ach an Té do dhealbhaigh de chré ar an dtalamh sinn, ní mar sin a d’ordaigh. 5. “Requiescat” by Oscar Wilde a b c Gearoid Ó hAllmhuráin, "The Great Famine: A Catalyst in Irish Traditional Music Making" in Gribben, Arthur (ed.). The Great Famine and the Diaspora. University of Massachusetts Press, 1999: pp. 104-127. ISBN 1-55849-172-4. https://drgearoid.files.wordpress.com/2014/11/the-great-famine-a-catalyst-in-irish-traditional-music-making.pdf

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Easter, 1916” was one of such writings, where Yeats describes his mixed feelings with regards to the violent Easter Rising that took place in his homeland against British rule on Easter Monday of 1916. The uprising failed to earn Ireland’s independence.Among the other poets published by the New Writers Press were Geoffrey Squires (born 1942), whose early work was influenced by Charles Olson, and Augustus Young (born 1943), who admired Pound and who has translated older Irish poetry, as well as work from Latin America and poems by Bertolt Brecht. Younger poets who write what might be called experimental poetry include Maurice Scully (born 1952), William Wall (born 1955) and Randolph Healy (born 1956). Many of these poets, along with younger experimentalists, have performed their work at the annual SoundEye Festival in Cork. [12] With the foundation of the Irish Free State in 1923, it became official government policy to promote and protect the Irish language. Despite its failures, this policy did further the revival in Irish-language literature which had started around 1900. In particular, the establishment in 1925 [18] of An Gúm ("The Project"), a Government-sponsored publisher, created an outlet both for original works in Irish and for translations into the language. Apart from Yeats, much of the impetus for the Celtic Revival came from the work of scholarly translators who were aiding in the discovery of both the ancient sagas and Ossianic poetry and the more recent folk song tradition in Irish. One of the most significant of these was Douglas Hyde, later the first President of Ireland, whose Love Songs of Connacht was widely admired. It’s like a mini holiday,” says French. “Crime writers tend to be the most cheerful people you’ll meet,” she says. “I think it’s because whenever they have a dark thought they get it out on paper, so they’re great fun when they come to the pub!” Like the sound of that? Try these… In 2009, poet Muiris Sionóid published a complete translation of William Shakespeare's 154 sonnets into Connacht Irish under the title Rotha Mór an Ghrá ("The Great Wheel of Love"). [30]

There was already an Irish tradition of songs in English. This included English songs, Lowland Scottish songs and ballads which were printed in England and sold in Ireland, such as Lord Baker, Captain Wedderburn’s Courtship and Barbara Allen, together with political ballads of Irish origin. After the Famine and with the loss of Irish speakers, such songs became dominant. [8]Irish poetry is poetry written by poets from Ireland, politically the Republic of Ireland and Northern Ireland today. It is mainly written in Irish, though some is in English, Scottish Gaelic and others in Hiberno-Latin. The complex interplay between the two main traditions, and between both of them and other poetries in English and Scottish Gaelic, has produced a body of work that is both rich in variety and difficult to categorise. [ citation needed] Robert C. Solomon and Kathleen Higgins, eds., The Philosophy of (Erotic) Love (Univ. of Kansas, 1991). The promotion of standard English in education gradually reduced the visibility and influence of such movements. In addition, the polarising effects of the politics of the use of English and Irish language traditions also limited academic and public interest until the studies of John Hewitt from the 1950s onwards. Further impetus was given by more generalised exploration of non-"Irish" and non-"English" cultural identities in the latter decades of the 20th century. All tuition fees quoted relate to a single year of study unless stated otherwise. Tuition fees will be subject to an annual inflationary increase, unless explicitly stated otherwise.