The formulaic tragedies are essentially tagged with the
classical Greek plays of Aeschylus, Euripides, and Sophocles. These plays
exerted an enduring influence on the subsequent tragic plays. The classical
tragedies were composed of strict observation of rules and regulations, ranging
from plot, setting, tragic hero, style, diction, dialogue, catastrophe,
cathartic appeal, etc. However, during the Renaissance period, William
Shakespeare deviated from strict adherence to rules and tried to create an
individualistic style. The majority of modernist playwrights also paid much
attention to establish a new type of tragedy.
However, in
all traditions, whether classical, Shakespearean, or modern, the conflicting
forces in the human mind and the bitter human suffering constitute the essence
of tragedy. The spectacle of man's suffering, caught by some mightier forces,
brings the cathartic appeal which is the inevitable experience of a tragic
play. So the difference between classical and modern tragedies then chiefly
lies with the technique of presentation.
In the 20th Century,
John Millington Synge opted to write moving plays that reverberated the
traditions of the Greek tragedies in a rather modern style. Even with the
modified style, Synge has been able to produce tragic plays that could arouse
the audience’s emotions. His critically acclaimed play Riders to the
Sea is also a great tragedy in its representation of human suffering
and cathartic appeal. However, the play is not merely a tragedy of an
individual rather it is the tragedy of humanity, struggling for survival
against the heavy odds of life.
In general, there are two prevailing views on the tragic vision of life:
Man is the helpless victim of fate: In Greek tragedies fate often plays
a role in the downfall of a character. The tragic fate for the character is
preordained and it's absolutely futile to try to outwit it. For example,
Oedipus and Antigone confront tragic end since they maintained overweening
self-confidence in their respective attitudes. Again, Agamemnon kills Iphigenia
by divine command; Orestes kills his mother by Apollo's direction. In fine, in
Greek tragedy, fate is the predominant force that leads the characters to their
dooms.
Character is destiny: This view is prevalent in Shakespearean tragedies
wherein the role of fate is minimized and the focus is largely on human choice
and moral accountability. It is the actions of each character that bring about
their inevitable fate. For instance, Macbeth's downfall is engendered by
unchecked ambition which entailed a desire for power and position; Othello’s
tragedy is brought about by jealousy which flared at suspicion and rushed into
action unchecked by calm common sense; Hamlet's inability to act brings about
his tragedy.
Keeping the above context in mind we
can find that in Riders to the Sea Synge incorporates mostly
Greek tragic vision of life. It's more a tragedy of fate than a tragedy of
character. In this play, the characters confront their downfall without any
hamartia or tragic flaw. Here destiny or the fate controls everything and none
can change either its decree or direction. Hence, life means nothing but
tragedy and unconditional surrender to the merciless fate.
The inhabitants of the Aran Islands are dependent solely on the sea in order to
support their family. They have been going to the sea from generation to
generation fully aware of the danger of death. The cruel sea has devoured
countless lives, but the struggle of the islanders never ceases as there are no
other options for earning living. Thus here the sea assumes almost the role of
fate and becomes instrumental to human suffering and death. It is rather the
nemesis of human life that comes down to shatter human hopes and happiness.
Riders to the Sea is full of grim wherein we are informed that
Maurya has already lost six loved ones to the ocean, her father-in-law, her
husband, and four of her sons. In Maurya’s words:
“I've had a husband, and a husband's
father, and six sons in this house – six fine men, though it was a hard birth I
had with every one of them and they coming to the world– and some of them were
found and some of them were not found, but they're gone now, the lot of
them.... There were Stephen, and Shawn, were lost in the great wind, and found
after in the Bay of Gregory of the Golden Mouth.”
Now her only surviving sons are the eldest Michael and the youngest Bartley.
Unfortunately, Michael has been missing for nine days and the discovery of his
dead body ultimately confirmed his demise. All these loved ones went to the sea
being fully aware of the possible danger and faced what the destiny
predetermined. They can’t be held liable for their decision, as it was an
inevitable part of their living. Eventually, Bartley also walks in the same
path and decides to go to the mainland in order to sell a couple of horses at
the cattle fair. He too was conscious of the dangers but was determined to
stick to his decision. In the end, Bartley is thrown by his horse and swept out
into the sea, where he drowns. Thus Bartley falls a victim to fate without having
any hamartia or whatsoever. Maurya’s speech also echoes that man is helpless
against fate:
“In the big world the old people do be leaving things after them for their sons and children, but in this place it is the young men do be leaving things behind for them that do be old.”
Moreover, Maurya’s closing remark confirms that none can fight against the
fate. So she admits the power of the fate and surrenders to fate saying:
“What more can we want than that? No
man at all can be living for ever, and we must be satisfied.”
To conclude, Riders to the Sea is a great modern tragedy
having Greek dramatic qualities. Here Synge did an excellent job by
representing fate symbolically, however along with its age-old relentless
nature. Through the cruelty of the fate Synge universalized the theme of human
suffering and loss.
