DOCSLIB.ORG

A Thesis Presented'to Thef~Culty of the Department of English Indiana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Thesis Presented'to Thef~Culty of the Department of English Indiana The Renaissance movement in the Irish theatre, 1899-1949 Item Type Thesis Authors Diehl, Margaret Flaherty Download date 06/10/2021 20:08:21 Link to Item http://hdl.handle.net/10484/4764 THE :RENAISSANCE HOVEMENT IN THE IRISH THEATRE 1899... 1949 A Thesis Presented'to TheF~culty of the Department of English Indiana. state Teachers College >" , .. .I 'j' , ;I'" " J' r, " <>.. ~ ,.I :;I~ ~ .~" ",," , '. ' J ' ~ " ") •.;.> / ~ oj.. ., ". j ,. ".,. " l •" J, , ., " .,." , ') I In Partial Fulfillment of the ReqUi:tements for th.eDegree Mast~rofArts in Education by Margaret Flaherty' Diehl June- 1949 i . I .' , is hereby approved as counting toward the completion of the Maste:r's degree in the amount of _L hOUI's' credit. , ~-IU~~~....{.t.}.~~~f...4:~:ti::~~~'~(.{I"''-_' Chairman. Re:prese~ative of Eng /{Sh Depa~ent: b~~~ , ~... PI ACKf.iIUvJLJIDG.fI1:EThTTS The author of this thesis wishes to express her sincere thanks to the members of her committee: (Mrs.) Haze~ T. Pfennig, Ph.D., chairman; (Mrs.) Sara K. Harve,y, Ph.D.; George E. Smock, Ph.D., for their advice and assistance. She appreciates the opportunities fOr research "itlhich have been extended to her, through bo'th Indiana State Teachers College Librar,y and Fairbanks Memoria~ Librar,y. The writer also desires to thank Lennox Robinson and Sean a'Casey fOr their friendly letters" She is espeCially indebted for valuable information afforded her through correspondence with Denis Johnston. Margaret Flaherty Diehl TABLE OF CONTENTS CHAPTER PAGE I.. BEGINNING OF THE DRAMA IN IRELAND ••••• .. ". 1 Need for this study of the Irish Renaissance .. 1 The English theatre in Ireland • • e' • • " ." 1 Foupding of the Gaiety Theatre .. ~ • • • • •• 1 Politics hindered literature • • • eo. • • 2 Jrrish Literary Renaissance • • • • • • e • 2 Revival of Gaelic .. Gaelic League • • (I ..~ I' • • 3 English translation of Gaelic poetr,y Cl •. • " 0 :3 The Fays aDd the new European theatre • e • C" .. 4 New interest in folk tales and mythology o • • 5 Yeats t dramas and their source legends . " .. 6 II. TEE IRISH LITERARY THEATRE 6 Ideas 'behind the Irish Literary Theatre .. 6 The letter to secure guarantors .. • " " • " • 0 6 FiDding a theatre eo the license .. promotors " " 7 First performance .. English actors o eo. 0 • 8 Pla;y-s of 1900... 1901 Cl"..... GI " ,. 41 •• ., o. 8 Firf.3tp+~ by Dublin a.:mateurs ... " Cl ., ., I> ... 8 Epii;,Et]lh of the ,Irish Literal'jl' Theatre Cl .. • •• 9 . .. .. .. .. 10 TI1eatr~ ~ocie~y The, Irish 1\fatio1'1al .. 4< • " .. 10 The Fay brothers - Ormond Dramatic Society • 10 "W.Fay>~1":,:~;:" .,'" :~;- '.met',:, ,- ." Yeats .. combined interests I> ., • " 10 ~ - i, I c; '." - :\ v Yea~s recognized the National Dramatic SOQiety- 10 Personnel of Irish 1'fat:i6nal Theatre Society " 11 First :play in stet Teresa's Hall ... cast " " o. 11 Camden street Hall ... plays .. 0' 0' • " 12 The Abbey ,Theatre ... amat.enrstanding .. • • • • 12 Early dramatists: Synge, Yeats, Colum, Lady Gregor,y "".,,,. " " 0 • " .' • .. " • .. ,,(I 12 Lo,ndontrips ... 1903, 1904 ... plays eo Mise Horniman " .' " " 13 The Apbey • • • • .' " " If • .' .' • " .. " .. • .. 13 Miss Hornimam provided a theatre .. " .. " 13 The Abbey grant " " " ., • " 0 0 " .. .. " "" .. 14 Abbey ac-toI's at St. Louis Fair " " " " " 0 •• 14 Opening of Abbey Tlleatre .. .. (I) " .. «J " • 0 .. ~ 15 William Boyle, 4ramatist ., .. If) " " " ?int:tncee o£ the Abbey" 15 ,Reorg$l.t1i2ja.t1on ... The NatioJutl Theatre ComJ?arJY .. 15 Directors and stockholdera " . " " .. " " . " British tour ,'. - ,-." " -',' 'b; " " .' .. .. .' iii • ", " "0 " • .." 16 FElYlSleave;th~A'bbey " " " • " 'II • ,. " .. " " " 1'7 '~~;,1.~an.,;v:~ars., J.90~:",1~14 "".... it .. " .. .." 17 >R()biD;!Sc>n,asmant;tger ... "Lady: Greg()ry" pJ.a~s ~ •• 17 18 <The ShewinS3m,ot; Blanoo Posnet " " ! • • • • 18 ~ \1 :11 vi CHAPTER Yeats and Lady Gregory buy the Abbey ....... 19 Miss Horniman's British pride •• e e • • • • 19 ~ Yeats' pension. o • • • • • • • .. • G e 20 The American tour, trouble with Ih! P1~ybol .. ~ 20 Nugent Monck's school of ac.ting .. .. 0 ... .. .21 The new "People'sfl theatre • • 8 • • " C • • 21 The Abbe,y during the revolution years, 1916-1921 22 Easter Week trouble .. ,. • .. • .. • .. • • 0 & e 22 Keogh as manager .. .. 22 Robinson returns to the Abbey " .. .. o .. " .. • & 23 Abbe,y sUbsidy .. .. • .. • .. " .. .. .. 0 .. " • " .. 23 The prosperous years • .. .. .. .. .. • •• • 23 Sean Q'Casey's pl~s - other dramatists 23 :Peacock Theatre for play try... outs .. iii .. .. • 24 Lady Gregory's death .... .. .. 0 " .. .. .. .. .. .,.. 24 The American tour, 1934 .. ... .. • • • • .. .. .. .. <I 25 The Irish Acad~ of Letters ........ .. .. • .. .... 25 The Abbe,y Theatre Festival ......... .. .. .. .. .... 26 Traveling theatre companies during the war' .. .. .. 26 M.oderntrends in the Abbey • •••• 0' • • & .. • 26' The Players' Theatre •• 0 ••• • • • .. ••• 27 Present board of directors .. .. .. .. .. .. .. .. .. .. 28 Ria Mooney as producer .. .. .. .. " .. .. •• • o. 28 Complacency in the Abbey ."" " .. " .. .. " ... 28 Future of the Abbe,y • • • • • • • • • • •• • 29 : ) J !) vii )- ..., ~ , CHAJ?TER 1 -~­ PAaH: i , i I it IV 0 'lIRE GATE THEATRE ••• 0 .. • .. • .. .. .. • .. 0 • 0 30 I It Beginning of the Gate Theatre ••••••••• 30 Division in the Gate Theatre o. 0 • 0 • • •• 31 Gate Theatre Productions ••••••••••• 31 Longford Productions .. • .. • 32 The-Symposium of 1942 . 33 Finances and subsidies 0 • 0 0 • • 0 • .. 0 0 0 33 V. OTHER SYlALL THEATRES IN IRELAND • . .. • • • • • 35 The Irish - speaking theatre •• .. ••• • • .. 35 Little theatre movements in Ireland . 37 VI. EARLY SPONSORS OF 'lTHE IRISH :NATIONAL THEATRE . .. 3S Abbey's freedom from commercialism • II ., • •• ,38 Leaders in the Irish Literar,y Theatre 0 .0. 0 39 W.B.Yeats ... • e- .' • • • • • • e • • '0 .. .. 0 .. 39 Lady Gregory ... 0 .. .. • • • .. • II .. • II • co Cl 40 Lennox Robinson • e • 0 0 • • • • • 0 ~ • • • 41 e • .. 0- ••• • • • .' •• • • •• $' " 42 ]'!Liss Horniman • o • • • • •• • • • • • • .. 42 VII. ,ACTORS OF THE IRISH l\fATIONAL THEATRE .. .. .. .. 44 Qualities of '.Abbey acting • • • 0 • • • c • 0 44, Yeats' essentials of good acting •••• e- • e 45 Changes in actor personnel at the Abbey • • • • 4t5 1 J" Politibsin the Abbey .. • '11, • I> .. • • • • • • 0 • 47 Roles created by actors • • • • 0' 0 " 0 .. .' . ., 48 C011ii emporary actors in the Irish theatres o • .. 49 ~ 'I· :I, I ,I ,I t ;,-,I viii 'CHAPTER VIII.. PLAYS AND PLAYWRIGHTS OF THE IRISH NATIONAL TlIEATBE .. 0 0 0 • .. .. .. .. • 0 • .. • •• • .. 0 50 Early dramatists of the Irish national theatre 50 Poetic and folk dramatists • .. .. o 0 50 WoB.Yeats •••••' •••••.••••• ft\I' 50 J .M.Synge • .. .. •• .. 0' • 0 o .. • .. o· • • 51 Lady Gregory •• .. 0 .. .. " .. .. o • • • « 52 Padraic Colum. •••••• ••• 00 ••• 53 0 0 0 George Fitzmaurice .. " ... ..o, f' • Realistic dramatists o .. .. .. .. .. .. .. o " o .. 54 Lennox Robinson • .. • • • .. • .' • e 6 • • 54 T.. C.Murr~ '.... .. .. " " .. .. • 0 • e 54 Seumas O'Kelly . .. .. .. " • • .' .. " .. 55 Sir-John Ervine • • •• e • e • • 0.0. 55 Brinsley MacNamara._ 0 It .. .. .. to • 4& • • 56 " .' Sean O'Case,y .. " • 0' • • .. .' 0 .' • ct .' .' 56 Comedy writers .. .. .. .. - .. .. .. .. .. .,.. .. .. • e 58 F!'ed Ryan, Yeats, and Lady Gregol'7 .. " " .' 5.8 William: Boyle o •• 0 • 0 • • • • •. 6 • • 58 W.F"Casey .0.· ... 0· •••• 00 ••• Edward McNulty • 0.." . " • II • • 59 George Shiels ..... It .. .. .. " .. " .. c .. " 59 ix CHAPTER PAGE Symbolists of the Irish theatre • .. .. •• ... 59 Lord Dunsany .... .. .. .. .. .. .. .. .. .. • .... 60 Edward Martyn .. • • • • • .. .. • • • • .. .. .. 60 Political propaganda pl~s .. •• 60 Social problem plays ..... • .. .. • .. •• "" 61 Modern drama • • .. • .. • ,e •• • • • .. 6 .. 61 Dramas of famous persons' lives .. • .. .. .... 62 Social problem plays ~2 Poetic and 1egendar,y trends in drama .. .. .. '64 E:tBtIQGRA.F.HY • 0 ••• «) ••••• e _ ..... 0, •••• 64 .AJ?PEl\fDI.XES • • • • • • • 0 0 •••••• • 0 ~ • •• ?O A. Plays produced by the Abbey Theatre Company and its predecessors, with dates of first perfor.man- ces. ••• • • .• it .,. ~ • • • .0 6 • 0: •• _ 71 ~roductions, List of first with casts ..... 0 .. 74 c. Abbey Theatre Festival Programme • • • b • 0 • 80 ,Ooples of letters from Irish dramatists • • c 0 82 I I i1 li L II II I ,L. ,I ..., I j CHAl?TER I ;, i DEVELOJP1vlENT OF THE DRAMA IN IREI..A1W During the past, fifty years many accounts have been written Of the Irie:fi Renaissance :Movement in the theatre, but altiTays of fragmentary character, with certain points stressed and other points slighted 01' omitted.. The cont'emporary nature Of themovem.ent has tended to render tnese ac'counts out... of.. date wi th~n a few years after publicati:oIl.. This study has 'been an endeavor to e,ssemble' the data into a,s orderly and complete chronoJ.ogy as possible, and to present a comprehensive review of the beg:Lnnil1ge C and evolution of the Iri~l~, ~~i:~~,t~5,~:·~o:t:~:t:5i'.ii:.::· , ",." I ), ," ' ~ ), ." • oJ '" Jirelai1d had lon~f b,e~n torn::'b3r·. W~i::SSl both e:x:ternal and -, " 4 •• .....4" ~ 4 _'.' -: irit~rnal, and' divided by pol.itical. religious,aitd economic differences; and yet, vii thittthe past fifty years this small countfy has made important contributions to the world's cIr~tieart.. Th.roughthe nineteenth century,Ireland. was a,ptb'Vinclaloutpost for English touring companies, although Irelaila: had'601'hEilmtedi ma..nY fineactOrs I!md playwrights
Load more

Recommended publications
  • An Analysis of the Holdings of Certain Lady Gregory Monographs at the University of North Carolina at Chapel Hill’S Rare Book Collection
    Melissa A. Hubbard. An Analysis of the Holdings of Certain Lady Gregory Monographs at the University of North Carolina at Chapel Hill’s Rare Book Collection. A Master’s Paper for the M.S. in L.S. degree. December, 2007. 47 pages. Advisor: Charles B. McNamara This paper analyzes Lady Gregory monographs related to her work as a playwright and theater director. It includes biographical information about Lady Gregory and a description of how her materials relate to other Rare Book Collection holdings. The focus of the paper is an annotated bibliography of these titles, with detailed notes about the condition of the items held in the Rare Book Collection. The paper concludes with a desiderata and recommendations for continued development of the Lady Gregory collection. Headings: Gregory, Lady, 1852-1932 — Bibliography Special Collections — Collection Development University of North Carolina at Chapel Hill. Rare Book Collection. AN ANALYSIS OF THE HOLDINGS OF CERTAIN LADY GREGORY MONOGRAPHS AT THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL’S RARE BOOK COLLECTION. by Melissa A. Hubbard A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina December 2007 Approved by _______________________________________ Charles B. McNamara 1 Table of Contents Part I Introduction 2 Biography 3 Collection Context 15 Methodology 16 Part II Annotated Bibliography 20 Collection Assessment 40 Desiderata 41 Table 1: Desiderata 42 Recommendations 43 Sources Consulted 44 2 Part I Introduction Lady Gregory was one of the most popular figures of the Irish literary renaissance, an early 20th century movement advocating the publication and promotion of literature that celebrated Irish culture and history.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • The Rendering of Irish Characters in Selected Plays by J.M. Synge Diplomarbeit
    The Rendering of Irish Characters in Selected Plays by J.M. Synge Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Deborah SIEBENHOFER am Institut für Anglistik Begutachter: Ao. Univ.-Prof. Mag. Dr. phil. Martin Löschnigg Graz, 2010 I dedicate this thesis to my mother in profound gratitude for her endless patience, support, and encouragement. 1 Pastel drawing of J. M. Synge by James Paterson, 1906 And that enquiring man John Synge comes next, That dying chose the living world for text And never could have rested in the tomb But that, long travelling, he had come Towards nightfall upon certain set apart In a most desolate stony place, Towards nightfall upon a race Passionate and simple like his heart (W. B. Yeats, “In Memory of Major Robert Gregory”) 2 Table of Contents List of Abbreviations .............................................................................................................. 5 1. Introduction ........................................................................................................................ 6 1.1. The Irish National Theatre ........................................................................................... 8 1.2. The Stage Irishman .................................................................................................... 12 1.2.1. The Stage Irishman up to the 19th Century ......................................................... 12 1.2.2. The 19th Century ................................................................................................
    [Show full text]
  • Guide to the Jack Coughlin Collection, 1973-1986
    Bridgewater State University Maxwell Library Archives & Special Collections Jack Coughlin Collection, 1973-1986 (MSS-034) Finding Aid Compiled by Orson Kingsley, June 2018 Last Updated: June 13, 2018 Maxwell Library Bridgewater State University 10 Shaw Road / Bridgewater, MA 02325 / (508) 531-1389 Finding Aid: Jack Coughlin Collection (MSS-034) 2 Volume: 1.25 linear feet (2 document boxes, 3 framed items) Acquisition: All items in this manuscript group were donated to Bridgewater State University by Maureen Connelly in 2012 and 2018, with one etching donated by the Paula Vadeboncoeur estate in 2016. Access: Access to this record group is unrestricted. Copyright: The researcher assumes full responsibility for conforming with the laws of copyright. Whenever possible, the Maxwell Library will provide information about copyright owners and other restrictions, but the legal determination ultimately rests with the researcher. Requests for permission to publish material from this collection should be discussed with the University Archivist. Jack Coughlin Collection Biographical Sketch Jack Coughlin is an artist of Irish-American heritage who is well known for his portraits of literary figures and musicians. His prints, drawings and watercolors have been exhibited widely across the United States and Europe. They are in the permanent collections of the Metropolitan Museum and the Museum of Modern Art in New York, the National Collection of Fine Arts in Washington D.C., the Norfolk Museum of Arts and Sciences in Virginia, the Worcester Art Museum in Massachusetts, the University of Colorado, the Philadelphia Free Public Library, Staedelsches Kunstinstitut, Frankfort, Germany, the New University of Ulster, Coleraine, Northern Ireland and in several other important museum, university and library collections worldwide.
    [Show full text]
  • The Early Work of Austin Clarke the Early Work (1916-1938)
    THE EARLY WORK OF AUSTIN CLARKE THE EARLY WORK (1916-1938) OF AUSTIN CLARKE By MAURICE RIORDAN, M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University March 1981 DOCTOR OF PHILOSOPHY (1981) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: The Early Work (1916-1938) of Austin Clarke. AUTHOR: Maurice Riordan, B.A. (Cork) M.A. (Cork) SUPERVISOR: Dr. Brian John NUMBER OF Fll.GES: vi, 275 ii ABSTRACT Austin Clarke dedicated himself to the ideal of an independent Irish literature in English. This dedication had two principal consequences for his work: he developed a poetic style appropriate to expressing the Irish imagination, and he found inspiration in the matter of Ireland, in hex mythology and folklore, in her literary, artistic and __ religious traditions, and in the daily life of modern Ireland. The basic orientation of Clarke's work determines the twofold purpose of this thesis. It seeks to provide a clarifying background for his poetry, drama and fiction up to 1938; and, in examining the texts in their prope.r context, it seeks to reveal the permanent and universal aspects of his achievement. Clarke's early development in response to the shaping influence of the Irish Revival is examined in the opening chapter. His initial interest in heroic saga is considered, but, principally, the focus is on his effort to establish stylistic links between the Anglo-Irish and the Gaelic traditions, an effort that is seen to culminate with his adoption of assonantal verse as an essential element in his poetic technique.
    [Show full text]
  • <Insert Image Cover>
    An Chomhaırle Ealaíon An Tríochadú Turascáil Bhliantúil, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1981. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirtieth Annual Report and Accounts for the year ended 31st December 1981. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951. Cover: Photograph by Thomas Grace from the Arts Council touring exhibition of Irish photography "Out of the Shadows". Members James White, Chairman Brendan Adams (until October) Kathleen Barrington Brian Boydell Máire de Paor Andrew Devane Bridget Doolan Dr. J. B. Kearney Hugh Maguire (until December) Louis Marcus (until December) Seán Ó Tuama (until January) Donald Potter Nóra Relihan Michael Scott Richard Stokes Dr. T. J. Walsh James Warwick Staff Director Colm Ó Briain Drama and Dance Officer Arthur Lappin Opera and Music Officer Marion Creely Traditional Music Officer Paddy Glackin Education and Community Arts Officer Adrian Munnelly Literature and Combined Arts Officer Laurence Cassidy Visual Arts Officer/Grants Medb Ruane Visual Arts Officer/Exhibitions Patrick Murphy Finance and Regional Development Officer David McConnell Administration, Research and Film Officer David Kavanagh Administrative Assistant Nuala O'Byrne Secretarial Assistants Veronica Barker Patricia Callaly Antoinette Dawson Sheilah Harris Kevin Healy Bernadette O'Leary Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685. An Chomhaırle Ealaíon An Chomhairle Ealaíon/The Arts Council is an independent organization set up under the Arts Acts 1951 and 1973 to promote the arts.
    [Show full text]
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
    [Show full text]
  • The New Age Under Orage
    THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G.
    [Show full text]
  • Urban Planning, Irish Modernism, and Dublin
    Notes 1 Urbanizing the Revival: Urban Planning, Irish Modernism, and Dublin 1. Arguably Andrew Thacker betrays a similar underlying assumption when he writes of ‘After the Race’: ‘Despite the characterisation of Doyle as a rather shallow enthusiast for motoring, the excitement of the car’s “rapid motion through space” is clearly associated by Joyce with a European modernity to which he, as a writer, aspired’ (Thacker 115). 2. Wirth-Nesher’s understanding of the city, here, is influenced by that of Georg Simmel, whereby the city, while divesting individuals of a sense of communal belonging, also affords them a degree of personal freedom that is impossible in a smaller community (Wirth-Nesher 163). Due to the lack of anonymity in Joyce’s Dublin, an indicator of its pre-urban or non-urban status, this personal freedom is unavailable to Joyce’s characters. ‘There are almost no strangers’ in Dubliners, she writes, with the exceptions of those in ‘An Encounter’ and ‘Araby’ (164). She then enumerates no less than seven strangers in the collection, arguing however that they are ‘invented through the transformation of the familiar into the strange’ (164). 3. Wirth-Nesher’s assumptions about Dublin’s status as a city are not really necessary to the focus of her analysis, which emphasizes the importance Joyce’s early work places on the ‘indeterminacy of the public and private’ and its effects on the social lives of the characters (166). That she chooses to frame this analysis in terms of Dublin’s ‘exacting the price of city life and in turn offering the constraints of a small town’ (173) reveals forcefully the pervasiveness of this type of reading of Joyce’s Dublin.
    [Show full text]
  • Austin Clarke Papers
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R.
    [Show full text]
  • James Stephens at Colby College
    Colby Quarterly Volume 5 Issue 9 March Article 5 March 1961 James Stephens at Colby College Richard Cary. Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 5, no.9, March 1961, p.224-253 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Cary.: James Stephens at Colby College 224 Colby Library Quarterly shadow and symbolize death: the ship sailing to the North Pole is the Vehicle of Death, and the captain of the ship is Death himself. Stephens here makes use of traditional motifs. for the purpose of creating a psychological study. These stories are no doubt an attempt at something quite distinct from what actually came to absorb his mind - Irish saga material. It may to my mind be regretted that he did not write more short stories of the same kind as the ones in Etched in Moonlight, the most poignant of which is "Hunger," a starvation story, the tragedy of which is intensified by the lucid, objective style. Unfortunately the scope of this article does not allow a treat­ ment of the rest of Stephens' work, which I hope to discuss in another essay. I have here dealt with some aspects of the two middle periods of his career, and tried to give significant glimpses of his life in Paris, and his .subsequent years in Dublin. In 1915 he left wartime Paris to return to a revolutionary Dub­ lin, and in 1925 he left an Ireland suffering from the after­ effects of the Civil War.
    [Show full text]
  • Miscellaneous Notes on Republicanism and Socialism in Cork City, 1954–69
    MISCELLANEOUS NOTES ON REPUBLICANISM AND SOCIALISM IN CORK CITY, 1954–69 By Jim Lane Note: What follows deals almost entirely with internal divisions within Cork republicanism and is not meant as a comprehensive outline of republican and left-wing activities in the city during the period covered. Moreover, these notes were put together following specific queries from historical researchers and, hence, the focus at times is on matters that they raised. 1954 In 1954, at the age of 16 years, I joined the following branches of the Republican Movement: Sinn Féin, the Irish Republican Army and the Cork Volunteers’Pipe Band. The most immediate influence on my joining was the discovery that fellow Corkmen were being given the opportunity of engag- ing with British Forces in an effort to drive them out of occupied Ireland. This awareness developed when three Cork IRA volunteers were arrested in the North following a failed raid on a British mil- itary barracks; their arrest and imprisonment for 10 years was not a deterrent in any way. My think- ing on armed struggle at that time was informed by much reading on the events of the Tan and Civil Wars. I had been influenced also, a few years earlier, by the campaigning of the Anti-Partition League. Once in the IRA, our initial training was a three-month republican educational course, which was given by Tomas Óg MacCurtain, son of the Lord Mayor of Cork, Tomas MacCurtain, who was murdered by British forces at his home in 1920. This course was followed by arms and explosives training.
    [Show full text]