Education is teacher-student, lesson plans, Goals and objectives, benchmarks, Regular assessments, testing, and more testing, and Production and productivity. Pour iron ore, limestone, coke, scrap ...iron, And a dash of seasoning Into the mighty blast furnace; Heat until molten liquid; Pour off steel and useless slag from tap holes Into ladles; transport and pour Into ingot molds; Test at every stage; Let the liquid cool; Reheat in soaking pit; Take to rolling mill and shape it as you wish; Downstream, products will follow- And the prize at the assembly line's end: The death toll later rises From the spirit murder Of downsizing and reengineering, Followed, down the road, By body deaths, though no statistics are gathered on casualties of people who became things.
Shaun Richards convincingly argues that this question was really Yeats trying to lay claim, towards the very end of his life, to having influenced the Easter Rising in 1916, and thus to have had ...solid consequence as a political figure in the freeing of (three quarters of) Ireland from English rule.2 Equally, though, the lines could be read as if they are still part of the opposite campaign-to confirm that Cathleen ni Houlihan was not political. "Cathleenni-Houlihan," which has been published in London for English readers, is an allegory in one act of the power of love swayed by Cathleen-ni-Houlihan-an ancient poetic name of Ireland herself-over her sons; wherein a young man on his bridal-eve is called away to fight for his country. On the version of the play published in England (in Yeats's collection with The Hours Glass and The Pot of Broth), other commentators (in England) mulled over the nature of Cathleen ni Houlihan without having anything to say about rebellion. "'On Baile's Strand'" (1903), wrote The Academy and Literature, somewhat impatiently: deals with an event in the life of Cuchullain, King of Muirthemne, who, having unwittingly slain his son, plunges into the waves of the sea; here, perhaps, is tragedy, but not as Mr Yeats has handled the matter, the characters do not live, they talk but do not convince, they act but we care not what they do.
When Lady Augusta Gregory (1852-1932) effected her famous mid-life self-reinvention from Anglo-Irish landlady to revivalist dramatist, healing women from her locality provided significant guides and ...models for her new life and work. This article will discuss what Gregory learned from the lore of a local healer, the shadowy Bridget Ruane (who died c.1899). It will analyse how Gregory worked Ruane’s folk medical knowledge into her prose writings and plays, including The Pot of Broth (1904). In restoring the name of this non-elite woman from the west of Ireland, this article suggests the benefits of casting the net more widely for names to stand alongside Gregory’s as creators of Revival-era culture.
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