James Clarence Mangan


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Mangan, James Clarence

 

Born May 1, 1803, in Dublin; died there June 20, 1849. Irish poet who wrote in English.

Mangan was the son of an unsuccessful grocer. He published his first poems in the 1830’s. His works appeared in the progressive journal The Nation and in other periodicals. Mangan’s lyric poetry is pessimistic. His ballad ‘The Nameless One” (1842, published 1849) is imbued with bitter humor. Mangan’s patriotic verses are linked with the Irish national liberation movement, for example, “The Peal of Another Trumpet” (1846) and “Irish National Hymn” (1848). Mangan translated the “Marseillaise” into English; he also did translations of German poetry (German Anthology, 1845), and old Irish verses and songs.

WORKS

Poems. Biographical introduction by John Mitchell. New York, 1859.
Poems. Dublin, 1903.
Prose. Dublin, 1904.

REFERENCE

Sheridan, J. S. J. C Mangan. Dublin, 1937.
References in periodicals archive ?
Parsons's aim in locating the origins of Irish modernity in the survey itself, as well as the era of the survey, is not only to offer "an expanded field of modernity," which would now begin earlier and include more rural experiences, but also to propose that the literary and cultural reaction to this spatial and scalar modernity, whose arc reaches from James Clarence Mangan to Samuel Beckett, represents a central component of Irish literary modernism.
THE birthplace of James Clarence Mangan and a favoured drinking spot of Michael Collins, the Castle Inn is said to host many spectral visitors.
He kept his dad''s love of literature, taking his inspiration as a songwriter from James Clarence Mangan and Brendan Behan.
James Clarence Mangan was admired by Irish literary nationalists, Yeats and Joyce among them.
James Clarence Mangan's position in the history of Irish poetry has been a contested one.
Relating the search for a literary identity in nineteenth-century Ireland to the advent of cultural nationalism which was born under the auspices of Romanticism, MacCarthy makes particular reference to two of the earliest Irish writers in English, the poets Edward Walsh (1805-50) and James Clarence Mangan (1803-49).
Each of those sections is divided into chapters covering various aspects of the period; the nineteenth-century coverage, for instance, includes a separate chapter on Thomas Moore, one on translator-poets such as James Clarence Mangan and Mary Balfour, one on the Young Ireland and Fenian political poets, and another on poets like Aubrey de Vere and William Allingham who worked resolutely within the English tradition.
Howe's "discovery" in Melville's Marginalia of James Clarence Mangan as the historical figure who purportedly was the source for Melville's Bartleby reveals a poetics of cultural intervention that desires to change the ways the present perceives and creates history, literature, and "lost" authors.
The Dublin University Magazine (1833-80), another important literary publication, often included the work of James Clarence Mangan, who translated Gaelic poems into English and also wrote original verse in the Gaelic style.
From Joyce's own writing Aubert selects for scrutiny first some early papers and lectures on drama, then 'The Day of Rabblement' (1901), the lecture 'James Clarence Mangan' (1902) and, finally, the aesthetic and critical fragments in the Paris Notebook, the Pola Notebook and the 'Notes from Aristotle'.