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Dramatic significance :
1) We see another set of people who Gar feels close to and we realise that they didn't even recognise the fact that he was leaving until Madge told them. This is also a part of the emotional roller coaster that Gar is going through and their behaviour only makes him feel betrayed and disappointed.
2) Being called "the boys" by Madge shows that she still feels /sees them as boys and not men.
3) Ned is like the "leader" of the group yet he is one of the emotionally unstable person in the group. We see him avoiding the topic when Joe brings up Gar's departure and he quickly changes the topic to women, sports. Yet before leaving he is the first and only person from the group to give him a farewell present and when he throws the belt to Gar, it shows him trying to disguise his embarrassment.

Quotes:
1)Ned - "(slapping his knee) Come on......Madge Mulhurn. How long is it since a fella gripped your knee?Haaaaaaa!"
Tecniques  and effect :
the verb "slapping" intensifies or helps in showing Ned's childish behaviour.
- Ned could have done this to feel superior in front of the boys, therefore showing who's the leader / dominant person is.
2) Madge - "BOYS1

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Impacts Gar as her role as a maternal figure makes it harder for Gar to leave Ireland.

Add to the action of the play in episode 2 because she invites Gar's friends to see Gar one last time before he leaves, allowing Gar to see the true character of "The boys"

Thematically Madge's character relates to masculinity, shown through Gar expressing his emotions to Madge and not SB. Comfortable expressing his feelings to a woman but his masculinity stops him from doing so with his father.

Quotes

1.  "Just because he doesn't say much, doesn't mean he hasn't feelings like the rest of us"  -

2. "Man! I bathed you every Saturday night till you were a big lout of fourteen!" - Exclamatives

3. "Just because she lives for those Mulhern children, and gives them whatever few half-pence she has?"

4. "A body couldn't get a word in edge ways with you two!"

5. "Madge appears at the door of the shop. She refuses to look at the visitors.Her face is tight with disapproval. Her accent is very precise."

6. "The Boys! Couldn't even come here to say goodbye on your last night."

Personal Response
- evokes a sense of relief from the audience, because we can see that Gar has a source of comfort among all the dysfunctional problems.
- Madge's character makes the audience sad and regretful as she is the closest thing that Gar has to a mother, and the one maternal figure in his life that he feels comfortable with. Compared to Aunt Lizzy, who he feels uncomfortable just being around.

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-Poor father/son relationship between him and Gar
"Couldn't get a word in edgeways with you two"-Madge
"Repeat slowly after me:Another day over"-Private

-Ignores his departing child for a friendly game of draughts
"Powerful the way time passes, too"-Canon
"

-

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"I've been offered a big post in Boston, head of education in a reputable university there." -Boyle pg.32
"God knows I don't blame the Canon for wanting rid of that-"
"Some of them are a bit mawkish but you'll not notice any distinction"            - Boyle pg.33
"Can't take the trousers off you every night. Hee-hee-hee"

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Dramatic Significance:

Split role: The audience gets to view two different perspectives of Gar whereas the characters only see the Public face. Which allows us to see Gar's inner emotions, and views on other characters.

Structure: Public Gar is the main character and drives the play, as the rest of the characters only witness Public Gar and not Private.

Impact of other characters:
- Public's cold persona towards SB results in him feeling that Gar doesn't love and vice versa.

QTE:
1. "I don't know. I - I - I don't know." - Pauses in dialogue signifies his hesitation and reluctance to go to America.

2. 'He assumes in speech and gestures a surly, taciturn gruffness' - The stage directions indicate the change in Public Gar's attitude when his father appears and shows their distant relationship.

3. "Its a bloody quagmire, a backwater, a dead-end!" - Public uses a cynical tone in this dialogue to emphasise the push factors on his decision to emigrate, and also to show Kate how awful Ballybeag is.

4. 'Public Gar is the Gar that people see.' - The stage directions/ opening sequences notifies the audience that Private is unseen and that Public Gar is the face the other characters communicate with. Distinguishes that there is a difference between Public and Private.

5. "It is now been 16 or 17 years since I saw the Queen of France. then the Dauphiness, at Versailles." - Public Gar uses this piece of dialogue as a coping mechanism during times of distress or sadness.

6. " - for no reason at all except that we - that you were happy. D'you remember? D'you remember?" - Repetition of the question. Signifies how Gar has the desire of his father remembering this happy moment they shared, even though it may have not happened.

Personal Response:
- Our private selves are almost completely different to our public selves and the way people perceive us.
- There would be better communication in relationships if our private selves were better at expressing our emotions and thoughts through our Public face.
- Friel shows the importance of relationships through the spilt role with the people he likes more (e.g. Madge). Public Gar shows his emotions around Madge (and private is silent) whereas around S.B Public is silent, while Private expresses his resentment.

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5 Moments :
1)
2)
3)
4)
5)

2 or more characters :
1) S.B
2) Gar
3) Ned
4) Canon

Quotes :
1) " Flings the belt across the room to Public"
2) " to hell with all strong, silent men!"
3) "with quite threat"
"ned belches"
4) "He crashes his fist into the palm of his hands"
5) "(roars) Madge! Madge! "
6)"who's the blondie thing."
7) "Our daughters'll all be gentle and frail and silly, like you; and our sons - they'll be thick bloody louts, sexy goats, like me; and God I'll beat the tar out of them!"

Effect and technique
1)
- representation of masculinity since he's not gentle or careful.
- use of verb "flings" = violent (gesture) -> disguises his embarrassment.
2)
- "Strong, silent" ->sibilance and it is kind of linked together since silence indicates strength.
- heavy criticism
- exclamative = frustration, anger
3) " with quite threat"
- stage direction
- impolite and dominant = masculinity
"Ned belches"
- showing who is the leader
4)
- violent action
-
5)

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Moments:
1. Blue boat
2. Sailor suit
3. Gar recalling Madge's description of his mother
4. Aunt Lizzy flashback
5. Kate flashback

QTE:
1. "Between us ... there was this great happiness" - Gar holds onto this one happy memory (although it was fake) that he has of with his father

"Then for no reason at all except that you were happy too, you began to sing"
"So now you know it never happened" - The memory was fake and was possibly made up by Gar
2. "A nd he had this wee sailor suit on him this morning... hand in hand, as happy as larks" - Simile: They are as happy as singing birds, shows that their relationship possibly wasn't always bad.
"He never had a sailor suit" - Never, negation shows that S.B was misremembering or possibly had made up the memory
3." Wild and young, Madge says"
4. "She'll tuck you into your air-conditioned cot every night"
5. " (Softly) Kate... Sweet Katie Doogan My darling Kathy Doogan." -Public Aul bitch (loudly)... rotten aul snobby bitch" - Private

Characters:
Gar
S.B

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5 Moments
- Flashback to Lizzy & Con's visit
"It's just another place to live, Elise. Ireland - America - what's the difference?"
"Maire's boy, we'll offer him everything we have"
- The "Drill Sergeant" fantasy
"going to a profane, irreligious, pagan country of gross materialism"
- Gar's american dream fantasies
"Maybe you'll be president of the biggest chain of biggest hotels in the world"
-  The last few moments
"God, boy, why do you have to leave?"
- Ranting at Kate
"I'm telling you; it's a bloody quagmire"
"And you'll die here! But i'm not stuck! I'm free! Free as the bloody wind!"
Two Characters
- Lizzy
"You tell him the set up we have"
"He gives us this apartment, he gives us this dough, he gives us three meals a day until bonzo gets a job"
"You think i'm a stranger here or something? [...] Never heard of him"

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5 moments:
- Repetition of SB not wanting a second cup of tea.
- Public Gar meltdown and shouting at his father.
- When Gar states at the beginning of the play that he doesn't care whether or not SB says goodbye to him before his departure
- SB looks at newspaper and Gar's room.
- Episode 3, SB doesn't remember the blue boat, hence conversation with Gar ends. SB proceeds to talk to Madge.

Quotes:
-
- (In whispered shout) "Screwballs, say something! Say something, father!"
- "No... no, then, I don't... "It could have been. It don't matter" "It doesn't matter. Forget it."

Analysis
- Repetition emphasises Gar's desperation to have effective conversation with SB. The vague language suggests that to Gar a conversation about anything would bring him the catharsis he needs. The exclamative only reinforces Gar's desperation through the form of shouting.
- Repetition of small declaration/ imperative sentences shows Gar's embarrassment. Suggest Gar was trying to change the subject. he didn't want to think about the memory anymore.
Contextual link:
- Profanity was common as communication
- Typically known as being (drunk) rowdy and friendly but in PHIC there are many aspects we are unaware of such as the lack of deeper communication e.g. the boys not having a meaningful/ emotional connection with Gar. Links to issues with masculinity.

Personal Response:
- It shows the audience how important it is to communicate with each other to ensure a healthy relationship.
- Lack of communication is the cause of the main conflict between SB and Gar which is disheartening as the father-son relationship has been ultimately severed.

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5 Moments:
- Beginning of episode three: everyone is doing rosary
- Canon regularly comes over for a game of draughts
- Private uses blasphemy towards the Canon
- Public blames God for taking Maire away from him (vaguely)
- Public prays for him mother for comfort
Characters:
- Gar
- Canon
- Madge
-S.B.
Quotes:
- "Christianity isn't prudent - it's insane" dash shows frustration, and also splits the statement making it short and straight to the point, showing that it's Gar's true feelings.
"Can't take the trousers off you every night. Hee - hee" Canon
- "Bugger the Canon" Private
- 𝘔𝘢𝘥𝘨𝘦 𝘪𝘴 𝘴𝘢𝘺𝘪𝘯𝘨 𝘩𝘦𝘳 𝘥𝘦𝘤𝘢𝘥𝘦, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘰𝘵𝘩𝘦𝘳 𝘵𝘩𝘳𝘦𝘦 - 𝘚𝘉, 𝘗𝘶𝘣𝘭𝘪𝘤, 𝘗𝘳𝘪𝘷𝘢𝘵𝘦 𝘢𝘳𝘦 𝘢𝘯𝘴𝘸𝘦𝘳𝘪𝘯𝘨.
-  "'You wait,' says she, 'til the rosary's over and the kettle's on." repetition of this quote through out the moment emphasises that Canon is casually visiting
- "Maybe it was good of God to take her away three days after you were born."
-

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Dramatic Significance
- Contributes to the critique that Friel constructs of masculinity. by acting as a push factor for Gar; a painful reminder of his inadequacies.
- Acts as an outlet for Gar's anger at the end of episode 2, enabling the emotional climax of the play to happen. Eg: (╯°□°）╯︵ ┻━┻
- Leaves Gar emotionally vulnerable on the day of Lizzy & Con's visit due to her wedding, allowing the inciting incident to play out as it did.
Key Quotes
"But £3 15s Gar! We could never live on that."
- Techniques: Exclamative & negation
- Analysis: The line communicates how large of an emphasis Katie, and presumably her family, place on money, creating a clear distinction between the two in terms of class.

"(with joy) Investments? Like Daddy?"
- Techniques: Stage directions, compounding questions & idiolect (childish language 'Daddy')
- Analysis: This characterizes Katie as a naive and childish character that seems to lack the understanding that not all people are as well off as her father, and also indicated a limited understanding of finance as she clings to terms she heard about through her father.

"(Rapidly) You have £20 a week and £5,000 in the bank and your father's about to retire"
- Techniques: Stage direction, declaritive, dishonesty.
- Analysis: Further emphasizes the importance Katie's family places on wealth and status, and also indicates that they will not let her marry a man in a lower social class than them, constructing an elitist picture of them.

"Francis arrived when you were out [...] He - he's - he's here - now"
- Techniques: Repition, hyphenation.
- Analysis: There are several possible deliveries that an actor could give of this, all of them giving considerably different meanings to the line. However there are two main readings; Katie being ecstatic about his arrival and being infatuated (even slightly) with him, and the interperatation which states that the line indicates a poor timing on Francis' behalf, leaving Katie irritated and now distracted.

"It isn't as bad as that, Gar"
- Techniques: Negation, named address.

"You'll do well, Gar; make a lot of money, and come back here in twenty years time and buy the whole village"
- Techniques: Named address, Hyperbole, run-on sentence

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3 ideas:

Split Role: Gives us background information on the character of Gar, and the thoughts of Gar.

Key Quotes:
1. "To hell with all strong, silent men!" - Irony: Private is hypocritical as he is silent and doesn't talk about his emotions.
2.  "So know you know it never happened! Ha-ha-ha-ha-ha"  - Exclamative:

3. "I want you to make one unpredictable remark"
4. "God, Boy, why do you have to leave? Why? Why?"
5. "She was small, Madge says, and wild, and young, Madge says"
6. "It is now sixteen or seventeen years since I saw the Queen of France..."
Personal Response:

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5 moments

Dinner Scene

Midnight kitchen meeting

Conversation with Madge about his wages

Gars false memory of him and SB on a boat

aunt Lizzy - close to gars mother. from his mothers side of the family. mother substitute/mother figure

2 characters
- SB and Gar
- Gar and aunt Lizzy

Quotes
"perfectly trained, the most obedient father i ever had"
"no obscenities, father dear; the child is only twenty five"
"Whether he says goodbye to me or not, or whether he slips me a few miserable quid or not, its a matter of total indifference for me, Madge"
"I'm twenty five, and you treat me as if i were five"
"you pay me less than you pay Madge"
"i suppose you'll be looking for your pay
I earned it
I'm not saying you didn't. its all there - you needn't count it.
I didn't say i was going to count it, did i?"
"a body couldn't get a word in edge ways with you two!"
"on my last day with him he got ten minutes' overtime out of my hide"
"screwballs, say something! say something, father!"
"and i was meaning to tell you that you should sit at the back... so he was saying too... you know there - if there was an accident or anything - its the front gets it hardest ... so he was saying... not that i would know - just that he was saying it there..."
Contextual Link
Friel himself was raised mostly by women, so it is interesting that he would attempt to write a play about a fractured relationship between a father and son.

Personal Response