There has been much emphasis on group think and conforming in much of Heathenry in past few years. Yes our ancestors lived in tribal groups and clans, but they never promoted "hive mind". Below is an excert from the book-From We Are Our Deeds: The Elder Heathenry, Its Ethic, and Thew by Eric Wódening Why the Germanic tribes placed such a importance on the individual cannot be said with any degree of certainty. It would appear, however, that they realized early in their development that in order for a society to thrive, its individuals must be allowed the freedom to be themselves. In a society which emphasizes conformity, the tendency would be for the individual to try to blend into the herd; hence, a warrior would avoid excelling in his craft, for fear that he would stand out from the crowd. Obviously then, conformity would keep individuals from performing to the best of their abilities. In a time and place where one’s tribe might be attacked by mad Celts at any moment, this was hardly desirable the community would want its warriors fighting to their full potential in hope of surviving the raging hordes of Gauls. Naturally, this extends to other occupations as well, so that an emphasis on individuality would also produce better scops, better smiths, and even better farmers.
Similarly, conformity could possibly have an adverse effect on the happiness of individuals. An unhappy individual is much less likely to contribute to society and much less likely to fight for that society when it is threatened by outsiders than one who is happy with his lot in life. For that reason, perhaps, the ancient Germanic tribes accorded the individual a large number of rights, such as the right to keep his own property and the right to some say in government. The survival of the community would then appear to be somewhat dependent upon the happiness of its individuals, and the odds of individuals being happy would be increased if they were simply allowed to be themselves.
Similarly, conformity could possibly have an adverse effect on the happiness of individuals. An unhappy individual is much less likely to contribute to society and much less likely to fight for that society when it is threatened by outsiders than one who is happy with his lot in life. For that reason, perhaps, the ancient Germanic tribes accorded the individual a large number of rights, such as the right to keep his own property and the right to some say in government. The survival of the community would then appear to be somewhat dependent upon the happiness of its individuals, and the odds of individuals being happy would be increased if they were simply allowed to be themselves.
Óró Sé do Bheatha ‘Bhaile Oh-ro You're Welcome Home
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“Óró” is a cheer, while “sé do bheatha ‘bhaile” translates as “you are welcome home.” The song in its original form dates back to the third Jacobite rising in 1745-6. In the early 20th century it received new verses by the nationalist poet Patrick Pearse and was often sung by members of the Irish Volunteers during the Easter Rising. It was also sung as a fast march during the Irish War of Independence.
Like many folk songs, the origins of this song are obscure, but several different uses of the tune and chorus can be identified. In 1884 Mr. Francis Hogan of Brenormore, near Carrick-on-Suir, then “well over seventy years of age”, reports that “this song used to be played at the ‘Hauling Home,’ or the bringing home of a wife”. The “hauling home” was a ceremony that took place a month after a wedding when a bride was brought to live in her new husband’s home. This version only consists of the chorus.
Énrí Ó Muir?easa also records a similar refrain of Óró Sé do Bheatha ‘Bhaile in 1915 from the Barony of Farney, “but the song to which it belonged was lost before my time”. There is no mention of “hauling home” and the line that P. W. Joyce gives as thá tu maith le rátha (“’tis you are happy with prosperity [in store for you]”) is instead Tá tú amui? le rái??e (“You’ve been gone three months”). Óró Sé do Bheatha ‘Bhaile has also been associated with the Jacobite cause as Séarlas Óg (“Young Charles” in Irish), referring to Bonnie Prince Charlie and dating to the third Jacobite rising of 1745-6.
Óró Sé do Bheatha ‘Bhaile appears as number 1425 in George Petrie’s The Complete Collection of Irish Music (1855) under the title Ó ro! ’sé do ?ea?a a ?aile (modern script: Ó ro! ’sé do bheatha a bhaile) and is marked “Ancient clan march.” It can also be found at number 983 (also marked “Ancient Clan March”) and as a fragment at number 1056, titled Welcome home Prince Charley.
In the early 20th century Óró Sé do Bheatha ‘Bhaile received new verses by the nationalist poet Patrick Pearse and was often sung by members of the Irish Volunteers during the Easter Rising. It was also sung as a fast march during the Irish War of Independence.
Since 1916 Óró Sé do Bheatha ‘Bhaile has also been known under various other titles, notably Dord na bhFiann (Call of the Fighters) or An Dord Féinne. The latter title is associated with Pearse in particular. This version of Óró Sé do Bheatha ‘Bhaile features the pirate or “Great Sea Warrior” Gráinne Ní Mháille (Grace O’Malley), a formidable power on the west coast of Ireland in the late 16th century. Pearse shows his knowledge of the Jacobite version in the way he adapts it to the new independence cause. He emphasises the Irishness of the fighters by substituting native Gráinne for foreign Prince Charlie and changing Béidh siad leis-sean Franncaigh is Spáinnigh (“They’ll be with him, French and Spanish”) to Gaeil féin ‘s ní Francaigh ná Spáinnigh (“Gaels they, and neither French nor Spaniard”).
Óró Sé do Bheatha ‘Bhaile has been sung widely by ballad groups such as The Clancy Brothers and Tommy Makem, The Dubliners, The Cassidys, Noel McLoughlin, The McPeake Family, Thomas Loefke & Norland Wind, and the Wolfe Tones. Óró, sé do bheatha abhaile was also sung by sean-nós singer Darach Ó Catháin, Dónall Ó Dúil (on the album Faoin bhFód) and by Nioclás Tóibín. The song has received more modern treatments from John Spillane, The Twilight Lords, Cruachan, Tom Donovan, and Sinéad O’Connor. There is also a classical orchestral version by the Irish Tenors. Óró, sé do bheatha abhaile was also used in the 2006 film The Wind That Shakes the Barley. The number and variety of performances indicates how widely known the song is. It was widely sung in state primary schools in the early and middle 20th century. Boxer Steve Collins used the song as his ring entrance music for all seven of his WBO supermiddleweight title defenses in the mid nineties.
Home | Tags: Children, Sean-Nós | Submitted by Norascanlon
Edit | Submit Song | Request Song
“Óró” is a cheer, while “sé do bheatha ‘bhaile” translates as “you are welcome home.” The song in its original form dates back to the third Jacobite rising in 1745-6. In the early 20th century it received new verses by the nationalist poet Patrick Pearse and was often sung by members of the Irish Volunteers during the Easter Rising. It was also sung as a fast march during the Irish War of Independence.
Like many folk songs, the origins of this song are obscure, but several different uses of the tune and chorus can be identified. In 1884 Mr. Francis Hogan of Brenormore, near Carrick-on-Suir, then “well over seventy years of age”, reports that “this song used to be played at the ‘Hauling Home,’ or the bringing home of a wife”. The “hauling home” was a ceremony that took place a month after a wedding when a bride was brought to live in her new husband’s home. This version only consists of the chorus.
Énrí Ó Muir?easa also records a similar refrain of Óró Sé do Bheatha ‘Bhaile in 1915 from the Barony of Farney, “but the song to which it belonged was lost before my time”. There is no mention of “hauling home” and the line that P. W. Joyce gives as thá tu maith le rátha (“’tis you are happy with prosperity [in store for you]”) is instead Tá tú amui? le rái??e (“You’ve been gone three months”). Óró Sé do Bheatha ‘Bhaile has also been associated with the Jacobite cause as Séarlas Óg (“Young Charles” in Irish), referring to Bonnie Prince Charlie and dating to the third Jacobite rising of 1745-6.
Óró Sé do Bheatha ‘Bhaile appears as number 1425 in George Petrie’s The Complete Collection of Irish Music (1855) under the title Ó ro! ’sé do ?ea?a a ?aile (modern script: Ó ro! ’sé do bheatha a bhaile) and is marked “Ancient clan march.” It can also be found at number 983 (also marked “Ancient Clan March”) and as a fragment at number 1056, titled Welcome home Prince Charley.
In the early 20th century Óró Sé do Bheatha ‘Bhaile received new verses by the nationalist poet Patrick Pearse and was often sung by members of the Irish Volunteers during the Easter Rising. It was also sung as a fast march during the Irish War of Independence.
Since 1916 Óró Sé do Bheatha ‘Bhaile has also been known under various other titles, notably Dord na bhFiann (Call of the Fighters) or An Dord Féinne. The latter title is associated with Pearse in particular. This version of Óró Sé do Bheatha ‘Bhaile features the pirate or “Great Sea Warrior” Gráinne Ní Mháille (Grace O’Malley), a formidable power on the west coast of Ireland in the late 16th century. Pearse shows his knowledge of the Jacobite version in the way he adapts it to the new independence cause. He emphasises the Irishness of the fighters by substituting native Gráinne for foreign Prince Charlie and changing Béidh siad leis-sean Franncaigh is Spáinnigh (“They’ll be with him, French and Spanish”) to Gaeil féin ‘s ní Francaigh ná Spáinnigh (“Gaels they, and neither French nor Spaniard”).
Óró Sé do Bheatha ‘Bhaile has been sung widely by ballad groups such as The Clancy Brothers and Tommy Makem, The Dubliners, The Cassidys, Noel McLoughlin, The McPeake Family, Thomas Loefke & Norland Wind, and the Wolfe Tones. Óró, sé do bheatha abhaile was also sung by sean-nós singer Darach Ó Catháin, Dónall Ó Dúil (on the album Faoin bhFód) and by Nioclás Tóibín. The song has received more modern treatments from John Spillane, The Twilight Lords, Cruachan, Tom Donovan, and Sinéad O’Connor. There is also a classical orchestral version by the Irish Tenors. Óró, sé do bheatha abhaile was also used in the 2006 film The Wind That Shakes the Barley. The number and variety of performances indicates how widely known the song is. It was widely sung in state primary schools in the early and middle 20th century. Boxer Steve Collins used the song as his ring entrance music for all seven of his WBO supermiddleweight title defenses in the mid nineties.
Óró Sé do Bheatha ‘Bhaile has been sung widely by ballad groups such as The Clancy Brothers and Tommy Makem, The Dubliners, The Cassidys, Noel McLoughlin, The McPeake Family, Thomas Loefke & Norland Wind, and the Wolfe Tones. Óró Sé do Bheatha ‘Bhaile was also sung by sean-nós singer Darach Ó Catháin, Dónall Ó Dúil (on the album Faoin bhFód) and by Nioclás Tóibín. The song has received more modern treatments from John Spillane, The Twilight Lords, Cruachan, Tom Donovan, and Sinéad O’Connor. There is also a classical orchestral version by the Irish Tenors. Óró Sé do Bheatha ‘Bhaile was also used in the 2006 film The Wind That Shakes the Barley.
Pádraig Pearse’s version
Chorus:
Oró! You are welcome home!
Oró! You are welcome home!
Oró! You are welcome home!
Now that summer is coming
1. Welcome O woman who was so afflicted,
It was our ruin that you were in bondage,
Our fine land in the possesion of theives,
And sold to the foreigners
Chorus
2. Grainne Mhaol is coming over the sea,
Armed warriors along with her as guard,
They are Irishmen, not English or Spanish,
And they will rout the foreigners
Chorus
3. May it please the God of Miracles that we may see,
Although we only live a week after it,
Grainne Mhaol and a thousand warriors,
Dispersing the foreigners
Chorus
The first song is the original Jacobite version in which The Young Pretender is called “Shéarlais Oig, Mhic Rí Shéamais” (Young Charles, King James’s son”) as stated in the first line of the song, is the one who was welcomed home to claim his birthright in 1745.
The lyrics of the newer version were written by Pádraig Pearse, one of the leaders of the Irish Rebellion of 1916, as an invitation to all Irishmen away from Ireland to return home and join the fight for independence.
The tune is in P. W. Joyce as “Oro,’Se do Bheatha a Bhaile”: “Oro, Welcome Home!” A Hauling-Home Song, with following explanation:
“The ‘Hauling Home’ was bringing home the bride to her husband’s house after marriage. It was usually a month or so after the wedding, and was celebrated as an occasion next only in importance to the wedding itself. The bridegroom brought back home his bride at the head of a triumphal procession- all on cars or on horseback. I well remember one where the bride rode on a pillion behind her husband. As they entered the house the bridegroom is supposed to speak or sing:
1. – Oro, sé do bheatha a bhaile,
Is fearr liom tu ná céad bo bainne:
Oro, sé do bheatha a bhaile,
Thá tu maith le rátha.
2. Oro, welcome home,
I would rather have you than a hundred milch cows:
Oro, Welcome home,
’tis you are happy with prosperity.
Here is another collector, Mr. Hogan‘s note on this air:
– “Óró Sé do Bheatha ‘Bhaile used to be played at the ‘Hauling Home’, or the bringing home of a wife. The piper, seated outside the house at the arrival of the party, playing HARD (i.e. with great spirit): nearly all who were at the wedding a month previous being in the procession. Oh for the good old times!”
Óró Sé do Bheatha ‘Bhaile is called in Stanford-Petrie an “ancient clan march”: and it is set in the Major, with many accidentals, but another setting is given in the Minor. I (Joyce) give it here as Mr. Hogan wrote it, in its proper Minor form. In several particulars this setting differs from Dr. Petrie’s two versions. It was a march tune, as he calls it: but the MARCH was home to the husband’s house. Dr. Petrie does not state where he procured his two versions.”
It’s obvious that Pearse knew both the history and use of Óró Sé do Bheatha ‘Bhaile as a metaphor for Welcoming Ireland Home as a bride, to a free Ireland. (Source: Mr. Bill Kennedy Permanent Member of mudcat.org)
Notes
^ a b Joyce, Patrick Weston (1909). Old Irish Folk Music and Songs. London (Dublin): Longmans, Green and Co. (Hodges, Figgis & Co.). pp. 121, 130.
p. 121
Pádraig Pearse’s version
Chorus:
Oró! You are welcome home!
Oró! You are welcome home!
Oró! You are welcome home!
Now that summer is coming
1. Welcome O woman who was so afflicted,
It was our ruin that you were in bondage,
Our fine land in the possesion of theives,
And sold to the foreigners
Chorus
2. Grainne Mhaol is coming over the sea,
Armed warriors along with her as guard,
They are Irishmen, not English or Spanish,
And they will rout the foreigners
Chorus
3. May it please the God of Miracles that we may see,
Although we only live a week after it,
Grainne Mhaol and a thousand warriors,
Dispersing the foreigners
Chorus
The first song is the original Jacobite version in which The Young Pretender is called “Shéarlais Oig, Mhic Rí Shéamais” (Young Charles, King James’s son”) as stated in the first line of the song, is the one who was welcomed home to claim his birthright in 1745.
The lyrics of the newer version were written by Pádraig Pearse, one of the leaders of the Irish Rebellion of 1916, as an invitation to all Irishmen away from Ireland to return home and join the fight for independence.
The tune is in P. W. Joyce as “Oro,’Se do Bheatha a Bhaile”: “Oro, Welcome Home!” A Hauling-Home Song, with following explanation:
“The ‘Hauling Home’ was bringing home the bride to her husband’s house after marriage. It was usually a month or so after the wedding, and was celebrated as an occasion next only in importance to the wedding itself. The bridegroom brought back home his bride at the head of a triumphal procession- all on cars or on horseback. I well remember one where the bride rode on a pillion behind her husband. As they entered the house the bridegroom is supposed to speak or sing:
1. – Oro, sé do bheatha a bhaile,
Is fearr liom tu ná céad bo bainne:
Oro, sé do bheatha a bhaile,
Thá tu maith le rátha.
2. Oro, welcome home,
I would rather have you than a hundred milch cows:
Oro, Welcome home,
’tis you are happy with prosperity.
Here is another collector, Mr. Hogan‘s note on this air:
– “Óró Sé do Bheatha ‘Bhaile used to be played at the ‘Hauling Home’, or the bringing home of a wife. The piper, seated outside the house at the arrival of the party, playing HARD (i.e. with great spirit): nearly all who were at the wedding a month previous being in the procession. Oh for the good old times!”
Óró Sé do Bheatha ‘Bhaile is called in Stanford-Petrie an “ancient clan march”: and it is set in the Major, with many accidentals, but another setting is given in the Minor. I (Joyce) give it here as Mr. Hogan wrote it, in its proper Minor form. In several particulars this setting differs from Dr. Petrie’s two versions. It was a march tune, as he calls it: but the MARCH was home to the husband’s house. Dr. Petrie does not state where he procured his two versions.”
It’s obvious that Pearse knew both the history and use of Óró Sé do Bheatha ‘Bhaile as a metaphor for Welcoming Ireland Home as a bride, to a free Ireland. (Source: Mr. Bill Kennedy Permanent Member of mudcat.org)
Notes
^ a b Joyce, Patrick Weston (1909). Old Irish Folk Music and Songs. London (Dublin): Longmans, Green and Co. (Hodges, Figgis & Co.). pp. 121, 130.
p. 121