Mother Maurya in John Millington Synge's "Riders to the Sea" is Far from Real: A Critique

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 God have mercy on Bartley’s soul, and on Michael’s soul, and on the souls of Sheamus and Patch, and Stephen and Shawn[bending her head]; and may He have mercy on my soul, Nora, and on the soul of every one is left living in the world!

From ‘Riders to the Sea’

By John Millington Synge (1871–1909)

 In John Millington Synge's "Riders to the Sea", the character of Maurya, also known as Mother Maurya, the Shan Van Vocht is a complex and tragic figure. She is portrayed as a grieving mother who has lost most of her family members to the sea. Many critics have debated whether her portrayal is realistic or exaggerated. Our argument leads to the conjecture that Mother Maurya is far from real, and her character serves a symbolic purpose in the play. But why so? The criticism of Synge's play "Riders to the Sea" stems from the fact that the main character, Maurya, is a weak and fragile woman who lacks the ability to control or prevent the tragic events that occur in the story, such as the trip of Bartley. Additionally, all the characters seem to be powerless and at the mercy of their tragic destiny, which has further fueled this criticism.

However, it's worth noting that both Yeats and Arnold have pointed out in their works that passive suffering can be a subject of tragic dramas. Synge himself understood that the fundamental requirement of tragedy is action, and this action must be evident through the plot's incidents and the characters' development and vitality.

To begin with, Mother Maurya's character is exaggerated to the point of being almost mythical. She is a personification of Ireland's relationship with the sea, representing both its beauty and brutality. Her constant fear of losing her sons to the sea creates a sense of foreboding throughout the play. This fear is heightened by her prophetic visions, which suggest that the sea is a powerful force that cannot be controlled by mere mortals. Her belief that the sea is a living entity with the power to take life adds to her mythical status.

Mother Maurya's character is not realistic in terms of her behavior. She is portrayed as a passive character who accepts her fate without resistance. Her constant lamentations about her losses, coupled with her inability to take any action, make her seem resigned to her fate. Her lack of agency is particularly noticeable in the scene where she sends Bartley, her last remaining son, to the sea, despite her misgivings. This behavior is not consistent with that of a mother who has lost almost all her children to the sea.

But this is an one act tragedy that portrays the loss of an Aran woman's husband and sons to the sea. Yet, it is considered by many to be Synge's greatest achievement and the only true tragedy in modern literature that evokes both pity and terror. The play is a fine example of Synge's ability to create a unique tragic vision with minimal means using the one-act play form. Within the limited framework of being poetic and one-act, he experimented with a realistic framework and objectively portrayed the lives and relationships of Irish people and their connection to the sea.

The play's limited scope due to its one-act form does not diminish its tragic impact. Synge achieved a deeply moving tragedy by avoiding unnecessary details and sticking to the principles of compression, condensation, and compactness. 

In totality, it can not be denied that Mother Maurya's character serves a symbolic purpose in the play. She represents the archetypal Irish mother who has suffered the loss of her children to emigration, famine, and war. Like Shan Van Vocht, Mother Maurya is an allegorical symbol of "Mother Ireland", representing a nation that has suffered from a long history of violence and bloodshed. It is believed that this nation needs to be rescued by its patriotic men, who are seen as gallant heroes, in order to put an end to its suffering. The image of the  has been used to evoke sympathy and empathy towards the plight of the Irish people and to inspire action to improve their situation. Her constant mourning is a reflection of Ireland's history of loss and grief. Her acceptance of her fate is a metaphor for Ireland's resignation to the hardships of life.

On the other hand, the play can be viewed as a critical overview of Ireland's relationship with the sea. It highlights the dangers of relying on the sea for survival and the devastating consequences that can result from it. The sea is portrayed as both a provider and a destroyer of life. The play serves as a warning against the dangers of romanticizing the sea and the need to respect its power.

Mother Maurya in Synge's Riders to the Sea is far from real. But this is one act artistic reality. Her character is exaggerated to the point of being almost mythical, and her behavior is not consistent with that of a grieving mother. It is all but limitations of being one act design. However, her character serves a symbolic purpose in the play, representing Ireland's history of loss and grief. The play serves as a critical overview of Ireland's relationship with the sea, highlighting the dangers of relying on it for survival. Ultimately, the play reminds us of the need to respect the power of nature and the consequences of ignoring it. As readers, we can learn from Mother Maurya's character to reflect on our past, respect our heritage, and aspire to build a better future. Truly as Cardullo says Synge's Riders to the Sea is not a tragedy of an individual but a tragedy of a community.

Ardhendu De

References

1. Abd El-Fatah, N. H. (2017, January 1). John Millington Synge’s Riders to the Sea A pragmatic Analysis. John Millington Synge’s Riders to the Sea a Pragmatic Analysis. https://doi.org/10.21608/maed.2017.172201

2. Vural, Kubra. (2017). AGENTIC POWER OF THE SEA IN JOHN MILLINGTON SYNGE’S RIDERS TO THE SEA. Idil Journal of Art and Language. 6. 10.7816/idil-06-35-02. 

3. Cardullo, B. (1984). “Riders to the Sea”: A New View. The Canadian Journal of Irish Studies, 10(1), 95–112. https://doi.org/10.2307/25512591

4. Ibrahim Ismael, Zaid & Khalifa Ali, Sabah. (2019). The Allegorical Tragic Female Figure in Modern Irish Drama.