Evaluate ‘Riders to the Sea’ as a modern tragedy with classical setting

‘Riders to the Sea’ as a Modern Tragedy with Classical Setting

‘Riders to the Sea’, a one-act play, is comparable to Greek tragedy in its form and technique, theme and effect. The tragedy has been built around the classical theme: man fighting against fate maintaining the three unities.

There are characters in it assuming the role of chorus, off-stage performance, effective use of powerful irony and forebodings – all typical of Greek tragedy. Moreover, the effect that the play constitutes, the rise of pity and terror and their purgation, is Hellenic in nature. An incessant struggle between man and unbeatable fate is a common theme of Greek tragedies.

In ‘Riders to the Sea’, the sea is the cruel fate against which Maurya’s family has been set. The unconquerable sea defeats the will of Maurya repeatedly killing all the male members of the family one after another. This classical view of life against fate has been dramatized maintaining Greek convention of three unities as it stages events of few hours, focuses on a single story about the tragedy of a family in Maurya’s cottage kitchen without any digression or subplot.

Like a typical Greek tragedy, at the opening, the conversation of Nora and Cathleen serves as prologue explaining Maurya’s brooding over Michael’s uncertain fate. Like chorus, they expose that Michael has been lost in the sea for nine days. Their comments arouse a sense of uncertainty.

 As the action proceeds, Maurya also assumes the role of chorus revealing the tragic demise of her husband, father-in-law and five sturdy sons drawing much pity from the audience. Like the chorus, she tries hard to dissuade Bartley from going to the sea.

The effect of dramatic irony is as tragic as that found in Greek tragedies. For instance, Nora reports the priests words thus “ ‘she’ll be getting her death’ says he ‘with crying and lamenting.’ ” It is indeed Maurya’s lamenting that prevents her from giving her blessing to Bartley and thus leads to his death. God won’t leave Maurya “destitute with no son living” is another ironic comment by the priest.

There are ironies in the play upon the vernacular usage of the word ‘destroyed’. Nora says: “And it’s destroyed he’ll be going till dark night”. Cathleen reinforces the effect: “It’s destroyed he’ll be, surely.” Similarly, there are uses of premonitions and forebodings which appeal to our sense of pity and terror. A simpler, but still classical use of foreboding speech occurs when Maurya says to Bartley: “What way will I live and the girls with me, and I an old woman looking for the grave?” The premonition comes true with Bartley’s knocking down to the sea by the grey pony.

The old woman keening functions as the Greek Chorus and the two women who report Bartley’s death take the role of Greek Messenger. The announcement of Bartley’s death that has taken place off-stage and Maurya’s acceptance of her lot with calm resignation purges our feeling of pity and fear. Her acceptance of her lot with resignation lends her the status of a tragic hero. At the end of the play, Maurya is seen very calm and anxiety free. Her consolation to herself sounds one of the messages of the Greek tragedy: “No man at all can be living for ever, and we must be satisfied.”

 To conclude, we may say that, though Maurya does not apparently have any hamartia, her suffering at the hand of cruel fate arouses much pity and fear in the audience. Though, the play is written in modern age by an Irishman, it contains the setting of classical tragedy.

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Written By

S. MALLICK

 

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BIBLIOGRAPHY – Text Book (FBC), A Study Guide (FBC) & Handnote Series (Lecture)