The Four Movements in J. M. Synge's "Riders to the Sea" and Their Role in Building towards the Play's Final Resolution
Four movements in J. M. Synge's one act play "Riders To The Sea": what are these and how do they prepare the audience for the play's final resolution?
Introduction
In J. M. Synge's one-act play "Riders to the Sea," there are four distinct movements that contribute to the overall narrative and prepare the audience for the play's final resolution:
(2) A concern for Bartley- a the desire to prevent his journey
(3) Maurya's conquest of suffering by the selfish thought that she will have to weep no more
(4) The final movement of Maurya's mind where the serenity is bred not by selfishness but by selflessness, by a concern for all humanity i.e. development of charity, sympathy.
The Suffering Mother
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| J. M. Synge |
would he go the length of that way to the far north ?
NORA The young priest says he's known the like of it. " If it's Michael's they are," says he, "you can tell herself he's got a clean burial by the grace of God, and if they're not his,
let no one say a word about them, for she'll be getting her death," says he, " with crying and lamenting."
(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 the Galway fair?
NORA "I won't stop him," says he, " but let you not be afraid. Herself does be saying prayers half through the night, and the Almighty God won't leave her destitute," says he, " with no son living." "
Concern for Bartley
The second movement focuses on Maurya's concern for her son Bartley, who plans to embark on a dangerous journey by sea. Maurya's desire to prevent Bartley from taking this journey demonstrates her love for him and her desperate attempt to protect him from the fate that befell her other sons. Maurya's intense worry and fear for Bartley's safety create a sense of tension and suspense too. The audience shares in her desperation to prevent Bartley from meeting the same fate as his brothers. This movement not only emphasizes the bond between mother and son but also highlights the harsh and unpredictable nature of the sea, which serves as a powerful antagonist in the play. Here we quote a mother son conversation:
Isn't it a hard and cruel man won't hear a word from an old woman, and she holding him from the sea?
CATHLEEN
It's the life of a young man to be going on the sea, and who would listen to an old woman with one thing and she saying it over?
BARTLEY (Taking the halter.) I must go now quickly. I'll ride down on the red mare, and the gray pony 'll run behind me. . . The blessing of God on you.
(He goes out.)
MAURYA (Crying out as he is in the door.) He's gone now, God spare us, and we'll not see him again. He's gone now, and when the black night is falling I'll have no son left me in the world. "
Maurya's Conquest of Suffering
The third movement depicts Maurya's transformation as she confronts her suffering. She experiences a brief respite from her grief, realizing that with the loss of Bartley, she will no longer have to weep. This momentary relief highlights Maurya's ability to find solace in her own personal release from sorrow. This realization brings a brief respite from her grief, and she finds solace in the release from her personal sorrow. The audience witnesses Maurya's internal struggle as she momentarily conquers her suffering, offering a glimmer of hope amidst the pervasive tragedy. However, this moment of respite is fleeting, as it also foreshadows the inevitability of further loss and sorrow.
Maurya's Selfless Serenity
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 the other. I'll have no call now to be going down and getting Holy Water in the dark nights after Samhain, and I won't care what way the sea is when the other women will be keening.
(Nora gives it to her)
It isn't that I haven't prayed for you, Bartley, to the Almighty God. It isn't that I haven't said prayers in the dark night till you wouldn't know what I'ld be saying; but it's a great rest I'll have now, and it's time surely. It's a great rest I'll have now, and great sleeping in the long nights after Samhain, if it's only a bit of wet flour we do have to eat, and maybe a fish that would be stinking.
Conclusion
These four movements collectively prepare the audience for the play's final resolution by immersing them in Maurya's emotional journey. The audience witnesses her initial suffering, her desperate attempt to protect her remaining son, and her personal triumph over grief. The elaboration of these movements allows the audience to connect with Maurya's grief, fear, and eventual transformation. By experiencing these stages, the audience gains a deeper appreciation for the play's exploration of loss, acceptance, and the resilience of the human spirit. Ultimately, Maurya's transformation into a selfless and empathetic individual foreshadows the play's final resolution, which encompasses themes of loss, acceptance, and the resilience of the human spirit.
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