Kellyburn Braes by Robert Burns

Leggi in italiano

The theme of the Devil who tries to take a sinner to hell is a classic of the Celtic tales. In the ballad “Devil and the Farmer’s wife” dating back to 1600, the woman deserves the hell for her spiteful and disrespectful behavior; but the devil himself cannot tame her, indeed he risks losing his tranquility. 

LITTLE DEVILS

The ballad has spread widely in England, Ireland, Scotland and America with fairly similar text versions, albeit with melodies declined in a different way.
THE DEVIL AND THE PLOWMAN (english version)
Lilli burlero
THE FARMER’S CURSED WIFE (american version)
KILLYBURN BRAE (Irish version)
KELLYBURN BRAES (Scottish version)

Robert Burns rewrote the song from a traditional local version, but also published another version more similar to the one released in Ireland.

FIRST VERSION

Robert Burns in “Scots Musical Museum” 1792 No. 379: There lived a carl in Kelly burn braes. Tune: Kellyburn braes
Alan Reid from The Complete Songs of Robert Burns Vol I, 2009


There lived a carl  (1)
in Kellyburn Braes,
Hey and the rue
grows bonie wi’ thyme; (2)

And he had a wife
was the plague o’ his days,
And the thyme it is wither’d
and rue is in prime

Ae day as the carl
gaed up the lang-glen,
He met with the devil,
says, how do you fen?
I’ve got a bad wife, Sir,
that’s a’ my complaint,
For, savin your presence,
to her ye’re a saint,
It’s neither your stot
nor your staig I shall crave,
But gie me your wife, man,
for her I must have,
O, welcome most kindly!
the blythe carl said;
But if ye can match her –
ye’re waur than ye’re ca’d,
The devil has got
the auld wife on his back,
And like a poor pedlar
he’s carried his pack,
He’s carried her hame
to his ain hallan-door, (3)
Syne bade her gae in,
for a bitch, and a whore,
Then straight he makes fifty,
the pick o’ his band,
Turn out on her guard
in the clap of a hand,
The carlin gaed thro’ them
like ony wud bear,
Whae’er she gat hands on,
cam near her nae mair,
A reekit wee devil
looks over the wa’,
O help, Master, help!
or she’ll ruin us a’,
The devil he swore
by the edge o’ his knife, (4)
He pitied the man
that was ty’d to a wife,
The Devil he swore
by the kirk and the bell,
He was not in wedlock, thank Heav’n,
but in hell,
Then Satan has travell’d
again wi’ his pack,
And to her auld husband
he’s carried her back,
I hae been a Devil
the feck  o’ my life,
But ne’er was in hell
till I met wi’ a wife
NOTE
1) Carl: old fellow
2)it is a typical nursery rhyme on the magic herbs present in many ballads The officinal herbs in the medieval garden were the main ingredients of the filters of love or amulets cast out devils to undo curses and evil spells.
3) hallan: Partition between cottage door and fireplace
4) For the Celts iron is the blood of the earth and has always had a magical meaning, a metal brings good fortune for its strength; the power of iron or its magic was such that it succeeded in destroying evil or distancing spirits and making them return to their world.

SECOND VERSION

Robert Burns in “Scots Musical Museum” 1796, No. 448: Kellyburnbraes. Tune: The lass that made the bed to me

Stewart Cameron live


Thair wis an auld carle on Kellyburn Braes (ritefal, ritefal, tittie fal day)
Thair wis an auld carle on Kellyburn Braes
He mairriet a wife an he rued the day (wi ma rite falal, tittie falal, ritefal, ritefal, tittie falay)
Ae day the auld fairmer wis haudin the plou
Whan up jumps Auld Nick(1) an says “Hou dae ye do?”
Says the Deil tae the fairmer, “A’ve come for yer wife,
For A hear she’s the bane an the curse o yer life”
At this the auld fairmer he dances a reel
Cryin, “Tak her, O, tak her, O, tak her tae Hell”
The Deil he humphit her up oan his back/ Whan thae landit in Hell, lat her doun wi a crack
Thair wis seiven wee deivils wis hingin in chains
She picked up a stick an she scattert thair brains
The ither wee deivils aa stertit tae bawl
“O, tak her back, daddie, she’ll murder us aa”
Sae the Deil he humphs her again oan his back
Whan he got tae the tap, flung her doun wi a crack
He says, “A’ve been the Deivil for maist o ma life
But a ne’er wis in Hell til A met wi yer wife”
Nou, it’s true at the weemin is worse than the men
For thae gang doun tae Hell an get flung out again!
NOTE
1) nickname for the devil
2) typical dance tune in 4/4 of the Celtic areaa
3) Evidently hell is under the ground and to return to the surface the devil must go up

LINK
http://wikilivres.ca/wiki/Songs_of_Robert_Burns/
https://wikilivres.ca/wiki/Songs_of_Robert_Burns/There_lived_a_carl_in_Kelly_burn_braes
http://thesession.org/tunes/1200
http://www.dickgaughan.co.uk/songs/texts/kellybur.html

Kellyburn Braes

Read the post in English

Il tema del Diavolo che cerca di portarsi all’inferno il peccatore, è un classico dei racconti popolari di area celtica. Nella ballata risalente al 1600 è la donna, per il suo comportamento bisbetico e irrispettoso, a meritarsi l’inferno; ma lo stesso diavolo non riesce a domarla, anzi rischia di perdere la sua tranquillità.

LITTLE DEVILS

La ballata ha avuto una grande diffusione in Inghilterra, Irlanda, Scozia e America con versioni testuali abbastanza simili seppure con melodie declinate in modo diverso.
THE DEVIL AND THE PLOWMAN (english version)
Lilli burlero
THE FARMER’S CURSED WIFE (american version)
KILLYBURN BRAE (Irish version)
KELLYBURN BRAES (Scottish version)

La versione di Robert Burns

Robert Burns ha riscritto il brano da una versione tradizionale locale, ma ha pubblicato anche un’altra versione più simile a quella diffusa in Irlanda.

PRIMA VERSIONE

Robert Burns in “Scots Musical Museum” 1792 No. 379, titolo: There lived a carl in Kelly burn braes. Melodia: Kellyburn braes
Alan Reid in The Complete Songs of Robert Burns Vol I, 2009


There lived a carl  (1)
in Kellyburn Braes,
Hey and the rue
grows bonie wi’ thyme; (2)

And he had a wife
was the plague o’ his days,
And the thyme it is wither’d
and rue is in prime

Ae day as the carl
gaed up the lang-glen,
He met with the devil,
says, how do you fen?
I’ve got a bad wife, Sir,
that’s a’ my complaint,
For, savin your presence,
to her ye’re a saint,
It’s neither your stot
nor your staig I shall crave,
But gie me your wife, man,
for her I must have,
O, welcome most kindly!
the blythe carl said;
But if ye can match her –
ye’re waur than ye’re ca’d,
The devil has got
the auld wife on his back,
And like a poor pedlar
he’s carried his pack,
He’s carried her hame
to his ain hallan-door, (3)
Syne bade her gae in,
for a bitch, and a whore,
Then straight he makes fifty,
the pick o’ his band,
Turn out on her guard
in the clap of a hand,
The carlin gaed thro’ them
like ony wud bear,
Whae’er she gat hands on,
cam near her nae mair,
A reekit wee devil
looks over the wa’,
O help, Master, help!
or she’ll ruin us a’,
The devil he swore
by the edge o’ his knife, (4)
He pitied the man
that was ty’d to a wife,
The Devil he swore
by the kirk and the bell,
He was not in wedlock, thank Heav’n,
but in hell,
Then Satan has travell’d
again wi’ his pack,
And to her auld husband
he’s carried her back,
I hae been a Devil
the feck  o’ my life,
But ne’er was in hell
till I met wi’ a wife
Traduzione italiano di  Cattia Salto
Viveva un vecchietto 
a Kellyburn Braes,
fieno e ruta
crescono belli con il timo 

e aveva una moglie
che era la rovina della sua vita.
e il timo è appassito
e la ruta è in sboccio
Un giorno, mentre il vecchietto
andava per la valle,
ha incontrato il diavolo,
e gli dice: “Come và? 
“Ho una cattiva moglie, signore,
che è tutta la mia disperazione,
e in confronto a lei,
voi siete un santo.”
“Non voglio né il tuo vitello,
né il tuo puledro,
ma dammi tua moglie, uomo,
è lei che devo avere”
“O, siate il benvenuto! –
tutto contento il vecchietto disse-
ma se non riuscirete a domarla,
di sicuro sarete fritto”.
Il diavolo si carica
la vecchia moglie sulla schiena,
come un povero viandante
con il suo fagotto,
se la porta
al cancello di casa.
poi le ordina “Entra,
porca puttana”.
Allora fece comparire una cinquantina
tra i migliori della sua combriccola
per la sua sorveglianza
con un battito di mani  .
La vecchia moglie si getta tra loro
come un orso impazzito,
chiunque le arrivasse tra le mani ,
non le andava più vicino!
Un diavoletto scuro
guarda oltre il muro,
“O aiuto, Padrone, aiuto!
o lei sarà la nostra rovina!”
Il diavolo ha giurato
sulla lama del suo coltello
di compatire l’uomo
che è stato legato a una moglie.
Il diavolo ha giurato
sulla chiesa e la campana,  
di non essere in un  matrimonio,
grazie al Cielo, ma all’inferno.
Poi Satana ha riportato
indietro il suo fagotto,
al vecchio marito
l’ha restituita!
“Sono stato un diavolo
per la maggior parte del tempo,
ma non sono mai stato all’inferno
finchè non ho incontrato tua moglie”

NOTE
1) Carl: old fellow
2) fieno e ruta crescono belli con il timo .. e il timo è appassito e la ruta è in sboccio: è una tipica filastrocca sulle erbe magiche presente in molte ballate Le erbe officinali immancabili nell’orto dei Semplici, erano gli ingredienti principali dei filtri d’amore o degli amuleti scaccia diavoli in grado di annullare le maledizioni e gli incantesimi malvagi.
3) hallan: Partition between cottage door and fireplace
4) Per i Celti il ferro è il sangue della terra ed ha sempre avuto un significato magico, un metallo porta fortuna, perchè la forza del ferro poteva contrastava gli spiriti che volevano fare del male; il potere del ferro o la sua magia era tale che riusciva a distruggere il male o allontanava gli spiriti e li faceva ritornare nel loro mondo.

SECONDA VERSIONE

Robert Burns in “Scots Musical Museum” 1796, No. 448, titolo: Kellyburnbraes. Melodia: The lass that made the bed to me

Stewart Cameron live


Thair wis an auld carle on Kellyburn Braes (ritefal, ritefal, tittie fal day)
Thair wis an auld carle on Kellyburn Braes
He mairriet a wife an he rued the day (wi ma rite falal, tittie falal, ritefal, ritefal, tittie falay)
Ae day the auld fairmer wis haudin the plou
Whan up jumps Auld Nick(1) an says “Hou dae ye do?”
Says the Deil tae the fairmer, “A’ve come for yer wife,
For A hear she’s the bane an the curse o yer life”
At this the auld fairmer he dances a reel
Cryin, “Tak her, O, tak her, O, tak her tae Hell”
The Deil he humphit her up oan his back/ Whan thae landit in Hell, lat her doun wi a crack
Thair wis seiven wee deivils wis hingin in chains
She picked up a stick an she scattert thair brains
The ither wee deivils aa stertit tae bawl
“O, tak her back, daddie, she’ll murder us aa”
Sae the Deil he humphs her again oan his back
Whan he got tae the tap, flung her doun wi a crack
He says, “A’ve been the Deivil for maist o ma life
But a ne’er wis in Hell til A met wi yer wife”
Nou, it’s true at the weemin is worse than the men
For thae gang doun tae Hell an get flung out again!
Traduzione italiano di Cattia Salto
C’era un vecchietto a Kellyburn Braes
(ritefal, ritefal, tittie fal day)
C’era un vecchietto a Kellyburn Braes
che si era sposato e la moglie comandava la sua vita.
(wi ma rite falal, tittie falal, ritefal, ritefal, tittie falay)
Un giorno il vecchio contadino stava tirando l’aratro,
che salta fuori in Vecchio Nick (1) e dice “Come stai?
Dice il Diavolo al Contadino: “Sono venuto per tua moglie
perchè ho saputo che lei è la rovina e la maledizione della tua vita!”
Così il vecchio contadino si mette a ballare un reel(2)
gridando” Prendila, prendila e portala all’Inferno!
Il diavolo se la carica sulla schiena
e quando atterrano all’Inferno la butta giù con un botto.
C’erano sette diavoletti che portavano le catene,
e lei prese un bastone e ne spappolò le cervella.
Gli altri diavoletti allora si misero a piangere
Riportala indietro, paparino, o ci ucciderà tutti!
Così il diavolo se la rimise sulla schiena.
Quando arrivò in cima (3) la gettò giù in un botto
Sono stato il Diavolo per la maggior parte del tempo,
ma non ero mai stato all’inferno fino a quando non ho conosciuto tua moglie!
Il che dimostra che le donne sono peggiori degli uomini,
quando vanno all’inferno sono buttate fuori di nuovo!

NOTE
1) nomignolo per il diavolo
2) tipica melodia da danza in 4/4 di area celtica
3) evidentemente l’inferno si trova sotto terra e per ritornare in superficie il diavolo deve salire

FONTI
http://wikilivres.ca/wiki/Songs_of_Robert_Burns/
There_lived_a_carl_in_Kelly_burn_braes

http://thesession.org/tunes/1200
http://www.dickgaughan.co.uk/songs/texts/kellybur.html

Killyburn brae, Jack O’Lantern in a dress

Leggi in italiano

The theme of the Devil who tries to take a sinner to hell is a classic of the Celtic tales. In the ballad “Devil and the Farmer’s wife” dating back to 1600, the woman deserves the hell for her spiteful and disrespectful behavior; but the devil himself cannot tame her, indeed he risks losing his tranquility. 

LITTLE DEVILS

The ballad has spread widely in England, Ireland, Scotland and America with fairly similar text versions, albeit with melodies declined in a different way.
THE DEVIL AND THE PLOWMAN (english version)
Lilli burlero
THE FARMER’S CURSED WIFE (american version)
KILLYBURN BRAE (Irish version)
KELLYBURN BRAES (Scottish version)

The song is also known as “The Women Are Worse Than The Men” already recorded by Tommy Mackem in “From The Archives”, but these hills do not exist in Ireland as the name is a distortion of the Scottish one. The hills of Kellyburn are mounds in Scotland that separate the northern part of Ayrshire from Renfrew.

The Dubliners in A Parcel of Rouges 1976

Tommy Makem

The Irish Rovers in “The Boys Come Rollin’ Home”.


There was an old man
in the Killieburn Brae
riful riful tidifol-dey
there was an old man
in the Killieburn Brae
had a curse of the wife
for the most of his days(1)
with me foldadle-dah diddyfol-dah
foldadle-dal-da-daldadle-day
One day as this man
he walked out in the glen
well he met the devil
says how are you
The devil he says
” I have come for your wife
for I hear she’s the curse
and the bane of your life”
So the devil he hoisted her
up on his back(2)
and away off to hell
with her he did whack
And when at last
they came to hell’s gate
well she lifted her stick
and she battered his pate
There were two little devils(3)
there tied up in chains
she lifted her stick
and she scattered their brains
There were two other devils
there roaring like bulls
well she lifted her stick
and she battered their skulls
There were two other devils
there playing at ball
well she lifted her stick
and she battered them all
So the devil he hoisted her
up on his back
they were seven years(5) coming
and days going back
And when they came back
to Killieburn Brae
well the devil he cried
and shouted hooray
Says he “my good man
here’s your wife safe and well
for the likes of herself
we would not have been hell”
Which proves that the women
are worse than the men
when they go to the hell
they’re thrown out again
NOTE
1) the sentence wants to underline the less than submissive character of the woman!
2) the image is supported by a vast iconography dating back to the Middle Ages of women straddling the devil
3) the image of the devils literally massacred by the woman is very funny, unfortunately the domestic reality was very different and in general it was women who suffered mistreatment and violences.
4) the game with the ball is a common place of classical ballads that even hell does not escape
5) presumably the old man during the umpteenth quarrel with his wife called the devil to take her to hell; the two must have entered into a seven-year agreement.

Jack O’Lantern in a dress

Leggi in italiano

The theme of the Devil who tries to take a sinner to hell is a classic of the Celtic tales, made exemplary in the story of Jack O’Lantern: on the night of Halloween the Devil walks the earth to reclaim the souls of men, but Stingy Jack was able to decive him with some tricks; and for two years in a row! At last the Devil, scornfully, gives up Jack’s soul for another ten years. When Jack dies for his too many vices both the doors of Paradise and those of hell are barred for him; forced to wander in the dark, he receives as a gift from the Devil a ember to illuminate his path; since then Jack continues to roam the Limbo in search of a dwelling he will never find, with his pumpkin-shaped lantern (which originally, before the story landed in America, was a turnip (see HOP TU NAA Isle of Manx)

Devil and the Farmer’s wife

In the ballad “Devil and the Farmer’s wife” (also known as the Little Devils-Jean Ritchie) dating back to 1600, the woman deserves the hell for her spiteful and disrespectful behavior; but the devil himself cannot tame her, indeed he risks losing his tranquility. The similarity between the two stories occurs in one of the nineteenth-century versions (Macmath Manuscript 1862 cf) in which the devil says referring to the woman: “O what to do with her I cane weel tell; she’s no fit for heaven, and she’ll no bide in hell! ” just like Jack who found both the Gate of Heaven and Hell to be closed.
The ballad is probably even older, and some scholars link it to Chaucer’s Tales of Canterbury (Waltz and Engle).

LITTLE DEVILS

The ballad has spread widely in England, Ireland, Scotland and America with fairly similar text versions, albeit with melodies declined in a different way.
THE DEVIL AND THE PLOWMAN (english version)
Lilli burlero
THE FARMER’S CURSED WIFE (american version)
KILLYBURN BRAE (Irish version)
KELLYBURN BRAES (Scottish version)

THE DEVIL AND THE PLOWMAN

The ballad appears in print in London in 1630 with the title “The Devill and the Scold” to the tune “The Seminary Priest” cf
Of this ballad there are two extant editions, the earlier being in the Roxburghe Collection. The second is in the Rawlinson Collection, No. 169, published by Coles, Vere, and other stationers– a trade edition, of the reign of Charles II. Mr. Payne Collier includes “The Devil and the Scold” in his volume of Eoxburghe Ballads, and says: “This is certainly an early ballad: the allusion, in the second room, to Tom Thumb and Robin Goodfellow (whose ‘Mad Pranks’ had been published before 1588) is highly curious, and one proof of its antiquity ..
The ballad is often printed in broadside throughout the eighteenth and nineteenth centuries and collected in two textual variants in “The English And Scottish Popular Ballads” (1882-1898) by Francis James Child  at number 278 with the title “The Farmer’s Curst Wife “.

The song was collected in 1903 by Henry Burstow, Sussex and published in The Penguin Book of English Folk Songs by Ralph Vaughan Williams and A.L. Lloyd (1959). Very similar to the text version reported by James Henry Dixon in “Ancient Poems, Ballads and Song” (1846) (Child # 278 version A cf).
Thus writes A.L. Lloyd in 1960 in the liner notes of “A Selection from the Penguin Book of English Folk Songs”, echoing the notes reported by Child himself: The tale of the shrewish wife who terrifies even the demons is ancient and widespread. The Hindus have it in a sixth century fable collection, the Panchatantra. It seems to have traveled westward by Persia, and to have spread to almost every European country. In the early versions, the farmer makes a pact with his wife in return for a pair of plow oxen. Vaughan Williams got the present ballad from the Horsham shoemaker and bell-ringer, Henry Burstow. Mr Burstow whistled the refrains that in our performance are played by the concertina. Whistling was a familiar way of calling up the Devil (hence the sailors who whistling may raise a storm). (from here)

The shrewish wife is taken back to her husband who believed he had succeeded in making fun of the devil! Given the subject is among the most popular ballads in medieval festivals and pirate gatherings !!

from Kellyburn Braes, Sorche Nic Leodhas, illustrated by Evaline Ness, 1968

A.L. Lloyd

Kim Lowings & The Greenwood from This Life, 2012


There was an old farmer in Sussex did dwell/ And he’d a bad wife as many knew well(1)
To me fal-de-ral little law-day.(2)
The Devil he came to the old man at plough,
Saying. ‘One of your family I must have now.
‘Now it isn’t for you nor yet for your son,
But that scolding old wife as you’ve got at home.’
Oh take her, oh take her with all of my heart,/ And I wish she and you may never more part.’
So the devil he took the old wife on his back(3),
And lugged her along like a pedlar’s pack./
He trudged along till he reached his front gate,
Says: ‘Here, take in an old   Sussex chap’s mate.
There was thirteen imps(4) all dancing in chains;
She up with her pattens and beat out their brains.
Two more little devils jumped over the wall,
Saying: ‘Turn her out, father, she’ll murder us all.’
So he bundled her up on his back again,/ And to her old husband he took her again.
I’ve been a tormentor the whole of my life,
But I was never tormented till I met your wife.’
And now to conclude and make an end,/ You see that the women is worse than the men,
If they got sent to Hell, they get kicked back again (5)

NOTE
1) the sentence wants to underline the less than submissive character of the woman!
2) Whistling was a way to summon the devil!
3) the image of women straddling the devil is supported by a vast iconography dating back to the Middle Ages
4) the image of the devils literally massacred by the woman is very funny, unfortunately the domestic reality was very different and in general it was women who suffered mistreatment and violence.
5)  Kim edited the final verse to show the strength of women:
And now to conclude and make an end
you see that us women are strong
even when we get sent to hell,
we come  straight back again

THE FARMER’S CURSED WIFE: american version

Here too we find an almost identical textual version declined however with bluegrass melodies. The ending is very hilarious and often without the moral: the old farmer, seeing his wife return, rejected by the devil himself, decides to run and never go home again!

Heather Dale from Perpetual Gift 2012.

Jean Ritchie, British Traditional Ballads in the Southern Mountains, Volume 2


Well there was an old man living up on the hill/ If he ain’t moved on, he’s a livin’ there still
CHORUS Hi diddle ai diddle hi fi, diddle ai diddle ai day
Now the Devil he came to him one day
said “One of your kin I’m gonna take away“/ He said “Oh please don’t take my only son/ There’s work on the farm that’s gotta be done.
Oh but you can have my nagging wife
I swear by God, she’s the curse of my life”
So they marched on down to the gates of hell/ He Said “Kick on the fire boys, we’ll roast her well”
Out came a little devil with a spit and chain
that she upped with her foot and knocked out his brain
Out came a dozen demons then a dozen more
But when she was done they was flat on the floor

So all those little demons went scrambling up the wall
saying “tale her back, daddy, she’ll murder us all
So the Farmer woke up and he looked out the crack/ and he saw that devil bringing her back!
He said:”Here’s your wife both sound and well/ if I kept her any longer she’d’ve tore up the hell
The old man jumped and he bit his tongue
then he ran for the hills in a flat out run
He was heard to yell, as he ran o’er the hill/ “if the devil won’t have her, ‘be damned if I will

LINK
https://mudcat.org/thread.cfm?threadid=17306

Souling songs

Leggi in italiano

Souling songs are the songs of begging that the poor (mostly children) sang going from house to house during the evenings between the end of October and the beginning of November in the event of the celebration of All Saints (All Hallows Day = All- Souls’ eve) and the Feast of the Dead.

The banquet of the dead

Halloween is a pale echo of Samahin (Samain or Samhain), which in Gaelic means “End of the Summer”, or the Celtic New Year, a magical night in which the gods were asked for protection againts the coming of Winter.
Formerly it was customary to move from house to house during the celebrations of All Saints’ Eve with a small procession of masked people led by the “Ambassador of the dead” to ask for the donation of ritual food for the banquet of the Dead in which the whole community would have celebrated the anniversary.
In the Middle Ages in Ireland and Great Britain there was the custom of preparing a soul cake of round form as an offering to satiate the hunger of the dead who were believed to visit the living during Samain: to keep them good throughout the coming year, the housewives prepared some special sweets, which soon ended up satisfying the much more earthy and voracious appetites of the poor! These cakes were distributed in charity or given to the Soulers.
Even in certain regions of Italy (Emilia Romagna, or Sardinia and more generally in southern Italy) the practice of food begging was widespread among the poor and children: “Ceci cotti per l’anima dei morti” [“Chickpeas cooked for the soul of the dead“], they sang armed of spoons and bowls, in front of the gentry’ s houses.

SOULING

The tradition of “a-souling” or “a-soalin” is identical to wassailing and Christmas caroling (see), but here in exchange for cakes, often called Soul, the beggars promised to recite prayers for the dead. More prosaically it was said that every cake eaten represented a soul freed from Purgatory. The custom is often seen as the origin of the modern “Trick or Treating” of children masked by ghosts or monsters that play at the doors of the houses asking for “some good thing to eat”.
Already at the end of the 1800s the tradition of the soul cake had faded, and where the begging tradition still survived, the children were given apples or coins: in general the children did their begging by day.
CHORUS
Soul! soul! for a soul-cake;
Pray, good mistress, for a soul-cake.
One for Peter, two for Paul,
Three for Them who made us all.
Soul! soul! for an apple or two;
If you’ve got no apples, pears will do.
Up with your kettle, and down with your pan;
Give me a good big one, and I’ll be gone.
An apple or pear, a plum or a cherry,
Is a very good thing to make us merry.

Another Soulers song was transcribed by John Brand in his “Popular Antiquities” (1777) taken directly from the lips of “the merry pack, who sing from door to door, on the eve of All – Soul’s Day, in Cheshire
Chorus
“Soul day, soul day, Saul
One for Peter, two for Paul,
Three for Him who made us all.
Put your hand in your pocket and pull out your keys,
Go down into the cellar, bring up what you please;
A glass of your wine, or a cup of your beer,
And we’ll never come souling till this time next year.
We are a pack of merry boys, all in a mind,
We are come a souling for what we can find,
Soul, soul, sole of my shoe,
If you have no apples, money will do;
Up with your kettle and down with your pan,
Give us an answer and let us be gone
An apple, a pear, a plum or a cherry,
Any good thing that will make us all merry.

SOUL CAKE

The song “Soul cake” also known as “A Soalin”, “Souling Song Cheshire” “Hey ho, nobody home” was published (text and melody) by Lucy Broadwood and JA Fuller Maitland in the English County Songs in 1893, reporting the tradition still alive in Cheshire and Shropshire (West Midlands) of “souling”: the transcription was a few years earlier at the hands of Rev. MP Holme of Tattenhall, Cheshire as he had heard it from a local school girl. In 1963, the American folk group Peter, Paul and Mary recorded a version of this traditional song, entitled “A ‘Soalin”, reworking the song dating back to the Elizabethan era “Hey ho, nobody home”.
During the reign of Queen Elizabeth, depending to the county or local customs, the quest was made by the poorest on the evening of Saint Stephen or Christmas Eve and it was a bad omen to send the beggars away empty-handed.

HEY HO, NOBODY HOME

Sung As a Round (XVI sec)
Voice 1: Hey, ho, nobody home;
Voice 1: Meat nor drink nor money have I none,
Voice 2 : Hey, ho, nobody home;
Voice 1: Yet will I be merry.
Voice 2: Meat nor drink nor money have I none,
Voice 3: Hey, ho, nobody home;
Voice 1: Hey, ho, nobody home;
Voice 2: Yet wiIll be merry.
Voice 3: Meat nor drink nor money have I none,
Voice 1: Meat nor drink nor money have I none,
Voice 2: Yet will I be merry.
Voice 1: Yet will be merry.

Peter, Paul & Mary from “A Holiday Celebration” 1988

Sting live (from II to IV)

Sting in If on a Winter’s Night 2009

Lothlorien

I
Hey ho, nobody home,
meat nor drink nor money have I none
Yet shall we be merry,
hey ho, nobody home
Meat nor drink nor money have I none
Yet shall we be merry,
Hey ho, nobody home
CHORUS
A soul, a soul cake,
please good missus a soul cake.
An apple, a pear, a plum, a cherry,
any good thing to make us all merry,

A soul, a soul cake,
please good missus a soul cake.
One for Peter, two for Paul, (1)
three for Him who made us all.
II
God bless the master of this house,
and the mistress also.
And all the little children
that round your table grow.
The cattle in your stable
and the dog by your front door. (2)
And all that dwell within your gates
we wish you ten times more.
III
Go down into the cellar
and see what you can find.
If the barrels are not empty
we hope you will be kind.
We hope you will be kind
with your apple and strawber’ (3)
For we’ll come no more a ‘soalin’
till Xmas time next year.
IV (4)
The streets are very dirty,
my shoes are very thin
I have a little pocket
to put a penny in
If you haven’t got a penny,
a ha’ penny will do
If you haven’t got a ha’ penny
then God bless you
V(5)
Now to the Lord sing praises all you within this place
And with true love and brotherhood
each other now embrace
This holy tide of Christmas,
of beauty and of grace
Oh tidings of comfort and joy
(FOOTNOTE)
1) Peter and Paul are the saints of the Roman Church: Peter, the apostle indicated in the Gospels as the canonical stone on which the Church is founded and Paul, who spread Catholicism among the Gentiles
2) or “Likewise young men and maidens, Your cattle and your store”
3) strong beer=strawber: Sitng sings “pear”
4) a typical wassail stanza
5) the verse added by Paul Stookey comes from Carol “God rest you Merry Gentlemen” (whose melody intertwines with that of Soul Cake) see

Kristen Lawrence from A broom with a view 2014: All Hallows Version- Kristen writes and arranges music she calls her Halloween Carols

Chorus 
Soul Day, Soul Day, we be come a’ souling.
Pray, good people, remember the poor,
And give us a soul cake.
Soul, soul, a soul cake!
Please, good lady, a soul cake!
An apple, a pear, a plum or a cherry,
Any good thing to make us merry.
Soul, soul, a soul cake!
Pray we for a soul cake!
One for Peter, two for Paul,
And three for Him who made us all.
I
God bless the master of this house,
the mistress also,
And all the little children
who ‘round your table grow.
Likewise, your men and maidens,
your cattle and your store,
And all that dwell within your gates,
we wish you ten times more.
I bridge
Souling Day,
so we pray for the souls departed.
Pray give us a cake,
For we are all poor people
well-known to you before.
II bridge
Little Jack, Jack sat on his gate,
Crying for butter, to butter his cake.
Up with your kettles, and down with your pans,
Give us our souling, and we’ll be gone.
II
Down into the cellar,
and see what you can find.
If your barrels are not empty,
we hope you will prove kind.
We hope you will prove kind
with your apples and your grain,
And we’ll come no more a’ souling
‘til this month comes again.
III
Soul Day, Soul Day, we have been praying
For the souls departed, so pray good people, give us a cake.
So give us a cake for charity’s sake
And our blessing we’ll leave at your door.

Samhain version

Chorus
Soul, soul, soul cakes!
We come hunting for soul cakes!
We are dead, but like we said,
On this night we’ll take your bread
And while you’re out of your abode,
Lighting fires of Samhain old,
Think of us, out of body
As we are, you, too, shall be.
I
Samhain Night, at long last,
We parade from ages past
A journey from the Otherworld
Oh, the hairs that we have curled!
CHORUS
II
Winter’s Eve surrounds us,
Its open portal astounds us.
We creep into the living sphere,
And see where memories summon here.
III
Find us in this coldness,
Visiting with much boldness.
Share your food; we’ll share our power
To discern a future hour.
IV
Summer’s End, Summer’s End
Will the sun return, vital warmth to send?
Summer’s End, Summer’s End
Darkness lengthens in its stride
across the sleeping land.
V
Little Jack, Jack sat on his gate,
Offering goblins and demons his cake.
Up with the chill and down with the sun,
Waning and waning, the Dark Half’s begun.
VI
All this night as boundaries untie,
Visitors friendly and frightful stop by.
Up with your mask and down with your feet,
Marching and marching to lead out the fleet.
VII
How about this dwelling?
Its offerings are compelling,
With drinks and cakes and porridge,
And cherries and berries from storage.
VIII
Rattles at your door!
Don’t be scared, but give us some more!
A banshee (1) or a fershee (2) might delight
by new firelight.
CHORUS

NOTE
1) “woman of the fairies”
2) Fer-side [Fershee], a male fairy

Some recipes

With the name of Soul Cake we indicate many variations of traditional sweets from sweet bun to dried fruit cake.

Parkin cakeSoul-mass Cake
http://oakden.co.uk/harcake-soul-mass-cake/
http://oakden.co.uk/yorkshire-parkin/

In Italy the tradition is mainly based on biscuits vaguely reminiscent of the bones of the dead or the fingers of hands. In Piedmont they are the “ossa d’mort”, a base of almonds, but they can also be a variant of offelle with dried figs, almonds and sultanas (Lombardy and Tuscany) or in the form of horses (Trentino Alto Adige).
FAVE E OSSA D’MORT:
http://www.lericettedellavale.com/biscotti-ossa-di-morto-1657.html
http://cookingbreakdown.blogspot.it/2011/10/ognissanti-e-il-nostro-halloween-fave.html
PANE DEI MORTI:
http://www.ricettemania.it/ricetta-pane-dei-morti-443.html

LINK
http://ontanomagico.altervista.org/samain.htm
http://www.taccuinistorici.it/ita/news/antica/
http://www.taccuinistorici.it/ita/news/moderna/feste-e-tradizioni/santi-e-morti-e-le-fave-nere.htmlusi—curiosita/Cibo-per-i-morti.html

http://www.joe-offer.com/folkinfo/songs/216.html
http://www.mayflowerchorus.org/pdf/A%20Soalin.pdf
http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/hey_ho_nobody_home.htm
http://paulbommer.blogspot.it/2010/12/advent-calendar-22nd-mari-lwyd.html
http://www.museumwales.ac.uk/cy/279/

Buain a’ Choirce (Reaping Oats)

Buain A’Choirce (Reaping Oats) is a Scottish Gaelic song which probably originated as a women’s work song in the fields of oats in the Highlands.
Buain A’Choirce (mietendo l’avena) è una canzone in gaelico scozzese che probabilmente ha avuto origine come canzone di lavoro femminile nei campi di avena nelle Highlands

Karen Matheson in Fused 2000,
a first example of celtic-fusion in from the multi-instrumentalist Michael McGoldrickun
[primo esempio di celtic-fusion nel cd solista del polistrumentista Michael McGoldrick]

Sìleas in Play On Light, 1999

Cassie and Maggie MacDonald in Sterling Road 2014

Seven Nations featuring Will Macmorran in Kirk McLeod: KIR 2016

Alasdair Gillies in Airgiod Is Or • Silver And Gold, 2012

I
Latha dhomh ‘s mi buain a’choirce
Gheàrr mi beum ‘s cha robh e socair
Sèist:
Ho ro sna hoir ri ri o
Hi ri ri ri ho ro eile
Ho ro sna hoir ri ri o

II
Gheàrr mi beum ‘s cha robh e socair
Ghèarr mi mo ghlùn is leig mi osna
III
Shuidh mi air uachdair a’ghoirtein
Dh’fheuch am faicinn fear do choltais
IV
Dh’fheuch am faicinn fear do choltais
Fear ‘chùil duinn ‘s nan gruaidhean dosrach
V
Fhaoilinn bhig a shnamhas an caolas
Beir mo shoraidh bhuam gu’m leannain

English Translation:
One day as I was reaping oats
I made a cut (1) that wasn’t easy
I cut my knee
and gave a moan
I sat at the top of the field
In the hope of seeing a man like you
A brown-haired man with a fair face
Little seagull who swims the straights (2)
Bear my greeting to my sweetheart

Traduzione italiano Cattia Salto
Un giorno mentre raccoglievo avena,
una mietitura assai faticosa,
mi feci un taglio al ginocchio
e cacciai un lamento.
Mi sedetti all’inizio del campo
nella speranza di vedere un uomo come te
Un uomo dai capelli castani con una faccia bella
Piccolo gabbiano che plani sui canali
Porta il mio saluto al mio innamorato

NOTE
1) letteralmente “Ho fatto un taglio non facile”
2) “who swims the straits”

Islay Reaper’s Song

Orally collected from Miss MacTavish, Islay ; translated and arr. for voice and piano by Marjory Kennedy-Fraser. Her daughter Patuffa sang it by playing her Irish harp in gut strings and recorded it in a 78 rpm “Mull Fisher’s Love Song / Islay Reaper’s Song” in 1929
Nelle note dello spartito “Islay Reaper’s Sogng”: raccolto da MacTavish di Islay (Isole Ebridi), tradotto e arrangiato per voce e pianoforte da Marjory Kennedy-Fraser. La figlia Patuffa la cantò suonando la sua arpa irlandese in corde di budello e la incise in un 78 giri Mull Fisher’s Love Song / Islay Reaper’s Song nel 1929

Brocelïande in Barley Rigs 2004

English version *
I
.. in the cornfield, I’ll a-reapin’
cutting my sheaves that it wasn’t easy
Chorus
Ho ro sna hoir ri ri o
Hi ri ri ri ho ro eile
Ho ro sna hoir ri ri o

II
Upon the hillside I cut my sheaves
but cutting my knee I was howling inside
III
Upon the hillside the lonly hillside
looking to see my lover was coming
IV
Looking to see if my lover was coming
A piercing boy with a curling ringlets
V
Snow white seagull, little white seagull
carrying my greetings across to my true love

Traduzione italiano Cattia Salto
I
.. nel campo alla mietitura
tagliavo le mie fascine e non era facile
Chorus
Ho ro sna hoir ri ri o
Hi ri ri ri ho ro eile
Ho ro sna hoir ri ri o

II
Sulla collina tagliavo le mie fascine
ma mi ferii il ginocchio e mi lamentai
III
Sulla collina, sulla collina solitaria
per vedere se arrivava il mio amore
III
Per vedere se arrivava il mio amore
un ragazzo fiero e ricciolino
IV
Gabbiano bianco neve, piccolo gabbiano bianco
porta i miei saluti verso il mio vero amore

NOTE
* written down by ear

LINK
https://electricscotland.com/music/songsofthebrides.pdf
http://songbat.com/archive/songs/scots-gaelic-and-manx/buain-a-choirce
http://www.tobarandualchais.co.uk/gd/fullrecord/86373/8
http://www.celticlyricscorner.net/mackenziefiona/buain.htm
http://www.celticlyricscorner.net/mcgoldrick/buain.htm
http://www.celticlyricscorner.net/sileas/buain.htm

Niiv by Omnia

A reflection of the Omnia on the theme “Dame Sans Merci” reworked in the nineteenth century by John Keats: the fairy, after having seduced a mortal, abandons him to return to Fairies. The lover will torment himself for the love lost until his death.
Here is Steve’s explanation: This is a song about somebody from the World of Fairies, beautiful and perfect and somebody from the Land of Humans: a shit; and the two can never meet
Una riflessione degli Omnia sul tema “Dame Sans Merci” rielaborato nell’Ottocento da John Keats: la fata, dopo aver sedotto un mortale lo abbandona per ritornare nel suo mondo. L’amante si tormenterà per l’amore perduto fino alla morte. Ecco come Steve introduce la canzone: “questa è la canzone su una creatura del Mondo delle Fate, bella e perfetta e qualcuno della Terra degli Uomini: una merda; e i due non potranno mai incontrarsi!”

Omnia in Live on Earth 2002 
The fairy speaks with a seductive tongue and the story is told in Finnish. At the second repetition the song becomes polyphonic with the second male voice, (that is the human creature – the errant knight) who sings in English proclaiming his love and his sorrow for having been abandoned.
La fata parla con lingua seducente e la storia è raccontata in finlandese. Alla seconda ripetizione il canto diventa polifonico con la seconda voce maschile (cioè la creatura umana-il cavaliere errante) che canta in inglese e proclama il suo amore e il suo dolore per essere stato abbandonato.


(Spoken)
“Oli kaksi kaunokaista
pienen piilovaaran (1) päässä”
I
“Koreassa koivikossa
Heleässä heinikossa
Koreassa koivikossa
Heleässä heinikossa
Kotihinsa kumpainenkin
Kahen rakkahan välillä
Kotihinsa kumpainenkin
Kahen rakkahan välillä
Jo meistä ero tulevi
poieslähtö lohtullinen
Jo meistä ero tulevi
poieslähtö lohtullinen”
II (with two voices from the second repetition)
(Jenny)
Jo meistä ero tulevi
poieslähtö lohtullinen
Jo meistä ero tulevi
poieslähtö lohtullinen”
(Steve Sic)
I don’t know just what you’re singing
do you love me, do you care?
mesmerized within your eyes
yet something tells me to beware
I don’t know anything
your song it drives me to despair
when I turn around to hold you
I’m alone, you’re not there

Traduzione italiano Cattia Salto
Parlato
C’erano due bionde creature
nella collina delle fate
I
In un bellissimo bosco di betulle
sulla morbida erba
In un bellissimo bosco di betulle
sulla morbida erba
presto dovremo separarci
con cuore malinconico
presto dovremo separarci
con cuore malinconico
per prendere la nostra strada
tra due amori
per prendere la nostra strada
tra due amori
II (a due voci dalla seconda ripetizione)
(Jenny)
per prendere la nostra strada
tre due amori
per prendere la nostra strada
tre due amori
(Steve Sic)
Proprio non capisco ciò che canti,
mi ami? Ti importa di me?
Ipnotizzato dai tuoi occhi
anche se qualcosa mi dice di stare attento.
Niente conosco
il tuo canto mi porta alla disperazione
quando mi giro per abbracciarti
sono solo, e tu non sei qui

FOODNOTE
English translation (from web)
There were two fair ones
sheltered by pillovaara hill
I
in a beautiful birch wood
in the soft grass
in a beautiful birch wood
in the soft grass
Soon we’ll have to part
hearts full of sweet sorrow
Soon we’ll have to part
hearts full of sweet sorrow
to go our seperate ways
between two loves
to go our seperate ways
between two loves
1) collinetta tondeggiante nei dintorni di Kuhmo nella regione Kainuu, Finlandia

Niiv’s Cauldron in Reflexions 2018
In the remix the text has been modified as well as the whole arrangement to follow the lines of “Wytches brew”, a song already published in World of Omnia, 2009.
Nel remix il testo è stato modificato così come tutto l’arrangiamento per seguire la falsariga di “Wytches brew”, brano già pubblicato in World of Omnia, 2009.


(Spoken)
“Oli kaksi kaunokaista
pienen piilovaaran (1) päässä”
I x2
Double double toil and trouble
Fire burn and cauldron bubble (2)
Double double trouble you
Bubble in a witches’ brew
II
Double double toil and trouble
Like a hell-broth boil and bubble
Double double trouble you
Bubble in a witches’ brew
chorus
Kara Kia Yekeh Yekeh
Djono Mako Yerua
III (x2)
“Koreassa koivikossa
Heleässä heinikossa
Koreassa koivikossa
Heleässä heinikossa
Kotihinsa kumpainenkin
Kahen rakkahan välillä
Kotihinsa kumpainenkin
Kahen rakkahan välillä
IV
Jo meistä ero tulevi
poieslähtö lohtullinen
Jo meistä ero tulevi
poieslähtö lohtullinen”
[chorus: Babu Bawu Kere Yekeh
Babu Bawu Yerua]
V
(Steve Sic)
I don’t know just what you’re singing
do you love me, do you care?
mesmerized within your eyes
yet something tells me to beware
I don’t know anything
your song it drives me to despair
when I turn around to hold you
I’m alone, you’re not there

Traduzione italiano Cattia Salto
Parlato
C’erano due bionde creature
nella collina delle fate
I
Su, raddoppiatevi, fatica e doglia
ardi tu, fuoco, calderon gorgoglia. (2)
Su, raddoppiatevi, fatica e doglia
gorgogliate nell’intruglio delle streghe
II
Su, raddoppiatevi, fatica e doglia
come brodaglia infernale bolli e gorgoglia. 
Su, raddoppiati guaio tu
gorgoglia nell’intruglio delle streghe
Coro
Kara Kia Yekeh Yekeh
Djono Mako Yerua
III
In un bellissimo bosco di betulle
sulla morbida erba
In un bellissimo bosco di betulle
sulla morbida erba
presto dovremo separarci
con cuore malinconico
presto dovremo separarci
con cuore malinconico
IV
per prendere la nostra strada
tra due amori
per prendere la nostra strada
tra due amori
[chorus: Babu Bawu Kere Yekeh
Babu Bawu Yerua]
V
(Steve Sic)
Proprio non capisco ciò che canti,
mi ami? Ti importa di me?
Ipnotizzato dai tuoi occhi
anche se qualcosa mi dice di stare attento.
Niente conosco
il tuo canto mi porta alla disperazione
quando mi giro per abbracciarti
sono solo, e tu non sei qui

FOODNOTE
2) from Macbeth the song of the witches [dal Macbeth la canzone delle streghe]

I don’t speak human -Omnia

The Omnia propose a Celtic folk of pagan inspiration (neoceltic paganfolk) active since 1996 with base in the Netherlands, compose music and texts sometimes reworking music and ballads of Celtic tradition
Gli Omnia propongono un folk celtico d’ispirazione pagana (paganfolk neoceltico) attivi dal 1996 con base nei Paesi Bassi, compongono musiche e testi a volte rielaborando musiche e ballate di tradizione celtica 
The Omnia have recreated a mix of the Celtic world and the Native American world to find the song of nature in their soul. The inspiration for the Celtic world comes from the spiritual-mythological themes they deal with in the texts, the use of the flute and the bardic harp, the remaking of some tracks in Gaelic or of the Irish-Breton tradition; the steampunk-tribal fashion instead imitates the Native Americans at the time of the Far West, the use of the drum and the voices sometimes recalls their shamanic chants.
Gli Omnia hanno ricreato un mix di mondo celtico e mondo nativo americano per ritrovare il canto della natura nella loro anima. L’ispirazione al mondo celtico viene per le tematiche spirituali-mitologiche che affrontano nei testi, all’uso del flauto e dell’arpa, al rifacimento di alcuni brani in gaelico o della tradizione irlandese-bretone; il look steampunk-tribale invece imita i nativi americani all’epoca del Far West, l’uso del tamburo e delle voci richiama a volte i loro canti sciamanici.

However, there is a vein of eclecticism (or madness) among the group, for which they are able to compose or rearrange rap, ragge and pop songs just to mention a couple of genres, with a spirit open to play and experimentation. Thus the magical couple Steve Sic and Jenny pulls flashes of medieval music (the hurdy-gurdy and a few words in Latin) from the top hat, a bit of world music (digeridoo and percussion, shamanic chants and mantras) and a lot of Celtic music (primitive)… 
C’è però una vena di eclettismo (o di follia) tra i componenti del gruppo per cui riescono a comporre o a riarrangiare brani rap, ragge e pop tanto per citare un paio di generi, con uno spirito aperto al gioco e alla sperimentazione. Così la magica coppia Steve Sic  e Jenny tira fuori dal cappello a cilindro sprazzi di musica medievale (la ghironda e qualche parola in latino), un po’ di world music per l’uso del digeridoo e delle percussioni, canti sciamanici e mantra e tanta musica celtica (primitiva)…


I
(Steve Sic)
Deep within the shadows,
I’m the hungry wolf you fear
But I can see that you’re
the only evil creature here
(Jenny)
Before you came
we lived in peace
but you brought us death
(together)
I sing my pain up to the moon
but it’s a waste of breath.
Chorus
Because I don’t speak human
You can’t understand a word I’m saying
I don’t speak human
You can’t understand a word I’m saying
II
(Steve Sic)
Upon a wing, a flying thing,
to you I seem so small
But I look down on what you’ve done,
my raven’s eye sees all
(Jenny)
You people like a cancer grow,
destroying all you see
(together)
and 7 billion (1) mutant monkeys (2),
won’t listen to me
III
(Steve Sic)
I won’t run this human race,
your war is not for me
I hear the voices from the wild (3),
they taught me how to see
(Jenny)
It’s us who are the strangers here
and we don’t own the land
(together)
My words they fall upon deaf ears,
cause no-one understands
IV
(Steve Sic)
Now you tell me that i’m wrong
and animals don’t feel
you say the earth is not alive
and only we are real
(Jenny)
You try to tell me to behave,
that I must act like you
(together)
But I just stick my fingers in my ears
and say “Fuck you!”
Traduzione italiano Cattia Salto
I
(Steve Sic)
Nel bosco più oscuro
sono il lupo affamato di cui aver paura,
ma capisco che sei tu
la sola creatura malvagia qui;
(Steve Sic)
Prima del vostro arrivo
eravamo in pace,
ma voi ci avete portato morte!
(insieme)
Canto il mio dolore alla luna
eppure è fiato sprecato!
Coro
Perchè non parlo umanese
e voi non capite una parola di quello che dico
Perchè non parlo umanese
e voi non capite una parola di quello che dico
II
(Steve Sic)
Sull’ala in volo,
a voi sembro tanto piccolo
Ma guardo in basso a ciò che avete fatto,
il mio occhio di corvo vede ogni cosa
(Jenny)
Voi gente crescete come un cancro,
distruggete tutto quello che vedete
(insieme)
e 7 bilioni di scimmie mutanti
non mi ascolteranno
III
(Steve Sic)
Non farò a gara con gli umani,
la vostra guerra non fa per me
ascolto le voci dal bosco,
mi hanno insegnato a vedere
(Jenny)
Siamo noi gli estranei qui
e la terra non ci appartiene
(Insieme)
Parlo ai sordi
perchè nessuno capisce
IV
(Steve Sic)
Così mi dici che sbaglio
e gli animali non sentono
dici che la terra non è viva
e solo noi siamo reali.
(Jenny)
Cerchi di dirmi come ci si comporta, 
che devo fare come te,
(Insieme)
ma mi infilo semplicemente le dita nelle orecchie e dico “Affanculo”

NOTE
1) 1 bilione = mille milioni= 1 miliardo; come numero matematico si scrive 109
il bilione si scrive  1012= 1 000 000 000 000 (mille miliardi); Bisogna ricordare che negli Stati Uniti e dal 1974 anche nel Regno Unito il billion è un altro numero, che corrisponde a mille milioni, cioè a un miliardo (109), mentre in gran parte del mondo corrisponde a mille miliardi. All’interno della comunità scientifica di Francia, il termine billion non ha più il vecchio significato di un miliardo ancor oggi attribuito dagli anglosassoni [nda: i quali tuttavia si sono allineati al resto del mondo] ma coincide adesso, per evitare confusione, con quello usato dalla maggior parte delle nazioni mondiali. (da wiki)
2) il genere umano
3) il mondo fatato, spiriti/dei etc (Tag: Omnia)

LINK
https://www.worldofomnia.com/

Down by the Glenside (The bold fenian men)

An Irish rebel song written by Peadar Kearney member of the Irish Republican Brotherhood (the brotherhood of the Republican Army), created with the aim of freeing Ireland from the English domain.
In Irish mythology, the Fenians (fianna) were the followers of the hero Finn Mac Cumhail, a group of hunter-warriors who worked outside the social structure of the Clans, indomitable warriors devoted to defending Ireland from enemy incursions. 
In their honor the members of the Brotherhood wanted to be called Fenian Brotherhood.
The song is a call to arms for the Easter Rising of 1916 in remembering the insurgents of the last armed revolt.
Una irish rebel song scritta da Peadar Kearney membro della Fratellanza repubblicana irlandese (the brotherhood of the Republican Army), creata con lo scopo di liberare l’Irlanda dal dominio inglese.
Nella mitologia irlandese, i feniani (fianna) erano i seguaci dell’eroe Finn Mac Cumhail, un gruppo di cacciatori-guerrieri che operava al di fuori dell struttura sociale dei Clan, indomiti guerrieri votati alla difesa dell’Irlanda dalle incursioni del nemico. Continua
In loro onore i membri della Fratellanza vollero chiamarsi Feniani (Fenian Brotherhood ).
La canzone è una chiamata alle armi per la rivolta di Pasqua  (Easter Rising) del 1916 nel ricordare gli insorti della precedente rivolta armata.


The melody takes up an old tune “My Name Is Bold Kelly” collected by P.W. Joyce in Old Irish Folk Music & Songs (1909)
La melodia riprende quella di “My Name Is Bold Kelly” raccolta da  P.W. Joyce in Old Irish Folk Music & Songs (1909)

Kay McCarthy in Roisin Dubh 1978

Cathy Jordan & The Unwanted in “All The Way Home” 2002

Omnia in “Crone of War”  2004

or the Unplagged version from the ‘Pagan Folk Lore’ DVD
oppure la versione Unplagged dal Dvd ‘Pagan Folk Lore’ 


I
‘Twas down by the glenside,
I met an old woman (1)
A-plucking young nettles,
she ne’er saw me coming
I listened a while to the song
she was humming
“Glory O, Glory O,
to the bold Fenian men”
II
‘Tis many long years since
I saw the moon beaming
On strong manly forms
and their eyes with hope gleaming
I’ll see them again,
through all my sad dreams
Glory O, Glory O,
to the bold Fenian men
III
Some died by the glenside,
some died near a stranger
And wise men have told us
that their cause was a failure
But they loved their old Ireland
and they never feared danger
Glory O, Glory O,
to the bold Fenian men
IV
I passed on my way,
Gods be praised that I met her
Be life long or short,
sure I’ll never forget her
We may have brave men,
but we’ll never have better
Glory O, Glory O,
to the bold Fenian men

Traduzione italiano Cattia Salto
I
Giù per i fianchi della valle
incontrai una vecchia
che raccoglieva giovani ortiche
lei non si accorse del mio arrivo
e l’ascoltai un momento
mentre canticchiava
“Gloria, Gloria
ai valorosi Feniani”
II
” Sono passati molti anni da quando
vidi la luna risplendere
sui corpi di forti maschi
e i loro occhi luccicanti di speranza,
li rivedrò
nei miei tristi sogni
“Gloria, Gloria
ai valorosi Feniani”
III
Alcuni morirono sul fianco della collina
altri morirono accanto allo straniero
e i saggi ci dissero
che la loro causa fu un fallimento,
ma loro amarono la vecchia Irlanda
e non paventarono mai il pericolo
“Gloria, Gloria
ai valorosi Feniani”
IV
Ho continuato il mio cammino
ringraziando gli Dei per averla incontrata
siano gli anni che mi restano tanti o pochi,
di sicuro non la dimenticherò mai
potremmo avere uomini coraggiosi
ma non ce ne saranno mai di migliori
“Gloria, Gloria
ai valorosi Feniani””

FOODNOTE
1) the old woman is clearly the personification of Ireland in the guise of Old Goddess, an “poor old woman”, Mrs Katty Hualloghan – Cathleen or Kathleen Nì Houlihan-, mistress of four green fields (ie the four provinces in which Ireland is traditionally divided). The name is also the title of a play by W.B. Yeats and Lady Augusta Gregory set in 1798.
la vecchia è chiaramente la personificazione dell’Irlanda nella veste di Vecchia Dea, una “povera vecchia”, la signora Katty Hualloghan – Cathleen o Kathleen Nì Houlihan-,  padrona di quattro campi verdi (cioè le quattro province in cui è divisa per tradizione l’Irlanda). Il nome è anche il titolo di una opera teatrale di W.B. Yeats e Lady Augusta Gregory ambientata nel 1798.
continua

LINK
https://terreceltiche.altervista.org/ossians-lament/
http://irishdrinkingsongs.net/bold-fenian-men-rebel-song/
https://www.itma.ie/digital-library/score/pw-joyce-old-irish-folk-music-248
https://www.itma.ie/ga/digital-library/score/goodman-vol-1-416

Peggy O

Three titles for a ballad: Bonny Lass of Fyvie in Scotland, Pretty Peggy of Derby in England and Pretty Peggy-o in America. Francis James Child considers all the “Peggy ballads” (and its variants “Fen (n) ario”) as part of the Trooper and Maid theme
Tre titoli per una ballata: Bonny Lass of Fyvie in Scozia, Pretty Peggy of Derby in Inghilterra e Pretty Peggy-o in America.  Francis James Child ritiene tutte le “ballate di Peggy” (e le sue varianti “Fen(n)ario”) come facenti parte del ramo di Trooper and Maid

Scottish version (La versione scozzese)

American Versions (Le versioni americane)

Widespread in the 60s and 70s of the American folk revival (from Joan Baez to Bob Dylan), the ballad is different, melodically, from the Scottish relative. Joan Baez puts her the title of Fennario: the passage from Fyvie O to Fyvio is evident, which recalls the word fen “swamp, swamp, quagmire”, of Scandinavian origin.
Diffusa negli anni 60-70 del folk revival americano (da Joan Baez a Bob Dylan), la ballata è ben lontana melodicamente dalla parente scozzese. Joan Baez le mette il titolo di Fennario: è evidente il passaggio da Fyvie O a Fyvio che richiama la parola fen “palude, acquitrino, pantano”, di origine scandinava.

Joan Baez, 1962
It is a regimental soldier who tells the story, a bit unclear because it is missing a couple of stanzas, those in which the girl rejects the captain who asks her to marry him (he is not rich enough). The young captain dies (in battle or from displeasure) and the soldier would like to take revenge by putting the country on fire.
E’ il soldato del reggimento a raccontare la storia, peraltro poco chiara perchè mancante di un paio di strofe, quelle in cui  la fanciulla respinge il capitano che le chiede di sposarlo (non è abbastanza ricco). Il giovane capitano muore (in battaglia o per il dispiacere) e il soldato vorrebbe vendicarsi mettendo a ferro e fuoco il paese.


I
As we marched down to Fennario
As we marched down to Fennario,
Our captain fell in love
with a lady like a dove.
They call her by name pretty Peggy-o
II
What will your mother think
pretty Peggy-o? (x2)
What will your mother think
when she hears the guineas clink,
The soldiers all marchin’ before you-o?
III
In a carriage you will ride,
pretty Peggy-o. (x2)
In a carriage you will ride
with your true love by your side,
As fair as any maiden in the are-o.
IV
Come skippin’ down the stair,
pretty Peggy-o. (x2)
Come skippin’ down the stair
combin’ back your yellow hair,
And bid farewell to sweet William-o.
V
Sweet William is dead,
pretty Peggy-o. (x2)
Sweet William is dead,
and he died for a maid,
The fairest maid in the are-o.
VI
If ever I return,
pretty Peggy-o (x2)
If ever I return
all your cities I will burn,
Destroying all the ladies in the are-o.
traduzione italiano di Cattia Salto
I
Mentre marciavamo verso Fennario,
mentre marciavamo verso Fennario,
il capitano si innamorò
di una signora, dolce come una colomba
e tutti la chiamavano la bella Peggy-o.
II
Che penserà vostra madre,
bella Peggy-o?
che penserà vostra madre
quando sentirà tintinnare le mie ghinee
e (vedrà) tutti i soldati marciare davanti a te?
III
Viaggerai in carrozza
bella Peggy-o
Viaggerai in carrozza
con il tuo vero amore accanto
più  bella di tutte le altre  fanciulle nella contea.
IV
Corri giù per le scale,
bella Peggy-o
Corri giù per le scale
pettina all’indietro i tuoi capelli biondi,
dai un ultimo saluto al dolce William-o.
V
Il dolce William è morto,
bella Peggy-o
il dolce William è morto
ed è morto per una fanciulla,
la più bella fanciulla nella contea.
VI
Se mai ritornerò
della Peggy-o
se mai ritornerò
tutte le vostre città brucerò,
e ucciderò tutte le signore della contea.

Grateful Dead live 1977


I
As we rode out to Fennario (x2)
Our captain fell in love
with a lady like a dove
And called her by a name,
pretty Peggy-O.
II
Will you marry me
pretty Peggy-O, (x2)
If you will marry me,
I’ll set your cities free
And free all the ladies in the area-O.
III
I would marry you sweet William-O, (x2)
I would marry you
but your guineas are too few
And I fear my mama would be angry-O.
IV
What would your mama think
pretty Peggy-O, (x2)
What would your mama think
if she heard my guineas clink
Saw me marching at the head of my soldiers.
V
If ever I return
pretty Peggy-O,(x2)
If ever I return
your cities I will burn
Destroy all the ladies in the area-O.
VI
Come steppin’ down the stairs
pretty Peggy-O, (x2)
Come steppin’ down the stairs c
ombin’ back your yellow hair
Bid a last farewell
to your William-O.
VI
Sweet William he is dead
pretty Peggy-O, (x2)
Sweet William he is dead
and he died for a maid
And he’s buried in the Louisiana country-O.
traduzione italiano di Michele Murino
I
Mentre marciavamo verso Fennario,
il capitano si innamorò di una signora
che sembrava una colomba
e tutti la chiamavano
graziosa Peggy-o.
II
Volete sposarmi,
Graziosa Peggy-o?
Volete sposarmi?
Libererò le vostre città
e tutte le donne della contea-o
III
Vi sposerei, dolce William-o
Vi sposerei
Ma le vostre ghinee sono poche
Temo che mia mamma si arrabbierebbe
IV
Che penserebbe vostra madre,
Graziosa Peggy-o?
Che penserebbe vostra madre
se potesse sentire tintinnare le mie ghineee, vedermi marciare alla testa dei miei soldati?
V
Se mai ritornerò,
Graziosa Peggy-o
Se mai ritornerò
brucerò le vostre città
ed ucciderò tutte le donne della contea
VI
Corri giù per le scale,
Graziosa Peggy-o
Corri giù per le scale
pettina all’indietro i tuoi capelli biondi
dai un ultimo saluto
al dolce William-o
VI
Dolce William è morto,
Graziosa Peggy-o
dolce William è morto
ed è morto per una fanciulla
lo hanno seppellito nella contea della Louisiana

Caprice in Kywitt! Kywitt! 2008


I
As we marched down to faneri-o
As we marched down to faneri-o
Our captain fell n love
with a lady like a dove
And they called her name,
pretty peggy-o
II
Come a runnin’ down the stairs, p
retty peggy-o
Come a runnin’ down the stairs,
pretty peggy-o
Come a runnin’ down the stairs,
combin’ back your yellow hair
You’re the prettiest little girl i’ve ever seen-o
III
What will your mother say,
pretry peggy-o?
What will your mother say,
pretty peggy-o?
What will your mother say,
when she finds you’ve gone away
To places far and strange to faneri-o?
IV
If ever i return,
pretty peggy-o
If ever i return,
pretty peggy-o
If ever i return,
all your cities i will burn
Destroying all the ladies in the ar-e-o
Destroying all the ladies in the ar-e-o
traduzione italiano Cattia Salto
I
Mentre marciavamo verso Fennario,
mentre marciavamo verso Fennario,
il capitano si innamorò
di una signora, dolce come una colomba
e tutti la chiamavano
la bella Peggy-o.
II
Corri giù per le scale,
bella Peggy-o
Corri giù per le scale
bella Peggy-o
Corri giù per le scale
pettina all’indietro i tuoi capelli biondi,
sei la più bella fanciulla che io abbia mai visto
III
Che penserà vostra madre,
bella Peggy-o?
che penserà vostra madre
bella Peggy-o
che penserà vostra madre
quando saprà che sei partita
per le lontane lande sperdute di Fennario?
IV
Se mai ritornerò,
bella Peggy-o
Se mai ritornerò
bella Peggy-o
Se mai ritornerò,
brucerò le vostre città
ed ucciderò tutte le donne della contea
ed ucciderò tutte le donne della contea

LINK
http://www.lizlyle.lofgrens.org/RmOlSngs/RTOS-PrettyPeggy.html https://thesession.org/tunes/10943 http://www.maggiesfarm.it/ttt954.htm
http://www.maggiesfarm.eu/testiP/prettypeggy-o.htm