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Irish poetry - The 20th century

Irish poetry - The 20th century: Encyclopedia II - Irish poetry - The 20th century

Irish poetry - Yeats and modernism. In the 1910s, Yeats became acquainted with the work of James Joyce, and worked closely with Ezra Pound, who served as his personal secretary for a time. Through Pound, Yeats also became familiar with the work of a range of prominent modernist poets. He undoubtedly learned from these contacts, and from his 1916 book Responsibilities and Other Poems onwards his work, while not entirely meriting the label modernist, became much more hard-edged than it had been.

Irish poetry: Encyclopedia II - Irish poetry - The 20th century

Irish poetry - The 20th century

Irish poetry - Yeats and modernism

In the 1910s, Yeats became acquainted with the work of James Joyce, and worked closely with Ezra Pound, who served as his personal secretary for a time. Through Pound, Yeats also became familiar with the work of a range of prominent modernist poets. He undoubtedly learned from these contacts, and from his 1916 book Responsibilities and Other Poems onwards his work, while not entirely meriting the label modernist, became much more hard-edged than it had been.

Irish poetry - The 1916 poets

Another group of early 20th century Irish poets worth noting are those associated with the Easter Rising of 1916. Three of the Republican leadership, Patrick Pearse (1879–1916), Joseph Mary Plunkett (1879–1916) and Thomas MacDonagh (1878–1916), were noted poets. Although much of the verse written by them is predictably Catholic and Nationalist in outlook, they were competent writers and their work is of considerable historical interest. Pearse, in particular, shows the influence of his contact with the work of Walt Whitman.

Irish poetry - After Yeats: Clarke Higgins Colum

However, it was to be Yeats' earlier Celtic mode that was to be most influential. Amongst the most prominent followers of the early Yeats were Padric Colum (1881–1972), F. R. Higgins (1896–1941), and Austin Clarke (1896–1974). In the 1950s, Clarke, returning to poetry after a long absence, turned to a much more personal style and wrote many satires on Irish society and religious practices.

Irish poetry - Irish Modernism

In fact, Irish poetic Modernism took its lead not from Yeats but from Joyce. The 1930s saw the emergence of a generation of writers who engaged in experimental writing as a matter of course. The best known of these is Samuel Beckett (1906–1989), who won the Nobel Prize in Literature in 1969. Beckett's poetry, while not inconsiderable, is not what he is best known for. The most significant of the second generation Modernist Irish poets who first published in the 1920s and 1930s include Brian Coffey (1905–1995), Denis Devlin (1908–1959), Thomas MacGreevy (1893–1967), Blanaid Salkeld (1880–1959), and Mary Devenport O'Neill (1879–1967). Coffey's two late long poems Advent and Death of Hektor. are widely held to be the most important works in the canon of Irish poetic Modernism.

Irish poetry - Poetry in De Valera's Ireland

While Yeats and his followers wrote about an essentially aristocratic Gaelic Ireland, the reality was that the actual Irish Free State of the 1930s and 1940s was a society of small farmers and shopkeepers. Inevitably, a generation of poets who rebelled against the example of Yeats, but who were not Modernist by inclination, emerged from this environment. Patrick Kavanagh (1904–1967), who came from a small farm, wrote about the narrowness and frustrations of rural life. John Hewitt (1907–1987), whom many consider to be the founding father of Northern Irish poetry, also came from a rural background but lived in Belfast and was amongst the first Irish poets to write of the sense of alienation that many at this time felt from both their original rural and new urban homes. Louis MacNeice (1907–1963), another Northern Irish poet, was associated with the left-wing politics of Michael Roberts's anthology New Signatures but was much less political a poet than W. H. Auden or Stephen Spender, for example. MacNeice's poetry was informed by his immediate interests and surroundings and is more social than political.

Irish poetry - Poetry in Irish

With the foundation of the Irish Free State it became official government policy to promote and protect the Irish language. Although not particularly successful, this policy did help bring about a revival in Irish-language literature. Specifically, the establishment in 1926 of An Gúm ("The Project"), a Government sponsored publisher, created an outlet both for original works in Irish and for translations into the language. Since then, a number of Irish-language poets have come to prominence. These include Máirtín Ó Direáin (1910–1988), Seán Ó Ríordáin (1916–1977), Máire Mhac an tSaoi (born 1922), Gabriel Rosenstock (born 1949), and Nuala Ní Dhomhnaill (born 1952). While all these poets are influenced by the Irish poetic tradition, they have also shown the ability to assimilate influences from poetries in other languages.

Irish poetry - The Northern School

The Northern Irish poets have already been mentioned in connection with John Hewitt. In the 1960s, and coincident with the rise of the Troubles in the province, a number of Ulster poets began to receive critical and public notice. Prominent amongst these were Michael Longley (born 1939), Derek Mahon (born 1941), Seamus Heaney (born 1939), and Paul Muldoon (born 1951).

Heaney is probably the best-known of these poets. He won the Nobel Prize in Literature in 1995, and has served as Boylston Professor of Rhetoric and Oratory and Emerson Poet in Residence at Harvard, and as Professor of Poetry at Oxford.

Derek Mahon was born in Belfast and worked as a journalist, editor, and screenwriter while publishing his first books. His slim output should not obscure the high quality of his work, which is influenced by modernist writers such as Samuel Beckett.

Muldoon has been Howard G. B. Clark '21 Professor in the Humanities at Princeton University. In 1999 he was also elected Professor of Poetry at the University of Oxford.

Some critics find that these poets share some formal traits (including an interest in traditional poetic forms) as well as a willingness to engage with the difficult political situation in Northern Ireland. Others (such as the Dublin poet Thomas Kinsella) have found the whole idea of a Northern school to be more hype than reality.

Irish poetry - Experiment

In the late 1960s, two young Irish poets, Michael Smith (born 1942) and Trevor Joyce (born 1947) founded the New Writers Press publishing house and a journal called The Lace Curtain. Partly this was to publish their own work and that of some like-minded friends, and partly it was to promote the work of neglected Irish modernists like Coffey and Devlin. Both Joyce and Smith have published considerable bodies of poetry in their own right.

Among the other poets published by the New Writers Press were Geoffrey Squires (born 1942), whose early work was influenced by Charles Olson, and Augustus Young (born 1943), who admired Pound and who has translated older Irish poetry, as well as work from Latin America and poems by Bertolt Brecht.

Younger poets who write what might be called experimental poetry include Maurice Scully (born 1952), and Randolph Healy (born 1956).

Irish poetry - Outsiders

In addition to these two loose groupings, a number of prominent Irish poets of the second half of the 20th century could be described as outsiders. These include Thomas Kinsella (born 1928), whose early work was influenced by Auden. Kinsella's later work exhibits the influence of Pound in its looser metrical structure and use of imagery but is deeply personal in manner and matter. He is Professor of English at Temple University, Philadelphia. Kinsella also edited the poetry of Austin Clarke, who, in his later work at least, could also be included with the outsiders in Irish poetry.

Michael Hartnett (1941–1999) was unusual amongst Irish poets in that he was equally fluent in both Irish and English. As well as original work in both languages, including haiku in English, he published translations in English of bardic poetry and of the Tao Te Ching.

Eoghan Ó Tuairisc/Eugene Watters (1919–1982) was another bilingual poet. His The Weekend of Dermot and Grace (1964) is one of the most interesting Irish long poems of the second half of the 20th century and one of the few examples of the application of the lessons of T. S. Eliot's The Waste Land in any work by an Irish poet.

Patrick Galvin (born 1927) worked mainly with the ballad tradition and his poetry displays his left-wing politics. He has also written several volumes of memoirs, one of which, Song for a Raggy Boy, has been made into a film.

Cathal Ó Searcaigh (born 1956) writes exclusively in Irish. Many of his poems are candidly homoerotic in their subject matter. He has also written plays, such as Oíche Ghealaí ("Moonlit Night"), whose homosexual content created controversy when it opened in Letterkenny in 2001.[1]

Irish poetry - Women poets

The second half of the century also saw the emergence of a number of women poets of note. Two of the most successful of these are Eavan Boland (born 1944) and Eiléan Ní Chuilleanáin (born 1942). Boland has written widely on specifically feminist themes and on the difficulties faced by women poets in a male-dominated literary world. She is professor of English at Stanford University. Ní Chuilleanáin's poetry reflects an interest in Celtic spirituality. She is a Fellow of Trinity College Dublin.