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The Poem-Book of Gael. Translations from Irish Gaelic Poetry Into English
THE POEM-BOOK OF THE GAEL Mil ,|| líi £ £ O £ Iflíl iiil í 2- ?: Ji JP^ c ^ ^ r:u ^^ ilfil lílU' ^ llfÍJ ^íí Printed bj' Ballantyne, Hanson &>» Co. At the Uallantyne Press, Edinburgh THE POEM-BOOK OF THE GAEL Translations from Irish Gaelic Poetry into English Prose and Verse SELECTED AND EDITED BY ELEANOR HULL AUTHOR OF "THE CUCHULLIN SAGA IN IRISH LITERATURE" "A TEXT-BOOK OF IRISH LITERATURE," ETC. WITH A FRONTISPIECE LONDON CHATTO (^ WINDUS 1912 K^ r [A// rights reservci{\ CONTENTS ( Where not otherwise indicated, the translation or poetic setting is by the ciithor.) PAGE Introduction xv THE SALTAIR NA RANN, OR PSALTER OF THE VERSES í I. The Creation of the Universe . 3 II. The Heavenly Kingdom . II III. The Forbidden Fruit 20 IV. The Fall and Expulsion from Paradise 22 V. The Penance of Adam and Eve 31 VI. The Death of Adam .... 43 ANCIENT PAGAN POEMS The Source of Poetic Inspiration (founded on transla- tion by Whitley Stokes) 53 Amorgen's Song (founded on translation by John MacNeill) 57 25719? viii THE POEM-BOOK OF THE GAEL PAGE The Song of Childbirth . 59 Greeting to the New-born Babe 6i What is Love ? . 62 Summons to Cuchulain . Laegh's Description of Fairy-land 65 The Lamentation of Fand when she is about to leave Cuchulain 69 Mider's Call to Fairy- land 71 The Song of the Fairies . A. H. Leahy 73 The great Lamentation of Deirdre for the Sons of Usna 74 OSSIANIC POETRY First Winter-Song . Alfred Perciv al Graves 81 Second Winter-Song 82 In Praise of May . -
Eoghán Rua Ó Suilleabháin: a True Exponent of the Bardic Legacy
134 Eoghán Rua Ó Suilleabháin: A True Exponent of the Bardic Legacy endowed university. The Bardic schools and the monastic schools were the universities of their day; they bestowed privileges and Barra Ó Donnabháin Symposium: status on their students and teachers, much as the modern university awards degrees and titles to recipients to practice certain professions. There are few descriptions of the structure and operation of Eoghán Rua Ó Suilleabháin: A the Bardic schools, but an account contained in the early eighteenth century Memoirs of the Marquis of Clanricarde claims that admission True Exponent of the Bardic WR %DUGLF VFKRROV ZDV FRQÀQHG WR WKRVH ZKR ZHUH GHVFHQGHG from poets and had within their tribe “The Reputation” for poetic Legacy OHDUQLQJ DQG WDOHQW ´7KH TXDOLÀFDWLRQV ÀUVW UHTXLUHG VLF ZHUH Pádraig Ó Cearúill reading well, writing the Mother-tongue, and a strong memory,” according to Clanricarde. With regard to the location of the schools, he asserts that it was necessary that the place should “be in the solitary access of a garden” or “within a set or enclosure far out of the reach of any noise.” The structure containing the Bardic school, we are told, “was snug, low, hot and beds in it at convenient distances, each within a small apartment without much furniture of any kind, save only a table, some seats and a conveniency for he poetry of Eoghan Rua Ó Súilleabháin (1748-1784)— cloaths (sic) to hang upon. No windows to let in the day, nor any Tregarded as one of Ireland’s great eighteenth century light at all used but that of candles” according to Clanricarde,2 poets—has endured because of it’s extraordinary metrical whose account is given credence by Bergin3 and Corkery. -
YEATS ANNUAL No. 18 Frontispiece: Derry Jeffares Beside the Edmund Dulac Memorial Stone to W
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/194 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the same series YEATS ANNUALS Nos. 1, 2 Edited by Richard J. Finneran YEATS ANNUALS Nos. 3-8, 10-11, 13 Edited by Warwick Gould YEATS AND WOMEN: YEATS ANNUAL No. 9: A Special Number Edited by Deirdre Toomey THAT ACCUSING EYE: YEATS AND HIS IRISH READERS YEATS ANNUAL No. 12: A Special Number Edited by Warwick Gould and Edna Longley YEATS AND THE NINETIES YEATS ANNUAL No. 14: A Special Number Edited by Warwick Gould YEATS’S COLLABORATIONS YEATS ANNUAL No. 15: A Special Number Edited by Wayne K. Chapman and Warwick Gould POEMS AND CONTEXTS YEATS ANNUAL No. 16: A Special Number Edited by Warwick Gould INFLUENCE AND CONFLUENCE: YEATS ANNUAL No. 17: A Special Number Edited by Warwick Gould YEATS ANNUAL No. 18 Frontispiece: Derry Jeffares beside the Edmund Dulac memorial stone to W. B. Yeats. Roquebrune Cemetery, France, 1986. Private Collection. THE LIVING STREAM ESSAYS IN MEMORY OF A. NORMAN JEFFARES YEATS ANNUAL No. 18 A Special Issue Edited by Warwick Gould http://www.openbookpublishers.com © 2013 Gould, et al. (contributors retain copyright of their work). The text of this book is licensed under a Creative Commons Attribution 3.0 Unported Licence. This licence allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text. -
Brian Ó Nualláin/O'nolan
Brian Ó Nualláin/O’Nolan Scholarly Background & Foreground* Breandán Ó Conaire St Patrick’s College, Dublin City University ‘Ní fhéadaim cuimhneamh ar aon scríbhneoir mór anois a bhféadfá fear léannta a thabhairt air’ (I cannot think of any major writer at present who could be called a man of learning). – Seán Ó Ríordáin 1 ‘Brian Ó Nualláin, afterwards alias Myles na gCopaleen, alias Flann O’Brien, and, as it turned out, the most gifted bilingual genius of half a century’ – Cearbhall Ó Dálaigh, Irish President (1974–76)2 Family Background From his early years, Brian O’Nolan lived in a family environment in which education, literature, the Irish language, culture, and learning held significant importance. This milieu was reflected in the skills, talents, and accomplishments of members of the extended family. His paternal grandfather Daniel Nolan from Munster was a national teacher and taught music at the Model School in Omagh, Co. Tyrone. He was an excellent singer and an accomplished violinist. He had a special fondness for theatre and opera, performances of which he frequently attended with his young wife. A special concert was organised in his honour in Omagh prior to his transfer to Belfast in the early 1880s. In July 1867 Daniel married Jane Mellon3 a former pupil at the Omagh school and fourth daughter of James Mellon, a strong farmer from Eskeradooey in Co. Tyrone. The marriage took place at Knockmoyle Catholic Church in Cappagh parish where Jane was born. The parish priest, Rev. Charles McCauley, was the celebrant. In the national census entries for 1901 and for 1911, when Jane, also known as ‘Sinéad,’ lived with the O’Nolan family in Strabane, her competence in both Irish and English was recorded. -
The Interpretation of Tradition by Alan Titley
_____________________________________________________________________ The Interpretation of Tradition by Alan Titley. This essay is taken from the forthcoming collection: Hilary Lennon (ed.), Frank O’Connor: Critical Essays (Dublin: Four Courts Press, 2007) www.four-courts-press.ie/cgi/bookshow.cgi?file=foc_essay.xml Essay has been downloaded from www.frankoconnor.com _____________________________________________________________________ In the introduction to his survey of Irish literature, The backward look, Frank O'Connor asks, ‘Is there such a thing as an Irish literature, or is it merely two unrelated subjects linked together by a geographical accident?’1 This question has been central to studies of literature in Ireland for more than a hundred years and has been answered, as could be expected, in at least two different ways. On the one hand scholars of the Irish language or of what is sometimes quaintly called ‘the Gaelic tradition’ have tended to ignore writing in English; while those involved in what used to be known as ‘the Anglo-Irish tradition’ generally treat writing in Irish as a kind of background which validates but doesn't disturb their own point of view. Thus standard works such as Douglas Hyde's A literary history of Ireland or Robin Flower's The Irish tradition and Seamus Deane's A short history of Irish literature or Maurice Harmon's Modern Irish literature, 1800-1967 seem to be dealing with entirely different universes. It doth seem that ‘Irish’ in these interminable debates can mean anything the author chooses it to mean within a clearly defined ideological position. Although Frank O'Connor was never one to shirk a good row or hide his heart up his sleeve, it appears that his wrestling with this problem of one or two Irish literatures was genuine. -
Molly Vs. Bloom in Midnight Court James Joyce Quarterly 41: 4
1 Joyce’s Merrimanic Heroine: Molly vs. Bloom in Midnight Court James Joyce Quarterly 41: 4 (Summer 2004): 745-65 James A. W. Heffernan In 1921, just one year before Ulysses first appeared, T.S. Eliot wrote the prescription for the kind of writer--Eliot’s word was “poet”--who would be required to produce it. He--male of course-- must bring to his work a “historical sense,” a capacity to integrate the life and literature of “his own generation” and “his own country” with “the whole of the literature of Europe from Homer” onward.12 Ulysses manifests Joyce’s command of that tradition on almost every page. Besides initiating a radically modern retelling of The Odyssey in a language that includes scraps of Greek, Latin, and French (with bits of German and Italian to come), the very first chapter of the novel spouts Homeric epithets, references to ancient Greek history and rhetoric, Latin passages from the Mass and Prayers for the Dying, allusions to Dante’s Commedia and Shakespeare’s Macbeth, and quotations from Hamlet and Yeats’s Countess Cathleen. Yet conspicuous by its absence from this multi-cultural stew is anything explicitly Gaelic, anciently Irish.3 Standing by the parapet of a tower built by the English in the late eighteenth century to keep the French from liberating Ireland, Stephen hears Mulligan’s proposal to “Hellenise” the island now (1.158) with something less than nationalistic fervor or Gaelic fever running through his head. “To ourselves . new paganism . omphalos,” he thinks (U 1.176). With “to ourselves” he alludes to Sinn Fein, meaning “We Ourselves,” the Gaelic motto of a movement that was founded in the 1890s to revive Irish language and culture and that became about 1905 the name of a political movement which remains alive and resolutely--if not militantly--nationalistic to this very day. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
“No Man Is an Island” ½¾—— National Literary Canons, Writers, and Readers
“No Man is an Island” ½¾—— National Literary Canons, Writers, and Readers LYN INNES ENEDICT ANDERSON HAS ARGUED FOR the importance of literature in the creation of an imagined national community through the B stories we tell about ourselves.1 However, it is not only the stories we tell about ourselves but the story we tell about the stories that becomes significant in the formation of national identity or, in other words, the creation of a national literary canon with its inclusions and exclusions. That narrative also entails the ways and contexts in which we are encouraged to read those texts – the questions we ask of them, the themes we emphasize, the frame- works and structures we set up to establish continuity, a story of a developing and grounded national literature. The resulting national literary history is, more often than not, a remarkably insular one. As Joe Cleary has remarked in his excellent book Outrageous Fortune,2 the literary historiography of the Irish novel is itself seen as a kind of Bildungsroman, tracing it from its infant ‘origins’ towards a kind of maturity, often along the lines of Ian Watt’s “rise of the novel.”3 Moreover, specific texts are selected to act as ‘milestones’ or, in T.S. Eliot’s term, “monuments,” 1 Benedict Anderson, Imagined Communities: Reflecting on the Origins and Spread of Nationalism (London: Verso, 1983). 2 Joe Cleary, Outrageous Fortune: Capital and Culture in Modern Ireland (Dublin: Field Day, 2007). 3 Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson, and Fielding (1957; Berkeley: U of California P, 2001). -
THE WOOING of CHOICE: Prosimetric Reconstruction of the Female Journey in Irish Mythology
THE WOOING OF CHOICE: Prosimetric Reconstruction of the Female Journey in Irish mythology by Roxanne Bodsworth 2020 This thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, Institute of Sustainable Industries and Liveable Cities, Victoria University. i Abstract: In “The Wooing of Choice: prosimetric reconstruction of the female journey in Irish mythology”, I examine the representation of female characters in Irish mythological tales where the woman chooses her lover in contravention of social expectations. In the traditional versions, the woman recedes into the background as the narrative develops around the male hero. I ask what happens to the discourse of the narrative when it is subverted so that the focus is placed upon the female experience. This is explored through a creative component, called ‘Meet Me in My World’, a prosimetric reconstruction of three Irish tales in which the woman chooses her lover and compels him to follow her. The three tales are: Aislinge Óengusso (The Dream of Óengus); Tóruigheacht Dhiarmada agus Ghráinne (The Pursuit of Diarmaid and Gráinne); and Longes mac nUislenn (The Exile of the Sons of Uisliu). The exegetical component, comprising 50% of the thesis, is composed of two sections. In the first, I examine theories of feminist writing and remythologizing, and develop a new model for feminist reconstruction, which I apply to the creative product. In the second section, I explore the relationship between narrative and poetry, from medieval prosimetric translations to contemporary hybrid texts, and consider which form provides the best framework for my female-centred narrative and the verse. -
Irish National Imagination Through Mythology and Materiality
College of the Holy Cross CrossWorks English Honors Theses English Department 5-11-2020 The Poetry of History: Irish National Imagination Through Mythology and Materiality Ryan Fay College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/engl_honor Part of the Celtic Studies Commons, European History Commons, Folklore Commons, and the Literature in English, British Isles Commons Recommended Citation Fay, Ryan, "The Poetry of History: Irish National Imagination Through Mythology and Materiality" (2020). English Honors Theses. 1. https://crossworks.holycross.edu/engl_honor/1 This Departmental Honors Thesis is brought to you for free and open access by the English Department at CrossWorks. It has been accepted for inclusion in English Honors Theses by an authorized administrator of CrossWorks. The Poetry of History: Irish National Imagination Through Mythology and Materiality Ryan Fay English Honors Program Adviser: Professor Melissa Schoenberger Reader: Professor Paige Reynolds Fay 2 Table of Contents Abstract………………………………………………………………………………………………………………………….4 Preface…………………………………………………………………………………………………………………………...7 Chapter 1—Gendered Modalities of Power: Historico-Poetics Through Medieval Irish Poetry…………………………………………………………………………………………………………………………...9 - Introduction - Part One—Traditional Bardic Poetry: A Contested Culture - Part Two—An Táin Bó Cúailnge: Queen Medb - Part Three—An Táin Bó Cúailnge: Sétanta, Cúchulainn - Conclusion: History, Land, Narrative, and Viscera Chapter -
Intersections Between Sound, Self, and Nation in the Poetry of Yeats Co
1 Hybrid rhythms, antithetical echoes, and autopoiesis: Intersections between sound, self, and nation in the poetry of Yeats Connor Stratton Candidate for Honors in English DeSales Harrison, Thesis Advisor Spring 2013 2 So many thanks to my advisor, DeSales Harrison, for his generosity and direction every step of the way. 3 Introduction Between extremities Man runs his course; A brand, or flaming breath… —“Vacillations” Sounds A poem, too, vacillates “between extremities”: between eye and ear, page and voice, “brand” and “flaming breath.” It lives itself liminally between writing and speech, reading and listening. While the Odyssey or the Ramayana represent the extreme of the oral tradition, and Eugen Gomringer’s Silencio or ee cumming’s [the(oo)is] suggest visual or graphic hyperbole, most poems exhale somewhere in the middle. Yet, despite this prevalent vacillation, current critical attention on poetry’s aural features and possibilities is scant. Marjorie Perloff, in her introduction to The Sound of Poetry / The Poetry of Sound, remarks: … however central the sound dimension to any and all poetry, no other poetic feature is currently as neglected. Indeed, the discourse on poetry today, largely fixated as it is on what a given poem or set of poems ostensibly “says,” regards the sound structure in question … as little more than a peripheral issue, a kind of sideline (1-2). The collection of essays that follow in The Sound of Poetry all constitute their own intervention to this “neglected” area of study, and all privilege sound as its root of inquiry. It is in the spirit of these essays that I make my own intervention. -
Coming Out, Queer Sex, and Heteronormativity in Two Irish
Firenze University Press https://oajournals.fupress.net/index.php/bsfm-sijis Coming Out, Queer Sex, and Heteronormativity Citation: S. Mac Risteaird (2020) Coming Out, Queer in two Irish-language Novels Sex, and Heteronormativity in two Irish-language Novels. Sijis 10: pp. 63-75. doi: http:// Seán Mac Risteaird dx.doi.org/10.13128/SIJIS- Dublin City University (<[email protected]>) 2239-3978-11752 Copyright: © 2020 S. Mac Ris- teaird. This is an open access, peer-reviewed article published Abstract: by Firenze University Press It has been nearly 30 years since Teresa de Lauretis coined the term “Queer (https://oajournals.fupress.net/ Th eory” in a special edition of Diff erences: A Journal of Feminist Cultural Studies index.php/bsfm-sijis) and distrib- (1991). Since then, Queer Th eory has evolved and changed, becoming an uted under the terms of the Cre- interdisciplinary in-vogue “methodology” that questions the subversive and the ative Commons Attribution - Non diff erent.Th e social, cultural, and literary landscape of Ireland has also changed Commercial - No derivatives in those 30 years, a country that was once seen as a place where “homosexuality 4.0 International License, which permits use, distribution and has occupied an uncomfortable place” (Conrad 2001, 124). Th is paper will reproduction in any medium, discuss the literary texts of two Irish-language writers, Micheál Ó Conghaile provided the original work is and Pádraig Standún, who both refl ect these shifts in attitudes in contemporary properly cited as specifi ed by modern Ireland. Both writers unpack public and private expressions of identity, the author or licensor, that is not sex, and heteronormativity in their work.