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Selection, introduction and editorial matter © Sinéad Sturgeon 2014 Individual chapters © Contributors 2014 All reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–27337–6 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the . Library of Congress Cataloging-in-Publication Data on : the man in the cloak / [edited by] Sinéad Sturgeon, Queen’s University , . pages cm Includes bibliographical references and index. ISBN 978–1–137–27337–6 (hardback) 1. Mangan, James Clarence, 1803–1849—Criticism and interpretation. I. Sturgeon, Sinéad—editor. PR4973.Z5E87 2014 821'.8—dc23

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Contents

Acknowledgements vii Notes on Contributors viii List of Abbreviations xi A Night on the Tiles with J. C. Mangan xiii Foreword xiv Jacques Chuto

Introduction: James Clarence Mangan: The Man in the Cloak 1 Sinéad Sturgeon 1 Crossing Over: On Mangan’s ‘Spirits Everywhere’ 14 David Lloyd 2 ‘Fully able / to write in any language – I’m a Babel’: James Clarence Mangan and the Task of the Translator 33 3 ‘Antiquity and Futurity’ in the Writings of James Clarence Mangan 53 Joseph Lennon 4 Cosmopolitan Form: Mangan’s Anthologies and the Critique of Weltliteratur 84 Cóilín Parsons 5 Night Singer: Mangan Among the Birds 102 Sinéad Sturgeon 6 ‘The last of the bardic poets’: Joyce’s Multiple Mangans 124 John McCourt 7 ‘[M]y mind is destroying me’: Consciousness, ‘Psychological Narrative’, and Supernaturalist Modes in Mangan’s Fiction 140 Richard Haslam

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8 The Spiritual ‘Vastation’ of James Clarence Mangan: Magic, Technology, and Identity 163 Anne Jamison 9 Unauthorized Mangan 184 Sean Ryder 10 Mangan in England 201 Matthew Campbell Afterword: Shades of Mangan 221

Bibliography 230 Index 234

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Introduction James Clarence Mangan: The Man in the Cloak

Sinéad Sturgeon

In November 1838, James Clarence Mangan published a reinvention of Honoré de Balzac’s novella ‘Melmoth Réconcilié’ (1834), renaming it ‘The Man in the Cloak’. From then on, the phrase became one of the Irish ’s favourite nom de plumes, augmenting both a lifelong obsession with the veiling of identity and – since to conceal one’s identity is also to complicate and intensify it – the conviction that the self is at once hidden, unstable, and multifarious. Two years later, Mangan signed a letter to a friend (journalist ) with a deftly drawn pen-and-ink rebus that shows his continuing attachment to the name, as well as a handsome penmanship.

‘The Man in the Cloak’ provides an apt metaphor for Mangan’s rôle in Irish literary history. As readers, we are still struggling to see him in clear light: few have left a body of work that is at once so diverse, so significant, and so difficult to pin down. The magiste- rial six volume The Collected Works of James Clarence Mangan (Irish Academic Press, 1996–2002), edited by Professor Jacques Chuto and a team of scholars, appeared almost 150 years after his death, and com- prises around a thousand poems and dozens of prose pieces, written in an astonishing variety of styles and genres, and published under

1

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2 Introduction a seemingly endless array of pseudonyms. Conversely, little remains in the way of archival material – the manuscripts, letters, diaries, journals, notebooks – that solidifies and expands a writer’s critical and biographical afterlives. Even in the Irish literary canon, let alone further afield, Mangan remains a shadowy figure. While the Collected Works has provided new opportunities for analysis and appraisal, critical assessment of Mangan continues to be incommensurate with his importance. ‘The Man in the Cloak’ remains a resonant soubri- quet for a writer about whom we still have much to learn. Among the fourteen words with which Mangan is credited the first (and often the only) usage in the Oxford English Dictionary, are the neologisms clanless, flagonless, gloomful, storyful, unchainable , undulled. The words convey something of Mangan’s life and temperament in a tempestuous Ireland in the first half of the nineteenth century. Born in 1803, just months before ’s doomed rising, Mangan was from the start beset with difficulties and disadvan- tages: ill-health, poverty, and a fraught family life. He described his father, an improvident grocer, as ‘a human boa-constrictor’, whose paternal guidance was akin to how ‘a huntsman would treat refractory hounds’ (CW6, p. 228). Mangan’s formal education was prematurely ended in 1818 when, to help support his family, he was apprenticed at a scrivenery in York Street. In the same year, his first verses appeared in Dublin almanacs, puzzle-poems and riddles whose precocious verbal ability augurs the extraordinary achievement of his mature work. Such literary play was in stark contrast to the mind- stifling rigidity of legal copying. Mangan loathed the stultifying grind of scrivening, but to support his family he kept at it for much of the next two decades, managing simultaneously to cultivate a literary career in the lively periodical scene of pre-Famine Dublin. By the mid-1830s Mangan had taught himself German and acquired a regu- lar slot in the prestigious, unionist publication, the Dublin University Magazine, as a translator of German Romantic verse. The transla- tions were accompanied by substantial prose commentaries. These acclaimed articles, known as the ‘Anthologia Germanica’ series, were soon followed by the ‘Literæ Orientales’ on Persian and Turkish ; as before, the verse was embedded in lengthy and intelligent disquisition, and the ‘translations’ themselves were often radically different from their originals, or, not infrequently, had no such ‘original’ at all. While Mangan spent virtually his entire life in Dublin

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(apart from a stay in 1847 with his mother’s family in Co. Meath), imaginatively he traversed the globe, and the markedly transnational scope of his work renders him an early practitioner of Goethe’s concept of Weltliteratur – a writer consciously engaged not only in the international circulation of texts, but also of the intellectual implications and effects of such translation and transmission. ‘The mind, to be sure, properly to speak, is without a home on the earth’, he writes in the first article of the ‘Literæ Orientales’, ‘for Mind – it is restless, rebellious – a vagrant […] It is a Cain that may build , but can abide in none of them’ (CW5, p. 129). In 1838 Mangan was able finally to leave scrivening for a job with the Ordnance Survey, working first as a copyist and then as a versi- fier of prose translations of ancient . He also began to work more concertedly in prose, contributing two short stories (‘The Man in the Cloak’ and ‘The Thirty Flasks’) to the Dublin University Magazine. A fellow employee at the Ordnance Survey, the antiquary and artist W. F. Wakeman, conveys a vivid sense of the poet’s eccen- tricities in his description of his colleague’s working habits and style of dress:

We were supposed when on home duty to meet daily in the office at 10 a.m. All were usually punctual except Mangan, who, as a rule, was late, would often not appear before eleven or twelve o’clock, and would not infrequently be absent altogether. […] At times he would be very dull and silent, but occasionally he was apt to make puns and jokes. He generally had some awful story of a super- natural character to tell us as he was sipping his ‘tar-water’. … At the time I speak of Mangan could not have numbered more than thirty-five or thirty-six years, yet he was then physically worn out – aged, in fact – as far as the body was concerned. His mind however, was still that of the poet …. He possessed very weak eyes, and used a huge pair of green spec- tacles; he had narrow shoulders, and was flat-chested, so much so, that for appearance sake the breast of his coat was thickly padded. Of course there was no muscular strength, and his voice was low, sweet, but very tremulous. Few, perhaps, could imagine that so odd a figure might represent a genius, and Mangan himself did not appear to give a fig what people thought of him. […] His coat was of an indescribable fashion both in cut and colour; it appeared

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4 Introduction

to have been a kind of drab. Out of doors he wore a tight little cloak, and his hat exactly resembled those which broomstick- riding witches are usually represented with. Sometimes, even in the most settled weather, he might be seen parading the streets with a very voluminous umbrella under each arm. The large coloured spectacles, already referred to, had the effect of setting off his singularly wan and wax-like countenance with as much force as might be accomplished by the contrast of colour.1

Mangan’s odd manner was matched by peculiarities in his character and temperament; he was a familiar figure in the taverns of central Dublin where he did much of his writing (receiving paper and ink for free), yet despite his wide acquaintance in the ’s lively cultural scene, he seems to have remained elusive and aloof, and he struggled increasingly with his dependency on alcohol. When the Ordnance Survey no longer had the resources to employ Mangan, his friends found him a job as cataloguer at Trinity College library, where he worked from 1842. It was here that first encountered him, recording his impressions of the poet in another highly evoca- tive description:

an acquaintance pointed out to me a man perched on the top of a ladder, with the whispered information that the figure was Clarence Mangan. It was an unearthly and ghostly figure, in a brown garment; the same garment (to all appearance) which lasted till the day of his death. The blanched hair was totally unkempt; the corpse-like features still as marble; a large book was in his arms, and all his soul was in the book. I had never heard of Clarence Mangan before, and knew not for what he was celebrated; whether as a magician, a poet, or a murderer; yet took a volume and spread it on a table, not to read, but with pretence of reading to gaze on the spectral creature upon the ladder.2

For all his spectral appearance, Mangan was approaching the height of his literary powers; he was about to embark on a period of remark- able achievement, galvanized by the increasingly heady currents of cultural nationalism. In a letter of April 1846 to Duffy, editor of the journal the Nation, the poet writes that Duffy’s kindness ‘has given impetus to my determination to devote myself

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Sinéad Sturgeon 5 almost exclusively to the interests of my country’ (CW6, p. 261). The cause of his country evidently proved a stimulating inspiration. In the six volumes of the Collected Works, the single longest volume is also that devoted to the shortest period of time: Poems 1845–1847; the editors describe 1846 as Mangan’s annus mirabilis (CW3, p. xv). In this year Mangan published such masterpieces as ‘To the Ruins of Donegal Castle’, ‘O’Hussey’s Ode to the Maguire’, the traumatic, transcendent ‘Siberia’, the oft-anthologized ‘Dark Rosaleen’, ‘A Vision of Connaught in the Thirteenth Century’, ‘Lament over the Ruins of the Abbey of Teach Molaga’, and ‘Leonora’, as well as overlooked gems such as ‘My Three Tormentors’ and ‘To the Ingleezee Khafir, calling himself Djaun Bool Djenkinzun’. The following year, the ‘Anthologia Hibernica’ articles appeared in the Dublin University Magazine. Having wandered through the ‘Gardens of Northern ’, Mangan remarks, ‘it has occasionally occurred to us that we might perhaps be as gracefully, if not as profitably, employed in “looking at home,” and culling the simple Poetical Wild-flowers of our own dear Mother-Land’ (CW6, p. 160). Yet his situation was increasingly perilous. Professionally and per- sonally, his life was in disarray. By the mid-1840s his parents were dead, though he still cared for a younger brother, and in 1846 he lost his library job, perhaps because of his problems with alcohol. The political climate was tense and volatile; when the Young Ireland faction split, Mangan chose to follow the revolutionary Mitchel over the pragmatic Duffy. But he could not make enough money by his writing to support himself and his brother; the radical papers for which he wrote were suppressed by the , and after the failed rebellion of 1848 he was increasingly isolated as his friends were arrested and imprisoned. For the last few years of his life, Mangan had no reliable income or address, and sank ever deeper into depression, ill-health and addiction. The letters that survive from this period make for difficult reading. The complications of alcoholism and destitution led to hospitalization several times in the final year of his life, yet he continued to work where and when he could; it was in this period he produced his brief, fragmentary autobiography as well as the ‘Sketches and Reminiscences of Irish Writers’ for the Irishman, a series of articles on notable figures such as , Gerald Griffin, Maria Edgeworth, and William Maginn. He also produced a sketch on ‘James Clarence Mangan’,

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6 Introduction a characteristically whimsical miniature biography that concludes on a of prophetic doom: ‘Mangan may yet be rescued and restored to ; but when a fly is rapidly sinking in a glass of water, and not a soul in the house besides himself, it is difficult for him to forbear conjecturing that he must go to the bottom’ (CW6, p. 225). Less than two months later, Mangan was dead. Having spent several days in the Kilmainham fever sheds suffering from cholera, he had been found in a state of severe malnutrition on the streets of Dublin and admitted to Meath hospital. He died there a week later on 20 June 1849, his last writings reportedly burned by a nurse. He was buried in on 23 June 1849. The wretchedness of Mangan’s final few years, coinciding with (and in part occasioned by) a traumatic period in Irish history, threw a long and debilitating shadow on his posthumous reputation, recasting him as a kind of belated brother to and Róisín Dubh, a metonym for despair in a historical moment of acute desperation. Key to this myth-making was Mangan’s first editor and biographer, his old friend Mitchel, who wrote in his influ- ential account that the poet’s ‘history and fate were indeed a type and shadow of the land he loved so well’.3 The range and complexity of Mangan’s work was thrown into shadow by the legend of Clarence Mangan as national poète maudit, represented in anthologies by a small clutch of translations from the Irish. An attending problem has been the inaccessibility of his work: Mangan published only one book in his lifetime, the two volume Anthologia Germanica (1845), and the rest of his substantial output was widely dispersed in periodi- cals and anthologies. Selected editions, which frequently included powerful essays on his life and writing, appeared only posthumously, and editors often altered the texts as they saw fit: after Mitchel, edi- tions by C. P. Meehan (1883–4) and Louise Imogen Guiney (1897) appeared, as well as D. J. O’Donoghue’s centenary editions of the poetry and prose (1903–4). Critical analysis remained sparse; with the exception of John Desmond Sheridan’s short monograph of 1937, it wasn’t until the late 1960s that scholarly interest began to revive. David Lloyd’s seminal 1987 monograph revolutionized criti- cal understanding of Mangan, re-evaluating his nationalism and his techniques of translation to position the poet as a minor writer with a presciently Modernist literary sensibility shaped by the colonial culture of nineteenth-century Ireland. Mangan was back on the

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literary map, and there has since been a steady trickle of articles as well as fuller, more reliable critical editions of his work, not to men- tion the Collected Works, although book-length studies remain scarce. Indeed the present volume is the first collection of essays devoted to him and his work. While scholars may have been slow to recognize fully Mangan’s importance, writers have been quicker to acknowledge his signifi- cance. Both W. B. Yeats and were deeply intrigued: each produced two essays on Mangan in the early stages of their own literary careers. Yeats hails him as forefather in the band of brothers celebrated in ‘To Ireland in the Coming Times’: ‘Nor may I less be counted one / With Davis, Mangan, Ferguson’. Joyce, notoriously chary of admitting any Irish influence on his writing, described him as ‘the most distinguished poet of the modern Celtic world and one of the most inspired poets of any country ever to make use of the lyric form’.4 Yet both also cast him negatively as a kind of failed writer, a despairing victim of Ireland’s tragic history. ‘But this man, Mangan, born in torpid days in a torpid city,’ Yeats writes, ‘could only write in diverse fashions, “I am miserable.” No hopes! No philosophy! No illusions! A brute cry from the gutters of the earth!’5 Echoing Mitchel, Joyce described Mangan as ‘the type of his race’, an artist trapped in, and destroyed by, the dark glass of nineteenth-century Ireland: ‘in that miserable, reedy, and feeble figure, a hysteric nationalism receives its final justification’.6 Still, Mangan was a predecessor of crucial, if enigmatic significance for both, and the influence of his wordplay and literary trickery on Joyce, in particular, is increasingly recognized. Nor has such influence waned in recent decades. and Sean Ryder both suggest Flann O’Brien to be the true successor to Mangan’s linguistic exuberance, his mercurial style and love of the absurd. Heaney also links Mangan to ‘postmodern puzzlemakers’ such as Paul Muldoon, someone ‘who often plays games in order to deliver the goods’.7 ’s , The Mangan Inheritance (1979) charts in gothic style the adventures of minor poet Jamie Mangan, who travels to Ireland in search of the man who may or may not be his ancestor. In a tribute fitting to Mangan as literary trickster, the discovery in 2001 of the missing pages of his autobiography was revealed to be a hoax masterminded by writer James McCabe.8 David Wheatley’s sequence ‘Sonnets to James Clarence Mangan’ measures

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8 Introduction his predecessor’s life and work in the course of a suitably flâneur- esque pacing of Dublin.9 Elsewhere, Wheatley notes other poets and writers in some way indebted: , , Desmond O’Grady, , Rudi Holzapfel, , and Seán Dunne.10 Nor is Mangan’s influence confined to Irish poetry and prose. In the musical imram ‘The Snake with Eyes of Garnett’, singer-songwriter Shane MacGowan is transported by a laudanum- and poitín-bearing ‘James Mangan’ to witness an execu- tion on Stephen’s Green in 1819.11 While the affinities of Mangan and remain a matter for speculation, so too does the American poet Susan Howe perceive in Herman Melville’s ghostly scrivener Bartleby imaginative resonance of the Irish poet whose name is ‘so remarkably like margin’.12 As time passes, creative interest in the man in the cloak seems, if anything, to be accelerat- ing, and it is tempting to see in this a fulfilment of Mangan’s own inkling, delivered in the voice of the Persian poet Lamii, that ‘each / Imperishable drop I spread along the page’ would be ‘translated only by a future age.’ (CW2, p. 70.)

*** When men behold old mould rolled cold around my mound, all crowned with grass, alas! Mankind, though blind, will find my mind was kind, resigned, refined – but shrined like gas, in glass!

In 1833, at the age of 29, Mangan concludes ‘Verses to a friend’ with the lines above; a self-penned epitaph (or what we might call a ‘selfegy’) combining a macabre fancy with a springing rhythmicity that anticipates something of Gerald Manley Hopkins (CW1, pp. 61–3). While one may speculate how far Mangan was deliberately assimilating into affecting self-reflection the scientific discoveries of the day (the Italian scientist Amedeo Avogadro had only recently formulated his ‘law’ relating to the volumes of gas), the lines may also be read as a canny anticipation of Mangan’s own place in the periodic table of liter- ary history: a nebulous substance that resists apprehension. With the publication of the comprehensively annotated Collected Works as well as Ellen Shannon-Mangan’s indispensable biography, however, the scale and significance of his achievement is now visible and accessible as never before.

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This collection of essays aims both to expand existing fields of debate, and introduce new ones. The ten critical essays are unpre- scriptively grouped under themes of translation, , magic and the supernatural, and canonicity. In the spirit of his pecu- liar, perennial writerly appeal, the collection begins and ends with contributions from two distinguished contemporary poets who may be regarded as heirs to Mangan’s storyful language, his penchant for puzzles and experimentation with literary form. The volume’s tone is set by Paul Muldoon’s prefatory poem ‘A Night on the Tiles with J. C. Mangan’, written especially for this selection of essays, and arranged not so much in stanzas as half-cut fragments – the elusive traces of a liquid evening spent with the man in the cloak. On the heels of Muldoon’s inimitable tiles is a crisp and suggestive foreword by Jacques Chuto, the scholar who has done more than perhaps any other to facilitate a new generation of scholarship on Mangan. In the opening essay, ‘Crossing Over: On Mangan’s “Spirits Everywhere”’, David Lloyd contemplates the continuing hold that Mangan exercises over his imagination by way of analysing ‘Spirits Everywhere’, his ‘free and easy’ translation, to adopt William Maginn’s phrase, of a poem by the German poet , ‘Auf der Überfahrt’ (‘On the Crossing Over’, or, more loosely, ‘On the Ferry’). Lloyd demonstrates the ways in which Mangan’s ver- sion of Uhland’s poem divulges a sophisticated, meta-textual reflec- tion on the process and effect of translation, one that speaks to an essential correlation in the writer’s imagination between ghostliness, hauntings, and translated texts. The question of borders, permeable or otherwise, recurs in the next essay, ‘“Fully able / to write in any language – I’m a Babel”: James Clarence Mangan and the Task of the Translator’. In this wide-ranging survey of translation in Irish poetry, Wheatley, himself an editor of Mangan’s work, examines the reductions to which Mangan’s oeuvre has been subject. Wheatley finds in Mangan’s unconventional and duplicitous modes of transla- tion, his repeated discovery of the strange within the familiar, the representation of ‘a centrifugal rather than centripetal strain in Irish writing’ that transcends the worn binary of Irish-English to insist on a linguistic diversity and freedom of truly Babelian scope. The translations of time as well as culture are explored in the next essay, as Joseph Lennon resituates Mangan’s ‘Literæ Orientales’, his trans- lations from ancient Irish poetry, and the hallucinatory prose piece

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‘An Extraordinary Adventure in the Shades’, within the context of energetic contemporary debates about history and antiquity, debates that also had much to do with Anglo-Irish politics. Lennon explores Mangan’s fascination with ancient Ireland and antiquity, apparent in his habits of dress as well as throughout his work, and argues that the writer reanimated concepts of antiquity to address Ireland’s anomalous modernization and Anglicization in the nineteenth century. The ensuing three essays examine themes of literary influence and intertextuality, exploring both the influences that shaped Mangan, as well as his legacy to subsequent writers. One of Mangan’s early pen-names was ‘A Constant Reader’, and his writing teems with literary and references. His tastes were catholic, to say the least, ranging from Renaissance drama to Gothic melodrama, French philosophy to German Romantic verse, ancient Irish poetry to the Arabian Nights. The English Romantics were highly favoured (particularly Byron, Coleridge, and Shelley), as was Johann von Goethe’s Faust (1808), ’s Peter Schlemihl (1814), and Charles Maturin’s (1820). In his essay ‘Cosmopolitan Form: Mangan’s Anthologies and the Critique of Weltliteratur’, Cóilín Parsons re-evaluates Mangan’s engagement with Victorian literature and philosophy, specifically the inter-related movements of Weltliteratur and . While elsewhere Parsons has analysed Mangan’s ruin poetry for its ambivalent com- mentary on the colonial project of the Ordnance Survey, here he shows how Mangan’s anthologies of world literature, the ‘Anthologia Germanica’ and the ‘Literæ Orientales’ pioneer a ‘cosmopolitan form’ in the 1830s and 1840s. Mangan both engages in and, Parsons reveals, expands in significant ways Goethe’s concept of Weltliteratur.13 My own essay, ‘Night Singer: Mangan among the Birds’, maps the manifold influence of the English Romantics and Irish natu- ral history on the poet’s conjuring of the nightingale, suggesting that national and natural history combined to render this small brown songbird a site of mingled political and aesthetic anxieties. Literary influence flows forward as well as back, and Mangan’s deter- minedly global ambit was in all likelihood an attribute that proved strongly attractive to the young James Joyce. And yet, as remarked above, Joyce’s two essays on Mangan often strike conflicting notes.

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In ‘“The last of the bardic poets”: Joyce’s Multiple Mangans’, John McCourt considers the complexities of a relationship often touched upon in passing rather than studied at source – Mangan’s compelling allure for Joyce at a formative period of his own literary career. ‘Yes! – true Poetry is wizard power’, begins ‘A Mystery’, Mangan’s comprehensive reworking of a Friedrich Rückert poem. ‘Tis’ the felt enchantment of the heart – / But the Poet, what is He? Enchanted / Or Enchanter?’ (CW3, p. 93). In their respective essays, Richard Haslam and Anne Jamison bring new insight to bear on Mangan’s fascina- tion with magic, the supernatural, and the occult, as manifested in his cadenza-like prose pieces. Indeed, growing critical interest in the prose, long dismissed out of hand as pot-boiling and nonsensi- cal trivia, is one of the most intriguing developments of modern scholarship on Mangan. D. J. O’Donoghue, the first to put together an edition of Mangan’s prose in 1904, warns in his Preface to the volume that the ‘reader will hardly expect to find anything so dis- tinguished as in the “Poems”’. The prose is ‘purely topical … defaced by mannerisms and made trivial by an irresistible tendency to pun- ning’.14 Yet Mangan’s prose contortions increasingly appear more studiedly experimental than casually ephemeral. Just as his complex modes of translation force us to rethink concepts such as ‘author’ and ‘originality’, so too does the prose – slipping between the interstices of fiction, translation, journalism, academic discourse and memoir as capriciously as their narrators veer between degrees of intoxication – prompt us to reconsider how consciousness and creativity may be represented in textual form. In his invigorating essay, ‘“[M]y mind is destroying me”: Consciousness, “Psychological Narrative,” and Supernaturalist Modes in Mangan’s Fiction’, Haslam investigates Mangan’s interest in ‘the abysses of the human mind’ (CW5, p. 309), a preoccupation that produces psychological narratives laced with a variety of supernaturalist modes: Gothic, ghostly, spiritualist and orientalist. Jamison’s essay, ‘The Spiritualist “vastation” of James Clarence Mangan: Magic, Technology, and Identity’, continues this intersection of the psychic and the psychological by way of the figure of the enchanter, one of Mangan’s favourite themes. ‘I should far and away prefer being a great necromancer to being a great writer or even a great fighter. My natural propensities lead me rather to seek out modes of astonishing mankind than of edifying them,’ he

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12 Introduction writes in Drop Six of ‘A Sixty-Drop Dose of Laudanum’, his paean to intoxication. ‘Herein my propensities are clearly wrong; but somehow I find that almost every thing that is natural in me is wrong also’ (CW5, p. 274). Jamison’s rich analysis details Mangan’s fascination with the magician and his imaginative transformation of Maugraby, the protean sorcerer of the Arabian Nights, within the broader con- texts of spiritualist and scientific discourse in the nineteenth century. The final two essays of the collection address issues of canons and canonicity, deliberating the causes and consequences of Mangan’s marginal status. As Sean Ryder points out in ‘Unauthorized Mangan’, producing an edition of Mangan’s work involves problems of a nature that few other writers provoke. Ryder, another editor of Mangan’s work, surveys the poet’s complex and fractured textual history and assesses the coterminous challenges that Mangan’s unor- thodox literary modes pose to our conventional of the ‘author’ and the ‘book’. It is perhaps in no small part due to this recalcitrance to established notions of the ‘author’ and the ‘book’, that, outside Irish Studies, Mangan continues to languish in the historical Pale, as Matthew Campbell phrases it in the final essay, ‘Mangan in England’, a revealing study of Mangan’s reputation and representation in British Victorian studies. It is an exclusion further problematized by the reconciliation of contemporaneous Irish and British texts in other literary periods, and the recent surge of critical interest in other nineteenth-century Irish writers as well as literary forms. Campbell demonstrates the poet’s value as an Irish Victorian whose work can unsettle conceptions of British and Irish literary history alike. The volume closes with an afterword by Ciaran Carson, which takes the creative form of a highly evocative recollection. In ‘Shades of Mangan’, Carson recalls a preternatural sense of his predecessor’s presence during the writing of Exchange Place (2012), a noir thriller set in Belfast. For Carson, Mangan is at once evasive and always near, ‘as the strange becomes familiar, and the familiar strange’. Indeed this sense of Mangan as a ghostwriter forever slipping out of view is one that uncannily underlies all the contributions to this collec- tion. Taken together, these essays seek to bring new understanding and insight into Mangan’s writing, yet he remains an elusive figure, inscrutable, remote, and indeed unchainable. Therein lies much of his enduring appeal and undulled significance. Who would want the man in the cloak any other way?

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Notes

1. Quoted in JCM, p. 195. 2. PwBI, p. 13. 3. Ibid. p. 15. 4. OCPW, p. 130. 5. W. B. Yeats, Uncollected Prose by W.B. Yeats, ed. John P. Frayne, 2 vols (London: Macmillan, 1970), I, p. 117. 6. OCPW, pp. 59, 136. 7. See Sean Ryder, James Clarence Mangan: Selected Writings (Dublin: Dublin University College, 2004), p. 6; and Seamus Heaney, ‘Singing High: James Clarence Mangan’, Review. 77 (Autumn 2003), p. 14. 8. ‘James Clarence Mangan: The Desert and the Solitude’, Metre, 10 (Autumn 2001), pp. 115–25. 9. David Wheatley, Misery Hill (Loughcrew, Ireland: , 2000), pp. 12–25. 10. James Clarence Mangan, Poems, ed. David Wheatley (Loughcrew, Ireland: Gallery Press, 2003), pp. 16–17. 11. Imram (Old Irish: ‘rowing about’ or ‘voyaging’) is a genre in early concerning a hero’s voyage to the otherworld. ‘The snake with eyes of garnet’ is from the album The Snake, by Shane MacGowan and The Popes (ZTT Records, 1994). 12. For the Mangan-Poe question, see James Kilroy, James Clarence Mangan (Lewisburg, PA: Bucknell University Press, 1970), pp. 22–6. See also Susan Howe, ‘Melville’s Marginalia’, The American Poetry Review, 22, 1 ( January– February 1993), p. 38. 13. See Cóilín Parsons, ‘The Archive in Ruins: James Clarence Mangan and Colonial Cartography’, Interventions: International Journal of Postcolonial Studies, 13, 3 (2011), pp. 464–82. 14. Prose writings of James Clarence Mangan, ed. D. J. O’Donoghue, cente- nary edition (Dublin and London: O’Donoghue & M. H. Gill; Bullen, 1904), p. vii. Joyce too dismissed the essays as ‘pretty fooling’, though he noted ‘some fierce energy beneath the banter, which follows up the phrases with no good intent, and there is a likeness between the desperate writer, himself the victim of a too dexterous torture, and the contorted writing’ (OCPW, p. 56).

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Index

Act of Union, 54, 197 Bentham, Jeremy, 71 Aeschylus, 37 Bhabha, Homi, 119 Agathocleous, Tanya, 90 Bias (sage of Greece), 84 (genre of Irish poetry), 73, Blake, William, 125, 203 222, 223, 224, 227, 228 Blanqui, Louis Auguste, 224 Aladdin, 156, 176, 221 Boehrer, Bruce, 118 d’Alembert, Jean Le Rond, 84 Boland, Eavan, 46 Anaxagoras, 84 Borges, Jorge Luis, 45 Annals of the Four Masters, 227 Bornstein, George, 189 Anster, John, 45 Bowers, Fredson, 187 anthologies Bowring, John, 71, 72, 142 Mangan’s creation of, Brennan, Timothy, 89 see chapter 4 Brewster, David, 179 representation of Mangan’s work Brooke, Charlotte, 62 in, 35, see chapters 9 and 10 Brooke, Henry, 62 antiquarianism, 45, 56–8, 62 Brown, Laura, 120 Arabian Nights, 10, 11, 143, 147, Brown, Samuel, 166, 171 152, 155, 156, 166–8, 173, Browning, Robert, 37, 201, 174–6, 177, 178, 179 203, 218 Araphoes (tribe), 47 ‘Andrea Del Sarto’, 211 Aristophanes, 102 Dramatic Lyrics, 207 Armstrong, Isobel, 208–9 ‘Fra Lippo Lippi’, 211 Arnold, Matthew, 39, 80, 90 Men and Women, 217 Astarte (goddess), 222 Ring and the Book, The, Auffenberg, Baron, xiv 202, 208 Avogadro, Amedeo, 8 Sordello, 202 ‘Waring’, 211–2, 216–7 Bagehot, Walter, 201 Bulson, Eric, 129, 130 Balzac, Honoré de Burgersdyk, Francis, 84 ‘Melmoth Réconcilié’, 1, 168 Burke, Edmund, 178 Peau de chagrin, La, 168, 169, 170, Burlamachi, Jean-Jacques, 116 171, 172, 178, 179–80 Burns, Robert, 113, 202 Beckett, Samuel, 45, 49, 91 Byron, George Gordon, sixth baron, Dream of Fair to Middling Women, 40 108, 150, 212, 213 Mercier and Camier, 41 , 59–60 Benedict, Barbara, 97 Benjamin, Walter, 15, 19–20, 21, 22, Campbell, Matthew, 12, 92–3 44, 48 Canitz, Friedrich, 116 Arcades Project, The, 70, 224 Cannabis, 222 ‘ at a Standstill’, 70 Carlyle, Thomas, 43, 137

234

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Index 235

Carson, Ciaran, 12, 49 Cronin, Michael, 36 Breaking News, 44 Crowe, Catherine, 164, 166, 170 Exchange Place, 12, 223–4, 225–6 Cunningham, Valentine, 205 First Language, 46–7 ‘First Language’, 46 , 47 ‘Irish for no, The’, 113–14 Darwin, Charles, 80 ‘Second Language’, 46–7 Davis, Thomas, 73, 192 Cazotte, Jacques, (see also Chavis, Defoe, Daniel, 69 Denis, translators of the Arabian De Quincey, Thomas, 224 Nights), 71–2, 167, 173, 176 Confessions of an English Opium Celan, Paul, 44 Eater, 35, 137, 70–1, 221–2 Cervantes, Miguel de, 45 Deane, Seamus, 38, 132, 133 Chamisso, Adelbert von, 10 Derrida, Jacques, 14, 24–5, 27–8, 49 Chartist movement, 204 Descartes, René, 84 Chatterton, Thomas, 216, 217 Devlin, Denis, 46 Chavis, Denis (see also Cazotte, Dickens, Charles, 80, 90 Jacques, translators of the Docherty, Thomas, 45 Arabian Nights), 71–2, 167, Doggett, Frank, 105 173, 176 Domett, Alfred, 211–212 Chaucer, Geoffrey, 102 Dublin Penny Journal, 53, 68, 99, Cheyenne (tribe), 47 103, 109, 110, 112, 114, 118 Chrononhotonthologos (satirical play Dublin Satirist, The, 147 by Henry Carey), 84 Dublin University Magazine, 2, 3, 5, Chuto, Jacques, 1, 9, 38, 54, 73, 16, 37, 38, 39, 42, 43, 85, 98, 78, 105, 115–16, 117, 196, 104, 116, 164, 184, 192, 193, 204, 209 196, 197, 213 Civil War (U.S.), 43 Dublin Zoological Gardens, 118–9 Clare, John, 108, 203 Duffy, Charles Gavan, xiv, 1, 4, Clifford, Brendan, 196 56, 57, 59, 126, 135, 136, 159, Clongowes, 227 192, 193 Coffey, Brian, 46 Duffy, James, 192 Coleridge, Samuel Taylor, 35, Dunne, Seán, 7 107–8, 112, 125 Biographia Literaria, 137 Eagleton, Terry, 136, 205, 208 Poetical Works, 189–90 East India Company, 177–8 Colum, Padraic, 206 Edgeworth, Maria, 5 Comet, The, 145, 192 Egyptomania, 167 Conrad, Joseph, 212 Ehrlich, Heyward, 136 cosmopolitanism, see chapter 4 Eliot, George, 90, 91, 96 Couch, Arthur Quiller, 204 Eliot, T. S., 36–7, 190, 208 Cowper, William, 108 Emmet, Robert, 2 Crane, Stephen, 187 Engels, Friedrich, 88 Creizenach, Theodore, 76 , Desiderius, 84 poets, 204 Eriugena, Scotus, 36 Critical editing, 187 Esperanto, 47 Cronin, Anthony, 7 European Parliament, 34

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236 Index

Fabian, Johannes, 69 Greetham, David, 189 Famine, the Great (an Gorta Mór), Greg-Bowers tradition, 187, 188, 54, 76, 77, 78, 79, 195, 197, 189, 190, 196 202, 208, 210 Greg, W. W., 187 Farsaid, Fénius, 33 Griffin, Gerald, 5 Felstiner, John, 44 Griffiths, Eric, 208 Fénelon, François de Salignac de la Grotius, Hugo, 84 Mothe-, 84 Guiney, Louise Imogen, 6, 184, 185, Ferguson, Samuel, 38–9, 99, 195, 196 127, 128 Gwynn, Stephen, 125 Ferriar, John, 166, 170, 171 Fescennine verse, 218 Hagedorn, Friedrich von, 116 Feijóo, Benito Jerónimo [Feijóo] y Halberstam, Judith Jack, 94 Montenegro, 84 Hammer-Purgstall, Joseph von, 40, Field Day Anthology, The, 36, 45, 74, 92, 117 195–6 Hardiman, James, 39, 63, 64 Fitzgibbon, Philip, 73 Hardouin, Jean, 84 Flood, William Henry Grattan, 227 Hardy, Thomas, 80 Foster, Roy, 46 Harprecht, Friedrich, 18 Foucault, Michel, 186, 187 Hartnett, Michael, 49 Freiligrath, Ferdinand, 197 Haslam, Richard, 11, 165 Freud, Sigmund, 26, 225–6 Hauffe, Madame, 151, 153, 164, 165 Friel, Brian, 39 Hawthorne, Nathaniel, 187 Hazlitt, William, 125 Gabler, Hans Walter, 189, 190 Heaney, Seamus, 7, 45, 49, 120 Galland, Antoine, 167, 176 ‘Singing High’, 46 Garrick, David, 216 , 48 Gaskell, Philip, 187, 188 Heffernan, William, xv Gassendi, Pierre, 84 Hemans, Felicia, 108 Gibson, Andrew, 131 Henry, James, 204 Glasnevin Cemetery, 135 Heraclitus, 84 Godwin, William, 84, 174–5 d’Herbelot, Barthélémy, 92 Goethe, Johann Wolfgang von, Herder, Johann Gottfried, 68, 74 97, 100 Heron, Robert, 167, 176 concept of Weltliteratur, 2, 10, 85ff Hibbert, Samuel, 166, 170, 171 Faust, 10, 45 Hitchcock, Alfred, 225 Über Kunst und Altertum, 88 Holzapfel, Rudi, 7 West-östlicher Diwan, 88 Hopkins, Gerald Manley, 8, 204 Wilhelm Meisters Wanderjahre, 89 Hoser, Eberhard, 18 Goldsmith, Oliver, 111 Howe, Stephen, 35 Goodlad, Lauren, 89, 95 Howe, Susan, 8, 203 gothic, the, 11, 15, 19, 38, 54, 60, Hughes, Ted, 120 78, 134, 201 Hume, David, 84, 119 Grant’s Almanack, 50 Graves, Alfred Perceval, 127 Iarla, Gearóid, 36 Great Western Railway, 179 I-Ching, 47 Greco-Roman classicism, 56 Irish Catholic Magazine, 192

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Index 237

Irishman, The, 158, 192 Le Fanu, Sheridan, 145 , 81, 206 Leerssen, Joep, 62 Irish Literary Theatre, 127 Leibnitz, Gottfried Wilhelm, 84 Irish Monthly Magazine, 76 Lennon, Joseph, 9, 67 Irish Penny Journal, 53 Lever, Charles, 115–6 Livingstone, David, 212 James, Henry, 202 Lloyd, David, 6, 9, 37, 39, 46, 49, Jamison, Anne, 11 54, 78, 90, 92, 106, 131, 137, Jardine, William, 109 163, 198, 203 Johnson, Robert, 48 Locke, John, 84 Jones, Glyn, 44 Lukács, Georg, 95 Joyce, Nora, 135 Joyce, James, 7, 10, 43, 48, 49, 53, Mac an Bháird, Eoghan Ruadh, 135 60, 90, 91, 124–37, 159, 163, Mac-an-Ward, Malmurry, 76 165, 168, 190, 206, 207 MacDiarmid, Hugh, 44 , 130, 135–6, 137, 203 MacDonagh, Thomas, 206 essays on Mangan, 7, 53, 60, 90, MacElgun, Cathal Buidhe, 102 124–39, 163, 165, 168, 203 MacFarlane, Robert, 173 , 33, 134, 135, 137 MacGowan, Shane, 8 Portrait of the Artist as a Young MacGreevy, Thomas, 46 Man, A, 119, 130, 131, 136, 137 MacNeice, Louis, 46, 47 , 137 MacPherson, James, 56, 73 , 84, 131, 133, 135, Maginn, William, 5, 9, 202 189, 190 Magrath, Andrew, xv Joyce, Stanislaus, 126, 127, 128, 129, Mahon, Derek, 49 131, 136 Malebranche, Nicolas de, 84 Joyce, Trevor, 48, 49 Mandelstam, Osip, 45 Mangan, James Clarence Kafka, Franz, 203 alcoholism, 5, 129, 193, 202, 203, Kant, Immanuel, 88, 95, 100 205, 208 Keats, John, 108, 109, 113 and antiquarianism, 56–9 Kennelly, Brendan, 7 appearance, 3–4, 9, 60, 129, 226–7 Kerner, Justinus, 14, 151, 164, 165 and cultural nationalism, 54, 57, Kerrigan, Sarsfield, 124 59, 69, 79–80 Kiberd, Declan, 35 debt and penury, 79, 84–5, 129, Kidd, Colin, 62 137, 222–3 King, B. B., 48 eccentricity, 3–4, 54, 129, 134, Kingsley, Charles, 43 158, 194 Kinsella, Thomas, 7, 35, 36 education, 2, 194, 201 Kirwan, Richard, 84 employment with the Ordnance Kurnick, David, 90, 96 Survey, 10, 3–4, 39, 56–7, 227 family and childhood, 2, 5, 38, L’Estrange, Joseph, 145 105, 135–6, 137, 156, 164, 193, Lacan, Jacques, 25 222–3 Lane, Edward William, 175, 176, 179 final illness and death, 6, 78, 202 Lauder, Sir Thomas, 118 handwriting, 1, 223 Lebor Gabála Érenn, 33 health, 129, 140, 156, 158–9

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238 Index

Mangan, James Clarence – continued ‘Chapters on Ghostcraft’, 14, 149, interest in the occult and the 150, 151, 157, 164 supernatural, 14, 151, 164 ‘Coming Event, The’, 213–16 and the , 54, 73–4, ‘Counsel of a Cosmopolitan’, 89 134 ‘Covetousness’, 115–116 legal work, 2 ‘Dark Aspect and Prospect’, 41 and Mannerism, 145–6, 201 ‘Dark Maiden of the Valley, and , 89–90 The’, 73 neologisms, 2 ‘Dark Rosaleen’, 5, 46, 55–6, 73, and opium, 54, 129, 170, 221–2 128, 135, 191, 204, 222 and Orientalism, 66–8, 72, 74, ‘Editor’s room, The’, 43 78, 87–8, 95, 136, 143–4, 165, ‘Eighteen Hundred Fifty’, 202 175–6, 203 ‘Elleen a-Ruin’, 73 and politics, 4–5, 16, 38–9, 43–4, ‘Extraordinary Adventure in the 54, 93, 124–5, 130–4, 194, 195 Shades, An’, 9, 61, 70–2, 140, pseudonyms and pen-names, xv, 1, 141–6, 147, 152, 159, 164, 172 17, 41, 92, 103, 112, 133, 140–1, ‘Fair-Haired Child, The’, 73 191–2, 202, 218, 224–5, 227 ‘Famine, The’, 79 and religion, 38, 42, 61, 128, 194, ‘Farewell to the Maig’, xv 215 ‘Ghazel’ (“Red are her cheeks”), as translator, see chapters 1–5, 9 105–6, 114 and 10 ‘Groans of Despair, The’, 40 and , 71–2, 140–1 ‘Hundred-Leafèd Rose, The’, 40–1 and Weltliteratur, see chapter 4 ‘Irish Language, The’ (poem), 74 ‘Kathaleen Ny-Houlahan’, xv, 53, works: 55, 73 ‘Amine Dead, To’, 41 ‘King of Congo and his Hundred ‘And then no more’, 191 Wives, The’, 44 ‘Anthologia Germanica’, 2, 10, ‘Lament over the Ruins of the 46, 85, 92–3, 98, 99, 116, 145, Abbey of Teach Molaga’, 5, 39, 16, 197 75–6 Anthologia Germanica, 6, 184, 193, ‘Lamentation for the Death of Sir 194 Maurice Fitzgerald, Knight of ‘Anthologia Hibernica’, 5, 65 Kerry’, 128 Autobiography, 2, 15, 38, 140, 143, ‘Lamii’s Apology for his 156–8, 159, 222–3 Nonsense’, 116–20 ‘ of this beautiful isle’, 57 ‘Leonora’, 5 ‘Boatman’s Hymn, The’, 63–5 ‘Lines on the Death of **** **** ‘Bodach an Chota-Lachtna, or The ****’, 94 Clown with the Grey Coat, ‘Lines Written in a Nunnery- A Fenian Tale’, 53 Chapel’, 76 ‘Burial of Alaric I, King of the ‘Literæ Orientales’, 2, 3, 9, 10, 16, Visigoths, The’, 76–8 39, 40, 61, 66–8, 74–5, 85–8, ‘Caramanian Exile, The’, 191, 194 91–4, 98, 99, 105–6, 116, 119, ‘Cast not Pearls before Swine’, 41 143–4, 175 ‘Catching a Tartar’, 44 ‘Little Black-Haired Rose, 73

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Index 239

‘Look Forward!’, 78–79 ‘Thirty Flasks, The’, 140, 143, ‘Man in the Cloak, The’, 1–2, 135, 147–50, 152, 153, 155, 159, 159, 164, 168, 227 164, 165, 168–80 ‘, The’, 135 ‘Threefold Prediction, The’, 140, ‘Meteor of Kasán, The’, xiv 143, 149, 150, 151–56, 157, ‘Mihri, To’, 41, 128 158, 159, 164, 166 ‘Moreen: A Love-Lament’, 40 ‘Time of the Barmecides, The’, 94 ‘My heart is a monk’, 41 ‘To a Groaner’, 40 ‘Mystery, A, 10–11 ‘To a Skating Negro’, 44 ‘My Three Tormentors’, 5 ‘To my Native Land’, 128 ‘My Transformation. A Wonderful ‘To the Ingleezee Khafir, Tale’, 140, 143, 146–7, 159 calling himself Djaun Bool ‘Nameless One, The’, xvi, 120, Djenkinzun’, 5 127–8, 194, 202, 207, 227 ‘To the Ruins of Donegal Castle’, ‘O’Hussey’s Ode to the Maguire’, 5, 76, 128 5, 35, 128, 191, 206 Tribes of Ireland, The (Aenghus ‘Philosopher and the Child, O’Daly), 192 The’, 35 ‘Twenty Golden Years Ago’, xv, Poets and Poetry of Munster, The 212–13, 218 (ed. John O’Daly), xiv-xv, 94–5, ‘Two Flats; or, Our Quackstitution, 192, 193, 194, 197 The’, 59 ‘Polyglott anthology, A’, 40, 94 ‘Verses to a Friend’, 8 ‘Raven, The’, 115–16 ‘Vision of Connaught in the ‘Retributive Gift, The’, 76 Thirteenth Century, A’, 5, 35, ‘Saying of Nedschati’, 42 54–5, 194 ‘Schnapps’, 213 ‘Warning Voice, The’, 59–60 ‘Shapes and Signs’, 40 ‘Well-Delivered speech, A’, 42 ‘Siberia’, 5, 120, 194, 197, ‘When Arthur, Duke of 209–10, 227 Wellington’, 43 ‘Sixty-Drop Dose of Laudanum, ‘Woman of Three Cows, The’, 53 A’, 11, 35, 37, 160, 163 ‘Word in Reply to Joseph Brenan, ‘Sketches and Reminiscences of A’, 164 Irish Writers’, 61 ‘Words of Reality, The’, 61 ‘Sketches and Reminiscences of Marx, Karl, 88 Irish Writers. James Clarence Maturin, Charles Robert, 5, 10, Mangan’, 5, 74, 158–9 38, 56 ‘Sketches and Reminiscences of Maurier, George du, 90 Irish Writers. George Petrie’, 57, Mayo, Robert, 108 58–9 Mays, J. C. C., 189 ‘Sonetto’ (“Yon nightingale that McCabe, James, 7 pours forth tuneful wail”), 103, McClintock, Anne, 65 107, 109 McCormack, John, 135 ‘Sonnet’ (“Bird, that discoursest”), McCourt, John, 10 104–11, 114, 117 McGann, Jerome, 189 ‘Spirits Everywhere’, 16, 17, McGee, Thomas D’Arcy, 128, 170 22–9, 179 McGuckian, Medbh, 49

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240 Index

McGuffin (plot device), 225, 227 O’Connor, Charles, 62 McKenzie, D. F., 189 O’Cullen, John, 75 McKerrow, R. B., 187 O’Curry, Eugene, 56, 57, 73 McKusick, James, 107 O’Daly, John, xiv-xv, 227 Meehan, C. P., 6, 38, 135, 157, 194 Poets and Poetry of Munster, 192, Melville, Herman, 8, 187 193, 194, 197 Mendelssohn, Moses, 84 Reliques of Irish Jacobite Poetry, Mignolo, Walter, 96, 97 73–4 Miłosz, Czesław, 45 O’Donoghue, D. J., 6, 11, 16, 35, 42, Milton, John, 15, 111, 112 56, 57, 103, 195, 196, 227, 228 Mitchel, John, 4, 6, 7, 16, 35, 38, O’Donovan, John, 73, 84, 227, 228 42, 43, 57, 60, 124, 130, 193–4, O’Grady, Desmond, 7 195, 196, 203, 204, 218 O’Grady, Standish, 128 Moore, Brian, 7 O’Halloran, Clare, 62 Moore, Thomas, 59, 125, 126, 128, O’Halloran, Sylvester, 62 184, 206 O’Loughlin, Michael, 36 Morash, Christopher, 195 Ortlepp, Ernst, 209 Moretti, Franco, 98 ‘Siberien’, 209 Mörike, Eduard, 76 Otway, Caesar, 53 Moryson, Fynes, 112 , 103, 118 Muldoon, Paul, 7, 9, 46, Owenson, Sydney (Lady Morgan), 59

Nabokov, Vladimir, 37 Parnell, Charles Stewart, 127 Napoléon Bonaparte, 86 parrot (bird), 102, 116–20 Nashe, Thomas, 187 Parsons, Cóilín, 10 Nation, The, 4, 39, 57, 134, 192, 197 Petrarch, Francesco, 103, 104 natural history, 109–12 Petrie, George, 53, 56, 57, 58, 76, 99 Nechtman, Tillman, 178 Puffendorf, Samuel, 84, 116 necromancy, 11, 19–20, 21, 56, 71, phantasmagoria, 145–6, 148 72, 78–9, 163, 179 Pick, Daniel, 174 New Bibliography, 187–88 Platen, August Graf von, 76–8 New Criticism, 98, 188 Poe, Edgar Allan, 8 New Historicism, 198 Poole, Edward Stanley, 175 nightingale (bird), see chapter 5 Pound, Ezra, 40, 190 Nimrod (biblical king), 47 Powell, Manushag N., 119 Norbrook, David, 206 Power, Arthur, 134 North British Review, 166 Price, Leah, 97, 98 (Georg Philipp Friedrich Prideaux, John Selby, 118 Freiherr von Hardenberg), 88 Proust, Marcel, 159 Pseudo-Dionysius (the Areopagite), 36 Ó Bruadair, Dáibhidh (Dáibhí), 36 Ó hEódhusa (O’Hussey), Eochaidh, Queen’s College, Belfast, 227–8 191, 206 Queen’s University, Belfast, 226, 228 Ó Rathaille, Aogán, 36 Quevedo, Francisco Gomez de O’Brien, Flann, 7, 48, 49, 84, 133 [Quevedo] y Villegas, 84 as Myles na gCopaleen, 33, 34, 43 Quinn, Justin, 45, 49

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Index 241

raven (bird), 102, 115–16 Shippey, Thomas Alan, 104 Reiman, Donal H., 190 Sinbad, 176 Renan, Ernest, 62 Sioux (tribe), 47 Ricks, Christopher, 204 Sirr, Peter, 36, 49 Ricoeur, Paul, 69 Smith, Adam, 84 Rimbaud, Arthur, 212 Smith, Charlotte, 103, 107 Robbins, Bruce, 85, 95 Smith, Michael, 7, 49 Robinson, Heath, 222 Society for the Diffusion of Useful Robinson, Mary, 108, 109 Knowledge, 175 , 15, 20, 39–40, 57, 90, Southey, Robert, 108 96, 103, 105, 106, 124–5, 134, Spenser, Edmund, xiv, 206 141, 203, 206–7, 208 spiritualism, 14, see chapter 8 English, 10, 35, 107–9, 112, 114 Stephens, James, 128 German, 2, 10, 19, 39 Sterne, Lawrence, 159 Rossetti Archive, 190 Stevens, Wallace, 113 Round Towers debate, 57–8 Stewart, Dugald, 84 Roy, Ram Mohun, 84 Swedenborg, Emanuel, 164, 165, , 57, 62 168, 170 Rückert, Friedrich, 10, 88, 89, 191 Swift, Jonathan, 65 Rudy, Jason, 90 synoptic editing, 189 Russell, William Howard, 44 Ryder, Sean, 7, 12, 16 Tennyson, Alfred Lord, 80, 201, 207, 209 Said, Edward, 65 Thelwall, John, 108 Saintsbury, George, 204, 205, 218 Thompson, James, 205 Sappho, 40 Tieck, Ludwig, 146 Scaliger, Julius Caesar, 84 Todd, James Henthorn, 56, 57 Schiller, Friedrich, 23, 61 Tooke, Horne, 92 Schlegel, Friedrich, 141 translation, see chapters 1–5, Schleiermacher, Friedrich, 37 9 and 10 Schwabian poets, 16 translation theory, see chapter 1 Shakespeare, William, 111, , 130 112, 135 library, 4, 59–60, 130, 226 , 111, 216 Trollope, Anthony, 90 Henry IV, 62 King Lear, 190 Uhland, Ludwig, 9, 16, 18–20, 22, Julius Caesar, 171 ‘Auf der Überfahrt’, 9, 23–9 Richard III, 71 United Irishman, 39, 192 Romeo and Juliet, xiv Sonnet XXIX, 102 Vallancey, Charles, 43, 56, 57, 58 Shannon-Mangan, Ellen, 8, 103–5, Vattel, Emmerich de, 84, 116 136, 150, 151, 159, 164, 196, Versioning (editing rationale), 204 190, 198 Shelley, Percy Bysshe, 125, 128, Victor Emmanuel Library, 130 135, 190 Vindicator, 43, 135 Sheridan, John Desmond, 6 (François-Marie Arouet), 119

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242 Index

Wakeman, W. F., 3 Wilde, Oscar, 115, 127 Walker, Joseph, 62 Wittgenstein, Ludwig, 36 Walsh, Edward, 192 Wordsworth, William, Webster, John, 187 108, 185 Weekly Dublin Satirist, 115 Welch, Robert, 38 Yeats, W. B., 7, 45, 46, 48, 90, 91, Wells, H G, 226 102, 125, 126–7, 145, 184, 202, Wetzel, F. G., xiv 203, 206, 207 Wheatley, David, 7, 9 Young Ireland, 4, 34, 132, 206 White, Gilbert, 109–10, 112, Whitman, Walt, 34 Zeno, 84 Walt Whitman archive, 190 Zimmerman, Virginia, 69, 80

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