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Yael Sela. Journal for Eighteenth-Century Studies Renaissance Quarterly Eighteenth-Century Music 8. Ads help cover our server costs. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Before I enumerate the categories into which, I believe, all the poets on my list can be organized, I'll explain the theoretical concerns that will order my approaches to these categories. The first theoretical concern, broadly conceived, is represented by the dyad structure and epistemology. By beginning with structure, I intend to demonstrate how an intimate knowledge of the intrinsic forms of a work of art contribute to and indeed govern the work's modes of meaning.

To say this is not to reduce or oversimplify the concerns that a poet's sense of intrinsic form engages: the form of the content always relates to the epistemological concerns of the writer. In choosing the word "epistemology," I indicate the period's interest in its own new and inherited forms of knowledge, specifically religious, scientific, and classical. The second theoretical concern meets the first on many levels. Politics and genre the two terms that best represent this next concern are historically entwined in every period, but especially so in a period in which the education of the young depends so heavily upon the study of rhetoric.

Journal of Seventeenth-Century Music

That is to say, in literature, genre is a code communicative of many complex operations of the poet's mind, not the least of which is the possibility for political engagement. From epigram to epic, the poetry of seventeenth century England is majestically topical, although staunchly resistant to exclusively topical interpretation. But poems, it must be said, do not undertake anything poets do. Indeed, the poets who communicate by means of genres have intentions, and these intentions are historical events, just as the occasions for which they are written are historical events.

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Hence, my third theoretical concern is with authorship and gender. This dyad marks the point where history becomes theory and theory history.

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More specifically, the period saw a great increase in the number of poets writing, poets from a wider range of classes and inclusive of both genders. Of O'Reilly no particulars have come down, save the imaginings of Bunting. However, the brothers Connellan Thomas and Laurence were famed not only in Ireland, but also in Scotland.

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Thomas O'Connellan was born at Cloonymahon, County Sligo, about the year , and spent twenty years in Scotland —famous alike as a bard and a harper. He returned to Ireland at the close of the year , and died in , at Bourchier's Castle, near Lough Gur, County Limerick, being at the time an honoured guest at the house of Mr.

Bayley, agent to the Earl of Bath. His remains were reverently interred in the adjoining church-yard of Temple Nuadh, and over his grave a few pipers appropriately played, by way of funeral dirge, the introductory and concluding phrases which Connellan had added to "The Irish Tune," the version being known as "The Breach of Aughrim. From this period must be dated the once popular air, " Maggie Laidir ," to which new words were adapted by John O'Neachtan about the year Hardiman writes:—.

When our Scottish kinsmen were detected appropriating the ancient saints of Ireland, they took a fancy to its music.

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  6. Not satisfied with borrowing the art, they despoiled us of some of our sweetest airs, and amongst others, that of 'Maggie Laidir. One thing is certain, that John O'Neachtan, about the year , wrote the original Irish song of "Maggie Laidir," of which Hardiman, in , published a version from a transcript made in However, Hardiman merely relied on tradition for the Irish origin of the air to which the song was set, and could give no proof.

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    Fortunately I have succeeded in tracing the tune as far back as the year , when it was sung by the Anglo-Irish actor, Thomas Dogget, in his comedy of "A Country Wake," and again by him, in the variant of the same play, under the title of "Hob, or the Country Wake," at Drury-lane, in Clarke, who makes it execute lute, viol, and all the harmony an instrument is capable of. Pity it is that it is not more in use ; but, indeed, to play well takes up the whole mart, as Mr. Apropos of Irish harps, there is still preserved a fine specimen known as the "Fitzgerald Harp," or the "Kildare Harp," inscribed "R.

    An excellent drawing of the latter appeared in the Dublin Penny Journal in , and it was stated as being then in the possession of James Lanigan, Esq. He was a member of the Confederates from to , and was attainted in person and property under Cromwell, but got back a small portion of his ancestral lands in It was designed by MacSithduill, made by Cathal, bound and emblazoned by Bennglan, and decorated with gold by Parthalon mor MacCathail.