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Introduction. xxxix.
1. Rannai gheaclit dialtach mhòr (Great one-
syllabled versification), in which each line contains
seven syllables and ends on . a monoisyllable. The
couplets rhyme. Its scheme is 2 (71 + 71) 2 + 4-. It
occurs in the poems (1-8) beginning on pp. 123, 176,
179, 230, 233, 234, 236; on pp. 251, 252, etc, of Oran
na Comhachaig, and in a number of quatrains of
Seanfhocail agus Comhadan (29). All these have
aichill in both couplets, and little or no alliteration. As
an example of an exactly constructed and freely
embeUished rann, we may compare the following from
Cathal MacMliuirich's welcome to Donald of Moidart,
written in c. 1650: —
Binne na ceòl crot do sgèal,
aUJ&'^ \ a ghiolla gan ìot gan ìeòn:
, ilvv^ ) atao? mar orghàn òs ihìon,
ma's com-hràdh ilor do bhaoi ad hh.eoil}
2. Rannaighea cht recomarcach bheag (Little two-
syllabled versification) :— 2 (72 + 72) 2 + 4. Each hne
contains seven syllables and ends on a dissyllable. The
couplets rhyme.
(9) P. 192, Gur e m'anam is m' eudail, may be
read as stressed, but it is rather to be read as syllabic
metre ; e.g., 1. 5198 is plainly not stressed.
(10) P. 82, lain Mhic Eachainn o'n dh'eug thu.
Here the final dissyllable of the syllabic metre is
replaced by penultimate stress.
(11) P. 94, So deoch slàinte mo ghaisgich.
These latter are both good examples of a classic syllabic
metre converted into a stressed metre, and are to be
1 Sweeter than the music of lyres thy tale, thou lad without
wound or hurt : thou art as organs over wine, if 'tis true talk
that is in thy mouth.

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