Hebridean Waulking Songs: An Index to Campbell and Collinson's 'Hebridean Folksongs'

Tha sinn air a bhith ag obair air na h-òrain luaidh a chruinnich Alasdair, agus mar chuideachadh chuir sinn clàr beag ri chéile ás na trì chlàir eadar-dhealaichte dha na trì leabhraichean Hebridean Folksongs a dheasaich Iain Latharna Caimbeul agus Frangag Collinson (Oxford: Oxford University Press, 1969–81). Tha na leabhraichean rud beag duilich an ùisneachadh as ’aonais. Co-dhiù, seo thugaibh e: tha sinn an dòchas gum bi an clàr feumail – ’s dòcha gun cuir sinn ris fhathast! Tha ainm no ciad loidhne an òrain ’ga leantainn le àireamh an leabhair anns a bheil e, an uair sin àireamh an òrain ann an litrichean Ròmanach, agus mu dheireadh àireamhan nan loidhnichean.

We’ve been working on the waulking songs which Alexander collected, and to help us we compiled a little index out of the three separate indices for the three volumes of Hebridean Folksongs edited by John Lorne Campbell and Francis Collinson (Oxford: Oxford University Press, 1969–81). The books are a bit difficult to use without one. Here it is: we hope it might be of use, and perhaps we might extend it still! The name or first line of the song is followed by the number of the volume in which it is found, then the song number in Roman numerals, and finally the line numbers.

Co-chur de na clàir dha Hebridean Folksongs i–iii

A synthesis of the indices to Hebridean Folksongs, i–iii

A bhean ud thall a nì an gàire: HF3, cii, 468–86

A bhradag dhubh a bhrist na glasan: HF2, lxviiib, 1105–24

Ach a Mhaighread nan cuireid: HF3, cv, 559–668                                               

Ach a Mhurchaidh òig ghaolaich: HF2, xlii, 105–50

Ach, òganaich laghaich: HF3, xciiib, 140–63

A Dhia! ’s gaolach liom an gille:   HF2, lxviiia, 1077–1104

A Dhòmhnaill Dhuinn, ma rinn thu m’eucoir: HF3, cxvia, 1095–1116

Ailein, Ailein, ’s fad’ an cadal: HF1, xxxvi, 1263–94

Ailein Duinn, o hó hi, shiubhlainn leat: HF1, i, 1–46

Alasdair mhic Colla gasda: HF2, lxxi, 1169–85

Am Bròn Binn: HF2, xli, 1–68; 69–104

A Mhic a’ Mhaoir, ’s daor do shùgradh: HF2, lxxv, 1361–92

A Mhic Iain ’ic Sheumais: HF3, civ, 493–558

An Coire Riabhach: HF2, lxxxv, 1590–1604

An robh thu ’sa bheinn?: HF2, lxxix, 1481–4

An Spaidearachd Bharrach: HF2, lxviii, 1077–1124

A phiuthrag ’s a phiuthar: HF2, lxxiia, 1186–1211

Ar leam gura h-i ghrian ’s i ’g éirigh: HF2, lxix, 1125–37

B’ annsa Seathan a’ falbh sléibhe: HF2, xlvi, 227–79

Bean a’ chuailein chuachaich chlannaich: HF2, lxivb, 898–926

Bha mis’ a raoir air an àirigh: HF2, xlviiia, 406–36

Bhean ud thall, gu dé th’air t’aire?: HF1, xvi, 568–96

Bheir soiridh, soiribh bhuam: HF3, cxxxiv, 1677–87

Cailin mise, buachaill’ thusa: HF2, xlviia, 280–315

Cà na dh’fhàg thu m’fhichead gini?: HF3, cxxviii, 1585–1600

Cha déid mi a Chille Moire: HF2, lxi, 797–806

Cha déid mi do dh’fhear gun bhàta: HF3, cxxv, 1483–1532

Cha déid mise, cha déid mi: HF1, xxxiii, 1158–85

Cha déid Mòr a Bharraigh bhrònaich: HF2, lxvii, 994–1072

Cha dìrich mi an t-uchd le fonn: HF1, xxiv, 857–87

Chaidh mi do’n bheinn ghabhail fradhairc: HF1, xxviii, 984–1019

Chaidh mi ’na ghleannain a’s t-foghar: HF2, xlix, 467–87

Chaidh mis’ a dh’Eubhal imprig: HF2, lxii, 807–39

Chaidh mo lothag air chall: HF3, cxxvi, 1533–66

Chaidil mi a raoir air an àirigh: HF2, xlviiib, 437–66

Chailin òig as stiùramaiche (etc.): HF2, xlvii, 280–405

Cha labhair mi’n t-òran: HF1, xxx, 1052–91

Chan e uiseag a dhùisg mise: HF2, lvi, 712–27

Chan eil falt orm air fuireach: HF1, xxxiv, 1186–1217

Chan eil mi gun mhulad orm: HF3, cxxvii, 1567–84

Chan eil mi gun nì air m’aire: HF1, v, 143–96

Chan fhan mi ’m Mòrair nas fhaide: HF2, lvb, 701–11

Chatriana a dh’fhalbhas gu banail: HF2, lxiii, 840–68

Chì mi ghrian ’s i falbh gu siubhlach: HF2, lixa, 757–63

Chuala mi ’n dé sgeul nach b’ait liom: HF2, lxx, 1138–68

Chuir iad mise ’n ceann na cléitheadh: HF2, lxxxiii, 1532–42

Chunnaic mi an t-òg uasal: HF3, cviii, 775–808

Chunnaic mise mo leannan: HF3, cxviii, 1185–1250

Chunnaic Rìgh Bhreatainn ’na shuain: HF2, xlib, 69–104

Ciad soiridh bhuam dhachaigh: HF3, ciii, 487–94

Coisich, a rùin: HF2, lxxiv, 1261–1360

Có nì mire rium?: HF3, cxxix, 1601–12

Có sheinneadh an fhìdeag airgid?: HF3, xxxii, 1732–1831 (cf. Siubhlaidh mi ’s fàgaidh mi ’m fearann)

Craobh an iubhair: HF1, xxxv, 1221–65

Craobhan ó, hoireann o ho: HF2, liii, 614–62

Cumha banntrach Shanndraigh: HF3, cxvi, 1095–1138

Dh’éirich mi gu moch Diluain: HF3, xcix, 326–53

Dh’éirich mi moch madainn àlainn: HF1, xxix, 1020–51

Dh’éirich mi moch madainn Chéitein: HF2, li, 525–92

Dh’éirich mi moch madainn earraich: HF2, lxxvi, 1393–1416

Dh’éirich mi moch madainn ghrianach: HF2, lxxxvb, 1604–29

Dh’éirich mi moch Di-Dòmhnaich: HF1, ix, 323–62

Dh’éirich mi ’s cha robh mi sunndach: HF2, liv, 664–87

Dh’fhalbh mo rùn bho chionn seachdain: HF3, cvii, 707–74

Dh’fhalbh mo rùn ’s dh’fhàg e ’n caladh: HF3, cx, 839–54

Dhìrich mi suas an Coire Riabhach: HF2, lxxxva, 1590–1603

Dhòmhnaill òig mhic Dhòmhnaill mhic Ruairi: HF1, xxi, 747–94

Di-Sathairne ghabh mi mulad: HF1, vii, 223–73

E ho a hó, ’s trom an dìreadh: HF2, lx, 788–96

Éisdibh beag a staigh mas àill leat: HF2, xlviib, 316–34

Eudail a Rìgh! bu mhi brònag: HF2, liiib, 633–62

Fhir a’ chinn duibh: HF2, lxxxvii, 1643–75

Fhir bhuidh’ an deagh nàdair: HF3, cxxiii, 1415–44

Fliuch an oidhche nochd ’s gur fuar i: HF2, lxvb, 949–73

Ged is grianach an latha: HF2, xliv, 175–94

Gu dé nì mi nochd ri m’ nàire?: HF2, lxxviii, 1473–80

Gura h-e mo ghaol an t-Iain: HF2, lxxx, 1485–90

Gura mise tha fo éislein: HF1, xviii, 626–50

Gura mise tha fo ghruaim: HF3, xcix, 326–53

Gura mise tha fo ghruaman: HF1, xiv, 476–531

Gura mise tha fo mhulad air an tulaich luim fhuair: HF1, xxvi, 922–65

Gura mise tha fo mhulad air an tulaich, ’s mór m’éislein: HF3, cxviiid, 1251–76

Gura mise tha fo mhulad, ged nach urrainn dhomh innse: HF3, cxxiv, 1463–82

Gura mise tha fo mhulad, ’n tìr a’ mhurain ’s an t-sìobain: HF3, cxx, 1315–34

Gura mise tha fo mhulad ’s mi air tulaich na buaile: HF1, xii, 409–42

Gura mise tha gu tinn: HF3, xcix, 303–25

Gura mise tha làn airteil: HF1, xiii, 443–75

Gura mis’ tha fo mhulad, air là…: HF3, cxvib, 1117–38

Gura mis’ tha fo mhulad, giùlain culars Rìgh Deòrsa: HF3, cxxii, 1343–90

Gura mis’ tha fo mhulad, ’s mi air uilinn nam frìthbheann: HF3, cxixb, 1293–1314

Gura mis’ tha fo mhulad, tha lionn-dubh air mo lìonadh: HF3, cxixa, 1275–92

Gura muladach mi am bliadhna: HF3, cxv, 1057–86

Gur h-e mo ghille dùbhdhonn: HF3, cxvii, 1139–84

Hó, mo nighean dubh, till, till: HF3, cxii, 899–904

Hug hoireann ó, ’s m’aighear i: HF3, cxxxi, 1618–27

Hùgan nan gù, théid mi dhachaigh: HF2, lva, 688–700

Latha bha mi ’n lic Dhùn Bheagan: HF2, lxxxviiic, 1700–18

Latha bha ’n Ridire ag òl: HF3, lxxxix, 1–23

Latha dhomh ’s mi falbh an fhàsaich: HF2, xlviic, d, 335–405

Latha dhomh ’s mi falbh an fhraoich: HF3, cvi, 669–706

Latha dhomh ’s mi ’m Beinn a’ Cheathaich: HF1, xxxvii, 1295–1330

Latha dhomh ’s mi ’n Caolas Rònaigh: HF2, lxxviia, 1417–31

Lìon mulad, lìon mulad: HF3, xcviii, 279–302

Marbhaisg air a’ mhulad, ’s buan e: HF1, xxii, 795–827

Mhaighread chridhe, nighean an Leòdaich: HF2, lxxviib, 1432–72

Mhic Iarla nam bratach bàna: HF3, cii, 468–88

Mhic ’ic Ailein seasgair sìobhalt’: HF3, cxxxii, 1628–53

Mhurchaidh bhig, a chinn a’ chonais: HF3, ci, 385–467

Mi dualach, mi donn: HF1, xix, 651–76

Mìle marbhaisg air a’ ghaol: HF3, xcii, 101–19

Mo rùn Ailein: HF2, lxxvi, 1393–1416

Mo shùil silteach, mo chridhe trom: HF2, lviii, 734–56

Mulad is lionn-dubh, tha gruaim: HF3, lxxxix, 24–51

Murchadh an Éirinn, ’s mise bhean bhochd: HF2, lxxxib, 1504–18

Nach fhreagair thu, Chairistiana?: HF1, iv, 116–42

Nàile! ’s toil leam an gruagach: HF3, cxxiv, 1145–62

Nighean chruinn donn, dhut is éibhinn: HF1, xxv, 888–921

Nighean donn bheadarrach, ho rò: HF3, cxxx, 1614–17

Nighean dubh, nighean donn: HF2, lxxxviiib, 1686–99

Nighean ud thall, bheil thu ’t’fhaireachadh?: HF1, iii, 84–115

’N robh thu ’sa bheinn?: HF2, lxxix, 1481–4

O, ’s e mo ghaol an Anna: HF2, lxiv, 869–926

O, daonnan, tha mi deònach: HF3, cix, 809–39

O hao, o hao, ’s mi fo mhìngean: HF3, cxv, 1011–93

O, ’s fhada bhuainn Anna: HF3, cxi, 855–8

O, ’s toil leam an nìghneag: HF3, cxxiv, 1445–82

Och nan och, ’s mar thà mi nochd: HF3, cxvii, 1167–84

Òganaich dhuinn a rinn m’fhàgail: HF3, cxxxiii, 1654–76

Òganaich ùir a’ chùil teudaich: HF3, cxiii, 905–86

Òran Luadhaidh le Màiri nighean Alasdair Ruaidh: HF1, xvii, 597–625

Phiuthar chridhe, chomainn chléibh: HF3, cxvi, 230–1

Rinn mi mochairigh gu éirigh: HF1, viii, 274–322

’S a mhic an fhir bho Ghleann Lìobhann: HF3, cxxi, 1335–52

’S anmoch gum facas an raoir: HF3, ci, 405–35

’S ann an raoir nach d’fhuair mi ’n cadal: HF3, cxvii, 1139–66

’S ann Diluain a rinn sinn gluasad: HF3, cxv, 1066–94

’S bochd an nochd na bheil air m’aire: HF1, i, 1–46

Seathan mac Rìgh Éirinn: HF2, xlvi, 227–79

’S e Mac Aoidh an duine treubhach: HF1, xxxv, 1218–62

’S e mo ghaol, mo ghràdh an ainnir: HF2, lxiva, 869–97

’S fhada bhuam a chì mi’n ceò: HF1, xxxviii, 1331–48

’S fhada leam do dhàil, a Dhòmhnaill: HF3, cxv, 1011–36

’S fhad an sealladh bhuam chì mi: HF2, lx, 788–96

’S fliuch an oidhche ’n nochd ’s gur fuar i: HF1, x, 363–78

’S fliuch an oidhche ’n nochd ’s gur fuar i: HF2, lxxivb, 1322–60

’S ’ga innse cha déid mi: HF3, cxxi, 1335–42

Shuidh mi air cnocan an tiùrr: HF3, xc, 52–78

’S i nochd a’ chiadh oidhche ’n fhoghair: HF1, xv, 532–67

Siubhlaidh mi ’s fàgaidh mi ’m fearann: HF1, xxxii, 1128–57

Siuthadaibh, siuthadaibh, a mhnathan: HF1, xvii, 597–625

’S mi dol timcheall na dòirlinn: HF2, xliii, 151–74

’S mi ’m aonar air buail’ a’ lochain: HF2, lixb, 764–87

’S mi ’m aonaran am Beinn a’ Cheòthain: HF1, xxvii, 966–83

’S mi ’nam shuidh’ air an leathad: HF3, xcv, 204–29

’S mi ri dìreadh ’san dùbhghlaic: HF3, xcv, 194–203

’S mise bhean bhochd, chianail, dhuilich: HF2, lxxxia, 1491–1503

’S mise bhean bhochd, chianail, thùrsach: HF1, ii, 47–83

’S mise chunnaic an t-iaonadh: HF1, xl, 1373–1406

’S mise ’s daor a cheannaich: HF1, xx, 677–746

’S mise nach eil fallain: HF3, xcvii, 232–61

’S moch an diugh a rinn mi éirigh: HF1, xxxi, 1092–1127

’S moch an diugh a rinn mi éirigh: HF2, lxva, 927–48

’S muladach mi o chionn seachdain: HF2, lxxiii, 1244–60

’S muladach mi ’s mi air m’aineoil, HF1, xxiii, 828–56; HF3, xxii, 1832–71

’S muladach, ’s muladach thà mi: HF3, cxiv, 987–1010

’S muladach truagh, ’s cianail thà mi: HF2, lxxxii, 1518 –31

Sneachda ’ga chur air na beannan: HF2, liiia, 614–32

’S tìm dhomh bhith falbh, bhith cur umam: HF2, lxxxiva, 1543–56

Stoirm nan gobhar ri taobh na h-abhann: HF2, lvi, 712–27

’S toil liom, ’s toil liom: HF2, lxxxviiia, 1676–85

’S trom an dìreadh: HF2, lx, 788–96

’S truagh nach robh mi air a’ bhàta: HF3, cxi, 855–98

Tàladh Dhòmhnaill Ghuirm: HF2, lxix, 1125–37

Tha mi dubhach, trom, deurach: HF3, cxxxv, 1704–31

Tha mo ghaol air Catriana: HF3, xciv, 164–93

Tha mulad, tha mulad, tha lionn-dubh orm fhéin: HF3, cv, 559–668

Tha mulad, tha mulad, tha mulad is arteal: HF3, c, 354–84

Tha ’n latha ’n diugh gu fliuch fuaraidh: HF1, vi, 197–222

Tha ’n oidhche nochd fuar, ’s i reothadh gu cruaidh: HF1, xxxix, 1349–72

Tha an oidhche nochd fuar, tha i cruaidh le frasan: HF2, xlv, 195–226

Tha caolas eadar mi is Iain: HF2, l, 488–524

Tha ’n crodh an diugh dol air imprig: HF2, lvii, 728–33

Tha ’n t-uisg’, an ceò, air na beannan: HF2, lii, 593–613

Tha sneachd air na beannaibh Diùrach: HF2, lxvi, 974–93

Thogainn fonn gun bhith trom: HF3, cvi, 669–704

Thug an latha gu dìle: HF3, cxxxv, 1688–1703

Thug mi gaol do’n nighinn duinn: HF1, xi, 379–408

Thug mi ’n oidhche, ge b’fhad’ i: HF3, xciii, 120–63

Trom òr o chalainn: HF3, xcvii, 232–78

Turadh am muigh: HF2, lxxxvi, 1630–42

Turas a chaidh Rìgh Artair ’s a shluagh: HF2, xlia, 1–68

The Laird of Coll's Powder Horn

As the Carmichael Watson Project moves into a new, Leverhulme Trust-funded phase, we’re starting to investigate Alexander Carmichael’s fascinating personal collection of objects, now looked after in the West Highland Museum in Fort William. One particularly interesting item may be connected with an unusual waulking song Carmichael recorded in Mingulay.

As discussed in a blog earlier this year, Alexander Carmichael ‘discovered’ waulking songs while on a visit to the little island of Mingulay/Miughalaigh, at the southern tip of the Outer Hebrides, on 8 August 1867. Carmichael was back in Mingulay on 22 May 1869, doing intensive song-recording from his friend Roderick MacNeil (c. 1790–1875), Ruairidh an Rùma, as well as from two local women, Mary MacDonald (c. 1837–1915) and someone he later describes as ‘Mary wife of Angus Campbell’. We’ve been unable to trace her, but there’s a possibility Carmichael might have meant Marion (b. c. 1841), wife of John Campbell, who appears on the island in the 1871 census. The two women sang their songs to the very appreciative collector not at the waulking board, but while woolworking – ‘one carding, the other spinning’ – one singing the lines and the other the chorus.]

Among the songs Carmichael recorded is one with the following impassioned lines:

Mo cheist eir ti[gh]earna Cholla
S trua[gh] nach ann duit bha mi torrach
Luc[hd] mo dha chich liont am bhrollach
Ga nach beirinn dhuit ach torran
Bhi[th] gun chliu as gun char gun cholan[n]
Ach da shuil os cionn mala.
Sa leana[bh] beag na lai[gh] air a chulao[bh]
Sann daga sann aoraic [adharc] fhudair [CW150/24]

My love the Laird of Coll
A shame that I wasn’t pregnant for you
The load of my two breasts full in my chest
Even though I’d only give you a little heap
Without fame, strength, or body,
Just two eyes above a brow.
And the little baby lying behind him
[?With] the pistol and the ‘aoraic fhudair’.

Given the feelings they express, it’s hardly surprising that these lines don’t appear to have been given to any other song collector. But what’s the ‘aoraic fhudair’ in the last line?

The context gives the game away: it’s what would be written in standard Gaelic ‘adharc fhùdair’, a powder horn made out of cow horn, an object used to carry gunpowder without any danger of sparks or soaking. The heyday of the often elaborately decorated powder horn was the eighteenth century, the era of muskets, before the advent of the powder cartridge. By Carmichael’s time the powder horn was quite obsolete apart from occasional use in full ceremonial Highland dress – definitely not a common sight in the Outer Hebrides! It’s hardly surprising, then, that there are few if any other mentions of an ‘adharc fhùdair’ in the corpus of Gaelic waulking songs.

We originally thought that the word ‘aoraic’ which Carmichael wrote down meant that either he or the singer didn’t understand the reference to ‘adharc’ or horn. A brief chat with Professor Donald Meek from Tiree, however, put us right. Across much of the Scottish Gàidhealtachd, ‘adharachd’ is a perfectly acceptable dialect alternative to ‘adharc’. Maybe this is how Carmichael heard it when he was writing it down, or maybe the word was preserved like that in the song, testimony to its Argyllshire origins.

What of the item in Carmichael’s collection? As you’ll have guessed, it’s a powder horn, one of four he acquired. This one is said to have ‘belonged to MacLean of Coll’ – that is, the Laird of Coll, Tighearna Cholla. But did it really? Alexander Carmichael certainly visited the Island of Coll in September 1887, and knew a number of people with Coll connections, so the provenance of our powder horn may be genuine.

On the other hand, might this be a sly joke by the original donor, perhaps in reply to Carmichael’s question, ‘Who owned it?’ The object was a powder horn, an ‘adharc fhùdair’ (or an ‘adharachd fhùdair’). There was a waulking song praising the Laird of Coll where his powder horn is mentioned. ‘So it must have belonged to Tighearna Cholla.’ The story of the powder horn and the waulking song may demonstrate how closely bound up oral tradition and material culture might be. On the other hand, this may just be yet another example of a scholar making too much out of very slender connections. There may be a much simpler explanation lurking somewhere still in Alexander Carmichael’s archive!

Reference: CW150/24
 
Image: A not very clear picture of Carmichael’s powder horn

Song Narrative of Seathan Mac Rìgh Èireann

Breivig, Barra / Brèibhig, Barraigh

An interesting bit of lore picked up Alexander Carmichael from the recitation of a blacksmith called Donald MacPhee (c. 1816–1869) from Brèibhig in the Isle of Barra concerns the famous waulking song Seathan Mac Rìgh Èireann (Seathan the son of the King of Ireland), as popular then as it is to this very day. The narrative speaks for itself:

Composed by a aunt of MacLeod
of Harris to MacNeill Dhun an t-Sleibh
her husband. She alleged that the Priest
attempted to take advantage of her in the
confessional (He was Irish.) The
Priest drowned a candle in chapel on
the Sunday foll[ow]ing indicating that she was
ex-com[municated]. This angered MacNeill
and led to a quarrel between himself
and wife. She left and went home to
her father. She fell with a former
sweetheart. She then comp[osed] this
song upon hearing which MacN[e]ill
said Co sam bi leis an leis
an long luchd s liomsa a clao [clar] and went
with his brolair for her. MacN[e]ill
then left the Church of Rome. There
was a ban against Cath[olics] during
the Carras and fad na h-aidolein
not to make balls. To spite the Priest
Mac Mhic Neill Dhun an t Sleibh
make to balls and feills. He was ex-
com[municated]. In going out of church he
said to the Priest that he would never
hear Mass again and so left the
Church of Rome. This was the
Lady MacNiell [sic] who left Cios-
mal. All rent was paid in kind
in those days. She then went to Lag
fhliodh from which the woman
came with the fish by the Lag fhliodh
close to Doirlin at Tangasdal.

As is well known this song is far longer than the mere fifteen lines taken down by Carmichael which probably reflects the fact that this was all the reciter knew or could manage to recall on that particular occasion when it was recorded:

Hu ru o na hi oro
Na nam fai[gh]te Seathain ri fhuasgla[dh]
Cha bhiodh an cro[dh] laoi[gh] eir bhuailt.
Hu ru o na hi oro
Cha bhi gobhar an Creag Ruari[dh]
A Sheath[ain] sabh[ail] nan anam
A Sheath[ain] sa mhic Iosa Criosda
Ge grianach an la[tha]
S beag m aithear ri bho[i]chead
O hi ri ri o huru bho rotho.
Mi nam shui[dh] eir an tulaich
Gon am mulad mi m onar
Smi ri feitheamh a chaolais, S gun mo ghaol
Nam faic thu tigh[inn] Smi gun r[u]itheadh ad cho[mhdh]ail
Bhiodh mo chri[th] lan solais

A far longer version of this particular waulking later appeared in the fifth volume of Carmina Gadelica where a number of reciters and so it appears that this version of the song was a conflation of many different versions. The song has been recorded on numerous occasions during the twentieth century, many from Barra tradition bearers such as Calum Johnston (1891–1972) and Nan MacKinnon (1903–1982), as well as being published in various Gaelic periodicals.

References:

Carmina Gadelica, v, pp. 60–83.

CW150/11, ff. 3v–4v.

Cumha Sheathain: http://www.tobarandualchais.co.uk/fullrecord/94370/1

Seathan Mac Rìgh Èireann: http://www.tobarandualchais.co.uk/fullrecord/21240/1

Image:

Breivig, Barra / Brèibhig, Barraigh.

Fulling the Cloth in Mingulay

Two years in a row saw Alexander Carmichael visit the remote island of Mingulay, lying some dozen miles south of Barra. On 8 August 1867, he had the opportunity to get to know some of the islanders, especially Roderick MacNeil or Ruairidh an Rùma, mentioned previously in this blog. Such an event as a luadhadh or waulking the cloth may have been something rather unusual for Carmichael to have witnessed as it was in the main the preserve of women. Carmichael did not show any reserve and what may be taken as something he had not previously seen clearly piqued his interest. His jottings help by way of providing a context for the social setting of waulking or fulling of cloth:

Fulling at Miulay. Heard a fulling song
sung while pas[sing] a hut and went in. Found
six good looking comely girls waulking cloth
One sung the verses the rest the chorus
and all took their turn at this. All the
songs suited the body made in ful[ling] and all
to my ear wild weird and beautiful.
One was a fairy song and fairy like.
Measured the arms of two of the girls. Each
meas[ured] 11½ inches in circ[cumference] The rest seemed
to be gen[er]ally stout and yet they did not
seem to me to be any sup[erfluous] flesh about them.
The ful[ling] song com[mences] first slowly and ma[jestically]
and all keep time to this in their mov[ements].
Then it becomes ‘fast and fun till the
whole as by feel] a dif[ficulty] in rest[raining]
their prop[riety]. The cloth is sent round
with the sun. upon no ac[count] would they
attempt the con[verse]. The cleith luai[dh] is a
a plank a fair in[ch] thick 1½ bro[ad] & 10 f[eet] long.
It must have been tossed ab[out] in the At[lantic]
for a time for it is perfor[ated] all over by teredo
One of the songs sung was a comp[osition] one
made to [supra: the Stranger] all the rest sung the chorus.
I asked them to sing the fairy song again
They hesi[tated] and when I pressed them they
said that did they repeat a song twice
at a clei[th] luai[dh] the cloth would
become as thin as before and in[stantly] lose
all its col[our] and become pure white!
I did not then press.

Elsewhere in Carmina Gadelica, Carmichael writes thus about the different stages involved in waulking: ‘Five minor processes are involved in waulking. There is first the process of thickening the cloth; second the process of cleansing the cloth; third, the process of folding it; fourth, the process of giving it tension; and after these the rite of consecrating the cloth. All these processes are performed with the care of eye and deftness of hand come of ability and experience.’ He then continues with the aspect of rhythmic choral singing used to lighten the toil of the sheer hard work involved in fulling the cloth: ‘During the work the women sing lively, stirring, emphatic song. One sings a verse, all join in the chorus. The leader usually sits a the head of the waulking frame; if she is advanced in life she is not allowed to work, in which case she sits a few feet back and in line with the frame. The women keep time with their arms and feet.’

References:

CW114, fos. 62v–63r.

Carmina Gadelica, iv, pp. 88–89.

Image: Waulking the Cloth, Talisker, depicted by Moses Griffiths from Thomas Pennant’s Voyage to the Hebrides (1772).