By Paul Breslin and Robert Hamner (Guest Editors)
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Additional info for Callaloo (28:1, Winter 2005) Special Issue on Derek Walcott
Synge’s Riders to the Sea (1904), and like that model it aims to communicate a sense of the characteristic language of the people it depicts. After initial productions in Trinidad and St. Lucia, the play was brought to Jamaica in 1956. At the time, Slade Hopkinson— who was the director—wrote an article in the local newspaper that amounts to a barely disguised advertisement for the play. It includes the following comment: “the idiom is a little difficult to the non-St. Lucian . . [but] the meaning can be found in the action, gestures, facial expression, and intonations of the actors” (14).
The fascination with heroes will also mean a fascination with the grand style, in language, verse form, and movement. As Walcott admitted, his “first poems and plays expressed [a] yearning to be adopted, as the bastard longs for his father’s household. I saw myself legitimately prolonging the mighty line of Marlowe, of 48 CALLALOO Milton. . ” (Dream on 31). The appeal to Walcott of the heroes of the Haitian Revolution also lay in the fact that they afforded him a Caribbean story that would lend itself to the mighty line.
It A Come. Ed. Mervyn Morris. London: Race Today Press, 1986 Synge, J. M. Riders to the Sea. The Complete Plays of John M. Synge. New York: Random House, 1935. Walcott, Derek. ” Three Plays. New York: Farrar, Straus & Giroux, 1986. ———. Another Life. New York: Farrar, Straus & Giroux, 1973. ———. Collected Poems 1948–1984. New York: Farrar, Straus & Giroux, 1986. ———. Dream on Monkey Mountain and Other Plays. New York: Farrar, Straus & Giroux, 1970. ———. : Two Plays. New York: Farrar, Straus & Giroux, 1978.