Classic and Contemporary Poetry: Explained

In "Tulyar", Sean Ó Ríordáin offers a satirical yet contemplative reflection on Ireland’s cultural identity, using the figure of Tulyar—a prized stallion purchased by the Irish government from the Aga Khan—as a vehicle to explore themes of tradition, modernity, and moral values. Through a mixture of humor and irony, Ó Ríordáin questions what the arrival of this renowned horse signifies for a country known for its devotion to religion, scholarship, and tradition. Tulyar becomes a symbol of a “new Ireland,” one that seems to compromise its long-held principles and reputation in favor of something more materialistic or even indulgent.

The poem opens with an address to Tulyar, who is affectionately called “auld stallion” and “a mhic,” a term of endearment in Irish. These terms underscore the speaker’s ambivalent relationship with Tulyar, who is both respected and questioned. The speaker introduces Tulyar’s background as “De Valera’s prize-buy from the Aga Khan,” grounding the poem in a specific cultural and historical context. Tulyar’s acquisition is linked to Eamon de Valera, a significant political figure in Ireland, symbolizing a government that promoted traditional Irish values. However, the poem’s tone soon shifts as the speaker juxtaposes Ireland’s cultural ideals—a “pure-living land,” a land of “comely maidens,” “priests,” and “psalm-books”—with the presence of a foreign stallion brought in for breeding purposes.

Ó Ríordáin’s use of the phrase “pure-living land” to describe Ireland is deeply ironic. This description echoes romanticized images of a country steeped in faith, moral integrity, and intellectual heritage—a “land of scholars and saints.” However, the poem’s playful tone soon disrupts this idealized image, as the speaker questions the role of Tulyar, a “public stud,” who has been imported to “practice his magic among us.” Here, Tulyar embodies an ironic twist on the country’s purity, introducing an element of physical indulgence that stands in stark contrast to Ireland’s religious and moralistic self-image.

The speaker’s tone becomes more humorous as he addresses Tulyar directly, stating, “Not that I’m damning all horseplay,” suggesting a playful acceptance of Tulyar’s role, while also implying a critique of Ireland’s priorities. By bringing in Tulyar, the country appears to be embracing a kind of “horseplay” or indulgence that it once might have rejected as frivolous or even immoral. This “quare turnaround” of values raises questions about the authenticity of Ireland’s commitment to its own ideals. The stallion’s purpose, framed as “conducting affairs on behalf of the government,” introduces a satirical commentary on how public resources and efforts are being directed—ironically, not toward spiritual or intellectual enrichment but toward something as worldly as horse breeding.

The speaker draws a stark contrast between Tulyar’s purpose and “Patrick’s gospel,” implying that this imported horse represents a shift from religious and cultural dedication toward a more pragmatic, materialistic agenda. Tulyar’s presence is described as “another way of thinking entirely,” one that seems to align with the values of Eisirt, a figure in Irish mythology associated with indulgence and pleasure, rather than with the moral rigidity traditionally associated with Saint Patrick. The mention of Eisirt reinforces the notion that Tulyar’s role embodies a departure from Ireland’s religious and moralistic roots, suggesting that the country may be undergoing a cultural shift that prioritizes secular or even hedonistic pursuits.

Ó Ríordáin’s speaker continues with a wry tone, stating, “there’s no sin in sinning now, auld horse,” acknowledging an emerging attitude that embraces pleasure and pragmatism over strict moral codes. This shift is embodied in Tulyar’s role as a “public stud,” with “official endorsement” to breed—a role that, in another context, might seem indulgent or even excessive. The notion of “official endorsement” for Tulyar’s activities serves as a commentary on how government approval can lend legitimacy to pursuits that might otherwise be viewed with skepticism. The speaker questions whether Tulyar’s presence signifies a failure on the part of Ireland itself—“Was it that we were found wanting?”—as if the country’s own values were insufficient and required supplementation by a foreign symbol of vigor and fertility.

The poem closes with the question of whether Tulyar’s state-sanctioned role might be “deemed uncanonical if you hadn’t been given state sanction.” This closing line adds a layer of irony by implying that the very presence of Tulyar, an imported stud horse, contradicts the country’s spiritual values, even as it has been “canonized” or made acceptable by government approval. The speaker’s tone remains skeptical, highlighting the tension between traditional ideals and the practical, secular interests that have influenced modern Ireland’s identity.

In "Tulyar", Sean Ó Ríordáin uses the figure of a stallion to explore the paradoxes of Irish cultural identity in a time of change. Through humor, irony, and cultural allusion, Ó Ríordáin critiques the way Ireland’s government seems to prioritize pragmatic interests over spiritual or cultural continuity. Tulyar, as a symbol of virility and practicality, embodies a new set of values that clash with the idealized image of a land defined by purity, scholarship, and religious devotion. Ultimately, the poem raises questions about what it means to be “canonical” or truly representative of Irish identity, suggesting that the nation’s values may be shifting away from their traditional moorings in response to modern, secular demands.

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