32 <strong>Irish</strong> <strong>American</strong> <strong>News</strong> “We’ve AlWAys Been Green!” August 2011Oh What a Bloody Good Friday!Some time ago I visited York, Englandfor the bi-annual production ofthe 14th Century Mystery plays. I satfor five and half hours, watching elevenplays, with only a ten-minute break. Theplays, religious in nature, are based onbible stories.The playwrights took the cannon ofscripture and injected their own uniqueflavour into the stories, something thatwe today call poetic license. Given thatthe audience were largely illiterate, whowould know what was the artist’s imagination,and what was the word of God?The task for the writer was to makethe sacred book come alive to an audienceunfamiliar with its mysteries. Inorder to do this, they needed to employthe language of the vernacular, and alittle comedy. The plays, performed onthe feast of Corpus Christi, were a greatsource of entertainment, a communalevent in which actors and craftsmendemonstrated their talents.Given the limitations of the genre, itis no surprise that the authors sought tohumanize the biblical characters, addinghumour that, at times, could be construedas sacrilegious and by today’sstandards not politically correct. One ofmy favourite examples of this approachinvolves the dramatist’s interpretationof the story ofNoah. Whilethe heavensopened andthe world isabout to bedrowned; Noah’swife hesitatesto get onthe ark. Shedoesn’t want to be separated from herfrom her ‘gossips’ (friends). Resortingto violence, Noah strikes his wife, andhis blow is returned with gusto. Thescene is hilarious.Having been inspired by the creativegenius of the medieval dramatists, I tookit upon myself to try and construct amodern version of the mystery play. Thisis not a new idea; others have attemptedthis with success.For me, I wanted to place the deathand resurrection of Christ in Derry,Northern Ireland. I wanted to find a pathback to what it must have been like forthose alive during the life and death ofChrist. We have had over two thousandyears of church councils to refine our understandingof these events, and as suchlost the immediacy as well as the confusionof the times. There had to be a wayto strip away our erudite preconceptionsand place the audience back into the experiencethat was neither didactic, nordemeaning to the act of belief.I still remember a priest speaking toour high school in the 70’s about howthe conflict in Derry was not unlike thatof the time of Jesus. For some reason hislittle motivational homily found a nichein my mind, and I could see for myselfthe ingredients for creating a modernversion of NewTestament Israelin NorthernIreland.We had all theright players;the foreign occupyingforces,the rebelliousinsurgents, anove r b e a r i n greligious systemand theoccasionalBlake-LambFuneral Homes4727 W. 103rd StreetOak Lawn IL 60453All phones: 708-636-1193Owned by SCI Illinois Services, Inc.movement for peace.As all of these ideas began take formin my imagination, I wanted to have thestory told by women, since their role,though pivotal, appears underwrittenin the gospels. Mary, the mother Jesus,should be a typical Derry woman, abingo player with the odd flutter on thehorses. Mary Magdalene, the formerparty girl whose search for the mysticalcould also be the result of too many hallucinogens.Coupled with the more recognizablebiblical women, I included Siobhan andPhyllis. Both these women have complicatedlives. Siobhan loves life, loves togossip, and appears the epitome of superficiality.She is hopelessly decadent.When we first meet her she’s on her wayfor a sexual liaison with someone shejust met at the pub.Phyllis, a teacher, is in the prime ofher life. As a married woman with children,she is forced to come to terms withaging. She is on the verge of a breakdown.Casting caution to the wind, shebecomes entangled with a younger manwho wants to break up with her. Desperately,she seeks to maintain control ofher life while all around her the worldis changing.Initially, neither of these women is interestedin the news that a man of peacehas died. The reports of his subsequentresurrection are discarded as religiousdelusion. But as the play unfolds, circumstancesforce them to re-considerthe significance of the larger political/religious events. What neither of themrealizes, and which becomes obvious tothe audience, is that they have deep feelingsfor the same man and it is this keyrelationship that brings them into thecentre of the mystery of faith.Their human complexities are placedagainst the backdrop of Northern <strong>Irish</strong>politics, hence the play on the phrase‘good Friday’. The tensions of the largerworld, coupled with the strange religiousevents, begin to seep into their personalstruggles and drive them to re-evaluatetheir priorities.As I worked on this play, I had a chanceencounter with the president of LoyolaUniversity, Chicago, who was enthusiasticabout the project. I sent him one ofthe earlier drafts of the drama, and soonfound his enthusiasm developed into anoffer to stage the drama at Loyola, andCuneo Mansion. (Vernon Hills, north ofthe city).Since the mystery plays were stagedoutside, this play will take place in frontof the Information Commons buildingat Loyola (August 30th), and at the rearof the mansion at Cuneo (September9/10/11). To add to my good fortune, avery dear friend of mine, is coming fromEngland to direct the work. If you areout and about, near Chicago, I hope youcan join us.*Terry, originally from Derry, now residesin Chicago and teaches <strong>Irish</strong> andBritish Literature at Loyola University,Chicago. terenceboyle@sbcglobal.net.Learn a Bite of<strong>Irish</strong> Gaelic withBitesize <strong>Irish</strong> GaelicStart practising every day:The Primer MethodFor this you will need: A roomwhere you previously placed somelabels in <strong>Irish</strong> Gaelic.Pick one of the labeled objects atrandom and see how many simplesentences you can make up aboutit.If you are only starting to learn<strong>Irish</strong> Gaelic, keep this game in mindfor later.For example, choose an balla (thewall):• Tá balla ann. [taw BOL-ah ow-n](There is a wall.)• Tá an balla crua. [taw on BOL-ahKROOO-ah] (The wall is hard.)• Tá an balla bán. [taw on BOL-ahbawn] (The wall is white.)Our fellow <strong>American</strong> <strong>Irish</strong> MediaGroup publication Celtic Connectionis extending a Readers’ Offer. Bitesize<strong>Irish</strong> Gaelic gives you online<strong>Irish</strong> Gaelic lessons. If you wantto start learning the language, starthere. From their home in Limerick,Ireland, Eoin & Sasa of Bitesize<strong>Irish</strong> Gaelic bring you 60+ bitesizelessons. All lessons are online, solog in from any computer. Don’tget frustrated with starting a newlanguage—they’ve broken downthe lessons into manageable bitesizechunks.Get your 50% off you first month,visit:http://www.bitesizeirishgaelic.com/celticconnection/
August 2011 <strong>Irish</strong> <strong>American</strong> <strong>News</strong> “We’ve AlWAys Been Green!” 33All The President’s Men!St. Mark’s Initium Euangelii Ihu Xpi“The Beginning of the Gospel of Jesus Christ” 130r*This is the third of five full-page Incipit Illuminations of the Gospels. They arecalled “incipit” because each one uses the first word or phrase of each Gospel textas the basis for a spectacular introduction to each Gospel. Matthew had two suchpages: “Liber generationis” (29r) (The book of the generations) and “Chi Rho” (34r)(Christi autem generatio-The conception) See IAN, May and June 2011.As suggested earlier, one particularscribe, who I call Artist/Scribe A, (A/S A)with more or less collaboration with otherscribes, does them all. A/S A deliberatelycreates designs using color, artistic imaginationand amazing visual techniques (canI add inspiration?) to evoke in readersa sense of divine presence, of spiritualepiphany and ecstatic rapture-feelingsand emotions appropriate to accompanythe words of the deity. We cansurmise that all early Gospel scribesendeavored to do that-but the scribesof the Book of Kells actually achievedit—especially A/S A.Earlier Insular Gospel’s scribes/artistsfirst used the design of combiningthe letters, “I-n-i,” to appear to be theletter “N” and “I-n-I.” Later, monkscopying the designs, would immediatelyknow it is “I-n-i,” would insert therest of the letters in boxes where therewas room. The “I-n-i” combination wasa recognized design, using a backward“s” shape to connect the two “I”s.In Mark’s Initial page, A/S A designeda page in a similar style that heused previously in Matthew’s “Libergenerationis” (29r.) Using his highlydeveloped artistic vision he, again,created a unified page-filling design. Inhis “I-n-I” the top and bottom of each “I”are knot-work designs of blue, violet orred snakes. Bands that are filled in withinterlaced snakes and peacocks designsfill in spaces around boxes of text from theupper right side of the design down to thebottom left. Snakes and peacocks interlacingfill the spaces inside the “I-n-i” letters.Less space is devoted to the approximately110 “spinning” spirals and disks.There are two other figures in the upperright, which I think were done by a collaboratingscribe. The style is differentthan A/S A’s and similar to other figureselsewhere in the Book. A man in whiteclothing with red interlacing is in the jawsof a lion. There are a few anomalies inthis drawing, but I don’t think they haveany special meanings. The man has whiteclothing on, he is not painted white. Lookat his neck and see a definite collar. Hisleft hand pulling on his knotted beard isattached to his right arm. The right handholding the lion’s tongue is attached tohis left arm. Also, it appears he has twoOne of Irelands legendary bands Bagatelle were among the special invited acts to perform at aSummer Garden party hosted by President Mary McAleese on July 1st at Aras An Uachtarain.More than 350 guests attended the Garden party, and were representing Community groupssuch as Cancer Care, DSPCA, Rehab Care, the PSNI and Dochas.(L-R) Liam Reilly, President Mary Mc Aleese, Ken Doyle, Senator Michael Mc Aleese, PaulByrne and Conor Mc Gouran.right feet.Careful observation shows the man’sarms and legs are interlaced with thelion’s body. Finally, the band that startsat behind the lion’s head and goes downthe right side around the text boxes andacross the bottom is actually the lion’sbody. The man appears to be seated onone of the lion’s front legs.Attempting to understand the meaningsof the images in the Gospel books, wehave at least three concepts to take intoconsideration.1. Determine if the image is deliberatelyplaced within a text and is connected to it,either specifically or symbolically.2. Compare it to other similar works toplace it into a tradition of such usage.3. Compare artistic styles and drawon experience studying graphic designsof that era.A short analysis of the man and lion onthis page can be simple. The lion is oftena symbol of divinity and also a symbol ofMark: they are symbolically intertwinedfor this Gospel.Next month: St. Luke*Note: the numbers refer to folio(“page”)“r” = right side and “v” left side as youlook at the book.2901 Central St. • Evanston, IL 60201Bakery ~ CafeM-W 10-5pmTh-F 10-7pmSat 9-7pm• Cakes• BreadsOptions:• Muffins • Cane Sugar Free• Cookies • Gluten Free• Brownies • Dairy Free• Tea Breads • Egg Free• Pizza Crusts • Vegan• Granola BrowniesCookie of theMonth ClubWe Only Use Organic Butter, Eggs, Canola/Olive Oil, RiceFlour, and Tapioca Flour, and other organic ingredientswhen possible or seasonal.Available in Retail Stores in Your Area!ALL GLUTEN FREE!Wholesale to Retailers/Restaurants847-859-2723www.Rosesbakery.com