Irish Plays and Playwrights | Page 3

fast-decaying Celtic life of his country, but even with his example and with all that has been done since the Renaissance began, in the preservation of Manx folk-lore and in the recording of vanishing Manx customs, no writer of Brown's power has been developed, or in fact any writer of powers equal to those of the best men of the younger generation in the other Celtic lands. It is with the Celtic Renaissance as it appears in Ireland, then, that I have to deal chiefly in this book, as it is only in Ireland, of the countries that retain a Celtic culture, that the movement is the dominating influence in writing in English; and it is with the drama only that I have now to deal, though when a playwright is a poet or a story-teller, too, I have written of his attainment in verse and tale also. Had I been writing five years ago, I should have said that it was in poetry that the Celtic Renaissance had attained most nobly, but since then the drama has had more recruits of power than has poetry, and it is a question as to which of the two is greater as art. There is no doubt, however, but that the drama has made a stronger and wider appeal, whatever its excellence, than has the verse, and it is therefore of greater significance for its time than is the poetry, whatever the ultimate appraisement will be. Of the men I have written of here, Mr. Yeats and Mr. Russell are to me poets before they are dramatists, and Lionel Johnson, whose only direct connection with the dramatic movement was his beautiful prologue in verse to the first performances of "The Irish Literary Theatre" in 1899, is to me a poet of a power as great as theirs.
One wonders, at first thought, that Ireland had never until our day given to English literature a novelist of first rank. The Irishman is famous the world over as a story-teller, but neither in romance nor in the story of character had he reached first power, reached a position where he might be put alongside of other Europeans as a novelist. No Irishman from the time of Scott on, until Mr. George Moore wrote "Esther Waters" (1894), had written a story that might stand the inevitable comparison with the work of Thackeray and Dickens, Meredith and Mr. Hardy. Of Mr. George Moore I have written in detail below.
Miss Edgeworth may have taught Scott his manner of delineating peasant character, but her comparatively little power is revealed when you put her beside Miss Austen, and so it is all the way down the list to our own day. There are many contemporary story-tellers who have managed well the tale, but what Irish novelist of to-day other than Mr. Moore bulks big, can be compared to even lesser men, like Scotland's Mr. Neil Munro or Dartmoor's Mr. Phillpotts?
Lady Gilbert (Rosa Mulholland) has written many, pleasant stories of Irish life, and Mrs. Katherine Tynan Hinkson has followed worthily in her footsteps. Equally pleasant, but lighter and more superficial, is the writing of the two ladies who subscribe their names "E.OE. Somerville and Martin Ross." Their "Some Experiences of an Irish R.M." (1899) and their "All on the Irish Shore" (1903) are like so much of the Irish writing of a generation ago,--Irish stories by Irish people for English people to laugh at.
The Hon. Emily Lawless has written many kinds of stories about the West Coast, reaching almost to greatness in her "Grania" (1892). In the short story, Miss Jane Barlow, accused of superficiality by many Irish critics and as eagerly declared to get the very quality of Connemara peasant life by others, has sure power and a charm all her own. No one who reads "Irish Idylls" (1892) will stop at that collection. Mr. Seumas MacManus is as truly a shanachie as the old story-tellers that yet tell the old tales about peat fires in Donegal. "Through the Turf Smoke" (1899) and "In Chimney Corners" (1899) and "Donegal Fairy Stories" (1900) are alike in having the accent of the spoken story, but when the last word is said you cannot admit their author to be more than a clever entertainer. The Rev. Dr. Sheehan, although you will find him writing about the effect of the Irish Renaissance in remote parishes in the South, has not subscribed to its ideals, but continues the fashion of story-writing of an earlier generation. "Luke Delmege" (1900) is, however, an interesting character study, and "My New Curate" (1899) very illuminative of the conservatism of the peasantry.
Mr. Shan Bullock, writing of the farmers and farm laborers of the North, has not unwisely gone to Mr. Hardy to learn his art. "Irish Pastorals" (1901) is racy