Biographical introduction
covers exposure to American New Critics, to Benedict Kielys enthusiasm,
and to the experience of growing up in Belfast. There is now a number
of Irish criics scanning all of Irish Literature and doing so with eyes
properly capable of narrowing. For a couple of years it seemed as if Seamus
Deane, Terence Brown, and I were writing all of it. [3]
Heaney went on reading at the time
of the 1974 Dublin bombings, in reparation for his stopping at the time
of Bloody Sunday in 1972.
Note: A few bizarre typographical errors,
viz., 201. BS]
1: Topographical Tradition in Anglo-Irish
Poetry [1974]
James Ward, Henry Jones, William Hamilton
Drummond, William Drennan. The English tradition begins with Sir John
Denham, who happens to be Irish but it would be unhealty to Coopers
Hill as an Irish poem. Coopers Hill and
Popes Windsor Castle are constantly cited in the tradition
as the important antecedents. Wards Phoenix Park enacts
most of the conventions including the adulation of Caroline monarchy,
and the threee dimensional walking space of the poems; and
BIBL: see Brendan OHehir, critical ed. of Coopers Hill as
Expansd Hieroglyphics (Berkeley 1969).
Phoenix Park; by James Ward
[in his Miscellany of Poems, 1718], first genuinely topographical Irish
poem; the Park was laid out by Chesterfield in fulfilment of plans of
Duke of Ormond, in 1745. The poem was also included in Concanens
Miscellaneous Poems, Orig. and Trans., by Several Hands (Lond. 1724).
According to ODonoghue, Ward was a TCD grad.
JWF: the ascendancy of the Protestants
made possible the composition of topographical poetry in Ireland even
though the Irish poets (like the Ascendancy itself) sought social and
political inspiration in England.
While falling short of Coopers
Hill and Windsor Castle, Phoenix Park is
a better poem than Garths Claremont [13] ... Ward
established Irish versions of topographical motifs ... that became
obligatory for Irish loco-descriptive poets. Rath-Farnham
by the hapless Henry Jones. [14]
The topographical poem is of course
akin with the profession of surveyors. Denham was one. Irish surveyors
of the period included Robert Gibson, A Treatise of Practical Surveying
(1752; 2nd ed. Dublin 1763); Peter Callans A Dissertation on the
Practice of Land Surveying in Ireland (Drog. 1758); Benjamin Nobles
Geodaesia Hibernica (Dublin 1763). [15]
JFW remarks that the number of surveyors
and their works is undoubted connected with the outrageous land
situation and with the incidence of confiscation, forfeiture, and reapportionment.
[15] Callans effort is unintentionally whimsical. Gibsons,
a genuine contribution to the science, was also the first of its kind
printed in America, where it went into 21 editions. [Bibl., Sir Herbert
Fordham, Some Notable Surveyors and map Makers of the 16th, 17th, and
18th centuries, CUP 1929;AWR Richeson, English Land Measuring to 1800
(MIT 1966).
Cites Thomas H. Mason: the citys
instrument makers were kept busy in supplying the wants of surveyors
of lands during the redistribution which took place subsequent to the
Williamite War in Ireland. Dublin Hist. Record, VI (1944).
Jones made a career of exaggerated
panegyric formulae of topographical poetry. [16] Died from injuries incurred
when run over in St. Martins Lane after two day binge. Dismissed
by Chesterfield after borrowing from a servant for drink.
Down-born Frances Hutcheson, Inquiry
into the Original of our Ideas of Beauty and Virtue (1725) in the tradition
of Shaftesburys Characteristics (1711), dealing with the aesthetic
balance of art and nature exemplified in contemporary landscaping tastes
in country houses of England. Such values were implemented in Patrick
Delanys Delville at Glasnevin, improved after 1724, and a place
of resort to Swift, Tickell, and Addison.
JWF: What had been merely literary
motif became ... the landscape of feeling. The socio-aesthetic theories
of Pope, Shaftesbury and Hutcheson ... gave way to Burkes Enquiry
into the Origin of Our Ideas of the Sublime and the Beautiful (1757) that
took account of the asocial feeling of individual men and natures
immmensity independent of Mankind [stimulating] a generation of landscapers
to seek irregularity and surprise. the Popean balance of art and nature
titled towards nature. Sir Evedale Prices Essays on the Picturesque (1794) simply added another watertight category ... to Burkes
beauty and sublimity. [19]
Killarney poems incl. those by John
Leslie, Killarney: A Poem (Lon. 1772); Joseph Atkinson, Killarney: A Poem
(Dublin 798); Charles Hoyle, Three Days at Killarney; with Other Poems
(Lon.1828). Atkinson was a friend of Moores, his plaque in Monkstown
Church. Hoyle was tutor to Lord Clanwilliam, and also wrote Phoenix
Park (1772). Atkinsons poem exhorts hard-working Englishmen
to come to Killarney to teach Irish peasants the habits of industry and
the techniques of manufacture.
Bibl.: Rosalin M. Elmess Catalogue
of Irish Topographical Prints and Orig. Drawings (Dublin 1943). Jonathan
fisher, The Scenery of Ireland (1795) and A Picturesque Tour of Killarney
(Dublin 1789). William Refus Chetwood, A Tour through Ireland (1746);
John Bushs Hibernia Curiosa (1767); Arthur Youngs famous tours
in 1776. 77, and 78; George Taylor and Andrew Skinner, Maps
of the Roads of Ireland (1778); William Sewards directory, Topographia
Hibernica (Dublin 1795) [incl. picturesque treatment of Killarney, following
the sentiment of Prices Essays a year earlier: astonishingly
sublime scenery striking the timid with awe].
An astonishing number of topographical
poets were clergymen: Ward, Dyer, Jago, William Lisle Bowles, Thomas Maurice,
and William Hamilton Drummond, et al [23] The geological controversies
and topographical poems arising therefrom. [23ff.]
For Delanys Delville, see Edward
Malins, Landscape Gardening by Jonathan Swift and His Friends in
Ireland,; Garden History II (1973), 69.
William Drummond, Clontarf
(1822); also Drummond, The Giants Causeway (Belfast 1811),
occupies an entire vol., divided into three books, with long pref., and
100pp. of geological and historical notes. He was a Neptunian - one
of those who gave a large place to the influence of water in shaping rock.
Drummond, a controversal essayist
and sermonizer, b. Larne Co. antrim, ed. Belfast and Glasgow; pastor of
the 2nd Congregation in Belfast.
William Hamilton (1755-1797) Derry
antiquarian whose Letters Concerning the Northern Coast of the County
of Antrim professed a volcanic theory of the formation of basaltic rock
in the Giants Causeway, was assassinated as a magistrate and a clergyman.
John McKinley, The Giants Causeway,
A Poem (Belfast 1819; Dublin 1821). b. Co. Antrim, said to be ancestor
of the American president.
2: The Geography of Irish Fiction [1976]
Ultimately the Irish writers
concern with place is evident in a subjectivity he is unwilling or unable
to transcend. the richer the imagination the more expansive and decorative
the captivity. [31]
The geography of Irish fiction
is an essentially ambiguous phrase, implying both real and fictional place
... The critics task is to understand these values, to uncode,
in Seamus Heaneys phrase, all landscape. [33]
Tarry Flynn: its lyrical fantasy,
while unique in the nature and power of its poetry, is the same response
of author and hero to rural deprivation that we find in other Ulster and
Irish fiction. [34] ... a surgical portrayal of a society by an insider
who has since gained the objectivity of an outsider. [35]
Kiely, Honey Seems Bitter (1954),
There was an Ancient House (1955), and Dogs Enjoy the Morning (1968).
In all three, the young hero suffers from sexual inexperience,
social isolation and worthless spiritual innocence, all of which are presented
as forms of sickness of mind and soul metaphorized in his actual bodily
sickness. [36]
A mythology, in its time of
greatest vigour, puts its imprint on the whole region to which it belongs;
the hills, rivers, mountains, plains, villages, trees, rocks, springs,
and plants are all made sacred. [Jeremiah Curtin, Myths and Folk-lore
of Ireland (Boston, Little Brown, 1890), p. 11.
Refers to Gaston Bachelard, The Poetics
of Space (1972): topoanalysis ... the systematic psychological
study of the sites of our intimate lives. [33]
Plot summary of Richard Powers
The Hungry Grass: The contest between place and self is crucial in Irish
fiction. So powerful is it that it is not unusual for it to be a death-struggle,
for the fictional self to be so bound to place that the self is destroyed
when it is sundered from place. What makes the theme so pervasive is the
fact that the Irish have such a localised sense of place that the archteypal
trauma of the separation from place can quite easily occur inside Ireland
itself. This is evidenced by Richard Powers The Hungry Grass (1969).
Power has created in this novel a priest who endures hinds of exile: from
the deep, green soft-layered places of Rosnagree, his family
home and native parish; from post-revolutionary Ireland which has degenerated
into political jobbery and bureaucratic squabbling; and from his political
relations who batten upon the recently independent country. Father Conry
has been banished to Kilbride, the poorest parish in the diocese ...
in pat becuase he was thought to have been a red priest during a labour
dispute at the time of the Civil War. Conroy spends the novel trying to
make his way back to Rosnagree by locating those he considers his rightful
heirs, his dead brothers anglicized children. This takes the ailing
priest to England where he almost dies ... as [his brother did]. But
the priests sense of orphanhood and exile is most deeply felt in
Kilbride itself and drives him to fantasy, panic, and illness. When he
returns to Rosangree for the annual reunion of the diocesan priests who
had been ordained and together, like an emigrant returning to seek
nourishment at his root, and there dies, it is as though to confirm
the repeated lesson of the Irish novel and short story - that place
is life. But all along, Rosnagree and the memory of its natural beauty
have held Conroys weak self in thrall. We should be equally justified
in regarding complete exil as life and place as fatality. The Hungry Grass
demonstrates once more that [Irish geography of fiction] is a scenario
of spiritual and intellectual entrapment, imagined escape, and fantasy
or death.
3: Irish Modernism [1983]
In 1880 Standish James OGrady
published Vol 2 of his History of Ieland [...] although this high nonsensical
work was a good deal laughed at by the more Anglophilic historians of
TCD, it more inarguably set in motion the Irish Literary Revival ...
[he continues in effect:] ... which was (as it happens) co-terminous
with the modernist innings [44]
In The Universal Literary Influence
of the Renaissance, Joyce identified the chief legacies of that
cultural watershed as compassion and realism. (Louis Berrone, Joyce in
Padua, Random House 1977). Ostensibly he dismissed, [bt] actually he absorbed
the mediaeval Irish sagas and heroic romances upon whose translation and
adaptation the Irish Literary Revival rested. Despite their fitful, startling
realism, the splendid stories of Cuchulain, Fenian, Myhological and Historical
cycles must ultimately be understood in terms of narrative structure and
code. The stories proceed by formula and convention, by rhetorical commonplaces,
set-pieces, genealogies, etymologies, inventories, word-games, runs, teichoscopies,
rhapsodies, lays, kennings, ... The Irish sagas are cultural encyclopaedias.
4: Post-War Ulster Poetry - the
English Connection [1985]
Starts with Alvarez review of Heaneys Field Work. English difficulty in locating Irish writers. Sydney: In
our neighbour country Ireland, where truly learning goeth very bare, yet
are their poets held in a devout reverence. (from Apologie for Poetry,
1595) [61].
Robert Greacan and Alex Comfort, eds. Lyra: An Anthology of New Lyric (1944)
Of Hobsbaum: Through [Philip] Hobsbaum,
rather than Larkin, the values of the Movement were carried to Belfast
(if I may risk a vector theory of literary influence) ... Perhaps it
was more like a devolution of poetical power. [71]
5: The Poetry of Seamus Heaney [1974]
Starts by asserting Heaneys
status as head and shoulders above his English younger British contemporaries;
aligns him with the whole earth movement in the sense that his working
the earth has the same deep resource; the ex-peasant, new
urbanized, newly middle-class ..; his early poetry as craft-learning
(Death of a Naturalist) and occasionally inept. Digging in one for or
another remains the archetypal act in Heaneys poetry. [85]
For Heaney, obselescence can be a
primal state and, insofar as the obsolete is preserved in custom, speech
or bog, can exert an influence on the present. It is this obsolence-primality-negativeness
of the Irish that will resurge. [93] Janus-faced Heaney - with reference
to his (Anglo-)Irish and Movement connections.
For Heaney then the Irish language
and culture are, after Joyce, not merely a river but female - vowel-vaginal,
we might say, unlike the Anglo-Saxon tradition, which is male, terrestrial,
phallic consonantial. [92]
Bibl.: P. V. Glob, The Bog People (1969);
WG Wood-Martin, Traces of the Elder Faiths of Ireland (Longmans, London
1902); regarded by JWFoster as invaluable background reading for read
of Heaney, illuminating A Lough Neagh Sequence; Also, Estyn
Evans, Irish Heritage (Dundalk 1942).
He ends: If Heaney becomes the best
Irish poet of his generation, it will be because he has remained true
to as great an Irishness in diction,m setting and theme as he has already
achieved, while taking the emotional risks of his great antecedent Yeats
and his contemporary Kinsella. ... Time, shall we say, to lay aside
the spade and bring out the heavy machinery. ín the meantime, there
is little contemporary poetry that has bettered the quality and fruitfulness
of Heaneys solitary digging; few poets have enlived their work with
a more remarkable gift for seeing afresh the physical world around us
and beneath us.
6: Poetry of Patrick Kavanagh [1979],
pp.97-113
Where Yeats magnified Ireland into
the world, Kavanagh shrank Ireland into Shancoduff. Where Yeats saw in
the fate of Ireland universal spirals and gyres, Kavanagh saw the
habitual, the banal. [102] ... burnt all the bridges to group
acceptance he could find [105]
7: Dissidence of Dissent: Hewitt and Rodgers [1985]
Whether dissent and genuine culture
are mutually exclusive, as Matthew Arnold believed. [115]
It is precisely because his Irishness
is problematic that Hewitts worrying of the matter for decades has
enabled him to forge the conscience of the Scots-Irish in Ireland, and
this may be his chief significance. [118]
The rhyming weavers; dubbed Vernacular
by Hewitt, they were lowly born and wrote in Scots or Ulster Scots dialect
and often in Scots versification. H distinguishes them from the Colonial
or Provincal Ulster poets who wrote in standard English.
.. the rich disclosures and concealments
of Ulster Protestant traditions ... [129]
8: Yeats and the Easter Rising [1985]
Yeats was in Gloucestshire [at the time]; his letters
show that he smarted at not being consulted by the leaders, and regarded
himself earnestly as a progenitor of 1916.
Easter 1916 as a formidable
attempt at appropriation. [133] ... the personal response is voiced
not only by the poet as Irish citzen and literary man harbouring doubts
about a headstrong display of physical force, but also by the poet as
composer of an intricate canon challenged (or granted the opportunity)
by a violent public event to absorb it and still retain coherence. [134]
Too long a sacrifice/can make
a stone of the heart - Yeats was later to compare nationalist
opinion with a part of the mind turned to stone in Autobiographies.
Foster credits Yeats with a genius
in moving between the theme of sacrifice and his personal, more quotidian
involvement with the lesser signatories. He argues that the poem ends
dutifully honouring the platitude of the national martyr, common
to all 1916 poems. But the genius is in the unique, essential and
superbly strategic Yeats ... moving in that somewhat enigmatic territory
between the named and the anonymous, broadcasting his part-condescensing,
part-mythicizing demonstrative pronouns - That womans days
... this man had kept a school ... Yeats leaves room to insert himself
into the event.
Yeats to Lady Gregory, even before
Connolly and MacDairmada were executed: I am trying to write a poem
on the men executed - terrible beauty has been born again.
Quoted in Jeffares Commentary.
the heroic, tragic lunacy of
Sinn Fein: Yeats, letter to Lady Gregory, quoted in Hone, p.299
[138]
Echoes from Pearses writings.
The Fool is one background; the Mother is another; and
St. Pearses adoption of the famous words of Columcille, If
I die, it should be from the excess of love I bear the Gael. is
a third: And what if excess of love/Bewildered them till they died?
[139]
Yeatss phrase terrible
beauty echoes Pearse, The King: The terrible, beautiful voice that
comes out of the heart of battles; but also The Story of A Success, .It
is murder and death that make possible the terrible beautiful thing we
call life; but also, strangely, Sheridan Le Fanu: Fionula
the Cruel, the brightest, the worst/With a terrible beauty the vision
accurst .. These findings are made by Mitchell and Dalton [see notes].
[140] Bibl. Towey Mitchell, Yeats, Pearse, and Cuchulain,
Eire-Ireland XI, No. 4 (1976), 51-65; GF Dalton, the Tradition
of Blood Sacrifice to the goddess Eire, Studies LXIII (Winter 1974).
Easter 1916 has been called
a palinode to September 1913. [141] ... but it is not clear
... that Yeats committed himself to the idea that old heroism had been
revived in the GPO. ... Has romantic Ireland returned, or has a third,
unknown thing been born? [142]
9. The Landscape and the Three Irelands [1975, 1985]
.. without exploring as honestly
and sympathetically as possible the cultural differences between Protestant
and Catholic, I believe we may never forge a genuine cultural synthesis
in Ireland.
.. Among other things, there is the
peculiarly vivi way in which we can inhabit, in the poetry of Hewitt,
Murphy, and Montague, the warring topographies of the Irish imagination,
that landscape in whose parts all of us in Ireland at times find ourselves
strangers and afraid. [166]
10: Heaneys Redress [new essay]
Heaneys progress since the last
essay: a sense of manifest destiny. The Government of the Tongue demonstrating
the reality of poetry in the world.
Heaney has largely ignored the Protestant
making of the north-east Ulster into its once-distinctive industriousness.
... Heaney admires those who beat real iron out but in
Ireland it was most commonly the Ulster Scot who beat real iron out and
who took fierce pride in workmanship. I sometimes fear that in future
Heaney and Ulster will become synomous, the way that Yeats and Ireland
became synomous for American scholars who took their Irish history from
the poet. In fact, large tracts of Ulster, both [177]
[...]. in Heaney we can detect a nostalgia
for pre-colonial unity, a recurring strain in Ulster Catholic writing.
[...] Certainly there is in Heaney an instinct for propitiation and spiritual
intercession as deep as his instinct for retreat and neutrality, a desire
to turn dew into holy water, to make poetry a ceremony of assuagement.
[181]
In the 1978 radio talk, The
God in the Tree, reprinted in Preoccupations, Heaney discusses
medieval Irish nature poetry, including Buile Suibhne, and locates the
origin of poetry in the pagan, feminine mysteries of the grove. [184]
JWF talks of a Copernican revolution
in Heaneys poetry: a shift from poetics of excavation to that of
light, from earth to air. [188]
[Looking at Government:] the uprooted
is now privileged; so too are absence, placelessness, the unsaid, impersonality,
weightlessness, vision, even dream - all most un-Heaney-like. Kavanagh
is re-evaluated and found to have moved from substantial, local and self-expressive
poetry to a weightless, placeless self-mastery. This is not a reading
that convinces me, but aligns with Heaneys current stance
towards life. [193]
... The necessity for reification and
the longing for rarification creating a fresh duality in the verse. [195]
... now the ideal alternative to danger is purity, not the messier
business of relishable antiquity. [195]
He has employed this allegory [the
troubled history of the North] even though poetry is its highest form
is judged to have cleared or surmounted politics. ... But
even if politics are in the best poetry sublimated (hence the imagery
of light, air, flight?), Heaney has always intended his poetry [197] to
be, and indeed it is, a political poetry of considerable oblique power.
[Note: This essay deals insistently with the gendering of Heaneys poetry.]
Clearly a kind of sexual redress
is underway ... from the beginning. Veneration of the female and the
repeated return to the mother, accompanied by an underestimation (or repressed
overestimation?) of the male gives way, not so far to an active search
for the father ... but to a less personal search for poetic maleness
that will not offend the female deities of his poetry (Ireland, the muse,
the goddess of the the fen). [198]
.. the Catholicism by which [his]
progress is charted is a religious redress within the context of these
islands where Catholicism, Ireland, and minority nationalism are almost
synonymous. ... That it is an Irishman, and an Ulsterman to boot, who
is currently framing in practice and theory the constitution of mainstream
poetry in these islands is a cultural redress of remarkable proportions
[203].
10. A Complex Fate: Denis ODonoghue:
We Irish
Like other essays in the collection,
it turns crucially on this critics view of Yeats, summarised by
Foster as follows: The battle with Yeats is beginning to resemble
The Everylasting Fight. He is the nationalist the critics want and the
higher-class Protestant they dont want. [212]
11. The Critical Condition of Ulster
The failure of Irish society is the
failure of criticism. ... the failure of objectivity ... and the
failure of reflection and self-examination [215]
The passing of the Anglo-Irish has
at once fractionalized, and simplified and deadlocked the issue by leaving
the field to two antagonistic Irelands in need of education. [216]
discursive plurality ... unprecedented
promise of a genuine new critical sphere in which we will one day discuss
Ulster without rancour, sectarianism, radical prescription, or atavism.
[216]
Deane warns that the adoption of merely
cosmopolitan pluralism would lead to the harmony of indifference.
[218] But ???
Of Kiberd: how disappointing that
someone so alert, so correctly alert, to the stereotyping of the Irish
by the English should resort to the very mental process he deprecates
in order to solve the Ulster question [by characterising the Ulster unionist
as a monolithic form of ignorance and prejudice]. [221]
Field Day subtext: the repudiation
of the political union of GB and NI. ... The pamphlets are politics
by other means ... variations on the nationalist theme ... chromatic
and resourceful. [222]
The Free State came about only after
40 years of cultural preparation. By 1920 Ireland had asserted sufficiently
different culture, according to the people who turned out to be the ones
that mattered - including, let us take note, the Anglo-Irish ...
in Ulster ... there has been no cultural preparation for a united Ireland
whatsoever. [223-224]
JWF: My argument [is that] inadaquacy
in our cultural knowledge and our criticism vitiates our thinking on Ulster,
and is encouraged by political prejudgement. [226]
Gabriel Conroy in Joyces great
story, The Dead, earns his selfhood by confronting and absorbing
the cultural forces that seek to impede him as well as sustain him. [229]
mine is, unashamedly, the old liberal
humanism ... prepared to entertain, if not permit, its own supersession
[230] ... the autonomous individual may be a bourgeois humanist fantasy,
but many of us in Ireland would like to enjoy that fantasy, that you very
much. [231]
12. New Realism: A Future for Irish Studies.
The Ireland invented by the Lit. Revival
and foisted on posterity [was] rural, traditionalist, conservative, anti-
European, provincial and anti-individualist. (Kiberd) [236] I have affirmed
in Fictions of the Irish Literary Revival that there were writers who
were portraying Ireland as she was, but writers who were not part of the
Revival itself. [236]
Thus we may say that the modernist
tendency of certain Irish writers, artists, and intellectuals represents
a shift away from the cultural naionalism, of the revival to a cultural
internationalism committed to formal and critical experimentation
... an advanced secular nation-state of the European kind.
[237] Fifth Province ... where the divisions of the four political
provinces might be confronted and resolved. [240] (Kearneys
wishful thinking)
Fennell: nationalism, liberalism,
then post-nationalism. [240]
what we urgently need is a pyschology
of sectarianism ... a raising of consciousness comparable to the consciousness
shift brought about in America and Europe by feminism [244]
George Moore said that the tragedy
of Ireland is that people live and die without realising he qualities
they have. [245]
13. Who are the Irish?
In this essay, Foster goes through
the various marks - Mk I to V - of Irishness.
JWF distinguishes three types of answer:
the Berkeley answer: Anglo-Irish as disempowered, and therefore - for rhetorical purposes at least - equatable with the mere Irish
(Mark I); the republicans of the dissenting tradition (Mark II), and finally,
the Catholic English-speaking democratic petty bourgeois Irish of OConnell
(Mark III).
Yeats saw no excitement in OConnellite
Ireland. It was Joyce who was its chief laureate. We see it vividly in
his middle class Dublin verions (and in OCaseys working class
or non-working class Dublin versions) as a through-out affair, its literature
and music and received wisdom scrappy, half English, half Irish, handed
down from above and beyond. A world without cultural, moral or spiritual
integrity, whose centre is its reflex Catholicism or perhaps merely its
volubility, its entertaining, consoling, hollow eloquence, all else precarious
and piecemeal. ... It has changed since Joyce and OCasey, of
course, but still recognisable ... [251]
The Anglo-Irish leaders of the Revival
when they extolled the peasant discounted the lowly, workaday Catholicism
of the peasant, preferring to see below this a pagan spirituality. ...
So Protestantism and high birth, nominally dropped as criteria for Irishness,
were smuggled back into the Revival concept. As for the Gaelic language,
the Gaelic Legue ensured that some genuine revival took place, but this
meant introducing a qualification for Irishness that most of the Revivalists
themselves, including Yeats, AE, Standish James OGrady, and James
Stephens, could not, or would not, meet, and so the qualification had
to wait for proper elevation after the Revival. [252]
... disdain for Ulster Yeats exhibited,
with its nasty undisguised urbanism of Belfast, its filthy industrialism,
its contemptible Protestant low-church non-conformity. [253]
Quotes Hyde, De-Anglicisation of Ireland:
the continuity of the Irishism of Ireland ... in the north-east
of Ulster, where the Gaelic race was expelled and the land planted with
aliens, who our dear mother Erin, assimilative as she is, has hitherto
found difficult to absorb.., and comments: Where unassimiliated
Gaelicism was a virtue, unassimilated Scots-Irishness was a vice. Further
comment is unnecessary, beyond reminding readers that Hyde became the
first President of the Irish Republic, embodiment of the highest ideals
of the state. [253]
The emerging coalition [of Anglo-Irish
and Catholic nationalist writers] developed a synthetic and triumphantly
eloquent cultural nationalism ... a definition ... of Irish culture
and Irish nationality ... A faction of the Anglo- Irish made common
cause with a faction of the Irish, and in the process certain unwelcome
and inconvenient Irelands were ignored or misnterpreted; petit-bourgeois
and small-farmer Catholic Ireland that dominated the island interms of
population (and still does); the Ireland known to James Joyce, Brinsley
MacNamara, DP Moran, and later Flann OBrien and Patrk. Kavanagh
..
Corkery dissolved the partnership
[with the Anglo-Irish] unilaterally [and introduced] the qualification
of Catholicism. ... It proved to be the winning definition. [254]
JWF makes repeated use of Clare OHallorans
Partition and the Limits of Irish Nationalism (1987), from which the passages:
Unionists were to be considered Irish for purposes of the claim
of national unity comprising the whole island as the national territory,
and yet foreign when their views or actions were seen as contrary to Irish
nationalist ideology and stated expectations. Thus Partition in
1921 was not some devilish sundering of the island imposed from without
but ... the culmination on the nationalist side of long-prepared events.
This becomes a rather strained and
pained essay, and something uncomfortable is going on when he sketches
the ambivalence aroused at an Irish literary convention: the concentric
circles of Irishness narrow and shrink, the real Irish receding ...
into a dark centre ... the Prods and English meanwhile affecting sheepish
grins and bottomless ethic empathy, faking away like mad! [257]
[Since the Anglo-Irish Treaty] The
polarisation of Northern society now extends ominousbly upwards from the
back streets to the university. [258]
The necessary redefinition of Irishness:
Calls for the de-Hydration of Ireland [260]. On the other
side: ... eventually loyalists will have to admit the contractual,
convenient, conditional nature of their fealty to the Crown. [261] The
Anglo-Irish Agreement ... imposed ... an imposition which ought
to go.
Nice note on Durcan: Maggie
Thatcher will not stand between me and John Dryden. He had expanded
the definition of Irishness, not in an act of renegation, but in an act
of enlargement and freedom. And at that moment he became for me a fellow
Irishman. [261]
14. Culture and Colonisation: View from the North
The settlers, Hugh Roberts (Northern
Ireland and the Algerian Analogy: A Suitable Case for Gaullism?, Athol
Books Belfast 1986) reminds us, were independent, voluntary migrants
from the Scottish Lowlands ... quit unlike the transported settlers
in Australia and Algeria and very like the first English settlers in America.
... fairly autonomous, un-British nature. [264]
.But we were British in a special
sense ... we required Britain that she constitute a different never
intimately known ideal, but also an ideal immutable and sheltered from
time (as Memmi says in The Colonizer and the Colonized, trans. Howard
Greenfield, intro. JP Sartre (NY 1965).
Irish Literary Revival: the
colonizer who refuses (Memmi) [268].
Quotes Memmi: Formalism of which religious
formality is only one aspect, is the cyst into which colonial society
shuts itself and hardens, degrading its own life in order to save it.
It is a spontaneous action of self-defence, a means of safeguarding the
collective consciousness without whcih a people quickly cease to exist.
The flight of the literati, Moore,
Eglington, Stephens, OCasy, and AE, a principled exodus ... [which]
casts some doubt on the indigenity of the Literary Revival. [269]
As far as I know, Dubliners has never
been fully discussed for the classic profile of the culture and pyschology
of the colonised, of the pathology of colonialism, it actually is. ...
Roman and British ... [269]
Joxer Daly, a human magpie ...
without cultural and therefore moral integrity [270]
Quotes Corkery:
No sooner does [the Irish
child] begin to use his intellect than what he learns begins to undermine,
to weaken, and to harrass his emotiona nature. For practically all that
he reads is in English - what he reads in Irish is not yet worth
taking account of. It does not therefore focus the mind of his own people,
teaching him the better to look about him, to understand both himself
and his surroundings. It focuses instead the life of another people. Instead
of sharpening his gaze upon his own neighbourhood, his reading distracts
it, for he cannot find in these surroundings what his reading has taught
him is the matter worth coming upon. His surroundings begin to seem to
him unvital. His education, instead of refining and buttressing his emotional
nature, teaches him rather to despise it, inasmuch as it teaches him not
to see the surroundings out of which he is sprung, as they are in themselves,
but as compared with alien surroundings; his education provides him with
an alien medium through which he is henceforth to look at his native land!
At the least his education sets up a dispute between his intellect and
his emotions. Nothing happens in the neighbourhood of an English boys
home that he will not sooner or later find happening, transfigured, in
literature. What happens in the neighbourhood of an Irish boys home - the fair, the hurling match, land grabbing, the priesting, the
mission, the Mass - he never comes on in literature; that is, in
such literature as he is told to respect and learn ... In his ripers
years he may come to see the crassness of his own upbringing, but of course
the damage is done; his mind is cast in an unnatural because unnative
mould. (Synge and Anlo-Irish Literature, 1931; 1965).
JWF: It was slowly I untaught myself
that contempt for the imagination of ones own country which is a
form of self-contempt ... our debt to Northern Ireland writers of the
past twnety years is immense. [273]
But why is it that Northerners ...
have blushed to assert their imaginative potential ... no intellectal
class in Ulster since the 19th c.? ... there is a connected reluctance
to write about the middle class [274]
.. a grave injustice down to the novel
Judith Hearne by translating it for film to Dublin. [275]
.. the unexamined assumption that
whereas republicanism is intellectually respectable and artistically fruitful,
unionism is barren and artistically stultifying ... The Protestant
intellectual seems to flee himself in fear of his own bigotry. [275]
We are coming from behind, and have
to attain ourselves before we have the confidence to extend generosity,
to leave the refuge and prison that sectarianism is. [277]
15. Radical Regionalism
.. first the regional identity itself
must be won [279] ... a natural region (T. W. Freeman) ...
the natural regional framework of the island ...
In 1985 regional autonomy was further
depleted by the Anglo-Irish Agreement. ... [But] it would be perverse
to regret the aeration of the unionist cyst that Direct Rule and the Anglo-Irish
Agreement represented. [283]
Bibl.: JFW much influenced by Tom
Nairns The Break Up of Britain: Crisis and Neo-Nationalism (1981).
Suspicious if the Ireland Funds and
their commitment to develop[ing] Irelands unique cultural
heritage, since that sounds like a redundant activity. [288]
In 1981 George Melnyk published Radical
Regionalism which I read with great interest ... [as providing me]
with some imaginative potential for thinking about Ulster. [293]
For a long time the Ulster people
have suffered the twin psychological colonialisms of Irish nationalism
and British nationality that have falsified their consciousness and diverted
them from the true task of self-realization. Under this false consciousness
they have persisted in perceiving fellow inhabitants of Ulster as them,
as the others. These two colonialisms rest on the demonstrably
false propositions that Northern Ireland is as British as Finchley, and
that Ireland is, now or imminently, one country. [294]
.. we do not of course which for a synthetic
non-sectarian Ulster culture, which some agencies are busy trying to bring
about. Rather, we want the natural culture of Ulster to be percieved and
encouraged, ager the veils of outside causes and dogma have been dropped.
[289; END]