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Chapter 8 THE FAME OF J.M. SYNGE

Word Count: 1127    |    Released on: 30/11/2017

in the great tradition of Homer and Shakespeare. So successful has Mr. Yeats been, indeed, in the exaltation of his friend, that people are in danger of

dead. The critics outside Ireland, however, have had none of these causes of passion to prevent them from seeing Synge justly. They simply

estern World is his masterpiece. There can never be any true criticism of Synge till we have got rid of all these obsessions and idolatries. Synge was an extraordinary man of genius, but he was not an extraordinarily great man of genius. He is

artistic formula of Tolstoi. This was Riders to the Sea. Riders to the Sea, a lyrical pageant of pity made out of the destinies of fisher-fo

n the Shadow of the Glen, and there is a funeral party in The Playboy of the Western World. Synge's imagination dwelt much among the tombs. Even in his comedies, his laughter does not spring from an exuberant joy in

was a great creator of men and women. Synge, in my opinion at least, was nothing of the sort. His genius was a genius of decoration, not of psychology. One might compare it to firelight in a dark room, throwing fantastic shapes on the walls. He loved the fantastic, and he was held by the darkness. Both in speech and in character, it was the bizarre

ong the masters." But then Mr. Howe thinks that "Pegeen Mike is one of the most

should regain their poetic feeling for ordinary life; and presented them with Pegeen w

it only ordinary Irish life?-in the la

speech. His first plays express, as it were, the delight of first love. He was always a shaping artist, of course, in search of figures and patterns; but he kept his passion for these things subordinate to reality in the early plays. In The Playboy he seemed to be determined to write riotously, like a man straining after vitality. He exaggerated everything. He emptied bagfuls of

hearing or reading of it must come as a revelation to those who do not know Riders to the Sea or The Well of the Saints. Even when it is played, as it is now played, in an expurgated form, and with sentimentality substituted for th

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