Poets and Dreamers: Studies and translations from the Irish — Context and Discussion

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Gregory, Lady, 1852-1932 Project Gutenberg 2006 Not confirmed
Ireland -- Literary collections; Irish literature -- Translations into English; Irish literature -- History and criticism; Ireland -- In literature Readers of public-domain and historical texts
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Words 71,655
Reading time 312 min
Text sections 9

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Project Gutenberg metadata also associates the work with “Ireland -- Literary collections,” connecting these edition facts with the source record’s subject description.

Lady Gregory's collection of translations and studies from Irish oral tradition, centered on the blind poet Raftery, workhouse storytelling, and the visionary tales of the rural poor in the west of Ireland.
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Daly was hung, and with the strength of the Gall.

'If I were a clerk--kind, light, cheerful with the pen--it is I would write your ways in clear Irish on a flag above your head. A thousand and eight hundred and sixteen, and four put to that, from the coming of the Son of God, to the death of Daly at the Castle of Seefin.'

I have heard, and have also seen in manuscript, a terrible list of curses that he hurled at the head of another poet, Seaghan Burke. But these were, I think, looked on as a mere professional display, and do not seem to have any ill effect.

Here are some of them:--

'That God may perish you on the mountain-side, without a priest, bishop, or clerk. Seven years may you be senseless and without wit, going from door to door as an unfortunate creature.

'May you have a mouth that will go back to your ear, and may your lips be turned back like gums; that your legs may lose feeling from the knee down, your eyes lose their sight, and your hands lose their strength.

'Deformity and lameness and corruption upon you; flight and defeat and the hatred of your kin. That shivering fever may stretch you nine times, and that particularly at the time of Easter ('because,' it is explained, 'it was at Easter time our Lord was put to death, and it is the time He can best hear the curses of the poor').

'May a sore heart and cold flesh be upon you; may there be no marrow or moisture in your bones. That clay may never be put over your coffin-boards, but wind and a sharp blast on you from the north.

'Baldness and nakedness come upon you, judgment from above, and the curses of the crowd. May dragon's gall and poison mixed through it be your best drink at the hour of death.'

Sometimes he left a scathing verse on a place where he was not well treated, as: 'Oranmore without merriment. A little town in scarce fields--a broken little town, with its back to the water, and with women that have no understanding.'

He did not spare persons any more than places, especially if they were well-to-do, for his gentleness was for the poor. An old woman who remembers him says: 'He didn't care much about big houses. Just if they were people he liked, and that he was friendly with them, he would be kind enough to go in and see them.' A Mr. Burke, who met him going from his house, asked how he had fared, and he said in a scornful verse:--

'Potatoes that were softer than the fog, And with neither butter nor meat, And milk that was sourer than apples in harvest-- That's what Raftery got from Burke of Kilfinn.'

'And Mr. Burke begged him to rhyme no more, but to come back, and he would be well taken care of.' I am told of another house he abused and that is now deserted: 'Frenchforth of the soot, that was wedded to the smoke, that is all that remains of the property.... There were some of them on mules, and some of them unruly, and the biggest of them were smaller than asses, and the master cracking them with a stick;' 'but he went no further than that, because he remembered the good treatment used to be there in former times, and he wouldn't have said that much if it wasn't for the servants that vexed him.' A satire, that is remembered in Aran, was made with the better intention of helping a barefooted girl, who had been kept waiting a long time for a pair of shoes she had ordered. Raftery came, and sat down before the shoemaker's house, and began:--

'A young little girl without sense, the ground tearing her feet, is not satisfied yet by the lying Peter Glynn. Peter Glynn, the liar, in his little house by the side of the road, is without the strength in his arms to slip together a pair of brogues.'

The book opens not with a poem but with an argument. Two old women in a Gort workhouse ward dispute the merits of rival poets Raftery and Callinan, one praising Raftery's skill despite his blindness, the other insisting Callinan was 'a nice man and a nice neighbour.' A bedridden woman settles the debate by singing Raftery's 'Bridget Vesach' as long as her breath lasts. This scene sets the pattern for Lady Gregory's method: she records living voices, preserving the texture of oral debate and the social context of Irish-language poetry.

Workhouse as Archive

Gregory repeatedly situates her collecting in the workhouse, a setting that shapes both the material and its tone. She describes 'three happy afternoons in a workhouse in my own county' where old men in 'rough frieze clothes and round grey caps' gather in a gravelled yard. The contrast between their poverty and the splendour of their tales moves her: 'These men who had failed in life, and were old and withered, or sickly, or crippled, had not laid up dreams of good houses and fields.' Instead, they tell of 'swans that turn into kings' daughters' and 'journeys to the other world.' The workhouse becomes a kind of archive, its inmates the custodians of a visionary tradition.

Raftery's Voice and the Rival Poets

The first section, 'Raftery,' introduces the blind poet through multiple testimonies. One old woman recalls how 'he could serve himself with his knife and fork as well as any man with his sight,' cutting meat 'across, like this.' Another admits Raftery 'would run people down; he was someway bitter.' The rival Callinan, by contrast, 'would never put anything that wasn't nice into a poem' and once made 'a song of fifteen verses' about his wife's lost beetle. These conflicting portraits reveal a living tradition of judgment and memory, where poetic merit is debated with the same vigour as the tales themselves.

Stories within Stories

Gregory's translations often embed nested narratives. In one tale, a farmer picks up a skull in a churchyard; the skull speaks, proposing an exchange of overnight visits. The farmer consults a priest, who refuses to believe until the skull appears at dinner and eats everything on the table. The story proceeds through a series of tests and returns, its structure echoing the folk motif of the grateful dead. Gregory notes that even imported plots like 'The Taming of the Shrew' have 'taken an Irish colouring.' Her method preserves the digressive, oral quality—'long, rambling stories'—that marks the tradition.

Vision and the Poor

A recurring observation links poverty to visionary capacity. Gregory writes: 'It is from a deep narrow well the stars can be seen at noonday; it was one left on a bare rocky island who saw the pearl gates and the golden streets.' She suggests that material deprivation frees the imagination for 'quite visionary things.' This idea structures the collection's movement from the workhouse yard to the 'kingdom of the Sidhe' and the 'hunting after deer that were as joyful as the leaves of a tree in summer time.' The poor, she implies, are the natural poets and dreamers.

Readers should attend to the framing scenes as much as the translated verses. Gregory's introductions and asides—the old women arguing, the men in the yard, the bedridden singer—are not prefaces but part of the record. The book is as much about the conditions under which stories survive as about the stories themselves. Listen for the voices that interrupt, correct, and sing.

There are books that stay like a voice from another room—Lady Gregory’s collection hums with that quiet ache, the way blind Raftery’s songs carried whole worlds in their loss. It made me think of how The Spirit of the Age; Or, Contemporary Portraits — Context and Discussion also captures people mid-breath, caught between memory and becoming. I kept returning to that feeling long after closing the page. It lingers gently, the way good company does.

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