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James Lyttleton

establishment of a new social practice that would have hitherto been unknown in Gaelic Ireland. 28 The most prominent house on the street is a three-storey house with a high gable-end facing the viewer. The sides of the gable-end are decorated with crow-stepping, a form of architectural embellishment very much associated with Scottish building design in the period, which can be seen in a number of buildings in Ulster and even in the midlands. 29 In the drawing, the ground floor level of the house appears to have been

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Derricke, paratext, and poetic reception
Denna J. Iammarino

disturbers of the common wealthe’. 30 His letter to the ‘well disposed reader’ outlines the topic of his poem (the woodkern, or ‘the vipers of the saide land’) but praises the virtue of his ‘loving Countriemen of Englande’. 31 His sentiments and his named audiences illustrate the intricacy of his textual task. As Knapp notes, the complex responses of the situation in Ireland ‘reveal a tender affection for the island, while at the same time calling for a brutal response to the Gaelic-Irish powers’. 32 These

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Raymond Gillespie

Stouthamer-Loeber, ‘Books owned by members of Old English and Gaelic Irish families in the sixteenth and seventeenth centuries’, in Michael Potterton and Thomas Herron (eds), Dublin and the Pale in the Renaissance, c.1540–1640 (Dublin, 2011), pp. 286–8. 36 Raymond Gillespie, ‘The social thought of Richard Bellings’, in Micheál Ó Siochrú (ed.), Kingdoms in crisis: Ireland in the 1640s (Dublin, 2001), pp. 212–28. See also Coolahan’s chapter in this volume. GRIBBEN 9781526113245 PRINT.indd 47 20/04/2017 15:33 48 Raymond Gillespie fitfully.37 The response to older works

in Dublin
The scholarly achievements of Sir James Ware
Mark Empey

litmus test for reciprocal admiration of ‘opposing’ groups was Ware’s relationship with key figures in Gaelic Ireland. The existence of these important nationwide contacts has already been established, but his association with the distinguished Gaelic scholar Dubhaltach Mac Fhirbhisigh from Sligo merits particular attention. After returning to Dublin following the collapse of the Cromwellian regime, Ware immediately immersed himself in Irish sources in an effort to complete various projects which had been interrupted during the Interregnum. 62 Cunningham and Gillespie

in Dublin
Abstract only
Cosmography and chorography
Tamsin Badcoe

perspectives that draw on different ways of imagining space. 24 Christopher Highley associates the figure of Merlin with ‘Spenser’s claims about the status of the artist and his creations’ but also, owing to his peripheral geopolitical location, with Spenser’s experiences of Gaelic Ireland. 25 For my purposes, Merlin, as might be thought fitting for a legendary figure of enchantment, appears to have feet placed in several overlapping worlds. His located presence connects spatial control with the art of prophecy. Although Britomart travels

in Edmund Spenser and the romance of space
Derricke’s rebel poems
Elisabeth Chaghafi

with the fact that the two ‘vipers’ Derricke singles out as examples are from different regions (not to mention members of well-educated Gaelic Irish elites rather than savage bog-dwellers), and at odds with the contents of the poem itself. In ‘The Image of Irelande’ the supposed majority of faithful Irish subjects do not figure at all, and several passages appear to suggest that the speaker is in fact referring to the Irish in general. The poem begins with ‘the aucthour’ taking a panoramic view of ‘all corners

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Jill Fitzgerald

-Saxon England (Toronto: University of Toronto Press, 2012). 18 Patrick Wormald, ‘Celtic and Anglo-Saxon Kingship: Some Further Thoughts’, in Sources of Anglo-Saxon Culture , ed. Paul Szarmach (Kalamazoo, MI: Medieval Institute Publications, 1986), pp. 151–83; Bart Jaski, Early Irish Kingship and Succession (Dublin: Four Courts Press, 2000); Katherine Simms, From Kings to Warlords: The Changing Political Structure of Gaelic Ireland in the Later Middle Ages (Woodbridge: Boydell, 1987). 19 eDIL , s.v. febas . See Jaski’s overview of febas , which he describes as

in Rebel angels
Open Access (free)
The cartographic consciousness of Irish gothic fiction
Christina Morin

temporary, albeit involuntary, suspension of his identity, 87 he nevertheless represents, like Glorvina and Grace Nugent, the dispossession and political allegiances of Gaelic Ireland. 88 This is apparent in the associations conjured by his various names. ‘Ferdinand Sylvester’ recalls the eighteenth-century antiquarian, Sylvester O’Halloran (1728–1807), while ‘Netterville’ raises the spectre of the recusant John Netterville, 2nd Viscount Netterville of Dowth (d. 1659), and his father, both of whom were implicated in the 1641 Rebellion and consequently lost both title

in The gothic novel in Ireland, c. 1760–1829
Stuart Kinsella

Historical Studies 31:123 (May, 1999), pp. 305–27. 19 Greer Ramsey, ‘A Breath of Fresh Air: Rectal Music in Gaelic Ireland’, Archaeology Ireland 16:1 (Spring, 2002), pp. 22–3; Ann Buckley, ‘Representations of Musicians in John Derricke’s ‘The Image of Irelande’ (1581)’, in Vjera Katalinić and Zdravko Blažeković (ed.), Glazba, Riječi i Slike: Svečani Zbornik za Koraljku Kos/Music, Words, and Images: Essays in Honour of Koraljka Kos (Zagreb: Croatian Musicological Society, 1999

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Raleigh’s ‘Ocean to Scinthia’, Spenser’s ‘Colin Clouts Come Home Againe’ and The Faerie Queene IV.vii in colonial context
Thomas Herron

–4. 102 Quinn, Raleigh, 155; on Raleigh’s Irish smelting industry, see Canny, ‘Raleigh’s’, 95. 103 Kenneth Nicholls, ‘Woodland Cover in Pre-Modern Ireland’, in Gaelic Ireland: Land, Lordship and Settlement c.1250–c.1650, ed. Patrick J. Duffy, David Edwards, and Elizabeth Fitzpatrick (Dublin: Four Courts Press, 2001), 181–206: 199. MUP_Armitage_Ralegh.indd 136 07/10/2013 14:09 Love’s ‘emperye’ 137 speaker. Summer otium turns forest of Error redolent of his colonial situation in Spenser’s poetry.104 A second material fixation of the poem is terrestrial and mineral

in Literary and visual Ralegh