Hana Khasawneh interrogates the comic representation of the Irish in Irish drama
using the works of Sean O’Casey and John Millington Synge as representational. She argues that the distinguished features of the stage Irishman,
whether a peasant or a gentleman character, are "his outrageous dialect, proclivity to Irish bulls and pugnacious disposition," but these, she maintains,
are deployed to defuse the anarchic existential order and to contest national identity. Khasawneh's main contention is that Irish comic literary tradition
is intricately linked to the hostilities in Ireland's colonial/Post colonial encounter. She then concludes that comic inclination is an aesthetic strategy
to lampoon and mock authority and authority figures and to mitigate individual and social frustrations.