Irish - Dramatist | March 15, 1852 - May 22, 1932
Once in my childhood I had been eager to learn Irish; I thought to get leave to take lessons from an old Scripture-reader who spent a part of his time in the parish of Killinane, teaching such scholars as he could find to read their own language in the hope that they might turn to the only book then being printed in Irish, the Bible.
Lady Gregory
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It was in a stonecutter's house where I went to have a headstone made for Raftery's grave that I found a manuscript book of his poems, written out in the clear beautiful Irish characters.
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I was told in many places of Osgar's bravery and Goll's strength and Conan's bitter tongue, and the arguments of Oisin and Patrick. And I have often been given the story of Oisin's journey to Tir-nan-Og, the Country of the Young, that is, as I am told, a fine place and everything that is good is in it.
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What are prophecies? Don't we hear them every day of the week? And if one comes true there may be seven blind and come to nothing.
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Every trick is an old one, but with a change of players, a change of dress, it comes out as new as before.
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There's too many sounds in the world! The sounds of the earth are terrible! The roots squeezing and jostling one another through the clefts, and the crashing of the acorn from the oak. The cry of the little birdeen in under the silence of the hawk!
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It's best make changes little by little, the same as you'd put clothes upon a growing child.
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I'll take no charity! What I get I'll earn by taking it. I would feel no pleasure it being given to me, any more than a huntsman would take pleasure being made a present of a dead fox, in place of getting a run across country after it.
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Irish history having been forbidden in schools, has been, to a great extent, learned from Raftery's poems by the people of Mayo, where he was born, and of Galway, where he spent his later years.
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When death comes, it is not enough to have been charitable; and it is not right to touch the body or lay it out for a couple of hours; for the soul should be given time to fight for itself, and to go up to judgment.
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I hold that the beginning of modern Irish drama was in the winter of 1898, at a school feast at Coole, when Douglas Hyde and Miss Norma Borthwick acted in Irish in a Punch and Judy show; and the delighted children went back to tell their parents what grand curses 'An Craoibhin' had put on the baby and the policeman.
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I feel more and more the time wasted that is not spent in Ireland.
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