{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/9p2w37mb6d/manifest","type":"Manifest","label":{"en":["Murphy, Richard, Irish Poet"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["Irish Poet. Iowa State University Lecture Series (RS 8/6/53). Special Collections and University Archives, Iowa State University Library, Ames, Iowa."]}},{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["There are no restrictions on access. (access)","This item is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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For other uses you need to obtain permission from the rights-holder(s)."]}},"provider":[{"id":"https://iastate.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Iowa State University"]},"homepage":[{"id":"https://iastate.aviaryplatform.com/","type":"Text","label":{"en":["Iowa State University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/118/617/small/lecture.png?1624899206","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617","type":"Canvas","label":{"en":["Media File 1 of 1 - AV167947_Irish_Poet_a.mp3"]},"duration":3807.72,"width":640,"height":40,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/118/617/small/lecture.png?1624899206","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/content/1","type":"AnnotationPage","items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-iastate.s3.wasabisys.com/collection_resource_files/resource_files/000/118/617/original/AV167947_Irish_Poet_a.mp3?1624899206","type":"Audio","format":"audio/mpeg","duration":3807.72,"width":640,"height":40},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617","metadata":[]}]}],"annotations":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088","type":"AnnotationPage","label":{"en":["AV167947_Irish_Poet_a.vtt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e These things always frighten me.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=10.23,11.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Is on?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=17.46,18.293"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay. Good evening, ladies and gentlemen","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=21.19,24.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and welcome to our reading and discussions evening.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=24.24,28.723"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I must say that we are indebted to the 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politicians","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=53.87,55.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I think maybe I agree.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=56.47,57.993"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I could read you four pages of 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Lewis and J.A.W. Bennett","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=135.02,138.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and received his bachelors in 1948","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=138.91,141.61"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and followed that up by the masters.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=141.61,144.623"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Then he did all kinds of interesting things,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=145.86,148.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"like being aid to camp, to his father in The Bahamas.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=148.68,152.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Working for the Insurance Company Lloyd's of London","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=152.09,155.227"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(mumbling) poetry for the spectator","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=155.227,157.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the literary times that are re-supplement.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=157.23,160.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He received the AE Memorial Award.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=160.19,163.39"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"AE is George W. 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LP","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=252.0,255.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by Claddagh Records of Dublin","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=255.3,257.78"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and has even appeared in 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Ease! 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Ireland","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=2379.69,2382.31"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/609","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but I have to explain","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=2382.31,2384.66"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/610","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that they're not Romani Gypsies the 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ah!","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=3389.29,3393.86"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/875","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Who kept you?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=3393.86,3395.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617/transcript/30088/annotation/876","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Where have you 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frighten me. Is on? Okay. Good evening, ladies and gentlemen and welcome to our reading and discussions evening. I must say that we are indebted to the committee on lectures for the funding of this performance. And Mr. Murphy is going to read from his work. He will discuss it to a certain extent, but he says, please no questions. Questions are for politicians and I think maybe I agree. I could read you four pages of information but I'm sure you'd rather hear Mr. Murphy. So I'll cut this down to a minimum. I will reveal the terrible secret of his age. He was born the 6th of August in 1927. You can't hear me, James?\r\n\r\n- Louder.\r\n\r\n- Can we? That's not a. Oh, okay . Born in August, 1927 and in County Galway Ireland. Son of Sir William Murphy was one time the mayor of Columbus Ceylon and governor of The Bahamas. So his childhood was spent in Ireland and Ceylon. Sri Lanka they call it now. He was educated at Canterbury Cathedral and King School Canterbury attended Wellington College and then went to Magdalen College Oxford where he studied English language and literature under C.S. Lewis and J.A.W. Bennett and received his bachelors in 1948 and followed that up by the masters. Then he did all kinds of interesting things, like being aid to camp, to his father in The Bahamas. Working for the Insurance Company Lloyd's of London poetry for the spectator and the literary times that are re-supplement. He received the AE Memorial Award. AE is George W. Russell for those who don't recognize that pseudonym for poetry. And he has spent his time in Ireland including working as a night watchman on Salmon River which means scaring away the poachers I suspect. He lived in Crete, directed English School in Attended the Sorbonne for farm sheep in the Wicklow Mountains in Ireland, built his own home out of granite makes us be at a tear in Ireland but he goes to other parts of the country like Iowa City to teach the right way to write poetry. According to the Irish doctrine he has published a number of of books. First in limited editions. Later on a series of books, let's see. Well, I said, I'm not gonna review this whole business. He has at least five published books. He won a prize, the Arts Council of Great Britain Award for his long poem. \"The Battle Of Aughrim\" which was published in 1968 by Faber and Faber and I believe he's going to read some of that to us this evening. It's been broadcast on BBC in the third program it's been broadcast on Irish television it's issue does an LP by Claddagh Records of Dublin and has even appeared in Belgium. And was been presented as a T after a poem in Brussels. He has taught various places has just finished distinct teaching at the writer's workshop in Iowa City. And I'm not going to bother you with any more of this information. You read a lot of it in the paper anyway so I will then present to you, Mr. Richard Murphy.\r\n\r\n- Before I begin, I might say that if there's any problem in hearing, would you move up from the back and come and sit in the front? I don't mind if you want to walk out after about 10 or 15 minutes but there are a lot of empty seats here and it would save me having to raise my voice very loud. I can make myself heard at the back, but it would be, more fun if you were a little bit nearer. When I was watching that Salmon River at night, a long time ago in the early 50s if it rained heavily and of course, you know it always does rain very heavily in West of Ireland. The salmon was safe because there's too much current in the river for the poachers nets. So I have nothing to do that's the kind of job I've always tried to get. They exist in America. That's why there's an Island and on one occasion, my brother was on holiday in the West of Ireland and he invited me to come with him on a trip to an Island on the ocean. He had had a sailing best of a traditional type known as a Picaroon. And he asked me to come with him and he was going to go to Care Island. Care Island was as long way off I knew it'd been there and it was sampled of legends. And I was hoping to get that. And I was working at the time on a poem called \"Voyage To An Island.\" And that was a very deeply mythological poem. I was very heavily influenced at the time by Dylan Thomas. And of course here was a chance to test mythology against some real voyage to an actual Island where we never got to Care Island at all. We got to another Island called Inishbofin. And afterwards I wrote this poem and my mythological poem had been called \"Voyage \"To An Island.\" This poem is called \"Sailing To An Island.\" The boom above my knees lifts and the boat drops and the surge departs, departs my cheek kissed and rejected kissed as the gaff sways a tangent cuts the infinite sky to red maps and the mast draws eight and eight across measureless blue, the boatmen sing or sleep. We point all day for our chosen Island Claire with its crags purple by legend there under castles the hot O'Malleys daughters of Granuaile the pirate queen who boarded a Turk with a blunderbuss comb red hair and assemble cattle. Across the shelved Atlantic groundswell plumbed by the sun's kingfisher rod, we sail to locate in sea, earth and stone. The myth of a shrewd and brutal swordswoman who piously endowed, an abbey. Seven hours we try against wind and tide, tack and return making no headway. The North wind sticks like a gag in our teeth. Encased in a mirage, steam on the water loosely we coast where hideous rocks jag, an acropolis of cormorants, an extinct volcano where spiders spin, a purgatory guarded by hags and bristled with breakers. The breeze as we plunged slowly stiffens, there are hills of sea between us and land between our hopes and the island harbor, a child vomits. The boat, veers and bucks but there is no refuge on the Gannet's Cliff. We are far, far out the hull is rotten. the spars are splitting. The rigging is frayed and our helmsmen laughs uncautiously. What of those who must earn their living on the rebald face of a mad mistress? We in holiday fashion know this is the boat that belched its crew dead on the shingle in the Cleggan Disaster. Now she dips and the sail hits the water. She luffs to a squall is struck and shudders. Someone is shouting the boom, weak as scissors has snapped. The boatman is praying. Orders thunder and canvas cannodades. She smothers in spray. We still have a mast. The oar makes a boom. I am told to cut cords out of fishing lines, fasten the jib ropes lash my cheeks. Ease! Ease at last, she wings to Leeward. We can safely run. Washed over rails our Clare Island dreams, with storm behind us we straddle the wakeful waters that draw us headfast to Inishbofin. The bows rock as she overtakes the surge. We neither sleep nor sing nor talk, but look to the land where the men are mowing. What will the Islanders think of our folly? The whisperings spontaneous reception committee, nods and smokes by the calm jetty. Am I jealous of these courteous fishermen who hand us ashore for knowing the sea intimately for respecting the storm that took nine of their men on one bad night and five from Rossadillisk in this very boat? Their harbor is sheltered. They are slow to tell the story again. There is local pride in their home-built ships. We are advised to return next day, by the mail. But tonight we stay drinking with people happy in the monotony of boats. Bringing the catch to the Cleggan Market cultivating fields or retiring from America with enough to soak till morning or old age. The bench below my knees lifts and the floor drops and the words depart, depart with face is blurred by the smoke. An old man grips my arm. His shot eyes twitch quietly dissatisfied. He has lost his watch and American gold from Boston Gasworks. He treats the company to the secretive surge the sea of his sadness. I slip outside fall among stones and nettles, crackling, dry twigs on an elder tree while an accordion drones above the hill. Later, I reach a room where the moon stares cobwebbed through the window. The tide has ebbed. Boats are careened in the harbor. Here is a bed. I was myself living on a boat of the kinds known as a Galway Hooker in nine years after that poem was written on the Island of Inishbofin. When I received a visit from the great American poet, Theodore Roethke, and he came to the Island and lived there for about a month, fell in love with the place and with the people and with the birds and with the bar. And he became a good friend of mine. And when under very sad circumstances he had to leave because he was suffering. As his wife said for manic depression. As my father put it from drinking too much whiskey he had to go to our County Mental Hospital for treatment. I later wrote this poem as attributed to Theodore Roethke. It's called \"The Poet On The Island.\" And in it, I refer to the greenhouses and he was brought up in Saginaw in Michigan, where his father was a florist. And they had a lot of greenhouses in the greenhouses feature in some of Roethke's best poems. And also I allude to his Prussian Ancestry. There is, by the way, I'm on my way home to the West of Ireland to attend the first festival of the arts on the Island of Inishbofin at which Roethke's widow is going to unveil a plaque to his memory and is used very appropriately and significantly located in the bar on the Island. And that festival would be from April the 22nd to the 29th on the Island of Inishbofin off the West coast of Ireland right out in the Atlantic Ocean. On a wet night laden with books for luggage and stumbling under the burden of himself he reached the pier, looking for a refuge. Darkly he crossed to the Island six miles off the engine pulsed, the sails invented rhythm. While the sea expanded and the rain drummed softly. Safety on water he rocked with a new theme and in the warmth of his mind's greenhouse bloomed a poem natured like a chrysanthemum his forehead a Prussian helmet, moody, doomed, relaxed in the sun. A lyric was his lance to be loved by the people he, a stranger hummed in the herring-store on Sunday crammed with drunks, ballads of bawdry with a speakeasy stress yet lonely they left him, \"one of the yanks.\" The children understood this was not madness. How many orphans had he fathered in words, robust and cunning, but never heartless. He watched the harbor scouted by sea-birds. His fate was like fish under poetry's beaks. Words began weirdly to take off inwards. Time that they calendar in seasons not in clocks in gardens dug over and houses roofed was to him, a see-saw of joys and shocks where his body withered, but his style improved. A storm shot up his glass cracked in a gale an abstract thunder of darkness defeaned the listeners he'd once given roses now hail. He'd burst the lyric barrier logic ended doctors were called and he agreed to sail. I was born in a very old house, about 50 miles inland from that the Island of Inishbofin a house that had been built in the 17th century a big house surrounded by a large domain. And one of those houses that had been associated with the Anglo-Irish protestant ascendancy at Rhode Island for hundreds of years, and about whom, of course against whom all the order of the Fenians was raised. This was the house in which I was born. And this poem, \"The Woman Of The House\" is about my grandmother. And if you like to look on it as such you can think of it as a portrait of a good person and a possibly not so good situation. It's in memory of my grandmother, Lucy Mary Ormsby whose home is in the West of Ireland and who lived from 1873 to 1958. And the poem was written shortly after her death. On a patrician evening in Ireland, I was born in the guestroom. She delivered me. May I deliver her from the cold hand where now she lies with a brief elegy. It was her house where we spent holidays with candles to bed and ghostly stories in the Lake of her heart. We were islands where the wild asses galloped in the wind, our mind was a vague and log wound yarn, spun between sleep and acts of kindliness. She fed our feelings as dew feeds the grass on April nights and our mornings were green. And those happy days, when, in spite of rain, we'd moved to West where the salmon boats tossed. She would sketch on the pier among the parts waves in a sunset or the rising moon. porridge and brown soda bread, boiled eggs and butter milk honey from goss far more than we wanted she always offered in a hot surfeit. She had little herself, mistress of mossy acres and unpaid rent. She crossed the walls on foot to feed the sick though frugal cousins frowned on all she spent. People had faith in her healing talent. She bandaged the wounds that poverty caused in the house that famine labor is built, gave her hands to cure impossible wrong in a useless way and was loved for it. Hers were the fruits of a family tree, a China clock the churches calendar Godness polite governances. Plenty and incomes waiting to be married for how the fact is fun would flicker her face reading our future by cards at the fire. Rings and elopements love letters, old lace a signature of jokes to seal our desire it was sad about mod poor mod she'd side to think of the the butler starved to death, no service either by padri or priest. ranged in the residency. They kept my uncle alive on port which saved him to slaughter a few sea poise and retired to go away in search of sport. The pistol that lost an ancestor's duel, the hoof of the horse that carried him home to be stretched on chairs in the drawing room, hung by the Rangoon prints and the Crimean metal lever and lover. Some of Elon Ross have fed the same worm as blackstone and given the middle due has spotted Clarissa spine and soiled the dispatchers of Wellington beside her bed lay an old Bible that her Colonel rector husband used to read and a new writers and artists yearbook to bring a never printed go hood back. The undeveloped thoughts died in her head but from her heart through the people she loved, images spread and intuitions lived more than the mere sense of what she send. At last. Her warmth made ashes of the trees, ancestors planted and she was removed to hospital to die there, certified her house, not her kindness as found as compulsory comforts, penned her limping soul with all she , they smiled and agreed when she summoned the chauffeur new one appeared but a chrome hearse was ready for nightfall order the car for nine o'clock tonight. I must get back, get back. They're expecting me. I bring the spice beef and the nuts and fruits come home. And I brew you lime flat tea. The house in flames, nothing is insured send for the doctor. The horses go, the dogs are barking again has the cow the night? What is that great singed bird? I don't know who you are, but you've kind eyes. My children are abroad and I'm alone. They left me in this jail. You won't tell knives. You're not my people. My people have gone. Now. She spent everything that golden waste is washed away. Silent hearts hammer. The Jordan oversees no longer need her. They are like after grass to her harvest. People she alarmed were those who worked the land from the land satisfied more than wisdom. They've gone a tractor plows where horses strained. Sometimes sheep occupy their roof this room through our inheritance all things have come the from, the means all by our family the good of being alive was given through them. We ourselves limit that legacy. The bards in their beds once beat out ballads under leaky tach, listening to seabirds. But she in the long ascendancy of rain served biscuits on a tray with ginger wine. Time can never relax like this again. She in her phaeton looking for folklore. He writing sermons in the library till lunch then fishing all the afternoon on a wet winter evening in Ireland. I let go her hand and we buried her in the family earth beside her husband only to think of her, now warms my mind. Six weeks after I was born in that house, of my grandmother's in the West of Ireland, I was taken out to Ceylon and I'm afraid I'm not going to call it Sri Lanka because in those days when I never heard of no one had ever heard of Sri Lanka, we knew it as Ceylon and it was Ceylon that I went as a child and it's Ceylon that I remember in the poems that I'm going to read to you next. And this Island exists now, only in the imagination of our poets or in the records of historians in the memories of people. My age will a little bit . It was a time when the British Empire covered 1,1/3 of the land surface of the world. And when that's area of the world was ruled by very, very little physical force. There was in fact a very little real power backing up the authority which was exerted by the civil servants in very far away places like Ceylon, where my father was in that civil service and the civil servants in those days were picked because they had won first class honors in classics at either Oxford, Cambridge, Edinburgh or Dublin University. And this was considered exactly the right sort of training for governing a province in India or in Burma. I think it probably was. Anyhow this poem, the first poem I'm going to read you is literally a flashback it's called \"Far Back.\" And you have to think that of the child in this poem who's a six year old and boy of and speaking English most who lived in the little empire of his own which was ruled by nanny and the rise and fall of the British nanny has been recorded in a very interesting book, published a few years ago and very well reviewed by Auden in the New York review of books in which he ended as quite famous review saying that he thank God that he had a nanny, as well as a mammy. They did funny things in different things to different people and being read by nanny. Darren's nanny was only 18 years old and was very beautiful and she seduced him when he was about nine, this nanny wasn't that kind to him. But if you detect any little note of evil in this poem, you can put it down to colonialism but that is having hindsight I'm afraid. He's tired of winding up the grandma phone, halfway through three little mates and waiting for Rick Shaw to return from the bizarre, the monsoon tins on the compound, a Cooley splitting coconuts on an iron spike stoops to ring the rain out of his loin cloth. The boy picks up a box of matches. His little sister comes in the nursery, holding a doll. Give me that. What for? I want to set it on fire. You wouldn't dare. I will if you help me, she puts the doll on the floor. He strikes a match and holds it gingerly under the pink legs. The girl screeches like a cockatoo the fire bursts into song, eats the doll, sticks out its tongue gyrating, like a Crimson top then dies, burned, cellulite leaves, a guilty smell. The girl cries over the ashes. Give me back my doll. An angel took it to heaven didn't you see? The devil needs thrashing with a shoe. One of the most absolute certainties in the mind of that little six year old, in Ceylon in 1933, was that it was very good of God. And then lucky for him, the boy, and that God had arranged that he should have been born to speak English because if he'd been born to speak any other language he would then have had to have learned English as a foreigner. And this would have put him into some kind of foreign relationship with God. And this was a devastating thought. And anyhow, this accounts for a certain feeling of supreme confidence, I suppose, in people who are born speaking English. And yet there was for this child set in this country, a very, very small minority the governing class, surrounded by masses and masses of natives who died of all sorts of and terrifying diseases all the time in time, which he himself we know by which he himself was endangered scorpions in the shoes and malaria mosquitoes, terrible plagues. That very, very frightening. I mean, the world has changed. Well done . This, I'm sure all of you have had some time in your if you flash back to it, the experience of repeating a word over and over and over again until suddenly all meaning is suddenly drained out of the sound. And it's very frightening thing this. Well this happened to me in Ceylon. And this poem, the poem is about a bird called a coppersmith which makes a noise in the tree. A temple tree grew in our garden in Ceylon. We knew it by no other name, the flower. If you turned it upside down looked like a dagger bar with an onion dome a holy perfume stronger than the evil tang of beetle nut, enticed me into its shade on the stuffy afternoon where I stood and listened to that tiny hammer stroke of the crimson coppersmith perched above my head his duck, duck, duck, and his dunk dunk dunk was spoken in a language I never understood. And there, I began to repeat out loud to myself, an English word such as beat, beat, beat to hammering, too hard. I lost the meaning in the sound which faded and left nothing behind a blank mind the compound spinning round my brain melting as if I'd stood in the sun too long without a topi and was going blind till I and the bird, the word and the tree were one. I'll read you one more poem about Ceylon before we returned to Ireland. And this is called the fall. And it happened this, you know, we move now to upcountry, to Kandy at, which was the old ancient Capital of the Single Last kingdom of Ceylon where there's a famous Temple of the Tooth. is about scientific experiment and power. And the fear of death it's called \"The Fall\". And of course that implies it's about sin. funder in the park , he's falling off a cliff, every branch, he catches breaks down. He hurdles counting one, two then wakes in the nick of time, his heart palms with relief. It's Manny's afternoon off. He untucks his mosquito net and shakes the fear of scorpions from his shoes. Hours to go, nothing to do but wait a bell tolls at the Temple of the Tooth, he peeps of the bathroom, cooley rinsing apart, picks up his cat and saunters out to the upstairs nursery, veranda, woot, marmalade die. If he fell from this height a bullock bandy creeks past the compound gate. Why don't you try it? His brother says, \"cats have four feet to land on. \"They're not like us.\" He hugs the warm purring bag of muscle, fur and bone. Suppose it kills him. I dare you to do it. The boy who is his pet over the green balustrade and let's go. The legs fly out like an ex marmalade pancakes and lies dead still on the lawn. A wonder Wonder root jeebers in the crown of a royal palm. Look he's alive. I saw him twitch, a rush downstairs in time. See the cat vanish near a snake hole under a Jasmine hedge that night he walks to the chair with long wooden arms, whiskey glass, tobacco pouch, crossword puzzle, pen to own up like a gentlemen. Scent of cartridges ejected from a shotgun, glint of pans nee mosaic brown the hand with a gold signet ring, bends him down a lion rampant on a little hairy finger out in the jungle, beyond the firefly net, pooches a biting marmalade sucking his blunt, tuck up timed. I'm not going to kiss you tonight naughty boy, do all experiments go fat? Early in the morning, kitchen cooley's shout marmalade walks in pairing for unbroken feet. Well, you don't have to go all the way to Ceylon to find cruelty or hunger or illiteracy. You won't find it right at home in Ireland, no ideas. You don't even have to go back to 1933. And the next group of poems were back in Ireland. The next group of poems is about the lives of people of who live or have lived until they recently on the side of the roads, the traveling people of Ireland or the tinkers or the itinerants, they had the gypsies of Ireland but I have to explain that they're not Romani Gypsies the Romanese when they got, as far as out on one family came to Ireland and sent back word there were far too many beggars on the road ahead of them. It wasn't worth that coming in to the place. And so very few Romanese have infiltrators to Ireland. They just missed it out and came directly to America. There has been a strong move, by different people and by government and so on to educate the children of the traveling people they tend to be a very economy is one of begging the children. Children are taught to beg when they're very young so they don't have time to go to school. They can't go to school because they don't even eat breakfast they go out to beg for it and they get fed into farm, farm houses. So they grow up illiterate. The tradition of the travelers in Ireland was nomadic. They had not been through the Agrarian Revolution that all settled people have been through in the past. They were living way, way back in the nomadic age. And this poem is called \"The Reading Lesson.\" There's an attempt to teach a 14 year old boy with this background who was born in a wattle tent in a ditch on the side of the road in Ireland and he was taught by his mother to beg and steal when he was very young and teach him at the age of 14 how to read and write and combined in my mind with that, was the thought that, the Greek mythology, that the protector of all travelers the god of travel was of course Hermes who was also the god of commerce. And he was also the god of thieves. And we see the connection, a logical process and he stole Apollo's cattle and Apollo, the god of poetry. There was a certain friction between the poet and the itinerant. 14 years old learning the alphabet. He finds letters harder to catch than hares without a greyhound. Can't I give him a dog to track them down, or put them in a cage? He's caught in a trap until I let him go. Pinioned by \"don't you want to learn to read?\" \"I'll be the same man whatever I do.\" He looks at a page as a mule balks at a gap from which a goat may hobble out and bleat. His eyes jink from the sentence like flushed snipe. Escaping shot a sharp word and he'll mooch back to his piebald mare and bantam cock. Our purpose is as tricky to retrieve as mercury from a smashed thermometer. And he says, \"I'll not read anymore.\" Should I give up? His hands, long-fingered as a Celtic scribe's will grow callous gathering sticks or scrap exploring pockets. The horny drunk loiterers at the fairs, giving them lice. A neighbor chuckles, \"you can never tame the wild duck. \"When he's wings grow, he'll fly off.\" If books resembled roads he'd quickly read but they're small farms to him, fenced by the page, ploughed into lines with letters, drilled like oats, a field of tasks he'll always be outside. If words were bank notes, he would filch a wad. If they were pheasants, they'd be in his pot for breakfast, or if wrens he'd make them king. When the children travelers, go to school as they do now, when their parents are settled in houses by the Navy County Council, they come up against other problems in the learning process. Other forms of cruelty, which may seem harsher to them than the natural cruelty of living a wild life on the side of the road. The next poem is called \"Shelter.\" And it's about a little girl who goes to a village school In the West of Ireland. And this is just technical note, this is a sonnet in two sentences, without any rhyme. Go with a sheaf of rice straw in your arms, how much you carry from a loaded trailer park to the door in a stray sonny shaft at the tail end of summer, deep into the barn to store for patch. If ever we get the weather or the time before winter sets in how much you helped me child in the hour after school, hour of your release, face wet with tears that well a part of a cruelty done to you, bruise marks around your lips a speechless harm, how much you helped me to make the dock inside. sheaves bound firm to keep out storm. Here, how they rustle as we lay them down they're broken hands are thrashed clean of grain. And the last in that sequence. So this is not to be thought of really as a sequence. It's just that foams poems on in the same area is more recent prime core \"Care\" which you may have seen in \"New York Review of Books\" recently. Please to see in that, journal which comes from printed in the West, published in the West side of New York. Couldn't you can't imagine anything further away, more remote in terms of sophistication and intelligence From \"An Irish Goat.\" This poem is about an Irish goat it's in kind of the it's called \"Care.\" And in Ireland care as a word is been very much associated with the attempt to do something for underprivileged children in recent years to put them into institutions and to wash them and clothe them and so on. And this poem is, on that very, very theme of what happens when you take at try to take a creature from the wild and do everything in the world for it. Kidded In April above Glencolumbkille on a treeless hill backing North she throve sucking milk off heather and rock, until I came with children to buy her. We drove South passing Drumcliff. Restless in the car, bleating she gulped at plastic teats. We'd shove copiously in her mouth. soon she'd devour whatever we'd give. Prettily she poked her gypsy head with hornbuds through barbed wire, to nip off pea-tops her fawn pelt streaked with black forest shadow and alpine snow. I stalled her wildness in a pen that locked. She grew tame and fat, fed on herb's. I knew her body needed. We ransacked Kylemore to bring her oakleaf, ivy and bark to chew. I gutted goatbooks, learning how to cure fluke pulpy kidney, black garget, louping ill. All my attention bled to cope with her. No fenceless commonage to roam, no hill transfigured into cloud, no dragon wood to forage with a puck-led flock but the rattle of a bucket shouts of children bringing food across a frozen yard. Out in a forest she would have known a bad leaf from a good. Here captive to our taste, she'd learnt to trust the petting hand with crushed oats or a new mash of concentrates or sweet bits of waste. So when a child mistook a sprig of yew and mixed it with her fodder, she descried no danger. We had tamed her instinct too. Whiskey white of egg, linseed oil, we tried forcing down antidotes, nothing would do. The children came to tell me when she died. From that sad, low subject. I want to move now finally, to a sequence of poems that are set at least on a more sublime location. And this is an Island off the West Coast of Ireland. A great lump of rock that jumps up out of the sea a very abruptly called \"High Island.\" And it's totally uninhabited today. It was only occupied with any continuity in the golden age of saints and scholars. A hermitage was founded on High Ireland in the seventh century by Saint Fahin. And it lasted on and off until, 1018, the 5th of August 1018 when Saint died there he was the last of the saints to have his name entered in the Irish mater of ages say the last Irish Saint. He was a spiritual advisor of Brian Boru the High King of Ireland who was killed at the Battle of Clontarf on Good Friday, 1014 by a Viking Brodir and at that very moment, the battle of Clontarf was for 200 miles away from High Ireand on the Eastern near Dublin. East coast of high Ireland is off the West coast at that very moment on that Good Friday, Saint Cogad Gáedel sent one of his monks to the well on High Island for some water and he came back with a bucket of blood that's indicating to the goodman that the High King was dead. And that the water in the well on High Ireland has remained bloody until 1969. And when I became the lucky possessor and guardian of the Island, and then I found that he had turned into a black stinking slime. And when I reported this to fishermen an Odo fishermen on the Island of Inishbofin, he immediately said that must be on account of the trouble in the North of Ireland. And I've made it one of my duties to keep the well the water in that well, on High Ireland as pure as possible. Island is I think the most beautiful thing on the island it has many, many aspects. And the thing that I go back for as I will be going back there very soon is the storm petrel or the storm petrels have chosen High Ireland as one of their nesting grounds. Storm petrel is the smallest of the birds that spends its entire life at sea. It's a pelagic ocean bird, and it's about the size of a swallow like that sort of size and colonies of the nest on High Ireland. They come in from the ocean in the spring and they particularly like the ruins of the Christian hermitage as a place to lay their eggs underground in the grains the under the altar, in the walls of the arbitrary, the birds hatching on the nest. When they start to send out a signal to the birds in the sky, do sound like the resurrection the whole ground under your feet. It starts to vibrate at night for they particularly call the birds that are sitting on this start to call at dusk and they keep up their messages until dawn to the birds that are flying in from the ocean to join them. Now, the reason for this is that the storm petrel has had a very good custom of sharing the labor of hatching the egg and rearing the young bird equally between the sexes. And it's been practicing this, fact of equal rights for 60 million years, according to the fossil record. So that even if it takes the centers and the States a little bit longer, they'll get around to it and when they do get around to it, it will be forever. And the bird on the nest is sending a signal to the bird in the sky so that he can identify it's nest located and so they can change places, the male and the female. And it's a very beautiful strange sound in a totally foreign language. And I tried to find English words that would fit what seemed to me to be what the storm petrels were saying. And I wrote a poem called \"Nocturne\" about the sounds of the storm petrel at night on High Island. The blade of a knife is tapped gently on an oak table. Waves are sobbing in coves. Light bleeds on the sky's rim from dusk till dawn. Petrels flying from the ocean wings beating on stone, quick vibration of notes, protes, tongues under a silver weed calling and calling. Louder cries, cut the air. They rise from a pit complaints. I reached up and lost a solo tune is dying with passion for someone out there to come quickly, come back, come back. I'm here, here, here, this borrow, this wall, this hole, ah! Who kept you? Where have you been? There, there, there. It's all over, over, over. Does a big lump of granite on the Island, near the monastery. And it has no figures carved on it. It's very smooth and slippy and very, very heavy to live. It must weigh a 120, 130 pounds and is almost drowned. And I address these words. Everybody who goes to the Island, wonders what it is and it tries to lift it. It's almost impossible. I address these words to the Greenwich globe on High Island. Straining my back seven times. I've lifted you up to my thighs. There are men who've put you sitting high on their shoulders. It looks as if you'd been locked off the top of a column, then used as a Quinn kicked around, buried an archeologist, taped you and wrote you down. He said, you're an oblate spheroid. Does it matter? Whoever carved you gave you all the time in the world? Well, that's where time reminds me that it's time to close and I'll read you finally a poem about \"The Grey Atlantic Seals.\" which have quite a large colony on High Island. Economy that's frequently that it's threatened, both by Atlantic storms and also by the fishermen who sometimes shoot seals because the seal like to pick the fish out of the, the salmon nets. And they tear the nets when they do this so that the fishermen hates seals. I heard them saying once and the melody haunted me for, three or four years until I wrote this poem. They are like the sirens in the odyssey, or like the banshee and Irish mythology, like mermaids singing. Very, very beautiful, very, very plaintiff melody that combines the the passion of a slow movement of one of late quartets with the most ultra modern eternal electronic music. Written on a synthesize. And this poem is a celebration of a poem about the seals who in September in the harvest period, give birth to their young in the coves. And then two weeks later they mate. So the whole process of generation is happening at the one time in the colony and on the Island. This is \"Seals At High Ireland.\" The calamity of seals begins with jaws. Born in caverns that reverberate with endless malice of the seas tongue clacking on shingle, they learn to bark back in fear and sadness and celebration. The ocean's mouth opens 40 feet wide and closes on a morsel of their rock. Swayed by the thrust and backfall of the tide a dapped grey bull and a brindled cow copulate in the green water of a cove. I watch from a cliff-top trying not to move. Sometimes they sink and merge into black shoals then rise for air, his muzzle on her neck their winged feet intertwined as a fishtail. She opens her fierce mouth like a scarlet flower full of white seeds. She holds pose it open long at the sunburst in the music of their loving and cries a little but I must remember how far their feelings are from mine marooned. If there are tears at this holy ceremony theirs are caused by brine and mine by breeze. When the great bull withdraws his rod it glows like a carnelian candle set in jade. The cow ripples ashore to feed her calf while an old rival eyeing the deed with hate swims to attack the tired triumphant god they rear their heads above the boiling surf. Their terrible jaws, open jetting blood at night fall they haul out and mourn the drowned playing to the sea sadly, their last quartet an improvised requiem that ravishes reason while ripping scale-up like a net brings pity trembling, down the rocky spine of headlands till the bitter ocean's tongue swells in their cove and smothers their sweet song.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45599/file/118617#t=0.0,3807.72"}]}]}]}