Reading Responses to a Poem

Select *one* poem from this week’s assigned readings, and identify at least
three elements in the poem that you found interesting or engaging (e.g.,
form, language, content, and/or other literary elements).

Then, assess how these elements affected your response to the poem, in its
entirety.

(e.g., Did these elements affect your opinions on (or reaction to) the
content of the poem? Did they cause you to focus on one aspect of the poem
over others?)

*Assignment Requirements*

– *Length*: Your paper should be two to four double-spaced pages in
length (excluding title and reference page)
– *Sources*: Support your reflections with textual details and analysis
from at least two scholarly sources.
– *APA*: Your draft must be formatted to APA (6th edition) style.
– *Separate Title Page*: Must include an original title
– *Separate Reference Page*
– *Proper Citations*: All sources must be properly cited, both within
the text and in a separate reference page.
– *Elements of Academic Writing*: All academic papers should include
these elements.
– Introduction with a thesis statement
– Supporting paragraphs
– Conclusion

The paper must be two to four pages in length (excluding the title and
reference page), and formatted according to APA style. You must use at
least two scholarly resources (at least one of which can be found in the
Ashford Online Library) other than the textbook to support your claims and
subclaims. Cite your resources in text and on the reference page. For
information regarding APA samples and tutorials, visit the Ashford Writing
Center, within the Learning Resources tab on the left navigation toolbar,
in your online course.

13.1 What Is Drama

The two most common forms of drama are *tragedy* and comedy. In
tragedy,
thetoneisseriousandemotionsareintense;thegoodfortunesofthemaincharacterarereversedandleadtofailureordeath.In
*comedy*, by comparison, the tone is light and entertaining; the
fortunes
ofthemaincharactermaysuffersetbacks,buttheyareextraordinarilyfavorableattheendoftheplay.Tragedyexploresthenatureofhumanstrength—itsmotivation,itsindividualuniqueness,itspotential;comedyrevealshumanweakness—commonbehavioralpatternsandsocialnorms.Or,asAristotleobservedin
*Poetics*, tragedy tries to represent men as better than they are in
actuallife,andcomedyrepresentsthemasworsethantheyareinactuallife.Theactionintragedyisplausible,butincomedy,itsometimesiscontrivedinordertoachieveahappyending.However,aswillbeexplainedinChapter15,therearevariousformsofcomedy,andtheboundariesbetweentragedyandcomedyarenotalwaysdistinct.

The *characters* in drama are central; they capture the
audience’sattention.Theydothings,takerisks,makemistakes,learnlessons,andchange.Theiractionsandinteractionsproducestrongemotionsandcreateconflicts;theirbehaviorrevealsuniquehumanqualitiesfrommultipleperspectives.The
*plot*, just as in short stories, is the sequence of events through
whichtheseconflictsandrelationshipsevolve,givingdramaitsnarrativequality,givingitastoryline.Together,thecharactersandtheplotprovidethecontextwithinwhichthetheme,orthecentralideainthedrama,canbediscoveredandunderstood.Sometimesthethemeisarticulatedopenlyandforcefullyinthecharacters’
*dialogue*; other times it has to be inferred from the action or from
theultimateoutcomeoftheplot.Dialogue—thecharacters’conversation—mayalsoadvancetheplotandinfluencethetoneofthedrama.

Historically, in *Poetics*, Aristotle identified all of the
aboveelements—character,action/plot,theme/thought,dialogue—asessentialindramaticproductions.Additionally,hearguedthat
*music* and *spectacle* were similarly necessary. In identifying
music,
heemphasizedboththerhythmicalqualityofspokenexpressionandthesoundsproducedbymusicalinstrumentstoestablishatmosphereorsupportthetempoofthedramaticproduction.Inidentifyingspectacle,heemphasizedtheimportanceofvisualelementsthatcanenhanceadramaticproductionandindicatedthatthestagedirectorratherthanthepoetwasmostresponsibleforthem.
*Spectacle* in drama today refers to the impressive effect created
throughuseofvisualandaudiostagecrafttechniques,aspectsthatcanbecreativelyemphasizedandmadehighlyappealinginmoderndrama.

The *audience* can be added to this list of essential elements.
Audiencesaddlivelinesstodramaticperformances,providingappreciativeresponsesandenthusiasmthatintensifythedramaticforceofaplay.Similarly,alethargicaudienceresponsecandiminishdramaticintensity.BroadwayactressShirleyBoothonceremarkedthat”actorsshouldbeoverheard,notlistenedto,andtheaudienceisfiftypercentoftheperformance”(ascitedinAbrams,2007).Thus,therearenospectators:Everypersonintheaudienceisaperformer.Audiencesareparticularlyattunedtoironicsituations,suddenreversals,humor,andemotionalexpression.
Seeing Drama Performed

Drama is a *mimetic* art. That means it seeks to imitate life, to
createhumanexperiencesastheyordinarilyoccur.Itsapproachisholistic:Dramanotonlypresentsthevisibleappearanceandactionsofthecharacters,butitalsoexplorestheinnerthoughtsandvaluesthatmotivatetheirinteractionsandleadtoconflict.Asaresult,asenseofimmediacyaccompaniesdrama;theobserverbecomescaughtupinaction,dialogue,andeventsthatseemtobehappeninginthepresentmoment.Tosustainthispresent–momentambience,dramawriterscreaterealisticstagesetsandappealingcostuming,andfeaturecolloquiallanguage,familiarhumor,and(sometimes)musicaleffects.

In other words, drama is created to be performed live—and no other
manner
inwhichdramaisexperiencedisasrewarding.Mostplaystodayarepresentedonaraisedstagewhichtheaudienceviewsthroughabroadopening(knownasa
*proscenium* *arch*) that can be closed with a curtain. Over the
years, thevastopennessoftheclassicalGreekstagehasbeenfilledbyrealisticstagingeffects.
*Stagecraft* has become an increasingly important element in
dramaticproductions:

Originally built in the 4th century BCE, the theater at Delphi offered
apanoramicviewoftheTempleofApollo.Ithad35rowsofseats,accommodatingapproximately5,000spectators.

Sophisticated lighting and sound effects, along with moveable scenery
andwalls,arestandardfeaturesnowandareinterpretativeresourcesthatbothproducersandaudiencesrelyon.The
*set* is the visual environment in which the action of the play
occurs.
Itsfeaturesareusuallyrealisticandfunctional,representingthetimeandplaceinwhichtheplayoccurs.Butsometimes,inordertocreateanappropriateatmosphere,theyareabstractandspare.
13.2 Important Elements in Drama

Various other conventions, illustrated in Table 13.1, contribute to
drama’sstructure.Asisthecasewithshortstories,themaincharacterindramaisthe
*protagonist*, a term that was introduced in Greek theater. This
centralcharactergrappleswiththeissuesandideasthatshapethethemeandaffecttheoutcomeoftheplot.Throughtheseactivities,theprotagonist’sstrengthsandweaknessesarerevealedandtheprotagonistbecomesthecharactermostcloselyidentifiedwiththeaudience.Alsoaswestudiedinshortstories,the
*antagonist* is the principal opponent, with character traits
andmotivationsthatsharplyconflictwiththeprotagonist’soraredirectlyoppositeinnature.Theantagonist’srolemayinvolvemorethanonecharacter,andinsomecases,itmayberepresentedbyaninstitutionorbyanimpendingdangeroropportunity.

In observing the actions and qualities of a foil, the audience
gainsunderstandingofthemaincharacter.A
*foil* is a character whose appearance, behavior, and
characteristicssharplycontrastwiththeprotagonist’s(youmayrememberthistermfromChapter6).Sometimesthedifferencesbetweenthefoilandtheprotagonistareportrayedcomically.

Another dramatic convention is the use of a confidant to give the
audienceopportunitiestogaininsightintothemaincharacterorlearnaboutplotdevelopments.A
*confidant* is a character to whom the protagonist gives
importantinformationthatothercharactersdonothaveknowledgeof—astheaudiencewatches.Insubsequentevents,
*dramatic
irony* occurs when the audience knows more about a situation than
thecharacterhimselforherselfknows.

The *soliloquy* is another means by which the audience learns about
the
maincharacter.Asoliloquyisaspeechthatacharactermakes,revealinginnerthoughtsandintentions,heardonlybytheaudience.Becauseitisconsideredsomewhatartificialwithintherealisticperspectiveofmoderndrama,itisnotwidelyusedcurrently.However,charactersaremaymakeshortstatementsaboutpasteventsorshoutimpulsivecrieswhentheyarealoneonthestageattheconclusionofarivetingencounter.Thesestatements—whichareoftenflashbacksorforeshadowingdevices—electrifyaudienceinterestandsolidifytheaudience’sconnectionwiththespeaker.
*Foreshadowing* is a dramatic technique that assists the audience in
sensingwhatliesaheadintheplot.Itisapredictivestatementbyacharacterorasymbolicactionwithwhichtheaudienceimmediatelyidentifies.
*Flashbacks* are interjected episodes describing past events that
arerelevanttoacurrentsceneinadrama.Sometimesflashbacksarealsoforeshadowing,whentherecalledcircumstancesresembleoutcomesthatarebecomingincreasinglypredictableinthecurrentsituation.

Both minor characters and stock characters have conventional roles
indrama. *Minor
characters*, particularly in conversations among themselves,
areinterpretersofwhatishappeningaroundthem;theirexchangescanbeusedtoincreaseinsightintothemaincharacter’sdilemma,toreducetensions(bringing
*comic
relief*), or to sustain the tone and direction of the action.
Besidesofferingimportantandinformativeperspectives,theyserveinstrumentalpurposes,completingactionsandfollowingthroughontransactionsthatarenecessarytokeepthestorygoing.
*Stock
characters* are literary or cultural stereotypes (an
unscrupuloussalesperson,forinstance,incontemporarycultureorthewickedwitchinchildren’sliterature).Usedmostwidelyincomedyandoftenexaggerated,theirpersonalities,speech,andbehaviortiewhat’shappeningonstagetoaneveryday–lifecontext.

*Table 13.1 Illustration of Key Dramatic Elements*
Element of Drama *Macbeth* *Riders to the Sea* Protagonist Macbeth Maurya
Antagonist Lady Macbeth (initially)
Macduff (ultimately) Bartley
The Sea Minor Character Lady Macbeth Cathleen Foil Malcolm References
to thepriestshow
his approaches differ from
Maurya’s Stock Character Drunken Porter Nora (Younger daughter)
Foreshadowing Banquo’s apprehensions
about the nature of the
witches suggests that
ominous things may occur. Maurya’s arranging to purchase
the white boards that can be
used for Michael’s coffin—before
there is conclusive evidence of
this death. Comic Relief Porter Scene (Not common in a one–act play
that has a tragic tone) Dramatic Irony When King Duncan visits
Macbeth’s residence, he is
unaware that Macbeth is
contemplating killing him;
the audience knows
Macbeth’s intentions. When Bartley is riding toward the
sea and passes his mother, he
thinks she is giving him her
blessing; the audience knows
that she’s convinced he will
perish on his trip. And, she does
not actually articulate a blessing. Reading Drama

Reading a play has obvious limitations because, as stated above, drama
iswrittentobeproducedandseen.Butexpectationsaboutthe
*structure* of the play, illustrated in Figure 13.1, are the same
whetheryouareaspectatororareader.Youcanexpecttofindanexposition,risingaction,turningpoint,fallingaction,catastrophe,andresolution.Identifyingandkeepinginmindthisbasicframeworkisimportantasyouread:Lookfordetailsintheexpositionthatprovidebackgroundinformation;noticehowrelationshipscreateanenvironmentforconflict;identifythepointatwhichtheplotbegins;beawareoftheturningpointwherethefortunesofthemaincharacterchange;andfollowthedevelopmentofthethemethroughthefallingactiontotheresolution.

Beyond developing awareness of structure, which both readers and
spectatorsmustdo,readersofdramashouldremembertheseguidelines:

– *Read the* *stage directions* *carefully*. They appear at the
openingofeachsceneandpriortoparticularactions,oftensetoffbybrackets.Theyareusuallybrief,butgiveessentialinformationandinsightabouttheplace,time,characters,andatmosphereoftheplay.
– *Pay particular attention to the characters’ early statements*,
whichmayprovidebackgroundinformation.
– *Imagine the set*; hold on to this impression and allow the
characterstomovewithintheenvironmentyouareimagining.Imaginetheirfeelings,thetoneoftheirvoices,andothersoundsthatwouldbeheardbyanaudiencewatchingtheplay.
– *Identify the central issues* or concerns as soon as possible.
– *Keep the title of the play in mind* as you read. What is itssignificance?
– *Notice how the different characters relate to and react to the
central issues* and what they reveal about themselves through
theiractions.Whichcharactersarestrongest?
– *Think about the particular action or event that sparked the primary
conflict.* What was it? Based on this inciting action (or event),
whatmightyouexpectthethemetoexplore?
– *Respond to the dominant tone in the play*. How are literary
devicesusedtocreatethistone:irony,humor,figurativelanguage?Whichincidentsofdramaticactionhelptosustainthetone?Whichspeecheshighlightitparticularly?
– *Mark instances of foreshadowing*.
– *Evaluate the turning point*. The *turning point* in tragedy is
thepointatwhichthereversaloftheprotagonist’sfortunesorhighstandingbegins.Itcanbeadecisionoranaction,anditusuallycomesinthemiddleoftheplay,dividingtherisingactionfromthefallingaction.Forexample,asyouwillseeinChapter14,Macbeth’sdecisiontomakehispositionsecurebymurderingBanquo(actIII,sceneI),canbeconsideredtheturningpointinhisfortunes.It’salwaysimportanttoaskwhatcontributedmosttothereversalexperiencedbythemaincharacter.Whatfeelingsarestronglyassociatedwiththeturningpointevents?
– *Review the resolution*. What knowledge or insight was gained?
Whatvaluesarequestionedoradvocated?Howaretheoutcomeoftheplotandknowledgegainedthroughthereversalofthemaincharacter’sfortunesrelatedtothethemeoftheplay?

13.3 Writing About Drama

Because drama has strong narrative aspects, it appeals to anyone who
likesstories,delightsinwatchingplotsdevelop(orunravel),andisinquisitiveaboutoutcomesthatcharacterseventuallyhavetoface.Italsoappealstopeoplewhoseinterestinpoetryincludesthesonorouslanguageandelegantimagesthatoftenoccurindrama.Whenyouwriteaboutdrama,itisappropriatetolocateanddescribeexamplesofthesenarrativeandpoeticfeatures.Butbecausedramaasa
*mimetic* art seeks to embody human experience not only visually and
aurallybutprofoundly(asatruerepresentation),itisnecessarywhenwritingaboutittodealwithitsinterpretivepower,intensityofemotion,andimplicitvalues.

*Interpretive power* can be explored by asking such questions as these:

– Is the historical setting accurate?
– Is the stage set realistic (or adequately representative) of the
timeandplaceoftheaction?
– Are stagecraft techniques such as lighting and sound effective?
– Are the characters’ clothing, actions, and language suited to thesetting?
– Are the characters credible?
– Is the conflict plausible?
– Are the ideas expressed in the theme relevant to the action andsetting?

*Intensity of emotion* can be explored by asking such questions as these:

– How is language used to express feelings?
– How are characters’ conflicts and gestures used to create emotionaldepth?
– Which scene or speech or action epitomizes the spirit of tragedy?
– Which epitomizes comedy?
– When are irony and dramatic irony used as means of intensifyingemotion?
– Is foreshadowing used to create emotional tension?
– What emotion is predominant in the crisis (turning point) of the
plotandintheresolutionoftheplot?
– Is the emotion experienced in the play satisfying or restoring?
– Does the dialogue allow the characters to come alive?

*Implicit values *can be explored by asking such questions as these:

– Which symbols are used to identify particular human values?
– Which symbols relate to social, political, religious, and culturalvalues?
– Which conflicts deal with moral issues?
– Does transformation occur in any of the characters?
– What points of identity do characters reach?
– Are the conclusions that can be drawn from the play’s outcome
adequateorsatisfying?

In planning an essay that analyzes a play, these three factors can be
usedasaneffectiveoutline.Onestudentwhotookthisapproach,developedthefollowingoutlineandessayrelatedto
*Riders
to the Sea*, which follows these examples.
Ideas and Plan

Interpretive power

– Setting fits the hard life conditions of people who battled the
sea tomakealivingahundredyearsago
– Weaving and baking (working with hands) reflect actual conditions
– Believable characters: Maurya is hardened by time; accepts
hercircumstances;Bartley—unrealistic,youthfuloutlook;girls—troubled,sorrowful
– Typical youth–age conflict
– Theme indicated in Maurya’s comment about young men leaving
thingsbehindfortheirelders,ratherthanelderspassingthingsontotheirchildren
– Echoes current coal–mining tragedies

Intensity of emotion

– Emotional level steadily increases: Michael’s clothes/vision of
Michaelonhorse/Bartley’sbodybroughtintothehouse
– Intensity reaches crisis when Maurya sees her last son dead.
Mixture ofgriefandtotalacceptance
– Dramatic irony related to Maurya’s vision, shows her struggle to”accept”
– Maurya’s final speeches—examples of emotion I’d have troubleexpressing

Implicit values

– Symbolism of the “sea” and “riders” (certainty of death;
helplessnessinthefaceofdeath)
– Desire for “rest” that religion promises (proper burial)
– Courage, honest struggle, acceptance
– “Age and experience” as teachers (daughters don’t understand why
theirmotherdoesnotwanttogiveBartleyablessing)
– Capacity of human beings to survive, endure

Student’s Analytical Essay>
Dramatic Strengths in “Riders to the Sea”
Opening creates interest, with reference to a contemporary situation
Thesis sentence
When there is a coal mine disaster, people around the world become
glued
totheirtelevisionsets.Theyarehorrifiedbythetragiclossoflifebutfascinatedbytheresolveandstrengththatsurvivingfamiliesshowinrespondingtodisastrouschange.Lossatseainterruptslifein”RiderstotheSea”inasimilarway;allsixsonsinonefamilyarevictims.Thisstoryismemorablebecauseofseveraldramaticstrengthsinitsdesign:itsrealisticinterpretationofhumanexperience,itsintenseemotion,anditsexplorationofvalues.
Contrast between two characters contributes to realism
Drama always seeks to give an audience a true representation of
lifeexperiences.Byusingrealistictechniques,Syngeachievesthisgoal.Theset,withits”cottagekitchen,nets,oil–skins,spinning–wheelandpot–ovenbythefire,”drawstheaudienceintobelievablelivingconditionsinfamilylifeconnectedwiththesea(ascitedinClugston,2010,section13.3,linesx–x).Thecharactersareassociatedwithstoringfueltodry,baking,spinning—allaretasksrequiredforsurvivalinaruggedsituation.Maurya,themother,isstrongandpractical.SheiscapableofacceptingMichael’sdeathatsea,andhasalready”givenabigpriceforthefinestwhiteboards”tobeusedforhiscoffinbeforehisdeathisconfirmed(ascitedinClugston,2010,section13.3,linesx–x).Heronlysurvivingson,Bartley,isnotsoconcernedwiththingsthatareinevitable;hehasayouthfuloutlookandseeksnewopportunitieswithoutthinkingmuchaboutrisk.He’sintentonmakingajourneytoa”fairthatwillbeagoodfairforhorses”(ascitedinClugston,2010,section13.3,linesx–x).Thiscontrastbetweenayouthfulviewoflifeandamature,experiencedoutlookcreatesthebasisforconflictandbuildstheaudience’sinterestinthedecisionthatBartleymakes.Eventually,thelifeinsightsthatMauryahasgainedprovetobetrueones.Sheknowsthatlifeisnotanidealisticjourney;itiscomplexandfilledwithcontradictionsandunexpectedthings.Shesadlypointsoutthisironywhenshesays,”Inthebigworldtheoldpeopledobeleavingthingsafterthemfortheirsonsandchildren,butinthisplaceitistheyoungmendobeleavingthingsbehindforthemthatdobeold”(ascitedinClugston,2010,section13.3,linesx–x).
Explanation of how suspense is used to build emotional depth

A further example of the same pattern
The emotional level in the play steadily increases as the plot
develops.Suspensebeginswhenthedaughtersbringoutthepackagethatmightcontaintheirdeadbrother’sclothes.TheirfearturnstoutterdismaywhentheyknowMichaelisdead.”Isn’titapitifulthing,”Norasays,”whenthereisnothingleftofamanwhowasagreatrowerandfisher,butabitofanoldshirtandaplainstocking?”(ascitedinClugston,2010,section13.3,linesx–x).ThissamesuspensefulpatternoccurswhenMaurya’sstatementaboutBartleyforeshadowspainandsadness,asheleavesforaseajourneyhefeelshemusttake.Shecomments,”He’sgonenow,Godspareus,andwe’llnotseehimagain.He’sgonenow,andwhentheblacknightisfallingI’llhavenosonleftmeintheworld”(ascitedinClugston,2010,section13.3,linesx–x).Maurya’svisionofMichael,aliveagain,ridingonthegrayponysuggestsheremotionalstruggletoremainstrong.SincetheaudienceknowsthatMichaelisdeadwhenMauryareportshervision,thesituationprovidesatenderlookintoMaurya’sdilemmaandherfeelings:shefeelscertainMichaelisdeadbutshedesperatelywouldliketobelieveotherwise.Later,whenBartley’sdrownedbodyisbroughtintothecottage,theemotionalintensityreachesitpeakasMauryafacesheraloneness(withoutanysons)noblyandcourageously,speakingwiththesametonewhensheearlierpredictedBartley’sdeath,”They’reallgonenow,andthereisn’tanythingmoretheseacandotome”(ascitedinClugston,2010,section13.3,linesx–x).AndshesprinklesthelastdropsofHolyWateronhisbody.
Strong transitional sentence
Through all these happenings Synge explores human values. He makes
thisdramatictechniqueeffectivebyusingtheseaasanironicsymbol,representingbothlife(livelihood,adventure)anddeath.Itinevitablydrawsindividuals(“riders”)intoitself.Themeaningofthedramagrowsoutofthishumancondition,asparticularvaluesforcopingwithitsunavoidablechallengesareexplored.Religiousvaluesareshownbothaslimitedbutstillnecessary.WhenherdaughtertriestocalmMauryabyremindingherthattheyoungpriestsaid”AlmightyGodwouldn’tleaveherdestitutewithnosonliving,”Mauryaharshlyreplies,”It’slittlethelikeofhimknowsofthesea”(ascitedinClugston,2010,section13.3,linesx–x).Yet,MauryadoesnothesitatetoholdontoreligiousviewsasshepraystoGod,seekingmercyforhersonBartley’ssoul.Therestlessvaluesofyouth,illustratedinBartley’sviews,arecontrastedwiththehardenedvaluesofmaturity,illustratedinMarrya’sviews.Thedaughtersareshownaslearners,searchingforanswers.Ultimately,thecapacitythathumanbeingshaveforsurvivalisupheldasavaluetobesought,evenifitcanneverbefullyunderstood,onlyaccepted—asMaurya’sfinalwordsexpress,”Nomancanbelivingforever,andwemustbesatisfied”(ascitedinClugston,2010,section3.3,linesx–x).
Summary paragraph and mention of news story used in opening
Synge uses these dramatic techniques imaginatively to create a
powerful,accuratestorywithintenseemotion,andtoexplorehumanvaluesdeeply,givingtheaudienceinsightintothenatureofhumanstrengthandendurance.Theinsighttheygainmayservethemwellinunderstandingbehaviorexhibitedwhenhumandisastersarecoveredinfuturenewsstories.
Riders to the Sea (Synge)

He was born near Dublin and died at age 38 from Hodgkin’s disease.
HegraduatedfromTrinityCollegeDublin,wherehestudiedmusic.Later,SyngepursuedthismusicalinterestfurtherthroughstudiesinGerman,beforechanginghisfocustothestudyoflanguages.HetraveledextensivelyinEurope.Ireland’sgreatwriter,WilliamButlerYeats,influencedhimsignificantlyinhiswritingcareer.Between1898and1901hemaderegulartripstotherockyAranIslandsintheAtlanticoffthewestcoastofIreland,wherehelivedwithfamiliesthatdependedontheseafortheirliving—asettingcapturedin
*Riders
to the Sea*. He is remembered as a playwright, particularly for *The
Playboy of the Western World*. He also wrote poetry.
Introduction Edward J. O’Brien
It must have been on Synge’s second visit to the Aran Islands that he
hadtheexperienceoutofwhichwaswroughtwhatmanybelievetobehisgreatestplay.Thesceneof
*Riders
to the Sea* is laid in a cottage on Inishmaan, the middle and
mostinterestingislandoftheArangroup.WhileSyngewasonInishmaan,thestorycametohimofamanwhosebodyhadbeenwasheduponthefarawaycoastofDonegal,andwho,byreasonofcertainpeculiaritiesofdress,wassuspectedtobefromtheisland.Induecourse,hewasrecognizedasanativeofInishmaan,inexactlythemannerdescribedintheplay,andperhapsoneofthemostpoignantlyvividpassagesinSynge’sbookon
*The
Aran Islands* relates the incident of his burial.
The other element in the story which Synge introduces into the play
isequallytrue.Manytalesof”secondsight”aretobeheardamongCelticraces.Infact,theyaresocommonastoarouselittleornowonderinthemindsofthepeople.Itisjustsuchatale,whichthereseemsnovalidreasonfordoubting,thatSyngeheard,andthatgavethetitle,
*Riders
to the Sea*, to his play.
It is the dramatist’s high distinction that he has simply taken
thematerialswhichlayreadytohishand,andbythepowerofsympathywoventhem,withlittlemodification,intoatragedywhich,fordramaticironyandnoblepity,hasnoequalamongitscontemporaries.
Great tragedy, it is frequently claimed with some show of justice,
hasperforcedepartedwiththeadvanceofmodernlifeanditscomplicatedtangleofinterestsandcreaturecomforts.Ahighlydevelopedcivilization,withitsattendantspecializationofculture,tendsevertolosesightofthoseelementalforces,thoseprimalemotions,nakedtowindandsky,whicharethestufffromwhichgreatdramaiswroughtbytheartist,butwhich,asitwouldseem,arerapidlydepartingfromus.
It is only in the far places, where solitary communion may be had with
theelements,thatthisdynamiclifeisstilltobefoundcontinuously,anditisaccordinglythitherthatthedramatist,whowoulddealwithspirituallifedisengagedfromtheenvironmentofanintellectualmaze,mustgoforthatexperiencewhichwillbegetinhiminspirationforhisart.
The Aran Islands from which Synge gained his inspiration are rapidly
losingthatsenseofisolationandself–dependence,whichhashithertobeentheirraredistinction,andwhichfurnishedthemotivationforSynge’smasterpiece.WhetherornotSyngefindsasuccessor,itisnonethelesstruethatinEnglishdramaticliterature
*Riders
to the Sea* has an historic value which it would be difficult
toover–estimateinitsaccomplishmentanditspossibilities.Awriterin *The
Manchester Guardian* shortly after Synge’s death phrased it rightly
when
hewrotethatitis”thetragicmasterpieceofourlanguageinourtime;whereverithasbeenplayedinEuropefromGalwaytoPrague,ithasmadetheword
*tragedy* mean something more profoundly stirring and cleansing to
thespiritthanitdid.”
The secret of the play’s power is its capacity for standing afar off,
andmingling,ifwemaysayso,sympathywithrelentlessness.Thereisawonderfulbeautyofspeechinthewordsofeverycharacter,whereinthelatentpowerofsuggestionisalmostunlimited.”Inthebigworldtheoldpeopledobeleavingthingsafterthemfortheirsonsandchildren,butinthisplaceitistheyoungmendobeleavingthingsbehindforthemthatdobeold.”Inthequaveringrhythmofthesewords,thereispoignantlypresentthatqualityofstrangenessandremotenessinbeautywhich,aswearecomingtorealize,isthetouchstoneofCelticliteraryart.However,theveryasceticismoftheplayhasbegottenacorrespondingpowerwhichliftsSynge’sworkfaroutofthecurrentoftheIrishliteraryrevival,andsetsithighinatimelessatmosphereofuniversalaction.
Its characters live—and die. It is their virtue in life to be lonely,
andnonebutthelonelymanintragedymaybegreat.Hedies,andthenitisthevirtueinlifeofthewomen—mothersandwivesandsisters—tobegreatintheirloneliness,greatasMaurya,thestrickenmother,isgreatinherfinalword”Michaelhasacleanburialinthefarnorth,bythegraceoftheAlmightyGod.Bartleywillhaveafinecoffinoutofthewhiteboards,andadeepgravesurely.Whatmorecanwewantthanthat?Nomanatallcanbelivingforever,andwemustbesatisfied.”
The pity and the terror of it all have brought a great peace, the
peace
thatpassethunderstanding,anditisbecausetheplayholdsthistimelesspeaceafterthestormwhichhasboweddowneverycharacter,that
*Riders
to the Sea* may rightly take its place as the greatest modern tragedy
in theEnglishtongue.

Riders to the Sea J. M. Synge (1903)

PERSONS REPRESENTED: Maurya (an old woman), Bartley (her son),
Cathleen (herdaughter),Nora(ayoungerdaughter),MenandWomen

SCENE: An island off the West of Ireland. *(Cottage kitchen, with nets,
oil–skins, spinning wheel, some new boards standing by the wall, etc.
Cathleen, a girl of about twenty, finishes kneading cake, and puts it down
in the pot–oven by the fire; then wipes her hands, and begins to spin at
the wheel. Nora, a young girl, puts her head in at the door.)*
*NORA:* *In a low voice.*
Where is she?
*CATHLEEN:* She’s lying down, God help her, and may be sleeping, if she’sable.
*Nora comes in softly, and takes a bundle from under her shawl.*
*CATHLEEN:* *Spinning the wheel rapidly.*
What is it you have?
*NORA:* The young priest is after bringing them. It’s a shirt and a
plainstockingweregotoffadrownedmaninDonegal.
*Cathleen stops her wheel with a sudden movement, and leans out to listen.*
*NORA:* We’re to find out if it’s Michael’s they are, some time
herself willbedownlookingbythesea.
10
*CATHLEEN:* How would they be Michael’s, Nora. How would he go the
length ofthatwaytothefarnorth?
*NORA:* The young priest says he’s known the like of it. “If it’s
Michael’stheyare,”sayshe,”youcantellherselfhe’sgotacleanburialbythegraceofGod,andifthey’renothis,letnoonesayawordaboutthem,forshe’llbegettingherdeath,”sayshe,”withcryingandlamenting.”
*The door which Nora half closed is blown open by a gust of wind.*
*CATHLEEN:** Looking out anxiously*.
Did you ask him would he stop Bartley going this day with the horses
to theGalwayfair?
20
*NORA:* “I won’t stop him,” says he, “but let you not be afraid.
Herselfdoesbesayingprayershalfthroughthenight,andtheAlmightyGodwon’tleaveherdestitute,”sayshe,”withnosonliving.”
*CATHLEEN:* Is the sea bad by the white rocks, Nora?
*NORA:* Middling bad, God help us. There’s a great roaring in the
west, andit’sworseit’llbegettingwhenthetide’sturnedtothewind.
*She goes over to the table with the bundle.*
Shall I open it now?
*CATHLEEN:* Maybe she’d wake up on us, and come in before we’d done.
*Coming to the table. *
It’s a long time we’ll be, and the two of us crying.
*NORA:* *Goes to the inner door and listens.*
She’s moving about on the bed. She’ll be coming in a minute.
30
*CATHLEEN:* Give me the ladder, and I’ll put them up in the turf–loft,
thewayshewon’tknowofthematall,andmaybewhenthetideturnsshe’llbegoingdowntoseewouldhebefloatingfromtheeast.
*They put the ladder against the gable of the chimney; Cathleen goes up a
few steps and hides the bundle in the turf–loft. Maurya comes from the
inner room.*
*MAURYA:* *Looking up at Cathleen and speaking querulously*.
Isn’t it turf enough you have for this day and evening?
*CATHLEEN:* There’s a cake baking at the fire for a short space
*(Throwing down the turf)* and Bartley will want it when the tide
turns ifhegoestoConnemara.
*Nora picks up the turf and puts it round the pot–oven*.
*MAURYA:* *Sitting down on a stool at the fire*.
40
He won’t go this day with the wind rising from the south and west. He
won’tgothisday,fortheyoungpriestwillstophimsurely.
*NORA:* He’ll not stop him, mother, and I heard Eamon Simon and
StephenPheetyandColumShawnsayinghewouldgo.
*MAURYA:* Where is he itself?
*NORA:* He went down to see would there be another boat sailing in the
week,andI’mthinkingitwon’tbelongtillhe’sherenow,forthetide’sturningatthegreenhead,andthehooker’stackingfromtheeast.
*CATHLEEN:* I hear some one passing the big stones.
*NORA:* *Looking out.*
He’s coming now, and he in a hurry.
50
*BARTLEY:* *Comes in and looks round the room. Speaking sadly and quietly.*
Where is the bit of new rope, Cathleen, was bought in Connemara?
*CATHLEEN:* Coming down. Give it to him, Nora; it’s on a nail by the
whiteboards.Ihungitupthismorning,forthepigwiththeblackfeetwaseatingit.
*NORA:* *Giving him a rope.*
Is that it, Bartley?
*MAURYA:* You’d do right to leave that rope, Bartley, hanging by the
boards *(Bartley
takes the rope)*. It will be wanting in this place, I’m telling you,
ifMichaeliswasheduptomorrowmorning,orthenextmorning,oranymorningintheweek,forit’sadeepgravewe’llmakehimbythegraceofGod.
60
*BARTLEY:* *Beginning to work with the rope*:
I’ve no halter the way I can ride down on the mare, and I must go
nowquickly.Thisistheoneboatgoingfortwoweeksorbeyondit,andthefairwillbeagoodfairforhorsesIheardthemsayingbelow.
*MAURYA:* It’s a hard thing they’ll be saying below if the body is
washed
upandthere’snomaninittomakethecoffin,andIaftergivingabigpriceforthefinestwhiteboardsyou’dfindinConnemara.
*She looks round at the boards*.
*BARTLEY:* How would it be washed up, and we after looking each day
for ninedays,andastrongwindblowingawhilebackfromthewestandsouth?
70
*MAURYA:* If it wasn’t found itself, that wind is raising the sea, and
therewasastarupagainstthemoon,anditrisinginthenight.Ifitwasahundredhorses,orathousandhorsesyouhaditself,whatisthepriceofathousandhorsesagainstasonwherethereisonesononly?
*BARTLEY:* *Working at the halter, to Cathleen*.
Let you go down each day, and see the sheep aren’t jumping in on the
rye,andifthejobbercomesyoucansellthepigwiththeblackfeetifthereisagoodpricegoing.
*MAURYA:* How would the like of her get a good price for a pig?
*BARTLEY:* *To Cathleen*.
80
If the west wind holds with the last bit of the moon let you and Nora
get
upweedenoughforanothercockforthekelp.It’shardsetwe’llbefromthisdaywithnooneinitbutonemantowork.
*MAURYA:* It’s hard set we’ll be surely the day you’re drownd’d with
therest.WhatwaywillIliveandthegirlswithme,andIanoldwomanlookingforthegrave?
*Bartley lays down the halter, takes off his old coat, and puts on a newer
one of the same flannel*.
*BARTLEY:* *To Nora*.
Is she coming to the pier?
*NORA:* *Looking out*.
She’s passing the green head and letting fall her sails.
*BARTLEY:* *Getting his purse and tobacco*.
90
I’ll have half an hour to go down, and you’ll see me coming again in
twodays,orinthreedays,ormaybeinfourdaysifthewindisbad.
*MAURYA:* *Turning round to the fire, and putting her shawl over her head*.
Isn’t it a hard and cruel man won’t hear a word from an old woman, and
sheholdinghimfromthesea?It’sthelifeofayoungmantobegoingonthesea,andwhowouldlistentoanoldwomanwithonethingandshesayingitover?
*BARTLEY:* *Taking the halter*.
I must go now quickly. I’ll ride down on the red mare, and the gray
pony ‘llrunbehindme…TheblessingofGodonyou.
*He goes out*.
*MAURYA:* *Crying out as he is in the door*.
100
He’s gone now, God spare us, and we’ll not see him again. He’s gone
now, andwhentheblacknightisfallingI’llhavenosonleftmeintheworld.
*CATHLEEN:* Why wouldn’t you give him your blessing and he looking
round
inthedoor?Isn’titsorrowenoughisoneveryoneinthishousewithoutyoursendinghimoutwithanunluckywordbehindhim,andahardwordinhisear?
*Maurya takes up the tongs and begins raking the fire aimlessly without
looking round*.
*NORA:* *Turning towards her*.
You’re taking away the turf from the cake.
*CATHLEEN:* *Crying out*.
The Son of God forgive us, Nora, we’re after forgetting his bit of bread.
*She comes over to the fire*.
110
*NORA:* And it’s destroyed he’ll be going till dark night, and he
aftereatingnothingsincethesunwentup.
*CATHLEEN:* *Turning the cake out of the oven*.
It’s destroyed he’ll be, surely. There’s no sense left on any person
in ahousewhereanoldwomanwillbetalkingforever.
*Maurya sways herself on her stool*.
*CATHLEEN:* *Cutting off some of the bread and rolling it in a cloth; to
Maurya*:
Let you go down now to the spring well and give him this and he
passing.You’llseehimthenandthedarkwordwillbebroken,andyoucansay”Godspeedyou,”thewayhe’llbeeasyinhismind.
*MAURYA:* *Taking the bread*.
Will I be in it as soon as himself?
120
*CATHLEEN:* If you go now quickly.
*MAURYA:* *Standing up unsteadily*.
It’s hard set I am to walk.
*CATHLEEN:* *Looking at her anxiously*.
Give her the stick, Nora, or maybe she’ll slip on the big stones.
*NORA:* What stick?
*CATHLEEN:* The stick Michael brought from Connemara.
*MAURYA:* *Taking a stick Nora gives her*.
130
In the big world the old people do be leaving things after them for
theirsonsandchildren,butinthisplaceitistheyoungmendobeleavingthingsbehindforthemthatdobeold.
*She goes out slowly*.
*Nora goes over to the ladder*.
*CATHLEEN:* Wait, Nora, maybe she’d turn back quickly. She’s that
sorry, Godhelpher,youwouldn’tknowthethingshe’ddo.
*NORA:* Is she gone round by the bush?
*CATHLEEN:* *Looking out*.
She’s gone now. Throw it down quickly, for the Lord knows when she’ll
be outofitagain.
*NORA:* *Getting the bundle from the loft*.
The young priest said he’d be passing tomorrow, and we might go down
andspeaktohimbelowifit’sMichael’stheyaresurely.
140
*CATHLEEN:* *Taking the bundle*.
Did he say what way they were found?
*Coming down*:
“There were two men,” says he, “and they rowing round with Poteen
before
thecockscrowed,andtheoarofoneofthemcaughtthebody,andtheypassingtheblackcliffsofthenorth.”
*CATHLEEN:* *Trying to open the bundle*.
Give me a knife, Nora, the string’s perished with the salt water,
andthere’sablackknotonityouwouldn’tlooseninaweek.
*NORA:* *Giving her a knife*.
I’ve heard tell it was a long way to Donegal.
150
*CATHLEEN:* *Cutting the string*.
It is surely. There was a man in here a while ago — the man sold us
thatknife—andhesaidifyousetoffwalkingfromtherocksbeyond,itwouldbesevendaysyou’dbeinDonegal.
*NORA:* And what time would a man take, and he floating?
*Cathleen opens the bundle and takes out a bit of a stocking. They look at
them eagerly*.
*CATHLEEN:* *In a low voice*.
The Lord spare us, Nora! isn’t it a queer hard thing to say if it’s
his theyaresurely?
*NORA:* I’ll get his shirt off the hook the way we can put the one
flannelontheother(*she
looks through some clothes hanging in the corner)*. It’s not with
them,Cathleen,andwherewillitbe?
160
*CATHLEEN:* I’m thinking Bartley put it on him in the morning, for his
ownshirtwasheavywiththesaltinit *(pointing
to the corner)*. There’s a bit of a sleeve was of the same stuff. Give
methatanditwilldo.
*Nora brings it to her and they compare the flannel*.
*CATHLEEN:* It’s the same stuff, Nora; but if it is itself aren’t
theregreatrollsofitintheshopsofGalway,andisn’titmanyanothermanmayhaveashirtofitaswellasMichaelhimself?
*NORA:* *Who has taken up the stocking and counted the stitches, crying out*.

It’s Michael, Cathleen, it’s Michael; God spare his soul, and what
willherselfsaywhenshehearsthisstory,andBartleyonthesea?
*CATHLEEN:* *Taking the stocking*. It’s a plain stocking.
170
*NORA:* It’s the second one of the third pair I knitted, and I put up
threescorestitches,andIdroppedfourofthem.
*CATHLEEN:* *Counts the stitches*.
It’s that number is in it *(crying out)*. Ah, Nora, isn’t it a bitter
thingtothinkofhimfloatingthatwaytothefarnorth,andnoonetokeenhimbuttheblackhagsthatdobeflyingonthesea?
*NORA:* *Swinging herself round, and throwing out her arms on the clothes.*
And isn’t it a pitiful thing when there is nothing left of a man who
was agreatrowerandfisher,butabitofanoldshirtandaplainstocking?
*CATHLEEN:* *After an instant*.
180
Tell me is herself coming, Nora? I hear a little sound on the path.
*NORA:* *Looking out*.
She is, Cathleen. She’s coming up to the door.
*CATHLEEN:* Put these things away before she’ll come in. Maybe it’s
easiershe’llbeaftergivingherblessingtoBartley,andwewon’tletonwe’veheardanythingthetimehe’sonthesea.
*NORA:* *Helping Cathleen to close the bundle*.
We’ll put them here in the corner.
*They put them into a hole in the chimney corner. Cathleen goes back to the
spinning–wheel*.
*NORA:* Will she see it was crying I was?
*CATHLEEN:* Keep your back to the door the way the light’ll not be on you.
*Nora sits down at the chimney corner, with her back to the door. Maurya
comes in very slowly, without looking at the girls, and goes over to her
stool at the other side of the fire. The cloth with the bread is still in
her hand. The girls look at each other, and Nora points to the bundle of
bread*.
190
*CATHLEEN:* *After spinning for a moment*.
You didn’t give him his bit of bread?
*Maurya begins to keen[1]
<https://content.ashford.edu/books/AUENG125.10.2/sections/h13.1#foot1>
softly, without turning round*.
*CATHLEEN:* Did you see him riding down?
*Maurya goes on keening*.
*CATHLEEN:* *A little impatiently*.
God forgive you; isn’t it a better thing to raise your voice and tell
whatyouseen,thantobemakinglamentationforathingthat’sdone?DidyouseeBartley,I’msayingtoyou.
*MAURYA:* *With a weak voice*.
My heart’s broken from this day.
*CATHLEEN:* *As before*.
200
Did you see Bartley?
*MAURYA:* I seen the fearfulest thing.
*CATHLEEN:* *Leaves her wheel and looks out*.
God forgive you; he’s riding the mare now over the green head, and the
grayponybehindhim.
*MAURYA:* *Starts, so that her shawl falls back from her head and shows her
white tossed hair. With a frightened voice*.
The gray pony behind him.
*CATHLEEN:* *Coming to the fire*.
What is it ails you, at all?
*MAURYA:* *Speaking very slowly*.
210
I’ve seen the fearfulest thing any person has seen, since the day
Bride Daraseenthedeadmanwiththechildinhisarms.
*CATHLEEN AND NORA:* Uah.
*They crouch down in front of the old woman at the fire*.
*NORA:* Tell us what it is you seen.
*MAURYA:* I went down to the spring well, and I stood there saying a
prayertomyself.ThenBartleycamealong,andheridingontheredmarewiththegrayponybehindhim
*(she
puts up her hands, as if to hide something from her eyes)*. The Son of
Godspareus,Nora!
*CATHLEEN:* What is it you seen?
*MAURYA:* I seen Michael himself.
220
*CATHLEEN:* *Speaking softly*.
You did not, mother; It wasn’t Michael you seen, for his body is after
beingfoundinthefarnorth,andhe’sgotacleanburialbythegraceofGod.
*MAURYA:* *A little defiantly*.
I’m after seeing him this day, and he riding and galloping. Bartley
camefirstontheredmare;andItriedtosay”Godspeedyou,”butsomethingchokedthewordsinmythroat.Hewentbyquickly;and”theblessingofGodonyou,”sayshe,andIcouldsaynothing.Ilookedupthen,andIcrying,atthegraypony,andtherewasMichaeluponit—withfineclothesonhim,andnewshoesonhisfeet.
*CATHLEEN:* *Begins to keen*.
230
It’s destroyed we are from this day. It’s destroyed, surely.
*NORA:* Didn’t the young priest say the Almighty God wouldn’t leave
herdestitutewithnosonliving?
*MAURYA:* *In a low voice, but clearly*.
240
It’s little the like of him knows of the sea. . . . Bartley will be
lostnow,andletyoucallinEamonandmakemeagoodcoffinoutofthewhiteboards,forIwon’tliveafterthem.I’vehadahusband,andahusband’sfather,andsixsonsinthishouse—sixfinemen,thoughitwasahardbirthIhadwitheveryoneofthemandtheycomingtotheworld—andsomeofthemwerefoundandsomeofthemwerenotfound,butthey’regonenowthelotofthem….TherewereStephen,andShawn,werelostinthegreatwind,andfoundafterintheBayofGregoryoftheGoldenMouth,andcarriedupthetwoofthemontheoneplank,andinbythatdoor.
*She pauses for a moment, the girls start as if they heard something
through the door that is half open behind them.*
*NORA:* *In a whisper*.
Did you hear that, Cathleen? Did you hear a noise in the north–east?
*CATHLEEN:* *In a whisper*.
There’s some one after crying out by the seashore.
*Continues without hearing anything*.
250
There was Sheamus and his father, and his own father again, were lost
in
adarknight,andnotastickorsignwasseenofthemwhenthesunwentup.TherewasPatchafterwasdrownedoutofacuraghthatturnedover.IwassittingherewithBartley,andheababy,lyingonmytwoknees,andIseentwowomen,andthreewomen,andfourwomencomingin,andtheycrossingthemselves,andnotsayingaword.Ilookedoutthen,andthereweremencomingafterthem,andtheyholdingathinginthehalfofaredsail,andwaterdrippingoutofit—itwasadryday,Nora—andleavingatracktothedoor.
*She pauses again with her hand stretched out towards the door. It opens
softly and old women begin to come in, crossing themselves on the
threshold, and kneeling down in front of the stage with red petticoats over
their heads*.
*MAURYA:* *Half in a dream, to Cathleen*.
Is it Patch, or Michael, or what is it at all?
*CATHLEEN:* Michael is after being found in the far north, and when he
isfoundtherehowcouldhebehereinthisplace?
260
*MAURYA:* There does be a power of young men floating round in the
sea,
andwhatwaywouldtheyknowifitwasMichaeltheyhad,oranothermanlikehim,forwhenamanisninedaysinthesea,andthewindblowing,it’shardsethisownmotherwouldbetosaywhatmanwasit.
*CATHLEEN:* It’s Michael, God spare him, for they’re after sending us
a bitofhisclothesfromthefarnorth.
*She reaches out and hands Maurya the clothes that belonged to Michael.
Maurya stands up slowly and takes them in her hands. Nora looks out*.
*NORA:* They’re carrying a thing among them and there’s water dripping
outofitandleavingatrackbythebigstones.
*In a whisper to the women who have come in*.
Is it Bartley it is?
*ONE OF THE WOMEN:*
It is surely, God rest his soul.
*Two younger women come in and pull out the table. Then men carry in the
body of Bartley, laid on a plank, with a bit of a sail over it, and lay it
on the table*.
270
*CATHLEEN:* *To the women, as they are doing so*.
What way was he drowned?
*ONE OF THE WOMEN:*
The gray pony knocked him into the sea, and he was washed out where
there isagreatsurfonthewhiterocks.
*Maurya has gone over and knelt down at the head of the table. The women
are keening softly and swaying themselves with a slow movement. Cathleen
and Nora kneel at the other end of the table. The men kneel near the door*.
*MAURYA:* *Raising her head and speaking as if she did not see the people
around her*.
280
They’re all gone now, and there isn’t anything more the sea can do to
me.
…I’llhavenocallnowtobeupcryingandprayingwhenthewindbreaksfromthesouth,andyoucanhearthesurfisintheeast,andthesurfisinthewest,makingagreatstirwiththetwonoises,andtheyhittingoneontheother.I’llhavenocallnowtobegoingdownandgettingHolyWaterinthedarknightsafterSamhain,andIwon’tcarewhatwaytheseaiswhentheotherwomenwillbekeening.
*(To Nora). Give me the Holy Water, Nora, there’s a small sup still on the
dresser*.
*Nora gives it to her*.
*MAURYA:* *Drops Michael’s clothes across Bartley’s feet, and sprinkles the
Holy Water over him.*
290
It isn’t that I haven’t prayed for you, Bartley, to the Almighty God.
Itisn’tthatIhaven’tsaidprayersinthedarknighttillyouwouldn’tknowwhatI’dbesaying;butit’sagreatrestI’llhavenow,andit’stimesurely.It’sagreatrestI’llhavenow,andgreatsleepinginthelongnightsafterSamhain,ifit’sonlyabitofwetflourwedohavetoeat,andmaybeafishthatwouldbestinking.
*She kneels down again, crossing herself, and saying prayers under her
breath*.
*CATHLEEN:* *To an old man*.
Maybe yourself and Eamon would make a coffin when the sun rises. We
havefinewhiteboardsherselfbought,Godhelpher,thinkingMichaelwouldbefound,andIhaveanewcakeyoucaneatwhileyou’llbeworking.
*THE OLD MAN:* *Looking at the boards*.
Are there nails with them?
*CATHLEEN:* There are not, Colum; we didn’t think of the nails.
300
*ANOTHER MAN:* It’s a great wonder she wouldn’t think of the nails,
and allthecoffinsshe’sseenmadealready.
*CATHLEEN:* It’s getting old she is, and broken.
*Maurya stands up again very slowly and spreads out the pieces of Michael’s
clothes beside the body, sprinkling them with the last of the Holy Water*.
*NORA:* *In a whisper to Cathleen*.
She’s quiet now and easy; but the day Michael was drowned you could
hear
hercryingoutfromthistothespringwell.It’sfondershewasofMichael,andwouldanyonehavethoughtthat?
*CATHLEEN:* *Slowly and clearly*.
An old woman will be soon tired with anything she will do, and isn’t
it ninedaysherselfisaftercryingandkeening,andmakinggreatsorrowinthehouse?
310
*MAURYA:* *Puts the empty cup mouth downwards on the table, and lays her
hands together on Bartley’s feet*.
They’re all together this time, and the end is come. May the Almighty
GodhavemercyonBartley’ssoul,andonMichael’ssoul,andonthesoulsofSheamusandPatch,andStephenandShawn
*(bending
her head)*; and may He have mercy on my soul, Nora, and on the soul of
everyoneisleftlivingintheworld.
*She pauses, and the keen rises a little more loudly from the women, then
sinks away*.
*MAURYA:* *Continuing*.
Michael has a clean burial in the far north, by the grace of the
AlmightyGod.Bartleywillhaveafinecoffinoutofthewhiteboards,andadeepgravesurely.Whatmorecanwewantthanthat?Nomanatallcanbelivingforever,andwemustbesatisfied.
*She kneels down again and the curtain falls slowly*.