Poems
Adieu To Belshanny
Adieu to Belashanny! where I was bred and born;
Go where I may, I’ll think of you, as sure as night and morn.
The kindly spot, the friendly town, where every one is known,
And not a face in all the place but partly seems my own;
There’s not a house or window, there’s not a field or hill,
But, east or west, in foreign lands, I recollect them still.
I leave my warm heart with you, tho’ my back I’m forced to turn
Adieu to Belashanny, and the winding banks of Erne!
No more on pleasant evenings we’ll saunter down the Mall,
When the trout is rising to the fly, the salmon to the fall.
The boat comes straining on her net, and heavily she creeps,
Cast off, cast off – she feels the oars, and to her berth she sweeps;
Now fore and aft keep hauling, and gathering up the clew.
Till a silver wave of salmon rolls in among the crew.
Then they may sit, with pipes a-lit, and many a joke and ‘yarn’
Adieu to Belashanny; and the winding banks of Erne!
The music of the waterfall, the mirror of the tide,
When all the green-hill’d harbour is full from side to side,
From Portnasun to Bulliebawns, and round the Abbey Bay,
From rocky inis saimer to Coolnargit sand-hills gray;
While far upon the southern line, to guard it like a wall,
The Leitrim mountains clothed in blue gaze calmly over all,
And watch the ship sail up or down, the red flag at her stern
Adieu to these, adieu to all the winding banks of Erne!
Farewell to you, Kildoney lads, and them that pull on oar,
A lug-sail set, or haul a net, from the Point to Mullaghmore;
From Killybegs to bold Slieve-League, that ocean-Mountain steep,
Six hundred yards in air aloft, six hundred in the deep,
From Dooran to the Fairy Bridge, and round by Tullen Strand,
Level and long, and white with waves, where gull and Curlew stand;
Head out to sea when on your lee the breakers you Discern!
Adieu to all the billowy coast, and winding banks ofErne!
Farewell, Coolmore – Bundoran! And your summercrowds that run
From inland homes to see with joy th’Atlantic-setting sun;
To breathe the buoyant salted air, and sport among the waves;
To gather shells on sandy beach, and tempt the gloomy caves;
To watch the flowing, ebbing tide, the boats, the crabs, The fish;
Young men and maids to meet and smile, and form a tender wish;
The sick and old in search of health, for all things have their turn
And I must quit my native shore, and the winding banks of Erne!
Farewell to every white cascade from the Harbour to Belleek
And every pool where fins may rest, and ivy-shaded creek;
The sloping fields, the lofty rocks, where ash and holly grow,
The one split yew-tree gazing on the curving flood below;
The Lough, that winds through islands under Turaw mountain green;
And Castle Caldwell’s stretching woods, with tranquil bays between;
And Breesie Hill, and many a pond among the heath and fern
For I must say adieu-adieu to the winding banks of Erne!
The thrush will call through Camlin groves the live- long summer day;
The waters run by mossy cliff, and banks with wild flowers gay;
The girls will bring their work and sing beneath a twisted thorn,
Or stray with sweethearts down the path among growing corn;
Along the river-side they go, where I have often been,
O never shall I see again the days that I have seen!
A thousand chances are to one I never may return
Adieu to Belashanny, and the winding banks of Erne!
Adieu to evening dances, when merry neighbours meet,
And the fiddle says to boys and girls, “Get up shake your feet!”
To ‘shanachus’ and wise old talk of Erin’s gone by –
Who trench’d the rath on such a hill, and where the bones may lie
Of saint, or king, or warrior chief; with tales of fairy power,
And tender ditties sweetly sung to pass the twilight hour.
The mournful song of exile is now for me to learn
Adieu, my dear companions on the winding banks of Erne!
Now measure from the Commons down to each end of the Purt,
Round the Abbey, Moy, and Knather – I wish no one any hurt;
The Main Street, Back Street, College Lane, the Mall,and Portnasun,
If any foes of mine are there, I pardon every one.
I hope that man and womankind will do the same by me;
For my heart is sore and heavy at voyaging the sea.
My loving friends I’ll bear in mind, and often fondly turn
To think of Belashanny, and the winding banks of Erne.
If ever I’m a money’d man, I mean, please God, to cast
My golden anchor in the place where youthful years were pass’d;
Though heads that now are black and brown must meanwhile gather gray,
New faces rise by every hearth, and old ones drop away
Yet dearer still that Irish hill than all the world beside;
It’s home, sweet home, where’er I roam, through lands and waters wide.
And if the Lord allows me, I surely will return
To my native Belashanny, and the winding banks of Erne.
Go where I may, I’ll think of you, as sure as night and morn.
The kindly spot, the friendly town, where every one is known,
And not a face in all the place but partly seems my own;
There’s not a house or window, there’s not a field or hill,
But, east or west, in foreign lands, I recollect them still.
I leave my warm heart with you, tho’ my back I’m forced to turn
Adieu to Belashanny, and the winding banks of Erne!
No more on pleasant evenings we’ll saunter down the Mall,
When the trout is rising to the fly, the salmon to the fall.
The boat comes straining on her net, and heavily she creeps,
Cast off, cast off – she feels the oars, and to her berth she sweeps;
Now fore and aft keep hauling, and gathering up the clew.
Till a silver wave of salmon rolls in among the crew.
Then they may sit, with pipes a-lit, and many a joke and ‘yarn’
Adieu to Belashanny; and the winding banks of Erne!
The music of the waterfall, the mirror of the tide,
When all the green-hill’d harbour is full from side to side,
From Portnasun to Bulliebawns, and round the Abbey Bay,
From rocky inis saimer to Coolnargit sand-hills gray;
While far upon the southern line, to guard it like a wall,
The Leitrim mountains clothed in blue gaze calmly over all,
And watch the ship sail up or down, the red flag at her stern
Adieu to these, adieu to all the winding banks of Erne!
Farewell to you, Kildoney lads, and them that pull on oar,
A lug-sail set, or haul a net, from the Point to Mullaghmore;
From Killybegs to bold Slieve-League, that ocean-Mountain steep,
Six hundred yards in air aloft, six hundred in the deep,
From Dooran to the Fairy Bridge, and round by Tullen Strand,
Level and long, and white with waves, where gull and Curlew stand;
Head out to sea when on your lee the breakers you Discern!
Adieu to all the billowy coast, and winding banks ofErne!
Farewell, Coolmore – Bundoran! And your summercrowds that run
From inland homes to see with joy th’Atlantic-setting sun;
To breathe the buoyant salted air, and sport among the waves;
To gather shells on sandy beach, and tempt the gloomy caves;
To watch the flowing, ebbing tide, the boats, the crabs, The fish;
Young men and maids to meet and smile, and form a tender wish;
The sick and old in search of health, for all things have their turn
And I must quit my native shore, and the winding banks of Erne!
Farewell to every white cascade from the Harbour to Belleek
And every pool where fins may rest, and ivy-shaded creek;
The sloping fields, the lofty rocks, where ash and holly grow,
The one split yew-tree gazing on the curving flood below;
The Lough, that winds through islands under Turaw mountain green;
And Castle Caldwell’s stretching woods, with tranquil bays between;
And Breesie Hill, and many a pond among the heath and fern
For I must say adieu-adieu to the winding banks of Erne!
The thrush will call through Camlin groves the live- long summer day;
The waters run by mossy cliff, and banks with wild flowers gay;
The girls will bring their work and sing beneath a twisted thorn,
Or stray with sweethearts down the path among growing corn;
Along the river-side they go, where I have often been,
O never shall I see again the days that I have seen!
A thousand chances are to one I never may return
Adieu to Belashanny, and the winding banks of Erne!
Adieu to evening dances, when merry neighbours meet,
And the fiddle says to boys and girls, “Get up shake your feet!”
To ‘shanachus’ and wise old talk of Erin’s gone by –
Who trench’d the rath on such a hill, and where the bones may lie
Of saint, or king, or warrior chief; with tales of fairy power,
And tender ditties sweetly sung to pass the twilight hour.
The mournful song of exile is now for me to learn
Adieu, my dear companions on the winding banks of Erne!
Now measure from the Commons down to each end of the Purt,
Round the Abbey, Moy, and Knather – I wish no one any hurt;
The Main Street, Back Street, College Lane, the Mall,and Portnasun,
If any foes of mine are there, I pardon every one.
I hope that man and womankind will do the same by me;
For my heart is sore and heavy at voyaging the sea.
My loving friends I’ll bear in mind, and often fondly turn
To think of Belashanny, and the winding banks of Erne.
If ever I’m a money’d man, I mean, please God, to cast
My golden anchor in the place where youthful years were pass’d;
Though heads that now are black and brown must meanwhile gather gray,
New faces rise by every hearth, and old ones drop away
Yet dearer still that Irish hill than all the world beside;
It’s home, sweet home, where’er I roam, through lands and waters wide.
And if the Lord allows me, I surely will return
To my native Belashanny, and the winding banks of Erne.
Analysis (ai): The speaker’s farewell carries restrained emotion, emphasizing memory and belonging over dramatic sorrow. Unlike the heightened nostalgia common in 19th-century emigration verse, this poem avoids self-pity, focusing instead on geographic and communal continuity. It reflects a quiet resignation rather than romanticized loss, aligning with mid-Victorian sensibilities but diverging from more sentimental Irish nationalist poetry of the period.
- Structure and Form: Written in consistent four-line stanzas with an ABAB rhyme scheme, the poem adheres to traditional ballad form. The repetitive refrain “Adieu to Belashanny, and the winding banks of Erne!” functions as an anchor, reinforcing ritualistic parting. The form shows no modernist disruption, typical of pre-1900 works, standing in contrast to the fragmented structures that later poets would use for similar themes of displacement.
- Sense of Place: Specific locales—Erne, Slieve League, Coolnargit—anchor the poem in real Irish geography, creating an almost cartographic inventory. Rather than idealizing the landscape, the speaker catalogs features with familiarity, suggesting lived routine. This detailed naming resists abstraction, differing from the symbolic countryside common in Romantic verse and echoing folk traditions of oral mapping.
- Social Texture: The poem includes boatmen, dancers, gossipers, and invalids, suggesting a community defined by interdependence. Unlike Allingham’s more nature-focused lyrics, this piece elevates daily practices—net-hauling, pipe-smoking, evening chats—as cultural substance. The mention of “wise old talk” and “fairy power” ties local storytelling to identity, subtly affirming Irish vernacular traditions under British cultural dominance.
- Unspoken Departure: While framed as voluntary departure, phrases like “I’m forced to turn” imply economic or political necessity, common among 19th-century Irish emigrants. The speaker does not glorify return, acknowledging “a thousand chances are to one I never may return”—a realism absent in many nationalist poems that promise homecoming. This understated finality aligns with post-Famine Irish literature, where displacement becomes irreversible.
- Contrast with Author’s Other Works: Compared to Allingham’s lyrical, imagistic poems like “The Faeries,” this work is expansive and narrative-driven. It lacks the playfulness of his earlier folklore pieces and instead assumes a solemn civic tone. The poem stands out in his oeuvre for its sustained topographical focus and communal address, suggesting a deeper engagement with place than is typical in his more whimsical, nature-centered verse.
- Historical Context: Published during rising Irish cultural revival, the poem avoids overt political language, unlike contemporaneous works by Ferguson or Mangan. Its quiet patriotism—rooted in landscape and routine—offers a different mode of national belonging. Rather than mythologizing the past, it memorializes mundane continuity, a subtler response to colonial displacement than overt rebellion or lament.
- Gender and Labor: Women appear mainly in domestic or romantic roles—singing beneath thorns, strolling with sweethearts—while men dominate fishing and navigation. Yet the inclusion of girls working and singing introduces a thread of ordinary female agency, subtly resisting the era’s tendency to render women as passive symbols of the homeland. This everyday portrayal contrasts with allegorical “Cathleen ni Houlihan”-type figures prevailing at the time.
- Sound and Rhythm: The steady iambic meter mimics the flow of the Erne, reinforcing the river as a rhythmic lifeblood. Onomatopoeic phrases like “Cast off, cast off” and “fiddle says” embed oral texture, echoing folk speech patterns. This auditory grounding enhances the sense of lived environment, more so than in Allingham’s more abstract or musical compositions.
- Cultural Memory: References to raths, saints, and fairy lore function as oral history, preserving local knowledge against erasure. Unlike the antiquarianism of some Victorian writers, these allusions arise organically from dialogue and setting, positioning folklore as living practice. This integrates myth not as spectacle but as part of daily consciousness, a nuance less emphasized in canonical Victorian treatments of the Celtic.
- Closure and Incompletion: The poem breaks off mid-sentence—“I hope that m…”—suggesting interrupted speech or unresolved feeling. This fragment contrasts with the otherwise polished form, possibly indicating the emotional impossibility of full closure. Unlike the completed elegies common in the era, this open ending anticipates modernist fragmentation, subtly undermining the poem’s formal control.
- Audience and Intention: Addressed to neighbors, landmarks, and activities, the poem functions as both personal farewell and public record. It seems intended for local readers as much as the broader Anglo-Irish literary audience, distinguishing it from Allingham’s more generalized pastoral poems. Its specificity suggests a desire to be remembered by place as much as to remember it, reversing the usual emigrant perspective.
William Allingham (19 March 1824 – 18 November 1889) was an Irish poet, diarist and editor. He wrote several volumes of lyric verse, and his poem “The Faeries” was much anthologised. But he is better known for his posthumously published Diary, in which he records his lively encounters with Tennyson, Carlyle and other writers and artists. His wife, Helen Allingham, was a well-known artist, watercolourist and illustrator.
