ࡱ> IKH%` 4bjbjNN .8,,X """""""68,B$6-1rrrrrrrrL0N0N0N0N0N0N0$/2h4r0u"rrrrrr0""rr0,,,r"r"rL0,rL0,,"",rf Ī,L000-1,s5s5,s5", rr,rrrrrr0r0Rrrr-1rrrr666 666666"""""" The Book of Irish Writers, Chapter 17 - Eibhlin Dhubh Ni Chonaill, around 1743 to 1800 Mo ghr go daingean tu!( L d bhfaca thu( ag ceann t an mhargaidh,( thug mo shil aire dhuit,( thug mo chro taitnearnh duit,( d'alaos m charaid leat( i bhfad bhaile leat. ( ( My steadfast love!( When I saw you one day( by the market-house gable( my eye gave a look( my heart shone out( I fled with you far( from friends and home. Although it mightn t sound like it, this is the beginning of one of the great poems of loss and lamentation in Irish literature: Caoineadh Airt U Laoghaire or The Lament for Art OLeary. Its by Eibhln Dhubh N Chonaill, Art OLearys widow. Eibhln was born in around 1743, in Derrynane, in co. Kerry. Her family was prosperous and she was the aunt of the great nineteenth-century politician, Daniel OConnell, the Liberator. The family also had a tradition of producing women poets. Eibhln was married twice: her first marriage, when she was less than 15 years old, ended after only six months with the death of her husband. She married again in 1767, when she was in her mid-twenties, to Art Laoghaire of Macroom in Co. Cork As the lines I fled with you far from friends and home indicate, her family didnt approve. The two families were similar in that both were Catholic and, despite the anti-Catholic Penal Laws, theyd managed to retain a degree of prosperity and status. The hostility of Eibhlns family seems to have been based on the fact that while they kept their heads down and didnt draw attention to themselves - or to their smuggling activities - Laoghaire was a much brasher individual. The U Chonaills saw him as a hothead. He had been an officer in the Austrian army, and continued to serve with them off and on after his marriage. At home, he would draw attention to himself by parading in his officers finery. Unfortunately he got on the wrong side of the local magistrate - Abraham Morris. On the 4th of May 1773, Morris gave the order for Laoghaire to be shot and killed he claimed that Laoghaire had tried to attack him. Most versions of the story say that Morris demanded his right under the Penal Laws to buy Laoghaires horse for 5, an insultingly low price that was more or less guaranteed to provoke Laoghaire. Although Morris - and the soldiers who actually fired - were found guilty of murder at the inquest, Morris was later acquitted. The event has historical interest as a story from the last days of the penal laws; a series of Catholic Relief Acts over the next decade would lessen the impact of those laws and pave the way for the Catholic Emancipation movement. A leading light of this movement would be Daniel OConnell the nephew of Art Laoghaires wife, Eibhlin. However, for our purposes, Laoghaires life and death is important - and is more generally remembered - because of the poem Caoineadh Airt U Laoghaire. The lament, or keen, was by this time a long-established verse form - with a strict set of conventions. Some part of it, at least, was supposed to be improvised over the corpse, and it must have had an almost theatrical immediacy. Imagine these words spoken over the body of a loved one: My steadfast love!( Arise, stand up( and come with myself( and I'll have cattle slaughtered( and call fine company( and hurry up the music( and make you up a bed( with bright sheets upon it( & This strong rhythm, along with repetition and refrains, gives the poem an impetus and drive which seems to defy death. It s easy to imagine the poem spoken out of the depths of the desperate energy of grief - a grief which is trying to bring the beloved back to life. But we cant be sure that this is wholly Eibhlns lament. Her name was certainly attached to the poem while it survived in the folk tradition and when was written down over 70 years after her husbands death. The written versions dont always agree with each other, though they all exhibit signs of   8 : n p     B D r t " $ T - H M i ͻͻͻͻͻͻͻݧ}m^h"h"OJQJ^J_H h"h"OJQJ\^J_H 'h"h"OJQJ\^J_H mH sH +h"h"6OJPJQJ^J_HmH sH 'h"h"6OJQJ^J_HmH sH #h"h"6OJPJQJ^J_H h"h"6OJQJ^J_H $h"h"OJQJ^J_HmH sH h"h"5>*OJQJ^J# < r   F v & T V l m 1$7$8$H$gd" 7]^7gd"7^7gd"]gd"44i l  ïÛÛq^^ÛÛÛÛNh"h"6OJQJ^J_H $h"h"OJQJ^J_HmH sH +h"h"6OJPJQJ^J_HmH sH 'h"h"6OJQJ^J_HmH sH 'h"h"6OJQJ^J_H mH sH 'h"h"OJQJ]^J_H mH sH $h"h"OJQJ^J_H mH sH 'h"h"OJQJ\^J_H mH sH *h"h"6OJQJ\^J_H mH sH  -.bc~BDl,\ 7]^7gd" 1$7$8$H$gd"W]Vta|.BDhj޶޶޶޶޶ިޒ~~~jTjTjTjT+h"h"6OJPJQJ^J_HmH sH 'h"h"6OJQJ^J_HmH sH 'h"h"OJQJ]^J_H mH sH *h"h"6OJQJ]^J_H mH sH h"h"6OJQJ^J'h"h"6OJQJ^J_H mH sH 'h"h"H*OJQJ^J_H mH sH $h"h"OJQJ^J_H mH sH h"h"OJQJ^J_H  (*XZcqKR,u,,,,,,-..*.,.b.d......."/$/L/N/t/v//uh"h"OJQJ^JU'h"h"6OJQJ^J_H mH sH $h"h"OJQJ^J_H mH sH *h"h"6OJQJ]^J_H mH sH 'h"h"OJQJ]^J_H mH sH +h"h"6OJPJQJ^J_HmH sH 'h"h"6OJQJ^J_HmH sH .qrs,,--...2.f.....&/P/x/// 4 4gd"]gd" 1$7$8$H$gd" 7]^7gd"being strongly influenced by the existing conventions for laments - including verses which are spoken alternately by Eibhln and Arts sister, as if theyre in competition to express their sense of loss. 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