relationship of Brian Friel's short stories and plays has long ceased to be fresh topic as many critics have categorized it as of continuation and development due to their similar themes and concerns. Such tendency in Friel criticism can be seen in discussion of Foundry House and Aristocrats, prime example of Friel's short stories and plays in which there is consensus of opinion that ongoing of homecoming and disillusion arrays two in homogenous, linear line. As critic claims, casts its net much more widely, to explore at greater length issues which can only be hinted at in more constricted from of short (Cronin 1992: 9). While it is undeniable that Aristocrats does evolve from Foundry House and further develop some initial ideas of it, it is reductive to lump them together indiscriminately without considering specific time, place, occasion, and media from which they were produced. By examining their different historical, cultural, and audience contexts, this article will show that Foundry House and Aristocrats actually branch off from their common themes to address distinct historical events, issues, and audiences of their times. Moreover, this article will go beyond these two well-known and include another Friel's short story, The which is barely noticed by critics and rarely compared with Friel's other works, but which, according to Richard Bonaccorso, has a identical theme with Foundry House and Aristocrats (1991: 72). By juxtaposing three for genealogy study, I will demonstrate how nearly identical theme in three actually ramifies in different directions. More specifically, I will argue that, respectively, The Visitation and Foundry House capture reactions from both sides of Atlantic to John Kennedy's winning presidential election in 1961 and portray how such an unprecedented victory of Catholic Irish immigrant shapes identity formation among Irish people as well as Irish American community, while Aristocrats, by contrast, is not direct response to foreign affairs but an overdue inward look at Ireland, timely examination of domestic situation in 1970s Republic. In this way, Friel's three outline trajectory of Irish identity pursuit from external affiliation to internal reconstruction. Unlike Foundry House and Aristocrats, The Visitation remains literally unknown until Bonaccorso brings it to our attention in an aside comment: There are similar concerns, however, at heart of both [Foundry House and Aristocrats], being Friel's longstanding interest in psychology of class confrontation. (Indeed, can find identical in of his earliest published works, The Visitation, story published in Kilkenny Magazine in 1961) (1991: 72). As matter of fact, The Visitation and Foundry House echo each other not only in their interest in the psychology of class confrontation but more importantly in their portrayal of characters' unshaken loyalty to mythologized entity in spite of its unflattering reality. Given both characters' deep psychological need for inspiration to deliver themselves from their own mundane, petty lives, which leads to their selective blindness and willing indulgence in illusion, two short stories are thematic twins and function as equal precursors to Friel's Aristocrats. More interestingly, two analogical stories also came out at same time: The Visitation appeared in Kilkenny Magazine: An All-Ireland Literary Review, Autumn-Winter issue, 1961, while Foundry House was published in New Yorker, November 18, 1961. The Visitation is thus not work of apprenticeship, that is, one of [Friel's] earliest published works as Bonaccorso suggests (1991: 72) but contemporary with Foundry House. Although their approximate publication dates could be pure coincidence, and despite fact that Friel himself admits that it is quite normal [t]here are always two or three [stories] going at same time (An Ulster Writer 1965: 32), two stories written in same vein yet published separately in Ireland and America still form curious case worth our investigation. …
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