All the papers in Medieval and Modern Ireland were presented at the eighteenth annual international conference of the Canadian Association for Irish Studies, held at Calgary, Alberta, in February 1985. The conference theme, Medieval and Modern Ireland, was chosen by the organising committee for its intrinsic merits, and as a reasonable extension of the theme of the previous conference which focused on the nineteenth and twentieth centuries.
Readers of this volume will be struck by the pervasiveness of the connections between the medieval and the modern in Ireland and the Irish, artists in particular, and realise why James Joyce could hardly avoid linking the modern Irish artist with the medieval Irish monk, as he does in the bitter musings of Stephen Dedalus, who walks alone into eternity along Sandymount Strand: ‘You were going to do wonders, what? Missionary to Europe after fiery Columbanus.’
The contributors are Hallvard Dahlie, Ann Dooley, John Wilson Foster, Brian John, Toni O’Brien Johnson, Heinz Kosok, F. X. Martin O.S.A., and Wolfgang Zach.
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Chosen, edited and introduced by Claudia Harris
21.6 x 13.8 cm. liv, 258pp. + 8pp. with 16 illus. hardback November 2005
The Charabanc Theatre Company played a major role in Northern Ireland’s theatrical renaissance during the 1980s. Charabanc was formed by five out-of-work Belfast actresses (Marie Jones, Maureen Macauly, Eleanor Methven, Carol Moore, Brenda Winter) who first collected stories and then collaborated in writing and performing highly original plays for enthusiastic audiences. From 1983 to 1995, the company toured twenty-tour productions extensively throughout Ireland and the world, spreading their own particular brand of exuberant, dark humour.
The four plays in this collection – Now You’re Talking (1985), Gold in the Streets (1986), The Girls in the Big Picture (1986), and Somewhere Over the Balcony (1987) – represent the creative high point of the company. These entertaining plays show the broad range of the company’s work: portraits of urban and rural women; early, mid-, and late twentieth century settings, and various social, religious, historical political, or personal relations.
Marie Jones, Eleanor Methven, and Carol Moore were the remaining company principals during the mid-1980s when these four plays were created and performed. Marie Jones became the main writer for Charabanc and after leaving the company in 1990 has continued to write, notably the award-winning Stones in His Pockets. Eleanor Methven and Carol Moore continued on as artistic directors until they disbanded the company in 1995. Eleanor Methven now lives in Dublin and is a sought-after actress for stage and screen, and her first screenplay is in development with Journeyman Films. Carol Moore obtained an MA from Queen’s University, Belfast, and still acts for stage and film, but is now primarily an accomplished stage and screen director; in May 2005 she received a NESTA (National Endowment for Science Technology and the Arts) Fellowship.
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These essays are revised versions of lectures given at the Princess Grace Irish Library in Monaco, and address some of the most exciting developments in Irish poetry over the last thirty years, concentrating especially on the work of Derek Mahon, Medbh McGuckian, Vona Groarke and Sinéad Morrissey. Irish Poetry after Feminism also includes forthright debate between the contributors about the relations between ideology and poetics. Gathering some of the finest critics, the volume makes an important contribution to one of the central debates about Irish literature.
'Feminism and Irish poetry are . . . natural allies, not antagonists; to posit them otherwise is to declare the redundancy of art in its capacity to change lives on its own terms. With such an understanding, students of the topic of Irish poetry after feminism are released to seek out its neglected aspect in an investigation of Irish feminism after poetry, in confidence that relations of hospitality and exchange, rather than those of absolutism and hierarchy, can be expected to prevail between the art form and the intellectual, social and political tradition concerned.' Catriona Clutterbuck
Justin Quinn: Introduction
Moynagh Sullivan. Irish Poetry after Feminism: In Search of 'Male Poets'
Peter McDonald. The Touch of a Blind Man: Forms, Origins and 'Hermeneutics' in Poetry
Catriona Clutterbuck. An Unapproved Alliance: Feminism and Form in the Irish Poetry Debate
Derek Mahon: First Principles
Fran Brearton. On Derek Mahon's 'First Principles'
Lucy Collins. Northeast of Nowhere: Vona Groarke, Sinéad Morrissey and Post-Feminist Spaces
Selina Guinness. The Annotated House: Feminism and Form
Leontia Flynn. On the Sofa: Parody & McGuckian
David Wheatley. That They May Be Damned: Samuel Beckett and the Poetry of Misogyny More info →
Hardcover ISBN: 0-905715-24-1 / 978-0-905715-24-7
Limited signed edition, three-quarter leather, ISBN: 0-9-5715-36-5 / 978-0-905715-36-0 £250
24.5 x 18.3 cm. 135 pp. 1994 Van Duren with 23 pages of colour plates, and numerous b/w illus.
With a Preface by the Duke of Norfolk, KG, GCVO, CB, CBE
Earl Marshal of England
As a record of past glories, nothing delights the student as much as heraldry. The information that a coat of arms can give the serious scholar is considerable, and over the past 800 years rules have been evolved to control what can be put in one’s personal arms and how to show one’s descent from other armigerous families.
One of the most intriguing rules is that one is not allowed to put metal on metal – gold and silver (Or and Argent in heraldic terms) – or next to each other. Similarly one must not put colour on colour. The reasoning behind these rules has long been suspect, however, so Archbishop Heim’s work on the history of, and rules concerning, this subject is most timely. While many authorities maintain that the rules of heraldry forbid such neighbourliness, the author here provides ample evidence that this rule is broken as often as it is adhered to.
As a lifelong heraldist and one whose own arms break this ‘sacred’ rule, Archbishop Heim has always been interested in where and when it was made, so he has researched hundreds of works, some dating from the twelfth century, in an attempt to track down its origins. As a result of his detective work he has painted many examples of arms that break the rule, and also shows how earlier writers have got round such a tricky subject.
Or and Argent contains twenty-four full colour plates containing over 360 coats of arms, with examples from every European country, and many others in black and white in the text, all of which break this so-called immutable rule, and a bibliography giving the most important authorities.
As well as the standard edition there is an edition limited to 50 numbered copies hand-bound in morocco and vellum, and signed by the author.
Published by VAN DUREN, an imprint of Colin Smythe Limited
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Approximately 800 years have passed since the introduction of the English language to Ireland and 400 since the establishment of an Irish Literature in English. However, for complex socio-political reasons there is, as yet, no comprehensive dictionary of the English of Ireland to which readers of Irish Literature – and indeed, of any aspect of Irish studies – can turn to for assistance when they encounter completely unfamiliar words and phrases, or apparently familiar words used unconventionally by Irish writers.
This work is designed to provide the general reader, as well as the specialist, with direct and easy access to this important but elusive and often-overlooked element of Irish Literature. Quotations from writers ranging from AE to Zozimus (including all four Nobel Laureates in literature: Yeats, Shaw, Beckett and Heaney) are used to illustrate vocabulary and idioms. Also are included are illustrative quotations from English writers, such as Spenser and Thackeray, who wrote about Ireland.
From archaeology (crannog) to zoology (graunogue), almost every aspect of Ireland and Irish life is reflected here in the mirror of art.More info →
21.6 x 13.8 cm
This symposium was first delivered as a series of lectures in Rome arranged under the auspices of the Keats-Shelley Memorial Association and the British Council. The aim was very much to interpret the drama created by the English Romantic poets from the perspective of the modern theatrical tradition.
The four essays included here investigate the relationship between the Romantics and the theatre of their own time, assess the considerable body of dramatic works composed by Byron and Shelley, and explore the history of plays by Wordsworth, Coleridge, Shelley and Byron in performance on the British stage.
All argue that, though the Romantic poets were out of sympathy with the theatre of their day, they wrote forms of drama that to a considerable degree anticipate the theatre of the present century.
As Sir Joseph Cheyne states in his Foreword to this volume: ‘No one realised, when the symposium was planned, what a remarkable impact it would have. The accepted idea of the Romantic theatre was still one of lyric drama, difficult to produce and perform. To hear it described suddenly as modern, psychological drama, as the theatre of the mind, the “theatre of violence”, was so striking that the ripples are still washing the shore’.
This symposium comprises ‘The Romantic Poet and the Stage: A Short, Sad History’ (Professor Timothy Webb), ‘The Dramas of Byron’ (Professor Giorgio Melchiori), ‘The Shelleyan Drama’ (Professor Stuart Curran), ‘Romantic Drama in Performance’ (Dr. Richard Allen Cave), and a select bibliography on the Romantic Drama (Christina Gee and Judith Knight).
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.
Edited by Mgr John Hanly
27.2 x 18.0 cm.
The illustrated end-papers reproduce a map of Rome published in 1676.
Note that our copies do not have a dust-jacket, only a clear protective cover. We took over a quantity of book blocks from the liquidators of Dolmen Press in 1987, which we then had cloth-bound. We were unable to find any jackets.
In March 1670 St. Oliver Plunkett, his long exile over, stepped ashore at Ringsend to the welcome of friends and relatives. For twenty-two years he had lived in Rome as clerical student and professor of theology. It was an exciting if also a sad time. Oliver Plunkett stepped into Restoration Ireland as Archbishop of Armagh and Primate. For ten years, until his arrest in December 1679, he applied himself to the task of rebuilding and repairing, knowing that the storm was by no means over. In the early years he was a man in a hurry, taking full advantage of a period of relative toleration and peace. In 1674 he was for many months a fugitive, determined not to forsake his flock until ‘they drag us to the ship with the rope around our necks’. The last few years of his life, including eighteen months in prison, were the years of the infamous Popish Plot of Titus Oates, of which he was the final victim, the last of the martyrs of Tyburn.
For the first time a complete chronological edition of Saint Oliver’s letters enables us to follow the story, as it evolves in his own words, of his work as Archbishop in Ulster, where the Plantation was barely two generations old. He emerges as a man of immense courage, deep conviction and priestly zeal with the sometimes all too human side of one who grew into sainthood; and in the final documents the magnificent calm with which he faced his cruel death stands out.
The Letters of Saint Oliver Plunkett give many interesting insights into various events and characters of his time. His pen ran freely, his policy was to be well informed, and to give a clear picture of all matters touching the Church in Ireland. There are many light-hearted passages too, as when he tells us that the farmer in whose barn he was hiding, and on whom he depended for his food, sometimes came back a little too merry from town, and his guest had to fast. . . .
The letters are printed in their original language, almost always Italian, with translation and commentary. The book is edited by Monsignor John Hanly who first worked on these letters for a doctoral thesis at the Gregorian University from 1959 to 1961, and who was Postulator of the Cause of Saint Oliver from 1968 until the canonisation in 1975.
Designed by Liam Miller.
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x, 252pp. 21.6cm
For decades, commentators on nineteenth-century Irish literature or history have routinely mentioned the significance of the Dublin University Magazine. Published monthly from January 1833 to December 1877, the DUM attracted as its contributors – and in several cases its editors – nearly every major Irish writer from this period. Prior to the publication of this work, however, there has been no systematic, book-length discussion of the magazine’s entire career.
In this study, Wayne Hall traces the dual nature of the magazine, its attention to both England and Ireland, which helps us to understand the sometimes guilty and reluctant, sometimes celebratory and passionate, union of these different cultural traditions and values. The DUM expressed a complex brand of Irish national identity that defines itself partly in cultural and partly in political terms.
In seeking its own balance between excluding and including, between culture and politics, the DUM developed one main pattern in its pages: the magazine’s political commentary stakes out the ideological ground with varying degrees of rigidity and exclusivity, while its literary contributions expand the magazine’s total scope to embrace a much wider and more generous vision of ‘Irishness’.
Within the terms and tensions of the journalistic dialogue, then, readers can see the political and the literary values jostling against each other. The magazine serves as a detailed and thorough record of conservative political thought in the nineteenth century, and also shows that Irish political events have drawn much of their shape from the literature, even as that literature was being shaped in turn by politics.
Wayne E. Hall is an associate dean at the McMicken College of Arts & Sciences at the University of Cincinnati, as well as a faculty member of the Department of English and Comparative Literature. His previous book was Shadowy Heroes: Irish Literature in the 1890s.
Edited and Introduced by Peter Bander van Duren
Preface by The Earl Marshal of England Major General His Grace the Duke of Norfolk CB, CBE, MC
Blazons for the 'Liber Amicorum et Illustrorum Hospitum' by John George, Garioch Pursuivant
21.5 x 15.5 cm. 224pp. with reproductions in b/w of 143 pages + 18 colour illus Van Duren 1981
This is by any standard the most unusual armorial ever to have been published. In his Preface the Earl Marshal, His Grace the Duke of Norfolk, says: ‘What makes the Liber Amicorum an unusual armorial is that it extends beyond national insularity and embraces heraldry varying in origin and authority, but whatever the source, the creative and imaginative style which Archbishop Heim has developed, makes every shield and crest and device which he treats, a spectacular example of heraldic art. Here the heraldry of Europe is represented side by side with British armorial bearings, and while different heraldic tastes and practices are catered for, by Archbishop Heim’s artistic skills all are brought into colourful harmony. No more fitting tribute could be paid to Archbishop Heim than the first publication of this important and unique work of art.’
In his introduction, the Editor presents a profusely illustrated biographical chapter on Archbishop Bruno B. Heim, the Holy See’s Authority on heraldic matters and the man to whom heraldry in the Catholic Church owes the high standards today.
This is not just an armorial but a unique historic record of one of the most exciting periods in the history of the Catholic Church. Archbishop Bruno B. Heim, the Apostolic Delegate to Great Britain, has done more than any other man towards the creation of harmony and unity between the Holy See and Great Britain, whose relations had been strained for over four hundred years. Historians and heraldists of the future will find this armorial an invaluable source of information because many of the armigers in this volume have a share in the joyful development of those relations between the Holy See and Great Britain.
Some words by Peter Bander-van Duren
Archbishop Heim's ARMORIAL or Liber Amicorum, his guest book for special friends, was published in 1981 to celebrate his seventieth birthday and the centenary of the birth of Pope John XXIII. Apart from having been Pope John's Secretary when the Pontiff was still Archbishop Angelo Roncalli, Apostolic Nuncio to France, none of Pope John's biographies had made mention of his contribution to heraldry. The appointment of Mons. Bruno Heim to his first diplomatic post under Archbishop Roncalli was the beginning of a close cooperation between two outstanding heraldic artists.
'Although I was able to include several facsimile letters from Archbishop Roncalli and other high dignitaries who consulted him on heraldic matters, unfortunately too late for inclusion in the book was a manuscript thesis by Pope John XXIII, written four weeks before his death, explaining the meaning of his personal coat of arms.
'Mons. Heim continued to add armorial bearings of friends and of illustrious guests who paid him a visit, especially when he himself had been consecrated Archbishop and appointed Apostolic Delegate and later Nuncio. During Mons. Heim's appointment to the Court of St. James (1973-1982 as Apostolic Delegate and from 1982 - 1985 as Nuncio) he entertained kings, queens, princes as well as prime ministers and leading figures in literature and the arts, not to mention Pope John Paul II and many eminent men of the Church.
'He had started his work as an heraldic painter at the age of sixteen, and by the time he arrived in the United Kingdom, Archbishop Heim was a well known and highly respected ecclesiastical heraldic artist.
'Medieval simplicity in his heraldic representations was his hallmark, but he was adventurous and never hesitated to give a "rebus" (a heraldic emblem) to those visitors who were not armigerous. Two of them were published all over the world: that of Dame Agatha Christie, the author, and that of The Rt. Hon. Margaret Thatcher, MP, PC, (later Prime Minister and then Baroness Thatcher, Dame of the Noble Order of the Garter). Lady Thatcher is now armigerous; her heraldic banner hangs in St. George's Chapel, Windsor.
'Archbishop Heim designed the coats of arms for Pope John XXIII, Pope Paul VI, Pope John Paul I and Pope John Paul II as well as the armorial bearings for countless cardinals, patriarchs, archbishops and high prelates in the Catholic Church. His book HERALDRY IN THE CATHOLIC CHURCH became the standard reference work in ecclesiastical heraldry. After his retirement from the Holy See's diplomatic service in 1985 it took him more than ten years to complete his last heraldic work Or and Argent, which was originally planned for publication in 1983 but eventually appeared in 1994.
'On occasion Archbishop Heim gave reign to a wicked sense of humour. When a prelate asked him to design for him a coat of arms appropriate to his high social status, he proposed a donkey's head.
Archbishop Heim was later to issue a reproduction of the Liber Amicorum in full colour, with the limitation notice: 'Only thirty copies of this privately produced and augmented coloured edition of my "Liber Amicorum" were made. They are not for sale. This is number "
This work is intended to provide the general reader, as well as the specialist, with access to an important but neglected element of Irish literature in English: its vocabulary and idioms.
Over seventy years have elapsed since the establishment of an independent Irish state, but for complex socio-political reasons there is, as yet, no dictionary of Irish-English to which readers can turn for assistance when they encounter unfamiliar words and phrases or apparently familiar words usedunconventionally by Irish writers.
The focus of this work is the writers of the Irish Literary Revival, but their use of Irish-English is so extensive that it is relevant to the entirefield of Irish literature in English from its beginnings in the seventeenth century to the present.
Almost all aspects of Ireland and Irish life over the past 400 years are mirrored here: agricultural, economic, educational, linguistic, military, political, religious and social history as well as animals, emigration, drink, food, folklore, geography, music, mythology, plants, sports and even the mercurial Irish weather.
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21.6 x 13.8 cm 255 pp. 1989
W.B.Yeats is one of the most important and widely-read poets of the twentieth century, occupying a central position in literature courses throughout the world. Yet he is often presented in critical works as a ‘difficult’ poet who can only be understood by reference to other writings that must be used as keys to unlock the mysteries of his work. It is the belief of the authors of this book that the poetry must be approached on its own terms, and its meanings established in as simple a way as possible before these texts can be enriched by knowledge of the biographical, historical, philosophical or aesthetic contexts.
This book is an essential companion to the poetry of Yeats for students in every country where his work is known. It sets out to meet the demands both of those whose first language is English, and of those for whom it is their second. Consequently the core of this volume is a detailed study of some ninety poems which cover all phases of Yeats’s poetic development. Each poem is provided with a summary, glossary and commentary, based on the primary meaning. The poems are also set in both the immediate context of the collections in which they were first published, and the wider context of the evolution of Yeats’s art and philosophy.
The Companion has a general commentary section dealing with Yeats’s style, his symbolism, his vision, the people and places that appear in his works, and the role of magic, myth, legend, history, civilization, nationalism and politics in the poems. There is also a useful list of recommended works, and basic texts.
22.9 x 14.5 cm. xvi, 91 pp. 1979
The Harvest Festival is Sean O’Casey’s earliest extant play. Written in about 1918 or 1919, it was the second play that O’Casey offered the Abbey Theatre. It was turned down, but he kept the manuscript and it now forms part of the extensive O’Casey archive in the Berg Collection of the New York Public Library. It has never been performed, and this is its first publication in the U.K. and Ireland, following on its U.S. publication by only a few months.
The plot focuses on the turmoil of an outside world of strikes and riots converging on a Dublin city church in the midst of its preparations for a harvest festival. Set in 1913, it deals with Irish workers’ battles against economic oppression and religious hypocrisy, with that vital combination of passion, humour and pathos that distinguishes O’Casey’s later plays. It is a rich melodrama of class struggle, with ironically pointed clashes involving representatives of Church, Employers and Labour.
An incomplete revision of the first act, which O’Casey kept with the original manuscript, is included as an Appendix to show the direction the playwright might have gone had he chosen to revise the entire play: as it is, students of drama will see in The Harvest Festival the seeds of O’Casey’s later works, and the lineal descendants of its characters appear in Red Roses for Me, The Drums of Father Ned, and The Bishop’s Bonfire.
Eileen O’Casey has contributed a foreword entitled ‘Clench Your Teeth’, and John O’Riordan has written an Introduction.
A three-quarter leather edition with wood veneer panels, marbled endpapers, top edges gilt, intended to be limited to 50 copies, ISBN 0-86140-052-6, signed by the writers of the Foreword and Introduction, Eileen O'Casey and John O'Riordan, was also published, but of the 50 copies only 30 were actually bound.More info →
Vol.1 ISBN: 0-901072-41-9 £40.00
Vol.2 ISBN: 0-901072-42-7 £40.00
Both v.1 &v.2 ISBN: 0-901072-96-6 £80.00
Edited by Henry Summerfield
During its existence, A.E. contributed, often anonymously chiefly while he was its editor, to well over 1,000 issues of the Homestead and 400 of the Statesman. Professor Summerfield has made a selection covering the entire period, dividing it into general articles and book reviews, and adding indexes to themes, books reviewed and of footnotes. In two volumes, sold separately or as a pair, totalling 1,037 pages.More info →
21.6 x 13.8 cm. 241 pp. 1985
William Carleton epitomised the search by nineteenth century Irish writers for a national identity. He spoke in the voice of the Irish peasant and was heard all over the literary world. His books, from the early collection Traits and Stories of the Irish Peasantry (1830) to the late novel Willy Reilly (1855), were tremendously popular, running into many editions in Ireland, England and America. He revised, retitled, and regrouped his works frequently, producing a rich yet confusing body of work, which is fully explored and identified in the first part of this work, the first complete bibliography to have been compiled of the works of William Carleton.
Carleton wrote for a wide range of magazines, from the ultra-Protestant Christian Examiner to the ultra-Catholic Duffy’s Hibernian Magazine. He often used his magazine stories as the basis for later publication in book form, frequently altering and adapting. Dr. Hayley lists Carleton’s contributions to periodicals in their chronological order, also indicating when and where they later appeared. She then devotes a section to criticism of Carleton’s work as it appeared in a surprisingly wide variety of journals and newspapers, from the earliest criticism in his own time up to the present day.
Carleton’s work has long awaited a bibliographer, and Dr. Hayley gives it the full, detailed and illuminating treatment it deserves. It is absolutely essential for everyone studying or collecting his works.
This work is intended to provide the general reader as well as the specialist with access to an important but neglected element of Joyce's style: the Anglo-Irish (Hiberno-English) dialect.
Although some commentaries and editions of individual works include glossaries on a few terms, this is the first full scale reference work of its kind. It will be of use to others besides Joyceans also because Joyce's use of the dialect is so extensive that most examples a reader is likely to encounter elsewhere are identified and explained here.
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21.6 x 13.8 cm.
Kahlil Gibran of Lebanon is a guide for all those interested in the life and work of Kahlil Gibran who want further information, be they general readers or scholars.
It explains the fascinating world of the author of The Prophet which is one of the most celebrated works of the twentieth century. Modelled on Gibran’s own writings, simple and concise in presentation, the first half of this work is devoted to significant events in Gibran’s life. It provides the reader with the necessary back ground to his writing and painting, with particular reference to the individuals and and works that have been major influences. These are further explored in the second half, which is a critical study of Gibran’s work and contribution to the literature of the world.
Suheil died in September 2015. Obituaries can be found at http://ysnews.com/news/2015/09/suheil-badi-bushrui and at http://www.baltimoresun.com/news/obituaries/bs-md-ob-suheil-bushrui-20150927-story.html, https://arabhyphen.wordpress.com/2015/09/10/suheil-badi-bushrui-passes-away-1929-2015/ and elsewhere.
PART 1, HIS LIFE: Family background and early years - Kahlil Gibran and Mary Haskell - Early career in Boston, Paris and New York - Maturity - Last years.
PART 2, HIS WORK: Early Arabic writings - Influences and parallels in the mature works - Mature works up to The Prophet - The Prophet - Last works.
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21.6 x 13.8 cm. 774 pp. with four illustrations by Grace Plunkett
Hail and Farewell! can be considered George Moore’s masterpiece. Since it was first published, it has coloured many people’s view of the Irish Literary Revival and its members – W.B.Yeats, Lady Gregory, George W. Russell (AE), Edward Martyn, Sir Horace Plunkett, and J.M.Synge.
It is a prodigious work, containing Moore’s assessment of the Irish Literary Revival, the Abbey Theatre and its predecessors, as well as remarkable insights not only into the literature and tastes in painting (particularly French Impressionism) and music (the influence of Wagner and the revival of polyphony) at the beginning of the twentieth century, but into the social and religious background to the Irish scene at that time – all viewed through his eyes, the eyes not only of an Irish country gentleman, but of a European man of letters. First published 1911-14, Moore revised it for the second edition (1925), and the text remained the same for the Uniform (1933) and Ebury (1937) Editions. This is the first edition to appear since then, and uses the most recent text.
At the time of its first publication most of the references were readily understood by George Moore’s readers, but they are now obscure: much is lost to the modern reader as a result of a lack of intimate knowledge of the people and their times. Professor Cave has tracked down all the points and references that would be obscure today, often even to the student of that period, and has produced detailed notes on them. Thus the reader is able to understand all Moore’s references and his modifications of the truth and chronological sequences. Light is also thrown on many obscure pseudonyms and passages in the text through more than 600 notes and a comprehensive index provided by Professor Cave.
Many critics have considered that of all the works of Anglo-Irish Literature that deserve to be kept permanently in print, their first choice would be Hail and Farewell!. This edition of such a monumental work is therefore is of the greatest interest and use to scholar and general reader alike.
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, McGuinness), 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.More info →
21.6 x 13.8 cm. with 24 illus.
Hurriedly summoned from his English public school in November 1922, Erskine Childers was permitted by the Free State authorities to make one brief, final visit to his condemned father in the cells of Portobello Barracks, Dublin, at the height of the Civil War. Not surprisingly, such an emotional ordeal had a profound and lasting impact on the sixteen-year-old boy, who had promised his father in the death-cell to shake hands with and forgive every Minister in the Provisional Government who were responsible for his death, and that if he entered Irish politics himself he would never mention the execution in public, and do everything possible to ensure that the Childers name would become a healing memory.
A little over half a century later when that same schoolboy became President of Ireland he was universally regarded as a man of peace. His sudden death after only eighteen months in office brought the largest gathering of monarchs and rulers ever to assemble on Irish soil, to pay tribute to Erskine Childers in St. Patrick’s Cathedral, while people wept openly in the streets outside.
This work tells of the patient determination that nothing and no one would divert Erskine Childers from the exacting task he had promised to undertake, and of the very considerable contributions to Ireland that he was able to make in the process, in the various ministeries that he headed, and finally as the country’s first citizen, the fourth President of the Republic of Ireland.
Mr. Jack Lynch, Ireland’s premier from 1966-73, and 1977-79, has written a foreword for this biography.More info →
W. E. (‘Kits’) van Heyningen has had a many-sided career: born in South Africa, he arrived in England in 1934 to carry out research on bacterial toxins, first at the Sir William Dunn Institute of Biochemistry, Cambridge, and then at the Sir William Dunn School of Pathology, Oxford. There he joined Sir Howard Florey, and continued his research, on dysentery, tetanus, and cholera, which has taken him to many parts of the world.
Apart from his research work, he has taken an important part in the life of Oxford University, having served on the Hebdomadal Council, and the governing bodies of the Bodleian Library and the Ashmolean Museum, as well as playing a major role in the foundation of St. Cross College, of which he was the first Master.
In 1940 he married Ruth Treverton, a leading researcher on the biochemistry of the eye. They have a son who has followed in his parents’ scientific footsteps, a daughter who is an architect, and four grandchildren.
In The Key to Lockjaw Kits writes with clarity, compassion, and with humour, not only about his life but also his work and the subjects of his research, and, in so doing, sets the record straight on more than one popular misconception.
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21.6 x 13.8 cm. xvi, 156 pp. 1991
These ten original tales, some dating from the 11th century, have been painstakingly unearthed and written up by Ronald Barnes. Several of these stories surfaced in Yorkshire, whence Welsh monks had fled during religious purges, and are published for the first time. These have been relatively unaltered by retelling over the centuries while others are attributed to bards who changed the story lines almost beyond recognition.
There was an abundance of other legends, too, many attributed to resourceful bards who, over the centuries, changed the story lines almost beyond recognition.
Some of the greatest legends, particularly those based upon proven historical facts, owe their survival to monks and others who fled to Yorkshire during religious purges. There they lay dormant and thus escaped the ravages of repetition.
Several of these wonder tales, dating from the 11th to 13th centuries, resurfaced in 1794 when they were recounted to a Yorkshire scholar in what is almost certainly their original form. Now they are retold once more, in print now for the first time. Included are:
The Legend of the Triple Sacrifice,
The Three Sisters of Ardudwy,
The Maidens of the Sea Marsh,
Roderick of Anglesea,
Mhaira and Madoc,
Owain Gwynedd's Silver Dagger,
The Lake of the Fair Ones,
The Dyn Hysbys,
The Legend of Beddgelert and
The Black Bull of Gwynedd.
During the second World War, while the author was seconded to the Indian Army, he became a regular contributor to The Illustrated Weekly, The Statesman, The Onlooker and The Times of India, winning the Literary Grand Prix in the Arts in Industry Exhibition. Throughout the campaign in Burma he commanded the Air Support Signals prior to serving in the 14th Army Staff, where he became interested in Indo-Celtic mythology.
After the war he returned to England to take up an Intelligence appointment on the Imperial General Staff. Later, in civilian life, he set up his own business which left little time for writing, until his retirement. He is adamant that he will never undertake another challenge like Great Legends of Wales, which took five years to research.More info →