An echo in the bone - Gabaldon Diana. Страница 161
From there, he went to a more serious—but quick—description of the Gaeltacht, that area of Scotland where Gaelic was traditionally spoken, and told a few anecdotes of learning the Gaelic on herring boats in the Minch as a teenager—including the entire speech given by a particular Captain Taylor when a storm scoured out his favorite lobster hole and made away with all his pots (this piece of eloquence having been addressed, with shaken fist, to the sea, the heavens, the crew, and the lobsters). That one had them rolling again, and a couple of the old buggers in the back were grinning and muttering to one another, they having obviously encountered similar situations.
“But the Gaidhlig is a language,” he said, when the laughter had died down once more. “And that means its primary use is for communication—people talking to one another. How many of you have ever heard line singing? Waulking songs?”
Murmurs of interest; some had, some hadn’t. So he explained what waulking was: “The women all working together, pushing and pulling and kneading the wet wool cloth to make it tight and waterproof—because they didn’t have macs or wellies in the auld days, and folk would need to be out of doors day and night, in all kinds of weather, tending their animals or their crofts.” His voice was well warmed by now; he thought he could make it through a brief waulking song and, flipping open the folder, sang them the first verse and refrain, then got them to do it, as well. They got four verses, and then he could feel the strain starting to tell and brought it to a close.
“My gran used to sing that one,” one of the mothers blurted impulsively, then blushed red as a beet as everyone looked at her.
“Is your gran still alive?” Roger asked, and at her abashed nod, said, “Well, then, have her teach it to you, and you can teach it to your kids. That kind of thing shouldn’t be lost, aye?”
A small murmur of half-surprised agreement, and he smiled again and lifted the battered hymnbook he’d brought.
“Right. I mentioned the line singing, too. Ye’ll still hear this of a Sunday in kirk out on the Isles. Go to Stornaway, for instance, and ye’ll hear it. It’s a way of singing the psalms that goes back to when folk hadn’t many books—or maybe not so many of the congregation could read. So there’d be a precentor, whose job it was to sing the psalm, one line at a time, and then the congregation would sing it back to him. This book”—and he raised the hymnal—“belonged to my own father, the Reverend Wakefield; some of you might recall him. But originally it belonged to another clergyman, the Reverend Alexander Carmichael. Now he…” And he went on to tell them about the Reverend Carmichael, who had combed the Highlands and the Isles in the nineteenth century, talking with people, urging them to sing him their songs and tell him their ways, collecting “hymns, charms, and incantations” from the oral tradition wherever he could find them, and had published this great work of scholarship in several volumes, called the Carmina Gadelica.
He’d brought one volume of the Gadelica with him, and while he passed the ancient hymnal round the room, along with a booklet of waulking songs he’d put together, he read them one of the charms of the new moon, the Cud Chewing Charm, the Indigestion Spell, the Poem of the Beetle, and some bits from “The Speech of Birds.” Columba went out
An early mild morning;
He saw a white swan,
“Guile, guile,”
Down on the strand,
“Guile, guile,”
With a dirge of death,
“Guile, guile.”
A white swan and she wounded, wounded,
A white swan and she bruised, bruised,
The white swan of the two visions,
“Guile, guile,”
The white swan of the two omens,
“Guile, guile,”
Life and death,
“Guile, guile,”
“Guile, guile.”
When thy journey,
Swan of mourning?
Said Columba of love,
“Guile, guile,”
From Erin my swimming,
“Guile, guile,”
From the Fiann my wounding,
“Guile, guile,”
The sharp wound of my death,
“Guile, guile,”
“Guile, guile.”
White swan of Erin,
A friend am I to the needy;
The eye of Christ be on thy wound,
“Guile, guile,”
The eye of affection and of mercy,
“Guile, guile,”
The eye of kindness and of love,
“Guile, guile,”
Making thee whole,
“Guile, guile,”
“Guile, guile.”
Swan of Erin,
“Guile, guile,”
No harm shall touch thee,
“Guile, guile,”
Whole be thy wounds,
“Guile, guile.”
Lady of the wave,
“Guile, guile,”
Lady of the dirge,
“Guile, guile,”
Lady of the melody,
“Guile, guile.”
To Christ the glory,
“Guile, guile,”
To the Son of the Virgin,
“Guile, guile,”
To the great High-King,
“Guile, guile,”
To Him be thy song,
“Guile, guile,”
To Him be thy song,
“Guile, guile,”
“Guile guile!”
His throat hurt almost unbearably from doing the swan calls, from the soft moan of the wounded swan to the triumphant cry of the final words, and his voice cracked with it at the last, but triumphant it was, nonetheless, and the room erupted in applause.
Between soreness and emotion, he couldn’t actually speak for a few moments, and instead bowed and smiled and bowed again, mutely handing the stack of books and folders to Jimmy Glasscock to be passed round, while the audience swarmed up to congratulate him.
“Man, that was great!” said a half-familiar voice, and he looked up to find that it was Rob Cameron wringing his hand, shining-eyed with enthusiasm. Roger’s surprise must have shown on his face, for Rob bobbed his head toward the little boy at his side: Bobby Hurragh, whom Roger knew well from the choir. A heartbreakingly pure soprano, and a wee fiend if not carefully watched.
“I brought wee Bobby,” Rob said, keeping—Roger noticed—a tight grip on the kid’s hand. “My sister’s had to work today and couldn’t get off. She’s a widow,” he added, by way of explanation, both of the mother’s absence and his own stepping in.
“Thanks,” Roger managed to croak, but Cameron just wrung his hand again, and then gave way to the next well-wisher.
Among the mob was a middle-aged woman whom he didn’t know but who recognized him.
“My husband and I saw you sing once, at the Inverness Games,” she said, in an educated accent, “though you went by your late father’s name then, did you not?”
“I did,” he said, in the bullfrog croak that was as far as his voice was prepared to go just now. “Your—you have—a grandchild?” He waved vaguely at the buzzing swarm of kids milling round an elderly lady who, pink with pleasure, was explaining the pronunciation of some of the odd-looking Gaelic words in the storybook.
“Yes,” the woman said, but wouldn’t be distracted from her focus, which was the scar across his throat. “What happened?” she asked sympathetically. “Is it permanent?”
“Accident,” he said. “ ’Fraid so.”
Distress creased the corners of her eyes and she shook her head.
“Oh, such a loss,” she said. “Your voice was beautiful. I am so sorry.”
“Thanks,” he said, because it was all he could say, and she let him go then, to receive the praise of people who’d never heard him sing. Before.
Afterward, he thanked Lionel Menzies, who stood by the door to see people out, beaming like the ringmaster of a successful circus.
“It was wonderful,” Menzies said, clasping him warmly by the hand. “Even better than I’d hoped. Tell me, would ye think of doing it again?”
“Again?” He laughed, but broke off coughing in the middle. “I barely made it through this one.”
“Ach.” Menzies waved that off. “A dram’ll see your throat right. Come down the pub with me, why don’t you?”
Roger was about to refuse, but Menzies’s face shone with such pleasure that he changed his mind. The fact that he was wringing with sweat—performing always raised his body temperature by several degrees—and had a thirst fit for the Gobi Desert had nothing to do with it, of course.