Irish Poetry

The Very Best of Irish Poetry & Prose

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Padraic Colum reads a selection of poetry and prose by Mangan, Moore, Swift, Curran and MacManus....

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Modern Irish Poetry : An Anthology

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The book, "Modern Irish Poetry : An Anthology", by Patrick Crotty (Edition: 95).

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Contemporary Irish Poetry (New and Revised Edition)

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The book, "Contemporary Irish Poetry (New and Revised Edition)", by Anthony Bradley (Edition: REV 88).

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Medieval/Early modern

Bardic poetry

Irish bards formed a professional hereditary caste of highly trained, learned poets. The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance, half rhyme and alliteration. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them. It was believed that a well-aimed bardic satire, glam dicin, could raise boils on the face of its target. However, much of their work would not strike the modern reader as being poetry at all, consisting as it does of extended genealogies and almost journalistic accounts of the deeds of their lords and ancestors.

Metrical Dindshenchus

The Metrical Dindshenchas, or Lore of Places, is probably the major surviving monument of Irish bardic verse. It is a great onomastic anthology of naming legends of significant places in the Irish landscape and comprises about 176 poems in total. The earliest of these date from the 11th century, and were probably originally compiled on a provincial basis. As a national compilation, the Metrical Dindshenchas has come down to us in two different recensions. Knowledge of the real or putative history of local places formed an important part of the education of the elite in ancient Ireland, so the Dindshenchas was probably a kind of textbook in origin.

The poems of Fionn

Verse tales of Fionn and the Fianna, sometimes known as Ossianic poetry, were extremely common in Ireland and Scotland throughout this period. They represent a move from earlier prose tales with verse interludes to stories told completely in verse. There is also a notable shift in tone, with the Fionn poems being much closer to the Romance tradition as opposed to the epic nature of the sagas. The Fionn poems form one of the key Celtic sources for the Arthurian legends.

The Kildare poems

British Library Manuscript, Harley 913, is a group of poems written in Ireland in the early 14th century. They are usually jumped the Kildare poems because of their association with that county. Both poems and manuscript have strong Franciscan associations and are full of ideas from the wider Western European Christian tradition. They also represent the early stages of the second tradition of Irish poetry, that of poetry in the English language, as they were written in Middle English.

Spenser and Ireland

During the Elizabethan reconquest, two of the most significant English poets of the time saw service in the Irish colonies. Sir Walter Raleigh had little impact on the course of Irish literature, but the time spent in Munster by Edmund Spenser was to have serious consequences both for his own writings and for the future course of cultural development in Ireland.

Spenser's relationship with Ireland was somewhat ambiguous. On the one hand, an idealised Munster landscape forms the backdrop for much of the action for his masterpiece, The Faerie Queen. On the other, he condemned Ireland and everything Irish as barbaric in his prose polemic A View of the Present State of Ireland.

In A View, he describes the Irish bards as being " soe far from instructinge younge men in Morrall discipline, that they themselves doe more deserve to be sharplie decyplined; for they seldome use to chuse unto themselves the doinges of good men, for the ornamentes of theire poems, but whomesoever they finde to bee most lycentious of lief, most bolde and lawles in his doinges, most daungerous and desperate in all partes of disobedience and rebellious disposicon, him they sett up and glorifie in their rymes, him they prayse to the people, and to younge men make an example to followe."

Given that the bards depended on aristocratic support to survive, and that this power and patronage was shifting towards the new English rulers, this thorough condemnation of their moral values may well have contributed to their demise as a caste.

Irish poetry now

As can be seen, there has been a tendency for Irish poets to become academics and teachers of poetry. In recent years, and thanks partly to the activities of the Arts Council and of Poetry Ireland, this tendency has widened out to include a network of writers' workshops spread around the country with funding provided to employ writers to facilitate. These bodies also support and fund poetry readings. In addition, most local authorities and many schools, prisons, universities, and other institutions employ writers-in-residence.

These opportunities for employment have tended to lead to the professionalisation of poetry in Ireland and this is probably most clearly demonstrated by the establishment in recent years of an M.A. course in Creative Writing at Trinity College Dublin. The possible implications of these developments for the future of poetry in Ireland remain to be seen.

In contrast, contemporary poet Pat Ingoldsby makes a living exclusively from the sale of his books, both through bookshops, and on the streets of Dublin and Galway.