Abstract
There is little doubt that Brendan Kennelly’s reputation mainly rests on his poetry, particularly the long sequences Cromwell (1983; 1987), The Book of Judas (1991a) andPoetry My Arse (1995). It would be fair to say that many of his early as well as late poems have a dramatic quality; Cromwell, for example, relies on exchanges between the main speakers, Buffún and
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