Brian Friel Plays 1

by Brian Friel

  (He takes off his hat as if he were entering a church and holds it at his chest. He is both awed and elated. As he speaks the remaining lines he moves very slowly down stage.)

  And as I moved across that yard towards them and offered myself to them, then for the first time I had a simple and genuine sense of home-coming. Then for the first time there was no atrophying terror; and the maddening questions were silent.

  At long last I was renouncing chance.

  (Pause for about four seconds. Then quick black.)

  TRANSLATIONS

  for Stephen Rea

  CHARACTERS

  MANUS

  SARAH

  JIMMY JACK

  MAIRE

  DOALTY

  BRIDGET

  HUGH

  OWEN

  CAPTAIN LANCEY

  LIEUTENANT YOLLAND

  Translations was first presented by Field Day Theatre Company in the Guildhall, Derry on Tuesday, 23 September 1980. The cast was as follows:

  MANUS Mick Lally

  SARAH Ann Hasson

  JIMMY JACK Roy Hanlon

  MAIRE Nuala Hayes

  DOALTY Liam Neeson

  BRIDGET Brenda Scallon

  HUGH Ray McAnally

  OWEN Stephen Rea

  CAPTAIN LANCEY David Heap

  LIEUTENANT YOLLAND Shaun Scott

  Direction Art O Briain

  Design Consolata Boyle

  Design assistance Magdalena Rubalcava

  Mary Friel

  Lighting Rupert Murray

  Field Day Theatre Company was formed by Brian Friel and Stephen Rea. Translations was their first production.

  The action takes place in a hedge-school in the townland of Baile Beag/Ballybeg, an Irish-speaking community in County Donegal.

  ACT ONE An afternoon in late August 1833.

  ACT TWO A few days later.

  ACT THREE The evening of the following day.

  One interval – between the two scenes in Act Two.

  (For the convenience of readers and performers unfamiliar with the language, roman letters have been used for the Greek words and quotations in the text. The originals, together with the Latin and literal translations, appear here.)

  ACT ONE

  The hedge-school is held in a disused barn or hay-shed or byre. Along the back wall are the remains of five or six stalls – wooden posts and chains – where cows were once milked and bedded. A double door left, large enough to allow a cart to enter. A window right. A wooden stairway without a banister leads to the upstairs living-quarters (off) of the schoolmaster and his son. Around the room are broken and forgotten implements: a cart-wheel, some lobster-pots, farming tools, a battle of hay, a churn, etc. There are also the stools and bench-seats which the pupils use and a table and chair for the master. At the door a pail of water and a soiled towel. The room is comfortless and dusty and functional – there is no trace of a woman’s hand.

  When the play opens, MANUS is teaching SARAH to speak. He kneels beside her. She is sitting on a low stool, her head down, very tense, clutching a slate on her knees. He is coaxing her gently and firmly and – as with everything he does – with a kind of zeal.

  MANUS is in his late twenties/early thirties; the master’s older son. He is pale-faced, lightly built, intense, and works as an unpaid assistant – a monitor – to his father. His clothes are shabby; and when he moves we see that he is lame.

  SARAH’s speech defect is so bad that all her life she has been considered locally to be dumb and she has accepted this: when she wishes to communicate, she grunts and makes unintelligible nasal sounds. She has a waiflike appearance and could be any age from seventeen to thirty-five.

  JIMMY JACK CASSIE – known as the Infant Prodigy – sits by himself, contentedly reading Homer in Greek and smiling to himself. He is a bachelor in his sixties, lives alone, and comes to these evening classes partly for the company and partly for the intellectual stimulation. He is fluent in Latin and Greek but is in no way pedantic – to him it is perfectly normal to speak these tongues. He never washes. His clothes – heavy top coat, hat‚ mittens, which he wears now – are filthy and he lives in them summer and winter, day and night. He now reads in a quiet voice and smiles in profound satisfaction. For JIMMY the world of the gods and the ancient myths is as real and as immediate as everyday life in the townland of Baile Beag.

  MANUS holds SARAH’s hands in his and he articulates slowly and distinctly into her face.

  MANUS: We’re doing very well. And we’re going to try it once more – just once more. Now – relax and breathe in … deep … and out … in … and out …

  (SARAH shakes her head vigorously and stubbornly.)

  MANUS: Come on, Sarah. This is our secret.

  (Again vigorous and stubborn shaking of SARAH’s head.)

  MANUS: Nobody’s listening. Nobody hears you.

  JIMMY: ‘Ton d’emeibet epeita thea glaukopis Athene …’

  MANUS: Get your tongue and your lips working. ‘My name–’ Come on. One more try. ‘My name is–’ Good girl.

  SARAH: My …

  MANUS: Great. ‘My name–’

  SARAH: My … my …

  MANUS: Raise your head. Shout it out. Nobody’s listening.

  JIMMY: ‘… alla hekelos estai en Atreidao domois …’

  MANUS: Jimmy, please! Once more – just once more – ‘My name–’ Good girl. Come on now. Head up. Mouth open.

  SARAH: My …

  MANUS: Good.

  SARAH: My …

  MANUS: Great.

  SARAH: My name …

  MANUS: Yes?

  SARAH: My name is …

  MANUS: Yes?

  (SARAH pauses. Then in a rush.)

  SARAH: My name is Sarah.

  MANUS: Marvellous! Bloody marvellous!

  (MANUS hugs SARAH. She smiles in shy, embarrassed pleasure.)

  Did you hear that, Jimmy? – ‘My name is Sarah’ – clear as a bell.

  (To SARAH) The Infant Prodigy doesn’t know what we’re at.

  (SARAH laughs at this. MANUS hugs her again and stands up.)

  Now we’re really started! Nothing’ll stop us now! Nothing in the wide world!

  (JIMMY, chuckling at his text, comes over to them.)

  JIMMY: Listen to this, Manus.

  MANUS: Soon you’ll be telling me all the secrets that have been in that head of yours all these years. Certainly, James – what is it? (To SARAH) Maybe you’d set out the stools?

  (MANUS runs up the stairs.)

  SARAH: Wait till you hear this, Manus.

  MANUS: Go ahead. I’ll be straight down.

  JIMMY: ‘Hos ara min phamene rabdo epemassat Athene–’ ‘After Athene had said this, she touched Ulysses with her wand. She withered the fair skin of his supple limbs and destroyed the flaxen hair from off his head and about his limbs she put the skin of an old man …’! The divil! The divil!

  (MANUS has emerged again with a bowl of milk and a piece of bread.)

  JIMMY: And wait till you hear! She’s not finished with him yet!

  (As MANUS descends the stairs he toasts SARAH with his bowl.)

  JIMMY: ‘Knuzosen de oi osse–’ ‘She dimmed his two eyes that were so beautiful and clothed him in a vile ragged cloak begrimed with filthy smoke …’! D’you see! Smoke! Smoke! D’you see! Sure look at what the same turf-smoke has done to myself! (He rapidly removes his hat to display his bald head.) Would you call that flaxen hair?

  MANUS: Of course I would.

  JIMMY: ‘And about him she cast the great skin of a filthy hind, stripped of the hair, and into his hand she thrust a staff and a wallet’! Ha-ha-ha! Athene did that to Ulysses! Made him into a tramp! Isn’t she the tight one?

  MANUS: You couldn’t watch her, Jimmy.

  JIMMY: You know what they call her?

  MANUS: ‘Glaukopis Athene.’

  JIMMY: That’s it! The flashing-eyed Athene! By God, Manus, sir, if you had a woman like that about the house, it’s not
stripping a turf-bank you’d be thinking about – eh?

  MANUS: She was a goddess, Jimmy.

  JIMMY: Better still. Sure isn’t our own Grania a class of a goddess and–

  MANUS: Who?

  JIMMY: Grania – Grania – Diarmuid’s Grania.

  MANUS: Ah.

  JIMMY: And sure she can’t get her fill of men.

  MANUS: Jimmy, you’re impossible.

  JIMMY: I was just thinking to myself last night: if you had the choosing between Athene and Artemis and Helen of Troy all three of them Zeus’s girls – imagine three powerful-looking daughters like that all in the one parish of Athens! – now, if you had the picking between them, which would you take?

  MANUS: (To SARAH) Which should I take, Sarah?

  JIMMY: No harm to Helen; and no harm to Artemis; and indeed no harm to our own Grania, Manus. But I think I’ve no choice but to go bull-straight for Athene. By God, sir, them flashing eyes would fair keep a man jigged up constant!

  (Suddenly and momentarily, as if in spasm, JIMMY stands to attention and salutes, his face raised in pained ecstasy, MANUS laughs. So does SARAH. JIMMY goes back to his seat, and his reading.)

  MANUS: You’re a dangerous bloody man, Jimmy Jack.

  JIMMY: ‘Flashing-eyed’! Hah! Sure Homer knows it all, boy. Homer knows it all.

  (MANUS goes to the window and looks out.)

  MANUS: Where the hell has he got to?

  (SARAH goes to MANUS and touches his elbow. She mimes rocking a baby.)

  MANUS: Yes, I know he’s at the christening; but it doesn’t take them all day to put a name on a baby, does it?

  (SARAH mimes pouring drinks and tossing them back quickly.)

  MANUS: You may be sure. Which pub?

  (SARAH indicates.)

  MANUS: Gracie’s?

  (No. Further away.)

  MANUS: Con Connie Tim’s?

  (No. To the right of there.)

  MANUS: Anna na mBreag’s?

  (Yes. That’s it.)

  MANUS: Great. She’ll fill him up. I suppose I may take the class then.

  (MANUS begins to distribute some books, slates and chalk, texts, etc., beside the seats. SARAH goes over to the straw and produces a bunch of flowers she has hidden there. During this:)

  JIMMY: ‘Autar o ek limenos prosebe –’ ‘But Ulysses went forth from the harbour and through the woodland to the place where Athene had shown him he could find the good swineherd who – ‘o oi biotoio malista kedeto’ – what’s that, Manus?

  MANUS: ‘Who cared most for his substance’.

  JIMMY: That’s it! ‘The good swineherd who cared most for his substance above all the slaves that Ulysses possessed …’

  (SARAH presents the flowers to MANUS.)

  MANUS: Those are lovely, Sarah.

  (But SARAH has fled in embarrassment to her seat and has her head buried in a book. MANUS goes to her.)

  MANUS: Flow-ers.

  (Pause. SARAH does not look up.)

  MANUS: Say the word: flow-ers. Come on – flow-ers.

  SARAH: Flowers.

  MANUS: You see? – you’re off!

  (MANUS leans down and kisses the top of SARAH’s head.)

  MANUS: And they’re beautiful flowers. Thank you.

  (MAIRE enters, a strong-minded, strong-bodied woman in her twenties with a head of curly hair. She is carrying a small can of milk.)

  MAIRE: Is this all’s here? Is there no school this evening?

  MANUS: If my father’s not back, I’ll take it.

  (MANUS stands awkwardly, having been caught kissing SARAH and with the flowers almost formally at his chest.)

  MAIRE: Well now, isn’t that a pretty sight. There’s your milk. How’s Sarah?

  (SARAH grunts a reply.)

  MANUS: I saw you out at the hay.

  (MAIRE ignores this and goes to JIMMY.)

  MAIRE: And how’s Jimmy Jack Cassie?

  JIMMY: Sit down beside me, Maire.

  MAIRE: Would I be safe?

  JIMMY: No safer man in Donegal.

  (MAIRE flops on a stool beside JIMMY.)

  MAIRE: Ooooh. The best harvest in living memory, they say; but I don’t want to see another like it. (Showing JIMMY her hands.) Look at the blisters.

  JIMMY: Esne fatigata?

  MAIRE: Sum fatigatissima.

  JIMMY: Bene! Optime!

  MAIRE: That’s the height of my Latin. Fit me better if I had even that much English.

  JIMMY: English? I thought you had some English?

  MAIRE: Three words. Wait – there was a spake I used to have off by heart. What’s this it was? (Her accent is strange because she is speaking a foreign language and because she does not understand what she is saying.) ‘In Norfolk we besport ourselves around the maypoll.’ What about that!

  MANUS: Maypole.

  (Again MAIRE ignores MANUS.)

  MAIRE: God have mercy on my Aunt Mary – she taught me that when I was about four, whatever it means. Do you know what it means, Jimmy?

  JIMMY: Sure you know I have only Irish like yourself.

  MAIRE: And Latin. And Greek.

  JIMMY: I’m telling you a lie: I know one English word.

  MAIRE: What?

  JIMMY: Bo-som.

  MAIRE: What’s a bo-som?

  JIMMY: You know – (He illustrates with his hands) – bo-som – bo-som – you know – Diana, the huntress, she has two powerful bosom.

  MAIRE: You may be sure that’s the one English word you would know. (Rises) Is there a drop of water about?

  (MANUS gives MAIRE his bowl of milk.)

  MANUS: I’m sorry I couldn’t get up last night.

  MAIRE: Doesn’t matter.

  MANUS: Biddy Hanna sent for me to write a letter to her sister in Nova Scotia. All the gossip of the parish. ‘I brought the cow to the bull three times last week but no good. There’s nothing for it now but Big Ned Frank.’

  MAIRE: (Drinking) That’s better.

  MANUS: And she got so engrossed in it that she forgot who she was dictating to: ‘The aul drunken schoolmaster and that lame son of his are still footering about in the hedge-school, wasting people’s good time and money.’

  (MAIRE has to laugh at this.)

  MAIRE: She did not!

  MANUS: And me taking it all down. ‘Thank God one of them new national schools is being built above at Poll na gCaorach.’ It was after midnight by the time I got back.

  MAIRE: Great to be a busy man.

  (MAIRE moves away. MANUS follows.)

  MANUS: I could hear music on my way past but I thought it was too late to call.

  MAIRE: (To SARAH) Wasn’t your father in great voice last night?

  (SARAH nods and smiles.)

  MAIRE: It must have been near three o’clock by the time you got home?

  (SARAH holds up four fingers.)

  MAIRE: Was it four? No wonder we’re in pieces.

  MANUS: I can give you a hand at the hay tomorrow.

  MAIRE: That’s the name of a hornpipe, isn’t it? – ‘The Scholar In The Hayfield’ – or is it a reel?

  MANUS: If the day’s good.

  MAIRE: Suit yourself. The English soldiers below in the tents, them sapper fellas, they’re coming up to give us a hand. I don’t know a word they’re saying, nor they me; but sure that doesn’t matter, does it?

  MANUS: What the hell are you so crabbed about?!

  (DOALTY and BRIDGET enter noisily. Both are in their twenties. DOALTY is brandishing a surveyor’s pole. He is an open-minded, open-hearted, generous and slightly thick young man. BRIDGET is a plump, fresh young girl, ready to laugh, vain, and with a countrywoman’s instinctive cunning. DOALTY enters doing his imitation of the master.)

  DOALTY: Vesperal salutations to you all.

  BRIDGET: He’s coming down past Carraig na Ri and he’s as full as a pig!

  DOALTY: Ignari, stulti, rustici – pot-boys and peasant whelps – semi-literates and illegitimates.

  BRIDGET: He’s been on the batter si
nce this morning; he sent the wee ones home at eleven o’clock.

  DOALTY: Three questions. Question A – Am I drunk? Question B – Am I sober? (Into MAIRE’s face) Responde – responde!

  BRIDGET: Question C, Master – When were you last sober?

  MAIRE: What’s the weapon, Doalty?

  BRIDGET: I warned him. He’ll be arrested one of these days.

  DOALTY: Up in the bog with Bridget and her aul fella, and the Red Coats were just across at the foot of Croc na Mona, dragging them aul chains and peeping through that big machine they lug about everywhere with them – you know the name of it, Manus?

  MAIRE: Theodolite.

  BRIDGET: How do you know?

  MAIRE: They leave it in our byre at night sometimes if it’s raining.

  JIMMY: Theodolite – what’s the etymology of that word, Manus?

  MANUS: No idea.

  BRIDGET: Get on with the story.

  JIMMY: Theo – theos – something to do with a god. Maybe thea – a goddess! What shape’s the yoke?

  DOALTY: ‘Shape!’ Will you shut up, you aul eejit you! Anyway, every time they’d stick one of these poles into the ground and move across the bog, I’d creep up and shift it twenty or thirty paces to the side.

  BRIDGET: God!

  DOALTY: Then they’d come back and stare at it and look at their calculations and stare at it again and scratch their heads. And cripes, d’you know what they ended up doing?

  BRIDGET: Wait till you hear!

  DOALTY: They took the bloody machine apart!

  (And immediately he speaks in gibberish – an imitation of two very agitated and confused sappers in rapid conversation.)

  BRIDGET: That’s the image of them!

  MAIRE: You must be proud of yourself, Doalty.

  DOALTY: What d’you mean?

  MAIRE: That was a very clever piece of work.