The Playboy Of The Western World English Literature Essay

May 11, 2018 English Literature

Synge depicts Christy Mahon as a weak, frightened, immature adult male at the beginning of the extract, whereas Pegeen is given a strong, about masculine character, protecting him from the Widow ‘s progresss. When the Widow is introduced, the audience sees Christy “ cleaving to Pegeen ” crying “ Oh Glory! ” with Pegeen holding to hastily give Christy his supper and usher him off to bed like a kid. In this infusion, the audience sees how Pegeen is given the ‘protector ‘ function, exhibiting maternal inherent aptitudes. In 1907, the satirising of gender functions shown with Synge giving more position to adult females than work forces would divert the audience, as it conflicts with the traditional Irish patriarchal society. Christy is painted as the authoritative ‘damsel-in-distress ‘ , with Pegeen holding to contend the Widow, angrily stating her that she will “ non hold him tormented, and he destroyed going since Tuesday was a hebdomad ” . Again it is apparent that Christy is shying off from his expected male function, go forthing Pegeen to support him, diverting the audience. When the Widow “ pulls Christy up ” , as “ they ‘d outdo be traveling, immature chap ; so lift up and come with me ” , Pegeen retaliates by “ prehending his arm ” , take a firm standing “ he ‘ll non stir ” . Christy has been compromised in footings of his maleness ; two adult females have physically placed their control over him, and Christy lacks the strength to confute their control.

This scene would hold been really comedic, as non merely are Pegeen and the Widow efficaciously holding a ‘brawl ‘ , a male associated activity, but Christy is incapacitated in the center, like a female. Traditionally, it would hold been the work forces who ‘wooed ‘ the adult females, but Synge has ignored this, with Christy being instead violently ‘wooed ‘ by Pegeen and the Widow, arousing laughter from the audience, who would happen the expressed usage of sarcasm extremely diverting. Synge is showing Christy ‘s indispensable emasculation, shown by change by reversaling traditional gender functions. Subsequently on in the drama a mule race takes topographic point ; as D. P. Moran observes, “ the chase of physical-contact Gaelic games [ was used as ] an counterpoison to such emasculation ” . Christy ‘s partaking in the race shows how he used this chance to confirm his gender after experiencing emasculated by Pegeen and the Widow.

Throughout the extract from p.59-62, repeated mentions are made to religion, many in the signifier of Father Reilly, the local priest. Though he is non seen in the extract, his presence is acknowledged as he is partly why the Widow went to happen Christy Mahon ; when Pegeen asks her “ What ails you, or what is it you ‘re desiring at this hr of the dark? ” the Widow answers that she was “ after run intoing Shawn Keogh and Father Reilly below, who told me of your wonder adult male, and they fearing by this clip he was howling, frolicing on your custodies with drink ” . The audience would non be surprised by Father Reilly ‘s attitudes, as in the 1900s Ireland was a piously Catholic state, as Jane Abbottsmith explains “ The term ‘Irish Irelander ‘ originated to qualify the true Irishman: Catholic and with Irish lineage, learned in Irish folklore and competent in the speech production and reading of the Gaelic linguistic communication ” . Abbottsmith continues to note that it was the “ Irish provincials, who were the traditionally pious, Catholic population that was good versed in Irish folklore ” . Though the 1900s audience would hold expected the priest ‘s intercession, a modern audience would happen it comedic how Pegeen being entirely with Christy has prompted such a hot and bothered reaction, proposing Synge ‘s attitudes were in front of his clip. Irish society was piously spiritual, so the audience would hold been surprised at how Father Reilly is the merely spiritual character. The other characters do non look to integrate faith in their character, flooring the audience. However, the merely other character to be spiritual would do offense: the Widow Quin comments to Christ “ God save you mister! ” which is extremely dry as her purposes for him are far from sanctum. Sing such a scandalized, marauding character utilizing the Lord ‘s name would hold doubtless offended the audience. The power of the Catholic Church is a running subject throughout the drama, as Synge would be cognizant that his audience would compare what they see onstage to the Church ‘s instructions. Therefore Synge has satirised faith to expose the absurdness of the utmost spiritual positions in Ireland ; a deficiency of faith in the other characters further show the audience how independent rural Ireland is from middle-class conventions.

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The portraiture of life in the Irish countryside was doubtless one of the chief beginnings of contention in the drama. The in-between category audience would hold had the construct of rural Ireland using a quiet, idyllic life – nevertheless Synge ‘s drama disproves this, county Mayo being the antithesis to their outlooks. Christy is welcomed with unfastened weaponries, despite the town knowing he murdered his male parent. As Adrian Fraser notes, “ The Playboy could be read as researching a converse proposition: a communal willingness to absorb ( even glorify ) those who break the ultimate tabu against patricide ” . Christy ‘s glory would greatly concern the audience, bring oning indignation. By satirizing countryside life, Synge was supplying a societal commentary on life in the stray rural seashore. However, Christy is subsequently disgraced in the drama, when the characters realise they have been deceived. When Pegeen Tells of how the Widow purportedly murdered her hubby, where she “ hit himself with a worn choice, and the rusted toxicant did eat his blood the manner he ne’er overed it, and died after. That was a underhand sort of slaying did win little glorification with the male childs itself ” the audience would be shocked that such wickedness tallies free in the countryside. As Fraser once more writes, The Playboy of the Western World “ is a societal sarcasm of rural life that is antic, grotesque, and profound ” . At the drama ‘s decision, when Christy leaves Pegeen for his escapades, the audience would happen temper at the contrast between their hereafters: Christy is off to populate a life of exhilaration, whilst Pegeen is doomed to a destiny of get marrieding Shawn and a dull life in County Mayo. The difference in their destinies reinforces the drama ‘s position as a tragicomedy.

Synge uses the component of sarcasm in his drama to expose to the in-between category Dublin audience what life was like for the people of the countryside ; the drama ‘s contention stemmed from people disliking what they saw. By satirizing gender functions, faith and the idyllic construct of Irish countryside life, Synge was efficaciously able to invalidate the pastoral sentiments felt towards them, exemplifying to the in-between category how independent rural Ireland was to the pretentious Dubliners. As Heidi Holder says “ Synge makes it rather clear to his audiences that their darling image of the Irish state common people was a mere building – a building eminently unfastened to dispute, and it was exactly this dismantlement of the differentiations between fiction and world that was the beginning of Synge ‘s struggle with his audience ” .


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