Collin’s political affiliation is shown “it might, possibly, do some good”, Collins evidently has no objections to the play and is therefore a liberal. The Liberal humanist view also emerges within the play. Great art connects us to universal truths and through art we learn what it is to be a human and art is seen as an agent of moral change. Furthermore Human Liberalism asserts that art and compassion inspire and motivate us as source of moral and spiritual guidance. Affirming the dignity of each human being, it supports the maximization of individual liberty and opportunity consonant with social and planetary responsibility.
Reverend Johnson on the other hand believes “Christ never proposed putting on plays to his disciples. However he didn’t forbid it either. It must depend on the play”. The reverend is very puritanical and views theatre as a vehicle to put across Christian messages. Theatre can only be used for its didactic means. The starchy Reverend Johnson, however still approves of the play stating that it “wouldn’t do the convicts any harm”. Reverend Johnson views himself as a moral guide and typifies the bourgeois morality.
Ralph also wants to mount the play, citing among the advantages that “it could change the nature of our little society”. Ralph believes the play could change the social values and reform the ‘sinful’ prisoners. During rehearsals for ‘The Recruiting Officer’; convicts and officers alike begin to see the effects of theatre on their society. Ralph notes that by speaking the "Well-balanced lines of Mr Farquhar" the women convicts
"Seemed to acquire a dignity, they seemed ...to lose some of their corruption.” Ralph like Governor Phillip believes that the convicts are not inherently evil, and with compassion are capable of reform. Phillip states “Rousseau would say that we have made them that” this implies that society corrupts and asserts the view that “Man is born free, and everywhere he is in chains”. Phillip goes on later to reinforce this idea “surely you believe man can be redeemed, reverend”. Phillip believes that a ‘bad’ person can reform his or her ways and for that reason Phillip and Ralph would be categorised as a liberal also.
Ross refers to the play as “frippery frittering!” he clearly does not sympathise “the theatre leads to threatening theory and you, governor; you have His Majesty’s omission…” Ross illustrates his bigoted nature throughout this scene showing how cynical, xenophobic, misogynistic, and plain opinionated he is. Ross thinks the point of prison is to punish and only to punish. Ross’ Ideological position is best described as fascist or extreme right-wing.
Watkin Tench, on the other hand best represents Hobbes’s views. Tench argues that the criminal tendency is innate and definitive, "If you commit a crime, you are a criminal". Tench would be categorised as a Lockeian. Hobbes believed that criminals should enjoy no more rights than a slave; there is no room for redemption. Furthermore Locke had a materialist conception of human nature, and argued that no ideas are innate. Tench is convinced that sin is in the prisoner’s “nature”, this is parallel to Locke’s view. Locke argued that all our thoughts result from impressions we receive through our five senses (and from the ideas we may then synthesize from these original, simple thoughts. Tench argues that the prisoners “have a habit of vice and crime” this shows conservative affiliation. Tench views as absolute, that it is, not dependent on society or situation. In one sense, this is contrasted with ; in moral absolutism, morals are held to be independent of social custom and are instead inherent in the laws of the universe, the nature of humanity, or some other fundamental source. It is typified in such phrases as "Right is right and wrong is wrong.” Moral absolutism regards actions as inherently "good" or "bad": Tench believes “a crime is crime” and “a savage is a savage because he behaves in a savage manner. To expect anything else is foolish”. Evidently Tench is a moral absolutist and believes in original sin and therefore like Locke is therefore socially conservative.
Corporal Punishment, which is the infliction of physical injury on someone convicted of committing a crime, is an important theme within ‘Our Country’s Good’. The first act opens with the Sideways being flogged by Ralph. Punishment is shown in Harry Brewer who torments himself. Harry appears to have picked up something of the Aborigine philosophy, that our ancestors and acquaintances remain present after they have died, until they have resolved their differences with the living. Harry is obsessed with a man he hanged, Handy Baker, in the duologue, he seeks reassurance from Ralph that Baker is dead “He had a rope – Ralph, he’s come back”. Harry is convinced Duckling has gone silent on him again “because of Handy Baker”. The fact that Handy Baker was also his sexual rival for his Duckling (his partner) makes these ‘apparitions’ even more threatening and disturbing Love and death are juxtaposed here, “Duckling wants me, he said, even if you’ve hanged me”. “I didn’t want to hang him, Ralph I didn’t”, Harry is angst-ridden as a consequence of his responsibility in hanging, and wants Ralph to exonerate him “you don’ think I killed him then?” Harry cannot escape his morbid fascination with hanging. Capital punishment: the penalty of death for the commission of a crime torments Harry Brewer; he is indirectly affected by the enforcement of punishment.
In Act One Scene seven ‘Harry and Duckling Go Rowing’ Harry shows his other obsession, he tells Duckling “In my tent like with Handy Baker, eh?” he is paranoid and obsessively jealous; and gets perverse kicks out of it, this is sadomasochistic, Harry likes to remind Duckling of her fallen sexuality, as a result of her affair with Handy Baker. Harry derives of pleasure, from inflicting emotional abuse on to Duckling. Duckling is in a psychological prison, this is reflected by the fact the scene is set on a boat, and it is very claustrophobic. The relationship is like a slave and master.
In Act Two Scene Three ‘Harry Brewer sees the Dead’ Harry is sitting in his tent speaking in different voices of his tormenting ghosts and answering them in his own. This internal monologue has dramatic qualities we see how capital punishment drives people mad, he hears the voice of Handy Baker tormenting him. Handy Baker is a manifestation of the brutality of hanging people; the scene is almost like he is on a trial “I didn’t hang you ‘you wanted me dead’. I didn’t”. “You’re having another bad dream” Harry is rendered unable to distinguish between dream and reality. Harry is then visited by another apparition that of Thomas Barrett “death is horrible its dark there’s nothing”.
In Act One Scene Nine, we see another character who is affected by punishment is Ketch, the hangman “why didn’t my guardian angel look after me better?” Ketch is abdicating responsibility for the deaths he has caused. His yearning for acceptance is overt; he has been made a social outcast and is victim of his job, paradoxically another victim of the enforcement of punishment. This scene acts as Ketch’s confession, his testimony and evidently releases him for the torment he has received at the hands of the female convicts. Ketch like Harry appears to want Ralph to pardon him “it’s the women they’re without mercy- not like you and, Sire, men”. Ketch wants forgiveness from the women who are constantly reminding him, and wants to be released from the humiliation and hurt in scene eleven ‘The First rehearsal’ the women all hiss and spit at Ketch. And he is not allowed to forget that he is the one that has hanged all their friends and acquaintances as Dabby points out “So we are Mr. Hangman”. Ketch desires female love and affection. There is a curious mixture of the physical and spiritual permeated into Ketch’s language, Catholicism is indoctrinated with his language “but it’s God’s judgment I’m frightened of. And the women’s”.
Punishment emerges as a major theme within the play, the Officers articulate political views and the conflict between left and right wing politics: the usage of corporal and capital punishment. Many other forms of punishment emerge within the play including whether imprisonment should act to rehabilitate or punish convicts. Punishment is seen as a form of ostracism, alienation, polarisation as demonstrated by Ketch. Finally Harry is self-punishing for the death of, he feel he is responsible for the death of his sexual rival.
