Widow Quinn the incomparable might be compared, were she not too high-hearted, to the hag of "The Lout and Mother" in being
"indecent-spoken, carneying, lying,
Plausible, full of poems and prophecies and sharp edged."
Of the women of the cottager class, Nora, for all her wildness and bitterness, is the most lovable, and Molly Byrne the least lovable; the girls of "Riders to the Sea" are not fully enough individualized to make us feel we know them; but Pegeen Mike, Synge has put before us in appearance and temperament, character and personality. "A wild-looking but fine girl," he describes her, "with a divil's own temper," "the fright of seven town-lands"—as she says—"for my biting tongue," but susceptible of softening toward a boy of good looks and coaxing ways such as Christy. He gets around her with "his poet's talking" and his popularity, his "mighty spirit" and "gamey heart" until she gives him "words would put you thinking on the holy Brigid speaking to the infant saints."
There might be incongruity, if one were writing of any other than Synge, in speaking of Deirdre in such a company. Incongruity, however, is of the very texture of Synge's art, which has reconciled qualities, as I have said, never before reconciled in English literature. It is on Deirdre that Synge has lavished all the ideality that was in him, not because he had a dream of woman he wished to fulfill, but because to him Deirdre was all that was queenly. And yet even Deirdre is a "variation," as nobility and beauty must ever be. So lofty is she that
