This enjoyable detour in my reading came about due to the references in Ghost Light by Joseph O'Connor regarding the famous 1907 play by J.M. Synge.

Dubbed a 'comic masterpiece', it narrates the story of a man who becomes a town hero, highly sought after by all the young women, after bragging that he murdered his father! The first performance was met with riots, perhaps demonstrating that all publicity is good publicity.

I listened to the radio broadcast version by L.A Theatre Works via audiobooks (Overdrive) from my county library. I'm certain that listening to this play as opposed to reading it significantly enhanced the experience. It was superbly delivered in an Irish brogue, with an acclaimed performance starring Orson Bean and Alley Mills.

The combination of the engaging story and the excellent audio presentation made it a truly memorable experience. It allowed me to immerse myself in the world of the play and appreciate the nuances of the dialogue and the characters.

Overall, it was a wonderful addition to my reading journey and a great way to discover a new work of literature.

The Playboy of the Western World, Deirdre of the Sorrows, and Riders to the Sea stand as some of the most remarkable twentieth-century plays I have ever had the pleasure of reading. Collectively, they showcase the remarkable versatility of J. M. Synge as a playwright. Each play represents a distinct genre of drama. Playboy is a three-act magnum opus that seamlessly blends comedy, tragedy, and romance. Deirdre of the Sorrows is a tragic epic, inspired by a well-known pre-Christian Irish myth, not unlike Shakespeare's Macbeth. Riders to the Sea, in contrast to the former two, is a concise one-act play that vividly portrays the ordinary yet catastrophic misfortunes that befall the simple people of the Aran Islands. It does so better than any other work of prose or poetry in all of Ireland.

Whether it's the unique Kiltartanese dialect, the unexpected plot twists, the absurdity, the unadorned characterization of Irish peasant life, the pathos of the romance, the power of the speeches, or the distinctly Irish sense of melancholy that pervades all his work, there are countless reasons to consider these plays masterpieces. The other plays in this collection, such as The Shadow of the Glen, The Tinker’s Wedding, and The Well of Saints, are also exceptional works of drama, albeit perhaps not of the same artistic caliber as the three plays mentioned above.

“Well, it’s a clean bed and soft with it, and it’s great luck and company I’ve won me in the end of time—two fine women fighting for the likes of me—till I’m thinking this night wasn’t I a foolish fellow not to kill my father in years gone by,” Christy famously ponders aloud in Playboy of the Western World. In just a few lines, even out of context, one can sense the vitality and energy of Synge's drama. I wholeheartedly encourage the reader to delve into Synge's body of work, which is all too often overlooked by both students and literary critics. His plays, with their deeply Irish essence, convey the Irish identity in a truly unique and powerful way.

Funny, inventive, insightful, important. These are the qualities that make a piece of writing truly stand out.

A funny article has the power to make us laugh out loud, brightening our day and relieving stress. It can use humor to approach serious topics, making them more accessible and engaging.

Inventiveness is another key aspect. An inventive article presents unique ideas, perspectives, or solutions that we may not have considered before. It challenges our thinking and encourages us to look at the world in a new way.

Insightfulness allows the author to delve deep into a subject, uncovering hidden meanings and connections. This kind of article provides valuable wisdom and understanding, helping us to make sense of complex issues.

Finally, an important article has the potential to make a real difference. It can raise awareness about a particular cause, inspire action, or influence change.

In conclusion, a great article combines these qualities to create a powerful and memorable piece of writing that leaves a lasting impact on the reader.

I have only read two plays so far. I'm reading them for a class I'm auditing, and before I go to the holy land, I hopeahopeahope to gain more understanding. And both of these plays are truly fantastic.

I have this particular thing when it comes to reading plays, and probably everybody does too. When reading a play, it creates this kind of Platonic ideal in my mind of what its perfect performance would be like - the inflections of the actors' voices, their gesticulations, the choice of actors, the stage settings, and so on. In a way, I don't really even want to see them performed onstage or on film. And yet, of course, I do so very much.

Playboy of the Western World was exactly as good as I'd always imagined it would be. It was vivacious, with alternating comic, absurd, deeply felt, and somewhat despairing moments. It was antic and febrile, but shot through with wonderful poetic sympathy and cultural flavor. Synge caused a scandal with this play, and why not? He satirized a certain aspect of the Irish world at that time. His intention was for the audience to laugh at the scenes onstage with all their buffoonery and caricature, but instead, the audience took a teeth-gritting, whoozisazzholetrynafool attitude and tore it up at the Abbey Theatre during the first week (!) it was performed. The actors, including the brilliant brothers Fay, had to finish the play in dumbshow.

***

I docked a star because some of the longer plays began to get a bit wearying, but Synge has definitely gained a fan in me.

I recently found myself reading three plays that, unfortunately, were somewhat tedious.

Throughout the reading process, I constantly found myself looking at the page numbers to see how many more pages there were left to endure.

I've been delving into a fair amount of drama lately, and perhaps as a result, my standards have risen while my tolerance has decreased.

Try as I might, I simply couldn't get fully immersed in the plots or become invested in the characters.

The stories seemed to lack the necessary depth and excitement to hold my attention.

It was a rather disappointing experience, leaving me longing for more engaging and captivating works of drama.

Hopefully, my next foray into the world of plays will yield more satisfying results.

“Are you coming to be killed a third time, or what ails you now?”

“There’s a great gap between a gallows story and a dirty deed.”

As I delved into Playboy of the Western World, my initial reaction was rather lukewarm - “meh” - until I focused on the language. Oh, the language! Synge's ability to capture the local way of speaking is truly remarkable. It reminds me of how Faulkner so masterfully captured the southern cadence and idioms. I wonder what Synge would have made of the recent translations from Gaelic to English of The Dirty Dust/Cre na Cille.

But as I contemplated the tale further, the folkloric elements began to surface. Especially as Christy elaborates on his story with each retelling, rising to hero status as an unknown who claims to have killed his father, only to be swiftly brought down. The interesting points of gender swapping, such as the mirror, the boots, the shaw, and petticoat, added another layer of intrigue.

To truly experience the language, I watched the movie directed by Brian Desmond Hurst. It was a delight to hear the words spoken aloud. Having the text beside me certainly helped. I recognized the actor who played The Playboy (Gary Raymond), but it took me a while to figure out where I'd seen him before. Thanks to IMDb, I discovered he was in the 1960s TV series The Rat Patrol. There's also a great clip on YouTube with Cillian Murphy as Christy.

[Update: While reading Ulysses Annotated, I came across note 10.936 (245.16) on “Lynchehaun.” It describes a James Walshe who assaulted and nearly killed a woman on Achill Island. He was captured, tried, escaped to America where he refused extradition, and later returned to Ireland in disguise, managing to escape again before being caught. He became one of the models for Christy in this play.]

In The Shadow of the Glen, we are presented with a stark examination of a loveless marriage. A younger woman marries an older man out of financial necessity. They live in a remote location and barely scrape by. He is suspicious of her interactions with passersby, and she has been skimming money and hiding it. When he fakes his death, he catches her plotting to remarry a younger man and kicks her out.

Riders to the Sea presents the harsh reality of struggling to survive against the forces of nature. It is regarded as one of the best one-act tragedies. It also offers an interesting exploration of the tension (?) between paganism and Christianity as society transitions.

These six plays, some of which are only one act long, whether they are tragedies or comedies, offer a remarkable portrayal of Irish rural life more than a century ago.

Synge's utilization of the 'Hiberno-English' that he encountered during his travels in western Ireland results in vivid, often lively, and even poetic dialogue. His plots question the prudishness and sentimentality surrounding peasant life in Ireland during his era and still manage to create powerful drama.

Although I have not yet witnessed any of his plays being performed, I have discovered that reading them is a delight.

The rich language and engaging stories draw the reader in and provide a unique window into a bygone era of Irish culture and society. It is truly a testament to Synge's talent as a playwright that his works continue to be relevant and captivating today.

Perhaps one day I will have the opportunity to see one of his plays on stage and experience the full impact of his artistry. Until then, I will continue to enjoy reading his works and exploring the fascinating world of Irish rural life that he so skillfully brings to life.

I just really love that people rioted over this.

It's truly fascinating to witness the intensity of emotions that can lead to such a powerful display of collective action.

The sight of a crowd coming together in a riot, with their voices raised and actions taking a more forceful turn, can be both thrilling and thought-provoking.

It makes one wonder what exactly drove these individuals to such lengths. Was it a sense of injustice, a desire for change, or perhaps a combination of multiple factors?

Regardless of the cause, the act of rioting serves as a vivid reminder of the power that lies within the people.

It shows that when enough individuals feel strongly about an issue, they are willing to take to the streets and make their voices heard in a way that cannot be ignored.

Moreover, these riots can often spark important conversations and bring attention to issues that might have otherwise remained hidden or overlooked.

They have the potential to inspire change and push society towards a more just and equitable future.

So, while the idea of a riot may seem chaotic and even dangerous at first glance, there is something undeniably captivating about the passion and determination that it represents.

It is a phenomenon that continues to intrigue and engage us, making us reflect on the complex nature of human emotions and the lengths we are willing to go to fight for what we believe in.

Maybe in reading this again this weekend I'll revise this view.

However, as of now, I didn't see much of the comedy here.

The story seemed to lack the elements that typically bring out laughter and amusement.

The characters' actions and dialogues didn't strike me as particularly humorous.

Perhaps there were some subtleties that I missed on the first reading, but overall, the comedic aspect was not very prominent.

I'm hoping that upon a second reading, I'll be able to discover the hidden comedic gems that I might have overlooked initially.

It could be that the author was going for a more understated or dry sense of humor that didn't immediately register with me.

Nonetheless, for now, my impression is that this piece didn't have a strong comedic impact.

What a truly hilarious play it is! Christy, initially, is dubbed as the "playboy of the western world" by the Widow Quin in a rather slant and chafing manner. As he manages to gain his street credibility, which extends beyond the urban mythology that grows around the supposed killing of his father, he is heralded as the town hero. He then engages in the beautiful lyricism of love with Pegeen. However, all of this comes crashing down when his father shows up and defames him, yelling, "Is this the playboy of the western world?" The crowd repeats this contemptuously.

In the end, after being resurrected a second time, his Mahon and Christy decide to quit the town. With them, they take their poetry and story. In that moment, Christy is truly made a man and walks away from Mayo's contempt for theatricality and poetry. Pegeen, who becomes the pot-boy once more, covers her head and grieves. She has lost the only thing that saved her from the mundane and gave her a taste of poetry. She has lost "the only playboy of the western world."

This play is a wonderful exploration of love, reputation, and the power of story. It keeps the audience entertained from start to finish with its engaging plot and colorful characters.

The story was pretty entertaining until the end.

It had me hooked from the beginning with its interesting plot and engaging characters. The author did a great job of building up the tension and keeping me on the edge of my seat.

However, I absolutely HATED the ending. It felt rushed and unsatisfying. All the build-up and anticipation led to a conclusion that was lackluster and left me with a sense of disappointment.

I was expecting something more profound and impactful, but instead, I was left with a feeling of "is that it?"

Overall, the story had its moments, but the ending really let it down. It's a shame because it had so much potential to be a great read.

Maybe the author could have spent more time developing the ending and tying up all the loose ends to create a more satisfying conclusion.

As it stands, I would still recommend the story to others, but I would warn them about the disappointing ending.

While the drama is indeed compelling when one finds oneself identifying with one of Synge's characters, for me, it was mostly mundane and boring. However, it must be noted that this drama, like most during that era, likely depends on experiencing the performance rather than simply reading it alone in the confines of one's house.

When watching a live performance, the energy of the actors, the set design, and the overall atmosphere can bring the story to life in a way that reading cannot. The nuances of the actors' expressions, the tone of their voices, and their body language can add depth and dimension to the characters and the plot.

In contrast, reading the drama alone can sometimes feel like a static experience. Without the visual and auditory cues provided by a live performance, it can be difficult to fully appreciate the subtleties of the story. However, this does not mean that reading the drama is without value. It can still provide an opportunity to analyze the text, understand the themes and motifs, and gain a deeper appreciation for the playwright's craft.