The king holds in his hands a stick surmounted by an emblem depicting a rooster with a dragon’s tail (still a reference to the Celtic heritage): the fairy teases him with a feather and the king wakes up from sleep and beats the his stick on the ground a crepuscular light darts among the leaves of a majestic oak in a swirl of leaves, the image of one of the two girls next to the sword in the rock that rises awakened by the thunder appears in fading: in the sky shrouded in clouds a lightning and as soon as the fog clears we see a floating boat carrying the lady (the tribute here goes to the lady of Shalott and to the painting by John William Waterhouse). Here Enya begins to sing and we see her following the guardian spirit on foot, who reveals a cave suffused with an unearthly light in which an old king with a white beard ( king Arthur) is sleeping on a golden throne. The lady, after having gone into the woods, reaches a gorge where she meets a s ylvan creature, the guardian spirit of the place.
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The face in the foreground of Enya connects the continuation of the story, even the knight is now in the real world (and the colors are more vivid) and is in search of the lady. The scene takes place within the walls of a ruined castle, decked with red drapes and swept by the wind, in one corner a sword stuck in the rock (a tribute to the Arthurian myth) after delivering the treasure chest, the two ladies head towards a Magical Portal decorated along the edges with embossed friezes, beyond which opens the vision of the World of men: we understand that girls are two fairy creatures in the Other World gazing the world of men. On the fade it appares the image of the two girls wrapped in a s upernatural light, they await the arrival of a knight, who kneels before them. While the tolling of the bell rung by the Christian monks marks the beginning of the melody, the dame goes beyond the hall of the turreted castle (in whose courtyard the bell is found) and gallops past the long wooden bridge that joins the islet to the mainland. THE CELTS THE PLOTīetween a flight of doves, the crown of sovereignty (the Celtic inheritance) is placed in a silver casket from two white-dressed girls, in a fade of light emerges a lady (Enya) riding a white steed and wearing on the long robes of medieval style with a red cloak edged and gold embroidery. Not least important are the videos punctually produced for the launch of the albums, which to a good extent satisfy the need for artistic visibility for the audience of a musician who does not like performing live. That supernatural aura is a product of the most modern musical technology and the collaboration of three minds: Enya who composes the music (filtering his background of classical studies and traditional Irish music), plays (superbly) the keyboard and sings Nicky Ryan, the producer and arranger (who had the genius to apply the technique of multivocals, the choirs with the overdub, to the voice of Enya) and Rome Shane Ryan who writes the lyrics in different languages (English, Gaelic, Spanish, Latin and languages tolkeniane). Originally the musical project was born as a soundtrack to the BBC documentary on the Celts (broadcast in 1986) electronic music in post-production, composed in front of a synthesizer to which are added multiple overlaps and the “ethereal” effects that are the style of Enya. “Enya” was Enya’s debut album in 1987 and was reprinted in 1992 with the title “The Celts” when the singer was now known internationally (an extraordinary success achieved without having practically ever done a live concert). The song that climbs the charts bringing the group to the forefront is however “ Theme from Harry’s Game” from the BBC television: it is the music that will distinguish them in the years to come, evocative sound carpets, solemn and majestic choirs, something of mystical in that fairy and magical Gaelic. Soir ar a chósta sea d’inis domh stróinseĢ) probably the local name given to rocks due to their shape or shape Nach bhfáilghinn a thuairisc go dtéinn thar snaidhm San oileán Muarseadh d’inis dom buachaill ‘S do thabhairfinn púnt ar é bhlaiseadh arísĪn fhiach ‘s an lao taobh amuigh de Bhaoi That it was the laughing stock of KenmareĪn óig-bhean uasal bhí t’reis é thabhairt domh
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That I wouldn’t get word of her until I’d tie the knot (3) On the Island of Muarseadh a young man told me
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I walked through Cualach because I was sad The raven and the calf outside of Bhaoi (2) The bays of of Béara Island were before me on the way
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A fine lovely apple I put in my pocket (1)