Lady Gregory's Toothbrush E-Book

Colm Tóibín

• Herausgeber: The Lilliput Press
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch
• Veröffentlichungsjahr: 2011

Beschreibung

'It is the battle between those who use a toothbrush and those who don't.' So wrote Augusta Gregory to W.B. Yeats; she was referring to the riots at the Abbey Theatre over The Playboy of the Western World, and she knew which side she was on. In this remarkable biographical essay, Colm Toíbín examines the contradictions that defined the position of this essential figure in Irish cultural history, The wife of a landlord and MP who had been personally responsible for introducing measures that compounded the misery of the Irish peasantry during the Great Famine, Lady Gregory devoted much of her creative energy to idealizing the same peasantry – while never abandoning the aristocratic hauteur, the social connections or the great house which her birth and marriage had bequeathed her. Early in her writing life, her politics were staunchly unionist – yet she campaigned for the freedom of Egypt from colonial rule. Later she wrote plays celebrating rebellion, but trembled in her bed when the Irish revolution threatened her property and her way of life. Lady Gregory's capacity to occupy mutually contradictory positions was essential to her heroic work as a founder and director of the Abbey Theatre – nurturing Synge and O'Casey, battling rioters and censors – and to her central role in the career of W. B. Yeats. She was Yeats's artistic collaborator (writing most of Cathleen Ní Houlihan, for example), his helpmeet, and his diplomatic wing. Toíbín's account of Yeats's attemts – by turns glorious and graceless – to memorize Lady Gregory's son Robert when he was killed in the First World War, and of Lady Gregory's pain at her loss and at the poet's appropriation of it, is a moving tour de force of literary history. Toíbín also reveals a side of Lady Gregory that is at odds with the received image of a chilly dowager. Early in her marriage to Sir William Gregory, she had an affain with the poet and anti-imperialist Wilfred Scawen Blunt and wrote a series of torrid love sonnets that Blunt published under his own name. Much later in life, as she neared her sixtieth birthday, she fell in love with the great patron of arts John Quinn, who was eighteen years her junior. Lady Gregory's Toothbrush is a sharp, concentrated, witty and much-needed reassessment of a major cultural figure who has been oddly taken for granted and often badly misunderstood.

Leseprobe

Lady Gregory’s Toothbrush

COLM TÓIBÍN

THE LILLIPUT PRESS DUBLIN

for Dympna Hayes

Contents

Title Page

Dedication

List of Illustrations

LADY GREGORY’S TOOTHBRUSH

Sources

Acknowledgments

Copyright

Illustrations

Pencil drawing of Lady Gregory by John B. Yeats, 8 May 1905 (National Theatre of Ireland)

Coole Park, east front, summer 1896, with Lady Gregory second from left and Sir William Gregory far right (The Irish Architectural Archive)

Wilfrid Scawen Blunt, by Tristram Ellis (by courtesy of the National Portrait Gallery, London)

Sir William Gregory (Berg Collection of English and American Literature, The New York Public Library, Astor, Lenox and Tilden Foundations)

John Quinn with three dogs (John Quinn Memorial Collection, Manuscripts and Archives Division, The New York Public Library, Astor, Lenox and Tilden Foundations)

Robert Gregory, by Charles Shannon (Hugh Lane Gallery, Dublin)

LADY GREGORY’S TOOTHBRUSH

Lady Gregory’s Toothbrush

In 1933, a year after her death, in his book The Winding Stair and Other Poems, Yeats published his two great poems about Lady Gregory. He described her old age in “Coole Park and Ballylee, 1931”:

Sound of a stick upon the floor, a sound

From somebody that toils from chair to chair;

Beloved books that famous hands have bound,

Old marble heads, old pictures everywhere;

Great rooms where travelled men and children found

Content or joy; a last inheritor

Where none has reigned that lacked a name and fame

Or out of folly into folly came.

In “Coole Park, 1929” he contemplated Coole’s legacy and the legacy of his old friend:

They came like swallows and like swallows went,

And yet a woman’s powerful character

Could keep a swallow to its first intent;

And half a dozen in formation there,

That seemed to whirl upon a compass-point,

Found certainty upon the dreaming air,

The intellectual sweetness of those lines

That cut through time or cross it withershins.

The house is indeed gone, but there is no shapeless mound, there are no nettles. Coole did not meet the fate of other such houses in the period between 1918 and 1924. It was not burned; it was not attacked by the locals. It was sold to the Forestry Commission of the new Irish state, and in turn, after the old woman’s death in 1932, it was sold to a local builder who demolished it. The site where it stood is now cemented over. But the famous tree where the famous carved their initials is still there, and it is still possible to make out the letters, from WBY and JBY to JMS and SOC and AE to GBS and, indeed, some others, less famous, both locals and visitors.

The house where Augusta Gregory was born, Roxborough, just seven miles away, was burned down in the Civil War. Soon after the fire, on 8 October 1924, she went to look at it: “The house, the ruin is very sad,” she wrote in her journal, “just the walls standing, blackened, and all the long yards silent, all the many buildings, dairy, laundry, cowhouses, coach houses, stables, kennels, smithy, sawmill and carpenter’s workshop empty, some of the roofs falling in.” “This is a sad day to the whole of us,” Sean O’Casey wrote to her. “The ruins of all these lovely houses constitute a desolate monument of shame to Irish humanity.” The estate Lady Gregory’s family had run for many generations was divided into one hundred and twenty smallholdings, each, as one of her early biographers noted, “with its own neat grey box of a house”.

She was born Augusta Persse in 1852, the youngest girl in a large family followed by four boys. In 1914, when George Moore in his autobiography attempted to suggest that she was “an ardent soul gatherer in the days gone by but abandoned missionary work when she married”, she vehemently denied this in a letter to his publisher. “My mother and my two eldest sisters”, she wrote, “thought it right to point out what they believed to be the different teaching of the Bible to that of the Catholic church to any Catholics who would listen. They made no secret of this proselytism which was much mixed up with benevolence and charity in those days, and my sister, Mrs Shawe-Taylor, especially, worked ardently for its accomplishment … I myself, the youngest, shrank from any effort to shake or change the faith of others.”

She was brought up in a strict and rigid Protestantism with much Bible-reading and devotion to duty. Her mother held strong views on what or who was unsuitable for her daughters. This included the reading of novels, and extended to John Lane, whom her sister Adelaide eventually married, and her cousin Standish Hayes O’Grady, the distinguished translator from the Irish, whom her mother, believing that cousins should not marry, banned from the house.

Lady Gregory’s sisters were taller than her and had greater accomplishments in the art of finding a suitable partner. Augusta was considered the plain one, destined to be the carer, the spinster, whose type was depicted in A Drama in Muslin, George Moore’s novel of Anglo-Irish decay set ten years later. In 1879, however, while accompanying her mother and her brother, who was ill, to Nice, she renewed her acquaintance with their neighbour Sir William Gregory, a widower, who owned Coole Park. He was thirty-five years older than her, he had been a member of parliament for both Dublin and Galway and had also been Governor of Ceylon. Unlike her own family, he did not farm his Irish estate or live fully on its proceeds. He lived mainly in London, where he was a Trustee of the National Gallery. He was interested in books and paintings and, when he came to Ireland, he gave her the run of his library at Coole. She read Roderick Hudson under his auspices, and Middlemarch. In 1880 she married him.