‘Covid-19 Advice’ poem on a poster, little boxes, two bards and a belle

Conversations about social distancing, lockdown and quarantine are more common now than our former all-time favourite topic - the weather.

And the pandemic has brought a vast vocabulary of previously fallow words, phrases and slogans into everyday language, to the extent that they’ve almost become clichés.

So Ulster Scots author and poet Liam Logan’s ‘Covid-19 Advice’ shared here last Wednesday, whilst powerfully endorsing the Government’s all-important social distancing rules, freshened them up with the application of unfamiliar vernacular.

“Stay at hame, Keep yersel tae yersel.

Young yins daenae be near oul yins

Nae kaelyin

Nae rinnin roon the country scungin…”

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Liam is linked to a Facebook page entitled Scots Language Forum where he posted his poem along with a snappy little film of him performing it.

“Faraway in Los Angeles,” he told Roamer “a Scots language fan and fellow Forum member, Wallace Beattie, decided to turn the Ulster Scots words of warning and advice into a poster.”

Wallace is a dedicated fan of Scots and Ulster Scots and although he’s based on the other side of the Atlantic he is “proud of his roots on oor side o’ the pond!” says Liam.

When he sent the poet his artful poster Wallace, explained: “I have family in Scotland and most of the family history on my Scottish side goes back to counties Fermanagh, Down and Antrim. So it’s hands across the ocean, or perhaps ‘mitts ower the sheugh!”

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If any News Letter readers would like a copy of the poster, a limited number are available for a small charge with all proceeds going to the NHS from [email protected].

Also with Scottish connections, Mauchline Ware got a mention here last Wednesday. Regular contributor Selwyn Johnson sent a note and photograph to Roamer’s mailbox. - “I’m not sure whether you are familiar with Mauchline Ware which was very popular until the 1930s when production ended.”

Mauchline Ware Scottish souvenir wood, manufactured in the Ayrshire town of Mauchline, were mostly small wooden items bearing pictures designed to appeal to 19th century tourists to the village. Interest in the souvenirs grew, and soon they were being collected worldwide.

Selwyn’s photo shows a small Mauchline box featuring a picture of Devenish Tower in Fermanagh. The wooden souvenirs were made over a period of some one hundred years ending when the factory of the last producer still operating burnt to the ground in 1933.

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The production of box-work started sometime around the early 1820s with a number of manufacturers becoming involved - the Caledonian Box Works, Hayes and Howgarth, Jack Davidson and Son and W and A Smith, Mauchline’s biggest producer. The process was enormously innovative requiring specialist machinery. The wood was kiln dried, cut and shaped, glued together and then lacquered numerous times to create a beautiful finish.

When the industry was at its peak there were hundreds of craftsmen employed in Mauchline alone and something over a million boxes were manufactured. They weren’t exclusive, expensive items, but bulk-quantity ‘economy products’ sold cheaply or even given away with as free gifts.

The boxes were used for a wide range of purposes - tea caddies, snuff and for storing knitting and sewing needles, card games, money or even hairpins.

The original box-shape developed and evolved into other forms and profiles - cylinders, vases, egg-shapes, wooden book covers and other turned items that were exported across the world. The most common finishes, generally on the lids of the boxes, were photographs or illustrations of interesting places, though other popular designs used floral or shell patterns. Willow, Japanese designs and of course tartan were also much sought after.

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The patterns were created first on paper and then glued (like permanent transfers) onto the wood before lacquering. The craftsman applied the transfers to the finished articles prior to coating them with several layers of slow drying varnish. The process took from six to 12 weeks to complete, although it seems that they must of developed an accelerated means of varnishing to cope with the sheer scale of production.

The painstakingly careful manufacturing process accounted for the extreme durability of the products, many of which have survived in near-mint condition. As well as its world-famous boxes Maunchline boasted one of history’s greatest bards.

Robert Burns, Scotland’s National Poet came to live on the outskirts of the village in 1784, and some of his best-known works are thought to have been written whilst he was there, notably To a Mouse, The Holy Fair and Holy Willie’s Prayer. And local-girl Jean Armour, known as one of the ‘Belles of Mauchline’, became Burns’ wife.

She inspired many of his poems and bore him nine children, three of whom survived into adulthood.Born in Mauchline in 1765 Jean was second oldest of the 11 children of stonemason James Armour and Mary Smith Armour.

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Jean met the poet on a drying green in the town around 1784 when she chased his dog away from her laundry box and according to folklore she met Burns again that night at a local dance. But enough Rabbie Burns!

You can watch Liam Logan performing ‘Covid-19 Advice - Ulster Scots Style’ at http://www.nvtv.co.uk/shows/covid-19-advice-ulster-scots-style/

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