Showing posts with label language. Show all posts
Showing posts with label language. Show all posts

Thursday, July 22, 2021

En Inglaterra de los Tesoros (In England of the Treasures)

Note: When quoting the poem, a rough literal English translation is employed (from the book Na h-Aislingí by the Aubane Historical Society) as well as the newly translated Spanish text, leaving out the original Irish for the sake of brevity. The new Spanish translation is the reason for this post, you can find it in full at the end of this introduction. Also, here's a link to the poem in Irish, English and Spanish from a previous post, for reference.  


I Sacsaibh na Séad (In England of the Treasures) is an 18th century Irish poem in the aisling form, with some intriguing divergences from that style. The poem, like all aislingí, is intensely visual. Indeed, the word aisling itself might be best translated as ¨vision¨ or perhaps dream. In that sense it appeals to me, and I often dream of presenting the poem as a film. And now that we have translated it to Spanish I like to play it around in my mind how that imagined film might be presented in a Latin-American context. Perhaps it's not so far out! These ¨vision¨ poems are in a way like acid trips where Ireland appears and converses with poet. What if Ireland were another country? I Sacsaibh na Séad even seems to detail a kind of shimmering halo effect around this spéirbhean or ¨sky woman.¨

The Aisling, most always begins in a pastoral Irish scene, here's a well known example from the Múscraí area of Cork county. So it would be quite a hop placing it in Mexico, for instance. 

Aisling gheal do shlad trím néal mé
Is go rabhas-sa tréithlag seal im luí
Is go rabhas i ngleann cois abhann im aonar

A bright vision had me robbed and in a trace,
terribly tired from my slumber,
In a glen, by a river alone

In these poems the poet awakes drowsily from his dreaming to encounter a vision of a beautiful spéir bhean. This lady is a manifestation of Ireland. They proceed to converse, after the poet extols her virtues and praises her beauty at length!

I Sacsaibh na Séad diverges in how it is set in an urban English scene-down by the docks of an English town. As well as this, the personal history of the poet Eoghan Rua resonates very strongly throughout the poem. This melding of poem and man adds a sad poignancy which is sometimes missing in the incredible, almost baroque like, wordplay that pervades much of Eoghan Rua's verse. For clarity, let’s give a little background on the poet himself…

After spending many years as a wandering laborer around Munster, Eoghan found himself working for the Nagle family in Cork. The story goes, a servant girl was searching to no avail for someone to write a letter for the master of the house. Eoghan (who had been employed by the Nagles for his brawn rather than brain), stepped up and offered his services. The girl was dubious, but provided Eoghan with pen and paper and dictated the contents of the letter. Within no time at all, Eoghan had the letter written in English, Greek, Latin and Irish. From then on the delighted Nagle's employed Eoghan as teacher to the family. Unfortunately, the delight didn’t last long, they hadn’t been told of Eoghan's rakish reputation. Eoghan was soon in bed with the wife of Mr. Nagle and within a few weeks he was turfed out on the road again in search of trouble or fortune. His next misadventure came in the seaside town of Youghal, where he was press-ganged (forced military service) into the British Navy. Not long after our rambling poet found himself as a seaman on the lower decks of HMS Formidable in the most decisive battle of the French and English for control of the Caribbean. 

Eoghan's aislingí long for the return of the old Gaelic order, and like many of those poems, put their hopes in the very real figure of Charles Stuart, ¨the young pretender.¨ Charles, the catholic claimant to the throne of Great Britain, was supported by both Irish and Scottish Gaels. For Eoghan, as darling of the disposed Gaelic people, to be in the services of the British army was quite an unusual situation. This is where I Sacsaibh na Séad comes in. It is the only aisling written set in England. Eoghan, after his time in the Caribbean, was transferred to the infantry in England. Reality and vision, history and hope collide beautifully in this poem. We can imagine Eoghan, perhaps in urban London, imagining this beautiful woman before him and having her speak. Ireland, speaking through him, in conversation with himself, in conversation with his people. This sky woman first derides the poet, thinking he is an English, protestant, miscreant soldier, on account of his dress.

I am none of those you tell of in your lying stories
And I shall not relate a story to a savage such as you,
A scion of the clan of Luther,
A savage in mien, in outlook and in treachery,
A rake and a coxcomb from London,
Who are in arms and armour arrayed, lacerating
The limbs and shelter of my prince.

no compartiré mis narraciones con un callejero como tú,
heredero del clan de Lutero,
con tu feroz aspecto, tu mirada traicionera,
tu aire salvaje, infame y embustero.
Vagabundo arrogante de Londres,
que vistes tu uniforme de guerra, cortas los miembros
de mi príncipe y destruyes su refugio.

Eoghan responds explaining to the ¨skylady¨ how she is mistaken and he is in fact a poet of the old Gaelic order, that was duped into helping those he did not wish to (those being the British Navy).

Te juro ante este libro que no soy de la misma estirpe.
Soy un viajero fatigado que navega eternamente en océanos furiosos.
Fui arrastrado de los pelos hacia estas tierras lejanas,
a prestar ayuda en contra de mi voluntad, en los barcos guerreros del océano espumoso.
Mi fuerza viene de la sangre gaélica que corre por mis venas,
desde Caiseal de los cinco reinos.

Do not insult me, O bright countenanced lady of fair hair,
By this book in my hand, I am not one their blood,
But I am a feeble traveller who goes over the raging ocean,
Who was torn far away by the hair of my head, 
Aiding the person I was not of a mind to,
In the gunships on the foaming ocean,
And my tribe is of the strain of the bloodstream of the Irish
In Caiseal of the provincial kingships.

This seems to please her and from here their conversation starts to flow...

Como eres de la estirpe de los reyes de Caiseal,
por un instante estrecharemos lazos.

As it is true that you are one of the Royal blood of Caiseal
Then for a while I will unite with you

Eoghan continues to detail his suffering….

Cómo escuchar cuando uno está tan oprimido,
en tierras de extranjeros despiadados!
Yo mismo estuve envuelto en cadenas,
que me dejaron sin esperanza
Cuenta mi historia a los poetas de mi patria
y ellos me enviarán versos que curarán mi amargura,

I must keep silent, perforce
In the land of the beast-like foreigners,
Since I happen to be a while in bondage, 
A circumstance that left me truly downcast;
Tell my story to the poets at home,
And they will send a verse to me,
That will scatter my grief, though full of streams
Of tears so that I am blinded senseless.

The poem ends with Eoghan telling ¨Ireland¨ she should return to Sliabh Luachra (a mountainous district outside Killarney, Ireland where Eoghan is from). He implores her to leave the tierra de extranjeros despiadados and go back to those who will care for her, protect her and tell her story. He specifically mentions ¨Séan¨ who must be a fellow poet of Sliabh Luachra.

Junto al río en el páramo está el ave fénix poderoso,
varonil, festivo, alegre, generoso.
Él te ayudará a comprender los textos,
con precisión, prudencia y sabiduría,
y redactará cada verso con profundidad.
No lo olvides, detente en su refugio,
él te cuidará, te hará compañía
y leerá verso a verso cada paso de tu aventura.

De la auténtica estirpe gaélica, él es heredero, el tesoro,
raudo guerrero, genuina perla de su patria,
sangre de poetas y héroes que no se amedrentaban
en arduos combates montados.
Solemne y libre, del linaje de Eocho,
Seán es quien te tomará en sus brazos,
y te servirá más que cualquier otro.
Mi musa, ¡regresa y protege tus joyas!

By the river of the moor is the worthy phoenix,
Manly, festive, feasting, generous, 
A support in clearly analysing texts,
And wise, learned, subtle,
Who would compose every verse without stupidity,
Do not forget to call in his house
And he will protect you kindly in his company while he reads
In verses every step of your adventures.

Of the true-stock of the Irish is the keen, pure scion,
A true pearl of his native land,
who is descended from the blood of the bards and knights who were not cowardly
In conflicts of hard-fought battles,
Noble, sturdy Séan of the root-stock of Eachaidh,
It is he who will take you in his affection
And grant you to himself, above any of my relatives,
My lady without protection for her treasures.




En Inglaterra de los tesoros, lejos de mi patria,
a la sombra de los mástiles, en los muelles de veleros,
pensando en los nobles y héroes ya desaparecidos,
muertos en la tierra de Céin,
por salvajes en un torbellino de conquista.
Indefenso, aunque valiente y aventurero,
lloro abundantes lágrimas de tristeza,
sin felicidad, sin poder, sin placer.
 
Vi una doncella griega, elegante,
deslumbrante, reluciente y muy bella,
femenina y de estirpe, de suaves labios, deliciosa.
Noble, sincera, respetable,
con preciosa figura, hermosa, de bello aspecto, majestuosa,
animada, madura, amistosa.
Rápidamente, a paso ligero,
descendió un momento a mi lado.
 
Su cabello abundante se ondulaba
formando remolinos que acariciando la hierba,
se deslizaban y se sacudían con fuerza.
Sus finas cejas, su mirada gacha, 
su aspecto y su rostro brillantes,
un ascua ardiente en el lirio fresco.
Sus mejillas de color rosa me tentaban.
Cada palabra suya era más dulce
que el rasgar de los dedos en la suave arpa.
 
Sus dientes, blancos cual cisne
en la espuma del mar bravo.
Sus pechos amplios nunca cayeron 
en los engaños arteros, depravados de Cupido.
Sus finas, dóciles manos
dibujaron osos, veleros,
combates de cientos, lobos feroces,
peces y bandadas de plumosos pájaros.
 
Mi dolor creció ante su bello cuerpo esbelto.
Sus finas formas de la coronilla a los pies
me dejaron sin habla, destruido;
quedaron frágiles mis miembros vigorosos.
Ciego quedé ante tanta maravilla,
mas le hablé tímidamente,
y le pregunté su nombre, su historia;
le rogué que me dijera su clan y su tribu.
 
Ardió mi corazón por sus palabras,
sentí humildad al escucharla.
Deseaba su belleza, su alma, su presencia,
sin que esto nos trajera deshonra.
Urgente, firme, cada miembro de mi cuerpo;
al instante quedé destrozado
al comprender que ella se oponía al pecado y la lujuria.
  
Respóndeme, ¿eres tú la dama radiante
que trajo furia y guerra a la Troya inocente?
¿O bien la que causó la miseria y destrucción de los gaélicos
en las tierras de Céin y Lughoine?
¿Eres tú quien heredó su nobleza y sus bardos de aquellos,
y luego huyó con angustia? 
¿O la ninfa que atravesó las aguas del mar,
desde Eamhain con sus héroes y barcos?
 
No soy ninguna de las que mencionas en tus falsas historias,
y no compartiré mis narraciones con un callejero como tú,
heredero del clan de Lutero,
con tu feroz aspecto, tu mirada traicionera,
tu aire salvaje, infame y embustero.
Vagabundo arrogante de Londres,
que vistes tu uniforme de guerra, cortas los miembros
de mi príncipe y destruyes su refugio.
 
No me insultes, resplandeciente dama de fulgurantes cabellos.
Te juro ante este libro que no soy de la misma estirpe.
Soy un viajero fatigado que navega eternamente en océanos furiosos.
Fui arrastrado de los pelos hacia estas tierras lejanas,
a prestar ayuda en contra de mi voluntad,
en los barcos guerreros del océano espumoso.
Mi fuerza viene de la sangre gaélica que corre por mis venas,
desde Caiseal de Los Cinco Reinos. 
 
Como eres de la estirpe de los reyes de Caiseal,
por un instante estrecharemos lazos.
Te contaré las hazañas de mis viajes
y pronunciaré mi verdadero nombre.
Los poetas me llaman Irlanda, la engañosa,
meretriz de arteras maniobras,
que insultó e hirió a su patria
entregándosela a los forasteros.
 
Desde las tierras de Céin y de la valiente Éibhear
por el muelle, amarrada, huí fácilmente,
portando noticias de los clanes irlandeses,
que pronto lograrán una conquista
arrancando de nuestra tierra al coloso enemigo,
mercenario de profundas raíces londinenses.
¡Brindo por la vida de los héroes, por que sea coronado rey
mi guerrero en Dún Luirc!
 
Los bardos profetizan con sus versos y su sabiduría
una llegada aguerrida y arrolladora.
Fuertes, heroicos, valientes,
irán castigando a los buitres intrusos.
La profecía no ofrece duda: les ha llegado la hora,
deberán rendirse,
someterse a la autoridad,
cambiar sus usos, ¡qué ardua tarea!
 
Temo, ¡oh, dama ilustre!
que esta historia que engendras sea falsa.
Los salvajes y sus naves son poderosos en demasía,
no les importa Carlos Estuardo, tu príncipe.
Toda ayuda está ausente.
El pueblo irlandés fue acallado y está sin tierras,
a diferencia de sus sacerdotes,
que vivían libres en la noble Irlanda.
 
¡Cómo escuchar cuando uno está tan oprimido,
en tierras de extranjeros despiadados!
Yo mismo estuve envuelto en cadenas,
que me dejaron sin esperanzas.
Cuenta mi historia a los poetas de mi patria
y ellos me enviarán versos que curarán mi amargura,
 y secarán las abundantes lágrimas,
que me han dejado ciego y en penas.

Junto al río en el páramo está el ave fénix poderoso,
varonil, festivo, alegre, generoso. 
Él te ayudará a comprender los textos,
con precisión, prudencia y sabiduría,
y redactará cada verso con profundidad.
No lo olvides, detente en su refugio,
él te cuidará, te hará compañía
y leerá verso a verso cada paso de tu aventura.
 
De la auténtica estirpe gaélica, él es heredero, el tesoro,
raudo guerrero, genuina perla de su patria,
sangre de poetas y héroes que no se amedrentaban
en arduos combates montados.
Solemne y libre, del linaje de Eocho,
Seán es quien te tomará en sus brazos,
y te servirá más que cualquier otro.
Mi musa, ¡regresa y protege tus joyas!
 


Monday, September 3, 2018

Irish Spanish Origins & Words

Having been travelling back and forth to Spain and Cuba these last few years I've been struck by the great similarities between some Spanish and Irish words. There are of course Latin roots to many Irish words,  but what is more interesting, is the relation between Irish and the original Celtic languages of Spain which are now extinct. Irish, though more than "two thousand years a growing," is perhaps (if the indigenous histories of Ireland are to be believed) the only extant Celtic language of Spain still in existence, let me explain!

Spanish National Library, Irish Gaels 1529

According to Gaelic chronicles, most notably, Lebor Gábhala Érenn (from the late 11th century) the Irish people are of Spanish origin. If you were of Gaelic royal blood you had to trace yourself to the north of Spain. All clans of note would begin their genealogies with the Gaelic conquest of Ireland, that being, with the sons of Míl Espáine, and their leader Íth. As Gaelic chieftain Hugh O' Donnell said (affirming his allegiance to Spain in a letter from 1593 to King Philip of Spain) "quod mea prosapea [sic] ex cantabrea [sic] originem sumpsit." "Because I myself am of Cantabrian origin." As proof of this when O' Donnell eventually fled to Spain he brought with him a copy of Lebor Gábhala Érenn, and along with that, a history of the genealogy of his clan to the Spanish court.

Many modern scholars hold these origin histories of the Irish in doubt and prefer to think of them as legends. What is interesting, is that recent genetic studies of Irish have placed the Irish populations beginnings squarely in the north of Spain, giving further credence to our Spanish origins. Lebor Gábhala Érenn was patched together from many earlier works, and had its own propaganda purposes at the time it was put together, and since. It comes from a firmly christian world (with some long lost original pagan sources). It tells how Ireland was spied from a tower in Galicia in the North of Spain called Breogán's Tower. Íth, son of Míl Espáine (who's father in turn was Bile son of Breogán) was told by his father to take that green land in the distance, so beginning the Gaelic conquest of Ireland.

Because of all this, and for other more practical reasons, for many hundreds of years, any Irish seeking refuge in Spain were considered native Spanish under Spanish law. In 1680 Charles II of Spain, in a royal decree, stated that "the Irish in Spain have always enjoyed the same privileges as Spaniards, this has always been the practice and indeed still is today."

In 1791 aroused by fears brought on by the French revolution an order was issued for a  special register of foreigners in Spain. Three native Irish men living Cadiz (being aware of the old laws) complained that they should not have to register. Their case was brought before the local magistrate who communicated with the Consejo Real in Madrid who replied "the taking of the oath to which all foreigners have been directed to submit, shall not be exacted on the Irish, seeing that by the sole fact of their having settled in Spain the Irish are regarded as Spaniards and have the same rights." This was signed as a royal decree by Charles IV in March 1792. This also applied to Army lists, where Irish were listed along with Spaniards according to seniority, whereas regiments of Flanders, Italy and Switzerland were entered at the end as foreign mercenaries. In 1734 the regiment of Limerick was listed as the oldest of the native Spanish regiments, for instance.



In 1529 the Earl of Desmond, James Fitzmaurice, and an envoy of the Holy Roman Emperor Charles V, King of Spain signed the Treaty of Dingle which incorporated much of the south-west of Ireland into a territory of the Hapsburg monarchy and confirmed again Irish peoples citizenship rights in Spain. Of course, this was highly effective propaganda for Spain against the English crown, that is, having a fresh stock of loyal catholics who were of the one blood with Spaniards ready to fight and die for their cause!

For me, one of the more chilling moments in Irish history was when what remained of the Gaelic nobility in the north of Ireland (in the personage of Hugh O' Neill, aforementioned Hugh O' Donnell and their retinues) sailed for the north of Spain in 1607 never to return, beginning what was called "The Flight of the Earls." Was this the Gaelic kings returning to their old origins?

Another great example of Spanish/Irish from this time is Philibín ó Súilleabháin Beara-child of an Irish nobleman who, along with his family, left Ireland for Spain in 1602, never to return. Philibín became a scholar, and was commissioned by the Spanish government to write "A Natural History of Ireland"-a reply to some very influential propaganda written by Geraldius Cambrensis called Topographia HibernicaGeraldius's tome was written to King Henry II of England, and was used as an effective carte blanche for the original invasion and syphoning off of Ireland to English control, the book was dusted off again in Elizabethan times to justify their reconquest of Ireland. Unfortunately Philibín's important writings were lost to history until recent times, when they were found in manuscripts in the University of Upsala in Sweden. Another O' Sullivan published the first volume of the translation (from the original Latin to English) in 2009.

My own 21st century scribbling are being done, fittingly, in the town of Paterna in the province of Valencia, Spain. La leyenda persiste!


I'll finish with a bunch of Spanish words, with their Irish equivalents after...


Sconse, Sconsa
A fenced off fort

Cómo estás tu? Conas atá tu? 
How are you?

Escoba/Scuab
Broom

Tierra/Tír
Country

Toro/tarbh
Bull

Cama/Leaba
Bed

Cofre/Cofra
Chest (as in a chest of drawers)

Cala/Caladh
A cove or small bay

Mama/Mama*
A woman's breast

Fosa/Fossa**
A grave pit or ditch

Conejo (Conill in Valenciano)/Coinín
Rabbit

Ayer/Aréir
Yesterday

Fiesta (Feasta in Valenciano)/Feasta
Party with food and drink

Di Marts(Valenciano)/De Máirt
Tuesday

Na(Valenciano)/Na
The in plural form as in "the Germans"

Corbata/Carbhat
Tie (as in a neck-tie)

Pecados/Peacaí
Sins (from the latin I'm guessing!)

Obra/Obair
Work

Taberna/Tábhairne
Pub

* I came across this word in Irish in the poetry of 18th century Irish poet Eoghan Rua Ó' Súilleabháin (in the third verse of the linked poem). Eoin came from Gníomh go Léith another village next to Killarney.

** There is a village next to my hometown of Killarney called Fossa. I was always told that the meaning of the village had been lost or that it had a pre-Celtic origin, methinks it is surely Celtic!




Further Reading


Ireland 1518 by  Lauret Vital, introduction by Hiram Morgan, a Dorothy Convery translation (2011)

The Natural History of Ireland by Don Philibín Ó Súileabháin Beara, translation by Denis C. O'Sullivan (2009)

The Military Order of St. Patrick by Micheline Walsh, Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society Vol. 9, No. 2 (1979)






Saturday, March 17, 2018

Viva Los San Patricios!

On the day that is in it, that being St Patrick's day, here's to the called Saol John Riley. My role was that of presenter-I followed the story of the leader of that bold Mexican brigade, John Riley, from famine torn Connemara to the Mexican American War of 1847. The song "Pa' Los del San Patricio" appeared on my first album Go raibh míle maith agat Séan Ó Garbhí, as ucht an cabhair a thug tú dom chun aistriúchán breá bríomhar a dhéanamh air ón leagan Bhéarla! I must try my hand at a Spanish version of the song too, somewhere further down the road!




Na San Patricios

Daichead a seacht i bhfad ró dhian,
Cailleadh anso iad ‘s i bhfad i gcéin,
Cailleadh iad i ngleanntá glasa na hÉireann
is crochadar ar cláracha Mheicsiceo

Dhá scór fearaibh ag feitheamh le bás
Sínte ar chroch ba thrua a gcás,
Le teas millteanach an mhéan lae
Thugadar leo go bhflaitheas dé.

Daichead a seacht i bhfad ró chrua
Cos ar bholg gan stad, gan suan,
Ó Vera Cruz le bratach in airde
Baileadar go cróga le céile.

Naomh Pádraig ‘s a cros
‘s iomaí fear a déag faoin bhreatach glas,
Lámh ar lámh le chéile,
Gach beachaint á réabadh.

Os cionn scamaill gan céilúir n-éan
General Lee lena airm féin
Cuireadh ruaig ar airm Valencia
Ach d-éalaíomar go caithair Mheicsiceo.

I ngort arbhar bhí na poncán clúdaithe
Thit siad ar an dtalamh lenár gunaí morá,
Lámh ar lámh le chéile,
gach beachaint á reabadh.

Luascadh an bhreatach bán trí uaire
Fós gearr Riley é síos gan bac air,
Géill siad faraor in ísle brí
i lochán dá fhuil féinig.

An Cruit, Naomh Padraig, ‘s an cros
“Éireann go brách” ar bhreatach glas,
Go dilís le chéile ‘s gunaí a pléascadh,
Gach beachaint á reabadh.

Dhá scór fearaibh ag feitheamh le bás
Sínte ar chroch ba thrua a gcás,
Le teas millteanach an mhéan lae
Thugadar leo go bhflaitheas dé.

Here's the English language version of the song, an outake from Saol John Riley. The song was filmed in Clifden, Ireland in 2009.

Pa’ Los Del San Patricio

47 too long a year, men died in chains men died in fear
some were lost under Irish sky and some on Mexico’s fields were hung.
The gallows there 14 feet high two score men condemned to die
hung at noon in scorching heat, three hours they waited bound hand and feet. 

47 too dark a year, men shook their chains and fell in fear
from Vera Cruz a flag unfurled many men rallied round it.
A Mexican eagle and a Celtic cross under the green flag men were lost
shot down as soldiers, hung as slaves their cruel fate a shallow grave.

Birds wouldn’t cross the Pedragal through it General Lee he carved a path
Valencia’s army were routed there Churubusco’s fate was calling.
The Yankees tumbled through high corn at Churubusco we shot them down 
Mexican guns they soon gave out with bayonets we joined the slaughter.

Three times the white flag swung round three times O’Riley pulled it down 
when blood ran down into the sand only then did they surrender. 
The Mexican eagle and a Celtic cross under the green flag men were lost
Shot down as soldiers, hung as slaves their cruel fate a shallow grave. 

The gallows there 14 feet high two score men condemned to die
Hung at noon in scorching heat, three hours they waited bound hand and feet.

Thursday, September 29, 2016

An Bóithrín Caol




An Bóthirín Caol is the "narrow little road" that was once the spine of Killarney town. In my mind, it is a conduit between cultures-the road you travel to get there. The tune is also maybe a bit like my own version of the Beach Boys "Let's go away for a while." A musical stroll in my head-wandering like Patrick Kavanagh who was once "lost in the oriental streets of thought" at a Monaghan fair.

The lanes of Killarney were once teeming with life, that's where the population lived. The people of the lanes were moved to more commodious, comfortable and modern housing in the 1950's. The people being poor and it being the first social housing, they were relocated to a hill just outside of town, derogatorily they named it "hungry hill." My mother grew up there, and the house is still owned by the family.

An Bóthirín Caol was the last lane in the town where Irish was spoken as a native language. In the 1840's, on an evening stroll, William Thackary (the English novelist) remarked that the lanes of Killarney were as exotic as any of the "casbahs of the orient." He found them warrenous and wonderful, teeming with trade, trades, all manner of people-women replete with colourful shawls, children galore. Irish would have been the lingua franca, which surely added to his otherworldly ramble too.

It is impossible to grasp or even describe the changes that the town has undergone, instead, I painted a musical wave that might wash over the listener and take them away for a while on some "breeze of the orient."

The guitar was recorded in a room in Atlanta, Georgia. The guitar itself was made in the 1950's in Granada, Spain. I got a loan of it from Chicago native, Steve Seaberg. It once accompanied blues legend J.B. Lenoir! Heres a video of that from the 1960's (Steve is the guy on the left, the guitar makes its appearance starting at 1:40).

As a first time visitor to Ireland, an English lady said to me at a gig last week "It has been strange travelling in Ireland, I wonder, am I in a foreign country?" Then asking me directly and inquisitively she said "am I abroad?" The lady had just apologised for speaking simple English to me, for a little while she instinctively thought my English might be rough! Granted now, I was playing "foreign" Irish music and was sporting a fanciful fedora. So, she can be forgiven, it seems people are still getting carried away on those breezes of the orient!

The Casbahs of Cork!
Neil O' Loghlen is playing double bass on this track, his part was recorded in Killarney. He plays with Ensemble Eriú. The violin is played by Larissa O' Grady. The cello is played by Grace McCarthy. I'm playing the guitar and making the other various sounds. You can purchase the album on digital download here. 

To reserve a copy of the vinyl send an e-mail to info@charlieobrien.net

Friday, February 26, 2016

"The Irish Ark," Still Afloat?

At the end of Alexander Sokurov's 2002 film Русский ковчег ("The Russian Ark") the camera follows the crowd as it languidly flows from the last great royal ball in the Hermitage in St Petersburg. We eaves drop on a couple as one says to the other "It's as if I'm in someone else's house."


It always struck me as a very poignant statement, and something that could have deep resonance for an Irish person. Although the comment is off hand, it seems the director, Sokorov, was talking about how Russia for long years had tried to ape the manners of Europe, as opposed to following its own path. Ireland, on the extreme west of Europe, could be said to have a similar conundrum-is it possible to live so close to England and Europe and still remain distinct? W.B. Yeats once said that "Ireland was part of Asia until the battle of the Boyne (1690)" If there was any truth in his sentiment, does much of this "other country" remain?

To give an example of how different a world view Ireland can have (even now), lets take the analogy of the new Amazon prime series "The Man In The High Castle." The series is based on the Philip K. Dick novel of the same name. For a western viewer from the U.S. this is a fantasy series of what might have been. In it, the Germans won WWII and control the Eastern half of the United States, the action takes place in the 1960's. For an Irishman (or at least one such as myself) this is very easy to imagine, because, in fact, we are living it today (though the timeline of invasion is rolled four hundred odd years on, rather than twenty). Of course, Southern Ireland achieved autonomy within the British Empire in the 1920's and finally declared the long sought Republic in 1948, but that is a tale for another day. We have, as the character in the Russian Ark said, been living in "someone else's house." And in a more insidious way than how Russian royalty affected European manners and custom, the country, language and people of Ireland itself have either been erased or systematically transformed into the other.

© Amazon Prime
When the poet Eoghan Rua O' Súilleabháin is press ganged into the British Navy in the late 1700's, we find a great example of where the best of Irish culture lives after two hundred years of British colonial rule. Eoghan, while Irish was spoken in Munster, was the most lauded and loved of Irish Gaelic poets. After being captured by Crown forces he finds himself in the belly of a British Navy vessel fighting for his life in "The Battle of Dominica." O' Súilleabháin, the quintessential Gaelic poet, eager not to survive but to prosper, writes the immortal ballad "Rodney's Glory." In the first flushes of the glory of a British victory, Eoghan is brought up on deck where he is congratulated for his verse by Admiral Rodney himself. Enamoured with Eoghan's ballad, Rodney asks the poet "what does your heart desire?" Eoghan "An Bhéil Bhinn" (of the sweet mouth) asks to be discharged but this isn't allowed. Eoghan responds "Imireochaimíd beart éigin eile oraibh"  (we'll play some other trick on ye). The Irish officer by Rodney's side says "I'll take care you will not." Eoghan is instead reassigned to infantry duty in England, from where he soon is discharged. Here we see what the highest of Irish culture has been reduced to-the jester, the impish rebel, fighting within an Empire of propaganda. Fluent in Greek, Latin and Irish he finds himself writing an English ballad in the hopes of a rise in station. The last line of the song is perhaps the most poignant and pertinent-

"Success to our Irish officers,
Seamen bold and jolly tars,
Who like darling sons of Mars
Take delight in the fight
And vindicate bold England's right
And die for Erin's glory."

Another O' Suillivan, Philibín Ó Súilleabháin Beara, is perhaps one of the better example of the fight against the one world view that emanates from England and long covers Ireland. Philibín was a noble Irishman of the 17th century. After the disastrous "Battle of Kinsale," as a teenager, he watched his father hurriedly build a boat to cross the Shannon river as the O' Sullivan clan were harried and assailed in the long "March Of O' Sullivan Beara." They were attacked, not just by English forces, but by Gaelic clans, who when the tide of victory had turned, sided with the Crown forces. Philibín's father was a nobleman in the retinue of the last free leaders of Gaelic Ireland. The whole clan-men, women, and children, marched the length of Ireland, eventually escaping to permanent exile in Spain. Incidentally, 1000 souls began the march, 34 completed it. Many died, some settled along the way, their descendents still line the route. Philibín became a scholar on the continent and was commissioned by the Spanish Government to write a scholarly response to Topographia Hiberniae (written by Giraldus Cambresnsis). The writings "The Natural History Of Ireland" became his life's work. Topographia is a particular piece of propaganda from the time of the Norman Invasion. It is brought to prominence again, in the early 17th century, for the express purpose of justifying the Elizabethan conquest. In it, the author, Giraldus, denigrates the Irish lack of culture-

"Their want of civilisation, shown both in their dress and mental culture, makes them a barbarous people."

Woman of Connacht embracing a goat, Joanna of Paris embracing a lion, Rooster. Topographia Hiberniae (Topographia Hibernica), c 1196-1223, Royal MS 13 B VIII, f.19v, The British Library

"In the northern and most remote part of the country, Ulster, they practice a most barbarous and abominable rite in creating their king. A white mare is led into the midst of them, he who is to be inaugurated, not as a prince but as a brute, not as a king but as an outlaw comes before the people on all fours confessing himself a beast. The mare being immediately killed and cut in pieces and boiled, a bath is prepared for him from the broth. Sitting in this, he eats of the flesh which is brought to him, he is also required to drink the broth in which he bathes."

"They are given to treachery more than another nation." "They inhabit another world, and are thus secluded from civilized nations, they learn nothing, and practise nothing but the barbarism in which they are born and bred, and which sticks to them like second nature."

Ceremony at "The Rock of Doon," according to Giraldus Cambrensis.
Philibín's writings, on the other hand, are a loving litany of "The Natural History Of Ireland." In a battle of words, he responds beautifully in Latin to Giraldus. It must be admitted, some of this writing is written equally as florid and unbelievable as Giraldus's!

"In Ulster their are two fountains, in one of which if people wash they never go grey. In the other, two trout lived for many ages: one was killed by the English, the other appears today; both, they say, were the favourites of some saint."

The book (like many Irish manuscripts) was languishing on foreign shores (in the university of Uppsala, Sweden) until it was recently translated into English by yet another O' Sullivan, Denis C. O' Sullivan! The book was published for the first time in 2009, by Cork University Press. That translation is just the first volume of Philbín's writings. Topographia, an influential tome, has been in print since 1602. It was dedicated by Giraldus to King Henry II in 1187, two years before the King's death.

The book of this period that sums up the struggles for power and propaganda most, perhaps, is so called "Gentle" Edmund Spencer's "A Present State Of Ireland." Spencer, a darling of Queen Elizabeth, writes the book in the form of a conversation between two Englishmen. They discuss what is to be done with Ireland. A plan is formulated therein for a final and proper, conquest and pacification of the country. The "Wilde Irish" as descendants of "the barbarous Sythians" need to be tamed by whatever means possible. Spencer suggests "famine" as one of perhaps the best means for subjugating the "wilde" population. Under the heading of "Western history," a current online history resource states "Spencer's genocidal views on Ireland are brutal and incredibly disturbing, but that does not detract from the rich body of poetry he has left us."

For four hundred years previous to the Elizabethan conquest of Ireland, the country went to and fro between Norman and Gaelic Ireland and to greater and lesser extents the Normans were assimilated. After the Battle of Kinsale (1601) though, a slow and deliberate destruction of a culture that is as foreign to most Irish now as Asia is, began in earnest. Concurrent with the plantation of Virginia in America, England's first successful plantation in Ireland was undertaken in Ulster, heretofore Ulster had been the most Gaelic part of Ireland. Loyal servants of the crown were told "Why toil ye in the fields of Virginia?" They answered the call in droves and settled the land of the displaced native Irish whose leaders had recently left for Europe in "The Flight of The Earls." In the 1620's, during the "contention of the bard's," the poetic class who were so deeply woven in with Brehon law convened, and argued old arguments as to who were the rightful leaders in this new Ireland. Unbeknownst to themselves their world crumbled around them and they became (in circles of power) increasingly irrelevant. As they wrote and sung in praise of O' Brien or O' Neill, they were slowly driven to the bogs, rebels took to the hills, and they never came out, nor down. Ireland's population was almost halved in the Cromwellian wars. The country was truly subsumed by the bigger picture from then on, from this point forward it was always trying to emerge from out of others shadows.

In 1798 inspiration was taken from the French to forge a modern egalitarian republic, this was another sad failure. 50 years later the country was stripped to the bone, the famine left very little of the power and beauty of the older culture. With the removal of the penal laws then the decimation of the Famine, the Catholic church dug in and took their place alongside the Anglo-Irish power-base and Church of Ireland, keeping the status quo and promoting English as the lingua franca. Another fifty years and the Irish nation is born out of the shadows of civil war and rebellion-marching onward with the church in tow. And now that the Catholic Church is gone, or at least resigned to a nominal power, what is left? Who now is holding the reins?

You hear in 2016 voices who denigrate those who took part in the 1916 rebellion, some, think little of those tried to steer us back on our own path at the beginning of the 20th century. What we need are alternatives voices in Ireland, Europe and beyond. Not the same tired world old Ireland grew into from the Battle of Kinsale until the first decades of the 20th century.

Even forsaking and dismissing "Old Ireland" as a distant dream of a fairer world "the power of the bard and the veneration of the harp," it is important to say-its not that it was better, or worse, but it was us. And it is something that has been denied to us, and if we can salvage parts of it or restore others then, that is only right. In 1921 Arthur Griffith said (when urging the Dáil to ratify the treaty negotiated with the British in London at the end of the War of Independence)-

"That was what they brought back, peace with England, alliance with England, but Ireland developing her own life, carving out her own way of existence and rebuilding their Gaelic civilisation broken down at the battle of Kinsale."

Now, when we look at this statement it seems antiquated, if this is what they were fighting for, then, "for what died the sons of Roisín?" Yes, we can say that the world has moved on so much since this time, but, in truth, the same circles of power exist. England still has her monarchy and wealth born from centuries of the graft and grit of hollow colonial enterprise, the U.S. still has its interests and Empire, the question is-what has Ireland? Who and where are we to look to for guidance in this sea of sharks? Is it outlandish to say "ourselves perhaps" or "others of our likes around the world?"

If we can say that Griffith's Ireland won the civil war and carved out its new space, it seems pretty clear that "Gaelic" Ireland had nothing to do with the new country that emerged. The state failed radically in its attempts (if they were attempts a-tall) to reinstate anything of Gaelic Ireland. Instead lip service was given to Gaelic Ireland as the modern (so often anglo) world rose up and grew even stronger all around.

Diverging, the Irish for speech is béarla, which appropriately, more often means "the English language." We can imagine the first meeting of Gael and Gall (foreigner), and the Irishman saying cén sórt béarla atá á caint aige? (What speech is he talking?) or more likely nach aoibheann an saghais béarla atá á labhairt aige? (Isn't it lovely the speech he is talking?). The first beginnings of the slow rush to the new caint/tongue. There is a long tradition in Ireland of love of the foreign. Maybe it comes from being at the edge of Europe without ample alien stimulation, anything new is looked on with fascination. This is a beautiful part of the human condition, the beauty of diversity. But displacement and conflict have a different gravity, and that is what occurred in Ireland, through hard centuries of colonisation. Imagine the poet, Dáibhí Ó Brudair, in 1680-spawned of the old ways, living in the new. He tells the conundrum as well as a man can. For then, and hundreds of years after him, English represented getting on in the world, progress, money, privilege, power. And it still does. With Irish learning, came love of it, but that alone. Surely these days are over? And you might say what does it all matter? But think-a figure like Shakespeare is still a huge figure in the English speaking world, half a millennium on. In Shakespearian Ireland (a country renowned for the written and spoken word) poetry and music were integrated with law in a way now completely foreign to us. Ó Brudair (born 10 years after shakespeare died) was pining for that old order that had just collapsed. In that order his likes would have been integral to the system rather than marginal. This marginalisation still continues. Heres a few verses of O' Brudair's.

O It's best to be a total boor
(although it's bad to be a boor at all)
if I'm to go out and about
among these stupid people.

It's best to be good people,
a stutterer among you
since that is what you want,
you blind ignorant crew.

If I found a man to swap
I'd give him my lovely skill.
He'd find it as good as a cloak
around him against the gloom.

Since a man is respected more
for his suit than for his talents
I regret what I've spent on my art,
that I haven't it now in clothes.

Since happy in word and deed is each boorish clod
without music or metre or motherwit on his tongue,
I regret what I've wasted struggling with hard print
since the prime of life - that I might have spent as a boor.


Illustration from "O' Bruadair by Michael Hartnett"

Returning to speaking of lip service! It is in the mouth of language that battles of the mind are won. So, in this meander, keeping the focus on language won't go astray. And although I write in English, I take solace from the fact that this too has become the Irish condition (or maybe always was)-an understanding of absurdity, the duality that caint (talk) can be béarla. That a mick can be a muck, or at least its tail. Mise 'gus tusa is eireball na muice. 

Although Irish is the first national language of the country in law, and a vessel that carries the soul and story of the Irish, not one Irish Gaelic university exists, not one town is Irish speaking. In this way it makes it so hard for people to find day to day worth in it, to engage with it on a daily basis. Scattered throughout the country are many native Irish speaking poets, writers, mathematicians and indeed any other profession you can think of. If the will was there in the government, a university could be developed. Indeed it should be developed, it is farcical and truly "Irish" as the English say, that we have not one Irish speaking University. Woe too, that one town, or God forbid! a city, could become truly Irish speaking. As Edmund Spencer said so long ago "The tongue being Irish the heart must needs be Irish too." We seem incapable of being truly Irish and truly modern, this is a self perpetuated fallacy and farce that has went on way too long. Where Gaelic used to mean Irish, it is now a faded niche, certainly not the people and the language that Griffith imagined not so long ago. When we talk of Gaelic in modern Ireland we talk of something marginalised, or perhaps a marketing gimmick to sell to the yanks. It is a type of relic that is brought out to venerate in solemnity, at worst it something to denigrate at inopportune moments as the old joke. We love or lampoon it, then wheel her back into the closet to resume her slow death. Rebuilding a country after centuries of colony is new and difficult work. Ireland is in a unique position as the only British colony in "the old world." We should be a guiding light in the sea of sharks-too often we are a lapdog for the old story, the old powers.  

In fairness, something of our own old world exists all around the country, but it is still the Hidden Ireland, the old Ireland, it is seldom the new Ireland. If we think of language as one of these battle grounds, in some ways, there is a much good will in the country towards the Irish language. According to the 2013 Irish census, 1.7 million people supposedly can speak Irish (though their competency is surely limited). The key is, they don't, and won't. Why? is the question that needs to be asked.

Returning to "The Man in The High Castle." Even in that alternate U.S.A. where the Nazis reign, English is still the spoken language, not German. The protestant ascendancy class who ruled over Ireland for 400 years could, in many ways, could be compared to the upper tier of society created by the Nazis that we see in the aforementioned series. For many centuries, the whole of the catholic gaelic majority of Ireland was effectively barred from having any influence over the running of their country. Under the penal laws, a Catholic couldn't, for instance, own land, vote, or even receive an education; he couldn't own a horse worth more than five pounds. In reality, in its brief reign, the evil vision of "The Third Reich" detracts from perhaps as cunning wrongs perpetuated by the British Empire around the world, and in Ireland over long centuries. Ireland was under that yolk too long, and like every colonised country since time began-some sided with the invaders and some took to the hills. I'm not positioning Britain again as the enemy, far from it, what I am suggesting is we don't follow them in their assigned or manifest destiny, that we neither, cosy up to the mould they moulded for us over long centuries. I'm saying maybe we should look to ourselves again, now that we can. To end with another conundrum, now that freedom is won? What is it? What do we do with it?

Is Ireland destined, like the Russian Ark to forever sail? Or are our roving days over? Unlike the "Russian" Ark, it seems we sail in a vessel other than our own. And what's to come of that? And why ask these questions? Well the answer there is, if not now, then when? 

A View from "The Russian Ark"