Transcript

Dáth do Barra ag lorg déirce.

Go mbeannaíthear dhuit, a (Mhór na só) is a ghaol na (sarat), a ainnir (fionntais), is a chúileann (mhaordha), is a gheallún (...) ghil.

Do (phitseálas), do phointeálas, do bhuaileas (crann) ort, a chailín óig; ar geach n-aon eile dá raibh sa chuileachtain, ar fheabhas do chló, ar thaitneamhaí de scéimhe, agus léire do líontaithe; i ndóchas go bhféacha tú le croí truamhéileach, le haigne, le súil agus le súil trócairigh, ar an ainniseoir lagchroíoch so do riugadh agus do tháinig ar an saol go beo bocht gan siúl gan chaint gan radhairc gan luach (dorlaice) dá chuid féin aige, agus gan 'na chumas dul thar doras ad iarraidh a choda ná a chás do chur in úil.

Leis sin, má (...) Dia ná Muire ná éinne des na trí (ceatharaithe) (leat a ghin, in áit a ghin), i gcúl do dhorn ná i gcúinne do phóca, (beir) anois do Dhia agus do Mhuire nár dheinis riamh déirc níosa mhó, agus ná féadfá (...) níosa bhfearr ná é thabhairt domhsa, mar ná spáralfad aimsir agus ná (ceisneod) trioblóid ach do shíor ag guí ar do shon.

Tabharfaidh mé turas i Loch Dearg agus turas i Sceilg Mhichíl, turas in Ard Macha agus turas in Oileán na mBeo, turas i dTobar Phádraig agus turas i dTobar Cholmáin, turas i dTobar Ghobnaite agus turas i dTobar (Ruainid).

Agus níl aon lá díobh san ná go ndéarfaidh mé chúig rúindiamhra na Saltrach Muire agus Sciathlúireach na Maighdine.

Agus is blasta, cneasta, dea-chroíoch, dea-aigeanta, dea-choinsiasach a déarfaidh mé Salve Regina chun Dé ar son t'anama agus do leasa, dá iarraidh ar Dhia (tú nua a chur chughat), a chailín óig.

Is (iomdha bothán) fear íseal agus baintreach calaoiseach agus (...) scallaoideach agus cú ghearr (scoiníneach) agus cat (...)(scríobach) agus bothán com sleamhain fliuch mara do chuireas-sa dhíom im chiscéimí boga laga troma ag teacht le beannacht (ó ruainig) ad iarraidh do phi'gine.

Is (comhartha ó tigh uasal) do bhrí nár iarras riamh déirc, nár nochtas mo chás, nár dhéineas craobhscaoileadh ar mh'ainnise i láthair (a) liobair ná (a) leidhbse ná (a sireoide) ná (a) trioblóide ná (maltaire) breac loirgneach do scríob an ghorta agus do leag an ampla, fuair an ainnise mar oidhreacht agus d'fhoghlaimigh geach a (...).

Dheineadh dhá leath den phráta lá breá samhraidh, agus do leanadh an préachán trasna trí pháirceanna d'iarraidh é bhaint de.

Bíodh a fhios agat nách í sin mar shórt dhá n-iarrfainnse déirc, dhá nochtfainn mo chás, nó dá (leathfainn aráineacha) mo chroí ina fianaise. Ach (...) nuair a chonac meas agus meidhir, Muireann agus (Mórách) gealghné scéimhe agus (crot na scébhean ise) (...) (crot) áilne ghlanghnúise ná heiteofá ar son do chreidimh agus dod ghradaim agus do ghrá Dé.

Agus do (tháinig) an bás (barr)gheal do (lámh leamhair) dathúil (ghlanchosaint méstuama), do shín i leith déirc chun an donáin bhoicht seo (á dtabhairfeadh dó) le luach a bhfaigheadh sé do bheannacht air.

Is más olc dh'iarras is, ó, ná (...) más fiú a bhfaighead.

Commentary

This appears to be an example of what Breandán Ó Madagáin refers to as 'deilín an bhacaigh', a beggar's litany. It is a semi-sung or chanted appeal for alms, which was often part-religious in content, and could consist of poetry, prose or a combination of both. See Breandán Ó Madagáin, 'Functions of Irish song in the nineteenth century', Béaloideas 53 (1985), 130-216: 168-9. Another example of this kind of composition can be found in Douglas Hyde, Abhráin diadha chúige Connacht (2 vols, London and Dublin, 1906), vol. 1, 291. John O'Daly provides another example, along with some background information where he describes the regular visits of a beggar in the late eighteenth and early nineteenth century, and how such poems were recited to encourage the giving of alms. If the beggar deemed the contribution to be insufficient, he would threaten to compose a satire, lambasting the donor's miserliness. See John O'Daly, The poets and poetry of Munster (Dublin, 1860), 218. William Hackett of county Cork described a particular community of beggars in Ireland, known as 'the Bacachs', who frequented places of pilgrimage such as Lough Derg, Armagh and Gougane Barra, and begged for alms from the pilgrims who visited these sites. He makes particular mention of Ballyvourney, county Cork, as being the centre for this society of beggars, where they trained in the skills required for such a lifestyle. Part of this training seems to have been the development of a poetic appeal, which Hackett describes as a 'crónawn'. This is undoubtedly a version of the Irish word crónán, which has various meanings, including 'drone', 'croon', and 'hum'. The 'Bacachs' of Ballyvourney would also offer to pray for those who gave them alms. See William Hackett, 'The Irish bacach, or professional beggar, viewed archaeologically', Ulster Journal of Archaeology 9 (1861-2), 256-71: 269. Thomas Campbell's eighteenth-century account of beggars in county Cork mentions the semi-musical style of their appeals for aid. See Thomas Campbell, A philosophical survey of the south of Ireland (London, 1777), 181, cited in Ó Madagáin, loc. cit.. Features such as the chanting style, the offering of prayers and the mention of many places of pilgrimage are all found in the current example. Of possible significance is the mention of St Gobnait's Well, as 'the Ballyvourney Bacachs' are referred to as 'Gobnait's Clergy'. See Hackett, loc. cit.