![]() ![]() Peig Sayers was illiterate, but her autobiography, Peig, is also in Munster dialect and rapidly became a key text. Other influential Munster works are the autobiographies Fiche Blian ag Fás by Muiris Ó Súilleabháin and An tOileánach by Tomás Ó Criomhthain. Unfortunately, the book came to associate the Irish language with poverty, misery and bored generations of teenagers to tears.TG4 broadcaster Sinéad Ní Uallacháin is attempting to rehabilitate Sayers's reputation and restore her as a storyteller worldwide.Leis "also" (Connacht freisin, Ulster fosta).ná "that.not do not" and nách "that is not" as the copular form (both nach in the standard).Gaelainn "Irish language" (Cork and Kerry), Gaeilinn (Waterford) (standard Gaeilge).in aon chor (Clear Island, Corca Dhuibhne, West Muskerry, Waterford) or ar aon chor (Clear Island, West Carbery, Waterford) "at any rate" (other dialects ar chor ar bith (Connacht) and ar scor ar bith (Ulster).Some words and phrases used in Munster Irish are not used in the other varieties, such as: Munster Irish differs from Ulster and Connacht Irish in a number of respects. “I wonder what Peig would have said, if she knew that we’d still be talking about her, at length, in the year 2021?” mused Ní Uallacháin? Peig Sayers at her home on the Great Blasket Island in the 1930s. There are many layers to Peig, as I found out whilst making this programme.” “ This woman generously shared not only her life story, but many other stories that she had collected over the years I don’t believe the abuse she continuously receives is warranted. She discovered that Sayers was a much maligned woman who, in many ways, was the opposite of that portrayed in her autobiography. Máire Ní Dhálaigh, of the Office of Public Works's Blasket Centre, said: "Peig was the Netflix of the time and people gathered around her from far and wide. who loved to entertain and drew people to her."ĭr Criostoir MacCarthaigh told the documentary that contrary to the public image, Sayers was a woman with a strong sense of humour who was recorded in the 1940s by the Irish Folklore Commission and was a born performer.She was born Máiréad Sayers in the townland of Vicarstown, Dunquin, County Kerry, the youngest child of the family. She was called Peig after her mother, Margaret "Peig" Brosnan, from Castleisland. Her father Tomás Sayers was a renowned storyteller who passed on many of his tales to Peig. She spent two years there before returning home due to illness.Īt the age of 12, she was taken out of school and went to work as a servant for the Curran family in the nearby town of Dingle, where she said she was well treated. She spent the next few years as a domestic servant working for members of the growing middle class produced by the Land War. ![]() She had expected to join her best friend Cáit Boland in America, but Cáit wrote that she had had an accident and could not forward the cost of the fare. Peig moved to the Great Blasket Island after marrying Pádraig Ó Guithín, a fisherman and native of the island, on 13 February 1892. She and Pádraig had eleven children, of whom six survived. The Norwegian scholar Carl Marstrander, who visited the island in 1907, urged Robin Flower of the British Museum to visit the Blaskets. Flower was keenly appreciative of Peig Sayers' stories. ![]() ![]() He recorded them and brought them to the attention of the academic world. In the 1930s a Dublin teacher, Máire Ní Chinnéide, who was a regular visitor to the Blaskets, urged Peig to tell her life story to her son Mícheál. Peig was illiterate in the Irish language, having received her early schooling through the medium of English. He then sent the manuscript pages to Máire Ní Chinnéide in Dublin, who edited them for publication. Über mehrere Jahre ab 1938 diktierte Peig Seosamh Ó Dálaigh von der Irish Folklore Commission 350 alte Legenden, Geistergeschichten, Volksgeschichten und religiöse Geschichten (während eine andere Quelle 432 von Ó Dálaigh von ihr gesammelte Gegenstände zählt, etwa 5.000 Seiten Material). ![]()
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