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 178 he could test that writing's stage effect in rehearsal and change it if need be. So he did change "The Playboy of the Western World," revealing the incident of the supposed patricide as a bit of narrative addressed by Christy to the admiring girls of the Mayo village, instead of, as he had intended, a scene on the stage in "a windy corner of rich Munster land." Had he written "Riders to the Sea" later, Synge would surely never have crowded into it incidents that took far longer in the happening than in the portrayal of that happening on the stage. It is this technical shortcoming that for me takes away somewhat from the exceeding beauty of this tragedy of Aran. The story of the finding of the clothes that tell of the death at sea of the last but one of the five sons of Maurya, and of the death on the very shore itself of the last son, is in its very nature a dirge, and demands a slower movement than is possible with its incidents arranged as he was content to leave them in the play as we have it. "Riders to the Sea" is less representative of Synge, moreover, than any other of his plays, for it is written on one note, the note of the dirge, of the dirge of the tides that sound their menace of the sea through Inishmaan. It is less representative of Synge because it has in it no humor, no quick changes of mood, no revelation of tumult of soul. It is less representative of Synge in that it is less original than any other of his plays, reminiscent in fact in all but its style, now of Ibsen, now of M. Maeterlinck, now even of Mr. Edward Martyn. And his style itself is not what his style was in "In the Shadow of the Glen," nor what it became again in "The Well of the Saints."