Favourite Scots words, D-F

 

From en.wikipedia.org

 

This evening is Burns Night, marking the 261st anniversary of the birth of Scotland’s greatest poet, and one-time ploughman, Robert Burns.

 

In a normal, pandemic-free year, children in schools the length and breadth of Scotland would have spent the past few days standing in front of their classmates and teachers reciting Burns’ poems.  Those poems, of course, were written in the Scots language; so this must be the only time in the year when kids can come out with certain Scots words in the classroom without their teachers correcting them: “Actually, that’s not what we say in proper English…”

 

In fact, lately, Scots has been getting attention that has nothing to do with tonight being Burns night.  Scots-language poetess Miss PunnyPennie has won herself tens of thousands of fans in recent months with her tweets and YouTube videos, in which she recites her poems and discusses a different Scots word each day.  Those fans include author Neil Gaiman, comedienne Janey Godley and actor Michael Sheen.

 

Unfortunately, she’s also had to put up with a lot of negativity.  She was the subject of a condescending and mocking piece published recently in the Sunday Times, which added insult to injury by calling her a blatherskite (‘ill-informed loudmouth’) in its headline.  More seriously, she’s received much trolling on twitter.  For instance, political ūber-chancer George Galloway – currently trying to reinvent himself as a diehard British nationalist in a bid to get elected to the Scottish parliament – tweeted something derogatory about her, in the process exposing her to potential abuse from his nutjob twitter followers.

 

Actually, Scots seems to have become part of the culture wars being waged in Scotland at the moment.  Pro-United Kingdom, anti-Scottish independence zealots like Galloway hate the idea that Scottish people might have their own language because it contradicts their narrative that everyone on the island of Great Britain is one people and culturally the same.  Hence, much online protestation (by people whose profiles are slathered with Union Jacks) that Scots is just ‘an accent’ or ‘slang’ or ‘a made-up language’ or ‘normal English with spelling mistakes’.

 

From cheezburger.com

 

Anyhow, as promised, here’s my next selection of favourite Scots words, those starting with the letters ‘D’, ‘E’ and ‘F’.

 

Dander (n/v) – stroll.  Over the centuries, a lot of Scots words made their way across the Irish Sea to the north of Ireland, where I spent the first 11 years of my life, and the delightful word dander is one of them.  I heard as many Northern Irish folk announce that they were ‘goin’ fir a dander’ as I heard Scottish folk announce it later, after my family had moved to Scotland.

 

Deasil (adv) – a Gaelic-derived word that means ‘clockwise’.  It’s a less well-known counterpart to the Scots word widdershins, meaning ‘anti-clockwise’.   I suspect the latter word is better known because it figures heavily in witchcraft and there’s been at least one journal of ‘Magick, ancient and modern’ with ‘Widdershins’ as its title.

 

Deave (v) – to bore and sicken someone with endless blather.  For example, “Thon Belfast singer-songwriter fellah Van Morrison is fair deavin’ me wi his coronavirus conspiracies.”

 

Dicht (n/v) – wipe.  Many a dirty-faced youngster, or clarty-faced bairn, in Scotland has heard their mother order them, ‘Gie yer a face a dicht’.

 

Doonhamer (n) – a person from Dumfries, the main town in southwest Scotland.  For many years, I had only ever seen this word in print, not heard anyone say it, and I’d always misread it as ‘Doom-hammer’, which made me think Dumfries’ inhabitants must be the most heavy-metal people on the planet.  But then, disappointingly, I realised how the word was properly spelt.  Also, I discovered that the word comes from how Dumfries folk refer to their hometown whilst in the more populous parts of Scotland up north, for example, in the cities of Glasgow, Edinburgh, Aberdeen and Dundee.  They call it doon hame, i.e. ‘down home’.

 

Dook (n/v) – the act of immersing yourself in water.  Thus, the traditional Halloween game involving retrieving apples from a basin of water using your mouth, not your hands, is known in Scotland as dookin’ fir apples.

 

Douce (adj) – quiet, demure, civilised, prim.  My hometown of Peebles is frequently described as douce.  However, that’s by outsiders, short-term visitors and travellers passing through, who’ve never been inside the public bar of the Crown Hotel on Peebles High Street on a Saturday night.

 

From unsplash.com / © Eilis Garvey

 

Dreich (adj) – dreary or tedious, especially with regard to wet, dismal weather.  A very Presbyterian-sounding adjective that, inevitably, is much used in Scotland.

 

Drookit (adj) – soaking wet.  How children often are on Halloween after dookin’ fir apples.

 

Drouth (n) – a thirst.  Many an epic drinking session has started when someone declared that they had a drouth and then herded the company into a pub to rectify matters.  Its adjectival form is drouthy and Tam O’Shanter, perhaps Burns’ most famous poem, begins with an evocation of the boozing that happens when ‘drouthy neebors, neebors meet.’  Indeed, Drouthy Neebors has become a popular pub-name in Scotland and there are, or at least have been, Drouthy Neebors serving alcohol in Edinburgh, St Andrews, Stirling and Largs.

 

From Tripadvisor / © Drouthy Neebors, Largs

 

Dunt (n / v) – a heavy but dull-sounding blow.  It figures in the old saying, “Words are but wind, but dunts are the devil,”  which I guess is a version of “Sticks and stones will break your bones, but names will never hurt you.”

 

Dux (n) – the star pupil in a school.

 

Eejit (n) – idiot.  Inevitably, in 2008, when Dundonian poet Matthew Fitt got around to translating Roald Dahl’s 1980 children’s book The Twits into Scots, he retitled it The Eejits.  Actually, there’s a lot of other Scots words in the D-F category that mean ‘idiot’.  See also dafty, diddy, doughball and dunderheid.

 

© Itchy Coo

 

Eeksiepeeksie (adj/adv) – equal, equally, evenly balanced.  A quaint term that was recently the subject of one of Miss PunniePenny’s ‘Scots word of the day’ tweets.

 

Fankle (n/v) – tangle.  I’ve heard the English plea to someone to calm down, “Don’t get your knickers in a twist!” rephrased in Scots as “Dinna get yer knickers in a fankle!”

 

Fantoosh (adj) – fancy, over-elaborate, a bit too glammed-up.

 

Fash (v) – to anger or annoy, commonly heard in the phrase “Dinna fash yerself”.  Like a number of Scots words, this is derived from Old French, from the ancestor of the modern French verb ‘fâcher’.

 

Feart (adj) – scared.  During my college days in Aberdeen in the 1980s, on more than one occasion, I had to walk away from a potential confrontation with Aberdeen Football Club soccer casuals. the juvenile designer football hooligans who seemed to infest the city at the time.  And I’d have the scornful demand thrown after me: “Are ye feart tae fight?!”  Meanwhile, a person who gets frightened easily is a feartie.

 

Fitba (n) – football.

 

Flit (n/v) – the act of moving, or to move, house.  Commonly used in Scotland, this verb has had success in the English language generally, as is evidenced by the use of ‘moonlight flit’ to describe moving house swiftly and secretly to avoid paying overdue rent-money.

 

Flyte (v) – to trade insults in the form of verse.  This combative literary tradition can be found in Norse and Anglo-Saxon cultures, but flyting was made an art-form in 15th / 16th-century Scotland by poets like William Dunbar, Walter Kennedy and Sir David Lyndsay.  There’s a poetic account of one flyting contest between Dunbar and Kennedy that’s called, unsurprisingly, The Flyting of Dumbar and Kennedie and consists of 28 stanzas of anti-Kennedy abuse penned by Dunbar and another 41 stanzas of Kennedy sticking it back to Dunbar.  According to Wikipedia, this work contains “the earliest recorded use of the word ‘shit’ as a personal insult.”  Thus, flyting was the Scottish Middle-Ages literary equivalent of two rappers dissing each other in their ‘rhymes’; and Dunbar and Kennedy were the Tupac Shakur and Biggie Smalls of their day.

 

Footer (v) – to fumble clumsily.  I remember reading a Scottish ‘coming of age’ story – though I can’t recall its title or author – in which the inexperienced hero footered haplessly with a young lady’s bra-clasp.

 

Favourite Scots words starting with ‘G’, ‘H’ and ‘I’ will be coming soon.

 

From unsplash.com / © Illya Vjestica

Cinema Peebles-diso

 

 

I recently noticed a discussion about the Playhouse Cinema on the Facebook page Auld Peebles, which is a site devoted to pictures, information and simple nostalgic reminiscing about past times in Peebles, my hometown in the Scottish Borders.  This inspired me to dig out the following entry, which I’d originally posted on this blog back in 2013.  In it, I indulge in some nostalgic reminiscing of my own about my town’s old Art Deco cinema…

 

The photograph above this entry shows the Art Deco building at number 60 of the High Street in Peebles, my Scottish hometown.  The building opened in 1932 as the Playhouse Cinema.  Its architect was Alister G. MacDonald, a son of Ramsay MacDonald, who was Britain’s first Labour Party prime minister and served in office in 1924 and from 1929 to 1935.  MacDonald Junior designed the cinema with a particularly wide auditorium and with stalls and a balcony that held a total of 802 seats.  The name Playhouse was spelt out in a squiggle of neon along the top of its façade, although the roof behind was less glamorous, being made of corrugated iron.

 

The Playhouse showed films for the next 45 years and for a time, in modest-sized Peebles, it wasn’t even the only cinema.  It had to compete against the Empire Cinema on the Bridgegate and the Burgh Hall, further up the High Street, which also showed films.  By the 1970s, however, with just about every home in Peebles possessing a television set, only the Playhouse was left and it was struggling, to the point where it’d introduced bingo a couple of nights a week as a way of attracting extra custom.

 

I became acquainted with the Playhouse at a very late stage in its life.  In 1977, when I was eleven, my family moved to a new home just beyond the outskirts of Peebles.  The town centre was only 30 minutes’ walk away.  Previously we’d lived in a rural part of Northern Ireland and if I wanted to visit a cinema there, I had to talk my parents into driving me several miles to the nearest one and then returning to collect me afterwards.  I was movie-crazy and having a cinema on my doorstep, as it seemed at the time, was a wonderful new luxury.

 

© Universal Pictures

 

I didn’t see any masterpieces in the Playhouse, but every film I did see seems to be engraved on my memory just because I’d seen it there.  For example, there was Earthquake (1974), the big, rumbly disaster movie starring Charlton Heston, Ava Gardner, Lorne Greene and George Kennedy.  George Kennedy was a portent of doom in 1970s movies, having already appeared in two of the Airport movies (1970 and 75).  If his craggy face appeared onscreen, you just knew a destructive earth tremor was going to strike the city or a Boeing 747 was going to fall out of the sky.

 

It was also in the Playhouse that I had my most disappointing cinematic experience ever, which was seeing Dino De Laurentiis’s 1976 remake of King Kong.  I’d really been looking forward to this, as I’d watched the original movie on TV and was desperate to see how they’d update all the fights that King Kong had with the dinosaurs on Skull Island.  To my horror, there weren’t any dinosaurs on the 1976 Skull Island, so Kong didn’t have any fights with them.  The only battle was an altercation between Kong (played by Rick Baker in a gorilla-costume) and a crap-looking rubbery giant snake.  I’d like to think that a young Peter Jackson saw the same movie and shared my feelings of profound disappointment.  For that reason, when he remade King Kong in 2005, he made sure his film was choc-a-bloc with dinosaurs.

 

Sometimes at the Playhouse you got to see a familiar feature of 1970s movie-going, which was a cinematic double bill.  Among the two-for-the-price-of-one marvels I was treated to were Carquake (1976) combined with The Giant Spider Invasion (1975).  Carquake was little more than a montage of car chases and car crashes and I suspect that the filmmakers had cast David Carradine in the lead role only because his surname started with the word ‘car’.  Nonetheless, it seemed like a masterpiece compared with its partner.  In The Giant Spider Invasion, the invading giant spiders were played by real-life tarantulas when they were babies, and played by giant wobbly-legged blobs of paper-maché mounted on top of cars when they were adults.  One scene showed a tarantula clamber unnoticed into a kitchen blender.  Then a character unwittingly blended it with some fruit and took a massive swig from the resulting Vitamin C / pulped-hairy-spider concoction.  That was about the most revolting thing I saw in a film until Hugh Grant started making romantic comedies.

 

© New World Pictures

 

But I had barely seven months to enjoy the Playhouse, for on September 10th, 1977, it went out of business.  It would’ve been fitting if the final end-credits to scroll up the Playhouse’s screen had belonged to a film that was memorable – Star Wars (1977), say, which was breaking box-office records at the time.  However, the last film shown there was another one about cars, an unremarkable horror film simply entitled The Car (1977).  This starred James Brolin and was about a rural American community being terrorised by a deadly, driver-less and demonically possessed automobile.  In his non-fiction book Danse Macabre (1981), Stephen King described it as “the sort of movie where you can safely go out for a popcorn refill at certain intervals because you know the car isn’t going to strike again for 10 minutes or so”.

 

Thereafter the Playhouse was derelict for a time.  I seem to remember a report in the local newspaper at one point about it being broken into and vandalised.  Then its foyer was converted into a shopping area and it became another High Street retailer.  For a while, it served as the premises for Visionhire, a TV shop, which meant that films were being shown on its premises again (at least, when one of the televisions on display was switched on and tuned into a channel broadcasting a film).  These days it houses an outlet for the cut-price chemist’s chain, Semi-Chem.  Thanks to Alister MacDonald’s Art Deco design, it’s now a listed building and has been given a Grade C status by Historic Scotland.  Incidentally, I’m only talking about the building’s front part.  As far as I know, most of its back part, containing the 802-seat auditorium, was demolished to make way for a housing development.

 

Losing the Playhouse in 1977 was a blow for Peebles film-lovers because video cassettes and VCRs were still things of the future.  If you didn’t have transport to get to a cinema in another town to see a film on its first release, your only option was to wait a couple of years until it turned up on TV.  However, you still had a chance to see films, old and not so old, on a big screen if you were a pupil at Peebles High School.  In the wake of the Playhouse’s demise, a teacher there, Dr Mike Kellaway, started up a Film Club and showed movies one evening each week with the school’s assembly hall acting as an auditorium.  But Peebles High School’s Film Club is a story for another blog-entry.

 

© Auld Peebles / David Brunton