Ash William Mills
Edited: 30/12/2020
I decided that the first of my essays to be put on this blog would be the one I did about the ‘An Lia Fáil‘ or Stone of Destiny since this Christmas eve past has marked the 70th anniversary of its Liberation or its capture from Westminster Abbey [1], its 25th anniversary of its relocation to Edinburgh Castle and has been over 700 years since Edward I took it from Scotland. It has also been officially been confirmed this year of its re-location to its ancestral home of Perthshire where it will be housed the soon-to-be refurbished Perth City Hall museum [2]. This essay I wrote for the University of Edinburgh earlier this year, displays in two Gaelic poems of the 21st century the Stone’s involvement in Scottish history and politics which it once represented Scotland’s ancient royalty is now a symbol for Scottish Nationalism and even independence.
[2] https://www.gov.scot/news/the-stone-of-destiny/
08/04/2020
Events of the past are told by those who have witnessed first-hand during that period, these documented usually by written accounts or sometimes they are often celebrated or lamented in songs and poetry. A song or poem can be valuable in the anthology as they reflect the social and cultural context of the period in which they were composed. Many cultures around the world, in this case, Gaelic society; a lyrical artist or ‘Bard’ are held with great respect by their community, for they marked important historical events in a form of song or poetry which were often performed and remembered by others at social gatherings or ‘ceilidh houses’. The two Gaelic songs; ‘Òran na cloiche’ (1953) and ‘A’ Chlach Ionmhainn’(1996) capture two important events in time regarding the Stone of Destiney; its return by four Glaswegian students in 1950 and its official return to the ancestral home of Scotland in 1996. The stone of Destiny has long been an ancient symbol of Scottish nationhood by many people within Scotland, despise its absence since its capture by Edward I in 1296. Although both events were influenced by Political agendas, I will use these two Gaelic songs as an example in this essay, to explore the cultural significance of the Stone of Destiny (la fail) by the Gaelic-speaking communities, and touch on why some native Gaelic speakers were in support of the Scottish Nationalist movement of Home rule displayed by their context.
Òran na Cloiche (Song of the Stone)
The poem; Òran na cloiche (The song of the Stone) was written by Donald MacIntyre (Dòmhnall Mac an t-Saoir), also known as the Paisley Bard, celebrates the return of the Stone of Destiny to Scotland, which Macintyre had written the 20 verse poem in a single sitting immediately upon hearing the news of the stone’s return[i] . It was first published in the spring issue of the Gairm in 1953 which the editorial commented that it was the first “shocking” poem to be published in the magazine[ii]. Ironically, it was the same year in which the stone had been already returned to Westminster Abbey in time for the coronation of our present queen. The launch of Cairm in 1952 by Derick Thomas and Finlay J. MacDonald was the first major step in Gaelic publishing which became the seedbed of a new Gaelic literary revival that enabled successful writers to develop their skills and contribute to the growing demand for modern Gaelic literature[iii]. Òran na cloiche refers to the events that took place on Christmas day of 1950 when four Glasgow students broke into Westminster Abbey and took the Stone of Destiny (also known as; Stone of Scone) from the coronation chair as a protest in support of the nationalist movement. The four students; Ian Hamilton, Gavin Vernon, Kay Matheson and Alan Stuart were all supporters of Scottish nationalism and members of the Scottish National Covenant, a petition ran by John MacCormick and his supporters which individuals would sign to demonstrate their support for a Scottish Parliament. The student’s actions of 1950 were a result of Covenant’s campaign for Home Rule was largely ignored by the labour government at that time, despise being hugely successful in generating signatures of approximately two million estimated[iv]. However, the Stone of Destiny was the Nationalist symbol of England’s attitude towards Scotland and since its disappearance from Westminster Abbey, the events generated not only major publicity for the Scottish Nationalist movement but also demonstrated a major interest in Scottish Nationalism during the early 1950’s[v].
During the time Macintyre’s poem was composed, it was an era known as “Gaeldom’s barren years” (1920-1965) for Scotland which saw a massive decline of native speakers in Gaidhealtachd areas due to increasing pressures for anglicisation in business and education, and Gaelic went untaught in Scotland until the late 1950’s[vi]. The Gaelic language also received very little political support from government Parties for the improvement of Gaelic in Scotland, other than the early SNP leadership of Roland Muir and John MacCormick who made positive public support for protecting Gaelic interests[vii]. So, it wasn’t surprising that native Gaelic speakers like Kay Matheson and Donald Macintyre were in support of the nationalist movement if it was the only political parties who had even a little support for the protection of their language and culture. Somerled Macmillan who obtained most of Macintyre’s poetry after his death, commented in his book; ‘Sporan Dhòmhnaill – Gaelic Poems and Songs by the late Donald Macintyre, the Paisley Bard (1968) that although he was not directly with the Scottish National Party he did indeed not doubt a nationalist at heart[viii].
This was apparent in both his songs; ‘Òran na cloiche’ and ‘Nuair chaidh a’ chlach a Thilleadh’ which praises the people, whom he refers to as “warriors” or “heroes” in both songs for their involvement regarding the Stone of Destiny; “‘S mo bheannachd air a’ mhìlidh A tharraing ás a’ chill I/And my blessing on the warrior, who dragged it from the churchyard[ix]” and wishes for the safety for the those responsible and they are not prosecuted for their efforts: “Mionnan air fear deàrnaidh, Gach màthair is mac, Nach leig sinn ann an gàbhadh/ Let each wellwisher swear, every mother and son, That we don’t put them in danger[x]”. Even when the stone was found and was returned to England, in his second poem; ‘Nuair chaidh a’ chlach a Thilleadh’ (When the stone was returned) which expressed his disgust, he still sympathises with the four Glasgow Students, and does not blame them for them giving up the stone to the authorities and was returned to England:
Na sinn a chaidh ga h-eadraiginn,
Cha d’rinn iad ach an dleastanas,
‘S bidh alladh oirbh am-feasta,
Nach do theasraig sibh fo’r sgéith iad
The heroes that released it,
They only did their duty,
And it will always be remembered
How you failed to protect them.[xi]
Although his interest in the Stone of destiny was not only for the sovereignty of Scotland but its ancient religious significance and kingship which is greatly regarded within Gaelic culture which in verses 4-4 of the song Macintyre denotes the stone’s sacred association with the medieval Gaelic kings of Scottish rule such as Colla Uais, Olla Ruadh and Duanach mac Erc and the religious myth of it being Jacob’s Pillow[xii]. For the nationalist, the Stone of destiny was a symbol of Scotland’s sovereignty but in the Gaidhealtachd it was a symbol of their ancient kingship and its associations with Celtic Christianity since royal leadership of Dál Riad kingship. According to common legend shared amongst many Gaelic communities, the Stone of Scone (la fàil) was a sacred relic which was originally was the stone that Jacob (Genesis 28:12) slept upon and received a vision of the angels of God[xiii] and was bough to Ireland from Spain by Iber the Phoenician, which the stone as later bought to Scotland and place it in Argyll by the great Fergus, son of Ferchard, until finally being removed and fixed in a royal chair in Scone by King Kenneth MacAlpine which all kings of Scotland were inaugurated. However, Edward I, of England took hold of the stone and bought it back to Westminster Abbey for the coronation of English Kings[xiv].
This song was popularised by Donald Joseph Mackinnon where he performed many of Macintyre’s songs at Ceilidhs and on radio, which Òran na cloiche was quite the favorite to be performed[xv]. Unfortunately, his accompanying lament; “Nuair Chaidh a’ Chlach a Thilleadh” was never performed by any other Gaelic artist.
Abridged versions of Òran na cloiche has since been performed by popular modern Gaelic artists such as; Mairi MacInnes (Orosay, 2001), Kathleen MacInnes (Òg-Mhadainn Shamhraidh, 2006), and the Gaelic band; Mànran (Latha Math, 2011).
A’ Chlach Ionmhainn (The Dear Stone)
The poem: ‘A’ Chlach Ionmhainn’ (The Dear Stone) was composed by Neil B MacKinnon (Niall B MacFhionghuin) in celebration of the Stone of Destiny returned to Scotland in 1996, where it sits today in the Crown Room in Edinburgh castle. MacKinnon began writing Gaelic poetry in 1966 after graduating with Honours in Celtic Studies from Aberdeen University where he became a teacher and independent researcher, most of which his poetry was published in Gairm[xvi]. ‘A’ Chlach Ionmhainn’ was published in The Scotsman, 26th July 1996 in celebration of the upcoming events of the Stone’s return to Scotland. A version of the poem, entitled ‘Clach Sgàin’ (Stone of Scone) appeared in The Scots Independent in August 1996[xvii]. In his poem, not only does he celebrate “joyous news” of the Stones return but hopes that it results in Scotland having devolution and independence once again:
“Gun till thu dhachaigh a-nis sàbhailte
Gum faod féin-riaghladh a bhith again,
a-chum ‘s gum bi ar tír neo-eisimeil;”
“Now may you return home safely
That we may govern ourselves once more,
That our land be independent;[xviii]”
Soon enough, although Scotland didn’t become an independent country, Scottish devolution was accomplished a few years after the publication of his poem, and the Stone of Destiny was returned to Scotland.
The decision of the Stone of Destiny to be given into the hand of the Scottish nation was the efforts of the last Conservative Secretary of state for Scotland; Michael Forsyth and its unexpected announcement by the Prime Minister at that time; John Major in July 1996. Although, both Forsyth and Major insisted this was not a political gesture towards Scottish Nationalism and was simply showing to an example that Britain’s “distinct and proud nations can celebrate unity and diversity” hinted the fact that there were devolution battles ahead[xix]. Although Forsyth furthermore insisted that the decision was made by the queen, others felt it was a gesture made by the Tories to re-establish a different kind of Scottish nationhood, one still without an Edinburgh parliament and tax-raising powers[xx]. It was clear that the gesture of re-housing the stone in Scotland was Forsyth’s vain attempts to stave off demands for home rule in Scotland[xxi] .
The Stone of Scone was returned on Scotland’s national day (St. Andrews day) on the 30th November 1996, with great ceremony and celebration has it was bought in its ‘Stonemobile’ from Holyrood Palace to its new resting place of Edinburgh castle which prince Andrew the earl of Inverness officially handed over the stone to the commissioners of the Regalia and Michael Forsyth, on the promise the stone would be returned to Westminster Abbey when required (Future coronations). The four people responsible for taking the stone in 1950, other than Ian Hamilton who refused to attend, were invited to be present in the stone being laid in Edinburgh Castle[xxii]. Today there is an argument whether it should be returned to its “ancestral home” of Perth, to be housed in the new museum of the former Perth City Hall, expected to be opened in 2022[xxiii]. Perhaps, if the stone is to be re-housed again then maybe we might expect another great Gaelic poem or song to celebrate the event!
Conclusion:
The stone of destiny was the perfect symbol used by the Scottish Nationalist movement during the 20th century because not only was it an ancient symbol of Scottish Nationhood for their campaigns for Home Rule in Scotland, but it also represented England’s attitude towards Scotland since the 13th century. To the Scottish nationalist, the Stone of Destiny became a symbol of sovereignty to their cause, but to the Gaelic communities, it represented a sacred relic of religious significance and the Ancient kingship of Scotland (Alba) which had its long connections Gaelic language and culture. The song ‘Òran na cloiche’ displays this connection quite clearly within its lyrics, detailing the royal leaders of the Dál Riad and its associations with the Christian mythology of Jacob’s Pillow. It also was quite clear that, although in Donald MacIntyre’s song the sacred significance of the stone goes beyond the political symbols of Scottish nationalism, his praise for those who took the stone from Westminster Abbey in the song displays strongly that he was a nationalist at heart. However, although the song ‘A’ Chlach Ionmhainn’ displayed similar sentiments as MacIntyre’s in celebrating the stone’s official return of the stone to Scotland in 1996, MacKinnon blatantly showed his support of Scottish Nationalism, in its lyrics such as “That we may govern ourselves once more, That our land is independent”. The reasoning for some Gaelic communities showing their support for Scottish Nationalism because during the 20th-century Gaelic language and culture experienced a massive decline and they received very little governmental or political support other than parties within the Nationalist movement such as the SNP or The Scottish National Covenant. Native speakers such as MacIntyre, Mackinnon, and even Kay Matheson herself, felt that the only chance for Gaelic language and culture to survive was by supporting the Nationalist movement or parties who made positive public support for protecting Gaelic interests.
[i] MacMillan, Somerled, Sporan Dhòmhnaill, p. 359
[ii] Mac-an-t-Saoir, Dòmhnall; ‘Oran na Cloiche’, Gairm, 3 (1953), Pp.62-3.
[iii] MacLeòid, Dòmhnall Iain; Dualchas, p.51
[iv] Lynch, Peter; SNP: The history of the Scottish National Party, Pp.77-8
[v] Lynch, Peter; SNP, Pp.78-9
[vi] McKee, Vincent; Gaelic Nations, p.22
[vii] McKee, Vincent; Gaelic Nations, Pp.23-4
[viii] MacMillan, Somerled, Sporan Dhòmhnaill, Introduction- p.xxvi
[ix] Black, Ronald, An Tuil, p.169
[x] Black, Ronald, An Tuil, p.171
[xi] Black, Ronald, An Tuil, p.179
[xii] Black, Ronald, An Tuil, p.169
[xiii] Gerber, Pat; Stone of Destiny, Pp.42-3
[xiv] Gerber, Pat; Stone of Destiny, p. 39
[xv] MacLeod, Donald John; Twentieth Century Gaelic literature, p.279
[xvi] Black, Ronald, An Tuil, p.790
[xvii] Black, Ronald, An Tuil, p.790
[xviii] Black, Ronald, An Tuil, Pp.504-5
[xix] White, Michael. “From the archive”
[xx] Welander, Richard, David J. Breeze & Thomas Owen Clancy; The Stone of Destiny, p.235
[xxi] Black, Ronald, An Tuil, p.790
[xxii] Gerber, Pat; Stone of Destiny, Pp.169-172
[xxiii] BBC. “Perth wants Stone of Destiny to return to ‘ancestral home’”.
Scottish Cunning Ways 
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