Canadian Association of Irish Studies

Canadian Journal of Irish Studies

Making the Least of Masculine Authority: Sean O'Casey's "Paycock" and "Plough and the Stars"
Author(s): Cathy Airth
Source: The Canadian Journal of Irish Studies, Vol. 32, No. 2 (Fall, 2006), pp. 42-47
Published by: Canadian Journal of Irish Studies
Stable URL: http://www.jstor.org/stable/25515638
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 Cathy AIRTH

the Least of
Making

Masculine
Authority
Sean O'Casey's Paycock and Plough and the Stars

Sean O'Casey was intimately familiar

with the poverty, violence, and bloodshed from the militant men ? militant fathers and future fathers
resulting representing
- as
political upheavals in Ireland between 1913 and 1923. After misguided posers, or as David Waterman puts it, men
the signing of theAnglo-Irish Treaty inDecember 1921, and whose "performance of manliness is
nothing but window
the establishment of the Provisional government in .." (36). To put it another way, to nationalist
January dressing. challenge
1922, the Abbey Theatre's repertoire of plays reflected its ideologies O'Casey subverts masculine imagery and

opposition to republicanism by providing, asLionel Pilkington stereotypes; in so doing, he

collapses masculinity and
a selection of centered around nationalism, the stage" for the breakdown
explains, plays "satirizing thereby "setting
republican anti-Treatymilitancy" (90). Pilkington believes that of all masculine authority.
critical of rhetoric, such as O'Casey's The Shadow To the more violent aspects of nationalism,
plays anti-Treaty critique
of a Gunman (1923), Juno and thePay cock (1924), and The Plough O'Casey,
as
Pilkington points out, portrays militants as
being
and theStars (126) reinvigorated theAbbey with "a new sense concerned with "self-aggrandizement" and engaged in "self

of purpose" (90). indulgent role-playing" (91). In Juno there is no more a self

As a of the plays' content and the character than Captain As the "head" of
consequence political aggrandizing Boyle.
politically charged socialmilieu inwhich theywere produced, a struggling Dublin family living in a tenement building and
critical response to has been, to put it confronted with the inescapable of
O'Casey's plays simply, consistendy problems
on this Shakir Mustafa describes and concerns are
polarized. Elaborating point, poverty politics, Boyle's inappropriately
the reception of O'Casey's plays as being "muddied with [the] frivolous. Mosdy he worries about finding ways to sneak off

conflicting interests and ideologies" of the critics themselves to the snug with his friend Joxer. And, as for his position in
(97). In general, critics
supporting anti-nationalist positions the home, he is
always
in the
periphery
of the action, never

have defended O'Casey, while other critics have that the traditional male role of central decision-maker.
argued occupying
his attacks on anti-nationalist politics have inadvertently
re This is quite evident when Boyle's daughter Mary, while
inscribed damaging Irish stereotypes (Mustafa 96). In an fighting with her suitor Jerry,
warns that her father may
more - more -
alternative Mustafa suggests that
the plays primarily intervene, but the is ritual
reading, warning symbolic
attack nationalist rhetoric, without Irish nationalism than real. When the "ouP fella" enters the scene,
attacking (18) Mary
itself (96-97). and Jerry ignore him completely:
Although critics have discussed the political content and
Jeny Don't be so hard on a fella, Mary, don't be so hard.
implications of O'Casey's work in there does not seem
depth,
- Boyle, {appearing at the door).What's the meanin' of all this
to have been as much attention to that is, the
paid gender hillabaloo?
ways in which the plays ideas of nation and militancy. Mary. Let me go, let me go!
gender
- what's al this hillabaloo
With that in view, what is discussed here is how O'Casey Boyie. D'ye hear me about?

criticizes republican or anti-Treaty ideology by embodying its Jerry; (plaintively). Will you not give us one kind word, one kind
word, Mary?
rhetoric in failed masculine evaluates these
subjects.
O'Casey Boyle. D'ye hear me talkin' to yous? What's all this hillabaloo
failed masculine to their roles in the for?
subjects according family.
O'Casey's particular evaluation of masculinity appears to (18)
Franz Fanon, who, in Black Skin, White Masks,
anticipate
Mary and Jerry ignore Boyle's which makes
that there are "close connections between the structure repeated questions
explains - a
him appear krelevant to them and in the home
of the family and the structure of the nation" (141). For
family
where he should dominate. exerts control
"militarization and the centralization of in a place Boyle only
Fanon, authority
over himself in the periphery of family events. In the Boyle
country entail a resurgence of the authority of
automatically
is a non-recognition
there of traditional forms of
the father" (142).By focusing specifically on Juno and thePaycock family
familial and masculine power, and himself assumes
and The Plough and the Stars, we can see with Boyle
O'Casey working
that this loss of authority is a that extends out into
these ideas when he connects problem
strategically masculinity,
Because "chiselurs" do not care about thek fathers, he
militarization and the nation. In these plays he kills the society.
says, "the whole worl's in a state o' chassis"
of or at least wounds (18).
authority republicanism, it, by

42 AIRTH Making theLeast ofMasculine Authority

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 seems "natural" if we see and female national national
Boyle's assumption enough stereotypes" (Nationalism 16). Male

authority the way Victor J. Seidler does when he says, "the stereotypes involve constructing and idealizing masculinity, at

visions of authority which we inherit within Western culture least in part, in terms of
"depth
and seriousness" (Mosse,
. . . Nationalism
are tied
up with conceptions
of the father [and]
our
16-17). Working against this kind of idealized
of the nature of political has been as a an
understanding authority masculinity, O'Casey presents Boyle counter-image,
tied up with our sense of the position of the father within that challenges the power that has traditionally saturated
image
the family" (272). Boyle's position in his family is undercut by masculinity. Obviously Boyle is neither "deep"
nor serious,
his to exert his "natural" as the and his ineffectual blabber unsettles notions of male
inability authority agency,
and, this in turn, Seidler's and essentialized notions of gender
"paterfamilias," following logic, undermining stereotypic
undercuts the nature of as a hierarchies. Thus of destabilizes
political authority. Perhaps O'Casey's depiction Boyle

compensation for his lack of authority in the home, Boyle gender categories and introduces "chassis" into the family
makes false claims about as a seaman, and the nation. Phrased another of
past exploits hoping way, O'Casey's depiction
instead to re-establish his in terms of traditional or even inverts the patriarchal
authority Boyle dismandes, perhaps power
notions of virile masculine agency, but his at structure of the household, and, extension,
attempts Boyle by

establishing himself in this way appear comically impotent undermines the authority of the nation which krevocability
his actions as the fool. rests on the coherence of the family.
alongside family
Since the nation is "imagined" in terms of masculine If there is an authority figure in the play, it is Juno; she is
and, more masculine agency, the industrious and rules the who in turn, to
imagery, specifically, "paycock" prefers
of Boyle as ineffectual and is telling. tell stories about work and
representation superficial finding work rather than actually
nationalism has, as Mosse notes in work. efforts to find work are, in words,
Generally, George doing Boyle's Juno's
Nationalism and Sexuality, an "ideal of manliness and as both
adopted only "fairy tales" (13). The characterization of Juno
built its national stereotypes around it" (10).This ideal insisted serious and shrewd contradicts national stereotypes of
on accuse women
"virility and manly bearing" (Mosse, Nationalism 10). Boyle's femininity, which often of "shallowness and

virility, however, is an act, and his of it is as (Mosse, Nationalism 17). Because of these
performance frivolity"
contrived and as comical as the seaman's on his head. characterizations, the inverts
cap play essentially binary oppositions
a on a collier inmoments
ship hand
Only of self associated with national stereotypes: is strong
ship, Boyle, gender Juno
tells tall tales of oceanic adventures. At one and authoritative,while is weak and submissive. To
aggrandizement, Boyle
point he tells J oxer that he has seen "no mortal man make this point quite clear, O'Casey makes a vehicle for
things Juno
should speak about that knows his Catechism" (23).With unmasking and satkizing Boyle's superficial masculinity.
at his side, Boyle recounts stories of make-believe Unaffected and unconvinced stories and posturing,
Joxer bravery by Boyle's
and adventure, which then absorbs and repeats without identifies stories as the infantile
Joxer Juno frequently Boyle's
are. on his claims,
question. exaggerations they Commenting seafaring
accentuates hollowness she says, "to listen or lookat you, ud take you for a second
Joxer Boyle's by comically
his words back at him in empty echoes. In one Christo . . . Columbus!" treats not as
bouncing (14). She Boyle, the

instance, talks to about his as a "head" of the house, but as a child in need of
particular Boyle Joxer days supervision,
seaman, and the conversation this way: and Boyle and childish, at one
proceeds reciprocates by acting petty

point telling her, "Iwant no breakfast, I tell you; it ud choke

Boyle. An', as it blowed an' blowed, I ofen looked up at the sky me afther all that's been said. I've a little left in me still"
an' assed meself the question ? what is the stars, what is the spirit
stars? (16). In reality the only spkit Boyle really shows iswhen he
Voice of the Coal Vendor. Any blocks, coal-blocks; blocks, coal childishly hides his breakfast away and helps Joxer escape
blocks! the window when returns the
- what through Juno (24). Certainly
Joxer. Ah, that's the question, that's the question is the
scene is farcical, and, as such, it that
stars? emphasizes Boyle's
- what and his in the home is a
Boyle. An' then I'd have another look, an' I'd ass meself masculinity position masquerade,
is the moon? stressed his as
by parading, Juno says, "from mornin' till
- what is the
Joxer. Ah, that's the question moon, what is the
moon?
night like a paycock!" (10).
In another instance, as a
Boyle, posing domineering
(23)
husband, plans
to establish his own
"independent Republic,"
constant of Boyle's shows that even (24) and have Juno make him an "oath of allegiance" (24).
Joxer's echoing speech
Nevertheless, his preposterous accentuates the
though Boyle is engaged in conversation, he is still unable to boasting only

out of himself." His words do not in

ridiculousness of his attempt to, as Joxer puts it, restore his
"get carry authority;
"sacred o' man"
fact, do not at all, but bounce back to him off rights (24). His "oath of allegiance" is a
they "carry"
reference to the pledge of loyalty requked by the British Crown
Joxer.
in the Anglo-Irish Treaty of 1921. By
Such passages in the
play make
sure that the audience linking the "oath of
allegiance" with home and state, and
does not
take Boyle but they also to him as a Boyle, O'Casey merges
seriously, point
thereby blurs the divisions and differences between
failed symbol of and this failure has consequences public
masculinity,
and private domains. male the way
for construction and maintenance of national Understanding authority
stereotypes.
The nation as Mosse out, to Jeff Hearn does inMen in the Public
Lye, that "men's power
attempts, points "provide
rests on men's to the and private domains"
symbols with which the people can identify" (Nationalism 16); relationship public

these are often and take the form of "male

symbols gendered

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 (21), then O'Casey's deflation of male in Juno can be Both and Bentham's is more
authority Boyle's masculinity
seen as in both domains. In other ornamental than authentic: both show an
occurring simultaneously alarming gap
words, in an double gesture, he merges and between ideal and the real. Nonetheless Bentham's form of
oblique private
to undercut all bases of male does more than Boyle's because
public patriarchies authority. masculinity prove powerful
In male can sometimes take Bentham "bests" in his own home. if
Juno undercutting authority Boyle Boyle's power,
a more subde form. This is the case with the well-educated indeed he ever had any, is complicated and outdone by
Bentham, who acts as a foil to Bentham's which is in his education,
English gendeman, Mary's power, grounded
union-devoted as in his
boyfriend Jerry. Bentham takes Jerry's place experience, and economic and social standing
in the

Mary's suitor, and, probably because of his social Hearn states that in
positioning, public sphere. Jeff emerging capitalist
receives the affections and attentions of all the societies, "thepower of the individual father has been, if not
Boyles.
Ironically, though, he and Boyle both end up playing central superseded, then at least complicated by men's
own powers
roles in the economic which ultimately in the domains the continuation of
family's problems, public maintaining
cause its Bentham's involvement with the law assigns to Hearn,
collapse. patriarchies" (19). Public patriarchies, according seek
him a different social and in the an to achieve the "domination of some men over other men"
position authority play,
that is based in the This alternate and "the domination over both women and men in the
authority public sphere. private
masculine authority based in the public domain proves faulty domains" (18). In Juno we
can read the Boyle/Bentham contest
as affirming and illustrating how
public patriarchies in capitalist
because Bentham cousin's will and this is
bungles Boyle's
what brings the family to bankruptcy. societies do indeed outstrip the power and privilege of private
The audience is introduced to Bentham Bentham's more endorsed masculine
by Jerry's patriarchies. public
description inwhich he calls him a "thin, lanky strip of a power defeats Boyle's
authority
as the
feeble
family patriarch.
with awalkin' -stick an' gloves" can also read the
Micky Dazzler, (18). Colbert We
plot trajectory of
Johnny Boyle
in
calls
the description of Bentham terms of
Kearney "inspired" (80). illustrating competing types of masculine authority.
to the term "Micky Dazzler" as the of militant boasts
According Kearney, "generally Johnny, representative republicanism,
indicates a . . who
. dresses to attract of his part in the Easter in
person extravagandy Rising slogan-ridden rhetoric.
female attention. The sexual connotation is Pearse he "Ireland half free'll never be at
strengthened by Echoing says, only
the fact that
'micky'
is
slang for penis, but the crucial element peace while she has a son left to pull the trigger" (27). His
is the of Bentham as who is masculine bravado undermined
recognition somebody setting is, however, by his physical
out to dazzle ... the entire
Boyle family" (80). Declan Kiberd appearance and his demeanor.
O'Casey describes him as thin

suggests that Bentham is a "melodramatic device" and he and delicate with a "tremulous look of indefinite fear in his
eyes" (8).Missing his left arm and saddled with a bad hip,
a who leaves a
represents stereotypic "rapacious Englishman
decent Irishgirl pregnant" (219).He further suggests thewhole Johnny is no longer able to physically or emotionally "pull
episode "could be read as an of the British withdrawal. the is the site of masculine and
allegory trigger." Johnny's body
What he proposes is that Bentham's national self-destruction - his
crippled body is politicized,
is O'Casey's
departure
"indictment of a dishonest and over-hasty British withdrawal, and thus distorted Weakened
represents republican ideology.
which seemed to create far more
problems than it solved" in this way, Johnny is both infantilized and feminized. His
(219). infantilization and feminization points
to a breakdown or

By resisting this one can in masculine and this subverts national

allegorical
reading, though, degeneration ability,
as a failed
interpret Bentham example
of the British
gendeman. masculine ideals, revealing,
as Waterman
puts it, a "crisis of
the "manly virtues" of restraint and self-control,
By lacking masculinity" (36). As Waterman further states, "like his father,
he fails to satisfy stereotypic definitions of the British as childish, but more
manly Johnny is presented important is his
gendeman. The British gentleman, in literature of as feminized, from
especially representation [and] suffering hysteria"
was
the British
Empire, represented
as an extension of British (66). Far from the idealized hero, he is feminized and secludes
political authority (Mosse, Image 15).He had to use this power himself within feminine space. Ultimately,
Johnny,
as a

wisely, which, to Mosse, meant "it had to be conflicted and site of is

according coupled ambiguous masculinity, physically
with self-control and the restraint of reckless Such reclaimed when he is removed from his home
impulses. forcefully by
self-restraint was a attribute of the masculine two
key stereotype, "kregulars" (69).
. . . the use of inherent in modern
[and] power masculinity, Boyle is unable to secure his son and
against militants,
was restrained
always by other manly virtues" (Image 15). What neither is he able to
compete with the economic forces that
this means is that "true" manliness "meant freedom from rule his life. Even Bentham makes a
though "banjax" of
sexual passion and the sublimation of into makes a of
sensuality Boyle's inheritance, Boyle "banjax" the
resulting
leadership of society and the nation" Nationalism \ 3). debt. Because is removed from the home
(Mosse, Johnny along with
to this ideal of "true" manliness, Bentham does the furniture, seems to suggest
Contrary O'Casey that Boyle has been
not sublimate his sexual desire. He takes
advantage of his bested by both republican militants and capitalism - two
favoured position in the Boyle household and leaves Maty different and
competing types of masculine authority. Since
pregnant with his child. Of course Bentham's actions call Boyle's in the late nineteenth and twentieth
capitalism centuries changed
masculine authority7 into because, as Peterson the nature of masculine
question, says, authority (Seidler 277-278), many
"men who cannot defend their woman/nation men saw thek eroded. as Hearn
[/daughters] powers Increasingly, points
against rape/invasion have lost their propriety claim to that out, manhood came to be "defined economic class
through
that land" in Porter locations" came to be defined
body, (qtd. 43). (99). Men in relation to thek
as well as thek status in the In the
property family (Hearn 99).
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case of Juno, Boyle's status as aman is completely undermined the carpenter, provide exposition by frequendy giving context
in almost all categories. Competing with old and new forms and information about the characters,
especially about Nora

of masculine authority, he is undermined in the private sphere,

and Jack Clitheroe, Peter, and The Covey. Mrs. Grogan is
and any residual power left to him is subsumed under the suspicious of Nora, and makes it
quite
clear that she thinks

pressure and power of capitalist forces, thus there is Nora is extravagant and vain. She tells Fluther that she thinks
implying
no internal stability to gender identity. Following this line of Nora has "notions of upperosity" (137) because her clothes

thought, gendered identity is hollow, constituted only in the are

pretty and her skirts are a "little too short for a married

shifting
matrix of power relations and reinforced only in the woman" (137). Although Fluther describes her innocendy as
hollow rituals of activities. This is that a little Judy," Mrs. Grogan, more
daily something "pretty perhaps sagaciously,
becomes apparent in another of O'Casey's Dublin suggests that "she is, an' she isn't" (137). She labels Nora and
especially

plays, The Plough and theStars. her actions pretty, but also notes that there is
"prettiness
in it"

The Plough and the Stars takes place in the

cramped quarters (137). Mrs. Grogan characterizes Peter in much the same way.

of the Clitheroes, a flat in aDublin tenement during the 1916 She talks about Peter
adorning himself for the evening out,

Rising. One resident of the tenement, Peter

Flynn, and she is fascinated by his white shirt that she describes as
as "a littie, awoman's
compensates for
being, O'Casey describes him, frilly, just "like petticoat" (141). Mrs. Grogan links

thin bit of aman" (136), by dressing up in republican regalia. the two characters
together by thek vanity, blurring presumed
In response to a
patriotic republican handbill, he dresses up, gender differences and effeminizing Peter by emphasizing his
as Mrs. charwoman in the tells it, "like decorative dress. Later in the in the
Grogan (a tenement) play, after he has taken part
somethin' you'd off a Christmas tree" (139). He wears looting, Peter is described as
coming back to the tenement
pick
the "full dress of the Foresters" which includes a "woman's vivid blue hat with
(150), wearing wearing gold lacing" (198).
a coat, braided; white breeches, His vanity is that it borders on
"green gold top boots, [and a] exaggerated enough parody,
frilled shirt" (150). And, he completes the picture by carrying seeming
to mock
public representations of both genders.
an old, sword The abundance of detail is The of Peter a kind of "in
large (150). consequences occupying gender
Peter is overly "costumed," betweenness" blur the gender barrier between masculine and
overcompensation; suggesting
that his idea of himself is out of proportion towho he is.To feminine, creating,
as Elaine Showalter phrases it "a dangerous

emphasize
this
point, O'Casey has him carry
a sword that vanishing point" of gender difference" (8). This "vanishing
Mrs. Grogran describes as "twiced too big for him" (140). point" calls all "gendered
identity into question" (Buder, xi).
The "twiced too sword" that not his sword In many ways, Mrs. observations reverse the
big implies only Grogan's
too big for him, but also his own idea of his masculinity. male gaze. Peter is the object, and her critique of his masculinity

Throughout the scene, and for that matter throughout the the authority of his masculine This is an
challenges position.
"Peter is as a in a moment of female and inverts the power
play, presented soldier-dandy, dressing unanticipated agency
costume to a men and women.
play part" (Waterman 44). His ornamental and relation between Drawing here from Judith
costumed masculinity is nicely highlighted by Fluther who Butler, what Mrs. Grogan's pervasive and persistent
says, "you'd wondher whether th' man was makin' fun o' th' observations seem to do is "trouble the gender categories
"
costume, or th' costume was makin' fun o' the man!" that in turn, has
(168). support gender hierarchy (xxviii). This,
- - a
The sword the talisman of Peter's masculinity has To that Peter's
ideological implications. emphasize masculinity
particularly interesting function in the
play. Endlessly teased is ideological and performative is destabilizing to essentialized
tenement
by The Covey, another dweller, Peter eventually takes notions of masculine
authority, but as Brian Edwards says, it
the sword and at him, but The runs out of the is also somewhat From a feminist
charges Covey liberating (284). perspective,
room and slams the door in Peter's face (146). The what is is that Mrs.
slapstick being suggested Grogan's "dressing
of the two characters each other about the down" of Peter's masculinity makes the social construction
comedy chasing
house with an outdated the childishness of gendered identities visible. Such a revelation
emphasizes weapon consequendy
and of Peter's behaviour. Nora, Peter's reveals the ways in which certain idealized of
impotence Eventually expressions
niece, has to intervene, saying, "If you attempt to wag that "forms of hierarchy and exclusion"
gender produce (Buder,
sword of yours at it'll have to be taken off
anybody again, viii).
you an' put in a safe place away from babies that don't know The characterization of Jack Clitheroe, like that of Peter,
th' o' them this scene as calls gendered hierarchies into question. is in some
danger things" (148). By reading Jack, who
to the national conflict, uses the as childish as Peter, from the Citizen
analogous O'Casey Covey/ ways pulls away Army
Peter battie to bring the fight indoors, suggesting that all because he has not been made captain (140). Like Peter, Jack
fighting, including national conflicts, is nothing but juvenile also has a "talisman of
masculinity." When
thinking he is

games of supremacy. And, these games of supremacy play going to be made

Captain of the Citizen Army, he is
out with
themselves reckless disregard for the lives of those inseparable from his gun and enjoys showing it off in public
they touch.
Significandy, then, it isNora who takes control of with "th' Red Hand o' Liberty Hall in his hat" (140).
Perhaps
the situation and of the men: it is female not male more obsession with his gun and his role
authority7 interestingly, Jack's
that rules the home. As with Juno, men in The
Plough
are in the Citizen
Army interfere with his role as a husband. The
as childish who need and ever-intuitive and somewhat Mrs. it
represented posers supervision, gossipy Grogan puts
their militant nationalism is impotent, which is this way: "He was so cocksureo' made one
humorously being [Captain]
reflected or as it is referred to in the
by Peter's sword, play, his that he
bought
a Sam Browne belt, an' was always puttin' it

"baby's ratde" (140). on an' standin' at th' door it off, till th' man came
showing
the opening act Mrs. and Fluther,
Throughout Grogan
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 an' put out th' street on him. God, I think he used to the barricades, and then Brennan saves himself
lamps Captain by

bring it to bed with him!" (140). Jack's attachment to his gun leaving Jack to die alone in the Imperial Hotel after they have
is fetishistic; it is symbolic of his misplaced sexual desire, a both run from the battle. Ironically, he then reports to Bessie
desire that is not directed appropriately towards his wife, nor that theGeneral called Jack's death a "gleam of glory" (204). It
towards a role in the Citizen seems the only masculine that lives up to
leadership Army. O'Casey's figure stereotypic
of Jack challenges masculine stereotypes, stereotypes masculine ideals of bravery and stoicism is the disembodied
depiction
in the nineteenth that demanded voice outside the local pub. O'Casey seems to be
especially prevalent century suggesting
masculine subjects adhere to a strict moral code. This code, as that idealmasculinity can only exist in disembodied form; in
analyzed by Mosse, meant that "manliness was not just a reality, realmen will always fall short of such idealized abstract
matter of courage, itwas a of manners, and morals. notions and unrealistic standards. As masculine
pattern perfection,
Masculine and a the the disembodied voice Pearse's nationalist
comportment manly figure exemplified mythologizes
transcendence of the so-called lower passions" (Nationalism rhetoric to fuel masculine
militancy, "Bloodshed is a
saying,
13). Once obtains the rank he desires, his sexual energy is and and the nation that regards it
Jack cleansing sanctifying thing,
redirected and he rededicates himself to the politics and as the final horror has lost its manhood" (162), but the
militarism of republicanism, but this conflicts with his mythologized disembodied voice has no blood to shed.
position
as husband and father-to-be. In both plays women are the real heroines. Mythologized
Through deception Nora tries to keep Jack from the heroes and empty rhetoric do not motivate them; they
are
to seduce him a new - are the ones who
Citizen she tries hat motivated
Army; by wearing by real necessity they shed thek
and
reminding
him of their honeymoon, but she loses the blood, not for glory, but for each other. In Juno after Johnny
for Jack's affections and he is instead seduced is out, the curtain falls and "when it goes back up
competition dragged
away the of a and Abstract most of the furniture is and Mrs. one
by promise promotion glory. again gone. Mary Boyle,
notions of glory and duty do not seduce Nora. For her such on each side, are in a darkened room, by the fire"
sitting (69).
ideas are a that is destructive. She tries to Once all the men have been the play seems more
only vanity, vanity removed,
make this point to Jack by telling him: "Your vanity'll be th' hopeful. There is
nothing that can be done, as
Juno says,
ruin of you an' me yet_That's what's movin' you: because about the "stupidity o' men!" (70), but without them there
made an officer of you, make a cause seems to be a way forward:
they've you'll glorious
of what you're doin" (158). Playing the part of wisdom and
reason, unlike her husband, is not seduced
Mrs. Boyle. We'll go. Come Mary, an' we'll never come back
Nora, by promises here agen. Let your father furrage for himself now; I've done
of militant heroism. Nora is not driven by rash decisions and all I could an' it was all no use - he'll be hopeless till the end
emotional impulses; instead, she is reflective and rational. of his days. I've got a litde room in me sisther's where we'll

Weighing the consequences of

militancy the way she does, stop till your throuble is over, an' then we'll work together
for the sake of the baby.
she stands out in stark contrast to Fluther, who to
responds
Mary. My poor litde child that'll have no father!
the emotional rhetoric of national in orgasmic
militancy Mrs. Boyle. It'll have what's far betther - it'll have two mothers.
language: "You couldn't feel any way else at the time like this (71)
when the' spirit of aman is to be for th' thruth
pulsin' fightin'
with his feet tremblirt on th' way, to th' an' his In the household men are more trouble than are
maybe gallows, Boyle they
ears and it is left up to the women to secure the future
tinglin with th' faint,
far-away sound of the burstiri rifle worth,
shots that'llmaybe whip th' last litde shock o' life out of him against thek public and private bungling.
In the Plough on the other hand, Bessie,
that's lingerin' in his body" (italics added, 163).Nevertheless, conceivably the
after being most heroic character in the Nora
"caught up in patriotic ecstasy" and in the quest for unlikely play, pushes away
Peter from the window, to be hit with a bullet herself. While
"manly glory," gets drunk and goes home from the bar only
men in the
with Rosie the prostitute, "the revolution forgotten" play lose thek manhood by shrinking away from

bloodshed, Bessie sacrifices herself for the good of those

(Waterman 47).
When it comes to into others also have around her. In both women what Anne
going battie, plays represent
to national ideals of masculinity. McClintock calls the "authentic of national tradition"
problems living up Jack body
leaves Nora in the streets after she risks her life to find him at and the of Men, in contrast,
"principle continuity" (359).

46 AIRTH Making theLeast of Masculine Authonty

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CJIS/RCtil 322 47

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