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play is an examination of that idea as he has a set of deeply religious characters who find themselves at odds with an unbeatable force of nature (this being the sea). While the family is clearly
Catholic, they still find themselves wary of the supernatural characteristics of natural elements, an idea very present in Celtic paganism.
178:
the drowned corpse that confirms it was
Michael. Maurya returns home claiming to have seen the ghost of Michael riding behind Bartley and begins lamenting the loss of the men in her family to the sea, after which some villagers bring in the corpse of Bartley. He fell off his horse into the sea and drowned.
172:
Maurya has lost her husband and five sons to the sea. As the play begins Nora and
Cathleen receive word from the priest that a body, which may be their brother Michael, has washed up on shore in County Donegal, on the Irish mainland north of their home island of Inishmaan. Bartley is planning to sail
233:
The characters of the play are at all times in contact with and accepting of the reality of death, the sea and drowning especially being a constant threat. They are caught between the dual realities of the sea as a source of livelihood and a fatal threat. The objects and culture of death in the form
188:
They're all gone now, and there isn't anything more the sea can do to me.... I'll have no call now to be up crying and praying when the wind breaks from the south, and you can hear the surf is in the east, and the surf is in the west, making a great stir with the two noises, and they hitting one on
177:
to sell a horse, and ignores Maurya's pleas to stay. He leaves gracefully. Maurya predicts that by nightfall she will have no living sons, and her daughters chide her for sending
Bartley off with an ill word. Maurya goes after Bartley to bless his voyage, and Nora and Cathleen receive clothing from
215:
The pervading theme of this work is the subtle paganism Synge observed in the people of rural
Ireland. Following his dismissal of Christianity, Synge found that the predominantly Roman Catholic Ireland still retained many of the folktales and superstitions born out of the old Celtic paganism. This
224:
Another main theme of the play is the tension between the traditional and modern worlds in
Ireland at the time. While Maurya, representative of the older Irish generation, is immovably tied to the traditional world and inward-looking, Nora, representative of the younger generation is willing to
33:
96:
to visit the Aran
Islands. He went on to spend the summers from 1898 to 1903 there. While on the Aran Island of Inishmaan, Synge heard the story of a man from Inishmaan whose body washed up on the shore of an island of
625:
Ruckenstein, Lelia and James A. O'Malley. "Irish
Revival; John Millington Synge; "Everything Irish: The History, Literature, Art, Music, People and Places of Ireland, from A-Z. New York: Ballantine, 2003,
80:, and like all of Synge's plays it is noted for capturing the poetic dialogue of rural Ireland. The plot is based not on the traditional conflict of human wills but on the hopeless
267:
and, notably, Synge's bereaved fiancée Marie O'Neill. Hurst had been mentored in
Hollywood by John Ford, and Ruth Barton describes scenes in the film as "remarkably Fordian."
588:
illustrations de Jack B. Yeats. Éditions Folle avoine, 1993, 96 p., 13.72 €; réédition dans Théâtre complet. , Éditions Actes Sud, « Babel » n° 199, 1996, 324 p.
705:
436:
566:
Théâtre. , Éditions
Gallimard, 1942; rééditions : , Librairie théâtrale, « Éducation et théâtre. Théâtre de répertoire » n° 18, 1954, 1978, 16 p.,
451:
225:
change with the outside world and therefore outward-looking. Cathleen, the eldest daughter struggles to bridge these two worlds and hold both in balance.
542:
821:
816:
628:
Donnelly, James S. "Drama, Modern; Literary Renaissance (Celtic Revival);" Encyclopedia of Irish History and Culture. Vol. 2. Detroit: Gale, 2004.
234:
of coffins, keening, and mourning are prevalent in the play and are closely based on Synge's observations of the culture of the Aran Island.
148:
Cathleen: Maurya's elder daughter, tries to keep her mother from dying from grief by identifying her deceased brother Michael's clothing.
698:
298:
826:
136:. These include the identification of the drowned man by his clothing and the account of a man's ghost being seen riding a horse.
767:
145:
Maurya: Grief-stricken widow and mother of eight children Cathleen, Nora, Bartley, Shawn, Sheamus, Stephen, Patch, and Michael.
130:
Several scenes in the play are taken from stories Synge collected during his time in the Aran Islands and recorded in his book
691:
157:
Maurya's sons Shawn, Sheamus, Stephen, Patch, and Michael, as well as Maurya's husband are all deceased when the play begins.
252:
362:
160:
There is also a priest character who is never seen but is quoted by Cathleen and Nora in the beginning of the play.
53:
735:
292:
17:
490:
507:
Kennedy, J. (2004-01-01). ""Sympathy Between Man and Nature" Landscape and Loss in Synge's Riders to the Sea".
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illustrations de Roland Topor. , Éditions La Délirante, 1975, 1978, édition revue, illustrations de
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The play has been translated in French by Georgette Sable and it has been published by Anthropomare
806:
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Bourgeois, Maurice. John Millington Synge and the Irish Theatre. Bronx, NY: B. Blom, 1965.
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Eamon Simon, Stephen Pheety, and Colum Shawn are the neighbors and friends of Bartley.
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Bartley: Maurya's youngest and only living son, has died by the end of the play.
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323:(1926-2020) also set the play as a one-act opera, using the same title (1996).
642:
370:
190:
610:
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197:, and I won't care what way the sea is when the other women will be keening.
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struggle of a people against the impersonal but relentless cruelty of the sea
174:
73:
520:
186:(raising her head and speaking as if she did not see the people around her)
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316:(1911–2000) also set the play as an opera, using the same title (1972).
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A 1987 47-minute color movie directed and adapted by Ronan O'Leary with
201:
Give me the Holy Water, Nora; there's a small sup still on the dresser.
194:
69:
478:
287:(1872–1958) made an almost verbatim setting of the play as a one-act
61:
60:. It was first performed on 25 February 1904 at the Molesworth Hall,
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Nora: Maurya's younger daughter, helps her sister with their mother.
676:
Official legacy website of the director with filmography including
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389:(Riders to the Sea, 1903; 1904) translated by Maurice Bourgeois,
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At least two motion picture versions of the play have been made:
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In 1897, J. M. Synge was encouraged by his friend and colleague
687:
189:
the other. I'll have no call now to be going down and getting
115:
dialect of the Aran Islands. Synge's use of phrasing from the
452:"Synge's Riders to the Sea: Island as Cultural Battleground"
509:
Interdisciplinary Studies in Literature and Environment
334:, a one-act opera, (1924), libretto by Rabaud based on
127:
looked to encourage pride and nationalism in Ireland.
16:This article is about the play. For the opera, see
181:This speech of Maurya is famous in Irish drama:
656:A collection of Synge's short plays, including
338:, debut in Paris, Salle Favart, April 10, 1924
183:
425:. Methuen. pp. Introduction to the Plays.
255:, 40-minute black-and-white movie directed by
699:
64:, by the Irish National Theater Society with
8:
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435:: CS1 maint: location missing publisher (
374:a stage reenactment of all Synge's plays.
27:1904 play written by John Millington Synge
410:
543:"Liste_publications_riders_to_the_sea"
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416:
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401:), translated by Françoise Morvan.
393:, translated by Fouad El-Etr, and
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609:Rines, George Edwin, ed. (1920).
301:(1927–2008) wrote a light opera,
768:The Playboy of the Western World
641:
605:. New York: Vintage Books, 1935.
274:(in her final film appearance).
822:Irish plays adapted into films
817:Plays by John Millington Synge
366:is a one-act play adaptation.
259:with screenplay adaptation by
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459:Twentieth Century Literature
385:Other translations include:
450:Leder, Judith Remy (1990).
68:playing Maurya. An one-act
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305:(1963), that was based on
54:Irish Literary Renaissance
39:as Maurya, photo taken by
15:
827:Plays adapted into operas
736:In the Shadow of the Glen
722:
612:"Riders to the Sea"
423:Synge: The Complete Plays
193:in the dark nights after
20:. For the 1936 film, see
18:Riders to the Sea (opera)
22:Riders to the Sea (film)
220:Tradition vs. modernity
784:Deirdre of the Sorrows
752:The Well of the Saints
618:Encyclopedia Americana
363:Señora Carrar's Rifles
285:Ralph Vaughan Williams
203:
121:Irish Literary Revival
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728:When the Moon has Set
716:John Millington Synge
672:Full text of the play
395:Cavaliers vers la mer
283:The English composer
72:, the play is set at
58:John Millington Synge
52:is a play written by
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776:The Tinker's Wedding
521:10.1093/isle/11.1.15
399:L’Ombre de la vallée
387:Ă€ cheval vers la mer
140:Principal characters
94:William Butler Yeats
421:Hern, T.H. (1963).
349:'s piece is titled
257:Brian Desmond Hurst
603:The Complete Plays
391:Cavaliers Ă la mer
319:American composer
111:is written in the
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794:
793:
744:Riders to the Sea
678:Riders to the Sea
669:Riders to the Sea
658:Riders to the Sea
649:Riders to the Sea
646:The full text of
336:Riders to the Sea
332:L’appel de la mer
307:Riders to the Sea
109:Riders to the Sea
103:Riders to the Sea
101:, which inspired
49:Riders to the Sea
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133:The Aran Islands
125:Irish literature
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330:(1873-1949)
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314:Eduard PĂĽtz
238:Adaptations
66:Helen Laird
56:playwright
807:1904 plays
801:Categories
596:References
553:2009-04-06
371:DruidSynge
293:same title
191:Holy Water
88:Background
714:Plays by
529:1076-0962
487:164099659
431:cite book
303:Spindrift
199:(To Nora)
175:Connemara
74:Inishmaan
351:Threnody
295:(1927).
229:Fatalism
211:Paganism
195:Samhain
76:in the
70:tragedy
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479:441822
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243:Cinema
206:Themes
62:Dublin
43:, 1938
494:(PDF)
483:S2CID
475:JSTOR
455:(PDF)
405:Notes
357:Stage
342:Dance
289:opera
279:Opera
263:with
525:ISSN
437:link
253:1935
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517:doi
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