Ciaran Carson's First Language
著者
佐藤 泰人
著者別名
Yasuhito Sato
雑誌名
白山英米文学
号
38
ページ
105-131
発行年
2013
URL
http://id.nii.ac.jp/1060/00004442/
Creative Commons : 表示 - 非営利 - 改変禁止 http://creativecommons.org/licenses/by-nc-nd/3.0/deed.jaCiaranCarson's例耐肌〃ZgMMge
YasuhitoSATO
IntrOduction FirstLanguage,publishedinl993,markedanewphaseofCiaranCarson'spoetics. Onereviewerpointsoutthatthestorytellingnarrativeofhispreviousvolumes, 肋eか杣かA/ひ(1987)andBel/Zz"⑰唯"j(1989),isnow@assailedbythefbrceof poeticconcentrationonfbrmandlinguisticresource';andthat,whilethenarrative ismoreelusive,thefbrmismore.pronouncedandimperious'withmanymore chanceconnectionsofwordsbyrhymesandpuns(McDonald,1994).Anotheralso acknowledgesashifffromfbaturesoffblkloreandoraltraditioninthepreviousvolumes tothoseoflanguage,writingandtranslation.Babelisthesymbolthatmarksthisshift -thelossofacommonlanguageandacommonspeech(Horton,1995).Although anotherreviewerstillattributesCarson'slanguageplaytooraltraditions-thatofa ballad-singer･bendinganaudience'searlstretchingcredibilitytobreaking-poim' (Dawe,1993),hislanguageinthisvolumecertainlybecomesmuchmoredifficult. AnagreedpointisthatCarson'speculiaruseoflanguagedefamiliarisestherealityof Northernlreland,unsettlingandgoingbeyondmonolithicideologies. Languageissurelythemainissueof例応rLα"g"αge.Althoughlanguageissuch abroadconceptwithcountlessaspects,mymainconcernhereisitsrelationtothis collection'sbackgroundofthecontemporaryNorthernIrishsituation,morepreciselyj thesituationwheredialoguehasbeenmostneeded・Thebookcanbeseenasarefiection andrefifactionofthepoliticalstatewheretheUnionistmonopolycollapsedwithviolent disagreement,andwhere,thereafter,therebuildingofasomehowagreedgovernmenth
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Culturaldialoguehasbeenasignificantmatterjespeciallysincetheinstitutionalisation oftheNorthernIrelandCommunityRelationsCouncilinl990anditssub-committee,t
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imerestingchallengetothispolitico-culturallanguageclimate. ThispaperwilldiscussCarson'sactivitiesasartsadministratorinthelatel980sand 1 0 5-1990sandcoincidingculturalmovementthatpromotedculturaldiversity.Thiswillbe fbllowedbyareadingof例沌rLα"g"αgeagainstthisbackground. CarsonintheACNIinthelatel980sandthel990s:acrossboundaries Carson,whojoinedtheArtsCouncilofNorthernlreland(ACNI)asTifaditional ArtsOfficerinl975,continuedhisjobthroughthel980sand90s,untilhisresignation inl998.'Thoughstillacomparativelymeagreportion,thebudgetfbrthesection steadilywentupinthelatel980s(f28,220inl984/85,f29,685inl985/86,f37,690 inl986/87,f56,310inl987/88,andf58,428inl988/89).Theninthenextfiscalyear 1989/90itjumpedtof98,334,thankstothe21%upliftoftheACNI'sgrant丘omthe
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thatinGreatBritain.WiththisbudgetuplifttheBritishGovernmentrequestedthat ACNIshouldprepareaCorporatePlanthatwouldmakeclearitspolicyandstrategies. ThiswaspublishedasObiec"vesα"〃S"αtegies/990.Thetraditionalartssection's administrativeactivitiescanbesummedupinthefburohiectivessetupinthisplan: l)@thepreservationandhandingonoftraditionalartfbrmsandstyle3;2)｡toensure thedistributionoftraditionalartsacrosstheProvince';3)@toengageparticipation inthetraditionalarts';and4).[tocontextualisdtraditionalmusicinternationally' (ACNI,1990,18-19).ForthefirstobjectivetheACNIplannedorsupportedarchival recordings;fbrtheseconditarrangedtoursandencouragedlocalfestivalsandevents;its
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thirdohjective;and,fbrthefburthobjective,itorganisedorsupportedworkshopsand eventsexploringconnectionsbetweentheindigenousmusicandthoseofotherregions. OnesignificantaspectofCarson'sattitudetowardstraditionalartsinthisperiod ishisdesiretotransverseprqudicedborders.Heindeedwritesinanannualreport: cThissectionoftheannualreporthasbeenatpainstoemphasisethattraditionalmusic isasharedheritagewhichdrawsonotherinHuencesbeyonditsostensibleboundaries'(
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FestivalofTraditionalMusicandDance,hewritesintheannualreport: Theethosoftraditionalmusicspringsfromtheparish,fifomlocaltwistsanda
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fbrmsacommunityofinterestwhichextendsfarbeyondthecon伽esofanyoneg
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1 0 6-withthesean-n6sofConnemarathougheachretainsitsownintegrity.[...] ScotsGaelicandlrishGaelicareonthevergeofmutualintelligibility;inthis case,itwouldseem,singingspokelouderthanwords.(ACNI,1989,36) Aconfluenceoftraditionsisthusaccentuatedonmanyoccasions.HughShields'S studyofsingingtraditionSﾙα"rockRose""d剛加ﾉe,whosepublicationtheACNI supported,isatypicalexample・TheCouncilsupports,fbranotherexample,theUIster branchoftheRoyalScottishPipeBandAssociation,ofwhichCarsonacknowledges: 6thestructureofpipebandmusicispracticallyidenticaltothatofthejigs,reelsand hornpipesoftheIrishtradition'(ACNI,1994,20).AnotherACNIsupportedprqject, cDifferentDrums',exploredthecongruenceoftheLambegdrumandthebodhrdn.Feile GhaeilAlbanagusEireannisapromotionofcthecultureofthelargelyPresbyterian ScottishHighlandsandIslandsinconjunctionwithitsIrishcounterpart'(ACNI,1995, ll).Also,eventsliketheAppalachianandBluegrassFestivalandtheBelfastFolk MusicFestivalexploredtraditionalmusicinaninternationalcontext.Irishmusicwas bytheninternationallycirculatedmusic,sothat,asCarsoncomments,."Irish"[...] isnotsomuchadescriptionofnationalityasthatofa解"Fe'(ACNI,1996,12).Scoil ShliabhgCuillinn,supportedbytheACNI,isamixofacademiclectures,workshops, poetryreadings,andmusicanddanceperfbrmancesusingthebilingualheritageof SouthArmagh・Carsoncommentstheschoolis.anexampleofhowinrecentyears thetraditionhasbeenmovingtowards-orbackto-aplacewheretheartsarenotin isolatedpigeonholes,butaremutuallyinclusive:notunliketheceilihousesofold, wheremusic,dancing,singing,conversationandstorytellingfbllowedapatternin whicheveryonecouldparticipate,eitheraslistenersorpractitionerS(ACNI,1992, 37)． 6Mutualinclusivenes3oftheartsissuitableexpressionfbrCarsonnotonlyasa poetwhosuccessfilllyblendedpoetryandoraltraditionsin7We"sﾙﾉbJ"No,butalso asanartsadministratorwhoadditionallyheldthepostofACNI'sLiteratureOfficer (Gsecuringmaximumeconomyinadministrativecostgasthechairmansays(ACNI, 1991,4)),succeedingMichaelLongleyafterhisretirementfifomthepostinl991. TheoutcomewastheACNI'sdirectpromotionofatraditionalartstourGFollowinga Pattern',withitsmixtureofpoetryandtraditionalmusic,inNovemberl992.2Carson reportsthat@itwasgratifyingtoseethepoetrybuffSrespondtothe"diddlyadee",and viceversa',andthatGthereceiveddistinctionsbetweencchigh''and6Glow''artbecame 1 0 7
-irrelevaminthesharedrhythmsofspeechandmusic'(ACNI,1993,37).TheCouncil's similaroriginaltourprogramme6Footnotes'inNovemberl9953isanotherexampleof Gamultidisciplinaryweave'oftraditionalartsGinwhichwordsareneverfarfifommusic' (ACNI,1996,12).Itis,Carsonadds,alsoanexampleoftheir.capacitytotransfbrm privatespacesimopublicones'(ACNI,1996,12).Literatureisthusincorporatedinto thepublicspherethatCarsonhasemphasisedintraditionalarts. OnadifferemlevelfromCarson'srecognitionhere,however,traditionalartfbrms wereinvolvedinapublicsphereinthelatel980s:thedebateonGculturaltraditions'. CulturalTraditions:breakingandmakingboundaries Inl988theCemralCommunityRelationsUnit,whichwascreatedinl987fbrthe developmentofbettercross-communityrelations,drewtogetheranumberofpeoplein
education,theartsandcommunicationstosetuptheCulturalThaditionsGroup,which
aimedGtoexplorewaysofpromotingabetterunderstandingofandamoreconstructive debateabout,ourdifferentculturaltraditionsinNorthernlreland'(Crozier,1990, vi).Withaninitialbudgetoff3,000,000fbrthreeyearsfromthegovernment,the Groupfbstereddebateaboutculturaldiversityespeciallythroughconferences,suchas GVarietiesoflrishness'inl989andcVarietiesofBritishnes5inl990.Inl990itbecame apartofanewlysetUpCommunityRelationsCouncil,apubliclyfimded,gram-giving limitedcompanywithcharitablestatus. Asaculturalorganisation,theACNIwasnotindependentofthismovement.Itwas allocatedaspecialgrantoffl90,000fbrtheyearl989/90outoftheabovef3,000,000 fbrprqjectsthatexploredculturaltraditionsandcommunityrelations,mainlyinthe fieldsofdrama,dance,traditionalartsandliterature､4Thetraditionalartssection wasallocatedf38,335fbrtheyear,andsincethentheCulturalTraditionsfilndhas becomeanimportant伽ancialpartthatoccupiesaboutonethirdofthetraditionalarts budget.5Thisenabledthesectiontoenlargeitssupportfbrmumming,storytellingand dancetraditions・Thefimdalsoenabledittosetupamusicinschoolprogrammeusing younglocaltalemsandcoordinatedbytheuilleannpiper'IbmClarke.6Theliterature sectionontheotherhandgotf51,300fbrtheyearl989-90,althoughtheallocationsin thefbllowingyearswerenotstable.7Theculturaltraditionsmovementwasbeneficial towritinginlrish.WiththeACNI'ssupport,1988sawtheestablishmentofaWriterg in-ResidenceinthelrishlanguageinQueen'sUniversityandtheUniversityofUlster､8 Inthel990ssupportfbrwritinginlrishincreased,whichincludedgrantsfbrlrish 1 0 8
-languagemagazinessuchasC"なノセ〃α〃Gae/andz4"r[""c".9Carsonstressesthe importanceofsuchsupport: [...]thetraditionalemphasisoftheLiteraturebudgetonEnglishwritinghas meamthatlrishlanguagewritinghasnotbeenexaminedwithanycoherent strategybForthis,additionalresourcesareneeded;anditistobenotedthatthe PriestleyReporthasidentifiedwritinginlrishasoneoftheelementsintheG<new constituency''.Becauseofitsrelativeweakness,Irishneedsmoreattentionthan English:basiclanguageacquisitionneedstobereinfbrcedbyacomprehensive educationalprogramme;aspiringwritersneedtomeetandtalktootherwriters, tobecomepartofacommunityofinterest.(ACN1,1993,36) @ThePriestleyReport'mentionedabovewasamajorreviewoftheACNI'sartsadminist ration,conductedbythegovernmemappoimeeClivePriestley>anddeliveredinl992. Amonganumberofrecommendations,thereportemphasisedmorecommunity-based artsactivities,traditionalarts,Irishlanguageartsandsoon・Theserecommendations wereapparentlyinaccordancewiththeCommunityRelations/CulturalTraditions policy.Befbrethereport,theCulturalTraditionsGrouphadalreadysetuptheUIﾉIACH Tifustinl989topromotelrishlanguagethroughouttheemirecommunityinNorthern Ireland.Thelrishlanguagewasnowofficiallysanctioned,though,Irishlanguage beingdeeplypoliticised,theofficialstatuswasregardedwithsuspicionbymany.'0 ThisculturalpolicyjespeciallyembodiedintheCulturalThfaditionsGro叩,has metwithvariouskindsofcriticism・Afterall,theconvergenceofculturaldiversity intothetworeligio-politicalsidescannotbeevaded.AsKirklandsays,$[theGroup] recognisesthediversityofidemitiesandyetinsodoingseekstolimittheplayof thatidentitywithinthestrictOrange/Greenfifameworkitwishes$imultaneously)to subvert'(1999,212).Thesimultaneityisunavoidable:theprincipalaimfbrwhichthe governmentfimdsbeingareconciliationbetweenthetwosides,theGroupalwayshas totaketheCOrange/Greenfiameworkgimoconsideration.Alsounavoidableisthe constitutionalproblem.ThisculturalpolicyjasRuaneandTbdd(1996,186-88)and Kirkland(1996,116)argue,canbecontextualisedasapartofBritishgovernment policyinthepost-Stormontera.Itbasicallyaimedtoachievealevelofmutualcultural toleranceandrespectbetweenProtestamandCatholicfbrpoliticalstabilitywithinthe constitutionalfiameworkofNorthernIrelandasapartoftheUK・Therefbre,fbrone, 1 0 9
-theirculture-basedpolicyappearstobeanexampleofde-politicisationthatevadesthe issueofstructuralinequalityofthestate(Rolston,1998).Foranother,thatthestate encouragesequallegitimacyofthetwotraditionsisnonsensebecauseoneofthemis engaginginthewaragainstthelegitimacyofthestate(English,1994). AftertheAnglo-IrishAgreementinl985,however,theconstimtionalstability becametheoreticallyquestionablebecausetheAgreementstatesthataconstitutional changecouldtakeplacewiththeconsentofthemajorityofthepeopleinNorthern Ireland・Therefbre,acriticismbasedontheargumentthatitisumhinkablefbrthe BritishgovernmenttoencourageculturaltraditionswhichaspiretoaUnitedlreland isunsustainable,theoreticallyatleast・Ontheotherhandtheargumentthatquestions theBritishmodelofculturalpluralismfbritsassumptionofaconstitutionalstabilityis persuasive・RichardEnglishfbrexamplesays: Theconditionswithinwhichdiversitycanberelishedratherthanfearedareeither thoseinwhichtheminorityculturesdonotexistinahostilerelationtothestate orthoseinwhichtheyaresimplynotstrong/numerousenoughtoposeaserious threattothestabilityofthatstate・NeitheroftheseconditionsobtainsinNorthern Ireland(1994,101). FromtheperspectiveoftheCulturalTifaditionsGroup,however,itispreciselybecause thesituationisuptothepeoplethemselvesthatNorthernlrishpeopleneedtocultivate atolerant,understandingmind.Theconstitutionalissueisanutterlymonolithic,zero -sumgame,witheitheraUnitedIrelandortheUnitedKingdomaswinner.Amind whosewholepridedependsonnationalidentityhastobeeitherawinneroraloser.The Groupseemstoaimtocultivateamindwhoseculturalprideisultimatelyundisturbed bytheconstitutionalissue,asRoyFostersaysintheinaugurallecturefbrtheGVarieties oflrishnesgconference: CulturalselfLconfidencecanexistwithoutbeingyokedtoadeterministand ideologicallyredundantnotionofunilaterally-declarednation-statehood;political andculturalcredentialshavefbrtoolongbeenidentifiedtogether.(Crozier,1989, 20） Thisisnotasimplede-politicisation.Itisapoliticsthatpromotesde-politicisation 1 1 0
-FinlaysondefinesthepoliticsoftheGroUpasGliberalmulticulturalism'or Gcivicnationalism'thatlaysemphasisonUlsterness,whichcompeteswith Unionism=BritishnessandNationalism=Irishness:GTheconfiictisnotsomuchone ofculturalidentitiesasofcompetingculturalsovereigntiesthathavebeenunable toconstitutethemselvesasfilllyobjective'(2001,96).OrintheGroup'smember MichaelLongley'swords,itsaimisGtoliftthecommunityintoconsciousnessandself consciousness-thefbrmingofanewintelligemsia'andGtoreplacepoliticalbelligerence withculturalpride'(qtdinCulturalTifaditionsGroup39). BesideitsfbrmationandpromotionoftheaboveideologyDtheGroupisalsopolitical inawayitencouragesthegrouping,representation,articulationorinstitutionalisation ofatradition.Acultureoratraditionisencouragedtoarticulate,defineandrepresent itscommunalcharacteristics:@9ivingvoices'intheirwords・''AsEdnaLongleysays intheGVarietiesofBritish'conference,6verymanypeopleinNorthernlrelandlead averyunconscious,unreHectiveexistenceinwhichtheyareacceptingawholeload ofconditioningwhichtheyhaveneveractuallyexamined'(Crozier,1990,54).The Group'staskistoencouragearticulationofthisunconsciousgreyareaandtocirculate t加sarticulatedculturalidemitiesamongpeople.Articulationofidentity,however, isdifficultandsometimesdangerous・WhiletheGroupworkshardtodestabilise politicalorpreiudicedboundaries,articulationisanactofmakingaboundary.If; fbrinstance,aboundaryissetas@Ulsterness',itwillbeproblematicfbrtheterm's ambiguity(sixcountiesorninecoumies?)andpoliticalconnotation,andfbrtheregion comaininglocalitiestoodifferentanddisagreeingtoholdawholeness(OSeaghdha, ' 1990;OTilathaigh,1992).Useoflanguageinarticulationisthuschallenging.While theculturaltraditionsmovememhassucceededinthecirculationoftermssuchas Gdiversity',Gtolerance',!difference',Gimegration',@identity',Gculture'and6tradition', thosetermsareinturnsometimesused(orabused)fbrmaintenanceofthetwoobstinate traditions,thuspromotedpluralityanddiversityironicallybecomingarecipefbrmono -culturalaffirmations(Rolston,1998,253-54). ConsideringthedifficultyoflanguageitisimerestingthattheGroup'schairman (JamesHawthorn)mentionspoetryintermsoftheGroup'smission:@Webelongmore tothepoetswho[.．.]seeitastheirjobtomendandreconnectandlesstothosewhose fUnctionit[sic]istomediatethroughthepoliticalprocessthearrangementsconducive tonormalliving';andhecitesHeaney'swords:Ginthiscountrylfbralongwhileto come,arefinementoffeelingswillbemoreurgentthanarefifamingofpoliciesand 1 1 1
-constitutions'(Crozier,1989,29)'2.Implicitinhisreferencetopoetryishisbelief inpoetry'suseoflanguagethatopensanewspaceinpeople'ssensitivity.Thereare, however,twoproblemsobservableintherelationbetweenpoetryandtheCultural Traditionsideology. Thefirstisthematterofaudience:howfaristhereachofpoeticsensitivity？The chairmanalsostatestheGroup'sefficiencyisinGachievingcriticalmassandpermeating thewholesocietylnotbeingconfinedtothosealreadyrelatedinaninfbrmedandmature waytoourculturaltraditions'(Crozier,1989,31).Scepticismaboutthereachof languageisinevitable.Onereviewer(apoet,incidentally)oftheGroup'sconferences writes: Itisunlikelythatanyvarietyoflrishness(withinorbesideBritishness)willbe acceptablenowasaselfLde伽itionfbrstridentnewgenerationsofProtestants rearedonfimeralsandunemployment-anymorethanGoodNationalists(evenif theywantedto)willbeabletosmugglevarietiesofBritishnesintotheheartsand mindsofBadNationalistsrearedonLongKeshhankiesandunemployment[.､l Thereisalsothesense[...]thatthistalkingisnotreal<talk'[.．.].Realtalk mightonlyhappenwhenthereisagunonthetable-andtheintellectualshaveno militarywing.(Smyth,1993,51) ThechallengeishowtheGroup'slanguageofpoeticsensitivitygetsovertheborderline andengagesintheGreal'languageofGreal'people. ThesecondproblemisoftheGreality'ofpoems・PeterMcDonald,insistingon theimportanceoffbrminpoetry,says6poetrycannotworktoextra-poeticagendag: Gpoems'workings,negotiationswithlanguageandeachotherjandeconomiesof meaning,image,andexpression'aretoocomplextobeabsorbedintoculturalagendas (2002,15).AlthoughMcDonald'sattackisnotdirectedtotheNorthernIrishcultural issuebuttothecurremtendencytowardpopulisminthediscourseonBritishpoetry,his pointispertinentheretoo・Poets,especiallyNorthernlrishpoets,areoftenmemioned inCulturalTifaditionsdiscussions-Heaney,Mahon,Longley,himselfoneofthe organisers,andHewitt-asmodelsofregionalpride・Idonotdenyacertainvalidity ofpoetryfbrtheprQjectasacounteringfbrceagainsthomogeneity.However,piecesof poeticwisdomandtheirusesarenotnecessarilythesamethingaspoemsthemselves. Also,weshouldberemindedthatpoetrylbothasindividualpoemsandasacultural 1 1 2
-phenomenon,isoneoftheculturaltraditionswhichneedtobescrutinisedinthefirst place. Thenrstandthesecondlanguagesin〃知γZα昭"昭彦 Thkingthispolitico-culturalbackgroundintoconsideration,letusnowproceedinto theGreal'languageofpoetrybThefirstpoemof例晒rLα"g"age,.LaJe-Ne-Sais-Quoi', isapoemaboutwhatcannotbeexplainedinlanguage,themomentofakissinthis case.Itfeaturesmouths(beal),remindingusoftheoralitymuchfbcusedoninTWe 〃なM)γﾊﾉひandBe恥鈍CWbr".Themouthhere,however,doesnotspeak: Meimothostanois, Dlaoithechastadochainte Inaluigodlntharurlarsnasta, Meascuabadh,meascaipeadh〃 〃 Gobealandorais, Seideanbeagamuigh.(Carson,1993,9) (I'msilentnowj/Twistedwispsofspeech/Ij/ingtightlyonapolishedHoor,/ Sweptandscattered/Tbthemouthofthedoor,/Asmalldroughtoutside.) ThequietudeandlyricismherecomeclosetothepoemsofCarson'sfirstbookZWe "ewEWre(1976),whereCarsonwasgreatlyinhencedbyEarlylrishlyrics.The considerabledifferenceisthewayofpresentation:thispoemistitledinFrench;written inlrish,whichisCarson'sfirstlanguage,withouttranslationasthefirstpoemofthe booktitledGFirstLanguage';andfbllowedbytheEnglishpoemtitled6SecondLanguage'. Sothispoemisnotmerelyalyricpoemcontentinitsautonomywithinonepageneatly 廿amedwithwhitemargins,butitfimctionsasaprefacetothebook,whichquestions widerissuesonlanguageinNorthernlreland.Forreaderswhodonothavelrish,thisis anannoyinglyexclusivepiece・nisasignalofabreachbetweenlanguages,areminder
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defamiliariseanEnglishpoemwithouttranslationasequallyexclusive,asitindeed isfbrmostpeopleintheworld.Thetitleontheotherhanddeniesessentialistideasof purelrish,bothbyitsbeingFrenchandbythefactthatthephrasehasbeenfamiliarised intheEnglishlanguage・ThismixtureoflanguagesalsosignalsCarson'sinterestin translationfromotherlanguagesinthevolume.'31tisanimerestingcaseofhowthe −113−一f II
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( ZI . E6 6 I@ u os J cO ) ･ [･ ･ ･] p em l eq u IH s g up I J os g u II I 1 sl I @ Jo p o mV I c Jq o I nd e s sl ! ; sJ ( c Mg g e ss e d sl ! p eA I g p6 1 I o1 u W pe q I nI I o l . pem l eog q 9Je M su" d 胴ヨ6 s pWm B Mdu I sno m seo u 1･1 9 qeq d Ieo 瓜 dKI S oJ9 I IIV 9 meo g qmq l cpe p mlx 9 1ul e dIo g nl3 9 Ⅶ§S e qmu l euI E O犯叩 s ylu p igd I es3 u III L : Gs3 u 叩Jo l ule e Je叩 0 1uI s JJI I I1" , 1! G I n! q 9 )I n J Ie s m II I J oJ o l Id e 1 gl u E sI n e es 6 e nl S p ue e d op J o sm e n gu n o lu o E IE I I d, 3 u 卿m s 9 1I q "s e 1q m es 詑 pm o g叩 e ue l do J ee p oo M -c s le q gI U ･( I mQ J p叩 m mJ o sl e m3 8 !z u Em o I人 q eH J oe u ou g gq g AE q ol l lI g no 叩 sI I gq e 89 叩 )a g "" g "" W "" u IJ n Om l ug ﾕ mO g dI 9 叩s1 1 EII J Ieq e He叩 J opu p ICI o 6pI u mIK d eJo e mlo m lse 叩 sep 9 quo s epJ ( II叩 u e8u m s II I sI I gu H ･G K Ig m 仏O u "O S Sp J OM g 叩[ s ]d s II , pu e @q s II g ua g up l ee d S叫 仏 pe s u9 1 pu e p eq I 9A , 3u l uJ o me u od n se y le " 9H ･ qs I Ig u ヨー g ge n 8u e Ig l gu ! se s me e le q Gu g qJ @ ． Ⅱg I ns J om o lo o ･e d eq s 6 p un o s Je q m Is I g jI g q gg e n gu e ' 1･ s e su e s s! q I Ie q 8 no J I II 1 s Ie a J pI W o g叩 q o !q " < gg e n gu C l u "os l Isc I Iuo u gIn o ueq d lIo e g･叩 o eqo l sou I Ics I @人E M sII I JuI . e8e n gu町 ・ GKd I o泥g m dJo s ' (I - e p-s J ng g u le u I ol [ s JI e e ds ] , Ud I n ds l ! pu e @ su o p eg n i Io O / up e ' Iu ! , sS u ! IⅡ 9 q II o m qo o II o II m Og q L・ ‘ 血s 順 叩p 町 Ⅱe , 1E q le d oJ J oG s ls I "1 - Z, p ue G sJ s I" 1 -S , pu c Gs u oI q ou m s p u e･ s m eg q @ sJ e p II 3 ｡ sp e e Ip I I nq @ s 19 y I oE I g /o I J 19 I n ex e I IJ ( 1 un o O -x I S ,s e l Is g u !P I m qd I I Is u le] S egg 叩 mod L JsJ e eqg q pue : Gse I ggg q g)I I Imo g u!I M o3, c sed o dUg 皿 Jpu E x9I V ,Jo c seo I Igq I "d s pu e su l ey i sp u es p Mq p ue s IJ o II " J( p Jo M ,G , zか 伽 /p u e阿 醒 ai " a@ a "" " 〃x a /〃 s Ie " oA 9 1I 1 1I J I" p ep p eq m es 1 uc u os u oo e uu g IS / ez u oJ q Jo s uo I II J Ic o ,9 > II I um l oj s pu n os 叩 ee d sl I np V ･I n Iq 8 ul p un o Jm s sp u no s ol p es o dx 9 sI p eq u ns ! uo g Wo d Id l uE J ul e qL ( OI $ E6 6 1@ u os J cO ) . qm n pl e "u e lq - Jｪ 叫 mo o fm u !p e Ig g nu s se " I･ o J( J qI n gu e se J ee p -u I EI g § qum W MIn p uno m sdI I aIg q qnl バ Inp e dde J MI@ 9 8en g uEI e leK g ule q lou q sII g ua : GII s IIS u 3,p I oMe 叩 耶"S l dIm S G98 e nSu e 'IP u oog S ,uI g odq s !Ig u H･p u ooe s eIU ・ se n ss l eA I 犯皿 9 In n Sm S u! s mI J e叩 C e叩 G ep m em b u og u pe l dm e lu o og u oG M E" e lI s od d ou p IJ o "u o pm u es a Id s JI p uc m go d eJ o gu m ee mspeakingEnglish・Thealmostchaoticdiversityandcoexistenceoflanguagesin unconsciousnessbecomeslinearinconsciousness-ashiftfifomthefirstlanguageto thesecondone.Languageisnowlikeathreadthatisspunalongtimeintotextile: Ifeelitswarpandweft・Bobbinspirnandshuttleinlmperial Typewriterspeak.Ihitthekeys.Theribbon-blackclunksoutthewordsinserial Whatcomesnextisnext,andnooneknowsthec"esemofit,butmustallow The7W'-Expresentatthefingertips.Listennow:anangelwhispersofthehere -and-now. Thefiltureloomsimothemouthincessantly)gulped-atandunspoken[...]. (Carson,1993,13) Writinghereisnotdescribedasatextthatstaysstilltobereadoranalysed,buta presentmomentinprocesslikespeech,hence@Typewriterspeak'.Thisrecognitionof timeandspeechasanever-changingGhere-and-now'presemmomentisthesameas inCarson'spreviousvolumes,GHamlet'inparticular．Thedifference,however,is akeenersenseoflanguageinthispoem.Thereaderwillrealisethatthebirthofthe secondlanguage,English,makesitpossibletogobacktodescribethemulti-lingual chaosintheunconsciousstate;andthatitalsofixestheHowoftime/Speechintoatext toberead. ThereaderwillalsonoticethatthechildspeakslrishbefbreEnglish: Iinhaledα"O9α"2"8,α"αrinquidsofpmsandve祁況sand肋〃oibos4‘α伽re Dei;incomprehensiblytoothers,spokeinlrish.Isleptthroughthelntroit. (Carson,1993,11) AlthoughthepoemdoesnothavesuchacontentiousdialoguebetweenlrishandEnglish asin,fbrinstance,CThelrishfbrNo',theincomprehensibilityremindsusoftheBabel motifanditslanguageissue・Latin,theEuropeancommonlanguageofthepastbut nowmysteriousincantationattheCatholicMass,andlrish,thepastvernacular,seem tobelongtotheunconscioussphereofsleep,whichisnowclearlywritteninprintin English,thecurrent,globalising@rlmperial,asthenameofthetypewritermaker −115−
suggestS)language.Thepoemthusshowsthemultilayered-nessoflanguagesand yetsingularityofonelanguage,Englishinthiscase,whichmakescontrasttoother languagesthatincludeIrish. CatestantsandProtholics ThefirsttwopoemsinlrishandEnglishthusbringimothesubjectthediversity anddualityoflanguages,andtheambiguityoftheduality・Thisleadstotheissuesof Northernlrishculturesexploredinthevolume・Thevolumehasontheonehandaclear acknowledgementoftheCatholic/Protestantopposition,butontheotherthedualityis madeambiguous・InCarson'sversionofOvid,｡Ovid:Metamorphoses,XIII,576-619' heparodiesthestoryoftheviolentcommemorationofdeadMemnon,wherebirdsborn outofhisash6split/IntwolikeProdsandThiggandfighteachother: Andeveryyeariomthentohs,theRememberMemnonbirdscomebacktore-enact
Theircivilwar・Theyrevelinit,burningouteachother・Andthat'safact. (Carson,1993,59) Inspiteofitspoeticfbrmality(asonnetrhyminglz6qbc"W"gg)ithasacasual, colloquial,evenstorytelling-likeHow，Yetitstoneofdead-panmatteFoffactness tspeciallyintheconcluding4Andthat'safact')rendersasenseofreality.Inthelast poemofthevolume@TheBalladofHMSBe"si'(FZ,71-74)thedualityisputas 6CatestantsandProtholicg'4who@[loveleachother'.Theyenjoydrinking,smoking, andsinging,playinganddancingtotraditionalmusicduringtheworld-widesailing GbeneaththeWhiteEnsign'oftheRoyalNavy.Thiscanbereadasanallegoryofthe situationwherebothcommunitiesenjoyceili-likemerry-makingregardlessoftheir religionsthoughconstitutionallytheybelongtotheUK-adesirableconditionfbrthe CulturalThfaditionsGroup'sandtheArtsCouncil'saim.Thesailing,however,turns outtobeadream: Ilayboundinironchains,alone,my"s/加ggone,mysentencepassed. GreyBelfastdawnilluminatedme,onboardtheprisonshipBe"tzst. (Carson,1993,74) Thefirstversionofthepoemthatappearedinthe乃加esL"em"S"p此加e"r(27 1 1 6
-Augustl993)hadaccentmarksinthelastlineas@Belfast'andBe脆鈍'.Inthisversion, therefbre,theprotagonistwakes叩intherealitywhereEnglish(6Belfast')andlrish (6Belfist'),orimplicitlyProtestamandCatholic,aresharplyseparatedandlrish languageandceiliculturearefbrcefilllysegregated.Theaccentmarkshavinggonein thebookversion,thedualdifferentiationmaynotbeassharp.Yet,withitsunchanged metricscheme(nineiambusesineachline,thusstressedas@Belfast'and@Belfist'), therevisiondoesnotalterthesenseofbitterawakeningfifomadreamynon-sectarian lnoInent・ Thehybridityof@CathestantsandProtholicrisafarcryfifomtheProtestantstate of$TheBrainofEdwardCarson'(Carson,1993,3の.Thebrainhereislikenedto aByzantinetriremeortheTitanic,asymbolofUlsterProtestamism,withslavesin chainsinGlegaldepositionsofthecells'.ThisUnionistbrainismadeupofhard,metal materials:chains,shackles,locks,rivets,screws,nailsetc.Thenitoverlapswith Ulster: ThemapofUlsteropenedup,hexagonalandintricate,tectonic: ItsshiftingplateswereclunkedandweldedintoplacebylawsMasonic. Theladderandtherope.Thecodicils.Thecompassesbywhichtheysail U加hartedfiltures.Theoutstretchedhand・Thecrown.Thesash.Thesecretnail= Andthendisimegrationimervened,thebraineludedthem:Sphinxlike,catatonic. (Carson,1993,30) ThusevenifthebraindiesorganicallytoGelude'thelaws,theystayafterwards.Or thedead,Csphinxlike'brainitselfisnowanembodimentofthelaws.UlsterUnionism hereisGcatatonic'and6cataleptic',andtheOrangeinstitutionshardasmetalorstone,a Babelwiththeirmasoniclaws,'5asifrepresentedinthefirmpoeticfbrm(iambusx9; αα66"x3)andsound(hardconsonam9. DonaldHAkenson'sdefinitionoftheUlsteI-ScotspsycheasGcovenantalmind-set' isrelevamhere・ItisaculturalidentityoftheUlsterPresbyterianismthatemertains abeliefinadirectcovenantwithanall-powerfUlGod、Thiscontractissimplyahard andcleaLunambiguousbargainbetweenYahwehandhispeople.Thecovenantal mind-setputsemphasisonsociallawenfbrcedthroughreligiouscongregationsrather thanbyciviljurisdictions;itdrawsaclearlinebetweenthechosenpeopleandtheir enemies;itcherishestheconceptofgrouppurity;anditcannotsurvivewithoutitssense 1 1 7
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-other,likePaulMuldoon'smules,whichare@neitheronethingortheother'(Muldoon, 1977,52).AstheCulturalTraditionsGroupdid,theseminarthusemployspoetic discourse・Yettheparticipantsdonotseemhappywithwhattheyhavelearm: nseanstheplepodUtca並aminard.Everythingwasneitheronehngnmtheodner; Sonowthey'retryingtoagreeonafbrmulafbrapetitiontotheAuthor. He'sworkingovertimejustnow,dismemberingagoosefbrgoose-quills. TbmorrowwillbecalfSkinpar℃hmem,thenthelimitationclausesandthecodicils. (Carson,1993,60) 6TheAuthor',aDrMoreau-likecreatorofGchimeras',Gminotaurs',@Amhropomorphic goats'andGdemi-sheep',modifiesnaturewithhistechnologyandscience.Througha similarprocesstothecaseoforange,hemakespensoutofagooseandpaperoutof acalf.PaddiegandGBilliegdisagreewiththeway.@Orange'fbrthemisanatural andsimplething,and6Paddy'shouldbe6Paddy'thatisdifferemfifom6Billy'.They agreetodisagree.Thefirstpartofthepoemthussuggestsadisagreemembetweenthe levelofanauthoritarianprogramme,withpoeticdiscourseemployed,andthelevelof ordinaryindividuals,asthesecondpartdoesinadifferemway. However,thethirdpartofthepoemissoelusivethattheabovereadingcannotbe sustainedatthisstage，Ahhoughitisscatteredwiththegene-comaminationimagery ofthefirstpart-DrMoreau,GtheDoormouse',bat-man,airmanandamphibian-it seemsimpossibletomakeanargumentonpublic/private,institution/individualissues. ButthismysteriousallusionisanimportantfactorthatmakesthepoemaGpoem', whichisnotwritteninaninstitutionallanguage.Itseemstobealmostsayingpoetry belongstoGtheotherside'wheremanHiesGfilelledbyiambics,alcohol,anddactyls' (Carson,1993,62).Withcalculatedpoeticmechanismandalmost-drunkenvision, poetryresiststhereasonnotonlyofinstitutionalprogrammesbutalsoofareader's interpretation. ThearkorArkoftheCovenant'isanotherversionoftheBabel.Ittakestheshape oftherecurrentimageofabox-likedevice:Gastrangedevice,concoctedfromtheinner workings/Ofafertilizerbagandsomeone'sfertilebrain-gyresandgimbals,wires andmoans'(Carson,1993,55).Itislikeacrudehome-madebomborlikeanother EdwardCarson'sbrain.Againthewholepictureismystifiedinthisfburssectionpoem whereeachsectionseemstotellitsversionofthesamestorylsothearktransfbrms 1 2 0
-accordingly.Althoughinthesecondsectionitisdescribedas@apalpabledevicetosuit nomotheticmilitaryj/Theirso"ovoceblacksandtans'(56),whichalmostreminds usofEdwardCarson'sUnionistregime,thedeviceisnotsolelyProtestantbecauseits otherfbrmistheVulgate,RomanCatholicism'sstandardbible,ratherthantheKing JamesVersion・Themainissueofthispoemisnotreligioussectarianismassuchbut language,ormanipulationofit. TheVulgateisthelanguageofauthority:cwordswhichspokewithhighauthority ofsemaphore/Andpalmg(56);itisaCovenant,or.thenomothetictablature'; itislanguageoflegalfbrce,orGbarbsandverb3;itisaGdead',Gbarbedandgothic' P"oc地加α"o"'.TheVulgateisalsoCvulgate'oracommon,demoticlanguage,butit doesnotnecessarilymeananhonestvoiceofthepeople: AvulgateapolOgiawasonthecaldsaheadWheoI℃hestra㎡Plmsuptumedandweighed. Itwouldbeimerpreted,dismantled,iniodineablutionsofTheNews WhichcomesbefbreTheWeather[...] (Carson,1993,55) Being.interpreted',by@construe'and:second-guess',orthrough.match[ing]the proqUostotheqUids',thewitnessingofrawexperienceisdefilsedandchangedinto somethingratherpredictableandfbrmal: Scrawledhieroglyphselaboratetheblackslickoftheroad.Witnesses Arecalledupon,buttheinkhaslightenedimoamethyst,andsoonitsbluewillbe Invisible,asnewideasdawnacrossthemoss.AgIeatPanjandrumwillconstruetheir Whatnesses. (Carson,1993,55) Onedogwaswitness,moaningthroughthescatteredcodicesandhieroglyphs. Thealphabetoftroopswaslearnedbyroteandentombedintheblackaplomb Ofapolicenotebook:anabecedarysanseyes,sansteeth,sanseverything,and sansserifS. (Carson,1993,58) Thedogandtheabecedarydonothavetheirlanguageorarticulation,likeaninfant −121−
oranoldmaninthelaststageofthelife,6secondchildishnessandmereoblivion', inrespecttoShakespearealludedtohere伽】/b〃〃舵〃,2.8.).Theonlylanguage availablehereisprosaic,orCovenantal,lawsofCpolice'andCtroopgunderthestate authority. Theproblemofarticulationisfbregroundedinthepoem℃omract'(another Covenant),whichagainfeaturestheBabel:@Brueghel'sBabel,Lego-kit-like Pharaonicphasia-/Brickl(Carson,1993,49).InthisBabel,thepolitician/Orator (GDemosthenes'),theworker(GSparksandplumbers,carpentersandglazier3)and thereligionist(.Priests')speaktheirlanguages,whichareplacedinparalleltoeach otherjeachofwhichisunclearastoitsmeaning.LackofcommunicationisnotfiFom nationalorraciallanguagedividesbutfromsocialdivides.Then,rathermysteriously, aGcontract'ismadebetweenGodandPlatowhenheisstillaninfantwhoseGunstung tongue[is]clammedwithgummedupsyllables/OffbrcepS,speakingasnonsenseas theothers'languagesabove. ThenPrincipalitiesofangelsglidedinonwingsofmythandmoth, Theirpocketsfilledwithpebbles;theyputthethumby,stumblingbeesinPlato's mouth. (Carson,1993,49) Plato,throughthissuperstitiousprocedure,'7gainseloquencethatarticulateshis ideology,whichistobeconsideredastheoriginofEuropeanthoughts.Thisseemsto beamomentwhentheincommunicablelanguagedisorderisgainingalanguageofa communalorder.ThepoetisabsentinthispoemasinPlato'srepUblic.Themention ofDemosthenes,whoovercamehisstammerbyspeakingwithpebblesinhismouth, remindsusofCarsonhimselfwhohasastammer.'8Thelanguageofpoetryisnotthat ofpublicoratory" Disintegratingsonnets Thelanguageofpoetryin例応tLα"g"αgesometimestakesriskswhenitsdifficulty threatenstheintegrityofapoem.Someofhissonnetsaretheexamples.Whilethe sonnetsof6FromtheWelsh'andCOvid,Metamorphoses,XIII,576-619'haveawell structuredconsistencyandasenseoforder,theotherthreesonnets(Ormodified
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−122−HortonimerpretJSonnet'asaBabel,wherethesonnetfbrm,Goneofthemostcoherent andstructuredofpoeticfbrmsandcommonlyusedasavehiclefbrEnglishnationalist sentiments',isinitsbreakingpoim,sustainingnounifiedmeaninganymore(Horton, 1995,86).Thefburteenlinesareseparatedfifomeachother,havingnoapparent connectionintermsofmeaningorrhyming.Itdoes,however,haveakindofstructure, wherethelasttwolinesfimctionasaclimaxandaconclusion: Thebicycleshopexplodedinashowerofcleats,straps,sprockets,spindles, cranks,ratchets,leavers. Nottomentiontheyellowfingers.Ipreferthesemi-skimmedmyself (Carson,1993,45) Thelastlinesconnecttomilksplashedonthewristandfifiedfish伽gersappearedearly inthepoem.Thepoemthusshowsaneerieparallelofadailylifeandpoliticalviolence insuchadrylgrotesquejuxtaposition(bicycle/bomb,fishfingers/humanfingers,and probably)milk/blood). Amodifiedsonnet,@Opusl4',consistsoffburteensetsofarhymedcouplet,andevery coupletbutthefirstonehasanideaofnumbers(variousfifomdoublenesstomathematical problem9.WhileafewcoupletsmemiontheambivalentdualityofNorthernIreland-Londonderry/Derry(withtheFoylecrossednotbyaferrybutbyadouble-deckerbridgd andEnglish/Irish(GGaolainn'[i.e.Gaelicland.Dingle'asanagramsof@England') -thisdoesnotmakeaconsistentthemeofthepoem.Moreconsistentisanunreliability ofnumeracyjespeciallyexemplifiedinarmy/policeoperation'9:@TheSecurityForces werespecificallylookingfbrterroristsbutspectacularlyfailedtocatchthem'(Carson, 1993,31)justas.Thegoogolplexsecuritynethadbeenfilllofinnumerableholesheld togetherbystring'(Carson,1993,33).Thepoemsuggeststhatacalculatedstructure isdoomedtofailliketheBabel. Horton'scommentaboveismoresuitablefbrGFourSonnets',whereanapparently stableconstructionoffbursetsoffburteenlinesturnsouttobeaclusteroffiagments hardlysustaininganyconstructedmeaning・Somelinesareasindependentashaiku, achievingthesamequalityofdrylyricismofaone-linepoem20,but,unlikere"gq (linkedverse),failtolinkwithneighbouringlines.Significamlyltherecurrent, thoughnotconsistent,imageisthedismemberedordiSjointed.Dismembermentmay 1 2 3
-beareferencetopoliticalviolencetosomeextent,butnotthewholestory.Implicit inHorton'scommemisthatwhilethepoemmaybeadestructionofBritishnessits fragmentationhardlysustainsitselfasananti-Englishoranti-nationalismpoemeither. Thesonnetheredoesnothavetobe(anti-)nationalismbecausethesonnetfbrmhas beenusedfbrmorethantheexpressionofEnglishnationalistsentimentsinthefirst place.However,itisunclearwhatkindofconsistentsentimemthissonnetofCarson's expresses・ThefragmemsarelikesnippetsfifomeverydaydiscoursethatCarsoncame across.TheyarereHectionofadiversityofeverydaylife,whichisnotaGcultural diversity'.Inthissensethepoembecomes,whateverCarson'sintention,astrong resistancetothepolitico-culturalclimatewhichseeksfbrarticulation,thatis,toseta frameworkandsenseofconsistencywithinit,ofvariousculturaltraditions・Rather, thepoemdefamiliariseseverydaydiscoursesbydisintegratingthemintofifagmentsfbr ustostopwonderingabout. Conclusion ThispaperhasfbllowedCarson'sinvolvementinculmreintwoways:onein Northernlrishculturalpolicythroughhisartsadministrationandtheotherthrough hispoetry.Onepursuescommunalinterestsandtheotherprivate.Whensetagainst thebackgroundofsectarianisminNorthernlreland,wecanperceivethattheytake acommondirectiontowarddiversityandpluralismthatdestabilisethemonolithof thetwoideologies.However,thedifferenceisclear:oneaimsfbrarticulationof complexitylwhiletheothergoestowardambiguityandevenmystery.Itisinteresting toseehowCarson'slanguagemovestowarddifficultyin例芯tLα"g"age,whenthe culturalpolicyaimsfbrmoreaccessibilitytothecommunity.TbconcludethepaperI wouldliketoreadGTwotoTango'asanexamplethatshowsasubtlerelationbetween thecommunalandtheprivateinpoetry. GTwotoTango'isamonologuethatsoundslikethatofanundercoveragentwhenthe protagonistsaysfbrexample: Theymaketheplacesecurefbryou、It'slikeaTwilightZonewheretheyexert theirSpecialPowers. Andyoumakesureyoudon'trepeatyourselfChangetheroutineever Soslightly6Tbllnoone,Imeannoone,whatyou'reupto・NeverbNever.Never 1 2 4
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Aromas,sounds,thetextureoftheroads,theheavinessorlightnessoftheair -Allthesecontributetothesenseofplace・Thesethingsarewhatweare, Thoughmitigatedbyourselves (Carson,1993,18) Thecollective@history'isasortofabstractionthatliesonadifferentlevelfiomthe everydayjminutedetailsoftheindividual．Andwhenthenarratorofthepoemsays thatGtomentionAfifica,theMiddleEastorRussiaisanathema'becauseGBelfastisn't likeBeirut[...].It'swhatitis',itremindsusofCarson'spoeticsofrealismsince hisearlyyears(Sato,2001).TheGsenseofplace'aboveisclosetotheonethatHeaney classifiedinhislecture@TheSenseofPlace'as&lived,illiterateandunconscious' comparedtotheotherthatisClearned,literateandconscioug,bothofwhichaffect one'sidentity(Heaney,1980,131).Itis,asHeaneyargues,PatrickKavanagh'ssense: 6Hissensibilityisacutelyofitsowntimeandplace,andhisregionisasdeepnotasits historybutashisownlifeinit'(Heaneyll980,142).The@illiterate'experienceofthe individual,however,canbeattheexpenseofthecliterate'collectiveagenda:6Ifillthe blankstheyknowalready・I'mthejammycemreinthedoughnut'(Carson,1993,18). Thewordcalready'isimportant.PeterMcDonaldpointsoutthetendencyinwhichthe identityofanindividualisinfactcollectiveanditisalready-knownfifameworksthat areemployedinthefbrmationofidentity: Asenseofidentitymightseemtopointupthesheerindividualityofexperience, itsunrepeatableparticularity;infact,theideaofidentityisemployedalmost alwaystoemphasizetheco""wo"natureofexperiences,andtoprovidethese 1 2 5-experienceswithasignificanceandmeaningalreadymappedoutinculturalor historicalterms.(McDonald,1997,7) Likewise,theprotagonistofthepoemfbrmshisidentitybyuseofGslang',｡buzz-words'and@bodylanguagetag3(Carson,1993,19)-acommonlanguagewithina certaincommunity-andbyrepetitionthat@develop[s]mannerisms'(20).Thisidentity fbrmation,however,isfbrhim@justagame'.Theidentitythusbuiltupisa@pseudo' onewhichhecanreplacewithanother.Hedoesnothaveanattachmenttothose fifameworks.HeisGvery'Galone'、Thepoemendswiththissolitaryimage: Onesidesaysthis,theotherthat.Youworkitoutyourselfandwalkbetweenthe storylines. Whatbtrueiswhatyoudo.Keepyourheaddown.KnowyolusdflgnmethestaITyskies. (Carson,1993,20) Thisdisciplineofanundercoveragemalsosoundslikewhatsomepoetsprofessas apoet'ssolitude・Kavanagh'ssensitivitythatHeaneydiscussesinthesamelecture isrelevamagain.Kavanaghdetacheshimselfnotonlyfifomthepoliticalorcultural abstractionbutalsofifomthecommunallife:PApoetisneveroneofthepeople.Heis detached,remote,andthelifeofsmall-timedancesandtalkaboutfbotballwouldnot befbrhim.Hemighttakepartbutcouldnotbelong.'(Heaney,1980,144;Kavanagh, 1967,15).OrPaulMuldoon'scommeminal987interviewthatthewritershouldbe 6anoutsider[belongingtolnogroups,notribes,noclubs'orbe@afiPeeagent'(Muldoon 1987,36).Carson'spoemcanbereadinlinewiththisindependentattitude:although heisinvolvedwithculturalandpoliticalagendathroughhisArtsCounciljob,heasa poetisdetachedfiomthem. Indeed,thepoemdetachesitselffiPomthecollective,plainculturalpoliciesnotbyits statementbutbyitsambiguity.Thepoem,asitstitlerepresems,hasarecurrentimage ofattachmentthatopposesthesolitudetheprotagonistprofesses,asseenintheselines fbrexample: SWew"chedr"ew"rheルα〃o〃〃8Wγ航c""edro""d油e6"""QMiswr"-w"c" Thisisanexampleofcinitialentanglement',fifomwhichit'sdifficulttowrench 1 2 6
-Herself (Carson,1993,19) AIso,theword.dialogue'appearsthreetimes:cThatbitofdialogue,recalled,might provetobethecluethatsolvesthecrime'(18);@Dialoguecanactastransitionbridge:fbr example,I'vebee"〃eα"腕gromlhoyo",/Hesaid,Me"yo"'Wgor"e/ob..."" yo"'〃ﾙαvero"zovefoZbkyo..．'(18);and4Andcontrastisimportant,betweenmale andfemaledialogue'(20).ThewordtakesonaparticularsignificanceintheNorthern Irishcomextwhereadialoguebetweenthetwosidesismostneededandcriedfbr・But inthispoemitisusedinamuchsubtlerwaybHere,Carsonisagainamusedbythe fimctionoflanguage.Dialoguehereisnotonlyaconversationbetweentwopartiesas thewordusuallymeans,butitalsooftenunintentionallyconnectsonethingtoanother, as,inthefirstcasefbrexample,apieceofdialogueleadstoasolutionoftheproblem. Thisfimctionoflanguageinfiltratestheprotagonist'ssolitude.Heregardshisway -changingandbuildingofidentity-asGasentencecrammedwithgrammar,phrases, ages,hyphens,stops',orastorymaking: Isthisafactionora7o"α"ん"vetnorecommonlycalledge"em加"αノ OrszM?Decidebeheyoustart,wolkoutyourplot,thalgohfit.BeWﾌ加加"α1 (Carson,1993,20) Thismaysoundliketheprofessedsolitudeofthewriter.ButtheCinspirational'moment isthemomentofnon-selfLconsciousnesswhenothersintervene,justastheabove imperativesentenceinitalicsitselfsuggestsitissomeoneelse'svoice.Thathedoesnot belongtoonesideortheotherdoesnotmeanheis6alone'.Languagewouldnotletitbe so.Thepoemthusbringsoutthestrangenessoflanguagewheredistinctionsbetween thecollectiveandtheindividual,orthepUblicandtheprivatebecomeambiguous. Notes lSeeSato(2001)fbrtheestablishmemoftheTifaditionalArtssectioninACNIand Carson'sinvolvementinit,whichdeeplyinnuencedhispoetics.
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