John Millington Synge
name = John Millington Synge
caption = John Millington Synge
birthdate = birth date|1871|4|16|df=y
Rathfarnham, Dublin, Ireland
deathdate = death date and age|1909|3|24|1871|4|16|df=y
deathplace = Elpis Nursing Home,
occupation = novelist
short story writer
nationality = Irish
Drama, fictional prose
movement = Folklore
Irish Literary Revival
William Butler Yeats Seán O'Casey William Wordsworth
Samuel Beckett Padraig Pearse Peig Sayers Seamus Heaney
Edmund John Millington Synge (pron-en|sɪŋ) (16 April 1871 – 24 March 1909) was an Irish
playwright, poet, prosewriter, and collector of folklore. He was one of the cofounders of the Abbey Theatre. He is best known for the play " The Playboy of the Western World", which caused riots during its opening run at the Abbey theatre. Synge wrote many well known plays, including "Riders to the Sea", which is often considered to be his strongest literary work.
Synge suffered from Hodgkin's disease, a form of cancer at the time untreatable. He died just weeks short of his 38th birthday and was at the time trying to complete his last play, "The Last Black Supper".
Synge was born in Newtown Villas,
Rathfarnham, County Dublinon 16 April 1871.Smith 1996 xiv] He was the youngest son in a family of eight children. His parents were part of the Protestant middle and upper class: his family on his father's side were landed gentry from Glanmore Castle, County Wicklowand his maternal grandfather, Robert Traill, had been a Church of Ireland rectorin Schull, County Corkand a member of the Schull Relief Committee during the Great Irish Famine (1845–1849). Rathfarnham was then a rural part of the county, and during his childhood he was passionately interested in ornithology. His earliest poems are somewhat Wordsworthian in tone: his first 'literary composition' was a nature diary he made in collaboration with Florence Ross Who?when they were both children.
His grandfather, John Hatch Synge, was an admirer of the educationalist
Johann Heinrich Pestalozziand founded an experimental school on the family estate. His father, also called John Hatch Synge, was a barrister but contracted smallpoxand died in 1872 at the age of 49. Synge's mother, who had a private income from lands in County Galway, moved the family to the house next door to her mother in Rathgar, Dublin. Synge, although often ill, had a happy childhood here, and developed an interest in ornithologyalong the banks of the River Dodder[Greene and Stephens 1959 pp. 4–5] in the grounds of the nearby Rathfarnham Castle, and during family holidays at the seaside resort of Greystones, Wicklow, and the family estate at Glanmore. [Greene and Stephens 1959 p. 6]
Synge was educated privately at schools in Dublin and
Bray, and later studied piano, flute, violin, music theoryand counterpointat the Royal Irish Academy of Music. He traveled to Europe to study music, but changed his mind and decided to focus on literature. He proved to be 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, Dublinthe following year, where he graduated with a BA in 1892. While at college, he studied Irish and Hebrew, as well as continuing his music studies and playing with the Academy orchestra in the Antient Concert Rooms. [Greene and Stephens 1959 pp. 16–19, 26]
He joined the
Dublin Naturalists' Field Cluband read Charles Darwin. Synge wrote::When I was about fourteen I obtained a book of Darwin's .... My studies showed me the force of what I read, [and] the more I put it from me the more it rushed back with new instances and power ... Soon afterwards I turned my attention to works of Christian evidence, reading them at first with pleasure, soon with doubt, and at last in some casses with derision [Synge 1982 pp. 10–11] He then continued, "Soon after I had relinquished the kingdom of God I began to take up a real interest in the kingdom of Ireland. My politics went round ... to a temperate Nationalism." [Synge 1982 p. 13] He later developed an interest in Irish antiquities and the Aran Islands, and became a member of the Irish League for a year.Smith 1996 xv] He later quite the Irish 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." [Greene and Stephens 1959 pp. 62–63] In 1893, he published his first known work, a Wordsworth-influenced poem, in "". His reading of Darwin coincided with a crisis of faith and Synge abandoned the Protestant religion of his upbringing around this time. [Greene and Stephens 1959 p. 15]
After graduating, Synge decided that he wanted to be a professional musician and went to Germany to study music. He stayed at Coblenz during 1893, and moved to
Würzburgin the January of the following year. [Greene and Stephens 1959 p. 35] Partly because he was shy about performing in public, and partly because of self-doubt on his ability, Synge decided to abandon music and pursue his literary interests. He returned to Ireland in June 1894, and moved to Paris the following January to study literature and languages at the Sorbonne. [Greene and Stephens 1959 pp. 43–47]
During summer holidays with his family in Dublin, he met and fell in love with Cherrie Matheson, a friend of his cousin and a member of the
Plymouth Brethren. He proposed to her in 1895 and again the next year, but she turned him down on both occasions because of their differing religious viewpoints. This rejection affected Synge greatly and reinforced his determination to spend as much time as possible outside Ireland. [Greene and Stephens 1959 pp. 48–52]
In 1896 he visited Italy to study the language for a time before returning to Paris. Later that year he met
William Butler Yeats, who encouraged Synge to live for a while in the Aran Islandsand then return to Dublin and devote himself to creative work. That year he joined with Yeats, Lady Gregory, and George Russel to form the Irish National Theatre Society, which later would establish the Abbey Theatre. He also wrote an amount 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. [Greene and Stephens 1959 p. 60] These writings were eventually gathered together in the 1960s for his "Collected Works". [Price 1972 p. 292] He also attended lectures at the Sorbonne by the noted Celtic scholar Henri d'Arbois de Jubainville. [Greene and Stephens 1959 p. 72]
Aran Islands and first plays
Synge suffered his first attack of Hodgkin's disease in 1897 and also had an enlarged gland removed from his neck. [Greene and Stephens 1959 p. 70] The following year, he spent the summer on the Aran Islands. [He also spent time at
Lady Gregory's Coole Park home near Gort, County Galway, where he met Yeats and Edward Martyn.] He spent the next five summers on the islands, collecting stories and folklore and perfecting his Irish, while continuing to live in Paris for most of the rest of the year. [Greene and Stephens 1959 pp. 74–88] He also visited Brittanyregularly. [Greene and Stephens 1959 p. 95] During this period, Synge wrote his first play, "When the Moon has Set". He sent it to Lady Gregory for the Irish Literary Theatrein 1900, but she rejected it and the play was not published until it appeared in the "Collected Works". [Price 1972 p. 293]
His first account of life on the islands was published in the "New Ireland Review" in 1898 and his book-length journal, "", was completed in 1901 and published in 1907 with illustrations by
Jack Butler Yeats. Synge considered the work "my first serious piece of work". When Lady Gregory read the book's manuscript, she advised Synge to remove any direct naming of the place and adding more folk stories to it, but refused to because he wanted to create something more realistic.Smith 1996 p. xvi] The book is a slow-paced reflection of life on the islands and reflects Synge's belief that beneath the Catholicismof the islanders it was possible to detect a substratum of the older pagan beliefs of their ancestors. His experiences on Aran were to form the basis for many of the plays of Irish peasant and fishing community life that Synge went on to write. [Greene and Stephens 1959 pp. 96–99]
In 1903, Synge left Paris and moved to London. 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.Smith 1996 p. xvii] "Riders to the Sea" was performed 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. Both plays were based on stories Synge had collected on the Aran Islands, and Synge relied on props from the Aran Islands to help set the stage. He also relied on Hiberno-English, the English dialect of Ireland, in order to reinforce its usefulness as a language; parts of this stemmed from his belief that Gaelic as a language could not survive.Smith 1996 p. xxiv]
"The Shadow of the Glen" was based on a story of an unfaithful wife and it was attacked in print by Irish nationalist leader
Arthur Griffithas "a slur on Irish womanhood". Years later, Synge would write, "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." [Synge "Preface" to "The Playboy"] This encouraged more critical attacks that alleged that Synge described Irish women in an unfair manner. "Riders to the Sea" was also attacked by nationalists, this time Patrick Pearse, who decried it because of the author's attitude to God and religion. Furthermore, Synge's audience felt that he did a disservice to Irish nationalism for not idealizing his characters.Smith 1996 p. xiii] However, later critics would attack Synge for idealizing the Irish peasantry too much. Despite these attacks, the plays are now part of the canon of English languagetheatre. 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 where a priest is tied up in a sack, which, as he wrote to the publisher Elkin Mathewsin 1905, would probably upset "a good many of our Dublin friends".Smith 1996 p. xviii]
When the Abbey was set up, Synge was appointed literary advisor to the theatre and soon became one of the directors of the company, along with Yeats and Lady Gregory. However, he differed from Yeats and Lady Gregory in 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. [Greene and Stephens 1959 p. 157]His next play, " The Well of the Saints" was staged at the theatre in 1905, again to nationalist disapproval, and again in 1906 at the
Deutsches Theaterin Berlin.Smith 1996 p. xix] The critic Joseph Holloway claimed the play combined "lyric and dirt". [Hogan and O'Neill 1967 p. 53]
"Playboy" riots and after
The play widely regarded as Synge's masterpiece, "The Playboy of the Western World", was first performed in the Abbey in January 1907. The comedy centers on the story of apparent
parricideand attracted a wide hostile reaction from the Irish public. The Freeman's Journaldescribed it as "an unmitigated, protracted libel upon Irish peasant men, and worse still upon Irish girlhood".Ferriter 2004 pp. 94–95] Egged on by nationalists, including Arthur Griffith, who believed that the theatre was insufficiently politically active and described it as "a vile and inhuman story told in the foulest language we have ever listened to from a public platform", and with the pretext of a perceived slight on the virtue of Irish womanhood in the line "... a drift of chosen females, standing in their shift ..." At the time a shift was known as a symbol representing Kitty O'Sheaand adultery. [Price 1961 pp. 15, 25] However, George Watson explained the real problem with the play when he says, "this heady mixture of English stereotypical images of Irish violence, of Irish resentment of those images, and of Synge's stress on violence, which for him is almost synonymous with vitality, is, far more than the word 'shift', what made "The Playboy" so explosive." [Watson 1979 p. 72] A significant portion of the crowd rioted, causing the third act of the play to be acted out in dumb show. [Isherwood 2004]
Yeats returned from Scotland to address the crowd on the second night, and decided to call in the police. Press opinion soon turned against the rioters and the protests petered out. Yeats later referred to this incident in a speech to the Abbey audience in 1926 on the fourth night of
Seán O'Casey's " The Plough and the Stars", when he declared: "You have disgraced yourselves again. Is this to be an ever-recurring celebration of the arrival of Irish genius? Synge first and then O'Casey?" [Gassner 2002 p. 468]
Although writing of "The Tinker's Wedding" begun at the same time as "Riders to the Sea" and "The Shadow of the glen", it took Synge five years to complete, and was finished in 1907. It was not performed until 1909, and only then 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." [Corkery 1931 p. 152] This claim was popularly held by critics for many decades after. That same year, Synge became engaged to the Abbey actress Maire O'Neill (formerly known as Molly Allgood). He died at the Elpis Nursing Home in Dublin. His "Poems and Translations" was published by the
Cuala Presson 8 April with a preface by Yeats. Yeats and Molly Allgood completed Synge's unfinished final play, "Deirdre of the Sorrows", and it was presented by the Abbey players in January 1910 with Allgood in the lead role. Synge died in Dublin, 24 March 1909.
Synge is commonly described as an enigma, a person who is hard to read and understand.Greene 1994 p. 15] John Masefield, Synge's acquaintance, said that he "gave one from the first the "impression" of a strange personality". [Masefield 1916 p. 6] Not even the members of his own family were close enough to understand him. He was quiet and reserved, and Yeats thought that he was "meditative". Synge was open when he would write letters to women, and instead of being reticent, he was acted like "an ordinary human being but not a particularly eloquent one". [Greene 1994 pp. 15–16] However, his letters to Allgood, an actress that Synge wrote to often, are filled with condescending remarks and as a man who is "not only unattractive but also incompatible with the complex personality of the man who wrote the plays".Greene 1994 p. 16]
Masefield felt that Synge's problems and thoughts about life originated with his poor health. In particular, Masefield claims that "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". [Masefield 1916 p. 22] In stanza IV of Yeats's "In Memory of Major Robert Gregory", he summarizes his view that Synge was unhealthy, sick and in pain throughout his career::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.
Synge's plays helped set the Abbey house style for the following four decades. 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 his predecessor had done for the rural poor. However, O'Casey was not the only playwright that Synge influenced, as Brendan Behan, Paul Vincent Carroll, Brinsley MacNamara, and Lennox Robinsonwere all indebted to Synge. [Greene 1994 p. 26]
Vivian Mercierwas amongst the first to recognise Samuel Beckett's debt to Synge. [Mercier 1977 p. 23] Beckett was a regular audience member 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. [Mercier 1977 p. 20–23]
In recent years, Synge's cottage on 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 in Wicklow. [ [http://www.syngesummerschool.org/ Irish Theatre and the World Stage.] Synge Summer School. Retrieved on 27 August 2008.]
In the Shadow of the Glen", 1903
Riders to the Sea", 1904
The Well of the Saints", 1905
* "The Aran Islands", 1907
The Playboy of the Western World", 1907
The Tinker’s Wedding", 1908
* "Poems and Translations", 1909
Deirdre of the Sorrows" 1910
* "In Wicklow and West Kerry", 1912
* " Collected Works of John Millington Synge" 4 vols., 1962–68
** "Vol. 1: Poems", 1962
** "Vol. 2: Prose", 1966
** "Vols. 3 & 4: Plays", 1968
* Corkery, Daniel. "Synge and Anglo-Irish Literature". Cork University Press, 1931.
* Gassner, John & Quinn, Edward. "The Reader's Encyclopedia of World Drama". Dover Publications, May 2002. ISBN 0-4864-2064-7
* 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.
* Hogan, Robert and O'Neill, Michael. "Joseph Holloway's Abbey Theatre". Carbondale, Southern Illinois University Press, 1967.
* Isherwood, Charles. "A Seductive Fellow Returns, but in a Darker Mood". "New York Times", 28 October 2004.
* 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. ISBN 0-19-281269-6
* 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. ISBN 389-04567-5.
* Smith, Alison. "Introduction" in "Collected Plays, Poems, and The Aran Islands". Edited by Alison Smith. London: Everyman, 1996.
* Synge, John Millngton. "Collected Works". Edited by Robin Skelton, Alan Price, and Ann Saddlemeyer. Gerrards Cross: Smythe, 1982. ISBN 0-8614-0058-5
* Watson, George. "Irish Identity and the Literary Revival". London: Croom Helm, 1979.
* Igoe, Vivien. "A Literary Guide to Dublin". (Methuen, 1994) ISBN 0-413-69120-9
* Kiely, David M. "John Millington Synge: A Biography" (New York, St. Martin's Press, 1994) ISBN 0-312-13526-2
* McCormack, W. J. "Fool of the Family: A Life of J. M. Synge" (New York University Press, 2001) ISBN 0-8147-5652-2
* Ryan, Philip B. "The Lost Theatres of Dublin". (The Badger Press, 1998) ISBN 0-9526076-1-1
* Synge, J.M.. The Complete Plays. 1st. New York: Vintage Books, 1935.
* Synge, J.M.; "The Aran Islands" edited with an introduction by Tim Robinson (Penguin 1992) ISBN 0-14-018432-5
* [http://www.pgil-eirdata.org/html/pgil_datasets/authors/s/Synge,JM/life.htm John Millington Synge] , Princess Grace Irish Library. Retrieved on 31 August 2007.
** [http://www.gutenberg.org/etext/1618 "In the Shadow of the Glen"]
** [http://www.gutenberg.org/etext/994 "Riders to the Sea"]
** [http://www.gutenberg.org/etext/4381 "The Aran Islands"]
** [http://www.gutenberg.org/etext/1240 "The Playboy of the Western World"]
** [http://www.gutenberg.org/etext/1328 "The Tinker’s Wedding"]
** [http://www.gutenberg.org/etext/4395 "In Wicklow and West Kerry"]
** [http://www.gutenberg.org/etext/1922 "Deirdre of the Sorrows"]
* [http://www.ibdb.com/person.asp?ID=6868 Internet Broadway Database entry for Synge]
NAME = Synge, Edmund John Millington
ALTERNATIVE NAMES =
SHORT DESCRIPTION = Irish playwright, poet, prose writer, and collector of folklore
DATE OF BIRTH = 16 April 1871
PLACE OF BIRTH =
Rathfarnham, Dublin, Ireland
DATE OF DEATH = 24 March 1909
PLACE OF DEATH =
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John Millington Synge — noun Irish poet and playwright whose plays are based on rural Irish life (1871 1909) • Syn: ↑Synge, ↑J. M. Synge, ↑Edmund John Millington Synge • Instance Hypernyms: ↑dramatist, ↑playwright, ↑poet … Useful english dictionary
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Edmund John Millington Synge — noun Irish poet and playwright whose plays are based on rural Irish life (1871 1909) • Syn: ↑Synge, ↑J. M. Synge, ↑John Millington Synge • Instance Hypernyms: ↑dramatist, ↑playwright, ↑poet … Useful english dictionary
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