Brendan Behan Criticism
Brendan Behan (1923–1964) was a prominent Irish dramatist, novelist, and essayist, whose works are deeply interconnected with the political struggles of mid-20th-century Ireland. Behan's writings are celebrated for their vibrant language and emotional depth, capturing a compassionate vision that goes beyond political divides. Despite this linguistic richness, critics have noted inconsistencies in his work, particularly with regard to plot structure and character development. His play The Quare Fellow is often praised for its coherent structure and humanity, as noted by John Russell Taylor, while The Hostage is seen as more chaotic, employing farcical humor over serious themes. This latter work, according to Paul M. Levitt, critiques romanticized Irish nationalism through its vaudeville-like chaos, exploring themes of historical obsession and love. Benedict Kieley further highlights Behan's unique narrative style in works like Borstal Boy and The Hostage, focusing on complex Anglo-Irish relationships and the absurdity of political conflict. Behan's characters, such as the symbolic Monsewer, reflect both God and the chaos of Ireland, enriching his narratives with layers of symbolic meaning.
Contents
- Behan, Brendan (Vol. 1)
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Behan, Brendan (Vol. 11)
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Brendan Behan
(summary)
In the following essay, John Russell Taylor critiques Brendan Behan's "The Quare Fellow" for its rich humanity and coherent structure, contrasting it with "The Hostage," which he views as less disciplined due to its reliance on farcical humor and entertainment over serious thematic exploration.
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That Old Triangle: A Memory of Brendan Behan
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In the following essay, Benedict Kieley examines Brendan Behan's literary works, particularly "Borstal Boy" and "The Hostage," highlighting Behan's unique narrative style and his portrayal of complex Anglo-Irish relationships and the absurdity of political conflict, as well as the symbolic character of Monsewer as a reflection of God and Ireland's turmoil.
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Hostages to History: Title as Dramatic Metaphor in 'The Hostage'
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In the following essay, Paul M. Levitt argues that Brendan Behan's play The Hostage uses its chaotic, vaudeville-like atmosphere to critique the romanticized Irish nationalism that traps individuals in a destructive past, exploring themes of historical obsession and the potential for love to transcend entrenched hostilities.
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Brendan Behan
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- Behan, Brendan (Vol. 8)
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Behan, Brendan (Vol. 15)
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The Writings of Brendan Behan
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In the following essay, Colin MacInnes argues that Brendan Behan's literary genius has been undervalued due to his flamboyant persona and his Irish nationality, asserting that Behan's works, particularly Borstal Boy and The Quare Fellow, are profound explorations of human themes, offering a blend of comedy, tragedy, and a revolutionary humanist perspective.
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The Wit of Brendan Behan
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In the following essay, Sean McCann highlights Brendan Behan's dual legacy as a witty conversationalist and a serious writer, emphasizing his contribution to literature through works such as Borstal Boy and comparing his humor and humanity to that of Wilde and Shaw.
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'An Giall' and 'The Hostage' Compared
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In the following essay, Richard Wall examines the differences between Brendan Behan's original play An Giall and its English adaptation The Hostage, arguing that the latter's modifications diminish the original's integrity and tone by catering to English audiences with added characters, bawdiness, and topical issues.
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The Writings of Brendan Behan
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