Denis Johnston: Commentary & Quotations
Denis Ireland, From Irish Shore (1939), calls The Moon in the Yellow River the usual Anglo-Irish half truths about Ireland. Further: It fulfills the first law of Anglo-Irish literature; it makes the native Irish appear a race of congenital idiots [...] Anglo-Irish clarity has gone now, and there are no caricatures, instead there is something much more dangerous to knowledge - the technically efficient, a fact, the flitteringly effective, reproduction of surface truth - consequently the picture lacks depth compares the play adversely with the Cherry Orchard; in the main nothing is right and just; everything is just plumb crazy, crazy with a craziness that is much more depressing than the craziness of everyday life. (pp.209ff.) Also in Bernard Adams, Denis Johnston: A Life (Lilliput 2002), citing letter to New English Weekly (11 July 1935), and further quoting: [...] fake Tchekov that would not deceive a child [...] for the most part muddy nonsense ... a poor service for any Irish, or even Anglo-Irish, writer to render to his day and generation. (Adams, p.152.) Johnston replied that no one who examined the work in depth would think any the worse of my country because of my play. If here in Ireland we have developed a habit of selfcriticism that cuts more deeply than would be wished by outsiders, it is something to be proud of rather than deprecated. (ibid., 25 July; here p.152.)
E. Martin Browne, ed., Three Irish Plays (Harmondsworth: Penguin 1959), Introduction: [...] the Abbey Theatre, supported by the Irish government as the national theatre, has not maintained that imaginative understanding of the Irish genius which characterised its early years: much of its production has been of a parochially realistic kind. But in Johnston it found for a time an author who was able to do for the modern Ireland, faced with the impact of science and invention upon its ancient way of life, what Yeats and Synge had done for the older Ireland. He wrote about Dublin herself in the Old Lady Says No!, and about the coming of technology to the countryside in this play. Each is the product of a brilliant, subtle, and essentially Irish mind; each of his characters has its own rich eccentricity, and no facile conclusion is sought for the complex conflicts both of personality and of ideas.
Fergus Linehan, review of Rory Johnston, ed., Orders and Desecrations: The Life of the Playwright Denis Johnston (1992), in Irish Times ( 21 Nov. 1992): Reviewer notes that it contains accounts of Johnstons life taken from various articles, together with some prefaces; remarks that the result contains too many gaps to constitute a biography; son of William Johnston, a supreme court judge (nick-named Civil Bill); ed. Cambridge and at Harvard Law School; joined Irish bar; issued The Old Lady Says No! , revived in the seventies (when it looked dated acc. Linehan); reviewer calls The Moon and the Yellow River, his best play; Johnston divorced Shelah Richards and married Betty Chancellor; back at the BBC, he gave up the most promising job I ever had; went to the States and ended up teaching at Smith College in Mass.; finally returned to Ireland; issued biographies of Swift, &c., and a Croke-Park pageant about Cúchulainn [1956]; his grave in the close of St. Patricks, near Betty Chancellor, bears the epitaph from The Old Lady [as infra]. (See review by remarking, The book is full of good things. Note that Hugh Leonard pronounces it a remarkably unified autobiography, though compiled of articles and talks written between 1929 and 1980.)
Paddy Smyth, Riveting truth in a non-memoir, in The Irish Times (31 Oct. 2009), Weekend, p.10, remarks on Truth or Fiction by his mother Jennifer Johnston: Like Denis Johnston in the late 1970s, Desmond Fitzmaurice, in Truth or Fiction, is an ageing writer of plays, war correspondent, literary giant of the thirties and now no-one reads his books any more, no one puts on his plays. Both lived for a time in a splendid house on the end of Sorrento Terrace in Dalkey, in south Co Dublin, looking out over Killiney to Bray Head. I can still see in my mind the distinguished old man, stooped but still agile, leading me through the wide hall into a high room with two long windows giving out over the bay. The walls were covered with books, floor to ceiling, and the mantelpiece was weighed down with photographs. / Denis, like Desmond, led a complicated personal life that he obsessively recorded at length, and with candour, in closely guarded diaries and tapes, edited and annotated, even indexed, for posterity, whose verdict is clearly of huge importance. He described himself self-deprecatingly at a Dublin awards ceremony in 1977 as the unknown gurrier of Irish letters, but what he saw as the neglect clearly hurt. [Cont.]
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The Old Lady Says No! (1929) - The Minister of Arts: A young fellow comes along to me and says, No look, Liam, heres some art Im after doing [...] it might be a book, you see, or a drawing, or even a poem [ ] and can you do anything for me, he says? Well, with that, I do if he deserves it, mind you, only if he deserves it, under Section 15 of the Deserving Artists (Support) Act, number 65 of 1926. And theres no favouritism at all. Chorus: The State supports the Artist. And the Artist supports the State. Very satisfactory for everybody and no favouritism at all. Minister: And of course then, you see, it helps us to keep an eye on the sort of stuff thats turned out, you understand. [Press source.]
Progress of Joyceanity (Envoy, April 1951): The intensity with which Joyces work is being studied in these United States always arouses in me the same mild sense of surprise that must have been experienced by First Century Galileans as they observed the growing excitement of the Gentiles over local matters. Not that Joyces work is unimportant to myself. Indeed, Ulysses was the one book that I used to carry around with me during a somewhat fluid period of my career, when more than one volume in my baggage would have been frowned upon. But this was largely for nostalgic reasons. In my imagination 1 liked to walk again on Sandymount Strand-even in the company of a prize Wet, and to turn my attention to the topics under discussion on the North Quays. / To a Dubliner of my generation, the book must always be rather like an old box room or glory hole in which one can spend a delightful hour taking objects of no great significance out of trunks, and putting them back again. A re-reading of it, enlarges the present by recreating the [14] a past that is very clear to more Poldys than one. But what if this city and these sins for which I experience to comforting a fellow-feeling, were not mine also? If the contents of those trunks had no personal associations, would the book interest me then - after the first start of surprise at finding words in it that I have not heard in general conversation since I was a member of Leeson Park Church Boy Scouts (where they were all in current use)? Maybe as an exercise in virtuosity, I would continue to study it; or perhaps I would read it because of the fact that it is extremely amusing. / On the whole, however, these are not the baits that are being offered to the Sophomores as reasons for enjoying Joyce. [...T]hey are being set to mull over the nine months of pregnancy, and to consider the significance of each [in Oxen of the Sun]. They are being told that Mr. Bloom is a Scapegoat, bearing on his shoulders the sins of the human race, and they are well out now on a limb of the Golden Bough, looking for anything else that can be found with whiskers and horns. They are busy writing papers on Brunos idea that all created things are the offspring of a Demiurge of Intellect and a Matrix of Necessity. And they shaking their heads over Vicos picture of History as a sort of organ-grinder with only a limited number of tunes. (pp.14-15; see further under James Joyce, infra; and see also Clarify Begin At: The Non-information of Finnegans Wake, in Irish Renaissance, ed. Skelton & Clark, Dolmen 1965, infra.)
The Scythe and the Sunset (1957), Introduction, first published in Collected Plays, rep. with two alterations by Johnston in Dublin Magazine (Spring 1966), pp.69-77. Johnston was a juvenile civilian internee in 1916, viz., the home of his father - a judge - was occupied by the Volunteers. Johnston refers expressly to OCaseys Plough and the Stars, the play of which the title of mine is an obvious parody..../ Neither in verbiage, plot nor sentiments does this play of mine presume to bear any relation to its magnificent predecessor. The only point in so titling it lies in the fact that The Ploughis essentially a pacifist play ... As a quiet man who, nevertheless, is not a pacifist, I cannot accept the fact that, theatrically, Easter Week should remain indefinitely with only an anti-war comment, however fine. (p.70.) ... in actual fact the women of Ireland, ever since the Maud Gonne era, have been the most vocal part of its militancy. If I can claim nothing else, I can at least point with some complacency to the fact that - when it comes to the point - both my women are killers. (Idem.) [Cont.]
The Brazen Horn: A Non-Book for Those Who, in Revolt Today, Could be in Command Tomorrow (Dublin: Dolmen 1976) - see publishers notice: We are faced today with a number of seemingly insoluble quandaries in the fields of both Religion and Science, amongst which may be included the problem of a God that seems to all appearances to be either demonic or incompetent, of a University that is apparently expanding in relation to nothing but itself, of the structure of Space-Time, of the significance if any of Death, and of the everlasting conflict between the ways of thought known as realism and Idealism. /In collating various pronouncements in all of these areas that have been besetting us during the present significant century, the writer has come to a surprising conclusion that modern Science may be providing an answer to some of the quandaries of religious belief, and on the other hand, that theology in many ways is capable of coming to the rescue of the Physicists, enmeshed as they are in a tangle of contradictory facts. / A solution is probably found in the abandonment of our traditional conception of an inanimate Universe which nevertheless is explosive and kinematic, in favour of a new view of its dimensional character. Dolmen Edition XXII is limited to 1050 copies signed by the author. (Available online; accessed 13 July 2012.) [ top ] Clarify Begin At: Non-information of Finnegans Wake, in Irish Renaissance: A Gathering of Essays, Memoirs, and Letters from the Massachusetts Review, ed. Robin Skelton & David R. Clark (Dublin: Dolmen Press 1965), pp.120-27 - traces the place and date of central event of Finnegans Wake . The articles ends: [...] Joyces return to religion in this, his final work. While the first half of his life is devoted to denial and doubt, there is every indication in the Wake that the Joyce of later middle age was not only a Gracehoper but was profoundly concerned, maybe not with a heavenly life-hereafter, but with the eternity of this life. Hence the significance to him of the river as an image or model of a working Viconian cycle - a phenomenon that is born in the hills, that flows and grows, and is finally lost in the sea, from whence it returns once more to the hills. And heres the point - there is no mutual exclusiveness in all of these phases. They are all happening Now. Finn again and again and again. What a hell for the damned, as Sartre has since pointed out. But Joyce is not damned, for all his Non Serviams. He has got the mysterious gift of Grace, as even Clongowes will agree nowadays. (...; p.126.) Yet, in spite of the fact that it is one of the dirtiest books in public circulation, Joyce shows a far greater sense of religious purpose in the Wake than in anything else that he has written. Why he was to be so secretive about this fact is one the charms and peculiarities of the man. Why he feels bound to conceal the message of his newly-born Penelope in the pidgin English of page 611 is perhaps an expression of his arrogance, or maybe it is a feature of his Irish love of a secret, or indeed of his Irish fear of a nasty laugh wafting out of Davy Byrnes. / He need not have worried. His Tunc page did not get much in the way of notices to begin with. But it has survived his understandably embittered friend, Malachi Mulligan. (p.127.) (See also Johnstons contribution to The Envoy [Joyce Issue] (April 1951) - under Joyce, Commentary, infra.)
Catholics? To make Catholics - and Irish Catholics at that - of my children, if that is her intention - to hand them over to the Priests and Nuns to have their clean little minds twisted and tormented by superstitions - to go back on everything we both ever believed - to give my children away to my greatest, my only enemy, and Irelands only enemy (if Ireland could only see it), the Church - this is more than I can bear. (Journal; reacting to rumour that Shelah Richards intended to convert to Catholicism; quoted in Bernard Adams, Denis Johnston: A Life, 2002, p.200.)
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