| Reference Number | 109 |
| Title | Laoidhean Spioradail |
| Author | Grant, Daniel |
| Editor | N/A |
| Date Of Edition | 1862 |
| Date Of Language | mid 19c |
| Date Of Language Ed | 1850-1899 |
| DateMacro | Mid 19th c. |
| Date Of Language Notes | |
| Publisher | J. Dewar (Perth), D.R. Collie (Edinburgh), W. M'Donald (Elgin) |
| Place Published | Perth, Edinburgh, Elgin |
| Volume | N/A |
| Location | National, academic, and local (Inverness Ref.) libraries |
| Geographical Origins | Backcharn, Strathspey |
| Geographical Origins Ed | Strathspey |
| GeoMacro | E Inverness-shire |
| GeoX | -3.9266 |
| GeoY | 57.1964 |
| Geographical Origins Notes | |
| Register | Literature, Verse (Religious) |
| Register Ed | Religion, Verse |
| Genre | Literature |
| Medium | Verse |
| Rating | B 28 Gaelic hymns by Grant. The hymns are religious in theme, tone and language. The dominant theme is timely repentance, we are urged to turn to God and reassured of God’s love and the rewards that await us in heaven. Grant also deals with the tribulations of the human condition, and in one poem he appeals to the Holy Spirit for healing. Only a few of the hymns are based on Biblical themes. A considerable admixture of dialectal forms. |
| Alternative Author Name | Daniel Grannd |
| Manuscript Or Edition | Ed. |
| Size And Condition | 16cm x 10.3cm |
| Short Title | Laoidhean Spioradail |
| Reference Details | EUL, Celtic Library: LI.G Gra |
| Number Of Pages | 118 |
| Gaelic Text By | N/A |
| Illustrator | N/A |
| Social Context | Daniel Grant was born in Backcharn in Strathspey in 1811. He trained in Aberdeen as a city missionary around 1837, and was pastor of the Baptist church at Tullymet in Perthshire from 1839 to 1884. He died in 1887. |
| Contents | This volume begins with An Clar Innsidh (p. 2). The main body of the text comprises Laoidhean Spioradail (pp. 3-118), which contains 28 hymns in Gaelic (pp. 3-101, pp. 12-13 are partly a translation) and 7 hymns in English (pp. 103-18). |
| Sources | |
| Language | Grant’s hymns are all religious in theme and tone and full of religious language. Some of the poetry does not have much to distinguish it. The first hymn, Cumhachd Dhé Na Fhreasdal (pp. 7-10) begins ‘Cia glòrmhoir, àluinn iomlan Dia \ Tha lìonadh talamh ’s néamh gu léir; \ Tha Uile-chumhachdach an gnìomh, \ Tha sìorruidh beannaicht’, glic is tréun’ (pp. 7-8). It goes on to describe how God created the world and now rules over it: ‘Roimh achmhasan biodh ’n cruinne-cé, \ Air chrith gu léir mar dhullich craobh; \ A sgealbadh, sgoltadh, clisgeadh léum; \ Le uamhas réubadh air gach taobh’ (p. 8). The hymn continues in this descriptive vein: ‘Le chumhachd dùisgidh ’n doinion mhòir, \ Is seididh ghaoith le anradh gàrbh; \ A spion’ na’n craobh, a réub na’n slìabh, \ A leagadh sìos, toirt leis air fàlbh. \\ ’N sin béucaidh ’n cùan, is crithidh ’m fònn, \ Is eiridh thuinn, le atadh gàrbh; \ Le on-fha buiridh, leumaidh sùas; \ ’S iad goil le bùaireas, fiadhaich, gàrg’ (pp. 8-9). The theme of many of Grant’s hymns is the need for repentance and self-dedication to God. For example, in Slan Leibh (pp. 10-12), we find ‘A chairdean gràdhach ris bithidh réidh, \ ’S na deanaibh tàir air, ach thugaibh géill, \ Is gheibh sibh gràs uaith’, is gheibh sibh fhàbhar, \ Is geibh sibh Phàras, is làithreachd Dhé. \\ O cuiribh cùl ris na h-uile peac’ \ Is iarraibh seoladh o Dhia na’m feart; \ A chum ’ur treòrach, san t’slighe Glòrmhoir, \ Sa’m faigh sibh sòlas, toirt geill da reachd’ (p. 11). In Iompachadh (pp. 31-35), Grant describes the conversion of one man, possibly the author himself: ‘’S mi ’n créutair tha leòint’, \ Tha salach is breòit, \ Bha ceannairceach gòrach baoth; \ A rugadh sa pheac’, \ Sa dh’ imich ’s gach cleachd, \ Bha taitneach am beachd na ’n daoi’ (p. 31) … ‘Ach thainig le fùaim, \ Air ’m anam le bùaidh, \ Tairn’aich eagalach chrùaidh Shinài; \ Chuir sud mi gu glùas’d’, \ ’S mo chridh’ air a lùasg, \ ’S b’e m’ eagal mo thrùaigh’ amhàin’ (p. 32). The moment of conversion follows: ‘Dh’ ath-nuadh’cheadh mo chrìdh— \ Gu gràdh thoirt do ’n Tì, \ A chosainn dhomh sìth ’s mi trùagh; \ ’S Tha m earbsa gu ’m bì, \ Mo thaic ris gu crìch, \ S gu ’n d’thoir e mi tìr le bùaidh’ (p. 35). The last hymn, Cia Mar Tha T’ Anam (pp. 99-101), concludes with the following call: ‘O mo Chàirdean bithidh glic, \ Is teichidh chum bhi sàbhailt; \ A dh’ ionnsuidh Slànuighear na ’m bùadh, \ Na Fhuil tha bùaidh gu slànach; \ So an t’ am a Shlùagh, a Shlùagh, \ An deigh gach ùair a chail sibh; \ Creididh, Geillidh, ’s bith’dh sibh beò, \ Chum glòir an Ti chaidh àrdach’ (p. 101). In Mo Ghearan (pp. 70-73), the author deplores the state of the unconverted, and in Am ’Peacair sa ’m Bàs (pp. 82-87), we hear a conversation between the Sinner and Death which begins: ‘A Bhàis’! a bhàis tha iargalt, dùaichnidh! \ Dh easbhuidh trùas, ach fùar ro-ghrànd’, \ A bheil u teachd a chum mo bhùaladh, \ Och! mo thrùaighe ’s tu a th’ ànn’ \\ ‘’S mi, a \ pheacaich, ’s mi da rìreadh, \ ’S tha mi dìreach air do thòir; \ ’Sa réir an òrdugh a thug Dia dhomh, \ Bheir mi thus’ do ’n t’ Sìorruidheachd mhòr’ (p. 82). In Pill, Pill, Carson a Bhasaicheas Tu? (pp. 45-49) the opening verse runs: ‘Gach neach sa bheil deò, an talamh na’m beò, \ S’tha g’imeachd an fheòir uaine; \ Thoir eisdeachd do m’sgéul, s thoir aire dhuit féin, \ Nach bi u gun chéil uaibhreach: \ Ma tha u dheth ’n t’slùagh, sa pheacadh tha glùas’d, \ S’u dh’ easbhuidh ath-nùadhach’ slainnteil; \ S’ro eagallach crùaidh, mor chudthrom do thrùaigh, \ Ma theid ann san ùaigh mar tha u’ (p. 45). Cuireadh an t’ Soisgeil (pp. 87-90) begins: ‘Thig gu Iosa Criosd gun dàil, \ Thig mar thà u ’s gabhar riut; \ Tha u peacach fad do là, \ Thig mar thà u ’s gabhar riut; \ Trocair iochdmhoir Dhe na glòir, \ Ghleidh u ’n fhad’s an tir na ’m beò, \ Smuainich nis co th’ air do thòir, \ Thig do’ d dheòin is gabhar riut’ (p. 87). Salvation is within reach, however: ‘Seall ri Iobairt réitich Chriosd, \ ’S gheibh u dion do t’ anam innt’; \ Eifeachd mhoir tha ’m Fuil an Uain, \ Thig gu luath is glanar u \ ’Slàinnte bheannaicht’, iomlan, bhùan, \ Tha, gun Airgiod, is gun lùach, \ Nis ad thairgse a chreutair thrùaigh, \ ’Bheil co crùaidh ’s nach gabh u i?’ (pp. 89-90). In Taisbean (pp. 35-41), the poet describes a vision in which he is joined by the Archangel Michael and then by Satan. These two engage in a dispute as to who will possess men’s souls. Eventually Satan is worsted and departs, to the relief of the poet. Grant assures us of God’s love and the rewards that await us if we turn to Him. For example, in Misneach Do’n Fhear-Thurus (pp. 17-20), he reassures those travelling through this life: ‘A luchd turuis tha ’g ìmeachd \ Dh’ionnsuidh tìreachd Chanàan; \ Biodh na mhisneach ’s gach tìm dhuibh \ Gur e Iosa an Slàn’-ghear; \ Gur e fasgadh o’n t’ sìd E, \ Bunait dìleas nach fàilinn; \ Didean daingeann nach glùais e, \ Caisteal ùasal ro àrd e. \\ Iochdmhor, gràdhach, is càirdeil, \ Truacant’, bàigheil, ro chàomh e \ Uasal, iriosal, gràsmhoir, \ Macant’, fàbharach, càon e; \ Cuireach, cumhachdach, gràsail, \ iomlan àrduichte, nàomh e, \ ’N comhnaidh ullamh gu teàrnadh, \ ’Choidh cha ’n fhàilinn a ghairdean’ (pp. 17-18). In Bas Criosduidh Òg (pp. 27-31), the dying youth expresses his longing to be with Christ: ‘Ged tha mi ga bhur fàgail, \ Na bithidh cràiteach leòint. \ Na deanaibh gul, na caoinadh, \ Na gearan, caoidh, na bròn; \ Oir ’s sonadh la mo bhàis dhomh, \ Na la a bhà sa ’n t-sàogh’l; \ ’S mi faotainn dh’ionnsuidh Phàras, \ Gu uchd mo Slàn-ghear gàoil’ (p. 30). Grant makes several references to the troubles associated with the human condition, e.g.: ‘Ged robh sibh sàruicht’ le ioma’ leòin, \ Mar iads tha ’m Phàras, nuair bha sa ’n fheòil; \ Le buairean Shàtan, tha cronail làdair, \ ’S tha ciurrail, cràiteach, do ’n chridhe leòint’ \\ Ged robh an saoghal a teicheadh ùaibh, \ ’S ’ur cairdean gàolach, a dol sa ’n ùaigh, \ ’S sibh air ur fàgail leibh fein san fhàsaich, \ Gun chuid, gun fhàrdaich, ach falamh fuàr’ (p. 25). Compare also: ‘’S cha nè amhain gun d’ rinn thu lŏchd, \ ’S gun fhios agad gur ŏlc a bh’ ànn; \ Ach ’s minig rinn thu nithibh cli, \ ’S do choguis g’ innse sin san àm’ (p. 42). There is hope, however: ‘Ged tha sibh sàraicht’ mar so san t-sàogh’l, \ Tha ’n Caraid làidir, da ’n d’ thug sibh gàol; \ ’S tha chridhe blàth, agus iochdmhor, càirdeil, \ Is tha e pàirteachadh gràs gu sàor’ (p. 26). In Innleachdan Shatan (pp. 63-67), he puts the problem in the following terms: ‘’S air an trùailleachds’ tha m Nàduir, \ Sann tha ’n obair aig Sàtan, \ ’S aobhair mulad, is cràgh e gach àm; \ Gu ’m bheil Traoightearan làdair, \ ’S cairdean dileas do ’m nàmhaid, \ Faotuinn comhnaidh am fhàrdaich gach àm’ (p. 63). In Laoidh Do’n Spiorad Naomh (pp. 12-13), Grant appeals to the Holy Spirit to come and heal him: ‘O anail bheò an Spiorad Naomh, \ Thig, séid gu caòmh air m’anam trùagh; \ Is soillsich m’ìnntinn, ’s leagh mo chrìdh, \ Le gradh do’n Tì thug mach a bhùaidh’ (p. 12) … ‘O thig mar shaighead, bior an crìdh— \ Tha goil le mì-run, olc’ is fùath; \ Is thoir gu géill do Righ na sìth, \ An dream tha clì, am measg gach slùagh’ (p. 13). A few of the hymns are based on biblical and esoteric themes. One such is Gairm do Shion (pp. 20-25), which includes visionary lines like: ‘Faic an gàirdeachas ro-àraidh— \ Tha a ghnàth aig Ainglean Dé; \ Le bhi faicinn Chriosd air àrdach \ Agus peacaich dhàsan géill’, \ ’Shion éirich, umad t-éididh, \ Ruith an réis, is gleidh an fhéill’ (p. 21). An Roghainn Rinn Maois (pp. 91-94) pictures Moses in the following terms: ‘Rinn Nighean Righ Phàraoh trà a theasairg’ \ ’S chaidh àrach freag’rach da h’ àithn’; \ Chaidh thogail an àilghios, càirdeil bead’rach, \ ’S Nighean Phàraoh aige mar Mhàthair; \ Chaidh fhoghluim ’s gach gnàth, a b’fheàrr, sa ealant’ [sic, for ’s a b’ealant’], \ Bha ’n àrd-thigh oilean na tìr, \ Is d’ fhas e sùas gu sùairce, duineil, \ Gu bùadh-mhor, cumhachdach mìn’ (p. 91). In An Soisgeul (pp. 56-60), we find ‘Se Fireantachd shìorruidh tha ’n Lagh Naomh a g’ ìarraidh, \ A sgriobhadh an rian dhuinn, le Dia air na Clair’; \ ’S bu choir do chlann dàoine, a coimhlionadh dàonnan, \ An Spiorad, an smaointean, an gniomh, is an cainnt; \ ’S tha Naomhachd is Fìrinn, is Ceartas, sa m’ Piobull, \ Gu soillear a dìteadh do’ rìreadh, gach àm— \ Gach aon do shliochd Adhamh, a bhris Lagh an Ard Righ, \ ’S ga mallach’ le Bàs air gu bràth nach tig ceànn’ (pp. 57-58). There are two hymns of praise to the Creator: Laoidh Molaidh (pp. 67-70) and Oran Molaidh (pp. 73-76). |
| Orthography | The orthography of this volume is in general typical of the mid nineteenth century, but contains some idiosyncrasies. Notable amongst these is the placing of an accent on the long vowel usually written ao (e.g. gàolach, p. 45), on the digraphs ia and ua (e.g. fuàr, p. 25), and on historically short vowels followed by those consonant groups which involve epenthesis in many Gaelic dialects (e.g. gàrbh … fàlbh … gàrg, pp. 8-9). Of interest is Grant’s exceptional use of lh- to represent a lenited palatal l-sound in a Lheabhar (p. 45), and likewise his spelling Pìobull for the more usual Bìobull (e.g. p. 26). Most, if not all of these idiosyncrasies can be related to the challenge of representing vital aspects of Grant’s Perthshire Gaelic in print. |
| Edition | Second edition. This edition is preferred because the first edition, published in 1842, contained only 19 Gaelic hymns compared with 28 Gaelic hymns (and seven English hymns) in the second edition. |
| Other Sources | |
| Further Reading | Meek, Donald E., ‘The Independent and Baptist Churches of Highland Perthshire and Strathspey’, TGSI, 56 (1998-90), 269-343. |
| Credits | |
| Link Label | Digital version created by National Library of Scotland |
| Link | http://digital.nls.uk/early-gaelic-book-collections/pageturner.cfm?id=80001240 |
| Download File | 109.pdf |
| NumWords | 24502 |
