By John Wilson Foster
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Additional resources for The Cambridge Companion to the Irish Novel (Cambridge Companions to Literature)
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The hero, a minor European prince fighting for William, falls in love with a local girl, Marinda. The class difference between the two causes the Prince to hope that he can seduce, rather than marry, the heroine, but eventually he recognises the heroine’s virtue, and they marry. As befits characters in romance, Marinda and the prince share wit and breeding. They also share a commitment to Protestant values, as represented by King William. 3 Or the natives actively threaten the protagonists, as when the heroine leaves the safety of Clonmel and is attacked by Irish-speaking rapparees.
Such a society appeared to Sean O’Faolain and Frank O’Connor unconducive to artistic realism and therefore to the realist novel, indeed to the novel as a genre. In 1947, O’Faolain thought that only four realistic Irish novels had been written since 1922. In 1936, O’Faolain’s novel Bird Alone and, in 1940, O’Connor’s novel Dutch Interior were banned. Whether they were right or wrong in thinking that a healthy novel tradition required a certain kind of society, both writers turned almost exclusively to the short story (which they thought expressed best Ireland’s fragmentation), in which they achieved international reputation.
The draper complained that the English know of Ireland ‘little more than they do of Mexico; further than that it is a Country subject to the King of England, full of Boggs, inhabited by wild Irish Papists; who are kept in Awe by mercenary Troops sent from thence’ (Prose Works, vol. x, p. 103). It does not belittle Swift to suggest that some of the force of his ferocious indignation on behalf of the ‘savage Irish’ came from the suspicion that he was, in certain eyes, numbered among them. The History of Jack Connor William Chaigneau (1709–81) shared with Swift an immediate experience of dislocation, being born in Ireland to a French Huguenot family.