Vine and Wine Chronicles: Knights Templar, Jacobites, and Divine Bloodline
Read original article and watch music video here
The title translates to “go, my love” (or ‘walk my love’): while I do not speak Irish, I understand that "siúil" is an imperative, literally translating to “walk!”, a rún is a term of endearment. I wanted to share this song featured in my Knights Templar Talk for Friday 13th (In Remembrance) as a little gift from my research on Ireland; the emerald isle is more relevant to the Knights Templar than we have been made to believe and I plan to put it on the map where it belongs. But also, due to the hidden symbolism within this song, which is relevant to Romantic Love between Knights and fighting men and follows on from my previous Love Poem post on the Knights Templar. Furthermore, it is relevant when it comes to understanding the origins of the Knights Templar.
In short, the song consists of a young maiden addressing her true love, a man who has gone away to France to fight in some (unspecified) wars, and asking him in the chorus (sung in Irish) to walk alongside her as if he were still there. In the verses (sung mainly in English, with a refrain in Irish), the narrator tells of the things that the maiden would do to keep her beloved safe (basically, selling everything that she owns in the world to buy him either a sword of steel or a ‘coat’ of steel (i.e., armour), depending on the version that you listen to). At the same time, it’s clear that she doubts that he’ll ever come back: he’s gone off to fight in the wars abroad, and that’s the last that we’ll see or hear of him. Still, she hopes he will be slán (a word that originally meant ‘whole,’ but here it really means ‘healthy’ in the sense of ‘uninjured’ and ‘unscathed’).
The history of the song is unclear. It has been suggested that the song refers to the "Wild Geese" of the Glorious Revolution. It is possible that the song was composed in the 1800s with the conscious intention of styling it after older songs. As is common in folk music, many lyrical variants of the song exist. Robert Louis Stevenson refers to the song twice in his novel The Master of Ballantrae (1889). Referred to as "the pathetic air of 'Shule Aroon'", it is whistled by the Irish Jacobite exile Francis Burke and later sung by the Master of Ballantrae himself to impress his younger brother's wife. The Master describes it as "very moving" and describes it being sung by Jacobite exiles in France: "it is a pathetic sight when a score of rough Irish ... get to this song; and you may see, by their falling tears, how it strikes home to them.
The song ends on a rather sad but realistic note – the girl is aware that her beloved might never return and is torn between her love and wanting to be free from her infatuation. It’s a story full of archetypes – We can see the little Mermaid right there when the maiden says she is willing to give up her world and sell all for her man, but we also in a way see Mary Magdalene who supported Jesus, financially, emotionally and followed him to the ends of the Earth. She is of course the Patron of the Knights Templar., and was finally elevated to being a Saint after centuries of being portrayed as a common prostitute by the church.
The reference to the Jacobites in this song is relevant to my previous post on love and the Knights Templar for various reasons, but most importantly due to the links between the two and the connections with the Rex Deus families. The bloodline from James the Justus was called the Vine because the Bible classifies the descendants of Israel as a vine. The line of Judah being described at some length as the Lord's cherished plant (Isiah 5:7). Jesus later proclaimed, "I am the true vine" (John 15:1). I recently launched a Templar wine and a series of workshops/lectures connecting the Knights Templar to Wine, speaking of how the two have always been connected as one. Now you can see why Christians use grape juice or grape wine in Communion, it not only represents the 'blood' of Jesus and acted as a “threshold” but represents the origins of the Knights Templar themselves.
The lineage of Jesus the Justus is believed to extend through historical figures such as the Fisher Kings and Lancelot del Acqs, ultimately descending to the Merovingian Kings of France. This lineage, including notable figures like Charlemagne and Princess Bertha, led to Godefroi De Bouillon, who founded the Equestrian Order of the Holy Sepulchre and the Order of Sion. While he died in 1100 and is thus never mentioned as a founder of the Knights Templar, he had everything to do with the founding of the brave Knights of the Temple which happened much earlier than what we have been led to believe. Godefroi's line continued through the Stewarts (the Marriage of a daughter of King Robert the Bruce, Marjorie Bruce, with Walter, High Steward of Scotland, gave rise to the House of Stewart, through their son Robert II). and ,connecting to the pre-Scotland forebear Alan, Seneschal of Dol and Dinan. Alan's sons, Alan and Flaad, became hereditary Stewards of Dol and were integral figures in the Grail Keepers/Knights Templar lineage. The vine of this lineage further spread to Alan Fitz Flaad de Hesdin, Baron of Oswestry, whose descendants, William and Jordan Fitz Allen, played key roles in the hereditary Knights Templar and Order of Sion. The connection between Banquo and the Fitz Allen's, both associated with the Knights Templar and Order of Sion, contributes to the historical roots of what is now referred to as Jacobites.
https://www.youtube.com/watch?v=hhqqdzwqFSE
If you'd like to learn more about the untold story of the Knights Templar, follow my work on social media including my lectures on Wine & The Knights Templar or attend my upcoming online talk at the London College of Psychic Studies.