#1973302
Níl na taoisigh sásta glacadh ach oiread leis an Composition.
Níl na taoisigh sásta glacadh ach oiread leis an Composition.
Míníonn Stross an téarma: “it can be a culture, or element of culture, derived from unlike sources; that is, something heterogeneous in origin or composition” (Stross 1999, 254).
Though based on a well-known composition by Raftery, it differs widely from the original.’
Though based on a well-known composition by Raftery, it differs widely from the original.’
Aithníodh mar thiarna Luighne é i 1584 agus an bhliain dár gcionn ghlac sé leis an gcóras nua cánach a dtugtar ‘Composition of Connaught’ air.
I gcomhar le Seán Seártan d’aistrigh sí A Practical Introduction to Latin Prose Composition le Arnold-Bradley faoin teideal Prós-Cheapadóireacht Laidne.
'Agus an diabhal Composition de chuid an fhear ionaid á chur ina luí aige orainn?'
'Tá an lasair sa bharrach faoin am seo ag Bingham, a Aodh, aige féin agus a dhiabhal Composition.
Seo míniú ar ‘poetry’ atá le léamh sa Random House Dictionary of the English Language (Nua Eabhrac, 1966): ‘the art of rhythmical composition, written or spoken, for exciting pleasure by beautiful, imaginative or elevated thoughts’.
Many of his epigrams and witty sayings, and some short poems of his composition are recited by the common people in the counties of Meath and Cavan...’.
That position was incompatible with Gaelic inauguration, and hence, when Brian is styled “chief of his name” in the records of the composition of Connacht, and Connor Óg, son of Tadhg, “tanist”, these terms indicate rather what might have been expected than what actually occurred.
The arts of composition, writing, poetry, and so on, were left to minor gentry, who in their own way were, of course, very important people but only small alongside the great territorial magnates.
Deir Ní Rathaille: ‘A century after the composition of Tuireamh na hÉireann, Friar O’Sullivan of Muckross noted that the poem was “repeated and kept in memory on account of the great knowledge of antiquity comprehended in it.” He was probably right in thus explaining the popularity of the poem.
Tá an nóta seo faoin dán i gcló aige: ‘Being the composition of a Protestant minister, viz., Mr Patrick Dungin, bred in the College of Dublin, who in the tyrannical time of Governement was banished out of his native soil, the County Downe, to the Isle of Man by three Presbyterian ministers, viz., Hamilton, Loe and Brown and being somewhat settled in Man among his other amusements he sung the above consoling Irish dán or poetical verses.’ Deir Énrí Ó Muirgheasa in Louth Archaeological Society Journal, 11, Uimhir 3, 1910: ‘I suspect that Dungin in his early youth was a Catholic’ (‘An Irish Poem from Co.
This type of composition seems to be of native origin, and to have been merely an adaptation of a very usual form of poem addressed to the wives and daughters of the Irish clan rulers.
It gave an impetus to the composition of little books of religious instruction in Irish, that came to an end, perhaps, only with the death of the lame schoolmaster of Cappoquin, Patrick Denn[B6], towards the middle of the nineteenth century.’ In Catholic instruction in Ireland 1720–1950 (1983) deir Michael Tynan: ‘All the texts that follow are indebted to O’Hussey’ agus luann sé Stapleton [q.v.], Gearnon[q.v.], Ó Dubhlaoich[q.v.], Ó Maolmhuaidh[q.v.].
Ina áit sin bhí foilsitheoirí agus lucht léinn ag iarraidh air leabhair Bhéarla a sholáthar:Branwen Daughter of Llyer: a study of the Irish Affinities and of the Composition of the Second Branch of the Mabinogi, 1958; Celtic Mythology, 1970; The Learned Tales of Medieval Ireland, 1980; Literature in Irish, 1981.
Molann siad ‘cumadh’ (composition) nó ‘athmheascadh’ (remixing) mar théarmaí atá níos feiliúnaí le cur síos a dhéanamh ar an bpróiseas ina gcruthaítear déantáin atá in ann a bheith comhdhéanta de íomhánna, hipeartéacs, fuaim agus fís (Pahl & Rowsell, 2012: 43).
The claim to preserve the history of the lord’s family, to ensure immortality in the literary tradition is achieved in the precise generalities to which the formality of the composition gives shape.
It was a beautiful composition both in conception and style and to hear it fall from the lips of the cailin who is justly regarded as one of the finest types of Irish girlhood — tall, and fair, and winsome, and of a temperament which makes her responsive to all pure and noble poetry — to hear the language of Eirin, glowing, tender, impassioned, ringing with hope and faith and love, on the tongue of this beautiful girl was a treat indeed.
In ainneoin a fheabhas agus atá an tAcallam mar léiriú ar shaibhreas na Fiannaíochta faoin dara nó faoin tríú haois déag, maíonn Murray nach bhfuil aon fhianaise ann don ‘cultivation of a large corpus of fíanaigecht literature in the decades and centuries before its composition’ (160).
Tá siad tógtha leis an 'Composition' seo atá acu, iad ag iarraidh cánacha dóibh féin a ghearradh ar na daoine in ionad na gcíosanna a bhíos á n-íoc acu leis na taoisigh dúchasacha.
Bhíodh lucht na banríona i gcónaí ag iarraidh an teideal Mac Liam a chur ar ceal, toisc na taoisigh sin a bheith ag síor-dheimhniú a gcuid neamhspleáchais ón gcoróin agus iad go daingean i gcoinne an diabhal Composition
Bhíodh sé féin agus Bingham ag obair as lámha a chéile maidir leis an Composition tráth, ach le déanaí, tá ar Sir John a admháil gur cosúil nach duine ionraic é gobharnóir Chonnacht ar chor ar bith.
Ar na dánta is miníce a luaitear tá: ‘Uaibhreach mise ar Mhág Uidhir’ nuair a ghabh sé pardún Mhág Uidhir tar éis dó gloine fiona a chaitheamh san aghaidh air le teann stuaice, dán a gcuireann Caball tábhacht leis; ‘Trí Coróna i gcairt Shéamuis’ ag fáiltiú roimh Shéamus I a theacht i gcoróin; ‘Beannacht siar uaim go hÉirinn’ nuair a bhí sé ar deoraíocht in Albain; ‘Truagh liom Máire agus Mairgréag’ ina ndéanann sé oidhe chlann Uí Dhomhnaill a chásamh; ‘Teasta Éire san Easpáinn’, marbhna ar Aodh Rua Ó Domhnaill; ‘Mór an lucht arthraigh Éire’ i ndiaidh Imeacht na nlarlaí; ‘Slán uaim ag oileán Pádraig’ (i gcló ag Shane Leslie in St Patrick’s Purgatory, 1932); ‘Brian Ó Ruairc mo rogha leannán’, a ndeir Knott faoi in Irish Syllabic Poetry; ‘Most inaugural odes run to fifty or sixty stanzas; we are fortunate in having an example complete in three stanzas, illustrating practically all the characteristic features of this species of composition.’ In The Contention of the Poets..., 2000 deir John Minahane go bhfuil na dánta neamhfhoilsithe bailithe le chéile ag Pádraig Ó Macháin i dtráchtas dochtúireachta in Ollscoil Dhún Éideann.
Seo saoi scríbhneoireachta eile as Meiriceá, Dorothea Brande ina leabhar clúiteach Becoming a Writer, a foilsíodh thiar sa bhliain 1934 ach atá fós i gcló: ‘If you tend to drink a great deal of coffee when in the throes of composition, try replacing half of it by maté, a South American drink much like tea, but stimulating and innocuous.
Blianta fada ina dhiaidh sin, i 1925 nuair a bhí sé ag éirí as a phost, rinne O’Hagan tagairt don bhuachaill óg sin: Is é an ‘Composition’ a ndearna James O’Hagan tagairt dó, aiste a scríobh Bernie ar Pharnell, aiste atá i seilbh an teaghlaigh i gcónaí.