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Locating Ireland in the Fantastic Fiction of Lord Dunsany View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten: Theses Scott, Tania (2011) Locating Ireland in the fantastic fiction of Lord Dunsany. PhD thesis. http://theses.gla.ac.uk/2630/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Locating Ireland in the Fantastic Fiction of Lord Dunsany Tania Scott Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy Department of English Literature College of Arts University of Glasgow 2 Abstract This thesis will locate the fantastic fiction of Lord Dunsany in a tradition of Irish writing, while simultaneously examining representations of Ireland within the texts themselves. Dunsany has been regarded – until now – as a marginal figure in Irish literature, but this study will show that he deserves a place in the canon. My research will demonstrate that, from his early involvement in the Abbey Theatre through to his late introspective novels set in Ireland, Dunsany throughout his life engages with Irish literary and cultural traditions. The first chapter will focus on Lord Dunsany‘s theatrical writings which have been rarely staged since his death and have attracted little attention from scholars. By examining performances of the plays in Ireland and beyond, the links between the playwright and the national theatre will become clear. Building on this work on the plays, Chapter Two moves on to an analysis of Dunsany‘s novels – including The King of Elfland’s Daughter, his best known work – and places them within a historical context of conflict both at home in Ireland and throughout Europe. The next chapter looks at Dunsany‘s later novels set in Ireland and questions why it is at this point in the 1930s, after decades of writing fantastic fiction, that the author chooses to locate his works in his own land. The same themes and ideas found in the novels are also prominent in Dunsany‘s short stories which form the focus of chapters four and five. Chapter Four examines the stories set in Pegāna, the first tales he wrote and those which made Dunsany‘s reputation as a writer of high fantasy, and locates their other-worldliness within the real world of twentieth-century Ireland. The last chapter deals with the later short stories, and brings Dunsany‘s work up to date by using recent work on Irish postcolonialism and theories of Empire to analyse these narratives. The conclusion will consider Dunsany‘s work overall, by way of close readings of texts from the beginning and end of his career which will allow us to trace the development of Ireland as a concept and as a literary influence throughout his writings. 3 Acknowledgements This thesis would not exist if not for the kindness and support of family, friends and academic colleagues alike, far too few of whom are named below. Firstly, many thanks are due to my supervisor, Rob Maslen, whose enthusiasm for Dunsany himself and my humble thoughts on him never wavered over the last four years. Paddy Lyons has always been an inspiration, and without his guidance my thoughts would never have turned westward in the first place. My external and internal examiners, Alison O‘Malley- Younger and Andrew Radford, made the viva itself an almost pleasant experience, and their comments and criticisms will shape my engagement with Dunsany for many years to come. A special word of thanks also goes to Hazel Mackenzie, John Miller and Ruth Hawthorn for proof reading individual chapters. The English Literature Department at the University of Glasgow has been a wonderful spiritual home, and the kindness and generosity of the administrative and academic staff has been unfailing. Thanks also go to the Faculty of Arts for funding my research trip to Dunsany Castle early on in the project. The present Lord and Lady Dunsany cannot be thanked enough for the kindness of letting me examine the archive at the castle, which is, after all, still a much-loved home. Thanks are also due to their archivist, Joe Doyle, without whose help this thesis would be missing its most interesting sources. My friends have been the patches of sunlight in the last four years so a quick thank you to: Hazel, Lauren and Valerie for the laughter and loyalty of sisterhood; the other two witches; Douglas, a fellow fan; Team Library; and the Work in Progress team. My family‘s support extends well beyond the bounds of the Phd. Thanks to my dad, still the kindest man I have ever met, for being there through good and bad; to Kath, my only real link to Ireland, for her generosity of spirit; and to my mad band of brothers and sisters, whether step or blood. To my wonderful crazy mother, for giving me a love of books even if our tastes do differ a little, and to her loving partner Rob. To clan Olivant, for making me family, just as they are to me. And finally, for the support, kindness and love of the man who begun the thesis as my boyfriend and ended it as my husband. Chris, this thesis is for you, as it should be. 4 Table of Contents Abstract ................................................................................................................ 2 Acknowledgements ............................................................................................. 3 Introduction .......................................................................................................... 6 Section 1: Introducing an Irish fantasy writer..................................... 6 Section 2: Dunsany and his works .................................................. 8 Section 3: Thesis structure ......................................................... 10 Chapter 1: The Plays ......................................................................................... 14 Introduction ............................................................................. 14 Section 1: The Glittering Gate at the Abbey Theatre ........................... 17 Section 2: King Argimēnēs and Irish Heroism................................... 24 Section 3: East meets West in If .................................................... 34 Section 4: The Gods of the Mountain and an International Irish Drama ... 45 Conclusion .............................................................................. 53 Chapter 2: The Early Novels ............................................................................. 60 Introduction to the early novels .................................................... 60 Section 1: Don Rodriguez: Chronicles of Shadow Valley and The Charwoman’s Shadow: Shades and Shadows in two early novels. ........ 64 Section 2: The King of Elfland’s Daughter as Dunsany’s fairy tale ......... 75 Section 3: The Blessing of Pan ..................................................... 86 Conclusion .............................................................................. 93 Chapter 3: The Later Novels ............................................................................. 96 Introduction ............................................................................. 96 Section 1: The Curse of the Wise Woman ....................................... 100 Section 2: Up in the Hills and Rory and Bran ................................... 110 Section 3: The Story of Mona Sheehy ............................................ 120 Conclusion ............................................................................. 127 Chapter 4: The Early Short Stories ................................................................. 131 Introduction: Publishing an Irish Short Story .................................. 131 Section 1: Fighting Celts and Ancient Heroes .................................. 134 Section 2: The Power of the Gods................................................. 143 Section 3: Narrators, storytellers and dreamers ............................... 150 5 Section 4: Glimpses of Ireland ..................................................... 154 Conclusion ............................................................................. 160 Chapter 5: The Late Short Stories .................................................................. 164 Introduction ............................................................................ 164 Section 1: The Man who Ate the Phoenix and other Irish tall tales ........ 167 Section 2: Postcolonialism, Empire and Joseph Jorkens ................... 175 Section 3: Dunsany and Irish Orientalism ....................................... 182 Conclusion ............................................................................. 189 Conclusion: Lord Dunsany and His Fellow Irishmen .................................... 194 Bibliography ..................................................................................................... 203 6 Introduction Section 1: Introducing an Irish fantasy writer While an Irishman lives to defend them no phoenix will die, no leprochaun, no fairy.1 The Irish literary canon is a crowded place. With five Nobel Prize winners and texts
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