"The Well of the Saints"; the wildness of the life of the roads that law may not tame, in "The Tinker's Wedding"; the boy's finding of himself through his having to live up to a community's mistaken ideal of him, in "The Playboy of the Western World"; and the benison of death that prevents a great love from dying, in "Deirdre of the Sorrows."
Always the joy of making something beautiful out of his experience and dream of life is what inspires Synge to write, and though the intention to read life truly is a passion with him, there is never a suggestion of didacticism, or even of moralizing, though "The Well of the Saints" is unquestionably, whether he wills it so or not, a symbol of man's discontent with things as they are, his preference in some things of the lie to the truth. I think that Synge did not will to make "The Well of the Saints" a symbol, and that the play was to him but a reading of life, as life is, in his characteristic, exalted, ironic, extravagant way of writing, and that if he was aware of the symbolism, he was not keenly aware of it or much interested in it. He gives us life untroubled by the passing agitation of the day, and for that we should be thankful, and thankful, too, that he has given in his plays "the nourishment, not very easy to define, on which our imaginations live." His irony, as desolating to some as the irony of Swift, gives pause to all, as insight always will, but to me his extravagance is a joy unalloyed, and his exaltation, so rare a thing in modern literature, should bring to all men delight and refreshment of spirit. No reading, or seeing and hearing, of his plays leaves me with-
