Exploration of language in Juno and the Paycock
Most of Juno and the paycocks realism comes from its accuracy of speech. Its Dublin intentions unerringly gain a reality of setting and of character. Even features that have an expressly dramatic purpose, like repetition, rhetoric, lyrical or biblical passages, fall easily on the ear in natural spoken rhythms. Language plays a big part in this play in the quick changes of pace mood characterisation of the play and strengthens both its comedy and its tragedy.
*Simple funny mispronunciations by Captain Jack Boyle bring comedy to the play.
*Maisie Madigan uses casual lyricism's.
*Mrs Tancred's bitter balanced elegy for her son, all against a general background of quick-witted, idiomatic repartee, full of imagery and fantasy.
*The characters manipulate their own speech for effect; Captain Boyle 's call for his drink, 'a wet-a jar-a boul!'
*Boyle himself explains that he knows the correct form, but the wrong one sounds better in his story. -'It blowed an it blowed-blew is the right word 'Joxer but blowed is what the sailors use.This conscious choice of words is evident in the use of catchphrases like Joxer's 'a darlin' buk, a daarlin' buk' this is like his personal 'signature tune', or slogan.*Joxer has his phrases but Boyles individual flavour comes from his mispronunciations caused by his failure to grasp words properly, like 'Chassis' ,'dockyments', or 'pereeogative'.
*Practically ever speech in this play contains examples of Dublin dialect mispronunciation. Typical samples include vowel sounds distorted and spelt phonetically:
-wan, wance, at wanst (one, once, at once)
-yis (yes)
-at our ayse, ayther, tay (at our ease, either, tea)
-me, be, meself (may, by,myself)
-ke...
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...rich.
*Mary would have socially been looked down apon by people, having an illegitimate child, having sex out of wedlock, this was seen as a great sin, and Mary would now have been labelled as a fallen woman, and no man in Ireland would want a fallen woman in 1922, in England she could have found love but she couldn't escape to England.
*In Ireland the men were in charge they were the main authority but as we see in Juno and the Paycock, Juno does all the work, she works as a cleaner while Jack stays at home drinking away money that he isn't even earning. *Bentham would have been of greater social status first as a school teacher then as solicitor.socially he would have been upper-middle class were as the Boyle's would have been lower, working class, even though only one person in the family worked, (Juno).
Bibliography:
Juno and the Paycock script
The speaker respects the Titanic by using words with positive connotations; ironically, she shows her greater reverence towards the “Iceberg” (24) without positively connotative words surrounding its descriptions.
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At first glance, this short fragment is just a boutade, a silly parody permitted by clever alliterative transposition. Too short to be catalogued or to deserve literary analysis, as Crosby implies in his edition. My English translation, necessarily barren of all the metaphorical punning, underscores the apparent triviality of the joke. A keener look at both form and content of the paragraph, however, brings forth unexpected construes.
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words so that the sound of the play complements its expression of emotions and ideas. This essay
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The archetypal tragedy of two star-crossed lovers, separated by familial hate, is a recurring theme, which never fails to capture the minds of the audience. It is only at great cost, through the death of the central characters that these feuding families finally find peace. This is an intriguing idea, one antithetical. I have chosen to analyze both Shakespeare 's Romeo and Juliet and Laurent 's West Side Story. The purpose of this essay is showing how the spoken language is utilized in these different plays to meet differing objectives. The chosen scenes to further aid comparison and contrast are the balcony scenes.
Thatcher, David. Begging to Differ: Modes of Discrepancy in Shakespeare. New York: Peter Lang, 1999.
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Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
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Smith, Ian. "When we were capital, or lessons in language: Finding Caliban's roots." Shakespeare Studies
David Crystal is a linguistics professor at the University of Wales in his essay “2b or