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"originalPublisher": "", "originalPlace": "", "format": "", "pages": "99-123", "ISBN": "", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2015-03-19T17:41:47Z", "dateModified": "2015-03-19T17:41:47Z" } }, { "key": "3ESTCD3K", "version": 2, "library": { "type": "group", "id": 337881, "name": "mdon", "links": { "alternate": { "href": "https://www.zotero.org/groups/mdon", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/337881/items/3ESTCD3K", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/mdon/items/3ESTCD3K", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/337881/items/NAZCTZ4F", "type": "application/json" } }, "meta": { "createdByUser": { "id": 404354, "username": "josullivan", "name": "James O'Sullivan", "links": { "alternate": { "href": "https://www.zotero.org/josullivan", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "3ESTCD3K", "version": 2, "parentItem": "NAZCTZ4F", "itemType": "note", "note": "\"This first anthology of Irishwomen's poetry should enable the reader to follow chronologically the development of such poetry during the past two hundred and fifty years, and to look at the ways in which women's poerty reflects Irish social and political history\" (11).
\n\"From the nineteenth century there is a large body of work by Irish women poets. By the beginning of the century the Penal Laws had been relaxed, brought about by the effects of the American War of Independence and by pressure from the movement of the United Irishmen and their 1798 rebellion. From 1801 Roman Catholics had the vote (not that this affected women!) but were excluded from Parliament until the Catholic Emancipation Act (1829). Irish women poets played both an active and an important role in the furthering of Irish Nationalism\" (19).
\n\"With Mary Devenport O'Neill, though she was born in 1879, we move into the modern era. Women were now permitted, though still often discouraged, from receiving higher education. Much of O'Neill's work, published in The Dublin Magazine, remains uncollected.
\nThe word 'sentimental' had previously meant 'refined and elevated feelings,' or thought proceeding from emotions and as such, poetry based on 'sentiment' had been considered a peculiarly suitable feminine field. By 1880 its adjectival derivative came to mean 'affected, exaggerated or superficially hackneyed feelings'. These meanings had been creeping in to poetry written by women. Women were still not expected to call a womb a womb, and their 'sentiments' were still expected to be refined.
\nO'Neill attempted to break this stereotype. Unlike many of her predecessors her work is not nationalistically involved, and she does not aim to change the political order. She became Yeats' consultant while he wrote A Vision (1925), would be interesting to compare her aesthetic, as revealed in her work, with Yeats' elaborate philosophic system\" (21/22).
\n\"The sociological constrictions on the Irishwoman writer born circa 1910-39 therefore were complex. Though restrictions affected both sexes they bore on women more heavily than on men for the following reasons. Childbearing and rearing remained women's supreme function. Families remained large. For example, the 1926 figures on Irish fertility show that married women under forty-five raised on an average 70% more children than in the USA and 85% more than in England & Wales. The Criminal Law (Amendment) Act 1935 prohibited the sale, advertising, or importation of contraceptives\" (24).
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It points to the fact that his previous novels were carefully crafted metaphors for the bitter contempt in which he regarded his fellow countrymen, their culture, values, and religion. Thus, The Black Shore serves the purpose of bringing all O'Neill's works together and casting them in an altogether different light than previous criticism. 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