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Rhetoric and Reproduction in Sean O'casey's Estudios Irlandeses, Number 0, 2005, pp. 148-155 _________________________________________________________ AEDEI ‘… what’s far worse, it’ll have two mothers’: Rhetoric and Reproduction in Sean O’Casey’s Dublin Quartet By Eamonn Hughes Queen’s University, Belfast __________________________________________________________________________________ Copyright (c) 2005 by Eamonn Hughes. This text may be archived and redistributed in electronic form, provided that the author and journal are properly cited and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the notification of the journal and consent of the author. ___________________________________________________________________________ Abstract: This article argues that the rejection of Sean O’Casey’s The Silver Tassie by Yeats has had consequences for how we think about O’Casey’s drama in general because The Tassie is now regarded as a break in O’Casey’s development. In the first instance this leads to the idea of a Dublin Trilogy rather than a Dublin Quartet. The latter sequence makes much more sense since it is unified by setting, continuous developments in the use of theatrical space and form, theme, and politics. By incorporating The Tassie into O’Casey’s early writing we are enabled to consider again how his work as a whole functions in formal, thematic and political terms. Key words: Sean O’Casey, Dublin Trilogy, theatrical space, politics. In what remains one of the most infamous The Shadow of a Gunman (1923), Juno and artistic judgements in twentieth-century Ireland the Paycock (1924), The Plough and the Stars W. B. Yeats rejected Sean O’Casey’s The (1926) and The Silver Tassie are unified in the Silver Tassie for production by the Abbey in first instance by their Dublin setting. The 1928.1 Not only did this represent a faltering famous ‘expressionistic’ second act of the moment in Yeats’s usually astute ‘theatre Tassie is, of course, set in ‘the war zone’3 and business, management of men’, it also gave while this may appear to mark a radical shift in rise to a literary myth that has been at least as the setting of O’Casey’s plays we cannot potent as Yeats’s more conscious overlook the three other acts which are all mythologizing, and just as distorting. Yeats’s Dublin set. The move to ‘the war zone’ may judgement led indirectly, that is to say, to the take O’Casey out of Dublin for the first time, idea of the ‘Dublin Trilogy’, something that, but it is a move which is very much in line three quarters of a century of literary history to with his developing and steadily expanding use the contrary, O’Casey never wrote.2 If we wish of theatrical space over the course of these four to consider O’Casey as the writer of an plays. We move therefore from the single room interconnected sequence of dramas then the of The Shadow through the two-roomed only justifiable basis on which to do so would apartment of the Boyle family in Juno, which be to think of him as the writer of a Dublin though still a domestic space is both larger and Quartet. This is a sequence of dramas unified even more permeable than Davoren and by setting, continuous developments in the use Shields’s room, subject to all kinds of traffic in of theatrical space and form, theme, and and out. It is, notably, traversed by Mrs politics; what is more, recognition of such a Tancred and several other mourners on their sequence has consequences for how we think way to her son’s funeral at the end of Act II. of O’Casey’s dramatic work more generally. The counterpoint of interior and exterior _______________________________ ISSN 1699-311X 149 usually thought of as happening for the first and his work is marked by a continuous time in Act II of The Plough is actually at work exploration of theatrical spaces. The tendency here in the contrast between ‘If You’re Irish to see him as consistently providing an urban Come into the Parlour’ on the Boyle’s counterpart to the Abbey’s staple kitchen gramophone and the hymn-singing cortege dramas has caused this development in his (82-3). At the end of Act II, when Johnny work to be overlooked. Within the Gates may Boyle is left alone, his family having gone to then mark a break but its park setting is rather watch the Tancred funeral, we can see the close to the church grounds setting of Act IV emergence of an economy of theatre space of Red Roses for Me (1942) which in turn which is moving beyond the simple recalls that O’Casey had already attempted to domestic/social or private/public opposition cover some of this territory in his earliest usually referred to in comments on O’Casey’s surviving play: The Harvest Festival5 moves work. Johnny is ordered to attend a Battalion from churchwarden’s drawing room, through Staff meeting the following day by the tenement room to church grounds. O’Casey ‘Mobiliser’ and at this point the distinction returns to interiors in his later work, but they between inside and outside, especially given are never quite enclosed domestic or private the unknown location of the meeting and the spaces. In some cases this is because the use of the ‘Hail Mary’ as the Act’s curtain personalities and public status of characters lines, becomes a distinction between life and such as Councillor Reiligan in The Bishop’s death. As in The Shadow, death in Juno may Bonfire (1955) or Alderman Binnington and actually occur off-stage but here its presence Councillor McGilligan, Mayor and Deputy increasingly encroaches. If there is a Mayor of Doonavale in The Drums of Father significant shift in O’Casey’s use of setting in Ned (1959) ensure that these living rooms are the early plays it arguably occurs in The designed more ‘to be displayed rather than Plough which not only uses an exterior setting used’6 for private comfort. Domestic spaces for the first time (Act III) but also varies its are also frequently described in such a way as settings across its 4 acts. What is notable about to suggest that they are open to the exterior as the use of space in both The Plough and The is the case in the opening stage direction of Act Tassie, given the chasm that is meant to divide II of The Bishop’s Bonfire which notes that them, is just how similar their spatial people enter and leave by large, open windows economies are: each has domestic space, (442). In the case of Oak Leaves and Lavender interior but social space and an exterior scene (1946), O’Casey insists in his stage directions of conflict.4 There is a difference of emphasis that the play’s setting —‘the great room of a between the plays in that The Plough still Manorial house’— should be designed in such favours domestic space (the Clitheroes’ living a way that we can see its ‘chaste and pleasing room, Bessie Burgess’s room) while the The beauty’ while a ‘dreamy engineer’ could also Tassie places greater weight on social space see suggestions of gantries and machinery and (the hospital ward and football club), but this that, as time passes, so ‘the aspect of the big move is in line with the progression through room has changed with the changing world the plays sketched here. outside’.7 Such settings, though domestic, This account of the four plays’ use of space cannot be thought of as quarantined from allows us then to see O’Casey’s range external forces nor merely as subject to the constantly expanding in a smooth progression. intrusion of those forces. Perhaps the most It is Within The Gates (1934) that arguably important space in the later plays is, however, marks the significant break in O’Casey’s one that conventional views of O’Casey would deployment of stage space, not least in its not usually associate with him at all: the move to a London setting. Even here, however, gardens of Cock-a-Doodle Dandy (1949) and we should be wary of seeing too clear a break The Bishop’s Bonfire (1955) provide a since the use of a park setting confirms resolution of the problematic of space by being O’Casey’s increasing emphasis on social neither wholly public nor private, neither spaces. If we can challenge the rather too domestic nor social, not quite interiors nor yet clear-cut distinction between public and wholly exteriors.8 This is the kind of liminal private, social and domestic, spaces in the space that O’Casey’s work is moving towards early plays, we can recognise that O’Casey from the very beginning and it is one which is was never content to accept such distinctions completely at odds with those views of his 150 work which would see it in terms of stark and world come asunder in irreparable oppositions, especially oppositions between an dissociation — “chassis” … 10 anti-political domestic sphere and a politicized By tracking the use of stage space we have but rejected public sphere. From this already provided a challenge to the idea of The consideration of O’Casey’s use of theatrical Tassie as a moment of rupture in O’Casey’s space and by refusing to accept the usual break formal development and following Beckett’s in the work represented by The Tassie we can comment will allow us to elaborate on this see a sense of development and continuity point.
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