This is the first in our planned series of guests posts authored by students of Dr Julie Bates, Assistant Professor in Irish Writing, who took part in a pilot scheme which gave them unusual access to the Library’s internationally significant Beckett manuscripts. Leah Kenny kindly provided the following text which she dedicates to her ‘Nanny and Grandad, who have always inspired me to create and follow my dreams’:
To celebrate the sesquarcentennial – that’s 350th – anniversary of Jonathan Swift’s birth Trinity College has organised something completely different: a collaborative online exhibition reuniting original Swift artifacts from all over Dublin.
Trinity College Dublin has a very important place in the history of satirist Jonathan Swift (1667-1745). Not only was he a student here but the first record of his existence known to scholarship is his name inscribed in the student admissions book and the record of one of his examinations in the College. Swift’s time as a student in Trinity was not his finest moment. In his memoir he complains that he was awarded his degree by special grace (that is, he almost didn’t graduate) even though he claims to have followed all the rules. The archives don’t lie, however, and the future Dean of St Patrick’s Cathedral appears to have been fined several times for misdemeanours such as insolence and ‘haunting the town’.
Trinity is marking the 350th anniversary of Jonathan Swift’s birth this year with a number of activities. There is an exhibition from the Library’s world-renowned collection of Swift-related books and manuscripts in the Long room. This collection was developed partly through gift and bequest and the exhibition showcases particularly the generous bequest of American Swiftian A. C. Elias. Also planned is an international conference on 7-9 June at which experts will speak on themes such as Swift and politics, travel, family and friends.
To re-imagine Swift’s Dublin, the Library has embarked on a new departure. For the first time, a collaborative online exhibition has been curated which brings together Swift-related artifacts which still survive in places outside the College: these include St Patrick’s Cathedral, where Swift was Dean; Marsh’s Library, much frequented by Swift; and St Patrick’s Hospital which was built as a result of the bequest left by Swift for a hospital to care for individuals with mental illness. Included in the exhibition are a snuff box (from the Cathedral), a wine bottle (from the National Museum), and the writing desk upon which Swift wrote Gulliver’s Travels (from St Patrick’s Mental Health Services).
Commenting on the continued relevance of Swift in the 21st century writing, Dr Aileen Douglas of the School of English remarked that ‘for a long time eighteenth-century Protestant writers like Swift were seen as not Irish, but in works like the Drapier’s Letters Swift can be seen beginning to speak for the Irish nation.’ A great part of Swift’s legacy lies in the work Gulliver’s Travels, which has never been out of print since it was published in 1726 and which belongs, not just to Irish literature, but to world literature. Dr Douglas remarks that ‘its relevance only increases over time. Gulliver is always on a voyage, never quite belongs and is in the end totally alienated. In today’s world of movement and dispossession there is a great deal of resonance there.’
The Library thanks all its collaborators in the making of this exhibition.
Dr Jane Maxwell
Beidh taispeántas beag lámhscríbhinní Chré na Cille le Máirtín Ó Cadhain le feiceáil sa Seomra Fada, Leabharlann Choláiste na Tríonóide, ar feadh Seachtain na Gaeilge 2017 (1-17ú Márta). Tá cóip phearsanta Chré na Cille an gCadhnach le fheiceáil – an chéad eagrán atá i gceist – agus an leabhar lán le ceartúcháin i lámh an gCadhanach. Foilsíodh an dara chló i 1965. Seans go raibh sé i gceist go gcuirfí na h-athraithe sin isteach sa dara chló, ach níor cuireadh.
Chomh maith leis an leabhar, tá dréacht-leathanaigh ceartaithe ó Chré na Cille i lámh an gCadhanach. Is féidir na héagsúlachtaí téacsúil idir an t-eagrán a foilsíodh agus an dréacht a fheicéail, agus mar sin is féidir a stíl scríbhneoireachta a thabhairt faoi deara.
Caoimhe Ní Ghormáin
Thug mé cuairt ar Sheomra na Lámhscríbhinní i Leabharlann Choláiste na Tríonóide don chéad uair i dtús mhí Iúil 2008. Alt a bhí á scríobh agam ag an am ar Mháirtín Ó Cadhain agus bailiú an bhéaloidis a thug ann mé. Sarar chríochnaigh mé an t-alt seo, theastaigh uaim sracfhéachint a thabhairt ar pháipéir neamhfhoilsithe an Chadhnaigh. Ní raibh mé ag gabháil ró-fhada do chomhaid éagsúla sa chnuasach ollmhór seo nuair a thuig mé go mbeadh orm m’alt a athscríobh ó bhonn: is é sin le rá, thuig mé nach foláir féachaint ar scríbhinní neamhfhoilsithe Uí Chadhain (maraon lena scríbhinní foilsithe) chun pictiúir iomlán a fháil ar dhearcadh an Chadhnaigh i leith bhailiú an bhéaloidis agus an bhéaloidis trí chéile (agus i leith go leor, leor nithe eile chomh maith).
What better conduit between the quick and the dead can there be than a collection of historical records which purport to let the living hear the voices of those who have gone before? Today’s blog post selects a few items from among the Library’s historical manuscripts which really come into their own at Hallow’een. They include a vengeful seventeenth-century spirit, an old faithful, the classic ghostly ‘coach and pair’ and something genuinely weird from the pen of the great Edith Somerville. This last one will make you shudder.