Celtic Myth vs. DBL
Cuchulainn stands as a great mythological character, powerful and brave, although his life is doomed to end tragically. He is one of the main characters in the Ulster Cycle, a Celtic myth which features a tale of Cuchulainn’s incredible talent in strength and defense from the time of his birth to his death. Cuchulainn continuously finds new women to fall in love with, which this in turn completely ruins his relationships already made; he unknowingly kills his own son; andhe murders his best friend in a battle (Ellis, 70).
When looking at Dublin by Lamplight, it is interesting to see the connection in the character of Frank, who is also a sad hero (Retzlaff, 13). Frank’s life becomes a huge disaster at the end of the play, especially with the murder of his brother Willy. Frank ultimately only tries to do well and stand up for what he believes in – but his decision to act violently, serves as his downfall and main character flaw, which altogether destroys his life. Another similarity between both Frank and Cuchulainn, is the fact that Cuchulainn’s original name was really Setanta, but later changed to Cuchulainn, which means hound of Culann the smith (Retzlaff, 50). Frank, also has two names; his real name and his stage name of his character, which so happens to be Cuchulainn. Although these two characters may have many similarities in their character traits and life stories, they also hold differences, which add to Dublin by Lamplight’s desire to change around this classic myth.
In Dublin by Lamplight, during Frank’s grand performance on stage, he disappears halfway through the play. He had some sort of an idea of what kind of trouble he was into. In the Ulster Cycle, Cuchulainn pierces his foot as he gets ready for battle, which stands for a symbol for his death that draws near (Retzlaff, 68). Both these situations foreshadow that the unexpected and most horrible circumstances are yet to come.
The difference between these two characters is that Frank is more of an irresponsible character, who makes irrational decisions. An example from the play is when he’s too intoxicated that he believes to have lost his ticket, meanwhile it was left in his pocket back at the theatre. Another example is when he murders a young boy and only realizes after he has committed the crime that it might not have been the solution to his problem. In Act II, Scene 18, the IRB Men question Frank about the play “The Wooing of Emer” that they are putting on. When Frank tells them that he plays the mythical hero Cuchulainn, they laugh at him, most likely because Frank’s own character is far from the great hero that Cuchulainn was described as. In Act III, Scene 7 of Dublin by Lamplight, the Castle Agent also refers to the dead body at the morgue to Cuchulainn, the tragic hero, which serves as symbolism for Frank’s life that is to become tragically sour.
- Lisa Yaroski
The Importance of a Feminist Mythology to the Irish Stage
The figure of Mother Ireland grows from a long and rich Irish tradition of mythology, legend, ballad and oral folktales (Innes 16). The existence of a mother goddess figure is well documented in Irish myth, but it is not until the 18th century, when Ireland is beginning to be colonized, that Ireland itself is mythologized as a motherland (Innes 18). The fact that Ireland was feminized is crucial; for women, in their virtue, act as “guardian[s] of the traditional order” (Ryan 1). Thus, “the mythical motherland served as a goddess of sovereignity” who could “restore a lost national identity” and undo the wrongs of history in myth (Kearney 114). Foundational myths of motherland “enable the orphaned children of Erin to return to the security of their maternal origins” (Kearney 118) and break the colonial dependency upon Britain.
We therefore see that “the literature of early modern Ireland is, in essence, a heroic literature” (Innes 44). Ireland becomes embodied in outstanding individuals because it allows for one to make possible at an imaginary level what is impossible in real existence (Kearney 108-109). Many literary revivalists championed mythology and the Mother Ireland figure as “symbolic compensation for the colonial calamities of history” (Kearney 113). The idealized Celtic paganism provided a sense of original identity for the Irish, a collective unconscious memory comprised of holy symbols that had been given to them in the past, but were still relevant in providing a sense of solidarity (Kearney 114).
Therefore, by performing the mythological play “The Wooing of Emer” in Dublin by Lamplight, the characters do more than re-tell and honour a history—they actively engage in an ideological and political dialogue. Myth at this time had great power and resonance in Ireland. In the play, it becomes the language and vehicle through which the Irish National Theatre seeks to express modern ideas, feelings, and concepts. Emer immediately conjures up images of Mother Ireland, both because of her status as a mythological figure, and her representation of ideal womanhood. In myth, she is Cuchulainn’s wife, but to win her, he must prove himself as a hero, and fight for her (“Emer”). Similarly, the mythical Mother Ireland figure asks her men—the men of Ireland—to fight for her and protect her. Thus, in “The Wooing of Emer”, when Emer cries “Men of Ireland, sons of Erin, your country needs you, rise” (Act 2, Sc. 10), she is embodying the Mother Ireland figure. Just as Cuchulainn fights for Emer, so too must the men of Ireland join the heroic ranks of mythology and fight for Erin, their Mother Ireland.
– Laura Langlois
Politics within Dublin by Lamplight in relation to the Ulster Cycle
Touching upon the political aspects of the play, in Act one, Scene 4 Willy tells Frank: “Remember, Frank. This is the moment of truth. Tonight you go before our countrymen to strike a blow for freedom, for nationhood. Tonight you’re going to act for Ireland.” and Frank replies: “For
- Lisa Yaroski
Headhunters and Masks
In the Ulster Cycle, the warriors believed that collecting the heads of those lost in the battle, served as a kind of trophy for these headhunters (Retzlaff, 21). It is interesting how the head is viewed as power. Relating this back to
Where Does the Story Come From?
Willy’s ‘The Wooing of Emer’ borrows from a section of Lady Augusta Gregory’s ‘Cuchulain of Muirthemne,’ which is essentially her english translation and arrangement of the ‘Ulster Cycle;’ a mythological cycle of Irish kings in Old Irish. Gregory, a founding member of the Abbey Theatre, wrote nineteen plays that would be produced there. Her original works and translations were her contribution to the Irish literary revival as she offered a reconnection for those who had lost touch with the old legends. (Kiberd, 399) For more information about Lady Augusta click here.
How the Text Was Altered for Modern Audiences?
In the wooing, also called ‘The Courting of Emer,” Cuchulain (played by Frank in ‘Lamplight’) travels by chariot to seek out a worthy wife for himself, a hero who’s greatest flaws were that he was too young, too daring, and too beautiful. He finds Emer (Maggie) who possesses six gifts: beauty, voice, sweet speech, wisdom, chastity and… needlework? This is fitting, however, for Maggie the wardrobe girl. Cuchulain decides that Emer is worthy of him because of her ability to hold conversation with him. The two speak in riddle confusing those around them and disguising their flirtatious behaviour. “Up to this time,” Cuchulain says, “I have never found a young girl able to hold talk with me the way you have done.” (Gregory, ‘Cuchulain of Muirthemne’, 38) Then, Emer lists her stipulations for marriage.
Cuchulain’s Chariot from Scenes of Early Irish History by Henry McCarter.
Image Source
Note: Chariot driver ‘Laeg’ is depicted in the background. The black crow behind Cuchulain’s sheild is foreshadowing the hero’s death. Cuchulain dies standing up after fastening himself to a pillar-stone. “A bird comes and settles on his shoulders, sensing carrion (in some versions the bird drinks Cuchulain’s last drops of blood.)” (Kiberd, 412)
These marriage arrangements are alluded to in the play within the play during the following dialogue:
“Frank I see a sweet country; I could rest my weapon there.
Maggie No man will rest there till he has stayed awake from autumn to spring and from summer to winter.” (West, 47)
This exchange is expressed in riddle in Lady Gregory’s version:
“Fair is this plain, the plain of the noble yoke” says Cuchulain, to which Emer replies: “No one comes to this plain,” said she, “who does not go out in safety from Samhain to Oimell, and from Oimell to Beltaine, and again from Beltaine to Bron Torgain.” (Gregeory, ‘Cuchulain of Muirthemne’, 38) Cuchulainn later explains the meaning of Emer’s riddles to Laeg, his chariot driver, and his translation of her riddles matches dialogue in Willy’s play. He explains that Samhain is the end of summer, Oimell the beginning of Spring, Beltaine is the beginning of Summer , and Bron Trogain is the beginning of autumn.
Weaponry and Symbolism
In Franks line, “I could rest my weapon there” has obvious sexual connotations because Cuchulain usually asserts his dominance over women in the myth by holding his sword to their breast. In lady Gregory’s version the ‘fair plain’ being referred to consists of “the breasts of the maiden over the bosom of her dress.” The analogy is common in the cycle and without his weapon, (usually a spear) Cuchulain is left impotent. During his battle with female warrior Aiofe (with whom he will later have an affair) she breaks “Cuchulain’s spear in pieces, and his sword she broke at the hilt.” (Gregory, ‘Cuchulain of Muirthemne, 46) Ultimately, Cuchulain’s death is caused when “the hero throws his spear at a Druid: this protects Cuchulain’s reputation but at the cost of leaving him impotent. His enemy Lugad then takes the spear and gives Cuchulain his deadly wound.” (Kiberd, 412)
A similarity may be drawn with Frank and the explosives he plans to detonate for Ireland. He becomes sick to the point of near vomiting when he forgets his ‘weapon’, Williy’s leather bag filled with sticks of gelignite, in the Palace Bar. They are described “like sausages in paper” when he places them in the bag. (West, 20) The use of the phallus as it relates to the Commedia dell’arte style can be found here.
What meaning does the use of Cuchulain have in Dublin By Lamplight?
While this certainly isn’t the most important story from the Ulster cycle, Cuchulain and Emer share a similar tragic end to their romance with Frank and Maggie. Neither Frank nor Cuchulain are able to remain loyal to one woman. Instead their loyalties lie with their people and their country. Cuchulain is a useful device in Dublin By Lamplight for his two most admirable traits which intersect with some of the main themes of Michael West’s work. They are as follows:
1) His reluctance to submit to social authority and swear an oath of allegiance to the King.
Instead, Cuchulain is an advocate of personal freedom (like Eva) and he dismisses the King’s political vision of “a centralized, safe, and domesticated Ireland” in the following:
“I’ll not be bound,
I’ll dance or hunt, or quarrel or make love,
Wherever and whenever I’ve a mind to.” (Moses)
Cuchulain attempts to usurp the king, Conchobar (also his father figure), effectively erasing his parent (like other Irish heroes, Stephen Daedelus or Christy Mahon) in order to “conceive more freely of himself.” (Kiberd, 409) This relates to his second admirable trait, that of…
2) Self-analysis and Introspection: ‘a willingness to enter and describe himself’
A trait shared by the group of dramatists struggling to identify themselves and the nation through theatre.
-Stephen Sullivan