Word: juno
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Dates: during 1950-1959
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...about in James Fenimore Cooper (he can still rattle off the names of 30 tribes) and knights from Ivanhoe. At twelve he was proficiently drawing nudes-a common sight in the house, since Eliel Saarinen was then busy designing Finland's national currency, using nude models (while grandfather Juno Saarinen, a Lutheran minister, sat in the background rheumily chattering about religion and philosophy...
...Sean O'Casey is a hero to his mirror. Yet he has reason above vanity for some of his pride; he climbed out of the Dublin slums to the fameupholstered penthouse of playwriting, leaving at least two masterpieces to mark the trail, i.e., The Plough and the Stars, Juno and the Paycock. Along the way he has also taken on a habit of piling chips on his shoulders and wearing them like epaulettes. The Green Crow is largely a dress parade of pet peeves, mostly in the form of journalistic pieces on the theater, actors, critics, fellow playwrights...
...since Within the Gates in 1934 has Sean O'Casey had a "new" play produced on Broadway. Of those waiting without the gates, Red Roses scarcely deserves to be admitted first. It has much that is indi vidual, and at its best evokes the vernacular glories of Juno and the Paycock. But it is chiefly a reminder of how distinguished O'Casey can be; it has no sustained distinction...
...Casey's outcast street figures raise their voices in a dream of fair Dublin, there is a sudden sense of a city's voice upraised. But things seem oftener picturesque than intense, and windy rather than Aeolian. The finest moments have the comic smack and grizzle of Juno. A trio of codgers snort and wrangle gloriously, and go right on snorting and wrangling while they crouch on the floor to avoid what may crash through the windows. When one old boy claims St. Patrick for a Protestant, when another argues evolution, because monkeys, like men, are fond...
...that Red Roses for Me lacks the vitality of the earlier plays, for it is still the familiar O'Casey combination of humor and tragedy. The humor is more subdued now, however, and the terrible urgency that marked Juno and the Paycock has given way to a more somber and reflective atmosphere. As part of the change in tone, O'Casey adopts a prose style that is rich in metaphor and, at times, very close to poetry. The plot, in contrast, is extremely simple, telling the story of a young railroad worker with artistic inclina-who leaves his ambitions...