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The Role and Image of the Ascendancy in the Irish Theatre, 1600-1900

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The Role and Image of the Ascendancy in the Irish Theatre, 1600-1900 The Role and Image of the Ascendancy in the Irish Theatre, 1600-1900 Desmond Slowey BA HDE MA A thesis submitted to Dublin City University in fulfillment o f the requirements for the degree of Ph. D. in Humanities [Theatre Studies] Supervisor: Dr. Pat Burke English Department, St. Patrick’s College, Drumcondra, Dublin 9. June 2006 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Ph. D. in Humanities, is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my own work. Signed: ID No: Date:... It J 6 * /'6>C My thanks to Dr. Pat Burke, for his expertise, assistance and encouragement over the past four years, to Dr. Noreen Doody for her corrections and suggestions, and to Molly Sheehan, of the Cregan Library, for sourcing obscure and elusive texts. And to Pat, Eoin, Kevin and Niall for their patience and support. Contents Chapter Page Introduction......................................................................................................................1 I: Enter the Gentry.........................................................................................................18 The First Stage-Irish Aristocrat: Macmorrice in Henry V; the First Play: Gorboduc, Dublin Castle, Sept. 7*. 1601; the First Theatre in Ireland: Werburgh St. 1634; the plays of James Shirley II: Restoration............................................................................................................... 63 Comedy and Tragedy; Restoration Theatre in Dublin; Katherine Philips' Pompey; Orrery’s The Generali; the first Duke of Ormond; John Dancer's Nicomede; publication of plays; Michelbume's Siege of Derry, III: The Generous and the Mercenary; or, The Qualities of the Quality............. 106 William Philips' St. Stephen's Green; George Farquhar's Love and a Bottle TV: 'The Reigning Follies of this Spacious Town': Charles Shadwell's Irish Comedies........................................148 The bourgeois audience; Charles Shadwell and the rise of the 'Bourgeois Ascendancy'; The Sham Prince, The Hasty Marriage, Irish Hospitality V: Cultural Colonisation: Summoning 'Hibernia'...................................................203 Shadwell's Rotherick O'Connor; Philips' Hibernia Freed; Dobbs' The Patriot Chief; Howard's The Siege ofTamor; Ashton's The Battle of Aughrim VI: The Humours of 'Hibernia'................................................................................. 248 The Gentlemen's Quarrel; Thomas Sheridan’s Captain O’Blunder; Richard Cumberland's Major O'Flaherty; Charles Macklin’s Sir Callaghan O'Brallaghan & Murrough O'Dogherty; Richard Brinsley Sheridan's Sir Lucius OTrigger & Lieutenant O'Connor VH: Radical Shifts.......................................................................................................303 John O'Keeffe's Revolutionary Spirit; Sheridan Knowles' 'Liberty' Plays VHI: Picturesque Ruins: Boucicault's Irish Ascendancy......................................357 The Colleen Bawn; Arrah-na-Pogue; The Shaughraun; Robert Emmet IX: 'Opening the Future': The Politicisation of Irish Melodrama....................... 395 Boucicault: Robert Emmet, The O'Dowd, The Fireside Story o f Ireland; Melodrama at the Queen's: J.W. Whitbread, P.J. Bourke, Edmund Falconer, Hubert O'Grady Conclusion..................................................................................................................441 Bibliography .462 Desmond Slowey: The Role and Image of the Ascendancy In the Irish Theatre, 1600-1900 The Irish theatre from 1601 to c. 1900 was bound intimately to the society that produced it. Started by the Anglo-Irish Ascendancy, it grew and changed with it, reflecting its preoccupations and prejudices, while seeking at the same time to forge its conscience and urge it towards personal and communal transformation. The theatre mirrors the development of the Anglo-Irish Ascendancy; the overall image it presents shifts as the Ascendancy mutates, its power deteriorates, and the view of the playwrights becomes more questioning, indifferent or hostile. From exalting Ascendancy virtues (Shirley and Orrery), it moves to express the views of the 'bourgeois Ascendancy' (Shadwell and Philips), then to a more questioning and radical view, (Knowles and O'Keeffe). Nationalist dramatists take a more critical stance, and the portrayal of the Ascendancy becomes more equivocal and marginal in Boucicault and Whitbread, until eliminated almost completely in the theatre of P.J. Bourke. This was a political theatre, involved continuously in self-definition, personal and societal. The plays and their authors were modelling moral and social formation for a divided country. The 'generous lovers' of Philips, the 'mercenary' bourgeoises of Shadwell, the rowdy mongrel gentlemen of Macklin and Sheridan, O'Keeffe's subtle jacobinism, Boucicault's imagined aristocracy, and the aspirational exemplars of the Nationalist Melodrama, all display the urge to transformation that is endemic in the early Irish theatre. Within this larger pattern, certain themes recur: the appropriation of the English language by the Irish and the colonization of Irish culture by the English, the importance of women as the agents of change, the displacement of a dominant class by an aggressive lower class, and the change by the Anglo-Irish in their perception of ancient Ireland, from a savage wilderness infested with barbarians, to a cultured civilization set in a Romantic landscape. Introduction i In this thesis I propose to investigate the role and image of the Ascendancy in the development of Irish drama from a 1600 to c.1900. Role and image: Role has a double meaning. First, it denotes the physical and active participation of the Anglo-Irish Ascendancy in creating, promoting, writing, acting, directing, presenting, and receiving the Irish theatre. Secondly, it signals the way in which they portray themselves and are portrayed in that theatre. This second meaning interacts with the idea of ‘image’ - the way in which they copied their lives to the stage and copied the stage in their lives, how they portrayed themselves as loyal Englishmen or equivocal patriots, for example, and also how they played out in their real lives the examples that the stage had given them. A persistent motif of ‘play-acting’ runs right through Anglo- Irish drama; from the seventeenth century down to the plays of Lennox Robinson a recurrent theme is of Anglo-Irish civilization as a theatrical performance. To Daniel Corkery, the outsider, it was 'a tragi-comic side-show'.1 Maria Edgeworth, on the inside, speaks of her characters also in theatrical terms: After we have beheld splendid characters playing their parts on the great theatre of the world, with all the advantages of stage effect and decoration, we anxiously beg to be admitted behind the scenes, that we may take a nearer view of the actors and actresses.2 1 Daniel Corkery, The Hidden Ireland (Dublin: Gill and Son, 1925), p. 30. 2 Maria Edgeworth, Castle Rackrent (London: Penguin Books, 1992), p. 3. Introduction 2 The Irish Theatre: While the date of 1601 is usually given as the beginning of theatre in Ireland, with the production at Dublin Castle of Gorboduc, there was certainly drama in the country before that. Drama was part of the European cultural matrix imported by the Normans, and mediaeval morality and nativity plays are known from Kilkenny and Dublin, as are Church plays in Latin. The accepted idea that the Normans became more Irish than the Irish themselves is not correct. They retained the greater part of the culture they imported - feudalism and primogeniture, for example - though adopting the Irish language and the ways of their neighbours. The theatrical activities of the guilds in Dublin are well documented,3 but this is within the sphere of English influence. 'There was no Irish theatre, and no open-air acting', wrote P.W. Joyce in 1903.4 This long-standing idea that there was no drama in Gaelic Ireland has been overturned. Fletcher's Drama, Performance, and Polity in Pre- Cromwellian Ireland (2000) considers 'Drama [...] as a continuum in which theatricality and performance is subsumed',5 and excavates a formidable range of performers - poets, story-tellers, harpers, jesters, clowns, jugglers, and farters6 - and performances, public and private - at banquets and at fairs. Some of these activities were covered by the word cluichi, which may be translated as 'plays'. The idea that Gaelic culture favoured the individual performer exclusively is supported, if not created, by Derricke's illustration of an Irish bard performing for a chief, accompanied by a harper.7 But this is not a solo: at least two performers are involved. The Bardic schools were inflexibly conservative 3 Alan J. Fletcher, Drama, Polity, and Performance in Pre-Cromwellian Ireland (Cork: University Press, 2000), Chapter II, pp. 61-125. 4Ibid, p. 9. 5Ibid, p.5. 6Ibid, p. 12-27: Fochloc, senchaid, cruittire, fuirseoir, druth, cleasamnach, braigetoir. 7John Derricke's 'Image of Irlande' in Christopher Fitz-Simon, The Irish Theatre (London: Thames and Hudson, 1983), p. 8. 2 introduction institutions, but most of the familiar texts that have survived are trial pieces by the students, called oglachas, and often break into dialogue; Agallamh na Seandrach is a prime example. And while the purists may insist that the one person played both parts and the narration, it surely occurred
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