Songs and verse play a major role in Gaelic culture. Early Classical sources refer to the Celts fondness for wordplay. The pre-Christian Celts eschewed the written word, regarding memory as more reliable. To support memory, the Celts employed the three "Rs", rhyme, rhythm, and repetition. The Ancient Greeks credit the Celts with the introduction of rhyme. The Romans frequently employed Celts as Tutors. The Celts were well known for being scholars. Following St. Patrick's conversion of the Gaels to Christianity, they embraced the written word. As the Roman Empire collapsed, Continental scholars brought their libraries to Ireland , where the scribes of Patrick's monastic orders eagerly copied them. With St. Columba's establishment of a monastery on the Isle of Iona, writing was established in Scotland. Undoubtedly, writing and Christianity were as important to the Gaels' assimilation of the Picts as their warrior skills. Ireland's Golden Age was ended by Viking assaults. After the Norse were defeated at Clontarf (1014), bardic schools again flourished in Ireland. Similarly, the Victories of Somerled (1156) in the Western Islands and Highlands of Scotland marked the return of Gaelic ascendancy there. The literary world of Gaelic Scotland and Ireland took a huge hit at the dawn of the 17th century, with the "flight of the Earls" in Ireland (1607) patronage for bardic schools vanished. The Statutes of Iona, imposed on the Gaels of Scotland by the Scottish Crown severely restricted the bardic arts. The highly formal structures of bardic verse gave way to a more vernacular song tradition, however, the high standards remained. The oldest songs of the living Gaelic song traditions date from this time. Gaelic songs are loaded with cultural and historical information, not the least of which is the obvious conclusion that Gaels loved to sing. In times past there were songs for every task and occasion. In Cape Breton Gaelic songs included, puirt-a-beul, choral work songs and praise songs. Puirt-a-beul (tunes from the mouth) are used for dancing music , and was used as a way to teach pipe and fiddle tunes. Many of the tunes played on the fiddle today are Gaelic songs. The use of language, relying on vowel stresses, rhymes, and assonance, convey the rhythm far better than musical notation. The Lyric content of puirt-a-beul appears to be very simple, yet the construction is really quite clever. Praise songs for the area of ones home, and the people who live there, were an important part of the cultural transmission. The tradition was carried here, and Cape Breton bards wrote lots of songs in praise of their new home. Frequently set on established airs, there are few places in Gaelic Cape Breton not celebrated in song. Choral work songs are the most common form found on the Island today. The setting for these songs is a "milling frolic", where the community would gather to prepare newly woven cloth for use. The "web" would be soaked in warm soapy water and rhythmically drubbed by hand, felting and shrinking the cloth. A verse to 2-4 lines would be sung by "the leader", and all would join in the chorus. In Scotland this task was women's work, and the songs reflected women's concerns. In modern terms, Highland milling could be described as a women's support group, where they could share their troubles in a non-judgemental environment. When the Gaels came to Cape Breton Island, the severity of winter weather made men's work more seasonal, so men joined in the milling, bringing sailing and rowing songs to the table, although it is not uncommon to hear a man sing a song clearly written from a woman's perspective. Gaelic Praise Songs The Gaelic bards celebrated this island's beauty in song. Dan Alex MacDonald, wrote "Oran Do Cheap Breatainn" (song to Cape Breton): 'S e Ceap Breatain tir mo graidh Tir nan craobh 's nam beanntan ard 'S e Ceap Breatain tir mo graidh Tir is aillidh leinn air thalamh T'is Cape Breton, land I love Land of trees and high mountains Land that is best on earth with us (Translation: Geoffrey May) Malcolm Gillis (1856-1929) wrote many songs in praise of the Island, especially the area of Southwest and Upper Margaree. Malcolm Gillis mixes his praise for the natural beauty with praise for the people in his community. In his song Am Braigh (the name then used to describe the area, the high ground), Gillis wrote: Na Cnuic 's na glinn bu bhoidheache leinn 'S iad cnuic is glinn a' Bhraigh-idh Mu'n tric bha sinn ri manran binn 'S a chomunn ghrinn a b'fhearr leinn The hills and valleys most beautiful to us They are the hills and glens of Margaree Where often we sang the sweet melodies In the kind company we liked best (Translation: Geoffrey May) Both Malcolm and Dan Alex made songs in the tradition of their people, praising their new homes as the bards of old had celebrated the glens and mountains of Scotland. The Scottish born bard John MacLean (1787-1848) came to Nova Scotia in 1819. In 1826, he composed a special song for a Gaelic gathering in Merigomish, N.S. entitled Am Bal Gaidhealach. Making the transition across the ocean he wrote: Bithibh aotrom 's togaibh fonn Cridheal, sunndach gun bhi trom 'G ol deoch slainte na bheil thall Ann an tir nam beann 's nan gleannaibh Be happy and join the chorus Hearty , joyous , with no sadness Drink to the health of those over there In the land of mountains and glens (Translation: Geoffrey May) Note: I regret that the Gaelic words are missing all appropriate accent marks. Full texts for "Am Braighe" and "Oran Do Cheap Breatainn" can be found in Gaelic Songs in Nova Scotia. "Am Bal Gaidhealach" can be found in Clarsach Na Coille.