Was Caithréim Thoirdhealbhaigh written at Clare Abbey in the mid-fourteenth century? (original) (raw)
'Cogad Gáedel re Gallaib and the Annals: A Comparison', Ériu 47 (1996), pp. 101-26
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2014
This thesis considers the role and presentation of Cú Chulainn in a broad range of texts belonging to the Ulster Cycle. Chapter I offers a general introduction to the thesis. Relevant scholarly theories to date are presented along with an outline of the methodological approaches underpinning this study. The scope of the research in the form of a database of tales is detailed in Chapter II. The textual history of this material is also found therein. This is intended as a quick reference chapter. Chapter III considers the key area of Cú Chulainn's heroic biography. This encompasses a study of his depiction in a number of tales including Táin Bó Cúailnge. In a bid to provide a well-rounded evaluation of the hero, a number of key thematic elements are addressed in the remaining chapters. Understandably, considerable emphasis is placed upon his function as a warrior. Chapter IV looks at his martial prowess, his ríastrad, his weaponry and his special skills or cleasa. Warrior codes and honour are discussed in Chapter V. Chapter VI moves away from the domain of warfare to examine his physical presentation and his appeal to the opposite sex. His offspring are also considered therein. Cú Chulainn's parentage and his connection to his homeland, Mag Muirthemne, are appraised in Chapter VII along with an evaluation of his presentation as a saviour-type figure. Finally, Chapter VIII draws together the general research findings with concluding remarks about Cú Chulainn's role within these sagas. Chapter I: General Introduction I.1. Ulster Cycle material The Ulster-Cycle material is the platform upon which Cú Chulainn is presented. This body of literature consists of about eighty sagas, poems and shorter texts and its central concern is the warfare-related activities of the prehistoric inhabitants of Ulster (Ó hUiginn, 1992, 29). 1 Most of the tales are set in Ulster and Connacht with Emain Machae being presented as the royal centre of the Ulstermen. It is the most significant literary collection of this period with the epic Táin Bó Cúailnge (TBC) being its centrepiece owing to its length and the number of tales, referred to as remscéla, that are either dependant on or derivative from it. Material from the Ulster Cycle, like Verba Scáthaige and Conailla Medb Míchura, are amongst our earliest surviving written pieces with a tentative date of the seventh century being proposed for both of these texts. Mac Cana's (1975, 103-4) assertion that the following two centuries were particularly productive is largely true. The writing down of many primary texts, including key Ulster-Cycle tales
The origins of Clann Chruitín: chronicler-poets of the learned Gaelic tradition
The Other Clare, vol. 38, pp 19-30, 2014
Clann Chruitín were among the most notable learned kindreds in Co. Clare in the late medieval period. They featured among the aos dána, the Gaelic learned class who specialised in, as the annals assert, ‘senchas agus le seinm’. Holding hereditary lands in west Co. Clare on the margins of the Atlantic coast, they attained the status of ollamhnacht in history (seanchas) and music (seinm) from the fourteenth century. Remarkably, learned members of Clann Chuitín continued to be associated with literary activity of he native tradition until the mid-nineteenth century when Séamas Mac Cruitín, self-described as ‘the last relic of the hereditary bards of Thomond’, died.
Texts and Transmissions of the Scúap Chrábaid: An Old-Irish Litany in its Manuscript Context
The Scúap Chrábaid, or "Broom of Devotion," is the name of an Old-Irish litany, traditionally ascribed to Colcu Ua Duinechda (died c. 795), a learned scholar of the midland monastery of Clonmacnoise. This paper provides a comprehensive survey of the complex manuscript transmission and publication history of this litany in an attempt to determine precisely which text, or series of texts, should be identified as the Scúap Chrábaid. It critiques the existing editions of the text and explains their relationship to the surviving manuscript copies. The paper concludes by drawing on the context of the litany's manuscript transmission to suggest an explanation for its rather eccentric name: the Broom of Devotion.
A fourteenth-century poem on the Meic Conmara lords of Clann Chuiléin
Studia Hibernica (no. 40), 2014
Amongst the collection of bardic poetry from the medieval period there are several compositions dedicated to the Meic Conmara lords of Clann Chuiléin, who were the leading dynastic lineage in east Co. Clare and whose territory encompassed the baronies of Bunratty and Tulla. They were composed by members of the Uí Mhaoilchonaire, Uí Mhóirín, Meic an Bhaird and Meic Craith (Clann Chraith) learned lineages. The latter family were an important medieval dynasty of learned men and churchmen in Thomond and elsewhere in Munster. A fourteenth-century poet of that family and his composition, Coin airdfhiadhaigh Clann Choiléin, which eulogizes the Meic Conmara, form the chief subject matter of this paper.
Cath Ruis na Ríg for Bóinn: history and literature in twelfth-century Ireland
This paper discusses the tale Cath Ruis na Ríg for Bóinn, a sequel to the early Irish epic Táin Bó Cúailgne, in light of the historical context of the period when it was written (the second half of the twelfth century). It argues that its author drew on contemporary historical events and developments as models for episodes in the plot of his story. Specifically, his depiction of Irish kings importing foreign mercenaries from the Hebrides and struggling for influence over the midland province of Mide resonates with distinctly twelfth-century historical phenomena. As a result, although it is set in the heroic past, the images of kingship and of inter-provincial politics depicted in Cath Ruis na Ríg were shaped by the twelfth-century struggle for dominance amongst the various contenders for the high-kingship of Ireland. The paper tentatively suggests that the text might have been written as a commentary on the period of conflict between Muirchertach Mac Lochlainn, king of Cenél Eógain, and Tairdelbach Úa Conchobair, king of Connacht, during the early 1150s.
Clare Abbey, Clann Chraith and the coarb of St Breacán
Studia Hibernica, 2023
A poem on the life of St Breacán sheds light on the use of literary devices to advance proprietorial interests in the late medieval diocese of Killaloe. The poem enumerates land grants and dues that, taken together, represent a charter of rights owed to the saint and his coarb (comharba). Previous analysis of the poem indicates that it was produced at Clare Abbey under the auspices of Clann Chraith (the McGrath lineage), who were the hereditary abbots during the 15th century. An assessment of the available evidence not only adds weight to this proposal but also reveals the probable impetus behind the poem: a need to bolster allegiances and revenues owed to Clare Abbey by neighbouring ecclesiastical sites in the face of waning influence. A comparative analysis of a poem on the rights of St Molaise of Devenish, Co. Fermanagh, will show that the use of hagiographic poetry as a tool of policy was not unique to Thomond and was in use in other late medieval Gaelic Irish lordships. 1
Tromdámh Guaire and Obscuritas in late-medieval Irish bardic poetry
2017
The later-medieval Irish-language prose text Tromdámh Guaire ('Guaire's burdensome company') arguably provides us with some oblique commentary on the twelfth-century emergence and subsequent dominance of 'bardic' poetry 1 . The proposed dating for Tromdámh Guaire of post-1300 situates its composition during the Gaelic Irish fourteenthand fifteenth-century literary revival 2 . The text offers negative comment on the 'bardic order' and their output and, as will be shown here, a particular critique of intentional obscurity of language and metaphor which may reflect contemporaneous European debates on those topics. It will also be shown, however, that obscure registers for poetry, and commentary thereon were a feature of early-medieval Irish literature and therefore also inform the text. The first episode of Tromdámh Guaire centres on interaction between the blind chief-poet of Ireland Dallán Forgaill and a seemingly fictional king, Aodh mac Duach Dhuibh, of the northern Irish kingdom of Airghialla (later anglicised as 'Oriel') 3 . Dallán was an early medieval poet (sixth/seventh century) to whom is attributed the 'Amra Choluim Chille' ('The Elegy of Saint Columba') composed, it is thought, shortly after the death of Saint Columba of Iona (597) 4 . As a character in later Irish fictional and pseudo-historical narrative he was represented as 'a conservative guardian of a faded literary tradition and its élite' 5 . In this first episode the poet is persuaded by a rival king to go to Aodh and 1 O. CONNELLAN (ed. and tr.), Imtheacht na Tromdhaimhe, or, The Proceedings of the Great Bardic Institution, Dublin, John O' Daly, 1860, (Transactions of the Ossianic Society 5). For a more recent edition see M. JOYNT (ed.), Tromdámh Guaire, Dublin, The Stationery Office, 1941. For a recent English translation see P. K. FORD, The Celtic Poets, Boston, Ford and Bailie, 1999, p. 77-111. All excerpts from the text in this chapter are taken from JOYNT and the English translation (slightly adapted and expanded in places) is from FORD. 2 For the dating of the text see: S.
Seoda scripte: a glimpse into Ireland's manuscript heritage
2018
Ceann de na príomhthréithe atá le sonrú i dtraidisiún scripte na Gaeilge is ea a oiread san bailiúchán filíochta agus próis a chuir scríobhaithe san ochtú agus sa naoú céad déag le chéile. Bolg an tSoláthair a bhíodh mar ghnáththeideal acu orthu seo. Cuimsíonn éirim agus ilghnéitheacht na mbailiúchán aonair ábhar ó aon cheann de na catagóirí seo a leanas: ginealaigh; gramadach agus foclóireacht; an leigheas; filíocht agus amhráin; cráifeacht; scéalta agus ságaí. Más téacsanna ó fhoinsí meánaoiseacha cuid mhaith acu seo ó bhunús, is gnáthach go mbíodh na scríobhaithe ag feidhmiú mar eagarthóirí seachas mar chóipeálaithe agus gur eascair, dá réir, saothar nua ar fad as a gcur chuige solúbtha i leith a gcuid oibre. Ón uair gur mhachnaigh siad go comhfhiosach, leis, ar an gcomhthéacs as ar fáisceadh iad, bhí sé ar a gcumas idir théacsanna comhaimseartha agus chóipeanna ó fhoinsí clóite a sholáthar. Tá céad éigin lámhscríbhinn ar coimeád inniu sna Bailiúcháin Speisialta. Seachas Leabhar na nGenealach leis An Dubhaltach Mac Fhirbhisigh, scríbhinn ó láimh an údair féin ón seachtú céad déag, agus cóip de Foras Feasa ar Éirinn ar bhreac Uilliam Ó Loingsigh cuid di i mbliain a 1698, baineann na lámhscríbhinní seo go léir leis an tréimhse ón ochtú haois déag go dtí an fichiú haois. Is féidir iad a roinnt i gcúig bhailiúchán ar leith, mar atá: Lámhscríbhinní an Fheiritéaraigh; Lámhscríbhinní Uí Mhuirgheasa; Lámhscríbhinní Uí Chomhraí; Lámhscríbhinní Uí Lochlainn; Lámhscríbhinní Breise. Ina n-iomláine, fianaise ina slí féin is ea na seoda seo ar fad ar a fhaid a mhair traidisiún scripte sa Ghaeilge, traidisiún a lean isteach go maith sa bhfichiú haois. Cuid láir den traidisiún céanna seo is ea an cló gaelach féin. Seoda Scripte A GLIMPSE INTO IRELAND'S MANUSCRIPT HERITAGE A particular feature of the Irish scribal tradition is the numerous collections of poetry and prose produced by scribes in the eighteenth and nineteenth centuries which they generally referred to as Bolg an tSoláthair ('Miscellany'). The scope and diversity of these collections could comprise material from any of the following categories: genealogical; grammatical and lexicographical; historiographical; medical; poetry and songs; religious; tales and sagas. While a large number of texts derive from earlier medieval sources, scribes generally functioned more like editors than copyists whose flexible approach could result in a fresh work. They were also conscious of their own time and included texts contemporaneous in nature as well as producing transcripts of material from printed sources. Over a hundred Irish manuscripts are preserved today in Special Collections. Apart from An Dubhaltach Mac Fhirbhisigh's seventeenth-century autograph manuscript, Leabhar na nGenealach, and a transcript of Séathrún Céitinn's history of Ireland, Foras Feasa ar Éirinn, some of which Uilliam Ó Loingsigh made in 1698, the manuscripts forming part of this collection all belong to the eighteenth, nineteenth and twentieth centuries. They may be divided into five individual collections as follows: the Ferriter Manuscripts, formerly the possession of Patrick Ferriter (1856-1924), scribe; the Morris Manuscripts, formerly the possession of Henry Morris (1874-1945), folklorist and Irish-language revivalist; the O'Curry Manuscripts, formerly the possession of Eugene O'Curry (1794-1862), Professor of History and Irish Archaeology in the Catholic University of Ireland (later University College Dublin); the Ó Lochlainn Manuscripts, formerly the possession of Colm Ó Lochlainn (1892-1972), printer and publisher; Additional Manuscripts. Taken in their entirety, these manuscripts bear witness in their own way to the tenacity of a script tradition in the Irish language that continued well into the twentieth century. A central element of that tradition was the Gaelic script itself.
The battle of Clontarf story and Gortnaclea
2014
The Story One of the most popular texts among eighteenth-and nineteenth-century scribes in Ireland is a literary re-enactment of the historical battle at Clontarf in 1014 called Cath Cluana Tarbh (hereafter CCT). 1 To its eighty-nine extant manuscript sources described in my recent edition of the text, 2 one more is now to be added which came to light in 2012 and was subsequently purchased by the Royal Irish Academy where it is now preserved as MS 12 K 50. There are two principal reasons for the popularity of CCT: firstly, at the heart of its message is the fact that the battle itself amounted to Brian Bóraimhe's victory over centuries of Viking heathen oppression in Ireland; secondly, rather than being a record of events, the historical battle at Clontarf in 1014 is presented as a story in which 'heroes shine and villains play their sinister parts and dramatic incidents are invented or exaggerated for the benefit of the reading public'. 3 These two reasons are not exceptional in the case of CCT, of course, as the same holds true for the earliest literary account we have in Irish concerning the battle of Clontarf, namely that in the early-twelfth century Irish text known as Cogadh Gáedhel re Gallaibh (hereafter CGG) or the 'War of the Gaels against [lit. 'with'] the Foreigners'. 4 While many of the plot details in CCT ultimately derive from CGG, there are two further reasons why the tale should feature so much in eighteenth-and ninteethcentury manuscripts. In the first instance, given that most of these manuscripts are of Munster provenance, it is hardly surprising that a battle of Clontarf story which presents Brian Bóraimhe and the O'Briens of Munster as heroes par excellence would find favour with scribes from that province in particular. Secondly, the transmission of CCT was clearly influenced by Foras Feasa ar Éirinn, a history of Ireland first compiled in the 1630s by Geoffrey Keating (Séathrún Céitinn). It was Keating's presentation of Brian Bóraimhe's wife, Gormfhlaith, as instigator of open warfare at Clontarf as well as his characterisation of Maol Seachlainn of Meath as consummate traitor of the O'Briens and, by extension, of Munster, which caught the fertile imagination of the scribes of CCT. 5 Notwithstanding the evidence of scribal creativity in the ninety extant manuscript sources, all of them contain what I have referred to as a core narrative which comprises the following series of events: