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John Millington Synge

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Edmund John Millington Synge (Template:IPAc-en; 16 April 1871 – 24 March 1909), popularly known as J. M. Synge, was an Irish playwright, poet, writer, essayist, and collector of folklores. As an important driving force behind the Irish Literary Renaissance during the early 20th century, he is widely regarded among the most influential dramatists of the Edwardian era,<ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and by several of his peers, including William Butler Yeats, as the most prolific dramatist in Irish literature.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite journal</ref> Synge had a relatively short career (c. 1903 - 1909), but his works continue to be held in high regard, due to their cultural significance. He was also one of the co-founders of the Abbey Theatre in Dublin.

His 1907 play The Playboy of the Western World, one of his best-known works, was initially poorly received, due to its bleak ending, crude depiction of Irish peasants, and the idealisation of patricide, leading to hostile audience reactions and street riots in Dublin during its opening run at the Abbey Theatre, which he had co-founded with W. B. Yeats and Lady Gregory. His other major works include In the Shadow of the Glen (1903), Riders to the Sea (1904), The Well of the Saints (1905), and The Tinker's Wedding (1909).

Synge, from a wealthy Anglo-Irish background, mainly wrote about working-class Catholics in rural Ireland, and what he saw as the essential paganism of their worldview. Owing to his ill health, he was schooled at home. His early interest was in music, leading to a scholarship and degree at Trinity College Dublin, and he went to Germany in 1893 to study music. In 1894, he moved to Paris where he took up poetry and literary criticism and met Yeats, and returned to Ireland.

Synge suffered from Hodgkin's disease. He died aged 37 from Hodgkin's-related cancer while writing what became Deirdre of the Sorrows (1910),<ref>Template:Cite book</ref> considered by some as his masterpiece, though it was unfinished during his lifetime. Most of his plays were known for their highly realistic depiction of Irish societies, and included plots, themes, landscapes, and settings from places he visited during his travels.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

BiographyEdit

Early lifeEdit

Synge was born on 16 April 1871, in Newtown Villas, Rathfarnham, County Dublin,<ref name="Smith xiv">Smith 1996 xiv</ref> the youngest of eight children of upper-middle-class Protestant parents.<ref name="Smith xiv"/> His father John Hatch Synge was a barrister and came from a family of landed gentry in Glanmore Castle, County Wicklow. Synge's paternal grandfather, also named John Synge, was an evangelical Christian involved in the movement that became the Plymouth Brethren, and his maternal grandfather, Robert Traill, was a Church of Ireland rector in Schull, County Cork, who died in 1847 during the Great Irish Famine. He was a descendant of Edward Synge, Archbishop of Tuam, and Edward's son Nicholas, the Bishop of Killaloe.Template:Sfn His nephews included mathematician John Lighton Synge and optical microscopy pioneer Edward Hutchinson Synge.<ref>Review of The Life and Works of Edward Hutchinson Synge Template:Webarchive Living Edition</ref>

Synge's father died from smallpox at the age of 49 and was buried on his son's first birthday. His mother moved the family to the house next door to her mother's house in Rathgar, County Dublin. Although often ill, Synge had a happy childhood. He developed an interest in bird-watching along the banks of the River Dodder,<ref>Greene and Stephens 1959, pp. 4–5</ref> and during family holidays at the seaside resort of Greystones, County Wicklow, and the family estate at Glanmore.<ref>Greene and Stephens 1959, p. 6</ref>

He was home-educated at schools in Dublin and Bray,<ref>McCormack 2010</ref> and studied piano, flute, violin, music theory and counterpoint at the Royal Irish Academy of Music. He travelled to the continent to study music but later decided to focus on literature.<ref name="Smith xiv"/> He was a talented student and won a scholarship in counterpoint in 1891. The family moved to the suburb of Kingstown (now Dún Laoghaire) in 1888, and Synge entered Trinity College, Dublin, the following year. He graduated with a bachelor's degree in 1892, having studied Irish and Hebrew, as well as continuing his music studies and playing with the Academy Orchestra in the Antient Concert Rooms.<ref>Greene and Stephens 1959, pp. 16–19, 26</ref> Between November 1889 and 1894 he took private music lessons with Robert Prescott Stewart.<ref>Parker, Lisa: Robert Prescott Stewart (1825–1894): A Victorian Musician in Dublin (Ph.D. thesis, NUI Maynooth, 2009), unpublished.</ref>

Synge later developed an interest in Irish antiquities and the Aran Islands, and became a member of the Irish League for a year.<ref name="Smith xv">Smith 1996 xv</ref> He left the League because, as he told Maud Gonne, "my theory of regeneration for Ireland differs from yours ... I wish to work on my own for the cause of Ireland, and I shall never be able to do so if I get mixed up with a revolutionary and semi-military movement."<ref>Greene and Stephens 1959, pp. 62–63</ref> In 1893 he published his first known work, a poem influenced by Wordsworth, in Kottabos: A College Miscellany.

Early workEdit

After graduating, Synge moved to Germany to study music. He stayed in Coblenz during 1893 before moving to Würzburg in January 1894.<ref>Greene and Stephens 1959, 35</ref> Because of his shyness about performing in public, coupled with his doubt about his own ability, he abandoned music to pursue his literary interests. He returned to Ireland in June 1894 before moving to Paris in January 1895 to study literature and languages at the Sorbonne.<ref>Greene and Stephens 1959, pp. 43–47</ref> He met Cherrie Matheson during summer breaks with his family in Dublin. He proposed to her in 1895 and again the next year, but she turned him down on both occasions because of their differing views on religion. The rejections greatly affected him and reinforced his determination to move abroad.<ref>Greene and Stephens 1959, pp. 48–52</ref>

In 1896, he visited Italy to study the language before returning to Paris. He planned on a career in writing about French authors.<ref name="Ellmann 1948, p. 130">Ellmann 1948, p. 130</ref> That year he met W. B. Yeats who encouraged him to spend time on the Aran Islands, after which he returned to Dublin. In 1899 he joined Yeats, Augusta, Lady Gregory and George William Russell to form the Irish National Theatre Society, which later established the Abbey Theatre.<ref>Mikhail 1987, p. 54</ref><ref name="Smith xv"/> He wrote some pieces of literary criticism for Gonne's Irlande Libre and other journals, as well as unpublished poems and prose in a decadent fin de siècle style.<ref>Greene and Stephens 1959, 60</ref> (These writings were eventually gathered in the 1960s for his Collected Works.<ref>Price 1972, 292</ref>) He also attended lectures at the Sorbonne by the noted Celtic scholar Henri d'Arbois de Jubainville.<ref>Greene and Stephens 1959, p. 72</ref>

Aran Islands and first playsEdit

File:Synge, John Millington - Ein Inselbewohner auf Inishmaan, einer der Aran-Inseln im Westen Irlands (Zeno Fotografie).jpg
John Millington Synge:
A resident of the island of Inishmaan (1898)

In 1897, Synge suffered his first attack of Hodgkin's, after which an enlarged gland was removed from his neck.<ref>Greene and Stephens 1959, p. 70</ref> He visited Lady Gregory's home, at Coole Park near Gort, County Galway, where he met Yeats again and also Edward Martyn. He spent the following five summers there, collecting stories and folklore, perfecting his Irish, but living in Paris for most of the rest of each year.<ref>Greene and Stephens 1959, pp. 74–88</ref> He also visited Brittany regularly.<ref>Greene and Stephens 1959, p. 95</ref> During this period he wrote his first play, When the Moon Has Set which he sent to Lady Gregory for the Irish Literary Theatre in 1900, but she rejected it. The play was not published until it appeared in his Collected Works.<ref>Price 1972, p. 293</ref>

Synge's first account of life on the Aran Islands was published in the New Ireland Review in 1898 and his book, The Aran Islands, completed in 1901 and published in 1907 with illustrations by Jack Butler Yeats.<ref name="Smith xiv"/> Synge considered the book "my first serious piece of work".<ref name="Smith xiv"/> Lady Gregory read the manuscript and advised Synge to remove any direct naming of places and to add more folk stories, but he declined to do either because he wanted to create something more realistic.<ref name="Smith 1996 xvi">Smith 1996, xvi</ref> The book conveys Synge's belief that beneath the Catholicism of the islanders, it was possible to detect a substratum of the pagan beliefs of their ancestors. His experiences in the Arans formed the basis for the plays about Irish rural life that Synge went on to write.<ref>Greene and Stephens 1959, pp. 96–99</ref>

Synge left Paris for London in 1903. He had written two one-act plays, Riders to the Sea and The Shadow of the Glen, the previous year. These met with Lady Gregory's approval and The Shadow of the Glen was performed at the Molesworth Hall in October 1903.<ref name="Smith xvii">Smith 1996, xvii</ref> Riders to the Sea was staged at the same venue in February the following year. The Shadow of the Glen, under the title In the Shadow of the Glen, formed part of the bill for the opening run of the Abbey Theatre from 27 December 1904 to 3 January 1905.<ref name="Smith xvii"/> Both plays were based on stories that Synge had collected in the Arans, and Synge relied on props from the Arana to help set the stage for each of them.<ref name="Smith xvii"/> He also relied on Hiberno-English, the English dialect of Ireland, to reinforce its usefulness as a literary language, partly because he believed that the Irish language could not survive.<ref name="Smith xxiv">Smith 1996, xxiv</ref>

File:AbbeyPosterOpeningNight.jpg
Poster for opening of Abbey Theatre featuring In the Shadow of the Glen

The Shadow of the Glen is based on a story about an unfaithful wife, and was criticised by the Irish nationalist leader Arthur Griffith as "a slur on Irish womanhood".<ref name="Smith xxiv"/> Years later Synge wrote: "When I was writing The Shadow of the Glen some years ago I got more aid than any learning could have given me from a chink in the floor of the old Wicklow house where I was staying, that let me hear what was being said by the servant girls in the kitchen."<ref>Synge "Preface" to The Playboy</ref> Griffith's criticism encouraged more attacks alleging that Synge described Irish women in an unfair manner.<ref name="Smith xxiv"/> Riders to the Sea was also attacked by nationalists, this time including Patrick Pearse, who decried it because of the author's attitude to God and religion. Pearse, Griffith and other conservative-minded Catholics claimed Synge had done a disservice to Irish nationalism by not idealising his characters,<ref name="Smith xiii">Smith 1996, xiii</ref> but later critics have stated he idealised the Irish peasantry too much.<ref name="Smith xiii"/> A third one-act play, The Tinker's Wedding, was drafted around this time, but Synge initially made no attempt to have it performed, largely because of a scene in which a priest is tied up in a sack, which, as he wrote to the publisher Elkin Mathews in 1905, would probably upset "a good many of our Dublin friends".<ref name="Smith xviii">Smith 1996, xviii</ref>

When the Abbey Theatre was established, Synge was appointed literary adviser and became one of the directors, along with Yeats and Lady Gregory. He differed from Yeats and Lady Gregory on what he believed the Irish theatre should be, as he wrote to Stephen MacKenna:

I do not believe in the possibility of "a purely fantastic, unmodern, ideal, breezy, spring-dayish, Cuchulainoid National Theatre" ... no drama can grow out of anything other than the fundamental realities of life, which are never fantastic, are neither modern nor unmodern and, as I see them, rarely spring-dayish, or breezy or Cuchulanoid.<ref>Greene and Stephens 1959, p. 157</ref>

Synge's next play, The Well of the Saints, was staged at the Abbey in 1905, again to nationalist disapproval, and then in 1906 at the Deutsches Theater in Berlin.<ref name="Smith xix">Smith 1996, xix</ref> The critic Joseph Holloway asserted that the play combined "lyric and dirt".<ref>Hogan and O'Neill 1967, p. 53</ref>

Playboy riots and afterEdit

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File:John Millington Synge - Project Gutenberg eText 19028.jpg
John Millington Synge

Synge's widely regarded masterpiece, The Playboy of the Western World, was first performed on 26 January 1907, at the Abbey Theatre. A comedy about apparent patricide, it attracted a hostile reaction from sections of the Irish public. The Freeman's Journal described it as "an unmitigated, protracted libel upon Irish peasant men, and worse still upon Irish girlhood".<ref name="ferriter">Ferriter 2004, pp. 94–95</ref> Arthur Griffith, who believed that the Abbey Theatre was insufficiently politically committed, described the play as "a vile and inhuman story told in the foulest language we have ever listened to from a public platform",<ref>Foster 1998, p. 363</ref> and perceived a slight on the virtue of Irish womanhood in the line "... a drift of chosen females, standing in their shifts ..."<ref>Playboy of the Western World, Act III</ref> At the time, a shift was known as a symbol representing Kitty O'Shea and her adulterous relationship with Charles Stuart Parnell.<ref>Price 1961, pp. 15, 25</ref>

A section of the audience at the opening rioted, causing the third act to be acted out in dumbshow.<ref>Template:Cite journal</ref> The disturbances continued for a week, interrupting the following performances.<ref>Foster 1998, p. 361</ref> Years later, after a similar disturbance at the opening of The Plough and the Stars by Seán O'Casey, Yeats said the audience had "disgraced yourselves again. Is this to be an ever-recurring celebration of the arrival of Irish genius? Synge first and then O'Casey?"<ref>Gassner 2002, p. 468</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The writing of The Tinker's Wedding began at the same time as Riders to the Sea and In the Shadow of the Glen. It took Synge five years to complete and was not finished until 1907.<ref name="Smith xviii"/> Riders was performed in the Racquet Court theatre in Galway on 4–8 January 1907, but not performed again until 1909, and then only in London. The first critic to respond to the play was Daniel Corkery, who said, "One is sorry Synge ever wrote so poor a thing, and one fails to understand why it ever should have been staged anywhere".<ref>Corkery 1931, p. 152</ref>

DeathEdit

Synge died from Hodgkin lymphoma at the Elpis Nursing Home in Dublin on 24 March 1909, aged 37,<ref>Synge 1971, p. 85</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and was buried in Mount Jerome Cemetery, Harold's Cross, Dublin.<ref>Dunne 1997, p. 24</ref> A collected volume, Poems and Translations, with a preface by Yeats, was published by the Cuala Press on 8 April 1909. Yeats and actress and one-time fiancée Molly Allgood (Maire O'Neill)<ref>Mikhail 1987, p. 81-82</ref> completed Synge's unfinished final play, Deirdre of the Sorrows, and it was presented by the Abbey players on Thursday 13 January 1910, with Allgood as Deirdre.<ref name="Smith xiii"/>

PersonalityEdit

John Masefield, who knew Synge, wrote that he "gave one from the first the impression of a strange personality".<ref>Masefield 1916, p. 6</ref> Masefield said that Synge's view of life originated in his poor health. In particular, Masefield said "His relish of the savagery made me feel that he was a dying man clutching at life, and clutching most wildly at violent life, as the sick man does".<ref>Masefield 1916, p. 22</ref>

Yeats described Synge as timid and shy, who "never spoke an unkind word" yet his art could "fill the streets with rioters".<ref>Yeats 1965, p. 231</ref> Richard Ellmann, the biographer of Yeats and James Joyce, stated that Synge "built a fantastic drama out of Irish life.<ref name="Ellmann 1948, p. 130"/>

Yeats described Synge in the poem "In Memory of Major Robert Gregory":

...And that enquiring man John Synge comes next,
That dying chose the living world for text
And never could have rested in the tomb
But that, long travelling, he had come
Towards nightfall upon certain set apart
In a most desolate stony place,
Towards nightfall upon a race
Passionate and simple like his heart.<ref>Grene (1975), preface</ref>

Synge was a political radical, immersed in the socialist literature of William Morris, and in his own words "wanted to change things root and branch". Much to the consternation of his mother, he went to Paris in 1896 to become more involved in radical politics, and his interest in the topic lasted until his dying days when he sought to engage his nurses on the topic of feminism.<ref>Kiberd 1995, p. 175</ref>

LegacyEdit

File:Teach Synge Inishmaan.JPG
The cottage where Synge lodged on Inis Meáin, now the Teach Synge museum

Yeats said that Synge was "the greatest dramatic genius of Ireland".<ref>Yeats 1965, p. 138</ref> While Yeats and Lady Gregory were "the centrepieces of the Irish theatrical renaissance, it was Synge ... who gave the movement its national quality ..."<ref>Johnston 1965, p. 3.</ref> His plays helped set the dominant style at the Abbey Theatre until the 1940s. The stylised realism of his writing was reflected in the training given at the theatre's school of acting, and plays of peasant life were the main staple of the repertoire until the end of the 1950s. Sean O'Casey, the next major dramatist to write for the Abbey, knew Synge's work well and attempted to do for the Dublin working classes what Synge had done for the rural poor. Brendan Behan, Brinsley MacNamara, and Lennox Robinson were all indebted to Synge.<ref>Greene 1994, p. 26</ref>

The Irish literary critic Vivian Mercier was among the first to recognise Samuel Beckett's debt to Synge.<ref>Mercier 1977, p. 23</ref> Beckett was a regular member of the audience at the Abbey in his youth and particularly admired the plays of Yeats, Synge and O'Casey. Mercier points out parallels between Synge's casts of tramps, beggars and peasants and many of the figures in Beckett's novels and dramatic works.<ref>Mercier 1977, pp. 20–23</ref>

Synge's cottage in the Aran Islands has been restored as a tourist attraction. An annual Synge Summer School has been held every summer since 1991 in the village of Rathdrum, County Wicklow.<ref>Irish Theatre and the World Stage Template:Webarchive, SyngeSummerSchool.org; retrieved 27 August 2008.</ref> Synge is the subject of Mac Dara Ó Curraidhín's 1999 documentary film, Synge agus an Domhan Thiar (Synge and the Western World). Joseph O'Connor wrote a novel, Ghost Light (2010), loosely based on Synge's relationship with Molly Allgood.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref>

Synge's correspondence with his cousin, composer Mary Helena Synge, is archived at Trinity College Dublin.

WorksEdit

NotesEdit

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ReferencesEdit

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  • Burke, Mary. 'Tinkers': Synge and the Cultural History of the Irish Traveller. Oxford University Press, 2009.}
  • Template:Cite book
  • Corkery, Daniel. Synge and Anglo-Irish Literature. Cork University Press, 1931. Template:OCLC
  • Dunne, Seán and George O'Brien. The Ireland Anthology. St. Martin's Press, 1997. Template:ISBN
  • Ellmann, Richard. Yeats: The Man and the Masks. Macmillan, 1948.
  • Ferriter, Diarmaid. The Transformation of Ireland 1900–2000. Profile Books, 2004. 94–95. Template:Isbn
  • Foster, R.F., W.B. Yeats: A Life. I: The Apprentice Mage 1864—1914. Oxford University Press, 1998.
  • Gassner, John & Quinn, Edward. "The Reader's Encyclopedia of World Drama". Dover Publications, May 2002. Template:ISBN
  • Greene, David H. & Stephens, Edward M. "J.M. Synge 1871–1909" (The MacMillan Company New York 1959)
  • Greene, David. "J.M. Synge: A Reappraisal" in Critical Essays on John Millington Synge, ed. Daniel J. Casey, 15–27. New York: G. K. Hall & Co., 1994
  • Grene, Nichola. "Synge: A Critical Study of His Plays". Lanham MD: Rowman and Littlefield, 1975. Template:ISBN
  • Hogan, Robert and O'Neill, Michael. Joseph Holloway's Abbey Theatre. Carbondale, Southern Illinois University Press, 1967.
  • Johnston, Denis. "John Millington Synge", Columbia Essays on Modern Writers Series, #12. New York: Columbia University Press, 1965.
  • Kiberd, Declan. Inventing Ireland: The Literature of the Modern Nation, Jonathan Cape, 1995.
  • Lucas, F. L. (ed.). The Drama of Chekhov, Synge, Yeats and Pirandello, Cassell, 1963.
  • McCormack, W.J. "Synge, (Edmund) John Millington", Oxford Dictionary of National Biography, 2010. {{#invoke:doi|main}}
  • Mikhail, E. H. (ed.). The Abbey Theatre: Interviews and Recollections, Rowman & Littlefield, 1987.
  • Masefield, John. John M. Synge: A Few Personal Recollections With Biographical Notes, Netchworth: Garden City Press Ltd., 1916.
  • Mercier, Vivian. Beckett/Beckett. Oxford: Oxford University Press, 1977. Template:ISBN
  • Price, Alan. "Synge and Anglo-Irish Drama". London: Methuen, 1961.
  • Price, Alan. "A Survey of Recent Work on J. M. Synge" in A Centenary Tribute to J. M. Synge 1871–1909. Ed. S. B. Bushrui. New York: Barnes & Noble, 1972. Template:ISBN.
  • Smith, Alison. "Introduction" in Collected Plays, Poems, and The Aran Islands. Ed. Alison Smith. London: Everyman, 1996.
  • Synge, John Millington. Collected Works. Ed. Robin Skelton, Alan Price, and Ann Saddlemeyer. Gerrards Cross: Smythe, 1982. Template:ISBN
  • Synge, John Millington. Some Letters of John M. Synge to Lady Gregory and W. B. Yeats. Cuala Press, 1971.
  • Yeats, William Butler. The Autobiography of William Butler Yeats. Macmillan, 1965.
  • Watson, George. Irish Identity and the Literary Revival. London: Croom Helm, 1979.

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External linksEdit

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Works

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