Brendan Kennelly
EXPLORING A Cry for Art O’Leary
Professor Declan Kiberd wrote an article about the original version of this poem in The Irish Times in March, 2015. His eloquent introduction is worth repeating here: ‘If ever a woman spoke across the centuries in tones of authentic love, that is Eibhlín Dubh in her lament for her murdered husband Art Ó Laoghaire in 1773. ‘Caoineadh Airt Uí Laoghaire’ is rightly regarded as one of the great elegies of European culture, an amazing combination of tradition and the individual talent – moving through moods of shock, tenderness, nostalgic reverie, personal outrage, vengeance and (in the end) immense dignity.’
The first thing to remember about this poem is that it is a translation. Translating from one language into another is not a straightforward thing. Many of us have smiled at ‘auto-translate’, because a computer program cannot capture the nuances of language (Brian Friel’s play Translations brilliantly explores the cultural challenges of translation). A writer hoping for international success relies heavily on a good translator, someone who will not ‘auto-translate’, but who will use their own creative skill to capture the true sense and meaning. The Irish language is poetic, expressive and beautiful, but it does not always translate well directly into English. For example, the original title of this keen (a funeral song accompanied by wailing in lamentation for the dead) is ‘Caoineadh Airt Uí Laoghaire’. Some would translate this as ‘A Lament for Art O’Leary’, whereas Kennelly prefers ‘A Cry for Art O’Leary’. A cry and a lament are somewhat different. A cry suggests something ancient and primal; you do not need words to cry, it comes from deep within. A lament is very much about using words to articulate your grief. Kennelly omitted parts of the original 390 line poem. For example, in the original, O’Leary’s sister also contributes to the keen. While this was traditional, the change of narrative voice can be distracting. Kennelly focused on Ní Chonaill’s voice instead.
Eibhlín Dubh Ní Chonaill was Art O’Leary’s wife, and she composed this poem after his death. Some of the poem occurs immediately after O’Leary dies, some of it focuses on his burial and the aftermath of his murder. Thanks to Kennelly’s brilliant translation, the passion and pain Ní Chonaill felt at her husband’s loss are very evident. The original poem was composed ‘ex tempore’, which means without any forethought or planning. It was completely improvised, and this makes it all the more astonishing. A poem like this, which comes from an oral tradition like the Odyssey and the Iliad, is passed down from generation to generation, and each generation will add their own twist. Kennelly continued this tradition, by adding his unique style of narration to this poem.
The poem begins with the first meeting of Ní Chonaill and O’Leary. She had been married to a much older man, and was widowed at fifteen. When she first saw O’Leary, it was love at first sight: ‘My love/ The first time I saw you … My eyes covered you/ My heart went out to you’. This is a beautiful and uniquely Irish way of saying she both loved and lusted him. Neither family approved of the union, and it is hard not to be reminded of Romeo and Juliet when she says: ‘I left my friends for you/ Threw away my home for you’. Their great love clearly was not something Ní Chonaill could control:
LEAVING CERTIFICATE HIGHER LEVEL
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