Abstract
Interaction between Gaelic-speaking culture and the other cultures of the British Isles has been powerfully influenced by the distorted images the latter have of the former. First among these is the concept of Gaelic as an ‘old’ language with an ‘ancient’ literature, due to a large extent to the continuing effects of the Ossianic controversy which raged in the late eighteenth and early nineteenth centuries. Working from a slim handful of traditional ballads he did not always fully understand, James Macpherson produced a radically different literary artefact which was then projected back onto a culture to which it was in many ways alien.1 Far from being ‘old’, Scottish Gaelic counts among the younger literary languages of Western Europe. It was only upon the definitive breakdown during the seventeenth century of a professional bardic system strongly linked to Ireland, with a shared literary koine, that verse in the vernacular of Gaelic Scotland reached the status of an independent tradition.2 Since then there have been two periods of particular richness. The first roughly covers the years between 1740 and 1810, with the work of Alasdair MacMhaighstir Alasdair (Alexander MacDonald, c. 1695-c. 1770), Rob Donn (1714–78), Donnchadh Bàn Mac-an-t-Saoir (Duncan Bàn Macintyre, 1724–1812) and Uileam Ros (William Ross, 1762–?91).
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Notes
See D.S. Thomson, The Gaelic Sources of Macpherson’s Ossian (Edinburgh and London 1952) and
F. Stafford, The Sublime Savage (Edinburgh 1988).
See D.S. Thomson, An Introduction to Gaelic Poetry, 2nd edn, (Edinburgh 1990) and
D.S. Thomson (ed.), The Companion to Gaelic Scotland (Oxford 1983).
There is an overview of the work of this generation, with an introductory critical essay, in D. MacAmhlaigh (ed.), Nua-Bhàrdachd Ghàidhlig/Modern Scottish Gaelic Poems (Edinburgh 1976). The younger poets are anthologised in
C. Whyte (ed.), An Aghaidh na Sìorraidheachd: Ochdnar Bhàrd Gàidhlig/In the Face of Eternity: Eight Gaelic Poets (Edinburgh 1991). Both anthologies have English translations facing the text of the original.
For fuller biographical information, see J. Hendry ‘Sorley MacLean: The Man and his Work’, in R.J. Ross and J. Hendry (eds), Sorley MacLean: Critical Essays (Edinburgh 1986), pp. 9–38;
A. Nicolson ‘An Interview with Sorley Maclean’, in Studies in Scottish Literature Vol. XIV, 1979, pp. 23–36; and the essay ‘My Relationship with the Muse’, in W. Gillies (ed.), Ris a’ Bhruthaich: The Criticism and Prose Writings of Sorley MacLean (Stornoway 1985), pp. 6–14 (originally published in Chapman magazine in 1976).
E. Dwelly, The Illustrated Gaelic-English Dictionary, originally 1901–11 (Glasgow 1973), p. 412.
Those with no Gaelic have the choice of three versions in which to read the poem. MacLean’s own (1989: 159–65), Crichton Smith’s in Poems to Eimhir (Newcastle 1971), pp. 60–5, and a Scots version by
Douglas Young in A Braird of Thristles (Glasgow 1947), pp. 34–7.
The four collections are reproduced (only An Rathad Cian in its entirety) in the bilingual publication, Ruaraidh MacThòmais/Derick Thomson, Creachadh na Clàrsaich, Cruinneachadh de Bhàrdachd 1940–1980/Plundering the Harp, Collected Poems 1940–1980 (Edinburgh 1982). The book also includes ‘Anns an Ospadal/In the Hospital’ and a section of new poems ‘Dàin às ùr’. Texts are quoted from this source, with numbers alone given for poems from the An Rathad Cian sequence. See also
D. Thomson, ‘A man reared in Lewis’, in M. Lindsay (ed.), As I Remember: Ten Scottish Authors Recall How Writing Began For Them (London 1979), pp. 123–40;
C. Whyte, ‘Derick Thomson: Reluctant Symbolist’, in Chapman, Vol. 38, Spring 1984, pp. 1–6;
I.C. Smith, ‘The poetry of Derick Thomson’, in Scottish Review, Vol. 37, February/May 1985, pp. 24–30; and
F. MacFhionnlaigh, ‘Borbhan comair: ath-sgrùdadh air bàrdachd Ruaraidh MacThòmais’, in Gairm, Vol. 124, An samhradh 1985, pp. 259–71.
C. Whyte, ‘Thomson’s An Rathad Cian’, in Lines Review, Vol. 112, March 1990, p. 6.9
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© 1997 The Editorial Board, Lumiere (Co-operative) Press Ltd
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Whyte, C. (1997). The Gaelic Renaissance: Sorley Maclean and Derick Thomson. In: Day, G., Docherty, B. (eds) British Poetry from the 1950s to the 1990s. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-25566-5_9
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