GhostfaceKillah as Dubai Tycoon (Deleted scene) Allison McAtee as Dubai Beauty (Deleted scene) America Olivo as Dubai Beauty (Deleted scene) Crystal Marie Denha as Dubai Beauty (Deleted scene) Arne Starr as Dubai Tycoon in Hat (Deleted scene) David Castillo as S.H.I.E.L.D. Agent. Darryl Reeves as S.H.I.E.L.D. Agent.â We will help you defeat Zeus. â âGaia Gaia, mother of the Titans and the Earth itself. The Titans were the race of deities who ruled over Greece before the Olympian Gods came to existence. They were the ones who aided Kratos in his quest for vengeance against Zeus but they became the secondary group of antagonists upon Gaia's betrayal. Greek Mythology In Greek mythology, the Titans ÎčÎŹÎœ were a race of extremely powerful and physically huge deities that ruled the world during the legendary Golden Age of Mankind. They were the children of Gaia and Ouranos. There were 12 original Titans, the males being known as the Titans Oceanus, Coeus, Kreios, Hyperion, Iapetus, and Cronos and the females as the Titanides Rhea, Theia/Thera, Phoebe, Mnemosyne, Themis and Tethys. They were ruled by the youngest Titan, Cronos, who overthrew Ouranos with the aid of Gaia who crafted his sickle and his brothers not Oceanus and Typhon, Titan God of Wind Storm and son of Tartarus and Gaia. Later, several of the Titans also produced offspring which were also Titans. These Titans included the children of Oceanus the Potamoi and Oceanids, the children of Coeus the Coeides Leto, Asteria and Lelantos, the children of Kreios the Creionides Astraeus, Pallas and Perses, the children of Hyperion the Hyperionides Helios, Eos and Selene, the children of Iapetus the Iapetionides Atlas, Menoetius, Prometheus, and Epimetheus. The Titans preceded the Olympian Gods who, led by Zeus, eventually overthrew them in the Titanomachy. The Titans were then imprisoned in Tartarus, the deepest and darkest pit of the Underworld. Only a few Titans such as Prometheus, Oceanus were spared that fate. Atlas, who led the Titans in the Titanomachy, was forced to hold the sky Ouranos upon his shoulders, fore the sky was greatly damaged in the war and couldn't support itself and also because of the death of the sky Ouranus. In the God of War Series Birth and Fate Rhea awaiting Cronos atop the Summit of Sacrifice. In the beginning, there was darkness. The Titans were born on the Island of Creation, home to the Sisters of Fate and controllers of time. Themis was born of Gaia, who became the embodiment of divine order, law, and custom, giving the Titans a purpose to be a part of the world. The rest of the world was created by the Titans and Cronos was given the title as ruler. However, it was prophesized that one day Cronos would be overthrown by his very children, just as Uranus had been years before. In an attempt to sway the Sisters into his favor, Cronos gifted them with the Steeds of Time. The Sisters refused to change his fate and the fate that would also haunt the Titans forever. Cronos began devouring his children one by one so that the prophecy may not come true. His wife, Rhea, could not bear another such loss and hid the sixth and final child on an island far away from the watchful eyes of her husband. Cronos foolishly swallowed a rock wrapped in cloth in the baby's place. The child who escaped his siblingsâ fate was Zeus, who was raised by his grandmother Gaia herself to nurture his desire to free his brothers and sisters from their prison. When the day came and Zeus had become a young man, he freed his siblings from their cruel father and the Great War began. The Great War Titans in their last moments on the mortal world before being engulfed by the Blade of Olympus' power. The Titans believed that they had to win or the Gods would make the mortals suffer, caring only for control and power. The Titans Prometheus and Helios In the mythology Epimetheus also joined the Olympians, which isn't the case in the game joined the Gods in the battle against the Titans, betraying their very own. The Titans were led by the great Atlas, who saved Cronos, the latter was about to have his soul consumed by the hands of Hades, by hurtling rocks and causing earthquakes toward the God. In Cronos' place Atlas was captured by Hades with the help of Poseidon, but the battle continued. Mountains were hurled like mere pebbles, and the ground shook from massive earthquakes. The war between the Titans and the Gods forged the landscape of the mortal world. Eventually, Zeus created the Blade of Olympus, and used its immense magical power to send the Titans to the foulest pits of the Underworld â Tartarus. This ended the Great War, and the gods established their domain upon Mount Olympus, being worshiped by the mortals who begged for their mercy and guidance. The Golden Age had indeed ended. An unidentified Titan, imprisoned in The Jails of Tartarus. In Tartarus, the Titans would be tortured or trapped for all eternity despite Cronos being the one who caused the great war with the Gauntlet of Zeus being created to chain and bind them. One of the Titans chained to the walls of Tartarus with this method that Kratos encounters was Hyperion. Cronos suffered the fate of wandering the Desert of Lost Souls with Pandora's Temple chained to his back until the strength of the whirling winds and sands ripped his flesh from his bones. Aegaeon was transformed into a living prison for oathbreakers by the Furies for breaking his oath to Zeus to fight alongside the Gods with the other Hecatonchires. The Titan Typhon was imprisoned within an enormous mountain. On the same mountain as Prometheus, because of betraying Zeus and giving the mortals the fires of Olympus, was forced to endure the pain of having his liver eaten everyday by a large eagle only to suffer the fate again and again. The great Titan Atlas was to hold the world of the living on his shoulders, his hands chained to the earth though Kratos broke one of the chains, releasing him from some of the pain. Kratos' Encounter With Cronos Cronos, with the temple of Pandora on his back, suffering in the Desert of Lost Souls. Athena instructed Kratos to journey to the Desert of Lost Souls where the Titan Cronos crawled with Pandoraâs Temple upon his back. The Titan showed no notice of him as Kratos climbed a mountain leading to the temple for three days, while Cronos was still crawling pitifully across the harsh desert wasteland with the wind blowing in his face. The mighty Titan walked in the desert for millennia until Kratos retrieved Pandora's Box. They would later meet at the Steeds of Time A holograph of Cronos. The Titan was later sent to Tartarus with the temple chained to his back. The Prisoner of Atlantis Within the volcanic mountain outside of Atlantis, the lava titan, Thera, was imprisoned and she appears to be the core of the volcanic activity. There, Kratos was informed by her that his arrival was foretold by Gaia and pleaded to be released or they would both remain prisoners of their own torments. Kratos hurled his blades into Thera's chest, thus receiving the power of Thera's Bane and setting Thera free, who then started tearing down her chains as the spartan left the chamber, leaving destruction in her wake. As the volcano erupted, she was seen rising out of her captivity in the distance, though what became of Thera remains unknown. It's likely that Thera, along with the other Titans, joined Kratos in his assault against the gods and was killed during the battle. Alliance with Kratos Kratos meets Gaia and the Titans. Kratos was saved by Gaia's guidance while he was being taken to the Underworld. She told Kratos that Zeus would have to be destroyed in order for there to be any hope for Kratos. With her voice whispering into Kratos' ear, the powerful warrior traveled to the mountain where Typhon and Prometheus rested. Typhon, bound to his mountainous prison, refused to help the former Olympian. Typhon tried blowing Kratos off of the cliffs where he walked, hoping he would fall to his death. Kratos managed to obtain Typhon's Bane by stabbing Typhon's eye, blinding him. Kratos also released Prometheus from his torment by burning him to death in a fiery pit, granting him the power of the Rage of the Titans. Cronos gifted Kratos with the last of his magic while traveling with the Steeds of Time. This magic was known as Cronos' Rage. Kratos also fell into the grasp of the mighty Titan Atlas, who gifted him with the knowledge of the Great War and the powerful Atlas Quake. With all of his powers and gifts, Kratos defeated the Sisters of Fate and traveled back in time to the final minutes of the Great War. He saved the Titans from being banished and brought them into his time. There, he and the Titans climbed Mount Olympus to finally rid the mortals of the petty gods once and for all. The mortals were terrified, but there was nowhere to run or hide from the brutal battle. Second Titanomachy â Zeus! Your son has returned! I bring the destruction of Olympus!! â With the Second Titanomachy having begun, the Olympians immediately leapt into battle against the Titans climbing up Mount Olympus. Helios, Hermes, Hercules, and Hades engaged the Titans head on, while Poseidon waits with Zeus. Hades in his giant form would use his Claws to dislodge the Titan Oceanus as he was making his way up the mountain. Poseidon then entered the fray by leaping off the top of Olympus, he targeted the Titan Epimetheus and blasted through his chest, killing him instantly and knocking him off the mountain into the waters below. With the help of his Hippocampi, which erupted from the water, Poseidon pulled at least one more Titan off Mount Olympus before reaching Kratos and Gaia, in the form of a colossal watery construct. After a long and hard struggle, Kratos and Gaia combined their efforts, managing to kill the God of the Sea, with the Spartan gouging his eyes and snapping his neck. Victorious from their battle with Poseidon, Kratos and Gaia reached Zeus, who then summoned a lightning bolt to blast them off the mountain, resulting in Kratos falling into the Underworld, though not before learning that he was just a pawn for Gaia which made the Titans his new enemies along with the Gods. In retribution for her betrayal, Kratos sends Gaia plummeting from Olympus. After killing Hades and escaping the Underworld, Kratos happened upon a wounded Gaia who praised the Spartan for surviving his fall, stating "The blood of Cronos serves you well". She then pleaded with him for help but he cuts the vines of Gaia's damaged hand. When she pleads to him by asking if she meant anything to him, Kratos responded in a form of cruel irony that Gaia was his pawn as she stated she must face Zeus so the Titans may have their vengeance on the Gods. However, Kratos stated the war against the gods was his war not hers. For her earlier betrayal, he uses the Blade of Olympus and cuts the remaining vine to her hand causing her to fall off the mountain to her supposed demise. Kratos battling a Centaur General as Perses looks on Later in the war-torn city of Olympia, Helios was still engaged in combat with the Titan Perses when Kratos reached the site of the battle. With the help of a Ballista, Kratos knocked Helios and his chariot into the grasp of Perses, who crushed and tossed the Sun God across the city. Perses then proceeded to rampage throughout the city while Kratos continued onward with his own agenda and decapitated the Sun God with his bare hands. Once he made his way through an Icarus Vent, Kratos came across Perses again, who tried to kill him, as possible retribution for what Kratos had done to Gaia. Kratos managed to shun the attack of the Titan, then pulled out the Blade of Olympus and impaled Perses' left eye before causing an explosion, blasting the Titan's face. Perses fell off the mountain once again, only this time, it seemed very unlikely he would have survived the fall as he is never seen again. Cronos, attempting to crush Kratos to death When sent by Hephaestus on a suicide mission to find the Omphalos Stone in Tartarus, Kratos stumbled onto the fallen hand of Gaia before encountering his grandfather Cronos. Enraged at his very presence and for supposedly killing Gaia, Cronos made an attempt to kill his grandson, losing a few finger nails to Kratos in the process. After battling against the massive Titan, Cronos managed to swallow Kratos, which proved to be a fatal mistake as the Spartan managed to cut his way out using the Blade of Olympus, spilling Cronos' intestines in the process. Kratos then proceeded to kill Cronos with the Blade of Olympus before returning to Hephaestus with the Omphalos Stone to craft the Nemesis Whip. During the final battle between him and Zeus, Kratos encountered Gaia, who managed to mostly regrow her lost hand to climb back up the mountain, one last time when she interrupted the fight between father and son. Declaring that "the reign of Olympus ends now" upon her return, Gaia then expresses anger towards Kratos and the Gods as her world "bleeds" because of them. Revealing that she never sought Kratos' death, Gaia proclaims that the Spartan has left her no other choice; Zeus took this moment to comment that Kratos has failed her and that she should have chosen the other one instead. Angered by this defiance, Gaia simply replied that "father and son will die together" and crushed the Shrine of Olympus in her hands. Zeus and Kratos leapt into a large gaping wound in her chest caused earlier by Poseidon's Hippocampi and found their way to her heart, where Kratos proceeded to shatter its defenses, and drew energy from the Titan, causing her immense pain. The battle resumed when Zeus made his appearance and continued until Kratos stabbed Zeus with the Blade of Olympus and ran him through Gaia's heart, killing her as her body dissolving collapsed onto Olympus, leaving only large chunks of earth, and some withered trees and branches behind. With the deaths of all the other Titans, the only remaining Titan is possibly Atlas as he is left holding the world on his shoulders at Pillar of the World, Typhon's fate is largely unknown but possibly still alive. Appearance Full body of a Titan Physical The Titans are as large as mountains and appear to be mostly elemental. Though they are evidently not very physically beautiful in any way with few exceptions, they possess immense physical strength and stamina. The Olympians appear more civilized and human than the Titans, whereas the Titans appear more ancient, earthly, and elemental. However, this is not applied to all Titans, as Rhea, Prometheus, Eos and Helios look more human, and share the human's common figure and overall height and appearance though the latter two were Titans that helped the Olympians and may have transformed to their current appearance. In-Game There are numerous Titans who make various appearances throughout the entire God of War series. These are a few Gaia Deceased The Primordial Goddess of the Earth and the mother and grandmother of all of The Titans. Also their current leader. Ouranos presumed Deceased The Primordial God of the Sky and the father and grandfather of all of The Titans. Atlas The Titan that was forced to carry the Sky on his shoulders. Also, he was new emperor of the Titans in the events of the Great War. He was the Titan of Endurance. Cronos Deceased The Father of Zeus, Poseidon, Hades, Hera, Hestia, and Demeter. He is the former Emperor of the Titans and Titan of Time and Harvest. Hyperion Presumed Deceased The father of Helios, Eos, and Selene. He is the Titan of Light. Selene The daughter of Hyperion, and sister of Helios and Eos. She is the Titaness-goddess of the Moon, Night and Birth. Helios Deceased God of Sun. Eos Presumed Deceased The daughter of Hyperion and sister of Helios and Selene. She is the Titaness-goddess of Dawn, Dew, Morning Red and Frost. Oceanus presumed Deceased The Oceanic Titan seen climbing Mt. Olympus in "God of War III." He is the divine personification of the "World Ocean" and the Titan of Water and Ocean. Prometheus Deceased The Titan of Foresight and Forethought, forced to bear the pain of having his liver eaten every day by an eagle after giving fire to mankind. Rhea The mother of the first Olympians, the wife of Cronos, and Queen of the Titans. She was the Titaness of Motherhood and Earthly Elements. Themis Titaness-goddess of Law, Justice, Divine, and Custom. She is the sister of Mnemosyne. Mnemosyne Titaness-goddess of Memory and Remembrance. She is the sister of Themis. Typhon The Titan-Giant of Wind and Storm, who is punished by Zeus by trapping him underneath a large mountain. Perses Deceased The Titan of Destruction. Epimetheus Deceased The Titan of Hindsight and Afterthought Thera The Titaness of Lava, who is trapped inside a volcano in Atlantis. Iapetus Ancestor of all of Mortal races. Polyphemus Deceased A gigantic Cyclops, son of Poseidon, referred to as a Titan. Gyges Deceased One of the Hecatonchires, sons of Gaia and Ouranos and brothers of the Titans, though not Titans themselves. Aegaeon Deceased Another Hecatonchire. Turned into a prison for the living damned by The Furies for breaking his blood oath with Zeus. Python Deceased The Titan-Serpent son of Gaia and by the blood of Ouranos, slain by the god Apollo in Delphi. Cottus Deceased One of the Hecatonchires, sons of Gaia and Ouranos and brothers of the Titans. Powers The main powers that all Titans possessed are superhuman strength, superhuman stamina, superhuman durability, immortality and regenerative abilities. Some of the Titans may also possess some form of energy projection and the power to control and manipulate the elements which they embody. Oceanus and Perses seem to be covered in their respective elements, Oceanus being covered in Water and Lightning, and Perses is covered in Lava implying that they both could manipulate those elements. Gaia could also possess the power over Earth and possibly over the life on it. They seem to possess shape-shifting ability, since the Titans Rhea, Helios, Prometheus and Eos fully resemble human beings in size, height and beauty. Given that their fellow Titans didn't look appealing at all, so it can be assumed that they prefer a more attractive human form, and assume their appearance. However, it is unknown what powers Rhea, mother of the six original Olympians, possesses, as she hasn't displayed her own powers in the series, as well as her current status and location being unknown, though it is likely she is deceased or living somewhere far away. They also seem to have awareness over the events that happen in the corresponding element that they embody in the world. For example, Gaia saw all the events that happened to Kratos and was able to talk to him despite not being present at the time. The same happens with other Titans like Prometheus and Typhon, who had some knowledge about Kratos even though they were both isolated in a mountain. Gallery Epimetheus falling to his attempting to kill Kratos. v d eGods in the God of War seriesGreekGods AeĂ«tes Amphitrite Aphrodite Apollo Ares Ariadne Artemis Asclepius Athena Boreas Circe Demeter Dionysus Erinys Eurus Hades Hephaestus Hera Hercules Hermes Hestia Iris Kratos Medea Muses Nike Notus Orkos Pelias Persephone Phobos Poseidon Triton Zephyrus Zeus Zora and Lora Titans Atlas Cronos Echidna Eos Epimetheus Gaia Helios Hyperion Iapetus Mnemosyne Oceanus Perses Prometheus Rhea Themis Thera Typhon Demigods Calliope Castor and Pollux Ceryx Deimos Hercules Kratos Medea Orkos Peirithous Pelias Perseus Theseus Zora and Lora Primordials Atropos Ceto Chaos Clotho Erebus Eros Gaia Graeae Morpheus Nemesis Nyx Ouranos Ourea Sisters of Fate Tartarus Thanatos The Furies Alecto Lahkesis Megaera Orkos Tisiphone NorseAesir Baldur Bragi BĂșri Forseti GnĂĄ Heimdall Hör HĆnir Iunn Magni Meili Modi Nanna Odin Sif Sleipnir Thor TĂœr Ullr VĂarr Vili VĂ© Vanir Beyla Freya Freyr Nerthus Njörd Misc. Ăgir Loki Mimir RĂ n Primordials Auumbla Borr Ymir MiscellaneousEgyptian Thoth Affairede famille. Cette quĂȘte permet de donner lâaccĂšs Ă la Forteresse de Northri, il faut parler au forgeron Sindri pour la dĂ©clencher. Rendez-vous ensuite sur place. Page Wiki Trouver un autre chemin PubliĂ© le 01/05/2018 Ă 1303 Partager Images 01, 02 et 03Maintenant que vous avez le burin et la rune, partez en direction de la montagne Ă pied, vu que lâaccĂšs rapide du sommet est visiblement cassĂ©. Allez jusquâĂ la tour au bout du pont image 01 et suivez le chemin jusquâĂ rejoindre lâatelier de Sindri image 02. Assistez Ă la cut scene, puis affrontez les ennemis qui apparaissent alors image 03. Dirigez-vous ensuite vers lâascenseur image 04, pour vous apercevoir quâil ne fonctionne plus. Vous allez donc devoir suivre lâancienne voie. Image 04Grimpez le long de la paroi Ă droite image 05, puis tuez les ennemis qui vous barrent la route image 06, de maniĂšre Ă rejoindre lâarĂšne de pierre image 07. Images 05, 06 et 07LĂ , des failles sâouvriront pour faire apparaĂźtre de nouveau ennemis assez ennuyeux, mais faibles. AprĂšs les avoir vaincus, rejoignez la porte au fond de la zone, et sortez vers la montagne image 08. Tuez les cauchemars, puis rĂ©cupĂ©rez le coffre sur la droite aprĂšs lâavoir dĂ©barrassĂ© de ses ronces de Hel image 09. Suivez le chemin, regardez la falaise sâeffondrer, et passez par le chemin sur la droite qui vient de se libĂ©rer image 10.Images 08, 09 et 10Poursuivez la route jusquâĂ rejoindre lâintĂ©rieur de la montagne, ou vous croiserez une vieille connaissance image 11. AprĂšs la cut scene, ouvrez le passage sur la gauche image 12. Images 11 et 12Tuez les ennemis dans le couloir, puis grimpez la chaine au bout du passage image 13 de maniĂšre Ă rallier le puits de la mine image 14. Sur le chemin, Atreus commencera Ă ne plus obĂ©ir Ă vos ordres, et attaquera les ennemis au corps Ă corps. Prenez cela en compte. Tuez les ennemis qui rĂŽdent dans la grande salle, puis allez au fond de cette derniĂšre pour dĂ©couvrir des ronces de Hel image 15. Images 13, 14 et 15DĂ©truisez-les pour libĂ©rer un ascenseur vous permettant de retourner au sommet image 16. Image 16 Anamulet meaning âsprig of rueâ in Italian, also known as the Witch Charm. This amulet is made of silver and resembles a sprig of rue with various other symbols in its three branches (generally a crescent moon, key, stars, daggers and flowers). The cimaruta dates back as far as 4500 BC.
AmericanGold Eagle: The American Gold Eagle coin is the official gold bullion coin from the United States, and the coins debuted in 1986. Each Gold Eagle features 22-karat gold for both bullion, proof, and burnished coins. The bullion and proof coins include 1 oz, 1/2 oz, 1/4 oz, and 1/10 oz coins, while the burnished coin has just a 1 oz option.
RĂ©sumĂ© Index Plan Texte Notes Citation Auteur RĂ©sumĂ©s This paper studies the history of deforestation in Ireland under the impact of consequent arrivals and departures, among which the advent of Christianity and the Anglo-Norman colonisation left a permanent mark on both the Irish landscape and culture. The aim is to understand how the island of Ireland, once known for its dense woodlands, became almost entirely denuded of tree cover by the end of the 19th century and continues to be among the least forested regions in Europe. The history of deforestation in Ireland is an example of how environmental phenomena are closely linked with wider cultural and political concerns that characterise a certain period of history. Deforestation in Ireland was part of the colonial narrative that focused on subjugating the native population by taming the very landscape upon which they depended as a dwelling place. Cet article traite de lâhistoire de la dĂ©forestation en Irlande, au travers des flux migratoires consĂ©cutifs, parmi lesquels lâavĂšnement du christianisme et la colonisation anglo-normande, qui ont laissĂ© une marque permanente Ă la fois sur la culture et le paysage irlandais. Il vise Ă comprendre comment lâĂźle dâIrlande, autrefois connue pour ses denses rĂ©gions boisĂ©es, est devenue presque entiĂšrement dĂ©nuĂ©e de couverture forestiĂšre Ă la fin du XIXe siĂšcle et reste encore lâune des rĂ©gions les moins boisĂ©es dâEurope. Cette histoire de la dĂ©forestation en Irlande est un exemple du lien Ă©troit entre les phĂ©nomĂšnes environnementaux et de plus larges prĂ©occupations culturelles et politiques qui caractĂ©risent une certaine pĂ©riode historique. La dĂ©forestation en Irlande participe du discours colonial qui sâĂ©vertua Ă asservir la population locale en domestiquant prĂ©cisĂ©ment le paysage dont elle dĂ©pendait pour son de page EntrĂ©es dâindex Haut de page Texte intĂ©gral Introduction 1 Food and Agriculture Organization of the United Nations, Global Forest Resources Assessment 2015, 2... 1Once considered one of the most heavily-forested regions in Europe, the Republic of Ireland lies at the bottom of the European forest cover index with less than 11% of its total land area under forest cover. Northern Ireland, with about 7% coverage, is often included with the rest of the United Kingdom with 13% forest cover1. Yet as the commemorative epithets of âThe Isle of Woodâ and âEmerald Greenâ imply, the memory of Ireland as a country densely covered in woodlands persists in Irish place names that owe their existence to the once significant relationship between people and trees in ancient Ireland. Derry, for example, is taken from Doire, signifying an oak grove. The prefix âKill / Kil / Cillâ, common in Irish place names such as Kilcommon, Kildare, Kilkenny, derives from the Irish word Coill, which means a wood. MacCuill, son of hazel, MacCairthin, son of rowan, MacIbair, son of yew, and MacCuilin, son of holly, are also examples of Irish names related to trees. 2 Carl J. Griffin, âSpace and Place â Popular Perceptions of Forestsâ, in New Perspectives on People ... 3 Ibid. 4 Miranda Green, Animals in Celtic Life and Myth, London â New York, Routledge, 1992, p. 1-2. 5 See Charles Squire, Celtic Myth and Legend Poetry and Romance, London, Gresham Publishing Company, ... 2Trees are interpreted as âcharismaticâ mega flora and faunaâ2, which play an important role in invoking feelings of geopiety among environmental and regional groups. Coined by J. K. Wright in 1947, geopiety denotes âthe sense of piety felt by humans in relation to both the natural world and the geographical spaceâ3. In Ireland, feelings of geopiety as well as regional and national identity have often evolved around trees like oak, hazel, holly, and ash, which carry strong cultural implications. In Celtic cultures, âEvery tree, mountain, rock and spring possessed its own spirit or numenâ which had the power to âboth foster and destroy living thingsâ4. Trees were venerated by Irish Celts as a source of spirituality and power5. Along with herbs, they were used as medicine or associated with keeping off bad spirits or bringing good luck. Also included in the ancient Brehon laws, trees were considered communal property and cutting or mutilating them was a serious offence. 3Taking into consideration this early culture of tree veneration, it is worth asking how the island of Ireland became almost entirely denuded of tree cover by the end of the 19th century and now lies at the bottom of the European forest cover index. This essay addresses the cultural implications of deforestation in Ireland as a narrative that unveils the story of consequent arrivals and departures in the island of Ireland with an emphasis on two major events in Irish history the Anglo-Norman colonisation of Ireland since the 12th century and the advent of Christianity in the 6th century AD. A timeline of arrivals and departures 4The interaction of man and woodlands in Ireland is believed to have begun with the arrival of Mesolithic people, who were primarily fishers, hunters, and gatherers. Timber was used to make boats and houses. The settlement of Neolithic farmers around five to six thousand years ago and the development of the blanket bog resulted in the earliest clearance of forests, which mostly affected the West and Midlands. 5The next group of settlers were the Celtic tribes who arrived in Ireland around 800 BC. The Irish Celts started a new phase of interaction with the wooded environment, commonly known as âtree venerationâ. Hazel meant wisdom; ash, yew, and oak were considered as sacred, and birch was associated with love. Trees were included in the ancient legal code of Ireland, known as the Brehon laws. According to their size, use, and fruit type, tree species stood for social order. In contrast to Norman Forest Laws which gave absolute ownership to an individual, the woodland laws in the Irish legal system were part of the common laws, where one piece of land with its natural resources was allocated to an individual of a high rank in trust, to be transferred to the next patron, who was not necessarily a direct inheritor. Communal ownership gave way to the rise of feudalism after the Norman Conquest in 1161. Medieval ownership, the development of the blanket bog, and farming resulted in what could be regarded as the first major period of deforestation in Ireland during the 12th and 13th centuries. 6 Eoin Neeson, âWoodland in History and Cultureâ, p. 140-141. 7 âHistory of Forestry in Irelandâ, Forest Service, Department of Agriculture, Food, and the Marine w ... 6The felling of the forests and the change of land use accelerated in the 16th century when Ireland officially became a British colony. The industrial development of the fuel-hungry British Isle, the growing demand for cheap timber used for shipbuilding purposes, and the inefficient and corrupt system of forest administration in Tudor England put the pressure on Ireland as a suitable target for invasion, both strategically and economically. The vast clearance of forests for agricultural purposes continued during the plantation period. â[S]ystematic plantation on a vast scaleâ from 1556 to 1690, by the English, Welsh, and Scottish landlords, conquered and subdued the inhabitants whose defence capabilities were dependent on forests as shelter and ambush6. The 17th-century plantation, which had started in the southern Midlands, spread through the entire country, leaving million out of 2 million acres of Irish landscape under plantation7. 7After the Tudors, deforestation continued during the Stuart and Commonwealth periods, decreasing wildlife biodiversity and gradually alienating the Irish, who had earlier relied on the woods as shelter, dwelling, and source of livelihood. In less than a hundred years the social and environmental effects of deforestation were already visible in Ireland. Native species such as wolves, eagles, birds of prey, and wild cats had dwindled as a result of losing their natural habitats. The Irish people, on the other hand, underwent immense pressure from the British colonisers who had not only bereft them of their shelter and source of income, but also gradually alienated them from their own dwellings in proximity of the woods. This was worsened in the aftermath of the Act of Union 1800 and the consequences of absentee landlordism, which severely affected the countryside, already hit by the increasing demand for food and shelter as a result of population growth from 1700 to 1840. 8 Eoin Neeson, âWoodland in History and Cultureâ, p. 146. 9 Ibid. 8Nature, which had remained a source of livelihood and spirituality for centuries, had gradually become an awe-inspiring, threatening presence. The shift in attitudes is apparent in the reaction to the early reforestation schemes that planned to improve the rapidly dwindling Irish forests in the 18th century. Reforestation started in 1765, at the hands of the gentry who were direct descendants of the planters. The schemes were âinsufficientâ and âclearly elitistâ8, not paying the least attention to the local population and the negative impact of colonisation in poor rural areas. The Irish, who already regarded landowners as âforeignersâ and grabbersââ9, became more hostile towards both the owners and the land. The continuing hostility persisted for well over a century in the shape of mutilating and cutting trees as a sign of political protest. The reforestation scheme continued until 1845, regardless of the famine-stricken farmers who were denied all source of income during the minor periods of famine in the 19th century. Ultimately an Gorta MĂłr, the Great Irish Famine that resulted in the death of more than one million people and the emigration of another million from 1845 to 1852, proved the indifference of the formerly âbenignâ nature to the suffering of millions of poor farmers whose only means of survival was the land. 10 Forest Service Department of Agriculture, Fisheries and Food, âIrish Forests â A Brief Historyâ, 20 ... 9The last but not least major cause of deforestation after the Great Famine was the Land Act of 1881, implemented for the purpose of transferring land ownership to farmers. Bereft of their major source of profit, 19th-century landlords cleared vast areas of forests to compensate for the loss of their previously owned lands. Furthermore, farmers exploited the remaining woodlands in search of tillage and grazing. When state forestry began replanting trees in 1903, only 69,000 hectares of Irelandâs ancient and long-established forests were left, 1 to of the total land area10. 11 Ibid. 12 Eoin Neeson, âWoodland in History and Cultureâ, p. 154. 10State forestry stopped during the decades that led to the independence of Ireland from Britain. The newly independent state had other priorities on the agenda and reforestation disappeared in the background for some time. The increased demand for fuel and timber during World War I had led to a further reduction of Irelandâs forest, and World War II also hindered state afforestation to a considerable extent until the Forestry Act of 1946, which accelerated the process of planting trees by up to 10,000 acres per annum. Furthermore, Irelandâs entry in the European Economic Community now the European Union in 1973 encouraged afforestation through the privatisation of Irelandâs forestry11. The European funds, including European Commission grants, helped âeliminating the sheep / tree conflictâ among the farmers who had joined the reforestation scheme to plant trees in marginal farmlands. According to Neeson, âby 1979 Ireland had the largest and most rapidly expanding forest area per capita in Europeâ12. Yet this acceleration was to be hindered once again as the country entered a new phase of economic prosperity during the Celtic Tiger period. Among other factors, the growth of urban sprawl led to an increasing demand for building roads that connected the countryside to the cities, which at times required vast clearance of the wooded regions. The popularity of Ireland as a tourist destination since the last decades of the 20th century has also had a double-sided impact on the landscape. While cultural tourism has led to the preservation of certain areas such as Lough Gill in Co. Sligo or Coole Park in Galway, the increasing human interference with the landscape as a result of insufficient management, frequent visits, road construction, traffic, and pollution has had adverse effects on the environment. 13 Richard OâHanlon, âForestry in Ireland The Reforestation of a Deforested Countryâ, The Forestry So ... 14 Environmental Protection Agency, Irelandâs Environment â An Assessment, Wexford, EPA, 2016, p. 110. 15 Richard OâHanlon, âForestry in IrelandâŠâ, p. 7. 16 Owain Jones, âMateriality and Identity â Forests, Trees and Senses of Belongingâ, in New Perspectiv ... 11Afforestation, the creation of new forests, is still at the top of Irelandâs environmental agenda, targeting million hectares to be covered by 2030, 17% of the total land use13. Despite the continuing process of reviving Irelandâs woodlands during the last century, less than 11% of Irelandâs total land area is under forest cover today, leaving the Republic of Ireland at the lower end of the spectrum compared to the European average of Afforestation is now subject to strict environmental regulations due to biodiversity considerations. Planting the wrong species of trees or cultivating the wrong area would endanger the balance of the ecosystem, which would in turn lead to the extinction of more vulnerable species and the multiplication of others. The European Union-funded schemes to stop further agricultural land use by planting trees in marginal farmlands during the 1980s is one instance that caused a serious threat to bogland biodiversity. Instead of planting on marginal farmlands, the farmers who were given a grant to avoid further land use planted large areas of peat bogs with coniferous evergreen trees such as pine or spruce. The non-native species of Sitka spruce, Norway spruce, Lodgepole pine and Japanese larch make up a total of 60% of Irelandâs forest area compared to an average of 25% cover by native species like oak, with a growth period of 120 to 150 years15. Sitka spruce, which takes about 35 to 55 years to mature, is considered a dominant and renewable source of timber in Ireland despite its lower wood quality as a result of fast growth. On a cultural level, conifers lack the symbolic significance of oaks as emblems of nationhood and spirituality in Ireland and might as well carry âfurther political and ideological discoursesâ as in the case of the British dislike of conifers mentioned by Owain Jones16. 12Having briefly covered the major incidents that led to the deforestation of Ireland, the rest of this essay focuses on the arrival of colonisers and the advent of Christianity as two major events that altered not only the actual shape and form of the landscape, but also changed peopleâs understanding of their surrounding environment and consequently their relationship with it. Deforested landscapes â the arrival of colonisers 17 âIrelandâs Lost Gloryâ, Birds and All Nature, vol. 7, no. 4, April 1900, p. 188. 13The constant arrival of the neighbouring tribes and countries and the turbulent history of conquests and exploitations alongside periods of climate change and natural disaster modified the Irish environment in line with Irish culture. From the arrival of the first Christian missionaries to the Norman Conquest of Ireland and from the introduction of feudalism to the later British rule, the land appears to have been the first target of transformation in Ireland. The anonymous writer of âIrelandâs Lost Gloryâ in Birds and All Nature 1900 refers to âthe gradual rise of English supremacy in the landâ as the most important factor that led to the destruction of Irelandâs forests. The English landlords destroyed the woodlands âto increase the amount of arable land, to deprive the natives of shelter, to provide fuel, and to open out the country for military purposesâ. The writer further refers to the increasing value of timber and the continual destruction of the wooded landscape from the 17th century to the 19th, leaving Ireland with only one eightieth of its forested landscape in 190017. 18 Annette Jocelyn Otway-Ruthven, A History of Medieval Ireland, London, E. Benn, 1968, p. 1. 14At first glance, economic gain seems to be the primary motivation behind the exploitation of forests as well as the cultivation of land and the building of towns. Unlike the native Gaels who did not show much interest in landscaping and farming, the Norman and English settlers had an eye for the hidden profit in the development of an agricultural system as well as using Irelandâs dense forests in the form of a timber reservoir. In 1183, Gerald of Wales, who had travelled to Ireland âpartly to join the Norman Conquest, partly to see and explore the countryâ18, found the Irish lack of interest in farming and husbandry a sign of barbarity. In the tenth chapter of Topographia Hibernica 1187 he describes the character, customs, and habits of the Irish people as barbarous and slothful 19 Gerald of Wales, The Topography of Ireland, Thomas Wright ed., Thomas Forester trad., Cambridge ... The Irish are a rude people, subsisting on the produce of their cattle only, and living themselves like beasts â a people that has not yet departed from the primitive habits of pastoral life. [âŠ] their pastures are short of herbage; cultivation is very rare, and there is scarcely any land sown. [âŠ] The whole habits of the people are contrary to agricultural pursuits19. 20 Ibid., p. 70. 15Dependent on fishing, gathering, hunting, and keeping cattle for the most part, the Gaelic civilisation before the Conquest was automatically considered inferior by the Normans and later on by the English, whose comparatively developed system of agriculture had enabled them to draw benefit from the land. For Gerald of Wales, who described the movement from âthe forest to the field, from the field to the townâ as a natural course from barbarity to civilisation20, the Irish way of life and customs were indeed a sign of incivility and lack of industry. Interestingly, it was not the uncultivated land per se that was subject to negative portrayal; more often than not, the description of the nativesâ appearance matched the hostile description of their surrounding landscape as âtruly barbarousâ 21 Ibid. This people, then, is truly barbarous, being not only barbarous in their dress, but suffering their hair and beard barbis to grow enormously in an uncouth manner [âŠ] indeed all their habits are barbarism. [Barbarism] sticks to them like a second nature21. 22 Declan Kiberd, Inventing Ireland The Literature of the Modern Nation, London, Vintage, 1996, p. 9. 23 Edmund Spenser, A Veue of the Present State of Ireland [1596], Risa S. Bear ed., Renascence Editi ... 24 Ibid., p. 5. 16The derogatory portrayal of the Irish people became a common reference in the later colonial period, when the English found the colonised âthe perfect foil to set off their virtuesâ22. Edmund Spenserâs description of Irish people in A Veue of the Present State of Ireland 1596 resembles that of Gerald of Wales in attributing characteristics such as wildness, barbarity, sloth, and disorder to the native inhabitants. In a dialogue between the English-based interlocutors Eudoxus and Irenius, the latter, who has recently returned from a recent trip to Ireland and appears to be an expert on Irish matters, explains the native laws, religion, and customs as why the âgoodly and commodious [âŠ] soyleâ of Ireland had not turned âto good uses, and reducing that salvage nation to better goverment and civillityâ23. The term salvage obsolete for savage is a derivative of sylva, Latin for wood, which further explains the association of the natives with their wooded landscape from a negative perspective. What is seen in both narratives is a colonial point of view that ultimately justifies the exploitation of the neighbouring land. Like Gerald of Wales, Spenser points to the agricultural potential of the Irish soil, yet he goes a step further by asserting his colonial perspective on subjugating the people. Cultivating the land was not only to put the soil to âgood useâ, but to bring the so-called âsavage nationâ under control and civilise them. While describing the local Brehon laws to Eudoxus and explaining why the English rule had not yet tamed the natives, Irenius reduces the Irish people to animals left on their own, in need of a bridle24. 25 Oona Frawley, Irish Pastoral Nostalgia and Twentieth-Century Irish Literature, London â Dublin, Ir ... 26 William Cronon, âA Place for Stories Nature, History, and Narrativeâ, in Nature and Identity in Cr ... 17The colonial narrative clearly functions on a dichotomous axis where the colonised are stigmatised as wild, barbarous, and uncultivated; in one word, as other. According to Oona Frawley, aligning âthe uncultivated state that the Irish were believed to live inâ with âthe uncultivated state of the landâ implied that taming the landscape would result in taming the people25. Hence, the notoriety of the bogs and woodlands was not only a result of the hidden military threat from the Irish; rather the negative attitude towards wilderness and the association of the inhabitants with the wild landscape of their surroundings justified a reform policy to tame the landscape. In the words of William Cronon, the negative attitude towards a landscape is prerequisite to transforming it â[âŠ] the most basic requirement of [exploiting the land] is that the earlier form of that landscape must either be neutral or negative in value. It must deserve to be transformedâ26. 27 Roy Jackson, âOvercoming Physicophobia â Forests as Sacred Source of Our Human Originsâ, in New Per ... 18Viewed from an ecocritical perspective, the colonised / coloniser binary also reinforces the negative attitude towards nature in the nature / culture dichotomy, justifying the modification and transformation of the physical environment. While referring to the rather unsuccessful project of subjugating the natives under the practice of English laws under Henry VIII and a further suppression of the Irish people during the reign of the âFaerie Queeneâ â Queen Elizabeth I â Spenserâs derogatory portrayal of the Irish system of law, religion, and customs can be studied under the English superior stance not only towards the Irish people but also towards nature. Man as the master of the universe, placed at the uppermost level in the Great Chain of Being â the fruit of Christian and Scholastic philosophies â was still a popular ideology during the Renaissance. This antagonistic view turned into physicophobia, the âalienated, hostile reaction to the natural worldâ27, which the likes of Descartes and Hobbes promoted during the Enlightenment. 28 John Wilson Foster, âEncountering Traditionsâ, in Nature in Ireland A Scientific and Cultural Hist ... 29 Martin Heidegger, Basic Writings, David Farrell Krell ed., London, Routledge, 1993, p. 322. 19While the negative attitude towards the landscape was a key strategy for transforming it, the potential economic benefit of the Irish soil reinforced the colonial narrative of progress based on cultivation and manipulation of the land. Hence, the density of the woods âwas to be deplored but also welcomedâ deplored for the fear of the unknown harboured in the Irish wilderness, and welcomed for the potential economic benefit of its soil28, described by Spenser as âgood and commodiousâ. Cultivation was to bring the maximum energies of the land to the surface, releasing the hidden profit by taming the wilderness. To refer to the unprecedented felling of the forests during the colonial period in Ireland, either for the purpose of transforming woodlands to agricultural land or for the use of timber, the forests and the entire landscape had turned into a massive âstanding-reserveâ of timber âon call for a further orderingâ â what Heidegger calls Bestand29. The point of view that reduces the landscape to Bestand stands in sharp contrast with the comparatively less intervening role of early Irish culture, misinterpreted as a lack of civilisation in Norman and English views of Ireland. 30 Ibid., p. 317. 31 Ibid., p. 321. 32 Ibid. 20The relationship between colonisers and the Irish landscape can be further explained through the Heideggerian notion of Anwesen presencing, which implies disclosure and âbringing-forthâ an entity through unconcealment30. The coloniserâs disclosure of the landscape, however, can be interpreted as Herausfordern, challenging or forcing an entity toward âfurthering something elseâ31. Rather than âsetting-in-orderâ presencing as Heidegger observed in The Question Concerning Technology, Herausfordern âsets upon natureâ32. Hence it is an expedition in two ways 33 Ibid. It expedites in that it unlocks and exposes. Yet that expediting is always itself directed from the beginning toward furthering something else, toward driving on to the maximum yield at the minimum expense33. 34 Aldo Leopold, A Sand County Almanac, New York, Oxford University Press, 1949. 21This is what Spenser referred to as making âgood useâ of the soil in Ireland. Viewing the landscape from a standing-reserve perspective is an ecological hindrance to establishing a land community based on a mutual interaction between humans and the environment, mentioned by Aldo Leopold in A Sand County Almanac 194934. One can possibly argue that a notion of land ethics or geopiety was present in Irish society before the Norman Conquest. As mentioned earlier, the land was a communally owned property in Brehon laws. The very fact that cutting or destroying the trees was consequent with paying fines is proof of a higher degree of ethics regarding the land community. As such, the linear notion of colonial progress is drastically reversed; the pre-Conquest Irish society would stand at a higher ecological level of progress compared to the colonisersâ anthropocentric view of the land as potential profit. 35 Martin Heidegger, âBuilding Dwelling Thinkingâ, in Poetry, Language, Thought, Albert Hofstadter ed ... 36 Ibid., p. 147. 37 Ibid. 38 Ibid., p. 146. 22Linked to the notion of land ethics, the human-environment interaction in early Irish culture can be interpreted as dwelling. In âBuilding Dwelling Thinkingâ 1971, Heidegger pursues the links between dwelling and being through the act of building âThe Old English and High German word for building, buan, means to dwell. This signifies to remain, to stay in a placeâ35. The German terms for building Bauen and neighbour Nachbar originate from âburi, bĂŒren, beuren, beuronâ, which signify âdwelling, the abode, the place of dwellingâ36. Heidegger continues digging up the root of the verb bauen to build, only to arrive at the verb bin to be. Therefore, ich bin and du bist mean âI dwell, you dwell. The way in which you are and I am, the manner in which we humans are on the earth, is Buan, dwellingâ37. It is from building to being both derived from the verb âto beâ that mankindâs relationship with the environment takes the shape of dwelling, which in return leads to caring and sparing. Hence, building appears as a means to an end, we build to stay in a place, to dwell. Yet, the fundamental meaning of building as dwelling âhas been lost to usâ38. 39 Bruce Proudfoot, âThe Economy of the Irish Rathâ, Medieval Archaeology, vol. 5, no. 1, 1961, p. 94. 40 Ibid. 23The dwelling perspective in the human-environment interaction in early Irish culture can be exemplified in the building of raths, first built in Ireland in the first millennium AD39. Also known as forts or ringforts, raths were circular fortifications, which remained in use until the 12th century40. A prototype of an Irish dwelling place in proximity of the natural landscape, raths along with duns, cathairs, and other fortifications were first abandoned or destroyed in the Christian period. Despirited forests â the advent of Christianity 24Among the poems preserved from the early medieval period in Ireland is the trio of fragments from the 6th century AD with which Thomas Kinsella has opened The New Oxford Book of Irish Verse. The three fragments, read together as a whole, act as a premonition of how the arrival of the other â the Christian missionaries â disrupted the so-called ânaturalâ order of the pagan world, in which the relationship between man and environment could be described as dwelling The rath in front of the oak woodbelonged to Bruidge, and Cathal, belonged to Aedh, and Ailill, belonged to Conaing, and CuilĂneand to MaelDĂșin before themâ all kings in their turn. The rath survives, the kingsare covered in clay. *** Three rounded flanks I lovedand never will see again the flank of Tara, the flank of Tailtiuand the flank of Aed Mac Ainmirech. *** He is coming, Adzed-Head, on the wild-heade seawith cloak hollow-headedand curve-headed staff. 41 The New Oxford Book of Irish Verse, Thomas Kinsella ed. and trans., Oxford â New York, Oxford Uni ... He will chant false religionat a bench facing Eastand his people will answerâAmen, amen.â41 25The first fragment starts with âThe rath in front of the oak woodâ that had survived despite the death of the kings who were once owners of the rath. The construction of these dwelling places next to the groves, especially the oak tree which was considered sacred, sanctified the raths and placed man and nature in close proximity, making the words âenvironmentâ and ânatureâ truly interchangeable. 26Dwelling was not restricted to raths; rather the entire landscape environing these fortifications was considered a dwelling place by the early inhabitants. In the second fragment, the anonymous poet regrets that he would never see the âThree rounded flanksâ of Tara, Tailtiu, and Aed Mac Ainmirech, again. As the fragment cuts short, the reason behind the poetâs sense of loss remains unknown. Yet, given the increasing power of Christianity in the 6th century, foreseen in the next fragment, the poet must have anticipated the near destruction of the sites. The sudden announcement of the arrival of the âAdzed-Headâ in the first line of the last fragment â âHe is comingâ â is the harbinger of a sense of doom, arriving from the East. Chanting his âfalse religionâ, the man with the âcloakâ will soon be taking the first steps in changing the course of history in Ireland by desacralising the groves, bereaving the landscape from its protecting deity genius loci and disconnecting the native population from their surrounding environment. 27The Christian missionaries also played a fundamental role in the later abolishment of the native traditions of druidry and bardry and the destruction of assembly hills, inauguration sites, raths and forts; all that was associated with the pagan order of Gaelic society. An early example is the prologue from the 9th-century poem, âThe Calendar of Oengusâ, in which the destruction of the ancient dwelling places is hailed by the anonymous poet Taraâs great palace perishedwith the fall of its princeswhile great Armagh remainswith all its worthy choirs.[âŠ] The Faith has spreadand will last till the Day of Doomwhile evil pagans are borne offand their raths deserted. [âŠ] The dĂșn of Emain is vanished, only its stones remain, while thronged Gleann DĂĄ Lochis the monastery of the western world. [âŠ] 42 Ibid., p. 38. The Pagansâ ancient cahirsnot permitted to last longâ they are wastes without worship nowlike the place of Lugaid â42 43 Patrick Sheeran, âThe Narrative Creation of Place Yeats and West of Ireland Landscapesâ, in Nature ... 28The poet portrays the dĂșns, raths, and cahirs deserted and the pagan sites vanished with their kings. He compares the glory and majesty of the newly âcrowded shrinesâ and monasteries to the deserted and destroyed dwelling places and worship sites of the pagan order. Destruction of the sites was equal to dislocating people from their dwelling places next to the forests, therefore distancing man from nature and bringing an end to an age when nature meant environment, a place that environs. Referring to Heideggerâs definition of dwelling, Patrick Sheeran argues that âthe Irish, apart from the rath-dwellers, have never truly dwelt in Ireland any more than the aborigines have dwelt in Australiaâ43. With the loss of status as dwelling and the distancing of man from nature, the forests and groves became a periphery, which nevertheless prepared the grounds for the felling of the trees during the colonial period. 44 Thomas Kinsella, âIntroductionâ, in The New Oxford Book of Irish Verse, p. xxiii. 29Christianityâs role in Irish cultural history is double-sided. On the one hand, it prepared the grounds for the further destruction of the forests and the annihilation of earlier customs and traditions; on the other, it led to the preservation of some of the finest examples of Irish oral tradition, such as that of early Irish nature writing, where Christianity remains a âdominant elementâ; however, as Kinsella notes, the majority of the poems between the 6th and 14th centuries share âa paganâ purity of view which gives the lyrics of the early Christian hermits their extraordinary directness and forceâ44. âPangur BĂĄnâ and âThe Hermit MorbĂĄnâ are famous examples, where the God of Christianity is seen in nature and the Christian hermits bewail the loss of an earlier connection to nature. Overall, there seems to be little unanimity as to whether it was the Norman Conquest or the English colonisation of Ireland that brought an end to early Irish nature writing. While Christianity desacralised the groves and the Norman Conquest opened the country to foreign exploitation, the decline of Irelandâs native traditions, including the genre of nature writing, accelerated under the reign of Tudor monarchs, exemplified in the following stanzas from a late 16th-century poem by the Monaghan poet Laoiseach Mac AnBhĂĄird A fond greeting, hillock there, though Iâm cheerless at your decline a source of sorrow your brown thorn, the smooth stem we knew at your top. A grief to all, the gathering bushwe knew as our assembly place its boughs broken â a dismal day. The land is meaner now itâs gone. [âŠ] 45 Laoiseach Mac AnBhĂĄird, âA Fond Greeting, Hillock Thereâ, in The New Oxford Book of Irish Verse, p. ... The assembly hill â it troubles the schools âtoday in strangerâs hands. I am in sorrow for its slopes, the fair hill that held my love45. 30According to the poet, the cutting of the âbelovedâ tree and the decline of the hillock itself, which had been an inauguration site, had happened in the hands of the âstrangerâ â the English â who were also responsible for the decline of the bardic schools. By the end of the 16th century bardic poetry was on the wane as the continuous state of war and conflict in Ireland resulted in the banishment of the earls from their native lands, which put an end to the Irish patronage system. The final blow was the Flight of the Northern Earls, Tyrone and Tyrconnell, in 1607, which led to the plantation of Ulster and the rising of 1641. The story of Christianity in Ireland is no less complicated than the history of colonisation and its impact on the environment. Regardless of its subtler effect, Christianityâs role in the history of deforestation in Ireland was rather fundamental. By devaluing the landscape, revered by the Irish, the Christian missionaries set the grounds for the expedition and exploitation of the Irish landscape at the hands of the Norman and English colonisers. In other words, depriving the land of its former status as dwelling, Christianity brought about the earliest form of cultural mutation in Celtic Ireland, desacralisation of the landscape. Conclusion 46 Eoin Neeson, âWoodland in History and Cultureâ, p. 155. 47 Department of Agriculture, Food, and the Marine, Forest Statistics â Ireland 2019, Dublin, DAFM, 20 ... 31The history of human civilisation is often synonymous with the history of deforestation and Ireland is no exception in this case. Deforestation is a long and continuous narrative in Ireland, a narrative that links the colonisation of the land to the colonisation of man. As Eoin Neeson concludes in his study of âWoodland in History and Cultureâ, the history of deforestation covers a âfull circle, from a country very largely covered by natural woodland, through one virtually denuded of tree cover, to one in which virtually all woodlands are cultivated as a crop and in which forestry is tree farmingâ46. Today, about half of the Irish forests are in private ownership and less than thirty years of age. Besides, the Republic of Ireland is still considered one of the largest exporters of wood to the United Kingdom47. 48 Ibid., p. 54. 49 Ibid., p. 73. 32The growing interest in Irish forestry as in many parts of the world falls back on multiple incentives among which economic gain seems to overshadow environmental concerns. Nowadays, forestry is considered a growing industry in Ireland with a total economic value of ⏠billion in 2012, equivalent to ⏠1, million in terms of GVA Gross Value Added. Moreover, the forestry sector has been a source of employment, especially in rural areas while forest outdoor recreational areas have also been contributing to the Irish economy significantly48. According to the latest Forest Statistics annual report published by the Department of Agriculture, Food, and the Marine in 2019, Ireland still ranks among the least forested regions in Europe with an average of in 2015. This is while the European and Worldwide forest cover averages stand at and respectively49. Haut de page Notes 1 Food and Agriculture Organization of the United Nations, Global Forest Resources Assessment 2015, 2nd ed., Rome, FAO, 2016, available at p. 5, 8. 2 Carl J. Griffin, âSpace and Place â Popular Perceptions of Forestsâ, in New Perspectives on People and Forests, Eva Ritter, Dainis Dauksta eds., Dordrecht â Heidelberg â London â New York, Springer, 2011, p. 143. 3 Ibid. 4 Miranda Green, Animals in Celtic Life and Myth, London â New York, Routledge, 1992, p. 1-2. 5 See Charles Squire, Celtic Myth and Legend Poetry and Romance, London, Gresham Publishing Company, 1905; Miranda Green, Animals in Celtic Life and Myth; Eoin Neeson, âWoodland in History and Cultureâ, in Nature in Ireland A Scientific and Cultural History, John Wilson Foster, Helena C. G. Chesney eds., Dublin, Lilliput Press, 1997, p. 133-156. 6 Eoin Neeson, âWoodland in History and Cultureâ, p. 140-141. 7 âHistory of Forestry in Irelandâ, Forest Service, Department of Agriculture, Food, and the Marine website, 2008. 8 Eoin Neeson, âWoodland in History and Cultureâ, p. 146. 9 Ibid. 10 Forest Service Department of Agriculture, Fisheries and Food, âIrish Forests â A Brief Historyâ, 2008, p. 3, available at 11 Ibid. 12 Eoin Neeson, âWoodland in History and Cultureâ, p. 154. 13 Richard OâHanlon, âForestry in Ireland The Reforestation of a Deforested Countryâ, The Forestry Source, June 2012, p. 7. 14 Environmental Protection Agency, Irelandâs Environment â An Assessment, Wexford, EPA, 2016, p. 110. 15 Richard OâHanlon, âForestry in IrelandâŠâ, p. 7. 16 Owain Jones, âMateriality and Identity â Forests, Trees and Senses of Belongingâ, in New Perspectives on People and Forests, p. 168. 17 âIrelandâs Lost Gloryâ, Birds and All Nature, vol. 7, no. 4, April 1900, p. 188. 18 Annette Jocelyn Otway-Ruthven, A History of Medieval Ireland, London, E. Benn, 1968, p. 1. 19 Gerald of Wales, The Topography of Ireland, Thomas Wright ed., Thomas Forester trad., Cambridge, In parentheses, 2000, p. 70. 20 Ibid., p. 70. 21 Ibid. 22 Declan Kiberd, Inventing Ireland The Literature of the Modern Nation, London, Vintage, 1996, p. 9. 23 Edmund Spenser, A Veue of the Present State of Ireland [1596], Risa S. Bear ed., Renascence Editions â Oregon University, 1997, p. 2 HTML version 24 Ibid., p. 5. 25 Oona Frawley, Irish Pastoral Nostalgia and Twentieth-Century Irish Literature, London â Dublin, Irish Academic Press, 2005, p. 26. 26 William Cronon, âA Place for Stories Nature, History, and Narrativeâ, in Nature and Identity in Cross-Cultural Perspective, Anne Buttimer, Luke Wallin eds., Dordrecht â Boston â London, Kluwer Academic Publishers, 1999, p. 209. 27 Roy Jackson, âOvercoming Physicophobia â Forests as Sacred Source of Our Human Originsâ, in New Perspectives on People and Forests, p. 29. 28 John Wilson Foster, âEncountering Traditionsâ, in Nature in Ireland A Scientific and Cultural History, p. 26. 29 Martin Heidegger, Basic Writings, David Farrell Krell ed., London, Routledge, 1993, p. 322. 30 Ibid., p. 317. 31 Ibid., p. 321. 32 Ibid. 33 Ibid. 34 Aldo Leopold, A Sand County Almanac, New York, Oxford University Press, 1949. 35 Martin Heidegger, âBuilding Dwelling Thinkingâ, in Poetry, Language, Thought, Albert Hofstadter ed. and trans., New York, Harper & Row, 1975, p. 146. 36 Ibid., p. 147. 37 Ibid. 38 Ibid., p. 146. 39 Bruce Proudfoot, âThe Economy of the Irish Rathâ, Medieval Archaeology, vol. 5, no. 1, 1961, p. 94. 40 Ibid. 41 The New Oxford Book of Irish Verse, Thomas Kinsella ed. and trans., Oxford â New York, Oxford University Press, 1989, p. 3. 42 Ibid., p. 38. 43 Patrick Sheeran, âThe Narrative Creation of Place Yeats and West of Ireland Landscapesâ, in Nature and Identity in Cross-Cultural Perspective, p. 287. 44 Thomas Kinsella, âIntroductionâ, in The New Oxford Book of Irish Verse, p. xxiii. 45 Laoiseach Mac AnBhĂĄird, âA Fond Greeting, Hillock Thereâ, in The New Oxford Book of Irish Verse, p. 149-150. 46 Eoin Neeson, âWoodland in History and Cultureâ, p. 155. 47 Department of Agriculture, Food, and the Marine, Forest Statistics â Ireland 2019, Dublin, DAFM, 2019, p. 9, 41, available at 48 Ibid., p. 54. 49 Ibid., p. de page Pour citer cet article RĂ©fĂ©rence papier Marjan Shokouhi, Despirited Forests, Deforested Landscapes The Historical Loss of Irish Woodlands », Ătudes irlandaises, 44-1 2019, 17-30. RĂ©fĂ©rence Ă©lectronique Marjan Shokouhi, Despirited Forests, Deforested Landscapes The Historical Loss of Irish Woodlands », Ătudes irlandaises [En ligne], 44-1 2019, mis en ligne le 14 novembre 2019, consultĂ© le 25 aoĂ»t 2022. URL ; DOI de page Auteur Marjan ShokouhiThe University of TokyoMarjan Shokouhi is assistant professor at the College of Arts and Sciences, the University of Tokyo. Her research falls within the fields of Irish studies, world literature, and ecocriticism. Her most recent publications include âTowards a Poetics of Dwelling Patrick Kavanaghâs Countrysideâ, which was published in March 2019 in Estudios Irlandeses p. 146-159 and an upcoming article on Anna Liddiard to be published in Irish Studies Review. She is an active member of Granada Centre of Irish Studies directed by Dr. Pilar Villar ArgĂĄiz University of Granada and New Crops, Old Fields Research Forum Queens University Belfast, which focuses on the theme of folklore in Irish de page
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