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Martial identities and the subject of conquest in Derricke’s Image of Irelande
Maryclaire Moroney

their unwilling hosts among the Old English with ‘impunity’. 8 As ‘viceregal clients’, some well-connected English officers made use of their often significant autonomy and powers to establish themselves as land-holders in competition with displaced Gaelic-Irish septs. 9 Commissions of martial law were used by officers in this colonial environment as an attractive means of improving their pay and of extending their property, as those who executed the law ‘were entitled to one-third of the possessions of the dead “rebels

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Abstract only
Thomas Herron, Denna J. Iammarino, and Maryclaire Moroney

backwardness and British superiority. How else to explain the uncritical use of the scatological third woodcut in Irish schools to teach children about the customs of their forebears? Or the way in which the library of the University of Edinburgh captions its digitized edition, which identifies Rory Og O’More, a Gaelic Irish leader connected to the Earl of Ormond, as ‘a wild kerne’? 9 The library is ventriloquizing Derricke’s own message. These and a host of similar examples might be explained, or explained away, by the

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Sir Henry Sidney’s return to Dublin as depicted in Derricke’s Image of Irelande
Bríd McGrath

nobles were planned under Henry, Edward, Mary and Elizabeth, so there was no reluctance in principle to including them as part of the Irish nobility. Despite these ennoblements and St Leger and Cusack’s efforts at inclusion, there was no attempt to treat England and Ireland as equal in a union of crowns, and Derricke’s Image shows the Gaelic Irish as rebellious, uncouth and uncivilised: potential, if not actual, traitors and far from equal subjects. The Gaelic Irish were a ‘reprobate nation’. 17 Tudor state

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Discovering the formal and figurative texture of Derricke’s Image of Irelande
Matthew Woodcock

) Indeed, taken all together, the three Mirror- like Rory Og and O’Neill poems represent a polarised illustration of the only two courses of action available to the Gaelic Irish lords: respectively, persecution and inevitable execution, or humble submission. The opposition between humans and beasts is another significant binary for Derricke and this informs the dominant conceit of the entire Image – that of the essentially bestial nature of the Gaelic Irish kern and the society he inhabits and infects – for

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Tamsin Badcoe

-minded story of history’. 34 For Spenser’s Faerie Queene , which falls somewhere between the neat binary of ‘single-minded’ epic and subversive romance, the resulting hybrid forms are heir to the island-logic of both poets and propagandists. And indeed, as Andrews writes, ‘unlike Shakespeare’s Illyria, Gaelic Ireland was no place for feeding one’s knowledge of the town’, where the allusion to the setting of Shakespeare’s Twelfth Night recalls the audience’s first glimpse of a safe harbour for the play’s storm-tossed protagonists. 35 As a locus of both conflict and

in Edmund Spenser and the romance of space
Violence, masculinity, and the colonial project in Derricke’s Image of Irelande
John Soderberg

11 crop fruite Land 12 land soyle Gaelic Appendix III: Summary data for animal references in the poem Animal Group Animal Sub-group Gaelic English Non-Gaelic Irish Land Catholic

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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
Tales of origins in medieval and early modern France and England
Dominique Goy- Blanquet

ascendancy to support his argument for the suppression of Gaelic Irish and reform of degenerated Old English settlers. Edmund Spenser, A View of the Present State of Ireland , ed. William Lindsay Renwick (Oxford: Clarendon Press, 1970), esp. pp. 48–68. 65 Eugene M. Waith attributes those lines to

in Interweaving myths in Shakespeare and his contemporaries
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