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Bard of Modem Ireland: Perspectives on Voice and Mask Within the Poetry of Brendan Kennelly

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Bard of Modem Ireland: Perspectives on Voice and Mask Within the Poetry of Brendan Kennelly ST PATRICK’S COLLEGE, D.C.U / UNIVERSITE SORBONNE NOUVELLE - PARIS 3 (Ecole Doctorale des Etudes Anglophones) Joint Ph.D. / Thèse de doctorat en co-tutelle Irish Studies / Etudes anglophones Sandrine Michelle BRISSET Bard of Modem Ireland: Perspectives on Voice and Mask within the Poetry of Brendan Kennelly La voix et ses masques: approches de la poésie de Brendan Kennedy dans le cadre de la tradition bardique irlandaise VOLUME I / II sous la direction de Mme Noreen DOODY et de M. Carle BONAFOUS-MURAT / under the supervision of Dr. Noreen DOODY and Prof. Carie BONAFOUS-MURAT Examiners / Jury: Prof. Carie BONAFOUS-MURAT (Université Sorbonne Nouvelle- Paris 3), Dr. Brenna CLARKE (St Patrick’s College, D.C.U.), Prof. Anne GOARZIN (Université de Haute Bretagne-Rennes 2), Prof. Declan KIBERD (University College, Dublin). 12 septembre 2008 Declaration I, Sandrine Michelle, hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D. is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. (Candidate) ID No.: £~3~i O S 'o S ’Q Date: . soOSr Acknowledgements With much gratitude to both my supervisors, Prof. Carle Bonafous-Murat and Dr. Noreen Doody. 1 also wish to acknowledge the help and support of the following people: Terence Brown, Brenna Clarke, Adelaide Cron, Joris Duytschaever, Estelle Feldman, Seamus Hosey, Brendan Kennedy, Catherine Finnegan, Declan Kiberd, Thomas Murtagh, Joseph O’Gorman, Noel O’Grady, Jean-Paul Pittion, Mary Shine Thompson, David Singleton, Julie Ann Stevens, Ian Stecpe, Carl Vogel, Jackie Ward and Barbara Wright. Very special thanks to Geraldine Mangan and Helen Cooney. Abbreviations Throughout this thesis, the follow ing abbreviations have been used: ATFV Brendan Kennelly, A Time for Voices: Selected Poems 1960-1990. Ncwcastle-upon-Tyne: Bloodaxe, 1990. B______________________ , Begin. Newcastle-upon-Tyne: Bloodaxe, 1998. BOJ___________________ , The Book o f Judas. Newcastle-upon-Tyne: Bloodaxe, 1991. BS _________ , Breathing Spaces: Early Poems. Newcastle-upon-Tyne: Bloodaxe, 1992. BW__________ _________ , Blood Wedding: New Version. Newcastle-upon-Tyne: Bloodaxe, 1996. C _________ , Cromwell: A Poem. Newcastle-upon-Tyne: Bloodaxe, 1981. CC _________ , The Crooked Cross. Dublin: Moytura Press, 1989. G _________ , G lim pses. Newcastle-upon-Tyne: Bloodaxe, 2001. JIJ _________ , Journey into Joy: Selected Prose. Ed. Ake Pcrsson. Newcastle-upon-Tyne: Bloodaxe, 1994. M A _________ , M a rtia l Art. Newcastle-upon-Tyne: Bloodaxe, 2003. M M O R _________ , The Man Made o f Rain. Newcastle-upon-Tyne: Bloodaxe, 1998. M UAA I _________ , Moloney up and at It. Dublin: Mercier Press, 1995. N _________ , N ow . Newcastle-upon-Tyne: Bloodaxe, 2006. PM A _________ , Poetry* M y Arse. Newcastle-upon-Tyne: Bloodaxe, 1995. VI Contents INTRODUCTION......................................................................................................................... 6 BRENDAN KENNELLY AND IRISH BARDISM: BACKGROUND...............................16 I Back to Origins: Words and Deeds.........................................................................................17 1) Poetry and M agic................................................................................................................................17 1.1.1 Poetry, Magic and Prayers................................................................................................17 1.1.2 Transformations...................................................................................................................24 2) Satires and Curses.............................................................................................................................. 27 1.2.1 Echoes o f Ancient S p ells..................................................................................................27 1.2.2 Brendan Kennedy’s Heritage:.........................................................................................31 1.2.3 Bardic or Latin Satire?.......................................................................................................35 3) The Muse’s Imperative..................................................................................................................... 41 1.3.1 The Significance o f V ision............................................................................................... 41 1.3.2 Inspiration as a Dangerous Thing .................................................................................. 47 1.3.3 Blindness and Vision ......................................................................................................... 53 II Refusing the Fili Way of Writing.........................................................................................58 1) Poetry as a Lonely Business............................................................................................................58 11.1.1 Fill and Schools of Bardism ............................................................................................58 II 1.2 Poetry and P atronage:.......................................................................................................63 2) When the Muse is a Whore.............................................................................................................. 71 11.2.1 The Poets’ Abuse................................................................................................................71 II 2.2 Poetry and Self-Promotion.............................................................................................. 77 3) A Refusal of Art for Art’s Sake ......................................................................................................84 11.3.1 Brendan Kennedy’s Progress......................................................................................... 84 11.3.2 The Freedom o f the B a rd .................................................................................................90 TIT.3.3 Dark Speech 9 7 1JJ M u n ste r H e rita g e .....................................................................................................................................104 1) Poetry and Democracy ..................................................................................................................104 III. 1.1 In Company of Lower Classes...................................................................................104 III. 1.2 An Art of the Locals......................................................................................................110 2)................................ A Subversive Art? .............................................................................................113 111.2.1 C o arsen ess.......................................................................................................................113 111.2.2 Tackling the Forbidden.................................................................................................125 3) A Type of Poet:............................................................................................... 137 IIL3.1 A Way of Life.................................................................................................................137 111.3.2 Brendan Kennelly and Robert B u m s ...................................................................... 145 BRENDAN KENNELLY AND ORALITY ........................................................................................152 I Brendan Kennelly and Ballads...............................................................................................................153 1) The Narrative of Ballad .................................................................................................................153 1.1.1 A Structure Comparable to Stories and Short-Stories............................................154 1.1.2 Repetition and the Structure of the Ballad ................................................................157 1.1.3 A Journalistic Dimension: Extrapolation of Reality ............................................... 160 1.1.4 Language of Act and Event versus Description and Contemplation 164 2) Between Lays and Ballads: A Flexible Genre ...................................................................166 1.2.1 H istorical B ackground.................................................................................................... 166 1.2.2 Timcwarp ............................................................................................................................ 168 1.2.3 Free R hythm ........................................................................................................................170 3) The H ero’s Share..............................................................................................173 1.3.1 Naive and Simple H eroes..............................................................................................173 1.3. 2 The Speech of Narrator and Hero ............................................................................... 175 1.3.3 Ambiguity: Who Speaks?................................................................................................178 2 II Reactualisation of the Epic Model 181 1) Epic Violence in Brendan Kennedy’s Verse........................................................................... 181 11.1.1 Extreme Physical Violence...........................................................................................181
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