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Metadata for text 141
No. words in text93151
Title Comhchruinneacha do dh’ Orain Taghta, Ghaidhealach, nach robh riamh roimhe Clo-bhuailte gus a nis, air an Tional o Mheodhair, air feadh na Gaidhealtachd a’s Eileine na h-Alba
Author N/A (Edited work)
Editor Mac-an-Tuairneir, Paruig
Date Of Edition 1813
Date Of Language Various
Publisher T. Stiubhard
Place Published Edinburgh
Volume N/A
Location National, academic, and local (Inverness reference) libraries
Link Digital version created by National Library of Scotland
Download File PDF / plain text 
Geographical Origins Various
Register Literature, Verse
Alternative Author Name Patrick or Peter Turner
Manuscript Or Edition Ed.
Size And Condition 21.5cm x 13.5cm
Short Title Comhchruinneacha do dh' Orain Taghta
Reference Details EUL, Celtic Library: LI G Tur
Number Of Pages viii, 402
Gaelic Text By N/A
Illustrator N/A
Social Context According to Donald Maclean (Typographia, p. 361), ‘Peter Turner was a native of Cowal. He became a pauper, and travelled over the Highlands collecting poetry, and selling Gaelic song books. In his early years Turner was in the Army. His collection of MSS. is preserved in the Advocates’ Library’ (p. 361). Turner also brought out a new edition – he termed it ‘ath-leasaichte’, i.e. ‘revised’ – of Ronald MacDonald’s Comh-chruinneachadh Òrain Ghàidhealach. This appeared in 1809.
Contents This volume begins with a dedication To the Right Honourable Alexander Wentworth Lord MacDonald of the Isles (pp. iii-iv), who was the author’s patron. There follows a Clar Innsidh (pp. v-viii) listing the song titles in alphabetical order by first line.

Comhchruinneacha do dh’ Orain Thaghta, Ghaidhealach (pp. 1-384) contains over 100 composed by a variety of authors, including 4 by Mairghread Nighean Lachlainn; 19 by Iain Lom; 1 by Màiri Nighean Alasdair Ruaidh; a few by Sìleas na Ceapaich and by Iain Ruadh Stiubhart; 7 by Ailean Buidhe; 1 by John MacCodrum; 5 by ‘Seumas Mac Ghille-sheathanaich, bard Loch-na ’n-eala’; a few by Donnacha Gobha; and 10 by Rob Donn. Sometimes songs by the same author are grouped together; in other cases, they are scattered throughout the book. There are a few songs by unnamed authors.

This volume ends with a list of Subscribers Names (pp. 385-402), noting also their addresses and occupations, in English.

Specific Authors

The following songs by Ailean Buidhe, Rob Donn, and Iain Lom appear in this volume:

Ailean Buidhe – pp. 204-25 contain seven songs by Ailean Buidhe of Gleann Domhain, Lochawe-side, Argyllshire: Oran … agus e ag Iomadan an deigh na ’n Companoch, a bha Posadh agus a Falbh ann ’sa ’n ’arm, ri Linn Phrionnsa Thearlaich (pp. 204-08), Oran Toirt comhairl do Ghillean Oga na Tuatha (pp. 208-10), Oran a Moladh na ’m ban Uasal, agus a Diomaladh na ’n Cailean (pp. 211-14), Oran Molaidh Cruaich Narachain (pp. 214-17), Oran bo Dhaoin Uaisle dh’ Fhag an Duthaich air chuairt (pp. 217-21), Oran Suireadh (pp. 221-23), Oran … ’nuair Chaidh e Cheannach an Tombaca (pp. 224-25).

Rob Donn – pp. 350-371 contain 10 songs by Rob Donn: Oran do Sheorus Mac Aoidh, Fear Eilein Shannda (pp. 350-52), Oran air Each a Fhuair am Bard (pp. 353-54), Marbhrann Iain Ghre, Fear Roghard (pp. 354-56), Oran do dh’ Iain Sutharlan (pp. 357-59), Oran air Comh-latha Breith Phrionnsa Thearlaich (pp. 359-61), Oran do Bhean Bainnse rinn Briseadh Geallaidh (pp. 361-63), Oran do Shali Grannta (pp. 363-65), Oran do Dhaoin’ Uaisle Duthaich Mhic Aoidh (pp. 366-68), Oran na Culaidh (p. 369), and Marbhrann Uilleam Mhuilleir, an Ceard (pp. 370-71).

Iain Lom – pp. 46-103 contain 19 songs by Iain Lom: Iorram do Shiol Dughaill air son iad bhi ga chuir air imrich, chionn e bhi labhairt na ’n aghaidh air son murt na Capaich (pp. 46-48), Latha Ionmhur-Lochaidh (pp. 49-52), Oran do Dhiuc Gordon ri linn fogradh Righ Tearlach a Dhà (pp. 53-56), Oran air dha a Chluinntinn an Dara Righ Tearlach bhi air a Chrunadh (pp. 56-59), Oran air Blar Tomaphubuill (pp. 60-64), Orain air Latha Blair na h-Airdereanaich aig Ionmhuraora (pp. 64-70), Oran air feachd Righ Sheimis a Gluasad gu cumail Blar Raoin-Ruairidh, ’n aghaidh na ’n Sasunnach (pp. 70-73), Oran air Tigh Uilleam agus Ban-Righ Marai (pp. 74-80), Oran eidear Brian am Bard Asuinneach agus Iain Lom (pp. 81-83), Oran air Aonghus Og Moir-fhear, Ghlinne-Garaidh (pp. 83-87), Marbhrann do Shir Seumas Mac Dhonuill (pp. 87-90), Oran do dh’ Alasdair Mac Colla, ’n Deigh Latha Allt Eire (pp. 90-91), Marbhrann do dh’ Alasdair Dubh Ghlinne-Garaidh (pp. 91-95), Marbhrann do dh’ Aonghus og Moir-fhear Ghlinne-garaidh (pp. 95-96), Marbhrann do ’n Mhoir-fhear cheudna (p. 97), Cumha Aonghuis Mhic Raoghnuil Oig (pp. 98-99), Oran do Mhoir-fhear Hunndaidh, nuair a ghlacadh e la Crùnair Mèinn ann am baile Strathbhalgaidh (pp. 99-100), Oran do Mhac Mhic Raoghnuill na Ceapaich (pp. 101-03).
Sources
Language The great majority of the songs in this volume are either elegies or laments, and many of them are about war and politics. There are some praise poems, some love poems, and a number of more light-hearted poems and poems on local events. The songs illustrate a variety of metrical patterns and structures.

Elegies and laments include Cumha clann na Ceapaich (pp. 42-45) and Marbhrann do Shir Seumas Mac Dhonuill (pp. 87-90), both by Iain Lom; Oran do Shir Eachunn, Mac Illeain Dhubhairt, by Iain Mac Ailein ’Ic Iain ’Ic Ailein ’Ic Illeain (pp. 108-11); Cumha do Iain Mac Dhonuill fear Dhruim-na ’n Torran an Suaineart by Alasdair Mac Calum from Morvern (pp. 125-27); Mairi Nighean Alasdair Ruaidh’s Cumha do Shir Tormaid Mac Leoid (pp. 128-30); Marbhrann do Shir Seumas Mac Dhonuill by his brother Gilleasbuig (pp. 130-35); and Cumha do sheumas Mac-a-Phearsain by Donnacha Gobha (pp. 189-95). Three are ascribed to ‘Maiririad Ni’ Lachuinn’: Gaoir na ’m ban Muileach (pp. 1-8), Do dh’ Eachunn Mac Iain Diuraich (pp. 8-12), and Do dh’ Ailein Mac ’Illeain, Tuiteir Bhròlais (pp. 13-18). The second of these includes the following lines: ‘Och a mhoire mo chall! \ Thu bhi ’n cistidh na ’n crann, \ Air a sparradh gu teann, \ Fhir bu shiobhalta cainnt, \ Nuair a dhuisgte ort fearg, \ Cha bu shugradh sud doibh, \ ’S mor ga ’r dith fear do rannt o ’n dh’eug thu. \\ Marcaich deas na ’n each seang, \ Bheireadh roid asd’ as srann, \ Beart nach b’ iongadeach [sic] leam, \ Thu bhi uasal do ’n ainm, \ Lamh thu dh’ iomairt na ’n arm, \ Gu cruadalach garg, \ ’S iar-ogh’ dh’ Ailein na ’n lann, ’s na ’n steud thu’ (pp. 9-10).

There are a few praise songs in this volume, including Oran do Righ Seumas nuair bha e anns an Fhraing by Sìleas na Ceapaich (pp. 106-08); Oran do Dhonull Ban MacDhonuill Duibh, Tighearna Lochiall by ‘Alasdair Camashron Dhochanasai’ ’n Lochaber’ (pp. 196-98); and Oran do Mhoir-fhear Mac Shimidh (pp. 235-37). Oran air Coirneil Dhuinidh (pp 175-77) includes the following lines: ‘’S tu ’m fear buidhe bachalach, \ Na ’n ciabh casbhuidhe, \ ’S math thig ad os cionn do chasaig, \ Beul o ’m blasd thig sugradh. \ ’S tu ogha ’n armuinn, \ Uasail, statail, \ Theireadh cach riut, \ Ogha ’n Fhrangaich, \ Aghaidh thlath gun smuirnein’ (p. 175).

Many of the songs deal with contemporary events. For example, Oran do Thighearna Chluainidh by ‘Pàl Mac a Phearsain am baideineach’ (pp. 103-06) begins ‘Deoch slainte Thighearna Chluainidh, \ Cuir mu ’n cuairt anns a chùp i; \ Ged a chostadh i ginidh, \ ’S mi fhin nach biodh diùmbach: \ Tha na dh’ olas do shlainte, \ Chrùintean spainnteach am phuidse; \ ’N deigh am màl a thoirt seachad, \ Do dh’ ath-chorc a Phrionnsa. \\ Ach tha bagar air t-fhearunn, \ Tha toirt gal air mo shùilean; \ Mi air ùilleagan leapa, \ Cha n’e ’n cadal tha shurd orm \ Tha bruaidlein inntinn, \ Orm sa ’n tim so le curam; \ Mu na bharanta sharaidh, \ Tha tighin an aird oirnn o’n Diùca’ (pp. 103-06).

A large number of the songs are about wars and battles, both at home and abroad. Examples include Oran air blar na Tolainde am bliadhna 1799 by Alasdair Mac Ionmhuin (pp. 38-41); Oran air Latha Blair Ionmhur-Lochaidh (pp. 49-52), Oran air Blar Tomaphubuill (pp. 60-64), and several similar songs by Iain Lom (pp. 49-52); Sìleas na Ceapaich’s Oran air Latha Sliabh an t-Siorram (pp. 135-38); Am bruadar le Iain Dubh Mac Iain ’Ic Ailein mu Chor na Rioghachd, bhliadhna 1715 (pp. 138-40); Oran air Latha Raon Ruairidh by one of Iain Lom’s sons (pp. 141-43); Oran air Latha Blair na Maoile-ruaighe by Donnacha Duileach (pp. 143-47); Oran air Latha Chuileodair by Iain Ruadh Stiubhart (pp. 147-50); Oran le Duin Uasal Mhuiuntir [sic, for Mhuinntir], Apuinn Mhic Iain Stiùbhairt (pp. 154-56); Oran le Saighdeir (pp. 165-68); Oran le Iain Mac Codrum, agus e bhi diombach air son an eididh Ghaidhealaich thoirt uaithe (pp. 240-43), and Oran do Bhoinipart by ‘bard Loch-na ’n-eala’ (pp. 258-61).

This collection hence contains many terms and expressions relating to war and politics, and to conditions in the Highlands during the eighteenth century. In Donnchadh Ban’s Oran air blar na h-Eaglaise-brice, am bliadhna 1745 (pp. 117-22), for example, the following passage is typical: ‘Bu mhor am feum ann ’sa chomhruig, \ Na fir mhora bha neo sgathach; \ Eidear Chamshronaich ’s Chlann Donuill, \ ’S na bha chomlain [sic] ann am pairt riu; \ ’S na ’m faigheadh iad cothrom na Feinne, \ Eidear iad fein a’s an naimhdean, \ Dh’ aindeoin na bh’ ann ’sa ’n Roinn Eorpa, \ Chuireadh iad Righ Deors as àite. \\ Chuireadh iad Righ Deors as àite, \ Na bha Ghaidheil ann an Albuinn; \ Na ’m biodh iad uile mur bha iad, \ Bhliadhna thainig an armailt; \ Na ’m biodh iad uile ri cheile, \ Gu ’m b’ iad fhein na trein fhir chalma; \ Gu ’m b’ iad fhein na trein fhir mhòra, \ Bha chomhnaidh measg na ’n Garbh-chrioch’ (p. 119).

Compare also the following lines from Oran air Teachd Phrionnsa Thearlaich (pp. 182-86), by ‘te mhuinntir Lochabar’: ‘’Nuair theid gach cinne ri cheile, \ Eidear Sleibhte ’sa Cheapach, \ Eidear Uithist a’s Muideart, \ ’S Mac Iain Stuairt na h-Apunn, \ Bidh a Ghaidhealtachd uile, \ Gu treun fuileach ’sa bhaiteal, \ ’S ged nach tigeadh na Guimhnich, \ ’S beag ar suim do ’n phachd ud’ (p. 185). These songs contain numerous military terms, including many loan-words, such as trupairean ‘troopers’ (p. 173) and rancan ‘ranks’ (p. 195). In the following examples the terms of interest are found not within the songs themselves, but in Turner’s superscriptions to the poems: urchair thuitimis ‘stray shot’ (p 171), urchair thubaisteach ‘accidental shot’ (p. 264).

There are a few love songs in this volume, including Dan Gaoil (pp. 170-71), Oran le Fear d’ a Leannan (pp. 177-80), Oran by Donull Mac Dhonuill (pp. 225-29), and a number of songs entitled Oran Gaoil (e.g. pp. 289-91, pp. 298-301, pp. 322-24).

One or two of the songs are religious in nature, such as Cumha fhir Shìormhoin agus a mhic by Iain Caimbeul (pp. 243-47), but the great majority are firmly secular in tone. An exception is the grace known as Alltacha Dhailnacabaig (pp. 371-72).

There are a number of songs of a more miscellaneous nature. Examples include Oran Allabain Suireadh by ‘Piopaire fior Ghlinn-Alladail’ (pp. 293-95), Oran a Tabhairt Comhairl’ air na h-Igh’nean Òga by Sìleas na Ceapaich (pp. 296-98), Iain Ruadh Stiubhart’s Oran a Bhranndaidh (pp. 309-11), Oran Connsachaidh eidear Fear agus Bean mu’n Ol by ‘Barbra Friseil’ (pp. 311-13), Oran eidear an Sealgar ’sa ’m fiadh by ‘fear Shrathmhaisidh’ (pp. 332-34), and another song of the same name by ‘duin’ uasal Chamshronacha bh’ann an Lochabar’ (pp. 372-74). We also find a version of Moladh Cabar-Feidh (pp. 22-28), followed by Mac Mhaighstir Alasdair’s Diomoladh Chabair Feidh (pp. 28-37); a version of Laoidh an Amadain [Mhóir] (pp. 342-49); and Luinneag Mhic Neachduinn (pp. 380-85).

The English loan-words which are found in these songs include military terms (as noted above), but are by no means confined to the military domain. Examples include Amunisein ’s probhisein (p. 139), ’S mi bhi ’m sheasamh air seantraidh (p. 166), Gus am pas an da uair (p. 166) and ’Nuair a phasadh ’n da uair (p. 166), o ’n bhanca (p. 58), am petisein (p. 57), Liusifer (p. 59), Mur sgaile phictuir ’sa ’n sgathan (p. 59), ’Nuair a leumadh tu ’d stiorap (p. 83), An latha bha ’m Pìorat (p. 105), factairean (p. 245) and braicfeast (p. 176).

There are occasional footnotes throughout the text explaining the meaning of words or identifying people or places. For example, in Iain Lom’s Oran do Dhiuc Gordon (pp. 53-56), we are told that loiseam means ‘A great company of gentry’, and that cillain means ‘A store of money’. On p. 267, we are informed that foirnidh means ‘Brigade’, and on p. 290 we are informed that Neo-churi’ means ‘Gentle’.
Orthography The orthography of some of the more recent compositions in this collection is reminiscent of texts from later in the century, as may be seen from the following example from Oran by Ailein Buidhe (pp. 204-08): ‘Bha ’m bodach gu samhach tosdach, \ ’S e ’g osnaich air feadh a sheomair, \ Smuainteachadh air fear mo choltais, \ Choisich an t-asdar mor sin, \ Gu ’n robh mi cho ladurna dhana, \ ’S thigh’n an lathair fear a chota, \ ’S na ’n innseadh e bharail saor dhomh, \ Gu ’n sgaoilinn e air an oigridh’ (p. 206). On the other hand, the general absence of accents, and the unstable spelling found in many other songs, are more typical of the earliest years of the century, or earlier.
Edition First edition.
Other Sources
Further Reading MacLean, Donald, Typographia Scoto-Gadelica (Edinburgh, 1915: J. Grant).
Ferguson, Mary and Ann Matheson, Scottish Gaelic Union Catalogue (Edinburgh, 1984: National Library of Scotland).
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