Tomás Ó Cathasaigh’s article, “Pagan survivals: the evidence of early Irish narrative,” is primarily concerned with elucidating the approaches used by scholars in the study of the literature. The article begins with a discussion concerning the relationship between pre-existing traditions and Christianity’s entrance into Ireland. Ó Cathasaigh questions W.G. Wood-Martin’s assessment that the influence each entity had on the other is easily disentangled. However, he remarks that Ireland has the benefit of a large body of literature from an early medieval time, a set of literature marked by an evident interest in pre-Christian mythology. While potential avenues of discussion regarding these works are vast and equally complex, the article instead chooses to limit itself to an overview of the methodology utilized for the study of early Irish narrative.
The purpose of the overview is to afford the reader insight into how evidence is extracted from its sources when approached from a variety of perspectives. The author supplements this outline by acknowledging certain issues scholars encounter through the use of one approach or another in this field of study. Ó Cathasaigh structures his overview by drawing on a system derived from the work of Mark Abrams that divides the content of the article into four distinct sections; the work, the artist, the universe, and the audience. Ó Cathasaigh notes that even though the work should be and is frequently at the heart of any scholarly inquiry, the artist and the universe just as often find themselves a central focus considering the unique context of early Irish literature. A fifth and final section includes an excerpt from Cath Maige Tuired and commentary in order to demonstrate the pract...
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... Murphy’s inclination toward the oral tradition carries more weight considering the Christian influence is felt only with minor inclusions along the lines of the reference to the Holy Spirit in the excerpt. The mimetic perspective is discussed briefly with the possibility of an actual Celtic chief having possessed a silver prosthetic limb and is followed by the Generation Conflict as a focal point and source of debate for mythological and textualist critics. In concluding his overview, Ó Cathasaigh highlights the significance of early Irish narrative as a unique and invaluable body of literature brought about by the coalescence of two distinct cultures.
Works Cited
Tomás Ó Cathasaigh, ‘Pagan survivals: the evidence of early Irish narrative’, in P. Ni Chathain and M. Richter (eds), Irland und Europa: die Kirche in Fruhmittelalter (Stuttgard, 1984), pp. 291-307.
The publication history of all of John Clare’s work is, in the end, a history about editorial control and influence. Even An Invite to Eternity, written within the confines of a mental institution seemingly distant from the literary world, is not an exception to this rule, for it and Clare’s other asylum poems do not escape the power and problem of the editor. And, further, this problem of the editor is not one confined to the past, to the actions of Clare’s original publisher John Taylor or to W.F. Knight, the asylum house steward who transcribed the poetry Clare wrote during his 20 odd years of confinement. In fact, debates continue and rankle over the role of the editor in re-presenting Clare’s work to a modern audience: should the modern editor present the unadulterated, raw Clare manuscript or a cleaned up, standardized version as Taylor did? Only exacerbating and exaggerating this problem o...
The hostile and boisterous nature of Celtic warriors is depicted in tales of the Ulster Cycle, and hence explains common practices between characters and Celtic warriors. The Celt’s temper is illustrated in the tales of the Ulster Cycle: “the love of feasting and drinking, the boastful and quarrelsome nature of Celtic warriors and their love of spectacle and feats are daring and amply illustrated in these hero tales . . . these customs closely mirror the tales of the Ulster Cycle . . . in which the champion’s portion are central themes” (403-404). Cu Chulainn exemplifies the Celtic warrios’ loud and rambunctious behavior. The Tain is the most notorious mythology in the Ulster Cycle and illustrates through Cu Chulainn the ideal warrior and the champion’s portion that is so valued in the ancient Celtic warrior society. Simon Young in “Celtic Myths: Celtic History” argues that “recent research on early Celtic culture suggests that legends might be able to offer us a privi...
The following is a list of explications pointing towards British and Celtic myths and figures. While pursuing the Celtic influences of Middleton's novel, I found myself searching for the meaning of other present mysteries. This author's twist of two cultures creates a spectrum for possible explication. It seems that the Celtic material melds into British society throughout this novel. In search of specific markers I found myself concentrating mostly on Haydn Middleton's use of names.
Abstract: This is an analysis of celtic mythological motifs or themes (usually found Arthurian romances) in the medieval romance Yvain and the victorian classic, Alice's Adventures in Wonderland .}
Markale, Jean. The Celts, Uncovering the Mythic and Historic Origins of Western Culture. Rochester, VT. Inner Traditions. 1993.
Westerkamp, Marilyn. Triumph of the Laity: Scots-Irish Piety and the Great Awakening, 1625-1760. New York: Oxford UP, 1988.
James Joyce is praised for his distinct stylistic purpose and furthermore for his writings in the art of free direct discourse. Though at times his language may seem muddled and incoherent, Joyce adds a single fixture to his narratives that conveys unity and creates meaning in the otherwise arbitrary dialogue. Within the story “The Dead”, the final and most recognizable piece in the collection Dubliners, the symbol of snow expresses a correlation with the central character and shows the drastic transformation of such a dynamic character in Gabriel Conroy. The symbol of snow serves as the catalyst that unifies mankind through the flawed essence of human nature, and shows progression in the narrow mind of Gabriel. Snow conveys the emission of the otherwise superficial thoughts of Gabriel and furthermore allows for the realization of the imperfections encompassed by mankind. Riquelme’s deconstruction of the text allows for the understanding that the story cannot be read in any specific way, but the variance in meaning, as well as understanding depends solely upon the readers’ perspective. Following a personal deconstruction of the text, it is reasonable to agree with Riquelme’s notions, while correspondingly proposing that the symbol of snow represents the flaws, and strengths of Gabriel, as well as the other characters as it effects all equally.
One of the first literary work studied by our class was “Beowulf,” the longest and greatest surviving Anglo-Saxon poem. The poem is packed full of Christian and Pagan elements that are constantly fighting for the dominant position. In order to understand these thematic elements portrayed throughout “Beowulf,” we must first discover
Stanley, Tim. "Give Me That Old Time Religion." History Today 63.8 (2013): 50. Academic Search Premier. Web. 28 Feb. 2014.CHURCH, S. D. "Paganism In Conversion-Age Anglo-Saxon England: The Evidence Of Bede's Ecclesiastical History Reconsidered." History 93.310 (2008): 162-180. Academic Search Premier. Web. 28 Feb. 2014.Mayfield, Tyler. "Hebrew Bible." Masterplots II: Christian Literature (2007): 1-7. Literary Reference Center. Web. 28 Feb. 2014.Alward, Emily. "The Soul Of Christianity." Masterplots II: Christian Literature (2007): 1-2. Literary Reference Center. Web. 3 Mar. 2014.Hallissy, Margaret. "Christianity, The Pagan Past, And The Rituals Of Construction In William Golding's The Spire." Critique 49.3 (2008): 319-331. Academic Search Premier. Web. 3 Mar. 2014.
William V. Shannon "The American Irish", The Macmillian Co. , N.Y 1964 , Page 131-151
In James Joyce’s Dubliners, the theme of escape tends to be a trend when characters are faced with critical decisions. Joyce’s novel presents a bleak and dark view of Ireland; his intentions by writing this novel are to illustrate people’s reasons to flee Ireland. In the stories “Eveline, “Counterparts”, and the “Dead”, characters are faced with autonomous decisions that shape their lives. This forlorn world casts a gloomy shadow over the characters of these stories. These stories are connected by their similar portrayal of Ireland. They clearly represent Joyce’s views on people’s discontent with Ireland.
A collection of short stories published in 1907, Dubliners, by James Joyce, revolves around the everyday lives of ordinary citizens in Dublin, Ireland (Freidrich 166). According to Joyce himself, his intention was to "write a chapter of the moral history of [his] country and [he] chose Dublin for the scene because the city seemed to [b]e the centre of paralysis" (Friedrich 166). True to his goal, each of the fifteen stories are tales of disappointment, darkness, captivity, frustration, and flaw. The book is divided into four sections: childhood, adolescence, maturity, and public life (Levin 159). The structure of the book shows that gradually, citizens become trapped in Dublin society (Stone 140). The stories portray Joyce's feeling that Dublin is the epitome of paralysis and all of the citizens are victims (Levin 159). Although each story from Dubliners is a unique and separate depiction, they all have similarities with each other. In addition, because the first three stories -- The Sisters, An Encounter, and Araby parallel each other in many ways, they can be seen as a set in and of themselves. The purpose of this essay is to explore one particular similarity in order to prove that the childhood stories can be seen as specific section of Dubliners. By examining the characters of Father Flynn in The Sisters, Father Butler in An Encounter, and Mangan's sister in Araby, I will demonstrate that the idea of being held captive by religion is felt by the protagonist of each story. In this paper, I argue that because religion played such a significant role in the lives of the middle class, it was something that many citizens felt was suffocating and from which it was impossible to get away. Each of the three childhood stories uses religion to keep the protagonist captive. In The Sisters, Father Flynn plays an important role in making the narrator feel like a prisoner. Mr. Cotter's comment that "… a young lad [should] run about and play with young lads of his own age…" suggests that the narrator has spent a great deal of time with the priest. Even in death, the boy can not free himself from the presence of Father Flynn (Stone 169) as is illustrated in the following passage: "But the grey face still followed me. It murmured; and I understood that it desired to confess something.
Ronsley, Joseph, ed., Myth and Reality in Irish Literature, Wilfrid Laurier University Press, Canada, 1977
James Joyce began his writing career in 1914 with a series of realistic stories published in a collection called The Dubliners. These short literary pieces are a glimpse into the ‘paralysis’ that those who lived in the turn of the century Ireland and its capital experienced at various points in life (Greenblatt, 2277). Two of the selections, “Araby” and “The Dead” are examples of Joyce’s ability to tell a story with precise details while remaining a detached third person narrator. “Araby” is centered on the main character experiencing an epiphany while “The Dead” is Joyce’s experiment with trying to remain objective. One might assume Joyce had trouble with objectivity when it concerned the setting of Ireland because Dublin would prove to be his only topic. According the editors of the Norton Anthology of Literature, “No writer has ever been more soaked in Dublin, its atmosphere, its history, its topography. He devised ways of expanding his account of the Irish capital, however, so that they became microcosms of human history, geography, and experience.” (Greenblatt, 2277) In both “Araby” and “The Dead” the climax reveals an epiphany of sorts that the main characters experience and each realize his actual position in life and its ultimate permanency.
McCann et al. Belfast: Institute of Irish Studies, 1994, 95-109).