Lillibullero

Lillibullero

Company type	March (music)
Industry	Music
Founded	1686
Founder	Henry Purcell (attributed)
Products	Musical march

Lillibullero (also spelled Lillibulero, Lilliburlero, or Lilli Burlero) is a march commonly attributed to Henry Purcell that rose to prominence in England during the Glorious Revolution of 1688.

Background

The melody of "Lillibullero" is traditionally ascribed to Henry Purcell, who is believed to have composed it for a march in 1686; however, this attribution remains a subject of debate:

LILLBURLERO. A 17th-century political tune ... While often credited to Henry Purcell, it is uncertain whether he created the melody itself or merely arranged the bass line.

This tune features in the latter portion of Purcell's composition known as the quickstep. No original manuscript of the 1686 march has survived. Its first publication occurred in the same year within The Delightful Companion, a recorder instruction book by John Playford. Over two hundred years later, William Chappell attributed much of the song’s enduring fame to Purcell’s melody.

In 1686, Thomas, Lord Wharton penned satirical lyrics targeting King James II's appointment of Richard Talbot, 1st Earl of Tyrconnell as Lord Deputy of Ireland. These verses portray a biting dialogue between two Irishmen discussing Talbot’s arrival and its consequences for Protestants. The phrase "Lilliburlero" had previously been utilized by Irish Catholics during the Irish Rebellion of 1641.

Initially overlooked, the song gained traction in 1688 when James II redeployed Irish regiments to England. Printed broadsides disseminated the lyrics broadly, and "Lillibullero" became a popular tune sung both on the streets and within military barracks as a form of ridicule directed at Irish troops.

Following William of Orange’s invasion in November 1688, "Lillibullero" spread even more widely and was reportedly sung by palace guards loyal to James II. A second stanza emerged featuring two Irish soldiers lamenting their harsh treatment in England.

Wharton famously boasted that he had “sung a deluded Prince out of three kingdoms.” During this tumultuous era, many variations surfaced, including an anti-Dutch parody titled "A New Song Upon the Hogen Mogens," which reflected contemporary hostility toward the Dutch and challenged the original’s popularity.

Lyrics

The phrase "Lillibullero bullen a la" is repeated after each line within every verse. To conserve space, these repetitions are omitted after the initial verse below.

1686 Version

Ho, brother Teague, have you heard the decree?

Lillibullero bullen a la

A new deputy is appointed

Lillibullero bullen a la

Refrain:

Lero Lero Lillibullero

Lillibullero bullen a la

Lero Lero Lero Lero

Lillibullero bullen a la

By my soul, it is indeed a Talbot

And he will slay every Englishman (Refrain)

Though Englishmen chatter endlessly,

The law favors them and no one knows more (Refrain)

But should dispensation come from the Pope

We'll hang both Magna Carta and themselves on ropes (Refrain)

The good Talbot has been ennobled

And with his brave men he now approaches (Refrain)

Who all have sworn allegiance in France,

That no Protestant heir shall advance (Refrain)

Tyrconnell has landed ashore,

And commissions will be granted galore (Refrain)

Anyone refusing to attend Mass

Will be cast out to appear foolish

The heretics are all defeated,

By Christ and Saint Patrick, this land is ours (Refrain)

An ancient prophecy found in a bog foretold,

The country would be ruled by an ass and a dog (Refrain)

Now this prophecy has come true,

For Talbot is the dog and Tyrconnell the ass (Refrain)

1688 Version

By Christ, my dear Morish, why are you so sad?

The heretics jeer us and make me mad. (Refrain)

Pox take me, dear Teague, I am enraged,

What impudence exists in this age? (Refrain)

What if the Dutch arrive as they hope,

To hang us all for papal dispensations? (Refrain)

They say Tyrconnell supports the Mass,

For which he is deemed a traitor, pimp, and ass. (Refrain)

Ara', plague take me now, I swear,

I will pray at Saint Tyburn with fervor. (Refrain)

I shall pray to Saint Patrick’s robe,

Or to Loreto’s sacred garment. (Refrain)

Pox take me, what do you think,

The English confusion leads them to Popery drink? (Refrain)

By my soul, they pull down the Mass house,

While swearing allegiance to the town’s Mayor. (Refrain)

Fait and be, I will issue this decree,

I swear by the Chancellor’s modesty; (Refrain)

I will no longer remain in England,

For God’s sake, they will hang us all away. (Refrain)

Significance

As the first Irish Roman Catholic Lord Deputy in almost two centuries, Talbot swiftly appointed Catholic officers and enlisted recruits in the Irish army ("commissions galore"), which caused alarm among Protestants while inspiring Irish Catholics with hopes of reclaiming lands and political influence ("by Christ and St Patrick, the nation's our own"). This revival of Catholic power intensified Protestant anxieties about a potential massacre reminiscent of the 1641 uprising.

The song satirizes widespread Irish prophecies ("there was an old prophecy found in a bog") that foretold a definitive end to foreign domination. Talbot’s name also alludes to the Talbot dog breed, connecting symbolically to these prophecies. The chorus might stem from Irish expressions meaning "The Lily was everywhere and ours was the day," possibly alluding to the fleur-de-lis or William Lilly’s astrological forecasts predicting Catholic dominance. Other interpretations propose it signifies William’s triumph or symbolizes an anticipated Irish victory.

Scholar Breandán Ó Buachalla interprets this refrain as "Manifest, manifest... Lilly will be manifest, the day will be ours," reflecting an expected Irish success tied to astrology and political transformation.

The Beggar's Opera

The music composed by Purcell inspired the satirical character Macheath in John Gay's The Beggar's Opera (1728), which incorporated popular folk melodies. The lyrics critique aristocratic social customs and friendships based on self-interest:

<poem>The Modes of the Court so common are grown, That a true Friend can hardly be met; Friendship for Interest is but a Loan, Which they let out for what they can get. 'Tis true, you find Some Friends so kind, Who will give you good Counsel themselves to defend. In sorrowful Ditty, They promise, they pity, But shift for your Money, from Friend to Friend.</poem>

Protestant Boys

A well-known parody of "Lillibullero" is the Ulster Protestant folk tune "Protestant Boys," frequently performed by flute bands during Orange Order parades—events often associated with political tensions in Northern Ireland.

There are two distinct versions, both set to the melody of "Lillibullero":

Version 1

The Protestant Boys stand loyal and true

Stout-hearted in battle and strong-handed too

The Protestant Boys remain faithful to the end

Peaceful when danger has ceased to extend

And Oh! they proudly display and wear

The colours that waved o'er many a fray

Where cannon roared

And sabres soared

The Protestant Boys still won the day.

Version 2

Tell me, my friends, why are we gathered here?

Why assembled thus, ye Protestant Boys?

Is it mirth and fine liquor, good humour, good cheer,

That summons us now to enjoy festive joys?

Oh no! The cause,

Of king – freedom – and laws,

Is what calls loyal Protestants now to unite;

With Orange and Blue,

Ever steadfast and true,

Our king we support, and sedition we fight.

Nottingham Ale

"Nottingham Ale" is an English drinking song set to the tune of "Lillibullero." It originated as a tribute when Gunthorpe, a Nottingham publican, gifted ale to his brother, a naval officer, who penned the accompanying verses. This song gained popularity during the late 18th century and was favored by Oliver Goldsmith.

A notable performance occurred at the launch of the Nottingham, a 1152-ton East Indiaman crewed by 144 men—one of the largest and swiftest vessels constructed at Clevey's yard in Gravesend on 7 March 1787.

Fair Venus, goddess of beauty and love,

Arose from froth afloat upon the sea;

Minerva sprang from Jove's head above,

A sullen maiden, as authors agree.

Bacchus bold, prince of revelry’s halls,

Said to be born naturally without fail;

But those who chatter miss all details—

He came forth from a barrel of Nottingham Ale!

Nottingham Ale, boys, Nottingham Ale,

No liquor on earth compares to Nottingham Ale!

Nottingham Ale, boys, Nottingham Ale,

No liquor on earth compares to Nottingham Ale!

Surveying well the cask whence he arose,

Lacking more liquor his spirits fell low;

Astride the cask he clung as he rose

And soared to gods and goddesses aglow.

Gazing down upon his cherished town,

Pledging its honor without fail;

He swore it his birthplace renowned,

The best—and no liquor like Nottingham Ale.

Bishops and deacons, priests and vicars all,

Taste once and admit that it’s true;

Nottingham Ale surpasses all

And none appreciate it more than you.

It clears every vapour; saves pen, ink, paper;

Gives voice when preaching without notes’ aid;

A bumper inspires sermons greater—

The gift of good Nottingham Ale displayed.

Doctors who execute with potions and pills,

More than hangman’s noose or soldier’s gun;

Miser with famine or lawyer’s quills,

Hasten our end till faces grow wan.

Yours is forbidding malt liquor’s cheer,

Till bodies consume and spirits pale;

Yet what cures all ailments here

Is a hearty draught of fine Nottingham Ale.

Poets who boast of Helicon's stream,

Nectar divine or vine’s sweet juice;

Saying none can write well without its gleam,

The aid of one muse they choose.

Hers liquor beats Parnassus’ brook,

Nectar Ambrosia gods regale;

Experience proves this truth unshook—

Nought makes poets like Nottingham Ale.

Proposals from Richmond

A collection of lyrics dating back to the American Civil War, credited to ballad expert Francis James Child, offers a satirical portrayal of Jefferson Davis and the Confederacy. These verses likely allude to the negotiations held during the Hampton Roads Conference.

"Well, Uncle Sam," declares Jefferson D.,

Lilliburlero, old Uncle Sam,

"You must join my Confederacy,"

Lilliburlero, old Uncle Sam.

"Lero, lero, that seems quite odd-o,

That seems quite odd," replies old Uncle Sam,

"Lero, lero, filibustero,

That seems quite odd," replies old Uncle Sam.

"So, Uncle Sam, just lay down your arms,"

Lilliburlero, old Uncle Sam,

"And then you’ll hear my fair demands,"

Lilliburlero, old Uncle Sam.

"Lero, lero, I’d like to hear-o,

I’d like to hear," replies old Uncle Sam,

"Lero, lero, filibustero,

I’d like to hear," replies old Uncle Sam.

"First, admit that I have bested you in battle,"

Lilliburlero, old Uncle Sam,

"And that I’ve always stood for what’s right,"

Lilliburlero, old Uncle Sam.

"Lero, lero, rather harsh-o,

Rather harsh," replies old Uncle Sam,

"Lero, lero, filibustero,

Rather harsh," replies old Uncle Sam.

"Then you must settle all my national debts,"

Lilliburlero, old Uncle Sam,

"Without questioning my possessions,"

Lilliburlero, old Uncle Sam.

"Lero, lero, that’s quite costly-o,

That’s quite costly," replies old Uncle Sam,

"Lero, lero, filibustero,

That’s quite costly," replies old Uncle Sam.

"Also cover some IOUs and wagers,"

Lilliburlero, old Uncle Sam,

"Mine and Bob Toombs', Sidell's and Rhett's,"

Lilliburlero, old Uncle Sam.

"Lero, lero, that leaves me nothing,

That leaves me nothing," says Uncle Sam,

"Lero, lero, filibustero,

That leaves me nothing," says Uncle Sam.

"And by the way, one more small demand,"

Lilliburlero, old Uncle Sam,

"You must reimburse the costs of this war,"

Lilliburlero, old Uncle Sam.

"Lero, lero, just what I dread-o,

Just what I dread," says old Uncle Sam,

"Lero, lero, filibustero,

Just what I dread," says old Uncle Sam.

"Next you must acknowledge our Cavalier lineage!"

Lilliburlero, old Uncle Sam,

"And that your Puritans arose from the mud!"

Lilliburlero, old Uncle Sam.

"Lero, lero, that mud is clear-o,

That mud is clear," says old Uncle Sam,

"Lero, lero, filibustero,

That mud is clear," says old Uncle Sam.

"Slavery remains the chief cornerstone,"

Lilliburlero, old Uncle Sam,

"Of our new civilization!"

Lilliburlero, old Uncle Sam.

"Lero, lero, that’s quite sincere-o,

That’s quite sincere," says old Uncle Sam,

"Lero, lero, filibustero,

That’s quite sincere," says old Uncle Sam.

"Understand this well, my disloyal tool,"

Lilliburlero, old Uncle Sam,

"You will submit while we maintain control,"

Lilliburlero, old Uncle Sam.

"Lero, lero, aren’t you a hero!

Aren’t you a hero," says Uncle Sam,

"Lero, lero, filibustero,

Aren’t you a hero," says Uncle Sam.

"If you accept these terms completely,"

Lilliburlero, old Uncle Sam,

"I shall become your eternal King-President,"

Lilliburlero, old Uncle Sam.

"Lero, lero, take off your sombrero,

Back to your swamps," says old Uncle Sam,

"Lero, lero, filibustero,

Hurry along!" says old Uncle Sam.

The Farmer's Curst Wife

The tune and chorus of Lillibullero are frequently combined with the verses of the ballad The Farmer's Curst Wife. This song recounts the story of a farmer's wife who is taken to Hell by the Devil but ultimately returns to Earth after battling demons.

Versions of "The Farmer's Curst Wife" can be found on Bellowhead's 2012 album Broadside as well as The City Waites' 1976 self-titled record.

There Was an Old Woman

The 19th-century nursery rhyme "There Was an Old Woman Tossed Up in a Basket," included in the Mother Goose collection, is also performed to the melody of Lillibullero.

My Thing Is My Own

The 18th-century ballad "My Thing Is My Own," which tells the tale of a young woman defying numerous suitors, is set to the tune of Lillibullero. It notably appears on the "Renaissance Album" by Ann Wilson and Nancy Wilson (rock musician).

A 1707 edition features twelve stanzas, including:

I, a tender young Maid have been courted by many,

Of all sorts and Trades as ever was any:

A spruce Haberdasher first spake me fair,

But I would have nothing to do with Small ware.

My Thing is my own, and I'll keep it so still,

Yet other young Lasses may do what they will.

A sweet scented Courtier did give me a Kiss,

And promis'd me Mountains if I would be his,

But I'll not believe him, for it is too true,

Some Courtiers do promise much more than they do.

My Thing is my own, and I'll keep it so still,

Yet other young Lasses may do what they will.

A Master of Music came with an intent,

To give me a Lesson on my Instrument,

I thank'd him for nothing, but bid him be gone,

For my little Fiddle should not be played on.

My thing is my own, and I'll keep it so still,

Yet other young Lasses may do what they will.

A blunt Lieutenant surprised my Placket,

And fiercely began to rifle and sack it,

I mustered my Spirits up and became bold,

And forced my Lieutenant to quit his strong hold.

My thing is my own, and I'll keep it so still,

Yet other young Lasses may do what they will.

Now here I could reckon a hundred and more,

Besides all the Gamesters recited before,

That made their addresses in hopes of a snap

But as young as I was, I understood Trap.

My thing is my own, and I'll keep it so still,

Until I be Married, say Men what they will.

Broadcasting

During World War II, the British Broadcasting Corporation incorporated "Lillibullero" into its programme Into Battle, where it became recognized as the unofficial march for the Commandos within the British Army. Since that time, multiple renditions of "Lillibullero" have served as an interval signal for the BBC, including performances by both marching bands and symphony orchestras.

The arrangement used for more than three decades was crafted by David Cox. In the 1970s, a rendition by HM Royal Marines band that preceded the BBC World Service News was replaced with a softer brass ensemble version before eventually being restored. The latest version recorded by David Arnold, performed by a string orchestra, was broadcast several times daily until November 2021; a shortened excerpt remains occasionally employed before hourly news bulletins.

Its longevity as the BBC World Service’s signature tune is credited to its strong yet straightforward composition which ensures clear broadcaster identification. Engineers favored it due to its clarity over shortwave transmissions. Furthermore, its opening measures echo the "Victory V" Morse code rhythm used during World War II messaging by the BBC.

For its music shows on BBC Persian TV service, a remixed adaptation of "Lillibullero" featuring Persian instrumental influences is utilized. The tune also appeared on BBC World Service Television broadcasts across Europe and Asia during the early 1990s.

Military

The official Regimental March of the Royal Electrical and Mechanical Engineers (REME), a Corps formed during the Second World War, is "Lillibullero." The BBC’s use of this tune during wartime likely played a role in REME’s choice, although the melody had been a longstanding element within military music traditions. The Corps' origins are closely connected with regiments associated with this particular tune. Additionally, "Lillibullero" serves as one of the official marches for the Corps of Royal Australian Electrical and Mechanical Engineers (RAEME), alongside "Boys in the Backroom."

Fiction

In Tristram Shandy by Laurence Sterne, the melody "Lillibullero" is whistled by Captain Toby Shandy, a former British Army officer, in Book 9, Chapter 17, where he employs it to divert contentious discussions.

Walter Scott includes a verse sung by Fergus Mac-Ivor before battle on behalf of the Pretender in his novel Waverley.

"Lillibullero" is referenced multiple times and whistled by a character in Robert Louis Stevenson's Treasure Island.

In The Life of the World to Come by Kage Baker, the character Alec invokes the tune, reflecting his admiration for Stevenson’s works.

Neal Stephenson's Baroque Cycle highlights "Lillibullero" as an example of anti-Catholic propaganda.

The melody features in several films, including Barry Lyndon (1975), where it accompanies Barry’s regiment assembling for the Seven Years’ War. It also appears in The Last Man Out, Raid on Rommel, and plays during the credits of East of Sudan (1964).

In Frederick Forsyth’s novel The Afghan, the main character Terry Martin uses "Lillibullero" as his mobile phone ringtone.

The tune can be heard on the Brigadier’s radio in the 1977 episode "Mawdryn Undead" from Doctor Who.

Music

Henry Purcell created a keyboard arrangement of this melody titled A New Irish Tune, which was included in the second part of Musick's Hand-Maid, a tutorial book for virginals and harpsichords published by Henry Playford.

A French adaptation known as the Marche du Prince d'Orange is credited to Louis XIV’s court composers Philidor the Elder and Jean-Baptiste Lully.

"Lillibullero" influenced Wolfgang Amadeus Mozart’s Piano Sonata No. 11 in A major, K. 331 (1783), and inspired composers such as Max Reger, who composed Variations and Fugue on a Theme by Mozart, Op. 132 (1914). Walter Niemann also wrote Kleine Variationen über eine alt-irische Volksweise, Op. 146 (1936), acknowledging Purcell’s original theme.

Michael Longcor produced an adaptation of "Lillibullero" set to Rudyard Kipling’s poem "Brown Bess," featured on his album Norman and Saxon.