The Communist Views Of The Covey Are Put Into Context With The Warmongering

The communist views of The Covey are put into context with the warmongering oratory of the spokesperson outside, and The Covey is seen as pompous and flawed himself. Meanwhile, Rosie speaks of a common sense, where ideologies and "freedom" gets thrown out of the window because people wouldn't understand it anyway. By introducing a complexity to the affairs of the Easter Rising, the play, when it was shown at the Abbey Theatre in 1926 provoked outrage. The Irish spokesmen who died were already heralded as martyrs in Irish nationalist circles, but the subtle introduction of other aspects of Irish life unsettled the Irish Nationalists, as well as the manipulative and cold behaviour displayed by the leaders as they coaxed people to their deaths. By focusing instead on the conversational whims of the working classes, O' Casey manages to interrogate the opinions of those who designed the Easter Rising. The working classes are seen, not so much as a single object of derision, but as a variety of different people. The representation of the Irish working classes in O' Casey adds complexity to a class of people henceforth unrepresented in the theatre and in literature. Such, O' Casey, who himself was "educated" by going to the Abbey Theatre and seeing plays by Synge and by Yeats, becomes a chief component in defining the working classes of Ireland. Thus, in terms of representation, and of stoking a nationalistic pride that flourishes in its complexity, the Abbey Theatre cannot be underestimated for its impact, and the subsequent appraisal and re-appraisal of the events that led to Irish independence. In fact, the Abbey Theatre still stands today as a testament to the importance of the theatre group.
Arguably, the most important figure in the Irish literary revival was the poet and dramatist W. B. Yeats. Famous for his esoteric, modernist, yet nationalistic poetry, he remains the most prestigious and highly acclaimed poet to emerge from this period in Irish history. His poetry also resonates on an international scale, and weren't necessarily about purely local affairs. However, Yeat's politics were always steeped in the nationalist revival in Ireland. But Yeats is difficult to pin down exactly, as he moved from radical socialist to reactionary conservative, to fascist and fervent supporter of Mussolini, never quite resting on any of the above. Moses suggests that: "In the course of a poetic career that stretched from the 1880s to the late 1930s, Yeats adopted many different political masks, including those of radical nationalist, classical liberal, reactionary conservative, and millenarian nihilist." His poetry worked on a more cultural level, and affected the Irish nation more in terms of establishing a historical link to an antiquated and erased past before the British invasion and the subsequent years of cultural domination.