Blight (play)

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Blight: The Tragedy of Dublin is a play by

preventive medicine
, were capable of producing positive change.

Gogarty and O'Connor.[1]

Background

A medical doctor as well as a writer,

Gogarty his whole life; as a senator, he made twenty-seven separate speeches on housing in a single year.[3]

John Wyse Jackson and Peter Costello have argued that

Gogarty was later to describe their house in Cabra as "a miserable home".[5] Similarities can be detected between the clever, idle schemer "Stanislaus Tully" and Joyce's father, John Stanislaus Joyce. James Carens has also noted that Gogarty gives "the affectations of his Ely Place neighbors, George Moore and Sir Thornley Stoker" to two of the Townsend Thanatorium's board members.[6]

Plot

The story of Blight centres on the character of Stanislaus Tully, a

British army
. The first two acts are devoted to their squalid living conditions and the well-meaning but misguided attempts of a charity worker to alleviate their situation with platitudes. At the end of the second act, it is revealed that Tully has won his court case and come into a small fortune. He immediately abandons his rabble-rousing reformist stance and decides to buy property in the slums.

The third act takes place in the Townsend Thanatorium Boardroom and opens with a comic discussion between two medical students, Medical Dick and Medical Davy, and a charwoman; during the course of their dialogue, it is revealed that Lily Foley has contracted

Protestants, Catholics, and Nonconformists, which is criticised as useless and frivolous by Dr. Tumulty, a cynical, practical-minded doctor. Tully, now a member of the Dublin Corporation, arrives to broker the sale of some tenement property as a site for the project. The meeting is disrupted by Tully's brother-in-law, Foley, who has returned from the war to find that he has been evicted from his tenement
and that his wife, son, and newborn child have all perished in his absence. The Board responds with meaningless words of sympathy but apparently does not feel any culpability, and Dr. Tumulty is left to state the moral of the play: "All your benevolent formulism only makes the position more and more hopeless. The less you spend on prevention the more you will pay for cure. Until the citizens of this city realize that their children should be brought up in the most beautiful and favorable surroundings the city can afford, and not in the most squalid, until this floundering Moloch of a Government realize that they must spend more money on education than on police, this city will continue to be the breeding-ground of disease, vice, hypocrisy and discontent. I leave you to erect your tripartite edifice over the children of the city of blight."

Gogarty's skilful use of comic dialogue and irony have been praised.[7][8]

Reception and influence

The play was highly anticipated by the theatregoing public and played to packed houses, with the Irish Independent commenting that "such an audience has not been at the Abbey since the night Shaw's Blanco Posnet was first produced [in 1909]." Critics commented on the play's grim efficacy in unveiling the horrors of slumdom, and Sir John Russell, speaking at a charitable dinner a week after the Blight's appearance, said that it exposed the plight of Dublin's poor as no play ever had.[9] Andrew Malone, writing a review of Irish drama in 1929, called it "undoubtedly the best play yet produced by an Irish dramatist dealing with a specifically Irish social problem" and observed that it "is marked by a critically ironic insight into social conditions."[7] Blight drew in a record £160 in profits for the Abbey, but was cancelled by Lady Gregory after ten days, possibly due to the controversiality of some of its content.[9]

Seán O'Casey was present at Blight's opening night, later stating that it was one of only two plays that he had ever gone to see at the Abbey.[10] It has been suggested that Blight may have had an influence on O'Casey's later drama, particularly Juno and the Paycock,[10][11] but O'Casey himself claimed that it "had no influence whatever on me."[12]

Sources

  1. ^ Carens, James (1979). Surpassing Wit. New York: Columbia University Press. p. 45.
  2. ^ Carens, p. 41
  3. ^ Jeffares, A. Norman (2001). The Poems & Plays of Oliver St. John Gogarty. Buckinghamshire: Colin Smythe Ltd. p. 506.
  4. ^ Jackson, John Wyse (1997). John Stanislaus Joyce: The Voluminous Life and Genius of James Joyce's Father. Dublin: Fourth Estate. p. 361.
  5. ^ Rodgers, William (1973). Irish Literary Portraits. New York: Taplinger Publishers. p. 34.
  6. ^ Carens, p. 43
  7. ^ a b Carens, p. 42
  8. ^ O'Connor, Ulick (1963). Oliver St. John Gogarty: A Poet and His Times. London: Jonathan Cape. p. 155.
  9. ^ a b O'Connor, p. 154
  10. ^ a b O'Connor, p. 155
  11. ^ Carens, p. 45
  12. ^ Murray, Christopher (2004). Sean O'Casey: Writer at Work. Montreal: McGill-Queens Press. p. 468.
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