One, Mad Hornpipe: Dance as a Tool of Subversion in Brian Friel’s Molly Sweeney

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7KHSORWRI%ULDQ)ULHOijV Molly Sweeney oscillates around the theme of perception, blindness and eye-sight recovery. Although visually im-SDLUHGWKHHSRQ\PRXVFKDUDFWHULVDbVHOIUHOLDQW and independent per-son who is very active, both professionally and socially. What serves as the source of tragedy in the play is the male desire to compensate for 0ROO\ijVSK\VLFDOGLVDELOLW\SHUFHLYHGDVDbVLJQRIGHğFLHQF\DQGRGGLW\ that needs to be normalized. Prompted by her husband, Molly decides WRXQGHUJRDbVXUJHU\ZKLFKJLYHVKHUDbFKDQFHWRUHJDLQVLJKWDQGWKXV EHFRPHDbSDUWRIWKHZRUOGRIWKHYLVXDOO\DEOHG<HWVXEVHTXHQWWRWKH operation, Molly cannot adapt herself to the new reality and develops DbPHGLFDOFRQGLWLRQFDOOHGEOLQGVLJKWZKLFKOHDGVWRKHUğQDODOLHQDWLRQ and confusion.

Focusing predominantly on the main character of the play, this paper examines the ways in which Molly Sweeney experiences the VXUURXQGLQJZRUOGDQGVHHNVVDWLVIDFWLRQDQGVHOIIXOğOPHQWWKURXJK physical activities, such as swimming or dancing, which she vividly describes in her monologues. It explores the double nature of Molly ZKRGHVSLWHKHUVHOIVXIğFLHQF\FDSDFLW\IRUUHEHOOLRQDQGDbVHQVHRI DXWRQRP\VHHPVSURQHWRPDOHPDQLSXODWLRQH[HUFLVHGDWğUVWE\KHU father, later by her husband Frank and doctor Rice. Her expression of LQGHSHQGHQFHEHFRPHVSDUWLFXODUO\FRQVSLFXRXVLQWKHVFHQHRIDbSDUW\ RUJDQL]HGWKHQLJKWEHIRUHKHUVXUJHU\ZKHQVKHSHUIRUPVDbZLOGDQG IUDQWLFKRUQSLSHZKLFKVHUYHVDVDbIRUPRIPRPHQWDU\XSKHDYDODQG Db YLVXDOL]DWLRQ RI WKH RXWEXUVW RI H[WUHPH HPRWLRQV $OWKRXJK WKH GDQFHLVQRWSUHVHQWHGRQVWDJHLWKDVDbFUXFLDOIXQFWLRQLQWKHSOD\IRU it serves as its powerful climax, after which Molly experiences gradual deterioration.

Interpreted in the context of the history of Irish dance, the mad hornpipe appears replete with meanings and allusions. Traditionally as-sociated with human sexuality and the female element, dance was often

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WUHDWHGE\WKH,ULVKFOHUJ\ZLWKDbJUHDWGHDORIGLVWUXVWDVDbVRXUFHRI evil and moral corruption. Consequently, like in the case of the frenzied reel in another famous Frielian play, 'DQFLQJDW/XJKQDVD, the limitless and unrestricted performance in the climactic scene of Molly Sweeney PD\EHVHHQDVDbWRRORIVXEYHUVLRQDQGIHPDOHRSSRVLWLRQWRWKH,ULVK SDWULDUFKDORUGHU,WLVDbXQLTXHPRPHQWLQZKLFKWKHSURWDJRQLVWVHL]HV male power and gains full, though very temporary, control over her life.

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:ULWWHQLQMolly SweeneyLVDbSOD\DERXWUHVWRULQJKHDOWKWRDbSHUVRQ who suffers from an incurable disease. However, as Niel notices, compar-ing the drama to another Frielian masterpiece, “As in Faith Healer, we wit-QHVVWKHPLUDFOHRIDbFXUHEXWDJDLQLWLVDbFXUHZLWKRXWKHDOLQJĵ7KH thematic concept of Molly SweeneyLVEDVHGRQDbSDUDGR[ZKDWLVEHOLHYHG WR EH Db UHPHG\ LQ UHDOLW\ EULQJV DERXW RQO\ GHVWUXFWLRQ 6HOIVXIğFLHQW and independent, the eponymous character challenges the conventional LPDJHRIDbYLVXDOO\GLVDEOHGSHUVRQ0ROO\LVSUHVHQWHGE\)ULHODVDQDF-tive member of the local community. The woman is not only successful in her professional life but also engaged in various leisure activities whose VLJQLğFDQFHLVXQGHUVFRUHGE\KHUYLYLGGHVFULSWLRQVRIWKHVHQVXDOH[SHUL-ence of swimming. The dramatic change in the play takes place after the VXUJHU\VXEVHTXHQWWRZKLFK0ROO\ijVHQHUJ\DQGYLWDOLW\DUHUHSODFHGZLWK deterioration and stagnation.

In terms of the climax, the play follows the convention established in 'DQFLQJ DW /XJKQDVD LQ ZKLFK )ULHO LQWURGXFHV Db SLHFH RI WUDGLWLRQDO music and dance to mark the point of highest tension, after which the DXGLHQFHIDFHVQRWKLQJEXWDbJUDGXDOGHFOLQHDQGGHJUDGDWLRQRIWKHIDPLO\ Although the use of dance in Molly Sweeney is much less elaborate than in the case of the Mundy sisters, the fragment in which Molly describes her mad hornpipe seems central to the whole drama. The climactic dance is DbXQLTXHPRPHQWZKHQVKHH[SUHVVHVKHULQGHSHQGHQFHUHEHOVDJDLQVWWKH normalizing attitude of masculine authority and openly gives vent to the hidden instinctive fear of the unknown future.

$WWKHEHJLQQLQJRIWKHSOD\WKHEOLQG0ROO\6ZHHQH\OHDGVDbQRU-mal life in spite of her impairment. She takes up various activities which JLYHKHUSOHDVXUHDQGDbVHQVHRIVHOIIXOğOPHQW2QDbGDLO\EDVLVZRUNLQJ DVDbPDVVDJHWKHUDSLVWDWWKHORFDO+HDOWK&HQWUH0ROO\VSHQGVKHUIUHH time in an active way, keeping herself busy with diverse hobbies. In her

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FKLOGKRRGWKHZRPDQZDVGHSULYHGRIDbSRVVLELOLW\WRDWWHQGVFKRRODQG to develop her interests. Therefore, now she evidently searches for other ways to achieve self-realization and satisfaction. Following the traditional association between the female and the body, Friel presents her favourite SDVWLPHVDVKDYLQJDbYHU\SK\VLFDOFKDUDFWHU$V0XUUD\REVHUYHVĴ0ROO\ijV RZQGHOLFDWHEDODQFHğQGVLWVSURSHUH[SUHVVLRQLQWKHXQOLNHO\DFWLYLWLHV RIVZLPPLQJDQGGDQFLQJZKHUHVKHğQGVKHULGHQWLW\LQGHğDQFHRIWKH body and its limitations through disability” (“Molly Sweeneyĵ7KH SURWDJRQLVWGHVFULEHVKHUH[SHULHQFHFRQQHFWHGZLWKKHUKREELHVLQDbYHU\ self-conscious way. In her recollection of the time she spent at the swim-ming pool, Molly states:

I really did believe I got more pleasure, more delight from swimming than VLJKWHGSHRSOHFDQHYHUJHW-XVWRIIHULQJ\RXUVHOIWRWKHH[SHULHQFHĽ every pore open and eager for that world of pure sensation, of sensation DORQHĽVHQVDWLRQWKDWFRXOGQRWKDYHEHHQHQKDQFHGE\VLJKWĽH[SHUL- HQFHWKDWRQO\H[LVWHGE\WRXFKDQGIHHODQGPRYLQJVZLIWO\DQGUK\WK-PLFDOO\WKURXJKWKDWHQIROGLQJZRUOGDQGWKHVHQVHRIVXFKDVVXUDQFH VXFKOLEHUDWLRQVXFKFRQFRUGDQFHbbbb)ULHOMolly Sweeney 

Resulting from the frequent use of structural parallelisms, the repetitive form of the passage accurately conveys the rhythmical character of the activity and, with the mention of all the pores open and willing to receive the stimuli, accentuates the highly sensuous aspect of the experience. This GHVFULSWLRQVWUHVVHV0ROO\ijVVHQVHRIEHORQJLQJWRWKHSK\VLFDOZRUOGDQG her assured attitude towards life. The brisk, rhythmical movement of the SURWDJRQLVWijVERG\LQWKHZDWHULVERWKDbUHĠHFWLRQDQGDQH[SUHVVLRQRI 0ROO\ijVLQQHUEDODQFHDQGFRQğGHQFHĴ>/@LEHUDWLQJWKURXJKWKHKDUPRQ\ LWEURXJKWZLWKWKHSK\VLFDOZRUOGDURXQGKHUĵ1LHOVZLPPLQJV\P-EROL]HVWKHSURWDJRQLVWijVXQLRQZLWKQDWXUH$OWKRXJKYLVXDOO\LPSDLUHG Molly effectively uses her other senses and intuition to receive various external stimuli that help her to experience the surrounding world, which KLJKO\FRQWUDVWVZLWKWKHZRPDQijVğQDOFRQGLWLRQLQZKLFKVKHWRWDOO\UH-MHFWVDQ\VHQVRU\FRQWDFWZLWKWKHUHDOLW\

,WPD\EHDUJXHGWKDWWKHSURWDJRQLVWijVZRUGVXVHGWRGHVFULEHVZLP-ming could equally well apply to her sensations when practicing another of KHUIDYRXULWHDFWLYLWLHVGDQFLQJZLWKRQHPDMRUGLIIHUHQFHWKDWWKHZDWHU LQWKHVZLPPLQJSRROLVUHSODFHGZLWKDLUğOOLQJWKHGDQFHKDOO3LQHQRWLFHV DbIXUWKHUFRUUHVSRQGHQFHEHWZHHQWKHWZRDUJXLQJWKDW

[i]n the passage in which Molly describes the sensation of swimming, WKHUH LV Db GLUHFW UHVWDWHPHQW RI WKH FRQFOXVLRQ RI /XJKQDVD: ‘moving VZLIWO\ DQG UK\WKPLFDOO\ WKURXJK WKDW HQIROGLQJ ZRUOGij MS  QRW

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only echoes ‘moving rhythmically, languorously, in complete isolation ('/EXWOLQJXLVWLFDOO\LWUHFUHDWHVWKHHFKRLQJimage

ZKLFK VHUYHV DV Db SRVVLEOH OHYHO RI FRPSDULVRQ EHWZHHQ WKH WZR SOD\V 6ZLPPLQJDQGGDQFLQJSURYLGHWKHFKDUDFWHUVZLWKDbIHHOLQJRIKDUPRQ\ with the world, resulting from the experience of spatial freedom through PRYHPHQW<HWDbPRPHQWDIWHUVKHğQLVKHVKHUUHPLQLVFHQFH0ROO\ijVGR-FLOLW\SUHYDLOVRYHUWKHFRQğGHQFHLQKHUFRJQLWLYHVNLOOVVKHGHVFULEHVKHU experience as silly and incomprehensible to others (Friel, Molly Sweeney ZKLFKVXJJHVWVDbUHWXUQWRWKHVXEPLVVLYHSRVLWLRQDQGWKHDVVXPSWLRQ of the male, rational point of view.

As Catherine Byrne recalls, during her preparations for the role of Molly, she went swimming with visually impaired people. The actress de-scribes her experience in the following way:

7ZHQW\SHRSOHLQWKHSRROĽ,ZDVWKHRQO\VLJKWHGRQH,JRWRXWDQG ZDVWHUULğHG7KH\MXVWVZDPURXQGOLNHOXQDWLFV1HYHUEXPSHGLQWR each other once. I kept bumping into them! I came out and I felt like the SHUVRQZLWKWKHGLVDELOLW\TWGLQ&RXOW

Her account of the event exposes the gap between the world of the sighted DQGWKDWRIWKHYLVXDOO\LPSDLUHG,QWKLVVHQVH%\UQHijVH[SHULHQFHFDQEH compared to the sense of loss and confusion experienced by Molly after the operation. Furthermore, in her recollections, the actress undermines the traditional superiority of the abled over the physically impaired. Byrne stresses the high abilities of blind people and the way they tend to be under- HVWLPDWHGE\WKHVLJKWHGPHPEHUVRIVRFLHW\7KLVIDFWDOVRğQGVDbUHĠHF-WLRQLQWKH)ULHOijVSOD\)XOO\DZDUHRIKHUVNLOOVDQGDWWULEXWHV0ROO\GRHV QRWFRQIRUPWRWKHSRSXODULPDJHRIDbEOLQGSHUVRQZKRQHHGVFRQVWDQW care and guidance. At one point, she openly states: “I knew only my own ZRUOG,GRQijWWKLQNRILWDVDbGHSULYHGZRUOG'LVDGYDQWDJHGLQVRPHZD\V of course it was. But at that stage I never thought of it as deprived” (Friel,

Molly Sweeney

ļZKLFKVKRZVKHUDVDbVHOIUHOLDQWDQGFRQğGHQWSHU-son who is conscious of the fact that, due to the impairment, her other senses have become more receptive to external factors.

One might even argue that her highly developed skills such as dancing, VZLPPLQJRUHYHQF\FOLQJJLYH0ROO\DbVHQVHRIVXSHULRULW\RYHUVLJKWHG SHRSOH6KHLVFDSDEOHRIHQMR\LQJPRUHLQWHQVHERGLO\VHQVDWLRQVWKDQRU-dinary human beings who are either unable or too inhibited to fully sur-render to such experience. She declares:

2K,FDQijWWHOO\RXWKHMR\VZLPPLQJJDYHPH,XVHGWRWKLQNWKHRWKHU people in the pool with me, the sighted people, that in some way their

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pleasure was actually diminished because they could see, because seeing LQVRPHZD\TXDOLğHGWKHVHQVDWLRQDQGWKDWLIWKH\RQO\NQHZKRZIXOO how total my pleasure was, I used to tell myself that they must, they re-ally must envy me. (Friel, Molly Sweeney

As the visual disability resulted in enhancing other senses, the subsequent partial restoration of sight deprives Molly of her ability to experience in-tense sensual pleasure from physical activities such as swimming or danc-ing. As Wyschogrod puts it, “For Molly, astonishingly, blindness provides WKHRSHQVHVDPHRIVHQVDWLRQVĵ+HQFHVRPHWLPHDIWHUWKHVXUJHU\ it appears that the new experience available to the protagonist cannot com-pensate for the loss she has suffered.

Generally, while one may have an impression that Molly is independent DQGVHOIVXIğFLHQWLWLVFRQVSLFXRXVWKDWVKHDSSHDUVUDWKHUVXEPLVVLYHDQG blindly trusting towards the male characters: her father, her husband Frank and doctor Rice, who play decisive roles in her life and contribute to her ğQDOWUDJHG\7KLVLVFOHDUO\GLVFHUQLEOHIRULQVWDQFHZKHQVKHGHFLGHVWR KDYHWKHVXUJHU\$VGRFWRU5LFHREVHUYHVĴ,NQHZVKHZDVWKHUHDW)UDQNijV LQVLVWHQFHWRSOHDVHKLPDQGQRWZLWKDQ\H[SHFWDWLRQWKDW,bFRXOGKHOSĵ (Friel, Molly Sweeney  ,W LV DOVR QRWHZRUWK\ WKDW ZKHQ VKH DFFHSWV )UDQNijVPDUULDJHSURSRVDO0ROO\DGPLWVWKDWVKHGLGLWĴIRUQRYHU\JRRG reason at all” (Friel, Molly SweeneyDVLIVKHIROORZHGFHUWDLQVRFLDO FRQYHQWLRQVDQGZDQWHGWRIXOğOWKHH[SHFWDWLRQVRIRWKHUSHRSOH

<HW)ULHOGRHVQRWSUHVHQW0ROO\DVWRWDOO\VXEVHUYLHQWDQGSDVVLYHO\ accepting the will of others. There are at least two moments in the play when she openly manifests her rebellion against the fate imposed on her E\WKHPHQ2QHLQVWDQFHLVZKHQWKHSURWDJRQLVWUHMHFWVWKHQHZZRUOG ZLWKGUDZVIURPUHDOLW\DQGUHWUHDWVWRZKDWVKHFDOOVDbĴERUGHUFRXQWU\ĵ (Friel, Molly SweeneyRIEOLQGVLJKWWKHRWKHUWDNHVSODFHPXFKHDUOLHU GXULQJDbSDUW\RUJDQL]HGWKHQLJKWEHIRUHKHUğUVWVXUJHU\ZKHQ0ROO\ SHUIRUPVDbVSRQWDQHRXVDQGHQHUJHWLFKRUQSLSH

7RKDYHDbIXOOXQGHUVWDQGLQJRIWKHVFHQHLWLVFUXFLDOWRLQWHUSUHWLW LQWKHFRQWH[WRIFKDQJHVLQWURGXFHGWR,ULVKGDQFHLQWKHğUVWKDOIRIWKH twentieth century. Traditionally associated with human sexuality and the female element, dance was often treated by the local Catholic clergy with DbODUJHGRVHRIVXVSLFLRQ$VDQ,ULVKSDULVKSULHVWVWDWHGDOUHDG\LQWKH VĴGDQFLQJOHDGVWREDGWKRXJKWVDQGHYLODFWLRQV,WLVGDQFLQJWKDW excites the desires of the body. In the dance are seen frenzy and woe, and ZLWKGDQFHWKRXVDQGVJRWRWKHEODFNKHOOĵTWGLQ.DYDQDJK.HRKDQH DQG.XKOLQJ6XFKDbQHJDWLYHDWWLWXGHWRZDUGVWKLVIRUPRIERGLO\ movement had particularly strong repercussions in the nationalist times. It may be observed that the rebirth of the free Irish state coincided with the

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JURZLQJVWULFWQHVVRI&DWKROLFPHQWDOLW\7KLVKDGDQLPPHQVHLQĠXHQFH on various, and especially bodily, forms of entertainment and the modern Irish notion of femininity.

The nationalist vision of the new country provided very limited op-WLRQVDYDLODEOHWRZRPHQZKRVHUROHDVPRVWFOHDUO\VWDWHGLQGH9DOHUDijV &RQVWLWXWLRQRIZDVUHVWULFWHGWRWKHKRXVHKROG$V0D\HUUHPDUNV

Women are encouraged to represent and manifest the ideal of Mary in WKHLURZQIJHVVHQFHijĽLQWKHLUEHKDYLRXUWKHLUPRWKHUKRRGDQGWKHLUUH-lationship with others. In other words it is through their mimetic per-IRUPDQFHRI0DU\ijVPRGHOWKDWLQGLYLGXDO,ULVKZRPHQFRPHWRHPERG\ IHPLQLQLW\DQGE\H[WHQVLRQWKH,ULVKQDWLRQTWGLQ6ZHHQH\

In this sense, the gendered social construct of Irish womanhood may be VHHQDVDbSHFXOLDUFRPELQDWLRQRIWKHP\WKLFDOLGHDORI&DWKOHHQ1ã+RXOL-KDQDQGWKDWRIWKHFKDVWHDQGLPPDFXODWH9LUJLQ0DU\7UHDWHGPRUHOLNH REMHFWVWKDQVXEMHFWVE\WKHQHZSDWULDUFKDO6WDWHWKH,ULVKZRPHQKDG very limited possibilities of self-development in both personal and profes-sional spheres of life.

Similarly dance, which is traditionally believed to have “its origins LQWKHP\WKRORJLFDOIHPDOHSULQFLSOHĵ/HYLQZDVLQPRGHUQ,UHODQG VXEMHFWWRDbQXPEHURIUHVWULFWLRQVZKRVHDLPZDVERWKWRGHVH[XDOL]HWKH GDQFHUDQGWRHUDGLFDWHDOOWKHIRUHLJQLQĠXHQFHVWKDWIRUFHQWXULHVKDGEHHQ giving shape to the Irish culture. As Royce states, “When dance is used as DbV\PERORILGHQWLW\LWGLIIHUVTXDOLWDWLYHO\IURPGDQFHWKDWLVXVHGIRUUHF- UHDWLRQĵ,WVHHPVWKDWLQPRVWFDVHVWKHVHWZRIRUPVFRH[LVWLQHTXL-OLEULXP<HWLQ,UHODQGIRUDbORQJWLPHWKHRQO\RIğFLDOO\DSSURYHGGDQFH ZDVWKDWZKLFKVHUYHGWKHQDWLRQDOLVWSXUSRVH$V2ij&RQQRUKDVLWĴ>W@KH ,ULVKERG\ZDVWREHIJSXUHijERWKLQWHUPVRILWVEHLQJIJDXWKHQWLFDOO\,ULVKij LHXQWUDPPHOOHGE\DQ\RXWVLGHLQĠXHQFHVDVZHOODVLQWHUPVRIVH[XDO PRGHVW\DQGFRQVWUDLQWĵTWGLQ0XOURRQH\$OOWKLVUHVXOWHGIRULQ-stance, in the introduction of the canon of thirty céilí dances, which were “praised for the fact that there was very little contact between the sexes [as f]or elite cultural nationalists, then, the ideal Irish dancing body was an DVH[XDOERG\ĵ2ij&RQQRUTWGLQ0XOURRQH\DQGDbWRWDOHOLPLQDWLRQRI any arm movement from Irish dancing. Thus, the extremely rigid posture that is nowadays commonly, though, as one may argue, groundlessly, seen DVW\SLFDORIDOOWUDGLWLRQDO,ULVKGDQFHVFDQEHSHUFHLYHGDVDbSHUIHFWHSLWRPH of the restrictions imposed on the Irish body by the stringent rules of paro-chial nationalist and Catholic morality, which becomes particularly promi-QHQWZKHQFRPSDUHGIRUH[DPSOHZLWKKLJKO\VHQVXDOĠDPHQFRZKRVH power and energy also relies on the sophisticated movement of feet.

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,Q)ULHOijV0ROO\6ZHHQH\ the dance is not presented onstage and is evoked solely on the verbal level of the play. The dramatic piece consists of three independent monologues, providing different but complementary accounts of one story and highlighting the solitude and isolation of the characters as well as the irreversibility of the events which have taken place DQGEHORQJWRWKHGRPDLQRIPHPRU\6XFKDbVWUDWHJ\FDQEHVHHQDVW\SL-cal of Irish drama, the narrative form alluding to the oral tradition of the Island and the frequent hostility towards excessive physical expression. 7KXVE\YLUWXHRIODFNLQJLWVWKHDWULFDOHTXLYDOHQW0ROO\ijVGHVFULSWLRQRI WKHKRUQSLSHSURYLGHVDbFRPPHQWDU\RQWKHSRVLWLRQRIGDQFHLQWKH,ULVK theatre and the fact that, even in the contemporary Irish culture, the danc- LQJERG\RIWHQUHPDLQVFRQğQHGZLWKLQWKHGRPLQDQWPRGHRIVWRU\WHOO- LQJ<HWWKRXJKDEVHQWIURPWKHVWDJHWKHIUDQWLFSHUIRUPDQFHRIWKHSUR-WDJRQLVWLVDbSRZHUIXOPDQLIHVWDWLRQRIKHUIHHOLQJVDQGVHUYHVDVDbSRWHQW climax of the drama.

0ROO\ijVGDQFHWDNHVSODFHGXULQJDbVSRQWDQHRXVPHHWLQJWKHQLJKWEH-IRUHWKHVXUJHU\7KHHYHQWFRQIRUPVWRWKHLGHDRIDbWUDGLWLRQDOcéilí that ZDV RULJLQDOO\ ĴDQ HYHQLQJ YLVLW Db IULHQGO\ FDOOĵ %UHQQDQ  $OWKRXJK Breathnach suggests that the term originally meant “a gathering of neigh-bours in some house where talk and gossip on matters of local interest help to put in the night [in which] no musical entertainment or dancing [wa]s LPSOLHGĵZLWKWLPHWKHVHWZRHOHPHQWVKDYHHYHQWXDOO\EHFRPHDQ LQVHSDUDEOHSDUWRIWKHHYHQW2QWKHHYHQLQJEHIRUHWKHRSHUDWLRQDbJURXS RIIULHQGVDQGQHLJKERXUVPHHWLQ0ROO\ijVKRXVHWRHQJDJHLQDbQXPEHURI traditional céilí activities: drinking, recitation, chatting, singing and play- LQJWDSHVDQGğGGOHV)ROORZLQJ)UDQNijVFRPPHQWRQWKHDUULYDORIWKHXQ-H[SHFWHGJXHVWVĴ&RPHRQ7KLVLVEHJLQQLQJWRIHHOOLNHDbZDNHĵ)ULHO

Molly SweeneyRQHFRXOGHYHQDUJXHWKDWZLWKDOOWKHSHRSOHJDWKHUHG

WRFHOHEUDWHWKHODVWQLJKWEHIRUH0ROO\VHWVRXWRQDbMRXUQH\WRWKHODQG of the sighted, the party resembles the typically Irish custom called an Ĵ$PHULFDQZDNHĵRUDbĴVSUHHĵ%UHQQDQļ7KHFRPSDULVRQLVSDU-WLFXODUO\MXVWLğHGDVWKH,ULVKWHUPĴZDNHĵUHIHUVWRERWKDbIXQHUDOEDQTXHW DQGDbWUDGLWLRQDOHYHQWRUJDQL]HGWRELGIDUHZHOOWRDbSHUVRQDbQLJKWEHIRUH their departure to America. Due to the distance between the continents, it was highly improbable that the man or the woman would ever return WRWKHLUKRPHFRXQWU\ZKLFKLQDbZD\DQWLFLSDWHVWKHVSLULWXDOORVVRIWKH familiar world by the Frielian protagonist.

7KHIULHQGO\DWPRVSKHUHRIWKHJDWKHULQJGRHVQRWOLIW0ROO\ijVVSLULWV or facilitate her reunion with the neighbours. Paradoxically, the woman feels desolate and abandoned, having no one to share her doubts with, as the guests purposefully avoid the topic of the surgery that is to be per-formed the following day. Furthermore, Molly states that what she

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enced “was the dread of exile, of being sent away. It was the desolation of homesickness” (Friel, Molly SweeneyIHHOLQJVWKDWDUHFORVHO\UHODWHG also to the notion of emigration and which anticipate her later deteriora-tion as well as the spiritual and physical banishment she will experience.

7KHVHHPRWLRQVDUHJLYHQDbYLROHQWRXWEXUVWZKHQDIWHUWKHğGGOHU ğQLVKHVWKHUHHOHQWLWOHGĴ7KH/DPHQWIRU/LPHULFNĵWKHSURWDJRQLVWYLJ-RURXVO\RUGHUVDbKRUQSLSH6KHUHFDOOVĴ,IRXQGP\VHOIRQP\IHHWLQWKH middle of the sitting-room and calling, ‘A hornpipe, Tom! A mad, fast KRUQSLSHijĵ)ULHOMolly Sweeney7DNLQJLQWRDFFRXQWWKHSRZHUIXO subversive nature of the subsequent performance, the choice of the tune LVIXOO\MXVWLğHGĴ>6@ORZHUWKDQRWKHUVRORPHDVXUHVDOORZLQJJUHDWFRP- SOH[LW\RIVWHSVĵ%UHQQDQļKRUQSLSHLVDbYHU\HQHUJHWLFGDQFHWUD-ditionally performed by men, nowadays mostly in hard shoes. According to Breathnach:

The hornpipe was usually danced by one man alone. It was rarely danced by women, as the steps were regarded as requiring the vigour and sound ZKLFKRQO\DbPDQFRXOGEULQJWRWKHP,WDSSHDUVWKHODGLHVRI&RUN were exceptional in that they not alone danced the hornpipe, but used WKHKHDYLHUVWHSVLQMLJVDQGUHHOVZKLFKHOVHZKHUHZHUHXVHGH[FOXVLYHO\ E\PHQ

7KHVHTXDOLWLHVRIWKHGDQFHJHQUHVXJJHVWWKDW0ROO\ijVSHUIRUPDQFHFRP-bines lightness with dynamism and airiness with power. Her dance creates ĴWKHLOOXVLRQRIDbFRQTXHVWRIJUDYLW\LHIUHHGRPIURPWKHDFWXDOIRUFHV WKDWDUHQRUPDOO\NQRZQDQGIHOWWRFRQWUROWKHGDQFHUijVERG\ĵ&RKHQ <HWPRUHLPSRUWDQWO\WKURXJKHQWHULQJWKHPDOHGRPLQDWHGğHOG Molly challenges the rigid gendered conventions of dance. She kinaestheti-cally expresses her opposition to the rational rules of the patriarchal Irish state, according to which her intuitive fear of the operation cannot under- PLQHWKHVHHPLQJO\ORJLFDODUJXPHQWVRIKHUKXVEDQG%\RUGHULQJDbKRUQ-pipe traditionally danced by men, she seizes male power and rebels against the idea of restoring her sight and, thus, displacing her from the world she has inhabited till the surgery.

Just before the dance, the protagonist is torn between her gratitude, WUXVWDQGOR\DOW\WR)UDQNDQG'RFWRU5LFHDQGDbVXEFRQVFLRXVIHDUWKDW during the operation, instead of gaining, she may lose something crucial and, therefore, reconsiders the surgery:

$QGWKHQZLWKDbVXGGHQDQJHU,WKRXJKWZK\DP,JRLQJIRUWKLVRSHUD-WLRQ"1RQHRIWKLVLVP\FKRRVLQJ7KHQZK\LVWKLVKDSSHQLQJWRPH" Ibam being used. Of course I trust Frank. Of course I trust Mr. Rice. But KRZFDQWKH\NQRZZKDWWKH\DUHWDNLQJDZD\IURPPH"7KH\GRQijW

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7KH\FDQijW$QGKDYH,DQ\WKLQJWRJDLQ"ĽDQ\WKLQJ"ĽDQ\WKLQJ")ULHO

Molly Sweeney 

At this very moment, she becomes aware of the mechanisms of male ma-QLSXODWLRQZKLFKKDYHEHHQVKDSLQJKHUOLIH7KLVOHDGVWRWKHLQQHUFRQĠLFW between the desire to rebel against the imposed solutions and the will-LQJQHVVWRFRQIRUPWRWKHVRFLDOH[SHFWDWLRQV7KHJURZLQJWHQVLRQğQGV DbUHOHDVHLQWKHIRUPRIKHUEROGHQHUJHWLFGDQFH7KHSHUIRUPDQFHVHUYHV DVDbSK\VLFDOUHĠHFWLRQRIWKHWUXO\YROFDQLFĽVXGGHQDQGSRZHUIXOĽHUXS-tion of emoDVDbSK\VLFDOUHĠHFWLRQRIWKHWUXO\YROFDQLFĽVXGGHQDQGSRZHUIXOĽHUXS-tions which, till that time, have remained concealed. It suggests WKDWRWKHUZLVHWDPHGDQGFRPSRVHG0ROO\SRVVHVVHVDbUHEHOOLRXVSRWHQ-tial inherited from her mother whom she describes as constantly quarrel-ling with her father until coming down with a severe mental breakdown.

7KHKRUQSLSHLVDbSRZHUIXOPDQLIHVWDWLRQRILQGLYLGXDOLW\VHOIVXIğ-ciency and extraordinary skills that seem beyond the understanding of the sighted. In this respect, Molly impersonates the qualities which Fraleigh DWWULEXWHVWRJRRGGDQFHUVVWDWLQJĴ7KHJRRGGDQFHUGRHVQRWSURMHFWKHU OLPLWDWLRQVUDWKHUVKHSURMHFWVKHUPDVWHU\RIWKHGDQFHVKHLVSHUIRUPLQJ HQJHQGHULQJDbVHQVHRIOLPLWOHVVQHVVDVDQLQğQLWHXQUHVWULFWHGSUHVHQWĵ 0ROO\LVIXOO\DZDUHRIKHUVNLOOV7KXVVKHEHJLQVWKHGDQFHZLWK DbERDVWIXODQGDOPRVWWKUHDWHQLQJH[FODPDWLRQĴ1RZZDWFKPH<RXMXVW watch me!” (Friel, Molly Sweeney7KHZRPDQVKRZVWKDWVKHGRHVQRW need her sight improved, as she can perfectly manage without it. As Bertha KDVLWLQWHUSUHWLQJWKHSOD\LQDbSRVWFRORQLDOVSLULW 7KLVNLQGRIIJLPSURYHPHQWijIRUFHGXSRQKHU>0ROO\@ĽWKHH\HRSHUDWLRQ WRJDLQSDUWLDOVLJKWĽFRUUHVSRQGVWRWKHSDUDGLJPRIFRORQLDOLVPEDVHGRQ WKHDVVXPSWLRQWKDWWKHFRORQLDOIJRWKHUijLVOHVVGHYHORSHG7KDWWKLVLQWHU- YHQWLRQGHVWUR\VWKHLQWHJULW\DQGWKHSRVVLELOLWLHVRIOLIHPRYLQJDWDbGLI-IHUHQWSDFHUHO\LQJRQLWVRZQUHVRXUFHVLVQHYHUDbFRQVLGHUDWLRQ 0ROO\ijVGDQFHLVDbPDQLIHVWDWLRQRIRWKHUQHVVWKDWGRHVQRWLPSO\GHğ-FLHQF\,WLVDVLIVKHZDQWHGWRGHPRQVWUDWHWKDWVKHLVQRWDbĴVHFRQGFODVV denizen” and does not need any “improvement.”

Although Molly frequently allows her husband to take control over her life and guide it in the direction he considers proper, agreeing to all his suggestions and ideas, one may have an impression that her real power lies in the inner sense of balance and composure. Even when she performs her powerful energetic dance, the protagonist does not wreak havoc but her PRYHPHQWLVERWKFRQWUROOHGDQGSUHFLVH,Q2ij%ULHQijVZRUGV

Lacking any sense of discrepancy between who she is and what she ZDQWV0ROO\LVWKHDQWLWKHVLVRI)UDQNijVUHVWOHVVQHVV$VFRPSDUHGWR

263

)UDQNDQG5LFHVKHDSSHDUVWREHLQDbVWDWHRIJUDFHKHULQWHJULW\DQG LQGHSHQGHQFHHQDEOLQJKHUWRNHHSIDLWKZLWKKHUVHOI 7KHRSSRVLWLRQEHWZHHQ0ROO\DQGKHUKXVEDQGLVDOVRGLVFHUQLEOHLQ5LFHijV FRPPHQWPDGHXSRQREVHUYLQJWKHFRXSOHHQWHULQJWKHFOLQLFMXVWEHIRUH the operation: +HZDVRQKHUOHIW1RZLQWKHRSHQDLUDbVPDOOHUSUHVHQFHLQDbVKDEE\UDLQ-FRDWDQGFDSKLVKDQGVFODVSHGEHKLQGKLVEDFNKLVH\HVRQWKHJURXQG KLVKHDGERZHGVOLJKWO\DJDLQVWWKHZLQGVRWKDWKHORRNHGbbbbSDVVLYH 1RWDbWUDFHRIDVVXUDQFHWKHHEXOOLHQFHWKDWUHOHQWOHVVHQHUJ\)ULHO Molly Sweeney

Finally, this contrast is also noticeable on the verbal level. Coherent and ZHOORUJDQL]HGPRQRORJXHVKLJKOLJKWLQJ0ROO\ijVFRPSRVXUHVWDQGLQDbGL-UHFWRSSRVLWLRQWR)UDQNijVVSHHFKHVWKDWDUHFKDRWLFDQGIXOORIGLJUHVVLRQV DVZHOODV5LFHijVSDUWVLQZKLFKKHH[SUHVVHVWKHHFVWDWLFKRSHVRIUHVWRULQJ his reputation (Friel, Molly Sweeney

According to Murray, Molly has an “intuitive control over her body ZLWKLQKHUHQYLURQPHQWĵĴ)ULHODQG2ij&DVH\ĵ7KLVFDQEHH[SODLQHG in terms of both the stereotypical female intuition and, to some extent, the ERGLO\NLQDHVWKHWLFLQWHOOLJHQFHZKLFKDFFRUGLQJWR*DUGQHUijVSV\FKRORJ-LFDOWKHRU\RIPXOWLSOHLQWHOOLJHQFHVUHIHUVWRWKHĴDELOLW\WRXVHRQHijVERG\ in highly differentiated and skilled ways, for expressive, as well as goal GLUHFWHGSXUSRVHVĵ*DUGQHU7KHSURWDJRQLVWGDQFHVĴ:HDYLQJEH-tween all those people, darting beGLUHFWHGSXUSRVHVĵ*DUGQHU7KHSURWDJRQLVWGDQFHVĴ:HDYLQJEH-tween chairs and stools and cushions and ERWWOHV DQG JODVVHV ZLWK FRPSOHWH DVVXUDQFH ZLWK DEVROXWH FRQğGHQFHĵ (Friel, Molly SweeneyļDQGĴ1RWDbJODVV>LV@RYHUWXUQHGQRWDbVKRXO-der brushed” (Friel, Molly Sweeney7KLVLVDQLQVWDQFHRIDbFRPSOHWH surrender to her emotions and the intuitive knowledge of the place she has gained using other senses than her sight.

7KHGDQFHLVERWKĴ0DGDQGZLOGDQGIUHQ]LHG>DQG@VRDGURLWVRHIğ-cient” that it shows “No timidity, no hesitations, no faltering” (Friel, Molly

Sweeney$V0RORQH\KDVLWĴ7KHIXULRXVH[SHUWKRUQSLSHGDQFHGE\

0ROO\DWWKHSDUW\KHOGWKHQLJKWEHIRUHKHUğUVWVXUJHU\KDGVSRNHQQRW RQO\WRKHUWDFWLOHSURğFLHQF\EXWDOVRWRDQLPPHQVHEDQNHGUHVHQWPHQW DQGFDSDFLW\IRUGHğDQFHĵ7KLVVXJJHVWVDbFRUUHVSRQGHQFHEHWZHHQ

WKHSURWDJRQLVWijVSK\VLFDOSHUIRUPDQFHDQGWKHVFHQHLQ:RQGHUIXO7HQ-nessee in which George plays 7KLUG0RYHPHQW3UHVWRRI%HHWKRYHQijV6R-QDWD 1R  (Moonlight) (Friel, :RQGHUIXO 7HQQHVVHHĴ7KHSOD\LQJĵ

)ULHOLQGLFDWHVĴVKRXOGH[SUHVVIJLQWHUQDOIXU\ijLWLVDbFUXHOVHOILQĠLFWHG SDURG\RIKLVLPPLQHQWIDWHĵ&DYH7KHUHIRUHGHVSLWHWKHVLPLODULW\ resulting from the fact that both characters communicate the anger and

264

GHVSDLUWKURXJKWKHLUSHUIRUPDQFHLWKDVWREHVWUHVVHGWKDWWKHXQIXOğOOHG musician acts with more sense of self-irony than Molly. Unlike George, WKH ZRPDQ VWLOO KDV Db SRVVLELOLW\ WR FKDQJH KHU OLIH *LYLQJ YHQW WR KHU rage through dance, Molly makes the last attempt to manifest her indepen-dence and regain control over her life.

<HWWKHZRPDQLVXQDEOHWRSURYLGHDQ\UHDVRQDEOHMXVWLğFDWLRQIRU her doubts concerning the surgery. As Pine argues, “When Molly danced RQWKHHYHRIWKHRSHUDWLRQLWZDVLQDQJHUDQGGHğDQFH1RW\HWUHIXVDO EHFDXVHVKHVWLOOFRXOGQRWNQRZZKDWWKHQHZZRUOGZRXOGEHĵ7KH protagonist admits:

I was afraid that if things turned out as Frank and Mr. Rice hoped, Ibwas afraid that I would never again know these people as I knew them QRZbbbb,ZRQGHUHGĽZRXOG,HYHUEHDVFORVHWRWKHPDV,ZDVQRZ (Friel, Molly Sweeney

Thus, the fury communicated through dance can be seen as resulting from 0ROO\ijVVXEFRQVFLRXVIHDURIWKHXQIDPLOLDUDQGKHUDZDUHQHVVRIWKHIDFW that her life will somewhat change.

The dance scene alludes to the gendered dichotomy between rational and intuitive knowledge and the traditional valuation of the former as su-SHULRUWRWKHODWWHU0ROO\ğQGVLWLPSRVVLEOHWRYRLFHKHUIULJKWDQGDQJHU using the rational male discourse. Instead, she achieves this by means of GDQFHDVDbIRUPRIH[SUHVVLRQFORVHO\FRQQHFWHGZLWKWKHIHPDOHHOHPHQW $QG\HWXQDEOHWRMXVWLI\KHUIHDUYHUEDOO\LQDbORJLFDOZD\0ROO\UHSHDW- HGO\UHMHFWVDOOWKDWKHULQWXLWLRQWHOOVKHUDQGLQRUGHUWRIXOğOWKHH[SHF-tation of the society, tries to dispel all doubts using rational argumenta-tion. She asks herself in relation to the restoration of eye-sight: “But why VKRXOGLWEHIULJKWHQLQJ"ĵ)ULHOMolly SweeneyWRZKLFKVKHFDQQRW SURYLGHDbVDWLVIDFWRU\DQVZHU

$EDQGRQHG DQG VHOIIRFXVHG WKH QDWXUH RI 0ROO\ijV GDQFH LV YHU\ FORVHWRWKDWRI)ULHOijVDQRWKHUFKDUDFWHUQDPHO\.DWH0XQG\ijVĴtotally

FRQFHQWUDWHG WRWDOO\ SULYDWH [and] simultaneously controlled and frantic”

(Friel, 'DQFLQJDW/XJKQDVDUHHO:KDWUHLQIRUFHVWKHVLPLODULW\EH-tween the two otherwise very distinct forms of Irish traditional dance is the fact that both performers are equally overcome by the fear of the un-NQRZQIXWXUHDQGWKHSRVVLELOLW\RIGLVLQWHJUDWLRQ7KHVHHPRWLRQVğQG DbUHĠHFWLRQLQWKHLUPRYHV$V3LQHDUJXHVLPDJLQLQJWKHSHUIRUPDQFHRI the protagonist:

we may be able to share with Molly not only the elation of her blindness and IJFRPSOHWHDVVXUDQFHijMSEXWDOVRWKHUHDVRQIRUWKHPDGQHVVWKHDQJHU

265

DQGWKHGHğDQFHKHUIHDURIKHULPSHQGLQJH[LOHIURPher world as the colo-QLVWVWDNHKHULQWRWKHLUV3LQH

7KLVLPSUHVVLRQLVVWUHQJWKHQHGE\WKHSRVWXUHRIERWKZRPHQijVERGLHV 5LJLGDQGXSULJKWWKH\VHHPWRUHĠHFWWKHLQQHUWHQVLRQRIWKHFKDUDFWHUV resulting from the discrepancy between their wishes and desires, and the limited possibilities they are offered. Although what comes to the fore in both cases is the emotional load of the performances which communicate both anger and despair, the women do not to break the convention of Irish GDQFLQJ&RQVHTXHQWO\0ROO\ijVULJLGERGLO\SRVWXUHFRXQWHUEDODQFHVWKH vigorous and subversive character of her dance and suggests certain inhibi-tion and limitainhibi-tion, thus foreseeing her eventual surrender to the pressures of society.

/LNH.DWH0XQG\ZKRGDQFHVRXWRIWKHNLWFKHQDQGLQWRWKHJDUGHQ 0ROO\ijVSHUIRUPDQFHLVQRWUHVWULFWHGVSDWLDOO\DVĴLQDbUDJHRIDQJHUDQG GHğDQFH >VKH@ GDQFH>V@ Db ZLOG DQG IXULRXV GDQFH URXQG DQG URXQG WKDW URRPWKHQRXWWRWKHKDOOWKHQURXQGWKHNLWFKHQWKHQEDFNWRWKHURRP DJDLQDQGURXQGLWDbWKLUGWLPHĵ)ULHOMolly Sweeney,WLVDQH[SUHV-sion of power and freedom unhampered by physical disability. The impair-PHQWRIVLJKWGRHVQRWGHSULYH0ROO\RIDQDELOLW\WRPRYHFRQğGHQWO\ DERXWWKHKRXVHZKLFKUHĠHFWVKHUSRWHQWLDOWRDFWZLWKVHOIDVVXUDQFHLQ both the private and the public sphere of her life.

7KHVLWXDWLRQFKDQJHVGUDPDWLFDOO\DIWHUWKHVXUJHU\ZKHQ0ROO\ijVOLY-LQJVSDFHEHFRPHVVLJQLğFDQWO\OLPLWHG0DUJLQDOL]HGDQGUHOHJDWHGIURP the public sphere, the woman shares the fate of her mother. She remains LQFDUFHUDWHGOLWHUDOO\ĽZLWKLQWKHIRXUZDOOVRIKHUURRPLQWKHKRVSLWDO DQGPHWDSKRULFDOO\ĽLQWKHSULYDWHZRUOGRIKHUWKRXJKWVGUHDPVDQGIDQ- WDVLHV6XFKUHVWULFWLRQRIVSDFHGHSLFWHGDVDbIRUPRIWKHPDWULOLQHDOH[-SHULHQFHFDQEHVHHQDVDbVWUDWHJ\W\SLFDORIFRORQL]HUVDQGDQLQVWDQFHRI female oppression. This idea has been explored by Moloney who, seeing

Molly SweeneyDVDbFRQWLQXDWLRQRIĴ)ULHOijVWUDGLWLRQRIWKHSROLWLFDOWKHDWUHĵ

SURSRVHVDbSRVWFRORQLDOIHPLQLVWUHDGLQJRIWKHSOD\&RPSDULQJWKH HSRQ\PRXVFKDUDFWHUWRWKHLPSHULOOHG&DWKOHHQ1ã+RXOLKDQVKHVWDWHV

WKHEOLQG0ROO\DFWVDVDbV\PEROIRU*DHOLF,UHODQGWKHSDUWLDOO\VLJKWHG 0ROO\VHUYHVDVDbPHWDSKRUIRUDbFRORQL]HGFRXQWU\DQG0ROO\KRVSLWDO-ized for madness represents the postcolonial state. But most poignantly RIDOO0ROO\LVDOVRDbFRQWHPSRUDU\,ULVKZRPDQDbGDPVHOWXUQHGLQWR hag by the postcolonial Irish male, and her experience signals the con-WLQXLQJYH[HGVWDWXVRIZRPHQLQ,UHODQG

Similarly, McMullan addresses the problem of patriarchal control in the PRGHUQQDWLRQDOLVW,UHODQGDVSUHVHQWHGLQ)ULHOijVSOD\6WDWLQJWKDWĴMolly

266

SweeneyGLUHFWO\VWDJHVWKHSHUIRUPDQFHRIPDOHDXWKRULW\RQWKH IHPDOHERG\ĵVKHREVHUYHVWKDWĴ,QLWLDOO\SUHVHQWHGDVVHOISRVVHVVHG LQGHSHQGHQWDQGKLJKO\UHVRXUFHIXO>WKHZRPDQijV@LQWHJULW\LVGHVWUR\HG E\LQVWUXPHQWDOPDVFXOLQHDXWKRULW\ĵ7KHYLJRXUDQGHQHUJ\RIWKH FOLPDFWLFGDQFHLVWKHUHIRUHMX[WDSRVHGZLWKWKHğQDOVWDJQDWLRQDQGVSD-tial limitation of the protagonist.

0ROO\ijVVSRQWDQHRXVNLQDHVWKHWLFDQGHPRWLRQDORXWEXUVWKDVDbYHU\ WHPSRUDU\QDWXUH)RUDbPRPHQWWKHZRPDQDVVHWVKHUVHOIDVDEOHERGLHG and in control of her movement and gestures, in this way contradicting WKHVWHUHRW\SLFDOLPDJHRIDbEOLQGSHUVRQZKRLVXQDEOHWRPRYHZLWKRXW DbJXLGHRUDWOHDVWDbVSHFLDOFDQH<HWDIWHUVKHJLYHVYHQWWRKHUDQJHUDQG GHğDQFHLQWKHIRUPRISK\VLFDODFWLYLW\0ROO\VRRQUHWXUQVWRWKHVXEPLV-sive position. Her dance ends as soon as Frank tells Tom to stop playing WKHğGGOHV0ROO\LQVWDQWO\DVVXPHVDbYHU\UDWLRQDOSRLQWRIYLHZUHSUH-VHQWHGE\KHUKXVEDQGDQGVWDWHVĴ*RGNQRZVKRZ,GLGQijWNLOOP\VHOI RULQMXUHVRPHERG\2ULQGHHGKRZORQJLWODVWHG%XWLWPXVWKDYHEHHQ terrifying to watch because, when I stopped, the room was hushed” (Friel,

Molly Sweeney  7KH LQDELOLW\ WR MXVWLI\ KHU NLQDHVWKHWLF RXWEXUVW LQ

DbORJLFDOZD\OHDGVWRVHOIGHSUHFLDWLQJKHUVNLOOVDQGLQWXLWLRQ:KHQWKH GDQFHLVRYHUVKHKDVQRORQJHUWKHVDPHFRQğGHQFHLQKHUDELOLWLHV-XVW after the outburst of power, Molly is instantly overwhelmed by fear and DbVHQVHRIDOLHQDWLRQ6KHUHFROOHFWVĴ,ZDVVXGGHQO\ORVWDQGDQ[LRXVDQG IULJKWHQHG,UHPHPEHUFDOOLQJIJ5LWD":KHUHDUH\RX5LWD"ijIJ+HUHDWWKH ZLQGRZijVKHVDLG$QG,VWXPEOHGJURSHGP\ZD\WRKHUDQGVDWEHVLGH her” (Friel, Molly Sweeney7KLVXQH[SHFWHGFKDQJHRIEHKDYLRXUZKHQ WKHGDQFHLVRYHUFOHDUO\H[SRVHVWKHIUDJLOHDVSHFWRI0ROO\ijVQDWXUHDQG KHUGHVSHUDWHQHHGIRUVXSSRUWLQWKHVHGLIğFXOWPRPHQWVRIKHUOLIH,W shows that the woman eventually surrenders to the pressure of society and DVVXPHVWKHUROHRIDbGLVDEOHGSHUVRQZKRLVERXQGWRGHSHQGRQRWKHUV rather than on her own resources.

7KHğQDOPHGLFDOFRQGLWLRQRI0ROO\LVGHğQHGDVEOLQGVLJKWLQZKLFK the woman is deprived of the skills she had before the operation, namely she is unable to distinguish between light and darkness and, as she com-plains, “Even the world of touch has shrunk” (Friel, Molly Sweeney 7KLVVWDWHDOVRKDVDQLPPHQVHHIIHFWRQWKHSURWDJRQLVWijVSV\FKHDVDIWHU-wards she no longer practices swimming, dancing or cycling, but remains enclosed within her room. From the medical point of view, Molly pos-VHVVHVWKHSK\VLFDOFDSDELOLW\WRVHHDQG\HWVKHUHIXVHVWRXVHLWDVDbWRRO of experiencing reality. It appears that, conforming to social pressures and agreeing to undergo the operation, the woman deprives herself of sensu-RXVSOHDVXUHVDQGWKXVLQDbZD\UHVWUDLQVKHUERG\7KHZLWKGUDZDOIURP WKH IDPLOLDU ZRUOG OHDGV DOVR WR Db VHQVH RI VSLULWXDO ORVV DQG FRQIXVLRQ

267

which Friel shows as similar to the situation of an animal displaced from its natural habitat, providing an example of badgers (Molly Sweeney DQG Iranian goats (Molly Sweeneyļ3DUDGR[LFDOO\EHFDXVHRIWKHVXUJHU\ 0ROO\WXUQVIURPDbVHOIVXIğFLHQWDQGDEOHERGLHGLQGLYLGXDOWRDbGLVDEOHG person who demands constant care. She no longer exhibits any potential for anger and rebellion, which is accurately presented by the image of her ĴZD\ZDUGKDLUFRQWDLQHGLQDbQHWĵ)ULHOMolly Sweeney&RQWUROOHG DQGGHSULYHGRIKHULQWXLWLYHNQRZOHGJH0ROO\FDQOHDGRQO\DbVKDOORZDQG futile half-existence.

Resembling the mad woman in the attic, Bertha Mason from Char-ORWWH%URQWÖijVJane Eyre)ULHOijVSURWDJRQLVWHYHQWXDOO\EHFRPHVHOLPLQDWHG from the new world which she cannot adapt to. She shares the fate of her PRWKHUZKRDIWHUDbPHQWDOEUHDNGRZQZDVLQVWLWXWLRQDOL]HGE\KHUKXV- EDQG6LPLODUO\LQRUGHUWRUHJDLQDbFHUWDLQGRVHRIIUHHGRP)UDQNFRP- PLWV0ROO\WRDbPHQWDOLQVWLWXWLRQ$VXQWLOGLYRUFHZDVLOOHJDOLQ,UH-land, Moloney suggests that the provisions of the Mental Treatment Act of RIIHUHGWKHPRVWFRQYHQLHQWZD\RIJHWWLQJULGRIDbSUREOHPDWLFZLIH

The Irish prohibition on divorce would exclude, however, an otherwise ob-YLRXVZD\WRDWWDLQbbbbSHDFH><HW@,ULVKODZHQWLWOHGKLP>)UDQN@WRDSSO\ IRUKLVZLIHijVFRQğQHPHQWLQDbPHQWDOLQVWLWXWLRQ>VLPLODUO\DVLQWKHFDVH RI0ROO\ijVIDWKHU@1RWMXVWDQDJJUDYDWHGKXVEDQGEXWDbMXGJHZKRVHUHF-RPPHQGDWLRQVHYHQRXWRIWKHFRXUWURRPZRXOGEHWDNHQVHULRXVO\

7KHUHIRUHLQKLVSOD\)ULHOSURYLGHVDbFRPPHQWDU\XSRQWKHSRVLWLRQRI ZRPHQ LQ FRQWHPSRUDU\ ,UHODQG GHSLFWLQJ WKHP DV FRORQL]HG VXEMHFWV whose identity, like the identity of the nation, needs to be liberated and UHGHğQHGDIWHUWKHSHULRGRIFRORQLDOVXSSUHVVLRQDQGSDWULDUFKDOGLFWDWRU-VKLS2QHFRXOGDQDORJLFDOO\DSSO\DbVLPLODULGHDWRVXFKVSKHUHVRI,ULVK FXOWXUHDVGDQFHZKLFKIRUDbORQJWLPHZDVLQQXPHURXVZD\VUHVWULFWHG by Catholic morality. The postcolonial confusion and problems with na-tional identity, metaphorically represented by the postoperative condition RI0ROO\IRXQGDbUHĠHFWLRQLQLPSRVLQJOLPLWDWLRQVRQ,ULVKGDQFHZKLFK aimed at eliminating all foreign elements from the Irish dance tradition and desexualizing the body of the dancers.

,WLVWKXVQRZRQGHUWKDWWKHSURWDJRQLVWijVPRVWSRZHUIXOHPRWLRQ-DORXWEXUVWDVVXPHVWKHNLQDHVWKHWLFIRUPWKDWKDVDbVXEYHUVLYHSRWHQWLDO against nationalist restrictions imposed on the body with its all manifesta-tions. As has been already indicated, although belonging to the approved canon, the powerful hornpipe performed by Molly was traditionally seen as DbW\SLFDOO\PDOHGDQFH,WLVRQHRIWKHODVWVLJQVRIUHEHOOLRQRUDbVXEFRQ-scious attempt to seize the right to decide about her own fate earlier

exer-268

cised by her father, her husband and her ophthalmologist. This contributes to the fact that, even though it is not presented onstage, the performance RIWKHSURWDJRQLVWVHUYHVDVDbSRZHUIXOHPRWLRQDOO\FKDUJHGFOLPD[RIWKH play, after which the audience witnesses only decay and degradation.

6XEVHTXHQWWRWKHPDLQFKDUDFWHUijVVXUJHU\KHUFRQGLWLRQJUDGXDOO\ GHWHULRUDWHV LQ WKH GLUHFWLRQ RI VWDJQDWLRQ DQG LQDFWLYLW\ 0ROO\ijV ğQDO SUHGLFDPHQW PD\ EH LQWHUSUHWHG DV Db FRPPHQWDU\ RQ WKH FRQGLWLRQ RI contemporary Irish society. Impoverished and deprived of its attributes, LWKDVWRXQGHUJRDbORQJSURFHVVRIUHHVWDEOLVKLQJLWVLGHQWLW\DVDWWKH present moment the nation, in many respects, is still limited and inhibited from further progress. This problem appears particularly acute as regards the perception of the body and the Irish concept of womanhood. Consid-ered in the national times as potentially unruly and disruptive, these two HOHPHQWVVWLOOGHPDQGUHGHğQLWLRQDQGOLEHUDWLRQWKHLUFXUUHQWVLWXDWLRQ V\PEROL]HGE\0ROO\ijVFRQğQHPHQWLQWKHSV\FKLDWULFKRVSLWDO$QDO\]-ing the play in the postcolonial context, Moloney observes: “The coloniz-HUVDIWHUDOOKDYHWKHIUHHGRPWRPRYHRQWKHRSWLRQVIRUWKHFRORQL]HG RQWKHRWKHUKDQGDUHDOZD\VPRUHOLPLWHGĵ7KXVZKLOH0ROO\XQ-DEOHWRğQGKHUSODFHLQWKHQHZZRUOGWRZKLFKVKHKDVEHHQLQWURGXFHG EHFRPHVFRQğQHGWRDbPHQWDOLQVWLWXWLRQWKHUHPDLQLQJWZRPDOHFKDU-acters can go on with their lives and search for the new ways to achieve VHOIIXOğOPHQW

W

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bridge Companion to Brian Friel. Ed. Anthony Roche. Cambridge:

Cam-EULGJH8QLYHUVLW\3UHVVļ

Breathnach, Breandán. )RON0XVLFDQG'DQFHVRI,UHODQG. Dublin and &RUN0HUFLHU

Brennan, Helen. The Story of Irish Dance. Lanham: Roberts Rinehart, 

&DYH5LFKDUG$OOHQĴ4XHVWLQJIRU5LWXDODQG&HUHPRQ\LQDb*RG-forsaken World: 'DQFLQJDW/XJKQDVD and :RQGHUIXO7HQQHVVHH.” Brian

Fri-HOijV'UDPDWLF$UWLVWU\IJ7KH:RUN+DV9DOXHij Ed. Donald E. Morse, Csilla

%HUWKDDQG0ÁULD.XUGL'XEOLQ&DU\VIRUWļ

Cohen, Marshall. “Primitivism, Modernism and Dance Theory.”

:KDW LV 'DQFH" 5HDGLQJV LQ 7KHRU\ DQG &ULWLFLVP. Ed. Marshall Cohen

DQG5RJHU&RSHODQG2[IRUG2[IRUG8QLYHUVLW\3UHVVļ Coult, Tony. $ERXW)ULHOWKH3OD\ZULJKWDQGWKH:RUN. London: Faber, 

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Fraleigh, Sondra Horton. 'DQFH DQG WKH /LYHG %RG\ $ 'HVFULSWLYH

Aesthetics3LWWVEXUJ8QLYHUVLW\RI3LWWVEXUJ3UHVV

Friel, Brian. 'DQFLQJDW/XJKQDVD/RQGRQ)DEHU ---. Molly Sweeney1HZ<RUN'UDPDWLVW3OD\6HUYLFH ---.:RQGHUIXO7HQQHVVHH/RXJKFUHZ*DOOHU\

Gardner, Howard. Frames of Mind: The Theory of Multiple Intelligences. 1HZ<RUN%DVLF

.DYDQDJK'RQQFKD.LHUDQ.HRKDQHDQG&DUPHQ.XKOLQJĴ'DQFH work: Images of Organisation in Irish Dance.”

6$*('LUHFWLRQVLQ2U-ganization Studies(G65&OHJJ/RQGRQ6$*(ļ

Levin, David Michael. “Philosophers and the Dance.” :KDWLV'DQFH"

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