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Title Nuadh Orain Ghailach, air n Dianadh le Donnchadh Chaimbeull, e Sheuraemachd Earraghaidheal; Ruigadh aig Taoub Lochlong - Aun n Stroin a Chuellin, ann n Sgirichd Chillmhunadh, n Chaodhel. Nish na Shoideair anns Darna Reasmaid Bhailla-Bhoid s’Gallaudh. (A New Gaelic Song-Book, Composed by Duncan Campbell, from Argyle-shire; born at Lochlong-side in Stronchulin, in the Parish of Kilmonn, Coual. Now a Soldier in the 2nd Battalion of Rothsay and Caithness Fencibles.)
Author Caimbeull, Donnchadh
Editor N/A
Date Of Edition 1798
Date Of Language 18th c.
Publisher Join A Cronin
Place Published Cork, Ireland
Volume N/A
Location National and academic libraries
Link Digital version created by National Library of Scotland
Download File PDF / plain text 
Geographical Origins Argyll
Register Literature, Verse
Alternative Author Name Campbell, Duncan
Manuscript Or Edition Ed.
Size And Condition 15cm x 10cm
Short Title Nuadh Orain Ghailach
Reference Details EUL, Sp. Coll.: C.R.4.6.20
Number Of Pages 170
Gaelic Text By N/A
Illustrator N/A
Social Context Little is known about the author, beyond what can be gleaned from the book itself; see Flahive 2008. The title page proclaims that Campbell was born at Stronchullin, by Loch Long, in the parish of Kilmun in Cowal. At the time of publication, he was a soldier in the 2nd Battalion of the Rothesay and Caithness Fencibles.
Contents This volume opens with the author’s Dedication (pp. v-vii), which is addressed to ‘James Fraser, Esq. of Culduthul, Colonel Commanding the 2nd Battalion of Rothsay and Caithness Fencibles’. Dedication is only in English.

The author’s Preface (pp. ix-xi), which again is given only in English, explains that the following songs have been published for two purposes, (1) as ‘a means to bring Persons who are not expert in reading the Gaelic Language, to the perfect knowledge of it’; and (2) ‘for the amusement of those who are acquainted with the Language, and would wish to revive it for its fame in former times’ (pp. ix-x). Campbell apologises for any mistakes that appear in the edition, pleading that the printer had no Gaelic and that he had no time to correct the text himself.

An Clar-Innseadh (pp. [xiii-xv]) lists the 32 songs in this volume. The songs themselves appear on pp. [13]-145. The three last items differ from the main part of the Collection. On pp. 130-3 and 133-6 Campbell inserts two songs each headed ‘A New Song’: the first in praise of the 2nd Battalion, in English alone, and the second a young man’s profession of love for ‘Mary Munro’, in Gaelic and English versions. The final poem (pp. 136-45) is Mac Mhaighstir Alastair’s poem in praise of the Gaelic language. All the other songs are given in Gaelic alone.

Pp. 147-70 contain a list of subscribers’ names. Most of the subscribers belonged to the armed services.
Sources
Language The songs in this volume cover a variety of subjects, including praise, elegy, and love. Some of the songs are serious, while others are more light-hearted or humorous. Some of the praise songs, and one or two of the other songs, contain references to war and fighting, and also to boats and sailing.

The praise songs include Oran Mollidh do Sir Join Sinclair, ’s do na Bhaintighterna aige’ ’S Cleu do n Reasmaid (pp. 19-23), Oran Molaidh do Chornal Seamus Frisall, Tighearna Chul dhaoell (pp. 23-28), and Oran Molaidh do Dhuin-usual airid (pp. 33-37). In many of the praise songs, Campbell praises the fighting skills of the subject. Oran Molaidh do Chornal Seamus Frisall, Tighearna Chul dhaoell, for example, begins ‘Cornal Seamus, Chul dhaoell, \ Sar cheann feadhua Tus Batilt, \ S’madh gan tarruin n’ ordabh \ Le foghlum ard smachdall, \ Gad a chruinich gu Greni, \ Cuid Mile a luchd Feachda, \ Tha e ainmig ri fhaotin \ Fear aoguis do phersadh’ (pp. 23-24). We also find ‘’S gu bo foider [sic] air each thu, \ ’S tu Marcachd fo tarmadh, \ Pair Dhag air do ghuillan \ ’S claibh ur a chienn airgaid \ Cha bu tais air a chull thu, \ Ri am rusgadh na garbh lann, \ Laoch fearrall gun smur thu \ A bhuinidh clue air ceann armailt’ (p. 25). The song ends ‘’S tu Commandair air Arm \ ’S fearr an Alabin nan Sasgan, \ Gad tharntaid an ordabh, \ Eder Chornel is Chaiptain, \ Tha thu fearail Cuin Calma, \ ’S Tha thu feargach ard sgartail, \ ’S leamadh Gillen gu feara-ghles, \ ’N uair a Chanadh a tu ’m Facall’ (p. 28).

There are two songs in praise of boats – Oran Chaidh dhianadh do Luing. Ga m bann n’ Iollaire (pp. 104-07) and Oran do Long Albanach dam ainm, Polli agus don Chaiptein (p. 118-23). In the latter, we find ‘Deoch slàinte nan armun’, \ Leis an dalbh mi air sailadh, \ Mho mhaires mi lathir, \ Cha bhi ’n chairdes air chall, \ Le long nan seol bána, \ Sa chanib; ri croin arda, \ Bu shundach am barc’ i, \ Thair ardidh nam beann, \ Thair bharradh nan stuadh, \ Gum bu luadh i le cabhaig, \ Bha i luanach na chadal, \ Ged a gearradh i stran’ \ Ruidh chuip air gach su, \ ’S muir sruladh ma darach, \ ’S buil uradh gan tarruing, \ Gus an anairt chuir teann’ (pp. 118-19). We also find some boating terminology in Oran Chaidh Dhianadh do Ghillian Dfhalbh air Chuan (pp. 80-82), e.g. ‘Gum bu mhadh air an rop thu \ Nam na scoid bhi gan tenadh \ Gad a sheidadh e domhal \ Bha thu eolach ma Fhreasdal, \ Fad sa mharidh dhuit corcach \ Edar sgoid ’s buil bhairte, \ Stu gun dianabh a seoladh \ Eider an Tolaint agus Bretain’ (p. 82).

Elegies include Rann Cumhadh do Nighin Chadh Bhatha (pp. 49-52), Marbh Rann do dhuin uasal a Chaidh Bhatha, Air abhuin (pp. 86-91), and Marbh Rann do mhnuidh a Chaochal an monadh le sneachda (pp. 91-95). Campbell’s elegies contain vivid descriptions and colourful images. For example, in Cumhada [sic, for Cumhadh] Alastair Dhuinn (pp. 123-29) the following verse occurs: ‘’S ann a chead la don earrach, \ Bhual an t eug orm an spealadair lom, \ Bhrist air ubhlan mo gháraidh, \ Leag e m’ abhull fuidh bhla bhar a bhonn, \ Riumsa bhuin e neo-fharast, \ ’N uair thug e uam alastair donn, \ Mo chruas iomairt ’s mo chearraichd, \ ’S truagh dhuinn nach tearuinn sinn bonn’ (p. 124). This song also expresses strong Christian faith: ‘Dhia ollanaich fein mi, \ ’S mi’n deadhaidh mo cheile bhun diom, \ O n la bhuinnig an t eug dhiom, \ An Ti ’s mo fath m’ aoibhnis fuidh Chriost, \ Tha mo bhun ann san treun-fhear, \ A d’fhuiling a cheusadh da’r dion, \ Ga bheil t anam am Pharais, \ S b’ e bhi mariut a maireach mo mhian’ (p. 125).

Love songs include Oran ure do Mhnuidh uasal Aird (pp. 63-68), Oran Do Ghruogaich an Eirig; Oran do rein Ise do Fhleasgach (pp. 68-71), and Juram (pp. 83-86), where Campbell once again deploys the image of the apple tree: ‘A croabh aubhal ’s ailidh sealladh \ Tha do gruadh mar chaorin magann \ Slis cho mien ri snuadh na h eala, \ Na mar channach Lontichen’ (p. 85). A New Song, composed in favour of a young Man, who fell deeply in Love with an amiable young Girl, of the name Mary Munro (pp. 133-36), is a more light-hearted and humorous love song, which begins ‘Rein sheors greim goraich mo glacail, \ Nis miosa na niogh ann mo mheoir; \ Cha’n’eil chaolin air thalamh ni asig, \ Mo gradh dhomh air ais ach Moll Ro’ (p. 134).

There are a number of songs on miscellaneous subjects – some serious and some less so. These include Oran Eder Buachel agus Banarach (pp. 95-98), Oran air Mhnai Inis nan Rusg (pp. 55-58), and Oran Chaidh a Dhianadh, do Greasaich bha sealg, ’s a Chail a Ghunna le misg (pp. 75-79). In Oran Chaidh, Dhianadh, Don Chro Choil (pp. 44-47), a more sombre note is struck: ‘Nis dhfhag an cro gun earas mi \ ’S tha arsnal orm fon uair, \ ’S gun dithe aid mo chuid eorna, \ Fon a dfhas an tearach cruoidh \ Gun agam ach na craichdin diu \ Se smasliche ri luadh. \ ’S mar dean a maisdeir acarachd \ Cha lean sin bi nar tuagh’ (pp. 45-46).

The text also contains one or two satires, including Rann chaidh Dhianadh do Bhean Tigh Osta; nach robh Sibhailt ri Fear a n Raidhaid (pp. 98-100), and Oran don Gagher Mac Bhuicair (pp. 47-48), which begins ‘’S comadh leom thu Gagher birich \ Tha do Shron mar spaig a ghimich \ Garloch caoil gun ghras gun phisach \ Dhfhas gun iochd gun trocair. \\ Bu tu giumanach nan cailaich \ ’S tu na coil ruidh feadh gach ballie, \ Neal an eag ort stu air falladh, \ Roinn an clap do leonadh’ (p. 47).

This volume is concluded by Mac Mhaighstir Alastair’s Moladh an Ughdair don t-Seann Chànain Ghàidhlig, which in this volume is entitled Comh-dhunadh na Galic (pp. 136-45).
Orthography The orthography is notably erratic. While the author clearly had some knowledge of later eighteenth century conventions, there are many pronunciation spellings and departures from contemporary Gaelic spelling norms. Some of these may well reflect dialectal pronunciations and forms (e.g. -adh/-amh and -a/-adh confusion), but it is not always easy to identify these on account of the great number of inconsistencies, compounded by a very high incidence of printing errors.
Edition Although only one edition of this text is recognized in the older library catalogues, Joseph Flahive (2008, 82-3) reported as follows: Campbell’s poems are known only through his own printed editions. Unfortunately, the book is marred by frequent typographical errors. An apology inserted at the beginning of the work begs the reader’s indulgence on the grounds that the printer knew no Gaelic and that the author’s regimental duties prevented him from correcting the proofs. Considering that the book was printed during the 1798 rebellion, it is more surprising that it was printed at all than that the printer’s errors are legion. In the course of his most generous assistance with the revision of this article, Mr Ronald Black discovered that the copy that he was using in the Edinburgh Central Library contained a text with significant improvements: it appears that the author did have the time to revise, perhaps hastily, at least prior to a second printing. He probably received assistance from someone acquainted with the standards of the Scottish Gaelic New Testament (1767), to judge from the replacement of inherited spellings with more recent Scottish forms. (Note the change of the verb till to pill in VIc and VIIIf.) Improvements of badly corrupted lines, however, render it unlikely that the changes were made without the author’s involvement. The existence of two editions has not previously been recognised. Since the layout is not changed, it appears that the set type was retained from the first printing, and the appearance of the two is nearly identical. In the last stages of preparing this article, there was only sufficient time to establish that the copies of the work in the National Library of Scotland and in the National Library of Ireland are both of the second printing. Without having seen another copy matching the earlier printed version in Trinity College, Dublin, one may not exclude the possibility that it represents a bound copy of the proofs rather than the finished book.

It is now accepted by librarians that there were two printings of Campbell’s work; the digitised version in NLS utilised here belongs to the second printing. The ESTC numbers for the two editions are now (1) ESTC T154861 (the uncorrected version) and (2) ESTC N498185 (the corrected version).
Other Sources
Further Reading Flahive, Joseph J., ‘Duncan Campbell: a Scottish Gaelic bard in eighteenth century Cork’, Journal of the Cork Historical and Archaeological Society, 113 (2008), 80-89.
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