Frater, A. C. (1997)

"The Gaelic Tradition up to 1750" ann an A History Of Scottish Women's Writing, dd. 1-14

The panegyric verse of Sìleas na Ceapaich is composed from a clan perspective, praising the clan Donald for their support for, and actions during, the Earl of Mar's rebellion in 1715. Her poetry is unashamedly partisan and political, following the rising from the raising of the Royal Standard to the defeat at Sherrifmuir which marked the end of the campaign. However, Sìleas is not blind to the political machinations which were to blame for the failure of the rising, and she is not afraid to name those whom she considers to have betrayed their priciples in order to safeguard their own prosperity. In her song to King James's Army she addresses those who surrendered in order to protect their estates from forfeiture with the words:

Maclean, S. (1985)

"Sìlis of Keppoch" ann an Ris a' Bhruthaich: The Criticism and Prose Writings of Sorley MacLean, dd. 246-247

The famous elegy for Alasdair Dubh of Glengarry can be dated in 1721 or 1723. It contains only one difficulty in historical or biographical reference:

Of this 'somewhat obscure stanza', Professor Watson thinks the reference is to the 'abortive affair of Glenshiel in 1721 or 1723, in which Glengarry took no part'. I would suggest that it refers to the Pretender's sailing back to France in December 1715, Since Glengarry took no part in the Glenshiel rising, how was he left 'air faontradh' by it, and how did his heart 'break with sorrow' because of it? Of course, Glenshiel was only two or four years before his death, whereas 1715 was six or eight years, and it is possible that Professor Watson was right. I do not, however, think that Sìlis would commend Glengarry for his non-participation in Glenshiel. It is possible there is a kind of double entendre in the image of the ship going out and coming in, one literal and the other figurative. If this is so, it is all the more likely that the verse refers to the Old Pretender's coming from France and sailing back, having accomplished nothing.

There is no way of dating the famous elegy for Lachlan Mackinnon, the blind harper, except that it was made some years or decades after her marriage. Whatever the date, the poem is, apart from its exquisite artistic quality, one of the most interesting poems of the period. It consists of nine octaves, the second of which makes it certain that Sìlis was married some time before 1695. If she was born in 1660, she may very well have been married 15 years before 1695. She says that when Lachlan came to her on his visits, their talk would begin with Sleat, with Donald and Margaret. It would be like Sìlis to begin with the 'head' of the Clan Donald, even if Lachlan were not a Skyeman. The Donald must be the third baronet of Sleat, and the Margaret must be his wife, the daughter of the Earl of Morton. This Donald, father of Dòmhnall a' Chogaidh, died in 1695. Sìlis mentions the MacDonalds lands that Lachlan visited: Sleat, Moidart, Knoydart, Morar, Glengarry and Glencoe; and Mór and Seònaid, who lived in Argyll. Clan Donald says that one of Sìle's sisters was married to Macintyre of Glen Noe; and another, as far as I remember, to MacLean of Ardgour.

Thomson, D. S. (1974)

An Introduction to Gaelic Poetry, dd. 135-136

Her surviving work shows a good variety of interests and styles. There is a strong political interest, a somewhat more subdued clan interest, a moral vein and a (late?) religious vein. She uses folk styles at times, but composes also formal laments. There is some structural firmness in her poems, and like Iain Lom she can conduct sinuous poetical argument. There is not much sign of humour, and not very much in the way of highly memorable lines or passages. One can sense her secure, cultured background, and see the evidence of a long literary tradition behind her work.