Abstract
Brian Friel was born in Omagh in Co. Tyrone in 1929, the son of a primary school principal. In the same year the family went to live in the Bogside in Derry. He spent five years at St Columb’s College, Derry and, later, two-and-a-half years at St Patrick’s College, Maynooth, the national seminary near Dublin. Instead of going on for the priesthood, he graduated with a BA and spent a year at St Joseph’s Teacher Training College in Belfast. From 1950 until 1960 he taught in various schools around Derry. Since then he has been writing full-time. Though both he and his father were teachers, his grandparents, he tells us, were illiterate peasants from Co. Donegal whose first language was Irish not English. As Peter Breen notes (in ‘ Place and Displacement in the Work of Seamus Heaney and Brian Friel’, unpublished Ph.D. thesis, Warwick University, 1993), Friel’s own family background bears the marks of the historical divisions between traditional value and the processes of modernity which characterise the larger Irish and Ulster history.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Notes
Des Hickey and Gus Smith (eds), A Paler Shade of Green (London: Leslie Frewin Publishers, 1972), p. 221.
Seamus Deane, ‘Brian Friel’, Ireland Today, 978 (1981), p. 7.
Brian Friel, ‘Self-Portrait’, Aquarius, 3 (1972), p. 17.
Emily Dickinson, Poem 11 in Selected Poems of Emily Dickinson, ed. James Reeves (London: Heinemann, 1988), p. 5.
The remark is Hugh’s in Translations, in Selected Plays of Brian Friel, ed. Seamus Deane (London: Faber, 1984), p. 446.
Brian Friel, ‘Extracts from a Sporadic Diary’, in The Writers: A Sense of Ireland, ed. Andrew Carpenter and Peter Fallon (Dublin: O’Brien Press, 1980), p. 42.
Brian Friel, ‘The Theatre of Hope and Despair’, in Everyman, 1 (1968), p. 18.
Blurb on dustjacket of Ireland’s Field Day (London: Hutchinson, 1985).
Richard Kearney, Transitions: Narratives in Modern Irish Culture (Dublin: Wolfhound Press, 1988), p. 123.
Frank O’Connor, The Lonely Voice (London: Macmillan, 1963), pp. 20–1.
V. S. Pritchett, ‘Short Stories’, in Eugene Current-Garcia and Walton R. Patrick (eds), What is the Short Story? (Glenview, Illinois and Brighton: Scott, Foresman and Co., 1974), p. 117.
Sean O’Faolain, The Short Story (Old Greenwich, Conn.: Devin-Adair Co., 1974), p. 30.
Robert Frost, ‘To the People and the Press’, in E. C. Latham (ed.), Interviews with Robert Frost (New York: Holt, Rinehart and Winston, 1966), p. 169.
Mikhail Bakhtin, ‘The Problem of Text in Linguistics, Philosophy, and the Other Human Sciences: An Essay of Philosophical Analysis’, quoted by Tzvetan Todorov, in Mikhail Bakhtin: The Dialogic Principle (Manchester: Manchester University Press, 1984), p. 68.
Tyrone Guthrie, A Life in the Theatre (London: Hamish Hamilton, 1960), pp. 313–14.
Catherine Belsey, Critical Practice (London and New York: Methuen, 1980), p. 92.
Peter Messent, New Readings of the American Novel (London: Macmillan, 1990), p. 164.
Brian Friel, The Communication Cord (London: Faber, 1983), p. 18.
Mikhail Bakhtin, The Dialogic Imagination: Four Essays, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), pp. 262–3.
Denis Donoghue, We Irish: The Selected Essays of Denis Donoghue (Brighton: Harvester Press, 1987).
Seamus Deane, ‘Heroic Styles: The Tradition of an Idea’, in Ireland’s Field Day (London: Hutchinson, 1985), p. 58.
Thomas Davis, ‘Our National Language’, in Poetry and Ireland Since 1800: A Source Book, ed. Mark Storey (London and New York: Routledge, 1988), p. 46.
Jean-François Lyotard and Jean-Loup Thébaud, Just Gaming, trans. Wlad Godzich (Minneapolis: University of Minnesota Press, 1985), p. 100.
Thomas Davis, ‘Our National Language’, in Mark Storey (ed.), Poetry and Ireland Since 1800: A Source Book (London: Routledge, 1988), p. 46.
This passage, says Pine, ‘becomes the core of the map-making exercise in Translations’. The second statement is from Steiner’s In Bluebeard’s Castle (London: Faber, 1971), p. 21
Richard Pine, Brian Friel and Ireland’s Drama (London: Routledge, 1990), p. 246.
Patricia Waugh, Practising Postmodernism, Reading Modernism (London, Edward Arnold, 1992), p. 50.
T. S. Eliot, The Use of Poetry and the Use of Criticism (London: Faber, 1964), p. 155.
Peter Messent, New Readings of the American Novel (London, Macmillan, 1990), p. 209.
W. H. Auden, ‘In Memory of W. B. Yeats’, in The English Auden, ed. Edward Mendelson (London: Faber, 1977), p. 242.
T. S. Eliot, ‘Religion and Literature’, in Selected Essays (London: Faber, 1969), p. 393.
Author information
Authors and Affiliations
Copyright information
© 1995 Elmer Andrews
About this chapter
Cite this chapter
Andrews, E. (1995). Introduction. In: The Art of Brian Friel. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-23986-3_1
Download citation
DOI: https://doi.org/10.1007/978-1-349-23986-3_1
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-23988-7
Online ISBN: 978-1-349-23986-3
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)