A League of Extraordinary Gentlemen
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“Am I Not of Those Who Reared / the Banner of Old Ireland High?” Triumphalism, Nationalism and Conflicted Identities in Francis Ledwidge’S War Poetry
Romp /1 “Am I not of those who reared / The banner of old Ireland high?” Triumphalism, nationalism and conflicted identities in Francis Ledwidge’s war poetry. Bachelor Thesis Charlotte Romp Supervisor: dr. R. H. van den Beuken 15 June 2017 Engelse Taal en Cultuur Radboud University Nijmegen Romp /2 Abstract This research will answer the question: in what ways does the poetry written by Francis Ledwidge in the wake of the Easter Rising reflect a changing stance on his role as an Irish soldier in the First World War? Guy Beiner’s notion of triumphalist memory of trauma will be employed in order to analyse this. Ledwidge’s status as a war poet will also be examined by applying Terry Phillips’ definition of war poetry. By remembering the Irish soldiers who decided to fight in the First World War, new light will be shed on a period in Irish history that has hitherto been subjected to national amnesia. This will lead to more complete and inclusive Irish identities. This thesis will argue that Ledwidge’s sentiments with regards to the war changed multiple times during the last year of his life. He is, arguably, an embodiment of the conflicting loyalties and tensions in Ireland at the time of the Easter Rising. Key words: Francis Ledwidge, Easter Rising, First World War, Ireland, Triumphalism, war poetry, loss, homesickness Romp /3 Table of contents Introduction ................................................................................................................................ 4 Chapter 1 History and Theory ................................................................................................... -
Joseph Mary Plunkett - Poems
Classic Poetry Series Joseph Mary Plunkett - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Joseph Mary Plunkett(21 November 1887 – 4 May 1916) Joseph Mary Plunkett (Irish: Seosamh Máire Pluincéid) was an Irish nationalist, poet, journalist, and a leader of the 1916 Easter Rising. <b>Background</b> Plunkett was born at 26 Upper Fitzwilliam Street in one of Dublin's most affluent neighborhoods. Both his parents came from wealthy backgrounds, and his father, George Noble Plunkett, had been made a papal count. Despite being born into a life of privilege, young Joe Plunkett did not have an easy childhood. Plunkett contracted tuberculosis at a young age. This was to be a lifelong burden. His mother was unwilling to believe his health was as bad as it was. He spent part of his youth in the warmer climates of the Mediterranean and north Africa. He was educated at the Catholic University School (CUS) and by the Jesuits at Belvedere College in Dublin and later at Stonyhurst College, in Lancashire, where he acquired some military knowledge from the Officers' Training Corps. Throughout his life, Joseph Plunkett took an active interest in Irish heritage and the Irish language, and also studied Esperanto. Plunkett was one of the founders of the Irish Esperanto League. He joined the Gaelic League and began studying with Thomas MacDonagh, with whom he formed a lifelong friendship. The two were both poets with an interest in theater, and both were early members of the Irish Volunteers, joining their provisional committee. Plunkett's interest in Irish nationalism spread throughout his family, notably to his younger brothers George and John, as well as his father, who allowed his property in Kimmage, south Dublin, to be used as a training camp for young men who wished to escape conscription in England during World War I. -
Irish Working-Class Poetry 1900-1960
Irish Working-Class Poetry 1900-1960 In 1936, writing in the Oxford Book of Modern Verse, W.B. Yeats felt the need to stake a claim for the distance of art from popular political concerns; poets’ loyalty was to their art and not to the common man: Occasionally at some evening party some young woman asked a poet what he thought of strikes, or declared that to paint pictures or write poetry at such a moment was to resemble the fiddler Nero [...] We poets continued to write verse and read it out at the ‘Cheshire Cheese’, convinced that to take part in such movements would be only less disgraceful than to write for the newspapers.1 Yeats was, of course, striking a controversial pose here. Despite his famously refusing to sign a public letter of support for Carl von Ossietzky on similar apolitical grounds, Yeats was a decidedly political poet, as his flirtation with the Blueshirt movement will attest.2 The political engagement mocked by Yeats is present in the Irish working-class writers who produced a range of poetry from the popular ballads of the socialist left, best embodied by James Connolly, to the urban bucolic that is Patrick Kavanagh’s late canal-bank poetry. Their work, whilst varied in scope and form, was engaged with the politics of its time. In it, the nature of the term working class itself is contested. This conflicted identity politics has been a long- standing feature of Irish poetry, with a whole range of writers seeking to appropriate the voice of ‘The Plain People of Ireland’ for their own political and artistic ends.3 1 W.B. -
"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 ................................................................................. -
Poems of the Irish Revolutionary Brotherhood
POEMS OF THE ISH REVOLUTIONARY BROTHERHOOD THOMAS MacDONAGH P. H. PEARSE (PADRAIG MacPIARAIS) JOSEPH MARY PLUNKETT SIR ROGER CASEMENT library university tufts Digitized by the Internet Archive in 2016 https://archive.org/details/poemsofirishrevo00colu_0 POEMS OF THE IRISH REVOLUTIONARY BROTHERHOOD POEMS OF THE IRISH REVOLUTIONARY BROTHERHOOD THOMAS MacDONAGH P. H. PEARSE (Padraic MacPiarais) JOSEPH MARY PLUNKETT SIR ROGER CASEMENT Edited by Padraic Cplum AND Edward J. O’Brien Boston Small, Maynard & Company 1916 Copyright, 1916 By Small, Maynard & Company (Incorporated) : CONTENTS Page Introduction vii Prologue: Ways of War. By Lionel Johnson i Thomas MacDonagii: John-John 3 Song from the Irish .... 6 “ ” Envoi to Songs of Myself . 8 Of a Poet Patriot . .11 Death 12 Requies 13 Though Silence Be the Meed of Death 14 Wishes for My Son . .15 O Star of Death . .18 Padraic H. Pearse (Padraic Mac- Piarais) Ideal 24 To Death 26 The World hath Conquered . 27 CONTENTS Page The Dirge of Oliver Grace . 28 On the Fall of the Gael . .33 Joseph Mary Plunkett: White Dove of the Wild Dark Eyes . 36 The Glories of the World Sink Down in Gloom 37 When all the Stars Become a Memory 39 Poppies 40 The Dark Way 41 The Eye-Witness . .44 I See the His Blood upon Rose . 47 1847-1891 48 1867 49 The Stars Sang in God’s Garden . 50 Our Heritage 51 Sir Roger Casement: In the Streets of Catania . .52 Hamilcar Barca . -54 Epilogue: The Song of Red Hanrahan. By W . B. Yeats 56 Notes by P. H. Pearse . .58 Bibliography . .60 INTRODUCTION The years that brought maturity to the three poets who were foremost to sign, and foremost to take arms to assert, Ireland’s Declaration of Inde- pendence, may come to be looked back on as signal days in Irish history. -
Thomeas Macdonagh
Thomeas MacDonagh (This article is part of an essay written by Rev. Gerard Rice C.C., St Patrick’s Parish 1965) for St. Kieran’s College Record LIKE MANY other Irish patriots, Thomas MacDonagh was of mixed ancestry. His father, Joseph, a Roscommon man whose own father had been a physical force man, had an understandable distrust of patriots. Joseph, given Latin and some education by a priest-uncle went to Marlborough Training College to become a teacher. In 1867, now a teacher in Cloghan, Co. Offaly, he met and married the principal teacher there, Mary Parker, a convert from Unitarianism whose father had come from England to Trinity College, Dublin, as a compositor in Greek at the University Press. She was musical, interested in painting, verse and Victorian music in a rather un-Gaelic way. In time, they came to Cloughjordan, Co. Tipperary, where their fourth child, Thomas, was born in 1878. Thomas was sent to Rockwell College in 1892, with the hope, if things developed in that way, of eventually joining the Holy Ghost Order. It was the custom for such boys to remain on for four years after completing the secondary school course as prefect teachers before going to France to enter the novitiate. MacDonagh remained five years teaching classics, and while there he began to read widely in English, French and Latin literature. He developed a home-given interest in the organ and began seriously to write verse. Deciding that his was not a vocation to the religious life, he left Rockwell to come as a secondary teacher to St. -
The Book of Irish Poetry
PstiHm liiiill 111 THE BOOK OF IRISH POETRY Drawn 6y] iceo. Morroxv Raftery, the Blind Poet of Connaught Every • Irishman's • Library General Editors: Ai^FRED PercEvai, Graves, m.a. William Magennis, m.a. Douglas Hyde, ll.d. THE BOOK OF IRISH POETRY ior..;<j j"»o.iaii'y i '^ EDITED WITH AN INTRODUCTION BY ALFRED PERCEVAL GRAVES, M.A. T. FISHER UNWIN LONDON: ADELPHI TERRACE LEIPSIC: INSELSTRASSE 20 Printed by Thk Educational Company OF iRKirAND Limited AT The Tai^bot Press Dubinin ; 2?eliicatt0n . To . Douglas Hyde, ll.d., o.utt. Pr*»ident of the Gaelie Leaaue Because, alumni of one Irish College^ And sons of fathers of the self-same Church, Striving to swell the sum of Irish knowledge. Dear Creeveen Eevinn, we unite our search And each of us an Irish Bardic brother In ''Songs of Connachf and "The ' Gael ' has found, This Poem-Book is yours—for to no other By such a kindly friendship am I bound. A. P. G. Of«^o<jy.^ INTRODUCTION. Of anthologies of Irish verse there have been many. Miss Charlotte Brooke's " Irish Poetry," a volume of translations of her own from the Irish, led the way in the year 1789, and was followed by Hardiman's " Irish Minstrelsy," in 183 1 , with metrical translations by Thomas Furlong, Henry Grattan Curran, and John D 'Alton. Both these volumes contained the Irish originals, as well as the translations from them, and both volumes were extremely valuable for their preservation of those originals, but suffered from the over ornate, and, indeed, often extremely artificial English verse into which they were translated. -
Irish Literature: a Brief Survey William T
University of Rhode Island DigitalCommons@URI Technical Services Department Faculty Publications Technical Services 1990 Irish Literature: A Brief Survey William T. O'Malley University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/lib_ts_pubs Part of the Library and Information Science Commons Citation/Publisher Attribution O'Malley, William T., "Irish Literature: A Brief Survey" (1990). Technical Services Department Faculty Publications. Paper 23. http://digitalcommons.uri.edu/lib_ts_pubs/23 This Article is brought to you for free and open access by the Technical Services at DigitalCommons@URI. It has been accepted for inclusion in Technical Services Department Faculty Publications by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Irish Literature Remarks at Cranston Leisure Center, 20 October 1990. I am delighted to take part in your series of talks on 'books and more books'. The wide range of topics is evidence of your vivacity and openness to the world of ideas. When I was asked to speak to you on Irish Literature, I was intensely eager to accept at this time because the invitation coincided with the realization that this year is the 50th anniversary of the death of the great Irish poet William Butler Yeats. Yeats was the dominant figure, during his lifetime, not only on the Irish scene, but on the broader stage of English language letters. Also of interest, is the connection between Yeats and the movement now known as the Irish Literary Renaissance which he founded, and Rhode Island. More on that subject anon. -
Death and the Irish
Death and the Irish ‘A cause worth dying for: the last letters of Pearse, MacDonagh and Clarke’ The most significant consequence of the 1916 Rising was the transformation of public feeling occasioned by fifteen executions and the crude application of internment and martial law. As the Rising was doomed to military failure, its leaders knew that they would face the supreme penalty. On the afternoon of 2 May a court martial tried and found guilty Prisoners 1, 30 and 31: Patrick Pearse, a schoolmaster; Thomas MacDonagh, an assistant lecturer in English at UCD; and Thomas Clarke, a shopkeeper. They were the first to face execution the following morning. From his prison cell in Kilmainham Gaol, MacDonagh wrote a touching last letter to his wife and children; Pearse wrote to his beloved mother and Clarke produced a message for the Irish people which he entrusted to his wife, Kathleen. Impending death was at the heart of these final testaments which balanced the roles of political martyr with that of husband, father and son. They offer a compelling lens through which to view the men’s patriotic convictions and moving personal concerns. But each document was also a final act of political defiance. By thanking God that he would ‘die in so holy a cause’ and by declaring that he was actuated only by love of country and the ‘desire to make her a sovereign independent state’, MacDonagh’s pen spoke less to posterity than to the febrile political landscape of his time.1 Through death, he and the other Rising leaders aimed to alter the political consciousness of Ireland and legitimize the Rising. -
THE CATHOLIC UNIVERSITY of AMERICA James Joyce and The
THE CATHOLIC UNIVERSITY OF AMERICA James Joyce and the (Post)Modern Irish Conscience A DISSERTATION Submitted to the Faculty of the Department of English School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Kevin Farrell Washington, D.C. 2013 James Joyce and the (Post)Modern Irish Conscience Kevin Farrell, Ph.D. Director: Rebecca Rainof Mas, Ph.D. This study explores the body of literature surrounding the Easter Rising of 1916 to account for that revolution’s influence upon the development of Irish fiction. Using Ulysses and Finnegans Wake as my primary examples, I argue that James Joyce’s literary innovations emerged partially in response to the ideology expressed by prominent nationalists. Over the past thirty years, postcolonial studies of Joyce’s fiction have revealed the extent to which the author’s aesthetic innovations occurred in dialogue with, and in opposition to, both British Imperialism and Irish Nationalism. While such work has proven profitable, scholars have yet to sufficiently account for Joyce’s response to the Easter Rising, one of the defining moments of modern Irish history. This study endeavors to find that response by tracing the dialectic between the ideology of the Rising and Joyce’s emergent postmodern aesthetic. Through rhetorical analysis of poetry, essays, speeches, and letters produced by the Rising’s most prominent leaders, and texts written by other Irish nationalists, I argue that the Military Council of 1916 established the grounds for their rebellion in reference to a “grand narrative” of Irish national destiny, fashioned around the telos of the Irish Republic. -
W. B. Yeats' Influence on Irish Nationalism, 1916-1923
18 W.B. Yeats’ Influence on Irish Nationalism, 1916-1923 Mark Mulcahey 19 Mark graduated from Eastern Illinois University in 1999 with a B.A. in History. He is currently working on his M.A. at Brigham Young University, studying 20th Century U.S. Military History with an emphasis on U.S. military intervention. This paper was written for a course on The World in the Twentieth Century with Dr. Roger Beck. William Butler Yeats once said, “I understand my own race and in all my work, lyric or dramatic, I have thought of it . I shall write for my own people, whether in love or hate of them matters little, probably I shall not know which it is.”1 This credo is evident in the majority of Yeats’ literary efforts. Yeats believed literature should shape a country’s cultural identity, specifically in Yeats’ case, Ireland, while being free of all political motives. Despite this intention, Yeats’ literary addition to Ireland’s culture also contributed to radical Irish nationalism. Yeats’ main objective was to create an Irish identity free from English cultural influence. By no means was Yeats either an Anglophobe or an advocate for using violent tactics in nationalist movements. However, this did not prevent Yeats’ works from inspiring Irish nationalists who believed in using violence in order to attain self-rule. Padraig Pearse and Michael Collins, both of whom admired Yeats, interpreted Yeats’ works as supporting their respective ideologies during the Easter Uprising of 1916 and the Irish Civil War in 1922-1923. Yeats’ early poetry recounted Irish folklore, legends, and descriptions of Ireland’s natural imagery. -
Joseph Plunkett
Plunkett, Joseph Mary by Lawrence William White Plunkett, Joseph Mary (1887–1916), poet, journalist, and revolutionary, was born 21 November 1887 at 26 Upper Fitzwilliam Street, Dublin, second child and eldest son among three sons and four daughters of George Noble Plunkett (qv) (1851– 1948), man of letters, barrister, art historian, nationalist, and papal count, and Mary Josephine Plunkett (née Cranny) (1858–1944). Born into the catholic branch of a family prominent in Ireland for some six centuries – the martyred bishop Oliver Plunkett (qv), co-operativist Sir Horace Plunkett (qv), and writer Lord Dunsany (qv) were all noteworthy kinsmen – Plunkett enjoyed the most moneyed background of the eventual leaders of the 1916 rebellion. His paternal grandfather, Patrick Plunkett (1817–1918), born on a small farm adjoining the demesne of his relatives, the Plunketts of Killeen castle, Co. Meath, entered business in Dublin in the 1840s, first in the leather trade, then in building. He and Plunkett's maternal grandfather, Patrick Cranny (1820–88), likewise a self-made builder, from Borris, Co. Carlow, between them developed much of the south city suburbs; the two men's wives were first cousins, and Plunkett's parents second cousins. Education, illness, intellectual interests Plunkett was reared in his parents’ Dublin home and in two rented properties in the south county: Charleville, Templeogue (briefly in 1897), and Kilternan Abbey, near Enniskerry, Co. Wicklow (1900–08). He matured into an eccentric, nervous personality in a household dominated by his mother's erratic, capricious character, alternately neglectful and abusive, alongside his father's benign detachment from domestic life.