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

Ciod è a ghaoil a tha ort: A Soothing Croon from Eigg

This sweet lullaby is actually a fragment in Scottish Gaelic of Lord Randal ballad. The song was collected on the Isle of Eigg (Hebrides) by Frances Tolmie and Marjory Kennedy-Fraser who called it “Soothing Croon from Eigg”
Questa dolce ninna nanna è in realtà un frammento in gaelico scozzese della ballata di Lord Randal. La canzone è stata raccolta nell’isola di Eigg (Isole Ebridi) da Frances Tolmie e da Marjory Kennedy-Fraser che la intitolò “Soothing Croon from Eigg”

Mor Carmi, Eyal Freed-Man, Idan Armoni in Between East and West 2018

Jean-Luc Lenoir in Old Celtic & Nordic Lullabies” 2016

Ciod è a ghaoil a tha ort
An è do cheann a bhi goirt?
An è do mathair a ghabh ort?
O cha’n fhios a’m
ach cha’n ith mi mir an nochal!

 

English translation
What is it, love?
Oh I do not know,
But I do not eat the morning in the evening!
Is your head being sore?
Oh I do not know,
But I do not eat the morning in the evening!
Is it your mother?
Oh I do not know,
But I do not eat the morning in the evening!
Traduzione italiano Cattia Salto
Che ti è capitato caro?
Non lo so
ma sto male
E’ la testa che ti duole?
Non lo so
ma sto male!
E’ stata tua madre?
Non lo so 
ma sto male

NOTE
Una traduzione in italiano non proprio letterale

 

LINK
https://www.sheetmusicnow.com/products/soothing-croon-from-eigg-ciod-e-a-ghaoil-a-tha-ort-p261903

The Seal-woman croon/ An Cadal Trom

Marjory Kennedy-Fraser , influenced by the folk tales on the selkie, arranged a Scottish Gaelic song of the Hebrides that is at the origins of the Celtic tale “Mac Codrum of the Seals” (to read in English here)
Suggestionata dai racconti popolari sulle selkie Marjory Kennedy-Fraser arrangiò un canto in gaelico scozzese delle Isole Ebridi che è alle origini della fiaba celtica di Mac Codrum delle Foche

MacCodrum delle Foche

Il re e la regina del Mare del Nord (la leggenda dice che il loro regno si trovava in Norvegia nella Terra di Lochlan), vivevano felici con i loro numerosi figli, ma la regina morì, così nessuno si prendeva più cura dei principini e delle principessine; il  re decise di risposarsi, chiedendo in sposa una misteriosa strega marina che viveva in una oscura foresta sul fondo dell’oceano. Date le premesse la matrigna non poteva che essere gelosa dei figli del re e per pura cattiveria trasformò i loro splendidi corpi in foche, condannandoli a nuotare tra i sette mari durante tutto l’anno.
Neppure il re riuscì a sciogliere il maleficio, i suoi figli potevano riprendere la loro forma originaria solo per un unico giorno dell’anno dal tramonto del sole e fino al crepuscolo successivo (in alcune versioni della leggenda sono invece le notti di luna piena dell’anno). Così le foche cantavano la loro disperazione per il maleficio che le condannava a fuggire dal padre e dal loro reame per vagare nei mari del mondo. 
Accadde che un pescatore dell’isola di Bernaray nelle Ebridi Esterne di nome Roderic MacCodrum del clan dei Donald udisse un giorno un canto proveniente dalle rocce vicino alla scogliera, dove vide i figli e le figlie del Re del Mare ritornati in forma umana.
(leggi in Fiabe Celtiche F. Fornaciani)

Contrary to the version in which the fisherman hides the seal skin to tie the selkie to himself and convince her to marry him, here he returns her to the sea and to his fellows; here is Kenneth MacLeode who describes the legend , in the book “Songs of the Hebrides” as compendium of the gaelic song “An cadal trom” (Deeply sleep).
The seals are the children of the King of Lochlann under spells — Clann Righ Lochlainn fo gheasaibh. Beauty, wisdom and bravery were in their blood as well as in their skins, and that was why their step-mother took the bate of destruction for the, and live she would not unless she got them out of the way. Seven long years did she spend with a namely magician, a-learning of the Black Arts, until at last she was as good as her master at it, with a woman’s wit, forby. And what think ye of it! Did not the terrible carlin put her step-children under eternal spells that they should be half-fish half-beast so long as waves should beat on the shores of Lochlann!
Och! Och! That was the black deed — sure you would know by the very eyes of the seals that there is a kingly blood in them. But the worst is still untold. Three times in the year, when the full moon is brightest, the seals must go back to their own natural state, whether they wish it or no. Their step-mother put this in the spells so that there might be a world of envy and sorrow in their hearts every time they saw others ruling in the kingdom which is theirs by right of blood. And if you were to see one of them as they should be always, if right were kept, you would take the love of your heart for that one, and if weddings were in your thoughts, sure enough a wedding there would be.
Long ago, and not so long ago either, a man in Canna was shore-wandering on an autumn night and the moon full, and did he not see one of the seal lady-lords washing herself in a streamlet that was meeting the waves! And just as I said, he took the love of his heart for her, and he went and put deep sleep on her with a sort of charm that he had, and he carried her home in his arms. But och! och! when she wakening came, what had he before him but a seal! And though he needed all the goodness he had, love put softening in his heart, and he carried her down to the sea and let her swim away to her own kith and kin, where she ought to be. And she spent that night, it is said, on a reef near the shore, singing like a daft mavis, and this is one of her croons — indeed, all the seals are good at the songs, and though they are really of the race of Lochlann, it is the Gaelic they like best.

Contrariamente alla versione in cui il pescatore nasconde la pelle di foca per legare a sè la selkie e convincerla a sposarlo, qui la restituisce al mare e ai suoi simili, così descrive la leggenda Kenneth MacLeod riportandola nel libro “Songs of the Hebrides” a compendio della canzone “An cadal trom”.
Le foche sono i figli del re di Lochlann sotto un incantesimo. La bellezza, la saggezza e il coraggio erano nel loro sangue e nella loro pelle, e fu perciò che la loro matrigna decise di distruggerli, e che non sarebbe vissuta a meno di liberarsi di loro. Sette lunghi anni trascorse con un mago, per imparare la Magia Nera, finché alla fine fu brava come il suo padrone, in aggiunta all’arguzia di donna. E cosa ne pensate! La terribile megera mise i suoi figliastri sotto un eterno incantesimo per metà-bestia e per metà pesce fino a quando le onde si frangeranno sulle coste di Lochlann!
Un’azione malvagia invero- dovreste sapere dagli occhi delle foche, che c’è sangue regale in loro. Ma il peggio deve ancora venire. Tre volte all’anno, quando la luna piena è più brillante, le foche devono tornare al loro stato naturale, che lo vogliano o no. La matrigna ha fatto l’incantesimo in modo che ci fosse invidia e dolore nei loro cuori ogni qualvolta vedevano altri governare il regno che era loro per diritto di sangue. E se vi capitasse di vedere uno di loro come dovrebbe essere sempre, v’innamorereste all’istante, e se i vostri  pensieri fossero rivolti al matrimonio, di certo ci sarà un matrimonio.
Molto tempo fa, e tuttavia non molto tempo fa, un uomo di Canna vagava sulla spiaggia in una notte d’autunno con la luna piena, e chi ti vide se non una donna-foca che si lavava nella corrente! E come ho detto, il suo cuore si innamorò di lei, e lui le andò vicino e l’affascinò con lo sguardo, facendola cadere in un sonno profondo, e la portò a casa tra le sue braccia.
Ma quando lei si risvegliò lui vide solo una foca! Facendo ricorso a tutta la sua bontà d’animo, con il cuore mosso a compassione, lui la portò giù al mare e la lasciò andare a nuoto verso i suoi consimili, dove avrebbe dovuto stare. E lei trascorse quella notte, si dice, su una scogliera vicino al mare, cantando come a perdifiato, e questo è uno dei suoi lamenti- anzi, tutte le foche cantano bene, e se appartengono alla stirpe di Lochlann, è il gaelico che preferiscono!

Selkie by Jessica Shirley

Joan Busby in Songs of the Hebrides 2010 (chorus, I, III)

Chorus
Bheir mi hiù-ra bho nail-e bho (1)
Bheir mi hiù-ra bho nail-e bho ho ro
Bheir mi hiù-ra bho nail-e bho
An cadal trom ‘san deachaidh mi
I
Tha mo chlu-as ag an cras gail dhonn
Anns an lonn ar-as gheal o ho
Tha mo dhuan ag an gair-iéh thonn
‘Se’n cad-al trom a dhealaich sinn.
II
Tha mo ghru-ag ach-sa fa-da thall
Air na dàimh sgeir-e gheal o hi
Fàth mo ghruamain gu’n d’rinn mi chall
‘Se’n cad-al trom a dhealaich sinn.
III
Bidh mi mair each a’ snamh nan tonn
Thar an lonn ar-as gheal o hi
Ni mi àbh achd le gràdh-an donn
An cad-al trom cha dhealaich sinn

English version
Chorus
Bheir mi hiù-ra bho nail-e bho (1)
Bheir mi hiù-ra bho nail-e bho ho ro
Bheir mi hiù-ra bho nail-e bho
An cadal trom ‘san deachaidh mi (2)
I
Pillowed on the sea-wrack (3), brown am I (4) 
On the gleaming white-sheen sand
Lulled by the sweet croon of the waves I lie
Did slumber deep, part thee and me (5)
II
Far away, my own gruag-ach (6) lone
On the gleaming white-friend reefs
Lies that cause of all my moan
Did slumber deep, part thee and me
III
On the morrow shall I, o’er the sound (7)
O’er the gleaming white-sheen sand
Swim until I reach my loved one brown
Nor slumber deep, part thee and me
Traduzione italiano Cattia Salto
Coro
Bheir mi hiù-ra bho nail-e bho
Bheir mi hiù-ra bho nail-e bho ho ro
Bheir mi hiù-ra bho nail-e bho
il sonno profondo in cui sono caduta
I (Foca)
Avvolta nelle alghe a terra, scura sono
sulla serica sabbia bianca scintillante
cullata dal dolce mormorio delle onde rimango,
dormire profondamente o separarci?
II (pescatore)
Lontano la mia fanciulla solitaria
sulla bianca scogliera amica scintillante 
giace la causa del mio lamento:
dormire profondamente o separarci?
III (foca)
Domani dovrò, oltre la baia,
oltre la serica sabbia bianca scintillante,
nuotare fino a raggiungere i miei amati scuri
non dormirò e ci separeremo

NOTE
1) non sense verses [ i vocalizzi sono in simil gaelico e non hanno un significato]
2) in english “the deep sleep into which I went”
3) seaweed cast ashore in masses [le alghe spinte dal mare sulla spiaggia]
4) she is a ‘dark one.’ Unlike the many irish blondes (or with red hair), a selkie is a true ‘black Irish’ with dark long hair, wavy, full curls, skin as porcelain, and striking dark eyes [A differenza delle molte bionde irlandesi (o con i capelli rossi), una selkie è un irlandese “scuro” autentico , con capelli scuri lunghi, ondulati e ricci, pelle di porcellana e intensi  occhi scuri]
5) deachaidh =Go, proceed, move, travel, walk. – to fall; the sentence has an interrogative form; sunn= we, us
6) “The long-haired one” and also sea maiden from the Gaelic “gruag, gruagach”
7) sound geography:  is a large sea or ocean inlet

LINK
http://ontanomagico.altervista.org/sule-skerry.htm
https://terreceltiche.altervista.org/gruagach-mhara-a-gruagach-or-a-selkie/
https://it.wikipedia.org/wiki/File:Selkie_statue_in_Mikladalur.jpeg
https://www.electricscotland.com/POETRY/purves/MacCodrum.pdf
http://echoes.devin.com/selkie/croon.html

Gaelic Lament in Outlander saga

Diana Gabaldon

From “Drums of Autumn” of the Outlander saga written by Diana Gabaldon chapter 1.
We are in the New World at Charleston, june 1767, a friend of Jamie’s from Ardsmuir, Gavin Hayes, has been hunged and the gang is drinking to the memory of Gavin in a tavern: Duncan Innes sings a caithris in Scottish Gaelic (a lament for the dead).
Without warning, he flung back his head and emitted a terrible howl. I jumped in my seat, spilling half a cup of ale into my lap. Ian and Fergus, who had eveidently heard Gaelic laments before, didn’t turn a hair… “The sinn cruinn a chaoidh ar caraid, Gabbain Hayes” Duncan thundered, in a ragged baritone. I had just about enough Gaelic to translate this as “We are met to weep and cry out to heaven for the loss of our friend, Gavin Hayes!
“Eisd ris!” Jamie chimed in.

Da “Tamburi d’Autunno” della saga di Outlander, scritto da Diana Gabaldon, capitolo 1.
Siamo nel Nuovo Mondo a Charleston, giugno 1767, un amico di Jamie dalla prigionia a Ardsmuir, Gavin Hayes, è stato impiccato e la banda sta  bevendo alla memoria di Gavin in una taverna: Duncan Innes intona il caithris, il lamento funebre in gaelico scozzese
Senza alcun preavviso, rovesciò indietro la testa e cacciò un ululato terribile. Sobbalzai sulla sedia versandomi addosso metà boccale di birra. Ian e Fergus, i quali evidentemente avevano già udito lamenti funebri in gaelico prima d’ora, non fecero una piega… “The sinn cruinn a chaoidh ar caraid, Gabbain Hayes” tuonò Duncana in una ruvida voce baritonale. Le mie conoscenze di gaelico mi permisero a malapena di tradurre:” “Siamo qui riuniti per piangere e gridare al cielo la perdita del nostro amico, Gavin Hayes!”
“Eisd ris!” intervenne Jamie.

In the Tv series Outlander Season 4, first episode “America the Beautiful”, it’s Lesley who begins singing in low Gaelic, and the entire bar joins in.
Nella serie televisiva Outlander, stagione 4 primo episodio America the Beautiful è Lesley (KeithFleming ) a cantare per l’amico e l’intera taverna si unisce.

Keith Fleming 

Outlander, Lament for Gavin Hayes (here):
Eisd ris! Eisd ris! Dh’fhàg thu, Gabhainn, sinn fo bhròn!
Eisd ris! Eisd ris! ‘S truagh nach eil thu fhathast glè òg!
(in english:Hear him! Hear him! You left us all full of sadness, Gavin.
Hear him! Hear him! It is a pity you are not still very young.)
[in italiano: Ascoltatelo! Ascoltatelo! Ci hai lasciati neldolore, Gavin.
Ascoltatelo!Ascoltatelo! E’ un peccato che tu non sia ancora giovane.]

Link
http://outlanderonline.ws/outlander-a-caithris-what-is-it/

Chuachag nan Craobh, Cuckoo Of The Grove

“Chuachag nan craobhis” (The Cuckoo of the Branches) is a Scottish Gaelic song composed by William Ross schoolmaster of Gairloch, Ross-shire, born 1762 he died of TB in 1790.  In this love song, the poet is addressing a cuckoo he heard in the woods. He is sad at being rejected by the woman he loved deeply
“Chuachag nan craobhis” (Il Cuculo del Boschetto) è canto in gaelico scozzese composto da William Ross maestro di scuola di Gairloch, Ross-shire, nato nel 1762, morì di tubercolosi nel 1790. In questa canzone d’amore il poeta si rivolge a un cuculo che ha sentito nei boschi. E’ triste per essere stato rifiutato dalla donna che ama profondamente.

Isabelle Watson · Christiane Rupp · Nikita Pfister in  Filidh Ruadh- Loch Maree – Ballades Ecossaises 2012

Stephen J. Wood

Kerrie Finlay & Marlene Rapson Yule

Fiona J. Mackenzie

A chuachag nan craobh, nach truagh leat mo chaoidh
Ag òsnaich ri oidhche cheòthar?
Shiùbhlainn le’m ghaol fo dhubhar nan craobh
Gun duin’ air an t-saoghal fheòraich
Thogainn ri gaoith am monadh an fhraoich
Mo leabaid ri taobh dòrainn
Do chrutha geal caomh bhi sinnte ri m’ thaobh
‘Us mise ‘gad chaoin phògadh

Chunna mi fhìn aisling, ‘s cha bhreug
Dh’fhàg sin mo chré brònach
Fear ma ri té, a pògadh a bhéil
A’ brìodal an déigh pòsaidh
Dh’ùraich mo mhiann, dh’àith’rraich mo chiall
Ghuil mi gu dian dòimeach
Gach cuisle, us féith, o ìochdar mo chléibh
Thug iad gu leum còmhla

Thuit mi le d’ghath, mhill thu mo rath
Strìochd mi le neart dòrainn
Saighdean do ghaoil sàidht’ anns gach taobh
Thug dhìom gach caoin còmhla
Mhill thu mo mhais, ghoid thu mo dhreach
‘S mheudaich thu gal bròin domh
‘S mu fuasgail thu tràth, le d’fhuran ‘s le d’fhàilt’
Is cuideachd am bàs dhomh-sa

 
English translation *
I
O cuckoo of the wood are not grieved at my mood?
At eve heavy-dewed, I’m suspiring;
I would stray with my love in the shade of the grove,
Where’er we might rove none enquiring;
I would face the wind’s breath on the hill of the heath,
My bed in the teeth of distresses,
Thy white form refined stretched out by my side
While I fond multiplied my caresses
II
I saw in a dream, no lie did it seem
What my heart made extremely sad,
A man with a maid whose lips he essayed
Nor fondling delayed, having wed,
It freshened my fire, renewed my desire,
I wept in my direful swither,
Each artery and vein from the depth of my frame,
They leaped unrestrained together.
III
By thine arrow I fell, thou my luck didst dispel,
I yielded by fell strength of weather,
And, alas, thy love dart is stuck in each part,
Thou has reft me my heart altogether.
Thou has ruined my face, and stolen my grace,
And deepened each trace of depression;
Unless thou beguile me with welcome and smile,
Death’s in a short while my obsession.
Traduzione italiano di Cattia Salto*
I
O cuculo del bosco non ti senti afflitto dal mio umore?
Nella veglia umida di rugiada, sto sospirando
Vorrei allontanarmi con il mio amore all’ombra del boschetto,
Ovunque si possa vagare senza domande;
Vorrei fronteggiare il vento della brughiera sulla collina
Il mio letto consumato
La tua bianca forma tornita stesa al mio fianco, Mentre innamorato moltiplicavo le mie carezze
II
Vidi in un sogno, sembrava sincero
E ha addolorato il mio cuore, Un uomo con una fanciulla le cui labbra assaggiò; Nessuna tenerezza rimandata, essendo sposati,
Ha rinfrescato il mio fuoco, rinnovato il mio desiderio,  Piansi nella mia terribile agitazione, Ogni arteria e vena dalla profondità della mia impalcatura,
Esultarono scatenati insieme.
III
Al tuo dardo caddi, tu la mia buona sorte facesti allontanare
Mi sono arreso alla crudele forza della tempesta,
E, ahimè, il tuo dardo d’amore è conficcato in ogni parte,
Tu mi hai spezzato del tutto il cuore.
Mi hai rovinato il volto e rubato la grazia
E approfondito ogni traccia di depressione;
A meno che tu non mi accetti con il benvenuto e il sorriso,
La morte sarà tra poco la mia ossessione.

*una traduzione migliore per tempi migliori

Another version of the melody was later adapted for the Jacobite ‘Skye Boat Song‘. 
Un’altra versione della melodia è diventata la canzone giacobita dal titolo ‘Skye Boat Song‘. 

LINKS
https://archive.org/details/gaelicsongs00ross
https://www.electricscotland.com/history/gairloch/g242.htm
http://www.celticlyricscorner.net/macinnes/cuachag.htm
http://www.tobarandualchais.co.uk/en/fullrecord/15298/4
http://www.tobarandualchais.co.uk/en/fullrecord/16968/4

Morag and the Kelpie

Leggi in italiano

In the most placid rivers of Ireland and in the dark depths of the Scottish lakes live water demons, fairy creatures, that feed on human flesh: they are “kelpie”, “each uisge” (in English water-horse), “eich- mhara “(in English sea horse); to want to be picky kelpie lives preferably near the rapids of the rivers, fords and waterfalls, while each uisge prefers the lakes and the sea, but kelpie is the most used word for both. Similar creatures are also told in Norse legends (Bäckahästen, the river horse) – and Germanic (nix in the form of fish or frog). (first part)

MORAG AND THE KELPIE

At the summer pastures of the Highlands they are still told of the beautiful Morag (Marion) seduced by a kelpie in human form; she, while noticing the strangeness of her husband, did not understand his true nature, if not after the birth of their child and … she decided to abandoning baby in swaddling clothes and husband shapeshifter!

On the Isle of Skye they still sing a song in Gaelic, ‘Oran-tàlaidh an eich-uisge’ or ‘Oran each-uisge’ (The water kelpie’s song) the “Lullaby of the kelpie” a melancholy air with which the kelpie cradled his child without a mother, and at the same time a plea to Morag to return to them, both he and the child needed her.
Of this lament we know several textual versions handed down to today in the Hebrides. The melodies revolve around an old Scottish aria entitled “Crodh Chailein” (in English “Colin’s cattle) evidently considered a melody of the fairies.
Another song, sweet and melancholic at the same time, is entitled Song of the Kelpie or even ARRANE GHELBY

Dh’èirich mi moch, b’ fheàrr nach do dh’èirich

So translates from Scottish Gaelic Tom Thomson “I got up early, it would have been better not to” (see)

Julie Fowlis in Alterum 2017

Scottish gaelic
Dh’èirich mi moch, dh’èirich mi moch, B’fheàrr nach d’ dh’èirich
Mo chreach lèir na chuir a-mach mi.
Hill ò bha hò, Hill ò bha hò.
Bha ceò sa bheinn, Bha ceò sa bheinn, is uisge frasach
’s thachair orms’ a’ ghruagach thlachdmhor.
Hill ò bha hò, Hill ò bha hò
Bheir mi dhut fìon, Bheir mi dhut fìon, ‘S gach nì a b’ ait leat,
Ach nach èirinn leat sa mhadainn,
Hill ò bha hò, Hill ò bha hò.
’Nighean nan gamhna, ’Nighean nan gamhna, Bha mi ma’ riut,
Anns a’ chrò is càch nan cadal
Hill ò bha hò, Hill ò bha hò.
An daoidh gheal donn, An daoidh gheal donn, Rug i mac dhomh.
Ged is fuar a rinn i altram,
Hill ò bha hò, Hill ò bha hò.
[instrumental]

Bha laogh mo laoidh, Bha laogh mo laoidh, ri taobh cnocan
gun teine, gun sgàth, gun fhasgadh.
Hill ò bha hò, Hill ò bha hò.
A Mhòr a ghaoil, A Mhòr, a ghaoil, Till ri d’ mhacan,
’S bheir mi goidean breagha breac dhut.
Hill ò bha hò, Hill ò bha hò.
English translation *
I arose early
I arose early –
would that I hadn’t.
I was distressed by what sent me out (1).
Hill ò bha hò, Hill ò bha hò.
There was mist on the hill
There was mist on the hill
and showers of rain
and I came across a pleasant maiden
Hill ò bha hò, Hill ò bha hò.
I’ll give you wine
I’ll give you wine
and all that will please you
but I won’t arise with you in the morning (2).
Hill ò bha hò, Hill ò bha hò.
Girl of the calves (3)
Girl of the calves
I was with you in the cattle-fold (4)
and the rest were asleep.
Hill ò bha hò, Hill ò bha hò.
The fine brown wicked one (5)
The fine brown wicked one
bore me a son
although coldly did she nurse him
Hill ò bha hò, Hill ò bha hò.
The calf (6) of my song
The calf of my song
was beside a hillock
without fire, protection or shelter (7).
Hill ò bha hò, Hill ò bha hò.
Mòr, my love
Mòr, my love, return to your little son
and I’ll give you a beautiful speckled withes (8).
Hill ò bha hò, Hill ò bha hò.
NOTE
English translation also here
1)  the kelpie, suffering from loneliness, leaves the lake early in the morning and takes on human form
2) the shapeshifter promises food and comfort to the girl to convince her to follow him, but he warns her, he is a nocturnal creature and will not wake up with her in the morning!
3) gamhna = cattle between 1 year and 2 years translates Tom Thomson stitks; that is heifer, the cow that has not yet given birth, the verse in addition to qualifying the work of the girl (herdswoman) also wants to be a compliment, in Italian “bella manza” as a busty woman, with abundant and seductive shapes
4) the kelpie remembers the night meeting when they had sex (and obviously nine months later their son was born)
5) after the good memories of the past it comes the present, the woman has discovered the true nature of her companion and she dislikes their child
6) continuing in the comparison the kelpie calls “calf” its baby, that is “small child”
7) A typical “exposition” of fairy children is described. A practice of “birth control” widespread in the countryside of Europe, was the abandonment of newborns in the forest, so that fairies would take care of them; once the practice was widespread both against illegitimate people, and newborns with obvious physical deformations or ill-looking. The custom of “exposing” the baby was connected with the belief that he was “swapped” or kidnapped by the fairies and replaced with a changeling, a shapeshifter who for a while resembles the human child, but ultimately always takes its true appearance.
8) breagha breac dhut. Tom Thomson translates = speckled band (of withy). I searched the dictionary: it is a crown made by intertwining the branches of willow; it reminds me of the Celtic crowns of flowers and leaves

 

Margaret Stewart & Allan MacDonald recorded it under the title “Òran Tàlaidh An Eich-Uisge” in 2001 (from Colla Mo Rùn) following the collection of Frances Tolmie (‘Cumha an EichUisge’ vol I)

english translation *
I and III
Sleep my child, Sleep my child
Sleep my child, Sleep my child
Chorus
Hì hó, hó bha hó, Hì hó, hao i hà
Fast of foot you are
Great as a horse you are
II and IV
My darling son
Oh my lovely little horse
You are far from the township
You will be sought after (1)
scottish gaelic
I
O hó bà a leinibh hó, O hó bà a leinibh hà
Bà a leinibh hó bha hó, Hó bà a leinibh hao i hà
(chorus)
Hì hó, hó bha hó, Hì hó, hao i hà
‘S luath dha d’ chois thu, hó bha hó
‘S mór nad each thu, hao i hà
II
O hó m’eudail a mac hó
O hó m’eachan sgèimheach hà
‘S fhad ‘n ‘n bhail’ thu, hò bha hò
Nìtear d’iarraidh, hao i hà

NOTE
1) The kelpie sings the lullaby to its child abandoned by the human mother and comforts him by telling him that when he grows up he’ll be a little heartbreaker

With the title of ‘A Mhór, a Mhór, till ri d’ mhacan the same story is present in the archives of Tobar an Dualchais, from the voice of three witnesses of the Isle of Skye
http://www.tobarandualchais.co.uk/en/fullrecord/99707/1
http://www.tobarandualchais.co.uk/en/fullrecord/99703/1
http://www.tobarandualchais.co.uk/en/fullrecord/99714/1

A similar story is told in the island of Benbecula with the title of Bheirinn Dhut Iasg, Bheirinn Dhut Iasg see


Caera
in Suantraighe, A Collection of Celtic Lullabies 2006 sings another fragment with the title “The Skye Water Kelpie’s lullaby” (see the version of Marjory Kennedy-Fraser below)

English translation *
Mór (1), my love! Mór, my treasure!
Come back to your little son
and you will get a speckled trout from the lake.
Mór, my darling! Tonight the night
Is wetly showering my son
on the shelter of a knoll.
Mór, my love! Mór, my treasure!
Lacking fire, lacking food, lacking shelter,
and you continually lamenting (2).
Mór, my love! Mór, my darling!
My gray, old, toothless mouth
to your silly little mouth,
and me singing  tunes by Ben Frochkie. (3)
Scottish gaelic
A Mhór a ghaoil! A Mhór a shògh!
Till gu d’mhacan is gheabh
thu’m bradan breac o’n loch.
A Mhór a shògh! Tha’n oiche nochd
Gu fliuch frasach aig mo mhacsa
ri sgath chnocain.
A Mhór a ghaoil! A Mhór a shògh!
Gun teine, gun tuar, gun fhasgadh,
is tu sìor chòineadh.
A Mhór a ghaoil! A Mhór a shògh!
Mo sheana-chab liath ri
do bheul beag baoth
is mi seinn phort dhuit am Beinn Frochdaidh.

NOTE
1) Mhórag or Mór is the name of the maiden loved by the kelpie
2) it is the incessant cry of the child abandoned by his human mother in the cold and without food
3) mountain between Gesture and Portree on the Isle of Skye

Skye Water Kelpie’s Lullaby

With the title “Cronan na Eich-mhara”, the same fragment sung by Caera is also reported in the book of Marjory Kennedy-Fraser and Kenneth MacLeod “Songs of the Hebrides” 1909 (page 94)

Kenneth MacLeod
I
Avore, my love, my joy
To thy baby come
And troutlings you’ll get out of the loch
Avore, my heart, the night is dark,
wet and dreary.
Here’s your bairnie neath the rock
II
Avore, my love, my joy,
wanting fire here,
wanting shelter, wanting comfort
our babe is crying by the loch
III
Avore, my heart, my bridet
My gray old mouth
touching thy sweet lips,
and me singing Old songs to thee,
by Ben Frochkie (1)
NOTE
1) between Gesto and Portree in Skye
Scottish gaelic
A Mhór a ghaoil! A Mhór a shògh!
Till gu d’mhacan is gheabh
thu’m bradan breac o’n loch.
A Mhór a shògh! Tha’n oiche nochd
Gu fliuch frasach aig mo mhacsa
ri sgath chnocain.
II
A Mhór a ghaoil! A Mhór a shògh!
Gun teine, gun tuar, gun fhasgadh,
is tu sìor chòineadh.
III
A Mhór a ghaoil! A Mhór a shògh!
Mo sheana-chab liath ri
do bheul beag baoth
is mi seinn phort dhuit am Beinn Frochdaidh.
 
Theodor_Kittelsen_-_Nøkken_som_hvit_hestARCHIVE
Skye Water Kelpie’s Lullaby
Dh’èirich mi moch, b’ fheàrr nach do dh’èirich
Òran Tàlaidh An Eich-Uisge
A Mhór, a Mhór, till ri d’ mhacan
Cronan na Eich-mhara
Song of the Kelpie
Up, ride with the kelpie

Sources
http://mudcat.org/thread.cfm?threadid=4374 http://mudcat.org/detail_pf.cfm?messages__Message_ID=48242 http://www.kidssongsmp3.twinkletrax.com/kids-song.php?c=C02T12&kids-song=O,%20Can%20Ye%20Sew%20Cushions http://www.celticlyricscorner.net/stewart/orantalaidh.htm
http://commons.wikimedia.org/wiki/File:Stromkarlen_1884.jpg

Tha Mo Ghaol Air Àird A’ Chuain vs Jamie’s on the stormy sea

We find ourselves in the umpteenth case of similarity between Gaelic song and English song in which (wrongly) it is assumed that the first one is older than the second one.
So “Tha Mo Ghaol Air Àird A ‘Chuain” and “Jamie’s on the stormy sea” are the same song but the version in Gaelic is later than the English one that takes as a model. The author of the English version is of the American Bernard Covert who composed it for the Hutchinsons (of which he was also their agent) in 1847.
[Ci troviamo nell’ennesimo caso di somiglianza tra canzone gaelica e canzone inglese in cui si presuppone (erroneamente) che la prima sia più vecchia della seconda.
Così “Tha Mo Ghaol Air Àird A’ Chuain” e “Jamie’s on the stormy sea” sono la stessa canzone ma  la versione in gaelico è successiva a quella inglese che prende come modello. L’autore della versione inglese è dell’americano Bernard Covert che la compose per gli Hutchinsons (di cui era anche l’agente) nel 1847.]

Controversial still the opinion that the song had some Scottish origins for example Aindrias Hirt in applying his theory on the natural scale of the traditional European song does not find correspondence for this melody (see)
[Controverso ancora il parere che il canto avesse avuto delle origini scozzesi ad esempio Aindrias Hirt nell’applicare la sua teoria sulla scala naturale del canto tradizionale europeo non trova corrispondenza per questa melodia  (vedi) ]

Dr Emily McEwen-Fujita quotes “This song is thought to have originally been a Scottish pipe tune and the tune was used for an English song composed in the United States by Bernard Covert. One version of it, called, Jamie’s on the Stormy Sea, appeared in the journal of the whaling ship Euphrasia in 1849. The song crossed the Atlantic and was set to Gaelic words by Henry Whyte, who wrote under the pen-name Fionn. The Gaelic version came to Cape Breton in the St. Columba collection of Gaelic songs and used to be sung by Tommy MacDonald of the North Shore Singers. It was from Tommy’s singing that Julie Fowlis learned the song.” (from here)
[La dottoressa Emily McEwen-Fujita annota “si crede che questa canzone sia stata in origine una melodia scozzese per cornamusa, e la melodia fu utilizzata per una canzone inglese composta negli States da Bernard Covert [ndt: nel 1847]. Una sua versione, intitolata Jamie’s on the Stormy Sea, comparve nel giornale di bordo della baleniera Euphrasia nel 1849. La canzone attraversò l’Atlantico e venne trasposta in gaelico da  Henry Whyte, che scriveva con lo pseudonimo di Fionn. La versione gaelica finì a Capo Bretone nella collezione di canti gaelici di St. Columba e venne cantata da Tommy MacDonald dei North Shore Singers. E’ stato dalla versione di Tommy che Julie Fowlis imparò la canzone”]

Henry Whyte (1832–1915) known under the pseudonym Fionn was a fervent supporter of Gaelic traditions.
The pen-name of ” Fionn ” has been for many years recognised as authoritative on all subjects connected with the language, history, poetry, folk-lore, and music
of the Highlands, and the popularity which his various publications have enjoyed is best evidenced by the fact that they have either passed through more than one edition or are entirely out of print. His ” Celtic Lyre ” is, without doubt, the most popular collection of Gaelic song and music ever published, and his ” Martial Music of the Clans ” dealt exhaustively with a subject which has not hitherto been adequately treated by any previous writer. As a translator of Gaelic poetry he has few equals, and in his ” Celtic Lyre ” and ” Celtic Garland ” he has given to English literature translations from the Gaelic, not only beautiful and faithful to the original, but with the additional merit of being singable to their native Gaelic airs. (from here)
[“Henry Whyte(1832–1915) conosciuto con lo pseudonimo di Fionn era un fervido sostenitore delle tradizioni gaeliche.
Il nome di penna Fionn è stato per molti anni riconosciuto come autorevole su tutti gli argomenti connessi con il linguaggio, la storia, poesia, folklore e musica delle Highland, e la popolarità che le sue varie pubblicazioni hanno goduto è meglio evidenziata dal fatto che sono passate per più di una edizione o sono completamente esaurite. ” Celtic Lyre ” è, senza dubbio, la più popolare collezione di canti in gaelico e musica mai pubblicati, e  ” Martial Music of the Clans ” tratta esaustivamente un argomento che non è mai stato adeguatamente trattato da un altro studioso precedente. Come traduttore di poesia in gaelico non ha eguali e in  ” Celtic Lyre ” e ” Celtic Garland ” ha dato alla letterature inglese traduzioni dal gaelico, non solo belle e aderenti all’originale, ma con il merito aggiuntivo di essere cantabili sulle rispettive melodie nate in gaelico.”

Tha Mo Ghaol Air Àird A’ Chuain

Courtney O ‘Connell Carlson

It is a song of the sea in which a girl on the evening, complains and cries for the fiance away on the sea, her song has the beauty of twilight (it seems that the girl seeks comfort in the peace and quiet of nature , while on the contrary his heart is devastated), so the melody of his song is sweet and sad at the same time. The last stanza brings joy: the man has returned to her safe and sound!
[E’ una canzone del mare in cui una fanciulla sul farsi della sera, si lamenta e piange per il fidanzato lontano sul mare, il suo canto sommesso e dolce ha la bellezza del crepuscolo (sembra che la ragazza cerchi conforto nella pace e quiete della natura, mentre al contrario il suo cuore è devastato), così la melodia del suo canto è dolce e triste nello stesso tempo. L’ultima strofa porta la gioia: l’uomo è ritornato da lei sano e salvo!]

Julie Fowlis  in “Mar a Tha Mo Chridhe” 2005
In 2012 the song was included by Disney / Pixar in the trailer of the movie “Brave” decreeing a wide popularity
In 2017 Courtney O’Connell Carlson illustrated the whole song, here is the video

[Nel 2012 il brano è stato incluso dalla Disney/Pixar nel trailer del film Ribelle- The Brave ( in inglese Brave) decretandone una vasta popolarità.
Nel 2017 Courtney O ‘Connell Carlson ha illustrato tutta la canzone ecco il video]

I
Feasgar ciùin an tus a’chèitein
nuair bha ‘n ialtag anns na speuran
chualaim rìbhinn òg ‘s i deurach
seinn fo sgàil nan geugan uain’.
II
Bha a’ghrian ‘sa chuan gu sìoladh
‘s reult cha d’éirich anns an iarmailt
nuair a sheinn an òigh gu cianail
“Tha mo ghaol air àird a’chuain”.
III
Thòisich dealt na h-oidhch’ ri tùirling
‘s lùb am braon gu caoin na flùrain
Shèid a’ghaoth ‘na h-oiteag chùbhraidh
beatha ‘s ùrachd do gach cluan.
IV
Ghleus an nighneag fonn a h-òrain
sèimh is ciùin mar dhriùchd an Òg-mhìos
‘a bha an t-sèisd seo ‘g éirigh ‘n còmhnaidh
“Tha mo ghaol air àird a’chuain”.
V
Chiar an latha is dheàrrs ‘na reultan,
sheòl an rè measg neul nan speuran.
Shuidh an òigh, ‘bròn ga lèireadh,
‘s cha robh dèigh air tàmh no suain.
VI
Theann mi faisg air reult nan òg-bhean
sheinn mu ‘gaol air chuan ‘bha seòladh.
O bu bhinn a caoidhrean brònach
“Tha mo ghaol air àird a’chuain”.
VII
Rinn an ceòl le deòin mo thàladh
dlùth do rìbhinn donn nam blàth-shùil
‘s i ag ùrnaigh ris an Àrd-Rìgh
“Bìon mo ghràdh ‘th’ air àird a’chuain”.
VIII
Bha a cridh’ le gaol gu sgàineadh
nuair a ghlac me fhèin air làimh i.
“Siab o dheòir, do ghaol tha sàbhailt,
thill mi slàn bhàrr àird a’chuain”.

English translation *
I
On a quiet evening at the beginning of May
When the bat was in the skies
I heard a tearful young maiden
Singing beneath the shadow of the green branches
II
The sun was setting in the sea
And no stars yet graced the sky
When the young girl sang sorrowfully
“My love is on the high seas”
III
The night’s dew began to fall
Each bloom yielding softly to the droplets
The wind blew in a fragrant breeze
Bringing life and renewal to each field
IV
The girl tunefully sang her song
Quiet and peaceful like the June dew
And this chorus constantly repeated
“My love is on the high seas”
V
Day darkened and the stars shone
Setting their course amongst the clouds
The maiden sat, burdened by her sadness
Her singing could not have been more soothing
VI
I moved closer to the young woman
Singing of her love sailing on the sea
Oh sweet was her sad lament
“My love is on the high seas”
VII
The music enticed me
Nearer to the brown-haired maiden of the warm eyes
And she prayed to the King of Heaven
“Protect my love on the high seas”
VIII
Her heart was breaking with love
When I took her by the hand
“Wipe your eyes, your love is safe
I have returned to you from the high seas”
Traduzione italiano Cattia Salto
I
In una bella sera all’inizio di Maggio
quando il pipistrello vola nei cieli
ho udito una giovane fanciulla in lacrime
cantare all’ombra delle verdi fronde
II
Il sole stava tramontando sul mare
e ancora nessuna stella ingentiliva il cielo
mentre la giovane fanciulla cantava tristemente:
“Il mio amore è in alto mare”
III
L’umidità della notte iniziava a cadere
ogni bocciolo si piegava delicatamente sotto le gocce
il vento soffiava una profumata brezza
portando vita e rinnovamento in ogni campo
IV
La ragazza cantava la sua canzone melodiosamente
quieta  e placida come la rugiada di Giugno
il cui coro ripeteva costantemente
“Il mio amore è in alto mare”
V
Il giorno si fece buio e le stelle splendevano
seguendo il loro cammino tra le nuvole
la fanciulla sedeva, oppressa dal dolore
il suo canto non poteva essere più dolce
VI
Mi sono avvicinato alla giovane
che cantava dell’amore che navigava in mare,
oh dolce era il suo triste lamento
“Il mio amore è in alto mare”
VII
La musica mi richiamava
più vicino alla morettina dagli occhi caldi
e lei pregava al Signore del Cielo
“Proteggi il mio amore in alto mare”
VIII
Il suo cuore si stava spezzando per amore
mentre la prendevo per mano
“Asciugati gli occhi, il tuo amore è al sicuro
sono ritornato da te dall’alto mare”

NOTE

 

Jamie’s on the stormy sea (Bernard Covert)

Bernard Covert (1805-1885)  American singer and songwriter. His career in music flourished during the 1840s and 50s, when he published many of his songs in a variety of magazines. Early in his life he lived in Franklin, New York, but later frequently worked in Albany, New York. He was best known for his temperance songs, which he sang as part of a duo with Ossian Dodge (from here)
Not only did Bernard Covert write a number of songs that the Hutchinsons performed, he also served as their advance agent in 1863 and sang with them in 1876 and probably at other times, as well. (from here)
[Bernard Covert (1805-1885) era un cantante e cantautore americano. La sua carriera nella musica fiorì negli anni ’40 e ’50, quando pubblicò molte delle sue canzoni in una varietà di riviste. All’inizio della sua vita visse a Franklin, New York, ma in seguito lavorò spesso ad Albany, New York. Era meglio conosciuto per le sue canzoni di temperanza, che cantava come parte di un duo con Ossian Dodge (tradotto da qui)
Bernard Covert non solo ha scritto un certo numero di canzoni eseguite dagli Hutchinson, ha anche prestato servizio come loro agente nel 1863 e ha cantato con loro nel 1876 e probabilmente anche in altre occasioni. (tradotto da qui)]
“Jamie’s on the stormy sea!” it was his most famous song
[“Jamie’s on the stormy sea!” fu il suo brano più famoso]
Jane Cassidy

English translation *
I
Ere the twilight bat was flitting,
In the sunset, at her knitting,
Sang a lonely maiden, sitting
Underneath her threshold tree;
And, ere daylight died before us,
And the vesper stars shone o’er us,
Fitful rose her tender chorus
“Jamie’s on the stormy sea!”
II
Warmly shone the sunset glowing;
Sweetly breath’d the young flow’rs blowing;
Earth, with beauty overflowing,
Seem’d the home of love to be;
As those angel tones ascending,
With the scene and season blending,
Ever had the same low ending
“Jamie’s on the stormy sea!”
III
Curfew bells remotely ringing,
Mingled with that sweet voice singing
And the last red ray seemed clinging
Lingeringly to tower and tree;
Nearer as I came, and nearer,
Finer rose the notes, and clearer;
Oh! ‘twas heaven itself to hear her
“Jamie’s on the stormy sea!”
IV
“Blow, ye west winds! blandly hover
O’er the bark that bears my lover;
Gently blow, and bear him over
To his own dear home and me;
For, when night winds bend the willow,
Sleep forsakes my lonely pillow,
Thinking of the foaming billow
Jamie’s on the stormy sea!”
V
How could I but list, but linger,
To the song, and near the singer,
Sweetly wooing heaven to bring her
Jamie from the stormy sea;
And while yet her lips did name me,
Forth I sprang – my heart o’ercame me
“Grieve no more, sweet, I am Jamie,
Home returned to love and thee!”
Traduzione italiano Cattia Salto
I
Il pipistrello volava nel crepuscolo
al tramonto, lavorando a maglia
cantava una fanciulla solitaria seduta
sotto al pergolato (1)
e prima che morisse la luce del giorno dietro a noi, e le stelle della sera brillassero su di noi,
a tratti si alzava il suo canto delicato
“Jamie è sul mare in tempesta!”
II
Splendeva caldo il raggiante tramonto
soavemente respiravano i giovani fiori in boccio,
la terra di una bellezza traboccante
sembrava essere la casa di Amore;
mentre quelle note angeliche salivano
mescolandosi con l’atmosfera della stagione
tuttavia avevano lo stesso finale basso
“Jamie è sul mare in tempesta!”
III
Le campane del coprifuoco suonavano in lontananza, mescolandosi con quel dolce canto
e l’ultimo raggio rosso sembrava aggrapparsi a lungo alla torre e all’albero
mentre mi avvicinavo sempre più
belle salivano le note e più chiare,
oh era il cielo stesso ad ascoltarla
“Jamie è sul mare in tempesta!”
IV
“Oh soffia vento dell’ovest! Librati gentile
sul legno che porta il mio amore;
soffia dolcemente e portalo
alla sua cara casa e a me;
perchè quando i venti della notte piegano il salice,
il sonno abbandona il mio cuscino
al pensiero dei marosi schiumanti
Jamie è sul mare in tempesta!”
V
Come potevo tuttavia elencare la canzone,
ma indugiare vicino alla cantante,
dolcemente corteggiava il paradiso per portarle
Jamie dal mare in tempesta;
E mentre ancora le sue labbra mi chiamavano,
in avanti scattai , sopraffatto dal sentimento
“Non piangere più, amore, io sono Jamie,
ritornato a casa  per amarti ”

NOTE
1) ho preferito tradurre con pergolato ma threshold tree è letteralmente l’albero davanti all’uscio, in genere nelle case di campagna si stratta di un rampicante che dona ombra alla facciata e sparge il suo soave profumo.

LINK
https://mudcat.org/thread.cfm?threadid=163391
https://www.siliconglen.scot/Scotland/9_3_22.html
http://www.celticlyricscorner.net/fowlis/tha.htm
https://followingthegoldenthread.com/category/celtic-folk-music-folk-music-illustration/
https://levysheetmusic.mse.jhu.edu/collection/020/002
http://www.oocities.org/unclesamsfarm/songs/jamie.htm
https://www.itma.ie/digital-library/sound/jamies_on_the_stormy_sea_jane_cassidy

 

A ghaoil, leig dhachaigh gum mhàthair mi (O love, let me home to my mother)

Warwick Gobe

A ghaoil, leig dhachaigh gum mhathair mi (O love, let me home to my mother) is a Scottish Gaelic song from the Hebrides: it is the plea of a girl kidnapped by the kelpie to be allowed to return home. It was customary for the Kelpie to take a human bride to feel less alone, but the brides were not always happy to live on the bottom of the lake, to take care of the kelpie’s house! Although the Scottish maidens are dissuaded by many folk tales to walk alone on the moors and on the banks of the loch, there is always the most innocent or adventurous, which inevitably ends up making bad encounters.
[A ghaoil, leig dhachaigh gum mhàthair mi
(O love, let me home to my mother) è un canto in gaelico scozzese proveniente dalle Isole Ebridi: è la supplica di una fanciulla rapita dal kelpie affinchè le sia concesso di ritornare a casa. Era consuetudine per il Kelpie prendersi una sposa umana per sentirsi meno solo, ma non sempre le spose erano felici di vivere sul fondo del lago ad accudire alla casetta del kelpie! Sebbene le fanciulle scozzesi siano dissuase da molti racconti popolari ad andarsene sole solette per la brughiera e sulle rive dei loch, c’è sempre quella più ingenua o avventurosa, la quale immancabilmente finisce per fare brutti incontri..]

At the moment the only sources of the song on the net are filed on Tobar an dualchais
[Al momento le uniche fonti in rete della canzone sono archiviate su Tobar an dualchais]
‘A Ghaoil Leig Dhachaigh gu Mo Mhàthair Mi’- Kate Nicolson (dall’isola di South Uist)
Julie Fowlis in ‘Gach Sgeul / Every Story’ 2014

Ulli Boegershausen guitar arrangiament [arrangiamento per chitarra]

Scottish Gaelic
I
A ghaoil, leig dhachaigh gum mhàthair mi;
A ghràidh, leig dhachaigh gum mhàthair mi;
A ghaoil, leig dhachaigh gum mhàthair mi –
An tòir chrodh-laoigh a thàine mi.
II
Gur ann a-raoir a chuala mi
Mo ghaol a bhith ri buachailleachd,
’S ged fhuair thu ’n iomall na buaile mi,
A ghaoil, leig dhachaigh mar fhuair thu mi.
III
‘S mi dìreadh ris na gàrraidhean,
’S a’ teàrnadh ris na fàirichean,
Gun d’ thachair fleasgach bàigheil rium,
’S cha d’ dh’ fheuch e bonn ga chàirdeis rium.
IV
Ged bheireadh tu crodh agus caoraich dhomh,
Ged bheireadh tu eachaibh air thaodaibh dhomh,
Ged bheireadh tu sin agus daoine dhomh,
A ghaoil, leig dhachaigh mar fhuair thu mi.
V
Trodaidh m’ athair ’s mo mhàthair riut,
Trodaidh mo chinneadh ’s mo chàirdean riut,
Ach marbhaidh mo thriùir bhràithrean thu
Mura tèid mi dhachaigh mar thàine mi.
VI
Gheall mo mhàthair gùn thoirt dhomh,
Gheall i ribean a b’ ùire dhomh,
Is gheall i breacan ùr thoirt dhomh
Ma thèid mi dhachaigh mar fhuair thu mi.

English translation *
I
Love, let me home to my mother
Darling, let me home to my mother
Love, let me home to my mother
I only came for the cattle.
II
It was only last night
That I heard that my love was herding
And though you found me at the brim of the  fold
Love, let me home as you found me.
III
I was clambering up the dykes
And descending the ridges
When a friendly lad met me
And he did not enforce his friendship on me.
IV
Though you were to give me cattle and sheep
Though you were to give me tethered horses
Though you were to give me that and men
Love, let me home as you found me.
V
My mother and father will chastise you
My clan and my relatives will chastise you
But my three brothers will kill you
If I don’t return home as I came.
VI
My mother promised me a gown
Decorated with the newest of ribbons
And she promised me a new plaid
If I return home the way you found me. 
traduzione italiano Cattia Salto
I
Mio caro, fammi tornare a casa da mia madre
Fammi tornare a casa da mia madre
Amore (1), fammi tornare a casa da mia madre
Sono arrivata qui solo per il bestiame (2).
II
E ‘ stato solo la scorsa notte
Ho sentito che il mio amore era al pascolo
E anche se mi hai trovata ai bordi del pascolo
Fammi tornare a casa come mi hai trovata.
III
Mi arrampicavo sulle erte
E scendevo dalle creste,
Quando un giovanotto cordiale mi ha incontrato
E non mi ha imposto la sua amicizia.
IV
Anche se tu potessi darmi bestiame e pecore,
Anche se tu potessi darmi dei cavalli impastoiati,
Anche se tu potessi darmi questo e dei servitori,
Fammi tornare a casa come mi hai trovata.
V
Mia madre e mio padre ti puniranno
Il mio clan e i miei parenti ti puniranno
Ma i miei tre fratelli ti uccideranno
Se non tornassi a casa come sono venuta.
VI
Mia madre mi ha promesso un abito
Decorato con i nastri più nuovi
E lei mi ha promesso un nuovo mantello
Se tornassi a casa come mi hai trovata.

NOTE
1) the girl coaxes the kelpie, but to call him “my love” it is a bit out of the context of a fleeting encounter, maybe they have lived together and now she feels homesick . Yet that of the girl is clearly a plea of not being violated to return home with her virginity intact [la fanciulla blandisce il kelpie, ma chiamarlo amore mio è un po’ fuori dal contesto di un fugace incontro, forse i due hanno vissuto insieme per un po’ di tempo e adesso lei sente la nostalgia di casa. Eppure quella della fanciulla è chiaramente una supplica di non essere violata per ritornare a casa con la sua verginità intatta]
2) the girl justifies her curiosity by explaining that she had gone to those solitary places for her job as guardian of the family’s cattle; in the next stanza she even explains that she hoped to meet another herdsman / shepherd boy; that is she is there for the cattle, not for sex [la fanciulla giustifica la sua curiosità spiegando di essersi spinta verso quei luoghi solitari nella sua mansione di guardiana del bestiame della famiglia; nella strofa successiva addirittura spiega che sperava d’incontrare un altro mandriano/pastorello; lei è li per il bestiame, non per fare sesso]

“Up, ride with the kelpie” by Ian Anderson

LINK
http://www.tobarandualchais.co.uk/en/fullrecord/104490/4
http://www.tobarandualchais.co.uk/en/fullrecord/36511/4
http://www.tobarandualchais.co.uk/en/fullrecord/85703/4
http://www.tobarandualchais.co.uk/en/fullrecord/26812/4

Dream Angus the scottish Sandy (l’omino dei sogni scozzese)

“Dream Angus” is the Scottish version of Sandman (affectionately called Sandy) a mythical character of Northern Europe folklore, the sandy wizard, who brings happy dreams sprinkling magic sand into the eyes of sleeping children. In the animated movie by Dreamworks “Rise of the Guardians” he is a mute character who communicates through images formed with his magic golden dust; always cheerful, provides children with beautiful dreams and unleashes their imagination.
[“Dream Angus” è la versione scozzese dell’Omino dei Sogni (in inglese Sandman chiamato affettuosamente Sandy) un personaggio mitico del folklore del Nord Europa, il mago sabbiolino, che porta sogni felici cospargendo di sabbia magica gli occhi dei bambini addormentati. Nella versione animata della Dreamworks “Le 5 Leggende” (in inglese “Rise of the Guardians”) è un personaggio muto che comunica attraverso immagini formate con la sua dorata polvere magica; sempre allegro, fornisce ai bambini dei bei sogni e sbriglia la loro immaginazione.]

 OleLukoie By Fagilewhispers.jpg

In the fairy tale of Andersen, Ole Lukøje (in English Ole-Luk-Oie) tells the sleeping children fantastic stories opening up an umbrella full of drawings on their heads (but only good children can make happy dreams, the disobedient ones sleep without dreams and the little man opens an umbrella without drawings on their heads). The italian Gianni Rodari has undergone the charm of this character dedicating him a nursery rhyme in which he outlined a mischievous but good-natured spirit.
[Nella fiaba di Andersen Ole Chiudigliocchi (Ole Lukøje in inglese Ole-Luk-Oie) racconta ai bambini addormentati delle storie fantastiche aprendo sopra alla loro testa un ombrello pieno di disegni (ma solo i bambini buoni possono essere felici nel sogni, quelli disobbedenti dormono senza sogni e l’omino apre sulle loro teste un ombrello senza disegni). Il nostro Gianni Rodari ha subito il fascino del personaggio dedicandogli una filastrocca in cui l’onimo dispettoso ma bonario dorme sotto il nostro comò di giorno.]

And yet Hoffmann recounts about Der Sandmann who is a dark version of the boogeyman: he snatch the eyes of the children who does not want to sleep to feed his ravenous offspring.
E tuttavia Hoffmann racconta dell’uomo della sabbia (Der Sandmann) che è una cupa versione dell’uomo nero: ai bambini che non volevano dormire strappava gli occhi per darli in pasto alla sua è famelica prole dal becco ricurvo come i rapaci della notte.]

Angus

In the Celtic mythology Angus (Aengus) is the god of youth, of poetic inspiration and love, son of the Nymph Boann and of the Dagda of the Tuatha Dé Danann. In a scottish goodnight song he is called “Dream Angus“, the god of dreams and by night he carries a bag full of dreams. His wife is Caer Ibormeith and their love story is the meeting of the twin souls that can not be separated.
[Nella mitologia celtica Angus (Aengus) è il dio della giovinezza, dell’ispirazione poetica e dell’amore, figlio della Ninfa Boann e del Dagda dei Tuatha Dé Danann. In una canzone della buonanotte è chiamato “Dream Angus”, il dio dei sogni e la notte porta una sacca piena di sogni in vendita. Sua moglie è Caer Ibormeith (Bacca di Tasso) la loro storia  è l’incontro delle anime gemelle che non possono essere separate. ]

Twin souls

Illustration from The Dream of Aengus, by Ted Nasmith

 According to the myth, Angus fell in love with a maiden he saw in his dreams.
But she was under a spell and to be able to free her, Angus had to recognize her while she was living in the form of a swan. After much research he knew he would have to waited till Samain for going to Lake Dragon’s Mouth (Loch Bel Dracon), where he found 150 swans tied to couples with silver chains.

[Secondo il mito, Angus si innamorò della fanciulla che vedeva nei suoi sogni. Ma la fanciulla era sotto un sortilegio e per poterla liberare Angus doveva riconoscerla mentre viveva nella forma di cigno. Dopo molte ricerche seppe di doverla aspettare per la festa di Samain al lago di Dragon’s Mouth (Loch Bel Dracon in italiano Bocca del Drago) dove trovò 150 cigni legati a coppie con catene d’argento.]

Aengus sings in front of the lake during his transformation into a swan [Aengus canta davanti al lago nella sua trasformazione in cigno]- John Duncan 1908

Angus turned into a swan to call Caer, so they flew together over the lake three times singing a sweet melody that fell asleep all Ireland for three days and three nights; now they live in Brugh Na Boinne (Newgrange).
[Angus si trasformò in cigno per poter chiamare la sua Caer, così volarono insieme sorvolando il lago per tre volte cantavano una dolce melodia che addormentò l’Irlanda per tre giorni e tre notti; ora dimorano nel Brugh Na Boinne (Newgrange).]

Yeats dedicates a poem to him The song of wandering Aengus published in 1899, in the collection of poems “The Wind among the reeds”.
The first to put the poem into music was the same Yeats who composed or adapted a traditional Irish melody: in 1907 he published his essay ‘Speaking to the Psaltery’ in which the poem is recited bardically, sung with the accompaniment of the psaltery; but many other artists were inspired by the text and composed further melodies. (see more)

Yeats gli dedica una poesia The song of wandering Aengus (La canzone di Aengus l’errante) pubblicata nel 1899, nella raccolta di poesie “The Wind among the reeds” (Il vento fra le canne). Il primo a mettere in musica la poesia è stato lo stesso Yeats che la compose o che vi adattò una melodia tradizionale irlandese : nel 1907 diede alle stampe il suo saggio ‘Speaking to the Psaltery’ in cui la poesia viene recitata alla maniera bardica ovvero cantata con l’accompagnamento del salterio; ma molti altri artisti furono ispirati dal testo e composero ulteriori melodie. continua

Dream Angus

Dream Angus is a legendary character in Scottish folklore that brings beautiful dreams to sleeping children.
From the moment Angus is born it is obvious that he is a gentle spirit and will be universally loved. Songbirds circle his head to serenade him to sleep as he rocks in his cradle, and the wildest hunting dog calms when in his presence.” (from qui)

Angus dei Sogni è un personaggio leggendario nel folklore scozzese che porta bei sogni ai bambini addormentati “Subito dalla sua nascita Angus è uno spirito gentile e sarà universalmente amato: gli uccelli canterini gli girano intorno alla testa per farlo addormentare, mentre si dondola nella culla, e il cane da caccia più selvaggio si calma quando è in sua presenza“.

Jackie Oates

Jean-Luc Lenoir in Old Celtic & Nordic Lullabies” 2016

Lynn Morrison


I
Can ye no hush your weepin’?
All the wee lambs are sleepin’
Birdies are nestlin’ nestlin’ together
Dream Angus is hirplin’ oer the heather
Chorus
Dreams to sell, fine dreams to sell
Angus is here wi’ dreams to sell
Hush my wee bairnie and sleep without fear
Dream Angus has brought you a dream my dear.
II
List’ to the curlew cryin’
Faintly the echos dyin’
Even the birdies and the beasties are sleepin’
But my bonny bairn is weepin’ weepin’
III (1)
Soon the lavrock sings his song
Welcoming the coming dawn
Lambies coorie doon the gither
Wi’ the yowies in the heather
Traduzione italiano Cattia Salto
I
Perchè non smetti di piangere?
Tutti gli agnellini sono addormentati,
gli uccellini si stanno accoccolando insieme
Angus dei Sogni si aggira per la brughiera
Coro
Sogni da vendere, bei sogni da vendere
Angus è qui con i sogni da vendere
shhh mio piccolino, dormi senza paura
Angus dei Sogni ti ha portato un sogno mio caro
II
Ascolta il chiurlo che grida
piano si smorza l’eco
anche gli uccellini e le bestie dormono
ma il mio piccolino piange, piange
III
Presto l’allodola leverà il suo canto
per salutare l’arrivo dell’alba
gli agnelli si rannicchiano assieme
con le pecorelle nell’erica

NOTE
1) or
Sweet the lavrock sings at morn,
Heraldin’ in a bright new dawn.
Wee lambs, they coorie doon taegether
Alang with their ewies in the heather.

The musical arrangements are however for everyone.
[Gli arrangiamenti sono però per tutti i gusti]
Debra Fotheringham

The Corries

Annie Lennox

Nam bu leam fhin thu thaladhainn thu

The melody of Dream Angus is very similar to a Gaelic lullaby “Nam bu leam fhin thu thaladhainn thu“, which is believed to have been sung by a fairy to an abandoned human child in the forest. On the Isle of Skye (Hebrides) it is associated with MacLeods clan of Dunvegan, who took enchanted creatures as nurses for their children.
Christina Stewart reports a couple of legends associated with this song:
In an alternative story, the wife of the chief of the MacLeods gives birth to a baby, much to the joy of the family.  However, the mother is a fairy woman and while the child is still a baby, she is forced to return to her own people.  One night, there is a great feast going on in Dunvegan Castle and the nursemaid who is supposed to be caring for the child is so attracted by the colour and festivity that she leaves the baby sleeping and goes to watch.  While she is away, the baby wakens and begins to cry.  When she hears it, she comes back and finds a woman cradling the baby, singing this song to him.  She has wrapped the child in an embroidered, yellow covering.  As the child calms, the woman hands the child back to the nursemaid and leaves.  The story goes that the woman was the baby’s mother, returned to see that her child was kept from harm and the yellow cover was the so-called Fairy Flag of Dunvegan, a banner which the clan should wave at times of dire need.  Legend has it that this otherworldly banner has miraculous powers and when unfurled in battle, the clan MacLeod would invariably defeat their enemies.  It can only be waved 3 times, though, after which it will fall into dust.  The flag has been waved twice so far – in 1480 at Blàr Bàgh na Fala and ten years later at the Battle of Glendale.  The flag itself certainly exists and is a popular attraction at Dunvegan Castle.  There are many stories associated with it and it’s origins and this is not the only lullaby said to have been sung by the baby’s mother. (from here)

La melodia di Dream Angus è molto simile a una ninna nanna gaelica “Nam bu leam fhin thu thaladhainn thu”, che si ritiene sia stata cantata da una fata a un bambino umano abbandonato nella foresta. Sull’isola di Skye (Isole Ebridi) è associata al clan MacLeods di Dunvegan che prendeva delle creature fatate come balia per i figli.
Christina Stewart riporta un paio di leggende associate a questo canto “In una storia alternativa, la moglie del capo dei MacLeod da alla luce un bambino, tutto per la gioia della famiglia. Tuttavia, la madre è una fata e quando il bambino è ancora piccolo, è costretta a tornare dalla sua stessa gente. Una notte, c’è una grande festa in corso nel Castello di Dunvegan e la bambinaia che doveva prendersi cura del bambino è così distratta dalla festa che lascia il bambino addormentato e va a vedere. Mentre lei è via, il bambino si sveglia e comincia a piangere. Quando lo sente, torna e trova una donna che culla il bambino, cantando questa canzone per lui. Aveva avvolto il bambino in una coperta gialla ricamata. Mentre il bambino si calma, la donna restituisce il bambino alla balia e se ne va. La storia racconta che la donna era la madre del bambino, tornata a vedere che il suo bambino fosse al sicuro e la copertina gialla era la cosiddetta “Fairy Flag of Dunvegan”, uno stendardo che il clan avrebbe dovuto agitare nei momenti di estremo bisogno. La leggenda narra che questo vessillo ultraterreno abbia poteri miracolosi e quando dispiegato in battaglia, il clan MacLeod avrebbe invariabilmente sconfitto i loro nemici. Può essere sventolato solo 3 volte, dopo di che cadrà nella polvere. La bandiera è stata sventolata due volte finora – nel 1480 a Blàr Bàgh na Fala e dieci anni dopo nella Battaglia di Glendale. La bandiera di per sé certamente esiste ed è un’attrazione popolare al Castello di Dunvegan. Ci sono molte storie associate ad esso e alle sue origini e questa non è l’unica ninnananna che si dice sia stata cantata dalla madre del bambino.”

Christina Stewart in Bairn’s Kist 2011

Scottish gaelic
Thàladhainn, thàladhainn, thàladhainn thu
Nam bu leam fhìn thu, leanabh mo chìche
Nam bu leam fhìn thu, thàladhainn thu
Thàladhainn, thàladhainn, thàladhainn thu
English translation:
If you were mine, I would lull you
Lull, lull, lull you
If you were mine, child of my breast
If you were mine, I would lull you
Lull, lull, lull you
traduzione italiano Cattia Salto
Se tu fossi mio, ti cullerei
cullerei, cullerei
se tu fossi mio, bimbo del mio seno
se tu fossi mio, ti cullerei
cullerei, cullerei

LINK
http://www.rampantscotland.com/songs/blsongs_dream.htm
http://bardmythologies.com/aengus-og/
http://www.kistodreams.org/dreamangus.asp
https://thesession.org/tunes/16464
http://www.ericdentinger.com/dream-angus_en.html
http://www.kistodreams.org/index.asp?pageid=652608

Crònan Cuallaich a herding croon

Leggi in italiano

“Crònan Cuallaich” is a Scottish Gaelic song collected on the island of Benbecula (Hebrides) and also transcribed by Alexander Carmicheal in his “Carmina Gadelica” Vol I # 105.
In English “herding croon” is a prayer of protection, sung to the grazing cattle to keep it quiet. The structure, however, is that of the waulking song and as such handed down in the Hebrides.

Russet Highland Cattle, Uig Beach, Isle of Lewis. © J. Lynn Stapleton, 1st August 2013

The Highland cow looks very funny, it almost seems like a Himalayan jak, it is a bovine breed originally from Scotland, also known as Hebridean breed, Hairy Coo, Heilan Coo or Kyloe. With a long, thick and bristly fur and horns of up to one and a half meters it is docile in character, lives outdoors all year round and rarely gets sick. Its particular physical constitution is due to the adaptation to cold and even glacial climates. As far as one single race is concerned, there are two ancestors: one of black color and of smaller size, the other one of reddish color and of bigger size. The breed is very appreciated for its meat (lean and without cholesterol), and has been exported to various parts of the world in America, Australia and Europe, in Italy we find it in South Tyrol, Veneto, Liguria and Lombardy.

Distant Oaks in “Gach Là agus Oidhche: Music of Carmina Gadelica” 2003

An crodh an diugh a dol imirig,
Hill-i-ruin is o h-ug o,
Ho ro la ill o,
Hill-i-ruin is o h-ug o,
Dol a dh’ itheadh feur na cille,
Hill-i-ruin is o h-ug o,
Am buachaille fein ann ’g an iomain,
Ho ro la ill o,
Hill-i-ruin is o h-ug o,
’G an cuallach, ’g an cuart, ’g an tilleadh,
Hill-i-ruin is o h-ug o,
Bride bhith-gheal bhi ’g am blighinn,
Hill-i-ruin is o h-ug o,
Muire mhin-gheal bhi ’g an glidheadh,
Hill-i-ruin is o h-ug o,
’S Iosa Criosda air chinn an slighe,
Iosa Criosda air chinn an slighe.
Hill-i-ruin is o h-ug o.

english translation
The cattle are today going a-flitting(1),
Going to eat the grass of the burial place,(2)
Their own herdsman there to tend them,
Tending them, fending them, turning them,
Be the gentle Bride(3) milking them,
Be the lovely Mary keeping them,
And Jesu Christ at the end of their journey.
NOTE
1) escaping on the sly
2) according to the testimony of Marjory Kennedy-Fraser the locality of reference is Grimnis (Griminish) in particular a fairy hill (a burial mound)
3) the goddess Bride is syncretically approached to Jesus Christ and to the Virgin Mary. The invocation to the Gruagach, the sea maid, a sort of guardian spirit of the house and of the cattle, is inevitable

UIST CATTLE CROON

The song is among those collected by Marjory Kennedy-Fraser in his trip to the Hebrides and merged in her book “Songs of the Hebrides“. The melody is also reported by Frances Tolmie who collected it at Kilmaluagon on the Isle of Skye.
Alison Pearce in Land of Hearts Desire – Songs of the Hebrides. A classical version (soprano and harp) with the arrangement of Kennedy-Fraser


I
Today the kye win to hill pasture,
Hill-i-ruin is o h-ug o,
Sweet the grass of cool hill pastures
Hill-i-ruin is o h-ug o,
Breedja(3) fair white be at their milking,
Hill-i-ruin is o h-ug o,
Lead the kye to the hill pastures
Hill-i-ruin is o h-ug o,
II
Today the kye “flit”(1) to hill pastures
There to graze on sweet hill grasses
Mary(1), gentle be at their keeping,
Keeping all out on hill pastures
NOTE
1)Bride and the virgin Mary are confused in a single protective deity, or in this version of the rev Kenneth Macleod Mary is more prosaically a beautiful herdswiman. The task of watching cattle in the pastures was once reserved for boys and girls.

the kulning of Jonna Jinton

A pretty girl milking her cow

Sources
http://www.sacred-texts.com/neu/celt/cg1/cg1114.htm
http://ontanomagico.altervista.org/imbolc.htm
https://terreceltiche.altervista.org/gruagach-mhara-a-gruagach-or-a-selkie/
https://jlstapletonphotography.me/2013/08/