Chosen and Introduced by Christopher Murray
The fifteenth volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
21.6 x 13.8cm.
Contains The Retrievers (hitherto unpublished), Professor Tim, The New Gossoon, The Passing Day, The Rugged Path, and The Summit, bibliographical checklist.
George Shiels (1886-1949) was one of the most prolific and most successful playwrights in the history of the Abbey Theatre. Before his debut at the Abbey, Shiels's early work was staged by the Ulster Literary Theatre in Belfast and later on his work was taken up by the dynamic Group Theatre, also in Belfast. As a Northerner, Shiels embraced the whole island in his work, his use of dialect and his characterisation. Moreover, while his plays were broadly popular and wonderfully well suited to the acting talents of theatre companies North and South, his all-Ireland perspective lent his work a keen critical edge masked by easy realism and hilarious comedy. Nowadays, we turn to the dark comedy of a play like The Passing Day to re-adjust our view of Shiels and to see his plays as seriously concerned with the land question and issues of identity, gender and the law in post-colonial Ireland. From that perspective, The New Gossoon and in particular The Rugged Path (which in 1940 broke all previous box-office receipts at the Abbey, when the production played for an unprecedented twelve weeks, all previous plays having been limited to two) challenge us to look again at Shiels and see him as public commentator as well as consummate entertainer.
The present collection attempts to facilitate this needed redefinition of Shiels's place in the Irish dramatic canon. To that end it includes The Retrievers (1924), his first full-length political play, never before published, together with Professor Tim (1925), The New Gossoon (1930), The Passing Day (1936), The Rugged Path (1940) and its sequel The Summit (1941), together with a Bibliographical Checklist.
Christopher Murray is Professor Emeritus in the School of English and Drama at 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.More info →
21.6 x 13.8 cm. pbk edition of Irish Literary Studies Series (ISSN 0140-895X) volume 28
Perhaps nothing is more fascinating to the student of literature than an insight into a writer's creative process, a study of how the published works, from All That Fall to Footfalls, came to be as they are.
Theatre of Shadows both defines and takes as its subject the middle period of Samuel Beckett's dramatic writing. By making a close study of the structure, and of the largely unpublished manus-cript drafts, of the plays written from 1956 to 1976, this book offers considerable insight into Beckett's creative process. A combination of rigorous patterning and a movement away from concrete expression (what Beckett himself called a 'vaguening' of the text) is seen to be his customary working method during this period. Dr Pountney goes on to discuss how the plays work in the theatre, through a detailed analysis of Beckett's stagecraft.
In order to set the middle period in context some discussion of Beckett's early work for the theatre is included, and a final chapter on the late plays shows his dramatic imagination still finding new channels to explore. The book provides the student with as comprehensive an approach as possible to two decades of Beckett's drama. This is a paperback edition of the original 1988 publication.
Rosemary Pountney, whose first training was in theatre, performed the Irish premières of Not I (Mouth) and Footfalls (May) at the Dublin Theatre Festival in 1978. She combines her Lectureship in English at Jesus College, Oxford, with touring (most recently in Eastern Europe and New Zealand), lecturing on Beckett's work in the theatre, and performing Rockaby and other one-woman plays.
'a marvellous contribution to Beckett criticism.... painstakingly scholarly, meticulous in its observations, and illuminating in its detail' Review of English Studies, 1990
'If you want the best book on the background to Beckett's plays (without jargon) this is it. It is also the most useful for the actor.' Barry McGovern
21.6 x 13.8 cm. xx, 257 pp. index 1990
Born in Melbourne, Australia, in October 1884, W.J.Turner left his home city in March 1907, determined to create a career for himself as a writer in London. By 1946, when he died, he had contributed to the literary and musical life of England in ways that establish him as a unique and fascinating figure. A man of independent mind and provocative originality, he was perhaps the most outspoken critic of his time and, in Arnold Bennett's judgement, the only one of his generation whom it was a `pleasure to read for the sake of reading', as well as being a poet whose `majestic song' left Yeats, in his own words, `lost in admiration and astonishment'.
Wayne McKenna's work provides an overview of Turner's life and work, discussing his plays, novels, short stories, poetry drama criticism and literary editing, and well as commenting on the more important literary friend ships in his life, such as those with Yeats, Siegfried Sassoon, and Lady Ottoline Morrell.More info →
Chosen and Introduced by Joseph Ronsley
The second volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
Hardcover ISBN: 0-86140-123-9 / 978-0-86140-123-9 £30.00
Paperback ISBN: 0-86140-086-0 / 978-0-86140-086-7 £9.95
21.6 x 13.8 cm.
Contains: The Old Lady Says 'No! (with Curtis Canfield's list of titles and authors of poems used in its Prologue)', The Moon in the Yellow River, The Golden Cuckoo, The Dreaming Dust, The Scythe and the Sunset, bibliographical checklist.
Denis Johnston's first play, The Old Lady Says 'No!', was produced in 1929, and immediately made his reputation as a very talented, innovative and deeply thoughtful playwright. This description was confirmed by his later plays, four of which, The Moon in the Yellow River, The Golden Cuckoo, The Dreaming Dust, and The Scythe and the Sunset, with The Old Lady, are printed in this volume. Written in widely varying styles, Johnston's work presents his audience with issues that initially seem clear-cut, but by the end of each play there have been thought through to such an extent that basic assumptions have been thoroughly reorganised and transformed.
At the time of publication of this selection in 1983 Denis Johnston (1901-84) was justly considered to be the doyen of Ireland's dramatists. Chosen and introduced by Joseph Ronsley, this selection is the ideal introduction to Johnston's work, for use by classes and performers alike.
Joseph Ronsley taught at McGill University, Montreal. He is author of Yeats's Autobiography: Life as Symbolic Pattern, and has edited Myth and Reality in Irish Literature, and Denis Johnston, a Retrospective. He is co-general editor of the Irish Drama Selections series, and has been a President of the Canadian Association for Irish Studies.
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21.6 x 13.8 cm. 245pp. 1996
The aim of the present collection, which is edited by Jacqueline Genet, is to draw a picture of rural Ireland through Irish literature, from the 18th century, through the numerous rich productions of the nineteenth century, up to the present time. Starting with studies of the background to the subject by Catherine Maignant and Paul Brennan, the remaining essays, by Bernard Escarbelt, Claude Fierobe, Jean Brihault, Colin Meir, Godeleine Carpentier, Caroline MacDonogh, Declan Kiberd, Jacqueline Genet, Rene Agostini, Martin Croghan, the late Augustine Martin, Colbert Kearney, Maurice Harmon, and Danielle Jacquin, cover aspects of rural Ireland in the work of William Chaigneau, Maria Edgeworth, Lady Morgan, William Carleton, Charles J. Kickham, Lady Gregory, Douglas Hyde, W.B. Yeats, J.M. Synge, Tomas O’Crohan, Daniel Corkery, Seamus O’Kelly, Patrick Kavanagh and Flann O’Brien.
Catherine Maignant: "Rural Ireland in the 19th Century and the advent of the modern world"
Paul Brennan: "Ireland's Rural Population"
Rural Ireland in Literature
Bernard Escarbelt: "William Chaigneau's Jack Connor: a literary image of the Irish peasant"
Claude Fierobe: "The peasantry in the Irish novels of Maria Edgeworth"
Jean Brihault: "Lady Morgan: Deep Furrows"
Colin Meir: "Status and style in Carleton's Traits and Stories of the Irish Peasantry"
Godeline Carpentier: "The peasantry in Kickham's tales and novels: an epitome mof the writer's realism, idealism and ideology"
Caroline MacDonogh: "Augusta Gregory: A Portrait of a Lady"
Declan Kiberd: " Decolonizing the mind: Douglas Hyde and Irish Ireland"
Jacqueline Genet: "Yeats and the myth of rural Ireland"
Ren‚ Agostini: "J.M.Synge's 'celestial peasants'"
Martin Craghan: "'...the great and good... the worthless and insignificant'. A case study of Tomas O'Crohan: The Island Man"
Augustine Martin: "The Past and the peasant in the stories of Seumas O'Kelly"
Colbert Kearney: "Daniel Corkery: a priest and his people"
Maurice Harmon: "Kavanagh's Old Peasant"
Danielle Jacquin: "'Cerveaux lucides is good begob': Flann O'Brien and the world of peasants"
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23.3 x 15. 8 cm. xxiv, 283 pp. with over 50 illustrations
A critical work about one of the leading figures in modern poetry, this book shows how Yeats perfected great songs – “Crazy Jane on the Day of Judgment”, “Three Things”, “After Long Silence”, “Her Triumph” – and great choruses – “Colonus’ Praise”, “From ‘Œdipus at Colonus’” and “From the ‘Antigone’”. The author follows the manuscript development of each poem to discover its full context in life and culture, to illuminate obscurities in the finished text, or simply to witness in amazement the emergence of a true poem from a tangle of abstractions. As a result, the reader is given original and interesting interpretations of the songs and choruses as final works of art.
“When I prepared ‘Œdipus at Colonus’ . . . wrote Yeats, “I saw that the wood of the Furies . . . was any Irish haunted wood.” Clark shows that Yeats remembered Greece when he wrote songs for Crazy Jane. Greek myth appears in the songs, and Greek choruses appear in the “Irish” song cycles. The last word in “A Man Young and Old” is spoken of Œdipus and the last word in “A Woman Young and Old” of Antigone. Classical figures rub elbows with Huddon and Duddon and Daniel O’Leary. In “Her Triumph” the woman sees herself and her lover as Perseus and Andromeda.
Paintings, often of mythological subjects, were part of the context for Yeats’s poems. Yeats was an art student and the son and brother of well-known painters. The manuscripts show exactly what paintings – by Bellini, Carpaccio, Titian – were in Yeats’s thought when he wrote “Her Triumph” and Clark concludes that one of Burne-Jones’s Perseus series was the chief model for the poem’s imagery. Other poems, too, were written in the context of Yeats’s knowledge of art. Relevant illustrations are included. Manuscripts too are photographically reproduced.
Among the many comments on Clark’s skill as an interpreter of Yeats are: “Clark varies his approach to fit the materials at hand: with one poem he will emphasize the visual sources, for example, whereas with another lyric he will concern himself with biographical matters . . . Clark’s scholarship is quite sound, and he is working at the frontiers of Yeats scholarship.” – Richard J. Finneran, editor, Anglo-Irish Literature, A Review of Research
“Clark’s intricate analysis of Yeats’s ‘After Long Silence’ is a jewel of scholarship, moving and illuminating: in his analysis of the poem, and of the manuscripts out of which it emerged, Clark seems to have moved for a moment into Yeats’s mind.” - Robert O’Driscoll, The University of Toronto Quarterly.
'A pleasure to read....a book for anyone interested in Yeats or the creative process, a real contribution to Yeats studies.' Books Ireland'A pleasure to read....a book for anyone interested in Yeats or the creative process, a real contribution to Yeats studies.' Books Ireland
Professor of English at the University of Massachusetts, Amherst, David Clark was the author of Lyric Resonance: Glosses on Some Poems by Yeats, Frost, Crane, Cummings and Others and of Dry Tree: Poems. He has also either edited or coedited a number of works on modern literature and on Irish culture.
This collection is the second volume in the IASAIL-JAPAN series, which was set up by the Japanese branch of the International Association for the Study of Anglo-Irish Literature.
Many major Irish authors have been dramatists as well as poets and novelists, and perhaps the most famous have gained their fame because of their dramatic output. Over the past three centuries many of the dramatists whose names are remembered have Irish connections - Farquhar, Steele, Goldsmith, Sheridan, Boucicault, Wilde, Synge, Shaw, Yeats, O'Casey, Behan, Beckett, Friel, and Leonard come to mind.
The essays in this collection deal primarily with dramatists of this century, particularly Shaw, Yeats, O'Casey, Behan, Robinson, Beckett and Stewart Parker, but there are more wide-ranging essays – on contemporary fashions in Irish theatre, on O’Casey's influence on modern drama, on the humour of deprivation, and on dramatisations of the life of Jonathan Swift.
The contributors are Eugene Benson, Richard Allen Cave, Emelie Fitzgibbon, Nicholas Grene, Heinz Kosok, Desmond Maxwell, Vivian Mercier, Christopher Murray, Andrew Parkin, Masaru Sekine, James Simmons, Sumiko Sugiyama, Robert Welch and Katherine Worth.
This collection of fourteen substantial essays has been designed to map the landscape of Irish fiction since 1960, and to assess the extraordinary literary achievement of Irish novelists and short story writers, North and South of the border, over the last forty years.
As this volume demonstrates, Irish novelists and short story writers since 1960 have both continued and challenged conventional notions of Irish fiction; and they have contributed, in stimulating and inventive style, to the continuous examination of Irish identity, culture and politics, while making their fiction resonate with wide cultural, intellectual and human interest.
The book includes essays which focus on major individual writers - Samuel Beckett, Brian Moore, Jennifer Johnston, Maurice Leitch, John McGahern, Patrick McGinley and John Banville. There are also general essays of a more explicitly comparative and thematic nature covering such topics as the impact of modernisation on Irish fiction, the contemporary ‘Big House’ novel, the Protstant imagination, the ‘Troubles’ Novel, the importance of the past, childhood and women’s narratives, constructions of masculinity, and women short story writers. By closely analysing key texts, exploring the relationships between texts, and also between texts and their social, cultural and political contexts, and by examining significant themes and preoccupations, these essays offer valuable insights into the variety and complexity of modern Irish fiction from a range of viewpoints.
Introduction: The New Humanism. Elmer Kennedy-Andrews
Part 1: Thematic and Comparative Studies
‘Something important had changed’: Modernisation and Irish Fiction since 1960. Patrick Walsh
Ivy over Imperial Ireland: The Irish Big House Novel since 1960. Robin Marsh
‘Fabled by the Daughters of Memory’: History as Nightmare in Contemporary Irish Fiction. Robert Garratt
Shadows of the Gunmen: The Troubles Novel. Elmer Kennedy-Andrews
How I Achieved this Trick’: Representations of Masculinity in Contemporary Irish Fiction. Eamonn Hughes
To Say ‘I’: Female Identity in The Maid’s Tale and The Wig my Father Wore. Heidi Hansson
Part 2: Individual Author studies
Beckett after 1960: A Post-Humanist Context. Paul Davies
The Art of Science: Banville’s Doctor Copernicus. Declan Kiberd
‘A Shocking Libel on the People of Donegal’? The Novels of Patrick McGinley. John Goodby and Jo Furber
Form, Theme and Genre: The Importance of Catholics in Brian Moore’s Work. Kathleen Devine
The Remains of Protestantism in Maurice Leitch’s Fiction. Barry Sloan
Jennifer Johnston: Tremors of Memory. Richard York
‘All Toppers’: Children in the Fiction of John McGahern. Patrick Crotty
Late in his career, the Irish poet Austin Clarke was asked by Robert Frost what kind of poetry he wrote. ‘I load myself with chains,’ Clarke replied, ‘and try to get out of them.’ ‘Good Lord!’ Frost said. ‘You can’t have many readers.’ Despite a distinguished career spanning almost sixty years, Austin Clarke has not had many readers outside Ireland. Inside Ireland, many critics ranked Clarke as the most important Irish poet writing after Yeats, but his work has not received extensive critical attention — partly because it is often difficult and complex, and partly because Clarke was committed to writing not just about the Irish, but also for the Irish.
In The Poetry of Austin Clarke, the first published book-length study of Clarke’s poetry, Gregory Schirmer argues against seeing Clarke as a provincial writer. Rather, he sees Clarke’s large and varied canon as informed by a broad humanistic vision that enables it to transcend Clarke's commitment to the local.
Clarke once said that in reading Joyce’s A Portrait of the Artist as a Young Man he had difficulty distinguishing between Stephen Dedalus and himself. Like Joyce, Clarke (1896-1974) came to see Irish Catholicism as a powerful and complex threat to his freedom and artistic vocation. In The Poetry of Austin Clarke, Schirmer asserts that almost all of Clarke’s poetry moves between two poles: his view of Irish Catholicism as a repressive, life-denying force, and his humanistic faith in man’s inherent goodness and right to moral, intellectual, and spiritual freedom.
This argument is advanced through a detailed reading of Clarke’s poetry, beginning with the early narrative poems, which are based on the same pre-Christian Irish legends that inspired Yeats and the Irish Literary Revival, and then turning to Pilgrimage (1929) and Night and Morning (1938), two volumes of lyrics that are central to understanding Clarke’s poetry as a whole. In these books, Clarke sets forth the terms that govern all his art – the struggle between humanism and religion, flesh and spirit, reason and faith. Clarke’s satirical poems and epigrams of the 1950s and 1960s are then examined in terms of this tension. Finally the book discusses Clarke’s later poetry, including the long, semi-autobiographical Mnemosene Lay in Dust (1966), the late erotic poetry, and Clarke’s free translations of Gaelic verse.
Throughout all this varied writing, Schirmer argues, Clarke is celebrating the human in the face of the forces that he sees ranged against it. It is this vision that makes Clarke’s poetry an important part, not just of Irish literature, but of all literature attempting to express man’s condition in the twentieth century.
Chosen and Introduced by S.F.Gallagher
The ninth volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.
Hardcover ISBN: 0-86140-140-9 / 978-0-86140-140-6 £35.00
Papercover ISBN: 00-86140-141-7 / 978-0-86140-141-3 £9.95
21.6 x 13.8 cm.
Contains: The Au Pair Man, The Patrick Pearse Motel, Da, Summer, A Life, Kill, Bibliographical Checklist.
`Hugh Leonard' is the pen-name of John Keyes Byrne. He is, as Christopher Fitz-Simon has written, `the most prolific and most technically assured of modern Irish playwrights', and his cosmopolitanism is shown by the range of his work, twenty-five plays (eighteen of which have been published), and seven adaptations of others' work for stage, something like thirty individual plays for television, work for over forty TV series totalling well in excess of 120 original episodes, and over 100 episodes for serials based on others' works (Emily Bronte, Dickens, Dostoevsky, Flaubert, Somerville & Ross, for example), as well as over a dozen film scripts. The output is truly phenomenal.
Although a constant contributor to television, it is for the theatre that he has produced his finest work. This selection amply illustrates Leonard's cosmopolitan talent and his constant ability to entertain his audience.
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21.6 x 13.8 cm viii, 209 pp. 1982 Irish Literary Studies series (ISSN 0140-895X) volume 11
J. M. Synge’s plays have often been regarded as folk drama, but this study considers them from a new literary perspective. It stresses the importance of the playwright’s studies with two medievalists at the Sorbonne, Professors Henri d’Arbois de Jubainville and Louis Petit de Julleville, and makes, for the first time, a full examination of the various uses he made of medieval material. This is shown to contain grotesque motifs which accommodate both Synge’s inclusive antithetical vision and the Rabelaisian note in Irish peasant life, as he perceived it. Toni O’Brien Johnson also shows that the use of Hiberno-English language structures reinforces the clash inherent in the grotesque in Synge’s plays.
This book shows the operation of the dramatist’s dualist aesthetic through the copresence in his work of what is repulsive and sublime, cruel and noble, violent and heroic, pitiless and beautiful. It also emphasises the prominent role played by bodily life and the degenerative aspects of old age, death, and decay in Synge’s work.
21.6 x 13.8 cm. xviii, 232 pp. 1989 The Prince Grace Irish Library series (ISSN 0269-2619) volume 4
Feeling that none of the existing editions of Ulysses adequately represented the text of the novel, Philip Gaskell and Clive Hart looked again at the evidence of Joyce's manuscripts, typescripts, and proofs, and have produced lists of suggested alterations for the three most important editions of the book: the first edition of 1922, the standard American edition of 1961, and the so-called 'corrected' edition of 1984. They believe that a copy of any of these editions, marked up with the alterations they propose, will result in a text closer to what Joyce intended in 1922 than any that has yet been achieved. What is offered here, in fact, is not a new edition of Ulysses, but a kit for repairing the major faults of existing editions.More info →
21.6 x 13.8 cm. 271 pp. 1978 Irish Literary Studies series (ISSN 0140-895X) volume 3
George Moore once complained, after warmly appreciative reviews of a novel, 'So few bother to analyse the book carefully. It would have been very easy to discuss the form, compare my treatment of it with others' treatment of similar themes and so on, yet apparently no one has ever thought of that.' This rueful remark was the starting point in Richard Cave's design of this study. He has examined each of Moore's novels in detail and viewed them within the pattern of his total development and in the context of Moore's current reading and ideas about technique, as well as assessing the value of a wide range of influences to him. Professor Cave's study is basically divided into three parts: 'The Novel of Social Realism', which deals with A Modern Lover, A Mummer's Wife, A Drama in Muslin and Esther Waters; 'A Phase of Experiment' deals with new influences and the resultant problems, the four novellas, Wagner's influence, Evelyn Innes and Sister Teresa; and 'Styles for Consciousness' – The Lake, The Brook Kerith and the late historical novels, followed by a conclusion.
Part One: THE NOVEL OF SOCIAL REALISM
1. A Modern Lover
2. A Mummer's Wife
3. A Drama in Muslin
4. Esther Waters
Part Two: A PHASE OF EXPERIMENT
5. New Influences – New Problems
6. Four Novellas
7. Wagner and the Novel
8. Evelyn Innes and Sister Teresa
Part Three: STYLES FOR CONSCIOUSNESS
9. The Lake – The Wagnerian Novel Perfected
10. The Brook Kerith and the Late Historical Novels
Richard Allen Cave, Emeritus Professor of Drama and Theatre Arts at Royal Holloway in the University of London, has published extensively in the fields of renaissance drama (Jonson, Webster, Brome), modern English and Irish theatre (Wilde, Yeats, Pinter, Beckett, Friel, Mc Guinness), dance (Ninette de Valois, Robert Helpmann), stage design (Charles Ricketts, Robert Gregory) and direction (Terence Gray). Most recently, he devised and was General Editor of an AHRC-funded project to create an online edition of The Collected Plays of Richard Brome (2010), and published the monograph, Collaborations: Ninette de Valois and William Butler Yeats (2011). The Collected Brome is soon to be published in a more traditional book-format by Oxford University Press (2020). He has also edited the plays of Wilde, Yeats and T.C. Murray; and the manuscript versions of Yeats’s The King of the Great Clock Tower and A Full Moon in March. Professor Cave is a trained Feldenkrais practitioner who works on vocal techniques with professional actors and on extending movement skills with performers in physical theatre.
ISBN 978-0-86140-214-4 21.6 x 13.8 cm.
For over five centuries the essays of Ze-Ami – considered, with his father Kan-Ami, to be the founder of Noh, the classical dance-drama of Japan – were kept secret. They were not shown to more than one Noh actor in each generation until recently. Though they contain a large number of paradoxes and contradictory statements as well as a great deal of repetition, they were regarded as a Bible by actors in the Noh technique. As repetition was a constant feature in training and in techniques in many arts in Japan, and as paradox had often been used in the search for the truth in Zen, so Ze-Ami's essays were accepted, despite their repetitions, paradoxes and contradictions. They were not. however, easily translatable, and they benefit from being edited.
In this work therefore, Ze-Ami's ideas are dealt with in eight chapters: The History of Noh: Five Groups of Noh Plays: Training: Acting: Writing a Play: Public Tachiai Competitions and Grades of Acting: The Audience: and Hana. This arrangement presents Ze-Ami's ideas with some order and consistency. Relevant sections of eighteen essays by Ze-Ami are translated and discussed. These include Fushi-kaden, Kashū, Ongyoku-Kowadashi-kuden, Kukyō, Shikadō, Nikyoku-Santai-Ningyōzu, Sandō, Fushizuke-shidai Fukyokushū, Yūgaku-Shūdō-Fūcken, Goi, Kyūi, Rikugi, Shūgy-okutokuka, Goonkyoku-Jōjō, Goon, Shūdosho, Kyakurui-ku, and Zeshi-Roku-juigo-Sarugaku-Dangi.
This volume is a most useful introduction to an understanding of Noh history, practice, and technique, for all readers in the West, written as it is by a trained Noh actor..
This volume contains the lectures delivered at Caen University in June 1992 for an international symposium organised by the Research Group in Anglo-Irish studies.
In memory of our dear friend, Gus Martin, 1935-1995
The theme was the creative process, successively studied in three literary genres: poetry, drama and the novel. Professor Genet selected two of the most famous representatives of each genre – Seamus Heaney and John Montague, Thomas Kilroy and Tom Murphy, John McGahern and John Banville – asking them to speak of their own creation: what happens in their minds during the birth and development of the creative work? A question that is far-reaching, abstruse and certainly indiscreet.
To challenge the writers slightly more, she had placed in front of each of them a critic – Maurice Harmon, Augustine Martin, Christopher Murray, Lynda Henderson, John Cronin, Rudiger Imhof – each of whom expounded their own point of view on the same phenomenon. These inner and outer perspectives generally converged and their complementarity throws a vivid light on the mystery of artistic creation. That was the purpose of the meeting and also the aim of this book, which should be essential reading for anyone wishing to understand the creative process of writing.
Introduction. Jacqueline Genet
I. The Irish Poets and the Creative Process
Seamus Heaney. 'The Frontier of Writing'
Maurice Harmon. 'Seamus Heaney and the Gentle Flame'
John Montague. 'The Sweet Way'
Augustine Martin. 'John Montague: Passionate Contemplative'
II. The Irish playwrights and the Creative Process'
Thomas Kilroy. 'From Page to Stage'
Christopher Murray. 'Thomas Kilroy's World Elsewhere'
Tom Murphy. 'The Creative Process'
Lynda Henderson. 'Men, Women, and the Life of the Spirit in Tom Murphy's Plays'
III. The Irish Novelists and the Creative Process
John McGahern. 'Reading and Writing'
John Cronin. 'John McGahern: A New Image?'
John Banville. 'The Personae of Summer'
Rudiger Imhof. 'In Search of the Rosy Grail: The Creative Process in the Novels of John Banville'
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The Princess Grace Irish Library 8
In the same way that students of Shakespeare discuss their `Supreme Quartet' of plays, so Irish Studies has its own quartet of writers – Yeats, Joyce, Beckett and Wilde – whose fame is outstanding and world-wide. Over the past years, conferences on all four members of this Irish quartet have been organised by the Princess Grace Irish Library of Monaco, the most recent, on Wilde, in 1993. The inclusion of Wilde in the quartet may surprise some, but it is an incontrovertible fact that scholars are coming to appreciate Wilde’s intrinsic importance as a writer, and as a major influence on 20th century literature.
Over the past years, conferences on all four members of this Irish quartet have been organised by the Princess Grace Irish Library of Monaco (the proceedings of each being published in this series), the most recent, on Wilde, in 1993. This collection of papers given then covers every aspect of Wilde's oeuvre, not only considering his plays, poetry and novels, but his family, his influence on writers both in English (such as Joyce and Stoppard) and in other languages (including, Martí, Darío, Borges and Lispector).
Quite how influential and far-reaching he has become can be seen by the names of the universities at which the contributors teach: Antonio Ballesteros González and Mariano Baselga (Universidad Autónoma, Madrid), Pia Brinzeu (Timisoara, Romania), Edward Burns (Liverpool), Richard Allen Cave (London), Davis Coakley (TCD), Jean M. Ellis D’Allessandro (Florence), Masolino D’Amico (Rome), Lawrence Danson (Princeton), Denis Donoghue (New York), Joseph Donohue (Massachusetts), Irène Eynat-Confino (Tel-Aviv), Michael Patrick Gillespie (Marquette, WI), Robert Gordon (London), Warwick Gould (London), Merlin Holland (Wilde’s grandson), Joel H. Kaplan (British Columbia), Patricia Kellogg-Dennis (Rider College, NJ), Melissa Knox (St Peter’s College, NJ), Jacques de Langlade (Paris), Donald Lawler (East Carolina, NC), Jerusha McCormack (UCD), Bart J. Moore-Gilbert (London), Isobel Murray (Aberdeen), Sylvia Oslermann (Jena), Norman Page (Nottingham), Keny Powell (Miami, Ohio); María Pilar Pulido (Lyon), Peter Ruby (Cambridge), Gerd Rohmann (Kassel), Roy Rosenstein (American University of Paris), Neil Sammells (Bath College), Ronald Schuchard (Emory), Theoharis Constantine Theoharis (MIT), Deirdre Toomey, Emmanuel Vemadakis (Angers), and Marie- Noelle Zeender (Nice).
21.0 x 14.8 cm. 31 pp. 1986 Princess Grace Irish Library Lectures Series (ISSN 0950-5121) volume 3
In the first of the Princess Grace Irish Library Lectures, Professor A.Norman Jeffares began his consideration of the Parameters of Irish Literature in English by referring to 'the first great Irish writer in English . . . Jonathan Swift, the Dean of St. Patrick's, master of irony, and of the saeva indignatio, the fierce anger that inspired his satires'. In this, the third lecture, Professor Charles Peake turns to a very different aspect of Swift's mastery of irony – his development and refinement of what he called 'raillery' or 'irony . . . on the subject of praise'. Professor Peake shows how raillery suited both Swift's temperament and the characteristic bent of his genius, and examines some of the methods and techniques, ranging from the comparatively simple to the elaborately complex, by which Swift praised and honoured while avoiding fulsome eulogy.
Appended to the lecture are 'Notes on Irish Writers associated with Swift' which supply brief information, not only about figures of such distinction as Congreve and Thomas Parnell, but also about a number of minor writers, many of them undeservedly neglected, who were associated with the first great emergence of 'Irish Literature in English'.More info →
Edited and Introduced by Peter Kuch
32.6 x 13.8 cm. xxii, 474 pp. + 2pp. with three colour illus. 2011 Part 4 of the Collected Works of G. W. Russell - 'A.E.'
George William Russell, or AE as he was more familiarly known, was mentor and friend to three generations of Irish writers. To visit or to be sought out by AE was to be assured of a place in Irish literary history. The young James Joyce knocked on his door at midnight; Lady Gregory looked forward to his visits to Coole; Patrick Kavanagh walked from Inniskeen to Dublin to meet him; Yeats regarded him as his ‘oldest friend’; Liam O’Flaherty sought his patronage; Frank O’Connor asked his advice.
As if to guarantee Russell would not be forgotten, George Moore concluded his engaging, gossipy account of the literary movement, Hail and Farewell (1911-14), with a benediction for ‘AE and the rest’. Whether aspiring, accomplished, real or imaginary, Irish writers inevitably found themselves indebted to his practical help and inspired by his spiritual and critical insights. Even Stephen Dedalus admits to himself AEIOU.
This scrupulously researched volume brings together for the first time all of Russell’s writings on poetry, prose, drama and painting—writings central to understanding the role of literature, theatre and art in Ireland’s quest for self-realisation. Included are reviews, prefaces, introductions and articles; letters to the press on censorship and the Irish Academy of Letters; and The Honourable Enid Majoribanks, a hitherto unpublished play. Extensive notes drawing from published and unpublished sources situate each item in terms of text, intertext and context.
Peter Kuch is the inaugural Eamon Cleary Professor of Irish Studies at the University of Otago in Dunedin, New Zealand. The Director of the Centre for Irish and Scottish Studies at Otago, he is also an Honorary Professor at the John Hume Institute for Global Irish Studies at the University of New South Wales. He holds an Honours degree from the University of Wales and an M.Litt and D.Phil from Oxford. He has held posts at the Universities of Newcastle and New South Wales, Australia; L’Université de Caen, France; and been a Visiting Fellow at the Humanities Research Centre at the Australian National University, and the Anthony Mason European Fellow at Trinity College, Dublin. The author of Yeats and AE: ‘the antagonism that unites dear friends’ (Colin Smythe, 1988), he is currently researching a cultural history of the performance of Irish theatre in colonial Australasia.
1. “The Poetry of William B. Yeats”; 2. “A New Irish Poetess”: review of Eva Gore-Booth, Poems; 3. “Literary Ideals in Ireland”; 4. “Nationality and Cosmopolitanism in Literature”; 5. Review of Eleanor Hull, The Cuchullin Saga in Irish Literature; 6. Review of Edward Martyn, The Heather Field and Maeve 7. “Politics and Character”; 8. “Fiona Macleod’s New Book”: review of The Dominion of Dreams; 9. Review of Fiona Macleod, The Divine Adventure; 10. “A Note on William Larminie” in Stopford Brooke and T.W. Rolleston, eds., A Treasury of Irish Poetry; 11. “The Dramatic Treatment of Heroic Literature”; 12. “The Character of Heroic Literature”: review of Lady Gregory, Cuchulain of Muirthemne; 13. “The Poetry of William Butler Yeats”; 14. “A Book about the Earth Life”: review of Ethel Longworth Dames, Myths; 15. “A Note on Standish O’Grady” in Justin McCarthy, ed., Irish Literature; 16. “Preface” to New Songs; 17. “A Note on Seamus O’Sullivan”; 18. Review of T.W. Rolleston, The High Deeds of Finn; 19. “The Poetry of James Stephens”; 20. “The Boyhood of a Poet”; 21. “A Tribute to Standish O’Grady”; 22. “On Quality of Sound”; 23. Foreword to Shan F. Bullock, Mors et Vita; 24. Foreword to Liam O’Flaherty, The Black Soul; 25. Foreword to F.R. Higgins, Island Blood; 26. Foreword to Hugh Alexander Law, Anglo-Irish Literature; 27. “Address to the Thirtieth Annual Dinner of the American-Irish Historical Society”; 28. “The Censorship in Ireland”; 29. Introduction to Oliver St. John Gogarty, Wild Apples; 30. Foreword to Katharine Tynan, Collected Poems; 31. Review of Humbert Wolfe, Snow; 32. Introductory Essay to Hugh MacDiarmuidFirst Hymn to Lenin and Other Poems; 33. “On the Character in Irish Literature” in Frank O’ConnorThe Wild Bird’s Nest: Poems Translated from the Irish; 34. "The New Irish Academy – AE replies to Father Gannon”; 35. “The Irish Academy of Letters: Letter from AE”; 36. “The New Irish Academy: Letter from AE”; 37. “The New Irish Academy: Letter from AE”; 38. “Oliver St. John Gogarty: An Appreciation”; 39. Foreword to Oliver St. John Gogarty, em>Selected Poems; 40. Introduction to Seamus O’Sullivan, Twenty-five Lyrics; 41. Introduction to Irene Haugh, The Valley of Bells and Other Poems; 42. “Memories of A.R. Orage”; 43. “An Appreciation” of Ruth Pitter, A Mad Lady’s Garland; 44. Foreword to Joseph O’Neill, Land Under England; 45. “The Sunset of Fantasy”; 46. Deirdre: A Legend in Three Acts; 47. The Honourable Enid Majoribanks: a Comedy; 48. “Art in Ireland”; 49. “An Irish Sculptor: John Hughes”; 50. “The Spiritual Influence of Art”; 51. “Two Irish Artists”; 52. “An Artist of Gaelic Ireland”; 53. “Art and Literature”; 54. “Art and Barbarism”; 55. “The Lane Bequest”; 56. “An Appreciation” of J.B. Yeats, Essays: Irish and American; 57. “Hugh Lane’s Pictures”; 58. “Some Irish Artists”
Preface to Some Irish Essays; Prefaces to Imaginations and Reveries; “Nationality or Cosmopolitanism – 1925 text”; The Countess of the Wheel; Britannia Rule-the-Wave: A Comedy; “AE’s Oration: George Moore”; “An Artist of Gaelic Ireland – 1908 text”
Abbreviations used in Glossary of Mythological References and Notes and Commentary; Glossary of Mythological References; Guide to Notes and Commentary; Notes and Commentary – Literary Writings; Notes and Commentary – Writings on Art; Notes and Commentary – Appendices; Bibliography; Index