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This book explores the official 50th anniversary commemorations of the 1916 Easter Rising in the Irish Republic how the government reinvented the message of 1916 through the jubilee celebrations; the organization of various unofficial commemorations in Northern Ireland; and the significance of these for nationalist and unionist politics in the mid-1960s. The book also examines the 1966 anniversary celebration of the Rising from the perspectives of drama, performance, youth culture, and history.
This book examines the Irish government's reinvention of Easter 1916 through the official golden jubilee celebrations in 1966. Unofficial commemorations in Northern Ireland are also examined. Also analyzes the golden jubilee of the Rising from a political perspective and from the perspectives of drama, performance, youth culture and history.
One hundred years ago, Easter 1916, Irish revolutionaries rose against the British Empire proclaiming a Republic from the steps of the General Post Office in Dublin. The men and women of the Easter Rising were defeated by the overwhelming force of the British Army, in five days of intense fighting. Their leaders were executed. But the Easter Rising lit a fire that ended with the whole country turning against Westminster’s rule, and founding a nation. But today, the heirs to the Irish state are embarrassed about 1916. They are ashamed that their state owes its origins to a revolution. Along with academics and other commentators in the press and on television they dismiss the Rising as the work of violent fanatics, and the defeat of constitutional politics. Who’s Afraid of the Easter Rising? explains why today’s Dublin elite are recoiling from the origins of their state in a popular struggle. Where the critics paint the Rising as an armed conspiracy, we explain that it was in fact a revolt against war; not a militaristic upsurge, but the first challenge to the awful slaughter of the First World War. The Statesmen of Europe sacrificed millions upon the altar of war. Their recruiting sergeants in Ireland, Edward Carson and John Redmond sent 200,000 Irishmen into the slaughter and nearly 50,000 were killed. The Easter Rising drew a halt to British recruitment, and the blow to the Empire was the first crack in a growing revolt against the war, followed by the Russian Revolution in 1917, and the German revolution the following year – which ended the conflict. The Easter Rising was an inspiration to those who were challenging the Empires of Europe, from India to Vietnam, from New Zealand to Moscow; it was an inspiration to British activists like John Maclean and Sylvia Pankhurst; and it was an inspiration to the Irish men and women who rose up against British rule to free their nation.
We know from our literary histories that there was a movement called the Irish Literary Renaissance, and that Yeats was at its head. We know from our political histories that there is now a Republic of Ireland because of a nationalistic movement that, militarily, began with the insurrection of Easter Week, 1916. But what do these two movements have to do with one another?... Because I came to history with literary eyes, I could not help seeing history in terms and shapes of imaginative experience. Thus Movement, Myth, and Image came to be the way in which the nature of the insurrection appeared to me. This method of analyzing historical event as if it were a work of art is not altogether as inappropriate as it might seem when the historical event happens to be a revolution. The Irish revolutionaries lived as if they were in a work of art, and this inability to tell the difference between sober reality and the realm of imagination is perhaps one very important characteristic of a revolutionary. The tragedy of actuality comes from the fact that when, in a revolution, history is made momentarily into a work of art, human beings become the material that must be ordered, molded, or twisted into shape. (from the preface)
'But I, being poor, have only my dreams; / I have spread my dreams under your feet...' By turns joyful and despairing, some of the twentieth century's greatest verse on fleeting youth, fervent hopes and futile sacrifice.