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A DECADE IN WHICH ANARCHY WAS LOOSED<br />

UPON THE WORLD, A TERRIBLE BEAUTY WAS BORN<br />

Patrick Comerford<br />

As we begin a new year, and look<br />

forward to <strong>the</strong> next 12 months, we<br />

should also be aware that we are facing<br />

into a decade of anniversaries, when we<br />

will be faced with <strong>the</strong> commemorations<br />

of events a centenary ago, recalling <strong>the</strong><br />

tumultuous events between 1912 and<br />

1922 that shaped not only Irish identity<br />

but also shaped <strong>the</strong> map of Europe.<br />

It is <strong>the</strong> decade that was marked by <strong>the</strong><br />

demise of Chinese imperial dynasties, World<br />

War I, <strong>the</strong> Armenian Genocide, <strong>the</strong> Gallipoli<br />

landings, <strong>the</strong> Battle of <strong>the</strong> Somme, <strong>the</strong> Russian<br />

Revolution, <strong>the</strong> Balfour Declaration, <strong>the</strong> defeat<br />

of Germany, <strong>the</strong> fall of <strong>the</strong> Hapsburgs, <strong>the</strong><br />

creation of <strong>the</strong> Weimar Republic and <strong>the</strong> Soviet<br />

Union, <strong>the</strong> first non-stop transatlantic flight, <strong>the</strong><br />

collapse of <strong>the</strong> Ottoman Empire, <strong>the</strong> winning of<br />

women’s voting rights, and <strong>the</strong> rise of<br />

Communism and Fascism.<br />

But it was <strong>the</strong> decade too that brought us<br />

<strong>the</strong> modern zipper, stainless steel, and <strong>the</strong> popup<br />

toaster. It was a decade that saw <strong>the</strong><br />

publication of Einstein’s <strong>the</strong>ory of relativity, <strong>the</strong><br />

first US feature film, <strong>the</strong> debut of Charlie<br />

Chaplin, <strong>the</strong> publication of Thomas Mann’s<br />

Death in Venice, DH Lawrence’s Sons and<br />

Lovers and Women in Love and TS Eliot’s The<br />

Waste Land.<br />

For Irish people, this was <strong>the</strong> decade that saw<br />

<strong>the</strong> death of Bram Stoker, <strong>the</strong> author of<br />

Dracula, who was born into a Dublin Church of<br />

Ireland family. It was a decade that saw <strong>the</strong><br />

publication of James Joyce’s Dubliners, Portrait<br />

of <strong>the</strong> Artist as a Young Man, and Ulysses, and of<br />

Pygmalion by George Bernard Shaw. And it was<br />

a decade too that was marked by <strong>the</strong> sinking of<br />

<strong>the</strong> Titanic and <strong>the</strong> Lusitania.<br />

‘The centre cannot hold’<br />

The world was so changed and transformed<br />

WB Yeats could open his poem The Second<br />

Coming with <strong>the</strong>se lines about Europe in <strong>the</strong><br />

aftermath of World War I:<br />

Turning and turning in <strong>the</strong> widening gyre<br />

The falcon cannot hear <strong>the</strong> falconer;<br />

Things fall apart; <strong>the</strong> centre cannot hold;<br />

Mere anarchy is loosed upon <strong>the</strong> world,<br />

The blood-dimmed tide is loosed, and everywhere<br />

The ceremony of innocence is drowned;<br />

The best lack all conviction, while <strong>the</strong> worst<br />

Are full of passionate intensity.<br />

Towards <strong>the</strong> end of that decade, <strong>the</strong> Church<br />

of Ireland was living with <strong>the</strong> consequences of a<br />

half century of disestablishment. But <strong>the</strong> Church<br />

was more concerned with social political<br />

upheaval on this island, and <strong>the</strong> way we were<br />

tearing ourselves apart as a people. Irish identity<br />

was changed violently over that ten-year period,<br />

so that <strong>the</strong> lines by Yeats about <strong>the</strong> leaders of<br />

<strong>the</strong> Easter Rising in 1916 could be applied to <strong>the</strong><br />

whole island and <strong>the</strong> whole population:<br />

All changed, changed utterly:<br />

A terrible beauty is born.<br />

It was a decade that saw <strong>the</strong> reconstruction<br />

of Irish identity through <strong>the</strong> creation of myths<br />

that by-passed <strong>the</strong> facts, even as <strong>the</strong> main<br />

actors in those myths were still alive.<br />

Language and identity<br />

It is forgotten that modern Irish nationalism<br />

had its incubation and gestation in <strong>the</strong> revival of<br />

<strong>the</strong> Irish language – a revival in which <strong>the</strong> main<br />

players included Dr Douglas Hyde, <strong>the</strong> son of a<br />

4 CHUrCH revIew<br />

Looking down <strong>the</strong> Liffey towards Liberty<br />

Hall… would <strong>the</strong> key players in <strong>the</strong><br />

events 100 years ago recognise <strong>the</strong><br />

Ireland of today?<br />

Dublin Castle… <strong>the</strong> seat of Government<br />

until 1922.<br />

Left: The Abbey Theatre contributed to<br />

<strong>the</strong> cultural expressions of Irish<br />

nationalism. Right: Jim Larkin… “The<br />

great appear great because we are on<br />

our knees: Let us rise.”<br />

James Connolly was born in Scotland<br />

and married a member of <strong>the</strong> Church of<br />

Ireland.<br />

Church of Ireland rector, and Dr Eleanor Hull<br />

in hymns such as Be thou my vision (643).<br />

The artistic expressions of <strong>the</strong> new<br />

nationalism were found in <strong>the</strong> Abbey Theatre,<br />

founded by Lady Gregory, WB Yeats and<br />

George Russell (AE), <strong>the</strong> poetry of Yeats and<br />

<strong>the</strong> plays of Sean O’Casey – all members of <strong>the</strong><br />

Church of Ireland.<br />

Since 1916, <strong>the</strong> leaders of <strong>the</strong> Easter Rising in<br />

Dublin have been transformed into ei<strong>the</strong>r<br />

working class heroes or <strong>the</strong> personifications of<br />

what it is to be Green, Gaelic, Catholic and<br />

The Rotunda in Dublin… a venue for<br />

many of <strong>the</strong> political meetings and<br />

heated debates on all sides in <strong>the</strong><br />

decade between 1912 and 1922.<br />

Charles Stewart Parnell, founder of <strong>the</strong><br />

Irish Parliamentary Party, influenced a<br />

later generation of nationalists.<br />

Irish. But <strong>the</strong> myths that have been created by<br />

those who have a blinkered vision of what it is<br />

to be Irish betray <strong>the</strong> truths of history.<br />

Who remembers today that Pádraig Pearse<br />

was born Patrick Henry Pearse, <strong>the</strong> son of a<br />

Birmingham Unitarian who had come to Dublin<br />

from England as part of <strong>the</strong> Victorian arts-andcrafts<br />

movement? There are o<strong>the</strong>r myths<br />

surrounding Pearse, including one that he was<br />

“President of <strong>the</strong> Provisional Government,” a<br />

post that may have been held instead by<br />

Thomas Clarke. There is no manuscript version<br />

of <strong>the</strong> 1916 Proclamation, but on all printed<br />

versions, <strong>the</strong> leaders’ names are not printed in<br />

alphabetical order, so that Pearse’s name is<br />

listed fourth, after Thomas Clarke, Sean Mac<br />

Diarmada and Thomas MacDonagh.<br />

Ironically, Clarke was not born in Ireland but<br />

in an army barracks on <strong>the</strong> Isle of Wight in<br />

England, where his fa<strong>the</strong>r was a soldier in <strong>the</strong><br />

British army. Thomas MacDonagh had a middle<br />

class education in Rockwell College, Co<br />

Tipperary, and was a lecturer in English in UCD.<br />

In 1912, he married Muriel Gifford, a member<br />

of a well-known Church of Ireland family in<br />

Dublin. Éamonn Ceannt, an accountant, was<br />

born Edward Thomas Kent, <strong>the</strong> son of an officer<br />

in <strong>the</strong> Royal Irish Constabulary.

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