Character analysis
Peter Flynn
in The Plough and the Stars by Seán O'Casey
Peter Flynn is Nora Clitheroe's irritable uncle and a minor character in the Irish Volunteers, mainly providing comic relief and a means to satirize petty nationalist pride in Seán O'Casey's The Plough and the Stars. From his initial introduction, Peter is characterized by his short temper and his obsessive pride in his Foresters' ceremonial uniform—he flies into furious rants whenever The Covey mocks his attire or questions his revolutionary credentials, turning grand patriotic claims into ridiculous arguments. His journey is one of continuous deflation: the man who takes pride in his green coat and sword proves entirely ineffective as the Easter Rising unfolds around him. In the pub scene (Act II), Peter is drinking while a passionate speech echoes from outside, highlighting O'Casey's irony that those most vocally tied to nationalist symbols are often the least involved in true sacrifice. As the later acts unfold and the tenement spirals into chaos, looting, and death, Peter retreats into self-pity and impotent rage instead of stepping up as a hero. He emerges from the Rising unscathed—a stark contrast to the real suffering experienced by Nora, Mollser, and Bessie. Peter's main characteristics include vanity, irritability, cowardice, and a nearly childlike desire for respect that he has never truly earned. He serves as O'Casey's sharpest comic critique of empty nationalism: a man whose enthusiasm for the appearance of patriotism far exceeds any readiness to fulfill its obligations.
Who they are
Peter Flynn is Nora Clitheroe's elderly uncle, a tenant in the crowded Dublin tenement block that forms the world of The Plough and the Stars. He holds a nominal membership in the Irish National Foresters, a fraternal organisation with ceremonial rather than military significance. The organisation's green coat, plumed hat, and ceremonial sword define him more than any action he ever takes. O'Casey introduces Peter almost immediately as a figure of comic vanity: a small, irritable man whose sense of self-worth rests entirely on an outfit and a title that command no genuine authority. He is not a villain or a tragic figure in the conventional sense; he is something more pointed — a fool who has mistaken the costume of patriotism for the thing itself.
Arc & motivation
Peter's arc, such as it is, amounts to a sustained deflation. His core motivation is the desire for respect — to be acknowledged as a man of standing within the nationalist community. Yet every scene systematically denies him that acknowledgement. He is mocked before the Rising, peripheral during it, and unscathed after it, a trajectory that itself serves as the joke and the critique. Where characters like Jack Clitheroe pursue nationalist ideals to a fatal conclusion, Peter pursues the appearance of those ideals to no conclusion at all. His journey is static precisely because O'Casey intends it to be: Peter does not grow, learn, or sacrifice. He simply persists, shouting and sulking, while history moves around him without requiring his participation.
Key moments
The feud over the Foresters' uniform in Act I establishes Peter's character with brutal economy. The Covey's mockery of the green coat sends Peter into sputtering, near-incoherent fury — a fury so disproportionate that it immediately signals how much of his identity is invested in mere cloth and brass. The comedy is sharp, but O'Casey ensures the audience registers the pathos underneath: this is a man with nothing else.
The pub scene in Act II is the play's most concentrated piece of irony. While a disembodied voice — the Voice of the Speaker, channelling Pearse's incendiary rhetoric about blood sacrifice — rises from offstage, Peter sits inside drinking. The juxtaposition is unmistakable: the men most adorned with nationalist symbolism are literally turning their backs on the nationalist event unfolding yards away. Peter is not unusual here; the whole group is condemned by the same irony. But Peter, in his Foresters' regalia, wears the indictment most visibly.
In the later acts, as the Rising produces looting, death, and Nora's breakdown, Peter retreats into self-pity and ineffectual rage. He does not help Nora, does not confront the violence, and does not mourn Mollser with any apparent depth. He emerges from the chaos alive and essentially unchanged — the single most devastating judgment O'Casey can render on him.
Relationships in depth
With The Covey, Peter shares the play's most consistently comic dynamic: a running ideological and personal feud in which The Covey deploys Marxist contempt and Peter responds with spluttering outrage. Neither man has any grip on political reality, making them mirror images O'Casey uses to satirise both strands of empty radicalism simultaneously.
With Nora, Peter is a domestic liability rather than a source of support. Nora manages the household and, eventually, suffers genuinely and catastrophically for the Rising. Peter's tantrums merely add friction to a home already under enormous pressure, and his survival intact when Nora is destroyed emotionally is a quiet structural irony O'Casey never makes explicit but cannot be missed.
With Fluther, Peter finds a drinking companion whose earthy, pragmatic selfishness is at least honest about what it is. Fluther does not dress his self-interest in ceremonial uniform, which makes Peter's posturing look all the more absurd by contrast.
With Bessie Burgess, Peter's petty clashes in the tenement gain retrospective weight once Bessie dies shielding Nora. Her heroism — Protestant, Unionist, and entirely unrehearsed — throws into relief just how hollow Peter's lifelong performance of patriotic virtue has been.
Connected characters
- Nora Clitheroe
Peter is Nora's uncle and a fellow tenant in the Clitheroe household. Their relationship is largely one of mutual irritation; Nora manages the domestic space while Peter's tantrums add to the household's tensions, and his ineffectuality contrasts sharply with her genuine anguish over Jack's fate.
- The Covey
The Covey is Peter's chief tormentor and dramatic foil. Their running feud — in which The Covey ridicules Peter's Foresters' uniform and nationalist posturing with Marxist contempt — generates much of the play's broad comedy and exposes both men as equally self-absorbed and disconnected from real political action.
- Fluther Good
Fluther and Peter are drinking companions and fellow tenement-dwellers who share scenes of comic bickering. Fluther's earthy pragmatism throws Peter's pomposity into relief, though both men ultimately prove more interested in the pub than the barricades.
- Jack Clitheroe
As Nora's husband and a Volunteer officer, Jack represents the nationalist commitment Peter merely performs. Peter's presence in the same household quietly underscores the gap between Jack's earnest (if misguided) sacrifice and Peter's empty ceremonialism.
- Bessie Burgess
Bessie and Peter clash in the tenement's communal scenes, their quarrels reflecting the broader sectarian and class tensions of the building. Bessie's ultimate heroic death stands in stark ironic contrast to Peter's survival through passivity.
- Mollser
Mollser's quiet, tragic death from tuberculosis amid the Rising highlights the real human cost of the conflict — a cost Peter, absorbed in his own petty grievances, is largely oblivious to, deepening O'Casey's critique of self-regarding nationalism.
Use this in your essay
The costume as character: Examine how O'Casey uses Peter's Foresters' uniform as a sustained visual metaphor for the gap between nationalist symbolism and nationalist commitment. What does the play suggest about movements that privilege appearance over action?
Comic deflation as political critique: Analyse O'Casey's use of farce in Peter's scenes to make a serious argument about the Irish independence movement. How does comedy function as a vehicle for anti-romantic realism in the play?
Survival as condemnation: Consider the significance of which characters die or suffer (Mollser, Bessie, Jack, Nora) and which survive unscathed (Peter, The Covey). What moral or political logic governs O'Casey's distribution of suffering?
Peter and The Covey as parallel failures: Argue that Peter (empty nationalist sentiment) and The Covey (empty Marxist theory) are deliberately constructed as equivalents. What does O'Casey imply about ideological posturing across the political spectrum?
The tenement community and collective passivity: Use Peter as a case study to explore O'Casey's broader argument that the Dublin working class was simultaneously romanticised by nationalist leaders and failed by them. How does Peter's obliviousness to Mollser and Nora's suffering support this reading?