We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Music and Song’ considers the range of music with which Goldsmith engaged and argues that he always recognized the ways in which music could be repurposed, could be poignant and moving or farcical and absurd, and could transcend even the most apparently secure of generic and cultural boundaries. Goldsmith’s tastes were eclectic in terms of music as in so much else and this eclecticism could lend itself readily to hybrid forms: the publication of the earliest surviving record of the life of the Irish harpist-composer, Turlough Carolan (1760), who fused Irish traditional harping with baroque traditions; the reworking of the sung ballad ‘Death and the Maiden’ as a formal oratorio, Threnodia Augustalis, to commemorate the death of Augusta, Princess Dowager; the idea of a comic ‘epilogue in singing’.
In this chapter, female homosocial relationships are explored as confident articulations of female identity and as suggestive models of political governance. Despite widespread anxiety about female-only assembly and scepticism regarding the virtues of female friendship, women writers in this period evidently found friendship between women to be a theme in which they could articulate and explore a range of feelings and emotions not otherwise sanctioned by their culture. The chapter considers a range of poetry and fiction – by Charlotte McCarthy, Margaret Goddard, Olivia Elder, Frances Sheridan and her daughter Elizabeth – in relation to differentially situated ideas of ‘sisterhood’ before turning to the ways in which Ireland came to be figured as a ‘sister’ kingdom to Britain in the later century, thus shaping the proto-feminism of earlier traditions in new, national formations.
In this chapter, female homosocial relationships are explored as confident articulations of female identity and as suggestive models of political governance. Despite widespread anxiety about female-only assembly and scepticism regarding the virtues of female friendship, women writers in this period evidently found friendship between women to be a theme in which they could articulate and explore a range of feelings and emotions not otherwise sanctioned by their culture. The chapter considers a range of poetry and fiction – by Charlotte McCarthy, Margaret Goddard, Olivia Elder, Frances Sheridan, and her daughter Elizabeth – in relation to differentially situated ideas of ‘sisterhood’ before turning to the ways in which Ireland came to be figured as a ‘sister’ kingdom to Britain in the later century, thus shaping the proto-feminism of earlier traditions in new, national formations.
This volume examines eighteenth-century Irish literature, highlighting the diversity of texts, authors and approaches that characterises contemporary studies of the period. Chapters consider the contexts of history, politics, language, philosophy, gender, sexuality, and the environment while situating Irish literature in relation to Ireland, Britain, Europe and beyond. Well-known authors (Jonathan Swift, Edmund Burke and Oliver Goldsmith) are read alongside less familiar writers (including Mary Barber, William Chaigneau, Frances Sheridan, and Samuel Whyte) and popular and ephemeral literatures take their place with formerly canonical texts. It demonstrates the exciting vitality and richness of eighteenth-century Irish literature - written and performed - as well as its complex intersections with different communities and traditions. This book will be a key resource to scholars and students of Irish eighteenth-century studies as well as readers generally interested in questions of Anglophone and Irish-language culture, representations of gender and sexuality, and national and trans-national identities.
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.