Download PDF A Traitor's Kiss: The Life of Richard Brinsley Sheridan, 1751-1816, by Fintan O'Toole
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A Traitor's Kiss: The Life of Richard Brinsley Sheridan, 1751-1816, by Fintan O'Toole
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The great Irish-English playwright--his politics, his impassioned life.
A tale of stunning literary success, political celebrity and intrigue, early death, murder, treason, and revolution, this extraordinary book takes as its subject one of the most exciting and enigmatic figures in Irish and English history.
Dramatist, politician, entrepreneur, philanderer, duelist, and revolutionary (or traitor), Richard Brinsley Sheridan was a man of many contradictions: a Protestant gentleman who cared about the rights of the Irish Catholic peasantry; a creative writer who was best known as a politician; a believer in sincerity yet a role-playing chameleon; a radical who masterminded the crisis following the madness of King George; a member of Parliament who associated with insurrectionists against the Crown.
His unusual and still-relevant life has been captured superbly by the masterful young scholar Fintan O'Toole, in an innovative work that opens up a radical new perspective on a great writer. O'Toole shows that Sheridan must be understood as an Irish writer and dissident, a complicated man who walked a thin line between success in London and extreme danger as a supporter of democratic reform and Irish independence.
- Sales Rank: #1759239 in Books
- Published on: 1998-11-30
- Original language: English
- Number of items: 1
- Dimensions: 9.28" h x 1.71" w x 6.42" l,
- Binding: Hardcover
- 519 pages
Amazon.com Review
Richard Sheridan is primarily remembered for three brilliant plays: The Rivals, The School for Scandal, and The Critic. With these elegant comedies of manners, he almost single-handedly revived the comic spirit of the Restoration, deemed too coarse by the more refined society of the latter 18th century. In Sheridan's work, the clich�s of traditional melodrama are turned on their heads (The Rivals, for example, features a man who forces his son to marry the woman he himself is in love with), and romantic intrigues become a forum for discussing political issues and the nature of theater itself. Sheridan's major plays were all written by the time he was 28. While melodramas, adaptations, and pantomimes followed, his career as a playwright was just a prelude to a long involvement in other fields, most notably managing London's Drury Lane theater and a political career that eventually led to a seat in the House of Commons. Little has been written about his later political and business life.
There are romantic intrigues, political battles, and dodges from the debt collectors aplenty in Sheridan's later life, though they seem but a lengthy epilogue to the wit and creativity of his early years. O'Toole is wonderfully lucid, however, in explaining the struggles for Irish autonomy in this period (Sheridan would all his life, to the detriment of his social standing, identify himself as Irish), and he offers an in-depth analysis of the elaborate political and social arena of the time. Particularly well drawn are Sheridan's complex romantic relationships with his wives, involving infidelities and duels. But when compared to the brilliance of his early plays, the historical details of his later life seem somewhat lackluster. --John Longenbaugh
From Publishers Weekly
O'Toole's mistitled biography exaggerates the hold of Sheridan's (and O'Toole's) native Ireland on his careers as playwright and politician. Although Sheridan supported Irish causes as well as English reforms, he never returned to the island he left as a boy in 1759, and despite a sometimes self-destructive idealism, he was opportunist enough to spend 32 of his 64 years in parliament. In his early 20s, with The Rivals and The School for Scandal, he became the most successful writer of comedy in his time. Politics magnetized him, however, and he put his genius for wit and invective into Whig partisanship?when not earning a reputation for boozing and womanizing. He died in 1816 in a house emptied by seizures for debt of nearly everything but his abused and ailing second wife, and the beds in which they lay. In The Critic, O'Toole (currently drama critic for the New York Daily News) notes, Sheridan "went further than ever before in blurring the boundaries between the stage and the world, between theatre and politics." O'Toole builds his quirky biography on Sheridan's living that way as well. A great parliamentary orator, he packed speeches doomed to fail amid the era's political cynicism with an exuberance of language that might have earned him riches if performed at his debt-ridden playhouse, Drury Lane. During decades of misguided loyalty to the worthless Prince of Wales, Sheridan relished his dangerous role on England's real stage. In O'Toole's often elegant telling, Sheridan possessed a risky excess of Irish feeling and an overwhelming rage for ruin.
Copyright 1998 Reed Business Information, Inc.
From Library Journal
This is the first Irish biography of Sheridan in the modern era. O'Toole (The Ex-Isle of Erin, LJ 1/98) brings to the task impressive scholarship, subtlety of vision, a fine ear for language, and writing of a high order. Sheridan was an Irishman who never forgot his Irishness but abandoned Ireland for England. From the disreputable theater class, he had aspirations to become a gentleman and a political figure. By succeeding in a precarious balancing act, he made himself a spectacular success as a playwright, theater manager, and orator for reform in Parliament. A writer to watch, O'Toole is as clear and convincing in his explication of the connections between Sheridan's life and his plays as he is strong on the linguistic ambiguity Sheridan used to tweak the establishment while fostering his reputation. A valuable addition to the literature.?Thomas E. Luddy, Salem State Coll., MA
Copyright 1998 Reed Business Information, Inc.
Most helpful customer reviews
6 of 6 people found the following review helpful.
a terrific book
By A Customer
I was familiar with Sheridan from his theatrical comedies, plays that have become standard in the repertoire. I was dimly aware of his service in Parliament. I wasn't aware of his extensive involvement in the great political questions of the day, particularly the Irish questions, nor of his centrality in the great debates of the late 18th century--the American war for independence, the expanding power of the East India Company, and many others.
The book covers all of this, but what elevates this bio from the typical is the author's focus on Sheridan's rhetoric--his use of language. The richness of wordplay, situation, and satire in his plays turns out to be just a special case of a characteristic lifestyle of thought and interaction. It's just splendid to read this sort of thing from an intelligent writer. The book gets you thinking, and there are points at which you may challenge the author's conclusions, but you're not going to find many biographies of this depth, thoroughness, and thoughtfulness. A great read!
11 of 13 people found the following review helpful.
a really good biography that could have been much better
By Allan Brain
Sheridan (1751-1816) is best known for a few plays, superficially comedies of manners and morals, mainly The Rivals and The School for Scandal. O'Toole's work explores beneath the surface of these and other literary works, showing them as the products of Sheridan's personal and political life.
Widely praised in the English and American press, this biography portrays Sheridan as a passionate (and compassionate) politician. He was a major player in a struggle for various complicated and sometimes seemingly contradictory causes and parliamentary power in the era of the American Revolution, King George III's intermittent madness, the French Revolution, and troubles in the British empire.
Sheridan is shown to be a humanitarian, and, less convincingly, an Irish patriot in the guise of an English politician who happened to be Irish by birth at a time when Ireland was at times openly rebellious toward England. The family heritage in Ireland was actually Protestant, but tolerant of Catholicism to the point of having Jacobite tendencies, i.e. favoring the return of the Stuart monarchy that had ended with James II in the so-called Glorious Revolution of 1688. Sheridan's father, Thomas, was a man of the theatre, and also a scholar, concerned particularly with propriety in matters of language and spoken discourse. Richard was not his father's favorite and his mother, herself a writer, died while Richard was still a young boy.
O'Toole's biography manages to relate the playwright's works to his family circumstances without indulging in psychological speculation. For example, the memorable character Mrs. Malaprop, in The Rivals, (immortalized by our word "malaprop" or "malapropism") is shown to be in part based on Thomas, who had pedantic tendencies. (Malaprops are best when they come from pretenders to perfection in language. An especially good one appeared a few years ago in The Smithsonian magazine when James J. Kilpatrick, a conservative political commentator and sometimes word policeman, referred to a mistake in diction as a "solipsism" instead of a "solecism".)
The many portrayals of hypocrisy and venality in Sheridan's plays are well explained by reference to the politics and society of the period, but are timeless in their effectiveness. The book is most interesting in describing the realities of theatrical performances, whether the particulars are staging details, audience characteristics, or financial exigencies. But this is a political biography of a character whose political accomplishments and enlightened ideals outshine his well known literary works.
Many of Sheridan's Irish contacts and English partisans in the intrigues within England in the years after 1789 were openly sympathetic to, or even allied with the French revolutionaries. Yet Sheridan was during this time a prominent member of the House of Commons and close to the Prince of Wales, later George IV. Some of his personal and political friends were tried as traitors during the peak of Sheridan's political prominence; he survived primarily because of his political acumen, eloquence, and insight.
To the general reader, not well acquainted with the intricacies of English history, the work will nevertheless be interesting and convincing in portraying Sheridan as a politically adroit and ingenious man, even an Enlightenment figure. Sheridan's speeches and writings were well known to the American revolutionaries, and remained popular even after his death. He eloquently advocated religious toleration, freedom from colonial oppression, even feminism, and opposed slavery so effectively as to influence the young Frederick Douglass.
Sheridan's personal flaws (he was a drunk and an adulterer), theatre life in London, political intrigues, the struggle for religious and political freedom in Ireland, and the impeachment trial of Warren Hastings for mismanagement of affairs in British colonial India, all well explained, make this book accessible and interesting. I offer three points of criticism.
First, and most importantly, characters, terms, or events not known to the general reader or history reader, should be explained briefly. The English reader may know what a "rotten" borough was, and what a "pocket" borough was, in the days before parliamentary reform, but a sentence or two would explain this and give the reader a better understanding of the electoral politics involved.
Second, an attempt at a definitive biography, published by a prestigious house such as Farar, should include illustrations. It is frustrating to read descriptions of presumably extant political cartoons of the day, some involving Sheridan's Drury Lane theatre, or major political figures, and not be able to see reproductions-surely the private collection or library would give permission. (In fact, the New York Review of Books included one cartoon in its review of this book.)
Finally, O'Toole's prose is afflicted with some of the unfortunate mannerisms of academic style. He repeatedly uses the awkward, almost always disruptive "former...latter" construction, and equally often uses the term "context" when referring to real relationships or circumstances-the term should be reserved for relationships between words. These usages may be epidemic in doctoral dissertations or in the "scholarly" journals no one reads, but that does not excuse their appearance in a work like this-the author is the drama critic of the New York Daily News. In the age of word processing, surely an editor at Farar should have caught these irritating errors of style, possibly in preparation of the American edition. Then again, a careful editor might have noticed that at the end of the "Preface to the American Edition" the date is incorrectly listed as May 1988.
If this clever and talented author had made his entertaining book more accessible, he would be open to the charge of "popularizing", anathema in academic and some literary circles. But it is a measure of his success in eliciting the nature of Sheridan that one wishes he had done so. After all, the political and religious difficulties in Ireland persist, and one could as well look beyond the Emerald Isle and argue that we too live in an age of comparably flawed, but ultimately noble political actors and causes, in need of better understanding of their human qualities.
3 of 3 people found the following review helpful.
A wit, poet and a gentleman.
By JGM
This is a wonderful biography of a fascinating and engaging personality. Sheridan is a fine poet and an honorable politician (a nearly impossible achievement in the eighteenth-century as it is today), a genuine wit, he was also one of the greatest playwrights in the London theater of his day.
Sheridan was a man of fashion and society, but not a fop. He wrote clever, romantic comedies, liked to live on the edge and yet always held fast to his principles -- supporting the American colonists, for instance, in their struggle for independence -- while refusing to be bought at any price.
He lived in grand style from the first moment that he arrived in London (despite having nothing but his wife's dowry), spending all of the money that he made as quickly as he earned it -- sometimes MORE quickly than he earned it. He was passionate about few women but appreciative of the beauty of many, and he was a devoted and caring father. (His poem "If a Daughter You Have" is a small gem.)
When he came home one night to find his theater burning as a result of a fire (probably set by his enemies in parliament), he calmly sat and sipped some wine, explaining to shocked witnesses: "Surely a man can have a glass of wine by his own fire."
Toward the end of his life, although he was burdened by crippling debts, he refused an offer of a large sum of money in compensation for his support offered by the American colonists. He explained that his support had been a matter of principle.
Read this biography and anything by Sheridan himself.
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