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The Rendering of Irish Characters in Selected Plays by J.M. Synge Diplomarbeit

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The Rendering of Irish Characters in Selected Plays by J.M. Synge Diplomarbeit The Rendering of Irish Characters in Selected Plays by J.M. Synge Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Deborah SIEBENHOFER am Institut für Anglistik Begutachter: Ao. Univ.-Prof. Mag. Dr. phil. Martin Löschnigg Graz, 2010 I dedicate this thesis to my mother in profound gratitude for her endless patience, support, and encouragement. 1 Pastel drawing of J. M. Synge by James Paterson, 1906 And that enquiring man John Synge comes next, That dying chose the living world for text And never could have rested in the tomb But that, long travelling, he had come Towards nightfall upon certain set apart In a most desolate stony place, Towards nightfall upon a race Passionate and simple like his heart (W. B. Yeats, “In Memory of Major Robert Gregory”) 2 Table of Contents List of Abbreviations .............................................................................................................. 5 1. Introduction ........................................................................................................................ 6 1.1. The Irish National Theatre ........................................................................................... 8 1.2. The Stage Irishman .................................................................................................... 12 1.2.1. The Stage Irishman up to the 19th Century ......................................................... 12 1.2.2. The 19th Century ................................................................................................. 14 1.2.3. The 20th Century ................................................................................................. 16 2. John Millington Synge and Irish Drama .......................................................................... 18 2.1. A Brief Biographical Note ......................................................................................... 18 2.2. The Evolution of the Dramatist - Darwin and the Aran Islands ................................ 19 2.2.1. “He found his genius and his peace” – The Aran Islands .................................. 20 2.2.2. Nature and Naturalism ....................................................................................... 22 2.3. Primitivism and Synge‟s Conception of „Irishness‟ .................................................. 23 2.3.1. „Orientalism‟ ...................................................................................................... 26 2.4. “The delicate harmony of thought and phrase” - Synge‟s Concern with Language . 28 2.4.1. Linguistic Devices and Anglo-Irish Features in Synge‟s Drama ....................... 30 2.4.2. “Every life is a symphony” – Rhythm in Synge‟s Drama .................................. 32 3. The Shadow of the Glen ................................................................................................... 34 3.1. The Play ..................................................................................................................... 34 3.1.1. Source and Adaptation ....................................................................................... 35 3.1.2. Setting ................................................................................................................. 36 3.1.3. Cognitive Dissonance ......................................................................................... 37 3.2. The Portrayal of Irish Characters in Shadow ............................................................. 38 3.2.1. Dan Burke and Michael Dara ............................................................................. 39 3.2.2. The Tramp and Patch Darcy ............................................................................... 41 3.2.3. Nora Burke ......................................................................................................... 45 3.3. Sex, Marriage, and Divorce ....................................................................................... 47 3.4. An Un-Irish Play? – Audience Reception of Shadow ............................................... 49 3.4.1. Nationalist Reception of Shadow ....................................................................... 50 4. Riders to the Sea ............................................................................................................... 53 4.1. The Play ..................................................................................................................... 53 4.1.1. Source and Adaptation ....................................................................................... 54 4.1.2. Setting ................................................................................................................. 57 3 4.1.3. “Tá sé imighte uaim” - The Keen ....................................................................... 58 4.2. The Portrayal of Irish Characters in Riders ............................................................... 59 4.2.1. Bartley ................................................................................................................ 60 4.2.2. Cathleen and Nora .............................................................................................. 61 4.2.3. Maurya ............................................................................................................... 63 4.2.4. Offstage Characters ............................................................................................ 66 4.3. Forebodings of Doom: Celtic Mythology in Riders .................................................. 68 4.3.1. Transgressing Folk Customs .............................................................................. 69 4.4. “We need sunshine badly” –Audience Reception of Riders ..................................... 70 4.4.1. A Universal Piece of Art .................................................................................... 71 5. The Playboy of the Western World ................................................................................... 73 5.1. The Play ..................................................................................................................... 73 5.1.1. Source and Adaptation ....................................................................................... 74 5.1.2. Setting ................................................................................................................. 76 5.1.3. Playboy as Satire of Celtic Heroic Circles – “A hero for the modern world” ... 78 5.2. The Portrayal of Irish Characters in Playboy ............................................................ 80 5.2.1. Christopher “Christy” Mahon ............................................................................ 81 5.2.2. Margaret Flaherty – Pegeen Mike ...................................................................... 85 5.2.3. Shawn “Shaneen” Keogh ................................................................................... 88 5.2.4. Widow Quin ....................................................................................................... 89 5.2.5. Michael James Flaherty and Old Mahon ............................................................ 91 5.3. Paganism versus Christianity..................................................................................... 94 5.4. “Irish humour is dead, MacKenna, and I‟ve got influenza” – Audience Reception of Playboy ................................................................................................................................. 95 5.4.1. The Playboy Riots .............................................................................................. 95 5.4.2. Nationalism and Synge‟s Stage Irishmen ........................................................... 98 6. Conclusion ...................................................................................................................... 100 Bibliography ........................................................................................................................... 104 Primary Literature .............................................................................................................. 104 Secondary Literature .......................................................................................................... 104 Webliography ..................................................................................................................... 111 4 List of Abbreviations AI: Synge, J. M. (1992). The Aran Islands [1907]. Ed. Tim Robinson. London: Penguin. CLI/II: Saddlemyer, Ann, ed. (1983). The Collected Letters of John Millington Synge: Volume I/II. Oxford: OUP. CoW: Synge, J. M. (2008). The Complete Works of J. M. Synge: Plays, Prose and Poetry. Ed. Aidan Arrowsmith. Hertfordshire: Wordsworth Editions. CWI-IV: Synge, J. M. (1966/1982). Collected Works I-IV. Ed. Robin Skelton. Oxford: OUP. NB: Synge‟s notebooks TS: Synge‟s typescripts Playboy: The Playboy of the Western World (1907) Riders: Riders to the Sea (1904) Shadow: The Shadow of the Glen (1903) 5 1. Introduction John Millington Synge (1971-1909) was probably the most controversial Irish dramatist of his time and a key figure of the Anglo-Irish literary revival. In his daring and innovative attempt to portray Irish rural life realistically, he refused to adhere to conventional stereotypes. Instead, he created an unsentimental, naturalistic peasant drama based on his observations of Irish customs and comparative folk literature. In
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