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Lady Morgan's Beavoin O'Flaherty: Ancient Irish Goddess and Enlightenment Cosmopolitan

Lady Morgan's The O'Briens and the O'Flahertys: A National Tale (1827), which extols Enlightenment ideas about reason, progress, and toleration in a plot filled with mystery, ancient superstitions, and sectarianism, embodies the complexi- ties of the "Irish Enlightenment." The central character Beavoin O'Flaherty evokes ancient Irish sovereignty goddesses, but nonetheless epitomizes Enlight- enment ideas about religious and political sovereignty. The novel challenges the stereotype of Lady Morgan as a romantic nationalist—a stereotype based largely on The Wild Irish Girl (1806) and her performance of its iconic charac- ter Glorvina—and the perception that there was no Irish Enlightenment. The novel brilliantly recreates late eighteenth-century urban and rural Ireland and transcends the romantic nationalism and binary postcolonial dimensions of her more famous Wild Irish Girl, in which the marriage of Glorvina, the "Princess of Inishmore," to the English Mortimer symbolized a union between native and colonist that preserved Ireland's ancient traditions. By contrast, the marriage of Murrough O'Brien and Beavoin O'Flaherty, whose intertwined family histories make up The O'Briens and the O'Flahertys, takes place in Europe where—as lib- eral cosmopolitans who reject continuing the battles over land and religion that their mutual family history epitomized in Ireland—they embody Enlightenment values and work for a new world order based on reason and toleration. Beavoin O'Flaherty's dual identity as ancient Irish sovereignty goddess and an Enlighten- ment cosmopolitan embodies the rich materials and international context that Lady Morgan inherited and made her own. The novel's encyclopedic richness and intellectual range is apparent when compared to other fictional portraits of Anglo-Irish society, such as Belmont Castle or Suffering Sensibility (1790) by the iconic Irish revolutionary Wolfe Tone. Both novels satirize the inanity and venality in love and politics of Dub- lin's ruling class, and both have central characters based on the O'Brien Earls of Inchiquin. Tone's readers easily identified Tone's Earl of Belmont and his son Mortimer as William and Murrough O'Brien, the 4th and 5th earls of Inchiquin, and their Belmont Castle was obviously modeled on Lord Charlemont's house