Juxtaposition Between Juno And Saxers
The play's language continues to bring us into the heart of lower-class Dublin. Joxer often sings a refrain from a popular comic song to announce his arrival: "Me pipe I'll smoke, as I dhrive me moke - are you there, Mor...eee...ar...i...teee!" (31.) Other sayings, too, reinforce the audience's cultural identity. When Boyle tells Joxer that Father Farrell shook his hand, he replies "I met with Napper Tandy, an' he shuk me be' the han!" (32.) The reference, while little known to many of today's readers, would have been familiar to the audience of the time, coming from a patriotic song about the 1798 rebellion.
The juxtaposition between Juno and the Boyle continues in Act III as we see how differently the two respond to suffering. While Boyle
can think only of the effect Mary's problem will have on him and his reputation, Juno defends her daughter and tries to point out everything that their daughter will have to go through and how much worse it will be for her. Boyle is not even aware that Johnny has been killed, having left to escape his troubles through drink. Juno, however, undergoes a spiritual transformation as she realizes how selfish she has been in the past. Juno reflected when she was not sympathetic towards Mrs. Tancred when her son was killed. Thus, Juno decides to respond to tragedy in the way which will cause the most good, by leaving her lazy husband and instead helping Mary to raise her child.
Once again, we see how money affects the way that people treat one another. Boyle was practically a celebrity when his neighbors thought he would be inheriting a fortune; now that they realize the legacy is gone, they have no mercy in taking as readily as they previously gave.
The tone of Act III is noticeably darker than the rest of the play, emphasizing the tragic elements of the tragicomedy. Even amongst the suffering, however, there are humorous moments. Joxer's behavior as the truth about Boyle is discovered is very funny; he sides with Nugent against Boyle, then a moment later expresses his outrage with Boyle against Nugent. We laugh, too, when he steals Boyle's bottle of stout and then goes along with the story when Boyle blames it on Nugent. At the same time, the tragedies become more pronounced. Johnny, who should have been considered a hero for his role in the Easter Rebellion, again reveals his cowardice as he is taken away. Men who should have been supportive reveal their narrow-mindedness as they turn from Mary in her plight. Nationalism seems to lose its purpose as the tragic consequences of war become clear, and the dehumanizing power of poverty reveals itself again.
O'Casey continues his excellent stagecraft in this act, with actions becoming more symbolic. The extinguishing of the candle is a powerful message that could be foreshadowing Johnny's death. After the tragic event, Juno stands beneath the picture as she invokes the Virgin, a compelling juxtaposition of mothers who have lost their sons which may suggest Juno's own godliness. Arguably, O'Casey achieves his finest moment when all of the upholstered furniture purchased on credit is taken away, so that in the last scene Boyle and Joxer stagger into a stark, empty room - a powerful symbol of the chaos to which Boyle refers in the last line.
The juxtaposition between Juno and the Boyle continues in Act III as we see how differently the two respond to suffering. While Boyle
can think only of the effect Mary's problem will have on him and his reputation, Juno defends her daughter and tries to point out everything that their daughter will have to go through and how much worse it will be for her. Boyle is not even aware that Johnny has been killed, having left to escape his troubles through drink. Juno, however, undergoes a spiritual transformation as she realizes how selfish she has been in the past. Juno reflected when she was not sympathetic towards Mrs. Tancred when her son was killed. Thus, Juno decides to respond to tragedy in the way which will cause the most good, by leaving her lazy husband and instead helping Mary to raise her child.
Once again, we see how money affects the way that people treat one another. Boyle was practically a celebrity when his neighbors thought he would be inheriting a fortune; now that they realize the legacy is gone, they have no mercy in taking as readily as they previously gave.
The tone of Act III is noticeably darker than the rest of the play, emphasizing the tragic elements of the tragicomedy. Even amongst the suffering, however, there are humorous moments. Joxer's behavior as the truth about Boyle is discovered is very funny; he sides with Nugent against Boyle, then a moment later expresses his outrage with Boyle against Nugent. We laugh, too, when he steals Boyle's bottle of stout and then goes along with the story when Boyle blames it on Nugent. At the same time, the tragedies become more pronounced. Johnny, who should have been considered a hero for his role in the Easter Rebellion, again reveals his cowardice as he is taken away. Men who should have been supportive reveal their narrow-mindedness as they turn from Mary in her plight. Nationalism seems to lose its purpose as the tragic consequences of war become clear, and the dehumanizing power of poverty reveals itself again.
O'Casey continues his excellent stagecraft in this act, with actions becoming more symbolic. The extinguishing of the candle is a powerful message that could be foreshadowing Johnny's death. After the tragic event, Juno stands beneath the picture as she invokes the Virgin, a compelling juxtaposition of mothers who have lost their sons which may suggest Juno's own godliness. Arguably, O'Casey achieves his finest moment when all of the upholstered furniture purchased on credit is taken away, so that in the last scene Boyle and Joxer stagger into a stark, empty room - a powerful symbol of the chaos to which Boyle refers in the last line.