29 pages • 58 minutes read
Juno and the Paycock
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Themes
The Expression and Cost of Irish Patriotism
The characters in this play are committed to Ireland, whether they show total support or offer a critique. The focus is specifically on a working-class family, which shows their loyalty, despite the limitations of Irish society. In Act I, Johnny says, “I’d do it agen,” meaning he would fight for Ireland and risk his well-being again because the cause meant so much to him (442). Juno’s follow-up offers a critique of Ireland, suggesting that not having an arm means you can’t prosper in Ireland as a working man.
Mother and son have a dialogue back and forth about their home country, with Johnny saying that “Ireland only half free’ll never be at peace while she has a son left to pull a trigger” (442). The personification of Ireland as a maternal figure shows the level of commitment Johnny feels for a country that has given birth to him. Interestingly, Johnny’s commitment to his “mother” country is in direct opposition to his father’s attitude about the maternal figure of the family, Juno. While Juno, like Ireland, expects loyalty, respect, and dedication from Jack, she receives only deceit and the burden of financially sustaining him.
The Irish Civil War manifests itself in Act II as a division between the characters over how to express their Irish spirit. The Boyles and some of their neighbors engage in singing popular ballads, with Jack sharing one of his poems. The essence of oral storytelling and engagement is in full force when “Needle” Nugent appears and tells them their merry-making is in conflict with “Mrs. Tancred’s son passin’ the house. Have none of yous any respect for the Irish people’s National regard for the dead?” (450). Both groups are expressing their Irishness (singing for life on one side, singing for death on the other) in traditional ways but for different reasons. In a similar manner, the two Irish groups fighting each other in the Civil War want to protect their beloved country but in different ways.
Patriotism can take its toll when commitment is strong enough. At the end of Act II, Johnny exclaims, “Good God, haven’t I done enough for Ireland?” (450). The Young Man replies that it’s never enough. Johnny realizes the truth of the Young Man’s words and becomes the Boyle family’s ultimate sacrifice for Ireland—first his hip, then his arm, and finally his life.
Death, Rebirth, and the Humanization of War Casualties
In this play, there is much literal dying, especially of young men fighting in the Civil War. There is also figurative dying, including the death of the Boyle family unit. One of the first deaths in the play promises a rebirth of sorts for the Boyle family. The death of Jack’s relative and the impending inheritance mean that Juno will have a reprieve from the constant work necessary to sustain her non-working family members, and the Boyles may be able to afford a more upwardly mobile life. This fortunate turn is also a death of sorts; it sets into motion the events that will lead to the “death” of the family unit, as Juno decides to leave Jack once and for all after he has dug them deeper into debt by buying on the credit of an unrealized inheritance.
Another death from Act I is that of Robbie Tancred, who died in some political altercation that Johnny is tied to. Robbie is the representative of the other Irish deaths in the war, and he also serves to foreshadow Johnny’s death. O’Casey emphasizes, through Robbie and Johnny’s deaths, that Irish casualties are not simply political ideas, they’re human beings—someone’s son. O’Casey expresses as much through Juno’s realization at the end of the play that she should’ve been more sympathetic toward the mourning Mrs. Tancred: “Ah, why didn’t I remember that then he wasn’t a Die-hard or a Stater, but only a poor dead son!” (457).
At the end of the play, the family finally collapses; Juno says, “[Jack will] be hopeless till the end of his days” (457). She and Mary go off to bury Johnny and live with Juno’s sister, where they will raise Mary’s baby. It’s the death of one life and the beginning of a new one for them. Jack’s drunken return to an empty apartment shows him at rock bottom. He’s not aware that a death or rebirth is imminent for him. It’s up to the reader to determine whether he’s as hopeless as Juno thinks he is or if he, on his own, will be forced to make changes and take responsibility.
The concept of death and rebirth is a common theme in Christianity, which is a prominent part of the characters’ lives in this play. The idea of Jesus dying to save humanity seems to relate to the idea of sacrifice on the part of the Irish soldiers for their country (or Johnny) and as a reminder to the other Boyle family members to have a “lil’ more regard for the living” (450).
The Questioning of Religion and Religious Authority in Ireland
The scenes between Jack and Joxer often lend themselves to discussions of religion in relation to politics, as the two go hand-in-hand in Ireland. Jack’s perspectives seem to sway back and forth. In Act I, he says, “The clergy always had too much power over the people in this unfortunate country” (441). At the beginning of Act II when Jack has learned of the inheritance money, he changes his tune and says, “The priests was always in the van of the fight for Irelan’s freedom” (444). A bit later in Act II, when Charlie arrives confidently discussing his Theosophist beliefs, Jack responds with “But religions is passin’ away—they’ve had their day” (446). In a way, Jack speaks as if he is a representative of the people and an authority on the subject. On the other hand, these lines also infer his questioning of faith, which seems to vary based on the events in his life and in Ireland.
This contradictory belief system manifests itself into the never-seen, only-mentioned character of Father Farrell. In Act I, Boyle says, “Father Farrell! [...] I never like to be beholden to any o’ the clergy” (441). His skepticism is present here. However, in Act II, Boyle shows absolute confidence with “I don’t like any one to talk disrespectful of Father Farrell” (444). This Father Farrell is a regular presence in Boyle’s mind whether he’s physically present or not.
Not only does Boyle question religion but obviously the mothers who lose their sons do as well. The picture of the Virgin Mary is a constant in the Boyle apartment, accentuated by a lit candle. At the end of Act III, Juno calls to the Blessed Virgin, asking why she let her son die. This utterance is a repeat of Mrs. Tancred’s cry in Act II. The questioning of faith and those who represent religion in times of despair is a common theme throughout time periods and cultures. In Ireland, with the back-to-back fighting and economic hardships, the strongly religious are tested regularly, as this play clearly depicts.
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