DOCSLIB.ORG

Sean O'casey Modern Judgements

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Modern Judgements SEAN O'CASEY MODERN JUDGEMENTS General Editor: P. N. FURBANK Dickens A. E. Dyson Henry James Tony Tanner Milton Alan Rudrum Sean O'Casey Ronald Ayling Pasternak Donald David and Angela Livingstone Walter Scott D. D. Devlin Shelley R. B. Woodings Swift A. NormanJeffares IN PREPARATION Matthew Arnold P. A. W. Collins Ford Madox Ford Richard A. Cassell Freud F. Cioffi Marvell M. Wilding Pope Graham Martin Racine R. C. Knight Sean 0' Casey MODERN JUDGEMENTS edited by RONALD AYLING Macmillan Education Selection and editorial material© Ronald Ayling 1969 Softcover reprint of the hardcover rst edition 1969 978-0-333-03330-2 ISBN 978-o-333-07049-9 ISBN 978-1-349-15301-5 (eBook) DO I 10.1007I 978-1-349-15301-5 First published 1969 MACMILLAN AND CO LTD Little Essex Street London WC2 and also at Bombay Calcutta and Madras Macmillan South Africa (Publishers) Pty LtdJohannesburg The Macmillan Company ofAustralia Pty Ltd Melbourne The Macmillan Company ofCanada Ltd Toronto For Elsie and Charles Osborn to whom I owe so much Contents Acknowledgements 7 General Editor's Preface 9 Introduction II Chronology 42 Drama HERBERT COSTON Prelude to Playwriting 47 P. s. o'HEGARTY A Dramatist ofNew-born Ireland 6o A. E. MALONE O'Casey's Photographic Realism 68 JAMES AGATE Juno and the Paycock and The Plough and the Stars 76 DENIS JOHNSTON Sean O'Casey: An Appreciation 82 w. B. YEATS TheSilverTassie:ALetter 86 CHARLES MORGAN The Silver Tassie 88 GEORGE BERNARD SHAW LettertotheProducerofThe Silver Tassie 91 BONAMY DOBREE SeanO'CaseyandthelrishDrama 92 UNA ELLIS-FERMOR PoetryinRevolt 106 JOHN GASSNER TheProdigalityofSeanO'Casey IIO JACQUES BARZUN O'Casey at Your Bedside 120 A. G. sTocK The Heroiclmage: Red Roses for Me 126 WILLIAM A. ARMSTRONG Sean O'Casey, W. B. Yeats and the Dance ofLife 13 I 6 Contents JOHN JORDAN Illusion and Actuality in the Later O'Casey 143 ROBERT HOGAN InSeanO'Casey'sGoldenDays r62 G. WILSON KNIGHT Ever a Fighter: The Drums of Father Ned 177 KATHARINE WORTH O'Casey's Dramatic Symbolism 183 JACK LINDSAY SeanO'CaseyasaSocialistArtist 192 Autobiographies HUBERT NICHOLSON O'Casey'sHornofPlenty 207 PADRAIC COLUM Sean O'Casey's Narratives 220 MARVIN MAGALANER O'Casey'sAutobiography 228 The Letters and a Toast DAVID KRAUSE ASelf-PortraitoftheArtistasaMan 235 HUGH MACDIARMID Slainte Churamach, Sean 252 Select Bibliography 26! Notes on Contributors 270 Index 273 Acknowledgements Professor Herbert H. Coston and the Tulane Drama Review for 'Sean O'Casey: Prelude to Playwriting' from the Tulane Drama Review, v no. I (Sept 1960); Mr Sean S.6 hEigeartaigh for 'A Dramatist of New-born Ireland', by P. S. O'Hegarty, from the North American Review, CCXXIV (1927); Curtis Brown Ltd for 'O'Casey's Photographic Realism' from The Irish Drama, by A. E. Malone; the Sunday Times for James Agate's reviews of Juno and the Paycock, 16 Nov 1925, and The Plough and the Stars, 16 May 1926; the Daily Telegraph for 'Sean O'Casey: An Appreciation', by Denis Johnston, from the issue of 11 March 1926; Rupert Hart-Davis Ltd for 'The Silver Tassie: A Letter' from The Letters of W. B. Yeats, ed. Allan Wade (pp. 74o-2); The Times for Charles Morgan's review of The Silver Tassie from the issue of 12 Oct 1929; the Public Trustee and the Society of Authors for George Bernard Shaw's 'Letter to the Producer of The Silver Tassie', which originally appeared in The Times, 26 Nov 1929; Professor Bonamy Dobree for 'Sean O'Casey and the Irish Drama'; Methuen & Co. Ltd for 'Poetry in Revolt' from The Irish Dramatic Movement, by Una Ellis-Fermor; the late Professor John Gassner for 'The Prodigality of Sean O'Casey' from The Theatre in Our Times: A Survey ofthe Men, Materials and Movements in the Modern Theatre; Mr Jacques Barzun for 'O'Casey at Your Bedside' from the Tulane Drama Review, rr no. 2 (Feb 1958); Professor A. G. Stock for 'The Heroic Image: Red Roses for Me'; Professor W. A. Armstrong for 'Sean O'Casey, W. B. Yeats and the Dance ofLife'; Professor John Jordan for 'Illusion and Actuality in the Later O'Casey'; Professor Robert Hogan for 'In Sean O'Casey's Golden Days' from Dublin Magazine, v nos. 3-4 (Autumn/Winter, 1966); Methuen & Co. Ltd and W. W. Norton & Co. Inc. for 'Ever a Fighter: The Drums of Father Ned' from The Christian Renaissance, by G. Wilson Knight, © 1962 by G. Wilson Knight; Mrs Katharine 8 Acknowledgements J. Worth for 'O'Casey's Dramatic Symbolism' from Modern Drama, IV no. 3 (Kansas, 1961); Mr Jack Lindsay for 'Sean O'Casey as a Socialist Artist'; William Heinemann Ltd for '0' Casey's Horn of Plenty' from A Voyage to Wonderland and Other Essays, by Hubert Nicholson; Mr Padraic Colum for 'Sean O'Casey's Narratives'; Pro­ fessor Marvin Magalaner for 'O'Casey's Autobiography'; Professor David Krause for' A Self-Portrait of the Artist as a Man: Sean 0'Casey's Letters' (a fuller version of this essay is published by the Dolmen Press Ltd as no. 6 in The New Dolmen Chapbooks); Mr Hugh MacDiarmid for 'Slainte Churamach, Sean'. The contributions by W. A. Armstrong, Padraic Colum, C. M. Grieve ('Hugh MacDiarmid'), David Krause, Jack Lindsay, and A. G. Stock were specially written for this volume. The lectures by Bonamy Dobree and John Jordan are here published for the first time. All articles, including those reprinted from books or periodicals, are published without alteration or revision, with the exception of the contributions by David Krause and John Jordan, where excessive length made cuts necessary. In Professor Krause's article the cuts were primarily letters to O'Casey and not the playwright's letters; in Professor Jordan's essay the main omission is a detailed analysis of Red Roses for Me, which was deleted because two other articles in the anthology are specifically devoted to this play. Because there is still much doubtful and conflicting information in print about O'Casey's life, a fuller chronological account than is usually provided in the Modern Judgements series is given in the present volume. Similarly, the checklist of O'Casey criticism (though it excludes unimportant reviews and journalism) is more comprehensive than usual. I am especially grateful to Mrs Eileen O'Casey for her friendly encouragement and advice, and for the kind understanding of Professor Vivian de Sola Pinto and Professor D. S. R. Weiland when I most needed it. I am also pleased to acknowledge information and help generously given by G. W. Brandt, David Cheshire, and Miss Hannah D. French, and the co-operation of Rivers Carew, Editor of the Dublin Magazine. The expert assistance of Mr P. Henchy, Director of the National Library of Ireland, and his staff, and the facilities provided by the Bodleian Library, Oxford, and the library of the University of Bristol are also most gratefully recorded. R.A. General Editor's Preface LITERARY criticism has only recently come of age as an academic discipline, and the intellectual activity that, a hundred years ago, went into theological discussion, now fmds its most natural outlet in the critical essay. Amid a good deal that is dull or silly or pretentious, every year now produces a crop of critical essays that are brilliant and profound, not only as contributions to the understanding ofa particular author, but as statements of an original way oflooking at literature and the world. Hence, it often seems that the most useful undertaking for an academic publisher might be, not so much to commission new books of literary criticism or scholarship, as to make the best of what exists easily available. This at least is the purpose of the present series of anthologies, each ofwhich is devoted to a single major writer. The guiding principle of selection is to assemble the best modern criticism - broadly speaking, that of the last twenty or thirty years - and to include historic and classic essays, however famous, only when they are still influential and represent the best statements of their particular point of view. It will, however, be one of the functions of the editor's Introduction to sketch in the earlier history of criticism in regard to the author concerned. Each volume will attempt to strike a balance between general essays and ones on specialised aspects, or particular works, of the writer in question. And though in many instances the bulk of the articles will come from British and American sources, certain of the volumes will draw heavily on material in other European languages - most of it being translated for the first time. P. N. FURBANK Introduction I A GREAT deal has been written about Sean O'Casey's life and work, but only a fraction of it has any real critical substance, and there are, indeed, considerable difficulties in getting to grips with the subject. Confusion is as common as controversy, and both have been intensified by the myths and malice circulated by the writer's enemies. Reviewing O'Casey criticism up to the present, one is immediately struck by the irrelevance of much of it and by the number of false or misleading approaches to be encountered. At the same time, many important aspects of his writings remain unexplored or only partially explored - notably, practical consideration of stagecraft in his drama and objective literary evaluation of the autobiographies. Critical contradictions obscure certain significant issues. It is amazing how many reputable critics argue that the dramatist in his early Dublin plays had no didactic purpose whatsoever, while others contend that these same plays are, for good or ill, full of propaganda.
Recommended publications
  • Sense of HUMOUR

    Sense of HUMOUR

    Sense of HUMOUR STEPHEN POTTER HENRY HOLT & COMPANY NEW YORK " College Library 14 ... d1SOn ... hurD V,rglt11a l\~rr1Son 0' First published 1954 Reprinted I954 rR q-) I I . I , F>~) AG 4 '55 Set In Bembo 12 poitlt. aHd pritlted at THE STELLAR PRESS LTD UNION STREBT BARNET HBRTS GREAT BRITAIN Contents P ART I THE THEME PAGE The English Reflex 3 Funniness by Theory 6 The Irrelevance of Laughter 8 The Great Originator 12 Humour in Three Dimensions: Shakespeare 16 The Great Age 20 S.B. and G.B.S. 29 Decline 36 Reaction 40 PART II THE THEME ILLUSTRATED Personal Choice 47 1 The Raw Material , , 8 UNCONSCIOUS HUMOUR 4 Frederick Locker-Lampson. At Her Window 52 Ella Wheeler Wilcox. Answered 53 Shakespeare. From Cymbeline 54 TAKING IT SERIOUSLY From The Isthmian Book of Croquet 57 Footnote on Henry IV, Part 2 59 THE PERFECTION OF PERIOD 60 Samuel Pepys. Pepys at the Theatre 61 Samuel Johnson. A Dissertation on the Art of Flying 62 Horace Walpole. The Frustration of Manfred 63 Horace Walpole. Theodore Revealed 64 Haynes Bayly. From She Wore a Wreath of Roses 66 Charles Mackay. Only a Passing Thought 66 E. S. Turner. The Shocking .!fistory of Advertising 67 VB VUl CONTENTS PAGE CHARACTER ON THE SLEEVE 67 Samuel Johnson. On Warburton on Shakespeare 68 James Boswell. On Goldsmith 68 William Blake. Annotations to Sir Joshua Reynolds's Discourses 69 S. T. Coleridge. To his Wife 70 S. T. Coleridge. Advice to a Son 71 S. T. Coleridge. Thanks for a Loan 71 Arnold Bennett and Hugh Walpole.
  • Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam

    Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam

    ‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8).
  • Text Pages Layout MCBEAN.Indd

    Text Pages Layout MCBEAN.Indd

    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
  • Don Quixote Miguel De Cervantes

    Don Quixote Miguel De Cervantes

    Don Quixote Miguel de Cervantes Translated by Tom Lathrop ALMA CLASSICS AlmA ClAssiCs ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com Don Quixote first published in 1605–15 This translation first published privately in US by the translator in 2005 This revised translation first published by Alma Classics Limited (pre- viously Oneworld Classics Ltd) in 2010 This new edition first published by Alma Classics Limited in 2014 Translation, Introduction and Notes © Tom Lathrop Cover design: nathanburtondesign.com Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY isbn: 978-1-84749-377-4 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Introduction vii Don Quixote 1 First PArt 3 Part One 19 Part Two 54 Part Three 84 Part Four 182 seCond PArt 359 Notes 737 This edition is dedicated to the memory of three individuals: GERARD LEBEAU – A truly good person WALTER OLLER – A polyglot scholar and musician and DIANA FRANCES HECHTER – A life too short Introduction Miguel de Cervantes was the fourth of seven children. He was born on 29th September 1547 in Alcalá de Henares, a university town about thirty kilome- tres east of Madrid.
  • Colour in the Plays of Sean O'casey

    Colour in the Plays of Sean O'casey

    “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face: Colour in the Plays of Sean O’Casey Ryan K Evans This thesis is submitted for the degree of Master of Philosophy August 2019 English and Creative Writing “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Declaration This thesis has not been submitted in support of an application for another degree at this or any other university. It is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated. Many of the ideas in this thesis were the product of discussion with my supervisors Tony Pinkney and Tony Sharpe. Ryan Evans Lancaster University, UK Ryan K Evans July 2019 ii “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Abstract This thesis examines the presence and use of colour in the plays of Sean O’Casey and argues that while a portion of colour in the drama is aesthetic, another portion is intentionally utilized as a means to provide additional contextual commentary, be it cultural, religious, political, or artistic in nature. This practice stems, I argue, in part because of O’Casey’s tendency towards an appreciation for beautiful things stemming from his artistic leanings.
  • Aragón and Valencia

    Aragón and Valencia

    ARAGÓN AND VALÈNCIA Aragón and València “The jota is at its best with the scent of rosemary and fresh-plowed earth,” says the opening song on this CD. An infectious collection of danced and sung jotas, archaic threshing songs, May courting songs, struck zither tunes, raucous shawms and lyrical strings, travelling down from the mountains of Aragón to the fertile coast of València. The Spanish Recordings Alan Lomax made these historic recordings in 1952 while traveling for months through Spanish villages, under formidable physical and political circumstances, during the Franco regime. Covering the breadth of Spain, these songs and dance melodies constitute a portrait of rural Spain’s richly varied musical life, dispelling the common stereotypes of Spanish folk music. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European, and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist, and ethnomusicologist Alan Lomax. Recorded in 1952 by Alan Lomax. Introductions and notes by Luis Bajén García and Mario Gros Herrero (Aragón), Archivo de Tradición Oral de Aragón (ATOA); and Josemi Sánchez Velasco (València), Consellería de Cultura, Educació i Ciència, Generalitat de València. Series Editor, Judith R. Cohen, Ph.D. Remastered to 24-bit digital from the original field recordings. Contains previously unreleased recordings. Aragón 1. AL REGRESO DEL CAMPO (Work jota) Teruel (2:19) 2. A LAS ORILLAS DEL RÍO (Danced jota) Teruel (2:30) 3. JOTA HURTADA (“Stolen” jota) Albarracín (1:08) 4. MAYOS DE ALBARRACÍN (May courting verses) Albarracín (2:53) 5. SE ME OLVIDAN LOS RAMALES (Jota for plowing) Monreal del Campo (0:50) 6.
  • The Rhetoric of Miguel De Unamuno's Newspaper

    The Rhetoric of Miguel De Unamuno's Newspaper

    “WITH WEAPONS OF BURNING WORDS”: THE RHETORIC OF MIGUEL DE UNAMUNO’S NEWSPAPER WRITINGS A Dissertation by ELIZABETH RAY EARLE Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Nathan Crick Committee Members, Leroy Dorsey Alberto Moreiras Randall Sumpter Head of Department, Kevin Barge August 2019 Major Subject: Communication Copyright 2019 Elizabeth Ray Earle ABSTRACT Although he was most famous for his books of fiction and philosophy, 20th century Spanish public intellectual Miguel de Unamuno also wrote a large body of newspaper articles in which he critiqued politics and society during his lifetime. Unamuno lived during a polarized time in Spanish history, and he witnessed many political and social conflicts, including the Third Carlist War, the Spanish-American War, World War I, a military dictatorship, the Second Spanish Republic, Franco’s military coup, and the Spanish Civil War. In the midst of this atmosphere of conflict and polarization, Unamuno used the medium of the newspaper to diagnose Spain’s problem and to present possible solutions. This project examines the rhetorical style that Unamuno developed in response to his political context, as he examined Spanish society and the various political regimes in Spain. As he defined the problem, Unamuno characterized it as one of ideology, excess rationalism, and inauthenticity. To solve this problem, Unamuno approached it in two ways. First, he acted as what he called an “idea-breaker,” or as one who assumes an attitude of skepticism and uses individual thought to break down ideas and dogma.
  • WB Yeats and the Legacy of Censorship

    WB Yeats and the Legacy of Censorship

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library 'I Sing What Was Lost and Dread What Was Won': W. B. Yeats and the Legacy of Censorship Author(s): Lauren Arrington Source: Irish University Review, Vol. 38, No. 2 (Autumn - Winter, 2008), pp. 222-242 Published by: Edinburgh University Press Stable URL: https://www.jstor.org/stable/40344296 Accessed: 07-05-2020 12:33 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Edinburgh University Press is collaborating with JSTOR to digitize, preserve and extend access to Irish University Review This content downloaded from 78.16.160.210 on Thu, 07 May 2020 12:33:58 UTC All use subject to https://about.jstor.org/terms Lauren Arrington 'I Sing What Was Lost and Dread What Was Won': W. B. Yeats and the Legacy of Censorship The historiography of theatre censorship has recently undergone a transformation. Received wisdom formerly held that since there was no legislative censorship of theatres, no censorship occurred, but work by Joan FitzPatrick Dean and Peter Martin has significantly revised the understanding of the way that censorship operates.
  • ABBEY THEATRE. Abbey Theatre Collection, 1905-1995

    ABBEY THEATRE. Abbey Theatre Collection, 1905-1995

    ABBEY THEATRE. Abbey Theatre collection, 1905-1995 Emory University Robert W. Woodruff Library Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Abbey Theatre. Title: Abbey Theatre collection, 1905-1995 Call Number: Manuscript Collection No. 244 Extent: 4 linear ft. (8 boxes) Abstract: Collection of play scripts and programs from the Abbey Theatre from 1921-1995. Language: Materials entirely in English. Administrative Information Restrictions on access Unrestricted access. Terms Governing Use and Reproduction Information on copyright (literary rights) available from repository. All requests subject to limitations noted in departmental policies on reproduction. Related Materials in This Repository William Butler Yeats collection, Gregory family papers, Cuala Press collection, and in the rare book collection. Source Purchased from Glenn Horowitz Booksellers in 1986 with subsequent additions from 1987 to 1999. Custodial History Purchased from dealer, provenance unknown. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Abbey Theatre collection, 1905-1995 Manuscript Collection No. 244 Citation [after identification of item(s)], Abbey Theatre collection, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Appraisal Note Acquired by Director of the Rose Library, Linda Matthews, as part of the Rose Library's holdings in Irish Literature. Processing Processed by Susan Potts McDonald, 2000. This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other oppressive language.
  • Robert G. Lowery Papers and Collection of Sean O'casey 1887-1993, Undated MS.1996.025

    Robert G. Lowery Papers and Collection of Sean O'casey 1887-1993, Undated MS.1996.025

    Robert G. Lowery Papers and Collection of Sean O'Casey 1887-1993, undated MS.1996.025 http://hdl.handle.net/2345/2795 Archives and Manuscripts Department John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill, MA, 02467 617-552-3282 [email protected] http://www.bc.edu/burns Table of Contents Summary Information ................................................................................................................................. 3 Administrative Information .........................................................................................................................4 Related Materials ........................................................................................................................................ 4 Biographical note: Lowery............................................................................................................................ 5 Biographical note: O'Casey........................................................................................................................... 5 Scope and Contents note............................................................................................................................... 7 Arrangement note...........................................................................................................................................7 Collection Inventory...................................................................................................................................... 8 Series I: Correspondence........................................................................................................................8
  • Appendix a Eighteenth-Century Items in Beckett's Library at His Death

    Appendix a Eighteenth-Century Items in Beckett's Library at His Death

    Appendix A Eighteenth-Century Items in Beckett’s Library at His Death Note: I am grateful to Samuel Beckett’s nephew, Edward Beckett, for his efforts in identifying these volumes. In his letter of 16 September 1992, Mr. Beckett reminded me: “You must understand that my uncle disposed of a lot of books throughout his life, especially towards the latter part of it. Nevertheless I imagine that he kept the ones that meant the most to him.” Only one of these volumes is signed and dated; although we cannot be sure when Beckett purchased the others, I have speculated below when there is evidence arguing for a particular date. Berkeley, George. A New Theory of Vision and Other Writings, ed. A. D. Lindsay. (1910; London: J. M. Dent & Sons, 1926). In addition to A New Theory, contains A Treatise Concerning the Principles of Human Knowledge and Three Dialogues Between Hylas and Philonous. It is not surprising to find this volume in Beckett’s library, given his allusions to Berkeley’s philosophy, from Murphy (written 1934–36) to the headnote to his film called Film (written 1963). Berkeley’s Commonplace Book, ed. G. A. Johnston (London: Faber, 1930). Probably purchased in the early 1930s; in a 23 December 1932 letter to Thomas MacGreevy, Beckett says that his friend Joseph Hone recommended the book to him and that he has been reading it. Boswell’s “Life of Samuel Johnson,” including Boswell’s “Journal of a Tour to the Heb- rides” and Johnson’s “Diary of a Journey to North Wales,” ed. George Birkbeck Hill, 6 vols.
  • Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059

    Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059

    INFORMATION TO USERS This material was produoad from a microfilm copy of the original document. While the molt advanced technological meant to photograph and reproduce this document have been used, the quality it heavily dependent upon the quality of the original lubmitted. The following explanation of techniques it provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.