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greatmuldini · 2 years

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The events of 6 December 1890 were neither preordained nor were they premeditated. Nothing that transpired on the day was inevitable or irreversible: participants chose to stay in character, and to act out their roles in what would eventually be described by biographers and historians as the Parnell Tragedy (Jules Abels, 1966).

Everyone at the time would have been aware of the historical significance of their actions, if not the long-term consequences - excluding of course, the one female member of the cast who could not possibly have known what she was doing. By dint of this congenital deficiency she would also quite naturally be blamed for causing "Ireland's misfortune." Simple and satisfying in terms of its mass market appeal, feminine impulsivity does little to explain the supposedly rational decisions taken by the men around her in the name of patriotism and political expediency - which far from producing an amenable solution served only to exacerbate the crisis. Whereas the exact circumstances and full cast of characters have faded over time the larger-than-life figure of Charles Stewart Parnell still towers over the events of 6 December 1890 as the one man who could have had it all - and lost it all.

Sixty-four years later, the Fall of Parnell inspired an episode of the BBC's "experimental" television series You Are There which set out to present the known historical facts, faithfully, but with an added dimension unique to the new medium: actors would impersonate the key personnel as in a conventional re-enactment. While going about their "business," however, they would be interviewed by modern television reporters. The curious anachronism underlined the artificiality of the concept; it meant the programme was deliberately drawing attention to itself which would have been an unwanted distraction, for You Are There it was the defining feature. Neither the programme nor its - fictitious - journalists were interested in the exploration of alternative histories or in-depth character studies: the point was to demonstrate the possibilities of "live" television, ironically, in a simulated setting. Fact and fiction are trading places as the reality of 1890 becomes the subject of a 1950s fantasy, and the medium of the future interrogates the evidence of the past. For the actors it would have been a challenge to navigate between imaginative portrayal of a fully formed human being and the faithful rendition of the intrinsically incomplete historical record.

The historical record states that Charles Stewart Parnell was born in 1846. The son of a Protestant Irish landowner and an American mother was not naturally predestined to champion the cause of destitute Catholic tenant farmers; indeed, nothing in his early life pointed to any such leanings. As an aristocratic country gentleman he had nothing to fear and everything to gain from the firm imperial rule exerted by the British Crown over the Island of Ireland.

And yet it was Parnell, the English-educated man of pedigree, who emerged as the voice of the starving rural population. Having decided to enter politics for reasons that are still unclear, he found his calling as the Westminster MP for County Meath not in the defence of privilege but in the vocal support - initially for land reform and then increasingly for Irish nationalism ("Home Rule"). Over the next five years Parnell gained a reputation and a following as a fiery orator back in Ireland and a force to be reckoned with in the House of Commons, where is name became synonymous with the new parliamentary tactic of "obstructionism." If the English politicians could not be moved to act in Ireland's interest Parnell vowed to meddle in English affairs. And meddle - or obstruct - he did. After a century of inaction and neglect, the Irish Question seemed relevant again, if only because its proponents made it impossible for English laws to be passed. Parnell seemed to thrive on his tactical manoeuvring which he was prepared to carry to painful extremes, on multiple occasions – including arrest and imprisonment, at the risk of damaging his already fragile state of health.

By 1880 Parnell controlled both the radical grassroots movement in Ireland and the parliamentary representation of Irish interests in London. The position made him a frequent dinner guest in the homes of friends and allies, where on several occasions he also enjoyed the hospitality of Mrs Katharine O'Shea, the English wife of a fellow Irish MP, who was sympathetic not only to the cause but to the man who personified the struggle. Mrs O’Shea had a discreet arrangement with her husband, Captain William “Willie” O’Shea, the Member for County Clare and Galway: their marriage would exist on paper only for the benefit of Willie’s career; while he conducted his business in London she would reside at their official family residence and entertain important visitors. Parnell would often stay as a guest of the family - to recuperate after gruelling campaigns in Ireland, was the official explanation given.

For the next ten years the couple conducted an illicit affair that produced four children and saw the singled-minded saboteur of the political system lead a double life away from Parliament and in the company of Katharine O’Shea. The relationship was not as one might assume a tempestuous whirlwind romance but a curiously claustrophobic still-life of Victorian domesticity - an alternate, self-contained reality where Parnell and his "Queenie" could act out their fantasy of living simply as husband and wife. Their apparent longing for simplicity may also help to explain the ease with which they expected to lead two entirely separate and parallel lives, apparently unaware of or unwilling to acknowledge the inherent paradox and inevitable complication.

In the political arena Parnell was for most of the 1880s an extremely effective manipulator of moods and opinions, always weighing and adjusting the demands of Irish nationalists against the calls for the use of force from the British press, the public, and its politicians. Anyone looking for a core belief or deeply held conviction would have been disappointed by the vagueness of Parnell's own stated aims - which he used to great advantage because it allowed him to gain the confidence of the British side and the respect of his own following. As a small but significant minority, the Irish (or Home Rule) Party under Parnell's skilful machinations was able to make demands in return for the votes it lent to either one of the two dominant forces in 19th century British politics: the Tory (Conservative) Party or the slightly more reform-oriented Liberal Party.

Parnell’s elusiveness became his trademark: the less he said in public, the fewer appearances he made in Parliament, the taller he grew in stature. In 1887 he was accused of having endorsed the murders of two British politicians in Dublin. When the alleged endorsement turned out to be a forgery two years later, the popular reaction was one of relief and renewed admiration for the noble freedom fighter who had been so horribly maligned. By 1889, it seemed as if nothing could go wrong for Charles Stewart Parnell.

Home Rule seemed within reach when, in May of 1889, Katharine O'Shea learned of the death of a wealthy aunt whose fortune she was to inherit. The additional funds would have been a welcome boost to Katharine's finances had it not been for her husband's unexpected interference. Captain William “Willie” O’Shea chose this moment to strike, possibly to exact revenge, more likely to improve his own pecuniary situation. And thus, Captain O'Shea went ahead and contested the will, citing his wife’s infidelity, and his intention to divorce her. Surprised but hardly alarmed, the lovers welcomed what they thought would be an opportunity for them to make their relationship official, the sooner the better.

From the very beginning their affair had been an open secret in political circles, but the Captain’s announcement put the fact of their adultery in the public domain. With their case not due in court for at least another twelve months (i.e. late 1890), Katharine and Parnell were powerless to stop the scandal from spreading, and their silence on the matter allowed grievances to fester. No public statement was ever published, nor did the couple make any public gesture of remorse. They did launch a half-hearted and unsuccessful counterclaim not to deny the adultery but to accuse Captain O’Shea of adultery as well, presumably to shame the Captain into withdrawing his allegation.

For an entire year the unresolved state of their private affairs overshadowed Parnell’s political battle; it affected his health and continued to corrode confidence among his allies in parliament and at home but most significantly among the ranks of the Liberal Party led by Prime Minister William Gladstone. Ironically, and with tragic consequences for Katharine and Parnell, the earliest and most vociferous condemnations came not from the Catholic Church (both Parnell and Katharine were Protestants) but from the other “Nonconformist” denominations outside the established Church of England, which was traditionally a preserve of the Tory (Conservative) Party. An influential group among the Nonconformists were Methodists, whose large working and middle-class following had found in Gladstone’s Liberal Party their political home.

When the divorce eventually came through in November 1890 (decree nisi), Parnell was branded a “convicted adulterer” but also won the legal right to marry Katharine after completion of the obligatory six-month waiting period (decree absolute). The salacious - and uncontested – testimony offered in the course of the trial was, however, fresh on the minds of his party colleagues who were meeting to decide on his future as party leader a mere fortnight after the court’s decision. Gladstone had already warned Irish MPs of the danger to their alliance, the implication being that the Liberal Party would lose the support of its Nonconformist base if it continued to cooperate with a “convicted adulterer.” The message was clear: Irish MPs had no hope of winning Home Rule with Parnell as their leader. They needed the good will and legislative might of a strong Liberal government - and Liberal voters had strong ideas about marriage and adultery. Gladstone did, in effect, issue an ultimatum to Irish parliamentarians: lose your leader or lose Ireland.

Party activists in Ireland meanwhile re-elected Parnell as leader of the Home Rule Party before news of the ultimatum reached their shores, creating an awkward situation which allowed Parnell to claim he had the backing of the party rank and file, while Gladstone faced the beginnings of a split in his own party over the very issue of Irish Home Rule.

Parnell promptly refused to stand down, declaring instead that he considered the matter of Mrs O’Shea’s divorce closed and that, far from being a friend of Ireland, Gladstone had betrayed their cause. Whether or not the accusation was based in fact [substance] hardly mattered in the greater scheme of things. It was Parnell's word against that of the Prime Minister, and a decision had to be made: should the Irish Home Rule Party defy Gladstone and keep Parnell as their charismatic leader, or should the convicted adulterer be deposed in return for English concessions?

On 6 December 1890, after seemingly endless negotiations, Irish parliamentarians convened another marathon session to break the deadlock without destroying the party, its leader, or their country. Obstacles proved insurmountable as Parnell himself chaired the meeting and overruled any motion calling for a vote. Members present at the meeting noted his increasingly autocratic behaviour with concern and were alarmed by the apparent disintegration of his mental and physical identity. What they were witnessing may have been, on one level, the self-evisceration of a disgraced politician, but the concrete struggle of the individual to control his own destiny, and the narrative about it, had gained additional layers of meaning that transcend literal explanations for Parnell's fate.

The extent to which he did control the mythology of his downfall as well as his subsequent (and posthumous) apotheosis is a fascinating subject for debate: was he drawing attention to the opposing forces behind his identity or trying to deflect attention away from his failure to reconcile the two when he claimed that Gladstone and the Liberals were the true enemies of the rightful Irish claim to self-determination? No longer was the crisis a moral dilemma but a question of national pride. The private transgression becomes an affair of state - no longer is it a moral dilemma but a question of national pride: if it was up to the English to dictate who is to be their leader, then Gladstone truly was the master of the Irish Party.

Parnell's rhetorical masterstroke elevated his imminent ouster as party leader to an affront of international proportions by blurring the very boundaries he had otherwise hoped to maintain between the private man and his public persona. It also drew an instant reaction from the assembled party colleagues. "Who is to be the mistress of the party?” put paid to Parnell's noble-minded aspirations and reminded those present once again of the sordid scandal and the root cause of their troubles. Unable to vote the party leader out of office, 44 of his fellow members stood up and left the room, 26 remained with Parnell. It is this moment You Are There chose to dramatize, for the sheer symbolism of the scene: the leader without majority, his party crippled for decades to come. The Liberal Prime Minister ruling unencumbered.

Parnell's story, the story of Ireland's struggle, could have ended here. Or it could have ended differently. If each of the protagonists had chosen a different course of action. Parnell, for his part, chose to fulfil what he must have thought of as his destiny: within hours of the party meeting that left him - it must be remembered - still nominally undefeated, he embarked on a tour of Ireland to speak at rallies and unite the crowds behind the candidates he chose to stand in by-elections. Any hopes of regaining the momentum lost in London were slim at best; the winter weather and Parnell's failing health reduced the schedule and, compounded by his ever more radical oratory, crowds became more difficult to control, and enthusiasm for the struggle was waning. But just as the chances of a concrete, real-life settlement were growing increasingly remote, the idea of the struggle captured the imagination of contemporary and subsequent generations, and Parnell became its idealized figurehead - not without considerable work from Parnell himself, who cultivated an air of steely nerves, superhuman strength, and emotional detachment in public while being fiercely protective of his privacy. The polar opposites that defined his existence, through their very incompatibility, presented an impossible conundrum: unable to reconcile the two, incapable of compromise, the Parnell machine was at a crisis point.

Campaigning in Ireland continued throughout the summer but none of the chosen candidates were victorious. Parnell and Katharine finally became a married couple on 25 June 1891, but their life together as husband and wife only lasted a little over three months and ended with Parnell’s death on 6 October 1891. They were both 45 years old at the time.

In poetic terms, Parnell had committed the ultimate sin of the tragic hero: to think of himself as indispensable. In the eyes of his supporters, and presumably his own, Parnell had become the personification of an idea, an idea that without him was thought to be non-viable. Parnell and Irish Home Rule were interchangeable; the means and the end had merged into one. Much like the fatal flaw carried by every tragic hero in the history of human endeavour, Parnell's hubris made him both unique and universal, gave him superhuman powers and made him vulnerable - not in a simple case of crime and punishment but in the pursuit of a noble mission that is ultimately larger than the man who has internalized it as his own.

To paraphrase Hilary Mantel, we tend to fictionalize those who can no longer speak for themselves; in Parnell's case there is perhaps a greater need than with many of his peers to interpret where we cannot explain, and to speculate were we cannot know.

Indeed, so strong was the sense even among contemporaries of a catastrophic derailment of their hopes and dreams, and so great the loss of confidence in the political process, it gave rise to an entire subgenre of historical fantasies indulging in mostly wishful thinking: what if Parnell's campaign had been successful and he had lived to see an independent Ireland? What if there had never been a scandal? What if we could turn the clock back far enough to prevent all bad things from happening? This being a male-centric scenario we easily move on to imagining the hero going about his business without "distractions," and what might have been if Parnell and Katharine O'Shea had never met. The further the fantasy travels back in time, however, the more it will be about erasure of the past rather than an extension of existing timelines. As a work of fiction, it may well be a legitimate subject for philosophical or even psychological enquiry that can provide a temporary reprieve from the struggle. It can never be the solution. [Part 2 of 2]

#Patrick McGoohan #Helen Shingler #were 26 and 35 years old respectively #when they portrayed Charles Stewart Parnell and Katharine O'Shea live on BBC TV #impossible casting by today's standards but in 1954 #leading men were expected to cover a much wider age range #fortunately the BBC secured for the part #of the enigmatic giant of Irish nationalism #an actor whose heritage and disposition were an uncanny match #having played much older men on stage before as was indeed the practice in #repertory theatre and the tradition carried over into early television #interestingly the young talent that the new medium attracted in its experimental phase #later launched a televisual experiment of his very own in the pursuit of something #as elusive maybe as the source of Parnell's political ambition #whether it is life imitating art or patterns emerging in hindsight #we will interpret and fictionalize #compare and analyse to satisfy our own obsessions #because that is what this is really #who in their right mind would see shades of Parnell in Col Rumford #or the myth behind the man #for fleetstreetpauline always

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nunyabznsbabes · 10 months

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Katniss is like Lucy Gray this, Katniss is like Sejanus that, and yes fine that's all good and true and lovely but Katniss Everdeen is also a direct parallel to Coriolanus Snow and people NEED to start talking about this because it's driving me crazy.

Think about it: they both grew up poor and deeply vulnerable, losing parents at a very young age, with a matriarchal adult (Katniss' mother and Coriolanus' Grandma'am) who fails to provide for them emotionally and physically. They intimately understand the threat of starvation, even developing with stunted growth because of it, and their narrations in the books share a fixation on food. Throughout their childhoods, both experienced constant fear and suffered a fundamental lack of control over their circumstances. Because of this, they're inherently suspicious of the people around them. They resent feeling indebted to others, especially those who have saved their lives. They're motivated almost entirely by family and deeply connected to their communities. Both are used and manipulated by the Capitol, both are forced to perform to survive and despise every inch of it, both are thrown into the Arena and made to kill. Both have a self-sacrificial, genuinely sweet sister figure acting as their conscience. Peeta and Lucy Gray - performers and love interests with a fundamental kindness and sense of hope about them - fulfill markedly similar roles in their narrative. Both contribute to the development of the future Hunger Games, Snow throughout tbosas and Katniss towards the end of Mockingjay.

It's easy to ignore these similarities because, as mirrors of each other, they are exact opposites. Katniss is from District 12, viewed and treated as less than human; Snow is the cream of the Capitol crop, given the privilege of a name with social weight, an ancestral home, and the opportunity of the Academy despite having no more money than a miner from 12. Katniss has no agency over her life, and responds by being kind whenever she's able, while Snow justifies horrendous evils in order to continue his quest for complete control. Katniss does everything she can to protect her family; Snow does everything he can to protect his family's image as an extension of his own ego. Katniss loves her District and connects with its inhabitants on a meaningful level, but Snow is indifferent at best to his peers - the apparent "superior people" - and only engages with his community for personal gain. Katniss emerges from the Arena horrified at herself and the system, but Snow takes his trauma and turns it into an excuse to perpetuate the violence with himself at the top. Katniss cares for Prim until her death and then snaps at the loss of her little sister, while Snow survives on Tigris' blood, sweat, and tears and then torments and abandons her, presumably because she calls him out on his insanity. Snow actively adds to and popularizes the Hunger Games because of his vendetta against the Districts following his childhood wartime trauma - Katniss briefly agrees to a new Hunger Games in the pursuit of vengeance, but later stops them from happening by killing Coin and choosing a life of peace and privacy. Snow is obsessed with revenge, but Katniss empathizes with the Capitolites and does what she can to keep them from suffering. He exists in a cruel system and selfishly upholds it; she exists in a cruel system and works to dismantle it for the good of her family and community, at great personal cost. And Peeta and Lucy Gray are incredibly similar, but Katniss and Peeta forge a relationship of genuine love and understanding that shines in comparison to Coriolanus' obsessive projection onto Lucy Gray.

So, yeah, Katniss is Lucy Gray haunting Coriolanus. But I bet you anything that eighty-something year old President Snow looks at her, the girl on fire, bright and young and brilliant, emerging from a childhood of starvation with a relentless hunger for success, a talented and charming performer helping her win the Games, and he sees the ghost of his own past. And that's why he's so afraid of her! Because if he sees himself in her, then he's up against his own cunning, his own talent for manipulation, his own charisma, his own genius. He's up against the version of himself that he once wished to be, with the nightmare army of his childhood at her back and her star-crossed lover at her side, spewing Sejanus' truths in his own voice. This isn't to say that Katniss ever achieved the level of power and agency that Coriolanus did during her time with the rebellion, but it is to say that Snow was taken down by what truly terrified him - his own morality, come to finish the job.

#the ballad of songbirds and snakes #tbosas #katniss everdeen #coriolanus snow #president snow #lucy gray baird #peeta mellark #everlark #tbosas meta #the hunger games #thg #snowbaird

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