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DUBLIN LETTERS: JOHN EGLINTON AND THE DIAL, 1921–1929 148 comprehensive, all-atoning human faculty which we name imagination. (“New Poems,” 125–26) Certainly no accusation of religious bias can be directed at Eglinton’s treatment of Colum, who was admirable “both as a poet and as a human being” (126). In “Irish Poetic Tradition,” Eglinton compared Colum to Robert Burns and suggested that Ireland had just missed having in Colum such a national poet, who “might have put new heart into the Irish countryside .” What interfered with this development? Eglinton wondered whether it was “his exile, now apparently voluntary” (Mar. 1923, 295). Soon to be an exile himself, the critic looked wistfully after the exile poet and complained of the “air of wistfulness” brought into Colum’s poems by his move to America. —Montana State University COVER We close the twenty-ninth volume of ÉIRE-IRELAND with the last of four photographs depicting artifacts of popular, material culture housed in the collections of the Ulster Folk and Transport Museum at Cultra Manor. Our readers may remember that our first cover depicted a vivid and touching sampler from Ballyhay, County Down; the second a silver snuff box incised with Orange symbols, from Dromore; and the third a chaste and autumnal bar-and-stripe quilt from Teeshin, County Derry. Appropriately wintery in coloration, our last cover depicts an unfinished cuff of braid lace crafted in the 1900s. Crafted as either a pastime or a cottage industry, this type of lacework involved first twisting a braid or tape into a decorative or utilitarian shape, then stitching it to a ground fabric, and then working decorative embroidery between the basted tapes following lines marked on the ground fabric—working, however, over rather than through the ground. A finished piece of lacework was released from the ground by unpicking the basting holding the tapes. The ground and its design often were stored for reuse. In this instance, the lace cuff, being unfinished, remains attached to the blue material of the ground. As before, the photograph is by Kenneth Anderson and appears by kind permission of Dr. R. A. Gailey, director of the Ulster Folk and Transport Museum. ...


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