Literature of the Gaelic Landscape. John Murray

target="_blank" rel="nofollow" href="#fb3_img_img_d55e7ecb-c9e1-5b75-bb4a-d35743877d91.jpg"/>

Plate 16: Tulach Diarmaid – Diarmaid’s Hilllock and Ben Gulabin - Beinn Ghulbhain in the background, Glen Shee, Perthshire.

      The glen has other Fingalian associations. A ballad, which is included in the Book of the Dean of Lismore, ‘Naonbhar do-chuadhmar fa´ choill - Nine Strong We Set Out into a Wood’, originated in Ireland, but given the presence of three place-names in Glen Shee it may also have been performed in the valley (McNiven 2012). The story tells how a party of Fianna, who are in search of a special stick to train a dog, defeat parties of Catheads and Dogheads, ‘who were not of the race of king nor of great prince’ (Ross 1939, 86-87). Their unfurling banners are used as weapons. The Fianna raise their standards in the middle of the ballad upon Creag nam Brataichean – Rock of the Banners (NO113615). These are the symbols of their strength and authority. One of the flags is called Làmh Dhearg Bratach Mheic Rònain – Red Hand of Ronan’s Son. Làmh Dhearg (NO120637 – mapped as Làmh Dearg) is named after this banner. It is a hill 2.5 miles to the northeast of Creag nam Brataichean (plate 17). The Fianna won the battle. They decapitated the bodies of their enemies and dumped their severed heads in Fèith nan Ceann – Bog Stream of the Heads. It is shown anglicised by OS as Finegand (NO141663).

Plate 17: Creag nam Brataichean – Rock of the Banners, Glen Shee, Perthshire.

       5: Song of the Owl /

      Òran na Comhachaig

      Donald Mackinlay of the Verses / Dòmhnall mac Fhionnlaigh nan Dàn

      Dòmhnall never received an invitation to the feast organised by young Ronald – Raonull Òg, the Chief of Keppoch, at Taigh Chomhairle – his House of Counsel, on the island in Loch Eadarloch. But he had heard about the hunt dinner, and decided that he might as well go along anyway. Dòmhnall was tired and now too old and infirm to take part in the vigorous chase of deer with bow and hounds.

      Cead as truaighe ghabhas riamh,

      Do ’n fhiadhach ’m bu mhòr mo thoil,

      Chan fhalbh le bogha fui’ m sgeith

      ’S gu là bhràth’ cha leig mi coin.

      ’S muladach bhith ’siubhal bheann,

      Gun bhogha, gun shreang, gun chù,

      Gun fhiù na saighde bhith ann

      ’S gun fhradharc teann aig an t-sùil.

      The saddest farewell I ever made

      Was to the hunting for which I had a great love,

      I’ll not set off with a bow under my wing,

      And till doomsday I’ll not let slip hounds.

      It’s sad to be travelling the mountains,

      Without bow or string, without a dog,

      Without as much as an arrow around

      And without keen sight in the eye.

      (in Menzies 2012, 92-93)

      When he reached Taigh nam Fleadh – the House of Feasts, the triumphant party was all but over and most of the guests had gone home.

      ’S fada leam o sguir mi ’n fhiadhach,

      ’S gun ann ach an ceò de ’n bhuidheann

      Leis am bu bhinn guth nan gadhar,

      Gun mheadhair, gun òl, gun bhruidhinn.

      It’s wearisome to me since I stopped hunting,

      And there’s only the mist of the company

      For whom the voice of the hounds was sweet,

      No mirth, no drinking, no banter.

      (ibid 96-97)

      Dòmhnall decided it was time to head for home as well. He turned north down the narrow glen to Fersit – Fearsaid, where he had his winter quarters. While he was nearing Strone - An t-Sròn, possibly Sròn na Garbh-bheinne, he heard an owl hooting, from the nearby woods.

      One tradition has it that this was the starting point for the composition of Òran na Comhachaig - Song of the Owl (Rankin 1958 & Menzies 2012). The song was composed in the last quarter of the 16th century and transcribed several times over by different writers. Various versions had become very popular in the Highlands through word of mouth by the middle of the 18th century. It is likely that Donnchadh Bàn Macintyre would have been familiar with Òran na Comhachaig (see next chapter).

      The story is set in Lochaber on the northern and eastern edges of Rannoch Moor and focuses on; Loch Trèig, and Creag Ghuanach or Uanach (plate 18). This is a ‘territory of straths and mountains that are drenched with memories of the warrior society in its hunting aspect’ (MacInnes in Newton 2006, 303). On its southern and eastern boundaries, it marches with the domain of Donnchadh Bàn Macintyre in Breadalbane (figure 3). Reflecting Fenian tradition and anticipating the practice of Macintyre in many of his songs, Òran na Comhachaig makes frequent use of place-names to mark and define its preferred landscape and territory. Almost 30 are used in what MacInnes, in his essay on the Panegyric Code in Gaelic Literature, calls ‘an heroic roll-call’ (ibid 303). Òran na Comhachaig is clearly connected both thematically and stylistically with earlier Fian lore. Over 20 place-names can still be located with certainty on contemporary maps.

Plate 18: Creag Ghuanach and Loch Trèig, Lochaber.

Figure 3: Songlands in Breadalbane and Lochaber.

      Although it is a long poem of 72 verses, Òran na Comhachaig can be divided into three parts, beginning and ending with the Fianloric device of dialogue, with which Dòmhnall must have been familiar. We begin with a conversation between the poet and an ancient owl. The upright posture and forward facing eyes set in a disc-like face meant that traditionally, owls were often attributed with the powers of speech. ’Nuair a bha Gàidhlig aig na h-eòin, b’ e sin linn an àigh - when the birds spoke Gaelic, that was the age of joy’, is a well known saying or seanfhacal (literally old word).