Notes on Riders to the Sea

J.M. Synge

FEBRUARY 3, 20 !
"aidar R Rasheed Eng#ish $e%art&ent

Riders to the Sea: Dramatic Significance of Two Sisters : Chorus in the Play?
J.M. Synge's Riders to the Sea is a short dra&a. "(ite nat(ra##y, )e*a(se o+ its short *o&%ass, the %#ay does not a**o&&odate a #arge n(&)er o+ *hara*ters. Synge, there+ore, *on+ines the n(&)er o+ his dra&ati* %ersonae to ,(st +o(r. Ma(rya is a*-no.#edged the *entra# +ig(re o+ the %#ay, and ne/t to her stands Bart#ey .hose death &ar-s the +ina# *atastro%he o+ the tragedy. 0he other t.o *hara*ters are 1ath#een and Nora .ho des%ite )eing &inor *hara*ters are o+ *onsidera)#e dra&ati* signi+i*an*e. 0hey are t.o sisters, Ma(rya )eing their &other,Bart#ey is their )rother, the #ast o+ their si/ )rothers. 0he %#ay is *on*erned .ith the a++air o+ a sing#e +a&i#y, *onsisting o+ +o(r &e&)ers Ma(rya, her t.o da(ghters and her yo(ngest son. Ne2erthe#ess, the e++e*t o+ the %#ay is not &ere#y one o+ a do&esti* tragedies3 instead it )reathes the (ni2ersa#ity that one +inds in the *#assi*a# tragedy, tragedies o+ Aes*hy#(s, So%ho*#es and E(ri%ides. Any.ay, .hat *on*erns (s here is neither Ma(rya nor Bart#ey. 0he t.o sisters are the *entre o+ o(r attention, and .e sho(#d do .e## to e/a&ine the dra&ati* signi+i*an*e o+ these t.o *hara*ters as the *hor(s in Rider to the Sea.

1ath#een is a yo(ng gir# o+ t.enty. 4er tender age not.ithstanding, she sho.s %er+e*t &at(rity o+ ,(dg&ent. 4er &other is o#d, too o#d to s(%er2ise the a++air o+ the +a&i#y. 4en*e it is she .ho 2irt(a##y r(ns the do&esti* de%art&ent a+ter the shee% and hags and *o##e*ts .eeds. She a#so ser2ed as e#der sister. Nora te##s 1ath#een that e2en i+ Bart#ey goes to the &ain#and in a stor&y at&os%here, no har& .i## )e done a**ording to yo(ng %riest, and so she has no *on*ern a)o(t Bart#ey .ho is a)o(t to (nderta-e a Jo(rney o2er the .i#d sea. She is 5(ite *ertain that no danger .i## to(gh Bart#ey d(ring his Jo(rney. 4o.e2er, tho(gh 2ery yo(ng in age, 1ath#een has a s%e*ia# *a%a*ity +or reading the *hara*ter o+ the sea. 4en*e 1ath#een as-ed her to gi2e an a**o(nt o+ the *ondition o+ the sea %rior to the Jo(rney o+ Bart#ey.

0he t.o *hara*ters ha2e &(*h in *o&&on, and yet they stand a%art . 0hese +eat(res re+#e*ted in their )eha2ior %atterns. 1ath#een s%ea-s #ess and thin-s &ore. Nora s%ea-s &ore and thin-s #ess. 1ath#een a**e%ts nothing .itho(t e/a&ining the 2a#idity o+ it, )(t not so .ith Nora. She a**e%ts .hat e2en *o&es her .ay. 0he do&esti* a++airs are 6age 7 2

s(%er2ised )y 1ath#een, Nora on#y assisting her sister, sho.ing #itt#e sense o+ sereneness.

So&eti&es it is said that the t.o sisters %#ay the ro#e o+ the *hor(s in the %#ay. B(t the *hor(s in a *#assi*a# tragedy has no in2o#2e&ent in that a*tion. Moreo2er, the *hor(s are &ore a &a*hinery than a #i2ing )eing. B(t the t.o sisters in the %#ay ha2e their in2o#2e&ent in their a*tion. Moreo2er, the *hor(s is &ore a &a*hinery than a #i2ing entity. B(t the t.o sisters in the %#ay ha2e their in2o#2e&ent in their a*tion. F(rther&ore, in no sense, they are ,(st &a*hinery .itho(t indi2id(a# traits. Rather they )())#e .ith 2ita#ity, ea*h ha2ing her #i-es and dis#i-es, &oods and senti&ents, do()ts and +aiths. So these t.o *hara*ters sho(#d not )e )ra*-eted .ith the *hori* +ig(res as .e *o&e a*ross in the an*ient *#assi*a# %#ay. 4o.e2er, to so&e e/tent, they %er+or& the +(n*tion o+ *hor(s. 0he *on2ersation )et.een 1ath#een and Nora at the )eginning o+ the %#ay %ro2ides the in+or&ation that Mi*hae# has )een &issing +or se2era# days and that the death o+ Mi*ha# is *ertain. Moreo2er, +ro& ti&e to ti&e the *hor(s 2oi*es the &ind o+ the a(thor. 8hen 1ath#een says 9t:s the #i+e o+ a yo(ng &an to )e going o the sea, her .ords see& to arti*(#ate the idea o+ the a(thor. 0his is ho. )oth Nora and 1ath#een ser2e as the *hor(s in *ertain %ortions .hi*h o)2io(s#y high#ights their dra&ati* signi+i*an*e in the %#ay.

Riders to the Sea is a +a&o(s one;a*t tragi* %#ay )y John Mi##ington Synge *ontaining )oth &odern and *#assi*a# e#e&ents in it. 0he %#ay is &odern in that it dea#s .ith the sorro.s and %redi*a&ents o+ a *o&&on h(&an )eing and it is *#assi*a# in that it &aintains the *#assi*a# %rin*i%#es o+ dra&a as #aid do.n in Aristot#e:s 6oeti*. Si&%#y .e *an say that Riders to the Sea is a &odern tragedy in *#assi*a# settings and .ith *#assi*a# o2ertones. A )rie+ dis*(ssion on ho. )oth &odern and *#assi*a# e#e&ents are )#ended in Riders to the Sea is %resented )e#o..

Un#i-e <ree- tragedies, Riders to the Sea dea#s .ith the s(++erings o+ a *o&&on h(&an )eing na&ed Ma(rya .ho is the head o+ an 9rish %easant;*(& +isher&an +a&i#y. 8hi#e <ree- tragedies dea#t .ith the s(++erings o+ high;)orn %eo%#e, &odern tragedies dea# .ith the s(++erings o+ *o&&on %eo%#e. And .hi#e <ree- tragedies te## the stories o+ -ings and %rin*es or %eo%#e o+ -ing#y stat(s, .hi*h do not rese&)#e the s(++erings o+ the .ho#e &ass o+ %eo%#e o+ that *o(ntry, a &odern tragedy te##s the story o+ a *o&&on &an .hose sorro.s, s(++erings and %redi*a&ents are not indi2id(a#, rather rese&)#e the sorro.s and s(++erings o+ the .ho#e &ass o+ %eo%#e o+ the %rotagonist:s *#ass in his= her o.n *o(ntry as .e## as in other *o(ntries. 0here+ore the story o+ a &odern tragedy is genera# and (ni2ersa# )(t the story o+ a <ree- tragedy re&ains the story o+ a %arti*(#ar &an or a %arti*(#ar +a&i#y3 it is not genera# or (ni2ersa#. 4en*e the story o+ >edi%(s Re/ is the tragi* story o+ a %arti*(#ar -ing o+ a %arti*(#ar *o(ntry, )(t the story o+ Riders to the Sea is the story o+ a## +a&i#ies #i2ing in the Aran is#ands. 9t is a#so the story o+ those +a&i#ies in other *o(ntries .here %eo%#e are he#%#ess #i-e Ma(rya in the hands o+ nat(re. 6age 7 3

9n Riders to the Sea, the tragi* intensity o+ the #i+e o+ Ma(rya, .ho +a##s a 2i*ti& to her i##; #(*- #osing a## the &a#e &e&)ers o+ the +a&i#y in the sea is a#so shared )y other .o&en o+ Aran 9s#ands. 0here+ore, Ma(rya is not an indi2id(a# .o&an here3 she is e2ery .o&an o+ her *o&&(nity. 8ret*hed and he#%#ess .o&en #i-e Ma(rya are a#so +o(nd in other *onte/ts in other *o(ntries. 0h(s the %#ay *eases to )e regiona# and )e*o&es g#o)a# in signi+i*an*e, .hi*h is the *hie+ *hara*teristi* o+ a %er+e*t &odern tragedy.

Riders to the Sea is a &odern %#ay +ro& another i&%ortant %oint o+ 2ie.. 0he stage and %ro%s &anage&ent and the dire*tions %ro2ided )y the dra&atist at di++erent stages in the %#ay are *hara*teristi* o+ a good &odern %#ay. 6#ays (nti# ?th *ent(ry .ere high#y narrati2e. 0he stories o+ s(*h %#ays .ere de2e#o%ed &ain#y thro(gh the s%ee*hes o+ *hara*ters. 9n an*ient %#ays, e2en in Sha-es%earean %#ays, stage;settings or %ro%s; &anage&ent .ere not &(*h i&%ortant, ha2ing no ro#e at a## to de2e#o% the story. >n#y *hara*ters .ere i&%ortant in these %#ays@ they .o(#d &o2e and s%ea- and th(s de2e#o% the story. B(t the story o+ a &odern %#ay is *o&&(ni*ated to the a(dien*e not on#y thro(gh the s%ee*hes o+ *hara*ters )(t a#so thro(gh di++erent sy&)o#s and i&ages. 9n +a*t e2erything that is -e%t on the stage has the ro#e o+ a *hara*ter to de2e#o% the story o+ a &odern %#ay. 9n Riders to the Sea .e *o&e a*ross di++erent sy&)o#s and i&ages .hi*h #i-e *hara*ters he#% the story &o2e +or.ard. For e/a&%#e, the di++erent i&ages that .e +ind .hen the %#ay o%ens *#ear#y te## (s that Ma(rya:s is a %easant *(& +isher&an +a&i#y. At di++erent other stages o+ the %#ay .e *o&e a*ross s(*h sy&)o#s and i&ages that *ontri)(te to the right &ood o+ the story.

Ma(rya:s %(%%et #i-e he#%#essness in the hands o+ nat(re and her ines*a%a)#e s(++erings sho. the %#ay dea#ing .ith the tri2ia#ity and insigni+i*an*e o+ h(&an e/isten*e on earth, .hi*h has )een an i&%ortant the&e o+ &odern and %ost;&odern %#ays. 8hene2er a son o+ Ma(rya:s is in the sea, she re&ains a.a-e a## night %raying +or his sa+ety and see-ing <od:s gra*e to sa2e her son, )(t e2ery ti&e Ma(rya is )etrayed in her %rayer and e/%e*tation. 0he indi++eren*e o+ nat(re to Ma(rya:s %rayer and ho%es as .e## as her s(++erings &a-es her e/isten*e on earth *o&%#ete#y &eaning#ess. At the end o+ the %#ay, Ma(rya , de+eated in the .ar o+ #i+e, a**e%ts an stoi*a# s(rrender to +ate@ No &an at a## *an )e #i2ing +ore2er.

$es%ite )eing a &odern %#ay, Riders to the Sea *ontains a n(&)er o+ *#assi*a# e#e&ents. 0he %#ay dea#s .ith so&e )asi* and +(nda&ent %oints o+ *#assi*a# tragedies. First#y, the %#ay 2ery stri*t#y &aintains the three (nities o+ ti&e, %#a*e and a*tion. >n#y .hat ha%%en in one day are sho.n on the stage and the e2ents that o**(rred ear#ier are re%orted on the stageA.hi*h is a )asi* re5(ire&ent o+ an*ient %#ays. 0he %#ay o%ens and ends in the sa&e %#a*e and e2ents that o**(r or are done in distan*e are o++;staged, and the %#ay ho#ds the thread o+ a sing#e %#ot 2ery *onsistent#yA.hi*h are a#so the )asi* re5(ire&ents o+ an*ient %#ays. 6age 7 !

Se*ond#y, Riders to the Sea dea#s .ith the *#assi*a# *on*e%t o+ tragi* *on+#i*t. An*ient *riti*s and dra&atists )e#ie2ed in +ata#is& +or h(&an s(++erings. 0hey he#d that %eo%#e s(++er not +or their o.n +a(#ts and a*tions )(t +or their +ate. A**ording to the *on*e%t o+ +ata#is&, e2erything is %redestined and &an:s e++orts o+ *hanging or %re2enting it do not s(**eed. Man is tota##y he#%#ess in the hands o+ +ate. 9n Riders to the Sea, a## &a#e &e&)ers o+ Ma(rya:s +a&i#y get dro.ned in the sea one )y one )(t none o+ the& is res%onsi)#e +or their death. 0he death o+ the &a#e &e&)ers *a(ses (nto#d s(++erings +or Ma(rya and her t.o da(ghters, )(t neither Ma(rya and her da(ghters are res%onsi)#e +or their sad +ate nor *o(#d they %re2ent their s(++erings in any .ay.

1onsidering the as%e*ts dis*(ssed a)o2e, it *an )e said that the %#ay Riders to the Sea is a &odern tragedy in *#assi*a# +or&. 9t is &odern in its the&e, *hara*teriBation and in the .ay it *o&&(ni*ates the story to the a(dien*e and *#assi*a# in its +or& and *on*e%t o+ tragi* *on+#i*t. 0he )#ending o+ &odern and *#assi*a# e#e&ents in this %#ay has &ade it a (ni5(e dra&a in the history o+ .or#d #iterat(re.

SYNGES RIDERS TO THE SEA: The Colonial Image Refuted

Riders to the Sea is a tragedy portraying the sort of poor Irish peasant family which had previously supplied material for comedies on London stages. Though set in contemporary Ireland, the play provides a window into the life of the people in ancient times: the life of the Aran community is archaic: untouched by modern life, untouched by colonialism. The power of the sea is the main theme of the play: it is both provider and destroyer; it provides life, connection with the mainland, but it takes life. The dramatic structure of the play centres around the sea: in the beginning there is suspense as to whether the sea has given back the dead body of the young man it has taken. At the end there is suspense as to whether the last remaining son will survive the storm. The power of the elements is demonstrated to the audience in the opening scene as the wind tears open the door of the cottage. The main epic speech describes the destruction of the men of the family. As the old woman tells of past tragedies, the ne t and last one is re!enacted. This shows the audience that her presentiments and fears were "ustified; it demonstrates the struggle with the elements and the cycle of death; the ancient
6age 7 C

ritual of the community in the face of death; the stoic resignation and strength of the old woman. #any elements of the play remind one of the classical tragedies of anti$uity: the compelling structure, the foreshadowing of the tragedy and its inevitability, the element of guilt which is not personal guilt, the stoic acceptance of fate, the great simplicity and dignity of the main character. The play is not a political parable, but it had a significant political impact. It counteracted the colonial view of the Irish as a rather savage, primitive uncultured people. It shows a family struggling against overwhelming odds to survive, and maintaining dignity in defeat. It shows that poverty does not of necessity mean poverty of spirit. The richness and spirit of the Irish language is recreated in %nglish modelled on &aelic speech patterns. The play reduces the colonial period to an episode in the history of the Irish, as it provides a picture of how the people lived down the centuries. It could have given the audience a sense of hope: if a people survived thousands of years battling against the elements, then surely a struggle against mere human unreason could ultimately be successful.

NOTES ON SYNGES RIDERS TO THE SEA

! The life of the I"lande#":

A subsistence life: tiny cottage, no windows, they have what they can make ! make their own clothes from their own wool; live on fish and potatoes; they buy only flour and tea from money made selling a horse or a pig; they burn turf they cut themselves; make their own fertili'er from seaweed. They live very isolated lives: if a stranger comes by, they remember not only what they bought from him, but e actly what he said. Their contact with and knowledge of the world, and indeed of Ireland, is very limited: it is the traveller who tells them how far away (ounty )onegal is ! distance is measured in the time needed to walk it. There is a strict divison of labour between men and women: women do not fish or sell; they farm, mind animals and house, prepare food and clothes.
$! The dominan%e of the "ea:

The sea is both provider and destroyer: provides life, connection with the mainland, but it takes life. Its power is the main theme of the play: illustrated for the audience by the tearing open of the door at the beginning, and by the descriptions given by the girls. Their sense of time, of direction is determined
6age 7 D

by the sea. The fishermen struggle to get a living out of the sea in tiny, frail boats made of tarred canvas, which they make themselves. The dramatic structure of the play centres around the sea: in the beginning there is suspense as to whether the sea has given back the dead body of the young man it has taken. At the end there is suspense as to whether the last remaining son will survive the storm. The main epic speech *#aurya+s, describes the destruction of the men of the family. As the old woman tells of past tragedies, the ne t and last one is re!enacted. This shows the audience that her presentiments and fears were "ustified; it shows the struggle with the elements and the cycle of death most dramatically; it presents the ancient ritual of the community in the face of death; it shows the stoic resignation and dignity of the old woman. The type of %nglish used is modelled on &aelic speech and demonstrates the richness and poetry of Irish. The life of the people is presented as being archaic in many respects. It is true that the characters are shown to be (atholics, but the beliefs of ancient times are seen to be very much alive: black hags and spirits haunt the seas; #aurya sees the ghost of her dead son, and all interpret this as a sign that the last son is doomed. The dead man takes the last remaining son with him. *This ancient belief in the malevolence of the dead and the threat they constitute to the living led to the placing of heavy stones on graves in the hope that the spirit of the dead would not be able to get out and haunt the living., The priest is almost pitied by #aurya as a young man who doesn+t really know what he is talking about and who can offer neither sound advice nor comfort, though he tries his best. There is a great sense of the world of the spiritual, (atholic and older elements intermingling without conflict. #any elements of the play remind one of the classical tragedies of anti$uity: the compelling structure, the foreshadowing of the tragedy and its inevitability, the element of guilt which is no personal guilt, the stoic acceptance of fate, the great simplicity and dignity of the main character.

Symbolism in Synge's Riders to the Sea.

6age 7 E

J.M.Synge's Riders to the Sea is +ra(ght .ith n(&ero(s sy&)o#s e#e2ating the do&esti* tragedy to the %osition o+ a (ni2ersa# ta#e o+ s(++ering.Most o+ the sy&)o#s (sed in the %#ay are ar*hety%a# in -ee%ing .ith the *#assi*a# s%irit o+ the %#ay .0he &ost %o.er+(# sy&)o# is that o+ Sea, the gi2er and ta-er o+ #i+e.0he is#anders de%end on it +or their s(stenan*e )(t it a#so snat*hes the #i2e that it gi2es.Synge &a-es (se o+ the %o%(#ar )e#ie+ that the +#ood tide ind(*es )irth .hi#e the e)) tide *a(ses death,re&inding (s o+ sha-es%eare's treat&ent in 4enry F.Gi-e She##ey 's 8est .ind,it is at on*e destroyer and %reser2er o+ #i+e.0he sea sy&)o#iBes the tragi* destiny o+ the aran is#anders.0he sea is a s(%ernat(ra# entity o2er .hi*h e2en the A#&ighty <od o+ the *hristians has no *ontro#.0hat is e2ident +ro& Ma(rya' s re,e*tion o+ the'yo(ng ' %riest Another ar*hety%a# sy&)o# is the Riders.0he &en+o#- o+ the is#and are a## riders .ho ,in order to -ee% the +a&i#y .hee# a going, ride on the sea.Gi-e Santiago,they 2ent(re into the sea on#y to )e de+eated re&inding (s o+ eterna# h(&an %redi*a&ent. 0here are se2era# sy&)o#s asso*iated .ith #i+e and death.0hey e/ist side )y side.Mention &ay )e &ade o+ the red &are o+ Bart#ey and grey %ony o+ Mi*hae# .8hi#e red stands +or 2iri#iy, grey sy&)o#iBes death .Bart#ey a#so sets o(t his +ear+(# ,o(rney in the shirt that his dead )rother #e+t at ho&e., 0he (se o+ n(&)er nine is another i&%ortant sy&)o# deri2ed +ro& &ytho#ogy.9t is a tri%#e trinity and there+ore a %er+e*t n(&)er.0here is no ne.s o+ Mi*hae# +or nine days and Ma(rya .ee%s +or her #ost son +or nine days. Ma(rya's t(ring o+ the e&%ty *(% &o(th do.n.ards is another signi+i*ant sy&)o# s(ggesting a +ai#(re o+ *hristian so#a*e and sho.ing the %agan the&e o+ s(++ering and ren(n*iation. 0h(s, the sy&)o#s e&%#oyed here )ring o(t the tragi* s*he&e o+ the %#ay

Im ortant characters
>n#y +o(r *hara*ters are na&ed@ Ma(rya, an e#der#y 9rish.o&an, her da(ghters 1ath#een and Nora, and her son Bart#ey. A#so &entioned are Ma(rya:s de*eased sons Sha.n, Shea&(s, Ste%hen, 6at*h, and Mi*hae#. 0he yo(ng %riest is a#so i&%ortant to introd(*e *ontro2ersies a)o(t Ma(rya:s sons, e.g. .hether the *#othes are +ro& Mi*hae#:s )ody, .hether the yo(ng %riest #et Bart#ey go to se## his horse, et*H.

Plot syno sis

Ma(rya has #ost her h(s)and, +ather;in;#a., and +i2e sons to the sea. As the %#ay )egins Nora and 1ath#een re*ei2e .ord that a )ody that &ay )e their )rother Mi*hae# has .ashed (% on shore in $onega#, +ar to the north. Bart#ey is %#anning to sai# to 1onne&ara to se## a horse, and ignores Ma(rya:s %#eas to stay. As he #ea2es, he #ea2es gra*e+(##y. Ma(rya %redi*ts that )y night+a## she .i## ha2e no #i2ing sons, and her da(ghters *hide her +or sending Bart#ey o++ .ith an i## .ord. Ma(rya goes a+ter Bart#ey to )#ess his 2oyage, and Nora and 1ath#een re*ei2e *#othing +ro& the dro.ned *or%se that *on+ir&s it as their )rother. Ma(rya ret(rns ho&e *#ai&ing to ha2e seen the ghost o+ Mi*hae# riding )ehind Bart#ey and )egins #a&enting the #oss o+ the &en in her +a&i#y to the sea, a+ter .hi*h so&e 2i##agers )ring in the *or%se o+ Bart#ey, .ho has +a##en o++ his horse into the sea and dro.ned. 6age 7 I

>ther 2ersions 14RA10ERS 9N Riders to the Sea are Ma(rya , 1ath#een , Nora J Bart#ey. Men *arrying Bart#ey:s )ody J .o&en -eening ahead o+ the dead &ay )e seen as rather *hora# +ig(res at a %oint o+ trans*enden*e. Ma(rya@ an o#d Aran +isher;.o&an .hose na&e e*hoes the <ree- .ord &oira, &eaning K+ate:. She is a %oor 2i*ti& o+ dar- +ata#ity as re%resented )y the (nre#enting sea. 0he &ost i&%ortant as%e*t o+ her *hra*terisation is the *hange in her attit(de to #i+e J death a+ter her #ast son J the #ast s(r2i2ing &a#e &e&)er o+ her +a&i#y, Bart#ey, is dro.ned in the sea. Ma(rya senses a %arado/i*a# 2i*tory o2er the tyrant;god, +or the sea *an *a(se no &ore har& to the o#d .o&an .ho )e*o&es a sort o+ &ythi*a# e&)odi&ent o+ s(++ering h(&anity J the trans*enden*e o+ s(++ering. Bart#ey@ 4e is the one o+ the t.o riders in the %#ay, the other )eing the ghost o+ Ma(rya:s +i+th son, Mi*hae#. St())orn in his de*ision to go to the sea des%ite the o#d &other:s %re&onition J entreaties, Bart#ey stands +or the s(r2i2a# instin*t in &an, the eros as o%%osed to the thanatosL death dri2eH o+ .hi*h the a##;de2o(ring sea is the %er2ading sy&)o#. Bart#ey rides the red &are, .hi#e Mi*hae#:s grey %ony +o##o.s hi&. 9t is the grey %ony .hi*h -no*-s the red &are do.n into the sea. 1ath#een +orgets to gi2e Bart#ey his )read at the ti&e o+ his de%art(re3 Ma(rya is (na)#e to de#i2er the )read as .e## as her )#essing to Bar#ey at the S%ring;.e##3 .e #earn at the end that Ma(rya +orgot to )(y nai#s re5(ired +or &a-ing his *o++in. 0he sy&)o#s #i-e the )read J nai#s, and the +a*t that Bart#ey:s near;sa*ri+i*ia# death ironi*a##y sa#2ages Ma(rya +ro& her #ong 2i*ti&hood, &ay s(ggest that Synge *on*ei2ed Bart#ey as a 1hrist +ig(re. 1ath#een J Nora@ 0hey are the t.o da(ghters o+ Ma(rya. 0he e#der da(ghter, 1ath#een, is &ore res%onsi)#e and hard;.or-ing, ta-ing *are o+ the ho(seho#d. Nora is a )it i&&at(re and inno*ent, ser2ing as a #in- .ith the .or#d o(t o+ doors.

Y>U MAY 1AGG 04E SEA AN ABSEN0EE 14ARA10ER, AN 9NF9S9BGE FA0AG A<EN1Y, 04E AN0A<>N9S0 84>SE 6RESEN1E 9S AN >M9N>US >MN96RESEN1E.

Riders to the Sea

0his #itt#e dra&a, .hi#e it has none o+ the (%roario(s Mro&%ingM o+ 0he 6#ay)oy o+ the 8estern 8or#d, is sti## an (n&ista-a)#e indi*ation o+ John Mi##ington Synge's -een enth(sias& +or a## the *on*erns o+ h(&an #i+e. 9+ he *an ta-e %#eas(re in the 2ita#ity and ani&a# s%irits o+ a 1hristy Mahon, he *an #i-e.ise sa2or the d(&) tragedy o+ a Ma(rya. 0he %#ay is a %i*t(re, *o&%ressed and synthesiBed, o+ the he#%#essness o+ a &other in her ho%e#ess str(gg#e .ith the sea. Synge's %er+e*t &astery o+ .ords is one o+ his greatest assets. Gi-e Sha-es%eare, he *an at on*e s(%%#y en2iron&ent, *reate at&os%here, %aint .ord;%i*t(res. 0hat shar% *ontrast )et.een the ho&e#y and e2eryday in #i+e and the gr(eso&eness o+ death is *#ear#y dra.n in Riders to the Sea. Bart#ey says@ M8here is the )it o+ ne. ro%e, 1ath#een, 6age 7 ?

.as )o(ght in 1onne&araNM and 1ath#een re%#ies@ M<i2e it to hi&, Nora, it's on a nai# )y the .hite )oards. 9 h(ng it (% this &orning, +or the %ig .ith the )#a*- +eet .as eating it.M 0his is .hat Yeats &eans .hen he s%ea-s o+ Synge's #o2ing a## that has edge. 9n Fa#e, the se*ond 2o#(&e o+ his 4ai# and Fare.e##, <eorge Moore .rote o+ Riders to the Sea@ M... .hen 9 heard this one;a*t %#ay, it see&ed 2ery #itt#e &ore than the *ontents o+ Synge's note)oo-, an e/%eri&ent in #ang(age rather than a .or- o+ art, a %re%aratory essay3 he see&ed to &e to ha2e *ontented hi&se#+ .ith re#ating a %ain+(# rather than a dra&ati* story, his %reo**(%ation )eing to dis*o2er a sty#e, a 2ehi*#e o+ e/%ression....M And the in*ident is %ain+(# rather than dra&ati*, +or the str(gg#e &(st )e +e#t in the )a*-gro(nd, it *annot )e seen and %arti*i%ated in )y the a(dien*e. 1onse5(ent#y, .e &ight a#&ost +ee# that the str(gg#e here de%i*ted .as so ho%e#ess as to #ea2e no roo& +or anything )(t d(&) s()&ission. A tr(e tragedy o(ght to gi2e the hero a *han*e to +ight3 here the di*e are #oaded. 0he %#ay is, ho.e2er, a %o.er+(# and )ea(ti+(# %i*t(re. Riders to the Sea ser2es to i##(strate the essentia# di++eren*e )et.een the one;a*t %#ay and the %#ay in t.o or &ore a*ts@ sin*e the +or&er is a#&ost a#.ays *on*erned .ith )(t a sing#e in*ident, it is *a%a)#e o+ 2ery #itt#e de2e#o%&ent. No. a tragedy is not a +a*t nor an e2ent3 it &(st sho. great and strong *hara*ters ;; or a #east *hara*ters in .hi*h there is %otentia# greatness or strength ;; str(gg#ing .ith +or*es .hi*h are +ina##y too great to o2er*o&e. And .e &(st see the str(gg#e. A tragi* +ig(re &(st ha2e the o%%ort(nity to +ai# honora)#y, and .e .ish to see hi& trying to e2ade his +ate. 4a&#et .o(#d )e ordinary &e#odra&a i+ he .ere de%ri2ed o+ his so(#;re2ea#ing so#i#o5(ies3 >edi%(s, too, i+ .e *o(#d not +o##o. the Oing's e++orts to es*a%e .hat .as de*reed. A one;a*t %#ay *an s*ar*e#y &ore than indi*ate the res(#t o+ a str(gg#e. 0he #ast a*t o+ 4a&#et is not a tragedy in itse#+, and Riders to the Sea, #i-e that #ast a*t, is )(t the res(#t o+ .hat has gone on +or a #ong ti&e )e+ore. At the end .e +ee# so&ething o+ the great sorro. and e2ent(a# %ea*e o+ the o#d .o&an in her #ast .ords@ MMi*hae# has a *#ean )(ria# in the +ar north, )y the gra*e o+ the A#&ighty <od. Bart#ey .i## ha2e a +ine *o++in o(t o+ the .hite )oards, and a dee% gra2e s(re#y. 8hat &ore *an .e .ant than thatN No &an at a## *an )e #i2ing +ore2er, and .e &(st )e satis+ied.M Sti##, the str(gg#e .as .anting.

Introduction:
Riders to the Sea is a %#ay .ritten )y 9rish %#ay.right John Mi##ington Synge. 9t .as +irst %er+or&ed on Fe)r(ary 2C, ?0! at the Mo#es.orth 4a##, $()#in )y the 9rish Nationa# 0heater So*iety. A one;a*t tragedy, the %#ay is set in the Aran 9s#ands, and #i-e a## o+ Synge's %#ays it is noted +or *a%t(ring the %oeti* dia#og(e o+ r(ra# 9re#and. 0he 2ery si&%#e %#ot is )ased not on the traditiona# *on+#i*t o+ h(&an .i##s )(t on the ho%e#ess str(gg#e o+ a %eo%#e against the i&%ersona# )(t re#ent#ess *r(e#ty o+ the sea.

Summary:
AF0ER nine days o+ *onstant grie2ing +or her &issing son, Mi*hae#, .ho, she +ee#s *ertain, has )een dro.ned, o#d Ma(rya has +a##en into a +it+(# s#ee%. 4er da(ghter, 1ath#een, is )(sy .ith ho(seho#d tas-s, .hen another da(ghter, Nora, s#i%s 5(iet#y into the -it*hen .ith a )(nd#e gi2en her )y the yo(ng %riest. 9t *ontains %art o+ the *#othes ta-en +ro& the )ody o+ a dro.ned &an +ar in the north. 0hey ha2e )een sent to Ma(rya's *ottage .ith a 2ie. to %ossi)#e identi+i*ation.

6age 7 0

As Ma(rya sho.s signs o+ .a-ing the gir#s hide the )(nd#e (nti# so&eti&e .hen they sha## )e a#one. Ma(rya's grie2ing +or Mi*hae# is no. *o(%#ed .ith +ear o+ #osing Bart#ey, her on#y re&aining son. Fi2e sons and a h(s)and she has a#ready #ost to the sea. 8i## that insatia)#e tyrant insist on ta-ing her si/th. 0he %riest says not. B(t no. Bart#ey insists that he .i## *ross to the &ain#and this 2ery day, in s%ite o+ .inds and high seas, to dis%ose o+ a horse at the +air. 9n a +it o+ %i5(e at this on#y re&aining son +or not #istening to her %#eas, Ma(rya #ets hi& go .itho(t her )#essing. 0he gir#s %ers(ade her to inter*e%t hi& .ith the #(n*h they had +orgotten to gi2e hi& and so to &a-e o%%ort(nity +or that )#essing a &other sho(#d ha2e gi2en. 8hi#e Ma(rya is gone the gir#s o%en the %a*-age. 0he *#othes are, indeed, Mi*hae#'s. 0heir on#y *o&+ort is the tho(ght that his )ody has )een gi2en a good 1hristian )(ria# there in the north .here it .as .ashed (%. At this %oint Ma(rya ret(rns terri+ied .ith a 2ision she had had o+ Mi*hae# riding on the #ed horse )ehind Bart#ey. No. she is s(re Bart#ey is doo&ed. 8hen the gir#s sho. her Mi*hae#'s *#othes her on#y res%onse is that the good .hite )oards she had )o(ght +or his *o++in .o(#d ser2e +or Bart#ey instead. E2en as she s%ea-s, the neigh)oring .o&en troo% in, their 2oi*es raised in the M-een,M that &onotono(s 9rish *hant o+ grie+. Men +o##o. )ringing the )ody o+ Bart#ey .ho has )een -no*-ed o++ a *#i++ into the s(r+ )y the horse he .as #eading. 0he %#ay *#oses on the note o+ Ma(rya's +ata#isti* s()&ission. She *an s#ee% no. .ith no .orry )(t that o+ star2ation. M0hey're a## gone no. and there isn't anything &ore the sea *an do to &e. . . . No &an at a## *an )e #i2ing +ore2er and .e &(st )e satis+ied.M Riders to the Sea .as +irst %rod(*ed at Mo#es.orth 4a##, $()#in, on Fe)r(ary 2C, ?0!.

Im ortant characters:
>n#y +o(r *hara*ters are na&ed@ Ma(rya, an e#der#y 9rish.o&an, her da(ghters 1ath#een and Nora, and her son Bart#ey. A#so &entioned are Ma(rya's de*eased sons Sha.n, Shea&(s, Ste%hen, 6at*h, and Mi*hae#. 0he yo(ng %riest is a#so i&%ortant to introd(*e *ontro2ersies a)o(t Ma(rya's sons, e.g. .hether the *#othes are +ro& Mi*hae#'s )ody, .hether the yo(ng %riest #et Bart#ey go to se## his horse, et*.H.

Plot syno sis:

Ma(rya has #ost her h(s)and, +ather;in;#a., and +i2e sons to the sea. As the %#ay )egins Nora and 1ath#een re*ei2e .ord that a )ody that &ay )e their )rother Mi*hae# has .ashed (% on shore in $onega#, +ar to the north. Bart#ey is %#anning to sai# to 1onne&ara to se## a horse, and ignores Ma(rya's %#eas to stay. As he #ea2es, he #ea2es gra*e+(##y. Ma(rya %redi*ts that )y night+a## she .i## ha2e no #i2ing sons, and her da(ghters *hide her +or sending Bart#ey o++ .ith an i## .ord. Ma(rya goes a+ter Bart#ey to )#ess his 2oyage, and Nora and 1ath#een re*ei2e *#othing +ro& the dro.ned *or%se that *on+ir&s it as their )rother. Ma(rya ret(rns ho&e *#ai&ing to ha2e seen the ghost o+ Mi*hae# riding )ehind Bart#ey and )egins #a&enting the #oss o+ the &en in her +a&i#y to the sea, a+ter .hi*h so&e 2i##agers )ring in the *or%se o+ Bart#ey, .ho has +a##en o++ his horse into the sea and dro.ned.

6age 7

!aurya's s eech in the final scene is famous in Irish drama:

Lraising her head and s%ea-ing as i+ she did not see the %eo%#e aro(nd herH 0hey're a## gone no., and there isn't anything &ore the sea *an do to &e.... 9'## ha2e no *a## no. to )e (% *rying and %raying .hen the .ind )rea-s +ro& the so(th, and yo( *an hear the s(r+ is in the east, and the s(r+ is in the .est, &a-ing a great stir .ith the t.o noises, and they hitting one on the other. 9'## ha2e no *a## no. to )e going do.n and getting 4o#y 8ater in the dar- nights a+ter Sa&hain, and 9 .on't *are .hat .ay the sea is .hen the other .o&en .i## )e -eening. L0o NoraH <i2e &e the 4o#y 8ater, Nora3 there's a s&a## s(% sti## on the dresser.

Character S"etch:
Ma(rya@ an o#d Aran +isher;.o&an .hose na&e e*hoes the <ree- .ord &oira, &eaning '+ate'. She is a %oor 2i*ti& o+ dar- +ata#ity as re%resented )y the (nre#enting sea. 0he &ost i&%ortant as%e*t o+ her *hra*terisation is the *hange in her attit(de to #i+e J death a+ter her #ast son J the #ast s(r2i2ing &a#e &e&)er o+ her +a&i#y, Bart#ey, is dro.ned in the sea. Ma(rya senses a %arado/i*a# 2i*tory o2er the tyrant;god, +or the sea *an *a(se no &ore har& to the o#d .o&an .ho )e*o&es a sort o+ &ythi*a# e&)odi&ent o+ s(++ering h(&anity J the trans*enden*e o+ s(++ering. Bart#ey@ 4e is the one o+ the t.o riders in the %#ay, the other )eing the ghost o+ Ma(rya's +i+th son, Mi*hae#. St())orn in his de*ision to go to the sea des%ite the o#d &other's %re&onition J entreaties, Bart#ey stands +or the s(r2i2a# instin*t in &an, the eros as o%%osed to the thanatosL death dri2eH o+ .hi*h the a##;de2o(ring sea is the %er2ading sy&)o#. Bart#ey rides the red &are, .hi#e Mi*hae#'s grey %ony +o##o.s hi&. 9t is the grey %ony .hi*h -no*-s the red &are do.n into the sea. 1ath#een +orgets to gi2e Bart#ey his )read at the ti&e o+ his de%art(re3 Ma(rya is (na)#e to de#i2er the )read as .e## as her )#essing to Bar#ey at the S%ring;.e##3 .e #earn at the end that Ma(rya +orgot to )(y nai#s re5(ired +or &a-ing his *o++in. 0he sy&)o#s #i-e the )read J nai#s, and the +a*t that Bart#ey's near;sa*ri+i*ia# death ironi*a##y sa#2ages Ma(rya +ro& her #ong 2i*ti&hood, &ay s(ggest that Synge *on*ei2ed Bart#ey as a 1hrist +ig(re. 1ath#een J Nora@ 0hey are the t.o da(ghters o+ Ma(rya. 0he e#der da(ghter, 1ath#een, is &ore res%onsi)#e and hard;.or-ing, ta-ing *are o+ the ho(seho#d. Nora is a )it i&&at(re and inno*ent, ser2ing as a #in- .ith the .or#d o(t o+ doors.

Riders to the Sea

0he Message@ Bart#ey is going to the sea and he goes and does not #isten to his &other's %#eads *oB she got a +ee#ing and int(ition that he .i## die. $id he die *oB he diso)eyed his &otherN >r is it his +ate or *oB he is re*#(seN

6age 7 2

; 0his %#ay has a dee% &eaning. Sin*e the son Brad#ey re+(ses to #isten to his &other he did .hat he .anted and his death .as the res(#t. 0he 2ie. o+ #i+e here is &isera)#e, harsh, and horri)#e, .here the on#y %ea*e is death. 0o &e it see&s *#ear an &er*i#ess %(nish&ent o+ the son , e2eryone sho(#d #isten to his )e#o2ed &other, a+ter a## she is the one .ho #o2es yo( &ost.

1hara*ters@ >n#y +o(r *hara*ters are na&ed@ Ma(rya, an e#der#y 9rish.o&an, her da(ghters 1ath#een and Nora, and her son Bart#ey. A#so &entioned are Ma(rya's de*eased sons Sha.n, Shea&(s, Ste%hen, 6at*h, and Mi*hae#. 0he yo(ng %riest is a#so i&%ortant to introd(*e *ontro2ersies a)o(t Ma(rya's sons, e.g. .hether the *#othes are +ro& Mi*hae#'s )ody, .hether the yo(ng %riest #et Bart#ey go to se## his horse, et*.H.

9ts *hara*ters #i2e and die. 9t is their 2irt(e in #i+e to )e #one#y, and none )(t the #one#y &an in tragedy &ay )e great. 4e dies, and then it is the 2irt(e in #i+e o+ the .o&en &others and .i2es and sisters to )e great in their #one#iness, great as Ma(rya, the stri*-en &other, is great in her +ina# .ord.

0he &other@ 0he %#ay is %essi&isti* as .e## *oB at the end o+ the day, .e see on the stage a grie+ +a&i#y. Noti*e the *hara*ter o+ the &other. 8e sho(#d (nderstand her +ears that this is the #ast o+ her sons, and the #ast &a#e in the +a&i#y. She is 2ery &(*h a+raid to the e/tent that she drea&ed that he .i## die *oB she sa. her son riding )ehind his )rother.

Bart#ey@ 4e is the one o+ the t.o riders in the %#ay, the other )eing the ghost o+ Ma(rya:s +i+th son, Mi*hae#. St())orn in his de*ision to go to the sea des%ite the o#d &other:s %re&onition J entreaties, Bart#ey stands +or the s(r2i2a# instin*t in &an, the eros as o%%osed to the thanatosL death dri2eH o+ .hi*h the a##;de2o(ring sea is the %er2ading sy&)o#. Bart#ey rides the red &are, .hi#e Mi*hae#:s grey %ony +o##o.s hi&. 9t is the grey %ony .hi*h -no*-s the red &are do.n into the sea. 1ath#een +orgets to gi2e Bart#ey his )read at the ti&e o+ his de%art(re3 Ma(rya is (na)#e to de#i2er the )read as .e## as her )#essing to Bar#ey at the S%ring;.e##3 .e #earn at the end that Ma(rya +orgot to )(y nai#s re5(ired +or &a-ing his *o++in. 0he sy&)o#s #i-e the )read J nai#s, and the +a*t that Bart#ey:s near;sa*ri+i*ia# death ironi*a##y sa#2ages Ma(rya +ro& her #ong 2i*ti&hood, &ay s(ggest that Synge *on*ei2ed Bart#ey as a 1hrist +ig(re.

Themes: #cce tance of Death

; 0here is the 5(estion o+ death. And death has 2ery strong %resen*e in the %#ay. 0he *hara*ters *an't do anything a)o(t it. Fina##y, they ha2e to a**e%t death as a rea#ity.

6age 7 3

. 0his is *#ear in Mrs. Ma(rya s%ee*h at he end o+ the %#ay. 0he *o&%#ete a**e%tan*e o+ death that is 2irt(a# resignation to yo(r destiny that yo( *an't *hange. L Ma(rya@ 0hey are a## gone no.... the dresser. H %age C 2.

She rea#iBes that she got nothing to +ear a)o(t *oB her h(s)and and sons are a## dead no.. Yes she is got her da(ghters, )(t in her so*iety .hi*h is a traditiona# one, .o&en .ere not e/%e*ted to go o(t and .or-. 0hese %eo%#e de%end in their #i2ing on the sea.

$. The last s eech is said by !aurya: % They are all together... satisfied%
8e see here the a**e%tan*e and the great resignation, gi2en (% to yo( +ate and destiny .hen *o&e to death yo( are ,(st he#%#ess and yo( &(st )e satis+ied. $o yo( )e#ie2e that the .riter is hiding so&e so*ia# &essage o+ a the&e that s(ggests that those %oor %eo%#e are re#igio(s %eo%#e *oB they are %oorN 9s the stat(s *o%e as their +aith in destinyN 4o. *o&e they do nothing to *hange nothing o+ their *onditionN Again .e ha2e here the e#e&ent o+ deter&inis& .hi*h it *o(#d )e so*ia# deter&inis&. 9n his %#ay .e ha2e *o&%#ete gi2ing (% to destiny and +ate and to death. 0he %#ay is a)o(t death.

Re#igion@ i+ .e #oo- at the *hara*ters, Ma(rya and the da(ghters , the %riest does not a%%ear in %erson. Ma(rya and her da(ghters are re#igio(s they say the %riest said and the %riest said. 0he %riest is o(t there and the so*iety is dee%#y re#igio(s one *oB they )e#ie2e in the rit(a#s o+ the *h(r*h. Ma(rya has )een %raying +or the sa+ety o+ her son )(t he is dro.ned.

Ma(rya .ho dro%s Mi*hae# *#oths a*ross Bart#ey's +eet ; there is 2ery strong %resen*e +or the *or%(s o+ Bart#ey. 6age C 3 L Ma(rya stands (% againP 4o#y 8aterH

Fro& these #ines .e +ind that they are re#igio(s %eo%#e. 0he &other are standing in +ront + her son's )ody. 0his is a 2ey gr(eso&e and horri+ying s*ene. 0he Mother is standing and her son is #aid in +ront o+ her and she is s%ea-ing to a dead )ody. She is %raying to <od to -ee% Barte#y a#i2e )(t he died. 4ere .e see he *on+#i*t )et.een &an and nat(re .hi*h is death that is &an's destiny.

So*ia# Sit(ation o+ the *hara*ters@ 0hey don't #i2e in a to.n and they are not ed(*ated or ri*h. 0hey are 2ery rea# %eo%#e, +isher&en %eo%#e and re#igion is %art o+ their #i+e. A s()sisten*e #i+e@ tiny *ottage, no .indo.s, they ha2e .hat they *an &a-e ; &a-e their o.n *#othes +ro& their o.n .oo#3 #i2e on +ish and %otatoes3 they )(y on#y +#o(r and tea 6age 7 !

+ro& &oney &ade se##ing a horse or a %ig3 they )(rn t(r+ they *(t the&se#2es3 &a-e their o.n +erti#iBer +ro& sea.eed. 0hey #i2e 2ery iso#ated #i2es@ i+ a stranger *o&es )y, they re&e&)er not on#y .hat they )o(ght +ro& hi&, )(t e/a*t#y .hat he said. 0heir *onta*t .ith and -no.#edge o+ the .or#d, and indeed o+ 9re#and, is 2ery #i&ited@ it is the tra2e##er .ho te##s the& ho. +ar a.ay 1o(nty $onega# is ; distan*e is &eas(red in the ti&e needed to .a#- it. 0here is a stri*t di2ison o+ #a)o(r )et.een &en and .o&en@ .o&en do not +ish or se##3 they +ar&, &ind ani&a#s and ho(se, %re%are +ood and *#othes.

& Su erstitious 'lements:

0he #i+e o+ the %eo%#e is %resented as )eing ar*hai* in &any res%e*ts. 9t is tr(e that the *hara*ters are sho.n to )e 1atho#i*s, )(t the )e#ie+s o+ an*ient ti&es are seen to )e 2ery &(*h a#i2e@ )#a*- hags and s%irits ha(nt the seas3 Ma(rya sees the ghost o+ her dead son, and a## inter%ret this as a sign that the #ast son is doo&ed. Ma(rya has so&e %o.er o+ %ro%he*y3 she is %ro%heti*a#, gi2es a %ro%he*y o+ her son near death.

-iders To The .ea ! /ohn #illington .ynge

0lot synopsis Ma(rya has #ost her h(s)and, +ather;in;#a., and +i2e sons to the sea. As the %#ay )egins Nora and 1ath#een re*ei2e .ord that a )ody that &ay )e their )rother Mi*hae# has .ashed (% on shore in$onega#, +ar to the north. Bart#ey is %#anning to sai# to 1onne&ara to se## a horse, and ignores Ma(rya:s %#eas to stay. As he #ea2es, he #ea2es gra*e+(##y. Ma(rya %redi*ts that )y night+a## she .i## ha2e no #i2ing sons, and her da(ghters *hide her +or sending Bart#ey o++ .ith an i## .ord. Ma(rya goes a+ter Bart#ey to )#ess his 2oyage, and Nora and 1ath#een re*ei2e *#othing +ro& the dro.ned *or%se that *on+ir&s it as their )rother. Ma(rya ret(rns ho&e *#ai&ing to ha2e seen the ghost o+ Mi*hae# riding )ehind Bart#ey and )egins #a&enting the #oss o+ the &en in her +a&i#y to the sea, a+ter .hi*h so&e 2i##agers )ring in the *or%se o+ Bart#ey, .ho has +a##en o++ his horse into the sea and dro.ned. Ma(rya:s s%ee*h in the +ina# s*ene is +a&o(s in 9rish dra&a@ Lraising her head and s%ea-ing as i+ she did not see the %eo%#e aro(nd herH 0hey:re a## gone no., and there isn:t anything &ore the sea *an do to &eP. 9:## ha2e no *a## no. to )e (% *rying and %raying .hen the .ind )rea-s +ro& the so(th, and yo( *an hear the s(r+ is in the east, and the s(r+ is in the .est, &a-ing
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a great stir .ith the t.o noises, and they hitting one on the other. 9:## ha2e no *a## no. to )e going do.n and getting 4o#y 8ater in the dar- nights a+ter Sa&hain, and 9 .on:t *are .hat .ay the sea is .hen the other .o&en .i## )e -eening. KL0o NoraH: <i2e &e the 4o#y 8ater, Nora3 there:s a s&a## s(% sti## on the dresser. So(r*e @ 8i-i%edia

&eneral understanding
0he %#ay )egins .ith Ma(rya, .ho has +a##en into a +it+(# s#ee%. She is *ertain that her son, Mi*hae#, has dro.ned, e2en tho(gh she has no %roo+, and has )een *onstant#y grie2ing +or nine days. 1ath#een, her da(ghter, is doing ho(seho#d *hores .hen Nora, another da(ghter arri2es. She 5(iet#y s#i%s into the -it*hen .ith a )(nd#e that had )een gi2en to her )y a yo(ng %riest. 9n the )(nd#e are *#othes ta-en +ro& the )ody o+ a &an .ho dro.ned in the +ar north. 0hey .ere sent to Ma(rya:s ho&e, ho%ing that she .o(#d )e a)#e to identi+y the )ody. Ma(rya )egins to #oo- as i+ she is going to .a-e (% soon, so the da(ghters hide the )(nd#e (nti# a ti&e .hen they are a#one. Ma(rya a.a-es, and her +ear +or #osing her on#y re&aining son Bart#ey intensi+ies her grie2ing +or Mi*hae#. Oee% in &ind, she has a#ready #ost +i2e sons and a h(s)and to the sea. 0he %riest *#ai&s that that insatia)#e tyrant .i## not ta-e her si/th. 4o.e2er, Bart#ey %ro*#ai&s that he is going to 2ent(re o2er to the &ain#and that sa&e day, in order to se## a horse at the +air, des%ite -no.ing o+ the high .inds and seas. Ma(rya )egs Bart#ey not to go, yet he insists des%ite her %#eas. 9n a +#(stered state o+ irritation, Ma(rya )ids hi& gone .itho(t her )#essing. U%on seeing these e2ents (n+o#d, the sisters te## Ma(rya, that she sho(#d go o(t and sear*h +or Bart#ey in order to gi2e hi& the #(n*h that they he had +orgotten to )ring, and .hi#e at it, gi2e hi& her )#essing. Ma(rya agrees to go, and on*e she is gone, the gir#s o%en the )(nd#e. 0hey +ind that they .ere indeed Mi*hae#:s *#othes, )(t at #east they ha2e the *o&+ort o+ -no.ing he got a res%e*ta)#e 1hristian )(ria# .here he .ashed (% in the north. At this %oint, Ma(rya ret(rns e2en &ore +#(stered and terri+ied )e+ore. She has seen a 2ision o+ Mi*hae# riding on the #ead horse )ehind Bart#ey. Be*a(se o+ this, she is s(re Bart#ey is doo&ed to die at sea. 0he gir#s then sho. her Mi*hae#:s *#othes, and she e/*#ai&s that the ni*e .hite )oards she had )o(ght +or Mi*hae#:s *o++in &ay no. )e (sed +or Bart#ey:s instead. As she says this, the neigh)ors L.o&enH enter, their 2oi*es raised in .hat the %#ay *a##s a -een, or .ai#ing #a&ent +or the dead. Men +o##o. the .o&en, .ho )ring in the )ody o+ Bart#ey, .ho, s(re eno(gh, is dead. 4e has )een -no*-ed o++ a *#i++ into the s(r+ )e#o. )y the horse he .as #eading. 0he %#ay ends .ith
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Ma(rya:s +ata# s()&ission as she says, 0hey:re a## gone no. and there isn:t anything &ore the sea *an do to &e. 0his %#ay res(#ted in the %()#i* ha2ing an interesting o(t#oo- to the sea. 8hereas )e+orehand the sea .as a#.ays &ysterio(s and ad2ent(ro(s, it no. )e*a&e &e#odra&ati* and de%ressing. 0his had a so&e.hat si&i#ar e++e*t to Ja.s in the &id E0s, *hanging %eo%#es: 2ie.s o+ .ater and the o*ean, )(t on a #esser s*a#e.
111111111111111111111111111111111111111111111111111111111111111111111111

Analysis of /. #. .ynge2s 3-iders to the .ea2 as a 4ne Act Tragedy.

5erman 4uld defines one act play as, 6it may be neat, compact and rigid; but it may also be wayward, e pansive and fle ible. .o long as it does not conflict with the fundamental principles of drama, it may venture into a hundred different directions and e ploit almost as many themes as the ingenuity and inventiveness of the author can suggest7. .uch rules are never fi ed and may change its degree of intensity. .ometimes the setting or impression or character does play vital roles in one act play. 8or e ample, 9.9. /acob2s 6The #onkey2s 0aw7 or &alsworthy2s 6The Little #an7 or /. #. .ynge2s 6-iders To the .ea7 are characteristically so different yet great one act plays. Let2s focus our discussions on /. #. .ynge2s 6-iders To the .ea7 as a one act play and discuss its natural setting, plot construction, characteri'ation and overall impressions on life.

In analy'ing /. #. .ynge2s6-iders To the .ea7 veteran critic A.(. 9ord has rightly said, 6-iders To the .ea7, a one!act tragedy drew on Irish sub"ect matter in portraying the tragedy of an Aran woman who loses her husband and her five sons to the sea, must be ranked as .ynge2s greatest achievement and perhaps as the only true tragedy in modern literature for it truly cleanses by pity and terror7. .ynge2s superb mastery in handling the form of one!act play to embody his uni$ue tragic vision with minimum means is very much evident in the drama. -adical e periments within a basically realistic framework were undertaken here by /. #. .ynge who ob"ectively observed and shown on stage the Irish lives and relationships to sea fully and accurately.

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The drama by virtue of being a one!act play necessarily limits .ynge2s scope. :ut, in that limited scope .ynge has achieved tremendous effect of tragic impact. The result is one of the most deeply moving tragedies ever written. : y the very compulsion of the form of the one!act play, .ynge has to avoid all sorts of superfluities and unnecessary details. 5e has strictly adhered to the principles of compression, condensation and compactness.

:revity in plot construction, characteri'ation and dialogue is the hall mark of a successful one!act play. .ynge has ruthlessly avoided subplot, multiplicity of characters and unnecessary happenings. The whole action is concentrated on a poor fisherman2s cottage. The story is about a family of four. #aurya, the old peasant woman had already lost nine male members of her family including five of her sons in the sea. The fifth son whom she has "ust lost is #ichael. 5is body has not yet been found. #aurya has been lamenting for nine days and is lying down e hausted and disconsolate. The sea is rough and a strong wind is blowing. #aurya and everyone else in the family are waiting for a favourable wind when the boy may be washed ashore. The only surviving son, :artley has procured white boards for #ichael2s coffin and a piece of new rope for tying up the body is hanging by the boards. The scene!opens with (athleen and ;ora, the two daughters of #aurya talking about the restlessness and tension of the mother who is spending sleepless nights since #ichael is missing in the sea. The two sisters talk in a hushed tone so that their mother can not know what they are talking about. ;ora, the younger sister comes with a bundle of shirt and stockings found on a dead man washed ashore in )onegal. The priest has given the bundle to ;ora to ascertain whether they are #ichael2s. 5earing the unsteady footsteps of their mother they hide the bundle, so the specter of death and destruction looms large from the beginning. #aurya learns from :artley that he will go to the &alway 8air to sell horses. .he tries frantically to dissuade him from undertaking the perilous "ourney. The moon with a star close by is to #aurya2s mind an evil omen. :ut, :artley has the compulsion to go out. 4n the eve of his departure, she forgets to utter the words of blessings and give him the piece of cake. .he decides to go to the spring well on foot through a shorter route to meet.

#aurya is on his way to the sea shore for giving him the cake and blessings. 9hile waiting for :artley to pass by she has a horrible vision of dead #ichael riding on a grey pony behind :artley. And to her the vision means nothing but the doom of :artley. .he saw in vision the ghost of #ichael riding the grey pony behind :artley on his red mare. 9hile describing her e perience to the daughters #aury says that her vision is much more horrible than what :ride )ara had e perienced in vision. In Irish legend it is told that :ride )ara had the vision of a dead man holding a child in his arms. #aurya2s vision comes true very soon as :artley2s dead body is carried home. Thus, .ynge has built up the tragic atmosphere and prepared us ade$uately for the (atastrophe, namely the death of :artley, the last surviving son of #aurya.

This is how .ynge in his one!act play has achieved tremendous success in sustaining the unrelieved pathos by concentrating on a single scene in a cottage. ;o digression is allowed to hamper the unity of impression. This has given the drama a uni$ue intensity. .ynge has not allowed anything to be long drawn. The main thread is never lost sight of. An overwhelming sense of doom haunts us from the very start. The structural compactness in .ynge2s drama reminds us of the same in the &reek tragedies. The dramatic unities are scrupulously observed here. The action takes place in a fisherman2s

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cottage and in one day. .ynge has prepared the tragic background by reporting the past tragic incidents and not by making them happen on the stage. .trikingly, The Aran .ea on the background is always rolling as )estiny bringing us step by step through hints and forebodings to the catastrophe of the drama.

Indeed, .ynge2s 3-iders to the .ea2 has duly been acclaimed by all as the most ideal specimen of one! act play that can only be compared to Lady &regory2s 6The &aol &ate7 in point of the conscience of )estiny.

SYNGES RIDERS TO THE SEA: The Colonial Image Refuted

Riders to the Sea is a tragedy portraying the sort of poor Irish peasant family which had previously supplied material for comedies on London stages. Though set in contemporary Ireland, the play provides a window into the life of the people in ancient times: the life of the Aran community is archaic: untouched by modern life, untouched by colonialism. The power of the sea is the main theme of the play: it is both provider and destroyer; it provides life, connection with the mainland, but it takes life. The dramatic structure of the play centres around the sea: in the beginning there is suspense as to whether the sea has given back the dead body of the young man it has taken. At the end there is suspense as to whether the last remaining son will survive the storm. The power of the elements is demonstrated to the audience in the opening scene as the wind tears open the door of the cottage. The main epic speech describes the destruction of the men of the family. As the old woman tells of past tragedies, the ne t and last one is re!enacted. This shows the audience that her presentiments and fears were "ustified; it demonstrates the struggle with the elements and the cycle of death; the ancient ritual of the community in the face of death; the stoic resignation and strength of the old woman. #any elements of the play remind one of the classical tragedies of anti$uity: the compelling structure, the foreshadowing of the tragedy and its inevitability, the element of guilt which is not personal guilt, the stoic acceptance of fate, the great simplicity and dignity of the main character. The play is not a political parable, but it had a significant political impact. It counteracted the colonial view of the Irish as a rather savage, primitive
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uncultured people. It shows a family struggling against overwhelming odds to survive, and maintaining dignity in defeat. It shows that poverty does not of necessity mean poverty of spirit. The richness and spirit of the Irish language is recreated in %nglish modelled on &aelic speech patterns. The play reduces the colonial period to an episode in the history of the Irish, as it provides a picture of how the people lived down the centuries. It could have given the audience a sense of hope: if a people survived thousands of years battling against the elements, then surely a struggle against mere human unreason could ultimately be successful.

NOTES ON SYNGES RIDERS TO THE SEA

! The life of the I"lande#":

A subsistence life: tiny cottage, no windows, they have what they can make ! make their own clothes from their own wool; live on fish and potatoes; they buy only flour and tea from money made selling a horse or a pig; they burn turf they cut themselves; make their own fertili'er from seaweed. They live very isolated lives: if a stranger comes by, they remember not only what they bought from him, but e actly what he said. Their contact with and knowledge of the world, and indeed of Ireland, is very limited: it is the traveller who tells them how far away (ounty )onegal is ! distance is measured in the time needed to walk it. There is a strict divison of labour between men and women: women do not fish or sell; they farm, mind animals and house, prepare food and clothes.
$! The dominan%e of the "ea:

The sea is both provider and destroyer: provides life, connection with the mainland, but it takes life. Its power is the main theme of the play: illustrated for the audience by the tearing open of the door at the beginning, and by the descriptions given by the girls. Their sense of time, of direction is determined by the sea. The fishermen struggle to get a living out of the sea in tiny, frail boats made of tarred canvas, which they make themselves. The dramatic structure of the play centres around the sea: in the beginning there is suspense as to whether the sea has given back the dead body of the young man it has taken. At the end there is suspense as to whether the last remaining son will survive the storm. The main epic speech *#aurya+s, describes the destruction of the men of the family. As the old woman tells of past tragedies, the ne t and last one is re!enacted. This shows the audience that her presentiments and fears were "ustified; it shows the struggle with the elements
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and the cycle of death most dramatically; it presents the ancient ritual of the community in the face of death; it shows the stoic resignation and dignity of the old woman. The type of %nglish used is modelled on &aelic speech and demonstrates the richness and poetry of Irish. The life of the people is presented as being archaic in many respects. It is true that the characters are shown to be (atholics, but the beliefs of ancient times are seen to be very much alive: black hags and spirits haunt the seas; #aurya sees the ghost of her dead son, and all interpret this as a sign that the last son is doomed. The dead man takes the last remaining son with him. *This ancient belief in the malevolence of the dead and the threat they constitute to the living led to the placing of heavy stones on graves in the hope that the spirit of the dead would not be able to get out and haunt the living., The priest is almost pitied by #aurya as a young man who doesn+t really know what he is talking about and who can offer neither sound advice nor comfort, though he tries his best. There is a great sense of the world of the spiritual, (atholic and older elements intermingling without conflict. #any elements of the play remind one of the classical tragedies of anti$uity: the compelling structure, the foreshadowing of the tragedy and its inevitability, the element of guilt which is no personal guilt, the stoic acceptance of fate, the great simplicity and dignity of the main character.

Riders to the Sea

by (ohn !illington Synge

<<<<<<<<<<<

-iders to the .ea is a play written by Irish playwright /. #. .ynge. It was first performed on 8ebruary =>,?@AB at the #olesworth 5all, )ublin by the Irish ;ational Theater .ociety. A one!act tragedy, the play is set in the Aran Islands, and like all of .ynge+s plays it is noted for capturing the poetic dialogue of rural Ireland.
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Im ortant Characters
4nly four characters are named: #aurya, an elderly Irishwoman, her daughters (athleen and ;ell, and her son :artley.

Also mentioned are #aurya+s deceased sons .hawn, .heamus, .tephen, 0atch, and #ichael.

Plot Syno sis

#aurya has lost her husband, father!in!law, and five sons to the sea. As the play begins ;ell and (athleen receive word that a body that may be their brother #ichael has washed up on shore in )onegal, far to the north. :artley is planning to sail to (onnemara to sell a horse, and ignores #aurya+s pleas to stay. As he leaves, #aurya predicts that by nightfall she will have no living sons, and her daughters chide her for sending :artley off with an ill word. #aurya goes after :artley to bless his voyage, and ;ora and (athleen receive clothing from the drowned corpse that confirms it as their brother. #aurya returns home claiming to have seen the ghost of #ichael riding behind :artley and begins lamenting the loss of the men in her family to the sea, after which some villagers bring in the corpse of :artley, who has fallen off of his horse into the sea and drowned.

#nalysis
This little drama, while it has none of the uproarious CrompingC of The 0layboy of the 9estern 9orld, is still an unmistakable indication of /ohn #illington .ynge+s keen enthusiasm for all the concerns of human life. If he can take pleasure in the vitality and animal spirits of a (hristy #ahon, he can likewise savor the dumb tragedy of a #aurya. The play is a picture, compressed and synthesi'ed, of the helplessness of a mother in her hopeless struggle with the sea.

.ynge+s perfect mastery of words is one of his greatest assets. Like .hakespeare, he can at once supply environment, create atmosphere, paint
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word!pictures. That sharp contrast between the homely and everyday in life and the gruesomeness of death is clearly drawn in -iders to the .ea. :artley says: C9here is the bit of new rope, (athleen, was bought in (onnemaraDC and (athleen replies: C&ive it to him, ;ora, it+s on a nail by the white boards. I hung it up this morning, for the pig with the black feet was eating it.C This is what Eeats means when he speaks of .ynge+s loving all that has edge. In Fale, the second volume of his 5ail and 8arewell, &eorge #oore wrote of -iders to the .ea: C... when I heard this one!act play, it seemed very little more than the GGGGGGGs of .ynge+s notebook, an e periment in language rather than a work of art, a preparatory essay; he seemed to me to have GGGGGGGed himself with relating a painful rather than a dramatic story, his preoccupation being to discover a style, a vehicle of e pression....C And the incident is painful rather than dramatic, for the struggle must be felt in the background, it cannot be seen and participated in by the audience. (onse$uently, we might almost feel that the struggle here depicted was so hopeless as to leave no room for anything but dumb submission. A true tragedy ought to give the hero a chance to fight; here the dice are loaded. The play is, however, a powerful and beautiful picture.

-iders to the .ea serves to illustrate the essential difference between the one! act play and the play in two or more acts: since the former is almost always concerned with but a single incident, it is capable of very little development. ;ow a tragedy is not a fact nor an event; it must show great and strong characters !! or a least characters in which there is potential greatness or strength !! struggling with forces which are finally too great to overcome. And we must see the struggle. A tragic figure must have the opportunity to fail honorably, and we wish to see him trying to evade his fate. 5amlet would be ordinary melodrama if he were deprived of his soul!revealing solilo$uies; 4edipus, too, if we could not follow the Hing+s efforts to escape what was decreed. A one!act play can scarcely more than indicate the result of a struggle. The last act of 5amlet is not a tragedy in itself, and -iders to the .ea, like that last act, is but the result of what has gone on for a long time before. At the end we feel something of the great sorrow and eventual peace of the old woman in her last words: C#ichael has a clean burial in the far north, by the grace of the Almighty &od. :artley will have a fine coffin out of the white boards, and a deep grave surely. 9hat more can we want than thatD ;o man at all can be living forever, and we must be satisfied.C .till, the struggle was wanting.

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# critical a

reciation of %Riders to the sea%

Riders to the Sea is a lay written by Irish laywright (. !. Synge. It was first erformed on )ebruary $*+,-./ at the !olesworth 0all+ Dublin by the Irish 1ational Theater Society. # one&act tragedy+ the lay is set in the #ran Islands+ and li"e all of Synge's lays it is noted for ca turing the oetic dialogue of rural Ireland. 2nly four characters are named: !aurya+ an elderly Irishwoman+ her daughters Cathleen and 1ora+ and her son 3artley. This story begins with a young Irish girl ba"ing and s inning in a cottage on the west coast of Ireland. 0er sister comes in+ carrying clothes of man who was drowned u the coast. They are waiting for their brother !ichael to be found because he disa eared for o4er than wee" + and they ha4e doubts that he is dead+ though they are holding ho e and they still trust that he is a li4e+ ho e ne4er dies really until one "nows for sure. #fter sometimes the girls "new that their brother is dead+ and they finally ha4e to tell their mother and that he got a decent funeral by the arish riest in a lace in the north. !eanwhile+ their younger brother has come. he was getting ready to go on a 4ery dangerous 5ourney to sell some horses at the )air. 0is mother is angry with him for wanting to go in such a bad weather. The sisters send her out to gi4e him some bread and her blessing+ but the mother came bac" and said that she can't allow him to go + and that she saw her dead son+ !ichael+ riding one of the horses .she "e t telling how her other men died and that her heart is bro"en already. She can't stand for the idea of loosing another son. She had bought wood for !ichael's coffin and at the end she use it for 3artley+ whom he drowned in the sea too. This lay as I thin" has a dee meaning. I really en5oyed reading it though it's sad story. It got a good moral within it + 1o one can li4e fore4er in this world 6 e4eryone is meant to die so we should belie4e in 7od's fate and be ready face it one day. #nd that e4eryone should listen to his belo4ed mother+ after all she is the one who lo4es you most.

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Summary %Riders To The Sea%

This story begins with a young Irish girl ba"ing and s inning in a cottage on the west coast of Ireland. 0er sister comes in+ carrying clothes of man who was drowned u the coast. They are waiting for their brother !ichael to be found because he disa eared for o4er than wee" + and they ha4e doubts that he is dead+ though they are holding ho e and they still trust that he is a li4e+ ho e ne4er dies really until one "nows for sure. #fter sometimes the girls "new that their brother is dead+ and they finally ha4e to tell their mother and that he got a decent funeral by the arish riest in a lace in the north. !eanwhile+ their younger brother has come. he was getting ready to go on a 4ery dangerous 5ourney to sell some horses at the )air. 0is mother is angry with him for wanting to go in such a bad weather. The sisters send her out to gi4e him some bread and her blessing+ but the mother came bac" and said that she can't allow him to go + and that she saw her dead son+ !ichael+ riding one of the horses .she "e t telling how her other men died and that her heart is bro"en already. She can't stand for the idea of loosing another son. She had bought wood for !ichael's coffin and at the end she use it for 3artley+ whom he drowned in the sea too. This lay as I thin" has a dee meaning. Since the son 3radley refuses to listen to his mother he did what he wanted and his death was the result. The 4iew of life here is miserable+ harsh+ and horrible+ where the only eace is death. To me it seems clear an merciless unishment of the son+ e4eryone should listen to his belo4ed mother+ after all she is the one who lo4es you most.

8uotations %She's lying down+ 7od hel her+ and may be slee ing+ if she's able.%
This 9uotation is 9uoted from% Riders to the sea% by (. !. Synge. This s eech is said by Cathleen to her younger sister Nora in the cottage when she was "nitting and .....ng. In these lines she is referring to her mother whom was in a bad and a sad mood because she lost her husband and other sons+ and in awful situation because her son Michael is missing. This is the first hint in the lay which added sus ense and tension to the e4ents that the mother will face tragic roblems later .

6age 7 2C

%Its hard set we'll be surly the day you're drowned with the rest. :hat way will I li4e and the girls with me+ and I an old woman loo"ing for the gra4e?%
This 9uotation is 9uoted from% Riders to the sea% by (. !. Synge. This s eech is said by the mother !aurya to her son Bartley in the cottage when 3artley was about to leave. In these lines the mother is as"ing and a ealing 6 leasing her son to stay and not to go + she is telling him that he is im ortant in her life and that he is the last male she got+ if he drowned li"e the others she won't bear it. She is trying to catch his mercy 6 ity by saying that she is 4ery old 6 near to die+ she can't ta"e care of two ladies whom doesn't ha4e a male to loo" after or guard and rotect them.

%1o man at all can be li4ing fore4er+ 6 we must be satisfied.%

This 9uotation is 9uoted from% Riders to the sea% by (. !. Synge. This s eech is said by Maurya in front of her daughters & other villagers after she found out about Bartley's death. She is raying for all her male family members whom died in the sea. This line shade the light in Muarya's character, she acce ted her fate and she reali;e the reality of life that 1o one can li4e fore4er in this world 6 e4eryone is meant to die so we should belie4e in 7od's fate and be ready face it one day.

6age 7 2D