Juno and the paycock: a tragedy in three acts

Front Cover
French, 1932 - Drama - 63 pages
10 Reviews

From inside the book

What people are saying - Write a review

User ratings

5 stars
4 stars
3 stars
2 stars
1 star

Review: Juno and the Paycock

User Review  - Mohammad Wasim khan kakar - Goodreads

Tragic comedy... It is the interesting one , i like it... Read full review

Review: Juno and the Paycock

User Review  - Jessica Barkl - Goodreads

I haven't read much of Sean O'Casey. I read THE SILVER TASSIE and THE PLOUGH AND THE STARS in undergraduate school, when looking for an Irish monologue and I had remembered that my beloved Theater ... Read full review


Section 1
Section 2
Section 3

3 other sections not shown

Common terms and phrases

About the author (1932)

Unlike the directors of the Abbey Theatre, Sean O'Casey was slum-born and bred, self-educated, and deeply involved in the political and labor ferment that preceded Irish independence. His famous group of realistic plays produced at the Abbey form, in effect, a commentary on each stage of the independence movement. The melodramatic The Shadow of a Gunman (1923), the first to be staged, deals with the guerrilla war conducted by the IRA until the peace treaty was signed in 1921. Juno and the Paycock (1925), cast in the mold of classic comedy, describes the civil war and failure of hopes that followed the settlement. The last to be produced, The Plough and the Stars (1926), set off howls of resentment by returning to the Easter 1916 uprising itself, and condemning the vanity of the nationalists and the dogmatism of labor, who squabble while Dublin, in the person of its women, suffers martyrdom. It was expected that the Abbey audience would be unsympathetic. However, when even the Abbey management, in the person of W.B. Yeats, turned against the antiwar play, The Silver Tassie (1928), O'Casey (who had already taken up residence in London and married) determined to remain in "exile." It was an ill-chosen moment to throw himself upon the mercy of a commercial theater, because O'Casey was just embarking on a series of dramatic experiments: Within the Gates (1934), in which the stylized polyphony of urban activities recalls the panorama of The Plough and the Stars and anticipates more modern works such as Arnold Wesker's Kitchen (1959); The Star Turns Red (1940), a vision of an anti-fascist revolution; and Purple Dust (1940), a fantasy cleansing of the remnants of imperialism from Ireland. Without an assured theater, these and his later plays were condemned to productions often amateurish and unhelpful to the reviser, sometimes coming years after O'Casey had reluctantly published the text. (An exception was the exemplary New York production of Within the Gates in 1934. But Irish playwrights have often done better in New York than London.) After World War II, O'Casey turned to a third, still more idiosyncratic form of drama, of which his own favorite example was Cock-A-Doodle-Dandy (1949). Broadly satirical depictions of rural Ireland in the grip of church and complacency, these were Aristophanic comedies with a great deal of folk culture and music hall in their constitution. Their reception was appropriately divided: Cock-A-Doodle-Dandy received its first production at the Royal Court in 1959; The Drums of Father Ned was forced out of the Dublin Festival of 1958. In the 1930s, O'Casey served as a drama critic for London's Time and Tide, producing a group of scathing comments on West End conventionality, which have been published as The Flying Wasp (1937). Other essays on theater appear in The Green Crow (1956), Under a Colored Cap (1963), and Blasts and Benedictions (1967).

Bibliographic information