“ He said to himself, as he smoked a final cigarette, that she must be a nice
girl some how not to have been more vulgar than she was, and she really must
have a soul to be saved.” [6]
The gentry were cut off from the mass of people by social and class divisions, yet with the peasantry they shared a love for the countryside. Consequently, they experience a crisis of identity as they continually sought to define their place in society. They considered themselves to be Irish, but superior to the natives, and they did not agree with rising nationalism as their allegiance was to England and to Queen and Crown. Stephen Gwyn summed-up the alienation that the Anglo-Irish Ascendancy felt:
“ I was brought-up to think myself Irish, without question or qualification;
but the new Nationalism prefers to describe me and the likes of me as Anglo-
Irish…So all my life I have been spiritually hyphenated, without knowing it.”
[7]
The characteristic tensions of the Ascendancy world are they product of this unique historical merger. The ‘big house’ genre is shaped by the political and economic uncertainty of the 18th and early 19th century, and a recurring theme is fall of the Anglo-Irish Ascendancy and the rise of the middle classes to claim their place. In The Old Jest, when the Caseys buy the Dwyer’s Big House and plan to build a housing development on the land and sell the abodes to the middle classes. Maeve Casey tells Nancy Gulliver that her father, a middle class property developer:
“… thinks this is the sort of place that people will want to live in…Nice
people. Professional people and business people…” [8]
Nancy and her Aunt, the once proud inhabitants of Ardmore, are forced to eat a piece of humble pie as they are reduced to more modest surroundings:
“…he will build your aunt a bungalow, down at the bottom of the hill somewhere, near the village.” [9]
Simultaneously, history shows that the lower classes of the native Irish were gaining prominence with the implementation of various political movements. The catalyst that encouraged the Irish to rise against their masters was Catholic Emancipation led by Daniel O’Connell in 1820. This paved the way for the Fenian Rebellions in 1850, and the Land League founded by Michael Davitt, which resulted in the Land Act of 1881and Home Rule, led by Charles Stewart Parnell. Finally the Easter Rising in 1916, which after the execution of the leaders of the rebellion, united the Irish people in a common hatred against English occupation. The brunt of this anger was born by many symbols of English authority, but in particular, the ‘big houses’ of the aristocracy, those bastions of indomitable power, were razed to the ground. Perhaps if they had become with the political developments of the time, the Anglo-Irish Ascendancy could have become a part of the New Ireland and survived, instead of blindly pursuing their leisured and luxurious lifestyle. I believe through their ignorance and unwillingness to adapt to changing circumstances, they created a politically hostile environment, which is the key, in both fictional and historical terms to their demise.
Big House genre displays a number of recurring themes and images. Firstly, there is the actual Big House, which is a pivotal feature in such works. Often well advanced in their physical decay, they are a metaphor representing the disintegration of the Anglo-Irish Ascendancy. John Cronin commented on the use of the crumbling Big House when analysing Castle Rackrent,
“At the centre of the work is the rotting house itself, that great symbolic focus
of the Protestant Ascendancy’s preoccupation with it’s decline.” [10]
Their inability to modernise and adjust to political change meant that their protected world was beginning to be infiltrated by the aspiring middle classes. An example of this can be seen in Castle Rackrent. Justin Quirk, son of the old retain, Honest Thady embezzles his master, the dissolute and drunken Sir Condy, of his future.
In The Real Charlotte, the big house is Bruff, which is home to the Dysart family. Bruff is in keeping with the image of all other Big Houses, large in comparison to surrounding abodes, adorned with long walk ways, luscious green lawns, with blooming flowers and ideally situated beside a lake. It was a symbol of elegance and refinement. It’s ‘shadow’ Big Houses could be named as Rosemount and Gurthnamuckla. They are the next step down in the property ladder, although Gurthnamuckla has the potential to become a proper big house as it was in the past, even though it requires a substantial amount of work. When Francie visits for the first time she is saddened at the pathetic disintegration of a once beautiful Georgian house:
“The tall sycamores that bordered the cart track were witness to the time when it had been an avenue, and the lawn-like field was yellow in Spring with the daffodils of a former civilisation.” [11]
Next, is the home of Charlotte Mullen, Tally Ho Lodge, which would be a typical middle class home if it were not infested with cats:
“There was no sign of poverty, but everything was dingy, everything was tasteless, from the worn Kidderminster carpet to the illuminated text that was pinned to the wall facing the bed.” [12]
The house is small when compared to the houses of people that Charlotte associates with, but huge when paralleled with the houses of the washerwomen at Ferryrow where:
“…filthy children played among the puddles that stagnated under an iridescent scum of soap-suds.” [13]
With many inferiors, it is not surprising that Big Houses such as Bruff were named so.
Another dominant feature is the portrayal of the ‘big house’ family, who are conveyed as elegant and refined on the surface due to their grand surroundings and ‘cultured’ background. However, undertones of their sterility and decay can be detected as their façade begins to crack, which is illustrated in The Real Charlotte through characterisation. The Dysart family are prime specimens of the paralysis which befalls the ascendancy class, as each member of the family, for various reasons, can be deemed abnormal – leaving us with a glorified dysfunctional family unit, who are in reality, the crumbling ‘big house’ personified.
Firstly, Sir Benjamin Dysart is symbolic of the uncertainty surrounding the future of the Ascendancy class through his unstable state of mind. He is dependant on a social inferior, James Canavan, who can be seen to be the keeper of an unpredictable wild animal, which is illustrated when he raises his cane to Miss Hope Drumond as she picks a flower:
“…it is disgraceful that he is not locked up.” [14]
The fact is that he has been reduced to an inconvenience and embarrassment for the family as his daughter Pamela says:
“I wish James Canavan could be induced to keep him away from the house.” [15]
Also, it is significant that he has in-trusted all the financial intricacies of his estate to his Land Agent, Roddy Lambert. Lambert was one of the aspiring middle classes who swindled money from the Dysart estate in-order to fund his lifestyle (i.e. his Parisian honeymoon, setting-up stables at Gurthnamuckla etc.), as even his wife’s small fortune was inadequate.
Sir Benjamin is indeed a figure of satire, which is evident in his caricature style description:
“A hobbling figure of an old man wearing a rusty tall hat down over his ears
and followed by a cadaverous attendant.” [16]
As this degenerated man is the head of the Dysart household, their prospects look grim. His illness in mind and body is sure to deteriorate over time, and the ‘death knell’ is calling, making him a poignant metaphor for the impending doom for the Ascendancy.
Alternatively, Lady Dysart appears to have a more purposeful existence as she acts out her role as lady of the Big House by planning various social events:
“…sense of duty towards her neighbours compelled her to give…” [17]
However, even when playing this traditional role, there is evidence of decay both in her mental state of mind and her social events, reiterating how the Dysart family are symbolic of the destruction of the Anglo-Irish Ascendancy.
The first episode in her social calendar was the lawn party. Anybody who lived in Lismoyle and had social standing or relatively high commodities was in attendance. But even at this eloquently planned occasion, one is witness to the degeneration of the Ascendancy class. Lady Dysart is unable to execute her role effectively as she invites too many women,
“Have you ever seen so few men in your life? And there five and forty women!…I wish they would take themselves to, and that is to the bottom of the lake.” [18]
Moreover, Lady Dysart possesses a radical view of social parity, which is contrary to that of her counterparts. She takes pleasure in Charlotte Mullan’s company and cares not for her ‘pedigree’ as she admires a person’s ability to hold an interesting conversation, as opposed to interacting with others based on their social standing:
“These facts about Charlotte Mullen’s pedigree were valued topics in Lismoyle, but Lady Dysart’s serene radicalism ignored the inequalities of a lower class, she welcomed women who could talk.” [19]
Her inability to distinguish Charlotte’s humorous use of the native Irish brogue, is an indication of her obtuseness:
“…to be playful she affected a vigorous Irish brogue…This refinement of humour was probably wasted on Lady Dysart.” [20]
In addition, she is actively aware of the necessity for her children, Pamela and Christopher to marry. She invites worthy suitors to her home, i.e. Miss Hopedrumond and Captain Cursitor, in the hope that her offspring will be attracted to these eligible and prospective partners. However, her orchestrations in love are as ineffectual as her attempt at gardening, as she planted a flowerbed full of chickweed, mistaking them for asters. She is even unsuccessful in her own marriage. It was only after Sir Benjamin became confined to his bath-chair and kept away from her by James Canavan, that she actually began to find life at the family home enjoyable:
“…after a long and, on the whole extremely unpleasant period of matrimony, she was now enjoying a species of Indian Summer, dating from…had brought on a stroke.” [21]
Like many other Ascendancy wives, her marriage to Sir Benjamin was merely in keeping with a social convention. Marriage was an expectation placed upon an individual by society and their parents, just as she expects marriage from Christopher and Pamela, placing the same pressure on them as she had placed on her:
“…married with a little judicious coercion…” [22]
However, as the Anglo-Irish Ascendancy was a small social class, often there was a significant age difference between bride and groom, as was the case with Lady Dysart and Sir Benjamin:
“Lady Dysart married in her youth… a man thirty years older than herself…” [23]
In keeping with the dysfunctional love lives of the Dysart family, is the fact that both children are destined to marital failure. Firstly, Christopher will never find any one suitable because of his ‘platonic philanderings’ [24]. He does not fit the usual role of the Anglo-Irish Landlord, as he does not indulge in the traditional pursuits of the country gentry, such as shooting, hunting and fishing. Instead he enjoys hobbies like painting, writing poetry and photography. Unlike his competitor for Francie, Mr Hawkins, he would never dream of flirting with women. He is a more gentle and mannered man and has the courtesy not to disgrace Francie such a fashion as Hawkins did while they all where watching the theatricals. Christopher’s interests were solitary, which helps us to understand his peculiar nature as he was,
“…between sizes as the sheepmen say of gloves.” [25]
When he proposes to Francie, he is stepping beyond the social barrier as she was the ‘foot loose and fancy free’ middle class girl from Dublin. This was a big step for Christopher, not just because he was reaching across the social divide, but also because he never had the ability or courage to approach a girl in this manner. Lady Dysart would not endorse this move at all, but what infuriated her upon discovery, was that the vulgar middle class girl who she despised, refused her son’s marriage proposal. However, the fact remains that he may never propose to another girl again, and therefore we can only assume that the Dysart family name will end with his generation, which will bring about their downfall.
Additionally, he is symbolic of the apathy of the Anglo-Irish Ascendancy as he fails, like many others, to take action and halt their demise. While the striving middle classes are ruthless and destructive in order to get what they desire (Charlotte in her plans for Gurthnamuckla), Christopher is too polite and nice for his own good,
“…the effete side of the Anglo-Irish, terribly nice and utterly straight, but
somehow lacking purpose.” [26]
He has no ambition or aim in life as he is even incapable of dedicating himself to any single hobby. His indecisive and timid nature is no match for the determined and strong-minded people like Charlotte Mullen, the people who threaten the seemingly secure position of the upper class citizens.
Another docile member of the Dysart household is Christopher’s sister, Pamela Dysart. Like her brother, there is little depth to her character as she is unhealthily preoccupied with the choir and her dogs. It is this unhealthy devotion that renders this sweet girl ‘doomed to spinsterdom’ [27]. Pamela has a similar crisis in her ‘love life’ as Christopher because she does not take the initiative with Captain Cursitor. They were a perfectly suited couple, but neither would be the first to make an advance on the other and as a result, he leaves for India. When he bid her farewell, Pamela simply turns to one of her dogs and removes a thorn from it’s paw; her mundane action demonstrates where her concern lies, highlighting that even she has no hope of providing an heir to the estate.
As previously mentioned, the inhabitants of Big Houses like Bruff were endangered of losing their social status and all they owned to the rising middle classes. It is therefore essential that I analyse the upwardly mobile characters in The Real Charlotte, such as: Roddy Lambert who cheated his way; and Charlotte Mullen who used immoral tactics.
Firstly, Roddy Lambert has attempted to elevate his social position by marrying his wife, Lucy Lambert, for her inheritance money. But this was never enough as Lambert was compelled to ruthlessly embezzle substantial amounts of money from the Dysart’s source of income- the rent from tenants that he collected. His false sense of pride drove him to abuse the trust that the Dysart’s had placed in him, as he drained the family accounts. W.B. Yeats accurately describes such events when he said:
“…But fumble in the greasy till
And add the halfpence to the pence
…until
You have dried the marrow from the bone.” [28]
In denial of his debt problems, Lambert deemed his actions as borrowing, but the reader is well informed otherwise by the omniscient narrator. The fact is, that his escapades were a failure as he is penniless from splashing-out on luxuries such as the horses, refurbishing Rosemount etc. Lambert swindled from the Dysart’s to climb the social ladder, but is failing pathetically. However, he ,and others of his calibre, helped to contribute to the ‘death’ of the Anglo- Irish Ascendancy,
“Romantic Ireland dead and gone
It with O’Leary in the grave.” [29]
The second character in question is Charlotte Mullen, the calculating and shrewd middle class spinster. She was more successful in her social conquest as she had planned her course of action over a longer period of time. She schemed to buy Gurthnamuckla, a former ‘little’ Big House as the expanse of her acclaimed friend, Julia Duffy. This is Charlotte’s own Land Acquisition, as the seizing of Gurthnamuckla is in keeping with historical occurrences in the nineteenth century. Despite the fact that the house was run down, Charlotte’ purchase of the abode and plans to move there from Tally Ho Lodge, is symbolic of her advancement towards the Big House. Afterall, it will soon be Charlotte’s social class dominating the Irish countryside, in place of the upper class kind currently living at Bruff so it is understandable why she tries to:
“…let on she is as grand as all the other ladies in the counthry.” [30]
Moreover, she even concern’s herself with Francie’s social advancement, as she plots to influence the relationship between Christopher and Francie. Although she is only manipulating Francie for her own social gain; if Francie and Christopher should get married, then she would have a connection to the Dysarts of Bruff, which would aid her elevation in the social hierarchy.
However, Charlotte has already come far when we consider that her mother was merely a national schoolmistress and her grandmother a ‘bare footed country girl’. This emphasises the incursions that Charlotte has made as she now moves in the same social circle as the Dysarts. Although, she can still associate with the native Irish and speak the Gaelic language, moving with equal ease through the streets of Ferry Row and the social events at Bruff. In-fact she is the only character able to do so effectively, which may be because no one dares to challenge this fierce tempered woman. But she can still not reach upper class status as she is inflicted with some embarrassing moments. For example, the farcical tea party in which the table was set for breakfast, guests had to fetch their own cutlery, and a ‘common’ cake, already apiece eaten, was served. The members of the upper class would frown upon this incident, and they may have considered it a display of social ignorance on Charlotte’s behalf.
In conclusion, whether through accident or intention, the image of the decaying Big House and all it represents is central in Somerville and Ross’s novel The Real Charlotte. Somerville and Ross were daughters of the Anglo-Irish Ascendancy, and as they wrote their novel based on their experiences, perhaps it was only natural that some aspects of The Real Charlotte depict the decay of Big Houses and the Ascendancy class. It is through the development of characterisation and setting, that Somerville and Ross artfully portray the demise of the Big House and it’s inhabitants at the hand of ambitious middle classes, and as a result of political evolution. For this reason the novel is historically accurate in showing the decline of the Big House. But despite their historic downfall, the Big Houses of the Anglo-Irish Ascendancy have found a new lease of life in literature as the Big House genre, making reality what W.B Yeats once said:
“Whatever flourish and decline
These stones remain their monument and mine.” [31]
