Both parties on that night were armed with swords for the battle scene, which represented the result of the engagement. Unfortunately, when the scene came on, instead of the bloodless fiction of the drama they began to slash each other in reality, and had it not been for the interference of the audience there is no doubt that lives would have been lost. After this, swords were interdicted and staves substituted. The consequence, as might have been expected, was that heads were broken on both sides, and a general fight between Protestant and Catholic portions of the actors and the audience ensued.
In the meanwhile the dramatic mania had become an epidemic. Its fascination carried overt opposition before it. A new system was adopted. The Orange party was to be represented by staunch Catholics, all probably Ribbonmen, and the Catholics by the rankest and most violent Orangemen in the parish. This course was resorted to in order to prevent the serious quarrels with which the play generally closed. Such was the state which the dramatic affairs of the parish had reached when the occasion, a summer evening, arrived that had been appointed by the herculean manager, John Tait, for the exhibition of “The Battle of Aughrim,” in a large and roomy barn of a wealthy farmer named Jack Stuart, in the townland of Rark.
His house stood on a little swelling eminence beside which an old road ran, and into which the little green before the door sloped. The road, being somewhat lower, passed close to his outhouses, which faced the road, but in consequence of their positions a loft was necessary to constitute the barn, so that it might be level with the haggard on the elevation. The entrance to the barn was by a door in one of the gables, whilst the stable and cow-house, or byre as it was called, were beneath the loft, and had their door open to the road. This accurate description will be found necessary in order to understand what followed.
In preparing the barn for the entertainment, the principal embarrassment consisted in want of seats.
Necessity, however, is well-known to be the mother of invention; and in this case that fact was established at the expense of honest Jack Stuart. Five or six sacks of barley were stretched length-wise on that side of the wall which faced the road. Now, barley, although the juice of it makes many a head light, is admitted to be the heaviest of all grain. On the opposite side, next the haggard, the seats consisted of chairs and forms, some of them borrowed from the neighbours. The curtain (i.e., the winnowing-cloth) was hung up at the south end, and everything, so far as preparation went, was very well managed. Of course, it was unnecessary to say that the entertainment was free to such as could find room, for which there was many an angry struggle.
We have said that from an apprehension that the heroes on both sides might forget the fiction and resort to reality by actual fighting, it had generally been arranged that the Catholic party should be represented by the Orangemen, and vice versa; and so it was in this instance. The caste of the piece was as follows:—
On the chairs and forms, being the seats of honour, were placed the Protestant portion of the audience, because they were the most wealthy and consequently the most respectable, at least in the eyes of the world—by which we mean the parish. On the barley-sacks were deposited the “Papishes,” because they were then the poor and the downtrodden people, so that they and “the Prodestants” sat on opposite sides of the barn. There were no political watch-words, no “three cheers” for either this man or that, owing to the simple reason that no individual present had ever seen a theatre in his life. The only exception was that of an unfortunate flunkey, who had seen a play in Dublin, and shouted “up with the rag,” for which, as it was supposed that he meant to turn the whole thing into ridicule, he was kicked out by the Ghost, who, by the way, was one of the stoutest fellows among them, and would have been allotted to a higher part were it not for the vileness of his memory.
At length the play commenced, and went on with remarkable success. The two batches of heroes were in high feather—King William’s party (to wit, Tom Whiskey and his friends) standing accidentally on that side of the barn which was occupied by the barley-sacks and the Papishes, and the Catholic generals ranged with the Orange audience on the opposite side. It was now the Ghost’s cue to enter from behind the winnowing-cloth, but before the apparition had time to appear, the prompter’s attention was struck by a sudden sinking of the party on the sacks, which seemed rather unaccountable. Yet, as it did not appear to have been felt by the parties themselves, who were too much wrapped up in the play, it excited neither notice nor alarm. At length the Ghost came out, dressed in a white sheet his face rendered quite spectral by flour. Sir Charles Godfrey, alias Jemmy Lynch, the tailor, had just concluded the following words, addressed to the Ghost himself, who in life it appeared had been his father:—
| “Oh, I’ll sacrifice A thousand Romish sowls who, shocked with woe, Shall, bound in shackles, fill the shades below.” Ghost.—“Be not so rash, wild youth——” |