"During the Irish Revival at the turn of the 20th century, Boucicault's plays were condemned as the vehicle of the "Stage Irishman," a caricature of the natives of the country that made the Irish the laughing stocks of English audiences, who drew the comforting conclusion that such people were unworthy of self-government" (Cody & Sprinchorn, 181).
Considering that some of the earliest stage Irishman representations presented people in Ireland as being savages or immoral individuals, Boucicault apparently wanted people to change their opinion regarding Irishmen by resorting to using comedy in his plays as a means of having his audiences understand that Irishmen are actually different from other nations. He intended spectators to comprehend that some of the particular characteristics in his people contained (among other traits) noble features. Boucicault gradually got audiences to laugh alongside of his Irish characters instead of laughing at them. Matters concerning the stage Irishman changed significantly as the world started to learn more about Irishmen and as people in Ireland developed a nationalist character.
The international public gradually developed a connection with the stage Irishman in the nineteenth century, as more and more plays started to show Irish individuals holding some of the most recognized features that audiences enjoyed seeing in characters. As a response to the fact that the public demanded the stage Irishman to be present in the plays that it attended, playwrights turned their focus on introducing Irish stereotypes in a series of writings, adapting them to other elements that audiences were fond of during the period with the purpose of creating the perfect recipe.
Using a stage Irishman concept as a means to fuel playwrights such as "The Irish Tutor or New Lights" present Irishmen who are virtually unable to get in control and fail...
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