- udChapter 1 →
A phonetic spelling of 'would,' representing the Dublin working-class dialect pronunciation used throughout the play to capture authentic speech patterns.
“It ud be betther for a man to be dead than to have the people lookin' at him as if he was afraid of his own shadow.”
- bettheradjectiveChapter 1 →
A dialect spelling of 'better,' reflecting the way working-class Dublin characters pronounce the word, used throughout the play to render authentic speech.
“It ud be betther for a man to be dead than to have the people lookin' at him as if he was afraid of his own shadow.”
- afraid of his own shadowphraseChapter 1 →
An idiom meaning extremely timid or cowardly — so fearful that even harmless, everyday things cause alarm. Here it describes the social shame of being seen as a coward.
“lookin' at him as if he was afraid of his own shadow.”
- vanitynounChapter 1 →
Excessive pride in oneself and one's appearance or reputation; here used to criticise someone who cares too much about how others see them, to the point of causing harm.
“Your vanity'll be th' ruin of you an' me yet.”
- th' ruin ofphraseChapter 1 →
An idiom meaning the cause of someone's destruction or downfall; to be ruined by something means it will bring disaster upon you.
“Your vanity'll be th' ruin of you an' me yet.”
- commissionnounChapter 1 →
An official document granting someone a rank as an officer in a military or paramilitary organisation; here, Jack's letter appointing him as a captain in the Irish Citizen Army.
- captaincynounChapter 1 →
The rank or position of a captain in a military or paramilitary force; Jack has resigned from this rank after feeling passed over for promotion.
- tenementnounChapter 1 →
A large, run-down urban building divided into many small, cheap apartments, typically housing poor working-class families; the cramped shared setting of the entire play.
- dutynounChapter 1 →
A moral or patriotic obligation one feels compelled to fulfil; here specifically the obligation to fight for one's country, used to justify joining the Rising.
“I'd be ashamed of me life if I didn't do me duty to me country.”
- sacredadjectiveChapter 2 →
Treated as holy and deserving the highest reverence; here used in a nationalist, quasi-religious sense to elevate the shedding of Irish blood in battle to something spiritually precious.
“Th' blood of the sons of Ireland is th' most sacred thing in th' world.”
- blood sacrificephraseChapter 2 →
The idea, drawn from nationalist rhetoric of the period, that dying in armed rebellion is a noble, almost religious act that redeems and purifies the nation.
- bayonetnounChapter 2 →
A long blade fixed to the end of a rifle, used as a stabbing weapon in close combat; here used as a violent threat to silence an opponent.
“There's only one way to deal with th' likes of you — an' that's to shove a bayonet through your guts!”
- th' likes of youphraseChapter 2 →
A dismissive idiom meaning 'someone of your sort' or 'people like you,' expressing contempt for the person being addressed.
“There's only one way to deal with th' likes of you — an' that's to shove a bayonet through your guts!”
- gutsnounChapter 2 →
The intestines or belly; used here in a blunt, violent way to mean the abdomen, emphasising the brutality of the threat being made.
“shove a bayonet through your guts!”
- rallynounChapter 2 →
A large public meeting held to stir up enthusiasm and support for a political or military cause; here the nationalist gathering taking place offstage in the meeting hall.
- apron-stringsnounChapter 3 →
The ties of an apron; 'tied to the apron-strings' is an idiom for being controlled or held back by a woman, usually a mother or wife, implying weakness or dependence.
“We're not goin' to be chained to the women's apron-strings any longer!”
- chained tophraseChapter 3 →
An idiom meaning to be completely controlled by or unable to break free from something; here used to express resentment at being held back by domestic ties.
“We're not goin' to be chained to the women's apron-strings any longer!”
- barricadesnounChapter 3 →
Makeshift barriers built across streets using furniture, carts, or rubble to block enemy movement during urban fighting; here the street fortifications of the Easter Rising.
- lootingverbChapter 3 →
Stealing goods from shops or buildings, typically during a period of war, riot, or civil disorder when normal law enforcement has broken down.
- madnessnounChapter 3 →
Here used not to mean mental illness but reckless, senseless behaviour — specifically the decision to join an armed uprising that Nora believes will get Jack killed.
“Jack, Jack, Jack! God give us sense enough to turn you away from this madness!”
- snipernounChapter 4 →
A hidden marksman who shoots at individuals from a concealed position at a distance; here a British soldier whose bullet kills Bessie while she stands at the window.
- dhropsnounChapter 4 →
A dialect spelling of 'drops,' meaning small amounts of alcohol; here Bessie means she still has a little drink left to sustain her through the night.
“Bessie Burgess'll have a few dhrops left to see her into th' mornin'!”
- see her into th' mornin'phraseChapter 4 →
An idiom meaning to last or carry one through until morning; here Bessie means the remaining drink will keep her going until daybreak.
“Bessie Burgess'll have a few dhrops left to see her into th' mornin'!”
- RotundanounChapter 4 →
A well-known Dublin building used here as a place where the bodies of men killed in the Easter Rising are brought; its name signals a real location repurposed in the chaos of the rebellion.
“They're bringin' th' bodies of th' men that were shot in th' fight into th' Rotunda.”
- toppleverbChapter 4 →
To fall or collapse heavily; here used in an exaggerated, defiant expression meaning the whole city could come crashing down and Bessie would not care.
“Th' whole city can topple home on top of you, for Bessie Burgess'll have a few dhrops left to see her into th' mornin'!”
The Plough and the StarsPlay by Seán O'Casey