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By Edwina Keown, Carol Taaffe

This is often the 1st interdisciplinary quantity to provide a sustained exam of the emergence, reception and legacy of modernism in eire. enticing with the continuing re-examination of nearby and nationwide modernisms, the essays accumulated right here display either the significance of modernism to eire, and that of eire to modernism. primary matters of the booklet comprise definitions of and important contexts for an Irish modernism, problems with creation, reception and undefined, new dialogues among literature and the visible arts in eire, modernism and Catholicism, and Irish modernism’s courting with ecu and Anglo-American modernism. With contributions from tested and rising students in either Irish experiences and Modernist reports, this assortment introduces clean views on sleek Irish tradition that mirror new understandings of the contradictory and contested nature of modernism itself.

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27 24 Stephen J. Brown, Ireland in Fiction: A Guide to Irish Novels, Tales, Romances and Folk-lore (Dublin: Maunsel, 1919), 204. 25 Ibid. , 149. Many will be familiar with Brown’s cutting assessment of Joyce’s Dubliners: ‘His characters seem to interest the author in so far as they are wrecks or failures in one way or another. He writes as one who knows his subject well’; Ibid. , 284. 44 Jim Shanahan The reaction of a critic such as Brown allows us to get some sense of the way we can link Mathew to a writer such as George Moore and see them both as forerunners of Stephens and Joyce.

Lawrence and others voiced their rejection of militarism, their suspicion of the ‘red herring’ of nationalism, as Pound said. E. Hulme and Gaudier-Brzeska were killed. Those who resisted the drift to war usually did so because their internationalist ethos led to a double critique of Romanticism and modernity. But the war also forestalled something. On the whole, one might say that the writers I have focused on define a moment of hesitation facing modernism: Tagore is praised for qualities that are more generic than specific to his writing, whereas Yeats and Pound are two unlikely revolutionaries, with their irrepressible admiration for enlightened princes and their cult of stately order.

28 This calls up Nietzsche’s famous parable of the three metamorphoses in Thus Spake Zarathustra. 29 Tagore meant to suggest that we do not only desire freedom but also hanker after servitude. Like Joyce’s Stephen Dedalus, he is aware that it is in his mind that he has to free himself of the slavery imposed by priests and kings. The hawker is the poet who is tired of a freedom that he finds too difficult to bear, and he recovers it only when disinterested love and childish play merge; then the dual burden of the self and of the works is lifted.

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