A Quote by Robert Peel

Much is said about English severity, but not a word about Irish provocation. — © Robert Peel
Much is said about English severity, but not a word about Irish provocation.
The English and Americans dislike only some Irish--the same Irish that the Irish themselves detest, Irish writers--the ones that think.
James Joyce's English was based on the rhythm of the Irish language. He wrote things that shocked English language speakers but he was thinking in Gaelic. I've sung songs that if they were in English, would have been banned too. The psyche of the Irish language is completely different to the English-speaking world.
Maybe part of my animus against the English is the way they have always treated the Irish and they way they still think about the Irish.
I grew up in a brick house. What's wrong with bricks? An Englishman took me aside and said, "You have to understand, all the bricklayers in England are Irish, and the English hate the Irish."
Of the Sturges family, much more is known than is available about poor Irish immigrants and obscure Scottish-English settlers around Rochester.
I was fascinated by the lack of a word for a parent who has lost a child. We have no word in English. I thought for sure there'd be a word in Irish but there is none. And then I looked in several other languages and could not find one, until I found the word Sh'khol in Hebrew. I'm still not sure why so many languages don't have a word for this sort of bereavement, this shadowing.
Art is never about provocation and never about human taste. Since the human being is not the measure for art, provocation cannot be the artistic aim. Art is about necessity, not about human will. Society is more and more brainwashed and mistakes itself for art.
I laughed. “You’re too young to be so … pessimistic,” I said, using the English word. “Pessi-what?” “Pessimistic. It means looking only at the dark side of things.” “Pessimistic … pessimistic …” She repeated the English to herself over and over, and then she looked up at me with a fierce glare. “I’m only sixteen,” she said, “and I don’t know much about the world, but I do know one thing for sure. If I’m pessimistic, then the adults in this world who are not pessimistic are a bunch of idiots.
The mystics always say that the experience they're talking about is ineffable, that you can't say it. Rumi was asked one time why he talked so much about silence. He said, "The radiant one inside me has never said a word."
I've always said, 'I am a selector, I am not defector' - the first few phrases in English I learned. I said I hate 'defector'; something defective about the people. It's a bad word.
I said that when I looked at photographs of the firefighters who went into the Twin Towers, their faces looked to me like Irish faces. I hadn't yet learnt how careful outsiders have to be when talking about race in America, and I'd put my foot in it. Someone stood up and said aggressively, 'What do you mean by Irish faces?'
We have to be concerned about the gun killing that people who are Americans, who are Irish, and who are English, who are all around the country.
Inherently in us as Irish people, wherever you are in the world, when you hear an Irish accent, it's like a moth to a flame. There's a real personable pride and camaraderie about being Irish.
Do you ever think about the fact that Jesus never said a mumbling word? You may have heard that phrase before, but how much have you ever thought about it?
My first novel was turned down by about twenty publishers over a period of two and a half years. Because my name is Irish and would not be familiar to English editors, one of them said: 'If she writes anything else, do let us know.' Slowly, very slowly, the books began to sell and be noticed.
Because it was my first time acting in English, everyone on set was difficult to understand. It was a mix of Scottish, Irish, British and American English. To understand a Scottish accent or an Irish accent was so hard.
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