Translations by Brian Friel

The British have reigned over the Irish so long and so cruelly that they have left Ireland in “state of dependence” psychologically, politically, and economically. In other words, the “ideology of Protestant consumption” has “actually eroded” the self-confidence and sense of worth of the Irish so badly that it has left Ireland a nation unable to sustain itself (Mahoney). England is eating up Ireland. But this tribulation cannot be blamed solely on the British. Swift cleverly condemns the British aristocracy for their mistreatment of the Irish people while also criticizing the Irish people for allowing this exploitation.

The short stories of Ireland are distinct and many times distinctly Irish. “The Limerick Gloves” by Maria Edgeworth, “The Pedlar’s Revenge” by Liam O’Flaherty, “The Poteen Maker” by Michael McLaverty, and “Loser” Val Mulkerns are each distinct Irish short stories that deal with Irish topics in original ways. These stories are stylistically and thematically Irish. They are moralistic and offer clear themes that pertain to Irish values. This analysis will explore the Irish-ness of the works and explore their meaning when held against Irish literary tenants.

    In the early twentieth century, Ireland, and more specifically Dublin, was a place defined by class distinctions. There were the wealthy, worldly upper-class who owned large, stately townhouses in the luxurious neighborhoods and the less fortunate, uneducated poor who lived in any shack they could afford in the middle of the city. For the most part, the affluent class was Protestant, while the struggling workers were overwhelmingly Catholic. These distinctions were the result of nearly a century of disparity in income, education, language, and occupation, and in turn were the fundamental bases for the internal struggle that many of Joyce's characters feel.

The setting of the story, Dublin, has been written in such a way that only

“People everywhere brag and whimper about the woes of their early childhood, but nothing can compare with the Irish version”(11).

Additionally, Limerick lays forth a challenge to the “cheerful remarks about how the understanding of history will help us to understand ourselves and to cope with the dilemmas we have inherited from the past” (412); this challenge is to find out what. By remembering these stories in their full intensity and completeness, what do we gain besides a revival and restoration of the misery? The following paragraphs will clarify what is missing in much of our history and why it is a problem; they will also address the challenge put forth of what we can possibly learn

An idea that arises No Great Mischief[, is MacLeod’s ability to prove to the readers that it is impossible to talk about the Scottish-Canadian heritage without mentioning family history, loyalty and bonds. It is common for an individual to discuss all three factors when discussing family or one’s past in general. However, in No Great Mischief, MacLeod successfully

The Irish have done nothing to halt the terrorizing nature of their domineering counterparts. Swift uses this proposal to describe the wretched situation in Ireland. By “rigorously underplaying the aspect of fantasy in his proposal,” Swift suggests the Irish have arrived at a condition in which such a plan may actually be seriously considered (Lockwood). Ireland is in such a dismal state that “the advantages by the proposal,” which Swift presents, are of the highest importance” (Swift). Merrily pitching his own ludicrous idea, Swift is mockingly attempting to elucidate the seriousness of the state of Ireland. Every detail of the proposal reveals the terrible conditions of Ireland through the eyes of a normal citizen. Through Swift’s vividly appalling arguments, the audience is “never allowed to forget that Swift hates the evil conditions more passionately than the speaker who describes them” (Booth). In essence, the ostensible anger against the English in the proposal is used merely to heighten Swift’s own dismay over the way Ireland has conducted itself (Booth). Swift craftily causes readers to question whether he is being serious or just poking fun at the sad situation.

The history of Ireland is one of early scholasticism and rich culture in times when the rest of Europe had less of a literary and artistic tradition. By the time of Hyde’s speech, the nation had become “one of the least studious and most un-literary”3 countries of the area, and he claims that the fault lies in a divergence from “the right path.”4 Progressive Anglicization has led the Irish to forget their own culture and its traditions. The British claim that because the Irish have forgotten much of their language and customs, they should be content as an integral part of the United Kingdom, and

agitator of the C19, and his main aim was to secure the repeal of the

A spirit of acceptance, and of change. With this change came new experiences, and cultural differences. Maire knew this all too well, for she had crossed a line. She had allowed her heart to fall in love with an English soldier. Jimmy, gave in-site to the real meaning of the story; as he talked about his love for Athena the Greek god of beauty. Jimmy said, “Do you know the Greek word endogaemein? It means to marry within the tribe . . . and the word exogamein? Means to marry outside the tribe. And you don't cross those borders casually-both sides get very angry.”(Friel 308). It was too late though. Maire, and her British lover, Yolland, had already made a scene by leaving the dance together. Although, Ireland was beginning to evolve it still was not completely accepted to have an Englishman taking up home in the Irish country side. Aside from that, it was not acceptable to see a Englishman running off with a favorable woman into the dark of night. After a night of dancing, and mischief, Yolland went missing. I can only assume he was killed by the Donnely twins. It may be understood that maybe Ireland had not come so far in the past 700 years. Maire was right to say the sooner we learn English, the better. Because now they could advance, and become more powerful. Powerful enough to over come the bondage of cultural obstacles they were facing. I couldn't put it any better than

The Irish had suffered long before in the hands of the English when Cromwell had been in control and had taken away land held by the catholic majority of the country to members of the protestant minority. This created a large tension among the population with the oppressed majority and the rather entitled minority who by Trevelyan’s snooty tone did indeed see themselves as the superior people in the country. (Trevelyan’s tone is probably the most dismissive when in discussion of the Irish, mayhaps showing his own true dislike.) (Trevelyan, p. 116-

“To be or not to be, that is the question.” Hamlet’s famous quotation implies only two solutions: to be, or to not be. However, there is another option that Shakespeare never explored: to remain paralyzed between the two states, unable to commit to either. James Joyce’s Dubliners is a collection of short stories first published in 1914, that follows the inhabitants of Ireland. Published nearly a half a century before the Republic of Ireland would be recognized as an independant country, many of Joyce’s short stories in Dubliners explore the theme of Irish paralysis, that Joyce found afflicted both the whole of Ireland and its individual citizens. Many

The play ‘Translations’ is set in a Gaelic-speaking, Hedge school in Northern Ireland, 1833. Brian Friel explores the modernization affect individuals and communities that occurred as a result of the conquering English language. He examines how language shapes reality, whilst questioning the assumption that any two people can share the same reality; ideas can be translated between cultures without necessarily being altered. The play offers a parable about the fate of a parochial attitude for those who are not familiar with Irish history. Brain Friel is considered to be “concerned with the nuances of both personal and cultural-national identity and its relation to colonial dispossession, issues of home, language, tradition…’ (Bertha 2006, 154). Friel writes a story of how one nation lost its language, culture and literature as a result of being conquered by another. He explores the reasons behind this loss and the ways in which society can overcome this sense of isolation.

Brian Friel correctly claims that Translations is a play that emphasizes language, not politics or history. This story takes place in a rural Gaelic-speaking town in Ireland and focuses on the interactions between Irish and English folk. These conversations end up to be a series of ‘mistranslations’. Throughout the plot of this play, Friel proves that a person’s identity comes from language alone. Understanding the politics and history of a play merely explains the factual framework of the story, but does not facilitate the reader to make inferences about the underlying meaning and purpose of the play like language does.