However after their brief moment of excitement the significance and reality of what they have done dawns upon them. This realization is skilfully depicted in the dramatic action which takes place. The stage direction tells us through metonymic action how “the hands disengage”. Then “they begin to drift apart”. Then “slightly further apart”. Finally “they are a long distance from one another”. This dramatic action is more than just a reflection of the embarrassment Maire and Yolland feel; it reveals the tremendous consequences of what they are doing. An English lieutenant and a wild Irish girl have transgressed the unwritten moral code of social interaction and where exogamy would not be an unlikely possibility.
Nevertheless the urge to communicate is ever present and the weight of their situation does not preclude them from doing so. But how are they supposed to establish physical contact and communication? Firstly there is an initial ‘naming session’ which takes place between the two characters, a theme which is central to the play. This is done through the dramatic action of each “indicating” and “pointing” to one another and acknowledgment through “nodding”. Here we see communication as non-verbal and paralinguistic. The linguistic barriers are overcome by physical actions, which prove to be more emphatic in conveying meanings. In the absence of a translator, Gaelic and English are emptied of any semantic meanings. “Go on – I love the sound of your speech” - Here we see language taking on a role different to that of the referential function we are familiar with. Language becomes meaningful and beautiful through its phonetic sounds and is used to establish contact, hence taking on a more phatic and emotive function. This idea of the phatic function of language rather than referential function is also emphasised by the “futility” of Yolland’s absurd staccato style of talking and the “futility” of Maire’s talking in Latin. Regardless of whether Maire speaks Latin or Gaelic, her speech has an equal effect on Yolland. As the two characters continue with their earnest ‘conversation’ we see that the acoustic sounds of language are employed by Yolland and Maire to seduce each other. A more positive interpretation could be that Freil is pointing out how a mutual feeling such as love can transcend the limits of language and the ‘contaminated’ conceptual meanings which are attached to it, giving way to an opportunity of reconciliation between two cultural domains. This underpins another central theme – that of a possible rapprochement between the Irish and the English.
As mentioned above, a theme of the play is that of the common middle ground shared between both cultures. Friel tries to explore the common factors shared by both in an endeavour to establish that the unifying elements are greater than those that divide. This aspect can be seen in the dramatic presentation of Maire’s utterance of the words “water, fire and earth” – the basic elements common to all creation. Yolland rejoices as soon as she utters these words; it’s not so much due to the meaning behind them, but rather that these words are understood by both of them. This is further underpinned by Yolland’s insistence on repeating the words. Maire then silences him whilst she tries and remembers her one line of English which her Aunt Mary has taught her and delivers it perfectly and fluidly. Again we see Friel determining the common elements between the two cultures.
When we see Maire moving away a second time from Yolland (“she turns away from him…”), it reveals more than Maire’s misunderstanding; it is Friel showing the incompatibility of the two cultures, not so much that they don’t want to come together, but that there will always exist numerous misunderstandings which are inevitable.
As we approach the climax of this scene we see the powerful effect of “names”. When Maire misunderstands Yolland’s excitement, she moves away. Just in the same way that Yolland re-establishes communication with Maire in the earlier part of the scene, “names” are once again used to bring the two together. This time Yolland mentions the Irish place-names as they are which he has come across when renaming them with Owen in the name-book. One by one he utters them, slowly and deliberately and in doing so he sparks recognition in Maire, in the same way that when Maire mentioned the English words and the “maypoll” line, they spark recognition in Yolland. In turn Maire responds my mentioning further Irish place-names until Maire “hold out her hands. He takes them”. I think this is an important way in which Friel implicitly points to how the Irish and English can come together through compromise. The English can do so without anglicising any aspect of Ireland and the Irish community and at the same time the Irish can maintain a relationship with the English without sacrificing their values and traditions. Another implication of these Irish place-names mentioned by the Englishman, Yolland, is that it portrays his “anti-essentialist” sentiments. He doesn’t want to be defined by his ethnicity; he is trying to break away from the rigid social structure in which he was born into. This is evident throughout the play, especially when he expresses is wish to learn Gaelic whereas Owen is taking on the role of the punctilious Englishman.
Now that physical contact has been established, they start talking, the exact nature of which is defined in the stage direction; “each now speaks almost to himself/herself”. Even though each is talking in their respective languages, they both say “Don’t stop – I know what you’re saying”. This dialogue leads up to the dramatic climax of this scene - “the kiss”. However beforehand its worth noting that Yolland and Maire only understand the emotions being felt; the reality of what they are saying is still obscured under the veil of linguistic imponderability. Yolland wants to stay with Maire in Ireland whereas Maire wants to get away from Ireland. This dramatic presentation reinforces another theme of the play – that of “confusion” which Hugh mentions later on when he says, “confusion is not an ignoble condition”. Then we see that they “kiss”. This represents a cultural fusion between English and Irish identities. The dramatic irony is that even though they kiss, it’s under false pretences, which is implied by the word “always” – this relationship which is symbolic of the fusion of two cultures, is short-lived and doomed. In other words the word “always” implies the exact opposite. I think Friel is voicing his wish for the reconciliation of the English and Irish, but realises the almost “futile” aspiration.
In conclusion this scene contributes immensely in underpinning the key themes of this play whilst employing dramatic elements to accentuate them.