{PDF EPUB} Deirdre of the Sorrows by Cherime Macfarlane Deirdre of the Sorrows by Cherime Macfarlane

Total Page:16

File Type:pdf, Size:1020Kb

{PDF EPUB} Deirdre of the Sorrows by Cherime Macfarlane Deirdre of the Sorrows by Cherime Macfarlane Read Ebook {PDF EPUB} Deirdre of the Sorrows by Cherime MacFarlane Deirdre of the Sorrows by Cherime MacFarlane. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6577c8e06ce1f14e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Deirdre of the Sorrows by Cherime MacFarlane. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6577c8e06c03f15a • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Deirdre of the Sorrows. King Conchubar Mac Neasa came to power as a young man. He took the kingship from his foster-father Fergus Mac Roich, for a year, but he showed such wisdom during that year, that the people of Ulster decided he should stay on as king at the end of it. When he was newly come to his throne, he and his warriors of the Red Branch were invited to a feast in the house of Felimid the Harper. Felimid was in high spirits on this night, because his wife was about to give birth to their first child, and he was very excited. He asked if Conchubar’s druid, Cathbad, would make a prophecy to tell him what was in store for his baby. Cathbad placed his hands on the Felimid’s wife’s womb and said that the child was going to be a girl, and her name would be Deirdre, and that she would grow up to be the most beautiful woman who ever lived. “But,” he said, “An excess of anything is deadly, and she will be the cause of so much trouble that she will split the Red Branch in two.” Now, when they heard this, the men of the Red Branch demanded that the child be killed there and then, before she had the chance to fulfill her destiny, but Conchubar wanted to have the reputation of a wise king, and a merciful king, so he stopped them. He said that he could not countenance the death of an infant in the house of its father, but that he would take the child when she was born. He would have her raised up in secret, and if she grew up to be as beautiful as Cathbad promised, then he would marry her himself, and put her in such a high position that no man would dare to look at her. So he had his old nurse, Leabharcham, take the baby to a hidden valley and raise the child away from everyone else. From time to time, Conchubar would go and visit, to check how Deirdre was getting along. She grew up every bit as beautiful a child as had been prophesised, but she didn’t have much affection for Conchubar, though he was fair-haired and handsome, and had no shortage of female admirers in Emain Macha. Leabharcham was very protective of Deirdre, and careful to make sure that none saw her. The only person, besides Conchubar, who she let into the valley was an old man, who would come by to help with the work. He was mute, and could tell no one about the girl in the valley and her enchanting beauty. One day, in the early springtime, when the snow was still on the ground and Deirdre was almost a woman, Leabharcham had the old man slaughter a calf for her and Deirdre. The blood spilled out onto the snow, and a raven came down to eat the bloody snow. And when she saw this, Deirdre cried out, and went into a faint. Leabharcham thought she had been upset at the sight of the blood, but Deirdre told her nurse that she had fallen in love with these three colours, and she would only give her love to a man with hair as black as a raven, skin as white as snow, and cheeks as red as blood. She asked Leabharcham if she knew of any man who looked like this, and Leabharcham, unable to deny Deirdre anything she asked for, told her of the youngest son of Uisneach, a warrior of the Red Branch, young and brave and beautiful. His name was Naoise, and he had the colouring Deirdre loved. He was inseparable from his brothers, Ainnle and Ardan, and he was the most handsome warrior of the Red Branch. Deirdre pestered Leabharcham to find some way to let her see Naoise, but Leabharcham refused. She told Deirdre she’d see him soon enough, when Conchubar Mac Neasa married her and took her to Emain Macha with him. But Deirdre would not be put off. She begged Leabharcham to let her see Naoise, and eventually, Leabharcahm relented. The next time she went to Emain Macha, she told the sons of Uisneach that there was wonderful hunting to be had in the valley where she lived, and to be sure and go there the next time they went hunting. She told Deirdre she could spy on them when they came, and make sure she was not seen. But when the brothers came to the valley to hunt, Deirdre fell in love with Naoise the moment she saw him. She knew this was the only man for her. Before Leabharcham could stop her, she stepped out to greet him, and it was as if she turned from a girl into a woman at that moment. She smiled at Naoise, and flirted and cajoled him, and he fell completely in love with her the moment he saw her. She asked him if he would run away with her, but Naoise knew who she must be, and he knew that she belonged to Conchubar Mac Neasa, his king. He refused, and Deirdre put a geasa on him, that he had to run away with her. Naoise had no choice, then, but to get Deirdre as far away from Emain Macha as he could, before the king found out. His brothers Ainnle and Ardan refused to be separated from him, and the four of them fled Ulster, with their servants and retainers. There was nowhere in Ireland they could rest and be safe, so the sons of Uisneach took Deirdre across the sea to Scotland. The brothers entered into service with the king of Scotland, and became part of his army. But they never stayed in the fort with the other warriors, at the end of every day they would go off into the wilderness, no one knew where. The King of Scotland grew suspicious, and decided to find out what they were keeping a secret from him. He sent spies to follow him, and the spies reported back that the three brothers had come to a camp in the middle of nowhere, where they were greeted by the most beautiful woman any of them had ever seen. Deirdre had made a home for her and Naoise in the wilds, and she took care of him and his brothers, cooking fine food for them, and making sure they wanted for nothing. As soon as the king of Scotland heard about this great beauty, he wanted her for himself. He knew he couldn’t kill the brothers, when they had sworn to serve him, so he put them on the front lines of every battle, hoping that they would be killed. They were such great warriors that this did not work, but Deirdre realized what was happening, and persuaded Naoise of the danger they were in. They left the king of Scotland’s service, and fled further into the wilderness, coming at last to a remote island in the north, near to the training school of the warrior woman, Scathach. They lived in the wilds for many years, the brothers hunting, and Deirdre making a home for them. In Emain Macha, Fergus Mac Roigh was the only one brave enough to raise the subject of the Sons of Uisneach with Conchubar. When Conchubar thought of Naoise’s betrayal, it never failed to drive him to a rage. But Fergus was very fond of the sons of Uisneach, and he never stopped arguing for Conchubar to forgive them, and to let them come home. He made so many arguments and so many pleas, that at last Conchubar gave in. He told Fergus he could invite the brothers back to Ulster, and place them under his own protection as a guarantee of their safety. So Fergus went to Scotland, and when he landed on the shore, he let out a shout.
Recommended publications
  • Yeats and the Mask of Deirdre: "That Love Is All We Need"
    Colby Quarterly Volume 37 Issue 3 September Article 6 September 2001 Yeats and the Mask of Deirdre: "That love is all we need" Maneck H. Daruwala Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.3, September 2001, p.247-266 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Daruwala: Yeats and the Mask of Deirdre: "That love is all we need" Yeats and the Mask ofDeirdre: "That love is all we need II By MANECK H. DARUWALA The poet finds and makes his mask in disappointment, the hero in defeat. The desire that can be satisfied is not a great desire. (Yeats) Man is least himself when he talks in his own person. Give him a mask and he will tell you the truth. (Wilde) EIRDRE, written during a very painful period of Yeats's life, is a civilized D form of autobiography. What could not be put down in journals or lyric poetry and could not be ignored becomes drama. Yeats turns here from the mirror to the mask. "The poet finds and makes his mask in disappointment, the hero in defeat" ("Anima Hominis," Mythologies, 334, 337), may apply equally to Yeats and Naoise. As Yeats says, there is always a phantasmago­ ria. Here the phantasmagoria includes Celtic myth, politics, chess games, and the literary tradition (or intertextuality-which, like a Greek mask, combines the advantages of resonance with those of disguise).
    [Show full text]
  • Nationalist Adaptations of the Cuchulain Myth Martha J
    University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 The aW rped One: Nationalist Adaptations of the Cuchulain Myth Martha J. Lee Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Lee, M. J.(2019). The Warped One: Nationalist Adaptations of the Cuchulain Myth. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5278 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Warped One: Nationalist Adaptations of the Cuchulain Myth By Martha J. Lee Bachelor of Business Administration University of Georgia, 1995 Master of Arts Georgia Southern University, 2003 ________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in English College of Arts and Sciences University of South Carolina 2019 Accepted by: Ed Madden, Major Professor Scott Gwara, Committee Member Thomas Rice, Committee Member Yvonne Ivory, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Martha J. Lee, 2019 All Rights Reserved ii DEDICATION This dissertation and degree belong as much or more to my family as to me. They sacrificed so much while I traveled and studied; they supported me, loved and believed in me, fed me, and made sure I had the time and energy to complete the work. My cousins Monk and Carolyn Phifer gave me a home as well as love and support, so that I could complete my course work in Columbia.
    [Show full text]
  • Deirdre Agus Mic Uisnigh - English Translation a Graphic Novel by Colmán Ó Raghallaigh English Translation © Cló Mhaigh Eo, 2008
    Deirdre agus Mic Uisnigh - English Translation A graphic novel by Colmán Ó Raghallaigh English translation © Cló Mhaigh Eo, 2008. - All rights reserved. P1 This is how Deirdre was born. It happened one night that Feidhlimí Mac Daill, storyteller to the King, gave a great banquet … The good and the great of Ulster attended, amongst them the king, Conchubhar Mac Neasa himself… DING! “Your health, great majesty. Your presence honours us." P2 “Long life to you, Feidhlimí!" They best of food and drink was laid before them until all were inebriated… Though his wife is pregnant Feidhlimí shows little regard for her… “Woman of the house. Refill those goblets. It’s not often that the King of Ulster pays us a visit." “As you wish." (Ugh! I’m exhausted!") Finally… ZZZZZ! (I must lie down…) P3 As she slips quietly away to bed the child in her womb utters a loud scream… ÁÁÁÁÁÁÍÍÍÍÍÍÍÍ!!! ???!!! “Did you hear that?" “What was that noise, woman?" “I don’t know. The child, I think." Cathfach, the druid, appears, to investigate… “Mmm…" P4 In the course of the night a daughter is born to the wife of Feidhlimí. “Nnnnngh!" And Cathfach makes a dire prediction… “Slaughter and destruction will come to Ulster because of this child… unbridled jealousy because of her beauty… decimation of a noble family because of her haughtiness… and desolation on Eamhain Mhacha itself. Indeed, you are misfortune to all who gaze upon you. P5 Hearing this, all present are seized by fear… “Destroy her!" But… “Stop!" “Do not be alarmed. I shall bring her with me and have her raised and educated so that in due course she may become my wife.
    [Show full text]
  • Deirdre and Naoise)
    The Exile of the Sons of Uisneach (Deirdre and Naoise) One night, King Conchobar of Ulster was having a feast in his great hall. His storyteller Feidhlimidh had a captive audience among Conchobar's men while his wife served drinks, even though she was heavily pregnant. She toiled on through the evening until the men had drunk themselves into a snoring slumber. Feidhlimidh's wife was overcome with tiredness and began to make her way towards bed. Suddenly, a piercing scream came from the woman's womb and echoed around the hall. Conchobar's men were on their feet in seconds, standing shoulder to shoulder with swords in hand ready to face the source of that fearsome scream. Sencha, the most level-headed man in the hall, calmed the men of Ulster and ordered Feidhlimidh's wife brought to them at once. Feidhlimidh asked his wife what the terrible sound was, but she was as bewildered as he. “No woman knows what her womb bears”, she replied as tears flowed down her cheeks, fear coating each word she spoke. The druid Cathbadh felt pity for the woman, but had no words to comfort her for he could foretell the child's future. “The child you carry will be the most beautiful woman ever to live in Ireland. Her curled, fair hair, eyes of the clearest emerald green and deep red lips will captivate the hearts of high kings and be the envy of high queens. Her name shall be Deirdre and she will cause slaughter amongst the warriors of Ulster.” Cathbadh then placed his hands over the woman's womb, and feeling the child move within said, “Although this child is pure and beautiful, she will bring trouble on all who love her.” With that, Feidhlimidh's wife felt the pangs of labour and later that night gave birth to a girl.
    [Show full text]
  • Deirdre and Emer As Ideal Counterparts to Their Heroes
    133 영어영문학연구 제45권 제4호 Studies in English Language & Literature (2019) 겨울 133-151 http://dx.doi.org/10.21559/aellk.2019.45.4.08 Deirdre and Emer as Ideal Counterparts to Their Heroes 12Mei Kang*․Ki Ho Yun** (Chungbuk National University) Kang, Mei and Yun, Ki Ho. “Deirdre and Emer as Ideal Counterparts to Their Heroes.” Studies in English Language & Literature 45.4 (2019): 133-151. The purpose of this paper is to study two female characters, Deirdre and Emer as ideal counterparts to their husband-heroes in W. B. Yeats’s two Cuchulain plays: Deirdre and The Only Jealousy of Emer. To clarify what makes these two characters distinguished, this paper tries to reveal several significant similarities between Deirdre and Emer by analyzing their characters respectively. In Deirdre, the analysis is trying to illustrate how Deirdre becomes a worthy partner to Naoise: her superior wisdom enables her to see through the reality; meanwhile, the fidelity to love honors her as noble as her husband; finally, the self-sacrifice fulfills her heroic status. In The Only Jealousy of Emer, similar to Deirdre, Emer is more qualified than her two other adversaries: more faithful than Fand and more courageous than Eithne Inguba. More importantly, by her renunciation of her love, Emer proves to be an ideal counterpart to the hero. Thus, three aspects that the two heroines have in common are to be examined: they are equal to their husbands rather than their subordinates; moreover, both of them keep their love noble; consequently, Yeats hoped that as great models, Deirdre and Emer might awaken the national awareness to be restored to modern Ireland.
    [Show full text]
  • Celtic Mythology Ebook
    CELTIC MYTHOLOGY PDF, EPUB, EBOOK John Arnott MacCulloch | 288 pages | 16 Nov 2004 | Dover Publications Inc. | 9780486436562 | English | New York, United States Celtic Mythology PDF Book It's amazing the similarities. In has even influenced a number of movies, video games, and modern stories such as the Lord of the Rings saga by J. Accept Read More. Please do not copy anything without permission. Vocational Training. Thus the Celtic goddess, often portrayed as a beautiful and mature woman, was associated with nature and the spiritual essence of nature, while also representing the contrasting yet cyclic aspects of prosperity, wisdom, death, and regeneration. Yours divine voice Whispers the poetry of magic that flow through the wind, Like sweet-tasting water of the Boyne. Some of the essential female deities are Morrigan , Badb , and Nemain the three war goddess who appeared as ravens during battles. The Gods told us to do it. Thus over time, Belenus was also associated with the healing and regenerative aspects of Apollo , with healing shrines dedicated to the dual entities found across western Europe, including the one at Sainte-Sabine in Burgundy and even others as far away as Inveresk in Scotland. In most ancient mythical narratives, we rarely come across divine entities that are solely associated with language. Most of the records were taken around the 11 th century. In any case, Aengus turned out to be a lively man with a charming if somewhat whimsical character who always had four birds hovering and chirping around his head. They were a pagan people, who did not believe in written language.
    [Show full text]
  • Gemma Reeves Page 1
    108 Upper Leeson Stret, Dublin 4, Tel: 6375000, Fax: 667 1256 email: [email protected]. www.lisarichards.ie Gemma Reeves Page 1 Gemma Reeves Playing Age: Early 20’s Eyes: Brown Height: 5’5” Hair: Light brown Gemma recently appeared in ‘The Dead School’ directed by Padraic McIntyre for Livin’ Dred Theatre Company. Gemma also recently appeared as Margaret More in Season Two of “The Tudors” for Showtime/Working Title/BBC. THEATRE: The Burial at Thebes Antigone Dir: Patrick Mason Peacock Theatre, Dublin Romeo and Juliet Juliet Dir: Jason Byrne Abbey Theatre, Dublin The Crucible Mary Warren Dir: Patrick Mason Abbey Theatre, Dublin The School for Maria Dir: Jimmy Fay Scandal Abbey Theatre, Dublin Doubt Sister James Dir: Gerry Stembridge Abbey Theatre, Dublin DruidSynge: - Playboy of the Western World as Sarah Tansey - Deirdre of the Sorrows as Deirdre - Riders to the Sea as Nora Directed by Garry Hynes at for Druid Theatre Company at The Lincoln Center, New York, (Lincoln Theater Festival 2006), The Guthrie Theater, Minneapolis, for Galway Arts Festival 2005, at the Olympia Theatre, Dublin and Irish tour and at the King’s Theatre, Edinburgh for the Edinburgh International Festival 2005. The Lisa Richards Agency Ltd. Directors: Alan Cook (Chairman), Lisa Cook (Managing), Richard Cook, Miranda Pheifer, Fergus Cronin, Patrick Sutton. Registered in Dublin No. 170854 V.A.T. No. IE 6570854 S 108 Upper Leeson Stret, Dublin 4, Tel: 6375000, Fax: 667 1256 email: [email protected]. www.lisarichards.ie Gemma Reeves Page 2 Playboy of the Western World as Sarah Tansey Directed by Garry Hynes for Druid Theatre at the Perth Arts Festival, Australia, 2005.
    [Show full text]
  • The Violent Death of Derbforgaill”
    Aided Derbforgaill “The violent death of Derbforgaill” Aided Derbforgaill “The violent death of Derbforgaill” A critical edition with introduction, translation and textual notes Kicki Ingridsdotter Dissertation presented at Uppsala University to be publicly examined in Ihresalen, Språkvetenskapligt centrum, Engelska parken, Uppsala, Friday, June 12, 2009 at 10:15 for the degree of Doctor of Philosophy. The examination will be conducted in English. Abstract Ingridsdotter, K. 2009. Aided Derbforgaill “The violent death of Derbforgaill”. A critical edition with introduction, translation and textual notes. Engelska institutionen. 129 pp. Uppsala. ISBN 978-91-506-2083-2. This dissertation contains a critical edition of the early Irish tale Aided Derbforgaill “The violent death of Derbforgaill”. It includes an introduction discussing the main thematic components of the tale as well as intertextuality, transmission and manuscript relationship. The edition is accompanied by transcripts from the three manuscript copies of the tale and textual notes. Aided Derbforgaill is an Ulster Cycle tale and belongs to a category of tales describing the death of prominent heroes, rarely heroines, in early Irish literature. Arriving in the shape of a bird to mate with the greatest of all heroes, Cú Chulainn, Derbforgaill is refused by Cú Chulainn on account of him having sucked her blood. Forced to enter a urination competition between women, and upon winning this, Derbforgaill is mutilated by the other competitors. The tale ends with two poems lamenting the death of Derbforgaill. This very short tale is complex, not only in its subject matter, but in the elliptical language of the poetry. Thematically the tale is a combination of very common motifs found elsewhere in early Irish literature, such as the Otherworld, metamorphosis and the love of someone unseen, and some rare motifs that are almost unique to this tale, such as blood sucking and the urination competition.
    [Show full text]
  • Appendixes Appendix A
    APPENDIXES APPENDIX A Yeats's Notes in The Collected Poems, 1933 The Spelling of Gaelic Names In this edition of my poems I have adopted Lady Gregory's spelling of Gaelic names, with, I think, two exceptions. The 'd' of 'Edain' ran too well in my verse for me to adopt her perhaps more correct 'Etain,' and for some reason unknown to me I have always preferred 'Aengus' to her 'Angus.' In her Gods and Fighting Men and Cuchulain of Muirthemne she went as close to the Gaelic spelling as she could without making the names unpro­ nounceable to the average reader.'-1933. Crossways. The Rose (pages 3, 25) Many of the poems in Crossways, certainly those upon Indian subjects or upon shepherds and fauns, must have been written before I was twenty, for from the moment when I began The Wanderings of Oisin, which I did at that age, I believe, my subject-matter became Irish. Every time I have reprinted them I have considered the leaving out of most, and then remem­ bered an old school friend who has some of them by heart, for no better reason, as I think, than that they remind him of his own youth.' The little Indian dramatic scene was meant to be the first scene of a play about a man loved by two women, who had the one soul between them, the one woman waking when the other slept, and knowing but daylight as the other only night. It came into my head when I saw a man at Rosses Point carrying two salmon.
    [Show full text]
  • Historic Gardens the River Shannon Traditional Boats
    Herita ge Out lo ok ISSN - 1393 - 9777 WINTER 200 8/SPRING 2009 THE MAGAZINE OF THE HERITAGE COUNCIL HISTORIC GARDENS Discovering our rare historic growing heritage THE RIVER SHANNON Take a tour down Ireland’ s most important river TRADITIONAL BOATS OF IRELAND Recording tradition before it sinks WATERFORD BIODIVERSITY ACTION PLAN • HERITAGE EVENTS • RAHAN CONSERVATION PLAN The Heritage Council works to protect and enhance the richness, quality and diversity of our national heritage for everyone. www.heritagecouncil.ie CONTENTS Herita ge Out lo ok Heritage News 3 COMMENT FEATURES Rahan Monastic Site – Amanda Pedlow 12 HERITAGE AND THE ECONOMY Historic Gardens of Ireland – Finola Reid 22 The world is changing more quickly than at any time in human history. Whether in the oceans, on land, or in the world’s climate, the impact of human actions on our Recession and Environment – Frank Convery 27 earth is strikingly obvious. Previous editions of Heritage Outlook have reflected on The River Shannon – Aiveen Cooper 28 the fact that heritage here in Ireland is not a luxury but essential to our quality of life and economy. Our ecosystems or nature’s services deliver vital goods and serv - The Shannon Waterway Corridor Studies – ices that we take for granted as we place no price on their contribution and the Beatrice Kelly 34 goods they deliver are not traded on the stock exchange or market place. Yet, these The Value of Culture – Damian O’Brien 36 goods underpin our agriculture, forestry and tourism industries and are crucial to human health and wellbeing today and in the future.
    [Show full text]
  • Waking the Dead: Funerary Performance, Classical Adaptation, and Gendered Embodiment on the Early Abbey Stage
    WAKING THE DEAD: FUNERARY PERFORMANCE, CLASSICAL ADAPTATION, AND GENDERED EMBODIMENT ON THE EARLY ABBEY STAGE BY RACHEL PRICE COOPER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Theatre in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Valleri Robinson, Chair Senior Lecturer Eamonn Jordan Kirkpatrick Professor Vicki Mahaffey Associate Professor Andrea Stevens ii Abstract Funerary performances loom large in the earliest accounts of Ireland and Irishness that come down to us. In colonial Ireland, unregulated wakes and funerary traditions endured in spite of legal and ecclesiastical attempts to police death’s meaning according to the interests of the dominant power structure. By the time Anglo-Irish playwrights re-discovered the mourning practices of the Irish people at the end of the nineteenth century, they had largely been forced into obscurity. William Butler Yeats, John Millington Synge, and Lady Augusta Gregory’s plays frequently and selectively refer to two such vernacular traditions: the caoineadh and the Irish wake. This study analyzes plays produced by the Abbey theatre during its formative years that intermingle observations of vernacular funerary performances in rural Ireland with ancient Greek precedents. I argue that this intertextual brand of theatrical lamentation frequently constructed gender according to certain bodies’ imagined proximity to corporeality. Analyzing the onstage presence, or lack thereof, of the predominantly male “dead” body alongside animate, female characters’ performance of mourning makes visible the ways in which these performance texts place women in a bind between asserting themselves as particularized, intending subjects in their own right and characters’ whose actions are circumscribed by a predetermined social role that is bound up in the flesh.
    [Show full text]
  • Representations of Women in the Abbey Theatre Christina Wilson
    Representations of Women in the Abbey Theatre Christina Wilson Ireland has, of course, long been gendered — by the political nationalist metanarrative and the cultural nationalism of traditional history and literature — as a women victimized by the colonizing English male. For an equally long time, the lives of actual Irish women were arguably colonized by Irish men, at the same time both genders were colonial subjects of England. (Bradley and Valiulis 6) The drama of The Abbey Theatre was significant in the creation of an Irish national identity. As Ireland strove for political and cultural autonomy from England in the early twentieth century, its literature would provide an arena for national expression and dialogue among its patriots. At times, the drama appearing onstage would turn into drama offstage, as playwrights and audiences struggled to agree upon how to define Ireland. Embedded in this emerging definition of Ireland was the portrayal of women. Women emerge in the Abbey’s plays as mothers, lovers, wives, daughters, goddesses, peasants, and wage earners. Within the varied roles they play, women were always symbolically tied, either by the playwright or the audience, to Ireland itself. In examining the presentation of women on the stage, it is possible to glean much information about cultural attitudes towards women in perhaps the most vigorous years of upheaval Ireland has experienced in recent times. In this essay, I will discuss select dramatic works from William Butler Yeats, Lady Augusta Gregory, John Millington Synge, and Sean O’Casey. Focusing on the representations of women by each playwright, I hope Chrestomathy: Annual Review of Undergraduate Research, School of Humanities and Social Sciences, School of Languages, Cultures, and World Affairs, College of Charleston Volume 5, 2006: pp.
    [Show full text]