Included within scene 2 are various examples in which Martin McDonagh has used humour to make serious criticisms.
“Keeping our youngsters in a drugged up and idle haze, when its on the streets pegging bottles at coppers they should be.”
This extract contains language of a satirical nature – ridiculing social follies, yet in a light-hearted manner. Realistically, in an ideal society, neither of these ‘activities’ would be considered acceptable, yet alone encouraged. It is for this reason that the audience finds themselves amused, at the absolute eccentricity of Padraic’s values and beliefs.
‘Lieutenant of Inishmore’ resembles the structure of that of a ‘morality tale’ and also an ‘Euripidean Cycle’. Both ‘Sir Roger’ and ‘Wee Thomas’end-up dead! The terrorists being, Brendan, Christy and Joey, are blinded by the impreccable aim of Mairead and her rifle. The death of ‘Wee Thomas’ causes Padraic to seek revenge on his own father, Donny and Davey. However it is in Donny and Daveys final moments that Paidraic’s his attention is diverted to Christy in his deathbed confession. After foolishly revealing the true nature of ‘Wee Thomas’ killers to a madman, Christy is tortured ruthlessly for his crimes. The entire storyline is centred around a typical ‘morality tale’ which has gone full circle – in all senses. Mairead is now the Lieutenant of Inishmore,she like Padraic goes off to discover what happened to her own cat (the audience, know who is to blame) and kills Padraic in vengeance, and then the real cat, ‘Wee Thomas’ appears. Deeply ironic, and therefore a highly comic moment but also providing an underlying sense of ease as justice is sought out for each wrong committed.
During scene 2, the play pays homage to the renowned and celebrated film director ‘Quentin Tarantino’.
“…weilding a cut-throat a la tarantino…”
In researching the background behind Martin McDonagh, I have discovered that the playwright watched a great deal of television and movies while he was beginning to write. He claims to have been deeply influenced by the films of David Lynch, Martin Scorsee, Terence Malik and, returning to the topic of discussion, Quentin Tarantino. It comes as no surprise, therefore, that he chose to further reflect his admiration for hum in his impressive film making skills, by including a brief reference in his honour.
When considering the typical features of an early 20th century piece of Irish literature, it becomes apparent that both J.M Synge’s, ‘Playboy of the Western World’ and Martin McDonagh’s, ‘Lieutenant of Inishmore’ share these qualities to a large extent.
For instance a play of this calibre would often be set in a rural area of Ireland, far from the influence of the city. This idea is developed in both texts, firstly in ‘The Lieutenant of Inishmore’, in which the play is set in 1993 on the island of Inishmore, county Galway and ‘Playboy of the Western World’ which is based in a ‘shabheen’ somewhere in County Mayo.
A second quality featuring in each is the local Irish dialect spoken in converse between characters. In ‘Playboy of the Western World’, Pegeen says Christy tells his story with ‘such poet’s talking bravery of heart.’ This is further practised in ‘Lieutenant of Inishmore’, “Be fecking of home with you, ya cat brainer.”
Though McDonagh does not claim much knowledge of classic English or Irish plays, it would seem by the features incorporated into the ‘Lieutenant of Inishmore’ that he is in fact familiar with these typical characteristics of Irish literary heritage. Though I do not believe it was his intentions to completely replicate this structure, but merely resemble it, to further reflect a sense of social realism.
An underlying theme that is consistent throughout is the sense of ignorance. This theme is often explored through use of Dramatic irony. This technique involves the audience knowing of particular truths within the plot, about which the characters have no knowledge. This feature is certainly evident within scene 4, in which ‘Sir Roger’, Mariead’s cat, is being covered in boot polish in attempt to resemble something of dead ‘Wee Thomas’. The irony lies in the foolish inability of brother to Mairead, Davey who does not realise that the cat belongs to his own sister, neither does Donny, yet the audience are fully aware throughout. These circumstances engage and involve the audience, as they are drawn into what is happening. This could cause the audience to empathise with a character, most likely Mairead, whom of which is not yet aware of the true unfortunate situation.
Sarcasm is used to a large extent within the play. The process of making a statement, whilst clearly meaning the opposite is used on page 10. The clever use of sarcasm induced laughter amongst my fellow students when it was used by Mairead’s brother, Davey, at the end of scene 1.
“…I will. And I’ll be braining some more cats on me way home, cos’ it’s me fecking hobby now, so it is.”
The suggestion that cat braining had become Davey’s hobby, when it is evidently not, amuses the audience, achieving the overall effect of leaving us humoured and to a large extent, before the opening of scene 2.
In actuality, only in analysing the ‘Lieutenant of Inishmore’ does it become apparent that the play is essentially a serious piece of literary drama, despite the aspects of comedy featured throughout which merely conceal the true seriousness of the storyline. The comical interlude is a device of which originated from Shakespeare’s early work, featuring in the character of a clown in ‘Titus Andronicus’. ‘Titus Andronicus’ is in fact, described as being by far Shakespeare’s most ‘bloody’ play, which actually caused a loss in popularity during the time in which the play was written due to the ‘gore’. Relatively during scene 7 of ‘Lieutenant of Inishmore’ the dramatic tension which had been growing increasingly up to this point is finally relieved, as well as heightening the emotional impact by means of contrast.
The production, ‘Lieutenant of Inishmore’, is a classically structured narrative in which a group of INLA terrorists part company. In an act of revenge a murdered cat is used as bait to tempt Padraic home to Inishmore. Here he meets the local sharpshooter, Mairead, an attractive girl whose brother is accused of the initial crime. In the course of the play, family feuds lead to a series of bloody murders and torture scenes rarely seen on the stage since Titus Andronicus. A second cat, belonging to Mairead is murdered also, and the piece comes full circle with a most entertaining twist in the tale.
It is known that St. Patrick was born in Britain to wealthy parents near the end of the fourth century. He is believed to have died on March 17, around 460 A.D. At the age of sixteen, Patrick was taken prisoner by a group of Irish raiders who were attacking his family's estate. They transported him to Ireland where he spent six years in captivity. During this time, he worked as a shepherd, outdoors and away from people. Lonely and afraid, he turned to his religion for solace, becoming a devout Christian. After more than six years as a prisoner, Patrick escaped. According to his writing, a voice-which he believed to be God's-spoke to him in a dream, telling him it was time to leave Ireland. To do so, Patrick walked nearly 200 miles from County Mayo, where it is believed he was held, to the Irish coast. After escaping to Britain, Patrick reported that he experienced a second revelation-an angel in a dream tells him to return to Ireland as a missionary. Soon after, Patrick began religious training, a course of study that lasted more than fifteen years. After his ordination as a priest, he was sent to Ireland with a dual mission to minister to Christians already living in Ireland and to begin to convert the Irish.
He later joined a monastery. He used the shamrock, which resembles a three-leafed clover, to help explain the concept of the Trinity: the Father, Son, and Holy Ghost. He travelled all through Ireland, establishing more monasteries and getting schools and churches set up to help in converting the Irish people to Christianity. It is said that Saint Patrick drove all the snakes out of Ireland. Apparently, the snakes went into the sea and drowned. The snake has long been a pagan symbol and quite possibly this is a figurative tale or parable like Jesus used in the bible, describing how he drove paganism out of Ireland at that time.
The name, ‘Padraic’ or ‘Padraig’ originates from the Latin patricus “nobly born” and is extremely popular name choice in Ireland. Considering the history of Saint Patrick it would seem apparent why Martin McDonagh might have chosen this name for his ‘hero’ within the play. It is for this reason that I believe it to be important to compare both figures against each other. Firstly the Saint Patrick performed countless heroic deeds, including banishing the snakes (i.e. paganism) and converting the population to Christianity. Irish nationalist, Padraic however is a terrorist, considered too violent for the Irish Republican Army, whom of which has splintered from the INLA. During the play we witness Padraic torture a petty drug dealer, on the basis that he was “Keeping our youngsters in a drugged up and idle haze, when it’s on the streets pegging bottles at coppers they should be…”, threatens to kill his own father and Davey, murders fellow comrades, Brendan and Joey, executes an innocent cat (sir Roger) and tortures Christy ruthlessly. Surely the sadistic behaviour of Padraic does not warrant being merely in comparison with that of the selfless patron saint. In terms of his own values, Padraic considers his deeds heroic, and believes entirely that his purely patriotic actions are benefiting the path to bring about the reunification of Northern Ireland. In fact he states in the final scene, “…all I ever wanted was an Ireland free. Free for kids to run and play. Free for fellas and lasses to dance and sing. Free for cats to roam about without being clanked in the brains with a handgun. Was that too much to ask, now? Was it?” The glamorised protagonist, or rather antagonist of the piece, Padraic ironically and comically does not hold the conventional characteristics or ideals of that of the classic ‘hero’, especially one such as Saint Patrick of Ireland. It is crucial to remember, however that this play is, in every aspect not in the least conventional.
The play contains numerous relationships of which as the audience we watch progressively as they develop or in some cases decline. The main relationship however that is prominent from the rest is that of the flirtatious couple, Mairead and Padraic.
“Hell hath no fury like a woman scorned.”
We see that Mairead on first meeting Padraic has feelings for him, and longs to experience his adventures. After playfully rejecting her offer of joining the INLA, we witness Mairead’s determination to win the affection of Padraic which sees her blind all 3 comrades of Padraic (who are attempting to kill him) with an impeccably aimed rifle. We know already by her previous actions that she is a character of will power, and in the follow up to this point, it is the question of it there will be a relationship that builds tension to the plot. Following this sudden turn of events, causes Padraic to realise his admiration for Mairead. Though it seems unlikely for anyone of Padraic’s character to show emotion to anything but a cat is what leaves the audience in shock at the unexpected turn of events. When you consider the two individuals however it is apparent that the two certainly share the same extreme Irish nationalistic values and ideals, making them the ideal couple.
The term, Elision, relates to an instance where various letters are removed from a word, relatively this is certainly the case throughout ‘Lieutenant of Inishmore’.
“…I can’t be bandying about pleasantries with the likes of ye. Be getting on with your work now. Them corpses won’t be chopping themselves up, or d’ye think they will.”
The use of this device allows the text, when read aloud, to resemble that of an Irish accent. In manipulating the pronunciation of various words it
gives the play a sense of realism. This then enables the audience to experience a very convincingly portrayed piece of Irish ethnicity, which is also accessible and easy to relate to.
An effective language device that the playwright uses is the cliché. An excellent example of this, of which also stirs an element of humour, features within the opening scene.
“The first thing books say is don’t be moving an accident victim till professional feckin’ help arrives, and a fool knows that!”
Here Donny states an expression to which had been used to a large enough extent, that it has become accessible to anyone regardless of their understanding, of which explains why Donny’s source of information, ‘the books’ have been generalised in such a manner. It is comical also to note however, though being that of a cliché, Donny actually has to educate Davey who is not aware of this notion, instantly influencing the audience’s impression of Davey and his ‘dim’ nature. Another humorous aspect of this passage is that the cliché is being applied to a cat, thus anthropomorphizing, ‘Wee Thomas’. The overall result of this is to render a reaction of inward laughter from the audience.
Appearing in scene one also is Exaggeration, where the well known terrorist with a reputation for violence is referred to as ‘Mad Padraic’. In fact he is not actually mad in terms of being affected with a psychiatric disorder, though his actions throughout do not do him justice. But rather such exaggeration inspires a sense of fear and violence, causing the audience to establish an impression of the character before the play has merely begun. Consequently the areas of the play in which feature Padraic and his shocking conduct (such as his first appearance in which he tortures a petty drug dealer), will only continue to outrage the audience.
In analysing the ‘Lieutenant of Inishmore’ it is apparent that McDonagh often focuses various points in the poem around Intertextuality.
“Come all you young rebels, and list while I sing for the love of one’s country is a terrible thing. It banishes fear with the speed of a flame, and it makes us all part of the patriot game…”
This extract, along with numerous others featuring within the play, are all taken from a poem, titled ‘The Patriot game’, written by Dominic Behan (1956). The text is an Irish ballad, of which critically scrutinizes the posture of the IRA during the 1950’s. The song is based in the period following WW2 when the IRA launched a new campaign to bring about the reunification of Northern Ireland. The poem tells the story of Fergal O’Hanlon, an IRA volunteer from Ballybay, County Monaghan, who achieved minor fame for taking part in an attack on Brookeborough Royal Ulster Constabulary barracks in County Fermanagh on 1 January 1957. O’Hanlon was killed in the attack at the age of 20. This incident took place during the IRA's failed mid-century "Border Campaign" (1956 - 1962). The attack was devised and led by Sean Garland, an IRA man from Dublin. Another volunteer, Seán South from Limerick, was also killed during the raid. This song is perhaps one of the most famous to emerge from the Irish nationalist struggle and is immensely popular amongst the IRA, as well as other groups. It is for this reason that the poem is featured heavily within ‘Lieutenant of Inishmore’, and also where it is used to comment on the character's misunderstanding of IRA splinter groups.
Relatively, Mariead’s cat ‘Sir Roger’ is named after Sir Roger David Casement, an patriot, , and . He was a by profession, famous for his reports and activities against human rights abuses in the and , but better known for his dealings with before Ireland's Easter Rising in 1916. An Irish nationalist and Parnellite in his youth, he worked in Africa for commercial interests and latterly in the service of Britain.
In conclusion, having had analysed and explored all possible aspects of the piece, Lieutenant of Inishmore’, I believe that for a performance as diverse as this one that an ideal audience would vary accordingly. An average younger individual would most likely respond with enthusiasm to the idiocies of the characters and the constant gore. A cognoscente however would thoroughly enjoy the complexity of meaning and ironies featured throughout. Essentially the onstage carnage prompts a cynical bit of dialogue, though its unlikely to put off any audience with a taste for comedy with a ‘take no prisoners’ slant on violence.
Personally the aspect of the affection expressed for cat, ‘Wee Thomas’ is one of interest. The fact that within the play the characters are more concerned with affairs relating to dead pets, than they are of each other as human beings is of surprise. The simple fact remains however that ‘Wee Thomas’ is anthropomorphised to create the illusion of the pet actually being that of a fellow human, and acquaintance to Padraic – as he, himself already considers him his best and only friend.
Realistically, considering the ease of staging the severe carnage of say for instance ‘braining a cat’ in front of an audience would prove impossible. It would take a large amount of preparation and work to re-construct a production true to its original meaning, and to an extent that remains authentic and convincing.
I believe it is in my interest to express my personal judgment on the play. I found that McDonagh’s hilarious and ironic lines were seamlessly mixed with elements of mirth and humour, which constantly ensured that most moments ended with a giggle rather than a nauseous convulsion as you’d expect. To achieve an effect such as this takes a great deal of expertise and it is for this reason that I personally deem ‘Lieutenant of Inishmore’ a success in terms of entertainment, originality and story line.
