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Writing for the stage in Restoration Dublin
Stephen Austin Kelly

10 Anglo-Irish drama? Writing for the stage in Restoration Dublin Stephen Austin Kelly The subject of this chapter is the drama written for the Dublin stage in the reign of Charles II (1660–85).1 Dublin during the Restoration was a city that enjoyed unprecedented growth and prosperity. It was a hub of social and cultural activity and had a vibrant literary life. Poetry and letters circulated in manuscript form and the city’s printers and booksellers supplied literature in print. For those who wished to see literature in performance, however, the city’s playhouse

in Dublin
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Renaissance city of literature

From its Nobel laureates to its literary festivals, modern-day Dublin lives up to its role as a literary capital. The question of whether Ireland experienced a cultural and literary Renaissance has received increasing scholarly attention in recent years. This book extends the discussion by engaging with the specific literary culture of its capital city. It begins with an argument for the internationalised literary culture of late medieval Dublin by an analysis of James Yonge's 'Memoriale'. The citizens of Dublin engaged with and actively read texts imported from London, as Dublin's own printing was limited. The book presents case studies that establish Dublin as an emerging city of Renaissance literature by focusing on Edmund Spenser's political and social connections and by examining the literature of complaint emanating from late Elizabethan Dublin. It analyses the constructed authorial personae of Richard Bellings, James Shirley and Henry Burnell residing in Dublin, and discusses the concepts of literary friendship. Sir James Ware's scholarly achievements are analysed and his extensive intellectual community are investigated, revealing an open-minded Dublin community. In addition to being a representative Renaissance activity, translation was harnessed in the country as an 'instrument of state', as shown by translations of Gaelic poetry. The Renaissance literary production in Dublin had a multi-linguistic character with Latin orations taking place in the Trinity College Dublin. The book also addresses the question of whether the English-language drama composed and staged in Restoration Dublin is most accurately described as Anglo-Irish drama or 'English drama written in Ireland'.

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Kathleen Miller

translation, Gaelic writing, neo-Latin texts and Anglo-Irish drama. Eiléan Ní Chuilleanáin reminds us that ‘Ireland (like many European countries) 38 Andrew Carpenter, ‘Literature in print, 1550–1800’, in Raymond Gillespie and Andrew Hadfield (eds), The Oxford history of the Irish book: The Irish book in English, 1550 to 1800 (Oxford, 2006), vol. iii, pp. 301–18, at pp. 301, 306. 39 See Coolahan’s chapter in this volume. 40 Gillespie, ‘Reading print, 1550–1770’, p. 142. GRIBBEN 9781526113245 PRINT.indd 11 20/04/2017 15:33 12 Kathleen Miller is a place where the

in Dublin
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.