The Playboy of the Western World by John Millington Synge detailed summary and analysis

 

AN INTRODUCTION TO THE PLAYBOY OF THE WESTERN WORLD

The Source of the Play

A story that Synge heard during his first visit in Aran Island (1898) inspired him to draft a play. The story tells about a man from Connaught who murdered his father with a spade. Ironically, he was not handed over to police but was hidden in a hole by his Aran relatives. A reward was announced for his arrest and despite the search that the police carried out, the man somehow managed to flee to United States. The reference of this story is also found in W.B. Yeats's account.

Reworking of a Previous Work

The Playboy of the Western World is a reworking of Synge's earlier play ‘The Murderer’ which Synge had roughly drafted in his note book. The plot is fairly similar to The Playboy of the Western World. It tells of a murder in Act I. Act II depicts the inflated ego of the murderer and his boastings. In Act III he is elected as a country counselor but his 'dead' father appears at the moment of jubiliation and denounces him as a liar. Though the core of the story is same, Synge in The Playboy of the Western World brought about some changes to make it work better on the stage. Contrary to the earlier version the murder does not take place on stage to restrict the action in and around one place and the audience also do not get the chance to witness the horrible enactment of the murder. In The Murderer, the old man is named Flaherty, in The Playboy of the Western World he gets the name Old Mahon and the pub-owner becomes Flaherty. Also the hero of The Murderer is presented boastful from the very beginning of Act II in the company of the people in the pub-house, whereas Christy in The Playboy of The Western World is a shaky, nervous fellow who makes his first appearance in a deplorable plight.

 

The present form of the play has been developed after numerous revisions by the playwright. The first act underwent seven revisions, the second act came out after nine revisions and the third act went through eleven revisions. It proves how painstakingly Synge wrote this play to give it a complete artistic shape.

 

The effect of the audiences after the staging of the play

The Criticism Generated in Ireland: The play is staged amidst the uproar from the Irish people. It was first staged in Jannary, 1907. It created sensation and agitation because some of the dialogues and actions Irish people found offensive to their moral values and religious beliefs. William Fay a nationalist and friend of Synge warrned him for some of the scenes that could have upset Irish audience. Lady Gregory did find some of them unacceptable but did not raise any objection since she believed in the writers' freedom of expression.

The trouble broke out on the very first show of the play. The audience turned violent and disrupted the show. The mention of the phrase "All bloody fools" and the offensive, dialogue of Christy, turned public violent.

 

CHARACTERS IN THE PLAY

CHRISTOPHER MAHON

OLD MAHON, his father, a squatter

MICHAEL JAMES FLAHERTY (called MICHAEL), a publican

MARGARET FLAHERTY (called PEGEEN MIKE), his daughter

WIDOW QUIN, a woman of about thirty

SHAWN KEOGH, her cousin, a young farmer

PHILLY CULLEN AND JIMMY FARRELL, small farmers

SARA TANSEY, SUSAN BRADY AND HONOR BLAKE, village girls

The action takes place near a village, on a wild coast of Mayo. The First Act passes on an evening of autumn, the other two Acts on the following day

 

AN OUTLINE STORY OF THE PLAYBOY OF THE WESTERN WORLD

 

ACT I

The scene takes place in a public house situated near the coastal area, Mayo. The heroine of the play, Pegeen Mike, is seen writing something on the paper, is interrupted by the entry of a young man named Shawn. He enquires about her father and comes to know that he is going to attend a funeral wake. Shawn is worried how Pegeen would stay alone at the night. He states that after they are married he will never go to attend such ceremonies leaving her alone. On these remark Pegeen scolds Shawn saying why he is too much confident about their wedding.

 

As both of them are talking Michael James comes there along with his friend. Pegeen angrily remarks that his father is very careless not thinking how she will stay alone at night. Michael James suggests Shawn to spend a night there as he is her fiancée. In reply Shawn shows his helplessness in this matter because the holy priest may condemn him for this act. He is compelled again and again and ultimately he flees from there. But in a little time returns informing them that the man, who is earlier seen beside a nearby ditch, is coming in this direction.

A young man with strange looks and in wretched condition enters the shebeen, where he is given full attention by the people present there. On being asked the reason of his present state he arouses everyone's curiosity saying that he is wanted by the police for the crime he has committed. Everyone makes wild guesses about the crime he could have been involved with. Ultimately, Christy tells them that he has killed his father. Pegeen and the other are surprised to listen the gruesome fact and hold him in high esteem for what he tells them. They start to respect him for his daring act. Pegeen is so much impressed that she suggests his father to keep him as a pot-boy in the pub.

Michael James at once offers him the job of a pot-boy who will not only work in the pub but also give company to Pegeen when there is nobody in the house. Christy is happy to find a job and a safer place to live in.

After Christy is appointed as a pot-boy, Shawn comes back to the shebeen and asks Pegeen if he could stay with her, but she does not allow him to stay there and sends him away. Pegeen flatters delighted Christy. Pegeen asks Christy how he has murdered his father. Christy is describing the event, when they are interposed by a knock at the door and Pegeen is angry to learn that Widow Quin has come to take away Christy to her house. The two women fight over Christy, but finally Pegeen comes out as a winner to keep Christy with her and she rebukes Widow Quin and sends her away with a harsh word. Christy is now provided with a comfortable bed to spend night in the bar and Pegeen retires to the back room.

 

Christy is working in the pub in the next day in absence of Pegeen. He is dressing himself while he listens a sound outside. He looks out and finds few girls coming towards the public-house. Seeing these girls he at once goes to the inner-room. Susan Brady, Honor Blake, Sara Tansey and Nelly enter the pub with lots of gifts in their hands. After his initial hesitation Christy comes out and all the girls give the gifts, which include-eggs, butter, freshly baked cake and a boiled chicken to "the man who killed his father." As the girls start talking with Christy, Widow Quin enters the place and requests him to tell his tale of murder to the girls. Christy tells how he killed his father with a spade because his father insisted him to marry an ugly widow of middle age. The girls after listening the full event start talking in much flattering tone, Christy grows more confident and swells with pride, then the girls compel Christy to hold Widow Quin by his hand. Pegeen at the moment comes back and becomes violent seeing Christy in the company of the girls and get rid of all the girls away.

After the girls have gone, Pegeen scolds Christy for being so intimate with those girls, who may inform his case to the policeman thus involving him in some problem. Hearing all these Christy decides to leave shebeen for his own safety. But, when he starts collecting his articles, he is told by Pegeen that she is merely trying to scare him so that he should never talk so frankly with the local girl in future. Christy's joy knows no bounds to know that he is out of danger. He tells her that he feels quite comfortable in her company. Shawn Keogh now comes in the company of Widow Quin. They tell Pegeen that her sheep are eating cabbages from Jimmy's field and thus may burst their stomach due to over-eating. Pegeen goes rushing out in order to save her sheep. Taking advantage of her absence, Shawn hands over a ticket to Christy and tells him to leave that place as soon as possible. Christy is totally confused but Shawn carries on with his gifts comprising a new hat, his breeches (trousers), his new coat and compels him to go from there. Christy understands the entire situation. Widow Quin also tells Christy that Pegeen will not marry him. Shawn now tries his best warning him about Pegeen's harsh, crude nature. He says that she is an ill-tempered lady who is unfit for the guy like Christy. Christy does not pay any attention to what they say and on the request from Widow Quin put on the clothes given by Shawn. But to their much surprise. Christy denies to leave that place, instead he moves ahead towards the door in order to help Pegeen to bring back her sheep.

 

As soon as Christy puts his step on the threshold, he comes back in a horrified manner and says that he has seen the ghost of his father. Finding no way to go he hides behind the door and Old Mahon enters. Widow Quin comes forward with handful of questions and comes to know that he is survived from a severe blow of a spade given by his own sin. It is also revealed that Christy was never a bold man rather he is a timid boy. Widow Quin enquires everything about Christy and then manages to send away Old Mahon with the lie that a boy having same features as told by him, is seen going to the pier (shore) in order to catch a boat. So old Mahon rushes towards that direction.

When the old man has gone Widow Quin turns to Christy and starts making fun of him because the story he has told to everyone has been proved to be a big lie. Christy is very depressed for such embarrassing disclosure. He is now haunted by the thought how he will explain this to all, particularly Pegeen. Window Quin tells him that Pegeen, if knows the truth, will throw him away of her house. She will not allow a petty schemer to stay with her. Christy is afraid of the upcoming situation and is totally confused how to come out of this.

 

Widow Quin comes forward with a proposal of marriage to Christy and she tries her best to convince him that they would be the happiest couple in the world and he would live with her much safely. But Christy rejects the idea saying that he is interested only in Pegeen and in nobody else. He then makes a humble request to her to suggest him some way to win the hands of Pegeen. The village girls appear and tell Christy to accompany them to the place where sports will be held, where Widow Quin have already enrolled his name.

 

ACT III

Old Mahon who is sent by Widow Quin, returns with quite different attitude. He is now tired and hungry, in search of some refreshment. When he is describing the story of his murder which remained only a futile attempt the event of mule-racing starts at the sports below. Old Mahon takes keen interest in the game as he seems to identify Christy, though still being misguided by Widow Quin he manages to climb the bench to see it more clearly. But to his wonder he finds the boy cheered up by the spectator is no one else but his own son Christy. Bewildered by the fact, old Mahon jumps down from the bench and runs out of the door to catch hold of Christy. The Widow convinces him it can't be his son, for that man is going to marry the daughter of the publican and is the best sportsperson in the Western World. She tells him that severe injury over his head may have bad impact on his brain. Finally, Old Mahon, is taken in by her and he thinks that he has gone mad and so he should go from there. Widow Quin tells him how the mad people are treated cruelly by the local people. So, he runs away from there to avoid trouble. Philly sensing something wrong follows him. Later Christy comes triumphantly with others. Pegeen asks them to leave Christy alone so that he can take rest. Left alone with the valiant Christy, Pegeen proudly starts taking care of him.

Now, confident about his high self-esteem Christy dares to ask her whether she will marry him. Pegeen before giving him positive reply asks him about his future plan. She says that everybody thinks that very soon he would go back to his native place and would marry some other girl. He describes how he will love her on the slopes of the mountain and gives a very romantic picture in words. Pegeen completely overwhelmed by his words, gives her affirmation for the marriage.

Michael James comes with a sad news for Pegeen that Father Reilly has received the Pope's permision from Rome to perform the ceremony of marriage between Pegeen and Shawn. Pegeen sharply tells her father that she will marry Christy and no one else. Michael James is aghast at the unexpected reply of his daughter. He then asks Shawn to come to his aid. Shawn requests Pegeen not to deviate from her words but she does not consider him worthy of her and rebukes him for interference. Christy calls for a fight but he refuses in fear. Ultimately Michael James accepts that Christy is a brave fellow quite worthy of her daughter and gives permission to marry.

When everything is going well, Old Mahon suddenly comes in, followed by a large crowd and knocks Christy flat and starts beating him. He makes it clear to everyone that the boy is his worthless son. Knowing the truth, Pegeen turns quite hostile to Christy and asks the old man to take away his son. Christy gives several arguments in his favour but nothing works on the crowd. All turns against him and Christy, in rage, seizes a spade and chases his father from the pub. There is a great noise outside, followed by a loud cry of pain and perfect stillness. It seems to everyone that Old Mahon is murdered again by Chirsty.

 

When everything is over, Sara and Widow Quin try there best to persuade Christy to run from there but he does not pay any attention to them and is fully confident that Pegeen would marry him because of his bravery in murdering his father in front of several men. The Widow Quin thinks that Christy has gone mad and she goes out to fetch the doctor. Meanwhile Christy is tied with a rope when he sits not noticing others attempt to bind him up. He tries hard to escape from it but of no use. Christy tells Pegeen that he has killed his father in reality and thus proven his worth of marrying her. Pegeen, in reply, says that murdering anyone is a heinous crime and now she has come to know the difference of a heroic story and a dirty deed. All drag Christy towards the door in order to hand him over to the police. In the jostle Christy ultimately wreaks his revenge by biting Shawn's leg and Pegeen shows her extreme animosity when she burns Christy's leg with a glowing turf.

As they are dragging Christy towards door Jimmy notices Old Mahon is crawling in. Seeing Old Mahon alive Christy asks whether he wishes to be killed once again. The old man wants to know why Christy is fastened by rope upon which Michael apologises stating their helplessness at the hands of law. Old Mahon releases his son and makes a sarcastic comment upon the foolishness of the Mayo People.

 

Being released Christy now asserts himself telling his father that he will accompany him only on condition of living a free life. Ironically he displays a complete indifference to Pegeen and expresses his gratitude towards the villagers of Mayo for the role they have played in bringing about the transformation in his personality. Their affection, their consideration and finally their rejection all together is responsible for such evolution in Christy's personality. He now departs Mayo with a newly- acquired self-confidence and self-assertion as a true playboy, a champion, dreaming to pursue his romantic passion.

After Christy's departure with Old Mahon, everybody breathes a sigh of relief except Pegeen. As Shawn expresses his hope to marry Pegeen soon after recovering from the wound inflicted by Christy's biting, Pegeen gives a hard blow on his ear and breaks down in wild wailing for losing Christy, the true Playboy, for ever. Though belated she ultimately perceives Christy's greatness. Her dissociation from Christy is the only tragic implication of this otherwise happy comedy.

 

Selected university questions.

 1. Discuss The Playboy of the Western World as an extravagant comedy?

2. Discuss the farcical elements in The Playboy of the Western World.

3. The Playboy of the Western World is a play about the instinctive desire to rebel against tradition." Discuss.

Alchemist a short summary and analysis

 The Alchemist is a play written by Ben Jonson in 1610. It's a comic satire that focuses on the themes of greed, deception, and human folly. The play is divided into five acts.

 

 The play opens in the house of Lovewit, a wealthy master who has left London to avoid the plague. His servants, Jeremy (Face) and Subtle, have taken advantage of his absence and turned his house into a base for their con schemes. Subtle, who poses as a Fake  alchemist, promises his clients that he can turn base metals into gold and create the philosopher's stone, a mythical substance believed to grant immortality. Face, meanwhile, recruits clients and disguises himself as different characters to cater to their desires.

 

Later, we see various clients visiting the house for different purposes. Drugger, a tobacco seller, wants Subtle's help to improve his business. Ananias and two Puritans, hope to have their share of treasure revealed through alchemical means. These clients are manipulated and deceived by Face, Subtle, and Dol Common (a prostitute who assists in the cons). Throughout the act, the characters' absurdities and gullibility are exposed, highlighting their greed and susceptibility to fraud.

 

 The climax of the play occurs in this act when Lovewit unexpectedly returns to his house. Chaos ensues as the clients, who are unaware of Lovewit's return, scramble to hide their true intentions and avoid exposure. Face's intricate web of lies begins to unravel as he tries to manage the situation. Ultimately, Lovewit exposes the deceptions and reveals the true identities of the characters. Face is dismissed, and Subtle and Dol flee, leaving the clients humiliated and disillusioned.

 

in fact, The Alchemist is a sharp critique of human folly, materialism, and the desire for quick wealth. It explores how people can be easily deceived by their own desires and the manipulations of others. The play is a clever and humorous portrayal of the various ways people deceive and are deceived in their pursuit of personal gain.

 

The play sharply satirizes the greed, ambition, and gullibility of people seeking quick riches through various forms of deception. The play's structure is built around the classic comedy of humors, where characters' personalities are based on prevalent human traits or temperaments.

 

Jonson uses a mix of satire, farce, and wit to create a critique of society's moral decay. The characters, including the con artists Subtle, Face, and Dol Common, represent different facets of human folly and aspiration. Subtle's alchemical pursuits mirror society's obsession with material gain and the allure of the unknown. Face, the witty servant, exemplifies the duality of appearances and realities, as he plays different roles to deceive various characters. Dol Common represents the commoner's perspective and serves as the connection between the upper and lower classes.

 

The characters' interactions are marked by wordplay, puns, and absurd situations, which highlight their absurd aspirations. The play's setting, Lovewit's house, is transformed into a temporary hub of deception, echoing the chaotic urban environment of the time.

 

Through intricate plots and the manipulation of characters' desires, Jonson exposes the human tendency to be deceived by their own ambitions. The pursuit of gold is metaphorical for the broader pursuit of power and success, reflecting the unstable social and economic conditions of the Jacobean era.

 

While The Alchemist is primarily a comedy, its portrayal of human folly and societal critique makes it a work with deeper layers of meaning. It underscores the cyclical nature of deception and the eternal allure of get-rich-quick schemes. Jonson's intricate plotting and insightful character studies make this play a masterpiece of Jacobean drama, and its themes continue to resonate in modern times.

 

Themes of The Alchemist

 

The play satirizes the greed, gullibility, and moral corruption of its characters, who seek to achieve their desires through alchemical and fraudulent means.

 

One prominent theme in the play is the pursuit of material wealth and social advancement. The characters' obsession with transforming base metals into gold reflects their desire for quick riches and social status. This theme criticizes the gullibility of people who fall for get-rich-quick schemes, emphasizing the folly of prioritizing material gains over genuine human connections.

 

Another theme is deception and manipulation. The characters engage in elaborate schemes and impersonations to achieve their goals. This highlights the theme of the untrustworthiness of appearances and the dangers of placing blind faith in charismatic individuals. The play underscores the idea that deceit and manipulation can lead to chaos and ultimately harm the perpetrators as well.

 

Additionally, The Alchemist explores the concept of self-delusion. The characters convince themselves of their own exceptional abilities and justify their actions, even when they are clearly indulging in deceitful practices. This theme underscores the human tendency to believe what they want to believe, despite evidence to the contrary.

 

The play also touches on the theme of social critique, as it exposes the moral decay and superficiality of the society it portrays. By ridiculing various social classes, professions, and behaviors, Jonson critiques the moral and ethical values of his contemporary society.

 

Hamlet : a short summary and critical analysis

 

Hamlet is a greatest revenge tragedy written by William Shakespeare. It focuses on the life and death of the eponymous character Hamlet the Prince of Denmark, who is devastated by the sudden death of his father, King Hamlet. Soon after, Hamlet's mother, Queen Gertrude, marries his uncle, King Claudius, who becomes the new king. Hamlet is tormented by grief and suspicion, especially when he encounters the ghost of his father, who reveals that his death was unnatural as he was murdered by Claudius, the usurper.

Haunted by the ghost's revelations, Hamlet becomes immersed with the thoughts of revenge. He pretends to be mad to conceal his intentions and stages a play that mirrors his father's murder, hoping to catch Claudius's guilt.

Tragedy ensues as Hamlet's inner turmoil intensifies. His erratic behavior causes Ophelia's madness and eventual death. Hamlet confronts his mother about her hasty marriage to Claudius and accidentally kills Polonius, Ophelia's father. This leads to a series of events that ultimately result in a duel between Hamlet and Laertes, Ophelia's brother. The duel is manipulated by Claudius, leading to multiple deaths including Claudius himself, Queen Gertrude, Hamlet, and Laertes.

The play explores several themes such as revenge, madness, mortality, and the complexity of human nature. It delves into Hamlet's struggle with his own identity, his duty to his father, and the endless desire to take revenge. The famous soliloquy "To be or not to be" reflects Hamlet's contemplation of life's hardships and the moral dilemmas he faces.

 

Critical analysis of Hamlet

The character of Hamlet is complex and often contradictory, struggling with his own indecisiveness and introspection. This internal conflict leads to his famous soliloquies, where he contemplates life, death, and the consequences of taking action.

The play also delves into the idea of appearances versus reality, with many characters wearing masks to hide their true intentions. The ghost of Hamlet's father serves as a catalyst for the unfolding tragedy, as it reveals the truth about his murder and sets Hamlet on a path of revenge. Throughout the play, Shakespeare uses various literary devices, including wordplay, sub-theatre symbolism, and foreshadowing, to heighten the dramatic tension.

Polonius, Ophelia's father, is a symbol of political corruption and manipulation, while Hamlet's uncle, King Claudius (Machiavellian hero), represents the corrupting influence of power. The juxtaposition of these characters adds to the play's themes of moral decay and unscrupulous nature.

 

Enigmatic nature of Hamlet

Hamlet, the eponymous character is the most complex and multi-dimensional figure that has captured the attention of audiences and scholars for centuries. Through his inner turmoil, moral dilemmas, and intricate psychological unraveling, Hamlet presents a compelling portrayal of human nature, existential introspection, and the consequences of indecision.

Moreover, Hamlet's character embodies the themes of revenge and morality. He grapples with the moral implications of taking another person's life, even for the sake of avenging his father. This moral ambivalence is evidenced in his reluctance to kill Claudius when the latter is praying, as he fears sending his uncle's soul to heaven. Hamlet's inner struggle with his sense of duty and his moral compass adds layers of complexity to his personality and actions.

Hamlet is a character with remarkable depth and complexity. His internal conflict, introspection, moral dilemmas, and mysterious brooding nature set him apart as one of Shakespeare's most iconic and enduring creations. Hamlet's ability to provoke discussions on themes of revenge, morality, existentialism, and the human psyche ensures that his character will continue to captivate audiences and scholars alike for generations to come.

 

Psychoanalytical Approach to Hamlet

The psychoanalytical approach to William Shakespeare's play Hamlet provides a fascinating lens through which to analyse the characters' motivations, actions, and psychological dynamics. This approach, popularized by Sigmund Freud, delves into the subconscious mind, exploring the inner conflicts, desires, and unconscious drives that influence human behavior.

At the center of the psychoanalytical reading of 'Hamlet' lies the protagonist himself, Prince Hamlet. His complex and often contradictory behavior can be understood through Freud's concepts, such as the id, ego, and superego. Hamlet's hesitation in avenging his father's murder reflects an internal struggle between his id (the instinctual desires for revenge) and his superego (the moral and societal norms that caution against violence).  Freudian theories suggest that Hamlet's Oedipal desires may be influencing his conflicted emotions towards his mother and his uncle, King Claudius.

The character of Ophelia, Hamlet's love interest, also lends itself to psychoanalytical interpretation. Her descent into madness can be seen as a response to the patriarchal constraints of the society she inhabits, as well as her complex relationship with her father Polonius. The loss of her father and Hamlet's emotional distance push her towards a psychological breaking point.

Additionally, the character of the ghost of King Hamlet can be analyzed from a psychoanalytical perspective. The ghost serves as a representation of the unresolved psychological conflicts within Hamlet's mind. The ghost's demand for revenge highlights Hamlet's internal struggle to reconcile his feelings of anger towards his uncle with his moral qualms.

Central to the psychoanalytic interpretation of Hamlet is the concept of the Oedipal complex, as proposed by Sigmund Freud. According to Freud and Ernest Jones, Hamlet's intense attachment to his mother and resentment towards Claudius reflect unresolved Oedipal dynamics that shape his behavior throughout the play.

 

Hamlet as a Renaissance Tragedy

William Shakespeare's Hamlet is widely regarded as one of the greatest tragedies in the English literary canon. Written during the Renaissance period, the play embodies many characteristics of the Renaissance.

Renaissance tragedies typically feature a protagonist of noble birth who experiences a downfall due to a fatal flaw . In Hamlet, the eponymous character fits this archetype as the Prince of Denmark, whose tragic flaw of indecision and procrastination ultimately leads to his demise. Moreover, the play follows the classical unities of time, place, and action, with the events unfolding within a compressed timeline and primarily in the royal court of Elsinore. Additionally, the play incorporates elements of revenge tragedy, a popular subgenre during the Renaissance, as the central plot revolves around Hamlet's quest to avenge his father's murder.


Renaissance humanism, with its emphasis on individualism, reason, and the human condition, permeates in Hamlet. The play explores complex psychological depths, particularly through Hamlet's introspection and existential crises. Hamlet's famous soliloquies—"To be or not to be" and "What a piece of work is a man"—reflect his contemplation of life, death, and the nature of humanity, echoing the real human nature with all its strengths and weaknesses.

 
Characters like Claudius and Gertrude exhibit moral complexity, blurring the lines between good and evil and highlighting the complex nature of human behavior.

 
Hamlet's struggle with moral dilemmas—whether to kill Claudius, the morality of revenge, and the consequences of his actions—underscores the complexity of ethical decision-making in a morally ambiguous world. Additionally, the play's ending, marked by the deaths of almost all major characters, underscores the tragic inevitability of mortality and the fragility of human life. Through its exploration of the real human nature and the essence of human life, Hamlet captures the essence of Renaissance tragedy and resonates with audiences across centuries.