Lai Concordia P L A Y G Q E B S G U i D E THE PLAYBOY OF THE ""'UNIVERSITY FACULTY OF FINE ARTS WESTERN WORLD DEPARTMENT OF THEATRE By John Millington Synge In writing "The Playboy oft he Western World", as in my other plays, I have used one or two words only that I have not heard among the country people of Ireland, or spoken in my own nursery before I could read the newspaper. A certain number of the phrases I employ have heard also from herds and fishermen along the coast from Kerry to Mayo or from beggar-women and ballad-singers nearer Dublin; and I am glad to acknowledge how much I owe the folk-imagination of the fine people. Anyone who has lived in real intimacy with the Irish peasantry will know that the wildest sayings and ideas in this play are tame indeed, compared with the fancies one may hear in any little hillside cabin in Geesala or Carraroe, or Dingle Bay. All art is a collaboration; and there is little doubt that in the happy ages of literature, striking and beautiful phrases were as ready to the story-teller's or the playwright's hand, as the rich cloaks and dresses of his time. It is probable that when the Elizabethan drama tist took his ink-horn and sat down to his work he used many phrases that he had just heard, as he sat at dinner, from his mother or his children. In Ireland, those of us who know the people have the same privilege. When I was writing 'The Shadow of the Glen', some years ago, I got more aid than any learning could have given me from a chink in the floor of the old Wicklow house where I was stay ing, that let me hear what was being said by the servant girls in the kitchen. This matter, I think, is of importance, for in countries where the imagination of the people, and the language they use, is rich and liv ing, it is possible for a writer to be rich and copious in his words, and at the same time to give the reality, which is at the root all poetry, in a comprehensive and natural form. In the modem literature of towns, however, richness is found only in sonnets, or prose poems, or in one or two elaborate books that are far away from the profound and common interests of life. One has, on the one side, Mallarme and Huysmans producing this literature; and on the other, Ibsen and Zola dealing with the reality of life in joyless and On the stage one must have reality and one must have joy; pallid works. and that is why the intellectual drama has failed, and people have grown sick of the false joy of the musical comedy, that has been given them in place of the rich joy found only in what is superb and wild in reality. In a good play every speech should be as fully flavoured as a nut or apple, and such speeches cannot be written by any one who works among people who shut their lips on poetry. In Ireland, for a few years or more, we have a popular imagination that is.fiery, and magnificent, and tender: so that those of us who wish to write start with a chance that is not given to writers in places where the springtime of the local life has been forgotten, and the straw has been turned into bricks. J.M.S. 21st January 1907