Archivi categoria: Musica irlandese/ Irish music

Bonnie Kellswater

“Bonnie Kellswater” è un brano tradizionale irlandese (Irlanda del Nord) reso popolare dai Planxty (già in repertorio degli Irish Rovers nel loro album The Unicorn del 1967) . Raccolto sul campo da Sam Henry dalla voce di Jim Carmichael di Ballymena (contea di Antrim)  che lo riporta nel suo monumentale “The Song of the People” (con note di John Moulden 1979 già pubblicate sul  “Northern Constitution” tra il 1923 e il 1939) al numero H695.

[“Bonnie Kellswater” is a traditional Irish song (Northern Ireland) popularized by Planxty (formerly in Irish Rovers’ repertoire in their 1967 album The Unicorn) dedicated to the Kells Water River that runs through Antrim County. Collected on the field by Sam Henry (from Jim Carmichael of Ballymena) in his monumental “The Song of the People” (with notes by John Moulden 1979 already published in the “Northern Constitution” between 1923 and 1939) to the number H695 .]

Del brano si conoscono vari testi sempre legati alla stessa melodia con versioni sia al maschile che al femminile, nelle versioni maschili si tratta di un sereno canto d’amore dedicato a Marta (Molly) con immagini dolci e bucoliche dell’amato Kellswater; in quelle al femminile invece l’amore è contrastato dal padre della ragazza che riesce a separare i due innamorati: il canto assume così l’andamento di un farewell, triste e malinconico (emigration song), è la donna ad attendere il caro Willy nella vecchia Irlanda con la certezza nel cuore che lui ritornerà a prenderla.

“We know several texts always related to the same melody with both male and female versions, in the male versions it is a serene love song dedicated to Martha (Molly), with sweet and bucolic images; in women version instead the love is contrasted by the girl’s father who manages to separate the two lovers: the song is like a Farewell, sad and melancholy (emigration song), it is the woman to wait for her dear Willy in old Ireland with the certainty in her heart that he will return and take her.”

LA MELODIA (TUNE)
Ascoltiamola in un arrangiamento per chitarre del gruppo Cord’Accord

Planxty in The Woman I Loved So Well 1980Loreena McKennitt in “Elemental” canta la versione dei Planxty (Planxty version)


I
Here’s a health to you, bonny Kellswater (1)
Where you’ll get all the pleasures of life,
Where you’ll get all the fishing and fowling,
And a bonny wee lass for your wife.
II
Oh, it’s down where yon waters run muddy,
I’m afraid they will never run clear.
And it’s when I dig in for to study,
My mind is on them that’s not here.
III
It’s this one and that one they court him,
but if anyone gets him but me,
It’s early and late I will curse them
That parted lovely Willie from me.
IV
Oh, a father he calls on his daughter,
“Two choices I’ll give unto thee.
Would you rather see Willie’s ship a-sailing,
Or see him hung like a dog from yon tree?”
V
“Oh, Father, dear Father, I love him.
I can no longer hide it from thee.
Through an acre of fire I would travel
Alone with lovely Willie to be.”
VI
Oh, hard was the heart that confined her,
She took from her her heart’s delight.
May the chains of old Ireland bind around them,
And soft be their pillows at night.
VII
“Oh, yonder’s a ship on the ocean
And she does not know which way to steer.
From the east to the west she’s a-going.
She reminds me of the charms of my dear.
VIII
Oh, it’s yonder my Willie will be coming,
He said he’d be here in the spring,
And it’s down by yon green shades I’ll meet him,
And among yon wild roses we’ll sing.
IX
For a gold ring he placed on my finger,
Saying “Love, bear this in your mind,
If ever I sail from Old Ireland,
You’ll mind I’ll not leave you behind.”
Traduzione italiana Cattia Salto
I
Salute a te,
bel Kellswater
dove si trovano tutti i piaceri
della vita
dove si trova da pescare e cacciare in abbondanza
e una bella ragazza per moglie.
II
Oh è laggiù dove corre quel fiume dalla acque fangose,
temo che non scorreranno mai limpide,
e quando mi metto sotto a studiare
la mia mente è con loro tranne che qui.
III
Questa e quella lo corteggiano
ma nessun altra lo avrà tranne me,
presto o tardi  maledirò
coloro che hanno separato il bel Willy da me
IV
Un padre chiama la figlia
“Ti darò due scelte.
Preferiresti vedere salpare il tuo Willy su una nave
o vederlo impiccato ad un albero come un cane ?”
V
“Padre, caro padre io lo amo.
Non posso nascondertelo più a lungo.
In mezzo a un acro di fuoco andrei pur di stare da sola con il mio bel Willy”
VI
Oh duro era il cuore che la confinava in casa
che le toglieva la gioia del cuore.
Possano le catene della vecchia Irlanda legarsi attorno a loro
e i cuscini di notte essere soffici.
VII
“C’è una nave sull’oceano
e non sa che rotta prendere
da oriente a occidente è in partenza,
mi ricorda il fascino del mio amore.
VIII
Da laggiù il mio Willy ritornerà
diceva che sarebbe stato qui per la primavera
e tra quei verdi boschetti lo incontrerò
e tra quelle roselline selvatiche canteremo
IX
Perchè lui mi mise l’anello al dito
dicendo “Amore, tieni questo in mente
anche se parto dalla vecchia Irlanda
ricordati che non ti lascio indietro”

NOTE
1) nome di un fiume ma anche di un piccolo villaggio nella contea di Antrim vicino a Kells.John Moulden scrive “Il Kellswater, un affluente del fiume Main, diventa il fiume Glenwhinny sul versante ovest della collina di Agnews che domina Larne, e poi scorre verso ovest attraverso Kells, prendendo il suo nome mentre avanza, e si unisce al Main a circa cinque miglia a nord di Randalstown . ”
[a river and a hamlet nearby Kells in Co. Antrim. John Moulden writes “The Kellswater, a tributary of the River Main, rises as the Glenwhinny river on the west slope of Agnews hill which overlooks Larne, and then flows westward through Kells, collecting its name as it goes, and joins the Main about five miles north of Randalstown. ]

Irish Rovers in The Unicorn 1967


I
Here’s a health to you, bonnie Kellswater
For its there you’ll find the pleasures of life
And its there you’ll find a fishing and farming
And a bonnie wee girl for your wife
II (1)
On the hills and the glens and the valleys
Grows the softest of women so fine
And the flowers are all dripping with honey
There lives Martha, a true love of mine
III
Bonnie Martha, you’re the first girl I courted
You’re the one put my heart in a snare
And if ever I should lose you to another
I will leave my Kellswater so fair
IV
For this one and that one may court her
But no other can take her from me
For I love her as I love my Kellswater
Like the primrose is loved by the bee
Traduzione italiana Cattia Salto
I
Salute a te,
bel Kellswater
perchè è qui che i trovano tutti i piaceri della vita
dove si trova da pescare e
da coltivare
e una bella ragazza per moglie.
II
Sui colli, le forre e le valli
cresce la più dolce delle donne, così bella
e i fiori stillano miele
dove vive Marta,
il mio vero amore
III
Bella Marta sei la prima ragazza per cui spasimo
colei che mi ha preso al laccio,
e se mai dovessi perderti per un altro
lascerò il mio Kellswater così bello.
IV
Perchè questo e quello possono farle la corte
ma nessuno me la può togliere
perchè io l’amo come amo il mio Kellswater, come la primula è amata dall’ape

NOTE
1) verso alternativo [or]
The hills and the dales and low valleys,
are all covered with linen so fine,
and the trees are a drooping sweet honey,
and the rocks are all grown over with thyme.

LINK
https://www.revolvy.com/page/Kells-Water
https://www.itma.ie/digital-library/sound/bonny_kells_waters_dan_mcgonigle

Follow me up to Carlow

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The text of “Follow me up to Carlow” was written in the nineteenth century by the Irish poet Patrick Joseph McCall (1861 – 1919) and published in 1899 in the “Erinn Songs” with the title “Marching Song of Feagh MacHugh”.
Referring to the Fiach McHugh O’Byrne clan chief, the song is full of characters and events that span a period of 20 years from 1572 to 1592.

McCall’s intent is to light the minds of the nationalists of his time with even too detailed historical references on a distant epoch, full of fierce opposition to English domination. 16th century Ireland was only partly under English control (the Pale around Dublin) and the power of the clans was still very strong. They were however clans of local importance who changed their covenants according to convenience by fighting each other, against or together with the British. In the Tudor era Ireland was considered a frontier land, still inhabited by exotic barbarians.
front1

FIACH MCHUGH O’BYRNE

The land of the O’Byrne clan was in a strategic position in the county of Wicklow and in particular between the mountains barricaded in strongholds and control posts from which rapid and lethal raids started in the Pale. The clan managed to survive through raids of cattle, rivalries and alliances with the other clans and acts of submission to the British crown, until Fiach assumed the command and took a close opposition to the British government with the open rebellion of 1580 that broke out throughout the Leinster . In the same period the rebellion was reignited also in the South of Munster (known as the second rebellion of Desmond)

The new Lieutenant Arthur Gray baron of Wilton that was sent to quell the rebellion with a large contingent, certainly gave no proof of intelligence: totally unprepared to face the guerrilla tactics, he decided to draw out the O’Byrne clan, marching in the heart of the county of Wicklow, the mountains! Fiach had retired to Ballinacor, in the Glenmalure valley, (the land of the Ranelaghs), and managed to ambush Gray, forcing him to a disastrous retreat to the Pale.

glenmalure

Follow me up to Carlow

The melody was taken from McCall himself by “The Firebrand of the Mountains,” a march from the O’Byrne clan heard in 1887 during a musical evening in Wexford County. It is not clear, however, if this historical memory was a reconstruction in retrospect to give a touch of color! It is very similar to the jig “Sweets of May” (first two parts) and also it is a dance codified by the Gaelic League.

“Follow me up to Carlow” (also sung as “Follow me down to Carlow”) was taken over by Christy Moore in the 1960s and re-proposed and popularized with the Irish group Planxty; recently he is played by many celtic-rock bands or “barbarian” formations with bagpipes and drums.

Planxty

Fine Crowd

The High Kings live

FOLLOW ME UP TO CARLOW
I
Lift Mac Cahir Óg(1) your face,
broodin’ o’er the old disgrace
That Black Fitzwilliam(2) stormed your place,
and drove you to the Fern(3)
Gray(4) said victory was sure,
soon the firebrand(5) he’d secure
Until he met at Glenmalure(6)
with Fiach McHugh O’Byrne
CHORUS
Curse and swear, Lord Kildare(7),
Fiach(8) will do what Fiach will dare
Now Fitzwilliam have a care,
fallen is your star low(9)
Up with halberd, out with sword,
on we go for, by the Lord
Fiach McHugh has given the word
“Follow me up to Carlow!”(10)
II
See the swords at Glen Imaal (11),
flashin’ o’er the English Pale(12)
See all the children of the Gael,
beneath O’Byrne’s banner
Rooster of a fighting stock,
would you let a Saxon cock
Crow out upon an Irish Rock,
fly up and teach him manners.
III
From Tassagart (11) to Clonmore (11),
flows a stream of Saxon gore
How great is Rory Óg O’More(13)
at sending loons to Hades
White(14) is sick, Gray(15) is fled,
now for Black Fitzwilliam’s head
We’ll send it over, dripping red,
to Liza(16) and her ladies
II
See the swords at Glen Imaal (11),
flashin’ o’er the English Pale(12)
See all the children of the Gael,
beneath O’Byrne’s banner
Rooster of a fighting stock,
would you let a Saxon cock
Crow out upon an Irish Rock,
fly up and teach him manners.
III
From Tassagart (11) to Clonmore (11),
flows a stream of Saxon gore
How great is Rory Óg O’More(13)
at sending loons to Hades
White(14) is sick, Gray(15) is fled,
now for Black Fitzwilliam’s head
We’ll send it over, dripping red,
to Liza(16) and her ladies

NOTES
1) Brian MacCahir Cavanagh married Elinor sister of Feagh MacHugh. In 1572 Fiach and Brian were implicated in the murder of a landowner related to Sir Nicholas White Seneschal (military governor) of the Queen at Wexford.
2) William Fitzwilliam “Lord Deputy” of Ireland, the representative of the English Crown who left office in 1575
3) In 1572 Brian MacCahir and his family were deprived of their properties donated to supporters of the British crown
4) Arthur Gray de Wilton became in 1580 new Lieutenant of Ireland
5) appellation with which he was called Feach MacHugh O’Byrne
6) Glenmalure Valley: valley in the Wicklow mountains about twenty kilometers east of the town of Wicklow, where the battle of 1580 occurred that saw the defeat of the English: the Irish clans ambushed the English army commanded by Arthur Wilton Gray made up of 3000 men
7) In 1594 the sons of Feach attacked and burned the house of Pierce Fitzgerald sheriff of Kildare, as a result Feach was proclaimed a traitor and he become a wanted crimunal
8) Feach in Irish means Raven
9) William Fitzwilliam returned to Ireland in 1588 once again with the title of Lieutenant, but in 1592 he was accused of corruption
10) Carlow is both a city and a county: the town was chosen more to rhyme than to recall a battle that actually took place: it is more generally an exhortation to take up arms against the British. Undoubtedly, the song made her famous.
11) Glen Imael, Tassagart and Clonmore are strongholds in Wicklow County
12) English Pale are the counties around Dublin controlled by the British. The phrase “Beyond the Pale” meant a dangerous place
13) Rory the young son of Rory O’More, brother of Feagh MacHugh, killed in 1578
14) Sir Nicholas White Seneschal of Wexford fell seriously ill in the early 1590s, shortly thereafter fell into disgrace with the Queen and was executed.
15) in the original version the character referred to is Sir Ralph Lane but is more commonly replaced by Arthur Gray who had left the country in 1582
16) Elizabeth I. Actually it was Feach’s head to be sent to the queen!
The new viceroy Sir William Russell managed to capture Fiach McHugh O’Byrne in May 1597, Feach’s head remained impaled on the gates of Dublin Castle.

LINKS
http://mudcat.org/thread.cfm?threadid=52454&page=2
http://thesession.org/tunes/1583
http://thesession.org/tunes/10645
http://www.irishmusicdaily.com/follow-me-up-to-carlow
http://www.clannobyrne.com/glenmalure.html
http://neverfeltbetter.wordpress.com/2012/09/25/irelands-wars-the-battle-of-glenmalure/
http://www.blogofmanly.com/2012/09/17/heroes-feach-mchugh-obyrne/
http://www.doyle.com.au/chiefs.html

Fear a’ bhàta

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“Fear a ‘bhata” is a Scottish Gaelic song probably from the end of the 18th century and the legend (an anecdotal addition to the nineteenth century versions printed) says it was written by Sine NicFhionnlaigh (Jean Finlayson) of Tong, a small village on the Isle of Lewis (Hebrides) for a young Uig fisherman, Domhnall MacRath (Donald MacRae) who eventually married.
‘Fear’ translates as “man” and “Bhata” with “boat”: the man of the boat, or the boatman. Also written as Fear A Bhata, Fear Ah Bhata, Fhear A Bhata, Fhear Ni Bhata, Fhir A’ Bhata, Fir Na Fhata, O(h) My Boatman.

Homer Winslow
Homer Winslow

The song appears first published in The Scottish Gael byJames Logan, 1831 (with its score) in which it is classified as a slow and an iorram (the song to the oars that had the function of giving rhythm to the rowers, but at the same time it was also a funeral lament). “Fhir a bhata, or the boatmen, the music of which is annexed, is sung in the above manner, by the Highlanders with much effect. It is the song of a girl whose lover is at sea, whose safety she prays for, and whose return she anxiously expects.

The melody is a lament, sometimes played as a waltz (in instrumental versions) that lends itself to delicate and smooth arrangements

Maire Breatnach on fiddle (live at Dougie MacLean‘ s house)

There are many text versions of the song composed of about ten verses although in the most current recordings only the first three stanzas are sung mostly.

For the full text see

Scottish gaelic version

The girl is waiting for a visit of the handsome boatman who seems instead to prefer other girls! But she waits for him and frowns worried about the health of her handsome boatman.

Capercaillie from Get Out 1996

Superb and masterly recording a voice and the waves of the sea
 Talitha Mackenzie from “A Celtic Tapestry” vol. 2 1997

Alison Helzer  from Carolan’s Welcome, 2010.



English translation
Chorus:
Oh my boatman, na hóro eile
Oh my boatman, na hóro eile
Oh my boatman, na hóro eile
My farewell to you wherever you go
I
I often look from the highest hill
To try and see the boatman
Will you come today or tomorrow If you don’t come at all I will be downhearted
II
My heart is broken and bruised
With tears often flowing from my eyes
Will you come tonight or will I expect you
Or will I close the door with a sad sigh?
III
I often ask people on boats
Whether they see you or whether you are safe,
Each of them says
That I was foolish to fall in love with you.

Scottish Gaelic
Séist:
Fhir a’ bhàta, sna hóro eile
Fhir a’ bhàta, sna hóro eile
Fhir a’ bhàta, sna hóro eile
Mo shoraidh slàn leat ‘s gach àit’ an tèid thu
I
‘S tric mi sealltainn on chnoc as àirde
Dh’fheuch am faic mi fear a’ bhàta
An tig thu ‘n-diugh no ‘n tig thu màireach
‘S mur tig thu idir gur truagh a tha mi
II
Tha mo chridhe-sa briste brùite
‘S tric na deòir a’ ruith o m’ shùilean
An tig thu ‘n nochd no ‘m bi mo dhùil riut
No ‘n dùin mi ‘n doras le osna thùrsaich?
III
‘S tric mi foighneachd de luchd nam bàta
Am faic iad thu no ‘m bheil   thu sàbhailt
Ach ‘s ann a tha gach aon dhiubh ‘g ràitinn
Gur gòrach mise, ma thug mi  gràdh dhut

Irish Gaelic version

The Irish version appears for the first time in print in the Sam Henry collection entitled ‘Songs of the People‘. The songs were collected within 20 miles of Coleraine (Northern Ireland) from 1929 to 1939. It is an Irish Gaelic coming from Rathlin Island and more generally  widespread in Ulster, therefore with much resemblance to the Scottish Gaelic.

Niamh Parsons live and from Gaelic Voices 1999 (I, II, IV, V)

And why not! Let’s listen to this celtic-metal version of the German group founded by Ben Richter in 2001!
Thanateros ( I, II, V)

 

 

English translation (from here)
Chorus:
O Boatman and another “horo”! [i.e. welcome] /A hundred thousand welcomes everywhere you go
I
I went up on the highest hill
To see if I could see the boatman
Will you come tonight or will you come tomorrow?
If you do not come, I will be wretched
II
My heart is broken and crushed.
Frequent are the tears that run from my eyes. /Will you come today or when I’m longing for you, /Or shall I close the door with a tired sigh?
III
I gave you my love, and I cannot change that.
Not love for a year, and not just words of love,
But love from the beginning, when I was a child, /And I will never cease, even when my death bell tolls.
IV
My love promised me a dress of silk
He promised me that and a gray tartan
A gold ring where I’d see my reflection
But I’m afraid he has forgotten
IV
My heart is lifting
Not for the tailor or the harper
But for the navigator of the boat
If you don’t come, I’ll be very sad
Irish Gaelic (from here)
Chorus:
Fhir an bháta ‘sna hóró éile (1)
Fhir an bháta ‘sna hóró éile
Fhir an bháta ‘sna hóró éile
Ceád mile failte gach ait a te tú (2)
I
Théid mé suas ar an chnoic is airde,
Féach an bhfeic mé fear an bháta.
An dtig thú anoch nó an dtig thú amárach?
Nó muna dtig thú idir is trua atá mé.
II
Tá mo chroí-se briste brúite.
Is tric na deora a rith bho mo shúileann.
An dtig thú inniu nó am bidh mé dúil leat,
Nó an druid mé an doras le osna thuirseach?
III
Thúg mé gaol duit is chan fhéad mé ‘athrú.
Cha gaol bliana is cha gaol raithe.
Ach gaol ó thoiseacht nuair bha mé ‘mo pháiste,
Is nach seasc a choíche me ‘gus claoibh’ am bás mé.
IV
Gheall mo leanann domh gúna den tsioda
Gheall é sin, agus breacan riabhach
Fainne óir anns an bhfeicfinn íomha
Ach is eagal liom go ndearn sé dearmad
V
Tá mo croíse ag dul in airde
Chan don fidleir, chan don clairsoir
Ach do Stuirithoir an bhata
Is muna dtig tú abhaile is trua atá mé

NOTES
1) basically a non-sense phrase that some want to translate “and no one else” ie as “mine and no other”
2) or “mo shoraidh slán leat gach áit a dté tú”

My Boatman (english version)

LINK
http://www.bbc.co.uk/alba/foghlam/beag_air_bheag/songs/
song_03/index.shtml

http://www.celticartscenter.com/Songs/Scottish/FearABhata.html
http://mudcat.org/thread.cfm?threadid=121195
http://mudcat.org/thread.cfm?threadid=2463
http://www.celticlyricscorner.net/compilations/fear.htm
http://www.celticlyricscorner.net/capercaillie/fear.htm
http://thesession.org/tunes/8919
http://blueloulogan.wordpress.com/2012/10/15/songs-of-logan-6-fear-a-bhata-the-boatman/

Oh, are ye sleepin’ Maggie?

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From the tradition of “night visiting songs” the text is attributed to the Scottish poet Robert Tannahill and in fact various findings place the story in the woods of Paisley. ( in ‘The Poems and Songs of Robert Tannahill’ – 1874  assigned as a “Sleeping Maggie” melody.)
The heroine of this song was Margaret Pollock, a cousin of the Author by the mother’s side. She was the eldest daughter of Matthew Pollock (3rd) of Boghall, by his second marriage (mentioned in the Memoir of the Tannahills); and it is very probable the Poet beheld such an evening as he had described, in walking from Paisley over the high road to his uncle’s farm steading in Beith Parish. Margaret Pollock afterwards lived in family with William Lochhead, Ryveraes, and she and Mrs. Lochhead frequently sang that song together. Miss Pollock died unmarried (from here)

NIGHT VISITING IN DARK STYLE

The scene described is not really autobiographical (pheraps more in keeping with Robert Burns‘s temperament): the protagonist arrives at Maggy’s house in a dark and stormy night (the picture is rather gothic: an icy winter wind raging in the woods , a night of new moon without stars, the disturbing moaning of the owl, the iron gate that slams against the hinges) and he hopes that in the meantime the lover has not fallen asleep, letting come him in secret! And then no more worries or fears in the arms of Maggy every gloomy thought is dissolved!

http://www.jinua.com/movie/Sleepy-Hollow/
http://www.jinua.com/movie/Sleepy-Hollow/

I must mention the version collected by Hamish Henderson from the voice of Jeannie Robertson (see fragment of 1960) which shows a different melody from that later made famous by Tannahill Weavers.

The song was made known to the general public by the Tannahill Weavers, the good “weavers” of Robert Tannahill, also by Paisley,
At the moment you can find several live versions on you tube, but the best performances of the group are two: one in Mermaid’s Song 1992 (listen from Spotify) a faster version integrated with the reel “The Noose In The Ghillies” (with Roy Gullane , Phil Smillie, Iain MacInnes, Kenny Forsyth) and the first in Are Ye Sleeping Maggie 1976 with Roy Gullane, Phil Smillie, Hudson Swan, and Dougie MacLean (fiddle). In this first version the melody is slower and full of atmosphere (with hunder, wind and the rain effect)

Tannahill Weavers from Are Ye Sleeping Maggie 1976

Dougie Maclean (who collaborated with Tannahill Weavers from 1974 and until 1977 and then toured with them in 1980) in Real Estate -1988 and also in Tribute 1995


I
Mirk and rainy is the nicht,
there’s no’ a starn in a’ the carry(1)
Lichtnin’s gleam athwart the lift,
and (cauld) winds dive wi’ winter’s fury.
CHORUS
Oh, are ye sleepin’ Maggie
Oh, are ye sleepin’ Maggie
let me in, for loud the linn
is roarin'(2) o’er the Warlock Craigie(3).
II
Fearfu’ soughs the boortree(4) bank
The rifted wood roars wild an’ dreary.
Loud the iron yett(5) does clank,
An’ cry o’ howlets mak’s me eerie.
III
Aboon my breath I daurna’ speak
For fear I rouse your waukrif’ daddie;
Cauld’s the blast upon my cheek,
O rise, rise my bonnie ladie.
IV
She op’d the door, she let him in
I cuist aside my dreepin’ plaidie(6).
‘Blaw your warst, ye rain and win’
Since, Maggie, now I’m in aside ye.
V
Now, since ye’re waukin’, Maggie,
Now, since ye’re waukin’, Maggie,
What care I for howlet’s cry,
For boortree bank or warlock craigie?
English translation
I
Dark and rainy is the night
there’s no star in all the carry
lightning flashes gleam across the sky
and cold winds drive with winters fury.
CHORUS
Oh, are you sleeping Maggie
Oh, are you sleeping Maggie
let me in, for the loud the waterfall
is roaring over the warlock crag.
II
Fearful sighs on the elder tree bank
The rifted wood roars wild and dreary
Loud the iron gate does clank,
And cry of owls makes me fearful.
III
Above my breath I dare not speak
For fear I rouse your wakeful father
Cold is the blast upon my cheek
O rise, rise my pretty lady.
IV
She opened the door, she let him in
I cast aside my dripping cloak
“Blow your worst, you rain and wind
Since, Maggie, now I’m beside you.”
V
Now, since you’re woken, Maggie
Now, since you’re woken, Maggie
What care I for owl’s cry,
For elder tree bank or warlock crag?

NOTES
1) carry is for sky, “the direction in which clouds are carried by the wind”
2) howling
3) warlock crag is the name of a waterfall at Lochwinnoch that forms a large pool or a small pond
4) elder tree in which the fairies prefer to dwell
5) yett is gett according to the ancient custom of writing the two vowels interchangeably
6) plaidie  see more

Great horned owl and chicks. Image size 5.6 by 7.9 inches @ 300 dpi. Photo credit: © Scott Copeland

SLEEPY & DROWSY MAGGY REELS

“Sleepy Maggie” is a reel in two-part and is often paired with the “Drowsy Maggie” reel, sometimes the two melodies are, mistakenly, confused. In the version of Francis O’Neill and James O’Neill (in O’Neill’s Music of Ireland) it is in 3 parts.

Sleepy Maggie as reported by Fidder’s Companion is a traditional Scottish melody whose oldest transcribed source is in Duke of Perth Manuscript or Drummond Castle Manuscript (1734)

Sleepy Maggie is also known in Ireland under different names “Lough Isle Castle,” “Seán sa Cheo” or “Tullaghan Lassies” and is the model for “Jenny’s Chickens”.

Samuel Melton Fisher, Asleep, (1902)
Samuel Melton Fisher, Asleep, (1902)

“Drowsy Maggie” is instead a traditional Irish tune in 2, 3 or 4 parts, but much more popular at least at the recording level (it will be for its appearance in the movie “Titanic”!)

Gaelic Storm  (Titanic Set) – of course there is also the Scottish version: usually slow part and then it gets faster and faster so the title between in deception because there is nothing “sleepy” in the melody that comes to a final paroxysm .

SLEEPY MAGGIE

Sleepy Maggie Alasdair Fraser on fiddle
Sleepy Maggie
Gabriele Possenti  on a Mcilroy AS 65c (C)
Tullaghan Lassies Fidil Irish Fiddle trio
Jenny’s Chickens Shanon Corr on fiddle

DROWSY MAGGIE
John Simie Doherty Donegal fiddle master
Comhaltas Ceoltóirí Éireann live

The Chieftains  

Driftwood (Joe Nunn on fiddle)
Jake Wise live

Rock versions
Dancing Willow an Irish folk band from Münster (Germany)
DNA Strings from Cape Town ( South Africa)
Lack of limits faster more and more

LINKS
http://archive.org/details/poemssongsofrobe00tannrich
http://www.tobarandualchais.co.uk/fullrecord/64522/1;
jsessionid=B312B09442ED31BB18C4FDA5E2E2BB59

http://mudcat.org/thread.cfm?threadid=59687
http://members.aol.com/tannahillweavers/
http://www.lochwinnoch.info/tales/warlock-craigie.php
http://thesession.org/tunes/787
http://thesession.org/tunes/27
http://www.ibiblio.org/fiddlers/SLA_SLE.htm#SLEEPY_MAGGY/MAGGIE

Puck Fair: a rebellious billy-goat

Leggi in italiano

In the Irish village of Killorglin, County Kerry (South-West Ireland), the most curious feast is celebrate in August: a wild goat is brought to the village and crowned king for three days and three nights (10, 11 and 12 August) . Put unfortunately in a cage, he is hoisted on a high scaffolding that dominates the houses of the village, to look curiously the activities to which his subjects are dedicated: up there, although imprisoned, the beak is abundantly fed of food and water, and at the end of the fair he is returned to his mountain!

VIDEO

VIDEO

KILLORGLIN FAIR

The fair is full of events: horse fair, livestock, craft stalls, street performers, music, parades with the band, dance and fireworks. As is the case with these traditional festivals, the origins are remote and lost in the Middle Ages, so legends are never lacking: the origins are presumably related to the Celtic religion when to celebrate a good harvest they interceded with the god Lughsee more); the legend tells of two rival clans, and of a mountain beak that has had the promptness to warn the village from the armed attack; so the warriors of the village in turn armed themselves and prepared their defense, succeeding in defeating the enemy clan. The beak instead of roasting was crowned King Puck and taken to parade. Other stories bring the legend back to the times of Oliver Cromwell and the “invaders” become the English who went to Ireland to subdue the Irish to the Crown. The soldiers bothered a group of goats, but the head of the pack the “puck” instead of fleeing to the hills, rushed to the town of Killorglin to “warn” the inhabitants.

Other legends indicate the origin of King Puck at the beginning of the nineteenth century: the fair was already flourishing and, as usual, the sellers paid heavy tax to local lord; when the British government made illegal to impose tolls at livestock, horse and sheep fairs, attorney Daniel O’Connell suggested to devote the fair exclusively to goats, as they were not mentioned in the document (August 10, 1808 ); and to show of good faith, a goat was hoisted on a stage at the top of the fair banner.

Historically the fair has obtained legal status from King James I of England and Ireland (and James VI of Scotland) in 1603.

re capro
“Kings may come and Kings may go. But King Puck goes on forever.” The sculpture was inaugurated on August 5, 2001

THE GOATS IN MYTHOLOGY

Heidrun

The goat is not an unusual animal in the Celtic tradition and generally represents fertility. The Amaltea goat fed baby Zeus and the Norse goat Heidrun dispenses mead from its udders to the Valalla warriors.
Fauns and satyrs in Greek and Latin mythology personify sexual desire and libido, the horned god with deer antlers or goat-ram horns became the syncretic god of pre-Christian religions and lent his image to the Devil.

Thus in mythology and religions, the female of goat was represented with a positive image, symbol of nourishment, fertility and abundance, while the male of goat had negative connotations.

In Irish folklore, the bocánach (a goblin-goat) infests the battlefields while in the Scottish Highlands the Glaistig (half woman and half goat) is a of the guardian waters of the cattle. With long, beautiful blonde hair, she hides her animal bottom under a long green dress and attracts men with a song or dance to drink their blood, but in many parts of Scotland, glaistig are considered protectors of livestock and of shepherds, as well as of children left alone by their mothers watching over grazing animals. (see more)

gruagach

An Poc ar Buile – The Mad Billy Goat

The song was composed by Dónal Ó Mulláin (1880-1965) in 1940, and made famous in the 60s by Seán Ó Sé: singer-farmer of Scrahans, violin and organ player, as well as a gifted dancer, he composed poems and songs in gaelic that were prized and immediately become popular.
Ar buile = bulling means “being angry” that the term in Irish Gaelic translates as “madness, frenzy”.
The beak thus becomes the symbol of the combative and indomitable Irish spirit!

The Chieftains from Water from the Well 2000

Liam Devally 1966 (what a voice!)

Gaelic Storm from Tree 2001

English translation
I
As I set out with me pike in hand To Dromore(1) town to join a meithil (2) Who should I meet but a tan puck goat(3)
And he’s roaring mad in ferocious mettle.
Chorus
Aill-il-lu puill-il-iu – Aill-il-lu it’s the mad puck goat.
II
He chased me over bush and weed And thru the bog the running proceeded,
‘Til he caught his horns in a clump of gorse
And on his back I jumped unheeded.
III
He did not leave a rock that had a passage through
Which he did not run with force to destroy me
And then he gave the greatest leap
To the big slope of Faille Bríce…
IV
When the sergeant stood in Rochestown(4)
With a force of guards to apprehend us
The goat he tore his trousers down And made rags of his breeches and new suspenders
V
In Dingle(5) Town the next afternoon The parish priest addressed the meeting
And swore it was The Devil himself He’d seen ridin’ on the poc ar buile
Irish gaelic
I
Ag gabháil dom sior chun Droichead Uí Mhóradha
Píce im dhóid ‘s mé ag dul i meithil
Cé casfaí orm i gcuma ceoidh
Ach pocán crón is é ar buile…
[curfá] Ailliliú, puilliliú, ailliliú tá an puc ar buile!
Ailliliú, puilliliú, ailliliú tá an puc ar buile!
II
Do ritheamar trasna trí ruillógach,
Is do ghluais an comhrac ar fud na muinge,
Is treascairt do bhfuair sé sna turtóga
Chuas ina ainneoin ina dhrom le fuinneamh…
III
Níor fhág sé carraig go raibh scót ann
Ná gur rith le fórsa chun mé a mhilleadh,
S’Ansan sea do cháith sé an léim ba mhó.
Le fána mhór na Faille Bríce…
IV
Bhí garda mór i mBaile an Róistigh
Is bhailigh fórsa chun sinn a chlipeadh
Do bhuail sé rop dá adhairc sa tóin ann
S’dá bhríste nua do dhein sé giobail…
V
In Daingean Uí Chúis le haghaidh an tráthnóna
Bhí an sagart paróiste amach ‘nár gcoinnibh
Is é dúirt gurbh é an diabhal ba Dhóigh leis
A ghaibh an treo ar phocán buile…

NOTES
1) Dromore (County of Tyrone, Northern Ireland) in 1798 was a notorious den of rebels so whoever braced the pike did it to fight against the British
2) Meithil (pronuncia MEH-hill) = work gang is a group of farmers who go to help for an “extraordinary” job in the nearby farm. In America, tradition is still rooted and is called “barn raising”
3) a crazy goat !! that is the billy goat (also called beak).
4) Cork County of Munster
5) Dingle (County of Kerry) and its territory were the scene of the “Second Desmond Rebellion” (1579-80)

LINK
http://www.waymarking.com/waymarks/WMANF6_King_Puck_Killorglin_County_Kerry_Ireland
http://www.irishpage.com/songs/pocbuile.htm
http://www.celticartscenter.com/Songs/Irish/AnPocArBuile.html
http://celtana.ie/tag/daniel-oconnell/http://puckfair.ie/historyorigins
http://amayodruid.blogspot.it/2011_06_01_archive.html
http://stancarey.wordpress.com/2013/07/16/bulling-ar-buile-in-irish-english/
http://mudcat.org/thread.cfm?threadid=43534 http://mudcat.org/thread.cfm?threadid=27881

Ould Lammas Fair

Read the post in English

La più lunga (come estensione) fiera dell’Irlanda del Nord che si snoda lungo la via centrale della cittadina di Ballycastle, Co. Antrim si tiene l’ultimo lunedì e martedì di agosto: è la Lammas Fair le cui origini risalgono al XVII secolo.

Le Lammas Fairs come si dice nelle isole britanniche o le Country fairs come sono più comunemente chiamate in America sono le grandi fiere che si svolgono dopo il raccolto del grano: Già Fiere Medievali  collegate al Santo protettore che attiravano folle di visitatori e i venditori ambulanti.
Man mano che le fiere si ingrandivano si aggiunsero divertimenti di ogni tipo: giochi campestri e tornei, ma anche spettacoli.
Un tempo principalmente mercato del bestiame (in particolare cavalli) dove gli agricoltori si ritrovavano per vendere e comprare i prodotti dell’estate, ma anche un importante evento di socializzazione per le fattorie isolate.

Nella stagione dell’abbondanza si ringraziava la terra per i suoi frutti, e si condivideva la gioia con musica, danze, giochi. Nella tradizione celtica era Lughnasad, il momento delle assemblee plenarie, di grandi mercati e fiere, delle corse di cavalli unitamente ad altri giochi nei quali si cimentavano i guerrieri, ma anche di certami poetici e musicali in omaggio alla pace.

Ould Lammas Fair

Un discreto numero di ballate celtiche hanno come sfondo un giorno di mercato o più in particolare un giorno di fiera, Ould Lammas Fair
è stata scritta da John Henry MacAuley di  Ballycastle, proprietario negli anni 20-30 del Bog Oak Shop di Ann Street: era un violinista e un abile intagliatore di legno rinomato sia per la sua musica che per le sue sculture. Il Bog oak ( o più in generale bog wood) è un legno che è rimasto imprigionato nel fango paludoso e che è stato “mummificato” (essiccato) dai processi naturali di acidità in modo tale da presentarsi compatto e privo di fessurazioni, particolarmente adatto a lavorazioni di pregio. In inglese si dice morta. Più conosciuto da noi è il legno portato dal mare (in inglese definito con una parola sola driftwood).
Ottilie Patterson 1966 (che omette i versi scritti tra parentesi)

Ruby Murray in ‘Irish and Proud of it’ 1962


I
At the Ould Lammas Fair
in Ballycastle long ago
I met a pretty colleen
who set me heart a-glow
She was smiling at her daddy
buying lambs from Paddy Roe
At the Ould Lammas Fair
in Ballycastle-O
(Sure I seen her home that night
When the moon was shining bright
From the ould Lammas Fair in Ballycastle-O )
CHORUS
At the ould Lammas Fair boys
were you ever there
Were you ever
at the Fair In Ballycastle-O?
Did you treat your Mary Ann
to some Dulse and Yellow Man(1)
At the ould Lammas Fair in Ballycastle-O

II
In Flander’s fields afar
while resting from the War(2)
We drank Bon Sante (3)
to the Flemish lassies O
But the scene that haunts my memory is kissing Mary Ann
Her pouting lips all sticky
from eating Yellow Man
(As we passed the silver Margy (4)
and we strolled along the strand
From the ould Lammas Fair in Ballycastle-O)
III
There’s a neat little cabin on the slopes of fair Knocklayde (5)
It’s lit by love and sunshine
where the heather honey’s made
With the bees ever humming (6)
and the children’s joyous call
Resounds across the valley
as the shadows fall
(Sure I take my fiddle down
and my Mary smiling there
Brings back a happy mem’ry
of the Lammas Fair )
Traduzione italiana Cattia Salto
I
Alla vecchia fiera di Lammas
a Ballycastle una volta,
incontrai una graziosa ragazza
che mi ha attizzato il cuore.
Sorrideva al suo papà
che comprava agnelli da Paddy Roe
Alla vecchia fiera di Lammas
a Ballycastle
(ovvio che  andai a trovarla a casa
quella sera con la luna che  speldeva luminosa, alla vecchia fiera di Lammas a Ballycastle
Coro
Siete mai stati alla vecchia fiera di Lammas ragazzi,
siete mai stati alla vecchia fiera di Lammas a Ballycastle?
Avete regalato alla vostra Mary Ann
Dulse e Yellowman
alla vecchia fiera di Lammas a Ballycastle

II
Nei campi delle Fiandre, mentre riposavamo lontano dalla Guerra
bevevamo alla salute
delle ragazze fiamminghe;
ma la scena che ossessiona i miei ricordi è baciare Mary Ann, le sue labbra imbronciate tutte appiccicose per aver mangiato Yellowman
mentre superavamo l’argeneo Margy
e passeggiavamo per il corso
alla vecchia fiera di Lammas a Ballycastle
III
C’è una bella casupola sui pendii del bel Knocklayde
riscaldata dall’amore e dal sole
dove si produce il miele d’erica
con le api sempre ronzanti
e le grida allegre dei bambini
risuonano per la valle
mentre scende la sera;
prendo il mio violino
e la mia Mary che sorride,
richiama un felice ricordo
della Fiera di Lammas

NOTE
1) dulse e yellowman (alga rossa e caramelle mou) è un’accoppiata tipica della fiera, uno street food con un abbinamento di gusto dolce e salato che viene addentando una gommosa alga rossa essiccata insieme a un appiccicoso toffee giallo-
Yellowman (in italiano l’uomo giallo) è una specialità da fiera nella contea di Antrim: è un toffee dallo spiccato colore giallo: la preparazione è a base di zucchero, burro, sciroppo di mais (corn syrup), acqua con l’aggiunta di bicarbonato e aceto per ottenere l’effetto honeycomb (areato) e il colore giallo. La preparazione è semplice ma occorre stare attenti alla temperatura perché lo zucchero caramelli senza bruciare (o si cristallizzi perché troppo mescolato); il caramello deve raggiungere la temperatura di 150° C per essere allo stadio definito “hard crack”, (quando dopo essere stato raffreddato si romperà in pezzi relativamente duri)
Approfondimento sull’alga dulse 
2) la prima guerra mondiale a cui peraltro MacAuley non partecipò essendo disabile a seguito di un incidente nella fattoria paterna quando era ragazzo
3) francese per toasting
4) il fiume Margy
5) Knocklayde è una montagnola che sovrasta Ballycastle ottimo punto panoramico per ammirare il mare e la campagna circostante
6) l’immagine richiama Yeats e la sua Isola di Innisfree

La fiera in un filmato d’epoca anni 1950

FONTI
http://ontanomagico.altervista.org/shemoved.htm
https://www.ballycastlehistory.com/ould-lammas-fair-by-margaret-bell.html
http://www.irishcultureandcustoms.com/ACalend/LammasFair.html
http://www.countysongs.ie/song/ould-lammas-fair
https://www.atlasobscura.com/foods/dulse-and-yellowman-northern-ireland
http://oakden.co.uk/yellowman/

Ould Lammas Fair ( Ballycastle)

Leggi in italiano

The longest (as an extension) fair in Northern Ireland that runs along the central street of the town of Ballycastle, Co. Antrim is held on the last Monday and Tuesday in August: it is the Lammas Fair whose origins date back to the seventeenth century .

The Lammas Fairs as they say in the British Isles or the Country fairs as they are more commonly called in America are the big fairs that take place after the wheat harvest: already Medieval Fairs connected to the patron saint who attracted crowds of visitors and street vendors.
As the fairs grew, all kinds of entertainment were added: country games and tournaments, but also shows.
At one time it was mainly a livestock market (especially horses) where farmers gathered to sell and buy summer products, but also an important socialization event for isolated farms.
In the season of abundance, the earth was thanked for its fruits, and joy was shared with music, dance and games. In the Celtic tradition it was Lughnasad, the time of the plenary assemblies, of great markets and fairs, of horse races together with other games for the warriors, but also of poetic and musical certams in homage to peace.

Ould Lammas Fair

A fair number of Celtic ballads are about a market day, particularly a fair day, “Ould Lammas Fair” was written by John Henry MacAuley of Ballycastle, owner in the 20-30 years of the Bog Oak Shop on Ann Street: he was a violinist and a skilled wood carver, renowned for his music and his sculptures. Bog oak (or more generally bog wood) is a wood that has been imprisoned in the marshy mud and has been “mummified” (dried) by the natural acidic processes in such a way as to present itself compact and without cracks, particularly suitable for fine workmanship. In English it is said “morta”.
Ottilie Patterson 1966 (which omits the verses written in brackets)

Ruby Murray from ‘Irish and Proud of it’ 1962

I
At the Ould Lammas Fair
in Ballycastle long ago
I met a pretty colleen
who set me heart a-glow
She was smiling at her daddy
buying lambs from Paddy Roe
At the Ould Lammas Fair
in Ballycastle-O
(Sure I seen her home that night
When the moon was shining bright
From the ould Lammas Fair in Ballycastle-O )
CHORUS
At the ould Lammas Fair boys
were you ever there
Were you ever
at the Fair In Ballycastle-O?
Did you treat your Mary Ann
to some Dulse and Yellow Man(1)
At the ould Lammas Fair in Ballycastle-O

II
In Flander’s fields afar
while resting from the War(2)
We drank Bon Sante (3)
to the Flemish lassies O
But the scene that haunts my memory is kissing Mary Ann
Her pouting lips all sticky
from eating Yellow Man
(As we passed the silver Margy (4)
and we strolled along the strand
From the ould Lammas Fair in Ballycastle-O)
III
There’s a neat little cabin on the slopes of fair Knocklayde (5)
It’s lit by love and sunshine
where the heather honey’s made
With the bees ever humming (6)
and the children’s joyous call
Resounds across the valley
as the shadows fall
(Sure I take my fiddle down
and my Mary smiling there
Brings back a happy mem’ry
of the Lammas Fair )

NOTE
1) dulse and yellowman (red alga and toffee) is a typical combination of the fair, a street food with sweet and savory taste by biting a gummy red seaweed dried with a sticky yellow toffee.
Yellowman is a specialty of the fair in the county of Antrim: it is a toffee with a strong yellow color: the preparation is based on sugar, butter, corn syrup, water with the addition of bicarbonate and vinegar to obtain the honeycomb effect (aerated) and the yellow color. The preparation is simple but you need to be careful about the temperature because the caramel sugar does not burn (or crystallize because it is too mixed); the caramel must reach a temperature of 150 ° C to be at the “hard crack” stage (when it has cooled it will break into relatively hard pieces)
Pulling the sea-dulse
2) the first world war which MacAuley did not participate in because he was disabled following an accident on his father’s farm when he was a boy
3) French for toasting
4)  Margy river
5) Knocklayde is a hilltop overlooking Ballycastle excellent vantage point to admire the sea and the surrounding countryside
6) the image recalls Yeats and his Innisfree isle

The fair in a vintage movie of the 1950s

LINK
http://ontanomagico.altervista.org/shemoved.htm
https://www.ballycastlehistory.com/ould-lammas-fair-by-margaret-bell.html
http://www.irishcultureandcustoms.com/ACalend/LammasFair.html
http://www.countysongs.ie/song/ould-lammas-fair
https://www.atlasobscura.com/foods/dulse-and-yellowman-northern-ireland
http://oakden.co.uk/yellowman/

Paddy Lay Back: take a turn around the capstan

Leggi in italiano

Paddy Lay Back is a kilometer sea shanty, variant wedge, sung by sailors both as a recreational song and as a song to the winch to raise the anchor (capstan shanty).

Stan Hugill in his “Shanties from the Seven Seas”, testifies a long version with about twenty stanzas (see), here only those sung by himself for the album ” “Sea Songs: Newport, Rhode Island- Songs from the Age of Sail”, 1980: “It was both a forebitter and a capstan song and a very popular one too, especially in Liverpool ships. […] It is a fairly old song dating back to the Mobile cotton hoosiers and has two normal forms: one with an eight-line verse – this was the forebitter form; and the second with a four-line verse – the usual shanty pattern. Doerflinger gives a two-line verse pattern as the shanty – a rather unusual form, and further on in his book he gives the forebitter with both four- and eight-line verses. He gives the title of the shanty as Paddy, Get Back and both his versions of the forebitter as Mainsail Haul. Shay, Sampson and Bone all suggest that it was a fairly modern sea-song and give no indication that any form was sung as a shanty, but all my sailing-ship acquaintances always referred to it as a shanty, and it was certainly sung in the Liverpool-New York Packets as such – at least the four-line verse form. […] Verses from 11 onwards [of the 19 verses given, incl. v. 3, lines 1-4 above] are fairly modern and nothing to do with the Packet Ship seamen, but with the chorus of ‘For we’re bound for Vallaparaiser round the Horn’ are what were sung by Liverpool seamen engaged in the West Coast Guano Trade.” (Stan Hugill)
(all the strings except III)
Stan Hugill

Nils BrownAssassin’s Creed Rogue   (I, II, III, V, VI)

I
‘Twas a cold an’ dreary (frosty) mornin’ in December,
An’ all of me money it was spent
Where it went to Lord (Christ) I can’t remember
So down to the shippin’ office I went,
CHORUS
Paddy, lay back (Paddy, lay back)!
Take in yer slack (take in yer slack)!
Take a turn around the capstan – heave a pawl (1) – (heave a pawl)
‘Bout ship’s stations, boys,
be handy (be handy)! (2)
For we’re bound for Valaparaiser
‘round the Horn! 

II
That day there wuz a great demand for sailors
For the Colonies and for ‘Frisco and for France
So I shipped aboard a Limey barque (3) “the Hotspur”
An’ got paralytic drunk on my advance (4)
III
Now I joined her on a cold December mornin’,
A-frappin’ o’ me flippers to keep me warm.
With the south cone a-hoisted as a warnin’ (5),
To stand by the comin’ of a storm.
IV
Now some of our fellers had bin drinkin’,
An’ I meself wuz heavy on the booze;
An’ I wuz on me ol’ sea-chest a-thinkin’
I’d turn into me bunk an’ have a snooze.
V
I woke up in the mornin’ sick an’ sore,
An’ knew I wuz outward bound again;
When I heard a voice a-bawlin’ (calling) at the door,
‘Lay aft, men, an’ answer to yer names!’
VI
‘Twas on the quarterdeck where first I saw you,
Such an ugly bunch I’d niver seen afore;
For there wuz a bum an’ stiff from every quarter,
An’ it made me poor ol’ heart feel sick an’ sore.
VII
There wuz Spaniards an’ Dutchmen an’ Rooshians,
An’ Johnny Crapoos jist acrosst from France;
An’ most o’ ‘em couldn’t speak a word o’ English,
But answered to the name of ‘Month’s Advance’.
VIII
I knew that in me box I had a bottle,
By the boardin’-master ‘twas put there;
An’ I wanted something for to wet me throttle,
Somethin’ for to drive away dull care.
IX
So down upon me knees I went like thunder,
Put me hand into the bottom o’ the box,
An’ what wuz me great surprise an’ wonder,
Found only a bottle o’ medicine for the pox

NOTES
1) pawl – short bar of metal at the foot of a capstan or close to the barrel of a windlass which engage a serrated base so as to prevent the capstan or windlass ‘walking back’. […] The clanking of the pawls as the anchor cable was hove in was the only musical accompaniment a shanty ever had! (Hugill, Shanties 414)
2)  it is a typical expression in maritime songs
3) limey – The origin of the Yanks calling English sailors ‘Limejuicers’ […] was the daily issuing of limejuice to British crews when they had been a certain number of days at sea, to prevent scurvy, according to the 1894 Merchant Shipping Act (Hugill, Shanties 54)
4) the sailor has spent all the advance on high-alcohol drinking
5) A storm-cone is a visual signalling device made of black-painted canvas designed to be hoisted on a mast – if apex upwards, a gale is expected from the North, if from the South, apex downward. The storm cone was devised by Rear Admiral Robert Fitzroy, former commander of HMS Beagle, head of a department of the Board of Trade known today simply as the Met Office, and inventor of weather forecasts.
“In 1860 he devised a system of issuing gale warnings by telegraph to the ports likely to be affected. The message contained of a list of places with the words:
‘North Cone’ or ‘South Cone’ – for northerly or southerly gales respectively
‘Drum’  – for when further gales were expected,
Drum and North/South Cone’ – for particularly heavy gales or storms. ” (from herei) (see more)

FOLK VERSION: Valparaiso Round the Horn

For his title the song has become a traditional Irish song, a popular drinking song, connected to equally popular jigs (eg Irish washer woman)! Also known as “The Liverpool song” and “Valparaiso Round the Horn”. Among the favorite pirate song of course!

The Wolfe Tones from “Let The People Sing” 1972 make a folk version that has become the standard of a classic irish drinking song
The Irish Rovers live
Sons Of Erin

I
‘Twas a cold an’ dreary (frosty) mornin’ in December,
An’ all of me money it was spent
Where it went to Lord I can’t remember
So down to the shippin’ office I went,
CHORUS
Paddy, lay back (Paddy, lay back)!
Take in yer slack (take in yer slack)!
Take a turn around the capstan – heave a pawl (1) – (heave a pawl)
About ships for England boys be handy(2)
For we’re bound for Valaparaiser
‘round the Horn! 

II
That day there wuz a great demand for sailors
For the Colonies and for ‘Frisco and for France
So I shipped aboard a Limey barque (3) “the Hotspur”
An’ got paralytic drunk on my advance (4)
III
There were Frenchmen, there were Germans, there were Russians
And there was Jolly Jacques came just across from France
And not one of them could speak a word of English
But they’d answer to the name of Bill or Dan
IV
I woke up in the morning sick and sore (5)
I wished I’d never sailed away again
Then a voice it came thundering thru’ the floor
Get up and pay attention to your name
V
I wish that I was in the Jolly Sailor (6)
With Molly or with Kitty on me knee
Now I see most any men are sailors
And with me flipper I wipe away my tears

NOTES
1) see above
2) or Bout ship’s stations, boys
3) see above
4) see above
5) a euphemism to describe the hangover
6) the name varies at the discretion of the singer

 LINK
http://www.folkways.si.edu/the-focsle-singers/paddy-lay-back/american-folk-celtic/music/track/smithsonian
http://www.jsward.com/shanty/PaddyLayBack/hugill.html
https://maritime.org/chanteys/paddy-lay-back.htm
http://aliverpoolfolksongaweek.blogspot.it/2011/12/36-paddy-lay-back.html
http://mysongbook.de/msb/songs/p/paddylay.html

(Mer)Maid on the Shore

Leggi in italiano

A fertile vein of the European balladry tradition that has its roots in the Middle Ages, is the so-called “girl on the beach”; Riccardo Venturi summarizes the commonplace “solitary girl who walks on the shores of the sea – coming ship – commander or sailor who calls her on board – girl who embarks on her own will – rethinking and remorse – thoughts at the maternal / conjugal house – drama that takes place (in various ways)
In the “warning ballads” the good girls are warned not to fantasise, to stay in their place (next to the fireplace to crank out delicious treats and children) and not to venture into “male roles”, otherwise they will end dishonored or raped or killed. Better then the more or less golden cage that is already known, rather than free flight.
Every now and then, however, the girl manages to triumph with cunning, over the male cravings, so in the “(Fair) Maid on the Shore” she turns herself into a predator!

Mermaid
Rebecca Guay: Mermaid

MAIDEN IN THE SHORE

It is a mermaid, which the captain sees on a moonlit night, who is walking along the beach (it is well known that selkies and sirens can walk with human feet on full moon nights). Immediately he falls in love and sends a boat to carry her on his ship (by hook or by crook), but as soon as she sings, she casts a spell on the whole crew.
And here the fantastic and magical theme ends: the girl takes all gold and silver and returns to her beach, far from being a fragile and helpless creature, so also her looting the treasures recalls the topos of the siren that collects the glistening things from ships (after having caused shipwreck and death) to “furnish” his cave!
(mer)maid on the shoreBertrand Bronson in his “Tunes of the Child Ballads” classifies “Fair Maid on the Shore” as a variant of Broomfield Hill (Child # 43), the ballad was found more rarely in Ireland (where it is assumed to be original) and more widely in America (and in particular in Canada). Thus reports Ewan MacCall (The Long Harvest, Volume 3) “More commonly found in the North-eastern United States, Nova Scotia and Newfoundland is a curious marine adaptation of the story in which the knight of the Broomfield Hill is transformed into an amorous sea-captain. The young woman on whom he has designs succeeds in preserving her chastity by singing her would-be lover to sleep.”

A.L. Lloyd sang The Maid on the Shore in his album The Foggy Dew and Other Traditional English Love Songs (1956) and commented in the notes “As the song comes to us, it is the bouncing ballad of a girl too smart for a lecherous sea captain. But a scrap of the ballad as sung in Ireland hints at something sinister behind the gay recital. For there, the girl is a mermaid or siren.

I
It’s of a sea captain that sailed the salt sea
the seas they were fine, calm and clear-o (1)
And a beautiful damsel he changed for to spy
walking alone on the shore, shore
walking alone on the shore
II
What I’ll give to you me sailors boys
and …  costly ware-o (2).
if you’ll fleach me that girl aboard of my ship
who walks all alone on the shore, shore
walks all alone on the shore
III
So the sailors they got them a very long boat
And off for the shore they did steer-o,
Saying, “Ma’am if you please will you enter on board
To view a fine cargo of ware (3), ware
To view a fine cargo of ware.”
IV
With much persuasion they got her on board
the seas they were fine, calm and clear-o,
she sat herself down in the stern of the boat
off for the ship they did steer, steer
off for the ship they did steer.
V
And when they’ve arrived alongside of the ship
the captain he order his chew-o,
Saying, “First you should lie in my arms all this night
and may be I’ll marry you dear, dear
may be I’ll marry you dear(4)
VI (5)
She sat herself down in the stern of the ship
the seas they were fine, calm and clear-o,
She sang so neat, so sweet and complete,
She sang sailors and captain to sleep, sleep
sang sailors and captain to sleep.
VII
She’s robbed them of silver, she’s robbed them of gold,
she’s robbed their costly ware-o.
And the captain’s bright sword she’s took for an oar
And she’s paddled away for the shore, shore/ paddled away for the shore.
VIII
And when he awaken he find she was gone
he would like a man in despair-o
… she deluded both captain and crew
“I’m a maid once more on the shore, shore
I’m a maid once more on the shore”

NOTES
having transcribed the text directly from listening, there are some words that escape me (and that for a mother-tongue are very clear!) Any additions are welcome !
1)  the verse is used as a refrain on the call and response scheme typical of the sea shanty
2) the captain promises a substantial reward to his sailors
3) in other more explicit versions the cabin boy is sent to show rings and other precious jewels, asking her to get on board to admiring ones more beautiful
4) in a more cruel version the captain threatens to give the girl to his crew, if she will not be nice to him
First you will lie in my arms all this night
And then I’ll give you to me jolly young crew,
5) It is missing
“Oh thank you, oh thank you,” this young girl she cried,
“It’s just what I’ve been waiting for-o:
For I’ve grown so weary of my maidenhead
As I walked all alone on the shore.”

In the Scandinavian versions of the story the girl is first enticed with flattery on board the ship and then kidnapped, in the French version L ‘Epee Liberatrice she is a princess who gets on the ship because she wants to learn the song sung by the young cabin boy: she falls asleep and when she wakes up she discovers to be on the high seas, she asks a sailor for a sword and kills herself, the Italian version (Il corsaro -Costantino Nigra) follows a similar story, but it is only the Irish version that dwells on the magic song of the siren.

The ballad has many interpreters mostly in the folk or folk-rock field.

Stan Rogers from Fogarty’s Cove (1976)
John Renbourn group from The Enchanted Garden, 1980 (strofe I, II, III, IV, V, VI, VIII)

Eliza Carthy from Rough Music, 2005

The Once from The Once 2009

I (1)
There is a young maiden,
she lives all a-lone
She lived all a-lone on the shore-o
There’s nothing she can find
to comfort her mind
But to roam all a-lone on the shore, shore, shore
But to roam all a-lone on the shore
II
‘Twas of the young (2) Captain
who sailed the salt sea
Let the wind blow high, blow low
I will die, I will die,
the young Captain did cry
If I don’t have that maid on the shore, shore, shore…
III (3)
I have lots of silver,
I have lots of gold
I have lots of costly ware-o
I’ll divide, I’ll divide,
with my jolly ship’s cres
If they row me that maid on the shore, shore, shore…
IV (4)
After much persuasion,
they got her aboard
Let the wind blow high, blow low
They replaced her away
in his cabin below
Here’s adieu (5) to all sorrow and care, care, care…
V  (6)
They replaced her away
in his cabin below
Let the wind blow high, blow low
She’s so pretty and neat,
she’s so sweet and complete
She’s sung Captain and sailors to sleep, sleep, sleep…
VI (7)
Then she robbed him of silver,
she robbed him of gold
She robbed him of costly ware-o
Then took his broadsword
instead of an oar
And paddled her way to the shore, shore, shore…
VII
Me men must be crazy,
me men must be mad
Me men must be deep in despair-o
For to let you away from my cabin so gay
And to paddle your way to the shore, shore, shore…
VIII (8)
Your men was not crazy,
your men was not mad
Your men was not deep in despair-o
I deluded your sailors as well as yourself
I’m a maiden again on the shore, shore, shore

NOTES
The textual version of the John Renbourn group differs slightly from Stan’s version
1) There was a young maiden, who lives by the shore
Let the wind blow high, blow low
no one could she find to comfort her mind
and she set all a-lone on the shore,
she set all a-lone on the shore
2) or Sea
3) The captain had silver, the captain had gold
And captain had costly ware-o
All these he’ll give to his jolly ship crew
to bring him that maid on the shore
4) And slowly slowly she came upon board
the captain gave her a chair-o
he sited her down in the cabin below
adieu to all sorrow and care
5) in the version of Renbourn the sentence is clearer, it is the pains of love that the captain tries to alleviate by rape the girl!
6) She sited herself in the bow of the ship
she sang so loud and sweet-o
She sang so sweet, gentle and complete
She sang all the seamen to sleep
7) She part took of his silver, part took of his gold
part took of his costly ware-o
she took his broadsword to make an oar
to paddle her back to the shore,
8) Your men must be crazy, your men must be mad
your men must be deep in despair-o
I deluded at them all as has yourself
again I’m a maiden on the shore,

 Solas from “Sunny Spells And Scattered Showers” (1997)

I
There was a fair maid
and she lived all alone
She lived all alone on the shore
No one could she find for to calm her sweet mind (1)
But to wander alone on the shore, shore, shore
To wander alond on the shore
II
There was a brave captain
who sailed a fine ship
And the weather being steady and fair (2)/”I shall die, I shall die,”
this dear captain did cry
“If I can’t have that maid on the shore, shore, shore
If I can’t have that maid on the shore”
III
After many persuasions
they brought her on board
He seated her down on his chair
He invited her down to his cabin below
Farewell to all sorrow and care
Farewell to all sorrow and care (3).
IV
“I’ll sing you a song,”
this fair maid did cry
This captain was weeping for joy
She sang it so sweetly, so soft and completely
She sang the captain and sailors to sleep
Captain and sailors to sleep
V
She robbed them of jewels,
she robbed them of wealth (4)
She robbed them of costly fine fare
The captain’s broadsword she used as an oar
She rowed her way back to the shore, shore, shore
She rowed her way back to the shore
VI
Oh the men, they were mad and the men, they were sad
They were deeply sunk down in despair
To see her go away with her booty so gay
The rings and her things and her fine fare
The rings and her things and her fine fare
VII
“Well, don’t be so sad and sunk down in despair
And you should have known me before
I sang you to sleep and I robbed you of wealth
Well, again I’m a maid on the shore, shore, shore
Again I’m a maid on the shore”

NOTES
1) the sentence would make more sense if it were instead “to calm his restless mind”
2) the reference to the good weather is not accidental, in fact the sighting of a siren was synonymous with the approach of a storm
3) that is having a good time with a presumably virgin
4) the woman is not just a thief but a fairy creature that steals the health of the sailors

LINK
Folk Songs of the Catskills (Norman Cazden, Herbert Haufrecht, Norman Studer)
http://home.olemiss.edu/~mudws/reviews/catskill.html
https://www.mustrad.org.uk/articles/dung24.htm

https://www.antiwarsongs.org/canzone.php?lang=it&id=50848
http://www.lyricsmode.com/lyrics/s/stan_rogers/the_maid_on_the_shore.html https://mainlynorfolk.info/lloyd/songs/themaidontheshore.html

https://mudcat.org/thread.cfm?threadid=35649
http://mudcat.org/thread.cfm?threadid=51828 http://www.celticlyricscorner.net/solas/maid.htm http://www.8notes.com/scores/5463.asp

Báidín Fheidhlimidh

Leggi in Italiano

The island of Tory or better Oileán Thoraigh, is a grain of rice (measuring 5 km in length and 1 in width) 12 km off the northern coast of Donegal. Ancient fortress of the Fomorians that from here left to raid the coasts of Ireland, a race of primordial gods, like Balor of the Evil Eye, the Celtic god of darkness that had only one eye on the back of the head.
It is called the island of artists since a small community of painters has been established in the 1950s. The hundreds of people who live there are Gaelic speakers and have been “governed” since the Middle Ages by a king of the island: it is up to the king to explain the legends and traditions of the island to the tourists!

TORAIG~1
island of Tory
by Pixdaus 

Bright and verdant in summer it is flagellate from strong storms in the winter months, theater of great tragedies of the sea.
But above all it is a land of rabbits and birds among which we can distinguish the puffins of the sea with the characteristic triangular beak of a bright orange with yellow and blue stripes wearing the frak.

“UNA BARCHETTA IN MEZZO AL MAR”

“Phelim’s little boat” or “Báidín Fheidhlimidh” (Báidín fheilimi) is one of the “songs of the sea” and is taught to Irish children at schools being a rare example of a bilingual song. Almost certainly handed down for generations in oral form, the song may have been composed in the seventeenth century.
Despite appearing as a nursery rhyme, the ballad tells the story of Feilimí Cam Ó Baoill, or Phelim O’Boyle, who, to escape his bitter enemy, abandons Donegal. He was one of the Ulster leaders of the O’Neil clan, one of the largest tribal dynasty in Northern Ireland (see). A warrior-fisherman leader who, to avoid conflict with the Mac Suibhne clan, or Sweeney, takes the sea on a small boat to the island of Gola; but, still not feeling safe, he changes the route to the island of Tory, more jagged and rich in hiding places, even if more treacherous for the presence of the rocks. And right on the rocks the small boat breaks and Phelim drowns.

The Gaelic here is peculiar because it comes from Donegal and has different affinities with the Scottish Gaelic. Baidin is a word in Irish Gaelic that indicates a small boat and the concept of smallness returns obsessively in all verses; so the nursery rhyme has its moral: in highlighting the challenge and the audacity in spite of a contrary destiny, we do not have to forget the power of the sea and we must remind that freedom has a very high price.

Sinéad O’Connor from  Sean-Nós Nua 2002:  ua voice with such a particular tone; here the pitch is melancholic supported by a siren-like echo effect. In the commentary on the booklet Sinéad writes:
It tells the story of Feilim Cam Baoill, a chieftain of the Rosses [in Donegal] in the 17th century. He had to take to the islands off Donegal to escape his archenemy Maolmhuire an Bhata Bu Mac Suibhne. Tory Island was more inaccessible and seemed safer than Gola, but his little boat was wrecked there. For me, the song is one of defiance and bravery in spite of terrible odds. It is a song of encouragement that we should be true to ourselves even if being true means ‘defeat’. A song of the beauty of freedom. And a song of the power of the sea as a metaphor for the unconscious mind. It shows that we can never escape our soul.”

Na Casaidigh from Singing for memory 1998: a fine arrangement of the voices in the choir and a final instrumental left to the electric guitar in a mix between traditional and modern sounds very pleasant and measured.

Angelo Branduardi from Il Rovo e la Rosa 2013,  (his Gaelic is a bit strange!) the arrangement with the violin is very precious

English
I
Phelim’s little boat went to Gola,
Phelim’s little boat and Phelim in it,
Phelim’s little boat went to Gola,
Phelim’s little boat and Phelim in it
Chorus:
A tiny little boat, a lively little boat,
A foolish little boat, Phelim’s little boat,
A straight little boat, a willing little boat,
Phelim’s little boat and Phelim in it.
II
Phelim’s little boat went to Tory,
Phelim’s little boat and Phelim in it,
Phelim’s little boat went to Tory,
Phelim’s   little boat and Phelim in it.
III
Phelim’s little boat crashed on Tory,
Phelim’s little boat and Phelim in it,
Phelim’s little boat crashed on Tory,
Phelim’s little boat and Phelim in it.
Donegal Gaelic
I
Báidín Fheidhlimidh d’imigh go Gabhla,
Báidín Fheidhlimidh ‘s Feidhlimidh ann
Báidín Fheidhlimidh d’imigh go Gabhla,
Báidín Fheidhlimidh ‘s Feidhlimidh ann
Curfá:
Báidín bídeach, Báidín beosach,
Báidín bóidheach, Báidín Fheidhlimidh,
Báidín díreach, Báidín deontach,
Báidín Fheidhlimidh’s Feidhlimidh ann.
II
Báidín Fheidhlimidh d’imigh go Toraigh,
Báidín Fheidhlimidh’s Feidhlimidh ann
Báidín Fheidhlimidh d’imigh go Toraigh,
Báidín Fheidhlimidh ‘s Feidhlimidh ann.
III
Báidín Fheidhlimidh briseadh i dToraigh,
Báidín Fheidhlimidh ‘s Feidhlimidh ann
Báidín Fheidhlimidh briseadh i dToraigh,
Báidín  Fheidhlimidh ‘s Feidhlimidh ann (1)

NOTES
1) or Iasc ar bhord agus Feilimí ann  [Laden with fish and Phelim on board]

THE DANCE: Waves of Tory

The island has also given the title to an Irish folk dance “Waves of Tory” which reproduces the waves breaking on the rocks! Among the dances for beginners is performed with one step and presents only a difficult figure called Waves.
see more

LINK
http://www.mudcat.org/thread.cfm?threadid=18074#177081

https://www.scottish-country-dancing-dictionary.com/dance-crib/waves-of-tory.html