Tag: To a Mouse

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Favourite Scots words, S – part 1

 

© Channel 4 Films / PolyGram Filmed Entertainment

 

Hot on the heels of my post about Robert Burns, here’s the latest in my series about favourite words in Scots, the language Burns wrote in.  Many Scots words begin with the letter ‘S’, so in this instalment I’m only going to list the first half of them.

 

Scaffy (n) – not, as you might expect, a scaffolder, but a streetcleaner or binman.

 

Scheme / Schemie (n) – a scheme is the Scottish word for a housing estate and schemie is the derogatory word for someone who lives on one.  One long-ago Saturday evening, while I was wandering around central Edinburgh, I went past a nightclub and was suddenly accosted by an upset young woman who demanded, “Dae I look like a schemie?”  Her supposed resemblance to a schemie was why the bouncer at the nightclub door had just turned her away.

 

Meanwhile, a much-quoted line from Irvine Welsh’s Trainspotting (1993) comes from Mark Renton when he turns up for a job interview: “They’d rather gie a merchant school old boy with severe brain damage a job in nuclear engineering than gie a schemie wi a Ph. D. a post as a cleaner in an abattoir.”

 

Scooby (n), as in ‘I havenae a Scooby’ – rhyming slang for ‘clue’.  Scooby refers to Scooby Doo, the famous American TV cartoon dog who first appeared in 1969, accompanying some ‘meddling kids’, without whose investigations many, many, many criminals “would have gotten away with it.”  I’ve seen arguments online about whether this started as Scottish rhyming slang and then spread to England, or started as Cockney rhyming slang and spread to Scotland.  But I’m sure I heard it in Scotland back in the 1980s, and it was appearing in Scottish newspapers in the 1990s, so its Caledonian pedigree is pretty venerable.

 

Scrieve (v) – to write.  Accordingly, a scriever is a writer.  “Just been doin’ a wee bit scrievin’ you know,” says Matt Craig, the main character and aspiring scriever in Archie Hind’s Glasgow-set novel The Dear Green Place (1966), which is as good an account of the trials and tribulations facing a working-class person trying to make a name as a writer, and a living from it, as Jack London’s better-known Martin Eden (1909).

 

© Corgi Books

 

Scunnered (adj) – sickened or disgusted.  During the 1980s and 1990s, this word was commonly used in Scotland on the mornings following general elections, when it became clear that a majority of people in Scotland had voted for the Labour Party and a majority of people in the south of England had voted for Maggie Thatcher’s Conservatives.  Guess who ended up ruling Scotland each time?  For a 21st-century variation on this, see the Brexit vote.

 

Sharn (n) – dung.  Yes, Dungeons & Dragons enthusiasts may know Sharn as a city that ‘towers atop a cliff above the mouth of the Dagger River in southern Breland’ in the fictional world of Eberron, but in Scots sharn refers to cow-shite.  That’s a warning to fantasy creators.  When you dream up names for your fantasy characters, creatures and places, be sure to check they don’t also mean something embarrassing in Scots.  Now please excuse me while I get back to writing my latest sword-and-sorcery epic wherein Glaikit the Barbarian rescues Princess Jobbie from the clutches of the Dark Lord Pishy-Breeks in the Kingdom of Boak.

 

Shauckle (v) – to shuffle along, barely raising your feet off the ground.

 

Sheuch (n) – a channel for removing wastewater, i.e., a gutter at the side of a street or a ditch at the side of a field. In William McIlvanney’s 1975 novel Docherty, the young hero Conn gets battered by his school’s headmaster for saying to him, “Ah fell an bumped ma heid in the sheuch.”  The fact that he doesn’t use the ‘correct’ word, gutter, is seen as ‘insolence’.  Early in the 20th century, when the events of Docherty take place, Scottish schoolkids would be punished for using Scots rather than the King’s English.  The only day in the year when Scots was acceptable in schools was January 25th, Robert Buns’ birthday, when they were made to recite the poetry of their national bard.

 

© Canongate Books Ltd

 

Incidentally, in Northern Ireland, where I spent my childhood, a sheuch seemed to be only a ditch.  My dad was a farmer and once or twice I heard him cry, “There’s a cow got stuck in the sheuch!”  And the North Channel – the strip of water above the Irish Sea that separates Scotland and Northern Ireland – was called ‘the Sheuch’ and the land-masses east and west of it termed ‘baith sides o’ the Sheuch.’

 

Shieling (n) – a hut or shelter for animals, usually out in the wilds and / or up in the hills.

 

Shilpit (adj) – thin, pale and weak-looking.

 

Shoogly (adj) – wobbly.  To hang on a shoogly peg means to be in dodgy, precarious or dire circumstances.  Since the arrival of the ineffectual and accident-prone Humza Yousaf as First Minister of Scotland, it’s fair to say the peg the electoral fortunes of the Scottish National Party hang on has been pretty shoogly.

 

Skean–dhu (n) – the Anglicised (or Scotticised) version of the Gaelic term sgian-duhb, meaning the ceremonial dagger that’s tucked behind the top of the hose in male Highland dress.  Considering the popularity of Highland dress at Scottish weddings, and the amount of alcohol consumed at them, it’s always surprised me that the country has avoided having a sky-high death-toll of wedding guests stabbed with skean-dhus in drunken altercations.

 

From wikipedia.org / © Stubborn Stag

 

Skelf (n) – a splinter.

 

Skelp (n / v) – to slap or a slap.  Skelps were often administered by parents and teachers to wayward kids back in the days, fondly remembered by the Daily Mail and Daily Express, when it was believed that assaulting children was good for them.

 

Skite (n / v) – also to strike someone or the blow thereof.  However, a skite is more likely to come from a sharp, stinging cane or stick than the open hand that delivers by a skelp.  Both are nicely onomatopoeic words, in their different ways.

 

Skoosh (n / v) – a squirt or spray of liquid.  A commonly heard exchange in Scottish pubs: “Dae ye want water in yer whisky?”  “Aye, but just a wee skoosh.”

 

Sleekit (adj) – according to the Merriam Webster dictionary, either ‘sleek’ and ‘smooth’ or ‘crafty’ and ‘deceitful’.  Presumably it was with the first meaning that this word got immortalised in a line of Robert Burns’ 1785 poem To a Mouse: “Wee, sleekit, cow’rin, tim’rous beastie…”  Nowadays, it’s used mainly with the ‘crafty’ and ‘deceitful’ application.  I can think of many politicians I’d describe as sleekit, but I won’t mention any names.

 

From members.parliament.uk

 

Smeddum (n) – in physical terms, a powder.  However, smeddum has also come to mean the kernel or essence of something, and presumably from that to mean its vigour, spirit, determination or grit too.  Robert Burns – him again – had the first meaning in mind when he wrote about ‘fell, red smeddum’, possibly referring to red precipitate of mercury, in his 1785 poem To a Louse.  Whereas Lewis Grassic Gibbon was thinking of smeddum’s spiritual denotation when he made it the title of his most famous short story, about a hard-working Scottish matriarch called Meg Menzies who takes no shit from anyone.  As Meg herself says: “It all depends if you’ve smeddum or not.”

 

Smirr (n) – a drizzly rain falling in small droplets.  This sad, ghostly word perfectly describes the sad, ghostly semi-rain that sometimes seems to envelop Scotland’s landscapes 365 days of the year.

 

Snaw (n) – snow.  Like snaw aff a dyke is a simile commonly used to describe something that disappears, or is disappearing, super-fast: for example, jobs for life, polar icecaps, cashiers in supermarkets, CD and DVD drives in laptops, Twitter’s credibility after Elon Musk took it over, and Liz Truss premierships.

 

© Canongate Books Ltd

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Seven reasons why Robert Burns still rocks

 

From wikipedia.org / © Ron Waller

 

This is a revised and expanded version of a piece I had published one January 25th in the Arts section of Concrete, the students’ newspaper at the University of East Anglia, where I did a Master’s Degree many years ago.

 

Tonight, whisky will be guzzled, haggis devoured, bagpipes blasted and Scots-language poetry recited with gusto at thousands of special suppers and get-togethers around the globe.  This is because today, January 25th, is the 265th anniversary of the birth of Robert Burns, Scotland’s national bard and one of its most popular contributions to international culture.

 

Why, more than two-and-a-half centuries after he died at the age of 37, is Robert Burns such big deal?  Here are some reasons.

 

One.  Burns was a champion of the common man.  Born in humble circumstances, as one of seven children to a farmer in Ayrshire, he was much more in tune with the ordinary masses than any of his literary contemporaries.  The American poet Waldo Emerson described him as the poet of ‘the poor, anxious, cheerful, working humanity’.  The fullest expression of his egalitarian instincts was the song A Man’s a Man for a’ That (1795), which was adopted as an anthem by the anti-slavery abolitionist movement.  That, however, highlights an uncomfortable fact…

 

In 1786, Burns came within a hair’s breadth of travelling to Jamaica and taking up a job-offer as a bookkeeper on a sugar plantation – run on slave labour.  Burns’ defenders argue that as a young man at the time, pre-fame, facing destitution, and desperate to get out of Scotland, he probably didn’t consider the hideous moral implications of the job he was about to undertake.  Also, by 1792, he seemed aware enough of slavery’s horrors to pen The Slave’s Lament, which begins: “It was in sweet Senegal that my foes did me enthral / For the lands of Virginia-ginia, O.“  But the issue is murkier still, because Burns’ authorship of The Slave’s Lament has been disputed.

 

Anyhow, later, socialists claimed Burns as one of their own.  A 1929 translation of his works into Russian sold a million copies and the Soviet Union honoured him with a commemorative stamp in 1954.  However, Burns obviously had appeal for capitalists too, for there are allegedly more statues of him in North America than of any other writer.

 

Two.  Burns was a songwriter too.  Indeed, if anything, he is more pervasive as a songwriter than as a poet.  In addition to A Man’s a Man…, he put Auld Lang Syne on paper in 1788 – which, by virtue of being belted out at New Year celebrations everywhere, is arguably the most universally-sung song in the world.  In Japan it is played at everything from high school graduation ceremonies to evening closing-time in department stores.

 

Three.  Burns wasn’t afraid to criticise the moral and religious mores of his time.  His contempt for the censorious regime of Scotland’s Presbyterian Church was expressed most famously in Holy Willie’s Prayer (1785), wherein a supposedly pious pillar of the church prays to God and unwittingly reveals himself as a scheming, bitter, drunken hypocrite.  Particularly pathetic are his pleas to be forgiven for his lechery, which has targeted ladies by the name of Meg (“And I’ll ne’er lift a lawless leg / Again upon her”) and ‘Leezie’s lass’ (“…that Friday I was fou / When I cam near her”).  John Betjeman was so impressed by the conceit that he borrowed it for his 1940s poem In Westminster Abbey.

 

Four.  Burns has a massive cult that keeps his memory alive.  The first Burns societies began to congregate in his honour in about 1800, four years after his death. In 1859, the first centenary of his birth, almost 900 events were staged – 60 of them taking place outside Britain and the US.  Today, Burns societies are to be found everywhere from Rio de Janeiro to Tokyo and from Winnipeg to Jakarta.

 

It’s claimed that the Russians have more such societies than even the Scots do.  Well, in the unlikely of event of Vladimir Putin sticking his head into a Burns supper this evening, I hope he’s regaled with Burns’ 1792 rewrite of the song Ye Jacobites by Name, whose anti-war lyrics include: “What makes heroic strife? / To whet th’ assassin’s knife / Or hunt a parent’s life, wi’ bluidy war?”

 

From wikipedia.org / © Melissa Highton

 

Burns suppers on January 25th are marked by lusty recitals of his greatest poems, speeches and copious consumption of whisky and haggis.  Praised as the ‘great chieftain o’ the puddin’ race’ in Burns’ Address to a Haggis (1786), haggis is surely the only offal-based foodstuff to have a piece of world-class literature written in its honour.  No other writer is commemorated by a yearly celebration on this scale.  Dublin’s James Joyce-themed Bloomsday on June 16th doesn’t come close.

 

Five.  Burns invented the concept of the doomed, decadent romantic poet.  Long before Byron and Shelley were painting the towns of Europe red and proving themselves mad, bad and dangerous to know, Burns had earned himself a mighty reputation for dissipation, both in the pub and in the bedchamber.  His love of strong drink is obvious in poems like John Barleycorn (1782) while his promiscuity led to him siring at least a dozen children with at least four different women – a common jibe at the time was that you could see his face in every pram on Edinburgh’s Princes Street.

 

Six.  Burns is controversial.  And no doubt the arguments that have raged about him over the centuries have helped keep his fame alive.  Much debate has centred on whether or not someone with Burns’ obvious character flaws deserves such veneration.  At the beginning of 2009, just before the 250th anniversary of his birth, right-wing Scottish historian Michael Fry caused a storm when he denounced Burns as a ‘racist misogynist drunk’ who didn’t deserve to be presented to people as a role model.  Fry sounded a bit like a rock-and-roll era parent expressing concern about the examples the likes of Jim Morrison, Sid Vicious, Liam Gallagher, Pete Docherty, Amy Winehouse, etc., set for young people.

 

Seven.  Burns’ work has had a considerable influence on the English language and on English-language culture.  Here are a few examples:

 

Proverbs:

  • The best laid plans of mice and men will go astray (‘The best-laid schemes o’ mice an’ men gang aft agley’ / from 1785’s To a Mouse).
  • To see ourselves as others see us (‘To see ousel’s as ithers see us’ / from 1786’s To a Louse).
  • There is no such uncertainty as a sure thing (attributed to Burns).

 

Phrases:

 

Burns-inspired titles:

  • John Steinbeck’s novel, Of Mice and Men (1937).
  • R. James’ short story, reckoned by some to be the greatest ghost story in English literature, O, Whistle and I’ll Come to you my Lad (1904) – which is also the title of a 1793 Burns poem.
  • Ken Loach’s film, Ae Fond Kiss (2004) – which is also the title of a 1791 Burns song.
  • The Vin Diesel car-chase / street-racing movie The Fast and the Furious (2001) – ‘fast and furious’ was a phrase Burns coined in Tam O’Shanter.

 

All right, with that that last example, the producers may not have been aware of the Robert Burns connection when they chose the title.

 

© National Trust for Scotland / Robert Burns Birthplace Museum