الفهرس 
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Abstract
Chapter one introduces Kennelly’s literary style within historical and cultural contexts. An analysis of his poems shows the poet’s idiosyncratic techniques and use of various literary forms. This chapter also focuses on aspects of violence in Irish society and ways of reconciliation to such violence. The poet finds corruption and consolation in descriptions of the countryside and the city. These topics serve as a reflection of social and political concerns in Kennelly’s poems. There are also many interesting examples of his various forms and themes, including love, hatred, betrayal and fidelity. Through the epic, the elegy, the sonnet and the ballad, those poets introduce not only violence, but also forms of reconciliation. For example, the final poem, Heaney’s “Bogland” (Door into the Dark 53) portrays the landscape as a repository, investigating aspects of the Irish past and opening into a metaphorical discovery of an illuminating history. Kennelly’s “Wet Grass” and “Spring in Kerry” also introduce nature as a potential and powerful factor of remedy and hope. These elegies embody a consoling alternative to the conflict in the north.
This chapter also discusses Kennelly’s use of literary forms as a way of understanding the Irish identity, and facing the violence and massacres so closely connected with Irish
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culture during the years of the troubles (1967-98). These traditional literary forms reflect traditional and contemporary Irish issues. For example, many poets, like Kennelly, Heaney and Longley, have used the form of the elegy and the sonnet when writing about Ireland. Kennelly introduces a history of remembrance in elegies entitled “My Dark Fathers,” “Thatcher” and “Dublin: A Portrait”. He also stands as a critic of culture, who remembers and textualises war and the Irish troubles. Love and death are introduced in a presentation of war and the natural world. He sees aesthetics in the literal and metaphorical imagery of the Great War.
Chapter two examines the diversity of voices in Kennelly’s two collections, A Time for Voices (1990), and Reservoir Voices (2009), referring also to his two distinguished collections, Cromwell and The Book of Judas. His use of dialogues introduces a variety of characters and views, and sheds light on concepts and aspects of the Irish identity, language, politics and religion. The poet also presents various dissonant voices through long poetic forms. These express different opinions, as in “Cromwell,” “My Dark Fathers,” “Shelly in Dublin” and “The Limerick Train.” This chapter also introduces various voices of characters and things; these explore personal and external attitudes, feelings, misconceptions and ambiguities. Kennelly shows that each voice has a right to be heard and to defend itself. Listening to them makes a person aware of the other, as in Cromwell, A Time for Voices and Reservoir Voices. For example, Cromwell and Buffun talk to many cultural, political and literary characters such as Adolf Hitler and James Joyce. Through these different voices, the poet also introduces a comprehensive evaluation of the situation of contemporary Ireland, and condemns the hypocrisy of certain institutions like family, school and church, as in “The Names” and “A Pit of Dead Men” and “As I Splashed and Swan”.
Chapter three focuses on the question of identity and its function as central to other issues of language and hybridity. It also examines how the poet deals with and reacts to
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critical issues in his contemporary Ireland, such as nationality, violence, language and identity, as in “Language,” “At Home” and “My Dark Fathers”.