J. M. Synge and the Western Mind by Weldon Thornton (review)

Reviews 199 metry of Jumpers’ construction. Additionally, since Cahn worked from the Grove Press editions of most of the plays, it is a simple matter to check his reporting of their dramatic action. One is at a loss to explain where he got the idea that at the end of Every Good Boy Deserves Favour “all four, Ivanov, Alexander, the Doctor, and the Colonel join Ivanov’s orchestra.” The published text directs that the Teacher, the Doctor, and Ivanov join the orchestra, but that the Colonel, Sacha, and Alexander exit. It is ironic that, in a book subtitled The Plays of Tom Stoppard, the most consistent and insightful interpretation is found in the chapter on Stoppard’s fiction. Cahn’s analysis of the novel Lord Malquist and Mr. Moon is more than adequate, and his comments on the three short stories offer revelations. Only in this chapter, too, is one spared an unfortunate tendency to second-guess audience reaction to certain aspects of the plays in production. Beyond Absurdity demonstrates the author’s awareness of twentiethcentury European literature and philosophy, and one senses that it is the product of a lively, inquiring mind. The reader who perseveres beyond the morass of inconsistencies in the chapter on Rosencrantz and Guildenstern Are Dead finds more straightforward writing in the later chapters. This is perhaps an indication that the author’s critical faculties were maturing as he worked. It is the sort of book that the author himself may well regret one day having published without thoughtful revision and réévaluation. FELICIA HARDISON LONDRE University of Missouri-Kanass City Weldon Thornton. J. M. Synge and the Western Mind. Irish Literary Studies 4. New York: Barnes and Noble, 1979. Pp. 169. $22.50. Thornton has two commendable purposes in his succinct essay: first, to set the record straight on the facts of Synge’s life; second, to propose more faithful readings on the major plays on the basis of these facts. There is no doubt that he accomplishes his first objective. He makes use chiefly of the typescript biography of Edward M. Stephens, Synge’s nephew. This typescript formed a significant component of the biography co-authored by Stephens and David H. Greene, but gives a fuller account of Synge’s relation to his family and, particularly, a more sympathetic account of Synge’s deep concern with his family’s religious and ethical beliefs. Although Synge was unable to keep such beliefs as his own, they remained important to him, Thornton argues persuasively, especially when they collided with those he encountered on the Aran Islands. Thornton’s second purpose may meet with less acceptance. After all, the actual authorized texts of The Shadow of the Glen, Riders to the Sea, The Tinker’s Wedding, The Well of the Saints, The Playboy of the Western World, and Deirdre of the Sorrows are stabilized as scripts, so that reconstructing what Synge’s perspective, if not intention, must have 200 Comparative Drama been, will not change them qua scripts—and will not, in my opinion, invalidate careful readings with varying, even conflicting, interpreta­ tions. Thornton’s own presentation of the criticism of the first Synge reception in contrast with that of present-day Synge critics shows how changing socio-historical contexts and individual critical approaches alter interpretations. However, Thornton’s own readings, stemming from his biographical research, leads him to clarifying interpretations which do explain some of the persistent text-reader/spectator confusions and misunderstandings. To wit: Synge does not follow the conventional internal logics of any apparent model or alternative, be it generic (e.g., tragedy, comedy), modal (e.g., Naturalist, Symbolist), or thematic (e.g., primitive, rationalist). Rather, he puts alternative models in a collision course. Thus, even critics without the biases of the first audiences find themselves frustrated by Synge’s conflicting signals. As, indeed—accord­ ing to Thornton—they should, for that is the genius of Synge’s drama­ turgy. Thornton may have the most satisfying interpretation around today—regardless of how he reached it. Finally—and parenthetically—the dust jacket features an elegant color-washed engraving by Jack B. Yeats. Perhaps this is why the price is so steep? MARILYN GADDIS ROSE...