‘My name is Death/But be na' fley'd’: Bishop Percy and the Ghosting of Robert Burns in Ireland

Frank Ferguson, Danni Glover
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Abstract

Recent decades have seen much scholarly exploration of Robert Burns’s impact on Irish writers, particularly those connected with the province of Ulster. Less explored is the antagonistic and opportunistic response to Burns in Ireland by a number of poets, editors and patrons. This article will chart Thomas Percy (1729–1811) and his literary circle’s responses in the Dromore area of County Down to Burns’s roles as poet, song collector and literary celebrity. It will argue that Percy and his associates reacted to Burns’s work and literary afterlife with a two-pronged strategy. First, they sought to emulate Burns through publishing or providing financial assistance to a number of texts of poetry and song. Secondly, they sought to establish a network of patrons and authors who employed literature as a means to portray a stable and loyal Ireland after the Union of 1800/1. As well as a heavily revised edition of Percy’s Reliques of Ancient English Poetry (1795), the group created platforms for a variety of poets including Thomas Stott, Hugh Porter and Patrick Brontë. This strategy sought to invoke Burns directly as an influence, but also implicitly to exclude his legacy from shaping the writing of the circle. This article suggests that the strategy was not fully successful. Despite the generally good reception of Percy’s fourth edition of the Reliques, the other authors in the circle did not always receive praise for their work, and writers like Stott were criticised for their weak, sycophantic verse. It will claim that for some of this circle, such as Hugh Porter, Burns’s influence played a major role in shaping the promotion of their writing careers. However, for many, there was an attempt to manage the trajectory of the writer’s work and career that minimised the agency and reach of the author. Ultimately, notwithstanding the attempts to quell and minimise Robert Burns’s impact in County Down, his inspiration remained powerful and difficult to contain.
“我的名字叫死神/但他没有‘飞’”:爱尔兰的珀西主教与罗伯特·彭斯的幽灵
近几十年来,人们对罗伯特·伯恩斯对爱尔兰作家的影响进行了许多学术探索,尤其是那些与阿尔斯特省有关的作家。在爱尔兰,一些诗人、编辑和赞助人对伯恩斯的敌意和机会主义反应则较少被探讨。本文将描绘托马斯·珀西(1729-1811)和他的文学界对伯恩斯作为诗人、歌曲收藏家和文学名人的角色的反应。书中认为,珀西和他的同事们对伯恩斯的作品和他的文学生涯采取了双管齐下的策略。首先,他们试图通过出版或提供财政援助来模仿伯恩斯的诗歌和歌曲。其次,他们试图建立一个赞助人和作家的网络,这些人利用文学作为一种手段来描绘1800/1年联合之后一个稳定而忠诚的爱尔兰。除了大量修订的珀西的《古英语诗歌遗迹》(1795),该组织还为包括托马斯·斯托特、休·波特和帕特里克Brontë在内的各种诗人创造了平台。这一策略试图直接援引伯恩斯的影响,但也隐含地排除他的遗产塑造写作的圈子。这篇文章表明这一策略并不完全成功。尽管珀西的第四版《遗像集》普遍受到好评,但圈子里的其他作者的作品并不总是受到赞扬,像斯托特这样的作家因其软弱、谄媚的诗句而受到批评。对于这个圈子里的一些人来说,比如休·波特,伯恩斯的影响在塑造他们的写作生涯中发挥了重要作用。然而,对于许多人来说,他们试图管理作家的工作和职业轨迹,从而最大限度地减少作者的代理和影响力。最终,尽管人们试图平息和减少罗伯特·伯恩斯在唐郡的影响,但他的灵感仍然强大而难以遏制。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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