What do you think?
Rate this book
John Bull's Other Island
Can you ever really go home again? What if you bring a friend and he is welcomed like a favorite son?
In this comedy by the masterful George Bernard Shaw, Larry Doyle is a successful engineer in London who returns to his birthplace in Ireland for a business deal. His partner, Tom Broadbent, has romantic notions of the Emerald Isle and is eager to come along. Broadbent cuts a swathe through the small town, charming nearly everyone he meets including Doyle s sweetheart. John Bull's Other Island was first produced in 1904, and is the sole play by Shaw to be set in his homeland of Ireland. Shaw s incisive humor shines throughout, making this a most satisfying read.
In this comedy by the masterful George Bernard Shaw, Larry Doyle is a successful engineer in London who returns to his birthplace in Ireland for a business deal. His partner, Tom Broadbent, has romantic notions of the Emerald Isle and is eager to come along. Broadbent cuts a swathe through the small town, charming nearly everyone he meets including Doyle s sweetheart. John Bull's Other Island was first produced in 1904, and is the sole play by Shaw to be set in his homeland of Ireland. Shaw s incisive humor shines throughout, making this a most satisfying read.
80 pages, Paperback
First published January 1, 1904
15 people are currently reading
290 people want to read
About the author
George Bernard Shaw
1,992 books4,125 followersGeorge Bernard Shaw was an Irish playwright, socialist, and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama. Over the course of his life he wrote more than 60 plays. Nearly all his plays address prevailing social problems, but each also includes a vein of comedy that makes their stark themes more palatable. In these works Shaw examined education, marriage, religion, government, health care, and class privilege.
An ardent socialist, Shaw was angered by what he perceived to be the exploitation of the working class. He wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council.
In 1898, Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot St. Lawrence in a house now called Shaw's Corner.
He is the only person to have been awarded both a Nobel Prize for Literature (1925) and an Oscar (1938). The former for his contributions to literature and the latter for his work on the film "Pygmalion" (adaptation of his play of the same name). Shaw wanted to refuse his Nobel Prize outright, as he had no desire for public honours, but he accepted it at his wife's behest. She considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books to English.
Shaw died at Shaw's Corner, aged 94, from chronic health problems exacerbated by injuries incurred by falling.
An ardent socialist, Shaw was angered by what he perceived to be the exploitation of the working class. He wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council.
In 1898, Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot St. Lawrence in a house now called Shaw's Corner.
He is the only person to have been awarded both a Nobel Prize for Literature (1925) and an Oscar (1938). The former for his contributions to literature and the latter for his work on the film "Pygmalion" (adaptation of his play of the same name). Shaw wanted to refuse his Nobel Prize outright, as he had no desire for public honours, but he accepted it at his wife's behest. She considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books to English.
Shaw died at Shaw's Corner, aged 94, from chronic health problems exacerbated by injuries incurred by falling.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 39 reviews
Read
January 6, 2016I read this because I'd seen a reference to it in relation to Finnegans Wake which I had been reading at the time. I didn't really find any parallels between the two except for the time they were set in, and the politics of that period that are mentioned. Shaw's Irishman made-good, who returns to his homeplace to modernize it, is a peculiar type - I hadn't come across a character like him before, and the Englishman he takes along with him is quite thoroughly ridiculous. The locals equally so. Over the top satire, all in all. But enjoyable. Some good speeches.
February 12, 2021
Seems to portray the typical well-fed liberal Englishman in his quest to make common ground with a people who have endured hardships beyond his understanding and are split between humouring him good-naturedly or rebelling against the insidious form of British influence he represents. It seems endlessly relevant.
June 18, 2014
This, of course, after Pygmalion, is one of the unsurpassed plays George Barnard Shaw has jotted down. You actually roll off your bed whilst reading this tongue-in-cheek humor, quite very waggish. About Ireland, seemingly, this play spoofs English Imperialism. Exceptionally well-written, I’d like to re-read :)
Published: 1904
______________________________
NORA [looking earnestly and a little doubtfully at him]. Surely
if you let one woman cry on you like that you'd never let another
touch you.
BROADBENT [conscientiously]. One should not. One OUGHT not, my
dear girl. But the honest truth is, if a chap is at all a
pleasant sort of chap, his chest becomes a fortification that has
to stand many assaults: at least it is so in England.
NORA [curtly, much disgusted]. Then you'd better marry an
Englishwoman.
BROADBENT [making a wry face]. No, no: the Englishwoman is too
prosaic for my taste, too material, too much of the animated
beefsteak about her. The ideal is what I like. Now Larry's taste
is just the opposite: he likes em solid and bouncing and rather
keen about him. It's a very convenient difference; for we've
never been in love with the same woman.
NORA. An d'ye mean to tell me to me face that you've ever been in
love before?
BROADBENT. Lord! yes.
NORA. I'm not your first love?
BROADBENT. First love is only a little foolishness and a lot of
curiosity: no really self-respecting woman would take advantage
of it. No, my dear Nora: I've done with all that long ago. Love
affairs always end in rows. We're not going to have any rows:
we're going to have a solid four-square home: man and wife:
comfort and common sense--and plenty of affection, eh [he puts
his arm round her with confident proprietorship]?
NORA [coldly, trying to get away]. I don't want any other woman's
leavings.
BROADBENT [holding her]. Nobody asked you to, ma'am. I never
asked any woman to marry me before.
NORA [severely]. Then why didn't you if you're an honorable man?
BROADBENT. Well, to tell you the truth, they were mostly married
already. But never mind! there was nothing wrong. Come! Don't
take a mean advantage of me. After all, you must have had a fancy
or two yourself, eh
_________________________________
BROADBENT [stiffly]. Devil is rather a strong expression in that
connexion, Mr Keegan.
KEEGAN. Not from a man who knows that this world is hell. But
since the word offends you, let me soften it, and compare you
simply to an ass. [Larry whitens with anger].
BROADBENT [reddening]. An ass!
KEEGAN [gently]. You may take it without offence from a madman
who calls the ass his brother--and a very honest, useful and
faithful brother too. The ass, sir, is the most efficient of
beasts, matter-of-fact, hardy, friendly when you treat him as a
fellow-creature, stubborn when you abuse him, ridiculous only in
love, which sets him braying, and in politics, which move him to
roll about in the public road and raise a dust about nothing. Can
you deny these qualities and habits in yourself, sir?
BROADBENT [goodhumoredly]. Well, yes, I'm afraid I do, you know.
KEEGAN. Then perhaps you will confess to the ass's one fault.
BROADBENT. Perhaps so: what is it?
KEEGAN. That he wastes all his virtues--his efficiency, as you
call it--in doing the will of his greedy masters instead of doing
the will of Heaven that is in himself. He is efficient in the
service of Mammon, mighty in mischief, skilful in ruin, heroic in
destruction. But he comes to browse here without knowing that the
soil his hoof touches is holy ground. Ireland, sir, for good or
evil, is like no other place under heaven; and no man can touch
its sod or breathe its air without becoming better or worse. It
produces two kinds of men in strange perfection: saints and
traitors. It is called the island of the saints; but indeed in
these later years it might be more fitly called the island of the
traitors; for our harvest of these is the fine flower of the
world's crop of infamy. But the day may come when these islands
shall live by the quality of their men rather than by the
abundance of their minerals; and then we shall see.
LARRY. Mr Keegan: if you are going to be sentimental about
Ireland, I shall bid you good evening. We have had enough of
that, and more than enough of cleverly proving that everybody who
is not an Irishman is an ass. It is neither good sense nor good
manners. It will not stop the syndicate; and it will not interest
young Ireland so much as my friend's gospel of efficiency.
BROADBENT. Ah, yes, yes: efficiency is the thing. I don't in the
least mind your chaff, Mr Keegan; but Larry's right on the main
point. The world belongs to the efficient.
Published: 1904
______________________________
NORA [looking earnestly and a little doubtfully at him]. Surely
if you let one woman cry on you like that you'd never let another
touch you.
BROADBENT [conscientiously]. One should not. One OUGHT not, my
dear girl. But the honest truth is, if a chap is at all a
pleasant sort of chap, his chest becomes a fortification that has
to stand many assaults: at least it is so in England.
NORA [curtly, much disgusted]. Then you'd better marry an
Englishwoman.
BROADBENT [making a wry face]. No, no: the Englishwoman is too
prosaic for my taste, too material, too much of the animated
beefsteak about her. The ideal is what I like. Now Larry's taste
is just the opposite: he likes em solid and bouncing and rather
keen about him. It's a very convenient difference; for we've
never been in love with the same woman.
NORA. An d'ye mean to tell me to me face that you've ever been in
love before?
BROADBENT. Lord! yes.
NORA. I'm not your first love?
BROADBENT. First love is only a little foolishness and a lot of
curiosity: no really self-respecting woman would take advantage
of it. No, my dear Nora: I've done with all that long ago. Love
affairs always end in rows. We're not going to have any rows:
we're going to have a solid four-square home: man and wife:
comfort and common sense--and plenty of affection, eh [he puts
his arm round her with confident proprietorship]?
NORA [coldly, trying to get away]. I don't want any other woman's
leavings.
BROADBENT [holding her]. Nobody asked you to, ma'am. I never
asked any woman to marry me before.
NORA [severely]. Then why didn't you if you're an honorable man?
BROADBENT. Well, to tell you the truth, they were mostly married
already. But never mind! there was nothing wrong. Come! Don't
take a mean advantage of me. After all, you must have had a fancy
or two yourself, eh
_________________________________
BROADBENT [stiffly]. Devil is rather a strong expression in that
connexion, Mr Keegan.
KEEGAN. Not from a man who knows that this world is hell. But
since the word offends you, let me soften it, and compare you
simply to an ass. [Larry whitens with anger].
BROADBENT [reddening]. An ass!
KEEGAN [gently]. You may take it without offence from a madman
who calls the ass his brother--and a very honest, useful and
faithful brother too. The ass, sir, is the most efficient of
beasts, matter-of-fact, hardy, friendly when you treat him as a
fellow-creature, stubborn when you abuse him, ridiculous only in
love, which sets him braying, and in politics, which move him to
roll about in the public road and raise a dust about nothing. Can
you deny these qualities and habits in yourself, sir?
BROADBENT [goodhumoredly]. Well, yes, I'm afraid I do, you know.
KEEGAN. Then perhaps you will confess to the ass's one fault.
BROADBENT. Perhaps so: what is it?
KEEGAN. That he wastes all his virtues--his efficiency, as you
call it--in doing the will of his greedy masters instead of doing
the will of Heaven that is in himself. He is efficient in the
service of Mammon, mighty in mischief, skilful in ruin, heroic in
destruction. But he comes to browse here without knowing that the
soil his hoof touches is holy ground. Ireland, sir, for good or
evil, is like no other place under heaven; and no man can touch
its sod or breathe its air without becoming better or worse. It
produces two kinds of men in strange perfection: saints and
traitors. It is called the island of the saints; but indeed in
these later years it might be more fitly called the island of the
traitors; for our harvest of these is the fine flower of the
world's crop of infamy. But the day may come when these islands
shall live by the quality of their men rather than by the
abundance of their minerals; and then we shall see.
LARRY. Mr Keegan: if you are going to be sentimental about
Ireland, I shall bid you good evening. We have had enough of
that, and more than enough of cleverly proving that everybody who
is not an Irishman is an ass. It is neither good sense nor good
manners. It will not stop the syndicate; and it will not interest
young Ireland so much as my friend's gospel of efficiency.
BROADBENT. Ah, yes, yes: efficiency is the thing. I don't in the
least mind your chaff, Mr Keegan; but Larry's right on the main
point. The world belongs to the efficient.
January 11, 2022
Read this for school 🥴
February 24, 2018
3.5*
This pre-WW1 play about the Anglo-Irish relationship is less dated than some of Shaw's other plays, perhaps because the situation it portrays lasted for so long. While there were some funny scenes, overall it struck me as a bitter play. Perhaps I would like it more if I could see a performance.
This pre-WW1 play about the Anglo-Irish relationship is less dated than some of Shaw's other plays, perhaps because the situation it portrays lasted for so long. While there were some funny scenes, overall it struck me as a bitter play. Perhaps I would like it more if I could see a performance.
November 23, 2022
a great play about the tremendous effect of colonialism on the local values and traditions of a people - in this case, Irish people - and the way in which the obsession of outgrowing your own identity might determine one to embrace the destroyer's identity;
an amazing antithetical display of the self-colonized man who returns and destroys everything that fed him while growing up
“Standing here between you the Englishman, so clever in your foolishness, and this Irishman, so foolish in his cleverness, I cannot in my ignorance be sure which of you is the more deeply damned”
an amazing antithetical display of the self-colonized man who returns and destroys everything that fed him while growing up
“Standing here between you the Englishman, so clever in your foolishness, and this Irishman, so foolish in his cleverness, I cannot in my ignorance be sure which of you is the more deeply damned”
July 4, 2014
I'm not really in love with this. As a play, loose and unformed; as a set of political opinions, Shaw seems to be manifesting that tendency towards what this play will call "efficiency," and what later on will seem to develop into his late-career taste for something like fascism. I don't know that it says anything particularly novel about Ireland, save how much better it would be if it had the English (or, to be fair, the denationalized technocratic classes, most of whom wind up being English) running it.
Also I believe this title page precedes goatse by forty-odd years.
Also I believe this title page precedes goatse by forty-odd years.
June 7, 2007
I read this in my Irish Drama class my senior year of college, and was blown away. John Bull's Other Island is the only play Shaw wrote about Ireland, and he comes at it with a fascinating perspective. Powerful, intense, and as detailed as any of Shaw's work.
December 27, 2023
i wish ireland was real
January 25, 2018
In the second edition to this book, Shaw writes a new preface in commemoration of the then assured prospect of Home Rule being on the horizon. He disparages his original preface, calling it an example of how quickly political writing dates. As if to prove his point, a mere four years after the publication of this "Home Rule Edition", a group of rebels stage the Easter Rising and guarantee that Home Rule will never be an option for Ireland. Following the end of the first World War came the Irish War of Independence, and then the tragic Irish Civil War.
In the light of the later bloodshed, can Broadbent's optimistic, naive and patronising attitude towards the prospect of Home Rule really be seen as a negative? As Yeats reflected, "Was it needless death after all? /For England may keep faith..." Was refusing to trust a colonising power to grant Ireland greater freedom truly a wise choice? Would those rebels have made that choice if they knew that theirs would not be the only blood spilled as a result of their actions? That it would not be merely Irish blood spilled by English bullets, but brother against brother, family lines torn apart, the guerilla warfare learned in response to British tactics turned against one another.
The storyline of this comedy reads like a tragedy. Two business partners, Broadbent and Doyle, return to Doyle's home village where the woman he once loved still resides and waits on his return. Doyle's emotional insecurity and his inability to charm like his friend Broadbent lead to him losing his childhood love to his sentimental business partner. In theory, it is tragic. In execution, it is overwhelmingly comic. This is perhaps the only way that politics can be depicted. Tragedy is a genre of resignation to the universal conditions of human existence. In comedy, roles and power move around in a carnival of vitality. The private experience is essentially a serious, noble and tragic one. The public experience is bustling, explosive and comic. Thus it is with John Bull's Other Island. The only characters that can survive in a comic world are those who treat it like a comedy and not merely sneer spitefully while internally lamenting.
In the light of the later bloodshed, can Broadbent's optimistic, naive and patronising attitude towards the prospect of Home Rule really be seen as a negative? As Yeats reflected, "Was it needless death after all? /For England may keep faith..." Was refusing to trust a colonising power to grant Ireland greater freedom truly a wise choice? Would those rebels have made that choice if they knew that theirs would not be the only blood spilled as a result of their actions? That it would not be merely Irish blood spilled by English bullets, but brother against brother, family lines torn apart, the guerilla warfare learned in response to British tactics turned against one another.
The storyline of this comedy reads like a tragedy. Two business partners, Broadbent and Doyle, return to Doyle's home village where the woman he once loved still resides and waits on his return. Doyle's emotional insecurity and his inability to charm like his friend Broadbent lead to him losing his childhood love to his sentimental business partner. In theory, it is tragic. In execution, it is overwhelmingly comic. This is perhaps the only way that politics can be depicted. Tragedy is a genre of resignation to the universal conditions of human existence. In comedy, roles and power move around in a carnival of vitality. The private experience is essentially a serious, noble and tragic one. The public experience is bustling, explosive and comic. Thus it is with John Bull's Other Island. The only characters that can survive in a comic world are those who treat it like a comedy and not merely sneer spitefully while internally lamenting.
December 5, 2021
A superb satire on the mutual regard between the Irish and the English about 120 years ago. Plenty here to make both parties angry. Shaw's three prefaces set out some complementary history.
Shaw wrote the third preface after the Irish had won home rule, and it is an incisive and grim summary of how Ireland finally got free (mostly) of England. "And so we settled the Irish question not as civilized and reasonable men should have settled it, but as dogs settle a dispute over a bone." One of his few understatements.
Shaw wrote the third preface after the Irish had won home rule, and it is an incisive and grim summary of how Ireland finally got free (mostly) of England. "And so we settled the Irish question not as civilized and reasonable men should have settled it, but as dogs settle a dispute over a bone." One of his few understatements.
November 24, 2025
Pretty funny in parts, fun characters well established. Some passages (supper scene) that would require imagination to stage. A bit overly "spiralling" in some parts. I could actually relate to some of it, or, to Larry vis-a-vis the place he's from.
What sinks it a bit for me i suppose is that some of the action feels like it popped out of nowhere, or was forced. Especially the trying-to-be-vaudeville romance just didn't hit right. Then, in a similar way to e.g. Major Barbara, the play is almost too contemporary. I mean, i'm pretty well read, but for instance in act III, a few footnotes could have been good.
Then again, it was a good play.
What sinks it a bit for me i suppose is that some of the action feels like it popped out of nowhere, or was forced. Especially the trying-to-be-vaudeville romance just didn't hit right. Then, in a similar way to e.g. Major Barbara, the play is almost too contemporary. I mean, i'm pretty well read, but for instance in act III, a few footnotes could have been good.
Then again, it was a good play.
November 14, 2017
3/5.
I want to say I like this play but unfortunately...I did not enjoy it as much as I thought I would even though Bernard Shaw wrote it. I can appreciate the irony and sarcasm of the characters, especially when they talk about Ireland, Irish people, migration and the current state of the country; however, I felt that the stage directions were rather long, dull and unnecessary and made you lose track of the plot.
I want to say I like this play but unfortunately...I did not enjoy it as much as I thought I would even though Bernard Shaw wrote it. I can appreciate the irony and sarcasm of the characters, especially when they talk about Ireland, Irish people, migration and the current state of the country; however, I felt that the stage directions were rather long, dull and unnecessary and made you lose track of the plot.
July 10, 2018
This is one of only two plays that Shaw set in his native Ireland, and it satirizes the romantic stereotypes of the Irish people and culture, as well as the English sense of superiority. Although seldom staged nowadays, it seems curiously relevant for today’s political climate in its portrayal of a real estate developer who seeks to force out local farmers in order to build a golf resort. He also decides to run for political office. Hmm!
March 4, 2019
3.5 ⭐️’s
When I began reading this, I didn’t think I was going to like it very much. Luckily, I was pleasantly surprised by it. I enjoyed the critique of colonialism, and (the class I’m reading this for is centered around different utopias) the different utopian views for the country each character had. Of course, I wish the woman played a bigger role than just being there to be the homemakers and help the men, but I’ll take what I can get.
When I began reading this, I didn’t think I was going to like it very much. Luckily, I was pleasantly surprised by it. I enjoyed the critique of colonialism, and (the class I’m reading this for is centered around different utopias) the different utopian views for the country each character had. Of course, I wish the woman played a bigger role than just being there to be the homemakers and help the men, but I’ll take what I can get.
September 25, 2017
Discouraged
So good in beginning, than the characters bored me. Tried to finish...but to no avail I got confused with the characters chattering nonsense. I love Shaws reads....but this one?
So good in beginning, than the characters bored me. Tried to finish...but to no avail I got confused with the characters chattering nonsense. I love Shaws reads....but this one?
February 22, 2020
هجوم حاد وعنيف من برنارد شو على المستعمر الانجليزي الذي دنس بلادنا يوما ما ، كتبها شو بمناسبة حادثة دنشواي وصب فيها السخرية على بلاده هو بالذات " أيرلندة " قبل ان تنال استقلالها ، وفضح ممارسات المستعمر الانجليزي مع الشعب المسالم الفقير وكيف فرض هيمنته عليه وعلى بلاده وثرواتها وخيراتها
January 22, 2018
I definitely enjoyed this. It was a bit long winded in parts, but I found the politics of the play very interesting. Besides, who doesn't love a good caricature?
March 5, 2018
beautifully sad
September 21, 2023
2.5 stars
March 23, 2025
Yayyy gentrify Conan O’brian!!!
April 24, 2025
Scarily still relevant, but the pig and the car!! I die every time!
June 3, 2025
A satirical take on the relationship between Ireland and England meant to criticize the English understanding of the Irish question during the debate on Home Rule. Fun, quick, political.
October 20, 2025
i really enjoyed this but i feel like i need to see it performed to fully appreciate it- as with most plays i read
November 29, 2025
The writing reminded me more of a novel than a play but I enjoyed it none the less. I liked how Shaw was able to make me get annoyed of posh Englishman in Ireland, but here we are now I guess.
November 4, 2018
What is "John Bull's Other Island," you may ask? Why, Ireland, of course! George Bernard Shaw's native Ireland, I should say. This was one of Shaw's funniest, most enjoyable plays. And, like all of his work, it has a pointed message too. In this case, it shows how a liberal, high-minded, patronizing Englishman can easily manipulate the Irish into attaining his own self-serving goals.
The play sends up both the stereotypical portrayal of the Irish and the bloated, if unconscious, self-importance of the English. It's a good read.
The play sends up both the stereotypical portrayal of the Irish and the bloated, if unconscious, self-importance of the English. It's a good read.
September 11, 2024
This was a tricky one. There was many interesting observations about the Irish character and Irish politics, all in relation to England, most of which can be found in Shaw's biting, insightful, and lucid Preface.
However, the drama feels flat in comparison. It never feels more than a dramatisation of the Preface. The same points are hit, the same rebuttals made. The characters become mere vessels for their respective political arguments, never evolving into fully fledged human beings. That is not to say that politics does not belong in art, or the theatre, but the eloquent, thoughtful and wordy speeches from Broadbent and Doyle should have been consigned to a political tract, not a play.
Because of this need of Shaw's to hit all of the points made in his Preface throughout his play, the plot is contorted and twisted into shape to fit them all. Shaw wanted to write a play about "Ireland", and all the problems he sees in it. But the play's focus becomes too broad, and the focus on Broadbent and Doyle, one a fool, the other a cynic, tends to make all these concerns feel trivial, never life or death.
The moment when the drama moves into life is the conversation between Hodson and Haffigan, because it is the one that feels most real, the most life or death. The moment when Hodson drops the "valet" act is genuinely surprising, considering that before this scene, he was little more than a background prop up to this point.
However, the drama feels flat in comparison. It never feels more than a dramatisation of the Preface. The same points are hit, the same rebuttals made. The characters become mere vessels for their respective political arguments, never evolving into fully fledged human beings. That is not to say that politics does not belong in art, or the theatre, but the eloquent, thoughtful and wordy speeches from Broadbent and Doyle should have been consigned to a political tract, not a play.
Because of this need of Shaw's to hit all of the points made in his Preface throughout his play, the plot is contorted and twisted into shape to fit them all. Shaw wanted to write a play about "Ireland", and all the problems he sees in it. But the play's focus becomes too broad, and the focus on Broadbent and Doyle, one a fool, the other a cynic, tends to make all these concerns feel trivial, never life or death.
The moment when the drama moves into life is the conversation between Hodson and Haffigan, because it is the one that feels most real, the most life or death. The moment when Hodson drops the "valet" act is genuinely surprising, considering that before this scene, he was little more than a background prop up to this point.
February 5, 2016
About the other English speaking island in Europe and the relationship between the two - England and Ireland, or rather Britain and Ireland; about their perceptions of themselves vs their perceptions of one another, and of matters of life and so forth in general. How English perceive Ireland romantically and yet would exploit it and the Irish people, how Irish would complain about the British but give them control of the land easily, and how each thinks the other quaint and ridiculous.
Perhaps it has occurred to others before, but is it possible Ireland makes Britain safer and more livable, being the buffer between Atlantic winds and waves and Britain, while Britain is surrounded by the warm gulf stream?
Perhaps it has occurred to others before, but is it possible Ireland makes Britain safer and more livable, being the buffer between Atlantic winds and waves and Britain, while Britain is surrounded by the warm gulf stream?
February 5, 2016
About the other English speaking island in Europe and the relationship between the two - England and Ireland, or rather Britain and Ireland; about their perceptions of themselves vs their perceptions of one another, and of matters of life and so forth in general. How English perceive Ireland romantically and yet would exploit it and the Irish people, how Irish would complain about the British but give them control of the land easily, and how each thinks the other quaint and ridiculous.
Perhaps it has occurred to others before, but is it possible Ireland makes Britain safer and more livable, being the buffer between Atlantic winds and waves and Britain, while Britain is surrounded by the warm gulf stream? 1D
Monday, January 20, 20014.
Perhaps it has occurred to others before, but is it possible Ireland makes Britain safer and more livable, being the buffer between Atlantic winds and waves and Britain, while Britain is surrounded by the warm gulf stream? 1D
Monday, January 20, 20014.
February 5, 2016
About the other English speaking island in Europe and the relationship between the two - England and Ireland, or rather Britain and Ireland; about their perceptions of themselves vs their perceptions of one another, and of matters of life and so forth in general. How English perceive Ireland romantically and yet would exploit it and the Irish people, how Irish would complain about the British but give them control of the land easily, and how each thinks the other quaint and ridiculous.
Perhaps it has occurred to others before, but is it possible Ireland makes Britain safer and more livable, being the buffer between Atlantic winds and waves and Britain, while Britain is surrounded by the warm gulf stream.
Monday, January 20, 2014.
Perhaps it has occurred to others before, but is it possible Ireland makes Britain safer and more livable, being the buffer between Atlantic winds and waves and Britain, while Britain is surrounded by the warm gulf stream.
Monday, January 20, 2014.
Displaying 1 - 30 of 39 reviews