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“Aiteall” is a bi-lingual series. It has a special emphasis on Irish poetry and song and on the landscape, history and culture of Connemara. Broadcast Fridays 5pm – 6pm https://www.connemarafm.com/audio-page/
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“Aiteall” is a bi-lingual series. It has a special emphasis on Irish poetry and song and on the landscape, history and culture of Connemara. Broadcast Fridays 5pm – 6pm https://www.connemarafm.com/audio-page/
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“Aiteall” is a bi-lingual series. It has a special emphasis on Irish poetry and song and on the landscape, history and culture of Connemara. Broadcast Fridays 5pm – 6pm https://www.connemarafm.com/audio-page/
Listen to Aiteall Prog 12 17may2024 by Connemara Radio Archives MP3 song. Aiteall Prog 12 17may2024 song from Connemara Radio Archives is available on Audio.com. The duration of song is 58:48. This high-quality MP3 track has 64 kbps bitrate and was uploaded on 17 May 2024. Stream and download Aiteall Prog 12 17may2024 by Connemara Radio Archives for free on Audio.com – your ultimate destination for MP3 music.
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This is a radio program featuring a special guest, poet Lewis MacKinnon from Cape Breton, Nova Scotia. Lewis discusses his background and his work in promoting the Gaelic language in Nova Scotia. He shares a poem called "Sli na bhFilidh" which explores the connections between Ireland, Scotland, the Isle of Man, and Nova Scotia through water. The host and Lewis also discuss the similarities and differences between the Gaelic languages spoken in Ireland and Scotland. They touch on historical figures and events that have shaped Gaelic culture and language. 🎵🎵🎵 Helo Iari, agus ceid ffáilte ag atil, chwar dda fhangach yn siarad ar Radio Pobl Cynon Maid. Dwi'n Mícheál Ó Ginnáin. Welcome to Atil, a bilingual programme here on Connemara Community Radio. Now last week we brought you a beautiful concert from Cachar Saibín, Isegunde Círaí. This week we're going back to our poetry classes with Seán Ó Coisteale. And we're bringing you a very special class with a very special guest. A guest all the way from Cape Breton, Nova Scotia in Canada. Lewis MacKinnon was born in a place called Inverness in Cape Breton. Presumably of course it's called after Inverness from the far north of Scotland. His father was a Gael or a Scots and a native Gaelic speaker. His mother was a French speaker. Now Lewis was surrounded by the language but just really learned it in his teenage and adult years. He has gone on to become a poet. And indeed he was named the Poet Laureate of Scotland by the Maid, the Scottish equivalent of our Oireachtas here in Eadon. Lewis was the first person, not from Scotland itself proper, to be crowned the Poet Laureate in 2011 for his wonderful poetry. He works in the province of Nova Scotia to advance the Irish language there or the Scots Gaelic language there. Where there are still to this day around 2,000 speakers of the language. This is the 7th and in some cases the 8th generation of Gaelic speakers from the original speakers who left the homelands of the Highlands and the Islands of Scotland way back in the 18th century. Eight generations later the language alive and well in Nova Scotia, Cape Breton. So we were delighted to have Lewis. I think he's also known as Lodhi to his friends. Lewis or Lodhi MacKinnon. And he joined us for our class. You'll hear a beautiful poem he wrote called Shle Na Vili, The Way of the Poets. Now this class, a little bit more than our other classes, is pretty hard work in some respects because we're introducing you to the Gaelic language which is of course a dialect of our own Gaelic. It's frustrating and tantalising in many ways. It's so tantalising at times listening to Scots Gaelic because it's difficult to understand but when you work at it and you hear something for the third or fourth time and when something is explained to you a little then you find it's actually just a variant of our own Irish Gaelic. And Lewis indeed will tell us a little bit about some of the moments I suppose in time, in times gone by when our two dialects parted ways a little in some respects. So let's listen now to this poem by Lodhi, by Lewis MacKinnon. Lewis, at the moment, or when you're listening, put a couple of words, as Joe Molloy said, there was a great poet in Conamara at the time, and his name was Joe Molloy. And as he said at the end of Conamara about Joe, he was kind of an anarchist, Joe. Anarchist he was, but Gaelic isn't an anarchist. But one day Joe was giving a big speech and there were 600 farmers listening to him. 600 farmers, 600 hungry farmers. And Joe was a bull and a blower. Hitting the table. There were sparks coming from the wood. And Joe spoke in Gaelic. And his accent, when he spoke in Gaelic, was horrible. Do you understand? He was from Cornwall. Irish wasn't as powerful there as other places. But he spoke in Gaelic, of course. For want of anything else, and being a prime anarchist, he started in Irish. And after that, he became an anarchist. Now he's an anarchist. Now, for those of ye that hasn't understood my mother's tongue, I'll speak now in Saxon English. Lewis O'Hara, when you're speaking, say a few words in Irish, because there's a lot of people in this room. There are people who speak a lot of Gaelic, and there are people who speak a little Gaelic. Thank you very much, John. And I myself am learning Gaelic, and I was encouraged to think about that. I'm an Irish learner, so what I would refer to as my second language is Gaelic. So, as John said, my Saxon English was the first mother tongue, but I was blessed to have Gaelic, as we call it Gaelic here in Nova Scotia. We also refer to it as Gaelic. And the language was in our home, my father's first language was Gaelic. We came from the West Highlands of Scotland. We settled in Nova Scotia probably around 1805. The MacDougals, my MacDougal people came in the 1790s. And so I've been doing a bit of poetry. I work in Gaelic here in the province, and I work with people like Ciarán here on the call, and Dan Parker, who's with us, and others who are working to advance, and also connecting with our Irish language and cultural brothers and sisters through people like Sean O'Costilla. So it's a great honour. It's an honour for me to be here. I would like to introduce you to my poem. This is a theme that I often play with in poetry, which is the theme of the water. And if you think about Ireland, Scotland, the Isle of Man, and Nova Scotia, we all are either surrounded or almost completely surrounded by water. And as was the case historically, our people connected with each other via water. There were no roadways as we understand them today. The roadways were the waterways. So what I did in this poem is you'll see some of the Gaelic terms that are used, and then I tried to determine the Irish. So there's a key at the bottom of the poem to help guide us. One consideration here is that our two languages, our one language with sort of two branches, would look much more similar if we were meeting on this platform in the early 1940s. So when the Caidann was undertaken in Ireland, some of the writing forms that we have that still exist in Scottish Gaelic were still used in Irish language. So in terms of the way that the language is manifest here and how Irish would be reflected, it would have been very similar if we go back a number of decades. I'll read a verse and then we can stop and maybe talk a little bit about it. So, sliadh nam philean. Sliadh, this word is in Gaelic, sliadh, isn't it? Sliadh na philean, we say to somebody that has diseased, sliadh na philean. And phile, in Gaelic, phile, phile, and plural, philean. In Irish, phile? Lewis, just the origin of your word phile, because the origin of ours in Gaelic would be somebody that could see, a seer. So what is the origin in Scottish Gaelic? The phile, or the philean, were a very high-level class of poets. Yes. And the bard was kind of an apprentice poet. So the philean had a high, high status. They would have been engaged, for example, in the retinue of a local chieftain. They would be probably well-versed in classical Gaelic, which is the Gaelic that connected both Ireland and Scotland, basically from the 1200s to somewhere in the 1700s. Gaelic that was known amongst the learned classes, amongst the poets, and the artisan classes in both our traditions. So, sliadh na philean. And I should say, the inspiration came for this poem from Sean's invitation, I think sometime at the early stages of COVID, Sean, when you had a project focusing on Irish language poets in Connemara. So, chenialt ag aster aon, nil? Aster? Aster, no. A journey, no. Distance. We have that meaning. Aster could be a distance, yes. But we have it as a journey. Aster, aster. But it could be a distance, yes. Either, either. Is that right? Yes, yes. An dá chórsa. So, sé an taisce atá seo. An achaléa bhúr. This is our term for coastline. Okay, chórsa, chórsa, chórsa, yeah, okay, coastline. We don't have it, no. We have chórsa. Chórsa in our Irish would be maybe a line or a journey again. Chórsa. But we don't have it as a shoreline. The coast, the coastline. Either an dá chórsa seo. So, between these two coastlines. Chórsa we would have, Lewis, might be if you're going on a corrupt journey, you'd take a chórsa. Sli, slián, slián uisge, slián uisge, uisge veli, uisge veli, if I'm pronouncing that properly. It's like the waterways, just waterways. Tím, am, smáin. Smáin, níl ism smáinu. Smáinu, a thought. Tím is related to our am, an tám. Aha, so a tá. I'll put an instantaneous Saxon translation on that in case you need one. A time and thought. Díogh, díogh. Time and thought. Aha, lán ríomhain sgóidh. So, lán, ta sin agaibh. Ríomhain? The course. Aha, of a people. Of a people. Slúa. Lewis, a thá is our a thá. Yeah, ta sin ceir. They still say it in Cork, North Cork, a thá bheac. Díogh, díogh. The reason for that is that wild man from Scotland that came over and led 200 people. What was his name? Lewis, you once described me as being a reborn person of him. He eventually got killed in Cork, unfortunately. Alastair MacGillichalda. Alastair MacGillichalda. This was a champion of all of Scotland. Didn't he get killed in Cork, Lewis, as far as I know, in a battle in Cork? Yeah, yeah, Coughnanagh. His McDonald's had territory in the Glens of Antrim. Of course. His McDonald's were the ones that finally levelled Shane O'Neill. Yeah, there's wonderful, wonderful folklore associated with him. He was said to be a giant, and he was said to have been the commander that instituted the Highland Charge. So how that happened was he observed how it took time for the government soldiers to reload their muskets. Yeah. And they estimated, I think it took about two minutes, two to three minutes in those days with the technology. The technique was to rush in close, to receive a volley from the government troops, and then to rush in close, crouch down and fire off their own weapons, their own muskets and pistols, and then throw them down and then charge into the opposing line of soldiers. And that tactic worked for about 150 years. But certainly he didn't survive it as he perished at Coughnanagh. The Fighting 69th from New York, we're still using it in Virginia during the Civil War. Yeah, yeah. The links with Scotland and Ireland are incredible, and mainly forged because of what Oscar referred to as the Gallowbly. Nach dechaí a bhí, so tá sin agaibh. Nír dechaí, bhfuil sin ceart. That did not go, that did not disappear, that did not go out of existence, a bhí. Ar beith has gone out of our vocabulary because of what you referred to. Ar beith, once upon a time, meant in Gaelic, in the world. Now it's changed to at all, at all. It meant the world, ar beith, and the world, ar beith, coming from beith, life, ar beith. This word aith, with an accent, an accent, a goo, is out of or from. It's not a cognitive ar beith, ar goraibh, it's aith, out of existence. Aith, very good, go raibh maith agat. Nach de wúilthig, an bhri har tíon as athairthaí. That didn't diminish the essence, an bhri. Athairthaí, so that didn't diminish, didn't lessen. So this is the verb, and we have it in Irish as well, I think for lessening or mitigating. The essence did not lessen, over time and change. Ar gímis athairthaí. And Sean and I were talking about this term, athairthaí, and this is the genitive. So when we see the word har in Scottish Gaelic, it governs, what we say is it governs the genitive. The genitive case has to follow it also, har. The genitive case has been following me all my life and persecuting me. But then again, I'd be one of the last people, I'd be like Alasdair McCulloch, I'd hate to see the genitive go, because the genitive is very poetic. You would no longer be Mácha Tíosí then, Sean, you'd be Mácha Tíosí. Okay, wasaic ameith le sin. No, abair a dhíche dhéile dhéil, abair, say it again, in your beautiful poetic manner. Go raibh maith agat. Go raibh maith agat. I must have slept when you said luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. Luath da chí. early thirties. I had no formal training. The only training that I suppose I could say I might have had is that I was exposed to the song tradition here. So I knew the rhythms of, you know, how the language went together, but what I liked about this particular verse is how the, what we call the assonance comes out, internal rhyming. Internal and, to some degree, the end rhymes. As we know, our languages don't have the rhyme scheme that we have in the Saxon English, as Sean would say. The second verse. Té na hAile, sé na hAile súbhain, ógach tuibh, a cháintas sa mBach gaidh æirinn. Na bóca bach, críochach, lé chnooch gan chnooch, slí an rúbach gan súbhain, ag an tháobhain. Ffarin le gân bheitha, ffarin dechraí an chuch go dhín a chomháil. So, sé na hAile na súbhain, gwaith go na súbhain, na súbhain ceanna. Yeah, we have éin as well, we would say, in places in Connemara, na hAile na súbhain. The same eyes, the one eyes. In the Hiberno English for that it would be the one eyes. Na súbháin. Suibháin beir, one of the greatest we had, nearly to match Alastair McCulloch we had in Ireland, ó suibháin beir. Ó gach tuibh. Ó gach tuibh, gach every tuibh side tuibh. The same eyes from each side. In this, I would translate this from each side, gach has both in Gaelic, but I would translate this from each side. Sé na hAile na súbhain, ó gach tuibh. Acháinachas amach geit hAireann. So, acháinachas amach, a bheith ag barhainnú amach, bhfuil sin deart? Oh yeah, to be locking out at it. We have, in Irish, we have chomhéad, chomhéad, keep an eye. We have it still, chomhéad. In Ireland, it's ó ní rhomhaidh ceinta, ní rhomhaidh ceinta, ach, in Bailega, an eith cantar, a region. We have it as sabin, in Irish, s-e-a-r-a-i-n-n, we call it sabin, sabin o chwaithce. Sabin fóir, in Cairi, sabin is a region of land, a quarter of land, sabin, the region. Ó an bhfuil sin agin freisinn feireann, feireann, feireann, so bheile feireann, bheile feireann. Yeah, be cúrmachdó, be very careful, because in Ireland, we have t-i-p-r-i-d-a-r-a-n, t-i-p-r-i-d-a-r-a-n, which is now spelt nearly a-r-a-i-n-n. Not to be confused with what it really means, because t-i-p-r-i-d-a-r-a-n is a well, the old Irish for a well, a cold well, fóir an, fóir an, and a-r-n, so be very careful with the place name there, because fóir an means a cold, yeah, like in Galway, Ornmore, Ornmore, in Ornmore, in the county Galway. No, I'm back to Galway again, so fóir an, a cold well. Fóir an. I think I'm, I think I'm, yeah. Cúrmachdó sin agin freisinn, it's so interesting because the pronunciations are just so slightly different, but, you know, the same terms exist in the languages. So, the same eyes from each side that look out on a, on a region, on a vicinity. Beautiful. Na bócalach caigach le críoch an fhí, na bócalach caigach, so na bócalach in, in it, so it's referring to the, the region, in its, in its bogginess, its rocky surface, le críoch an fhí, with, with endless hills. Léan mhúilpeach gan suainneach an táibhainn, léan, we see again this, this term, sort of, winding, winding pathways, an táibhainn. A lúibh as a term. We have a beautiful old saying in Irish, is bhear lúibh a seachas bríseach, it's better to bend than be broken. Is bhear lúibh an a bríseach, uh-huh, yeah. Alasdair, Alasdair MacColl and our, and myself shared that part two years ago. The interesting piece here is that the landscapes have similarity, you know, in each region, so this poem is about linking our regions. Now the only difference we have there is we don't have an N, we call it bheogach, bheogach, you have bheoglach, we call it bheogach, a soft region or a bog. Cragach, we have cragach, in Aran especially, and the cragach, Martin O'Daron has it in his poetry, and the cragach, on the flagstones. So, gan suainnidh an táibhainn, I wasn't quite sure as to what the Irish might be for this. How I translate this is, suainnidh is when you're, when you're kind of intertwined with something, you're hugging, these sort of winding pathways are hugging the earth. Yeah, we have it in the word su, su, it's su, sucking. I've heard different words in Gaelic for hugs, na húchanann. Barók, we have barók, barók, barók, barók. We have another word that's tied to this verb, suainnidh, which is na suainnidh an, na suainnidh an, which literally means the intertwinings. It's a lovely kind of image, right, of a, like a, someone that you're giving affection to. Pharan dhagann beitha, pharan dhagann beitha, atair an aséal, pharan dhagann beitha, where, where life remained. Pharan deichfaidh an chwitch bhaoine a chomhal, where their memory, their, their share of memory was kept. So, I'll just read that very quickly. So, sé na húil a suainn, ag atair a cháintas a macheidh éireann, na phócaoach críoch le gríoch gan chíoch, lé an ghóopach gan suainn, gan suainn ag an tháobhainn, pharan dhagann beitha, pharan deichfaidh an chwitch bhaoine a chomhal. A hollid, beautiful. Pharan dhagann beitha, pharan dhagann beitha, spot this pharan dhagann beitha in the second line from the bottom. Atair an aséal, an séal, atair an aséal. A bhfuil sin ceart? An pháir, an pháil pháir. Where, where. I can't tell you the grammatical structure, but it's not where are you, it's where he went last night. It's that form of where that's being referenced here. Is chóirainn chíontach, gan marraig seos na hAranainn, na hAranainn as a bheileach, sé spirit, is thachcal a gGaeil bhoine, aith cotach na téidh i chan daidh scarraig, is an atas, réan an téidh a múi, cotair is cotach, beidh gas mórnain, a na hUile a thacin as drúidh gamach, ro chéil, bheartach, sgÉilainn, gGaeilns, nás, is gGaidh. So, chóirainn chíontach, a chéirinn chíontach, chóoméidh certain, or who ascertained, who ascertained gan marraig seos na hAranainn as a bheileach. That this would persist, that this would survive, live on, in these vicinities where it lived. Sé spirit, is thachcal a gGaeil bhoine, it is the spirit and the word of the gGaeil permanent, of the gGaeil permanent. A chóiltach a téidh ag an dAidh sGaidh ag, it would seem that the two cannot be separated, spirit agus thachcal, so spirit and words can't be separated. What does chóiltach again? A chóiltach a chóiltach, tá chúma a bheith, tá chúma a bheith. All right, chóiltach, okay, it's shape, it's form, yeah? Yeah, it seems. It seems, okay. It seems. Well, this is pretty grandiose, but, so in place of explosions on the outside, similar to the minuscule splitting of the atom, an a chóile a thachtaí na struaile go maith, everything that we have is pouring out through music, poetry, story, dance, tradition, and kinship. Well, dAidh, dAidh is connection, dAidh is relation, par dAidh an. Dance is dance, sceolain is sceol, bairacht or bairdacht is poetry, ag strua is bursting out, yeah? Ag strua? Ag strua, streaming out. It's chóile a thachtaí na struaile go maith, ag marraig seos na thairin an as a bheile. It's spirit, it's thachtaí na gGaeil mhóin. It's spirit, it's thachtaí na gGaeil mhóin. Ag chóiltach na tseideach an dAidh, sceadaigh, ag an dAidh an sbreaigh an an tríomh an mhói, chóiltach a scóptach, beic a smórninn, ag an a chóile a thachtaí na struaile go maith, through music, poetry, story, dance, tradition, and kinship. No, this is custom? Tradition, custom, yeah. Tradition. There's only one line I want you to go to again. Chóiltach rí scóltach. Chóiltach rí scóltach beic a smórninn, so similar to a minuscule splitting of the atom. What does the word rí mean? Rí is chóiltach rí, similar to, similar to. Scóltach beic, a little splitting, like a minuscule splitting, a smórninn of the atom. You have a fancy word for atom in Scots Gaelic. I don't think we have it in Irish. You know, smithin. What is the etymology of that word? It's a small particle. Smórninn, this is the genitive rendering of it. It would be e-a-n, the word itself in the nominative, nominative, smórninn. It's like a small particle. If you go to the Dwelly Dictionary online, this is really my Gaelic Bible. The Gaelic Bible, by the way, for the Irish language, is unquestionably Ó Dinnín. Ó Dinnín, the Bible, the absolute Bible. Ó Dinnín, who was a carpenter, believe it or not. Yeah, an tair Ó Dinnín. So here we come back to sort of the water image. Iscóiltach, iscóiltach ríosninn marininn, gan líon agus traig. Heidh spirid na déine súas a séas, séas gan déinach fel an bhi dú cheicid. Súas gan mhóach fel an bhi misainach is daithas. Is tranna seo húla, sé fhachgail an ang hainch ceo as náas, mar beadúil a chumas a dál ar dúchas fás. So Iscóiltach is na marininn, so similar to na marininn, na marra, in Gaeilge. Gan líon agus traig. Sí, marra, marra is sí, from marra. Filiinne an dhéibhig? Gan áach, gan áach. Heidh spirid na déine súas a séas. So bráchaidh spirid na déine súas a séas. So the spirit of the people goes up and down. Séas gan déinach, down to the depths, fel an bhi dú cheicid. Where there's profound doubt. Dú, dú, dú cheicid. I don't know if you have this in Irish, but dú or dhuv is often dú varáin, like a profound sadness. We have it, yeah. We call it dúach, dúach, which is a black sadness or a depression. Téagall. Doubt, doubt. We don't have doubt. We have dú. Súas gan bóach. So there's different ways of saying up to the top, up to the heights. But I chose bóach in this context. Bóach really means a roof, a roof, the point of a roof. But it can also be the top of the mountain. But typically that term is báir, báir. And I think you have that in Irish. We have báir, but we have bóach as well, which is the crown. Crown, okay. For instance, if you see somebody, if you ever see somebody going too quick on a bicycle, a nice lesson to put them, hand them would be mulach da chéan phút. May the top of your head go underneath you. Mulach da chéan phút na rúilt. The top, mulach, the top. So súas gan bóach, súas gan bóach, up to the, up to the heights, up to the top. Feireann bíon missionach is daochas, where there's hope and courage. Missionach is daochas. Mis trónaiseá uile, and through all of this, sé fachad. So it's words, an an gcáinch ceoas náas, in speech, music and tradition, mar be dúal a chumas dól a daochas fáas. As is customary, that keeps our heritage going still. Dúal, it's dúal, but it is a custom for you. We have dúal, yeah, daochas, we have fáas, yeah. Fáas is basically only found in poetry now, in Gaelic. We have another term for fáas, haast, haast, haast. So fáas is much more of a poetic term, but I like the cadence with náas, and so I've used that instead of haast. We have it in Gaelic, fáas, we still have it. So, na maranann, marra agus marra agus marra, marranann. Scóilteiris na marranann, gan líon agus traig, héidh spirit na déine suas a shíos, shíos gan déinach, far an bhí dúch ceichib, suas gan bóach, far an bhí misain agus daochas, stráine seoile, sé fachad, an an gcáinch ceoas náas, mar be dúal a chumas a dól ar dúchas fáas. Forgetting the last verse, Goed ag an iuncifar fó rúi, mhóir, mhóir éireann, a iuncis drú na mhaoile, sa sin a chuain mhóir an iair, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, Goed ag an iúncifar fó rúi, mhóir éireann, a sgóil ar sín seilinn, nath ceidh cor aas a sgóil ar sín seilinn, that scattered our ancestors, a sgóil ar sín seilinn, a sgóil ar sín seilinn, nath ceidh cor aas a rúi amann ar máin teorach, that the rhythms of our people will not be extinguished. Githaith lháin maith ag is éis, though there be high and low tide, is híws, goochlug síche, and even variable weather, goochlug, what that would be in Irish, goochlug, a variety of weather. An patal síde mín, síde? Amseir, amseir. Amseir, yeah, we don't have it, síde, yeah, amseir. Of weather. Chuaighla? Well, goochlug, goochlug, síde, tá amseir, tá amseir achín, ach amseir, a sgéilige, amseir, weather, yeah, tá goochlug síde máin achín, or time, it means time as well, time, yeah. Chaeamseire, chaeamseire is pastime. Chuaigh, we have blind. Chuaighla is to make disappear. We have the term chuaighla, he changed. We have that, that's what chuaighla means in Irish. This is the verbal noun, chuaighla. Chuaighla, the galley, for instance, the clips are to change. Lleini gaeil eith haol is bas, so gales will persist, or over yonder and here. Cotairí feamhain, bachgatach, a bhis a phaas, bachgatach, sort of a hardy, hardy seaweed that grows, a yeomanus carnan, so yeomanus comes from feamhain, that fertilises the regions of our heritage still. Wow, and the word carnan, is that carnan a híochas? Carnan, carnan, sin an caintar, a region, district, caintar. Ar gachas, a yeomanus, a yeomanus, and will fertilise our region, the regions of our heritage. A haas, phaas, still. What word have you for fertilising again? In this context, I'm using a term that I'm not that familiar with, but it's based upon the use of seaweed to fertilise, so feamhain, and then to basically, to seaweed a place, a yeomanus. It's a terrible pity Daniel Parker has left us, because he'd be more interested in that word than anybody in life, to seaweed. So I'll just, I'll read that and then we can see if there's any other questions. Chaithaidh feamhain, bachchaiteach bus a phaas, sa yeomanus carnan, ar duachas phaas. Paidh. Bachchaiteach. Can I answer that? Or have a go at it? I'd say it's the spedfast seaweed, the strapwrack. Bhfuir m'fhagil in Gaeilge daichalach? Daichalach. You know what we call the strapwrack? You know, the slothamara that grows with the four or five clinging branches on the thing that you can hardly rest off of. I'd say that's it, bachchaiteach. Strapwrack. It was a great exercise to go through this, and particularly to look at what some of the terms might be in Irish, so by no means as a learner am I presuming that I have the right terms here for some of the Gaeilge, but there might be some that are right of some of these terms, but what struck me is just the similarities between the two languages. It's just, it's there basically at every turn. The main things that have changed are things like S-G, you know, S-C going to S-G in Gaeilge from the Irish S-C. What are some other ones that I noticed? Ha, ta, ha. Gaeilge has preserved E-A-D-H, uac, uac, whereas Irish has gone to uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, u ac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac, uac This is what happened with the Kaidan in Ireland. They standardized spelling in the 1970s, and they only used the accent grave on vowels. So, basically, you can distinguish Scottish Gaelic, or as you refer to it, Scots Gaelic, from Irish, in that sense. Gaelic in Nova Scotia has preserved both the accents, so the axon grave, axon tegu, and we have, for example, you asked about the use of h in the language, that would show up in, I'm trying to think here now, for example, the pluralization of nouns that begin with vowels, So, anym, anym would be our pronunciation for name, so names, anymin, and then the names, nahanymin. Yeah, hanymin. So, yeah, so the, yeah, and then for the, you know, for all the negative commands for verbs that start with vowels, so nahapir, nahapir sin, nahic, yeah. What do you say with maith? Maith dhagas, maith dhagas. Maith dhagas. Maith dhagas, yeah. Maith dhagas, yeah, maith dhagas. Do you have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? 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You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. You have a softer h, Gresham? Yeah. Any other comment on the poem there, Míle? I just wanted to ask her was actually if you wouldn't mind reading it maybe from start to finish. Rhin-a-rhin-a-súl-an-og-acht-thúg-a-cháint-as-an-ach-air-eir-eir-ein-na-bhug-a-bhoch-cric-och-leig-críoch-grin-chíoch-slí-an-bhú-bhoch-gan-súl-ein-og-an-áil-ein-far-an-da-gan-bhé-a-far-an-de-ach-aid-an-cud-cuid-in-a-chomhal. There is no doubt that this poem is one of the most beautiful poems in the world. It's a spirit, it's a song of love. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a song of love. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. It's a beautiful poem. I want to tell you about a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, a great man, He called the Atlantic Ocean the Cuan Móir, and that's another example, I suppose, of the slight differences between the two dialects. We would call the Cuan, we would call that the bay, as in Cuan the Gaelic, whereas Cuan Móir an Iar is the Scots Gaelic for the Great Western Ocean, the Atlantic Ocean. Beautiful, beautiful poetry from Lewis MacKinnon. Now, we will have a class coming to you quite soon here on Excel from another wonderful person from Nova Scotia, from Cape Breton, and that is Joanne McIntyre. She's a wonderful, wonderful singer, and we're going to leave you with a short poem by Joanne McIntyre and four other people, I think, there are four people in the room, and I think that each of them has something to say. Let's listen to Joanne's poem. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. Joanne McIntyre sings in Cuan Móir. .
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