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by Michael Robinson
Oh Danny Boy, the pipes, the pipes are calling.
Anyone who plays Irish music must be ready to field countless requests
for this song, particularly around St. Patrick's Day. There is no doubt
about its popularity with those who know little about traditional Irish
music, and even with the older generation of Irish-Americans. But newly
arrived immigrants from Ireland have frequently never heard of Danny
Boy! Where did the song come from? Is it Irish at all? Those who subscribe
to the Internet Irish music list IRTRAD-L may have seen a discussion of
these points by folk music experts John Moulden and Philippe Varlet. Interestingly,
the answer can be found in the collection of traditional Irish harp music
made by Edward Bunting a little more than 200 years ago!
I would also like to extend my thanks to Jochen Lueg of Limavady, Northern Ireland,
a place that will play a large role in my story.
He puts out a very lively newsletter of local happenings,
, and he is also a good photographer.
He has generously allowed me to reproduce some of his photos on this site.
To begin with, Danny Boy is one of over 100 songs composed to
the same tune. The author was an English lawyer, Frederic Edward Weatherly
(), who was also a songwriter and radio entertainer. In 1910 he
wrote the words and music for an unsuccessful song he called Danny Boy.
In 1912 his sister-in-law in America sent him a tune called the Londonderry
Air (or possibly something else, as discussed in Section 3), which he had never heard before. He immediately noticed that the
melody was perfectly fitted to his Danny Boy lyrics, and published
a revised version of the song in 1913. As far as is known, Weatherly never
set foot in Ireland.
If you would like to see Fred Weatherly's lyrics, look at
(If you have any questions on this topic, please read all three sections of this article to see if
the answer is there before contacting me.)
The publisher Boosey accepted the song, and then it came to light that
an old friend of
Weatherley's, Alfred Perceval Graves, author of &Trottin'
to the Fair&…, had already written two lyrics to the melody.
Graves took strong except to having the folk-tune 'poached', and it
seems that the friendship with Weatherly came to an abrupt end.
Michael R. Turner and Antony Miall
The Edwardian Song-Book:
Drawing-Room Ballads
Methuen, London, 1982
The most prolific poet of the Edwardian—and for that matter Victorian and
Georgian—ballad, the genial and indefatiguable Fred E. (Frederick Edward)
Weatherly () was virtually a one-man song factory.
Seven of his lyrics appear in this book, but he wrote thousands, of
which at least fifteen hundred were published, with music by dozens of
composers who vied to get their hands on his verses. …The law
was as much a love as poetry, and he studied and was called to the
Bar at the age of thirty-nine, thereafter enjoying a comfortable career
on the Western Circuit, often appearing in criminal cases, almost invariably
for the defence.
According to his own account, in court he was remarkably
keen-witted and effective.
Songs poured from him, he translated opera (including
Cav. and Pag.) and he published quantities of verse and children's books.
He revelled in his considerable celebrity.
A little man physically, he had, as a
friend put it, 'a blithe and tender soul'.
He may have been self-satisfied
but he was much loved and was certainly no fool, cheerfully dismissing
his facility as a lyricist as no safe ticket to Parnassus.
His most commercially
successful ballad was 'Roses of Picardy' which became one of the great
popular songs of the Great War, and it made its writer a small fortune.
Michael R. Turner and Antony Miall
The Edwardian Song-Book:
Drawing-Room Ballads
Methuen, London, 1982
pp. 113-114
(The other Weatherly songs found in the above book are Up from Somerset, Nirvana,
Roses, Thora, Stonecracker John, Beyond the Dawn, Friend o' Mine.)
The Danny Boy lyrics proved particularly popular in the United
States, where they were recorded by a number of popular singers including
Bing Crosby.
(Note: These lyrics, plus some parody versions, can be found on the
Another name for this tune is the
Londonderry Air. This title has a certain political bias, since
the name &Londonderry& is used to emphasize the ties between
Northern Ireland and Britain (referring to the colonization of the area
by English settlers in the early 17th century). Irish nationalists usually
prefer to use &Derry&, the original name of the Northern city
and county.
It appears that the title Air from County Derry was also used.
I take this subject up further in section 3 of this article where the connection
to Percy Grainger is discussed.
The first appearance of the tune in print occurred in 1855, in Ancient
Music of Ireland, published by the early collector George Petrie
(). The untitled melody, was supplied to Petrie by Miss Jane Ross
of Limavady, County Londonderry, who claimed to have taken it down from
the playing of an itinerant piper. This is the origin of the Londonderry
Air name. Petrie states:
Name unknown
For the following beautiful air I have to express my very grateful
acknowledgement to Miss J. Ross, of N.-T.-Limavady, in the county of Londonderry—a
lady who has made a large collection of the popular unpublished melodies
of that county, which she has very kindly placed at my disposal, and which
has added very considerably to the stock of tunes which I had previously
acquired from that still very Irish county. I say still very I for
though it has been planted for more than two centuries by English and Scottish
settlers, the old Irish race still forms the great majority of its peasant
and there are few, if any, counties in which, with less foreign
admixture, the ancient melodies of the country have been so extensively
preserved. The name of the tune unfortunately was not ascertained by Miss
Ross, who sent it to me with the simple remark that it was &very old,&
in the correctness of which statement I have no hesitation in expressing
my perfect concurrence.
A great collector of the 1930s, Sam Henry, speculated that Miss Ross
had collected the tune from a fiddler, Blind Jimmy McCurry, who was known
to have been active in Limavady at the time. Jimmy's descendants have embraced this theory
enthusiastically, as seen on the PBS show Danny Boy: In Sunshine or in
However, I'm going to postpone that discussion to section 3 of this article.
Here's a photo of Jane Ross's house, by Jochen Lueg.
The blue plaque reads:
1810 - 1879
who recorded the
&THE LONDONDERRY
LIVED HERE
As the tune grew in popularity, and at the same time traditional Irish
music came to be more thoroughly researched, considerable doubt emerged
about Miss Ross's story. No additional versions of the melody were encountered
by other collectors. The structure of the tune is unlike any other traditional
Irish tune, and it is not suited for words in any of the known Irish song
meters. Miss Ross was unable to provide any supporting evidence (the name
of the piper, for example), and the suspicion grew that she had composed
it herself and was attempting to pass it off as a genuine Irish tune (although
by doing so she would be missing out on considerable royalty payments!).
She continued to maintain the truth of her original account.
I have encountered one claim for an earlier appearance of the tune.
The history of the tin whistle found on the website of the
claims that the founder of the company, Robert Clarke, frequently
played the tune while walking from Suffolk to Manchester in 1843.
If true, this would be before Petrie's publication date of 1855.
Perhaps somebody at the company can clarify this.
My friend Jerome Colburn points out that the tune appears (twice) in
the collection of Francis O'Neill, made among the Irish-American community
in Chicago around the end of the 19th century:
It's still worth mentioning that the tune had
a life of its own in the tradition between Jane Ross's time and Frederic
Weatherly's, as shown by Drimoleague Fair and Londonderry Love
Song in O'Neill's. Both are settings of the same tune Miss Ross notated,
complete with duple meter, half-cadence in the first part, high note in
the second, etc., etc. If they got into circulation from musicians who
read Londonderry Air in Petrie, they have undergone some alterations—more strikingly in Londonderry Love Song, where the last note
of each phrase is changed to put the whole tune into minor mode.
Drimoleague is in the south of County Cork, very close to where O'Neill
grew up, and about as far away from Derry as one could get and still be
on dry land. Since no other use of the Drimoleague Fair name is
known, and O'Neill is known to have use printed sources including Petrie,
it's highly likely that Petrie is the source and O'Neill gave it the name.
(He often gave his own titles to untitled tunes.)
The next piece of the puzzle appeared in 1934, when Anne Geddes Gilchrist
published an article entitled &A New Light Upon the Londonderry
Air& in the Journal of the English Folk Dance and Song Society.
She theorized that the tune was taken from a performance in which the performer
was using extreme rubato, and this &so disguised the natural rhythm
that the tune was wrongly noted down in common instead of triple time&.
If the prolonged notes occurring on the first beat of the bar are shortened
&the tune falls at once and easily into a rhythm which instead of
being unique in Irish folk-music is paralleled in scores of other Irish
folk-tunes&.
Finally, in 1979, an article &New Dates for Old Songs &,
by Hugh Shields, appeared in Long Room (the journal of the
library of Trinity College Dublin). Shields identified a tune in Edward
Bunting's 1796 publication A General Collection of the Ancient Irish
Music, entitled Aislean an Oigfear (in modern Irish Aisling
an &Ogfhir, &the young man's dream&), as being very
close to the Gilchrist version of the Londonderry Air, except in
the fourth phrase which &makes the Londonderry Air almost unsingable
in traditional style while endearing it to virtuosos eager for effects
of vocal expression&. (This phrase does not, however, exceed the range
of the pipes, so there is nothing to show it was not present in the original
performance.)
Bunting () was the pioneer collector of harp music whose career
began in 1792 when he was hired to write down the tunes performed at the
Belfast Harp Festival. It is to him (and to people working for him, particularly
one Patrick Lynch) that we owe the preservation of much of the traditional
Irish harp repertoire. Bunting noted Aislean an Oigfear from Denis
Hempson (), the very last traditional performer on the Irish wire-strung
harp (who luckily lived to the age of 110, allowing Bunting to collect
many of his tunes before his death), in Magilligan, County Derry—very near
to Miss Jane Ross's home in Limavady.
In his 1840 work, A Collection of the Ancient Music of Ireland,
Bunting discusses the characteristics of typical Irish melodies, stating
&The Young Man's Dream, and the air of The Green Woods of
Truigha, might be suggested as answering more nearly to the Editor's
conception of such a standard than any others with which he is acquainted&.
So after more than a century, Miss Ross has been vindicated, although
her skill as a transcriber is perhaps called into question. (Of course,
we cannot be sure that the anonymous piper's performance was of the best
standard, either.)
I've now added a
of Bunting's arrangement,
for people who would like to hear the original tune.
This includes the bass line published
by Bunting, which is not shown in the musical score above, except implicitly by chord
It is not known whether the bass line was actually played by Hempson,
but most authorities think that it was composed by Bunting.
Only the melody lines
in the Bunting collection were as originally played (we think), although in some cases Bunting has put them
into different keys.
am not aware of any traditional Irish words to Aislean an Oigfear
having been preserved. [Note: more recently I have
in fact found the Irish lyrics, given in section 2.] Interestingly enough, though, there
does exist a set of English words to the tune, composed by Thomas Moore
(), who found his way to fame and fortune by writing his own words
to the traditional tunes collected by Bunting, such as The Harp that
Once Through Tara's Halls and The Last Rose of Summer. (Bunting
did not receive any royalties from this effort, and had financial difficulties
throughout his collecting career.)
In my 1859 edition of Moore's Irish Melodies the following
set of words appear in four-part vocal harmony, set to the tune of The
Young Man's Dream:
As a Beam O'er the Face of the Waters
As a beam o'er the face of the waters may glow,
While the tide runs in darkness and coldness below,
So the cheek may be ting'd with a warm sunny smile
Though the cold heart to ruin runs darkly the while.
One fatal Remembrance, one sorrow that throws
Its bleak shade alike o'er our joys and our woes,
To which life nothing darker or brighter can bring,
For which Joy has no balm, and Affliction no sting:—
Oh! this thought in the midst of enjoyment will
Like a dead leafless branch in the summer'
The beams of the warm Sun play round it in vain—
It may smile in his light, but it blooms not again!
Based on an article published in the Folk Harp
Journal. Some additional material has been added to the version originally
published.
Since the above article was written, I have discovered
much more information about The Young Man's Dream. In fact, its
history can be traced back about a century earlier than what has been mentioned
so far. I have also located the original words, which are in the Irish
language, as well as another "original" set of words in English.
Continue on to
of this article, Danny Boy—The Mystery Returns! , or,
The Young Man's Dream.
Skip ahead to
of this article, The Danny Boy Trivia Collection.
All the arcane, useless, or
questionable information people have sent me is all collected together in one place.
Go to the .
Go to The Standing Stones
Go to the Standing Stones
(listing of the entire contents of this website)
STANDING STONES is registered with the United States Patent and
Trademark Office as a federal service mark.
Unauthorized use of this
mark for performing live or recorded music, or providing music-related
information over the Internet, in interstate commerce in the
United States, is prohibited.
For full details on the activities covered by this mark, consult theLook at the boy in the picture,This is myself中的look at是什么语?the boy是主语吗look不是系动词吗,为什么会在句首?
这是祈使句,让别人做什么或者请求别人做什么,一般省略主语而直接出现谓语.我们经常见的,比如come on,follow me please,Don't do that again!No Smoking!等等类似的.the boy 是宾语.
该句中的in the picture是状语吗
是状语，表示地点、位置的状语，
为您推荐：
其他类似问题
这不能说是什么语，因为这是祈使句，look at the boy 是动宾短语，the boy在介词at 后面做宾语，当look做“看起来”讲时是系动词，这里是实义动词“看”
In the picture是状语对吧
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