Ibsen and the Irish Revival by Irina Ruppo Malone

By Irina Ruppo Malone

Ibsen and the Irish Revival examines Henrik Ibsen's impression at the Irish Revival and the reception of his performs in turn-of-the-twentieth-century Dublin. It highlights the foreign measurement of the Irish Literary Revival and provides new views on W.B. Yeats, J.M. Synge, Lennox Robinson, James Joyce, George Moore and Sean O'Casey.

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Davis has pointed out, had probably thought the play would be suitable for the small child that was with her)82 ‘said in a very loud voice: “Timmy, if you promise to go home at once, we’ll leave now”’. ’ While he ‘hated the play’, Yeats writes that he became convinced that while ‘Ibsen and I had not the same friends … we had the same enemies’. Yeats admitted that his generation could not ‘escape’ Ibsen − as soon as they were available in English,83 he purchased Ibsen’s collected works and studied the plays on his travels around Ireland.

79 Given Joyce’s familiarity with the Irish press, his interest in the theatre and the minutiae of Dublin popular culture, it is likely that he would have known about the Players’ Club production even if he had not seen it. Yet there is no mention of it in Stephen Hero or, even more surprisingly, in Stanislaus Joyce’s My Brother’s Keeper. ’80 Joyce’s passion for Ibsen was possessive. He gloried in opposition and jealously guarded his master from others. 82 However, this incident also goes unmentioned in Stephen Hero.

W. Mahood, who played Krogstad, and Miss Lily and Mr S. W. Maddock, who played the servant and the porter respectively do not appear in later Dublin productions. 58 It is not unlikely, however, that he was the anonymous ‘Ibsenite’ of the Daily Express review. In 1913−15, when Martyn was again involved in amateur productions of Ibsen’s plays in Dublin, he was careful to draw attention to the performances and praise the actors in the newspapers. This habit might have been acquired early. Who else but Martyn had in 1897 a reputation as the 20 Ibsen and the Irish Revival Dublin Ibsenite and could compare the Dublin production to the French production of Mme ‘Rejane, who failed ...

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