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The supernatural in Shakespeares Early plays
The supernatural in Shakespeares Early plays
Riders to the sea / J.M. Synge (essay)
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Riders to the sea: The sea as a living character
In the tragic contest that is the inspiring soul of the play “ Riders to the sea”, the sea is a party ranged against the weak, inoffensive inmates of the peasant family of Maurya.
The sea is indeed the most impressive character in the play, it is so intimately associated with human characters whose fate concerns us that it may be called, Fate personified. The peasant family, as of course all other people of the island, live all their lives in open view of the sea. Even little Nora is familiar with its ways, its ebb and flow, its behaviour in storm and calm and all that. They are familiar not only with its physical features and its various moods, but also with the image of the sea as a mighty demon which looms large and dark and mysterious before their minds.
At the very opening of the play, the sea enters as a terrorizing living personality. The sea as a ‘character’ is never off the stage, nor is it for a moment off the mind of inmates of the cottages. How can they close their eyes or minds to it seeing that it has already swallowed four strong young sons of the family, and it is almost sure it has made an end of the fifth, Michael? The monster is never for a moment absent from the thoughts of the three women. Bartley too knows the risk and the chances. But he is manly enough to put forth courage to perform his duty by the family. He silently agrees with Cathleen when she rebukes the whimpering mother: “It’s the life of a young man to be going on the sea”, thereby bringing out the association of the sea with the life of the islanders. It is a demon whom the poor islanders have no means of shunning if they would. And that is the demon’s opportunity of exercising its free will.
It is all along an unequal fight- the fight between the Evil in nature which is, as Hardy expounds in his tragic novels, the handmaiden of Fate or blind Chance, or inscrutable Destiny.
The two main characters depict the characteristics of chastity; they are pure, innocent and sustain the ability to refrain from being distracted and influenced by hostility, temptation, or even corruption. The readers are immediately introduced to Susanna, in the tale of Susanna at the Beach, as a captivating young girl, intoxicating her spectators with her beauty and vulnerability; just as Susanna had with the judges of Daniel and Susanna. Gold describes Susanna, “She had fled all the billboard schemes of the life of a pretty girl. Lips soft and half-parted for a grand design rather than a Lucky Strike, hands taking the measure of ambition rather than the bottle of a Coca-Cola, she has come to perfect her diving in a worn black cotton bathing suit which was already too small after her summer’s growth” (Gold, 643.) Gold is characterizing her as a young woman who surpasses the beauty of a media-driven image and foreshadows a simplistic wholesomeness that defines chastity. As the reader continues, Susanna is clearly a character una...
...He is still anchored to his past and transmits the message that one makes their own choices and should be satisfied with their lives. Moreover, the story shows that one should not be extremely rigid and refuse to change their beliefs and that people should be willing to adapt to new customs in order to prevent isolation. Lastly, reader is able to understand that sacrifice is an important part of life and that nothing can be achieved without it. Boats are often used as symbols to represent a journey through life, and like a captain of a boat which is setting sail, the narrator feels that his journey is only just beginning and realizes that everyone is in charge of their own life. Despite the wind that can sometimes blow feverishly and the waves that may slow the journey, the boat should not change its course and is ultimately responsible for completing its voyage.
...and strength to break away from society. Personification is used to describe the sea. "The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation" (Chopin 50-51). The sea also plays metaphorical roles in the story standing as chaos and danger. This comes in to play when Edna goes into the sea and it takes her life.
“The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation.
From mermaids to female Navy officers, the relationship between women and the sea, in both history and literature, has been a complicated one. Mariners traditionally had conflicting superstitions involving a woman’s place on a ship, and this sense of conflict spills over into two Early Modern works of drama—namely Heywood’s Fair Maid of the West and Shakespeare’s Pericles. Bess and Marina, the main female characters of both plays, walk a fine line between captors and masters of the sea, and similarly between the roles of strong heroines who act outside of their gender-roles and hetero-normative females who are mastered by the plays’ respective male characters. Indeed, the sea seems to have either a link to independence or confinement for both female protagonists, which ultimately relates to their “proper” (non-threatening) place as traditional wives and homemakers.
As this passage commences, Chopin, through Edna’s thoughts, describes the seemingly endless sea that presents itself before her. Edna, through personification, shows the intimacy of her relationship with both nature and the sea. This large, “[…] never ceasing […]” (Chopin 139) body of water has entranced and enthralled Edna to the point where she is now beginning to see this natural element that amazes her so much as the only option left to her in life. Chopin reveals these intentions to the reader by describing the sea as “[…] inviting the soul to wander in the abyss of solitude” (Chopin 139). The word abyss in itself leaves the reader the impression of a mysterious place in which one might not return from; and it is later implied that Edna accepts this sensuous invitation from the sea.
“The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace.”
Many different symbols were utilized in Kate Chopin's The Awakening to illustrate the underlying themes and internal conflict of the characters. One constant and re-emerging symbol is the sea.
There are several symbols in the story that help to emphasize that point. One powerful one is the boat. It is small and alone on the ocean, with only the occasional patch of seaweed or a seagull or two to keep it company. The waves themselves are the ups and downs of life. At any moment, a ‘wave’ can come and swamp you, leaving you stranded without a clue what to do, and more just keep coming. Just as in life, “…after successfully surmounting one wave you discover that there is another behind it just as important and just as nervously anxious to do something effective in the way of swamping boats.” Line 9.
The sea is at fault for Enda’s progression to her self-discovery as she selfishly submits to her consciousness and becomes independent. Enda’s practical uses of the sea, demonstrates her nonconformity and therefore foreshadows her suicide at the end of the novel. As she swims, the water imagery associated with the sea symbolizes empowerment, allowing Enda as she gains independence, to not only gain control of herself, but defy against society’s expectations.
In the end, the sea symbolizes freedom for Edna. It will never treat her as a possession like her husband has for so many years. It will not demand all of her time and attention as her children do. It will never abandon her as Robert does. It will enfold her "in its soft, close embrace" (Chopin 176) and allow her to experience the vast array of feelings that her life has forbidden her to do. The sea will allow her to be free.
...ut the play, is a symbol of strength. It serves as an escape from the reality of a masochist society. Apart, the women must face the hardships alone, but together, they are able to find their humanity by becoming “an ocean of strength” (321).
Through metaphors, the speaker proclaims of her longing to be one with the sea. As she notices The mermaids in the basement,(3) and frigates- in the upper floor,(5) it seems as though she is associating these particular daydreams with her house. She becomes entranced with these spectacles and starts to contemplate suicide.
Therefore, the incessant troubles arising from human conditions often bring about unpredictable crises as "shipwrecks are apropos of nothing. " The tiny "open boat", which characters desperately cling to, signifies the weak, helpless, and vulnerable conditions of human life since it is deprived of other protection due to the shipwreck. The "open boat" also accentuates the "open suggestion of hopelessness" amid the wild waves of life. The crew of the boat perceive their precarious fate as "preposterous" and "absurd" so much so that they can feel the "tragic" aspect and "coldness of the water. " At this point, the question of why they are forced to be "dragged away" and to "nibble the sacred cheese of life" raises a meaningful issue over life itself.
Hemingway’s use of symbols and the metaphors beyond the symbols is phenomenal. Metaphors are an implied analogy that has an ideal that is being expressed and it also has an image by which that idea is conveyed. Establishing the similarities between the following dissimilarities is what helps to identify the metaphors behind the symbols in Hemingway’s writings. He uses things as symbols to help express the old man’s deep feelings in his journey through life.