By Julie Henigan
This research takes factor with the disputed yet chronic proposal of a dichotomy among the cultures (and even mentalities) of literate and oral societies. targeting numerous precise genres of eighteenth-century Irish music, Henigan demonstrates in every one case that the interplay among the elite and vernacular, the written and oral, is pervasive and attribute of the Irish tune culture to the current day. eventually, she argues, it's neither literacy nor orality, yet functionality inside of group that almost all actually defines the culture.
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Extra info for Literacy and Orality in Eighteenth-Century Irish Song
Example text
74 The dance fashions of the time reflect a particularly complex pattern of interaction, with ‘country-dances’ ‘sweeping’ polite society in both England and Ireland in the sixteenth century, then returning, with modifications, to the countryside itself. 76 Sometimes these ‘bridges’ were individuals: dancing masters or schoolmasters. 77 It is probable, then, that both individuals and social contexts played a part in the wider dissemination of the songs of the seventeenth- and eighteenth-century amhrán poets, most of whom may not have composed their verses primarily for a rural ‘peasant’ audience – but managed to reach it nonetheless.
Whether or not the poet himself actually performed or merely directed others in such performances is not entirely clear. 1: John Derricke ( J. ), The Image of Irelande (London: J. Kingston for Ihon Daie, 1581). Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame. 2 His contemporary, Thomas Smyth, described an event at which the ‘Rhymer that made the Ryme’ entered with his ‘Rakry’, who ‘is he that shall utter the ryme’; and even in 1722, the Marquis of Clanrickarde described a performance at which ‘The poet himself said nothing, but directed and took care that everybody else did his part right.
96 However, by the time Eoghan Rua Ó Súilleabháín was writing his own elaborate aislingí in the later eighteenth century, the structure had become fairly formulaic, as in ‘An Spealadóir’ (‘The Mower’): Trim néal ar cuaird ’sea dhearcas-sa Réaltann uasal taitneamhach Go béasach buachach ceasnnasach A’ téarnamh im dháil: Ba dhréimreach dualach daite tiugh A craobh-fholt cuachach camarsach A’ téacht go sguabach bachalach Lé i n-éinfheacht go sail. ’N-a leacain ghil, mar cheapaid draoithe, éigse ’gus fáidhe, Gur sheasaimh Cúipid cleasach glic is gaethe ’n-a láimh, Ar tí gach tréin-fhir chalama Do thíodh ’n-a gaor do chealaga, Tré’r claoiodh na céadta faraire I ndaor-chreathaibh báis … ’A rioghan bhéasach, aithris dam An tú an aoil-chnis tré n-ar treascaradh Na mílt’ ’en Fhéinn le gaisge Thailc Mhic Thréin thug an t-ár?