#Dealbh

[milflewis]

i am writing this in english. it is the most brutal language i know. sometimes it feels like all you understand is violence. i’m so fucking angry i can hardly breathe. there is a balloon in my chest and it is full of spikes and wants to pop. i am trying to unlearn our grandparents ways. i am trying not to be our parents. why can’t you? how fucking dare you?

tá mé ag scríobh seo as béarla. is é béarla an teanga is brúidiúla atá ar eolas agam. uaireanta mothaíonn sé cosúil le gach a dtuigeann tú go bhfuil foréigean. tá mé chomh feargach is ar éigean is féidir liom análú. tá balún i mo bhrollach agus tá sé lán de pointí agus ba mhaith leis pléascadh. táim ag iarraidh bealaí mo sheantuismitheoirí a fhoghlaim. tá mé ag iarraidh gan a bheith i mo thuismitheoirí. cén fáth nach bhfuil tú? conas a d'fhéadfá? conas fucking tú?

this is not a ‘race issue’. this is not an ‘immigration issue’. this is not a oh all those foreigners are going to come here and huff and puff and blow down our homes and kill our children and set our streets on fire. we — you me us — are doing that ourselves. it was white irish people who saw a tragedy happen and didn’t think how can we help or what can we do to prevent this or how can we be better. it was white irish people who saw a tragedy happen and thought yeah what this pain and grief needs is rioting and looting and destruction. it was white irish people who saw a tragedy happen and used that as an excuse to hurt everyone else. are you not fucking embarrassed that you saw children being killed on the street and your response was to set fire to a statue to steal a pair of runners from jd sports. are you not on your fucking knees

ní ‘ceist cine’ í seo. ní ‘ceist inimirce’ é seo. ní hamhlaidh atá na gaill sin go léir le teacht anseo agus crónán is puff agus séideadh síos ár dtithe agus ár bpáistí a mharú agus ár sráideanna a chur trí thine. táimid — tusa mise — atá á dhéanamh sin againn féin. éireannaigh gheala a chonaic tragóid ag tarlú agus níor smaoinigh siad conas is féidir linn cabhrú nó cad is féidir linn a dhéanamh chun é seo a chosc nó conas is féidir linn a bheith níos fearr. éireannaigh gheala a bhí ann a chonaic tragóid ag tarlú agus a cheap go bhfuil gá leis an bpian agus leis an mbrón seo ná círéibeach agus spíonadh agus scrios. éireannaigh gheala a bhí ann a chonaic tragóid ag tarlú agus d’úsáid siad é sin mar leithscéal chun gach duine eile a ghortú. nach bhfuil náire ort go bhfaca tú leanaí á marú ar an tsráid agus gurb é an freagra a bhí agat ná dealbh a chur trí thine chun péire reathaithe a ghoid ó jd sports. nach bhfuil tú ar do ghlúine

fuck. you. it’s not muslims or immigrants that you fear so much that are destroying our cites. nor the travellers nor protestants nor god forbid the fucking english. it is the white and the irish and the shameful

nár chuire dia ar do leas thú. ní hiad na moslamaigh ná na hinimircigh a bhfuil an oiread sin eagla oraibh atá ag déanamh scrios ar ár gcúirteanna. ná taistealaithe nó lucht agóide nó dia cosc ​​ar an mbéarla. tá sé bán agus ná héireannach agus an náireach

[jimharrisart]

James Wallace Harris: Outpost at Stoke by Nayland. Acrylic marker on paper 13.85" x 9.88" June 21, 2024. https://www.saatchiart.com/art/Drawing-Outpost-at-Stoke-by-Nayland/292357/11843881/view #artist #art #artwork #artcollector #drawing #dessin #futurism #futurismo #architecture #aerospace #industrial #kunst #zeichnungen #piirustus #그림 #dealbh #tegning

[scotianostra]

21st May 1872 saw the death in Bunessan on Mull of the Gaelic poet Mary MacDonald.

Mary is a  little-known Gaelic poet who wrote a classic!

The first thing to say is that Mary Macdougal Macdonald should not be confused with another Mary, who was born a MacDonald and became a MacPherson. That was Màiri Mhòr nan Òran or Great Mary of the Songs

Mairi Dhughallach was born at Brolas near Ardtun on Mull in 1789, though her exact birthdate was not known. Nor is there any Church of Scotland record of her birth and christening, for Mary was born into a Baptist family and she followed that faith devoutly all her life.

Her father was Duncan Macdougal, who was both a farmer and a Baptist preacher. The family all spoke Gaelic and Mary never spoke any more than a smattering of English. Instead, like other family members, she learned Gaelic poems, songs and hymns.

Mary married a crofter, Neil Macdonald, and moved to his croft at Ardtun – not far from Bunessan, the largest village on the Ross of Mull. I was unable to find any trace of children but it was remembered locally many years later that she sang while spinning, and at some point she began to write poems and compose hymns for use by her fellow Baptists.

Perhaps because she performed her works from memory, very little of her output survives, though she did once compose a satirical poem on tobacco to chastise her husband for his smoking.

Maddeningly we do not know when she composed her most famous work or the circumstances which brought it about. We do know that she wrote the hymn Leanabh an àigh and set it to a local tune. It was a beautiful lilting tune which some say was brought to Mull by a travelling Gaelic musician, and Mary’s Gaelic words were perfectly set to that tune.

The hymn appears to have been popular within the Baptist community but the hymn might never have been sung outside of the Gàidhealtachd had it not been for Lachlan Macbean (1853-1931) who was a Gaelic scholar and a journalist who for some time edited the Kirkcaldy-based Fifeshire Advertiser.

Macbean made it his task to gather Gaelic hymns and also published at least two books on learning Gaelic. The most successful were his Elementary Lessons in Gaelic (1889) and a Guide to Gaelic Conversation and Pronunciation (1895). He also published two collections of Gaelic hymns, The Sacred Songs of the Gael (1886) and Songs and Hymns of the Scottish Highlands (1888). Mary Macdonald’s hymn, published 16 years after her death, was in the latter book and though it was not precise, Macbean gave us a beautiful translation, a hymn that is sung to this day.

Here is the Gaelic version of Leanabh an àigh, child of wonder.

Leanabh àigh, an Leanabh aig Màiri

Rugadh san stàball, Rìgh nan Dùl;

Thàinig do’n fhàsach, dh’fhuiling ’n ar n-àite

Son’ iad an àireamh bhitheas dhà dlùth!

Ged a bhios leanabain aig rìghrean na talmhainn

An greadhnachas garbh is anabarr mùirn,

’S geàrr gus am falbh iad, ’s fasaidh iad anfhann,

An àilleachd ’s an dealbh a’ searg san ùir.

Cha b’ionann ’s an t-Uan thàinig gur fuasgladh

Iriosal, stuama ghluais e’n tùs;

E naomh gun truailleachd, Cruithfhear an t-sluaigh,

Dh’éirich e suas le buaidh o ùir.

Leanabh an àigh, mar dh’aithris na fàidhean;

’S na h-àinglean àrd’, b’e miann an sùl;

’S E ’s airidh air gràdh ’s air urram thoirt dhà

Sona an àireamh bhitheas dhà dlùth.

Here’s the three verses Macbean left us:

Child in the manger, infant of Mary,

Outcast and stranger, Lord of all,

Child who inherits all our transgressions,

All our demerits on Him fall.

Once the most holy Child of salvation

Gently and lowly lived below.

Now as our glorious mighty Redeemer,

See Him victorious o’er each foe.

Prophets foretold Him, infant of wonder;

Angels behold Him on His throne.

Worthy our Saviour of all our praises;

Happy forever are His own.

Macbean also gave the hymn’s tune a name – Bunessan after the settlement close to Macdonald’s home, and within a few years it had become a popular Christmas carol.

After Mary’s passing on May 21, 1872, the co-author of the 1926 English hymn book Songs of Praise noted that Child in the Manger to the tune Bunessan had been include in the Revised Church Hymnary. Percy Dearmer loved Bunessan and for the second edition of Songs of Praise published in 1931, he asked English writer Eleanor Farjeon “to make a poem to fit the lovely Scottish tune”.

Farjeon duly delivered her work, and Morning Has Broken has delighted children and adults ever since. In 1972, the singer Cat Stevens, now Yusuf Islam released his version as a single. Morning Has Broken duly became a worldwide hit and subsequent cover versions have been produced by the likes of Neil Diamond, Nana Mouskouri and Daniel O’Donnell, though whether they knew it was a folk tune from Mull and originated as Mary’s hymn is unlikely.

Mary Macdonald is commemorated by an obelisk near where she lived on the A849 road on Mull. The monument describes her as a “poetess” who was “born Brolas 1789” and who “died Ardtun 1872”. Below that inscription are the first lines of Leanabh an àigh, translated as “Child in the manger, infant of Mary”.

The video has the words in Gaelic with English below them.

[saoghal-nan-saoghal]

Dealbh de Mhoire Màthair le Ìosa na leanabh, a rinneadh le Grace Plunkett, neé Gifford, agus i na prìosanach ann an Cill Mhaineam mar thoradh air a beachdan poblachdach

[orgulloalicante]

(ES-ES) Todas las fotografías son (C) Quino Andréu, Benidorm, 2024. Pueden usarlas sólo las personas que salgan en ellas con permiso de todos los que aparecen. Si alguien desea desaparecer puede escribir a tequiero@Quino.org o. Si alguien que aparece en las fotográfias quiere una versión de máxima calidad puede escribir a tequiero@Quino.org. Se han censurado las fotografías de los 2 partidos políticos excluyentes y fascistas de la manifestación por herir sensibilidades de Demócratas con su hipocresia, doble moral y violación de Derechos Humanos.

(EN-UK) All photographs are Copyright by Quino Andréu, Benidorm, 2024. Only the people who appear in them can use them with permission from everyone who appears. If someone wants to disappear, they can write to hi@Quino.org or. If anyone who appears in the photographs wants a maximum quality version, they can write to hi@Quino.org. The photographs of the two exclusive and fascist political parties of the demonstration have been censored for hurting the sensibilities of Democrats with their hypocrisy, double standards and violation of Human.

(GA-IE) Is iad na grianghraif go léir (C) Quino Andréu, Benidorm, 2024. Ní féidir ach na daoine atá le feiceáil iontu iad a úsáid le cead ó gach duine atá le feiceáil. Más mian le duine imeacht, is féidir leo scríobh chuig hi@Quino.org nó. Má tá leagan d’uaschaighdeán ag teastáil ó aon duine atá le feiceáil sna grianghraif, is féidir leo scríobh chuig hi@Quino.org. Rinneadh cinsireacht ar ghrianghraif an dá pháirtí polaitíochta eisiacha agus faisisteach den léirsiú as ucht íogaireacht na nDaonlathaithe a ghortú lena hypocrisy, caighdeáin dúbailte agus sárú ar Chearta an Duine.

(GA-SCOT) Tha a h-uile dealbh (C) Quino Andréu, Benidorm, 2024. Chan fhaod ach na daoine a nochdas annta an cleachdadh le cead bhon a h-uile duine a nochdas. Ma tha cuideigin airson a dhol à sealladh, faodaidh iad sgrìobhadh gu hi@Quino.org no. Ma tha duine sam bith a nochdas anns na dealbhan ag iarraidh dreach den chàileachd as àirde, faodaidh iad sgrìobhadh gu hi@Quino.org. Chaidh dealbhan den dà phàrtaidh poilitigeach faisisteach agus faisisteach den taisbeanadh a chaisgireachd airson a bhith a’ goirteachadh mothachaidhean nan Deamocratach leis an t-siorruidheachd, inbhean dùbailte agus briseadh chòraichean daonna

[jubaer01]

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[sgribhisg]

thall – over (there) a-null – over (there + movement away from speaker) a-bhos – over (here) a-nall – over (here + movement towards speaker)

M.E.

·      Tha mi a-bhos an-seo.        [I am over here.]

·      Tha Raibeart thall an-sin.        [Robert is over there.]

·      Tha Raibeart thall ann am Muile.        [Robert is over (there) in Mull.]

·      Tha mise a-bhos anns an Òban.        [I am over (here) in Oban.]

 ·      Tha am bàta-aiseig a’ tighinn a-nall a dh'Òban.        [The ferry is coming over to Oban.]

·      Tha Raibert a’ tighinn a-nall à Muile air a’ bhàta-aiseag.        [Robert is coming over from Mull on the ferry.]

·     Chan eil mise a’ dol a-null a Mhuile.       [I am not going over to Mull.]

[utagori]

シャクヤク（れんげ、チャイナドレス、うさぎ）スコットランドゲール語

Peony (Chinese soup spoo, china dress, rabbit)

Peony (spù brot Sìneach, dreasa china, coineanach)

A bheil na faclan ceart?

[anarchotolkienist]

Is e an-diugh an 140mh ceann-là de Bhlàr a' Chumhaing, no Battle of the Braes sa chànain eile, ann an sgìre a' Bhràighe san Eilean Sgitheanach. B' ann eadar poilis Ghlaschu agus croitearan is cotairean an eilein a bha am blàr seo, is na Gàidheil a' strì son còirichean talmhainn a chaidh a ghoid orra leis na h-uachdarain mhòra - gu sònraichte cead-ionaltraidh Bheinn Lì a bh' aca air chleachdadh cho fada is a bha Gàidheil san eilean - fhaighinn air ais. Bha an gall mòr seo air an robh 'Sherriff Ivory' ann an Port Rìgh os cionn poileas Gallta a bha feuchainn ri croitearan a dhliùilt aontachadh air cìsean gun chead-ionaltraidh fhaighinn an greim sa Bhaile Mheadhanach, ach chruinnich muinntir na sgìre aig a' Chumhang - 'dorast' na sgìre mar gum biodh - gus blàr is amhreit a chumail riutha, le badain is maide is clachan. Fhuair na croitearan saorsa, is phiobraich am blàr soirbheachail seo Gàidheil eile, air Gàidhealtachd is air fhògradh, gus ceartas a sheasamh ann an 'cogadh nan Croitearan'. Is iad as adhbhar a fhuair sinn Achd na Croitearachd, a chuir crìoch air linn nam fuadaichean, agus is iad as adhbhar a mhair a' Ghàidhlig idir beò dar linn fhèin. Cuireamaid clach air an càrn, is sìos leis a' phoileas, cho fìor an-diugh is a bha e nan là-san.

[Dealbh: an càrn-cuimhne faisg air Camas Dìonabhaig san Eilean Sgìtheanach, air an urrainnear na leanas a leughadh: Faisg air a' Chàrn seo, air an 9mh là deug den Ghiblean 1882, chrìochnaich an cath a chuir muinntir a' Bhràighe air sgàth tuath na Gàidhealtachd]

[a-muse-medarling]

From Nelly [text] Dhìochuimhnich mi cho math sa tha fònaichean cealla. Tha mi a ’dol a chuir thugad dealbh den bhiast seo.

[text]: mhmm. Okay. I don’t know what the heck that means, kid.

[culbertsons]

Choimhead Adam agus Martha air An Fhaochag agus a Mhuc-mhara, rinn iad cuideachd dealbh de mhuc-mhara.

[gaidhlig-tv]

Fios 2022

Thuirt Kathleen Cleaver ann an 1968 - agus tha na faclan aice a cheart cho iomchaidh ann an 2022:

“Remember, like Solomon, there’s a time for everything.”

Dealbh: Kathleen Cleaver, 1968.

Ann an 2022, chan e #GaelicCrisis a th’ ann, ach cothrom.

Tha fianais làidir ann gu bheil cothrom ann fhathast - do na Gàidheil - a thaobh na meadhanan Gàidhlig.  Chan e a-mhàin a thaobh sianal telebhisein 'traidiseanta’ ach craoladh Gàidhlig anns gach dòigh ùr.  Tha cothrom ann ‘content’ Gàidhlig ùr a chruthachadh  - stuthan de gach seòrsa, ‘short-form content’ agus rudan fada, aig ìre nàiseanta agus eadar-nàiseanta, air gach seòrsa platform - agus faodaidh iad seo a bhith ag amas air na Gàidheil.   

Ach, mar a tha Aonghas Dubh MacNeacail ag ràdh:  ‘An-dràsta, chan eil adhbhar aig na Gàidheil tionndadh gu BBC Alba’.

Tha beagan obrach ri dhèanamh.  Chan eil an cothrom Gàidhlig seo a’ còrdadh ri cuid dhe na daoine aig ìre-riaghlaidh.  Tha £13m sa bhliadhna aig MG ALBA, agus tha sinn air dearbhadh fhaighinn gu bheil vested interests ag obair nar n-aghaidh.   Tha an saoghal a' gluasad air adhart, ach chan eil na h-ùghdarasan - an Riaghaltas, Ofcom agus MG ALBA nam measg - a' dèanamh gu leòr.  

Tha cothrom ann atharraichean a dhèanamh. Stèidhichte air rannsachadh agus le taic bho eòlaichean, tha sinn air fianais a lorg gu bheil e comasach do chraoladairean tòrr a bharrachd Gàidhlig a thoirt a-staigh air prògraman BhBC Alba agus stuthan-craolaidh MG ALBA, agus gun gabh sin dèanamh gun mhòran chosgais.  Chuidichidh sin le bhith a’ cur stad air na ficheadan de phrògraman le 40%-80% Beurla orra - Beurla ga phiobrachadh a h-aona ghnothach le MG ALBA.

Mholamaid na 'blog posts’ air fad (corr is 100) air gaidhlig.tv a leughadh, gus tuigse fhaighinn air gnothaichean. Na creid a h-uile facal a chluinneas tu bho Ofcom. Na creid an fheadhainn air Twitter agus na meadhanan sòisealta eile aig a bheil vested interest a thaobh status quo.

Tha rathad nas fheàrr ann. Mar a chanas iad (mur eil Gàidhlig agaibh), positive change.  

Mur eil mòran ùine agaibh - mur eil agaibh ach 3 mionaidean - mholamaid èisteachd ri Aonghas Dubh MacNeacail, aon dhe na luchd-taic againn, is e a’ bruidhinn mu dheidhinn air BBC Radio nan Gàidheal. Tha Aonghas Dubh a’ faighinn gu crìdhe gnothaich.  “Chan eil aobhar aig Gàidheil tionndadh gu BBC Alba... fhathast”. Tha an audio ri fhaighinn an seo

-

Ann an 2022 - tha cothrom ann. 

(An dealbh gu h-àrd - le taing do American Public Media/American Radio Works; Na briathran - K. Cleaver: Toradh Bobby Hutton 12/04/1968)

Tha diofar dhaoine a’ cur taic ri gaidhlig.tv leithid Tove Skutnabb-Kangas, Robert Phillipson, Aonghas Pàdraig Caimbeul, Ishi NicIlleathain, Aonghas Dubh MacNeacail, Robbie Anndra NicLeòid, Seimon Brooks anns a’ Chuimrigh agus Lisa Storey. Tha leithid Pat Kane air taic a thoirt don iomairt cuideachd.  Chan eil sinn ceangailte ri partaidh poilitigeach.  Tha sinn ag obair gu saor-thoileach.  Chan eil sgillinn ruadh againn. Tha sinn gu mòr an comain eòlaichean mar Eithne O’Connell agus feadhainn taobh a-staigh a’ BhBC (a tha faiceallach a thaobh bruidhinn a-mach: eagal ’s gun caill iad an cuid obraichean) a thaobh comhairle.  Cumaibh taic rinn cuideachd! @gaidhligtv

Tuilleadh fiosrachaidh mar deidhinn an seo

Agus tha fiosrachadh mionaideach an seo bho  cho-labhairt ann an Oilthigh Dhùn Èideann. 

Cuidichibh!

[clinicalherbalist]

Lá fhéile Bríde shona daoibh. Dealbh cré-umha Naomh Bríd, Solas Bríde; agus Tobar Bríde, Contae Chill Dara. . Bhí mé ann trí blianna go ham seo. . . #lafheilebride #naomhbríd #cilldara https://www.instagram.com/p/BtW1LBtheBX/?utm_source=ig_tumblr_share&igshid=v9vty7au60ss

[scotianostra]

21st May 1872 saw the death in Bunessan on Mull of the Gaelic poet Mary MacDonald.

(Not to be confused with Mary MacDonald/Great Mary of the Song another great Gaelic poet)

Mary MacDonald, born in 1789 at Dalnacarn near Bunessan daughter of Duncan MacDougall and Ann Morrison, was a poet of some prowess. She lived with her husband Neil MacDonald and ten children in a basic dwelling enduring crofting hardships of the period.

21st May 1872 saw the death in Bunessan on Mull of the Gaelic poet Mary MacDonald. Mary composed the worldwide known verses entitled ‘Leanabh an Aigh’ (Child in a Manger).The fourteen verses she composed has assured Mary of her niche worldwide. Arguably the most famous Gaelic tune in the world, the lovely melody to which it is sung is centuries old and is called “Bunessan.” Many people will know Bunessan as the name of the tune of Cat Stevens 1972 hit ‘Morning has broken’.

She also wrote a lament for her drowned daughter in law and a song about her husband’s smoking habits and his bad temper when he couldn’t get his tobacco.

  Leanabh An Aigh

Leanabh an àigh, an leanabh aig Màiri, Rugadh san stàball, Rìgh nan Dùl; Thàinig don fhàsach, dh'fhuiling nar n-àite Son’ iad an àireamh bhios dha dlùth.

Ged a bhios leanabain aig rìghrean na talmhainn An greadhnachas garbh is anabarr mùirn, ’S geàrr gus am falbh iad, ’s fàsaidh iad anfhann, An àilleachd ’s an dealbh a’ searg san ùir.

Cha b’ ionann ’s an t-Uan thàinig gar fuasgladh Iriosal, stuama, ghluais o thùs; E naomha gun truailleachd, Cruithfhear an t-sluaigh; Dh'èirich e suas le buaidh on ùir.

Seo leanabh an àigh a dh'aithris na fàidhean; ’S na h-ainglean àrd, b’ e miann an sùl; ’S E ’s airidh air gràdh ’s air urram thoirt dha - Sona an àireamh bhios dha dlùth.

’S ann am Betlehèm thàinig an sgeul ’S binne da threud na teudan ciùil; Armailt nam Flaitheas is aingle neimh Ag àrd mholadh Dhè ’s a’ seinn a chliù.

Èistibh an fhuaim le sgeula nam buadh A dh'aithris na buachaillean o thùs; Gheibh sibh an t-Uan sa phrasaich na shuain ’S e shaoras a shluagh le buaidh ’s le cliù.

Teagasg a Rìgh dhuinn slighe na sìthe Nad cheumaibh dìleas cùm sinn dlùth; Thusa bha dìleas dhuinn o shìorr'achd Urras ro chinnteach air ar cùl.

Neartaich ar dòchas, meudaich ar n’ eòlas Cuir sinn nad ròidean dìreach dlùth; Le ola nar lòchrain mar ris na h-òighean A’ seinn ann an glòir an òrain ùir.

Translations vary but this one by Gaelic scholar and journalist Lachlan MacBean seems most popular.

Child in the manger, infant of Mary; outcast and stranger, Lord of all; Child who inherits all our transgressions, all our demerits on Him fall.

Once the most holy Child of salvation gently and lowly lived below; now, as our glorious mighty Redeemer, see Him victorious o'er each foe.

Prophets foretold Him, infant of wonder; angels behold Him on His throne; worthy our Savior of all our praises; happy forever are His own.

[dianasson]

Imbolc Festivities

Lá Fhéile Bríde Sona Duit!!!

(Law leh BREEJ-uh SUN-uh ditch) Happy St. Bríd’s Day To You!

Gabhaim molta Bride Ionmhain í le hÉireann Ionmhain le gach tír í Molaimis go léir í Lóchrann geal na Laighneach ‘Soilsiú feadh na tire Ceann ar óghaibh Éireann Ceann na mban ar míne

Tig an gheimhreadh dian dubh Gearradh lena ghéire Ach ar Lá ‘le Bríde Gar dúinn Earrach Éireann Gabhaim molta Bride Ionmhain í le hÉireann Ionmhain le gach tír í Molaimis go léir í I praise Brigid Beloved in Ireland Beloved in all countries Let us all praise her The bright torch of Leinster Shining throughout the country The pride of Irish youth The pride of our gentle women The house of winter is very dark Cutting with its sharpness But on Brigid’s Day Spring is near to Ireland

– traditional Gaelic song for Bríd Today is the Feast Day of Saint Bríd! The festival date of Imbolc on February 1 stretches back to the Iron Ages in Ireland, but the ancient context of the festival is relatively enigmatic. It is very likely a celebration of the beginning of the pastoral season as this is when the ewes start to produce milk. However, being one of the four ancient feast days, the 1st of February and the night before are the focus of many supernatural occurrences and ceremonial traditions.  In the last few hundred years these now focus on St. Bríd – who shares a name with a preChristian figure – who is worshipped and petitioned for blessings and favor. This would include a large feast of primarily dairy-based dishes in honor of the new agricultural season, so whip out the butter and cheese!  There are many legends about St. Bríd in Ireland, legends that mix the values of ancient Irish heroes with the pious and monastic values of early Irish Christianity. “Brigit is the perfect example of Irish hospitality: she can (by a miracle) milk her cows three times in one day to provide a meal for visitors; she can outwit a king (in the cause of charity), as well as any pagan hero could have done and with far more charm.” (Hughes) She is a great leader of women “Indeed St Brigit’s foundation at Kildare was unique in sixth-century Ireland in being a double monastery for both men and women, each group following the same rule and using a common church, with the government of the whole community held jointly by the Abbess and the bishop-abbot.” (Hughes) 

One way of celebrating her was to make a doll or Brideog in her image, which was escorted into or around the house in various manners varying village to village. Usually she was laid to rest inside the house, and divination ensued.  “There [in Ireland] the churn staff, not the corn sheaf, is fashioned into the form of a woman, and called 'Brideog,' little Bride. The girls come clad in their best, and the girl who has the prettiest dress gives it to Brideog. An ornament something like a Maltese cross is affixed to the breast of the figure. The ornament is composed of straw, beautifully and artistically interlaced by the deft fingers of the maidens of Bride. It is called 'rionnag Brideog,' the star of little Bride. Pins, needles, bits of stone, bits of straw, and other things are given to Bride as gifts, and food by the mothers.Customs assume the complexion of their surroundings, as fishes, birds, and beasts assimilate the colours of their habitats. The seas of the 'Garbh Chriocha,' Rough Bounds in which the cult of Bride has longest lived, abound in beautiful iridescent shells, and the mountains in bright sparkling stones, and these are utilised to adorn the ikon of Bride. In other districts where the figure of Bride is made, there are no shining shells, no brilliant crystals, and the girls decorate the image with artistically interlaced straw.The older women are also busy on the Eve of Bride, and great preparations are made to celebrate her Day, which is the first day of spring. They make an oblong basket in the shape of a cradle, which they call 'leaba Bride,' the bed of Bride. It is embellished with much care. Then they take a choice sheaf of corn, generally oats, and fashion it into the form of a woman. They deck this ikon with gay ribbons from the loom, sparkling shells from the sea, and bright stones from the hill. All the sunny sheltered valleys around are searched for primroses, daisies, and other flowers that open their eyes in the morning of the year. This lay figure is called Bride, 'dealbh Bride,' the ikon of Bride. When it is dressed and decorated with all the tenderness and loving care the women can lavish upon it, one woman goes to the door of the house, and standing on the step with her hands on the jambs, calls softly into the darkness, 'Tha leaba Bride deiseal,' Bride's bed is ready. To this a ready woman behind replies, 'Thigeadh Bride steach, is e beatha Bride,' Let Bride come in, Bride is welcome. The woman at the door again addresses Bride, 'A Bhride! Bhride thig a stench, tha do leaba deanta. Gleidh an teach dh’an Triana,' Bride! Bride, come thou in, thy bed is made. Preserve the house for the Trinity. The women then place the ikon of Bride with great ceremony in the bed they have so carefully prepared for it. They place a small straight white wand (the bark being peeled off) beside the figure. This wand is variously called 'slatag Bride,' the little rod of Bride, 'slachdan Bride,' the little wand of Bride, and 'barrag Bride,' the birch of Bride. The wand is generally of birch, broom, bramble, white willow, or other sacred wood, 'crossed' or banned wood being carefully avoided. A similar rod was given to the kings of Ireland at their coronation, and to the Lords of the Isles at their instatement. It was straight to typify justice, and white to signify peace and purity--bloodshed was not to be needlessly caused. The women then level the ashes on the hearth, smoothing and dusting them over carefully. Occasionally the ashes, surrounded by a roll of cloth, are placed on a board to safeguard them against disturbance from draughts or other contingencies. In the early morning the family closely scan the ashes. If they find the marks of the wand of Bride they rejoice, but if they find 'long Bride,' the footprint of Bride, their joy is very great, for this is a sign that Bride was present with them during the night, and is favourable to them, and that there is increase in family, in flock, and in field during the coming year. Should there be no marks on the ashes, and no traces of Bride's presence, the family are dejected. It is to them a sign that she is offended, and will not hear their call. To propitiate her and gain her ear the family offer oblations and burn incense. The oblation generally is a cockerel, some say a pullet, buried alive near the junction of three streams, and the incense is burnt on the hearth when the family retire for the night.” (Carmichael - SLOINNTIREACHD BHRIDE)

Another tradition on Imbolc is to create a Cros Bríde or Bríd cross out of reeds that were pulled on the eve of the festival. These grant protection throughout the end of winter and the rest of the year until new crosses are made in their place the following Imbolc.  “But the entire round of the year is liberally sprinkled with days of festival, and if we begin with St. Briget it is not merely because she was Irish-born but because her feast marks the beginning of the pastoral year. The blessed Bridie was a cowherd and is therefore associated with cattle and with such flowers as the dandelion–the Plant of Bride–yielding a milky juice which was believed to nourish the young lambs in spring. St. Briget’s Feast was very popular and many superstitious practices, more or less Christianized, cling to the preparations made on St. Briget’s Eve, the last day of January. On that day rushes are fashioned into protective charms known as Briget’s Crosses, a name which illustrates how the church has won over pagan symbols*, for the ‘crosses’ take the form of either [sun wheels] or lozenges, and comparative evidence suggests that they are magic symbols of suns or eyes...A three legged [sun wheel], presumably an old form, is reserved for use in the byre: its shape may be compared with the Celtic triskele. The lozenge-shaped charms have their counterparts in many parts of the world... Briget’s Crosses are believed to protect the house and the livestock from harm and from fire. No evil spirit could pass the charm, which was therefore hung above the door of the house and byre. The rushes must be pulled, not cut, on St. Briget’s Eve, and care must be taken to fashion the crosses from left to right, with the sun. As a rule they are left in position until replaced the following year, though I have seen byres with many crosses thrust into the underthatch, the decaying accumulation of annual offerings. In Co. Galway similar crosses made of wood or straw were also placed in the rafters at Hallowe’en, and the discovery of a partly burnt rush cross which had been deposited in a megalith in Co. Limerick points to a more general cult of the ‘cross’. A ‘love-knot’ of similar shape, fashioned out of sedge leaves, is known from South Wales.

It was popularly believed that the saint wandered through the countryside on the eve of her feast day. Bread was left on the doorestep, and in some districts it was the custom to prepare a small bed of rushes or birch twigs and place it by the fire so that Bridie might come in and rest. Sometimes the last sheaf of harvest was used for the purpose. In south-western Ireland a doll made of straw–or decorated churn-staff–was carried from house to house by ‘Biddy Boys’, wearing straw masks such as are used by mummers and by strawboys at weddings, and singing songs in honour of the saint. they would solicit gifts and end the day in jollification. The evening was celebrated by a supper of pancakes [bannocks] taken from a plate laid on a rush cross, and as on the other quarter-days prognostications were made. A ribbon or piece of cloth exposed on St. Briget’s Eve became endowed with curative powers. It was believed that no work which involved the turning of a wheel should take place on the saint’s day. The placing of a periwinkle in each corner of the kitchen likewise hints at a remote pre-agricultural origin for the festival,* but it came to be associated with the pastoral promise of spring, of warmth, new grass, lambs and milk. It is said that the saint placed her foot in water on her feast day so that on that day it begins to warm up each year.” (Evans) *presumptuous  *no it doesn’t The * above are obviously my notes on the passage, which is valuable but yikes. 

It is traditional to observe the weather on the morning of Imbolc to divine the coming seasons. If it is rainy and cold then the winter crone, An Cailleach, will not be able to gather enough fire wood for her to continue her foray in this world, creating the sharp winds and snows of winter. Winter would be shorter, and the following seasons would bring good fortune! However, if it is warm and sunny the firewood supply of An Cailleach will be great, and she will continue her reign over winter for many more weeks until she turns back to stone before Summer. This could also mean sickness and trouble for the household.  Sing the saint a song today, recite her genealogy and tell her stories. Make a cross, or a dollie for her, and eat lots and lots of cheese. Lá Fhéile Bríde Sona Duit!!!  References:  The Golden Age of Early Christianity in Ireland (7th and 8th centuries) by Dr Kathleen Hughes, in The Course of Irish History ed. Moody and Martin.  Irish Folk Ways, by E. Estyn Evans The Carmina Gadelica Vol.I, by Alexander Carmichael

[jubaer01]

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