Philadelphia, Here I Come!: Form, structure and language test questions - CCEA

1

Philadelphia, Here I Come! is a tragicomedy, which means there are lighter moments as well as serious issues, but what could be described as the tragedy of the play?

2

What element of the structure is used to highlight the importance of certain events?

3

Why does Friel use the dramatic technique of a split character in the play?

4

Read this extract.

Ned
[quickly] By the way, lads, who’s the blondie thing I seen at the last Mass on Sunday?
Tom
A big red-head?
Ned
Are you bloody-well deaf! A blondie! She wouldn’t be Maggie Hanna’s niece, would she?
Tom
There was two of them, sitting over near the box?
Ned
I seen one.
Tom
‘Cos they’re English. Staying at the hotel. But the big red thing – she’s one of Neil McFadden’s girls.
Ned
Annie? Is Annie home?
Joe
Aye, she is. So I heard the mammy saying.
Ned
Bloody great! That’s me fixed up for the next two weeks! Were any of youse ever on that job?
Joe
No, I wasn’t, Ned.
Tom
For God’s sake, she wouldn’t spit on you!
Ned
Game as they’re going, big Annie. But you need the constitution of a horse. I had her for the fortnight she was home last year and damned near killed me.
Episode Two

How does this extract show that the boys are not as educated as Senator Doogan or Master Boyle?

5

Read this extract.

Private
… Is it possible that you have hoarded in the back of that mind of yours – do you remember – it was an afternoon in May – oh, fifteen years ago – I don’t remember every detail but some things are as vivid as can be: the boat was blue and the paint was peeling and there was an empty cigarette packet floating in the water at the bottom between two trout and the left rowlock kept slipping and you had given me your hat and had put your jacket round my shoulders because there had been a shower of rain. And you had the rod in your left hand – I can see the cork nibbled away from the butt of the rod – and maybe we had been chatting – I don’t remember – it doesn’t matter – but between us at that moment there was this great happiness, this great joy – you must have felt it too – it was so much richer than a content – it was a great, great happiness, and active, bubbling joy – although nothing was being said – just the two of us fishing on a lake on a showery day – and young as I was I felt, I knew, that this was precious, and your hat was soft on the top of my ears – I can feel it – and I shrank down into your coat – and then, then for no reason at all except that you were happy too, you began to sing...
Episode Three, Part Two

How does the language in this extract express Gar’s feelings about this memory?

6

Read this extract.

[She dashes off. S.B. stares after her, then out at the audience. Then, very slowly, he looks down at the paper again – it has been upside down – and turns it right side up. But he can’t read. He looks across at Gar’s bedroom, sighs, rises, and exits very slowly to the shop…]
Episode Two

Stage directions can be a very important tool for the playwright to show us something significant that isn’t clear from the dialogue alone. What do the above directions tell us about S.B.?

7

Gar Private can only be heard by Gar Public, so when Gar and S.B. are at the table they are mostly sitting in silence. Therefore Madge is being ironic when she says “A body couldn’t get a word in edgeways with you two”.

What does Friel tell us by using silence in the play?

8

Flashback is a dramatic tool that Friel uses in the play to highlight important moments and memories.

What is the significance of the following flashback?

Public
[remembering] September 8th.
Private
By God Lizzy was in right talking form that day –
Public
‘You are invited to attend the wedding of Miss Kathleen Doogan of Gortmore House–‘
Private
[snaps] Shut up, O’Donnell! You’ve got to quit this moody drivelling! [Coaxing.] They arrived in the afternoon; remember? A beautiful quiet harvest day, the sun shining, not a breath of wind; and you were on your best behaviour. And Madge – remember? Madge was as huffy as hell with the carry-on of them, and you couldn’t take your eyes off Aunt Lizzy, your mother’s sister – so this was your mother’s sister – remember?
...
Lizzy
[trying to control herself] That was always the kind of us Gallagher girls, wasn’t it … either laughing or crying … you know, sorta silly and impetuous, shooting our big mouths off, talking too much, not like the O’Donnells – you know – kinda cold –
Private
Don’t man, don’t.
Con
Your gloves, honey. It’s been a heavy day.
Lizzy
[to Public, with uncertain dignity] Tell your father that we regret we did not have the opportunity for to make his acquaintance again after all these -
Public
[impetuously] I want to go to America – if you’ll have me -
Private
Laddy!
Con
Sure. You think about it, son. You think about it.
Public
Now – as soon as I can, Aunt Lizzy – I mean it –
Act Three

9

Why does Gar repeatedly quote lines from ‘Reflections on the Revolution in France’?

10

Friel uses music throughout the play. What is the purpose of this?