 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 clàr an fhuinn còmhnard, bha a’ ghaoth aig fois, a strannraich ’s a sitheadh bàthte fo’n ghilead, gach bleideag ’na tàmh, càiricht san fhighe mhìn ud mar gheal phlaide. Chaill sinn na caoraich bha muigh air mòintich nuair thaom an stoirm ud a-nuas ’eallach, is thug sinn a’ mhadainn gan dian shireadh. Thàinig stoirm air mo dhùthaich, sneachda mìn, marbhteach, mùchaidh: ge geal e, na creid ’na ghilead, na cuir t’earbs ann an anart; dhèanadh mo chridhe iollach nam faicinn air a’ chlàr bhàn sin ball buidhe ’s gun tuiginn gu robh anail a’ Ghaidheil a’ tighinn am mullach. Faclan balbh clàr fonn còmhnard aig fois a strannraich a sitheadh bàthte fo ’n ghilead bleideag ’na tàmh càiricht san fighe mhìn 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) © Learning and Teaching Scotland 2006 POETRY mòintich thaom ’eallach gan dian shireadh dùthaich mìn marbhteach mùchaidh 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 Cànan ’s ar Clò, thinking especially about the poets’ use of warnings of the loss of Gaelic culture. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 29 POETRY Clann-nighean an sgadain Ruairidh MacThòmais – 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-àite, at the film extracts of the herring girls at work. Read the poem. Clann-nighean an sgadain An gàire mar chraiteachan salainn ga fhroiseadh bho ’m bial, an sàl ’s am picil air an teanga, ’s na miaran cruinne, goirid a dhèanadh giullachd, no a thogadh leanabh gu socair, cuimir, seasgair, fallain, gun mhearachd, ’s na sùilean cho domhainn ri fèath. B’e bun-os-cionn na h-eachdraidh a dh’ fhàg iad ’nan tràillean aig ciùrairean cutach, thall ’s a-bhos air Galldachd ’s an Sasainn. Bu shaillte an duais a thàrr iad às na mìltean bharaillean ud, gaoth na mara geur air an craiceann, is eallach a’ bhochdainn ’nan ciste, is mara b’e an gàire shaoileadh tu gu robh an teud briste. Ach bha craiteachan uaille air an cridhe, ga chumail fallain, is bheireadh cutag an teanga slisinn á 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 dàn dhaibh, dhèanadh iad daoine. 30 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Faclan clann-nighean sgadan gàire craiteachan salainn froiseadh sàl picil teanga miaran giullachd a thogadh leanabh socair cuimir seasgair fallain mearachd domhainn fèath bun-os-cionn tràillean ciùrairean cutach thall ’s a-bhos Galldachd saillte duais a thàrr 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) © Learning and Teaching Scotland 2006 31 POETRY bha obair rompa fhathast maoin robach an dàn 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) © Learning and Teaching Scotland 2006 POETRY Do Mo Mhàthair Iain Mac a’ Ghobhainn – Iain Crichton Smith Do Mo Mhàthair 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 Mhàthair Bha thus’ a’ sgoltadh sgadain ann a Yarmouth fad air falbh ’s a’ ghrian shaillt sa mhadainn ag èirigh às 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 cùrsan ùr, mo Ghàidhlig ann an leabhar ’s mo Laideann aig an stiùir, nam shuidh’ an siud air cathair ’s mo chofaidh ri mo thaobh is duilleagan a’ crathadh siùil na sgoilearachd ’s mo thùir. Tha cionta ga mo lèireadh mar a dh’èirich ’s mar a tha. Cha bu chaomh leam a bhìth ’g èirigh ann an doilleireachd an là, bhith a’ sgoltadh ’s a bhith reubadh iasg na maidne air an tràigh ’s am muir borb ud a bhith beucadh sìos mo mhiotagan gun tàmh. Ged a nì mi sin nam bhàrdachd ’s e m’ fhuil fhìn a th’ air mo làimh, ’s gach aon sgadan thug an làn dhomh a’ plosgartaich gun dèan mi dàn, ’s an àite cùbair tha mo chànan cruaidh is teann orm a ghnàth is an salann garbh air m’ fhàinne a’ toirt beòthalachd don bhàs. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 33 POETRY Faclan a’ sgoltadh saillt fuil oir do sgine thachd e bilean searbh a’ deòghal stiùir a’ crathadh siùil sgoilearachd mo thùir cionta ga mo lèireadh doillearachd reubadh borb beucadh gun tàmh làn a’ plosgartaich dàn cùbair teann a ghnàth fàinne beòthalachd 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) © 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 Mhàthair by Iain Crichton Smith with Clannnighean an sgadain by Derick Thomson. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 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 reòta mur b’e ’n teas – mar gum b’ ann a’ fuireach ri fios. Nuair thàinig an sgriach a mach as a’ ghréin, a buille ’s bualadh do-fhaicsinn, leum an lasair agus streap an ceathach agus bhàrc e gacha rathad: dalladh nan sù, sgoltadh claistinn. ’S ’na dhéidh, 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’ ghréin ’s i cho coma, cho geal cràiteach; air a’ ghainmhich ’s i cho tìorail socair bàidheil; agus fo reultan Africa, ’s iad leugach àlainn. 36 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Ghabh aon Taghadh iadsan ’s cha d’ ghabh e mise, gun fhoighneachd dhinn có a b’ fheàrr 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 reòta mur b’ e ’n teas fios sgriach às a’ ghrèin buille bualadh do-fhaicsinn leum lasair ceathach bhàrc dalladh nan sùl sgoltadh claistinn am miosg strannraich coma cràiteach gainmheach tìorail socair bàidheil 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) © Learning and Teaching Scotland 2006 37 POETRY Discuss: setting repetition, for example “sianar marbh” sounds, for example “…sgriach a mach as a’ ghrèin” sights, for example “streap an ceathach” alliteration, for example “leum an lasair” use of contrasting adjectives, for example “cràiteach” and “bàidheil” 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) © Learning and Teaching Scotland 2006 POETRY Ùrnaigh na Ban-Tigrich Catrìona 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. Ùrnaigh na Ban-Tigrich Athair ’s mo Dhia, dèan thus’ ar dìon, mi fhìn ’s mo naoidhean beagan mhìos; gur gann an t-uisg’ ’s gur gann an sìol – sinn acrach, creuchdach, brùite, piant’. Adhlaicte an-diugh mo luaidh, ’s nach aithnich mise uaigh seach uaigh: measg mhìltean ’n Tigre tha e na shuain – coimhead thusa, Thighearna, oirnn le truas. Sinn fannachadh le teas na grèin’ nuair dh’èireas i an àird 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 fhèin, na canar, ‘An do thrèig thu mi, mo Dhia?’ Cheus riaghaltas eile Crìosd air crann, ’s tha luchd-breug gar biathadh ’s sinn gu gann. Dòirt sìos do mhathas caomh, a Dhè – na leig le olc buannachadh gu lèir. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 39 POETRY Faclan ùrnaigh Ban-Tigreach Dia dìon naoidhean gann sìol acrach creuchdach brùite piant’ adhlaichte mo luaidh nach aithnich mise uaigh seach na shuain truas fannachadh teas an àird speur mealachadh sgeadachadh truagh Tighearna toradh talamh lom trèig creideamh cheus riaghaltas Crìosd crann luchd-breug gar biathadh gu gann dòirt mathas caomh a Dhè na leig olc buannachadh gu lèir 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) © 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) © Learning and Teaching Scotland 2006 41 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 sìol” 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) © Learning and Teaching Scotland 2006 POETRY Ròdhag, 2000 AD Catrìona Ni Gumaraid – Catriona Montgomery In Ròdhag, 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. Ròdhag, 2000 AD Nuair a bheir an fheannag an t-sùil às a’ chaora mu dheireadh, bidh mi ri dìdearachd air d’ uinneagan: bidh iad an sin a’ cluich chairtean ’s ag òl Beaujolais poodle a’ dannsa mun casan; bidh fhàileadh blàth a’ bhainne air falbh às na bàthchannan, ’s iad làn thruinnsearan fuar cruaidh pottery airson an luchd-turais; fuaim nam brògan tacaideach nan samhla a’ coiseadh air monadh; na croitean uaine fàsail gun bhristeadh spaide. Nuair a bheir an fheannag an t-sùil às 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 dìdearachd fàileadh bàthchannan làn truinnsearan Vocabulary crow peeping smell byres full plates LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 43 POETRY cruaidh fuaim brògan tacaideach samhla monadh croitean fàsail 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) © Learning and Teaching Scotland 2006 POETRY Cogadh an Dà Chànain Maoilios Caimbeul – Myles Campbell Read the poem. Cogadh an Dà Chànain ’S mi an leanabh sàraicht’, an dithis gam altramas. Fhuair mi ’n t-uachdar om mhàthair ach om mhuime bainne lom. Tha mo bheul sgìth de chìch na tè ud, an sgalag! an tràill! a tha air iomadh muinntireas fhaicinn, a’ reic a bainne ris a’ mhòr-shluagh – ’s beag an t-iongnadh a cìoch a bhith cas. Tha a bainne geur a’ dol tarsainn m’ anail agus a’ fàgail blas searbh na mo bheul. Cha ghabh ìm no càis’ a dhèanamh dheth. ’S chan e sin, ach tha e sabaid airson uachdranachd air an stapag mhilis a tha daonnan nam bhràigh. Faclan cogadh cànan leanabh sàraichte dithis gam altramas uachdar om muime lom de chìch na tè ud sgalag tràill 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) © Learning and Teaching Scotland 2006 45 POETRY a’ reic mòr-shluagh ’s beag an t-iongnadh cas geur a’ dol tarsainn m’ anail blas searbh sabaid uachdranachd stapag milis daonnan bràigh 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 “sàraicht’” the poet’s message. Advanced Higher Compare and contrast Cogadh an Dà Chànain by Myles Campbell and Ar Cànan ’s ar Clò. An example has been given for you. Comparison Contrast Theme – struggle between Gaelic and English Different images 46 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Bantrach Cogaidh An t-Urramach Iain MacLeòid – 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 gàrradh: briogais bhàn is léine gheal, crios gorm leathann, còrd 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 bàthte air an tràigh, air a pasgadh le làmhan gràidh is cridhe brist’: mar deise rìgh dol gu banais. Car son tha thu dol uair sa mhìos don phost-oifis ’nad aodach dubh, le cridhe trom, ’s a’ tilleadh feasgar le leabhar a’ pheinsean ’nad làimh? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 47 POETRY Car son a thog thu mi ’nad uchd ’s do cheann crom, is fhliuch thu m’ aodann le do dheòir nuair thuirt mi, ‘Mhàthair, cà’il m’ athair?’ Aon là san sgoil sheas sinn sàmhach dà mhionaid a’ cuimhneachadh air laoich a’ Chogaidh Mhóir, is ruith mi dhachaigh ’na mo dheann a dh’innse dhi, ‘Cha bhi cogadh tuilleadh ann.’ Oidhche gheamhraidh bha i snìomh; shuidh mi ri taobh. Bha ceann dol liath ’s i fhathast òg. An lùib an t-snàth chaidh fuiltean mìn mar shìoda measg an duibh. Thuirt i, ‘Gléidh cuimhn’ orms’ nuair chì thu m’ fhalt an lùib an t-snàth ’s nach bi mi ann.’ ’S mar thubhairt bhà. Rinn iad d’ uaigh ri taobh nan tonn. Cha chlisg thu chaoidh aig gaoith no stoirm. Sibh sin cho réidh, thu fhéin ’s an cuan – cha toir e tuilleadh uat do ghràdh. Nach math gun tug am bàs thu tràth, ’s nach fhac’ thu cogadh ùr ’nad là ’s nach fhac’ thu mise falbh don bhlàr le deise ghorm is bonaid cruinn mar bh’air m’ athair nuair fhuair iad marbh e aig a’ Bhràigh. Faclan banntrach cogadh sgaoil gàrradh crios 48 Vocabulary widow war spread wall belt LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY leathann caol clach cruinn deise stiallan reub chorp bàthte pasgadh gràdh cridhe brist’ rìgh banais trom a’ tilleadh peinsean ’nad uchd crom deòir a’ cuimhneachadh laoich Cogadh Mòr ’na mo dheann tuilleadh snìomh an lùib snàth fuiltean mìn sìoda glèidh cuimhn’ orms’ uaigh tonn cha chlisg thu chaoidh rèidh cuan uat blàr marbh Bràigh 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) © Learning and Teaching Scotland 2006 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 òg” – 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) © Learning and Teaching Scotland 2006 POETRY Bean Dubh a’ caoidh a Fir a Chaidh a Mharbhadh leis a’ Phoileas Donnchadh Mac Dhùn Lèibhe – 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 Inkòsi Sikelele, Baba Inkòsi Sikelele. Car son, a Dhé a tha san chathair, Car son an-diugh a rinn Thu ’n latha? Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Mo-nuar gum faca mi a shoillse Ach a bhith gu bràth san oidhche. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Och, mo chràdh, mo chràdh ’s mo léireadh An latha thug iad uam mo cheudghràdh. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Do chorp donn an-sin ’na laighe, Toll air tholl a’ sileadh fala. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Am fear bòidheach laigh ri m’ thaobh -sa An-sin ’s a mhionach ás a’ slaodadh. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Aichbheil, aichbheil, sgrios is léireadh Air an luchd a rinn mo cheusadh. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Éist ri m’ ghuidhean, Rìgh nan Dùilean, Éist ri m’ athchuinge ’s ri m’ ùrnaigh. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 51 POETRY Tha ’n luchd bàn an-diugh làn aigheir ’S tha mo phàistean-sa gun athair. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Is tha mo bheatha-sa nis falamh – Ach ceadaich dhomh, mum fàg mi ’n talamh, Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Air m’ fhear-céile an-sin ’na shìneadh, Nuair a thig mo mhic gu ìre, Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. An éirig dhuinn air son ar dòrainn, Latha réidh a ghearradh sgòrnan, Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Ghearradh sgòrnan nam fear fuileach, Fuil mu m’ dhòrnaibh suas gu uilinn, Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. A bhith gan reubadh is gam pianadh Is deagh fhaobhar air mo sgian-sa: Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Thoir latha dhuinn gu saor a’ pàigheadh Fhir is mhnathan agus phàistean Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. An luchd ghil a bhuail ar daoine; Cuairt mu’n amhaichean de’n caolain – Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Cuairt de’n caolain an àite chneapan, Is siridh mi ’n-sin taobh do leapach, Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. Na fiachan uile air an dìoladh, Fhir ’s a ghràidh, ’s tu ’n-sin ad’ shìneadh. Baba Inkòsi Sikelele, Baba Inkòsi Sikelele. 52 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 POETRY Faclan fir marbhadh a’ caoidh Baba Inkòsi Sikelele cathair mo-nuar soillse gu bràth cràdh lèireadh uam ceudghràdh corp laighe toll a’ sileadh fala bòidheach mionach a’ slaodadh aichbheil sgrios luchd ceusadh guidhean Rìgh athchuinge ùrnaigh luchd bàn aighear pàistean mo bheatha-sa falamh ceadaich dhomh fàg talamh fear-cèile a’ sìneadh mo mhic gu ìre an èirig dhuinn dòrainn rèidh a ghearradh sgòrnan 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) © Learning and Teaching Scotland 2006 53 POETRY dòrnaibh uilinn reubadh faobhar mnathan caolain siridh mi do leapach fiachan air dìoladh 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 Ùrnaigh na Ban-Tigrich by Catriona Montgomery? Consider: 54 political stance religious imagery other imagery harsh vocabulary. LITERATURE (H/AH, GAELIC (LEARNERS) © 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 55 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 mhòr. B’e duine aosd a bh’ann, timcheall air trì fichead ’s a deich. Bha a bhonaid na làimh dheis, a dhà chois ri chèile, ’s a dhruim dìreach. Bha fhalt a’ gluasad gu socair anns a’ bheagan gaoithe. Dh’aithnicheadh duine gu robh e ’n ìre mhath beartach oir bha a dheise ghlas a’ coimhead daor, a bhrògan a’ deàrrsadh mar ghloinne, a lèine de shìoda gheal, is aodann coltach ri aodann duine a bha air a shaoghal a chosnadh. Ach a-mhàin na sùilean … Anntasan, bha doimhneachd aognaidh. Chual e duine ri thaobh ag ràdh: “Feumaidh e bhith gu robh e -fhèin anns a’ chogadh.” ’S dh’fhairich e dithis no triùir a’ sealltainn ris. Theab e seasamh na bu dìriche ach cha do rinn e sin. Os a chionn bha an t -adhar sìmplidh gorm ’s rinn e gàire beag leis fhèin. Chual e glagan na h -eaglaise a’ bualadh ’s bha e smaoineachadh gum biodh iad r eòite mar chlogaidean mòra Gearmailteach. Tharraing e chòta timcheall air. Cha robh am fuachd a’ tighinn ris. Anns an dà mhionaid de thàmh stad na carbaidean air feadh an t -saoghail ’s bha e a’ smaoineachadh; “ ’Se dealbhadair ainmeil a th’annam.” Thub hairt e ris fhèin a-rithist: “ ’Se dealbhadair ainmeil a th’annam,” mar gum biodh e airson a dhearbhadh gu cinnteach. Chual e am ministear a’ bruidhinn: “Bhàsaich iad a chum gum biodh sinne beò.” ’Se duine beag dubh a bh’anns a’ mhinistear. Dè bha e ciallachadh le “beò?” Smaoinich e air na bliadhnachan a chaith e a’ dèanamh dhealbhan, latha ’n dèidh latha, oidhch’ an dèidh oidhch’, a’ cumail na h-aodainn air falbh, a-muigh anns an dorchadas a bha a’ goil leotha. A làmh a’ dealbhadh gun sgur, gus nach brùchdadh an dorchadas air inntinn. Dh’fhaighnicheadh daoine carson nach robh dearg air bith anns na dealbhan aige ach bha fhios aige fhèin. ’S iomadh smuain a thug an luchd-sgrùdaidh às an inntinnean airson sin a mhìneachadh don t-sluagh (ma bha dragh air bith acasan) ach cha robh aon aca ceart. Rinn e gàire beag eile. 56 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES Cha robh fhios aige carson a bha e an siud ach bha e ann gach bliadhna. Bha rudeigin ga stiùireadh chun a’ chàirn ud. Dh’fhosgail e shùilean ’s chunnaic e na sìtheanan dearga a-rithist – ròsan searbha na Frainge – air na broillichean mar fhuil. Dhùin e shùilean, ach thill an smuain. Chunnaic e Frank na laighe air an talamh reòite. Bha aodann ris an adhar, a bha sìmplidh gorm. Chual e na gunnachan a’ bùrail ’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 còmhla, dìreach às an taigh fhoghlaim. Bha iad toilicht’ an latha dh’fhàg iad, ach cha robh iad toilicht’ a-nis. Bha bùrail do-ainmicht’ timcheall air mar ifrinn. Dh’fheumadh e Frank a thogail ’s a thoirt air ais. Bha e-fhèin na laighe air an talamh. Dh’fheumadh e èirigh is ruith is Frank a thogail is ruith a -rithist. Rinn e airson èirigh (’sann a bha e mar gum b’ann ceangailt’ ris an talamh) ’s aig a’ cheart àm chunnaic e ’n Gearmailteach a’ leum mu choinneamh leis a’ bhiodaig. Dh’èirich e-fhèin is ruith e: bha Frank fad air falbh. Bha a’ bhiodag air a chùlaibh ’s e a’ ruith. Chual e peilear ’s thuit an Gearmailteach. Cha robh fhios cia às a thàinig am peilear. Cha do stad efhèin: ach lean e air chun nan trainnsichean. An ceann ùine 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 sàmhach. Siud far an d’ fhuair iad e, na sheasamh mar gum b’ann am bruadar a’ sealltainn sìos ris a’ Ghearmailteach. Bha fuil air broilleach a’ Ghearmailtich far na bhuail am peilear e. Bha a dhà shùil fosgailte is cop timcheall a bheòil. Chaidh iad timcheal air ’s bhuail fear aca an Gearmailteach le bhròig. Chaidh e-fhèin air chrith mar gum b’ann a’ bualadh Frank a bha iad. Bha a’ bhiodag fhathast ann an làimh a’ Ghearmailtich ’s a bheul fosgailte, a’ sealltainn nam fiaclan. B’e duine òg a bh’ann, a shùilean go rm ’s a phluicean dearg. Sheas e a’ sealltainn sìos ris airson ùine mhòir. Thòisich e a’ sgriachail nuair a shlaod iad air falbh e. Goirid an dèidh sin chuir iad dhachaigh e. Chual e na carbaidean mar pheilearan a’ tòiseachadh a -rithist. Bha e na sheasamh mar chloich ’s a ghairdeanan ri a chliathaich. Chunnaic e boireannach reamhar a’ gul, ’s neapaigin mòr gorm aice. Chual e am ministear ag ràdh: “They shall grow not old, as we that are left grow old,” ’s rinn e gàire beag eile ris fhèin. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 57 SHORT STORIES Nuair thionndaidh e air falbh theich dithis no thriùir às a rathad, ’s iad a’ toirt urram dhà. Choisich e gu grad air falbh. Cha robh a dhruim a -nis cho dìreach. Ghabh ifrinn na sràide seachad air. Smaoinich e air an dealbh air an robh e ’g obair, ’s thubhairt e ris fhèin: “Tha thìd agam, tha thìd agam an dearg a chur annta, mus bàsaich mi.” Chunnaic e aodann Frank air gach sràid, a’ sealltainn suas ris. Bhuail e ann an dithis no thriùir ach lean e air gun tionndadh. Cha robh an t -aodann ud a’ fàs aosd. Mu dheireadh ràinig e ’n taigh, air ghoil le smaointean. Chuir e dheth a chòta ’s thòisich e air dealbh ùr. Cha robh càil anns an dealbh ach ròs mòr dearg, mar chridhe duine, ’s os a chionn bha adhar sìmplidh 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 sìmplidh 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) © 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? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 59 SHORT STORIES Màiread 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. Màiread Nuair thill iad dhachaigh à Glaschu cheannaich iad taigh mòr geal le l ios mòr air a bheulaibh. Cha robh dìth 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 dèidheil air iasgach. “Tha seachd rumannan ann gu lèir,” ars esan rithe. Thug iad am piàno dhachaigh leotha agus an àirneis a bh’aca anns an taigh eile air Great Western Road. Air latha brèagha samhraidh bha i na suidhe anns an lios air cathair, a’ ghaoth bhlàth a’ togail a fuilt, ’s Murchadh le a shlat iasgaich shìos aig a’ chreagach. Agus chual i am piàno a’ cluich. Chuir seo eagal uabhasach oirre oir bha i cinnteach nach robh aon duine am broinn an taighe. Gu critheanach dh’èirich i às a’ chat hair ’s chaidh i steach don rùm ach cha robh duine na shuidhe aig a’ phiàno, ’s bha e fhathast na chèis mar thàinig e. Cha chual i an ceòl tuilleadh an latha sin. Nuair thàinig Murchadh dhachaigh le cudaigean dh’innis i dhà dè thachair. “Feumaidh e bhith gun do thuit thu na do chadal,” ars esan rithe. Bha e àrd tapaidh liath, ’s bha an dithis aca air a bhith pòsd airson deich bliadhna fichead. 60 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 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 fhèin. “ ’S math dh’fhaodte nach robh còir againn a thighinn dhachaigh.” An oidhche sin fhèin chaidh iad a chèilidh air càirdean dhaibh ach cha do bhruidhinn iad idir air a’ phiàno, ach dh’fhaighnich Anna anns a’ ghuth thàmh: “Cò 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 òl. “Carson a tha thu faighneachd?” “O chan eil airson càil,” ars Anna. Nuair chaidh i-fhèin is Murchadh dhachaigh bha a’ ghealach àrd geal anns an adhar agus an taigh sàmhach. Ach bha e coimhead àraid anns an t -solas gheal ud mar gum biodh e feitheamh, agus thubhairt i seo ri Murchadh. “Isd òinseach’,” ars esan. “Chan eil càil ceàrr 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 còcaireachd anns a’ chidsin agus Murchadh aig a’ chreagach chual i am piàno a -rithist –’s nuair chaidh i steach don rùm anns an robh e cha robh duine ri fhaicinn. Ach an turas seo dh’fhairich i fàileadh cùbhraidh anns an rùm. Nuair thàinig Murchadh dhachaigh cha do dh’innis i dhà gun cual i am piàno 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 fhèin gu leòr dhà. Agus a-nise dh’fheumadh ise sealg an taibhs a bha cluich air a’ phiàno, anns an taigh mhòr fhalamh ud. Bha a’ ghrian air aodann Mhurchaidh a dhubhadh ach bha a h-aodann fhèin geal. An latha bha seo ’s i na h-aonar anns an taigh a-rithist chual i am piàno ’s nuair chaidh i steach don rùm bha nighean bheag le dreasa phinc oirre na suidhe aig a’ phiàno. Chaidh i null far an robh i agus thubh airt i rithe, “Cò thu?” LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 61 SHORT STORIES Sheall an nighean rithe le sùilean cho gorm ri sùilean dola agus fhreagair i. “Màiread.” “Màiread,” arsa Anna. B’e Màiread ainm a màthar. Bha iad a’ bruidhinn ri chèile airson ùine mhath nuair thàinig Murchadh a -steach. “Dè tha thu a’ dèanamh an sin nad aonar,” ars esan. “An ann a’ cluich air a’ phiàno a bha thu?” “Cha b’ann,” ars ise. Dh’èirich i bhon t -seata air an robh i na suidhe agus thubhairt i: “An d’fhuair thu iasg an-diugh?” Agus mar a b’àbhaist bha e air iasg a ghlacadh. “A bheil thu cinnteach gu bheil an taigh seo a’ còrdadh riut?” ars esan. “Dh’fhaodadh sinn tilleadh a Ghlaschu ma tha thu ’g iarraidh.” Ach bha i droch-nàdarrach anns a’ bhad, ag ràdh, “Chan eil iarrtas sam bith agam a dhol air ais a Ghlaschu.” Agus cha dubhairt e an còrr mu dheidhinn. A h-uile latha a bha e aig a’ chreagach bha i bruidhinn ri Màiread 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’èisdeadh Màiread rithe gu cùramach, ach nuair chluinneadh i Murchadh a’ tighinn bha i teiche air falbh. “Dè fàileadh a th’anns an rùm seo?” arsa Murchadh rithe, agus smaoinich i, “ ’S e poileas a th’ann. Carson nach fhairicheadh e am fàileadh?” “Boltrach ùr a cheannaich mi,” ars ise. Agus thug e sùil oirre mar nach biodh e ga creidsinn. O, ars ise rithe fhèin, nam biodh an dithis againn – mi-fhèin is Màiread – còmhla ri chèile a chaoidh … An latha bha seo agus Murchadh air a bhith anns an taigh gun ghuth air fhàgail thubhairt i ris, “Nach eil a thìd agad a dhol a dh’iasgach.” “Uill,” ars esan, “thàinig e steach orm gu robh mi gad fhàgail ro thric nad aonar.” 62 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES “Isd, amadain,” ars ise, “thalla thusa le do shlait. Tha mise ceart gu leòr far a bheil mi.” Agus rinn e sin, a’ toirt sùil oirre nuair dh’fhàg e. “Tha sinn a-nise nar n-aonar,” ars ise ri Màiread. “Tha e àraid gur e dreasa phinc a th’ort, oir ’s e pinc an dath a b’àill le mo mhàthair.” An dèidh dhi sgeulachd innse do Mhàiread thubhairt i rithe. “An aithne dhut danns?” ’S thòisich an dithis a’ danns, air feadh an rùm. “Tha mi ’n dòchas,” ars ise, “nach fhàg thu mi tuilleadh.” Agus bha eagal oirre gun tilleadh Murchadh, oir gach turas a bha e tilleadh bha Màiread a’ fàgail. Bha Murchadh math air a bhith glacadh dhaoine is èisg ach cha do ghlac e Màiread fhathast. Bha e nàdarrach gu leòr a -nise gum biodh Màiread còmhla rithe mar gum b’ann leatha fhèin a bha i. Ach am b’ u rrainn dhi a cumail mar phrìosanach anns an taigh mhòr ud? Le làmh Mhàiread na làimh fhèin bha i falbh air feadh an taighe, ’s i a’ sealltainn na rumannan dhi. “Seo an rùm agad fhèin,” ars ise rithe, ’s i a’ fosgladh aon de na dorsan. Bha a cridhe gus briseadh air eaga l nach còrdadh an rùm rithe. Thàinig an smaoin a-steach oirre, “Nan èireadh rudeigin do Mhurchadh,” ach chaisg i an smaoin anns a’ bhad mar gum biodh eagal oirre gu ruigeadh i inntinn Mhàiread. An latha bha seo thòisich i ag argamaid rithe, “Nach do dh’i nnis mi dhut nach robh còir agad am bùrn ud a chur air an làr?” Agus bha i fiadhaich airson mionaid ach chaill i a fearg ’s rug i air Màiread na gàirdeanan ’s thòisich i slìobadh a fuilt. Ach cha b’fhada a-nis gus an tilleadh Murchadh agus gus am fàgadh Màiread. A h-uile turas a bha i fàgail bha eagal oirre nach fhaiceadh i i tuilleadh. Nuair thàinig Murchadh dhachaigh le gad èisg mar a b’àbhaist dhà thubhairt e, “Dè am bùrn a tha sin air an làr?” “O dhòirt mi e nuair bha mi nighe nan soithichean,” fhr eagair i. Thug e sùil oirre ach cha dubhairt e an còrr airson mionaid. Am poileas ud leis an iasg marbh na làimh! Chaidh e null far an robh i agus thubhairt e, “Tha mi gad fhàgail nad aonar ro thric. Rinn mi an aon rud ann an Glaschu.” Thug i sùil ghaolach air agus thubhairt i. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 63 SHORT STORIES “Chunna mi an nighean bheag ud an-diugh fhèin,” ars ise, “agus làithean eile cuideachd.” “Cò ris a tha i coltach?” ars esan. “Tha dreasa bheag phinc oirre,” ars ise. “Agus ’s e ise a dhòirt am bùrn air an làr. Thubhairt mi rithe nach robh còir aice sin a dhèanamh.” “Bha thu ceart,” arsa Murchadh. “Bha thu ceart gu leòr.” Thug i sùil air le iongnadh. “Dè thubhairt thu?,” ars ise. “Thubhairt mi riut gu robh thu ceart gu leòr,” fhreagair e. Ann an ceann ùine 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 sgìth is aosd, am poileas ud a bha gun sgìos! Am poileas ud nach robh a’ fàgail càil gun a rannsachadh! Shuidh iad a-muigh anns a’ ghrèin air cathraichean agus ise ag èisdeachd ach an cluinneadh i am piano. Bha sàmhachd air feadh an domhain. “A-màireach,” ars ise, “feumaidh tu ionnsachadh iasgach dhomh.” “Ceart gu leòr,” ars esan. Bha e air a làmhan a nighe bhon fhuil. Ann s a’ mhionaid ud fhèin chuala iad am piano a’ cluich. Sheall i ris. “A bheil thu tighinn?” ars ise. “Tha,” ars esan. Chaidh iad a-steach don rùm. Bha Màiread na suidhe aig a’ phiàno. Rinn i gàire riutha ’s thòisich i ri cluich. 64 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES 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 piàno 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 àiread? 7. Comment on “Bha Murchadh math air a bhith glacadh dhaoine is èisg ach cha do ghlac e Màiread fhathast”. 8. Why does Murdo think his wife is so pale and tired? 9. Why do you think the ending is left open? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 65 SHORT STORIES An Duine Dubh Tormod Dòmhnallach – 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 cùl agus An T àbh Atlantic mar dealbh fad às. Cha robh càil eadar an taigh agus an saoghal ach teud an dealan-uisge agus rathad corrach morghain, a bha dol a -mach à sealladh thairis air bruaich. Bha ceò ghlas ag èirigh bhon t -simileir. Air cùl 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’ sgrìobadh san talamh. Thàinig cailleach le mias na làimh a-mach às an taigh agus chaidh i a dh’ionnsaigh an taigh chearc. Bha aodach dubh oirre agus bha bata aice. Thòisich 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 thàinig i a -mach an ceann mionaid le dà ugh bheag dhonn na làimh. Thog i na h-uighean air beulaibh a sùilean agus sheall i gu geur riutha. Bha i toilichte – bha na heireagan air tòiseachadh 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 fhàd bhon tairsgeir. Na làimh bha poca mòr trom agus chrom e a -nuas air beulaibh an taighe a’ dèanamh air an doras. Thàinig boireannach òg a-mach chun an dorais, ’s i a’ crathadh flùir bho a làmhan. “Chan eil sinn ag iarraidh càil an-diugh.” “Baraganan gu leòr an-diugh! Stocainnean? Còta bàn? Aparan?” Chuir e am poc air an talamh gu grad agus dh’fhua sgail e e. Dhòirt a-mach às a’ phoc dùn mòr aodach bhoireannach. Rug e air rudeigin soilleir sìoda agus sgaoil e a-mach e le làmhan fada donn. “Gùn-oidhche brèagha àlainn an seo!” 66 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES “Chan eil mi ag iarraidh càil an-diugh!” Dh’fhàs i dearg anns an aodann. “Stocainnean sìoda! Tè àlainn – stocainnean àlainn! Ceithir is sia sgillinn.” “Ceart gu leòr. Gabhaidh mi aon phaidhir. Fuirich gu faigh mi airgead.” Chaidh i a-steach agus thill i leis an airgead. “Seo, matà. Thoir dhomh na stocainnean.” “Tapadh leibh, a bhean. Am beil sibh ag iarraidh dà phaidhir?” “Chan eil ach a h-aon. Chan eil mi ag iarraidh càil tuilleadh an -diugh.” “Ceart, a bhean.” Rinn e osann agus thòisich e ri rùilleadh a -measg an dùin aodaich aig a chasan. Thug e dhi neapaicea n beag geal. “Seo, a bhean. Bho Abdul Hassan – airson na Nollaige.” Rinn i gàire ris. “ ’S fhada gu Nollaig, a bhròinein! 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 fàidh aige.” “Seadh, seadh. Feumaidh mi a dhol a dh’fhaicinn càite a bheil a’ chailleach.” Ruith i gu cùl an taighe. “Cò a tha a siud, a nighean? Chuala mi thu a’ còmhradh ri cuideigin.” “Tha duine dubh. Cheannaich mi stocainnean bhuaithe agus thug e dhomh neapaicean pòcaid an asgaidh.” “Nach robh sin snog dhà? An robh na stocainnean cho math ris an fheadhainn a thug Dòmhnall dhachaigh às Ameireagaidh?” “Cha b’ann às Ameireagaidh a thug e iad! À Africa!” “Gu dè an diofar a th’ann. ’S ann le Dia a tha an saoghal uile, co-dhiù. An tug thu dhà cupan tea? Bhitheadh e gu math sgìth ’s e air coiseachd bhon rathad mhòr. Ach seo esan! Tha thu an sin, a bhalaich! Thig an seo, gu faic thu na cearcan brèagha a th’agamsa!” Chaidh iad chun an taigh chearc. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 67 SHORT STORIES “Seall air sin! Nach eil iad math! A h -uile h-aon ach an tè dhubh sin. Tha mi a’ fuireach ri banais gus an toir mi seachad an tè sin. Ach tha an còrr nan eireagan agus chan fhada gus am bi iad gu lèir ri breith. An caomh leat fèin uighean?” “ ’S caomh. Cearcan snog gu dearbh. Agus tha iad òg cuideachd!” “Eireagan gu lèir, ach an tè dhubh.” “An dùil an reiceadh sibh dhà na trì rium? Bheir mi dhuibh deich tasdain an tè orra.” “A bhoill, cha robh càil a dhùil 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 dà nighinn.” “Bhoill, bhoill, matà. Bheir mi dhut na ceithir as òige, agus fiach gum bi thu gu math dhaibh!” “Tapadh leibh, tapadh leibh!” Thug e a-mach làn a chròig a notaichean agus thug e dhi dhà dhiubh. “Ceangailidh mi na casan aca le snàth agus cuiridh mi ann am poca dhut iad. Theirig còmhla ri Màiread agus bheir i dhut cupan tea.” An ceann lethuair a thìde dh’fhalbh Abdul Hassan suas an rathad agus chaidh e a-mach à sealladh tarsainn na bruaich. Bha am poca leis na cearcan air a dhruim agus am poca aodaich na làimh. “Tha mi duilich a-nis gun tug mi dhà iad,” ars a’ chailleach. “Cha ruig e an rathad mòr a-nochd leis an ultach ud.” “Och, ’s beag a chuireas e air! Tha iad eòlach gu leòr air ultaich. Na dh’innis mi dhuibh gun tug e dhomh neapaicean? Airson na Nollaige, ars esan! Chan eil fhios aige fiù cuin a tha Nollaig ann!” “Tha mi a’ dol a dh’fhaicinn gu dè na ràinig e. Na beathaichean bochd – air an ceangal ann am poca!” Rug i air a’ bhata agus dh’fhalbh i suas an rathad. Nuair ràinig i mul lach a’ bhruaich sheall i sìos air fad a’ ghlinne ach cha robh duine ri fhaicinn. Chual i gogadaich a’ tighinn bho thaobh an uillt bhig ann an dìg an rathaid. 68 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES Chaidh i a-null agus sheall i sìos. Chunnaic i trì cuirp bheaga nan laighe air a’ ghlasaich. Bha an duine dubh os an cionn agus cearc a’ breabadaich na làimh. Bha sgian mhòr àraidh aige anns an làimh eile agus gheàrr e an ceann bhon cheathramh tè agus i ga choimhead. Nuair thàinig a guth air ais, thog a’ chailleach am bata agus rinn i air. “Gu dè tha thu ri dèanamh, a bhiasd? Na cearcan bochda!” Leum e às an rathad agus thog e na cearcan marbha bhon talamh. Bha na sùilean aige geal na cheann agus cha dubhairt e facal. Nuair bha e a’ dìreadh chun an rathaid na chabhaig, bhuail i am bata air m un druim. Thuit i chun na talmhainn agus shuidh i an sin airson ùine mhòir ’s i a’ gurraban ’s ri osnaich: “Obh! Obh! – Obh! Obh!” An ath latha, fhuair Màiread leabhar làn sgrìobhaidh coltach ri sgrìobhadh circe na laighe anns an àite sin. Dh’innis d uine foghlamaichte dhi às dèidh làimh gum b’e Bìoball àraidh a bh’ann – “An Koran”, an leabhar a sgrìobh Mahommed, agus anns a bheil e ag aideachadh gum b’e fàidhe mòr a bh’ann an Crìosd. 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? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 69 SHORT STORIES 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? 70 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES 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’ mhàileid mhòr air an làr. Bha a’ chailleach na suidhe air a’ chathair a’ coimhead am broinn na màileide. “Jumpers,” ars an duine dubh. ’S bha iad brèagha cuid eachd, feadhainn dearg mar fhìon, feadhainn glas mar mhuir, feadhainn uaine mar thalamh, feadhainn buidhe mar ghealaich. Cha dubhairt i smid. Bha leabhar aig an duine dhubh a dh’fhàg e ri thaobh air an làr. Cha dèanadh i mach facal dheth. ‘S ann a bha an sgrìobhadh 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’ dòrtadh às a l àmhan mar bhùrn no bogha-frois. Cia mheud làmh chèin a bha air a bhith ’g obair air na gùin tean ud? Smaoinich i air a’ chiad dannsa aig an robh i, trì fichead bliadhna air ais, ’s thug i sùil air an duine dhubh. Am biodh esan a’ dol gu dannsan? Bha aodann tana, geal mar rathad cèin. Sheall i air falbh. Dhòirt na gùintean às a làmhan. Co-dhiù chuireadh e seachad beagan den tìde dhi a bhith gan coimhead. Chuir e na gùintean nan laighe air muin a chèile. “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 làmhan le coibhneas air na stocainnean. Smaoinich i air a h -athair a’ slìobadh an eich a bh’ aca uair. Chaidh i dh’iarraidh deoch bhùrn don duine dhubh oir bha an latha blàth: dh’òl e e mar a dh’òlas lit bainne. Airgead? Cò aige bha airgead? Cha robh ann ach an aonaranachd, a h aonaranachd-se ’s aonaranachd an duine dhuibh. Cò às a thàinig e? Dà shaoghal a’ coinneachadh a chèile anns an dorchadas. Thug e sùil timcheall an t-sèomair, an sgàthan mòr maol, am Bìoball air oir na h - LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 71 SHORT STORIES uinneig, cùirtearan air an tarraing bho chèile. Chuir e na stocainnean còmhla ris a’ chòrr. “Silk underwear,” ars esan. Thog i a sùilean air falbh mar gum biodh e air rudeigin uabhasach a ràdh. Bha solas a’ dòrtadh tron uinneig a’ fighe a h aodainn. Sia bliadhna – ’s math dh’fhaoidte – ’s bhiodh e air ais na rìoghachd fhèin. Cha b’e seo a rìoghachd-san. Ach dh’fheumadh e airgead a dhèanamh. Bha an sìoda a’ lasadh fo a làmhan. Thug i sùil air ais chun an t-sìoda mar gum b’e bratach a bha i a’ coimhead. “Eighteen shilling,” ars esan. Bha làmhan na caillich nan laighe gu sàmhach air a’ chathair. “Eighteen shilling,” ars esan a-rithist. Rinn i gàire. Bha a gàire mar earrach fon chlogaid shneachd. Dh’fhairich e sgìths na dhruim. Cha robh e furasd’ a bhith slaodadh màileid throm tro na sràidean. “Seventeen shilling,” ars esan. Rinn i gàire eile. Cha robh e tuigsinn c ò air a bha i a’ smaoineachadh. Air aon bhalla b ha dealbh balaich ann an deise seòladair. Cha robh càil tuilleadh anns a’ mhàileid. Chrom e a cheann ’s e dol a chur an aodaich air ais don mhàileid. “Silk underwear,” ars esan a-rithist, ris fhèin, ’s e dol ga thogail. Stad i e. Chaidh i chun an dreasair ’s thug i mach sporan. Chunnt i mach ochd tasdain deug dhà. Cha robh mòran tuilleadh air fhàgail anns an sporan. Rinn i gàire nuair thug i dhà an t-airgead. Rinn esan gàire cuideachd leis an toileachas. Thug e dhi an t-aodach. “A hà,” ars esan ris fhèin, “chan eil làithean do dhannsaidh seachad fhathast.” Chuir e gach nì air ais don mhàileid, aodach flùranach fuar sìoda ann an teas an t-samhraidh. Dhùin e a’ mhàileid ’s dh’èirich e. Ghlais i an doras air a chùlaibh. 72 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES Nuair bha e a’ coiseachd sìos an rathad thog i a làmh ris mar dhuilleag foghair. Lean a sùilean e gus na dh’fhalbh e dhachaigh. Bha na busaichean mòra a’ dol seachad air an t-sràid. Bha ise na coigreach cuideachd. Thog i an t-aodach sìoda ’s leig i leis ruith tro a làmhan mar airgead. An dèidh sin, chuir i don dreasair e, ’s shuidh i rithist aig an uinneig, a’ coimhead na sràid. 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’ dòrtadh às a làmhan mar bhùrn” “Laigh a làmhan le coibhneas air na stocainnean ” “Dà shaoghal a’ coinneachadh a chèile anns an dorchadas ” “Cha b’ e seo a rìoghachd-san” “Dh’fhairich e sgìths na dhruim” “Rinn i gàire…Rinn esan gàire 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? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 73 SHORT STORIES 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. 74 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES A’ dol dhachaidh Iain Mac a’ Ghobhainn A’ dol dhachaidh! Chan eil càil coltach ris. ’S iomadh latha is oidhche bha mi deimhinn nach fhaicinn mo dhachaidh a chaoidh. ’S an dràsda fhéin tha e duilich a chreidsinn. Bha an cogadh cho fada ’s an t -slighe cho dòrainneach. An dràsda fhéin tha a’ chlogaid stàilinn ’nam bhaga. Tha mi smaoineachadh gun cuir mi dìtheannan innte, mar phoit, airson toirt gu buileach air falbh bhuam am murt ’s am marbhadh a thachair, ged a tha mise sàbhailte. Tha e fuar an nochd ach chan eil sin a’ cur dragh orm. Bidh na tighean blàth nuair a ruigeas sinn iad aig a’ cheann thall. Bidh gach nì mar a bha e roimhe. Faodaidh sinn éirigh anns an t-sàmhachd, faodaidh sinn ar naodach cogaidh a chur dhinn. Faodaidh sinn éisdeachd ris a’ chòmhradh làitheil. Nach geal na rionnagan anns an adhar. Nach geal a’ ghealach. Truinnsear mór geal. Fàgar na comandairean ’nan rìoghachd fhéin. Leanadh iad orra a’ sgrìobhadh òrdughan air an cuid phàipearan mas toil leotha e. Tha na saighdearan a’ dol dhachaidh. ’S tha an t-soitheach a’ fàgail. Fairichidh mi a buille fo mo chasan a tha nas cleachdte ris an talamh. Chì mi troimh na h-uinneagan na speuran geal le reothadh. Tha mi nise dà bhliadhna air fhichead. Càit an deach m’òige? 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 sheòrsa. 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 òrain. Cha mhór nach eil mi air call cuimhne aig amannan air mo chànan. Chunna mi mo chompanaich a’ bàsachadh ann an stoirm fala. Tha mo shùilean, saoilidh mi, air dath na fala, dearg, mar shùilean ainmhidh. Feumaidh mi bhith faicilleach. Chan aithnich mo chlann mi, tha mi cinnteach. Aig dà bhliadhna air fhichead! Smaoinichibh! Bidh mi ’nam choigreach dhaibh. Ach théid na làithean seachad ’s fàsaidh sinn nas dluithe air a chéi le. Ged a tha ceithir bliadhna fada chan eil annta ach ceithir bliadhna, a dh’aindeoin cùis. An dràsda fhéin, chì mi ’nam inntinn mo chàirdean a’ deasachadh a’ bhùird. Chì mi na soluis a’ deàlradh air na ballachan, air na copanan. Chì mi na nabaidhean a’ deànamh gàirdeachas. Oir bidh an saoghal mar a bha e roimhe. No nas fheàrr na bha e roimhe. Saoghal ùr gun mheang. Oir tha LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 75 SHORT STORIES sinn uile air móran ionnsachadh. Thug sinn a mach ar sgoilearachd anns an dorchadas. Ceithir uairean a thide ’s chì mi iad a rithist. Tha buille na soithich a’ fàs nas làidire. Tha an cuan ’na bhreislich fodhainn, ’s an caiptean air an drochaid, aodann geal anns an dorchadas. Tha fhios aige -san dè tha e dèanamh, ’s faodaidh sinne, ma thogras sinn, an leabaidh a thoirt oirn n. Tha sinn uile toilichte ar n-uallach a leigeil sìos. Chi mi sròn na soithich ’s i a’ gearradh troimh’n chuan, a sròn bhiorach shearbh. ’S math an t -ainm a thug iad oirre: AN IOLAIRE. 76 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 77 SHORT STORIES 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? 78 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES 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 fhèin co-dhiù. Bhiodh e na shuidhe ann an craoibh agus bhiodh e a’ cuimseachadh a ghunna air drochaid a bha fodha, ach pìos math air falbh. Na faiceadh e saighdear bhon armailt eile bhiodh e feuchainn ri mharbhadh. Chaidh a theaghlach fhèin a mharbhadh, a mhac a bha dà bhliadhna dheug, ’s a bhean. Bhiodh droch nàdar ga lìonadh fad na tìde. Bha àm 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 ìosal dhearg. Air oidhcheannan foghair bhiodh e fhèin ’s a bhean a’ danns air an drochaid ud nuair a bha iad òg. Ach a-nis bha fòirneart air feadh na dùthcha. Bha e faireachdainn uabhasach aonaranach a -nis. Leis an fhìrinn innse cha robh caraidean aige. Cha robh miann còmhraidh 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’ gàirnealaireachd. Anns na làithean 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 còmhla ris. Cha robh e ach dà bhliadhna dheug nuair a chaidh a mharbhadh. Dhùin e a shùilean leis a’ phian. Bha duilleagan nan craobh ùr is uaine. Air an adhbhar sin chan fhaiceadh duine e. Uaireannan bhiodh e a’ sealltainn suas don adhar f ar am faiceadh e an-dràsta ’s a-rithist plèanaichean NATO. Abair thusa gu robh iad a’ dol luath ’s a’ fàgail sreath gheal às an dèidh. Bha na duilleagan cùbhraidh is ùr 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 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 79 SHORT STORIES dhol seachad. Bhiodh am balach mu aois a mhic fhèin. Thàinig an droch nàdar air ais a-rithist. Bha am balach seo beò ’s bha a mhac fhèin marbh. Cha robh sin ceart. Bha am balach a’ dol air tòir uisge anns an tobair le peile buidhe. Bha geansaidh dearg air. Chunnaic e e cho soilleir ri càil. Cha b’ urrainn dha crùbadh nuair a thilleadh e oir bhiodh am peile làn bùirn. Ach an toiseach bha e na chrùban. Cha bhiodh e na chrùban nuair a thilleadh e. Bha na duilleagan ùr. ’S e an t-earrach a bh’ ann. Bha an saoghal ga ùrachadh fhèin. 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 dè cho fada air falbh ’s a bha an targaid. Nuair a bha e na pheantair cha robh fhios aige gu robh an tàlant ud aige. ’S ann a bha e ga shamhlachadh fhèin ri clamhan ann an craoibh. Clamhan searbh, cinnteach. Chunnaic e a mhac aig àm Nollaige. Bha e a’ tighinn sìos an staidhre ’s a shùilean a’ leudachadh nuair a chunnaic e na prèasantan. Bha e casruisgte. Cha robh càil air an t-saoghal coltach ri àgh ann an aodann leanaibh. Ach a-nis bha e marbh agus thàinig an droch nàdar ai r ais a-rithist. Agus anns a’ mhionaid thàinig am balach air ais. Bha e tòrr na bu shlaodaiche a-nis or bha am peile aige na làimh. ’S math dh’fhaodte gu robh iad den bheachd nach toireadh an snaidhpear ionnsaigh air balach dà bhliadhna deug. Chunnaic e a-rithist an geansaidh dearg ’s am peile buidhe. Bha iad dìreach mar rudan a chitheadh tu ann an dealbh. “Carson a chuir iad a-mach thu?” dh’èigh 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 nì a’ tachairt cho slaodach mar gum biodh an saoghal air stad. Bha fhios aige nam marbhadh e am balach gum biodh e air atharrachadh mòr a dhèanamh. Cha deidheadh e air ais a chaoidh gu b hith na pheantair thaighean mar a bha e uair. Ach aig a’ cheart àm bha e a’ faireachdainn cho droch -nàdarrach. Bha an saoghal mar gum b’ eadh dearg air a bheulaibh, cho dearg ris a’ gheansaidh a bha am balach a’ caitheamh. Bha tìm 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 sìos. “Tha mi dol ga mharbhadh,” ars esan ris fhèin. “Anns a’ 80 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES mhionaid seo.” Agus thug e sùil air uaireadair. Bha e beagan an dèidh aon uair deug. Agus anns a’ mhionaid thionndaidh am balach ris ’s e a’ fosgladh a ghàirdeanan. ’S dè bh’ air ach aodann a mhic fhèin. Is e a’ caitheamh na h-anaraig uaine a chleachd a bhith air. ’S e a mhac fhèin a bh’ ann, a’ tionndadh ris ’s bha fhios aige nam marbhadh e am balach seo gu marbhadh e a mhac fhèin a -rithist. Bha sin cho soilleir dha. Bha fallas a’ sruthadh sìos aodainn fhèin ’s air cùl amhaich. Bha an gunna air chrith na làmhan. ’S drochaid Sarajevo fodha. Agus a mhac fhè in a’ coiseachd air ’s a’ coimhead ris. ’S am peile bùirn na shuidhe ri thaobh. “Mo mhac, mo mhac,” dh’èigh e. Ach cha robh duine a -nis ri fhaicinn. Bha an drochaid falamh. Bha chorp gu lèir a’ sruthadh le fallas, ’s bha deòir na shùilean. Thàinig isean is shuidh e anns a’ chraoibh anns an robh e. Isean beag donn. Agus cnuimh na bheul. Agus chuala e plèana 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. Thàinig e sìos às 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 nàdar ga fhàgail. Bha e faireachdainn falamh. Na inntinn bha e a’ coimhead a mhic a’ fosgladh a ghàirdeanan. Shad e air falbh an gunna ’s thòisich e ri coiseachd. Cha mharbhadh e duine tuilleadh. Ge bith dè dhèanadh 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 gèig. Cho aotrom ris a’ ghaoith. Cho aotrom ris an earrach. Mar gum biodh e a’ dol a thòiseachadh às ùr. As aonais a’ ghunna. A’ dol a thòiseachadh às ùr latha earraich. Ann am Bosnia. Discuss the content with your lecturer. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 81 SHORT STORIES 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? 82 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES 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 Mìcheal, Seòras and Anna, and how this changed. The three characters are also described in detail. Read through the text. Ri Aghaidh na Creig Dhùin Mìcheil doras a’ Bh.M.W. aige le brag. Choimhead e air airson tiotan le sùil choibhneil, ghràdhach. Am peanta dubh, faileasach; na loidhnichean rèidh, clasaigeach. Bha e fortanach gu dearbh gun robh leithid de chàr aige, agus gun robh obair cho math aige mar mhanaidsear oifis ann an Glaschu a leigeadh dha leithid de chàr a cheannach. Saoil ciamar a bha a sheann charaid Seòras agus a bhean bhrèagha Anna. Thug e sùil mun cuairt. Bha Seòras na chroitear ged a bha e cuideachd ag obair anns a’ Chuan-a-Tuath anns na raointean-ola. Bha e air taigh brèagha ùr a thogail. Ri taobh an taighe thug Mìcheil an aire dha Volvo gorm. Fhreagair Anna an doras. “Mìcheil!” Bha gàirdeachas na sùilean agus thilg i a làmhan timcheall air amhaich. “Dè tha thusa a’ dèanamh san dùthaich?” Choimhead e oirre. Bha i cho brèagha ’s a bha i riamh le a falt bàn agus a sùilean tais gorm. Bha e follaiseach gun robh i cuideachd cho càirdeil ’s a bha i riamh. “Tha mi dìreach a-bhos airson latha no dhà. Thàinig mi choimhead air mo sheann charaidean. A bheil Seòras a-staigh? Dìreach mar a thuirt e na facail nochd e ann an doras an t -seòmar-suidhe. Duine fèitheach làidir, gun a bhith ro mhòr. Thàinig e agus t habhainn e a làmh do Mhìcheil. “Uill, uill, h-abair srainnsear. Cha robh dùil sam bith agam riutsa. Ach tha e math d’ fhaicinn. Thig a-staigh, thig a-staigh.” LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 83 SHORT STORIES Chaidh Mìcheil a-staigh. Cha b’ urrainn dha gun an aire a thoirt dhan t seòmar-suidhe brèagha – an suite beartach uaine, na cùirtearan tiugha, uaine cuideachd, agus am brat-ùrlair. A h-uile nì a’ co-fhreagradh, an dà chuid dathan is stoidhle. Sheòrais, duine fortanach gun teagamh sam bith. Agus a bhean, Anna an fhuilt bhàin, bha ise cuideac hd a’ co-fhreagradh. B.M.W. nam boireannach, loidhnichean clasaigeach. Agus bha i cho gasta, còir. Ro chòir, ’s dòcha. “Uill, uill, cia mheud bliadhna a th’ ann on bha thu seo?” arsa Seòras. “Tha mi creidsinn gu bheil trì.” “Cha robh sibh pòsda an uair sin.” “Cha robh,” dh’aontaich Seòras, “ged a bha sinn air ge alladh-pòsaidh a thoirt seachad.” “Tha sin ceart,” arsa Mìcheil. Bha a làmh air gàirdean an t -sòfa a’ faireachdainn an aodaich bhrèagha mheileabhaid. Chuimhnich e air an trup mu dheireadh a bha e a’ coimhead orra. Bha Seòras air a thoirt air falbh dhan ospadal agus chaidh fhàgail-san le cùram airson Anna. Dh’fhàs aodann dearg a’ cuimhneachadh air. Dh’aithnicheadh e fhèin agus Seòras Anna on bha iad òg san sgoil. Bha gaol aig an dithis aca oirre ach ’s e Seòras a roghnaich i aig a cheann thall. Ach an uair ud, nuair a bha Seòras 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 Seòras na sheasamh agus a dhruim ris an teine, a làmhan paisgte air a chùlaibh. Bha Anna na suidhe anns an t -sèithear ri thaobh agus i a’ fuaigheal. Dh’fhairich Mìcheil an dlùths a bha eadar an dithis. Mar gum biodh fios aca air smaointean a chèile. Faireachdainn bhlàth, chofhartail. Bha e math a bhith ann. Ach bha rudeigin ann mu dheidhinn Sheòrais ... An robh e cho càirdeil ris ’s a b’ àbhaist dha a bhith? Chuir e a’ cheist às a cheann. Dh’èirich Anna ... “Bheil cuimhn’ agad nuair a bhiodh sinn a’ sreap?” arsa Seòras. “Am bi thu ris fhathast?” “’S mi bhios. Uill, bithidh nuair a gheibh mi an cothrom, ’s chan eil sin tric.” 84 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES “Dè mu dheidhinn a-màireach?” “A-màireach!” “Nach bi thu seo?” “Bithidh, ach ... chan eil an stuth agam leam.” “Na bi dragh ort mu sin. Size ten nach e?” Chaidh Seòras a-mach às an rùm agus thàinig e air ais le brògan brèagha ùra. Feadhainn aotrom airson sreap chreagan. “Seo. Feuch iad sin ort.” Ghabh Mìcheil na brògan agus dh’fheuch e iad. Bha ia d dìreach ceart dha. ’S e brògan math sreap a bh’ annta. Chaidh Seòras a -mach a-rithist agus thàinig e air ais le anarac, stocainnean tiugha agus briogais. Bha iad uile ùr. “’S toigh leam fear spèar dhen a h-uile càil a bhith agam,” thuirt Seòras le gàire. “Tha thu cho còir ’s a bha thu riamh,” arsa Mìcheil. “Cha robh dùil sam bith agam ri seo.” Thàinig Anna a-staigh le teatha. Bha iad a’ crac airson greis mu na seann làithean, mar a bhiodh iad a’ falbh còmhla airson oidhcheannan a’ sreap anns a’ Chuilthionn agus an Earra-Ghàidheal. Bha an triùir aca math air sreap. An toiseach bhiodh iad dìreach a’ gabhail a’ cheum a b’ fhasa chun a’ mhullaich, ach dh’fhàs iad sgìth dhe sin agus thòisich iad a’ sreap chreagan – rud a bha fada na bu chunnartaiche. Mar bu trice ’s e Seòras a dhèigheadh air thoiseach leis an ròpa agus na geinnean, na pitons, agus leanadh Mìcheil agus Anna suas e. “Càite ma-thà a-màireach?” arsa Mìcheil agus e a’ dèanamh deiseil airson falbh. “Bodach an Stòrr,” arsa Seòras. Rinn Anna gàire. “Bodach an Stòrr! A’ spòrs a tha thu! Cò riamh a shreap Bodach an Stòrr?” LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 85 SHORT STORIES “Sin dìreach carson a dh’fheumas sinn a shreap. Cha do shreap duine eile e cho fad ’s is fhios dhomh.” Cha b’ urrainn Mìcheil diùltadh. Bha inntinn Sheòrais air a d èanamh suas. Dh’aontaich iad gun coinnicheadh iad tràth anns a’ mhadainn aig an Stòrr. Mar a bha Mìcheil a’ dol chun a’ chàr chuimhnich e air Anna agus chuimhnich e cuideachd nach d’ fhuair e cothrom buidhinn ri Seòras mun nì a bha dèanamh dragh dha. ’S dòcha nach robh còir aige guth a ràdh as dèidh a h-uile càil. Nach robh an dithis aca cho càirdeil ris ’s a bha iad riamh. O uill, chitheadh e a-màireach. Anns a’ mhadainn b’ e Mìcheil a bh’ aig an Stòrr 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’ dèanamh dragh dha gun robh an cumhachd ud aice thairis air. ’S bha nàire air gun robh e cho lag. Cha robh e idir a’ faireachdainn c oltach ri sreap ach bha fhios aige gu feumadh e. Thàinig Seòras. Bha e leis fhèin anns a’ chàr. Chuir seo ìongnadh air. Ach ann an seagh bha e cheart cho toilichte. Cha bhiodh a cruth àlainn ga bhuaireadh agus gheibheadh e cothrom bruidhinn ri Seòras. Thuirt esan, “Cha robh Anna a’ faireachdainn ro mhath. Cha b’ urrainn dhi tighinn. Chan e càil uabhasach a th’ ann, dìreach fuachd.” Thòisich iad a’ coiseachd suas gu Bodach an Stòrr. Bha Seòras cho bruidhneach ’s a chunnaic e riamh e. Bha seo ga sh àrachadh. Carson nach sguireadh e a bhruidhinn? Ma bha e a’ dol a dh’iarraidh maitheanas air dh’fheumadh sàmhchair a bhith ann. Bha e gu bhith doirbh na briathran fhaighinn a-mach. Bha e do-dhèante agus teanga a charaid a’ dol gun sgur. Thàinig iad gu bonn na creige. “Cò againn a tha dol air thoiseach?” dh’fhaighnich Seòras. Rinn Mìcheil gàire. “Tha fhios agad cò bhios a’ dol air thoiseach. Bha aon duine an còmhnaidh a’ dol air thoiseach. Thusa.” “Ceart ma-thà.” Fhuair Seòras an ròpa deiseil. Chuir e crios mu mheadhan agus mu bhodhaig agus thug e fear dha Mìcheil. Bha geinnean agus làmhan-sreap aige agus Karabiners airson an ròpa a cheangal ri crios no ri lùb ròpa. Choimhead Mìcheil suas air a’ chreig ag èirigh àrd os an coinn mar thùr Gotach. “A bheil thu cinnteach ...?” thòisich e. Ach stad e. Bha Seòras a’ 86 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES coimhead cho cinnteach às fhèin, cho suidhichte na bheachd. Bha e air fàs sàmhach, ga ullachadh fhèin airson an t-sreap. Cha robh e idir mar bu chuimhne le Mìcheil e. B’ àbhaist dha a bhith aotrom aighearach nuair a bhiodh iad a’ sreap. Cha robh e a’ còrdadh ris gun robh e cho sàmhach. Thàinig ìomhaigh Anna fa chomhair inntinn. Dh’fheuch e ri dubhadh às. Ach chan fhalbhadh i. Thuirt e ris fhèin nach iarradh e maitheanas an dràsda co-dhiù. Bhiodh tìde gu leòr ann airson sin mus tilleadh e a Ghlaschu. Thòisich Seòras a’ dol suas. Bha an ròpa a’ slaodadh ris sìos gu far an robh Mìcheil. “Thoir an aire ort fhèin,” dh’èigh e suas thuige. Ach cha tuirt Seòras 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. Thòisich Mìcheil ga leantainn. Bha e toilichte gun robh ròpa aige. ’S e amadain a bhiodh annta co-dhiù a dhol gun ròpa. Stad Seòras air sgeilp os a chionn. Cha b’ fhada gus na ràinig e faisg air far an robh e. “Dè tha ceàrr?” arsa Mìcheil. Cha tuirt Seòras guth. “An e càil a tha ceàrr?” thuirt e a-rithist ann an guth na b’ àirde. Bha e a’ faireachdainn a bhroilleach a’ fàs teann . Cha robh e nàdarrach mar a bha Seòras air a dhol. Aon mhionaid mar reacòrdair aig an astar cheàrr, an ath mhionaid mar linne -uisge shàmhach, dhubh. “Tha mi ’g iarraidh buidhinn riut,” arsa Seòras 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 Seòras a -rithist. Bha rudeigin na ghuth a chuir gaoir beag tro fheòil Mhìcheil. Choimhead e suas a-rithist. Bha sùilean Sheòrais 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 Mìcheil a stamag a’ dol neònach. Cha mhòr nach do thuit e. An darna cuid bha Seòras air a dhol às a rian no bha fios aige. Bha fios LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 87 SHORT STORIES aige gun robh gaol aige air Anna. Bha fios aige dè thachair o chionn trì bliadhna nuair a bha e san ospadal. “Tha thu às do chiall,” thuirt e. “Carson a mharbhadh tu mi?” Thug Seòras sgian às a phòcaid. “Dè tha thu dèanamh?” ghlaodh e. “Tha mi dol ga do mharbhadh. ’S math tha fios agad carson.” “’Son gu bheil gaol agam air Anna?” “Chan ann,” arsa Seòras agus e a’ fosgladh na sgine, “ach airson an rud a rinn thu nuair a bha mise san ospadal.” Bha fhios aige. Dh’fhairich Mìcheil dubh eagal airson a’ chiad ua ir na bheatha. Bha fios aige gun robh iad co-dhiù air dìreadh dà cheud troigh. Bha e reòthte ris a’ chreig. Nan tuiteadh e bhiodh e cho marbh ri sgadan. Bha a bheul tioram. “Thàinig mi dh’iarraidh maitheanas.” Bha a ghuth neònach. Bha e fhèin ga chluinntinn mar ghuth neònach. Guth fada air falbh. “Maitheanas. Nach eil thu beagan fadalach?” thuirt Seòras anns an aon ghuth chruaidh. Bha e os a chionn agus a’ ghrian air a chùlaibh. Na shuidhe mar gum biodh air cathair àrd a’ toirt breith. Mar dhia deàlrach. Dh’fhairich e am fallas a’ sruthadh sìos achlaisean, ga dhiogladh. “Bithidh fhios aca,” thuirt e ann an guth teann, “ma ghearras tu an ròpa.” “Cha bhi ma nì mi mar seo e,” agus thòisich e a’ sgrìobadh an ròpa, fuiltean an dèidh fuiltein, dìreach mar gum biodh a’ chreag air a gearradh mean air mhean. Bha e na shuidh air an sgeilp agus a’ lùbadh sìos. “Cha do rinn mi càil ceàrr,” arsa Mìcheil na èiginn. “Bha gaol agam oirre. Nach toir thu maitheanas dhomh.” Bha fhios aige nach robh feum dha a bhith bruidhinn. Aon uair ’s gun cuireadh Seòras roimhe rud a dhèanamh cha robh nì air talamh no an nèamh a dh’atharraicheadh inntinn. Sin an seòrsa duine a bha ann. Bha gaol uabhasach, dìorrasach aige air Anna. Bha fhios aige nach toireadh e maitheanas dha gu bràth. 88 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 SHORT STORIES Bha an ròpa gu bhith briste. Ghreimich e le a dhà làimh air dà sgàineadh caol. Cha robh mòran grèim aig a chasan. Gun an ròpa cha mhàireadh e ro fhada. Gun rabhadh thuit e sìos sia òirlich. Le oidhirp eagalach ghreimich e air oir bhig le a dhà làimh. Chuala e a sgiamh a b’ uabhasaiche a’ dol seachad air. Dh’fhairich e tarraing aithghearr air an ròpa a bha mu mheadhan. Chuala e fuaim shìos fodha, bodhaig a’ bualadh creig. Fhuair a chasan grèim a-rithist air na sgàinidhean far an robh iad roimhe. Le oidhirp shònraichtre tharraing e e fhèin suas chun na sgeilp far an robh Seòras air a bhith mòmaid roimhe sin. Laigh e air a mhionach air an sgeilp agus choimhead e sìos. Bha Seòras na laighe gun ghluasad aig bonn na creige, agus a bhainn fala a’ tòiseachadh 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 Mìcheal’s car was to him? 2. How did Mìcheal’s lifestyle differ from that of Seòras? 3. Why did the friendship between the three characters deteriorate? 4. How do you think Anna would have felt knowing that Mìcheal and Seòras had gone out climbing together? 5. How does Mìcheal feel as he is climbing? 6. How would Seòras have felt as he started to fall? 7. What do you think Anna’s reaction would be to hear about Seòras’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. Mìcheal Seòras Anna Do you think the friendship that was between Mìcheal and Seòras here was sincere? Give reasons for your answer. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 89 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. Bàrdachd – 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. 90 LITERATURE (H/AH, GAELIC (LEARNERS) indicates a list indicates the poet could continue with her list the poet is making a strong statement © Learning and Teaching Scotland 2006 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 – “tàir” 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 chàineadh – Meg Bateman 1. “chàineadh” 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 chrìon 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 91 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. 92 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Ar Cànan ’s ar Clò – Anne Frater Puingean còmhraidh: bodach anns a’ bhaile beairt clò tiugh, trom a chumadh blàth iad fear òg nach buineadh don bhaile dathan brèagha; aodach tana, lom; aodach àlainn Ceàrr – bha iad dìreach a’ cur orra an aodaich ùir; bha iad a’ fanaid air a’ bhodach a bha a’ dèanamh a’ chlòimh Bha na daoine fuar oir bha an t-aodach ùr cho tana agus lom. Cha robh e “tiugh” no “trom” mar a bha an clò. 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 òg a’ fanaid air, agus cheannaich iad uile na beairtean ùra…” 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 93 ANSWER SCHEME 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’èirich suas” Healthy – “sliabh glas na beinne”, “Uaine òg 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 crùbadh”. 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’ àraich” She was completely altered beyond recognition; she feels “ rag”. This can mean both “angry” and “stiff”. 94 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Cotrìona Mhòr – Derick Thomson 1. Something that is “daingeann, suidhichte” is well-established. Just as Cotrìona Mhòr’s picture was set in Thomson’s mind, this woman was set in her community. 2. Any of: “luasgain”, “madainn Earraich”, “àbhachdas”, “gearradhcainnt”, “gun sgleò 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 à 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 Cotrìona Mhòr, 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 95 ANSWER SCHEME 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”. 96 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME 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? LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 97 ANSWER SCHEME 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. “mìn, marbhteach, mùchaidh” – 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 “ mìn” with the words “mùchaidh” 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? 98 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Clann-nighean an sgadain – Derick Thomson 1. Sea imagery – “salainn”, “an sàl ’s am picil”, “cho domhainn ri fèath”, “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 sàl ’s am picil air an teanga”; “’nan tràillean aig ciùirearan cutach”; “Bu shaillte an duais a thàrr iad”; “…mìltean 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 99 ANSWER SCHEME Do Mo Mhàthair – 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 stiùir”; “siùil 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 – “ùr” and “stiùir” 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 100 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Latha Foghair – Sorley Maclean Puingean còmhraidh 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 101 ANSWER SCHEME Ùrnaigh na Ban-Tìgrich – Catrìona Montgomery 1. “Athair ’s mo Dhia”; “coimhead thusa, Thighearna, oirnn le truas ”; “Dòirt sìos do mhathas caomh, a Dhè”, 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 102 Quote “Athair ’s mo Dhia” “gur gann an t-uisge” “gur gann an sìol” “sinn acrach” “creuchdach, brùite, piant” “Adhlaichte an-diugh mo luaidh” “sinn fannachadh le teas na grèin” “ga ar mealachadh le fuachd” “’s ar sgeadachadh cho truagh” “Dòirt sìos do mhathas caomh, a Dhè” LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Ròdhag 2000 AD – Catriona Montgomery 1. Warm smell of milk from the byres; tackety boots; moor land; crofts 2. “ri dìdearachd”; “ri farchluais” 3. uncertain of interested in angry at 4. she is passively observing/she is not directly involved “bidh mi ri dìdearachd”/“bidh mi ri farchluais” word choice – “guthan cruaidh Sasannach” Repetition – students should identify: “Nuair a bheir an fheannag an t-sùil às 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 103 ANSWER SCHEME Cogadh an Dà Chànain – Myles Campbell Puingean còmhraidh: 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 tràill!” – 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 bhràigh” English is fighting for supremacy but for the poet, Gaelic will always have supremacy. “sabaid” – “fighting”, relates to “cogadh” – war. “sàraicht” – 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. 104 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME 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 bhàn”. Then, the harsh reality – “nuair fhuair iad e fuar bàthte air an tràigh” 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 réidh, thu fhéin ’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 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 105 ANSWER SCHEME 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: 106 theme – death similarity in innocence and lack of understanding of death both told from the perspective of a young boy simplicity of language mourning. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Bean Dubh a’ caoidh a Fir a Chaidh a Mharbhadh leis a’ Phoileas – Duncan Livingstone Puingean còmhraidh: Repetition of “Baba Inkòsi Sikelele” and use of phrases such as “Car son, a Dhé 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 chràdh, mo chràdh ’s mo léireadh”. Honest, awful word choice, e.g. “’s a mhionach ás a’ slaodadh”; “Ghearradh sgòrnan nam fear fuileach” Shocking. Relays the horror of the terrible situation the country is in, e.g. “Am fear bòidheach laigh ri m’ thaobh-sa An-sin ’s a mhionach ás 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 107 ANSWER SCHEME Sgeulachdan Goirid – Short Stories Aig a’ Chloich-chuimhne – Iain Crichton Smith Puingean còmhraidh 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. “Thòisich 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 dèidh 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 dìriche ach cha do rinn e sin” “…theich dithis no thriùir às a rathad, ’s iad a’ toirt urram dhà ”. 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. 108 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 109 ANSWER SCHEME Màiread – 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 Màiread stories and she wished they could be together forever. Màiread was Anna’s mother’s name and pink was her mother’s favourite colour. They hold hands and Màiread 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 Màiread 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 Màiread too? Or is he trying to humour his wife by pretending to hear the music? 110 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME 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 càil 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 111 ANSWER SCHEME 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 bhròinein”. The woman does not know about “Latha Mahommed” or Allah and she does not recognise the Koran. 112 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME An Duine Dubh – Iain Crichton Smith Possible answers: “feadhainn dearg mar fhìon, feadhainn glas mar mhuir, feadhainn uaine mar thalamh, feadhainn buidhe mar ghealaich ” “Cha dèanadh i mach facal dheth” “Am biodh esan a’ dol gu dannsan?” “Smaoinich i air a h-athair a’ slìobadh an eich a bh’aca uair” “Thug e sùil timcheall an t-seòmair” “Rinn i gàire…Rinn esan gàire 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 113 ANSWER SCHEME 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. 114 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME A’ dol dhachaidh – Iain Crichton Smith Obair clas – Puingean còmhraidh 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 càil 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 dòrainneach”. “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). “Chì mi sròn na soithich ’s i a’ gearradh troimh ’n chuan, a sròn 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 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 115 ANSWER SCHEME 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 dè tha e dèanamh”. 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 116 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME 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 nàdar ga lìonadh fad na tìde ”. 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 thòiseachadh às ùr air latha earraich”; “Bha duilleagan nan craobh ùr is uaine”; “Bha na duilleagan cùbhraidh is ùr 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. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 117 ANSWER SCHEME 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 lèir a’ sruthadh le fallas, ’s bha deòir na shùilean ”. 10. Personal opinion. 118 LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 ANSWER SCHEME Ri Aghaidh na Creig – Myles Campbell 1. “Choimhead e air airson tiotan le sùil choibhneil, ghràdhach ” 2. Mìcheal – good job; office manager in Glasgow that allows him to buy a BMW. Seòras – crofter; job on North Sea oil rigs; owns a Volvo. 3. Anna cheated on Seòras with Mìcheal when Seòras 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…?” thòisich 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 Seòras gripping on to the rope. 9. Personal response with evidence from the text. 10. Personal response with evidence from the text. LITERATURE (H/AH, GAELIC (LEARNERS) © Learning and Teaching Scotland 2006 119
