Podcast appearances and mentions of lady gregory

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices

Author, theater manager, and proto-feminist, the colorful Lady Gregory played a key role in Irish history.

Lady Gregory in America, and in jail, in Colm Toibin's new opera at Wexford, Jemiriye of Les Amazones D'Afrique on campaigning in song, drinking stars in the piano music of John McLachlan and Paddy Woodworth's latest entry for The Naturalist's Bookshelf.

Introduced by John Low Narrated by John Kavanagh Read by Jim Norton • Denys Hawthorne Nicholas Boulton • Marcella Riordan William Butler Yeats was born in Dublin in 1865. His father was a lawyer and a well-known portrait painter. Yeats was educated in London and in Dublin, but spent his summers in the west of Ireland in the family's summer house in County Sligo. The young Yeats was active in societies that attempted an Irish literary revival. His early poetry was influenced by John Keats, William Wordsworth, William Blake and many more. His earliest volume of verse was published in 1889. Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre, and served as its chief playwright until the movement was joined by John Sing. His plays usually treat Irish legends; they also reflect his fascination with mysticism and spiritualism. After 1910, Yeats's dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it. He was appointed to the Irish Senate in 1922. His poetry, especially the volumes The Wild Swans at Coole (1919), Michael Robartes and the Dancer (1921), The Tower (1928), The Winding Stair and Other Poems (1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English. His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life.

Novelist, Colm Tóibín tries out comic opera in his Wexford Festival production, set during The Abbey Theatre company's US tour of Playboy of the Western World in 1911.

Oliver talked to Ella Lily Hyland about how she got into acting, excruciating exercises in drama school and he work to date including Amazon Prime series Love Fifteen with Aidan Turner, and the RTÉ Storyland drama Wrapped. She's currently in Grania – the Lady Gregory play which is on at the Abbey Theatre for the next few weeks.

Read by Christopher Kendrick Production and Sound Design by Kevin Seaman

In this episode, host Doug Still introduces us to a stunning copper beech tree in Ireland's County Galway that attracts tourists from around the world. Lady Gregory was its owner, and she drew legendary writers of her day to her house and garden at Coole Park - William Butler Yeats, George Bernard Shaw, and others. If they were lucky, they were allowed to etch their names into the bark of what's now known as the Autograph Tree. Learn the full story steeped in Irish literary history.

 - presented by Ursula Hogan   -00.31 Paul Brennan, Actor, Director, Producer and Mountshannon resident came into studio to talk to Jim Collins  about the three short Lady Gregory plays he is putting on in Mountshannon next Tuesday and Wednesday. Originally broadcast 6th July 2024

Doorknockers Theatre Company are presenting three one-act plays by Lady Gregory in the Hall in Mountshannon this week, on Tuesday the 9th and Wednesday 10th. The performances are preparatory to a tour to Switzerland, where they will be presented at an international drama festival. For more on this, Peter O' Connell was joined by Paul Brennan, the Director of Doorknockers Theatre Company.

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Seamus O'Malley is an associate professor at Yeshiva University. His first book was Making History New: Modernism and Historical Narrative (Oxford University Press, 2015). He has co-edited three volumes, one of essays on Ford Madox Ford and America (Rodopi, 2010), a research companion to Ford (Routledge, 2018) and a volume of essays on the cartoonists Julie Doucet and Gabrielle Bell (Mississippi, 2018). He is the chair of the Ford Madox Ford Society and co-chair of the Columbia University Seminar for Irish Studies. In this interview he discusses his new book, Irish Culture and "The People": Populism and Its Discontents (Oxford UP, 2022), a study of the rhetoric of populism and uses of the seemingly simple concept “The People” in Irish political and literary discourse. Irish Culture and ‘The People' argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force.  Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked "The People"--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University

We chat in The Lady Gregory and play a show in Gort Town Hall. (Part 2)  Show your support for our podcast and help with the running costs. Get a shout out on the pod when you do so :)  https://www.buymeacoffee.com/yourenotlistening Mugs, bags and aprons - Email : thesongrelease@gmail.com  Music by Dave Curtis

We chat in The Lady Gregory and play a show in Gort Town Hall.  Show your support for our podcast and help with the running costs. Get a shout out on the pod when you do so :)  https://www.buymeacoffee.com/yourenotlistening Mugs, bags and aprons - Email : thesongrelease@gmail.com  Music by Dave Curtis

Kneecap - Lady Gregory's short stories - Album reviews

Author, theater manager, and proto-feminist, the colorful Lady Gregory played a key role in Irish history.

Author, theater manager, and proto-feminist, the colorful Lady Gregory played a key role in Irish history.

Author, theater manager, and proto-feminist, the colorful Lady Gregory played a key role in Irish history.

A stunning copper beech tree in Ireland's County Galway attracts tourists from around the world. Lady Gregory was its owner, and she drew legendary writers of her day to her house and garden at Coole Park - William Butler Yeats, George Bernard Shaw, and others. If they were lucky, they were allowed to etch their names into the bark of what's now known as the Autograph Tree. Learn the full story steeped in Irish literary history.GuestsJenni McGuireHead Guide, Coole Park Nature ReserveGort, County Galway, IrelandMargaux PierrelConservation Ranger, Coole Park Nature ReserveGort, County Galway, IrelandDr. James PethicaSenior Lecturer in English and Theatre, Williams CollegeWilliamstown, MA, USADr. Anna PilzIndependent ResearcherAcademic Developer & Trainer, University of EdinburghEdinburgh, ScotlandConsulting EditorDavid Still, IIMusic"Cailleach An Airgid" - traditionalArranged by Katharina BakerPerformed by Sonic Strings from Coole Music & Arts in Gort, County GalwaySoloist - Lilian OwensSee Sonic Strings performing the piece on Inis Mór on YouTube hereTheme MusicDiccon Lee, www.deeleetree.comArtworkDahn Hiuni, www.dahnhiuni.com/homeWebsitethisoldtree.showTranscripts available.Follow onFacebook or Instagram We want to hear about the favorite tree in your life! To submit a ~3 or 4 minute audio story for consideration for an upcoming episode of "Tree Story Shorts" on This Old Tree, record the story on your phone's voice memo app and email to:doug@thisoldtree.netThis episode was written in part at LitArts RI, a community organization and co-working space that supports Rhode Island's creators. litartsri.org

We both recently headed to the Midwest for some family & friend time. Chris went to Chicago and met up with Colleen, our guest on Episodes 27 and 145. We had a browse in Women & Children First, a legendary feminist bookstore and one of Chicago's oldest indies, after which we had lunch across the street at Lady Gregory's, an Irish pub named after the legendary Irish dramatist. Chris also got to visit one of her favorite used bookstores, Frugal Muse in Darien, IL, where she found two copies of THE RED GARDEN by Alice Hoffman (it's a book on our Scarlet Summer Bingo! Card). Emily headed to Michigan to celebrate her daughter's birthday and gifted her a Little Free Library! They went on a Biblio Adventure together to Blue Vase Book Exchange in Interlochen, MI, a used bookstore with a computer inventory database (so convenient!). Emily also got to visit Bay Books in Suttons Bay, MI where she discovered the books of Viola Shipman, a local author. Shipman is actually the pen name of Wade Rouse whose grandma inspired his writing so he writes under her name. What an amazing way to honor her. We also finished a few books. Chris feels quite accomplished for having finished ULYSSES by James Joyce. Phew! As she says in the episode, it is everything that everyone has ever said it is. Emily read THE RED GARDEN by Alice Hoffman, a collection of related stories that contain a few “Easter Eggs” that'll show up in her forthcoming novel, THE INVISIBLE HOUR, which comes out in August. She also read THE BETTER HALF by Alli Frank and Asha Youmans, who will be our guests on Episode 186. As for upcoming reads and Biblio Adventures, we'll both be reading THE SCARLET LETTER by Nathaniel Hawthorne this week and are looking forward to our Biblio Adventure to Concord, MA. Reminder that our readalong discussion is on Wed, July 12, 4:30 pm ET at the Concord Public Library. If you'd like to join us in person or on the Zoom call, please email us at bookcougars@gmail.com.

William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He was born in Dublin. His father was a lawyer and a well-known portrait painter. Yeats was educated in London and in Dublin, but he spent his summers in the west of Ireland in the family's summer house at Connaught. The young Yeats was very much part of the fin de siècle in London; at the same time he was active in societies that attempted an Irish literary revival. His first volume of verse appeared in 1887, but in his earlier period his dramatic production outweighed his poetry both in bulk and in import. Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre, and served as its chief playwright until the movement was joined by John Synge. His plays usually treat Irish legends; they also reflect his fascination with mysticism and spiritualism. The Countess Cathleen (1892), The Land of Heart's Desire (1894), Cathleen ni Houlihan (1902), The King's Threshold (1904), and Deirdre (1907) are among the best known. After 1910, Yeats's dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. His later plays were written for small audiences; they experiment with masks, dance, and music, and were profoundly influenced by the Japanese Noh plays. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it. He was appointed to the Irish Senate in 1922. Yeats is one of the few writers whose greatest works were written after the award of the Nobel Prize. Whereas he received the Prize chiefly for his dramatic works, his significance today rests on his lyric achievement. His poetry, especially the volumes The Wild Swans at Coole (1919), Michael Robartes and the Dancer (1921), The Tower (1928), The Winding Stair and Other Poems (1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English. His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life. Dr Selina Guinness is a lecturer in English (Irish Literature) in the Department of Humanities and Arts Management at IADT. Her memoir about farming on the fringes of the city, The Crocodile by the Door, was published in 2012 by Penguin Ireland. It was shortlisted for the UK Costa Book Awards (Biography) and nominated for Best Newcomer at the Irish Book Awards. (Source: The Nobel Foundation)

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In this episode of Talking History, Dr Patrick Geoghegan looks at the story of St Patrick through the centuries and finds out about the iconography and the legends surrounding the patron saint of Ireland with journalist Alannah Hopkin; he also investigates why civilisations collapse with archaeologist John Darlington, and hears about the copper beech tree Lady Gregory used to ask her guests to autograph, with historian William Henry.

Dublin Senator Lynn Ruane embarked on a roadtrip across Ireland this summer with Bafta-winning actress Miriam Margoyles to explore the life of Lady Gregory. She joined Alison to chat about her mate Mimzo, travelling cross country, and even managed to squeeze in a quick lesson in Dublinese....

Bentornati al podcast “Storie di Celti intorno al fuoco” un podcast realizzato dalla Celtic Harp International Academy in collaborazione con English Galore School. Ogni mitologia ha i suoi eroi e l'Irlanda ne annovera due tra i più famosi e valorosi: partiamo quindi con Finn mac Cumhaill e scopriamo le sue avventure dall'infanzia all'età adulta in una serie di episodi che compongono un testo medievale tra i più importanti del ciclo feniano giunto fino a noi, l'incredibile racconto delle “gesta giovanili di Finn”. Visita il nostro sito e seguici sui social: https://www.celticharpacademy.com/ https://englishgalore.school Facebook: https://www.facebook.com/storiedicelti https://www.facebook.com/celticharpacademy https://www.facebook.com/EnglishGaloreSchool Instagram: https://www.instagram.com/storiedicelti/ https://www.instagram.com/celticharpacademy/ https://www.instagram.com/englishgaloreschool/ Testi di Paolo Rolfo Editing di Valentino Barbareschi   Bibliografia:   - James MacKillop, Myths and Legends of the Celts, Penguin Books, 2006 - Lady Augusta Gregory, Gods and fighting men: the story of the Túatha Dé Danann and of the Fianna of Ireland, arranged and put into English by Lady Gregory, 1905, licenza pubblica - James Stephens, Irish Fairy Tales, 1920, licenza pubblica - T.W. Rolleston, I miti celtici, Longanesi, 2021 Musica:   - The Humours of Ballymanus Jig (sigla) - Planxty Irwin (Turlough O'Carolan) - Deireen Dee   Performer: Elisa Petruccelli, Alessia Bianchi, Compagnia del Piccolo Popolo   https://www.instagram.com/elisa_loves_harp/ https://instagram.com/alessia.harp/ https://instagram.com/compagnia.del.piccolo.popolo/ Editing:    Celtic Harp Production   Copyright: Paolo Rolfo, Valentino Barbareschi, Elisa Petruccelli, Alessia Bianchi, Compagnia del Piccolo Popolo

Read by Dave LuukkonenProduction and Sound Design by Kevin Seaman

Bentornati al podcast “Storie di Celti intorno al fuoco” un podcast realizzato dalla Celtic Harp International Academy in collaborazione con English Galore School. Durante questa puntata ascolteremo una delle storie più famose del Ciclo Mitologico irlandese e scopriremo le gesta di Lugh dal lungo braccio. Visita il nostro sito e seguici sui social: https://www.celticharpacademy.com/ https://englishgalore.school Facebook: https://www.facebook.com/storiedicelti https://www.facebook.com/celticharpacademy https://www.facebook.com/EnglishGaloreSchool Instagram: https://www.instagram.com/storiedicelti/ https://www.instagram.com/celticharpacademy/ https://www.instagram.com/englishgaloreschool/ Testi di Paolo Rolfo Editing di Valentino Barbareschi   Bibliografia:   - James MacKillop, Myths and Legends of the Celts, Penguin Books, 2006 - Lady Augusta Gregory, Gods and fighting men: the story of the Túatha Dé Danann and of the Fianna of Ireland, arranged and put into English by Lady Gregory, 1905, licenza pubblica - T.W. Rolleston, I miti celtici, Longanesi, 2021 Musica:   - The Humours of Ballymanus Jig (sigla) - The Pride of Petravore hornpipe     Performer: Elisa Petruccelli   https://www.instagram.com/elisa_loves_harp/ https://instagram.com/celtic_strings_project/ Editing:    Celtic Harp Production   Copyright: Paolo Rolfo, Valentino Barbareschi, Elisa Petruccelli, Celtic Strings Project

A Pair of Muddy Shoes by Lennox RobinsonLennox Robinson was an Irish author, poet, dramatist and theatre produce who was born in Westgrove, County Cork, Ireland in 1886 the son of a Protestant clergyman, who had previously been a stockbroker. Lennox (fully Esme Stuart Lennox Robinson) was often ill as a child and educated by private tutor and at a Church of Ireland (that is the Protestant Anglican Church) School.  He became interested in drama when he saw a production by W B Yeats and Lady Gregory at the Abbey Theatre in Dublin when he was 21. (If You Appreciate The Work I've Put In Here - You could buy me a coffee at https://ko-fi.com/tonywalker or join as a Patron for exclusive content here: https://www.patreon.com/barcud)His play Cross Roads was produced at the Abbey in 1909 and he became manager there the same year. He resigned in 1914 after a poorly reviewed tour of the USA, but came back in 1919 and was appointed to the theatre's boar din 1923 and served there until his death in 1958. It is said that he was an alcoholic and often depressed.   He was Anglo-Irish but was committed to the Irish nationalist cause (like Yeats and Lady Gregory). His wife's mother was a spiritualist. A Pair of Muddy Shoes is written in a very naturalistic, conversational style which was fun to read and very different from some of the other things we've been reading out recently (Poe, I'm looking at you).  It's all fun, and I like both styles.The story is written from an Irish woman's voice and I read it as an English man. You will know I debate with myself whether I should do accents (which I enjoy) or read a woman 's voice. The second I have few problems with to be honest, the first is more of a problem because though I enjoy doing the accent there is always someone who's ear is so finely tuned that it jars and spoils the story.  So, I decided to do this in my native voice. The story is about a possession but it's unusual and fresh in its setting in rural Ireland (I thought of Craggy Island and the big priests' house looming up from the middle of a bare field, no garden, no path, no nothing leading to it). The spirit of the murderer remains very wicked and his pleasure in the crime infects the shy young woman who is speaking.There is something about weird juxtapositions like the white cat with the narrator's face and then when she goes into the house, the victim says that she has the face of a girl, but the hands of a rough man. And you can join my mailing list and get a  free audiobook: https://bit.ly/dalstonvampireMusic By The Heartwood Institutehttps://bit.ly/somecomeback***Support the show

Benvenuti al podcast “Storie di Celti intorno al fuoco” un podcast realizzato dalla Celtic Harp International Academy in collaborazione con English Galore School. Durante questa puntata scopriremo come l'Irlanda è riuscita a custodire la maggior parte delle testimonianze del mondo celtico giunto fino a noi, conosceremo la figura del bardo, cantore e poeta delle gesta di eroi ed eroine e ascolteremo la storia di arpe magiche e leggendarie. Visita il nostro sito e seguici sui social: https://www.celticharpacademy.com/ https://englishgalore.school Facebook: https://www.facebook.com/storiedicelti https://www.facebook.com/celticharpacademy https://www.facebook.com/EnglishGaloreSchool Instagram: https://www.instagram.com/storiedicelti/ https://www.instagram.com/celticharpacademy/ https://www.instagram.com/englishgaloreschool/ Testi di Paolo Rolfo Editing di Valentino Barbareschi Bibliografia: - Lady Augusta Gregory, Gods and fighting men: the story of the Túatha Dé Danann and of the Fianna of Ireland, arranged and put into English by Lady Gregory, 1905, licenza pubblica - James MacKillop, Myths and Legends of the Celts, Penguin Books, 2006 - Elena Percivaldi, I Celti, un popolo e una civiltà d'Europa, Giunti, 2005 - T.W. Rolleston, I miti celtici, Longanesi, 2021 Musica: - The Humours of Ballymanus Jig (sigla) - Brian Boru's March Performer: Elisa Petruccelli https://www.instagram.com/elisa_loves_harp/ Editing: Celtic Harp Production

Edward John Moreton Drax Plunkett, 18th Baron Dunsany Edward John Moreton Draw Plunkett, or Lord Dunsany was known to his friends as Eddie. Lord Dunsany was born in 1878 in London England and died in 1957 in Dublin Ireland.   Though born in England, he was heir to the oldest inhabited house in Ireland: Dunsany Castle near Tara. In County Meath. He worked to support the Abbey Theatre in Dublin with W B Yeats and Lady Gregory. In addition he was chess and pistol champion of Ireland. He was also a great traveller and, as you can tell from this story: he was a habitual hunter with horse and hounds. He was a prolific writer produced over ninety volumes of fiction, essays, poems and plays. His most famous book is possibly The King of Elfland's Daughter and he is thought to be the first fantasy writer who set out the later genre that produced the Narnia books and The Lord of the Rings and ultimately Game of Thrones.  Thirteen At Table This story was suggested by Mike Jenkins. We have a beautiful description of the Kent countryside on a spring evening as they follow the fox. This is indeed a fox hunt and may not be to everyone's taste but is part of the story. I like the idea that a gentleman at hounds may request a bed from any other gentleman who has a gentleman's house. It's s simple tale thereafter. We have host, Sir Richard Arlen, who says he has lived a wicked life. What he has done to this succession of women that means he has to dine with them every night for the past fifty years is not explained. But we understand he has wronged them and we guess perhaps he was somewhat of a rake. As the dinner goes on. It is explained that Mr Linton drinks a lot as he is dehydrated. He is also tired. He starts off by humouring the guest and then takes to his story of his wonderful twenty point hunt. The best hunt that ever was and a tale that grows in the telling. I am thinking this is a good humoured dig at huntsmen and their stories.  And as he feels the need for an audience to tell his tale, slowly the ghosts become visible to Mr Linton and he begins to treat them as real people rather than as figments of his imagination. It is so slowly and delicately done that it is very effective and smooth.  In the end he offends the ghosts by something he said. They are clearly very sensitive and collect slights. He is mortified, but the host is supremely grateful.  There is a happy ending in that Sir Richard Arlen It's a humorous and pretty story. I haven't read much Dunsany, but I'm keen to read more now. If You Appreciate The Work I've Put In Here If You Appreciate The Work I've Put In Here You could buy me a coffee  https://ko-fi.com/tonywalker (https://ko-fi.com/tonywalker) Become a Patron https://www.patreon.com/barcud (https://www.patreon.com/barcud) And you can join my mailing list and get a free audiobook:  https://bit.ly/dalstonvampire (https://bit.ly/dalstonvampire) Music By The Heartwood Institute https://bit.ly/somecomeback*** (https://bit.ly/somecomeback***)

Our Story Irish mythology offers us a tale of a pagan hero named Oisín who left his companions, the warriors of the Fianna, and followed a fairy woman named Niamh to her home in Tír Na nÓg, the land of eternal youth. After three hundred years, Oisín returned to Ireland and found that a man named Saint Patrick had arrived and brought along a faith called Christianity that changed everything. The story of the relationship between Oisín and Patrick is inspired by Lady Augusta Gregory's story from her 1904 book, Gods and Fighting Men. Lady Gregory, the famous folklorist of the Celtic Revival drew her inspiration from the tales found in Acallam na Senórach/Tales of the Elders of Ireland, which is a compilation of four different medieval Irish texts. This story is written by Marisa Goudy and performed by Kevin Michael Murphy. This retelling dares to soften the ending, focusing on the friendship that might have existed despite Oisín and Patrick's religious differences and the way we still celebrate Ireland pre-Christian heritage rather than the usual bitter lament about the end of the magical Celtic world. Our Guest Kevin Michael Murphy is an actor and voice teacher based in New York City. As an actor Kevin has toured with the Broadway musical, The Book of Mormon. As a teacher, Kevin is the cofounder of the NYC Vocal Studio, and is currently on the voice faculty at NYU Steinhardt. Kevin's unique way of working with singers focuses on playfully exploring connections between the mind, the body, and the cultivation of one's artistic point of view. Kevin works with a variety of humans, some sing on Broadway in shows such as Wicked and Chicago, and others sing in karaoke bars and showers across America. And, of course, Kevin's confirmation name is Patrick. Find Kevin at www.NYCVocalStudio.com and at Instagram at https://www.instagram.com/nycvocalstudio/ (@NYCVocalStudio) and https://www.instagram.com/kevinmichaelmurphy/ (@KevinMichaelMurphy) Our Conversation Marisa and Kevin first met at Camp GLP (Yay, Good Life Project!) and instantly bonded over Irish music, theater, and the power of song. In this conversation they explore:  The phrase from the Irish language, fite fuaite, which means interwoven and connected The enduring yet ephemeral nature of theater: e cannot hold onto a performance, but we can hold onto to a story The time magic of story: what it means to tell a story about a 1500 year old friendship for future listener Reflection on how time changes the nature of friendship and the shifts in relationships through the pandemic years The concept of the “Anam Cara,” and Irish phrase meaning “soul friend” which was brought to public consciousness with philosopher poet John O'Donoghue's book of the same name Reflection on being Irish American Catholic kids and how that faith is part of our lineage rather than our lived lives Kevin's several times great aunt Eileen Huban was starred on Broadway in Irish productions, most famously in David Belasco's Dark Rosaleen in 1919  Our Music Music on the show is by the wonderful Beth Sweeney and Billy Hardy, a Celtic Fiddle and multi-instrumental Duo based on Cape Cod, Massachusetts. The traditional Irish reel we play at the start of the show is called The College Groves. Find out about their music and shows at: http://billyandbeth.com/ (billyandbeth.com) Connect With Your Own Stories and with Marisa's Work Join Marisa's online writing community, thehttps://www.marisagoudy.com/sovereign-writers ( Sovereign Writers' Knot) Explore Marisa's work and get a copy of The Sovereignty Knot : https://www.knotworkstorytelling.com/episode/www.marisagoudy.com (www.marisagoudy.com) Follow the show on https://www.instagram.com/knotworkpodcast/ (Instagram), https://www.facebook.com/knotworkstorytelling (Facebook), and join our vibranthttps://www.facebook.com/groups/knotworkpodcast ( listeners' community).

In this episode, Tom is looking at the first refugees who arrived in Galway during the Second World War. Ronnie is still looking at the abbey players tour of the United States and Lady Gregory's brief holiday romance.You can find the articles referenced in this podcast on www.advertiser.ie/galway

Meet the woman behind the Irish literary renaissance: Lady Augusta Gregory! A preservation powerhouse, Lady Gregory ensured that Irish history, literature, theatre, and culture was recorded for future generations (including us!) to enjoy. Come celebrate both Women's and Irish History month, Get Lit style! 

This week we are talking about the movie Disney movie, Brave. We won't be covering Merida's red hair, as glorious as it is, but instead focusing on the wisps that lead Merida to change her date. The beautiful little wisps have a rich history in Europe and Latin America. For instance, in Ireland, there's a story about Jack who tricks the devil into giving him an eternal light. There's another great one in Mexico, where the wisps are witches who transform to lure people to their death. Or if you're in Scandinavia, the wisps will lead you to fairytale gold. As always, we learn what and who to avoid, just in case fairies appear. Basically, swamps, bogs and marshes are off limits.  Once we figure out just what wisps are and where they appear, we find out if science has an explanation. Bioluminescence, natural gases, or perhaps good old fashioned car headlights? We'll find out, listen now! Follow us on Twitter and Instagram:https://twitter.com/MythsMovieshttps://instagram.com/mythsinmoviesSources! https://historydaily.org/will-o-the-wisp-deadly-fairy-lightshttps://www.surfandsunshine.com/will-o-the-wisp-brave/Lady Gregory, Visions and Beliefs in the West of Ireland, with two essays and notes by W. B. Yeats, series 1 (New York and London: G. P. Putnam's Sons, 1920), p. 9.Support the show

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A comic tale of Irish village life centring on Thomas Coppinger, a stonecutter, and his wife Mary who states from the outset how much happier she would be in America. When two whales are beached during the night, and the villagers consider that their oil is worth hatfuls of gold, it seems like all of their wishes may finally have come true... Cast: Bryan Burroughs Declan Conlon Fionnuala Gygax Marcus Lamb Fiona Lucia McGarry Máire Ní Ghráinne Ian O'Reilly Don Wycherley Director: Sarah Jane Scaife Unseen Plays Curator: Professor Christopher Morash Audio Recording: Windmill Lane Recording Studios Facebook - @ AbbeyTheatreDublin Instagram - @ AbbeyTheatreDublin Twitter - @ AbbeyTheatre More info: https://www.abbeytheatre.ie/whats-on/unseen-plays/

Fidelio is Beethoven's only opera, Irish National Opera will stage a production of the work at the Gaiety Theatre, artistic director Fergus Sheil & director Annabelle Comyn, John Banville on his latest novel, April in Spain, Unseen Plays is a series of weekly podcasts by the Abbey Theatre featuring lesser-known plays by Lady Gregory & WB Yeats.

William Butler Yeats - Easter,1916 - The Poetry That Inspired Things Fall Apart   Hi, I'm Christy Shriver, and we're here to discuss books that have changed the world and have changed us.    And I'm Garry Shriver and this is the How to Love Lit Podcast.  We have just wrapped up our four part series on Chinua Achebe and his groundbreaking book Things Fall Apart.   Generally, between books, we take a moment to look at a poem or a shorter piece that in some way connects to the longer piece we have been discussing. This week and next week, we want to discuss W. B Yeats, the Irish poet who wrote the poem “The Second Coming” from which Achebe took the title of his book.  Christy, what can you tell us about this poet, beyond the fact that he won the Nobel prize for literature in 1923?  Should we really like him?  Bottom line- is he boring for those of us who aren't poetry heads?      HA!! Well, as you know- I'm always trying to pitch the idea that poetry is for everyone- you don't have to be a melodramatic person all caught up in their feels to find value in poetry.  It's a tough sell, and every year when I get new kids in class- I have the arduous task of making this case.  In fact, school starts for me tomorrow- if you're listening to this in real time, we are recording this in the fall of 2021 and school is starting back for us this week- and even though I am teaching all American Literature this year- this year- from AP all the way to regular English and all the levels in Between- I'm starting with the Irish poet William Butler Yeats- and actually this poem that we're talking about today.  The reason I'm doing it- for one thing- Yeats is on my mind- but the bigger reason is because this poem is an occasional poem- an occasional poem is where you are moved by an occasion and this occasion provokes feelings that need to be recorded.  My students are coming back to school after being locked in their homes- some of them have not been out in a year and a house.  The first thing we are going to do is write an occasional poem, and we're going to model it after Yeats.  If you're a teacher and interested in this assignment, it's on our website, but otherwise, my point is- Yeats was a guy who knew how to say things that we feel and here he conveys strong emotions about the identy politics of his day- something we all know a little bit about these days.  But Yeats has become popular because he knows how to express things people understand and identify with. The Coen brothers were inspired by him in their movie “No Country for Old Men” .  He's shows up in episodes of Cheer's, the band the Smith's have alluded to him and even Joe Biden in a foreign policy speech has alluded to the very poem we're talking about today.  But to answer your question, yeah, if we should like him- that's always difficult to say.   Honestly, he's from an era that's long gone and from a part of the world, that's different than for many of his readers.  He's also  little difficult to dissect because he loves symbols.    Those were a lot of disclaimers there.      BUT, if you do get into him, there are a lot of people that actually enjoy his work- not just poetry heads.  You'll  see him on a lot of those brainy quotes.    I guess that's true.  I actually just saw a meme on LinkedIn that quoted him.      So, because Yeats has such a large body of work and is so complicated, we're going to spend this week talking about him and the poem “Easter, 1916” then next week we'll move to the poem Achebe uses for his book title, “The Second Coming”.  It's harder to understand than the one we're doing today.  It's slightly apocalyptic and so complex, but don't think it doesn't have intrigue- Yeats had a complicated romantic life in general that we'll talk about some today, but ultimately it resulted in a strange but successful marriage with a woman, named George,  who besides having the interesting ability to dictate messages from the other side, as in ghosts and stuff- was 18 when they met, btw-he was 46.  So there you go…stay tune…    Ha- okay!  I can see how that age gap might turn some heads, especially at the turn of the 20th century.  So, can we expect symbols and philosophy?    That's some of it.  But also, his body of work is so large; it's complicated; it has a lot of variety.  He started out talking about all the myths and beauty of his home country.  But he didn't stay there.  His work is romantic; it's political; it's spiritual- he didn't just write poems either, he wrote plays- but in all things the one thing that is true in all of it is that - his work is Irish- there is so much magic and mystery embedded in this history and culture of Ireland- those of us who don't share the heritage of leprechauns, fairies, and magic are at a disadvantage by never having visited the amazing end of the rainbow we call Ireland.    I know that's a sore subject with you.  To get personal for a minute, Christy and I have gone with students on EF or Education First on several trips to Europe over the last few years.  In 2020, we had a trip planned with students from here in the Memphis area to tour Ireland and Scotland.  We were finally going to go but, of course, Covid struck the world, and that got cancelled.  Ireland is still on the bucket list, hopefully we'll get lucky soon to be able to discover for ourselves the beauty and the mystery of the place- but until then, we will live vicariously through Yeats, U2 and most recently- The Derry Girls- Yes, I'm not ashamed to admit we watch and love that show.       It is a fun show- and really contextualizes in some very funny ways this ethnic challenges Ireland faces.  Poor James Maguire, one of the characters on the show is English- born- but has to attend an all girls school for his safety- due to his accent.  Their making fun, but we all know, of course, that racial tensions and identity politics can get ugly in a hurry.  Anyway, getting to Achebe, and Yeats, it's really not surprising to me that Yeats caught Achebe's attention.  And in many ways has a lot in common with Chinua Achebe.    Well, they are from two very different places in the world, how do you mean?    Well, first of all, and this is a big one- both men were men between two cultures- and this is something those of us outside of Great Britain or even Europe don't always have in the forefront of our minds.  The Irish and the English are NOT the same people group.  The Irish are descended from the Celts; The English are Anglo-Saxon.  The Irish, like the Igbo, had a different language for centuries and in Yeats day when he visited the country side- it was the heart language of many of the country people.  The Irish are Catholic; the English are Protestant.  But the Irish are also animistic in many ways, especially the country people, and it was this culture that enchanted Yeats as a child, as did the animism of the Igbo for Achebe. Of course, the largest similarity between these two men are their lived experiences with colonialism.  Yeats lived through the Irish Independence, as did Achebe through the Nigerian one.  Both experienced the violence of transition and post-colonialism.      Again something a lot of the world forgets about.  We think of colonialism in terms of Africa, Asia and the Americas, but the English efforts to colonize Ireland date to the 1500s, so we are talking about a long term antagonism and complicated history.    And William Butler Yeats was born in Dublin,  Ireland in 1865 in an English protestant household to a promising middle class lawyer.  So, you can already see the set up for a front row to political conflict.    1865, for Americans means the Civil War, but for those in Ireland, there was another horrific crisis.  Just like the stable crop in Nigeria is the yam; the staple crop of Ireland was the potato, and in 1845 a strain of white mold hit the potato crop and a great famine broke out.  Literally millions died of starvation and millions of others were forced to take their chances crossing the ocean and fleeing to America.  Besides just the natural catastrophe of the agricultural disaster, an even worse problem was the British government's reaction to it.  There was a lot of prejudice in England towards the Irish, which we talked a little bit about when we talked about Frankenstein and Mary Shelley, but basically the government basically did too little to feed a starving population.  In fact, a lot of absentee English landowners- and who those guys were were basically were the hedge-fund owners of their day, those guys went so far as to still export Irish food supplies and evict poor tenant farmers who couldn't pay their rents.  So, beyond being a natural disaster, the natural disaster brought out the worst in many people and so as these things often do- natural crisis turned political.  Many more Irish, even Protestant ones, who otherwise may not have been political people, began to see the importance of Self Rule in Ireland- Many who called Ireland home whether they were ethnically Irish or ethnically English began to strongly support political changes that would be costly.    And that of course is Yeat's family's case- except with a twist.  Yeat's father, decided when Yeat's was two that he was going to leave Dublin and move to London to attend art school.       At first pass feels slightly irresponsible.     I think his wife thought so.  William's mother, whose family was rich and from the countryside- was not a fan of urban London bohemian poor person life. In fact, she couldn't deal with it and broke down emotionally.  Her depression got to the point that she became bedridden and basically droped out of the picture until her untimely death.  So, we have children, who, like many of us, are dropped into multiple cultures and are displaced.  We have little William, his brother Jack, and two sisters who are basically living in household where their parents hated each other.  They also, for the most part, lived in poverty, but they had this wealthy side of the family who lived well but far away in Ireland, in a town called Sligo.  During the school year, Yeats lived this impoverished life in a London slum where he was the Irish poor kid, but in the summer he would go to his grandparents fancy house in Sligo, this nice town on the coast.  However, Sligo is a Catholic area, so even though he can identify with the people in this community because he's from the same countyr, he's not from the same ethnic or religious group.   He's the Protestant outsider kid from London.    Except he's not even really protestant either is he.        No, he really isn't- and I guess that's the Bohemian art side of this father.      His father did not believe in Christianity, which as we know, in that time period was a majority view.    And I guess that's what made the folklore and animism of the Irish culture so attractive to little William.  In Sligo, he learned about Irish folklore- which is something I don't know a whole lot about, except that it's magical- literally.  And we know he loved all this because he wrote about later in life.  He talked about people he knew growing up that taught him about magic and ghosts and would swear they had seen fairies.  He gathered these stories in his head and used them as inspiration for his early writing career.    Well, like we talked about last week, lots of people all around the world are animistic, so is it possible that the cultural tradition of the people in Ireland, also in some ways connects to several beliefs of the Igbo.      I think that's likely fair to say.  Irish mythology certainly has a pantheon of gods, and ancestors also play a role in all of that.  Yeats was definitely an animist as we'll talk about next week with a serious piece “The Second coming”, but his career started here with these fanciful stories.  One famous poem called, “The Stolen Child” is based on this idea that sometimes fairies steal human children, and it seems thatYeats likely really did believe in fairies.  He kind of reminds me a little bit of William Blake, in fact, a lot of Yeat's stuff reminds me of William Blake, especially the spiritual stuff.      And I want to be careful here not to get into the weeds here, but one time someone asked him if he really did believe in fairies, to which he responded something to this gist of- well, none of us really know what we do and don't believe until we're put to the test- and in fact, our behaviors say more about what we believe than what we tell people whether we realize it or not- which is kind of an interesting response.      I guess he's wanting to say, all of us believe in things we won't own?  We claim to not believe in ghosts until we step into a haunted house and then no matter what we say, we run out like crazy people away from them.      I think it's something like that.   W. H. Auden when he wrote a poem eulogizing Yeats referenced this part of him as his silliness- but says it this way, “you were silly like us” and though it's strange to believe in fairies- and maybe silly- Yeats is kind of honest about his strangeness or silliness.       And is that what people like about him?  Do you think Part of the reason he could feel the strangeness of things so deeply has to do with this multi-cultural upbringing?  Being, to use Achebe's words living at a crossroads of cultures.    I do, just like Achebe.  And he definitely feels for the birth of his nation-- and that's the poem we're going to talk about today, “Easter, 1916” but before we go there, there's another part of him that has fascinated the world- another strangeness.  Yeats had a strange fascination with this woman named Maud Gonne.      Who is she?    I would say, Maud Gonne is what Brittney Spears might call a Femme Fatale.     Oh dear, Brittney Spears makes an Irish appearance!       I think Yeats would have like Britney, actually.  But anyway, the story goes that Yeats writes a poetry book.  It gets published and actually becomes pretty popular.  One person who noticed it was a woman named, Maud Gonne.  She was independently wealthy- very rich in fact, young, beautiful, well educated and an extremely aggressive Pro-Ireland political activitist and actress.  Like Yeats, she was from Ireland, but Anglo-Irish- so not ethnically Irish, but from Ireland.  I know that gets confusing.  After Yeat's book came out, she went to see him in London, and he immediately fell in love with her.  They hung out for the 9 days she was there in London- and apparently that was enough to inspire a 45 year infatuation.  He was going to be in love with her for most of his life.  He proposed to her more times than I can find out- exactly-  I've heard numbers like 18 times- she rejected him every single time.  He wrote love poem after love poem for her. He wrotes plays for her to act in.      Sounds a little bit like Petrarch and Laura- he seemed to enjoy unrequited love- the impossible woman.     Yeah- except it gets weirder.  Yeats, was absolutely convinced Maud was this virginal innocent rose.  Even after birthing two children with a married French journalist, sadly one child died.  The other, however, did not, Iseult.  Anyway, Yeats- in the face of insurmountable evidence- believed Maud was virginal until finally she told him the truth years later that the child was actually hers.    How did that go over?     Well, at first he quit writing poetry about her, but then he did what most men would do who can't get over their femme fatale even after 45 years.    Oh, and what is that?    He waited until the Iseult turned 22, and then tried to talk her into marrying him.    By her, do you mean the daughter?  Or did he try to get the daughter to talk her mother to marry him.      Oh no, you were right the first time.  He proposed to the daughter- and she seriously considered it.      Well, there you are.  I'm assuming she looked like her mother.    You assume correctly. She looked uncanningly like her mother did at that age.      Nice.  So, are we to assume it's a physical obsession that lasted all those years?    Part of it, I guess.  I'm sure, it would be a fascinating psychological study, if people do stuff like that.  He definitely was enamoured with Maud Gonne's beauty, but they also connected spiritually.  They both shared a lot of these animistic beliefs, not fairies, but connecting with the other world and things like that.  But, one other thing that really attracted him to her was her politics.  She was a extremely vocal spokesperson for the Irish homeland- something Yeats believed in too.  He wasn't as big of an advocate as she was because she was for violence and he was against that, but she had real conviction.  She gave speeches, organized protests, did a lot of the things we seen political activitists do today- all of this was to overthrow British rule.     Well, let me add that in the late 1890s, this would have been very progressive.  Gender stereotypes were deeply entrenched during this time period, especially in Ireland.  It's unusual for a man of this period to find this kind of independence so irresistibly attractive.      I agree, but Yeats is one of those men that is attracted to strong women- Maud Gonne and her daughter weren't the only ones.  He had a very deep and personal relationship  with another woman named Olivia Shakespear, who actually was in love with him and whom he blew off. He also was besties with another powerful Irish nationalist woman named Lady Augusta Gregory. She actually worked with him on an important project to help create an Irish theater, and even supported him financially.      Anyway, the reason I bring all this up besides the fact that it's just kind of interesting, is that the poem Easter, 1916 is a political poem, but it's deeply personal as well.  Yeats did that sort of thing a lot- he would take a world event and make it personal.  The poem “Easter, 1916” is considered the most powerful political poem every written in the English language- of course that's always arguable.  But it is powerful.  But it also connects personally.         In 1903 Maud Gonne- the ultimate unattainable woman- actually marries someone else- ending for a time Yeat's continual marriage proposals.  She marries an Irish revolutionary named Major John MacBride.      And not long after this, political chaos is breaking out all over the world. Tell us about it, Garry.     Well, just in terms of Ireland, after the potato famine- which I cannot overemphasize how serious that is, we have what has been called The Land Wars.  To oversimply, in the 1800s rural tenant farmers were starving, they couldn't pay their rents, they got evicted by rich often absentee landlords, and then violence erupts.  By this time, concessions were being made and many tenants were buying their own property.  The Irish were making progress towards a better life, but it's a mess.  Many were still leaving for America; many were still convinced they needed their own country.  The country is totally divided.  In 1914, Britain finally approves Home Rule, which means that Ireland won't be independent, but will rule itself.  This seems great, except World War 1 breaks out and home rule doesn't get implemented.      And Yeats is not really on team Radical- like Maud Gonne is.  Maud Gonne wants complete independence and an Irish state.  Yeats is for Ireland, but he believes England will keep faith; Home Rule will be a reality and no one else really needs to die over this.  His, like many Irish people, was a middle of the road, ready for compromise kind of attitude.  He wants reconciliation between the people groups, which makes sense if you think about his upbringing.      But here's the complication with World War 1- what are the Irish supposed to do?  They want to rule themselves, they've been promised they are going to be given this opportunity with Home Rule, but now they've been told, we'll we get around to doing that later.  We have a bigger problem and we can't deal with this right now.  Oh and by the way, we need you to send your young men to fight.  The Irish are in an  existential double-bind.  Now they find themselves having to decide do that fight FOR the British against the Germans or do they run the risk of Germany winning?   Many Irish chose to fight with the British.  Now think about what does this mean?  Christy, you have strong feelings about World War 1- what do you think?    I really do- I hate WW1- it was just the worst.  It means trenches, poisonous gas, trench foot, it means awful political propaganda.  It means little children as young as 14 lying about the age and people knowing they were lying about their age and dying in those awful trenches for reasons they couldn't even tell you.  It means everything awful.    Ha!  True- tell us how you really feel.    Well, it's so sad.  Anyway, I guess for the Irish, it means, if they fight for the British, they earn the right for some sort of independence.  Yeats believed, and I use his words, the British may still “keep faith.”      Well, that brings us to the year 1916.  The year has been going on for a while now.  In Ireland there were basically two political parties- one for fighting for the British, another against.  There was an Irish Militia= the Volunteers- of this group- there were the National Volunteers and then the Irish Volunteers.  You can probably guess which one was for supporting the war and which one was more interested in creating a free state of Ireland.      I'm going to say the Irish Volunteers.    Yep, and I hope this isn't hard to follow- but here's what happened- we have two groups of people.  During the week of Easter 1916, we have many of the Irish Volunteers making the decision that they were going to take the opportunity that the British were distracted by the war and declare independence.  They picked Easter because of the idea of Jesus Rising again, the Irish rising again, so around 1600 go downtown, stage a rebellion, take over a bunch of buildings most prominently the Post Office and declare that Ireland is now a Republic.  The British, of course, respond by bringing in troops.  It gets violent, 485 are killed- half of those civilians.  1800 are taken to prison in Britain.  It's a big riot. For the most part, most Irish people don't support this movement.  However, the British make a terrible political mistake.  They choose to execute 16 of the leaders of the rebellion.  This caught everyone by surprise and outraged the people of Ireland.    Yeats was in the group.  It wasn't that he thought what the rebels did was right, but he understood their frustration, and the English owed them some sympathy.     Exactly, and the irony is not lost on anyone that during this same week over in Hulluch, where they were fighting the Germans, the Germans had just released an extremely deadly poisonous gas attach on an Irish division of Volunteers and 442 had died just from the gas poisoning on the first day of the attack alone.    And here's the personal connection, one of the men executed by the British for being a leader in the rebellion was Maud Gonne's husband, McBride.    Yeats is very moved by everything.  He's moved by the rebellion and he's devastasted by the response of the British in executing the rebel leaders. He says this in a letter to Lady Gregory, “I had no idea that any public even could so deeply move me,” He was not even in Ireland at the time.  He further told her later, “I am very despondent about the future.  At the moment, I feel that all the work of years has been overturned, all the bringing together of classes, all the freeing of Irish literature and criticism of politics.”  In the poem, which we're getting ready to read, he talks about four of the rebels specifically.  A couple of them he liked.  He hated McBride, not just because Maude Gonne had married him, but because he physically beat her and her daughter and since they were Catholic she couldn't divorce him.  McBride was a horrible person, but he knew him.  Dublin was a small town, and everyone knew everyone involved.  When Yeat's writes at the end of the poem that  all has changed- changed utterly.  He means exactly that.  There is no going back to the way we were thinking before.          Yes- the Irish war for independence starts in 1919 and by December 6, 1921, there is a free Irish state.     The poem was not published until 1920, so that's halfway between the war years, I guess.  It helped unify the Irish into wanting independence- he was famous.  He also made what happened in Dublin personal to everyone.  What's interesting about the poem is that it doesn't necessarily make the people who were executed holy martyrs- he even wonders if it was worth their lives.  What it did was, kind of say, well, maybe they were too fanatical, maybe they should have done it, maybe they shouldn't, but that's in the past now.  Now, I'm going to wear Green- and we all know that's the color representing Ireland, the Emerald Island.    Let's read the poem.  We'll read it stanza by stanza, and then we'll make some more comments at the end.    I have met them at close of day     Coming with vivid faces  From counter or desk among grey     Eighteenth-century houses.  I have passed with a nod of the head     Or polite meaningless words,     Or have lingered awhile and said     Polite meaningless words,  And thought before I had done     Of a mocking tale or a gibe     To please a companion  Around the fire at the club,     Being certain that they and I     But lived where motley is worn:     All changed, changed utterly:     A terrible beauty is born.      First thing to notice is that it's in the first person.  I- have met them.  These people- these were people I knew before the war.  For the most part, I didn't even care a lot about these people, “I have passed with a nod of the head or polite meaningless words”.  He points out that he had even made fun of them, “thought before I had done of a mocking tale or a gibe…at the club”- maybe he had thought they were just the crazy radical people they sat around drinking laughing at the less educated types.  Notice that he throws in the word “motley”- that's the outfit court jesters wore, the fools- they were clowns until- all changed, changed utterly- a terrible beauty is born.    And it is that phrase, “terrible beauty that people love so much”.  It's an oxymoron.  What happened was terrible- the rebellion was terrible- but they were doing it for something beautiful.  Their ideals were honest.  There death is giving life to something that is important to all of us- they were proven to be right.     but the actors in this comedy are going to transform into players in a tragedy as we move through the stanzas.  Let's read the second one,    That woman's days were spent     In ignorant good-will,  Her nights in argument  Until her voice grew shrill.  What voice more sweet than hers     When, young and beautiful,     She rode to harriers?  This man had kept a school     And rode our wingèd horse;     This other his helper and friend     Was coming into his force;  He might have won fame in the end,     So sensitive his nature seemed,     So daring and sweet his thought.  This other man I had dreamed  A drunken, vainglorious lout.  He had done most bitter wrong  To some who are near my heart,     Yet I number him in the song;  He, too, has resigned his part  In the casual comedy;  He, too, has been changed in his turn,     Transformed utterly:  A terrible beauty is born.    So in this stanza, he describes four people.  Four people he knew.  I do want to point out that these four people are not the four most important people in the rebellion.  They aren't the most significant rebels.  He picks them because they were personal friends.  “That woman”     “That woman”- Constance  Markievicz- wasn't executed, but she was from Sligo- where we went to play as a child in the summer.  She was his childhood friend.  She also was a really good human.  She was rich and born to privilege.  She actually was the first woman ever elected to parliament, and later the first woman in Europe to ever have a cabinet position.  So, she was important, but by the time she died she had given away her entire fortune and died in a ward, among the poor where she wanted to be”.  She was arrested, but was not executed during the uprising.      Then we have   “This man”- Patrick Pearse- was executed.  He was a fellow poet and a huge ring leader.  Yeats says he rode that winged horse- that's Pegasus the pure white horse with the wings .    “This other his helper and friend is a reference to” Thomas McDonagh- Pearse and McDonagh started a school together and were teachers in Dublin.  Yeats had been a guest lecturer for them many times.  He respected how they were building a generation of Irish thinkers.    “This other man”- John McBride- an abusive person – he was a drunken, vainglorius lout who had done most bitter wrong to some who are near my heart- but he still includes him here in his little list of actors.  He calls what they were involved with a “casual comedy”.  But is it funny?  Of course not.  It got serious really quickly.    Well, what I see, with the possible exception of McBride- these were good sincere people that were targeted by the British- not a bunch of thugs.    I think so- and that takes us to the third stanza- it's a little more philosophical and abstract.       Hearts with one purpose alone     Through summer and winter seem     Enchanted to a stone  To trouble the living stream.  The horse that comes from the road,     The rider, the birds that range     From cloud to tumbling cloud,     Minute by minute they change;     A shadow of cloud on the stream     Changes minute by minute;     A horse-hoof slides on the brim,     And a horse plashes within it;     The long-legged moor-hens dive,     And hens to moor-cocks call;     Minute by minute they live:     The stone's in the midst of all.    This stanza is harder to follow, Christy.    True, one of the things that is so hard about Yeats, and we're going to talk about this way more next week with the poem “The Second Coming” is that he holds symbols in such high regard.  He thinks of them as way more interesting than just one thing representing something else.  So, when we see something here, like we do in this poem that looks like it might be a symbol, we have to think of it more deeply because that's how Yeats's thinks of it.    So, what is a symbol and how do we know if something IS a symbol or not?    That's a great question.  I tell students all the time, something might be a symbol for something else if it looks out of place.  If something that shouldn't be so important is given more importance than it regularly deserves.  Here's an example, if I'm an elegant model, and everything I wear is extremely expensive, in the latest fashion, all that stuff, and I show up to an event, and I wear this very tattered and old looking bracelet around my arm-  you know- that must be a symbol.  You wouldn't be wearing it if it weren't.  You ask about it, and you find out it belonged a relative who had passed away or something like that- and all of a sudden it makes sense.  Things like that.    So, in this stanza, it starts out like we would expect- all the hearts of the people he'd been talking about have one purpose and then this purpose is connected to a stone- and not just connected he uses the word “enchanted to a stone”- what the heck does that mean/. Well, to you or me who aren't Irish- it may mean nothing.  But if you're Irish,  you likely know that one of the names of Ireland is the Island of the Stone of Destiny.  You may also know that in Irish folklore the Stone of Destiny was one of the four sacred talismans of the goddess Dana and all the kings of Ireland  were crowned upon this inauguration stone and their destiny was tied in with the magical powers of the stone.  And if you really know your folklore, as Yeats did and often referenced in a lot of other poetry, you may also know that this stone is enchanted but sometimes fatal.      Okay- so if the stone is symbolizing Ireland, what does this stanza mean?    Well, that's the thing about ambiguous writing- you have to decide what you think, and people don't agree.  What we know for sure, is we see this image of something that stays the same- a rock- if we take it to mean a symbol of Ireland, then he's making a statement about his homeland.  It's something that survives- but as things change like the living stream- it can be fatal too.  To be Irish is to have a heritage, for all of its beauty and magic, is not always safe- the stone troubled the living stream.      But then again, this is just my interpretation.  Some people thing the stone represents the coldness and the stream represents Ireland, so don't be afraid to read it and make your own ideas.  That's what poetry is all about- words bringing emotions to the surface and meaning different things to different people.    The last stanza is left cryptic in some ways because it writes out people's names again very specifically, but there's a lot of other images that can be difficult.  Let's read it and finish out.      Too long a sacrifice  Can make a stone of the heart.     O when may it suffice?  That is Heaven's part, our part     To murmur name upon name,     As a mother names her child     When sleep at last has come     On limbs that had run wild.     What is it but nightfall?  No, no, not night but death;     Was it needless death after all?  For England may keep faith     For all that is done and said.     We know their dream; enough  To know they dreamed and are dead;     And what if excess of love     Bewildered them till they died?     I write it out in a verse—  MacDonagh and MacBride     And Connolly and Pearse  Now and in time to be,  Wherever green is worn,  Are changed, changed utterly:     A terrible beauty is born.    So, here we see all of a sudden all these rhetorical questions.  He's asking the obvious question of is something like this worth it?  Is it justified?  Are there things we shouldn't do, even if the cause is noble?  He literally askes, “Was it needless death after all?”  He asks the obvious political question- England may have kept her end of the deal.       Did they love too much?      Then he kind of ends by immortalizing these names.  Kind of like saying, well, it's too late to know now.  We will never know because the sacrifice is made.  They will be immortalized.     Just so you know, Maude Gonne hated the poem.  The poem was first pubished just for friends- so she got an early copy.  She said this, “Easter 1916, No, I don't like your poem.  It isn't worthy of you and above all it isn't worthy of the subject- though it reflects your present state of mind perhaps, it isn't quite sincere enough for you who have studied philosophy and know something of history know quite that that sacrifice has never yet turned a heart to stone though it has immortalized many and through it alone mankind can rise to God.  You recognize this in the line which was the original inspiration of your poem, ‘a terrible beauty is born' but you let your present mood mar and confuse it till even some of the verses become unintelligible to many”. She went on and on but then got to the part about her husband to which she said, “as for my husband he has entered eternity by the great door of sacrifice which Christ opened and has therefore atoned for all”.  You can tell she felt free to share her mind.     Ha! Well, most of the world disagrees with her and has found it worthy.    I do want to come around to just a couple more interesting quirks before we leave it.  If you were to gray out all the words and just look at the form- Yeats deliberately wrote the poem to look like a column but a broken one- it's skinny, the lines are short and fractured.  If you were to put this poem next to a picture of the shelled building on Sackville Street where the riot occurred, it would like kind of similar.  The poem is to be the monument that outlives the photograph of the scene the most of us will never see.    And he did that on purpose.    Yep- that's why Poets write in verse- they can do stuff like that which you can't do in a story.    Also, another point to notice- he signs and dates the poem, but the date is weird.  It's not the date of the Rising, instead it's September 25, 1916 presumably the date he finished writing it. But the date of the uprising is encoded in the lines.  There are four stanzas- the fourth month- April- the first and and third stanza have 16 line (the year) the second and forth have 24 – the dates.  It's a strange way to date a poem, but the date of the event is embedded the the structure.  Then we have the  date at the end.    And so we have to ask, Garry, what happened on that date?    Well, I'm assuming you are meaning WW1- that date overlaps with the horrific Battle of the Somme. In that battle alone, the British lost almost 500,000 young lives many of them Irish.   I guess it's a final irony.  Why did Yeats included the date when he usually didn't date his poems?    Maybe as a way of reminding his readers, and here we are. It's not over yet.  A terrible beauty has been born- I have written a monument for those who dreamed of a new Ireland- but this new Ireland will have to negotiate a new modern world order- it will not be a casual comedy- and no matter where you fall on the spectrum of identity politics- we will all remember and wear Green.    And of course- all of this during Holy Week of Easter, 1916- nothing could be more ironic.  Thanks for listening.  I hope you enjoyed learning. Little of the history of Ireland as it is personalized for us by the great William Butler Yeats.  This episode we looked at his most famous political poem, next week we will look at the poem that inspired the title for “Things fall Apart”.  We look forward to it and hope you do too.    As always, text this episode to a friend, spread the word about the podcast on your own social media, and help us grow.                                                    

William Butler Yeats[a] (13 June 1865 – 28 January 1939) was an Irish poet, dramatist, prose writer and one of the foremost figures of 20th-century literature. A pillar of the Irish literary establishment, he helped to found the Abbey Theatre, and in his later years served two terms as a Senator of the Irish Free State. He was a driving force behind the Irish Literary Revival along with Lady Gregory, Edward Martyn and others.Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.

Gillian and Kendra didn't know what to do with themselves during the Season 1 break. So looking for any excuse to get behind the mic and combine their two favorite pastimes, talking and eating chocolate, they get together for this bonus Easter episode of Badass Woman of History and discuss the life and works of Irish dramatist Isabella Augusta, Lady Gregory. #ladygregory #irishliteraryrevival #awomanssonnets #yeats #theoldladysaysno #theabbey #irishhistory Find us on Instagram: @badasswomanofhistory and Facebook: @BWoHPodcast Badass Women of History The Podcast is produced by Industrial Sound & Magic.

In celebration of the Ides of March (which marks the full moon) and in honor of St. Patrick's Day, I read poems about the moon and about Ireland by Irish poets: William Butler Yeats, James Joyce, Seamus Heaney, Eavan Boland, Amergin as translated by Lady Gregory, and Derek Mahon. I end the program with poems from my book St. Brigid's Well, written on and about the West Coast of Ireland.

This month we are celebrating the Goddess Brigid and her feast day of Imbolc by releasing a month filled with Goddess stories. This episode is a conversation about the last episode and about the largely forgotten Goddess Clionadh. She is known to some as the Patron Goddess of Cork (so the draw for Aron was an obvious one). She is also known as the Queen of the Banshee, and people in Glandore (Near Rosscarbery in west Cork) will know the expression ‘tonn Clionadh’ well; the wave of Clionadh. The story is unusual as she is one of the few eternal living ones that came to Ireland for the love of a mortal man. But for reasons we do not fully understand, he was taken away from her, and she was taken away from Ireland after a huge wave, the 9th of a series, dragged her away from Glandore beach. She is said to have drowned that day… but like all eternal living ones, an essence of her remained. And if you visit the Blarney in Cork, you may want to kiss a stone to seek the skills of the eloquence of speech, or what's locally known as “the gift of the gab”. You may not know, it was Clionadh we have to thank for that! Lady Gregory has a great source text for this story in - Gods and Fighting Men or you can find it here as well: https://labbacallee.weebly.com/an-tonn-cliona.html Support for this podcast comes from our patrons. We release some of our sources and early updates on Patreon, so to find out more, or become a patron by going to: https://www.patreon.com/candlelittales http://candlelittales.ie/ https://open.spotify.com/show/2102WuUUe9Jl6cGXNwQEKf https://soundcloud.com/candlelittales https://podcasts.apple.com/ie/podcast/candlelit-tales-irish-mythology-podcast/ https://twitter.com/candlelit_tales?lang=en https://www.facebook.com/candlelittales/ https://www.instagram.com/candlelittales/ https://vimeo.com/user52850249 https://www.youtube.com/candlelittales #keepherlit #keephercandlelit #candlelittales #storytelling #livemusic #mythology #irishmythology #candlelittalespodcast

For the months of January and February, we're exploring some one act plays that we've adapted for your listening pleasure! This week, we give you Lady Gregory’s ”Spreading the News,” an exploration of small town gossip and rumors.This episode was written by Lady Gregory, adapted and directed by Jenna Isabella, and edited by John Isabella III. It features the vocal talents of Amanda Booth, Gina Stanton, Ryan Snanoud, Justin Chumas, Sean Latasa, John Isabella III, Nick Tuosto, David Neilsen, & Rachel Zenhausern.This episode is available on our website at www.phoenixtheatreartsco.com/audio-drama-series.PTAC’s Audio Drama Series is a production by the Phoenix Theatre and Arts Company. Original PTAC music by Brian Sanyshyn. For a full listing of credits, visit us at phoenixtheatreartsco.com. While you’re there, please consider clicking the donate link. That would be delightful! Have comments or questions? Email us at phoenixtheatreartsco@gmail.com, or find us on social media!Out next episode will be Susan Glaspell’s Trifles, which will be shared with you on February 26, 2021.Support the show (https://www.patreon.com/bePatron?u=39614413&redirect_uri=https%3A%2F%2Fwww-phoenixtheatreartsco-com.filesusr.com%2Fhtml%2Ffc904a_bf415b2f3775c2232bf37768b59b0b07.html&utm_medium=widget)

This month we are celebrating the Goddess Brigid and her feast day of Imbolc by releasing a month filled with Goddess stories. This episode is dedicated to the Goddess Clionadh. She is known to some as the Patron Goddess of Cork (so the draw for Aron was an obvious one). She is also known as the Queen of the Banshee, and people in Glandore (Near Rosscarbery in west Cork) will know the expression ‘tonn Clionadh’ well; the wave of Clionadh. The story is unusual as she is one of the few eternal living ones that came to Ireland for the love of a mortal man. But for reasons we do not fully understand, he was taken away from her, and she was taken away from Ireland after a huge wave, the 9th of a series, dragged her away from Glandore beach. She is said to have drowned that day… but like all eternal living ones, an essence of her remained. And if you visit the Blarney in Cork, you may want to kiss a stone to seek the skills of the eloquence of speech, or what's locally known as “the gift of the gab”. You may not know, it was Clionadh we have to thank for that! Lady Gregory has a great source text for this story in - Gods and Fighting Men or you can find it here as well: https://labbacallee.weebly.com/an-tonn-cliona.html Support for this podcast comes from our patrons. We release some of our sources and early updates on Patreon, so to find out more, or become a patron by going to: https://www.patreon.com/candlelittales http://candlelittales.ie/ https://open.spotify.com/show/2102WuUUe9Jl6cGXNwQEKf https://soundcloud.com/candlelittales https://podcasts.apple.com/ie/podcast/candlelit-tales-irish-mythology-podcast/ https://twitter.com/candlelit_tales?lang=en https://www.facebook.com/candlelittales/ https://www.instagram.com/candlelittales/ https://vimeo.com/user52850249 https://www.youtube.com/candlelittales #keepherlit #keephercandlelit #candlelittales #storytelling #livemusic #mythology #irishmythology #candlelittalespodcast

Isabella Augusta Persse was born in 1852 at Roxborough, near Kilchreest, South Co Galway. From a young age she had an interest in literature. Meeting a young William Butler Yeats in the 1890s was a turning point for both of them and they became lifelong friends and collaborators.

Do some Faerie, in their natural form, look like creatures we recognise as birds, or do they occasionally like to appear before us in the form of a bird? Or could it be both? On this week’s Podcast we take a look at the curious phenomenon of Faerie Birds. Through true tales of sightings as well as a most beautiful poem and old Cornish Folk Tale, we discover that Faerie Birds could go unnoticed by us on a daily basis. I also introduce a new series of beautiful ‘Encounters with the Good People’ YouTube videos: ‘Folk Tales & Faerie Tales’. These well-known and lesser-known Folk Tales and Fairy Tales are suitable for everyone in the family. My soft, gentle reading is accompanied by lovely images and is sure to bring a sense of pleasant calm to the mind and spirit. I feel that Folk and Faerie Tales are dreadfully unappreciated and I hope these relaxing tales, accompanied by gorgeous images will be enjoyed by curious minds of all ages. Dan and I just love creating these glorious old tales and I hope you will enjoy them too. * Fancy buying me a coffee? If you enjoy Encounters with the Good People and would like to give me a hand to continue in this work, please consider buying me a ‘coffee’. This is a really quick, simple and safe way for you to donate and support my work. Simply click on the ‘Buy me a coffee’ icon on my website and you will be helping to create and produce ‘Encounters with the Good People’ Podcast and YouTube videos. https://www.buymeacoffee.com/encountersAll support is greatly appreciated. Cheers, Kitty. * My new Online Store. Now you can take the Faerie folk with you everywhere you go! Mermaids, Banshee, Elves, Goblins and beautiful Celtic designs will enchant your everyday with a touch of whimsy. My store offers Faerie inspiration to every member of the family. Including clothes for men, women, kids, toddlers, babies and expecting Mums too. There are loads of designs in varying sizes, colours and styles. If you find a design you just love but it’s not in your favourite style, drop me a message and I’ll see if I can get it made for you. There are other great items too, a variety of bags, from a tote to a backpack or lunchbag, as well as drink bottles, caps, wee pins, mousepads and more. All will add a touch of enchantment to your day and it’s a lovely little way to feel connected to the Good People. Please drop in and take a look at my store, and tell your friends too. There are some fantastic ideas there to treat yourself or Christmas presents too! It’s super easy, simply look for ‘My Store’ on the menu bar of my website, click the link and begin browsing. I hope you love it as much as I do. Happy browsing! Cheers, Kitty. * My YouTube Channel: EXCITING ANNOUNCEMENT!To celebrate reaching our goal of 1,000 Subscribers, Encounters with the Good People has launched a new series of YouTube videos called 'Folk Tales & Faerie Tales'.Relax and put your feet up (or lay your head down...) as I read well-known and lesser-known Folk Tales & Faerie Tales in a soft, gentle voice accompanied by soothing and delightful images. Sure to bring a sense of pleasant calm to the mind and spirit, these videos are suitable for everyone in the family to enjoy with a cuppa or as a bedtime story.To request a Folk Tale or Faerie Tale you would like Kitty to read, simply send an email with all the details to: glassonionstories@gmail.comIf you haven’t already, please pop into my channel on YouTube, hit that Subscribe button and also the ‘notifications’ bell icon. Please ‘Like’ my videos too, as this helps make YouTube ‘notice’ my channel and support me to find an audience. Nice! And if you know anyone who might enjoy my videos, please Share with them too. Cheers, Kitty.*Fancy more Encounters with the Good People? For a daily peek at modern and historical encounters with the Good People, plus loads of great links, conversation starters and otherwise hard-to-find information on the Good People, visit Kitty’s Facebook page: https://www.facebook.com/encounterswiththegoodpeople Or, for a dose of Faerie on the go, drop into Kitty’s ‘Faerie Lucky Dip’ over at Instagram and Twitter. Kitty posts once a day and you never know what you might get. Faerie top tips, fun facts, art, poems, and short tales. https://www.instagram.com/encounterswiththegoodpeople https://twitter.com/encounterstheDo you have your own tale of a Faerie sighting or encounter? Perhaps you have your own story to share? Kitty would love to hear from you and share your tale on our website or upcoming book. After receiving suggestions and requests from listeners of this podcast all over the world, I’ve decided to put together a book of ‘Encounters with the Good People’. In this book I’ll include tales of encounters both historical and modern. So, if you, someone in your family, or a trusted friend, have had your experience with the Good People and are happy to share that experience, please let me know. I’d love to hear from you. You can email me at glassonionstories@gmail.com Don’t forget… our website is bursting with true, and amazing, tales of encounters with the Good People from folk all over the world. You’re sure to find a tale there to get you thinking… Thanks to everyone who has shared their own experiences with us so far on https://www.encounterswiththegoodpeople.com *Podcast Credits Edited by Magic Dan. Tales from: duchas.ie and ‘Visions and Beliefs in the West of Ireland’ by Lady Gregory. Poem excerpt from ‘The Lost Fairy Bird’ by Mrs B. Pierson, 1874. Theme Music: ‘Irish Coffee’ by Giorgio di Campo. Additional Music: ‘Forever Sunrise’, ‘Dancers in the Fire’ and ‘Quiet Place’ by Jonny Easton.

When you want to know, where to go, what to do, to be seen, to make a difference, you come here, to iIrish: the Truth & the Pulse of the Irish   Hello Everyone! Welcome back to iIrish; Songs, Stories & Shenanigans. This is Podcast 19, The Pulse of the Irish, full of news and events.   So let’s get talking: It appears we’ve avoided another shutdown, for another week or who knows. The expected surge of COVID over the Thanksgiving holiday did not occur. Most credible experts attribute it to most people acting responsibly, wearing masks, keeping their distance etc. Even tho 4.9 million people traveled, that’s way down from the 50 million that usually do the extended Thanksgiving weekend. Many here in the US on Visas couldn’t risk going home, in case they couldn’t get back. I remember the mad Dash in March as bands here for their St. Patrick’s Day tours and celebrations had to cut off and head home, smartly realizing that they may not be able to go home at all if they didn’t get out before the lockdowns were mandated. Plus, Ireland has closed its borders again. You won’t go home and isolate for 2 weeks if you are only going home for 5 days. The same is true in reverse. I have tried to help a band or three with US visa apps, wanting to come here for their annual Christmas Tours. The embassies in Ireland are closed. Closed means no processing, and therefore, no visas being approved. Even approved ones are sitting on desks idly waiting the resumption of service.   I fear the same will be true over Christmas. Christmas is family, tradition, certainly, and home. So if you know of someone isolated on this side of the Atlantic, Irish or not, offer them a virtual Christmas invitation if you can. We all need somebody … Somebody like you.   Just for a minute, we’re going to move from the Present to the Past, and then jingle all the way forward: Let’s take a look at On This Day in Irish History: On the 21 December 1971 - Heinrich Boll, author of Irish Journal (1957) and Nobel Laureate (1972), born in Cologne. On the 22 December 1969 -Irish activist and leader Bernadette Devlin was sentenced to six months imprisonment for her activities during the Battle of the Bogside. On the 22 December 1989 - was the Death of Samuel Beckett, playwright and winner of the Nobel Prize for Literature (1969).   On the 27 December 1591 - was the escape of Red Hugh O’Donnell from Dublin Castle, where he was imprisoned since his kidnapping in 1587 at the age of fifteen. He would go on to lead the September 1607 Flight of the Earls, Irish leaders who left Ireland to escape what they believed would be English arrest warrants. Hugh O'Neill, 2nd Earl of Tyrone, and Rory O'Donnell, 1st Earl of Tyrconnell, and about ninety followers, left Ulster for Spain. Some made it that far, some chose other destinations. The Flight of the Earls exile was a watershed event in Irish history, symbolizing the end of the Irish Gaelic Chieftain life prevalent up to that point. Many believed this opened the gate to the Planation of Ulster. There are several songs called Flight of the Earls, but you have probably heard of the one made famous by the Wolfe Tones, and written by Liam Reilly. It is not related to this event, but references “Another Bloody Flight of Earls” We've got nothin' left to stay for, We had no more left to say And there isn't any work for us to do So fare well ye boys and girls, Another bloody Flight of Earls Our best asset is our best export, too   Wiki says that the 400th anniversary of the Flight of the Earls was marked on 14 September 2007, throughout Donegal, with a regatta of tall ships, fireworks, lectures, and conferences. There is a permanent marker in Draperstown, Northern Ireland and at the "Flight of the Earls Centre" in the Martello tower at Rathmullan. Also on the 27 December, in 1904 -The original Abbey Theatre in Dublin opened, with Yeats ‘ Baile’ s Strand and Lady Gregory’s Spreading the News. On the 29 December 1937 - The Constitution of Ireland came into effect, drafted by Eamon De Valera. See omnystudio.com/listener for privacy information.

This episode was called the Dark N' Stormy - so exactly like what the cocktail is actually called, but it just fit so perfectly with our theme: shipwrecks and their ghosts. One night after watching the movie The Fog  it got us a wondering, surely an island will have more maritime based spirits to shake a stick at. We weren't wrong! Mainly caused by shipwrecks, Alex (our bartender) chose the 'foreshadowing-ly' named, Dark 'N Stormy. Our stories circumnavigated nearly the entire coastline of Ireland and uncovered tales of the ghosts from the wrecks, the ghosts of those who escaped the sea and even the ghosts of the shipwrecks themselves...drink (responsibly) every time we make a terrible nautical pun but this rum-based drink made us the drunken sailors. To 'sea' where we got our sources from (sorry) check out : Legends, Charms and Superstitions of Ireland - Lady Wilde, marine.ie, Lady Gregory's complete Irish Mythology, https://www.diffordsguide.com, Tarquin Blake's Haunted Ireland, Wikipedia, https://www.wildernessireland.com/blog/spooky-sites-ireland/,  https://www.irelandbeforeyoudie.com/5-terrifying-ghost-stories-ireland/ , https://oldmooresalmanac.com/the-ghosts-of-the-lighthouse/ , https://darkemeraldtales.wordpress.com/2015/05/05/ghosts-of-rms-lusitania-and-the-port-of-cobh/ , https://www.theguardian.com/world/2020/may/05/ireland-faces-bill-for-millions-to-remove-ghost-ship-mv-alta-from-rocks, https://dodublin.ie/city-sightseeing-tours/ghostbus/dublin-ghost-stories/the-tayleur, https://dodublin.ie/city-sightseeing-tours/ghostbus/dublin-ghost-stories/fingal-pirates-smuggleres, http://www.waterfordmuseum.ie/exhibit/web/Display/article/331/10/The_Ardmore_Journal_Phantoms_Of_The_Sea_.html, http://diarmuidlynch.weebly.com/shipwrecks.html Support the show (https://www.buymeacoffee.com/irishspirits)

Season 2: Tales from Around the World We continue our focus on Tales from England with an Irish tale called The Three Sons by Lady Gregory. A King is stricken with sickness. He calls his three sons and tells them the only thing that can save him is the apples from Burnett's orchard. He sends his sons in search of the healing apples. Moral of the story - The Junior Classics is a rescue operation to preserve the wisdom in the Classics before it is lost forever. Our goal is to inspire children with a love of good reading and a real and lasting interest in Western history, literature, and scholarship. My hope is to empower you, the parents, with a resource you can trust to enrich your child’s mind and spirit. We don’t want these stories lost so our children don’t have to learn these lessons on their own.The most important thing you can do for us is to spread the message and tell others about these stories and what we are doing. Subscribe and give us a rating, 5 stars if you think it is worth it.If you want to donate we would love that as well - my promise is that 100% of donations will go to building the impact and quality of the Junior Classics.If you have feedback and thoughts on how we can do things better please send an email to juniorclassicspodcast@gmail.com.Sir Bradley HasseBe brave, be loyal, and speak the TruthJoin thoughtful parents in our facebook community.Become a Patron and support a show for the good of your kids!Support the show (https://www.patreon.com/user?u=8256128)

Cara O'Doherty & Michael Pope review films, Bill & Ted Face the Music, The Devil All the Time & Nocturnal, Druid Theatre Company is touring the West of Ireland with a set of plays written by Lady Gregory, Judy Murphy reviews & Culture Night will be celebrated abroad, Candice Gordon Cultural officer in the Irish Embassy Berlin discusses.

Cara O'Doherty & Michael Pope review films, Bill & Ted Face the Music, The Devil All the Time & Nocturnal, Druid Theatre Company is touring the West of Ireland with a set of plays written by Lady Gregory, Judy Murphy reviews & Culture Night will be celebrated abroad, Candice Gordon Cultural officer in the Irish Embassy Berlin discusses.

Druid Theatre Company is touring the West of Ireland with a set of plays written by Lady Gregory. Judy Murphy reviews the opening night at Coole Park, home of Lady Gregory.

DruidGregory is an evening of plays by Lady Gregory - in a month-long tour of county Galway that begins at Coole Park, director Garry Hynes & actor Marie Mullen discuss, Chris Wasser reviews Away, a new science-fiction series about the first manned mission to Mars, Eileen Walsh on The South Westerlies & Emma Martin on Bird Boy at Dublin Fringe.

On this day in 1862, Violet Florence Martin was born in Connemara, the youngest of 16 children to the landed Martin family in Ross. She was to become with Edith Somerville the author of many novels about Anglo Irish life, under the names Somerville and Ross. Produced and presented by Brian Byrne for Kilcullen Diary. Some of the content: Violet met up with a second cousin, Edith Somerville in 1886, and they subsequently became lifelong companions. Three years later they published their first book, witten jointly, titled An Irish Cousin. Violet assumed a pseudonym, Martin Ross, combining her surname and the name of the family home. The two women thereafter wrote under the combined authorship of Somerville and Ross. Over the next 25 years they published a total of 13 novels, all stories based in the Anglo-Irish life of the period. Violet was also an active supporter of the suffragette movement, and was vice president of the Munster Women's Franchise League. She was also a contemporary of WB Yeats and Lady Gregory and friendly with both, though she disagreed on what she felt was a romantic representation by them of Irish peasantry. Their last published work was In Mr Knox's Country in 1915, the year she died. She was buried in Castletownshend, where she and Edith had first met. Edith herself lived until the age of 91, passing away in 1949. She is buried alongside Violet.

This week in honor of Andersonville at Home: A Midsommarfest Experience & Fundraiser on Friday, June 12, we turn over our podcasting duties to Stew Jamesson of Stewpendous Productions. Founded in Chicago, Stewpendous Productions is fundamentally centered around providing joy, laughs, and fun for everyone through personalized experiences. Stew is currently booking Zoom Trivia parties for your friends and family and you can catch him on Instagram live on Wednesdays at 8PM. We hope you enjoy this second installment of Gabbin’ with Stew as he interviews Martin Cournane of Lady Gregory's and Octavio over Zoom in this special Andersonville at Home edition of the podcast. Stay tuned for episodes 105.3 on Thursday and 105.4 on Friday!

Si tratta di brevi commedie, spesso di vere e proprie farse costruite con abilità e sensibilità teatrali, ispirate alla vita e alle abitudini della gente dei piccoli villaggi irlandesi.

Tales of the Fianna are not always about the Fianna. In this story, Fionn takes in a strange young couple, just to see what will happen... This podcast was produced and edited by Oisín Ryan. Story by Sorcha and Aron Hegarty. Source text: Gods and Fighting Men by Lady Gregory #keepherlit #keephercandlelit #candlelittales #storytelling #livemusic #mythology #irishmythology #candlelittalespodcast #podcast https://www.patreon.com/candlelittales http://candlelittales.ie/ https://open.spotify.com/show/2102WuUUe9Jl6cGXNwQEKf https://soundcloud.com/candlelittales https://podcasts.apple.com/ie/podcast/candlelit-tales-irish-mythology-podcast/ https://twitter.com/candlelit_tales?lang=en https://www.facebook.com/candlelittales/ https://www.instagram.com/candlelittales/ https://vimeo.com/user52850249 https://www.youtube.com/candlelittales

Questi quattro atti unici tratti da Seven Shorts Plays del 1909, possono oggi apparire piuttosto convenzionali, ma divennero al momento della loro rappresentazione estremamente popolari. L’ispirazione e l’indirizzo delle opere dell’autrice si rifacevano esplicitamente ai criteri che avevano guidato la nascita dell’Irish Dramatic Movement, avevano cioè carattere celtico e irlandese. Si tratta di brevi commedie, […]

The main source for this story was taken from: Gods and Fighting Men, by Lady Gregory, [1904], at sacred-texts.com Part II Book VI: The Daughter of King Under-Wave https://www.sacred-texts.com/neu/celt/gafm/gafm67.htm https://www.patreon.com/candlelittales http://candlelittales.ie/ https://open.spotify.com/show/2102WuUUe9Jl6cGXNwQEKf https://soundcloud.com/candlelittales https://twitter.com/candlelit_tales?lang=en https://www.facebook.com/candlelittales/ https://www.instagram.com/candlelittales/ https://vimeo.com/user52850249 https://www.youtube.com/candlelittales

Listen back to Dublin: One City, One Book 2018, when we celebrated The Long Gaze Back, and the female voice in Irish literature. This anthology of 30 short stories is edited by Sinead Gleeson. In this episode novelist and journalist Martina Devlin discusses the fascinating letters from Somerville and Ross n the early 1900s. Edith Somerville and her second cousin Violet Martin may have been Victorian women, but their flair, business expertise and ambition were ultra-modern. From their light-hearted Irish R.M. series of stories to darker novels including the classic The Real Charlotte, their skills as the Somerville and Ross writing duo were wide-ranging. Their talents extended to their correspondence, and the voices of these irrepressible, talented Women of Letters emerges in their dispatches to Lady Gregory, their literary agent, James Pinker – and to each other. Recorded at the National Library of Ireland on 30 April 2018. Our theme tune is Dream of the forest (jazzy mix) by articom (c) copyright 2020 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/articom/61177 Featured image is from page 159 of 'Through Connemara in a Governess Cart. By the authors of “An Irish Cousin” [i.e. Edith Œ. Somerville and “Martin Ross,” i.e. Violet Martin]. Illustrated by W. W. Russell, from sketches by Edith Œ. Somerville. Image courtesy of British Library https://www.flickr.com/photos/britishlibrary/11303649384

Colm Tóibín on his selection: When W.B. Yeats and Lady Gregory met at the end of the nineteenth century, she, thirteen years his senior, had published very little. She was a widow living in a large house called Coole Park in County Galway in West Ireland. He was every inch the young poet. She had one son, Robert, who spent most of his time in London. Until his marriage in 1917, Yeats spent many summers at Coole. He and Lady Gregory collaborated on many projects, including plays and the founding of the Abbey Theatre in Dublin. In 1918, after Robert Gregory was killed in the First World War, Yeats came to Coole, joining Lady Gregory and her daughter-in-law and three grandchildren. Yeats there wrote his two great elegies for Robert: “In Memory of Major Robert Gregory,” a public poem remembering a hero, and the other, “An Irish Airman Foresees His Death,” in a more hushed tone, written for a ghostly voice, attempting to offer his old friend comfort by finding a new context for his death, suggesting balance and completion for the dead airman rather than strife or tragedy. These poems were written in a time of loss, in a place where no visitors came, when the house was isolated so that the poet could work.

Nicholas Martin-Smith runs the best ensemble theatre on the Upper West Side. Hudson Warehouse is the "other Shakespeare in the Park" -- that is Riverside Park -- and they have been producing top-notch productions below the Soldier's and Sailor's Monument for over 15 years.His grandfather's cousin, playwright Edward Martyn, along with W. B. Yeats and Lady Gregory of Poole, founded Dublin's Abbey Theatre. Mr. Martin-Smith has directed among other plays Cyrano, Romeo and Juliet, the world premiere of a new adaptation of The Three Musketeers by Susane Lee, as well as Julius Caesar, the Warehouse's second indoor production in March 2014. When I spoke with Nicholas, he was hunkered down upstate NYC with his partner Susane Lee.This first HD podcast ends with a conversation with Presidential scholar Brian Arbour about his new experiences of online teaching - the inadequacies of Trump as president - and we hear from first-grader, Josh Arbour, hunkered down at home.Contact: upperwestsideradio@gmail.com See acast.com/privacy for privacy and opt-out information.

Today my guest is Cal Folger Day, a singer-songwriter that’s a bit hard to pin down genre-wise, but if I had to slap a label on her, it’d probably be “Avant Folk”, similar the band Cutleri, who I had on earlier this year. Cal is based out of Dublin, Ireland, but I met her around 2010 back when we were both living in New York City. We chat a bit about her early days in the thrall of classical music, her time in NYC, the differences between Ireland and the US, and her latest endeavor writing and performing “verbatim pop operas”, which I didn’t even know was a thing until I started doing background for this interview. I highly recommend checking out this audio documentary by “The Lyric Feature”. It chronicles the process of creating one of these operas “The Woods and Grandma”, which is based on stories of Lady Gregory, Yeats and George Bernard Shaw as told by the Gregory granddaughters Anne and Katherine. Just a reminder that this Wednesday November 13th is the deadline to sign up as a Patreon supporter at any level for a chance to win a signed copy of “Snow White Zombie: Apocalypse” by Brenton Lengel, my Halloween guest. This is the latest patron perk that I’m calling these “Swagstakes”, where once a month I choose a supporter at random to receive some swag from a guest.

I've heard this described as the saddest lyric in the Irish tradition. Given the sadness of that tradition, it's a bold claim. The tune is beautiful. There are many versions but this is Lady Gregory's translation.

A playful Irish tale of miscommunication that works in favor of a fellow by the name of Robin. An old man told this tale to Lady Gregory in County Galway in 1902. Here, it is retold to a live audience by the Irish-American Storyteller Michael O’Malley.

This week Laura and Sara are joined by Martin Cournane of Munster Restaurant Group. Martin is the co-owner of Lady Gregory’s and Octavio Cantina & Kitchen in Andersonville, as well as LG’s Bar in Old Town and Wilde in Lakeview. Lady Gregory’s, an Irish Gastro Pub located at 5260 N. Clark, serves up a delicious menu and proudly boasts over 300 whiskeys.  Located just up the street at 5310 N. Clark, Octavio is a love letter to Mexico and serves modern Mexican food from the heart. Both Lady Gregoy's and Octavio are participating in the third annual Andersonville Restaurant Week, kicking off this Friday, February 22 through March 3.  To view episode show notes, please click here.

The Coming of the Tuatha Dé Danann. Kevin tells of the arrival in Ireland of the Tuatha Dé Danann, the earliest Gods of Ancient Ireland, and their great battle with the Firbolgs. He also talks about the Queen of all Irish Folklore herself: Lady Gregory!

Gaélico é todo povo de origem dos territórios da Irlanda, da Escócia e da Ilha de Man. Os gaélicos também são considerados povos celtas, porém, encontramos outros celtas pelo mundo como os Gauleses, os Galeses, os Celtiberos e outros. As divindades e a religião desses povos é bem diferente, mas todos a confundem, principalmente na visão do NeoPaganismo. Vamos desmistificar isso com o Leonni Moura, autor da Página Politeísmo Gaélico. O Papo na Encruza é um programa transmitido ao vivo no Canal Perdido em Pensamento. Este episódio foi transmitido no dia 30 de Agosto de 2018, às 21 horas. Siga nossa página no Facebook. ----more---- Apoie o Papo na Encruza: Seja um apadrinhador - Padrim do Papo na Encruza. Camisetas Papo na Encruza. Quem é o convidado? Leonni Moura é carioca de 23 anos, morando no interior de SP. Segue o Politeísmo Gaélico, um dos ramos do Reconstrucionismo Céltico, há pelo menos 9 anos, e desde então mantém um site chamado "Ildiachas - Politeísmo Gaélico" onde produz traduções e textos sobre mitologia, teologia, folclore e práticas mânticas dos gaélicos pré-cristãos. Atualmente, também administra uma página no Facebook com o mesmo nome. Há pouco tempo, tornou-se também dedicado na Ordem Walonom, uma das maiores ordens de espiritualidade céltica no Brasil. Relacionado ao Episódio: Conhecendo a Umbanda: Dentro do Terreiro, o livro de Umbanda escrito pelo Douglas Rainho e lançado pela Editora Nova Senda. Coletivo Dente de Leão - Loja do Laroyê. Sugestão de Leitura: LIVROS História e sobre os Celtas em geral The Ancient Celts, Barry Cunliffe Gods of the Celts, Miranda Green Pagan Celtic Britain, Anne Ross The Pagan Celts, Anne Ross The Religion of the Ancient Celts (com ressalvas), J. A. MacCulloch (tem disponível online) Mitologia Gaélica (Irlandesa) Gods and Fighting Men, Lady Gregory (tem disponível online) Cuchulainn of Muirthemne, Lady Wilde (tem disponível online) Celtic Mythology, Proinsias Mac Cana Early Irish Myths and Sagas, Jeffrey Gantz  Ireland’s Immortals: A History of the Gods of Irish Myths Festivais, Folclore e Práticas Mágicas dos Gaélicos Carmina Gadelica, Alexander Carmichael (tem disponível online) Irish Folk Custom and Belief, Séan Ó Súillebháin (tem disponível online) The Fairy-Faith in Celtic Countries, W. Y. Evans-Wentz (tem disponível online) The Year in Ireland, Kevin Danaher The Folklore of the Isle of Man, A. W. Moore (tem disponível online) Witchcraft and Second Sight in the Highlands and Islands of Scotland, John Gregorson Campbell (tem disponível online) Superstitions of the Highlands and Islands of Scotland (tem disponível online) Livros modernos sobre a religiosidade gaélica contemporânea Irish Paganism: Reconstructing Irish Polytheism, Morgan Daimler Gods and Goddesses of Ireland: A Guide to Irish Deities, Morgan Daimler Ogam: Weaving Word Wisdom, Erynn Rowan Laurie A Circle of Stones, Erynn Rowan Laurie The Well of Five Streams: Essays on Celtic Paganism, Erynn Rowan Laurie SITES Ildiachas – Politeísmo Gaélico | Site do Leonni Moura com traduções dos mitos irlandeses e textos gerais sobre a religiosidade gaélica. LoreKeepers Traduzido | Curso do Alexei Kondratiev explicando quem são os Celtas e alguns princípios básicos da sua religião. CR-FAQ – FAQ do Reconstrucionismo Céltico | O documento que explica o Reconstrucionismo Céltico na forma de um FAQ. Reconcelta – Reconstrucionismo Celta  | Textos sobre a religião e traduções de alguns mitos e textos. Clareira Bradán | Site da Clareia Bradán, localizada no Rio de Janeiro, da Ordem Walonom, e que contém traduções de alguns mitos irlandeses e textos sobre alguns deuses irlandeses. Onde encontrar os mitos? O maior acervo de mitos traduzidos para o português. O acervo (quase) completo dos mitos irlandeses Em inglês IMBAS | Site com artigos sobre as religiões célticas modernas. The Preserving Shrine | Site da autora Erynn Rowan Laurie com textos autorais sobre a religião céltica moderna. Land, Sea and Sky | Um livro virtual com vários capítulos explicando de forma minuciosa os diversos aspectos das religiões célticas. Living Liminally | A autora Morgan Daimler trata de outros assuntos em seu blog, mas contém alguns textos muito bons sobre a religião gaélica moderna Tairis | Site excelente com vários artigos muito detalhados sobre a religião gaélica moderna CAMISETAS DO PERDIDO? [caption id="" align="alignnone" width="197"] Camisa Exu Trainee - Masculina e Feminina.[/caption] [caption id="" align="alignnone" width="197"] Camiseta Exu Caveira - Feminino e Masculino[/caption] [caption id="" align="alignnone" width="197"] Camiseta Papo na Encruza Podcast - Masculina e Feminina[/caption] Conheça outros modelos em nossa loja, clique aqui. Redes Sociais do Papo na Encruza: Grupo do Facebook: Papo na Encruza - PODCAST Facebook do Papo na Encruza Fale com a gente Caso queira entrar em contato conosco, para enviar dúvidas, comentários e sugestões, nosso e-mail é contato@perdido.co. Nossos Padrinhos: Aos Exus-Trainee: Adelson Tavares de Santana Ana Kharo Raphaela Eduardo Araujo Rodrigues da Silva Aos Kiumbas: Alessandra Garcia Leal Douglas Djotah Danielle Laurete Eduardo Caetano Eduardo Higa Henrique Bandeira Faccio Leandro Henrique Renato Luiz Areas e Vivian Tarallo Roberto Silva Aos Eguns: Anna Clara Correia Carlos Moraes Danilo Freire da Silva Everton Nikolas de Oliveira Mario Calderaro Neto Rodrigo Augusto Nogueira Muito obrigado a vocês! =)

Even more than Victorian history, the world of BRASS is inspired by the fiction of the 19th and early 20th century. Literary creations like the Phantom of the Opera and Sherlock Holmes rub shoulders with Tesla and Oscar Wilde in our story, creating a mash-up of fiction, history and alternative history which samples from each. This period was the flowering of many of the greatest writers in the English language, including Charles Dickens, Joseph Conrad, Virginia Woolf, H. G. Wells and G.K. Chesterton. And it's a special boon that so many of these wonderful authors wrote short stories--indeed, it's where that form found its earliest and most brilliant expression. These stories and their authors, along with many others more obscure, deserve to be celebrated. And that's what our new podcast, BRASS Stacks, is all about. Each episode will feature a short story from the the Victorian or Edwardian age, narrated by one of our company. First up is a pair of very short stories from Fifty-One Tales by Lord Dunsany. Edward Plunkett, the 18th Baron of Dunsany, is primarily remembered today less for his writing and more for who he inspired. His fantasy The King of Elfland's Daughter influenced Tolkien in writing The Lord of the Rings, while his early stories and poetry were a major influence on H.P. Lovecraft, Robert E. Howard and other seminal American horror and fantasy writers. And his plays were a vital part of the Irish Literary Movement, where he and Yeats, Lady Gregory and Synge created a new national theater for Ireland. Dunsany's earliest works include many short fables and tales, each ranging in length from short to very short; some run just a page, in which he manages a surprising amount of profundity and drama.  You can listen to two of our favorites in the pilot episode of BRASS Stacks here:

Welcome to our brand new podcast! Paula Lyne and Rosie Plunkett chat about all the things you need to keep yourself lit for the month ahead. Episode 1 - September 10th, 2017 This month... a 30th birthday in a medieval castle. Plus the March For Choice, why Lady Gregory was such a badass, and going plant-based for a healthier gut. Music: www.breakingtunes.com/pembroke Produced by: Niamh Mongey Want even more ways to stay lit? Find links to the content we referenced below... The Woods And Grandma http://www.fringefest.com/festival/whats-on/the-woods-grandma Plant-Fed Guts https://medium.com/Kahn642/of-bugs-and-beans-why-plant-fed-guts-have-the-healthiest-microbiomes-a4735cd323d4

En el programa de esta semana comentamos información originada en la recién terminada conferencia de la European AIDS Clinical Society  (a la cual asistimos)  incluyendo los cambios de la nueva version de la guía europea de manejo y tratamiento del VIH (version 9.0) de dicha sociedad que fue publicada y presentada durante esta conferencia. También hablamos de la epidemiología de la epidemia en Europa,la terapia ATR doble, la monoterapia, el tratamiento profiláctico (PrEP) y de Fostemsavir.    Referencias: 16th European AIDS Conference European AIDS Clinical Society EACS Guidelines Version 9.0 October 2017   Frase de la Semana:   William Butler Yeats es considerado uno de los grandes poetas del siglo XX. Nacido en Irlanda el 13 de junio de 1865 y fallecido el 28 de Enero de 1939 Fue muy influyente en la literatura irlandesa y británica y fundador, junto Lady Gregory, del Teatro Abbey o Teatro Nacional de Irlanda.  Fue merecedor del Premio Nobel de Literatura en 1923.   “La educación no es llenar un cubo, sino encender un fuego”  

In this episode, Ellie and Jesse discuss a couple early 20th-century accounts of the supernatural collected by Lady Gregory. Lady Gregory was an influential Irish folklorist and dramatist of the late 19th and early 20th century, who published several collections about Irish lore. Jesse introduces the terms "memorate" and "fabulate" as genres of belief narratives. What are some historical supernatural encounters you enjoy?

Bedtime Poetry for smElla - part 1. Lady Gregory, Jonathan Swift

Jeff Wikstrom and I discuss The King of Elfland's Daughter by Lord Dunsany. A prince of the normal world brings home an Elf princess to be his wife, but it doesn't turn out quite like everyone hand planned. Dunsany, Lord. The Book of Wonder, The Essential Lord Dunsany Collection, The Gods of Pegana, The King of Elfland's Daughter, Lord Dunsany Compendium, and The Sword of Welleran and Other Tales. Edward John Moreton Drax Plunkett, 18th Baron of Dunsanyborn 1878, died 1957 Lord Dunsany was an Irish writer and dramatist, notable for his work, mostly in fantasy, published under the name Lord Dunsany. More than eighty books of his work were published, and his oeuvre includes many hundreds of published short stories, as well as successful plays, novels and essays. He is considered a major influence on the work of J. R. R. Tolkien, H. P. Lovecraft, and Ursula K. Le Guin. Born to the second-oldest title (created 1439) in the Irish peerage, Dunsany lived much of his life at perhaps Ireland's longest-inhabited home, Dunsany Castle near Tara, worked with W.B. Yeats and Lady Gregory, received an honorary doctorate from Trinity College, was chess and pistol-shooting champion of Ireland, and travelled and hunted extensively. He died in Dublin after an attack of appendicitis. Dunsany began writing in the late 1890s and "burst onto the publishing scene" with The Gods of Pegana in 1905. His first stories were set in an invented world with its own gods, history and geography. Dunsany eventually began writing novels and his most well-known novel, The King of Elfland's Daughter, was published in 1924 and is the inspiration of Neil Gaiman's film, Stardust. Next we will be reading:The Doom That Came to Sarnath, From Beyond, The Temple, The Music of Erich Zann, Herbert West - Reanimator, The Lurking Fear, The Rats in the Walls and The Call of Cthulhu by H. P. Lovecraft - http://cthulhu.wikia.com/wiki/Category:FictionDwellers in the Mirage by Abraham Merritt - http://www.gutenberg.net.au/ebooks01/0100151.txt My guest:Jeffrey Wikstromwebsite - jeffwik.comemail - jeffwik@gmail.com Support the show, shop below...NOBLE KNIGHT GAMES

Jeff Wikstrom and I discuss The King of Elfland’s Daughter by Lord Dunsany. A prince of the normal world brings home an Elf princess to be his wife, but it doesn’t turn out quite like everyone hand planned.Dunsany, Lord. The Book of Wonder, The Essential Lord Dunsany Collection, The Gods of Pegana, The King of Elfland’s Daughter, Lord Dunsany Compendium, and The Sword of Welleran and Other Tales.Edward John Moreton Drax Plunkett, 18th Baron of Dunsanyborn 1878, died 1957Lord Dunsany was an Irish writer and dramatist, notable for his work, mostly in fantasy, published under the name Lord Dunsany. More than eighty books of his work were published, and his oeuvre includes many hundreds of published short stories, as well as successful plays, novels and essays. He is considered a major influence on the work of J. R. R. Tolkien, H. P. Lovecraft, and Ursula K. Le Guin.Born to the second-oldest title (created 1439) in the Irish peerage, Dunsany lived much of his life at perhaps Ireland’s longest-inhabited home, Dunsany Castle near Tara, worked with W.B. Yeats and Lady Gregory, received an honorary doctorate from Trinity College, was chess and pistol-shooting champion of Ireland, and travelled and hunted extensively. He died in Dublin after an attack of appendicitis.Dunsany began writing in the late 1890s and "burst onto the publishing scene" with The Gods of Pegana in 1905. His first stories were set in an invented world with its own gods, history and geography.Dunsany eventually began writing novels and his most well-known novel, The King of Elfland's Daughter, was published in 1924 and is the inspiration of Neil Gaiman's film, Stardust.Next we will be reading:The Doom That Came to Sarnath, From Beyond, The Temple, The Music of Erich Zann, Herbert West - Reanimator, The Lurking Fear, The Rats in the Walls and The Call of Cthulhu by H. P. Lovecraft - http://cthulhu.wikia.com/wiki/Category:FictionDwellers in the Mirage by Abraham Merritt - http://www.gutenberg.net.au/ebooks01/0100151.txtMy guest:Jeffrey Wikstromwebsite - jeffwik.comemail - jeffwik@gmail.comSupport the show, shop below...NOBLE KNIGHT GAMES

Jeff Wikstrom and I discuss The King of Elfland’s Daughter by Lord Dunsany. A prince of the normal world brings home an Elf princess to be his wife, but it doesn’t turn out quite like everyone hand planned.Dunsany, Lord. The Book of Wonder, The Essential Lord Dunsany Collection, The Gods of Pegana, The King of Elfland’s Daughter, Lord Dunsany Compendium, and The Sword of Welleran and Other Tales.Edward John Moreton Drax Plunkett, 18th Baron of Dunsanyborn 1878, died 1957Lord Dunsany was an Irish writer and dramatist, notable for his work, mostly in fantasy, published under the name Lord Dunsany. More than eighty books of his work were published, and his oeuvre includes many hundreds of published short stories, as well as successful plays, novels and essays. He is considered a major influence on the work of J. R. R. Tolkien, H. P. Lovecraft, and Ursula K. Le Guin.Born to the second-oldest title (created 1439) in the Irish peerage, Dunsany lived much of his life at perhaps Ireland’s longest-inhabited home, Dunsany Castle near Tara, worked with W.B. Yeats and Lady Gregory, received an honorary doctorate from Trinity College, was chess and pistol-shooting champion of Ireland, and travelled and hunted extensively. He died in Dublin after an attack of appendicitis.Dunsany began writing in the late 1890s and "burst onto the publishing scene" with The Gods of Pegana in 1905. His first stories were set in an invented world with its own gods, history and geography.Dunsany eventually began writing novels and his most well-known novel, The King of Elfland's Daughter, was published in 1924 and is the inspiration of Neil Gaiman's film, Stardust.Next we will be reading:The Doom That Came to Sarnath, From Beyond, The Temple, The Music of Erich Zann, Herbert West - Reanimator, The Lurking Fear, The Rats in the Walls and The Call of Cthulhu by H. P. Lovecraft - http://cthulhu.wikia.com/wiki/Category:FictionDwellers in the Mirage by Abraham Merritt - http://www.gutenberg.net.au/ebooks01/0100151.txtMy guest:Jeffrey Wikstromwebsite - jeffwik.comemail - jeffwik@gmail.comSupport the show, shop below...NOBLE KNIGHT GAMES

Jeff Wikstrom and I discuss The King of Elfland’s Daughter by Lord Dunsany. A prince of the normal world brings home an Elf princess to be his wife, but it doesn’t turn out quite like everyone hand planned.Dunsany, Lord. The Book of Wonder, The Essential Lord Dunsany Collection, The Gods of Pegana, The King of Elfland’s Daughter, Lord Dunsany Compendium, and The Sword of Welleran and Other Tales.Edward John Moreton Drax Plunkett, 18th Baron of Dunsanyborn 1878, died 1957Lord Dunsany was an Irish writer and dramatist, notable for his work, mostly in fantasy, published under the name Lord Dunsany. More than eighty books of his work were published, and his oeuvre includes many hundreds of published short stories, as well as successful plays, novels and essays. He is considered a major influence on the work of J. R. R. Tolkien, H. P. Lovecraft, and Ursula K. Le Guin.Born to the second-oldest title (created 1439) in the Irish peerage, Dunsany lived much of his life at perhaps Ireland’s longest-inhabited home, Dunsany Castle near Tara, worked with W.B. Yeats and Lady Gregory, received an honorary doctorate from Trinity College, was chess and pistol-shooting champion of Ireland, and travelled and hunted extensively. He died in Dublin after an attack of appendicitis.Dunsany began writing in the late 1890s and "burst onto the publishing scene" with The Gods of Pegana in 1905. His first stories were set in an invented world with its own gods, history and geography.Dunsany eventually began writing novels and his most well-known novel, The King of Elfland's Daughter, was published in 1924 and is the inspiration of Neil Gaiman's film, Stardust.Next we will be reading:The Doom That Came to Sarnath, From Beyond, The Temple, The Music of Erich Zann, Herbert West - Reanimator, The Lurking Fear, The Rats in the Walls and The Call of Cthulhu by H. P. Lovecraft - http://cthulhu.wikia.com/wiki/Category:FictionDwellers in the Mirage by Abraham Merritt - http://www.gutenberg.net.au/ebooks01/0100151.txtMy guest:Jeffrey Wikstromwebsite - jeffwik.comemail - jeffwik@gmail.comSupport the show, shop below...NOBLE KNIGHT GAMES

Taking Robert Graves' phrase Goodbye to All That as their starting point, five writers from countries involved in the First World War reflect on a turning point moment in their own histories and interpret the phrase with the ambiguity that Graves intended.These five essays that have been curated by writer Lavinia Greenlaw to mark the centenary of the outbreak of World War One, as part of 14-18 Now, a major cultural programme across the United Kingdom.Tonight, Colm Toibin tells the story of Lady Gregory's fighter pilot son, whose death inspired one of Yeats' most famous poems, 'An Irish Airman Foresees His Death'.Written and read by Colm Toibin Produced by Emma Harding.

On this day 45 years ago, the 23rd August 1968, George Yeats, wife of William Butler Yeats, passed away. They say that you should never meet your idols, nevermind marrying one. Iconic figures in literature from Joyce to Hemingway to Fitzgerald, not to mention Hunter S. Thompson have have difficult marriages that have been well documented. George Yeats had to put up with a snob, a bore and an absent-minded professor type. We saw the poetry, she saw the socks. Have a look at the excellent @MundaneBond on Twitter for a perfect ribbing of an icon during downtime. With thanks to Padraic Dempsey of the RIA on RTE Radio 1 this evening, we learned just how much of a debt we owe to this woman. Yeats was indeed a genius and George went about dedicating her life after marriage to ensuring that Yeats would be allowed to focus on his poetry while she took care of the banalities of life from preparing meals, organizing his travel arrangements, taking care of the children and just about everything else that makes normal life possible. Unlike Yeats, she was a very private individual; her own children did not even know where she was born until after her death. Indeed having worked in Fleet in Hampshire myself, I can't blame her. She was by no means a 'shrinking violet' though and was by all accounts the only woman who was not afraid of the redoubtable Lady Gregory. On being asked what it was like to live with a genius, she wearily responded that she didn't tend to notice that she was. She did everything for Yeats including on one memorable occasion having to telegram a perplexed Yeats that the oil he needed to put in to his light at Coole Park was paraffin - what else could it possibly be, olive oil? She put up with his countless affairs, which increased after they stopped having sex in 1928. On the audio, you'll hear how Yeats had monkey glands attached to improve his virility. It certainly affected his judgment. In 1936 when editing a poetry collection, his lover, the rather average poet Margaret Ruddock, had seven poems included with the likes of Auden only having three. George would write politely to Ruddock and the other lovers with details about Yeats taking his medication as directed by doctors. With increasing frustration and little thanks, George carried out all these tasks and ensured that Yeats was able to dedicate his final years to writing some of his best work - a point Mary makes in the audio piece. Georgie met Yeats in 1910. Seven years later, when she was 25 and he 52, he asked her to marry him. Only a few weeks earlier Iseult Gonne, the daughter of Maud Gonne whom Yeats had loved for many years, had rejected a marriage proposal from him. Georgie and Yeats married just three weeks later, on 20 October 1917, in a public registry office,witnessed by her mother and Ezra Pound. During the honeymoon, while Yeats was still brooding about Iseult's rejection, Georgie began the automatic writing which fascinated him. He wrote about it days later in what was to be A Vision, and it held the marriage together for many years. Within a year of marriage he declared her name of Georgie to be insufferable, and henceforth called her George. This says it all. George would have known of Yeats's obsession with Maud Gonne and of the rejected proposal to her daughter. She shrewdly overlooked this as she did his affairs and saw the bigger picture. A 'sloppy second' she may have been to some, but in death as in life, he was fortunate to have such a capable partner. George was an assiduous and dedicated Literary Executor after his death in 1939. She'd a better knowledge of European literature than he did and she managed the estate fairly and with aplomb for the next 30 years or so. She is buried beside him in Drumcliffe; when next visiting, spare a thought for this unsung heroine with the patience of a saint. The audio comes from our multimedia Yeats Country audio guide, available for free from the Donegal Bay and Yeats Country tour on the Donegal App: http://www.donegalapp.com Audio: Mary Murphy and Sean McMahon, 2009 Text: John Ward #Yeats #Sligo #poetry #Treadsoftly

Published in 1895, this collection is one of the most remarkable and unique books in the history of modern literature. W. B. Yeats first collection of poems from Lady Gregory features hand-written manuscripts pasted into the volume by Lady Gregory.P

Hallowe'en traditions though the years In this Hallowe'en or Samhain Holiday Special we bring you two fascinating accounts of Samhain traditions: one modern and one Victorian, and an amazing story by a talented story-teller, Chris Joliffe - and we hope to be hearing more from Chris in the future - and 5 of the best pieces of music we reckon you'll hear for this year's Samhain! This one's a corker! Phew! Full Show-notes, with all credits, can be found on our main Website at http://celticmythpodshow.com/halloween2011 Running Order: Intro 0:41 News & Views 1:32 The Cauldron Born by Damh the Bard 2:40 Samhain: Lowering the Veil by Jennifer Emick 9:58 Realm of the Free by Cindy Spear & Colin Mold 22:33 Visions and Beliefs in the West of Ireland by Lady Gregory 28:06 She is Crone by Kellianna 43:40 Forget Me Not by Chris Joliffe 47:58 The Cheshire Souling Song by Kate & Corwen 41:10 Competition Winner 57:05 Samhain Story by Chris Joliffe 58:26 The Shores of Wales by Kray Van Kirk 1:09:09 Outtakes 1:16:53 We hope you enjoy it! Gary & Ruthie x x x Released: 19 Nov 2011, 1h 19m It's always great to hear from you! Email garyandruth@celticmythpodshow.com, or leave us a message using Speakpipe The Cauldron Born by Damh the Bard We can do no better than start our show with Damh singing us in with his song about the Goddess that stirs the cauldron of Awen or inspiration. She is central to the story of Taliesin - possibly the greatest bard - and Damh's song reminds us that in search for inspiration we are all "the Cauldron Born". You can find out more about Damh on his website at Pagan Music or on our Contributor Page.   Samhain: the Lowering of the Veil by Jennifer Emick Often controversial, Jennifer Emick has kindly written a fascinating piece about Samhain traditions for us. Jennifer Emick is an artist, writer, and religious educator. She has promoted religious understanding in the internet community for over a decade. She is the About.com Guide to Alternative Religions, the most popular source for Celtic spiritual symbolism on the internet. Ms. Emick lives in the San Francisco Bay area.  She is also the Author of The Everything Celtic Wisdom Book which you can find on Amazon which looks at Irish, Scottish, and Welsh traditions. See her Contributor Page for more details.   Realm of the Free by Cindy Spear & Colin Mold Cindy Spear Cindy has written another amazing poem that has been set to music by Colin Mold called "The Realm of the Free". To find out more about Cindy Spear go to her website or visit her Contributor Page.     Colin Mold Colin is a talented musician who not only plays the band Karnataka in the UK, performs as a session musician and has two solo albums to his name. His latest project is a forth-coming album, Girl On the Castle Steps, on which will you will also hear this track as well as another one with lyrics written by Cindy called Green and Gold. Find out more about Colin on his website or on his Contributor Page.   Visions and Beliefs in the West of Ireland By Lady Augusta Gregory Isabella Augusta, Lady Gregory (15 March 1852 – 22 May 1932), born Isabella Augusta Persse, was an Irish dramatist and folklorist. With William Butler Yeats and Edward Martyn, she co-founded the Irish Literary Theatre and the Abbey Theatre, and wrote numerous short works for both companies. Lady Gregory produced a number of books of retellings of stories taken from Irish mythology. Born into a class that identified closely with British rule, her conversion to cultural nationalism, as evidenced by her writings, was emblematic of many of the political struggles to occur in Ireland during her lifetime. Lady Gregory is mainly remembered for her work behind the Irish Literary Revival. [Wiki] She said: "The Sidhe cannot make themselves visible to all. They are shape-changers; they can grow small or grow large, they can take what shape they choose; they appear as men or women wearing clothes of many colours, of today or of some old forgotten fashion, or they are seen as bird or beast, or as a barrel or a flock of wool. ..... There are two races among the Sidhe. One is tall and handsome, gay, and given to jesting and to playing pranks, leading us astray in the fields, giving gold that turns to withered leaves or to dust. These ride on horses through the night-time in large companies and troops, or ride in coaches, laughing and decked with flowers and fine clothes. The people of the other race are small, malicious, wide-bellied, carrying before them a bag. When a man or woman is about to die, a woman of the Sidhe will sometimes cry for a warning, keening and making lamentation. At the hour of death fighting may be heard in the air or about the house-that is, when the man in danger has friends among the shadows, who are fighting on his behalf. .... This is the news I have been given of the people of the Sidhe by many who have seen them and some who have known their power. A.G. The full text can be found on Sacred Texts at Sacred Texts.   She is Crone by Kellianna Kellianna is an American pagan artist internationally performing song and chant inspired by myth, magic, sacred places and ancient times. With guitar and vocals she brings to life the stories and sagas of the Gods and Goddesses. With frame drum and chant she honors the Earth and the Ancestors via primal drumming and powerful vocals. This track, the incredibly powerful summoning of the Crone, is from her latest album "Elemental" - well worth checking out.  You can find out more about this enchantress on her website or on our Contributor Page.   Samhain Story & Forget Me Not by Chris Joliffe Astoundingly, Chris is an undiscovered talent - that is, until now! This amazing bard has given us permission to use some of his amazing stories and poems in the show and we're sure that you'll love them just as much as we do. In this show, you can hears his short poem Forget Me Not and his mythically-rich story, Samhain Story. We hope to bring you much more of Chris in the future and in the meantime check out his Contributor Page to find out a little more about him.   The Cheshire Souling Song by Kate Fkletcher & Corwen Broch Kate and Corwen are more than just folk musicians. They are also instrument makers and workshop leaders who perform folk music and drama, recreate Ancient music and instruments, make crafts, run workshops for schools and demonstrate at museums and other events. In some ways, they have become folk music's scientists in that their research is delving deep into the past to discover the songs (one of Kate's specialities I believe) and the instruments (definitely one of Corwen's!) of the past. We've seen Corwen demonstrate an ancient lyre on YouTube! Hold on, let's see if I can find it...     You'll find the link to their YouTube channel on their Contributor Page and it really is worth listening to more of their music and finding out about some of the instruments used by the Celts and how they sounded! I think one of the most amazing things I've read about them is on their website where it says: Never afraid to sing all the verses of a long ballad, or play newly composed material on long forgotten instruments, our music has been described as 'hypno/folk'. We aim to make music that their ancestors would understand and appreciate. You can find out more about Kate & Corwen on their website at Ancient Music.co.uk or on their Contributor Page. The Shores of Wales by Kray Van Kirk "I have a different approach now to writing and performing music. I no longer record CDs, as I want to reduce the waste headed to our landfills, and I don't charge money for my songs as a deliberate movement away from the bottom line that seems to govern so much of our daily lives. So I keep writing my songs, and I sing them when I play a show, and I give them away to anyone who wants them. My graduate work takes me to interesting places on rather short notice sometimes, and I try to plan concerts around that travel, although the short notice can make it difficult." About this track, The Shores of Wales, he says: "Every time I play this, someone comes up to me almost frantic to hear what finally happened in the story. I don't think there's a real answer- the beach is empty, the horse is alone, and William rides still. I do like the Faerie King, though- although he is careless of William's fate and casually cruel, he also lays his own soul on the line when challenged." Find out more about Kray on his website or his Contributor Page.    Competition Winner We announce the winner of our competition set in the Chatterbox Show SP24 and wish you all the best of the season and a very Happy New Year!       Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows Contact Us: You can leave us a message by using the Speakpipe Email us at: garyandruth@celticmythpodshow.com. Facebook fan-page http://www.facebook.com/CelticMythPodshow, Twitter (@CelticMythShow) or Snapchat (@garyandruth), Pinterest (celticmythshow) or Instagram (celticmythshow)   Help Spread the Word: Please also consider leaving us a rating, a review and subscribing in iTunes or 'Liking' our Facebook page at http://www.facebook.com/CelticMythPodshow as it helps let people discover our show - thank you :) If you've enjoyed the show, would you mind sharing it on Twitter please? Click here to post a tweet! Ways to subscribe to the Celtic Myth Podshow: Click here to subscribe via iTunes Click here to subscribe via RSS Click here to subscribe via Stitcher   Special Thanks   Psicodreamics for Spirit of Nature and Earth Prayer from the album Ancient Wisdom. See his website for further details of check out his Contributor Page. Green Druid for the enthralling lay, Celta. See his Contributor Page for more details. Adragante, for his track Chanson a la Marie from his album, Harmonie Cosmique. Check out his Contributor Page for more details. Grégoire Lourme, for 1DSENS - Musee virtuel - Evasion from his album Shorts Works. See his Contributor Page for more details.   For our Theme Music: The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.   Extra Special Thanks for Unrestricted Access to Wonderful Music (in Alphabetic order) Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page. Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page. Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page. Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page. The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page. Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page. Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page. Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page. S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page. Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page. We'd like to wish you 'Hwyl fawr!', which is Welsh for Goodbye and have fun, or more literally Wishing a Good Mood on you! Save Save

Three talks by Dermot Coffey on early 20th century Ireland. Of the Gunrunners in 1914, of George Moore and his neighbours (Yeats, Gogarty) and of the great talkers of Dublin like Douglas Hyde, Lady Gregory and the Irish Literary Society (Broadcast 1962)

The life of Lady Gregory, one of the key personnel involved in the Irish Literary Revival. She co-founded the Irish Literary and Abbey Theatres and her home at Coole Park was a meeting place for many of the revival heavyweights. (Broadcast 1960)

Meester Stoorworm from Scotland and W.B. Yeats We celebrate the Autumn Equinox with some amazing pieces of music, a poem by W B Yeats and a traditional Scottish folk-tale. The tale is the Meester Stoorworm which tells of a poor boy made good - a typical fairy tale from Celtic lands. The W B Yeats poem is the Rider from the North from Yeats' book In the Seven Woods. Full show notes, details and Contributor pages over at our main Website at http://celticmythpodshow.com/autumn2008 Running Order: Intro 0:40 News & Views 1:20 The Autumn Equinox 2:18 Faerie Night  by Jacqui Callis 5:12 The Rider from the North by W. B. Yeats 8:15 Light by Sora 11:40 The Meester Stoorworm by Katherine Pyle 14:40 Morgana by Kellianna 37:29 Feedback - Ann 39:58 Promo - British History 101 41:36 Promo - From the Edge of the Circle 43:25 Outtakes 44:43 We hope you enjoy it! Gary & Ruthie x x Released: 20th September 2008, 47m   We love to hear from you! Please email garyandruth@celticmythpodshow.com, or call us using Speakpipe News & Views We talk about all the different types of Celtic groups on the Internet and invite groups to contact us so that we can build up a contact list for them.    The Autumn Equinox We investigate the meanings of the Autumn Equinox - the time of equal day and night. Also known as Mabon and Alban Elfed. Known by the Americans as Harvest Home.   Faerie Night by Jacqui Callis Faerie Night is a powerful faerie song written and performed by Jacqui Callis from a poem by friend and author Suzan Caroll. Although available to download individually, it is from a collection of original songs called Soul Vagabond. The CD features 18 songs with a Celtic/folksy/multidimensional feel, written, or co-written, by Jacqui - some are unaccompanied voice and harmonies and others feature: fiddle, dulcimer, pedal steel, slide, lead and rhythm guitars, banjo and double bass.  See her Myspace page and hear more music or visit her homepage, Soul Vagabond. You can find out more details about Jacqui on her Contributor Page on our website.    The Rider from the North by W. B. Yeats W. B. Yeats William Butler Yeats (13 June 1865 – 28 January 1939) was an Irish poet and dramatist, and one of the foremost figures of 20th-century literature. A pillar of both the Irish and English literary establishments, in his later years Yeats served as an Irish Senator for two terms. He was a driving force behind the Irish Literary Revival, and together with Lady Gregory and Edward Martyn founded the Abbey Theatre, and served as its chief during its early years. In 1923, he was awarded a Nobel Prize in Literature for what the Nobel Committee described as "inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation;" and he was the first Irishman so honored. Maud Gonne Originally published in the Weekly Critical Review on 4th June 1903, The Rider from the North was later called The Happy Townland. This poem was read from In The Seven Woods which can be found at Sacred Texts, subtitled Being poems chiefly of the Irish Heroic Age.    Light by Sora Sora (aka Andrea Hunt) is an independent musician with a different philosophy on how she wants to share her music with the world. Perhaps it was all of the touring she did as a teenager with the Calgary Youth Orchestra and the Calgary Fiddlers that made her appreciate the subtleties of having a solid home base. It may have been the influence of playing with elite musicians and performing to sell out crowds that seeded her desire to mold a new musical lifestyle. Her natural flair for Celtic vocal styling leaps out in her 2003 debut CD “Winds Of Change”. On this self produced project all 13 tracks were recorded live off the floor. “What you hear is what we did” Sora says. “Everyone was in the same small room at the same time”. The arrangements for each song were chosen specifically because they were so different from anything she had ever heard – which gave her the chance to put her heart and sound into each track. You can find her music on Myspace or Corvid Media. You can find out more details about Sora on her Contributor Page on our website.   The Meester Stoorworm by Katherine Pyle A Scottish folk tale from a collection of tales by Katherine Pyle and illustrated by herself. The most complete bibliography for Katherine Pyle we have found is here. This book can be found on Project Gutenberg or Many Books.   Morgana by Kellianna Kellianna is an accomplished musician and performer worldwide. Her CD's , Lady Moon and I Walk with the Goddess are being recognized around the globe as a must have for any lover of Goddess inspired folk music. The track she has given us permission to play is called Morgana, and you can find the lyrics on her site. About the track she says:  "Morgana was created after I read Marion Zimmer Bradley's "The Mists of Avalon" for the third time. The lyrics were completed upon my return from the Ancient Isle of Avalon in Glastonbury, England. Being in Avalon and on the Tor, I could easily imagine Morgan losing her way in the mists and traveling to the Fairy World. She was strong and always emerged from the magical realm to her beloved Avalon." Kellianna can be found on Myspace, but her own website provides lots of useful information, including the lyrics to her songs, another chance to listen to more music as well as being able to buy her two CDs. Her music can also be purchased through iTunes. You can find out more details about Kellianna on her Contributor page on our website.    Listener Feedback Ann We remind our Listeners that we have a poll on the website to help us realise what direcvtion they want us toi take the show in. Do we tell more Irish Tale? Welsh? Scottis? etc.   Promo - British History 101 Michael Anthony British History 101 was begun in June of 2006 after being inspired by Matt Dattilo’s Matt’s Today in History. Michael Anthony, the owner/host/producer of British History 101, wanted to share his fascination with the British Isles and learn more himself, and so decided to create his own podcast for the topic. Michael Anthony is a history student at Indiana University in Bloomington, Indiana and spends his summers in scenic southern Indiana along the Ohio River.    Promo - From The Edge of The Circle Tommy Elf From The Edge of The Circle's Tommy Elf describes his podcast as: "One pagan waxing eloquently (well, sometimes) about various topics of a pagan nature. Come walk on the edge of the circle with me." We recommend Episode 16 for its discussion of mythology in our everyday lives. Episode 16 can still be downloaded from his feed in iTunes but not, I think, for his website.   Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows Contact Us: You can leave us a message by using the Speakpipe Email us at: garyandruth@celticmythpodshow.com. Facebook fan-page http://www.facebook.com/CelticMythPodshow, Twitter (@CelticMythShow) or Snapchat (@garyandruth), Pinterest (celticmythshow) or Instagram (celticmythshow)   Help Spread the Word: Please also consider leaving us a rating, a review and subscribing in iTunes or 'Liking' our Facebook page at http://www.facebook.com/CelticMythPodshow as it helps let people discover our show - thank you :) If you've enjoyed the show, would you mind sharing it on Twitter please? Click here to post a tweet! Ways to subscribe to the Celtic Myth Podshow: Click here to subscribe via iTunes Click here to subscribe via RSS Click here to subscribe via Stitcher Special Thanks For incidental music: Sortie, from Copper Suite by Tavola Rustica . See the Contributor Page for details. A Warm Place from Heart of Winter by Frozen Silence. See the Contributor Page for details. Diane Arkenstone The Secret Garden. See the Contributor Page for details. Kim Robertson, Angels in Disguise. See the Contributor Page for more details. Jigger, Time Ticks Away. See the Contributor Page for more details.   For our Theme Music: The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.   Additional Sources And, of course, the Awen - inspiration and imagination!   Extra Special Thanks for Unrestricted Access to Wonderful Music (in Alphabetic order) Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page. Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page. Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page. Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor Page. The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page. Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page. Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page. Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page. S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page. Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page.   Save

The great Bard Amergin finally steps onto Erin's soil The Sons of Mil finally break through the magic of the Children of Danu and land on the shores of Erin. They demand recompense for the death of their kin and negotiations take place. Now it is up to the Tuatha De Danaan - will they fight, flee or come up with another plan? And yet, the great Bard Amergin also has a trick or two up his sleeve! This episode is the 12th episode of the Irish Mythological Cycle. It is also the final part of the Lebor Gabala Erenn - the Book of Invasions of Ireland. More resources over at our main Website at http://celticmythpodshow.com Running Order: Intro 0:41 News & Views 1:25 Story 2:35 Listener Feedback - Greg Lemon 19:45 Promo - The Wigglian Way 20:34 Promo - Mary Jones 21:10 The Song of Amergin 21:52 All the credits for this episode can be found in our show-notes at http://celticmythpodshow.com/irish12 We hope you enjoy it! Gary & Ruthie x x x   We love getting your feedback! Email garyandruth@celticmythpodshow.com, or call us on Speakpipe   News & Views We warn people that their version of Episode 3 may be corrupt. If it is, please re-download this episode. Thank you. We also thank the eagle-eyed listener, Lowell, who spotted that the episode was corrupt. You can find all the ways to contact us on our Contact Us page.   The Song of Amergin - Episode 12 of the Irish Mythological Cycle and final part of the Book of Invasions Names Used in this Story Listed in order of appearance Amergin Sons of Mil Erin Inver Scene Kenmare Bay Munster Slieve Mis Tuatha De Danaan Banba MacCuill Slieve Eibhline Fodhla MacCecht Uisnech Breogan Eriu MacGreine Teamhair Druim Cain Liathdruim Fir Bolg Cermait Honey-mouth Dagda Ith Eber Donn Men of De Ir Sceig Michil Eremon Inver Colpa Colpa Bres Buaigne Eber Buan Bile Dil Donn Scene Fial Lugaid Muirthemne Tethra Lough Luigdech sidhe-folk   Listener Feedback Greg Lemon We send out a Big Thank you to Greg Lemon of the Myth Show (now sadly pod-faded) for sending us a screen capture of our iTunes reviews and send out a shout to our reviewers. We finish off by discussing the Song of Amergin and thank Mary Jones for her help.   Promo - The Wigglian Way Mojo and Sparrow A pagan podcast with plenty of informal discussion and information about paganism and witchcraft. The Wigglian Way is hosted by Mojo and Sparrow. They also have some great music.   Promo - Mary Jones Celtic Literature Collective Mary Jones Mary Jones, The Celtic Literature Collective is one of the best resources for ancient Celtic literature on the web.   The Song of Amergin - Lyrics I am a wind in the sea I am a sea-wave upon the land I am the sound of the sea I am a stag of seven combats I am a hawk upon a cliff I am a tear-drop of the sun I am the fairest of flowers I am a boar for valour I am a salmon in a pool I am a lake in a plain I am the excellence of arts I am a spear that wages battle with plunder. I am a god who forms subjects Who explains the stones of the mountains? Who invokes the ages of the moon? Where lies the setting of the sun? Who bears cattle from the house of Tethra? Who are the cattle of Tethra who laugh? What man, what god forms weapons? Indeed, then; I invoked a poet... a poet of wind. There are many different translations of The Song of Amergin, which is perhaps the best known piece of all ancient Celtic poetry. With great thanks to the inestimable Mary Jones for her enthusiasm and scholarship, we can present what is possibly the best translation of the earliest transcription. Mary has also written and excellent and thought provoking piece about some of the symbolism in the poem which can be found along with some of the other translations that we found in our Resources section.   Sources used in this Episode Gods and Fighting Men, Lady Gregory, Sacred Texts and Chap. 10 The Book of Invasions, Mary Jones The History of Ireland, Geoffrey Keating, Google Books The Song of Amergin, All About Irish The Song of Amergin, Amergin.net The History of Ireland, Geoffrey Keating, Books I-II, CELT The Book of Leinster, CELT And, of course, the Awen - inspiration and imagination!   Special Thanks For voice acting: Edward, our son, as Eber Donn. Esther, our daughter, as Banba. Estelle, our daughter-in-law, as Fodhla and Matt Howard, our friend,  as the Three Kings of the Tuatha De Danaan.   For incidental music: Jo Morrison for her wonderful harp music used in this episode as the Dagda's Harp. You can find her website here. The track we use here as the bardic accompaniment is Chiorsdain's Lullaby. See the Contributor page for details. Diane Arkenstone, The Secret Garden . See the Contributor page for details. Kim Robertson, Angels in Disguise . See the Contributor page for details. Time Ticks Away by Jigger. See their Contributor Page for details. For our Theme Music The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.   Extra Special Thanks for Unrestricted Access to Wonderful Music (in Alphabetic order) Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page. Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page. Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page. Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page. The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page. Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page. Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page. Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page. S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page. Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page. We'd like to wish you 'Slán Go Foill!', which is Irish for 'Goodbye', or more literally 'Wishing you safety for a while'!   Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows Contact Us: You can leave us a message by using the Speakpipe Email us at: garyandruth@celticmythpodshow.com. 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