The Irish in Shakespeare: see GC Duggan, The Stage Irishman (1937).
Allusions to Ireland occurs in the following plays by Shakespeare: Henry VI (`Great Lords, from Ireland I am come amain / To signify the rebels there are up / and put the Englishmen unto the sword / Send succours, lords, and stop the rage betime / Before the wound do grow incurable .. The uncivil Kernes of Ireland are in arms / And temper clay with blood of Englishmen.
Full often, like a shag-haird crafty Kerne / Hath he conversed with the enemy ... And given me notice of their villanies; Richard II: `Now four our Irish wars: / We must supplant those rough rug-headed Kernes / Which live like venom where no venom else / But only they have privelige to live.
Henry V: `As, by a lower but loving likelihood, / Were now the general of our gracious empress [Essex] / As in good time he may, from Ireland coming, / Bringing rebellion broached upon his sword.
MacMorris, the only Irishman in Shakespeare: Of my nation! What ish my nation? Ish a villan and a bastard, and a knave and a rascal. What ish my nation? Who talks of my nation? I do not know you so good a man as myself. (Henry V, 3., sc. 2, Pt. II). There is an Irish soldier and love-intrigue turned husband-murderer called Browne, from Dublin at the centre of A Warning for Faire Women (1599). There is an immoral Irishman, Capt. Val Whit, in Jonsons Bartholomew Fair. [Note that the Anglo-Norman Prendergasts changed their name to McMorris.]
SEE also ESSEX.
Thou rascal beadle, hold they bloody
The lining of his coffers shall make coats / To deck our soldiers for their Irish Wars (Rich. III); Now for the rebels which stand out in Irelnad. Expeiend manage must be made, my liege, / Ere further leisure yield them further means / for their advantage and your Highness loss.
The wind sits fair for news to go to Ireland - but none returns.
But this rough magic / I here abjure, and when I have required / Some heavenly music - which even now I do Ill break my staff / Bury it certain fathoms in the earth, / And deeper than did ever plummet sound / Ill drown my book. (The Tempest, Act. V, i, 56.)
Declan Kiberd, Inventing Ireland (1996), cites Joseph Holloways note in his diary to the effect that a music-hall knockabout Irishman would appear a lifelike portrait of the genuine article beside the Captain MacMorris as he was presented, in speech, action and appearance. Remarks that resentment was expressed - and not for the first time - against English texts which misrepresented Irish persons, or which treated them as if they would never be in a positin to understand or to challenge such writings. 
You taught me language, and my profit ont / Is I know how to curse. The red plague rid you / for learning me your language. (Caliban; The Tempest; quoted in Kiberd, op. cit., p.276.) Also, George Lamming: Prospero lives in the absolute certainty that language, which is his gift to Caliban, is the very prison in which Calibans acheivements will be realised and restricted. Calibans use of language is no more than his way of serving Prospero; and Prosperos instruction in this language is only his way of measuring the distance which separates him from Caliban (The Pleasures of Exile, London, 1984, p.110; Kiberd, op. cit., p.279.)