Superstition is a concept that runs throughout John Millington Synge’s play ‘Riders to the Sea’. The play is set in the Aran Islands, off the west coast of Ireland, and examines the impact of superstition on the lives of the islanders. The superstitions held by the characters often influence their decisions and actions, ultimately shaping the narrative of the play. In this article, we will explore the role of superstition in ‘Riders to the Sea’ and its impact on the characters.
Superstition in "Riders to the Sea":
Superstition is evident from the opening lines of the play, which establish the atmosphere of fear on the island. The line ‘they’re all gone now, and there isn’t anything more the sea can do to me’ sets the tone for the play, as the characters are depicted as powerless against the wrath of the sea. The character Maurya, the matriarchal figure of the play and mother of seven sons, embodies the superstitions of the islanders. She believes fervently in the power of the sea to take what it wants, as evidenced by her tragic life experiences of losing her husband and five of her sons to the sea. Her belief is exemplified in the scene where she tells her son Michael that he should not go out to sea, as he is fated to die there.
The symbolism of the supernatural elements in the play also serve as a means to convey the importance of superstition. The ghostly presence of Maurya’s dead sons also serves to accentuate the ultimate power of the sea. Each of her sons is associated with an object or element, such as the cloak, which the sea used to bring Michael’s body back to the island. The cloak is seen as a sacred object, imbued with the power and strength of the son it represents. The symbolism of the objects serves as a reminder that the islanders believe in the power of the sea, and that the elements themselves are privy to the fates of the inhabitants of the island.
The character Bartley is another example of the influence superstition has in the play. Although Maurya expresses her fear for each of her sons, it is Bartley that is the most superstitious of all of them. He is fixated on the idea of needing a new horse for the fair, believing that his success is dependent on obtaining the horse. His superstitious beliefs highlight the almost compulsive need to please fate, and his concern for the future is evident when he worries about the way the sea will look when he goes to the mainland.
However, it is important to note that superstition is not always portrayed as a means of controlling fate. Synge also depicts the concept of free will as a catalyst for the ultimate fate of the characters. The character Cathleen, for example, constantly asserts the need for free will in order to influence the outcome, saying “It’s the will of God, and I’m thinking you weren’t going to have an easy life with him, or with any man.” Cathleen’s acknowledgement of the importance of individual will in the face of overpowering forces such as the sea contrasts with the heavy emphasis on superstitious fatalism in the play.
Superstition ultimately shapes the narrative of the play, as the characters’ beliefs become self-fulfilling prophecies. Maurya’s fixation on fate leads to a tragic outcome, as each of her fears are realized in the loss of each one of her son’s bodies. The final scene in the play, where the women of the island are left mourning their sons, is a poignant reflection on the powerlessness of the islanders against the forces of nature. The undercurrent of superstition that runs throughout the play serves to heighten the tension and sense of tragedy, and highlights the Islanders’ deep-seated belief in the supernatural.
It is a realistic poetic play
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