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Sean Mac Diarmada Patrick Pearse – The Proclamation of the Irish Republic

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Seán Mac Diarmada also known as Seán MacDermott, was an Irish political activist and revolutionary leader. He was one of the main instigators of the Easter Rising, along with Tom Clarke, who was a close colleague, friend and mentor of his.

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Thomas J. Clarke Patrick Pearse – The Proclamation of the Irish Republic

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Thomas “Tom” Clarke, was an Irish revolutionary leader and the driving force behind the 1916 Easter Rising.

A proponent of armed revolution for most of his life, he spent 15 years in prison prior to the Easter Rising, for his attempt to blow up London Bridge as part of the Fenian Dynamite Campaign.

He was arrested under the alias ‘Henry Wilson’ and was a member pf the Irish Republican Brotherhood

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The Proclamation of the Irish Republic Patrick Pearse – The Proclamation of the Irish Republic

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The Proclamation of the Republic, also known as the 1916 Proclamation or Easter Proclamation, was a document issued by the Irish Volunteers and Irish Citizen Army during the Easter Rising in Ireland, which began on 24 April 1916.

In it, the Military Council of the Irish Republican Brotherhood, styling itself the “Provisional Government of the Irish Republic”, proclaimed Ireland’s independence from the United Kingdom. The reading of the proclamation by Patrick Pearse outside the General Post Office (GPO) on Sackville Street (now called O'Connell Street), Dublin’s main thoroughfare, marked the beginning of the Rising.

The proclamation was modelled on a similar independence proclamation issued during the 1803 rebellion by Robert Emmet.

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http://images.rapgenius.com/6ceadb88f4935d9f1569b87f3dea0c07.654x1000x1.jpg

The Proclamation of the Republic, also known as the 1916 Proclamation or Easter Proclamation, was a document issued by the Irish Volunteers and Irish Citizen Army during the [Easter Rising](http://en.wikipedia.org/wiki/Easter_Rising) in Ireland, which began on 24 April 1916.

In it, the Military Council of the Irish Republican Brotherhood, styling itself the "Provisional Government of the Irish Republic", proclaimed Ireland's independence from the United Kingdom. The reading of the proclamation by [Patrick Pearse](http://en.wikipedia.org/wiki/Patrick_Pearse) outside the General Post Office (GPO) on Sackville Street (now called O'Connell Street), Dublin's main thoroughfare, marked the beginning of the Rising.

The proclamation was modelled on a similar [independence proclamation](http://www.failteromhat.com/declare1803.php) issued during the 1803 rebellion by [Robert Emmet](http://en.wikipedia.org/wiki/Robert_Emmet).

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And Ireland, long a province be
A nation once again The Wolfe Tones – A Nation Once Again

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From the Norman invasion of Ireland in 1169 until the 1916 rising and the subsequent establishment of the Irish Free State, Ireland was ruled by Britain and not an independent country.

It was part of the British empire and considered no more than a British province.

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Somethin' meaty for the main course
That's a fine lookin' high horse
What you got in the stable? Hozier – Take Me to Church

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Hozier explained these opening lyrics in his Genius Verified interview, on September of 2023:

From what kind of moral authority does this organization have given its legacy of abuse? On what grounds, does it imagine itself to be able to speak on anything, from any sort of moral standpoint? And so, [the line takes] that supposed moral high horse and imagines with this idea of buthcering it and using it to feed people.

A jab at religious people who he believes are on their “high horses,” smugly believing that they’re better than others. He continues with the horse wordplay with “stable” – wondering what other ways (high horses) they have to look down upon people.

He suggests that they’re constantly looking for a “meaty” way to bring down the “main course” (general public) to a lower level.

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2 years

he’s still referencing making sacrifices for his “goddess”. Providing them with literal meat in a the main dish, which can be seen as luxurious, and then implying that the high horse (as a symbol of privilege) would, in a literal sense, make a good meal.
He wants to kill the “high horse” (privilege of the ppl looking down on him), or whatever else is in the stable, and feed his partner with that meat, which he also references in the following lines, maybe wanting to restore justice by doing so.

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238

3 years

This may be a reach, but during the Christian conversion of norse pagans, the christians would refuse to eat horse meat, which was common between the vikings. It was, in a way seen as sinful, since the horse was sacred food to pagans.

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3 years

I believe these lines are being completely misinterpreted. No need to look for complicated layers of imagery, the meaning is quite plain: The faithful are starving. While the Church gives them sermons, what they in fact need is food (or, in a broader sense, means to escape their poverty). As a clever little metaphor, Hozier suggests eating the high horse that Church leaders are on. The metaphorical high horse thus provides “something meaty for the main course”. It is something “tasty”, and something the Church has “plenty” of. The work of the working-class faithful is hard work, “hungry work”, and they need to be fed!

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Connor

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4 years

When he says ‘What you got in the stable’.

I’d say it’s about ‘blind faith’ and you not being able to see what the mechanics are behind the church. You just listen and believe what a ‘holy man’ claims and you’re shunned and called blasphemous to question logic.

So maybe Hoizer doesn’t question the foundations of the pedestal that he places his lover on in Verse 1.

This ties into the previous line ‘Drain the whole sea. Get something shiny.’ Because he’s determined to attempt impossible tasks without questioning the realistic magnitude of what he claims.

His judgment is impaired. He can’t ‘See behind the stable’.

Or something like that.

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7 years

‘Something meaty for the main course’ and ‘what you got in the stable’ is Hozier talking about himself. Hozier himself, his life, is literally the meat for the main course. He’s talking about the cannibalistic, draining nature of his love relationship. ‘That’s a fine looking high horse’ he is talking about the unseen judgement from his lover and friends towards Hozier and whatever unforgiven sin he has committed. It his lover and friends who are on the high horse of judgement towards him.

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Warren

9 years

I’d also argue that “What you got in the stable?” questions their supposed superiority by asking what other horses they ride (things they do) when they’re not on their high horse.

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The Foggy Dew The Chieftains (Ft. Sinéad O'Connor) – The Foggy Dew

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The best known version of “The Foggy Dew” was written by a priest named Charles O’Neill in the wake of the 1916 Easter Rebellion. The lyrics are conflicted about young Irishmen dying for the British cause in WWI, as they Irish were fighting for the countries in a similar position as Ireland, butdepleting the forces that could fight for Irish freedom. Ultimately, however, it comes to a pro-Irish conclusion: “‘Twas better to die 'neath an Irish sky than at Suvla or Sud-El-Bar.”

“The Foggy Dew” is the name of an Irish folk song that’s existed since at least 1840, but has a different melody and lyrics. The melody to the Charles O'Neil version comes from another Irish folk song, “Corraga Bawn.”

Notorious UFC fighter Conor McGregor brought this song to prominence outside of the Emerald Isle by using it as his walk up music before fights. He even had Irish singer-songwriter Sinéad O'Connor perform the song before his July 11, 2015 fight against Chad Mendes.

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The best known version of "The Foggy Dew" was written by a priest named Charles O’Neill in the wake of the 1916 Easter Rebellion. The lyrics are conflicted about young Irishmen dying for the British cause in WWI, as they Irish were fighting for the countries in a similar position as Ireland, butdepleting the forces that could fight for Irish freedom. Ultimately, however, it comes to a pro-Irish conclusion: "'Twas better to die 'neath an Irish sky than at Suvla or Sud-El-Bar."

"The Foggy Dew" is the name of an Irish folk song that's existed since at least 1840, but has a different melody and lyrics. The melody to the Charles O'Neil version comes from another Irish folk song, "Corraga Bawn."

http://images.rapgenius.com/bbde07d66db7f18d4280b2ca817ac97c.800x384x1.jpg

Notorious UFC fighter Conor McGregor brought this song to prominence outside of the Emerald Isle by using it as his walk up music before fights. He even had Irish singer-songwriter Sinéad O'Connor [perform the song](https://www.youtube.com/watch?v=66GNag13xR4) before his July 11, 2015 fight against Chad Mendes.

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Christopher Ling

7 years

While McGregor does use “The Foggy Dew” as part of his walkout music, it’s always the first half of his walkout music; it’s never played on its own.

After the first verse of the song, his music then switches to a hip-hop song to get him in the right mindset. While it’s usually Biggie’s “Hypnotize”, he’s also used The Game’s “El Chapo” and 50 Cent’s “I Get Money”.

I would note this, as it’s incorrect to suggest he uses “The Foggy Dew” on its own.

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The Memory of the Dead (Who Fears to Speak of '98) John Kells Ingram – The Memory of the Dead (Who Fears to Speak of '98)

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In March 1843 Ingram wrote The Memory of the Dead (better known as Who Fears to Speak of ‘98’; or simply ‘Ninety Eight’), in honour of the Irish Rebellion of 1798 led by the Wolfe Tone and the United Irishmen. He was stirred by the lack of regard shown for the Irish rebels of ‘98 by the contemporary nationalist movement, led by Daniel O'Connell.

The poem was published anonymously on 1 April 1843 in Thomas Davis’s The Nation Newspaper. Despite this poem Ingram showed no nationalist sympathies at any time, maintaining that Ireland was not ready for self-government. “The Memory of the Dead was my only contribution to the Nation ”, commented Ingram later. Nevertheless, before he died, Ingram made a manuscript copy of Ninety Eight, proclaiming that he would always defend brave men who opposed tyranny.

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In March 1843 Ingram wrote The Memory of the Dead (better known as Who Fears to Speak of '98'; or simply 'Ninety Eight'), in honour of the [Irish Rebellion of 1798](http://en.wikipedia.org/wiki/Irish_Rebellion_of_1798) led by the [Wolfe Tone](http://en.wikipedia.org/wiki/Theobald_Wolfe_Tone) and the [United Irishmen](http://en.wikipedia.org/wiki/United_Irishmen). He was stirred by the lack of regard shown for the Irish rebels of '98 by the contemporary nationalist movement, led by [Daniel O'Connell](http://en.wikipedia.org/wiki/D%C3%B3nal_%C3%93_Conaill).

The poem was published anonymously on 1 April 1843 in Thomas Davis's *The Nation Newspaper*. Despite this poem Ingram showed no nationalist sympathies at any time, maintaining that Ireland was not ready for self-government. "The Memory of the Dead was my only contribution to the Nation ", commented Ingram later. Nevertheless, before he died, Ingram made a manuscript copy of Ninety Eight, proclaiming that he would always defend brave men who opposed tyranny.

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For Greece and Rome who bravely stood
Three hundred men and three men The Wolfe Tones – A Nation Once Again

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This is a reference to the Battle of Thermopylae where 300 spartans defended a small path that led behind the Greek lines from the invading Persian army.

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A Nation Once Again The Wolfe Tones – A Nation Once Again

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“A Nation Once Again” is a song, written in the early to mid-1840s by Thomas Osborne Davis (1814–1845). Davis was a founder of an Irish movement whose aim was the independence of Ireland.

The song is a prime example of the “Irish rebel music” sub-genre. The song’s narrator dreams of a time when Ireland will be, as the title suggests, a free land, with “our fetters rent in twain.” The lyrics exhort Irishmen to stand up and fight for their land: “And righteous men must make our land a nation once again.”

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Our fetters rent in twain The Wolfe Tones – A Nation Once Again

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In modern English, this phrase translates to “Our chains ripped in two”. This is referring to the British occupation of Ireland for about 700 years.

The chains referenced here speaks of the lack of ability to legally practice Irish cultural deeds or to govern their own country.

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