Irish Plays and Playwrights | Page 4

of Fermanagh as "Tess" is of Wessex. "The Squireen" (1903) is a strong and gloomy story. From "By Thrasna River" (1895) to "Dan the Dollar" (1905), Mr. Bullock did no story without power in it. Ireland still looks to him as it looked to Mr. William Buckley, ten years ago, for better work. "Croppies Lie Down" brought Mr. Buckley before the public in 1903, but his writing since then has fallen far short of this his best book. Now, however, the young man with a future, in the estimation of many is Mr. James Stephens. There is more hope in him, in his twenties, than there is now in "George A. Birmingham" (Rev. J.O. Hannay), another man who ten years ago was like Mr. Buckley, a young man of promise. "The Seething Pot" (1904) was a serious study of conditions in Ireland but since its author conceived of the character of the Rev. Joseph John Meldon, he has found it more discreet to continue the adventures of that clergyman than to write seriously out of his own varied experience of West-Country Irish life.
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It is perhaps because the energy that in many countries goes into the writing of the essay is absorbed in controversy in Ireland that in the past Ireland has produced few essayists. In the battles of the dramatic movement with the patriotic societies and with the official class, Mr. Yeats and Mr. Moore have dealt good blows, and Mr. Russell and "John Eglinton" (Mr. W.K. Magee) have led the disputants out of their confusion. Among these men, "John Eglinton" is the one who has thrown his greatest energy into the essay, almost all his energy, and in it, in the chapters of "Two Essays on the Remnant" (1896), "Pebbles from a Brook" (1901), and "Bards and Saints" (1906), he has written with subtlety and illumination.
In the collection and clarification and retelling of folk-literature William Larminie and Lady Gregory and Dr. Hyde stand out as the leading workers. Mr. Larminie's "West Irish Folk-Tales" (1895) are model work of their kind as are Lady Gregory's several books, of which I speak in detail later. The work of Dr. Hyde is the most important work of this sort, however, and it is not too much to say, as I intimated at the outset, that, without his translation of "The Love Songs of Connacht" (1894) and "The Religious Songs of Connacht" (1906), the prose of the movement would never have attained that distinction of rhythm which reveals English almost as a new language. I would gladly have written at length of Dr. Hyde, but he has chosen to write his plays in Irish as well as most of his verses. Yet so winning are the plays as translated by Lady Gregory, and so greatly have they influenced the folk-plays in English of the Abbey Theatre, that there is almost warrant for including him. I cannot, of course, but I must at least bear testimony to the many powers of these plays. Dr. Hyde can be trenchant, when satire is his object, as in "The Bursting of the Bubble" (1903); or alive with merriment when merriment is his desire, as in "The Poorhouse" (1903); or full of quiet beauty when he writes of holy things, as in the "Lost Saint" (1902). There are many other playwrights in Irish than Dr. Hyde, but as no other plays in Irish than his have reacted to any extent on the plays in English of the movement, I do not consider them, my object in this book being to consider the dramatic writing in English of the Celtic Renaissance, with relation to its value as a contribution to the art of English letters. That there is a great deal else in the Celtic Renaissance than its drama, I would, however, emphasize, though it is true that every man of first literary power in the movement, except Lionel Johnson and "John Eglinton," has tried his hand on at least one Irish play. That Johnson would have come to write drama I firmly believe, for in drama he could have reconciled two of the four loves that were his life. He could not have put his love of Winchester, his school, or his love of the classics into plays, but his love of Ireland and his love of the Catholic Church would have blended, I believe, into plays, still with the cloistered life of the seventh century, that would have rivaled "The Hour-Glass," and plays about "Ninety-Eight" that would have rivaled "Cathleen Houlihan."
There are many other poets, though, of the Celtic Renaissance that are of powers only short of greatness, Nora Hopper Chesson chief among them. Only Mr. W.B. Yeats of them all has more "natural falterings" in his verse than she. Mrs. Hinkson, too, whose name has come