Showing posts with label english. Show all posts
Showing posts with label english. Show all posts

Saturday, 11 October 2014

Links to all my posts by subject

I decided to make a sort of contents page here with all the links to my previous posts to save you the time having to scroll through everything wondering if i have posted anything about whatever the topic you are looking for is!
I have divided them up by subject for the purpose of this post, not in the order they are on my blog. I will update this as i post more material!

My posts


http://leaving-cert-helpnotes.blogspot.ie/2013/04/im-back-next-few-posts.html

http://leaving-cert-helpnotes.blogspot.ie/2013/04/posting-notes-on-this-blog-helping.html

http://leaving-cert-helpnotes.blogspot.ie/2013/01/hi-everyone.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/welcome-to-my-leaving-cert-help-notes.html


Useful Links


http://leaving-cert-helpnotes.blogspot.ie/2013/01/studying-tips.html

http://leaving-cert-helpnotes.blogspot.ie/2013/04/helpful-website-links.html

http://leaving-cert-helpnotes.blogspot.ie/2013/01/stop-internet-distractions-when-studying.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/helpful-links-for-leaving-cert-notes.html




English 


http://leaving-cert-helpnotes.blogspot.ie/2012/06/english-comparitive-essay-relationships.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/leaving-cert-english-poetry-robert.html



Irish


http://leaving-cert-helpnotes.blogspot.ie/2014/06/an-triail-summary-in-english.html

http://leaving-cert-helpnotes.blogspot.ie/2014/04/aiste-todhchai-na-gaeilge.html

http://leaving-cert-helpnotes.blogspot.ie/2014/04/aiste-timpeallacht.html

http://leaving-cert-helpnotes.blogspot.ie/2014/04/hl-irish-essay-imirce-diospoireacht.html

http://leaving-cert-helpnotes.blogspot.ie/2014/04/irish-essay-phrases.html

http://leaving-cert-helpnotes.blogspot.ie/2014/04/hl-irish-essay-coiriulacht.html

http://leaving-cert-helpnotes.blogspot.ie/2013/04/irish-grammar-aidiocht-sheallbhach.html

http://leaving-cert-helpnotes.blogspot.ie/2013/04/irish-grammar-forainm-reamhfhocalach-eg.html

http://leaving-cert-helpnotes.blogspot.ie/2013/04/irish-grammar-reamhfhocal-shimpli-eg-i.html

http://leaving-cert-helpnotes.blogspot.ie/2013/01/iregular-irish-verbs.html

http://leaving-cert-helpnotes.blogspot.ie/2012/08/irish-regular-verbs.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/irish-essay-hl-old-and-new-in-ireland.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/irish-hl-sample-triail-answer.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/irish-higher-level-sample-essay-poverty.html


Maths


http://leaving-cert-helpnotes.blogspot.ie/2014/02/differentiation-what-is-it.html



Biology


http://leaving-cert-helpnotes.blogspot.ie/2014/06/biology-revision-quesions-with-answers.html

http://leaving-cert-helpnotes.blogspot.ie/2014/06/biology-revision-questions-with-answers_18.html

http://leaving-cert-helpnotes.blogspot.ie/2014/06/biology-revision-questions-with-answers.html

http://leaving-cert-helpnotes.blogspot.ie/2014/06/biology-revision-questions.html


Music


http://leaving-cert-helpnotes.blogspot.ie/2012/06/music-notes-gerald-barry.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/music-notes-bachs-cantata.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/leaving-cert-irish-traditional-music.html


History 


http://leaving-cert-helpnotes.blogspot.ie/2013/01/history-1916-rising-essay.html

http://leaving-cert-helpnotes.blogspot.ie/2013/01/history-essay-civil-right-america-1945.html

http://leaving-cert-helpnotes.blogspot.ie/2012/07/history-essay-winston-churchill.html

http://leaving-cert-helpnotes.blogspot.ie/2012/06/history-essay-dictators-power.html



Geography


http://leaving-cert-helpnotes.blogspot.ie/2014/09/the-dublin-region-physical-geography.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/regional-geography-irish-core-region.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/regional-geography-human-geography-of.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/regional-gepgraphy-tertiary-economic.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/regional-geography-secondary-economic.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/regional-geography-primary-economic.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/regional-geography-western-region.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/leaving-cert-regional-geography.html




Home Economics


http://leaving-cert-helpnotes.blogspot.ie/2014/09/home-ec-vitamins-and-minerals-vitamin-c.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/home-economics-minerals.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/home-economics-b-group-vitamins.html

http://leaving-cert-helpnotes.blogspot.ie/2014/09/home-economic-fat-soluable-vitamins.html

http://leaving-cert-helpnotes.blogspot.ie/2014/02/home-ec-notes-carbohydrates.html

http://leaving-cert-helpnotes.blogspot.ie/2014/02/home-ec-protein-notes.html

http://leaving-cert-helpnotes.blogspot.ie/2013/08/home-ec-protein.html

http://leaving-cert-helpnotes.blogspot.ie/2013/08/home-economics-factors-that-affect-food.html

Wednesday, 18 June 2014

An Triail - Summary in English

This is a summary of An Triail scene by scene in English.I did not write this, i found it on the internet so I cannot take any credit for it but I thought it would be helpful.



An Triail -  summary



Act 1

Scene 1
Major Characters: Maire is the only major character in this scene, although the Prosecutor does a lot to set up the entire situation

Setting
Action
Curtain still down
  • A bit of the song "Siúil, a Ghrá" is heard, then newspaper boys dash in, in front of the curtain, yelling "Evening Paper! Terrible Tragedy!"
  • We hear the voice of the protagonist, Máire, saying that she killed he own child before she was a girl. Girls grow up to be women, but her daughter is free, and will not grow up to be the "yielding silly girl" to any man.
  • The prosecutor steps out before the curtain, chases away the newspaper boys, and addresses the audience as if they were the jury. He asks people to ignore anything they have heard about the case, to think only about the testimony they hear. He characterizes the crime as "an ugly, barbarous act" that demands judgment and venegance from God and from the people. And he emphasize that even though she is a young girl, there is no room for pity in the jury's judgment of the prisoner
Curtain rises, we see the courtroom
  • Máire is called and comes to stand in the witness box. The clerk asks, "Guilty or Not Guilty?"
  • At that question, Máire comes forward and addresses the audience directly (so that we step out of the courtroom setting, so to speak).
  • Máire says that "they" think that they will find everything out, but there are things they will never know . . . a certain name that was never mentioned . . . the night that started it all, at the dance at the school house . . . the song that she sang . . .
  • We move to the next scene, which takes place in the school house, on that fateful night that started it all.


Scene 2
Major Characters: Máire and Pádraig are key players in this scene -- but Máire's mother, even though we don't meet her, can definitely be felt as a character in this scene. Liam is also important, given his testimony in the trial

Setting
Action
At the school house, where the dance is being held
  • Young boys and girls abound, with Colm as "dance master" for the evening. Máire sits by herself.
  • Colm asks Máire for a song, and she sings "Siúil, a Ghrá". As she is singing, Pádraig, a new schoolmaster, comes in and stops to listen.
  • Then Colm calls for a dance. Máire doesn't have a partner, so Colm introduces her to Pádraig -- whom she had noticed playing the harmonium at Mass.
  • Pádraig gets orange juice for both of them, and they chat, through which we learn that Máire is very shy and rarely goes to dances. Her mother wants her to be a nun, she is recently out of school, and she was only allowed to go to the dance because it was in the school house, the priest was there, and her older brother Liam brought her.
Same physical setting, but it becomes the courtroom
  • Pádraig and Máire go off to join the other dancers, and Liam's date, Beití, calls to Liam.
  • As Liam turns to join the dance, his name is called by the clerk of the court. The stage darkens and only Liam is in the spotlight, where he is questioned by the attorneys.
  • It is established that Liam is the oldest brother of "the prisoner", but he wastes no time at all in making it clear that he had no responsibility for his sister -- "I'm not her keeper!". He was with someone else, he has no idea how she got home or what might have happened, and he only took her because their mother hounded him to do it.
Back to the dance
  • Beití calls Liam again, and this time they go off, and we hear general goodbyes as people leave the dance


Scene 3
Major Characters: Máire and Pádraig have the scene to themselves.

Setting
Action
All the action takes place on a bridge, over a stream, as Pádraig walks Máire home.
  • They stop at the bridge, and Pádraig is somewhat winded from the walk. (Clues in the script suggest he is at least 10 years older than Máire, but he could be more).
  • Pádraig spouts poetry to describe the beauty of the evening, and Máire is much impressed by his talk.
  • Then Pádraig begins to sweet talk Máire. Among the things that come out:
    • Máire is to sweet and lovely a girl to be locked up in a convent.
    • Pádraig planned on becoming a priest, but was thrown out for smoking a cigarette where/when he shouldn't have been, so he went into teaching.
    • He is married, but his wife has always been ill, apparently has a terminal disease at this point, and "has never been able to be a true wife to me".
  • Máire quite suddenly decides she had best hurry home, as her mother will be waiting up and watching for her.
  • Pádraig's last words in the scene: Don't say anything about this to your mother.
Scene 4
“The Mother's Testimony", a very short scene. Major Characters: Máire's Mother is interviewed by Aturnae 2.

Setting
Action
Similar to the scene-within-a-scene trick pulled with Liam earlier, we start with one setting but imply another.
The mother comes in, kneels, and starts praying. The spotlight shines on her, and her testimony begins.
  • Much as did Liam, the first thing Máire's mother does is to deny responsibility, using almost exactly the same words, in fact.
  • Her mother talks at length about how her husband died a few months before her youngest was born, and how she slaved with no one to help her.
  • What did she get in return? Shame, and the mockery of her neighbors.
  • The attorney probes about her concern for others' opinions, and whether she supported her daughter when she was in trouble.
  • The mother retorts that Máire brought it on herself.
  • The attorney then brings up the suggestion that the mother probably tried to induce a miscarriage.
  • She replies that it isn't a sin to put an end to "something unclean, cursed by God and Man".
  • She leaves weeping -- and perhaps feeling that she, herself, is the victim in this whole situation.

Scene 5
Major Characters: Máire and again have the scene to themselves, in the school house

Setting
Action
All action takes place in the school house, at night.
  • Pádraig is waiting impatiently, pacing, grumbling, looking at his watch.
  • Máire runs in, breathless. She had to wait until her mother went to sleep before she could slip away, coming the back way, as Pádraig told her to do. Pádraig is annoyed that she is late.
  • Pádraig bemoans his fate a good deal. His position forces him to love Máire in secrecy.
  • Máire asks about Pádraig's wife, and feels that they are doing her an injustice.
  • Pádraig is not very sympathetic about his wife, whom we describes as "grumbling, complaining". He clearly feels that he is the unfortunate one in this triangle.
  • Pádraig passionately declares that it is only his love for Máire that keeps him going, that the thanks God for her every morning. He also reveals that his wife could live for years, long years of "purgatory".
  • Pádraig asks Máire to declare her love for him. Then he strongly reminds her never to mention him to anyone, nor to write to him. She says that they wouldn't get his name even if they tore her heart out and crushed it into tiny pieces.
  • Máire is still feeling guilty, but Pádraig assures her that their love is no sin, is a blessed thing even. He takes a ring off his finger and puts it on hers, declaring that as far as he is concerned, she is his wife now.

Scene 6
A very short scene in which Máire goes to confession.
Setting
Action
The confessional
  • Máire starts her confession with the usual formula.
  • As she is about to enumerate her sins, the priest interrupts her. He says that she must break with her lover, forever, never to speak to him again.
  • Máire says she can't do that.
  • The priest reminds her that of Our Savior's admonition "if your right hand offend you, cut if off." It is better to be without a hand than to commit a sin.
  • Máire won't break with her lover, so the priest says he cannot give her absolution.
  • We go to black, as Máire collapses to the ground

Scene 7
In one of the longer scenes we've had so far, we get to see the whole family interacting: Máire, her Mother, and her brothers Liam and Seán.
Setting
Action
Máire's home
  • The family is saying the rosary together. When they get to "conceived without sin", Máire leaps up, crying, and runs from the room. Her mother pursues, but doesn't catch her. But by the time she has come back, Seán is studying his books, and Liam is intercepted trying to sneak out.
  • Mother and Liam have an argument about Liam's attentions to Beití de Búrca. This includes a speech about how the burden of being both father and mother to the family has been placed on her, and she would do her duty -- get Máire into the convent, Seán into the priesthood, and Liam running the farm and taking care of his mother in her old age.
  • When she leaves to find Máire again, Liam and Seán talk about Liam sneaking out the window to meet Beití, after Mother goes to sleep. Seán will unlock the door so he can get back in -- but Liam says it is pointless to pursue Beití as long as he is under his mother's control, and Seán agrees that she is unreasonable.
  • Mother returns, not finding Máire, and leaves again. Seán says that Mother is too hard on Máire, harder than she is on the brothers.
  • Liam mentions that Máire doesn't take Holy Communion anymore, and that he has heard her sneaking out of the window, as well. Seán adds that she is often sick in the morning, but that Máire made him promise not to tell.
  • Alas, Mother heard that last bit, and drags the information out of Seán just as Máire comes in.
  • She won't say where she has been, although she lets slip that there was not one there to meet her. Everyone leaves, except Seán, who is turning out the lights, etc.
Same physical setting, but it becomes the courtroom (as we have seen elsewhere in the play)
  • The clerk calls Seán's name, and he is questioned about ratting on his sister.
  • Attorney 2, in particular, suggests that the prospective priest -- who says that he was going to be a priest at that time -- showed little charity or love to his sister.
  • Seán's defense: his mother would hound him until he told what he knew, there was nothing he could do, because she would find out sooner or later.
Back in the home
  • Mother comes in with a bowl of something for Máire to drink and says that it will "fix" her, basically, and that she'll take it every day until things are right.
  • Máire throws the bowl away, and mother demands to know who has shamed them, and whether they are getting married. "You have to be married, you could go to live in England . . .". As the sons drag Mother off, she is hurling curses at the unknown lover, and at her daughter.
  • Left alone, Máire reveals that Pádraig was not at the meeting place, the school was dark. But she'll never throw away the little she has received from him, and never mention his name or write to him.
  • Máire realizes she faces her future alone. The scene closes with "Siúil, a ghrá" in the background.
Scene 8
Major Characters: A courtroom scene, where Attorneys 1 & 2 question Bean Uí Chinsealigh (abbreviated Bean C below)
Setting
Action
As people are walking back and forth in the street, the light picks out Bean Uí Chinsealigh, and we are in court, once again.
  • Attorney 1 establishes that Bean C had advertised for an assistant or helper, to help in the household ("a domestic"), and one girl came and worked, staying in Bean C's house, until it was discovered that she was pregnant (the witness objects to such a vulgar subject even being discussed).
  • At that point, Bean C found the girl a "place of refuge".
  • Attorney 2 takes over, and determines that Bean C had five kids, and didn't mention it in the ad; Máire was the only one who responded to the ad, without any references; and that the ad promised frequent time off, and four pounds a week.
  • He asks what she paid Máire, and gets the answer that she said she would raise Máire's salary later if she proved satisfactory. The Attorney clearly establishes that Máire was quite satisfactory, and after repeated questioning, Bean C admits that she paid 2 pounds 10 shillings a week -- because she wasn't trained and didn't have references, she could have been a criminal!.
  • After three months of good service from Máire, Bean C "gave her the road". She says that she couldn't keep her, what would the neighbors and other people way. She couldn't have her children in contact with the likes of Máire.
  • The Attorney points out that she was happy to hire Máire when she might have been a criminal, but not when she was pregnant.
  • Attorney 1 establishes that Bean C gave Máire a week's notice, and talked to a friend to get Máire a place in the "home".
Scene 9
Major Characters: We met Bean Uí Chinsealigh in the previous scene. She had hired Máire to work in her home, helping with all the domestic duties and the five children. At the end of Bean C's testimony, she reaffirmed that she talked to a friend and got Máire a place in a "home" for girls like her, presumably. In this scene, we see how that came about, as most of it is a conversation between Máire and a Social Worker (SW below).
Setting
Action
The scene takes place in the house of Bean C.
  • In the first part of this scene, Bean C's friend the Social Worker (SW) comes for tea. Bean C reveals that she is worried about Máire, that she can't keep her, in her condition. The SW asks to talk with Máire.
  • Máire and the SW talk alone. Máire is a bit alarmed by the questions about her background, and gives a false name, as well as avoiding some questions.
  • SW tells her she has to leave, and Máire jumps up to leave on the spot -- but with more questions, reveals that she has no friends to go to, and says she would rather drown in the river than go back to her family. The SW promises to find her a place in a home for girls like her, and then, after it is all over, she can forget all about it and start a new life.
  • Maíre leaves, and we find ourselves in court, where the SW is called to the witness box.
  • Attorney 1 establishes that Máire was stubborn and wouldn't give any information about her family, so the best the SW could do was to send her to the home.
  • Attorney 2 tries to shake the SW's testimony that this home for girls was the best place that she could send Máire, but the SW sticks to her position.

Scene 10
Major Characters: Máire has moved to the "home" that the social worker found her, in the previous two scenes. She's working in the laundry, and much of this scene consists of chat with her co-workers, Dailí, Pailí, and Mailí, as well as Nábla. We also have a brief appearance by Seáinín an Mhótair, and the Social Worker from the previous couple of scenes puts in an appearance. This scene concludes Act I.
Setting
Action
The laundry at the "home", where the young women who are 'sheltered' there work.
  • The scene opens with lots of "girls" working at ironing, folding, and so on -- Máire is sewing. The conversation from her co-workers starts with how hot it is, and the general style is sarcastic wit.
  • A flurry of excitement strikes the girls when Seánín shows up -- a little old guy that doesn't interest them personally, but who carries news of the outside world, and they are clearly desperate for that. But he has no news.
  • Seánín notices the new girl, Máire, and suggests that she avoid company with the other women there, the ones teasing him.
  • Seánín just wants to pick up the laundry bundles and get going, but they tease and cajole him, trying to make him stay a little longer.
  • After he goes, they turn to Máire and start talking. Mailí announces that she'll be leaving soon, having found a foster home for her child. Máire doesn't know about these, but the girls explain that a foster home is the key to getting out -- a good religious couple willing to raise someone else's child. They also explain that the birth mother is not allowed to know anything about the people who adopt the child.
  • Máire can't conceive of giving up her child and never knowing how things turned out, and her questions cause some friction. But as they realize that she is just terribly naive, they take some pity on her, and one -- who says she is getting an apartment and working in a factory -- says that Máire can visit her when she gets out.
  • The bell rings for tea, and they discover that the Social Worker (SW) -- whom the girls despise -- is coming. Many of them flee, and the SW dismisses the rest to tea, except Máire.
  • She tells Máire that she can go back to the housekeeping job, because the SW has found a foster home for Máire's daughter. The doctor has examined the baby, the documents are ready, all she has to do is sign and she is free to go.
  • Máire is incensed, and a big argument ensues. Máire refuses to sign, and figures to get an apartment and a factory job. The SW tries to reason with her, suggesting the child will have a better life, and that a single woman has a difficult time (even without child), but Máire says that she would not marry a man who would not take her daughter as well.



Act 2

Scene 1

Major Characters: The Manager of the factory where Máire finds work is the main character, giving testimony in court under questionsing from Attorney 2.
Setting Action
In Court
  • Attorney 2 questions the Manager about the work Máire did, and what she received for it. The Manager is a well-meaning kindly man, who does his best for his workers (and pays them above average).
  • Questions reveal that Máire's job was to clean the bathrooms, washing the floors and rinsing the basins every day. She worked ten hours a week for three pounds' salary. Attorney 2 suggests that that wasn't much pay for a woman with a child, but the manager is doing his best.
  • The manager also reveals that she portrayed herself as a widow, and used the name Bean Uí Laoire. Both the manager and other workers donated money to help her out.
  • The Attorney suggests that she was fired, but the manager says that Máire just stopped coming to work. He sent the matron to check on her, but there was no house at the address given. Gossip in the court reveals that the house had collapsed.

 

Scene 2

Major Characters: Attorney 2 questions the Landlady where Máire had been staying. Besides a lot of general bystanders, Seáinín and Mailí reappear, from the earlier scene in the "home".
(The scene opens with the paper boys calling that houses are falling down in Dublin.)
Setting Action
Attorney 2 questions the Landlady.
  • The Landlady quickly establishes that she didn't believe that Máire was a widow, and that she knew she had an illegitimate child.
  • The Landlady used to take care of Máire's daughter, for a little extra money. The Attorney makes the point that Máire didn't have much money on which to raise a child.
Flashback to the house collapsing.
  • The Landlady is giving her account to a reporter. She noticed the wall buckle, and the ceiling starting to fall in, so she grabbed her kids and rushed them out of the house. Neighbors call the police and the fire brigade.
  • Máire returns and finds that the Landlady forgot about Máire's daughter. She rushes into the building and brings her child our, safe.
  • Seáinín an Mhótair comes along and asks what happened. The neighbors explain that the Landlady and her kids have gone to someone else's house -- but no one bothers about Máire, because she's a liar, unfriendly, has an illegitimate child, and so on.
  • Seáinín goes over to Máire and recognizes her. He's very upset about the unChristian behavior of the neighbors. (It turns out that a heavy beam fell in the right place and saved the child.)
  • Mailí comes along, so Seáinín takes Máire and her daughter to Mailís place.

 

Scene 3

Major Characters: Mailí is questioned by both Attorneys on the street.
Setting Action
A street corner where Mailí is plying her trade
  • The Attorneys reluctantly approach Mailí on the street to ask her some questions. They ask about her taking Máire into her own home.
  • Mailí speaks bitterly about how the "reputable" women of the community would have nothing to do with Máire and her child. Questioned about the size of her home, Mailí replies that at least it isn't falling down, nor is it "an inhospitable house", like those of the "reputable" women.
  • Asked about Máire's financial situation, Mailí tells them that Máire lost most of what little she had, clothes for her and her daughter, when the house collapsed. She also says that Máire won't go back to work, that after the house incident she just can't bear to have her child out of her sight.
  • When Attorney 1 asks Mailí if her house is suitable for such a girl and her child, she tells them both to go to Hell.

Scene 4

Major Characters: Mailí and Máire talk about her situation.
Setting Action
In Mailí's house
  • Mailí tries to get Máire to pull herself together, and suggests that the father of her child should help, but. Máire is quite defensive.
  • Mailí then asks about going back to work, but Máire can't separate herself from her child. Mailí says that Máire can't keep an eye on her forever, but Máire wants to stay close to her a little longer.
  • Finally, Mailí says that the landlady would allow Máire to stay free, and the lodgers would chip in a little bit, if Máire did some cleaning around the place. Máire is delighted with the prospect.

Scene 5

Major Characters: Colm testifies in court, then bumps into Máire on the street.
Setting Action
In Court
  • Attorney 1 brings up the night of that fateful dance at the school house. Colm immediately says that it wasn't his fault, he just introduced them.
The court players disappear, and Máire walks across the stage.
  • Colm recognizes Máire and calls to her. He invites her into a café for a cup of coffee.

Scene 6

Major Characters: Máire and Colm have coffee together, but it breaks off abruptly. Máire is at home when Mailí brings home two lads -- who turn out to be Colm and Pádraig.
Setting Action
In the café
  • Small talk: Colm wondered what happened to Máire, saw her brother Seán and thinks he looks good as a priest. He reports that Liam is getting married, which she didn't know.
  • Colm tries to invite her out, on a kind of date, but she puts him off, rather clearly. Colm is surprised to hear she doesn't have a boyfriend, and brings up Pádraig.
  • On questioning, Colm tells her that Pádraig's wife died about a year ago, a month after Máire left. He reports that Pádraig was back in play, so to speak, pursuing, and being pursued by, the ladies. At that news, Máire leaps up, not having tasted her coffee, and dahses home.
Colm pays the tab and leaves, the waitress cleans the table, and Máire re-appears at the table -- presumably now a table in a room in Mailí's house
  • Máire is writing a letter to Pádraig. She is writing that she knows he will come to her, now that he is free . . . and we hear his voice outside.
  • Mailí comes in to say she met a couple of fellows in the street, and she wants Máire to come down and chat with them.
  • Pádraig comes in, somewhat drunk, and recognizes Máire. She mentions her daughter, Pádraigín, and tells him she's his daughter.
  • Máire is very excited, telling him what a wonderful daughter they have, and she wants to wake her and bring her in, but Pádraig doesn't want to see her.
  • Pádraig tells Máire that he re-married six months ago, the young schoolmistress who was after him. Máire realizes that he came to the house not for her, but for Mailí. She suggests that Pádraig probably seduced this woman as well, and had to marry her. Pádraig denies this -- and calls Máire a harlot!
  • Colm and Mailí come in, in good spirits, and with a bottle. Colm praises Pádraig, for burying one woman and marrying another in the same year. He raises a toast to every fool of a woman who swallows his flattering words.
  • Colm sees Máire and wants her to have a drink before he realizes who she is. Pádraig is finally embarrassed, and charges out of the house, with Mailí calling after the lads to stay.

Scene 7

Major Characters: Mailí testifies again, very briefly, this time in court.
Setting Action
In court
  • Mailí tells the court that she smelled gas in her own room at the top of the stairs. She rushed down to see that cushions and rags were stuffed around the door.
  • When she opened the door, she could barely breathe. She pressed a kerchief to her face, and went in to find the oven open, the gas flowing, the infant's head inside the oven, and Máire pressed against the child's legs. It was too late, there were both dead.
  • Mailí concludes that Máire couldn't let her child go into eternal darkness without her mother at her side.
  • We hear the voice of Máire, saying the same thing it did to open the play, that her daughter now would never grow up to be a woman, and thus was free.

Scene 8

Major Characters: All the major characters of the play stop by the grave for a final comment. Each one speaks his/her piece and leaves.
Setting Action
At the graveyard
  • Attorney 2 observes that the coroner's jury ruled the case a murder/suicide. He suggests that they only had the testimony before them, and asks the rest of the cast, who know more about Máire, who should be blamed for the deaths.
  • Her Mother says not to look at her, that she raised her as a good Christian.
  • Seán says that Máire brought them shame and forced him to leave the priesthood.
  • Liam says that Beití broke off their engagement, because she couldn't stand the notoriety (of the suicide, etc.).
  • The Manager of the factory just observes that he had her clean the bathrooms, because someone had to do it.
  • The woman who employed her as a domestic (Bean Uasal) says the couldn't keep her, because what would the neighbors say?
  • The Social Worker says she did her best, but that Máire was stubborn and wouldn't give up her child.
  • Seáinín says that she broke the rules, and that whoever breaks the rules loses the match.
  • A few random bystanders observe what a lonely grave it is, with both mother and child in the same coffin, calling for God to have mercy on her soul.
  • Mailí says that Máire was faithful, she never said who the father was, taking the secret to her grave. Whoever he was, he should repent of what he has done. She asks for God's mercy on Máire and every sinner like her, and finally, for mercy on both Máire and her daughter.
  • Mailí leaves, and we hear Máire's voice, singing "Siúil, a ghrá". Pádraig comes and stands silently by the grave. Then he pulls the collar of his coat up around his neck, like he's cold, and leaves.


Monday, 25 June 2012

English comparitive essay - relationships

For my comparative I studied the novel "how Many Miles To Babylon", the drama, "Dancing at Lughnasa" and the Film, "Inside I'm Dancing".

I dropped down to ordinary level so this comparative essay is done in the style of ordinary level questions, discussing only one text in the first half and the comparing it with a second text in the next part, however some of the points will be relevant and can be used at higher level as well if studying the theme of relationships. I have written my essay on Inside I'm Dancing and How many Miles to Babylon.




Two texts I have studied are, the novel, "How Many Miles to Babylon," by Jennifer Johnston, and the film, "Inside I'm Dancing," directed by Damien O'Donnell. I am going to discuss the relationship between Rory O'Shea and Michael Connolly in, "Inside I'm Dancing," and then compare it with the relationship between Alec Moore and Jerry Crowe in, "How Many Miles To Babylon."


Rory and Michael's first introduction was far from positive and their friendship was initially tense and fragile. Rory's rebellious, outspoken nature is in stark contrast to Michael's obedient, conservative personality. As a result, when Rory first arrives and Carraigmore, disturbing everybody with his loud, rude remarks, Michael feels intimidated by him and it seems unlike the pair would have anything in common. However, the one obvious link they do have is they are both physically disabled and confined to a wheelchair. Because of this, they have a mutual understanding that would not be possible with a physically abled person. They are both also somewhat immature in their own way. Rory acts like a stereotypical, rebellious teenager. Michael has a childish compliance, relying completely on the nurses without question. This immaturity helps their relationship to succeed as they help each other to grow up as the film progresses.

The first time Rory and Michael are connected as friends is in art class when Tommy says, "Ah fuck off, the pair of you." This is repeated in a later scene and yet again when the pair are leaving Carraigmore. At this time, Rory happily tells him, "We're fucking off, the pair of us!" They may not have been a pair when Tommy originally made the comment but they are now. After the art class, Michael begins to have an interest in Rory. Rory is starting to change Michael's view of the world. Michael is amazed that Rory is able to understand him and gets excited, wanting him to use his "gift" to help him. It is clear that Michael needs Rory, however, Michael has things to offer him as well. This is seen when Annie refuses to gel Rory's hair into his usual rebellious spikes. He asks Michael for help, although not politely, still calling him "Mary." Rory begins talking to him almost kindly and it is clear they are growing closer. Rory advises him on dressing well and Michael takes his advice, gelling his own hair too. Rory is shocked by Michael's lack of knowledge of the outside world, but instead of mocking him, he is sympathetic.

It is clear the pair are growing closer when Rory introduces Michale to his father and enquires about his family. He is shocked and angered by Michale's story and we see they have another thing in common; neither has a stable family background. Their relationship and dependence on one another is shown clearly when Michael applies for the Independent Living Allowance. Thanks to their ability to understand each other both verbally and emotionally, the two young men can at last begin to lead independent lives.
Rory's desire to be independent makes him a little selfish and insensitive at time.Siobhán and Michael refuse to him playing his music loudly and he reacts furiously to the introduction of rules. He is arrested for joyriding and seems oblivious to the worry and distress his actions have caused Michael and Siobhán. Siobhán becomes a source of conflict between them as Rory is jealous of the closeness between Michael and Siobhán. He bitterly remarks that Michael is turning their new home into Carraigmore when he decides to wait for Siobhán instead of going out with him. However, Rory still looks out for him, realising he is heading for heartbreak and advises him against telling Siobhán how he feels. He is protective of his friend and is pained by Michael's distress after Siobhán's rejection.

Siobhán's departure brings Rory and Michael together again. Michael is prepared to return to Carraigmore but Rory talks him out of it. He abandons his usual jokey manner and talks openly and honestly. Rory at last accepts responsibility for his actions and has matured enough to see that he should be more considerate of others. We believe Rory wants the best for Michael and is determined to help him lead his own life. He genuinely cares for his friend and the pair are united once again.

When Rory becomes ill, he becomes unfriendly once again and is distant from Michael and their new carer, Peter. He is hospitalised and the doctors tell Michael Rory is dying but that he would have been expecting it. For the first time we understand Rory's anger and his desperation to live life to the full. His references to Michael having the "gift" of the future and his determination to push him to make the most of his life now make sense. The pair's affection for each other is clear when they talk in hospital. Michael tells Rory he needs him but Rory says he does not need anyone, that he "is his own man now." From the first time Rory gave Michael the advice on hair and clothes, he has been guiding and helping him along the path to the life he now leads. The final piece to their friendship is in the last scene when Michael hears Rory;s voice in his head urging him to go out and make the most of the day. This shows the impact they made on each others lives and that Michael was right when he said Rory would live on in his heart.




Just as Michael and Rory appeared to have nothing in common at the beginning or "Inside I'm Dancing," Alec Moore and Jerry Crowe also seem to be complete opposites at the start of, "How Many Miles to Babylon." They were from completely different backgrounds. Alec was upper class, wealthy, and his family were concerned with their appearance and standing in society. Alec was also home-schooled so he would not have had much experience mixing with people his own age. Jerry, in complete contrast, was from a lower, working class background. The fact that the boys are opposites is similar to Rory and Michael, yet the reasons they are different is a contrast between the relationships. Rory and Michael had contrasting personalities whereas with Alec and Jerry they came from separate background. The two boys should never have become friends because in the 1930's when this novel is set, people of these two social classes did not mix. As a result, their friendship angered Alec's parents, "They wouldn't let us be friends." Similarly to Michael and Rory in, "Inside I'm Dancing," Alec and Jerry were initially wary and cautious of each other. However when Jerry invites Alec to swim with him in the lake, their friendship begins to grow.

Just Like Michael and Rory in "Inside I'm Dancing," had a mutual understanding due to their physical disabilities, Alec and Jerry also have a connection of a shared loneliness. They both understand the necessity of keeping their relationship hidden as they know their parents do not approve. Jerry tells Alec, "Your lot would care. Mine too if it came to it.One's as bad as the other." However, despite their parents efforts, the boys remain friends. They know how the other is feeling, just as Rory and Michael understand the difficulties the other faces from being confined to a wheelchair, whereas Alec and Jerry are confined by social class.

Neither Rory or Michael had a stable, loving family background in "Inside I'm Dancing," and the same is true of Alec and Jerry in, "How Many Miles to Babylon." Alec's parents care very little for what Alec wants and he does not have a close relationship with them. "I have not communicated with either my father or mother." They care more about money and their appearance in society then they do for their son's feelings and happiness. This is similar to Michael in "Inside I'm Dancing" as his father is more concerned with money and wants nothing to do with Michael once his wife died as he does not want the hassle of caring for his son. Jerry's parents are not featured in the novel which suggests he was not particularly close to them. He also says they would not approve of their friendship, "Neither would mine if it came to it." He appears to be alone and free to do as he wishes as he is at the races and drinking poteen. This is more similar to Rory in "Inside I'm Dancing." His dad is not a main character in the film and although he may try, he is unable to look after Rory and so Rory is free from parental constrictions.

Rory's jealousy of the closeness of Michael and Siobhán was a source of conflict between then in "Inside I'm Dancing," however, jealousy does not get between Alec and Jerry in "How Many Miles to Babylon," even though there is opportunities where it could have. Jerry could have been jealous when Alec was an officer even though he was only a soldier, but he never begrudged his friend for this. Also, Alec managed to stay close to Jerry and looked out for him while at war. He did not let the different rankings come between them, introducing him to his friend Bennett, despite Major Glenndinning's orders.

In the same way we see the love and affection Michael and Rory share at the end of "Inside I'm Dancing" when they talk in hospital, the love and affection is also obvious between Alec and Jerry at the end of, "How Many Miles to Babylon." Alec saves his friend the humiliation of being killed publicly by the firing squad and shoots Jerry himself. He did this even though he knew it would ensure he would be shot himself as a result and so he would have to endure the anguish he had spared his friend.

Neither Rory and Michael in "Inside I'm Dancing", or Alec and Jerry in "How Many Miles to Babylon", had a perfect relationship, yet they still overcame the obstacles and developed a love and affection for each other through their experiences, which creates a mutual happiness. It is clear that there are many similarities between these two relationships which shows the sharing common bonds and a mutual trust and support is essential in every relationship.