Duty, and Other Irish Comedies — Inside the Classic

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O'Brien, Seumas, 1880- Project Gutenberg 2004 Not confirmed
Ireland -- Drama Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 27,292
Reading time 119 min
Text sections 4

Duty, and Other Irish Comedies — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 27,292 words, 1 hr 59 min estimated reading time, and 4 detected text sections.

The text analysis averages about 14.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Ireland -- Drama,” connecting these edition facts with the source record’s subject description.

Five one-act comedies set in rural Ireland, where characters debate duty, justice, and survival through sharp dialogue and ironic reversals. O'Brien's plays balance farce with social observation, using colloquial speech and deliberate pacing to reveal tensions beneath the humor.
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Such was the way of Wellington and his contemporary Hannibal, and such must be the way of every man who must serve his country and himself. And believe me, much as the people of Ballybraggan think about me, I think every bit as much about them. It is hardly necessary for me to say that we only get what we deserve in this world, and sometimes a little more or a little less as the case may be. The desirable propensities of the people of the town have endeared me to them with a spirit as strong as that which makes the ivy cling to the oak, and as we see the ivy fondly clinging to that monarch of trees, whether it sprouts its green leaves in the glorious sunshine or falls to the ground with decay, so will I cling to the people of Ballybraggan. Once again, I thank you, but in conclusion I must say that I will do all in my power to prove worthy of the reliance and confidence placed in me. (_Applause_)

PETER DWYER The court is now open for the dispensation of justice. The only case before us to-day is one of house-breaking, drunkenness from excessive use of poteen, which is an illegal drink, and resisting arrest by the police. The charge is laid against one Richard Fennell, and cross-summonses have been issued to Mr. and Mrs. Fennell.

PHELAN DUFFY On behalf of my client, Mrs. Fennell, I wish to impress upon the Bench the gravity of the offence with which the accused Richard Fennell is charged, namely, drunkenness from excessive use of an illegal intoxicant known as poteen, house-breaking, terrorizing and almost paralyzing with fear his highly strung and sensitive wife, and adding insult to injury in resisting arrest by his Majesty's guardian of law and order, Sergeant Healy. These are grave charges indeed, and who will gainsay that a man gifted with the spirit of destruction like Mr. Fennell is a menace to the peace-abiding town of Ballybraggan? Not since the heartless barbarians made their ruthless descent upon the Roman Empire was there such havoc wrought in any one house, or did any individual member of society suffer so much from nervous prostration as Mrs. Fennell.

MR. FENNELL (_interrupting_) Can't a man dust his own furniture and chastise his own wife if he feels like doing so?

MR. O'CROWLEY Order! order! There must be no interruptions in this court of justice.

PHELAN DUFFY _(continuing)_ You can well imagine how poor Mrs. Fennell thought that the end of the world was coming when she saw every bit of ware on the kitchen dresser smashed in pieces no larger than threepenny bits on the floor. And the alarm clock that woke Mr. Fennell every morning and reminded him that it was time to get up and make his wife's breakfast, which she always got in bed, struck dumb for ever with its works battered beyond recognition. Think of this poor woman's feelings at such an awful moment.

MR. FENNELL (_interrupting_) Feelings! She has no more feelings than a tombstone.

PHELAN DUFFY (_continuing_) Think of this decent, self-respecting, loving wife and mother, who has had no less than three husbands.

MRS. FENNELL (_interrupting_) An' I'll have another too, please God!

PHELAN DUFFY Think, I say, of three husbands, and ten children. Six resting in the little churchyard at Ennisbeg, and four resting in the Royal Irish Constabulary. That Mr. Fennell was what we would call a model husband, before he touched this poteen goes without saying. Everything that his wife told him to do was done, and done to her satisfaction, and done whether he liked the doing of it or no.

MRS. FENNELL (_interrupting_) I always made my husbands do what they were told.

PHELAN DUFFY Mr. Fennell is no doubt guilty of a serious offence, but whoever sold him the base liquor is far more guilty in the eyes of the law, as well as the public. Needless to state, this fact does not in any way lessen the gravity of Mr. Fennell's offence, and I would ask the Bench not to allow any feelings of sentiment to interfere with the discharge of their duty. I would ask that the severest penalty allowed be inflicted on the accused for his unwarranted, unmanly, and blackguardly conduct.

MRS. FENNELL (_to Phelan Duffy_) Wisha, bad luck to your impudence to call my husband a bla'gard. A dacent man that never went to the likes of you or any one else for anything.

MR. O'CROWLEY Order, order.

MRS. FENNELL 'Tis only the likes of lawyers that have the insolence to insult dacent people. Sure when they aren't ignorant they're consated, and their wives and daughters are no better than themselves.

Seumas O'Brien's five one-act plays, first produced at the Abbey Theatre in the 1910s, rely on a distinctive rhythm of complaint and retort. In Duty, the opening exchange between Micus and Padna establishes a pattern: grievances about police power are met with sardonic agreement, then undercut by a practical worry—the cost of a fine. O'Brien lets these verbal loops build before introducing any action, making the audience feel the characters' entrapment in both circumstance and habit.

The Weight of a Single Word

O'Brien's dialogue often turns on a repeated word or phrase that shifts in meaning as the scene progresses. In Duty, the word "justice" appears first as a lofty ideal, then as a punchline: "There's no justice in the world," Padna says, and Micus agrees with a curt "Damn the bit!" The same technique appears in Magnanimity, where Logan insists that taking all you can and giving little is the path to success—a philosophy he immediately contradicts by swapping coats. The repetition of "comfortable" in that scene becomes ironic, as Logan claims to feel comfortable in a threadbare coat while Falvey marvels at his generosity. O'Brien uses these verbal echoes to expose the gap between what characters say and what they do, creating comedy that is also a quiet critique of self-deception.

Pacing as a Dramatic Tool

The plays alternate between rapid-fire exchanges and deliberate pauses that signal a shift in power or mood. In Duty, the back-and-forth between Micus and Padna accelerates into a litany of complaints, then slows when Mrs. Cotter enters with the drinks—her terse warnings cutting through their bluster. A similar pattern occurs in Jurisprudence, where a long, meandering argument about the law is suddenly interrupted by a stage direction for a knock or an entrance. O'Brien often uses these interruptions to deflate tension or to pivot the conversation, reminding the audience that the characters are never fully in control of their environment. The 1916 publication date and the presence of the Royal Irish Constabulary as characters suggest that these pauses may also reflect the precariousness of life under surveillance, but the excerpts do not confirm a political reading.

Voice and Social Standing

O'Brien distinguishes his characters less by dialect than by the rhythm and register of their speech. In Duty, the police speak in clipped, formal phrases—"A Member of the Royal Irish Constabulary"—while the civilians use a looser, more idiomatic syntax: "'Tis the hell of a thing, entirely!" This contrast is not merely comic; it marks the social distance between authority and the community. In Magnanimity, Logan's speech shifts from cynical advice to a mock-heroic tone when he compares himself to St. Francis, revealing his awareness of the performance of generosity. Falvey, by contrast, speaks in a stream of blessings and self-deprecation, his language signaling his lower status. O'Brien does not flatten these voices into a single comic style; instead, he lets each character's verbal habits expose their position in the social hierarchy, making the dialogue a map of power relations.

Because the excerpts cover only the opening of Duty and a portion of Magnanimity, the full range of O'Brien's comic strategies—particularly the use of physical comedy and ensemble scenes—remains partially hidden. Readers may find it useful to track how each play establishes its central conflict through the first few exchanges, noting where O'Brien introduces a twist or a reversal. The plays reward attention to small verbal details: a repeated word, a pause, a shift in address. These are the hinges on which the comedy turns.

Years spent shelving Irish comedies taught me how sudden reversals can feel like small mercies. Duty, and Other Irish Comedies holds that ache of good intentions fraying against hard ground. I often think of it beside Pillars of Society — Reading Companion, another quiet study of respectable masks slipping. Both whisper that our noblest speeches rarely survive contact with neighbors.

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