Friel and Murphy on the Loss of Religious Belief It is often noted that Brian Friel writes out of a sense of a lost past in his work, Translations, while Tom Murphy writes about the loss of religious belief and questions the nature of art in contemporary society in the Gigli Concert; I happen to agree with both men. For one thing, Friel`s work spends a considerable amount of time discussing the emergence of the new National School that effectively threatened to do away with the native tongue of the Irish people, replacing it with a crude English imposition. Hugh`s hopes that the new school will run the very same as the old hedge-school sounds like a plea that the old will not be roughly discarded for the new – but we know that does not...The end:
.....es or see their true selves through a narrow and imperfect prism. Overall, these works are quintessential glimpses into the true nature of the anguished human spirit in a modern world where people have become detached from themselves and anything greater than their own cravings of the moment. Works Cited Friel , Brian. Translations. London: Faber & Faber, 2000. Murphy, Tom. Plays: Three: The Morning after Optimism; The sanctuary lamp; and the Gigli Concert. London: Methuen, 1994. Murray, Christopher. Alive in Time: The Enduring Drama of Tom Murphy. Dublin: Carysfort Press, 2010. O`Toole, Fintan . Tom Murphy: The Politics of magic. Dublin: New Island Books, 1994. Pine, Richard. Brian Friel and Ireland`s drama. New York: Routledge , 1990.