Rebellious Children of Wales

Aberystwyth University Rebellious Children of Wales Singer, Rita Publication date: 2013 Citation for published version (APA): Singer, R. (2013). Rebellious Children of Wales: Amy Dillwyn and the Sons and Daughters of Rebecca. 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Sep. 2021 See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/309413592 Rebellious Children of Wales: Amy Dillwyn and the Sons and Daughters of Rebecca Article · April 2013 CITATIONS READS 0 37 1 author: Rita Singer Aberystwyth University 24 PUBLICATIONS 0 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: European Travellers to Wales, 1750-2010 View project Editorship for Llyfrau Cantre'r Gwaelod View project All content following this page was uploaded by Rita Singer on 07 November 2016. The user has requested enhancement of the downloaded file. Rebellious Children of Wales: Amy Dillwyn and the Sons and Daughters of Rebecca Rita Singer Between the years 1839 and 1843, South Wales witnessed a number of curious nocturnal events as Welshmen with blackened faces and clad in women's clothes, calling themselves the Daughters of Rebecca, frequently set fire to the toll-gates that littered the roads in the countryside. Although the Rebecca Riots did not immediately return improved conditions for the local farmers, they were, nevertheless, a strong attack on a system of unfair taxation and absentee landlordism by a politically unrepresented peasant class. Amy Dillwyn’s novel The Rebecca Rioter: A Story of Killay Life (1880) approaches this critical moment in Victorian history by illustrating the origin of domestic insurgencies. Inspired by her father’s detailed eyewitness account of an attack on the Pontarddulais turnpike on 10 September 1843, Dillwyn presents her readers with a re-examination of recent history from below since the protagonist is a participant in the riots. Thereby, Dillwyn challenges contemporary historiography that repeatedly presents the Welsh as a hoard of Celts on the verge of anarchy without glossing over the criminal nature of Rebecca. The historical novel portrays impoverished Welsh village life not as the result of racial degeneration but, instead, from Anglocentric economic policies that threaten to destabilize the coherence of Britain as a Union of Nations. I argue that the social criticism of the novel serves as a contemporary warning about the fragility of the British Empire because the mechanism between disinterested politics and domestic insurrections are easily transferred to a global level. Keywords: Crisis, Dillwyn, Elizabeth Amy (1845-1935), Historical Novel, Nineteenth- Century Wales, Rebecca, Riots, South Wales, Victorian Literature, Welsh Writing in English. On the 7th of September 1843, during a game of cricket, the magistrate Lewis Llewelyn 2 Dillwyn (1814-1892) received intelligence that an attack on the Pontarddulais toll gate was planned for the night. Alongside ten other representatives of the state, he set out that night armed with guns, pistols, and stakes in order to face a crowd of farmers dressed in women's clothes. The company of defenders found themselves outnumbered by ten to one but were quickly involved in the ensuing mayhem. Three days later Dillwyn wrote in his diary: ‘I drew out a flint pistol [...] & pulled the trigger it flashed in the pan but did not go off – in the mean time I heard a number of shots close around me, and saw a number of flashes.’1 Dillwyn further describes cudgelling a rioter over the head, the dispersal of the crowd, the taking of prisoners and, eventually, the arrival of the dragoons. At the bottom of the final page his daughter Elizabeth Amy Dillwyn (1845-1935), adds: The prisoners were tried at Cardiff by special Commission & according to the evidence then given [...] numbered from 150 to 200. The trial took place at the end of October, 1843 [...]. The Solicitor General, who prosecuted, said that my father & uncle (W. Llewelyn) “were deserving of the thanks of the community for manfully coming forward & risking their lives in the attempt to restore tranquillity”.2 The attack on the Pontarddulais turnpike, as recorded by Lewis Dillwyn, took place during the second wave of the Rebecca Riots that swept across South West and South Wales between 1839 and 1843. Historian D. Gareth Evans identifies the ‘cleavage between those who worked the land and those who owned it’3 as a large contributing element to the growing 1 Lewis Llewelyn Dillwyn, ‘Handwritten account of encounter by L.L. Dillwyn with Rebecca rioters, 1843’ Casglu'r Tlysau: Gathering the Jewels. The website for Welsh heritage and culture. (Aberystwyth: Culturenet Cymru, [n.d.]) <http://www.gtj.org.uk/en/small/item/GTJ62214/> [accessed 25 May 2011] (pp. 7-8). 2 E[lizabeth] A[my] Dillwyn, ‘*’ in Lewis Llewelyn Dillwyn, ‘Handwritten account of encounter by L.L. Dillwyn with Rebecca rioters, 1843’ Casglu'r Tlysau: Gathering the Jewels. The website for Welsh heritage and culture. (Aberystwyth: Culturenet Cymru, [n.d.]) <http://www.gtj.org.uk/en/small/item/GTJ62214/> [accessed 25 May 2011] (p. 12). 3 D. Gareth Evans, A History of Wales 1815 – 1906 (Cardiff: University of Wales Press, 1989; repr. 2011), p. 139. 3 dissatisfaction that had arisen after 1815 from a severe drop in corn prices which increased the already precarious situation for farmers throughout Wales. The sharp rise in unemployment resulting from the agricultural depression was compounded by the cultural division between peasantry and squirearchy revealing, ‘The gentry was by now Anglicized and Anglican, while the remainder of the population was poor, increasingly Nonconformist and Welsh-speaking.’4 A conglomeration of financial burdens on local communities led to the eruption of the first riots in South West Wales in 1839.5 Firstly, the Poor Law Amendment Act (1834 now had to be provided by the parishes themselves and so put an additional economic burden on already struggling communities. Secondly, the Tithe Act (1836) made commutation of tithes compulsory in a largely Nonconformist community. And thirdly, the increasingly rigorous collection of road charges by turnpike trusts at each one of their numerous toll-gates severely decreased the profit margin of local farmers who brought their produce for sale to the neighbouring market towns. The subsequent outbreaks of organized violence were headed by Pembrokeshire farmers against what they perceived to be an unfair system of taxation, although in their district the toll rates ‘were relatively cheaper than those in other parts of the country, and the turnpike trusts only controlled about 20 per cent of the roads in the west’.6 Two elements primarily determined the curious name of the Rebecca Riots. Firstly, the participants took inspiration from a verse in the Bible: ‘And they blessed Rebekah, and said unto her, Thou art our sister, be thou the mother of thousands of millions, and let thy seed possess the gate of those which hate them.’ (I Moses 24.60) Secondly, the rioters dressed in women’s clothes and blackened their faces in order to protect themselves from identification, mostly by representatives of the law. Nearly forty years after the riots, Amy Dillwyn published her first novel, The Rebecca Rioter: A Story of Killay Life (1889), whose 4 Ibid., pp. 139-40. 5 Ibid., pp. 11, 141-2. 6 Ibid., p.142. 4 main plot hinges on her father’s notes. Owing to her own familial background, Dillwyn’s father later became a prominent radical MP, her story describes ‘an act of defiance and rebellion’ against the dominant Anglocentric historiography in which the Celtic fringe commonly features as a locality of racial degeneration, religious dissent, and political insurrections. In the same line, the author presents her implied English readership with ‘an alternative viewpoint of the riots to the other Rebecca novels’7of the 1870s and 1880s. Instead of relating the events from the perspective of state representatives, Dillwyn’s novel opposes the dominant middle-class and Anglo-centric discourse of her times because her first-person narrator is an eloquent Welsh peasant. Besides the geographical setting, the story remains true to the historical events in the sense that the author does not gloss over the inordinate amount of violence that was the prominent feature of these riots. However, the violence in Dillwyn’s story does not originate from a degenerate Celtic peasantry, but is the result of Anglocentric politics and a general disinterest in the social fate of the impoverished, disenfranchised classes. ‘Do not people’s natures, more or less, take after the places where they are born and pass their lives?’8 Evan Williams demands of his listeners by way of introducing himself. Evan’s story is a cautionary tale that relates where, how and why insurrections begin, and which shape they may take. By virtue of his attending doctor to whom he dictates the story of his life, he speaks as a dying transported prisoner from the bottom of the Victorian social register as can be gleaned from the fictional editor’s epilogue: I was a physician to one of our convict establishments when I made acquaintance with 7 Cf.

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