{"id":755,"date":"2017-10-20T09:10:05","date_gmt":"2017-10-20T09:10:05","guid":{"rendered":"http:\/\/www.blogs.hss.ed.ac.uk\/selcie\/?p=755"},"modified":"2017-10-20T16:40:58","modified_gmt":"2017-10-20T16:40:58","slug":"dusgadh-agus-mosgladh-catriona-nicghille-bhain-ghrannd-dusgadh-na-feinne-1908-calum-mac-pharlain-am-mosgladh-mor-1914-15","status":"publish","type":"post","link":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/2017\/10\/20\/dusgadh-agus-mosgladh-catriona-nicghille-bhain-ghrannd-dusgadh-na-feinne-1908-calum-mac-pharlain-am-mosgladh-mor-1914-15\/","title":{"rendered":"D\u00f9sgadh agus Mosgladh: Catr\u00econa NicGhille-Bh\u00e0in Ghrannd, D\u00f9sgadh na F\u00e9inne (1908) & Calum Mac Ph\u00e0rlain, Am Mosgladh M\u00f2r (1914-15)"},"content":{"rendered":"

This post written by Dr S\u00ecm Innes, Oilthigh Ghlaschu<\/strong><\/em><\/p>\n

[English translation follows below]<\/strong><\/p>\n

Is iomadh uair ri linn an Athbheothachaidh Cheiltich a chualas gun robh na G\u00e0idheil, neo na h-Albannaich gu l\u00e8ir, air d\u00f9sgadh, no an impis d\u00f9sgadh, air neo gun robh an t-\u00e0m aca d\u00f9sgadh. Thug Lachlann MacBheathain (1853-1931) \u00f2raid do Chomunn G\u00e0idhlig Inbhir Nis ann an 1896 air an robh \u2018The Mission of the Celt\u2019. Bha MacBheathain, a thogadh ann an Cill Taraglain, na fhear-deasachaidh air a\u2019 ph\u00e0ipear The Fifeshire Advertister<\/em>. Bha e ri eadar-theangachadh agus sgr\u00ecobhadh na G\u00e0idhlig cuideachd.[1]<\/a> Na \u00f2raid, th\u00f2isich e le bhith a\u2019 toirt s\u00f9il air eachdraidh an Athbheothachaidh is thuirt e:<\/p>\n

The Gael suddenly awoke to the alarming fact that his native tongue, which more than anything else was the distinguishing mark of his tribe, was dying out before the tongue of the Southron. The thought touched his sensitive and melancholy nature as nothing else could\u2026. Having now glanced over this heaving tide of new Celtic life which has overflowed the fields of literature, music, customs, and social progress, it remains for us to ask, What of the future? The Gael are awakening to consciousness, and as a man when he becomes conscious, first asks, What am I? Whence am I? What am I here for? So the Gael must ask, What are we? What are our capabilities? What is our destiny? … Well, now, we have looked at these three curents of our times \u2013 the rising tide of Celtic revival among ourselves, the flow of Celtic sentiment and ideas in English life and literature, and the stream of Celtic blood into city life \u2013 and we should now be in a position to guess what is the mission and destiny of the Celt. It is surely by infusion of ideas and transfusion of blood to leaven modern civilization with its own awakening spirit.[2]<\/a><\/p>\n

Chan e a-mh\u00e0in gun robh na G\u00e0idheil nan cadal ach bha iad fo she\u00f2rsa de gheasaibh ann an suain sheunta:<\/p>\n

Until quite lately, we seem to have been a race under some evil enchantment. We were ashamed of our Gaelic, ashamed of being Highlanders\u2026 but all this is changed; the spell is broken.[3]<\/a><\/p>\n

Tha e follaiseach gun robh \u00ecomhaigh a\u2019 ghaisgich na shuain-chadail gu m\u00f2r a\u2019 dr\u00f9idheadh air agus a\u2019 toirt brosnachadh do sgr\u00ecobhadairean agus luchd-ealain an Athbheothachaidh. Aig a\u2019 chridhe tha sgeul neo moitif a tha, is a bha, bitheanta air feadh an t-saoghail (AT766).[4]<\/a> Ch\u00ecthear e ann an Alba ann an, \u2018The Awakening of Cuchullin\u2019 (1895), dealbh-bhalla a pheant John Duncan aig Loidse Ramsaidh ann an D\u00f9n \u00c8ideann, neo ann am briathran Ph\u00e0draig Geddes nuair a sgr\u00ecobh e mu leithid Merlin a bhith na chadal agus, \u2018in some young soul here and there the spirit of the hero and the poet may awaken\u2026 such is our Scottish and Celtic Renascence.\u2019[5]<\/a> Anns a\u2019 Chuimrigh b\u2019e an R\u00ecgh Artur a dh\u2019fheumadh \u00e8irigh gus c\u00f9is na Cuimrigh agus na Cuimris a leasachadh.[6]<\/a> Ann an \u00c8irinn bha an sgeul seo air innse mu iomadach gaisgeach eachdraidheil agus faoinsgeulach agus gheibhear lorg air gu furasta bho \u00e0m an Ath-Bheothachaidh.[7]<\/a> Mar eisimpleir, anns a\u2019 chiad iomleabhar den iris Ulad<\/em> ann an 1904 bha Seosamh MacCathmhaoil (1879-1944) air sgeulachd ghoirid a sgr\u00ecobhadh a bha na \u2018propagandist parable\u2019 a r\u00e8ir an Irish News<\/em> aig an \u00e0m:<\/p>\n

I dreamed a dream. Methought a voice spoke to me as from the clouds. It said, \u2018The time is upon us!\u2019 I looked around, fearfully, and beheld a haggard old woman before me.\u2019\u2026 \u2018The time for the heroes to ride forth,\u2019 she said. \u2018I wandered just now into that cave that pierces this hill at its foot. I saw there the heroes of the sons of Niall. Many think they are dead. They are not dead, I tell you. They are lying trance-bound, as in sleep. \u2026 \u2018They are not ridden forth yet. I have not broken the ancient spell that binds them. They are biding the setting of the sun and the passing of the night. They will ride forth at the dawn.\u00a0 \u2026 When I awoke again it was dawn. My face was to the rising sun. I arose joyfully, and gave the day-god salutation\u2026. Too long have they lain trance-bound and sleeping, but now they are stirred. The spell of enchantment is broken. They are gone forth, and till the Day of the Great Judgment they may not be recalled. They shout their ancient war-cry \u2013 \u2018L\u00e1mh Dearg ar uachtar! \u2013 and ride out into the morning. May the road rise to them, and to all that follow! May victory sit on the banners of the Red Hand![8]<\/a><\/p>\n

\"Finn

Donald Alexander Mackenzie, Finn and His Warrior Band (London: Black & Son, 1911).<\/p><\/div>\n

Am measg Gh\u00e0idheal na h-Alba bha am moitif seo ga nochdadh fh\u00e8in tric ann an sgeulachdan mu na Fianntaichean a bhith nan cadal ann an uaimh ach a\u2019 feitheamh gairm ach an an d\u00f9isgeadh iad uair eile. Bhathar tric a\u2019 tuigsinn gun robh na Fianntaichean anns an sgeul a\u2019 samhlachadh nan G\u00e0idheal. Mar a thuirt William T. Kilgour ann an 1908:<\/p>\n

Some treat the tale symbolically, and say that an Fheinn air a h-uilinn<\/em> (the Feinne on their elbows) is representative of the Gael these many years past, and that some day, whether it be on the third blast of the trump or not is indicated, but certainly some day, they will shew the world their full strength.[9]<\/sup><\/a><\/p>\n

Chan eil e na ch\u00f9is-iongnaidh mar sin, gu bheil d\u00e0 dhealbh-chluich againn do chloinn, st\u00e8idhichte air a\u2019 mhoitif seo a rinn luchd-iomairt na G\u00e0idhlig ann an Alba aig toiseach an fhicheadamh linn.<\/p>\n

\"The

John Gregorson Campbell, The Fians (London: D. Nutt, 1891).<\/p><\/div>\n

D\u00f9sgadh na F\u00e9inne<\/u><\/em><\/p>\n

Tha feum air na Fianntan; tha an d\u00f9thaich \u2019na fr\u00ecth;<\/em><\/p>\n

Tha Gh\u00e0idhlig dol b\u00e0s; cha\u2019n eil daoine \u2019san t\u00ecr;<\/em><\/p>\n

Nach \u2019eil Gaidheal an Albainn, no Gaidheal an c\u00e9in<\/em><\/p>\n

a sh\u00e9ideas an d\u00f9dach \u2019s a dh\u00f9isgeas an Fh\u00e8inn?<\/em><\/p>\n

\"

Catr\u00econa NicGhille-Bh\u00e0in Ghrannd\/ Katherine Whyte Grant.
Frank Whyte, Henry and Mary: Portraits of Henry Whyte and Mary McIsaac 1807-1899 (Launceston, Tasmania F. Whyte, 1994).<\/p><\/div>\n

B\u2019e Catr\u00econa NicGhille-Bh\u00e0in Ghrannd (1845-1928) a rinn D\u00f9sgadh na F\u00e9inne<\/em> (1908).[10]<\/a> Thogadh i anns an Apainn ach bha i ann an Sidni, Astr\u00e0ilia nuair a sgr\u00ecobh i an dealbh-chluich. Tha mi air caibideil a sgr\u00ecobhadh air D\u00f9sgadh na F\u00e9inne<\/em> bho chionn ghoirid a bhios a\u2019 nochdadh ann an cruinneachadh deasaichte a dh\u2019aithghearr.[11]<\/a> Tha an sgeul mun Fh\u00e8inn a bhith\u00a0 \u2018air a h-uilinn\u2019 gus an d\u00f9isgear iad aig cridhe an dealbh-chluich agus tha teachdaireachd l\u00e0idir ann don chloinn a bhiodh san \u00e8isteachd gu bheil feum air d\u00f9sgadh a bheir crathadh air cor na G\u00e0idhealtachd. Seo mar a tha sgeul na F\u00e8inne air innse:<\/p>\n

Seumas.- C\u00f3 b\u2019 iad an Fh\u00e9inn?<\/p>\n

 <\/p>\n

D\u00f2mhnull.- Buidheann de dhaoine treuna<\/p>\n

A thug iad f\u00e9in a suas, le\u2019n cuideachdan,<\/p>\n

Gu Albainn a chumail saor o n\u00e0imhdean.<\/p>\n

Thug iad-f\u00e9in a suas; an neart; an cuibhreann;<\/p>\n

An cridhe is an inntinn, fad am beatha,<\/p>\n

gu math na t\u00ecr \u2019s an t-sluaigh a thoirt mu\u2019n cuairt.<\/p>\n

Thuit m\u00f2ran di\u00f9bh \u2019s na bl\u00e0raibh; chaochail cuid;<\/p>\n

Gus nach robh h-aon air fh\u00e0gail dhi\u00f9bh ach Oisean<\/p>\n

Am f\u00ecor shean aois. Chrom esan s\u00ecos do\u2019n uaigh<\/p>\n

A\u2019 caoidh gu muladach a chompanaich.<\/p>\n

Mu dheireadh thiodhlaiceadh e l\u00e0imh ri c\u00e0ch.<\/p>\n

 <\/p>\n

S\u00ecle.- Ciamar? An d\u2019adhlaiceadh iad uile c\u00f2mhla?<\/p>\n

 <\/p>\n

D\u00f2mhnall.- Tha iad \u2019nam b\u00e0s mar a bha iad \u2019nam beatha;<\/p>\n

Tha iad \u2019nan s\u00ecneadh c\u00f2mhla ann an uaimh<\/p>\n

Tha \u2019n uamh sin falaichte am measg nan creag;<\/p>\n

\u2019S cha \u2019n fhios an diugh do dhuine c\u2019 \u00e0it\u2019 am bheil i.<\/p>\n

 <\/p>\n

Cailean.- \u2019N e sin na bheil \u2019san naigheachd?<\/p>\n

 <\/p>\n

D\u00f2mhnull.- O, cha \u2019n \u00e8:<\/p>\n

Bha math na d\u00f9thcha riamh cho dl\u00f9th d\u2019 an cridhe;<\/p>\n

Bha \u2019n gaol d\u2019 an sluagh cho daingeann is cho be\u00f2<\/p>\n

Nach d\u2019 eug an Fh\u00e9inn mar a ni muinntir eile;<\/p>\n

Cha \u2019n eil iad marbh; cha \u2019n iad ach \u2019nan cadal;<\/p>\n

Is thigeadh uair na h-\u00e9iginn, thigeadh c\u00e1s<\/p>\n

A ris air Albainn, \u00e9iridh g\u2019 a cuideachadh<\/p>\n

Gach gaisgeach dhiubh gu cath an aghaidh an n\u00e0mhaid.<\/p>\n

 <\/p>\n

E\u00f3ghan.- Ciamar a gheibh iad fios aig an \u00e0m cheart?<\/p>\n

 <\/p>\n

D\u00f2mhnull.- Nuair thig an t-\u00e0m, thig duine dh\u00f9isgeas iad.<\/p>\n

Bha, aon uair, gobhainn ann, d\u2019 am b\u2019 aithne \u2019n t-\u00e0ite<\/p>\n

\u2019S am bheil an Fh\u00e9inn \u2019nan laidhe. Rinn e iuchair<\/p>\n

A dh\u2019 fhosgail dha a\u2019 chreag. Ghabh e stigh<\/p>\n

Is chunnaic e na suinn an sin \u2019nan suain;<\/p>\n

Gach fear \u2019na \u00e9ideadh-airm, le sgiath \u2019s le chlaidheamh.<\/p>\n

Bha cuid dhiubh le cruit-chi\u00f9il a\u2019 bh\u00e0ird r\u2019 an cliathaich.<\/p>\n

Dl\u00f9th air na suinn, bha d\u00f9dach mh\u00f3r \u2019na laidhe.<\/p>\n

Esan aig am biodh anail treun gu le\u00f2ir,<\/p>\n

\u2019S gu le\u00f2ir de mhisneach aige, an fheadag mh\u00f2r<\/p>\n

A chur r\u2019 a bhilean, agus, tri uairean thairis,<\/p>\n

S\u00e9ideadh thoirt dith gu l\u00e0idir, coimhlionta,<\/p>\n

Chuireadh a ghairm na gaisgich air am bonnaibh,<\/p>\n

Is thigeadh iad a mach gu cathachadh<\/p>\n

An aghaidh n\u00e0mhaidean Albann mar o shean.<\/p>\n

Thog an gobhainn an d\u00f9dach r\u2019 a bhilean<\/p>\n

Is sh\u00e9id e i. L\u00econadh le fuaim an uaimh,<\/p>\n

Is thug na Fianntan plaosgadh air an s\u00f9ilean.<\/p>\n

An dara uair sh\u00e9id\u00a0 e cho fad \u2019s a bh\u2019 aige.<\/p>\n

Dh\u2019 \u00e9irich na suinn, le clisgeadh, air an uilinn.<\/p>\n

Le clisgeadh thilg an gobhainn uaith an fheadag;<\/p>\n

Ghabh e na casan \u00e1s a dh\u2019 ionnsuidh \u2019n doruis,<\/p>\n

Am feadh a ghlaodh na Fianntan le guth aimheil:<\/p>\n

\u201cIs miosa dh\u2019 fh\u00e1g na fhuair.\u201d<\/p>\n

Dhruideadh an dorus cloiche\u00a0 as d\u00e9igh a\u2019 ghobhainn<\/p>\n

Is thilg an gealtair air a ch\u00f9l an iuchair;<\/p>\n

Is riamh o\u2019n latha sin cha \u2019n fhios do dhuine<\/p>\n

C\u00f2 \u00ec a\u2019 chreag \u2019sam bheil an Fh\u00e9inn \u2019na cadal.<\/p>\n

D\u00e9 \u2019m fios nach ann \u2019sa chreig ud thall a tha iad!<\/p>\n

An d\u00e8idh seo, aig deireadh an sge\u00f2il tha a\u2019 chlann san dealbh-chluich a\u2019 gealltainn gum bi iad d\u00ecleas don Gh\u00e0idhlig agus do chultar na G\u00e0idhlig.<\/p>\n

Am Mosgladh M\u00f2r<\/u><\/em><\/p>\n

\"Calum

Calum MacPh\u00e0rlain\/ Malcom MacFarlane.
M. C. MacLeod (ed.), Modern Gaelic Bards (Stirling: E. Mackay, 1908).<\/p><\/div>\n

B\u2019 e Calum MacPh\u00e0rlain, neo \u2018Caraid na Cloinne\u2019, (1853-1931) a sgr\u00ecobh Am Mosgladh M\u00f2r: Dealbhchluich-Ci\u00f9il Cloinne<\/em>. Nochd a\u2019 chiad ph\u00e0irt den dealbh-chluich an toiseach anns an iris The Celtic Monthly <\/em>as t-samhradh ann an 1914.[12]<\/a> Aig toiseach an iom-leabhair sin gheibhear facal on deasaiche (Annie M. MacKay?) agus tha m\u00ecneachadh ann a tha a\u2019 sealltainn gur e banr\u00ecgh ann an suain sheunta is chan e an Fh\u00e8inn a tha san dealbh-chluich seo:<\/p>\n

We have pleasure in substituting for our usual Musical Page in the issues for this month and the two following ones, this new departure in the promotion of the Gaelic Language cause. Time after time it has been proved that the bounty-fed efforts of the societies are of little avail in instituting Gaelic progressiveness. Somehow, the wrong men are put in charge \u2013 the talker where the worker should be; the dreamer where the practical man of knowledge should be. And so the weary round of trotting out old things goes on \u2013 almost every one seeking notoriety at the cheapest rate, and sometimes stealing it from those who worked before them for the love of the thing. The present is one more proof of the failure of the societies and the success of unaided private effort.<\/p>\n

There is a Children\u2019s Gaelic Musical Play in existence, called \u201cDusgadh na Feinne\u201d \u2013 \u201cThe Awakening of the Fians.\u201d It is by Mrs K. W. G. and is a creditable production of its kind. But it has failed to catch on. Two facts are against its rising in favour; it is a reproduction of real children\u2019s play, and it has rather much literary flavour about the words. Children love better to imitate grown people in their amusements and to affect the accomplishment of achievements.<\/p>\n

The following play differs from the other in respect of the words and music being both original and belonging equally to the plot. No attempt has been made after literary excellence. To have done so would have been a mistake.<\/p>\n

The plot is allegorical and propagandist. It is called \u201cThe Great Awakening\u201d, and shadows forth the denouement of the Gaelic movements, as hoped for by the enthusiast. A usurping Queen of The Rough Island has put the rightful Queen and her court under spells, and she and they lie in a cave which was once a palace, until, according to a certain prophecy, dwarfs return to the island and become the instruments for breaking those spells. The dwarfs land, meet the usurping Queen, overcome her guard, and expel her. They send a party throughout the island to discover the disenchantress who is fated to dissolve the spells under which the native Queen lies. They bring in seven alleged disenchantresses, and after a process of weeding out the false ones and burning their remedies in a cauldron \u2013 a bh\u2019 aig an Fh\u00e9inn mar th\u00f9isear: that the Fians had as an incense burner \u2013 the proper one is discovered. The leader of the dwarfs, by the use of cabalistic signs and words, opens the cave, the disenchantress does her work, the native Queen is restored to life along with her whole court, and , after a Grand \u201cSalute\u201d, the dwarfs depart to the accompaniment of a \u201cFarewell.\u201d<\/p>\n

The bulk of the tunes, as will be seen, are in true Gaelic style and easy to get up. And, in fact, there is just difficulty enough about the plot and the properties to make it worth striving after excellence, but not so much as to prevent the play being produced in the most outlandish part of the Highlands or Islands.[13]<\/a><\/p>\n

Tha e inntinneach gu bheil seo a\u2019 toirt slaic air D\u00f9sgadh na F\u00e9inne<\/em> oir bha MacPh\u00e0rlain air Ghrannd a chuideachadh leis an dealbh-chluich sin mar a tha mi a\u2019 m\u00ecneachadh anns a\u2019 chaibideil agam.[14]<\/a> A bharrachd air sin ged a thathar a\u2019 cumail a-mach an seo gu bheil an reim-chainnt nas fhasa neo nach e cainnt litreachasail air a cleachdadh chan e buileach an tul-fh\u00ecrinn a tha sin. Chanainn fh\u00ecn gu bheil seo calg-dh\u00ecreach an aghaidh d\u00f2igh-sgr\u00ecobhaidh an d\u00e0 dhealbh-chluich is gu bheil D\u00f9sgadh na F\u00e9inne<\/em> \u2018nas fhasa\u2019.<\/p>\n

Chaidh \u2018dara cuid\u2019 a chur ri Am Mosgladh M\u00f2r<\/em> agus nochd sin ann an tr\u00ec iom-leabhraichean a bharrachd anns an earrach ann an 1915.[15]<\/a> Tha ro-r\u00e0dh air thoiseach air an \u2018dara cuid\u2019 a dh\u2019innseas gun robh clann-sgoile ann am Bun a\u2019 Mhuilinn, anns na Druiminnean, sa Mhorbhairne air na bh\u2019 air nochdadh ann an 1914 a chur air \u00e0rd-\u00f9rlar. A r\u00e8ir Chaluim MhicPh\u00e0rlain fh\u00e8in ann an 1925 b\u2019 e \u2018a very outlandish quarter\u2019 a bh\u2019 ann am Bun a\u2019 Mhuilinn![16]<\/a> Faodaidh e air uairean a bhith doirbh tighinn air fianais gun deach m\u00f2ran a dh\u00e8anamh a-riamh le dealbhan-cluiche na cloinne is mar sin tha an ro-r\u00e0dh air leth feumail anns an d\u00f2igh sin:<\/p>\n

The Play called \u201cAm Mosgladh M\u00f2r\u201d, which appeared in the July, August and September issues of last year, was produced last winter by the children of Bunavulin School, Morvern, under the guidance and training of their teacher, Miss Harriet Stewart. It was taken up with great spirit by the children, and gave intense satisfaction to the audience of local people and strangers who came to hear it. We are glad to learn that Miss Juliet MacDonald, Cul-a\u2019-bhaile, Fort William, is training children to produce it in that town. It is a desirable novelty, and should be encouraged by everybody who has the interests of Gaelic at heart. The author has now produced a continuation of the first part, and we have pleasure in giving an instalment in this issue. The Bunavulin children have already started to practice the songs.[17]<\/a><\/p>\n

Tha seo cuideachd a\u2019 toirt sealladh dhuinn air cho cudromach \u2019s a bha boireannaich ann a bhith a\u2019 cur an gn\u00ecomh dealbhan-cluiche G\u00e0idhlig agus a lethid am measg cloinn, mar a tha sgoilearachd an Dr Priscilla Scott air sealltainn dhuinn bho chionn ghoirid.[18]<\/a> Bhuineadh an \u2018redoubtable Harriet Stewart\u2019 (1866-1947) do Chlach Mhanann ach \u2018she learned Gaelic from scratch in Morvern and made sure that all her pupils had a thorough grounding in the language. Out of her own pocket she took her pupils to provincial and national mods, where her tiny school featured prominently in the prize lists.\u2019[19]<\/a> B\u2019 e G\u00e0idhlig a\u2019 chiad ch\u00e0nan a bh\u2019 aig Juliet MacDonald (1848-1942) agus \u2019s i a bha a\u2019 riochdachadh Loch Abair air a\u2019 Chomunn Gh\u00e0idhealach.[20]<\/a><\/p>\n

Rinneadh ath-dheasachadh agus l\u00f9ghdachadh air Am Mosgladh Mh\u00f2r<\/em> agus ann an 1925 bhuannaich e an dara duais aig a\u2019 Mh\u00f2d ann an Grianaig agus chuireadh an dealbh-chluich a-mach an cl\u00f2 a-rithist mar leabhar.[21]<\/a> Anns a\u2019 bhloigh seo bho thoiseach an dealbh-chluich (tionndadh 1914) ch\u00ecthear mar a tha an sgeul ga chur an c\u00e8ill agus ch\u00ecthear cuideachd cho follaiseach agus d\u00ecreach is a tha am meatafor aig MacPh\u00e0rlain airson suidheachadh nan G\u00e0idheal is na G\u00e0idhlig:<\/p>\n

D\u00eccheall Dearbhag (Banoglach).-<\/strong> Is mairg cinneadh a tha fo mheachainn maithean a dh\u00ecobair an dualchas. Oir is d\u00ecobradh dualchais d\u00ecobradh uaisle. B\u2019 \u00e8ibhinn an t-\u00e0m \u2019san robh sluagh an Eilein Ghairbh fo cheannas maithean a bha d\u00ecleas do\u2019n chr\u00f9n agus a dh\u2019altruim beusan is beachdan an sinnsir. Ach, Och mo chreach! Th\u00e0inig Sagsa M\u00f2ruaill agus a ban-gheasadair, Sannta N\u00f2ir, agus chuir iad draoidheachd orra a th\u00e0laidh iad bho am b\u00e0nrighinn dhlighich f\u00e9in gu \u00f9mhlachd a dheanamh dhithse. Ghi\u00f9lain iad a h-airm; chog iad fo a brataich; is sh\u00ecolaidh iad as gu m\u00f2r. Ghabh Sannta N\u00f2ir f\u00e0th air ar B\u00e0nrighin, agus chuir si fo gheasaibh i.<\/p>\n

Tha D\u00f9sgadh na F\u00e9inne<\/em> (1908) agus Am Mosgladh M\u00f2r<\/em> (1914-15) againn mar fhianais air an oidhirp a rinn sgr\u00ecobhadairean aire na cloinne a thogail gu cor na G\u00e0idhealtachd is na G\u00e0idhlig aig \u00e0m an Athbheothachaidh Cheiltich. Bha moitif a\u2019 ghaisgich na chadal cho l\u00econmhor sna bliadhnaichean sin am measg muinntir an Athbheothachaidh gum faodadh d\u00f9il a bhith againn gun nochdadh e air an \u00e0rd-urlar G\u00e0idhlig do chloinn. Bhathas a\u2019 str\u00ec ri lagachadh na G\u00e0idhlig ann an iomadh sg\u00ecre den Gh\u00e0idhealtachd agus le measgachadh de che\u00f2l is fealla-dh\u00e0 air an \u00e0rd-\u00f9rlar bha an d\u00e0 \u00f9ghdar seo an d\u00f2chas gun \u00e8isteadh a\u2019 chlann san luchd-amhairc ris an teachdaireachd. \u2019S e teachdaireachd a bh\u2019 ann a a bha a\u2019 cur impidh air cloinn gum bu ch\u00f2ir dhaibh d\u00f9sgadh \u00e0 suain na Beurla gus a\u2019 Gh\u00e0idhlig agus cultar na G\u00e0idhlig a chur an toiseach.<\/p>\n

Mu Sh\u00ecm<\/em><\/p>\n

Tha an Dr S\u00ecm Innes air a bhith na \u00f2raidiche ann an Ceiltis is G\u00e0idhlig aig Oilthigh Ghlaschu bho 2013 far am bi e a\u2019 teagasg agus a\u2019 rannsachadh litreachas na G\u00e0idhlig le \u00f9idh sh\u00f2nraichte ann an iasad agus sgaoileadh bheachdan agus cultar.<\/em><\/p>\n

\"S\u00ecm<\/p>\n

 <\/p>\n

\n

 <\/p>\n

Awakening and Arising: Katherine Whyte Grant, D\u00f9sgadh na F\u00e9inne<\/em> (1908) & Malcom MacFarlane, Am Mosgladh M\u00f2r<\/em> (1914-15)<\/strong><\/p>\n

The Gael suddenly awoke to the alarming fact that his native tongue, which more than anything else was the distinguishing mark of his tribe, was dying out before the tongue of the Southron. The thought touched his sensitive and melancholy nature as nothing else could\u2026. Having now glanced over this heaving tide of new Celtic life which has overflowed the fields of literature, music, customs, and social progress, it remains for us to ask, What of the future? The Gael are awakening to consciousness, and as a man when he becomes conscious, first asks, What am I? Whence am I? What am I here for? So the Gael must ask, What are we? What are our capabilities? What is our destiny? … Well, now, we have looked at these three curents of our times \u2013 the rising tide of Celtic revival among ourselves, the flow of Celtic sentiment and ideas in English life and literature, and the stream of Celtic blood into city life \u2013 and we should now be in a position to guess what is the mission and destiny of the Celt. It is surely by infusion of ideas and transfusion of blood to leaven modern civilization with it\u2019s own awakening spirit.[23]<\/a><\/p>\n

It wasn\u2019t just that the Gaels and other Scots were asleep; they were in fact in a spellbound slumber:<\/p>\n

Until quite lately, we seem to have been a race under some evil enchantment. We were ashamed of our Gaelic, ashamed of being Highlanders\u2026 but all this is changed; the spell is broken.[24]<\/a><\/p>\n

The notion of the \u2018sleeping hero\u2019 was a powerful commonplace among Celtic Revival writers and artists. It arises from a motif and folklore tale-type that was, and is, ubiquitous in many countries (AT766).[25]<\/a> In Scotland it inspired works such as \u2018The Awakening of Cuchullin\u2019 (1895), a mural painted by John Duncan at Ramsay Lodge in Edinburgh, and the words of Patrick Geddes who spoke of characters such as Merlin all awaiting the awakening such that \u00a0\u2018in some young soul here and there the spirit of the hero and the poet may awaken\u2026 such is our Scottish and Celtic Renascence.\u2019[26]<\/a> In Wales in was Arthur who was to rise again to improve the lot of Wales and the Welsh language.[27]<\/a> In Ireland the \u2018sleeping hero\u2019 tale was told about numerous historical and fictional characters and we can easily source its use at the time of the Revival.[28]<\/a> For instance, in the first issue of the periodical Ulad<\/em> in 1904 Joseph Campbell (1879-1944) published a short story described by the Irish News<\/em> at the time as a \u2018propagandist parable\u2019:<\/p>\n

I dreamed a dream. Methought a voice spoke to me as from the clouds. It said, \u2018The time is upon us!\u2019 I looked around, fearfully, and beheld a haggard old woman before me.\u2019\u2026 \u2018The time for the heroes to ride forth,\u2019 she said. \u2018I wandered just now into that cave that pierces this hill at its foot. I saw there the heroes of the sons of Niall. Many think they are dead. They are not dead, I tell you. They are lying trance-bound, as in sleep. \u2026 \u2018They are not ridden forth yet. I have not broken the ancient spell that binds them. They are biding the setting of the sun and the passing of the night. They will ride forth at the dawn.\u00a0 \u2026 When I awoke again it was dawn. My face was to the rising sun. I arose joyfully, and gave the day-god salutation\u2026. Too long have they lain trance-bound and sleeping, but now they are stirred. The spell of enchantment is broken. They are gone forth, and till the Day of the Great Judgment they may not be recalled. They shout their ancient war-cry \u2013 \u2018L\u00e1mh Dearg ar uachtar! \u2013 and ride out into the morning. May the road rise to them, and to all that follow! May victory sit on the banners of the Red Hand![29]<\/a><\/p>\n

\"Finn

Donald Alexander Mackenzie, Finn and His Warrior Band (London: Black & Son, 1911).<\/p><\/div>\n

Among Scottish Gaels the motif of the sleeping hero was most often associated with Fionn mac Cumhaill and his band of heroic warriors known as An Fh\u00e8inn<\/em>. They were portrayed as sleeping in a cave, awaiting the call to rise up once more. The warriors of the F\u00e8inn<\/em>, extremely popular in written and oral Gaelic storytelling culture since the medieval period, were often understood to represent Highland Scots. As William T. Kilgour noted in 1908:<\/p>\n

Some treat the tale symbolically, and say that an Fheinn air a h-uilinn<\/em> (the Feinne on their elbows) is representative of the Gael these many years past, and that some day, whether it be on the third blast of the trump or not is indicated, but certainly some day, they will shew the world their full strength.[30]<\/sup><\/a><\/p>\n

It is perhaps no surprise that two plays for children were written by Gaelic activists at the beginning of the twentieth century, both employing the \u2018sleeping hero\u2019 motif.<\/p>\n

\"The

John Gregorson Campbell, The Fians (London: D. Nutt, 1891).<\/p><\/div>\n

D\u00f9sgadh na F\u00e9inne<\/u><\/em> (\u2018The Awakening of the F\u00e8inn<\/em>\u2019)<\/u><\/p>\n

Tha feum air na Fianntan\u2026<\/em><\/p>\n

[The F\u00e8inn are needed; the country is a deer forest;<\/p>\n

Gaelic is dying; there are no people in the land;<\/p>\n

Isn\u2019t there a Gael in Scotland or a Gael abroad<\/p>\n

who will blow the horn and awaken the F\u00e8inn<\/em>?]<\/p>\n

\"

Catr\u00econa NicGhille-Bh\u00e0in Ghrannd\/ Katherine Whyte Grant.
Frank Whyte, Henry and Mary: Portraits of Henry Whyte and Mary McIsaac 1807-1899 (Launceston, Tasmania F. Whyte, 1994).<\/p><\/div>\n

D\u00f9sgadh na F\u00e9inne<\/em> (1908) was written by Katherine Whyte Grant (1845-1928).[31]<\/a> She was brought up in Appin but was resident in Sydney, Austrlia when she wrote the play. I have recently completed a study of this play, to be published shortly.[32]<\/a> The tale of the F\u00e8inn<\/em> warriors \u2018on their elbows\u2019 waiting to be awoken is at the heart, and in the title of this kinderspiel. It contains a number of powerful messages for the audience on the situation of Gaelic and the Highlands more generally; that an awakening is badly needed. The tale of the sleeping F\u00e8inn<\/em> appears in the play as follows:<\/p>\n

Seumas.- C\u00f3 b\u2019 iad an Fh\u00e9inn\u2026 <\/em><\/p>\n

 <\/p>\n

[James.- Who were the F\u00e8inn?<\/p>\n

 <\/p>\n

Donald.- A band of brave men who sacrificed<\/p>\n

themselves and their troops in order to keep<\/p>\n

Scotland free from her enemies.<\/p>\n

They sacrificed themselves; their strength;<\/p>\n

their belongings; their heart and mind for the<\/p>\n

whole of their lives to the good of the land<\/p>\n

and to boost the population.<\/p>\n

Many of them fell in battles; some died;<\/p>\n

until the only remaining one was the<\/p>\n

very elderly Ossian<\/p>\n

who reached a great age. He went to the grave<\/p>\n

lamenting mournfully for his companions.<\/p>\n

Finally, he was interred at the end along with the rest.<\/p>\n

 <\/p>\n

Sheila.- How? Were they all buried together?<\/p>\n

 <\/p>\n

Donald.- In death they are as they were in life;<\/p>\n

They lie prostrated in a cave and that cave<\/p>\n

is hidden among the rocks;<\/p>\n

and no one knows today where it is located.<\/p>\n

 <\/p>\n

Colin.- Is that the whole story?<\/p>\n

 <\/p>\n

Donald.- O, it\u2019s not:<\/p>\n

The good of the country was always close to their hearts;<\/p>\n

Their love for their people was so determined and so vivid<\/p>\n

that the F\u00e8inn<\/em> didn\u2019t die as others do;<\/p>\n

They are not dead; they are only sleeping;<\/p>\n

When the time of need and difficulty comes again<\/p>\n

to Scotland each one of the warriors will rise up again<\/p>\n

to assist and fight the enemy.<\/p>\n

 <\/p>\n

Euan.- How will they know when the time is right?<\/p>\n

 <\/p>\n

Donald.- When the time comes, someone will<\/p>\n

awaken them. Once upon a time there was a blacksmith<\/p>\n

who knew where the F\u00e8inn<\/em> lay. He made himself<\/p>\n

a key that opened the rock for him. He went in and<\/p>\n

saw the heroes in a slumber;<\/p>\n

each in his armour, with a shield and sword.<\/p>\n

Some of them had a lyre at their side.<\/p>\n

Near to them lay a large horn.<\/p>\n

He who would have enough strong breath and<\/p>\n

enough courage to put the great whistle to his<\/p>\n

lips and blow perfectly and strongly three times<\/p>\n

would call the heroes to their feet,<\/p>\n

and they would come out to fight the enemy of Scotland<\/p>\n

as in olden times.<\/p>\n

The blacksmith put the horn to his lips<\/p>\n

and blew it. The cave was filled with noise,<\/p>\n

and the F\u00e8inn<\/em> opened their eyes.<\/p>\n

The second time he blew as hard as he could.<\/p>\n

The warriors rose up, all of a sudden, onto their elbows.<\/p>\n

With a start the blacksmith threw the horn down;<\/p>\n

He hightailed it out of the door while the F\u00e8inn<\/em> cried<\/p>\n

with grief, \u2018You\u2019ve left us worse than you found us,\u2019<\/p>\n

The stone door closed after the blacksmith<\/p>\n

and the coward threw the key behind him;<\/p>\n

Ever since that day no one knows in which rock the<\/p>\n

F\u00e8inn<\/em> sleep. They could even be in that rock over there!]<\/p>\n

The play ends with the child characters promising to be faithful to the Gaelic language and its associated culture.<\/p>\n

Am Mosgladh M\u00f2r<\/u><\/em> (\u2018The Great Arising\u2019)<\/u><\/p>\n

\"Calum

Calum MacPh\u00e0rlain\/ Malcom MacFarlane.
M. C. MacLeod (ed.), Modern Gaelic Bards (Stirling: E. Mackay, 1908).<\/p><\/div>\n

Malcolm MacFarlane, or \u2018Friend of the Children\u2019, (1853-1931) wrote Am Mosgladh M\u00f2r. <\/em>The first part was first published in the periodical The Celtic Monthly <\/em>in the summer of 1914.[33]<\/a> It was accompanied with a \u2018Word from the Editor\u2019 of that periodical (Annie M. MacKay?) who explained that this children\u2019s play deals with a queen in an enchanted sleep and not the F\u00e8inn<\/em>:<\/p>\n

We have pleasure in substituting for our usual Musical Page in the issues for this month and the two following ones, this new departure in the promotion of the Gaelic Language cause. Time after time it has been proved that the bounty-fed efforts of the societies are of little avail in instituting Gaelic progressiveness. Somehow, the wrong men are put in charge \u2013 the talker where the worker should be; the dreamer where the practical man of knowledge should be. And so the weary round of trotting out old things goes on \u2013 almost every one seeking notoriety at the cheapest rate, and sometimes stealing it from those who worked before them for the love of the thing. The present is one more proof of the failure of the societies and the success of unaided private effort.<\/p>\n

There is a Children\u2019s Gaelic Musical Play in existence, called \u201cDusgadh na Feinne\u201d \u2013 \u201cThe Awakening of the Fians.\u201d It is by Mrs K. W. G. and is a creditable production of its kind. But it has failed to catch on. Two facts are against its rising in favour; it is a reproduction of real children\u2019s play, and it has rather much literary flavour about the words. Children love better to imitate grown people in their amusements and to affect the accomplishment of achievements.<\/p>\n

The following play differs from the other in respect of the words and music being both original and belonging equally to the plot. No attempt has been made after literary excellence. To have done so would have been a mistake.<\/p>\n

The plot is allegorical and propagandist. It is called \u201cThe Great Awakening\u201d, and shadows forth the denouement of the Gaelic movements, as hoped for by the enthusiast. A usurping Queen of The Rough Island has put the rightful Queen and her court under spells, and she and they lie in a cave which was once a palace, until, according to a certain prophecy, dwarfs return to the island and become the instruments for breaking those spells. The dwarfs land, meet the usurping Queen, overcome her guard, and expel her. They send a party throughout the island to discover the disenchantress who is fated to dissolve the spells under which the native Queen lies. They bring in seven alleged disenchantresses, and after a process of weeding out the false ones and burning their remedies in a cauldron \u2013 a bh\u2019 aig an Fh\u00e9inn mar th\u00f9isear: that the Fians had as an incense burner \u2013 the proper one is discovered. The leader of the dwarfs, by the use of cabalistic signs and words, opens the cave, the disenchantress does her work, the native Queen is restored to life along with her whole court, and, after a Grand \u201cSalute\u201d, the dwarfs depart to the accompaniment of a \u201cFarewell.\u201d<\/p>\n

The bulk of the tunes, as will be seen, are in true Gaelic style and easy to get up. And, in fact, there is just difficulty enough about the plot and the properties to make it worth striving after excellence, but not so much as to prevent the play being produced in the most outlandish part of the Highlands or Islands.[34]<\/a><\/p>\n

It is noteworthy that this editorial found fault with D\u00f9sgadh na F\u00e9inne<\/em> since MacFarlane himself had helped Grant with that play as is discussed in my forthcoming chapter.[35]<\/a> Furthermore, the claim that the language register in MacFarlane\u2019s work is somehow easier, or not as literary, is not quite the whole truth. Indeed, I would contend that in fact the opposite is true and that of the two D\u00f9sgadh na F\u00e9inne<\/em> is in \u2018easier\u2019 language.<\/p>\n

A \u2018second part\u2019 was subsequently published in the spring of 1915.[36]<\/a> This second part was given an introduction that tells us that schoolchildren in Bonnavoulin, Drimnin, Morvern had performed the first part when it appeared in 1914. According to MacFarlane himself, writing in 1925, Bonnavoulin was indeed \u2018a very outlandish quarter\u2019![37]<\/a> It can be difficult to access evidence for the reception and performance of Gaelic children\u2019s plays from this period and therefore this introduction to the second part is particularly useful:<\/p>\n

The Play called \u201cAm Mosgladh M\u00f2r\u201d, which appeared in the July, August and September issues of last year, was produced last winter by the children of Bunavulin School, Morvern, under the guidance and training of their teacher, Miss Harriet Stewart. It was taken up with great spirit by the children, and gave intense satisfaction to the audience of local people and strangers who came to hear it. We are glad to learn that Miss Juliet MacDonald, Cul-a\u2019-bhaile, Fort William, is training children to produce it in that town. It is a desirable novelty, and should be encouraged by everybody who has the interests of Gaelic at heart. The author has now produced a continuation of the first part, and we have pleasure in giving an instalment in this issue. The Bunavulin children have already started to practice the songs.[38]<\/a><\/p>\n

This also gives us an insight into the central role played by women in encouraging Gaelic plays and other such pursuits among children, as the scholarship of Dr Priscilla Scott has recently taught us.[39]<\/a> The \u2018redoubtable Harriet Stewart\u2019 (1866-1947) was from Clackmannan but \u2018she learned Gaelic from scratch in Morvern and made sure that all her pupils had a thorough grounding in the language. Out of her own pocket she took her pupils to provincial and national mods, where her tiny school featured prominently in the prize lists\u2019[40]<\/a> Juliet MacDonald (1848-1942) spoke Gaelic as her language and represented Lochaber on the Executive of An Comunn G\u00e0idhealach.[41]<\/a><\/p>\n

Am Mosgladh M\u00f2r<\/em> was reduced down in it\u2019s second edition, having won second prize at the M\u00f2d in Greenock in 1925 after which it came out as a standalone publication.[42]<\/a> In this excerpt from the beginning of the play (the earlier 1914 version) we see how the premise was set up and we also see how thinly veiled the metaphor for the interaction between English and Gaelic is:<\/p>\n

D\u00eccheall Dearbhag (Maidservant).-<\/strong> Woe to the race who are ruled by the will of nobles who have forsaken their heritage. Since to forsake heritage is to forsake nobility. Delightful was the time when the people of Eilean Garbh (\u2018Rugged Island\u2019) were led by nobles who were loyal to the crown and maintained the ways and ideas of their forefathers. But, oh my! Sagsa M\u00f2ruaill (\u2018Saxa GreatPride\u2019) and her sorceress Sannta N\u00f2ir (\u2018Greed ForGold\u2019) arrived and put them under a spell that tempted them away from their own rightful queen to pay homage to her. They bore arms for her, fighting under her flag; and they were greatly reduced. Sannta N\u00f2ir ambushed our queen, and placed a spell on her.<\/p>\n

The two Gaelic children\u2019s plays D\u00f9sgadh na F\u00e9inne<\/em> (1908) and Am Mosgladh M\u00f2r<\/em> (1914-15) bear witness to the efforts of Gaelic writers trying to raise the consciousness of Highland children to the situation of Gaelic and the Highlands during the Celtic Revival period. The motif of the sleeping hero was so common among Celtic Revivalists in those years that we might have expected to see it appear on the Gaelic children\u2019s stage. The weakening of the Gaelic language was an ongoing issue in many regions of the Highlands and with a bit of music and entertainment on stage these two authors hoped that children would hear the message. The plays exhorted young Gaels to awaken from the slumber of English and to fight the cause of Gaelic and its culture.<\/p>\n

About S\u00ecm<\/em><\/p>\n

Dr S\u00ecm Innes has been a leturer in Cetic and Gaelic at the University of Glasgow since 2013 where he teaches and researches Scottish Gaelic literature, with a particular focus on borrowing and transmission of ideas and culture.<\/em><\/p>\n

\"S\u00ecm<\/p>\n

 <\/p>\n

[1]<\/a> T. M. Murchison, \u2018Lachlan Macbean\u2019, ann an D. Thomson (deas.), The Companion to Gaelic Scotland <\/em>(Oxford: Blackwell Reference, 1983),<\/em> d.160.<\/p>\n

[2]<\/a> L. Macbean, \u2018The Mission of the Celt\u2019, Transactions of the Gaelic Society of Inverness <\/em>21 (1896-97), dd. 56-69 aig dd. 57-66.<\/p>\n

[3]<\/a> Macbean, \u2018The Mission of the Celt\u2019, d. 69.<\/p>\n

[4]<\/a> Antti Aarne & Stith Thompson, The Types of the Folktale: A Classification and Bibliography<\/em> (Helsinki: Suomalainen Tiedeakatemia, Academia Scientiarum Fennica, 1981, 2nd revision), d. 265.<\/p>\n

[5]<\/a> Patrick Geddes, \u2018The Scots Renascence\u2019, Edinburgh Review<\/em> 88 (1992), dd. 17-23 aig dd. 22-23.<\/p>\n

[6]<\/a> Geraint Evans, \u2018Modernist Arthur: The Welsh Revival\u2019, ann an Helen Fulton (deas.), A Companion to Arthurian Literature <\/em>(Chichester: Wiley-Blackwell, 2009), dd. 434-448.<\/p>\n

[7]<\/a> Cuideachd \u2018King in the Mountain\u2019 neo \u2018Sleeping Army\u2019. Airson sgr\u00f9dadh air seo ann an \u00c8irinn faicibh D. \u00d3 h\u00d3g\u00e1in, \u2018An \u00c9 an tAm F\u00f3s \u00c9?\u2019, B\u00e9aloideas<\/em>, 42\/44 (1974 – 1976), dd. 213-308 agus ‘Has the Time Come?’ (MLSIT 8009): The Barbarossa Legend in Ireland and Its Historical Background\u2019, B\u00e9aloideas<\/em> 59 (1991), dd. 197-207.<\/p>\n

[8]<\/a> Seosamh MacCathmhaoil, \u2018The Sleepers of Aileach=Neid\u2019, Ulad<\/em> 1 (November 1904), 4-6. Airson l\u00e8irmheas an Irish News<\/em> faicibh Marnie Hay, \u2018Explaining Uladh: cultural nationalism in Ulster\u2019, ann an B.T. FitzSimon & J. H. Murphy (deas.), The Irish Revival Reappraised <\/em>(Dublin: Four Courts Press, 2004), dd. 119-31 aig d. 126.<\/p>\n

[9]<\/a> W.T. Kilgour, Lochaber in War and Peace<\/em> (1908), dd. 125-126.<\/p>\n

[10]<\/a> Gheibhear e air loidhne aig https:\/\/catalog.hathitrust.org\/Record\/100740808<\/a><\/p>\n

[11]<\/a> S\u00ecm Innes, \u2018D\u00f9sgadh na F\u00e9inne <\/em>(1908): Katherine Whyte Grant\u2019s Scottish Gaelic kinderspiel\u2019, ann an Sharon Arbuthnot, S\u00edle N\u00ed Mhurch\u00fa, Geraldine Parsons (deas.), Proceedings of the 2nd International Finn Cycle Conference <\/em>(ri thighinn 2018).<\/p>\n

[12]<\/a> Malcolm MacFarlane, \u2018Am Mosgladh M\u00f2r\u2019, The Celtic Monthly<\/em> 22:7 (July 1914), dd. 136-39; 22:8 (August 1914), dd. 156-58; 22:9 (September 1914), dd. 171-74.<\/p>\n

[13]<\/a> A. M. MacKay, \u2018Editor\u2019s Page: Gaelic Musical Play for Children\u2019, The Celtic Monthly<\/em> 22:7 (July 1914), d. 130.<\/p>\n

[14]<\/a> S\u00ecm Innes, \u2018D\u00f9sgadh na F\u00e9inne <\/em>(1908)\u2019.<\/p>\n

[15]<\/a> [Malcom MacFarlane], \u2018Am Mosgladh M\u00f2r\u2019, The Celtic Monthly<\/em> 23:3 (March 1915), dd. 54-57; 23:4 (April 1915), dd. 74-77; 23:5 (May 1915), dd. 82-86.<\/p>\n

[16]<\/a> Malcolm MacFarlane, \u2018Half a Century of Vocal Gaelic Music\u2019, TGSI<\/em> 32 (1929), dd. 251-272 aig d. 271, a r\u00e8ir MhicPh\u00e0rlain thog iad \u00a38 a dh\u2019ionnsaidh a\u2019 Chogaidh aig an \u00e0m.<\/p>\n

[17]<\/a> [Malcom MacFarlane], \u2018Am Mosgladh M\u00f2r\u2019, The Celtic Monthly<\/em> 23 (1915), d. 54.<\/p>\n

[18]<\/a> Priscilla Scott Scott, Priscilla, \u2018<\/em>With heart and voice ever devoted to the cause\u2019: women in the Gaelic Movement, 1886\u20131914\u2019 (PhD, University of Edinburgh, 2013), dd. 92-94 air Harriet Stewart.<\/p>\n

[19]<\/a> David Clement, \u2018William Ferguson: Tales and Traditions from a Morvern Gaelic Speaker\u2019, Tocher<\/em> 9 (1973), dd. 18-25 aig d.19.<\/p>\n

[20]<\/a> Scott, \u2018With heart and voice\u2019, d.37 agus d. 89. Airson beagan air Juliet agus a teaghlach faicibh Somerled MacMillan, \u2018A Letter from D. C. MacPherson to Juliet MacDonald, 1879\u2019, Scottish Gaelic Studies<\/em> 11 (1968), dd. 237-47.<\/p>\n

[21]<\/a> Gheibhear e air loidhne an seo: http:\/\/digital.nls.uk\/an-comunn-gaidhealach\/archive\/122770759<\/a><\/p>\n

[22]<\/a> T. M. Murchison, \u2018Lachlan Macbean\u2019, in D. Thomson (ed.), The Companion to Gaelic Scotland (<\/em>Oxford: Blackwell Reference, 1983),<\/em> p.160.<\/p>\n

[23]<\/a> L. Macbean, \u2018The Mission of the Celt\u2019, Transactions of the Gaelic Society of Inverness <\/em>21 (1896-97), pp. 56-69 at pp. 57-66.<\/p>\n

[24]<\/a> Macbean, \u2018The Mission of the Celt\u2019, p. 69.<\/p>\n

[25]<\/a> Antti Aarne & Stith Thompson, The Types of the Folktale: A Classification and Bibliography<\/em> (Helsinki: Suomalainen Tiedeakatemia, Academia Scientiarum Fennica, 1981, 2nd revision), p. 265.<\/p>\n

[26]<\/a> Patrick Geddes, \u2018The Scots Renascence\u2019, Edinburgh Review<\/em> 88 (1992), pp.17-23 at pp. 22-23.<\/p>\n

[27]<\/a> Geraint Evans, \u2018Modernist Arthur: The Welsh Revival\u2019, in Helen Fulton (ed.), A Companion to Arthurian Literature <\/em>(Chichester: Wiley-Blackwell, 2009), pp. 434-448.<\/p>\n

[28]<\/a> Also referred to as \u2018King in the Mountain\u2019 or \u2018Sleeping Army\u2019. For studies of this tale type in Ireland see D. \u00d3 h\u00d3g\u00e1in, \u2018An \u00c9 an tAm F\u00f3s \u00c9?\u2019, B\u00e9aloideas<\/em>, 42\/44 (1974 – 1976), pp. 213-308 and ‘Has the Time Come?’ (MLSIT 8009): The Barbarossa Legend in Ireland and Its Historical Background\u2019, B\u00e9aloideas<\/em> 59 (1991), pp. 197-207.<\/p>\n

[29]<\/a> Seosamh MacCathmhaoil, \u2018The Sleepers of Aileach=Neid\u2019, Ulad<\/em> 1 (November 1904), pp. 4-6. For the quote from The Irish News<\/em> see Marnie Hay, \u2018Explaining Uladh: cultural nationalism in Ulster\u2019, in B.T. FitzSimon & J. H. Murphy (eds), The Irish Revival Reappraised <\/em>(Dublin: Four Courts Press, 2004), pp. 119-31 at p. 126.<\/p>\n

[30]<\/a> W.T. Kilgour, Lochaber in War and Peace<\/em> (1908), pp. 125-126.<\/p>\n

[31]<\/a> It can be accessed online at https:\/\/catalog.hathitrust.org\/Record\/100740808<\/a><\/p>\n

[32]<\/a> S\u00ecm Innes, \u2018D\u00f9sgadh na F\u00e9inne <\/em>(1908): Katherine Whyte Grant\u2019s Scottish Gaelic kinderspiel\u2019, in Sharon Arbuthnot, S\u00edle N\u00ed Mhurch\u00fa, Geraldine Parsons (eds), Proceedings of the 2nd International Finn Cycle Conference <\/em>(forthcoming 2018).<\/p>\n

[33]<\/a> Malcolm MacFarlane, \u2018Am Mosgladh M\u00f2r\u2019, The Celtic Monthly<\/em> 22:7 (July 1914), pp. 136-39; 22:8 (August 1914), pp. 156-58; 22:9 (September 1914), pp. 171-74.<\/p>\n

[34]<\/a> A. M. MacKay, \u2018Editor\u2019s Page: Gaelic Musical Play for Children\u2019, The Celtic Monthly<\/em> 22:7 (July 1914), p. 130.<\/p>\n

[35]<\/a> S\u00ecm Innes, \u2018D\u00f9sgadh na F\u00e9inne <\/em>(1908)\u2019.<\/p>\n

[36]<\/a> [Malcom MacFarlane], \u2018Am Mosgladh M\u00f2r\u2019, The Celtic Monthly<\/em> 23:3 (March 1915), pp. 54-57; 23:4 (April 1915), pp. 74-77; 23:5 (May 1915), pp. 82-86.<\/p>\n

[37]<\/a> Malcolm MacFarlane, \u2018Half a Century of Vocal Gaelic Music\u2019, TGSI<\/em> 32 (1929), pp. 251-272 at p. 271, a r\u00e8ir MhicPh\u00e0rlain thog iad \u00a38 a dh\u2019ionnsaidh a\u2019 Chogaidh aig an \u00e0m.<\/p>\n

[38]<\/a> [Malcom MacFarlane], \u2018Am Mosgladh M\u00f2r\u2019, The Celtic Monthly<\/em> 23 (1915), p. 54.<\/p>\n

[39]<\/a> Priscilla Scott Scott, Priscilla, \u2018<\/em>With heart and voice ever devoted to the cause\u2019: women in the Gaelic Movement, 1886\u20131914\u2019 (PhD, University of Edinburgh, 2013), pp. 92-94 on Harriet Stewart.<\/p>\n

[40]<\/a> David Clement, \u2018William Ferguson: Tales and Traditions from a Morvern Gaelic Speaker\u2019, Tocher<\/em> 9 (1973), pp.18-25 at p.19.<\/p>\n

[41]<\/a> Scott, \u2018With heart and voice\u2019, p.37 and p. 89. For a little detail on Juliet and her family background see Somerled MacMillan, \u2018A Letter from D. C. MacPherson to Juliet MacDonald, 1879\u2019, Scottish Gaelic Studies<\/em> 11 (1968), pp. 237-47.<\/p>\n

[42]<\/a> It can be accessed online here http:\/\/digital.nls.uk\/an-comunn-gaidhealach\/archive\/122770759<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

This post written by Dr S\u00ecm Innes, Oilthigh Ghlaschu [English translation follows below] Is iomadh uair ri linn an Athbheothachaidh Cheiltich a chualas gun robh na G\u00e0idheil, neo na h-Albannaich gu l\u00e8ir, air d\u00f9sgadh, no an impis d\u00f9sgadh, air neo … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":167,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34,4,30,36,37,21,22],"tags":[],"class_list":["post-755","post","type-post","status-publish","format-standard","hentry","category-celtic","category-scottish-folktales","category-scots-gaelic","category-scottish-illustrators","category-myth-legend","category-scotland","category-scottish-writers"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/posts\/755","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/users\/167"}],"replies":[{"embeddable":true,"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/comments?post=755"}],"version-history":[{"count":2,"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/posts\/755\/revisions"}],"predecessor-version":[{"id":771,"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/posts\/755\/revisions\/771"}],"wp:attachment":[{"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/media?parent=755"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/categories?post=755"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.blogs.hss.ed.ac.uk\/selcie\/wp-json\/wp\/v2\/tags?post=755"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

During the Celtic Revival in Scotland it was common for Scottish Gaels, and Scots more generally, to be portrayed as awakening, or on the verge of awakening, sometimes they were told it was high time for them to awaken. Lachlan Macbean (1853-1931) delivered a lecture to The Gaelic Society of Inverness in 1896 entitled \u2018The Mission of the Celt\u2019. Macbean, who had been raised in Kiltarlity, was the editor of The Fifeshire Advertiser<\/em>. He was also a Gaelic writer and translator.[22]<\/a> His lecture started with an historical overview of the Revival:<\/p>\n