Sacrifice in the name of Ireland
In the play, the process by which the Old Woman becomes a young girl, parallels the shift in Michael, who is about to be happily married but swiftly changes his plans to follow Cathleen Ni Houlihan into battle. The mysterious Old Woman calls for a complete surrender to the higher cause of Irish Independence. She glorifies blood sacrifice by singing of fallen Irish heroes. Even though Yeats would later deny allegations of political propaganda, in the context of the 1916 Rebellion during which many Irishmen lost their lives, many believed that the play was rather controversially a call to violence and sacrifice that was too overtly politically motivated. The Old Woman states that the sacrifice required is meant to rid the “strangers” from her lands, while promising that those who give their lives will not do so in vain and will live on forever. Thus, a major theme in the play is the sacrifice of young Irishmen to the cause of protecting Irish identity and nationalism.
Mother Ireland
The mythology of feminine figures in Gaelic culture is a staple in Irish Revival literature. From the sovereignty goddess myths to the emergence of prominent nationalist women, the Irish Nationalist movement frequently uses symbology of women. In the play, the role of women is essential to the understanding of its themes. The plays’ title character is a personification of Ireland, and was initially played by Irish Nationalist darling Maud Gonne. Additionally, the play itself is written mostly by Lady Gregory. Gonne’s portrayal was an involved one, and she went as far as suggesting that her character exit the cottage (stage), which would have been the same exit taken by the audience, giving an illusion of following Mother Ireland out of the theatre, presumably to fight off the colonizers.
The Old Women is a motherly figure first and foremost. Although she never states it explicitly, the Old Woman’s speech implies she has fallen on hard times after years of abuse. Her decrepit state symbolizes years of abuse under colonial oppression, and is not due to her being unfit for freedom. The figure of Cathleen Ni Houlihan, also known as the Shan Van Vocht (The Poor Old Woman), is the historical personification of Mother-Ireland. She calls her sons to defend her from colonial oppression.
Cultural Revival
Once it was known that Lady Gregory had a role in penning this play along with Yeats, the different styles in the text become even easier to track. The language of the family is a stark contrast to the speech pattern of Cathleen Ni Houlihan. Lady Gregory was acquainted with Irish peasant language, and wrote the Gillane lines as close to reality as possible. Yeats, on the other hand, focused on occult legends, folk songs, and highly allegorical language for the mythical speech of the titled character. This collaboration represents the two priorities of the Literary Revival. The first was to elevate the peasantry and their down-to-earth connection to their Irish-ness. The second is to romanticize and revive occult folktales and Gaelic culture, which is reflected in the presence of Cathleen ni Houlihan.
Battle as Virtuous
Cathleen ni Houlihan convinces Michael to join the men of the village in enlisting with the French to fight the British, who are the colonial invaders of Ireland. She frames the glory of battle as more important than individual desires. Even though Michael is set to marry a beautiful woman he loves as well as come into a hefty dowry, Cathleen's persuasive magic is enough to entice him into joining the army. She manages to persuade him that fighting and dying for his country would be even more glorious than a happy and prosperous married life. Thus, the play ends with the promise of war, bloodshed, and battle, and ennobles war as something that is for the greater good.
Money
Another major theme in the play is money. The play opens on the eve of Michael's wedding to Delia Cahel, and a great deal of the dialogue before Cathleen ni Houlihan arrives is devoted to a discussion of the family's financial future. Peter is excited that Delia had such a large dowry, and that he convinced Delia's father to hand over all the money before the wedding. He discusses what he plans to do with the money and imagines that it will improve his life.
Money comes up again when the Old Woman arrives. She is destitute and desperate, and Bridget wants to give her money and food so that she can feel better. While Michael is hesitant to hand over any of their dowry at first, Bridget insists that it is the right thing to do to give to those who have less than oneself. However, the Old Woman does not even want the money, saying that she wants something even more important.
Marriage
Marriage is at the center of the play, as it is what Michael gives up in order to fight for the Irish cause. The entire action of the play, before the Old Woman arrives, revolves around Michael's upcoming marriage to Delia Cahel. He is blessed by the fact that, not only does Delia come with a hefty dowry, but she is the woman he loves and with whom he sincerely wants to spend the rest of his life. It would seem that nothing could divert him from his imminent wedding. However, this plan goes by the wayside when Cathleen ni Houlihan arrives and gives him a more enticing offer.
Metaphysical Transformation
The play is as much a fable and a fairy tale as it is a play about political ideas. The Old Woman uses very convincing language to get Michael to agree to join her cause, but she also seems to have some other kind of supernatural power on her side. After she leaves, Michael is under her spell, completely taken in by her message, neglecting all the plans he made to marry Delia Cahel.
Then, at the end of the play, when Peter and Bridget ask Patrick if he saw an old woman coming up the path as he came back to the house, he says he saw a young woman walking like a queen. This is meant to imply that Cathleen ni Houlihan has turned into a young woman. Transformation and the magical powers of political conviction play a prominent role in the thematic fabric of the play.
