Abstract
Abstract: Brian Friel's unpublished play The Blind Mice (1963) and his short story "Foundry House" (1961) demonstrate his fascination with the unique type of exile represented by the Irish missionary. In each text it is the missionary's return—not, as might be expected, their departure—that disrupts the community that had sent them. Sent to carry spiritual truth to places seen as benighted, the missionary's return to Ireland paradoxically reveals the deprivation of the place left behind. Ultimately, these early texts pave the way for the less orthodox spiritual figures in Friel's more successful later work.
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