InÉigse 17/2 (Geimhreadh, 1977–1978), pp. 221–222.
Provides some new readings for the poem beg. An tú m’aithne a fhalluing donn from MS Maynooth C 74, not used by previous editors: IBP 157-58 and C. Ní Dhomhnaill, Duanaireacht (Dublin 1975), pp. 84-85.
Ó Háinle (Cathal): Notitiae: 2. LS Má Nuad M 13 (aguisín).
InÉigse 17/2 (Geimhreadh, 1977–1978), pp. 222–226.
llustrates that nine of the songs written down by Domhnall Ó Súilleabháin in MS Maynooth M 13 were copied from Charlotte Brooke’s Reliques of Irish Poetry (Dublin, 1789).
pp. 234-235: Nótaí: 1. D. Ó Súilleabháin (1790-1858); 2. A list of the songs taken by D. Ó Súilleabháin from Reliques of Irish Poetry.
Elegy on the death of Seán Ó Neachtain by his son Tadhg Ó Neachtain, beg. A bharda Éireann, an déar libh grá mo chroí; from MS NLI G 132; normalized text with notes.
1. Ní mé bhur n-aithne, a aos a gráidh (17 qq.), by Eochaidh Ó hEodhasa; text based on the Book of O’Conor Don.
2. A mhacaoimh dhealbhas an dán (11 qq.), attributed to Eochaidh Ó hEodhasa; text based on MS Maynooth C 59. With commentary and English translation.
Refrain-type poems can be traced to (a) native developments based on the extension of the use of dúnadh, (b) imitation of foreign types, and (c) a blend of both (a) and (b).
Breatnach (Liam) (ed.), McCone (Kim) (ed.), McManus (Damian) (ed.), Ó Háinle (Cathal) (ed.), Williams (Nicholas) (ed.): Stair na Gaeilge: in ómós do Phádraig Ó Fiannachta / in eagar ag Kim McCone, Damian McManus, Cathal Ó Háinle, Nicholas Williams, Liam Breatnach.
Maigh Nuad: Roinn na Sean-Ghaeilge, Coláiste Phádraig, 1994. xxiv + 905 pp.
A collection of monographs on the historical stages of Irish and the modern dialects, including Scottish Gaelic and Manx.
Rev. by
Pádraig A. Breatnach, in Medelingen van de Stichting A. G. van Hamel voor Keltische Studies 6/1 (1996), pp. 22-23.
William J. Mahon, in CMCS 33 (Summer, 1997), pp. 94-97.
Máirtín Ó Murchú, in Éigse 30 (1997), pp. 171-195.
Argues that late medieval death imagery influenced its composition, and esp. that a rhythmical device is used in order to convey the notion that the speaker in the poem is Death personified.
Paper read at the Gerard Murphy Commemorative Conference, 4 December 1999.
New edition of the poem (supersedes L. McKenna 1919 [Best² 1759], 65-68), based on Book of O’Conor Don 50r-51r (33 qq.); now attributed to Tadhg Óg Ó hUiginn. With a selection of variant readings from other MSS, translation, commentary and textual notes. Also includes a discussion of the motif of the blood-spotted hand, shown to differ in its structure from that in Gesta Romanorum but analogous to that used by Shakespeare for his Lady Macbeth. Provides an appendix with the translation of the Gesta Romanorum version of De amore inordinato.
Meek (Donald E.) (ed.), Ó Háinle (Cathal G.) (ed.): Unity in diversity: studies in Irish and Scottish Gaelic language, literature and history / edited by Cathal G. Ó hÁinle and Donald E. Meek.
TIS, 1. Dublin: School of Irish, Trinity College Dublin, 2004. iii + 193 pp. (Trinity Irish studies, 1).
Rev. by
Pádraig Ó Macháin, in Éigse 35 (2005), 161-165.
Ó Háinle (Cathal): My father and Ballinahown folklore.
InRíM 21 (2010), pp. 260–299; 22 (2011), pp. 212-265.
An edition of the ‘Ballinahown Collection of folklore’, collected 1937-1938 (as part of Schools’ Folklore Scheme), by pupils of the Ballynahown primary school, Co. Westmeath, under the direction of teacher Tomás S. Ó hAinlighe. Includes: §8. Irish words and phrases in use; §9. Placenames. With notes on sources and commentary.
Mac Cárthaigh (Eoin) (ed.), Uhlich (Jürgen) (ed.): Féilscríbhinn do Chathal Ó Háinle / in eagar ag Eoin Mac Cárthaigh agus Jürgen Uhlich.
Indreabhán: Cló Iar-Chonnachta, 2012. xxix + 1071 pp.
pp. 1059-168: Foilseacháin Chathail, by Máire Ní Bháin.
Rev. by
Margo Griffin-Wilson, in ZCP 66 (2019), pp. 223-249.
Séamus Mac Mathúna, in Éigse 39 (2016), pp. 350-360.
Ian Ó Caoimh, in The Irish Review 47 (Winter, 2013), pp. 140-143.
12 qq. (perhaps part of a longer poem); earliest MS Maynooth C 88. With English translation, textual notes, and a discussion of the “baptism of tears” motif found in it (which suggests a close parallel with the Middle English poem of St. Erkenwald).
Provides an edition of three seventeenth-century apologues based on events of the Roman civil war: 1. qq. 22-31 of Rug cosnamh ar chrích Midhe (text from RIA A v 2); 2. qq. 26-39 of Cóir súil re seasamh Gaoidheal (text from TCD H 6. 7); 3. qq. 15-26 of A Thoirdhealbhaigh, turn th’aigneadh by Fear Flatha Ó Gnímh (text based on TCD H 5. 6). Standardized text, English translation, notes, and discussion of each apologue in the context of the poem in which it occurs.
1. A bhean lán de stuaim and quinque lineae amoris [Interprets the use by the poet of the words lámh and gníomh in the light of the medieval Latin poetic trope of the quinque lineae (or gradus) amoris]; 2. A bhean fuair an falachán [Proposes that the wording of the reference to Absalom’s hair in the first q. of this poem is influenced by a misunderstanding of Engl. disteyne (‘outshine’) in the suggested source of this poem (i.e. Chaucer’s ballade Hyd, Absolon, thy gilte tresses clere in the prologue to the Legend of good women) as disdeyne (‘contempt’)].
New edition with quatrains omitted by T. F. O’Rahilly (in Dánta gr.² nº 69 [pp. 93-94]), based on the Book of Conor Don and complemented by Franciscan A 25, with variants from Maynooth C 74 (g) (5) and TCD H 4. 15. With English translation, commentary and notes.
Focuses on the relationship between poets and patrons in late medieval Westmeath, placing the emphasis on the Ó Dálaigh and Ó Cobhthaigh bardic families.