“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 Shots that Reverberated for a Long Time, 1916–1932: The Irish Revolution,the Bolsheviks and the European Left

Abstract

This article explores the interaction between the Irish Revolution and the October Revolution within the wider context of the First World War and the Paris Peace Conference. From an Irish republican perspective, it was clear that neither Wilsonian principles nor Bolshevik theories and statements could be relied upon. Self-determination for Ireland became the object of heated debates among newspapers and leading personalities of the Left and far-Left in Europe while the Easter Rising and the execution of James Connolly were used to settle accounts between various factions of the European Left and far-Left well into the interwar period.     

“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.     

“There are thousands who will claim to have been ‘out’ during Easter Week.”: recognising military service in the 1916 Easter Rising

ABSTRACT

Using recently released archives from the Military Service Pensions Collection (MSPC), this article assesses the archival evidence available for assessing how many rebels are recognised as having military service in the Easter Rising of 1916. It argues that while the MSPC contributes towards a more accurate estimation of the number who participated in the Rising, especially in the regions outside Dublin, it does not constitute a definitive figure for rebels active in Easter week. Through an examination of the assessment criteria for military service pensions, it shows how the decision to grant recognised pensionable service for the Rising was affected by geography, politics, legal challenges, the timing of an application, and the subjective assessment of individual assessors.     

“Talk & talk & talk”: Virginia Woolf's responses to Ireland

The complexity of Virginia Woolf's relationships with Empire can be illustrated by considering her responses to Ireland. Woolf's relationship with Ireland and Irish writers has received only cursory attention. Those critics who have addressed the topic have assumed that she responded positively to her experience of Irish “talk” on her holiday in Ireland in 1934. However, her response on that holiday reveals some underlying imperial presumptions and a sense of Ireland as stereotypically a land of “talk, talk, talk”. Indeed, this is in keeping with her responses to a wide range of Irish writers over many years (most notably, it chimes with her reading of Ulysses). This essay brings together for the first time Woolf's comments on Ireland and Irish writers, from her diaries, letters, essays and reviews, in order to show that she consistently characterised them as loquacious. Ireland was thus merely a subject of talk, a “question” that could only by discussed, and then only in stereotypical and liberalist terms. Further, Woolf associated talk with looseness and bad writing, and sought to maintain a mode of semi-privacy, apart from the “talk” that went on around her.     

Enigmas of the Great War: Thomas Kettle and Francis Ledwidge

Recent publications in the field of Irish Studies have begun to address the previously neglected issue of Irish involvement in the First World War, including some limited attention to Irish First World War literature. This article explores the poetry of two nationalist writers who joined the British army, namely Thomas Kettle and Francis Ledwidge. Kettle was a public figure who had served as a Westminster MP and his poetry expresses the political complexity of his responses to the outbreak of war and to the Easter Rising. Ledwidge was first and foremost a poet and the article explores and evaluates that aspect of his oeuvre which can be described as war poetry.     

“A German Bred Revolt”: the Manchester Guardian’s perceptions of the Irish Easter Rising, 1916

ABSTRACT

At the time of the Easter Rising of 1916 Britain had been engaged in the Great War against Germany for almost two years and on a scale and intensity previously unprecedented. This broader Great War backdrop is significant when analysing the 1916 Easter Rising, as it not only influenced the events which occurred in Dublin, but also the interpretation and presentation of the political violence. Despite the Easter Rising being well-documented in secondary literature, with a resurgence accounted for by its recent centenary, the British press and its portrayals of the events of 1916 has been one aspect which has not received as much scholarly attention. By analysing key stages in the uprising’s portrayal, it can be determined that the Manchester Guardian’s utilisation of the German connection had a two-fold implication. Utilising historical precedents of German-Irish “friendship”, such as the gun-running episodes of pre-War 1914, the newspaper justified its portrayal of Germany provoking violence in Ireland to disrupt British war efforts. Additionally, for the Manchester Guardian, the Irish rebels were depicted negatively in its articles as it attempted to halt the growth of republicanism, thereby ensuring the promotion of a more “moderate” form of nationalism.     

‘Immigrant games’: sports as a metaphor for social encounter in contemporary Irish drama

This paper explores the use of sport and sports matches in recent Irish plays that feature migrants. Sport and sports matches are recurring tropes in films, prose and theatre works that feature migration to and from Ireland. A form of popular culture and ‘one of the most pervasive social institutions in our society’, sport acts as a catalyst for social encounter and at the same time it can reflect subtle forms of social discrimination. It allows both for inclusion and exclusion of the other: it can be ‘a site for racial tension’ and it can ‘provide the opportunity to exercise a right that does not have to be officially granted by bureaucracies or public administrations and can be engaged in relatively freely’. Through sports, migrants can acquire ‘an opportunity for self-determination and control that may well be lacking in other areas of their lives’, hence the recurrence of sports on the Irish stage.     

MacLiammóir's minstrel and Johnston's morality: cultural memories of the Easter Rising at the Dublin Gate Theatre

This article explores how Micheál MacLiammóir and Denis Johnston attempted to perform cultural memories of the Easter Rising at the Dublin Gate Theatre and thereby articulated their respective views on a colonial past that had to be reassessed anew, on the one hand, and a postcolonial future that still had to be made possible, on the other. By analysing how these two prominent Gate Theatre playwrights sought to commemorate the Rising through mediated performances, this article argues that the Gate Theatre did not simply serve as a playground for disinterested aestheticists but also created a stylised forum where the perceived strain between Ireland's traumatic history and its uncertain future could be addressed and reconfigured into a meaningful teleology. In doing so, this article attempts to demonstrate that the Gate Theatre served as a cultural counterweight to the Abbey's ostensible hegemony as a theatrical force in Irish identity formation.