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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 . -
Women Writers of the Troubles
Women Writers of The Troubles Britta Olinder, University of Gothenburg Abstract During the thirty years of the Troubles in Northern Ireland, writing by women was difficult to find, especially concerning the conflict and its violence. The publication of the first three heavy volumes of The Field Day Anthology of Irish Writing towards the end of that period demonstrated the blindness of its male editors to female writing, leading to another two volumes focusing on women and also presenting more than expected on the conflict itself. Through looking at a selection of prose, poretry and drama written by women, this article wishes to illuminate a number of relevant issues such as: How have female writers reacted to the hate and violence, the social and political insecurity in their writing of poetry, plays and fiction? Is Robert Graecen’s question ‘Does violence stimulate creativity?’—in a letter to the Irish Times (18 Jun. 1974)—relevant also for women? In this very partial exploration, I have chosen to discuss a novel by Jennifer Johnston (Shadows on Our Skin, 1977) and one by Deirdre Madden (One by One in the Darkness, 1996), a well-known short story by Mary Beckett (‘A Belfast Woman,’ 1980), together with plays by Anne Devlin (Ourselves Alone, 1986) and Christina Reid (Tea in a China Cup, 1987), as well as poetry, by, among others, Meta Mayne Reid, Eleanor Murray, Fleur Adcock and Sinéad Morrissey. Keywords: women writers; violence; conflict; The Troubles; Jennifer Johnston; Deirdre Madden; Mary Beckett; Anne Devlin; Christina Reid; Meta Mayne Reid; Eleanor Murray; Fleur Adcock; Sinéad Morrissey The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. -
Get PDF ~ Something Beginning with P: New Poems from Irish Poets
UW8YGV4IJMBX » eBook » Something Beginning with P: New Poems from Irish Poets Read PDF SOMETHING BEGINNING WITH P: NEW POEMS FROM IRISH POETS O Brien Press Ltd, Ireland, 2008. Paperback. Book Condition: New. Corrina Askin, Alan Clarke (illustrator). 3rd Revised edition. 231 x 193 mm. Language: English . Brand New Book. A beautiful collection of specially-commissioned new poems for children of all ages. Includes poems from leading Irish poets: Seamus Heaney, Thomas Kinsella, Maighread Medbh * Paula Meehan * Brendan Kennelly * Michael Longley * Rita Ann Higgins * Matthew Sweeney * Biddy Jenkinson * Desmond O Grady * Richard Murphy * Nuala... Read PDF Something Beginning with P: New Poems from Irish Poets Authored by Seamus Cashman Released at 2008 Filesize: 1.6 MB Reviews This ebook is definitely not effortless to get going on looking at but quite entertaining to read. It really is rally exciting throgh reading period. Its been developed in an exceptionally easy way and is particularly simply following i finished reading through this ebook through which basically changed me, alter the way i believe. -- Piper Gleason DDS Without doubt, this is actually the best function by any article writer. It is probably the most amazing ebook i have got go through. Your lifestyle period will likely be enhance once you complete reading this article publication. -- Brody Parisian TERMS | DMCA IYI57TVCBOTI » Kindle » Something Beginning with P: New Poems from Irish Poets Related Books Any Child Can Write Who am I in the Lives of Children? An Introduction to Early Childhood Education The Well-Trained Mind: A Guide to Classical Education at Home (Hardback) The First Epistle of H. -
Irish Constitutional Law
1 ERASMUS SUMMER SCHOOL MADRID 2011 IRISH CONSTITUTIONAL LAW Martin Kearns Barrister at Law Historical Introduction The Treaty of December 6, 1921 was the foundation stone of an independent Ireland under the terms of which the Irish Free State was granted the status of a self-governing dominion, like Australia, Canada, New Zealand and South Africa. Although the Constitution of the Ireland ushered in virtually total independence in the eyes of many it had been imposed by Britain through the Anglo Irish Treaty. 1 The Irish Constitution of 1922 was the first new Constitution following independence from Britain but by 1936 it had been purged of controversial symbols and external associations by the Fianna Faíl Government which had come to power in 1932.2 The Constitution of Ireland replaced the Constitution of the Irish Free State which had been in effect since the independence of the Free State from the United Kingdom on 6 December 1922. The motivation of the new Constitution was mainly to put an Irish stamp on the Constitution of the Free State whose institutions Fianna Faíl had boycotted up to 1926. 1 Signed in London on 6 December 1921. 2 e.g. under Article 17 every member of the Oireachtas had to take an oath of allegiance, swearing true faith and allegiance to the Constitution and fidelity to the Monarch; the representative of the King known as the Governor General etc. 2 Bunreacht na hÉireann an overview The official text of the constitution consists of a Preamble and fifty articles arranged under sixteen headings. Its overall length is approximately 16,000 words. -
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. -
Supreme Court Visit to NUI Galway 4-6 March, 2019 Welcoming the Supreme Court to NUI Galway
Supreme Court Visit to NUI Galway 4-6 March, 2019 Welcoming the Supreme Court to NUI Galway 4-6 March, 2019 Table of Contents Welcome from the Head of School . 2 Te School of Law at NUI Galway . 4 Te Supreme Court of Ireland . 6 Te Judges of the Supreme Court . 8 2 Welcome from the Head of School We are greatly honoured to host the historic sittings of the Irish Supreme Court at NUI Galway this spring. Tis is the frst time that the Supreme Court will sit outside of a courthouse since the Four Courts reopened in 1932, the frst time the court sits in Galway, and only its third time to sit outside of Dublin. To mark the importance of this occasion, we are running a series of events on campus for the public and for our students. I would like to thank the Chief Justice and members of the Supreme Court for participating in these events and for giving their time so generously. Dr Charles O’Mahony, Head of School, NUI Galway We are particularly grateful for the Supreme Court’s willingness to engage with our students. As one of Ireland’s leading Law Schools, our key focus is on the development of both critical thinking and adaptability in our future legal professionals. Tis includes the ability to engage in depth with the new legal challenges arising from social change, and to analyse and apply the law to developing legal problems. Te Supreme Court’s participation in student seminars on a wide range of current legal issues is not only deeply exciting for our students, but ofers them an excellent opportunity to appreciate at frst hand the importance of rigorous legal analysis, and the balance between 3 necessary judicial creativity and maintaining the rule of law. -
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. -
A Few Contemporary Irish and Portuguese Women Poets
Contemporary Irish Poetry Profa.Gisele Wolkoff Universidade Federal Fluminense • (some) Contemporary Women Poets: Eavan Boland, Celia de Fréine, Kerry Hardie, Medbh McGuckian, Sinéad Morrissey, Vona Groarke, Rita Kelly, Rita Ann Higgins... groundbreaking publication THE FIELD DAY ANTHOLOGY OF IRISH WRITING – 1991, 1996 A Reading of Irish Poetry includes considerations upon: - religion;linguistic belonging. - politics;These elements allude us to - geographicthe spaces; issue of - linguisticthe private belonging. & the public, the Theselocale elements and the allude cosmopolitan. us to the issue of the private & the public, the locale and the cosmopolitan. “poetry begins where those isms stop” (Patricia Boyle Haberstroh, 1996:.11) politics begins when poetry continues Patricia Keely-Murphy´s The Greek Mystress & Judy Shinnick´s Nude II Eavan Boland and Tradition “I felt increasingly the distance between my own life, my lived experience and conventional interpretations of both poetry and the poet´s life. It was not exactly or even chiefly that the recurrences of my world – a child´s face, the dial of a washing machine – were absent from the tradition, although they were. It was not even so much that I was a woman. It was that being a woman, I had entered into a life for which poetry has no name.” (In: Object Lessons The Life of the Woman and The Poet In Our Time. 1995: 18) What is poetry/writing? the country of the mind (Seamus Heaney) “It is this feeling, assenting, equable marriage between the geographical country and the country of the mind (...) it is this marriage that constitutes the sense of place in its richest possible manifestation.” - the rhetoric of imagery (Eavan Boland).. -
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. -
18-5924 Respondent BOM.Wpd
No. 18-5924 In the Supreme Court of the United States __________________ EVANGELISTO RAMOS, Petitioner, v. LOUISIANA, Respondent. __________________ On Writ of Certiorari to the Court of Appeals of Louisiana, Fourth Circuit __________________ BRIEF OF RESPONDENT __________________ JEFF LANDRY LEON A. CANNIZZARO. JR. Attorney General District Attorney, ELIZABETH B. MURRILL Parish of Orleans Solicitor General Donna Andrieu Counsel of Record Chief of Appeals MICHELLE GHETTI 619 S. White Street Deputy Solicitor General New Orleans, LA 70119 COLIN CLARK (504) 822-2414 Assistant Attorney General LOUISIANA DEPARTMENT OF JUSTICE WILLIAM S. CONSOVOY 1885 North Third Street JEFFREY M. HARRIS Baton Rouge, LA 70804 Consovoy McCarthy PLLC (225) 326-6766 1600 Wilson Blvd., Suite 700 [email protected] Arlington, VA 22209 Counsel for Respondent August 16, 2019 Becker Gallagher · Cincinnati, OH · Washington, D.C. · 800.890.5001 i QUESTION PRESENTED Whether this Court should overrule Apodaca v. Oregon, 406 U.S. 404 (1972), and hold that the Sixth Amendment, as incorporated through the Fourteenth Amendment, guarantees State criminal defendants the right to a unanimous jury verdict. ii TABLE OF CONTENTS QUESTION PRESENTED.................... i TABLE OF AUTHORITIES................... iv STATEMENT............................... 1 A.Factual Background..................1 B.Procedural History...................2 SUMMARY OF ARGUMENT.................. 4 ARGUMENT.............................. 11 I. THE SIXTH AMENDMENT’S JURY TRIAL CLAUSE DOES NOT REQUIRE UNANIMITY .......... 11 A. A “Trial By Jury” Under the Sixth Amendment Does Not Require Every Feature of the Common Law Jury......11 B. A Unanimous Verdict Is Not an Indispensable Component of a “Trial By Jury.”............................ 20 1. There is inadequate historical support for unanimity being indispensable to a jury trial...................... -
"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 .................................................................................