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"O'Donoghue, Bernard"
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Yeats and the responsible gathering of folklore
This essay looks at the collecting of folklore in the west of Ireland by W.B. Yeats and his friends, arguing that Yeats was less judgemental and patronizing in his attitude to the authority of local lore and history than many folklorists and collectors like Thomas Crofton Croker from Cork. Yeats recognized the difficulty of reaching any canonical certainty. An interesting case is the local poet from the north of County Cork, Edward Walsh, who was much admired by Yeats and his circle. A spurious history for Walsh has been constructed is found in all literary histories and Corn anions since his time. So in this case only the unofficial local historians have the right version. There are different criteria for authenticity in the folk tradition and for the literary canon.
Journal Article
Remembering Seamus Heaney II
Many things come to mind the extraordinary exactness and rightness of his descriptive language, whether describing in burning Time paper magazine floating compared in the wind, him or to a 56lb Chekhov weight. in A his recent capacity elegiac to piece say importance something extraordinary of his readiness by simply to deal describing with public ordinary subjects, things. in There Ireland is and the native beyond: province; his readiness his to catching face the of \"neighbourly the moment murder\" of 9/11 that in occurred his Horace in his seriousness of the subjects he dealt with, and the eloquent power he human English frailty of his time. for that-but He was not the a moralizer-he moral sense is was present too forgivingly in everything alert he to So it was not surprising that his poetry earned him the Nobel Prize for Literature, or that the Nobel citation praised his poetry's combination of \"lyrical beauty and ethical depth which exalt everyday miracles and the living past.\" The Boat: i.m. Seamus Heaney Bernard O'Donoghue Take the case of a man in a boat in deep water. The wind and the waves and the craft's tossing cause him to stumble if he makes to stand up, for, no matter how firmly he tries to hold on, through the boat's slithering he bends and he staggers, so unstable the body is.
Journal Article
The Cambridge Companion to Seamus Heaney
Seamus Heaney is a unique phenomenon in contemporary literature, as a poet whose individual volumes (such as his Beowulf translation, and individual volumes of poems such as Electric Light and District and Circle) have been high in the bestseller lists for decades. Since winning the Nobel Prize for Literature, he has come to be considered one of the most important English language poets in the world. This Companion gives an overview of his career and of his reception in Ireland, England and around the world. Its distinguished contributors offer detailed readings of his major publications, in poetry, prose and translation. The essays further explore the central themes of his poetry, his relations with other writers, and his prose writing. Designed for students, this volume will also have much to interest and inform the general reader and admirer of Heaney's unique poetic voice.
eBook
Yeats and the Responsible Gathering of Folklore
Ce texte s’intéresse à la collecte du folklore par Yeats et ses amis dans l’ouest de l’Irlande, et montre que Yeats était moins méprisant et condescendant envers l’autorité de la culture paysanne et de l’histoire locale que bien des folkloristes tels que Thomas Crofton Croker, de Cork. Yeats était conscient de la difficulté d’atteindre une vérité définitive. Le cas d’Edward Walsh, poète local du nord du comté de Cork, que Yeats et son cercle admiraient beaucoup, est particulièrement intéressant. Une biographie erronée de Walsh a été élaborée et se trouve dans toutes les histoires littéraires depuis son époque. Ainsi, dans ce cas, seuls les historiens non-officiels de la région de Walsh détiennent la vérité. Pour la tradition folklorique, les critères d’authenticité ne sont pas les mêmes que pour le canon littéraire.
Journal Article
Abjuring innocence
Although Alan Hollinghurst’s reputation as a leading novelist of his time is beyond question, it was important to be reminded by Rachel Cooke in her Observer interview with him on the occasion of the publication of The Stranger’s Child, in 2012, that ‘he wasn’t always going to be a novelist though. Poetry was his first love.’ At school, he says in that interview, he was fascinated by poetical forms; for example he wrote three sonnets for a competition on ‘the pleasures of life’. He says, ‘Being a poet at school had a certain prestige; it was a source of glamour.
Book Chapter
