Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Wednesday, January 11, 2012

Into the Woods Coming to the Silver Screen



 

I've been wondering about this one for a while, such an obvious choice and Hollywood finally agreed. Yes, from my post header you can see that the Broadway musical hit, Into the Woods, is going to get a movie treatment. Yes, there is a DVD of the Broadway performance, but that's not nearly the same is it?

From 'Chicago' Director Rob Marshall Tackles Fairy Tales with 'Into the Woods' at Hollywood.com:

The man behind the Academy Award-winning Chicago and minor dud Nine has signed on to shepherd a feature version of Stephen Sondheim's classic Broadway show Into the Woods for his Pirates family, Disney. Marshall began cooking the idea up a year ago when he was working with mega-producer Jerry Bruckheimer on On Stranger Tides and the adaptation couldn't make more sense in the current landscape. After Tim Burton's blockbuster Alice in Wonderland, fairy tales are all the craze, with ABC's Once Upon a Time and NBC's Grimm bringing in solid ratings and Snow White and the Huntsman, OZ: The Great and Powerful and Maleficent all prepping for release in the next two years. Into the Woods, which melds a series of fairy tale characters and stories, including Little Red Riding Hood, Rapunzel and Cinederella, is a perfect fit.

It's unclear if Into the Woods will be Marshall's next project—he's currently working on a remake of The Thin Man with Johnny Depp, plus a possible fifth entry in the Pirates saga—but without he pressure of the current fad, we may see the musical sooner than later.

And what? Thin Man? Oh noes! I love Thin Man. I adore Thin Man. I am very worried about The Thin Man now. William Powell and Myrna Loy cannot be replicated. We own and watch the box set regularly.


But that isn't pertinent to SurLaLune, is it? Now is your chance to think up your dream cast for a film version of Into the Woods. Who would you want to play who? Of course, we would love to see Bernadette Peters reprise along with some others. I enjoyed Vanessa Williams when I saw her in Los Angeles. But I am not really attached to any current stars. What about you?

Thursday, December 22, 2011

Fairy Tale Music: A Preview


Cinderella: Songs From the Fairy Tale

A few of you asked for my fairy tale playlist that I have on my MP3 players. I don't want you to think I have forgotten you, like I forget so much here on the blog. I don't have the full list to share today, but I do have an old list that is buried on the SurLaLune site which may be of interest to you now. It's on the old bookstore page at Fairy Tale Music. It is a long list, so don't think I am shirking!

I am planning a fairy tale music month here on the blog in March 2012 for Music in Our Schools Month. March has a lot of pertinent themes for the blog, but this year I am using the music theme since I haven't done so previously.

There are also song listings on the Modern Interpretations pages for each fairy tale on the SurLaLune main site, too.

And, by all means, do not forget to use the Music subject tag on this blog either to read about other fairy tale music. I have several entries about interesting projects.

So if you are curious and want a preview of some of what is to come, that's where to start. Or, if you got new listening devices for holiday gifts and want new things to fill it. I've been told that happens sometimes.

And, by all means, if any of you have fairy tale music to share, please do! This is one of my weaker categories besides graphic novels, especially manga. It's hard to do lyrics searches for songs and find the themes we seek as fairy tale fiends, so many miss my radar. And then there's the issue of most searches bringing up audiobook tracks instead of actual music. It can be a tedious process to find new examples of fairy tale inspired or simply referenced music.

Monday, December 19, 2011

Fairy Tale by Angele Dubeau & La Pieta

 
And since I posted about Danse Macabre and Infernal Violins earlier, I have to add another post before anyone jumps up and says, But what about Fairy Tale by Angele Dubeau & La Pieta?

Yes, if you already know Angele Dubeau and are a reader here, you probably know about her Fairy Tale album, a collection of classical music inspired by folklore played by Dubeau on her Stradivarius with her all female group of musicians. It's lovely, too. The playlist can be seen on Amazon--it's hard to copy and paste it in its sampling format, so I am not going to try since I am in a rush today.

But if you want some wonderful classical music, this is highly recommended! And for the holidays, you might also like her Noël / Christmas.

Infernal Violins, Danse Macabre by Camille Saint-Saëns and Death!

Ever since we watched episode 5 of Grimm on NBC, "Danse Macabre," the music has been echoing through John's head. He has a strong knowledge of classical, mostly from tuba playing, but didn't know much about this one, so I went researching to see if his educated guesses were correct--he predicted the decade of composition and country of origin (although the name strongly hints at that one). Fun husband! It's a common roadtrip game with us--I can pick almost anything on my 80GB iPod and see how long it takes for him to identify it.

First of all, I already had two versions on my iTunes which lead us to reexploring a fascinating collection I have, Infernal Violins by Angele Dubeau & La Pieta. Highly recommended and not at all December holiday spirited, but if you, too, have Danse Macabre haunting you, check this out. Yes, it's a collection of music inspired by the Devil. But it's not nearly as "evil" as that sounds, after all, most of these are folklore devils which tend to be much more sympathetic and the equivalent of "Death" than many religious outright evil ones. And the music is invigorating but not as dark as one would guess--not Wagnerian as one would assume, that is. Most of it is straight classical although there is a fun classical mash-up of Paint It Black and Sympathy for the Devil on it, too.




Anyway, courtesy of Wikipedia, some highlights about Danse Macabre, too:

Danse macabre, Op. 40, is a tone poem for orchestra, written in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based in an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin.

According to legend, "Death" appears at midnight every year on Halloween. Death calls forth the dead from their graves to dance their dance of death for him while he plays his fiddle (here represented by a solo violin). His skeletons dance for him until the rooster crows at dawn, when they must return to their graves until the next year.

And the vocal lines, translated into English:

Zig, zig, zig, Death in cadence,
Striking a tomb with his heel,
Death at midnight plays a dance-tune,
Zig, zig, zag, on his violin.
The winter wind blows, and the night is dark;
Moans are heard in the linden trees.
White skeletons pass through the gloom,
Running and leaping in their shrouds.
Zig, zig, zig, each one is frisking,
You can hear the cracking of the bones of the dancers.
A lustful couple sits on the moss
So as to taste long lost delights.
Zig zig, zig, Death continues
The unending scraping on his instrument.
A veil has fallen! The dancer is naked.
Her partner grasps her amorously.
The lady, it's said, is a marchioness or baroness
And her green gallant, a poor cartwright.
Horror! Look how she gives herself to him,
Like the rustic was a baron.
Zig, zig, zig. What a saraband!
They all hold hands and dance in circles.
Zig, zig, zag. You can see in the crowd
The king dancing among the peasants.
But hist! All of a sudden, they leave the dance,
They push forward, they fly; the cock has crowed.
Oh what a beautiful night for the poor world!
Long live death and equality!

And, so, some Death inspired music for this December Monday! Thanks, Grimm!

Monday, November 21, 2011

Fairytale as a Verb and Rebecca Ferguson



So in my semi-regular hunt for fairy tale news for you I stumbled across Rebecca Ferguson, apparently a runner up on a recent UK season of X-Factor, who has a new single released in the UK, but not in the states, titled "Fairytale."

From Entertainment Wise:

Rebecca Ferguson has revealed a new song from her upcoming debut album.

'Fairytale (Let Me Live My Life This Way)' is taken from Heaven, due out on December 5. Her first single, 'Nothing's Real But Love', is released one week earlier on November 27.

The X Factor runner-up, who recently told Entertainmentwise there is a "strong possibility" she will return to the show to perform the single, reportedly became the centre of a £1 million bidding war between publishers desperate for the rights to her music.

We were lucky enough to sneak a listen to a handful of songs from Heaven this week, and think 'Fairytale' is a perfect example of the sassy, sophisticated and surprisingly confident sound Rebecca has on offer. But what do you think?

There's also a video embedded in the article. Unfortunately, all of the videos and sound bites of the song are country blocked, so I couldn't hear it and see how the lyrics may or may not really relate to fairy tale. But a lyrics search was fruitful. No, the song doesn't reference any specific fairy tales, but it has an interesting line in the chorus, I'll provide two:

But let me just fairytale that we are in love
I'd rather live a life this way

So we get "fairytale" as a verb, meaning "fantasize." Not a new meaning, but not a common usage either. Now I wonder if the song will be a hit and if the usage will become a little more common.

If you're in the UK (and probably the rest of Europe), you can buy her Heaven album or the single on Amazon.co.uk on the release date of December 5. We in the US have to wait...

Saturday, November 19, 2011

Music Video: Bjork's “Human Behaviour”



This is by no means new. It is a video of Bjork's first solo single, “Human Behaviour” from 1993. The video by director Michel Gondry was inspired by Yuri Norstein's animated film "Hedgehog in the Fog" and has some Goldilocks and the Three Bears influences. The song isn't fairy tale influenced, but the imagery is interesting.

Monday, October 17, 2011

Amanda Seyfriend Sings L'il Red Riding Hood



That's obviously Amanda Seyfriend singing a cover of the classic song "L'il Red Riding Hood" by Sam the Sham and the Pharaohs. She did this for the release of Red Riding Hood earlier this year and it's my favorite thing connected to the movie although it isn't connected to Warner Brothers. I only discovered it a few weeks ago when it was used in an NBC spot for Grimm. (Or a song very similar to it was, I haven't found the spot again and it has been my favorite one.)

The song is available for purchase through iTunes, but not the other usual suspects that I usually prefer since although I use iPods and iPhones, I don't care to be limited to the iTunes format. Still, I have fairy tales playlists--is anyone surprised by this?--and had to have this one for the lists.

Saturday, October 15, 2011

American Folk Songbook by Suzy Bogguss


 

American Folk Songbook by Suzy Bogguss was released a few months ago, but I just learned about it last night. I am a native Nashvillian. I was born here. I have left here. Many times. But I always end up coming back, a surprise to me sometimes more than anyone else. I love this city. These days I hope it will be my primary residence for the rest of my life. That said, I have never been a country music fan. I like some songs and a few artists, but I never listen to the numerous country music stations available to me in this city. I don't go to the many music venues either, unless a friend is performing, which is inevitable if someone is living here, but that is rare.

But one of the artists I have always enjoyed is Suzy Bogguss. She's been virtually invisible for years although I have never forgotten her and some of her songs are some of my favorites. Music on the Wind on her Aces is perhaps my favorite but I have many. I love every song on Aces and have listened to it times innumerable. It is also a boon that her voice is right in my most comfortable range so I can sing along with her. And she gets bonus points here on SurLaLune since one of her hits was Hey Cinderella.

So last night when I discovered her CD--I don't even buy CDs anymore--I had to own it. I knew it would be at home for downloading but I wanted to thank the store for informing me and spend some local dollars. I grew up singing many of these songs with my dad who loved them. He even had a thick songbook of old American songs with backstories that I attribute to contributing to my love of folklore: The Songs We Sang: A Treasury of American Popular Music by Theodore Raph. I have that book now and am thrilled to have this CD to listen to. Yes, I already have listened to it and it was worth every penny.

So if you like American folk music, this may be of interest to you. Or maybe not. I find music tends to be even more subjective than books. It is acoustic. It is simple but not simplistic.

Here's the song list. There's also a book to accompany it with sheet music and some stories. I may have to go back and buy it, too. Here's a link: American Folk Songbook. And here's the song list from the CD and book:

Companion book to the CD by Suzy Bogguss. Filled with fascinating stories, illustrations, and personal anecdotes, as well as the complete sheet music to all 17 songs arranged for vocal, guitar and piano. Foreword by John Lomax III.

Shady Grove
Shenandoah
Red River Valley
Froggy Went A-Courtin'
Wayfaring Stranger
Banks Of The Ohio
Johnny Has Gone For A Soldier
Ol' Dan Tucker
Rock Island Line
Sweet Betsy From Pike
Swing Low Sweet Chariot
Careless Love
All The Pretty Little Horses
Git Along Little Dogies
Erie Canal
Wildwood Flower
Beautiful Dreamer

Tuesday, September 20, 2011

A Cinderella Story: Once Upon a Song



 

A Cinderella Story: Once Upon a Song is a new release and the third in what can best be called the Cinderella Story franchise, I guess. This one is a musical and also has a soundtrack available. Here's the brief description of the movie:

Katie dreams of being a recording artist but is continually thwarted by her cruel stepmother and stepsister. When Katie falls hard for Luke, the new boy at her performing arts school, she tries to get his attention with her singing.
I have to admit I have only seen the first Cinderella Story and I have seen it more than a few times since it was a group favorite when I was teaching a group of 9-11 year-old-girls in a program similar to Girl Scouts about five years ago. Cinderella Story and Aquamarine and Ice Princess were the most requested for movie nights when I hosted the girls at my house for activities. And, no, the girls were not even aware of my fairy tale connections beyond some requests for some storytelling when carpooling. Of those three movies, I prefered Aquamarine the most although if I were to pick my favorite recent modernization of a fairy tale it would be Sydney White since I like Amanda Bynes better than most of these other starlets. Has anyone else seen Another Cinderella Story, the second movie in the franchise?

Tuesday, September 13, 2011

Wildwood: The Wildwood Chronicles, Book I by Colin Meloy and illustrated by Carson Ellis


Wildwood: The Wildwood Chronicles, Book I

Wildwood: The Wildwood Chronicles, Book I by Colin Meloy and illustrated by Carson Ellis. Colin Meloy, lead singer of The Decemberists, has written a children's book. This doesn't sound like the usual "celebrity" books. It sounds like a likeable read, but what I found the most interesting was the accompanying playlist which makes total sense considering the author is a musician and the current popularity of playlists with many YA and adult novels. I am including both the book description and the playlist for that reason. Whether or not you are interested in the book, the music may interest many readers here. Of course, being a celebrity penned book it has already been optioned for a movie by those who brought Coraline to the screen.

And, yes, most of the articles and press mention that the book draws from fairy tales, but from what I can tell it is pretty much in the way most fantasy does. (I keep reading "murder of crows" in the articles about the book and can't help but hear it in Sting's voice from his "All This Time." Yes, music influences us.) I haven't read the book, I was informed of it by the press blitz.


Book description:

Prue McKeel’s life is ordinary. At least until her baby brother is abducted by a murder of crows. And then things get really weird.

You see, on every map of Portland, Oregon, there is a big splotch of green on the edge of the city labeled “I.W.” This stands for “Impassable Wilderness.” No one’s ever gone in—or at least returned to tell of it.

And this is where the crows take her brother.

So begins an adventure that will take Prue and her friend Curtis deep into the Impassable Wilderness. There they uncover a secret world in the midst of violent upheaval, a world full of warring creatures, peaceable mystics, and powerful figures with the darkest intentions. And what begins as a rescue mission becomes something much bigger as the two friends find themselves entwined in a struggle for the very freedom of this wilderness.

A wilderness the locals call Wildwood.

Wildwood is a spellbinding tale full of wonder, danger, and magic that juxtaposes the thrill of a secret world and modern city life. Original and fresh yet steeped in classic fantasy, this is a novel that could have only come from the imagination of Colin Meloy, celebrated for his inventive and fantastic storytelling as the lead singer of the Decemberists. With dozens of intricate and beautiful illustrations by award-winning artist Carson Ellis, Wildwood is truly a new classic for the twenty-first century.

And the playlist:

A Wildwood Playlist by Colin Meloy & Carson Ellis

"Ramble On" by Led Zeppelin
Colin Meloy: I remember reading an interview with Evan Dando from the Lemonheads right around the time the first Lord of the Rings movie came out, bemoaning the fact that the director hadn’t included a single Zeppelin song in the movie. I tend to agree; I mean, how rad would it’ve been after that dramatic ending in The Return of the King, with all its royal celebrations and slo-mo montages—the screen goes black and those monster riffs of “Immigrant Song” kick in? Mind-blowing. So much incredible music in the 60s and 70s was directly fueled by mid-century fantasy fiction, something that Wildwood owes much to; I feel it would be deeply remiss here not to include a little Zepp.

"Marching Song" by Esben and the Witch
Colin Meloy: That said, when I was deep in my preadolescent reverie of fantasy and sci-fi, my friends and I would meet every weekend at someone’s house to play Dungeons & Dragons. There. Confession made. And as everyone knows, the best Dungeon Masters always partnered up their biggest action scenarios with music. While I think it may have been de rigueur to blast Zeppelin or Hawkwind for some folks, I considered myself to be somewhat of a sophisticate. Joy Division was perfect music for a slow, suspenseful crawl through a gelatinous cube-infested grotto. The Legendary Pink Dots added an extra dimension to a party’s first encounter with some weird, reclusive nemesis in a castle tower. An Enchantress might appear to “Under Ice” by Kate Bush or anything from Siouxsie’s output. When I first heard this song from Brighton, England’s Esben and the Witch (even the name is evocative of those days) I imagined a new generation of over-imaginative ten-year-olds pairing their fantastical ramblings with the drowning rains and empty plains of this song.

"Take It Easy" by Hopeton Lewis
Colin Meloy: Switching gears, here. Rocksteady, a kind of precursor to the reggae explosion of the 70s, was a beautiful, thoughtful, random amalgam of classic R&B and traditional Jamaican rhythms. It’s clearly the kind of music that is birthed out of necessity; a bunch of poor kids in the slums of Kingston figuring out for themselves how to re-create the sounds that they were hearing over crappy radio speakers: Sam Cooke, Ben E. King, and Sam & Dave. And what came out wasn’t quite the same, but beautiful and weird and extraordinary in its own right. All this to say: I think that rocksteady music is the music of true enjoyment, the aural equivalent of a slice of bacon, and a rocksteady party was the kind of party I imagined Prue’s parents would throw to celebrate Mac and Prue’s joyful return. And I’ll bet that Prue’s dad dug deep for some Lewis sides—maybe he even had them on 45.

"Tam Lin" by Fairport Convention 
Colin Meloy: My 60s Brit Folk obsession is fairly well documented, but I thought I’d be remiss if I didn’t include an old folk song in this list. This one, in particular, features a forbidding forest and an evil fairy queen and a pair of star-crossed lovers. Clocking in just north of seven minutes, it’s as immersive and complete a narrative as a song can hope to retell.

"Jar of Hearts" by Christina Perri 
Carson Ellis: I love Sibylle Baier’s mournful songs and I listened to them a lot when I was working on Wildwood, especially during the rainy months. Portland winters can be dreary and sometimes gloomy music is the best thing for them. This isn’t my very favorite song of hers, but I chose it because, you know, the title.

"I Lost Something in the Hills" by Sibylle Baier
Carson Ellis: The intensity and focused passion of this song makes me think of my darling Jack, along with the references to heaven and hell, a favorite theme of his.

"My Lovely Elizabeth" by S.E. Rogie
Carson Ellis: Wildwood has a lot of illustrations—85 in all—and it was hard work getting them done. Man, I love to draw but at times this project was exhausting. At times it was downright grueling. Fortunately, I have some remedies for this: taking a walk always helps, as does yoga, as does S. E. Rogie.

"Katie Cruel" by Karen Dalton
Carson Ellis: This is a spooky traditional song that dates back to the Revolutionary War. Like Wildwood’s villainess, Alexandra, Katie Cruel roams the forest and the “bogs and mire,” jilted and in exile. This is a good song to listen to while walking in Forest Park, the real woods that were the inspiration for Wildwood’s Impassable Wilderness. Or while walking in any misty, quiet forest where beards of moss hang from the gnarled branches of dead trees and there’s little sign of civilization. You can imagine that around any bend you might find the solitary hut of Katie Cruel, a little curl of smoke drifting up from its chimney and the sound of her high lonesome banjo coming from within. I also love this song’s beautiful, totally unhinged chorus:

Oh that I was where I would be,

Then I would be where I am not,

Here I am where I must be

Go where I would, I cannot.

"Over the Hills and Far Away" by Led Zeppelin
Carson Ellis: I’m a longtime Led Zeppelin fan and this song, in addition to having a fitting title, was another one I loved when I was Prue’s age. I first heard it around the time I read The Hobbit, and I thought its medieval vagabond vibe was awesome. I’m also a sucker for a song that starts with a pretty guitar part and then gets crazy. As an adult I tend to like Zeppelin’s earlier, bluesier stuff better but, as a kid, I loved the Middle Earth-ish stuff and “Over the Hills and Far Away” was my jam.

Wednesday, August 31, 2011

My Fairytale: Theatre in Solvang, CA



 


I've previously written about Solvang and the musical, My Fairytale. The play finally had its USA premiere last week in Solvang and the reviews have been positive. There are some successful names behind the production, so that is encouraging. I only wish I still lived in LA so I could drive up and see the play.

About the musical from its press release:

PCPA Theaterfest is proud to present the American Premiere of My Fairytale, a musical about Hans Christian Andersen directed by Scott Schwartz. My Fairytale previews in Santa Maria August 12 - 20, then opens in Solvang’s Festival Theater running from August 26 through September 25, 2011.

The musical is an enchanted journey into the imagination of one of the worlds’ greatest storytellers - it’s a place of wonder, mystery and danger, and where Andersen is confronted by the characters from his fairytales. His quest is to find the Nightingale for the ailing Emperor, but he is continually kept him from his goal, being sidetracked by the fairytale characters, a boy, and a shadow.

My Fairytale was originally produced in Denmark in 2005 in honor of the bi-centennial of Hans Christian Andersen’s birth. Director Scott Schwartz pointed out that this first American production, besides being presented in English for the first time, includes the introduction of puppets, some script rewrites, and additional music by Stephen Schwartz, which will make My Fairytale feel more like a world premiere production. And, it will only be seen at PCPA.

This breathtaking production is filled with a powerful score created by Stephen Schwartz, the award-winning composer of Wicked. The book is by Philip LaZebnik (Pocahontas), and it was originally created by Flemming Enevold, the famous Danish actor and singer.



From My Fairytale at Solvang Festival Theater: U.S. Premiere of Musical Set in the Imagination of Hans Christian Andersen Plays Through September 25 by Charles Donelan:

With the terrific new musical My Fairytale, Solvang enters its second century through the cosmic portal of Hans Christian Andersen’s imagination. PCPA and producer Michael Jackowitz have assembled a brilliant team to design, direct, and perform the vision supplied by Stephen Schwartz (composer) and Philip LaZebnik (author). Beginning with the lifelong conflict that Andersen experienced between his ambition to produce serious works of theater and his propensity to spin out fairy tales with seemingly childish subjects, the show demonstrates that these aims are not merely compatible but complementary.

Andersen, who is wonderfully played and sung by Kevin Cahoon, crashes a reception for the singer Jenny Lind in the opening scene, only to be rebuffed when he indicates that he would like to write a show for Lind and that he intends to audition for the job by putting on a puppet show. Left alone overnight in the Royal Danish National Theater by the snobby board of directors, Andersen anticipates his scheduled morning meeting with the sympathetic Lind by literally diving into his imagination. After a rousing number called “Andersen’s Shadow,” two figures, Andersen and his Shadow (Erik Stein), tumble into the puppet case, only to emerge moments later in a fantasy world that’s entirely constructed out of the figments of Andersen’s overflowing imagination.

Information about tickets, location and dates can be found here.

Monday, July 11, 2011

The Soul Cages by Thomas Croker and Sting



The Soul Cages Mermaid and Other Water Spirit Tales From Around the World

Mermaid and Other Water Spirit Tales From Around the World has a slight connection to an album that was in standard rotation for me when I was in college, The Soul Cages by Sting. Sting's music was perfect for that period in my life.

As I gathered stories of mermaids, merrows and such, I came across The Soul Cages by Thomas Croker. It's a long story about souls being caged and rescued. Sting's version involves a demonic fisherman as the villain and Croker's tells of a merrow who cages the souls that are ultimately freed by Jack, the protagonist. You can read the lyrics to Sting's song here. The tale is not unique to County Kerry, Ireland, the source of Croker's tale. In his notes, for example, Croker includes a translation of a similar tale from Grimm’s Deutche Sagan (Croker's spelling, which should be Deutsche Sagen). And the question of souls is common in many mermaid tales, whether it be those of the merrow folk or captive humans. Even Hans Christian Andersen was inspired by the state of the immortal soul in his Little Mermaid which in itself led to the simplified Poor Unfortunate Souls in Disney's version of the tale.

But I'll stop there to make room for this long tale, notes not included, but the tale is fascinating all unto itself.


The Soul Cages
by Thomas Croker

JACK Dogherty lived on the coast of the county Clare. Jack was a fisherman, as his father and grandfather before him had been. Like them, too, he lived all alone (but for the wife), and just in the same spot. People used to wonder why the Dogherty family were so fond of that wild situation, so far away from all human kind, and in the midst of huge shattered rocks, with nothing but the wide ocean to look upon. But they had their own good reasons for it.

The place was just the only spot on that part of the coast where anybody could well live. There was a neat little creek, where a boat might lie as snug as a puffin in her nest, and out from this creek a ledge of sunken rocks ran into the sea. Now when the Atlantic, according to custom, was raging with a storm, and a good westerly wind was blowing strong on the coast, many a richly-laden ship went to pieces on these rocks; and then the fine bales of cotton and tobacco, and such like things, and the pipes of wine and the puncheons of rum, and the casks of brandy, and the kegs of Hollands that used to come ashore! Dunbeg Bay was just like a little estate to the Doghertys.

Not but they were kind and humane to a distressed sailor, if ever one had the good luck to get to land; and many a time indeed did Jack put out in his little corragh (which, though not quite equal to honest Andrew Hennessy’s canvas life-boat would breast the billows like any gannet), to lend a hand towards bringing off the crew from a wreck. But when the ship had gone to pieces, and the crew were all lost, who would blame Jack for picking up all he could find?

“And who is the worse of it?” said he. “For as to the king, God bless him! everybody knows he’s rich enough already without getting what’s floating in the sea.”

Jack, though such a hermit, was a good-natured, jolly fellow. No other, sure, could ever have coaxed Biddy Mahony to quit her father’s snug and warm house in the middle of the town of Ennis, and to go so many miles off to live among the rocks, with the seals and sea-gulls for next-door neighbours. But Biddy knew that Jack was the man for a woman who wished to be comfortable and happy; for to say nothing of the fish, Jack had the supplying of half the gentlemen’s houses of the country with the Godsends that came into the bay. And she was right in her choice; for no woman ate, drank, or slept better, or made a prouder appearance at chapel on Sundays, than Mrs. Dogherty.

Many a strange sight, it may well be supposed, did Jack see, and many a strange sound did he hear, but nothing daunted him. So far was he from being afraid of Merrows, or such beings, that the very first wish of his heart was to fairly meet with one. Jack had heard that they were mighty like Christians, and that luck had always come out of an acquaintance with them. Never, therefore, did he dimly discern the Merrows moving along the face of the waters in their robes of mist, but he made direct for them; and many a scolding did Biddy, in her own quiet way, bestow upon Jack for spending his whole day out at sea, and bringing home no fish. Little did poor Biddy know the fish Jack was after!

It was rather annoying to Jack that, though living in a place where the Merrows were as plenty as lobsters, he never could get a right view of one. What vexed him more was that both his father and grandfather had often and often seen them; and he even remembered hearing, when a child, how his grandfather, who was the first of the family that had settled down at the creek, had been so intimate with a Merrow that, only for fear of vexing the priest, he would have had him stand for one of his children. This, however, Jack did not well know how to believe.

Fortune at length began to think that it was only right that Jack should know as much as his father and grandfather did. Accordingly, one day when he had strolled a little farther than usual along the coast to the northward, just as he turned a point, he saw something, like to nothing he had ever seen before, perched upon a rock at a little distance out to sea. It looked green in the body, as well as he could discern at that distance, and he would have sworn, only the thing was impossible, that it had a cocked hat in its hand. Jack stood for a good half-hour straining his eyes, and wondering at it, and all the time the thing did not stir hand or foot. At last Jack’s patience was quite worn out, and he gave a loud whistle and a hail, when the Merrow (for such it was) started up, put the cocked hat on its head, and dived down, head foremost, from the rock.

Jack’s curiosity was now excited, and he constantly directed his steps towards the point; still he could never get a glimpse of the sea-gentleman with the cocked hat; and with thinking and thinking about the matter, he began at last to fancy he had been only dreaming. One very rough day, however, when the sea was running mountains high, Jack Dogherty determined to give a look at the Merrow’s rock (for he had always chosen a fine day before), and then he saw the strange thing cutting capers upon the top of the rock, and then diving down, and then coming up, and then diving down again.

Jack had now only to choose his time (that is, a good blowing day), and he might see the man of the sea as often as he pleased. All this, however, did not satisfy him—“much will have more”; he wished now to get acquainted with the Merrow, and even in this he succeeded. One tremendous blustering day, before he got to the point whence he had a view of the Merrow’s rock, the storm came on so furiously that Jack was obliged to take shelter in one of the caves which are so numerous along the coast; and there, to his astonishment, he saw sitting before him a thing with green hair, long green teeth, a red nose, and pig’s eyes. It had a fish’s tail, legs with scales on them, and short arms like fins. It wore no clothes, but had the cocked hat under its arm, and seemed engaged thinking very seriously about something.

Jack, with all his courage, was a little daunted; but now or never, thought he; so up he went boldly to the cogitating fishman, took off his hat, and made his best bow.

“Your servant, sir,” said Jack.

“Your servant, kindly, Jack Dogherty,” answered the Merrow.

“To be sure, then, how well your honour knows my name!” said Jack.
“Is it I not know your name, Jack Dogherty? Why man, I knew your grandfather long before he was married to Judy Regan, your grandmother! Ah, Jack, Jack, I was fond of that grandfather of yours; he was a mighty worthy man in his time: I never met his match above or below, before or since, for sucking in a shellful of brandy. I hope, my boy,” said the old fellow, with a merry twinkle in his eyes, “I hope you’re his own grandson!”

‘Never fear me for that,” said Jack; “if my mother had only reared me on brandy, ’tis myself that would be a sucking infant to this hour!”

“Well, I like to hear you talk so manly; you and I must be better acquainted, if it were only for your grandfather’s sake. But, Jack, that father of yours was not the thing! he had no head at all.”

“I’m sure, said Jack, “since your honour lives down under the water, you must be obliged to drink a power to keep any beat in you in such a cruel, damp, could place. Well, I’ve often heard of Christians drinking like fishes; and might I be so bold as ask where you get the spirits?”

“Where do you get them yourself, Jack?” said the Merrow, twitching his red nose between his forefinger and thumb.

“Hubbubboo,” cries Jack “now I see how it is; but I suppose, sir, your honour has got a fine dry cellar below to keep them in.”

“Let me alone for the cellar,” said the Merrow, with a knowing wink of his left eye.

“I’m sure,” continued Jack, “it must be mighty well worth the looking at.”

“You may say that, Jack,” said the Merrow; “and if you meet me here next Monday, just at this time of the day, we will have a little more talk with one another about the matter.”

Jack and the Merrow parted the best friends in the world. On Monday they met, and Jack was not a little surprised to see that the Merrow had two cocked hats with him, one under each arm.

“Might I take the liberty to ask, sir,” said Jack, “why your honour has brought the two hats with you today? You would not, sure, be going to give me one of them, to keep for the curiosity of the thing?”

“No, no, Jack,” said he, “I don’t get my hats so easily, to part with them that way; but I want you to come down and dine with me, and I brought you that hat to dive with.”

“Lord bless and preserve us!” cried Jack, in amazement, would you want me to go down to the bottom of the salt sea ocean? Sure, I’d be smothered and choked up with the water, to say nothing of being drowned! And what would poor Biddy do for me, and what would she say?”

“And what matter what she says, you pinkeen? Who cares for Biddy’s squalling? It’s long before your grandfather would have talked in that way. Many’s the time he stuck that same hat on his head, and dived down boldly after me; and many’s the snug bit of dinner and good shellful of brandy he and I have had together below, under the water.”

“Is it really, sir, and no joke?” said Jack; “why, then, sorrow from me for ever and a day after, if I’ll be a bit worse man nor my grandfather was! Here goes—but play me fair now. Here’s neck or nothing!” cried Jack.

“That’s your grandfather all over,” said the old fellow; “so come along, then, and do as I do.”

They both left the cave, walked into the sea, and then swam a piece until they got to the rock, The Merrow climbed to the top of it, and Jack followed him. On the far side it was as straight as the wall of a house, and the sea beneath looked so deep that Jack was almost cowed.

“Now, do you see, Jack,” said the Merrow: “just put this hat on your head, and mind to keep your eyes wide open. Take hold of my tail, and follow after me, and you’ll see what you’ll see.”

In he dashed, and in dashed Jack after him boldly. They went and they went, and Jack thought they’d never stop going. Many a time did he wish himself sitting at home by the fireside with Biddy. Yet where was the use of wishing now, when he was so many miles, as he thought, below the waves of the Atlantic? Still he held hard by the Merrow’s tail, slippery as it was; and, at last, to Jack’s great surprise, they got out of the water, and he actually found himself on dry land at the bottom of the sea. They landed just in front of a nice house that was slated very neatly with oyster shells! and the Merrow, turning about to Jack, welcomed him down.

Jack could hardly speak, what with wonder, and what with being out of breath with travelling so fast through the water. He looked about him and could see no living things, barring crabs and lobsters, of which there were plenty walking leisurely about on the sand. Overhead was the sea like a sky, and the fishes like birds swimming about in it.

“Why don’t you speak, man?” said the Merrow: “I dare say you had no notion that I had such a snug little concern here as this? Are you smothered, or choked, or drowned, or are you fretting after Biddy, eh?”

“Oh! not myself indeed,” said Jack, showing his teeth with a good-humoured grin—“but who in the world would ever have thought of seeing such a thing?”

“Well, come along, and let’s see what they’ve got for us to eat?”

Jack really was hungry, and it gave him no small pleasure to perceive a fine column of smoke rising from the chimney, announcing what was going on within. Into the house he followed the Merrow, and there he saw a good kitchen, right well provided with everything. There was a noble dresser, and plenty of pots and pans, with two young Merrows cooking. His host then led him into the room, which was furnished shabbily enough. Not a table or a chair was there in it; nothing but planks and logs of wood to sit on, and eat off. There was, however, a good fire blazing upon the hearth—a comfortable sight to Jack.

“Come now, and I’ll show you where I keep—you know what,” said the Merrow, with a sly look; and opening a little door, he led Jack into a fine cellar, well filled with pipes, and kegs, and hogsheads, and barrels.

“What do you say to that, Jack Dogherty?—Eh!—may be a body can’t live snug under the water?”

“Never the doubt of that,” said Jack, with a convincing smack of his upper lip, that he really thought what he said.

They went back to the room, and found dinner laid. There was no tablecloth, to be sure—but what matter? It was not always Jack had one at home. The dinner would have been no discredit to the first house of the country on a fast day. The choicest of fish, and no wonder, was there. Turbots, and sturgeons, and soles, and lobsters, and oysters, and twenty other kinds, were on the planks at once, and plenty of the best of foreign spirits. The wines, the old fellow said, were too cold for his stomach.

Jack ate and drank till he could eat no more: then taking up a shell of brandy, “Here’s to your honour’s good health, sir,” said he; “though, begging you pardon, it’s mighty odd that as long as we’ve been acquainted I don’t know your name yet.”

“That’s true, Jack,” replied he; “I never thought of it before, but better late than never. My name’s Coomara.”

“And a mighty decent name it is,” cried Jack, taking another shellfull: “here’s to your good health, Coomara, and may ye live these fifty years to come!”

“Fifty years!” repeated Coomara; “I’m obliged to you, indeed! If you had said five hundred, it would have been something worth the wishing.”

“By the laws, sir,” cries Jack, “youz live to a powerful age here under the water! You knew my grandfather, and he’s dead and gone better than these sixty years. I’m sure it must be a healthy place to live in.”

“No doubt of it; but come, Jack, keep the liquor stirring.”

Shell after shell did they empty, and to Jack’s exceeding surprise, he found the drink never got into his head, owing, I suppose, to the sea being over them, which kept their noddles cool.

Old Coomara got exceedingly comfortable, and sung several songs; but Jack, if his life had depended on it, never could remember more than


“Rum fum boodle boo,
Ripple dipple nitty dob;
Dumdoo doodle coo,
Raffle taffle chittibob!”


It was the chorus to one of them; and, to say the truth, nobody that I know has ever been able to pick any particular meaning out of it; but that, to be sure, is the case with many a song nowadays.

At length said he to Jack, “Now, my dear boy, if you follow me, I’ll show you my curiosities!” He opened a little door, and led Jack into a large room, where Jack saw a great many odds and ends that Coomara had picked up at one time or another. What chiefly took his attention, however, were things like lobsterpots ranged on the ground along the wall.

“Well, Jack, how do you like my curiosities?” said old Coo.

“Upon my sowkins, sir,” said Jack, “they’re mighty well worth the looking at; but might I make so bold as to ask what these things like lobster-pots are?”

“Oh! the Soul Cages, is it?”

“The what? sir!”

“These things here that I keep the souls in.”

“Arrah! what souls, sir?” said Jack, in amazement; “sure the fish have no souls in them?”

“Oh! no,” replied Coo, quite coolly, “that they have not; but these are the souls of drowned sailors.”

“The Lord preserve us from all harm!” muttered lack, “how in the world did you get them?”

“Easily enough: I’ve only, when I see a good storm coming on, to set a couple of dozen of these, and then, when the sailors are drowned and the souls get out of them under the water, the poor things are almost perished to death, not being used to the cold; so they make into my pots for shelter, and then I have them snug, and fetch them home, and is it not well for them, poor souls, to get into such good quarters?”

Jack was so thunderstruck he did not know what to say, so he said nothing. They went back into the dining-room, and had a little more brandy, which was excellent, and then, as Jack knew that it must be getting late, and as Biddy might be uneasy, he stood up, and said he thought it was time for him to be on the road.

“Just as you like, Jack,” said Coo, “but take a duc an durrus before you go; you’ve a cold journey before you.”

Jack knew better manners than to refuse the parting glass. “I wonder,” said he, “will I be able to make out my way home?”

“What should ail you,” said Coo, “when I’ll show you the way?”

Out they went before the house, and Coomara took one of the cocked hats, and put it upon Jack’s head the wrong way, and then lifted him up on his shoulder that he might launch him up into the water.

“Now,” says he, giving him a heave, “you’ll come up just in the same spot you came down in; and, Jack, mind and throw me back the hat.”

He canted Jack off his shoulder, and up he shot like a bubble—whirr, whiff, whiz—away he went up through the water, till he came to the very rock he had jumped off where he found a landing-place, and then in he threw the hat, which sunk like a stone.

The sun was just going down in the beautiful sky of a calm summer’s evening. Feascor was seen dimly twinkling in the cloudless heaven, a solitary star, and the waves of the Atlantic flashed in a golden flood of light. So Jack, perceiving it was late, set off home; but when he got there, not a word did he say to Biddy of where he had spent his day.

The state of the poor souls cooped up in the lobster-pots gave Jack a great deal of trouble, and how to release them cost him a great deal of thought. He at first had a mind to speak to the priest about the matter. But what could the priest do, and what did Coo care for the priest? Besides, Coo was a good sort of an old fellow, and did not think he was doing any harm. Jack had a regard for him, too, and it also might not be much to his own credit if it were known that he used to go dine with Merrows. On the whole, he thought his best plan would be to ask Coo to dinner, and to make him drunk, if he was able, and then to take the hat and go down and turn up the pots. It was, first of all, necessary, however, to get Biddy out of the way; for Jack was prudent enough, as she was a woman, to wish to keep the thing secret from her.

Accordingly, Jack grew mighty pious all of a sudden, and said to Biddy that he thought it would be for the good of both their souls if she was to go and take her rounds at Saint John’s Well, near Ennis. Biddy thought so too, and accordingly off she set one fine morning at day dawn, giving Jack a strict charge to have an eye to the place.
The coast being clear, away went Jack to the rock to give the appointed signal to Coomara, which was throwing a big stone into the water. Jack threw, and up sprang Coo!

“Good morning, Jack,” said he; “what do you want with me?”

“Just nothing at all to speak about, sir,” returned Jack, “only to come and take a bit of dinner with me, if I might make so free as to ask you, and sure I’m now after doing so.”

“It’s quite agreeable, Jack, I assure you; what’s your hour?”‘

“Any time that’s most convenient to you, sir—say one o’clock, that you may go home, if you wish, with the daylight.”

“I’ll be with you,” said Coo, “never fear me.”

Jack went home, and dressed a noble fish dinner, and got out plenty of his best foreign spirits, enough, for that matter, to make twenty men drunk. Just to the minute came Coo, with his cocked hat under his arm. Dinner was ready, they sat down, and ate and drank away manfully. Jack, thinking of the poor souls below in the pots, plied old Coo well with brandy, and encouraged him to sing, hoping to put him under the table, but poor Jack forgot that he had not the sea over his head to keep it cool. The brandy got into it, and did his business for him, and Coo reeled off home, leaving his entertainer as dumb as a haddock on a Good Friday.

Jack never woke till the next morning, and then he was in a sad way. “’Tis to no use for me thinking to make that old Rapparee drunk,” said Jack, “and how in this world can I help the poor souls out of the lobster-pots?” After ruminating nearly the whole day, a thought struck him. “I have it,” says he, slapping his knee; “I’ll be sworn that Coo never saw a drop of poteen, as old as he is, and that’s the thing to settle him! Oh! then, is not it well that Biddy will not be home these two days yet; I can have another twist at him.”

Jack asked Coo again, and Coo laughed at him for having no better head, telling him he’d never come up to his grandfather.

“Well, but try me again,” said Jack, “and I’ll be bail to drink you drunk and sober, and drunk again.”

“Anything in my power,” said Coo, “to oblige you.”

At this dinner Jack took care to have his own liquor well watered, and to give the strongest brandy he had to Coo. At last says he, “Pray, sir, did you ever drink any poteen?—any real Mountain dew?”

“No,” says Coo; “what’s that, and where does it come from?”

“Oh, that’s a secret,” said Jack, “but it’s the right stuff—never believe me again, if ’tis not fifty times as good as brandy or rum either. Biddy’s brother just sent me a present of a little drop, in exchange for some brandy, and as you’re an old friend of the family, I kept it to treat you with.”

“Well, let’s see what sort of thing it is,” said Coomara.

The poteen was the right sort. It was first-rate, and had the real smack upon it. Coo was delighted: he drank and he sung Rum bum boodle boo over and over again; and he laughed and he danced, till he fell on the floor fast asleep. Then Jack, who had taken good care to keep himself sober, snapt up the cocked hat—ran off to the rock—leaped, and soon arrived at Coo’s habitation.

All was as still as a churchyard at midnight—not a Merrow, old or young, was there. In he went and turned up the pots, but nothing did he see, only he heard a sort of a little whistle or chirp as he raised each of them. At this he was surprised, till he recollected what the priests had often said, that nobody living could see the soul, no more than they could see the wind or the air. Having now done all that he could for them, he set the pots as they were before, and sent a blessing after the poor souls to speed them on their journey wherever they were going. Jack now began to think of returning; he put the hat on, as was right, the wrong way; but when he got out he found the water so high over his head that he had no hopes of ever getting up into it, now that he had not old Coomara to give him a lift. He walked about looking for a ladder, but not one could he find, and not a rock was there in sight. At last he saw a spot where the sea hung rather lower than anywhere else, so he resolved to try there. Just as he came to it, a big cod happened to put down his tail. Jack made a jump and caught hold of it, and the cod, all in amazement, gave a bounce and pulled Jack up. The minute the hat touched the water away Jack was whisked, and up he shot like a cork, dragging the poor cod, that he forgot to let go, up with him tail foremost. He got to the rock in no time and without a moment’s delay hurried home, rejoicing in the good deed he had done.

But, meanwhile, there was fine work at home; for our friend Jack had hardly left the house on his soul-freeing expedition, when back came Biddy from her soul-saving one to the well. When she entered the house and saw the things lying thrie-na-helah on the table before her—

“Here’s a pretty job!” said she; “that blackguard of mine—what ill-luck I had ever to marry him! He has picked up some vagabond or other, while I was praying for the good of his soul, and they’ve been drinking all the poteen that my own brother gave him, and all the spirits, to be sure, that he was to have sold to his honour.”—Then hearing an outlandish kind of grunt, she looked down, and saw Coomara lying under the table.—“The Blessed Virgin help me,” shouted she, “if he has not made a real beast of himself! Well, well, I’ve often heard of a man making a beast of himself with drink!—Oh hone—oh hone!—Jack, honey, what will I do with you, or what will I do without you? How can any decent woman ever think of living with a beast?”

With such like lamentations Biddy rushed out of the house, and was going she knew not where, when she heard the well-known voice of Jack singing a merry tune. Glad enough was Biddy to find him safe and sound, and not turned into a thing that was like neither fish nor flesh. Jack was obliged to tell her all, and Biddy, though she had half a mind to be angry with him for not telling her before, owned that he had done a great service to the poor souls. Back they both went most lovingly to the house, and Jack wakened up Coomara; and, perceiving the old fellow to be rather dull, he bid him not to be cast down, for ’twas many a good man’s case; said it all came of his not being used to the poteen, and recommended him, by way of cure, to swallow a hair of the dog that bit him. Coo, however, seemed to think he had had quite enough. He got up, quite out of sorts, and without having the manners to say one word in the way of civility, he sneaked off to cool himself by a jaunt through the salt water.

Coomara never missed the souls. He and Jack continued the best friends in the world, and no one, perhaps, ever equalled Jack for freeing souls from purgatory; for he contrived fifty excuses for getting into the house below the sea, unknown to the old fellow, and then turning up the pots and letting out the souls. It vexed him, to be sure, that he could never see them; but as he knew the thing to be impossible, he was obliged to be satisfied.

Their intercourse continued for several years. However, one morning, on Jack’s throwing in a stone as usual, he got no answer. He flung another, and another, still there was no reply. He went away, and returned the following morning, but it was to no purpose. As he was without the hat, he could not go down to see what had become of old Coo, but his belief was, that the old man, or the old fish, or whatever he was, had either died, or had removed from that part of the country.

Source:


Croker, Thomas Crofton. Fairy Legends and Traditions of the South of Ireland. London: William Tegg, 1859.
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