After refusing to take an oath of allegiance to King George V following the Easter Rising of 1916, Gógan had been dismissed from his post in the National Museum of Ireland and imprisoned at Frongoch internment camp in Wales. Gógan had, according to De Paor, an encyclopedic knowledge of the Western canon, which found its way into his poetry. Gógan was also the first poet to write sonnets in the Irish language. [20] In the late 1960s, two young Irish poets, Michael Smith (born 1942) and Trevor Joyce (born 1947) founded in Dublin the New Writers Press publishing house and a journal called The Lace Curtain. Initially this was to publish their own work and that of some like-minded friends (including Paul Durcan, Michael Hartnett and Gerry Smyth), and later to promote the work of neglected Irish modernists like Brian Coffey and Denis Devlin. Both Joyce and Smith have published considerable bodies of poetry in their own right. In 2007 she took first prize in the National Poetry Competition with ‘Through the Square Window’, a haunting poem that contrasts an image of the dead gathering outside a window with that of a child sleeping peacefully indoors. It’s all a bit seat-of-the-pants,” says Michael West, but that’s its charm. “You’ll see big Hollywood stars get up, read something out and then wander around seeing what else is going on.” New festival, old location Paul Muldoon is one of Ireland's leading contemporary poets. Hailed by Seamus Heaney as ‘one of the era’s true originals’, Muldoon has won numourous awards for his poetry, from the Pulitzer prize to the T. S. Eliot Prize.

Subsequently, most of the Irish republican leaders involved in the revolt were charged with treason and executed by the British government.

Irish Poetry Reading Archive

A salient figure at this time is Aogán Ó Rathaille (1670–1726), a bridge between the old world in which he was educated and the new one in which the professional poet had no place. He wrote in the new metres but preserved the attitudes of a previous age. [4] One of the most talented 20th-century Irish-language poets and folklore collectors in the Irish diaspora was Seán Ó Súilleabháin (Sean "Irish" O'Sullivan) (1882-1957). Ó Súilleabháin, whom literary scholar Ciara Ryan has dubbed "Butte's Irish Bard", was born into a family of Irish-speaking fishermen upon Inishfarnard, a now-uninhabited island off the Beara Peninsula of County Cork. In 1905, Ó Súilleabháin sailed aboard the ocean liner Lucania from Queenstown to Ellis Island and settled in the heavily Irish-American mining community of Butte, Montana. Following his arrival, Ó Súilleabháin never returned to Ireland. In Montana, however, he learned for the first time to read and write in his native language, married, and raised a family. Ó Súilleabháin remained a very influential figure in Butte's Irish-American literary, cultural, and Irish republican circles for the rest of his life. [15] a b c Bourke, Angela (ed.). The Field Day Anthology of Irish Writing, Volume 4. NYU Press, 2002: pp. 395-405. The Old Country’ is a series of short meditations on Ulster, indirectly touching upon how the ongoing Troubles have affected that part of the country, its mentality and its values.

a b c Julie Henigan, "For Want of Education: The origins of the Hedge Schoolmaster songs," Ulster Folklife, No 40 (1994): pp 27-38: https://www.mustrad.org.uk/articles/hedg_sch.htm Then Go Beyond the Reach of Road: An Evening with Poet Peter Fallon [ permanent dead link] Poetry reading at Boston University, video, March 30, 2009As we remarked above when introducing the Katharine Tynan poem, Ireland has had its fair share of heroes in history and myth, and in this contemporary poem, the female Irish poet Eavan Boland muses upon how she fits in with Ireland’s heroic past. Although, as Boland has said in an interview, no statue such as she describes in the poem actually exists, it neatly expresses the aspects of the hero which Boland associates with Irish culture and history.

Poetry in Irish saw a revolution beginning in the end of the 1940s with the poetry of Máirtín Ó Direáin (1910-1988), Seán Ó Ríordáin (1916-1977) and Máire Mhac an tSaoi (1922-2021). Their poetry, though retaining a sense of the tradition, continued the legacy of Pearse by introducing Modernist poetry into the Irish language. Eamonn o Cairdha, Ireland and the Jacobite Cause, 1685-1766: A fatal attachment (Dublin: Four Courts Press, 2004)Outside Dublin, it was in the province of Munster that the status and craft of Irish-language poetry were best maintained. Sometimes a local clan chief or Anglo-Irish landlord acted as their patron, but in other places responsibility lay with cúirteanna filíochta – "courts of poetry" or local gatherings for the purpose of contests between poets, similar to the Welsh Eisteddfod. These could be seen as offshoots of the bardic academies which trained professional poets down to the seventeenth century. [4] 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’. His most popular poems are colloquial, unpretentious and provide a wide-ranging portrait of Irish society. The Metrical Dindshenchas, or Lore of Places, is probably the major surviving monument of Irish bardic verse. It is a great onomastic anthology of naming legends of significant places in the Irish landscape and comprises about 176 poems in total. The earliest of these date from the 11th century, and were probably originally compiled on a provincial basis. As a national compilation, the Metrical Dindshenchas has come down to us in two different recensions. Knowledge of the real or putative history of local places formed an important part of the education of the elite in ancient Ireland, so the Dindshenchas was probably a kind of textbook in origin.

a republic consisting of 26 of 32 counties comprising the island of Ireland; achieved independence from the United Kingdom in 1921 a b c Gearoid Ó hAllmhuráin, "The Great Famine: A Catalyst in Irish Traditional Music Making" in Gribben, Arthur (ed.). The Great Famine and the Diaspora. University of Massachusetts Press, 1999: pp. 104-127. ISBN 1-55849-172-4. https://drgearoid.files.wordpress.com/2014/11/the-great-famine-a-catalyst-in-irish-traditional-music-making.pdf She died in 1867 at the age of nine. Her brother Oscar wrote “Requiescat” in 1881, as a touching elegy for her. Yeats (1865-1939) has to feature on any list of the greatest Irish poets, and he often wrote about Irish history and politics throughout his long literary career.This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Basil Payne (1923) was born in Dublin on June 23, 1923. His published work amounts to three slim volumes, and numerous inclusions in anthologies of Irish poetry. Students may wish to consider purchasing an electronic device; costs will vary depending on the specification of the model chosen. This tragic event is described by the famous last line of this poem: “A terrible beauty is born.”“Easter, 1916” was first published in 1916.