Peigín agus Peadar

Vladan Nikolic

Our Goodman, The Goodman, The Gudeman, The Traveler

American version
Four (Three) Nights Drunk, Four (Five) Drunken Nights,
Old Cuckold, Cabbage Head 
Drunkard’s Special

Seven Drunken nights (irish version)
Peigín agus Peadar (irish gaelic version)

Le repliche di Marion (italian version)

This is the Irish Gaelic version of the comic ballad “Our Goodman” released in Ireland as “Seven Drunken Nights
It is Joe Heaney who reconnects the ballad to an Irish story in which a laborer, returning home after spending twenty years working at a rich farm, finds his wife in bed with a bearded guy (whom his wife claims to be their little son who became an adult!).
E’ la versione in gaelico irlandese della ballata comica “Our Goodman” diffusa in Irlanda con il titolo “Seven Drunken Nights”
E’ Joe Heaney a ricollegare la ballata ad una storiella irlandese in cui un bracciante, ritornato a casa dopo vent’anni passati a lavorare presso una ricca fattoria, trova la moglie a letto con un tizio con tanto di barba (che la moglie sostiene essere il loro figlioletto diventato adulto!).

Colm Keane  sings “A Pheigí na gCarad (Our Goodman)” AFC 2004/004 recorded by Alan Lomax 

Dervish – Peigín mo Chroí live, Playing with Fire 1996

A Pheigin mo chara is a Pheigin mo chroi
Ce he an fear fada ud timpeall an ti
O ho o hi ho ha O hi ho, a Pheigin mo chroi

A Pheadar mo chara is a Pheadar mo chroi
Sin e do mhaicin nach bhfaca tu riamh
O ho o hi ho ha O hi ho, a Pheadar mo chroi

Shuil mise thoir agus shuil mise thiar
Is feasog ar leanbh ni fhaca me riamh
O ho o hi ho ha O hi ho, a Pheigin mo chroi

A Pheadar mo chara is a Pheadar mo chroi
Eirigh do sheasamh ‘gus reitigh greim bia
O ho a Pheadar mo chroi
A Pheigin mo chara is a Pheigin mo chroi
Nil ins an teach ach aon greim mine bui
O ho o hi ho ha O hi ho, a Pheigin mo chroi

A Pheadar mo chara is a Pheadar mo chroi
In iochtar mo mhala ta caca mine bui
O ho a Pheadar mo chroi
A Pheigin mo chara is a Pheigin mo chroi
Ta an caca seo ro fada nil in aon chaoi bui
O ho o hi ho ha O hi ho, a Pheigin mo chroi

‘S a Pheadar mo chara, suifimis sios
Na fagfas an baile chomh ‘s mhairfeas me riamh
O ho a Pheadar mo chroi
A Pheigin mo chara is a Pheigin mo chroi
Ce he an fear fada timpeall an ti

O ho o hi ho ha O hi ho, a Pheigin
O ho o hi ho ha O hi ho, a Pheigin
O ho o hi ho ha O hi ho, a ghra geal mo chroi


I
Peggy, my friend, and Peggy, my heart
Who is that tall strange man?
O ho o hi ho ha
O hi ho, oh Peggy, my heart
II
Peter, my friend, and Peter, my heart
That is your baby (1) whom you never saw 
O ho o hi ho ha
O hi ho, oh Peter, my heart

III
I walked east and I walked west
But a beard on a baby
I have never before seen
IV
Peter, my friend, and Peter, my heart
Rise up now and prepare some food
O ho Peter, my heart
Peggy, my friend, and Peggy, my heart
I have not a grain of yellow meal in the house
V
Peter, my friend, and Peter, my heart
In the bottom of my bag
there is a yellow meal cake (2)
O ho Peter, my heart
Peggy, my friend, and Peggy, my heart
This cake you have is full of golden guineas (3)
VI
Peter, my friend we will sit down
I’ll never leave home again for as long as I live
O ho Peter, my heart
Peggy, my friend, and Peggy, my heart
Who is that tall strange man?
Traduzione italiano Cattia Salto
I
Rita amore mio, Rita cuore mio
chi è quell’uomo barbuto alto e sconosciuto?
O ho o hi ho ha
O hi ho, oh Rita, cuore mio
II
Piero amore mio, Piero cuore mio
è tuo figlio che non hai mai visto
O ho o hi ho ha
O hi ho, oh Piero cuore mio
III
Sono stato a Est e a Ovest
ma una barba su un bambino
non l’ho mai vista prima
IV
Piero amore mio, Piero cuore mio
alzati ora e prepara del cibo
oh Piero cuore mio
Rita amore mio, Rita cuore mio
non c’è un granello di farina nella casa
V
Piero amore mio, Piero cuore mio
nel fondo della mia sacca
c’è una torta di meliga
oh Piero cuore mio
Rita amore mio, Rita cuore mio
questa torta che hai è piena di sovrane d’oro
VI
Piero amore mio, ci sistemeremo
non  partirò mai più finchè avrò vita
oh Piero cuore mio
Rita amore mio, Rita cuore mio
chi è quell’uomo barbuto alto e sconosciuto?

NOTE
1) the story has a background (cf): Peter left twenty years earlier to go to work as a farm laborer and by seven years in seven years has always renewed his employment contract until one day he decides to return home. The owners of the farm then ask him if he prefers to receive compensation for his work or if he prefers to receive three valuable tips. He chooses the advices (which will save his life on the return journey). When he left twenty years before his wife was already waiting for a child who obviously is now a man
la storia ha un antefatto (vedi): Piero è partito vent’anni prima per andare a lavorare come bracciante in una fattoria e di sette anni in sette anni ha sempre rinnovato il contratto di lavoro finchè un bel giorno decide di ritornare a casa. I proprietari della fattoria allora gli chiedono se preferisce ricevere il compenso per il lavoro svolto o se in alternativa preferisce ricevere tre preziosi consigli. L’uomo sceglie i consigli (che gli salveranno la vita nel viaggio di ritorno). Quando è partito vent’anni prima la moglie era già in attesa di un bambino che ovviamente vent’anni dopo è diventato un uomo
2) The farmer’s wife had prepared two sweets for Peter, one to take home to his wife and the other to eat during the trip
La moglie del fattore aveva preparato a Piero due dolci, uno da portare a casa alla moglie e l’altro da mangiare durante il viaggio
3) In the second cake there was all the compensation for the 21 years of work done by Peter
Nella seconda torta c’era tutto il compenso per i 21 anni di lavoro svolto da Piero

Teada in Téada 2003

A Pheigín na gcarad ‘s a Pheigín mo chroí
Cé hé an fear fada údan sínte leat síos?
Curfá: Ó a hó, ó a hó Ó a hó, a stóirín mo chroí

A Pheadair na gcarad ‘s a Pheadair mo chroí
Sin é do leanbh nach bhfaca tú riamh
Ó shiúil mise thoir agus shiúil mise thiar
Ach féasóg ar leanbh ní fhaca mé riamh

A Pheigín na gcarad ‘s a Pheigín mo chroí
Éirigh i do sheasamh ‘gus réitigh greim bídh
A Pheadair na gcarad ‘s a Pheadair mo chroí
Níl ins an teach agam greim mine buí

A Pheigín na gcarad ‘s a Pheigín mo chroí
In íochtar mo mhála tá cáca mine buí

‘S a Pheigín ‘s a mhaicín suífidh muid síos
Ní fhágfad an baile chúns mhairfeas mé arís


I
Peggy, my friend, and Peggy, my heart
Who is that tall man stretched alongside you?
Chorus : Oh a ho, oh a ho Oh a ho,
my love, oh love of my heart
II
Peter, my friend, and Peter, my heart
That is your baby (1) whom you never saw 
I walked east and I walked west
But a beard on a baby
I have never before seen
III
Peggy, my friend, and Peggy, my heart
Rise up now and prepare some food
Peter, my friend, and Peter, my heart
I have not a grain of yellow meal in the house
IV
Peggy, my friend, and Peggy, my heart
In the bottom of my bag
there is a yellow meal cake (2)
V
Peggy, my friend, and Peggy, my heart
I’ll never leave home again for as long as I live
Traduzione italiano Cattia Salto
I
Rita amore mio, Rita cuore mio
chi è quell’uomo alto disteso accanto a te?
Coro Oh a ho, oh a ho Oh a ho,
amore mio, oh amore del mio cuore
II
Piero amore mio, Piero cuore mio
è tuo figlio che non hai mai visto
Sono stato a Est e a Ovest
ma una barba su un bambino
non l’ho mai vista prima
III
Rita amore mio, Rita cuore mio
alzati ora e prepara del cibo
Piero amore mio, Piero cuore mio
non c’è un granello di farina nella casa
IV
Rita amore mio, Rita cuore mio
nel fondo della mia sacca
c’è una torta di meliga
V
Piero amore mio, Piero cuore mio
non  partirò mai più finchè avrò vita

LINK
https://songsinirish.com/peigins-peadar-teada-lyrics/
http://www.celticlyricscorner.net/teada/peigins.htm
http://www.celticlyricscorner.net/dervish/peigin.htm
https://www.joeheaney.org/en/peigin-agus-peadar/

https://mudcat.org/thread.cfm?threadid=18132
https://terreceltiche.altervista.org/seven-drunken-nights/

Sadhbh Ní Bhruinnealla (“Will You Come Home With Me?”)

Galway Hooker by Derek Biddulph

This old-style Irish Gaelic song was brought to Terre Celtiche by Stephen Salzano who writes in his post “This song is about a boatman who sails frequently between the two remote isles of Inis Ge off the West Coast of Ireland in County Mayo to Galway, and is besotted with a fair maiden. He wishes his love and ‘little treasure’ (a stóirín) her to elope with him. ” (from here)
Questo canto in gaelico irlandese nel vecchio stile è stato portato in Terre Celtiche da Stephen Salzano che scrive ” Questo canto narra di un barcaiolo che naviga frequentemente tra le due lontane isole di Inis Ge al largo della costa occidentale dell’Irlanda, nella contea Mayo e Galway e si è infatuato di una bella fanciulla. Desidera che il suo amore e “piccolo tesoro” (a stóirín) fugga con lui” (tradotto da qui)

Liam O Maonlai – The Highland Session 2012

Mike O’Laughlin at the Irish Roots Cafe, from the album: “Irish Song: Traditional and Sean Nós”

Lasairfhíona Ní Chonaola

I
Ní iarrfainn bó spré le Sadhbh (1) Ní Bhruinnealla,
Ach Baile Inis Gé (2) is cead éalú ar choinníní.
Óra a Shadhbh, a Shadhbh Ní Bhruinnealla,
A chuisle is a stóirín, [Tabhair dom do lámhín] éalaigh is imigh liom.
II
Máistir báid mhóir (3) mé a’ gabháil ród na Gaillimhe,
D’fhliuchfainn naoi bhfód is ní thóigfinn aon fharraige. (4)
III
“Máistir báid mhóir go deo ní ghlacfad,
Nuair a fhaigheann siad an chóir ‘sé is dóichí nach bhfanann siad.”
IV
Níl falach i gcabhail ar Shadhbh Ní Bhruinnealla,
Ach seanchóitín donn gan cabhail gan muinchille.
V
Mhionnóinn naoi n-uaire ar leabhar mór an Bhairéadaigh
Nach scarfainn go deo le Sadhbh Ní Bhruinnealla.
VI
Fear maith i mbád mé togha fear iomraimh,
Fear sluaisid’ is láí ar dhá cheann an iomaire.
VII
Nuair a théimse ‘un an chomhra ag comhaireamh an airgid
Bíonn an iníon is an bhean is iad caillte le gean orm.
VIII
Nuair a thiocfas lá breá ‘gus an ghaoth ón bhfarraige
Tabharfaidh mé Sadhbh liom go céibh na Gaillimhe.
IX
Óra a Shadhbh, a Shadhbh Ní Bhruinnealla,
A chuisle is a stóirín, ba rí-mhaith dhuit mise agat!

 


I
I would ask no dowry for Sadhbh Ní Bhruinnealla (1),
but the village of Inishkea (2) and a permit to hunt rabbits.
Óra, Sadhbh, Sadhbh Ní Bhruinnealla,
My heart’s beloved, [Give me your wee hand] elope and leave with me.
II
I’m the master of a hooker (3) on the way to Galway,
I’d wet nine sods of turf but would not take any water in. (4)
Óra, Sadhbh
III
The master of a hooker I’d never accept,
when the wind is favourable they are not inclined to stay. (5)
Óra, Sadhbh ..

IV
Sadhbh is not wearing a stitch on her body,
except an old brown coat without bodice or sleeve.
Óra, Sadhbh..
V
I’d swear nine times on Barrett’s book
that I’d never part with Sadhbh Ní Bhruinnealla.
Óra, Sadhbh ..
VI
I’m a good boatman, a fine oarsman,
skillful with shovel or loy
on either end of the ridge (6).
Óra, Sadhbh
VII
When I go to the chest to count the money,
the daughter and her mother are overcome with fondness for me.
Óra, Sadhbh ..
VIII
When a fine day comes and the wind is from the sea,
I’ll take Sadhbh with me to the pier in Galway.
Óra, Sadhbh ..
IX
Óra, Sadhbh, Sadhbh Ní Bhruinnealla,
my heart’s beloved, you would do right well to have me!

Traduzione italiano Cattia Salto
I
Non chiederei la dote per Sabha figlia di Bhruinnealla
ma il villaggio di Inishkea e la licenza di cacciare i conigli.
Salve Sabha, Sabha figlia di Bhruinnealla
amata dal mio cuore, [dammi la tua manina,] fuggi e vieni via con me
II
Sono il padrone di una barca a vela diretta a Galway
si bagnerebbero solo nove zolle di torba e non imbarcherei mai acqua di mare
Salve Sabha
III
“Il padrone di una barca a vela non lo accetterei mai, quando il vento è favorevole non sono inclini a restare”
Salve Sabha..
IV
Sabha non indossa abiti su misura
tranne un vecchio camice marrone senza corpetto e maniche
Salve Sabha..
V
Giurerei nove volte sul libro di Barrett
che non mi separerò mai da Sabha figlia di Bhruinnealla
Salve Sabha
VI
Sono un bravo barcaiolo, un ottimo rematore
abile con badile e vanga
su entrambi i lati della porca
Salve Sabha..
VII
Quando vado alla cassa a contare il denaro,
la figlia e sua madre mi vogliono un mucchio di bene
Salve Sabha
VIII
Quando verrà un bel giorno e il vento arriverà dal mare
porterò Sabha con me al porto di Galway
Salve Sabha
VIII
Salve Sabha, Sabha figlia di Bhruinnealla
amata dal mio cuore, faresti un buon affare ad avermi

FOOTNOTE by Stephen Salzano
1) The name Sadhbh is a girl’s name of Irish origin meaning “sweet, goodness”. Sadhbh was the name of several real and legendary Irish princesses, including the daughters of Conn of the Hundred Battles, of Queen Medb of Connacht, and of King Brian Boru. It’s also written Sabha. One of the most authentic Irish names for girls, it is also unfortunately one of the most difficult to export.( https://nameberry.com/babyname/Sadhbh)
Sadhbh è un nome femminile di origine irlandese che significa “dolcezza, bontà”. Sadhbh fu il nome di diverse principesse irlandesi, vere e leggendarie, tra cui le figlie di Conn delle Cento Battaglie, della regina Medb delConnacht e del re Brian Boru. Si scrive anche come Sabha. Uno dei nomi irlandesi più originari ma anche uno dei più difficili da reasmettere.
Sadhbh is a popular Irish girls name but is pronounced as S – eye – v. But in the song it is pronounced as ‘how’. This is because in Connmara, Sadhbh is pronounced as Sow. The name changes from Sadhbh to ‘ a Shadhbh’ in all but the very first line, as this is the common way that the Irish people address familiar friends and family and ‘Sh’ is caused by the Irish language mutation (lenition) of the start of words.  Finally, the S becomes silent with the lenition.
Sadhbh è un nome popolare per le ragazze irlandesi che si pronuncia  S – eye – v. Ma nella canzone è pronunciato come “how”. Questo perché nel Connmara, Sadhbh si pronuncia come “Sow”. Il nome cambia da Sadhbh a ‘a Shadhbh’ tranne che nel primo verso, poiché questo è il modo comune in cui gli irlandesi si rivolgono agli amici e parenti e ‘Sh’ è causato dalla mutazione in lingua irlandese (lenizione) dell’inizio di parole. Alla fine, la S diventa silenziosa con la lenizione.
2) The islands of Inis Gé or ‘Inishkea’ (North and South) are part of County Mayo, off the West Coast of Ireland, and are now uninhabited. The name means ‘Goose Islands’. ( https://en.wikipedia.org/wiki/Inishkea_Islands ) This article says there is evidence of habitation from at least 5,000 years ago, pure white sandy beaches and crystal clear water, it was home to fishermen and pirates, and escaped the ravishes of the potato blight on the mainland due to the prevailing winds largely keeping the blight away from Inis Gé 
Le isole di Inis Gé o “Inishkea” (nord e sud) fanno parte della contea di Mayo, al largo della costa occidentale d’Irlanda, e ora sono disabitate. Il nome significa “Isole dell’oca”. https://en.wikipedia.org/wiki/Inishkea_Islands. Questo articolo dice che ci sono resti di insediamenti risalenti ad almeno 5.000 anni fa, spiagge di sabbia bianca e acqua pura e cristallina, fu la patria di pescatori e pirati e sfuggì alla pestilenza della malattia delle patate  sulla terraferma a causa dei venti predominanti che mantennero il morbo lontano da Inis Gé!
3) ‘Bád Mór’ – a Galway hooker; a large boat for transporting cargo including the turf, which was used for fuel – (presumably scarce on the islands), from the mainland to the islands, and then limestone, wood, and livestock, wood, potatoes, fish etc. on the way back; through the seas of Galway Bay to Galway: “a’ gabháil ród na Gaillimhe”, as referred to in the song; the largest in its class; to own one was to mean you had status in the community “is Máistir báid mhóir mé “; the roads in Connemara were only few and only fit for donkey and mule carts in those days, so these boats were relied on for transportation of all kinds of cargoe along the coast and to the islands; they slept and cooked in the hold of these boats under the deck, with access through a hatch which acted as a chimney
una grande barca per il trasporto merci tra cui la torba, che è stata utilizzata come combustibile- (presumibilmente carente sulle isole), dalla terraferma alle isole, e poi calcare, legno e bestiame, legno, patate, pesce ecc. sulla via del ritorno; attraverso i mari della baia di Galway fino a Galway: “a’ gabháil ród na Gaillimhe “, come indicato nella canzone; il più grande della sua categoria; possederne una significava avere uno status nella comunità “is Máistir báid mhóir mé”; in quei giorni le strade in Connemara erano poche e adatte solo al transito di asini e carretti a mulo, quindi queste barche erano affidabili per il trasporto di ogni tipo di merce lungo la costa e verso le isole; si dormiva e cucinava nella stiva di queste barche sotto il ponte, con accesso attraverso una botola che fungeva da camino;
4) the line in the song probably means, while some of my sods of turf may get wet (only nine, a tiny amount – ‘D’fhliuchfainn naoi bhfód’), the boat is of a sound construction, seaworthy, and watertight to seawater, meaning its a really great boat that he has (ní thóigfinn aon fharraige) ! so perhaps he is boasting of how good his boat is to Sadhbh, and that he is an important person higher in status than others like tradesmen and fishermen, and presumably wealthy; he has a chest of money right? (Nuair a théimse ‘un an chomhra ag comhaireamh an airgid).
il verso della canzone probabilmente significa “mentre alcune delle mie zolle di torba possono bagnarsi (solo nove, una piccola quantità – ‘D’fhliuchfainn naoi bhfód’)”, la barca ha una costruzione solida, idonea alla navigazione e impermeabile all’acqua di mare, nel senso che è il proprietario di una grande barca (ní thóigfinn aon fharraige)! quindi forse si sta vantando con Sadhbh di quanto sia bella la sua barca e di essere una persona importante di più alto grado rispetto agli altri commercianti e pescatori, e presumibilmente ricco; ha una mucchio di soldi vero? ((Nuair a théimse ‘un an chomhra ag comhaireamh an airgid).
NOTE Cattia Salto
5) Joe Heaney translates “When they get what they want they likely won’t stay!”
6) se non ho capito male la traduzione iomair= ridge of land, rig

Sadhbh Ní Bhruinnealla is an old sean-nós song attributed to Labhrás Mac Con Raoi from Mace Head, Co. Mayo, a boatman who ranged the coasts of Mayo and Galway. He is said to have composed it between 1815 and 1821, and the woman in the song is said to have been from Inishkea, Co. Mayo. It is often called “Sadhbh Ní Mhuinghile.”
(https://songsinirish.com/sadhbh-ni-bhruinneallaigh-lyrics/)
Sadhbh Ní Bhruinnealla è una vecchia canzone in sean-nós attribuita a Labhrás Mac Con Raoi da Mace Head, Co. Mayo, un barcaiolo che bazzicava le coste di Mayo e Galway. Si dice che l’abbia composta tra il 1815 e il 1821 e che la donna nella canzone fosse originaria di Inishkea, nella contea di Mayo. Viene spesso chiamata “Sadhbh Ní Mhuinghile”. 

The melody is similar to “Pheigin Mo Chroi” (Peigín is Peadar)
La melodia richiama “Pheigin Mo Chroi” (Peigín is Peadar)

LINK
https://celticandhistoryobsessions.music.blog/2019/08/24/sadhbh-ni-bhruinnealla/
https://songsinirish.com/sadhbh-ni-bhruinneallaigh-lyrics/
https://www.joeheaney.org/en/sadhbh-ni-bhruinniligh/

https://www.itma.ie/digital-library/score/claisceadal-2
https://podcasts.apple.com/ug/podcast/sadhbh-ni-bhruinneallaigh-mayo-boatmans-love/id269126035?i=1000087765133

https://www.irishtimes.com/life-and-style/people/the-lost-world-of-the-galway-hooker-1.2655097
https://www.reportage.co.uk/featured-stories/huiceir-na-gallimhe-the-galway-hooker/

A chomaraigh aoibhinn ó (Sweet Comeragh)

The song “A chomaraigh aoibhinn ó” written in Irish Gaelic by Maurus Ó Faoláin (1853-1931) a Cistercian priest born in Kilrossanty, Co Waterford, expresses love for the Sweet Comeragh the land of the Decies, the homeland to which the emigrant returns for his homesick.
Il canto scritto in gaelico irlandese da Maurus Ó Faoláin (1853-1931), frate cistercense nato a Kilrossanty contea di Waterford esprime l’amore per lo Sweet Comeragh la terra dei Decies, la terra natia alla quale l’emigrato fa ritorno per la troppa nostalgia. 

Up The Déise!

County Waterford, Ireland, is known locally as “An Déise” in Gaeilge. Sometime between the 4th and 8th centuries AD, a tribe of native Gaelic people called the Déisi were driven from the southern parts of the country, conquering and settling here. The Déise region is a beautiful region with two mountain ranges, beautiful rivers and lakes and over 30 beaches along its unique volcanic coast line. It is one of the few regions in Ireland with a Gaeltacht, an area with native Irish speaking people. The Déise has a rich history from megalithic tombs and Ogham stones. (from here)
La contea di Waterford, in Irlanda, è conosciuta localmente come “An Déise” in gaelico. A un certo punto tra il IV e l’VIII secolo d.C., una tribù di nativi celti i Déisi furono cacciati dalle parti meridionali del paese, e si stabilirono qui sui territori conquistati. La regione di Déise è una bellissima regione con due catene montuose, bellissimi fiumi e laghi e oltre 30 spiagge lungo la sua unica linea costiera di origine vulcanica. È una delle poche regioni in Irlanda con un Gaeltacht, un’area con nativi di lingua irlandese. Il Déise ha una ricca storia di tombe megalitiche e pietre Ogham.

Three versions always with the same singer, Karan Casey originally from County Waterford, who learned this song from Ann Mulqueen
Tre versioni sempre con la stessa cantante, Karan Casey originaria della contea di Waterford,  che imparò il canto da Ann Mulqueen

Solas in The Words That Remain, 1998

Karan Casey & Paul Halley · Paul Winter & Friends in Celtic Solstice 1999

Karan Casey live for Highland Sessions

Fiona Kelleher & Mel Mercier & Kate Ellis in My Love Lies 2008

I
Mo bheannacht óm’ chroí Dod’ thir ‘s dod’ shléibhte
A chomaraigh aoibhinn ó Is dod’ mhuintir shuairc
Ar dual dóibh féile A chomaraigh aoibhinn ó
Do shrutháin gheala ‘S do choillte craobhach
Do ghleannta meala ‘S do bhánta léire
Ó grá mo chroí Iad siúd le chéile
A chomaraigh aoibhinn ó
II
Is dathúil breá Do chruacha scéimchruth
A chomaraigh aoibhinn ó Nuair a lasaid suas
Le hamharc gréine A chomaraigh aoibhinn ó
Na faillte ‘s leacain Ar gach taobh diot
Mar bhrata sróil Le seolta gleásta
Nuair a scaipeann an drúcht Anuas ón spéir ort
A chomaraigh aoibhinn ó
III
Do bhíos thar sáile Seal i gcéin uait
A chomaraigh aoibhinn ó I ndúthaigh fáin
Ag déanamh saoithair A chomaraigh aoibhinn ó
Ach b’obair tháir liom Cnuasach gréithre
I bhfad óm’ ait Fé scáil do shléibhte
Is chas mé arís ort A phlúr na nDéise
A chomaraigh aoibhinn ó

I
My heartfelt blessings
On your valleys and mountains
Sweet Comeragh
And on your cheeful people
So naturally kind
Sweet Comeragh
On your shining streams
And your leafy woodlands
Your honeyed slopes
And your gleaming meadows
My heart fills with love
For all of them surely
Sweet Comeragh
II
Your rugged peaks
Are a handsome sight
Sweet Comeragh
As the rising sun
Sets them aflame
Sweet Comeragh
Cliffs and steep slopes
In every direction
Like a satin weave
From a magic loom
As the dew falls
From the heavens high
Sweet Comeragh
III
I was a while away (1)
From your beauty
Sweet Comeragh
Slaving so hard
In a foreign land
Sweet Comeragh
Base work it was
Just making a living
Far from my home
‘Neath the shade of your mountains
So I came back to you
The flower of the Déise (2)
Sweet Comeragh
Traduzione italiano Cattia Salto
I
Le mie benedizioni sincere
alle tue valli e montagne
Dolce Comeragh
e alla tua gente allegra
tanto gentile di natura
Dolce Comeragh
ai tuoi chiari ruscelli
e i tuoi boschi frondosi
e i dolci pendii
e i tuoi prati scintillanti.
Il mio cuore si riempie d’amore
vero per tutto quanto
Dolce Comeragh
II
Le tue vette accidentate
sono una bella vista
Dolce Comeragh
quando il sole nascente
le infiamma
Dolce Comeragh
Scogliere e pendii ripidi
in ogni direzione
come una trama di raso
da un telaio magico
mentre la rugiada cade
dall’alto dei cieli
Dolce Comeragh
III
Mi è mancata
la tua bellezza
Dolce Comeragh
a sgobbare duramente
in una terra straniera
Dolce Comeragh
Il lavoro principale era
guadagnarsi da vivere
lontano da casa mia
all’ombra delle tue montagne
Quindi sono tornato da te
fiore della Dessia
Dolce Comeragh
NOTE
1) letteralmente “Sono stato via per un po’”
2) flower of na Déise  = The Decies, The county is based on the historic Gaelic territory of the Déise, anglicised ‘Decies’ or ‘Dessia’. There is an Irish-speaking area, Gaeltacht na nDéise, in the south-west of the county. The Celtic tribe of the Decies or An Déise, established in present-day Waterford County, converted to Christianity as early as the mid-fourth century.
[La contea è basata sullo storico territorio gaelico della Déise, anglicizzata “Decies” o “Dessia”. C’è un’area di lingua irlandese, Gaeltacht na nDise, nel sud-ovest della contea. La tribù celtica dei Decies o An Déise, stanziati nell’attuale contea di Waterford si sono convertiti al Cristianesimo già nella metà del IV secolo]

LINK
https://www.aletterfromireland.com/up-the-deise/
https://www.bellsirishlyrics.com/a-chomaraigh-aoibhinn-o.html
https://mudcat.org/thread.cfm?threadid=34502
https://thesession.org/tunes/15714
http://www.waterfordmuseum.ie/exhibit/web/Display/article/312/2/Early_Waterford_History_The_Decies_.html
https://outsider.ie/ireland/hiking-comeragh-mountains/

The Secret of Roan Inish

Cinematic transposition of the novel “Secret of the Ron Mor Skerry” by Rosalie K. Fry (1959) it tells of a blood bond between a family community of the island and the selkies. The version of the film is fairly faithful to the novel, but it transposes the story from the islands of Scotland to Ireland, both countries that still retain the same legendary tales about aquatic shapeshifters. (first part)
Trasposizione cinematografica del romanzo “Il segreto di Ron Mor Skerry” di Rosalie K. Fry (1959) si racconta di un legame di sangue tra una comunità familiare dell’isola e le selkie. La versione del film è abbastanza fedele al romanzo, ma traspone la storia dalle isole della Scozia all’Irlanda, paesi che conservano ancora le stesse storie leggendarie sui mutaforma acquatici.
(prima parte)

Selkie Song (An Mhaighdean Mhara)

The soundtrack curated by Mason Daring combines traditional pieces with compositions by the author, in particular “Selkie Song” is taken from a traditional Donegal song in Gaelic entitled “An Mhaighdean Mhara“.
La colonna sonora a cura di Mason Daring accosta brani tradizionali a composizioni dell’autore, in particolare Selkie Song è tratto da un tradizionale del Donegal dal titolo in gaelico “An Mhaighdean Mhara“.

Eileen Loughanne -Selkie Song 1994

I
Is cosuil gura bheath tu, No do rugadh tu an gcrann.
Ta an sneachta go freasach Fa a bhialainn ann.
Do shiuil bi deitil (1), Is do bhealain samh,
Suid thugaibh mEire chinnle (2), Is e an Eire naomh (3).
II
Mathairin mhilis, A duirt Maire Bhain,
Ar bharr na dtoinnti, Is ar bhruach na tra.
Mathair an bharr, Mo mhathair in ard,
Suid thugaibh mEire chinnle, Is e an Eire naomh.
III
Taimse tuirseach, Agus beidh go neal,
Mo bha ar a bhruinne, Is mo phadraic ban.
Ar bharr na dtoinnti, Is ar bhruach na tra,
Suid thugaibh mEire chinnle, Is e an Eire naomh.
English translation*
I
It seems that you have faded away
and abandoned the love of life
The snow is spread
about the mouth of the sea 
Your yellow curly hair
and your gentle mouth,
I give you Mary Kenny (2),
to swim in the Éirne (3)
II
“Sweet Mother” – said blonde Mary
On the crest of the waves,
And the opening of the strand
Maid of the Sea
my mother, my pride”
I give you Mary Kenny,
to swim in the Éirne
III
I am weary now
And soon it will be
my fair maiden
and my pale Pádraig
On the crest of the waves,
And the opening of the strand
I give you Mary Kenny,
to swim in the Éirne
Traduzione italiano Cattia Salto
I
Sembra che ti strugga
e abbia perso il buon umore.
La neve si accumula
all’imboccatura del mare
i tuoi riccioli biondi
e la tua dolce boccuccia
ecco Mary Kenny
che nuota nell’oceano

II
“Cara Madre -grida la bionda Maria
sulla cresta delle onde
e l’imboccatura della spiaggia-
Fanciulla del mare
mia nobile madre”
ecco Mary Kenny
che nuota nell’oceano

III
Sono stanca 
e presto accadrà
la mia bella bambina
e il mio biondo Patrick
sulla cresta delle onde
e l’imboccatura della spiaggia
ecco Mary Kenny
che nuota nell’oceano

NOTE
1) Do chúl buí daite= Your fair hair
2) la frase è una storpiatura di “Siúd chugaibh Máirí Chinidh”, Mary Cinidh= Mary Heaney or Kinney is the merrow or selkie
3) ‘s í ‘ndiaidh ‘n Éirne ‘shnámh= to swim forever in the Éirne; ) Eirne is an old word for the Atlantic [è una vecchia parola per l’Atlantico]

LINK
http://ontanomagico.altervista.org/sule-skerry.htm
https://thesession.org/recordings/4322

Aldebaran by Enya

In Aldebaran (from Enya, 1987 becomed The Celts in a remix version, 1992) Enya imagines the migration of the Celts in space towards the Alpha Tauri in the constellation of Taurus – placed in correspondence of the eye, a very bright star in the star system relatively close to ours, we distinguish it in the starry winter sky near Orion. In Antiquity, Aldebaran was a star associated with the cycle of the seasons (its heliacal rising marked Beltaine’s Celtic festival)
Nel brano Aldebaran (da Enya, 1987 diventato The Celts in una versione remix del 1992)  Enya immagina la migrazione dei Celti nello spazio verso l’Alpha Tauri cioè l’occhio della costellazione del Toro, una stella luminosissima nel sistema stellare relativamente vicino al nostro- la distinguiamo nel cielo stellato d’Inverno prolungando la cintura d’Orione verso destra. Nell’Antichità Aldebaran era una stella associata al ciclo delle stagioni (la sua levata eliaca segnava la festa celtica di Beltaine)

su dipinto di Angela Betta Casale

Life in Space

Nowaday the possibility of Life in the Alpha Centauri system is being hypothesized, it was 2016 when several astronomers involved in the “Pale Red Dot” observing campaign, pointed their telescopes at the red dwarf Proxima Centauri (called “Proxima” precisely because it is the closest to our Sun) conjecturing the existence of a planet with Earth-like characteristics: Proxima B
Oggi si sta ipotizzando la possibilità della Vita nel sistema di Alpha Centauri, era il 2016 quando diversi astronomi impegnati nella campagna osservativa “Pale Red Dot” (Pallido Puntino Rosso), hanno puntato i loro telescopi verso la nana rossa Proxima Centauri (chiamata “Prossima” appunto perché è la più vicina al nostro Sole) congetturando l’esistenza di un pianeta dalle caratteristiche simili alla Terra: Proxima B

This artist’s impression shows a view of the surface of the planet Proxima b orbiting the red dwarf star Proxima Centauri, the closest star to the Solar System. The double star Alpha Centauri AB also appears in the image. Proxima b is a little more massive than the Earth and orbits in the habitable zone around Proxima Centauri, where the temperature is suitable for liquid water to exist on its surface.
Credit: ESO/M. Kornmesser
[L’immagine dell’artista mostra una visione della superficie del pianeta Proxima in orbita attorno alla stella nana rossa Proxima Centauri, la stella più vicina al Sistema Solare. Nell’immagine vediamo anche la stella doppia Alpha Centauri AB. Proxima b è più roccioso della Terra e orbita nella zona abitabile intorno a Proxima Centauri, dove la temperatura è idonea all’esistenza dell’acqua liquida sulla sua superficie.]

Aldebaran

For the broadcasting of the The Celts series, the BBC hires the young debutant Enya, who began her musical career by joining the Clannad family group: the 70 minutes of the soundtrack are included into “Enya “, the debut album (reprinted as The Celts) that marks the beginning Enya’s worldwide success.
Aldebaran is a track ideally dedicated to Ridley Scott, a visionary voyage towards the Space: the voices with the technique of “multivocals” are in Irish Gaelic (the native language of Enya, born in Gweedore, Donegal), it is the joyous song of the travelers who, on the ships called “Angels“, have reached the constellation of Taurus; upon awakening from sleep (cryogenic?) the Loxians look at the new sun before landing on their new Planet-House.
Per la messa in onda della serie The Celts la BBC ingaggia la giovanissima esordiente Enya, che aveva iniziato la carriera di musicista entrando nel gruppo di famiglia i Clannad: i 70 minuti della colonna sonora confluiscono in Enya il disco d’esordio (ristampato come The Celts) che da inizio al successo mondiale di Enya.
Aldebaran è un brano idealmente dedicato a Ridley Scott, un viaggio visionario nello Spazio: le voci con la tecnica di “multivocals” sono in gaelico irlandese (la lingua madre di Enya,  nata a Gweedore, Donegal), sono il canto di gioia dei viaggiatori che sulle navi chiamate “Angeli” hanno raggiunto la costellazione del Toro; al risveglio dal sonno (criogenico?) i Loxiani guardano il nuovo sole prima di atterrare sul nuovo Pianeta-Casa

Music: Enya
Lyrics: Roma Ryan

(Irish Gaelic)
Codladh fada,
Codladh domhain.
Éirigh!
Amharc síos
Aldebaran.
Siúil liom tríd an réalta dearg.
Deireadh, deireadh an turas.
Réaltóg, réaltóg dearg.

English translation Roma Ryan
Long sleep,
Deep sleep.
Rise! Look down
Aldebaran.
Walk with me through the red star.
The end, end of the journey.
Star, red star.
Traduzione italiano Cattia Salto
Un lungo sonno
un sonno profondo
Alzati! Guarda in basso
Aldebaran.
Vieni con me attraverso la stella rossa
la fine, la fine del viaggio.
Stella, stella rossa

Link
http://www.brera.mi.astro.it/~adriano.gaspani/sorbona.htm
https://oggiscienza.it/2016/12/26/proxima-b-pianeta-vicino-extrasolare/
https://www.centauri-dreams.org/2017/06/19/pale-red-dot-campaign-2/
https://www.ilfoglio.it/scienza/2017/03/05/news/riusciremo-a-raggiungere-gli-esopianeti-scoperti-dalla-nasa-123561/
https://www.ilfoglio.it/scienza/2016/04/13/news/tra-scienza-e-fantascienza-il-viaggio-vero-verso-alpha-centauri-94893/
http://enya.sk/music/enya-the-celts/aldebaran/

Deirín dé, butterfly of the gods

Leggi in italiano

Deirín dé is the phrase repeated in the refrain of this lullaby in Irish Gaelic, and it is supposed to be the ancient name for “butterfly of the gods”, or the golden butterfly symbol of the spirit of the deceased.
For the shamans, matter is simply “condensed spirit” like the frost by the steam heated with the first light of dawn. The spirit assumes an ovoidal form, called the spiritual body, of which one part condenses into matter, ie the physical body contained in the “bubble”, and is “animated” by an immaterial part which is precisely the soul. After physical death, the spirit returns to the sky, to the parent constellation. So the butterfly undergoes a series of transformations from its initial stage of squat and terrestrial caterpillar, chrysalis and then flies away like a beautiful creature with fragile wings.

GOLDEN BUTTERFLY ON THE CAPRIONE

In Italy on Mount Caprione (Lerici, province of La Spezia, Liguria) it is possible to observe the golden butterfly coinciding with the summer solstice: the sun at sunset passes through a “window” created by the megalithic formation called “Quadrilithon“, or the “Quadrilite di San Lorenzo” (because it is located not far from the ruins of the church of San Lorenzo al Caprione), and projects a beam of light in the shape of a butterfly on the monolith behind it. Triliths with lozenge are currently only identified at Château Vieux de Randon (French Central Massif – Lozère Region) and in Corsica (territory of Niolu, Corteneais).

The rock formation is a trilith with the lozenge-shaped architrave, wedged between the two vertical stones; a fourth stone is lodged on the bottom to close the narrow portal. From the portal there is a walkway that is precisely the corridor along which the sun penetrates during its sunset at the summer solstice.

2984899_orig
“Quadrilithon” Monte Caprione – Lerici: seen from the part of the walkway, in the background we can see the monolith on whose surface the image of the butterfly is projected.

The megalithic area dates back to 8,000 BC. and the golden butterfly phenomenon starts from May 25th until its complete fullness that takes place between June 15th and 28th, while the gradual sunset of the image is observable until July 29th, the duration is about 15 minutes. (here)
Thanks to the cross studies of prof. Enrico Calzolari – expert researcher in Archeoastronomy and Paleoastronomy – we can reasonably suppose that in this area a shamanic cult was practiced that believed in the return of the spirit to the stars of the sky, in the form of a golden butterfly: the belief was probably still shared by the Celts (see note 1 below)

DEIRÍN DÉ

In this lullaby in Irish Gaelic, the mother cradles her child telling him to sleep, that when he grows up he will take care of the cattle, then he can spend the whole night collecting blackberries.

The song is also known as “The Last Wisp of Smoke”. The melody is reported as 148 Jefferson in “The Sacred Harp”, a collection of sacred choral music published by Benjamin Franklin White Elisha J. King in 1844 (Georgia, America).

Dennis Doyle in Irish Meditations 1997

Text and melody of the lullaby were instead collected by Róis Ní Ógáin (1865-1947) in the county of Antrim (Ireland) and published in “Duanaire Gaedhilge Róis Ní Ógáin” starting from 1924.

Navan

O’Sullivan’s sources [Donal O’Sullivan in Songs of the Irish 1981]: tune – Mac Coluim’s Cosa Buidhe Árda, II (1924), 22, noted from Seán Ó Cuill, Ballyvourney, Co Cork. Text – Mac Coluim’s Cosa Buidhe Árda, II from Amhlaoibh Ó Loingsigh, also of Ballyvourney, collated with version published by P.H. Pearse in the Irish Review 1911. Pearse’s version was also a collation, a woman relative from County Meath and from Amhlaoibh Ó Loingsigh.” (from here)

Bran

Fiona Tyndall 2004

english translation (here)
Deirín dé(1), deirín dé
The nightjar(2) is abroad in the heather
Deirín dé, deirín dé

The brown bittern(3) speaks in the reeds
Cows will go west at dawn of day
And my child will go mind them in the pasture
The moon will rise and the sun will set
Cows will return from the west(4) at close of day
A thrush’s nest in my little press(5)
Yes, and gold for my little darling
I shall let my child go picking berries
But sleep soundly till light of day!
Irish Gaelic
Deirín dé(1), deirín dé,
Tá’n gabhairín(2) oíche amuigh san bhfraoch,
(Tá’n gabhar donn ag labhairt sa bhfraoch)
Deirín dé, deirín dé,
Tá’n bunán donn a’ labhairt san bhféith.
(Táid na lachain ag screadaigh sa bhféith.)
Deirín dé, deirín dé,
Geóidh ba siar le héirí an lae,
(Gheobhaidh ba siar le héirí’n lae)
Deirín dé, deirín dé,
Is raghaidh mo leanbh ‘á bhfeighilt ar féar.
(Is rachaidh mo leanbh dá bhfeighilt ar féar. )
Deirín dé, deirín dé,
Eireóidh gealach is raghaidh grian fé,
Deirín dé, deirín dé,
Tiocfaidh ba aniar le deireadh an lae.
Deirín dé, deirín dé,
Leogfad mo leanbh a’ pioca sméar,
Deirín dé, deirín dé,
–Ach codail go sámh go fáinne an lae!

NOTE
1) According to the O Donaill’s Irish Dictionary, “deirin de” are meaningless words uttered in a game of children next to burning wood. But in Carmina Gadelica (Alexander Carmicheal, 1900), (here) we read that the word in Scottish Gaelic consists of ‘dealan,’ = fire, flame, lightning; and ‘De,’ = God ie the fire of God or the divine light.
“The golden butterfly is held sacred. It is said to be the angel of God come to bear the souls of the dead to heaven. If it be seen in or near the house where a person is dead or dying, the omen is good, and the friends rejoice. If it be not seen, a substitute is made by rapidly twirling a fire-pointed stick, moving the while from the dead or dying person towards the door or window. This is called ‘dearban De,’ ‘dealan De.’ The ancient Egyptians represented the soul leaving the body as a butterfly emerging from the chrysalis, sometimes from the mouth of the dead.” Then “deirin de” = “the last puff of smoke”, the puff of smoke drawn by waving a stick with an incandescent tip.
2) The nightjar [lit. little goat of the night!] is the  goatsucker because it was believed that it feeds sucking the milk from the udders of the goats. He is actually a nocturnal devourer of insects. Medium-sized it has a camouflage plumage that hides it between the bare earth, and frequents countryside and woods (here).
3) the bittern is a wader living among the reeds of ponds and lakes. It is difficult to see him because of his camouflage skills, it is easier to hear him sing at night and at the first light of dawn (here: a deep sound like the one you get by blowing slowly in a long-necked bottle) just for his voice (like the voice of the dead from the afterlife) the bittern was a bird bearer of misfortunes
4) the West is the direction in which the sun sets, but also the symbolic point in which the Other World is located
5) or coffer

Sources
http://ontanomagico.altervista.org/solstizio-d-estate.html
http://ontanomagico.altervista.org/farfalle.html
http://www.enricocalzolari.it/paleoeastro27.html
http://www.celticartscenter.com/Songs/Irish/DeirinDe.html http://lyberty.com/entertainment/music/celtic_cradle.html http://mudcat.org/thread.cfm?threadid=1905 https://reuliuilbride.wordpress.com/2011/04/17/deirin-de-song/ http://resources.texasfasola.org/index/composers.html

Beidh aonach amárach

Leggi in italiano

“Beidh aonach amárach” or “An Gréasaí Brógè” is an irish nursery rhyme 

101618875_2nSjBKfy
Dick Kelle

Clare is a county in the province of Munster on the west coast of Ireland, very much anchored to the traditions, in which Gaelic is spoken by more than 50% of the population.
In the county there is still a big horse fair a few kilometers from Ennis at Spancilhill (also mentioned in another traditional song “Spancil hill “), but we can not know if the fair to which it refers this nursery rhyme is just that.

This nursery rhymes is a composition in very simple and repetitive verses with a well-marked rhythm, structured as a call and response between mother and daughter: the daughter begs the mother to let her go to the fair, the mother replies that she could go when she will turn 13, and now she has nine, and it is still early to make choices in life. The daughter objects that many girls have married young and that she is in love with the shoemaker.

Muireann Nic Amhlaoibh by Anam an Amhráin TG4

Altan live

English translation
Chorus
Oh mammy, won’t you let me go to the fair
Oh dearest love, don’t plead with me
I
There’s a fair tomorrow in County Clare
Why should I care, I won’t be there
II
I’ve a little daughter and she’s very young
And she’s in love with a cobbling man
III
You’re not ten or eleven years old
When you reach thirteen you’ll be more mature
IV
I’d rather have my cobbling man
Than an army officer with his gold bands
V
There is many a maid who married young
And lived in peace with her cobbling man
Irish Gaelic
Cúrfa.

Is a mháithrín an ligfidh tú chun aonaigh mé(x3)/ Is a mhuirnín óg ná healaí é
I
Beidh aonach amárach in gContae an Chláir(x3)/ Cén mhaith domh é ní bheidh mé ann
II
Tá ‘níon bheag agam is tá sí óg(x3)
Is tá sí i ngrá leis an ghreasaí bróg
III
Níl tú ach deich nó aon deag fós(x3)
Nuair a bheas tú trí deag beidh tú mór
IV
B’fhearr liom féin mo ghreasaí bróg(x3)
N fir na n’arm faoina lascú óir
V
‘S iomaí bean a phós go h-óg(x3)
Is a mhair go socair lena greasaí bróg

Na Casaidigh

I
[Iníon]: Beidh aonach amáireach
Cé maith dom é?
Ní bheidh mé ann!
Cúrfa.
[Iníon]:’S a mháithirín,
a’ ligfidh tú don aonaigh mé?
[Máthair]: A mhúirnín ó,
ná h-éilig é!

II
[Máthair]: Níl tú a deich
ná a h-aondéag fós,
Nuair a bheidh tú
trídéag beidh tú mór!
III
[Iníon]: B’fhearr liom
féin mo ghréasaí bróg,
Ná oifigeach airm
le lásaí óir!

SOURCE
http://www.irishpage.com/songs/aonach.htm
http://www.irlandaonline.com/cosa-vedere/sud/contea-di-clare/
http://clareireland.net/it/index.html
http://www.discoverireland.com/it/ireland-places-to-go/areas-and-cities/ireland-west/

Airdí Cuan, a song of exile

A song in Irish Gaelic, a song of exile, is widespread with various titles: Airdí Cuan, Ard Ti Chuain, Aird (Ard) Ui Chuanin (Cuan), Aird to Chumhaing, Ardai Chuain, also translated into English with the title “Quiet Land of Erin”
The piece was composed by John McCambridge (aka Seán Mac Ambróis 1793-1873) from Mullarts (Co. Antrim, Northen Ireland) in the middle of the 19th century. The tradition of Glenariffe, however, attributes the authorship of the piece to Cormac Ó Néill, a native of Glendun but resident at Glenariffe.
[Un canto in gaelico sulla nostalgia per la terra natia abbandonata dall’emigrante è diffuso con vari titoli: Airdí Cuan, Ard Ti Chuain, Aird (Ard) Ui Chuanin ( Cuan),  Aird a Chumhaing, Ardai Chuain, versificato anche in inglese con il titolo “Quiet Land of Erin
Il brano è stato composto da John McCambridge (alias Seán Mac Ambróis 1793-1873) di Mullarts (  Co. Antrim,  Irlanda del Nord) a metà del XIX secolo. La tradizione di  Glenariffe tuttavia attribuisce la paternità del brano a Cormac Ó Néill, nativo di Glendun ma residente a Glenariffe.]

Firstly we listen to the melody played with the harp by Kim Robertson
[Prima di tutto ascoltiamo la melodia suonata con l’arpa da Kim Robertson]

and by Alan Stivell -Airde Cuan
[e dall’arpa di Alan Stivell]

IRIS GEALIC VERSION
LA VERSIONE IN GAELICO

The first transcription of the song comes from Robert McAdam who collected it in the 1830s by John McCambridge. Eoin Mac Néill published the text in 1895 and in 1912 Eleanor Hull wrote the translation in English. Dónal Kearney writes  in his Blog:”The story of Airdí Cuan is told from the perspective of a Glensman who has moved over the sea to Scotland. From Ayrshire, he can still see the hills of Antrim and he longs for his home in Glendun and the beautiful hillside at Airdí Cuan. One story goes that McCambridge left his native Glendun, perhaps to escape the potato famine, and settled in Ayrshire where he ultimately died pining for the hills of home, still visible on the western horizon. Airdí Cuan tells of his love for the ‘cuckoo glen’; (Glendun) and of playing hurling at Christmas on the ‘white strand’ (the beach at Cushendun).
Another school of thought believes that, while McCambridge was considering emigrating to the Mull of Kintyre, he stood atop Ardicoan and imagined himself over in Kintyre looking back on his native soil. However, the process of writing the song made him so homesick that he decided not to go in the end, and thus spent the rest of his days in Ireland!
[La prima trascrizione del brano ci viene da Robert McAdam che la raccolse negli anni del 1830 da  John McCambridge.  Eoin Mac Néill pubblicò il testo nel 1895 e nel 1912 Eleanor Hull scrisse la traduzione in inglese. Del brano Così scrive Dónal Kearney nel suo Blog: “La storia di Airdí Cuan è raccontata dal punto di vista di un Glensman che è emigrato oltre il mare in Scozia. Dall’Ayrshire, può ancora vedere le colline di Antrim e desidera ardentemente la sua casa a Glendun e la splendida collina di Airdí Cuan. Una storia racconta che McCambridge lasciò la natia Glendun, forse per sfuggire alla carestia delle patate, e si stabilì nell’Ayrshire dove alla fine morì struggendosi per le colline di casa, ancora visibili all’orizzonte verso occidente. Airdí Cuan racconta del suo amore per Glendun e del gioco dell’hurling a Natale sulla spiaggia di Cushendun. Altri credono che, mentre McCambridge stava pensando di emigrare al Mull di Kintyre, si trovava in cima ad Ardicoan e si immaginava a Kintyre mentre guardava verso la sua terra nativa. Orbene il processo di scrittura della canzone lo ha reso così nostalgico, che alla fine ha deciso di non andare, e così ha trascorso il resto dei suoi giorni in Irlanda!]

Eamonn ó Faogáin live

Celtic Tradition in “An Irish Christmas Album” recorded in 1987 when there was still the GDR
[Nel “An Irish Christmas Album” registrato nel 1987 quando c’era ancora la DDR]

Maighread Ni Dhomhnaill & Tríona Ní Dhomhnaill

Ciara McCrickard


Anúna in Omnis  1996 (III, I)

Maggie Boyle in Patriot Games 1992 in Reaching Out

I
Dá mbeinn féin in Airdí Cuan (1)
in aice an tsléibhe úd ‘tá i bhfad uaim
b’annamh liom gan dul ar cuairt
go Gleann na gCuach (2) Dé Domhnaigh.
Curfá:
agus och, och Éire ‘lig is ó
Éire lonndubh (3) agus ó
is é mo chroí ‘tá trom is é brónach.
II
Is iomaí Nollaig ‘bhí mé féin
i mbun abhann Doinne (4) is mé gan chéill
ag iomáin ar an trá bhán
is mo chamán bán i mo dhorn liom (5).
III
Nach tuirseach mise anseo liom féin
nach n-airím guth coiligh, londubh nó traon,
gealbhán, smaolach, naoscach féin,
is chan aithním féin an Domhnach.
IV
Dá mbeadh agam féin ach coit is rámh
nó go n-iomarfainn ar an tsnámh
ag dúil as Dia go sroichfinn slán
is go bhfaighinn bás in Éirinn.


I
If I were in Airdí Cuan (1)
beside that mountain far from me,
it would be seldom I would not go visiting
to Gleann na gCuach(2) on a Sunday
Chorus:
And oh, oh, Ireland, ‘lig is ó
Blackbird (3) Ireland and ó
and my heart it is heavy and sorrowful
II
It’s often in a Christmas Day I was
in Cushendun (4)
and me without sense
hurling on the white strand
and my hurling stick in my fist (5)
III
Aren’t I tired here alone
That I don’t hear the voice of a cockerel, blackbird, or corncrake
sparrow, thrush, snipe (6)
and I don’t even know when it’s Sunday (7)
IV
If only I had a boat and oar
so that I may row on the water
desiring of God that may I reach safety
and that I may die in Ireland
Traduzione italiano di Cattia Salto
I
Se fossi a  Articoan
accanto a quella montagna che (ora) è lontana
raramente non andrei a visitare
il Glendun di domenica
Coro
e oh, oh, Irlanda, ‘lig is ó
merlo d’Irlanda e ó
e il mio cuore è affranto
II
Spesso a Natale ero
a Cushendun,
spensierato,
a giocare a hurling sulla spiaggia
con la mia mazza in pugno
III
Non sono infelice, qui da solo
dove non riesco a sentire il canto della beccaccia, del merlo, del re di quaglie,
del passero, del tordo e del beccaccino
e nemmeno so quando è domenica?
IV
Se solo avessi una barca e remi
così da vogare sulle acque
e Dio volendo arrivare sano e salvo
e poter morire in Irlanda!


NOTE
* in the blog of Dónal Kearney there are two translations in English, one literal and the other more poetic. here is the most literal translation, while for my translation into Italian I made a summary of the two translations [nel blog di Dónal Kearney ci sono due traduzioni in inglese, una letterale e l’altra più poetica. qui si riporta la traduzione più letterale, mentre per la mia traduzione in italiano ho fatto un compendio delle due traduzioni]
1) Articoan is located above Knocknacry; between Cushendall and Cushendun at the northeast corner of County Antrim in Northern Ireland [Articoan si trova sopra Knocknacry; tra Cushendall e Cushendun all’angolo nord-est della contea di Antrim nell’Irlanda del Nord]
2) Glendun: Glen of the Dun river or Brown Glen is one of the famous Glens of Antrim [Glendun: Glen of the Dun river o Brown Glen  è uno dei famosi Glens di Antrim]
3)
Agus och, och Éire ‘lig is ó
Éire lionn dubh orm is ó
(And oh Ireland, all of Ireland
Ireland who I miss
4) Cushendun is a picturesque Cornish style village built specifically for his wife by Lord Cushendun [Cushendun un pittoresco villaggio in stile cornovaglia fatto costruire appositamente da Lord Cushendun per la moglie.]
5) the hurling game is an Irish national sport; the day mentioned in the song is the Boxing day or December 26, the day dedicated to outdoor activities in the British Isles
[il gioco dell’hurling è uno sport nazionale irlandese che si gioca con mazza e palla: il giorno citato nella canzone è il Boxing day ovvero il 26 dicembre, il giorno consacrato per le attività all’aperto che nelle Isole Britanniche è dedicato allo sport.]
6) as in ancient Gaelic chants the birds are part of the healing process of the soul [come negli antichi canti in gaelico gli uccelli sono parte del processo di guarigione dell’anima]
7) the question is a rhetorical figure: “Sunday has no meaning for me without these things” [la domanda è una figura retorica:  la domenica è per me priva di significato, valore senza queste cose]

 

The song was also recorded as “The Land of Erin” by Mairí Ní She & Katie McMahon and “River of Live” by Pól Brennan, Guo Yue & Joji Hirota and Tristan.
[Il brano è anche stato registrato con il titolo di The Land of Erin da Mairí Ní She & Katie McMahon e con il titolo di River of Live da Pól Brennan, Guo Yue & Joji Hirota e da Tristan.]

The Quiet Land of Erin

The song was written into English for some recordings as “The Quiet Land of Erin” in the 1930s.
[Il brano è stato versificato in inglese con il titolo di The Quiet Land of Erin. per alcune registrazioni negli anni 1930]
The Corries

Sandy Denny 1968

and for lovers of bel canto
[e per gli amanti del bel canto]
The Celtic Tenors


Joan O’Hara version
I
By myself I’d be in Ard Ti Chuain
Where the mountains stand away
And ‘tis there I’d let the Sundays pass (go)
In a quiet (cuckoo’s) glen above the bay
(chorus)
agus och och Eire lig is o
Eire leanndubh agus o
The quiet land of Erin
II
But my heart is weary all alone
And it sends a lonely cry
To the land that sings above (beyond) my dreams
And the lonely Sundays pass me by.
III
I would travel back the twisted years
Through (in) the bitter wasted wind
If the Lord (God) above would let me lie
In a quiet place above the whins.


Seán Ó Gallochoir version
I
I wish I were in Ardti Cuan
Near yon mountain far away.
I would seldom let the Sunday go
From the Cuckoo’s glen across the bay.
Chorus:
And it’s oh dear Ireland, you’re my home!
Far from you I had to roam
And so my heart is sore and heavy.
II
It is many a Christmas Day I had
In Cushendun while still a lad;
Hurling on the White Shore Strand
With my good ash hurley in my hand.
III
But the grave is waiting for us all;
The whole wide world must heed its call.
It steals the mother from her brood
As it stole away my boyhood.
IV
If I only had a boat and oar,
I would row to Erin’s shore
Trusting God to see me o’er
In time to die in Ireland.
Traduzione in italiano Cattia Salto
versione di Joan O’Hara
I
Per me vorrei essere a Articoan
le cui montagne si stagliano in lontananza
è lì che passerei le domeniche
in una valle tranquilla sopra la baia
Coro
agus och och Eire lig is o
Eire leanndubh agus o
la bella terra di Erin
II
Ma il mio cuore è stanco del suo esilio
e grida solitario
alla terra che canta oltre i miei sogni
e le domeniche solitarie scivolano via.
III
Viaggerei indietro negli anni piegati
dal vento amaro della desolazione (1)
se il Signore in Cielo mi accoglierà
in un bel posto nella brughiera


versione di Seán Ó Gallochoir
I
Vorrei essere a Articoan
accanto a quella montagna in lontananza
raramente non andrei a visitare di domenica
la valle del Cuculo al di là della baia
Coro
E’ così cara Irlanda, tu sei la mia casa!
Lontano da te ho dovuto peregrinare
e così il mio cuore è afflitto
II
Sono molti i giorni di Natale che ho vissuto
a Cushendun quando ero ancora un ragazzo
a giocare ad hurling sulla Spiaggia Bianca
con la mia bella mazza in mano
III
Ma la tomba attende tutti
l’intero mondo deve ubbidire al suo richiamo.
Ruba la madre dalla sua nidiata
come ha rubato la mia giovinezza.
IV
Se avessi solo una barca a remi
vogherei alla riva d’Erin
confidando che Dio mi protegga
per morire infine in Irlanda

NOTE
1) ho tradotto un po’ liberamente il verso, credo si riferisca ai duri e amari anni della carestia quando molti Irlandesi hanno dovuto abbandonare la loro terra per non morire di fame

LINK
https://mudcat.org/thread.cfm?threadid=10469
https://mainlynorfolk.info/sandy.denny/songs/thequietlandoferin.html
https://songoftheisles.com/2013/05/31/aird-ui-chuain/
https://durrushistory.files.wordpress.com/2012/06/a-history-of-protestant-irish-speakers.pdf
https://songsinirish.com/aird-a-chuamhaing-anam-lyrics/
http://www.celticlyricscorner.net/anam/aird.htm
http://www.celticlyricscorner.net/mcmahon/land.htm
http://www.celticlyricscorner.net/trisan/river.htm
http://www.celticlyricscorner.net/domhnaill/aird.htm
http://www.celticlyricscorner.net/anuna/ardaigh.htm
http://www.irishbodhrans.com/news/read/7/very-old-poem-about-cushendun-by-john-mccambridge
https://www.donalkearney.com/blog/airdi-cuan

Fear a’ bhàta

Leggi in italiano

“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/

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