Dancing at Lughnasa Analysis

Places Discussed (Critical Guide to Settings and Places in Literature)

Mundy home

Mundy home. Typical rural Irish farm house of the 1930’s, with a kitchen serving as a general living and working area. Not just the cooking but all domestic tasks take place here, including the knitting Agnes and Rose sell to a local merchant. The wireless radio, which the sisters have dubbed “Marconi” after the name on its front, occupies a key position; also visible are an iron range, a sturdy table, an oil lamp, and buckets for well water by the back door. As the stage directions note, these austere furnishings are mitigated by flowers, curtains, and other items. The front door opens onto a garden, underscoring the grace with which the five women eke out a living.

Ballybeg

Ballybeg. Literally “Smalltown” in Irish, Ballybeg is the village just outside of which lies the Mundy household. Brian Friel has made Ballybeg a symbolic Irish “everytown” in several of his plays, often using it, as he does here, as a microcosm for Irish society at various points in the country’s history. As Michael says in his opening monologue, these few weeks in August, 1936, produced in him an unease, a sense of things rapidly changing. Ballybeg, then, marks the threshold between childhood innocence and adult experience for Michael. Similarly, it marks the line between two eras of modern Irish life, as the family dissolves after the sisters lose their respective livelihoods to factory mass production or to the dwindling number of students at the village school.

*Donegal

*Donegal. County in western Ireland; remote even by rural standards, it is one of the last places to benefit from the electrification of the country and part of the Gaeltacht, or Irish-speaking region. It is known for its rough beauty, with wilderness or backwater associations, hence the lingering customs of Lughnasa, the harvest festival honoring the pagan deity Lugh. These agrarian rituals at the village’s margins are set against the approaching changes to small village life, just as the Mundy sisters’ first wireless radio represents the encroachment of the wider world upon their lives in the mid-1930’s.

Dancing at Lughnasa Historical Context

Abbey Theatre
Friel's early plays were performed at the famous Abbey Theatre in Dublin. The Abbey Theatre, established...

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Dancing at Lughnasa Literary Style

Setting
Friel's play is set in ‘‘the home of the Mundy family, two miles outside the village of Ballybeg, County...

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Dancing at Lughnasa Topics for Further Study

  • Friel's play takes place in Ireland in 1936. Learn more about the history of Ireland in the twentieth century. What are the major...

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Dancing at Lughnasa Media Adaptations

  • Dancing at Lughnasa was adapted to the screen in a 1998 film produced by Colombia TriStar, directed by Pat O'Connor, and...

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Dancing at Lughnasa What Do I Read Next?

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Dancing at Lughnasa Bibliography and Further Reading

Sources
Andrews, Elmer. The Art of Brian Friel: Neither Reality Nor Dreams. St. Martin's Press, 1995, pp....

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Dancing at Lughnasa Bibliography (Great Characters in Literature)

Dantanus, Ulf. Brian Friel: The Growth of an Irish Dramatist. London: Faber, 1987. A thorough appraisal of Friel’s work and themes through 1986.

Foster, Roy. “Pleasing the Local Gods: Dancing at Lughnasa.” Times Literary Supplement, October 26, 1990, 1152. A very favorable review of the London production, in which it is claimed that the play is about “ceremonies of innocence against a background of encroaching despair.” For Foster, the essentials are not dancing but “mental retardation, illegitimacy, priestly social control, economic decline, and, eventually, emigration and destitution.”

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