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By Robert G. Lowery

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51). which would protect Michael Casside now. "His Father's Wake" evolves quickly into a direct interior monologue, 1 5 which at first seems to be that of the little glass mermaid herself. She has been, after all, the constant companion of the dead man during important periods of his life, in this little room where he read his books and where he died alone with his fear. The illusion persists, though it fades. Random thoughts soon embody the identities of Johnny's mother and Ella, touching things only they would know.

Much of the content of Ella's monologue is potentially ironic and self-defeating, which suggests the constant surveillance of the author, who anticipates subsequent sections of the entire work. This is not precisely the case with Molly Bloom's monologue, where Joyce is effectively eliminated as an intruding presence, though the monologue is carefully controlled and structured by Joyce. The language of Ella's monologue is aural, like that of the unidentified woman at Michael Casside's wake; and the diction is functional in the delineation of the character of a partially-educated teacher of slum children.

O'Casey's Tributes to Joyce in First Irish Book 19 symbol, which is designed to help make immediate the content of the books and to help delineate characters. 11 Tributes to Joyce are literally everywhere in the twenty-three chapters comprising I Knock at the Door, but perhaps nowhere more explicitly than in "His Father's Wake" and "Hail, Smiling Morn," the fifth and ninth, respectively. But as it will be observed, form and content are remarkably O'Casey's own, with imitation entirely out of the question.

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