This is a Wonderful Story

A Cork national school is marking the 50th anniversary of its unique tradition known as 'Conker Comp' in which students compete to win the coveted David Geary Perpetual Conker Trophy.

Since 1975, students from First to Sixth class in Crosshaven Boys' National School have participated in the annual conker competition.

The trophy has been presented to the winner of the competition since 1989 and is named after a pupil, David Geary, who died at a young age.

Read more here.

A Decade of the Rosary

Some time in the year 2014, I made a vow to the Virgin Mary to say the rosary every day for the rest of my life. Or, if you are a pedant, I made a vow to say five decades of the rosary every day for the rest of my life.

I was standing outside the Merrion Shopping Centre on Merrion Road when I made the vow. I can't remember the date, but I have the feeling it was in summer. So it's most likely been ten years by now, since I'm writing this in October.

I've kept the vow, or perhaps the Virgin Mary has kept it for me. 

Well, I've pretty much kept it. I've missed a day here and there, but very rarely. Maybe a couple of times a year at most. Sometimes it's because I've clean forgot. Other times it's because the day has been so busy I genuinely haven't had the time. (There are such days, now and again.) Sometimes I try to pray it last thing at night (or in the early hours, most likely) but fall asleep in the effort.

Fr. Patrick Peyton, the famous rosary priest, said that it took ten minutes to pray a rosary (although all of the videos of him praying the rosary on YouTube are about sixteen minutes long). Anyway, I've rarely been able to pray it in less than twenty minutes. And very often longer, since my mind nearly always wanders during the rosary. (My mind wanders all the time.)

If I didn't allow my mind a certain amount of wandering during the rosary, I would never finish it. I can't exactly say how much is too much, but when I decide I've hit that limit, I begin the decade I was praying over again. Sometimes I have to do it twice or three times. Generally I let it go after that.

My judgement on whether I should start the decade again also has to do with the nature of my wandering thoughts. If my mind is dwelling on something that seems important or spiritually significant, I might decide to count it as prayer.

Anyway, the Catechism says that trying to pray is itself prayer. A comforting thought.

I've prayed rosaries in all sorts of ways. Very often, when I'm tired, I'll listen to a YouTube rosary on this channel. Kate and Mike have become old friends to me! Mostly, I'll say it on my beads, but sometimes I say it on my fingers. Sometimes I've said it on my fingers while sitting at a dinner-table or having a conversation. Sometimes there's just no other way.

How has the rosary benefitted me? Well, how can I possibly say?

The idea for my book occurred to me when I was praying the rosary. And I'm sure I've had other inspirations while praying it, though I don't remember them right now.

My daily rosary might have had all kinds of beneficial effects, aside from its innate spiritual value. I'm sure that it has. I'm just not one for claiming supernatural intervention except where it's obvious.

In all honesty, it's always felt like a duty, a self-imposed duty. To my shame, I rarely if ever turn to my rosary with delight. I once heard a priest say: "Don't just get your rosary in. Get into your rosary." Good advice, but I find it hard to follow.

Being a lover of tradition, I've often tried to excite myself about my daily rosary by hyping up its traditional aspect in my mind; my own daily tradition! And a venerable one, now! But it rarely seems to work.

I don't want to make it sound like I hate saying the rosary. That's not true at all.

I have my preferences. The Luminous Mysteries always seem like a treat, especially the Transfiguration. I feel like it's not only OK, but in fact entirely appropriate, to play up the awe, wonder and brilliance of the scene. A "peak experience" if ever there was one-- pun entirely intended. I've never been satisfied with any artistic depiction of the Transfiguration. If I painted one (I'd have to learn to paint first) I'm sure it would be universally condemned as tacky and garish. It would be Spielbergian, to say the least.

My other favourite mysteries are the Descent of the Holy Spirit and the Presentation of the Temple. (Are there any more moving words than those of Simeon: "Now, my Lord, you may let your servant depart, according to your Word, because my eyes have seen your salvation..."

I've tried not to play up my daily rosary too much in this blog entry. I've become somewhat allergic to "gushing" in religious discourse. But perhaps I've gone too far in the opposite direction. I'm very happy that my daily practice of the rosary has lasted ten years, and I hope that it lasts to my death. Very often it has comforted me in times of distress, and given me an outlet for my gratitude in happy times. Thank you, Mother Mary!

Provincialism in Time

This post is a bit of a stopgap, something I found in my Google Drive. I sent it to some conservative magazine or website: First Things, or the Imaginative Conservative, or something like that. They didn't bite. Anyway, here it goes.

Some months ago, I found myself making a study of Idylls of the King, a long poem by Lord Alfred Tennyson which was published between 1859 and 1885, and which Tennyson considered his most important work. A long blank verse running to thousands of lines, it chronicles the decline of Camelot over many interlinked stories, and Tennyson used it not only to comment on the human condition but on the Victorian England in which he lived.

The poem was of interest to me for several reasons. The main reason was that I had long admired its sublime climax, “The Passing of Arthur”, which was in fact the earliest part of the poem to be written. Many of its lines would be widely recognized. The line “authority forgets a dying King” is quoted in the movie JFK, and the exchange from which it is taken—between the wounded Arthur and the last of his knights—supplies some more oft-quoted lines:

The old order changeth, yielding place to new,
And God fulfils himself in many ways,
Lest one good custom should corrupt the world.
Comfort thyself: what comfort is in me?
I have lived my life, and that which I have done
May He within himself make pure! but thou,
If thou shouldst never see my face again,
Pray for my soul. More things are wrought by prayer
Than this world dreams of.

The whole poem is an argument for the spiritual in the face of the material and utilitarian, although that is simplifying its theme considerably.

I was also attracted to the poem because it is rather neglected. Back in its day, it was a popular favourite, selling (hard to believe now) tens of thousands of copies. Today, in a time when long poetry is rarely read—and I find it a trudge, as much as anybody else does—the Idylls are a masterpiece more known about than known. The brave souls who embark upon long poetry for its own sake might tackle Paradise Lost or The Faerie Queen, but not Idylls. The road not taken has its own appeal.

I also wanted to know what commentators had said about the poem. Luckily, my library job gives me access to the archives of most literary journals, so I printed off about a dozen essays on the poem, ranging from the early twentieth century to today.

Reading them, I found myself falling into a rather strange and pleasant mood. It reminded me of how I used to feel as a teenager, when I would read a bundle of recent newspapers, enjoyably insulated from the immediacy of their controversies.

Nearly all of the articles mentioned the critical vicissitudes of the poem over time, very consciously relating it to the intellectual and scholarly preoccupations that had succeeded one another since its publication. Victorian critics had admired the idealism of the poem; critics in the interwar and post-war eras preferred the darker, more pessimistic undertones (after all, the whole poem is about the fall of Camelot, and the inability of King Arthur’s knights to live up to his angelic ideals); when post-modernism became the fashion, critics began to pay more attention to the poem’s intricate narrative structure, with its nested tales within tales and its unreliable narrators.

Here’s a funny thing, I found myself thinking. Why do I find myself enjoying this bird’s eye view of Idylls of the Kings’s critical history, admiring how each period had its own relationship to the text, when I am so scornful of academic fashions in general? I remembered my brief foray into studying English at university level, and the disdain I felt for the feminist, post-modernist, and post-colonial approaches they took to the various texts. Literature, I thought, should be timeless, universal, addressed to the depths of the human condition that are beyond the catch-cries of the day. Now, however, as I savoured the critical history of Idylls of the King, I felt like a party pooper.

And it confronted me with a question which I’d never contemplated before. That is, why did conservatives (like) myself have such a deep appreciation of character and atmosphere when it came to place, but a rather disdainful attitude towards character and atmosphere when it came to time? Why was I delighted to learn that a country or a region or a village had its own distinctive ways and manners, but so hostile towards any notion of a zeitgeist, or contemporary sensibilities? Why was I so warm towards provincialism in space, but so hard on provincialism in time?

It’s certainly the case that conservatives should defend eternal truths of the human condition, and indeed the supernatural order, over ideologies of the moment. But is there perhaps, a danger that we are too intolerant of the flavour of our particular niche in time? As pilgrims on this earth, shouldn’t we be as eager to enjoy the distinctiveness of the time we pass through as travellers in a foreign country?

Ivy Day 2024

Happy Ivy Day 2024!

Ivy Day is the annual commemoration of Charles Stewart Parnell, the "uncrowned king" of Ireland who came close to winning Home Rule. He died on this day in 1891.

Every year since then, there's been a commemoration at his grave in Glasnevin cemetery. It used to be a big deal (a long time ago), but it's a pretty subdued affair now. There's a speech by a dignitary, a wreath-laying, and a piper playing a tune or two.

As my readers will know, I'm mad about the traditions, especially neglected and minor traditions. So for many years, I meant to attend the Ivy Day commemoration, but never got round to it. Last year I finally did, and this year I attended a second time. So it's a bona fide personal tradition now.

This year, the speaker was the Taoiseach, Simon Harris. For this reason, I thought there might be more of a crowd, but there wasn't. There was probably around fifty people there.

I actually wrote an article on the history of Ivy Day for this month's Ireland's Own. You can read the first few paragraphs here. (Or you can subscribe and read the rest of it, and all my other articles, including my Irish priests series which now includes thirty-five priests.)

Here are some pictures and a very amateurish minute or so of video from today's event.

Back to the Seventies

 

I've just finished reading The Seventies: The Great Shift in American Culture, Society and Politics by Bruce Schulamn. It held my interest from beginning to end. I don't think there's really more of a compliment you can pay to a book, unless it's that you return to it.

I've been fascinated by the seventies all my life. Here's a blog post I wrote about the atmosphere of the seventies. Are such musings of interest to anyone else? Maybe not. But that's the benefit of a blog; you can write about things that might or might not be of interest to other people.

I love everything about the seventies. I love the music: Led Zeppelin, Slade, Horslips, Wings. (Actually, three of those bands happened to break up in 1980!) I love the movies: Shaft, Airplane! (I know it was released in 1980), The Wicker Man, Halloween, The Color of Money. (And let's not forget the best Carry On films, like Carry On At Your Convenience.) I even love the interior decoration, which is possibly the most detested aspect of the seventies now-- apart from disco, that is.

Speaking of disco (which I personally like), here is the funniest paragraph from the book: "The anti-disco frenzy reached its peak in Chicago on a hot July in 1979. Desperate to revive sagging attendance at home games, the White Sox sponsored Disco Demolition Nite at Comiskey Park. Before a game with the Detroit Tigers, the master of ceremonies detonated a mountain of disco records piled up on the stadium floor. Thousands of white teenagers flooded onto the field; the resultant riot lasted for two hours, causing much damage, many injuries, and isolated incidents of mayhem in the surrounding black community. The White Sox forfeited the game."

In a way, the seventies are topical right now. The event that determined the course of the decade, more perhaps than anything else, was the 1973 Yom Kippur war and the OPEC oil embargo of Israel's allies. The price of oil shot up and, even after the embargo, it remained high. This brought an end to the unique economic growth of the post-war world. Today, of course, Israel seems to be once again at the centre of world history.

The nineteen-seventies also saw the rise of the religious right in America, and a general flourishing of interest groups and identity politics. Black nationalism, "white ethnic" nationalism (like Chicano nationalism), gay rights, feminism (and anti-feminism), and other interest groups began to distinguish themselves from the mainstream. In some ways, I find this sort of climate congenial, even though I haven't much fondness for some of the social movements involved (like feminism). Pluralism appeals to me, as long as it's operating within the context of a shared culture (which I think America has always had).

The book has little to say about Ireland, which isn't too surprising. Or Catholicism, rather more surprisingly.

Nor does it (as far as I can remember) mention the book I'm reading now, The Exorcist (1973), or indeed any of the horror sensations of the decade: The Omen, Halloween, The Amityville Horror, or the rise of Stephen King to literary superstardom.

But, on the whole, certainly a book I would recommend to anybody with even a passing interesting in the decade of glitterballs, earthy tones, and stagflation.