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Tag Archives: Allegory


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Birth of Justin Huntly McCarthy, Writer & Politician

Justin Huntly McCarthy, writer and nationalist politician, is born in Liverpool, England, on September 30, 1856, son of the writer and politician Justin McCarthy and his wife, Charlotte, daughter of William George Allman of Bandon, County Cork.

McCarthy spends his childhood in Liverpool, London, and New York City, where his father works on the New York Independent from 1868 to 1871. He is educated at University College School and University College London. On graduating he travels extensively in Europe and the Middle East, adding oriental literature to the list of his interests, which included Greek and Irish mythology, Irish history, and contemporary politics.

McCarthy’s early career was meteoric: his first book, An outline of Irish history from the earliest times, appears in 1883 and is a fast-moving, strongly worded, nationalist sketch of Irish history. This is followed by a heavy-handed dramatic poem, Serapion (1883), about the early Christian era. In June of the following year he is returned as the Home Rule League MP for Athlone on the death of the sitting member, and also publishes, to excellent reviews, England under Gladstone, which runs to a second edition within a year. In November 1884, his first play, The Candidate, is an overnight success in the Criterion Theatre in London. Its plot is thin but the humour and political badinage ensures it a long run.

At the 1885 United Kingdom general election McCarthy is elected nationalist MP for Newry, and he holds this seat until 1892. In the two years after his election he writes a number of novels, translates works from Persian, and writes Ireland Since the Union (1887), which is well researched, nationalist and impassioned in tone, showing a flair for biographical sketches. During this period he is known for his good attendance in the House of Commons though he does not speak much – throughout his life he is more an observer than a participator – and he is said by William O’Brien to conceal “under the gentlest of exteriors the fire of the ‘Spirit of the Nation’ ballad” (New Ireland Review, 523). In London he is well known for his controversial drama reviews in The Gentleman’s Magazine and the Sunday Sun, and in Dublin for his numerous verse and prose contributions to United Ireland. Although he makes a name for himself as a brilliant young man, he never fulfills his early promise.

In later years McCarthy continues to publish prolifically but produces only ephemeral works, and his parliamentary attendance slackens off. His political commitment is soured possibly by the party’s split in 1890. He originally sides with Charles Stewart Parnell, emphasizing in a speech on December 1, 1890, that he believes in the old-fashioned theory of personal loyalty to a leader. However, five days later he causes a minor drama by rising at the last minute to follow his father and the forty-three other anti-Parnellites, claiming that he feels he must abide by the decision of the majority. Two years later he leaves politics for good without standing in the 1892 United Kingdom general election. A sympathetic profile of him in the New Ireland Review in 1894 remarks that “no man of equal talents made so slight an impression on the political world.”

Thereafter McCarthy has less involvement in Irish affairs and writes no more Irish history books, though his novels continue to have Irish themes. He lives in London in Putney Common, and continues to travel widely. In 1894, he marries in some haste a popular comic actress, Cecilia Loftus, and the event is widely reported in the English press. However, the marriage is dissolved in the United States five years later. In 1908, his second marriage is to Loullie, daughter of Henry Killick of Budapest. He continues to enjoy success as a dramatist and has five plays, four sketches, and three duologues performed in London in the 1890s. However, he concentrates increasingly on historical fiction, which he produces at breakneck speed. In the first decade of the twentieth century he writes over twelve novels based on periods in English, Italian, French, and Irish history. The Illustrious O’Hagan (1906), The O’Flynn (1910), and The King Over the Water (1911) pointedly contradict English stereotypes of the “stage Irishman.” The Fair Irish Maid (1911) is an allegory of the Irish Parliamentary Party‘s political marriage to the ordinary Irish people rather than to the Anglo-Irish ascendancy.

McCarthy dies at home in Putney on March 20, 1936 aged 79, although his obituaries all put his age at 75.

(From: “McCarthy, Justin Huntly” by Bridget Hourican, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Irish Playwright George Bernard Shaw

George Bernard Shaw, Irish playwright, critic, and polemicist, dies at the age of 94 on November 2, 1950, at Ayot St. Lawrence, Hertfordshire, England. His influence on Western theatre, culture, and politics extends from the 1880s to his death and beyond.

Shaw writes more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1912) and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, he becomes the leading dramatist of his generation, and in 1925 is awarded the Nobel Prize in Literature.

Shaw is born on July 26, 1856, at 3 Upper Synge Street in Portobello, a lower-middle-class area of Dublin. The Shaw family is of English descent and belong to the dominant Protestant Ascendancy in Ireland. Between 1865 and 1871, Shaw attends four schools, all of which he hates. His experiences as a schoolboy leave him disillusioned with formal education. In October 1871 he leaves school to become a junior clerk in a Dublin firm of land agents, where he works hard and quickly rises to become head cashier. During this period, he is known as “George Shaw”; after 1876, he drops the “George” and styles himself “Bernard Shaw.”

Shaw moves to London in 1876, where he struggles to establish himself as a writer and novelist and embarks on a rigorous process of self-education. By the mid-1880s he has become a respected theatre and music critic. Following a political awakening, he joins the gradualist Fabian Society and becomes its most prominent pamphleteer. He has been writing plays for years before his first public success, Arms and the Man in 1894. Influenced by Henrik Ibsen, he seeks to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social, and religious ideas. By the early twentieth century his reputation as a dramatist is secured with a series of critical and popular successes that include Major Barbara, The Doctor’s Dilemma, and Caesar and Cleopatra.

Shaw’s expressed views are often contentious. He promotes eugenics and alphabet reform and opposes vaccination and organised religion. He courts unpopularity by denouncing both sides in World War I as equally culpable, and although not a republican, castigates British policy on Ireland in the postwar period. These stances have no lasting effect on his standing or productivity as a dramatist.

The inter-war years see a series of often ambitious plays, which achieve varying degrees of popular success. In 1938 Shaw provides the screenplay for a filmed version of Pygmalion for which he receives an Academy Award. His appetite for politics and controversy remains undiminished. By the late 1920s he has largely renounced Fabian gradualism and often writes and speaks favourably of dictatorships of the right and left — he expresses admiration for both Mussolini and Stalin. In the final decade of his life, he makes fewer public statements, but continues to write prolifically until shortly before his death, refusing all state honours including the Order of Merit in 1946.

During his later years, Shaw enjoys tending the gardens at Shaw’s Corner. He dies on November 2, 1950, at the age of 94 of renal failure precipitated by injuries incurred when falling while pruning a tree. His body is cremated at Golders Green Crematorium on November 6, 1950. His ashes, mixed with those of his wife Charlotte, are scattered along footpaths and around the statue of Saint Joan in their garden.

Since Shaw’s death scholarly and critical opinion has varied about his works, but he has regularly been rated as second only to Shakespeare among English-language dramatists. Analysts recognise his extensive influence on generations of playwrights. The word “Shavian” has entered the language as encapsulating Shaw’s ideas and his means of expressing them.