GEORGE BIRMINGHAM AND THE WESTPORT RIOT

New Zealand Tablet, 9 April 1914, Page 9

GEORGE BIRMINGHAM AND THE WESTPORT RIOT

By M.II.

A few weeks ago the Home cables reported the occurrence of a riot in Westport, Ireland, on the occasion of the production, of George Birmingham’s comedy, ‘General John O’Regan’ and those of us who were familiar with that clever work in book form, wondered casually for a minute or two what particular aspect of it had wounded the susceptibilities of the people of Westport. The latest Irish papers give full particulars of the trouble; and indeed even the English publications devote a good deal of space to both sides of the question, in the shape of accounts of the riot, editorials, letters from indignant critics, and George Birmingham’s own defence of his book. The case against George Birmingham, in private life Canon Hannay, a Protestant clergyman, is perhaps best put by the Catholic Times, as follows: aroused by the character assigned to the parish priest. He was represented as a man who, whilst protesting that he could not touch whisky, yielded to pressure and enjoyed a glass in a quiet corner. This is what excited the ire of the people of Westport. They have a high idea of the dignity of the priesthood, and they objected to its being lowered in this way on the stage. Canon Hannay, doubtless, had no intention of wounding their feelings, and it is said that had the play been put upon the boards as he originally wrote it, the audience would not have been so aggressively demonstrative. But their action is likely to have good results. It will teach playwrights who wish to gain the approval of Catholics, that they must not forget the necessity of ensuring respect for the priest when he is brought upon the stage. The Westport folk are quite right in thinking that to caricature the priest is to run the risk of bringing contempt on religion.’ One can, and indeed must, agree with every word of this statement ; and there is also the undoubted fact that many incidents quite unobjectionable between the covers of a book are liable to become offensive when staged. Without seeing the play, one cannot pronounce upon it, although the fact tiiat the author was applied to for permission for it to be performed in a Catholic boys’ college, seems to point to the conclusion that the Westport audience was hyper-sensitive. Still, where the honor of the priesthood is concerned, hypersensitiveness is an excellent fault in the Catholic laity; and the object of this article is not so much to condone George Birmingham’s alleged offence in ‘ General John O’Regan,’ as to emphasise the excellence of the tone of his books, as regards matters Irish and Catholic. It is a regrettable fact that where Birmingham is known at all as an author, he is too often known merely as the writer of those exceedingly clever burlesques ‘ The Search Party,’ ‘Spanish Gold, ‘General John O’Regan,’ etc., etc. To know the real Birmingham, and, for an Irishman, to know him is to love him, one must read the books in which he reveals his real personalitythe personality of a man who is all aglow with a deep and passionate love for Ireland. Such books are -Benedict Kavaiiagh, Bad Times, Hyacinth, and The Seething Pot. In these novels he plays by turns upon every string of that responsive instrument, the Irish heart. He sounds the depths of Celtic spirituality and mysticism; we weep and laugh with him by turns,' and we close the book, saddened by its pathos, perhaps, but feeling that for a time we have Reid intimate communion with the spirit of one who loves Ireland deeply and tenderly, and whose sympathies are as broad as her own green plains. - For George Birmingham embraces in his intimate knowledge and his understanding affection , all that noble army of Irishmen and Irish women who have devoted themselves to one of her many causes in perfect singleness of heart. The ardent Nationalist, the Gaelic Leaguer with his dreams of Irish Ireland, the Sinn Feiner with

his intense energy and fervid intolerance, the landlord who wishes to deal honestly by his tenants, the Catholic priest and the Protestant parson ; we are brought to recognise the Irishman in the heart of each one, and to hail him as a brother. "/ ' ■ Perhaps no writer has grasped so well, or portrayed so vividly, the innate otherworldliness of the Celt. The heroes of his serious novels are almost all young Irishmen, of varying creeds and social positions, who let the world with its advantages slip by them unheeded, while they search for a way in which to serve their beloved country. They have said to Ireland, ‘ In the simplicity of my heart, joyfully have I offered thee all things/ and it is this rare quality of simplicity and utter devotion that gives his books their special attraction and charm. The fact that, as a rule, his heroes are thwarted iii their endeavor to serve their country, while it gives his books the pathetic quality almost inseparable from Irish literature, in no way detracts from their inspiring effect. Few men or women of Irish birth or descent, I think, could close any one of the four novels I have mentioned without feeling an intense and fervent desire to stand shoulder to shoulder in some way with the band of brothers who are working for the good of the well-beloved Island of Sorrow. And as for the statement advanced by some of the correspondents to the Home papers, to the effect that Birmingham deliberately lays himself out to vilify and belittle the Catholic priesthood in Ireland ; this is a grave misrepresentation. On the contrary, he has rendered, as have few Catholic novelists, the extras ordinary dignity and the supernatural character of the priesthood, a character which triumphantly vindicates itself in the most adverse circumstances. Take, for instance, his treatment of the priestly character in the Seething Pot. After showing us the parish priest in the midst of his daily life, when the human elements in his character are most in evidence, he brings back the sentiment of reverence in overwhelming force in that scene replete with spiritual emotion and beauty, when the priest kneels before his bishop, recalling with tears, the graces, and the consolations of his ordination day. And again, take .the portrait of the old priest in Hyacinth, so tender, so charitable, so sensitive to the things of the spirit, and yet so convincingly human. The best testimony to its fidelity is that it inevitably reminds the Irish Catholic of one or another priest whom he has personally known. It is idle to say that a man whose sympathy with the spiritual, aspect of the Irish Celt is so keen, could deliberately set himself to belittle the Catholic priesthood, the greatest spiritual force in the lives of the Irish people. He draws individual clerical types, both Catholic and Protestant, with, unfailing veracity and delightful humor, but the quality of reverence is never lacking in him. To a man who loves Ireland, and her people, we Irish can allow a great deal of latitude ; it is only the unsympathetic touch of the alien that rouses our resentment. And it is well that this is so, for a saving sense of humor has done much to keep our , race vigorous and healthful through the weary years and centuries' of misfortune. It is only those who do not know the true and tender Irish heart of George Birmingham, who will be led into resentment of his gentle humor at the - expense of Irish foibles. Whoever has wept with him over the sorrows of Ireland, will never refuse to laugh with him over the humors of her daily life. - And this fact, translated into the language of practical politics, runs thus Read Benedict Kavanagh before you read General ,lohn 0 Regan.