‘[T]he best Irish-English poetry before Yeats’: thus, in The Listener in 1970, John Holloway described a genre of exuberantly worded songs that employed complex patterns of rhyme deriving from Irish language poetry, many of which were among the nineteenth-century ballad sheet collections of Sir Frederic Madden, held in Cambridge University library. Items in this form seem to have surfaced in the mid-eighteenth century, soon after the appearance of the earliest eight-page songbook to be printed in Ireland, and probably the first anywhere in the ‘British Isles’. This essay traces the development of this genre towards, perhaps its finest manifestation, the luxuriously florid bawdry of ‘The Cuckoo’s Nest’, probably composed by the northern-born but Drogheda-based weaver poet John Sheil (c.1784–1872). Many commonly known and apparently innocuous traditional songs are found as bawdry in early collections and employ a range of sexual metaphors, well understood at that time among men but not (openly) among women or more recently. The combination of verbal flourish and double entendre together with a consummate control over the complexity of rhyme and rhythm forced John Holloway to recognize vernacular verse as, not a debased version of ‘educated’ poetry, but as a genre with its own standards, a parallel form that bears comparison at a high level.
Of Mermaids and Changelings: Human Rights, Folklore and Contemporary Irish Language Poetry
