Analysis Of Cathleen Ni Houlihan

Cathleen Ni Houlihan by W. B. Yeats and Lady Gregory and The Rising of the Moon by Lady Gregory demonstrate the impending and never ceasing restlessness of the Irish people and the desire to rebel against British rule. In turn, the playwrights incorporate spirit or spirit-like characters that represent the oppression that the Irish experienced. By the end, the spirit has incited a character to help or follow them in the rebellion. Those who aid the cause of the rebellion are often not supported by anyone else but the spirit. If I were to stage these plays on a double bill of one-acts, I would emphasize the oppression of the characters and the impending rebellion with saturated light that envelopes the scene, setting that represents their vulnerability,

Yeats and Lady Gregory create a sense of danger that is to come. Throughout Cathleen Ni Houlihan, the characters hear a drumming crowd in the distance. Yet, they are inside their home, safe from the world outside. The setting would be the interior of a modest cottage with furnishings similar to that of 1798, when the play was set. Furthermore, the cottage would be modest in order to justify their need for the dowry from Michael’s future wife. The lights would be warm—amber and pink colors—on the inside as it is getting dark and there is a fire to sit by. Through the windows and the doors, there would be shafts of light, like they are trying to invade the home, much like the spirit of Ireland and the impending rebellion. Slowly the lights would become more saturated and take over the home due to the sun setting and the spirit—the Old Woman—is

To help discern how these choices were made in each show, and why they were unalike, I would encourage different acting styles from the spirits and their counterparts that they affect so deeply. For Cathleen Ni Houlihan, I would first want Realism to play a role in how it is staged. However, once the spirit approaches the family, her presence puts Michael into a trance-like state. She also speaks in prophetic ways and approaches communication with song, reminding me of Brechtian theatre, specifically Brecht’s Mother Courage. Although I would not have her break the fourth wall, her style of acting would have to be elevated enough to put Michael into a trance where he forgets about his wedding day. This is especially important as she is later seen by the young boy, Patrick, as a young girl who “had the walk of a queen” (Yeats and Lady Gregory 11), validating that she is not only a poor woman, but the spirit of