The Play

(Survey of Dramatic Literature)

The action of The Fiddler’s House takes place in a simple cottage inhabited by a widower, Conn Hourican, and his adult daughters, Maire and Anne. As the first of its three acts begins, the very polite and sensible James Moynihan is courting Anne. After James leaves, Conn enters and expresses his nostalgia for the happy days when he and his late wife traveled around the Irish Midlands so that Conn could play his fiddle in many villages. Anne is glad that their grandmother willed their cottage to Maire and not to their father; this gives Anne and Maire a sense of security, but Conn is tired of such a peaceful existence. Playing his fiddle in Flynn’s, the local pub, or perhaps even at the Feis of Ardagh, a regional musical festival, would bring Conn much pleasure: Maire, however, begs Conn not to go to Flynn’s lest he become drunk and disgrace them again. She obtains his solemn promise not to enter Flynn’s that evening. Although Brian MacConnell (a farmer who loves Maire) knows of Maire’s wishes, he persuades Conn to accompany him to Flynn’s by appealing to his vanity. He tells him that Shawn Heffernan, a fiddler whom Conn does not hold in high esteem, will perform at Flynn’s that evening. Unless Conn plays at Flynn’s, the villagers will conclude that Conn is no longer a gifted musician who can compete with younger fiddlers.

Act 2 begins on the following morning. Maire and Anne regret that Brian and Conn went to Flynn’s instead of attending the respectable party given by the Moynihans. Anne wanted Conn to create a favorable impression on James’s parents. Maire begins to express serious doubts about Brian, whom she now considers to be fairly irresponsible. Conn enters and tells his daughters that several patrons in Flynn’s praised his playing and even referred to him as a “master musician.” Maire and Anne come to realize that their father lives for music. Maire reminisces that she and her late mother often tried in vain to make Conn think less of music and more of his family’s welfare.

James then enters and...

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Dramatic Devices

(Survey of Dramatic Literature)

Critics have often praised the realistic dialogue in The Fiddler’s House. The five characters express themselves in a style that is neither exceedingly formal nor patently folksy. There is an artistic spontaneity in Padraic Colum’s style. This stylistic realism makes it relatively easy for those who attend performances of The Fiddler’s House to associate Colum’s characters with ordinary people. Like Ibsen, whom he admired greatly, Colum wanted his audiences to identify with his key characters so that they could understand more fully the moral and social significance of the characters’ actions.

All three acts in The Fiddler’s House take place inside the simple cottage inhabited by Conn and his daughters. Colum’s stage directions indicate that the scenery remains basically the same throughout this play. The house seems to symbolize the very stability and security from which Maire and Conn will escape and toward which Anne and James are drawn. This house is a place of joy, poetry, and music for all except Brian. On several occasions, Colum stresses that warm sunshine passes through the windows of Maire’s house. The external beauty that he and Maire often see from inside their cottage comes to represent for them the freedom that both attracts and frightens them. Conn’s fiddle itself is an important stage prop, which Colum utilizes to suggest both the creative urge and the desire for freedom. His fiddle is first seen at the end of act 1, as Conn is carrying it “eagerly” to Flynn’s. As the second act ends, Maire brings the fiddle to her father; this act symbolizes her approval of his desire to play music in public. Near the end of the final act, Conn can be heard playing his fiddle for the first time. Colum’s stage direction “A fiddle is heard outside” is richly suggestive, because the world outside the cottage represents creativity and freedom for Conn. When he next plays his fiddle, Anne realizes that her father and sister are ready to leave for the music festival at Ardagh.


(Great Characters in Literature)

Sources for Further Study

Bowen, Zack. Padraic Colum: A Biographical-Critical Introduction. Carbondale: Southern Illinois University Press, 1970.

Boyd, Ernest. The Contemporary Drama of Ireland. Boston: Little, Brown, 1917.

Fallis, Richard. The Irish Renaissance. Syracuse, N.Y.: Syracuse University Press, 1977.

Gregory, Lady Isabella Augusta. Our Irish Theater. Reprint. New York: Capricorn Books, 1965.

Malone, Andrew. The Irish Drama. 1929. Reprint. New York: B. Blom, 1965.

Sternlicht, Sanford. Padraic Colum. Boston: Twayne, 1985.

Weygandt, Cornelius. Irish Plays and Playwrights. 1913. Reprint. Westport, Conn.: Greenwood Press, 1979.