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Tami

[b] The Irish dramatist Sean O'Casey (1880-1964) is considered the greatest of the Irish playwrights who began writing after World War I.

Sean O'Casey was born John Casey on March 31, 1880, the youngest of a large family living in a Dublin slum. He suffered all his life from painful.However, his later socialist and pacificist convictions, his disenchantment with the results of Irish independence, and his professional disappointment concerning the poor reception of his plays led him to leave Ireland in 1926.

O’Casey became caught up in the cause of Irish nationalism, and he changed his name to its Irish form and learned Gaelic. His attitudes were greatly influenced by the poverty and squalor he witnessed in Dublin’s slums and by the teachings of the Irish labour leader Jim Larkin. O’Casey became active in the labour movement and wrote for the Irish Worker. He also joined the Irish Citizen Army, a paramilitary arm of the Irish labour unions, and drew up its constitution in 1914. At this time he became disillusioned with the Irish nationalist movement because its leaders put nationalist ideals before socialist ones. O’Casey did not take part in the 1916 Easter Rising against the British authorities.

Career as a Dramatist

Not until O'Casey had experienced life as a political rebel, poet, laborer, and fighter for Irish independence did he finally discover his true profession as a playwright. His first three attempts at drama were rejected by the Abbey Theatre, but his fourth, The Shadow of a Gunman (1923), was an immediate success. His later plays, Cathleen Listens In (1923) and the tragicomic masterpiece Juno and the Paycock (1924), saved the Abbey from near bankruptcy and placed it on a secure financial footing.

Later Plays

The Silver Tassie (1928), marked a distinct change from the earlier earthy plays with their realistic humor and tragedy. This play progressed from naturalistic farce in the first act to pure expressionism in the second; the remaining two acts combined farce and grim tragedy in the symbolist mode.

The Star Turns Red (1939) was avowedly communistic, although O'Casey in his autobiography later described himself as "a voluntary and settled exile from every creed, from every party, and from every literary clique."

His experimental dramas, Red Roses for Me (1942) and Cock-a-Doodle Dandy (1949), show his increasing reliance on symbolism and fantasy.

The Bishop's Bonfire, produced in Dublin in 1955, was described by O'Casey as a play about "the ferocious chastity of the Irish, a lament for the condition of Ireland, which is an apathetic country now."

O'Casey's autobiography is contained in six volumes: I Knock at the Door (1939), Pictures in the Hallway (1942), Drums under the Window (1945), Inishfallen, Fare Thee Well (1949), Rose and Crown (1952), and Sunset and Evening Star (1954). His attitude toward Ireland seemed to have softened somewhat before his death in England on Sept. 18, 1964.

و لم ننتهي من هذا الكاتب بعد...يتبع... *ورود

[/b]

لجين

Tami,
الله يعطيك العافية يارب مبين انو عم تتعبي كتير..ملياااان معلومات ما بظن اني اقدر اقراهم دفعة وحدة لهيك رح انسخ الصفحة أحسن :mrgreen:

وفي حال انا بين معي شي بنزلو كمان (بس مابظن)
^^

A..R..W..A

Tami
ألف شكر الك موضوع مميز و مشاركتك فيه زادو تميز *ورود

سيرين

Tamiيسلمو كتير

Tami الله يعطيكي ألف ألف ألف عافية

Tami

لجين, A..R..W..A, سيرين,
ربنا يسلمكن و يعافيكن. ..

Tami

Basically, Sean O'Casey's so-called "Dublin Plays" are concerned with the experiences and the reactions of Dublin tenement dwellers during times of civil war. Sean O'Casey describes the life in Dublin on the level of the families living in the tenements, which creates an intimate atmosphere. But if the plays did not go further they would most likely be boring to anyone who was not living in Dublin or, at least, Ireland.

On the one hand, Sean O'Casey's "Dublin Trilogy" is not only realistic, but the situations shown can often be taken symbolically. They may be regarded as examples, taken out of Dublin life, which at the same time reveal conditions that are universalistic and may be transferred to any country.

On the other hand, the "Dublin Trilogy" draws clear and distinct pictures of the characters involved. Most characters are confronted with quite existentialist circumstances: They can no longer live an ordinary life, but they must decide, be it this way or that way. Therefore the recipient may gain a deep insight into the inner situation of the characters. A lot of characters, for instance, show a pious religious belief, some are truly faithful, some are hypocrites. Others support a materialistic or humanistic point of view.

As the Dublin Plays deal with characters from poor and, in an academic sense, uneducated working class, one may not expect explicit and elaborated philosophical theories. However, the characters have obviously made attempts to explain metaphysical questions such as the origin and the sense of human life, the possibilities of filling an individual existence with sense or even the ancient philosophical problem of the coexistence of God and evil. Behind their everyday-life there are theories explaining the relation between the individual, the society and the world as such.

In this work we intend to prove that one may assign quite distinct world views to a lot of the characters involved. This will be done in the first two chapters. From this starting point we will try to explain how the attitudes and concepts of certain characters are judged in the plays, especially as regards the relation between their theories and their real behaviour, i.e. their deeds and reactions. This does not mean that we intend to find out the philosophical conception of Sean O'Casey himself. Instead, we will examine and compare the characters' words, their deeds and the results of theses deeds. This is the aim of chapter 3.

يتبع...سأضع تقرير عن هذه الثلاثية كل واحدة على حدة...

Tami

Sean O'Casey's "Dublin Trilogy"
At first I will sum up the characters which seem to have a distinguishable world view.

Juno and the Paycock
From the first stage direction on the recipient knows that religion plays an important role in Sean O'Casey's second major play "Juno and the Paycock" (1924): "a votive light" is burning on the stage, which shows the apartment of the Boyle family in a tenement.
Juno Boyle is a very family woman. She always tries to keep the life of the family in a bearable state: "I killin' meself workin', an' he sthruttin' about from mornin' till night like a paycock". At the end, when the situation is desperate, she hopes for the help of God. "We'll want all the help we can get from God an' his Blessed Mother".
Her husband, Jack Boyle, leads a rather lazy life. He refuses to work and spends his time in pubs with his friend Joxer Daly. One might conclude that Jack Boyle does not have any conception whatsoever because his thoughts only concern questions of how to make life easier and agreeable. His opinion on God is obviously not to be taken seriously: In the first act, when he does not know about the expected inheritance, he utters "I never like to be beholden to any o'the clergy. [...] The clergy always had too much power over the people in this unfortunate country". After he has got notice about his supposed future richness, he says "I'll never doubt the goodness o'God agen".
Yet he has also made an arrangement with his social environment, and his "philosophy" could be described as one governed by the principle of lust.
Mary Boyle and especially her former boy-friend Jerry Devine have a more social-oriented conception of the world. Both are interested in the rights of the working class. Jerry shows a humanistic attitude. Even though it is almost impossible to find work for Jack Boyle, Jerry tries to help. "I simply was anxious to do you a good turn". Later on, his "humanity" fails: He condemns Mary for having a baby, and she replies "Your humanity is just as narrow as the humanity of the others".
The last character with an important religious belief is the solicitor Bentham. He objects orthodox religion ("dogma has no attraction for me"), but he believes in "the existence of an all-pervading spirit - the Life-Breath".

Tami

The Shadow of a Gunman
In Sean O'Casey's first major play "The Shadow of a Gunman" (1923), the central figures are Donal Davoren, who is a poet, and Seumas Shields, a quite well-educated pedlar. They live together in a room in a tenement.
To these two people we can assign the most explicit philosophical conceptions. Davoren believes in philosophy, rationality, beauty and the creativity of man, though, ironically, he himself is a good example of someone who lacks these qualities.
Shields is excessively pious, he always involves religion in his talks. Again, the outcome of the play shows that he is rather superstitious than a firm believer. "The Black and Tan raid brings to light the peddler Seumas Shield's superficial piety and false courage". In former times Shields was a soldier of the Irish Republican Brotherhood. Critics supposed that his exaggerated piety is due to his disappointment in the national movement. He is compared to Johnny Boyle in "Juno and the Paycock": "Like Seumas Shields in the first play Johnny has turned excessively pious as part of his reaction against action and enthusiasm".
Mr. and Mrs. Grigson are of a quite simple mind. They always pretend to be very religious. But their behaviour, often drawn comically, shows that, finally, they do not really understand what is going on around them. They may be compared with Mrs. Gogan in "The Plough and the Stars". Moreover, Adolphus Grigson is an idler like Jack Boyle in "Juno and the Paycock".
Mr. Maguire, who appears only once on stage for a very short time, seems to be a true fighter for an independent Irish nation, but we do not get any information about his reasons or motivations is shown so ironically that there remains no doubt about his stupidity. He is an example of someone without any honest consideration about the state of the world and of mankind .

Tami

The Plough and the Stars
In "The Plough and the Stars" (1926), the last of the Dublin Plays, the central characters of the plot, Nora and Jack Clitheroe do not belong to the persons with clear theoretical conceptions. Nora is quite ambitious ("an attempt towards a finer expression of domestic life") and wants to keep the idyll between herself and her husband. Jack Clitheroe is also ambitious, but in terms of military achievement. When his wife beseeches him to stay with her, he only frets that he could be regarded as a coward.
The Young Covey supports a materialistic, Marxist world view. To him, the world and the forms of life in it are nothing but "mollycewels an'atoms". "The Covey... with lines on his face that form a perpetual protest against life as he conceives it to be".
Peter and Fluther belong to the Catholic Church. Fluther has several quarrels with The Covey on the question of God. Mrs. Gogan also appears to have Christian faith.
Bessie Burgess seems to have no particular conception of the world at the beginning of the play. She quarrels with Nora Clitheroe, and her reproach "Maybe now, they're (the neighbours, ed.) a damn sight more honest than your ladyship", which at first seems to be only an insult in an argument, turns out to be correct in the end, when Bessie helps Mrs. Gogan's child Mollser, when she looks after Nora and when she finally saves her life. During the row in the pub (act II) Bessie utters a lot of fierce commentary, and not until act III is it revealed that she is capable of more than mere arguing. Sometimes she refers to her Chrisitian belief ("always havin' had a Christian kinch on her conscience"), but she does not use these phrases as thoughtlessly as Fluther, for instance. She only once says a prayer, when she is to leave in order to get a doctor for the consumptive child Mollser, and in this dangerous situation (a civil war rages in town) she behaves really daringly: "Oh God, be Thou my help in time o'throuble. An'shelter me safely in th'shadow of Thy wings!".

Khalid H

Getting to know dramatists such as O'Casey, Synge, and Yeats is a really interesting experience.

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