Padraig Colman

Rambling ruminations of an Irishman in Sri Lanka

Tag: Freud

Easter 1916 Part Three

 

This article appeared in Ceylon Today on Thursday April 7 2016

 

Colman's Column3

Martyrdom and Separatism

Four years ago, I posted an article on Groundviews in which I explored the theme of martyrdom in the militant separatism of Irish rebels at the beginning of the 20th century and of the LTTE from the 1970s. I posted the article again on Facebook recently to mark the centenary of the Easter Rising in Dublin in 1916. One commenter on Facebook said that she could not see the point of the article. I told her that it had been addressed to a Sri Lankan audience and was warning of the dangers of Sri Lankan Tamils elevating Prabhakaran to the status of a martyr for the cause of Tami nationalism. She responded that my article was “intellectually flawed” because it did not deal with the “800 years of oppression” that preceded the 1916 Rising.

She presumed to know that her long-dead Irish grandfather would take pity on me for my lack of respect for those who “Fought against subjugation of brutal British rule for centuries”. Professor Liam Kennedy has coined an acronym to cover this kind of thinking – MOPE (Most Oppressed People Ever). I will deal in a separate article with MOPE in relation to the Diasporas of the Irish and of Sri Lankan Tamils.

Imperial Oppression

How oppressed was Ireland in 1916? The leader of the Home Rule party in the Westminster parliament, John Redmond, in a speech of 1915, claimed that by 1900 the struggle over land was effectively won. Many historians since have claimed  conditions were improving in Ireland by 1916. The writer Sean O’Faolain, who had made bombs for the revolution, later wrote that by 1916, the historical grievances justifying armed violence, had become a “purely emotional impulse”.

An economist of today, David McWilliams, wrote recently, “sometimes we get dewy-eyed about the reality of the Irish state”. McWilliams claims that in 1913, Ireland was one of the richest countries in Europe, with income per head matching that of Sweden, Norway and Finland. 75 years after the Rising, Irish income per head was half the income of the Scandinavians. McWilliams asserts: “The Empire project enriched all of Britain and Ireland. In the later part of the 19th century both Irish and English tradesmen got richer together”. During the Famine, Irish carpenters and fitters earned about 90% of what their English counterparts did. In the decades leading up to 1913, both English and Irish tradesmen saw rapid increases in their wages. Wages of unskilled Irish workers and farm labourers rose rapidly after the Famine. The various Land Acts from 1870 to 1909 began the mass transfer of land from the Anglo-Irish aristocracy to the local farmers. The Irish stock market doubled in the late Victorian era. Large-scale sanitation and infrastructural projects were undertaken such as bringing clean water to Dublin from Roundwood Reservoir.

Although it was a hotbed of rebel activity, Cork did well out of the British Empire. Haulbowline Island in Cork Harbour was a major British naval base and defence against Napoleon. Cork exported salted beef, pork and butter to the West Indies and fed the British navy. The unrivalled ability of Cork Harbour to shelter the biggest fleets assembled during the American War of Independence and, later, during the Napoleonic Wars was a major factor in the expansion of the provisions trade in Cork.

Did the Revolution Improve Social Justice?

There were undoubtedly social injustices in the Ireland of 1916. Horace Plunkett of the Cooperative movement produced statistics to show the extent of urban poverty. The death rate for Ireland in 1917 was 16.8 per 1,000 of the population compared to 14.4 for England and Wales. In Ireland there were 2.2 deaths per 1,000 from TB; in England and Wales it was 1.62.Todd Andrews, veteran Irish republican born in 1901, wrote in his autobiography Dublin Made Me about the bleak existence of those at the “bottom of the heap”. “Even those who had regular work were seldom above the poverty line and very many were below it…when I was child, every mother of young children lived in constant dread and sometimes real terror of sickness”.

Mabel Fitzgerald wrote to her former employer, George Bernard Shaw, that she was bringing up her son to speak Irish and to adopt “the sound traditional hatred of England and all her ways”. Shaw responded: “You must be a wicked devil to load a child’s innocent soul with old hatreds and rancours that Ireland is sick of”. He said she should be telling her son “that the English are far more oppressed than any folk he has ever seen in Ireland by the same forces that have oppressed Ireland in the past”.

I remember when Cork was dirt poor. Ancient black-shawled women, like one might see in Greece, Sicily or Portugal, moved like shadows in the warrens of alleyways that climbed the steep streets. Beggars sat on St Patrick’s Bridge. However, this was long after the Imperial oppressor had been ejected.

Apart from those around James Connolly, not many of those who fomented the 1916 Rising were much concerned about social conditions. The writings of Pearse are concerned with a more spiritual Ireland. Likewise, Standish O’Grady used the legendary figure of Cuchulainn “to galvanise the weakened generations of Ireland into an awareness of their heroic masculinity”.

My father, Jeremiah O’Leary, was still in the womb of Hannah Noonan O’Leary when the rebels took over the GPO. He was born on 29 June 1916, two months after the Rising (because Easter is a movable feast, the actual date of the Rising was April 24). Economic circumstances forced him to go to England to find work when in his twenties. His younger brother joined him. My father joined the British Army when the Second World War broke out. Independence precipitated a massive flight of people from Ireland. In the 1950s, 450,000 Irish people emigrated to England alone. The Irish-born population there peaked at over 700,000 in 1971.

A Motley Crew

Many of those involved in the Easter Rising had advanced views. People ran away together to found communist communes in Donegal. The lesbianism of many key figures went unconcealed. Roger Casement was a homosexual as was Eoin O’Duffy, who went on to lead the fascist Blueshirts. Rosamond Jacobs was an enthusiast for Freud’s writing. Some were strongly Anglophobe even though many were from English stock. They were rebelling against their own heritage as much as social conditions or imperialism. Although many of these middle class revolutionaries were bent on self-transformation, the Irish revolution moved from artistic, social and sexual experimentation to repressive conservatism.

Post-Revolution

 

Kevin O’Higgins asserted in the Dáil in March 1923: “We were the most conservative-minded revolutionaries that ever put through a successful revolution”. De Valera wrote to Mary MacSwiney: “Every instinct of mine would indicate that I was meant to be a dyed-in-the-wool Tory, or even a bishop, rather than the leader of a revolution”.

 

Countess Markievicz boldly stated “the Catholic church is one of the greatest influences for evil in the world” and found it “incomprehensible how any sane person of any intelligence could be a Catholic”. In spite of this, her revolution established a state which was dominated by the regressive and reactionary ideas of the Irish Catholic church. The economy was ruined and the state even begrudged paying pensions to those who were wounded in the fight  for freedom. Some met a worse fate and were executed by former comrades. The material questions around which republicans had organised, including trade union militancy, land seizures and the establishment of soviets, became embarrassing for the national leadership. As historian Tom Garvin put it: “whenever social protest began seriously to threaten the interest of men of substance, republicanism ostentatiously dissociated itself from agitation”.

 

Next week – more about MOPE in Ireland and Sri Lanka

 

 

 

 

Delmore Schwartz Part3

This article appeared in the Mosaic section of Ceylon Today on Sunday July 6 2014

The Heavy Bear who Goes with Me

In this poem, Schwartz objectifies his own body as a separate entity:

The heavy bear who goes with me,   

A manifold honey to smear his face,   

Clumsy and lumbering here and there,   

The central ton of every place,   

The hungry beating brutish one   

In love with candy, anger, and sleep,   

Crazy factotum, dishevelling all.

This separate entity is somewhat gross, something of a burden and an embarrassment. I am reminded of Yeats’s image of old age as a tin can tied to a dog’s tail. Schwartz uses as an epigraph a quotation from the philosopher Alfred North Whitehead: the withness of the body”

Whitehead speaks of the “withness of the body” and observes that in daily life our bodies are the immediate environment of our lives.  As children, we learn about this withness in joyful ways; in adults it causes suffering.  Man is a dual creature; consciousness gives him a sense of time and of “otherness,” but at the same time, he is an animal like other animals. Human consciousness exists within a body that demands the same kind of life-sustaining materials and is subject to the same kinds of appetites—for food, for physical comforts—as other, lower creatures. The accompanying bear

Howls in his sleep because the tight-rope   

Trembles and shows the darkness beneath.   

—The strutting show-off is terrified,   

Dressed in his dress-suit, bulging his pants,   

Trembles to think that his quivering meat   

Must finally wince to nothing at all.

 

There is no room for vanity here:

 

A caricature, a swollen shadow,

A stupid clown of the spirit’s motive,   

Perplexes and affronts with his own darkness,   

The secret life of belly and bone.

This bear is not even under control. With his grossness, he endangers the poet’s relationships:

Touches her grossly, although a word

Would bare my heart and make me clear,   

Stumbles, flounders, and strives to be fed   

Dragging me with him in his mouthing care,   

Amid the hundred million of his kind,   

The scrimmage of appetite everywhere.

It is almost as if the body will not allow us to achieve what we really want.  No matter what our intentions, our aspirations, the body cannot travel in that direction. This is sad to read with the knowledge of Schwartz’s own inability to control his compulsions.

Themes

SchwartzDouble

The double or doppelganger is a recurring feature in literature – Dostoevsky’s The Double, The Victim by Schwartz’s friend Saul Bellow, Dr Jekyll and Mr Hyde by Stevenson. In fiction and folklore, a doppelgänger is a double of a living person and sometimes portrayed as a harbinger of bad luck. In some traditions, a doppelgänger seen by a person’s relative or friend portends illness or danger while seeing one’s own doppelgänger is said to be an omen of death. Heautoscopy is considered a possible explanation for doppelgänger phenomena. This is a term used in psychiatry and neurology for the reduplicative hallucination of “seeing one’s own body at a distance”. It can occur as a symptom in schizophrenia and epilepsy. The presence of the double causes conflict, as there can never be peaceful co-existence between a character and their second manifestation. In many instances where there is a double, it is the embodiment of a specific set of characteristics either that the original character desires to have, or a concentration of their worst characteristics, thus living up to the “evil twin” stigma.

SchwartzMirror

There are striking pictures of Schwartz looking in a mirror or as a double image. His protégé, Lou Reed, wrote a song called “I’ll Be your Mirror”.

loureeddelmoreschwartz_102612_620px

Schwartz is following in the doppelgänger tradition by dramatizing man’s dual nature. The only creature on earth possessing a sophisticated consciousness that gives him a moral sense and an understanding of the consequences of his actions, man is nevertheless compelled to exist in a material body that is really as much a part of him as is his higher intelligence. No matter how hard he tries, man is never able to separate his spiritual nature from his physical side.

Schwartz believed his name embodied a dualism. The surname is very Jewish and the forename a bit WASPy. There is a dichotomy between old world civility and new world philistinism, and generational differences between immigrants and their American-born offspring. Much of his work is about attempts to transcend what he saw as the inevitable disappointments and profound disillusionment of life.

There is also, as in Yeats, much about masks.

 

But tonight I am going to the masked ball,

Because it has occurred to me

That the masks are more true than the faces

Perhaps this too is poetry?

Now that I know that most falsehoods are true

Perhaps I can join the charade?

 

Schwartz often focused on middle-class New York immigrant families whose children are alienated both from their parents and from American culture and society. There is much talk of hope as well as despair.

How the false truths of the years of youth have passed!

Have passed at full speed like trains which never stopped

There where I stood and waited, hardly aware,

How little I knew, or which of them was the one

To mount and ride to hope or where true hope arrives.

The themes of separation and isolation run through Schwartz’s poetry and prose. The title piece of In Dreams Begin Responsibilities, and Other Stories (1938) is an account of an evening spent viewing a film about the narrator’s parents. Schwartz examines conflicts between the Jewish heritage and modern American culture. Jewish life in the United States is also the subject of The World Is a Wedding (1948), a short story collection that is a novella in ten sections. “The Child Is the Meaning of This Life” displays Schwartz’s interest in family relationships, the role of the artist, and feelings of alienation; “America! America!” focuses on a writer’s sense of isolation from his fellow New Yorkers, his family, and his Jewish heritage.

Delmore, although he was a Jewish writer immersed in Freud and Marx, was also interested in Christianity and there are strong Christian themes in his works. The inevitability of death was a common theme as were love, forgiveness and the inability to escape our past.

Summer knowledge is the knowledge of death as birth,

Of death as the soil of all abounding flowering flaring rebirth

 

He wrote memorable phrases about poetry and music.

For poetry is the sunlight of consciousness:

It is also the soil of the fruits of knowledge

In the orchards of being.

 

In his poem “Vivaldi”, he wrote:

 

This is the immortality of immortality

Deathless and present in the presence of the deathless present.

This is the grasped reality of reality, moving forward

Now and forever.

 

He was an essentially urban being being but could write about nature. The whole of the poem “A Little Morning Music” is quotable but here is a taste:

 

The birds in the first light twitter and whistle,

Chirp and seek, sipping and chortling – weakly, meekly, they speak and bubble

As cheerful as the cherry would, if it could speak when it is cherry ripe or cherry ripening.

 

Next week- Delmore’s decline and death.

 

 

Julie MacLusky

- Author and Blogger -

HoaxEye

A fake image is worth zero words

Poet's Corner

Poems, poets, poetry, writing, poetry challenges

Casual, But Smart

Pop Culture From An Old Soul

PN Review Blog

‘The most engaged, challenging and serious-minded of all the UK’s poetry magazines’ - Simon Armitage

The Manchester Review

The Manchester Review

Slugger O'Toole

Conversation, politics and stray insights

Stephen Jones: a blog

Daoism—lives—language—performance. And jokes

Minal Dalal

Spreading resources for potential living.