David Harley Words & Music

Backup:

I FASTED for some forty days on bread and buttermilk,
For passing round the bottle with girls in rags or silk,
In country shawl or Paris cloak, had put my wits astray,
And what’s the good of women, for all that they can say
Is fol de rol de rolly O.

Round Lough Derg’s holy island I went upon the stones,
I prayed at all the Stations upon my marrow bones,
And there I found an old man, and though, I prayed all day
And that old man beside me, nothing would he say
But fol de rol de rolly O.

All know that all the dead in the world about that place are stuck,
And that should mother seek her son she’d have but little luck
Because the fires of purgatory have ate their shapes away;
I swear to God I questioned them, and all they had to say
Was fol de rol de rolly O.

A great black ragged bird appeared when I was in the boat;
Some twenty feet from tip to tip had it stretched rightly out,
With flopping and with flapping it made a great display,
But I never stopped to question, what could the boatman say
But fol de rol de rolly O.

Now I am in the public-house and lean upon the wall,
So come in rags or come in silk, in cloak or country shawl,
And come with learned lovers or with what men you may,
For I can put the whole lot down, and all I have to say
Is fol de rol de rolly O.

Words by A.E. Housman, tune and arrangement by David Harley, 2015. All rights reserved.

One of my Housman settings. However, this one isn’t from A Shropshire Lad. Every so often, a tune just pops into my head and demands to be written. Strange how often that’s happened when reading Housman… I don’t own a lute (and haven’t tried to play one in decades), so I used my classic. I do love the lute, though I long ago gave up trying to play anything by Dowland.

Backup copy

The  poem was apparently written by a very young Housman (15) for a play, as a song to be sung by Lady Jane Grey while in prison awaiting execution. It somewhat resembles a lyric by Louisa McCartney Crawford (1790–1858) set to music by George Arthur Barker as part of a sequence of Songs of Mary Queen of Scots – The Captivity opens with the line ‘Breathe, breathe my Lute that melting strain My soul delights to hear’. Clearly there are parallels in the context of the two lyrics. There again, filtering thoughts about one’s l poems to or about one’s lute is almost de rigeur for poets: consider ‘My Lute Awake’ and ‘The Lover’s Lute cannot be blamed though it sing of his Lady’s Unkindness‘ by Thomas Wyatt, and even ‘Thou Art My Lute’ by Paul Lawrence Dunbar. (However, I am not currently considering an ode to my Strat.)

Returning to Housman, the first verse also reminds me somewhat of Byron’s We’ll go no more a-roving.

Breathe, my lute, beneath my fingers
One regretful breath,
One lament for life that lingers
Round the doors of death.
For the frost has killed the rose,
And our summer dies in snows,
And our morning once for all
Gathers to the evenfall.

Hush, my lute, return to sleeping,
Sing no songs again.
For the reaper stays his reaping
On the darkened plain;
And the day has drained its cup,
And the twilight cometh up;
Song and sorrow all that are
Slumber at the even-star.

David Harley