Song sing me a song of a lass that is gone

Sing me a Song of a Lad that is Gone

By Robert Louis Stevenson

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

Mull was astern, Rum on the port,
Eigg on the starboard bow;
Glory of youth glowed in his soul;
Where is that glory now?

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

Give me again all that was there,
Give me the sun that shone!
Give me the eyes, give me the soul,
Give me the lad that’s gone!

Sing me a song of a lad (lass) that is gone,
Say, could that lad (lass) be I?
Merry of soul he 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.

Спой мне песню о парне (девушке), что исчез(ла)

Роберт Луис Стивенсон

Спой мне песню о парне, что исчез
Скажи, может быть, этот парень я?
С веселой душой он отплыл однажды
Через море к Скае (остров в Шотландии).

Малл (остров в Шотландии) за кормой, Рам (остров в Шотландии) в иллюминаторе,
Эгг (остров в Шотландии) на носу корабля;
Юношеский восторг освещал его душу;
Где сейчас тот восторг?

Спой мне песню о парне, что исчез
Скажи, может быть, этот парень я?
С веселой душой он отплыл однажды
Через море к Скае.

Верните мне еще раз все, что было тогда,
Верните мне такое же солнце, что светило тогда!
Верните мне глаза, дайте мне душу,
Верните мне того парня, который исчез!

Спой мне песню о парне, что исчез
Скажи, может быть, этот парень я?
С веселой душой он отплыл однажды
Через море к Скае.

Тексты песен

Текст песни:

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

Mull was astern, Rùm on the port,
Eigg on the starboard bow
Glory of youth glowed in her soul
Where is that glory now?

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

Give me again all that was there
Give me the sun that shone
Give me the eyes, give me the soul
Give me the lass that’s 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

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

Слова песни прочитаны: 1129

Рекомендуем послушать

Мы собрали более 100 000 страниц с произведениями самых популярных музыкантов нашего времени. Отбирались не только русские, но также казахские, украинские, белорусские, а также англоязычные авторы. В их число попали слова песни Bear McCreary & Raya Yarbrough OST Outlander s2 Scotland version 3 Чужестранка, которые часто поют не только в России, но и за рубежом.

Наш сайт представляет из себя огромный музыкальный архив, состоящий из композиций самых разных жанров. Поэтому, если вы желаете спеть в караоке песню OST Outlander s2 Scotland version 3 Чужестранка за авторством Bear McCreary & Raya Yarbrough, то вы попали по адресу. Вам не придётся напрягаться и спрашивать нужные стихи. Мы уже подготовили их для Вас в удобном формате.

Sing me a song of a lass that is gone, Say could that lass be Bree?

On the greatness of Outlander- until the shocking miscast of Brianna ruined the season finale.

Until the season two finale, the hallmarks of Outlander’s level of quality were perfect casting, excellent acting, and emotionally intelligent writing- making fine work of a challenging literary adaptation. It managed to weave deep character development and authentic romance together with history and Scottish heritage.

I took a chance sometime during season one last year and was drawn in by the compelling story and the quality of acting. It makes most of what Hollywood produces look like amateur hour. I soon entered the immersive world of Diana Gabaldon’s book series, taking the journey of books 1–5.

By the time season two began, Jamie and Claire felt like friends. The series is escapism, but it is escapism of the highest order spoken of by Tolkien. This story is not some time travel fairy tale. There is serious evil (and hard to watch scenes) with both a sadistic monster of an arch-nemesis and the destruction of war. Jamie and Claire make imperfect and complicated moral decisions, but their motivation is love. Not power, ambition, or lust, but a costly, committed, and self-sacrificing love. Love for each other, love for their wider families, and love for the culture they are trying to save. Despite not being able to rewrite history on a grand scale, the good does win in this story because their love wins over evil simply by enduring and by living on. These are deeply good, inspirational characters with a faith and love transcending time. In a world of trashy entertainment and increasingly dark news stories, the appeal of a well-told story focused on a noble and heroic love is irresistible.

Caitriona Balfe and Sam Heughan as the show leads are masterful. Both have beautiful, highly expressive faces- with Balfe able to show more emotion with the set of her chin than other actresses can with their whole bodies. Heughan displays Jamie’s emotional range with flawless control of micro-expressions and gestures, from a single tear of pain to a wordless courtly bow. The chemistry between them is intense, and they are at the height of their powers in scenes together, feeding each other’s talents through displays of both love and anger.

They are perfectly cast to their leading roles. Heughan’s physical personification of Jamie’s description from the book is extraordinary, down to even small details of appearance and gesture. While Balfe differs from the book’s description of Claire in the two aspects of height and eye color, her look has the iconic hair and luminous fair skin. But more importantly, she brings an intelligence and sense of dignity in the way she carries herself which is essential to Claire’s character.

You have the rare experience of completely forgetting the characters are fictional because the actors make them so alive. “I have never seen acting of this caliber,” is a frequent commentary among viewers. (For neither actors or show to have earned major award recognition proves how tasteless the media establishment is.) Lines from the lead actors and equally well-chosen members of the supporting cast are delivered authentically, reflecting the writers’ wise use of dialogue from the books and reliance on letting the actors show rather than tell.

Even when facing difficult elements from the book, the show writers have often managed to not only deal with tricky subjects, but they sometimes even improve on the source material- for example, handling the aftermath of Jamie’s trauma more realistically. Now there are also many moments in the books that are changed or omitted in the show and understandably missed by the reader-turned-viewer. (The entire Edinburgh subplot is sadly missing.) Jamie and Claire’s relationship and sense of intimacy take a backseat to the events of the war in the show much more than in the book. But the changes leading up to the finale are reasonable shifts by the writers and are of the quality and scope the viewers and book readers expect. Through season one and up until the finale of season two, it was a show strongly appealing to both heart and head, respectful of the beloved books that inspired it and of an adult audience’s intelligence.

How it all went wrong…

But then came the much anticipated season finale- shockingly disappointing in the horrible miscasting of Brianna, the cringe-inducing performance of the actress, and the alternative writing of the character. Every element of quality that defines the show was suddenly missing in the handling of a pivotal character and relationship.

The episode opens in 1968, and we see Claire and her now 20 year old daughter, Brianna (nicknamed Bree). From the moment we see her, the only reasonable reaction is complete disbelief. The books describe Brianna as a six foot tall, large-framed, blue-eyed red head with facial features similar to her real father Jamie. But actress Sophie Skelton is instead both shorter and thinner than the already slim Balfe, with brown eyes and brown-lightened-to-cinnamon hair. Even in natural sunlight, the hair color is darker than the red used for Heughan and doesn’t work with her coloring at all.

She shares no common features or even expressions with either Heughan or Balfe. In fact, in both coloring and build, she reminds the viewer of adoptive father Frank, played by Tobias Menzies. She looks as if we had wandered into some alternative universe version of the story where Frank was actually Brianna’s father. As this is not the case, Skelton is as ill-suited for the role as Menzies would be for Heughan’s.

Any viewer knows finding an exact match for the book’s description might not be realistic. But Sam Heughan with dyed hair fits every aspect of Jamie, and Caitriona Balfe’s eye color and height should have made a tall, blue-eyed Brianna even more believable as her daughter. The casting of this actress as Brianna doesn’t just ignore every element of the book’s description. It stretches beyond the realm of possibility. It is genetically impossible for two blue-eyed parents to have a brown-eyed child. No viewer can believe in her as the offspring of the show’s version of Jamie and Claire, let alone as the Brianna of the books. When Claire’s dialogue has her trying to convince Brianna of her similarity to Jamie, it’s laughable. How the producers thought an actress who doesn’t meet a single part of Brianna’s description would be believable is baffling.

As readers know, Brianna’s physical description is unique and important. It is meaningful for her to look like Jamie. It is meaningful for both of them to have the coloring of red hair and blue eyes which is rarest in the world, but found most often in Scotland. As a result of Celtic genes, Scots have the highest levels of red hair, and even today areas of Scotland have the highest percentage of blue eyes in the British isles (over 55% in Edinburgh, for example). It is part of their character identities for Jamie and Bree to look Celtic. Sam Heughan does, but Englishwoman Sophie Skelton certainly doesn’t. And for a show celebrating cultural identity to erase the character’s Scottish coloring is a particular outrage.

Critics and fans alike have lauded Outlander for a groundbreaking portrayal of the female gaze, and the story itself has elements questioning gender roles in romance. But yet when it comes to the portrayal of different female body types, the show suddenly abandons this brave attitude and instead conforms to the generic, skinny Hollywood look instead of casting for the look of strength required of Bree’s character. Brianna should project an impressive physical presence, reminding us of Jamie. (To the point that when Claire sees them together the first time in book four, she has to do a double take.) In book three, Bree says she wears a UK size 16. When Gabaldon describes Brianna as both huge and beautiful, she’s challenging the standard view of female attractiveness. It’s part of the character that should be most notable on screen, but instead we have the opposite in an actress who is thinner than the former supermodel beside her.

Ignoring these crucial elements of her appearance isn’t only an aesthetic change. Her appearance strongly affects Brianna as a character. Brianna’s confidence and courage don’t only come from the personality traits she shares with Jamie, but from walking through life with the height and build of a Celtic Amazon with the striking combination of red hair and blue eyes to match. It’s integral to how people react to her and to any understanding of her moments of recklessness in book four’s story. And all of it is missing here.

Since Skelton doesn’t fit even one aspect of Brianna’s description, the viewers are left wondering why she was cast at all. It was not for her acting skills, which simply do not exist. Every action is awkward, and every line is forced and fake. When she tries to do anger, it comes out as the type of terrible 0ver-acting associated with a bad sitcom. Between lines, she tends to look either bored or confused. It takes the audience out of the story completely. When she says, “That didn’t come out right” in a scene with Roger, I briefly thought it was the actress reflecting on her poor performance.

Her acting is even worse in light of the writing of the character. Instead of the affectionate and self-confident young adult Bree, the writers give us a collection of thrown together stereotypes of a modern American teenager. She is bratty, selfish, and immature.

Of course the book version of Brianna has anger and hurt feelings over the reveal of her true origin story. But she never abandons the deep love she has for her mother, unlike the show’s version of Brianna, who has no displays of love or even relationship with Claire. Instead of Claire revealing the truth to Brianna as in the book, the show has Brianna disrespectfully accusing her mother of adultery. She doesn’t even respect her mother’s service in the war, calling her a “bored housewife.” It’s a disgusting moment. She mentions her mother’s career as a surgeon, but then goes on insisting she must be insane. You are not sure whether to feel more sad for Claire over Jamie’s loss or over how unloving her daughter is.

This simply isn’t Brianna. The casting choice erases her Celtic looks and large size, and the writing erases her personality and core family relationship. There is very little left in common with Diana Gabaldon’s creation at all.

The scenes with Brianna were so badly done that instead of feeling the emotions of the story, the viewer’s main feeling is a sense of disgust and anger towards the unfortunate actress and the show producers. The choppy editing of the long episode is such that the viewer is tossed back and forth between the two timelines. Dougal’s death and Claire’s goodbye to Fergus pass by as the viewer is still reeling from incredulity over Brianna. Even Jamie and Claire’s already strangely shortened goodbye loses emotional impact by its proximity to the other scenes. You have to go find the clips of their parting and the moving scene of the older Claire at Lallybroch to fully appreciate Balfe and Heughan’s wonderful performances.

What the show should have done- and why it matters:

The season two finale should have showcased Jamie’s selfless love for Claire and their unborn child. Their farewell at the stones should have been heartbreaking in intensity. In the 1968 scenes, you should have felt Claire’s sadness in recalling Jamie’s loss while also seeing the mother-daughter love that filled the emptiness in her life. You should have looked at Brianna and seen Jamie’s rough outlines in her. You should have felt his personality in her. The viewer should have followed Claire’s gaze to Brianna and seen Jamie and Claire’s love living on.

To have these things missing or reversed in Brianna’s introduction isn’t merely a departure from the show’s standard of quality in casting and writing. To miss these things is to miss Brianna’s role in the story’s central theme of sacrificial love. In Brianna, the theme shifts from acts of love to being personified in her existence. The purpose of Brianna’s character is to make Jamie and Claire’s sacrifice worthwhile.

Jamie sends Claire and their unborn child through the stones to live in safety when he expects to die in battle. He spends his seemingly last hours on earth saving everything and everyone important to him, not his own life. Jamie sees Claire to the stones because he loves her and already loves the child, a child he will never have the chance to hold. Claire also trades her desire to share Jamie’s fate because if she returns to the 20th century, the child in her will survive and their love can live on in her. In this crucial decision day of their lives, they set aside their own happiness, broaden their intense love for each other and give it to their child.

In Gabaldon’s books, Claire falls in love with her newborn daughter the second she sees Jamie’s eyes in her tiny face. She sees Jamie’s image grow in Brianna more and more every year. She feels Jamie’s presence in her. Claire lives beyond Jamie’s loss because of the life of her other great love- Brianna. When they learn Jamie is still alive in the past, Claire feels both joy and conflict. How can she choose returning to Jamie when it means saying goodbye to the other half of her heart in Bree?

Here’s the moment, in book three, when the reader truly starts to enjoy Brianna’s character. Through her historical research and Claire’s stories, Brianna starts to love the father she has never met. A big part of her wants her mother to stay, but ultimately Brianna encourages Claire to return to the past. Bree wants her mother to be happy, but she also wants Jamie to know they survived and his actions produced her life. When Claire and Brianna have their own farewell at the stones, Brianna says that as Jamie gave them their lives, she has to give Claire back to him. And even though they haven’t met, Brianna asks her to tell Jamie she is proud to be his daughter. Bree sets aside her own desires and returns the love of her parents at the stones where they chose their love for her 20 years before.

When Claire returns to Jamie, one of Jamie’s first questions is of their child. Claire reveals a set of photographs of Bree’s life, and Jamie sees in full color his eyes and hair and build in the image of his daughter. He breaks down in tears of happiness because his unconfirmed hope of 20 years is suddenly true. His life- and the two decades of loneliness and suffering- now means something because the child unmistakably his has lived and thrived.

In book four, you see how the love these three people have for each other is so powerful, it pulls them together again. Brianna will make her own choice to go through the stones on a quest to save her parents and finally meet her father. She gives up a life of modern safety for the love of family. Brianna isn’t quite as likable a character as Claire or Jamie, but she completes their story. Brianna and Roger’s choices for love give Jamie and Claire the experience of holding a grandchild. It doesn’t give them back the years apart, but having their family together and seeing it grow is their reward.

Claire thinks it again and again when looking at her offspring, and it’s the moral of the story: love is worth the sacrifice.

And missing this theme is what made this episode so disappointing and so at odds with the rest of the story. Instead of the Brianna who embodies Jamie and Claire’s love both visually and emotionally, viewers have a Brianna who looks nothing like her father and has no love or respect for her mother.

Viewers who hadn’t read the books commented they were surprised to end up hating Brianna and shocked Jamie and Claire’s daughter was a selfish brat with no resemblance to either parent. Instead of feeling Claire’s potential conflict over her next decision moment at the stones, viewers had the impression she would be fleeing a loveless existence with her daughter as much as running back to Jamie. You could not feel this version of Brianna was worth what Jamie and Claire go through, or that she could even be their daughter in the first place.

Everything about this episode gave viewers the exact opposite of what we should have felt about Brianna and what we usually feel about the show and story itself. And adapting the plot of books three and four will never work believably with this episode’s version of Brianna.

It’s mind-boggling how a production team whose previous efforts in casting could best be described as meticulous could also be behind this disastrous portrayal of Brianna. Because they truly could not have gotten the character more wrong if they had deliberately set out to do so. And with such an immersive story and a show usually of the highest quality, it felt more disappointing than any other episode of television could.

If Outlander is going to continue with a positive future, they need to recast immediately. (Though there’s unfortunately no way to re-introduce Brianna’s character, a recast would at least do so visually.) Diana Gabaldon’s story deserves better efforts. And Caitriona Balfe and Sam Heughan deserve a co-star who is as talented and well-cast as they are.

Song sing me a song of a lass that is gone

You can use most of our website without any need to register. All the poem selections and ways of interacting with those are freely available, the resources in the Learning Zone, and lots of information about the Poetry By Heart competition including the competition guides. But if you want to take part in the Poetry By Heart competition or use the Teaching Zone resources, you’ll need to register. This is because we need to know who you are and how we can talk to you, and where to send your competition resource pack if you are eligible to take part in the competition.

Registration takes a minute or two. We only collect the information we need to run the competition and we will not give it to anyone else without your express permission.

Paper Boats

Poem of the week

Learning design by The Full English | Branding and website by Howoco | Copyright © 2021 All Rights Reserved.

days to competition entry deadline

Search

days to competition entry deadline

Choose a poem • Learn it by heart • Perform it out loud

Show all poems

Learn more about
this image

‘Sing me a song of a lad that is gone’

‘Sing me a song of a lad that is gone’ (1892)

Robert Louis Stevenson

Oxford English Dictionary (OED) Links Off

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

Mull was astern, Rum on the port,
Eigg on the starboard bow;
Glory of youth glowed in his soul:
Where is that glory now?

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

Give me again all that was there,
Give me the sun that shone!
Give me the eyes, give me the soul,
Give me the lad that’s gone!

Sing me a song of a lad that is gone,
Say, could that lad be I?
Merry of soul he 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.

■ 1892 / Poem / Last Updated October 30, 2020 by Tom Boughen / Tags:

Image © Robert Louis Stevenson by Sir William Blake Richmond, National Portrait Gallery, London

Poem © Out of copyright

Learn more about the language of this poem in the
Oxford English Dictionary:

Performances

Listen to a recording of this poem or poet

Explore the poem

The ‘Skye Boat Song’ is one of the most famous and frequently sung Scottish folk songs, chronicling the escape of Bonnie Prince Charlie (Charles Edward Stuart) to the Isle of Skye after his defeat at Culloden, aided by the Jacobite heroine Flora MacDonald.

The words of the original ‘Skye Boat Song’ end with a defiant ‘Charlie will come again’ and are written from the perspective of an ardent Bonnie Prince loyalist, but in Stevenson’s reworked version the tone is somewhat different. Using a similar structure but a less insistent rhyming pattern, Stevenson concentrates on the inner feelings of the defeated prince. Ambition and optimism have been replaced by a sense of weary loss. Notice the use of the repeated ‘Give me’ in verse four, emphasising the depth of longing for that earlier time when hope mingled with the expectation of glory.

Whereas the original boat song finishes with a sense of heroic failure and a romantic expression of future victory, Stevenson’s ending is poignant and realistic. The speaker realises that he has lost everything, even his own identity: ‘All that was me is gone.’ The ‘lad’ he once was is gone and will never return.

About Robert Louis Stevenson

Born in Scotland, Robert Louis Stevenson was an unconventional and adventurous novelist, poet, essayist, short‑story and travel writer with a remarkable gift for captivating story‑telling. Some of his prose works, such as Treasure Island, Kidnapped and Dr Jekyll and Mr Hyde, remain enormously popular and have inspired numerous adaptations and film versions.

Stevenson rejected the law for a life as a writer, often travelling to warmer climes for his health. He wrote numerous stories and essays based on his experiences in France and the South Seas. Marrying an American woman took him to San Francisco, where he became stepfather to her two children.

Although the family returned to Europe, Stevenson’s health continued to be affected by the climate, and he travelled again to the South Seas and the island of Samoa, immersing himself in the culture. He died there aged forty‑four and was buried on a mountaintop over looking his home.

Sing Me A Song Of A Lad That Is Gone

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

Mull was astern, Rum on the port,
Eigg on the starboard bow;
Glory of youth glowed in his soul:
Where is that glory now?

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

Give me again all that was there,
Give me the sun that shone!
Give me the eyes, give me the soul,
Give me the lad that’s gone!

Sing me a song of a lad that is gone,
Say, could that lad be I?
Merry of soul he 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.

Спой мне о том, кто уплыл на Скай,
Быть может, он — это я?
Весел душой, он в море ушёл,
Скрылась вдали земля.

Малл за кормою, налево — Рам,
Справа по курсу Эгг;
Юное пламя, пылавшее в нём,
Угасло, увы, навек.

Спой мне о том, кто уплыл на Скай,
Быть может, он — это я?
Весел душой, он в море ушёл,
Скрылась вдали земля.

Песней былое мне возврати,
Жаркое солнце отдай,
Зоркость верни и пылкость верни —
Я ещё не приплыл на Скай!

Спой мне о том, кто на Скай уплыл,
Быть может, он — это я?
Весел душой, он в море ушёл,
Скрылась вдали земля.

Ветер, волна, океан, острова,
Ливень, простор и свет —
Всё это было когда-то мной,
А ныне меня нет.

Примечание:
по мотивам шотландской колыбельной песни «The Skye Boat Song».

Speed, bonnie boat, like a bird on the wing,
Onward! the sailors cry;
Carry the lad that’s born to be King
Over the sea to Skye.

Loud the winds howl, loud the waves roar,
Thunderclaps rend the air;
Baffled, our foes stand by the shore,
Follow they will not dare.

Though the waves leap, soft shall ye sleep,
Ocean’s a royal bed.
Rocked in the deep, Flora will keep
Watch by your weary head.

Many’s the lad fought on that day,
Well the Claymore could wield,
When the night came, silently lay
Dead in Culloden’s field.

Burned are their homes, exile and death
Scatter the loyal men;
Yet ere the sword cool in the sheath
Charlie will come again.

Милая лодка, как птица, лети,
Прямо свой курс держи,
Того, кто рожден быть королем,
К острову Скай неси.

Спой мне песню в отроку, который ушел,
Скажем, это может быть я отрок?
Мерри души он плавал на день
Над морем к Skye.

Малл был кормой, Ром на порт,
Eigg на носу;
Слава молодежи светился в его душе:
Где эта слава сейчас?

Спой мне песню в отроку, который ушел,
Скажем, это может быть я отрок?
Мерри души он плавал на день
Над морем к Skye.

Дайте мне еще раз все, что было там,
Дайте мне солнце, что светило!
Дайте мне глаза, дай мне душу,
Дайте мне отрока, это пошло!

Спой мне песню в отроку, который ушел,
Скажем, это может быть я отрок?
Мерри души он плавал на день
Над морем к Skye.

Бюлов и ветер, острова и моря,
Горы дождя и солнца,
Все, что было хорошо, все, что было справедливо,
Все, что было меня ушла.

Примечание:
по мотивам шотландской колыбельной песни «The Skye Boat Song».

Скорость, Bonnie лодка, как птица на крыле,
Onward! моряки плачут;
Несите парень, который родился, чтобы быть королем
Над морем к Skye.

Громкий ветры воют, громкий рев волн,
Раскаты грома сотрясать воздух;
Расстроенный, наши враги стоят на берегу,
Следуйте они не смели.

Хотя волны прыжок, мягкий, и вы будете спать,
Оушена королевская кровать.
Потрясли в глубине, Flora будет держать
Смотрите вашим усталым головой.

Многие это парень боролся в тот же день,
Ну Клеймор может владеть,
Когда наступила ночь, молча лежал
Мертвое поле в Куллоденского в.

Милая лодка, как птица, лети,
Прямо свой курс держи,
Того, кто рожден быть королем,
К острову Скай неси.