Ms Keating: March 2010

Wednesday, March 17, 2010

Bealtrial 2010

Zowie : http://www.4shared.com/file/243359058/f6152d2/zowie.html
Fiona : http://www.4shared.com/file/243349938/6b8ae76b/fiona.html
Denise : http://www.4shared.com/file/243351893/ffa1bd01/denise.html
Amanda : http://www.4shared.com/file/243356964/7a4866e3/amanda.html

Monday, March 15, 2010

Mock Orals March

1. Sekani http://www.4shared.com/file/241917407/c6fbf066/sekani.html
2. Tracey http://www.4shared.com/file/241908719/5f1d6b9f/tracey.html
3. Ciara http://www.4shared.com/file/241919955/bd85816f/ciara.html

Monday, March 8, 2010

Bealtrial

Nios mo samplai den bhealtrial....

http://www.4shared.com/file/237084855/d273c1f/03_Track_03_1.html
http://www.4shared.com/file/237088220/754d6439/05_Track_05_1.html
http://www.4shared.com/file/237090732/7c47f7e0/07_Track_07_1.html
http://www.4shared.com/file/237105309/36239491/09_Track_09_1.html

Bealtrialacha 2010 cleachtadh 3

Bealtrialacha 2010 cleachtadh 2

Bealtrialacha 2010 cleachtadh 1

Sharon Ni Bheolain ag caint

Sharon ni Bheolain ag caint

http://www.4shared.com/file/236996454/652b4eaa/Track04.html

Sunday, March 7, 2010

Jack
Téama
Is é grá sealadach samhradh piomhthéama an dáin seo.
Is é grá na hóige atá I gceist.
Bhuail an file le buachaill óg nuair a bhí sí ar saoire sa ghaeltacht.
Thit sí I ngrá leis.
Anois tá sí ag dul síos bóithrín na smaointe.
Déanann sí cur síos ar a dhreacht.
Cuthíonn sí atmasféar rómánsúil sa dán.
Tá sé ard, fionn, láidir agus gléasta go deas néata.
Tá gach rud dearfa agus soineanta sa dán.
Ach ní raibh ann ach grá samhradh a bhí éadrom agus sealadach.

Mothucháin
Is é grá eadrom an téama is láidre.
Tá an file I ngrá leis an mbuachaill ach tá sé aonthaobhach.
Tá áthas, gliondar croí, agus luchair le fail sa dán. Bhí sí ag gáire agus ag damhsa leis.
Tá maoithneas le fail ann.
Is dán dearfa soineanta é.

Notai ar mo ghile mear

Mo Ghille Mear / Bímse buan ar buairt gach lóLe Seán Clárach Mac Domhnaill

Téamaí

Is caoineadh é ar éirí amach na nGael Albanach (1745) ar son an Phrionsa Seárlas Éadbhard Stíobhart agus an buille marfach a tugadh do réim na nGael in Albain
Áilleacht agus simplíocht na cainte
Amhrán Seacaibíteach
Fallás na Truamhéala
Teicníochtaí Filíochta
Íomhánna
ag caoi
brón
buachaill beo
laoch óg
mo laoch
uaisle
mo ghille mear
cróga
mo Shaesar
ríoga
cuach
dúlra ag déanamh comhbhrón
fíorchaoin uaisle
na taoisigh
saoithe is suadha
fir léannta / filí
Phoebus
grian
ar chaomhchneas
truafhallas, brat gruama ar an ngealach
saobha ar spéir
trína chéile
spéirling mhór
stoirm
an leon
laochas
cruachruit cheoil
siombal na cruthaitheachta/ filíochta
éigse i ngruam
faoi bhrón
Friotal
Oiriúnach do théama an dáin agus na mothúcháin
Atmaisféar
Atmaisféar an-bhrónach, uaigneach, éadóchasach tríd síos.
Dúlra
Tá an dúlra ag caoineadh an imeachta agus claochlaithe
Uaim agus aicill
Alán samplaí d’uaim agus d’aicill sa dán.
Meadaracht
Meadaracht an chaointe
Patrún na ngutaí
Rann 1 (í / ua / ue / ó ) *4
Curfá (é / é / í / a ) *4
Uaim bímse buan ar b uairt …
Mothúcháin
Brón faoi dhroch-staid na tíre
Uaigneas i ndiaidh na seanlaochra
Cumha, ag féachaint siar ar an seansaol
Moladh do na filí

Mo ghile mear 1

Mo ghille mear

This is another of those great old folk songs that has several versions. The first one below, and the music that you are listening to, is Barry Taylors version. My best guess at the version that Sting recorded with The Chieftains is the second. (The web site that contains all of Sting's lyrics says that the words are "Conjectural".)
What is known is that the original Gaelic version was writen by the 18 th century poet Sean Clarach MacDomhnail. It is one of many Irsih Jacobite songs written in honour of Prince Charles Stewart, who was known as "Bonnie Prince Charlie". The air is, appropriately, of Scottish orgin, a version of "The White Cockade" by Jim Connell, a 19 th Century Irish exile in Scotland, originally set the words of "The old Red Flag" to the same tune.
It is also well known that this song is sung like an anthem in many pubs at closing time. I suspect that it is a method of extracting a few extra minuets of drinking time.
A while ago, a thoughtful visitor to the site, Cullyn Mac Farlane, sent me a message saying, "When i had heard the chieftains version of "our hero" Mo Ghile Mear i always thought that the word the used was gentle mien, in other words a nice face." which seems logical.
More recently, a scholar of all things Celtic (F. J. Taylor) sent me more information. It is included as the last version on this page.
MO GHILE MEAR (OUR HERO)
-------------------------
Written by Sean Clarach MacDomhnail
-------------------------
Seal da rabhas im' mhaighdean shéimh,'S anois im' bhaintreach chaite thréith,Mo chéile ag treabhadh na dtonn go tréanDe bharr na gcnoc is i n-imigcéin.
'Sé mo laoch, mo Ghile Mear,'Sé mo Chaesar, Ghile Mear,Suan ná séan ní bhfuaireas féinÓ chuaigh i gcéin mo Ghile Mear.
Bímse buan ar buaidhirt gach ló,Ag caoi go cruaidh 's ag tuar na ndeórMar scaoileadh uaim an buachaill beó'S ná ríomhtar tuairisc uaidh, mo bhrón.
Ní labhrann cuach go suairc ar nóinIs níl guth gadhair i gcoillte cnó,Ná maidin shamhraidh i gcleanntaibh ceoighÓ d'imthigh uaim an buachaill beó.
Marcach uasal uaibhreach óg,Gas gan gruaim is suairce snódh,Glac is luaimneach, luath i ngleoAg teascadh an tslua 's ag tuargain treon.
Seinntear stair ar chlairsigh cheoil's líontair táinte cárt ar bordLe hinntinn ard gan chaim, gan cheóChun saoghal is sláinte d' fhagháil dom leómhan.
Ghile mear 'sa seal faoi chumha,'s Eire go léir faoi chlócaibh dubha;Suan ná séan ní bhfuaireas féinÓ luaidh i gcéin mo Ghile Mear.

MO GHILE MEAR (OUR HERO)
Grief and pain are all I know
My heart is sore
My tears a'flow
We saw him go ....
No word we know of him...
Chorus
A proud and gallant cavalier
A high man's scion of gentle mean(?)
A fiery blade engaged to reap(?)
He'd break the bravest in the field
Chorus
Come sing his praise as sweet harps play
And proudly toast his noble frame
With spirit and with mind aflame
So wish him strength and length of day
Chorus

Mo Ghile Mear
-------------------------
Written by le Seán Clárach Mac Domnhnaill (1691-1754 AD)
-------------------------
MacDonnell was a great Tipperary bard, of whom there are many interesting tales. He was a laborer by trade, but educated in the "hedge-schools." He was a great poet.
He was literate in Gaelic, Greek, Latin, and English, and this song (Gile Mear) reflects that literacy, with its Classical references to Caesar, Phoebus (Apollo), Mars and Cupid, as well as the references to Celtic gods and heroes such as Lugh, Fergus, etc.
It is said that he once entered an upper-class book seller's in Cork, and was looking at a leather-bound, gilt-edged, folio copy of the Iliad in the original Greek. He was holding it upside down, which gave the owner and assembled gentry great amusement to see the "illiterate peasant with the marks of the sty on his brogues."
He asked the owner; "Beggin' ye pardon, yer Honour, but how much is this book here?"
The owner, greatly amused, said; "50 guineas Paddy, but if ye can read it, you may have it."
MacDonnell then turned the book around and began reading from it in fluent Greek. The dumbfounded owner was bound to his oath, and the assembled gentry got even greater amusement at his considerable expense! (50 guineas was a huge sum in those days.)
In his declining years, word was mistakenly circulated of his demise before the actual event. One of his competitors composed a moving poetic elegy. MacDonell was said to have responded tartly to the effect that while he appreciated the sentiment, he preferred if the poem was released only after his actual death! (It was.)
This song was composed c. 1746 AD. It is a rosg-cathadh (in Scottish Gaelic, brosnachadh), a battle hymn or incitement. (These correspond to the "paen" sung by ancient Greek warriors going into battle, which may indicate an even more ancient Indo-European tradition.)
It was intended to invite Prince Charles Edward Stuart, who had but recently fled Scotland after the failure of the 1745 Jacobite Rising, to return, and to incite the Irish to join in another Rising.
(The 1745 Rising had taken place in Scotland and England, when Prince Charles Edward Stuart landed and attempted to regain the throne of his grandfather, James VII and II of Scotland and England and Ireland respectively, for his father, who was James VIII and III in the Jacobite reckoning.
James VII / II had been unseated by the Dutch ruler, William of Orange in the coup known by the Whigs and their successors as the "Glorious Revolution" of 1688-89, which was followed by the first Jacobite War {1689-91}. William, who was married to James' daughter Mary, was invited to assume the throne by a cabal of English and some Scots magnates, due to the open Catholicism of James and his unpopularity, esp. with the more radical Protestant elements in Britain. There were other abortive risings, in 1715 and 1719.)
Ireland had played little part directly, although most of the "French" troops who landed in support of the Rising were made up of Irish mercenaries in the French service.)
From internal evidence, it was probably written shortly after the Rising failed, as some of the metaphors seem to reflect Charles Edward's escape after Culloden. Charles may have been in France, or still on the dodge in Scotland. The general tone being one of his having "left," as opposed to his coming or presence. Also, the verses reflect a desire that the "dashing darling" come again, as opposed to a first coming.
Although many of the Gaels in Ireland and Scotland viewed them as the true heirs, the Stuarts had never been particularly kind or useful to the Gaels in either country, especially the Catholic Irish.
Jamie Baggie-breeks (the Sixth of Scotland, First of England and Ireland) had been particularly UN-kind, "planting" Ulster with Scots Protestant settlers who became the "Ulster Scots", aka the "Scotch-Irish", sowing the seeds of troubles that continue to this day.
Despite this and other deeds, the Irish rose in the Stuart cause in the English Civil War, and again in the first Jacobite War, as well as serving as mercenaries in the French levies sent to Scotland in the latter wars.
Of course, it must be remembered that one of the reasons James VII / II was deposed in the first place was because he had openly converted to Catholicism and had an heir who was likely to be raised Catholic. This gave the Catholic Gaels both in Ireland and Scotland (and there still were a fair number of Catholic Gaels in Scotland at that time) the hope of more just treatment under a Catholic monarch as opposed to a Protestant monarch.
Couched as a love song, it is one of the poetic "code songs" so common in a time and place where patriotic sentiments could lead to death, imprisonment, or exile.
The "Gile Mear" was Prince Charles Edward Stuart. Charles Edward is compared favorably to Caesar, Apollo, Lugh, and other Classical and Celtic gods and heroes. For example, the phrase; "Is cosuil e le h-Aonghus Og" means lit.; "T'is "like-eye" he with Angus Og," (i.e.; he is "like unto" Angus Og, an ancient god of youth and beauty.)
The title is translated variously as "shining {or dashing} darling."
Fr. Dineen's authoritative dictionary says "gile" means; "brightness, whiteness, a term of endearment... and gives the term "a ghile" as; "dearest" and na ghile as; "great. brightest, beloved" so the meaning is fairly clear.
{Sometimes it is translated as "dashing or shining lad," due to the word Gile sometimes being mistaken for "giolla" or "gillie" a boy. However, all old written versions I have seen, particularly Hyde's authoritative version, are rendered "Gile", and the tradition bearers I have spoken with on this were unanimous on this being the word and meaning}.
"Mear" also has many meanings, but among the first are; "swift, sudden, lively, active, valiant, joyous, giddy, raging, mad, and wild." It can also mean "produce {of the land}, "offspring" or "descendants" and "fosterling" or "pet." This word is also related to "mearcach," which has the meaning of impetuousness, even to the point of rashness.
This is particularly interesting in light of the fact that the meaning of produce and offspring can be connected to Charles as the "true king" who, in Celtic belief, was the one who would bring fertility and productiveness to the land and people (probably derived from the old "Corn King" beliefs).
This is reinforced by the mention of the cuckoo not singing, or the cries of the hounds not being heard - i.e.; all nature was off-balance awaiting the advent of the true king who would cause the land to be productive again. (It is interesting also to note that Scotland, at least, had suffered harsh weather and bad harvests for two years preceding the '45. This would not have escaped the bard's notice.)
Likewise, the meaning of fosterling is important because the closest and most important relationships in Celtic culture were those of fosterage, as in the old Gaelic proverb; "Blood to 10 degrees, fosterage to 100." A warrior or chief's shield-brother was normally his foster-brother.
This is all very typical of bardic heroic poetry - they make runs and use words with multiple meanings and levels for those "in the know" - as all their audiences would have been then.
I once had the entire set of verses from Douglas Hyde's great book, "Love Songs of Connaught", given to me in Cul Aodh (Co. Cork) by the local seannachaidh, Sean Dineen. Unfortunately, the briefcase containing my only copy was stolen. The below is a pastiche of the best words and verses I could find or remember, with some alternate versions or words. Some of the translations are my own, except where the extant translation was already suitable. The translations are meant to be comprehensible, not poetic, and hopefully (with the notes) still give the flavor of the Gaelic.

Mo ghile mear

Some of the translations I am unsure of - no one person can lay a claim to the only interpretation of what is very archaic poetry. I am open to other interpretations, and hope some others will eventually pop up.
Wherever possible, I used the older forms of Irish (prior to the "reforms" of the 1950s), since these often have clues to the real meanings. Some of the words may still need diacritical marks. I haven't quite gotten them finished.
Mo Ghile Mear
Seal da rabhas im' mhaighdean shéimh,'S anois im' bhaintreach chaite thréith,Mo chéile ag treabhadh na dtonn go tréanDe bharr na gcnoc is i n-imigcéin.
(For a while I was a gentle maiden {lit.: "in my state of being a maiden"}And now a spent worn-out widow My spouse ploughing the waves strongly Over the hills and far away)
'Sé mo laoch, mo Ghile Mear, 'Sé mo Chaesar {Shaesar}, Ghile Mear, Suan ná séan ní bhfuaireas féin {alt.; Ní bhfuaireas féin aon tsuan ar séan} Ó chuaigh i gcéin mo Ghile Mear.
(He is my hero, my dashing darling He is my Caesar, dashing darling. I've had no rest from forebodings Since far away went my dashing darling. )
Bímse buan ar buaidhirt gach ló, {" ló " - dialectical poetic form of "latha / La" - day}Ag caoi go cruaidh 's ag tuar na ndeórMar scaoileadh uainn an buachaill beó'S ná ríomhtar tuairisc uaidh, mo bhrón.
(Each day I am constantly sad Weeping bitterly and shedding tears Because our lively lad has left us And no news from him is heard, my sorrow!)
Ní labhrann cuach go suairc ar nóinIs níl guth gadhair i gcoillte cnó,Ná maidin shamhraidh i ngleanntaibh ceoigh (leoigh) Ó d'imthigh uainn an buachaill beó.
(The cuckoo sings not pleasantly {lit; "affably"} at noon And the voice of hounds is heard not in nut-filled woods, Nor summer morning in misty glen Since he went away from us, the lively boy.)
(Alternate):
Ni h-aoibhinn {haoibhinn} cuach ba shuairc ar neoinTaid fior-chaoin uaisle ar uathadh spóirtTaid saoithe is suadha i mbuairt 's i mbrónÓ scaoileadh uainn an buachaill beo
({the} pleasant cuckoo is not singing affably at noonT'is they are truly {affable, gentle}, noble, on solitary sport {also pleasure} They are good, generous {men/warriors/scholars}, and cultured {learned}, it {is a} sorrow and a pity.{Both are actually words meaning deep sorrow} Since departed from us the lively boy.)
{Note: uathadh can mean "solitary" or "slaughtering" - here, paired with "sport", perhaps; "hunting" ?}
This alternate verse seems to me to be the union of two disparate verses - the metaphors don't seem to hang together properly, nor do they seem to fit.
Níor éirigh Phoebus féin ar cóir Ar chaoin-chneas {chaomhneas} ré tá daol-bhrat bróin {bhróin} Tá saobhadh ar spéir is spéirling mhórChun {sleibhe / sléibhte} i gcéin mar d'éalaigh {or; d'éaluig / ealas} an leon
No more is rising Phoebus {Apollo} himself, in truth {i.e.; The sun is no longer rising}In companionship {with the} moon {he} is {in} a mourning suit of sorrowTis confusion in {lit.; on} {the} sky {heavens} and great stormsUntil in it is seen, like a swan, the lion.
{Perhaps a metaphor for Charles Edward in a ship, the white sails being the "swan." - or poss.; "Until (the} mountain sees like (his?) escape"?}
Níl séis go suairc ar chrua-chruit cheoil,Tá an éigse i ngruaim gan uaim 'na mbeol; Táid beathaithe {béithe} buan ar buaidhirt {buairt} gach ló, Ó théarnaigh uainn an buachaill beo.
(Not a delight the pleasant {hard- or possibly bent ?} harp of music T'is the satirist {is} gloomy, without "poetic diction" * They are in constant sadness each daySince the escape from us of the lively lad)
* {line 2 of this verse is more literally; "{poetic} alliteration {esp. of the important last 2 lines, the "ceangal" or binding used by the old bards} )
Is glas a shúil mhear, mhúirneach, mhodhúilMar leagadh an drúchta ar chuimhais an rois Tá Mars 's Cúipid dlúth i gcómhar {gcóir}i bpearsain úir 's i ngnúis mo stóir
Tis {a} green-eyed darling,with eyes full of love, mild-manneredLike melting {of} the dew on {the} {covering or face of} the roseTis Mars and Cupid {in} close cooperation a new person, and it {in} the visage {face} of my treasure
{The poet seems to mean that Mars and Cupid cooperated on making Charles Edward, a new type of person personifying both war and love, and / or those traits meet in his features.}
Is cas a chul 's is cursach coir Is dlaitheach {dlathach} dlúith 's is búcladh bórrIs feachach fionn ar lonnradh an óir Ó bhaitheas {bhathas} úr go com mo stóir
Tis {cas a chul - a "difficult case", "foot behind" or "slender foot"?} and a just causeTis {battlefield or ruin} (swift or ashes} and t'is {ringlets or buckles} {great, haughty}Tis {feachach - firm step or a spade} fair on plundering the gold{"O" or "Since"} {"new life" - a health?} {go com - equally ?} my treasure
Another toughie! This seems to represent a typical bardic set of alternatives or possibly comparatives - possible takes:
Tis a difficult case and a just causeTis a swift battle{field} and great {or "haughty", i.e. noble ?} bucklesTis a firm step fair on plundering the goldO new life equally to my treasure
He could equally be saying things like "swift ruin". Obviously, some difficult choices here. Other interpretations would work. Is cosúil é le hAonghus Óg, Le Lughaidh mac Chéin na mbéimeann mór, Le Cúraoi ard mac Dáire an óir, Taoiseach Eireann tréan ar {an} tóir
(T'is "like-eye" he with Angus Og (i.e.; he resembles Angus Og, a Celtic god)With Lughaidh mac Cein of the great blows With Cu Raoi, high son of Derry of the Gold Leader of Erin, brave in the pursuit.)
(Lughaidh, Cu Raoi, and the rest below are legendary Celtic heros and demi-gods)
Le Conall Ceárnach bheárnadh póirt, Le Fearghas fiúntacht fionn mac Róigh, Le Conchubhar cáidh mhac Náis na nós, Taoiseach aoibhinn Chraoibhe an cheoil.
With Conal Cernach in the fortress gap With Fergus, fair, worthy son of RoighWith Conor, modest son of Nessa of the traditions {Conor is the king of Ulster in the Táin}Leader, pleasant tree of the music {i.e.; a sponsor of bards and musicians} Ní mhaoidhfead féin cé hé mo stór, Tá insint scéil 'na dhéidh go leor, Ach guím chun Aoin-Mhic Dé na gcomhacht Go dtige mo laoch gan b{h}aoghal beo.
I am not boasting {cé - "who"?} {hé - ?} my treasureTis telling a story of the {wish, concern} enoughBut a conspiracy until {the} almighty One Son of God {To or through} {the "thick of the fight" or "home"} my young hero without danger {to his ?} life
(A few more tough choices here! Still wrestling with this one as well)
Marcach uasal uaibhreach óg,Gas gan gruaim is suairce snó{dh},Glac is luaimneach, luath i ngleoAg teascadh an t-sluaigh {t-slóigh} 's ag tuargain treon.
(Noble, proud young horseman Warrior unsaddened, of most pleasant countenace A swift-moving hand, quick in a fight, Slaying the enemy host and smiting the strong.)
(Ach) Seinntear stáir ar chláirsigh cheoil's líontair táinte cárt ar bórd,Le hinntinn ard gan cháim, gan cheóChun (chuir) saoighal {saoil} is sláinte d' fhagháil dom leómhan.
(Let a strain be played on musical harps And let many quarts be filled With high spirit without fault or mist For life and health to toast my lion. )
Cúrfá 2:Ghile mear 'sa seal faoi chumha,'s Eire go léir faoi chlócaibh dubha;Suan ná séan ní bhfuaireas féinÓ luaidh i gcéin mo Ghile Mear.
(Dashing darling for a while under sorrow And all Ireland under black cloaks Rest or pleasure I did not get Since he went far away, my dashing darling. )
Cúrfá (alternate):
'Sé mo laoch mo ghile mear, 'Sé mo Shaesar, gile mear; Mo chruatán féin a luadh tré léan Mar chuaigh i gcéin mo ghile mear !
(He is my hero, my dashing darling He is my Caesar, dashing darling. My {chruatan} {mention, milling} {through} {follow}As far away went my dashing darling)
Also found this sheet music, but unsure of whose version it is - I strongly recommend going with Micheál O Domhnaill's excellent version. (On his Relativity album of the same name and on the compilation, "The Celts Will Rise Again".
(I am still working on the music.)
(The Sting version, whatever can be said for his talent otherwise, is bloody awful, completely untrue to the piece, the period, or the Gaelic, though I do commend him somewhat for even attempting the piece. He certainly popularized it, anyway. I just wish he had troubled himself to do a better job of it.)

Mo ghile mear U tube connection

http://www.youtube.com/watch?v=XIXi-kkWjH0

Urchill an chreagain
Uirchill An Chreagain lyrics

Wednesday, March 3, 2010

Orals 4

http://www.youtube.com/watch?v=VrjsbY9pEgA

Orals 1

http://www.youtube.com/watch?v=8up4WInMAFs

Orals 3

http://www.youtube.com/watch?v=BApgaCREFMg

Orals 2

http://www.youtube.com/watch?v=HKnaOIgMBZ8

Tuesday, March 2, 2010

ARDTEIST 3

http://pc.rte.ie/2006/pc/pod-v-gaeilgenahardteiste-200206.mp3

Aiste TS.

Ceolchoirm
E Céitinn

Is maith is cumhin liom an cheolchoirm sin. Dúradh gurbh é ceolchoirm na bliana é. Is minic a thagann sé suas sa chaint is muid ag cogarnáil le chéile. Dála an scéil, is mise Siobhán, mac léinn choláiste phadraig, Bailefionn. D’fhéadhfá a rá go raibh méi mo chailín ciúin, cúthalach sular bhuail mé leis an oíche cinnúnach sin. Éisean ba chúis leis, a dúradh, Éisean a chur mé ar strae a dúradh, Éisean a tharraig drochcháil orm is mé r tí mo theastas sóisearach a dhéanamh.
Ach, an raibh sé d’aon ghnó? Ar tharla sé gan choinne nó an raibh plean aige? Déarfadh dao áirithe go raibh síol an oilc ionam agus gurb iad na muice cúine a itheann an mín. Ráimise a deirimse, ní raibh an locht ar éinne. Ba thoil Dé é, B’é mo chuinnint.

Cúig bhliana déag d’aois a bhí mé ag an am, agus cheap mé go raibh mé aibí go leor chun freastal ar cheolcoirm na scoile. Néal codalta ní bhfuair mé an oíche roimhe. Bhí mé g tnúth leis an gceolchoirm, is ar éigean a bhí mé in ann fannacht.

D’éalaigh mé amach fuinneog mo sheomra I ngan fhios do mo mhathair. Ni thabharfadh sí cead dom dul aon áit go dtí go raibh na scrudaithe thart. Bean údarasach ab ea í is níor thuig sí meon an déagóra. Bhí orm mo fhod a sheasamh, bhí orm dul amach. Bheartaigh mé mo sciorta ghearr a chaitheamh I dteannta le mo bhuiaitisí fada leathar.

Go gairid ina dhiaidh sin shroich mé geataí na scoile. Is amhlaidh go raibh slua mó ann romham. Chuala mé an dránáil fite fuaite leis an gceol. Isteach liom gan a thuilleadh moille is mé ar bís. An choinne d’áirigh mé é ag stanadh orm, thánaig sé trasana chugham is thosaíomar ag caint. Bhí rud éigean faoi. Conas a raibh a fhios agam go gcuirfeadh sé rud éigin I mo dheoch? Conas a raibh fhios agam go mbeinn i mo staicín áfáise, is go rachainn suas ar an stáitse. Ach b’shin cad a rinne mé. Dúradh go raibh mé i m’óinseach cheart. D’fhoghlaim mé mo cheacht an oiche sin ní labhróidh mé le stráinséirí go deo na ndeor, bheul ag an gcéad disco eile ar aon nós.

Ms Keating