Another important technique commonly used in poetry is enjambment. Though not all his self-depictions may be considered as pictorial, it is often the case.
Through this reflection echoing that of Lucian Freud in his self-portrait, Durcan associates himself with the painter, but also with his “glamorous”30 mother since he includes himself in her photographic portrait. Eliot, we unpack imagery, form, and symbolism in poetry. Through self-portrayal conceived as a dialogue, he creates a double paradoxical movement, first by exposing himself and his frailty while magnifying himself, then by highlighting his utter loneliness and alienation while creating multiple artistic forms of connections. There may be accusation, certainly, but there is also a closeness. Homeless in Dublin,Blown about the suburban streets at evening,Peering in the windows of other people’s homes,Wondering what it must feel likeTo be sitting around a fire –Apache or Cherokee or Bourgeoisie –Beholding the firelit faces of your family,Beholding their starry or their TV gaze:Windfall to Windfall – can you hear me?Windfall to Windfall…We’re almost home, pet, don’t worry anymore, we’re almost home. cit., p. 28. RobertHollander & JeanHollander] Caesura occurs when a line is split in half, sometimes with punctuation, sometimes not. 34-42. This mimics the act of self-portrayal as a process of self-contemplation through which one questions and explores oneself. If you get a chance try to find the following which are all very good: Priest accused of not wearing a condom Martha's Wall At the Funeral of the Marriage Crinkle, near Birr Chips Antwerp,1984 For example, “west” and “east” in part one, line one, stanza two, or “Rosie” and “be” in stanza two of the second section. Wife Who Smashed Television Gets Jail 9. The scene was a gorgeous one and it heralded in new life. He expresses his joy on the day of this child’s birth as well as his hope that she too will have “such” a day as he. He establishes a dialogue between himself and others: between his own perception and that of others, between his own representation, characteristics and features, and those painted by others. For instance, a happy marriage is invoked as 'a pot of phlox on the windowsill / a cruet of lamb’s tails'. The Lamb in the Oven 497 Torn in … […] The challenge of art is to be inclusive and Crazy About Women, born out of a lifetime’s romance with the National Gallery of Ireland, is my attempt to be so inclusive as to make the intercourse between what is painted and what is written as reciprocal as it is inevitable2. Though he focuses on himself to describe specific details, he generally chooses to represent himself in a wider context, using both concave and convex mirrors to do so. He begins with a rollicking, ear-splitting mockery of the braying upper classes - 'who ever said the English nation was dead? Durcan melds the present perspective of the speaker, and the future perspective together in these lines. There are several examples in ‘Rosie Joyce’. cit., p. 113. He hopes that there will never be a “Uniform Ireland” in which everyone thinks, believes, and acts the same. As a fusion between a painter and a poet, this artist could be seen as an indirect way for Durcan to represent himself: She is wringing locutions, wringing shrunken, Faded, threadbare words To squeeze oil paint out of tubes of language: The trauma of the painter as the poet.48. In “The Repentant Peter, after Francisco de Goya”34, Durcan transposes the representation of the saint into a self-portrait through which he depicts himself in a slightly grotesque manner, underlining his vulnerability: Last thing I do before getting into bed Is kneel down beside bed In my Marks & Spencer’s women’s pyjamas, Which I purchased thinking they were men’s pyjamas, A womanless man on a shopping spree35. 18The dialogue he creates with the work of art through the ekphrastic poem is complexified by other forms of exchange: an argument with Nessa, his former wife, but most of all former relationships and a new dialogue through poetry with his dead father37. Hearing Durcan read, I am reminded of the late John McGahern, whose own genius came wrapped up in humour, modesty and deceptive simplicity – and yet his writing touched the sublime. 177-78. He does not look at himself in it, but the metamorphosed self through which he unveils himself appears when he is looking through it, “Peeping in”, looking inside the room and into himself.
62 Durcan declared that he would like to be able to achieve what was for Wordsworth at the source of poetry itself: “emotion recollected in tranquility”, Private interview, Dublin, 11 August 2011. BT48 6HJ, ph: 028 7126 0562 The Girl with the Keys to Pearse’s Cottage 7. email:info@culturenorthernireland.org, Leading light of the Belfast Group returns to the place of his poetic birth, Does the webmaster of Crimescene NI have a dark side?
Just as I was dashing to catch the Dublin-Cork train, As the train slowed down approaching Portarlington.
"A Cast-Iron Excuse", a two-line poem from Paul Durcan's latest collection, runs: "Sorry I cannot come to your reading tonight. À travers l’art de l’autoportrait conçu comme un dialogue, il crée un double mouvement paradoxal, se mettant à nu et exposant ses fragilités tout en se glorifiant, mais aussi soulignant sa solitude et son aliénation tout en créant de multiples formes de connections. 45 Durcan, Going Home to Russia, op. 60 Durcan, WWE, op. 27 Durcan, DD, op. 26Durcan does not choose to depict himself as a single uniquely self-examining entity. 26-28. That Sunday in May before daybreakNight had pushed up through the slopes of AchillYellow forefingers of Arum Lily – the first of the year; Down at the Sound the first rhododendronsPurpling the golden camps of whins;The first hawthorns powdering white the mainland; The first yellow irises flagging roadside streams;Quills of bog-cotton skimming the bogs;Burrishoole cemetery shin-deep in forget-me-nots; The first sea pinks speckling the seashore;Cliffs of London Pride, groves of bluebell,First fuchsia, Queen Anne’s Lace, primrose. In “Self-Portrait ’95”8 for example, the only pictorial element is the title itself, through the reference to the painting genre. Nonetheless, he does not choose mimesis to show himself as he is but transforms himself to better disclose an inner truth that would or could otherwise stay hidden. The mood is consistently upbeat and positive throughout, even when the speaker is less celebratory and more contemplative. 159-162, 196). It “is not the representation of a self: each time it is the enactment of the subjectivity or of the being-oneself in itself […] It is the implementation of exposure, that is to say of our exposure”11. 24 Durcan, DD, op. I may not have been mesmericBut I had not been mediocre.In your eyes I had achieved something at last.On my twenty-first birthday I had played on a winning teamThe Grangegorman Mental Hospital team.Seldom if ever again in your eyesWas I to rise to these heights. 2. 10 All the translations of Jean-Luc Nancy’s words is this article are mine. Please support this website by adding us to your whitelist in your ad blocker. The fact that he does not state that it is his reflection but that of “a man with a pocket camera” contributes to further the merging in L. Freud’s image. 11 Jean-Luc Nancy, Le regard du portrait, Paris, Éditions Galilée, 2000, 2006, pp. Afterwards, nonetheless, the identification appears more clearly, when he touches the bust of Homer and seems to become Aristotle. Often she used linger on the sill of a window;Hands by her side and brown legs akimbo;In sun-red skirt and moon-black blazer;Looking toward our strange world wide-eyed. she said to me,And I hopped into the Irish Sea.And that was a whirlpool, that was a whirlpool,And I very nearly drowned. This aspect is seen too in “St Galganus” when he describes the lack of connection between himself and the teenager, the distance separating them being the result of the former’s status as artist: the space between you and I - The space of a table - the work of a lifetime:The work of an artist51. The industrial vista was my Mont Saint-Victoire; While my children sat on my knees watching TV Their mother, my wife, reclined on the couch Knitting a bright-coloured scarf, drinking a cup of black coffee, Smoking a cigarette – one of her own roll-ups. It triggers the depiction of himself as a man “without a family”, and leads to his transformation into a leaf to highlight this loneliness. But whimsically, the poet chooses to delay the discovery of this other version of himself by belatedly noticing his own presence in the photograph. Durcan chooses to do so here but through the ekphrasis of the self-portrait of another person. Études irlandaises est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. cit., p. 46. Paul Durcan is one of those poets. Though Durcan plays with that notion, he is also aware of how powerful the act of (self-)portrayal can be. More on how many quotations to learn and how many to put in your Leaving Cert essay. This contemporary Irish poet refuses categories between the different forms of art and writes an intermedial poetry in which the pictorial dimension is prominent. Durcan uses repetition in the next lines, as well as alliteration. His love for painting is visible in his very first poem (unpublished), a poem about Vincent Van Gogh, triggered by a revelation during a stay in France when he was a teenager, in 1960.
Durcan’s poems tell of the surprising richness of the everyday: pushing a trolley in a supermarket, travelling on a bus with a bunch of irises. The following Sunday is the Feast of the AscensionOf Our Lord into Heaven:Thank You, O Lord, for the Descent of Rosie onto Earth. ', 'You can have sex with anyone, but with whom can you sleep?'. Within ‘Rosie Joyce’ Durcan explores themes of new life, rebirth, family, and Ireland. 39 Durcan, Praise in which I live and Move and Have my Being, op. Nessa by Paul Durcan. Derry/Londonderry cit., pp. 17-18: “Manifester au dehors et plonger au-dedans sont dans le portrait à la fois contraires et complémentaires”. Cf. In the second section of the poem he uses the landscape of Ireland, the places he saw the day before and that morning to embody the joy he feels. In it, two voices echoing, questioning and answering one another can be heard. It is a technique known as apostrophe. It is clear how
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