Harvard University Scholar Lectures at AUC
Kate Chadbourne, an instructor of Irish language at Harvard University, in Cambridge, Massachusetts, spoke to English Professor Ruth Prakasam’s Themes of 20th Century Literature class during the spring semester. Chadbourne, an expert on Irish culture, literature, and language, holds a Ph.D. in Celtic studies from Harvard University. She is a poet, a songwriter, and a musician who has published poetry and had her songs featured on National Public Radio.
Chadbourne discussed the poetry of William Butler Yeats, a pillar of 20th Century literature. Yeats, a renowned poet and playwright, was born in 1865. In 1899, he helped found The Irish Literary Theatre in Dublin, Ireland. In 1904, this theater became the National Theatre of Ireland. Also in 1904, Yeats founded the Cuala Press, which published writers throughout Europe. Later in life, Yeats entered politics and served for six years in the Irish Senate.
“Yeats was born in Ireland and brought up in England,” Chadbourne said. “He was part of what is called the Anglo-Irish aristocracy. He was rich. He wasn’t living the life of a peasant in a small, thatched roof house. He was living in the big houses. Still, he had a fascination with Ireland’s peasant stories.”
She said Yeats collected hundreds of myths from the Irish peasantry and published them in an affordable collection so all Irish peasants could enjoy all of the stories. The collection became popular with people throughout the world, regardless of class or ethnicity. Yeats’ collection of Irish folklore also holds great scholarly because it created a permanent record of oral stories that were dying out.
Chadbourne said Yeats loved Irish myths focusing on “fairies,” commonly referred to as leprechauns by contemporary people. However, the leprechaun is only one of the many characters that populate the mythical world of the fairy. Fairies are also referred to as “the good folk,” “the gentry,” and “the people of the hills.”
“Just because they are called the good folk, doesn’t mean they are always good,” Chadbourne said, laughing at the nuances of the mythical creatures. “Some fairies are quite mischievous.”
She said fairies were also viewed as powerful and deserving of great respect. Irish peasants historically associated the privileged powers of the fairies with the privileged powers of the gentry. “The gentry were the landed, wealthy class of society,” Chadbourne said. “They were the landlords. You have to be careful when dealing with rich people and you have to be careful when dealing with fairies. So, people called fairies the gentry.”
Chadbourne said these myths influenced Yeats’ poetry. “He wrote a lot about everlasting youth,” she said. “In the world of the fairies, or the good folk, people do not age. It’s a place you can fantasize about when life gets you down. He also writes about the cost of such youth. There’s a trade off. You miss out on the ordinary pleasures of life if you live in that enchanted world.”
While modern, rational people dismiss the reality of enchanted lands populated by fairies, Chadbourne said a walk through the Irish countryside at night has provided many travelers with interesting stories. Some of those stories involve the ancient myths of fairies singing and playing music.
“I was delighted that Dr. Kate Chadbourne accepted the invitation to discuss the poetry of William Butler Yeats,” Prakasam said. “Her expertise in Irish language, literature, and culture richly contributed to how the class understood Yeats' works. It was evident that Dr. Chadbourne's musical talents produced a positive response from the students, too.”
“The presentation and music was inspiring and moving,” said Meghan Bettencourt, a senior in the class. “It really made me want to learn more about Ireland's heritage and folk stories. Yeats is an amazing poet. I took out a book of his poetry from the library after the presentation.”
Chadbourne led the class in song while she played the harp, the Irish flute and piano. Some students were reluctant to sing, yet Chadbourne coaxed them out of their trepidation. “In Irish music, the voice is not the important thing,” she said. “What’s important is the heart.”