Irish Ireland, not Ireland

'Posting in Ireland', by James Gillray

Republican teaching records that Irish Ireland and the true Irish Nation had nearly extinguished, only the Easter Rising ‘woke up’ the Irish people and unleashed them towards independence.

Todd Andrews wrote that "Dublin [in 1901] was a British city and accepted itself as one", and Ernie O'Malley said, "‘the old hatred of the redcoats had disappeared."

Tom Barry wrote that he had "no  national consciousness" but events of Easter Week gave him a "rude awakening", and "Through the blood sacrifice of 1916 had one Irish youth been awakened to Irish nationality."

Eamon de Valera said in 1926:

"[Clarke, Pearse and Connolly] made sure of an Irish Ireland by dying for it."

Patrick Kavanagh and Sean O'Faolain - Tackling de Valera's Mytholgised Irish-Ireland

Eamonn Wall wrote an article on Patrick Kavanagh entitled, 'It is midnight in Dublin and Europe is at war": Patrick Kavanagh's Poems of "The Emergency".' Available here, Eamonn made some fascinating analyses on the role of Kavanagh and the Bell Magazine in working to counter de Valera's rural, mythologised Ireland.  Eamonn explained the role of "The Emergency", de Valera's euphemism for Ireland's neutrality during the Second World War. He said of it:

"Sean O'Faolain saw "The Emergency" as "six years of silence" (Brown 211). Clearly, neutrality, if not politically or morally, at least practically and psychologically, presented Ireland's southern intellectuals with major difficulties. This policy appeared to institutionalize the withdrawal from the wider world that Irish-Irelanders had been advocating since the last decades of the previous century, an ideology given plain voice by Thomas Derrig, the Minister for Education in De Valera's government, in a speech at the 1937 Dublin Feis:

"That set of values which makes the Irish mind different looks out at us clearly from our old music - its idiom having in some subtle way the idiom of the Irish mind, its rhythms, its intervals, its speeds, its build have not been chosen arbitrarily, but are what they are because they are the musical expression, the musical equivalent of Irish thought and its modes... The Irish idiom expresses deep things that have not been expressed by Beethoven, Bach, Brahms, Elgar or Sibelius - by any of the great composers."