ترجمة وتلخيص وتحليل Riders to the sea (لاولى انجليزى)

الرابط ده فيه ترجمة القصه بالعربى
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]

وده مفهوم او تلخيص المسرحيه بالعربى

مسرحية
«الراكبون» الى البحر The Riders to the Sea» التي عرضت سنة «1904» فقد
نالت شهرة كبيرة واعتبرها النقاد افضل مسرحية قصيرة في الادب المكتوب
بالانجليزية، وهي خير نموذج لصراع الانسان مع الطبيعة وتسليمه بالقدر.
تدور احداثها في مطبخ احد الاكواخ بجزر الآران. وتصوره مأساة امرأة عجوز،
موريا، التي فقدت زوجها وخمسة من ابنائها في البحر ويبدأ المشهد بالاختين
كاثلين ونورا تتحاوران حول قطعة من الثياب الممزقة جلبها لهما القسيس
للتعرف عليها ان كانت لأخيهما مايكل الذي ابتلعه البحر منذ تسعة ايام مضت.
تدخل عليها الام في الوقت الذي يصل فيه الابن الاخير بارتلي معلناً بأنه
قدر ان يركب البحر تحاول امه ان تثنيه عن عزمه مذكرة اياه بأبيه واخوته
الخمسة وان عليه ان ينتظر على الاقل حتى تظهر جثة مايكل ليشرف على دفنها.
ويصمم بارتلي على الذهاب محتجاً بان هناك سفينة قادمة وسوقاً للخيل لابد
ان يحضره. تطلب كاثلين من امها ان لا تدع بارتلي يسافر بدون دعواتها
فترجوها ان تلحق به لتعطيه بعض الخبز وتباركه برضاها حتى لا يموت وهي
غاضبة عليه. وفي هذه الاثناء تتعرف نور على خياطة يدها في قطعة الملابس
وتتأكد انها لأخيها مايكل وانه كما قال القسيس قد دفن دفناً كريماً في
الشمال، وهذا خبر سيريح الام على أية حال. ولا يمر وقت طويل حتى يعود
بارتلي الى امه جثة هامدة، لقد اوقعه المهر الاشهب في البحر. وتستقبل الام
نبأ موت آخر اولادها برباطة جأش وصبر وايمان واستسلام للقضاء والقدر،
وتستنزل الرحمة على روح زوجها واولادها ثم تقول:« لقد دفن مايكل مدفناً
كريماً في الشمال ببركة من الله، وسيكون لبارتلي تابوت جيد من الالواح
البيض ومدفن عميق بكل تأكيد. اي شى نريد اكثر من هذا. لن يعيش انسان الى
الابد وعلينا ان نقنع بذلك». وقد اعتبر الاستاذ محمد قطب في كتابه «منهج
الفن الاسلامي» هذه المسرحية من الاعمال التي تتفق مع التصور الاسلامي
للادب للقيم الانسانية التي تعبر عنها.

وده تحليل القصه
Riders ti the sea

byJohn Millington Synge
_______
[center]
Riders to the Sea is a play written by Irish playwright J. M. Synge. It
was first performed on February 25,1904 at the Molesworth Hall, Dublin
by the Irish National Theater Society. A one-act tragedy, the play is
set in the Aran Islands, and like all of Synge's plays it is noted for
capturing the poetic dialogue of rural Ireland.

Important Characters
Only four characters are named: Maurya, an elderly Irishwoman, her daughters Cathleen and Nell, and her son Bartley.

Also mentioned are Maurya's deceased sons Shawn, Sheamus, Stephen, Patch, and Michael.

Plot Synopsis
Maurya has lost her husband, father-in-law, and five sons to the sea.
As the play begins Nell and Cathleen receive word that a body that may
be their brother Michael has washed up on shore in Donegal, far to the
north. Bartley is planning to sail to Connemara to sell a horse, and
ignores Maurya's pleas to stay. As he leaves, Maurya predicts that by
nightfall she will have no living sons, and her daughters chide her for
sending Bartley off with an ill word. Maurya goes after Bartley to
bless his voyage, and Nora and Cathleen receive clothing from the
drowned corpse that confirms it as their brother. Maurya returns home
claiming to have seen the ghost of Michael riding behind Bartley and
begins lamenting the loss of the men in her family to the sea, after
which some villagers bring in the corpse of Bartley, who has fallen off
of his horse into the sea and drowned.

Analysis
This little drama, while it has none of the uproarious "romping" of The
Playboy of the Western World, is still an unmistakable indication of
John Millington Synge's keen enthusiasm for all the concerns of human
life. If he can take pleasure in the vitality and animal spirits of a
Christy Mahon, he can likewise savor the dumb tragedy of a Maurya. The
play is a picture, compressed and synthesized, of the helplessness of a
mother in her hopeless struggle with the sea.

Synge's perfect mastery of words is one of his greatest assets. Like
Shakespeare, he can at once supply environment, create atmosphere,
paint word-pictures. That sharp contrast between the homely and
everyday in life and the gruesomeness of death is clearly drawn in
Riders to the Sea. Bartley says: "Where is the bit of new rope,
Cathleen, was bought in Connemara?" and Cathleen replies: "Give it to
him, Nora, it's on a nail by the white boards. I hung it up this
morning, for the pig with the black feet was eating it." This is what
Yeats means when he speaks of Synge's loving all that has edge. In
Vale, the second volume of his Hail and Farewell, George Moore wrote of
Riders to the Sea: "... when I heard this one-act play, it seemed very
little more than the contents of Synge's notebook, an experiment in
language rather than a work of art, a preparatory essay; he seemed to
me to have contented himself with relating a painful rather than a
dramatic story, his preoccupation being to discover a style, a vehicle
of expression...." And the incident is painful rather than dramatic,
for the struggle must be felt in the background, it cannot be seen and
participated in by the audience. Consequently, we might almost feel
that the struggle here depicted was so hopeless as to leave no room for
anything but dumb submission. A true tragedy ought to give the hero a
chance to fight; here the dice are loaded. The play is, however, a
powerful and beautiful picture.

Riders to the Sea serves to illustrate the essential difference between
the one-act play and the play in two or more acts: since the former is
almost always concerned with but a single incident, it is capable of
very little development. Now a tragedy is not a fact nor an event; it
must show great and strong characters -- or a least characters in which
there is potential greatness or strength -- struggling with forces
which are finally too great to overcome. And we must see the struggle.
A tragic figure must have the opportunity to fail honorably, and we
wish to see him trying to evade his fate. Hamlet would be ordinary
melodrama if he were deprived of his soul-revealing soliloquies;
Oedipus, too, if we could not follow the King's efforts to escape what
was decreed. A one-act play can scarcely more than indicate the result
of a struggle. The last act of Hamlet is not a tragedy in itself, and
Riders to the Sea, like that last act, is but the result of what has
gone on for a long time before. At the end we feel something of the
great sorrow and eventual peace of the old woman in her last words:
"Michael has a clean burial in the far north, by the grace of the
Almighty God. Bartley will have a fine coffin out of the white boards,
and a deep grave surely. What more can we want than that? No man at all
can be living forever, and we must be satisfied." Still, the struggle
was wanting

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