Conflicts in Borstal Boy by Brendan Behan

Borstal Boy has many conflicts throughout history. The book "Borstal Boy" by Brendan Behan is both examples, but at the beginning it seemed worth killing most problems and the last question was more internal. The problem at the beginning of the problem was liberation from the UK, he joined the Republican Republic of Ireland (IRA) and then went to Liverpool to blow up the port. After all, he notices that the problem is internal and that many other people like him have problems very similar, and that it is necessary to make things happen It was.

In this article we will cover three major works of Brandon Behan. Most critics think that it is his best work. The three main works are as follows. "Quare Fellow" (1954), "Hostage" (1958), "Borstal Boy" (1958). This article began with a brief introduction of Behan's life and reveals some of the reasons why his young age has influenced later work. In this article, we also briefly introduce these three works and explore some of the themes that are repeated in these works. It finally examines some of the ways he shapes and influences the Irish national identity.

Also in 1958, Behan published an autobiographical novel "Borstal Boy". This book is based on his 3 year life in Liverpool, after capturing explosives at the Bostell, Suffolk Province, UK. This is a brilliant memoir that I spent there for years. This story depicts a young Behan that is full of Republican enthusiasm and idealism, softens his extremism, warms up his fellow British prisoners and guards known as "screws" . This story is not a malicious attack against the UK, but is a depiction of Behan's extremism and departure from violence. The dialogue in the book captures the lively interaction between the Borstal prisoners and the distinctive accents from around the British Isles. As the story evolved, Behan said that because of their working class, whether they were Catholics of Ireland or Protestant, they all had more in common than they understood It proved skillfully.

Both "Hostage" and "Bostarboy" are studying the relationship between Britain and Ireland and are exploring the fact that there is little difference between working-class Irish Catholics or British Protestants of the working class . In Behan's two plays, he questioned the identity of Ireland itself and the new young Irish free state. The drama focused on this new free state, revealing that it is doing the same thing as old colonial power. For Republicans like Behan, official executives in Ireland Free State are often imported British, which seems to be cruel sarcasm (Kiberd, 1989, p. 336). In this respect, Behan thinks that "no country has changed, but no longer has a badge attached to a security guard's hat." Dublin Gale Joir in the play represents the lack of this change (Kiberd, 1989).