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Metadata for text 103
No. words in text6907
Title Oranan Nuadh Spioradail
Author Mac-Intoisich, Ian
Editor N/A
Date Of Edition 1869
Date Of Language 1850-1899
Publisher Seumas Blac
Place Published Eiligin
Volume N/A
Location National Library of Scotland
Link Digital version created by National Library of Scotland
Download File PDF / plain text 
Geographical Origins Strathspey
Register Religion, Verse
Alternative Author Name MacKintosh, John
Manuscript Or Edition Ed.
Size And Condition 16.3cm x 10cm
Short Title Oranan Nuadh Spioradail
Reference Details NLS: 5.792(34)
Number Of Pages 23
Gaelic Text By N/A
Illustrator N/A
Social Context It has not proved possible to find any information about the author.
Contents This volume contains eight songs and poems, as follows:
Meadaigean De Bhuadhain an t-Shlanuighear (pp. 3-8).
Naigheachd Bhochd (pp. 9-11).
Truaighe Luchd-Gradhachaidh an t-Saoghail (p. 12).
Caoidh, ‘airson an Urramaich Mr. Robison, Ministear a bha’n Cinn-Ghiusaich, an Baideanach’ (pp. 13-15).
Marbhrann, ‘do Thomas Domhnullach, a bha ann an Strath-Eirinn’ (pp. 16-17).
Oran Nuadh, ‘le Alasdair Caimpeil, Cill-Mhorag’ (pp. 18-20).
Oran, ‘le caileag araidh, Mairsil Nic Coinnich’ (pp. 21-22).
Tri Rainn a Rinn Alasdair Caimpeil ’Chuir Ris (p. 23).

Only five of the eight songs are by MacIntosh. Two are by Alasdair Caimpeil, and one is by Mairsil Nic Coinnich.
Sources
Language The texts in this volume give us glimpses of the religious experience and understanding of evangelical Christians in Strathspey in the mid-nineteenth century. They combine the images and concepts of religious discourse with the conversational Gaelic of the area.

In the first song, Meadaigean De Bhuadhain an t-Shlanuighear (pp. 3-8), MacIntosh enumerates the virtues of the Saviour, likening Christ to biblical figures who exemplified these qualities. Thus ‘’Se Samson treun a chùmhnant E, \ Thug gaol do’n t-striopach mhor, \ ’Sa thàinig a nuas a flaitheanas, \ Gu talamh air a toir, \ ’Sa phaigh gu leir a fiachan dhi; \ Thug riarachadh ’na h-ait, \ Do’n lagh nach maitheadh fairdin, \ ’Am fabhar dhis; na dhas’’ (p. 4). Again, ‘’Se freumh ’us gineal Dhaibhidh E; \ ’Se ’n Reult a’s aird an gloir; \ ’Se ’n t-Aireadh bha aig Iacob E; \ ’S an tuisear òr a’s fearr: \ ’Se Sagart treun na deas-laimh E, \ Chum tagair a leth chaich, \ ’S na h-uile gheibh an athchuinich, \ Gu brach, ’s ann air a sgaths’’ (p. 4). He is also compared to ‘Airc a chumhnaint’ (p. 4), ‘Ionah bha ’s na tonnan’ (p. 4), ‘Ioseph bha ’san fhasaich’ (p. 5). In the same vein ‘’Se craobh na beatha bith-bhuan E, \ Tha fas ’am pharas Dhe; \ Ni ’n Spiorad Naomh a phlantaigeadh \ ’N anama ’phobuil fein: \ ’S tha nadur ann gu’n tionndaidh E, \ Gach lios ’sam bi E ’fas, \ Gu nadur fhein, ’ge maiseach E; \ Thaobh feartain treun a ghras’’ (p. 5). This song also talks about God’s love for us, e.g.: ‘Sud ’n gaol a tha na dhiomhaireachd, \ ’S leotha e na na speur; \ Thaobh ’mheud, tha e do-rannsaichte, \ ’S cha chum gach soitheach e, \ A chaidh riamh a dheanamh leis, \ Chum ’chliu-sa chuir an ceill: \ ’Sann ’s goirid leo-sa bith-bhuantachd, \ Gu labhairt air gu leir. \\ ’S rinn E coinnlear farsaing dhuinn, \ Ris an dubhairt E na speur, \ ’S chuir E coinneil mhaiseach ann, \ ’S dh’ainmich E i a ghrein: \ ’S thug ordugh dhi mar shiubhladh i, \ Air fad an la gu leir \ Bho mhaduinn tim a chruthachaidh, \ Gu feasgair deireadh ’n t-saogh’l’ (pp. 7-8).

In the second song, Naigheachd Bhochd (pp. 9-11), the author bemoans his sinful state and looks forward to a new life in heaven. He begins by saying ‘Tha m’intinns’ an comhnaidh fo mhulad, \ Bh’on nach urrainn mi dheth aicheadh, \ Nach’ eil mo chogaisg air a lotadh \ Le truaill’eachd chrosd mo naduir. \ Tha mo chridhe air a reubadh, \ ’S cha dean na tha fo’n’ghrein a shlan’chadh, \ Ach na ’m b’e toil na Trionaid fhaodainn, \ Dheanadh am Fear-Saoraidh slan mi. \\ Cha’n’eil lighich air an talamh, \ Ni maith do ghne mo chreuchdain: \ Tha iad cho lobhte breun mi-fhallan, \ ’S nach dean ach feartuin na fola feum domh. \ ’S mur faigh mi sin’ an la na slainte, \ Bithidh mo lomnochd ghna ro oillteil, \ Ann am fianuis a cho’-chruinnich \ Anns am bi gach duine air fheuchain’ (p. 9). On the Day of Judgement, however, ‘Cha bhi meas’ an sin air pearsa \ An duine bheartach seach an traill; \ Ach breith cheart ’s cothrom cinnteach \ A leabhar na coguis fianuis, \ Air gach gniomh theid a leubhadh; \ ’S mach bho sin thig a rithisd \ Bho na Bhreitheamh, ceart do reir sin’ (p. 9).

Similar sentiments are expressed in Oran, by Mairsil Nic Coinnich (pp. 21-22): ‘Tha’n samradh dol seachad, \ ’San geamhradh tighinn dlu, \ ’S tha mise mo chadal, \ ’S mi coma co-dhiubh; \ Ach na’m bithinn dhe’n aireamh, \ Thug thu Dhasan bho thus, \ Cha bhithinn mar tha mi, \ S mi gun aith’n Air ni’s mo’ (p. 21) and ‘Dh’aindheon ni thainig ’n rathad, \ No dh’fhairich mi riamh, \ Cha dean e ’n diugh taic dhomh, \ ’S cha sheas aig a chrioch. \ Cha robh agam ach mealladh \ ’S na h-uile ni ’riamh, \ ’S tha mise ’diugh falaidh, \ ’S cha’n aithne dhomh Criosd’ (p. 22).

The last song, which consists of three stanzas by Alastair Caimbeil, takes the form of a response to Mairsil’s Oran. It begins: ‘Tha ar geamhradh dol seachad, \ San samhradh tign’n [sic, for tigh’nn] dlu, \ ’S tha mise dol dachaidh, \ ’S tha faisg air an uin: \ ’S dar theid mis’ an airde, \ Dh’ionnsuidh Aros a chiuil, \ Bithidh mise gu sabhailt, \ ’S bithidh a ghraisg air mo chul’ (p. 23). In Oran Nuadh, by Alasdair Caimbeil (pp. 18-20), we find the same yearning for release from the tribulations of this life: ‘Tha mi sgith a bhi ’san fhasaich, \ Direadh chnoic ’us bheantain airde, \ S mi gun aite comhnuidh sabhailt; \ A chum tamh a ghabhail ann. \ Tha mi sgith ’bhi air mo rusgadh; \ Pian ’s naimhdean, ’s uilc na duthcha, \ ’S mi fo smugaidean na’n Iudhaich, \ Aig am bheil luchd-stiuiridh dall … Tha mi sgith de ghleann a phianaidh, \ ’S dhe ’n as-chreidimh a leag mi iosal, \ ’S feagal gu’m bheil fearg aig Dia rium; \ Stapuill iaruinn, ’s cridh teann … Tar air mo chul’aobh a Shatain, \ Tha Criosd air mo thaobh gu laidir, \ Tha E cuimhneach air a chairdean, \ Choidhch gu bra’ch cha bhi E gann’ (pp. 19-20).

In both Naigheachd Bhochd (pp. 9-11) and Truaighe Luchd-Gradhachaidh an t-Saoghail (p. 12), the author bemoans the ungodliness that exists on earth: ‘’S dar ni mi ach bhi smuanach’ \ Air an truaighe a tha ri fhaicinn, \ Ann an aideachadh gun ghrasan, \ ’S misneach fhallsa bhi na thaic dhi, \ ’Sann a ’s coslaich mi ri truaghan, \ Ann am bruadar no ’am breislich; \ Ach mur dean an fhuil mo shaoradh \ Mairidh ’n daorsainn ud am feasd domh’ (p. 10). In the latter poem we find a similar tone: ‘Mo thruaighe gach aon, \ Tha gradh’chadh an t-saoghail, \ ’S tha dh’easbhuidh a chaochladh, \ ’Sa thamh ann an sith. \\ Ged tha iad ’am barail \ Gu’m meal iad uaith fabhar, \ Ach mur sealbhaich iad grasan \ Gu’m failling i ris. \\ ’Se ni truaighe na pairt so \ Bhi briseadh na h-aithntean, \ Thanig nuas bho Sinai \ Le Aaron ’s le Maois. \\ Truaighe eile bhios daor dhoibh, \ Bhi deanamh tair air Fear-saoraidh \ A rinn fhuil a thaomadh \ Gu ’n saoradh bho shios’ (p. 12). In Naidheachd Bhochd he also predicts the fate of those who do not turn to God before they die: ‘Ach a mheud ’sa dhiult a thairgse, \ Bi’dh e searbh dhoibh thig’hnn [sic, for thigh’nn] ’na choinneamh \ Gu Caithir Bhreitheanais Iosa \ Bheir a bhinn a mach gu h-ullamh; \ Le ordugh dian a dhol a fhianuis \ Dh’ionnsuidh a phriosun a chaidh ullach, \ Do’n namhaid ’s do chuid ainglean, \ Mus do dhaighnich E an Cruinne’ (p. 10).

Several of the texts contain elegy or strike an elegiac note. For example, in Naigheachd Bhochd (pp. 9-11) we find ‘Bha Maighstear Guinn, 'us Maighstear Porteus, \ Maighstear Eachainn, ’s Maighstear Calder, \ Bha Maighstear Huistean min mo ghraidh-sa \ Dheth na Trumpaidean a ghabh E, \ ’Sa thagh E chum na ceaird ud, \ Gu bhi fosgladh na’n uaighean, \ ’S chuir gluasad ’measg na’n cnamhan’ (p. 11). Similarly, Caoidh (pp. 13-15) contains the following exclamation: ‘Och, ’us Ochan! mar tha sin, \ Air n-ar fagail leinn fein; \ Mar chaoraich gun bhuachaill, \ Air am fuadach ri beinn. \ Cha’n ’eil ait gus an teid sin \ Ni feum dhuinn dol ann, \ Bho na chaill sinn an Ciobard \ Bha dileas ’n-ar ceann. \\ Thug na h-ainglean uainn dhachaidh \ Maighstear Robison caomh \ Dh’ionnsuidh aoibhneis bithbhuan \ ’S co’chomuinn na’n naoimh, \ Gu bhi seinn air an oran \ ’S air morachd a Ghaoil \ Ma’ ri aireamh de dh’aireamh \ Do na braithrean bha naomh’ (p. 13). However, he continues: ‘Ged bha sud na chall dhuinn, \ Bha e na bhuanachd dhuit fein, \ ’S eiginn d’uinne bhi tosdach \ Bho’n ’se E-sa rinn e \ Tha na riaghladh na’n ainglean, \ ’S clann-daoine le cheil \ ’S tha deanamh na’s aill leis \ Anns gach ait fo’n ghrein’ (p. 13).

In Marbhrann (pp. 16-17), the same note is struck ‘Chaidh Tomas, mo ghraidh-sa \ Thoirt an drasd’ uainn thar Iordan, \ Gu tire na saorsa, \ ’S gu rioghachd na gloire; \ Gu sealbhachadh dheth fhabhar; \ ’S dheth lath-rachd a comhnuidh, \ Mar ri cach dhe na daoine \ Rinn E shaoradh le throcair. \\ Thug na h-ainglean air falbh e, \ Dar a fhuair iad an t-ordugh; \ ’S bha iad ’seinn Halleluiah \ ’Ga ghiulan gu gloir leo. \ Bha blaths’ agus daimhean \ Do ghnath ann a t-aodainn \ A tha ’nise na’s briagha \ No a ghrian anns na neoilibh’ (p. 16).
Orthography The authors’ Strathspey Gaelic is evident throughout this volume, e.g. in the pronunciation of Maois with /i:/ (p. 12), in the omission of final -adh in ullach (p. 10), in the verbal noun form smuanach (p. 10), in the 3rd-person singular masculine and 3rd-person plural emphatic particle -s(a) in dhis na dhas for dhi-s’ na dhà-s’ (p. 4) and leo-sa (p. 8), etc.
 
The orthography is basically that of the mid-19th century, but some irregularities result from attempts to reflect dialectal pronunciations, e.g. shlan’chadh (p. 9), deireadh ’n t-saogh’l (p. 8). There are also a good many misprints. Accents are not used.
Edition The Scottish Gaelic Union Catalogue lists two books with this title: the present volume and another volume, published in Inverness in 1844, containing 24 pages and allegedly located in NLS and in the Free Church College Library. Although this Inverness edition is not listed in the NLS Main Catalogue, or in COPAC, it would appear that the present volume is a second edition.
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