In Tragedy and Irish Literature, McDonald considers the culture of suffering, loss, and guilt in the work of J.M. Synge, Sean O'Casey and Samuel Beckett. He applies external ideas of tragedy to the three dramatists and also discerns particular sorts of tragedy within their own work. While alert to the real differences between the three writers, the book also traces common themes and preoccupations. It identifies a conflict between form and content, between heightened language and debased reality as the hallmark of Irish tragedy.
In Tragedy and Irish Writing McDonald considers the culture of suffering, loss, and guilt in the work of Synge, O'Casey, and Beckett. He applies external ideas of tragedy to the three dramatists and also discerns particular sorts of tragedy within their own work. While alert to the real differences among the three, the book also traces common themes and preoccupations. It identifies a conflict between form and content, between heightened language and debased reality, as the hallmark of Irish tragedy.
The Easter Rising began at 12 noon on 24 April, 1916 and lasted for six short but bloody days, resulting in the deaths of innocent civilians, the destruction of many parts of Dublin and the true beginning of Irish independence. The 1916 Rising was born out of the Conservative and Unionist parties' illegal defiance of the democratically expressed wish of the Irish electorate for Home Rule; and of confusion, mishap and disorganisation, compounded by a split within the Volunteer leadership. Tim Pat Coogan introduces the major players, themes and outcomes of a drama that would profoundly affect twentieth-century Irish history. Not only is this the story of a turning point in Ireland's struggle for freedom, but also a testament to the men and women of courage and conviction who were prepared to give their lives for what they believed was right.
In Plato's Symposium, Socrates says that the true poet must be tragic and comic at the same time, and the whole of human life must be felt as a blend of tragedy and comedy. The present collection of essays investigates the presence of comic and tragic elements in Irish literature. The works by Irish authors, be they classical or contemporary, capture the struggles of the lives of individuals and communities in Ireland. Irish literature in various ways deals with the tragic and complex past of the country, as well as an equally interesting present. The irony of the art is always subliminally filled with tragic overtones. Irish literature most commonly presents life's ironies as inseparably linked with the personal tragedies of the characters. In literature, life is sometimes described, sometimes reflected in a distorted mirror. In reality, just as Plato claims, Irish literature appears as a blend of tragedy and comedy.
Ireland is suffering from a crisis of authority. Catholic Church scandals, political corruption, and economic collapse have shaken the Irish people’s faith in their institutions and thrown the nation’s struggle for independence into question. While Declan Kiberd explores how political failures and economic globalization have eroded Irish sovereignty, he also sees a way out of this crisis. After Ireland surveys thirty works by modern writers that speak to worrisome trends in Irish life and yet also imagine a renewed, more plural and open nation. After Dublin burned in 1916, Samuel Beckett feared “the birth of a nation might also seal its doom.” In Waiting for Godot and a range of powerful works by other writers, Kiberd traces the development of an early warning system in Irish literature that portended social, cultural, and political decline. Edna O’Brien, Frank O’Connor, Seamus Heaney, and Michael Hartnett lamented the loss of the Irish language, Gaelic tradition, and rural life. Nuala Ní Dhomhnaill and Eavan Boland grappled with institutional corruption and the end of traditional Catholicism. These themes, though bleak, led to audacious experimentation, exemplified in the plays of Brian Friel and Tom Murphy and the novels of John Banville. Their achievements embody the defiance and resourcefulness of Ireland’s founding spirit—and a strange kind of hope. After Ireland places these writers and others at the center of Ireland’s ongoing fight for independence. In their diagnoses of Ireland’s troubles, Irish artists preserve and extend a humane culture, planting the seeds of a sound moral economy.
New essays on ancient Greek classics from Ireland's greatest living dramatists and academics. That so many Irish playwrights should return to the Greek classics can not really be a surprise. Drama in Ireland is still a means of exploring the issues of family and state; of gender, class and race; of the oppressors and the oppressed. It is political in the broad sense in which the Greeks understood the word, involving everyone - immediate but concentrated through parallel and parable. This collection of provocative essays reveals how some of the great Irish poets and dramatists, of the past and.
This book presents an analysis of more than 30 plays written by Irish dramatists and poets that are based on the tragedies of Sophocles, Euripides and Aeschylus. These plays proceed from the time of Yeats and Synge through MacNeice and the Longfords on to many of today's leading writers.
Ollie Wing is barely surviving. Back home in Sligo, he collects trolleys in a supermarket car park and lives in a run-down house with a group of art students. He can't escape what has happened in London and is tormented by old fears and regrets. Finally, he decides to confront his demons.
