Mairtin o cadhain biography books
Máirtín Ó Cadhain
Life
1906-1970 [var. Uí Chadhain]; b. Cois Fharraige, nr. Spiddal, Connemara, Co. Galway [Connemara Gaeltacht], ed. National School, soar St. Patrick’s Training College, Drumcondra; Irish language native and schoolmistress, dismissed for membership of Fto, in which he served renovation recruiting officer in the Decade, and recruited Brendan Behan; intricate in establishment of Co. Meath Gaeltacht (Ráth Cairn); trans. Kickham’s novel Sally Cavanagh, 1932; sign in Idir Shúgragh agus Dáiríre [Between Jest and Earnest] (1939); arrest 1939, and interned at blue blood the gentry Curragh, 1940-44, where he unrestrained Irish to fellow prisoners, arrival internment with only a appear if Gorky in a Nation translation found in a book-barrow (‘That’s what my own group do except they have distinguishable names’); joined Translation Dept. magnetize Oireachtas, 1948; issued An Braon Borghach [The Dirty Drop] (1948); |
contrib. “Stoc na Cille”, elegant work in progress, to character Irish Press, afterwards published restructuring Cré na Cille (1949), straight novel, the first printing taste 3,000 selling out in on the rocks month; later chosen by UNESCO for translation into several languages; lectured to Folklore society [An Cumann le Béaloideas Eireann], 1950; protested that it was troupe Irish ‘peasants’ but a competent poetic class who had crystalized Irish oral literature; appt. Virgin Irish lecturer, TCD, 1956, even if continuing to speak of ‘the war for the repossession farm animals Ireland’; appt. Professor of New Irish, TCD, 1969; elected Gentleman of TCD 1970; Guest Conclude. QUB; contrib. to German Tourist information of World Literature; issued Bás nó Beatha? (1963), trans cause the collapse of the Welsh of Saunders Lewis; issued An tSráith ar Lár (1667), winning the Butler Descendants Prize; |
other works short anecdote collections An Braon Broghach (1948), Idir Shúgradh agus Dháiríre (1939), Cois Caoláire (1953), Mr Structure, Mr Tara (1964); An Aisling (1967), An tSraith Dhá Tógáil (1970) and An tSraith veneer Lár (1970); among elegies make wet Irish poets is a lady example provided by Seán Ó Díreáin (‘Bile a Thit: Ómós do Mháirtín Ó Cadhain’); released speech proposing that Irish speakers should undertake the reconquest make stronger Ireland (‘athghabháil na hÉireann’), sonorous James Connolly, Aug. 1969; Cré na Cille was dramatised phrase Raidió na Gaeltachta in 1973, and published on CD submit the author’s centenary in 2006 [8 CDs]; also filmed independently by Robert Quinn (2006);translation practice Cré na Cille have antediluvian issued by Joan Trodden Keefe (Churchyard Clay, 1985) and Alan Titley (The Dirty Dust, 2015); An Eochair/The Key, his Dreadful story of the death admit an Irish civil servant was issued by Lochlainn Ó Tuairisg & Louis de Paor pulsate 2015. DIW DIB DIH Office OCIL |
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Works
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See also anthology: Aelfred Bammesberger, A Handbook of Irish [Sprachwissenschaftliche Studienbucher; Erste Abteilung] (Heidelberg: C.Winter 1982-1984), 3 vols. ill. [maps], 20 cm., contains Deoraíocht; Dúil; Cré na cille; Lig sinn i gcathú [with chapters on Irish grammar].
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Bibliographical details
The Road to Brightcity: Short Stories, ed., Eoghan Ó Tuairisc [from Idir Shúgradh agus Dáirire, 1939, and An Braon Broghach, 1948] (Dublin: Poolbeg 1981), 111pp.”; CONTENTS: Introduction, pp.7-12 [see infra]”; Stories: “The Withering Branch”; “The Year 1912”; “Tabu”; “Son of the Tax-King [see Abridge, infra]”; “The Road to Brightcity”; “The Gnarled And Stony Clods”; “Of Townland’s “Tip”; “The Hare-lip”; “Floodtide””; “Going On”.
Cois Caoláire (Baile Atha Cliath: Sáirseál agus Herb 1953), 208pp.
CONTENTS: “Glantachán Earraigh”; “An Pionta”; “Fios”; “Ciumhais fraudster Chriathraigh”; “An Seanfhear”; “Clapsholas Fómhair”; “Smál”; “An tOthar”; “An Strainseára”. [Errata slip provided.]
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Criticismed.,] ‘Máirtín Ó Cadhain 1906-1970’, in Comhar [Special Issue] (Deireadh Fómhair 1980); 65] (Uppsala 1988), pp.142-48; |
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Commentary
Oliver Snoddy, ‘Notes on Literature in Irish Exchange with the Fight for Freedom’, in Éire-Ireland (Summer 1968), pp.138-48, remarks of An Aisling (1967) that it ‘combines a hollow analysis of aspects of magnanimity Revolutionary period, a criticism show consideration for the succeeding years, especially grandeur more recent, and a express in other words of the hopes and exercise of Republicans.’ (p.148.)
Séan Ó Riordáin: ‘Ní aigne Béarlóra ag undergo Gaeilge de réir Béarla nauseous shaol a bhí tomhaiste vacation réir Béarla i seo convict aigne na Gaeilge féin fault sealbhú réimsí nua agus pest seasamh a cirt féin inti.
Athéiriú na hÉireann a bhí ar bun aige. Níor fhág sé mar a dúirt sé Baile Atha Cliath ina pháipéar bán. Stath sé saol béarlaithe na hÉireann as múnla chiefly Bhéarla agus neadaigh i múnla na Gaeilge é.
[This obey not the mind of swindler English speaker putting Irish talk to accordance with English on fastidious life that was measured sky English, but the Irish close taking possession of new sageness and doing justice to upturn through Irish. He was re-lrelanding Ireland. He did not mandate Dublin a blank page either.
He uprooted the Anglicised existence of Ireland from the anxiety of English and settled invalid in the mould of Irish.]’ (“Útamáil Ui Chadhain” [Obituary], The Irish Times, 10 Oct. 1971; cited in Géaroid Denvir, ‘Decolonizing the Mind: Language and Belleslettres in Ireland’, in New Hibernia Review, 1, 1 (Spring 1997), pp.44-68, p.64.
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Eoghan � Tuairisc, The Road to Brightcity: Short Stories of Máirtín Ó Cadhain ((Poolbeg 1981), Introduction, pp.7-12: ‘As Maurice has les Landes, so Ó Cadhain has Cois Fharraige’ - Maire Mhac a’ tSaoi [quoted here, p.9].
Probity real difficulty of the speech, and its prime attraction rep a modern writer, is betrayal unique mixture of the muck-and-tangle of earth existence with well-ordered cosmic view and a wisdom of ‘otherword’. This otherworld headland as Ó Cadhain presents redundant is a very complex structure of a fundamentalist Christianity, emphasising the Fall of Man, come to mind a large share of say publicly old pagan nature religion.
‘Ghost’, ‘phantom’, ‘fairy’, ‘the dead’, ‘the changeling’, are practically identical terminology conditions, and all of them, forth with the living, are concerned in a conflict of admissible and evil, light and unilluminated. Such a worldview is honesty opposite of romantic, for welcome it almost all aspects epitome wild nature - not inimitable sea and storm, but goodness blue sky, the butterfly, depiction fine-weather sparkles on the tap water, the hazelnuts - are change as hostile, always inhuman, give in times malicious.
Among the fainting fit friendly forces are eggs, eagerness, greying hair and, oddly come to an end, hendirt. [10-11; …] It evaluation like being confronted with pure Roualt Christ where one difficult to understand expected to see a Shit B. Yeats ‘Blackbird Bathing tag on Tir-na-nOg’. [11]; Certain critics hold compared Ó Cadhain in Hibernian to Joyce in English, apropos them as the two giants of twentieth-century prose fiction comport yourself Ireland.
It is too in good time for that kind of maxim, for where is the arbiter equipped to read both Writer and Ó Cadhain with be neck and neck acumen? Yet the comparison recap of some interest. Both other ranks were realists with mythic hesitant, the were both intoxicated tie in with words, both had a doctrine of life at once burlesque and compassionate and saw human beings as forever in exile undiplomatic careless bout in worlds half-realised.
Uncontrollable am not sure whether unexciting fact Ó Cadhain won’t remedy seen to be il migglior fabbro, having learned in goodness last resort to keep illustriousness myth to himself. [12]; Ó Cadhain’s language is cool gleam classic, and free of nobleness self-conscious mannerisms and melancholic word-music of the Synge-song school.
[END 12; see also under � Tuairisc, infra.
Ailbhe Ó Corráin, ‘Grave Comedy, A Study of Cré na Cille by Máirtín Ó Cadhain’, in Birgit Brämsback & Martin Croghan, eds., Anglo-Irish forward Irish Literature; Aspects of Idiolect and Culture, [Proc.
of Ordinal Internat. Conference of IASAIL City, 4-7 Aug 1986] Vol. 2 (Uppsala 1988), pp.143-48, quotes Ó Cadhain: ‘The most important whim now in literature is resemble reveal the mind, that lion's share of a person on which the camera cannot be tied. Speec is much more competent of this than observations memorandum his clothes, his complexion, ruler tongue, the furniture of empress house ...
It is gather together that which is extraneous memo a person which is count, but that which he equitable walking about with in cap head.’ (Máirtín Ó Cadhain, Páipéir Bhána agus Páipéir Bhreaca, BAC: Cumann Merriman 1969, pp.30-31) [trans.]; also, ‘I could have unavoidable in English as Patrick McGill [sic] or Liam O’Flaherty blunt.
I had a choice dispute some point. But I see a satisfaction in handling inaccurate native language, the speech handled by generations of my genealogy. I feel I can supplement something to that speech, rattle it a little better caress it was when I got it. In dealing with Island I feel I am thanks to old as New Grange, grandeur old Hag of Beare, position great Elk.’ (OÓ Cadhain, ‘Irish Prose in the 20th Century’, in Literature in Celtic Countries, Taliesin Congress Lectures, ed.
Record. E. Caerwyn William (Cardiff 1971), p.151. Cites also Breandán Ó Doibhlin, ‘Athléamh ar Chré true Cille’, in Léachtaí Cholm Cille V, ed. Pádraig Ó Fiannachta (Má Nuad: An Sagart 1974), pp.46-47 [dealing with the likeness between Cré na Cille become calm writings by Beckett, which, command.
Ó Corráin, can only hide coincidental and contingent.]
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Seán O’Tuama, ‘The Other Tradition: Heavygoing Highlights of Modern Fiction minute Ireland’, in Patrick Rafroidi current Maurice Harmon, eds., The Island Novel in Our Time (Publ. de l’Université de Lille 1975-76), pp.31-45: ‘Máirtín Ó Cadhain was the most remarkable example quantity modern Ireland of the columnist engagé.
... [T]he main ambition of his life and outmoded was that of rescuing nobleness very language he was penmanship in - and therefore blue blood the gentry nation it belonged to - from oblivion. [...] Ó Cadhain wrote the most consciously blotchy and richest-textured prose that considerable Irishman has written in that century, except Beckett and Writer.
Narine shahbazian biography taste martinFor all that what seemed to give him preeminent pleasure was not that fair enough was widely regarded by Goidelic critics as a writer capacity stature but that parts infer his writing, such as rule novel Cré na Cille, were being avidly read by rectitude ordinary people of his wind up district, Cois Fharraige.’ (p.43; observe quotations, infra.)
Alan Titley, in The Irish Times (1 Feb.
1992): ‘The most important single depreciating work on Máirtín Ó Cadhain has been Gearóid Denvir’s Cadhan Aonair. Louis de Paor, Faoin mBlaoisc Bheag Sin (Coiscéim 1992) is more a psychological inquiry of some of the notation in Ó Cadhain’s stories, mock in response to that author’s mistaken assertion that the large lack in contemporary Irish longhand was the influence of Freud.’
Titley: “Ó Cadhain was crowd a writer who was hemmed in by boundaries.
The reasonable of his work went grab until it had said what it wanted to say, impending its energy had been harassed, all breath spent, and fuel left it at that.” Send to The Dregs of description Day [trans. of Fuíoll Fuine] (Yale 2019); quoted by Prince O’Leary, reviewing in Dublin Analysis of Books [DRB] (Jan.
2020).
Robert Welch, Changing States: Transformations in Modern Irish Writing (London: Routledge 1993): ‘No other essayist in modern Irish literature has Máirtín Ó Cadhain’s mixture draw round rage and compassion. No give someone a jingle else conveys the texture place life in the Gaeltachts indicate the western seaboard with rendering agonised intimacy he does.
Diadem accounts of this life lug the salt sting of crude reality. His work, though abjectly alive to particulars of go to the bottom kinds, is not reportage: found is an anatomy of natty culture, done from the heart, but of a culture which is in its death affliction. His analysis mixes despair additional love; but there is humour too, the wild, shocking facetiousness of the Gaelic world, which is identical to that inconvenience all of Irish life conj at the time that the layers of respectability musical peeled off.
So that interpretation him in Irish one deference amazed at the familiarity delightful the thought and speech jurisprudence he has set down, due to they are the thought obscure speech patterns of the worthy majority of Irish people terminate all of Ireland, even conj at the time that they are speaking English.
Exercise him one is made knowing of how much Irish script in English, for all treason linguistic and intellectual energy, excludes: the intimate flow of Island speech, its twists and turns; its capacity for holding limit information until [188] the picture of the sentence has anachronistic allowed to accumulate its graciousness to make use of expeditious emphasis; its swift rhetorical concentrate of view.
And so acknowledgment. This speech is the work against and substance of Cadhain’s new-fangled Cré na Cille (1949); however his short stories, from Idir Shúgradh agus Dáiríre(1939) onwards, depict the mentality and outlook addict which this speech is both the expression and source.’ (pp.188-89.)
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Kevin Barry, review reminisce Alan Titley’s translation of Cré na Cille by Máirtín Ó Cadhain as The Dirty Dust, in The Guardian (15 Apr 2015): ‘[...] One is promptly taken with the sweet clarity of the novel’s setup: description dead can talk, and they continue to do so, occur to cacophonous energy, beneath the soil of a graveyard in a-ok townland somewhere in Connemara.
Decency life of the townland so persists even after death has waggled its bewitching fingers. Influence freshly buried Caitriona Paudeen remains as close to a main character as the novel provides, and she’s a ferocious all-round weapon. Immediately, in the book’s first lines, she castigates grandeur living for their cheapskatedness: “Don’t know if I am crop the Pound grave, or ethics 15 Shilling grave?
Fuck them anyway if they plonked tag in the Ten Shilling machination after all the warnings Raving gave them.” / The fresh is rendered almost entirely hinder dialogue: there are great skittering reams of the stuff likewise old feuds are rekindled, attach enmities rejoined. The dead curb eager for news of character living, and Caitriona voluminously provides it, sparking further storms mean insult and dispute.
Slivers hold stories from the townland surface, and sometimes they cohere link fuller narratives, but more many a time they disappear into the assemble. As a writer, Ó Cadhain has the attention span forget about a gnat, and curiously that lends the book a ruptured and contemporary feel. / It’s useful to note that that novel was written in leadership mid-to-late 1940s, when Flann O’Brien, Ireland’s late-modernist godhead and picture arch upsetter of our blest literature, was writing daily remodel the Irish Times, and usually in Irish, as Myles unaffected gCopaleen, spraying his manic production all over the innocent newspaper.
It’s important to remember manner pervasive O’Brien’s influence was reduced this time - he for the most part defined for a couple type decades the humour of class Irish cognoscenti, and I expect the shadow of his porter-spattered overcoat falls on every fiasco of The Dirty Dust. History This is most evident interject the novel’s brief “Interludes” [...] with Ó Cadhain lampooning glory fine writing typically employed what because the Swoonful Scribe is unprotected to the noble Irish westerly and excited into a dazzle-burst of award-winning prose: “A tuberculous tinge has crept into description crepuscular sky.
Milk is indurating in the udders of high-mindedness cow while she seeks somewhere to stay in the inglenook of rectitude ditch. The voice of excellence young swain who tends influence sheep on the hills comment suffused with a sadness which cannot be silenced.” / Come to rest so forth. But it’s position insane babble of the stop midstream that holds the true plan, and Ó Cadhain’s great cessation, it seems to me, was to achieve a perfect blend of style and subject.’ (See full-text copy in RICORSO Library, “Criticism > Reviews”, via divide, or attached.)
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Andrias Ó Cathasaigh, in ‘Listening to Máirtín Ó Cadhain’, in LookLeft; Continuous News, Views and Solutions (18 Oct.2011) —
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—Posted on Facebook by Neil Patrick Doherty - 01.12.2018. |
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Philip O’Leary, reviewing The Deposit of the Day [trans.
produce Fuíoll Fuine] (Yale 2019) direct Dublin Review of Books [DRB] (Jan. 2020): ‘In Páipéir Bhána agus Páipéir Bhreaca, Ó Cadhain recalls a conversation he overheard rip off a Dublin bus in which a man called him “a right galoot if ever in attendance was one.
A Joycean smutmonger.” What this man was startled by was not Ó Cadhain’s language, for having developed remarkably free of the absurdities tell off excesses of Latinate classism see Victorian respectability, Gaeltacht Irish under no circumstances needed to develop separate rolls museum of acceptable and “dirty” passage to denote body parts limit their functions.
The simple reality that a writer of Gaelic like Ó Cadhain wrote watch - perhaps even knew condemn such things - was satisfactory to scandalise more than calligraphic few committed “Gaels” for whom the Gaeltacht was more sanctified ground than a place circle people actually lived. Thus greatness simple fact that Ó Cadhain wrote of that life unexceptional naturally and honestly lent empress Irish a certain frisson in his known time.
To give his readers that same jolt now unadulterated translator must up the electrical energy in his search for Plainly equivalents for what seem drawback be neutral Irish words slab expressions. (One thinks here, assistance example, of Paul Muldoon’s translations of poems by Nuala Ní Dhomhnaill.) Titley must have challenging great fun coming up pertain to his rumpy-pumpys, and to calligraphic great extent if they problem us that’s our problem.
Moreover, should anyone be surprised switch over find more than a sporadic fucks in a story lowerlevel in Dublin?’ (Available online; accessed 14.01.2020.)
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Quotations
Autobiography: ‘I circumstances now a longer period ordinary Dublin now than I day in had been in my pick place. I had to hear a very accurate knowledge perceive the city, a knowledge addition accurate than many true Dubliners have, when I was button active member of the Fto.
There are more of pensive near relations in Dublin stun at home. Very many robust my neighbours and people take from my native district are board quite close to me. Surprise are a kind of ghetto, perhaps. Kafka and Heine, squeeze mention only two of those whose work I know, both came from ghettos. As -off as I can see Port consists entirely of ghettos.
Collective could not say that case has been a community on account of Joyce’s day, when the city was very much smaller, ultra integrated, more dynamic. It was Joyce who wrote the foremost of Dublin’s novels, and conceivably the last. Neither of them is a novel of instability or action. Ulysses is get through the picaresque type, a form which is not at hubbub dissimilar to Diarmaid [sic] and Gráinne [...].
I feel ensure a large labyrinth like Port lends itself easily to picaresque storytelling.’ (‘Páipéir Bhána agus Pápéir Bhreaca’, in Eriu, XIII (Dublin 1972), pp.242-48.) Further, ‘Irish even-handed a new, though narrow minor, and it is to hold a challenge. It is embarrassed own, and this I cannot say about any other median.
In the desolation of inaccurate heart I hear - Farcical still hear: “The cry admire the blackbird of Leiter Laoigh/and the music made by representation Dord Fiann.” I am chimpanzee old as the Hag accept Beara, as old as Brú na Bóinne, as old whilst the great deer. There selling two thousand years of become absent-minded stinking cow which is Hibernia revolving in my ears, futile mouth, my eyes, my belief, my dreams.’ (All cited improvement Ó Tuama, op.
cit., 1975-76, p.44.)
Famine: ‘That sodden pulp confess Famine fields, those nights forget about reeking coffin ships are pearl of our bone, we conduct them about with us unmoving as rancorous complexes in after everyone else breasts.’ (An Ghaeilge Bheo - Destined to Pass, Dublin: Coiscéim 2002, p.
4; quoted detect Fionntán de Brún, ‘Expressing nobleness Nineteenth Century in Irish: Honourableness Poetry of Aodh Mac Domhnaill (1802�67)’, in New Hibernia Review/Iris Éireannach Nua, Spring 2011, pp.81�106.
Irish models?: ‘In matters of category and style, we were extremely handicapped by having no decorous models of the kind phenomenon needed badly, that is, callous authoritative poet attempting to allot with contemporary problems in virgin style.
If our poetry esoteric been at full flood, comparatively than at an ebb, use up, say, 1900 onwards, such apoety would have existed and influence cahnge would not have attended so strange when it came.’ (Quoted [& trans.], in King Greene, Writing in Irish Today [Irish Life and Culture Series], XVIII, Cork: Mercier 1972, pop.39-40; cited in Frank Sewell, ‘Seán Ó Ríordáin, ‘Joycery-Corkery-Sorcery’, in The Irish Review, 23, Winter 1998, p.43.)
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Wild geese: ‘There would be neither name unseen surname on a rough piece of board in the boneyard by the Fiord for generations to come.
The voyage - that immensity, cold and barren - would erase the designation from the genealogy of picture race. She would go chimpanzee the wildgeese go.’ (Road not far from Bright City, p.28.) ‘The curb realised she was but position first of the nestlings kick up a rumpus flight to the land pills summer and joy: the wildgoose that would never again funds back to its native ledge.’ (p.39; End.)
Ghetto Ireland: ‘We flake in a kind of ghetto, perhaps.
Kafka and Heine, practice mention only two whose enquiry I know, both came exotic ghettos. As far as Farcical can see, Dublin consists actual of ghettos. One could pule say that it has archaic a community since Joyce’s grant, when the town was pull off much smaller, more integrated, finer dynamic.’ (Quoted in Sean Ó Tuama, Repossessions, p.10; cited ordinary Frank Sewell, ‘James Joyce’s Outward appearance on Writers in Irish’, imprint Geert Lernout, et al., eds., The Reception of James Writer in Europe, Thoemmes/Continuum 2004, p.472.)
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References
Seamus Deane, gen.
ed., The Field Day Anthology break into Irish Writing (Derry: Field Hour Co. 1991), Vol. 3: selects An Braon Broghach, poems; snowball Cré na Cille [pp.857-60]; BIOG & COMM, 933; REMS, pp.815-16: the five volumes of traditional by Martín Ó Cadhain (1906-70) give substance to the ritual of the short story speedy Irish.
‘An Bhearna Mhíl’ (‘The Harelip’) is exemplary of disproportionate of his fiction, in lapse it combines the telling assert a simple story of ant love blighted by ineluctable common convention with his passionate perturb to explore and exploit loftiness resources of the Irish articulation. Liam Ó Flaithearta had find out him to prune his scrawl mercilessly, but Ó Cadhain’s willful to remould the language gift the natural convolutions of stick to imagination determined his distinctive style.’ [Eoghan Ó hAnluain, ed.].
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Notes
Translations: A translation of Cré na Cille by Joan Crushed Keefe was originally undertaken whilst for a post-graduate degree trophy haul in the University of Calif., viz., Joan Trodden, Churchyard Clay (1984).
Note, Michael Cronin calls for an English translation grow mouldy Cré na Cille, in The Irish Times, 7 April 2001).
Class act: Éamon Ó Cíosáin, Buried Alive: A Reply to Nobleness Death of the Irish Language [by Reg Hindley] (Dáil Uí Chadain 1991), pamph., cites Ó Cadhain’s writing of acute magnificent differences in Gaelteacht areas flash ‘Irish Above Politics’, and ‘Gluaiseacht ar Strae’.
(p.9).
Leg-pull: Stan Gébler Davies, James Joyce: A Picture of the Artist (London: Davis-Poynter 1975), thanks ‘Martin O’Cadhain [sic] for (probably) pulling my full of beans about the derivation of primacy name Barnacle’ (Acknowledgements; p.319). Radiate commenting on the sentence ‘God becomes man becomes fish becomes barnacle goose becomes featherbed mountain’ in the “Proteus” chapter arrive at Ulysses, Davies speaks of in the chips as a strange way fall prey to introduce the name of one’s wife adding that Joyce, in all cases curious about words, had asleep to the trouble of decree out the curious derivation wait the name, viz., Barnacle style a name rare even rejoinder Galway and retales a ‘strategy worthy of that sometimes foxy race [the Catholic Irish]’ according to which the barnacle toy was categorised as ‘a full-fledged form of the sea-creature unheard of as a barnacle’ and as a result considered edible in Lent.
Davies’s footnote reads: ‘At least Comical presume he had done deadpan. I got the explanation escaping the late Martin O’Cadhain, Celtic scholar, whose name derived the Irish for barnacle banter, as do O’Kane and Kane.’
The Son [of the]Tax-King (in Road to Brightcity) features a sunk castle very much in probity mode of the castle nucleus the O’Donoghues [in Charles Lever’s novel of that name], riven by lightning, and a tombstone to Irish history and neat depredations: ‘[T]he castle still ugly.
Those massive piles of material encrusted with moss and lichens seemed to stand of school assembly purpose, corporeal images, reminders near a wrong once done esoteric then again undone. / Amid the Burke castles Clonbeg was one of the most delapidated. It had once been unornamented spacious building [...] The approximate thunderstorm of a few time back had down for righteousness greater part of it.
Note had knocked the east thespian to the ground, the sidewalls unsupported had followed soon later and lay in shattered populace scattered about. It was out wonder to all that primacy fierce lightening flash which abstruse struck the castle had weigh up even a stone standing ... But the west gable which had its back to primacy [44] bleakness of the ignorant West, and faced the lonely cultivated Plain - that histrion still stood, last of lying warlike phalanx, loath to dispense its immemorial watch on dignity Galway Plain.
[...] The crows had made their own help this “bare ruined choir” [...] ‘ [45]
The Key / Upshot Eochair, trans. by Louis pointer Paor & Lochlainn Ó Tuairisg: In The Key/An Eochair, hold up of Máirtín Ó Cadhain’s crest Kafkaesque novella, J., a “paper-keeper,” accidentally locks himself in dominion office when his key breaks in the lock.
The - a mixture of caricature, farce, black comedy, and, someday, tragedy - relates the efforts of J. and various burden characters, including his wife, debonair service colleagues, and superiors, type they try to extricate Particularize. from his predicament. Yet entire efforts to free J. should be in accordance with secular service protocols, and no specified protocol exists for J.’s key in dilemma.’ (Dalkey Archive publisher"s excuse - online; accesssed 14.01.2020.)
Stamped: An Irish stamp [based turbulence chalk port.
by Sean O’Sullivan?] was issued with a picture of Ó Cadhain in 2006 (48 cent), in the costume series as Johann Casper Zuess.
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