Irish Plays and Playwrights

by Cornelius Weygandt

It is not so easy to account for the less quickening of the other Celtic countries by the forces that brought about the Renaissance. Renan, in his "Poetry of the Celtic Races" (1859), and Arnold, in his "On the Study of Celtic Literature" (1867), had roused all the Celtic countries to an interest in their old literature, an interest that extended much further than discussion of the authenticity of Macpherson's "Ossian" or of the proper treatment of Arthurian stories, until then the Ultima Thule of talk on things Celtic. Frenchman and Englishman both had spoken to Wales and Brittany, the Highlands of Scotland and the Isle of Man, as well as to Ireland, and it does not altogether explain to say that Ireland listened best because in Ireland there was a greater sense of nationality than in these other lands. Ireland did listen, it is true, and, listening, developed popularizers of the old tales such as Mr. Standish James O'Grady and Dr. P.W. Joyce, to pass knowledge of them along to the men of letters. It is hardly true, indeed, to say that Ireland had a greater sense of nationality than Brittany or Wales. Brittany, of course, since her tongue other than her native Breton was French, gave what was given to the movement in other than Breton in French. Cornwall may hardly be called a Celtic country, but if it may it is easy to account for its slight interest in the movement by the little that was preserved of its old literature and by the little it had of distinctive oral tradition to draw upon. And yet, I think, had Sir Arthur T. Quiller-Couch been born ten years later Cornwall had not wanted a shanachie. Wales, too, gave little to English literature as the result of the Renaissance, because, perhaps, her chiefest literary energy is in her native language. Wales was proud of George Meredith, whose Welsh ancestry is more evident in his work than is his Irish ancestry, but not only is his writing representative of Great Britain rather than of any one part of Great Britain, but his say had been said before the movement began. The writing of Mr. Ernest Rhys underwent a change because of his interest in the Celtic Renaissance, but Wales has little writing outside of his to point to as a result of the awakening. In Scotland, William Sharp, whose "Lyra Celtica" (1896) was a prominent agent in bringing the Renaissance before the world, was transformed into another writer by it. His work as "Fiona Macleod," both prose and verse, was very different from his earlier work in prose and verse. Mr. Neil Munro, too, was affected by the Renaissance, and in the tales of "The Lost Pibroch" (1896) and in the novels of "John Splendid" (1898) and "Gillian the Dreamer" (1899) and "The Children of Tempest" (1903) he reveals an intimacy with Highland life such as informs the writing of no other novelist of our day. Of recent years Mr. Munro has wandered farther afield than his native Argyll, and, I feel, to the lessening of the beauty of his writing. In the Isle of Man, T.E. Brown had been striving for years to put into his stories in verse the fast-decaying Celtic life of his country, but even with his example and with all that has been done since the Renaissance began, in the preservation of Manx folk-lore and in the recording of vanishing Manx customs, no writer of Brown's power has been developed, or in fact any writer of powers equal to those of the best men of the younger generation in the other Celtic lands. It is with the Celtic Renaissance as it appears in Ireland, then, that I have to deal chiefly in this book, as it is only in Ireland, of the countries that retain a Celtic culture, that the movement is the dominating influence in writing in English; and it is with the drama only that I have now to deal, though when a playwright is a poet or a story-teller, too, I have written of his attainment in verse and tale also. Had I been writing five years ago, I should have said that it was in poetry that the Celtic Renaissance had attained most nobly, but since then the drama has had more recruits of power than has poetry, and it is a question as to which of the two is greater as art. There is no doubt, however, but that the drama has made a stronger and wider appeal, whatever its excellence, than has the verse, and it is therefore of greater significance for its time than is the poetry, whatever the ultimate appraisement will be. Of the men I have written of here, Mr. Yeats and Mr. Russell are to me poets before they are dramatists, and Lionel Johnson, whose only direct connection with the dramatic movement was his beautiful prologue in verse to the first performances of "The Irish Literary Theatre" in 1899, is to me a poet of a power as great as theirs.

One wonders, at first thought, that Ireland had never until our day given to English literature a novelist of first rank. The Irishman is famous the world over as a story-teller, but neither in romance nor in the story of character had he reached first power, reached a position where he might be put alongside of other Europeans as a novelist. No Irishman from the time of Scott on, until Mr. George Moore wrote "Esther Waters" (1894), had written a story that might stand the inevitable comparison with the work of Thackeray and Dickens, Meredith and Mr. Hardy. Of Mr. George Moore I have written in detail below.

Miss Edgeworth may have taught Scott his manner of delineating peasant character, but her comparatively little power is revealed when you put her beside Miss Austen, and so it is all the way down the list to our own day. There are many contemporary story-tellers who have managed well the tale, but what Irish novelist of to-day other than Mr. Moore bulks big, can be compared to even lesser men, like Scotland's Mr. Neil Munro or Dartmoor's Mr. Phillpotts?

Lady Gilbert (Rosa Mulholland) has written many, pleasant stories of Irish life, and Mrs. Katherine Tynan Hinkson has followed worthily in her footsteps. Equally pleasant, but lighter and more superficial, is the writing of the two ladies who subscribe their names "E.OE. Somerville and Martin Ross." Their "Some Experiences of an Irish R.M." (1899) and their "All on the Irish Shore" (1903) are like so much of the Irish writing of a generation ago,—Irish stories by Irish people for English people to laugh at.

The Hon. Emily Lawless has written many kinds of stories about the West Coast, reaching almost to greatness in her "Grania" (1892). In the short story, Miss Jane Barlow, accused of superficiality by many Irish critics and as eagerly declared to get the very quality of Connemara peasant life by others, has sure power and a charm all her own. No one who reads "Irish Idylls" (1892) will stop at that collection. Mr. Seumas MacManus is as truly a shanachie as the old story-tellers that yet tell the old tales about peat fires in Donegal. "Through the Turf Smoke" (1899) and "In Chimney Corners" (1899) and "Donegal Fairy Stories" (1900) are alike in having the accent of the spoken story, but when the last word is said you cannot admit their author to be more than a clever entertainer. The Rev. Dr. Sheehan, although you will find him writing about the effect of the Irish Renaissance in remote parishes in the South, has not subscribed to its ideals, but continues the fashion of story-writing of an earlier generation. "Luke Delmege" (1900) is, however, an interesting character study, and "My New Curate" (1899) very illuminative of the conservatism of the peasantry.

Mr. Shan Bullock, writing of the farmers and farm laborers of the North, has not unwisely gone to Mr. Hardy to learn his art. "Irish Pastorals" (1901) is racy of Fermanagh as "Tess" is of Wessex. "The Squireen" (1903) is a strong and gloomy story. From "By Thrasna River" (1895) to "Dan the Dollar" (1905), Mr. Bullock did no story without power in it. Ireland still looks to him as it looked to Mr. William Buckley, ten years ago, for better work. "Croppies Lie Down" brought Mr. Buckley before the public in 1903, but his writing since then has fallen far short of this his best book. Now, however, the young man with a future, in the estimation of many is Mr. James Stephens. There is more hope in him, in his twenties, than there is now in "George A. Birmingham" (Rev. J.O. Hannay), another man who ten years ago was like Mr. Buckley, a young man of promise. "The Seething Pot" (1904) was a serious study of conditions in Ireland but since its author conceived of the character of the Rev. Joseph John Meldon, he has found it more discreet to continue the adventures of that clergyman than to write seriously out of his own varied experience of West-Country Irish life.

Douglas Hyde

It is perhaps because the energy that in many countries goes into the writing of the essay is absorbed in controversy in Ireland that in the past Ireland has produced few essayists. In the battles of the dramatic movement with the patriotic societies and with the official class, Mr. Yeats and Mr. Moore have dealt good blows, and Mr. Russell and "John Eglinton" (Mr. W.K. Magee) have led the disputants out of their confusion. Among these men, "John Eglinton" is the one who has thrown his greatest energy into the essay, almost all his energy, and in it, in the chapters of "Two Essays on the Remnant" (1896), "Pebbles from a Brook" (1901), and "Bards and Saints" (1906), he has written with subtlety and illumination.