GaelicLLitHAHv2 tcm4-378752

NATIONAL QUALIFICATIONS CURRICULUM SUPPORT
Gaelic (Learners)
Literature
[HIGHER;
ADVANCED HIGHER]
The Scottish Qualifications Authority regularly reviews the
arrangements for National Qualifications. Users of all NQ
support materials, whether published by LT Scotland or
others, are reminded that it is their responsibility to check
that the support materials correspond to the requirements of
the current arrangements.
Acknowledgement
Learning and Teaching Scotland gratefully acknowledge this contribution to the National
Qualifications support programme for Gaelic (Learners).
The publishers thank the following for kind permission to use copyright material in this
publication: ‘Ann am Bosnia’ by Iain Mac a’Ghobhainn from Seallaidhean Sùla, Acair, 1996; ‘Ri
Aghaidh na Creig’ by Maoileas Caimbeul from Cha sgeul ruin e, Catriona Dunn (ed), Acair
Earranta, 1995; ‘Aig a’ Chloich-chuimhne’ by Iain Mac a’Ghobhainn from Eadar Peann is
Pàipear, D I Maclòmhair (ed), Gairm, 1995; ‘Mairead’ by Iain Mac a’Ghobhainn, from Eadar
Peann is Pàipear, D I Maclòmhair (ed), Gairm, 1995; ‘A Duine Dubh’ by Tormod
MacDhòmhnaill from Eadar Peann is Pàipear, D I Maclòmhair (ed), Gairm, 1995; ‘An Duine
Dubh’ by Iain Mac a’ Ghobhainn from Eadar Peann is Pàipear, D I Maclòmhair (ed), Gairm,
1995; ‘A dol dhachaidh’ by Iain Mac a’ Ghobhainn from Ant-adhar Ameireaganach, Club
Leabhar, 1973; ‘Cisteachan-Laighe’ by Ruaraidh MacThomais from Nua-bhàrdachd Ghàidhlig,
Donald MacAulay (ed), Canongate Classics, 1976; ‘Clann-nighean an sgadain’ by Ruaraidh
Macthomais from Nua-bhàrdachd Ghàidhlig, Donald MacAulay (ed), Canongate Classics, 1976;
‘Latha Foghair’ by Somhairle MacGill-Eain from Nua-bhàrdachd Ghàidhlig, Donald MacAulay
(ed), Canongate Classics, 1976; ‘Anns a’ Bhalbh Mhadainn’ by Ruaraidh Macthomais from Nua-
bhàrdachd Ghàidhlig, Donald MacAulay (ed), Canongate Classics, 1976; ‘Ròdhag, 2000 AD’
from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Ùrnaigh na Ban-
Tigrich’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Leasachadh’
from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Bha mi gad
chàineadh’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘A chionn ’s
gu robh mi measail air’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991;
‘Lit gun Shalainn’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991; ‘Ar
Cànan ’s ar Clò’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991;
‘Bogsa nan Litrichean’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon, 1991;
‘Cogadh an Dà Chànain’ from Aghaidh na Siòrraidheachd, Christopher Whyte (ed), Polygon,
1991; ‘Cotrìona Mhor’ by Ruaraidh MacThomais, Canongate Classics, 1976; ‘Bantrach Cogaidh’
by Iain MacLeòid from An Tuil, Ronald Black (ed), Polygon, 1999; ‘Bean Dubh a’ caoidh a Fir a
Chaidh a Mharbhadh leis a’ Phoileas’ from An Tuil, Ronald Black (ed), Polygon, 1999; images
from Na h-Eileanan an lar, CD-ROM; web pages from
www.ambaile.org.uk/en/item/item_interactive.jsp?item_id=31905, West Highland Animation/John
Hudson; Microsoft clip art, © 2004 Microsoft Corporation. All rights reserved.
Every effort has been made to trace all the copyright holders but if any have been inadvertently
overlooked the publishers will be pleased to make the necessary arrangements at the first
opportunity.
© Learning and Teaching Scotland 2006
This resource may be reproduced in whole or in part for educational purposes by educational
establishments in Scotland provided that no profit accrues at any stage.
2 LITERATURE (H/AH, GAELIC (LEARNERS)

Clàr-ìnnse – Contents
Notes for lecturers 4
Poetry
Lit’ gun Shalainn, Anne Frater 5

A chionn ’s gu robh mi measail air, Meg Bateman 7
Bha mi gad chàineadh, Meg Bateman 9
Bogsa nan Litrichean, Myles Campbell 11
Ar Cànan ’s ar Clò, Anne Frater 13
Leasachadh, Anne Frater 18
Cotrìona Mhòr, Derick Thomson 21
Cisteachan-Laighe, Derick Thomson 24
Anns a’ Bhalbh Mhadainn, Derick Thomson 28
Clann-nighean an sgadain, Derick Thomson 30
Do Mo Mhàthair, Iain Crichton Smith 33
Latha Foghair, Sorley MacLean 36
Ùrnaigh na Ban-Tigrich, Catriona Montgomery 39
Ròdhag 2000 AD , Catriona Montgomery 43
Cogadh an Dà Chànain, Myles Campbell 45
Bantrach Cogaidh, Rev John MacLeod 47
Bean Dubh a’ caoidh a Fir a Chaidh a Mharbhadh leis a’ Phoileas, Duncan
Livingstone 51
Short stories
Introduction 55
Aig a’ Chloich-chuimhne, Iain Crichton Smith 56

Mairead, Iain Crichton Smith 60
An Duine Dubh, Norman MacDonald 66
An Duine Dubh, Iain Crichton Smith 71
A’ dol dhachaidh, Iain Crichton Smith 75
Ann am Bosnia, Iain Crichton Smith 79
Ri Aghaidh na Creig, Myles Campbell 83
Answer scheme 90
LITERATURE (H/AH, GAELIC (LEARNERS) 3

NOTES FOR LECTURERS
Notes for lecturers

The following notes are support materials, designed to stimulate student
responses to the appropriate literature. The texts chosen are suggested texts
and could be used for Higher or Advanced Higher Gaelic (Learners). This
unit will develop students’ linguistic and literary appreciation skills and
completion of this unit will contribute towards Outcome 1 of the Literature
and Individual Study unit.
Students should be encouraged to annotate texts with their own responses and
ideas. Students working towards Advanced Higher should be encouraged to
study Gaelic literature in a wider context and all students should be guided to
background reading on each of the writers included in this pack.
A suggested answer scheme is also given.

POETRY
Poetry
Lit’ gun Shalainn

Anna Frater – Anne Frater
Read the poem.
Lit’ gun Shalainn
Sgian dubh na stocainn

agus Beurla na bheul;
moladh lit’ sa mhadainn
’s e cur muesli na bhòbhl;
‘Chan fhaighear nas fheàrr na ’n t-uisge-beatha.’
Ach ’s e Martini bhios e ’g òl …
Nach ann truagh a tha ’n cluaran
le boladh an ròis!
Faclan Vocabulary
moladh praising
lit’ porridge
uisge-beatha whisky
truagh pitiful
cluaran thistle
boladh stench
Discuss the poem with your lecturer then answer the following questions.
1. This poem centres on images that are traditionally associated with

Scotland. What are these images?
2. The poem also contains images which are traditionally alien to the
Scottish way of life. List these images.
3. Frater’s character in this poem appears to be going through a crisis of

identity. How do we know this?

POETRY
4. What effect does the following punctuation have on the poem:
 ; semi-colons
 … ellipses
 ! exclamation mark?
5. Why do you think Frater uses dialogue in this poem?
6. What effect do the words “truagh” and “boladh” have on the tone of
the poem?
7. What is your own opinion of this character?

POETRY
A chionn ’s gu robh mi measail air

Meg Bateman
In this poem, Bateman details a change in her man’s treatment of her and
his feelings for her.
Read the poem.
A chionn ’s gu robh mi measail air
Thigeadh e thugam
nuair a bha e air mhisg
a chionn ’s gu robh mi measail air.
Dhèanainn tì dha
is dh’èisdinn ris
Sguir e a dh’òl
is rinn mi gàirdeachas leis
Nist cha tig e tuilleadh

is nì e tàir orm
Faclan Vocabulary
a chionn because
measail fond
thigeadh e thugam he would come to me
air mhisg drunk
dhèanainn I would make
dh’ èisdinn I would listen
rinn mi gàirdeachas leis I was happy for him
tuilleadh any more
tàir contempt
Discuss the poem with your lecturer.

POETRY
Answer the following questions.
1. How does the change in treatment occur through the poem?
2. In your opinion, how does the poet feel about this? Will her feelings
for this man change also?
3. Do you think Bateman’s feelings for this man are reciprocated? Give
reasons for your answer.
4. What effect does the repetition of “a chionn ’s gu robh mi measail

air” have on the poem?

POETRY
Bha mi gad chàineadh

Meg Bateman
This poem deals with the poet’s feelings towards a man.
Read the poem.
Bha mi gad chàineadh
Bha mi gad chàineadh,

mo shùilean a’ boillsgeadh,
is chan ann gun reusan a bha m’ fhearg.
Tacan bhuam, bha thu a’ bruidhinn ris,

a’ dèanamh gàirdeachas leis,
a’ toirt pòg dha an dèidh na dealbh-cluich.
Is chrìon mi sa mhionaid,
on a thuig mi, ge b’oil leam,
gur annsa leam fon ghrèin do spèis.
Faclan Vocabulary
gad chàineadh criticising you
a’ boillsgeadh flashing
fearg anger
tacan bhuam a short distance from me
pòg a kiss
chrìon mi I withered
thuig mi I understood
ge b’ oil leam regardless
gur annsa leam it is precious to me
spèis respect

POETRY
1. How do we know from the title that these were not feelings of love?
2. How is this idea developed in the first stanza?
3. Stanza 2 gives us the reason for the poet’s feelings – jealousy. Why is
this?
4. How does the poet make it clear that these feelings of jealousy would
affect her suddenly?
5. What is important to the poet that she comes to realise in the final
stanza?
6. Which phrase from the poem suggests that perhaps the poet was
reluctant to accept this?

POETRY
Bogsa nan Litrichean

Maoilios Caimbeul – Myles Campbell
Read the poem.
Bogsa nan Litrichean
Thàinig e air ais

as dèidh nam bliadhnaichean
chun an t-seann bhaile.
Stad e aig ceann an rathaid.
Bha bogsa nan litrichean
an sin fhathast –
meirg air gun teagamh
’s air crùn na h-iompaireachd,
’s e sgrìobht’ air –
‘An ath thogail Di-luain’.
Dh’fhosgail e an doras
ach bha a-staigh falamh
ach an salchar ’s an snighe.
Thionndaidh e air a bhuinn.
B’ fheàrr leis an aisling a ghleidheadh

slàn na bothan crom
air monadh lom
a bhith ga leòn.
Faclan Vocabulary
meirg rust
gun teagamh without a doubt
crùn na h-ìompaireachd imperial crown
an ath thogail the next collection
falamh empty
salchar dirt
snighe ooze
thionndaidh e air a bhuinn he turned on his heels (lit.)
aisling a ghleidheadh to keep the dream
slàn whole
bothan hut/cottage
crom sloping
monadh lom barren moorland
ga leòn wounding him

POETRY
1. What two parts of the opening sentence of this poem tell the reader
that it had been some time since the man had been in the village last?
2. What change did the man notice when he looked at the letterbox?
3. What do you think is the importance of the reference to the imperial

crown which was on the letterbox?
4. Why is “An ath thogail Di-luain” significant?
5. What did the man find when he opened the letterbox?
6. Is it significant that there were no letters inside the letterbox?

Explain your answer.
7. How do we know that what the man saw inside the letterbox disgusted
him?
8. “B’ fheàrr leis an aisling a ghleidheadh slàn”
What image or dream do you think this man had of the village that he
wanted to keep whole?
9. How did this differ from reality?
10. Why do you think the last sentence of the poem is in one stanza of its
own?

POETRY
Ar Cànan ’s ar Clò
Much of the Gaelic poetry of the late twentieth century deals with the
situation of the Gaelic language and culture. Ar Cànan ’s ar Clò is one
such poem. The poem centres on an image from the tradition way of life of
Gaelic-speaking communities – weaving. The tradition of weaving was a
very important source of employment in Gaeldom at one time. The loom –
on which the weavers made the tweed – had a very distinctive sound.
Look at the “Clò” section of the CD-ROM Na h-Eileanan an Iar – An

Sluagh agus an t-àite so that you can see a loom being used.
Now read the poem.

POETRY
Ar Cànan ’s ar Clò
Bha bodach na mo bhaile

aig an robh beairt,
agus leis a’ bheairt
dhèanadh e clò,
agus chaidh aodach
a dhèanamh den chlò,
agus bhiodh na daoine
a’ cur orra ’n aodaich –
aodach tiugh trom a chumadh blàth iad.
Ach thàinig fear eile,
fear na b’òige,
fear nach buineadh don bhaile,
agus bha beairt ùr aige
agus snàth ùr –
dathan air an goid bhon bhogha-froise –
agus aodach tana, lom,
agus àlainn, ann am beachd nan daoine.
Chum am bodach air
leis an t-seann bheairt
ach bha na daoine òg
a’ fanaid air,
agus cheannaich iad uile
na beairtean ùra,
agus thòisich iad a’ dèanamh
nan clòitean ùra,
agus cha robh dragh aca
mu dheidhinn a’ chlò
air beairt a’ bhodaich.
Ach, an dèidh ùine
thàinig an geamhradh
agus cha chumadh an t-aodach lom
le na snàithtean brèagha
agus na dathan soilleir
a-mach am fuachd,
agus cha robh feum
anns na beairtean ùra.
Lorg iad am bodach
agus chunnaic iad a’ bheairt,
agus chunnaic iad an clò,
ach cha b’urrainn dhaibh
a’ bheairt obrachadh,
oir bha i air fàs meirgeach
agus bha am bodach marbh.

POETRY
Faclan Vocabulary
ar cànan our language
ar clò our tweed
beairt loom
dhèanadh e he would make
clòitean tweed (plural)
tiugh thick
trom heavy
a chumadh blàth iad which would keep them warm
nach buineadh who did not belong
snàth thread
snàithtean threads
air an goid stolen
bogha-froise rainbow
tana thin
lom bare
beachd opinion
chum...air kept on
a’ fanaid air mocking him
cha robh dragh aca they did not care
an dèidh ùine after a while
cha chumadh would not keep
am fuachd the cold
cha robh feum there was no use
lorg iad they found
meirgeach rusty
marbh dead

POETRY
Puingean còmhraidh:
 Cò bha a’ dèanamh a’ chlò?

 Ciamar a bhiodh e a’ dèanamh a’ chlò?
 Cò ris a bha a’ chlò coltach?
 Cò bha a’ dèanamh an aodaich ùir?
 Dè bha na daoine anns a’ bhaile a’ smaoineachadh mun aodach ùr?
 Ceart no ceàrr – bha daoine anns a’ bhaile a’ cur orra an aodaich ùir
agus a’ chlò?
 Dè thachair anns a’ gheamhradh?
 Ceart no ceàrr – b’ urrainn do mhuinntir a’ bhaile a’ bheairt
obrachadh?
 Dè bha air tachairt ris an duine a bha a’ dèanamh a’ chlò?
1. Comment on the title of this poem – does it give you a clue as to the
content of the poem?
2. Several images run through this poem. These are:
 tweed
 new cloth
 old loom
 new loom
 old man
 young man.
How – in your opinion – do these images tie in with the following

ideas?
 Gaelic language.
 English language.
 Gaelic speakers.
 Language skills in Gaelic – grammar, sentence structure and so on.
 Gaelic speakers who have succumbed to speaking English as
opposed to their mother tongue?
3. What had the people of the village found attractive in the tweed?
4. What attracted them to the new cloth?
5. Which word or phrase tells you that the people looked down on the
old man and his tweed once they had bought the new looms and
started making the new cloth?
6. What effect does the word “Ach” have in the middle of both stanzas?

POETRY

POETRY
7. What difficulty did the people in the village have in the winter?
8. This poem can be seen as a warning to Gaelic speakers of the

importance of keeping the language and culture alive. To what extent
do you agree with this statement? Give a reason for your answer.
9. Comment on the poet’s word choice in the last sentence:

“…bha am bodach marbh”
What effect does this ending have on you?
10. How does Frater connect the craft of language with the craft of
weaving?

POETRY
Leasachadh
Read the poem.
Leasachadh
Is mis’ a’ chraobh a dh’èirich suas

air sliabh glas na beinne.
Uaine òg mo dhuilleag
air a biathadh le bùrn
fuar glan frasach an uillt,
agus gaoth a’ ghlinn
aon latha gam phògadh
’s an uair sin gam bhrùthadh,
gam dhèanamh làidir agus sùbailte.
Bòidhchead mo dhream
a’ lasadh fon ghrèin.
Ach thèid craobh a leagail

mar a chaidh mis’,
le cruaidh gheur ghort,
nuair a rinn mi dealachadh
bho choille m’ àraich.
Agus, airson mo dhèanamh nas fhèarr,
gheàrr iad gach freumh, gach geug,
gach duilleag a dh’fhosgail
ann an gaoth ghlan mo ghlinn.
Chaidh m’ fhàgail rùisgte
air beulaibh an t-sàibh.
Chaidh mo ghearradh gus an robh mi grinn,

chaidh mo sgùradh gus an robh mi mìn,
chaidh mo locradh gus an robh mi lom –
agus chuir iad dhachaigh mi.
Ach, chan urrainn dhomh crùbadh

nuair a bhrùthas a’ ghaoth.
Chan fhosgail duilleag
nuair a dh’èireas a’ ghrian.
Cha sheinn uiseag tuilleadh
sàbhailt nam gheug.
Dh’fhàg tarraigean an leasachaidh
mi rag ris a’ ghaoith.

POETRY
Faclan Vocabulary
leasachadh improvement/development
craobh tree
a dh’ èirich suas which grew up
sliabh glas na beinne grey/green mountainside
duilleag leaf
biathadh fed
bùrn water
glan clean
frasach showering
an uillt the stream
a’ ghlinn the glen
gam phògadh kissing me
gam bhrùthadh pushing me
sùbailte supple
bòidhchead beauty
dream people
a’ lasadh shining
a leagail felled
cruaidh hard
geur sharp
gort painful
dealachadh departure
coille forest
àrach youth
gheàrr iad they cut
freumh root
geug branch
rùisgte bare
sàbh saw
grinn neat
sgùradh scrubbed
mìn smooth
locradh planed
lom bare
crùbach bend
uiseag thrush
tuilleadh any more
sàbhailt safe
tarraigean nails
rag stiff

POETRY
1. In what way is the title of this poem ambiguous?
2. What impression does the reader get of the tree in the first stanza?
3. What is the effect of the word “Ach” at the beginning of stanzas 2 and
4?
4. What happens to the tree in the second stanza?
5. The third stanza lists the procedures which the tree underwent – what
are they?
6. Comment on the tone of the final stanza.
7. How does the tone of the final stanza differ from that of the first
stanza?
8. Comment on the images from nature which appear in this poem.
9. In Leasachadh, the tree is personified.

 In your opinion, how could it relate to the experiences of the
poet?
 Who or what was improving or developing her, in your
opinion?
 Where was this happening?
 What effect does this have on her? How do you think she
feels about this?
Advanced Higher – Internet research
Research the importance and significance of tree imagery in Gaelic writing.

POETRY
Cotrìona Mhòr
Ruairidh MacThòmais – Derick Thomson
Cotrìona Mhòr focuses on an elderly character who is made into something

of a symbol through the poem. She is a positive representation of the old
Gaelic world that has not become dimmed through time.
Read the poem.
Cotrìona Mhòr
Tha go dhealbh ann an cùl m’ inntinn

gun sgleò air,
daingeann, suidhichte
a-measg nan ìomhaighean briste,
a-measg a luasgain,
gun aois a’ laigh air ach an aois a bhà thu,
clàr mór an aodainn mar chloc air stad
air madainn Earraich,
gam chur ri uair a’ bhaile
leis a’ ghliocas sin
nach robh an eisimeil leabhraichean,
leis an àbhachdas, leis a’ ghearradh-cainnt
a bha a’ leum á cridhe a’ chinnidh
mus deach a chéiseadh,
mus deach a valve ùr ann
a chumadh ag obair e anns an t-saoghal ùr.
Sud iuchair mo mhuseum,
an clàr air an cluich mi mo bhial-aithris,
an spaid-bheag leis an dùisg mi fonn
na linne a tha nise seachad,
an ìomhaigh tha cumail smachd
air na h-ìomhaighean-bréige.

POETRY
Faclan Vocabulary
air cùl m’ inntinn at the back of my mind
sgleò glare/mist
daingeann firm
suidhichte set
ìomhaigh(ean) image(s)
briste broken
luasgain movements
a’ laighe lying
clàr mòr an aodainn the big surface of the face
Earrach Spring
gam chur putting me
gliocas wisdom
an eisimeil dependent on
àbhachdas fun
gearradh-cainnt sharpness of language
cridhe heart
cinneadh race
cèiseadh encased
iuchair key
bial-aithris folklore
spaid spade
fonn tune/land
linn generation/age
smachd control
brèige false

POETRY
1. What is the relevance of “daingeann, suidhichte” in relation to the age

of this woman?
2. Identify quotes that imply youth, vitality and vigour despite this
woman’s age.
3. Cotrìona Mhòr was steeped in her native tradition. How could this
have kept her youthful? Explain your answer, giving evidence from
the text.
4. What do you think is meant by “uair a’ bhaile”?
5. How does this contrast with the present age? What changes have
occurred? What effect has this had on traditional values and customs?
6. “sud iuchair mo mhuseum,

an clàr air an cluich mi mo bhial-aithris
an spaid-bheag leis an dùisg mi fonn”
To what extent does this relate to the conservation of the old way of
life?
7. What is ambiguous about “an spaid-bheag leis an dùisg mi fonn”?
8. In the last two lines, Thomson comes back to the strong image of
Cotrìona Mhòr – an image of stability. Why do you think this image
is so important to the poet?

POETRY
Cisteachan-Laighe
In the poem Cisteachan-Laighe, Derick Thomson compares the death of his

grandfather to the dying of the Gaelic language and culture.
Read the poem.
Cisteachan-Laighe
Duin’ àrd, tana

’s fiasag bheag air,
’s locair ’na làimh:
gach uair thèid mi seachad
air bùth-shaoirsneachd sa bhaile,
’s a thig gu mo chuimhne fàileadh na min-sàibh,
thig gu mo chuimhne cuimhne an àit ud,
le na cisteachan-laighe,
na h-ùird ’s na tairgean,
na sàibh ’s na sgeilbean,
is mo sheanair crom,
is sliseag bho shliseag ga locradh
bho’n bhòrd thana lom.
Mus robh fhios agam dé bh’ ann bàs;

beachd, bloigh fios, boillsgeadh
de’n dorchadas, fathann de’n t-sàmhchair.
’S nuair a sheas mi aig uaigh,
là fuar Erraich, cha dainig smuain
thugam air na cisteachan-laighe
a rinn esan do chàch:
’sann a bha mi ’g iarraidh dhachaidh,
far am biodh còmhradh, is tea, is blàths.
Is anns an sgoil eile cuideachd,

san robh saoir na h-inntinn a’ locradh,
cha tug mi ’n aire do na cisteachan-laighe,
ged a bha iad ’nan suidhe mun cuairt orm;
cha do dh’ aithnich mi ’m bréid Beurla,
an lìomh Gallda bha dol air an fhiodh,
cha do leugh mi na facail air a’ phràis,
cha do thuig mi gu robh mo chinneadh a’ dol bàs.
Gus an dainig gaoth fhuar an Earraich-sa
a locradh a’ chridhe;
gus na dh’ fhairich mi na tairgean a’ dol tromham,
’s cha shlànaich tea no còmhradh an cràdh.

POETRY
Faclan Vocabulary
cisteachan-laighe coffins
fiasag beard
locair plane
bùth-shaoirsneachd joiner’s shop
cuimhne memory
fàileadh smell
min-sàibh sawdust
ùird hammers (plural of òrd)
tairgean nails
sàibh saws (plural of sàbh)
sgeilbean chisels
crom bent over
sliseag slice/shaving
lom bare
mus robh fhios agam before I knew
bàs death
bloigh fios any notion
boillsgeadh glimmer
dorchadas darkness
fathann rumour
sàmhchair silence
uaigh grave
Earrach Spring
smuain a thought
càch other people
blàths warmth
inntinn mind
a’ locradh planing
cha tug mi ’n aire I didn’t notice
mun cuairt orm around me
cha do dh’aithnich mi I did not recognise
brèid braid
lìomh Gallda Lowland varnish
fiodh wood
pràis brass
cinneadh race
a’ dol bàs dying
gus na dh’fhairich mi until I felt
a’ dol tromham going through me
slànaich heal
cràdh pain

POETRY
1. The first verse gives a picture of the poet’s grandfather. What do you
know about him from this verse?
2. From the first verse, what do you know about the poet’s grandfather’s
workplace?
3. In the second verse, Thomson’s grandfather has died and the poet is
standing at his graveside. How do you come to realise that Thomson
does not fully understand death?
4. Thomson did not associate his grandfather’s death with the coffins he
had spent his life making for others. What was the poet aware of
whilst standing at his grandfather’s grave?
5. What does Thomson think will heal his mourning for his grandfather?
6. In the third verse, Thomson goes on to “an sgoil eile”. What do you
think this represents?
7. In your opinion, who were “saoir na h-inntinn”?
8. Who then are the “cisteachan-laighe” who were sitting around him?
9. These “cisteachan-laighe” were being polished with “lìomh Gallda”

and a “brèid Beurla” was applied. What is the significance of these
images?
10. When he realises what is happening, the awareness is like a blast of

cold wind. Give examples of the pain the poet felt when he came to
understand what was happening.
11. In your opinion, could this pain be easily healed? Give evidence to
support your answer.
12. How does this situation compare with the death of the poet’s
grandfather?
13. Comment on Thomson’s use of language in this poem, for example:

 parallel images
 simplicity of language
 alliteration to emphasise the darkness and silence of
death

POETRY
 metaphors
 structure
 use of awareness of the senses
 religious imagery in the third verse (e.g. “tairgean a’ dol
tromham”).
Advanced Higher
Write a paragraph detailing how this poem compares with Ar Cànan ‘s ar

Clò by Anne Frater in terms of the use of craft imagery.

POETRY
Anns a’ Bhalbh Mhadainn

This poem by Derick Thomson deals with the loss of the Gaelic culture by
giving a clear and effective description of a Highland scene.
Read the poem.
Anns a’ Bhalbh Mhadainn
Anns a’ bhalbh mhadainn bha clàr an fhuinn còmhnard,

bha a’ ghaoth aig fois, a strannraich ’s a sitheadh
bàthte fo’n ghilead, gach bleideag ’na tàmh,
càiricht san fhighe mhìn ud mar gheal phlaide.
Chaill sinn na caoraich bha muigh air mòintich
nuair thaom an stoirm ud a-nuas ’eallach,
is thug sinn a’ mhadainn gan dian shireadh.
Thàinig stoirm air mo dhùthaich,

sneachda mìn, marbhteach, mùchaidh:
ge geal e, na creid ’na ghilead,
na cuir t’earbs ann an anart;
dhèanadh mo chridhe iollach
nam faicinn air a’ chlàr bhàn sin ball buidhe
’s gun tuiginn gu robh anail a’ Ghaidheil
a’ tighinn am mullach.
Faclan Vocabulary
balbh still
clàr surface
fonn land
còmhnard flat
aig fois at ease
a strannraich its snorting
a sitheadh its shooting/rushing
bàthte drowned
fo ’n ghilead under its whiteness
bleideag flake
’na tàmh at rest
càiricht set
san fighe mhìn in the soft cloth
plaide blanket
Chaill sinn We lost

POETRY
mòintich moor
thaom flowed
’eallach its burden
gan dian shireadh desperately looking for them
dùthaich country
mìn soft
marbhteach deadly
mùchaidh smothering
na creid ’na don’t believe in its
na cuir t’ earbs don’t put your trust
anart linen/death shroud
iollach shout/roar
ball spot
tuiginn I would understand
anail breath
mullach surface
1. What effect has the snow storm had on the landscape?
2. Although the scene may have looked beautiful, how do you know that
others were more concerned about the effects of the storm?
3. Comment on Thomson’s use of alliteration in line 2, stanza 2.
4. A “ball-buidhe” would indicate that there was life yet under the snow
and that although the sheep have been covered by snow, there might
be some hope that they are still alive. How does the poet relate this
scene to the loss of his culture?
5. Why do you think the poet uses the word “anart”?
6. What do you notice about the structure of this poem? For example,
sentence length, use of commas, semi-colon and colon, etc.
Advanced Higher
 Compare Anns a’ Bhalbh Mhadainn by Derick Thomson

with Ar Cànan ’s ar Clò, thinking especially about the poets’ use of
warnings of the loss of Gaelic culture.

POETRY
Clann-nighean an sgadain
In Clann-nighean an sgadain, Derick Thomson celebrates an old way-of-

life.
Research the work of the herring girls.
Look at the “Iasgach” section of the CD-ROM Na h-eileanan an iar – an

sluagh agus an t-àite, at the film extracts of the herring girls at work.
Read the poem.
Clann-nighean an sgadain
An gàire mar chraiteachan salainn

ga fhroiseadh bho ’m bial,
an sàl ’s am picil air an teanga,
’s na miaran cruinne, goirid a dhèanadh giullachd,
no a thogadh leanabh gu socair, cuimir,
seasgair, fallain,
gun mhearachd,
’s na sùilean cho domhainn ri fèath.
B’e bun-os-cionn na h-eachdraidh a dh’ fhàg iad

’nan tràillean aig ciùrairean cutach,
thall ’s a-bhos air Galldachd ’s an Sasainn.
Bu shaillte an duais a thàrr iad
às na mìltean bharaillean ud,
gaoth na mara geur air an craiceann,
is eallach a’ bhochdainn ’nan ciste,
is mara b’e an gàire
shaoileadh tu gu robh an teud briste.
Ach bha craiteachan uaille air an cridhe,

ga chumail fallain,
is bheireadh cutag an teanga
slisinn á fanaid nan Gall –
agus bha obair rompa fhathast
nuair gheibheadh iad dhachaidh,
ged nach biodh maoin ac’:
air oidhche robach gheamhraidh,
ma bha sud an dàn dhaibh,
dhèanadh iad daoine.

POETRY
Faclan Vocabulary
clann-nighean girls
sgadan herring
gàire laughter
craiteachan salainn salt shaker
froiseadh showered
sàl brine
picil pickle
teanga tongue
miaran fingers
giullachd gutting (of fish)
a thogadh that could raise
leanabh child
socair calm
cuimir neat
seasgair soft
fallain healthy
mearachd error
domhainn deep
fèath calm
bun-os-cionn topsy-turvy
tràillean slaves
ciùrairean curers
cutach short
thall ’s a-bhos here and there
Galldachd Lowlands
saillte salty
duais prize
a thàrr iad they gathered
baraillean barrels
geur sharp
craiceann skin
eallach burden
bochdainn poverty
’nan ciste in their chests/kists
mara b’ e/mura b’ e if not for/if it were not for
teud string
briste broken
uaill pride
cridhe heart
fallain healthy
cutag an teanga the cutting of the tongue
slisinn slice
fanaid mockery
Gall Lowlander

POETRY
bha obair rompa fhathast they still had work to do

maoin wealth
robach stormy
an dàn dhaibh their fate
1. List all the sea imagery from this poem.
2. How do you know from the beginning of the poem that the herring
girls were happy in their work?
3. What comparison does the poet make in the first verse?
4. In verse 2, Thomson refers to “bun-os-cionn na h-eachdraidh”. From

your research of the work of the herring girls, what is your
understanding of this quote?
5. Give an example of a phrase or a word which details how harsh the

girls’ working conditions were.
6. What picture does Thomson’s poem give of the life of the herring
girls?

POETRY
Do Mo Mhàthair
Iain Mac a’ Ghobhainn – Iain Crichton Smith
Do Mo Mhàthair by Iain Crichton Smith compares and contrasts the poet’s

work of composing poetry with his mother’s work as a herring girl.
Read the poem.
Do Mo Mhàthair
Bha thus’ a’ sgoltadh sgadain

ann a Yarmouth fad air falbh
’s a’ ghrian shaillt sa mhadainn
ag èirigh às a’ chuan
’s an fhuil air oir do sgine
’s an salainn ud cho garbh
’s gun thachd e thu o bhruidhinn
’s gu robh do bhilean searbh.
Bha mis’ an Obar-Dheadhain

a’ deoghal cùrsan ùr,
mo Ghàidhlig ann an leabhar
’s mo Laideann aig an stiùir,
nam shuidh’ an siud air cathair
’s mo chofaidh ri mo thaobh
is duilleagan a’ crathadh
siùil na sgoilearachd ’s mo thùir.
Tha cionta ga mo lèireadh

mar a dh’èirich ’s mar a tha.
Cha bu chaomh leam a bhìth ’g èirigh
ann an doilleireachd an là,
bhith a’ sgoltadh ’s a bhith reubadh
iasg na maidne air an tràigh
’s am muir borb ud a bhith beucadh
sìos mo mhiotagan gun tàmh.
Ged a nì mi sin nam bhàrdachd

’s e m’ fhuil fhìn a th’ air mo làimh,
’s gach aon sgadan thug an làn dhomh
a’ plosgartaich gun dèan mi dàn,
’s an àite cùbair tha mo chànan
cruaidh is teann orm a ghnàth
is an salann garbh air m’ fhàinne
a’ toirt beòthalachd don bhàs.

POETRY
Faclan Vocabulary
a’ sgoltadh gutting
saillt salty
fuil blood
oir edge
do sgine of your knife
thachd e it choked
bilean lips
searbh bitter
a’ deòghal sucking
stiùir helm
a’ crathadh shaking
siùil sails
sgoilearachd scholarship
mo thùir my intelligence
cionta guilt
ga mo lèireadh distressing me
doillearachd darkness
reubadh ripping
borb barbaric
beucadh roaring
gun tàmh without rest
làn high tide
a’ plosgartaich splashing
dàn poem
cùbair cooper
teann strict
a ghnàth always
fàinne ring
beòthalachd life

POETRY
1. Why does the poet describe the sun as “a’ ghrian shaillt”?
2. From the first verse, how does Crichton Smith make it clear that his
mother’s working conditions were harsh?
3. When the poet was the same age as his mother was when she was a
herring girl, what was he doing?
4. How did his use of Gaelic compare with his use of Latin at this time?
5. How do Crichton Smith’s surroundings in verse 2 compare with his

mother’s surroundings in the first verse?
6. Choose and expand on a phrase from the second verse which

continues to use the references to the sea developed in the first verse.
7. From verse 3, give a detailed account of Crichton Smith’s opinion of

the work his mother did as a herring girl.
8. How does his occupation now as a poet compare with his mother’s
work as a herring girl?
9. What do the images of herring and coopers in verse 4 represent?
10. Comment on the rhythm and rhyme scheme of this poem.
Advanced Higher
Compare and contrast Do Mo Mhàthair by Iain Crichton Smith with Clann-

nighean an sgadain by Derick Thomson.

POETRY
Latha Foghair
Somhairle MacIlleathain – Sorley MacLean
Although many Gaelic poems deal with the loss of the Gaelic identity,
language or culture, many poets have a wealth of experience of the wider
world. Sorley MacLean was one such poet who, in poems like Latha
Foghair, dealt with themes that could have been prevalent in any culture.
Read the poem.
Latha Foghair
’S mi air an t-slios ud
latha foghair,
na sligean a’ sianail mu m’ chluasan
agus sianar marbh ri mo ghualainn,
rag mharbh – is reòta mur b’e ’n teas –
mar gum b’ ann a’ fuireach ri fios.
Nuair thàinig an sgriach

a mach as a’ ghréin,
a buille ’s bualadh do-fhaicsinn,
leum an lasair agus streap an ceathach
agus bhàrc e gacha rathad:
dalladh nan sù, sgoltadh claistinn.
’S ’na dhéidh, an sianar marbh,

fad an latha;
am miosg nan sligean ’san t-strannraich
anns a’ mhadainn,
agus a rithist aig meadhon-latha
agus ’san fheasgar.
Ris a’ ghréin ’s i cho coma,

cho geal cràiteach;
air a’ ghainmhich ’s i cho tìorail
socair bàidheil;
agus fo reultan Africa,
’s iad leugach àlainn.

POETRY
Ghabh aon Taghadh iadsan

’s cha d’ ghabh e mise,
gun fhoighneachd dhinn
có a b’ fheàrr no bu mhiosa:
ar liom, cho diabhlaidh coma
ris na sligean.
Sianar marbh ri mo ghualainn

Latha foghair.
Faclan Vocabulary
Foghair Autumn
slios slope
sligean shells
a’ sianail screaming
gualainn shoulder
rag marbh dead/stiff
reòta mur b’ e ’n teas frozen were it not for the heat
fios information
sgriach screech
às a’ ghrèin from the sun
buille blow
bualadh strike
do-fhaicsinn invisible
leum jump
lasair flame
ceathach smoke
bhàrc barked
dalladh nan sùl blinding the eyes
sgoltadh claistinn splitting hearing
am miosg among
strannraich snoring
coma indifferent
cràiteach painful
gainmheach sand
tìorail cosy
socair calm
bàidheil kind
reultan skies
leugach jewel-like
Taghadh Choice
gun fhoighneachd dhinn without asking us
ar liom it seemed
cho diabhlaidh coma so indifferent

POETRY
Discuss:
 setting
 repetition, for example “sianar marbh”
 sounds, for example “…sgriach
a mach as a’ ghrèin”
 sights, for example “streap an ceathach”
 alliteration, for example “leum an lasair”
 use of contrasting adjectives, for example “cràiteach” and “bàidheil”
 use of a capital letter for “Taghadh”
 MacLean’s questionning of why these six people died but he did not –
a sense of religious confusion?
 structure – the last sentence on its own.

POETRY
Ùrnaigh na Ban-Tigrich
Catrìona NicGumaraid – Catriona Montgomery
Obair-dachaigh
Find out:
 where Tigre is
 three facts about the political history and the current political
situation in Tigre.
Obair clas
Read through the poem.
Ùrnaigh na Ban-Tigrich
Athair ’s mo Dhia, dèan thus’ ar dìon,

mi fhìn ’s mo naoidhean beagan mhìos;
gur gann an t-uisg’ ’s gur gann an sìol –
sinn acrach, creuchdach, brùite, piant’.
Adhlaicte an-diugh mo luaidh,

’s nach aithnich mise uaigh seach uaigh:
measg mhìltean ’n Tigre tha e na shuain –
coimhead thusa, Thighearna, oirnn le truas.
Sinn fannachadh le teas na grèin’

nuair dh’èireas i an àird san speur;
sinn ga ar mealachadh le fuachd
meadhan-oidhch’, ’s ar sgeadachadh cho truagh.
An tig, a Thighearna, uisge trom

a bheir a-mach toradh bhon talamh lom?
Cum rium mo chreideamh annad fhèin,
na canar, ‘An do thrèig thu mi, mo Dhia?’
Cheus riaghaltas eile Crìosd air crann,

’s tha luchd-breug gar biathadh ’s sinn gu gann.
Dòirt sìos do mhathas caomh, a Dhè –
na leig le olc buannachadh gu lèir.

POETRY
Faclan Vocabulary
ùrnaigh prayer
Ban-Tigreach Tigrean woman
Dia God
dìon protect
naoidhean child
gann scarce
sìol seed
acrach hungry
creuchdach hurt
brùite bruised
piant’ sore
adhlaichte buried
mo luaidh my beloved
nach aithnich mise I cannot recognise
uaigh grave
seach compared to
na shuain asleep
truas pity
fannachadh fainting
teas heat
an àird upwards
speur sky
mealachadh cheated
sgeadachadh dressed
truagh poor
Tighearna Lord
toradh crops
talamh lom bare ground
trèig forsaken
creideamh religion/belief
cheus crucified
riaghaltas rulers
Crìosd Christ
crann cross
luchd-breug liars
gar biathadh feeding us
gu gann scarcely
dòirt pour
mathas goodness
caomh kind
a Dhè vocative of ‘Dia’, God
na leig do not allow
olc evil
buannachadh win
gu lèir completely

POETRY
1. This poem takes the form of a prayer. Which phrases from the poem
emphasise this?
2. The woman is praying because she is suffering. What has left her in
such a bad situation? Give at least five reasons.
3. From the poem, what do you know about the climate in Tigre and the
effect this has on the people?
4. In verse 5, the Tigrean woman pleads with God. What does she want
from him?
5. How does Montgomery compare the life of the Tigrean woman with
the crucification of Christ on the cross?
6. What is ironic about the phrase “gar biathadh” in the last verse?
7. What feelings does this poem arouse in you? Give reasons for your
answer.
8. Comment on the rhyme and rhythm of this poem.

POETRY
9. Complete this grid, which shows different aspects of the poem and
quotes that support them.
Aspect of the poem Quote
This is a prayer “Athair ’s mo Dhia”
Drought
“gur gann an sìol”
Hunger
Pain
Death of the
woman’s husband
The effect of the
heat
“ga ar mealachadh le fuachd”
Clothing
The woman’s pleas
to God

POETRY
Ròdhag, 2000 AD
Catrìona Ni Gumaraid – Catriona Montgomery
In Ròdhag, 2000 AD Montgomery speaks of English people who have

settled in her native village on the Isle of Skye and have brought with them
their customs of drinking Beaujolais, playing cards and making pottery –
customs which were traditionally alien to Roag. She watches them from
afar – like a ghost – and eavesdrops on their conversations.
Read the poem.
Ròdhag, 2000 AD
Nuair a bheir an fheannag

an t-sùil às a’ chaora mu dheireadh,
bidh mi ri dìdearachd air d’ uinneagan:
bidh iad an sin
a’ cluich chairtean
’s ag òl Beaujolais
poodle a’ dannsa mun casan;
bidh fhàileadh blàth a’ bhainne air falbh às na bàthchannan,
’s iad làn thruinnsearan fuar cruaidh pottery
airson an luchd-turais;
fuaim nam brògan tacaideach nan samhla
a’ coiseadh air monadh;
na croitean uaine fàsail
gun bhristeadh spaide.
Nuair a bheir an fheannag

an t-sùil às a’ chaora mu dheireadh,
bidh mi ri farchluais
air d’ uinneagan,
rid osagan ag ochanaich,
’s na guthan cruaidh Sasannach
a’ dol an aghaidh na gaoith.
Faclan Vocabulary
feannag crow
ri dìdearachd peeping
fàileadh smell
bàthchannan byres
làn full
truinnsearan plates

POETRY
cruaidh hard
fuaim sound
brògan tacaideach tackety boots/shoes
samhla image
monadh moor
croitean crofts
fàsail desolate
gun bhristeadh spaide without the breaking of a spade, i.e. not
farmed or used for crofting
ri farchluais evesdropping
osagan gusts
ag ochanaich sighing
guthan voices
an aghaidh against
1. Identify the Highland images which contrast with those of Beaujolais,

cards and pottery.
2. Which words or phrases from the poem help you to realise that the
poet is not taking part in these activities?
3. Why might you think that Montgomery is

 uncertain of
 interested in
 angry at this situation?
4. Comment on Montgomery’s use of:

 repetition
 italics
Why is this significant in your opinion?
Advanced Higher
How does this poem compare with Lit gun shalainn by Anne Frater?

POETRY
Cogadh an Dà Chànain
Read the poem.
Cogadh an Dà Chànain
’S mi an leanabh sàraicht’,
an dithis gam altramas.
Fhuair mi ’n t-uachdar om mhàthair
ach om mhuime bainne lom.
Tha mo bheul sgìth de chìch na tè ud,

an sgalag! an tràill!
a tha air iomadh muinntireas fhaicinn,
a’ reic a bainne ris a’ mhòr-shluagh –
’s beag an t-iongnadh a cìoch a bhith cas.
Tha a bainne geur a’ dol
tarsainn m’ anail
agus a’ fàgail blas searbh na mo bheul.
Cha ghabh ìm no càis’ a dhèanamh dheth.
’S chan e sin,
ach tha e sabaid
airson uachdranachd
air an stapag mhilis
a tha daonnan nam bhràigh.
Faclan Vocabulary
cogadh war
cànan language
leanabh child
sàraichte harassed
dithis two people
gam altramas raising me
uachdar cream
om from my
muime nurse
lom bare/skimmed
de chìch na tè ud from the breast of that woman
sgalag servant
tràill slave
muinntireas service

POETRY
a’ reic selling
mòr-shluagh population
’s beag an t-iongnadh little wonder
cas steep
geur sour
a’ dol tarsainn m’ anail choking me
blas searbh a bitter taste
sabaid fighting
uachdranachd supremacy
stapag cream and oatmeal
milis sweet
daonnan always
bràigh chest
Discuss the following with reference to the poem:
 the persona taken by the poet

 the importance of the title in helping the reader to understand the
sentiment behind the poem
 imagery relating to Gaelic and English
 the idea that one needs a mother in order to be alive
 the poet writing in the first person, for example “’S mi…”, “Tha mo
bheul…”
 the poet’s use of exclamation marks
 the poet’s opinion of English
 the poet’s opinion of Gaelic
 the link between the word “sabaid” and the title of the poem
 the meaning of the word “sàraicht’”
 the poet’s message.
Advanced Higher
Compare and contrast Cogadh an Dà Chànain by Myles Campbell and Ar

Cànan ’s ar Clò. An example has been given for you.
Comparison Contrast
Theme – struggle between Gaelic Different images
and English

POETRY
Bantrach Cogaidh
An t-Urramach Iain MacLeòid – Rev John MacLeod
Obair-dachaigh
Before you read this poem, you should research the story of the Iolaire
disaster.
 What was the Iolaire?

 When did the disaster happen?
 Where did the disaster happen?
 Why did it happen?
 Find out any other interesting pieces of information.
Obair clas
In the poem Bantrach Cogaidh, the poet takes the persona of a young boy
who grows up with his widowed mother.
Read the poem.
Bantrach Cogaidh
Sgaoil i ’aodach air gàrradh:

briogais bhàn is léine gheal,
crios gorm leathann,
còrd geal caol.
Bha mi air clach ri taobh,
bonaid cruinn air mo cheann:
bonaid m’ athar.
Deise ghorm ’na stiallan
mar reub iad bho chorp i
nuair fhuair iad e
fuar bàthte air an tràigh,
air a pasgadh le làmhan gràidh
is cridhe brist’:
mar deise rìgh dol gu banais.
Car son tha thu dol uair sa mhìos

don phost-oifis ’nad aodach dubh,
le cridhe trom,
’s a’ tilleadh feasgar
le leabhar a’ pheinsean ’nad làimh?

POETRY
Car son a thog thu mi ’nad uchd

’s do cheann crom,
is fhliuch thu m’ aodann le do dheòir
nuair thuirt mi,
‘Mhàthair, cà’il m’ athair?’
Aon là san sgoil

sheas sinn sàmhach dà mhionaid
a’ cuimhneachadh
air laoich a’ Chogaidh Mhóir,
is ruith mi dhachaigh ’na mo dheann
a dh’innse dhi,
‘Cha bhi cogadh tuilleadh ann.’
Oidhche gheamhraidh bha i snìomh;

shuidh mi ri taobh.
Bha ceann dol liath ’s i fhathast òg.
An lùib an t-snàth chaidh fuiltean mìn
mar shìoda measg an duibh.
Thuirt i, ‘Gléidh cuimhn’ orms’

nuair chì thu m’ fhalt an lùib an t-snàth
’s nach bi mi ann.’
’S mar thubhairt bhà.
Rinn iad d’ uaigh ri taobh nan tonn.

Cha chlisg thu chaoidh aig gaoith no stoirm.
Sibh sin cho réidh, thu fhéin ’s an cuan –
cha toir e tuilleadh uat do ghràdh.
Nach math gun tug am bàs thu tràth,

’s nach fhac’ thu cogadh ùr ’nad là
’s nach fhac’ thu mise falbh don bhlàr
le deise ghorm is bonaid cruinn
mar bh’air m’ athair
nuair fhuair iad marbh e
aig a’ Bhràigh.
Faclan Vocabulary
banntrach widow
cogadh war
sgaoil spread
gàrradh wall
crios belt

POETRY
leathann wide
caol thin
clach stone
cruinn round
deise suit
stiallan shreds
reub ripped
chorp his body
bàthte drowned
pasgadh folded
gràdh love
cridhe brist’ broken heart
rìgh king
banais wedding
trom heavy
a’ tilleadh returning
peinsean pension
’nad uchd in your lap
crom bent over
deòir tears
a’ cuimhneachadh remembering
laoich heroes
Cogadh Mòr First World War
’na mo dheann in a hurry
tuilleadh any more
snìomh spinning
an lùib among
snàth thread
fuiltean mìn fine hairs
sìoda silk
glèidh cuimhn’ orms’ remember me
uaigh grave
tonn wave(s)
cha chlisg thu you will not flinch
chaoidh ever
rèidh peaceful
cuan sea
uat from you
blàr battle
marbh dead
Bràigh stretch of land near Stornoway where the
Iolaire sank

POETRY
1. How does Macleod set the scene of the poem in the first verse?
2. From the first verse, how do you know the poet’s father was a fatality
of the Iolaire disaster?
3. What effect does the poet’s use of questioning have in the second
verse?
4. From the second verse, what tells you that the woman was a widow in
mourning?
5. What effect did the two-minute silence have on the boy?
6. “Bha ceann a’ dol liath ’s i fhathast òg” – what do you understand

from this?
7. How does the word choice in the verse beginning “ Rinn iad d’
uaigh…” link with the story of the Iolaire?
8. Why was the boy thankful that his mother died young? What is ironic
about this situation?
9. How does the poet link the first and last verses?
10. In your opinion, what are the key strengths of this poem?
11. What feelings does this poem arouse in you?
Advanced Higher
In what way does the boy in the poem’s knowledge of death compare with
Derick Thomson’s in the poem Cisteachan-Laighe?

POETRY
Bean Dubh a’ caoidh a Fir a Chaidh a Mharbhadh leis a’

Phoileas
Donnchadh Mac Dhùn Lèibhe – Duncan Livingstone
This poem relates an account of the Sharpeville Massacre of 21 March

1960, where 77 Africans were shot dead by the police. The poet takes the
persona of a woman directly affected by this massacre. He lived in Africa
for a number of years so he was aware of the political struggles.
Read the poem.
Bean Dubh a’ caoidh a Fir a Chaidh a Mharbhadh leis a’ Phoileas
Baba Inkòsi Sikelele, Baba Inkòsi Sikelele.

Car son, a Dhé a tha san chathair,
Car son an-diugh a rinn Thu ’n latha?
Mo-nuar gum faca mi a shoillse

Ach a bhith gu bràth san oidhche.
Och, mo chràdh, mo chràdh ’s mo léireadh

An latha thug iad uam mo cheudghràdh.
Do chorp donn an-sin ’na laighe,

Toll air tholl a’ sileadh fala.
Am fear bòidheach laigh ri m’ thaobh-sa

An-sin ’s a mhionach ás a’ slaodadh.
Aichbheil, aichbheil, sgrios is léireadh

Air an luchd a rinn mo cheusadh.
Éist ri m’ ghuidhean, Rìgh nan Dùilean,

Éist ri m’ athchuinge ’s ri m’ ùrnaigh.

POETRY
Tha ’n luchd bàn an-diugh làn aigheir

’S tha mo phàistean-sa gun athair.
Is tha mo bheatha-sa nis falamh –

Ach ceadaich dhomh, mum fàg mi ’n talamh,
Air m’ fhear-céile an-sin ’na shìneadh,

Nuair a thig mo mhic gu ìre,
An éirig dhuinn air son ar dòrainn,

Latha réidh a ghearradh sgòrnan,
Ghearradh sgòrnan nam fear fuileach,

Fuil mu m’ dhòrnaibh suas gu uilinn,
A bhith gan reubadh is gam pianadh

Is deagh fhaobhar air mo sgian-sa:
Thoir latha dhuinn gu saor a’ pàigheadh

Fhir is mhnathan agus phàistean
An luchd ghil a bhuail ar daoine;

Cuairt mu’n amhaichean de’n caolain –
Cuairt de’n caolain an àite chneapan,

Is siridh mi ’n-sin taobh do leapach,
Na fiachan uile air an dìoladh,

Fhir ’s a ghràidh, ’s tu ’n-sin ad’ shìneadh.

POETRY
Faclan Vocabulary
fir men
marbhadh killed
a’ caoidh mourning
Baba Inkòsi Sikelele God Save Us
cathair chair/throne
mo-nuar alas
soillse brightness
gu bràth forever
cràdh pain
lèireadh distress
uam from me
ceudghràdh first love
corp body
laighe lying
toll hole
a’ sileadh fala pouring with blood
bòidheach beautiful
mionach insides
a’ slaodadh pulling out
aichbheil revenge
sgrios destruction
luchd people
ceusadh crucified
guidhean pleas
Rìgh King
athchuinge petition
ùrnaigh prayer
luchd bàn white people
aighear pleasure
pàistean children
mo bheatha-sa my life
falamh empty
ceadaich dhomh allow me
fàg leave
talamh earth
fear-cèile husband
a’ sìneadh lying
mo mhic my sons (from “mac”, son)
gu ìre to age
an èirig dhuinn in return for
dòrainn anguish
rèidh right
a ghearradh sgòrnan for cutting throats
fuileach bloody

POETRY
dòrnaibh fists
uilinn elbow
reubadh tearing
faobhar blade
mnathan women
caolain guts
siridh mi I will seek
do leapach your bed
fiachan debts
air dìoladh paid
Discuss the following points with your lecturer:
 the prayer-like structure of the poem

 the setting of the poem
 the woman’s situation
 word choice used to detail this woman’s pain
 word choice used to describe the gory situation around her
 the juxtaposition of a phrase showing the woman’s continued
attraction to her husband with a phrase relaying the disgusting reality of
the situation
 the woman’s stance and feelings relating to the political situation in
Africa at the time
 imagery
 why do you think the poet wrote this poem?
 your opinion of the text.
Advanced Higher
How does Bean Dubh a’ Caoidh a Fir a Chaidh a Mharbhadh leis a’

Phoileas by Duncan Livingstone compare with Ùrnaigh na Ban-Tigrich by
Catriona Montgomery? Consider:
 political stance
 religious imagery
 other imagery
 harsh vocabulary.

SHORT STORIES
Short stories
Introduction
Texts should be read and vocabulary discussed with the lecturer before
questions are attempted. Students need not understand all vocabulary but
should have a good understanding nevertheless of content, characters,
setting, plot and so on in order to enable them to express a personal and
critical appreciation of the text.

SHORT STORIES
Aig a’ Chloich-chuimhne
This short story centres on an old soldier and his thoughts

as he stands at a war memorial commemorating the First
World War.
Read the story and discuss it with your lecturer.
Aig a’ Chloich-chuimhne
Bha e na sheasamh aig a’ chloich-chuimhne airson an fheadhainn a

chailleadh anns a’ chiad chogadh mhòr. B’e duine aosd a bh’ann, timcheall
air trì fichead ’s a deich. Bha a bhonaid na làimh dheis, a dhà chois ri
chèile, ’s a dhruim dìreach. Bha fhalt a’ gluasad gu socair anns a’ bheagan
gaoithe. Dh’aithnicheadh duine gu robh e ’n ìre mhath beartach oir bha a
dheise ghlas a’ coimhead daor, a bhrògan a’ deàrrsadh mar ghloinne, a lèine
de shìoda gheal, is aodann coltach ri aodann duine a bha air a shaoghal a
chosnadh. Ach a-mhàin na sùilean … Anntasan, bha doimhneachd
aognaidh.
Chual e duine ri thaobh ag ràdh: “Feumaidh e bhith gu robh e-fhèin anns a’

chogadh.” ’S dh’fhairich e dithis no triùir a’ sealltainn ris. Theab e
seasamh na bu dìriche ach cha do rinn e sin. Os a chionn bha an t-adhar
sìmplidh gorm ’s rinn e gàire beag leis fhèin. Chual e glagan na h-eaglaise
a’ bualadh ’s bha e smaoineachadh gum biodh iad reòite mar chlogaidean
mòra Gearmailteach. Tharraing e chòta timcheall air. Cha robh am fuachd
a’ tighinn ris.
Anns an dà mhionaid de thàmh stad na carbaidean air feadh an t-saoghail ’s

bha e a’ smaoineachadh; “ ’Se dealbhadair ainmeil a th’annam.” Thubhairt
e ris fhèin a-rithist: “ ’Se dealbhadair ainmeil a th’annam,” mar gum biodh
e airson a dhearbhadh gu cinnteach. Chual e am ministear a’ bruidhinn:
“Bhàsaich iad a chum gum biodh sinne beò.” ’Se duine beag dubh a
bh’anns a’ mhinistear. Dè bha e ciallachadh le “beò?” Smaoinich e air na
bliadhnachan a chaith e a’ dèanamh dhealbhan, latha ’n dèidh latha, oidhch’
an dèidh oidhch’, a’ cumail na h-aodainn air falbh, a-muigh anns an
dorchadas a bha a’ goil leotha. A làmh a’ dealbhadh gun sgur, gus nach
brùchdadh an dorchadas air inntinn. Dh’fhaighnicheadh daoine carson nach
robh dearg air bith anns na dealbhan aige ach bha fhios aige fhèin. ’S
iomadh smuain a thug an luchd-sgrùdaidh às an inntinnean airson sin a
mhìneachadh don t-sluagh (ma bha dragh air bith acasan) ach cha robh aon
aca ceart. Rinn e gàire beag eile.

SHORT STORIES
Cha robh fhios aige carson a bha e an siud ach bha e ann gach bliadhna.
Bha rudeigin ga stiùireadh chun a’ chàirn ud. Dh’fhosgail e shùilean ’s
chunnaic e na sìtheanan dearga a-rithist – ròsan searbha na Frainge – air na
broillichean mar fhuil. Dhùin e shùilean, ach thill an smuain.
Chunnaic e Frank na laighe air an talamh reòite. Bha aodann ris an adhar, a
bha sìmplidh gorm. Chual e na gunnachan a’ bùrail ’s a’ losgadh. Cha robh
Frank marbh fhathast, oir chunnaic e e a’ gluasad, mar gum b’ann na
chadal. Chaidh an dithis aca a thogail còmhla, dìreach às an taigh-
fhoghlaim. Bha iad toilicht’ an latha dh’fhàg iad, ach cha robh iad toilicht’
a-nis. Bha bùrail do-ainmicht’ timcheall air mar ifrinn. Dh’fheumadh e
Frank a thogail ’s a thoirt air ais. Bha e-fhèin na laighe air an talamh.
Dh’fheumadh e èirigh is ruith is Frank a thogail is ruith a-rithist.
Rinn e airson èirigh (’sann a bha e mar gum b’ann ceangailt’ ris an talamh)
’s aig a’ cheart àm chunnaic e ’n Gearmailteach a’ leum mu choinneamh leis
a’ bhiodaig. Dh’èirich e-fhèin is ruith e: bha Frank fad air falbh. Bha a’
bhiodag air a chùlaibh ’s e a’ ruith. Chual e peilear ’s thuit an
Gearmailteach. Cha robh fhios cia às a thàinig am peilear. Cha do stad e-
fhèin: ach lean e air chun nan trainnsichean. An ceann ùine stad e, ’s
chaidh e air ais far an robh an Gearmailteach, ’s sheas e os a chionn a’
sealltainn ris. Cha robh gunna ri chluinntinn. Bha an t-adhar sàmhach.
Siud far an d’ fhuair iad e, na sheasamh mar gum b’ann am bruadar a’

sealltainn sìos ris a’ Ghearmailteach. Bha fuil air broilleach a’
Ghearmailtich far na bhuail am peilear e. Bha a dhà shùil fosgailte is cop
timcheall a bheòil.
Chaidh iad timcheal air ’s bhuail fear aca an Gearmailteach le bhròig.

Chaidh e-fhèin air chrith mar gum b’ann a’ bualadh Frank a bha iad. Bha a’
bhiodag fhathast ann an làimh a’ Ghearmailtich ’s a bheul fosgailte, a’
sealltainn nam fiaclan. B’e duine òg a bh’ann, a shùilean gorm ’s a
phluicean dearg. Sheas e a’ sealltainn sìos ris airson ùine mhòir. Thòisich
e a’ sgriachail nuair a shlaod iad air falbh e.
Goirid an dèidh sin chuir iad dhachaigh e.
Chual e na carbaidean mar pheilearan a’ tòiseachadh a-rithist. Bha e na

sheasamh mar chloich ’s a ghairdeanan ri a chliathaich. Chunnaic e
boireannach reamhar a’ gul, ’s neapaigin mòr gorm aice. Chual e am
ministear ag ràdh:
“They shall grow not old, as we that are left grow old,” ’s rinn e gàire beag
eile ris fhèin.

SHORT STORIES
Nuair thionndaidh e air falbh theich dithis no thriùir às a rathad, ’s iad a’

toirt urram dhà.
Choisich e gu grad air falbh. Cha robh a dhruim a-nis cho dìreach. Ghabh
ifrinn na sràide seachad air. Smaoinich e air an dealbh air an robh e ’g
obair, ’s thubhairt e ris fhèin: “Tha thìd agam, tha thìd agam an dearg a
chur annta, mus bàsaich mi.”
Chunnaic e aodann Frank air gach sràid, a’ sealltainn suas ris. Bhuail e ann
an dithis no thriùir ach lean e air gun tionndadh. Cha robh an t-aodann ud
a’ fàs aosd.
Mu dheireadh ràinig e ’n taigh, air ghoil le smaointean.
Chuir e dheth a chòta ’s thòisich e air dealbh ùr. Cha robh càil anns an
dealbh ach ròs mòr dearg, mar chridhe duine, ’s os a chionn bha adhar
sìmplidh gorm.
Comment on the following points:
 The main character is not given a name although the reader is aware of
many facts about his life.
 The old soldier’s flashback.
 Battle is compared to “ifrinn”.
 Word choice to describe the German.
 The effect the German’s death had on the main character.
 The effect of the minister’s sermon on the old soldier.
 The old soldier’s lasting memory of Frank.
 The character’s feeling regarding war.
 The way in which the character still acts like a soldier.
 The way in which the character gains the respect of those around him.
 The repetition of the phrase “adhar sìmplidh gorm”.
 The mention of the colour red.
Select one example of the following techniques from the story:
 simple yet effective language

 variety in sentence length
 simile
 imagery from war
 comparison (for example between the church bell and German
helmets)
 onomatopoeia.

SHORT STORIES
1. How does this short story give the reader an insight into the mind of
the main character?
2. How does the short story deal with the idea that people’s destiny lies
with fate?
3. Why do you think the character was so drawn to the memorial each
year when it pained him to think of the war?

SHORT STORIES
Màiread
The main characters in this short story are a married

couple – Anna and Murchadh – who have recently
retired and returned to live in the Highlands from
Glasgow. The couple have never had a family and
this seems to be at the centre of the events that occur
through the story. The communication between husband and wife is not
successful and through Crichton Smith’s writing, the reader gets a glimpse
into this couple’s life.
Read the story and discuss it with your lecturer.
Màiread
Nuair thill iad dhachaigh à Glaschu cheannaich iad taigh mòr geal le lios
mòr air a bheulaibh. Cha robh dìth airgid orra oir bha Murchadh air a bhith
na phoileas ’s e air inbhe Superintendent a ruighinn. ’S e an aon rud a-
riamh a chuir faileas air am beatha nach robh clann aca.
Bha i uabhasach toilichte leis an taigh, agus bha Murchadh toilichte

cuideachd oir bha e faisg air a’ mhuir ’s bha e dèidheil air iasgach.
“Tha seachd rumannan ann gu lèir,” ars esan rithe.
Thug iad am piàno dhachaigh leotha agus an àirneis a bh’aca anns an taigh
eile air Great Western Road. Air latha brèagha samhraidh bha i na suidhe
anns an lios air cathair, a’ ghaoth bhlàth a’ togail a fuilt, ’s Murchadh le a
shlat iasgaich shìos aig a’ chreagach.
Agus chual i am piàno a’ cluich.
Chuir seo eagal uabhasach oirre oir bha i cinnteach nach robh aon duine am
broinn an taighe. Gu critheanach dh’èirich i às a’ chathair ’s chaidh i
steach don rùm ach cha robh duine na shuidhe aig a’ phiàno, ’s bha e
fhathast na chèis mar thàinig e. Cha chual i an ceòl tuilleadh an latha sin.
Nuair thàinig Murchadh dhachaigh le cudaigean dh’innis i dhà dè thachair.
“Feumaidh e bhith gun do thuit thu na do chadal,” ars esan rithe. Bha e àrd
tapaidh liath, ’s bha an dithis aca air a bhith pòsd airson deich bliadhna
fichead.

SHORT STORIES
“Chan eil rian nach eil thu ceart,” ars ise. “Chan eil rian nach e bruadar a
bh’ann.”
“Nach i a tha coimhead geal,” arsa Murchadh ris fhèin. “ ’S math

dh’fhaodte nach robh còir againn a thighinn dhachaigh.”
An oidhche sin fhèin chaidh iad a chèilidh air càirdean dhaibh ach cha do
bhruidhinn iad idir air a’ phiàno, ach dh’fhaighnich Anna anns a’ ghuth-
thàmh:
“Cò bh’anns an taigh a cheannaich sinn?”
“Cha robh ann ach cailleach a bha fuireach na h-aonar,” arsa Tormod ’s e
cur a-mach Cinzano dhi: oir cha robh Murchadh ag òl. “Carson a tha thu
faighneachd?”
“O chan eil airson càil,” ars Anna.
Nuair chaidh i-fhèin is Murchadh dhachaigh bha a’ ghealach àrd geal anns
an adhar agus an taigh sàmhach. Ach bha e coimhead àraid anns an t-solas
gheal ud mar gum biodh e feitheamh, agus thubhairt i seo ri Murchadh.
“Isd òinseach’,” ars esan. “Chan eil càil ceàrr air an taigh.” Bha fhios aice
nach robh mac-meanmna sam bith ann am Murchadh ’s e sin bu choireach
gur e deagh phoileas a bh’ann.
An ath latha a-rithist nuair a bha i còcaireachd anns a’ chidsin agus

Murchadh aig a’ chreagach chual i am piàno a-rithist –’s nuair chaidh i
steach don rùm anns an robh e cha robh duine ri fhaicinn. Ach an turas seo
dh’fhairich i fàileadh cùbhraidh anns an rùm. Nuair thàinig Murchadh
dhachaigh cha do dh’innis i dhà gun cual i am piàno a’ cluich.
B’e seo a’ chiad sanas a chum i bhuaithe na beatha.
Fad a bheatha bha e air a bhith sealg dhaoine air feadh Ghlaschu agus bha
sin fhèin gu leòr dhà. Agus a-nise dh’fheumadh ise sealg an taibhs a bha
cluich air a’ phiàno, anns an taigh mhòr fhalamh ud. Bha a’ ghrian air
aodann Mhurchaidh a dhubhadh ach bha a h-aodann fhèin geal.
An latha bha seo ’s i na h-aonar anns an taigh a-rithist chual i am piàno ’s

nuair chaidh i steach don rùm bha nighean bheag le dreasa phinc oirre na
suidhe aig a’ phiàno. Chaidh i null far an robh i agus thubhairt i rithe,
“Cò thu?”

SHORT STORIES
Sheall an nighean rithe le sùilean cho gorm ri sùilean dola agus fhreagair i.
“Màiread.”
“Màiread,” arsa Anna. B’e Màiread ainm a màthar. Bha iad a’ bruidhinn ri
chèile airson ùine mhath nuair thàinig Murchadh a-steach.
“Dè tha thu a’ dèanamh an sin nad aonar,” ars esan. “An ann a’ cluich air a’
phiàno a bha thu?”
“Cha b’ann,” ars ise. Dh’èirich i bhon t-seata air an robh i na suidhe agus
thubhairt i:
“An d’fhuair thu iasg an-diugh?” Agus mar a b’àbhaist bha e air iasg a
ghlacadh.
“A bheil thu cinnteach gu bheil an taigh seo a’ còrdadh riut?” ars esan.
“Dh’fhaodadh sinn tilleadh a Ghlaschu ma tha thu ’g iarraidh.” Ach bha i
droch-nàdarrach anns a’ bhad, ag ràdh, “Chan eil iarrtas sam bith agam a
dhol air ais a Ghlaschu.” Agus cha dubhairt e an còrr mu dheidhinn.
A h-uile latha a bha e aig a’ chreagach bha i bruidhinn ri Màiread agus ag

innse sgeulachdan dhi. “An latha bha seo,” theireadh i, “bha an nighean
bheag seo a’ coiseachd tro choille nuair chunnaic i am poileas seo anns an
deise ghorm mu a coinneamh.”
Agus dh’èisdeadh Màiread rithe gu cùramach, ach nuair chluinneadh i

Murchadh a’ tighinn bha i teiche air falbh.
“Dè fàileadh a th’anns an rùm seo?” arsa Murchadh rithe, agus smaoinich i,
“ ’S e poileas a th’ann. Carson nach fhairicheadh e am fàileadh?”
“Boltrach ùr a cheannaich mi,” ars ise. Agus thug e sùil oirre mar nach
biodh e ga creidsinn. O, ars ise rithe fhèin, nam biodh an dithis againn –
mi-fhèin is Màiread – còmhla ri chèile a chaoidh …
An latha bha seo agus Murchadh air a bhith anns an taigh gun ghuth air
fhàgail thubhairt i ris,
“Nach eil a thìd agad a dhol a dh’iasgach.”
“Uill,” ars esan, “thàinig e steach orm gu robh mi gad fhàgail ro thric nad
aonar.”

SHORT STORIES
“Isd, amadain,” ars ise, “thalla thusa le do shlait. Tha mise ceart gu leòr
far a bheil mi.” Agus rinn e sin, a’ toirt sùil oirre nuair dh’fhàg e.
“Tha sinn a-nise nar n-aonar,” ars ise ri Màiread. “Tha e àraid gur e dreasa
phinc a th’ort, oir ’s e pinc an dath a b’àill le mo mhàthair.” An dèidh dhi
sgeulachd innse do Mhàiread thubhairt i rithe. “An aithne dhut danns?”
’S thòisich an dithis a’ danns, air feadh an rùm. “Tha mi ’n dòchas,” ars

ise, “nach fhàg thu mi tuilleadh.” Agus bha eagal oirre gun tilleadh
Murchadh, oir gach turas a bha e tilleadh bha Màiread a’ fàgail.
Bha Murchadh math air a bhith glacadh dhaoine is èisg ach cha do ghlac e
Màiread fhathast. Bha e nàdarrach gu leòr a-nise gum biodh Màiread
còmhla rithe mar gum b’ann leatha fhèin a bha i. Ach am b’ urrainn dhi a
cumail mar phrìosanach anns an taigh mhòr ud?
Le làmh Mhàiread na làimh fhèin bha i falbh air feadh an taighe, ’s i a’

sealltainn na rumannan dhi. “Seo an rùm agad fhèin,” ars ise rithe, ’s i a’
fosgladh aon de na dorsan. Bha a cridhe gus briseadh air eagal nach
còrdadh an rùm rithe.
Thàinig an smaoin a-steach oirre, “Nan èireadh rudeigin do Mhurchadh,”

ach chaisg i an smaoin anns a’ bhad mar gum biodh eagal oirre gu ruigeadh
i inntinn Mhàiread.
An latha bha seo thòisich i ag argamaid rithe, “Nach do dh’innis mi dhut

nach robh còir agad am bùrn ud a chur air an làr?” Agus bha i fiadhaich
airson mionaid ach chaill i a fearg ’s rug i air Màiread na gàirdeanan ’s
thòisich i slìobadh a fuilt.
Ach cha b’fhada a-nis gus an tilleadh Murchadh agus gus am fàgadh
Màiread. A h-uile turas a bha i fàgail bha eagal oirre nach fhaiceadh i i
tuilleadh.
Nuair thàinig Murchadh dhachaigh le gad èisg mar a b’àbhaist dhà

thubhairt e, “Dè am bùrn a tha sin air an làr?”
“O dhòirt mi e nuair bha mi nighe nan soithichean,” fhreagair i. Thug e

sùil oirre ach cha dubhairt e an còrr airson mionaid. Am poileas ud leis an
iasg marbh na làimh!
Chaidh e null far an robh i agus thubhairt e, “Tha mi gad fhàgail nad aonar
ro thric. Rinn mi an aon rud ann an Glaschu.”
Thug i sùil ghaolach air agus thubhairt i.

SHORT STORIES
“Chunna mi an nighean bheag ud an-diugh fhèin,” ars ise, “agus làithean

eile cuideachd.”
“Cò ris a tha i coltach?” ars esan.
“Tha dreasa bheag phinc oirre,” ars ise. “Agus ’s e ise a dhòirt am bùrn air
an làr. Thubhairt mi rithe nach robh còir aice sin a dhèanamh.”
“Bha thu ceart,” arsa Murchadh. “Bha thu ceart gu leòr.”
Thug i sùil air le iongnadh. “Dè thubhairt thu?,” ars ise.
“Thubhairt mi riut gu robh thu ceart gu leòr,” fhreagair e. Ann an ceann

ùine dh’fhaighnich i, “A bheil thu creidsinn gu bheil an nighean seo ann?”
“Ma tha thu ga coimhead tha i ann,” arsa Murchadh. Nach e bha coimhead
sgìth is aosd, am poileas ud a bha gun sgìos!
Am poileas ud nach robh a’ fàgail càil gun a rannsachadh!
Shuidh iad a-muigh anns a’ ghrèin air cathraichean agus ise ag èisdeachd
ach an cluinneadh i am piano. Bha sàmhachd air feadh an domhain.
“A-màireach,” ars ise, “feumaidh tu ionnsachadh iasgach dhomh.”
“Ceart gu leòr,” ars esan. Bha e air a làmhan a nighe bhon fhuil. Anns a’
mhionaid ud fhèin chuala iad am piano a’ cluich. Sheall i ris.
“A bheil thu tighinn?” ars ise.
“Tha,” ars esan. Chaidh iad a-steach don rùm. Bha Màiread na suidhe aig
a’ phiàno. Rinn i gàire riutha ’s thòisich i ri cluich.

SHORT STORIES
1. What effect does the use of the word “iad” have in the first sentence?
2. How does the reader know that the couple are comfortably well-off?
3. It does not take long before the reader realises what is at the heart of
their communication problems – that they did not have a family.
Choose a quote from the text that makes this clear.
4. “Agus chuala i am piàno a’ cluich” – what is unusual about the

structure of this sentence?
5. The “ghost” becomes apparent to Anna first. Describe the “ghost”.
6. What kind of connection is there between Anna and Màiread?
7. Comment on “Bha Murchadh math air a bhith glacadh dhaoine is èisg

ach cha do ghlac e Màiread fhathast”.
8. Why does Murdo think his wife is so pale and tired?
9. Why do you think the ending is left open?

SHORT STORIES
An Duine Dubh
Tormod Dòmhnallach – Norman MacDonald
The short story An Duine Dubh by Norman MacDonald deals with a clash
of culture which is the result of a visit by a man named Abdul Hassan to the
home of a Highland lady to try to sell his wares.
An Duine Dubh
Bha a’ chroit na seasamh aig ceann shuas a’ ghlinne agus cha robh an
rathad a’ dol na b’fhaide. Bha na beanntan air a cùl agus An Tàbh Atlantic
mar dealbh fad às. Cha robh càil eadar an taigh agus an saoghal ach teud
an dealan-uisge agus rathad corrach morghain, a bha dol a-mach à sealladh
thairis air bruaich. Bha ceò ghlas ag èirigh bhon t-simileir. Air cùl an
taighe bha bothan beag chlach air a thogail airson nan cearc le feans ma
thimcheall. Air taobh a-staigh na feansa bha grunn chearcan a’ sgrìobadh
san talamh.
Thàinig cailleach le mias na làimh a-mach às an taigh agus chaidh i a

dh’ionnsaigh an taigh chearc. Bha aodach dubh oirre agus bha bata aice.
Thòisich i ri crathadh na bha anns a’ mhias air beulaibh nan cearcan. Nuair
bha a’ mhias falamh chaidh i steach don taigh chearc agus thàinig i a-mach
an ceann mionaid le dà ugh bheag dhonn na làimh. Thog i na h-uighean air
beulaibh a sùilean agus sheall i gu geur riutha. Bha i toilichte – bha na h-
eireagan air tòiseachadh a’ breith.
Nochd duine beag tapaidh air an rathad os cionn an taighe. Bha na fiaclan
aige cho geal ri sligean agus bha a chraiceann mar fhàd bhon tairsgeir. Na
làimh bha poca mòr trom agus chrom e a-nuas air beulaibh an taighe a’
dèanamh air an doras.
Thàinig boireannach òg a-mach chun an dorais, ’s i a’ crathadh flùir bho a

làmhan.
“Chan eil sinn ag iarraidh càil an-diugh.”
“Baraganan gu leòr an-diugh! Stocainnean? Còta bàn? Aparan?”
Chuir e am poc air an talamh gu grad agus dh’fhuasgail e e. Dhòirt a-mach

às a’ phoc dùn mòr aodach bhoireannach. Rug e air rudeigin soilleir sìoda
agus sgaoil e a-mach e le làmhan fada donn.
“Gùn-oidhche brèagha àlainn an seo!”

SHORT STORIES
“Chan eil mi ag iarraidh càil an-diugh!” Dh’fhàs i dearg anns an aodann.
“Stocainnean sìoda! Tè àlainn – stocainnean àlainn! Ceithir is sia

sgillinn.”
“Ceart gu leòr. Gabhaidh mi aon phaidhir. Fuirich gu faigh mi airgead.”

Chaidh i a-steach agus thill i leis an airgead.
“Seo, matà. Thoir dhomh na stocainnean.”
“Tapadh leibh, a bhean. Am beil sibh ag iarraidh dà phaidhir?”
“Chan eil ach a h-aon. Chan eil mi ag iarraidh càil tuilleadh an-diugh.”
“Ceart, a bhean.” Rinn e osann agus thòisich e ri rùilleadh a-measg an dùin

aodaich aig a chasan. Thug e dhi neapaicean beag geal.
“Seo, a bhean. Bho Abdul Hassan – airson na Nollaige.” Rinn i gàire ris.
“ ’S fhada gu Nollaig, a bhròinein! Chan eil ann ach an samhradh fhathast.

Ach tapadh leatsa. Innis dhomh – am bi sibhse – am bi sibh –a bheil sibh a’
cumail na Nollaige cuideachd?”
“Cha bhi, a bhean. Tha latha eile againne. Latha Mahommed. Chan eil
ann ach aon Dia agus ’se Allah am fàidh aige.”
“Seadh, seadh. Feumaidh mi a dhol a dh’fhaicinn càite a bheil a’

chailleach.” Ruith i gu cùl an taighe.
“Cò a tha a siud, a nighean? Chuala mi thu a’ còmhradh ri cuideigin.”
“Tha duine dubh. Cheannaich mi stocainnean bhuaithe agus thug e dhomh

neapaicean pòcaid an asgaidh.”
“Nach robh sin snog dhà? An robh na stocainnean cho math ris an
fheadhainn a thug Dòmhnall dhachaigh às Ameireagaidh?”
“Cha b’ann às Ameireagaidh a thug e iad! À Africa!”
“Gu dè an diofar a th’ann. ’S ann le Dia a tha an saoghal uile, co-dhiù. An

tug thu dhà cupan tea? Bhitheadh e gu math sgìth ’s e air coiseachd bhon
rathad mhòr. Ach seo esan! Tha thu an sin, a bhalaich! Thig an seo, gu
faic thu na cearcan brèagha a th’agamsa!”
Chaidh iad chun an taigh chearc.

SHORT STORIES
“Seall air sin! Nach eil iad math! A h-uile h-aon ach an tè dhubh sin. Tha
mi a’ fuireach ri banais gus an toir mi seachad an tè sin. Ach tha an còrr
nan eireagan agus chan fhada gus am bi iad gu lèir ri breith. An caomh leat
fèin uighean?”
“ ’S caomh. Cearcan snog gu dearbh. Agus tha iad òg cuideachd!”
“Eireagan gu lèir, ach an tè dhubh.”
“An dùil an reiceadh sibh dhà na trì rium? Bheir mi dhuibh deich tasdain
an tè orra.”
“A bhoill, cha robh càil a dhùil agamsa gin aca a reic. Cha bhi mi a’ reic
ach na h-uighean. Nam bithinn cinnteach gum biodh tu gu math dhaibh. A
bheil teaghlach agad?”
“Tha. Bean agus dà nighinn.”
“Bhoill, bhoill, matà. Bheir mi dhut na ceithir as òige, agus fiach gum bi
thu gu math dhaibh!”
“Tapadh leibh, tapadh leibh!”
Thug e a-mach làn a chròig a notaichean agus thug e dhi dhà dhiubh.
“Ceangailidh mi na casan aca le snàth agus cuiridh mi ann am poca dhut

iad. Theirig còmhla ri Màiread agus bheir i dhut cupan tea.”
An ceann lethuair a thìde dh’fhalbh Abdul Hassan suas an rathad agus

chaidh e a-mach à sealladh tarsainn na bruaich. Bha am poca leis na
cearcan air a dhruim agus am poca aodaich na làimh.
“Tha mi duilich a-nis gun tug mi dhà iad,” ars a’ chailleach. “Cha ruig e an
rathad mòr a-nochd leis an ultach ud.”
“Och, ’s beag a chuireas e air! Tha iad eòlach gu leòr air ultaich. Na
dh’innis mi dhuibh gun tug e dhomh neapaicean? Airson na Nollaige, ars
esan! Chan eil fhios aige fiù cuin a tha Nollaig ann!”
“Tha mi a’ dol a dh’fhaicinn gu dè na ràinig e. Na beathaichean bochd – air

an ceangal ann am poca!”
Rug i air a’ bhata agus dh’fhalbh i suas an rathad. Nuair ràinig i mullach a’
bhruaich sheall i sìos air fad a’ ghlinne ach cha robh duine ri fhaicinn.
Chual i gogadaich a’ tighinn bho thaobh an uillt bhig ann an dìg an rathaid.

SHORT STORIES
Chaidh i a-null agus sheall i sìos. Chunnaic i trì cuirp bheaga nan laighe
air a’ ghlasaich. Bha an duine dubh os an cionn agus cearc a’ breabadaich
na làimh. Bha sgian mhòr àraidh aige anns an làimh eile agus gheàrr e an
ceann bhon cheathramh tè agus i ga choimhead. Nuair thàinig a guth air
ais, thog a’ chailleach am bata agus rinn i air.
“Gu dè tha thu ri dèanamh, a bhiasd? Na cearcan bochda!”
Leum e às an rathad agus thog e na cearcan marbha bhon talamh. Bha na

sùilean aige geal na cheann agus cha dubhairt e facal. Nuair bha e a’
dìreadh chun an rathaid na chabhaig, bhuail i am bata air mun druim. Thuit
i chun na talmhainn agus shuidh i an sin airson ùine mhòir ’s i a’ gurraban
’s ri osnaich:
“Obh! Obh! – Obh! Obh!”
An ath latha, fhuair Màiread leabhar làn sgrìobhaidh coltach ri sgrìobhadh

circe na laighe anns an àite sin. Dh’innis duine foghlamaichte dhi às dèidh
làimh gum b’e Bìoball àraidh a bh’ann – “An Koran”, an leabhar a sgrìobh
Mahommed, agus anns a bheil e ag aideachadh gum b’e fàidhe mòr a
bh’ann an Crìosd.
Discuss the content of this story with your lecturer.
1. What picture is the reader given of the old woman?
2. How does MacDonald give the reader a clear picture of the man?
3. Give a brief account of why the man came to the old woman’s house.
4. How do you come to realise that the younger woman was getting
frustrated with the man?
5. What did the man give the young woman for free?
6. How does the reader know that the man did not have an understanding
of Christmas?
7. How do you know the old woman was very proud of her hens?
8. Why was the old woman initially reluctant to sell the man her hens?

SHORT STORIES
9. Which onomatopoetic word is used in connection with the hens?
10. After the woman sells some of her hens to the man, what awful sight
does she see lying in the grass?
11. Identify two pieces of evidence from the text which show how angry
the old woman was with Abdul Hassan.
12. What is significant about the book Mairead finds?
13. What do you think happened to the hens?
Comment on the characters in this story – the young woman, the old woman
and Abdul Hassan.
Using evidence from the story, how is it clear that the characters do not
understand each other’s cultures?

SHORT STORIES
An Duine Dubh
An Duine Dubh by Iain Crichton Smith deals with the same theme as An
Duine Dubh by Norman MacDonald – the meeting of two different cultures
and the effect this has on those who are involved. This story also centres
on a man who comes into the home of an elderly woman to try to sell her
his goods.
Read through the short story and discuss it with your lecturer.
An Duine Dubh
Dh’fhosgail an duine dubh a’ mhàileid mhòr air an làr. Bha a’ chailleach na

suidhe air a’ chathair a’ coimhead am broinn na màileide.
“Jumpers,” ars an duine dubh. ’S bha iad brèagha cuideachd, feadhainn

dearg mar fhìon, feadhainn glas mar mhuir, feadhainn uaine mar thalamh,
feadhainn buidhe mar ghealaich. Cha dubhairt i smid. Bha leabhar aig an
duine dhubh a dh’fhàg e ri thaobh air an làr. Cha dèanadh i mach facal
dheth. ‘S ann a bha an sgrìobhadh coltach ri algebra no rionnagan
geamhraidh. Dh’fheumadh tu a leughadh bhon deireadh chun toisich.
Shuidh a’ chailleach air a’ chathair, ’s i aosd, a ceann mar chlogaid
sneachda.
“Gowns,” ars an duine dubh. Bha iad a’ dòrtadh às a làmhan mar bhùrn no
bogha-frois. Cia mheud làmh chèin a bha air a bhith ’g obair air na gùin-
tean ud? Smaoinich i air a’ chiad dannsa aig an robh i, trì fichead bliadhna
air ais, ’s thug i sùil air an duine dhubh. Am biodh esan a’ dol gu dannsan?
Bha aodann tana, geal mar rathad cèin. Sheall i air falbh. Dhòirt na
gùintean às a làmhan. Co-dhiù chuireadh e seachad beagan den tìde dhi a
bhith gan coimhead. Chuir e na gùintean nan laighe air muin a chèile.
“Stockings,” ars esan, ’s e toirt a-mach stocainnean naidhlean. Cha do

chaill a casan an aois a’ coimhead riutha. Cha do dh’fhosgail aon doras.
Laigh a làmhan le coibhneas air na stocainnean. Smaoinich i air a h-athair
a’ slìobadh an eich a bh’ aca uair. Chaidh i dh’iarraidh deoch bhùrn don
duine dhubh oir bha an latha blàth: dh’òl e e mar a dh’òlas lit bainne.
Airgead? Cò aige bha airgead? Cha robh ann ach an aonaranachd, a h-

aonaranachd-se ’s aonaranachd an duine dhuibh. Cò às a thàinig e? Dà
shaoghal a’ coinneachadh a chèile anns an dorchadas. Thug e sùil timcheall
an t-sèomair, an sgàthan mòr maol, am Bìoball air oir na h-

SHORT STORIES
uinneig, cùirtearan air an tarraing bho chèile. Chuir e na stocainnean

còmhla ris a’ chòrr.
“Silk underwear,” ars esan. Thog i a sùilean air falbh mar gum biodh e air
rudeigin uabhasach a ràdh. Bha solas a’ dòrtadh tron uinneig a’ fighe a h-
aodainn. Sia bliadhna – ’s math dh’fhaoidte – ’s bhiodh e air ais na
rìoghachd fhèin. Cha b’e seo a rìoghachd-san. Ach dh’fheumadh e airgead
a dhèanamh. Bha an sìoda a’ lasadh fo a làmhan. Thug i sùil air ais chun
an t-sìoda mar gum b’e bratach a bha i a’ coimhead.
“Eighteen shilling,” ars esan. Bha làmhan na caillich nan laighe gu

sàmhach air a’ chathair.
“Eighteen shilling,” ars esan a-rithist. Rinn i gàire. Bha a gàire mar
earrach fon chlogaid shneachd. Dh’fhairich e sgìths na dhruim. Cha robh e
furasd’ a bhith slaodadh màileid throm tro na sràidean.
“Seventeen shilling,” ars esan. Rinn i gàire eile. Cha robh e tuigsinn cò air
a bha i a’ smaoineachadh. Air aon bhalla bha dealbh balaich ann an deise
seòladair.
Cha robh càil tuilleadh anns a’ mhàileid. Chrom e a cheann ’s e dol a chur
an aodaich air ais don mhàileid.
“Silk underwear,” ars esan a-rithist, ris fhèin, ’s e dol ga thogail.
Stad i e.
Chaidh i chun an dreasair ’s thug i mach sporan. Chunnt i mach ochd

tasdain deug dhà. Cha robh mòran tuilleadh air fhàgail anns an sporan.
Rinn i gàire nuair thug i dhà an t-airgead. Rinn esan gàire cuideachd leis
an toileachas. Thug e dhi an t-aodach.
“A hà,” ars esan ris fhèin, “chan eil làithean do dhannsaidh seachad
fhathast.”
Chuir e gach nì air ais don mhàileid, aodach flùranach fuar sìoda ann an
teas an t-samhraidh.
Dhùin e a’ mhàileid ’s dh’èirich e.
Ghlais i an doras air a chùlaibh.

SHORT STORIES
Nuair bha e a’ coiseachd sìos an rathad thog i a làmh ris mar dhuilleag
foghair. Lean a sùilean e gus na dh’fhalbh e dhachaigh. Bha na busaichean
mòra a’ dol seachad air an t-sràid. Bha ise na coigreach cuideachd.
Thog i an t-aodach sìoda ’s leig i leis ruith tro a làmhan mar airgead. An
dèidh sin, chuir i don dreasair e, ’s shuidh i rithist aig an uinneig, a’
coimhead na sràid.
Choose relevant quotes from the short story which relate to:
 the selection of goods the man had to offer

 the attempt the two characters were making to communicate with
one another
 cultural differences
 the woman’s thoughts of her youth
 their interest in each others lives
 friendship and understanding despite differences in culture.
What is significant about the following quotes?
 “a ceann mar chlogaid sneachda”

 “Bha iad a’ dòrtadh às a làmhan mar bhùrn”
 “Laigh a làmhan le coibhneas air na stocainnean ”
 “Dà shaoghal a’ coinneachadh a chèile anns an dorchadas ”
 “Cha b’ e seo a rìoghachd-san”
 “Dh’fhairich e sgìths na dhruim”
 “Rinn i gàire…Rinn esan gàire cuideachd leis an toileachas ”
 “Bha ise na coigreach cuideachd”.
What do you notice about:
 use of simile?
 use of questions?
 sentence length?
 use of alliteration?

SHORT STORIES
Advanced Higher
Compare and contrast An Duine Dubh by Norman MacDonald and An

Duine Dubh by Iain Crichton Smith. Comment on:
 theme
 characters
 plot
 setting.
What do you think was the authors’ purpose in writing these short stories?
Do they send out a particular message or do they adopt a stance? Give
evidence for your answer.

SHORT STORIES
A’ dol dhachaidh
Iain Mac a’ Ghobhainn
A’ dol dhachaidh! Chan eil càil coltach ris. ’S iomadh latha is oidhche bha
mi deimhinn nach fhaicinn mo dhachaidh a chaoidh. ’S an dràsda fhéin tha
e duilich a chreidsinn. Bha an cogadh cho fada ’s an t-slighe cho
dòrainneach. An dràsda fhéin tha a’ chlogaid stàilinn ’nam bhaga. Tha mi
smaoineachadh gun cuir mi dìtheannan innte, mar phoit, airson toirt gu
buileach air falbh bhuam am murt ’s am marbhadh a thachair, ged a tha
mise sàbhailte.
Tha e fuar an nochd ach chan eil sin a’ cur dragh orm. Bidh na tighean
blàth nuair a ruigeas sinn iad aig a’ cheann thall. Bidh gach nì mar a bha e
roimhe. Faodaidh sinn éirigh anns an t-sàmhachd, faodaidh sinn ar n-
aodach cogaidh a chur dhinn. Faodaidh sinn éisdeachd ris a’ chòmhradh
làitheil.
Nach geal na rionnagan anns an adhar. Nach geal a’ ghealach. Truinnsear

mór geal. Fàgar na comandairean ’nan rìoghachd fhéin. Leanadh iad orra
a’ sgrìobhadh òrdughan air an cuid phàipearan mas toil leotha e. Tha na
saighdearan a’ dol dhachaidh. ’S tha an t-soitheach a’ fàgail. Fairichidh mi
a buille fo mo chasan a tha nas cleachdte ris an talamh. Chì mi troimh na
h-uinneagan na speuran geal le reothadh.
Tha mi nise dà bhliadhna air fhichead. Càit an deach m’òige? Shil i air
falbh anns na batail, ’s tha mi ’nas aosda na m’athair. Chan eil fhios aig
duine air an talamh uaine ud na nithean a thachair dhomhsa ’s do mo
sheòrsa. Feumaidh mi bhith faicilleach, chan eil math dhomh innse dhaibh,
oir cha tuigeadh iad mo smaointean. Thig mi dhachaidh ’nam measg mar
choigreach.
Tha mi air call cuimhne air na seann òrain. Cha mhór nach eil mi air call
cuimhne aig amannan air mo chànan. Chunna mi mo chompanaich a’
bàsachadh ann an stoirm fala. Tha mo shùilean, saoilidh mi, air dath na
fala, dearg, mar shùilean ainmhidh. Feumaidh mi bhith faicilleach.
Chan aithnich mo chlann mi, tha mi cinnteach. Aig dà bhliadhna air

fhichead! Smaoinichibh! Bidh mi ’nam choigreach dhaibh. Ach théid na
làithean seachad ’s fàsaidh sinn nas dluithe air a chéile. Ged a tha ceithir
bliadhna fada chan eil annta ach ceithir bliadhna, a dh’aindeoin cùis.
An dràsda fhéin, chì mi ’nam inntinn mo chàirdean a’ deasachadh a’ bhùird.

Chì mi na soluis a’ deàlradh air na ballachan, air na copanan. Chì mi na
nabaidhean a’ deànamh gàirdeachas. Oir bidh an saoghal mar a bha e
roimhe. No nas fheàrr na bha e roimhe. Saoghal ùr gun mheang. Oir tha

SHORT STORIES
sinn uile air móran ionnsachadh. Thug sinn a mach ar sgoilearachd anns an
dorchadas.
Ceithir uairean a thide ’s chì mi iad a rithist. Tha buille na soithich a’ fàs
nas làidire. Tha an cuan ’na bhreislich fodhainn, ’s an caiptean air an
drochaid, aodann geal anns an dorchadas. Tha fhios aige-san dè tha e
dèanamh, ’s faodaidh sinne, ma thogras sinn, an leabaidh a thoirt oirnn. Tha
sinn uile toilichte ar n-uallach a leigeil sìos. Chi mi sròn na soithich ’s i a’
gearradh troimh’n chuan, a sròn bhiorach shearbh. ’S math an t-ainm a
thug iad oirre:
AN IOLAIRE.

SHORT STORIES
Obair-dachaigh
Research the story of the Iolaire disaster. Consider the following points:
 what was the Iolaire?
 when did the disaster happen?
 where did the disaster happen?
 why did the disaster happen?
 any other relevant information.
Discuss your findings with your lecturer.
Obair clas
This short story is written by Iain Crichton Smith. In it he adopts the

persona of a soldier returning home safely to Lewis after the First World
War.
Read through the story and discuss it with your lecturer.
Comment on the following techniques:
 the effect of the account being written in the first person even
though the reader does not find out the soldier’s name
 the writer’s use of short sentences
 why there is only one character
 the character’s feelings at going home
 the character’s opinions of war
 the character’s thoughts of home
 the character’s awareness of things around him such as nature, the
boat and so on
 the effect war has had on his character
 the build-up of tension created by Crichton Smith
 the horrendous irony of the story.

SHORT STORIES
Advanced Higher
Re-read your notes on the poem Bantrach Cogaidh and the short story A’
dol dhachaidh and answer the following questions.
Bantrach Cogaidh and A’ dol dhachaidh both deal with the Iolaire disaster.
Which text do you think relays the awful reality of the tragedy most
effectively? Give reasons to support your answer.
In both Bantrach Cogaidh and A’ dol dhachaidh, the writers create

characters who have an innocent naivety regarding the Iolaire disaster.
How do the writers succeed in showing the reader how unaware the
characters are of the event?

SHORT STORIES
Ann am Bosnia
Ann am Bosnia by Iain Crichton Smith focuses on one nameless character –

a sniper in battle in Bosnia – who reaches a turning point during the story.
Read the text.
Ann am Bosnia
’S e snaidhpear a bh’ ann, ann am Bosnia. Cha leig sinn a leas ainm a chur
air. Oir bha e ga fhalach fhèin co-dhiù. Bhiodh e na shuidhe ann an
craoibh agus bhiodh e a’ cuimseachadh a ghunna air drochaid a bha fodha,
ach pìos math air falbh. Na faiceadh e saighdear bhon armailt eile bhiodh e
feuchainn ri mharbhadh. Chaidh a theaghlach fhèin a mharbhadh, a mhac a
bha dà bhliadhna dheug, ’s a bhean. Bhiodh droch nàdar ga lìonadh fad na
tìde.
Bha àm ann a bhiodh daoine is boireannaich a’ danns air an drochaid ud ann

an Sarajevo. Bhiodh fear a’ cluiche accordion agus bhiodh an danns a’ dol
air adhart air an oidhche ’s a’ ghealach anns an adhar, gealach ìosal dhearg.
Air oidhcheannan foghair bhiodh e fhèin ’s a bhean a’ danns air an drochaid
ud nuair a bha iad òg. Ach a-nis bha fòirneart air feadh na dùthcha.
Bha e faireachdainn uabhasach aonaranach a-nis. Leis an fhìrinn innse cha

robh caraidean aige. Cha robh miann còmhraidh idir air. Bhiodh e na
shuidhe anns a’ chraoibh a’ bruadarachadh air a mhnaoi ’s air a mhac. Mar
a bhiodh e toirt a mhic a chluich air ball-coise. ’S mar a bhiodh a bhean a’
gàirnealaireachd.
Anns na làithean sin cha b’ e saighdear a bh’ ann idir. ’S e fear a bh’ ann a
bhiodh a’ peantadh thaighean. Bhiodh a mhac uaireannan a’ tighinn còmhla
ris. Cha robh e ach dà bhliadhna dheug nuair a chaidh a mharbhadh. Dhùin
e a shùilean leis a’ phian.
Bha duilleagan nan craobh ùr is uaine. Air an adhbhar sin chan fhaiceadh
duine e. Uaireannan bhiodh e a’ sealltainn suas don adhar far am faiceadh e
an-dràsta ’s a-rithist plèanaichean NATO. Abair thusa gu robh iad a’ dol
luath ’s a’ fàgail sreath gheal às an dèidh. Bha na duilleagan cùbhraidh is
ùr mun cuairt air.
Chunnaic e balach le peile a’ dol tarsainn air an drochaid. Thog e an gunna

gu a ghualainn ach mus d’ fhuair e air cuimseachadh air bha am balach air a

SHORT STORIES
dhol seachad. Bhiodh am balach mu aois a mhic fhèin. Thàinig an droch

nàdar air ais a-rithist. Bha am balach seo beò ’s bha a mhac fhèin marbh.
Cha robh sin ceart. Bha am balach a’ dol air tòir uisge anns an tobair le
peile buidhe. Bha geansaidh dearg air. Chunnaic e e cho soilleir ri càil.
Cha b’ urrainn dha crùbadh nuair a thilleadh e oir bhiodh am peile làn
bùirn. Ach an toiseach bha e na chrùban. Cha bhiodh e na chrùban nuair a
thilleadh e.
Bha na duilleagan ùr. ’S e an t-earrach a bh’ ann. Bha an saoghal ga

ùrachadh fhèin. Ach, air an latha earraich ud, bha e a’ cluinntinn nan
gunnachan. Cha robh aon duine anns an armailt a bha cho cinnteach ris le
gunna, le raidhfil. Ge bith dè cho fada air falbh ’s a bha an targaid. Nuair
a bha e na pheantair cha robh fhios aige gu robh an tàlant ud aige. ’S ann a
bha e ga shamhlachadh fhèin ri clamhan ann an craoibh. Clamhan searbh,
cinnteach.
Chunnaic e a mhac aig àm Nollaige. Bha e a’ tighinn sìos an staidhre ’s a

shùilean a’ leudachadh nuair a chunnaic e na prèasantan. Bha e casruisgte.
Cha robh càil air an t-saoghal coltach ri àgh ann an aodann leanaibh. Ach
a-nis bha e marbh agus thàinig an droch nàdar air ais a-rithist.
Agus anns a’ mhionaid thàinig am balach air ais. Bha e tòrr na bu

shlaodaiche a-nis or bha am peile aige na làimh. ’S math dh’fhaodte gu
robh iad den bheachd nach toireadh an snaidhpear ionnsaigh air balach dà
bhliadhna deug.
Chunnaic e a-rithist an geansaidh dearg ’s am peile buidhe. Bha iad dìreach

mar rudan a chitheadh tu ann an dealbh.
“Carson a chuir iad a-mach thu?” dh’èigh e na inntinn ris a’ bhalach. “Cha
robh gnothach aca do chur a-mach agus fhios aca gu robh mis’ an seo is gu
robh mi nam aonar mar a bhios mi a chaoidh tuilleadh.”
Bha gach nì a’ tachairt cho slaodach mar gum biodh an saoghal air stad.
Bha fhios aige nam marbhadh e am balach gum biodh e air atharrachadh
mòr a dhèanamh. Cha deidheadh e air ais a chaoidh gu bhith na pheantair
thaighean mar a bha e uair.
Ach aig a’ cheart àm bha e a’ faireachdainn cho droch-nàdarrach. Bha an

saoghal mar gum b’ eadh dearg air a bheulaibh, cho dearg ris a’ gheansaidh
a bha am balach a’ caitheamh.
Bha tìm a’ leantainn ’s a’ leudachadh. A-nis bha e a’ dol a bhruthadh an

trigeir. Cha leigeadh e leas ach suathadh ann. Bha am balach air am peile
a chur sìos. “Tha mi dol ga mharbhadh,” ars esan ris fhèin. “Anns a’

SHORT STORIES
mhionaid seo.” Agus thug e sùil air uaireadair. Bha e beagan an dèidh aon
uair deug. Agus anns a’ mhionaid thionndaidh am balach ris ’s e a’
fosgladh a ghàirdeanan. ’S dè bh’ air ach aodann a mhic fhèin.
Is e a’ caitheamh na h-anaraig uaine a chleachd a bhith air. ’S e a mhac

fhèin a bh’ ann, a’ tionndadh ris ’s bha fhios aige nam marbhadh e am
balach seo gu marbhadh e a mhac fhèin a-rithist. Bha sin cho soilleir dha.
Bha fallas a’ sruthadh sìos aodainn fhèin ’s air cùl amhaich. Bha an gunna
air chrith na làmhan. ’S drochaid Sarajevo fodha. Agus a mhac fhèin a’
coiseachd air ’s a’ coimhead ris. ’S am peile bùirn na shuidhe ri thaobh.
“Mo mhac, mo mhac,” dh’èigh e. Ach cha robh duine a-nis ri fhaicinn.
Bha an drochaid falamh. Bha chorp gu lèir a’ sruthadh le fallas, ’s bha
deòir na shùilean. Thàinig isean is shuidh e anns a’ chraoibh anns an robh
e. Isean beag donn. Agus cnuimh na bheul. Agus chuala e plèana a’ dol
seachad os a chionn.
Bha an t-isean a’ gluasad an siud ’s an seo, cho an-fhoiseil. Ach bha an t-

earrach ann. Bhiodh iad a’ togail neadan.
Thàinig e sìos às a’ chraoibh. Fodha air an talamh chunnaic e sneadhain

nan deann ruith an siud ’s an seo. O, nach iad a bha luath.
A’ ruith an siud ’s an seo. Cha robh e airson seasamh orra.
Thionndaidh e ar falbh bhon chraoibh. Bha e a’ dol a leigeil seachad

dreuchd snaidhpeir. Bha e a’ faireachdainn an droch nàdar ga fhàgail. Bha
e faireachdainn falamh. Na inntinn bha e a’ coimhead a mhic a’ fosgladh a
ghàirdeanan.
Shad e air falbh an gunna ’s thòisich e ri coiseachd. Cha mharbhadh e

duine tuilleadh. Ge bith dè dhèanadh iad air, cha mharbhadh e duine
tuilleadh.
’S bha e faireachdainn cho aotrom, cho aotrom ri na duilleagan uaine, cho

aotrom ris an eun a bha na shuidhe air gèig. Cho aotrom ris a’ ghaoith.
Cho aotrom ris an earrach. Mar gum biodh e a’ dol a thòiseachadh às ùr.
As aonais a’ ghunna. A’ dol a thòiseachadh às ùr latha earraich. Ann am
Bosnia.
Discuss the content with your lecturer.

SHORT STORIES
1. Why do you think the character is not given a name?
2. Describe the setting of this story.
3. What are the character’s feelings? Give quotes to support your

answer.
4. Comment on the writer’s use of colour. What colours does he

mention and what do they describe?
5. How does the writer develop a link between nature and the content
of the story?
6. How is a sense of loss developed through the story?
7. Select at least three quotes to show how Crichton Smith also

highlights renewal and growth.
8. Why do you think the character reaches a turning point and decides
to give up his work as a sniper? How does he change at the end of the
story?
9. How successful do you think Crichton Smith is in putting the

sniper’s feelings across? Think of the sniper’s opinions and
observations.
10. What is your opinion of this short story? What is successful about
it?

SHORT STORIES
Ri Aghaidh na Creig
In this short story, we are given an account of the friendship that existed at
one time between Mìcheal, Seòras and Anna, and how this changed. The
three characters are also described in detail.
Read through the text.
Ri Aghaidh na Creig
Dhùin Mìcheil doras a’ Bh.M.W. aige le brag. Choimhead e air airson

tiotan le sùil choibhneil, ghràdhach. Am peanta dubh, faileasach; na
loidhnichean rèidh, clasaigeach. Bha e fortanach gu dearbh gun robh
leithid de chàr aige, agus gun robh obair cho math aige mar mhanaidsear
oifis ann an Glaschu a leigeadh dha leithid de chàr a cheannach. Saoil
ciamar a bha a sheann charaid Seòras agus a bhean bhrèagha Anna. Thug e
sùil mun cuairt. Bha Seòras na chroitear ged a bha e cuideachd ag obair
anns a’ Chuan-a-Tuath anns na raointean-ola. Bha e air taigh brèagha ùr a
thogail. Ri taobh an taighe thug Mìcheil an aire dha Volvo gorm.
Fhreagair Anna an doras.
“Mìcheil!” Bha gàirdeachas na sùilean agus thilg i a làmhan timcheall air

amhaich.
“Dè tha thusa a’ dèanamh san dùthaich?”
Choimhead e oirre. Bha i cho brèagha ’s a bha i riamh le a falt bàn agus a
sùilean tais gorm. Bha e follaiseach gun robh i cuideachd cho càirdeil ’s a
bha i riamh.
“Tha mi dìreach a-bhos airson latha no dhà. Thàinig mi choimhead air mo

sheann charaidean. A bheil Seòras a-staigh?
Dìreach mar a thuirt e na facail nochd e ann an doras an t-seòmar-suidhe.

Duine fèitheach làidir, gun a bhith ro mhòr. Thàinig e agus thabhainn e a
làmh do Mhìcheil.
“Uill, uill, h-abair srainnsear. Cha robh dùil sam bith agam riutsa. Ach tha
e math d’ fhaicinn. Thig a-staigh, thig a-staigh.”

SHORT STORIES
Chaidh Mìcheil a-staigh. Cha b’ urrainn dha gun an aire a thoirt dhan t-
seòmar-suidhe brèagha – an suite beartach uaine, na cùirtearan tiugha,
uaine cuideachd, agus am brat-ùrlair. A h-uile nì a’ co-fhreagradh, an dà
chuid dathan is stoidhle. Sheòrais, duine fortanach gun teagamh sam bith.
Agus a bhean, Anna an fhuilt bhàin, bha ise cuideachd a’ co-fhreagradh.
B.M.W. nam boireannach, loidhnichean clasaigeach. Agus bha i cho gasta,
còir. Ro chòir, ’s dòcha.
“Uill, uill, cia mheud bliadhna a th’ ann on bha thu seo?” arsa Seòras. “Tha
mi creidsinn gu bheil trì.”
“Cha robh sibh pòsda an uair sin.”
“Cha robh,” dh’aontaich Seòras, “ged a bha sinn air gealladh-pòsaidh a

thoirt seachad.”
“Tha sin ceart,” arsa Mìcheil. Bha a làmh air gàirdean an t-sòfa a’
faireachdainn an aodaich bhrèagha mheileabhaid. Chuimhnich e air an trup
mu dheireadh a bha e a’ coimhead orra. Bha Seòras air a thoirt air falbh
dhan ospadal agus chaidh fhàgail-san le cùram airson Anna. Dh’fhàs
aodann dearg a’ cuimhneachadh air.
Dh’aithnicheadh e fhèin agus Seòras Anna on bha iad òg san sgoil. Bha
gaol aig an dithis aca oirre ach ’s e Seòras a roghnaich i aig a cheann thall.
Ach an uair ud, nuair a bha Seòras anns an ospadal, bha e air peacachadh na
aghaidh. Cha robh a chogais riamh air leigeil leis. A-nis bha e air tighinn
air ais a dh’iarraidh maitheanas air a sheann charaid.
Bha Seòras na sheasamh agus a dhruim ris an teine, a làmhan paisgte air a
chùlaibh. Bha Anna na suidhe anns an t-sèithear ri thaobh agus i a’
fuaigheal. Dh’fhairich Mìcheil an dlùths a bha eadar an dithis. Mar gum
biodh fios aca air smaointean a chèile. Faireachdainn bhlàth, chofhartail.
Bha e math a bhith ann. Ach bha rudeigin ann mu dheidhinn Sheòrais ...
An robh e cho càirdeil ris ’s a b’ àbhaist dha a bhith? Chuir e a’ cheist às a
cheann.
Dh’èirich Anna ...
“Bheil cuimhn’ agad nuair a bhiodh sinn a’ sreap?” arsa Seòras.
“Am bi thu ris fhathast?”
“’S mi bhios. Uill, bithidh nuair a gheibh mi an cothrom, ’s chan eil sin
tric.”

SHORT STORIES
“Dè mu dheidhinn a-màireach?”
“A-màireach!”
“Nach bi thu seo?”
“Bithidh, ach ... chan eil an stuth agam leam.”
“Na bi dragh ort mu sin. Size ten nach e?”
Chaidh Seòras a-mach às an rùm agus thàinig e air ais le brògan brèagha
ùra. Feadhainn aotrom airson sreap chreagan.
“Seo. Feuch iad sin ort.”
Ghabh Mìcheil na brògan agus dh’fheuch e iad. Bha iad dìreach ceart dha.
’S e brògan math sreap a bh’ annta. Chaidh Seòras a-mach a-rithist agus
thàinig e air ais le anarac, stocainnean tiugha agus briogais. Bha iad uile
ùr.
“’S toigh leam fear spèar dhen a h-uile càil a bhith agam,” thuirt Seòras le
gàire.
“Tha thu cho còir ’s a bha thu riamh,” arsa Mìcheil. “Cha robh dùil sam
bith agam ri seo.”
Thàinig Anna a-staigh le teatha. Bha iad a’ crac airson greis mu na seann
làithean, mar a bhiodh iad a’ falbh còmhla airson oidhcheannan a’ sreap
anns a’ Chuilthionn agus an Earra-Ghàidheal. Bha an triùir aca math air
sreap. An toiseach bhiodh iad dìreach a’ gabhail a’ cheum a b’ fhasa chun
a’ mhullaich, ach dh’fhàs iad sgìth dhe sin agus thòisich iad a’ sreap
chreagan – rud a bha fada na bu chunnartaiche.
Mar bu trice ’s e Seòras a dhèigheadh air thoiseach leis an ròpa agus na

geinnean, na pitons, agus leanadh Mìcheil agus Anna suas e.
“Càite ma-thà a-màireach?” arsa Mìcheil agus e a’ dèanamh deiseil airson

falbh.
“Bodach an Stòrr,” arsa Seòras. Rinn Anna gàire.
“Bodach an Stòrr! A’ spòrs a tha thu! Cò riamh a shreap Bodach an Stòrr?”

SHORT STORIES
“Sin dìreach carson a dh’fheumas sinn a shreap. Cha do shreap duine eile e
cho fad ’s is fhios dhomh.”
Cha b’ urrainn Mìcheil diùltadh. Bha inntinn Sheòrais air a dèanamh suas.
Dh’aontaich iad gun coinnicheadh iad tràth anns a’ mhadainn aig an Stòrr.
Mar a bha Mìcheil a’ dol chun a’ chàr chuimhnich e air Anna agus
chuimhnich e cuideachd nach d’ fhuair e cothrom buidhinn ri Seòras mun nì
a bha dèanamh dragh dha. ’S dòcha nach robh còir aige guth a ràdh as
dèidh a h-uile càil. Nach robh an dithis aca cho càirdeil ris ’s a bha iad
riamh. O uill, chitheadh e a-màireach.
Anns a’ mhadainn b’ e Mìcheil a bh’ aig an Stòrr an toiseach. Bha e na

shuidhe air bruaich ag ithe ceapaire agus e a’ smaoineachadh air Anna. Cha
robh e air norrag cadail fhaighinn a’ smaoineachadh oirre. Bha e a’
dèanamh dragh dha gun robh an cumhachd ud aice thairis air. ’S bha nàire
air gun robh e cho lag. Cha robh e idir a’ faireachdainn coltach ri sreap ach
bha fhios aige gu feumadh e.
Thàinig Seòras. Bha e leis fhèin anns a’ chàr. Chuir seo ìongnadh air. Ach
ann an seagh bha e cheart cho toilichte. Cha bhiodh a cruth àlainn ga
bhuaireadh agus gheibheadh e cothrom bruidhinn ri Seòras.
Thuirt esan, “Cha robh Anna a’ faireachdainn ro mhath. Cha b’ urrainn dhi
tighinn. Chan e càil uabhasach a th’ ann, dìreach fuachd.”
Thòisich iad a’ coiseachd suas gu Bodach an Stòrr. Bha Seòras cho

bruidhneach ’s a chunnaic e riamh e. Bha seo ga shàrachadh. Carson nach
sguireadh e a bhruidhinn? Ma bha e a’ dol a dh’iarraidh maitheanas air
dh’fheumadh sàmhchair a bhith ann. Bha e gu bhith doirbh na briathran
fhaighinn a-mach. Bha e do-dhèante agus teanga a charaid a’ dol gun sgur.
Thàinig iad gu bonn na creige. “Cò againn a tha dol air thoiseach?”
dh’fhaighnich Seòras.
Rinn Mìcheil gàire. “Tha fhios agad cò bhios a’ dol air thoiseach. Bha aon
duine an còmhnaidh a’ dol air thoiseach. Thusa.”
“Ceart ma-thà.” Fhuair Seòras an ròpa deiseil. Chuir e crios mu mheadhan

agus mu bhodhaig agus thug e fear dha Mìcheil. Bha geinnean agus
làmhan-sreap aige agus Karabiners airson an ròpa a cheangal ri crios no ri
lùb ròpa.
Choimhead Mìcheil suas air a’ chreig ag èirigh àrd os an coinn mar thùr
Gotach. “A bheil thu cinnteach ...?” thòisich e. Ach stad e. Bha Seòras a’

SHORT STORIES
coimhead cho cinnteach às fhèin, cho suidhichte na bheachd. Bha e air fàs
sàmhach, ga ullachadh fhèin airson an t-sreap. Cha robh e idir mar bu
chuimhne le Mìcheil e. B’ àbhaist dha a bhith aotrom aighearach nuair a
bhiodh iad a’ sreap. Cha robh e a’ còrdadh ris gun robh e cho sàmhach.
Thàinig ìomhaigh Anna fa chomhair inntinn. Dh’fheuch e ri dubhadh às.

Ach chan fhalbhadh i. Thuirt e ris fhèin nach iarradh e maitheanas an-
dràsda co-dhiù. Bhiodh tìde gu leòr ann airson sin mus tilleadh e a
Ghlaschu.
Thòisich Seòras a’ dol suas. Bha an ròpa a’ slaodadh ris sìos gu far an robh
Mìcheil.
“Thoir an aire ort fhèin,” dh’èigh e suas thuige. Ach cha tuirt Seòras guth.
Bha aire air a’ chreig. ’S e sreapadar math a bh’ ann. Cha robh teagamh
sam bith air sin. Bha e mar dhamhan-allaidh, cho cinnteach. Thòisich
Mìcheil ga leantainn. Bha e toilichte gun robh ròpa aige. ’S e amadain a
bhiodh annta co-dhiù a dhol gun ròpa. Stad Seòras air sgeilp os a chionn.
Cha b’ fhada gus na ràinig e faisg air far an robh e.
“Dè tha ceàrr?” arsa Mìcheil.
Cha tuirt Seòras guth.
“An e càil a tha ceàrr?” thuirt e a-rithist ann an guth na b’ àirde.
Bha e a’ faireachdainn a bhroilleach a’ fàs teann. Cha robh e nàdarrach mar

a bha Seòras air a dhol. Aon mhionaid mar reacòrdair aig an astar cheàrr,
an ath mhionaid mar linne-uisge shàmhach, dhubh. “Tha mi ’g iarraidh
buidhinn riut,” arsa Seòras mu dheireadh.
“Uill, ’s mi tha toilichte sin a chluinntinn. Carson a stad thu? A bheil thu
tilleadh?”
“Tha mi ag iarraidh bruidhinn riut,” thuirt Seòras a-rithist.
Bha rudeigin na ghuth a chuir gaoir beag tro fheòil Mhìcheil. Choimhead e
suas a-rithist. Bha sùilean Sheòrais cruaidh. Na bu chruaidhe na chunnaic
e riamh iad.
“Thug mi an seo thu airson aon adhbhar. Tha mi a’ dol ga do mharbhadh.”
Dh’fhairich Mìcheil a stamag a’ dol neònach. Cha mhòr nach do thuit e.

An darna cuid bha Seòras air a dhol às a rian no bha fios aige. Bha fios

SHORT STORIES
aige gun robh gaol aige air Anna. Bha fios aige dè thachair o chionn trì
bliadhna nuair a bha e san ospadal.
“Tha thu às do chiall,” thuirt e. “Carson a mharbhadh tu mi?”
Thug Seòras sgian às a phòcaid.
“Dè tha thu dèanamh?” ghlaodh e.
“Tha mi dol ga do mharbhadh. ’S math tha fios agad carson.”
“’Son gu bheil gaol agam air Anna?”
“Chan ann,” arsa Seòras agus e a’ fosgladh na sgine, “ach airson an rud a
rinn thu nuair a bha mise san ospadal.”
Bha fhios aige. Dh’fhairich Mìcheil dubh eagal airson a’ chiad uair na
bheatha. Bha fios aige gun robh iad co-dhiù air dìreadh dà cheud troigh.
Bha e reòthte ris a’ chreig. Nan tuiteadh e bhiodh e cho marbh ri sgadan.
Bha a bheul tioram.
“Thàinig mi dh’iarraidh maitheanas.” Bha a ghuth neònach. Bha e fhèin ga

chluinntinn mar ghuth neònach. Guth fada air falbh.
“Maitheanas. Nach eil thu beagan fadalach?” thuirt Seòras anns an aon
ghuth chruaidh. Bha e os a chionn agus a’ ghrian air a chùlaibh.
Na shuidhe mar gum biodh air cathair àrd a’ toirt breith. Mar dhia
deàlrach. Dh’fhairich e am fallas a’ sruthadh sìos achlaisean, ga dhiogladh.
“Bithidh fhios aca,” thuirt e ann an guth teann, “ma ghearras tu an ròpa.”
“Cha bhi ma nì mi mar seo e,” agus thòisich e a’ sgrìobadh an ròpa, fuiltean
an dèidh fuiltein, dìreach mar gum biodh a’ chreag air a gearradh mean air
mhean. Bha e na shuidh air an sgeilp agus a’ lùbadh sìos.
“Cha do rinn mi càil ceàrr,” arsa Mìcheil na èiginn. “Bha gaol agam oirre.
Nach toir thu maitheanas dhomh.”
Bha fhios aige nach robh feum dha a bhith bruidhinn. Aon uair ’s gun
cuireadh Seòras roimhe rud a dhèanamh cha robh nì air talamh no an nèamh
a dh’atharraicheadh inntinn. Sin an seòrsa duine a bha ann. Bha gaol
uabhasach, dìorrasach aige air Anna. Bha fhios aige nach toireadh e
maitheanas dha gu bràth.

SHORT STORIES
Bha an ròpa gu bhith briste. Ghreimich e le a dhà làimh air dà sgàineadh

caol. Cha robh mòran grèim aig a chasan. Gun an ròpa cha mhàireadh e ro
fhada. Gun rabhadh thuit e sìos sia òirlich. Le oidhirp eagalach ghreimich
e air oir bhig le a dhà làimh. Chuala e a sgiamh a b’ uabhasaiche a’ dol
seachad air. Dh’fhairich e tarraing aithghearr air an ròpa a bha mu
mheadhan. Chuala e fuaim shìos fodha, bodhaig a’ bualadh creig. Fhuair a
chasan grèim a-rithist air na sgàinidhean far an robh iad roimhe. Le
oidhirp shònraichtre tharraing e e fhèin suas chun na sgeilp far an robh
Seòras air a bhith mòmaid roimhe sin.
Laigh e air a mhionach air an sgeilp agus choimhead e sìos. Bha Seòras na
laighe gun ghluasad aig bonn na creige, agus abhainn fala a’ tòiseachadh a’
tighinn bho bheul. Ghul e agus ghul e mar gum b’ e leanabh beag a bh’
ann, mar gum biodh a mhionach a’ tighinn a-mach air a bheul.
Discuss the short story with your lecturer.
1. Which words tell you how precious Mìcheal’s car was to him?
2. How did Mìcheal’s lifestyle differ from that of Seòras?
3. Why did the friendship between the three characters deteriorate?
4. How do you think Anna would have felt knowing that Mìcheal and
Seòras had gone out climbing together?
5. How does Mìcheal feel as he is climbing?
6. How would Seòras have felt as he started to fall?
7. What do you think Anna’s reaction would be to hear about Seòras’s fall?
8. How does Caimbeul create tension in this short story?
9. Comment – with evidence from the text – on these characters:
(a) Mìcheal
(b) Seòras
(c) Anna
10. Do you think the friendship that was between Mìcheal and Seòras
here was sincere? Give reasons for your answer.

ANSWER SCHEME
Sgeama Ceartachaidh – Answer scheme
The following scheme gives suggested answers to questions raised in the

poetry and short story sections of the unit. Answers should be backed up
with evidence from the texts. At all times, students should be encouraged
to give their own personal responses to the literature studied. In some
places, a choice of possible answers is given.
Bàrdachd – Poetry
Lit’ gun Shalainn – Anna Frater
1. “sgian dubh”; porridge; whisky; thistle
2. English language; muesli; Martini; rose
3. He is saying one thing and doing another/he is unsure of which

culture he should be following, etc.
4. ; indicates a list
… indicates the poet could continue with her list
! the poet is making a strong statement
5. The dialogue brings the reader closer to the situation, as if we are

there, hearing what the character is saying.
6. “boladh” means “stench” and is a strong, disgusting word. “truagh”

makes the tone seem pitiful – the poet is almost ashamed of the
situation and she is mocking or criticising the character.
7. Students should give personal opinion.

ANSWER SCHEME
A chionn ’s gu robh mi measail air – Meg Bateman
1. When the man was drunk, he would come to the poet. She would
make him tea and listen to him. However, when he stopped drinking,
his attitude changed and he treated her badly. Throughout the poem,
she is fond of him.
2. Student opinion. Bateman is fond of him throughout the poem

despite his changing attitude – “tàir” is a strong word to represent the
way he treated her.
3. Student opinion. Unlikely that Bateman’s feelings for the man are
reciprocated. When he is sober, he does not come near her and he
puts her down/cricitises her.
4. The repetition emphasises her fondness for the man even as his
feelings for her change.
Bha mi gad chàineadh – Meg Bateman
1. “chàineadh” is a very strong word meaning “criticising” – she was

critical of him.
2. Her eyes are flashing with anger and she had a reason for this.
3. Someone else – “thu” – was talking excitedly to him and kissing him
after the play.
4. Her use of the phrase “Is chrìon mi sa mhionaid” shows the reader
that jealousy affected her suddenly.
5. His attention and respect was so precious to her.
6. “ge b’ oil leam” – reluctantly.

ANSWER SCHEME
Bogsa nan Litrichean – Myles Campbell
1. It had been years since he was last in the village and he calls it “ …
seann bhaile”, the old village.
2. The letterbox had become rusty.
3. Personal opinion. The place of Gaelic culture and the way of life in
the wider world?
4. It shows the letterbox is still in use.
5. It was empty except for dirt and ooze.
6. Yes – it shows there is little communication (none by post) between

the village and the outside world.
7. He turned away quickly.
8. Personal opinion. Perhaps he had an image of the lively, thriving,

bustling community it once was.
9. The moorland was bare and barren, there was little communication
between the village and the outside world and the village had changed
from what it once was.
10. It makes it stand out from the rest of the poem.

ANSWER SCHEME
Ar Cànan ’s ar Clò – Anne Frater
 bodach anns a’ bhaile

 beairt
 clò tiugh, trom a chumadh blàth iad
 fear òg nach buineadh don bhaile
 dathan brèagha; aodach tana, lom; aodach àlainn
 Ceàrr – bha iad dìreach a’ cur orra an aodaich ùir; bha iad a’ fanaid air a’
bhodach a bha a’ dèanamh a’ chlòimh
 Bha na daoine fuar oir bha an t-aodach ùr cho tana agus lom. Cha robh e
“tiugh” no “trom” mar a bha an clò.
 Ceart
 Bha e marbh.
1. The title tells us that the poem deals with language and the tradition
of weaving tweed.
2. Student response. Students could mention comparisons between

Gaelic language and tweed, English language and new cloth, Gaelic
speakers and the loom, Gaelic language skills and the loom, Gaelic
speakers and Gaelic language skills with the ability to “produce”
Gaelic (relate to the “mechanics” of language) and Gaelic speakers
who speak English with the new loom.
3. The tweed kept them warm as it was thick and heavy.
4. The new, colourful threads and the beautiful, thin, bare cloth attracted
them.
5. “…bha na daoine òg
a’ fanaid air,
agus cheannaich iad uile
na beairtean ùra…”
6. “Ach” indicates a change of tone and a contrast with what has just
been explained.
7. The new, colourful cloth would not keep out the cold.
8. Personal opinion.
9. Personal response. It is an abrupt and shocking ending and perhaps a

warning of what might happen if Gaelic were to die.

ANSWER SCHEME
10. Frater relates the ability to craft language to making cloth. The
richness of language is compared to the richness and warmth of
Gaelic. If people lose the ability to “craft” language (i.e. to speak a
language), there is no going back. The “loom” will have rusted and
no one will be able to work it so the language will die.
Leasachadh – Anne Frater
1. “Leasachadh” can mean “improvement” or “development”.

Development is not necessarily an improvement.
2. Tall – “a dh’èirich suas”

Healthy – “sliabh glas na beinne”, “Uaine òg mo dhuilleag”
3. “Ach” means a change of tone and a contrast to what has come before
it.
4. It has been felled and taken from the forest. All roots, branches and
leaves have been taken off it until it is bare and ready for the saw.
5. Cut until it was neat; scrubbed until it was smooth; planed until it was
bare.
6. The tone is sad and hopeless. The tree has been completely altered,
e.g. “chan urrainn dhomh crùbadh”.
7. In the first stanza, the reader is presented with the image of health
and vitality but the last stanza is a complete contrast to this.
8. There is a lot of nature imagery in the poem, much of which is related

to trees, foliage and nature. Students should choose a suitable quote
to illustrate this.
9. Personal opinion. The poet has been changed and shaped by others.
Personal opinion. Education or English.
Somewhere away from her homeland because she was separated “ bho
choille m’ àraich”
She was completely altered beyond recognition; she feels “ rag”. This
can mean both “angry” and “stiff”.

ANSWER SCHEME
Cotrìona Mhòr – Derick Thomson
1. Something that is “daingeann, suidhichte” is well-established. Just as

Cotrìona Mhòr’s picture was set in Thomson’s mind, this woman was
set in her community.
2. Any of: “luasgain”, “madainn Earraich”, “àbhachdas”, “gearradh-

cainnt”, “gun sgleò air”
3. Happy memories of her youth and her culture could have kept her
young, e.g.
“…leis a’ ghearradh-cainnt
a bha a’ leum à cridhe a’ chinnidh”
4. “uair a’ bhaile” relates to the pace of life in the woman’s village.
5. The “heart of the people” has been changed – it has been encased and
a new valve has been attached. This has meant that traditional values
and customs have been relegated to the museum and it is only in this
museum that the poet can access them.
6/7 The old way of life is not readily accessible to the poet – he needs a
key to get at it, the oral tradition recorded and a small spade to find
the old land/tunes (ambiguity of word “fonn”).
8. By retaining such a strong, steady, set image of Cotrìona Mhòr , it

ensures his culture and old way of life are kept alive in his memory
and are similarly set and strong because she was representative of
them.

ANSWER SCHEME
Cisteachan-Laighe – Derick Thomson
1. He was tall and thin with a small beard. He was a carpenter, making
coffins.
2. It was in the town; it smelt strongly of sawdust; it contained

hammers, nails, saws, chisels and coffins; the poet’s grandfather
could be seen bent over the coffins, planing them.
3. The poet says he did not know what death was – he did not even have
the slightest idea.
4/5 He was aware of the cold – “latha fuar Earraich” and the desire to go
home to conversation, tea and warmth.
6. Not the school of life but the school of education/university.
7. Lecturers.
8. Other students.
9. They were being changed and adapted from their original condition to
having lowland varnish and English braid applied.
10. “a locradh a’ chridhe” and “tairgean a’ dol tromham” give harsh

images of a heart being planed and nails going through him. They
relate to the making of coffins in stanza 1.
11. No. Tea and conversation will not heal the pain in this situation.
12. Thomson did not understand death when his grandfather died yet he
understood that his culture was dying. Tea and conversation could
heal the pain he felt over his grandfather’s death but it could not heal
his hurt when he realised his culture and way of life were dying.
13. Parallel images – Thomson relates the craft of making coffins to the
traditional way of life being altered. He also relates the death of his
grandfather to the death of his culture.
Simplicity of language – Thomson writes the first two stanzas from a

boy’s perspective, before the realisation of death comes to him.
Alliteration – the repetition of the “b” sound emphasises the darkness

and silence of death “beachd, bloigh fios, boillsgeadh”.

ANSWER SCHEME
Metaphors – coffins used to symbolise the old way of life.
Structure – Stanza 1 gives a description of his grandfather and his

workplace. Stanza 2 – death of his grandfather. Stanza 3 – build up
to the dying of his culture. Stanza 3 relates to the images developed
in the first two stanzas.
Use of awareness of the senses – vivid description of sights and

smells enable the reader to really imagine being in Thomson’s
grandfather’s workplace. The reader can feel the cold the poet felt
standing at the graveside and similarly feel and taste the warmth and
tea that comforted him so well afterwards. In stanza 3, the strong
word choice conveys the hurt and pain felt by Thomson.
Religious imagery in stanza 3 – “tairgean a’ dol tromham” conveys

the sense that the dying of his culture is as painful as being crucified.
It implies the idea of Christ dying on the Cross. Also, “ tairgean”
relates to the craftsmanship associated with his grandfather’s
occupation.
Advanced Higher
Important points:
 craft imagery being used as a parallel to the Gaelic language or culture

dying out
 both give the reader warnings about the importance of keeping Gaelic
language and culture alive
 similar student reactions to the poems?

ANSWER SCHEME
Anns a’ Bhalbh Mhadainn – Derick Thomson
1. The land was level and it was under a blanket of whiteness. Each
snowflake was still.
2. The sheep were lost on the moor and a morning was spent looking for
them.
3. “mìn, marbhteach, mùchaidh” – repetition of “m” sound showing how

soft the snowy landscape looked yet it was deadly and smothering.
There is an interesting juxtaposition of the calm word “ mìn” with the
words “mùchaidh” and “marbhteach”.
4. The culture is still alive; it is not dead and there is hope that it will
survive.
5. “anart” is linen or a death shroud. In this context, the meaning

“death shroud” is more apt. The poet is urging the reader not to put
trust in the death shroud – that is, not to think that the culture is dead
already and nothing can be done to revive it.
6. The poem is made up of two stanzas of seven lines. Stanza 1 is made

up of two sentences and stanza 2 has just one long sentence. Commas
are used to separate ideas within sentences and to separate adjectives.
A semi-colon and a colon are used in stanza 2 to break up ideas in a
stanza that is made up of just one sentence and also to indicate that
there is more information to come that relates to the information that
has already been given. The last four words are indented,
emphasising the point that there is still hope; that the breath of the
Gaels – just like the breath of the sheep – is coming to the surface.
Advanced Higher
Important points:
 poets warn readers to keep the language and the culture alive
 images that many readers can identify with – snowy scenes, weaving
tradition
 some use of adjective in both poems to set the scene
 personal reactions to the poems?

ANSWER SCHEME
Clann-nighean an sgadain – Derick Thomson
1. Sea imagery – “salainn”, “an sàl ’s am picil”, “cho domhainn ri

fèath”, “Bu shaillte an duais”, “gaoth na mara”
2. They were laughing.
3. He compares their laughter to a salt shaker and their eyes to a deep

ocean.
4. Poor social conditions meant that the girls had to leave their
homeland to go to work on the mainland and send money home to
their families – “eallach a’ bhochdainn ’nan ciste”.
5. “an sàl ’s am picil air an teanga”; “’nan tràillean aig ciùirearan

cutach”; “Bu shaillte an duais a thàrr iad”; “…mìltean bharaillean”;
“gaoth na mara geur air an craiceann”; “air oidhche robach
geamhraidh”, etc.
6. It was harsh and difficult work but they were proud, hard-working,
good-natured and they had fun.

ANSWER SCHEME
Do Mo Mhàthair – Iain Crichton Smith
1. It was so hot that it was hurting them – connection with sea imagery.
2. Harsh working conditions:
 blood on knife – fishes or hers?

 harsh salt
 taste of salt on her lips, choking her.
3. In Aberdeen, studying.
4. His Gaelic was confined to books and he used his Latin more.
5. He has a relaxed, comfortable life in comparison – sitting in a chair,

drinking coffee and studying.
6. “aig an stiùir”; “siùil na sgoilearachd”
7. He would not like to be getting up when it was still dark and to be

working in such harsh conditions.
8/9. Whilst she was tearing at and gutting fish, he was doing the same to
words. He uses the metaphor of getting his own blood on his hands
conveying the idea that poetry writing was difficult. Words would
jump around like fish until they were set in poetry. His language kept
strict control over him like a cooper.
10. Quite a regular rhythm, e.g. stanza 2 – “ùr” and “stiùir”
Advanced Higher
Personal response, giving evidence from the poems to support the answer.
Suggestions:
Comparisons same topic – herring girls

sea imagery
social commentary
Contrasts Crichton Smith compares his life with his mothers;

Thomson does not
Thomson refers to the historical background behind the
work; Crichton Smith does not

ANSWER SCHEME
Latha Foghair – Sorley Maclean
Puingean còmhraidh
 Setting – autumn day, on a slope, weapons screeching around him,

people dead near him. Morbid setting. The poet is sad and scared.
 Repetition – “sianar marbh” emphasises the horror of the situation.
Repetition of “agus” intensifies the idea of more and more horrific
images.
 Sounds – use of onomatopoeia makes the setting clearer in the reader’s
mind.
 Sights – so the reader can visualise what the poet has in his mind.
 Alliteration – so the poem flows well; repetition of the “l” sound –
“leum an lasair” is quick, like the flame jumping up; repetition of “b” –
“a buille ’s bualadh” is a harsh sound.
 Contrasting adjectives emphasise the horror and monstrosity of battle.
 Capital letter for “Taghadh” gives it importance and is also biblical. It
is God’s choice who will live and who will die.
 Maclean does not understand why he was not chosen and does not
understand why it was those six who were. It seemed to him that God
was as indifferent as the shells that killed them.
 Structure – the last line sums up the poem and details once again the
shocking, harsh reality of the situation. Despite battle going on around
him, the poet was struck the most by the six people who were dead
beside him.

ANSWER SCHEME
Ùrnaigh na Ban-Tìgrich – Catrìona Montgomery
1. “Athair ’s mo Dhia”; “coimhead thusa, Thighearna, oirnn le truas”;

“Dòirt sìos do mhathas caomh, a Dhè”, etc.
2. No rain/water; crops are not plentiful; hungry; hurt; bruised; in pain;

husband dead; her young child is without a father; she does not
recognise her husband’s grave among all the others; weakened by the
heat of the sun; cold at night; ragged clothing, etc.
3. It is very hot by day and cold at night. The heat makes them feel
faint yet they are poorly clothed for the cold they feel at night.
4. Kind goodness to be poured down (like the rain they lack) upon them
and to not let evil completely take over, i.e. a better life for herself
and for her child.
5. Her life is just as painful. Christ was crucified just as this woman
feels she is being.
6. “biathadh” means “fed”. The people of Tigre are being fed lies by
the authorities. This word is usually used for food – something that
they are very short of; they are “acrach”. Ironic.
7. Personal response. Pity – the woman living in such poverty with a

young child. Anger – that people live in such appalling conditions.
Sadness – for the woman and her child. Grief – for the loss of the
man.
8. Stanza 1 – aaaa; stanza 2 – aaaa; stanza 3 – aabb; stanza 4 – aabc;

stanza 5 – aabb. Irregular rhyme scheme yet the poem reads
rhythmically.
Aspect of the poem Quote

This is a prayer “Athair ’s mo Dhia”
Drought “gur gann an t-uisge”
Lack of crops “gur gann an sìol”
Hunger “sinn acrach”
Pain “creuchdach, brùite, piant”
Death of the woman’s husband “Adhlaichte an-diugh mo luaidh”
The effect of the heat “sinn fannachadh le teas na grèin”
The effect of the cold nights “ga ar mealachadh le fuachd”
Clothing “’s ar sgeadachadh cho truagh”
The woman’s pleas to God “Dòirt sìos do mhathas caomh, a Dhè”

ANSWER SCHEME
Ròdhag 2000 AD – Catriona Montgomery
1. Warm smell of milk from the byres; tackety boots; moor land; crofts
2. “ri dìdearachd”; “ri farchluais”
3. uncertain of she is passively observing/she is not directly

involved
interested in “bidh mi ri dìdearachd”/“bidh mi ri farchluais”
angry at word choice – “guthan cruaidh Sasannach”
4. Repetition – students should identify:

“Nuair a bheir an fheannag
an t-sùil às a’ chaora mu dheireadh”
Also, “cruaidh”, firstly used for plates, then voices.

Italics – words that are not from Gaelic.
Students should give personal opinion of the significance of repetition and

italics but some reference should be made to repetition emphasising a point
and italics highlighting a point or a word and making it stand out.
Advanced Higher
Student response, which could mention:
 use of images traditionally alien to Gaelic culture

 poets’ social commentary
 poets’ attack on and disapproval of the dilution of Gaelic culture
 possible similarity in student reaction to the poems.

ANSWER SCHEME
Cogadh an Dà Chànain – Myles Campbell
 A harassed child
 It is clear from the title that the poem is about a war between two
languages, Gaelic and English.
 Gaelic – cream; mother; butter; cheese; sweet cream and oatmeal dish.
 English – skimmed milk; nanny; sour milk.
The Gaelic imagery is rich and comforting but the imagery relating to
the English language is bare and it gives no comfort or sustenance.
 A mother gives a richness and comfort that cannot be given by another.
 Writing in the first person makes the poem more of a personal reaction
to the “war”. It makes the poet’s argument stronger and more credible.
 “an sgalag! an tràill!” – exclamation marks emphasise the poet’s strong
point. It is as if the poet is shouting.
 The poet has a negative opinion of English – “ blas searbh na mo bheul”
– a strong, unpleasant taste.
“Tha a bainne a’ dol
tarsainn m’ anail” – conveys a sense of choking.
 The poet has a positive opinion of Gaelic –
“…stapag mhilis
a tha daonnan nam bhràigh”
English is fighting for supremacy but for the poet, Gaelic will always
have supremacy.
 “sabaid” – “fighting”, relates to “cogadh” – war.
 “sàraicht” – strong word choice, showing the poet is harassed and fed
up, which conveys how the poet feels about the struggle in his life
between the two languages.
 Gaelic is more fulfilling than English and it will always be Gaelic that is
in his heart, reigning supreme over English.
Advanced Higher
Students could mention:
 the poets’ attitudes

 use of metaphor
 use of the first person
 sentence length
 messages
 own personal opinion/reaction to the texts
etc.

ANSWER SCHEME
Bantrach Cogaidh – Rev. John MacLeod
1. Clear, simple scene-setting so the reader can visualise the widow

quickly.
2. Firstly, the reader get clues that suggest he wore sailor’s clothing –
“deise ghorm”; “bonaid cruinn…m’ athar”; “briogais bhàn”. Then,
the harsh reality –
“nuair fhuair iad e
fuar bàthte air an tràigh”
3. The questions point to the young boy’s innocence and lack of

understanding of the grieving process, rather like Thomson’s young
boy in Cisteachan Laighe.
4. She wears black clothes, has a heavy heart and collects her
(widow’s?) pension. When she lifts him on her lap, her head is bent
over and his face becomes wet with her tears.
5. The two-minute silence made him reflect on what the war heroes had
done for the country but he then ran home excitedly to tell his mother
that there would be no more war.
6. She was aging prematurely – the hard life she had was turning her
hair grey.
7. Her grave was beside the sea, just as her husband’s body had been
found by the sea.
“Cha chlisg thu chaoidh aig gaoith no stoirm.
Sibh sin cho réidh, thu fhéin ’s an cuan” – implication that stormy
weather frightened her; it reminded her of the night the Iolaire sank
but now she is at peace.
8. She did not live to see the Second World War and she did not see her
son leave for battle in a blue suit and a round hat like his father was
wearing when they found his body. It is ironic that he ran home from
school to tell his mother there would be no more war yet there was.
9. The first and last stanzas link by mentioning clothing – this shows
how the boy and his father were linked.
10. Personal opinion, supported by relevant quotes. Suggested responses:
 tragic story – feelings very clear

 simplicity of language – told from a young boy’s perspective

ANSWER SCHEME
 subtle, shrewd use of language, e.g. “aodach dubh” to mean

the woman is in mourning
 innocence of the boy is appealing
 tragic irony.
11. Personal opinion, to be supported by relevant quotes, e.g.

sadness – when the boy asks where his father is, his mother cries
shock – the boy also has to go to war.
Advanced Higher
Personal response, to be supported by relevant quotes. Suggested points:
 theme – death
 similarity in innocence and lack of understanding of death
 both told from the perspective of a young boy
 simplicity of language
 mourning.

ANSWER SCHEME
Bean Dubh a’ caoidh a Fir a Chaidh a Mharbhadh leis a’ Phoileas –

Duncan Livingstone
 Repetition of “Baba Inkòsi Sikelele” and use of phrases such as

“Car son, a Dhé a tha san chathair,
Car son an-diugh a rinn Thu ’n latha?”
 Bloody, violent, awful setting.
 The woman’s husband has been killed by white people and she sees the
blood flowing from him and his guts entrailing.
 Repetition of certain words, e.g. “Och, mo chràdh, mo chràdh ’s mo
léireadh”.
 Honest, awful word choice, e.g. “’s a mhionach ás a’ slaodadh”;
“Ghearradh sgòrnan nam fear fuileach”
 Shocking. Relays the horror of the terrible situation the country is in,
e.g.
“Am fear bòidheach laigh ri m’ thaobh-sa
An-sin ’s a mhionach ás a’ slaodadh”
 She is very unhappy and angry – her children are now without a father
and she has lost her husband.
 Imagery is harsh and gory and reflects the situation the woman finds
herself in and the reality of life in Sharpeville at this time.
 Personal opinion. To put the reader in the persona of the woman and to
relay the horrific events to those who were not a part of it, then others
would realise the injustice of the situation?
 Personal opinion.
Advanced Higher
Personal response required, with quotes to support, but students could

consider the following points.
 Both women are against the authorities that have left them in these
situations – they and their children have been left grieving with no
explanation or reason for their loss.
 Both women are religious and are praying to God for their horror to end
and for their lives to become better.
 Very effective imagery used to put across the poor conditions the women
are living in.
 Both poets use harsh, strong vocabulary to describe their situations.
This makes the situations real and dramatic – the reader can visualise the
events.
etc.

ANSWER SCHEME
Sgeulachdan Goirid – Short Stories
Aig a’ Chloich-chuimhne – Iain Crichton Smith
Puingean còmhraidh
 It is not necessary to know his name – we know so much about him and
his feelings.
 Flashback to battlefield in France and the sights and sounds of battle.
His comrade Frank is dead, or so he thinks. When he sees a German
soldier jumping out in front of him he hears a bullet and he realises
Frank has shot the German. He sees the image of the dead German. The
old soldier is uncomfortable thinking about this – he shivers and pulls
his coat tighter.
 “ifrinn” means “hell” – this is what the old soldier thinks of war.
 He jumps in front of Frank and then when he is shot, his appearance is
made very clear – his chest is covered in blood, his two eyes are open
and he is frothing at the mouth. His mouth is open and his teeth are
showing. He is a young man with blue eyes and ruddy cheeks.
 “Thòisich e a’ sgriachail nuair a shlaod iad air falbh e ” – the old soldier
screamed after having stood watching the German for a long time.
“Goirid an dèidh sin chuir iad dhachaigh e” is in a paragraph on its
own. This suggests he had become unfit for work because he was so
affected by Frank shooting the German.
 He thought the service was amusing when the minister said “They shall
grow not old, as we that are left grow old”. He leaves soon afterwards.
 He still sees Frank’s face, unaffected by age.
 He is drawn to the memorial every year. He has “doimhneachd
aognaidh” in his eyes, remembering the war.
 Regiment and ceremony are still a part of him – “ theab e seasamh na bu
dìriche ach cha do rinn e sin”
 “…theich dithis no thriùir às a rathad, ’s iad a’ toirt urram dhà ”. They
realised what he had experienced and that he had been a part of the war
they were commemorating.
 Very different in war – planes, bullets in the air, link to his paintings.
 Red, like blood or poppies – both associated with war. No red in his
paintings until the end of the story.

ANSWER SCHEME
Literary techniques – student choice.
1. Smith uses clear, simple language effectively to convey the soldier’s

feelings and experiences, especially in the flashback.
2. The old soldier cannot understand why he was saved yet Frank was
not.
3. He still felt he should/war was still on his mind/he was looking for
answers as to why he survived but Frank did not.

ANSWER SCHEME
Màiread – Iain Crichton Smith
1. The reader does not know who “iad” are – it makes us want to read
on.
2. They were not short of money and he had been a superintendent in the
police.
3. “’S e an aon rud a-riamh a chuir faileas air am beatha nach robh
clann aca”
4. It starts with “Agus” and it is in a paragraph on its own.
5. Small girl, pink dress, blue doll-like eyes.
6. They become very friendly and talk to each other for some time.
Anna tells Màiread stories and she wished they could be together
forever. Màiread was Anna’s mother’s name and pink was her
mother’s favourite colour. They hold hands and Màiread is given a
room to herself. One day, they argue over spilt water.
7. Murdo was a skilled fisherman and policeman but it was only when
he was out that Màiread would appear.
8. He thinks it is because he leaves her alone so much.
9. The reader is left knowing that the couple have both heard the piano –
will Murdo see Màiread too? Or is he trying to humour his wife by
pretending to hear the music?

ANSWER SCHEME
An Duine Dubh – Norman MacDonald
1. Hardworking – she has a basin in her hand to feed the hens; black
clothes; walking stick.
2. Small, well-built man, teeth as white as shells, skin like peat, heavy
bag in hand.
3. To sell goods. He had bargains – stockings, petticoats, aprons, night-

dresses, etc.
4. She exclaims: “Chan eil mi ag iarraidh càil an-diugh!”; use of

exclamation mark then the woman’s face gets red in frustration.
5. Small white handkerchief.
6. He gave her the handkerchief for Christmas but it was only the
summer.
7. She described her hens to the man and she did not want to sell them –
just the eggs.
8. She wanted to ensure he would treat them well.
9. “gogadaich” – clucking.
10. Three small bodies in the grass, the black man above them, hen
kicking in his hand, he had an unusual big knife in his hand with
which he cut the head of the fourth hen.
11. She lifted her walking stick and went running towards him with it,
shouting at him. She calls him “a bhiasd”. She hits him with the
stick and she repeats “Obh! Obh!” again and again.
12. She finds a book with unusual writing – it is the Koran.
13. Student opinion – sacrifice?
Students should write a short paragraph pulling together information on the

characters, using information from the questions above.

ANSWER SCHEME
Student responses should be taken from the text but could make reference
to the man’s confusion over when Christmas is and the woman laughing at
him when he mentions this. She is rather patronising – “ ’S fhada gu
Nollaig, a bhròinein”. The woman does not know about “Latha
Mahommed” or Allah and she does not recognise the Koran.

ANSWER SCHEME
An Duine Dubh – Iain Crichton Smith
Possible answers:
 “feadhainn dearg mar fhìon, feadhainn glas mar mhuir, feadhainn uaine
mar thalamh, feadhainn buidhe mar ghealaich”
 “Cha dèanadh i mach facal dheth”
 “Am biodh esan a’ dol gu dannsan?”
 “Smaoinich i air a h-athair a’ slìobadh an eich a bh’aca uair ”
 “Thug e sùil timcheall an t-seòmair”
 “Rinn i gàire…Rinn esan gàire cuideachd”
Significant quotes:
 simile – her hair was so white it was like she was wearing a helmet of
snow
 simile – material was so fine and smooth it was like water running
through her hands
 alliteration of “l” sound – soft, like the kindness she felt on receiving the
stockings
 despite the darkness (differences in culture, etc.), they communicated
effectively and their two worlds came together for a brief time
 he was in the country to make a living and would be back in his own
country within six years
 shows how hard his work was, carrying a big suitcase full of things to
sell
 shows their communication and understanding of each other
 reader thinks all through the story that the man is the stranger but at the
end, it is clear that the woman is a stranger in the town too.
Literary techniques:
 many similes, describing cloth, appearances, etc.

 questions confirm their uncertainty of each other’s cultures
 on the whole, sentences are short – this reinforces the communication
difficulties between the two characters
 detailed description of the interior of her house given to enable the
reader to identify with the setting.

ANSWER SCHEME
Advanced Higher
Personal response.
Students could mention:
 theme – occupation of men; historical context

 characters – black men and Gaels
 plot – selling goods, communication difficulties, culture clash
(Macdonald) and cultures coming together and complementing each
other (Crichton Smith)
 settings
 purpose/message – social commentary; to show how cultures can
understand and complement each other despite differences; to show how
cultures can learn from other cultures.

ANSWER SCHEME
A’ dol dhachaidh – Iain Crichton Smith
Obair clas – Puingean còmhraidh
 Brings the reader closer in to the story; helps us to identify with the
character; puts across his thoughts.
 Use of short sentences reflects his anticipation and excitement at
returning home.
 The story centres only on this one man, his life, his hopes and his
feelings.
 Eager, excited and relieved to be going home – “Chan eil càil coltach
ris”, yet he is concerned he will be a stranger in his own family because
of what he has experienced: “Chan eil math dhomh innse dhaibh”.
Thoughts of freedom. Sorrow is behind him and there is a fresh, new
world ahead of him.
 He did not think he would live through it. It was hard: “ Bha an cogadh
cho fada ’s an t-slighe cho dòrainneach”. “stoirm fala” – horror of war.
Disgust for the violence he saw.
 He cannot wait to get back to warm houses, getting up in quiet, not to
have to wear his uniform and he wants to be a part of daily conversation
with friends and neighbours. His thoughts of home arouse strong, deep
feelings in him and feelings of sympathy in the reader as the young
soldier is returning home after serving in war.
 Very aware and observant, appreciating how precious everything around
him is – white stars, white moon and skies white with frost, captain’s
white face (repetition of white – innocence and sense of a fresh start).
“Chì mi sròn na soithich ’s i a’ gearradh troimh ’n chuan, a sròn
bhiorach shearbh” – personification of boat.
 He realises he is going back to a faultless world, better than the one he
has just left. He has learnt a lot: “Thug sinn a mach ar sgoilearachd
anns an dorchadas”.
 A great deal of detail is given to the life awaiting the soldier so the
reader is given the same sense of anticipation as the character has.
 Right at the end of the story, there is a shock - “ ’S math an t-ainm a thug
iad oirre: AN IOLAIRE”. The reader has no idea until this point that the
character is on the Iolaire and it is ironic that this is the boat that is
sailing him to freedom, safety and happiness. The writer does not need
to add any more information; the reader knows the fate of the boat as
everything is woven into the name. The name “Iolaire” still arouses
feelings of mourning and sadness. Crichton Smith skilfully draws the

ANSWER SCHEME
reader’s attention to the disaster without mentioning the accident – it is

all in the imagination of the reader. Ironic that the character has so
much trust in the captain: “Tha fios aige-san dè tha e dèanamh”.
Soldier’s hopeful journey to safety – a journey he never thought he
would see alive. Another irony is that the accident happened on New
Year; traditionally a time for a new start.
Advanced Higher
Personal response. In answering both questions, students could mention:
 effect of characters actually being a part of the tragedy in some way

 personal feelings of the characters
 writers’ use of literary techniques

ANSWER SCHEME
Ann am Bosnia – Iain Crichton Smith
1. There is no need to know his name. The reader finds out a lot about
him in other ways, i.e. through his feelings, actions, etc. Also, he is
hidden.
2. Sniper sits in a tree with a bridge in sight; violence throughout the

country; spring day; new leaves on the trees; planes overhead.
3. Recurring idea: “Bhiodh droch nàdar ga lìonadh fad na tìde”. He is

angry and wanting revenge for the killing of his family (wife and
son). He is very lonely now. It hurts him to think of the pain of
losing his family. He does not have any friends; he does not want
conversation.
4. Low, red moon; fresh, green leaves on trees; white smoke of NATO
planes; young boy had yellow pail at the well and he was wearing a
red jumper; his world was like red in front of him; when the boy turns
round, he has the face of the sniper’s son and he is wearing his son’s
green anorak.
5. Images from nature appear throughout the story, especially tree

imagery. This contrasts greatly with war imagery. Spring – when all
is fresh, new and blooming - connects with the new start the sniper
wants to make. He realises he will not kill again and he is going to
leave his job. His feelings in the final paragraph are compared with
the lightness of green leaves and the lightness of the bird sitting on a
branch.
6. The reader quickly learns that he has lost his son and he is still
grieving. His anger recurs through the story. He recalls happy
memories with his son and this makes him upset.
7. e.g. “A’ dol a thòiseachadh às ùr air latha earraich ”; “Bha

duilleagan nan craobh ùr is uaine”; “Bha na duilleagan cùbhraidh is
ùr mun cuairt air”; “Bha an t-isean a’ gluasad an siud ’s an seo”, etc.
8. The sniper realises that if he kills the young boy, another man will
lose his son, just as he did when his son was killed. He does not want
others to suffer like he is suffering. He would previously have shot
this boy but in this boy, he sees his own son so he does not. At the
end, he feels all the anger and bad feeling leave him.

ANSWER SCHEME
9. Personal opinion but students should make a point and support it with
evidence from the text, e.g. the sniper’s feelings are put across
clearly – he is so angry that his son was killed and when he realises
he no longer wants to be a sniper, this manifests itself physically:
“Bha chorp gu lèir a’ sruthadh le fallas, ’s bha deòir na shùilean ”.
10. Personal opinion.

ANSWER SCHEME
Ri Aghaidh na Creig – Myles Campbell
1. “Choimhead e air airson tiotan le sùil choibhneil, ghràdhach ”
2. Mìcheal – good job; office manager in Glasgow that allows him to

buy a BMW.
Seòras – crofter; job on North Sea oil rigs; owns a Volvo.
3. Anna cheated on Seòras with Mìcheal when Seòras was in hospital.
4. Personal opinion – worried; concerned; happy they were friendly

again?
5. He didn’t want to climb but he knew he had to so that Anna would not
think he was weak. He is nervous: ““A bheil thu cinnteach…?”
thòisich e. Ach stad e.”
6. Worried; angry; panic.
7. Worried; concerned; panic.
8. Short sentences, slowly reaching a climax in the second last

paragraph with Seòras gripping on to the rope.
9. Personal response with evidence from the text.
10. Personal response with evidence from the text.

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NATIONAL QUALIFICATIONS CURRICULUM SUPPORT

© Learning and Teaching Scotland 2006

2 LITERATURE (H/AH, GAELIC (LEARNERS)

© Learning and Teaching Scotland 2006

Lit’ gun Shalainn, Anne Frater 5

Aig a’ Chloich-chuimhne, Iain Crichton Smith 56

LITERATURE (H/AH, GAELIC (LEARNERS) 3

© Learning and Teaching Scotland 2006

Notes for lecturers

A suggested answer scheme is also given.

4 LITERATURE (H/AH, GAELIC (LEARNERS)

© Learning and Teaching Scotland 2006

Lit’ gun Shalainn

Read the poem.

Lit’ gun Shalainn

Sgian dubh na stocainn

1. This poem centres on images that are traditionally associated with

3. Frater’s character in this poem appears to be going through a crisis of

LITERATURE (H/AH, GAELIC (LEARNERS) 5

© Learning and Teaching Scotland 2006

4. What effect does the following punctuation have on the poem:

5. Why do you think Frater uses dialogue in this poem?

7. What is your own opinion of this character?

6 LITERATURE (H/AH, GAELIC (LEARNERS)

© Learning and Teaching Scotland 2006

A chionn ’s gu robh mi measail air

Read the poem.

A chionn ’s gu robh mi measail air

Nist cha tig e tuilleadh

Discuss the poem with your lecturer.

LITERATURE (H/AH, GAELIC (LEARNERS) 7

© Learning and Teaching Scotland 2006

Answer the following questions.

1. How does the change in treatment occur through the poem?

4. What effect does the repetition of “a chionn ’s gu robh mi measail

8 LITERATURE (H/AH, GAELIC (LEARNERS)

© Learning and Teaching Scotland 2006

Bha mi gad chàineadh

This poem deals with the poet’s feelings towards a man.

Read the poem.

Bha mi gad chàineadh

Bha mi gad chàineadh,

Tacan bhuam, bha thu a’ bruidhinn ris,

Discuss the poem with your lecturer.

LITERATURE (H/AH, GAELIC (LEARNERS) 9

© Learning and Teaching Scotland 2006

Answer the following questions.

2. How is this idea developed in the first stanza?

10 LITERATURE (H/AH, GAELIC (LEARNERS)

© Learning and Teaching Scotland 2006

Bogsa nan Litrichean

Read the poem.

Bogsa nan Litrichean

Thàinig e air ais

B’ fheàrr leis an aisling a ghleidheadh

LITERATURE (H/AH, GAELIC (LEARNERS) 11

© Learning and Teaching Scotland 2006

Discuss the poem with your lecturer.

Answer the following questions.