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Fairy Tales and Folk Tales — Two Books by Yeats

by Aedín Ní Bhróithe Clements, Irish Studies Librarian

Most of the books in our W. B. Yeats collection sit neatly on the literature shelves — in fact, the majority are in the ‘rare medium’ shelves as our special collections are organized in various size ranges. Exceptions, however, with variant editions found in the ‘rare small’ sections of folklore and children’s literature section, are Yeats’s Fairy and Folk Tales of the Irish Peasantry and his Irish Fairy Tales.

*Fairy and folk tales of the Irish peasantry* / ed. and selected by W.B. Yeats.
London: W. Scott, undated. Rare Books Small GR 153.5 .F34 1880z

Fairy and Folk Tales of the Irish Peasantry was one of Yeats’s earliest published books. At the time of this work, Yeats had been publishing in periodicals for about four years, mostly in the Dublin University Review. He had published one book of poetry, Mosada, now exceedingly rare, in 1886, and was working on having his next collection published — The Wanderings of Oisin and Other Poems. His published poetry and other writing of the time demonstrate a great interest in folklore, and in stories of fairies, ghosts and other phenomena of folklore. His reading on the subject was complemented by encounters with the people of County Sligo, where he spent much of his time.

To find Yeats discussing this publication, we can consult John Kelly’s great compilation, The Collected Letters of W. B. Yeats, which, fortunately, we have in digital form and so can easily search the letters for references to folklore and fairies. Thus we learn that Yeats was invited by his friend Ernest Rhys to produce a book of folklore for the Camelot Series of prose writing, to be published by Walter Scott.

Yeats writes to his friend Katharine Tynan in February, 1888:

I am trying to get some sort of regular work to do however, it is neccessary, and better any way than writing articles about things that do not interest one — are not in ones line of developement — not that I am not very glad to do the Folklore book or any thing that comes to my hand.
Kelly, 47-48

Illustration by James Torrance from *Irish Fairy and folk Tales*, a later edition, circa 1893, published by W. Scott. The picture illustrates a story by William Carleton, ‘Frank Martin and the Fairies’.

*Irish fairy and folk tales* / selected and ed. with introduction, by W.B. Yeats. Twelve illustrations by James Torrance. London: W. Scott, [1893?]

In the letters we also find Yeats consulting with Douglas Hyde on the book.

Yeats’s selection includes stories written by his friends, Douglas Hyde and Katharine Tynan and other contemporaries, and also by earlier writers, among them Crofton Croker, whose early nineteenth century collections of folklore were very popular.

In the introduction to the 1888 book, Yeats discusses the context for storytelling in the community, and he argues the merits of the folklore collectors included in his book, saying that “they have made their work literature rather than science” and that they have “caught the very voice of the people” (xiv).

Most of Yeats’s early encounters with the rural Irish were in Sligo, where his mother’s family lived, and here he introduces a story-teller of his acquaintance, Paddy Flynn, “a little, bright-eyed, old man, living in a leaky one-roomed cottage” who tells stories of Columkill (Colmcille) and who has told Yeats matter-of-factly of his sighting of the Banshee.

*Fairy and folk tales of the Irish peasantry* / edited and selected by W.B. Yeats. London: W. Scott; New York: T. Whittaker, 1888. Rare Books Small GR 153.5 .F34 1888

The chapters demonstrate the editor’s interest in the various supernatural or magical creatures and phenomena found in Irish folklore. The sections on fairies are divided into ‘The Trooping Fairies’ and ‘The Solitary Fairies’. In the first are stories of Changelings, and of the Merrow (a sea-being), while the Solitary Fairies include the Leprechaun and his variants, and also the Pooka and the Banshee.

The stories collected from folklore are interspersed with verse, including, for example William Allingham’s ‘The Fairies’, with which the collection begins. In the section on the Changeling, we find an example of one of Yeats’s own compositions, his well-known poem ‘The Stolen Child’, with an early version of the refrain uttered by the fairies to entice the child to leave and join them:

Come away, O, human child!
To the woods and waters wild,
With a fairy hand in hand,
For the world’s more full of weeping than
you can understand.
W. B. Yeats, ‘The Stolen Child’, in Fairy and Folk Tales of the Irish Peasantry (1888), p. 59.

The rest of the chapters cover characters ranging from ghosts to priests, and there is also a chapter called ‘Tyeer-Na-N-Og’ (Tír na nÓg — the land of youth).

Title page with frontispiece by Jack B. Yeats: an illustration from “The Young Piper” by Crofton Croker.

*Irish Fairy Tales,* edited with an introduction by W. B. Yeats. New York: Cassell, 1892.

Yeats’s Irish Fairy Tales, with illustrations by his brother, Jack B. Yeats, was published in a series for children in 1892. This book has a modest selection of fourteen stories, a lively introductory essay on ‘The Irish Storyteller’, and an appendix on the classification of Irish fairies.

In a note on the contents, Yeats explains that he has included no story that has already appeared in Fairy and Folk Tales of the Irish Peasantry, and that he believes the two volumes to make “a fairly representative collection of Irish folk tales.”

For writers of the stature of W. B. Yeats, there are usually good resources to enable librarians and scholars to research their bibliography, that is, to understand the history of their writing and their publications. In the case of Yeats, we have Allan Wade’s A Bibliography of the Writings of W. B. Yeats, 3rd. ed., rev., Russell K. Alsbach (1968). Along with what those guides can tell us, it is always interesting to examine the volumes themselves, and particularly rewarding in the case of W. B. Yeats, who made many changes in variant editions of his work.

Dante and Women Authors in Sixteenth Century Italy

by Tracy Bergstrom, Curator, Zahm Dante and Early Italian Imprints Collection

Notre Dame’s Rare Books and Special Collections holds one of the largest collections relating to the works of Dante Alighieri in print and, as such, supports research into the utilization of the Divina commedia at various times for a variety of political purposes. One of the rarities of our collection is the small, ephemeral pamphlet printed in 1575 titled Declamatione delle gentildonne di Cesena intorno alle pompe (Declamation of the Gentlewomen of the City of Cesena against Sumptuary Fines…). Eponymously written by a group of ‘Gentildonne’ to push back against recent strict sumptuary laws, the authors utilize quotations from Dante, Petrarch and a panoply of classical authors to argue for the necessity of ornamental clothing as it provides a means of communicating women’s identity.

Title page, *Declamatione delle gentildonne di Cesena intorno alle pompe…* , printed in Bologna by Alessandro Benacci in 1575.

Mid-16th century Italy saw a flourishing of publications authored by women. The collection of lyric poetry authored by the courtesan Tullia d’Aragona, first printed in Venice in 1547, is a fine example of this phenomenon. The volume includes poems by d’Aragona herself as well as sonnets addressed to her by her male contemporaries.

Title page, *Rime della signora Tullia di Aragona; et di diversi a lei*, printed in Venice by Gabriel Giolito in 1547.

The period between 1560-1580, however, marks a time of decline in works published by women in Italy. As vernacular poetry declined in popularity and more academic discourse gained readership, this shift was not particularly conducive to women’s contributions. Thus, if the Declamatione delle gentildonne… was authored by women, as the title and content suggest, it is a rare example of a female polemical prose writing. As such, it is one of many examples within Special Collections’ extraordinary collection of Dante-related holdings with significant research potential for students and scholars alike.

An Example of Early Modern French Humanist Scholarship

by Alan Krieger, Theology and Philosophy Librarian

Hesburgh Libraries has recently acquired an interesting example of early modern French humanist scholarship, Jacques Lefevre d’Etaples’ Iacobi Fabris Stapulensis De Maria Magdalena, & triduo Christi disceptatio (Hagenoae, 1518). In this work, Lefevre d’Etaples (c. 1455-c. 1536) contends that Mary Magdalene, Mary the sister of Lazarus, and the penitent woman who anointed Christ’s feet were three different women, an assertion that went against popular tradition up to that point.

While many scholastic theologians and traditionalists feared the questioning of such traditional beliefs posed a danger to the faith, Lefevre and other humanists believed that the real danger was in allowing ill-founded legends to corrupt authentic faith and piety and prevented the reform of belief and practice that was needed in the church.

We have identified only two other physical copies of this second edition held by North American libraries.

Competing with Finian’s Rainbow

by Aedín Ní Bhróithe Clements, Irish Studies Librarian

This immigrant librarian was delighted to see Ireland’s national holiday celebrated in American elementary schools. It was dismaying, however, to walk down a school corridor in March of 1996, and see the walls bedecked with rainbows, crocks of gold, and leprechauns.

Did a film about a leprechaun and a crock of gold so captivate American audiences that no other stories could compete? Have books of Irish stories been available for children who grew up in America in the last century?

Padraic Colum, *The King of Ireland’s Son,* illustrated by Willy Pogany. NY: Macmillan, 1921.
Rare Books Medium PR 6005 .O38 K54 1921

Padraic Colum (1881-1972) and Ella Young (1867-1956) are the only Irish authors whose books have been recognized with a Newbery honor. The Newbery medal was founded in 1922 and is awarded annually by the ALA for an American-published children’s book. In addition to the medalist, a few books are named honor books each year. Colum and Young are also among the few Irish authors mentioned in American reviews of children’s books in the first half of the twentieth century.

Colum’s The King of Ireland’s Son, illustrated by Willy Pogány, has many stories woven into a framing narrative. Between the time when Connal, the King of Ireland’s son, is sent on a quest by the Enchanter and the end where he and Fedelma, the Enchanter’s daughter are finally married, there are many stories and adventures, some concerning Connal and Fedelma, and some being stories told by our characters — stories within stories.

As in all Colum’s books for children, the art of the storyteller is always close to the surface.

Padraic Colum, *The King of Ireland’s Son.* Illustrations by Willy Pogany.

And then a flock of ravens came from the rocks, and flying straight at them attacked Fedelma and the King of Ireland’s Son. The King’s Son sprang from the steed and taking his sword in his hand he fought the ravens until he drove them away. They rode on again. But now the ravens flew back and attacked them again and the King of Ireland’s Son fought them until his hands were wearied. He mounted the steed again, and they rode swiftly on. and the ravens came the third time and attacked them more fiercely than before. The King’s Son fought them until he had killed all but three and until he was covered with their blood and feathers.
Colum, 51

Padraic Colum, *The Girl who Sat by the Ashes.* Illustrated by Dugald Stewart Walker. NY: Macmillan, 1919.
Rare Books Medium PR 6005 .O38 G57 1919

Colum’s children’s books, published by Macmillan, are drawn from the literature of a number of countries and cultures. His The Golden Fleece and The Children’s Homer were much-read and constantly recommended for youth, and his Hawaiian stories were written at the request of the Hawaiian legislature. His Irish stories include The Girl who Sat by the Ashes, and The White Sparrow, and The Forge in the Forest is a collection of stories of different cultures all told in a forge, a traditional setting for storytelling.

Typically, Colum’s books have stories within a story, so that the narrator and context of the storytelling is part of the story. In The Big Tree of Bunlahy, for example, the narrator sets the scene by claiming that the big elm tree in his small native village is world-famous. The narrator proceeds to tell of many instances where he sat under the tree as a boy, often in the context of an errand such as a visit to the shoemaker, and he tells of a colorful series of people who gathered under the tree, and the stories that they told on different occasions. Stories vary from early Irish literature such as the story of Oisín (Usheen) and Tír na nÓg, to stories about animals and birds.

Colum’s children’s books are just one aspect of the literature for which he was known. He was already well-known in Ireland as a playwright and a poet when he left for America in 1914. In fact, he is mentioned in Joyce’s Ulysses as one of Ireland’s most promising young writers in 1904.

In his long career in America he taught literature at Columbia University in New York, sometimes co-teaching along with Mary Colum, his wife.

Another Irish emigrant, Ella Young, who made her home in California in the 1920s, was involved, as Colum was, in the Irish Literary Revival. She, too, taught in a university. She taught Irish myth and lore at the University of Berkeley in California. And Irish myth and lore is at the center of her books of stories for children. Shown above is her 1932 book, The Unicorn with Silver Shoes, illustrated by Robert Lawson.

Ella Young, *The Wonder Smith and his Son: A Tale from the Golden Childhood of the World.* Illustrated by Boris Artzybasheff. NY: Longmans, Green, 1927.
Rare Books Medium PS 3547 .O4745 W66 1927

The Wonder Smith and His Son was a Newbery Honor book in 1928, and The Tangle-Coated Horse and Other Tales was a Newbery Honor book in 1930.

The Wonder Smith is Young’s name for An Gobán Saor, a mythical builder, stonemason and trickster, who figures in many Irish folktales. The title page by Boris Artzybasheff, with its decorations inspired by the designs on Irish illuminated manuscripts, enhances the idea of these tales orginating in ‘the golden childhood of the world’.

Ella Young. *The Wonder Smith and his Son.* Illustration by Boris Artzybasheff.

It is interesting that the works of these two writers of the Irish Revival, settled in America, were selected by American publishers and reviewers alike. They represent a new image of Ireland for American readers, one of a nation with its own folklore and literary traditions. Earlier books such as Only an Irish Boy by Horatio Alger, told stories of Irish immigrant children who ‘made good’ in America, and so the insistence of these writers on the existence and richness of Ireland’s culture was probably very welcome.

Our Fall 2013 exhibit was on Irish children’s literature, and we hope to have a selection from that exhibit online in the near future.

Happy St Patrick’s Day to you and yours
from all of us in Notre Dame’s Special Collections!

St Patrick’s Day 2018 post: St. Patrick’s Day in America (1872)
St Patrick’s Day 2019 post: St. Patrick and the Nun of Kenmare
St Patrick’s Day 2020 post: St. Patrick’s Day Postcards

Or, you can browse all our Irish Studies related posts.

African American History Month

We join The Library of Congress, National Archives and Records Administration, National Endowment for the Humanities, National Gallery of Art, National Park Service, Smithsonian Institution and United States Holocaust Memorial Museum to celebrate African American History Month.

Paul Laurence Dunbar’s New Literary Tradition Packaged to Sell

by Rachel Bohlmann, American History Librarian and Curator

Poet and writer Paul Laurence Dunbar (1872-1906) was interested in creating an African American literary tradition based on oral sources. In both works of poetry shown here, Candle Lightin’ Time and Li’l’ Gal, Dunbar used dialect, a choice he made for some of his work. Unlike most contemporary white writers, who used dialect in openly racist ways, Dunbar appropriated dialect as a way to represent fully African American expression.

Beginning of “The Plantation Child’s Lullaby” from *Li’l’ Gal* (1904).

The books’ appearance—the detailed and beautiful bindings, illustrations, and page designs—point to Dunbar’s publisher’s confidence in their profitability. Dodd & Mead of New York produced a string of the writer’s works, a partnership that helped propel Dunbar’s popularity. Margaret Armstrong (1867-1944), one of the most successful book designers working in this period, created the bindings. Her art nouveau style featured plant motifs and gold-stamping.

The photographs for Candle Lightin’ Time were taken by the mostly white members of the Hampton Institute Camera Club, an amateur group of photographers affiliated with the Hampton Normal and Agricultural Institute (now Hampton University) in Virginia. The illustrations in Li’l’ Gal were taken by Leigh Richmond Minor (1864-1935), an art teacher at the institute and a trained photographer. Although the pictures were staged, their subjects are presented fully as individuals, another way in which Dunbar’s books overturned contemporary, racist depictions of African Americans.

First illustration of “Dinah Kneading Dough” from *Candle Lightin’ Time* (1901).

Born in Dayton, Ohio in 1872 to parents who were formerly enslaved, Dunbar showed early literary talent. He edited his high school newspaper, served as president of the school’s Philomathean Literary Society, and edited a newspaper for Dayton’s African American community for a short time. Financial hardship kept him from pursuing a college education and he found work as an elevator operator, although he continued to write.

With the support of local backers, he published Oak and Ivy in 1893, a collection of poems in both standard English and dialect. By 1895 his work was praised and championed by Frederick Douglass and by literary critic William Dean Howells. Although Howells and other white critics focused heavily on Dunbar’s use of dialect (much to the writer’s dismay) and placed his work in a tradition of white writing about plantation slavery, the breadth and variety of Dunbar’s literary work transcended the racist limitations of most dialect writing of the time.

In addition to poetry, Dunbar wrote novels, short stories, and at least one play. He gained national and international recognition at the turn of the twentieth century, one of the first African American writers to do so. He was an important literary precursor for writers of the Harlem Renaissance, two decades later.

In Rare Books and Special Collections, Dunbar’s works are part of growing collection of African American literature and historical works published before 1920 and the start of the Harlem Renaissance. Other writers include Benjamin Brawley, Maud Cuney Hare, Helen S. Woodruff, Walter E. Todd, Leila Amos Pendleton, and Oscar Micheaux.

An Ecumenical Council to End a Papal Schism

by Alan Krieger, Theology and Philosophy Librarian

Hesburgh Libraries has recently acquired an important early history of the Council of Constance (1414-1418), Johannes Stumpf’s Des grossen gemeinen Conciiliums zu Costentz gehalten (Zurich, 1541). The main purpose of this ecumenical council was to end the papal schism which followed in the aftermath of the end of the papacy’s extended removal to Avignon, France (1309-1377). The Council successfully ended this crisis by electing Pope Martin V in November 1417.

Another important result of the Council was the condemnation of Jan Hus (c. 1372-1415), the Czech reformer who was clearly influenced by the 14th-century English dissident, John Wycliffe. Hus attacked the moral failings of the clergy and questioned church teachings on a number of theological topics, including the Eucharist and the practice of granting Indulgences. This work examines his career extensively and reproduces many of his letters, as well as a number of contemporary accounts of the Council. It concludes with an exhaustive list of all those involved in the various conciliar sessions.

We have identified only six other North American library holdings of this title.

Color Our Collections: St. Brigid’s Day and “An Alphabet of Irish Saints”

by Aedín Ní Bhróithe Clements, Irish Studies Librarian

St. Brigid’s Day, February 1st, marks the beginning of Spring in the Irish calendar.

In our exhibition of Irish children’s literature some years ago, we showed the first children’s alphabet book written completely in Irish that we know of — Na Rudaí Beaga (c. 1920) by Pádraig Ó Bróithe, illustrated by Lucas Rooney. We recently added a bilingual alphabet to our collection. An Alphabet of Irish Saints, illustrated by the same artist, was first published in 1915.

This book has a two-page spread for letters of the 18-letter Irish alphabet, each entry listing a saint and including a verse in English by Charlotte Dease and one in Irish by Tadhg Ó Donnchadha. An illustration, an ornate letter in the Gaelic font, and notes on the saint and associated place and festivals complete each entry.

The English verse refers to the story of Brigid receiving a promise that she could have all the land that her shawl, or mantle, could cover, to build her abbey. Her shawl spread to cover a great expanse of land. While this verse suggests a learned woman leader who could also cook, scrub and sew, the Irish verse must have been far less appealing to any young reader. It takes the form of a prayer to St. Brigid, and the prayer asks that the comely young women of Ireland would emulate her in practicing hard work.

Whether or not Brigid was a real person, an abbess in the fifth century, her legends have been part of Irish tradition and custom for centuries. In fact, look closely at the illustration above, and see the rushes strewn on the floor. These were surely added by the artist in reference to the story of the saint weaving a cross of rushes from the floor, and hence the traditional Crois Bhrighde, or Brigid’s Crosses, made at this time of year around the island of Ireland through many generations.

From February 1-5, 2021, libraries, archives, and other cultural institutions around the world are sharing free coloring sheets and books based on materials in their collections. Visit The New York Academy of Medicine Library’s #ColorOurCollections site for more information and to find other color options.

Happy Holidays from Special Collections!

Rare Books and Special Collections is open by appointment only through this Friday (December 18, 2020). After that, we will be closed for the Christmas and New Year’s Break (December 19, 2020 through January 5, 2021).

Special Collections will reopen on Wednesday, January 6, 2021, again by appointment only. Visit the Hesburgh Libraries Service Continuity webpage for the most up-to-date information about both the Libraries in general and Special Collections in particular.

This is the last blog post for 2020. Happy holidays to you and yours from Notre Dame’s Rare Books and Special Collections!

Happy Thanksgiving to All Our Readers

by Rachel Bohlmann, American History Librarian and Curator

Americans might be seeing fewer turkeys on their tables this Thanksgiving, due to the demands of social distancing during the pandemic. No matter what holiday fare you get to enjoy this year, we offer a reminder of our unofficial national bird. This illustration of wild turkeys comes from American Ornithology; or, The Natural History of Birds Inhabiting the United States, Not Given by Wilson, a four-volume work by French scientist and ornithologist Charles Lucien Bonaparte (1803-1857). He worked on the project while he lived in the United States in the 1820s and it was published between 1825 and 1833.

An armchair ornithologist, the aristocratic Bonaparte did not do fieldwork himself, as this print shows. It was engraved by Alexander Lawson (1773-1846) from an illustration “Drawn from Nature” by Titian R. Peale (1799-1885). Bonaparte’s strengths lay in his abilities to classify and name birds, and he directed his talent to supplementing work by an earlier ornithologist, Alexander Wilson (1766-1813), whom Bonaparte referenced in his title.

Rare Books and Special Collections holds only the plates from Bonaparte’s multi-volume work; it is part of the library’s history of science collection and complements our Edward Lee Greene collection on the history of botany.

Notre Dame’s fall semester concluded on November 20, 2020, but the campus remains open during the much of the Winter Session (November 21, 2020 – February 2, 2021). Rare Books and Special Collections will be CLOSED on the following dates:

November 25-29 (Thanksgiving Holiday)
December 19-January 5 (Winter Break)

Our health and safety protocols continue to include limiting our building population to those people essential to the teaching and research of our current students and faculty. To that effect, we are not encouraging visitors or patrons who are not current, active members of Notre Dame, Saint Mary’s and Holy Cross College communities.

Members of these communities may request appointments to access Rare Books & Special Collections materials. Please email Rare Books & Special Collections for research and course support or to make an appointment. Research requests by non-ND-affiliates are evaluated on a case-by-case basis, per the University’s Campus Visitors Policy.

Visit our Hesburgh Libraries Service Continuity webpage for up-to-date information about how to access expertise, resources, services and spaces.

Poetry, Art, and Plastic: The Imprints of Ediciones Arroyo

by Erika Hosselkus, Curator, Latin American Collections

Over the past two years, Rare Books and Special Collections has acquired a series of unique chapbooks produced by Ediciones Arroyo, a small and specialized press located in the town of Arroyo Leyes, Argentina. An exciting addition to our collections, each “book” is small and lightweight, bound in black recycled plastic, and features the work of a contemporary poet from Argentina or elsewhere in South America.

Ediciones Arroyo is the brainchild of Alejandra Bosch, founder and owner of the press and a writer in her own right. A proponent of a thriving literary community and an advocate for recycling, Alejandra pursues these dual interests in the creation of her books. Each one includes between two and ten poems by a single poet. A short biography and whimsical illustrations, often by Julián Bosch, Alejandra’s son and collaborator, accompany the text.

The book covers are aesthetically bold, each bearing the name of its poet in bright, colorful letters. The black plastic that once packaged milk – something that might otherwise be considered garbage – is cleaned, cut and sewn by Bosch, to create artistic editions of a roughly uniform size.

Inside, readers find new, previously unpublished pieces, often by young, up-and-coming poets of diverse backgrounds. These imprints, coupled with literary festivals that Alejandra sponsors and organizes, offer support and a creative space for writers.

RBSC’s collection of Ediciones Arroyo imprints currently includes more than 100 editions and is growing. We are proud to be the first North American institution to collect Ediciones Arroyo and to serve as a repository for the poetry of a dynamic group of South American writers.

I recently asked Alejandra what it means to her to see her work, and the work of so many contemporary Argentine poets, here at Notre Dame. She expressed pride and also enthusiasm for the idea that young people here in the U.S., linguistically and culturally distant from Argentina, are now able to read these poems as they learn Spanish. “For me as a writer, it is fabulous, also, that these poets are in the university, when we trained by reading and translating the great North American poets. It is beautiful,” she said. Julián, a tattoo artist and poet as well as illustrator for Ediciones Arroyo, is also motivated by the idea that others are reading the poetry that he and others have worked so hard to create and disseminate. This contact with Notre Dame, “makes me want to forge ahead, beyond this pandemic year and all of the negative,” he states.

Ediciones Arroyo began in 2016, with 9 poets. Today, the press’s catalog includes more than 80 poets, “and they’ve all traveled to Indiana!,” Alejandra notes. Alejandra and Julián have recently begun working on bilingual editions with a number of Brazilian authors. They both aspire to bring their work, and the contemporary poetry of South America, to other university libraries in the near future.