The Battle of Aughrim.
From “Anna Cosgrave,” an unpublished Novel.
By William Carleton.
Many of our readers will be surprised at what we are about to relate. Nay, what is more, we fear they will not yield us credence, but impute it probably to our own invention; whereas we beg to assure them that it is strictly and literally true. The period of the scene we are about to describe may be placed in the year 1806. At the time neither party feeling nor religious animosity had yet subsided after the ferment of the ’98 insurrection and the division between the Catholic and Protestant population was very strong and bitter. The rebellion, which commenced in its first principles among the northern Presbyterians and other Protestant classes in a spirit of independence and a love of liberty, soon, in consequence of the influence of some bigots, assumed the character of a civil war between the two religions,—the most internecine description of war that ever devastated a country or drenched it in blood.
A usual amusement at the time was to reproduce the “Battle of Aughrim,” in some spacious barn, with a winnowing-cloth for the curtain. This play, bound up with “The Siege of Londonderry,” was one of the reading-books in the hedge schools of that day, and circulated largely among the people of all religions: it had, indeed, a most extraordinary influence among the lower classes. “The Battle of Aughrim,” however, because it was written in heroic verse, became so popular that it was rehearsed at almost every Irish hearth, both Catholic and Protestant, in the north. The spirit it evoked was irresistible. The whole country became dramatic. To repeat it at the fireside in winter nights was nothing: the Orangemen should act it, and show to the whole world how the field of Aughrim was so gloriously won. The consequence was that frequent rehearsals took place. The largest and most spacious barns and kilns were fitted up, the night of representation was given out, and crowds, even to suffocation, as they say, assembled to witness the celebrated “Battle of Aughrim.”
At first, it was true, the Orangemen had it all to themselves. This, however, could not last. The Catholics felt that they were as capable of patronising the drama as the victors of Aughrim. A strong historic spirit awoke among them. They requested of the Orangemen to be allowed the favour of representing the Catholic warriors of the disastrous field, and, somewhat to their surprise, the request was immediately granted. The Orangemen felt that there was something awkward and not unlike political apostasy in acting the part of Catholics in the play, under any circumstances, no matter how dramatic. It was consequently agreed that the Orangemen should represent the officers of the great man on whose name and title their system had been founded, and the Catholics should represent their own generals and officers under the name of St. Ruth, Sarsfield, and Colonel O’Neill. The first representation of this well-known play took place in the town of Au——. During the few weeks before the great night nothing was heard but incessant repetitions and rehearsals of the play.
The fact of this enactment of the play by individuals so strongly opposed to each other both in religion and politics excited not only an unusual degree of curiosity, but some apprehension as to the result, especially when such language as this was heard:—
“We licked them before,” said the Orangemen, “an’ by japers, we’ll lick them again. Jack Tait acts General Jingle, an’ he’s the boy will show them what chance a Papist has against a Prodestan!”
“Well, they bate us at Aughrim,” said the Catholics, “but with Tam Whiskey at our head, we’ll turn the tebles and lick them now.”