A couple of weeks ago, I was in Dublin for the first time, and participated in a seminar (for more on which, see previous blogpost). I have been wanting to visit Ireland for a long time, and as - I believe - most Europeans I have grown up with a range of different cultural impulses that have shaped my idea of the country, its history, and its culture. Thanks to these impulses, Ireland is to me synonymous with books, and one of my priorities was to purchase a collection of Irish poetry. However, I also went about this mission with a certain apprehension about the necessity to keep a certain balance between my enthusiasm for Irish literature in general, and the rather appalling tendency to romanticize and exoticize Ireland, its inhabitants, and its cultural heritage. I wanted to avoid falling into generalizing raptures about how Ireland is a land of letters and how ubiquitous poetry is there. Largely I was successful in this, although Dublin itself did its best to sway me, such as when I walked past a farrier in an alley, over whose door was written a quotation from Seamus Heaney's poem 'The Forge'.
In the end, I did go to Hogges Figges, and quite excitedly sought out their poetry selection. I was not entirely sure what to expect, so I was ecstatic to find an annotated facsimile of the first edition of William Butler Yeats' collection The Tower. Not only is it a beautiful book, but, more importantly, it was a complete volume of verse, something I have struggled to find in the case of Yeats, since his popularity has ensured that there have been printed many selections and incomplete anthologies, while his individual books have been more neglected. Overjoyed by this find, I went to a pub and sat down to have a cup of tea, whiling away the time in a very pleasant way before meeting a friend for lunch. It was a short while, about half an hour, but there was something at once so quintessential and yet unromanticized about the feeling of reading Yeats in a pub which etched the memory into my brain.
And was the holy Lamb of God,
On Englands pleasant pastures seen!
- And did those feet, William Blake
On Englands pleasant pastures seen!
- And did those feet, William Blake
Viser innlegg med etiketten Seamus Heaney. Vis alle innlegg
Viser innlegg med etiketten Seamus Heaney. Vis alle innlegg
tirsdag 31. oktober 2023
Reading in the room - a glimpse from Dublin
Etiketter:
Books,
Dublin,
Poetry,
Seamus Heaney,
William Butler Yeats
torsdag 21. mars 2019
Trout - a poem by Seamus Heaney
Trout
Hangs, a fat gun-barrel,
deep under arched bridges
or slips like butter down
the throat of the river.
From depths smooth-skinned as plums
his muzzle gets bull's eye;
picks off grass-sseed and moths
that vanish, torpedoed.
Where water unravels
over gravel-beds he
is fired from the shallows
white belly reporting
flat; darts like a tracer-
bullet back between stones
and is never burnt out.
A volley of cold blood
ramrodding the current.
From Death of a Naturalist, 1966
fredag 30. mars 2018
The Disappearing Island - a poem by Seamus Heaney
Continuing on from previous blogpost's theme of islands, and keeping in tune with my abiding fascination with them, I here give you a short but haunting poem by Seamus Heaney, printed in his collection The Haw Lantern from 1987.
The Disappearing Island
Once we presumed to found ourselves for good
Between the blue hills and those sandless shores
Where we spent our desperate night in prayer and vigil,
Once we had gathered driftwood, made a hearth
And hung our cauldron like a firmament,
The island broke beneath us like a wave.
The land sustaining us seemed to hold firm
Only when we embraved it in extremis.
All I believe that happened there was a vision.
torsdag 31. august 2017
Blackberry-picking, a poem by Seamus Heaney
As a brief farewell to August, here is a seasonal poem by Seamus Heaney which was published in his debut poetry collection, Death of a naturalist in 1966. It is a beautiful and atmospheric invocation of one of the hallmarks of a childhood in the district, berry-picking, and one of the typical features of summer. (Text is taken from this website.)
Blackberry picking
Late August,
given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer's blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard's.
We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting on our cache.
The juice was stinking too. Once off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn't fair
That all the lovely canfuls smelt of rot.
Each year I hoped they'd keep, knew they would not.
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer's blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard's.
We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting on our cache.
The juice was stinking too. Once off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn't fair
That all the lovely canfuls smelt of rot.
Each year I hoped they'd keep, knew they would not.
torsdag 26. november 2015
The Ash Plant, by Seamus Heaney
November is usually the month when all the projects planned or merely dreamed of throughout the autumn comes crashing into reality to eat the days and weeks with a rapacious hunger. At this point, I'm past the most hectic period but since there's not much energy left for blogging, I'll put up this beautiful poem by Seamus Heaney, published in Seeing Things (Faber & Faber 1991).

Dropwort and ash
BL MS Egerton 747, herbal miscellany, various authors, Salerno, between c.1280 and c.1310
Courtesy of British Library
The Ash Plant
He'll never rise again but he is ready. Entered like a mirror by the morning,
He stares out the big window, wondering,
Not caring if the day is bright or cloudy.
An upstairs outlook on the whole country.
First milk-lorries, first smoke, cattle, trees
In damp opulence above damp hedges -
He has it to himself, he is like a sentry
Forgotten and unable to remember
The whys and wherefores of his lofty station,
Wakening relieved yet in position,
Disencumbered as a breaking comber.
As his head goes light with light, his wasting hand
Gropes desperately and finds the phantom limb
Of an ash plant in his grasp, which steadies him.
Now he has found his touch he can stand his ground
Or wield the stick like a silver bough and come
Walking again among us: the quoted judge.
I could have cut a better man out of the hedge!
God might have said the same, remembering Adam.
tirsdag 30. juni 2015
Seamus Heaney's Postscript
Since June is drawing to its close, I will keep it very simple in this month's fourth blogpost, presenting the poem Postscript by Seamus Heaney, which I came across when reading The Poetry of Birds, edited by Simon Armitage and Tim Dee.
Postscript
And some time make the time to drive out west
Into County Clare, along the Flaggy Shore,
In September or October, when the wind
And the light are working off each other
So that the ocean on one side is wild
With foam and glitter, and inland among stones
The surface of a slate-grey lake is lit
By the earthed lightning of a flock of swans,
Their feathers roughed and ruffling white on white,
Their fully grown headstrong-looking heads
Tucked or cresting or busy underwater.
Useless to think you'll park and capture it
More thoroughly. You are neither here nor there,
Into County Clare, along the Flaggy Shore,
In September or October, when the wind
And the light are working off each other
So that the ocean on one side is wild
With foam and glitter, and inland among stones
The surface of a slate-grey lake is lit
By the earthed lightning of a flock of swans,
Their feathers roughed and ruffling white on white,
Their fully grown headstrong-looking heads
Tucked or cresting or busy underwater.
Useless to think you'll park and capture it
More thoroughly. You are neither here nor there,
A hurry through which known and strange things pass
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open

Heraldic swan
MS Additional 69865, f.5, leaves from a book of hours, Use of Rome, c.1390-c.1400
Courtesy of British Library
onsdag 3. juni 2015
St. Kevin and the blackbird
Today is the feast of St. Kevin, who founded the monastery of Glendalough in County Wicklow, Ireland. He became the monstery's abbot, and he is traditionally believed to have died c.618, allegedly at the age of one hundred and twenty years old. As a founding figure, Abbot Kevin is mostly a mythical figure whose lives - written several centuries after his death - are aimed at strengthening the abbey's territorial claims and privileges. One of the many legends surrounding him tells of how he managed to sustain his monastic community with salmon brought to him by otters.
Another, and perhaps the most famous of the legends surrounding him is how, when he held his arms outstretched in prayer, a blackbird landed in his hands and laid an egg. Kevin remained in the same position until the egg was hatched, so as not to disturb the bird. This story is recorded in Gerald of Wales' Topographia Hiberniae, and is one of many legends illustrating how the Irish saints control nature. I've written extensively on this in another blogpost.

Kevin and the blackbird
MS Royal 13 B VIII, Gerald of Wales' Topographia Hiberniae, England, c.1196-c.1223
Courtesy of British Library
The story of St Kevin have been rendered in tercets by Seamus Heaney, and for St Kevin's Day, here's the poem in full, courtesy of this website.
St Kevin and the Blackbird
(from The Spirit Level, 1996)
The saint is kneeling, arms stretched out, inside
His cell, but the cell is narrow, so
One turned-up palm is out the window, stiff
As a crossbeam, when a blackbird lands
And lays in it and settles down to nest.
Kevin feels the warm eggs, the small breast, the tucked
Neat head and claws and, finding himself linked
Into the network of eternal life,
Is moved to pity: now he must hold his hand
Like a branch out in the sun and rain for weeks
Until the young are hatched and fledged and flown.
*
And since the whole thing’s imagined anyhow,
Imagine being Kevin. Which is he?
Self-forgetful or in agony all the time
From the neck on out down through his hurting forearms?
Are his fingers sleeping? Does he still feel his knees?
Or has the shut-eyed blank of underearth
Crept up through him? Is there distance in his head?
Alone and mirrored clear in love’s deep river,
‘To labour and not to seek reward,’ he prays,
A prayer his body makes entirely
For he has forgotten self, forgotten bird
And on the riverbank forgotten the river’s name.
Information on St Kevin is taken from David Farmer's Oxford Dictionary of Saints, Oxford University Press, 2004.
For similar blogposts, see:
Seamus Heaney's poems for St Brigid
Gerald of Wales on the Irish saints
Etiketter:
Gerald of Wales,
History,
Ireland,
Medieval,
Poetry,
Saints,
Seamus Heaney
lørdag 31. januar 2015
Two poems for Saint Brigid of Kildare by Seamus Heaney
Tomorrow (February 01) is the feast of St Brigid of Kildare, founder and abbess of the monastery of Kildare and one of Ireland's major saints. She is believed to have been baptised by St Patrick and died around 525. However, since the earliest lives date to the sixth century there is good reason to question her historicity, especially in light of the attempts of Kildare Monastery to buttress their claim to monastic supremacy in Ireland through her figure. The hagiographical material echoes her dubious place in history since it is largely comprised of miracle stories. One of the most famous of these is how she dried her clothes on a sunbeam when she could find nowhere else to hang them. This miracle is recounted in the South English Legendary, compiled in the latter half of the 13th century.
Brigid's miracles are also recounted by Gerald of Wales in his exposition of the Irish saints. In a previous blogpost I wrote more thoroughly on this, so suffice it to say that Gerald warned the Norman conquerors of Ireland not to transgress against Brigid and her places of worship, as she was - like all Irish saints according to Gerald, of a very vindictive nature.
St Brigid of Kildare
Stained glass window from 1934 in Our Lady and Saint Non's Chapel, St Davids, Wales
Courtesy of Wikimedia
Saint Brigid has also caught the fascination of Irish poet Seamus Heaney, so for Brigid's day tomorrow, I here present two poems featuring the abbess (with thanks to Trias Thaumaturga).
A Brigid's Girdle
(from The Spirit Level)
Last time I wrote I wrote from a rustic table
Under magnolias in South Carolina
As blossoms fell on me, and a white gable
As clean-lined as the prow of a white liner
Bisected sunlight in the sunlit yard.
I was glad of the early heat and the first quiet
I'd had for weeks. I heard the mocking bird
And a delicious, articulate
Flight of small plinkings from a dulcimer
Like feminine rhymes migrating to the north
Where you faced the music and the ache of summer
And earth's foreknowledge gathered in the earth.
Now it's St Brigid's Day and the first snowdrop
In County Wicklow, and this a Brigid's Girdle
I'm plaiting for you, an airy fairy hoop
(Like one of those old crinolines they'd trindle),
Twisted straw that's lifted in a circle
To handsel and to heal, a rite of spring
As strange and lightsome and traditional
As the motions you go through going through the thing.
From Crossings
On St. Brigid's Day the new life could be entered
From Crossings
On St. Brigid's Day the new life could be entered
By going through her girdle of straw rope
The proper way for men was right leg first
Then right arm and right shoulder, head, then left
Shoulder, arm and leg.
Women drew it down
Over the body and stepped out of it
The open they came into by these moves
Stood opener, hoops came off the world
They could feel the February air
Still soft above their heads and imagine
The limp rope fray and flare like wind-born gleanings
Or an unhindered goldfinch over ploughland.
Etiketter:
Gerald of Wales,
History,
Medieval,
Poetry,
Saints,
Seamus Heaney
mandag 29. desember 2014
Gerald of Wales and the Irish saints
- Gerald of Wales, The
Topography of Ireland (transl. by John O'Meara)

A priest accosted by a werewolf
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
In this blogpost I'm looking at Gerald of Wales' presentation of some Irish saints in his famous work Topographica Hiberniae which was composed in the latter half of the 1180s. The book is in part a recollection of things Gerald heard or witnessed during his trips to Ireland in the period 1183-85. On his second visit he was a part of King Henry II's retinue and was the tutor of his son John. When Gerald returned to Ireland in 1185, he was part of John's retinue. Gerald was also related to members of the Anglo-Norman invasion force, and was therefore doubly invested in the Anglo-Norman campaign to subdue Ireland.
It is in this
context Gerald's comments on Ireland and its people must be
understood, and in this blogpost I wish to see how Gerald's treatment
of Ireland's saints can be explained by context of invasion and
subjugation (I hesitate to use the term "colonial context").

The fish with three gold teeth
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
Gerald's views on the Irish saints as expressed in the epigraph are found as the last chapter of part two of his Topographia hiberniae. In this chapter, Gerald records the wonders, the miracles and the holy men and women of Ireland. The chapter begins with natural wonders, such as a fish with three gold teeth, or the wonderful well of Munster whose water turned things put into it grey. After these natural wonders, Gerald moves on to wonders pertaining to men and beasts, and he records a boy of Wicklow who was a man in most physiognomical respects, but whose nose, eyes, hands and feet resembled those of an ox. This deformed boy was regularly given food at the court of Maurice fitzGerald, one of Gerald's relatives and one of the leaders of the Anglo-Norman invasion of Ireland.

The werewolves of St Natalis
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
Saint Natalis and the Werewolves
As for
the Irish saints, their vindictive nature becomes apparent already in
the first story in Gerald's catalogue of animal wonders. The story
tells of a priest who was travelling through a wood together with a
young boy, and after they had lit up a fire for the night a wolf came
up to them and started speaking. In order to calm them down, the wolf
spoke about God - and said reasonable and Catholic things, Gerald
notes - and then he explained what he wanted:
We are natives of Ossory. From there every seven years, because of the imprecation of a certain saint, namely the abbot Natalis, two persons, a man and a woman, are compelled to go into exile not only from their territory but also from their bodily shape. They put off the form of man compltely and put on the form of wolf. When the seven years are up, and if they have survived, two others take their place in the same way, and the first pair return to their former country and nature.
We are natives of Ossory. From there every seven years, because of the imprecation of a certain saint, namely the abbot Natalis, two persons, a man and a woman, are compelled to go into exile not only from their territory but also from their bodily shape. They put off the form of man compltely and put on the form of wolf. When the seven years are up, and if they have survived, two others take their place in the same way, and the first pair return to their former country and nature.
- Topography of Ireland, chapter 52
(translated by John O'Meara)
The
wolf then goes on to explain that his "companion in this
pilgrimage" is close to death, and he asks the priest to give
her the solace of divine mercy at her life's end. The priest agrees
and after some exhortation also gives the dying woman the last rites,
including the communion. This story bears some echoes of an old
Celtic tale where two brothers are punished by being sent into the
woods as a he-wolf and a she-wolf. They later return in their human
shape and with the children they have incestuously reared while
bearing the shape of wolf. This is not to say that Gerald knew this
story, or that it had any impact on the anecdote related above, but
it suggests a deep-rooted belief in lycanthropy in Irish folklore.
More interesting for my purpose here, is the detail that the fate of
these wolves was ordained by St Natalis as a punishment, perhaps a
particularly Irish punishment at that, which presents us right away
with the vindictive nature of the Irish saints.

St Kevin and the blackbird
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
The Curse of Saint Kevin
Another example of this vindictiveness is related in chapter 61, which tells about St Kevin, "a great confessor of the faith". Kevin is perhaps most famous for his patience exhibited when, during the saint's prayer, a blackbird started building a nest in his outstretched hand, which was the subject of a poem by Seamus Heaney. In kindness to the bird, Kevin did not move until the birds were hatched, and Gerald notes that because of this, the blackbird features in the iconographical representations of the saint. However, Gerald also tells us about Kevin's vengefulness to birds. We are told that on his feast days, the ravens of Glendalough are "prevented by a curse of Saint Kevin" from being on the ground and from eating, so the birds fly about the village and make "a great noise". The reason for this curse, Gerald speculates, might be that the ravens had caused one of Kevin's students to spill some milk.

The teal of St Colman
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
The Teal of Saint Colman
The
next chapter records a story in which saintly vindictiveness is
protecting rather than harming birds. Here Gerald tells of some teal
inhabiting a lake in Leinster, who have resided there since the time
of St Colman (it is not specified when that time was). These birds
are tame enough to take food from people's hands, but
[w]henever any injury or molestation happens to the church, the clergy, or themselves, they go off to a lake at some distance, and do not return to their former abode until due satisfaction has been made. In the meantime during their absence the waters of the lake, which before were limpid and clear, become brackish and dirty, and cannot be use either for man or beast.
[w]henever any injury or molestation happens to the church, the clergy, or themselves, they go off to a lake at some distance, and do not return to their former abode until due satisfaction has been made. In the meantime during their absence the waters of the lake, which before were limpid and clear, become brackish and dirty, and cannot be use either for man or beast.
-
Topography of
Ireland, chapter 62 (translated by John O'Meara)
Gerald further
records that once a teal was accidentally brought back from the lake
with some cooking water, but although the water was cooking for a
long time, the bird - thanks, no doubt, to the miraculous protection
of St Colman - remained unhurt. Similarly, Gerald tells of a story
happening "in our own times" when the Anglo-Norman invader
Robert fitzStephen travelled through the area in the company of King
Dermot of Leinster. An archer, ostensibly belonging to the retinue of
King Dermot, shot one of the teal and tried to cook it for his king.
When he showed King Dermot the miserable result of hours and hours of
cooking, the king understood that this was a bird protected by
Colman, and exclaimed "Alas form me! That this misfortune should
ever have happened in my house". The archer perished miserably a
short while after.
The anecdote is
relatively sparing in contextual detail, but it is tempting to see
King Dermot's fear of St Colman's vengeance in the light of his
apparent alliance with the Anglo-Normans, dreading perhaps that his
seemingly secure standing would change in the vicissitudes of
occupation. Or perhaps this anecdote can be seen as Gerald's warning
to the Anglo-Norman barons and their soldiers, that although the
subjugation of Ireland is right - since they presented as a nation of
bestial and uncivilised men - they should not suffer needless
injuries, and nor should their churches be plundered. This should be
seen in light of part three of the book, where Gerald gives praise to
the Irish clergy, both monks and priests, although he reproves them
for lack of discipline.
Minor incidents and lack of
vermin
After the anecdote about the teal of St Colman, Gerald soon comes to
some minor examples of the powers of Irish sanctity. The first of
these is treated in chapter 64, where we are told of a village in
Connacht which was "celebrated for a church of Saint Nannan".
Once this village was badly infested with fleas, but St Nannan had
them miraculously brought to a meadow close by, where the fleas were
confined and made it inaccessible to men and beasts alike.
A similar story follows in chapter 65, where we learn of the district of Ferneginan. Here lived Bishop Yvor, who was so plagued by rats eating his books that he cursed them, and the result was that they all were expelled from Ferneginan, and from that day on, it was impossible for rats to live in that district. If rats were to be brought in, they would die. This particular anecdote becomes even more interesting because of its similarities to the supposition noted by Gerald in chapters 21 and 22 that poisonous reptiles are not found in Ireland. This is an old story, and the legend states that it was St Patrick who drove the snakes and other reptiles from the island. Gerald records this belief as a "pleasant conjecture that Saint Patrick and other saints of the land purged the island of all harmful animals", but goes on to suggest that Ireland must have been without these creatures from the beginning of the island's existence.
A similar story follows in chapter 65, where we learn of the district of Ferneginan. Here lived Bishop Yvor, who was so plagued by rats eating his books that he cursed them, and the result was that they all were expelled from Ferneginan, and from that day on, it was impossible for rats to live in that district. If rats were to be brought in, they would die. This particular anecdote becomes even more interesting because of its similarities to the supposition noted by Gerald in chapters 21 and 22 that poisonous reptiles are not found in Ireland. This is an old story, and the legend states that it was St Patrick who drove the snakes and other reptiles from the island. Gerald records this belief as a "pleasant conjecture that Saint Patrick and other saints of the land purged the island of all harmful animals", but goes on to suggest that Ireland must have been without these creatures from the beginning of the island's existence.
However, this does not explain why reptiles brought into the island
perish upon entering the the land, and in chapter 23 Gerald suggests
that this has to do with qualities in the Irish soil rather than
saintly protection. What is significant about this, is that in
chapter 48 Gerald tells how the jurisdiction of the island of Man was
granted to Britain rather than Ireland, because poisonous reptiles
could live there. And already in chapter 25 Gerald has recorded the
discovery of a live frog near Waterford - significantly where the
Anglo-Norman invaders entered Ireland in 1174 - which was taken as a
sign by King Duvendalus "of the coming of the English, and the
imminent conquest and defeat of his people". Ireland allows for
heretofore alien reptiles and prepares itself to allow the
Anglo-Norman conquest. But the saints are not in the picture, they
are not relinquishing patronage nor endorsing the invaders, it is the
soil itself that changes - although presumably through divine
machinations. Gerald does not pit Irish saints against English
saints, but relies instead on what we might call scientific
rumination to explain the relationship of reptiles to Ireland.

The book-eating rats of Ferneginan
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
Miracles of St Brigid
The next saint to be treated in Gerald's catalogue of wonders is "the
glorious Brigid". Some miracles pertaining to St Brigid's fire
are mentioned, and a longer account is given of a falcon in Kildare
who was believed to have lived there since the time of Brigid (i.e.
several generations). This bird is used by Gerald as an example "of
honour to churchmen", because during its mating season it flew
away from the hallowed precincts of the church where it resided and
fornicated elsewhere. The bird "was killed by a rustic" at
the time when John, son of King Henry, departed from Ireland the
first time.
For my purpose here, however, the significant aspect of St Brigid's
powers is her protection of a hedge which surrounds the perpetual
fire which is kept burning by her devotees. Since only women are
allowed to perform the office as fire-keepers, a man who crosses the
hedge "does not escape the divine vengeance". The curse of
St Brigid also prevents goats to "have young here".
St
Brigid's hedge is described in chapter 69, and Gerald returns to it in
chapter 77 where we learn of an archer belonging to the retinue of
the Anglo-Norman earl Richard. The archer crossed the hedge and blew
upon the saint's fire and immediately went mad. The chapter concludes
with an anecdote about a man who had only gotten his shin across the
hedge before he was pulled back, and consequently lost his leg. This
kind of violent territorial protection is not a feature unique to the
Irish saints. Several instances are found in hagiographical texts
from all over the Latin West, perhaps most famously St Edmund's
killing of Sweyn Forkbeard at Bury St Edmunds. However, when seen in
the context of Anglo-Norman invasion and settlement, this anecdote
seems to reinforce Gerald's preoccupation with the importance of
respecting the Irish places of religion. It seems as if common
decency can't prevent the invaders from violating the churches,
perhaps a fear of the vengeance of saints might be of help.
Protection of the Land
Keeping in this vein, in the following chapters we find several
anecdotes rehearsing the dangers of encroaching upon land belonging
to the Irish saints. Chapter 78 contains an anecdote about a soldier
who had unlawfully expropriated land belonging to St Finbar in Cork.
The bishop of the place, in sadness and anger, asked God (rather
Finbar himself) not to allow this land to bear fruit. God listened to
the bishop and performed the requested miracle "through the
merits of the holy man" (although we are left uncertain as to
whether this is Finbar the saint or the bishop of Cork).
The next chapter records how two Anglo-Normans were punished for
their lack of piety. The first was Philip of Worcester who forced
tribute from the clergy of Armagh, the seat of St Patrick, during
Lent. On his departure from Armagh, Philip "was stricken with an
illness and scarcely survived". Then we are told of Hugh Tyrrell
who stole a cooking-pot from the clergy of Armagh, and the night
after he had returned to his lodgings in Louth a fire broke out that
burned down a great part of the settlement, killing two horses that
had carried the pot away from Armagh. Tyrrell himself was later cast
into a civil strife between Anglo-Norman factions. Although it is not
elaborated upon, the two aforementioned anecdotes are related to
injuries committed against the clergy of Armagh, i.e. under the
protection of Patrick, patron of Ireland.
After these vengeful miracles of St Patrick, we are presented with
two revenges performed by St Fechin, who was very protective of a
mill in Meath, which he had himself cut "out of the side of a
rock". When a archer in the army of Hugh de Lacy raped a girl
there, he "was stricked in his member with hell-fire in sudden
vengeance and immediately began to burn throughout his whole body. He
died the same night". Fechin's protection of his mill was not
only concerned with violent injuries, but also with minor
occurrances. In chapter 82, Gerald tells that two horses who had
eaten stolen corn from the mill died afterwards.

Bernard and the horn of St Brendan
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
Confessors, not martyrs
Gerald's Topographia hiberniae is to a great degree a document intended to justify the Anglo-Norman conquest of Ireland, yet as we have seen it is apparent that Gerald is concerned with the proper conduct of the conquerors. Ireland is lawfully occupied by the Anglo-Normans because, as is suggested in part three, the Irish are uncivilised and maintain evil customs (ch. 100), not all of them have been baptised (ch. 103) and their kingship ritual contains element of bestiality (ch. 102). However, Ireland and its places are not completely up for grabs, for the Irish saints are protecting their clergy, their pastures and their holy places with a fearful vengeance and they must therefore be respected. Furthermore, despite some shortcomings in discipline and religious practice, the Irish clergy has many good qualities, and its people has a proper respect for saints and their relics. As an example of this, Gerald includes in chapter 108 an anecdote that happened in Wales, where an Irishman carried a horn which was a relic of St Brendan. The horn was held in such great reverence that nobody dared to blow it, and when a Welsh priest did this, he turned mad and had to learn the psalter from the start.
Gerald's Topographia hiberniae is to a great degree a document intended to justify the Anglo-Norman conquest of Ireland, yet as we have seen it is apparent that Gerald is concerned with the proper conduct of the conquerors. Ireland is lawfully occupied by the Anglo-Normans because, as is suggested in part three, the Irish are uncivilised and maintain evil customs (ch. 100), not all of them have been baptised (ch. 103) and their kingship ritual contains element of bestiality (ch. 102). However, Ireland and its places are not completely up for grabs, for the Irish saints are protecting their clergy, their pastures and their holy places with a fearful vengeance and they must therefore be respected. Furthermore, despite some shortcomings in discipline and religious practice, the Irish clergy has many good qualities, and its people has a proper respect for saints and their relics. As an example of this, Gerald includes in chapter 108 an anecdote that happened in Wales, where an Irishman carried a horn which was a relic of St Brendan. The horn was held in such great reverence that nobody dared to blow it, and when a Welsh priest did this, he turned mad and had to learn the psalter from the start.
However,
despite the vindictiveness "in which the saints of this country
seem to be very interested", the saints of Ireland appear to
have accepted the coming of the Anglo-Normans. An explanation for
this is offered by Gerald in chapter 105, in which he provides
further comments on the nature of the Irish saints. For he states
that
all the saints
of this country are confessors, and there is no martyr. It would be
difficult to find such a state of things in any other Christian
kingdom. There was found no one in thise parts to cement the
foundations of the growing church with the shedding of his blood.
There was no one to do this service; not a single one.
- Topography of
Ireland, chapter 105 (translated by John O'Meara)
These
lines are very important for several reason. Although Gerald
emphasises the sanctity of the Irish holy men and women, it appears
that he suggests there is no protector of Ireland as a whole, not
even the venerable Patrick. Gerald blames the Irish prelates for this
state of affairs, because none of them have stood up for their
church, or shed blood or suffered exile for its cause. Since this is
written less than twenty years after the martyrdom of Thomas Becket
(d.1170), for which King Henry II was punished and for which he
sought reparation, it is tempting to suggest that Gerald has the
model of Becket in mind when he chastises the Irish clergy. He then
recounts a comment made by the Archbishop of Cashel:
'It is true,' he said, 'that although our people are very barbarous, uncivilized, and savage, nevertheless they have always paid great honour and reverence to churchmen, and they have never put out their hands against the saints of God. But now a people has come to the kingdom which knows how, and is accustomed, to make martyrs. From now on Ireland will have its martyrs, just as other countries.'
'It is true,' he said, 'that although our people are very barbarous, uncivilized, and savage, nevertheless they have always paid great honour and reverence to churchmen, and they have never put out their hands against the saints of God. But now a people has come to the kingdom which knows how, and is accustomed, to make martyrs. From now on Ireland will have its martyrs, just as other countries.'
The archbishop's words are chilling and seem prophetic in such a
short time after the battle at Waterford, and the canonisation of
Becket (1169/70 and 1173 respectively). However, Gerald states that the
archbishop's comment, although hard-hitting, does not invalidate
Gerald's opinion on the Irish prelates.
Saints and the conquest of
Ireland
A final point is worth noting in Gerald's treatment of the Irish
saints. As stated, the holiness of the Irish saints remains
undisputed and their vengeful patronage are held up as a perennial
warning against misconduct against the Irish churches. In chapter 97,
Gerald records how the Anglo-Normans themselves showed their due
respect for the native saints of Ireland:
Saint Columba
and Saint Brigid were contemporaries of Patrick. Their three bodies
were buried in Ulster in the same city, namely, Down. They were found
there in our times, in the year, that is, that Lord John first came
to Ireland, in a cave that had three sections. Patrick was lying in
the middle, and the others were lying one on either side. John de
Courci, who was in command there, took charge when these three noble
treasures were, through divine revelation, found and translated.
- The
Topography of Ireland, chapter 97 (translated by John O'Meara)
In
other words, through the revelatory will of God, the Anglo-Norman
conquerors have become devotees of Ireland's three major saints, and
the patrons of Ireland are now the patrons of the Anglo-Normans. The
episode is reminiscent of the legend of the seven sleepers at Ephesus
recorded at length by Osbert of Clare in his hagiography of Edward
the Confessor (c.1138). It is also interesting for its resemblance to
similar aspects of Plantagenet appropriation of popular belief. In
1198 the remains of King Arthur and Queen Guinevere were reported to
have been found in Glastonbury, thus proving to the Celtic world that
Arthur was not resting at Avalon or anywhere else, but was dead and
buried. In the late 1200s, King Edward I, during his Welsh campaign,
had Arthur's remains translated and perhaps even canonised (although
informally so since it was never accepted by the papal church). The
purpose was the same at both these instances: to expropriate local
history, and display the dynasty's reverence of and protection from
these legendary figures.
It is tempting to suggest that this strategy had also been used by
the Anglo-Norman conquerors in Ireland, and although Gerald does not
elaborate on the importance of this revelation in any great degree,
it might explain why Gerald's concern is to warn about local
patronage and vindictiveness rather than worrying about the revenge
of the great patrons of Ireland.

The making of an Irish king
MS Royal 13 B VIII, Gerald's Topographia, England, c.1196-c.1223
Courtesy of British Library
Etiketter:
Books,
Edmund of East Anglia,
Edward I,
Folklore,
Gerald of Wales,
Henry II,
History,
Ireland,
Medieval,
Nature,
Osbert of Clare,
Saints,
Seamus Heaney,
Thomas Becket,
Translations
mandag 21. juli 2014
Seamus Heaney in Iceland
To a medievalist, summer season is conference season, and in the course of June and July several conferences have been arranged and are being arranged for the purpose of bringing together people who study the Middle Ages in some capacity. I myself gave a paper at the annual International Medievalist Congress in Leeds, and in time I might dedicate a somewhat lengthy blogpost on this wonderful experience. I'm still composing myself in the aftermath of the congress and finally moving out of my apartment, so I'm still not in a frame of mind suitable for writing lengthy blogposts. In the interrim, here is a poem by Seamus Heaney, which is a friendly nod to my fellow medievalists who last week participated at the New Chaucer Society at Reykjavik.

Ingolfr Arnasson at Reykjavik
Johan Peter Raadsig (1806-82)
Courtesy of Wikimedia
A Postcard from Iceland
As a dipped to test the stream some yards away
From a hot spring, I could hear nothing
But the whole mud-slick muttering and boiling.
And then my guide behind me saying,
'Lukewarm. And I think you'd want to know
That luk was an old Icelandic word for hand.'
And you would want to know (but you know already)
How usual that waft and pressure felt
When the inner palm of water found my palm.
As a dipped to test the stream some yards away
From a hot spring, I could hear nothing
But the whole mud-slick muttering and boiling.
And then my guide behind me saying,
'Lukewarm. And I think you'd want to know
That luk was an old Icelandic word for hand.'
And you would want to know (but you know already)
How usual that waft and pressure felt
When the inner palm of water found my palm.
Etiketter:
Art,
Conferences,
Iceland,
Leeds,
Medieval,
Poetry,
Seamus Heaney,
Viking
søndag 23. februar 2014
Synge on the Aran
This evening I'm watching a Norwegian tv show about two men travelling around Ireland on a 10 euro budget. It's a very good show, and in the first episode they are briefly on the Aran Islands. The beauty of landscape made me think of Seamus Heaney's poem Synge on the Aran, a poem celebrating John Millington Synge's (1871-1909) stay on the Islands, which he chronicled in his famous book The Aran Islands. The poem is taken from this website.

The Aran coastline
Courtesy of Wikimedia
Synge on the Aran
Salt off the sea whets
the blades of four winds.
They peel acres of locked rock,
pare down a rind of shrivelled ground;
bull-noses are chiselled on cliffs.
the blades of four winds.
They peel acres of locked rock,
pare down a rind of shrivelled ground;
bull-noses are chiselled on cliffs.
Islanders too are for sculpting.
Note the pointed scowl,
the mouth carved as upturned anchor
and the polished head full of drownings.
Note the pointed scowl,
the mouth carved as upturned anchor
and the polished head full of drownings.
There he comes now,
a hard pen scraping in his head;
the nib filed on salt wind
and dipped in the keening sea.
a hard pen scraping in his head;
the nib filed on salt wind
and dipped in the keening sea.

John Millington Synge
Courtesy of Wikimedia.
mandag 2. september 2013
Out of Ireland - elegy for Seamus Heaney
For the past few years I have been an avid reader of Seamus Heaney's verse. His poetry belongs to a generation which experienced rapid changes in technology and society as a whole, a generation which grew up in the Christian tradition but who grew into a world which sometimes distances itself from it as if it were something alien. Heaney's generation, to which I count such poets as Derek Walcott, Geoffrey Hill and Joseph Brodsky (though the latter did not have a Christian upbringing), who combined the poetic modernity of their time with the classical and biblical heritage so much of Western culture is founded upon. This has resulted in much great and beautiful poetry.
I was therefore immensely saddened by the news of Seamus Heaney's sudden death. To my mind, there are few poetic voices equal to his in our time, and he should have had so many more years to write more poetry and delight us with his verse.
In the course of the day of his death some lines came to me and I decided to do what people so often do on such occasions, namely to compose an elegy. I was at first apprehensive of putting it up on the blog, particularly because such flaunting of verse tends to work as a soap box for the writer rather than a dirge for the dead. In the end, however, I decided to go through with it in the hope that whoever reads it will see it for what it is: a well-meant and honest adieu to one of my favourite poets.
I) Dies Natalis
In the course of the day of his death some lines came to me and I decided to do what people so often do on such occasions, namely to compose an elegy. I was at first apprehensive of putting it up on the blog, particularly because such flaunting of verse tends to work as a soap box for the writer rather than a dirge for the dead. In the end, however, I decided to go through with it in the hope that whoever reads it will see it for what it is: a well-meant and honest adieu to one of my favourite poets.
Out of Ireland
Elegy for Seamus Heaney
August 30 2013
August 30 2013
I) Dies Natalis
When news came out of Ireland I was
stung.
First I refused to believe: the
mourner's
privileged intransigence towards truth
that keeps him buoyant in the instant
grief.
After the first shock the mind moved
towards acceptance, settled in, agreed
that this was now reality. And then,
I slowly sought to fathom the depth of
loss:
there would be no more words and no
more songs,
but worst of all was this: we never
spoke
and now our silence must remain a
silence
like candlesmoke when the flame has
found its end.
The book of mankind is a house of many
rooms,
each has its own and now your door is
shut.
A closed door opens wounds as now the
close
of your last chapter turns my heart to
grief.
II) The Morning After
It was the morning after and I stood
bare-breasted in the morrow, felt the
wind
against the skin and saw the dawn erupt
in a fire that gave the pines their
darkness,
and the fire hung heavily in the east
like some slow pulse that spoke of deep
vexation,
like a mourner's heart settling to the
facts
or the Creator's regret when things
commence.
I stood there with the cold air as my
clothing
and lent my eyes to the camera's blind
winks
to eternise the moment, when a lapwing
called out and I looked up to find its
flight
and saw him as a black speck in the
fire,
a messenger of change and I thought of
you,
raised from your flesh to the spirit
level
which is your words in time and after time.
- August 30-31 2013
- August 30-31 2013

Requiescat in pace
(courtesy of wikimedia common)
onsdag 11. juli 2012
In response to Titian
The London National Gallery is currently housing an exhibition called MetamorphosisTitian 2012, launched this very day (July 11) and celebrating the 16th-century Venetian painter Tiziano Vecellio known by his nicknames Belluno or, more famously, Titian (1488/90-1576). The exhibition features commissioned works by contemporary artists and poets responding to three of Titian's paintings after Ovid's Metamorphoses, three paintings that occupy the exhibition's centrestage. Being an admirer of Titian's work myself I became very enthusiastic to learn about this and I have just begun to immerse myself in the project, which is a part of the Cultural Olympiad's London 2012 Festival and features poets like Simon Armitage, George Szirtes, Frances Leviston and numerous others. Personally I was most excited by the inclusion of Nobel prize winner Seamus Heaney, whose chilling poem "Actaeon" can be heard here.
Inspired by this exhibition I decided to put up one of my own responses to one of Titian's works, albeit a paiting very different from the dramatic and mythological illustrations of Ovid's poetry. The work in question is the famous Venus of Urbino from 1538, commissioned two years earlier by the duke of Urbino, Guidobaldo della Rovere.
Venus Couchant
After Titian's Venus of Urbino
I notice how she eyed you from the start,
Her playful eyes fast fixed in your direction,
But this you noticed only for the art,
It was included merely for perfection;
You just percieved her looks, not her affection.
You just percieved her looks, not her affection.
Imagine then, Belluno, for a girl
Of her estate to show herself like this,
For one short while the centre of your world
Beholding how you worked, then think: "this is
A handsome man, oh would he dared to kiss!"
And you? You eyed her maidens and her house,
Her little lapdog sleeping on the bed;
Perhaps this negligence was what aroused
Perhaps this negligence was what aroused
Her smile and that coy tilting of the head,
While you were painting furniture instead.
Perchance she thought that you were such a man
Her maids would whisper of in nightly hours,
A man to kiss her lips and take her hand
And lead her to a dark secluded tower
Or let some fragrant grove serve as a bower.
She would not know the full depths of her dream,
Her being only young and innocent,
Almost a child, not more than seventeen,
Yet with a stare so yearning, reverent
Which your stern silence seemed but to augment.
And so she blushed, ah, yes, you caught that, too,
Yet failed to see her passion was that strong;
You were the world to her, Belluno, you,
You were the world to her, Belluno, you,
A man of fifty years and her so young;
You noticed but her tresses, how they hung.
You noticed but her tresses, how they hung.
She loved you, dear Belluno, verily,
She loved you for your movements and your grace,
She studied both, you see, quite avidly
And mapped your features with her dreaming gaze,
So dreaming she might conjure up your face.
These were her thoughts, you see them plainly there
Made manifest in blushes and her eyes;
To all but you, of course, they seem so clear,
To all but you, of course, they seem so clear,
But you did never heed them, and likewise
Will never she heed any husband's eyes.
- November 01-02 2010
Etiketter:
Art,
Early Modern Period,
History,
Poetry,
Seamus Heaney,
Titian
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