There are several sea songs entitled “the Banks of Newfoundland”, not to be properly considered variations on the same melody, even if they share a common theme, the dangers of fishing or navigation offshore of Newfoundland.
A long narrative tradition in Newfoundland is inspired by events and people of local significanc, so sea ballads speak of shipwrecks and calamities. (see more)
One particular theme is presented with various titles (The Schooner Mary Ann, Banks of Newfoundland) and variations starting from an American ballad of the late 1800 authored by captain Cale White entitled Bound Down To Newfoundland (Roud No. 647) and spread equally in Nova Scotia.
Graham Herbert ~ Off To Sea (Canada)
On St. Patrick’s Day, the seventeenth from New York we set sail
Also with the title “Bound down for Newfoundland” the ballad narrates the death of the young captain, struck by smallpox, on board the American schooner Mary Ann (or the brigantine the Eveline): probably it is a fishing ship heading to the Newfoundland Banks for the fishing season.
This particular version was collected by Helen Creighton [1899-1989] and published in Songs And Ballads From Nova Scotia.
To tell a sad story, mourning the young captain’s death, the matched melody is all too cheerful. The song is sometimes classified as an irish ballad.
The Corries from Bonnet, Belt & Sword 1967
Ryans Fancy from Sullivan’s Gypsies 1970 ( I, III, IV, V)
I
On St. Patrick’s Day, the seventeenth
From New York we set sail
Kind fortune did favour us
Wi’ a sweet and a pleasant gale
We bore away from Americay
The wind bein’ off the land
And wi’ courage brave we ploughed the wave Bound down for Newfoundland
II
Our Captain’s name was Nelson
Just twenty years of age
As true and brave a sailor lad
As ever ploughed the wave
The Eveline our brig (1) was called
Belonging to McLean
And wi’ courage brave we ploughed the wave Bound down for Newfoundland
III
When three days out to our surprise
Our Captain he fell sick
He shortly was not able
To take his turn on deck
The fever raged which made us think
That death was near at hand
So we bore away from Halifax (1) Bound down for Newfoundland
IV
At three o’clock we sighted a light
That we were glad to see
The small-pox bein’ ragin’
That’s what it proved to be
At four o’clock in the afternoon
As sure as God’s command
He passed away in Arichat (2)
Bound down for Newfoundland
V
All that night long we did lament
For our departed friend
And we were prayin’ unto God
For what had been his end
We prayed that God would guide us
And keep us by his hand
And send us fair wind while at sea Bound down for Newfoundland
NOTES
1) Halifax (Nova Scotia): with the sick captain who knew the coast the ship had lost its points of reference
2) Arichat small village on the Isle Madame with two lighthouses, one at the entrance to the harbor and the other at Jerseyman Island
Ci sono parecchie sea songs dal titolo “the Banks of Newfoundland”, da non considerarsi propriamente come variazioni su una stessa melodia, anche se condividono un tema comune, i pericoli della pesca o della navigazione al largo di Terranova.
Una lunga tradizione narrativa a Terranova s’ispira a eventi e persone di importanza locale così le ballate del mare parlano di naufragi e calamità . (vedi)
Un filone in particolare si presenta con vari titoli (The Schooner Mary Ann, Banks of Newfoundland) e varianti a partire da una ballata americana del tardo 1800 attribuita al capitano Cale White dal titolo Bound Down To Newfoundland (Roud n ° 647) e diffusa parimenti in Nuova Scozia.
Graham Herbert ~ Off To Sea (Canada)
On St. Patrick’s Day, the seventeenth from New York we set sail
Anche con il titolo “Bound down for Newfoundland” la ballata narra della morte del capitano colpito dal vaiolo, a bordo della goletta americana Mary Ann (oppure il brigantino l’Eveline): si tratta probabilmente di una nave di pescatori diretta ai Banchi di Terranova per la stagione di pesca.
Questa versione in particolare è stata raccolta da Helen Creighton [1899-1989] e pubblicata in Songs And Ballads From Nova Scotia. Per raccontate una storia triste, che piange la morte del giovane capitano, la melodia abbinata è fin troppo allegra. La canzone è talvolta classificata come una irish ballad.
The Corries in Bonnet, Belt & Sword 1967
Ryans Fancy in Sullivan’s Gypsies 1970 (strofe I, III, IV, V)
I
On St. Patrick’s Day, the seventeenth
From New York we set sail
Kind fortune did favour us
Wi’ a sweet and a pleasant gale
We bore away from Americay
The wind bein’ off the land
And wi’ courage brave we ploughed the wave Bound down for Newfoundland
II
Our Captain’s name was Nelson
Just twenty years of age
As true and brave a sailor lad
As ever ploughed the wave
The Eveline our brig (1) was called
Belonging to McLean
And wi’ courage brave we ploughed the wave Bound down for Newfoundland
III
When three days out to our surprise
Our Captain he fell sick
He shortly was not able
To take his turn on deck
The fever raged which made us think
That death was near at hand
So we bore away from Halifax (1) Bound down for Newfoundland
IV
At three o’clock we sighted a light
That we were glad to see
The small-pox bein’ ragin’
That’s what it proved to be
At four o’clock in the afternoon
As sure as God’s command
He passed away in Arichat (2)
Bound down for Newfoundland
V
All that night long we did lament
For our departed friend
And we were prayin’ unto God
For what had been his end
We prayed that God would guide us
And keep us by his hand
And send us fair wind while at sea Bound down for Newfoundland
Traduzione italiana Cattia Salto
I
Il giorno di San Patrizio, il diciassette (marzo) da New York siamo salpati
la fortuna gentile ci ha favorito
con un vento forte dolce e piacevole
siamo partiti dall’America
il vento che veniva da terra
e armati di coraggio abbiamo solcato l’onda diretti a Terranova
II
Il nome del nostro Capitano era Nelson
e aveva solo vent’anni
da vero e coraggioso giovane marinaio
che mai solcò il mare
l’Eveline si chiamava il brigantino
che apparteneva a McLean
e armati di coraggio abbiamo solcato l’onda diretti a Terranova
III
Quando mancavano tre giorni al nostro arrivo, il capitano si è ammalato
e in breve non è stato capace
di prendere il suo posto sul ponte,
la febbre imperversava da farci pensare che la morte era vicina
così ci allontanvamo da Halifax diretti a Terranova
IV
Alle tre in punto avvistammo un faro
che eravamo felici di vedere
Il vaiolo stava infuriando
-ecco cos’era.
Alle quattro del pomeriggio
secondo la volontà di Dio
è morto ad Arichat diretti a Terranova
V
Tutta la notte ci siamo lamentati
per il nostro amico defunto
pregavamo Dio
per ciò che è stata la sua fine.
Abbiamo pregato che Dio ci guidasse
e ci tenessenella sua mano
per mandaci il vento giusto mentre in mare (eravamo) diretti a Terranova
NOTE
1) Halifax (Nuova Scozia): con il capitano ammalato che conosceva la costa la nave aveva perso i suoi punti di riferimento
2) Arichat piccolo villaggio sull’Isle Madame con due fari, uno all’ingresso del porto e l’altro a Jerseyman Island
The Isle of Tiree of the Inner Hebrides is a stretch of green machair in which myriads of yellow buttercups emerge, a land almost completely flat that houses seem to rise from the sea; the island is always sunny and the strong winds assist windsurfers and kitesurfers, even keeping mosquitoes away!
In the nineteenth century Tiree counted 4500 ab definitely too much for its resources, so the duke of Argyll implemented assisted migration (in fact a typical maneuver by Highland Clearances) and between 1841 and 1881 more than 3600 people emigrated to Canada, United States, Australia and New Zealand.
In Gaelic it is called “tir-lodh” – ‘the land of corn’ from the days of the 6th century Celtic missionary and abbot St Columba. Tiree provided the monastic community on the island of Iona, south east of the island, with grain, and it seems that several monks settled there at St Patrick’s Chapel, Ceann a ‘Mhara and Soroby.
THE SOUND OF ANCIENT SCOTLAND
The Kilmartin Sessions The Sounds Of Ancient Scotland, 1997
Tiree is an island with ancient settlements, renowned for its Clach a’Choire (the stone cauldron) or even Choire Fhionn MhicChumhail (the cauldron of Finn mac Cumaill). The name identifies a natural amphitheater near the village of Balephetrish (Vaul), a probable mythical center in prehistoric and medieval times, where the Ringing Stone is found, which emits a sharp and metallic sound similar to that of the gong or the bells when it is hit: the stone looks like a big egg on the spoon, legend has it that the boulder was thrown by a giant of Mull and if ever it was split the island would sink into the sea.
...a ‘rock gong’ similar to Clach a’ Choire, listed by John MacKenzie (1845, p8) as one of the seven wonders of Scotland – a huge granite erratic covered with 53 cupmarks, the deepest of which are at the most resonant parts of the stone…According to Fagg (1997 p86), Clach a’ Choire was ‘said to contain a crock of gold – but if it ever split Tiree will disappear beneath the waves.’ If true (Mrs Fagg mistakenly attributes the staement to SHIS) the legend thus contains both a motive for destroying such stones and a warning against doing so…Compare Newton 1992 p145 where it is claimed that if Clach a’ Choire ‘ever shatters or falls off the pedestal of small stones on which it rests, Tiree will sink beneath the waves.’ (from The Gaelic Otherworld, ed Ronald Black, here)
The island is dedicated a love song of the late nineteenth century titled Tiree love song, a song originally written in Gaelic by Alexander Sinclair (Alasdair Neaill Oig), a wine and spirits merchant in Glasgow but a devoted “Tireeman”, being his family originally from the island.
SCOTTISH GAELIC VERSION: Am Falbh Thu Leam a Rìbhinn Òg (Will you come and go with me?)
In the song, he asks a young maiden to come with him over the sea where she will see everything she could desire in the isle of the west that once was his home: geese and white swans, views over the ocean to the neighbouring isles, the green meadows and the tranquillity of St Patrick’s chapel.He tells her of the songbirds, the bumble bees and the blaze on the cattle, the cormorants and ducks, the marram grass growing on the dunes and the fragrance of the machair flowers, all to be found on his favourite part of Argyll – the green island of Tiree.
The island abounds with ancient prehistoric remains or dating back to the time of St. Columba, next to the temple of St. Patrick we also find an ancient well with healing waters. Click on names on the interactive map in http://www.tireeplacenames.org/ to visit them all!!
Kenevara hill in Tiree Isle
Effie MacDonald of Middleton
(at the moment I did not find an English translation)
Séist
Am falbh thu leam a rìbhinn òg
No’n téid thu leam thar saile
Gum faic thu ann gach nì gu d’ mhiann
‘S an eilean shiar a dh’fhàg mi.
1
Ged nach faic thu coill’ no fiadh
Tha gèadh is eala bhàn ann
Cait’ bheil sealladh a chuain shiar
Nuair bhios na liadhan traighte.
2
Chì thu uiseag agus smeòrach
Lon dubh agus luachran
Seillean ruadh le mhil ‘s a ghàradh
‘S blàrag air gach buallan.
3
Chì thu sgairbh ‘tigh’nn ort o’n chuan;
Tha lachaidh ruadh a’ snamh ann;
Muran gorm a’ fàs m’ a bhruaich
Gach ceum mu ‘n cuairt d’ a’ thraighean
4
Cha ‘n fhaic thu nathair ann air grunnd
Ach luibhean ‘s cùbhraidh faileadh
A’ cinntinn ann bho linn gu linn
‘S an tìr ‘s an d’fhuair mi m’ àrach
ENGLISH “VERSION” Tiree love song
The transposition in English is by Hugh S. Roberton, already the author of the very popular songsThe Mingulay Boat Song, Westering Home and Mairi’s Wedding, who makes a text re-elaboration rather than a translation and publishes it in his book Songs of the Isles (1950)
The Corries Ryan’s Fancy (II, I, III)
CHORUS
He-ree he-ro my bonnie wee girl
He-ree he-ro my fair one
Will you come away my love
To be my own my rare one
I
Smiling the land! Smiling the sea!
Sweet is the scent(1) of the heather.
Would we were yonder,
just you and me,
The two of us together!
II
All the day long, out on the peat (2)
Then by the shore (3) in the gloaming
Stepping it lightly with dancing feet
And we together roaming
III
Laughter o’ love! Singing galore!
Tripping it lightsome and airy:
Could we be asking of life for more,
My own, my darling Mary?
NOTES
1) or “smell”
2) or “All together down by the sea”,
3) or “Down by the sea”
L’Isola di Tiree delle Ebridi interne è una distesa di verde machair in cui spuntano miriadi di ranuncoli gialli, una terra quasi del tutto piatta che le case sembrano sorgere dal mare; l’isola è sempre soleggiata e i forti venti assistono gli appassionati di windsurf e di kitesurfe tenendo anche lontane le zanzare!
Nell’Ottocento l’isola contava 4500 ab decisamente troppi per le sue risorse, così il duca di Argyll attuò la migrazione assistita (in realtà una tipica manovra da Highland Clearances) e tra il 1841 e il 1881 più di 3600 persone emigrarono in Canada, Stati Uniti, Australia e Nuova Zelanda.
In gaelico è detta “tir-lodh” – la terra del grano perchè riforniva la comunità monastica della vicina Iona e sembra che vi si siano insediati diversi monaci presso la St Patrick’s Chapel, Ceann a’ Mhara e Soroby.
IL SUONO DEGLI ANTICHI SCOZZESI
The Kilmartin Sessions The Sounds Of Ancient Scotland, 1997
Tiree è un’isola con antichi insediamenti, rinomata per la sua Clach a’Choire (il calderone di pietra) o anche Choire Fhionn MhicChumhail (il calderone di Finn mac Cumaill). Il nome individua un anfiteatro naturale in prossimità del villaggio di Balephetrish (Vaul) probabile centro mitico in epoca preistorica e medievale in cui si trova la Ringing Stone (la pietra canterina) che emette un suono acuto e metallico simile a quello del gong o delle campane quando viene colpita: sembra un grosso uovo sul cucchiaio ed è una pietra coppellata risalente al megalitico. La leggenda vuole che il masso sia stato lanciato da un gigante di Mull e se mai venisse spaccato l’isola s’inabisserebbe nel mare.
...un ‘rock gong’ simile alla Clach a ‘Choire, elencata da John MacKenzie (1845, p8) come una delle sette meraviglie della Scozia – un enorme masso erratico di granito coperto da 53 coppelle, le più profonde sono nelle parti più risonanti della pietra … Secondo Fagg (1997 p86), secondo la tradizione la Clach a ‘Choire conteneva dell’oro – ma se mai dovesse rompersi, Tiree sparirà sotto le onde. Se fosse vera (la signora Fagg attribuisce erroneamente l’affermazione a SHIS) la leggenda contiene quindi sia un motivo per distruggere tali pietre sia un avvertimento a non farlo … Confronta Newton 1992 p145 dove si afferma che se la Clach a ‘Choire dovesse mai frantumarsi o cade dal piedistallo di piccole pietre su cui poggia, Tiree affonderà sotto le onde’ (tratto da The Gaelic Otherworld, ed Ronald Black, qui)
All’isola è dedicata una love song di fine ottocento dal titolo Tiree love song, una canzone in origine scritta in gaelico da Alexander Sinclair (Alasdair Neaill Oig), un commerciante di vini e alcolici residente a Glasgow ma un devoto “Tireeman”, essendo la sua famiglia originaria dell’isola.
LA VERSIONE IN GAELICO SCOZZESE: Am Falbh Thu Leam a Rìbhinn Òg (Will you come and go with me?)
Nella canzone il protagonista chiede a una giovane fanciulla di seguirlo oltre il mare per visitare l’isola di Tiree dove potrà trovare le cose più desiderabili: vaste colonie di uccelli marini, una vista sull’oceano e le vicine isole, verdi prati con api e il bestiame e la cappella di San Patrizio. L’isola abbonda di antichi resti preistorici o risalenti all’epoca di San Columba, accanto al tempio di san Patrizio troviamo anche un antico pozzo dalle acque curative. Cliccate in nomi sulla mappa interattiva in http://www.tireeplacenames.org/ per visitarli tutti!!
l’altura di Kenevara nell’isola di Tiree
Effie MacDonald di Middleton
(al momento non ho trovato una traduzione in inglese)
Séist
Am falbh thu leam a rìbhinn òg
No’n téid thu leam thar saile
Gum faic thu ann gach nì gu d’ mhiann
‘S an eilean shiar a dh’fhàg mi.
1
Ged nach faic thu coill’ no fiadh
Tha gèadh is eala bhàn ann
Cait’ bheil sealladh a chuain shiar
Nuair bhios na liadhan traighte.
2
Chì thu uiseag agus smeòrach
Lon dubh agus luachran
Seillean ruadh le mhil ‘s a ghàradh
‘S blàrag air gach buallan.
3
Chì thu sgairbh ‘tigh’nn ort o’n chuan;
Tha lachaidh ruadh a’ snamh ann;
Muran gorm a’ fàs m’ a bhruaich
Gach ceum mu ‘n cuairt d’ a’ thraighean
4
Cha ‘n fhaic thu nathair ann air grunnd
Ach luibhean ‘s cùbhraidh faileadh
A’ cinntinn ann bho linn gu linn
‘S an tìr ‘s an d’fhuair mi m’ àrach
LA VERSIONE IN INGLESE: Tiree love song
La trasposizione in inglese è di Hugh S. Roberton, già autore delle popolarissime canzoni The Mingulay Boat Song, Westering Home e Mairi’s Wedding, il quale ne fa una rielaborazione testuale più che una traduzione e la pubblica nel suo libro Songs of the Isles (1950)
The Corries Ryan’s Fancy (II, I, III)
CHORUS
He-ree he-ro my bonnie wee girl
He-ree he-ro my fair one
Will you come away my love
To be my own my rare one
I
Smiling the land! Smiling the sea!
Sweet is the scent(1) of the heather.
Would we were yonder,
just you and me,
The two of us together!
II
All the day long, out on the peat (2)
Then by the shore (3) in the gloaming
Stepping it lightly with dancing feet
And we together roaming
III
Laughter o’ love! Singing galore!
Tripping it lightsome and airy:
Could we be asking of life for more,
My own, my darling Mary?
Traduzione italiana Cattia Salto
Coro
He-ree he-ro mia bella ragazzina,
He-ree he-ro mia bella.
Vuoi venire con me, mia cara
per essere la mia diletta?
I
Terra ridente! Mare ridente!
Dolce è il profumo dell’erica
potremmo stare laggiù,
solo tu ed io,
noi due insieme!
II
Per tutto il giorno, sulla piana
e poi alla spiaggia nel crepuscolo
con passo lieve di danza insieme vagheremo
III
Risate d’amore! Canti a iosa!
Saltellando allegri e spensierati
Potremmo chiedere di più alla vita,
mia cara Mary?
NOTE
1) oppure “smell”
2) oppure “All together down by the sea”,
3) oppure “Down by the sea”
“Busk Busk Bonnie Lassie” (or “Bonnie Glenshee”) is a scottis traditional song great favourite with Scots Travellers, from an old Perthshire tune, with little concrete information about it . The lyrics inserts in the common theme of the girls who would like to follow their love enlisted as a soldier (or sailor) disguised as a man to stay beside him, but they are dissuaded to remain at home. MacColl and Seeger included “Busk,Busk, Bonnie Lassie” (“Bonnie Glen Shee”) in TravellersSongs from England and Scotland, 1977, as sung by Charlotte Higgins. They say: “This piece does not appear in any of the major Scots collections. It is a kind of mirror-image of ‘O No, No’, a song of the ‘Lisbon / banks of the Nile’ genre, in which a girl’s plea that she should be allowed to accompany her lover to war is rejected on the grounds that her beauty would fade and her colour stain when exposed to the frost and rain of the highlands.” (from Charlotte Higgins see more)
Here the boy invites his girlfriend to a last romantic walk (probably a love meeting with exchange of votes) for Glen Isla before leaving the war.
Shona Anderson & Terry Dey
The Corries — Busk Busk Bonnie Lassie
I
Do you see yon high hills (1)
All covered with snow
They hae pairted mony’s a true love
And they’ll soon pairt us twa Chorus Busk, busk, bonny lassie And come alang wi me And I’ll tak ye tae Glen Isla Near bonny Glen Shee
II
Do you see yon (bonny) shepherds,
As they walk alang
Wi their plaidies pulled aboot them
And their sheep they graze on
III
Do you see yon (bonny) sodjers
As they all march alang
Wi their muskets on their shouders
And their broadswords hinging doon
IV
Do you see yon high hills
All covered with snow
They hae pairted mony’s a true love
And they’ll soon pairt us twa
English translation Cattia Salto
I
Do you see yon high hills
All covered with snow
They have parted many’s a true love
And they’ll soon part us two Chorus Get ready get ready bonny lassie And come along with me And I’ll take you to Glen Isla Near bonny Glen Shee
II
Do you see yon shepherds,
As they walk along
With their plaidies pulled about them
And their sheep they graze on
III
Do you see yon sodjers
As they all march along
With their muskets on their shouders
And their broadswords hinging down
IV
Do you see yon high hills
All covered with snow
They have parted many’s a true love
And they’ll soon pairt us two
NOTES
1) or bonny highland
The Bloody Fields of Flanders
The pipe march version comes from the World War I arranged by John MacLellan (Pipe Major of the 8th Argylls), Hamish Henderson had the chance to hear it during the Second World War at Anzio and in 1960 he added a text entitled “The Freedom Come-All-Ye” by tranforming it into an anti-war song.
“Busk Busk Bonnie Lassie” (anche “Bonnie Glenshee”) è una canzone tradizionale scozzese diffusa tra gli Scots Travellers, su di una vecchia melodia del Perthsire, una canzone di cui non si sa praticamente nulla. S’inserisce nel filone delle fanciulle che vorrebbero seguire il loro amore arruolato come soldato (o marinaio) travestendosi da uomo per restargli accanto, ma sono dissuase a restare a casa. Nelle note di copertina de TravellersSongs from England and Scotland, 1977 MacColl and Seeger scrivono: “ Questo pezzo non appare in nessuna delle principali collezioni scozzesi. È una specie di immagine speculare di “O No, No”, una canzone del genere “Lisbona / banche del Nilo”, in cui una ragazza supplica il suo amore per accompagnarlo in guerra, ma la sua richiesta viene respinta con il pretesto che la sua bellezza svanirebbe e il suo incarnato patirebbe se esposto al gelo e alla pioggia degli altipiani” (dalla testimoniana di Charlotte Higgins vedi)
Qui il ragazzo invita la fidanzata a ad un’ultima romantica passeggiata (probabilmente un incontro amoroso con scambio di voti ) per la Glen Isla prima di partire in guerra.
Shona Anderson & Terry Dey
The Corries — Busk Busk Bonnie Lassie
I
Do you see yon high hills (1)
All covered with snow
They hae pairted mony’s a true love
And they’ll soon pairt us twa Chorus Busk, busk, bonny lassie And come alang wi me And I’ll tak ye tae Glen Isla Near bonny Glen Shee
II
Do you see yon (bonny) shepherds,
As they walk alang
Wi their plaidies pulled aboot them
And their sheep they graze on
III
Do you see yon (bonny) sodjers
As they all march alang
Wi their muskets on their shouders
And their broadswords hinging doon
IV
Do you see yon high hills
All covered with snow
They hae pairted mony’s a true love
And they’ll soon pairt us twa
Traduzione italiana Cattia Salto
I
Vedi le alte colline
ricoperte di neve
Hanno separato più di un vero amore
e presto ci divideranno Coro Preparati, preparati bella fanciulla e vieni con me e ti porterò a Glen Isla vicino alle bella Glen Shee.
II
Vedi quei pastori
che camminano
con i loro mantelli stretti addosso
e le loro pecore che pascolano
III
Vedi quei soldati
mentre camminano tutti insieme
con i moschetti sulle spalle
e i loro spadoni che penzolano al fianco
IV
Vedi le alte colline
ricoperte di neve
Hanno separato più di un vero amore
e presto ci divideranno
NOTE
1) oppure bonny highland
LA MELODIA:The Bloody Fields of Flanders
La versione pipe march viene dalla I Guerra Mondiale arrangiata da John MacLellan (Pipe Major dell’8° Argylls), Hamish Henderson ebbe l’occasione di sentirla durante la II Guerra Mondiale ad Anzio e nel 1960 ci aggiunge un testo dal titolo ‘The Freedom Come-All-Ye’ trasformandola in una anti-war song.
Like the hopscotch known by children of all continents, even the “song of the eternal cycle” is a drop of ancient wisdom that survived our day: as well as a mnemonic game it is also a tongue twister that becomes increasingly difficult with increasing speed .
Some say it’s Irish, some it’s an Irish melody about a Scottish text, (or vice versa), others say it’s from the South of England or Wales, or from Breton origins, doesn’ t matter, more likely it is a collective nursery rhyme and archetypal of those that are found in the various European countries, coming from an ancient prayer-song, perhaps from the spring ritual celebrations , or how much it has survived of the ancient teaching, for metaphors, of the cycle life-death-life.
TREE OF LIFE
One can not but think of the cosmic tree as an universal symbol, that is, the absolute starting point of life. In symbolic language, this point is the navel of the world, the beginning and end of all things, but it is often imagined as a vertical axis that, located at the center of the universe, crosses the sky, the earth and the underworld.
Greta Fogliani in her “Alla radice dell’albero cosmico” writes “In itself, the tree is not really a cosmological theme, because it is first and foremost a natural element that, by its attributes, has assumed a symbolic function. The tree always regenerates with the passing of the seasons: it loses its leaves, it is dry, it seems to die, but then each time it is reborn and recovers its splendor. Because of these characteristics, it becomes not only a sacred element, but also a microcosm, because in its process of evolution it represents and repeats the creation of the universe. Moreover, because of its extension both downwards and upwards, this element inevitably ended up assuming a cosmological value, becoming the pivot of the universe that crosses the sky, the earth and the afterlife and acts as a link between the cosmic areas. ”
Gustav Klimt: Tree of life, 1905
From the many variations while maintaining the same structure, the melodies vary depending on the origin, a polka in Ireland, a strathspey in Scotland and a morris dance in England .. The Irish could not transform it into a drinking song as a game-pretext for abundant drink (whoever mistakes drinks).
In short, everyone has added us of his.
RATTLIN’ BOG
“STANDARD” MELODY: it is the Irish one that is a more or less fast polka.
The Corries (very communicative with the public).
Irish Descendants
The Fenians
Rula Bula
THE RATTLIN BOG Oh ho the rattlin'(1) bog,
the bog down in the valley-o;
Rare bog, the rattlin’ bog,
the bog down in the valley-o. I
Well, in the bog there was a hole, a rare hole, a rattlin’ hole,
Hole in the bog, and the bog down in the valley-o. II
Well, in the hole there was a tree,
a rare tree, a rattlin’ tree,
Tree in the hole, and the hole in the bog/and the bog down in the valley-o.
III
On the tree … a branch,
On that branch… a twig (2)
On that twig… a nest
In that nest… an egg
In that egg… a bird
On that bird… a feather
On that feather… a worm!(3)
On the worm … a hair
On the hair … a louse
On the louse … a tick
On the tick … a rash
NOTES
1) rattling = “fine”
2) Irish Descendants say “limb”
3) in the version circulating in Dublin (although not unique, for example it is also found in Cornwall) it becomes a flea
PREN AR Y BRYN
The Welsh version has two associative paths with the tree, one is the cosmic tree, the tree of life: the tree that stands on the hill that is in the valley next to the sea. So says the refrain, while the second chain starts from the tree and goes to the branch, the nest, the egg, the bird with feathers, and the bed. And here it stops sometimes adding a flea and then going back to the tree.
The less childish versions of the song once arrived at the bed continue with much more carnal conclusion (the woman and the man and then the child who grows and becomes an adult and from the arm to his hand plants the seed, from which grows the tree) . A funny way to teach the words of things to children, but also a message that everything is interconnected and we are part of the whole.
Heather Jones ♪
PREN AR Y BRYN
I
Ar y bryn roedd pren,
o bren braf
Y pren ar y bryn a’r bryn A’r bryn ar y ddaear
A’r ddaear ar ddim
Ffeind a braf oedd y bryn
Lle tyfodd y pren.
II
Ar y pren daeth cainc, o gainc braf
III
Ar y gainc daeth nyth
o nyth braf
IV
Yn y nyth daeth wy
o wy braf
V
Yn yr wy daeth cyw
o cyw braf
VI
Ar y cyw daeth plu
o plu braf
VII
O’r plu daeth gwely
o gwely braf
VIII
I’r gwely daeth chwannen…
English translation
I
What a grand old tree,
Oh fine tree. The tree on the hill,
the hill in the valley,
The valley by the sea.
Fine and fair was the hill
where the old tree grew. II
From the tree came a bough,
Oh fine bough !
III
On the bough came a nest,
Oh fine nest !
IV
From the nest came an egg,
Oh fine egg !
V
From the egg came a bird,
Oh fine bird !
VI
On the bird came feathers,
Oh fine feathers !
VII
From the feathers came a bed,
Oh fine bed !
VIII
From the bed came a flea ..
MAYPOLE SONG
Paul Giovanni in Wicker Man
MAYPOLE SONG
In the woods there grew a tree
And a fine fine tree was he
And on that tree there was a limb
And on that limb there was a branch
And on that branch there was a nest
And in that nest there was an egg
And in that egg there was a bird
And from that bird a feather came
And of that feather was
A bed
And on that bed there was a girl
And on that girl there was a man
And from that man there was a seed
And from that seed there was a boy
And from that boy there was a man
And for that man there was a grave
From that grave there grew
A tree
In the Summerisle(1),
Summerisle, Summerisle, Summerisle wood
Summerisle wood.
NOTES
1) Summerisle is the imaginary island where the film takes place
IN MES’ AL PRÀ
It is the Italian regional version also collected by Alan Lomax in his tour of Italy in 1954. Of Italian origin Lomax are the Lomazzi emigrated to America in the nineteenth century.
In July 1954 Alan arrives in Italy with the intent of fixing on magnetic tape the extraordinary variety of music of the Italian popular tradition. A journey of discovery, from the north to the south of the peninsula, alongside the great Italian colleague Diego Carpitella who produced over two thousand records in about six months of field work.
In this version from the tree we pass from the branches to the nest and the egg and then to the little bird. The context is fresh, very springly.. to explain the origin of life and respond to the first curiosity of children about sex ..
The song ended up in the repertoire of the scouts and in the songs of the oratory and young Catholic gatherings, but also among the songs of the summer-centers and kindergartens.
IN MES AL PRÀ
In mes al prà induina cusa ghʼera
ghʼera lʼalbero, lʼalbero in mes al prà,
il prà intorno a lʼalbero e lʼalbero piantato in mes al prà
A tac a lʼalbero induina cusa ghʼera,
ghʼera i broc(1), i broc a tac a lʼalbero
e lʼalbero piantato in mes al prà
A tac ai broc induina cusa ghʼera,
ghʼera i ram, i ram a tac ai broc,
i broc a tac a lʼalbero e lʼalbero piantato in mes al prà.
A tac ai ram induina cusa ghʼera,
ghʼera le foie, le foie a tac ai ram,
i ram a tac ai broc, i broc a tac a lʼalbero e lʼalbero piantato in mes al prà.
In mes a le foie induina cusa ghʼera,
ghʼeraʼl gnal, il gnal in mes a le foie,
le foie a tac ai ram, i ram a tac ai broc,
i broc a tac a lʼalbero e lʼalbero piantato in mes al prà.
Dentrʼindal gnal induina cusa ghʼera,
ghʼera gli uvin, gli uvin dentrʼindal gnal,
il gnal in mes a le foie, le foie a tac ai ram,
i ram a tac ai broc, i broc a tac a lʼalbero e lʼalbero piantato in mes al prà.
Dentrʼagli uvin induina cusa ghʼera,
ghʼera gli uslin, gli uslin dentrʼagli uvin,
gli uvin dentrʼindal gnal,
il gnal in mes a le foie,
e foie a tac ai ram,
i ram a tac ai broc,
i broc a tac a lʼalbero
e lʼalbero piantato in mes al prà.
English translation Cattia Salto
In the middle of the lawn, guess what was there, there was the tree, the tree in the middle of the lawn, the lawn around the tree and the tree planted in the middle of the lawn.
Attached to the tree guess what was there, there were the branches, the branches attached to the tree, and the tree planted in the middle of the lawn
Attached to the branches guess what was there, there were the twigs, the twigs attached to the branches, the branches attached to the tree
and the tree planted in the middle of the lawn.
Attached to the twigs, guess what was there, there were the leaves, the leaves attached to the twigs, the twigs attached to the branches,
the branches attached to the tree
and the tree planted in the middle of the lawn.
In the middle of the leaves, guess what was there, there was the nest, the nest in the middle of the leaves,
the leaves attached to the twigs, the twigs attached to the branches, the branches attached to the tree, and the tree planted in the middle of the lawn.
Inside the nest, guess what it was,
there were the eggs, the eggs inside the nest,
the nest in the middle of the leaves, the leaves attached to the twigs, the twigs attached to the branches, the branches attached to the tree
and the tree planted in the middle of the lawn.
In the eggs, guess what was there
there were the little birds, the little birds inside the little eggs, the little eggs inside the nest,
the nest in the middle of the leaves,
the leaves attached to the twigs,
the twigs attached to the branches,
the branches attached to the tree
and the tree planted in the middle of the lawn
NOTES
1) “brocco” is an archaic term for the large branches dividing from the central trunk of the tree!
THE GREEN GRASS GROWS ALL AROUND
“The tree in the wood”, there is a womb, a resting place in that “and the green grass grows all around” ..
Luis Jordan
a children version
THE GREEN GRASS GROWS ALL AROUND
There was a tree
All in the woods
The prettiest tree
That you ever did see
And the tree in the ground
And the green grass grows all around, all around
The green grass grows all around.
And on that tree
There was a branch
The prettiest branch
That you ever did see
And the branch on the tree
And the tree in the ground
And the green grass grows all around, all around
The green grass grows all around.
And on that branch
There was a nest
The prettiest nest
That you ever did see
And the nest on the branch
And the branch on the tree
And the tree in the ground
And the green grass grows all around, all around
The green grass grows all around.
And in that nest
There was an egg
The prettiest egg
That you ever did see
And the egg in the nest
And the nest on the branch
And the branch on the tree
And the tree in the ground
And the green grass grows all around, all around
The green grass grows all around.
And in that egg
There was a bird
The prettiest bird
That you ever did see
And the bird in the egg
And the egg in the nest
And the nest on the branch
And the branch on the tree
And the tree in the ground
And the green grass grows all around, all around
The green grass grows all around.
And on that bird
There was a wing
The prettiest wing
That you ever did see
And the wing on the bird
And the bird in the egg
And the egg in the nest
And the nest on the branch
And the branch on the tree
And the tree in the ground
And the green grass grows all around, all around
The green grass grows all around.
Godred Cròvan(in irish gaelic “Gofraid mac meic Arailt“) was a Norse-Gael ruler of Dublin, and King of Mann and the Isles in the second half of the 11th century.
Godred may well be identical to the celebrated King Orry of Manx legend, Godred and King Orry are associated with numerous historic and prehistoric sites on Mann and Islay. As the ruler of Dublin and the Isles, Godred dominated the routes through the Irish Sea region.
MANX VERSION: Birlinn Ghorree Chrovan
In the XX century George Broderick, Douglas Fargher and Brian Stowell wrote the text in manx gaelic from an Hebridean tune. It tells of the King Orry galley’s landing on the Isle of Man. Cairistiona Dougherty & Paul Rogers live (or sound track here) Scran
Manx gaelic
O vans ny hovan O,
Hirree O sy hovan;
O vans ny hovan O,
Birlinn Ghorree Chrovan.
I
Kiart ayns lhing ny Loghlynee
Haink nyn Ree gys Mannin
Tessyn mooiryn freayney roie
Birlinn Ghorree Chrovan.
II
Datt ny tonnyn, heid yn gheay
Ghow yn skimmee aggle;
Agh va fer as daanys ayn,
Hie yn Ree dy stiurey.
III
Daag ad Eeley er nyn gooyl
Shiaull’ my yiass gy Mannin;
Eeanlee marrey, raunyn roie,
Birlinn Ghorree Chrovan.
IV
Hrog ad seose yn shiaull mooar mean,
Hum ny maidjyn tappee –
Gour e vullee er y cheayn,
Cosney’n Kione ny hAarey.
V
Stiagh gy Balley Rhumsaa hie
Birlinn Ghorree Chrovan;
Ooilley dooiney er y traie
Haink dy oltagh’ Gorree.
VI
Jeeagh er Raad Mooar Ghorree heose
Cryss smoo gial ‘sy tuinney,
Cowrey da ny Manninee
Reiltys Ghorree Chrovan.
English translation*
O vans ny hovan o,
Hirree o ‘sy hovan,
O vans ny hovan o,
Birlinn Ghorree Chrovan.
I
Right in the era of the Norsemen,
Their king came to Mannin,
Running across surging seas,
Gorree Crovan’s longship.
II
The waves swoll up and the wind blew,
The crew were frightened,
But there was one brave man,
The King went to steer.
III
They left Islay behind them,
Sailing southward to Mannin,
Sea birds and seals running,
Gorree Crovan’s longship.
IV
They raised the main-sail,
The oars dipped quickly,
Onwards on the sea,
Reaching the Point of Ayre.
V
Into Ramsey went,
Gorree Crovan’s longship,
Every man on the beach,
Come to salute Gorree.
VI (1)
Look at the Milkey-Way above,
Brightest band in the heavens,
A sign to the Manx,
Of the Gorree Crovan’s government.
1) Ramsey is a coastal town in the north of the Isle of Man: landing point of the Viking warrior Godred Crovan around 1079, came to subjugate the island and make it his kingdom. The fact told is obviously after the conquest because the first time the islanders tried to defend themselves from the Vikings, and near the landing of the galley there was a violent battle and not a festive crowd !!
SCOTTISH VERSION: Birlinn Ghoraidh Chrobhain
And here is the Hebridean tune, the song composed by the bard and songwriter Duncan Johnston of Islay (Donnchadh MacIain 1881-1947) and published in his book “Cronan nan Tonn” (The Croon of the Sea) in 1938! The journey, however, is told to the contrary, the Viking galley leaves the Isle of Man to go to Islay.
Scottish gaelic lyrics
English lyrics
The Corries The Barge O’ Gorrie Crovan, a more warlike version
The Sound of Mull, a trio from Tobermory, Isle of Mull : Janet Tandy, Joanie MacKenzie and David Williamson. (verses I, II, IV) Robin Hall & Jimmy Macgregor (verses I, IV)
Scottish gaelic Hóbhan na hóbhan hó, hi horó na hùbhan, Hóbhan na hóbhan hó, Air Birlinn Ghoraidh Chrobhain (1)
I
Fichead sonn air cùl nan ràmh,
Fichead buille lùghmhor,
Siùbhlaidh ì mar eun a’ snàmh,
Is sìoban thonn ‘ga sgiùrsadh.
II
Suas i sheòid air bàrr nan tonn !
Sìos gu ìochdar sùigh i !
Suas an ceòl is togaibh fonn,
Tha Mac an Righ ‘ga stiuireadh !
III
A’bhìrlinn rìoghail ‘s i a th’ann
Siubhal-sìth ‘na gluasad
Sròl is sìoda àrd ri crann
‘S i bratach Olaibh Ruaidhe (2)
IV
Dh’ fhàg sinn Manainn (3) mòr nan tòrr,
Eireann a’ tighinn dlùth dhuinn,
Air Ile-an-Fheòir tha sinn an tòir
Ged dh’ èireas tonnan dùbh-ghorm
V
Siod e ‘nis-an t-eilean crom!(4)
Tìr nan sonn nach diùltadh,
Stòp na dìbhe ‘thoirt air lom
‘S bìdh fleadh air bonn ‘san Dùn (5) duinn!
English Hóbhan na hóbhan hó, hi horó na hùbhan, Hóbhan na hóbhan hó, The barge of Gorrie Crovan
I
Behind the oars, a score so brave,
A lusty score to row her,
She sails away like bird on wave,
While foaming seas lash o’er her.
II
Up she goes on ocean wave !
Down the surge she wails O,
Sing away; the chorus, raise,
A royal prince; he sails her !
III
The royal galley onward skims,
With magic speed, she sails O,
Aloft her silken bunting swims, Red Olav‘s Banner waving.
IV
The towers of Man we leave away,
Old Erin’s hills we hail O,
On Islay’s shore her course we lay
Though billows roar and rave O.
V
See the island bent like bow,
Where kindly souls await us;
The Castle hall, I see it now,
The feast’s for us prepared O
NOTES
Gaelic and English texts by Duncan Johnston (Donnachadh Mac Iain), published in his book Cronan nan Tonn (The Croon of the Sea) 1938/9 and reprinted in 1997 by Dun Eisden of Inverness. These are his comments on the song:
1) Godred, or Gorry Crovan was, according to the ancient sagas, the son of Harald the Black of Isla. Tradition has it that his mother was a lady of the subdued House of Angus Beag, son of Erc, who occupied Isla in 498. This explains his remarkable popularity with both the Norse and Celtic elements in the west. His grand-daughter, Regnaldis (Raonaild), daughter of Olave the Red, afterwards married Somerled, who displaced Red Olave as King of the Isles. Somerled founded the Dynasty of the Lords of the Isles, with its headquarters on an island on Loch Finlagan in Isla. Godred was a celebrated warrior of the eleventh century. He acted as Adjutant to the King of Norway at the battle of Stamford Bridge, 1066. Escaping from that stricken field, he made his way to the Isle of Man, and thence to Isla, where he raised his standard. The Norsemen and the Gaels alike flocked to his standard. With a large force, he crossed over into the North of Ireland (Ulster), and carried everything before him up to the gates of Dublin, which City surrendered to him. For a time, he waged a successful war against the King of Scotland. In Isla he was spoken of with saintly reverence because of his prowess and dauntless gallantry in ridding the island of a huge saurian that had his lair near the present village of Bridgend. Many of our Clans and their Septs of the west can claim descent from Godred. The MacDougalls, MacDonalds, MacAllisters, MacRuaries, MacRanalds, MacIains, etc. He died in Isla in 1095, and his grave is marked with a huge white boulder, known locally as “An Carragh Ban.” He founded the Dynasty of the Kingdom of the Isles, of Dublin and of Man. He was succeded by his son King Lagman, who reigned at the time of the “Sack of Isla” by Magnus Barefoot . Lagman was taken prisoner. He latterly, after a short reign of seven years, embraced Christianity, abdicated in favour of his brother, Olave the Red, and went to Palestine to fight for the Holy Sepulchre. He is buried at Jerusalem.
2) Olave the Red, third son of Godred Crovan, and father of the princess Regnaldis.
3) The Isle of Man
4) Isla, so called in Fingalian Poetry. Approaching the island at dusk from the south, the skyline presents the appearance of a bent bow – “Tha e crom mar bhogha air ghleus.”
5) Dunyveg or Dùn Naomhaig Castle, more properly, Dùn Aonghais Bhig, abbreviated “aobhaig.” This was the House of Aengus, or Aonghas Beag, son of Erc, 498.”
Godred Cròvan(in irlandese antico”Gofraid mac meic Arailt“) fu un capo norreno che regnò su Dublino, re dell’Isola di Man e delle Isole nella seconda metà del XI secolo.
Godred nelle leggende mannesi è diventato Re Orry, Godred e Re Orry sono associati a numerosi siti archeologicisu Man e Islay. Come governante di Dublino e delle Isole, Godred dominò incontrastato sul Mare d’Irlanda.
VERSIONE MANNESE: Birlinn Ghorree Chrovan
George Broderick, Douglas Fargher e Brian Stowell (studiosi ed editori nonchè compilatori del Dizionario Inglese-gaelico mannese) hanno scritto il testo in mannese adattandolo a una melodia delle isole Ebridi. Si racconta dello sbarco della galea di King Orry sull’isola di Man. Cairistiona Dougherty & Paul Rogers live (oppure here) Scran
Gaelico mannese
O vans ny hovan O,
Hirree O sy hovan;
O vans ny hovan O,
Birlinn Ghorree Chrovan.
I
Kiart ayns lhing ny Loghlynee
Haink nyn Ree gys Mannin
Tessyn mooiryn freayney roie
Birlinn Ghorree Chrovan.
II
Datt ny tonnyn, heid yn gheay
Ghow yn skimmee aggle;
Agh va fer as daanys ayn,
Hie yn Ree dy stiurey.
III
Daag ad Eeley er nyn gooyl
Shiaull’ my yiass gy Mannin;
Eeanlee marrey, raunyn roie,
Birlinn Ghorree Chrovan.
IV
Hrog ad seose yn shiaull mooar mean,
Hum ny maidjyn tappee –
Gour e vullee er y cheayn,
Cosney’n Kione ny hAarey.
V
Stiagh gy Balley Rhumsaa hie
Birlinn Ghorree Chrovan;
Ooilley dooiney er y traie
Haink dy oltagh’ Gorree.
VI
Jeeagh er Raad Mooar Ghorree heose
Cryss smoo gial ‘sy tuinney,
Cowrey da ny Manninee
Reiltys Ghorree Chrovan.
O vans ny hovan o, Hirree o ‘sy hovan, O vans ny hovan o, Birlinn Ghorree Chrovan.
I
Right in the era of the Norsemen,
Their king came to Mannin,
Running across surging seas,
Gorree Crovan’s longship.
II
The waves swoll up and the wind blew,
The crew were frightened,
But there was one brave man,
The King went to steer.
III
They left Islay behind them,
Sailing southward to Mannin,
Sea birds and seals running,
Gorree Crovan’s longship.
IV
They raised the main-sail,
The oars dipped quickly,
Onwards on the sea,
Reaching the Point of Ayre.
V
Into Ramsey went,
Gorree Crovan’s longship,
Every man on the beach,
Come to salute Gorree.
VI
Look at the Milkey-Way above,
Brightest band in the heavens,
A sign to the Manx,
Of the Gorree Crovan’s government.
Traduzione italiana Cattia Salto O vans ny hovan o, Hirree o ‘sy hovan, O vans ny hovan o, la galea di Godred Grovan (1)
I
Proprio nell’era degli Uomini del Nord
il loro re venne a Man
attraversa il mare mosso
la galea di Godred Grovan II
Le onde si agitano e soffia il vento
l’equipaggio era spaventato
ma c’era un uomo coraggioso,
il Re che andò al timone
III
Lasciarono Islay alle spalle
e navigarono verso sud fino a Man,
con gli uccelli marini e le foche correva
la galea di Godred Grovan
IV
Alzarono la vela maestra
e calarono i remi
avanzando sul mare
per raggiungere Point of Ayre (2)
V
A Ramsey (3) andò
la galea di Godred Grovan
ogni uomo sulla spiaggia
venne e salutare (4) Godred
VI
Guarda la via lattea
la striscia più luminosa nei cieli,
un segno per i Mannesi
del governo di Godred Grovan
NOTE
1) nell’originale il nome è declinato con la pronuncia mannese Ghorree Chrovan
2) la punta più a Nord dell’Isola di Man
3) Ramsey città costiera nel nord dell’isola di Man: punto di approdo del guerriero vichingo Godred Crovan intorno al 1079 venuto a soggiogare l’isola e renderla il suo regno
4) il fatto raccontato è ovviamente successivo alla conquista perchè la prima volta gli isolani cercarono di difendersi dai Vichinghi, e nei pressi dello sbarco della galea ci fu una violenta battaglia e non una folla festante!!
VERSIONE SCOZZESE: Birlinn Ghoraidh Chrobhain
La canzone fu composta da Duncan Johnston di Islay (Donnchadh MacIain 1881-1947) e pubblicata nel suo libro “Cronan nan Tonn” (The Croon of the Sea in italiano Il canto del mare) 1938/9. Il viaggio però è raccontato al contrario, la galea lascia l’isola di Man per andare a Islay e al comando non c’è il re ma il figlio Olaf.
The Sound of Mull, trio di Tobermory, Isle of Mull : Janet Tandy, Joanie MacKenzie e David Williamson. (strofe I, II, IV)
Robin Hall & Jimmy Macgregor (strofe I, IV)
Testo in gaelico scozzese
di Duncan Johnston Hóbhan na hóbhan hó, hi horó na hùbhan, Hóbhan na hóbhan hó, Air Birlinn Ghoraidh Chrobhain
I
Fichead sonn air cùl nan ràmh,
Fichead buille lùghmhor,
Siùbhlaidh ì mar eun a’ snàmh,
Is sìoban thonn ‘ga sgiùrsadh.
II
Suas i sheòid air bàrr nan tonn !
Sìos gu ìochdar sùigh i !
Suas an ceòl is togaibh fonn,
Tha Mac an Righ ‘ga stiuireadh !
III
A’bhìrlinn rìoghail ‘s i a th’ann
Siubhal-sìth ‘na gluasad
Sròl is sìoda àrd ri crann
‘S i bratach Olaibh Ruaidhe
IV
Dh’ fhàg sinn Manainn mòr nan tòrr,
Eireann a’ tighinn dlùth dhuinn,
Air Ile-an-Fheòir tha sinn an tòir
Ged dh’ èireas tonnan dùbh-ghorm
V
Siod e ‘nis-an t-eilean crom!
Tìr nan sonn nach diùltadh,
Stòp na dìbhe ‘thoirt air lom
‘S bìdh fleadh air bonn ‘san Dùn duinn!
The Corries The Barge O’ Gorrie Crovan, una versione più guerresca
THE BARGE OF GORRIE CROVAN Hóbhan na hóbhan hó, hi horó na hùbhan, Hóbhan na hóbhan hó, The barge of Gorrie Crovan
I
Behind the oars, a score so brave,
A lusty score to row her,
She sails away like bird on wave,
While foaming seas lash o’er her.
II
Up she goes on ocean wave !
Down the surge she wails O,
Sing away; the chorus, raise,
A royal prince; he sails her !
III
The royal galley onward skims,
With magic speed, she sails O,
Aloft her silken bunting swims,
Red Olav’s Banner waving.
IV
The towers of Man we leave away,
Old Erin’s hills we hail O,
On Islay’s shore her course we lay
Though billows roar and rave O.
V
See the island bent like bow,
Where kindly souls await us;
The Castle hall, I see it now,
The feast’s for us prepared O
Traduzione italiana Cattia Salto Hóbhan na hóbhan hó, hi horó na hùbhan, Hóbhan na hóbhan hó, la galea di Godred Grovan (1)
I
Dietro ai remi una ventina di prodi
una vigorosa ventina voga,
si allontana come uccello sull’onda
la galea di Godred Grovan II
Va sull’onda del mare
e sotto l’onda geme
canta e il coro s’alza
un principe di stirpe reale la naviga
III
La galea regale scivola in avanti,
sospinta magicamente
innalza il vessillo di seta, è l’insegna di Olaf il Rosso (2) che sventola
IV
Le torri di Man (3) lasciamo e salutiamo le colline della vecchia Irlanda, sulla riva di Islay dirigiamo la rotta, anche se i flutti ruggiscono e ribollono
V
Vedi l’isola (4) dalla forma arcuata
dove animi gentili ci attendono
la sala del Castello (5), ora vedo
il festino è per noi preparato
NOTE
1) nelle note alla canzone l’autore commenta: “Godred, o Gorry Crovan era, secondo le antiche saghe, il figlio di Harald il Nero di Isla. La tradizione vuole che sua madre fosse una donna della sconfitta Casa di Angus Beag, figlio di Erc, che occupò Isla nel 498. Questo spiega la sua notevole popolarità sia con la parte norrena che celtica nelle terre d’occidente. Sua nipote, Regnaldis (Raonaild), figlia di Olave il Rosso, in seguito sposò Somerled, che sostituì Olave come Re delle Isole. Somerled fondò la Dinastia del Re delle Isole (Lords of the Isles), con sede sull’isola di Loch Finlagan a Isla.
Godred era un celebre guerriero dell’XI secolo. Agì come alfiere del re di Norvegia nella battaglia di Stamford Bridge, nel 1066. Scappando da quell’orrore, si diresse verso l’Isola di Man, e da lì a Isla, dove innalzò il suo stendardo. Sia Vichinghi che Celti si riunirono sotto le sue insegne. Con un grande contingente, attraversò il nord dell’Irlanda (Ulster) e conquistò tutto quello che si trovava di fronte fino alle porte di Dublino, che si arrese. Per un certo periodo, ha combattuto con successo contro il re di Scozia. A Isla era considerato protetto da dio per la sua cavalleresca impresa nel liberare l’isola da un enorme sauro che aveva la tana vicino all’attuale villaggio di Bridgend. Molti dei nostri clan e i clan dell’ovest possono rivendicare di discendere da Godred. MacDougalls, MacDonalds, MacAllisters, MacRuaries, MacRanalds, MacIains, ecc. Morì a Isla nel 1095 e la sua tomba è contrassegnata da un enorme masso bianco, conosciuto localmente come “An Carragh Ban“. Ha fondato la Dinastia del Regno delle Isole, di Dublino e di Man. Gli successe suo figlio Re Lagman, che regnò ai tempi del “Sacco di Isla” di Magnus Barefoot. Lagman fu fatto prigioniero. In seguito, dopo un breve regno di sette anni, abbracciò il cristianesimo, abdicò in favore di suo fratello, Olave il Rosso, e andò in Palestina a combattere per il Santo Sepolcro. È sepolto a Gerusalemme.” 2) Olaf (Olave) il rosso era il terzo figlio di Re Godfrey Grovan 3) l’Isola di Man
4) l’isola di Islay, la “regina delle Ebridi” avvicinandosi da sub sembra abbracciare la nave
5) Dunyveg o Dùn Naomhaig Castle
“Rantin ‘, rovin’, Robin” is an autobiographical song written by Robert Burns as a celebration of his 28th birthday (25 January 1787), also known under the title “There was a lad“.
Burns describes in joking terms his own birth in the presence of a midwife who predicts his destiny. A sort of fairy-tale in which the old woman next to the cradle is a kind of fairy-godmother who dispenses the gift of Poetry to the future Bard.
The cottage that saw his birth is located in Alloway in the district of Kyle, Ayr county and was built by his father William Burness (the name of the family at the origins), a cottage of straw and clay for a family of small sharecroppers (now Robert Burns Birthplace Museum)
Burns’ s Cottage – Samuel Bough 1876
Shortly after his death (aged only 37), a group of friends dined together to commemorate him. It was 1802 and the dinners have become part of the Scottish tradition, and the song is among the favorites in the Burns’ Supper.
Jim Malcolm
The Corries Sylvia Barnes & The Battlefield Band con immagini dell’ambiente quotidiano di Robbie Andy M. Stewart
RANTIN’, ROVIN’, ROBIN * I There was a lad was born in Kyle (1), But whatna day o’ whatna style, I doubt it’s hardly worth the while To be sae nice wi’ Robin. Chorus. Robin was a rovin’ boy, Rantin’, rovin’, rantin’, rovin’, Robin was a rovin’ boy, Rantin’, rovin’, Robin! II Our monarch’s hindmost year but ane(2) Was five-and-twenty days begun, ‘Twas then a blast o’ Janwar’ win’ Blew hansel(3) in on Robin. III The gossip keekit(4) in his loof(5), Quo’ scho(6), “Wha lives will see the proof, This waly(7) boy will be nae coof(8): I think we’ll ca’ him Robin.
IV He’ll hae misfortunes great an’ sma’, But aye(9) a heart aboon(10) them a’, He’ll be a credit till us a’- We’ll a’ be proud o’ Robin.” V “But sure as three times three mak nine, I see by ilka(11) score and line, This chap will dearly like our kin’, So leeze(12) me on thee! Robin.” VI “Guid(13) faith,” quo’, scho, “I doubt you gar(14) The bonie lasses lie aspar(15); But twenty fauts (16) ye may hae waur(17) So blessins on thee! Robin.”
NOTES
* english translation
1) The cottage is in the village of Alloway in Ayrshire, now Robert Burns Birthplace Museum Burns’ start in life was a humble one. He was born the son of poor tenant farmers and was the eldest of seven children
2) hindmost year but one=January 25, 1759.The strong wind that blew in those days destroyed part of the house, so his mother with the little one in her arms preferred to challenge the storm to take refuge from the neighbor.
3) hansel=birth-gift
4) keekit=peered – glanced. Allan Connochie notes “The “gossip” was the midwife, family friend or godparent telling the baby’s future”
5) loof=the palm, the hand outspread and upturned
6) said she: It is said that his father met the woman while he was crossing the river at the ford, but the river was in flood and the woman was in trouble, so Robert’s father helped her and took her home; the woman in exchange made a prophecy about the child.
7) waly=sturdy
8) coof=fool – dolt
9) aye= always
10) aboon=above
11) ilka=every
12) leeze=commend; blessings on thee; I am fond of you
13) guid= good
14) gar= make
15) asprar= wide apart
16) fauts=faults
17) waur=worse
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In this version from the tree we pass from the branches to the nest and the egg and then to the little bird. The context is fresh, very springly.. to explain the origin of life and respond to the first curiosity of children about sex ..
He died in Isla in 1095, and his grave is marked with a huge white boulder, known locally as “An Carragh Ban.” He founded the Dynasty of the Kingdom of the Isles, of Dublin and of Man. He was succeded by his son King Lagman, who reigned at the time of the “Sack of Isla” by Magnus Barefoot . Lagman was taken prisoner. He latterly, after a short reign of seven years, embraced Christianity, abdicated in favour of his brother, Olave the Red, and went to Palestine to fight for the Holy Sepulchre. He is buried at Jerusalem.
