The universe used to whisper dark melodies,
in the secret garden of mind.
Seeds were sewn with thoughts that were ravenous for the wicked sound.
Each idea bloomed into insidious beauty, humming a haunting tune of its own.

When dusk set on the infinite, the ghastly chorus set too.
Silence boomed, poisoning the life of creativity.
What grew now, was gnarled indifference, a green of dark envy.

Borderline blasphemous and a challenge just the same, a tune of antithesis finally became.
The garden sang its own song in finality.

Enthralled by the whispers of the night,
Deluged by a myriad forlorn dreams.
Like rain that promptly meets the ground,
Show again the smile of transience.

All that's beautiful cannot stay,
The fading spring complains of fall.
Like spinning tomes, the leaves fall away,
Like a painting the clouds shall recall.

Life's last flight, dance sweetly in the air.
Life's last cry, sees through me 'till the end.
Hold my hand as we pass this divine,
Cruel borders of life and death.

Reminded of the night's impermanence,
As I gaze at the misty, translucent moon.
That starry night won't ever be the same,
So for whom am I waiting in the wind?

All that's beautiful cannot stay,
The fading spring complains of fall.
Like spinning tomes, the leaves fall away,
Like a painting the clouds shall recall.

Life's last flight, dance sweetly in the air.
Life's last cry, sees through me 'till the end.
Hold my hand as we pass this divine,
Cruel borders of life and death.

I still hear
our favorite song
from time to time.
Each note still sets the key of you
and they're still ringing out
in my head.
There is no pause button
for this harmony
of you.

The Song of Amergin: Modern English Translations

The Song of Amergin
loose translation/interpretation by Michael R. Burch

I am the sea breeze
I am the ocean wave
I am the surf's thunder
I am the stag of the seven tines
I am the cliff hawk
I am the sunlit dewdrop
I am the fairest flower
I am the rampaging boar
I am the swift-swimming salmon
I am the placid lake
I am the excellence of art
I am the vale echoing voices
I am the battle-hardened spearhead
I am the God who gave you fire
Who knows the secrets of the unhewn dolmen
Who understands the cycles of the moon
Who knows where the sunset settles ...



The Song of Amergin
an original poem by Michael R. Burch

He was our first bard
and we feel in his dim-remembered words
the moment when Time blurs . . .

and he and the Sons of Mil
heave oars as the breakers mill
till at last Ierne―green, brooding―nears,

while Some implore seas cold, fell, dark
to climb and swamp their flimsy bark
. . . and Time here also spumes, careers . . .

while the Ban Shee shriek in awed dismay
to see him still the sea, this day,
then seek the dolmen and the gloam.



The Song of Amergin II
a more imaginative translation by Michael R. Burch

after Robert Bridges

I am the stag of the seven tines;
I am the bull of the seven battles;
I am the boar of the seven bristles;

I am the wide flood cresting plains;
I am the wind sweeping deep waters;
I am the salmon swimming in the shallow pool;

I am the dewdrop lit by the sun;
I am the fairest of flowers;
I am the crystalline fountain;

I am the hawk shrieking after its prey;
I am the demon ablaze in the campfire ashes;
I am the battle-waging spearhead;

I am the vale echoing voices;
I am the sea's roar;
I am the rising sea wave;

I am the meaning of poetry;
I am the God who inspires your prayers;
I am the hope of heaven;

Who else knows the ages of the moon?
Who else knows where the sunset settles?
Who else knows the secrets of the unhewn dolmen?

Translator's Notes:

The "Song of Amergin" and its origins remain mysteries for the ages. The ancient poem, perhaps the oldest extant poem to originate from the British Isles, or perhaps not, was written by an unknown poet at an unknown time at an unknown location. The unlikely date 1268 BC was furnished by Robert Graves, who translated the "Song of Amergin" in his influential book The White Goddess (1948). Graves remarked that "English poetic education should, really, begin not with Canterbury Tales, not with the Odyssey, not even with Genesis, but with the Song of Amergin." The poem has been described as an invocation and a mystical chant.

I did not attempt to fully translate the ending of the poem. I have read several other translations and it seems none of them agree. I went with my "gut" impression of the poem, which is that the "I am" lines refer to God and his "all in all" nature, a belief which is common to the mystics of many religions. I stopped with the last line that I felt I understood and will leave the remainder of the poem to others. The poem reminds me of the Biblical god Yahweh/Jehovah revealing himself to Moses as "I am that I am" and to Job as a mystery beyond human comprehension. If that's what the author intended, I tip my hat to him, because despite all the intervening centuries and the evolution of the language, the message still comes through quite well. If I'm wrong, I have no idea what the poem is about, but I still like it.

Who wrote the poem? That's a very good question and the answers seem speculative to me. Amergin has been said to be a Milesian, or one of the sons of Mil who allegedly invaded and conquered Ireland sometime in the island's deep, dark past. The Milesians were (at least theoretically) Spanish Gaels. According to the Wikipedia page:

Amergin Glúingel ("white knees"), also spelled Amhairghin Glúngheal or Glúnmar ("big knee"), was a bard, druid and judge for the Milesians in the Irish Mythological Cycle. He was appointed Chief Ollam of Ireland by his two brothers the kings of Ireland. A number of poems attributed to Amergin are part of the Milesian mythology. One of the seven sons of Míl Espáine, he took part in the Milesian conquest of Ireland from the Tuatha Dé Danann, in revenge for their great-uncle Íth, who had been treacherously killed by the three kings of the Tuatha Dé Danann, Mac Cuill, Mac Cecht and Mac Gréine. They landed at the estuary of Inber Scéne, named after Amergin's wife Scéne, who had died at sea. The three queens of the Tuatha Dé Danann, (Banba, Ériu and Fódla), gave, in turn, permission for Amergin and his people to settle in Ireland. Each of the sisters required Amergin to name the island after each of them, which he did: Ériu is the origin of the modern name Éire, while Banba and Fódla are used as poetic names for Ireland, much as Albion is for Great Britain. The Milesians had to win the island by engaging in battle with the three kings, their druids and warriors. Amergin acted as an impartial judge for the parties, setting the rules of engagement. The Milesians agreed to leave the island and retreat a short distance back into the ocean beyond the ninth wave, a magical boundary. Upon a signal, they moved toward the beach, but the druids of the Tuatha Dé Danann raised a magical storm to keep them from reaching land. However, Amergin sang an invocation calling upon the spirit of Ireland that has come to be known as The Song of Amergin, and he was able to part the storm and bring the ship safely to land. There were heavy losses on all sides, with more than one major battle, but the Milesians carried the day. The three kings of the Tuatha Dé Danann were each killed in single combat by three of the surviving sons of Míl, Eber Finn, Érimón and Amergin.

It has been suggested that the poem may have been "adapted" by Christian copyists of the poem, perhaps monks. An analogy might be the ancient Celtic myths that were "christianized" into tales of King Arthur, Lancelot, Galahad and the Holy Grail.

Keywords/Tags: Amergin, song, translation, Ireland, Irish, Celtic, Gaelic, Gaels, Milesian, Druid, Banshee