en Ecosse et en Irlande

Articles tagués “litterature irlandaise

Richard Murphy


Il y a quelques jours disparaissait, à Ceylan, l’une des grandes figures de la poésie irlandaise : Richard Murphy, né en 1927 dans le Comté de Mayo.

Ceux qui aiment  la région de Cleggan, Inishboffin et High Island le connaissent bien car ces lieux auront inspiré et  habité grand nombre de ses écrits. A propos de High Island paru en 1974 :  » In High Island (1974) he wrote more personal poems about everyday life in the west of Ireland in a seascape and landscape – seals mating, storm collection that celebrated petrels, the corncrake, itinerant life, memories of Ceylon. It is also a work of compression in which violent deeds and subjects are reduced to dynamic expression. At the same time he remembered his boyhood years in Ceylon, his sense of cultural strangeness and exclusion there comparable to that of the itinerant boy whom he tries to teach to read. It is a rich book – serious, playful, colourful, sensual, acutely observant and with great linguistic variety and flair » – Poetry Ireland


Le livre The Kick est une autobiographie passionnante parue en juillet 2017 et saluée comme il se doit par John Banville. Elle peut donner envie d’aller plus loin et de découvrir ses poèmes . C’est le récit d’une vie incroyablement riche, un texte empreint d’une profonde humanité et d’une modestie désarmante.

Cork University Press :
 » The Kick is a page-turner, based upon private diaries kept over the long life and disjointed times of the poet Richard Murphy. Born (1927) in the relics of a walled demesne near Kilamine, County Mayo, he was shipped out and back twice to the British Crown Colony of Ceylon, where his father was a colonial administrator. Thereafter he was moved every two years or so to a different boarding school for boys, mostly in England, until he won an Oxford scholarship at 17. There he encountered Ken Tynan (a bit older) and C.S. Lewis in extraordinary circumstances. One life story follows another in a continuous, witty, ironical narrative of surprising events.
Murphy writes, according to Karl Miller, with candour and dignity, for example about personal issues, such as his ambivalent sexuality at a time of legal intolerance. This once led him into a risk of blackmail or prison in London at the age of 22. But dark events are countered by sea-light in this redeeming book.
The fear of death from a German rocket falling on Wellington College in 1944 starts Murphy writing sonnets. He’s aware that he’s not a born poet and until T.S. Eliot accepts his volume Sailing to an Island for publication by Faber in 1963, he does not presume to call himself a poet. Sheep-farming in the Wicklow Hills and reseeding marginal land with deep-rooting herbs with lovely names, such as chicory, burnet, yarrow and wild white clover, take all his attention during his marriage – to the dismay of his wife. Then after his divorce in 1959, meeting Tony White from London on the quay of Inishbofin, Murphy begins another life as the owner of an old Galway hooker, the Ave Maria, which ‘puts Inishbofin on the tourist map’, and revives the art of small boat-building in Bofin.
Murphy writes with affectionate lack of sentiment about the Protestant gentry from which he comes. The literary milieu in London, Dublin and New York are described with serenely devastating honesty. Here too are disturbing memories of discrimination against Irish Travellers, and of extreme violence in Sri Lanka. The Kick is the record of a lifetime’s engagement with the fracturing tensions of personal life and with the more obviously violent legacies of Anglo-Irish history. It demonstrates the qualities that Ted Hughes recognised in Murphy’s verse: ‘It combines a high music with simplicity, force and directness in dealing with the world of action.’ Murphy describes the literary milieus of London, Dublin, and New York and his friendships and encounters with some of the leading postwar writers, including W.H. Auden, Ted Hughes, Sylvia Plath, J.R. Ackerley, Laura Riding, Robert Graves, John McGahern, and Conor Cruise O’Brien.
Richard Murphy (born 1927) is one of Ireland’s most distinguished poets. He is particularly known for poems that draw on the people, the landscape, and the history of the west of Ireland. His Collected Poems (Gallery Press) was published in 2000. Lilliput Press published Murphy’s Poems 1952-2012 with a revised text and appendices in 2013 and The Poetry Book Society gave it a Special Commendation. Murphy’s awards include the Cheltenham Award and the American-Irish Foundation Award. The Kick: A Memoir was shortlisted for the J.R. Ackerley Prize for Autobiography. »
Et pour ceux qui auraient envie de l’écouter :


Le Baladin du monde occidental de John Millington Synge

« La création de The Playboy of the western world de John Millington Synge (1871-1919), le 26 janvier 1907 à l’Abbey Theatre de Dublin est l’acte de naissance tumultueux de la littérature irlandaise moderne. Synge ouvre une brèche dans laquelle vont s’engouffrer des générations d’écrivains, de James Joyce à Samuel Beckett en passant par Sean O’Casey.

Dès la première, Le Baladin provoqua une terrible bataille digne de celle de Hernani. Chaque soir, des spectateurs fanatiques cherchèrent à empêcher la représentation d’un texte jugé diaboliquement immoral. Au-delà du contexte très puritain de l’époque, la violence des réactions suscitées par cette comédie sauvage est à la mesure de l’ambition affichée par Synge de faire entendre sur la scène une langue vivante, c’est à dire un théâtre qui, à l’instar des Grecs ou de Shakespeare, conjugue l’invention d’une parole poétique singulière avec l’appropriation passionnée de l’imagination populaire. Un théâtre archaïque et raffiné dont Le Baladin apparaît aujourd’hui comme le manifeste flamboyant. »

Philippe Macasdar

Mis à part dans le monde du théâtre,  Synge est beaucoup moins connu en France que d’autres auteurs et dramaturges irlandais. Proche de Yeats, il aura pourtant été l’un des principaux acteurs du Celtic Revival, et l’un des cofondateurs de l’Abbey Theatre. Il aura aussi influencé, parmi d’autres, Beckett :  » Dans sa jeunesse, Beckett fut un habitué du Théâtre de l’Abbaye où il admirait tout particulièrement les œuvres de Yeats, Synge et O’Casey. Il y a une similitude frappante entre les personnages des pièces et des romans de Beckett et les vagabonds, les mendiants et les paysans qui peuplent les œuvres de Synge. »

Une biographie intéressante ( cliquer sur la photo)

John Millington Synge – 1871-1909