A’ TIGHINN DÀMHAIR 2026

COMING OCTOBER ‘26

“Dair a bha a’ mhuir na coille ‘s na doire chòinneachail, Bha mise an sin, nam nìghneig òig.”

“When the great sea was a mossy forest grove, I was there, a young girl.”

Tha sgeul na Caillich Bheur, ban-dia Cheilteach nàdair, stoirmean agus a’ gheamhraidh, ainmeil anns a’ Ghàidhealtachd. Thathar ag ràdh gun do shnaigh i na beanntan ’s na gleanntan le deigh, agus gun do ghiùlain i na h-eileanan mar leanaban air a druim. Dh’fhalbh a’ Chailleach o chionn fhada, ach dh’fhàg i a h-òran dhuinn – sgeul brònach, rabhaidh.

The tale of the Cailleach Bheur, the Celtic goddess of nature, storms and winter, is well known to many in the Gàidhealtachd. Said to have carved the mountains and glens with ice, and borne the islands like children on her back, the Cailleach disappeared long ago leaving us only with her song – a sad, cautionary tale.

 ’S e pròiseact ealain ùr Gàidhlig a th’ ann am ‘Beura’ a tha a’ toirt ceòl, film agus bàrdachd còmhla gus sgeulachd na Caillich innse airson an latha an-diugh. Le dealbhan cumhachdach den chruth-tìre leis an filmeadair à Arcaibh, Gregor D. Sinclair, agus pìos ciùil ùr airson còmhlan teudan leis an sgrìobhaiche-ciùil às a’ Ghàidhealtachd, Lisa Robertson, a bharrachd air bàrdachd agus clàraidhean de nàdar, tha ‘Beura’ na thachartas beò gun samhail.

’Beura’ is a new Gaelic arts project bringing music, film and verse together to reimagine the Cailleach’s story for the modern era. Combining the intense landscape visuals of Orcadian filmmaker Gregor D. Sinclair with a new musical work for string ensemble by celebrated Highland composer Lisa Robertson, as well as poetry and field recordings, ‘Beura’ is a live experience unlike any other.

“Tràghadh an dèidh tuile, tuil an dèidh tràghaidh. An rud a thig leis an tonn-tuile, falbhaidh e leis an tràghadh.”

“Ebb after flood, flood after ebb. What the flood-wave brings, the ebb carries away.”

Tha cruthan-tìre àlainn is cumhachdach na Gàidhealtachd ainmeil air feadh an t-saoghail. Ach an-diugh tha iad an aghaidh èiginn dhùbailte: bagairtean don àrainneachd agus don chànan is chultar Gàidhlig. Tha cumhachdan nas fharsainge a’ reubadh às a chèile cearcallan nàdarra co-chèileach a bha ann eadar daoine agus nàdar airson linntean.

The sublime and powerful landscapes of the Gàidhealtachd are renowned across the world. But today they face the twin crises of environmental collapse and the disappearance of Gàidhlig language and culture. The natural cycles of reciprocity that existed between the people and the earth for centuries are being pulled apart by wider forces.

Dealbh bòidheach is sgriosail den dùthaich mhòr fhiadhaich againn, tha ‘Beura’ a’ sealltainn mar nach urrainn dhuinn ar n-àm ri teachd a shàbhaladh ach le bhith a’ coimhead air an àm a dh’fhalbh.

A beautiful and devastating depiction of our vast and wild homeland, ‘Beura’ shows how it is only by looking to our past that we can ultimately hope to save our future.

“Cha tig tràghadh an dèidh tuile thugam tuilleadh. Far an robh tràghadh ann roimhe, chan eil sìon ann ach tuil.”

“No more shall ebb after flood come to me. Where once there was ebb, all is flooding.”

A’ TIGHINN DÀMHAIR 2026

COMING OCTOBER ‘26

“Dair a bha a’ mhuir na coille ‘s na doire chòinneachail, Bha mise an sin, nam nìghneig òig.”

Tha sgeul na Caillich Bheur, ban-dia Cheilteach nàdair, stoirmean agus a’ gheamhraidh, ainmeil anns a’ Ghàidhealtachd. Thathar ag ràdh gun do shnaigh i na beanntan ’s na gleanntan le deigh, agus gun do ghiùlain i na h-eileanan mar leanaban air a druim. Dh’fhalbh a’ Chailleach o chionn fhada, ach dh’fhàg i a h-òran dhuinn – sgeul brònach, rabhaidh.

’S e pròiseact ealain ùr Gàidhlig a th’ ann am ‘Beura’ a tha a’ toirt ceòl, film agus bàrdachd còmhla gus sgeulachd na Caillich innse airson an latha an-diugh. Le dealbhan cumhachdach den chruth-tìre leis an filmeadair à Arcaibh, Gregor D. Sinclair, agus pìos ciùil ùr airson còmhlan teudan leis an sgrìobhaiche-ciùil às a’ Ghàidhealtachd, Lisa Robertson, a bharrachd air bàrdachd agus clàraidhean de nàdar, tha ‘Beura’ na thachartas beò gun samhail.

“Tràghadh an dèidh tuile, tuil an dèidh tràghaidh. An rud a thig leis an tonn-tuile, falbhaidh e leis an tràghadh.”

Tha cruthan-tìre àlainn is cumhachdach na Gàidhealtachd ainmeil air feadh an t-saoghail. Ach an-diugh tha iad an aghaidh èiginn dhùbailte: bagairtean don àrainneachd agus don chànan is chultar Gàidhlig. Tha cumhachdan nas fharsainge a’ reubadh às a chèile cearcallan nàdarra co-chèileach a bha ann eadar daoine agus nàdar airson linntean.

Dealbh bòidheach is sgriosail den dùthaich mhòr fhiadhaich againn, tha ‘Beura’ a’ sealltainn mar nach urrainn dhuinn ar n-àm ri teachd a shàbhaladh ach le bhith a’ coimhead air an àm a dh’fhalbh.

“Cha tig tràghadh an dèidh tuile thugam tuilleadh. Far an robh tràghadh ann roimhe, chan eil sìon ann ach tuil.”

“When the great sea was a mossy forest grove, I was there, a young girl.”

The tale of the Cailleach Bheur, the Celtic goddess of nature, storms and winter, is well known to many in the Gàidhealtachd. Said to have carved the mountains and glens with ice, and borne the islands like children on her back, the Cailleach disappeared long ago leaving us only with her song – a sad, cautionary tale.

’Beura’ is a new Gaelic arts project bringing music, film and verse together to reimagine the Cailleach’s story for the modern era. Combining the intense landscape visuals of Orcadian filmmaker Gregor D. Sinclair with a new musical work for string ensemble by celebrated Highland composer Lisa Robertson, as well as poetry and field recordings, ‘Beura’ is a live experience unlike any other.

“Ebb after flood, flood after ebb. What the flood-wave brings, the ebb carries away.”

The sublime and powerful landscapes of the Gàidhealtachd are renowned across the world. But today they face the twin crises of environmental collapse and the disappearance of Gàidhlig language and culture. The natural cycles of reciprocity that existed between the people and the earth for centuries are being pulled apart by wider forces.

A beautiful and devastating depiction of our vast and wild homeland, ‘Beura’ shows how it is only by looking to our past that we can ultimately hope to save our future.

“No more shall ebb after flood come to me. Where once there was ebb, all is flooding.”

Ann an com-pàirteachas le

‘BÀS NA CAILLICHE’ IS SGEULAN EILE

‘DEATH OF THE CAILLEACH’ & OTHER STORIES

THE CAILLEACH’S ARGYLL

Keep the Gàidhealtachd’s stories alive – donate to Tobar an Dualchais today.

SGEULAN-BEATHA

Lisa Robertson is a composer from the West Highlands whose work combines natural sound, contemporary classical and traditional music, and explores the relationship between people and land. Featured as one of BBC Music’s ‘Rising Stars’, Lisa’s work has been performed by the Royal Scottish National Orchestra, Czech Philharmonic, Hebrides Ensemble and more, on stages across Europe and on BBC Radio.

Gregor D. Sinclair is an environmental filmmaker from the isle of Sanday in the north of Scotland, working primarily in documentaries which blend environmental issues with history and culture. His recent films ‘Small Country’ and ‘Hardangerfolk’ have been screened and received awards at festivals across Europe and the Americas, as well as featuring on BBC Scotland and the international press.

BÀS NA CAILLICHE DEATH OF THE CAILLEACH

Dugald MacCormick of Mull tells the story of the Cailleach, her life on the remote isle of Erraid, and how she created the lochs and the mountains.

As she dies, he sings a verse of the Lament of the Cailleach, the other verses being lost to time.

Audio: Gaelic
Transcript(s): Gaelic

Gàidhlig

English

An Caiptean Dùghall MacCormaig (DM): Nis, creidibh e no nach creidibh, ach bha fomhairean ann anns an t-seann t-saoghal. Tha am Bìoball ag innse sin dhuinn. Ma sheallas sibh anns an t-siathamh caibideil de Ghenesis, chì sibh ann an sin gun robh fomhairean ann, anns an t-seann t-saoghal. Ach bha aon fhomhair, cha chreid mi nach e an tè mu dheireadh a bh’ ann am Muile, de na fomhairean sin, a’ Chailleach Bheur a bha a’ fuireach ann an Eilean Earraid, ris an abrar… ‘s e Eilean Earraid a their sinn ris an-diugh. Tha an t-eilean sin ainmeil gu leòr ann an leabhraichean Beurla a-nis, ach san àm ud cha robh a’ fuireach ann ach a’ Chailleach Bheur agus na trì mairt a bh’ aice, a bhiodh i ag ionaltradh a h-uile madainn.

Captain Dugald MacCormick: Now, believe it or not, but there were giants in the old world. The Bible tells us that. If you look in the sixth book of Genesis you will see there that there were giants, in the old world. But one giant, I believe she was the last one in Mull, of the giants there, a’ Chailleach Bheur who lived in the Isle of Earraid, which is called… it is called Earraid today. The island is famous enough in books in English now, but in that time all that stayed there were a’ Chailleach Bheur and the three cattle she had, that would graze every morning.

Nis, feumaidh gun robh i fiadhaich mòr, agus tha iad ag ràdh rinn – thàinig e a-nuas ann am beul-aithris – nach robh ach an aon sùil, agus… nach robh aice ach an aon sùil agus gun robh i ann an clàr a h-aodainn. Ach bha uair an siud agus bha i a’ sealltainn a-mach ris an iar, agus thuirt i:

Now, she must have been fearsomely large, and they tell us – she came down to us in folklore – that there was only one eye, and… that she only had one eye and that it was in her forehead. But there was one time and she was looking out to the west, and she said:

“Nuair a bha a’ mhuir na coille ‘s na crìonaich, bha mise an sin nam nìghneig òig.”

“When the sea was a forest and brushwood, I was there as a young girl.”

Nis, nuair a labhradh am boireannach ud, agus ‘s ann glè ainneamh a labhradh i idir, ach nuair a labhradh i, chluinneadh a h-uile duine sa cheann dùthcha i, agus dh’fhaodte ann an àiteannan eile. Nis, bidh sibh a’ smaointinn gu bheil e faoin a ràdh gun robh a’ Chailleach dh’fhaodte ag innse bhreug gun robh a’ mhuir na coille ‘s na crìonaich nuair a bha ise na h-ìghneig òig, ach carson nach creideamaid e? Nach eil e coltach gu leòr? Mura facaig a h-uile h-aon agaibh na Sgeirean Torranach, chuala sibh iomradh orra. A’ sealltainn a-mach bho Eilean Earraid, gu rathad na Dubh-artaich, tha sgeirean cunnartach a-mach ann an sin a tha a’ sìneadh a-mach seachd mìle deug. Agus anns an t-seann t-saoghal, nach fhaodadh na sgeirean a tha sin a bhith nam barran chnocan? Monaidhean a shìolaidheadh sìos le crith-thalmhainn no rud air choreigin mar sin. ‘S chan urrainn dhuinn a ràdh nach robh a’ Chailleach Bheur ceart nuair a thuirt i:

Now, when that woman spoke, and it was very rarely she spoke at all, but when she spoke everyone in that end of the land would hear her, and perhaps in other places. Now, you will be thinking that it is foolish to say, that the Cailleach was perhaps telling lies that the sea was a forest and brushwood when she was a young girl, but why should we not believe it? Isn’t it quite possible? If every one of you has not seen the Torran skerries, you have heard report of them. Looking out from the Isle of Earraid, to the Dubh-artach road, there are dangerous skerries out there that stretch out seventeen miles. And in the old world, could those skerries not have been the tops of hills? Mountains that subsided with an earthquake or something like that. And we cannot say that the Cailleach Bheur was not right when she said:

“Nuair a bha a’ mhuir na coille ‘s na crìonaich, bha mise an sin nam nìghneig òig.”

“When the sea was a forest and brushwood, I was there as a young girl.”

Ach bha aon rud crochte ris a’ Chailleach Bheur. An ceann a h-uile ceud bliadhna dh’fheumadh i i fhèin fhailceadh ann an Loch Bà, shuas aig ceann eile Mhuile. Chuala sibh air fad iomradh air Loch Bà. ‘S e loch bhòidheach a th’ ann, agus i glè fhada agus domhainn. Agus nuair a gheibheadh i failceadh, daonnan anns a’ Chèitean, cho luath ‘s a gheibheadh i failceadh, dh’ath-nuadhachadh a h-òige agus bha i na h-ìghneig òig a-rithist. Nis, dh’fhaodte gu bheil sibh a’ cur teagamh ann an sin, ach a bheil fhios agaibhse, ‘s iomadh rud neònach a tha a’ tachairt anns an t-saoghal, agus a thachair ann bho shean, aig nach eil fhios sam bith againn idir ach mar a thig e a-nuas ann am beul-aithris.

But there was one thing that was said about the Cailleach Bheur. At the end of every hundred years she had to bathe herself in Loch Bà. It is a beautiful loch, and it is very long and deep. And when she would take her bath, always in May, as soon as she had bathed, her youth was renewed and she was a young girl again. Now, perhaps you are doubting that, but do you know, many a strange thing happens in the world, and has always happened in it, that we know nothing at all about except as it arises in folklore.

Bha na trì boin aice, agus bhiodh i a’ falbh leotha à Eilean Earraid, ‘s gan saodachadh troimh Mhuile, a-sìos gus an ruigeadh i Maol Chinn Tìre, a h-uile latha. Nis, feumaidh gur e ceumannan fiadhaich fada a bhiodh aig a’ chrodh, oir rachadh iad sìos gu Maol Chinn Tìre, agus an sin thòisicheadh iad air ionaltradh gus am biodh iad air an rathad dhachaigh. Ach cha robh e cho neònach idir nuair a smaointicheas sibh an seòrsa boireannaich a bh’ anns a’ Chailleach Bheur, a chionn bha i a’ gearan mu Chrùlachan. ‘S aithne dhuibh Crùlachan, chan eil i fad on Ghleann Mhòr ann am Muile.

She had her three cows, and she would leave with them from the Isle of Earraid, and drive them through Mull, down until she reached the Mull of Kintyre, every day. Now, it must have been fearsomely long steps that the cattle took, because they went down to the Mull of Kintyre, and there they started grazing until they made for the road home. But it wasn’t so strange at all when you think what kind of a woman the Cailleach Bheur was, since she complained about Crùlachan. You know Crùlachan, it is not far from Glen More in Mull.

“Crùlachan dubh, domhainn. An loch as doimhne san domhain. Ruigeadh Caol Muile mo ghlùinean ach ruigeadh Crùlachan mo shlèistean.”

“Black, deep Crùlachan. The deepest of lochs in the world. The Sound of Mull would reach my knees but Crùlachan would reach my thighs.”

Sin an rud a bha i fhèin ag ràdh. Agus carson nach creid sinn e? Dè fios a th’ againne nach robh i fìor?

That is what she would say herself. And why should we not believe her? How do we know that bit was not true?

Nis, cha robh ach an aon àite anns am biodh an crodh aig a’ Chailleach Bheur ag òl uisge nuair a bha i air falbh à Muile fhèin. ‘S e sin tobar a bha shìos leth an rathaid gu Maol Chinn Tìre. Chan eil cuimhn’ a’m gu dè ainm a th’ air, ach co-dhiù bha a leithid de thobar ann, agus bha brod mòr de chloich air an tobar agus cho luath ‘s a ruigeadh i sa mhadainn, thogadh i am brod seo airson gum faigheadh an crodh òl nuair a bhiodh am pathadh orra. Ach nam fàgadh i am brod far an tobair gus an rachadh a’ ghrian fodha, thigeadh an t-uisge às agus chuireadh e tuil thar na domhain air fad. Thaomadh e às an tobar a bha seo gus an cuireadh e tuil air an domhain air fad.

Now, there was only one place that the cattle of the Cailleach Bheur would drink water when she was away from Mull itself. That is the well that was down halfway to the Mull of Kintyre. I don’t remember what it was called, but there was such a well, and there was a big stone lid on the well and as soon as she arrived in the morning, she would lift this lid so that the cattle could drink when they were thirsty. But if she left the lid off the well until the sun went down, the water would come out of it and it would send a flood over the whole world. It would pour out of this well until it put a flood over the whole world.

Bha i seo, ma-tà, aon uair agus i a’ fàs car sean, ‘s i a’ fàs lag coltach ri boireannach sean eile, agus thòisich i air… an cadal a’ tighinn oirre ‘s i na suidhe faisg air an tobar. Ach dhùisg i le froineadh. Thàinig rabhaic uisge seirbh às an tobar agus bha a’ ghrian dìreach gu dol sìos; cha robh ach crioman beag dheth an uachdar, ach leum i agus phut i sìos am brod agus shàbhail i an saoghal bho thuil. Ach ged a shàbhail i an saoghal air fad, tha pàirt dhith ann an siud fhathast, agus ‘s e Loch Obha a th’ aca air.

Here she was then, at one time and she was getting a bit old, and she was growing weak like other old women, and she began… growing sleepy while she sat near the well. But she woke with a shake. A great roar of bitter water came from the well and the sun was just going down; there were only small fragments of it above, but she jumped and pushed down the lid and she saved the world from flooding. But although she saved the whole world, part of it is there yet, and they call it Loch Awe.

Sin agaibh a-nis mar a bha a’ Chailleach Bheur. Ach an truaghan, thàinig i air a h-aghaidh an uair seo, agus thug i an crodh do dh’Eilean Earraid, ach bha an samhradh a’ tighinn. Bha an Cèitean ri teachd, agus bha an t-àm aice tighinn dlùth a dhol a dh’fhaotainn failceadh. Nis, dh’fheumadh i a bhith air a failceadh mun cluinneadh i comhart coin, agus mun cluinneadh i an t-eun beag a’ bìogail anns na preaslaichean. Nan cluinneadh i a h-aon dhiubh sin, bha i rèidh. Dh’fhalbh i an latha seo, agus i a’ dol a-sìos a’ bhruthaich gu taobh na loch, ‘s i a’ falbh air a socair fhèin ‘s bata aice a’ dol ga failceadh fhèin, agus dìreach nuair a bha i aig cois na tuinne, bha cìobair nach robh fad air falbh agus thug an cù aige comhart. Cha bu luaithe a chualaig i a chomhart na thuit i na cual-chnàmh.

There you have it now how it was with the Cailleach Bheur. But the poor soul, she came forward this time, and she took the cattle to the Isle of Earraid, but the summer was coming. May was approaching, and her time was getting close to receive her bathing. Now she would have to have bathed before she heard the barking of a dog, and before she heard the chirping of the little bird in the bushes. If she should hear any of these, she was finished. She left this day, going down the brae to the side of the loch, moving very carefully with a stick, going to the bathing, and just when she was right by the waves, there was a shepherd that was not far away and his dog gave a bark. No sooner had she heard the bark than she fell in pieces.

Nis, bha fhios aig a’ chìobair glè mhath gun robh an t-àm aig a’ Chailleach a bhith a’ tighinn ann agus bhiodh e daonnan a’ feuchainn ris a’ chù a chumail a-staigh gus am faigheadh i air a failceadh, ach an oidhche seo bha an cù a-mach agus ‘s ann leis a sin a chomhart e nuair a chunnaic e a’ Chailleach a’ dol a-sìos, agus thuit i na cual-chnàmh. Ach ruith an cìobair ga… thuice cho luath ‘s a b’ urrainn dha feuch an dèanadh e dad air a son. Cha robh i uile-gu-lèir marbh, agus bha i a’ seinn rithe fhèin òran tiamhaidh, muladach, agus chan aithne dhòmhsa seinn, ach seo car mar a bha e a’ dol:

Now, the shepherd knew very well that it was the time for the Cailleach to be coming and he would always try to keep the dog inside until she had bathed herself, but this night the dog was out and that is why he barked when he saw the Cailleach going down, and she fell in pieces. But the shepherd ran… towards her as quickly as he could to see if he could do anything for her. She was not completely dead, and she was singing a plaintive, sad song to herself, and I don’t know how to sing, but this is a bit like how it went:

“Is moch an-diugh a ghoir an cù, a ghoir an cù, a ghoir an cù,
Is moch an-diugh a ghoir an cù, madainn chiùin os cionn Loch Bà.”

“It is early today the dog cried, the dog cried, the dog cried
It is early today the dog cried, on a calm morning above Loch Bà”

Sin mar a bha an t-òran a’ dol. Bha mòran earrannan ann, ach b’ e sin an ceòl a bh’ air.

That is the way the song went. There were a lot of verses in it but that is the tune of it.

Nis, duine sam bith nach eil a’ creidsinn na sgeulachd sin, chan eil aige ach dol a-suas gu na Barrachan – ‘s aithne dhuibh air fad na Barrachan – agus iomairibh a-suas tro Abhainn nan Slat agus chì sibh air an làimh chlì an staidhre a bh’ aig a’ Chailleach Bheur a dhol a-suas dhan àite far an robh i a’ fuireach, agus their iad Tobhta na Cailleach Bheur ris gus an latha an-diugh.

Now, anybody that does not believe that story, he only has to go up to the Barrachan – you all know the Barrachan – and row up through Abhainn nan Slat and you will see to your left hand side the stair that the Cailleach Bheur had to go up to the place where she stayed, and they call it the Ruin of the Cailleach Bheur to this day.

Nis, co-dhiù ‘s a tha sibh a’ creidsinn sin no nach eil, chan eil fhios agamsa, ach ‘s ann mar sin a chuala mi e, agus mas breug uam e, is breug thugam e.

Now, whether you believe that or not, I don’t know, but that is the way I heard it, and if it is a lie I tell, it is a lie I heard.

An Caiptean Dùghall MacCormaig (DM): Nis, creidibh e no nach creidibh, ach bha fomhairean ann anns an t-seann t-saoghal. Tha am Bìoball ag innse sin dhuinn. Ma sheallas sibh anns an t-siathamh caibideil de Ghenesis, chì sibh ann an sin gun robh fomhairean ann, anns an t-seann t-saoghal. Ach bha aon fhomhair, cha chreid mi nach e an tè mu dheireadh a bh’ ann am Muile, de na fomhairean sin, a’ Chailleach Bheur a bha a’ fuireach ann an Eilean Earraid, ris an abrar… ‘s e Eilean Earraid a their sinn ris an-diugh. Tha an t-eilean sin ainmeil gu leòr ann an leabhraichean Beurla a-nis, ach san àm ud cha robh a’ fuireach ann ach a’ Chailleach Bheur agus na trì mairt a bh’ aice, a bhiodh i ag ionaltradh a h-uile madainn.

Nis, feumaidh gun robh i fiadhaich mòr, agus tha iad ag ràdh rinn – thàinig e a-nuas ann am beul-aithris – nach robh ach an aon sùil, agus… nach robh aice ach an aon sùil agus gun robh i ann an clàr a h-aodainn. Ach bha uair an siud agus bha i a’ sealltainn a-mach ris an iar, agus thuirt i:

“Nuair a bha a’ mhuir na coille ‘s na crìonaich, bha mise an sin nam nìghneig òig.”

Nis, nuair a labhradh am boireannach ud, agus ‘s ann glè ainneamh a labhradh i idir, ach nuair a labhradh i, chluinneadh a h-uile duine sa cheann dùthcha i, agus dh’fhaodte ann an àiteannan eile. Nis, bidh sibh a’ smaointinn gu bheil e faoin a ràdh gun robh a’ Chailleach dh’fhaodte ag innse bhreug gun robh a’ mhuir na coille ‘s na crìonaich nuair a bha ise na h-ìghneig òig, ach carson nach creideamaid e? Nach eil e coltach gu leòr? Mura facaig a h-uile h-aon agaibh na Sgeirean Torranach, chuala sibh iomradh orra. A’ sealltainn a-mach bho Eilean Earraid, gu rathad na Dubh-artaich, tha sgeirean cunnartach a-mach ann an sin a tha a’ sìneadh a-mach seachd mìle deug. Agus anns an t-seann t-saoghal, nach fhaodadh na sgeirean a tha sin a bhith nam barran chnocan? Monaidhean a shìolaidheadh sìos le crith-thalmhainn no rud air choreigin mar sin. ‘S chan urrainn dhuinn a ràdh nach robh a’ Chailleach Bheur ceart nuair a thuirt i:

“Nuair a bha a’ mhuir na coille ‘s na crìonaich, bha mise an sin nam nìghneig òig.”

Ach bha aon rud crochte ris a’ Chailleach Bheur. An ceann a h-uile ceud bliadhna dh’fheumadh i i fhèin fhailceadh ann an Loch Bà, shuas aig ceann eile Mhuile. Chuala sibh air fad iomradh air Loch Bà. ‘S e loch bhòidheach a th’ ann, agus i glè fhada agus domhainn. Agus nuair a gheibheadh i failceadh, daonnan anns a’ Chèitean, cho luath ‘s a gheibheadh i failceadh, dh’ath-nuadhachadh a h-òige agus bha i na h-ìghneig òig a-rithist. Nis, dh’fhaodte gu bheil sibh a’ cur teagamh ann an sin, ach a bheil fhios agaibhse, ‘s iomadh rud neònach a tha a’ tachairt anns an t-saoghal, agus a thachair ann bho shean, aig nach eil fhios sam bith againn idir ach mar a thig e a-nuas ann am beul-aithris.

Bha na trì boin aice, agus bhiodh i a’ falbh leotha à Eilean Earraid, ‘s gan saodachadh troimh Mhuile, a-sìos gus an ruigeadh i Maol Chinn Tìre, a h-uile latha. Nis, feumaidh gur e ceumannan fiadhaich fada a bhiodh aig a’ chrodh, oir rachadh iad sìos gu Maol Chinn Tìre, agus an sin thòisicheadh iad air ionaltradh gus am biodh iad air an rathad dhachaigh. Ach cha robh e cho neònach idir nuair a smaointicheas sibh an seòrsa boireannaich a bh’ anns a’ Chailleach Bheur, a chionn bha i a’ gearan mu Chrùlachan. ‘S aithne dhuibh Crùlachan, chan eil i fad on Ghleann Mhòr ann am Muile.

“Crùlachan dubh, domhainn. An loch as doimhne san domhain. Ruigeadh Caol Muile mo ghlùinean ach ruigeadh Crùlachan mo shlèistean.”

Sin an rud a bha i fhèin ag ràdh. Agus carson nach creid sinn e? Dè fios a th’ againne nach robh i fìor?

Nis, cha robh ach an aon àite anns am biodh an crodh aig a’ Chailleach Bheur ag òl uisge nuair a bha i air falbh à Muile fhèin. ‘S e sin tobar a bha shìos leth an rathaid gu Maol Chinn Tìre. Chan eil cuimhn’ a’m gu dè ainm a th’ air, ach co-dhiù bha a leithid de thobar ann, agus bha brod mòr de chloich air an tobar agus cho luath ‘s a ruigeadh i sa mhadainn, thogadh i am brod seo airson gum faigheadh an crodh òl nuair a bhiodh am pathadh orra. Ach nam fàgadh i am brod far an tobair gus an rachadh a’ ghrian fodha, thigeadh an t-uisge às agus chuireadh e tuil thar na domhain air fad. Thaomadh e às an tobar a bha seo gus an cuireadh e tuil air an domhain air fad.

Bha i seo, ma-tà, aon uair agus i a’ fàs car sean, ‘s i a’ fàs lag coltach ri boireannach sean eile, agus thòisich i air… an cadal a’ tighinn oirre ‘s i na suidhe faisg air an tobar. Ach dhùisg i le froineadh. Thàinig rabhaic uisge seirbh às an tobar agus bha a’ ghrian dìreach gu dol sìos; cha robh ach crioman beag dheth an uachdar, ach leum i agus phut i sìos am brod agus shàbhail i an saoghal bho thuil. Ach ged a shàbhail i an saoghal air fad, tha pàirt dhith ann an siud fhathast, agus ‘s e Loch Obha a th’ aca air.

Sin agaibh a-nis mar a bha a’ Chailleach Bheur. Ach an truaghan, thàinig i air a h-aghaidh an uair seo, agus thug i an crodh do dh’Eilean Earraid, ach bha an samhradh a’ tighinn. Bha an Cèitean ri teachd, agus bha an t-àm aice tighinn dlùth a dhol a dh’fhaotainn failceadh. Nis, dh’fheumadh i a bhith air a failceadh mun cluinneadh i comhart coin, agus mun cluinneadh i an t-eun beag a’ bìogail anns na preaslaichean. Nan cluinneadh i a h-aon dhiubh sin, bha i rèidh. Dh’fhalbh i an latha seo, agus i a’ dol a-sìos a’ bhruthaich gu taobh na loch, ‘s i a’ falbh air a socair fhèin ‘s bata aice a’ dol ga failceadh fhèin, agus dìreach nuair a bha i aig cois na tuinne, bha cìobair nach robh fad air falbh agus thug an cù aige comhart. Cha bu luaithe a chualaig i a chomhart na thuit i na cual-chnàmh.

Nis, bha fhios aig a’ chìobair glè mhath gun robh an t-àm aig a’ Chailleach a bhith a’ tighinn ann agus bhiodh e daonnan a’ feuchainn ris a’ chù a chumail a-staigh gus am faigheadh i air a failceadh, ach an oidhche seo bha an cù a-mach agus ‘s ann leis a sin a chomhart e nuair a chunnaic e a’ Chailleach a’ dol a-sìos, agus thuit i na cual-chnàmh. Ach ruith an cìobair ga… thuice cho luath ‘s a b’ urrainn dha feuch an dèanadh e dad air a son. Cha robh i uile-gu-lèir marbh, agus bha i a’ seinn rithe fhèin òran tiamhaidh, muladach, agus chan aithne dhòmhsa seinn, ach seo car mar a bha e a’ dol:

Is moch an-diugh a ghoir an cù, a ghoir an cù, a ghoir an cù,
Is moch an-diugh a ghoir an cù, madainn chiùin os cionn Loch Bà.

Sin mar a bha an t-òran a’ dol. Bha mòran earrannan ann, ach b’ e sin an ceòl a bh’ air.

Nis, duine sam bith nach eil a’ creidsinn na sgeulachd sin, chan eil aige ach dol a-suas gu na Barrachan – ‘s aithne dhuibh air fad na Barrachan – agus iomairibh a-suas tro Abhainn nan Slat agus chì sibh air an làimh chlì an staidhre a bh’ aig a’ Chailleach Bheur a dhol a-suas dhan àite far an robh i a’ fuireach, agus their iad Tobhta na Cailleach Bheur ris gus an latha an-diugh.

Nis, co-dhiù ‘s a tha sibh a’ creidsinn sin no nach eil, chan eil fhios agamsa, ach ‘s ann mar sin a chuala mi e, agus mas breug uam e, is breug thugam e.

Captain Dugald MacCormick: Now, believe it or not, but there were giants in the old world. The Bible tells us that. If you look in the sixth book of Genesis you will see there that there were giants, in the old world. But one giant, I believe she was the last one in Mull, of the giants there, a’ Chailleach Bheur who lived in the Isle of Earraid, which is called… it is called Earraid today. The island is famous enough in books in English now, but in that time all that stayed there were a’ Chailleach Bheur and the three cattle she had, that would graze every morning.

Now, she must have been fearsomely large, and they tell us – she came down to us in folklore – that there was only one eye, and… that she only had one eye and that it was in her forehead. But there was one time and she was looking out to the west, and she said:

“When the sea was a forest and brushwood, I was there as a young girl.”

Now, when that woman spoke, and it was very rarely she spoke at all, but when she spoke everyone in that end of the land would hear her, and perhaps in other places. Now, you will be thinking that it is foolish to say, that the Cailleach was perhaps telling lies that the sea was a forest and brushwood when she was a young girl, but why should we not believe it? Isn’t it quite possible? If every one of you has not seen the Torran skerries, you have heard report of them. Looking out from the Isle of Earraid, to the Dubh-artach road, there are dangerous skerries out there that stretch out seventeen miles. And in the old world, could those skerries not have been the tops of hills? Mountains that subsided with an earthquake or something like that. And we cannot say that the Cailleach Bheur was not right when she said:

“When the sea was a forest and brushwood, I was there as a young girl.”

But there was one thing that was said about the Cailleach Bheur. At the end of every hundred years she had to bathe herself in Loch Bà. It is a beautiful loch, and it is very long and deep. And when she would take her bath, always in May, as soon as she had bathed, her youth was renewed and she was a young girl again. Now, perhaps you are doubting that, but do you know, many a strange thing happens in the world, and has always happened in it, that we know nothing at all about except as it arises in folklore.

She had her three cows, and she would leave with them from the Isle of Earraid, and drive them through Mull, down until she reached the Mull of Kintyre, every day. Now, it must have been fearsomely long steps that the cattle took, because they went down to the Mull of Kintyre, and there they started grazing until they made for the road home. But it wasn’t so strange at all when you think what kind of a woman the Cailleach Bheur was, since she complained about Crùlachan. You know Crùlachan, it is not far from Glen More in Mull.

“Black, deep Crùlachan. The deepest of lochs in the world. The Sound of Mull would reach my knees but Crùlachan would reach my thighs.”

That is what she would say herself. And why should we not believe her? How do we know that bit was not true?

Now, there was only one place that the cattle of the Cailleach Bheur would drink water when she was away from Mull itself. That is the well that was down halfway to the Mull of Kintyre. I don’t remember what it was called, but there was such a well, and there was a big stone lid on the well and as soon as she arrived in the morning, she would lift this lid so that the cattle could drink when they were thirsty. But if she left the lid off the well until the sun went down, the water would come out of it and it would send a flood over the whole world. It would pour out of this well until it put a flood over the whole world.

Here she was then, at one time and she was getting a bit old, and she was growing weak like other old women, and she began… growing sleepy while she sat near the well. But she woke with a shake. A great roar of bitter water came from the well and the sun was just going down; there were only small fragments of it above, but she jumped and pushed down the lid and she saved the world from flooding. But although she saved the whole world, part of it is there yet, and they call it Loch Awe.

There you have it now how it was with the Cailleach Bheur. But the poor soul, she came forward this time, and she took the cattle to the Isle of Earraid, but the summer was coming. May was approaching, and her time was getting close to receive her bathing. Now she would have to have bathed before she heard the barking of a dog, and before she heard the chirping of the little bird in the bushes. If she should hear any of these, she was finished. She left this day, going down the brae to the side of the loch, moving very carefully with a stick, going to the bathing, and just when she was right by the waves, there was a shepherd that was not far away and his dog gave a bark. No sooner had she heard the bark than she fell in pieces.

Now, the shepherd knew very well that it was the time for the Cailleach to be coming and he would always try to keep the dog inside until she had bathed herself, but this night the dog was out and that is why he barked when he saw the Cailleach going down, and she fell in pieces. But the shepherd ran… towards her as quickly as he could to see if he could do anything for her. She was not completely dead, and she was singing a plaintive, sad song to herself, and I don’t know how to sing, but this is a bit like how it went:

“It is early today the dog cried, the dog cried, the dog cried
It is early today the dog cried, on a calm morning above Loch Bà”

That is the way the song went. There were a lot of verses in it but that is the tune of it.

Now, anybody that does not believe that story, he only has to go up to the Barrachan – you all know the Barrachan – and row up through Abhainn nan Slat and you will see to your left hand side the stair that the Cailleach Bheur had to go up to the place where she stayed, and they call it the Ruin of the Cailleach Bheur to this day.

Now, whether you believe that or not, I don’t know, but that is the way I heard it, and if it is a lie I tell, it is a lie I heard.

THÀINIG CEÒL DO NA H-EILEANAN SIAR MUSIC COMES TO THE WESTERN ISLES

Hugh MacRae of Skye tells the tale of how the clarsach first emerged from the sea. A young widow seeks to make a fae bargain to grant her son the talent of music.

Audio: Gaelic
Transcript(s): Gaelic

Gàidhlig

English

Ùisdean MacRath: Innsidh mi dhuibh eachdraidh, mar a chuala mi mar a thàinig ceòl an toiseach dha na h-Eileanan an Iar.

Hugh MacRae: I will tell you a story, the way I heard how music came at first to the Western Isles.

Bho chionn iomadh bliadhna air n-ais bha banntrach bochd ann am fear dhe na h-eileanan taobh an iar na Gàidhealtachd aig an robh aon mhac. Agus cha robh mòran feum anns a’ ghille. Cha dèanadh e dad sam bith timcheall air a’ chroit no obair timcheall an taighe no rud sam bith. Agus ‘s e a thoil-inntinn a bhith a’ siubhal nan cladaichean. Agus bhiodh e a’ falbh a’ siubhal a’ chladaich bho mhoch sa mhadainn gu anmoch a dh’oidhche.

Back many years ago there was a poor widow in one of the islands in the west of the Gàidhealtachd and she had one son. And there was not much use in the boy. He would do nothing around the croft or work around the house or anything. And it was his pleasure to be walking the shorelines. And he would be away walking the shore from early in the morning to late at night.

Ach aon latha agus e a’ dol a-null ri taobh cladach… an cladach a bha sìos bhon an taigh, chunnaic e rud ag èirigh eadar dà thonn, mu fhichead slat on a’ chladach, agus chaidh e a-mach agus throg e a-mach às a’ mhuir e. Agus nuair a throg e a-mach e, rinn an rud a bh’ ann, rinn e crònan neònach nach cuala am balach riamh roimhe. Agus thug e air tìr e, ‘s bha e a’ coimhead air ‘s ga làimhseachadh, ‘s cha robh e a’ tuigsinn gu de seòrsa rud a bh’ ann idir. Agus nuair a thionndadh e e air dòigh àraidh far am faigheadh a’ ghaoth grèim air, bha e a’ dèanamh fuaim neònach, fuaim nach cuala e riamh roimhe.

But one day he was going over beside a shore… the shore that was below the house, he saw something arising between two waves, about twenty yards from the shore, and he went out and he lifted the thing out of the sea. And when he lifted it out the thing made… it made a strange humming that the boy had never heard before. And he took it on land and he was looking at it and handling it and he wasn’t understanding at all what kind of thing it was. And when he turned it in a certain way where the wind would catch it, it made a strange noise, a noise that he had never heard before.

Agus thug e dhachaigh an rud a fhuair e ann a… eadar an dà thonn, agus bha e na shuidhe ri taobh an teine ‘s e ga làimhseachadh air n-ais ‘s air n-adhart agus ga bhualadh le mheòirean. Agus nuair a bhuaileadh e le mheòirean e, thigeadh am fuaim neònach a bha seo às.

Agus ged a bha… thuig e an uair sin gur e ceòl a bha a’ tighinn… gur e sin am fuaim a bha e a’ faireachadh, fuaim ceòl. Agus ged a bha… ged a bha gaol a’ cheòil na chridhe, cha robh sgil a’ cheòil na mheòirean, agus bha e… dh’fhàs e cho duilich nach b’ urrainn da ceòl ceart a thoir às an ionnsramaid a fhuair e agus nach d’ rachadh e a chadal idir. ‘S bha e na shuidhe ri taobh an teine latha às dèidh latha, agus e a’ làimhseachadh an rud a fhuair e anns a’ mhuir. Agus bha a mhàthair, bha i fo dhragh-inntinn mòr a thaobh a’ bhalaich. 

Agus ‘s ann a chaidh i a choimhead air duine àraidh a bha san àite a bha na mhaighstir air an sgoil-dhuibh. Agus thuirt i ris gun robh… mar a bha am balach agus cho draghail ‘s a bha i air a thaobh. Agus thuirt e rithe:

And he took the thing home that he had found in… between the two waves, and he was sitting beside the fire and handling it backwards and forwards and striking it with his fingers. And when he hit it with his fingers a strange noise would come out of it.

And although… he understood then that it was music that was coming… that that was the sound that he was encountering, the sound of music.  And although… although the love of music was in his heart he had no musical skill in his fingers and he was… he grew so sad that he couldn’t get proper music out of the instrument that he found that he could not sleep at all.   And he was sitting beside the fire day after day and handling the thing that he found in the sea. And his mother, she was greatly concerned about the boy.

And what she did is she went to see a certain man that was in the area that was a master of the black arts. And she said to him… told him how the boy was and how concerned she was about him. And he said to her:

“Gu dè,” ars esan, “a tha thu am beachd mise a dhèanamh?”

“What” he said “do you think that should I do?”

“Uill,” ars ise, “tha mi,” ars ise, “airson gum marbh thu gaol a’ chiùil na chridhe no cuir sgil ciùil na mheòirean.”

“Well” she said “I want you” she said “to kill the love of music that is in his heart… or put the skill of music in his fingers.”

“Uill,” ars esan, “tha sin,” ars esan, “soirbh gu leòr dhòmhsa a dhèanamh,” ars esan. “An dà chuid. Ach,” ars esan, “gu dè an duais a tha thu a’ toir dhòmhsa ma nì mi aon dhen an dà chuid a tha thu ag iarraidh orm?”

“Well” he said “that is easy enough for me to do” he said “either thing. But” he said “what reward will you give me if I do one of the two things that you have you asked me?”

“Uill,” ars ise, “dè,” ars ise, “tha thu ag iarraidh? Chan eil annamsa,” ars ise, “ach banntrach bhochd agus chan eil mòran agam, ach,” ars ise, “am balach ud fhèin.”

“Well” she said “what do you want? I am only a widow” she said “and I do not have much except that boy himself.”

“Uill,” ars esan, “chan eil mi ag iarraidh a’ bhalaich idir. Ach,” ars esan, “ma chuireas mise,” ars esan, “ma mharbhas mi,” ars esan, “gaol a’ chiùil na chridhe, feumaidh tu,” ars esan, “do chorp a thoir dhomh. Agus ma chuireas mi eòlas ciùil na mheòirean feumaidh tu d’ anam a thoir dhomh. Cò,” ars esan, “as fheàrr leat?”

“Well” he said “I don’t want the boy at all. But” he said “if I put…” he said “if I kill the love of music in his heart you must” he said “give me your body. And if I put the art of music in his fingers you must give me your soul. Which” he said “would you prefer?”

“Uill,” ars ise, “b’ fheàrr leam,” ars ise, “gu mòr,” ars ise, “nan cuireadh sibh,” ars ise, “eòlas a’ chiùil na mheòirean.”

“Well” she said “I would” she said “greatly prefer that you would put the art of music in his fingers.”

“Ma-thà,” arsa maighstir na sgoil-dhuibh, “falbh thusa,” ars esan, “dhachaigh, agus,” ars esan, “bidh sin dèanta.”

“In that case” said the master of the black arts “away you go home and that will be done.”

Chaidh am boireannach bochd dhachaigh agus nuair a bha i a’ tighinn faisg air an taigh, chuala i ceòl cho eireachdail ‘s cho brèagha ‘s a chuala i riamh. Agus sin a’ chiad cheòl a chuala i, agus cha robh… chan eil… cha chuala i dad riamh anns an t-saoghal a thug leithid a thoil-inntinn dhi ris an fhuaim a bha a’ tighinn às an ionnsramaid a bha am balach a’ cluich.

The poor woman went home and when she was getting close to the house, she heard the most lovely, beautiful music she had ever heard.  And that is the first music that she had heard, and it wasn’t… it isn’t… she had never heard anything in the world that had given her so much pleasure as the sound that was coming from the instrument the boy was playing.

Agus tha e coltach gur e cruit-chiùil a bha san ionnsramaid a throg e às a’ chladach. Agus nuair a ràinig i ‘s chaidh i a-staigh dhan taigh bha am balach na shuidhe ri taobh an teine agus fiamh gàire air agus… air aodann, agus aodann lasaichte suas le gràdh a thaobh a’ ghibht a fhuair e, agus e ag èisteachd ris a’ cheòl a bha e fhèin a’ toir às a’ chruit-chiùil.

And it appears that it was a musical harp that he pulled from the shore.  And when she arrived and she went into the house the boy was sitting beside the fire with a big smile on his face… his face was lit up with love for the gift that he had received and he was listening to the music he himself was bringing out of the clàrsach.

Agus tha e air aithris nuair a chuala e an ìobairt a thug a mhàthair suas air a shon – gun tug i seachad a h-anam airson gun d’ rachadh eòlas a’ cheòil… a’ chiùil a chur na mheòirean – gun do dh’fhàs e cho duilich, agus an ceòl a bha e a’ toir às a’ chruit-chiùil, bha e cho duilich agus gun robh na h-eòin a bha air itealaich timcheall an taighe, gun robh iad a’ stad nan tàmh ag èisteachd ris.

And it is said when he heard about the sacrifice that his mother had given up for him –  that she gave up her soul so that he could have the art of music in his fingers – that he became so sad and the music that he was bringing out of the harp… it was so sad that even the birds that were flying around the house stopped silent listening to it.

Agus tha e air aithris cuideachd gun robh an t-iasg a bha sa mhuir, nuair a chuala iad an ceòl duilich a bha seo, gun robh iad nan tàmh cuideachd ag èisteachd. Agus tha e air aithris chun an latha an-diugh gur e sin an t-adhbhar gu bheil e eu-chomasach do dhuine sam bith ceòl aighearach a thoirt às a’ chruit-chiùil, no às a’ chlàrsaich, agus gur e sin an t-adhbhar air a sin, gun do… gun do… an ìobairt a thug am boireannach bochd a bha seo suas, airson gum faigheadh a mac eòlas a’ chiùil.

And it is also said that the fish that were in the sea when they heard this sad music  that they also stopped still listening to it. And it is said to this day that that is the reason that it is impossible for anybody to make cheerful music from the harp, or clàrsach,  and that that is the reason for it, that that poor woman made such a sacrifice, so that her son would get the art of music.

Agus sin mar a chuala mise air aithris mar a thàinig an ceòl an toiseach dha na h-Eileanan an Iar.

And that’s the way that I heard it told how music came first to the Western Isles.

Ùisdean MacRath: Innsidh mi dhuibh eachdraidh, mar a chuala mi mar a thàinig ceòl an toiseach dha na h-Eileanan an Iar.

Bho chionn iomadh bliadhna air n-ais bha banntrach bochd ann am fear dhe na h-eileanan taobh an iar na Gàidhealtachd aig an robh aon mhac. Agus cha robh mòran feum anns a’ ghille. Cha dèanadh e dad sam bith timcheall air a’ chroit no obair timcheall an taighe no rud sam bith. Agus ‘s e a thoil-inntinn a bhith a’ siubhal nan cladaichean. Agus bhiodh e a’ falbh a’ siubhal a’ chladaich bho mhoch sa mhadainn gu anmoch a dh’oidhche.

Ach aon latha agus e a’ dol a-null ri taobh cladach… an cladach a bha sìos bhon an taigh, chunnaic e rud ag èirigh eadar dà thonn, mu fhichead slat on a’ chladach, agus chaidh e a-mach agus throg e a-mach às a’ mhuir e. Agus nuair a throg e a-mach e, rinn an rud a bh’ ann, rinn e crònan neònach nach cuala am balach riamh roimhe. Agus thug e air tìr e, ‘s bha e a’ coimhead air ‘s ga làimhseachadh, ‘s cha robh e a’ tuigsinn gu de seòrsa rud a bh’ ann idir. Agus nuair a thionndadh e e air dòigh àraidh far am faigheadh a’ ghaoth grèim air, bha e a’ dèanamh fuaim neònach, fuaim nach cuala e riamh roimhe.

Agus thug e dhachaigh an rud a fhuair e ann a… eadar an dà thonn, agus bha e na shuidhe ri taobh an teine ‘s e ga làimhseachadh air n-ais ‘s air n-adhart agus ga bhualadh le mheòirean. Agus nuair a bhuaileadh e le mheòirean e, thigeadh am fuaim neònach a bha seo às. Agus ged a bha… thuig e an uair sin gur e ceòl a bha a’ tighinn… gur e sin am fuaim a bha e a’ faireachadh, fuaim ceòl. Agus ged a bha… ged a bha gaol a’ cheòil na chridhe, cha robh sgil a’ cheòil na mheòirean, agus bha e… dh’fhàs e cho duilich nach b’ urrainn da ceòl ceart a thoir às an ionnsramaid a fhuair e agus nach d’ rachadh e a chadal idir. ‘S bha e na shuidhe ri taobh an teine latha às dèidh latha, agus e a’ làimhseachadh an rud a fhuair e anns a’ mhuir. Agus bha a mhàthair, bha i fo dhragh-inntinn mòr a thaobh a’ bhalaich. Agus ‘s ann a chaidh i a choimhead air duine àraidh a bha san àite a bha na mhaighstir air an sgoil-dhuibh. Agus thuirt i ris gun robh… mar a bha am balach agus cho draghail ‘s a bha i air a thaobh. Agus thuirt e rithe:

“Gu dè,” ars esan, “a tha thu am beachd mise a dhèanamh?”

“Uill,” ars ise, “tha mi,” ars ise, “airson gum marbh thu gaol a’ chiùil na chridhe no cuir sgil ciùil na mheòirean.”

“Uill,” ars esan, “tha sin,” ars esan, “soirbh gu leòr dhòmhsa a dhèanamh,” ars esan. “An dà chuid. Ach,” ars esan, “gu dè an duais a tha thu a’ toir dhòmhsa ma nì mi aon dhen an dà chuid a tha thu ag iarraidh orm?”

“Uill,” ars ise, “dè,” ars ise, “tha thu ag iarraidh? Chan eil annamsa,” ars ise, “ach banntrach bhochd agus chan eil mòran agam, ach,” ars ise, “am balach ud fhèin.”

“Uill,” ars esan, “chan eil mi ag iarraidh a’ bhalaich idir. Ach,” ars esan, “ma chuireas mise,” ars esan, “ma mharbhas mi,” ars esan, “gaol a’ chiùil na chridhe, feumaidh tu,” ars esan, “do chorp a thoir dhomh. Agus ma chuireas mi eòlas ciùil na mheòirean feumaidh tu d’ anam a thoir dhomh. Cò,” ars esan, “as fheàrr leat?”

“Uill,” ars ise, “b’ fheàrr leam,” ars ise, “gu mòr,” ars ise, “nan cuireadh sibh,” ars ise, “eòlas a’ chiùil na mheòirean.”

“Ma-thà,” arsa maighstir na sgoil-dhuibh, “falbh thusa,” ars esan, “dhachaigh, agus,” ars esan, “bidh sin dèanta.”

Chaidh am boireannach bochd dhachaigh agus nuair a bha i a’ tighinn faisg air an taigh, chuala i ceòl cho eireachdail ‘s cho brèagha ‘s a chuala i riamh. Agus sin a’ chiad cheòl a chuala i, agus cha robh… chan eil… cha chuala i dad riamh anns an t-saoghal a thug leithid a thoil-inntinn dhi ris an fhuaim a bha a’ tighinn às an ionnsramaid a bha am balach a’ cluich.

Agus tha e coltach gur e cruit-chiùil a bha san ionnsramaid a throg e às a’ chladach. Agus nuair a ràinig i ‘s chaidh i a-staigh dhan taigh bha am balach na shuidhe ri taobh an teine agus fiamh gàire air agus… air aodann, agus aodann lasaichte suas le gràdh a thaobh a’ ghibht a fhuair e, agus e ag èisteachd ris a’ cheòl a bha e fhèin a’ toir às a’ chruit-chiùil.

Agus tha e air aithris nuair a chuala e an ìobairt a thug a mhàthair suas air a shon – gun tug i seachad a h-anam airson gun d’ rachadh eòlas a’ cheòil… a’ chiùil a chur na mheòirean – gun do dh’fhàs e cho duilich, agus an ceòl a bha e a’ toir às a’ chruit-chiùil, bha e cho duilich agus gun robh na h-eòin a bha air itealaich timcheall an taighe, gun robh iad a’ stad nan tàmh ag èisteachd ris.

Agus tha e air aithris cuideachd gun robh an t-iasg a bha sa mhuir, nuair a chuala iad an ceòl duilich a bha seo, gun robh iad nan tàmh cuideachd ag èisteachd. Agus tha e air aithris chun an latha an-diugh gur e sin an t-adhbhar gu bheil e eu-chomasach do dhuine sam bith ceòl aighearach a thoirt às a’ chruit-chiùil, no às a’ chlàrsaich, agus gur e sin an t-adhbhar air a sin, gun do… gun do… an ìobairt a thug am boireannach bochd a bha seo suas, airson gum faigheadh a mac eòlas a’ chiùil.

Agus sin mar a chuala mise air aithris mar a thàinig an ceòl an toiseach dha na h-Eileanan an Iar.

Hugh MacRae: I will tell you a story, the way I heard how music came at first to the Western Isles.

Back many years ago there was a poor widow in one of the islands in the west of the Gàidhealtachd and she had one son. And there was not much use in the boy. He would do nothing around the croft or work around the house or anything. And it was his pleasure to be walking the shorelines. And he would be away walking the shore from early in the morning to late at night.

But one day he was going over beside a shore… the shore that was below the house, he saw something arising between two waves, about twenty yards from the shore, and he went out and he lifted the thing out of the sea. And when he lifted it out the thing made… it made a strange humming that the boy had never heard before. And he took it on land and he was looking at it and handling it and he wasn’t understanding at all what kind of thing it was. And when he turned it in a certain way where the wind would catch it, it made a strange noise, a noise that he had never heard before.

And he took the thing home that he had found in… between the two waves, and he was sitting beside the fire and handling it backwards and forwards and striking it with his fingers. And when he hit it with his fingers a strange noise would come out of it.

And although… he understood then that it was music that was coming… that that was the sound that he was encountering, the sound of music.  And although… although the love of music was in his heart he had no musical skill in his fingers and he was… he grew so sad that he couldn’t get proper music out of the instrument that he found that he could not sleep at all.   And he was sitting beside the fire day after day and handling the thing that he found in the sea. And his mother, she was greatly concerned about the boy. 

And what she did is she went to see a certain man that was in the area that was a master of the black arts. And she said to him… told him how the boy was and how concerned she was about him. And he said to her:

“What” he said “do you think that should I do?”

“Well” she said “I want you” she said “to kill the love of music that is in his heart… or put the skill of music in his fingers.”

“Well” he said “that is easy enough for me to do” he said “either thing. But” he said “what reward will you give me if I do one of the two things that you have you asked me?”

“Well” she said “what do you want? I am only a widow” she said “and I do not have much except that boy himself.”

“Well” he said “I don’t want the boy at all. But” he said “if I put…” he said “if I kill the love of music in his heart you must” he said “give me your body. And if I put the art of music in his fingers you must give me your soul. Which” he said “would you prefer?”

“Well” she said “I would” she said “greatly prefer that you would put the art of music in his fingers.”

“In that case” said the master of the black arts “away you go home and that will be done.”

The poor woman went home and when she was getting close to the house, she heard the most lovely, beautiful music she had ever heard.  And that is the first music that she had heard, and it wasn’t… it isn’t… she had never heard anything in the world that had given her so much pleasure as the sound that was coming from the instrument the boy was playing.

And it appears that it was a musical harp that he pulled from the shore.  And when she arrived and she went into the house the boy was sitting beside the fire with a big smile on his face… his face was lit up with love for the gift that he had received and he was listening to the music he himself was bringing out of the clàrsach.

And it is said when he heard about the sacrifice that his mother had given up for him –  that she gave up her soul so that he could have the art of music in his fingers – that he became so sad and the music that he was bringing out of the harp… it was so sad that even the birds that were flying around the house stopped silent listening to it.

And it is also said that the fish that were in the sea when they heard this sad music  that they also stopped still listening to it. And it is said to this day that that is the reason that it is impossible for anybody to make cheerful music from the harp, or clàrsach,  and that that is the reason for it, that that poor woman made such a sacrifice, so that her son would get the art of music.

And that’s the way that I heard it told how music came first to the Western Isles.

CAILLEACH BEINN A' BHRIC THE CARLIN OF BEN BRECK

John MacMillan and Dr. John MacInnes recount the rhyme of the Cailleach of Beinn a’ Bhric, a spiritual guardian of deer who appears to protect them from a hunter.

Audio: Gaelic
Transcript(s): Gaelic

Gàidhlig

English

Iain Mac a’ Mhaoilein (IMM): Cailleach Beinn a’ Bhric.

John MacMillan (JM): Cailleach Beinn a’ Bhric

Dr Iain MacAonghuis (IMA): Fuirichibh sibhse, ma-thà. Innsibh… innsibh mun a’ chailleach an toiseach. Cailleach… Cailleach Beinn a’ Bhric.

Dr John MacInnes (DJM): Wait then. Tells us about the old woman first. Cailleach… Caileach Beinn a’ Bhric.

IMM: Ò, uill, chan eil mòran as urrainn dhomh a ràdh mu a deidhinn ach… Bha fear, sealgair, chunnaic e fèidh air cliathach na beinne, teann air a’ mhullach. [?Stalcaich] e na fèidh, agus ‘s e aighean a bh’ ann.

JM: There’s not much that I can say about her…. There was a man, a hunter that saw deer on the hillside, close to the summit. He stalked the deer and they were hinds.

IMA: Seadh.

DJM: Yes/indeed.

IMM: ‘S fhuair e… fhuair e teann orra, ‘s dar a thog e an gunna, a’ dol a thilgeil fear dhiubh, ‘s e tè a bh’ ann.

JM: And he got….. he got close to them, and when he raised the gun, about to shoot one of them, it was a woman.

IMA: Dìreach.

DJM: Yes/indeed.

IMM: Agus, chuir e a-bhàn an gunna, ‘s e fiadh a bh’ ann.

JM: And when he lowered the gun, it was a deer again.

IMA: Sheadh.

DJM: Yes/indeed.

IMM: Thog e an gunna a-rithist, ‘s e tè a bh’ ann. Chaidh e air adhart. Cò bha seo ach Cailleach Beinn a’ Bhric.

JM: He raised his gun again and it was a woman. He approached it. Who was it but Cailleach Beinn a’ Bhric.

IMA: Dìreach.

DJM: Indeed.

IMM: Thuirt i ris:

JM: She said to him: 

“Tha thu tuillidh ‘s trom air na h-aighean.”

“You are too heavy on the hinds.”

IMA: Seadh.

DJM: Yes/indeed.

IMM: “Feumaidh tu gabhail air do shocair. Dar a bha thusa aig bun na beinne, bha mise aig Fèith Chiarain.”

JM: “You must be careful. When you were at the foot of the hill, I was at Fèith Chiarain.” 

Bha sin fad air ais. ‘S cha robh i fad gus an robh i air mullach Beinn a’ Bhric air thoiseach air.

That was far behind [him]. It wasn’t long until she was at the top of Beinn a’ Bhric, ahead of him.

IMA: Sheadh, sheadh. Agus, dè an rann a bh’ agaibh mu a deidhinn a-nise?

DJM: Yes, yes. And now, what verse did you have about her?

IMA: Ach, chan eil cuimhne a’m:

JM: Oh, I don’t remember.

Cailleach Beinn a’ Bhric, hó ró ó,
Cailleach mhòr an fhuarain àrd,
Cailleach nam moganan glasa,
B’ astarach i air na cladaichean garbha.

Cailleach Beinn a’ Bhric hò rò ò
Great woman of the high spring
Old woman of the green stockings
Travelling on the rugged shore

Cha leiginn-sa mo bhuidheann fhiadh,
Mo bhuidheann fhiadh,
Cha leiginn-sa mo bhuidheann fhiadh,
A thrusadh sligean dubh na tràigh.

I wouldn’t let my herd(s) of deer
My herd(s) of deer
I wouldn’t let my herd(s) of deer
Gather whelks on the shore

B’ annsa leam a’ bhiolar-uain’,
A’ bhiolair-uain’,
B’ annsa leam a’ bhiolar-uain’
A bhios a’ fàs mu bhruachan an fhuarain àrd.

Mine is the green watercress
The green watercress
Mine is the green watercress
That grows around the paths of the high spring

IMA: Seadh.

DJM: Yes/indeed.

IMM: ‘S e sin na th’ agamsa [?dhen an rann].

JM: That’s what I’ve got [? of the verse].

IMA: Seadh, seadh. Agus bha an rann sin aca ann am [???]?

DJM: Yes/indeed. And they had the verse in [????]

IMM: Bha, bha. Tha cuimhne agamsa e a bhith aig na h-… ‘s ann aig m’ athair a chuala mise e.

JM: They did. I remember at the…. I heard it from my father.

Iain Mac a’ Mhaoilein (IMM): Cailleach Beinn a’ Bhric.

Dr Iain MacAonghuis (IMA): Fuirichibh sibhse, ma-thà. Innsibh… innsibh mun a’ chailleach an toiseach. Cailleach… Cailleach Beinn a’ Bhric.

IMM: Ò, uill, chan eil mòran as urrainn dhomh a ràdh mu a deidhinn ach… Bha fear, sealgair, chunnaic e fèidh air cliathach na beinne, teann air a’ mhullach. [?Stalcaich] e na fèidh, agus ‘s e aighean a bh’ ann.

IMA: Seadh.

IMM: ‘S fhuair e… fhuair e teann orra, ‘s dar a thog e an gunna, a’ dol a thilgeil fear dhiubh, ‘s e tè a bh’ ann.

IMA: Dìreach.

IMM: Agus, chuir e a-bhàn an gunna, ‘s e fiadh a bh’ ann.

IMA: Sheadh.

IMM: Thog e an gunna a-rithist, ‘s e tè a bh’ ann. Chaidh e air adhart. Cò bha seo ach Cailleach Beinn a’ Bhric.

IMA: Dìreach.

IMM: Thuirt i ris:

“Tha thu tuillidh ‘s trom air na h-aighean.”

IMA: Seadh.

IMM: “Feumaidh tu gabhail air do shocair. Dar a bha thusa aig bun na beinne, bha mise aig Fèith Chiarain.”

Bha sin fad air ais. ‘S cha robh i fad gus an robh i air mullach Beinn a’ Bhric air thoiseach air.

IMA: Sheadh, sheadh. Agus, dè an rann a bh’ agaibh mu a deidhinn a-nise?

IMA: Ach, chan eil cuimhne a’m:

Cailleach Beinn a’ Bhric, hó ró ó,
Cailleach mhòr an fhuarain àrd,
Cailleach nam moganan glasa,
B’ astarach i air na cladaichean garbha.

Cha leiginn-sa mo bhuidheann fhiadh,
Mo bhuidheann fhiadh,
Cha leiginn-sa mo bhuidheann fhiadh,
A thrusadh sligean dubh na tràigh.

B’ annsa leam a’ bhiolar-uain’,
A’ bhiolair-uain’,
B’ annsa leam a’ bhiolar-uain’
A bhios a’ fàs mu bhruachan an fhuarain àrd.


IMA: Seadh.

IMM: ‘S e sin na th’ agamsa [?dhen an rann].

IMA: Seadh, seadh. Agus bha an rann sin aca ann am [???]?

IMM: Bha, bha. Tha cuimhne agamsa e a bhith aig na h-… ‘s ann aig m’ athair a chuala mise e.

IMA: Seadh, seadh.

John MacMillan (JM): Cailleach Beinn a’ Bhric

Dr John MacInnes (DJM): Wait then. Tells us about the old woman first. Cailleach… Caileach Beinn a’ Bhric.

JM: There’s not much that I can say about her…. There was a man, a hunter that saw deer on the hillside, close to the summit. He stalked the deer and they were hinds.

DJM: Yes/indeed.

JM: And he got….. he got close to them, and when he raised the gun, about to shoot one of them, it was a woman.

DJM: Yes/indeed.

JM: And when he lowered the gun, it was a deer again.

DJM: Yes/indeed.

JM: He raised his gun again and it was a woman. He approached it. Who was it but Cailleach Beinn a’ Bhric.

DJM: Indeed.

JM: She said to him: “You are too heavy on the hinds.”

DJM: Yes/indeed.

JM: “You must be careful. When you were at the foot of the hill, I was at Fèith Chiarain.” That was far behind [him]. It wasn’t long until she was at the top of Beinn a’ Bhric, ahead of him.

DJM: Yes, yes. And now, what verse did you have about her?

JM: Oh, I don’t remember.

Cailleach Beinn a’ Bhric hò rò ò
Great woman of the high spring
Old woman of the green stockings
Travelling on the rugged shore

I wouldn’t let my herd(s) of deer
My herd(s) of deer
I wouldn’t let my herd(s) of deer
Gather whelks on the shore

Mine is the green watercress
The green watercress
Mine is the green watercress
That grows around the paths of the high spring

DJM: Yes/indeed.

JM: That’s what I’ve got [? of the verse].

DJM: Yes/indeed. And they had the verse in [????]

JM: They did. I remember at the…. I heard it from my father.

DJM: Yes/indeed.

AN SÌTHICHE IS NA PÌOBAN THE FAERIE & THE PIPES

Roderick Bowie of South Uist tells how a young lad of the MacRaes came across a faerie mound, wherein he was gifted the skill of piping.

Audio: Gaelic
Transcript(s): Gaelic

Gàidhlig

English

Ruairidh Bowie: Uill, bha na pìobairean shuas ann an Smeircleit agus ‘s e Clann ‘icRath a bh’ annta, agus tha feadhainn ann aca fhathast – Clann ‘icRath Smeircleit – daoine eireachdail foghainteach sgairteil. Ach co-dhiù, bha dithis dhiubh nam pìobairean, agus an athair. Agus bha gille òg eile aca a-staigh a bhiodh a’ buachailleachd. Agus co-dhiù, bha iad ainmeil anns an àite ceart gu leòr ‘s tha mi cinnteach gun deach an t-ainm aca a-null dhan Eilean Sgitheanach. Cha robh e fad air falbh – bhiodh gu leòr an seothach a’ tadhal ann a-null ‘s a-nall. Agus chuala pìobairean Chlann ‘icCruimein gun robh iad anns an dùthaich agus ‘s ann a dh’fheumadh iad tighinn a-nall feuch dè seòrsa ceòl a bh’ aca no gu dè… an robh iad a’ tighinn a rèir a’ chiùil a bh’ aca fhèin, a thaobh bha iad a’ cumail sgoile phìobairean anns an Eilean Sgitheanach.

Roddy Bowie: There were pipers in Smercleit, the MacRaes, and some of their descendants are still there today – handsome, brave and energetic people. Two of the sons were pipers, as was their father, the youngest however worked as a herdsman. Their name was known throughout the island, and no doubt across the water in Skye too. Folk often travelled between the islands and it’s likely that word of the MacRaes reached the ears of the MacCrimmon pipers, masters of the famous piping school in Skye. Hearing such praise, they resolved to travel to Uist and judge matters for themselves.

Thàinig iad dhan dùthaich, an seo, agus fhuair iad gu taigh MhicRath ann an Smeircleit, agus tha mi a’ tuigsinn gun do dh’iarr iad orra… gun do dh’innis iad cà robh iad a’ dol, agus na pìoban aca.

So, they came to Smercleit and were welcomed into the MacRae house. After they had made themselves known, the father turned to his youngest son.

“Nach fheàrr dhut, ‘ille,” arsa… ars athair ris an fhear òg, “a’ phìob a sheinn.”

“Shouldn’t you play the pipes for them, boy?”

“Cha seinn, cha seinn,” arsa na gillean eile. “Chan eil feum anns an duine sin ann.”

“No, no,” said his brothers at once, “he’s no use.”

Gu dè ach a bha an gille a’ buachailleachd shuas ann an Coire-bheinn, an taobh shuas dhen taigh, ‘s ann a bha na beathaichean, agus thàinig e gu ruige eas air choreiginich a bha san abhainn agus thachair gun robh sìtheach roimhe. Agus chaidh e fhèin ‘s an sìtheach an lùib a chèile a bhruidhinn agus dh’fhaighneachd an sìtheach dheth:

The day before however, the boy had been herding cattle in Coire-bheinn above the house. As he wandered beside a waterfall on the river, he came upon a fairy standing there before him. The two spoke together, and at last the fairy asked:

“Dè bu mhath leat?”

“What would you like?”

“Bu mhath leam,” ars esan, “pìobaireachd ionnsachadh.”

“I would like to learn to play the pipes,” said the boy.

Co-dhiù:

“Cuir thusa,” ars esan, “do mheur air mo mheur-sa, agus cuir do theanga air mo theangaidh.”

“Then place your fingers upon my fingers,” said the fairy, “and your tongue upon my tongue.”

Agus rinn e sin agus thàinig e dhachaigh. Agus chaidil e còmhla ri athair – ‘s ann a bha e a’ cadal – agus nuair a fhuair e athair anns an leabaidh ‘s a thòisich… ‘s ann air an lurgainn aige thòisich e air, an toiseach.

The boy did as he was told and returned home. That night he lay beside his father, and before sleep came, he began quietly practising—first upon his father’s shin. The father therefore knew that his son had somehow learnt to play.

A-nis, dh’fhàg mi siud an dìochuimhn’ mun do… mun tàinig càch orm. Co-dhiù, nuair a… Bha e a’ cluichd air a sin. An làrna-mhàireach:

The next day, when the MacCrimmons arrived, his father asked:

“Ach an dèan thu pìobaireachd,” ars athair.

“You can pipe, can’t you?”

“Nì,” ars esan.

“I can,” said the boy.

“Bheir thugad a’ phìob.”

“Then fetch your pipes.”

‘S bha na gillean eile air falbh, mar gum biodh iad aig obair air choreigin. Agus cha chuala athair a leithid riamh. Ach co-dhiù, nuair a… nuair a thòisich an gille air seinn na pìoba – sin ‘s gun do dh’iarr iad air tòiseachadh, ‘s e am port a chuir e air a’ phìob:

The other brothers went about their work, whilst their younger brother played. Their father had never heard playing like this before. The first tune was:

Till an crodh, far an crodh
Till an crodh Dhòmhnaill

Bring back the cattle, where are the cattle
Bring back Donald’s cattle

Till an crodh, far an crodh
Till an crodh Dhòmhnaill
‘S gheibh thu a’ bhean bhòidheach

Bring back the cattle, where are the cattle
Bring back Donald’s cattle
And you’ll get the beautiful woman


Till an crodh, far an crodh
Till an crodh Dhòmhnaill
‘S gheibh thu a’ bhean ghaolach

Bring back the cattle, where are the cattle
Bring back Donald’s cattle

And you’ll get the beloved woman.

Chuir e… bha trì no ceithir a thionndaidhean air. Agus cha robh fios aig a bhràithrean, ‘s ann a bha iad air an nàrachadh a chionn mar a bha iad mu chuairt a’ bruidhinn air. Cha chuala iad fhèin a leithid a cheòl riamh. Uill:

He played three or four variations of the tune. His brothers felt ashamed for mocking him, as they themselves had never heard playing like it. When the tune ended, his father said:

“Nach cuir thu port eile air?” ars athair nuair a bha e ullamh dhen phort.

“Won’t you play another?” So the boy began again:

Tha crodh-laoigh air aodann Corra-bheinn
Tha crodh-laoigh air aodann Corra-bheinn
Uisge ‘s gaoth air aodann Corra-bheinn
Tha crodh-laoigh air aodann Corra-bheinn

There are cows on the face of Corra-bheinn
There are cows on the face of Corra-bheinn
Rain and wind on the face of Corra-bheinn
There are cows on the face of Corra-bheinn

Tha trì no ceithir a thionndaidhean… chan eil am port agamsa idir. Chan eil gin dhe na puirt agam ach an toiseach aca. Ach tha e aig pìobairean an-diugh, agus tha e ainmeil cuideachd. Agus nuair a chuala na daoine mar a bha, theich a bhràithrean agus theich an fheadhainn eile nuair a chuala iad e.

This tune also had several variations. And when the music was finished, those who had gathered scarcely could believe what they heard, the brothers fled, as did the MacCrimmons.

“‘S fheàrr dhuinne falbh. Chan eil leithid an duine ud againn idir.”

“We had better be going,” they said. “None of us can play like him.”

Agus sin mar a fhuair iad an t-ainm Pìobairean Smeircleit anns an eilean seo, ge brith dè mar a chaidh dhaibh. Sin mar a chuala mise.

The MacRaes came to be known as The Pipers of Smercleit, a name that endured long after the players themselves had passed into memory.

Calum MacIllEathain: Tha i sin math a-niste.

Calum Iain Maclean: That’s a good one now.

Ruairidh Bowie: Uill, bha na pìobairean shuas ann an Smeircleit agus ‘s e Clann ‘icRath a bh’ annta, agus tha feadhainn ann aca fhathast – Clann ‘icRath Smeircleit – daoine eireachdail foghainteach sgairteil. Ach co-dhiù, bha dithis dhiubh nam pìobairean, agus an athair. Agus bha gille òg eile aca a-staigh a bhiodh a’ buachailleachd. Agus co-dhiù, bha iad ainmeil anns an àite ceart gu leòr ‘s tha mi cinnteach gun deach an t-ainm aca a-null dhan Eilean Sgitheanach. Cha robh e fad air falbh – bhiodh gu leòr an seothach a’ tadhal ann a-null ‘s a-nall. Agus chuala pìobairean Chlann ‘icCruimein gun robh iad anns an dùthaich agus ‘s ann a dh’fheumadh iad tighinn a-nall feuch dè seòrsa ceòl a bh’ aca no gu dè… an robh iad a’ tighinn a rèir a’ chiùil a bh’ aca fhèin, a thaobh bha iad a’ cumail sgoile phìobairean anns an Eilean Sgitheanach.

Thàinig iad dhan dùthaich, an seo, agus fhuair iad gu taigh MhicRath ann an Smeircleit, agus tha mi a’ tuigsinn gun do dh’iarr iad orra… gun do dh’innis iad cà robh iad a’ dol, agus na pìoban aca.

“Nach fheàrr dhut, ‘ille,” arsa… ars athair ris an fhear òg, “a’ phìob a sheinn.”

“Cha seinn, cha seinn,” arsa na gillean eile. “Chan eil feum anns an duine sin ann.”

Gu dè ach a bha an gille a’ buachailleachd shuas ann an Coire-bheinn, an taobh shuas dhen taigh, ‘s ann a bha na beathaichean, agus thàinig e gu ruige eas air choreiginich a bha san abhainn agus thachair gun robh sìtheach roimhe. Agus chaidh e fhèin ‘s an sìtheach an lùib a chèile a bhruidhinn agus dh’fhaighneachd an sìtheach dheth:

“Dè bu mhath leat?”

“Bu mhath leam,” ars esan, “pìobaireachd ionnsachadh.”

Co-dhiù:

“Cuir thusa,” ars esan, “do mheur air mo mheur-sa, agus cuir do theanga air mo theangaidh.”

Agus rinn e sin agus thàinig e dhachaigh. Agus chaidil e còmhla ri athair – ‘s ann a bha e a’ cadal – agus nuair a fhuair e athair anns an leabaidh ‘s a thòisich… ‘s ann air an lurgainn aige thòisich e air, an toiseach.

A-nis, dh’fhàg mi siud an dìochuimhn’ mun do… mun tàinig càch orm. Co-dhiù, nuair a… Bha e a’ cluichd air a sin. An làrna-mhàireach:

“Ach an dèan thu pìobaireachd,” ars athair.

“Nì,” ars esan.

“Bheir thugad a’ phìob.”

‘S bha na gillean eile air falbh, mar gum biodh iad aig obair air choreigin. Agus cha chuala athair a leithid riamh. Ach co-dhiù, nuair a… nuair a thòisich an gille air seinn na pìoba – sin ‘s gun do dh’iarr iad air tòiseachadh, ‘s e am port a chuir e air a’ phìob:

Till an crodh, far an crodh
Till an crodh Dhòmhnaill

Till an crodh, far an crodh
Till an crodh Dhòmhnaill
‘S gheibh thu a’ bhean bhòidheach

Till an crodh, far an crodh
Till an crodh Dhòmhnaill
‘S gheibh thu a’ bhean ghaolach

Chuir e… bha trì no ceithir a thionndaidhean air. Agus cha robh fios aig a bhràithrean, ‘s ann a bha iad air an nàrachadh a chionn mar a bha iad mu chuairt a’ bruidhinn air. Cha chuala iad fhèin a leithid a cheòl riamh.

Uill:

“Nach cuir thu port eile air?” ars athair nuair a bha e ullamh dhen phort.

Tha crodh-laoigh air aodann Corra-bheinn
Tha crodh-laoigh air aodann Corra-bheinn
Uisge ‘s gaoth air aodann Corra-bheinn
Tha crodh-laoigh air aodann Corra-bheinn

Tha trì no ceithir a thionndaidhean… chan eil am port agamsa idir. Chan eil gin dhe na puirt agam ach an toiseach aca. Ach tha e aig pìobairean an-diugh, agus tha e ainmeil cuideachd.

Agus nuair a chuala na daoine mar a bha, theich a bhràithrean agus theich an fheadhainn eile nuair a chuala iad e.

“‘S fheàrr dhuinne falbh. Chan eil leithid an duine ud againn idir.”

Agus sin mar a fhuair iad an t-ainm Pìobairean Smeircleit anns an eilean seo, ge brith dè mar a chaidh dhaibh. Sin mar a chuala mise.

Calum MacIllEathain: Tha i sin math a-niste.

Roddy Bowie: There were pipers in Smercleit, the MacRaes, and some of their descendants are still there today – handsome, brave and energetic people. Two of the sons were pipers, as was their father, the youngest however worked as a herdsman.

Their name was known throughout the island, and no doubt across the water in Skye too. Folk often travelled between the islands and it’s likely that word of the MacRaes reached the ears of the MacCrimmon pipers, masters of the famous piping school in Skye. Hearing such praise, they resolved to travel to Uist and judge matters for themselves.

So, they came to Smercleit and were welcomed into the MacRae house. After they had made themselves known, the father turned to his youngest son.

“Shouldn’t you play the pipes for them, boy?”

“No, no,” said his brothers at once, “he’s no use.”

The day before however, the boy had been herding cattle in Coire-bheinn above the house. As he wandered beside a waterfall on the river, he came upon a fairy standing there before him. The two spoke together, and at last the fairy asked:

“What would you like?”

“I would like to learn to play the pipes,” said the boy.

“Then place your fingers upon my fingers,” said the fairy, “and your tongue upon my tongue.”

The boy did as he was told and returned home. That night he lay beside his father, and before sleep came, he began quietly practising—first upon his father’s shin. The father therefore knew that his son had somehow learnt to play.

***

The next day, when the MacCrimmons arrived, his father asked:

“You can pipe, can’t you?”

“I can,” said the boy.

“Then fetch your pipes.”

The other brothers went about their work, whilst their younger brother played. Their father had never heard playing like this before.

The first tune was:

Till an crodh, far an crodh (Bring back the cattle, where are the cattle)
Till an crodh Dhòmhnaill (Bring back Donald’s cattle)

Till an crodh, far an crodh (Bring back the cattle, where are the cattle)
Till an crodh Dhòmhnaill (Bring back Donald’s cattle)
‘S gheibh thu a’ bhean bhòidheach (And you’ll get the beautiful woman)

Till an crodh, far an crodh (Bring back the cattle, where are the cattle)
Till an crodh Dhòmhnaill (Bring back Donald’s cattle)
‘S gheibh thu a’ bhean ghaolach (And you’ll get the beloved woman.)

He played three or four variations of the tune. His brothers felt ashamed for mocking him, as they themselves had never heard playing like it.

When the tune ended, his father said:

“Won’t you play another?”

So the boy began again:

Tha crodh-laoigh air aodann Corra-bheinn (There are cows on the face of Corra-bheinn)
Tha crodh-laoigh air aodann Corra-bheinn (There are cows on the face of Corra-bheinn)
Uisge ‘s gaoth air aodann Corra-bheinn (Rain and wind on the face of Corra-bheinn)
Tha crodh-laoigh air aodann Corra-bheinn (There are cows on the face of Corra-bheinn)

This tune also had several variations.

And when the music was finished, those who had gathered scarcely could believe what they heard, the brothers fled, as did the MacCrimmons.

“We had better be going,” they said. “None of us can play like him.”

The MacRaes came to be known as The Pipers of Smercleit, a name that endured long after the players themselves had passed into memory.

Calum Iain Maclean: That’s a good one now.