Irish Song Quotes

The great Gaels of Ireland are the men that God made mad, For all their wars are merry, and all their songs are sad.

When I got tired, Logan would sing me to sleep, sometimes a painfully appropriate song like Flogging Molly’s “If I Ever Leave This World Alive” or Snow Patrol’s “Chasing Cars.” Sometimes he’d pick a lilting Irish lullaby, or even a song he’d written himself.

But listen well. In Tir na nOg, because there is no sorrow, there is no joy. Do you hear the meaning of the seachain's song?

As in the old Irish blessing, may God give you, for every storm, a rainbow; for every tear, a smile. For every care, a promise; a blessing for every trial. For every problem life sends, a faithful friend to share; for every sigh, a sweet song, and an answer for every prayer.

But he calls down a blessing on the blossom of the may, Because it comes in beauty, and in beauty blows away.

Ah, kiss me, love, and miss me, love, and dry your bitter tears. (Irish Pub Song)

The saddest songs are always about love.

Leprechauns, castles, good luck and laughter.Lullabies, dreams and love ever after. Poems and songs with pipes and drums. A thousand welcomes when anyone comes... That's the Irish for you!" - Irish Sayings

A Rock, A River, A Tree Hosts to species long since departed, Mark the mastodon. The dinosaur, who left dry tokens Of their sojourn here On our planet floor, Any broad alarm of their of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness, Have lain too long Face down in ignorance. Your mouths spelling words Armed for slaughter. The rock cries out today, you may stand on me, But do not hide your face. Across the wall of the world, A river sings a beautiful song, Come rest here by my side. Each of you a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet, today I call you to my riverside, If you will study war no more. Come, clad in peace and I will sing the songs The Creator gave to me when I And the tree and stone were one. Before cynicism was a bloody sear across your brow And when you yet knew you still knew nothing. The river sings and sings on. There is a true yearning to respond to The singing river and the wise rock. So say the Asian, the Hispanic, the Jew, The African and Native American, the Sioux, The Catholic, the Muslim, the French, the Greek, The Irish, the Rabbi, the Priest, the Sheikh, The Gay, the Straight, the Preacher, The privileged, the homeless, the teacher. They hear. They all hear The speaking of the tree. Today, the first and last of every tree Speaks to humankind. Come to me, here beside the river. Plant yourself beside me, here beside the river. Each of you, descendant of some passed on Traveller, has been paid for. You, who gave me my first name, You Pawnee, Apache and Seneca, You Cherokee Nation, who rested with me, Then forced on bloody feet, Left me to the employment of other seekers-- Desperate for gain, starving for gold. You, the Turk, the Swede, the German, the Scot... You the Ashanti, the Yoruba, the Kru, Bought, sold, stolen, arriving on a nightmare Praying for a dream. Here, root yourselves beside me. I am the tree planted by the river, Which will not be moved. I, the rock, I the river, I the tree I am yours--your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain, Cannot be unlived, and if faced with courage, Need not be lived again. Lift up your eyes upon The day breaking for you. Give birth again To the dream. Women, children, men, Take it into the palms of your hands. Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning.

DURING THE COURSE of his long and distinguished career, the Irish poet W. B. Yeats often changed his themes, style, and personal philosophy, sometimes leaving behind the audience he had cultivated. When he was upbraided for this confusing constancy of change, he replied: The friends have it I do wrong Whenever I remake my song Should know what issue is at stake. It is myself that I remake.54

May God give you . . . For every storm, a rainbow, for every tear, a smile. For every care, a promise, and a blessing in each trial. For every problem life sends, a faithful friend to share. For every sigh, a sweet song, and an answer for each prayer. Irish blessing

May God give you . . . For every storm, a rainbow, for every tear, a smile. For every care, a promise, and a blessing in each trial. For every problem life sends, a faithful friend to share. For every sigh, a sweet song, and an answer for each prayer. Irish blessing

Finally he said, “I like everything that wild Irish maniac, J. P. Donleavy, ever wrote.” It wasn’t so much a discussion as a sharing of taste. He also liked The Agony and the Ecstasy and Lust for Life by Irving Stone.

This is what songs do, even dumb pop songs: they remind us that emotions are not an inconvenient and vaguely embarrassing aspect of the human enterprise but its central purpose. They make us feel specific things we might never have felt otherwise. Every time I listen to "Sunday Bloody Sunday," for instance, I feel a pugnacious righteousness about the fate of the Irish people. I hear that thwacking military drumbeat and Bono starts wailing about the news he heard today and I'm basically ready to enlist in the IRA and stomp some British Protestant Imperialist Ass, hell yes, bring on the fucking bangers and mash and let's get this McJihad started.

May God give you…For every storm a rainbow, for every tear a smile, for every care a promise and a blessing in each trial. For every problem life sends, a faithful friend to share, for every sigh a sweet song and an answer for each prayer. —Irish Blessing

...if you want to know what my ultimate goal is in all this, I can tell you in one simple sentence. I want to take the stick out of opera's ass.

But I only drink on the days of the week that end with a 'y

As the old saw goes, the Irish songs are full of happy wars and unhappy lovers.

When Ronan was young and didn’t know any better, he thought everyone was like him. He made rules for humanity based upon observation, his idea of the truth only as broad as his world was. Everyone must sleep and eat. Everyone has hands, feet. Everyone’s skin is sensitive; no one’s hair is. Everyone whispers to hide and shouts to be heard. Everyone has pale skin and blue eyes, every man has long dark hair, every woman has long golden hair. Every child knows the stories of Irish heroes, every mother knows songs about weaver women and lonely boatmen. Every house is surrounded by secret fields and ancient barns, every pasture is watched by blue mountains, every narrow drive leads to a hidden world. Everyone sometimes wakes with their dreams still gripped in their hands. Then he crept out of childhood, and suddenly the uniqueness of experience unveiled itself. Not all fathers are wild, charming schemers, wiry, far-eyed gods; and not all mothers are dulcet, soft-spoken friends, patient as buds in spring. There are people who don’t care about cars and there are people who like to live in cities. Some families do not have older and younger brothers; some families don’t have brothers at all. Most men do not go to Mass every Sunday and most men do not fall in love with other men. And no one brings dreams to life. No one brings dreams to life. No one brings dreams to life.

The ancient Irish social system was systematically attacked, traditional songs and music forbidden, whole clans exterminated, and the remainder brutalized. A “wild Irish” reservation was even attempted. The

One of the things about Irish music is how one tune can enter another. You can begin with one reel, and with no clear intention of where you will be going after that, but halfway through it will sort of call up the next so that one reel becomes another and another after that, and unlike the clear-edged definitions of songs, the music keeps linking, making this sound-map even as it travels it, so player and listener are taken away and time and space are defeated. You’re in an elsewhere. Something like that. Which, I suppose, is both my method and aim in telling this story too. Anyway,

I never felt Irish. I always felt, ‘I’m English, this is where I come from, and that’s that.’ Because you’d be reminded of that when you went to Ireland: ‘Ye’re not Oirish!’ the locals would say. So it was like, ‘Bloody hell, shot by both sides here.’ I still love that Magazine song – so relevant to me, those lyrics.

Though all the world betrays thee, One sword, at least, thy rights shall guard, One faithful harp shall praise thee!

All good things originate with the Creator God, he'd been taught, and the Song of Life was no exception.

My romantic decisions and life have been so fascinating that I feel like a character straight out of one of Taylor Swift’s hit songs.

Frank, hunched against a bastard wind knifing in off the Irish Sea, isn’t sure at first where the sound is coming from. It’s barely light and a soft insistent hiss sits below the whining gale, like white-noise feedback at song’s end. He leans a little closer and realises the source is sand rattling against the charred skin stretched tom-tom tight across the dead man’s face.

Anger is an energy. It really bloody is. It’s possibly the most powerful one-liner I’ve ever come up with. When I was writing the Public Image Ltd song ‘Rise’, I didn’t quite realize the emotional impact that it would have on me, or anyone who’s ever heard it since. I wrote it in an almost throwaway fashion, off the top of my head, pretty much when I was about to sing the whole song for the first time, at my then new home in Los Angeles. It’s a tough, spontaneous idea. ‘Rise’ was looking at the context of South Africa under apartheid. I’d be watching these horrendous news reports on CNN, and so lines like ‘They put a hotwire to my head, because of the things I did and said’, are a reference to the torture techniques that the apartheid government was using out there. Insufferable. You’d see these reports on TV and in the papers, and feel that this was a reality that simply couldn’t be changed. So, in the context of ‘Rise’, ‘Anger is an energy’ was an open statement, saying, ‘Don’t view anger negatively, don’t deny it – use it to be creative.’ I combined that with another refrain, ‘May the road rise with you’. When I was growing up, that was a phrase my mum and dad – and half the surrounding neighbourhood, who happened to be Irish also – used to say. ‘May the road rise, and your enemies always be behind you!’ So it’s saying, ‘There’s always hope’, and that you don’t always have to resort to violence to resolve an issue. Anger doesn’t necessarily equate directly to violence. Violence very rarely resolves anything. In South Africa, they eventually found a relatively peaceful way out. Using that supposedly negative energy called anger, it can take just one positive move to change things for the better. When I came to record the song properly, the producer and I were arguing all the time, as we always tend to do, but sometimes the arguing actually helps; it feeds in. When it was released in early 1986, ‘Rise’ then became a total anthem, in a period when the press were saying that I was finished, and there was nowhere left for me to go. Well, there was, and I went there. Anger is an energy. Unstoppable.

His death took place on the same day, at the same time of the same month as Katie’s: Monday 12th November at 4am in the morning, on her tenth year anniversary. The old radio suddenly came live and the song Immortality by Celine Dion played. Emma proved you can love the man and hate the disease. She was relieved Ronan’s suffering had ended and that he had gone before her as he was so ill

because my anxiety disorder gets really bad on planes and so I end up panicking a bit. Usually I get on Twitter and tell everyone that I love them because that’s about the time that my antianxiety pills kick in and they make me super sentimental and scared that I’m going to die. It’s like taking ecstasy, but instead of having sex and going to a rave I just want someone to stroke my hair and sing me old Irish drinking songs.

Poaching?” Granda raised his hand to rake his fingers through his white hair. “That is our land, Irish land. Our stream and our fish. Cunningham, a man who comes once a year, has it all by the terrible might of the English.

In spite of being a marketing guy for over 40 years, I never realised how challenging it would be to gain global traction for the Irish romantic fantasy novel, Dolphin Song. It's succeeding, but the workload has been terrific.

In 1911, the poet Morris Rosenfeld wrote the song “Where I Rest,” at a time when it was the immigrant Italians, Irish, Poles, and Jews who were exploited in the worst jobs, worked to death or burned to death in sweatshops.[*] It always brings me to tears, provides one metaphor for the lives of the unlucky:[19] Where I Rest Look not for me in nature’s greenery You will not find me there, I fear. Where lives are wasted by machinery That is where I rest, my dear. Look not for me where birds are singing Enchanting songs find not my ear. For in my slavery, chains a-ringing Is the music I do hear. Not where the streams of life are flowing I draw not from these fountains clear. But where we reap what greed is sowing Hungry teeth and falling tears. But if your heart does love me truly Join it with mine and hold me near. Then will this world of toil and cruelty Die in birth of Eden here.[*] It is the events of one second before to a million years before that determine whether your life and loves unfold next to bubbling streams or machines choking you with sooty smoke. Whether at graduation ceremonies you wear the cap and gown or bag the garbage. Whether the thing you are viewed as deserving is a long life of fulfillment or a long prison sentence. There is no justifiable “deserve.” The only possible moral conclusion is that you are no more entitled to have your needs and desires met than is any other human. That there is no human who is less worthy than you to have their well-being considered.[*] You may think otherwise, because you can’t conceive of the threads of causality beneath the surface that made you you, because you have the luxury of deciding that effort and self-discipline aren’t made of biology, because you have surrounded yourself with people who think the same.

Yes...I love how the Irish are so comfortable with paradox that they revel in it. In fact, if you took it away from them, I suspect they would start gasping like fish out of water. No wonder their land's name, now removed from its Gaelic notions of abundance in 'eire,' evokes anger, or 'ire,' and yet also the rich, cooling green of a sea-colored jewel. A 'terrible beauty' indeed. They understand oppression and repression and explosion, but they remain a culture of faith-faith that creaks and groans and pulls, but is alive and never dull. And which urges them to art, to poetry, to song-these, too, are forms of action. Of passion. Of conviction. Yes, of love.

There are good ships and there are wood ships, the ships that sail the sea. But the best ships are friendships, and may they always be. A toast to your coffin. May it be made of hundred-year-old oak. And may we plant the tree together tomorrow. Here’s to Eve, the mother of us all, and here’s to Adam, who was Johnny-on-the-spot when the leaf began to fall. Give a man a match and he’ll be warm for a minute, but set him on fire and he’ll be warm for the rest of his life. Leprechauns, castles, good luck, and laughter. Lullabies, dreams, and love ever after. Poems and songs with pipes and drums. A thousand welcomes when anyone comes . . . That’s the Irish for you!

Some had hurled spears first. Those spears thumped into our shields, making them unwieldy, but it hardly mattered. The leading Danes tripped on the hidden timbers and the men behind pushed the falling men forward. I kicked one in the face, feeling my iron-reinforced boot crush bone. Danes were sprawling at our feet while others tried to get past their fallen comrades to reach our line, and we were killing. Two men succeeded in reaching us, despite the smoking barricade, and one of those two feel to Wasp-Sting coming up from beneath his shield-rim. He had been swinging an ax that the man behind me caught on his shield and the Dane was still holding the war ax's shaft as I saw his eyes widen, saw the snarl of his mouth turn to agony as I saw his eyes widen, saw the snarl of his mouth turn to agony as I twisted the blade, ripping it upward, and as Cerdic, beside me, chopped his own ax down. The man with the crushed face was holding my ankle and I stabbed at him as the blood spray from Cerdic's ax blinded me. The whimpering man at my feet tried to crawl away, but Finan stabbed his sword into his thigh, then stabbed again. A Dane had hooked up his ax over the top rim of my shield and hauled it down to expose my body to a spear-thrust, but the ax rolled off the circular shield and the spear was deflected upward and I slammed Wasp-Sting forward again, felt her bite, twisted her, and Finan was keening his mad Irish song as he added his own blade to the slaughter. “Keep the shields touching!” I shouted at my men.

I saw that most of the Irish I met had a variety of ways of making do with that dreadful beast Reality. You can run into it head-on, which is a dire business, or you can skirt around it, give it a poke, dance for it, make up a song, write you a tale, prolong the gab, fill up the flask. Each partakes of Irish cliché, but each, in the foul weather and the foundering politics, is true.

People everywhere, enjoying life, smiling, and just slowing down to let the world take care of itself for a few hours. The feeling was contagious. Especially when I stepped into McPherson's Pub to grab a bite of the special and listen to some traditional Irish music. The fiddle made me want to dance with myself, and many did. The drum beat like my very own heart. And some little flute that looked no wider than a pencil reminded me of the Aran Islands floating not too far from Abbeyglen. God was here tonight. In the strings of the guitar and the call of the singer's voice. I realize how often I overlook him back at home. And I know I don't want to do that anymore. The LORD will send His faithful love by day; His song will be with me in the night a prayer to the Gid of my life.

Music began playing and a woman walked into the room and stood beside a small band. She was dressed in a red Irish costume that hung to her ankles and it was laced at the bodice with a black cord. After giving a nod to the band, she sang a few Irish songs. But one song seemed to stand out to Rick and he stopped eating and listened. Sure a little bit of Heaven fell from out the sky one day and it nestled on the ocean in a spot so far away. When the angels found it, sure it looked so sweet and fair, they said, "Suppose we leave it for it looks so peaceful there." So they sprinkled it with stardust just to make the shamrocks grow. 'Tis the only place you'll find them no matter where you go. Then they dotted it with silver to make its lakes so grand and when they had it finished, sure they called it Ireland.

Irish people marry late, as a rule. We have that potato-famine DNA from the old country, that mentality where you don't give birth to anything until you have the potatoes all stored up to feed it. My ancestors were all shepherds who got married in their thirties and then stayed together for life, who had long and happy marriages, no doubt because they were already deaf. My grandparents courted for nine years before they married in 1933.

Gansey said abruptly. "In we go. Ronan, don't forget to set the directional markers as we go. We're counting on you. Don't just stare at me. Nod like you understand. Good. You know what? Give them to Jane." "What?" Ronan sounded betrayed. Blue accepted the markers - round, plastic discs with arrows drawn on them. She hadn't realized how nervous she was until she had them in her hands; it felt good to have something concrete to do. "I want you to whistle or hum or sing, Ronan, and keep track of time," Gansey said. "You have got to be shitting me," Ronan replied. "Me." Gansey peered down the tunnel. "I know you know a lot of the songs all the way through, and can do them the same sped and length every time. Because you had to memorize all of those tunes for the Irish music competitions." Blue and Adam exchanged a delighted look. The only thing more pleasing than seeing Ronan singled out was seeing him singled out and forced to repeatedly sing an Irish jig. "Piss up a rope," Ronan said. Gansey, unoffended, waited. Ronan shook his head, but then, with a wicked smile, he began to sing, "Squash one, squash two, s-" "Not that one," both Adam and Gansey said. "I'm not listening to that for three hours," Adam said. Gansey pointed at Ronan until he began to breathily whistle a jaunty reel. And they went in deeper.

Yet it is also a tonic and an antidote to dullness to be with the Serbs. They possess the irresponsible gaiety that we traditionally connect with the Irish, with whom they have often been compared. Other less convenient sides of the Irish character are also typical in the Serbs, such as a cheerful contempt for punctuality in daily life and a ready willingness, arising clearly from politeness and good nature, to make promises that are not always fulfilled. But perhaps the most pronounced of these similarities is to be found in the songs of Serbia and Ireland. With both peoples the historic songs about the past are songs of sorrow, or noble struggles against overwhelming odds, of failure redeemed by unconquerable resolve. There is nothing strange in this combination of laughing gaiety and profound melancholy. It is often only those who are truly capable of the one emotion who also have the faculty for the other.

The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad's third language, and much of that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench. In some of the more remote hollows of Appalachia, children still grow up hearing songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a language other than English, or an English dialect a majority of Americans cannot understand. All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and if it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue. I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.

every Friday night he would set up a desk in the Tight Manhole, an Irish bar where the mine workers drank and sang songs of misery. The oil company paid him to report on all the charitable and civic-minded projects they had in the works as well as hard-hitting news stories happening in Haggleworth. Because of his honest face and gifted speaking voice, men and women would come in from all the other bars in Haggleworth—the Dirty Chute, the Mine Shaft, the Rear End, the Suspect Opening, the Black Orifice, the Poop Chute, too many to list here—all to listen to The Shell Oil Burgundy Hour.

It's an Irish Republican rebel ballad from the 1840s. The reason I know is because I was once in a bar in Liverpool and a couple of lads started singing it and a couple others objected and a fight broke out. As a loyal subject of the Crown, I was on the side of the objectors. We eventually prevailed, but, even if we hadn't, 'A Nation Once Again' is a fine song to get your head kicked into, at least when compared to 'Believe' by Cher, which would rank pretty high on the list of numbers I'd least like to be listening to as my eye's gouged out and I fall into a coma, although it would be a merciful release.

When all the Stars become a Memory' When all the stars become a memory Hid in the heart of Heaven : when the sun At last is resting from his weary run, Sinking to glorious silence in the sea Of God's own glory : when the immensity Of Nature's universe its fate has won And its reward : when Death to death is done And deathless Being's all that is to be- Your praise shall 'scape the grinding of the mills: My songs shall live to drive their blinding cars Through fiery apocalypse to Heaven's bars! When God's loosed might the prophet's word fulfils, My songs shall see the ruin of the hills, My songs shall sing the dirges of the stars

He needs to be talked to." "This is funny, but I know how to talk, too." Brian swore under his breath. "He prefers singing." "Excuse me?" "I said,he prefers singing." "Oh." Keeley tucked her tongue in her cheek. "Any particular tune? Wait, let me guess. Finnegan's Wake?" Brian''s steely-eyed stare had her laughing until she had to lean weakly against the gelding.The horse responded by twisting his head and trying to sniff her pockets for apples. "It's a quick tune," Brian said coolly, "and he likes hearing his name." "I know the chorus." Gamely Keeley struggled to swallow another giggle. "But I'm not sure I know all the words.There are several verses as I recall." "Do the best you can," he muttered and strode off.His lips twitched as he heard her launch into the song about the Dubliner who had a tippling way. When he reached Betty's box, he shook his head. "I should've known. If there's not a Grant one place, there's a Grant in another until you're tripping over them." Travis gave Betty a last pat on the shoulder. "Is that Keeley I hear singing?" "She's being sarcastic, but as long as the job's done. She's dug in her heels about grooming Finnegan." "She comes by it naturally.The hard head as well as the skill." "Never had so many owners breathing down my neck.We don't need them, do we, darling?" Brian laid his hands on Beetty's cheek, and she shook her head, then nibbled his hair. "Damn horse has a crush on you." "She may be your lady, sir, but she's my own true love.Aren't you beautiful, my heart?" He stroked, sliding into the Gaelic that had Betty's ears pricked and her body shifting restlessly. "She likes being excited before a race," Brian murmured. "What do you call it-pumped up like your American football players.Which is a sport that eludes me altogether as they're gathered into circles discussing things most of the time instead of getting on with it." "I heard you won the pool on last Monday nights game," Travis commented. "Betting's the only thing about your football I do understand." Brian gathered her reins. "I'll walk her around a bit before we take her down. She likes to parade.You and your missus will want to stay close to the winner's circle." Travis grinned at him. "We'll be watching from the rail." "Let's go show off." Brian led Betty out.

I remember standing in the wings when Mother’s voice cracked and went into a whisper. The audience began to laugh and sing falsetto and to make catcalls. It was all vague and I did not quite understand what was going on. But the noise increased until Mother was obliged to walk off the stage. When she came into the wings she was very upset and argued with the stage manager who, having seen me perform before Mother’s friends, said something about letting me go on in her place. And in the turmoil I remember him leading me by the hand and, after a few explanatory words to the audience, leaving me on the stage alone. And before a glare of footlights and faces in smoke, I started to sing, accompanied by the orchestra, which fiddled about until it found my key. It was a well-known song called Jack Jones that went as follows: Jack Jones well and known to everybody Round about the market, don’t yer see, I’ve no fault to find with Jack at all, Not when ’e’s as ’e used to be. But since ’e’s had the bullion left him ’E has altered for the worst, For to see the way he treats all his old pals Fills me with nothing but disgust. Each Sunday morning he reads the Telegraph, Once he was contented with the Star. Since Jack Jones has come into a little bit of cash, Well, ’e don’t know where ’e are. Half-way through, a shower of money poured on to the stage. Immediately I stopped and announced that I would pick up the money first and sing afterwards. This caused much laughter. The stage manager came on with a handkerchief and helped me to gather it up. I thought he was going to keep it. This thought was conveyed to the audience and increased their laughter, especially when he walked off with it with me anxiously following him. Not until he handed it to Mother did I return and continue to sing. I was quite at home. I talked to the audience, danced, and did several imitations including one of Mother singing her Irish march song that went as follows: Riley, Riley, that’s the boy to beguile ye, Riley, Riley, that’s the boy for me. In all the Army great and small, There’s none so trim and neat As the noble Sergeant Riley Of the gallant Eighty-eight. And in repeating the chorus, in all innocence I imitated Mother’s voice cracking and was surprised at the impact it had on the audience. There was laughter and cheers, then more money-throwing; and when Mother came on the stage to carry me off, her presence evoked tremendous applause. That night was my first appearance on the stage and Mother’s last.

Katie appeared as a ghost and cradled him in her arms and carried him, a frail dying version of her old husband, to heaven. The radio which was powered off suddenly comes on and played their song Follow Me. Nobody could see her only Ronan and he smiled and says “I knew you would come back for me love

DURING THE COURSE of his long and distinguished career, the Irish poet W. B. Yeats often changed his themes, style, and personal philosophy, sometimes leaving behind the audience he had cultivated. When he was upbraided for this confusing constancy of change, he replied: The friends have it I do wrong Whenever I remake my song Should know what issue is at stake. It is myself that I remake. 54

In other Celtic lands, destruction of the ancient bardic orders meant the loss of history and myth as well as of poetry. But not in Ireland -- at least, not entirely. There, the melding of the Christian and the pagan began early, during the great period of Celtic monasticism. Irish monks of that period provided most of our written records of Celtic mythology. In continental Europe, evidence of Celtic beliefs is found only in sculpture; in Britain, it is found only in a few verbal shards and the occasional inscribed statue; but in Ireland we find entire epics, whole chants and songs, lengthy narratives. In the curvilinear script for which they are justly famous, Irish monks wrote down the stories, poems, place-names, and other lore of their pagan ancestors before it disappeared in the mists of history.

Green Grows the Laurel’ recalls the Irish contribution to the Mexican-American War of 1845-47. (It has been suggested that the Mexican term gringo derives from the title of this song, such was its popularity along the front line.)

The Irish are a merry race and surely they are mad, for all their wars are merry and all their songs are sad.” The

Yellow swallowtail butterflies, with their charcoal striped wings, were all over the wildflowers. The woodpeckers rattled away in the trees. Two weeks ago, those sounds were annoying to me, but now, it sounds more like a song. I stopped to ask myself what was wrong with me, for everything to be so awesome in the world, and then I remembered. So this is what being in love is like.

So what’s the story your grandpa told you?” I leaned back against the blanket, propping my head in one hand and looking up at him. “It wasn’t about the pond, I guess. It’s more about the town. I didn’t ever come to Mona when I lived here. I never had reason to - so when I asked my grandpa if there were any good fishing spots around here, and he mentioned this pond, I asked him about the town. He said Burl Ives, the singer, was once thrown in jail here in Mona. It was before his time, but he thought it was a funny story.” “I’ve never heard about that!” “It was the 1940’s, and Burl Ives traveled around singing. I guess the authorities didn’t like one of his songs - they thought it was bawdy, so they put him in jail.” “What was the song?” I snickered. “It was called Foggy, Foggy Dew. My grandpa sang it for me.” “Let’s hear it!” I challenged. “It’s far too lewd.” Samuel pulled his mouth into a serious frown, but his eyes twinkled sardonically. “All right you’ve convinced me,” he said without me begging at all, and we laughed together. He cleared his throat and began to sing, with a touch of an Irish lilt, about a bachelor living all alone whose only sin had been to try to protect a fair young maiden from the foggy, foggy dew. One night she came to my bedside When I was fast asleep. She laid her head upon my bed And she began to weep She sighed, she cried, she damn near died She said what shall I do? So I hauled her into bed and covered up her head Just to keep her from the foggy, foggy dew. “Oh my!” I laughed, covering my mouth. “I don’t think I would have stuck Burl Ives in jail for that, but it is pretty funny,” “Marine’s are the lewdest, crudest, foulest talking bunch you’ll ever find. I’ve heard much, much worse. I’ve sung much, much worse. I tried to remain chaste and virtuous, and I still have the nickname Preacher after all these years - but I have been somewhat corrupted.” He waggled his eyebrows at his ribaldry. “I kind of liked that song…” I mused, half kidding. “Sing something else but without the Irish.” “Without the Irish? That’s the best part.” Samuel smiled crookedly. “I had a member of my platoon whose mom was born and raised in Ireland. This guy could do an authentic Irish accent, and man, could he sing. When he sang Danny Boy everybody cried. All these tough, lethal Marines, bawling like babies

belting out the Irish national anthem—“We’re children of a fighting race, / That never yet has known disgrace, / And as we march, the foe to face, / We’ll chant a soldier’s song”—

To be both Irish and Finnish is to be bred for drinking—doomed to burst into song and worry later what everyone thought about it.

Tim, An Irish Terrier It's wonderful dogs they're breeding now: Small as a flea or large as a cow; But my old lad Tim he'll never be bet By any dog that he ever met, Come on 'says he'for I'm not kilt yet! No matter the size of the dog he'll meet, Tim trails his coat the length o'the street. D'ye mind his scar an'his ragged ear, The like of a Dublin Fusilier? He's a massacree dog that knows no fear. But he'd stick to me till his lastest breath; An'he'd go with me to the gates of death. He'd wait a thousand years,maybe, Scratching the door an'whining for me If myself were inside in Purgatory. So I laugh when I hear them make it plain That dogs and men never meet againj. For all their talk who'd listen to them With the soul in the shining eyes of him? Would God be wasting a dog like Tim? - Winifred M. Letts.

We cannot conceive of an Irish bard writing, as did a Welsh bard, of Ceridwen--"Her complexion is formed of the mild light in the evening hour, the splendid, graceful, bright, and gentle Lady of the Mystic Song." But we do know that the early Crusaders brought home much of this mystic talk from the East, and that ecclesiastics of an imaginative turn were charmed with pseudo-Christian gnosticism

A WILD storm of controversy once raged, when Macpherson put forth a work purporting to be a collection of old Gaelic songs, under the name of the "Poems of Ossian," who was the last of the Fenian Chiefs, and who, reported, on his return to Ireland after his enchantment, failed to yield his paganism to St. Patrick's appeals. While generally condemned as the inventor of the lays, the charms of which enthralled even Byron and Goethe, he must surely have been a poet of great merit, if they were of his own composition. But if they were remains of ancient traditions, carried down by word of mouth, Macpherson might at least be credited with weaving them into more or less connected narratives.

In 1911, the poet Morris Rosenfeld wrote the song “Where I Rest,” at a time when it was the immigrant Italians, Irish, Poles, and Jews who were exploited in the worst jobs, worked to death or burned to death in sweatshops.fn13 It always brings me to tears, provides one metaphor for the lives of the unlucky:19 Where I Rest Look not for me in nature’s greenery You will not find me there, I fear. Where lives are wasted by machinery That is where I rest, my dear. Look not for me where birds are singing Enchanting songs find not my ear. For in my slavery, chains a-ringing Is the music I do hear. Not where the streams of life are flowing I draw not from these fountains clear. But where we reap what greed is sowing Hungry teeth and falling tears. But if your heart does love me truly Join it with mine and hold me near. Then will this world of toil and cruelty Die in birth of Eden here.

Areas of Consciousness The Rational (Day) Philosophy, history 1. Cognition and knowledge is treated in Finnegans Wake. a. Myth: history as a nightmare b. Theory: history as a joke. 2. History of mankind/history of Ireland 3. Popular and Formal Culture a. Music -Musical hall and popular song/ballads, Irish folk music b. Sports, boating, etc. c. Technology d. Science and cosmology e. Cinema and still photography The Irrational (Night) Pre-Sleep World (all the puzzling images that flash through our minds before we fall asleep). Jungian, collective unconscious Left and right sides of the brain Id/ego/superego Anima and Animus Techniques of Tension: the circle, twinning, yang and yin of reconciliation of opposites, yoking, transmission into other areas of being, intertexuality. Techniques of Style: Portmanteau words, punning, piling of one image upon the other, montage, doubling, etc. The Language Trap: The tyranny of language             The betrayal of language             Rhetorical traps             Decay of language

I'd like to go back to five years old again. Just sometimes. To be turning over rocks and looking for pill bugs and holding earthworms, playing dolls, erecting forts, digging through dirt for marbles, burrowing in leaf piles, failing at igloo building, when my biggest concern was going to sleep with the lights off. I wish I was five again, before things got hard, before I was forced to grow up way too early and been stuck in this "adult" thing way too long. I wish I could sit in my Grandpa's lap and let him sing me crazy Irish songs and go over the names of the planets. "Gwampa, tell me about Outer Space." ... "Gwampa, sing the Swimming Song." I wish I could go back there, just for a little while, and pick raspberries by myself in the sun and find secret hideaways and not hurt, not worry, not carry the heavy things. If I could be five years old....just for a few minutes. Remember what it felt like to be free. That would be something.

If we all got fed up at the same time, which could happen coming on evening, we would all sit down and Mick would sign a song. We learned many songs while setting spuds and many a story was told, imaginary or otherwise. We understood well the story of the Gobán Saor, an old Irish legend. The Gobán Saor ruled a large kingdom which he wanted to leave to the cleverest of his three sons. One day, he took his eldest son on a long journey and after some time walking he said: "Son, shorten the road for me." The son was totally at a loss as to how to help his father, so they returned home. The following day the Gobán Saor took his second son, and again the same thing happened. On the third day he took his youngest son and after they had travelled some distance he said once more: "Son, shorten the road for me." The youngest son immediately began to tell his father a story that was long and interesting, and they became so engrossed in the tale that they never noticed the length of the journey. In our lives, Mick was the Gobán Saor's youngest son.

…if you want to know what my ultimate goal is in all of this, I can tell you in one simple sentence. I want to take the stick out of opera’s ass.

D’aron the Daring, Derring, Derring-do, stealing base, christened D’aron Little May Davenport, DD to Nana, initials smothered in Southern-fried kisses, dat Wigga D who like Jay Z aw-ite, who’s down, Scots-Irish it is, D’aron because you’re brave says Dad, No, D’aron because you’re daddy’s daddy was David and then there was mines who was named Aaron, Doo-doo after cousin Quint blew thirty-six months in vo-tech on a straight-arm bid and they cruised out to Little Gorge glugging Green Grenades and read three years’ worth of birthday cards, Little Mays when he hit those three homers in the Pee Wee playoff, Dookie according to his aunt Boo (spiteful she was, misery indeed loves company), Mr. Hanky when they discovered he TIVOed ‘Battlestar Galactica,’ Faggot when he hugged John Meer in third grade, Faggot again when he drew hearts on everyone’s Valentine’s Day cards in fourth grade, Dim Dong-Dong when he undressed in the wrong dressing room because he daren’t venture into the dark end of the gym, Philadelphia Freedom when he was caught clicking heels to that song (Tony thought he was clever with that one), Mr. Davenport when he won the school’s debate contest in eighth grade, Faggot again when he won the school’s debate contest in eighth grade, Faggot again more times than he cared to remember, especially the summer he returned from Chicago sporting a new Midwest accent, harder on the vowels and consonants alike, but sociable, played well with others that accent did, Faggot again when he cried at the end of ‘WALL-E,’ Donut Hole when he started to swell in ninth grade, Donut Black Hole when he continued to put on weight in tenth grade (Tony thought he was really clever with that one), Buttercup when they caught him gardening, Hippie when he stopped hunting, Faggot again when he became a vegetarian and started wearing a MEAT IS MURDER pin (Oh yeah, why you craving mine then?), Faggot again when he broke down in class over being called Faggot, Sissy after that, whispered, smothered in sniggers almost hidden, Ron-Ron by the high school debate team coach because he danced like a cross between Morrissey and some fat old black guy (WTF?) in some old-ass show called ‘What’s Happening!!’, Brainiac when he aced the PSATs for his region, Turd Nerd when he hung with Jo-Jo and the Black Bruiser, D’ron Da’ron, D’aron, sweet simple Daron the first few minutes of the first class of the first day of college.

Are we old? Are we new? Are we starting fresh today? Or is Time looking for us and the magic that we made . . . from THE SONG THAT SEDUCED PARIS

Of the Milesians, Eber and Eremon divided the land between them — Eremon getting the Northern half of the Island, and Eber the Southern. The Northeastern corner was accorded to the children of their lost brother, Ir, and the Southwestern corner to their cousin Lughaid, the son of Ith. An oft-told story says that when Eber and Eremon had divided their followers, each taking an equal number of soldiers and an equal number of the men of every craft, there remained a harper and a poet. Drawing lots for these, the harper fell to Eremon and the poet to Eber — which explains why, ever since, the North of Ireland has been celebrated for music, and the South for song.

She offers me a bull’s-eye sweet, which she’s stashed in her apron pocket with a half-dozen half-smoked Afton butts—a mix of flavors I’ll never forget. On the front of the yellow cigarette box is a poem by Robert Burns that Gram likes to sing to an old Irish tune: Flow gently, sweet Afton, among thy green braes. Flow gently, I’ll sing thee a song in thy praise.

COME, BUTTERCHURN, COME Buttermilk to the wrist, butter to the elbow; Come, butterchurn, come. Buttermilk to the wrist, butter to the elbow; Come, butterchurn, come. There’s a glug here, there’s a glack here; There’s a glack here, there’s a glug here, There’s something better here than you’d expect, There’s something better than wine here. Come, butterchurn, come. The thrush will come, the blackbird will come, The mist will come from the hill, The cuckoo will come, the jackdaw will come, The father osprey will come. Come, butterchurn, come. —traditional Irish song for churning

The salmon traveled through the waters of the otherworld to Ireland, its perfect form gliding between worlds. Tuan mac Cairill came to Ireland as before the flood, retaining the memories of his centuries of dream lives as Irish totem animals. Incarnated as a salmon, he was eaten by the Queen of Ulster who became pregnant and gave birth to Tuan the human. Like the Sorcerer on the cave wall in France, he is a composite being of fin, wing, tusk, and antler. I had been a man, a stag, a boar, a bird, and now I was a fish. In all my changes I had joy and fulness of life. But in the water joy lay deeper, life pulsed deeper. For on land or air there is always something hindering. The stage has legs to be tucked away for sleep, and untucked for movement; and the bird has wings that must be folded and pecked and cared for. But the fish has but one piece from his nose to his tail. He is complete, single and unencumbered.

Wicklow's Bounty: Ode to the Irish Strawberry by Stewart Stafford The Garden County's ruby hue; Juicy gush with tart aftertaste, Seeded cream teases the palate, A Summer afternoon without haste. Eireann's pride swallowed so well; Sunburst flesh, chilled bitterness, Enveloped in richest dairy pillows, Feel the divine fingerprint finesse. Amass nature's brief treasures, Don't wait, dear brother/sister, Before frosted breath chokes, Turning land's song into a whisper. © 2024, Stewart Stafford. All rights reserved.

Ossian’s star faded as evidence emerged that there was little to Macpherson’s claims to have translated the poems from third-century Scots Gaelic texts, and in fact they were largely a construct of Irish Fenian mythology, Gaelic songs, and Macpherson’s own creativity. The whole affair would have appealed to the Dark Man’s sense of humor.

Irish storyteller Eddie Lenihan speaks of the fairies needing humans for their business, whatever that business might be. The same applies to the Dark Man, and what that business might be only the Devil knows.

And as with the generations that have gone before, I’m drawn to the border between the land and sea, to the places between places, the places that are neither this nor that.

I obsessed over which Ani DiFranco song to add to Lainie’s tape. When we first started dating, I had no idea who Ani DiFranco was. Lainie, shocked to baby-dyke hell, made it her mission to convert me. And yo, it took a lot of work. Ani was crazy white girl shit. Her music evoked images of Irish bagpipes and stray cats howling in heat. Her garbled singing voice made my eyes water, and I couldn’t ever be sure of what she was singing about. But with enough practice and encouragement from Lainie, I broke down Ani’s gay girl code and understood that I too was just a little girl in a training bra trying to figure shit out.

stars above you, Sunshine on your way, Many friends to love you, Joy in work and play, Laughter to outweigh each care, In your heart a song, And gladness waiting everywhere, All your whole life long.

The circular window in its gable, curtained with lace that had been spun by a convent of elderly Irish nuns made mad by the haunting pagan song of selkies, could dilate open for the deployment of cannons without affecting the window box of petunias set beneath.

from U2’s point of view, John Hume was the Martin Luther King of the Irish Troubles. Hume also set up the credit union in Derry, which helped Catholics into housing in

You don't love someone for their looks, or their clothes or their fancy car, but because they sing a song only you can hear.

The Ten Commandments of Punk Thou shalt know everything by the time thou art seventeen, with a great and sure certainty. Thou shalt proclaim the year zero and not honor the past because the new alone shall count. Thou shalt wear a garb of torn leather jacket and trousers, with accessories bearing a hint of S&M, with thy feet shod by Doc Martens. Thy T-shirt, like thy lyrics, will bear a slogan to offend. Thou shalt be bored, angry, pretty vacant, or at least faintly pissed off. Thou shalt have no more heroes, nor accept anyone in authority. Thou shalt bear an adjective for a surname like Rotten or Vicious. Thou shalt connect with thy audience so that they may invade thy stage or receive thy spit in their eye. Let them mosh. Thou shalt speak the truth in a fake cockney accent, even if thou art Irish or went to a minor English public school. Thou shalt not grow old lest thy come to realize the biggest authority thy will need to defeat is thine own self.

They also probably did not think that magic powers should be attributed to so good a man as Manawyddan, but he belonged to the mightiest kingly house in the Four Branches, and of these royal houses Sir John Rhys said: “. . . the kings are mostly the greatest magicians of their time . . . the ruling class in these stories . . . had their magic handed down from generation to generation.” So I have felt free to de-whitewash Manawyddan and have him perform several of the magic tricks attributed to his Irish counterpart, Manannan mac Lir.

Llaw Gyffes means “Sure Hand.” But the use of lleu is a mystery today. For the word is a dead, ancient one that meant light; and the later scribes rewrote it llew or lion. Yet nobody can say why Arianrhod should have called her little boy either a lion or a light (unless what she really said was that his hand was sure as light); and perhaps the Irish word lu, “little,” was meant; though there is no such form of that word in Welsh today.

Table of Contents Title Title Page Copyright Page Dedication Prologue Chapter 1 An Irish Childhood Chapter 2 Abandoned

For the great Gaels of Ireland,” wrote G. K. Chesterton, Are the men that God made mad. For all their wars are merry, And all their songs are sad.

Mollie Carter would sing the hymns she loved best: “The Land of the Uncloudy Day,” “Amazing Grace,” or “The Gospel Ship.” But she also sang traditional ballads, known as “English” songs, because the form—if not the songs themselves—had crossed the Atlantic with the English and Scotch-Irish who settled the southern mountains.

Gansey peered down the tunnel. "I know you know a lot of the songs all the way through, and can do them the same sped and length every time. Because you had to memorize all of those tunes for the Irish music competitions." Blue and Adam exchanged a delighted look. The only thing more pleasing than seeing Ronan singled out was seeing him singled out and forced to repeatedly sing an Irish jig.

As you skip through the castle of vengeance, be sure to whistle a tune and admire the pictures on the walls. Murder a bastard. Bed a fine Irish lad. Light a field on fire. Taste a cake. Croon a song with a child, laugh with a friend. Stop to smell the roses, even when they’re splattered with the blood of your enemies,” Aidan said,

Padraig smiled. Like the moonshine he brewed, Brendan O’Rourke was raw spirit; a man distilled into a single notion – that though rough and unpalatable to some – was undeniably intoxicating. He believed in a free Ireland and would fight for it when the chance came.

Repeated punishment, while it crushes the hatred of a few, stirs the hatred of all … just as trees that have been trimmed throw out again countless branches.” For revolutions feed on repression, growing heads faster and faster as one literally cuts a few off by killing demonstrators. There is an Irish revolutionary song that encapsulates the effect: The higher you build your barricades, the stronger we become.

When she wanted to think of nothing else, sh would listen to him talk. The Irish accent was more prominent in his father, but the tiny song in his voice often calmed her like the rise and fall of a ship on low waves.

from chapter on knotwork: We are creatures , tucked into empty space , encompassed by a pattern , caught amidst life’s twist and coil who rarely fathom its design . Our oldest wisdom , buried deep in shadow , manifests unconsciously in knots of story , poetry and song .

As we slowly made our way toward the front door of the farmhouse, the radio in the dining room began playing “Danny Boy,” sung by Johnny Cash. I am not sure that anyone other than God himself could have arranged the sweet sorrow of that moment. Johnny Cash was my favorite singer. “Danny Boy,” emblematic of our long-held Scots-Irish heritage of military service, is perhaps the greatest song ever written about the painful anguish of a father watching helplessly as his son marches off to war. Oh, Danny Boy, the pipes, the pipes are calling From glen to glen and down the mountain side The summer’s gone and all the roses falling ’Tis you, ’tis you, must go and I must bide. But come ye back when summer’s in the meadow Or when the valley’s hushed and white with snow ’Tis I’ll be here, in sunshine or in shadow Oh, Danny Boy, oh, Danny Boy I love you so. It was the only time I ever saw my father cry.