1. NOTES

2.  Nora is the central character in the play - everything that happens turns directly or indirectly on her. She is the person with the most insight into what life should be like and where the dangers lie, she is all for life and is primarily the victim of forces outside her control.  She realises that the nationalist adventures are divorced from the real needs of the people and that people are more important.  Nora realises that happiness is a concrete thing that has to do with human harmony and fulfilment. To do this she is protective of Jack, she is determined to maintain a happy marriage and rise above the social level of the tenement building.  In Act 1 we are given a glimpse of this domestic happiness with ominous undertones of disaster.  She insists on a strict set of rules for her lodgers, Peter and The Covey, and is quick to tell them that they are tearing down "the little bit of respectability that a body’s tryin’ to build".  The marriage of Jack and Nora demonstrates the bad state of the husband-wife relationship in their working class society. Jack is the traditional husband whose life is not ruled totally by his marriage - a reality which Nora finds hard to accept "Oh yes, your little red-lipped Nora’s a sweet little girl when the fit seizes you; but your little red-lipped Nora has to clean your boots every morning, all the same".  Nora realises that she is losing hold of Jack and then becomes preoccupied with keeping him for herself. She descends to playing the role of a sex object. Mrs. Gogan’s remark "She dhresses herself to keep him with her, but its no use. After a month or two the wondher of a woman wears off".

3.  She drives Jack away by burning the letter from the ICA  Her tragedy arises from her position as a working class woman in society. Her only world is that of her marriage and her husband and that which she can create within the walls of her tenement dwelling.  When Jack leaves for the rising she admits to the narrowness of her world "They have dhriven away the little happiness that life had in store for me".  Her sense of worthlessness overcomes her after Jack has willingly left to "be butchered as a sacrifice to the dead". From this point on her actions and reactions become exaggerated, this is evident from her appearance, her self-centredness and her possessiveness. She completely disregards anyone else " What do I care for the others, I can only think of myself".  Nora’s madness is seen even more clearly in the final act. Robbed of Jack she becomes unable to function, she ignores the dying Bessie and is capable only of calling for Jack to come and help her.  Nora’s character reflects the brutal reality of war.  Nora provides the link between the outside world and the world of the tenements and the human tragedy of the rising. In tracing the decline of Nora’s character throughout the play O’Casey exposes the futility of the rising for the working class. Materially, she is no better off at the end than she was at the beginning - psychologically she has been destroyed.  The rising prevents her from rising out of the degradation of tenement life. It robs her of her husband, it destroys her marriage and cost her her sanity.

4.  It is assumed that because O’Casey was a Socialist, Socialism is favourably presented in The Plough and The Stars.  The title of the play represents the flag of socialism but its theme investigates how this ideology was overwhelmed into the Nationalist and Republican Movement.  Socialist views in the flag are presented largely through the mouth-piece of The Covey but ironically he is one of the least attractive characters in the play and the socialism that he preaches is not focused at the level of society around him or in a language or terms which could be understood by the tenement folk.  The Covey’s bible is "Jenersky’s Thesis" which is presented in the play as an academic work far removed from the realities of tenement life.  At no point in the action do we see The Covey comprehending the real needs and preoccupation’s of the tenement dwellers.  O’Casey is critical of the brand of Socialism represented by The Covey, his point is that revolution for social and political change must come from within the concerns of the ordinary working class people.  The language of The Speaker is much more effective than the Covey.

5.  Jack Clitheroe is a weak individual unlikely to be a heroic figure in the play "His face has none of the strength of Nora’s. It is a face in which there is the desire for authority but without the power to attain it".  Early in the play we learn that Jack’s dedication to the Republican cause is not totally committed. His role in the Citizen’s Army is at best conditional on him gaining promotion.  in Act 1, he has severed his connections with the Citizens Army, supposedly out of loyalty to Nora, but in reality due to a fit of rage at not having gained promotion.  When he learns that Nora has destroyed his letter of promotion he no longer seems preoccupied by his marriage - the love scenes with Nora are ended abruptly.  His disappointment at not having gained promotion indicate that Jack’s involvement in the Citizen’s Army and therefore the Republican movement is to satisfy his own vanity.  By casting Jack Clitheroe in the role of a CA Commandant and therefore an important figure in the 1916 Rising, O’Casey is voicing his disapproval of both the rising itself

6.  The ICA was established as a selfless organisation, not one to allow the vanity of people such as Jack Clitheroe, nor to involve itself in an uprising that was of little consequence to the working class people.  There is irony in Brennan’s comment to Bessie that "Mrs. Clitheroe’s grief will be joy when she realises that she had a hero for a husband". This heroism of which Brennan speaks has destroyed Nora, has damaged her psychologically and has led to the loss of her unborn child therefore Brennan’s words are embarrassing.  Jack’s declaration in the second Act "Ireland is greater than a wife" shows he chooses the Republican cause over his marriage and lays down his life despite the protestations of Nora.  In the end he is as much a victim of his own delusions as is Nora, as his death for the cause of Ireland strips him of everything.

7.  The opening scene or episode seems shapeless - a snapshot of normal life: we see Mrs. Gogan's snooping, comments on Nora, the teasing of Peter.  Both Fluther and Mrs. Gogan refer to the Nationalist rising, and the Covey's arrival brings hot news of the evening's demo.  We see first of Peter's fights with the Covey - both characters are comic, but Peter more obviously so: while the Covey is a political bore, Peter is a coward.  The next entrance is Nora's - she appears to have influence over these four, but is intimidated by Bessie.  Fluther's exit leads to tea-scene - Nora presiding, Peter and Covey sparring.  These leave - and we see an apparently intimate scene between Nora and Jack.  But this is shattered by Brennan's revelation and Nora's confession. Jack leaves his wife for the Cause of Ireland.

8.  The prostitute and the barman listen to the Speaker (Pearse) outside.  While Rosie moans about the lack of customers, she likes the “sacred truth” of the speech.  Peter and Fluther enter in excitement by what they have heard.  Yet Peter is a coward and Fluther will later criticise patriotic behaviour.  As these leave the Covey enters, disgusted by Pearse's speech  Rosie attempts to interest him but he backs off in fear. We see that he is fearful of the physical reality of sex.  Peter and Fluther return, joined by Mrs. Gogan, with her baby. Mrs. Gogan's comments on sacrifice for Ireland lead to Fluther's twitting of Peter.  The entry of Bessie and the Covey allows Peter to recognise his real enemy, but the two women intervene with their own fight - Mrs. Gogan, thinking of Ireland and Bessie of the loyalists who have gone to fight in France and Belgium.  This degenerates into personal abuse (despite Fluther's and Peter's intervention) with the result that Mrs. Gogan hands her child to Peter, in order to fight her tormentor.  The barman throws out both women, and Peter pursues Mrs. Gogan with the baby.  Fluther now becomes comically chivalrous and starts to attack the Covey over his abuse of Rosie. To prevent a fight, the barman throws out the young man and we see a romantic episode - Fluther as shining knight and Rosie as damsel in distress.  The comic speech of Fluther and company contrasts with the rabble-rousing speech of the Speaker.

9.  This act is set in the Clitheroes' home - inside and out. The time is dusk in Easter week, months after Act Two.  Mollser is comforted by Mrs.Gogan - she is dead within days (before Act Four).  Peter and the Covey (together) bring news of the rising - Bessie foresees defeat of the rebels and gloats.  Fluther brings back Nora - she has not found Jack. She rails against the rebellion. The men play dice until interrupted by Bessie (who has returned impossibly quickly).  Bessie tells the others of the looting and Fluther and the Covey go to do some too.  An unnamed woman tries to go to Rathmines. Peter goes into the house.  Mrs. Gogan and Bessie argue over the pram. They agree to go looting together.  Peter follows but runs home at the sound of heavy artillery.  The Young Covey returns with a sack of flour and a ham. Peter shuts him out but someone else lets him in. Mrs. Gogan and Bessie come back, friendly, with their loot.  Brennan and Clitheroe appear with the wounded Langon. Bessie taunts them (especially the chicken-butcher, Brennan) from an upstairs window  Nora tries to keep Jack there, but the men leave. Clitheroe will not be seen again in the play.  Fluther returns, drunk and singing and is hauled inside by Bessie.  Nora goes into labour (this throws more light on Jack's departure) and Bessie goes to bring the doctor - Fluther is incapable and Mrs. Gogan fearful and needing to attend to the dying Mollser.

10.  This act is set inside Bessie's living room. The time is dusk again, a few days later.  Mollser has died, Nora has had a stillbirth and Clitheroe is also dead, uknown to her.  The three men play cards while Bessie tends Nora.  Mollser's coffin stands in the room  We learn of Mrs. Gogan’s background - her consumptive husband died leaving her a baby.  Brennan arrives without uniform - he has given up the fight. His account of Clitheroe's heroic death is rather hollow, as Bessie shrewdly notes.  Nora appears and speaks insanely. Bessie tries to calm her.  The Covey gives out to Peter who has spoken of Jack's death. Brennan is fearful of arrest but Fluther tells him to pose as “one of the household”.  We have seen the self-appointed citizen soldiers; now we see a real (professional, trained) soldier, Corporal Stoddart. He has come to oversee Mollser's funeral arrangements - a routine duty, but she has died of natural causes. He asks Bessie who is in the house, as he has to round up all of the men. (While the four men carry out the coffin).  Sergeant Tinley brings more news of the fighting. He is more brusque than Stoddart and provokes more reaction from Fluther. He threatens to shoot the four men whom he leads out.  Nora goes to the window, calling for Jack. Bessie pulls her away, but is shot. (The soldiers assume any figure at a window may be a sniper). Bessie curses Nora but her last words are a hymn of faith in Jesus.  Mrs. Gogan takes over the care of Nora whom she leads out. Tinley and Stoddart drink the tea.  As the soldiers outside sing, they join in the chorus, “Keep the home fires burning”.

11.  The futility of Violence The whole play speaks about the total futility of violence. Nationalism is seen to be compatible with cowardice and moral weakness. Through the figure of characters such as Clitheroe, O Casey satirizes the whole nationalistic commitment as being selfish and meaningless.  Loyalty Nora’s loyalty to her husband costs her the life of her child and her sanity. Jack believes that Ireland is greater than a woman. He gives his life for Ireland and fails to realize that his domestic happiness has been destroyed as a result of this commitment. Jacks’ loyalty is shown to be tragic and hollow  Suffering Much of the suffering in the play springs from violence and patriotic commitment. Nora suffers a great deal because of her husband’s refusal to dedicate himself to his family and renounce his fanatical espousal of politics. Mrs. Gogan suffers because of her sick child Mollser and the poverty of her surroundings.  Bessie is a victim of tragic irony. She gives her life to save Nora and is killed by a stray bullet which comes from a British soldier’s gun. Ironically Bessie spent her life committed to the cause of Britain.