“Did that play of mine …?”: James Connolly,Cathleen Ni Houlihan and staging revolution

Abstract

Despite the crucial position he occupies in Irish history as one of the leaders of the Easter Rising, and the political – and emotional – impact of his subsequent execution, while wounded, by the British Army on 12 May 1916, the writings of Edinburgh-born James Connolly have often been overlooked in both Irish and Scottish studies, and not just in accounts of the Rising but also in the wider context of cultural connections, including cultures of commemoration. In particular, Connolly’s surviving literary work, including Under Which Flag?, the drama staged on the eve of Easter 1916, as well as poems and songs, has had limited attention. This article reconsiders Under Which Flag? in comparison with Yeats and Gregory’s Cathleen ni Houlihan in order to demonstrate the central place the drama holds as a continuation – and complication – of Connolly’s political and journalistic writings. If Connolly is a neglected figure as a writer – as opposed to a political leader and martyr – then the play he left behind (once thought to have been lost, like another of his dramas, The Agitator’s Wife) affords us an opportunity to reassess his contribution to the struggle for independence as part of its literary wing.     

“The Agitator’s Wife” (1894): the story behind James Connolly’s lost play?

The centenary of the Easter Rising in 2016 and the 150th anniversary of James Connolly’s birth in 2018 afford an ideal opportunity to reappraise this unique figure. Rightly renowned for his polemical journalism and political theory, Connolly is less celebrated for his creative writing. His 1916 play, Under Which Flag?, long considered lost, resurfaced fifty years ago without causing significant ripples in Irish literary circles, but interest in Connolly’s role in the struggle for Irish independence continues to grow, and critics are becoming increasingly aware of the fusion of feminist and socialist thought that shaped his particular anti-imperialist agenda. In this context his creative writing takes on new significance. A second lost play of Connolly’s, The Agitator’s Wife, has never been found, but its discovery would surely deepen our understanding of this gifted radical thinker. In this essay we suggest that an anonymous short story bearing that very title, published in a short-lived Christian socialist journal of the 1890s, may be a crucial missing piece in solving the puzzle of Connolly’s forgotten drama.     

“A beacon-light to the oppressed of every land”: James Connolly and the work of the working-class intellectual

Abstract

This article seeks to defend James Connolly from attacks on both the Left and Right, particularly the charge that his legacy is nationalist delusion and fanaticism. The article argues that Connolly’s politics and his engagement with Irish cultural politics demonstrate his commitment to human equality as both a right, but also a principle of human intelligence. The article addresses Connolly’s status as a working-class intellectual with reference to how he challenges conventional hierarchies between the philosophers of Marxism and the proletarians who are the object of those deliberations. The article argues that from Connolly’s thought and activism an anti-colonial Marxism emerges which might help explain the neo-imperialist world we find ourselves in today and provide a critique lacking in the collapsed teleological versions of orthodox Marxism. The relations between his Marxism and nationalism are explored, as are his play Under Which Flag? his poetry and songs.     

Ireland’s eternal Easter: Sorley MacLean and 1916

Abstract

This essay examines the treatment of the 1916 Easter Rising by Scottish Gaelic poet Sorley MacLean. From his early work onwards, the Rising assumes a mythical significance in MacLean’s poetry. Throughout, this aetheistic, socialist poet uses rhetoric borrowed from the Gaelic Christian tradition to present the rebels of 1916 as exemplary secular martyrs. James Connolly plays a crucial role as the Scottish son of Irish immigrants. MacLean’s later praise poem for Connolly, “Àrd-Mhusaeum na h-Èireann”, deploys biblical rhetoric to present the Rising as an act of ritual sacrifice, recalling Patrick Pearse’s “Fornocht do Chonaic Thu”. MacLean’s valorisation of violence takes place against the backdrop of the modern Troubles, and prompts a reassessment of the political legacy of his poetry.     

Bede,Irish computistica and Annus Mundi

Bede's decision to diverge from the mainstream chronological tradition, based on the Septuagint, in favour of the Vulgate for chronology has generally been explained by his concerns about contemporary apocalypticism. This essay will argue that Bede's choice of Annus Mundi was also greatly influenced by Irish computistica. These texts incorporate a chronological framework – influenced by Victorius of Aquitaine's Easter Table – that was implicitly and explicitly apocalyptic and provided a date for the Passion that Bede objected to. Bede was greatly indebted to Irish computistica but adopting the Vulgate Annus Mundi allowed him to assert his own views on chronology.     

Gast! A Breton moment in Cré na Cille,and why it matters

Máirtín Ó Cadhain’s famously difficult Irish language novel Cré na Cille contains a cluster of Breton words that have not all been recognised as such. These words are a clue that the French-speaking airman, arguably the only character in the novel with a significant “arc”, is in fact supposed to be a Breton. His immersion in Gaelic Ireland, his frustrated hope of fulfilment in philological studies and pan-Celticism and his ultimate lapse into patriotic Frenchness mirror the experiences of Breton nationalists of the 1940s – some of whom were helped by Ó Cadhain himself to take refuge in Ireland after the Second World War – and represent a subtle critique of Brittany’s pan-Celticist hopes within the novel’s larger multifaceted critique of Irish rural life.     

Countering the hegemony of the Irish national canon: the modernist rhetoric of Seán O'Faoláin (1938–50)1

ABSTRACT. The telling and re‐telling of national history has long been recognised in studies of nationalism as one of its key legitimising and mobilising strategies. In this article I illustrate how a rhetorical approach can effectively explore this dynamic and emotive dimension of nationalist ideology by examining the rhetorical strategies in the Irish liberal intellectual, Seán O'Faoláin's, attempts to reconstitute the popular canon of Irish history in the 1930s and 1940s. More specifically, I show that contrary to depictions of O'Faoláin as a European liberal who employed rational argument to undermine and encourage the rejection of Irish nationalism and its emphasis on rhetorical narratives of the past, O'Faoláin's challenge to the Irish national canon reveals that he himself mobilised historical narrative to promote his own modernist version of Irish liberal nationalism and demonstrated in the process that he was one of the most skilful rhetors of his day.     

Vagrant,Convict, Cannibal Chief: Abel Magwitch and the Culture of Cannibalism in Great Expectations

Charles Dickens’s Great Expectations opens with a jolt, as Abel Magwitch – an escaped convict – pounces on the narrator and protagonist, Pip. Despite this rather dramatic introduction, and the pivotal role that he goes on to play in the plot, Magwitch has never been given the sustained critical analysis that he warrants. More often than not he has been treated as one of Dickens’s infamous ‘flat’ characters; a kind of ‘pantomime wicked uncle’, in the words of George Orwell. This is a critical legacy that this paper seeks to redress. Seeing Magwitch as an essential element in Dickens’s critique of mid nineteenth-century society, this paper examines Magwitch’s largely ignored peripatetic and homeless past. By contextualizing Magwitch in his role as a vagrant outsider, and then exploring how this marginal position nuances the cannibalistic appetite he displays in the first pages of the novel, I argue that Magwitch’s violence and ‘savagery’ forms a foil for the more sadistic practices of civilized society. In doing so I position Magwitch at the dark heart of Dickens’s social pessimism, and re-evaluate the culture of cannibalism that we see in Great Expectations.     

P.H. Pearse and Thomas MacDonagh: a literary friendship

ABSTRACT

Tracing the relationship between P.H. [Patrick Henry] Pearse (1879–1916) and Thomas MacDonagh (1878–1916), this essay explores the impact their friendship had on their careers as writers and critics. Their work together in St Enda’s, the school for boys founded by Pearse in 1908, provides a significant context for this exploration. There, while working with MacDonagh, Pearse made drama an important part of school life and started writing plays for public performance. Meanwhile, their collaboration in putting together the St. Enda’s school journal, An Macaomh (1909–1913), helped to hone MacDonagh’s skills as a literary critic and to prepare for his later editorial role at the Irish Review (1911–1914). Attention then turns to how MacDonagh’s views on Irish literature and his translations from Old Irish influenced his friend’s development as both a critic and poet. Paticular consideration is paid to “Mise Éire”, one of Pearse’s best-known poems. Finally, similarities are considered between MacDonagh and the hero of The Wandering Hawk (1915–1916), Pearse’s unfinished, English-language, school story for children. Taken together, these various investigations reveal that, despite differing temperaments and at times divergent approaches to Irish writing, Pearse and MacDonagh enjoyed a mutually stimulating friendship that impacted positively on their literary careers.     

‘The Epitheatrical Cartoonist’: Matthew Somerville Morgan and the World of Theatre,Art and Journalism in Victorian London

This article examines the vibrant cultural milieu inhabited by one of Victorian Britain's most famous cartoonists, Matthew Somerville Morgan. Morgan is well-known as the cartoonist who attacked Queen Victoria's withdrawal from public life (and her associations with John Brown), and the lifestyle of Albert, Prince of Wales, in the short-lived rival to Punch: the Tomahawk. Likewise, his post-1870 career in New York as cartoonist of the ‘Caricature War’ over the 1872 Presidential elections, and involvement with ‘Buffalo’ Bill Cody have been well-studied. However, his involvement with the world of the 1860s Victorian stage – and the social circles in which he moved – have not been given close attention. This broader social, cultural, and economic context is essential to understanding Morgan's role as a cartoonist-critic of politics, class, gender and art in Victorian Britain. Special attention is given to the ways in which Morgan's work as a theatrical scene-painter informed his other pursuits, including his political cartoons for Fun, the Comic News and the Tomahawk. So central was the theatre to Morgan's life story that he may be appropriately described as an ‘epitheatrical’ figure. Indeed he is one of the most spectacular exemplars of the interconnected worlds of journalism, high art and theatre in Victorian London. The theatre provided him with the artistic and journalistic connections needed to raise himself above his lower-class origins; to move in ‘clubland’ and fashionable bohemian society; and to win an influential place in the key political and cultural debates of his age.     

The Connolly Association,the Catholic Church,and anti-communism in Britain and Ireland during the early Cold War

ABSTRACT

During the Cold War era, the Connolly Association, an Irish republican socialist political organisation in Britain close to the Communist Party of Great Britain, was seen by British Communists as a potential means of winning recruits amongst Britain’s growing post-war Irish community. This view was shared by the Catholic Church, which, amidst the broader ideological atmosphere of the Cold War, placed an increased emphasis on anti-communism in the early post-war years. This article will discuss clerical opposition to the Connolly Association in early Cold War Britain and Ireland, drawing chiefly on diocesan archives and Catholic periodicals.     

Estranging Ireland: The underground self of the Irish free state in Joseph O’Neill’s Land Under England

Land Under England is an out of print, rarely-cited Irish science fiction novel by the author Joseph O’Neill. Written at a time of crisis in Irish society in the 1930s, the novel has been relatively ignored in studies of the literature of the period. Although critics of science fiction tend to situate the novel as a purely anti-fascist work, taking its cues from events happening in Europe, this article places the novel firmly within its postcolonial Irish context, opening up the text to alternative readings based on the writings of Irish historians, as well as Marxist, cultural materialist and postcolonial critics. The article also utilises documents such as work written by O’Neill in his capacity as a civil servant, letters to the author from the controversial author Francis Stuart, and reviews contemporary to the publication of the novel.     

‘Each fantasy chosen begin’: the music of The Divine Comedy

This article considers the cultural and social context for the music of the Northern Irish band The Divine Comedy. It focuses on three mid-1990s albums – Liberation (1993), Promenade (1994) and Casanova (1996) – and debates the significance of this performance of alternative Ulster masculinity during the peace process. It will detail the lyrical obsession with a very particular type of imagined Anglo-Irishness during the first two of these albums, and then consider the complicated uses of the ‘Britpop’ genre in Casanova. This music is baroque, literary and written by an Anglican bishop's son, Neil Hannon, who grew up in Enniskillen during the Troubles. It will consider how Hannon cobbles together an acceptable identity through the use of literary pretentiousness and a carefully crafted pop persona.     

Two dramatic treatments of the ‘Déirdre’ legend: a case study in Irish betrayal

During the heightened cultural activity of the Celtic Revival, the moral ownership and utilisation of Ireland's literary remains became an important cultural issue. At the same time, many nineteenth- and early twentieth-century Irish writers were concerned to ‘retell’ ancient stories in ways which explored their relevance to the modern world. One of the most retold tales from the period was the story of Déirdre and the Sons of Usnach. The story of Déirdre broaches one of the most ubiquitous of human experiences – betrayal – and it does so in relation to both political and interpersonal behaviour. This essay examines two dramatic treatments from the early years of the century: W.B. Yeats's one-act Deirdre (1907) and J.M. Synge's Deirdre of the Sorrows, unfinished at the time of his death and finally published in 1910. This essay looks to account for the particular ways in which each author inflects the legend in terms of their own concerns, and in particular how both Yeats and Synge engaged with a discourse of betrayal that – although always significant in Irish cultural history – was moving to a position of centrality in Irish national life in the years leading up to the revolutionary period.     

Samuel Butler's Sheep

Alice Stopford Green, widow of proto-social and Teutonic nationalist historian J.R. Green, who went on to become an Irish nationalist historian and campaigner, complicates our view of fin-de-siècle women writers. Surprisingly for an amateur historian in an age of professionalization, she took a consciously separatist position, privileging the particular over the general, and defining her writing as both female and Irish.

This article focuses on Stopford Green's 1915 epilogue to her husband's Short History of the English People (1874), and her startlingly anguished periodical article of 1897 from Nineteenth Century, to demonstrate a separatism both bold and self-aware.‘Woman's Place in the World of Letters’ (1897) prefigures Cixous in its call for an écriture feminine. It views women as utterly alien to the established order of this world. Stopford Green at once acquiesces with female essentialisation – ‘woman’ comes in the singular – and undermines it by insisting that woman's true nature is almost never seen. In the ‘Epilogue’ (1915), which updates her husband's narrative to her war-torn present, Stopford Green voices jingoistic rhetoric, but employs unobtrusive asides to distance herself from these calls to imperialism. Through such surreptitious means, she uses her late-husband's popular textbook as the conduit of subversive ideas, both voicing and subverting his English nationalism.     

Polemic,Parliament and History: Michael Foot versus David Owen

Michael Foot had good reasons for resenting Dr David Owen, who played a prominent role in the formation of the breakaway Social Democratic Party (SDP) while Foot was Labour's leader. In Loyalists and Loners (1986), a book of political pen‐portraits, Foot duly delivered a blistering attack on Owen, focusing on two charges – that Owen was consumed by personal ambition from an early stage of his career, and that he was an ideological turncoat who had wilfully misused the word ‘socialism’. The present article examines Foot's allegations in the light of various historical sources, including the private papers of both protagonists. It is argued that, though Foot's charges seem devastating at first sight – and have never been refuted by Owen or his admirers – they cannot be sustained after an impartial review of the evidence. This reappraisal provides new insights into Owen's remarkable and controversial career at two pivotal stages – his initial rise to ministerial office, and his decision to leave Labour.     

Moshe Dayan: “Israel’s No. 1 Hero” (in America)

This study explores how and why Moshe Dayan became the symbol of the modern Israeli hero in American culture. Through an examination of variegated evidence it is possible to discern patterns that illustrate the ways Dayan’s image crystallized, first, in the American Jewish arena, and then more broadly, in wider American public consciousness. With his trademark eye patch and irreverent personal style, Dayan, who more than any Israeli military-political figure captured the imagination of American Jewry, became not only the most recognizable sabra on the American scene but also a chief exemplar of the “new Jew.” Beginning with the War of Independence (1947–49) until roughly the Six-Day War (1967), Dayan symbolized Israel’s youthful, virile, and savvy hero struggling to build a home against all odds. From the Yom Kippur War (1973) to the Camp David Accords (1978) and his death, he came to exemplify a generation of Israelis who wrestled with the Jewish state’s existential geopolitical challenges. Investigating Dayan’s public persona enhances our understanding of his impact on the American arena – the man and the myth – and the ideational linkages so critical to the developing bond between the United States and Israel in the second half of the twentieth century.     

The religious geography of Marvell’s “An Horatian Ode”: popery,presbytery, and parti-coloured picts

ABSTRACT

Marvell’s “Ode” (1650) is an English poem about a British problem – a problem further problematized by religion. The “Ode” lauds Cromwell’s Irish and Scottish campaigns, but English responses to these “colonial” wars were in reality complicated by protestant infighting among presbyterians, independents, and sectarians. Writers like Milton and Nedham rallied English support for Cromwell’s Irish campaign by recycling Spenserian stereotypes of Irish catholic barbarity. But Milton and Nedham also undercut English protestant unity by flinging these same anti-catholic stereotypes at Scottish presbyterians in Belfast and Edinburgh. Departing from previous studies, this article argues that Marvell’s “Ode” eschews Milton and Nedham’s anti-Presbyterianism in ways calculated to elide, rather than divide, protestant communities. The article explores how the “Ode” presents Cromwell’s Irish and Scottish campaigns as exclusively anti-catholic (rather than anti-presbyterian) crusades, comparing Marvell’s presentation of Cromwell in the “Ode” with his identification of Cromwell as an anti-catholic crusader in “First Anniversary” (1655). Both poems anticipate in this respect Marvell’s later anti-catholic, but pro-nonconformist, approach to Ireland in Rehearsal transpros’d (1672–1673). The article is therefore concerned to root Marvell’s post-Restoration commitment to protestant tolerationism within the anti-catholic language of the “Ode”.     

Tannery and Duhem on the Concept of a System in the History of Philosophy and History of Science

ABSTRACT

This article examines John Toland’s Reasons for Naturalizing the Jews (1714) by placing it alongside other elements of his engagement with Jewish history, Mosaic principles and wider “Hebraica” – specifically, an appendix to his Nazarenus (1718) and his Origines Judaicae (1709). Although Toland’s case for Jewish naturalization shows the strong influence of Locke’s case for political and religious toleration, and also of a general “mercantilism”, it is argued that one of its main characteristics is a philosophical naturalism, shown in its treatment of the human species as a whole. Furthermore, it is also argued that this same naturalism is evident throughout Toland’s engagement with Jewish history and Mosaic thought. Accordingly, when we “fold” these works into each other, we find each enhancing our understanding of the others – not just as examples of Toland’s treatment of “Jewish affairs”, but also as illustrations of a consistent conceptual materialism. To emphasize this, the article concludes by suggesting that the figure of Rabbi Simone Luzzatto, author of a 1638 plea for tolerance, provides an important clue in understanding the links between Toland’s political injunctions and the philosophical foundation on which they are built.     

Conflicting obituaries: the Abyssinian ‘outlaw’ Debeb as treacherous bandit and romantic hero in late nineteenth-century Italian imagination

In 1886 the Abyssinian chief Debeb became a public figure in Italy as a rapacious colonial bandit. However, over the next five years he acquired additional public personas, even contradictory ones: as a condottiero ally, a ladies' man, a traitor, a young Abyssinian aristocrat and pretender to an ancient throne, a chivalrous warrior, and a figure representing the frontier and an Africa mysterious and hidden to Europeans. Upon his 1891 death in combat, he was the subject of conflicting Italian press obituaries. For some commentators, Debeb exemplified treacherous and deceitful African character, an explanation for Italy's colonial disappointments and defeats. However, other commentators clothed him in a romanticised mystique and found in him martial and even chivalrous traits to admire and emulate. To this extent his persona blurred the line demarcating the African ‘other’. Although he first appeared to Italians as a bandit, the notion of the bandit as a folk hero (the ‘noble robber’ or ‘social bandit’, Hobsbawm) does not fit his case. A more fruitful approach is to consider his multi-faceted public persona as reflecting the ongoing Italian debate over ‘national character’ (Patriarca). In the figure of Debeb, public debates over colonialism and ‘national character’ merged, with each contributing to the other.