The Midnight Court E-Book

Brian Merriman

• Herausgeber: The O'Brien Press
• Kategorie: Poesie und Drama
• Sprache: Englisch
• Veröffentlichungsjahr: 2014

Beschreibung

Award-winning edition of this outstanding translation of Brian Merriman's eighteenth-century erotic masterpiece. Translated by Frank O'Connor Illustrations by Brian Bourke.

Leseprobe

THE MIDNIGHT COURT

BRIANMERRIMAN

TRANSLATED BY FRANK O’CONNOR

ILLUSTRATED BY BRIAN BOURKE

Contents

Title PagePREFACETHE MIDNIGHT COURTTHE AUTHORTHE TRANSLATORTHE ILLUSTRATORCopyright

PREFACE

This is the original preface written by Frank O’Connor for the 1945 edition. It provides an interesting overview and introduction to the translation, and also engages in literary debate, taking issue with the opinions represented, according to O’Connor, by Daniel Corkery, author of The Hidden Ireland, then professor of English at University College Cork, and former teacher of O’Connor.

ARCHITECTURALLY, the little city of Limerick is one of the pleasantest spots in Ireland. The Georgian town stands at the other side of the river from the mediaeval town which has a castle with drum towers and a cathedral with a Transitional Cistercian core and a fifteenth century shell, all in curling papers of battlements. Across the bridge are the charming Custom House with its arcade cemented up by some genius from the Board of Works; Arthur’s Quay falling into a ruin of tenements, and a fine long street of the purest Georgian which ends in a double crescent. There is no tablet in Clare Street to mark where Bryan Merryman, the author of The Midnight Court died, nor is there ever likely to be, for Limerick has a reputation for piety.

Merryman was born about the middle of the eighteenth century in a part of Ireland which must then have been as barbarous as any in Europe – it isn’t exactly what one would call civilised today. He earned five or ten pounds a year by teaching school in a God-forsaken village called Feakle in the hills above the Shannon, eked it out with a little farming, and somehow or other managed to read and assimilate a great deal of contemporary literature, English and French. Even with compulsory education, the English language, and public libraries you would be hard set to find a young Clareman of Merryman’s class today who knew as much of Lawrence and Gide as he knew of Savage, Swift, Goldsmith and, most of all, Rousseau. How he managed it in an Irish-speaking community is a mystery. He was undoubtedly a man of powerful objective intelligence; his obituary describes him as ‘a teacher of mathematics’ which may explain something; and though his use of ‘Ego vos’ for the marriage service suggests a Catholic upbringing, the religious background of The Midnight Court is Protestant, which may explain more.

He certainly had intellectual independence. In The Midnight Court he imitated contemporary English verse, and it is clear that he had resolved to cut adrift entirely from traditional Gaelic forms. His language – that is its principal glory – is also a complete break with literary Irish. It is the spoken Irish of Clare. The handful of poems at the close of the book may suggest the best that literature before him had achieved – an occasional lyric of quality, but of drama, prose, criticism or narrative poetry there was nothing. Intellectually, Irish literature did not exist. What Merryman aimed at was something that had never even been guessed at in Gaelic Ireland; a perfectly proportioned work of art on a contemporary subject, with every detail subordinated to the central theme. The poem is as classical as the Limerick Custom House; and fortunately, the Board of Works has not been able to get at it.