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The Celtic harp is a triangular frame harp traditional to the Celtic nations of northwest Europe. It is known as cláirseach in Irish , clàrsach in Scottish Gaelic , telenn in Breton and telyn in Welsh .
The word has multiple meanings beside Dagda's harp. [1] Úaithne can also mean "concord in music" [1] and Philippe Jouët endorses the interpretation that Dagda's harp indeed means "concordance" or "harmoniousness", which would be consistent with interpreting the byname Cóir Cetharchair as "quadrangular harmony". [25]
In Irish mythology, Aengus or Óengus is one of the Tuatha Dé Danann and probably originally a god associated with youth, love, [1] summer and poetic inspiration. The son of The Dagda and Boann, Aengus is also known as Macan Óc ("the young boy" or "young son"), and corresponds to the Welsh mythical figure Mabon and the Celtic god Maponos. [1]
Davitt plays with the second couplet of each verse, reversing the meaning and turning the poem into the song of a womanising drunkard, who favours no particular woman (second verse), resorts to drink instead of avoiding it (third verse—though this may be ironic in the original), and whom his lover wants dead (first verse). Mná na hÉireann
Carrigcleena, meaning Cleena's rock, [5] is a natural rock feature about 5 mi (8.0 km) south of Mallow. [12] It was long considered as sacred ground by the local peasantry as Cliodhna's principal palace. [5] It consisted of rough ramparts of rocks encircling about a 2 acres (0.81 ha) circle of green land. [12]
Roderick Morison (Scottish Gaelic: Ruairidh MacMhuirich), known as An Clàrsair Dall (The Blind Harper), was a Scottish Gaelic poet and harpist. [1] He was born around 1646 in Bragar, Lewis and educated in Inverness, but he also learned to play the clàrsach (Celtic harp) as a profession.
Lilting often accompanies dancing. Features such as rhythm and tone dominate in lilting and in the case of Irish lilting in particular, is intended to evoke the characteristic 'lilt' of traditional Irish music and specific instruments such as the Celtic harp. [1] [2] The lyrics thus are often meaningless or nonsensical. [3]
The Fiddler's Companion says The Latin title first appears in the Wemyss manuscript of 1644 and in the Balcarres manuscript of 1692 [5]. and then The melody's popularity was long-lived, as attested by its appearance in many collections throughout the 18th century, including Wright's Aria di Camera (1730), Neal's Celebrated Irish Tunes (c. 1742—a revised date from the oft-given 1721 or 1726 ...