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'Maiden in the Moor Lay'

Who is the mysterious 'maiden' of the '14^th' century Middle English carol 'Maiden in the Mor Lay?'

(A carol was originally, not a song, but a round dance performed to sung, rather than instrumental, accompaniment. Witches still use the term this way.)

Is she some enticing witchly daughter?

Is she, perhaps, some woman of Faerie?

Or is she the witches' Goddess herself, Maiden Earth in her Springtime?

In the interest of readability, I have rendered the original Middle English lyrics directly into their Modern English equivalents. The reader will note a certain amount of semantic 'slippage' in the course of the six intervening centuries.

To my eye, this only adds to the carol's charm.

Maiden in the Moor Lay

(English, '14^th' Century)

Nou Is Yole Comen: A 15th-Century Yule Carol

The “secular” carol is no new thing. Most of the oldest surviving Yule carols are thoroughly non-religious, describing the earthy joys of the festal tide with little (if any) religious content. The season, as they say, is the reason.

What follows is a 15th-century English carol, set to music by Early Musicologist Shira Kammen on her stunning 2003 album The Castle of the Holly King: Secular Songs for the Yuletide. For those of you who didn't happen to grow up speaking Middle English, a modern English rendering follows.

Note that personifying holidays as guests who come to visit is an ancient Indo-European poetic trope with its roots in deepest antiquity. Note also the playful AAAB rhyme-scheme, and the fact that the poet uses only two rhymes throughout the entire song. That's a pretty bravura performance, technically speaking.

Nou is Yole Comen

Hay, ay, ay, ay:

make we merry as we may.

Nou is Yole comen with gentil chere,

of mirth and gomen he has no pere;

in every londe where he comes nere

is merthe and gomen, I dar wele say.

Now is comen a messingere

of your lorde, Ser NuYere—

biddes us all be merie here

and make as merie as we may.

English composer Peter Warlock (né Philip Heseltine, 1894-1930) wrote this mysterious little carol, a variant on the traditional I Saw Three Ships, in 1923. It didn't get pagan words until nearly eighty years later, but—considering Warlock's lifelong interest in the occult—we can be sure that he would be delighted to know that the witches were singing his carol at their Yuletide festivities. Absolutely delighted.

As for the meaning of those three mysterious ships...well, all will be revealed.

Just watch this blog.

The Sycamore Tree

As I sat under a sycamore tree,

a sycamore tree, a sycamore tree,

I looked me out upon the sea,

a Midwinter's day in the morning.

I saw three ships come sailing there,

come sailing there, come sailing there:

the Horned One and His Lady they bare,

a Midwinter's day in the morning.

The famous anthology Piae Cantiones (“Pious Songs”) was published in 1582, but the songs and tunes that it contains are thoroughly medieval. Among the collection's Latin hymns are to be found a number of songs that are, shall we say, differently pious. Probably the best-known of these “secular” anthems is the famous Tempus Adest Floridum, (“It is the time of flowering”), which was to provide the tune for that most vapid of English carols, Good King Wenceslaus.

I've seen several singable English translations from the original Latin text, nearly all of them unbearably clunky. (“Herb and plant that, winter-long, slumbered at their leisure/Now reviving, green and strong, find in growth their pleasure.” Groan.) Here's mine, which is not so much a translation as, let us say, a fantasia on the original text. If I may say so myself, it captures the expansive spirit of the original much better than any of the more literal renderings.

The little Latin hymn to the Goddess of Love which concludes the song is not part of the original; it comes from that other famous anthology of medieval Latin verse Carmina Burana, on which “20th” century composer Carl Orff based his famous pagan oratorio of the same name. Joel Cohen attached it to the version of Tempus Adest Floridum in the Boston Camerata's recording of songs from the Carmina Burana (by the way, that's CAR-min-ah, not car-MEEN-ah) to their original tunes. I liked the addition so much that I've included it here. I've also chosen to leave it untranslated; it would be impossible (for me, anyway) to create an English text as profound in its beautiful simplicity as the original. I have, however, included a literal translation so that you can know what you're singing.

This one would be appropriate for either Ostara or Beltane, or any time in between!

The Flower Carol

Rewrites can be problematic.

They call for a certain delicacy of touch, and need to be rooted in respect for the original. You can't impose; you need to work with, matching style for style and diction for diction.

When done well, though, they can potentially both renew and transform the original.

Possibly forever.

 I Saw Three Ships

I saw three ships come sailing in

on New Year's Day, on New Year's Day

I saw three ships come sailing in

on New Year's Day in the morning.

In English, it's called Carol of the Bells, and has become a regular part of the December soundscape.

But the Ukrainian original—like folk carols all over Europe—although sung at Christmas, doesn't have anything to do with Christmas.

Or bells.

Instead, it's about spring.

And fertility.

And sex.

Which is to say: it's thoroughly pagan, through and through. Because to pagans, Yule isn't just a self-referential blaze that sits in its own golden halo at the end of the year; it's the first spark of what comes next, a collective turning towards spring, and the growing season to come.