The prevalence of the comic spirit in Anglo-Irish
literature of the twentieth century needs no demonstration. One
has only to start listing the names of writers - Joyce, Synge, O'Casey,
George Moore, James Stephens, Lady Gregory, Frank O'Connor - and
at once the point is made. Even W. B. Yeats or Samuel Beckett has
his own special vein of defiant or despairing humour. / During the
nineteenth century Irish wit and humour were already proverbial
lin the English-speaking countries. Indeed, it has often been remarked
that most of the masters of English stage comedy since the Restoration
- Congreve, Farquhar, Goldsmith, Sheridan, Wilde, Shaw - either
grew up in Ireland or came of Irish stock.
All sorts of theories have been advanced to explain
these indisputable facts. Shaw actualoy gave the credit to the Irish
climate, as if wit or a sense of humour were a disease like rheumatism
or tuberculosis, both of which are often blamed on the prevailing
dampness of Ireland. It seems more reasonable, however, to attribute
cultural phenomena in the first place to cultural causes. If it
can be demonstrated that Gaelic literature has from the earliest
times shown a bent for wild humour, a dielight in witty word play,
and a tendency to regard satire as one of the indispensable functions
of the literary man, then the prevalence of these traits in Anglo-Irish
literature is most probably due to cultural continuity.
Gaelic literature is notorious for its conservatism:
the use of archaic diction and orthography, of archaic allusions,
of an archaic subject matter recurs throughout its long history
- no doubt primarly because for many centuries most of the literature
was produced by a professional caste or class of poets, inheritors
of the druids and most familiar fo English-speaking readers under
the name of bards. As a result, it is easy to trace
a [ix] continuous comic tradition in Gaelic. The chief problem which
confronted me in writing this book was how to prove the existence
of a continuity between Anglo-Irish literature and Gaelic literature.
I do not wish to exaggerate this problem, however: cultural interchange
at the oral level, in idioms, metaphors, proverbs, folk tales, folk
beliefs, has been continuous from the first English invasion down
to the present moment.
Direct literary influence before the Anglo-Irish
Literary Revival, which began in the 1880s, is harder - and
often impossible - to prove, for two reasons: first, few earlier
writers of English could read Gaelic; secondly, most Gaelic speakers
were illiterate in their own language. But when we notice striking
similarities between literary works in the two languages, where
direct influence was clearly impossible, the resemblance can often
be explained by the fact that both works were drawing upon a common
stock of themes and attitudes, and even, at times, of techniques:
Gaelic metres were sometimes employed in English by bilingual song
writers and then borrowed by those who knew no Gaelic.
Although a glance at the Table of Contents should
reveal much of the plan and scope of this book, perhaps the chapter
headings require some explanation and amplification. I have divided
a vast subject into a few basic rhetorical categories: humour, wit
(including word play), satire, and parody. These categories are
neither numerous enough to include every aspect of the comic nor,
in certain respects, mutually exclusive. Satire in particular employs
wit, humour, parody, and even word play besides the irony which
is often regarded as its most characteristic device. On the other
hand, I have given no separate treatment to the best known and most
easily identifiable branch of the comic, stage comedy. Gaelic civilisation
never developed a theatre, although some of the mumming and miming
at weddings and wakes contained the rudiments of drama. Since my
subject is the continuity of Gaelic and AngloIrish tradition, it
seemed pointless to increase the size of this book by a chapter
which dealt with Anglo-lrish stage comedy in isolation. As a matter
of fact, I wrote such a chapter and then omitted it at the suggestion
of my wife.
Obviously an entire book could be devoted to Irish
humour alone. My two chapters on this subject deal with what I regard
[x] as its most characteristic aspects: fantasy, the macabre, and
the grotesque. The so-called ‘rollicking type of Irish
humour emphasizing drunkenness, pugnacity, clumsy amorousness, superstition,
boasting, hyperbole, malapropisms, and Irish bulls - I have chosen
to ignore, for two good reasons. On the one hand, it is already
excessively familiar to most people; on the other, it is largely
an Anglo-Irish phenomenon, resulting from the observation of Gaelic
folk ways through the lenses of a different culture. A similar type
of humour can be found in Gaelic,.but it is a relatively late development
that originates in social satire: the behaviour of uncultured Gaelic
speakers is viewed contemptuously by an educated class after the
unity of Gaelic civilization disintegrated in the seventeenth century.
(See the section ‘Social Satire in Chapter 6.)
The inclusion of three separate chapters on satire
is a matter of mere expediency. Satire proliferates so enormously
in Gaelic literature that a single chapter on the subject would
have taken up almost half the book. Even now, the chapter ‘Satire
in Modern Irish is by far the longest. I hope the reader will
agree with me that it would have been a pity to shorten it further.
As regards method, it will be seen that this book
is descriptive rather than critical or historical. I am less concerned
with evaluating Irish comic literature than with establishing its
outlook, characteristic methods, and favourite subject matter. Nor
have I attempted a complete literary history of the subject. The
recurrence of an identical comic pattern in widely separated periods
might be too readily overlooked if I followed a purely chronological
plan. The progress of each chapter is roughly chronological, but
where a certain vein of wit, say, has remained virtually unchanged
through the centuries, I follow it to the end before turning back
to another type which emerged later. In general, I have given more
space to the Gaelic material, as being less familiar to the English-speaking
reader, than I have to the Anglo-Irish.
Where a comic trend in Gaelic literature seemed
unparalleled in Anglo-Irish literature, or vice versa, I have sometimes
omitted it altogether; the reader should therefore be wary of assuming
a greater homogeneity between the two literatures than actually
exists. Still, I have tried not to act the special [xi] pleader
too much: although 1 have omitted a number of writers and works
that I consider insignificant, I might well have omitted more and
included fewer quotations had I not wanted to give the reader sufficient
evidence on which to base his own conclusions. The whole subject
of the relationship between Gaelic and Anglo-Irish literature has
been bedeviled by so many intemperate generalizations on both sides
of the argument that I was determined not to force my own views
upon the reader.
One further self-imposed limitation will become
evident in the course of this book: except in my last chapter, 1
have virtually ignored many of the Anglo-Irish writers who neither
lived most of their lives in Ireland nor continued to write much
about Ireland after they had left her. Thus I have a great deal
to say about Swift and Joyce, but very little about Shaw and Wilde,
though I have made an exception in favour of Samuel Beckett. Also,
in the absence of a chapter on stage comedy, I have said less than
I should have liked to about Synge and OCasey. Both studied
Gaelic, and the work of both shows a general affinity with the Gaelic
tradition, but their very originality has made it difficult to link
them with any one specific branch of that highly conservative heritage.
In any case, I think it is fair to say that a framework has been
established into which the alert reader can fit those writers who,
he feels, have been unjustly neglected: for instance, Brendan Behan,
whose meteoric career began when this book was already well under
way.
Some of the limitations imposed on this book can
hardly be described as voluntary: I am not a Gaelic scholar but
rather a student of Gaelic, and my reading knowledge of Modem Irish
has been acquired in the most desultory fashion. After I first began
to think about this book eight years ago-and indeed after one chapter
had been written-I spent a year studying Old and Middle Irish at
Trinity and University Colleges in Dublin. In dealing with the Gaelic
material, I have made use wherever possible of translations by reputable
scholars, sometimes consulting the Gaelic only where a difficulty
or omission was apparent in the translation. If no translation of
an important text was available, I grappled with the original; as
one might expect, texts which have never been translated [xii] are
either very easy or fiendishly difficult. I have made no use of
manuscript or oral sources.
Clearly my task would have been far easier if a
comprehensive account of the Gaelic comic tradition were already
in existence, but even the available histories of Gaelic literature
give the subject sketchy, almost grudging treatment. Fred Norris
Robinsons ‘Satirists and Enchanters in Early Irish Literature
is the only adequate handling known to me of any substantial part
of the tradition. In his vast Motif-Index of Early Irish Literature
Tom Peete Cross allots little more than half a page to humour and
refers to one short article on the topic. I was therefore compelled
to attempt almost single-handed a synoptic view of a subject matter
ranging over eleven centuries and two languages: that is, if we
agree to call Old, Middle, and Modem Irish - which differ at least
as much as Old, Middle, and Modern English - one language. Let me
add humbly that I could never have made the attempt at all but for
the work which countless scholars and literary men have been doing
piecemeal for over a century. Detailed acknowledgements of my debts
will be found in the notes to the individual chapters. I can only
hope that those who investigate this fascinating subject in the
future will find much in my pages to agree with while profiting
by my mistakes.