Sydney Owenson's "Lay of an Irish Harp," Politics, and Iconic Realism

Sydney Owenson (Lady Morgan) 

The cover photo of my book from New York Public Library

Excerpt from my paper, read at the Association for Franco-Irish Studies conference in Dublin, Ireland:

In her 1807 lyrical collection, Lay of an Irish Harp, Sydney Owenson uses the iconic imagery of a harp to scrutinize the resonating cry for enlightened human consciousness shortly after the Act of Union 1801 has been enforced. She illustrates the harmonics of human intellect surrounding the Irish message of perseverance in times of hardship and indignity suffered when human rights are ignored, using rhythmic structure within her poetics and iconic allusions through intricate semiotic fusion of philosophy and history. According to her memoirs, Owenson’s aspiration was as follows: 

...to make my native country better known, and to dissipate the political and religious prejudices that hindered its prosperity…Neither lovers, friends, nor flatterers, ever turned my attention from the steady, settled aim of my life-- and that was to advocate the interest of my country in my writings…        

When enlightenment merely reflects the ignorance of cultural bias, the abrasive consciousness of society suppresses creative exploration and moves into a mire of lost intentions and spiritual limitation. Owenson begins a personal quest to enlighten her contemporaries of a plausible if not impossible endeavour for the Irish and the British to maintain a semblance of harmony in Ireland. She uses the aural traditions of harp music and the power in lyrical structure to express innovative concepts through the traditional aural experiences of narratives and music.  Kate Bowan and Paul Pickering remark: 

Music is central to the formation of identities whether national, ethic, religious, or political as it can by virtue of being a social activity, include or exclude, and is open to countless reshaping and re-articulations in various contexts.

Thus, Owenson’s literary works demonstrate an iconic vision in the midst of dissonance, as she focuses her reading audience’s attention on discordant elements within nineteenth century Irish society that need transformation. 

Note: A 'lay' or 'lai' is a medieval lyrical poem. Some believe that the word 'lay' originates with the Old High German word, 'leich,' which means a play, melody, or song. 

National 9/11 Memorial, New York City and Iconic Realism

Photo from http://michaeljamescasey.com/blog/wp-content/uploads/2011/01/natl_memorial.jpg

Twenty-four years have passed, and the National 9/11 Memorial in New York City now receives the prayers and reflections of thousands of friends and relatives of those whose lives were taken on September 11, 2001, some of whom still remained buried at this sacred site. The extensive monument bears the names of each victim, around two waterfalls flowing where the two towers of the World Trade Center once defined the skyline of New York City.

This memorial illustrates iconic realism in that the designers have strategically placed the genesis of a woodland paradise, surrounding the Towers’ footprints, now flowing with tranquil waters in the midst of one of this planet's most vibrant cities. The massive garden, with its delicate waterfalls constructed on the site where immense devastation, despair and death occurred, now transpires with a perspective of renewal, hope and life, a memorial that transcends the horror and brings awareness of cultural perseverance combined with the healing strength of elevated consciousness. 

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I wrote this poem the afternoon of September 11, 2001 in Danbury, CT, 65 miles north of the horror, yet close enough to know that the same clouds passing above me just passed over the horror. The wispy clouds almost looked like angels floating above and away from the madness below. Silence… except for the industry of nature.

September 11, 2001

Bellowing clouds of madness

devour cavernous streets

filled with masses 

seeking freedom

from a spumous potion of death.

Silent plumes in an azure sky,

Blessed by the prayers

of three thousand Angels,

newly formed and gliding overhead,

mollify this tableau of horror.

As evening approaches, 

silent stars fill the night firmament. 

No airplanes fly in this night sky.

Delicate crickets chirp; katydids begin to sing.

Strong airy wings of a soaring bird reveal 

a Love that can never die...

Freedom prevails.

© Jeanne I. Lakatos  2001

Iconic Realism from the 19th Century to the 21st Century: Help to Devastated Areas

Sydney Owenson (Lady Morgan)

Writers such as Sydney Owenson have had the opportunity to incorporate human experience in their art by tapping into the mindset of humanity on multiple sensory levels. In her 1840 book, Woman and Her Master, Owenson makes the following observation: 

The acquirement of a physical elevation, in expanding the sphere of vision, and opening new and vast regions to the sense, obscures and diminishes the individual details comprehended in its grasp; so that intellectual and moral elevation, which has opened to the mind’s eye the wider fields of scientific research and of social combination, has caused the relative value of the smaller facts presented to its apprehension to be either overlooked, or mistaken. (WHM, p. 15)

Owenson’s writing demonstrates my semiotic theory of iconic realism as a means to enlighten her readers to the possibilities of making positive change happen with their own lives and possibly those within their communities by linking the sensory paths of consciousness with appropriate and positive action. 

Often, this can occur when one uses a particularly negative situation, places a positive force within that scene to bring attention to a need for transformation. Recently, this was evident in the area devastated by Hurricane Helene. Many grass-roots organizations were actively engaged in helping the individuals in the Southeast United States. Where were the so-called beneficial government forces? Iconic realism at its best. Those who actually cared could be seen helping, working, making a positive change in the midst of devastation. I think Sydney Owenson would be pleased with those local, grass-roots organizations. 

Winged Inspiration

A Bee and a Butterfly in My Garden

Winged Inspiration

Today

a bee flies wistfully

nectar gathering for the hive.

Today

a butterfly shares the space

of time and floral beauty,

collecting heavenly nourishment.

Today

The lavender grows more alluring

in service

to its insect guests.

Today

As my eyes are permitted to view

this treasured scene

of serenity and industry,

I am compelled

to make a difference

for Tomorrow.

© Jeanne I. Lakatos

Definition of the Semiotic Theory of Iconic Realism

Note: Occasionally, I post this to let any reader know what my semiotic theory actually is. Hope this brings some clarity for you. Cheers! 

Definition of the Semiotic Theory of Iconic Realism

by Jeanne I. Lakatos

Realism comprises authentic and independent aspects of the natural world, which individuals comprehend through sensory perception. The term icon describes a realistic person or realistic object, categorically perceived by a population as representative of a specific human activity or an object that bears significance to human activity. Iconic realism, then, involves the placement of an icon within the midst of a unique realistic setting, out of place for this particular icon, creating a static coalescence of the icon with the designated realism. Since both the icon and the realistic setting represent an aspect of the culture, the resulting friction between these two entities is the catalyst that generates enlightenment of a cultural dilemma. 

I used visual examples of iconic realism as the cover photos for my books, pictured below.
(Book #3 is forthcoming.)