Douglas Hyde was born in County Roscommon; the son of a Protestant rector for the Church of Ireland. A case of the measles made it impossible for him to attend regular schools and was therefore left under the tutorage of his father. His father taught him only the classics but his personal interests lured him to the firesides of his country neighbors. It was here that he learned to speak the Irish language and heard the old legends for the first time. Even at a young age he saw the Irish language, literature, and culture was slowing decaying - he saw that it was slowly becoming "anglicized." He began to collect the legends, tales, and poems he heard in his excursions throughout the County Connacht; perhaps he only did it as a hobby or a personal interest. He could not have known then that they would soon become his greatest weapons against the creeping death of an Anglicized Ireland (Ryan 216).
He went on to further his education at Trinity College in Dublin; during his years there his academic standing was always high and he received several prestigious awards. His vigorous vocalization of his contempt for anti-Irish sentiments, combined with his high academic achievement helped to "kill stone dead" the prevalent anti-Irish attitudes of the Board of Trinity College (Ryan 217). In 1889 his first work, Leabhar Sgeuluighachta, was published in Dublin; his second volume has published a short time later, in 1890, and it was entitled Cois na Teineadh (Beside the Fire). These volumes contained traditional Irish folk tales, poetry, and original poems by Hyde (Ryan 221). In 1893 Hyde founded the Gaelic League which "did much to eliminate the sense of shame formerly felt by many native Irish speakers, and teach the rudiments of the language. . . It also popularized 'Irish' entertainments such as fiddling, piping, dancing, reciting poetry, and listening to history lectures" (Foster 185). Hyde remained president of the Gaelic League until he was forced out by the Fenian takeover in 1915 (Foster 186). He went on to translate early Gaelic and Irish poetry into English so it would be more accessible to all people. In 1899 two of his more noted works appeared in Dublin: The Story of Early Gaelic Literature and A Literary History of Ireland: From Earliest Times Until the Present Day. The latter proved to be a six hundred page monster that lived up to the sub- title: 'A Literary History of Irish Ireland,' as it did not even do so much as mention any "Anglicized Irishmen" (Ryan 226 - 227). Despite the immensity of these volumes, a short essay entitled The Necessity for De - Anglicising [sic] Ireland is considered his most important, powerful, and influential work. The body of this work contains exactly what the title implies: a thoughtful, well written, and convincing argument for the Irish people to reclaim their heritage, culture, and, most importantly, their language. Specific remarks made in this essay will become relevant during the later discussion of his plays and poetry.
Because of his speeches, original publications, translations, and general support of the Irish culture Hyde was loved by some and hated by many. It is recorded by Thomas Flannery:
"A striking figure is that of Douglas Hyde. No dwarfed, diminutive creature with crazy look, wild straggling hair and 'fine eye in frenzy rolling.' As he stands before you you see a tall, vigorous, young man of some thirty years with raven black hair, heavy black moustache, and dark grey eyes that kindle on occasion with sacred enthusiasm. This doctor of laws, this poet and story-teller is also a great traveller" (Flannery 134).
Another learned gentleman, by the name of Crook, also reported "he was surprised as a classical scholar by Hyde's wide appreciation of the imagination, music, and beauty of Homer as something alive and eternal" (Ryan 223). Though Hyde was almost universally acknowledged as a brilliant man he was, none the less, "harassed from the start by fanatical and incredibly sour-livered enemies." But, it is said that the "hatred and malice were tributes to his power" (Ryan 222).
In the end, however, it is fair to say that Hyde was chiefly known as a poet. He was given the nickname An Craoibhin which means the delightful little branch; and he was known by this nickname "all over Irish-speaking Ireland" (Gregory 76). In fact, one of his volumes of poetry was entitled Ubhla de'n Craoibh (Apples from the Branch). From which volume comes an untitled poem about "three fine devils eating my heart" (Hyde, trans. Gregory 77). At the beginning of the poem the "three devils" are revealed to be poverty, sickness, and love. He speaks of the empty pockets, ruin, and woe these three devils have brought upon him and at the end of the poem Hyde announces:
"Love left me like a coal upon the floor, Like a half - burned sod, that is never put out, Worse than the cough, worse than the fever itself, Worse than any curse at all under the sun, Worse than the great poverty Is the devil that is called 'Love' by the people. And if I were in my young youth again, I would not take, or give, or ask for a kiss!"
It is made clear by these eight lines that "love" is the greatest of the three devils and that the feelings of anguish and distress conveyed by the poem should be directed towards love. But, what was Hyde's love? As seen in the above descriptions of his life, his passions were undoubtedly Ireland, the Irish culture and it's language. Assuming Hyde's love is Ireland (in general) it requires no great stretch of the imagination to see that he might well wish to curse it for causing his woes. Championing such and unpopular cause as Irish culture against so great a foe as the British empire, an uncaring Irish government, and an apathetic Irish population, no doubt brought a great number of hardships upon his head. It is not unrealistic to think he would write a poem cursing the very thing he loved most; but, one is forced to strongly doubt the veracity of the ending threat where he declares he would not do it over again if he was given the opportunity (And if I were in my young youth again, / I would not take, or give, or ask for a kiss!).
Feelings of self doubt, are not uncommon among people with a strong faith; in fact, some argue that without doubt there can be no faith. An occasional lack of faith in, or bitterness towards, those things most loved is not unheard of. Indeed, the above poem is an example of Hyde doubting the cause for which he fought. But, it is perseverance in the face of these doubts that gives the strongest indication of a persons character. If Hyde had given up his efforts to restore the Irish language after he had written the above poem he would be little more than a hack and a phoney. However, he found his faith and persevered; he wrote other poems which express his immense feelings of love for Ireland and his apprehensions that he would not succeed in accomplishing the task before him.
"Oh! if there were in this world Any nice little place, To be my own, my own for ever, My own only, I would have great joy - great ease - Beyond what I have, Without a place in the world where I can say: 'This is my own.'" (Gregory 81)
This is the first verse of a three verse, untitled, poem written by Hyde and translated by Lady Gregory. The remaining two verses speak of the grief that comes with not having one's own place in the world and the woe and pity of being alone. In the simplest of terms Hyde is speaking about a physical home and family. He is speaking of a small cottage on a small piece of land; a wife, children, and friends that visit on occasion. Without these things life would be empty. On a slightly larger scale he is speaking of a village or a county with which one can associate oneself. So that a person can say with pride, "I am a Connacht boy." Finally, on a larger scale, he is speaking of his own country - he is speaking of Ireland. So that a person could say with pride, "I am an Irishmen." It is true that this interpretation is difficult to support with direct examples from the poem. Because he desires "Any nice little place," which could mean that he does in fact want any place for his own; as opposed to Ireland specifically. He also repeats several times the this place is to be "my own," which suggests it is not to be shared with other people (i.e. family, kin, or countrymen). However, arguing for the possibility that "any place" is Ireland and "my own" is a nationally encompassing sentiment are not unreasonable. But, more important than these few words with their possible meanings is the feeling of sadness and loss evoked by this poem. It creates a feeling a genuine sorrow and loss of identity that comes with having no place to call your own. The reader must imagine that this is how Hyde must have felt witnessing the British takeover of his country. It also forces the reader to confront how they would feel if their own culture and language were being slowly and systematically eradicated.
Here we have two different poems that are as diametrically opposed as the feelings of love and hate of which they speak. However, both poems are a testament to Hyde's deep love for his country. One expresses the feelings of loss he would feel if he failed to forge an Irish - Ireland for the masses; the other poem expresses a loss of faith and feelings disgust for the pain this undertaking has caused him (or perhaps, the disgust is directed at himself for his perceived inability to recreate an Irish - Ireland). Through poems like these Hyde is chiefly known as a poet; however, he also wrote several short plays; the most famous of which is a seemingly plain and simple work called "The Twisting of the Rope."
"The Twisting of the Rope" was the first play written by Hyde, he later acted in it when it was first performed in Dublin. It is believed to be the first Irish play ever performed in a Dublin theatre. The play is based on a well known (at the time) Irish folk song of the same name (Gregory 196 - 197). As this particular play is not commonly known a brief plot summary is necessary before discussion. At the opening of the play a village dance is being held in a small farm house in Munster. A wandering poet, named Hanrahan, has gotten himself invited in and is attempting to seduce Oona, who is the daughter of Maurya. Maurya is the lady who owns the house and is having the dance. Oona is engaged to Sheamus who is forced to stand by and watch Hanrahan attempt to steal his fiancee. As the play progresses Oona falls in love with Hanrahan but Maurya will still not allow Sheamus to throw him out. Maurya's reason is that she fears the curses the great poet would bring down upon her if he were to be thrown out. So a plan is concocted to trick Hanrahan into going outside; at which time the door is slammed shut and he is not allowed back in. A story is invented in which an over turned carriage needs a hay rope to effect its repairs. Everyone at the dance swears they cannot make a hay rope and Hanrahan is tricked into making one. As he twists the rope (which gets longer and longer) he eventually moves out the door which is then shut in accordance with the plan.
Upon a single, uninformed reading of this play the reader may be inclined to think Hanrahan represents the English. That the peoples hatred for him extends from this and their efforts to get him out of the dance represent the Irish efforts to kick the English out of Ireland. Hanrahan's attempted seduction of Oona represents the English attempted take over of Ireland which is successfully fought off with the expulsion of England (Hanrahan). However, this interpretation is not supported by a closer reading.
Hanrahan is a representation of the old Gaelic Ireland (with all of it's warts as well as it's glories); an embodiment of the Irish - Ireland Hyde was attempting to restore. The first real description of Hanrahan is given by Sheela (another woman at the dance): "What sort of a person is he? Isn't he a man that makes songs, out of Connacht. . . they say there is not another dancer in Ireland so good as him." To which Maurya promptly replies: "Bad luck to the vagabond!" Then a bit later Maurya reveals why she will not through him out: "he is a great poet, and he has a curse that would split the trees, and that would burst the stones." These lines have given us several clues which support the argument of Hanrahan as a representation of old Ireland. First he is a great singer, dancer, and poet which are three activities that Hyde's Gaelic League attempted to popularize among the people. Second, it is very specifically mentioned that he comes from Connacht. Several times in his essay entitled The Necessity of De - Anglicising [sic] Ireland does he praise County Connacht for its continued use of the Irish language. At one point he specifically states: "So much for Ulster and Leinster, but Connacht and Munster were until quite recently completely Gaelic" (Hyde). It must also be noted the Hyde himself was born, raised, and educated in County Connacht, and he was a great poet who was not very popular with all of the people. Another bit of evidence is found when the people at the dance convince Hanrahan to twist the hay sugaun (rope). Hanrahan exclaims, "Give it here to me; I'll show ye what the well - learned, hardy, honest, clever, sensible, Connachtman will do, that has activity and full deftness in his hands, and sense in his head, and courage in his heart." Once again putting strong emphasis on where he is from (a place which Hyde seems to hold as a type of pinnacle of old Irish tradition). Finally, Maurya curses him as a vagabond. One recalls the first poem discussed above in which Hyde curses the Ireland he loves, and the account by Ryan of the opposition he faced in his efforts. All these pieces of evidence support Hanrahan as a representation of an Irish - Ireland; and perhaps as an embodiment of Hyde himself.
Since Hanrahan is Irish - Ireland then Oona must be an Ireland which is becoming anglicized, and therefore must be saved. Two separate descriptions of Oona support this argument. Hanrahan says she is "the swan of the brink of the waves, the royal phoenix, the pearl of the white breast" (Hyde, trans Gregory 208). The other comes in a stanza of a poem which he has composed for Oona, "I walked myself the entire world, / England Ireland, France, and Spain; / I never saw at home of afar / Any girl under the sun like fair Oona" (Hyde, trans Gregory 209). The first description contains two images often found in Gaelic myths - the swans and white pearl. The middle of these descriptions is an allusion to Greek mythology where the phoenix rises out of the ashes of the dead. Clearly Oona is meant to be an new Irish - Ireland raised from the ashes of the old anglicized country she has become (or is becoming). Oona's representation of the country of Ireland is reinforced when Hanrahan says he has not found her equal in other countries. The simple truth that Hyde chooses to associate her beauty with that found in other countries strengthens Oona representation of Ireland. Her name in association with other countries reinforces her as a symbol for Ireland.
With this new understanding of Hanrahan and Oona (and thereby an implied understanding of the people who throw Hanrahan out of the dance) "The Twisting of the Rope" has very dark implications. Hyde seems to be suggesting that the people of Ireland would prefer to be anglicized than put up with the shame and embarrassment of an Irish - Ireland. Instead of trying to take the good things Hanrahan had to offer (and perhaps change or forgive is other less desirable habits) they decide to throw him out of the dance and leave him "angry and chiding, like the stormy west wind outside the door" (Gregory 197). The play is concluded by the revelation that Oona will soon forget about Hanrahan and marry Sheamus; who is perfectly content to be anglicized and therefore Oona will be too. Through his plays and poems it is clear that Hyde fears the total loss of an Irish - Ireland; and that this loss will be permanent.