Tuesday, February 9, 2010

Progressive Philosophy: Castle Rackrent

After refreshing my knowledge of the 1798 Irish rebellion and the 1801 Act of Union, Edgeworth's Castle Rackrent presented itself in a new light for myself.


Clearly, inspired by the French Revolution (and almost receiving military aid from France), the newly formed United States, and drastically new concepts and philosophies of economics (capitalism and a free market), the Irish (specifically the United Irishmen) led a rebellion against the English in oder to achieve separation from the British Empire. The rebellion was crushed by the English military and as a result of the aftermath, the British chose to lead Ireland into a false sense of better representation to subdue Irish separatists.

In 1801, as a result of the failed military effort to gain independence, The Irish parliament and British parliament passed the Act of Union. Much like Scotland had been included in the Kingdom of Great Britain, Ireland had previously been excluded. Ireland, as a result of the Act of Union, became apart the United Kingdom. This did not grant the Irish independence or more favor with the British, in turn actually pushed Ireland even further under the hammer of being a British colony. Also on a side note, the Union Flag (the flag England uses to this day) was created.

Anyways, I read Castle Rackrent (1800) as a social commentary on many issues reflecting the time it was written. I think Edgeworth was commenting on numerous themes ranging from the idea of national identity, social class, economic structure, culture, gender, race...and many other topics. As Marilyn Bultler says in the introduction, Edgeworth's contribution to literature is “a remarkably intuitive, perceptive and far-reaching portrait of an unequal society” (p. 4) I think that even though Thady, and the editor reveal much through their perspective, Edgeworth's tone is predominately shown through her own voice:

It is a problem of difficult solution to determine, whether an Union will hasten or retard the melioration of this country. The few gentlemen of education, who now reside in this country, will resort to England: but they are nothing inferior to men of the same rank in Great Britain. The best that can happen will be the introduction of British manufactures in their places. Did the Warwickshire militia, who were chiefly artisans, teach the Irish to drink beer? Or did they learn from the Irish to drink whiskey?” (p.122).

Although, this quote could be interpreted various ways in what she is saying, I got at least one centralized message from it. I feel that Edgeworth is commenting about the state of Ireland in general (it's conflict of identity, it being controlled through British colonial discourse, it's notion of class structure and heirarchies....ect.). She is commenting on the numerous external and internal problems the country is facing in its struggle to form a a national identity as well as its methods in dealing with the British in it's desire for independence. It also at the same time makes a statement that even though Ireland is under British rule (acting as a colony) it still has its own deserve set of discourses and culture that can never be considered controlled by or inferior to the British.

Edgeworth shows his through her writing through numerous ways. Although she uses English to write Castle Rackrent, she also incorporates Irish words (such as kilt, gasoon...ect.) and phrases as a form of empowerment over traditional ”correct” English and literary structures. Her use of dual linguistics as well as narrative structure sets her novel apart from other contemporary pieces at the time. She is not only making a giant step in showing that female written literature is just as legitimate, but that her writings being “Irish” (as a unique identity) are just as legitimate (if not original and more progressive than) are just as qualified (especially in writing about social realism) as any other literature of the time (or future). As Butler says,

Indeed for modern readers, Edgeworth's worth handling of these these themes often has the advantage because it it fresh, odd, complex and skeptical. Ireland was more a colony than Scotland, and Edgeworth wrestles with the practical, political and ethnical consequences of her country's colonial status” (p. 3)

I would also like to address the question of whether Jason should be considered a villain or not. First off, I recognize that most of the story is told through Thady. \Thady's wisdom and philosophy are based on a preconceived “proper” construction of class, entitlement, duty and economics. He chooses to be loyal to whatever heir inhabits the Castle Rackernt estate (no matter how horribly they manage money or make very poor life decisions). His loyalty and fatherly compassion are admirable but also show that he considers himself to be born into a certain class and his role in society is to stay in that class and be the servant of a hierarchy based on heredity.

Ireland seems to be set up much like a traditional feudal system based from Britain. Wealth and land are only obtained through heredity and marriage. This hierarchical system could also be viewed as British colonial discourse in having Ireland mimic its own structure. Or even keep the Irish subjects through bribery and intermarriage promising land and wealth. This is reinforcing British dominance and keeping the Irish as a colony through forming and reinforcing their philosophy of class and economics.

Jason (other than all the heirs of the estate) acts responsibly and takes advantage of opportunities presented to him. Over time, his hard work and power accumulation allows him to buy the estate and literally move into an upper class. His father shuns him and thinks he is horrible for not staying loyal to his birth class and master (even though the heirs have squandered what they've had). Again, Thady is a product of an imposed class structure and feels obligated to stay a servant and loyal to the hierarchy(based on heredity). Jason could be viewed as a symbol of capitalism. The economic philosophy of a free market and the philosophy of a democratic government were radically new and different at the time. Like stated before, the Irish were inspired by the French Revolution and creation of the United States to rebel in 1798. Could Edgewod have been playing with a suggestion that Ireland's class structure, government, and economic philosophy (distribution of wealth) needed to dramatically change in order to more constructively fix its infrastructure and in order to gain or create an independent identity and nation? If so, she is contemplating an idea that is extremely different and certainly dramatically progressive. If Jason is meant to be viewed as breaking the that heretical wealth and power through hard work and opportunity, then I don't think he is to be seen as a villain.


4 comments:

  1. Nathan,

    There are so many things to comment on in this post! But I want to focus on and expand upon this little paragraph here. You write,

    Edgeworth shows this through her writing through numerous ways. Although she uses English to write Castle Rackrent, she also incorporates Irish words (such as kilt, gasoon...ect.) and phrases as a form of empowerment over traditional ”correct” English and literary structures. Her use of dual linguistics as well as narrative structure sets her novel apart from other contemporary pieces at the time. She is not only making a giant step in showing that female written literature is just as legitimate, but that her writings being “Irish” (as a unique identity) are just as legitimate (if not original and more progressive than) are just as qualified (especially in writing about social realism) as any other literature of the time (or future).

    While I think it's true that Edgeworth is working to highlight and celebrate Irish culture in this novel, don't you think that at times the footnotes and end notes that do along with this inclusiveness get a little "silly," for lack of a better term, in this novel? Take, for example, the footnote on page 104 that describes the peculiar use of wigs in Ireland, or on page 99 where we learn that Thady's "little potatoes" are not small, but just dear to him? Are these notes sincere, or are they to some extent making fun of the so-called "ignorant English reader" (63)?

    In _Remembrance and Imagination_ Joep Leerssen states that after the Union, Irish literature became characterized by what he calls an "exoteric bias," meaning that Irish literature became self-consciously so, and thus spent much of its time explaining itself to English readers (34). According to Leerssen, many Irish novels at this time became "a type of 'The Irish peasantry: a user's manual'" (35). As Leerssen explains, in these novels, "Ireland as a *representandum,* as subject-matter, does not speak in its own voice but is spoken for; the author speaks, not as an Irish person, but as an intermediary on behalf of the Irish people, adopts a (puportedly neutral) mid-way point between readership (English) and topic (Irish)" (35). I wonder to what extent Edgeworth is taking this phenomenon and using it as the subject of her satire? Is she playing with her English audience, making them believe weird and baffling things about Ireland? Is she laughing at the imperial impulse towards making a culture "known," to paraphrase Edward Said?

    I don't want to hi-jack this thread, but I would urge students to maybe pick a footnote or end note from the glossary and look very closely at its content. Is it sincere, or is it, perhaps, making a subtle joke at the English reader's expense?

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  2. I agree that the notes are very much poking fun at the "Ignorant English reader". Even though the footnotes and the accounts of Thady become very "silly" at times I was thinking in terms of them being actually tongue in cheek and unreliable. When I said she uses dual linguistics, I didn't mean to imply they were meant to be accurate or proper deliberate attempt to explain the Irish to the English. I agree but still is it not a form of literary empowerment in playing with an English audience? I meant to ask questions about what her motivations were for doing this but forgot to get into that.

    When you say "Is she laughing at the imperial impulse towards making a culture 'known'?" I would agree with this. I am still wondering to which audience Castle Rackrent is supposed to impact the most...the Irish or British? Is she laughing to make a point that she doesn't have to explain her culture and country's identity to the British? or is she criticizing Ireland on a number of different levels and many different reasons? or both? I definitely agree that she is making subtle jokes at the English reader's expense, but for what ultimate purpose...or what impact does she expect this to have on Irish literature or Irish people?

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  3. Nathan,

    I loved reading your blog and ideas on Castle Rackrent. I personally really enjoyed this book and I think I found even more respect or liking for the book by doing my online artifact assignment this week. I too was a bit confused as to which “side of the fence” Edgeworth was standing. Is she mocking the Irish or the Anglo-Irish? It almost seemed to go back and forth throughout the story. As you stated, “Anyways, I read Castle Rackrent (1800) as a social commentary on many issues reflecting the time it was written. I think Edgeworth was commenting on numerous themes ranging from the idea of national identity, social class, economic structure, culture, gender, race...and many other topics”; I couldn’t agree more.

    While reading the book initially I was thinking it was just a story, but then I started noticing some themes such as the Rackrent’s disastrous personal lives. This made me question, what was Edgeworth trying to get across? I found parts in the book where I thought she was showing sympathy for the Irish as to how they had been treated by their landlords as evidenced by this statement, “But Sir Murtagh was as much the contrary way; for let alone making English tenants of them, every, soul, he was always driving and driving, and pounding and pounding, and canting and canting, and replevying and replevying…” (Edgeworth 69). However, in other areas, it almost seemed like she was looking down on the Irish as being lazy or feeling entitled as evidenced by her explanation of “Monday morning” (123) and “The tenants were sent away without their whiskey” (127).

    I think one of the main things I got out of this novel was that there was a lot more to it than just a story. Edgeworth had a very interesting and complicated way of portraying her opinions and feelings about all that was going on in Ireland at the time. It almost felt like she felt “guilty” about being an Anglo-Irish and sought to distance herself from that title, while she was not able to be bold enough to just denounce this part of her possibly for fear of the English societies’ reaction. Just my thoughts, but if you’re more interested in Edgeworth I would recommend checking out my blog this week and the essay about Edgeworth. I found it very enlightening. (Sorry I’m so long winded!)

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  4. While I was able to get into the story, and actually enjoy most of it, I found it very difficult to find the tone/voice of Edgeworth. I never thought about the tongue in cheek of the novel, or how Edgeworth was having fun with the ignorance of the British, but now that you have all suggested it, I get it. I also am perplexed as to why Edgeworth is hailed as an Irish novelist when clearly her writing was influenced by the French and the British. In the introduction, Marilyn Butler says "... it was now established that the fourteen year old Edgeworth was to be an author, and in the French Enlightenment mode." (6) The next paragraph explains some of Edgeworth's influences. Not to say she isn't allowed to identify as an Irish writer, but what qualifies her?

    Also, noticing the comment about "silly" interruptions in the glossary, I decided to take another look throught the glossary, as well as the introduction "the Glossary is inconsistent and paradoxical" (17) and I couldn't agree more. I found it very annoying that there were continual breaks in the story (especially when I knew the definitions) and even more or a disruption that the glossary had it's own notes to reference. With all the later editions, why was there no re-write?

    Further off the topic, I read in another students blog how he applied themes of capitalism and whatnot throughout this book and I wondered why Edgeworth decided to write from a lower class perspective. Edgeworth was an aristocrat, educated, travelled, intelligent. How was she possibly able to identify with servants and peasants? Clearly, you can have empathy and understanding but can you really be the last word on that perspective? Did Edgeworth ever feel guilty for being wealthy?

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