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The Playboy of the Western World

from the British Empire. Ultimately, there were many
INTR
INTRODUCTION
ODUCTION competing ideas and visions for Ireland’s destiny, which in part
explains the desire of Yeats, Synge and their contemporaries to
BRIEF BIOGRAPHY OF J. M. SYNGE develop a cultural tradition specifically centered around
J.M. Synge was born to John Hatch and Kathleen Traill Synge in Ireland’s history and its peoples.
a Dublin suburb. With his father dying soon after, Synge was
brought up by his devoutly religious mother alongside his four RELATED LITERARY WORKS
siblings. He was homeschooled due to poor health. Initially
wanting to be a musician, Synge studied music theory, as well as The foremost influence on the language of The Playboy of the
Irish history and language at Dublin’s Trinity College. In 1893, Western World has to be the Irish people themselves. In the
he moved to Germany for further music study, but stage fright preface to the play, Synge was keen to stress that there are only
hampered his musical ambitions. Later studying at the “one or two words” within the text that he hadn’t heard “among
Sorbonne in Paris, Synge met his lifelong friend, poet W.B. the country people of Ireland.” As part of the Irish Literary
Yeats, who famously instructed him to “give up Paris” and spend Revival—also known as the Irish Literary Renaissance and
time on the Aran Islands off Ireland’s West Coast, in order to nicknamed the Celtic Twilight—Synge shared the ambitions of
express a life that has never found expression. In 1897, he had many of his peers to contribute to a specifically Irish literature
a swollen gland removed back in Ireland; this was an early but allied closely to political nationalism and the Gaelic literary
undiagnosed indication of Hodgkin’s disease. After following heritage of Ireland’s past. The revival thus had twinned
Yeats’ advice and studying the people of the Aran Islands, purposes of bringing the mythic literature of the past into full
Synge began writing plays. He was heavily involved with the view and giving voice to the contemporary political situation.
Abbey Theatre in Dublin, which was set up by Yeats and others The play’s attempt to render a realistic portrait of Irish life can
to give artistic expression to specifically Irish culture. Synge’s also be considered part of the wider move in European theater,
sixth play, The Playboy of the Western World, was controversial in by playwrights such as Henrik Ibsen, away from melodrama
its attempts to portray rural Irish life and language, causing towards a dramatic experience closer to real life. W.B. Yeats’
riots in its first performances due to the perception that it was work was of great influence on Synge, who followed Yeats’
unfairly degrading to the Irish people. Soon after, he was suggestion to spend time amongst Irish rural communities to
engaged to actress Molly Allgood, who played Pegeen Mike in help create a literature specific to them. Synge is now generally
the same play. It was during the writing of this play that Synge’s considered the foremost playwright of his generation, with The
health deteriorated. He died aged 37 in a Dublin nursing home. Playboy of the Western World looked on as his masterpiece.
Brian Friel’s 1980 play Translations makes for an interesting
counterpoint to The Playboy of the Western World; it too
HISTORICAL CONTEXT
concerns an Irish village community and centers on issues of
Ireland, now partitioned into the Republic of Ireland and language, Irish history, and English colonialism (though
Northern Ireland (the latter of which remains a part of the technically Ireland was only ever a kingdom, not a colony). Both
United Kingdom), is an island with a turbulent history. The Antonin Artaud and Bertolt Brecht expressed that the play had
nineteenth century saw Ireland officially absorbed into the a strong influence on their own work.
United Kingdom, though much of it had been under English rule
going as far back as the twelfth century. Accordingly, there
KEY FACTS
was—and to a degree, still is—huge tensions between those
who wanted to be part of the U.K. and those who fought for • Full Title: The Playboy of the Western World
Irish independence. These tensions were and are intimately • When Written: 1905-1907
linked to religious divide between Catholics and Protestants,
• Where Written: Ireland
though these do not map onto the political scenario neatly and
precisely. The mid-nineteenth century in Ireland saw the Great • When Published: First performed in January, 1907
Famine, resulting in around one million deaths, mass • Literary Period: Irish Literary Revival
emigration and further antagonism between Ireland and its • Genre: Drama
English rulers. From the 1870s onwards, the Irish Home Rule • Setting: A pub on the West Coast of Ireland
movement sought to give Ireland autonomy within the context
• Climax: Christy Mahon tries to kill his father, Old Mahon.
of the British parliament. By 1907, much of Ireland generally
believed itself to be ready for self-rule and to be disassociated • Antagonist: Old Mahon, Pegeen Mike

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• Point of View: Third person to kill his “da,” the locals are mightily impressed by Christy’s
courageous deed. Sensing an opportunity, Michael offers
EXTRA CREDIT Christy the vacant job of “pot-boy,” which will mean Pegeen has
Starting a Riot. The first performance of The Playboy of the someone to keep her safe overnight. Michael, Jimmy and Philly
Western World caused a riot among the audience, who objected go to the wake. Shawn, now worried about Christy’s presence
in the pub, offers to stay—Pegeen tells him to “go on then to
to the principle that Irish English—the set of English dialects
Father Reilly.”
spoken in Ireland, in which the play is written—could ever be
anything other than the language of the country’s English Left alone, Christy tells Pegeen more details about his life and
oppressors. They also objected what they saw as a degrading the murder of his father, describing a life of rural drudgery and
depiction of Irish rural life and its perceived sexual indecency. his father’s tyrannical character. During this conversation, she
calls him handsome, and the two develop an attraction towards
True Tales. Many of the stories alluded to by characters within each other. Soon enough, Widow Quin, a thirty-year-old
the play are tales that Synge had himself heard amongst the woman who killed her husband, arrives at the pub. She has
Irish people. For example, the moment in which Pegeen Mike instructions from Father Reilly and Shawn to take Christy with
accuses Widow Quin of having reared a black ram at her “own her back to her house, an idea that Pegeen fiercely resists. The
breast” was based on a story told to Synge by a landlord in two women squabble over Christy until he eventually insists
West Kerry. that he will stay at the pub. Widow Quin leaves, and Christy, in
his first comfortable bed for a long time, feels “great luck” at his
new situation, wishing he had killed his father sooner.
PL
PLO
OT SUMMARY Act Two takes place the next morning. Christy, still thinking
about the attentions of Pegeen and Widow Quin, admires his
The Playboy of the Western World takes place in a run-down pub
face in a looking-glass. Four local village girls, Susan Brady, Sara
in the countryside of the North West of Ireland in the early Tansey, Honor Blake and Nelly McLaughlin, come to the pub,
1900s. The pub’s young barmaid, Margaret Flaherty, better excited to catch a glimpse of the young man who killed his
known as Pegeen Mike, is making a list of items she needs for father. Christy tries to hide, but they find him and give him gifts
her upcoming wedding to Shawn Keogh, her second cousin. from their farms. They notice the looking-glass, which he is
When Shawn comes into the pub, Pegeen tells him of her worry trying to hide behind his back, laughing that “them that kills
of being left alone in the pub all night—her father, the pub their fathers is a vain lot surely.” Widow Quin comes in and tells
owner Michael Flaherty, is going to be at a wake. Shawn is too the village girls to make Christy breakfast. At Widow Quin’s
afraid of what the local priest, Father Reilly, would think if he and the girls’ request, Christy tells the story of how he killed his
were to stay overnight with Pegeen, especially as he needs father, using a chicken bone as a theatrical prop and evidently
permission from the priest to approve their wedding between enjoying the attention. Pegeen comes in and shoos Widow
cousins. Pegeen berates him for being so god-fearing, and Quin and the girls away. Feeling jealous, she teases Christy by
Shawn makes things worse when he lets slip that, on his way convincing him that the village girls, who she says are often in
over, he heard what sounded like a young man “groaning contact with the “peelers” (local police), might cause the law to
wicked like a maddening dog” in a ditch. Pegeen is exasperated come after him. He resigns himself to leaving the pub and
that Shawn was too cowardly to investigate. moving on, lamenting how he’ll “not be waking near you
Soon, Michael Flaherty comes in with his friends, Jimmy Farrell [Pegeen] another dawn of the year till the two of us do arise to
and Philly O’Cullen. The three men are about to go to the wake, hope or judgment with the saints of God.” She finally gives in
an occasion that will last all night and involve a lot of drinking. and reassures him that he will be safe at the pub. Shawn comes
Pegeen tells her father of her fear of being alone during the in with Widow Quin and gets Pegeen out of the pub by telling
night. Michael, Jimmy and Philly try to convince Shawn to stay her that her sheep are misbehaving. With Pegeen out of
over, who dodges past his future father-in-law and runs out of earshot, Shawn offers Christy a one-way ticket to America and
the pub. his best clothes in exchange for Christy leaving the pub forever,
Shawn soon returns, scared that the man from the ditch is fearing that Christy will get in the way of his marriage to
chasing him. That man, Christy Mahon, comes in. He is tired, Pegeen. When Christy takes the clothes but refuses the ticket,
frightened and dirty, and on the run from the law. Michael, Widow Quin hatches a plan with Shawn for her to marry
Jimmy, Philly and Pegeen interrogate Christy about the nature Christy in exchange for a reward from Shawn consisting of a
of his crime, which he eventually reveals to be ram, a cow, and right of way across his property.
patricide—murdering his father. He explains that he killed his Just as Christy is swaggering around in his smart clothes and
father by striking him over the head with a loy when they were enjoying his newfound status, he spots his father, Old Mahon,
in a potato field. Assuming that he must have had good reason wounded but not dead, wandering near the pub. Christy

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frantically hides behind the door as Mahon comes in and asks has now committed murder within their community, and that
Widow Quin if she has seen his son, who he describes as a this will attract unwanted attention from the “peelers” (the
“fool” and the “laughing joke of every woman.” She buys Christy police). They decide to hang Christy and bind him in rope.
some time by saying she thinks she saw him heading to the Pegeen, still furious, threatens Christy with fire. Christy fights
coast to catch a boat, sending Mahon off in that direction. back aggressively and bites Shawn’s leg.
Christy begs Widow Quin not to tell Pegeen that his father is As Christy is being pulled toward the door, Old Mahon crawls
still alive. She suggests that he marry her instead of pursuing back into the pub. He asks why Christy is tied up, to which
Pegeen, given that they have murder/attempted murder in Michael apologetically replies that they have to take care of
common, and promises him a good life. Christy is steadfast in Christy themselves to ensure the safety of the wider
his commitment to Pegeen and asks Widow Quin to help him; community. Mahon loosens Christy’s ropes and insists that his
she agrees to keep his secret in exchange for provisions from son will be leaving with him. As they leave, Christy states boldly
the pub when he marries Pegeen. that, from now on, he will be the “gallant captain,” and his father
Act Three takes place later on the same day. Jimmy and Philly the “heathen slave.” Christy wishes blessings on the pub
are in the pub discussing Christy’s victories at the village games community, saying that he will “go romancing through a
and sports, and point out how often he mentions his murderous romping lifetime from this hour to the dawning of the judgment
act. Just then, Old Mahon returns. He shows the two men his day.” With Christy gone, Shawn tries to talk to Pegeen about
head wound and explains that it was his son who hit him, their engagement, but she just hits him around the head. She
arousing Philly’s suspicion. Widow Quin enters, shocked to see pulls a shawl over her and breaks out into “wild lamentation,”
Mahon again. She tries to convince Jimmy and Philly that crying out after Christy: “I’ve lost him surely. I’ve lost the only
Mahon is a madman who, having earlier said that his wound playboy of the western world.”
was inflicted by a “tinker,” changed his story on hearing about
Christy Mahon. This persuades Jimmy, but Philly still suspects
that Old Mahon might be Christy’s father. Mahon hears CHARA
CHARACTERS
CTERS
cheering outside, which Widow Quin explains is for “a young
lad, the champion playboy of the western world.” Mahon takes a MAJOR CHARACTERS
look outside, sure that the man in question is Christy; Widow Christopher ““Christy”
Christy” Mahon – Christy Mahon is the central
Quin points out that he must be going mad, as he had earlier character of the play. He arrives at Michael Flaherty’s village
described his son as a loser—certainly not someone who would pub on the run from the law, hoping he can find shelter. When
be winning the affections of an entire village. Mahon is he reveals his crime—the murder of his tyrannical father, Old
temporarily convinced that he has gone mad and leaves; Jimmy Mahon, with a loy—he quickly wins the respect of the local
and Philly go after him. community, who view him as a kind of heroic and mythic figure.
Christy comes in, surrounded by a crowd of admirers including Michael offers him a job as a “penny pot-boy” at the pub, thus
Pegeen and the village girls. The crowd gives him prizes for placing in front of Christy the promise of a better life, one that
winning their sports games. Pegeen gets the others to leave so the young man is keen to live in the company of Pegeen Mike.
that Christy can have a short respite from their attentions. As everyone eagerly asks Christy to tell his story, he grows in
Christy, buoyed by his success, convinces Pegeen to marry him, confidence, his speech shifting from clipped, nervous sentences
using poetic language to conjure an image of their future to more ornate and rich passages of poetic description. When
together. Michael enters, drunk from the wake and supported he sees, to his horror, the figure of his father coming into the
by Shawn. After some hesitation, he is convinced by Pegeen pub, Christy hides before getting Widow Quin to help him keep
and Christy that they should marry, especially by the thought the secret that his father isn’t dead. When Widow Quin
that his grandchildren will become “little gallant swearers” manages to get rid of Old Mahon, Christy relaxes back into his
rather than “puny weeds” like Shawn. new life, becoming more of a hero in the villagers’ eyes by
competing in and winning their village sports and games and
Just as Michael joins Pegeen and Christy’s hands together to
constantly retelling his murderous story. His transformation is
celebrate their engagement, Mahon comes in for a third time,
complete when he convinces Pegeen Mike to marry him,
followed by the crowd and Widow Quin. He runs at Christy and
seducing her with beautiful words and the promise of their
starts beating him. Christy tries to convince everyone that
future together. This fortune quickly turns, however, when Old
Mahon is a lunatic stranger, but they don’t believe him. They
Mahon returns again and attacks him. The revelation that Old
quickly turn on him for having deceived them, with Pegeen
Mahon is not dead quickly unravels Christy’s heroic status,
especially dismayed at Christy for being “an ugly liar.” Christy,
making the villagers—including Pegeen—try to kill him. He puts
increasingly desperate, chases Mahon out of the pub with a loy.
up a strong fight, showing that at least part of his
Outside, he deals him another blow, thinking that this one will
transformation is genuine. This is confirmed by the play’s
be fatal. The crowd, led by Michael, are concerned that Christy
ending, in which he departs with Old Mahon, insisting that now

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he will be the “captain,” and his father will be “the heathen the locals that Old Mahon is a madman who only thinks Christy
slave.” He even thanks the villagers for aiding him in finding is his son because he has heard the story of Christy’s deed.
courage and bravado. The play’s title refers to Christy, with This, of course, fails too, when the villagers come to believe that
playboy suggesting all at once a kind of trickster/actor, Old Mahon is who he says he is.
someone who is successful athletically, and someone who has a Old Mahon / Christy’s Father – Old Mahon is Christy Mahon’s
“playful” spirit. father. Christy thinks that he has killed his father with a blow to
Pegeen MikMikee – Pegeen, whose full name is Margaret Flaherty, the head, and describes him as tyrannical, rude, and a drunk.
is the forthright and attractive young barmaid at the village Before too long, though, Old Mahon turns up at the village pub,
pub, and the daughter of Michael Flaherty. When the play looking for his son. His description of Christy is just as
opens, Pegeen is engaged to wed her second cousin, Shawn disparaging as his son’s of him—he thinks Christy is a loser, too
Keogh, though clearly finds his cowardice and religious lazy to work, and too shy to speak to women. Old Mahon is hell-
anxieties exasperating. When Christy Mahon arrives, Pegeen is bent on revenge against his son for striking him over the head
impressed by the bravery of his deed (killing his father, Old with a loy. He is temporarily convinced that he is mad when he
Mahon) and seduced by his way with words. She competes with sees the man he thinks is Christy seemingly doing well at sports
Widow Quin for Christy’s affections, insisting that Christy stay and confidently enjoying the admiration of the village—which
at the pub to allay her fears of the long, dark night, especially as he views as totally out of character for his son. Soon enough,
neither Shawn nor her father will be there. Pegeen has a though, he realizes that the popular “playboy of the western
romantic side to her character, often mentioning and world” is Christy and attacks him, receiving another blow to the
mythologizing storytellers and poets. This contributes to her head. His paternal instincts kick in when the village turns on
falling for Christy, who seems in every way the opposite kind of Christy, leading him to free his son from the ropes that bind him
man to Shawn. Accordingly, she persuades her father to let her and call on them to leave the “villainy” and “fools” of the small
marry Christy rather than Shawn. Ultimately, though, this village community. As the father and son depart, Synge hints at
romanticism also masks naiveté: she turns on Christy when it one key difference between their old life together and their
turns out that his father, Old Mahon, is only injured, not dead, future. Christy now insists that he will be the “gallant captain”
even though Christy quickly proves himself capable of the very to his father’s “heathen slave,” signaling a possible reversal in
same violence that so enamored Pegeen in the beginning. The which of the two men holds authority over the other.
difference, of course, is that Pegeen likes the mythical story of Sha
Shawnwn KKeogh
eogh – Shawn Keogh is Pegeen Mike’s fat and fair
Christy’s father-slaying much more than the reality of having second cousin. At the start of the play, he is due to marry her,
the violence take place right in front of her. When it is revealed waiting only on special dispensation from the local priest,
that Christy’s father is still alive, Pegeen is furious at Christy for Father Reilly, to give permission for the two cousins to wed. He
his dishonesty and joins in with the villagers’ attempt to hang is cowardly and god-fearing, too scared to spend the night
the newcomer. But when Christy leaves with his father, alone with Pegeen Mike when she expresses her worry at being
boasting that from now on he will live the kind of romantic, left in the pub alone overnight. Feeling threatened by the new
vagrant life that the villagers believed him to lead, Pegeen arrival, Christy Mahon—who seems to be brave, daring, and
quickly laments his loss, throwing a shawl over her head and attractive—Shawn tries to convince his rival to leave by offering
crying after Christy as he returns to the mysterious wider him a ticket on a ferry to America and some of his best clothes.
world from which he came. He also tries to bribe Widow Quin to marry Christy to remove
Widow Quin – Widow Quin is a woman of thirty years who the threat to his engagement. His attempts to get rid of Christy
acts as a kind of rival to Pegeen Mike. Not much is told about ultimately fail, leading Shawn to cooperate with his fellow
her past, but the audience does find out that she killed her villagers, who are incensed at the fact Christy’s story of killing
husband and has had to bury her children. She displays a his father turns out to be false, in trying to hang the newcomer.
certain lustiness towards Christy Mahon when he arrives, When Christy eventually leaves the village, Pegeen makes it
feeling that they have (justified) murder in common. She plays clear that she no longer wants to marry Shawn.
an important role in the play, being the first character to Michael James Flaherty / P Pegeen
egeen’s’s Father – Michael Flaherty
discover that Old Mahon is in fact still alive. She is also crafty, is the rotund and jovial owner of the village pub. He is absent
making two deals within the course of the play. The first of from most of the play, attending a wake with his friends Philly
these is with Shawn Keogh, who offers farm animals and turf in O’Cullen and Jimmy Farrell. He is Pegeen Mike’s father and
exchange for her trying to marry Christy and thus remove him ultimately has authority over who she may marry. Though he is
as a rival for Pegeen’s affections; this fails. The second deal initially in favor her marrying her hapless second cousin, Shawn
comes when she agrees to keep Christy’s secret that Old Keogh, Michael’s admiration of Christy Mahon’s heroic actions
Mahon is still alive in exchange for similar rewards as and when makes him change his mind in favor of the newcomer. When it
he gets married to Pegeen. As part of this, she tries to convince transpires, however, that Christy has not killed his father, Old

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Mahon, like he says has, Michael leads the villagers in an HEROISM
attempt to either hang Christy or turn him into the law. He
The Playboy of the Western World is a study on the
does so out of a desire to protect his community from its own
nature of heroism and hero worship, as rough-and-
unwanted attention from the “peelers” (police), fearful of being
tumble stranger Christy Mahon arrives in a small
“ruined” or hanged himself.
village in rural Ireland and is quickly deemed a hero, only to lose
Philly O
O’’Cullen – Jimmy Farrell is one of the regulars at his status in a matter of hours. The play examines the way in
Michael Flaherty’s pub, and a good friend of the owner too. which a hero is created—part myth, part reality—but also
When Old Mahon comes to the pub looking for his son, Philly questions this process, showing it to be ultimately unstable and
begins to suspect that the man is Christy’s father and that arguably quite fickle, at least within this particular rural Irish
Christy’s story about killing his “da” might not be true. community. The play asks what constitutes a hero, considering
Sar
Saraa T
Tanse
anseyy – Sara Tansey is one of the four giggly young village the community’s capacity to buy into heroism and, by turn, to
girls who live near Michael Flaherty’s pub. They make an reject it when it no longer satisfies their standards.
appearance in Act Two, eager to hear Christy Mahon’s The entirety of the play is set in a quiet country pub
fearsome story of killing his father, Old Mahon. Sara brings somewhere in a small village on the West Coast of Ireland.
Christy a gift of duck eggs from her farm. Sara also tries to Synge uses the play’s opening to create a sense that this is a
disguise Christy in her petticoat when the villagers turn on him place crying out for a hero. The country pub is deserted, and
in Act Three, but he refuses. the darkness of the approaching night is looming. Pegeen Mike,
Michael Flaherty’s daughter, is scared of being left in the pub
MINOR CHARACTERS alone: “I’m asking only what way I’ll pass these twelve hours of
dark, and not take my death with the fear.” This creates an
Father Reilly – Father Reilly never appears in the play, but is an
imposing sense of fear that particularly emphasizes the
unseen religious authority. He is the local priest, whom Shawn
isolation of the location. None of the men are willing to stay
is eager to please in order to get approval for his proposed
with Pegeen that night. Her father is going to a rowdy funeral
marriage to his second cousin, Pegeen Mike.
wake nearby with the pub regulars, while her fiancé, the
Jimm
Jimmyy Farrell – Jimmy Farrell is one of the regulars at Michael cowardly Shawn Keogh, is too afraid of the judgment of the
Flaherty’s pub, and a good friend of the owner. He is a farmer local priest, Father Reilly, should he dare to be alone Pegeen
who lives nearby. before they are wed. To make matters worse, Shawn thinks he
Susan Br
Brady
ady – Susan Brady is one of the four young and giggly heard a “fellow” in a nearby ditch, “groaning wicked like a
village girls who live near Michael Flaherty’s pub. She and her maddening dog”; he was too afraid to investigate. Through this
friends appear in Act Two, eager to hear Christy Mahon’s set-up, Synge creates a kind of vacuum based on a lack of
impressive story of killing his father, Old Mahon. bravery into which a hero could enter.
Honor Blak
Blake
e – Honor Blake lives near Michael Flaherty’s pub The man outside turns out to be Christy Mahon, who comes
and is one of the four giggling girls who is keen to hear Christy into the pub and explains that he has been on the run for eleven
Mahon’s story of killing his father, Old Mahon. days since “killing” his father, Old Mahon. The sense of mystery
Nelly McLaughlin – Nelly McLaughlin is one of the four young and danger, combined with his growing self-confidence based
village girls who live near Michael Flaherty’s pub. She and her on the villagers’ attentions, fashions him into a hero. When
friends fawn over Christy Mahon and his gruesome story of Christy comes in, the pub’s elders—Michael Flaherty, Philly
killing his father, Old Mahon. Nelly gives Christy a hen from her O’Cullen, and Jimmy Farrell—quiz him on why he’s on the run.
farm as a present. They gleefully consider what sort of crime he might have
committed, and, on learning that he killed his father with a loy,
are impressed. Christy justifies the patricide on the grounds
THEMES that his father was an immoral and oppressive figure. Michael
subsequently offers Christy a job in the pub and asks him to
In LitCharts literature guides, each theme gets its own color- stay the night to ease Pegeen’s fears of being alone.
coded icon. These icons make it easy to track where the themes Christy quickly wins the affections of Pegeen and Widow Quin,
occur most prominently throughout the work. If you don't have a woman who Shawn and Father Reilly send to the pub to try
a color printer, you can still use the icons to track themes in and lead Christy away, concerned that he will tempt Pegeen
black and white. and put her engagement to Shawn at risk. The two women
admire Christy, both for his physical appearance and what they
see as his brave ability to mete out justice as he sees fit. Christy,
emboldened by this veneration, takes part in the village games
the following day, winning everything and securing his status as

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the titular “playboy of the western world.” This quick transition the two had met—and instead spend time on the Aran Islands
from outsider to hero suggests that the community has a latent (off the west coast of Ireland) to find the poetry undiscovered
longing for a figurehead, somebody who embodies their values in rural Irish life. Ultimately, The Playboy of the Western World is
of independence, justice, and bravado. a manifestation of two dual impulses in J.M. Synge’s work:
However, Christy’s heroic status is short-lived, punctured by firstly, to create art specific to Ireland and its people, and
the arrival of his father—injured, but very much still alive. The secondly to do justice to Irish English by distilling its living,
community swiftly turns on Christy, angered by what they see breathing richness into poetic and dramatic forms. Thus, The
as a betrayal. Synge therefore shows the village folk to be a Playboy of the Western World reveals the power of words to
fickle bunch, highlighting the instability of Christy’s heroic represent, entertain, and enrich people.
identity. Old Mahon comes looking for Christy, proving Synge is careful throughout The Playboy of the Western World to
Christy’s story to be (accidentally) untrue. He paints his son as render the speech of its coastal community as faithfully as
a distinctly unheroic figure—foolish, fearful of confrontation and possible. He expressly states this aim in the preface, saying, “I
too shy to talk to women. have used one or two words only, that I have not heard among
Despite Christy’s attempts, with the help of Widow Quin, to the country people of Ireland.” He views his art as being a
pretend that his father is just a mad stranger, the village folk “collaboration” between the artist and the “folk-imagination,”
quickly change their mind about him (Pegeen included, who has stating that the “wildest sayings and ideas in this play are tame
since agreed to marry him instead of Shawn). Ironically, Christy indeed compared with the fancies one might hear in any little
then strikes another blow on his father’s head, again with a loy; hillside cabin in Geesala, or Carraroe, or Dingle Bay” (all rural
this too fails to kill him. In resorting to violence for the second Irish communities). Synge’s play thus depends on an element of
time, he demonstrates the exact behavior that had so trust between the artist and society—the claim that the former
impressed the village community. But this doesn’t bring opinion can truly represent the latter. This is especially interesting in
back around in his favor, suggesting that their initial hero Synge’s case, as he did not have a rural upbringing.
worship was in part based on the mythical quality of Christy’s Whatever opinion audience members have on this question of
story—that it was removed from their own reality. authentic representation, the play is undoubtedly populated
The play draws to a conclusion with the villagers trying to hang with distinctly Irish English ways of speaking. As one example
Christy, angered at his inauthenticity, though Old Mahon, again among many, the play makes frequent use of “I’m after” to
defying death, shields him from their wrath. As the father and indicate “I have just”—this is known as the “hot news perfect” in
son leave, Pegeen laments Christy’s departure—even though Irish English. Widow Quin, when she arrives at the pub, says,
she has participated in the attempted hanging. Synge, then, “I’m after meeting Shawn Keogh and Father Reilly below,”
presents her affections for him as being tied deeply to his air of indicating that this has just happened moments ago. By
mystery—now that he is leaving her world forever, his mystery advocating this approach to the language of a given community,
is restored. In just twenty-four hours or so, Christy both Synge attempts to draw the audience’s attention to the power
acquires and loses hero status. Synge implies that heroism of language to shape and capture reality. The lives of those
needs an element of fiction and mystery—unknowability—to involved with the pub, he seems to say, are intertwined with the
function strongly, and that when these unravel so too does the way in which they talk to one another.
hero’s status. Perhaps, then, heroism is a kind of paradox—the But faithful representation of the community and the rendering
hero must seem like he can answer the community’s desires but of real life are not the only argument for the power of language
never become too real; and there is certainly no room for doubt in the play. Synge grants Christy Mahon with a lyrical gift in his
or inauthenticity in the hero’s story. speech—a command of the sensory elements of language and
the accomplished use of imagery. This helps him win over the
THE POWER OF LANGUAGE villager’s affections—in particular Pegeen Mike’s—and stands
as an analogy for Synge’s desire for his audience to buy into the
The Playboy of the Western World is a rich and
beauty and power of the rural Irish English way of speaking
evocative-sounding play that seeks to highlight the
(though there is, of course, not one single definitive “way”). As
poetry and musicality of Irish English (also known
Christy grows in confidence throughout the play, so too does
as Hiberno-English)—its rhythms, cadences, and capacity for
his willingness to speak in a lyrical way; when he first arrives,
simile and metaphor. J.M. Synge was committed to rendering
his speech is more disjointed and abrupt. This, combined with
Irish English in a way that would do it justice and be considered
his aura of heroism, has a powerful effect on Pegeen Mike, who
authentic, an intention that is clear in The Playboy of the Western
falls under the spell of his words. Sensing his own verbal power,
World. This was part of an overall trend among artists in Ireland
Christy asks Pegeen, “Isn’t there the light of seven heavens in
to portray their country with realism, spearheaded by the poet
your heart alone, the way you’ll be an angel’s lamp to me from
W.B. Yeats. Yeats famously told Synge to “give up Paris”—where
this out.” This is the moment at which she agrees to marry him,

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saying that “any girl would walk her heart out before she’d meet Furthermore, in celebrating Christy’s patricide (the killing of a
a young man was your like for eloquence or talk at all.” Talking, father by his child), they portray a distinctly un-Christian sense
here, functions as a kind of seduction that reminds the viewer of morality, which also applies to their heavy drinking. The
of “the gift of the gab,” a phrase denoting eloquence and skill church, then, is more a kind of symbolic presence in the
with speaking. This is especially associated—sometimes to the villagers’ life, informing its traditions and language but not
point of stereotype—with Ireland and the Irish people. expressly exerting a definitive authority.
Whether the viewer agrees with this association or not, Synge The characters are unified, however, by a disregard for the
makes the link between the rural Irish and the power of words. authority of the police. Such collective irreverence appears
On that note, it’s worth remembering that Christy is not an when the villagers take pride in sheltering Christy from the law.
educated man. He has spent most of his life wandering fields Ireland, at the time of the play’s setting, was a place of great
with his father, doing menial work. His gift for language, then, is tension. There were clashes between those that wanted to
presented as a kind of innate quality, again reinforcing this maintain the status quo as a part of the United Kingdom and
association between rural Irish life and lyricism. those that willed Ireland to become independent. The police
The Playboy of the Western World is a beautiful-sounding play were known as the “peelers”—named after the English
that is a deliberate attempt on Synge’s part to draw his politician, Robert Peel—and represented English authority. By
audience’s attention to the artistic possibilities of Irish English. harboring Christy, the community around Michael Flaherty’s
This is part of a wider argument that insists on the multi- pub engages in a willful act of rebellion against what they see as
layered power of language. If the play is effective in its the false authority of English rule. Furthermore, they see
intentions—that is, if it captivates its audience—then it too Christy’s willingness to take justice into his own hands as a
becomes an analogy for the argument contained within: that symbol of their own disregard for the peelers.
words are a powerful representation of the community that Though this works out well for Christy initially, adding to his
uses them. This approach wasn’t without controversy, however, aura of heroism, it has grave consequences when it turns out
as some of the play’s nationalist observers objected in its first that he hasn’t actually killed Old Mahon. Both to save face and
performances that Irish English—as opposed to Gaelic to cling onto the promise of his new life, Christy then tries to
Irish—could only ever be the language of Ireland’s English kill his father again. At that point, the villagers, feeling that they
oppressors, rather than a true embodiment of something have been deceived, take the issue of authority into their own
authentically Irish. hands and attempt to hang Christy. They are afraid that having
the murder of Old Mahon take place in their own village will
AUTHORITY attract the peelers and ultimately land all them in trouble. Their
The Playboy of the Western World is a play of attempt to hang Christy, then, represents their effort impose
competing authorities. On the one hand, the their own authority to sidestep the police.
villagers connected to Michael Flaherty’s pub seem But Christy is not hanged because, even on this second
to have their own sense of “what’s right.” But there is also the attempt, Old Mahon is not dead. Ironically, he crawls back into
suggestion of religious authority in the background, coupled the pub and saves his son from the wrath of the villagers, his
with a general suspicion of the police—the “peelers.” The paternal authority taking precedence. Though Christy had
relationship between Christy Mahon and his father, Old temporarily escaped Old Mahon’s paternal authority and
Mahon, also reveals a type of authority based on family (and seemed to have much better prospects for life—a steady job at
one that Christy is eager to escape). Perhaps, then, this is why the pub, marriage to Pegeen, the respect of his
Christy wins over the hearts and minds of the community—Old Mahon’s reappearance in turn undermines
community—because, in claiming to have murdered his father, Christy’s newfound status. Old Mahon’s authority, then, wins
he temporarily represents an authority on its own terms. this particular battle, as Mahon both prevents his son’s
It’s fair to say that there is no single source of authority in the hanging—thus denying the villagers their authority—and
play. Synge shows the way in which different authorities reinstates his wandering life with his son. That said, when the
compete with one another, without one in particular truly father and son leave, Christy insists that he will now be the
taking hold. The church authority, for example, is best dominant of the two men, leaving the specific dynamic between
exemplified by Shawn Keogh, who is god-fearing and won’t them unresolved.
spend the night alone with his fiancé, Pegeen Mike, because the This Irish rural community, then, is shown to be a place of
local priest, Father Reilly, might not approve. The other unstable authority. It’s not that the people aren’t looking to
characters, though, are not like Shawn. They speak with a uphold social and moral standards, but that no source seems to
religiously informed vernacular—for example, through the be able to appropriately take control. While some critics see
common greeting “god save you”—but other than that don’t this as an implicit challenge to English authority, perhaps it’s
show any particular deference to Christian authority. more accurate to say that Synge shows the complex challenges

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involved in questions of authority and independence, and Riders to the Sea published in 1993.
particularly in relation to Ireland in the late nineteenth and
early twentieth centuries. The extreme reaction to the play’s Act 1 Quotes
first performance should also be noted. When first shown in
Dublin in 1907, the audience rioted. Though part of this was a PEGEEN. Where now will you meet the like of Daneen
reaction to the perceived indecency of the play, it was largely Sullivan knocked the eye from a peeler, or Marcus Quin, God
down to the nationalist view that the play in fact supported rest him, got six months for maiming ewes, and he a great
British dominance by attempting to demonstrate the power of warrant to tell stories of holy Ireland till he’d have the old
Irish English as opposed to the Irish language itself (this was a women shedding down tears about their feet. Where will you
line of criticism leveled more widely at the work Synge and find the like of them. I’m saying?
Yeats more generally). The Playboy of the Western World thus SHAWN (timidly). If you don’t, it’s a good job, maybe; for (with
became a kind of self-fulfilling prophecy, attempting to give a peculiar emphasis on the words) Father Reilly has small conceit to
faithful representation of competing authority in Ireland and have that kind walking around and talking to the girls.
accordingly feeling the consequences of that very same PEGEEN (impatiently, throwing water from basin out of the door).
instability. Stop tormenting me with Father Reilly (imitating his voice) when
I’m asking only what way I’ll pass these twelve hours of dark,
and not take my death with the fear.
SYMBOLS
Symbols appear in teal text throughout the Summary and Related Characters: Shawn Keogh, Pegeen Mike (speaker),
Analysis sections of this LitChart. Father Reilly

Related Themes:
THE LOY
A loy is a type of narrow spade traditionally used in Page Number: 4-5
Ireland for cultivating potatoes, an important crop
on the island. As such, it represents Irish rural life and in Explanation and Analysis
particular the type of repetitive manual labor involved for This quote comes in the play’s opening scene. Pegeen is
inhabitants of the Irish countryside at the time of the play’s talking with her fiancé and second cousin, Shawn Keogh.
setting. It is with a loy that Christy Mahon thinks that he kills She is lamenting the boredom of village life, particularly as
his father, Old Mahon, by striking him over the head. The loy, its best characters are no longer around. She expressly
then, is a stand-in for Christy’s frustration at the drudgery and values these people for their bravery and their storytelling
oppression of his former life, going from field to field with his ability, highlighting that there is vacuum to be filled in the
tyrannical father. The humble farming implement thus village life by heroism and powerful language. It also
transforms from a symbol of the mundane to a symbol of highlights the interplay of competing authorities in the
escape. The characters at the pub who hear Christy’s community. Whereas Shawn shows deference to religious
story—Peggy Mike, Michael Flaherty, and others—are authority, Pegeen is more concerned with her personal
impressed not just by Christy’s deed but the particular way in physical safety—as opposed to her spiritual security. This
which he did it. They perceive a kind of bravery in Christy’s creates the space into which a hero can arrive: Christy.
willingness to take his destiny into his own hands, which is Pegeen’s mockery of Shawn’s religious devotion exemplifies
linked to his use of the loy as opposed to a gun or a knife—more that she doesn’t really want to marry him—it’s just that
conventional weapons. When Mahon returns—not dead, just there’s no other viable alternative.
wounded—to find Christy, his son again strikes him with a loy,
trying to inflict the fatal blow that he had failed to deal earlier.
In this sense, then, the loy also shows Christy’s persistence in
wanting to forge a new life for himself, the repetition of the
method in the attempted killing echoing the repetitiveness of
the loy’s usual agricultural function.

QUO
QUOTES
TES
Note: all page numbers for the quotes below refer to the Dover
Thrift Editions edition of The Playboy of the Western World

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SHAWN (going to her, soothingly). Then I’m thinking himself PEGEEN (with a sign to the men to be quiet). You’re only
will stop along with you when he sees you taking on, for it’ll saying it. You did nothing at all. A soft lad the like of you
be a long night-time with great darkness, and I’m after feeling a wouldn’t slit the windpipe of a screeching sow.
kind of fellow above in the furzy ditch, groaning wicked like a CHRISTY (offended). You’re not speaking the truth.
maddening dog, the way it’s good cause you have, maybe, to be
PEGEEN (in mock rage). Not speaking the truth, is it? Would you
fearing now.
have me knock the head of you with the butt of the broom?
PEGEEN (turning on him sharply). What’s that? Is it a man you
CHRISTY (twisting round on her with a sharp cry of horror). Don’t
seen?
strike me. I killed my poor father, Tuesday was a week, for doing
SHAWN (retreating). I couldn’t see him at all; but I heard him the like of that.
groaning out, and breaking his heart. It should have been a
PEGEEN (with blank amazement). Is it killed your father?
young man from his words speaking.
PEGEEN (going after him). And you never went near to see was CHRISTY (subsiding). With the help of God I did surely, and that
he hurted or what ailed him at all? the Holy Immaculate Mother may intercede for his soul.

SHAWN: I did not, Pegeen Mike. It was a dark, lonesome place PHILLY (retreating with Jimmy). There’s a daring fellow.
to be hearing the like of him. JIMMY. Oh, glory be to God!
MICHAEL (with great respect). That was a hanging crime, mister
Related Characters: Pegeen Mike , Shawn Keogh (speaker) honey. You should have had good reason for doing the like of
that.
Related Themes:
Related Characters: Michael James Flaherty / Pegeen’s
Page Number: 5
Father, Jimmy Farrell, Philly O’Cullen, Christopher “Christy”
Explanation and Analysis Mahon, Pegeen Mike (speaker), Old Mahon / Christy’s
Father
Shawn tries to sooth Pegeen but ends up making matters
worse, letting slip that he has heard the terrifying sound of a
Related Themes:
groaning man on his way up to the pub. This is precisely the
kind of thing that is making Pegeen so afraid of spending the Page Number: 10-11
night alone in the pub—there is a vague air of sexual threat.
Shawn, as her fiancé, ought to be her protector, but is too Explanation and Analysis
cowardly to even investigate the source of the noise. This When Christy arrives at the pub, he reveals that he is hiding
deepens Pegeen’s frustrations with Shawn and ultimately from the “peelers,” meaning the police. Michael, Philly,
means that, when Christy comes along and seemingly Jimmy and Pegeen enthusiastically quiz Christy, trying to
displays the opposite kind of character to her fiancé, she will tease out the nature of his crime. They are evidently excited
readily cast Shawn aside. Synge is also gently mocking to be harboring an outlaw, who appeals to their sense of
Shawn’s overreliance on religion, showing that though it rebellion. Christy doesn’t immediately reveal what he has
may be a source of authority it does not grant him any done, but when Pegeen raises the broom at him, she
courage. subconsciously reminds him of the confrontation with his
father, consequently making him reveal his secret. Christy’s
appeal to God to “intercede” for his father’s soul paints him
as respectful and honorable, despite his capacity for
violence. This makes the locals admire him; they assume
that he would have had good reason to commit such a deed.
This is therefore the beginning of Christy’s swift
transformation into a hero figure.

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PEGEEN (standing beside him, watching him with delight).
You should have had great people in your family, I’m Explanation and Analysis
thinking, with the little, small feet you have, and you with a kind
As part of the same exchange as the previous quote, this
of a quality name, the like of what you’d find on the great
moment shows Christy growing in confidence in his new
powers and potentates of France and Spain.
surroundings. With Pegeen showering him with praise, his
speech develops from short, cagey sentences to a more
Related Characters: Pegeen Mike (speaker), Christopher florid, poetic style. Though he is describing a life of rural
“Christy” Mahon drudgery, his skill with the language lends it an air of
mythology that informs his heroic aura. For his part, he is
Related Themes: being truthful—he really hasn’t got any prior experience
with women. But because of the beauty of his speech,
Page Number: 13 Pegeen assumes that this is just part of a practiced routine
Explanation and Analysis of seduction, which she naturally enjoys but also, at this
stage, is a little wary of. Pegeen makes the link between
This quote comes in the first few moments when Pegeen good “talk” and capacity for violence, outlining that these
and Christy are alone. The arrival of Christy has solved the are the kind of characteristics she—and the wider
problem of who will protect Pegeen during the long dark community—associates with heroism.
night, instantly positioning him in the role of heroic
protector. Pegeen buys into this completely, conflating the
perceived heroism of his murderous action with nobility and
greatness. Of course, she couldn’t be further from the truth: CHRISTY. […] Well, it’s a clean bed and soft with it, and it’s
Christy comes from a life of impoverished rural peasantry, great luck and company I’ve won me in the end of time—
and his attack on his father was as much, if not more, borne two fine women fighting for the likes of me— till I’m thinking
of frustration as it was heroism. “Mahon” is an anglicized this night wasn’t I a foolish fellow not to kill my father in the
form of the old Gaelic “Mac Mathghamha,” meaning “son of years gone by.
the Bear,” carrying with it obvious connotations of bravery,
physical strength, and sexual prowess. For that matter, Related Characters: Christopher “Christy” Mahon
Christy’s first name is also meant to evoke heroism, linking (speaker), Widow Quin, Pegeen Mike
him a little humorously to the figure of Jesus Christ.
Related Themes:

Page Number: 20
CHRISTY (going over to her, gradually raising his voice). I’ve
said it nowhere till this night, I’m telling you, for I’ve seen Explanation and Analysis
none the like of you the eleven long days I am walking the
This quote comes at the end of the first Act. Christy is lying
world, looking over a low ditch or a high ditch on my north or
in bed ahead of what will be his first good night’s sleep in
my south, into stony scattered fields, or scribes of bog, where
almost two weeks (he has been on the run for eleven days
you’d see young, limber girls, and fine prancing women making
or so). As he lies in bed, he reflects on his almost
laughter with the men.
unbelievable reversal of fortune: he has gone from living a
PEGEEN. If you weren’t destroyed travelling, you’d have as life of oppressed peasantry at the hands of his father to
much talk and streeleen, I’m thinking, as Owen Roe O’Sullivan suddenly having a new future open up before him, one in
or the poets of the Dingle Bay, and I’ve heard all times it’s the which is attractive and respected. He knows how important
poets are your like, fine fiery fellows with great rages when the story of his father’s murder is to his newfound status,
their temper’s roused. which explains why he won’t stop mentioning it from here
on out. But he does also set himself up for a fall, the phrase
Related Characters: Pegeen Mike , Christopher “Christy” “foolish fellow” gently suggesting that he is being naïve in
Mahon (speaker) thinking that this longed-for future is a certainty. He has
also become aware of the power of storytelling—of his own
Related Themes: myth—and feels that he is now his own authority, having
vanquished his father’s paternal dominance.
Page Number: 14

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Act 2 Quotes CHRISTY. I wish to God I was letting on; but I was
lonesome all times, and born lonesome, I’m thinking, as the
CHRISTY (impressively). With that the sun came out
moon of dawn.
between the cloud and the hill, and it shining green in my face.
“God have mercy on your soul,” says he, lifting a scythe; “or on [Going to door.]
your own,” says I, raising the loy. PEGEEN (puzzled by his talk). Well, it’s a story I’m not
SUSAN. That’s a grand story. understanding at all why you’d be worse than another, Christy
Mahon, and you a fine lad with the great savagery to destroy
HONOR. He tells it lovely.
your da.
CHRISTY (flattered and confident, waving bone). He gave a drive
CHRISTY. It’s little I’m understanding myself, saving only that
with the scythe, and I gave a lep to the east. Then I turned
my heart’s scalded this day, and I going off stretching out the
around with my back to the north, and I hit a blow on the ridge
earth between us, the way I’ll not be waking near you another
of his skull, laid him stretched out, and he split to the knob of his
dawn of the year till the two of us do arise to hope or judgment
gullet.
with the saints of God.
[He raises the chicken bone to his Adam’s apple.]
GIRLS (together). Well, you’re a marvel! Oh, God bless you! Related Characters: Pegeen Mike , Christopher “Christy”
You’re the lad surely! Mahon (speaker), Old Mahon / Christy’s Father

Related Characters: Honor Blake, Susan Brady, Related Themes:

Christopher “Christy” Mahon (speaker), Nelly McLaughlin,
Page Number: 29
Sara Tansey, Widow Quin, Old Mahon / Christy’s Father
Explanation and Analysis
Related Themes:
When Pegeen Mike comes back to the pub to find Christy
regaling the village girls with his story, she quickly shoos
Related Symbols:
them away, jealous of them. To teach Christy a lesson, she
convinces him that the girls will gossip about his story, and
Page Number: 25
that information will eventually get to the police authorities
Explanation and Analysis (“peelers”), who, she says, will undoubtedly come to hang
This quote comes early on in Act Two, when four girls from him before too long. For that reason, Christy makes the
the village come to see the man they’ve heard has killed his reluctant decision to leave the pub and stay on the run.
father. For a man who is supposedly trying to keep a profile, Christy thinks he will be returning to his lonesome
Christy is extremely forthcoming with the details of his existence; Pegeen can’t understand why a heroic, poetic
story, willingly acting it out with a sense of drama and man like him would ever be lonely. This provides Christy
enjoying the attention that comes with doing so. He tells it with the opportunity to use language to deepen Pegeen’s
well, imbuing his narrative with an aura of mythology, affections for him. His imagery puts forth an idea that when
making use of pathetic fallacy to conjure a sense of he leaves, they will be separated forever, but linked by
grandeur, and switching up the rhythm of his sentences to virtue of being on the same land mass. This appeals to
build the action. The chicken bone serves as a prop, Pegeen, and makes her want to ensure that Christy stays. It
suggesting to the girls Christy’s allegedly animal, violent also increases the sense that the two are “fated” to be
nature. The girls’ eagerness to hear the story—along with together, heightening his appeal.
Widow Quin—demonstrates the importance of stories to
the community. They serve to break up the mundanity of
everyday life and paint a picture of a wild world beyond the
confines of the village.

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WIDOW QUIN (jeeringly). It’s true all girls are fond of
courage and do hate the like of you. Explanation and Analysis
SHAWN (walking about in desperation). Oh, Widow Quin, what’ll This passage represents the high point of Christy’s hubris.
I be doing now? I’d inform again him, but he’d burst from Just after he has tried on Shawn’s clothes, he decides to
Kilmainham and he’d be sure and certain to destroy me. If I keep them and offers nothing in return in terms of him
wasn’t so God-fearing, I’d near have courage to come behind leaving. He is deep into the fantasy of himself as hero,
him and run a pike into his side. Oh, it’s a hard case to be an expressly linking it to the act of killing his father, and sees his
orphan and not to have your father that you’re used to, and new clothes as a way of visually demonstrating his
you’d easy kill and make yourself a hero in the sight of all. newfound status. Of course, it’s at this precise moment,
when Christy is most enjoying his new world and identity,
Related Characters: Shawn Keogh, Widow Quin (speaker), that Old Mahon seemingly returns from the dead. Though
Christopher “Christy” Mahon of course, Mahon was only wounded, and not killed, his
reappearance does seem like an apparition for Christy, who
Related Themes: genuinely thought he had killed Old Mahon. Thus, Christy’s
terrified calls to heaven are a comedic moment that
Page Number: 31 underline that what is happening is all too real.

Explanation and Analysis

Later in Act Two, Shawn comes to the pub with Widow Quin
MAHON. I’d take a mighty oath you didn’t surely, and
to make Christy an offer. He gives him a ticket for a ship to
wasn’t he the laughing joke of every female woman where
America and some of his best clothes, hoping this will be
four baronies meet, the way the girls would stop their weeding
enough to make Christy leave the village forever and
if they seen him coming the road to let a roar at him, and call
thereby ensure that Shawn can marry Pegeen. Shawn
him the looney of Mahon’s.
displays further cowardice, having bought into Christy’s
hero myth completely—he won’t inform against the
newcomer because he thinks that Christy will come looking Related Characters: Old Mahon / Christy’s Father
for him if he escapes prison. Shawn’s final comment here is (speaker), Widow Quin, Christopher “Christy” Mahon
highly ironic, absurdly lamenting that he doesn’t have his
own father to kill and make himself a hero. Widow Quin’s Related Themes:
comment is a succinct formulation that describes the
difference between Shawn and Christy—courage. Bravery, Page Number: 34
then, is once again linked with sexual attraction. Explanation and Analysis
When Old Mahon comes into the pub, Christy cowers
behind the door—which isn’t exactly heroic behavior.
CHRISTY. From this out I’ll have no want of company when Widow Quin enjoys the tension in the air and gets Old
all sorts is bringing me their food and clothing (he swaggers Mahon to tell her more about his son’s character and
to the door, tightening his belt), the way they’d set their eyes upon personality. Mahon describes Christy at length, as
a gallant orphan cleft his father with one blow to the breeches disparaging about him as Christy was earlier about his
belt. (He opens door, then staggers back.) Saints of glory! Holy father. Essentially, he characterizes Christy as lazy, foolish
angels from the throne of light! and shy—distinctly unheroic traits. He especially highlights
WIDOW QUIN (going over). What ails you? Christy’s inability to interact with women, highlighting the
gulf between Christy’s old life and his fledgling new one.
CHRISTY. It’s the walking spirit of my murdered da!
This thus sets up the remaining tension in the play, as the
audience wonders whether Christy’s secret will be revealed
Related Characters: Widow Quin, Christopher “Christy” and whether he will have to confront his father again. Also
Mahon (speaker), Old Mahon / Christy’s Father interesting is the way that Mahon characterizes his son as a
“looney”; Christy later ties to convince the locals that
Related Themes: Mahon is in fact a madman, not his real father. In a sense,
then, they are grappling for authority over what is real.
Page Number: 32

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Act 3 Quotes MAHON (putting his hands to his ears). What in the name of
God do they want roaring below?
WIDOW QUIN (taking men to the right stealthily). Do you
know what? That mans raving from his wound to-day, for I met WIDOW QUIN (with the shade of a smile). They’re cheering a
him a while since telling a rambling tale of a tinker had him young lad, the champion Playboy of the Western World.
destroyed. Then he heard of Christy’s deed, and he up and says [More cheering.]
it was his son had cracked his skull. O isn’t madness a fright, for MAHON (going to window). It’d split my heart to hear them, and
he’ll go killing someone yet, and he thinking it’s the man has I with pulses in my brain-pan for a week gone by. Is it racing
struck him so? they are?
JIMMY (entirely convinced). It’s a fright, surely. I knew a party JIMMY (looking from door). It is then. They are mounting him for
was kicked in the head by a red mare, and he went killing horses the mule race will be run upon the sands. That’s the playboy on
a great while, till he eat the insides of a clock and died after. the winkered mule.
PHILLY (with suspicion). Did he see Christy? MAHON (puzzled). That lad, is it? If you said it was a fool he was,
I’d have laid a mighty oath he was the likeness of my wandering
Related Characters: Philly O’Cullen, Jimmy Farrell, Widow son (uneasily, putting his hand to his head).
Quin (speaker), Old Mahon / Christy’s Father, Christopher
“Christy” Mahon Related Characters: Jimmy Farrell, Widow Quin, Old
Mahon / Christy’s Father (speaker), Christopher “Christy”
Related Themes:
Mahon
Page Number: 41
Related Themes:
Explanation and Analysis
Page Number: 42
When Old Mahon departs from the pub in Act Two, Widow
Quin strikes a deal with Christy that she will keep his secret Explanation and Analysis
if he will reward her with provisions from the pub once he is This quote comes when Mahon returns to the pub for the
married to Pegeen. Their plan is to pretend that Mahon is a second time, having given up on following Widow Quin’s
madman, who has heard about Christy’s story through the instructions. Christy, meanwhile, is winning all of the village
rumor mill and is simply incorporating it into his sports and games, cementing his position as their hero by
hallucinations. Jimmy and Philly have just encountered demonstrating his physical and athletic dominance. This is
Mahon, who has told them that he is looking for his son who distinctly at odds with how Old Mahon thinks of his
struck him over the head with a loy (a very specific weapon son—lazy and unaccomplished—which explains why he fails
that links Mahon’s story to Christy’s). Though Jimmy buys to recognize the racer as Christy. Or, more accurately, he
into Widow Quin’s diversionary tactics, Philly is a bit more tries to suppress his recognition because it doesn’t fit with
savvy and starts to suspect that Christy might not be telling his perception of his son. Widow Quin mentions Christy’s
the truth. This, then, is an important moment in the nickname which gives the play its title, which on the surface
unraveling of Christy’s hero myth, which will ultimately lead here refers to Christy’s athletic ability but also carries
to the village turning on him, stripping him of his newfound connotations of deception and play-acting. She is definitely
status. enjoying the situation, as seen by her “shade of a smile.”

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CHRISTY. It’s little you’ll think if my love’s a poachers, or
an earl’s itself, when you’ll feel my two hands stretched Father (speaker), Shawn Keogh, Christopher “Christy”
around you, and I squeezing kisses on your puckered lips, till I’d Mahon, Pegeen Mike
feel a kind of pity for the Lord God is all ages sitting lonesome in
his golden chair. Related Themes:
PEGEEN. That’ll be right fun, Christy Mahon, and any girl Page Number: 51
would walk her heart out before she’d meet a young man was
your like for eloquence, or talk, at all. Explanation and Analysis
CHRISTY (encouraged). Let you wait, to hear me talking, till This quote comes when Michael Flaherty returns from the
we’re astray in Erris, when Good Friday’s by, drinking a sup wake. He has been drinking all night and is in high spirits. As
from a well, and making mighty kisses with our wetted mouths, he comes in, he announces that Father Reilly has given
or gaming in a gap or sunshine, with yourself stretched back permission for Pegeen and Shawn to wed, at which point
unto your necklace, in the flowers of the earth. Pegeen protests that she wants to marry Christy instead.
Michael is initially reluctant, thinking that Christy is too
rebellious to marry his daughter. But, giving it some thought
Related Characters: Pegeen Mike , Christopher “Christy”
as he does in the above quote, he sees two destinies for his
Mahon (speaker)
family before him. If Pegeen weds Christy, Ireland will be
Related Themes: populated by a heroic “gallant swearers.” If she weds Shawn,
Michael reasons, his grandchildren will be the first in a line
Page Number: 46 of “puny weeds,” distinctly uncourageous. This reasoning
quickly leads him to the conclusion that he should approve
Explanation and Analysis Pegeen’s marriage to Christy, expressly linking his decision
This quote comes after Christy returns to the pub following to Christy’s murderous act.
his successes in the village sports and games. Mahon has
left again, and Pegeen has shooed away all of Christy’s
admirers so that he can get some respite (but really so she CHRISTY (in low and intense voice). Shut your yelling, for if
can have some alone time with him). Christy’s confidence at you’re after making a mighty man of me this day by the
this point is sky-high, and he decides to make his marriage power of a lie, you’re setting me now to think if it’s a poor thing
proposition to Pegeen clear by using highly evocative and to be lonesome, it’s worse maybe to go mixing with the fools of
poetic language. This conjures a sense of Edenic bliss that is earth.
markedly different from Pegeen’s everyday rural life of
[Mahon makes a movement towards him.]
cleaning up after animals and serving drinks at her father’s
pub. In contrast, Christy’s language whips Pegeen up into a CHRISTY (almost shouting). Keep off…lest I do show a blow unto
kind of passion that ultimately culminates in her deep desire the lot of you would set the guardian angels winking in the
to jettison Shawn and marry Christy instead. clouds above.
[He swings round with a sudden rapid movement and picks up a
loy.]
MICHAEL. It’s many would be in dread to bring your like CROWD (half frightened, half amused). He’s going mad! Mind
into their house for to end them, maybe, with a sudden yourselves! Run from the idiot!
end; but I’m a decent man of Ireland, and I liefer face the grave CHRISTY. If I am an idiot, I’m after hearing my voice this day
untimely and I seeing a score of grandsons growing up little saying words would raise the topknot on a poet in a merchant’s
gallant swearers by the name of God, than go peopling my town.
bedside with puny weeds the like of what you’d breed, I’m
thinking, out of Shaneen Keogh. (He joins their hands.) A daring
fellow is the jewel of the world, and a man did split his father’s Related Characters: Christopher “Christy” Mahon
middle with a single clout, should have the bravery of ten, so (speaker), Old Mahon / Christy’s Father
may God and Mary and St. Patrick bless you, and increase you
from this mortal day. Related Themes:

Related Symbols:
Related Characters: Michael James Flaherty / Pegeen’s

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Page Number: 51 participates in the villagers’ attempt to enact their own

sense of justice. For Christy it’s because he can’t believe
Explanation and Analysis how quickly Pegeen’s attitude has changed—just a moment
This quote comes when Old Mahon returns to the pub once ago, she was expressing her love for him. Furthermore,
again. This time, he’s sure of Christy’s identity, and the having just dealt Old Mahon a seemingly fatal blow right in
villagers are in turn certain of the dishonesty of Christy’s front of her eyes, he feels that he ought to be restored to his
account of his father’s murder. The villagers turn on Christy, hero status. Pegeen expresses her realization that there is a
led by Michael and Pegeen, and want to have him hanged. great difference between murder in myth and murder in
This is in part because it lends the “story” of the play the reality, questioning the worth of Christy’s words and
kind of murderous conclusion that Christy’s story turned whether she was naïve to hold him in such high acclaim.
out to be missing, but is also an effort to protect themselves
and their community from the attentions of the law. Christy
points out their hypocrisy, and has retained his grandiose CHRISTY. Ten thousand blessings upon all that’s here, for
poetic way of speaking as he threatens to finally deal his you’ve turned me a likely gaffer in the end of all, the way I’ll
father a genuinely fatal blow. The crowd enjoy this go romancing through a romping lifetime from this hour to the
spectacle, showing themselves to be bloodthirsty. Christy’s dawning of the judgment day.
use of “I’m after” is Irish English grammar to indicate [He goes out.]
something that has only just happened; he’s saying that it’s
ridiculous for the crowd to call him an idiot having just MICHAEL. By the will of God, we’ll have peace now for our
moments ago held him aloft on their shoulders for his drinks. Will you draw the porter, Pegeen?
heroism. SHAWN (going up to her). It’s a miracle Father Reilly can wed us
in the end of all, and we’ll have none to trouble us when his
vicious bite is healed.
PEGEEN. I’ll say, a strange man is a marvel, with his mighty PEGEEN (hitting him a box on the ear). Quit my sight. (Putting her
talk; but what’s a squabble in your back-yard, and the blow shawl over her head and breaking out into wild lamentations.) Oh
of a loy, have taught me that there’s a great gap between a my grief, I’ve lost him surely. I’ve lost the only Playboy of the
gallous story and a dirty deed. (To Men.) Take him on from this, Western World.
or the lot of us will be likely put on trial for his deed to-day.
CHRISTY (with horror in his voice). And it’s yourself will send me Related Characters: Pegeen Mike , Shawn Keogh, Michael
off, to have a horny-fingered hangman hitching his bloody slip- James Flaherty / Pegeen’s Father, Christopher “Christy”
knots at the butt of my ear. Mahon (speaker), Old Mahon / Christy’s Father

Related Themes:
Related Characters: Christopher “Christy” Mahon, Pegeen
Mike (speaker) Page Number: 57
Related Themes: Explanation and Analysis
Ironically, it is Old Mahon who rescues Christy from death
Related Symbols: at the hands of the villagers. He insists on freeing Christy
from the ropes and begins to take him outside, presumably
Page Number: 55 to go back to their old way of life: itinerant peasantry.
Explanation and Analysis However, there’s a crucial difference given that Christy has
undergone a fundamental transformation of character.
Just after Christy chases his father outside and deals him
Having had a taste of life free from his father’s authority, he
what seems to be a fatal blow—again with a loy—Pegeen
has realized that he can play the hero and is not willing to go
aids the villagers in trying to either hang Christy or take him
back to his previous subjugated state. That’s why, even
to the authorities. Ironically, Pegeen and Christy are linked
though they have just been trying to kill him, Christy
by their disbelief at how quickly everything can change. For
essentially thanks the villagers for having taught him that
Pegeen, this is because Christy’s story has turned out to be
the negative aspects of his character are not innate, but
untrue and it is now essentially compulsory that she
projected onto him by his father. He insists, now, that he will
live the exact kind of life that the villagers thought he was

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already living: the life of a hero. In just a few moments, Because her desire for Christy was partly based on his
Pegeen flips from love to anger to sorrow, dramatically mythical aura, his disappearance back into the unknown
lifting a shawl over her head and letting out wild cries. restores his air of mystery and, accordingly, her longing.

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SUMMARY AND ANAL

ANALYSIS
YSIS
The color-coded icons under each analysis entry make it easy to track where the themes occur most prominently throughout the
work. Each icon corresponds to one of the themes explained in the Themes section of this LitChart.

ACT 1
In a run-down country pub on the west coast of Ireland, Pegeen The rural setting creates a sense of isolation in which not much
Mike, a “wild-looking but fine girl of about twenty,” sits writing a usually happens. Shawn is nervous because he is god-fearing and
list of items she needs for her upcoming wedding to Shawn doesn’t think he should be alone with Pegeen Mike, his fiancée, until
Keogh. Shawn enters, “a fat and fair young man,” and asks they are married.
nervously whether Michael Flaherty, the pub’s owner and
Pegeen’s father, is around.

Pegeen explains that her father has gone to a wake nearby and Synge’s use of the looming darkness of night creates a kind of space
expresses her fear at being left alone in the pub all night. Shawn into which a hero might enter and conquer Pegeen’s fears, acting as
tells her that, when the local priest, Father Reilly, grants them her protector. Shawn is the foil to any potential hero, displaying a
permission to wed, she’ll not have to worry about the being cowardly disposition which will contrast with Christy on his arrival.
alone in the darkness any longer. Pegeen teases him,
wondering why the church authorities would pay any attention
to their village.

Pegeen laments the lack of heroes in the community, asking This is an early introduction of the power of language in the play, in
where “now will you meet the likes of Daneen Sullivan” who this instance specifically of stories and myths. It shows that the
“knocked the eye from a peeler,” or Marcus Quin, who would village community in general is hungry for tales of heroism,
“tell stories of holy Ireland till he’d have the old women especially those that relate to Ireland. Shawn links criminality and
shedding down tears about their feet.” Shawn says timidly that heroism together with sexual attraction, knowing that he cannot
perhaps it’s for the best that those characters are no longer compete with the above and again appealing to religion as the true
around—Father Reilly wouldn’t appreciate their way of authority; Pegeen doesn’t share this view.
“walking around talking to the girls.”

Pegeen is annoyed by Shawn’s constant talk about Father Pegeen is, in a way, deliberately testing Shawn’s character, who is
Reilly, asking how she’ll “pass these twelve hours of dark, and failing miserably to show that he has any courage at all. Widow
not take my death with the fear.” Shawn offers to fetch Widow Quin can be assumed by the audience at this point to have killed the
Quin, but Pegeen doesn’t want to spend time with “the like of aforementioned Marcus Quin.
that murderer.” Shawn, trying to sound soothing, says he’s sure
that Pegeen’s father will stay with her.

Shawn adds that, on his way to the pub, he heard a man Shawn makes matters worse for himself, intensifying the sense of
groaning in a ditch “like a maddening dog,” and that it’s probably threat and fear that Pegeen is already feeling and highlighting the
for the best that Pegeen is on guard. Pegeen sharply questions fact that he is even more scared than she is.
Shawn, asking why he didn’t investigate. Shawn admits he was
afraid of the “dark lonesome place,” and asks Pegeen not to
mention his cowardly behavior to her father or his friends.

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Michael, the pub’s owner and Pegeen’s father, comes in. He is a Though the other characters are not as outwardly religious as
“fat jovial” man and is in the company of Philly O’Cullen, “who is Shawn Keogh, their speech is rooted in the Christian religion. “God
thin and mistrusting” and Jimmy Farrell, “who is fat and bless you” is the usual greeting between them.
amorous.” All of the characters greet each other, saying things
like “god bless you.”

Michael asks if Shawn is going with him and the others to the The wake that Michael and company will attend is not going to be a
wake, but Shawn replies that he is about to go home to bed. somber affair, but a raucous occasion with drinking that will most
Pegeen complains to her father about being left alone all night; likely last until morning. The soldiery referred to is perhaps a
Jimmy interjects to say that a “fine, hardy girl” like her can reference to men returning from the Boer War, in which some Irish
handle herself. Pegeen says she’s afraid of the tinsmiths men went to South Africa to fight against the English authorities
camping in a nearby field, and of the soldiery “walking idle (who also have dominion over Ireland).
through the land.”

Michael suggests that Shawn should stay the night. Shawn Here the audience gets a sense of the competing authorities at play
protests, fearing what Father Reilly and “the Holy Father and in the village. Michael is trying to exert his authority over his future
the Cardinals of Rome” would think of him spending the night son-in-law, but Shawn is too afraid of religious judgment to assent
alone with Pegeen before they’re married. Michael is irate and, to the demand. Michael’s mention of the man in the ditch heightens
having heard about “a queer fellow above going mad or getting the sense of danger, again creating more space for heroism to
his death, maybe in the gripe of the ditch,” insists that Shawn eventually emerge.
has to stay.

Shawn tries to dodge past Michael to exit the pub. Michael This is a slapstick moment that colors Shawn’s character as
grabs him by the coat. Shawn, screaming, tells Michael to let buffoonish and leaves the audience in doubt of his devout religious
him go or “I’ll get the curse of the priests on you, and of the beliefs.
scarlet-coated bishops of the courts of room.” He slips out of
his coat and runs out of the door.

Michael holds up Shawn’s coat, saying “there’s the coat of a Michael links Christianity to cowardice, which isn’t to say that they
Christian man.” He tells Pegeen that at least she won’t have to go hand in hand, but that Christianity does not automatically make
worry about other women trying to take Shawn from her. someone brave. A pot-boy is a boy or man employed by a pub or inn
Pegeen criticizes her father for not employing a “penny pot- to take care of some of the chores. This neatly develops a reason for
boy” at the pub who would make her feel safer. Shawn puts his Christy to be invited to stay.
head back in through the door, complaining to Michael that the
“dying fellow” is following him and he runs inside.

Christy Mahon comes in, “tired and frightened and dirty.” He Christy arrives in a state of fear. He displays a lack of education in
addresses the pub: “God save all here!” Christy asks if the not knowing the word “larceny,” which also emphasizes his youthful
“polis” often visit the pub; Michael says that they don’t, naiveté. His reference to his father as strong is ironic, given that the
relieving Christy. The locals start speculating on why Christy is audience soon learns that Christy has killed his father. “Polis” means
on the run, asking if he has committed “larceny.” Christy doesn’t police.
know what “larceny” is, but, on learning that it means “theft,” he
protests that he is the “son of a strong farmer.”

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Michael, Jimmy, and Philly continue to eagerly question The locals at the pub are evidently intrigued by Christy and his need
Christy, wondering if he had “followed after a young woman on to escape from the law. Because they don’t respect the “polis,”
a lonesome night” or killed a bailiff or landlord in a dispute. anyone who rebels against those authorities is likely to win their
Christy denies all of these, adding that he’s never heard of respect. The explicit mention of the Boer War situates the play in
anyone committing the crime that he has. Philly calls him a the early 1900s, but also carries with it a gesture towards the Irish
“puzzle-the-world.” The locals come up with further conflict with their English authorities.
theories—all wrong—including that perhaps Christy has been
fighting against the English in the Boer War.

Pegeen doesn’t think Christy has done anything: “a soft lad the Christy perhaps doesn’t intend to reveal his crime to the others, but
like of you wouldn’t slit the windpipe of a screeching sow.” She Pegeen’s striking gesture reminds him of his fight with his father and,
pretends to strike him with a broom, at which he reveals that he out of instinctive reaction, it makes him confess what happened.
killed his “poor father” a week ago.” The locals are mightily Pegeen’s comment highlights the fact that, though he is handsome,
impressed, assuming that he must have had “good reason” to do Christy doesn’t exactly seem the type to commit murder.
so.

Christy explains that his father was “a dirty man…old and The mention of the loy and the potato field gives a sense of the rural
crusty, the way I couldn’t put with him at all.” The locals try to drudgery of Christy’s former life, hinting that his murderous act was
guess how Christy killed his father. Christy tells them that he in part an attempt to escape that world as much as it was an action
hit his father over the head with a loy in a potato field and then of frustration towards his father. The villagers don’t take much
buried him. Michael asks where Christy killed him, to which convincing that Christy’s actions were justified, partly because the
Christy replies vaguely that it was “a distant place…a windy violence is overshadowed by the mythic qualities of the story
corner of high distant hills.” Philly nods at the appropriately Christy tells—that is, Christy’s deed is exactly the kind of thing that
evasive answer. Irish poets or balladeers might have written about.

Pegeen, Philly, and Jimmy all agree that Christy would make an Christy is thus firmly placed in his role as hero, “saving” Pegeen from
excellent pot-boy for the pub. Jimmy thinks the bravery of “a her fear of the long dark night. His act is directly equated with
lad would kill his father” would make Pegeen feel safe. Michael bravery, but it’s ironic that he’s the one to save her from her fear
offers him the job, promising “good wages.” Shawn tries to since he is also a confessed murderer.
protest, but Pegeen shushes him. Christy accepts the job,
happy to be “safe from the searching law.”

Pegeen, feeling that Christy must be tired, insists that he stays The men can now go to the wake reassured that Pegeen will be safe
the night. Jimmy is happy that she will be safe and implores under Christy’s protection, which shows how their values are deeply
Michael that they should head to the wake. As Jimmy, Philly, anti-police and shaped by Irish mythology. Without those
and Michael leave, Michael asks Christy his name, before counterbalancing influences, Christy would be the type of person
departing with the words “god bless you Christy.” from which Pegeen would need protection.

Shawn sheepishly asks Pegeen if she wants him to stay and This is too little too late for Shawn, who had earlier been adamant
keep her “from harm.” She sharply tells him to go off to Father that he wasn’t able to stay with Pegeen. She throws his religion back
Reilly and “let him put you in the holy brotherhoods and leave at him, much preferring to be in Christy’s company than his.
that lad to me.” She hustles him out of the door.

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As Christy looks at his blistered feet, Pegeen wonders if he had This shows Pegeen’s tendency to mythologize Christy. There is a
“great people” in his family. Christy says his family used to own wide gulf between her assumption that he comes from a family of
“wide and windy acres of rich Munster land.” Pegeen calls him greatness and the reality that his existence has, until now, been that
handsome, which Christy is surprised to hear. Pegeen thinks of mundane rural peasantry. The value of his “story” is apparent
he’s feigning surprise and has been telling his story to “young here.
girls or old” all over the “world.”

Christy insists that this is the first time he’s spoken about killing This is the beginning of Christy’s courtship of Pegeen, which is
his father, telling Pegeen that she is “a kindly woman.” He says intimately linked to his growing confidence. This confidence is
he’s “seen none the like of you the eleven days I am walking the exemplified by his speech—his sentences start to be come longer
world.” Nodding with approval, Pegeen tells Christy that she and more poetic as he senses the grandeur that comes with his
thinks, if he wasn’t so tired, his “talk” would be the match of any newfound status as a hero. Pegeen links his outlaw status directly
poet. She’s heard that poets are like him, “fine fiery fellows with with his poetic talk.
great rages when their temper’s roused.”

Christy asks Pegeen if she is single, and she pretends that she is The speed with which Pegeen is willing to mentally dismiss her
not engaged to Shawn. He then talks more about his life, engagement to Shawn exemplifies how her engagement to him is
explaining that his father was bad tempered man. Up until now, based on convenience and the simple fact that there has been, until
continues Christy, nobody has really paid that much attention now, no one better around. She listens to Christy’s story in rapture.
to him: “there wasn’t anyone heeding me in that place saving
only the dumb beasts of the field.” Pegeen is surprised, thinking
he would have been living like “a king of Norway or the Eastern
world.”

As Pegeen brings him milk and bread, Christy gives her more of Christy’s description of his father is later mirrored by his father’s
a sense of the drudgery of his life, which was full of “toiling, description of him in Act Two. Here, Christy spells out the sheer
moiling, digging” from “dawn till dusk.” His only “joy” was boredom of life with his father, in which hunting rabbits was his only
poaching rabbits in the night. His father, continues Christy, was escape. It adds somewhat rational motive to his decision to slay his
a terrifying drunk who had estranged himself from all of his father.
other sons and daughters. He would never give Christy any
peace, which is why Christy killed him. Pegeen assures Christy
that his new life at the pub will be peaceful.

There’s a knock on the door. Christy is frightened that it’s the The peelers are the police, so named because they were first
peelers, but it’s Widow Quin. Shawn had bumped into her and instated in Ireland by the English politician Robert Peel. For this
asked her to come and take Christy to her house. Shawn and reason, the police are equated with English authority and
Father Reilly, she explains to Pegeen, were scared that Christy accordingly despised. Widow Quin’s arrival is Shawn’s attempt to
would be causing Pegeen trouble. Pegeen points to Christy, interrupt what he knows will be the growing attraction between
who is quietly enjoying his milk. Pegeen and Christy.

Widow Quin is intrigued by Christy. She says, “it should have Widow Quin is right to point out that the image of Christy eagerly
been great and bitter torments did rouse your spirits to a deed drinking milk is quite at odds with the idea of him as a heroic killer.
of blood,” and she notes that he looks more like he should be Pegeen shows that her affections for him already run deep by
saying his “catechism” than “slaying” his father. Pegeen retorts talking about him in her own poeticized language.
that anyone can see that Christy is “fit to be holding his head
high with the wonders of the world.”

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Widow Quin again insists on taking with Christy with her, Widow Quin feels an affinity with Christy because she, too, has
pointing out that it’s “the like of you and me you’d hear the committed murder (although Christy only thinks he has). She
penny poets singing in an August fair.” Christy asks if Widow expressly links the act of murder with Ireland’s mythic culture,
Quin killed her father too, and Pegeen interjects to explain that correctly describing what both she and Christy have done as the
Widow Quin hit her husband, Marcus Quin, over the head with kind of thing that would be immortalized by poets. Stories and
a hoe; he died from tetanus as a result. poetry thus act as a kind of de facto authority within this rural
community.

Widow Quin, annoyed by Pegeen, states that she, as a widow The audience doesn’t learn anything further about Widow Quin’s
who has also “buried her children,” is a better companion for burial of her children, but the mention of it highlights her as an
Christy than “a girl the like of you [Pegeen] who’d go helter- isolated figure. As Shawn has already done, she equates the ability
skeltering after any man would let you a wink upon the road.” to commit murder with a kind of personal strength, which she in
She goes on, warning Pegeen that “there’s great temptation in a turn implies is sexually attractive.
mad did slay his da.” The two women argue, both grabbing hold
of Christy.

Scornfully, Pegeen insults Widow Quin with rumors about The “black ram” story, in keeping with Synge’s desire for realism in
her—including that she “reared a black ram” at her own breast the play, is based on a story told to him by one of his landlords. It
and that she’s been intimate with a Frenchman in exchange for paints Widow Quin as a kind of evil spinster undeserving of the
tobacco and a small amount of money. archetypal hero, and speaks to the power of gossip and rumor in the
rural Irish community.

Christy timidly insists that he will stay at the pub, as it is his Widow Quin tries to stir up trouble and destabilize Christy’s
duty as “pot-boy.” Widow Quin suggests that, in that case, she growing affections for Pegeen. The timid way in which he insists on
will stay in the pub too. Pegeen forces her out; as Widow Quin staying at the pub is intended as a direct contrast to his supposedly
leaves, she warns Christy that “torment will await you here if heroic deed, and hints that there might be more to the story than
you go romancing with her like,” deliberately letting slip that first meets the eye.
Pegeen is engaged to Shawn.

With Widow Quin gone, Pegeen insists that she isn’t engaged, Christy lies in bed, sensing the honor and valor that, to his surprise,
and that she wouldn’t marry Shawn “if a bishop came walking have come with the telling of his story. At this point, he doesn’t
for to join us here.” She makes up a bed for Christy and wishes realize that the blow he inflicted on his father was not fatal.
him a good night rest and goes to another room. Christy lies
down, feeling “immense satisfaction” that he has a “clean bed”
and “two fine women fighting for the likes of me;” he wishes
he’d killed his father sooner.

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ACT 2
It’s the morning after. Christy is cheerfully going about his Christy is delighted by his new role as hero, but he also displays a
duties as pub-boy, cleaning boots and counting up the glasses. vanity that suggests to the audience that he is not the pure hero
He happily imagines spending the rest of his life at the pub, that Pegeen and the others think he is. This moment allows the
picturing a romantic life of drink, conversation and fairly easy audience to see Christy on his own and get a deeper understanding
work. He picks up the looking-glass from the wall and admires of his psychology.
his reflection, thinking about Pegeen’s comment about his
handsomeness.

Four young village girls—Susan Brady, Nelly McLaughlin, Sara The arrival of the girls indicates that news of Christy’s deed has got
Tansey and Honor Blake—arrive at the pub. Christy gathers his around, in turn demonstrating the power of story and myth—the
coat and the looking-glass and hides in the inner room while community is crying out for this kind of event and feeding the
the village girls search for him. They want to see a man who has spectacle.
“killed his father.”

The girls notice Christy’s boots by the door, which Sara Christy is self-consciously embarrassed by his vanity, sensing it to be
mischievously tries on. Just then, Honor looks inside the inner at odds with the kind of hero the villagers perceive him to be.
room and notices Christy. They call him out. He enters, hiding
the looking-glass behind his back. They ask where Pegeen is,
and he explains that she is tending to the goats.

The girls quiz Christy enthusiastically about whether he is the Synge makes an ironic gesture towards the biblical story of Jesus.
man who killed his father. Christy confirms this, while secretly Christy’s name aligns with Christ and the bringing of gifts is a
trying to re-hang the looking-glass behind his back. The village comedic rendering of the nativity. Though the allusion is subtle, it
girls present Christy with gifts: Sara has brought duck eggs, leaves the audience in no doubt that Synge wants Christy to be
which she says are “the real sort;” Honor brought some cake to considered in the context of the heroic archetype—best exemplified
aid his “thin stomach;” and Nelly brought a hen, which she by Jesus Christ.
makes Christy feel the breast of.

As Christy dutifully admires the breast of Nelly’s hen, Nelly Christy is forced to feel the breast of the hen, again linking his heroic
notices the looking-glass behind his back. She exclaims, “them status to sexual prowess. Here, though, it’s undermined by the
that kill their fathers is a vain lot surely.” The girls giggle, making discovery of the looking-glass, which puts his vanity on display.
Christy feel embarrassed.

Widow Quin comes in, having just entered Christy into all of The village sports will be an important part of Christy’s ascension to
the village’s sports events taking place later that day. Surprised being the villagers’ hero. Widow Quin wants to hear Christy’s story
to see the village girls and their gifts, she instructs them to from its source, which gives him an opportunity to frame it in such a
make Christy breakfast. She sits down with Christy and asks to way that reinforces his hero status.
hear his “story” before Pegeen comes back.

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Christy describes how his father had recently ordered him to The archetype of the “hideous widow” has a fairytale feel to it,
marry a hideous widow, whom he describes as “a walking terror highlighting that Christy’s account is, if not fictionalized, certainly
from beyond the hills,” massively overweight and with a sensationalized for his audience (both in stage and in the theater).
“blinded eye.” Christy, chewing on a chicken leg under the eager The chicken leg creates a sense of the fragility of life and man’s
eyes of Widow Quin and the village girls, tells how he refused primal nature, both of which Christy needs to make his retelling
to wed this widow. His father had then called her “too good” for effective.
him and threatened to “flatten [him] out like a crawling beast”
crushed by a wagon.

Christy concludes the story: his father had lifted his scythe up Christy’s retelling makes for a powerful story, and he knows it.
above his head and wished Christy “mercy” on his soul. Then, That’s why he acts it out as he speaks. The girls are evidently
the fight ensued, with Christy quickly dealing the fatal blow satisfied. The loy as a weapon symbolizes his transformation from
using his loy. As he tells this, he uses the chicken bone as a oppressed peasant to heroic conqueror, being both the farming
prop. The girls call him a “marvel” and his story a “grand” and implement that he had to use every day and the item that he thinks
“lovely” one. has dealt a fatal blow his father.

Sara says that both Christy and Widow Quin are heroes, and As with the other characters before her, Sara links the capacity for
that they should get married. She pours them a drink and toasts violence with heroism. Her toast informs Christy’s nickname as the
to “the wonders of the western world.” At this point, Pegeen playboy of the western world. The “hero” will have a chance to
comes in. The girls “spring away from Christy.” Pegeen angrily symbolically prove his status by competing in the village sports and
dismisses them and Widow Quin, who reminds Christy about games.
the “sports and racing” taking place at noon.

Now alone with Christy, Pegeen “imperiously” orders him to Pegeen is annoyed with Christy for enjoying the affections of the
complete tasks around the pub. Trying to soften her mood, Widow Quin and the village girls. He overplays his story, referencing
Christy picks up a loy and tries to tell her again about killing his it again in an attempt to win Pegeen over. The story, in a sense, is
father. She complains that she’s heard the story “six times” that losing its power and must be replaced by something new (Christy’s
morning and that, furthermore, he shouldn’t be telling his story poetic talk later on). She shows the same fortitude of character that
to everyone who’ll listen. earlier saw her dismiss Shawn.

Pegeen purposefully teases Christy, scaring him that that the Pegeen enjoys teasing Christy, giving her a temporary authority over
village girls might tell his story to the “peelers,” who she says him. Christy’s descriptions of what life will be like if he has to leave
would take great joy in hanging him. Christy, increasingly are again poetic and serve to soften Pegeen’s attitude towards him.
concerned, puts his boots on, believing he had best be moving
on again. Christy laments the lonely prospect of “passing small
towns with the light shining sideways when the night is down,”
and hearing lovers in ditches while “passing on with an empty
hungry stomach failing from your heart.”

Pegeen calls Christy an “odd man.” He says anyone would be Christy flatters Pegeen, sensing his command over his language. The
odd “living lonesome”; Pegeen points out that she has only ever talk of “living lonesome” also subtly implies the opposite: living with
lived with her father, but she’s not odd. Christy asks her, someone. That is, it draws out the possibility of Pegeen and Christy
admiringly, “how would a lovely handsome woman the like of being married.
you be lonesome when all men should be thronging around to
hear the sweetness of your voice.”

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Pegeen suspects Christy of pretending to be “lonesome” to win Christy employs beautiful poetry, both to develop his sense of
her affection, but he insists that “I was lonesome all times and despair at having to leave Pegeen and to increase her sympathies
born lonesome, I’m thinking, as the moon of dawn.” She’s towards him. This also lends the conversation an air of finality or
surprised, considering he’s a “fine lad with the great savagery to fate that will transform into the two characters’ feeling that they are
destroy your da.” Christy tells her that his heart is “scalded” meant to be together.
because he has to leave, “stretching out the earth” between
them. “I’ll not be waking near you another dawn of the year till
the two of us two arise to hope or judgment with the saints of
God.”

Pegeen finally lets on that Christy is safe at the pub and that Having faced the possibility of leaving, Christy is emboldened by the
there’s been nothing in the newspapers about his father. news that Pegeen was tricking him. This renews his sense of
Christy is deeply relieved and talks rapturously about having freedom and confidence.
Pegeen’s company from now on.

Shawn runs in, accompanied by Widow Quin, and tells Pegeen Shawn’s story about Pegeen’s sheep is a distraction tactic to help
that her sheep are “eating cabbages in Jimmy’s field.” She him get Christy alone. He wants to get Christy as far away from the
rushes out of the door to stop them. Having got rid of Pegeen, village as possible, hence the offer of a one-way ticket to America.
Shawn anxiously offers Christy a one-way ticket on a ship to This also plays on the idea of Christy being the playboy of the
the U.S.A, also offering up his best clothes. He wants Christy to “western” world, attempting to push him as far west as possible.
“leave us in the peace we had till last night at the fall of dark,” Shawn knows he is no match for Christy’s heroism.
explaining that he intends to marry Pegeen and can’t have a
“clever fearless man” like Christy around.

Widow Quin also tries to convince Christy, letting slip the This is the first Christy knows for sure that Pegeen wants to marry
rumor that Pegeen intends to marry him. This makes Christy him, and it only intensifies his desire to stay. His decision to take
“beam with delight.” As Christy goes into the inner room to Shawn’s clothes is emblematic of his usurping of Shawn’s place as
admire his new hat and coat, Shawn worries that Christy isn’t Pegeen’s love object. Widow Quin neatly sums up why Christy is the
going to leave. He’s sure Pegeen will prefer Christy over him, more attractive of the two men.
which Widow Quin confirms: “it’s true all girls are fond of
courage and do hate the likes of you.” Shawn says he would
inform on Christy but is scared Christy will kill him.

Widow Quin makes a deal with Shawn: she will contrive to Widow Quin has an opportunistic streak, often looking for ways to
marry Christy if Shawn will provide her with a cow, a ram, right improve her lot in exchange for favors. At this stage, Shawn will
of way across his property, and the permission to cut turf on his practically agree to anything to rid himself of the hero.
land. Shawn eagerly agrees.

Widow Quin compliments Christy’s appearance as he comes Christy has become so confident that he is able to take Shawn’s
back in: “it’d be a pity surely to have your like sailing from Mayo clothes without offering anything in return. This is a signal of hubris
to the Western World.” She makes a sign for Shawn to leave her and ultimately hints at his downfall.
alone with Christy; he makes his excuses and goes out. Christy
boasts of his life to come as a “gallant orphan,” insisting he will
stay at the pub.

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Suddenly, Christy staggers back, thinking he’s seen the “walking Christy is evidently surprised at the appearance of his father,
spirit” of his father. Widow Quin looks out, seeing only a indicating that the story has not been deliberately misleading. If
“tramper.” Old Mahon comes in; Christy hides behind the door. anything, the disparity between story and reality just highlights
Mahon asks Widow Quin if she has seen an “ugly young Christy’s youthful naiveté and, of course, undermines his heroic
streeler with a murderous gob on him.” Mahon wants to status. Mahon’s mention of the loy makes it clear to Widow Quin
“destroy him for breaking the head on me with the clout of a that this is Christy’s father.
loy.”

Mahon takes off his hat and shows Widow Quin his bandaged Mahon offers the counter image to Christy’s character, portraying
head. She’s impressed with the wound, which Mahon said was him as the opposite of all the things the villagers think him to be.
done by his “own son.” She says that Mahon must have “vexed” This to a degree reinstates Mahon’s paternal authority; though he
and “tormented” his son greatly to make him “strike that gash.” has not yet found Christy, he has started the work to undermine his
Mahon, offended, claims to have the “patience of a martyred son’s false heroic status.
saint,” painting a picture of his son as lazy, foolish, and vain.

Widow Quin, with one eye on Christy, asks Mahon why his son Mahon adds more detail to the description of his son. Everything he
was “so foolish”—was it because he “was running wild after the says paints Christy as boyish and distinctly unheroic. This also
girls maybe?” Mahon explains that his son would hide like a explains why Christy was initially so surprised to be described as
frightened hare whenever girls were around. Furthermore, he handsome by Pegeen.
adds, his son couldn’t handle his alcohol and “would get drunk
on the smell of a pint!” His son, he sums up, is the “laughing joke
of every female woman.”

Widow Quin gets rid of Mahon by saying she thinks she’s seen Widow Quin now has a degree of power over Christy, being the first
the man he’s looking for heading to catch a ship on the coast. character to know the truth about his story. Here, the use of
Mahon goes out to follow her directions. She swings the door “playboy” isn’t intended as complimentary, more suggesting trickery
and looks at Christy, who is cowering in fear. Laughing, she calls or playacting.
him the “walking playboy of the western world.”

Christy frets about what Pegeen will say when she hears about Christy, despite the return of his father, is undergoing a genuine
his father’s visit. Widow Quin thinks she’ll kick him out for transformation in which he begins to feel more sure of himself. He
being a “little schemer.” Christy rages to himself about his sees his life as high stakes, knowing that he must vanquish his father
father: “to be letting on he was dead, and coming back to or return to his old life.
life…coming in here and laying desolation between my own self
and the fine women of Ireland.”

Christy despairs to Widow Quin about the prospect of losing Christy hasn’t lost his poetic tendency, which again might well speak
Pegeen’s affection, who he says has “the love-light of the star of to his naiveté given that Pegeen is effectively the first girl that he has
knowledge shining from her brow.” Widow Quin rejects this ever properly spoken to. Widow Quin highlights this directly,
“poetry talk for a girl you’d see itching and scratching.” Christy drawing a distinction between Christy’s impressive use of words
says Pegeen is the kind of woman “fitted to be handling with what she sees as Pegeen’s lack of merit.
merchandise in the heavens above.”

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Christy and Widow Quin hear people approaching the pub. Widow Quin offers Christy an easy way out of his situation by
Widow Quin hurriedly puts her proposition to Christy: that she coming to live with her, but his lingering sense of the heroic gives
has taken a “fancy” to him and wants him to live with her, where him the confidence to refuse her proposal. Widow Quin makes her
she can “tend” to him and he won’t have to worry about talking second deal of the play, showing her to be canny and opportunistic.
about whether he is a murderer or not. He instead begs her to
help him win Pegeen’s heart, as the village girls clamor for him
to come outside. She makes him promise that, if she helps him,
he will give her “right of way” and a “ram,” to which he agrees.

Widow Quin suggests that she and Christy pretend Old Mahon Widow Quin is enjoying the drama of what’s happening, sensing
is a “maniac” and not Christy’s father. Susan, Sara, Honor and that the events taking place are becoming a good story—no matter
Nelly run in, calling for Christy to “come on the sports now.” He what the outcome may be. Despite his father’s return, Christy is still
goes off, leaving Widow Quin to say to herself, “well, if the tasked with proving his heroism in the village games and sports.
worst comes in the end of all, it’ll be great game to see there’s
none to pity him but a widow woman, the like of me.” She leaves
too.

ACT 3
Later on the same day, Jimmy and Philly converse drunkenly in Jimmy and Philly’s conversation reveals the extent to which Christy
the pub with nobody else around. They talk about Christy’s is trading on his heroic story—he is beginning to overdo it and set
decisive victories in the village games and sports. As they himself up for a fall. The “old Dane” refers to bodies found in the
complain about Christy’s constant bragging about his deed, Old bogs of Ireland, which can preserve bodies for a long time. The bogs
Mahon passes by the window unseen. They wonder what will are part of Ireland’s mythical culture.
happen if Mahon’s skull is discovered in the ground, theorizing
that it might be assumed to belong to an “old Dane.”

As Philly and Jimmy talk more generally about skulls, Old This marks the beginning of the unraveling of Christy’s story. The loy
Mahon comes in and instructs them to look at his. is a key detail, being so specific as to clearly link Old Mahon’s story
Triumphantly, he tells them it is the result of a blow from a loy to the one told by Christy.
by his own son, arousing Philly’s suspicion. Mahon explains that
he has been receiving food and lodgings all over the county in
exchange for his story.

Widow Quin comes in, shocked to see Mahon again. She Widow Quin tries to put her and Christy’s plan into action—to
fetches Mahon a drink at his request. As he gulps it down, discredit Mahon by painting him as mad. Philly is a little more savvy
Widow Quin tries to convince Philly and Jimmy that Mahon is a than Jimmy and starts to question whether Christy has been telling
lunatic “raving from his wound.” She tells them she met Mahon the truth.
earlier, and that he originally claimed his head was injured by “a
tinker;” he then changed his story, she says, when he heard
about Christy’s deed. Jimmy buys the story but Philly is more
suspicious.

In an effort to demonstrate Mahon’s supposed madness to Like his son, Mahon has a certain power to his words. Because of
Philly and Jimmy, Widow Quin asks him how he is feeling. He Mahon’s eloquent explanation of what’s happened, Philly starts to
complains in a maudlin but eloquent manner about his fall-out believe him.
with his son, evidently missing him. Philly tells Jimmy that
Mahon seems sane to him, and asks Widow Quin to get Mahon
to say more about his son.

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Widow Quin craftily asks Mahon if his son is “a great hand at Widow Quin uses the fact of Christy’s newfound hero status as a
racing and lepping and licking the world.” Mahon insists that way to convince Philly that Mahon is mistaken. She points out the
Christy is “the fool of men.” He hears cheering outside and goes difference between Mahon’s account of his son and the admirations
to look out the window; Widow Quin, “with a shade of a smile,” of the village. The “playboy” here refers to Christy’s victories in the
explains that the crowd is “cheering a young lad, the champion village sports, but still carries with it the suggestion of deception.
playboy of the western world.” Mahon, puzzled, thinks that the
“lad” looks like Christy.

Mahon wants to go out and watch the mule race about to The games are a symbolic arena in which the village can seek out its
commence on the sands, in which Christy is participating. heroes. All of the characters are engaged in this behavior, feeling an
Widow Quin tries to get him to leave, but Philly settles Mahon instinctive affinity with the winner.
on a bench with a good view of the race. All of them mount the
bench to watch, marveling at Christy’s riding prowess; Widow
Quin calls him “the champion of the world.” Christy wins,
resulting in great cheer.

As Christy is carried on the villagers’ shoulders towards the Widow Quin’s strategy works, but only temporarily, playing on the
pub, Mahon is astonished to realize that the race-winner is his incongruity between Mahon’s opinion of his own son and what he
own son. Widow Quin grabs Mahon and tries to convince him can see right there before his eyes.
that he’s mad. Mahon’s certainty wavers as he tries to reconcile
his opinion of his son with the evident worship of the villagers.

Mahon comes to agree that he must be mad on account of his The head injury lends credibility to Widow Quin’s insistence that
head injury. He decides he’d better leave and Widow Quin Mahon is going mad. That said, Philly’s suspicions have intensified
shows him out. Philly casts doubt on Widow Quin’s motives and based on Mahon’s recognition of Christy. Philly’s desire to know the
goes after Mahon to see for himself whether the man is truth preempts the extreme reaction that the villagers will have later
“raving” or not. Jimmy follows Philly to protect him from on when Christy is revealed to have been dishonest.
Mahon, who Jimmy is sure is a “madman.”

Christy comes in, dressed in jockey’s garb, surrounded by Christy’s attachment to his story by now has become comical for
admirers who include Pegeen and the village girls. The crowd the audience, highlighting that he isn’t as heroic as the villagers
gives Christy prizes for winning the race. Christy compares his think. Carried on the shoulders of his admirers, Christy now has
sporting achievements, saying that they’re nothing compared authority within the village based on his heroic deed and sporting
to how he killed his father. Pegeen ushers the crowd out to let prowess.
Christy rest; they go off to take part in a tug-of-war.

As Pegeen wipes the sweat off Christy’s face, he tells her that Christy, his confidence soaring because of his victories, turns his
the prize he really wants is for her to agree to marry him in two attention to winning Pegeen’s heart. She is reticent to take his poetic
weeks’ time. She thinks he’s being “daring” and doesn’t trust “talk” at face value, believing it to be part of his general outlaw
that he isn’t a womanizer. But he persuades her, speaking personality. Christy’s imagery evokes a deliberately Edenic scene,
poetically. He asks her to imagine them strolling the trying to get Pegeen to indulge in the idea of a utopian future
countryside, “drinking a sup from a well, and making mighty together.
kisses with our wetted mouths, or gaming in a gap of sunshine
with yourself stretched back unto your necklace in the flowers
of the earth.”

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Pegeen, won over by Christy’s “talk,” asks why a man like him, Interestingly, though religion has not really acted as a moral
with “such poet’s talking, and such bravery of heart,” is so authority at all, it does serve as a kind of a figurative authority.
interested in her. He says she has “the light of seven heavens in Christy links Pegeen’s “light”—her beauty and character—to the
[her] heart alone.” They both agree that “miracles” have ethereal light of heaven. This religious grounding informs their sense
brought them together. She agrees to tell her father that she of fate bringing them together: “miracles.”
wants to wed Christy when he returns from the wake.

Michael comes in drunk, supported by Shawn. He heaps praise Michael’s mention of a Christian burial is ironic given that he has
on Christy but also chastises him for not giving his father a praised Christy for the expressly sinful behavior of murder. Like
“decent” Christian burial. Michael slaps him on the back, saying many of the other characters, he links what he sees as Christy’s
that married men will have to watch out for him stealing their outsider status to sexual prowess.
wives.

Michael announces to Christy that Father Reilly has given Shawn has finally got the special dispensation required for him to
Shawn and Pegeen permission to marry, asking if Christy wed his cousin, but has lost her affections in the process. His
thought that “I’d leave my daughter living single with a little obedience to authority is contrasted with Christy’s supposed
frisky rascal is the like of you.” Pegeen fiercely states that it’s rebellion, which has made Christy the much more attractive option
too late—she wants to marry Christy. for Pegeen.

Michael is horrified that Pegeen wants to marry a father killer. Michael tries to get Shawn to live up to the values of the
She says it would be a “bitter thing” to marry “the like” of community; that is, he wants his future son-in-law to display the
Shawn. Michael asks Shawn if he has anything to say; is he not heroic characteristics of honor and a willingness to fight for his
“jealous at all?” Shawn is afraid “to be jealous of a man did slay “property.” In short, he wants Shawn to mete out his own justice, just
his da.” Pegeen insists she doesn’t want to marry Shawn. as Christy is alleged to have done. Shawn, of course, is as cowardly
now as he was at the start of the play.

As Shawn continues to try to persuade Pegeen, Christy Here a schism opens up between myth and reality. Michael—and by
intervenes aggressively. Michael is afraid of “murder in this extension the village—is enamored by stories of violent deeds, but
place,” and tells Shawn and Christy to go on to the “foreshore” if reluctant to have them take place where he lives. This would in part
they want to fight. Shawn says he’s too scared to fight Christy make them too real, and risk trouble with the “peelers.” The loy is a
and implores Michael to do it. Michael, annoyed by Shawn’s symbol of Christy’s original deed and his willingness to now act like
cowardice, pushes him towards Christy. Christy picks up a loy, a hero.
causing Shawn to run out of the pub.

Christy appeals to Michael to let him marry Pegeen, asking why “Blackguard” is Irish English slang for a bad person, pronounced
he would want a “quaking blackguard” like Shawn in his house “blaggard.” Michael is easily persuaded to approve Christy and cast
at all. Michael considers his family legacy, deciding that he’d off Shawn, thinking about his own legacy in relation to the land in
rather have “a score of grandsons growing up little gallant which he lives. He would rather populate it with a host of heroes
swearers by the name of God, than go peopling my bedside than people like Shawn.
with puny weeds” like Shawn. He joins Pegeen’s and Christy’s
hands together, approving their engagement.

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Just then, Mahon rushes into the pub, followed by the crowd Mahon comes back yet again, literally haunting Christy—but it’s
(including Widow Quin). He runs at Christy and strikes him worse because he’s actually alive. Christy tries to stick to the plan he
down. Pegeen drags Mahon off, asking who he is. Mahon has agreed to with Widow Quin, but it fails to convince the crowd.
reveals that he is Christy’s father, and though Christy tries to
say that Mahon is mad, nobody believes him.

Pegeen is shocked that Christy has been lying: “and to think of Pegeen turns on Christy immediately when she realizes that Old
the coaxing glory we had given him, and he after doing nothing Mahon is the father he is supposed to have killed. There is an
but hitting a soft blow and chasing northward in a sweat of element of spectacle in the scene, which is part of the same
fear.” Though Christy pleads with her, she tells Mahon to take psychology that allowed the villagers to enjoy Christy’s story in the
him away; she doesn’t want “the world” to see her “raging for a first place.
Munster liar and the fool of men.” The crowd taunts Christy.

Christy becomes increasingly desperate, realizing that no one Here, the scene of the original fight between Christy and Old Mahon
will help him—not even Widow Quin. Mahon tries to grab is replayed. The only ostensible difference between the two is that in
Christy, who tells him to “leave me go.” The crowd is the first fight the villagers were not present, whereas now they are.
bloodthirsty for them to fight. Christy picks up a loy, Christy shows himself willing to strike a fatal blow on his father; that
threatening “a blow” that would “set the guardian angels is, to do the exact deed that he had been rewarded for. Yet, faced
winking in the clouds above.” The crowd shouts, “run from the with the deed in reality, the villagers are no longer appreciative; it
idiot;” Christy angrily points out how, just moments ago, they has been shorn of its mythic value because it is no longer a story.
were celebrating him.

Christy chases Mahon out of the pub with the loy. After a great Though its offstage, it’s clear that Christy strikes his father again.
noise and “a yell” outside, Christy comes back in. Widow Quin The crowd is bloodthirsty and wants justice, without having a clear
hurries in too, telling Christy that the crowd is turning against sense of the parameters of that justice. In essence, they want to
him and he needs to escape before he gets “hanged.” He insists impose their own collective authority and Widow Quin knows that
that he won’t leave Pegeen, who should be impressed with him they will come for Christy and tries to help him escape.
again now that he has dealt his father a fatal blow.

Widow Quin implores Christy to go, saying there are plenty of Christy retains part of his new character, showing determination
other girls in the world. Christy replies stubbornly, “what’d I’d and bravery (and still a little naiveté). This is a famously
care if you brought me a drift of chosen females, standing in controversial line in the play. Audiences at the first performances
their shifts itself maybe, from this place to the Eastern World.” objected to what they saw as the indecency of the word “shifts”
(female underwear).

Sara runs in and tries to disguise Christy in her petticoat to Christy, trying desperately to retain his heroic nature, refuses to be
help him escape. Christy threatens the two women with a stool, disguised. He feels that, if he can kill his father, it will prove his
insisting that he will wed Pegeen and be “a proven hero in the heroism and win him Pegeen.
end of all.” Widow Quin goes to get a doctor, fearing Christy is
going mad.

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The men come back in. Philly confirms to Michael that Mahon is This highlights the hypocrisy of the villagers, who now feel they have
dead. Michael, fearing that the murder will get him and his to kill Christy for doing the exact deed that they had earlier
community in trouble with the law, gives Shawn a rope to try venerated him for. Pegeen is angry at Christy for his dishonesty, but
and ensnare Christy so that they can then hang him. He’s too also feels the pressure of the entire community expecting Christy to
scared to do it, so Pegeen takes the rope and drops it over be killed.
Christy’s head.

Michael explains to Christy that hanging him is “an easy and Pegeen comes to the realization of the difference between stories
speedy end,” necessary to keep the “peelers” away. Christy and reality. She sees Christy’s hero status as being inflated by his
appeals to Pegeen, who says: “I’ll say a strange man is a marvel verbal dexterity, and is no longer impressed by his ability to act
with his mighty talk; but what’s a squabble in your back-yard violently.
and the blow of a loy, have taught me that there’s a great gap
between a gallous story and a dirty deed.” She implores the men
to take Christy outside.

Christy tussles with the villagers, insisting that if they take him Christy puts up a strong fight, again emphasizing that he is not the
to the gallows he’ll “shed the blood” of some of them before he meek and mild man that first arrived at the pub. In fact, he is
dies. Christy squirms around on the floor and bites Shawn’s leg. becoming a genuine moral outlaw, feeling himself to be outside of
He promises to come back and kill Shawn, thinking himself now the village community and aligning himself with the most notorious
on the side of “Satan,” who he says “hasn’t many have killed of outlaws, Satan.
their da.”

Mahon, still alive, crawls back into the pub. Christy, also on his Mahon comes back from the dead once again. Michael feels a kind
knees, asks his father if he wants to be “killed a third time.” of respect towards him based on them both being fathers and he
Mahon wonders why the villages have tied up Christy. Christy absurdly tries to reason why Christy needs to die. The village is
explains that they’re trying to deliver him to the “peelers.” afraid of being in trouble with the peelers, and killing Christy, or
Michael apologetically explains to Mahon that their actions are turning him in, seems to be the easiest option for self-preservation.
necessary to prevent Michael from being ruined or hanged
himself.

Mahon loosens the rope around Christy, insisting that they will Mahon exerts his authority by releasing his son, attempting to
be “going on our own way and we’ll have great times from this restore them to their former way of life. But Christy portrays an
out telling stories of the villainy of Mayo and the fools is here.” important change—he is no longer willing to be subservient to his
Christy, now freed, says he will go with Mahon—but he will now father, symbolized by the way he pushes him out of the door. This
be the “gallant captain,” and his father the “heathen slave.” He disruption to normal reality again makes Mahon question his
pushes his father out of the door, telling him not to speak. mental state.
Mahon wonders again if he is going “crazy.”

On his way out, Christy turns to the villagers, offering them Christy feels that he is fundamentally changed, determined to take
“ten thousand blessings” for turning him into “a likely gaffer in on the heroic characteristics that the village had temporarily
the end of all.” Now, he says, he’ll “go romancing through a granted him.
romping lifetime from this hour to the dawning of the judgment
day.”

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Michael says, “by the will of God, we’ll have peace for our Pegeen, too, is fundamentally changed, no longer willing to settle for
drinks.” He calls Pegeen to get them. Shawn goes up to Pegeen the boring future that Shawn represents. Because Christy has now
and says, “it’s a miracle Father Reilly can wed us in the end of gone, his mystery is restored; he has returned into the unknowable
all, and we’ll have none to trouble us when his vicious bite is outer world from whence he came. This explains her sudden change
healed.” Pegeen hits him on the ear, telling him to go away. She of attitude, switching from anger to grief, and ultimately
puts a shawl over her head and cries out wildly: “Oh my grief, demonstrating that she does see Christy as a heroic figure.
I’ve lost him surely. I’ve lost the only playboy of the western
world.”

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To cite any of the quotes from The Playboy of the Western World
HOW T
TO
O CITE covered in the Quotes section of this LitChart:
To cite this LitChart: MLA
MLA Synge, J. M.. The Playboy of the Western World. Dover Thrift
Editions. 1993.
Howard, James. "The Playboy of the Western World." LitCharts.
LitCharts LLC, 24 Jan 2019. Web. 21 Apr 2020. CHICA
CHICAGO
GO MANU
MANUAL
AL
CHICA
CHICAGO
GO MANU
MANUAL
AL Synge, J. M.. The Playboy of the Western World. Mineola, NY:
Dover Thrift Editions. 1993.
Howard, James. "The Playboy of the Western World." LitCharts LLC,
January 24, 2019. Retrieved April 21, 2020.
https://www.litcharts.com/lit/the-playboy-of-the-western-world.

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