“Let no man write my epitaph”: the contributions of Percy Shelley,Thomas Moore and Robert Southey to the memorialisation of Robert Emmet

For centuries elegy has been instrumental to Irish culture and its self-expression. This essay considers the elegies both by and about Robert Emmet written by Thomas Moore, Robert Southey and Percy Bysshe Shelley as well those written by anonymous balladeers. Central to this essay is the examination of the topoi of Irish elegiac verse and song shared by these poems and the way in which they contribute to the evolution of this genre and the radical nationalism associated with it. Their shared discourse is born out of Ireland's colonial experience and contributes to the establishment of Irish national identity, whilst their differing authors and audiences signal the complexities inherent within a colonial textual framework. In particular this essay draws attention to Shelley's neglected Irish poems which reflect the discomfort of a poet and idealist attempting to find his own voice whilst striving to escape the dominant ideology of his own culture.     

Fragments of the Modern City: Material Culture and the Rhythms of Everyday Life in Victorian London

This essay analyses the influence of Charles Baudelaire's and Théophile Gautier's fetishist poetics on the early works of Algernon Charles Swinburne. If the crucial role played by the Victorian poet as a cultural ‘passeur’ between France and England has often been highlighted in recent criticism, his aesthetic delight in certain forms of sexual deviance such as podophilia has rarely been explored in relation to the verse of his French mentors. Swinburne, Gautier, and Baudelaire may have indeed shared this erotic fascination with feet: this is a fascination that was partly grounded in these poets' common interest in antique literary models, in particular in Sappho's poetry. Rather than extolling the Hellenic ‘sweetness and light’ which some of his contemporaries set so high, Swinburne indulged in dangerously eroticised Dionysian aesthetics which were perceived as both ‘too Hellenic’ and ‘too French’. I argue that the fetishism of the poetic foot may be read as one of the keys to the Victorian poet's subversive shift away from the serenity often associated with Victorian neoclassicism in favour of a Dionysian energy that anticipates Friedrich Nietzsche's works.     

Strange associations: Elizabeth Bowen and the language of exclusion

Since The Last September was first published in 1929, the novel's style has been a major source of controversy amongst Elizabeth Bowen's critics, many of whom align the work with reactionary feeling among the Anglo-Irish community in early 1920s Ireland. This longstanding view ignores, I think, a complex but critically overlooked aspect not only of The Last September but also of Bowen's many opinions about the novel form: the author's fascination with the language of exclusion. In this essay I argue that Bowen's use of literary devices in The Last September that rely on exclusion – including ellipses, euphemism, rumour, overheard conversation, narrative digression, and lying – dramatise the ways in which war disorients figurative language and, in so doing, subverts and transforms the apparently stable metaphors through which the Anglo-Irish sought to reconcile events occurring in September 1920, that fitful last September of the Republic's colonial ties to England, with their historical role as settler-colonialists in Ireland. Further, Bowen's experimental style disorients the reader, thereby undermining any confidence in the legitimacy of Ascendancy protocol, or the morality of British colonialism, or the militant expression of Irish nationalism, and leads instead to an emergent, though ultimately unfulfilled, cosmopolitan vision of late modernist Ireland.     

Jean Lemaire de Belges's Rhetorical Masks in L’Amant Vert and “Les Regretz de la Dame Infortunée”

A prominent feature of the poetry of Franco-Burgundian poet and rhetorician Jean Lemaire de Belges (1473–1524) is his use of a rhetorical mask—a persona—through which to proffer his utterances and assert his identity. Because the early sixteenth-century court poet's financially and politically subservient position vis-à-vis powerful aristocratic patrons demands an encomiastic rhetoric that leaves little room for the poet's self-assertion within the body of the poetic text, Lemaire must employ the indirect means of a narrative mask to assert his own existence and concerns. This article examines first the narrative mask of the parrot-lover in the 1505 Epîtres de l’Amant Vert, through which Lemaire is able to voice concerns about his precarious position as a writer almost entirely at the mercy of his patron's good health and good will. A discussion of “Les Regretz de la Dame Infortunée” (1506) follows, in which Lemaire takes an intriguing narratological stance that unites his voice to that of his patroness, Margaret of Austria (1480–1530), ultimately forging an authorial je that speaks for both poet and patron. This nearly mystical union of narrative voices allows Lemaire to express his own concerns about the volatility of the patronage system while concomitantly giving voice to Margaret's mourning at the death of her brother, Philip the Handsome (1478–1506).     

Byron to D'Annunzio: from liberalism to fascism in national poetry, 1815–1920

ABSTRACT. From Byron's death at Missolonghi in 1824 to D'Annunzio's capture of Fiume for Italy in 1919, the nationalism of universal liberalism and independence struggles changed, in literature as in politics, to cruel dictatorial fascism. Byron was followed by a series of idealistic fighter‐poets and poet‐martyrs for national freedom, but international tensions culminating in World War I exposed fully the intolerant, brutal side of nationalism. D'Annunzio, like Byron, both a major poet and charismatic war leader, was a key figure in transforming nineteenth‐century democratic nationalism into twentieth‐century dictatorial fascism. The poet's ‘lyrical dictatorship’ at Fiume (1919–20) inspired Mussolini's seizure of power in 1922, with far‐reaching political consequences. The poet became the dangerous example of a Nietzschean Übermensch, above common morality, predatory and morally irresponsible. This article shows how the meaning of nationalism was partly determined and transformed by poets, illustrating their role as ‘unacknowledged legislators of the world’.     

The Poetics of Devotion in ʿĀʾisha al‐Bāʿūniyya's Praise of God and Muḥammad

Recently, there has been an effort within Islamic Studies to reassess the common belief that the so‐called ‘post‐classical’ era of Islamic history was characterized by intellectual stagnation and decline. The Mamluk era is one such period that has suffered from a dearth of scholarly attention resulting from outdated stereotypes. This article contributes to scholarship on this era through examining some poems by a late Mamluk poet, ?ā?isha al‐Bā?ūniyya (d. 1517). While much scholarship on al‐Bā?ūniyya focuses on her lyrical mystical verse, the poems studied here incorporate selective allusions to key Islamic sources in order to narrate a history of divine favor as the speaker imagines it. This innovative history expresses a poetics of devotion that focalizes Mu?ammad and the poet's own peers. The poems intertextually anchor this narrative in key Islamic sources, reflecting al‐Bā?ūniyya's extensive scholarly training. They constitute an unusual example of a female poet writing beyond the genres with which women's premodern poetry is conventionally associated. This poetry also represents a post‐classical contribution to Islamic literary and religious history. However, the criterion of originality should ultimately be reconsidered in evaluations of scholarly merit, and scholarship should pay more attention to continuities and intertextuality in texts.     

The Excursus in the First Song of the Georgics and Vergil's Didactic Technique

The article discusses form and content of the excursus closing the first song in Vergil's Georgics as part of a didactic project conveying teachings about the cosmos. The poet's use of the catalogue of portents and the other elements in the passage are analysed from the perspective of the didactic genre. It is argued that Vergil develops didactic poetry by integrating everyday experiences with considerations about the relationship between religion, politics and agriculture.     

Poet as politician: Venantius Fortunatus' panegyric to King Chilperic

In August 580 the Italian poet, Venantius Fortunatus, delivered a panegyric before King Chilperic and a synod of bishops assembled at Berny-Rivière to hear the poet's friend and patron, Bishop Gregory of Tours, arraigned on a charge of treason. The poem has long and widely been interpreted as a dishonourable and opportunistic betrayal of the bishop, as the poet looked for more convenient patronage. This article argues that the poem must be analysed in its historical context and in its place in the poet's development of the genre of addressing the Merovingian kings. Such an analysis shows that the poet is using the panegyric with subtlety and political acumen to offer a formula for rapprochement between the king and his bishops, thus protecting his friend Gregory; and that more generally he is playing the traditional active role of a panegyrist in mediating between the ruler and his people, developing a distinctive image of Merovingian kingship as he does so.     

Zu papyri osloenses III

The sixth Roman ode of Horace has usually been dated to 29/28 B.C. from the reference to the great temple restoration programme in the first stanza. This dating, however, tends to affect our reading of the whole cycle. An ‘inner’ dramatic date deliberately established by the poet (post Actium but before 28 B.C.) should not be mistaken for the time of writing (after 28, probably about 25 B.C.). There are even calculated effects arising from the poet's use of a dramatic date. Moreover, the poem is not independent to the effect that it is a self‐contained expression of the poet's political stance. Its provoking diagnosis of contemporary society is a warning reflecting Augustus’ policy and paving the way for reforms. It is instructive to compare epode XVI, to which III 6 bears resemblances which seem to support the late dating of the epode (cf. the author's Horaz und Actium 1984).     

Enoch Powell,Parliament and Europe

In recent years, there has been substantial academic reappraisal of Enoch Powell alongside a growing public realisation, increased by the debate over Brexit, that his interests were wider than immigration and notably included opposition to British membership of the European Community – a topic that this article probes further. It begins by examining Powell's understanding of the British nation as a unitary state, centred on parliament, that underpinned his interpretation of both Conservatism and Unionism. Then, covering the period up to the 1975 referendum, the article analyses exactly how Powell argued that membership of the European Community threatened parliamentary sovereignty. It situates Powell's thinking in the context of arguments made by others and explores the connections made by Powell between the threat from Europe and the history of parliament itself, particularly the formation of the unions with Scotland and Ireland. The article shows that while Powell's arguments were marginalised in the later 1970s and for much of the 1980s, they were revived from the early 1990s – albeit in a changed constitutional context.     

Colonialism Otherwise and the Poetics of Solidarity: A Methodological Intervention De-b/ordering Kashmir

This paper reflects deeply on possibilities for developing solidarity with Kashmiri freedom struggles by mobilising a memorialisation praxis informed by poetics. We coin the term “colonialism otherwise” to describe the particular instruments and effects of postcolonial colonialism as they appear in the intimate space of family narratives, memories, and feelings. Foregrounding the works of the Kashmiri poet, essayist, and filmmaker, Uzma Falak, we write our memorialisations to respond to the poet's demands to bear witness to Kashmiri people's abjection. Our memorialisation praxis is guided by the questions: how do we know Kashmir as a place, and relatedly, what are the political limitations of our articulated solidarity with the anti-colonial struggle for azaadi?     

Mothers and others in Edna O'Brien's The Country Girls

This essay responds to critical assertions that the absence of functional maternity in Edna O'Brien's famous 1960 novel The Country Girls reflects O'Brien's frustration with the cloying myth of ‘Ireland-as-motherland’. While I agree that O'Brien centrally considers the imbrication of femininity with nationality in a culturally conservative post-independence Ireland and enumerates the devastating lived effects of this discourse on Irish women, I argue that The Country Girls offers a potentially productive step beyond lamentation or complaint: namely, a nascent transnational poetics. I contend that the novel hinges on a character heretofore neglected by the criticism – Caithleen Brady's Austrian landlady, Joanna – and suggest that O'Brien slyly positions Joanna as Caithleen's potential surrogate mother, framing a ‘foreigner’ as a source of subversive family ties. Joanna's presence, I believe, indicates an effort on O'Brien's part to negotiate a political response to both gendered oppression and literary parochialism (the much-remarked climate of censorship that marked the newly independent Ireland's intellectual culture): the notion that community and security might be transformatively relocated in strategic ‘translocal’ networks rather than within the confines of the nation-state. Joanna signifies O'Brien's look beyond Mother Ireland – a desire to open the country to both global feminisms and transnational textualities.     

The British Parliamentary Labour Party and the Government of Ireland Act 1920

Immediately after the First World War the British Labour Party was forced to reconsider its relationship with an increasingly militant Irish nationalism. This reassessment occurred at the same time as it was becoming a major political and electoral force in post‐war Britain. The political imperative from the party's perspective was to portray itself as a responsible, moderate and patriotic alternative governing party. Thus it was fearful of the potential negative impact of too close an association with, and perceived sympathy for, extreme Irish nationalism. This explains the party's often bewildering changes in policy on Ireland at various party conferences in 1919 and 1920, ranging from support for home rule to federalism throughout the United Kingdom to ‘dominion home rule’ as part of a wider evolving British Commonwealth to adopting outright ‘ self‐determination’ for a completely independent Ireland outside both United Kingdom and empire. On one aspect of its Irish policy, however, the party was adamant and united – its opposition to the partition of Ireland, which was the fundamental principle of Lloyd George's Government of Ireland Bill of 1920 which established Northern Ireland. Curiously, that aspect of Labour's Irish policy was never discussed in the party at large. All the running was made by the Parliamentary Labour Party (PLP) in the house of commons in 1920. The PLP's outright opposition to the bill acted as balm throughout the wider party, binding together the confusing, and often contradictory, positions promulgated on the long‐term constitutional future of Ireland and its relationship with Britain.     

Cernuda,poeta de un sur imposible

This article examines the poetics that Luis Cernuda developed throughout his life in connection with its sublime illusion of a genuine Spanish south through the romantic recreation he made of his native Seville, in several texts written from exile: they are various poems of The Reality and Desire and the essays Digressions on Romantic Andalusia and History of a Book, and, above all, the autobiographical prints from Ocnos, in which Albanio's sensitive experiences reflect both the meditative elegance of Cernuda's childhood and adolescence and the utopian promise of a true relationship with the world beyond the social hypocrisy of bourgeois capitalism and the coercion of Franco's dictatorship. My intention in this article is to weave innovatively, in a consistent and documented way, the biographical events with the artistic intentions of the poet, to reveal original interpretive links between desolate reality and the desire for transcendence in his strange lyrics.     

Annie Moore and the archives of displacement: towards an immigrant history of the present

Annie Moore, the first immigrant to enter the USA through the Ellis Island immigrant processing station, stands as an originary figure of the so‐called golden age of European immigration to the USA in the late nineteenth century. The contemporary archivization of the Irish immigrant Annie Moore in the Ellis Island Museum, New York and the Cobh Harbour Heritage Centre in County Cork, Ireland repeats the democratic rhetoric of immigration which underpins the foundation of the USA, as well as the national imaginary of Ireland. Yet in so doing, this archivization effaces the hierarchies of race and class that have historically underpinned the democratic rhetoric of immigration. With reference to Jacques Derrida's work on the archive and hospitality, this article expands on a performance‐based critical art intervention into the archivization of Annie Moore entitled ‘Calling Up Annie Moore’. Focusing on the blindspots, ellipses and discontinuities which the archive represses, the article traces the different histories and experiences of immigration which the art intervention disclosed.     

An exile's hopes: the search for a liberator in Michael Marullus

Abstract

Michael Marullus, fifteenth-century Greek, soldier and Latin poet, lived almost all his life in exile. In his earliest poetry revanchist thoughts directed at his country's Ottoman conquerors are hardly present, and superhuman powers are held responsible for the catastrophe. Later, Byzantine reliance on foreign forces is blamed. With time however and political developments in central and western Europe, a crusade or Türkenzug seemed to become more likely, and Marullus turned to the Habsburg Maximilian I and Charles VIII of France as possible liberators. This paper attempts to describe the poet's developing treatment of the themes of defeat and exile and his response in the last decade of the fifteenth century to the possibility of military action against the Ottomans.     

Maurofilia y maurofobia en el Libro del conde de Castilla

The Poema de Fernán González (or Libro del conde de Castilla) is not a crusade song, nor is it an epic poem or a historical account commemorating the foundation of San Pedro de Arlanza Monastery. It is rather a hybrid text that employs all the literary and historical resources available around the middle of the thirteenth century to an educated poet who was intent on transmitting to future generations the memory of the Count who made possible the independence of Castile. All episodes in the poem point to Castile's unique place in history, describing through the protagonist's bellicose deeds its hegemonic ascendency as the most important kingdom of the Iberian peninsula. Its destiny is determined by the hero's combative character against all enemies, whether Christians or Moors, and more specifically by confronting the powerful kings of neighboring states León and Navarre.     

The British Empire and revolutionary national poetry

ABSTRACT. The British empire set off an explosion of poetry, in English and native languages, particularly in India, Africa and the Middle East. This poetry – largely neglected in the scholarship on nationalism – was often revolutionary both aesthetically and politically, expressing a spirit of cultural independence. Attacks on England and the empire are common not just in native colonial poetry but also in poetry of the British isles. This article discusses some of the most influential poets, including: Shawqi of Egypt, Tagore of India, Rusafi of Iraq, Yeats of Ireland, Iqbal of Pakistan, Greenberg of pre‐State Israel, and Kipling, the ‘poet of empire’. In contrast with other empires, many poets were inspired by British culture to create revolutionary art and seek political independence. Most strikingly, British rule was instrumental in the revival of vernacular Hebrew poetry after 1917 as the centre of Hebrew literature shifted from Odessa to Tel Aviv.     

Reconstructing Kilmainham: the topography and architecture of the chief priory of the Knights Hospitaller in Ireland,c.1170–1349

ABSTRACT

For almost 400 years the Knights of St John of Jerusalem – the Knights Hospitaller – maintained a priory in Kilmainham, Co. Dublin, as their principal residence in Ireland. Nothing survives of it above ground. The priory's early history and topography are mainly shrouded in mystery, but a fourteenth-century registrum illuminates the workings of its community and the character of its members, and provides valuable evidence relating to the appearance of its architecture and layout when it was at the peak of its prosperity. Yet the registrum has never been subjected to detailed scrutiny. Recent research on the Hospitallers in Ireland on the one hand, and on the organisation of domestic space in medieval contexts in Ireland on the other, has prompted this comprehensive appraisal of the evidence in Kilmainham's registrum.