Weekend Music Break/What’s in a Song: Various Artists, “The Skye Boat Song”

[Video: opening title sequence from the Outlander television series]

The Missus and I have been watching, with pleasure, the Starz TV adaptation of Diana Gabaldon’s Outlander novels. The pleasure is personal, since we both know Ms. Gabaldon. (As we have since her first drafts of individual paragraphs in what would become the first of the book series, twenty-five years ago.)

And the pleasure is also aesthetic, I guess you could say — of particular interest, today, the music.

When I first heard the Outlander theme song, I was dazzled — the lyrics, melody, arrangement, and accompanying visuals during the open credits: all seemed of a piece. Mysterious, mystical, wistful… all those adjectives that I thought to apply as well to (say) the closing title theme in The Return of the King.

Here are the lyrics:

Sing me a song of a lass that is gone,
Say, could that lass be I?
Merry of soul she sailed on a day
Over the sea to Skye.

Billow and breeze, islands and seas,
Mountains of rain and sun,
All that was good, all that was fair,
All that was me is gone.

Sing me a song of a lass that is gone,
Say, could that lass be I?
Merry of soul she sailed on a day
Over the sea to Skye…

It fits the story, sorta-kinda, and features a disappearing lass, and lots of rich imagery. (Outlander‘s protagonist is a 1940s-era British nurse who falls through a sort of temporal discontinuity into the Scotland of the 1740s.) From the start, I — grammar nerd alert! — liked about the theme that the lyricist used the first-person singular pronoun for those end-rhymes… exactly as s/he should have.

But then during the season finale episode, one thing suddenly grated on me. They hadn’t used “I” consistently perfectly. Last line of the middle stanza: see it? a subjective me. ARGH. You lazy bastards, I thought. And you were doing so well

As one does, over the next day or two I looked to the Internets for support from others outraged by such minutiae.

…and, um, well… I was wrong. (Sorta-kinda.)

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Real-Life Dialogue: The Inscrutable Double-X Chromosome Edition

Real-Life Dialogue[The setting: a comfortable suburban home in North Florida, USA, on an August weekend in 2014. She is sitting in the living room, her laptop computer open; He is walking through the living room on some mission or another, in one direction or another.]

She: Oh, these people.

He: Hmm? What people?

[He stops to look over Her shoulder. On-screen is a publicity still from a current television mini-series, based on a hugely popular novel of romance and time travel. The photo depicts an early moment in the romantic relationship between a twentieth-century English woman, Claire, and an eighteenth-century Scotsman named Jamie. Claire is tending Jamie’s battle wounds. Jamie is sitting quietly, looking at Claire, and of course wearing a kilt.]

He: Nice picture of them.

She: Yes. I’m just saying, you should read some of the comments on it.

He: Such as?

She: Like this one. [She points.] “Those knees. *SWOON*” [She laughs.]

He: Er, uh… Wait. Women swoon over men’s knees? They even notice them?

She: You’d be surprised what women notice.

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