by Alexander Shevlinn

 

In the last decade, there has been an immense contribution to modern Gaelic poetry and literature. This has been of great value, not merely because most it is recognised as being of a high standard, but also because it reinforces the optimism that the Gaelic language is robust and organic enough to be carried forward to the new millennium. "The newcomers have not been afraid to push the innovations of Sorley MacLean and Derick Thompson further, while remaining true to the store of images and the particular intonation which so strongly characterise the Gaelic tradition. (Christopher Whyte, (ed) in foreword to An Agaidh na Siorraidheachd, Edinburgh, 1990). Most of the Gaelic learners who are in Scotland, have never had contact with the language or for that matter the culture, until they started to learn the language. Meg Bateman is an example. She was born in Edinburgh in 1959 to one Lowland Scot and one English parent, and from an early age realised that there was something missing in her Lowland Scots,
English speaking culture. In essence, she realised that there was more to being Scots than just living in Scotland. She taught in the Celtic Department at Aberdeen University until December 1998, and now teachers at Sabhal Mor Ostaig, the Gaelic College in Skye.

Previous publications include "Orain Ghaoil/Amhrain Ghra (Coisceim)", and she featured in the seminal "Dream State: the New Scottish Poets". Bateman, who is relatively new to Gaelic, has the advantage of being able to observe what many Gaels have perhaps accepted or ignored. She is in a unique position of being able to approach subjects that many would consider taboo. There is a delicacy and disciplined clarity in her poems, which cover many themes. These range from female love and sexuality, to the weaknesses of human relationships, family life, love and loss, and the birth of her child.

Most of her poems cover issues that relate to the experiences of women as wives, lovers, mothers, daughters and sisters. In Taing dhut, a mhacain bhig, Bateman talks about the loss of love at home, and how her little son has filled the gap which exists in her life

Taing dhut, a mhacain bhig,
Airson gu bheil thu ann.
Bidh fiughair agan r do ghlaodhaich
Sa mhadainn...
A dh'aindeoin bas a'ghaoil a-staigh


After reading this poem a few times, it becomes apparent that Bateman is writing about a personal issue that has affected her greatly. There is even an element of alienation from her own surroundings. Is a'bhaile nach buin sinn dha a-muigh This theme of loss is carried on in many of her other poems. In Tha ceann casarlach mo leannain, the loss of love is once again the central theme. Without being too biased, anyone reading the first stanza would probably suggest that a woman wrote it. The language used has overtones of romanticism.

Tha ceann casarlach mo leannain
Min rim amhaich

This, coupled with the softer images of the neck, and fingers gently stroking sleepy lips, remind the reader that this is a woman who was very much in love. This stanza creates a feeling of warmth and tenderness for the reader. However, in the second stanza, this warmth and tenderness is soon replaced by coldness and loss.

Ach is mine fhathast mala
An fhir agus a ghaol air fuaradh,
Nach cuimhnich a-nochd ar n-aighear
Is gairdeanan eile ga shuaineadh.

In her poem "Aotromachd", there is a sense of distance being created, with the word 'Aotromachd' being used as a symbolism of love. In the first 4 lines of the stanza, the reader learns about the lightness of love.

B'e d'aotromachd a rinn mo thaladh,
Aotromachd do chainnte's do ghaire,
Aotromachd do lethchinn nam lamhan,
D'aotromachd lurach ur mhalda,
The second four lines of the stanza change the mood of the poem, with the word lightness now being used to create a distancing effect.

Agus 's e aotromachd do phoige
A tha a'cur trasg air mo bheoil-sa,
Is 's e aotromachd do ghlaic mum chuairt-sa
A leigeas seachad leis an t-sruth mi.

This theme of distance is explored even further in "Do Fhear-Posda". In the last two lines of stanza one,
Bateman uses descriptive imagery, and onomatopoeia, to achieve an immediate sense of distance.

Far an gairbhe - no mairbhe - an cuan,
Aiteal taigh-solais bho eilean fad'as.

This poem is about the problems of falling in love with married men. However, in this particular case, it is the poet herself, who speaks openly about her own experiences. It is interesting to note, that although Bateman is operating in what is traditionally a male preserve, she does not have the 'hang-ups' that many native speakers would have, if they had to deal with subjects such as this. Perhaps this is an advantage for her being a non-Gael because, there is no 'cliu' or reputation for her to worry about, as she is operating on her own accord, and is accountable only to herself.

The second stanza tells of individuals who are basically 'playing the field', as far as women are concerned, and once they have achieved their aim, back off to a safe distance, not caring what damage or hurt they have left in their wake. The first two lines of stanza two reinforce this position.

Chan ionann an duine a bhuailear gu tric,
A chlisgeas ro ionnsaigh,

I think what Bateman is trying to tell us is, that men are irresponsible when they make promises that they cannot keep. However, it would be unfair to place all men in this category, as it must be said, that these observations are based on Bateman's own experience, with slight overtones of the "hell hath no fury like a woman scorned" syndrome. In the last two lines of stanza two, Bateman is suggesting that if a man is willing to play with fire, he can expect to get his fingers burned.

Gum fag e air an chip-pan
Is gun duisg e ann am fuirneis.

In stanza five, Bateman's love for this married man, is compared to birds singing.

Fad a'Gheamhraidh chum thu ceileireadh ris na h-eoin
The mood and truth of her joy soon change, in the last three lines of this stanza.
aithnichidh mi nach eil ann ach an luimead seo.
Chan fhaigh mi lorg air ais dhan choille
Far an deanainn mo shineadh sa chubhraidheachd.

I think what Bateman is trying to tell the reader is that, she is comparing her love to nature, and she is in
effect the bird that is singing. When the birds stop singing, and there is only bleakness, she longs for that 'feeling' of spring again. The distancing of her love is reaffirmed when she says.

Eadarainn tha na monaidhean is an cur is an cathadh

Spring, which is normally associated with growth and harmony, is now seen as an opposite.

cha robh mi an duil ri tosd an earraich sa
no ri nimh n a-aonaranachd a tha gam tholladh.

In stanza seven, Bateman is coming to terms with the fact that her lover no longer wants her.

Ionnsaichidh mi bhith coimhead air gealaich shlain
Ann an adharor-bhuidhe is gorm
Gun smaoineachadh ort,
Seach nach mise a bhitheas tu ag iarraidh
's tu sgrudadh nan speuran.

She has also perhaps used the symbolic colours of gold and turquoise, to represent truth and understanding. This coupled with her use of lunar imagery, presents a picture of lies and confusion. The final two lines in this stanza, are like a final plea.

Nach leor gun coimhead sinn a'ghealach nar dithis
Ged nach do bhean duin' eile rium fad tri bliadhna?
In stanza eight, Bateman struggles with the confusion of waiting, and hoping.
Fad an latha thainig thu eadar mo pheann
's an duilleag, 's tu draibheadh dham ionnsaigh,
's mo ghobhal lan, furachail.

Stanza nine suggests that although there is no great distance between them, in terms of miles, nature has decided, that there will be no permanent union between them.

Am Mittelschmerz na mo bhroinn
'si a'leigeil as mo dhochas.

The following stanza confirms her fears, and she reflects on what might have been.

Nan robh beatha ur air freumhachadh
(mar a bha mi an duil),
bhiodh I na comharra air m'aighear

The last four lines of this stanza, give the reader the impression that nature has been cruel to her, and if it had went the opposite way, she would have a part of him that was everlasting.

Ach mar a shileas an fhuil ghoirt seo
Tha i na comharra air a'chosd
Gun do thairg mi na bh'agam
As nach tug thu ach beag, 's tu posda.

The final two stanzas of this poem, are a time for reflecting what might have been, if nature and her lovers' position in society were not being questioned, or scrutinised. Bateman uses alliteration in the opening line of the second last stanza, to draw the reader's attention to its symbolic meaning.

Tha 'White Water' aca thall aig an fheill

White water in this instance, can symbolically be seen as a life giving force, with the small boats rising and hurtling, representing the journey of life itself. The image of an empty boat, is a reflection of how Bateman feels, an empty shell, separated and distanced, from where she feels she belongs.

In "Oidhche Cogadh a'Ghulf", Bateman explores the differences between love and war. In the first stanza,
visual imagery enables the reader to visualise the scene, and experience the poet's experience.

Bha an seomar ciuin geal mar eaglais
Nuair a dhuisg mi an-diugh 's mo ghaol ur rim thaobh,

Bateman presents us with a series of positive images, which are vivid in our minds, because it is a scene that most people who fall in love would recognise, and associate with. Bateman uses words like, 'geal', a' lasadh', agus 'buidhe', to show the innocence and passion of love. However, the second stanza offers images that are in total contrast. In the first two lines of stanza two, Bateman uses images of death and living.

A-nochd spreadhaidh na bomaichean (san dol seachad)
Beoil a dheoghail bainne bho chich,

This is a good illustration of alliteration used for purposes of onomatopoeia. The last four lines of the second stanza, compare the positive, with the negative aspects of war.

buill a dh'fhas cruinn air barr na talmhainn,
's iad a'sracadh stuth na sith'
feoil ar carthannais,
a' slaodadh fiu 's nan eun geala a-nuas dhan drabasdachd.

The final poem which I am going to discuss, is, "Dealbh mo Mhathar". This poem is told in a very matter-of-fact way. In the first stanza, the reader visualises the scene of a summers evening, woods, and hay-fields. In essence, the scene is relaxed, just like her mother. In the second stanza, Bateman uses alliteration to achieve a unity effect.

an da mheann, crubte comhla,
This unity of warmth is carried through to the final two lines of the stanza.

ach aodann mo mhathar 's i a' bruidhinn,
is a guth, cho toilicht', cho blath.

This poem is really about the special relationship between the poet and her mother. Warmth, tenderness and love, flow through this poem naturally, while nature carries on. Unfortunately, because she is relatively new to Gaelic, there has not been much written about her work. However, the fact that she is able to write about subjects that most women would feel embarrassed to even talk about, makes her unique, in what is essentially a male preserve. I found her collection of poems in "Aotromachd agus dain eile" very interesting, and I look forward to reading some more of her work in the near future.
--------------------

Enjoy the article? Got a question for Alexander? Email him.