Easter 1916, Sean O’Casey’s ‘Juno and the Paycock’ and re-invention

Historian Roy Foster recently gave a lecture in Trinity College entitled: “”An Inheritance From Our Forefathers”? Historians and the Memory of the Irish Revolution.” In his speech, Foster proposed a radically different reading on the events surrounding 1916. For most people, 1916 marks the ostensible beginning of the modern Irish independence movement moving beyond the cultural sphere, events which follow neatly through to the War of Independence, the civil war, the declaration of the Republic and the establishment of partition as a political framework. In this decade of commemoration, already a cliché, a more unified, or retrospectively conscious perspective may be welcome in buckling existing narratives. They’ll help to assuage to tedium of an apparently endless sequence of vapid panel discussions on radio that rarely seem to move beyond a Leaving Certificate level of historical analysis, window-dressing Republicanism to keep Sinn Féin out of government, or worst of all, newspaper supplements.

Rather than seeing the Rising as the beginning, Foster proposes viewing it as an end-point or termination of pre-revolutionary trends, a marker of a generational crisis. For Foster, the real revolution was the series of land acts of the late-nineteenth century which incentivised English landlords to sell their land to Irish farmers, who in many cases, turned out to be more draconian in extracting rents from  their tenants than their English counterparts. This massive transfer of capital and establishment of a native land-owning class could explain why Ireland was capable of ‘settling’ so (relatively) quickly after its revolution and consequent political convulsions, why its quite radical rising became conservatised with such rapidity. Those who were most involved the rising and inculcated its participants were members of a radical, educated middle class and Foster frames them as somewhat immature angsty young people, rebelling against their parents and fashioning their own values in opposition to forces that they regarded as oppressive.

This notion of Easter 1916 as an exercise in re-invention or the formulation of a novel identity interests me as I wrote my undergraduate dissertation on a trilogy of novels, in which identity and the re-invention thereof forms a substantial part of its subject matter, namely Roddy Doyle’s The Last Round-up Trilogy, in the three novels,  A Star Called Henry, Oh, Play That Thing and The Dead Republic, we see the protagonist, Henry Smart conceptualise himself as a mythic figure from out the Celtic mists, a working class hero, linchpin of the IRA, self-conscious exile, self-made man, immigrant hero, inveterate capitalist and finally, a family man, of a sort. I should add, that while he’s doing all this gallivanting, he’s abandoned his wife, daughter and son.

One also thinks of Johnny’s line in Sean O’Casey’s play Juno and the Paycock, probably the only point in the play when he isn’t complaining about noise, (a potential gesture towards his fairly obvious PTSD, a result of his role in fighting for Ireland during the War of Independence) when it is made known that the Boyle family is to inherit a small fortune. Johnny’s immediate contribution is: “We’ll be able to get out o’ this place now, an’ go somewhere we’re not known,” perhaps indicating how closely related re-invention and revolt was in the mind of the revolutionary generation.

This is all covered more thoroughly in Foster’s recent study, Vivid Faces: The Revolutionary Generation in Ireland 1890-1923. At least, I imagine it is. I haven’t actually read it.

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3 responses to “Easter 1916, Sean O’Casey’s ‘Juno and the Paycock’ and re-invention

  1. David Mellerick Lynch

    C

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