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- W2000252418 startingPage "417" @default.
- W2000252418 abstract "Sean O'Casey is said to prefer his first major work, The Shadow of a Gunman, to his next play, Juno and the Paycock. To many of his readers, however, The Shadow of a Gunman has seemed much more limited, local, and topical in appeal. Passing judgement on O'Casey's achievement in this play in The Nineteenth Century and After (April, 1925), Andrew E. Malone has declared that his characters are taken from the slums of Dublin, and his theme is little more than a commentary upon the warlike conditions of the city during the year 1920. One purpose of this article is to suggest that this verdict is a deceptive half-truth. O'Casey certainly does provide a realistic cross-section of life in a Dublin slum in 1920, and, as will be shown, the play certainly acquires greater significance when it is related to the social and political history of that year. But even where O'Casey's representation is closest to social or historical fact it exhibits a distinctive tone and colouring imparted by his imagination in obedience to a dramatic design. Moreover, a comparison between the play and certain parts of his autobiography, Inishfallen, Fare Thee Well (1949) reveals that the personal element in the play is more important that the historical one because it helped to determine its form and the interpretation of life which that form was designed to emphasize." @default.
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- W2000252418 date "1960-02-01" @default.
- W2000252418 modified "2023-09-26" @default.
- W2000252418 title "History, Autobiography, And The Shadow Of A Gunman" @default.
- W2000252418 doi "https://doi.org/10.3138/md.2.4.417" @default.
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