Tag Archives: candlemas

‘An old fairy lullaby’

Here we have some timely Candlemas lore and an ‘old fairy lullaby’ that, aside from being interesting (in my humble opinion…), shows just how valuable songs can be in preserving lore that might otherwise go unnoticed or be underappreciated. The quarter days in Ireland, Scotland and Man are seen as days when the Good Folk might go ‘flitting’ from one síd mound to another. Anyone who might cross their path at these times is especially at risk of been taken along with the fairy host, never to be seen again, but according to some tales the days can also provide opportunity for the missing to be recovered. There are other times and situations as well that might lead to abduction as well – an unbaptised baby, or an unkirked mother (a woman who had yet to go to church after giving birth) who are left unattended, for example. 

The lullaby given here is reprinted from George Petrie’s ‘Ancient Music of Ireland’ – which itself is well worth a read but I’ve been unable to find a copy online that is as easily accessible and readable as or Google online books are usually able to provide. This retelling here pulls together some extra commentary as well, which comes in handy, but Petrie’s original also provides the Irish and is well worth a look to fully appreciate it:

Dr. George Petrie, in his Ancient Music of Ireland, prints a wonderful old fairy lullaby, sung to a Gaelic poem, of which Eugene O’Curry writes: “This rare and remarkable poem contains…more of authentic fairy fact and doctrine than, with some few exceptions, has been ever before published in Ireland.”

Here is a prose rendering of the original.

O Woman below on the brink of the stream. Sho hoo lo!
Do yon understand the cause of my wailing? Sho hoo lo!
A year and this day I was whipt off my palfrey. Sho hoo lo!
And was carried into Lios-an-Chnocain. Sho hoo lo! Sho-heen,
Sho hoo lo!

There is here my beautiful great house. Sho hoo lo!
Abundant is new ale there and old ale. Sho hoo lo!
Abundant is yellow honey and bee’s wax there. Sho hoo lo!
Many is the old man tightly bound there. Sho hoo lo! Sho heen,

Many is the curling brown-haired boy there. Sho hoo lo!
Many is the yellow-haired comely girl there. Sho hoo lo!
There are twelve women bearing sons there. Sho hoo lo!
And as many more are there beside them. Sho hoo lo! Sho-heen,

Say to my husband to come to-morrow. Sho hoo lo!
With the wax candle in the centre of his palm. Sho hoo lo!
And in his hand to bring a black-hafted knife. Sho hoo lo!
And beat the first horse out of the gap. Sho hoo lo! Sho-heen,

To pluck the herb that’s in the door of the fort. Sho hoo lo!
With trust in God that I would go home with him. Sho hoo lo!
Or if he does not come within that time. Sho hoo lo!
That I will be queen over all these women. Sho hoo lo! Sho-
heen, etc.

“The incident here clearly narrated,” writes O’Curry, “was believed at all times to be of frequent occurrence. It was for the last sixteen hundred years, at least, and is still, as firmly believed in as any fact in the history of this country that the Tuatha de Danann, after their overthrow by the Milesians, had gone to reside in their hills and ancient forts, or in their dwellings on lakes and rivers that they were in possession of a mortal immortality and that they had the power to carry off from the visible world men and women in a living state, but sometimes under the semblance of death.

“The persons taken off were generally beautiful infants, wanted for those in the hill who had no children, fine young women, before marriage and often on the day of marriage, for the young men of the hills who had been invisibly feasting on their growing beauties perhaps from childhood; young men, in the same way, for the languishing damsels of fairyland; fresh, well-looking nurses for their nurseries…”

This poem refers to all the classes of abducted persons abducted young men now grown old, comely young
men and maidens and married women, like the speaker, needed for nurses. She describes a period before wine and whiskey were in use, and therefore more than three hundred years past, in Irish of, at any rate, the fifteenth century. By her own account she was snatched from her palfrey, and must, therefore, have been a woman of consequence. She sees from within Lios-an-Chnocain, or the Fort of the Hillock, a neighbour, perhaps, washing clothes by the brink of the stream which runs past the fort, and, in the intervals of her hush-cries to her fairy nursling, she gives instructions to her friend how to secure her freedom.

The bit of wax candle which her husband was to carry in the centre of his palm would be, no doubt, a candle
blessed on Candlemas Day, and the black-hafted knife was the only mortal weapon feared by the fairies.

Its use, as called for in the poem, was to strike the leading horse of the woman’s fairy chariot when she left the
fort the following day, and thus render her visible to her rescuing husband, who was then to possess himself of the herb that grew at the fort door, whose magical properties would guard her from recapture by the fairies.

From Alfred Graves, Irish Literary and Musical Studies, 1914, p147-149.


Posted by on February 3, 2012 in Uncategorized


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Là Fhèill Brìghde

Today is the first day of Spring, dedicated to Saint Brigid (or the goddess, if you prefer). In Scotland it is Là Fhèill Brìghde, while in Ireland it’s Lá Fhéile Bríde, and in Man it is Laa’l Breeshey. A lot of people tend to confuse the day with Candlemas, the Feast of the Purification of Mary, which is the day after on February 2nd. An Irish legend tells of how Mary gave Brigid a festival day before her own because Brigid – popularly seen as the midwife and foster-mother of Jesus by the Gaels – helped distract the crowd as Mary made her way to the temple for her ritual purification after giving birth, by wearing a crown of candles on her head and parading in front of Mary.1

Yesterday my daughter and I, following Scottish tradition, made a dealbh Bride, the ‘icon of Bride’:

Which I then laid out in a specially prepared bed with her slatag Bride (‘Bride’s wand’) next to her, after I had welcomed her in if she wished to visit. Alexander Carmichael gives a description of the festivities associated with the day in the Carmina Gadelica, and there are lots of other sources that give details too. The Carmichael Watson blog has some extra bits of lore from Carmichael’s private notes, which are well worth a read too; it’s a fantastic blog.

My favourite tale associated with the day is The Coming of Angus and Bride, a popular choice for a lot of folks, I think. It’s not, perhaps, the most reliable of tales in terms of authenticity (this tale is the only source that connects Bride and the Cailleach with the seasons, and in a later book by the same author he makes only the briefest mention of their connection with no mention of this tale at all; it seems the author himself is the one who made the connection between them), but it is a beautiful story nonetheless and contains many recognisably ‘authentic’ elements in it – whatever that means! There’s no point reposting it here, since it’s readily available over at, but it’s worth mentioning anyway…

Since the day is a celebration of Brigid, there are some songs that are very apt, and I think songs are a fantastic way of learning about, and getting and understanding of, the mindset of a culture. The first one is probably the best known, an Irish song called Gabhaim Molta Bride (‘I Praise Brigid’). The lyrics can be found here, and a video that Nefaeria has already posted (and thanks for the shout out!) is a lovely rendition of it:

As you might notice, the song is in a slightly different format to the lyrics I’ve posted; it seems a lot of traditional songs are very fluid in the way they are sung, particularly this next one, which is a favourite of mine for this festival. It’s called Tha Bainn’ Aig na Caorich Uile (‘All the Sheep Have Milk’), which is very apt for a festival that has traditional roots in associations with sheep’s milk. There are loads of different versions, but I think this one is a nice rendition (and there are a couple of other songs on this sound recording as well – you can explore other versions by clicking the links to the right).

I say ‘traditional roots’ in the sense that not everyone agrees that this is entirely accurate. The oldest sources call the festival Imbolc or Óimelc, and the ninth century Sanas Cormac (‘Cormac’s Glossary’) tells us:

Ói i.e. a sheep…Óimelc (‘beginning of spring’) i.e. ói-melg ‘ewe-milk’, i.e. that is the time the sheep’s milk comes; melg, i.e. milk, because it is milked.”

Stokes and O’Donovan, Sanas Chormaic, Cormac’s Glossary, 1868, p127.

Some academics have argued that the etymological roots of the word actually relates to washing or lustration, or perhaps even both (see Eric Hamp’s “Imbolc, Oimelc.” Studia Celtica 14/15 (1979/80): 106-13). Others still have settled on simply agreeing that the festival references milking in general; first the lambing, then in late spring, the calving, so if the festival doesn’t refer to literal milking on the day itself, certainly there is the anticipation of it.

We shouldn’t dismiss the associations with lustration out of hand, though; aside from the fact that other cultures had rites of purification common to this time of year, a poem found in a fourteenth century manuscript gives quatrains for each of the quarter day festivals and for Imbolc it tells us:

Fromad cach bíd iar n-urd,
issed dlegair i n-Imbulc,
díunnach laime is coissi is cinn,
is amlaid sin atberim.

Tasting every food in order,
This is what behoves at [Imbolc],
Washing of hand and foot and head,
It is thus I say.

Kuno Meyer, Anecdota Oxoniensia: Mediaeval and Modern Series (Part 8), 1894, p49.

However you celebrate, if or when you celebrate, I hope you have a good one.


1 See Kevin Danaher, The Year in Ireland, 1972, p38, and also my own article Là Fhèill Brìghde for more details on the day.


Posted by on February 1, 2012 in Uncategorized


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