Studied Poetry (Filiocht Roghnach)

The Rules for Choosing Your Five Poems (and what is banned)

Under Department Circular 0070/2024 and the Leaving Certificate syllabus, any school taking the optional poetry course (Filíocht: Ábhar Roghnach) must follow strict rules.

Hard Rules (Selection is invalid without these)

• How many, and how old: You study five poems in all (cúig dhán ar fad). At least one poem must have been composed before 1850 (sa tréimhse roimh 1850).
• Original Irish only: Every text must be a published, original Irish-language work (buntéacs Gaeilge) readily available to the public. Translations into Irish are strictly barred.
• Absolute text exclusions: You are not allowed to use any poem from the 2027 common prescribed list (Dínit an Bhróin, Deireadh na Feide, Iníon, Glaoch Abhaile, Úirchill an Chreagáin), any poem from Duanaire na Meánteistiméireachta, any text currently or previously prescribed for Junior Cycle Irish, or any text prescribed for another Leaving Certificate subject (such as Drama, Film and Theatre Studies).

Guidance Taken into Account When Choosing

• Standard and volume: The five common prescribed poems serve as the benchmark for length, linguistic challenge, and depth.
• Themes: Poems should link to syllabus topics (family, youth problems, place, social change) and students' own life experience, with an intentional mix of serious and lighter material.
• Gender balance and lyricism: The choice should reflect a balance between male and female poets, and showcase musicality and craft (ceol agus liriciúlacht).

The Four-Question Eligibility Check

Before committing to your five poems, check these four statutory rules:

1. Is at least one poem pre-1850?
2. Is none of them on the 2027 prescribed list?
3. Were they all written originally in Irish (no translations)?
4. Were none of them on your Junior Cycle syllabus?

If all four answers are yes, your selection complies with official regulations.

Examination Layout and Timing (Paper 2 vs Oral)

Do not confuse the written paper with the Common Oral Examination. The oral reading test always uses the state-prescribed poems.

Assessment Breakdown

Paper 2 Question 3 Structure for 2027

For 2027 there is extra choice in Question 3:

• 3A(a) & 3A(b): Two questions on common prescribed poems.
• 3B(a) & 3B(b): Two questions on optional poems.

Candidates studying Filíocht Roghnach answer one question only: either 3B(a) or 3B(b). Answering across both options wastes time you need elsewhere on the paper; only one answer to Question 3 will count. The 30 marks are normally split into one long discussion part (about 15 marks) and two shorter parts (commonly 6 and 9 marks, examining poetic techniques, effects, or background context).

(Note on paper combinations: confirm with your teacher whether your school enters optional literature across both prose and poetry or keeps to one track.)

The Oral Poetry Reading Rule

The oral reading is always taken from the five prescribed poems, so even if you are doing the optional course for Paper 2 you must still prepare those five for reading aloud (Léamh na Filíochta, 35 marks). Your own optional poems are never read in the oral. The five oral texts are Dínit an Bhróin, Deireadh na Feide, Iníon, Glaoch Abhaile, and Úirchill an Chreagáin. For Úirchill an Chreagáin, you read verses one and two only in the oral exam, but the whole poem must be studied for the written paper.

The 7-Heading Study Pack and Tracking Grid

Because each school selects its own five poems, no standard textbook contains your exact course. You must build your own revision file using this 7-heading framework for every poem:

The 7-Heading Framework

1. Cúlra agus an File (Background and Poet): The poet's full name, era, dialect or region, and other well-known works. For your pre-1850 poem, pick a text by a documented poet (such as Raiftearaí or Brian Merriman) or one with a well-recorded historical context. Author sub-questions carry 6 to 9 marks; an anonymous song with no verifiable background makes full marks impossible.
2. Téama (Theme): State the central theme in one sentence, then show how it develops from beginning to end.
3. Íomhánna (Imagery): Prepare at least two vivid images. For each, have the exact lines memorised and explain how the picture reinforces the theme.
4. Mothúcháin agus Ton (Emotions & Tone): Identify key emotions (brón, fearg, uaigneas, áthas, bród) and the tone (dúshlánach, aorach, cumhach).
5. Teicnící Fileata (Poetic Techniques): Master at least two devices (uaim, codarsnacht, meafar, pearsantú, athrá) and explain their exact effect on the reader.
6. Do Thuairim Féin (Personal Response): Decide whether the poem appealed to you and why. Have two reasons ready, each with a short quotation to back it up.
7. Athfhriotail Thábhachtacha (Key Quotations): Memorise 5 to 6 versatile quotations per poem. Your optional poem is not printed on the exam paper.

One-Page Revision Grid

Copy and complete this tracking grid across your five studied poems:

Structuring Your Exam Answers (Theme, Personal Response, Technique)

Higher Level marking schemes require structured arguments with precise textual support (tagairtí cruinne). Apply these models to your questions.

The Two Developed Points Rule

For a discussion statement (usually 15 marks), examiners look for at least two developed points, each backed by a short, exact quotation and one or two sentences explaining what it reveals. Two well-worked points score far higher than four rushed, unsupported observations. If a question asks for dhá fháth or dhá íomhá, label them clearly.

Answering a Theme-Development Question

When asked to trace how a theme develops (forbairt ar an bpríomhthéama ó thús deireadh an dáin), structure your response in four distinct blocks:

1. Ainm an téama: Name the theme in your opening sentence: Is é [an t-uaigneas] príomhthéama an dáin seo.
2. Tús an dáin: How the theme is introduced. Ag tús an dáin, cuirtear an téama os ár gcomhair nuair a... + quotation.
3. Lár an dáin: How the theme deepens or shifts. Ansin, i lár an dáin, téann an téama i dtreise nuair a... + quotation. Note any turning point (tarlaíonn casadh sa dán nuair a...).
4. Deireadh an dáin: Where the theme finishes. Faoi dheireadh an dáin, tagann buaic an téama chun cinn nuair a... + quotation, ending with the final impression on the reader: Fágtar an léitheoir le mothú [dóchais / éadóchais].

Answering an Opinion Sub-Question (Personal Response)

Questions asking An dtaitníonn an dán leat? or An bhfuil trua agat do...? (often 9 or 10 marks) need a direct opinion followed by two distinct reasons with quotations:

Tá trua mhór agam do chás an chainteora sa dán seo, agus tabharfaidh mé dhá fháth leis sin. Ar an gcéad dul síos, tá sé fágtha go hiomlán ina aonar, gan duine ar bith le labhairt leis: '[sliocht]'. Léiríonn na focail sin an t-uaigneas atá ag luí air. Ar an dara dul síos, níl aon dóchas fágtha aige go n-athróidh an saol: '[sliocht]'. Is léir ón líne sin nach bhfuil aon éalú i ndán dó, agus is é sin an fáth is mó a mhúsclaíonn an dán trua ionam.

Reading an Older Poem (Pre-1850)

Pre-1850 song-poems often contain older spellings or dialect verb endings. Learn what they mean, but always quote them exactly as printed in your text without modernising them:

• im = i mo (in my)
• atáim = táim (I am)
• raghad = rachaidh mé (I will go)
• do chuaigh / do bhí = chuaigh / bhí (the older past particle do)
• dá fhiafraí = ag fiafraí de (asking him/them)

Metre in Irish Poetry

• Meadaracht an amhráin: Common in pre-1850 song-poems. Built on regular stresses (béimeanna) and vowel assonance (comhardadh gutaí), creating a strong singing cadence.
• Saorbhéarsaíocht: Standard in 20th- and 21st-century poetry. It uses natural speech rhythm and varied line lengths without strict rhyme or syllable rules.

Frásaí Léirmheasa agus Cruinneas Teanga

Because examiners do not know your school's selected poems, you must bring your own critical sentences to the exam hall. Use these sentence frames:

Opening and Structuring

• Sa dán roghnach [Teideal] le [Ainm an Fhile], ... (In the optional poem [Title] by [Poet], ...)
• Aontaím go hiomlán leis an ráiteas sin. (I fully agree with that statement.)
• Ar an gcéad dul síos, ... (In the first place, ...)
• Ina theannta sin, ... / Chomh maith leis sin, ... (In addition, ...)
• Ar an taobh eile den scéal, ... (On the other hand, ...)
• Mar fhocal scoir, ... / I ndeireadh na dála, ... (In conclusion, ...)

Analysing Theme and Imagery

• Is é [an grá / an bás / an t-anró] príomhthéama an dáin. ([Love / death / hardship] is the main theme of the poem.)
• Forbraítear an téama sin ó thús deireadh an dáin. (That theme is developed from start to finish.)
• Baineann an file leas éifeachtach as [an uaim / meafar / codarsnacht]. (The poet makes effective use of [alliteration / a metaphor / contrast].)
• Cruthaíonn an íomhá seo pictiúr soiléir de ... (This image creates a clear picture of ...)
• Feictear é seo sna línte: '...' (This is seen in the lines: '...')
• Cuireann an íomhá sin béim ar ... (That image emphasises ...)

Describing Effect and Reaction

• Chuaigh an dán i bhfeidhm go mór orm mar ... (The poem affected me greatly because ...)
• Músclaíonn an dán trua / fearg / comhbhá sa léitheoir. (The poem stirs pity / anger / empathy in the reader.)
• Dar liom, is dán an-chumhachtach é. (In my opinion, it is a very powerful poem.)

Essential Grammar Rules

The Copula (Is) vs Substantive Verb (Tá):

• Use tá for conditions, feelings, and locations: Tá an file brónach (The poet is sad); Tá an cainteoir ag caint faoin saol (The speaker is talking about life).
• Use is to link or classify nouns: Is dán corraitheach é seo (This is a moving poem); Is é an dímheas príomhthéama an dáin (Disrespect is the main theme of the poem). Never write Tá an dán corraitheach dán or Tá an dímheas an príomhthéama.

Subordinate Clauses after Ceapaim...:

• Present/future regular verbs: use go / nach, with eclipsis where the verb begins on an eclipsable consonant (b, c, d, f, g, p, t): Ceapaim go dtuigeann sé... (I think he understands...); Ceapaim nach gcuireann sé... (I think he does not put...); verbs beginning with other letters stay unchanged: Ceapaim go léiríonn an file... (I think the poet shows...).
• Past tense regular verbs: use gur / nár + lenition: Ceapaim gur chum sí an dán faoina hathair (I think she composed the poem about her father); Ceapaim nár thaitin an saol sin leis (I think he did not like that life).
• Irregular verbs (bí): Ceapaim go bhfuil an dán brónach (present); Ceapaim go raibh an cainteoir uaigneach (past).
• Copula: Ceapaim gur meafar éifeachtach é (I think it is an effective metaphor).

Topic Vocabulary for Poetry Answers

Master this critical vocabulary to write fluent, accurate analysis:

Key terms

Filíocht Roghnach

The optional poetry syllabus on Leaving Certificate Paper 2 Question 3B, where students study five self-selected original Irish-language poems meeting official criteria instead of the common prescribed list.

Dán réamh-1850

A poem composed before the year 1850; at least one of the five studied optional poems must date from before this boundary.

Buntéacs Gaeilge

An original Irish-language text; translations into Irish from English or other languages are strictly prohibited on the optional course.

Léamh na Filíochta

Section 2 of the Common Oral Examination (35 marks), testing the reading aloud of one of the five state-prescribed poems for pronunciation, speech rhythm, and understanding.

Cainteoir

The speaker or narrative voice inside the poem, to be distinguished from the biographical author unless direct evidence indicates autobiographical speech.

Meadaracht an amhráin

Song metre or accentual verse; traditional Irish metre organised around regular stressed beats per line and vowel assonance rather than fixed syllable counts.

Saorbhéarsaíocht

Free verse; modern poetic form composed without strict syllable counts, regular metres, or fixed rhyme patterns.

Uaim

Alliteration; repetition of the same initial consonant sound in adjacent or closely linked stressed words.

Codarsnacht

Contrast; deliberate placement of opposing images, characters, or emotions side by side to sharpen their meaning.

Meafar

Metaphor; a figure of speech describing one thing directly in terms of another without comparative words such as 'mar' or 'cosúil le'.

Pearsantú

Personification; giving human traits, voices, or feelings to animals, inanimate nature, or abstract ideas.

Comhardadh deiridh

End-rhyme; rhyming correspondence occurring at the ends of poetic lines.