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Ireland in Poetry: With Paintings, Drawings, Photographs and Other Works of Art

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In 2009, poet Muiris Sionóid published a complete translation of William Shakespeare's 154 sonnets into Connacht Irish under the title Rotha Mór an Ghrá ("The Great Wheel of Love"). [30] Another poet who supported the Young Irelanders, although not directly connected with them, was Samuel Ferguson (1810–1886). Ferguson once wrote that his ambition was "to raise the native elements of Irish history to a dignified level." To this end, he wrote many verse retellings of the Old Irish sagas. He also wrote a moving elegy to Thomas Davis. Ferguson, who believed that Ireland's political fate ultimately lay within the Union, brought a new scholarly exactitude to the study and translation of Irish texts. In addition to John Hewitt, mentioned above, other important poets from Northern Ireland include Robert Greacen (1920–2008) who, with Valentin Iremonger, edited an important anthology, Contemporary Irish Poetry in 1949. Greacen was born in Derry, lived in Belfast in his youth and then in London during the 1950s, 1960s and 1970s. He won the Irish Times Prize for Poetry in 1995 for his Collected Poems, after he returned to live in Dublin when he was elected a member of Aosdana. Other poets of note from this time include Roy McFadden (1921–1999), a friend for many years of Greacen. Padraic Fiacc (born 1924), was born in Belfast, but lived in America during his youth. In the 1960s, and coincident with the rise of the Troubles in the province, a number of Ulster poets began to receive critical and public notice. Prominent amongst these were John Montague (born 1929), Michael Longley (born 1939), Derek Mahon (born 1941), Séamus Heaney (1939-2013) and Paul Muldoon (born 1951). Fionnghuala Ní Bhriain (Inghean Dhomhnaill Uí Bhriain) (c. 1557-1657), a member of the O'Brien dynasty, who had been Chiefs of the Name and Earls of Thomond, wrote a lament (her only surviving poem) for her husband, Uaithne Ó Lochlainn, Chief of the Name and Lord of Burren in County Clare. [3] Aistriú na Soinéad go Gaeilge: Saothar Grá! Translating the Sonnets to Irish: A Labour of Love by Muiris Sionóid.

Heaney is perhaps the most well known of Irish poets and Ireland's first Nobel prize-winning poet since WB Yeats.Verse tales of Fionn and the Fianna, sometimes known as Ossianic poetry, were extremely common in Ireland and Scotland throughout this period. Originally sung in verse and exactly on par with heroic epics from other cultures, they were written down and significantly altered by James Macpherson in the 18th century. Macpherson's treatment of them was said to have ushered in the Romance tradition as opposed to the epic nature of the sagas. The Fionn poems form one of the three key sagas of Celtic culture: The Ulster saga, Fionn mac Cumhaill saga, and those of the Arthurian legends. a b c d e f g h Williams, J.E. Caerwyn, & Ní Mhuiríosa, Máirín, Traidisiún Liteartha na nGael. An Clóchomhar Tta, 1979: pp. 273-304 O’Casey’s was very much an urban drama. His ear for Dublin street language and his strong, resilient, funny characters—particularly female ones—made O’Casey’s plays fresh and natural, especially when read against the older work of another great Abbey playwright, Synge. In O’Casey’s three major plays, the violence of the public world, which happens offstage, is set alongside a private domestic universe (usually Dublin tenement rooms) in which humans attempt to survive and make sense of the violence. The pieties of revolutionary nationalism do not come off well in these plays. In 1926, with the fourth performance of The Plough and the Stars, O’Casey gave the Abbey its second great set of riots; Yeats confronted the audience and, reminding them of the Playboy riots of 1907, famously declared: “You have disgraced yourselves again.” Written in 1905 and published in 1906 during the Gaelic revival, the poem “Ochón! a Dhonncha” literally translates to English as “My Sorrow, Dhonncha!”

The first part of the seventeenth century saw three notable female poets (all born in the previous century). I managed to visit Glendalough on the warmest, sunniest day of July. Small birds sang; the sky was crystalline blue. My own guide was the local poet, Jane Clarke, who told me about how Lear had influenced her own verse from the early age of 4, when she memorised The Owl and the Pussy-Cat. We wandered through dappled sunlight to see the spot where St Kevin’s Bed is visible across the loch. After we recorded our interview, I was seized with an irresistible impulse to swim. Much to my producer’s amusement, I found a discreet spot, stripped to my underwear, and jumped in. It was magical: swimming in champagne-cold, clear water, with the sun on my face and a spectacular view of sheer mountain and forest around me. I fel Dublin’s 'informal poet laureate', Paula Meehan, is the second woman to become Ireland's Professor of Poetry, set up in 1998 after the late Seamus Heaney won the Nobel prize for literature. From Plato to Simone de Beauvoir, the bible to the beat generation, ‘love’ has been the subject of philosophical and literary speculation: ‘love’, Da Sousa points out, as more a ‘condition’ than an emotion, ‘might be manifested in sorrow, fear, guilt, regret, bitterness, gloom, contempt, humiliation, elation, dejection, anxiety, jealousy, disgust, or murderous rage’ To fill in the blanks on ‘Love is ---’ is to open up to multiplicity and paradox: love is selfish, selfless, kind, cruel, transient, permanent – as well as, so the song goes, ‘all you need’.Literacy reached Ireland with Christianity in the fifth century. Monasteries were established, which by the seventh century were large, self-governing institutions and centres of scholarship. This was to have a profound effect on Irish-language literature, poetry included. [1]

Originally published in 1893 as part of the collection entitled The Rose, W. B. Yeats’“The Lake Isle of Innisfree” is a good illustration of his lyric poems during his early days as a poet.Lear came to Ireland to attend the first Irish meeting of the British Association for the Advancement of Science in 1835. The Association brought together knowledgeable amateur geologists, ornithologists, zoologists, botanists and astronomers with University Professors and the small number of specialists who were beginning to be known as ‘scientists’ (a word only coined in 1831). Meeting at the newly opened Dublin Zoo, these citizen scientists exchanged ideas about everything from fossil fish to the ‘action of light upon plants.’ As a painter of rare specimens of animals and birds, Lear knew a great deal about the appearance and behaviour of different species: he had studied them intensely to capture them in brilliant lithographs – themselves the fruit of new technology. Steaming in on the new train line from Kingstown to Dublin, he must have loved seeing the ostriches, the monkeys, and the leopard that the zoo proudly presented to astonished visitors. Edward Lear (1812-1888)

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