Irish Poetry from Moore to Yeats examines the work of seven of the most significant Irish poets of the nineteenth century. Beginning with the impact that Thomas Moore's nationalist sentiment and generalised tone had on the language of poetry for much of the century, Dr. Welch then discusses J. J. Callanan’s attempt to deal with a Byronic restlessness and his startling translations from the Gaelic. He shows how James Clarence Mangan tested out different ‘voices’ to express his psychic plurality and discovered a special freedom in his versions of Gaelic originals. He describes the foundering of Samuel Ferguson’s vision of the reconciliation of Gaelic and Protestant traditions and demonstrates how the transcendental Catholicism of Aubrey de Vere mirrored Ireland’s historical difficulties. He surveys William Allingham's scope, fairmindedness and attention to detail, and lastly considers the comprehensive power of W. B. Yeats’s searching, qualifying imagination that informs his early work.
A tradition emerges, composite, flawed, passionate, rhetorical, anxious; its intricate entanglements underlie many of the preoccupations of twentieth century Irish life and writing.
1. Thomas Moore: An Elegiac Silence
2. J. J. Callanan: A Provincial Romantic
3. James Clarence Mangan: 'Apples from the Dead Sea Shore'
4. Sir Samuel Ferguson: The Two Races of Ireland
5. Aubrey de Vere: An Attempt at a Catholic Humanity
6. William Allingham: 'The power and zest of all appearance'
7. Yeats and Oisin
List of Works Cited
Chosen and Introduced by Christopher Murray
The first volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
ISBN: 0-86140-087-9 / 978-0-86140-087-4 £25.00
Paperback ISBN: 0-86140-088-7 / 978-0-86140-088-1 £9.95
Contains: Patriots, The Whiteheaded Boy, Crabbed Youth and Age, The Big House, Drama at Inish, Church Street, bibliographical checklist.
Lennox Robinson was one of the leading playwrights of Dublin's Abbey Theatre as well as being its general manager and a director for many years. As with many other playwrights of the twentieth century, his work has been unjustly neglected, this volume, published in 1982, being the first of his plays to have appeared for over a quarter of a century. It is fitting, therefore, that this selection should be the first of a new series, Irish Drama Selections, which has sought to remedy the shortage of texts of the work of Ireland's dramatists, which with the exception of perhaps ten authors, are virtually unobtainable except in rare editions, long out of print.
Christopher Murray is Emeritus Professor of Drama and Theatre History, School of English, Drama and Film, University College Dublin. He is former editor of Irish University Review and former chair of the International Association for the Study of Irish Literatures (IASIL). Among his publications are Twentieth Century Irish Drama: Mirror up to Nation and Sean O'Casey, Writer at Work: A Biography. He also chose and introduced the fifteenth volume in the Irish Drama Selections series, Selected Plays of George Shiels.
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21.4 x 13.6 cm. xiv, 248 pp. 1993 Irish Literary Studies Series (ISSN 0140-895X) volume 45
A Small Nation’s Contribution to the World contains a selection from the papers given at the 1989 conference of the International Association for the Study of Anglo-Irish Literature, with Professor Robert Welch as Chairman. The conference, the first ever held in Eastern-Central Europe, convened in Debrecen, Hungary, chaired by Professor Istvan Palffy. This selection is broadly representative of the truly international nature of the conference – whose delegates came from every continent – and of the study of Irish literature today. It includes essays on Beckett, Joyce, Friel, Yeats, O'Casey, Parker, Clarke, Kinsella, Muldoon, Mahon, Banville, Brian Moore, Edna O'Brien, Swift and Edgeworth as well as on critical issues, such as: the uses of the fantastic in prose and drama, modernism and romanticism, Irish semiotics, social criticism in contemporary Irish poetry and. especially appropriate for the occasion, the relationship and influence of Hungary and Ireland on one another's literature.
Contributors to this volume are Csilla Bertha, Eoin Bourke, Patrick Burke, Martin J. Croghan, Ruth Fleischmann, Maurice Harmon, Werner Huber. Thomas Kabdebo, Veronika Kniezsa, Mária Kurdi, Donald E. Morse, Ruth Neil, István Rácz, Marius Byron Raizis, Aladár Sarbu, Bernice Schrank, Joseph Swann and András Ungar.
21.6 x 13.8 cm. viii, 350 pp. 1990 Irish Literary Studies series (ISSN 0140-895X) volume 36 IASAIL-Japan Series (ISSN 0267-6079) volume 3
This collection of essays looks at a variety of responses by writers to the problems of their motherland. Includes essays on Swift, Burke, Ferguson, Yeats, Lady Gregory, Joyce, Shaw, O'Casey, Parker and Egan, as well as Northern Irish poets and playwrights. Essayists include Vivian Mercier, A. Norman Jeffares, Lorna Reynolds, Maurice Harmon, John S. Kelly, Declan Kiberd, Christopher Murray, Brian Arkins, and Augustine Martin.
INTRODUCTION. Masaru Sekine
ENGLISH READERS: THREE HISTORICAL 'MOMENTS'. Vivian Mercier
SWIFT: ANATOMY OF AN ANTI-COLONIALIST. A. Norman Jeffares
EDMUND BURKE: A VOICE CRYING IN THE WILDERNESS. Lorna Reynolds
THE ENIGMA OF SAMUEL FERGUSON. Maurice Harmon
W. B. YEATS: POLITICS AND HISTORY. Donna Gerstenberger
ASCENDANCY NATIONALISM, FEMINIST NATIONALISM AND STAGECRAFT IN LADY GREGORY'S REVISION OF KINCORA. Maureen S.G. Hawkins
THE FIFTH BELL: RACE AND CLASS IN YEATS'S POLITICAL THOUGHT. John S. Kelly
KINESIS STASIS, REVOLUTION IN YEATSEAN DRAMA. Augustine Martin
JAMES JOYCE AND POLITICS. Heather Cook Callow
SAINT JOAN: FABIAN FEMINIST AND PROTESTANT MYSTIC. Declan Kiberd
THE 'MIGHT OF DESIGN' IN THE PLOUGH AND THE STARS. Christopher Murray
THE WILL TO FREEDOM: POLITICS AND PLAY IN THE THEATRE OF STEWART PARKER. Elmer Andrews
TOO LITTLE PEACE: THE POLITICAL POETRY OF DESMOND EGAN. Brian Arkins
WHO WE ARE: PROTESTANTS AND POETRY IN THE NORTH OF IRELAND. David Burleigh
THEATRE WITH ITS SLEEVES ROLLED UP. Emelie Fitzgibbon
Notes on Contributors
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22.9 x 15.3 cm.
Henry Newbolt (1862-1938) was a celebrated man of letters at the turn of the century: poet, essayist, historian. But his popularity ebbed after the Great War, and since then the man and his poetry have received more than their share of hostile criticism. Even today critics oversimplify Newbolt. Most often he is typecast as the leading jingoist of the Edwardian age, not unlike Rudyard Kipling was until recently.
In The Poetry of Henry Newbolt, Vanessa Furse Jackson gives us a fresh look at the man, his poetry and their historical context. Her discussions of his heroic and lyric poems are framed by a close examination of the institutionalised values that lay behind Newbolt’s popularity. She looks at the intimate ties between his life-code and his education, particularly his public school education, and at the pervasive concepts of heroism, chivalry and patriotism inherited by the younger generation of the 1870s. She later examines how traditional Victorian and Edwardian attitudes, not just the general public’s but Newbolt’s as well, were irrevocably altered by the gruesome events of World War I.
Jackson provides nuance and perspective to show that Newbolt was not simply the blind patriot described by many literary historians. What he represents, she says, ‘is something much more interesting, and, in a complete history of the period, both more important and more complex.’ In addition to revealing much about the concepts, ideals and aspirations of the Victorian middle class in which he grew up, Newbolt ‘represents one of the last movements in poetry to occur in the fin-de-siècle anticipation and anxiety of the 1890s. [He] is a minor figure who represents major Victorian values and attitudes.’
In The Poetry of Henry Newbolt, Professor Jackson reconnects the poems to their context and offers new insights into Henry Newbolt, his work, and the Transi¬tion era itself.
VANESSA FURSE JACKSON, a great-granddaughter of Henry Newbolt, spent ten years in theatre in England before returning to college in 1981 and completing a BA (hons) in Related Arts at the West Sussex Institute of Higher Education. After graduating in 1984, she came to the United States and received an MFA in Creative Writing at Bowling Green State Uni¬versity in 1986. She completed her Ph.D. at Bowling Green in 1990. Professor Jackson spent her time teaching at Texas A & M University – Corpus Christi, before returning to live in England.
21.6 x 13.8 cm. xviii, 184 pp. 1998 Ulster Editions & Monographs series (ISSN 0954-3392) volume 6
Louis MacNeice's status as a major 20th Century literary talent and a key figure in the development of modern Irish Literature in English is now established since the acceleration of critical interest and enterprise from the early 1970s to the present.
It is no accident that MacNeice's critical rehabilitation, after some decades of relative neglect, was effected largely by critics with an awareness of the Irish dimension of his make-up as a poet and who could thus appreciate the full complexity of the social, cultural and historical influences working on and through him; and it is similarly the case that the reassessment of MacNeice from the 1970s onward was consequent on the 'renaissance' in Northern Irish poetry in the 1960s.
MacNeice is no longer inadequately categorised as a 'Thirties' also-ran in the shadow of Auden, or as a writer of 'poetry on the surface'.
It is now more possible to see him whole – as a poet of complex, multiple identities and allegiances, as a writer of manifold talents (poet, critic, dramatist, broadcaster) and as a preternaturally alert, lyric recorder of the social and phenomenal world whose vision is conditioned by a profound philosophical scepticism.
The present volume, which brings together a number of experts on MacNeice's work, continues and extends the exploration of the range and depth of his achievement, with essays on various topics, including his influence on writers such as Michael Longley, Derek Mahon, Seamus Heaney and Paul Muldoon.
The essays were mostly given as papers at the conference held at the University of Ulster, Coleraine in September 1994. It was the first to have been exclusively devoted to the poet's work. It will be the seventh volume in the Ulster Editions and Monographs series.More info →
21.6 x 13.8 cm. l, 455 pp. 2006 Irish Literary Studies series (ISSN 0140-895X) volume 53
The William Carleton Summer School is one of the most important literary festivals on the island in that there are very few that make a point of studying an aspect of Ireland before the Great Famine. William Carleton (1794-1869) is the greatest author to have written about the Irish peasant and the Ireland of the period immediately preceding it: he enables the reader to think back past the Famine into the culture – particularly the peasant culture – of that time, confused, rich, tortured, bilingual, that made him as a writer.
Enjoying immense popularity during his lifetime, his popularity dwindled but a century after his death it began to revive, not least because of the influence of the Summer School. The lectures given at the School and revised for publication in William Carleton, The Authentic Voice provide ample evidence that he was one of the greatest entertainers of Irish literature in English.
This volume also contains contemporary portraits of Carleton, reproduces previously unpublished letters and documents, a chronology, publication history of his writings, provides fine line illustrations by Sam Craig and detailed maps of the countryside he loved and wrote about, so this is an indispensable book for everyone interested in Carleton and pre-Famine Ireland.
Edited by Gordon Brand, the collection contains contributions by Gordon Brand, Terence Brown, Brian Earls, Peter Denman, Owen Dudley Edwards, Marianne Elliott, Thomas Flanagan, Roy Foster, Maurice Harmon, Seamus Heaney, Eamonn Hughes, Jack Johnston, John Kelly, Declan Kiberd, David Krause, Robin Marsh, John Montague, Pat John Rafferty, Sean Skeffington, Barry Sloan, Norman Vance, and Robert Welch.
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This study surveys the course of verse translation from the Irish, starting with the notorious Macpherson controversy and ending with the publication of George Sigerson’s Bards of the Gael and Gall in 1897. Professor Welch considers some of the problems and challenges relating to the translation of Irish verse into English in the context of translation theory and ideas about cultural differentiation.
He outlines the historical and cultural background of Anglo-Irish literary relations in the seventeenth and eighteenth centuries and the surprising fashion for Celticism at the end of that period. It was this cultural phenomenon that provided the context for the endeavours of Charlotte Brooke and of later translators to render something of the spirit of Gaelic poetry in English verse. Throughout the book, we see again and again the dilemma of poets who must be faithful to the spirit or the form of Irish verse, but who rarely have the ability to capture both.
The relationship between Irish and English in the nineteenth century was, necessarily, a critical one, and the translators were often working at the centre of the crisis, whether they were aware of it or not. As Celticism evolved into nationalism and heroic idealism, these influences can be clearly seen in the development of verse translation from the Irish.
21.6 x 13.8 cm
Although Kate O’Brien is coming to be classed among the most original novelists of this century, her reputation underwent the usual period of eclipse that follows the decease of most writers. Now, just twelve years after her death in 1974, her novels are coming back into favour on both sides of the Atlantic.
At first glance, a romantic realist whose field of operations was the rise of the middle-class from post-Famine Ireland to the second half of the present century, on closer inspection she will be seen to be a subtly feminist writer whose heroines are in search of both freedom and love, freedom as a pre-requisite of love – and education as the first necessity of either.
Highly responsive though she was to the lyrical beauty of the Irish landscape and appreciative of Irish wit and charm, she was, nevertheless, contemptuous of narrow nationalistic claims, and would set Ireland always among the nations of Europe. Long before Europe set up its present Economic Community, of which Ireland in due course became a member state, she saw her country as linked by old associations of religion, history and culture to a continental civilisation.
Readers of a generation new to Kate O’Brien see her as depicting an Ireland they scarcely knew existed, an educated, aspiring, sometimes wealthy middle-class Ireland. On one side of her, just before her beginnings as an artist, lies the wild Ireland of the dispossessed, and on the other the Ireland of what she called the ‘Top People’, whose sole criterion is success in making money, and whom she despised.
This is the first study of Kate O’Brien’s novels as a whole, in which her development as a writer is traced and the underlying themes of her work revealed.
Chosen and Introduced by David B. Eakin and Michael Case
The eighth volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
Hardcover ISBN:0-86140-144-1 / 978-0-86140-144-4 £35.00
Paperback ISBN: 0-86140-145-X / 978-0-86140-145-1 £9.95
21.6 x 13.8 cm.
Contains: George Moore's The Strike at Arlingford, The Bending of the Bough, The Coming of Gabrielle, The Passing of the Essenes; and Edward Martyn's The Heather Field, Maeve, The Tale of a Town, bibliographical checklist.
GEORGE MOORE is best known as a master of English prose, but he also wrote plays, usually in collaboration with other authors, and occasionally based on or on the precursors of his own novels, the best known of which are probably Diarmuid and Grania (with W.B.Yeats), The Strike at Arlingford, and The Bending of the Bough (based on Edward Martyn's The Tale of a Town). Apart from the last two, this selection also contains Moore's The Coming of Gabrielle and The Passing of the Essenes.
EDWARD MARTYN was, with W.B.Yeats and Lady Gregory, a founder of the Irish Literary Theatre, the second production of which, opening on 9 May 1899, the day after Yeats's The Countess Cathleen, was his The Heather Field. Apart from this play, the present volume also contains Maeve and The Tale of a Town.
As well as the introduction by David B. Eakin and Michael Case, there are also bibliographical checklists of Moore's and Martyn's works.
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21.6 x 13.8 cm. 200 pp. 1984 Irish Literary Studies series (ISSN 0140-895X) volume 20
The Double Perspective of Yeats’s Aesthetic offers penetrating insights into the poet’s aesthetic principles. These are characterised, Professor Komesu demonstrates, by a polarity of perspective. He argues that Yeats envisaged life as both unity and conflict, and regarded art as an embodiment of both experience and knowledge. The peculiar nature of this Yeatsian polarity is that the conflicting perspectives are not irreconcilably at war, but exist in a complementary relationship, in which one lives the other’s death, and dies the other’s life. This polarity sometimes led the poet into a logical impasse out of which he tried to struggle in vain. But from it, nonetheless, he gained the dramatic force and tension which enabled him to create a world of poetic vision and experience, one with a magnitude which is all its own. Professor Komesu finds this polarised perspective inherent in the literary theory of the West, constituting a discernible tradition that shapes such divergent artistic movements as Classicism and Romanticism. He contends that Yeats’s place must be found within this tradition.
2. Knowledge or Experience
3. The Saint or the Artist
4. Brahman or Daimon
5. The Flower or the Gyre
6. The Flower That Never Bloomed
Chosen and Introduced by Janet Egleson Dunleavy and Gareth Dunleavy
The seventh volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
Hardcover ISBN: 0-86140-095-X / 987-0-86140-095-9 £25.00
Paperback ISBN: 0-86140-096-8 / 978-0-86140-096-6 £8.99
21.6 x 13.8 cm 192 pp. 1991
Contains: The Twisting of the Rope, The Marriage, The Lost Saint, The Nativity, King James, The Bursting of the Bubble, The Tinker and the Sheeog, The Matchmaking, The School-master, bibliographical checklist. This volume publishes the original Irish language texts with Lady Gregory's translations.
When Douglas Hyde was elected in 1938 as first President of Ireland, he brought to this last of many rôles the prestige of an important scholar, a noted author and a leader of the cultural nationalist movement. Born in 1860, the son of the Church of Ireland rector at Frenchpark, Co. Roscommon, he grew up among the local people, learning Irish and listening to folk tales, which he began to record and which proved valuable experience when writing dialogue for his plays. After study at Trinity he became a founder member of the Gaelic League, formed in 1893 to preserve and promote the Irish language, and he was its President for twenty-two years.
Hyde was struck by the idea of promoting the Irish language through drama, especially puppet shows and short plays. In the hands of a writer less gifted in mimicry, with a less-developed sense of humour, the results of an effort undertaken for admittedly propagandist purposes might have been deadly. In his hands they ushered in a new dramatic tradition. That his one-act plays, classics of the modern Irish theatre, continue to be performed today, both in their original Irish and in Lady Gregory's English translations is but one indication of the versatility of his talent and his appeal to both popular and artistic tastes. Eight one-act plays are reproduced here with Lady Gregory's translations on the facing pages.
More than three decades after his death, the inevitable reassessment is under way and new stock must be taken of his rôles as folklorist, poet, translator and playwright, each assumed at a carefully chosen time for what it could contribute to the goal of his life: first the cultural, then the social and political independence of Ireland.
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21.6 x 13.8 cm. xvi, 349 pp. 2006 Irish Literary Studies series (ISSN 0140-895X) volume 51
In 1922, James Stephens said: ‘we shall talk like Irishmen, or we are done for – we shall think like Europeans, or we are done for.’ In 1948, a later poet and critic, Robert Farren, recognised that Yeats had achieved at least one of those conditions when he said that he had ‘brought the Irishman’s voice – its inflections, cadences and idioms – into verse.’
The Irish brogue has often been considered as merely an ornamental adjunct to speech without any realisation of its value to poetry written in Ireland. But since poetic forms are based on the usual speech patterns of a country – its everyday talk – then the crucial significance of the patterns of Irish speech to the rhythms of poetry should be identified and explained.
Yeats, the Master of Sound is such a study. The author traces Irish speech rhythms back to Gaelic and, in this context, explains what Irish poets owe to their local accent – Heaney, in particular, has acknowledged such a debt. Using the American poet Robert Frost’s concept of the ‘sound of sense’ as a key, Dr Devine explores the rhythms of Anglo-Irish poetry and their stating of a formalised emotion through such traditions as the amhrán (Irish song metre) and the ancient method of singing known as sean-nós. Yeats was to build on these connected influences, adding a theatrically defiant tone to patterns of assonance and rhyme to attain an ‘elaborate rhythm’ – again a concept and practice derived from the Gaelic.
This book shows how the Irish speaking voice is in thrall to a language which has endured for over 2,000 years and which, by its shaping of the rhythms of that voice, continues to influence those of the island’s poets who write in English today.
Brian Devine received his MA from University College Dublin, and DPhil from the University of Ulster, Coleraine. He is currently working on a Gaelic grammar and a study of the poetry of Patrick Kavanagh, entitled The Awkward Visionary.
Walter Pater (1839-1894) was one of the Transition Era's most influential figures. In this collection of essays, distinguished scholars continue research into his life. Subjects are included for the apprentice as well as the expert: from a scandal during Pater's Oxford days, to the influences upon him by Wordsworth and Arnold, and in turn to his influence upon Hopkins and Joyce. Contributors include: Billie A. Inman, Gerald Monsman, J.P. Ward, Lesley Higgins, F.C. McGrath, Paul Tucker, Richard Dellamora, Hayden Ward, J.B. Bullen, M.F. Moran, Bernard Richards, Anne Varty, Jane Spirit.More info →
Selected Prose & Related Documents
336 pp. 23.4 x 13.5 cm illus. in colour and monochrome
Poet of the Second World War and peacetime dramatist, Francis Warner was 75 this year (2012). This, the first selection from his prose, gives readers of his work some indication of the historical and intellectual background from which his poetry has sprung: of 'the giant race before the flood' who lived on to help shape Britain's post-war imagination.
Starting with memories of the Blitz and his poem 'Blitz Requiem', Warner recalls his schooldays at Christ's Hospital, Horsham, recovering from six years of war, and the role played by music.
He writes of his friends: 'Henry Chadwick: Musician', Kathleen Raine as fellow poet, C. S. Lewis and the Psalms, Henry Moore, Francis Bacon, Edmond Blunden, and Samuel Beckett, reproducing the manuscripts off two short plays Beckett discussed with and gave to him. Other subjects include W. B. Yeats, Benjamin Britten and the Japanese Noh plays, Samuel Palmer as poet, and Hugh Wybrew's Liturgical Texts of the Orthodox Church.
The book concludes with 'Francis Warner as Musician in Performance' an illustrative CD with music by Honegger, Vaughan Williams, and Warner's collaborator the composer and organist David Goode: and Stephen Cleobury conducting the Choir of King's College Cambridge singing one of their anthems.
Francis Warner DLitt, Hon. DMus, is Emeritus Fellow of St Peter's College, Oxford, and Honorary Fellow of St Catharine's College, Cambridge.
Armageddon and Faith: a Survivor's Meditation on the Blitz, 1940-45
Remembrance Sunday Sermon, King's College Chapel, Cambridge, 2011
Four War Sonnets
Christ's Hospital Three and Sixty Years Ago
Henry Chadwick: Musician
The Song that is Christmas
A Cambridge Friendship: Kathleen Raine and Francis Warner
C. S. Lewis and the Revision of the Psalter
A Blessing on C. S. Lewis's home in Oxford, The Kilns
Foreword to Hugh Wybrew: Liturgical Texts of the Orthodox Church
The Bones and the Flesh: Henry Moore and Francis Bacon
Samuel Palmer's Poem 'The Sorceress'
James Joyce's Poetry
J. M. Synge's Poetry
Edmund Blunden's Pastoral Poetry
Richard Wall's rondeau cycle In Aliquot Parts
Japanese Noh plays and W. B. Yeats, Benjamin Britten and Samuel Beckett
Manuscript of Beckett's Breath
The Absence of Nationalism in the Work of Samuel Beckett
Manuscript of Beckett's Sans, and covering Letter
A Cup of Coffee in Paris, by Penelope Warner
Francis Warner as a Musician in the1950s, by Bernard Martin
Compact disc: Francis Warner as Musician in Performance
Anthem for Christ the King
21.6 x 13.8 cm Irish Literary Studies series 4
Professor Thornton’s book calls into question the ideas generally held by critics of Synge that the religious milieu he was reared in had slight influence upon him, that his relationships with his family were of virtually no importance to him, and that he cared little for matters concerning ‘belief’ generally. The view presented here is that Synge was always more concerned about beliefs than he appeared to be with his taciturn public manner, and that the theme of the relationship between ‘beliefs’ and ‘reality’ is basic to his work.
This volume examines the impact the early years of Synge’s life and his visits to the Aran Islands had on him, generating themes and devices that became the staples of his drama. Dr. Thornton defines the philosophical premises which underlie the major plays and the developing theatrical techniques Synge devised to embody his explorations of the nature of belief. Deirdre of the Sorrows marks a fitting culmination to his career, showing how completely Synge had transformed his concern with stereotypes of response from a realisation to be articulated or a philosophical problem to be solved into a tool to facilitate the discovery of his individual viewpoint.
I. Seed Time of the Soul
II. The Verge of the Western World
III. The Shock of Some Inconceivable Idea
IV. First Fruits: The Shadow of the Glen; Riders to the Sea; The Tinker's Wedding
V. Dreamer's Vexation or Poet's Balm?: The Well of the Saints and The Playboy of the Western World
VI. A Sense that fits him to perceive objects unseen before: Deirdre of the Sorrows
For many years Kathleen Raine has been known as the leading exponent of what she herself calls ‘the learning of the imagination’ in the work of Blake, Yeats and other poets and scholars within (using the word in its broadest sense) the Platonic tradition. Yeats the Initiate contains all Dr Raine’s essays on Yeats, covering many aspects of the traditions and influences that informed his great poetry. Several of her essays in this field are already regarded as definitive evaluations of their subjects and these, with other hitherto uncollected studies and some new papers here printed for the first time, all fully illustrated and annotated, make Yeats the Initiate one of the most important publications of recent years in the field of Yeats studies.
The essays collected in Yeats the Initiate include ‘Hades Wrapped in Cloud’, a study of Yeats and the occult, Dr Raine’s introduction to Yeats’s collections published as Fairy and Folk Tales of Ireland, and three major studies previously published separately – Yeats, the Tarot and the Golden Dawn; From Blake to ‘A Vision’ and ‘Death-in-Life’ and ‘Life-in-Death’. A major paper on ‘Yeats on Kabir’ is printed for the first time, as is a topographical paper on the Sligo area in the West of Ireland. A long essay on Yeats’s debt to Blake has been extensively revised, and other topics discussed include the play Purgatory, Yeats’s contemporary, Æ (G.W.Russell, the visionary), and Kathleen Raine’s own poetic debt to Yeats.
The essays that make up this volume reflect a lifetime’s knowledge presented with the fine perception of a great poet. The many illustrations form a graphic accompaniment to the text. It is essential reading for all students of the life and work of William Butler Yeats.
Chosen and Introduced by Robert O'Driscoll
The twelfth volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
Hardcover ISBN; 0-86140-148-4 / 978-0-86140-148-2 £35.00
Paperback ISBN; 0-86140-149-2 / 978-0-86140-149-9 £9.95
21.6 x 13.8 cm.
Contains: The King of Friday's Men, The Paddy Pedlar, The Wood of the Whispering, Daughter from over the Water, Petticoat Loose and the previously unpublished The Bachelor's Daughter, bibliographical checklist.
Michael Joseph Molloy (1917-1994) was born and died in Milltown, Co. Galway. Originally intending to enter the priesthood, this was prevented by his being struck down by tuberculosis, and it was during the long periods he spent in hospital that he started writing plays, having been inspired by a childhood visit to the Abbey Theatre, Dublin. His first play, Old Road, was produced at the Abbey in 1943, as was The Visiting House in 1946, and The King of Friday’s Men in 1948. When the old theatre burned down and the company moved to the Queen’s Theatre his The Wood of the Whispering and The Paddy Pedlar were produced there in 1953, followed by The Will and the Way in 1955, The Right Rose Tree in 1958, and The Wooing of Duvesa in 1964.
After the company’s return to the rebuilt Theatre in 1966 his plays – with their romantic plots and Syngean dialogue – did not find favour with the new Abbey, and with the exception of Petticoat Loose in 1979, none of his later works were performed professionally. By the late 1980s he had come to believe – as he wrote in one letter to the publisher of this selection – that the Abbey no longer even read plays by authors based in the provinces until they had been produced elsewhere (here he cited himself and John B.Keane as examples), and that his works scared the ‘actor Artistic Directors who know nothing about provincial Ireland and nothing about the rules of playwriting’. He feared his plays might be the last full-length folk plays written in Ireland.
Robert O'Driscoll, an authority on Samuel Ferguson and on the early works of W. B. Yeats, was Professor of English Literature at St Michael's College, University of Toronto, until his retirememt. He died in 1996.
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21.6 x 13.8 cm xvi, 256 pp. 1983 Irish Literary Studies series (ISSN 0140-895X) volume 17
Eighty years ago, in a letter to John Quinn, that benefactor in so many ways of the Irish Literary Revival, Yeats wrote that ‘if Finvara, that ancient God, now king of Faery’, were to offer him a gift, ‘I would say, “Let my plays be acted . . .” ’
In spite of, and perhaps because of, the recognition that Yeats has received as a major poet, his wish is still largely unrealised. Thus A. S. Knowland’s critical guide to those plays of Yeats that appear in Collected Plays does have an emphasis on their theatrical viability. He studies each play, dividing them between the lour stages in the playwright's development, Early Stages, Plays of Transition, The Central Achievement, and Last Stages, as well as adding an Epilogue, and including a postscript about one play not in Collected Plays, but which should fairly be discussed in a volume of this nature, Where There is Nothing.
Cyril Cusack has written a Preface in which he recalls performing in Yeats's plays at the Abbey and his reactions on meeting him.
`Deserves to take its place among the handful of recent studies that have taken the plays as plays...and explored them in terms of their theatre presentation.' Augustine Martin in The Irish Independent.
Literature, History and Ideas. Essays in honour of Patrick Rafroidi
21.6 x 13.8 cm. xii, 221 pp. 1992 Irish Literary Studies series (ISSN 0140-895X) volume 42
Ireland and France, A Bountiful Friendship: Literature, History and Ideas is a collection of essays looking at 'Irish matters' in a new and exciting way. Accepting the historical significance of France as a catalyst for Irish genius and a fertile field for missionaries, wild geese and assorted Irish expatriates, the book explores compatibilities and contrasts between the Irish and the French. Has French republicanism come to life again in the IRA? Are Paisley and Le Pen mirror images of each other or of `national' impulses? If Irish intellectual history is imbricated with the Enlightenment and the counter-reformation, how do we read Edmund Burke?
If Irish writers from Wilde to Beckett seem equally at home in French and in English perhaps this suggests the value of tracing the footsteps of others: Charles Maturin, John Banim, James Stephens, Denis Devlin and Derek Mahon, whose work in varying ways draws upon and mediates French influence. On the other hand, a French perspective on things Irish, as in several essays included here, provides new insights and assessments, new versions of understanding.
The inspiring presence of this book is the late Patrick Rafroidi, whose study of Irish romanticism has become a standard work and who has proven himself among the best French commentators on Irish culture in recent times. As Rafroidi's family history and career exemplified Irish-French interactions, so these essays in his honour celebrate the fruitfulness of a long-standing affaire.More info →